Netflix Customer Reviews

Titan A.E.

I saw Titan A.E. on its theater release and was duly impressed (along with the entire family that accompanied me), subsequently bought it on video, and have watched it a few times since then, including twice with my youngest son, who also really enjoys this movie. It has out-of-this-world scenery, well-above-average animation, a wry sense of humor and humanity, awesome surround-sound, and a kick@ss contemporary soundtrack. Titan A.E. felt targeted to 11- to 16-year-old boys so it's no surprise it only recouped $23 million towards an estimated production budget of $75 million. It was nominated for a Saturn, three Annies, two Golden Reels, and a Golden Satellite before it won a Golden Reel (for best sound editing). Our story begins as humanity is fleeing before (mostly) the catastrophic destruction of our planet. The motive of the electric-blue Drej is unspecified though it's less related to what humanity "has done" so much as to "what we can become." Ron Perlman is the voice of Prof. Sam Tucker, who accompanies the Titan project to a successful escape and remote hiding place. Bill Pullman is Capt. Joseph Korso, who once aided the Titan's escape and, 15 years later, locates Tucker's now-19-year-old son Cale (Matt Damon) to reveal him as humanity's last hope, since his father's ring bears a genetically encoded map to the Titan's location. Akima (Drew Barrymore) is Korso's tall Japanese-American pilot and Cale's love interest, marsupial-like alien Stith (Janeane Garofalo) is Korso's hot-tempered weapons expert, terrapin-like alien Gune (John Leguizamo) is Korso's engineer, and snarky lupine alien Preed (Nathan Lane) seems to be Korso's second-in-command. Such a cast of characters does not appear bland to me nor does the script seem remotely predictable. Also far from pointless, the scene with the wake angels is my favorite. Titan A.E. is a wonderful PG-rated sci-fi film that can and should appeal to the whole family. 4.5 stars. (10-24-09)

Nils Lofgren & Friends: Live Acoustic

Music. Nils Lofgren is an exceptional solo talent -- his cascading harmonics can make his six-string guitar sound half the time like a 12-string guitar, and that's just the acoustic set. And then he starts jamming -- and then he plugs in! Nils is more than a minstrel and triple the troubadour that the uninitiated might expect, even knowing his 25-year history with Bruce Springsteen's E Street Band. One bluesy jam was the best I've heard this side of Saturday Night in San Francisco with John McLaughlin, Al Di Meola, and Paco de Lucia. This concert at the Birchmere in Alexandria, Va., is good at its lowest moments and exceptionally great at its highest. Instant Watch access does not include the behind-the-scenes features but the concert presentation runs 97 minutes. 4 stars. (10-21-09)

Dana Gould: Let Me Put My Thoughts In You

Dana Gould's material is pretty funny and he presents it like a champ. His timing and facial expressions are spot-on (though his body language could use some work). I really enjoyed the first half of his act as he channeled Lewis Black over parenting, marital relationships, and more. His hypothetical stories go over the top in a hilarious way though I was less enamoured of his final fantasy about going way-gay just to spite his father (esp. if you think about the pantomime of what he was doing with his fingers). Lastly, I don't mind vulgarity with a point or an edge but the three capsule lessons he hoped everyone would take away from his show were pointless and unnecessarily crude (and unrepeatable here). 3.5 stars. (10-20-09)

Head Case in 12 Minutes

This preseason bonus feature to Head Case: Season 2 may be a compilation of scenes from Season 1 but it's a rapid-fire and hilarious compilation. The selection and editing process tells a riveting tale of the dysfunction and wackiness that is the personal and professional like of Elizabeth Goode, therapist to the stars. Don't miss it esp. at just 12 min in length. 5 stars. (10-17-09)

Nick Swardson: Seriously, Who Farted?

I didn't find Nick Swardson to be that funny. With a title like "Seriously, Who Farted?" I had my doubts going in, and he wasn't as thoroughly scatological as I was led to expect from the promos, but he was seriously gross -- all right, if I must give one example for you believe me, it has to do with getting sensorily intimate with baby poop -- not funny to me (though obviously, your mileage may vary, particularly if you re-e-ally like baby poop). In short, he wasn't constantly disgusting but he dug deep a number of times. You may like him -- see him if you think you might -- I'm just sayin'. 2.5 stars. (10-14-09 updated 10-16-09 and 10-31-09)

Assassination of a High School President

I watched Assassination of a High School President the week it came out on DVD. I really liked it and then some. It's a slightly quirky stream-of-consciousness first-person-narrative student-journalist detective story. I prefer to think of it as Kiss Kiss Bang Bang (not Chinatown) meets Brick. While some of the St. Donovan's students' actions are reprehensible -- I'm not talking about Mean Girls but drinking and horndogging -- the movie portrays high-school malefactions quite realistically. Our clean-nosed protagonist and narrator Bobby Funke (Reece Thompson) wants to write a phenomenal investigative article for the school paper so he can wow his way into journalism school. He is trying to be more than lackluster about fulfilling his newbie assignment, a puff-piece profile of the school's conceited star jock (Patrick Taylor). Then the SAT tests are stolen and discovered in the jock's locker -- a muckraker's bonanza! Did he do it -- or was he framed? Did he have accomplices -- or enemies? His girlfriend (Mischa Barton), a valedictorian with bedroom eyes, migrates to Bobby and wryly whispers, "I can tell I'm going to corrupt you." The story's convolutions unwind to a satisfying conclusion. Bruce Willis wins kudos as the edgy principal who is a former Gulf War vet and Josh Pais has a droll role as the priest who teaches Spanish, speaking like Senor Wences on Valium. It's just possible many people have high-school memories very much like what these two authority figures portray on screen. 4.5 stars. (10-14-09)

Repo! The Genetic Opera

Repo! The Genetic Opera is a groundbreaking, disturbing, and memorably impressive rock opera. I would describe it as Sin City, Brazil, Blade Runner, and Rocky Horror Picture Show meet Moulin Rouge -- with ex-splut-ational touches reminiscent of 300 and Sweeney Todd. Repo! is dark. It's often bloody. It's literally gristle-y and visceral. The premise portends a future society where designer cosmetic surgery has not only gotten under our skin but gone amok: Designer organ transplants have become more than fashionable, they are de rigeur -- esp. after customers default on even one payment and the repo man (who loves his work) pulls out a flivver before he cuts out their liver (and any number of other patented organs) while they are still alive and screaming. So, it's not your father's rock opera but it is an excellent rock opera with amazing costumes, staging, scripting, music, and so on. I was warned that getting through the first 20 minutes is the biggest challenge and I found that to be true. Unless you subsist solely on an entertainment diet of horror or slasher movies, Repo! will probably be hard to stomach until you get settled into the story line (and it settles down too). Besides, the disemboweling is theatrically staged and occasionally not depicted directly. What impresses me about Repo! is the sheer creativity behind the script, the staging, and the music. I actually want to make myself sit through it again because there's so much more to catch and savor in a second (and a third) viewing. In fact, I probably will purchase Repo! because of its science-fiction-based extrapolation of contemporary issues such as designer genes, the global financial crisis, and corporate greed. A gristly, great 5 stars. (10-9-09 posted 10-13-09)

Sunshine Cleaning

Sunshine Cleaning did not completely win me over. Amy Adams is a confused and struggling single mom whose career and personal life is a mess (quite literally). She's fallen so low in her dead-end job as a maid and long-time affair with her (married) high-school sweetheart that she's even seeking a real estate license and mouthing private platitudes such as "I am strong, I am powerful, I am a winner!" Her self-sabotaging sister's life is in even worse shape so the two women grasp at a straw and start a business doing crime-scene cleanup. They quickly learn they can't lowball in such a profession, which requires hazmat suits and biohazard handling certification. (The scenes before they learn these lessons are not anything that will cause you to salivate for more popcorn.) I have quibbles: the acting in klutzy scenes was as forced as in any Diane Keaton movie, several scenes involved pot smoking, a lesbian is encouraged under false pretenses, the young son is brought to suicide and crime-scene cleanups and told to stay in the van or on the front steps (presumably for hours). Eventually we learn the source of the two sisters' lifelong emotional trauma but I could sympathize just barely. Sunshine Cleaning is so episodic and disjointed that it's hard to get a bead on a given character. (In one scene, the industrial supply rep--a taciturn amputee--has been invited to the son's birthday party. Here is the conversation: "So you build model airplanes?" "Yes." "Is there much money in that?" "No." Then it's on to the next bewildering scene.) Alan Arkin as the girls' long-struggling father has a warm and empathetic role. To tell the truth, I had been hoping for a darker or more comic treatment--say, Amy Adams as a contract cleaner for the mob. Instead, no one really knows what they're doing as they bumble along, hoping against hope to find happiness. It takes watching the entire movie but Amy's character just might. 3.5 stars. (10-13-09)

Atonement

Atonement is a lush, beautiful, and emotionally intense period romance set in 1935 through World War II to the present day. Think of it as Sense and Sensibility meets The English Patient. As is common knowledge, the film examines a young girl's (Saoirse Ronan) misperception of a sexual advance on her sister and her ensuing testimony about a sexual crime against her cousin. The lives of her sister and her future husband are intrinsically bound up in the perpetually resonating tragedy that then follows all three to their graves. It's rated R mainly for a sexual scene where James McAvoy remains fully clothed in tux and tails while he pinions Keira Knightly against a library bookcase. (How his pants stay up while making her writhe remains a mystery of moviemaking.) Nevertheless, Atonement is not about sex but longing and sorrow, separation and repentance. I waited a year and a half to watch this emotionally resonant movie; don't make the same mistake. 5 stars. (10-13-09)

VeggieTales: King George and the Ducky

King George and the Ducky is a disarmingly cute and harmless half-hour morsel of VeggieTales fun. I really liked its whimsy and innocent charm and I think your tykes will love it too. (Disclaimer: I say this only 3.5 years after I was dragged into watching VeggieTales for the first time so you can trust me when I say it's sweeter and less zany than most.) Sure, it has the same lumpen, cloying, schmaltzy polka intro -- "VeggieTales" (repeat many times to the accompaniment of accordion and tuba) -- but the story is a real chuckle-inducer. First, two squashes masquerade as Bob the Tomato and Larry the Cucumber in hopes of hosting a show. They finally are given a chance but it doesn't work out so the program proceeds normally. The story of King George is about sharing -- a frequent if understated VeggieTales theme where, as with all good art, the moral is subordinate to the entertainment. You really have to respect the production values and creativity behind VeggieTales, from each character voice to how vegetables without limbs are drawn holding swords and playing musical instruments. VeggieTales has a captivating magic as a series and the King George disc is an excellent example. (In retrospect, introducing me to VeggieTales through the Lord of the Beans, Sheerluck Holmes, and Autotainment discs was not the best way to win me over.) Interestingly, I acquired this title for viewing from a competing service since it has been a Save title here for several years, however, it is now one of a half-dozen such VeggieTales titles that this service has stocked within 2-6 weeks after I've said so in a review. Enjoy! 4.5 stars. (10-13-09 updated 11-18-09)

Robots

Robots is a real delight, with a mishmash of animation styles (from Art Deco to '50s Aero) and a Rube Goldberg-themed city (not to mention its transportation system). Rodney Copperbottom (Ewan Macgregor) is a young small-town robot inventor who wants to be mentored under the avuncular Bigweld (Mel Brooks), who has meanwhile been deposed by the corporate villain Ratchet (Greg Kinnear), who has nefarious plans for the free citizens of Robot City. Rodney's right hand 'bot is Fender (Robin Williams in a classic Robin Williams performance). Rodney also attracts the interest and aid of Cappy (Halle Berry), shucks-y'all Piper (Amanda Bynes), and his gang of friends. Aside from the delightful characters, every scene in Robots is packed with humorous details about life as robots would live it -- for example, every shop name, customer, and activity as well as sidewalk passer-by as a scene sweeps manically down the street. (Watch Robots again and again or in slow-mo to catch all the details and chuckle if you like.) I chuckled at the scenes where Rodney's mom (Diane Wiest) and dad (Stanley Tucci) are "making a baby" (from a do-it-yourself assembly kit of nuts and bolts). The message of the story is to never give up on your dream -- and for Rodney and his father, their dreams are realized after a fair measure of sacrifice to a great hullabaloo. (It's a fine feel-good ending.) Enjoy! 5 stars. (10-13-09)

VeggieTales Classics: God Wants Me to Forgive Them!?!

I viewed a 10-year anniversary edition of this disc, the second title produced in the VeggieTales lineup. Besides the usual kid-oriented games and karaoke, the Special Features includes a nicely done ensemble retrospective from the producers on how Big Idea produced its first colorful computer-animated title (one year before Toy Story hit the theaters) and then how the team answered the question "OK, what do we do next?" (The Forgive-O-Matic segment was slapped together from a Bible college script and the rest grew organically around that seed.) God Wants Me to Forgive Them is a solid VeggieTales production that emphasizes the Christian value of forgiveness (not just once, not seven times, but in Christ's words "70 times seven"). It is more didactic than later story-oriented titles, probably spending 10% of the script citing scriptural and divine injunctions ("the Bible says" and "God wants us") to forgive. It includes the traditional VeggieTales touchstones: the introduction, Silly Songs, QWERTY and a Bible verse, and so on. Unless they shy away from mild preachiness, VeggieTales-loving families ought to love this title. Interestingly, I acquired this title for viewing from a competing service since it has been a Save title here for several years, however, it is now one of a half-dozen such VeggieTales titles that this service has stocked within 2-6 weeks after I've said so in a review. Enjoy! 3 stars. (10-13-09 updated 11-18-09)

Doggie Tails

First of all, I do not want to hear anyone complain that Doggie Tails is a waste of time who has ever indulged in time-wasting YouTube videos of piano-playing cats, water-skiing squirrels, and the like. (You know who you are.) Second, kvetching is disqualified from those who say they could make a better movie themselves. (Those who can, do; those who can't, kvetch.) Third, if you're a grownup or anyone older than 8 with two functioning brain cells, you can't expect Doggie Tails to be Gone with the Wind or even Benji. It was written not for you but for 2- to 5-year-olds (and even younger) -- the Teletubbies to Barney set, not discerning adults. It's true that Doggie Tails is not as professionally produced as Teletubbies or Barney -- but it is above the grade (albeit slightly) of a homemade or YouTube video. And, like Barney, it may have a noxious effect on adults and anyone older than 5-8 because its target demographic -- clearly posted and an apparently successful one, from reading all the reviews -- is ages 2-5. Having said all that, I agree that the guy who does Lucky the shih-tzu's voice sounds like South Park's Mr. Hanky. The voice of the male rat terrier starts yukking it up like Barney. Yes, there is plenty to critique from an adult point of view -- but to tots, it's all about the dogs. There is a definite story, though it's kid-sized: While his family goes on a trip, Lucky gets to meet and talk with all the other dogs about feeling insecure during this first stay at a dog hotel. Video snippets of the other dogs' visions of "dog paradise" such as a dog park or playground where dogs frolic and doggie treats appear "like magic" to be snarfed up should keep tykes mesmerized. Different breeds of dogs are explained at the end. At 30 minutes, you should stream not rent Doggie Tails. 2.5 stars. (10-13-09)

Postcards from Buster: The Case of the Coin Purloined: Fort Leonard Wood, Missouri

In this PBS episode of Postcards from Buster (a spinoff from Marc Brown's 11-season hit series Arthur), Buster visits Fort Leonard Wood, finds out about some of what goes on at a military base, and makes friends with three girls whose dads are stationed in Iraq as they help him solve a mystery. Handheld cam shots and lots of cuts give this mixed animation-and-live- action-documentary show a rough-and-ready look-and-feel as Buster and the girls interact with fort commander General Castro and other personnel in addition to the girls' mothers and each other. The action is fairly fast-paced as the mystery progresses and kids aged 5-10 ought to be able to identify with and stay interested in this story quite easily. The Instant Watch selection runs 28 min and does not contain the Buster's Baseball Merengue episode. 3.5 stars. (10-1-09)

Kakurenbo: Hide & Seek

Kakurenbo strikes me as a nearly perfect Japanese anime short film. Every scene, angle, cut, motion, and sound throughout the film seems to be tightly measured, charmingly stylized, and originally presented. While the dark atmospherics and one plot element are reminiscent of Spirited Away and The Matrix, the urban setting with its demonic pursuers and ultimate revelations are genuinely original and surprising. The American voice talent is absolutely fine for anime (which always has a snivelly-voiced bully, an average boy, a giggling girl, and so on) and esp. for this production. The soundtrack has the measured stridency of a sacrificial ceremony and the demons are quite fresh and chilling. This is a perfect movie to watch with all the lights out, on Halloween night, alone -- or with someone you can squeeze or hug in suspense! It's 26 minutes long with the last 10 percent of that given to credits. 5 stars. (10-1-09)

Ken Burns: The National Parks: America's Best Idea

Ken Burns' The National Parks: America's Best Idea is a national treasure in itself. The scenery is of course breathtaking but the photography is stunningly done and I love the traditional folk and gospel music that plays throughout. (I absolutely had to tape the program and I will own the soundtrack.) This is a gorgeous, intelligent, highly informative, engagingly told, fascinating documentary about "America's best idea," that is, preserving our wilderness -- unique in all the world for its pristine majesty -- for all generations to enjoy. The origins of the national park system were humble and struggled for 50 years to establish a firm sanctuary against powerful interests that were literally raping the land and ecosystem as well as fighting to unravel the legislation inspired by great conservationists such as George Muir and Teddy Roosevelt. This is also a deeply spiritual and patriotic presentation in the sense that humanity can see the Creator most clearly through creation and our love of country is rooted in our love of the land. Every American should see this documentary. If you love nature, you will be motivated to see more of our great nation. If you have forgotten what it's like (or neglected thus far) to experience the wonders that in large part define the heart and spirit of America as a land of plenty and of opportunity, then here's hoping you leave the city and high-tech behind for a time to commune with nature. It will clear your mind and do wonders for your soul. 5 stars. (9-29-09)

Cast Away

Cast Away is an epic masterpiece about the solitude of being stranded on a tropical island and the emotional fortitude that is required to survive alone for the indefinite future. Tom Hanks masterfully carries the movie as the sole person on screen for 90% of its running length. Our story begins as Tom's character, a FedEx field manager who lives by the stopwatch, unwittingly shares his final words with his wife (Helen Hunt) before catching a company plane for Russia. The incident that precipitously brings the plane down is monumentally realistic. (Only the opening scenes of the pilot episode of Lost come close.) The rest of the movie is quite a Zen thing -- so stark and candid about one castaway's disappointments and determination that a description wouldn't do it justice. The final 10% of the movie is crisp as an apple with nostalgia and melancholy and Helen Hunt's performance is gripping. I love the ending's few loose threads. If you want to be moved to the core of your soul, see this movie! 5 stars. (9-24-09)

No Country for Old Men

No Country for Old Men is an essay of sorts on the barren landscape of the Arizona desert, which is a metaphor for the deepening cruelty of the modern-day criminal. Tommy Lee Jones narrates about the proud long line of lawmen from which he has descended and now serves -- but the present-day criminal is not his pappy's thief or thug. There was a time, he says, when lawmen didn't carry guns to do their job; now they encounter guns all the time -- and automatic weapons to boot. Border-crossing drug runners are often armed to the teeth -- as evidenced in one deadly tableau found just over an isolated ridge. A local never-say-die hunter (Josh Brolin) finds the crime scene first and scouts out the terrain; he tracks down the body of the money man and brings a suitcase crammed with drug money back to his trailer home. That night, the drug lords find the site of their dead mules. Unfortunately for them, however, and the trail of bodies that will follow in his wake, a highly proficient hitman named Anton Chigurh has been dispatched to "make things right" following the failed drug transport. Chigurh is relentless in his pursuit of the hunter and any and all acquaintances, creative in his lethality, and vicious in his will to utterly destroy anyone who has so much as seen him. That's all I will say about that. As the Oscars' Best Picture of the Year, yes, you have to see this movie to believe it. (Disney addicts, keep walking -- nothing to see here.) 5 stars. (9-24-09)

Ancient Mysteries: The Sacred Waters of Lourdes

First of all, don't believe the pouting naysayers who paint this Ancient Mysteries installment as an across-the-board smackdown of the Lourdes apparitions. Leonard Nimoy has narrated a broad wealth of fair and balanced documentaries about subjects (such as UFOs) that rightly merit skepticism. (What true believers fail to recognize is that readily ascribing to God any unexplainable or supernatural phenomenon -- whatever it may be -- hardly gives him credit or glory esp. if a modicum of common sense or inquiry should uncover a natural explanation. Being too ready to give God the credit for anything -- say, "the image of Christ" in a potato -- demeans and insults everything that's involved in the words "my utmost for his highest" and just smacks of simplistic pietism.) If anything, Nimoy's script seems lazy in its overuse of the documentarian's dualistic trope of frequent querulous phrasings such as "holy vision or fevered hallucination...?" On the whole, however, the script leaves the eternally dualistic question of faith versus science open to the viewer. It's true that two featured "experts" are authors who simply don't believe in the supernatural but at least one other "talking head" is the chaplain at Lourdes who is clearly sympathetic (just not pushy) about the faith experience that millions have experienced at Lourdes. This A&E special makes an excellent introduction to the origins and the history of the Lourdes apparitions and points out that an independent medical commission has investigated and substantiated some 2,000 healings (while the Vatican, with its extremely conservative process, has verified 64). It also cites sources for all documents quoted. A few minutes are spent discussing the Marian apparitions at Fatima and Medjugorje but this is a very good introduction to the subject esp. for those with little or no prior knowledge. 3.5 stars. (9-24-09)

The Crocodile Hunter: Collision Course

First off, I promise not to say "crikey" (drat!). Steve Irwin's only Crocodile Hunter movie is a hoot for fans, families, and esp. kids. Steve's infectious spirit and accent comes through from start to finish esp. when he's chasing animals or punishing bad guys with "a good old Steve-o education" about animal conservation. Our story begins with some semblance of a plot as a spy satellite's degrading orbit causes a sensitive piece of technology to fall potentially into the hands of some bad guys -- but first down the gullet of an Australian crocodile. As the U.S. government's good guys race the bad guys to capture the high-tech prize, Steve preserves his bumpkin persona by mistaking each posse for croc poachers out to complicate his conservation work with wife and partner Terri. The film's most comical moments come when a park ranger (David Wenham, aka Faramir in The Lord of the Rings) visits a cranky local (Magda Szubanski, aka Esme Hoggett in Babe) who keeps gumming up matters with her dogs and shotgun. (Her favorite phrase is "Neek off!") The making-of featurette shows how the animal wranglers got the dogs to lick her face (hint: peanut butter) and the croc to nearly chomp Steve (hint: too close for comfort). Families and esp. kids who love Steve Irwin will simply eat up this popcorn muncher, laugh at Steve's hijinks and ready-for-anything spirit, and (of course) sing the infectious "Crocodile Rock" sendup tune at the end. 3.5 stars. (9-24-09)

City of Angels

With its spiritual underpinnings and ethereal soundtrack (esp. Sarah Mclachlan's hauntingly expressive In the Arms of the Angels), City of Angels is an atmospheric tour-de-force that weds heaven to earth, spirit to flesh, and bliss to sorrow. Nicolas Cage is Seth, a sojourning angel who accompanies mortals at their passing; when they can see him, they are literally at death's door. Seth and other angels walk amidst human society, wearing stylish longcoats in place of robes, and communally greet each day's sunrise in a beachfront assembly that's invisible to us. Seth is doe eyes and innocence but all the more curious about human suffering after he witnesses Meg Ryan as an emergency-room doctor who is fighting furiously for her patient's life. Without knowing what it is about yet drawn like a moth to a candlestick, Seth falls in love with her and wonders what it would be like, as a human, to hold her, to love her, and to be loved back. He gets some advice from Dennis Franz as a wheezing cardiac patient, and for better or ill he acts on it. City of Angels bears witness to celestial and human bliss as well as to earthly loss, sorrow, and healing. It is a monumental testimony to the richness and beauty of earthly life and our hope of a heavenly home. It portrays "the better angels of our nature" and thankfully reminds our postmodern society that there is more to life than consumerism and empty pleasure -- there is courage and sacrifice, uttermost love and ineffable joy. 5 stars. (9-24-09)

Stella: Live In Boston

I've been underwhelmed by Stella in the past but watching this whole hour of their stuff only confirms they are seriously not-so-funny. Their material is just flat -- I found a few chuckles but that's it. Their timing often drags. Their posing, mugging, and hamming it up is deliberately fake and obnoxiously so. Their lines are lighter on f-bombs than many comedians but they will f-dis each other, an audience member, or a state of origin. Their meandering schtick in this performance (lasting one hour three minutes) jumped from holding a lame "birthday party" for one Stella member to trying to sing Christmas songs to demonstrating how they have sex (including juicy fart noises and snogging one member's love interest on stage behind his back). These guys favor nonsense and non sequiturs. The funniest line was when they praised Shakespeare as "the greatest American writer ev-er!" and reminisced about his writing Desperate Housewives. (Oops, no, "that was actually Marlowe." Ha ha.) Folks, Stella's three guys are likable enough, they just lack material that's funny and goes beyond frat-boy humor. It's not so much that I don't like them, I just don't care for them. Your mileage may vary. 2.5 stars. (9-21-09 updated 9-24-09)

Kiki's Delivery Service

Hayao Miyazaki is a wonder. His movie Spirited Away is a magical journey with brilliantly animated touchstones to the real world (even down to the way the little girl angles her feet into her shoes). Kiki's Delivery Service evinces much of that same magic in animation and storytelling. Our story begins as young Kiki (voiced by Kirsten Dunst) prepares to leave home and find her own fortune in another town. (Phil Hartman voices her black cat.) As a young witch-in-training in a world where magic and healing are matter-of-fact (though becoming rare in bigger cities), Kiki still has to learn to fly her broom better than clumsily and to discover her unique gift and destiny. She faces many choices and consequences as she seeks to find or establish her new life in her chosen city and for a while she seems to have lost her way. Ultimately, Kiki's story is about learning to trust in oneself -- to make whatever contribution one can and then to believe that it will be a blessing (as it were). Here is a fascinatingly animated story told as engagingly as only Miyazaki can tell it. My youngest son and I so far have become big fans of Spirited Away, Kiki's Delivery Service, and now Ponyo. We plan to own them all as we work our way through Miyazaki's corpus. Enjoy! 5 stars. (9-22-09)

Ponyo

Hayao Miyazaki's latest film, Ponyo, is an animated maritime fantasy centered on the curiosity and courage of a five-year-old boy named Sosuke (pronounced Sahs-kay, voiced by Frankie Jonas). He lives atop a coastal slope in Japan from where his mother drives like a banshee down the mountain road and across the ship channel to take him to school next to the hospice where she works. His father is a ship's officer who takes an extra shift but flashes semaphores with his son as his ship passes by. ("Is mom mad at me?" is a humorous three-way exchange.) They are a close-knit and resourceful family and, no doubt as a result, Sosuke is older and wiser than his years. While playing on the shore, Sosuke meets the tiny sea creature Ponyo (voiced by Noah Cyrus), who happens to taste a drop of human blood from a cut in the boy's hand, which causes her to begin a magical transformation that has been long feared by her father (voice of Liam Neeson) but is ultimately met calmly by her mother (voice of Cate Blanchett). Their true natures are gradually revealed as the story progresses and I won't give any of their secrets away. Ponyo's destiny is at stake, however, as well as the whole world's. Calamity falls on the coastal lands as Ponyo's transformed nature reveals itself with salvific and even redemptive overtones. The animation in Ponyo reaches a joyous climax and the story is positively uplifting. My youngest son wants us to own the disc when it comes out and so do I. 5 stars. (9-22-09)

American Women

I saw American Women a Houston arthouse theater under its original name, The Closer You Get. It's a witty, sweet, low-key movie that I still remember fondly and would gladly see again. It's not exactly comparable to any movie pairing I can describe but it has elements of Waking Ned Divine, Chocolat, The Full Monty, and The Shipping News. Our story begins in a coastal Irish town so isolated that boaters typically have to carry their punt across a half-mile of mud flats to put out in the sea. The young men of the town (shall we call them punters?) decide their available selections for future wives are somewhat lacking, so they secretly send a personals ad to Miami, inviting beautiful models to attend the town's fall harvest festival and then be married in a mass ceremony. After this harebrained scheme is discovered by the postmistress, the towns' maidens band together to exact their secret revenge. I love the subtle interactions and understated Irish humor in this little-known gem. You'll doubtless enjoy how the young men and women of the town come to a meeting of the minds. Don't miss the closing minute of the show though! 3.5 stars. (9-22-09)

Punch-Drunk Love

I saw Punch Drunk Love in the theater and really liked it from nearly the opening scene. I even bought this movie on its release (and that's saying a lot for an Adam Sandler movie). Adam Sandler plays Barry, an emotionally barren or befuddled young man who grew up with a gang of bossy sisters that borders on a My Big Fat Greek Wedding situation. (I didn't hear till recently that Adam's character is supposed to have Asperger's Syndrome.) Barry has a warehouse office where he doesn't seem to do much beyond try to cope with his inner life. He takes a walk out toward the street just as a truck rambles by and -- BAM! -- something portentious falls at Barry's feet that becomes a touchstone for him. He falls victim to an identity-theft ring just before he finds a mousy girlfriend (Emily Watson) and he finds the emotional wherewithal to stand up for the life and the love that he intends to keep. Punch Drunk Love is one-half punch-drunk and one-half nerdy romance -- it's low-key and quirky so not for everyone. I enjoyed it though. It came out about the same time as About Schmidt and Lost in Translation and it shares a certain soporific sense with those movies -- while simultaneously being emotionally vivid beneath the glassy surface. 4 stars. (9-22-09)

I was eager to see how Next carried off the special effects and basic premise of a man who is able to see 2 minutes into the future. I was not dissatisfied--at least, not as bleakly as so many others seem to have been. First, I love Nicolas Cage in City of Angels (for his doe-eyed empathy), Bringing Out the Dead (for his quirky twitchiness), and even Ghost Rider (for his twitchy quirkiness). In Next, he's playing quirky--what do you care if he sports a worse haircut than Anton Chigurh? Second, Julianne Moore was as sawed-off and ballsy as I expected a female FBI agent to be (and I have known one). What part of kickdown-and-cap do you not understand about her scene in the firing range? Third, Jessica Biel is not required to emote on an Oscar-worthy scale but she's fine as the dewy-skinned love interest. Nick's character has had his ability since birth, so it needn't be explained. I'm also fine with figuring out for myself, instead of requiring it to be explained for me, why Jessica's character helps him to see further into the future. (Anyone read Orson Scott Card's Xenocide?) So the special effects are not perfect--whose is? They carry the story for me just fine. More than being able to see two minutes into the future, however, Nick's character is actually required to multitask to the nines because every two-minute span has 120 seconds to track against real time--in his head since constantly checking one's watch while doing a tuck-and-roll isn't practical--and that's not even counting when he begins tracking several and as many as two dozen branching timelines simultaneously. I would watch Next again. 4 stars. (9-21-09)

The Gold Rush

Gold Rush is the first Charlie Chaplin movie I've seen straight through. While a silent movie is by definition a "dated" movie (never in itself a bad thing, unless paired with irrelevance), I think other family viewers will get some good chuckles out of the Little Tramp here, if my experience is any indication. Our story opens melodramatically (esp. with the 1942 edition's addition of music and gilded narration: "the wind was rroarring" and so on) as rugged would-be gold miners struggle to climb the White Pass into the Klondike; meanwhile, the Little Tramp toddles along a snowy mountain precipice in his suit and tie. He chances upon a gruff goon and a paranoid brute before all three are forced to weather a storm in an isolated cabin together. Mild hijinks ensue; our favorite is Chaplin's running-against-the-wind schtick. Eventually, Chaplin makes it to a frontier town and catches the eye of Georgia, a proud and virtuous dancehall girl. Does he eventually earn his fortune and win her heart? You'll know after watching this bounty on the main filled with physical antics. 3.5 stars. (5-11-09 posted 9-12-09)

G-Force

It's a goofy family-oriented spy thriller with talking rodents as secret agents, but G-Force had me laughing harder than I can remember in quite a while. G-Force is Cats and Dogs with genetically modified guinea pigs: Sam Rockwell is team leader Darwin ("Yippee-ki-yay, coffeemaker!"), Tracy Morgan is loudmouth Blaster ("Get your face out of my butt!"), Jon Favreau is everyschlub Hurley, and a mellifluous Penelope Cruz is exotic Juarez, with Nicholas Cage as Speckles the tech-savvy mole and Steve Buscemi as Bucky, a wacky half-ferret hamster who wants a pet-store cage all to himself. Zach Galifianakis is the scruffy yet geeky project head and Kelli Garner is his wide-eyed blonde lab assistant. In a word, the guinea pigs have all the grappling hooks, rappeling line, gyroscopic jet cars and so on that any supercool secret agents could need. The storyline involves Bill Nighy as Leonard Saber, a billionaire tycoon who plans to take over the world through high-tech-networked appliances. The story arc, dialog, and critters' antics were just zany enough to keep me belly-laughing throughout. I love Cats and Dogs and I love G-Force! 5 stars. (9-1-09 posted 9-12-09)

Terrorists

Terrorists is a consistently droll, even quietly hilarious spoof on our present-day culture of terror alerts, racial profiling, blind "patriotism," hysteria, and wild goose chases. I love this movie! It's a low-budget independent film but that's not a problem since we're not talking Eagle Eye or Enemy of the State here. The acting is understated, sure, but it's fine. The soundtrack relies on whimsical and even tongue-in-cheek jazz. (Don't listen to the naysayer who said "an 8-year-old with a Casio" keyboard could have done better -- or the terrorists win.) Jason Mantzoukas is a vaguely Middle-Eastern (and possibly Ivy League) graduate student come to the midwestern small town of Junction to authenticate and study an obscure kitsch artist's lost work -- and the town's eminent landmark statue, "the world's largest stool." (Double entendres abound.) Also from the Upright Citizens Brigade comedy troupe, Ian Roberts plays Chief of Police Curtis Gorfurter, a frustrated fortysomething who jumps at the chance to extend a tenuous conspiracy theory into a skein of counterterrorism alerts (purple, salmon, brick, and tangerine), respect and awe (and doughnuts), and a dogged manhunt. ("It is vital to remain calm during this time of extreme panic.") Bobby Tisdale is the mayor's slacker son who is cheated from winning a music competition with a Lee Greenwoodesque patriotic song before turning to the dark side. ("Read the Freedom Act. You have no rights!") Jessica St. Claire is superb as the Stockholm Syndrome "hostage" during this utter hoot of a wild goose chase. Call this one If You Give A Cop A Doughnut... I like it as much as Get Smart! 4.5 stars. (9-12-09)

Stellaluna

I won't compare the DVD to the book or CD-ROM since (as is always the case) a book is not a movie. (Gee, I really love this apple -- but it sure isn't as juicy as an orange!) In any event, I got it from the public library since it's currently a Save title. The original soundtrack on Stellaluna is excellent esp. the Ladysmith Black Mambazo-like transitions and the two original songs, "Upside Down" and the calypso send-up "Best in You." The animation is very good and the voice talent is consistently impressive, esp. Stellaluna, her mother, and the bird family. A jumping spider with superhero delusions named Horatio adds some cartoonish schmaltz (for example, with bee-yoing sound effects). For the most part though Stellaluna is a find-your-gifts growing-up story that teaches kids learning to trust in who they are is the first step to becoming the best they can be. The only danger comes from a swooping owl but the threat level is so low I think most 4-year-olds will be all right. The singalong version of the story runs 41 minutes. Special features include a how-to-draw-Stellaluna lesson and I learned a number of things I didn't know about bats from a nicely done presentation that runs 14 minutes by Kim Williams, a bat expert based in Michigan who gets air time on educational TV. I'd give the production 4 stars but it's as cutesy as The Land Before Time, so I'm holding it to 3.5 stars. (9-12-09)

The Spirit of Christmas

The Spirit of Christmas is a fairly well-done (for its day) marionette production from 1950 -- so it predates everything in the last decade by a good 50 years. That means nothing to nostalgics, of course, and I believe this show was traditional viewing on the east coast through the '50s and '60s. I liked this 27-minute show just fine -- the marionettes are artfully handled for the most part. (St. Nick's sleigh jigs and jogs quite a bit in the first half's presentation of Clement Moore's 'Twas the Night Before Christmas but the shepherds and three wise men seem especially expressive in the second half's presentation of the Nativity of Christ. Their faces and costumes are impressive, actually!) There's no Tim Allen in a fat suit, of course, or Dick Van Dyke as a stopmotion postman -- those shows are more modern and better produced -- but what's wrong with doing it (and watching it) old school? I'm not saying anyone or their kids will prefer this program to a given Rankin Bass Christmas special -- but as a slightly more rustic production than hard-to-find Nestor the Long-Eared Donkey, this one can be a pleasant viewing experience. It's peaceful, respectful, and reverent -- even the "advertising" consists only of a logo and captions that read "Your telephone company" with a corporate spokesman introducing and closing the show against a backdrop of telephone operators (with black headsets and patch panels such as accompanied Lily Tomlin's Ernestine with her "one ringy-dingy" 20 years later). Conservative families will love this shot from the '50s as will anyone who wants their kids to see what TV was like in its infancy. And I, for one, believe you can't argue with tradition. Keep it alive! IW. 3 stars. (9-11-09)

Zach Galifianakis: Live at the Purple Onion

In this, his Live at the Purple Onion performance on DVD, Zach Galifianakis plays the droll schlub whose comic genius is only matched (or in most cases exceeded) by his ineptitude. It's all part of his schtick -- from the two dozen "characters" (a word he mispronounces) he's "been working on for months" that go no deeper than one fun-sized punch line to his standup act's long pregnant pauses for self-recrimination ("I suck at this!") or a pull from another pint glass of beer. Often spouting his riffs while playing piano in a rambling but effective fashion, Zach succeeds in establishing a personal and communal intimacy with his audience because he is candid, self-aware, and relaxed. The laid-back, slackerish structure and production values of the DVD contribute to this sense of familiarity with and sympathy for the artiste -- and Zach's portrayal of his effete "twin brother" Seth is masterful. I bordered on belly chuckles during most of this hour-long performance and I felt entertained by the end -- however, the low-key, nonchalant pacing holds the humor to a low roar at 3.5 stars. (9-11-09)

Bionicle 3: Web of Shadows

My youngest son is a huge Lego fan, including Bionicle, so naturally we had to see this third movie in the Bionicle series. To be honest, there is no other way I would have seen it; even though I've always been intrigued by the Bionicle action figures, I am in no way so into them that I'd watch an entire movie -- not to mention a second, a third, and *sigh* God help me, in two weeks, a fourth -- with some semblance of a story line about their exploits against evil. (The only thing more heartwarming than watching a Bionicle movie is to do so while accompanied by the constant chatter of character explication and play-by-play from a preteen fan -- sounds like: "Toa Metro Nui Matoran Keetongu Visorak Rahaka Makuta Turaga yada yada..." Actually, the Lego folks have been lazy about building their imaginary world by trademarking wholesale words from the Maori, Polynesian, and Melanesian languages -- and even Latin -- until a Maori lawsuit shooed them off New Zealand's cultural legacy at least.) The animation in this and other Bionicle movies specializes in swirly, murky, and vague imagery -- not the best. Care seems to be taken with the Toa warriors themselves though; I've always been intrigued by how their faces and postures are made to show a certain level of emotion. The storyline is always (then, now, and ever) about "unity, duty, destiny" and a "prophecy" that "predestines" an individual's service, sacrifice, and victory, often with the words "You have no choice." Often the Toas' appearance (esp. their armament) transforms against their will, leading them to question their essence, purpose, and mission (which they are told to trust). Lego and animation fans will feel compelled to see this movie -- as may their family members though for different reasons. Cheers! 2.5 stars. (8-30-09)

My Super Ex-Girlfriend

I wanted to see My Super Ex-Girlfriend to learn how they carried off the concept of a superhero girlfriend--turning the gender tables so Lois Lane is a guy and Superman is a woman (in this case, a *hot* one)--as well as an ex-girlfriend who throws a hissyfit (and a live shark) at her jilting ex. G-Girl (Uma Thurman) has the best line of the movie: "You broke my heart. Now I'm going to break your EVERYTHING!" This movie is a fun riff off every Superman and superhero movie and cartoon (even Underdog) and the special effects are fine (although the blurry-fast-motion effect was sometimes overdone). We even learn (as in TV's Smallville) how G-Girl aka Jenny Johnson went to school with her nemesis, Prof. Bedlam aka Barry (Eddie Izzard), and how he became her sworn enemy (like a pouting adolescent boy even after becoming a criminal mastermind). We see how fast she falls in love with Matt (Luke Wilson), how she breaks his bed, how she discovers what a lout he is thanks to Hannah (Anna Faris), and the four-way mayhem that follows. Incidentally, it's nice when talking solves problems more than fighting. Here is a fun romp through the superhero trope from an angle not done before--unless Wonder Woman has ever gone kinda psycho. To the movie's detractors: How many "worst ever" movies have you seen anyway? Of course it is ridiculous; it is a spoof. Of course it is not a 5-star Oscar nominee; it is a 3-star popcorn muncher. Of course it is not a children's film; it's rated PG-13. (If you think this is R-rated material, you don't understand R. Nothing is shown other than a man and woman's head and shoulders facing each other; if your 15-year-old can't handle this, be advised Disney may not hold his interest past age 16.) As you can tell from my reviews, I tend to appreciate the good and I don't think the negative wipes out or cancels the good. 3.5 stars for technical appeal, 4 stars for emotional. (8-24-09 posted 8-29-09 updated 8-30-09)

Kiss Kiss Bang Bang

Kiss Kiss Bang Bang is like U Turn meets The Game. It's a way-cool murder mystery where the semi-innocent bystander, Harry (Robert Downey Jr.), gets wrapped up in a mire of guns, fisticuffs, and bodies along with his newfound "friend" Perry (Val Kilmer), his love interest Harmony (Michelle Monaghan), her supposedly long-estranged twin sister and her best friend, various henchmen (like Mr. Frying Pan and Mr. Fire), and a shadowy crime boss. Half the thrill is finding out who lives or dies much less if a person is really who he or she claims to be. Downey narrates his tale ("since I don't see any other narrator standing around") in a nonchalant tone that's belied by the stress and injury he's made to endure not to mention the crimes he's forced to commit and the life-or-death situations he's barely able to escape. Kilmer is a gay man whose true status and significance is unclear (until the end). The story is full of plot twists and complications; let's just say having to spend a week like Downey's would be a nightmare in anyone's book (even if it included the romantic involvement). Kiss Kiss Bang Bang has a smart-alecky attitude -- Downey's outsider critique of Los Angeles since his character is originally from Indiana -- and I will always be happy to catch and see it again. 5 stars. (8-25-09 posted 8-30-09)

A Colbert Christmas: The Greatest Gift of All

(Part 2 of 2) The concept didn't work for me. It's sincere and talented and (barely) well-enough produced--just not funny. At times, it was even grim--or offensive. The show begins with the satirical "It's Another Christmas Song." A murky-faced Toby Keith stalks in with an assault rifle and sings a benumbed "Have I Got A Present for You." Willy Nelson as a fourth king gives Baby Jesus a bale of ganja--argh! ("Little Dealer Boy" shows everyone in the manger scene, even the animals, smoking pot.) Jon Stewart sings the duet "Can I Interest You in Hannukah?" (my wistful favorite). John Legend sings a soft-porn song about nutmeg. Feist's song "Please Be Patient" cleverly (if depressingly) compares prayers to celestial voicemail jail. Elvis Costello sings "(What's So Funny 'Bout) Peace, Love, and Understanding" before a ravenous bear appears. In two running gags, the applause track is turned up and down quite obviously to rib such televised fakery, and Stephen comments every time two males are under the mistletoe (and gets some tongue action). The bonus materials include a video fireside hearth where Stephen periodically tosses in books for burning, a mildly amusing 25-day video Advent calendar (where Stephen claims Santa Claus must be American because he's fat), and three alternate endings. Sarcasm makes fun of self and societal foibles but here, applied to Christmas, the spirit not just the trappings of the holiday get the shaft. Normally I can separate the distasteful from its use to ridicule the distasteful but this show mocks the tasteful too--to say nothing of the sacred. I love Jon Stewart and Stephen Colbert but I think our youngest generation needs more than a lampoon of what's fake to appreciate what's real. This show crassly if fashionably skewers the crass along with the traditional--and that's just sad. 2 stars. (8-23-09)

Dogma

Dogma is eminently unorthodox and more than ten tads of quirky with a sheen of irreverence -- that is, it has a peanuty spiritual center that is covered in chocolate but its candy coating won't melt in your hands. The script is chock full of complexity and humor with a plot that's syncretic and postmodern. This droll comedy begins as two "heavenly archangels," Bartleby (Ben Affleck) and Loki (Matt Damon), weary after centuries of doing God's smiting with swords, decide to steal a page from Lucifer's playbook. Their plan? Sneak down to Earth, crash the consecration of a Catholic church in New Jersey, and exploit a loophole that would prove God wrong and thereby unmake heaven and Earth. (George Carlin is the officious and schmaltzy Cardinal Glick.) Meanwhile, the voice of God (Alan Rickman) asks Bethany (Linda Fiorentino) to stop them (with good reason even though her faith is shaky at best). At her side are the "13th apostle," Rufus (Chris Rock), and "the two prophets," slacker dudes Silent Bob (Kevin Smith) and Jay (Jason Mewes). Arrayed against her are the demon Azrael (Jason Lee) and Serendipity (Salma Hayak) plus the high-sticking Stygian Triplets, who have found a way to keep God out of the contest. You can't keep a good man down though and the confrontation ends with a divine manifestation that throws even more preconceptions on their ear. Seriously orthodox Christians may be offended by farcical as well as whimsical elements of the story though I for one took it all in stride as a) fiction, b) comedy, and c) not a theological treatise. In fact, while I found the ending to be a little weak, I enjoyed every campy and wacky twist that Dogma had to offer. You don't often get a sustained attempt at a semicredible theological story for a Hollywood movie so I cut Dogma a lot of slack -- not that it needed much. Dogma is more campy, zany, and funny than Citizen Ruth meets Bruce Almighty. 4.5 stars. (8-23-09)

The Tale of Despereaux

I just really liked The Tale of Despereaux -- but then I love fairy tales, damsels in distress, noble knight-errants on a quest, and all that stuff. (To those who complained: What did you expect -- Cinderella? Ratatouille?) Despereaux is cute as a button and adventure is in his DNA: He's so curious about embracing the whole of life with his eyes wide open that he's unafraid of knives, heights, cats, or anything else a proper mouse is taught to fear and flee. He finds opportunity in every challenge -- through a gleam-in-the-eyes of inspiration or else refusing to give up. He sees exploration and gallantry as so inimical to life that he doesn't understand why other mice don't take naturally to vaulting over mousetraps to ingeniously steal the cheese, springing down into an abyss because that's where his path or destiny or courage takes him, and so on. (I feel like I understand him.) It helps also that Despereaux's chivalry motivates him to serve and help save a fair maiden who's in a bad place. (After he finally reveals himself to her eyes, she asks: "You're a mouse?" He replies with a courtly bow, "I am a gentleman.") The Tale of Despereaux is a wonderful fable about the human spirit of courage and compassion -- and how these things cannot be contained even in one so small in size and so furry in appearance. 4.5 stars. (8-22-09)

(500) Days of Summer

(500) Days of Summer is an absolutely sweet, quirky indie-style romantic comedy with lots of great laughs. I sat in an opening-weekend arthouse audience that peeled with laughter frequently. The story's premise might be called The Time Traveler's Girlfriend With Benefits because the narrative ricochets wildly across 500 days that encompass the quizzical romantic relationship between Tom (Joseph Gordon-Levitt) and Summer (Zooey Deschanel). If you think a normal linear relationship has its ups and downs then try one examined through a timeline that zigs and zags back and forth in its exposition by one day to handfuls or dozens of days at a time. (No actual time travel is involved.) It's all good though and quite captivating. Zooey plays the same character that seems to be her stock in trade: the quirky, laissez-faire slacker girl who's too cute to ignore. She's so laidback you'd think she's medicated -- so it should come as no surprise to Tom that she's an I-can-take-you- or-leave-you kinda gal. He, on the other hand, has these bleary puppy-dog eyes that can show an impressive range of emotion. Frankly, it's not too clear to me whether he's interested in her because she's actually worth it or he just doesn't have other prospects. (I think she might be "worth it" but then he's no player. I'm just saying: Doesn't finding a keeper presume there were other choices?) Love doesn't need logic, of course -- in fact, sometimes it just kicks it to the curb and goes woo-hoo (or wants to) -- so this tale of Summer love makes a great postmodern (if one-sided) love story for the summer season (or any time of the year). Great soundtrack! 4.5 stars. (8-20-09)

Moody Blues: Lovely to See You

Over the decades, the Moody Blues has been an exceptional progressive rock band. Seminal and accomplished in its poetry, composition, sound, instrumentation, arrangements, and vocals, what other band can touch them on all these fronts? In short, the warp and woof of their melodies and harmonies weave aural and karmic textures that helped shape the 1960s and beyond and still affect fans old and new in a more materialistic age. This Live at the Greek Theatre concert in Los Angeles includes Justin, John, and Graeme with Norda Mullen on flute, guitar, and vocals and three others -- no orchestra (but they rocked with synth and vocals). At their age, the guys don't caper much onstage (though Graeme did for a bit) or play as energetically but they are still the Moody Blues and their music is enduringly good! The highlights of the show were Justin's still-dynamic acoustic guitar -- esp. on Question -- and Norda's greatly sensitive flute -- esp. on Nights in White Satin when she had the audience eating out of her hand! I enjoyed hearing my favorite popular songs, of course, but also The Actor as well as Higher and Higher. Every song was very good though! I caught this on instant watch not Blu-ray with digital sound but I enjoyed it a lot. Songs played are Lovely to See You, Tuesday Afternoon (Forever Afternoon), Lean on Me (Tonight), The Actor, Steppin' In a Slide Zone, The Voice, Talking Out of Turn, I Know You're Out There Somewhere, The Story In Your Eyes, Forever Autumn, Your Wildest Dreams, Isn't Life Strange, The Other Side of Life, December Snow, Higher and Higher, Are You Sitting Comfortably?, I'm Just a Singer (In a Rock and Roll Band), Nights in White Satin, Question, and Ride My See-Saw. 4 stars. (8-20-09)

The Kid

In Disney's The Kid, we see Bruce Willis' adult character as a boy, where an incident of his father's "tough love" (or maybe it's just verbal abuse) becomes the traumatic experience that determines his life's course as well as the (anti)philosophy that becomes his career trademark. (For good or for ill, you probably won't forget that one line in the entire movie.) Now all grown up, Bruce Willis is an "image consultant" -- a consummate professional who not only tells his business and political clients how to dress and speak and act but esp. how to pick themselves up when everything melts down. Just as they begin blubbering, he stops them dead in their tracks by screaming at them like a child -- "WAAH! WAAH! Somebody call the WAAHmbulance!" before browbeating them into cleaning up their own mess like an adult who holds their position of responsibility. Of course, this character's ever-smooth exterior is just a mask for his childhood pain -- setting him up for the magical premise of the movie as he faces his inner child, for real. The movie works for me without being too maudlin and the younger version of himself (Spencer Breslin) shows adequate chops in the role. 3 stars. (8-20-09)

Peter and the Wolf

Peter and the Wolf is a stopmotion delight! It won the 2008 Oscar for Best Animated Short (32 min though the last 4 min are credits). Its rustic setting on the outskirts of a Russian village in winter is artfully depicted down to the smallest details of Peter's hovel. Peter's large baby-blue eyes take in the world around him even as he explores where he should not -- for a wolf is in the woods. The animated storyline behind and depicting Prokofiev's artful music is impressively imaginative and droll (esp. the cat and bird hijinks). This is old-school storytelling at its best -- and with no dialog. Peter and the Wolf is suitable viewing for the whole family although be aware that a threatening wolf is in the second half and he lunges at everyone including Peter (who also gets roughed up by a town tough that points a rifle at him). Don't miss this treasure! 5 stars. (8-18-09)

In Praise of the Lord

A Christian worship program would normally be a gem with classic organ-and-choir hymns such as "Praise God from Whom All Blessings Flow" paired with classic poetry such as "A Song to David" by Christopher Smart, "Paradise Lost" by Milton, "Morning Has Broken" by Eleanor Farjeon, "The Morning Watch" by Henry Vaughan, "Pied Beauty" by Gerard Manley Hopkins, "The Church-Floor" and "The Windows" by George Herbert, stanzas by John Donne, the Psalms, and much more. However, the oracular phrasings of the recitants, choir, and organ are almost soporific. (A few spouting poetry carried it off well because of their British accents or Shakespearean diction.) Taken together, the setting (long and close shots of the choir) and occasional visuals (church buildings, stained glass windows) of this presentation at St. Paul United Methodist Church in Lincoln, Nebraska, paint a wince-inducing 1950s esthetic -- except it's in color and the choir's hairstyles are wincingly 1970s. See this if you enjoy Davey and Goliath, the Statler Brothers, or the poetry of Hannah Hurnard. 2.5 stars. (8-18-09)

Liz Story: Solid Colours

Liz Story's fabled (nay, storied) gifts of composition and performance are evident in every carefully crafted and artfully played musical note (or cascade of them together). Her music is a treasure. Listen to it any time you need to calm and recenter your spirit. 3.5 stars. (8-18-09)

Weather

DK's trademark photographic style figures prominently in Weather as it does in all its 15+ titles. (A making-of feature even describes and showcases how DK production teams obtain such striking images of tigers, salmon, dinosaurs, parrots, sharks, and so on.) However, stock photography (of hurricanes and thunderstorms but most jarringly the bridge that waggled then collapsed in high winds) is used somewhat for questionable cause and to disappointing effect in this DVD. In addition, Martin Sheen's stentorian script includes (as usual) mention of the mythic and literary aspects of the topic, even though in this DVD perhaps more than in other DK titles such language as "the gods this" and "the gods that" sounds a bit maudlin given that this is supposed to be a science DVD. Of course DK titles are intended for a grade-school audience! This one covers a broad range of weather aspects and should make a good general introduction to the subject. 3.5 stars. (8-16-09)

Cracking the Maya Code

Documentary. Nova has done an excellent job in summarizing the scholarly effort of the last 120 years to decipher and interpret Mayan hieroglyphs -- taking us from the early view of the Mayans as mystic astronomers to a more scientific view of them as historical archivists to the current view of Mayans (finally based on an intimate understanding of their writing system and, for the first time in 1,000 years, the ability to read their language out loud) as fierce warlords. While instituting perhaps the bloodiest of tribal hegemonies in human history is not a flattering legacy, nothing can change the Mayans' unparalleled contributions to literature and architecture in pre-Colombian times or the Western hemisphere. The Mayan culture's early repression by Western (and, obliquely cited, Roman Catholic) imperialism has given way now to Mayan schoolchildren who are learning to speak and write in the tongue of their ancestors. Owning its history is a prerequisite for every culture, notes one Mayan expert, and so thankfully Western archeologists and epigraphers have now opened the wonders of Mayan hieroglyphics to all humanity as well as the descendants of those who built a vast Meso-American civilization while Europe was still in the Dark Ages. 5 stars. (8-15-09)

Wordplay

Wordplay is a celebration of the crossword puzzle and puzzle lovers across the nation--specifically those devoted to the New York Times daily crossword puzzle as edited by his predecessors and, for the past 25+ years, by puzzler-in-chief Will Shortz. Also central to the narrative of this documentary is the 26th crossword puzzle tournament, held annually in Stamford, Conn. Offering their personal reflections and affections on their habit of doing the crossword puzzle every day are Jon Stewart, Bill Clinton, Ken Burns, the Indigo Girls, and others. Puzzle authors, savants, and tournament champions also weigh in and reflect on their experiences in designing and competitively solving puzzles. We get to roam the tournament halls with a dozen celebrities (in wordgeek world) and sit in as they kibbitz, compete, and ultimately win or lose in tournament play. Wordplay is a folksy slice-of-life presentation about word nerds at play. As an attendee and presenter at literary conferences, I felt right at home with these puzzle fans' sense of camaraderie. Wordplay is to the crossword puzzle as Word Wars is to Scrabble. It's a paean to the love of language and creative problem-solving skills that has become ingrained as a daily "me time" ritual for many. Writers and librarians will love it! (Note: Only the most reactionary right-wing types would criticize Wordplay as a liberal or leftist propaganda ploy, however, those who wish to shield their children or themselves from any awareness that gay men exist would do well to skip the segment following Trip Payne's introduction in his home office. In this scene, Trip plays pinball in his home with his "partner" whom he mentions meeting then "hitting it off" then "dating" then "moving in"--then he calls him "dear" and gives him a quick smooch. That's all--30 seconds--quite understated but if you can't handle it, you have been warned.) 5 stars. (8-15-09)

Monty Python and the Holy Grail

Words cannot suffice to describe Monty Python and the Holy Grail. It must be seen (preferably twice) to be appreciated -- and to chuck chortles in its general vicinity. Monty Python's silliness in this, their first movie, is smoothly polished (with added sparkly bits) and thoroughly British. (As such, much of it might pass over the heads but under the radar of those who are not Anglophiles or lovers of wordplay in the English language. For instance, at one point a cartoon of God ends the discussion with a starkly British -- and quite Cleesian -- coinage: "Right." Meanwhile, in America, the word might be spoken with greater nuance and more heavily laden with sarcasm: "Ri-i-i-i-ight...") The monks intoning their chant while methodically whacking their heads is ironically funny and I love the peasant (named Dennis) who gets into a debate with King Arthur about the basis of governmental authority: "You can't expect to wield supreme executive power just 'cause some watery tart threw a sword at you!" So now I've learned a new word (bint) and finally seen what's the deal with the Knights of Ni and the knights of Spamalot! Be sure to pause and read all the pseudo-Swedish moose notes during the opening credits -- they'll put you in the right mood for Monty Python's quirky and absurd sense of humor -- and don't fail to view the bonus disc in its entirety (reviewed separately). 4.5 stars. (8-15-09)

Brainstorm

Brainstorm is a classic 1983 sci-fi film that blends a serious approach to science with a mainstream thriller and adds special effects that are mind-bending--for the '80s (I can only remember Altered States as better). Think of Brainstorm as Innerspace meets Tron (but instead of Jeff Bridges battling the MCP, Christopher Walken sojourns between the portal of death and his Promethean marriage). Our story begins as a chain-smoking project director (Louise Fletcher) is talking the taciturn Walken (wired into a lab chair rife with cabling) through a pilot experiment where his sophomoric stand-in (wearing a data-linked helmet) cadges a loopy list of sensory experiences--which Walken experiences digitally and so directly that they are forced to unplug him. The potential of this sensory technology wedded with an IMAX-like tape deck is both deadly and intoxicating. The corporate board begins to salivate and the lab team is ousted. Yet Walken is determined to experience all of the system's last recording. In cahoots with his technosavvy wife (Natalie Wood in her final role), Walken launches a fox-and-hounds caper to explore how far the rabbit hole really goes. Through the technology, we witness moments that convey the couple's love and fears. Brainstorm takes a believable approach to science stuff--down to details like Walken's recumbent bicycle (it's a nerd thing)--yet it adds the romance and devotion of a committed couple. Brainstorm failed in the theaters because its backers bailed, yet it's also likely mainstream moviegoers found Brainstorm too esoteric while sci-fi fans were flummoxed by the florid romance. Alas, Brainstorm has a few cheesy scenes, from the black security guard who is attacked by assembly-line robots then buried in soap suds to Wood harping Walken back to life. Either way, Walken is preternaturally watchable and Wood does a fine turn as soulmate to the man and the ubergeek. Call it The Psychonaut's Wife. 4 stars. (8-15-09)

Pok�mon: Giratina and The Sky Warrior

This 11th Pokemon movie is now my youngest son's favorite and I think it's quite well done too. Building on the approach of its predecessor, the opening scenes set the stage by showing and describing the rich global ecology of the mythical and magical Pokemon creatures who with humans cohabit the planet -- on land, in the sea, and in the air. Then the story begins, set against sweeping panoramic landscapes such as cloud-shrouded mountains and fjords. As usual, some nefariously smug bad guy with endless resources has decked out a globe-hopping airship to hunt, capture, and harness the power of a legendary Pokemon (in this case, the wasplike dragon-sized Giratina). Team Rocket shows up, of course, and another legendary Pokemon (the cute hedgehog-like Shaymin, who can speak telepathically) helps our heroes (Ash, Pikachu and company) to maintain a balance of power. Bad guys and good guys leap back and forth into a parallel universe until all is made well with the world(s). No one could be happier than I to find the animation was very good in this movie. Enjoy! 3.5 stars. (8-12-09)

Shrink

Shrink held out the tantalizing prospect of ironic dysfunction as only Kevin Spacey can portray it--the man can convey two flavors of ennui simultaneously just by fluttering his eyelids--but the movie proves to be disappointingly shallower than one would hope. That said, Shrink is a funny movie that pulled lots of laughs from the audience of a full arthouse theater. In Shrink, Spacey plays a Hollywood therapist to the stars like Robin Williams (who plays a reformed horndog now married but nostalgically considering a return to philandering) and author of a bestselling book on how to find happiness who is himself crashing on the rocks of despair and engaged in a scruffy downhill slide through obliviousness and towards oblivion. The first half of Shrink is engaging but gritty as Spacey is nearly constantly smoking tobacco and marijuana and in other ways "self-medicating" (to put it nicely). I realize the setting is Los Angeles and Beverly Hills but breaking the law is breaking the law. I couldn't give the first half of the movie more than a grudging 3 stars. Keke Palmer as an unwilling pro bono therapy client ably goes toe-to-toe with Spacey, at one point chiding, "You realize that getting high in a pediatrician's office might be considered a cry for help." Keke shines in her role as these two struggling souls discover they share a common wound and a mutual balm. Shrink, through its ensemble cast (including Dallas Roberts as a control-freak movie agent, Laura Ramsey as his more-than-able if pregnant assistant, and Saffron Burrows as an actress approaching 40) offers a vague resemblance to Crash or The Feast of Love but in the end falls far short of those movies' emotional content and impact, even settling for a superficially satisfying resolution (almost like an episode of Frasier). I give the second half of the movie a grudging 4 stars for an overall 3.5 stars. (8-12-09)

Back at the Barnyard: Season 1

TV. Back to the Barnyard is a hilarious animated series for the kiddos but with plenty of comedy to entertain parents too--sort of an animated Mr. Ed meets Hogan's Heroes on goofy pills. Building on the movie but much funnier, Steve Oedekerk delivers a Nickelodeon production that is full of manic action, chuckles, and guffaws. (You do have to accept, for simplicity's sake, that Otis the cow has an udder. Get over it.) The voice talent is distinctive and quite good with Chris Hardwick as Otis, Wanda Sykes as Bessy, Leigh Allyn Baker as Abby, Jeffrey Garcia (Sheen Estevez in Jimmy Neutron) as Pip, Tino Insana as Pig, Dom Irrera as Duke, Cam Clarke as Freddy, Rob Paulsen as Peck, Steve Oedekerk as Mr. Beady, Maria Bamford as Mrs. Beady, and Mark DeCarlo (Hugh Neutron in Jimmy Neutron) as Bingo. Only the first Season 1 disc has been released so far with the first eight episodes: The Good, the Bad, and the Snotty (The animals prank the farmer into attending a two-day turnip convention but the neighbors' nephew puts a crimp in their party plans so they prank him too), Escape from the Barnyard (The farmer gets a grill, sending a frisson of fear down every animal's spine as they investigate the farmer's true intentions), Cowman and Ratboy (Otis and Pip go on a rampage of do-gooding and superhero campiness), Cow's Best Friend (After Otis saves Duke's life, Duke fawns over Otis until something has got to give), Chez Pig (Pig's family recipe for truffle pies finds fame, tempting the animals with riches--will they bite?), The Right Cow (Bingo the space chimp lands in the barnyard and schemes to take over as alpha male), Saving Mrs. Beady (Nosy neighbor Mrs. Beady gets committed for her claims of talking animals so the animals pose as a brain surgeon and a head case to bust her free), and The Farmer Takes a Woman (The animals post an online ad to find the farmer a wife then dress up Pig as a billionaire to chase off a goldigger). 5 stars. (8-2-09)

Terminator 2: Judgment Day

Terminator 2 (T2) is the best and best-known classic Arnold Schwarzenegger movie where He of the Chiseled Physique, iron jaw, steely stare, and robotic monotone (again all literally so) must do his best to thwart an even more unstoppable killbot from the future -- this time a bloodless, mercurial shapeshifter (Robert Patrick) that can flow through a crevice, pierce objects, and imitate voices or persons. T2 embodied state-of-the-art special effects at the time so that the hospital guard's comeuppance and the killbot's splaying like so much shotgunned nougat remain industry milestones as well as supremely memorable scenes. In T2, the ante has been raised: Linda Hamilton has gotten her survivalist ice-queen sh-t together, however, she's unfortunately been locked up in a mental hospital. Even worse, she knows (and Ahnuld later confirms) that Judgment Day (with its ensuing extermination of humankind) has not been stopped, only delayed. It is up to her to save her son (Edward Furlong, now a young punk who has yet to get his act together) so that he can survive to save mankind. If you enjoy action or sci-fi movies, seeing Terminator and Terminator 2 is simply a must. I own and enjoy seeing all three Terminator movies whenever the mood or occasion arises. 5 stars. (3-18-09 posted 7-31-09)

The Deal

Stephen Frears' previous movie, the Oscar-winning The Queen, told the more interesting story of how incoming Prime Minister Tony Blair (one of the "moderns") coached an ossified Royal Family (and Queen Elizabeth in particular) through Britain's need as a nation to publicly mourn the loss of Princess Diana. Tony Blair was expertly played by Michael Sheen, who returns in The Deal to portray a younger Tony Blair from the start of his political career up to his imminent campaign as prime minister. The titular "deal" refers to Blair's introduction to and six-year friendship with Gordon Brown (masterfully portrayed by David Morrissey) and how closely they worked together to build the Labor Party under a tacit agreement that Brown, as the stronger candidate, should run for the top post first. The Deal is the admittedly dry story of how two young British politicians blazed a path through Margaret Thatcher's conservative political landscape towards the highest elective office in the land. Even if you follow global news, you might get lost from time to time but if so, a second viewing should help to iron out all the details. The Deal is largely historical if partly fictionalized but its appeal is seeing British politics up close and personal. You'll be glad Gordon Brown is facing in another direction as he stumps a speech because you can see the spittle flying; in other scenes, you can see stiff upper lips literally quiver. You might not like The Deal unless you're a fan of British history or politics but if you are, don't miss this excellent documentary-like movie. 3.5 stars. (7-23-09 posted 7-31-09)

The Terminator

Terminator is the second-best and second-best-known classic Arnold Schwarzenegger movie where He of the Chiseled Physique, iron jaw, steely stare, and robotic monotone (this time all literally so) gets to do his worst as the unstoppable killer robot from the future. (His best and best-known movie is, of course, Terminator 2, where I don't think it's a spoiler 20 years later to merely murmur that Ahnuld plays for the other team.) The premise of time travel is a bit shopworn in Terminator but the manner of travel from the future was groundbreaking (literally) in its naked glory! The menace builds as one realizes this robohulk will stop at nothing to kill his target (plus anyone who gets in the way). Now and then time folds as neatly as a towel (back on and over itself) so that we come to see the salvation of Linda Hamilton (and the future of humanity) as well as the inception of the Terminator timeline. Like Star Trek, the technology and physiology of the future evolves and becomes more impressive with each generation but the myth and the wonder of what we found at the beginning of the story remains gritty and golden. 5 stars. (3-18-09 posted 7-31-09)

Time Bandits

Ever since it came out, Time Bandits has been one of my all-time favorite movies. Its Pythonesque DNA is evident throughout, which makes for encounters with fun and whimsy around every corner. Our story begins as Kevin (Craig Warnock) endures life as a child in suburban London, where his parents ignore him or send him to bed early as they stare vacuously at TV game shows and prattle on about the latest domestic appliances. Meanwhile, Kevin's bedroom poster of a knight on a horse comes sinuously alive and gallops into a forest that used to be (and then again is) his closet door. The next night, prepared with a flashlight and pack of supplies, he surprises a ragamuffin band of little people (on the run from the Supreme Being) and joins them on their adventure. They are enterprising vagabonds who have "borrowed" a map of all time-space portals so they can look for unstoried treasure. Their episodic antics are droll and hilarious -- imdb.com lists pages of memorable quotes -- as if The Princess Bride met Robin Hood: Little People in Tights. Eventually, the band runs afoul of the maleficent Evil (David Warner), who desperately wants the map so he can dominate the universe. Evil is admittedly cartoonish in his soundstage-sized lair but that's part of his appeal. Kevin and friends make their stand (in mawkish fashion with huns and barbarians, hootin'-an'-hollerin' cowboys, and bobbing starfighters) until the final resolution, thanks to the Supreme Being (Ralph Richardson). Time Bandits is a fantasy tale to beat the band that pleasingly takes in, over the centuries, Sean Connery as Alexander the Great, John Cleese as Robin Hood, Ian Holm as Napoleon, and much more. Even the ending blurs the line between fantasy and suburbia before the story comes full-circle to leave us looking down at Earth from the heavens. 5 stars. (4-8-09 posted 7-31-09)

Leverage: Season 2

(Part 1 of 2) TV. I've greatly enjoyed Leverage since the first episode I saw last year. I'll continue this review in part 2, but four episodes are out so far and available via streaming video: The Beantown Bailout Job (Charles Martin Smith plays a crooked Boston banker pushing for a government bailout), The Tap Out Job (Brian Goodman is a nasty Nebraska fight promoter who almost outsmarts our heroes), The Code 23 Job (the team has 2 hours to swindle a convicted hedge fund manager by staging a mass contagion), and The Fairy Godparents Job (a Ponzi con artist has hidden $20 mill that can save a community clinic). Leverage has a super-cool premise and a talented ensemble. Think of it as Ocean's Eleven (but with five) meets Robin Hood. As Timothy Hutton riffs in the intro: "The rich and powerful take what they want. We steal it back for you." Hutton is rumpled and cheeky as the Brains, Gina Bellman is the Grifter, Christian Kane is the Hitter, Aldis Hodge is the Hacker, and Beth Riesgraf is the Thief. Each actor completely owns their character, incorporating quirky mannerisms and emotional cues into their roles which more than suggest their talents and their love of the con. (They are "confidence men"--and women, after all.) I love Beth's mannerisms esp with an automatic weapon at the ready--or Christian as he relishes taking on three street thugs armed with crowbars and tire irons--or Aldis as he salivates over cutting through encrypted files like a hot knife through cold butter. The fight and chase scenes are believable--or at least a tad better than Burn Notice. As much as I enjoy Burn Notice and In Plain Sight, I dig Leverage best of all. Enjoy! 5 stars. (7-30-09 updated 8-7-09)

The Snake

The director sent me a screening copy of this, his premiere movie, set in San Francisco. Although The Snake's subject matter and lead character may make it a difficult movie to stomach for some, I appreciated it and would recommend it to indie film fans who enjoyed Film Geek or Lost in Oblivion. Adam Goldstein as a scuzzier Steve Buscemi is the perpetual horndog "Ken" (real name David). After being kidded for being a "chubby chaser" during his nightly predatory rounds at the closest watering hole, he takes to stalking a bulimic girl by worming his way into her body image support group at the local women's center. Try to imagine a chauvinistic pig with the gall to not only lie straight-faced to a half-dozen scarred women in emotional recovery but to slyly manipulate each one's weakness and then play them off each other -- or just watch this guy at work -- and he only goes downhill from there. This man is pure slime -- but slippery slime, always weaseling out of every new way he gives you to hate him. The ending was sudden and a puzzler, however, if I understood it then I think he did the right thing. 3.5 stars.

Independence Day

Independence Day is a solidly America-centric sci-fi/blockbuster hybrid--with all the goodies and groaners that implies. First, giant spaceships begin appearing over the cities of the Earth and blowing them away in spectacular gouts of cinema-searing flames, vaulting vehicles and so on--and even then a golden retriever outruns a crispy demise! Second, Bill Pullman plays the President of the United States--with more moxie than Kevin Kline in Dave, equal nonchalance as Michael Douglas in American President, but less grit than Harrison Ford in Air Force One. He's reunited through crisis some years after a falling-out with former best bud Jeff Goldblum, the science geek who outthinks the government's top-secret nerd force to discover what the aliens are up to and how to stop them--and yes, it involves infecting them with a computer virus. (What sci-fi blockbuster ignores that little chestnut?) Goldblum's Jewish grandfather tags along and provides a schmutz of humor and faith during tough times. Will Smith as an ace fighter pilot brings an invigorating can-do and (literal) kick-@ss attitude to the mix. Brent Spiner plays the government's top-secret ubernerd to a tee. Humans go mano-a-mano against the aliens a few times and things get sticky. The plans for a counterattack are not foolproof either, however, a screw-loose cropdusting pilot proves his patriotism. America's Independence Day becomes the whole world's Independence Day because humanity (cue the prez's pep talk) "will not go quietly into the night!" Independence Day rallies America's heroes and common folk as in Space Cowboys and Armageddon but it's not as cheesy as Armageddon. (It is cheesy but with more good moments than groans.) Independence Day mostly succeeds as a sci-fi movie as well as a blockbuster--pleasing fans from both camps in my opinion (since I straddle them myself). I'm always happy to catch it. 4 stars. (7-17-09 posted 7-31-09)

Dilbert: Season 1

(Part 1 of 2) TV. A huge fan of the Dilbert franchise, I warmed up to the show (from 4 to 4.5 stars) as I watched one DVD at a time. Scripts are packed with nerdy nuggets and solid voice talent (esp. Larry Miller as the Pointy-Haired Boss). We get standbys such as Dilbert (Daniel Stern), Alice (Kathy Griffin), Catbert (Jason Alexander), and Dogbert (Chris Elliott) but cameo characters and more. We also see Dilbertian examples of the duplicity of upper management, stupidity of middle management, abuse of engineers, conceit of marketing, promise of technology, and gullibility of humans at large. Season 1 has 13 episodes on two discs: 1, The Name (Tasked with naming a product he hasn't designed yet, Dilbert heeds Dogbert's advice for a successful launch of the Gruntmaster 6000), 2, The Competition (Dilbert is hired by the competition, but nirvana slides into chaos after he introduces marketing), 3, The Prototype (Dilbert and Alice join forces to stop their ideas being stolen by the legendary Lena), 4, The Takeover (Dilbert and Wally join the corporate board after Dogbert manipulates the stock), 5, Testing (Masked engineer Bob Bast-rd product-tests the Gruntmaster 6000 as Alice falls in love), 6, Elbonian Trip (Alice and Dilbert try to free left-handed Elbonians from right-handed sway as Wally becomes a prophet), 7, Tower of Babel (A shopworn cold bug in Dilbert's office mutates coworkers), 8, Little People (Dilbert discovers a tiny race of "downsized" employees addicted to dry-erase markers), 9, The Knack (A classic, Dilbert loses "the knack" for technology when he ingests management DNA and consigns the world to the Dark Ages), 10, Y2K (Dilbert must Y2K-proof the company's ancient mainframe), 11, Charity (Dilbert coordinates the Associated Way program), 12, Holiday (Dogbert lobbies Congress to replace all holidays with Dogbert Day), 13, The Infomercial (Dilbert must save a Texas family from the untested Gruntmaster 6000). 4.5 stars. (7-31-09)

Ghost

It's no secret that Ghost is on many couples' lists of most romantic movies -- no doubt because of the incredibly sensuous opening scenes of Demi Moore and Patrick Swayze embracing each other while having sex with their hands caressing the clay at the potter's wheel. (The scenes are so iconic and wedded to the tune "Unchained Melody" that they could almost explain a baby boomlet in 1990.) Back when Demi was acting, these two showed some of the deepest chemistry seen on the modern theater screen -- and while Demi carried more than her weight during Patrick's posthumous pursuit of his true love in life, the real magic was how Patrick passed from being a man in corporeal life who couldn't say "I love you" (preferring "Ditto" after Demi said the words) to an incorporeal man who so longed to be reunited with his beloved that he could freely confess his love for her and would do anything to defend her from harm. Ghost has plenty of comic charm after Patrick finds and urgently cajoles faux medium Whoopi Goldberg to help him warn and reassure Demi. Ghost also evinced a surprising cache of spirituality since it shows that good people approach a heavenly light after they die while bad people are snagged by dark dimensionless beings and dragged screaming into a black subterranean pit. (Actions have consequences that reach beyond this life.) Ghost was my introduction to Vince Schiavelli's unforgettably gaunt wraith of a face and I enjoyed his character's angst in the afterlife -- since it helped Patrick learn how to reach (however ethereally) into the material world. Ghost is one of the most memorable and romantic ghost stories ever told. 5 stars. (7-17-09 posted 7-31-09)

Babe

I absolutely *love* Babe and always will! This wonderful and utterly family-friendly movie has a pastoral setting (filmed in New South Wales), affably sweet farm animals (save one grouchy sheepdog), the taciturn Farmer Arthur Hoggett (James Cromwell) and his butterball wife Mrs. Esme Hoggett (Magda Szubanski) -- and Babe himself (voiced by Christine Cavanaugh), who is more polite, spirited, and enterprising than Charlotte's own Wilbur the pig. The movie's Oscar-winning animatronics were groundbreaking and remain so while its six other Oscar nominations and more than a dozen international film award wins attest to director Chris Noonan's devotion to detail. Babe's story begins "This is the story of an unprejudiced heart and how it changed our valley forever" and advances -- while framed by animated vignettes (each with a too-cute chorus of mice) and brief narrative snippets -- to depict how Babe came to live on the farm and discover his unique gift. Babe is the humble star though every farm animal around Babe has a personality and voice characterization and I love each one: Fly the female sheepdog (Miriam Margolyes), Rex the male sheepdog (Hugo Weaving), Maa the very old ewe (Miriam Flynn), and dozens more. Esme Hoggett may be a caricature but she conveys an amiable groundedness. Farmer Hoggett is iconic in his laconic propensity to eschew speech so his body language and facial expressions all the more powerfully convey an earthy rootedness -- esp. when crowned by his smile and closing words "That'll do, pig." Perhaps you will come to love "Babe, the Gallant Pig" as well as the Camille Saint-Sa�ns excerpt from "Carnival of the Animals" adapted to folk song and fanfare: "If I had words to make a day for you I would make this day last for all time ..." I know I have fallen in love with this sentimental favorite! 5 stars. (7-31-09)

A.I. Artificial Intelligence

Artificial Intelligence (AI) held my attention and riveted my imagination so thoroughly from start to finish that I had to own it. AI is undeniably a sci-fi epic, full of moving and memorable scenes touching on human creation, purpose, and mortality. Our story begins as preeminent roboticist Prof. Hobby (William Hurt) gives a long-grieving couple the chance to have a second son. They meet David--Joel Haley Osment is stellar in the role--"a perfect child caught in a freezeframe. Always loving, never ill, never changing." David's home life is at first sardonic and nearly idyllic, however, parents and children must be warned that AI contains a heartwrenching scene of outright child abandonment. As David attempts to make his own way, he is captured by riff-raff who viciously destroy mechas in a carnival atmosphere. David manages to escape and pursue his obsession to meet "the Blue Fairy" and become a "real boy" so his mother (Frances O'Connor) will love him. Drawn from Kubrick's storyboards, AI is a complex sci-fi art film. As such, it has drawn soaring praise and scathing contempt in equal measure. I can only surmise from the large body of negative comments I've read that complaints fall into three camps: too long, too boring, or too confusing. While some detractors admit they can't grasp this grand ouevre from two of cinema's maestros, for the most part intelligence must be assumed. To be honest, AI is long, convoluted, and at times obtuse--yet also soaring and sublime. It is not a linear story with a tidy resolution and happy ending. It is science fiction--a speculative exploration of future ideas and implications--and a dystopian one at that, full of Kubrickian trademarks. AI is a moral warning about what we might become tomorrow if we are not more wise today. AI says three things: every journey has its own rewards though payment is a two-sided coin, since every tragedy contains a kernel of joy and every kernel of joy contains tragedy. 5 stars. (7-22-09)

Tin Men

I saw Tin Men back when the movie reached the theaters and I still think of it as a memorable vehicle for Richard Dreyfus and Danny DeVito. In the 1960s, "tin men" sold the first residential aluminum siding but were little better than car salesmen -- their job was to hang out together whether there was a sale in the offing or not -- and it seems like most of the time they were out playing pool, drinking, pulling pranks, or even shtupping a competitor's wife. If you like movies about an earlier America, Tin Men may not be as nostalgic as Radio Days but it's about as ribald and definitely more raucous. Enjoy! 3.5 stars. (7-20-09)

Under the Sea 3D

Under the Sea 3D is an excellent IMAX movie but it is an awesome 3D movie. You get to see numerous underwater coral-reef species -- many translucent and undulating -- close up and in 3D. They may be solitary lurkers or traveling in hypnotically shifting schools. They may be predator or prey. Whether gossamer and ghostly or fleshy and alien, they are close enough to show an otherworldly beauty (esp. the cuttlefish). Thanks to your 3D glasses, you may also feel inclined to pet or chin-chuck the daintiest undersea denizens -- or swat at the scariest! The sound quality is exceptional too -- you hear every swirl and shiver of a school of swimmers and every snap and crunch of a predator's jaws. In fact, the only warning I would give about this wonderfully educational movie is that the first 20 minutes are predator-rich -- with in-your-face snaps and chomps in fast and slow motion -- that they might be too scary for some kids under age 10. (My youngest son kept covering his eyes and pleading to leave until we got to the halfway mark.) No more than a total of 5 minutes of discussion spread throughout the second half of the movie addresses the serious implications of global warming but that is hardly a cause for complaint from some since global warming -- denied for decades by lobbyists and vested interests -- has visibly begun to destroy such beautiful and essential ecospheres even as we are finally beginning to admit our responsibility to solve the problem. (Without an end to global warming, we won't have coral reefs to film much less to subsist on.) I saw Under the Sea 3D at Houston's Museum of Natural Science and highly recommend it. The baby sea lions at the end are sooo cute! 4.5 stars. (7-20-09)

Click, Clack, Moo, Cows That Type

Scholastic has enticingly adapted for DVD the first two stories from my favorite children's storybook trilogy, written by Doreen Cronin and illustrated by Betsy Lewin. Click, Clack, Moo: Cows That Type (a Caldecott Honor Book) is the leading animated story with a downhome musical accompaniment and narration by Randy Travis. To paraphrase the story itself: "Cows that type? Hens on strike? How can Farmer Brown run a farm with no milk and no eggs?" Not only is this book affectionate and humorous but it's a pint-sized introduction to the essentials of capitalism and labor unions. 5 stars. Another delightful story written by Trinka Hakes Noble and illustrated by Steven Kellogg, The Day Jimmy's Boa Ate the Wash relates a daughter's school field trip in Rube Goldberg fashion with everything that ought to happen at a farm getting turned on its ear. 4.5 stars. Written and illustrated by Helme Heine, The Pigs' Wedding gives us a parade of porcine puckishness as pigs paint themselves fashionably to celebrate Porker and Curleytail's wedding. 3 stars. Nicely written by Phyllis Krasilovsky and illustrated by Peter Spier, The Cow Who Fell in the Canal tells how Hendrika the Dutch cow took an adventure into town. (I'm almost certain I read this book when I was young.) 4 stars. Finally, written and illustrated by Tomie de Paola, Charlie Needs a Cloak shows how a shepherd shears, cards, spins, dyes, and weaves wool to make a colorful new cloak. 3.5 stars. The disc includes a Spanish version of Click, Clack, Moo and runs 52 min. Overall 4 stars. (7-16-09)

Giggle, Giggle, Quack

The second story in my newest favorite children's storybook trilogy is Giggle, Giggle, Quack, now on DVD from Scholastic. Our story resumes on the farm of Farmer Brown, who is leaving on a vacation after putting his brother Bob in charge of the animals. "Keep an eye on Duck," he warns. "He's trouble." (Duck finagled custody of the typewriter from the cows as well as Farmer Brown when we last saw him in Click, Clack, Moo: Cows That Type.) Too late -- Duck has already cadged Farmer Brown's pencil and proceeds to substitute his own animal-care directions for the real ones! 5 stars. Written and illustrated by Helme Heine, The Most Wonderful Egg in the World reminds us that a competition needn't select one arbitary winner since everyone has something beautiful to contribute. 3 stars. In James Marshall's Wings: A Tale of Two Chickens, wise and book-loving Harriet must rescue her airhead friend Winnie from a sly fox in a hot-air balloon. 4 stars. The Foolish Frog is a rollicking Pete Seeger banjo tune that can carry a whole roomful of kids into singalong euphoria with its parade of whimsical verses and jubilant chorus. 4 stars. Written and illustrated by Emily Arnold McCully, Picnic is an infectiously delightful if wordless tale of a mouse family's picnic down the road and by the shore. 4.5 stars. Written and illustrated by Margaret Mahy, The Three-Legged Cat is a memorable tale about a fussy dowager sister who wishes for an even quieter cat than her three-legged bundle of fluff while her world-roving brother (who stops by annually for "a spot of tea and a bit of a chin wag") wishes for a warmer Russian fur hat than the thinning one that's warmed his bald pate for years. 4 stars. Overall 4 stars. (7-16-09)

Moon

For more reasons than the obvious, Moon looks and feels like 2001: A Space Odyssey meets Outland (with a touch of Solaris). It is the most intelligent and realistic space movie to come along in years. Moon hauntingly depicts the isolated existence of Sam Bell (Sam Rockwell), two weeks from the end of a three-year contract as the solitary operator of an automated mining operation -- not just on the moon but on the dark side of the moon! To make matters even more lonely, because the mining corporation's communications satellite has been broken, video messages to and from Earth are relayed over the course of hours via Jupiter (or so he's told). Well, three years alone is a long time and Sam is beginning to see things -- until he has a face-to-face encounter he cannot ignore. What he ultimately discovers about the truth of his existence strips bare a psychological tightrope -- an unraveling skein that leads to multiple loose ends -- that is not as taut as Gattaca but certainly more visceral. The Houston Chronicle pronounced Moon "boring" but it is not entertainment like Die Hard, it is science fiction -- a speculative narrative about the what-ifs of technology as well as the human spirit: Why are we here? What can we accomplish? What will we leave behind as a personal legacy? For being the only person on the screen for 98% of the movie, Sam Rockwell carries the whole of Moon on his shoulders like Atlas. I found myself caring about what happens to him in every possible fashion. Kevin Spacey as the soporific voice of the mining base's computer, Gerty, gets a HAL-like moment with the words "I can only attest to what happens on the base" -- yet even this character evolves as it confronts reality and rethinks its loyalties. Moon has a lot of food for thought for those who are willing to explore its numerous implicit threads. 4 stars. (7-15-09)

Ice Age: Dawn of the Dinosaurs

Ice Age 3: The Dawn of the Dinosaurs is a fun addition to the Ice Age franchise and a fine enough movie in its own right. While perhaps not as good across all counts as its two predecessors, it is exceptional in its use of 3D esp. during chase scenes. See Ice Age 3 in 3D if at all possible! Our story begins as two mammoths, Mannie (Ray Romano with his beleaguered everyman's voice) and Ellie (Queen Latifah with her ghettolicious mama's voice) are seeking a home for the delivery of their bun in the oven--with the company of their friends, saber-tooth tiger Diego (Denis Leary) as an aging alpha male and bug-eyed sloth Sid (John Leguizamo) as the resident lisp-sputtering nerd. They discover a subterranean world of dinosaurs; threats, chases, and fights ensue; cloyingly cute, cooing babies are born and a cozy family vibe is affirmed with a happy ending. Ice Age 3 is basically Jurassic Park 3 stripped halfway down to The Land That Time Forgot. It's a family movie that virtually defangs several large and lethal dinosaur breeds because of how they are drawn (caricatured) and how they never actually manage to catch the heroes they're madly chasing. If you have a four- or five-year-old who can handle such implied perils so long as no one gets caught or killed, Ice Age 3 should be a no-brainer esp. for the dinosaur lovers of your clan. (My 11-year-old son felt sorrow at the demise of the biggest, baddest dinosaur though as we soon learned, he needn't have worried.) My favorite new character in this movie is Buck (Simon Pegg), a jaunty one-eyed vine-swinging Aussie weasel (though in any other context all those things together might be a bad thing), who almost steals the show. And joy of joys, Scrat the psycho squirrel is back, pursuing his beloved acorn as well as the girl squirrel Scratte--their story-in-a-story is hilarious esp. during the song "Alone Again (Naturally)"! In summary, Ice Age 3 is for families and will leave you with big grins on your faces. 4 stars. (7-15-09)

Cherry 2000

Miss the 1980s with its frizzed hair and cheesed plot lines? Watched every Bruce Campbell movie ten times and need a break? Cherry 2000 is Mad Max meets The Stepford Wives--with a bit of Blade Runner--or maybe Tank Girl meets Romancing the Stone (with gender roles reversed). David Andrews is Sam Treadwell, a future-day nebbish who loves robot women--specifically the Cherry 2000 product line. After he shorts out his vapidly cooing vixen during a frolic in wet soapsuds, two dunderheads from the office convince him to go out and find some "real women." (Don't miss Laurence Fishburne as an attorney in a scene that is a supreme critique of today's sexual mores extrapolated into the future--where every aspect of an evening's encounter is contractually haggled out like fishmongers turned corporate sharks.) Melanie Griffith is E. Johnson, a tough-as-nails tracker (yes, even with her monotone baby voice) who agrees to take him through the wastelands to find a replacement robot. Her rocket-fueled Mustang is to die for (if you don't chuckle to death first). Secondary characters such as the rumored-dead tracker Six-Fingered Jake (Ben Johnson) and the creepy survivalist alpha-male Lester (Tim Thomerson) are colorful and aptly played. The nightclub and Sky Ranch locations show an inventiveness--arguably either derivative or original but still inventive and therefore preferable to formulaic--too rarely seen in 1980s celluloid. And if you're wondering about the turkey sandwiches, I think they're an indictment of the robot women's vapidity--because of what is said after Lester "meets up with" another woman. The moral of the story is that real women drive hard, shoot hard, and love hard. Yes, Melanie Griffith is miscast as just such a woman--but it's also good cheesy fun to watch. I liked Cherry 2000 as much as Robocop, Repo Man, or Buckaroo Banzai and would watch it again if I caught it on cable--and might even rescue it from a discount DVD table. 4 stars. (7-13-09)

The Prophecy

Christopher Walken is supremely creepy in The Prophecy as an archangel running amok -- you've got to respect (though grudgingly so) a character whose powers include causing spontaneous human combustion. Walken chews through and owns every scene in this movie but Viggo Mortenson steals it back towards the end as a chillingly threatening Lucifer. Alex Koteas is a priest-turned-detective who lost his faith for a season but in the end can say "I have my soul and my faith." His and all the other performances are good. The special effects are acceptable for mid-nineties mainstream horror movies; this was not Jurassic Park, you know. The plot and directing are a bit uneven -- even supporting the charge of occasional cheesiness -- but this is a movie with heart: Its sheer earnestness is enough to carry the day esp. to cover over any rough patches. Pay attention to how some scenes are framed and give the baddies all the credit they are due -- it's only a movie after all. I like The Prophecy better than The Fallen because it tries harder though overall The Fallen is a better movie (just more psychological). The Prophecy caused me to bump the puckish Dogma up to 4.5 stars -- though The Devil's Advocate at 5 stars tops this topic for me. So because 3.5 stars wouldn't do justice to The Prophecy -- 4 stars. (7-13-09)

Strega Nona ... and More Folk Tales

Strega Nona (and More Caldecott Award-Winning Folk Tales) contains four classic storybook adaptations (plus two versions in Spanish) from the last quarter-century of the second millenium: Strega Nona by Tomie dePaolo (an Italian crone with healing powers finds her magic pasta-cooking pot has gone awry at the hands of a dim-witted assistant, 3 stars), Joseph Had a Little Overcoat by Simms Taback (a Yiddish man converts an aging overcoat to a jacket then a vest then a tie and so on, 2.5 stars), Stone Soup by Marcia Brown (three hungry soldiers cajole an uncooperative village into helping concoct a delicious soup starting with just three stones, 3 stars), and The Tale of the Mandarin Ducks by Katherine Paterson (a wrongfully disgraced ex-samurai finds love and happiness through mutual mercies exchanged with a mandarin duck and his mate, 3.5 stars). Each story is mildly animated and accompanied by music. Joseph Had a Little Overcoat includes a musical version after the story -- I found both to be overlong though they are colorful. Overall 3 stars. (7-13-09)

Noisy Nora

One of my favorite children's TV shows when my oldest sons were tykes was Reading Rainbow. Like many of Scholastic's mildly animated storybook titles, Noisy Nora (...and More Stories About Mischief) comes close to the look and feel of that show with capable narrators (sometimes the authors themselves) and slow-motion animation of portions of the illustrated page. Noisy Nora by Rosemary Wells (6 min, narrated by Mary Beth Hurt, 4 stars) is the charming lead story of this collection; very much in the vein of Wells' Ruby and Max series, Nora is the middle child who has to make a clatter to get any attention in her family -- cute! T Is For Terrible by Peter McCarty (6 min, narrated by David de Vries, 4.5 stars) is the tale of a T-rex who "can't help it" that he's so big and terrifying -- excellent! Cannonball is a live-action movie (28 min, based on the book Cannonball Simp by John Burningham, 3 stars) about a circus clown who's to be fired until a stray dog joins his act -- family friendly! Goggles! by Ezra Jack Keats (3.5 stars) deals with two inner-city young boys who need to find safe passage around the projects -- interesting! And last but not least, the bonus story Munro by Jules Feiffer (9 min, narrated by Howard Morris, 5 stars) is a marvelous military satire (and Academy Award winner in 1961) about a 4-year-old boy who gets drafted into the army -- classic! Overall 4 stars. (7-3-09)

A Life Less Ordinary

I absolutely love A Life Less Ordinary! It's quirky and original and always a pleasure to watch. Our story begins as the self-centered daughter (Cameron Diaz) of a cold-hearted corporate mogul (Ian Holm) throws a snit in daddy's office just as a disgruntled janitor (Ewan McGregor) bursts in protest his employer's indignities. Words and actions escalate until the daughter engineers her own abduction -- all to get back at daddy (who refuses to give a whit). Ewan does very well at playing such a sincere, um, putz that Cameron realizes she has to teach him how to phone in a ransom demand much less act like an alpha male. Better still, two angels in human form (Holly Hunter and Delroy Lindo, who could pass for Morgan Freeman) have been banished from heaven until they can cause this hapless road-tripping couple to fall in love. Delroy is the steady head but Holly has an attitude -- plus, as the stress gets to her, she starts to become unhinged. My favorite scene is when she breaks out a sniper rifle, determined to do whatever it takes to finish the job and get back to heaven -- as if! Ewan and Cameron evince an easy chemistry -- flashing in anger but eventually warming in affection. This is just a sweet, loopy love story that's extremely fun to watch -- so much so that I had to own it. 5 stars. (7-2-09)

RV

RV wasn't as bad as I expected (given what I'd inferred from the trailers and the buzz). In fact, it was OK. Sure, it has a few tired cliches (sight gags, potty humor, and adversity-pulls- embattled- family-together scenes) but these are nearly balanced by the charming quirkiness of the trailer park family that cannot be escaped (for good or for ill). Our story begins as Robin Williams' abusive beverage-magnate boss forces him to cancel his family's greatly anticipated trip to Hawaii in order to make an iffy pitch to a prospective buyout in Colorado. Hawaii was to be his family's last hurrah before the daughter enrolls at Stanford and his dotty (even doting) wife has even promised him some one-on-one time together ("good naps"). Determined to keep his job but not disappoint (much less tell) his family, he talks them into taking an RV road trip to Colorado (so he can try to write his proposal in the wee hours and send it to his boss). I can definitely empathize with his struggles to find privacy, power, a perch for his laptop, a phone line, and a cellular signal in the hinterlands. His challenges are legion but the absolute worst is the toilet system blowout. (At least Patrick Warburton wasn't in this movie to say "Eww! Your mouth was open!" -- though I think it was.) Nevertheless, just like when movie couples who antagonize each other magically fall in love when a romantic song rises to the fore, this family's tensions inexplicably give way to affection and warmth as we approach the feel-good ending. Because it's ultimately about family and family values, most families will enjoy this family movie. 3 stars. (6-12-09 posted 6-30-09)

Welcome to Mars: Nova

Nova's Mars: Dead or Alive -- the story of the design, construction, and space flight of the twin Mars rovers -- is the prequel to Nova's Welcome to Mars -- the story of the rovers' explorations of the Martian surface. Welcome to Mars is a pretty straightforward telling of the rovers' on-planet challenges, frustrations, and amazing successes -- from the perspective of a bunch of rocket scientists (whose favorite comfort food when under career-crunching emotional stress seems to be ice cream novelties). You get to see space-science doctorates stressing out, whooping it up, and giving bear hugs. (It's NASA's way of letting us know rocket scientists are people too and also of impressing on us landlubbers the incredible consequences for humanity's future that is potentially at stake with the Mars mission.) Whether the Mars rovers' operational hiccups, terrain obstacles, or ultimate demise constitute a technological who-done-it or thriller fare for you, anyone with a mind for science and its implications should follow Spirit's and Opportunity's progressive analysis and discovery of the prior existence of water -- and hence possibly life -- on the surface of Mars (some several billion years ago). Simply superb photos and closeups of the surface of Mars! 4 stars. (6-30-09)

Imagine That

If my reaction is any indication, Imagine That may be offensive to those with concerns for racial stereotypes and child abuse. (At various times I was growling or murmuring "This is so wrong...") However, everything tidily works out in the last five minutes in a sugar-coated happy ending--so that makes it all OK...doesn't it? Eddie Murphy in Imagine That is Michael Douglas in Wall Street meets Adam Sandler in Bedtime Stories. (Are you worried yet?) Stock trading is a high-octane, dog-eat-dog world--but can the man who once played Dr. Doolittle put the bicuspids to a canine (even metaphorically)? He's just too nice--OK, smarmy. He's also daddy to a wonderful little girl. (OK, now get ready to be afraid.) Yara Shahidi is the true star of Imagine That; she is pitch-perfect in every scene. However, the script has this 6-year-old dependent on her bedroom blanket (her "goo-gah"), screaming shrilly when separated from it, and speaking to four imaginary friends and a dragon--who of course give her stock investment tips! (OK, now be very afraid.) Thomas Haden Church plays a stockbroker who's gone native; his unorthodox boardroom style is all chants and drumming and vision-quest gibberish. (OK, now be extremely afraid.) Murphy goes over the top to regain his boardroom equilibrium by performing outright minstrelsy--bug-eyed shuck-and-jive. (OK, now experience shock and awe.) In the feeding frenzy of a do-or-die competition to not just keep their jobs but inherit control of the investment firm, each man perpetrates indignities upon their children that border on child abuse: Church cranks his kid up on Red Bull while Murphy breaks into a house, creeps into a room full of sleeping little girls, and steals their blankets. You wouldn't think there's any excuse for such pap and circumstance but the script half-redeems itself by means of any scene with a mature adult named Martin Sheen in it, followed by a sugar-sweet family-time finale. By compromise, just barely 3 stars. (6-29-09)

The Garden

The Garden is a documentary about the hopes and losses of the simple urban poor as they face the capriciousness of the rich and politically devious. Conceived as a peaceful initiative following the Rodney King race riots, a Los Angeles nonprofit operated the largest community garden in the country for 12 years, giving plots of land to 372 mostly Latino families to grow their own fresh fruit and vegetables. Comments from a variety of these salt-of-the-earth types belies how much their subsistence and welfare depended on the small plots of land they nurtured to a healthy harvest. Suddenly and inexplicably, their grassroots nirvana is to be taken away. They organize themselves, seek an injunction, and begin to learn how to dig up a different kind of dirt and wage a community-based appeal. The challenge is daunting yet their efforts are ultimately successful. This is a detective story with riveting twists and turns, indications of secret collusion, and evidence of confounding duplicity between two passive-aggressive county officials and the former owner. I don't want to give away the ending but if you care for the protagonists in this story (whom the antagonists brand as provocateurs for daring to challenge their will and to call on the rule of law), you will be left with gritty questions to chew as you ponder the essence of democracy, fairness, and justice. 4 stars. (6-29-09)

The Fifth Element

Bruce Willis and the rest of the ensemble cast are superb in The Fifth Element, an exceptional science-fiction movie of vision and creativity from director Luc Besson. Formerly a top military asset, Korben Dallas (Willis) is caught up in several intrigues (from the forces of good, the forces of evil, and the government) that intersect and work at cross purposes to each other throughout the movie to suspenseful if often comic effect. Gary Oldman is droll though vile as Jean-Baptiste Emanuel Zorg, a megacorporate tycoon who dispenses weapons and death as easily as he flicks away a spent cigarette. Ian Holm is Father Vito Cornelius, a nervous priest entrusted with a mission from God. And Milla Jovovich is perfect as Leeloo (short for Leeloo Minai Lekarariba Laminai-Tchai Ekbat De Sebat in the Divine Language), the avatar/warrior long promised to save the Universe from destruction -- but she will need help in her darkest hour. I also love every actor in this movie -- from Major Iceborg to the mugger -- and the costumes, my Lord, the costumes! Also don't miss Chris Tucker, who is hilarious as the shock VJ Ruby Rhod (think Prince meets Little Richard). The script is excellent and full of memorable and comic lines, however, the music is simply unforgettable, most notably Plavalaguna's concert before all mayhem breaks loose at the resort. (The soundtrack was electronically engineered to showcase the alien Diva's superhuman vocal coloraturas.) Does Bruce Willis save the day and get the girl? (What do you think?) But it's the panache with which he does so that's totally entertaining! I had to own this movie and will watch it anytime at the drop of a hat. If you like science fiction, you just may too. The thing is, though, even if you have never liked science fiction, you'll surely like this -- The Fifth Element is that good! It should appeal to a broad audience from geeks to fashion models, from action fans to true romantics. 5 stars. (6-26-09)

Mission to Mir: IMAX

Mission to MIR is a fine documentary -- that's documentary as in education, not entertainment, so if your brain hits the snooze button when it comes to rocket science, go watch Transformers: Revenge of the Fallen. This IMAX movie relates what it's like for the American astronauts who train with the Russian cosmonauts at Star City, 32 km NE of cold snowy Moscow, and launch from the Baikonur Cosmodrome, the world's largest rocket complex in Kazakhstan, for their months-long assignments in the MIR module of the International Space Station. Being an astronaut floating weightless above the Earth is way cool no matter from which of the six degrees of freedom you look at it, despite the challenges of material and societal isolation and physical atrophy that must be faced. Shannon Lucid is the primary lens through whom more than half of this documentary is presented, and her infectious laughter and enthusiasm makes a visible difference in the morale of her fellow astronauts. These astronauts are not only the best of our best but they study Russian for three years before training and working and living in space for months while speaking only Russian -- so take a nap on your own time and learn about something cosmically cool with this DVD. Spaceflight is much too enlightening to make me ever snooze. It's true that an IMAX film loses some of its impact in the translation from a 52-by-72-foot screen (average size) to a computer or TV screen that's 2-4 percent of that size but the soundtrack (voice and music) was in perfect shape on my copy of the disc. I give it less than 4 stars only because it's less exciting than other IMAX space documentaries I've enjoyed. For similar offerings, click my avatar and see my astronaut, IMAX, and Planet Earth lists. 3.5 stars. (6-26-09)

Make Way for Ducklings and More Robert McCloskey Stories

Make Way for Ducklings was the first library book I read as a child. This Scholastic DVD is a nice presentation of this storybook and four others by Robert McCloskey that were published from the 1940s to the 1960s. In "Make Way for Ducklings" (1941, Caldecott Medal winner), a mallard family takes up residence in Boston's Public Garden (4 stars). In "Blueberries for Sal" (1948, Caldecott Honors winner), Little Sal and Little Bear mix up their mothers while picking and eating blueberries (3.5 stars). "Time of Wonder" (1957, Caldecott Medal winner) describes the beauty of a summer (including a passing hurricane) on the Maine seacoast (4 stars). "Burt Dow: Deep Water Man" (1963) is sort of Popeye meets Jonah inside a whale (3 stars) and in "Lentil" (1940), a small-town boy's harmonica playing helps greet a returning war hero and civic leader (3.5 stars). Read-along features and a Spanish version of Make Way for Ducklings are included. Overall 3.5 stars. (6-26-09)

Moulin Rouge

Baz Luhrmann's genius oeuvre, Moulin Rouge, is a tour-de-force of musical synergy and whimsy. It conveys power and delight through original arrangements of anachronistic pop hits -- all wrapped around a musical package called (as the story within the story) Spectacular Spectacular. Not only does Moulin Rouge turn every narrative convention you'd expect on its ear, it's incredibly fun -- and who knew Nicole Kidman and Ewan McGregor could sing like that? (Their secret lovers' song "Come What May" is soaringly and unforgettably romantic.) Our story begins (as McGregor's Christian narrates his own tale) when a "penniless writer" in turn-of-the-century Montmarte aspires to lyrically celebrate "the Bohemian values of freedom, truth, and love." Through a comedy of errors, Christian happens upon a Bohemian acting troupe that needs a writer. He is introduced to the courtesan Satine (Kidman) while she expects to shower her favors on a rich investor in the Moulin Rouge and her career. The pair falls in love and, under the pretext of preparing the musical production, hides their secret dalliance from the slimy investor (Richard Roxburgh). Harold Zidler (Jim Broadbent), the unctuous stage manager, puts the kibosh on Satine's romance before the investor discovers the truth and sets his thug in motion. Will love endure? Will the show go on? Moulin Rouge is as wild as a menagerie (or a menage-a-trois) and its song-and-dance numbers are numerous and awesome, paying layered tribute to every vocal tradition and musical genre, from opera to rap, most notably with riffs on Mario Lanza, the Beatles, Bollywood, Elton John, Sting, Madonna, and Lady Marmalade. Here is a great musical production within a musical production, irreverent as well as eclectic, and so much fun you'll probably say after it ends "Now *that* was different!" or "Let's watch it again!" (or both). 5 stars. (6-25-09)

Enemy of the State

I love a good technothriller and that word describes Enemy of the State to a tee. In my opinion, only the recent Eagle Eye tops it for a technothriller based on spy-satellite technology. Will Smith is excellent in everything he does -- as is Gene Hackman -- and the high-speed surveillance vignettes between scenes really make the movie for me -- conveying a sense of pressing pursuit by the Powers That Be and evading pursuit by Smith and Hackman. (I also recommend seeing Harrison Ford in Patriot Games and Hackman with Ford in The Conversation.) Sure, most of the tropes have been used before -- clothes planted at a murder scene to frame the targeted whistleblower, clothes laced with surveillance bugs and global-position transponders, evil government conspiracies -- but Enemy of the State marshals it all together quite masterfully. It even crosses all that with a subplot involving an FBI stakeout of a mafia operation that results in a major ballistic brouhaha. I'll watch this one any time and I'd like to own it. 4.5 stars. (5-4-09 posted 6-24-09)

Gone with the Wind

In retrospect, I have two words: Four hours! Is this America's answer to War and Peace? Is Scarlett our Anna Karenina? Is a pouty drama queen our best claim to cinematic royalty? True, after the war she drops the "drama princess" mien of a protected southern debutante, faces reality, and toughens her outlook: "As God as my witness, I will do whatever it takes I will never be hungry again!" She never surrenders her means of manipulation, however, and in fact only sharpens such skills. It's worthwhile to note that, despite her initially childish motives for choosing and pursuing two will-o'-the-wisp men, neither of these men were strong enough to stand up to her. Perhaps she intuitively chose them precisely so that she could continue to get what she wanted (a strategy that didn't work so well with her first marriage). Only Rhett was man (and clear-eyed realist) (and selfish) enough to stand up to her and to tell her No when she needed it -- or to show her the rejection she had visited upon others when playing by her rules of vested self-interest. Gone With the Wind is a southern diorama of pre- and post-Civil War society seen through the personal ambitions and frustrations of Kate Scarlett O'Hara Kennedy (Vivian Leigh). It's a moral play that is most interesting to me when the (mostly) amoral Rhett Butler (Clark Gable) dispenses his clear-eyed observations on Scarlett's misbegotten motives. The two ultimately forge a tacit if not mutual understanding for a time but Rhett abruptly cuts the anchor line, leading to Scarlett's most memorable query and his most notorious reply ("Frankly, Scarlett ..."). Scarlett always was and always will be a force of nature, a turbulent wake for all who knew her and for whom only the Civil War itself could be a greater firestorm. 5 stars. (5-11-09 posted 6-24-09)

MARS Dead or Alive: Nova

Mars: Dead or Alive is an excellent Nova documentary that tracks the design, construction, and space launch of the twin Mars rovers, Spirit and Opportunity. Computer-based animations of the Mars launch, landing, and rover ground operations are top-notch -- almost photorealistic -- and video excerpts from the rovers' design, testing, and troubleshooting processes are highly illustrative -- esp. since half of the footage is interspersed with a half-dozen systems and program supervisors talking about their do-or-die efforts to remedy design flaws in the parachute and airbag delivery and other systems, in some cases right up to the day of the first rover's launch. (The footage was filmed during the design before any one of the program's 600 scientists and engineers knew whether their rovers would be finished by the launch window -- which only comes every two years -- much less survive the Mars landing.) If you love space flight, you will share the tenterhooks of suspense that the JPL and NASA team members felt before and during the rovers' launch and esp. during their landings. (Two-thirds of all flights previously sent to Mars have not survived.) And there's nothing like nerd exhilaration when a Mars landing succeeds. (Jump up and down and break out the grape Nehi?) Be sure to see the companion Nova documentary about the rovers' exploration of Mars itself. Also check out the extra features' candid interview with Donna Shirley (donnashirley.com), program co-head for the original Mars rover, Sojourner Truth. 4 stars. (6-24-09)

The Human Face

I caught the fourth episode of this BBC special on TV a while back and found it so enjoyable that I finally circumvented some queue time by picking up The Human Face at my public library. Disc 1 carries all four 50-minute episodes; Disc 2 has (not very) extended versions of several interviews and a puffery of other bits. That said, Cleese worked on The Human Face for a year and it shows. Amidst excellent production values, every part of it bears the man's touch -- his personable narration and dialog as well as his personable mug, sometimes in costume and drag. Elizabeth Hurley plays his tetchy sidekick, including an entire episode where her supine face is the stage for a miniaturized Cleese's shenanigans (and hers back at him). If you are a Cleese fan, you should be amused by his peripatetic palaver and whimsical vignettes; even though a few of his bits date back to vaudeville, this is Cleese after all and a thoroughly likeable fellow (in a dry British humor kind of way). In short, he has the candor and can-do to bring this sort of thing off. The set's four episodes are titled Face to Face, What Are You Looking At?, Beauty, and Fame. Discussion begins with human facial recognition (a skill to which perhaps a third of our brain is devoted). It then ranges through congenital and postcongenital defects in the human face and the ability to recognize faces. Finally, we observe the selection of the next "it girl" and sit in on the casting evaluations of three hopeful male actors. What's amazing is how one cosmetic surgeon has developed a facial map based on and validating the geometrical symmetry of what the vast majority of people consider to be beautiful in a face -- any face. As always, Cleese personably and intelligently interviews such a variety of people and weaves the whole into a sensible, urbane, and informative seminar on the importance of the human face amidst human society. 4.5 stars. (6-24-09)

Star Trek

Even the trailers make it clear the young and supremely confident Captain Kirk likes to fight and fly without a safety net. J.J. Abrams' reboot of the Star Trek franchise truly pulls out all the stops to "boldly go where no one has gone before" as it explores James Tiberius Kirk's traumatic birth, rebellious youth, and iconoclastic path to youngest starship captain ever. This is not your father's Star Trek (Original Series)! While well-rooted in the characters, this super-reboot is completely fresh and filled to the brim with space debris and adrenaline. First we witness Kirk's birth in the midst of a decisive battle that will set the course for his life. Next we see how a young Kirk develops a knack for clawing his way back from the edge of a precipice -- a skill that will serve him well in battles to come. The action is pretty much nonstop and should thrill extreme-sports fans and Trek fans. The casting is good esp. with Chris Pine as Kirk and Karl Urban as Bones. (He channels DeForest Kelley and we learn the origin of his nickname and attitude.) John Cho as helmsman Ikaru Sulu gets to go swashbuckling and we briefly get introduced to Simon Pegg as Montgomery Scott, the triumphant uberengineer. Bonus points: Zoe Saldana as Nyota Uhura is hotter and smarter than ever (and has a thing for one of the crew). We even have Chekhov, Sarek, Amanda Grayson, and Christopher Pike -- but where's Janice Rand with her blonde beehive? Though less brash than Kirk, Zachary Quinto as freshman officer Spock is the best character in the movie. Leonard Nimoy even has an excellent cameo. I saw it on opening night and it goes without saying this movie is best for action and special effects but also for characterization and comedy if not always drama. Every Trek fan needs to see it but also any sci-fi or action fan. If you like the new Transformers or Battlestar Galactica then fly at warp speed to see this movie. 4.5 stars. (6-11-09 and 6-19-09)

Knuffle Bunny & More Great Childhood Adventure Stories

Knuffle Bunny etc. is a delightful compilation of six children's storybooks, each presented with original illustrations that are enhanced by transitional animation plus fine narrator and character voices. I wasn't previously acquainted with any of the stories in print form though I can understand how Knuffle Bunny is so popular and a Caldecott Honor book. (1) Knuffle Bunny, written and illustrated by Mo Willems, is voiced by the actual father, mother, and daughter of the authorial family. Cute as the dickens, Knuffle Bunny is a real charmer (esp. for tots and tykes)! 4.5 stars. (2) Written by Carl Best and illustrated by Giselle Potter, Shrinking Violet's illustrations have a quasi-Russian caricature style and their limited animation (gently bobbing heads, torsos, and limbs) gives them a bobblesque surrealism that fits well. Moreover, the story (narrated by Calista Flockhart) is a good one for children in primary to middle school because of the theme, which is how to deal with ridicule and self-consciousness. 3.5 stars. (3) Possum Magic, written and narrated by Mem Fox and illustrated by Julie Vivas, has wonderfully drawn animal illustrations; every one looks as fuzzy as you'd expect, even the magically invisible baby Hush. Even better than the Australian author/narrator, the didgeridoo soundtrack is understated yet unforgettable. 4 stars. (4) Planting a Rainbow, written and illustrated by Lois Ehlert, is a beautiful choral poem of bright colors and botanical variety. 4 stars. (5) Lindsay Crouse narrates Brave Irene, written and illustrated by William Steig, where a sick seamstress's daughter battles a snowstorm to deliver a fancy dress to the duchess. 3.5 stars. (6) David de Vries narrates Will I Have a Friend?, written by Miriam Cohen and illustrated by Lillian Hoban, where Jim ponders and finds a friend on his first day at kindergarten. 3 stars. This collection is a read-along DVD. Overall 3.5 stars. (6-20-09)

The Man Who Came to Dinner

This film adaptation of The Man Who Came to Dinner is a wicked light comedy reprising Monte Wooley as Sheridan Whiteside. The intelligent, fast-paced script rarely disappoints with its ripostes, bon mots, invectives, and satiric rips back and forth--usually from the direction of Whiteside to anyone else in the room (or leaving it) but quite often from the reverse direction via his cousin and secretary of 10 years, Maggie Cutler (Bette Davis in an entirely satisfactory if uncharacteristic role). Whiteside is in his element when he's ordering everyone around, from the ball-bearing magnate homeowner and his midwestern socialite wife (who seems to be channeling a warbly Glinda the Good Witch) to their marriageable daughter and son to the long-suffering Nurse Preen (Mary Wickes, who gets the worst of his digs) and the homeowners' cook and maid (who come to love the lug). (At the end of the movie, Whiteside offers them jobs and they gladly accept. "They've been with me for 10 years!" laments the lady of the house. "I'll commute their sentence," Whiteside replies.) The handsome local newspaper editor (Richard Travis) plays a major role, causing Whiteside to simper gleefully at the mischief he conceives for his own purposes. A gold-digging actress (Ann Sheridan) plays her part in his trap until Whiteside gets a final glint in his eye as to what to do about it (and her). Like other catty scripts from Kaufman in the 1930s and 1940s (such as The Marx Brothers), this production is conversationally spry and steadfastly sharp. It's entertaining and funny, however, it feels light as a trifle by the time it's through. I'd say it's too intelligent to be a popcorn muncher (or you'd miss the clever dialog) but too calorically (comedically) light to stick to one's mental or emotional ribs. It's better than adequate but I can't say I deeply like it (as much as others that I do), which leaves me at 3.5 stars. (6-19-09)

Magnificent Desolation: Walking on the Moon

If you love the space program, you will appreciate this paean to it. Boil down Tom Hanks' astoundingly excellent and inspiring five-DVD production From the Earth to the Moon into one 40-minute 3D IMAX documentary and you approximate Magnificent Desolation. That said, I have to address the criticisms of those who bash this film out of shortsightedness and lack of imagination. The description clearly promises an "IMAX film" (universally seen by schoolchildren and families in science museums) with new "photographs, CGI renditions, and NASA footage." (I should add the IMAX edition would have been phenomenal in 3D.) Yet here is how many criticized this movie: "I expected mostly historical film footage yet got mostly 'fake' CGI footage. Geared to kids. Fluffy. Pro-NASA. Disappointing." Excuse me? There is plenty of archival footage but it doesn't predominate because this is not an archival disc. The CGI is completely top-notch and authentic (thanks to Lucasfilm) but most importantly, its large format and high resolution make the lunar missions come alive. I also loved the humor Tom Hanks inserted into the rapid-fire moon vignettes (you have to be quick to catch all the historical and cultural references), a conspiracy theory spoof, and the childrens' quiz (reinforcing the point that our kids are not being taught about this greatest of humanity's technological achievements). Finally, no, they didn't pull together every astronaut to read his own quotes; actors (Morgan Freeman, Paul Newman, Gary Sinise, John Travolta, and others) did fine. This documentary makes you feel as if you are on the moon! For similar offerings, click my avatar and see my 3D, IMAX, astronauts, and Planet Earth lists. 5 stars. (6-20-09)

It's the Pied Piper, Charlie Brown

It's true that It's the Pied Piper, Charlie Brown is not a "classic" Peanuts animated special like the first one (A Charlie Brown Christmas), made 35 years earlier with the Vince Guaraldi jazz score -- but that doesn't make it "noncanonical" as some have complained. So let's look at the facts. First, the drawings of Charlie and Lucy Brown and the others have cleaner, simpler lines -- they look more generic and less uniquely Schulzesque. (This disc was released in the same year of his passing after an illness made him unable to draw the strip himself.) Most importantly, this retelling of a fairy tale also breaks with tradition by depicting extensive scenes of the actions and dialog of adults -- always something previously avoided in the child-centric Peanuts universe -- however, the adults (two silent parents, six fussing maids, and eight singing and dancing town administrators) only appear within the body of the fairy tale itself! (Perhaps the Peanuts gang could have populated the entire program as they did in the Mayflower crossing and first Thanksgiving portrayals but I think rejecting this show on such grounds alone is making a mountain out of a molehill.) Lastly, however, the fairy tale is framed front and back by maybe 5 minutes of Peanuts gang animation. So I'd say while not exactly noncanonical, this disc is definitely non-Schulzical (and, some would say, nonsensical). If you agree, console yourself by watching the "exclusive" interview with Charles Schulz as he explains the origins and characters of Charlie Brown, Snoopy, Lucy, Linus, Sally, Peppermint Patty, Marcie, Pigpen, and Woodstock. You'll see that nonsense is entirely within the Schulzian realm! (Guaraldi's famous theme song is called Whimsy Salad after all.) Also important, I don't think the music and dance scenes drag on more than in any classic Peanuts animation (and I love the line-dancing, soccer-playing mice)! 3 stars. (6-20-09)

Defiance

Defiance is a gripping and memorable portrayal of the true story of how the Bielski brothers ultimately sheltered 1,200 Polish Jews in the forests surrounding their former villages, preserving them from slaughter at the hands of German Nazis. Three Bielski brothers survived the Nazi invasion of their homeland during World War II to lead quiet lives in New York City; only after the death of Tuvia in 1983 did their story of exceptional leadership, heroism, and sacrifice come to light. Defiance is Fiddler on the Roof meets Miracle at St. Anna; scenes of battle and slaughter commingle with scenes of human pathos and hope (much of it universal yet mostly inimical to the persecution of Jews throughout history). The alternating rancor and detente between Tuvia (Daniel Craig) and his less circumspect brother Zus (Liev Schreiber) also contributes a polar cycle of pragmatism vs. altruism that connects gritty battle scenes to gritty stragglers' life in the woods. In the end, no one's hands are clean of blood -- all are guilty (through action or inaction as well as through outright misguided intent or good intent gone awry) and in need of forgiveness (of self and of others) even as most make courageous sacrifices (small or large, secret or heroic) to preserve each others' lives. Ultimately, implies the subtext, we are all human beings -- complex, conflicted, yet courageous. Defiance (and its Jewish encampment) is helmed by the icily-blue-eyed Daniel Craig as Tuvia, the compassionate and reluctant warrior who pronounces, "They may treat us like animals -- but we will not become animals." Defiance is a sustained, coherent tour-de-force of the triumph of the human spirit against the crushing will of genocidal monsters as well as the aggravating sins of selfishness and strife. Even though it's not as iconically powerful as The Killing Fields, it's more accessible, so I feel compelled to give it 5 stars. (6-18-09)

Bela Fleck: Throw Down Your Heart

Throw Down Your Heart presents a soulful encounter between the music of the American banjo and Africa, where it is believed the banjo originated. The bright tangy (and sometimes twangy) tones of the banjo are delightfully represented by banjo virtuoso and ad hoc musical ambassador Bela Fleck. You could not imagine a whiter guy than Bela as he wends his way across the continent befriending, jamming, and recording with tribal and village musicians in Uganda and Tanzania on Africa's east coast as well as international music icons in Gambia and Mali on Africa's west coast. We witness a village's construction of a hippo-sized wooden marimba that resonates so loudly it sounds (in Bela's words) like a rock band. We see the construction of native stringed instruments and learn what is known of the birth of the banjo. The title of this documentary comes from an oral history about the slave trade that reportedly led to the invention of the banjo; its dulcet tones with other remnants of Africa's musical heritage helped the slaves survive their harsh ocean transport and servitude in the New World. As one musician observes, Bela is not a talkative guy but he plays music that reaches the heart. So do the evocative souls he meets and befriends through music. Music is an international language and this production is proof of it, heart and soul. I saw this movie with an adult and a preteen on the first evening of a three-day run at the Houston Museum of Fine Arts and we greatly enjoyed it. See the DVD when it arrives and listen to the CD too. 4 stars. (6-17-09)

Rudy

Rudy is an inspiring family-oriented film about finding the motivation to accomplish your dreams. Rudy is My Dog Skip meets Friday Night Lights minus the dog and replacing fanatical Texas high school football with dyed-in-the-wool Notre Dame college football. The movie is based on the true story of Rudy Ruettiger, played by Sean Astin. Sean's specialties seem to be dewy-eyed looks, curly brown locks, and indefatigable optimism. (He's as cute as a puppy dog, plays the role of the underdog to a tee, and takes a licking but keeps on ticking.) The way this youngest (and dyslexic) son takes knocks from his family and the townfolk greatly endears him to families who watch this movie -- but even more so how he clings to and intensely pursues his dream to apply to and attend the University of Notre Dame and to play football with the Fighting Irish. "I'll do anything, coach!" is his refrain off the field while "I can do it!" is his refrain on the field. Indeed, the coach ultimately wishes his players had half the heart that Rudy shows in spades. Families (esp. Catholic or football-loving ones) will love Rudy and enjoy it again and again. Personally, I can appreciate the story more than the pro forma script, directing and acting. Ned Beatty as Rudy's father feels like he's holding back and, in what should be the most emotional scene, we are turned away from Sean's face to view him from behind before we hear him burble a bit and walk away. Even one of Sean's trademark dewy-eyed looks and a few murmured words would have been closer to what anyone would consider to be acting in this scene. So to sum up, I love the story even though the movie didn't grab me as emotionally as I think it does for most people who read their feelings into the characters; I just prefer it when characters portray the feelings the script calls for. Rudy is the underdog to root for though, so be sure to see it with your family. I suspect your kids will love it even more than you do. 3.5 stars. (6-17-09)

The Bronx Bunny Show

The Bronx Bunny Show is so deliberately rancid that it could be the brainchild of Adam Corolla or Seth Green on Vicodin. Properly viewed, it may make you throw up a little in your mouth. However, you'll probably just laugh your fool head off if you're part of its target demographic: fans of Jackass, reality TV, women's wrestling, porn, and Star Trek. Filmed live from what is supposed to be a visibly spunk-stained sofa in a filthy apartment in east L.A., the Bronx Bunny is an ugly bug-eyed brown bunny from da Bronx. His sidekick, Teddie T, is an ugly bug-eyed panda with numerous addictions and illnesses that cause him to be phlegmatic (and not in a good way) with the guest stars. The Bronx Bunny Show is Jiminy Glick meets Crank Yankers in da hood: Every fifth word is a blistering vulgarity, every line involves busting each other's chops with sexual and scatological slams, it's not clear whether every guest star is clued in on the schtick (Jolene Blalock looks sincerely shocked), and almost every show excerpts an R-rated tongue-in-cheek (and not in the usual sense) porn video starring Teddie T. I watched 7 out of 10 episodes at 15 minutes each (including the schmoozing Steve Schirripa from The Sopranos and vain Kelly Carlson from Nip/Tuck, oozing Michael Rapaport from nothing important and so-o-o gay George Takei from Star Trek, conceited wrestler Chris Jericho and self-kidding Mark Hamill from Star Wars, posing rapper Method Man and disingenuous Tina Majorino from Napoleon Dynamite, health-conscious Howie Mandel in absolutely the wrong place, vapid lady wrestler Stacy Keibler, pandering Eric Roberts and sincere Robin Leach, straight-up if put-upon Richard Schiff from The West Wing, and sweet Jolene Blalock from Star Trek: Enterprise), but I couldn't justify sitting through Joely Fisher or the remaining no-name actors. These two are real characters -- just gritty and edgy ones. IW. 2 stars. (6-11-09)

Bride and Prejudice

Since Moulin Rouge doesn't count, seeing Bride and Prejudice last night was my first Bollywood-style movie experience -- and I liked it a lot as far as the genre goes. The costumes, choreography, and musical numbers are impressive and fun to be sure. The main characters' acting is acceptable and every character is funny at some point -- though some (Lalita's parents and esp. Kholi) are throwaway caricatures. D'Arcy here was Balrai who seemed to be channeling Colin Firth quite a bit. The snarkiness against American capitalism followed by fawning to obtain its benefits -- pro-India arrogance vs. rank opportunism even to the point of abandoning one's proud heritage in the blink of an eye -- was always interesting. I considered drumming this movie down to 3.5 stars because of Kholi's overplayed oafish snorting (too much, methinks) but I suspect the goofy whimsy and exotic gestalt of this movie will only grow on me -- so I'll give it a straight 4 stars. (6-1-09)

Arranged

A cinematic gem thanks to the authenticity of its actors, Arranged is a thoughtful and sensitive treatment of the "traditional" Muslim or Orthodox Jewish practice of arranged marriage, particularly as it occurs in America. Indeed, the movie's central premise looks precisely at what happens when two young women -- one Jewish and one Muslim -- teach at the same grade school in Brooklyn and become friends during their families' campaigns to find each woman a suitable husband. Think of Arranged as My Big Fat Muslim/Jewish Wedding but without all the wild drama -- just the domestic angst. Each woman's embedded anticipation of a carefully vetted yet compatible mate is compared with what passes for courtship in the modern world (which the school's principal, semi-channeling Steve Carell as Michael Scott in The Office, offensively asserts is a superior means of matchmaking) as well as each woman's internal struggle with the process. The crux comes as each woman wants to remain true to her faith and her family yet also to preserve her free will, exercise her intuition, and have a say in the selection of whom she would marry. All members of the cast (esp. our leading ladies) convey a marvelous on-screen chemistry; the story drew me in and held my attention from start to finish. For its laudably open and transparent presentation of a fundamental emotional dilemma, Arranged reminds me somewhat of Bella, Maria Full of Grace, or Paradise Now -- though, naturally, to a lesser degree than those (to me) 5-star movies. 4.5 stars. (6-1-09)

New In Town

New in Town is a warmly affectionate and humorous tale of love and community spirit set in the winter wonderland (or frigid wasteland) of Minnesota. The folksy Minnesota dialect here is authentic yet understated -- not acerbically omnipresent as in Fargo -- and the soundtrack is rich in Celtic and alt-rock tunes. The dialog is mostly clean (just a handful of coarse words), small-town midwestern values are strong, and the Christian faith is supportively represented. Lucy (Renee Zellweger), a driven executive on the CEO track in Miami, is assigned to radically downsize a food-processing plant in New Ulm, Minnesota. (Filming was actually in Winnepeg, Manitoba.) She arrives in the dead of winter with no winter wear, which is played to comic effect. (Her flippant "How bad could it be?" before venturing outdoors becomes a "Holy mother--!" tirade that is cut off by the airport's automatic doors.) Pratfalls in the snow and ice occur in due season even as Renee's corporate "monkey" buzzwords fall on deaf ears. She even gets off to a bad start with the union boss (Harry Connick Jr.) but they eventually come to a meeting of the minds (and more). (I had only two concerns: a parent getting caught "offsides" after ensuring his daughter would come home at 10:30 pm with her virtue intact on prom night and Renee's increasingly bizarre complexion.) Renee gradually warms up to the town and things get hunky dory. Whimsical elements of the script include six townswomen's "scrapping" klatsch, where their dialect and scrapbooking handicraft receive sympathetic treatment, plus tubs and tubs of tapioca and (in the deleted scenes) several sneaky gnome-sized "trolls." (Keeping the troll scenes would have given this movie an even quirkier charm that might have won over a borderline cult fan following.) If you like Grumpier Old Men and Kitchen Stories then you will likely enjoy New in Town. 4.5 stars. (5-29-09)

Night at the Museum 2: Battle of the Smithsonian

Traffic was exceptionally light during Memorial Day weekend so there were empty seats for the opening night of Night at the Museum 2. I hope families will catch it during the coming weeks though. I liked the sequel better than the first movie. To my mind there's just more plot, action, dialog, and humor. Detractors fault this sequel for relying on physical humor but there's not so much -- and anyway, I love slapstick (as does Ben Stiller, if you survey his career). To sum up, Night 2 is significantly more fun and funny. Larry (Stiller) has left a successful museum career to find a measure of fame as an infomercial entrepreneur -- but in doing so, he has lost his way. He returns to the museum when it needs him the most -- though it may be too late. A wonderfully breezy Amelia Earhart (Amy Adams) helps Larry repeatedly escape from and ultimately confound the hilariously lisping Akmun Ra (Hank Azariah) who, despite having the best lines, wants to become dark lord of the universe with the help of Ivan the Terrible, Napoleon, and Al Capone (but he turns down Darth Vader). Creepy hawkheaded minions wielding spears and gangsters brandishing machine guns help him open a portal to the underworld but action and violence are muted; no one is shown getting hurt or killed, though some are threatened or thrown across the room. As a result, families with kids older than ages 6-8 should enjoy this movie immensely. Let's just be clear: This is a family movie. For families. It does not have a mature, structured script that can be compared to an art film's and obeys every law of physics and follows every codicil of history. If you have to think longer than it takes to chomp your present mouthful of popcorn, you are doing something wrong -- so stop complaining with your mouth full then swallow, refill, chomp, and repeat. And use your ears: If anything, Kamun Ra sounds more like Booberry than Stewie Griffin. 4.5 stars. (5-29-09)

Bringing Down the House

With a good script and director, Queen Latifah can fill a role exceptionally well, as she does in The Secret Life of Bees, Living Out Loud, and even her cardboard cutout role in Chicago. Unfortunately, Bringing Down the House is not such a cinematic exercise. Its basic premise -- an Internet romance switcheroo -- is a promising one and the movie carries off that part of it fairly well. (One of the funniest scenes in the movie is when Steve Martin opens his door and finds out who's really come for champagne -- and what a penny and a pound he's gotten himself into.) But I'm just not that interested in seeing Queen play a stereotypical oh-no-she-di'n't black girl-from-the-hood; where's the originality in being typecast? Steve really drops the ball in the last ten minutes with a lame, affected, tried-too-hard hip-hop caricature. (He was so straighforward and funny in The Jerk but paled here in comparison to his homey's chocolicious come-ons.) Eugene Levy totally makes up for everything else when he takes a shine to Queen and begins sweet-talking her. He is absolutely hilarious with his sincere, unaffected, white-bread jive-talk to his "Boo"! I think everyone needs to see the magic that is Eugene since he completely saves this movie from a 2-star purgatory for me. 3 stars. (5-14-09 posted 5-19-09)

Hook

Robin Williams didn't carry this story well for me. He was too obsessive about work -- what kind of monster shows work is more important than his wife and children, even in a hamhandedly scripted movie? -- to believably have been someone who once insisted he would never grow up. I realize this contrast is the premise of the movie but it was too forced and unbelievable; Robin's face didn't carry the emotion for me. Even when faced with the necessary reconnecting with his inner Pan, it was a bit too formulaic and sudden for me not to chafe. It was a surprise to find Pan's stand-in has been the Hispanic boy Rufio -- but I guess we're Americanizing the British tale a la West Side Story. Julia Roberts as Tinkerbell was a gem whose character frankly carried more pathos for me than Pan himself. The stars of this movie are in fact the wild rumpus of lost boys and, of course, Dustin Hoffman as Capt. Hook. OK, maybe his eyebrows should have gotten top billing by themselves but he gives you a great idea of what the foppish and vain villain could have meant to the life expectancies of Peter Pan and the children. The best line is when the little girl scolds Hook, "You need a mother very badly!" Bob Hoskins as Smee was my favorite character. The climax was little more than a cartoon writ large in live action but Hook's costume will go down in the annals of movie costumes, won't it? Anyway if you love fairy tales or are a Peter Pan fan, be sure to see Hook. Sure, it could have been better but don't miss it if you can help it. Even weak Spielberg is still Spielberg! 3 stars. (5-18-09)

Groundhog Day

Bill Murray has a true classic in Groundhog Day and Andie McDowell sweetly plays the romantic foil that his schmuck needs to finally escape from a one-day-in-time self-made hell. Bill plays Phil, a snarky TV weatherman who is climbing the career ladder towards a reputably large metro market. Unfortunately, his annual bottom-of-the-barrel assignment sends him to cover Groundhog Day in Punxsatawney, Pa. He takes it on the chin like a prima donna -- sniping at Andie, his producer, and Chris Elliott, his cameraman -- only to learn (each morning at 6 am) that he apparently has been condemned to repeat the day -- over and over and over again -- presumably until he gets it right. What must he do? He has no idea. He has to discover the answer by trial and error -- over and over and over again -- and herein lies the true magic of this movie. His daily encounters with ordinary citizens -- beginning with the improbably named Stephen Tobolowsky as clueless insurance salesman Ned Ryerson ("am I right or am I right?") -- and the associative and distributive, positive and negative, and even sometimes cumulative lessons he learns from them are the bread and butter of this wonderful situational comedy. Put Bill (as Phil the weatherman not Phil the groundhog) in a sticky wicket -- or a wicker basket -- and see how he pokes and prods to try to get out. That's how this movie works -- and it works marvelously. I love this movie and can't see myself ever getting tired of seeing it one more time. 5 stars. (5-14-09 posted 5-19-09)

Bionicle: Mask of Light: The Movie

The world of Bionicle, with its Toa warrior action figure series and back story from Lego, form an interesting proof of concept. As mechanistic bipeds with personal arsenals, the toys look good and boys enjoy assembling and playing with them. Unfortunately, this first of three Bionicle movies is mostly murky. Our story begins as a timid little guy is "chosen" (why? and by whom?) to be steward of a mask of light that must be kept safe or darkness will consume the land of Mata Nui. All well and good but the 3D animation in this movie is so dark and low-res that it's hard to make out much of anything much less follow along. The climactic scene transpires on a dark cliff cloaked in shadows where a dark shield is thrown between dark pillars -- you get the idea: There is no "there" there. You should never watch this kid-nerd valentine unless you are a Bionicle fanboy. It's as obtuse to adults as any Barbie vignette (just swap tech-alien snips-and-snails for sugar-and-spice). Frankly, I don't see why the producers of kids' shows like this have to pander to the lowest denominator of entertainment. I mean, take a Shakespearean live actor -- that's the height of emotive interpretation and acting, right? Then take some bozo with no acting much less voice talent, draw a stilted digital stand-in for him on a computer, and dub his voice on a character lacking all potential for emotional expression because his face has been cloaked in a helmet. I'm just saying this is far from James Earl Jones as voice talent for David Prouse as Darth Vader. The most implied emotion you get is a shaking head or a glowing eye -- again, in the dim or the dark. 1.5 stars. (5-14-09 posted 5-19-09)

A Charlie Brown Christmas

After growing up with these two classics since I was a boy, it's practically not the Christmas season without seeing the 2D animated specials The Grinch Who Stole Christmas (reviewed separately) and A Charlie Brown Christmas. The Peanuts Gang's Christmas special is so timeless and sweet that it reminds us of simpler times -- times that can still be ours in our homes and in our hearts, if we choose to set aside the artificial hustle and bustle of the season and to seek the spiritual meaning of the holiday (as Linus so ably spells out in his Nativity narration from Scripture). All the inimitable innocence of the Peanuts kids' voices are here -- Charlie Brown, Sally, Lucy, Linus, Schroeder, Pig Pen, Peppermint Patty, Marcie, and even Snoopy -- and the gang dances to the scatting piano chords of Vince Guaraldi's Whimsy Salad. Yes, the animation is simple and the audio is scratchy -- but that's part of why we love this show, now a 40-plus-year-old tradition. Don't miss it -- ever! 5 stars. (5-14-09 posted 5-19-09)

The Bear

I saw Jean-Jacques (Quest for Fire) Annaud's The Bear in the theaters. A lonely bear orphan shadows a peckish male bear during migration and the two eventually stick together. There's no dialog in the whole movie save for a hunter's blurt during a confrontation with (to humans, it's) Mr. Bear. (Bring extra underwear.) Bart (who also appeared in Windwalker and The Edge) is one big bear and he's feeling his oats. He chews through the scenery -- and what scenery! The Bear is a great nature movie for the whole family -- the bear cub is as cute as, um, a bear cub -- just be sure the kiddos cover their eyes during the scene with the big slavering in-your-face- homo-sapiens! roar. An awesome movie for its silence and the wilderness. 5 stars. (5-7-09)

The Princess Bride

The Princess Bride is one of my all-time top-ten favorite movies. It's a whimsical comedic fairy tale that bends the rules. The script is amazing in its originality and cheekiness plus the entire cast has such amazing comfort in their roles and chemistry together. This movie is so densely packed with superb dialog and one-liners that it's highly quotable with a shelf life of forever. I'll never tire of seeing it one more time! Our story begins with young Fred Savage -- home from school, sick in bed, and already bored with his Commodore 64 baseball video game. (Oh, the deprivation!) His grandpa, the mumblety-peg Peter Falk, comes by with a special book to read to him: The Princess Bride by S. Morgenstern. The boy is more interested in the promise of swordfights than romance but shrugs "I'll see if I can stay awake." The story develops a grip on him though since it is pure delight: The lovely girl Buttercup (Robin Wright Penn) discovers True Love with "Farm Boy" Westley (Cary Elwes) but after he goes to seek his fortune, news reaches her that "the dread Pirate Roberts" (who kills all prisoners) has taken his ship captive. The light goes out of her heart but her beauty wins the eye of the pompous Prince Humperdinck (Chris Sarandon), who plans to wed her (among other nefarious things). After an ultimatum, an impasse, subterfuge etc., Buttercup is kidnapped by three hired outlaws -- Spanish swordsman Inigo Montoya (Mandy Patinkin), dull giant Fezzik (Andre), conceited Sicilian Vizzini (Wallace Shawn) -- then pursued by the dread Pirate Roberts himself. Brilliant supporting roles and bit parts include the sociopathic Six-Fingered Man (Christopher Guest) and Miracle Max (Billy Crystal) with his crone of a wife Valerie (Carol Kane). Even the soundtrack with Mark Knopfler's theme song is classic and sweet. For you to not love this movie would be "absolutely, totally, and in all other ways, inconceivable!" 5 stars. (5-8-09)

Being There

Being There is a satirical commentary on the vapidity that our mass-media culture can induce in the weak-minded lower class -- and how thin the line between vapidity and fame can be among the weak-minded (or wishful-minded) upper class. Chance (Peter Sellers) has lived his entire life in the servants' quarters of his employer's mansion, serving as groundskeeper. His every material need provided for, he does nothing but watch TV in his spare time (and he seems mentally suited to little more). He doesn't even know his last name! One day, "the old man" dies and Chance is put out on the street. A wealthy acquaintance of his former employer dents Chance with a fender and takes him in; prompting himself to assume more than he should, the well-to-do and well-connected gentleman (Melvyn Douglas) hears "Chance the Gardner" and substitutes "Chauncy Gardiner." Soon, everything vapid that Chance utters is taken to be the deep and subtle pronouncements of a wise upper-crust peer of the old man. Talk show appearances, fetes, and receptions ensue. Chance: "The roots go deep..." Those hanging on his every word: "You mean the market fundamentals are sound and will rebound in due season! How wise!" Rumor even enhances his reputation sexually as women's imaginations run amok. The funniest scene in the movie is when the gent's wife (Shirley Maclaine) gets Chance alone in her bedroom and, noticing the TV, he says: "I like to watch..." Peter Sellers as Chance did minimalist humor decades before Bill Murray did it in Lost in Translation. Jerzy Kosinski's Being There is a classic that deserves to be seen and remembered by every generation. It will leave an impression on you. 4 stars. (4-17-09 posted 5-8-09)

Mars Attacks!

Take every aliens-are-coming! -themed movie since the dawn of time, add cotton candy and gin, mix, pour, and you'll probably get Tim Burton's Mars Attacks! Here is pure, gooey, science-fiction campiness -- cartoonish alien-invasion buffoonery in puppetry and live action. The bubble-helmeted, bug-eyed, skull-faced brainiacs that travel in dreamily hovering saucers from Mars to a disastrous mano-a-mano first-contact with the U.S. president (Jack Nicholson) make their genocidal intentions known in as broad a caricature of such a travesty as grim humor could allow. I give due credit to Pierce Brosnan for showing the dual-dangling pluckiness to appear in this production as the bemused pipe-smoking academic who (at the aliens' behest) trades heads with Sarah Jessica Parker and her chihuahua. (The next time he would show such besotted courage -- or wackiness -- he took a singing part in Mamma Mia!) The aliens' leering visages and creepy floating locomotion -- not to mention their ack! ack! ack-ack! chatter -- are so funny that they scream "You cannot be taking us seriously!" even as they scheme to rape Earth and pillage its population -- or perhaps it's the other way around? Finally, just so we know that Tim Burton is from the shallow end of Quentin Tarantino's gene pool, Earth's ultimate victory over the aliens comes straight out of Attack of the Killer Tomatoes. A must-see movie but (to me) less impressive on repeat viewings. 3.5 stars. (5-7-09)

Fireproof

Fireproof is not an action movie with a romantic subplot; it is a relationship movie with a little first-responder action to set the hook. Based on the marriage-saving book called The Love Dare, it is the story of a thirtysomething married couple in trouble -- and don't knock this couple's anger if you haven't been in such a place in marriage. Caleb (Kirk Cameron) is a firefighter who is seethingly furious with his wife because he demands her respect and doesn't get it. (I eventually realized that he relates to her in the same testosterone-drenched pattern that he relates to his successful career, job, and male coworkers -- like that's going to work, dude.) Catherine (Erin Bethea) is frigidly angry with him but can't trust him emotionally or talk about it. (Hm, I wonder why.) They're approaching a precipice called divorce -- though the movie is timid about showing how they toy with exit paths like porn or flirting -- when Caleb's father urges his son to try reading and applying a book called Fireproof Your Marriage. It's a 40-day, 40-step program to strengthen or save a marriage; on the first day, for example, Caleb is simply to not say anything critical to Catherine that he would otherwise have said. Each day is one more substantive step in self-control and positive sacrifice, each added to the previous ones. At first, Caleb thinks it is a checklist or a formula but over time he realizes his own inner personal change is what matters since that is all he is responsible for or can control -- but changing one side of the equation may help the other find equilibrium. The wrapup is realistic and yields touching revelations. Fireproof is a movie that can deeply affect those who are prepared to be inspired. I for one am happy to have seen it (in the theater) and I hope any couple who seeks or enjoys the state of marriage will see it together. 4.5 stars. (4-7-09 posted 5-7-09)

Seven

In Seven, Morgan Freeman and Brad Pitt are two police detectives chasing a gruesome serial killer with a sociopathic chip on his shoulder of biblical proportions. Fresh from his masterpiece in The Usual Suspects, Kevin Spacey gives another stellar performance in Seven -- and it's all packed into the final 15 minutes, since we never see him until his final confrontation with his pursuers. (Until finally handcuffed, he exhibits an almost supernatural prescience and ability to stay two steps ahead of New York's finest.) Playing the omnipotent avenger, Spacey is convinced that his life's work -- even God's work, as he calls it -- will yield so memorable a series of seven murders that he (and his captors) will be famous for decades. His first five murders are intensely disturbing in the morbid and self-righteous complexity and commitment required for their completion -- and he unwaveringly promises an encore! Does he deliver? Don't see Seven on a full stomach -- but see it! Seven delivers a tour-de-force script and performances all around. I own it on DVD. 5 stars. (4-8-09 posted 5-6-09)

The Great Santini

Robert Duvall played one of his most memorable roles in The Great Santini -- the nom de guerre of legendary fighter pilot Lt. Col. Bull Meechum, warrior of the skies, possessor of the Right Stuff, tough-as-nails, man's man and leader of men, center of attention, force of nature, life of the party -- the "Chow down, hogs!" scene is hilarious -- and totally emotionally incommunicado with himself, his wife, and his children. As he once more relocates his family, this time accepting a post at the Citadel in stately South Carolina, Blythe Danner is the gracious southern woman, military wife, and rock of the family; Michael O'Keefe is his son, turning 18 and coming into his own; and his daughter ("Sportsfan") is all but invisible to him. Duvall cannot accept the day his son first beats him at hoops, practicing through the night to hone his athletic edge. Moreover, as a warrior entering peacetime (during the JFK administration) and approaching retirement, Duvall has been so accustomed to living life "on the cutting edge" -- what happens if the sword ever slips? 4 stars. (4-9-09 posted 5-6-09)

Outland

Outland is 2001 meets High Noon, starring Sean Connery as the lone marshal. Largely dark and murky because it's set on a Jovian moon's space station, Outland has Alien-like accoutrements in its space helmets and landing pads and is truly a space western with showdowns aplenty. Frances Sternhagen is great as the wily doc who watches his back. 3.5 stars. (4-7-09 posted 5-7-09)

The Day the Earth Stood Still

This remake of The Day the Earth Stood Still is better than some would have you believe. (I suppose it helps if you are a parent.) It is certainly better than the remake of The War of the Worlds for story and special effects but, more importantly, it involved me emotionally, even without comparing it to the original The Day the Earth Stood Still. In fact, I liked this remake quite a bit and would watch it again. (I picked it up as a redbox free Monday rental.) Yes, the plot was a little murky but it ambled along. The changes from the original movie esp. those involving Gort left more room for special effects and worked out in the end but made me wonder: Why make so many changes esp. since they left the exact mechanism and extent of Earth's imminent destruction somewhat cloudy (unless the cyberlocusts greatly multiplied and the swirly globes packed more oomph than they had let on)? I appreciated the human touches added to this version: Kathy Bates channeling Hillary Clinton channeling a gutsy Secretary of Defense, the Visitor's conversation in Chinese then English in the cafe, the Visitor's dialog with John Cleese, and Jennifer Connolly's emotional plea for humanity. Cleese, Connolly, and the Chinese gentleman (James Hong) all represented humanity well and I also appreciated the adoptive son (Jaden Smith), who did a yeoman's job in an unpretentious role surrounded by portentious adults. Keanu Reeves has turned his wooden countenance into a bankable asset whenever he plays the taciturn harbinger of doom. I don't view it as hamhanded for an unprepossessing alien Visitor threatening genocide to speak forthrightly: "No, it's not your planet. If Earth dies, you die. If you die, Earth lives. The decision has been made." Any crisis forms a crux of transformation. The Day the Earth Stood Still delivers. 4 stars. (5-6-09)

Flyboys

Forget the airbrushed special effects and sanitized bluescreen computer graphics of Sky Captain and the World of Tomorrow. Enjoy the down-and-dirty, seat-of-the-pants, sweat-of-the-brow, eat-lead-you-damn-Kraut! aerial dogfights in Flyboys, based on the story of the Lafayette Escadrille -- U.S. pilots who volunteered to serve as an air wing in France before America entered World War I. As the Fox-TV-loving detractors of France conveniently forget, America had no fighter pilots or air force, so we sent men to train and fly with the French. Flyboys shows the guff and bluster it took to train our boys up to fly like men who commanded the clouds -- when planes were still little better than biplanes -- and we couldn't have done it without the French. Don't see this movie for a complex love-story subplot as in Pearl Harbor or even historical accuracy as in Master and Commander. Watch Flyboys for its big, gritty, in-your-face, shooting-gallery action. It puts you right in the cockpit with the pilot as a German's twin guns walk perforating rivers of lead across his wing or fuselage, percussive impacts shearing off bits of shrapnel at best and threatening imminent explosive death at worst. Uncle Sam's boys (James Franco and company) fly up a storm but my favorite is their wily squadron leader, played by none other than your favorite Frenchman and mine, Jean Reno. 4 stars. (5-6-09)

The Edge

Anthony Hopkins plays the well-suited if understated role of a publishing magnate who is rich but humble (Charles). Alec Baldwin plays the well-suited role of a crass and self-serving photographer (Bob) who has been cuckolding Charles' younger wife. Bob needles Charles about owning a plane and being too old for a young wife but Charles responds graciously, even with intellectual detachment, offering up knowledge and reflections from a lifetime of reading books. After the plane crash-lands in Alaska, the two men find themselves stranded in the wilderness and being hunted by a humungous and ferocious grizzly bear. Charles is both strategist and tactician, coaxing the more macho Bob in how to be fearless and survive: "I'm going to kill the bear! Say it!" The scene where they finally face the bear down is iconic and famous for the naked adrenaline it can inspire (vicariously) in viewers. Bob's aggression springs forth later in other ways and we are left to wonder who has the upper hand on who. In the climax and conclusion, Charles reminds me of both a magnanimous Spencer Tracy and his own chief-executive role in Meet Joe Black. Why? "Because the rabbit is smarter than the panther." I own this one. It's full of great lines! 5 stars. (4-30-09)

John Cleese's Wine for the Confused

I have enjoyed John Cleese's version of a layperson's approach to wine both times I have seen it. (Always my favorite Monty Python member, Cleese has also hosted an impressive documentary about the social and artistic importance of the human face.) Cleese takes a folksy approach to the frequently confusing world of wines, where (as in the art world) snobbery often reigns. He starts with a simple outdoor wine-tasting among a circle of friends (including the always affable Brendan Fraser) and talks them through finding simple words to describe the flavors they notice; words like "fruity" or "nutty" or "raspberry" are offered (if memory serves). He then uses this experience to begin encouraging his friends (and through them, his viewers) to use their own senses, rely and build on their own experiences, and trust their own judgment when deciding what kind of wines they like to drink. He visits a few vineyards, nibbles a few grapes, and dialogs with a few sommeliers (wine stewards) to provide a thoroughly enlightening introduction to wine and its enjoyment. He caps off the show by hosting a blind wine-tasting (again informal and outdoors) which entertainingly proves that one person's $15 wine is another person's $200 wine (and vice versa). The special features include additional insightful tips on wine enjoyment from Cleese, three discussions with a handful of winemakers, and Brendan Fraser's trenchant wine evaluations (such as "Put it back in the horse"). 4 stars. (5-1-09 updated 5-18-09)

Innerspace

I enjoyed Innerspace immensely when it came out in the late 1980s. (Ah, the Eighties... Good times...) Martin Short plays Jack Putter, an overlooked nebbish -- his boss actually calls him a putz -- who becomes the unwitting host/partner to Dennis Quaid's Lt. Tuck Pendleton, a macho test pilot who has been miniaturized with his ship for what will be a Fantastic Voyage-style test run before he is accidentally injected into Jack's (um, if memory serves) left buttock. The ice queen saboteur (Fiona Lewis in her last role as Dr. Margaret Canker) and her cyborg agent (bit-part actor Vernon Wells as Mr. Igoe) make for cryptic and comic villains that still give me whoops of laughter. (He comes with detachable finger accessories that will slice, dice, spray, or frappe and she seems to have a thing for or with him!) The most hilarious scene is the tandem dance to "Twistin' the Night Away" before Jack and Tuck hold a strategy powwow. Jack also pines for Tuck's girl (Meg Ryan as Lydia Maxwell) and, in the muddle, gets to go places no man has been before. Innerspace is a hoot of a camp comedy that I can highly recommend esp. if you like men with Han Solo haircuts and girls with glam-rock hairstyles. See it if you liked Fantastic Voyage and loved Short Circuit! 4.5 stars. (4-30-09)

Tron

Tron is the holy grail of early computer-animated movies. In the age after Pong on the Atari and predating even the Macintosh, mainframe-based color graphics and animation predominated in Tron but it had the semblance of a story that dovetailed with the characters and computer graphics. In this story, Jeff Bridges is a game programmer whose work is being stolen by the CEO of a megacorporation and its evil mainframe computer (David Warner as Dillinger and the MCP). Bridges has also developed a new technology that can digitize matter into data; turning it against him, the evil mainframe transports Bridges inside the virtual-reality world of its own datastores to pit him gladiator-style against his own games' champions. Bridges has courage though and is determined to surmount each challenge. Through their creator's "incarnation" and battle against totalitarian control, his digital creations show their devotion; the last words of one "program" is a reverent "O, my User!" Tron's most iconic scenes are the deadly lightcycle races and the final confrontation with the evil mainframe. Tron seems a bit dated by today's standards, certainly, but like Metropolis, it remains a seminal and impressive movie from its time. Spoofed in Family Guy so you know it's cool. 4.5 stars. (4-8-09 posted 5-1-09)

The Matrix Revolutions

Truthfully, I'd like to see a breakdown of people who hated The Matrix Revolutions to see if science-fiction fanboys are few and video-game fanboys are many. Science fiction is the literature and cinema of ideas and convergences: What would happen if...? The willing suspension of disbelief perhaps comes easier to those trained in it. This third Matrix movie remains gripping and well above average. Revolutions is the action-oriented resolution to an intellectual science-fiction trilogy. The philosophical questions are always pivotal to how Neo finds and fulfills his mission of bringing peace to Zion and freedom to willing minds in the Matrix. Consider carefully how the Oracle is concerned with looking forward and making free choices while the Merovingian is concerned with looking backward and rationalizing determinism--even though he controls the train between the Matrix and the real world--while the Architect is a construct of the machine world and is constrained with balancing equations. Neo and Trinity negate nihilism and deny determinism by choosing love. Free choice--and belief more than knowledge--is what gets us there. The Matrix Revolutions is the darkest and grittiest of the three Matrix movies because it focuses not on the polished virtual world of the Matrix but on "the real world" inhabited by free humans on the verge of extermination, "the machine world" that's waging a war of attrition against humanity, and a devolving Matrix where Agent Smith has become quite the megalomaniac. Neo rightly intuits that diplomacy is the path to peace; war has been considered the inevitable path to humanity's annihilation while the truth would be even more apocalyptic. (So if you can't see the Matrix through Neo's inner eyes, at least read Wikipedia for a clue before you choose to complain about Revolutions.) 4 stars. (4-30-09)

The Last Starfighter

The Last Starfighter's Alex Rogan (Lance Guest mirroring a young Tom Hanks) is the quintessential teen who's bored, bored, bored of his mundane earthly existence -- until he meets his lucky star. Alex not only lives in a "mobile home that never goes anywhere" but, rather than being able to go to the beach with his friends or go out with the girl of his dreams, his mother prevails on him to keep the trailer park in repair -- even as he murmurs sotto voce the same tedious daily palaver of the two retirees on the porch. One day, a truck delivers the vehicle of his salvation: a cool new arcade video machine called The Last Starfighter. Alex is exceptionally gifted at the game and soon earns what turns out to be the highest score -- in all of the galaxy. A signal is sent. In time, an emissary arrives in a Delorean-style spaceship: smooth-talking Alpha Centauri (Robert Preston in his last movie role) wants to recruit Alex as "the last starfighter" to save the galaxy from an insidious and advancing alien scourge. They have decimated all previous defenders and would be unstoppable but for one remaining Starfighter ship -- and Alex, if he will train and fly it. He agrees to go. He meets his amiable if reptilian copilot Grig (Dan O'Herlihy) and, through twists and turns, fulfills his destiny. This movie was groundbreaking since it had the first computer-generated graphics (20 minutes' worth as I recall and using no less than a Cray X-MP supercomputer). The Death Blossom battle was pretty suspenseful back in the day and the dialog is dated but still funny. See it for the nostalgia or as a fun family film. (The PG rating is for the little brother's language.) 4 stars. (4-8-09 posted 5-1-09)

Meet Joe Black

I always enjoy watching this update of Death Takes A Holiday because Anthony Hopkins ably plays a successful if world-weary CEO who puts his family ahead of his corporation. When the spirit of Death comes to claim the soul of William Parrish, Bill responds with a proposition: If Death will give him a few more days to spend with his loved ones and arrange his affairs, he will personally introduce Death to "the ropes" -- the joys and pleasures -- of human life. Death accepts and takes a convenient body (Brad Pitt) and name (Joe Black). Death is supernaturally savvy about timeless things but being corporeal and carnal is new and heady stuff. Soon he's enjoying sumptuous meals and eyeing Hopkins' daughter (Claire Forlani). Hopkins must keep Joe's secret but he keeps no secrets from Joe, whom he introduces to his business partners as his trusted "associate," so naturally they wonder what the hell is going on with his estate planning. Meanwhile, Hopkins warns his daughter away from Joe ("He's no good for you"), but she persists in pursuing his hunkiness. FYI the romance is not conventional because neither is Joe Black. The previously stoic Death begins enjoying himself, believing he can act with impunity; Hopkins realizes he must tread very carefully to preserve his legacy. In the end, this otherworldly meeting of one mortal man with (not just his own but capital-M) mortality and Joe's creepy disingenuousness make Meet Joe Black work well for me. In addition, the script is quite literate and the cinematography is sumptuous as is the soundtrack. It is one of the great movies and will remain a timeless classic. I hope you like it just as much too (though if you can't reflect on your inner emotional landscape for 3 hours then please watch something else). I had to own this one. 5 stars. (4-30-09)

Jurassic Park

By dint of its script by the late science fiction novelist Michael Crichton, blockbuster computer graphics by George Lucas's Industrial Light & Magic, and movie direction by Steven Spielberg, Jurassic Park still remains the greatest dinosaur movie ever made. It's funny, it's scary, it's iconic, and it's not yet been matched (though Peter Jackson's King Kong tried for a fraction of its 3-hour runtime). Never before had we seen a T-Rex or velociraptor in all its jaw-dropping (and jaw-crunching) infamy. Plus the late Stan Winston's gutteral, amped-out dino roars made us pee our pants clear to next Tuesday's wash. Only in Jurassic Park can you SEE world-famous paleontologists (Sam Neill and Laura Dern) use sonar technology to assist their fossil digs as Sam's character sadistically lectures a toothsome preteen on the smorgasbord tactics of the velociraptor. HEAR rockstar mathematician (Jeff Goldblum) lecture the jaded capitalist (the late Richard Attenborough) on his doomed approach to genetic engineering and, incidentally, theme-park development. WINCE at the capitalist's oft-repeated mantra "Spared no expense!" SHIVER as your heart drops to the pit of your gullet just before you read the words "Objects in this mirror are larger than they appear" or (if you are an attorney) your torso drops to the pit of a T-Rex gullet! SMIRK as the beefy programmer (Wayne Knight) tells the dilophosaurus "I have nothing on me. I have no food on me!" The fear is palpable -- oh yeah, the flop sweat is running down the small of your back, but that's not flop sweat running down your leg. Jurassic Park -- proudly serving up nightmares for 16 years now. Watch it again and say it with me: "Where's the goat...?" 5 stars. (3-13-09 posted 4-28-09)

The Adventures of Buckaroo Banzai

The Adventures of Buckaroo Banzai has developed a devoted cult following on videotape and DVD. BB to fans, it is hard to summarize and feels like a modern-day Flash Gordon serial. Peter Weller is the fabled Buckaroo Banzai, a Japanese-American Renaissance man: He's a world-renowned physicist, neurosurgeon, rock star, and presidential advisor. As our story begins, he has just driven his experimental jetcar through the time/space continuum -- and a mountain -- discovering something alien in the process. Then it's off to perform brain surgery with Jeff Goldblum ("No, no, don't tug on that -- you don't know what it's attached to"), who as New Jersey (in red-and-white Roy Rogers togs) is also auditioning for a spot in his band, BB and the Hong Kong Cavaliers. Then it's off in the band bus to perform a rock gig and meet his love interest. Finally, the alien invasion plot comes to light -- you'll love it! John Lithgow is over-the-top as Prof. Emilio Lizardo, aka Lord Whorfin ("Laugh-a while you can, monkey-boy!"), as is his pompous chief minion, Christopher Lloyd as John Bigbooty ("Big-boo-TAY!"). The musicians in the band (Reno, Rawhide, and Perfect Tommy) are also scientists in Buckaroo's compound, where he gathers terrestrial and alien intelligence and conferences with the President in the war room before going out to personally do battle in an airship. That's the broad outline without giving away anything substantive but let's not forget the Blue Blazer Irregulars and Yoyodyne Propulsion Systems (a name lifted from Thomas Pynchon's novel The Crying of Lot 49). Be sure not to miss the closing credits and extremely catchy theme tune! BB appeared 20 years after the Get Smart TV series and 12 years before Mars Attacks! but you will likely become a huge fan of BB if you enjoyed those puppies since they share many affinities. So don't forget: "Character is what you are in the dark" and "Wherever you go, there you are!" 4 stars. (4-9-09 posted 4-29-09)

The Abyss

The Abyss is one of the best sci-fi movies I have seen -- and always it plucks at my heartstrings. (You don't find science and emotion paired together well very often in science fiction so that's something in itself. Besides, James Cameron was clearly the guy to make a sci-fi movie set completely in a subsea drilling platform and submersibles.) I own the video and the novel -- which is excellent, by the way, since Cameron picked master of characterization Orson Scott Card to further flesh out the inner motivations of Lindsay the rig designer and Bud the crew foreman (not to mention the inscrutable actions of the Builders). It would give too much away to say more about the love/hate relationship between Ed Burns and Mary Elizabeth Mastrantonio but their cold side always entertains while their warm side never fails to melt me (esp. Bud's farewell and the effect it has on his people as well as a matter of extraterrestrial import). Bud's epiphany makes for a thrilling climax and denouement, of course. The only thing I don't like in this movie is the ham-handed acting of the lead Navy SEAL (Michael Biehn) -- though you have to respect his tenacity. The rest of the ensemble cast does well in their respective roles, every one. What makes The Abyss so iconic and memorable though is its sense of wonder and discovery. The musical score beautifully conveys that spirit of the explorer which The Abyss posits to reside at the core of our very human nature. 5 stars. (3-13-09 posted 4-28-09)

The Matrix: Reloaded

What exactly is the problem with all the snarky naysayers when it comes to The Matrix: Reloaded? What a fickle gaggle of ingrates! First the Wachowski Bros. make an absolutely revolutionary movie in The Matrix. Suddenly the sequel's rival surfeit of adrenaline-pumping fight and action scenes is somehow "boring"? So Neo, Morpheus, and Trinity continue their mission (to boldly kick -ss where no one has gone before) and lead the last surviving human colony (with many new and interesting characters) towards revolution and a doubtful outcome -- how exactly is this "boring"? After numerous viewings, I still find Reloaded to be mesmerizing. Yes, the plot in Reloaded feels looser than in The Matrix, but I think that's because it's complex rather than nonexistent. Actually, I think the rub lies in that Reloaded fleshes out the intellectual underpinnings of The Matrix: More than perhaps any other, Reloaded is the thinking person's science fiction movie -- and for too many people, having to think is "boring" (or laughable). To enjoy this movie, you need the chops to pay as close attention to the dialog as to the kung fu. The Merovingian tips the hand by asserting that "choice is an illusion" but the Architect is no joke: Everything he says is pure, sweet exposition and makes complete sense. (Unfortunately, nihilism doesn't contribute much to Neo's strategy against the machines -- which is also doubtless a part of their strategy -- so instead he chooses to save what is truly human: Love.) Please pay attention to the age-appropriate notes for children to the left, since the wild rumpus in Zion is quite sensual in a tribal sense and Neo's lovemaking with Trinity is quite sensual in a carnal sense. Oh yah, the sequel's soundtrack is equally awesome. The Matrix: Reloaded -- come for the fight scenes, stay for the philosophy! 4.5 stars. (4-29-09)

Jurassic Park III

I chose to own all three Jurassic Park movies because -- this is Jurassic C-G-I Park with a dinosaur tail on it, yo, and I have a son who loved dinosaurs. Since then, nightmares have replaced some of the love, but these films are classics and he'll enjoy them again someday -- after therapy or maybe another 5 years? Anyway, The Lost World novel had a few narrative threads yet to mine for a third movie, so the makers went back to trying to devise an even bigger (and hence scarier) dinosaur -- even if they somehow forgot to put the actors (and hence us) in even more scarier situations. Sure, a spinosaurus treads scenery a few times and mixes it up with a T-Rex -- and a couple other known dinosaur species are encountered -- but these are merely episodic excursions instead of what could have been dire mortal peril as in the first movie's sustained T-Rex and velociraptor attacks. A few bursts of epinephrine but no adrenaline-spawned pools of flop sweat. At least they got back Sam Neill for one last oh-God-not-dinos-again hurrah. William H. Macy is always great; Tea Leoni was passable. The mercenaries just made for quick dinofodder. (Way to add that sickening bone crunch to every chomp. Yick! How perfunctory yet declasse as scripted deaths go -- did the dinos get a check-em-off shopping list?) The ending is fairly weak. If I had to try and come up with the best scene in the movie, it would take a while but I think I'd pick the dream scene on the plane -- and that says something about the rest of the movie, doesn't it? 3.5 stars. (3-13-09 posted 4-29-09)

The Lost World: Jurassic Park

I had to own all three Jurassic Park movies: Dinosaurs, dinosaurs, dinosaurs. The second and the third movies are each progressively weaker than the preceding film -- probably because each strived to present a bigger dinosaur more than to perpetuate the first movie's visceral thrill or even to extend that foreboding sense of "Aiiieeee--!" *GULP!* (Selling the gristle not the sizzle.) Actually I liked the second film just fine; it had a lot of the Jurassic Park spirit, just in a different way. Jeffrey Goldblum is always superb, here as the persecuted whistleblower: "There are no versions of the truth" and "Sure, that's how it starts: The oohing and the aahing. But later, there's the running and the screaming..." Richard Attenborough (God rest his cinematic and his eternal soul) has come around and wants to redeem his sins by mounting an emergency expedition to save the dinos' legacy. Can the Earth lovers -- or the thunder lizards -- defeat the corporate pirates? Julianne Moore has gone rushing in where mortals fear to tread. At least Pete Postlethwaite wisely quits while he's ahead -- before the nocturnal stampede. Don't drink the crimson creekwater! And that's just the first half of the movie before things really run aground and the T-Rex goes rushing in where mortals -- scream. "Cleanup in aisle 3." How high a body count can a body count? The Lost World: Jurassic Park 2 -- come for the menace and stay for the mayhem. It's always a thrill to watch. The John Williams musical score remains, of course, unforgettable. 4.5 stars. (3-13-09 posted 4-28-09)

Frost/Nixon

Frost/Nixon well deserves its Oscar nomination, since the Nixonian era is recreated almost as faithfully as an episode of Mad Men in this drama-as-documentary. While I could often hear the smooth undertones of Frank Langella's trademark purr, he expertly channeled Nixon's jowly growl and his tortured psyche for the duration. Not a whit of Tricky Dick caricatures here, only his humanity -- abhorrent at times but ultimately tragic (if self-inflicted and incapable of repentence). The close facial studies in this movie are refulgent in their revelations but what kept me on the edge of my seat was the banter -- not merely banter, of course, but the jabs and counterjabs of a bantamweight (Frost) against a welterweight (Nixon). Make no mistake, this movie is an intellectual boxing match with bobbing, weaving, and feinting as real as any physical contest. Nixon's power-hungry inner Machiavelli counted coup early on David Frost's media playboy persona, outmatching him and seizing the upper hand for three of the four taping sessions. Only when Michael Sheen as Frost sets aside his baseless optimism to take the bull by the horns does he wrest the history-making confession from Nixon that the country sought. (Would that Bush and Cheney remembered that just because the President does or asserts something illegal does *not* make it legal.) Sam Rockwell, Toby Jones, and Oliver Platt as Frost's prep team slip into their supporting roles in a fashion that feels iconically familiar and Kevin Bacon is excellent as Nixon's uptight chief of staff. Frost/Nixon feels like we're watching history in the making. Whether you lived through the Watergate scandal or want an emotionally fulfilling history lesson on its latter-day milestones, Frost/Nixon presents America with a timeless chapter in our recent past that should never be repeated again. The deleted scenes are interesting but I'm pleased they were deleted. 4.5 stars. (4-27-09)

Gregorian Chant: Songs of the Spirit

This disc (currently available for viewing online) makes a worthwhile introduction to Gregorian chant for newcomers as well as a beautiful audiovisual album for aficionados to watch and listen. The music is rich, textured, and inspiring. A slide show of beautiful church and monastery scenes (architectural as well as decorative) dating back to the 1200s lends visual anchors to the aural flow. Between pieces, de la Cuesta offers several explanatory sentences about the art form and his lifelong appreciation for chant. He closes by citing chant's spiritual and emotional power, which I for one found evident throughout the lay and monastic choirs' selections but esp. in the final piece. The words may blur together unless you know Latin but I suspect this disc can imbue relaxation and peace anytime you are prepared to listen. 3.5 stars. (4-27-09)

Runaway Bride

I was reasonably impressed with the middle-of-the-road romantic comedy Runaway Bride because, in addition to mainly allowing Richard Gere to beam beatifically at the beautiful if frantic Julia Roberts, there was a seed of a motive to the story. Gere is a columnist who hears about a woman who has approached the marriage altar with three men and every time fled in a panic, refusing to wed each prospective groom before it ever came to saying "I do." So he makes a snarky comment in print -- and she writes to gently chide, "How can you say that? You don't even know me." He decides to travel and meet her, then write a column about the real woman. Being Gere and Roberts, yes, they are going to have to fall in love -- wouldn't you think? -- but what was most interesting to me (though maybe not to everyone) is how patiently he helps her identify and face her fears. (I love the triumphant scene where she's nailed it on the head and is attacking it with gusto.) As for the ending, if she's given one more chance at the altar -- will she run? It was a suspenseful and enjoyable ending. The movie's closing credits are hilarious because of the Dixie Chicks' music video of the rollicking song "Ready to Run" in which they play three hightailing brides. 3.5 stars. (4-28-09)

The Matrix

Even compared to Brazil and Naked Lunch, The Matrix is arguably the greatest cyberpunk movie ever and, to my mind, the greatest sci-fi movie to date. It has a powerhouse story, martial-arts beatdowns, shoot-em-up arsenals, and cutting-edge special effects. It features a complex and intelligent narrative with embedded clues and convoluted exposition. Many who have seen The Matrix tell me it similarly blew them away. Our story begins with "Mr. Anderson," a corporate programmer by day and a hacker by night. Neo has spent years of sleepless nights searching the cybernets for the identity of the mysterious Morpheus and the secrets behind The Matrix. Agents arrest him on suspicion of conspiracy (not that they need a reason to go all police-state on anyone). From here, Neo's narrative becomes worse than a Kafkaesque nightmare -- and only Morpheus can show him "how far down the rabbit hole goes." As to how it all plays out, I can say no more. This movie has so many great scenes and lines. Like Ahnuld was perfect for the Terminator, Keanu Reeves is apt for the moodily trenchant, trenchcoat-wearing Neo. Laurence Fishburne will be best known as Morpheus. Carrie-Anne Moss is a standout, knockout, kickass as Trinity. All the supporting roles are excellent: Tank, Dozer, Mouse, Switch, and esp. Joe Pantaliano as the slimy Cipher. Hugo Weaving is exceptional as Agent Smith and Gloria Foster is inimitable as the cryptic Oracle. The Matrix promises groundbreaking martial-arts scenes, including the Wachowski Bros.' 360-degree panoramic and "bullet-time" scenes that instantly proved to be so culturally iconic as well as the biggest wirework martial-arts shoot-em-up scene ever filmed. More than action piled on action though, it's the impact of the story that makes The Matrix weighty and memorable. You may never look at the real world in the same way again. 5 stars. (4-28-09)

Earth

Disneynature's Earth, at $40 million the most expensive documentary ever made, opened in the theaters on Earth Day 2009 with record revenues (for a documentary) of $4 million. Although I wasn't aware when I saw it last night that this 1.5-hour movie is a compilation from the astounding 11-hour Discovery/BBC series Planet Earth, I remain extremely satisfied with my viewing experience. Earth is a reimagined and integral whole that will continue to have massive appeal to families and nature lovers. Make no mistake: The high-definition cinematography is jaw-droppingly gorgeous. This valentine to Earth will make you fall in love with our planet (if you weren't already). Time-lapse photography is used occasionally to beautiful effect (even when showing slime mold growth in the tundra). The aerial photography is thrilling and the night-vision photography of an elephant/lion smackdown is impressive. James Earl Jones as narrator lends his stentorious tones to a script that (being Disney) threads a "family" theme throughout -- even though the fathers are absent in the scenes that develop the stories of a polar bear and her cubs, an elephant and her calf, and a humpback whale and her calf. (The polar bear father forms a separate narrative since -- as Jones intones, "he isn't going to be much help" in hunting for survival -- male polar bears are solitary and fend for themselves.) Earth has gentle humor (esp. polar bear cubs navigating a slope and bird-of-paradise mating dances) but also implied death. (Three animals are seen being brought down in slow motion, other animals are attacked but escape, and two animals are left in mortal condition. No one gets the coup-de-grace on camera though.) In summary, the family theme helps anthropomorphize and focus the narrative for kiddos but I wouldn't advise letting children age 5 and under witness the "circle of life" scenes in the tundra, desert, and ocean. Discounted a half-star for being "too cute" to 4.5 stars. (4-25-09)

The Incredible Human Machine

The Incredible Human Machine is an excellent and astonishing anatomical documentary. The computer graphics are very good but the videography is most impressive esp. when showing internal functions of every part of the human body (including a pill-cam voyage through the digestive system and Steven Tyler's vocal chords in action in concert). Our beloved service has mixed up two National Geographic specials; this description is for the 2002 not the 1975 program. I'll elaborate on my review after this service straightens out the mixup. (I called to learn it's been reported by several members already.) 4.5 stars.

The Fly

Vincent Price bookends this story as the affable brother of Andre Delambre (David Hedison), a brilliant independent scientist with a boatload of electronic gear and a mainframe computer in his basement annex. (Both independently wealthy men bankroll the laboratory.) Basically Cary Grant with a brain and a science fetish, Andre has applied himself to making several utopian breakthroughs with no success. This time, he has achieved the ultimate boon to mankind: a matter-to-matter teleportation device. It still has a few bugs (no pun intended) he needs to work out. His bioethics are suspect when it comes to testing living beings though -- and he personally pays the ultimate price. Costume effects include a fly head and claw, for the most part hidden from his wife as he lurks in his laboratory (although, sure, she eventually pulls off his hood and screams). Special effects include (naturally) lots of blinky lights on the computer and a spinning tape drive (oooh! technical!) plus a bank of colorful neon-tube lights (huh?) before the glass-walled teleportation cabinet glows blue then flashes an intense yellow. Audio effects are as completely consistent as the special effects, ending with a loud zapping sound. The Fly is no slouch as a classic sci-fi movie. What I enjoy about classic movies is their social dynamic seen in conversation and etiquette. His wife Helene (Patricia Owens) is a blonde vision in pearls, loving and supportive of her husband yet vapidly disaffected too. (Her flatness of affect and state of denial are understandable given what has transpired though it comes with the telltale whiff of chauvinism: The men around her decide her fate and betray her to get the truth.) The Fly is a memorable classic sci-fi detective movie. 3.5 stars. (4-10-09 posted 4-22-09)

The Game

The Game is a tangled nest of plot twists that made for a rollicking roller-coaster ride the first time I saw it and a riveting reliving of the thrills the second time. And I'll gladly watch it again. Wealthy financier Nicholas Van Orton (Michael Douglas) gets a visit from his estranged black-sheep brother Conrad (Sean Penn) on his birthday but the pair again parts with bitter words. Suddenly, Nicholas is caught up in a shadowy, convoluted web known only as "the Game" where reality proves unreal and no one can be trusted. (One scene is reminiscent of Dustin Hoffman's escape in Marathon Man.) And what about the mysterious woman named Christine (Deborah Kara Unger)? In any event, Nicholas is on the run for his life right up to the moment he crashes through a fresh perspective. Does he live? Does he get the girl? No one can tell you who or what "the Game" is; you have to experience it (and survive) to find out. 5 stars. (4-16-09 posted 4-22-09)

U Turn

U Turn is one of my most favorite movies, largely because of Billy Bob Thornton's quirky role as a scuzzball car mechanic. (Talk about grea-sy!) Sean Penn is a frustrated loner who cannot escape a seedy backwater burg for anything. Witnessing his trials is a wicked pleasure, but Billy Bob puts a sadistic glee into his misery. No, Sean, don't get uppity or make him mad -- your sweet ride wouldn't like him when he's mad. Just watch your back (and your wallet) -- or best yet, start walking. Try to put as many miles between you and the hayseed hamlet where your car broke down. Trust no one -- after all, no one trusts you! And stop ogling that hot dish played by J-Lo -- or you'll be sorry! Run, fool! Or stay -- so we can feel your pain. Misery loves company, right? Pass the popcorn. 5 stars. (4-16-09 posted 4-22-09)

A Knight's Tale

After I saw A Knight's Tale on the big screen with an English professor friend, I decided to own my own copy so I could watch it at will. I've introduced my youngest son to the movie and he loves it too. It served as my introduction to Heath Ledger, who plays William Thatcher, a knight's apprentice who finds himself unemployed -- so he decides to begin a "free lance" career of his own on the jousting circuits. His knight-errant companions, the Sancho-Panza-esque Roland (Marki Addy) and quirky Wat (Alan Tudyk), remind him that "only landed gentry with patents of nobility may compete" but Will tells them, "I won't remain nothing. A man can change his stars." Along comes the irascible if not-yet-famous Geoffrey Chaucer (Paul Bettany) -- fairly comfortable in his own skin, as you might say -- and the four enterprising young men have a team. Much of the movie's entertainment comes from the anachronistic blending of music by Queen and David Bowie in a medieval setting. It's just a hoot to see peasants reveling at a jousting tourney like so many Green Bay Packer fans to the tune of "We Will Rock You" and Geoff introduces Will like a wrestling promoter: "I give to you, the seeker of serenity, the protector of Italian virginity, the enforcer of our Lord God, the one, the only, Sir Ul-l-lrich von Lichtenstein!" Will also spies and gives his heart to a beautiful lady (Shannyn Sossamon), who doesn't make things easy for him. Their romance is endearing and hilarious. Nor should we forget Prince Adhemar (Rufus Sewell), Will's daunting (and denting) nemesis on and off the jousting fields. A double-twist and soaringly satisfactory ending wrap up this thoroughly entertaining romp. 5 stars. (4-15-09 posted 4-22-09)

Transporter 2

Jason Statham's clearly impressive fight moves -- and physique, when his shirt gets torn off, as it always does -- are again in superb evidence in Transporter 2. His fight scenes are choreographed but the best part is usually when he fights in close quarters. Near or far, though, he's a ballet of hurt. Jason is the Aussie answer to Jackie Chan -- with big guns (fists and firearms). Jason as the taciturn Frank Martin takes on more opponents at one time but his premise remains the same: He is the consummate professional who will outdrive, outfight, and outpursue the baddest bad guys in order to save the life of the innocent -- in this case, the sweet son of a banking executive (Matthew Modine) who has been targeted for death by an oily arms dealer with a weaponized deadly serum. The dealer (Alessandro Gassman) keeps a sexy Shiva named Lola (Kate Nauta) who favors bustiers and slash-and-burn firefights; she's the best bad girl since Xenia Onatopp tried to off James Bond. In a mild comic touchstone not unlike Dennis Miller in 1600 Pennsylvania Avenue, Inspector Tarconi (Francois Berleand) reappears as a laconic French detective. Frank's friendship with the sardonic Frenchie shows a gentle philosophical side to male bonding that comes from an inner confidence. Frank's relationship with his pint-sized charge is also very special since he invests his full attention and affection in the boy; their riddle games are as poignant as Frank's protectiveness. Tight fights, tight editing, average scripting, and acceptable acting: Transporter 2 is as good as Transporter -- not to mention Mr. and Mrs. Smith or Shooting Aces -- and I like it even better. Yes, it's over-the-top with stunts and testosterone like Die Hard Live Free; what's wrong with that? Pass the popcorn and enjoy! 4.5 stars. (4-22-09)

The Eruption of Mount St. Helens: IMAX

The Eruption of Mount St. Helens was my favorite IMAX film when it came out and for the 20 years following. (It could still be so but it's time to screen it again and compare it with others I've seen in the third decade. By the way, the best venue on which to see any IMAX movie is the 360-degree hemispherical Omnitheater at the Science Museum of Minnesota in downtown St. Paul.) The live footage of the mountain's liquefaction, collapse, and catastrophic explosion is unparalleled in the annals of science documentaries. The angry mile-high pillar of ash is as unforgettable as the Northwest's black pall was eerie. Though snow plows cleared most of the ash mounds that covered the highways and fouled car engines, I visited the region one year later to still see hillocks of ash everywhere. I personally surveyed the deforestation from a twin-engine tour plane and found it to be just as in this movie: Hundreds of square miles of flattened trees, all pointing away the source of the hellish destruction that took the lives of Harry Truman, David Johnston, and others. This documentary clearly and thoughtfully conveys the vast devastation that gives one pause to humbly consider the immense energies contained within our common creche, our planet Earth. 5 stars. (4-21-09)

Mortal Kombat: Annihilation

To convince you of how rancid this movie is, say you're channel-surfing and: The sky opens up in a vast upside-down maelstrom (that looks like it was drawn using the Children's Finger Paint Edition of Lightwave software) except this celestial whirlpool serves as a portal to deliver several jet-propelled agents of evil. Next, a Power Rangers lookalike ominously enters the laboratory where Sonya is trying to free Jax after he has been cybernetically modified to "four times the usual strength." Jax decides to "see what these things can do" and uses his silvery biceps to rip off his own shackles. (How unforesightful of his evil-scientist overseers.) "Now that's what I'm talking about!" he exclaims -- just as Mr. Roboto unleashes several detonation charges in their vicinity. Huge fireballs ensue. (Naturally, they duck, run, and therefore live.) Several martial-arts enemies confront Sonya; Jax says he'll take on the robot. Several minutes of hee-yah! hee-yah! kickboxing ensue with bodies being flung against walls dozens of times. Eventually, the bad guys are vanquished (the last one by Sonya hitting him over the head with a metal bowl) but Robodroid unleashes a farewell valentine for the duo. (Naturally, they run, dive, and therefore live.) The scene shifts to the dark war council, where the general and his adjutants snarl and cast imprecations on each other, vying for superiority. (What is it with evil overlords and their fixation on grandstanding?) The dark lord strides in with a giant black mallet, mouths inane dialog then swings it to (literally) fire his general, then growls for a replacement. Three of the four adjutants snarl (one gnashing his teeth so hard you wonder about his medical bills for TMJ) and profess their loyalty. The dark lord says "No! You are all too impetuous!" and picks as his new general the fourth -- she of impeccable makeup and silent leer, who has never said a word -- then storms out. This is when you make your exit too. 1 star. (4-20-09)

The Hobbit

To every serious (if not merely sincere) lover of J.R.R. Tolkien's writings, the Rankin-Bass animated production of The Hobbit is a cringe-inducing travesty. Curiously enough, however, and particularly while bearing in mind the production's offenses to Tolkien's literary legacy, the Rankin-Bass name carries with it a certain popularity and the studio's animation style, while maudlin, has gained a certain iconic status. (Like it or not, the H.R. Pufnstuf look for Bilbo Baggins has become part of the cinematic legacy. Sigh.) Now if something could just be done about the dippy musical numbers! (Oh well, it could be worse: They could have used Leonard Nimoy singing "Bilbo Baggins.") See this one if you are a Tolkien completist and have thick skin -- lest you screech at the liberties taken by the script -- or if you have no awareness of Tolkien's bestselling children's book and simply want to give your family a fresh look at a cute story about hobbits and dwarves heading off to steal (back) a dragon's treasure. Enjoy! 2.5 stars. (4-20-09)

Dr. Strangelove

Dr. Strangelove satirizes the military-industrial complex and esp. the insanity that lurks behind nuclear weapons. An incredibly lean, tight, and understated seriocomedy, Dr. Strangelove opens in the offices of Brig. Gen. Jack (D.!) Ripper (Sterling Hayden), who has snapped and locked down Burpelson AFB after commanding the strategic wing to attack the Soviet Union in a nuclear first strike. Peter Sellers plays three masterful roles as R.A.F. exchange officer Lionel Mandrake (Ripper's effete British second-in-command), U.S. President Merkin Muffley and his creepy national security adviser Dr. Strangelove. George C. Scott plays the testosterone-soaked Gen. Buck Turgidson, who at one point begins capering and cackling, all gung-ho and golliwog over America's undeniable military prowess -- until he realizes that hundreds of millions of lives are on a matchpoint and everyone else in the war room happens to be aghast. Hayden and Scott are dead-to-rights perfect in their roles. I hadn't seen this movie since grad school but it amazes me how many of Muffley's presidential lines remained memorable and classic (from "Listen, Dimitri--" to "I'm just as sorry as you are, Dimitri! We're both sorry!" to the unforgettable "Gentlemen, this is the war room -- you can't fight in here!") Also a gem is Mandrake's stiff-upper-lip kid-glove treatment of Ripper but Sellers' ultimate coup is Strangelove as the Teutonic tutor to the ruling class -- esp. as his black-gloved right hand repeatedly takes the cigarette away from or has to get smacked down by the left hand, spasmodically salutes to an ejaculatory "Mein Fuhrer!" and morbidly tries to throttle its owner as he speaks. The military logistics are as realistic as a Tom Clancy novel right up until Slim Pickens, a-whoopin' and a-hollerin', completes his mission. Every role in this movie feels measured to perfection. This one should be on everyone's must-see list. 5 stars. (4-14-09 posted 4-20-09)

SpongeBob vs. the Big One

SpongeBob vs. the Big One is merely passable for a Spongebob feature. An average episode is much funnier (for example, any one of the three episodes -- "the hash-slinging slasher" or Mr. Krabs dates Mrs. Puff or Plankton beats Mr. Krabs at cards -- that preceded this feature on the airwaves today). Casting Johnny Depp is no big deal since his character (Jack Kahuna Laguna or JKL) is an impassive, Zen-like surfing guru with 15 minutes of screen time tops. The plot is weak and the resolution weaker. See this only if you're a Spongebob (or Depp) completist or have to duck to avoid seeing it. In other words, it's not worth an extra effort to view but go ahead if you have nothing better to do. Enjoy! 3 stars. (4-19-09)

The Stunt Man

The Stunt Man is an inventive and surprising movie that I saw in the theater on its release. It's the picaresque story of Lucky (Steve Railsback), a fugitive who lies low working as a movie stuntman. This movie is known for showing how movies do stunts as well as playfully reframing juxtaposed scenes. For example, we see Lucky falling off a plane wing as he is practicing a wing-walking scene. Then, cut to a closeup of his face undergoing some apparent impact as we conclude he's just had the stuffing knocked out of him -- when the camera pulls back to reveal it's a completely different setting. You'll constantly find your assumptions being tweaked -- and it's a sexy movie too. My second-favorite scene is how Barbara Hershey, his love interest, yanks him from a cold start to a spin cycle the first time. Peter O'Toole chews through scenes as the megalomaniacal director of the movie within the movie, so there's also the potential for betrayal and sabotage and murder as our story gradually winds itself between the bookend dramatic scenes at the beginning and at the climax. Oh, they supposedly destroyed one of four surviving models of the 13 original hand-built Duesenbergs to film the scene, so you could be tempted to say "It's a real Duesy!" -- the car is the origin of the phrase "It's a real doozy!" -- but the survivor count remains at four today, so like their other movie tricks, the Deusenberg appears to have had a stand-in too. 4 stars. (4-17-09)

Tracey Ullman's State of the Union: Season 2

TV. As usual, Tracey Ullman's impressions are spot-on accurate as satire -- first as a Hispanic news anchor ("I'm Linda AHL-vah-reys!") then Arianna Huffington (hoping to sweet-talk Obama into a diplomatic post) plus several picaresque sketches as Laura Bush (puffing away on a cigarette as she fusses about hotter-'n'-blazes Crawford and blithely denies theft from or vandalism to the White House) and a menopausal flight attendant. Don't miss the Bollywood dance number! However, her Celine Dion fell completely flat -- ugh! The mockumentary format sports a great soundtrack; you can even pick out a Valkyrie theme. This season's premiere felt great and gave me plenty of warm chuckles. You just have to be able to think fast to follow along, esp. with the Bollywood lyrics. 3.5 stars. (4-14-09)

Austin Powers in Goldmember

This third is a turd. So much of the humor is scatological, it should go straight in a diaper pail. While Michael Caine can do no wrong, this script leaves him (as Austin Powers' dad) virtually defenseless and bereft of charm. Meanwhile, his presence gives Mike Myers (as Austin Powers) the unfortunate entitlement to make even worse attempts at sexual humor and come-ons than ever (all the while smirking and snorking as if he's funny and likeable). Beyonce (as quasi-blaxploitation princess Foxy Brown) is vapid when it comes to facial expressions or mouthing more than one line at a time. (Her twin demimoons and glitter are more expressive.) Myers is also back as Dr. Evil. Verne Troyer (as his Mini-Me clone) is so underused as to be pathetic; he's mostly kicked around (literally). The script's attempts at humor don't even reach the low point called droll. Myers also plays two new villains that are simply disgusting. For no reason that makes sense, Goldmember has glowing golden genitalia; he often pulls out and throws around a metallic rod and makes inane comments. He has a Dutch accent and others insult the Dutch. Worst person in the world, however, is Fat B-st-rd (yes, that's his name). Being a Myers caricature, he has a Sco'ish accent and the worst hygiene you could imagine. (I won't describe his putrescence but most of his attention and conversation has to do with, and therefore is, literal crap.) The only character I like is the Teutonic banshee, Frau Farbissina (Mindy Sterling, also iCarly's Ms. Briggs): "Lies! All lies!" The point of the movie (if it has any) is that Seth Green (as Dr. Evil's son Scott) has joined his father on the dark side (even if he does run like a girl, settle on a bad combover, and has a lot of work to do on his evil laugh). The end is a muddle but as a whole, Austin Powers 3 is a mess salad; no funnier than tossed cookies, it puts the urge in regurgitate. 1 star. (4-10-09 posted 4-14-09)

The Longshots

I saw The Longshots in the theater with a bookish yet active 11-year-old girl who liked the movie almost as much as I did. It's a can-do, feel-good movie that doesn't start out that way but gets there in leaps and bounds. Ice Cube is a down-on-his-luck former high-school football player who clings to bygone memories of his glory days and never goes anywhere without a football in his hand. (He'd probably have an emotional breakdown if he weren't so depressed and disspirited about his inability to find or hold a job.) Suddenly his mousy 11-year-old niece (Keke Palmer) needs a latchkey uncle, a part-time post he grudgingly accepts. At some point during his daily slumming and kvetching around the school's football field, Keke is asked to throw a football back -- and does so with a zing. The rest of the movie gives us the spiraling buildup of determination and exultation as the young girl discovers and exercises her amazing gift -- and teaches kids a lesson about trusting oneself and one's loved ones. The Longshots is an inspiring black-girl-plays-football story that has elements of Million Dollar Baby, Remember the Titans, Friday Night Lights, and Akeela and the Bee. 4 stars. (3-18-09 posted 4-7-09)

Swing Vote

It's a great movie premise: What if the outcome of the entire presidential election hinged on one citizen's vote? (Actual state and local contests have run as close as one vote.) Furthermore, what if that person was a clueless Joe Six-Pack who couldn't give a fig? (During the 2008 election, John McCain's oft-vaunted "Joe the Plumber" gave a whit but proved to lack a clue as well as a plumbing license.) Swing Vote gives us Kevin Costner as the beer-loving lout of a single dad whose grade-school daughter (Madeline Carroll) has had to grow up fast if Bud is to get out of bed, provide something edible, drive her to school, and show up at his job. As a bright, motivated, and conscientious student, she intends to write her school report about the election but Bud flubs up. Meanwhile, one vote is accidentally invalidated -- Bud's, it turns out -- so the entire national election hangs in the balance until he can cast his vote. (Bud lives in New Mexico, not Florida.) I love how the vote becomes miscast then discovered -- and how both presidential candidates lampoonishly court Bud as if he were a one-stop electoral college. (Kelsey Grammer makes a perfectly stuffy Republican buffoon while Dennis Hopper is the Democratic mannekin. Their advisors, esp. Nathan Lane and Stanley Tucci, are suitably satirical too.) The standout performance here though is Madeline Carroll -- she weighs in with the best of the adults. Watch for her in future roles and see Swing Vote if you appreciate how democracy works (or would enjoy satire about how it shouldn't work). I saw it in the theater but it's a fun one-time view for anyone who likes to root for the redemption of Joe Six-Pack and his devoted daughter. 4 stars. (3-13-09 posted 4-8-09)

Last Chance Harvey

Last-Chance Harvey gives Dustin Hoffman and Emma Thompson a wonderful venue to slip off their shoes and display their complete comfort with each other's company. I suspect only these two could pull off this movie like they did. They're older than Tom Hanks and Meg Ryan in Sleepless in Seattle or You've Got Mail but love comes to the presenior set too. Last-Chance Harvey is like the antithesis to Kramer vs. Kramer meets You've Got Mail. Dustin has lost his job as an old-school advertising jingle composer and finds himself in London hanging out in an airport cafe. He introduces himself to the woman reading a book at the next table and they just keep talking (in other London locations too). That's it -- and it's completely charming. There's a subplot involving Dustin's estranged daughter who is getting married in London, and Emma's character brings grace and charm to that connection too. There's no sex or even a suggestion of anything beyond tender romance so, yes, I would call it an ideal date movie for any couple. Last-Chance Harvey is a simple, unpretentious, low-key yet thoroughly enthralling elaboration of what I personally find to be the most promising story premise of all: An earnest man, a gracious woman, and all the time in the world. 4 stars. (3-19-09 posted 4-6-09)

Marley & Me

Marley & Me is a wonderful family movie that doesn't fit everyone's expectations. It is labeled as a comedy because it's funnier than a drama and there's no category for that bittersweet thing we call real life. Before you let children younger than a mature 11 see Marley & Me, please rely on more than the cute puppy scenes in the commercials and read the parental notes to the left (always a good idea) that clearly state this movie is not for children younger than 13 because of tastefully treated mature themes like love, marriage, and death. Fundamentalists, please note that the movie is rightly rated PG because of two scenes of canine humping (a fact of life if you have a non-neutered dog), Jennifer Aniston's bare back, four bedspring creaks in the dark, a few come-hither looks, and a few utterances of "crap" or "damn." (If you think this amounts to a PG-13, you don't understand ratings and should not watch this movie. Your loss but our gain in one less cranky complaint.) Fair warning: Do not see this movie if you have recently lost a dog or a loved one! Marley & Me is an alternately hilarious and deeply moving tapestry about the marriage of two journalists--the ever-affable Owen Wilson has a comfortable chemistry with Jennifer Aniston--as seen through the husband's birthday gift to his wife: Marley aka Clearance Puppy aka "the worst dog in the world." Marley's tremendous spirit shows in his boundless energy. Clearly the movie played up Marley's rebelliousness--The Dog Whisperer this is not--but if you don't know why a couple would keep such a destructive dog then you have never loved a dog. (Does a parent disown a child?) The love and faithfulness of the Grogans for each other and for Marley is incredible--and precisely the ultimate moral of the story: In the end, we love each other not because we are perfect but because of and in spite of our flaws. Memories and joy are made not from tidiness but the tumult of life. 4.5 stars. (4-6-09)

Nights in Rodanthe

Nights in Rodanthe is a mature romance where a troubled doctor (Richard Gere) schedules a few sanity days at a secluded beachhouse off the North Carolina coast -- in the face of an impending hurricane, it turns out. The beachhouse owner's friend (Diane Lane) has agreed to play host for the solitary guest during his getaway. As the pair clumsily prepares the towering and turreted chateau for the storm, their emotional vulnerabilities (or maybe it's just libidos) surface and they fall into each other's arms. I saw this movie in the theater in October just two months after Hurricane Ike scoured Galveston and scraped the seaboard to its east completely off the map, and having personally weathered through two hurricanes an hour north of the coast in Houston, I have to say I find it completely unrealistic for a man and a woman to be canoodling instead of fearing for their lives in such circumstances. (Three dozen former residents of Crystal Beach might agree with me but their bodies have not been found.) To top off this fantasy, the next morning both of their cars are still parked on the sand under the house -- neither flooded nor washed away in the storm surge! Furthermore, while any man can appreciate the attractions of sexual intimacy, I have to agree with my viewing partner that one-night stands convey a tawdriness that disappoints on film. Finally, this movie left major plot holes and narrative gaps by trying to suggest deeper, troubled characters without putting in the effort to portray or elaborate on their struggles. It's as if they're going through the motions without truly connecting much less filling a lasting need. As a result, Nights in Rodanthe is like a gussied costume drapery with nothing to show beyond the window. 3.5 stars. (3-19-09 posted 4-6-09)

Arlington Road

Arlington Road is one of my favorite Jeff Bridges vehicles because he plays so well the professor-on-the-fringe coming unhinged. He's not as far gone as Mel Gibson in Conspiracy Theory but his take on reality is more visceral so his unraveling is more climactic. (Talk about overacting: I think you can see the snot running down from his nose.) What's really chilling to me though is Tim Robbins as his neighbor -- not just an innocuous Timothy McVeigh in white-bread suburbia but the leader of a domestic terrorist cell with his ice-veined wife Joan Cusack. Bridges' role may be a tad overdone but Roth's and Cusack's are chillingly understated. That -- and the movie's perverse final moments -- are what makes Arlington Road hard to put out of my mind and a movie I'm pleased to own. 4 stars. (4-6-09)

Bedtime Stories

Bedtime Stories is a children's movie as giddy and fun as you can get outside of animation from a major studio--or previously from Sandler himself, for that matter. Well-known for never having let go of his inner child, Sandler's movies usually bear the outward taint of blue adult language. My favorite Sandler vehicles have been cleanest in that regard: Punch Drunk Love, Spanglish, and Happy Madison. Bedtime Stories now joins that list because it's full of an infectious childlike glee--even as Sandler's man-child character wrestles with how to harness such archetypal imagination to his benefit. Our story begins when uncle Skeeter (Sandler) is asked to take on night-shift babysitting duty for the two children of his estranged sister (Courtney Cox) during her business trip. The urchins' mom won't let them watch TV or eat nonorganic food (much less sugar) so Skeeter tells bedtime stories to lull them to sleep. (There's a wonderful bookend to the movie about how the father of Skeeter and his sister told them his own bedtime stories when they were kids.) The children pitch in with their own contributions to the story and the next day the story, in its own ways, comes true. Skeeter begins to try to manipulate a bedtime story that will benefit his career and fulfill his life's dream--though often to comic effect. Stories range from settings in the Wild West to Star Wars, including lightsaber-type weapons that could only have come from the Three Stooges had they been Jedi knights. In the end, Bedtime Stories is a heartwarming and infectiously sweet movie about reconnecting with family and fulfilling a father's legacy and one's own destiny. It has goofy and cornball scenes, a few fart jokes, and a big green booger monster but Adam worked hard to keep it clean. It's a fun movie just for kids--and any adults who are still in touch with their inner child. 4 stars. (4-6-09)

Grand Canyon Adventure: River at Risk

This is a well-done, inspiring documentary that summarizes the discovery and preservation of the Grand Canyon, our single greatest national treasure. Robert Redford lends his narration as well as his moral authority to this production, which I saw ten months ago in the science museum's IMAX theater. 4.5 stars. (4-5-09)

Monsters vs. Aliens

Monsters vs. Aliens led in box-office receipts ($56 million) by a factor of 2.5 when it opened last week and, judging from the packed-with-families 3D theater my son and I sat in yesterday, it will continue to do well. Seeing this movie in 3D was cool but after a few token "gotcha" scenes in the previews and first ten minutes, it wasn't used much to best effect (grr). The movie evoked regular bursts of laughter from kids and adults so it seems to be a hit with all age groups. As an adult, I personally loved the hidden references to old monster and sci-fi movies and Stephen Colbert as the President was a hoot. I greatly enjoyed the back-story of how each of the monsters came to be (esp. Hugh Laurie's Dr. Cockroach) and sure, their actual characters and roles in the story were OK, but I felt they could have been more effective. (Except Seth Rogan's BOB the Blob: He was about as funny and effective as he could be.) Reese Witherspoon as the (I presume) 50-foot-tall Susan (aka Ginormica) was the star of the show as she discovered and embraced her destiny and saved the day (with the others' help, of course). Rainn Wilson as Gallaxhar was a stitch as the evil overlord wannabe (esp. when tag-team rolling his five-eyed visage) and Kiefer Sutherland played the monsters' military nanny as Gen. W.R. Monger. The voice talent was all flawless and the script was full of plenty of funny bits (esp. for those who could catch the often-just-implied movie references). The chase scenes got wacky (with auto cars and jet cars used as Susan's skates) and, sure, some scenes were cheesy -- but that's all in the spirit of monster movies. Be sure to stay till the President presses the wrong big red button in the middle of the closing credits but there's nothing more after that. You may go home now, citizens, and live your lives in safety and freedom thanks to your government and its leaders. 4.5 stars. (4-5-09)

Bad Santa

Really, I do love every role Billy Bob Thornton has played. However, his role in Bad Santa is almost as greasy as in U Turn (good) but grittier than a hot dog full of sand (myeh!). Working hourly wages by day as a department-store Santa with his little-person partner-in-crime (Tony Cox) as a Santa's elf, Thornton cases a store's security then plans and executes an inside-job heist before moving on to the next target. (Sort of redefines "seasonal worker," doesn't it?) That wouldn't be enough to carry the story by itself, however, so we have Thornton as a thoroughly obnoxious and seedy guy -- often coming to work drunk, bitching at the kids, hitting on the moms, scratching his private parts, and being found banging fat ugly chicks in the dressing rooms while on extended breaks. He's so gross but manages to attract a fashion-plate-in-overalls girlfriend who has a thing for having sex with Santa. Bad Santa is train-wreck cinema, turning hallowed holiday traditions on their ear then farting in their face. Some will love the gross-out scenes, others should just stay away. You know who you are. 2 stars. (1-16-07 updated 4-5-09)

Eagle Eye

I cadged Eagle Eye as a free-Wednesdays redbox rental and have to say it is an awesome high-tech thriller! It's basically Cellular meets Enemy of the State with some cool "I can't do that, Dave" stuff mixed in. I love the premise and how it develops -- it kept me on the edge of my seat. As a high-tech industry person for 30 years, I recognize that Eagle Eye is science fiction -- but the best sci-fi extrapolates beyond what is already possible to pose questions or warnings about what could become imminent reality. Eagle Eye covers the high-tech stuff extremely well, esp. when mixing terror alerts and surveillance technology with everything else we rely on in our now chillingly pervasive electronic world. (All the data is there. God save us when someone links it all together.) Shia LeBoeuf and Monica Monaghan make a believable team as two citizens thrown together in the midst of the greatest national-security crisis this nation could ever face. The insidious and pervasive nature of the plot is what rivets you to the chair but Shia and Monica keep you there. Billy Bob Thornton as the don't-sass-me lead FBI agent in pursuit does his usual extraordinary magic in the role. All the supporting roles fit in well too, no matter how small, esp. as they are drawn into the same emerging threat as Shia and Monica. The car chases and crashes were real popcorn-crunchers too. See this movie! More than a thrill ride, it's a warning to bear in mind lest our future become such a brave new world. 5 stars. (4-4-09)

Coraline

I've seen Coraline twice in the theaters, in 2D and in 3D with my two favorite 11-year-olds. Here is a movie that is a marvel in stopmotion animation with only rarely visible patches where the illusion wears thin (and a corner must have been cut). Teri Hatcher's evil "Other Mom" is a beguiling black widow of a character who gradually maneuvers to ensnare Coraline, who is determined to escape and to rescue others. The spider motif only comes out, full fangs bared, near the end; most of the movie is concerned with what seems real and what might not be in Coraline's new home in Oregon. Her parents are gardening authors who can't stand dirt and are busy writing under deadline, so Coraline is sent to explore the strange old boarding house where they've settled. Doors and mirrors are not what they seem and the house's other inhabitants are delightfully eccentric: a Russian acrobat above and two long-faded actresses below -- plus mice and Scottie dogs and more. Coraline also finds a conspirator in Wybee, at some distance the closest neighbor, and his black cat. Many more fantastic and beautiful and eerie elements abound, depending on which layer of the story Coraline is in. The button-eyes and alternate-universe themes of this movie carry a primal power for the imagination and my youngest son had bad dreams because of the sinister spider woman. Be sure to stay for the closing credits -- awesome in 3D! 4.5 stars. (3-18-09 posted 4-2-09)

Austin Powers: International Man of Mystery

There is smart-dumb and there is dumb-dumb. Smart-dumb would explain why I love Get Smart, The Office, The Tick etc. Smart-dumb is ironic, referential, and spoofy or even campy. It takes intelligence to play this kind of idiot and smart people appreciate that. Dumb-dumb would probably explain why I fail to be impressed with Austin Powers. Dumb-dumb is broad, ham-handed, and schmaltzy. For the life of me it just isn't funny. As Austin Powers, Mike Myers has huge bad teeth. (What a lame old chestnut!) Revived straight from the "sexual revolution" of the 1960s, Austin sports fashion mockeries and his refrain "Do I make you horny, baby?" (No woman in her right mind...) I know Austin has lots of fans but speaking for myself: Thud! Starched cat? Not amused. "One million dollars"? Not amused. "Number two"? Not amused. "Throw me a freaking bone here"? Not amused. Killer fembots with guns in their "jumblies"? Not amused (and a little weirded out). I could go on -- but a few marginally chucklesome bits lead me to say "Oh, all right, maybe it's not a total loss": (1) The computer-narrated urination process. (You know that some day all our technology will come to this.) (2) "That's not my p-n-s enlarger!" (I do not appreciate sex-toy jokes at all but the series of verbatim rebuttals was classic.) (3) "Please -- help me! I'm burned! It really hurts!" (A botched incinerant interrupts Dr. Evil's rant.) (4) Seth Green as Dr. Evil's son: "No! Don't put them in the unnecessarily slow dipping mechanism! They'll get away! Listen--I have a gun in my room!" I will say agree the movie is smugly self-confident and original--for a derivative retrofest. They obviously had loads of fun making it--even if "just for sh-ts and giggles." 2.5 stars. (4-2-09)

Memento

Memento is one of those rare intellectual powerhouse movies that makes you think hard--or at least try to figure out what really happened. As such, I put it at the top of a very short list with The Matrix trilogy, Pi, Primer, and The Fountain. It's the only movie in the list that I've watched 8 times to date. So far I *think* I've figured out the story arc--though I seem to want to remain in denial if nihilism figures in here as with The Matrix trilogy. (Nothing dashes one's appreciation for a movie's complexity than a red herring, deus ex machina, or a director's "Just kidding!") In any event, Christopher Nolan's Memento stands out as a taut, driven crime thriller--a whodunnit that mesmerizes by dint of its characters and tight and convoluted (nonlinear) structure. In essence, just watch the opening scene--I won't give anything away. Then watch the rest of the movie--with a fresh perspective. You'll pick up that segments or episodes are not told in their normal sequence. Segments overlap by a second or two so you can begin stitching together the linear timeline--but you won't be able to finish until you've seen the "last" scene (which brings you back to the "opening" scene). Or you may need to see the movie eight times. The whole cast is memorable and excellent. Guy Pearce is Leonard, a crime victim with brain trauma who, despite his inability to make or retain new memories of any kind, has devoted his life to finding and killing his wife's murderer. Joe Pantoliano is "Teddy," who claims to be his "friend" and may or may not be a cop (clean? dirty?). Carrie-Anne Moss is Natalie, who befriends Leonard for her own reasons. Key to the narrative is the question: Can Leonard trust anyone? Can he even trust himself? You'll have to decide on your own. Let me know what you think. 5 stars. (4-2-09)

Amadeus

Amadeus is a tour-de-force romp through Tom Hulce's manic mind as Wolfgang Amadeus Mozart, the demigod of classical music who could party down like it was 1789 and probably died of consumption at the age of 34. "Wolfie" to his buxom wife Constanza or "Stanzi" (Elizabeth Berridge), Mozart achieved immortality in human history through his soaring, lyrical, divinely inspired compositions that came to him as-is, first draft, virtually perfect, without revisions. So inspired and passionate for his art as to seem at times insane (oh, that laugh!), Hulce as Mozart tears up every scene with prima-donna impishness or insults. The best scene is when the civil and musical authorities (including his patron and his boss) tell Mozart his music has "too many notes" -- so he challenges them to pick which ones to remove. Other memorable scenes depict how he feeds the slow burn that the lesser court composer Domenico Scarlatti (F. Murray Abraham) held against him. The premise of the movie is a tenuous one historically: Scarlatti confesses on his deathbed how he hated Mozart all his life and engineered his death. More than just a doozie of a whodunnit, Amadeus is a wonderful psychological study of the gradual corruption of Scarlatti's soul from a vain young boy (who blithely welcomed God's "answer" to his prayer to pursue a musical career) to a hopelessly bitter old man (ardently jealous of Mozart's greater gift and fame while furious at God for so favoring a less pious person). Here are my favorite performances of all from Hulce and Abraham and the music is a constant delight too. (Gotta love Sir Neville Mariner and the Academy of St. Martin in the Fields!) I'll never tire of seeing and listening to Amadeus "one more time, from the top!" 5 stars. (3-13-09 posted 4-3-09)

Mamma Mia!

Mamma Mia is clearly a musical salvo of spangly flares sent up for the nostalgic delight of ABBA fans. Others' complaints aside, I found the movie to be a blast. It is, however, largely if almost thoroughly fluff: giddy fluff, girly fluff, blonder than Legally Blonde fluff, jawdroppingly astounding to men fluff. It's like I've been transported to a world men rarely see (and try to escape from when they do): Estrogen City, Girl Talk Bay, Dishtown, Confidant Cove, and Pealing Squeals Heights. Yikes! While bride-to-be Amanda Seyfried is a gorgeous young woman and singer, her deviousness with wedding invitations only proves how outgunned men will always be on women's turf. Reading her mother's 20-year-old diary to her gal pals is a hoot: "Dot dot dot! That's what they said back then!" Meryl Streep is a surprisingly gifted singer and dancer -- is there nothing this woman cannot do? -- and her musical-revue reunion with Julie Walters and Christine Baranski always entertains. I continually cackled at the terse man-to-man interaction and gameface singing chops of Colin Firth, Stellan Skarsgard, and Pierce Brosnan -- who acquits himself quite well in my opinion, since singing requires more courage than command. The morally conservative may have a problem with this comedy's premise that Meryl's character was intimate with three men during the month she conceived her daughter, however, her romantic vulnerability at the time is explained and she is declaimed as otherwise maternal, moral, hardworking, and even dowdy. While this musical makes marginal if comedic references to sex (viz. Christine's older-woman put-down of the cabana boy), Mamma Mia is a family film experience that many parents may choose to share with their sons and daughters 13 and older. 4 stars. (4-2-09)

Mr. and Mrs. Smith

Mr. and Mrs. Smith is True Lies five years later if Arnold Schwarzenegger and Jamie Lee Curtis had a falling out or received mutual sanction orders. Mr. and Mrs. Smith is One Fine Day if George Clooney and Michelle Pfeiffer were married (sans kids) and had access each to their own military-grade weapon arsenals. Brad Pitt and Angelina Jolie are superb in their roles as "Mr. and Mrs. Smith." Each spouse, unbeknownst to the other, has been a lethal assassin for hire, perhaps at times for opposing agencies or sides. Trained not to reveal anything personal about themselves to anyone, their affluent yet sanitized married life involves never talking about their work and archly commenting on the peas in their evening meal. Ultimately, Mrs. Smith receives a contract to kill Mr. Smith and vice versa. Guns and rocket launchers soon commence to blaze. They race each other home and begin pockmarking and shredding the walls of their lovely home with rounds of automatic weapons fire. "Baby...? Are you still alive...?" says Angelina as she stalks her prey. Their married-couple affection (real or feigned -- who knows with a contract killer?) is a wonderful comic foil to their ballistic mayhem, which is obviously just a coarser expression of any marital tiff or spat. One thing is certain: You won't hear Angelina say "I'm going home to mother!" 4.5 stars. (4-1-09)

Healing Yoga: For Common Conditions

This Healing Yoga title is good esp. for those with weight-related conditions that make strenuous exercise difficult. The leaders demonstrate abbreviated Yoga forms that are easier to accomplish for beginners and those whose mobility is restricted for the time being. At last -- a Yoga introduction that doesn't require you to already have the lithe body of a teenager! The pace of instruction is also appropriate (i.e., a position is not over before you can crane your neck over your shoulder and say "What did he say?"). On a practical note, it would help to just watch the routine through first to familiarize yourself with what is being done before you actually follow along, since it may be hard to see your laptop or TV screen while on your back, side, or belly. 3 stars. (3-31-09)

Healing Yoga: For Aches and Pains

This Healing Yoga title is a good one. The hosts are extremely pleasant and unobtrusive; they demonstrate the positions very well in a peaceful oceanfront setting with a sitar soundtrack as background. As a yoga newbie, however, I have a hard time with two tendencies in this program: 1) stating a plethora of procedural steps followed by all the while, breathing in such-and-such a manner (which is like a cooking program that mentions the first thing you were supposed to do only after listing all the previous things) and 2) invoking a range of New Age effects (whether actual, eventual, or imaginary) such as drawing energy up or pushing it down through your feet, feeling a ball of light in your abdomen, freeing up the tightness in this or that part of your body etc. (It may be that practicing the regimen for some time will eventually produce or inculcate that effect but all I know is that I have no idea what theyre talking about at the time. If you mean imagination, say imagination. Or if you mean pain relief, how can you speak of it as actual or factual for everyone?) These adapted yoga moves seem appropriate and helpful to anyone who has pain or a limited range of motion. 3 stars. (3-31-09)

One Fine Day

One Fine Day arrived just before The Peacemaker as jut-jawed George Clooney with his impish twinkle and macho swagger began migrating his overwhelming popularity on two TV seasons of ER by winning fans on the silver screen. (After The Peacemaker, Batman & Robin, and O Brother Where Art Thou, he was officially Hollywood gold.) His pairing in One Fine Day with the attractive and talented Michelle Pfeiffer makes for wonderful chemistry and the two make the most of it from dawn to dusk in this script. As our story opens, each star plays a single parent with a surpassingly demanding professional day -- and their tykes miss their field trip. She has a critical international presentation to make and he has a major investigative article to complete. They can't stand each other but learn to cooperate to make it through the day. Aside from the too-tidy Hollywood trope of falling in love in one day (or in one soul-searching gaze or embrace), One Fine Day is a rollicking adventure of romance with cute kids in tow that is always welcome for an encore viewing in my book. I'm not just a One Fine Day viewer, I'm also a One Fine Day owner. 4 stars. (4-1-09)

A Shot in the Dark

The opening scenes for A Shot in the Dark, the low-key second Pink Panther vehicle starring Peter Sellers, depict a 1960s-era feeding frenzy of clandestine trysts in what turns out to be the mansion of the wealthy man who becomes Inspector Jacques Clouseau's chief murder suspect -- before the namesake shot in the dark. It's all a plant or a tell for Clouseau's revelation of the real killer, so pay attention. After a fresh fix of Inspector Clouseau cartoons and Henry Mancini's archly lissom Pink Panther theme music during the opening credits, Sellers returns to his understatedly maudlin portrayal of the idiot savant French detective. (He's a legend in his own mind and a klutz, a putz, and a yutz to boot.) For physical humor, his pool-cue ploy is masterful but the brunt of Sellers' humor here is intellectual: "I knew that" and "I know what I have been saying" etc. when to the casual observer anything else would be obvious. Or, perhaps like Columbo, is his idiocy merely part of his brilliant strategy? We also see Sellers' developing linguistic genius as he analyzes the "beump on the head" of the maid that Clouseau's boss, the Chief Commissioner, would like to charge with the crime. His nerdishly romantic fascination with the maid (the cloyingly sexual Elke Sommers) eventually carries them to bed -- but there is the little matter of his Chinese houseboy (Burt Kwouk), who has been instructed to "attack without mercy" to help keep up Clouseau's asserted alertness and martial-arts skills. Meanwhile, Clouseau's boss (Herbert Lom) is twitchingly going off the deep end in his frustration over Clouseau, a theme that will be artfully carried into future Pink Panther sequels. Look for what I presume are the Mancini orchestra members playing the Pink Panther theme song at the nudist colony and listen for the comic off-camera twang of the borrowed guitar Clouseau hides his thighs behind. 4 stars. (4-1-09)

Wright Brothers' Flying Machine: Nova

The Nova documentary on the Wright Brothers' Flying Machine is quite impressive. It not only puts into perspective the incredible advances in aeronautical design from a century ago that two bicycle-shop owners developed from scratch in just ten years but it showcases the authentic recreation and test flight program for several of the Wrights' original designs, again virtually from scratch (though with the advantage of computer-aided techniques to rediscover the long-lost blueprints using only a few surviving parts and one photo). Much of the Wrights' genius came through their approach to engineering design; esp., for example, their characteristically homebrew development of a wind tunnel and a wind-lift measuring system enabled them to build and test a full range of small-scale wing designs without the need to construct full-scale models or to actually fly them. The Wrights' approach relied on their own flight tests as the only reliable source of data and saw airflow control as pivotal, however, they designed a means of control into the structure but left the use of the control up to the pilot. The program shows how the Wrights' innovative hip harness and foot-control pedals work in actual test flights! For anyone who loves kites, gliders, airplanes, or aeronautical history, this 60-minute documentary comes highly recommended. Seeing their designs in flight is amazing! 4.5 stars. (3-31-09)

Race to Witch Mountain

Dwayne Johnson's got it going on: He's chiseled in face and physique, he's smart and has great comic timing, and kids love the guy. He nimbly plays off his child costars in Game Plan and Race to Witch Mountain, where he comes off like a Doberman when he needs to be but one with a golden heart when kids need him. In his latest action/comedy vehicle, Race to Witch Mountain, Dwayne plays a former mafia wheelman who's determined to go straight -- and what Dwayne sets his mind to, he achieves. He picks up two fares -- or rather, the teens pick him -- but getting them to their destination ends up being a bigger challenge than expected, because the teens are space aliens in disguise, with mysterious powers and a mission to save Earth from imminent destruction. Oh yes, and a shadowy government organization is determined to capture them -- the kind that can make you disappear without even a "We could tell you, but then we'd have to kill you." This remake of the Witch Mountain movies, which ends with the blatant promise of a sequel, relies on extended adrenaline-inducing action and chase scenes as well as high-tech special effects. As such, it's far from usual Disney fare and closer to the Bourne or Transporter movies though with special effects in the vein of Jumper or Push. All the adults and kids in the opening-weekend theater seemed pleased with the show; both my 11-year-old viewing companions enjoyed it and my son promptly chimed in at the end, "We need to buy it." Speaking as an adult, Race was every bit as good as I hoped. (My favorite scene appeared in the previews where the boy stops a pursuing SUV.) Our alien teens (A Bridge to Terabithia's Annasophia Robb and Alexander Ludwig) play their roles to a tee. My guess is that few adults will see Race without the impetus of kids 8 and older but if you have such a motivation, here is a movie that's fast-paced and tense with comedic relief and a hero who's rock-steady in keeping a promise. 4 stars. (3-16-09 posted 3-30-09)

Milk

"Hello! My name is Harvey Milk, and I'm here to recruit you!" was how San Francisco grassroots politician Harvey Milk liked to introduce himself. The first openly gay candidate elected to public office, Milk began to assert equal rights for gays in the 1970s, first by helping establish the Castro district where gays could stand against police dragnets and brutality. As an avowed heterosexual, I have no interest in seeing or hearing two men kiss and have sex, though to be fair the handful of such scenes in Milk were mainly in the dark or off-camera. More important are the Promethean qualities evinced by Milk's self-awareness and courage as he counsels young gays away from suicide induced by a gay-hating society. His civic leadership and national fame seems as important to the GLBT community as was Martin Luther King Jr.'s to the black community -- though the movie makes it clear that Milk knew the value of sound bites and staged theatrics. Indeed, the protests in this movie are so well choreographed -- everyone's fists pumping and every chanted slogan in perfect sync -- as to be engineered by a force greater than gay genes: Hollywood hagiography (plus many original protesters). Though no saint, Milk was a clear-eyed, optimistic, humorous, self-deprecating populist precisely because he was a gay man who had faced his demons and persecutors and come to terms with who he had been made to be. As he famously said, "You've gotta give them hope!" The special features provide great historical perspective. For technical and narrative factors, 4 stars, but for mixed emotional impact, 3.5 stars. (3-16-09 posted 3-30-09)

12 Angry Men

If you long for the halcyon days of good scriptwriting -- when Alfred Hitchcock and Rod Serling held sway -- then 12 Angry Men should do the trick. In a court of law, a jury of 12 varied personalities -- some disaffected, some cranky, but all men -- are assembled to determine the guilt or innocence of the accused, an 18-year-old. It seems like an open-and-shut case for the death penalty, at least to 11 of the jurors. But there is one holdout. He is cajoled and ridiculed but his conscience won't be moved. What are 11 men to do esp. since dinner is waiting on the table for them if and when they get home? How emotional can things get in one cramped room without AC? 12 Angry Men is some of the tightest moral-conscience writing of the 1940s and 50s and it features Jack Klugman, Henry Fonda, E.G. Marshall, and more. Don't miss this classic! 4.5 stars. (3-20-09 posted 3-29-09)

Star Wars: The Clone Wars: Season 1

The Star Wars: Clone Wars field is getting a bit confusing. First we got Star Wars: Clone Wars: Vol. 1 and 2 with Genndy Tartakovsky's appealing style of 2D animation in a series of cartoon-length snippets. Next we got Star Wars: Clone Wars with Dave Filoni's totemic style of 3D animation in what amounts to a prequel to the present Star Wars: Clone Wars: Season 1. (It thereby becomes a prequel to a prequel to a prequel, since the whole Clone Wars saga is meant to expand on the Star Wars saga between the second and third movies, which are themselves later-released "prequels" to the original Star Wars movie, now called Star Wars IV: The New Hope.) This TV series -- where Count Dooku continues to look and grandstand like a totem pole -- shows more development and maturity than its introduction in that the battles are a bit more realistic (if such a word could ever be applied to anything in the Star Wars canon). The battles that turn ships into laserbeam-riddled pincushions occur less at the hands of droid ground troops and more at the onslaught of Gen. Grevious's ship, the Malevolence. (Aside from his cantankerous and combative personality, being commander of a ship so named is a dead giveaway that you're the alpha bad guy.) Obi-Wan still looks carved from wood too but Anakin seems slightly more humanized. (He wryly jokes more and is kinder to his apprentice Ahsoka.) Best of all, Jedi masters Yoda and Plo Koon show their love and loyalty to each individual clone trooper, recognizing their individuality and value and standing with them to the last. Battle droids are used to more humorous effect though Yoda proves his mettle against 1,000 of Dooku's troops. This series will appeal to must-see-it-all Star Wars fans, of course, but also boys through age 13 and a smattering of parents and siblings who get pulled in with them. 4 stars. (3-29-09)

Bottle Shock

Bottle Shock is the entertaining portrayal of a British wine seller in France (the ever-engaging Alan Rickman) by whom pro-Gallic wine snobbery got its comeuppance from the rising challenge of California wines. True story: Thinking to put Napa and Sonoma wines in their place but dedicated to presenting a fair contest, Steven Spurrier (Rickman) conceived of and championed an international wine tasting competition that would pit French against California wines -- and the wine world was astonished when California won the double-blind competition hands-down. More so, however, Bottle Shock is the tale of hard-working American neophyte vintners determined to mortgage their futures and blaze new vinicultural paths. It's a story of faith in creativity, in gift, in self, and in the land -- blessed and sundrenched -- that is California. 4 stars. (3-24-09 posted 3-29-09)

Hollow Man

Hollow Man is a modern-day scientific take on The Invisible Man: How might an invisibility serum work if one were developed in an independent laboratory, and how "mad" might the lead scientist become as a result of his self-experimentation? Hollow Man sports some pretty cool special effects (as a gorilla and a human turn invisible in anatomically correct fashion from skin to internal organs to bones) and a few run-of-the-mill ones (a latex mold replaces the Ace bandage mask plus telltale lurking through clouds of steam and pools of blood). All the while, Kevin Bacon's true grit is making a fast break from fried to toasted to burnt-crisp. The script is marginally better than average but Bacon burbles as the prima-donna scientist turned demigod who doesn't want to be human (or moral) again -- and if that weren't enough, his lab director and former love interest (Elisabeth Shue) makes you want to root against him. Does she survive the carnage? You owe it to yourself to catch Hollow Man. 4 stars. (3-20-09 posted 3-29-09)

Fairly Oddparents: Abra-Catastrophe the Movie

The Fairly Oddparents is one of the funniest cartoons on the planet with fast-paced, jam-packed laugh appeal for kids as well as adults. (I think only the new Penguins of Madagascar has more perfect physical humor and pithy one-liners per minute.) Abra-Catastrophe starts with Timmy Turner dreaming in perfect spoofs of The Empire Strikes Back, Spider-Man 3, and Jurassic Park. He wakes up to be given a "magic fairy muffin" that grants anyone who eats it anything they wish -- which is a problem because if Crocker, the crazed teacher with a fixation on fairies, gets it, he intends to make himself supreme evil ruler of the world. All kinds of complications ensue -- including a movie-in-the-movie called Fairly Odd Primates. I never tire of catching this cartoon on cable. 5 stars. (3-29-09)

True Lies

True Lies is my favorite Arnold Schwarzenegger comedy. Ditto for Tom Arnold. Ditto for Jamie Lee Curtis (though if I were female, her trump card might be Freaky Friday). Ditto for Bill Paxton (Simon the seedy salesman/lothario with a secret agent schtick). Yep, True Lies is all-around good comedy. Great story. Good laughs. Good times. I'm always happy to catch it on cable plus I own the video. It just has so many classic lines, each one played to the hilt for comic timing. Tom Arnold: "Women--you can't live with them, you can't kill them." Ahnuld: "Sorry... Sorry..." Jamie: *Thud!* I mean really, True Lies is full of so many classic secret agent scenes (serious and schmaltzy) that it plays the perfect balance between taking itself seriously and just having fun with it. It's fast-paced, full of action, character-driven, and hilarious. What's not to love? For all-around superb mass-market comedies, True Lies is one of my all-time favorites. 5 stars. (3-20-09 posted 3-29-09)

Rat Pfink and Boo-Boo

Rat Pfink a[nd] Boo-Boo is really one of those movies that makes you say: "Wow. What was that?" (At least the typos in the title are real; they didn't have the money to fix them.) Having heard about the movie, I expected something like Patrick Warburton in The Tick but campier. Well, try going back earlier and campier than Adam West in Batman. Try going back to Beach Blanket Gidget and Roustabout. Then get a bunch of no-name actors, pay them nothing, and make a movie on a budget of literally $20 plus film. Our heroes' costumes go beyond discount-rack kitsch and all the way to trashcan salvage with ragged holes for their mouths and eyes: Vin Saxon as Rat Pfink dons a cape and ski mask and Titus Moede as Boo-Boo sports -- um -- let's just say he looks like a baby-bull pinata in a mask and diapers made of Zubaz jams. Rat Pfink's voice and schtick seem to be the original models behind Batman's and Tick's "retro" patter-of-justice. And even though the chase and fight scenes go on interminably and our heroes don't appear (in their alter-egos) till the halfway mark, I found myself feeling affection and concern for them and the attractive girl they're rescuing (Carolyn Brandt as Cee Bee) from three baddies (Linc, Hammer, and crazy-but-dim Benjie). To see this pfilm, you'll need a largesse of patience and humor -- even mine were tested -- but if you like movies too weird and rare to be found in the off-price bin, Rat Pfink and Boo-Boo are your guys! 2.5 stars. (3-28-09)

Hit Celebrity TV Commercials

A cheap '80s-era introduction bookends this smattering of 74 TV commercials spanning several decades from Spanky McFarland to Don Johnson. A half-dozen are memorable, including Tim Conway for Lay's chips and Iron Eye Cody (the Native American with a tear in his eye) against litter. The rest are a soft spread of nostalgia if you've lived through the past 60 years or are interested in them: Roy Rogers and Dale Evans, George Burns and Gracie Allen, Arthur Godfrey (who is so relaxed and spontaneously off-script and funny that you wonder what he's been smoking), Ronald Reagan, what's-his-name and Mister Ed, Mclean Stevenson, Harry Morgan (with black hair), Fred McMurray, Andy Griffith, a few ingenues like Cybill Shepherd and Farrah Fawcett, and classic matrons like Jean Stapleton and Rue McLenahan. Three commercials were clearly not final versions but they were entertaining and revealing just so. The audio track sounds fine. IW. 2.5 stars. (3-23-09)

American Experience: The Trials of J. Robert Oppenheimer

This two-hour American Experience examination of the professional contributions and subsequent political persecution of J. Edward Oppenheimer, head of the Manhattan and Los Alamos nuclear-bomb development projects, is the most in-depth and thoughtful treatment I have yet seen. I learned a lot I didn't know. America must never forget how, after Oppenheimer pulled America's (and the world's) bacon out of the fire of World War II with the defeat of Germany and Japan, petty bureaucrats destroyed his reputation and public-service career in a kangaroo court of public opinion. "America should not eat its own young" said one historical figure of Oppenheimer the pacifist's persecution, a few years before President Dwight Eisenhower warned us in his farewell address that "in the councils of government, we must guard against the acquisition of unwarranted influence, whether sought or unsought, by the military-industrial complex" and McCarthyism spread its ugly tentacles. 4 stars. (2-1-09 posted 3-20-09)

Run Lola Run

Franka Potente burst on the scene as the star of Run Lola Run, a heartpounding adrenaline-fueled thrill ride with a driving Eurotechnopop soundtrack. As the brains of the young couple, Lola gets an urgent call from her boyfriend Manni: "Please! Help me replace the $100K in Deutsche marks I just lost or I will be killed in 20 minutes by the drug boss who trusted me with his errand." She thinks first of her problematic bank-manager father, then leaves the house running... as developments unroll (or complications unravel) unrelentingly for the next 20 minutes. Even so, it would be a very short movie, except the story resets itself to run through it all again -- and again -- each time with minor yet significant tweaks in search of a satisfactory ending for the devoted and star-crossed lovers. Nothing about Lola is predictable; she and this movie are in a hyperkinetic race to show how free will and thinking on one's feet can make all the difference in the world. I've seen this movie several times, I own it, and I can't see ever getting tired of watching it. See it in German with English subtitles. Lola is addictive; I hope you'll watch her and agree. 5 stars. (3-12-09)

Holidaze: The Christmas That Almost Didn't Happen

The Christmas That Almost Didn't Happen is a cute updated mashup in the style of the Rankin Bass stopmotion Christmas specials. Think of it as Robbie Reindeer and the Hooves of Fire meets South Park (for the bleary eyes and repartee but not the language). The story is clean and full of hilarious bits plus the voice talent is excellent. First you have Fred Savage as Rusty the Reindeer, the inverse-proportionally- famous brother of another unnamed reindeer (whose dad won't stop talking about his famous offspring). Then you have Fred Willard as a figurehead Santa Claus who's about as emptyheaded as Willard Scott and Edie McClurg as the eggnog-swilling Mrs. Claus. In the Big City, John O'Hurley is Kringle, the blowhard thespian and department-store Santa, and support-group members include Gladys Knight as Candie, Harland Williams as Albert the Thanksgiving Day Turkey, Paul Rodriguez as Cupid, and Emily Osment and Brenda Song as Trick and Treat. The cultural references come chockablock as this show makes fun of cooking shows, American Idol, altrock and gothrock music videos, Edward Hopper's Nighthawks, FedEx, Wal-Mart, and much more. IW. 4.5 stars. (3-10-09)

Miracle at St. Anna

This movie's previews gave me the distinct preconception that it was about a miracle somehow involving an Italian orphan boy, a decapitated architectural head, and the escape of a group of American black soldiers during WWII. What the movie turned out to be, however, was a powerful if extended and often muddy exploration of wartime violence, suffering and injustice, racial prejudice, hope, and sacrifice -- with a whimper of a so-called miracle at the end. Miracle of St. Anna not only felt like a mix of several movie plots in one but also a mashup of scenes from probably every movie Spike Lee has ever seen. (No kidding, I could name several dozen movie scenes that felt strongly reminiscent if not lifted from other directors' offerings.) The wartime story is powerful with often graphic carnage of the black soldiers pinned down for the slaughter and of innocent civilians slaughtered like bowling pins. (One of the most reprehensible scenes of Nazi carnage is the assassination of a parish priest followed by the massacre of an entire town in the church square, with blood splattering across the bullet holes being pockmarked in the church walls.) America's black soldiers are an experimental regiment, considered "equal enough" to fight -- just not alongside white soldiers. Their courage in an exceptional situation is exemplary -- this is a Spike Lee movie after all -- though racial turmoil is too simplistic of a scapegoat. The Italian boy is a salvific figure of innocence and his relationship with his "chocolate giant" is sweet and memorable. However, the stone head seems to be superstition only and I wish more than lip service could have been paid to the theme of a miraculous escape through the mountains of Tuscany. You don't want to know how many are left alive by the end (in the "then" or in the "now"). I will just say I loved the ending! 4 stars. (3-11-09)

Crawford

Crawford is a balanced and revealing before-and-after documentary about the small-town Texas community that George W. Bush chose to settle in at the start of his presidential campaign. It follows residents of 5 years, 40 years, and numerous lifetimes as they describe the Crawford they knew before and after W. (some with regret, some with relief). You won't often see a more folksy old coot than the gap-toothed Pug or a more staunch Republican than the fleshy-cheeked souvenir shop owner. (Her unquestioning devotion to W.'s talking points and to W. himself are never so surreal as when she's mooning over the talking W. doll with its "evildoers" patter.) The high-school teacher who likes to mix it up and get students and townspeople to talk about why they believe what they believe (esp. where facts or logic are lacking) is a stitch. The 20,000 peace activists who descended on the town are a force of nature that some townsfolk revile as "godless Commie scum" since that's what Fox News would do. No political or partisan sidetaking here, just vignettes of real human beings told in their own words and facial expressions. It's an intimate portrait of a town you can respect and admire even with its broken dreams. Here is a documentary that's a bit ragged but will stay with me a long time. IW. 4 stars. (3-9-09)

Beverly Hills Chihuahua

Enjoy the trailer's Berkleyesque musical number (resplendent with phalanxes of costumed singing and dancing chihuahuas) and Cheech Marin's luxuriant pronunciation of "Chi-hua-hua!" because the movie never includes that fun riff. (I felt cheated after my first viewing because I wanted an over-the-top movie but I softened on that score after my second viewing.) Beverly Hills Chihuahua is at its best in the first 15 minutes as we see how far fashion designer Viv (Jamie Lee Curtis) will go to pamper her dog Chloe (voiced by Drew Barrymore). The rest of the plot is cookie-cutter vanilla -- the Hispanic gardener shows up with his smelly lover-boy chihuahua Papi (voiced by George Lopez), an irresponsible dogsitter (Piper Perabo) takes Chloe on a daytrip to Mexico, Chloe is lost and pursued by dogfight cartel bad guys (and a bad-to-the-bone Doberman) -- but not half-baked since Chloe learns several tidy morals about friends and respect by the closing bell. That's Disney -- but Drew does Chloe proud. The best scene was when Chloe met the Mexican chihuahuas -- "We are small but mighty!" -- because that is truly the chihuahua spirit. As a dachshund owner myself (another dog beloved by owners but thought cartoonish by others), I can say this movie will appeal to kids, Hispanics, and dog lovers primarily with parents as a secondary audience. 3.5 stars. (3-8-09 updated 3-27-09)

Journey to the Center of the Earth

This movie is The Lost World (any version) meets The Core. Let�s just be clear: For a year that for some reason saw the release of three titles called Journey to the Center of the Earth, this one with Greg and Vanessa Evigan should be the last one you see, and then only under duress. (I selected it from redbox by accident as my free Monday rental because of a long line.) Run to the one with Brendan Fraser or even jog to the one with Rick Schroeder but should you see this one, flee! It didn�t exactly reek but it was distinctly underwhelming. Throw six nubile female �soldiers� through a teleporter only to face a T-Rex -- and get a snoozefest? Done and done. At least the gals were trained to somewhat believably hold their weapons and act like a squad as they tried to figure out how to survive their mission gone awry. However, too often they seemed like girls on a shopping expedition gone sour more than trained soldiers on what could have been a death march for all. While the rescue mission was implausible, I enjoyed the lead scientist (Dedee Pfeiffer) and her quirkiness (esp. her oral fixation). That said, Greg Evigan�s constant one-note smirk was just too cheesy for words. The rescue half of the movie was straight out of The Core -- though less overblown. It wasn�t a painful movie to watch but there are so many better ones. You have been warned. 2.5 stars. (3-3-09)

Religulous

Raised by his late Jewish mother (who appears with his sister among the interviews) and Catholic father in the Roman faith he gave up as a boy, Bill Maher is fairly insightful and philosophical as a standup comedian and talk-show host. He applies his trademark acerbic wit to the question "Why have faith at all?" in his latest DVD, Religulous. (The title is meant to combine the words Religious and Ridiculous -- with more than a whiff of Sacriligious for many Jewish, Christian, and Muslim believers as well as Nazi and Scientology adherents.) Maher knows how to skewer both ignorance and hypocrisy in true (overtly defensive) believers, whether mainstream or fundamentalist or sectarian. He also takes pot shots at some but an impartial observer might argue they had it coming. The inability of many believers to make even a rudimentary defense of their faith is not the point, however. Roman Catholics come off better than fundamentalists, certainly, but just barely since Maher's central premise is not about certainty or even faith but doubt and even skepticism: Why believe incredible and unprovable claims? The integrity of televangelists is an easy mark but his sit-down session with one prosperity-gospel preacher is astonishing in how candidly (politely yet bluntly) Maher discredits this guy's faith-to-riches mantra as contrary to Christ's message. His targets are wide-ranging and his interviews are civil but he's clearly any Sunday school teacher's worst fear. Maher is a seeker of important answers in the era of the Holocaust and suicide bombers. Granted, he says something at one point or another to frustrate or anger almost any person of faith but I think carefully considering his questions could actually help strengthen (inoculate) the faith of those who would otherwise be only preaching to the choir. 4.5 stars. (3-3-09)

SpongeBob SquarePants: Lost in Time

Lost in Time is a collection of six SBSP episodes (plus a jousting game) that are pretty good: Dunces & Dragons (a jousting accident sends Spongebob and Patrick to a time and setting reminiscent of Medieval Times restaurant, 2 parts, 4.5 stars), Selling Out (Mr. Krabs sells his restaurant to a chain that turns it into Krabby O'Mondays in a spoof of TGI Fridays -- where you should avoid going to "have a talk with [fist-pound] Human Resources," 4 stars), Funny Pants (Squidward tricks Spongebob into losing his manic laughter for 24 hours, 3 stars), Mermaidman & Barnacle Boy VI -- The Motion Picture (Ernest Borgnine and Tim Conway again voice the perfect postmodern action duo -- "Evil has no place here -- for parking -- between the hours of 6 pm and 6 am!" as has-been TV actors the studio wants to replace in the superheroes' first motion picture, 4.5 stars), Enemy-in-Law (Plankton woos Mr. Krabs' mother -- to get the Krabby Patty secret formula?, 3.5 stars), and Patrick Smartpants (a knock on the noggin turns Patrick into a pedantic egghead who realizes he just wants his friends back, 4 stars). 86 min. Overall 4 stars. (2-28-09)

SpongeBob SquarePants: The Movie

No one in their right adult mind becomes a Spongebob fan. Friends don't encourage friends to acquaint themselves with the goofiest of goobers. These provisos aside, you don't watch Spongebob Squarepants unless you still are in touch with your inner rugrat. So once you've surrendered your will and allowed your brain to be basted in the sheepdip soup that is Spongebob, I wash my hands of all responsibility. The outcome of your sanity is on your own head. The first Squarepants movie begins as Eugene Krabs prepares to open the Krusty Krab 2 restaurant. Plankton stumbles upon a long-forgotten plan to steal the Krabby Patty formula that involves co-opting King Neptune and (still) taking over the world. This time though it actually works! To save the day, Spongebob and Patrick go on a dangerous quest that tests the seriousness of purpose belied by their disingenuous childlikeness. Through it all, though, they remain truly unabashed Goofy Goobers. (Sing out loud on Goofy Goober Rock!) Be prepared to witness a few brief cartoon wardrobe malfunctions and if your eyes cause you to sin on seeing David Hasselhoff in a Speedo, well, you know what to do. Again, this one's for the kiddos so if you're a grownup, stay away if you can manage it at all -- unless you've already gone over to the Wet Side. The guest voice talent (Jeffrey Tambor, Alec Baldwin, Scarlett Johansson) is fairly good all around and David Hasselhoff does a cheerfully campy job in his (mostly) live-action role. The extras include two making-of featurettes and two marine-life minidocumentaries (one with a droll Jean-Michel Cousteau) that my preteen son enjoyed. 3.5 stars. (2-28-09)

Thesis

Angela, a mass communications graduate student in Madrid, seeks "really violent" film images for her thesis on violence and its negative effects on the family. She stumbles on a "snuff film" at her university that records a coed's sadistic slaughter. (Thesis is a film for mature minds since it contains brief audio and video portrayals of violent torture and death.) She gradually identifies the victim and a suspected killer. Angela is stoic but her investigation affects her in unforeseen ways and she increasingly earns the fear that I felt for her life. She encounters a creepy (gore film fan) guy who mostly helps her investigation and a creepy (control freak) guy who might be the killer. Then the circles of influence and suspicion and menace expand as they intersect. Who did it? Is that someone going to do it again? Does anyone have Angela's back? Thesis as a suspense film had me surprised and worried right up to the end -- though as a social commentary film, its ending (like that of Network) frankly could leave me with even longer-lasting nightmares. I enjoyed comparing the Spanish dialog to the English subtitles, which universally failed to translate puta and joder (except for once rendering "No me jodas" as "Don't play with me.") Rented from a competing service since our favorite service here has not stocked it in several years. 4 stars. (2-23-09)

A Light in the Forest

I'm a sucker for a fairy tale but this fairy tale seems to be the sucker while I'm the suckee. Still, it's a cute enough attempt at a modernized fairy tale with a fairly low budget. Let's just say it's a shade better for acting than Moesha's Wizard of Oz but about the same for script and special effects. Danielle Nicolet plays the beautiful, sorrowful Britta who moves to Hollywood to live with her grandmother (Carol Lynley, whose career goes back to the early 1950s) and attend high school. Lindsay Wagner as Miss Audrey is barely better than her wooden Sleep Number Bed commercials but Eddie Albert Jr. is an enjoyable farce as the evil King Otto. (In defense of his warped nature, his name is Otto and he has a mwah-ha-ha! laugh that the mother of any despot, mad scientist, or Klingon warrior could love.) My favorite is Witch Hazel (Alexandra Ford), who has an evil cackle to match, a crone's face only a troll could love, and she can really work that tongue! (Iggh!) Our story begins as Holly Boy (Christopher Khayman Lee, previously just a Power Ranger but handsome if Pan-ish) is frozen in stone so that the Christmas spirit may be defeated "for a time." Ages later, he's reborn from his statue in Hollywood (get it?) to restore Britta's happiness and the joyous Christmas spirit -- and defeat a plan to raze the Hollywood forest and school to boot. Danielle's talent show performance is a crowd pleaser! Families with young kiddos should enjoy this movie if they don't mind "magical" elements reminiscent of Lord of the Rings, Willow, and Morgan le Fay -- esp. when humorously paired with modern-day school and city officials. Besides the often plodding script, oatbag acting, Casio keyboard soundtrack, and PSP-grade special effects, I had a few chuckles. I hope you enjoy this wannabe Christmas classic. 2.5 stars. (2-23-09)

City of Ember

City of Ember is something like Blast from the Past meets Brazil -- or Naked Lunch. Our story begins as octogenarian scientists, anticipating the extinction of mankind, establish a subterranean colony and momentously seal a time capsule with instructions for egress that will open in 200 years. Well, best laid plans and all that, so more than 200 years later, the colony is increasingly crumbling over the heads of the figurehead mayor (Bill Murray) and the blindly trusting populace -- never a good combination. Enter two perceptive youths who are motivated to make a difference, Doon Harrow (Harry Treadaway) and Lina Mayfleet (Saoirse Ronan). Doon's conflicted father Loris (Tim Robbins) gives him a life's worth of advice with a gift and the words "Pay attention, pay attention to everything, everything you see. Notice what no one else notices..." Doon's boss (Martin Landau) plays a key role in the resolution, which is harrowing but no Jurassic Park. I love the art direction, sets, and supporting actors in this film. It's a strong offering though not an overpowering one. I'd love to own it soon. I saw this one via redbox as a free Monday night rental. 4.5 stars. (2-18-09)

The George Burns & Gracie Allen Collection

The George Burns & Gracie Allen Show marked the pinnacle of their career for the much-beloved star couple who met in vaudeville in the 1920s before moving to radio and then to television. The show aired from 1950 to 1958 -- when Gracie retired for medical reasons -- once every other week for the first two years and weekly thereafter for a total of 291 episodes. This scant 5-disc collection includes barely 5 hours of programming -- just eight 29-minute episodes (First Show, Gracie's Tax Return, Speech Writer, Gracie's Checking Account, Gracie's Wedding Plans, Teen Visit, Swami, and Beverly Hills Society) plus the fairly informative 50-minute documentary Hollywood Couples: George Burns and Gracie Allen. You can't miss the folksy Carnation evaporated milk commercials woven throughout every show. For the most part, it's worth it to see entire programs with George's smart scriptwriting and innovative narrator/monologist introduction (always with the cigar) and Gracie's ditsy rejoinders (scripted and rendered with a master touch). George loved Gracie so much -- and it showed. She always got top billing and he always gave her full credit for his stardom. He wasn't just being humble, since on occasion he would prove he couldn't sing -- but (as seen at the end of Teen Visit) could they dance! The most successful comedians are realists and the best-loved ones know how to love life -- these two proved so in spades. There may be better episodes that could have been included so be aware that 1950s television was more about a loose gestalt of relationship than a concentration on patter and riposte, much less laughter. (There might be three really funny lines in an entire half-hour.) Either way, the Fifties shouldn't be forgotten since they remind us that society owes a huge debt to the social niceties and common sense. (Note: The episode called Swami has no audio and has been reported to Customer Service.) IW. 3 stars. (2-18-09)

The Pink Panther Classic Cartoon Collection: The Inspector

[1 of 2] The Pink Panther Classic Cartoon Collection: The Inspector: Vol. 1 (Add and Play title) was formerly listed here as Vol. 6. These 34 cartoons originally aired as The Pink Panther Show. Disc 1 includes 17 5- to 6-min episodes: The Great Degaulle Stone Operation (Clouseau must protect the de Gaulle diamond from a shadowy three-headed thief), Reaux, Reaux, Reaux Your Boat (Clouseau and Deux-Deux must arrest a ship of thieves), Napoleon Blown-Aparte (a mad bomber has a field day with Clouseau), Cirrhosis of the Louvre (a shape-shifting art thief called The Blotch sacks the Louvre), Plastered In Paris (Clouseau and Deux-Deux pursue Mr. X across Africa), Cock-A-Doodle Deux-Deux (Clouseau and Deux-Deux finger the poultry that purloined Mrs. Pouletbon's diamond), Ape Suzette (Clouseau and Deux-Deux must arrest a sailor with a fistfighting ape), The Pique Poquette of Paris (Clouseau and Deux-Deux muist arrest the four-armed pickpocket Spider Pierre), Sicque! Sicque! Sicque! (Clouseau and Deux-Deux investigate a mad scientist's house as Deux-Deux transforms back and forth into a hideous creature), That's No Lady--That's Notre Dame! (Clouseau and Deux-Deux dress as women to catch a culprit only to get the Commissioner in trouble with his wife), Unsafe And Seine (Clouseau and Deux-Deux travel the world to meet a secret agent who turns out to be not what they expected), Toulouse La Trick (Clouseau is handcuffed to and dragged behind Toulouse Le Moose), Sacre Bleu Cross (Clouseau has bad luck entering the hideout of Hassan the Assassin), La Quiet Squad (the overworked Commissioner needs bed rest and Clouseau must ensure his peace and quiet), Bomb Voyage (Clouseau and Deux-Deux travel to an alien planet to free the abducted Commissioner), Le Pig-Al Patrol (Pig-Al and his cycle-gang cohorts thwart Clouseau's approaches to their hideout), and Le Bowser Bagger (his canine partner Private Bowser needs no help from Clouseau). IW. 3.5 stars. (2-15-09)

White Nights

If you consider ancient history to be such things as the 1980s or the Cold War, at least don't equate these two things with "cheese" and "what were the superpowers thinking?" Nothing is ever completely outmoded -- will disco and bellbottoms ever die? -- and the Cold War was a deadly serious era in world history. I saw White Nights in the theater and on videotape and I remain impressed with its dead-on sense of cultural accuracy -- and, Lord, the dancing! I am not a dance or ballet aficionado per se but I can appreciate an astounding and world-class performance when I see it. Baryshnikov was a god and Hines was a lord of dance; together they are simply incredible. For me, White Nights captured the abject fear of life in Soviet captivity coupled with the joy of dance and the determination to escape. Come at long last to DVD in August 2006 and finally available on this service two years later. Don't miss it! 4 stars. (2-16-09)

Crazy People

To anyone who works in creative communications or cultural criticism, it's a potential motherlode of a story premise: What if an ad executive went off the deep end and stopped telling people the lies they want to hear and started telling them the truths they really need to hear (ostensibly to make informed and beneficial consumer decisions)? Wouldn't it be a refreshing change -- and make for a better world? I'm not the first person to wish the premise had been tackled by taller talent than the slosh-happy drunk from Arthur and Arthur 2 and the toes-in-two-worlds girl from Splash. Someone in a seminar I attended 15 years ago actually screened Crazy People for our monthly cultural discussion -- but as the credits rolled, we all admitted there was nothing "there" to discuss and felt sheepish for the person who made the selection. What can you expect of a movie where the most memorable slogan is "Buy Volvos. They're boxy but they're good"? (Only slightly better if less original is the horror movie slogan "It won't just scare you, it'll f--- you up for life.") Crazy People is amiable pap that acts like a juvenile (or a juvenile's idea of a crazy person) when you hoped for a poignant and even hilarious exchange between grownups. 2 stars. (2-16-09)

The Wedding Singer

I've finally seen The Wedding Singer, or Happy Gilmore meets Saving Silverman. My favorite serious (post-2000) Adam Sandler movies were (in descending order) Punch Drunk Love, Spanglish, and 50 First Dates; from his juvenile (pre-2000) period, my only favorite was Happy Gilmore. Until now. The Wedding Singer is a creative paean to '80s pop music. Adam is Robbie, the rockstar wannabe who settled for a career as a wedding singer and a vocation as the amiable schmuck who does favors for everyone -- until realizes he's missing out. He happens upon perky Drew Barrymore and they fall in love -- short weeks before each of them plans to marry someone else. (Twists ensue.) What are two sweet kids gonna do? Adam channels his inner Gilmore a few times to vent his rage, most memorably to sing the Cure-ish song "Love Stinks." Drew's bemused expressions are always a vision, esp. as she waits for a flight to Las Vegas. Everyone in the ensemble cast gets the spotlight and shines in their supporting or bit parts, which also makes this movie memorable. But what what really frosts the cake is the '80s hair, the '80s clothes, and the '80s music -- piles of it! (Don't miss the '80s references or the '80s relics either. Billy Idol is a hoot at the end.) And who can forget Adam's sweet falsetto closing song "Grow Old With You"? (Or for that matter, after taking in this movie, who can forget the old chestnut "Do You Really Want to Hurt Me?" -- and like it that way?) I'd give The Wedding Singer an easy 4 stars but its unnecessarily vulgar language soured me down to 3.5 stars. (2-7-09)

The Christmas Miracle of Jonathan Toomey

Tom Berenger is the unkempt, antisocial Jonathan Toomey, a gifted woodworker with a secret loss of which we learn at the outset. Dire circumstances after their own great loss bring a still-mourning mother and embittered son (Joely Richardson and Luke Ward-Wilkinson) to his cabin door to request that he carve a replacement Nativity scene. Brooding and for good reason, Toomey initially refuses, but after the good graces of the boy's mother prevail, he accepts the commission (though as always with the words "It'll be ready when it's ready") and even gradually warms up to social contact with them. The resolution of his inner conflict feels rushed though it rings as true as the rest of the emotions in this sentimental depiction of bygone times. Based on a children's book that's popular with homeschoolers, the movie borders on sepia tones and snow-globe scenery and should become an instant Christmas classic with The Waltons fans. In my own efforts to view every Christmas program in existence, I find this direct-to-video production to be nostalgically filmed and convincingly acted. Recommended viewing for the whole family esp. those who prefer old-time or Santa-free stories. 3.5 stars. (2-6-09)

Muppet Treasure Island

The original Muppet Movie can never be replaced in the panoply of Muppet cinema heartwarmers, but for pure polish and pizzazz, Muppet Treasure Island is my favorite Muppet movie, hands down. It stands 17 years beyond the 1970s in the sophistication, pacing, and focus of its storytelling and cinematography so it has more in common with Disney's Dinosaur (2000) than Sid and Marty Kroft's Land of the Lost (1974) -- even though it's most comparable with Jim Henson's Dinosaurs (1991-1994). Directed by Brian Henson, Muppet Treasure Island is built around a coherent literary tale yet it is besotted with the mugging Muppet characters (old and new) that we know and love. It's packed with funny, memorable lines and songs. Tim Curry and Billy Connolly are at their schmaltziest as live actors and Steve Whitmire, though uncredited, voices a completely creditable Kermit and Rizzo. Fozzie Bear, as the half-wit son of Squire Trelawny, introduces us to Mr. Bimble (the man who lives inside his finger) and finances the ship's voyage on "the big blue wet thing." Of course, Muppet Treasure Island has pirates -- scurvy swaggering pirates with names like Blind Pew, Easy Pete, Old Tom, Real Old Tom, Dead Tom, Short Stack Stevens, Clueless Morgan, and the scurviest pirate of them all -- Long John Silver. Tim Curry's scene-chewing scalawag is shameless in one of his favorite roles and I can never get enough of his tune "A Professional Pirate." Kermit and Miss Piggy's love song, "Love Led Us Here," is even a sentimental favorite. Gonzo has great lines ("Off to Zanzibar to meet the Zanzibarbarians!" and "He's got demons? Cool!") as does Miss Piggy ("You're a frog. You're supposed to have cold feet" and "I'm a pig! I need commitment!"). What's not to love? 5 stars. (2-5-09)

The Pink Panther

The 1960s: It's all we had before Mad Men. And oh, how The Pink Panther does the Sixties: the women's hair, the women's clothes, the dinner parties, the smoking, and the catchy musical number (see en.wikipedia.org/wiki/ It_Had_Better_Be_Tonight for the lyrics to Meglio Stasera, or, It Had Better Be Tonight). I hadn't seen this Peter Sellers classic since grad school but it remains an absolute standard in the annals of perfectly measured, underplayed, hilarious physical humor. (Based on the previews alone, I expect to spew French champagne -- in disgust, not mirth -- when I view Steve Martin's palsied attempts to portray Inspector Clouseau's verbal and physical humor.) Its simplicity may date it a bit after 45 years -- and, during the Seventies, Sellers' slapstick became gradually broader and more violent -- but in my mind you just cannot get closer to the Zen of the perfect pratfall outside of Peter Sellers' Pink Panther pantheon. His ineptitude is unstintingly matchless: He's so in love with his wife (Capucine as Simone Clouseau here, Lady Charles Litton in 1964's A Shot in the Dark and other sequels) that he literally hasn't a clue -- and her half of the lovebirds' duet is played flawlessly (with all due irony). Claudia Cardinale was even more deadpan than Sophie Marceau opposite Pierce Brosnan -- and all her lines were dubbed since she couldn't speak English -- but her fireside banter with David Niven felt spontaneous and sweet. It's just as well, since she's playing the ice (virgin) princess to her people and her heritage; in the end, she's probably the most humanized character in the cast -- except for Clouseau's sympathetic uberschlub. (Niven was supposed to the the star of the series but the unknown Sellers immediately became the much-loved focus of the franchise.) You simply must see the original Pink Panther movie. It's classic Sixties and it's classic lowkey schtick. Gotta love it! 4.5 stars. (2-5-09)

Secrets of the Dead: The Hunt for Nazi Scientists

As WWII entered its final year, British and American teams of agents forged their way into Germany ahead of the front lines, hard-pressed to locate and capture the German scientists and materiel key to advanced Nazi war technology: the first ballistic (suborbital) V-2 rocket, a snub rocket-powered Messerschmidt that could fly 120 mph faster than any other warplane, the largest (and secret) underground munitions factory in the world, and a nuclear reactor with thousands of pounds of enriched uranium. This documentary tells the fascinating story of Operation Alsos -- detailing each objective and challenge, often in the agents' own words -- with able narration and augmented with official and rare newsreel footage. For just one example, the only Allied test pilot to fly the Messerschmidt after its capture -- after all ten German test pilots died trying -- describes the experience for several minutes as we witness the harrowing flight record on original documentary footage. We learn how close Germany was to winning the air war and building a nuclear bomb -- though more importantly, how close Russia was as we promptly entered the Cold War. This documentary is also sensitive about slave-labor-camp survivors who were exploited by the Nazis and (not unwittingly) the German rocket scientists yet who 25 years later saw Werner von Braun hailed as an American hero for putting men on the moon. Very nicely done with an intelligent and suspenseful narrative. 4 stars. (2-4-09)

Get Smart's Bruce & Lloyd Out of Control

Naturally, watch the much funnier Get Smart before you make the optional choice to view Bruce & Lloyd Out of Control, since the former sets the stage for the latter. Bruce & Lloyd is Get Smart's, in a word, sidekick. It's a simultaneous-story spin-off starring the two hapless techies who work under Maxwell Smart (when he's not Agent 86 on a mission with Agent 99). Now don't be cynical or harsh on Bruce & Lloyd; they're just doing their job. In a word, they're nerds (engineers). They love technology. They would fit right in on Dilbert. They're not field agents doing "wet work"; to them, "wetware" is the corpus callosum. So they get to go out in the field, take risks, and face danger (then pick themselves up from a dead faint). Yes, it's sophomoric humor -- but nerds are not prima donnas that way. Let them have their fun -- and if you laugh too, well then it's all good. As it is, we see less than two minutes each of several other Get Smart characters (Alan Arkin as Chief, Patrick Warburton as Hymie, Kelly Karbacz as Judy the receptionist, and Anne Hathaway as Agent 99) but way too much of Staplehead (Larry Miller as Underchief), though he's essential to the plot. We even get some eye candy (Jayma Mays as Nina in forensics and Marika Dominczyk as Isabelle from Maraguay). My youngest son and I came across Bruce & Lloyd on cable and enjoyed it. No, it's not as funny as Get Smart -- but it's better than a bite from a mechanical horsefly. If you're a techie-type person at all, you've gotta love these guys -- esp. their juvenile insecurities about finding a girlfriend (not that they'd know what to do with one if they did). IW. 2.5 stars. (2-1-09)

George Balanchine's The Nutcracker

For 50 years now, George Balanchine's The Nutcracker has been the New York City Ballet's traditional, timeless, and beloved rendition of Tchaikovsky's masterpiece. This production was filmed in widescreen and even includes postproduction special effects from George Lucas' Skywalker Ranch. (I wondered how they did the towering Christmas tree, the floating bed, and the flying sleigh until I saw ILM listed in the credits. The special features explain how the special effects were considered essential to producing the film though intentionally kept low-tech.) The first half of the film centers on a half-dozen families' traditional Christmas celebration -- esp. dancing and toys; after Drosselmeyer's pivotal appearance, Clara (here named Maria) is saved and crowned by her Nutcracker Prince -- here played by Macaulay Culkin, who generally employs the same blandly winsome expressions he parlayed in the first two Home Alone movies. The second half of the film displays impressive individual and ensemble ballet performances esp. by the Sugarplum Fairy (Darci Kistler) and her Cavalier (Damian Woetzel). These two and other key figures in the ballet are a joy to watch and the costumes and choreography seem impeccable. Throughout, Kevin Kline ably narrates in a calm, dulcet tone. 4 stars. (2-1-09)

Eloise: The Animated Series

Eloise: The Animated Series is a collection of five 2-part, 48-min episodes and one 3-part, 72-min episode about the escapades of Eloise ("I'm six!"). The voice talents of Tim Curry, Lynn Redgrave, Mary Matilyn Mouser, Rob Paulsen, and more are top notch. The series is honestly a pleasure and a joy to watch -- full of imagination and spirit (both impish and holiday) -- with much of the originality of the books (drawn on Kay Thompson's stories and characters and Hilary Knight's illustrations) paired with its own magic (seen in the delightful animation, storyboarding, and voice talent). For more details, see my separate reviews for each of the following episodes, which together now offer a full 5 hours of online viewing: Me, Eloise (48 min, Eloise throws her own birthday party for all in the Plaza Hotel, 4.5 stars), Little Miss Christmas (72 min, Eloise throws a Christmas party for all in the Plaza Hotel with Santa as the expected guest of honor, 4.5 stars), Eloise Goes to School (48 min, Eloise blows off her tutor for the last time and must attend private school, 3.5 stars), Eloise in Hollywood (48 min, Eloise shows her acting skills can go beyond being a drama princess, 4 stars), Eloise's Rawther Unusual Halloween (48 min, Eloise sleuths down the truth behind the Plaza Hotels ghost stories, 3.5 stars), and Eloise in Springtime (48 min, Nanny goes on holiday as Eloise bonds with her stand-in nanny from Greenwich Village, 5 stars). The Halloween episode -- the only one I don't review separately since it is not available individually as a rental on this service -- is the least fulfilling since it nearly resembles a Scooby-Doo episode. Overall, however, for its sweet and feel-good spirit and esp. the way its characters make authentic and honest interpersonal connections, I give this series -- now all available on IW -- 5 stars. (1-3-09)

Eloise in Springtime

When her best grownup friend Bill falls in love with her hip-and-happening substitute nanny, Eloise gets in the way -- before she sees the light. As usual, the animation and voice talent is excellent and they carry the spirit of the books written by Kay S. Thompson and illustrated by Hilary Knight. Eloise in Springtime is clever and cloying fun esp. as we see more deeply into the inner lives and loves of Nanny, Eloise, Bill, and the rest. This episode belongs to the 6-part Eloise: The Animated Series that is available via Instant Watch on this service. For similar offerings, click my avatar and see my Animation and Eloise lists. 4.5 stars. (1-3-09)

The Lord of the Rings

Thirty years and two months ago on the release of his animated take on J.R.R. Tolkien's The Lord of the Rings, Ralph Bakshi (Wizards) strove for state-of-the-art honors through the dominant use of rotoscoping (filming live action to limn as cel animation). His efforts proved impressive at the time -- if uneven -- though ultimately his budget betrayed him. Bakshi's love for Tolkien's material is evident in his tendency to be faithful to the books and much of his footage remains iconic for the Tolkien aficionado even after the arrival of Peter Jackson's quadruple-length trio of live-action-and-CGI feature films 25 years later. Bakshi�s film still holds up well for any Middle-Earth fan, however, you may skip it if you are interested only in "the latest and greatest" -- for example, if you prefer Peter Jackson's King Kong to any previous version. Granted, Bakshi's film has flaws. Tolkien devotees are piqued when the wizard Saruman is referred to more often than not as Aruman (a studio decision made in midstream to differentiate Saruman from Sauron that never got cleaned up) not to mention the mispronunciations of Celeborn, Minas Tirith, and more. Animation fans may wonder if Bakshi was accidentally trying to invent Squigglevision. Minor quibbles with characters exist but, being familiar with the work of perhaps every Tolkien illustrator, I embraced Bakshi's depictions of Frodo, Sam, Gandalf, Boromir, Legolas (voiced by Anthony Daniels) and others. The weathered Aragorn (voiced by John Hurt) was even acceptable (since he didn't say Kemo Sabe). Some scenes drag on in a psychedelic limbo, such as the ford of Bruinen, Lord knows why. Jackson's Lord of the Rings is the definitive edition now but if you love Tolkien's corpus, see Bakshi's version -- if only to check it off the list. After all, 1978 is the year that gave us Corvette Summer, Attack of the Killer Tomatoes, and Heaven Can Wait -- so you know you're already ahead of the game, right? 4 stars. (12-27-08)

VeggieTales: Esther, the Girl Who Became Queen

My favorite VeggieTales episode is hereby Esther, the Girl Who Became Queen. It's a standalone Bible story told in the VeggieTales style -- using vegetable-based characters and cornball humor -- but mercifully no VeggieTales schtick. (No Larry the Tomato, Silly Songs, etc.) You get the orthodox narrative from the book of Esther -- the king of Persia's righthand man, Haman, has it in for Esther's relative, Mordecai, a Jew -- acted out in unorthodox fashion by a zucchini as king, peas as would-be assassins, Mordecai as a grape, etc. In a word, Haman plans to banish all Jews to the Island of Perpetual Tickling unless the new queen Esther can convince the king otherwise. (The VeggieTales ethos is to be palatable to children of any age.) Esther has several singing numbers that are quite nice (and even reminiscent of An American Tale). The moral of the story is no stronger than "You don't have to be afraid to do the right thing" and to trust in God. 4.5 stars. (12-28-08)

Ocean

Dorling Kindersley's Eyewitness books are top-of-the-line compilations of interesting and well-written facts woven together with impressive photos and illustrations -- and so are its DVDs. Except Ocean. Medium-grade stock photography fills the first 6 minutes and most of the remaining 29 minutes. The CGI is substandard and the script has the aggravating habit of addressing a different topic in every sentence -- and failing to use plain English to boot. 3 stars. (12-27-08)

The First Valentine

The First Valentine is an admittedly low-budget production best suited for preteen Sunday school classes (Catholic or Protestant) since anyone older might legitimately fail to take it seriously. For all of its informal trappings, however, its story is the noble and powerful one of the martyrdom of St. Valentine, a Roman nobleman, played ably (if somewhat channeling Lorne Green as Adama) by Jonathan Farwell. IW. 3 stars. (12-27-08)

The Nativity Story

The Nativity Story pays serious attention to making an authentic representation of life in Judea two thousand years ago, even reciting the Jewish prayers in Hebrew (although the balance of the dialog is spoken in stiffly accented English). As such it feels like The Ten Commandments meets The Passion of the Christ -- though with fewer chariot races and less bloodletting if not diminished mortal angst. Our story begins with the Slaughter of the Innocents before reviewing the events of the year that led to Herod's genocidal edict. Keisha Castle-Hughes as Mary and Oscar Isaac as Joseph are thoroughly convincing and emotionally transparent as the betrothed couple that confronts a social taboo yet continues to embrace each other -- through the continually clarifying lens of faith in God. (Angelic messengers by day and by night also help on occasion.) While fundamentalists will spew their grape juice and protest that any detail or dialog not literally in the Bible is therefore unscriptural or blasphemous (which is why they are called Protestants), Catholics and those evangelicals who cling to their humanity as well as their dogma should find The Nativity Story to be an exceptionally authentic, spiritual, and scripturally resonant rendering of the real-life drama surrounding the birth of the baby Jesus. It's certainly an emotionally evocative and compelling movie that my family intends to own and to watch at least once a year. 4.5 stars. (12-26-08)

Modern Marvels: The Manhattan Project

This History Channel overview of the Manhattan Project provides a time capsule of the conception, engineering challenges, and sociopolitical impact of the invention of the atomic bomb, which decisively ended the cataclysm that was World War II. It begins with the unsung hero, Leo Szilard, who with Enrico Fermi patented the process of nuclear fission before he (with the help of Albert Einstein) convinced FDR to authorize the development of a nuclear weapon in advance of Germany and persuaded his colleagues to self-censor their research in case it should lend an advantage to the Nazis. In a balanced fashion, this program details the rapid construction of the massive industrial complex (which used 10% of the nation's electric capacity) centered on developing the bomb in secret in addition to the handful of men charged with introducing the world to the dawn of the nuclear age. The humanity and suffering of Japan's nuclear victims receives attention but not without noting the ferocity of Japan's aggression and tenacity in addition to the ultimate calculus of casualties and the penultimate perspective of history. IW. 4 stars. (12-26-08)

VeggieTales Classics: Larry-Boy & The Fib from Outer Space

Larry-Boy is a VeggieTales spinoff (with the classic VeggieTales musical intro) that conveys more than the usual dose of the series' trademark absurdist humor. (Can anyone really explain why the Batman-ish hero Larry-Boy sports toilet plungers for his helmet ears and cruisemobile wheels?) Kids love this stuff though as an adult, I got a few good chuckles -- mainly parody-related since Larry-Boy's behind-the-scenes tactical support is his English butler, who comes up with all kinds of high-tech weaponry that he unfortunately hasn't found time to make or install or label correctly yet. (For example, as a tech guy myself, I found the computer's restart process to be a quick two-second stitch.) The story involves a palm-sized ball of a space alien that represents a "small fib" which grows to gargantuan size and can only be defeated by one person. (Hint: It's definitely not superputz Larry-Boy.) Appropriately didactic with a clear summary of the moral of the story in the lessons-learned section, this Larry-Boy episode is VeggieTales chic with even more humorously obnoxious musical numbers than usual. My youngest son and I watched this title on a videotape from the public library to save a rental slot. 3.5 stars. (12-26-08)

Insect

Dorling Kindersley's Eyewitness books are top-of-the-line compilations of interesting and well-written facts woven together with impressive photos and illustrations. Like DK's books, Insect is an excellent DVD -- provided you like bugs -- and Martin Sheen is a superb narrator. As always, the DK material reads quite well and tells a fascinating and fact-filled story. I watched Insect on videotape (35 min) without the extra material since I generally don't watch the latter anyway. 4.5 stars. (12-25-08)

Little Shepherd

Little Shepherd is a simply animated, quasibiblical Lutheran production with the clear target demographic of evangelical children aged 1-6. Didactic at best, its sappy sentimentalism and pureed Judeo-Christianity will likely cause gastronomic reflux in any adult who isn't the parent of such a child or given to overt displays of pietism. Our story begins with the young shepherd-to-be gamboling with his blue-eyed lamb even as reports of wolves threaten the flocks. His wise grandfather counsels him in faith and courage while his just-the-facts father calls him to task and sneers at the Jewish hope in a Messiah. As his foil, a younger sister constantly picks on him and says she wants to be a shepherd -- but must learn to do woman's work instead. The voice talent is acceptable but the script is quite formulaic (to put it nicely). The Little Drummer Boy has more authentic emotion in its pinky finger than this entire show, which concludes soon after Mary says, "Baby Jesus needs a good shepherd to look after [his lamb]." IW. 2.5 stars. (12-25-08)

Valkyrie

Because he's stayed off the crazy talk for some time now, I felt ready to reacquaint myself with Tom Cruise in a December 15 preview screening of Valkyrie. Since Valkyrie is based on and hews closely to historical events in 1944 Germany under the dictatorship of Adolph Hitler, it is a very tense and suspenseful film from the opening credits to the end. Historically, we know Hitler survived the highly placed and well-organized final attempt on his life nine months before the end of the war; no suspense exists in the outcome. What weaves the tendrils of tension throughout this film is seeing the extensive collusion and mortal risk required to machinate a clandestine assassination of the Fuehrer in broad daylight at the heart of his military empire. The viscerally foreboding soundtrack helps too. Cruise does well in the tightrope role as the most courageous and central figure in the conspiracy -- he's even quietly "ballsy" when necessary. Though we touchingly see his love of family, it is always subordinated to what he knows he must do. To his last breath, Cruise in this role voices the operatives' key motives for eliminating Hitler as "We have to show the world that not all Germany was like him" and "Long live our sacred Germany!" Depicting the heart of a totalitarian regime is tense enough but it's more menacing to witness (as it were) the inner hive of the world's most prolific mass murderer. David Bamber as Hitler is less chilling than I hoped, however, and we usually see only the back of his head -- a plot device that works well before we see his face and hear his voice but less so afterwards or often. The actual detonation and ensuing operations (pro- and counter-Valkyrie) were portrayed a bit less dramatically than I expected. Also, for some reason, Cruise resembles a doughy-faced Stephen Colbert. Nevertheless, make no mistake: Valkyrie gives us a taut and valuable window on the most authentically patriotic chapter in Germany's history. 4.5 stars. (12-16-08)

The Lone Ranger and the Lost City of Gold

The Lone Ranger and the Lost City of Gold is the first classic western movie I've seen in many many moons. (It's been fewer but still many moons since I've seen a movie where the family is watching a cowboys-and-injuns circle-the-wagons shoot-em-up.) This second Lone Ranger movie -- and the last one starring Clayton Moore and Jay Silverheels together -- has it all: the "Hi-yo, Silver!" cry and theme (the William Tell overture), Silver's Lassie-like intelligence ("What's the matter, big fellow?"), a white woman playing a Native American woman, Tonto saying "Me get horse/doctor/father," a societal conflictedness about racial prejudice, a perfunctory script and yeomanlike acting -- but boy the horseriding! The storyline makes actual sense even if specific developments fail to do so. (It's not wise to announce onseself as the sole survivor after the preceding four have been assassinated.) Clayton Moore disguises himself to play a dual role as a southern gentleman who tangles with the femme fatale (Noreen Nash). 3 stars. (12-18-08)

Bill Burr: Why Do I Do This

Standup. Bill Burr is hilarious! It helps that he's a self-admitted psycho -- but one who knows how to draw the line between thinking of something psycho and not actually doing it -- then relating his thought processes to us with uproarious effect. (His description of the two steering-wheel inches that separate driving sanely from causing untold carnage may be the most memorable.) Burr is funnier than anyone I've heard since Carlin and holds total control of the stage. He's not politically correct but his motives are right on! (He riffs against animal population control then notes "It's not deer that are causing all that highway congestion.") This guy actually makes pedophilia, racism, and Hitler funny -- because he gets us laughing at them. (He neatly pegs the paranoia that pedophilia has branded on today's society and he rightly identifies fast food as a societal soporific. His proposal that everyone carry a chloroform rag in their shirt pocket, ready to take any wacko down before tattooing their forehead with "Could be the next Hitler," should be considered by Congress in special session.) Burr looks and sounds a bit like Jim Gaffigan in Beyond the Pale -- esp. when he channels that small voice inside the bystander or audience member -- but he's very high-energy throughout his performance. (Again, it helps that he's psycho.) Be aware that he's as facile as most standup comics at peppering his banter with "JC" and the two primary four-letter words. But don't miss this guy -- his social commentary is crazy like a fox. IW. 4.5 stars. (12-15-08)

The Pitch

30-Second Bunnies Theatre and The 'Wood are sophomoric attempts next to the graduate-level dead-on humor of The Pitch. This comedy series pegs the smug banter of a Hollywood movie producer with his wannabe sycophants (scriptwriters, students, and actors) in 13 one- or two-minute Flash animation episodes: Snakes on a Plane (yet another Samuel Jackson movie pitch turns into Snakes on a Microbus), Film Students (who knew the red button was to call for Security?), Ninja (a real-life ninja demonstrates aggressive negotiations), Penguins (try to imagine Death March of the Penguins), Shatner (the morality crowd funds William Shatner in. a. Trekkian. reading. of. the. Bible. Spock!), Back in Black (Paul McCartney, the sole surviving Beatle, and some other guy discuss movie concepts), Pirates (porn plus pirates equals a movie contract), Eastwood (Clint is forced to westernize his boxing script), Playa De Los Muertos (who wants beach-bimbo zombies?), Click (Adam Sandler is schmoozed over Jewish takes on Click), Hannibal Breached (Hannibal Lecter is born hungry), Brown Curry (Spike Lee tours Bollywood), and Guinness on Ice (Alec Guinness fulfills a contractual acting obligation posthumously). My favorites feature Shatner, Paul and Ringo, Sandler, and Eastwood. TV-MA for adult themes. IW. 4 stars. (12-14-08)

Batman vs. Dracula

Batman geeks can quibble the fine points but dramatically speaking, to those who are merely familiar with the Batman legend in all of its forms (from Adam West to Batman and Beyond), Batman vs. Dracula is passable entertainment. Passable animation, passable script, with a paddable if strong central plot: Dracula inexplicably arrives in Gotham City and begins an arithmetically progressive dinner on its citizens, converting greater numbers to undead vampires. I can't see how any parent would let their 4- to 8-year-olds watch this show because it presents Batman with an adversary who is "evil incarnate" and greatly stronger and faster. (Spoiler: He's unbeatable without Batman's lux ex machina -- but don't worry about this clue if you know Latin, because the script clearly shows you Batman's two secret weapons early in the story and repeatedly comes back to them in case you don't get the hint -- for example, if you need the brilliant Bruce Wayne to write down ALUCARD and read it in a mirror to figure out the identity of his mysterious guest.) My 11-year-old son didn't have a problem with the show's gore -- but there is a lot of blood splattered about and gulped down by the crazed Joker. (He's vamping in more ways than one.) Some may call the script weak but remember, this is comic-book fare not Shakespeare here; some may slight the animation as weak, and I can only agree. 3 stars. (12-14-08)

The 'Wood

The 'Wood is a Flash animation (Web cartoon) that's relaxed in artistic style and in humor content. (There's not much of either one.) The show's intro is irritatingly abrasive, incoherent, and sophomoric (repeating The 'Wood six times in different faux voices as if for emphasis). The series has six 1-minute episodes, one 3-minute episode, and three 2-minute episodes mildly spoofing Hollywood through the eyes of six actor-celebrities that happen to be bears. That's not much time to play with -- each 2-minute episode has about seven spoken sentences. In fact, the Starz intro with the loud, obnoxious show intro together occupy 40% of a 1-minute episode's time. The concept is cute but I barely broke into a couple of chuckles. IW. 2.5 stars.

Pokemon: The Rise of Darkrai

Wow -- finally a Pokemon movie I can stomach! I actually like it. The animation is excellent (in the background and foreground, that is, celestial and terrestrial) and there is even a storyline (not that it explains anything but there it is). There is more of a community of Pokemon creatures -- they are even introduced in a more holistic fashion as a vibrant ecology -- acting to help each other and altruistically standing in the gap to face a truly cosmic threat of destruction. The voice talent is off and Team Rocket only has a few throwaway scenes but you'll keep coming back for the attractive and detailed animation. 3 stars. (12-13-08)

30-Second Bunnies Theatre: Season 1

Instant Watch is the perfect way to access these three 30-second Flash animation summaries of Freddy vs. Jason, Texas Chainsaw Massacre, and Scream -- starring bunnies. Anthropomorphic bunnies, but yep, bunnies (and with squeaky voices). I love parodies and these fast-paced popcorn-sized morsels of animation goodness just beg for repeated viewings and laughter. Show these to your friends, they'll have a hoot too! IW. 3.5 stars. (12-12-08)

30-Second Bunnies Theatre: Season 3

30-Second Bunnies Theatre rockets into Season 3 with its bunnymorphic Flash animation and fast-paced patter of bon mots, one-liners, and key quotes culled from the following 30 popular movies: A Christmas Story, Casablanca, Brokeback Mountain, Caddyshack, Superman, Office Space, Raiders Of The Lost Ark, The Ring, Fight Club, [National Lampoons] Christmas Vacation, Borat, Bond [a 007 medley], Spider-Man 1 & 2, Pirates of the Caribbean 1 & 2, March of the Penguins, Die Hard, Napoleon Dynamite, Saw, The Grudge, Kill Bill [1&2], Snakes on a Plane, Spider-Man 3, Pirates of the Caribbean 3, Grindhouse, Jurassic Park, Sixteen Candles, Superbad, Goodfellas, 30 Days of Night, and No Country for Old Men. While all the episodes are canny with their comedy, you'll probably enjoy most the ones for movies you've already seen. The James Bond medley is most ingenious though. Preparing to name a selection of my favorites underscored for me the fairly even quality of the bunnytoons as well as their brevity: I couldn't pick less than a dozen -- or, if I had to (but it would be hard), just one. Rated TV-14 for adult content (bunnies swear, shoot each other, and get naked or hump). Go bunnies! IW. 3.5 stars.

30-Second Bunnies Theatre: Season 2

30-Second Bunnies Theatre is Web-comic-age-inspired semigenius and a hoot and a half (two hoots if you've already seen the movie being parodied). Season 1 featured only three episodes but Season 2 has 15: Rocky Horror Picture Show, Pulp Fiction, Highlander, The Big Chill, Night of the Living Dead, Titanic, The Shining, It's a Wonderful Life, The Exorcist, Alien, Jaws, War of the Worlds, Star Wars: The New Hope, King Kong, and Rocky. These Flash animations are fast-paced so one viewing may not be enough for you -- and your friends will want to see them too. (Four hoots and counting!) My favorites are Night of the Living Dead, Titanic ("I won't let go!" *Splash!*), It's A Wonderful Life, Alien, Jaws, and Star Wars -- pretty much every movie that I've seen. Seriously, 30-Second Bunnies deliver lickety-split laughter with nary a feghoot. IW. 3.5 stars. (12-12-08)

Crimson Tide

Gene Hackman and Denzel Washington crackle onscreen in Crimson Tide as the wiry pitbull of a veteran captain and the cool scholar of a rookie executive officer, together commanding a U.S. nuclear submarine sent to the brink as (for all they know) the last and sole defense against Russian missiles in a global cold war flareup. The navy command protocols are crisp and lend an initial air of authenticity, however, the plot gradually devolves into a miasma of quibblesome questions. (Can everyone really smoke so much on a submerged nuclear sub? How can a kitchen fire get so out of control? Is the captain's dog allowed to pee in the corridor?) Of course the big gorilla question is: How can a nuclear sub have only one radio to receive and confirm its nuclear-launch commands? (Only slightly less urgent: Could Denzel inspire the comm officer to fix the radio faster -- though, of course, just in the nick of time -- without making Star Trek analogies?) Granted, the plot requires severed communications if you want two commanding officers to feud, wrangle, mutiny, and countermutiny (not to mention engage in subterfuge and fisticuffs) over a conflicting interpretion of their orders esp. when a use-them-or-lose-them first-strike missile launch would tip the scales into nuclear Armageddon. So just close your eyes to that first "if" and enjoy the onscreen fireworks of the ensuing "then." Crimson Tide is really about doing one's duty and following orders -- unflinchingly if not always unthinkingly. Don't miss the low-key performances of Viggo Mortenson as Denzel's fairweather friend and weapons officer plus James Gandolfini and Rick Schroder as two lieutenants. And, lest we forget Denzel's homefront motivation to do his duty so well, his kids are cute as buttons. 4 stars. (12-12-08)

Bolt

Bolt is a blast of pure fun from Disney with a well-drawn story that plays like it's from Pixar. Bolt is The Incredibles meets The Truman Show before it becomes Homeward Bound: The Incredible Journey. It's about believing in yourself and facing down disillusionment -- choosing to stand in the gap as if saving the day depends on you (even though others help close the gap because you're not alone except for that crucial decisive moment). The animation is excellent and the story is paced at a good clip with lots of chuckle- and bellylaugh-inducing humor. I love the premise of Bolt and this movie caught the attention of everyone in the theatre from the opening scene, which gave us Bolt as a cute puppy meeting his new owner. (You could hear the coos throughout the audience, esp. from my 11-year-old viewing partner.) John Travolta and all the voice talent did excellent work and I was impressed with Miley Cyrus' vocals in the soundtrack. I'd love to see Bolt again and so, I suspect, would any child. P.S. Be sure to see it in 3D! 5 stars. (12-11-08)

Dr. Seuss' The Cat in the Hat

Perhaps the bashers believe The Cat in the Hat movie should have been rated G to remain as innocent as The Cat in the Hat book, which was written for 2- to 6-year-olds. (Well, a book is not a live-action movie -- and for a movie to do well, it needs a broader target demographic than just kiddos.) So this movie was rated PG and specifically intended for children age 7 and up. (Ignorance is no defense since anyone can read these facts two inches to the left of these words.) And it is about as mild a PG rating as possible. (Does anyone really believe that a butt-crack visual, a fart joke, and a one-second cue of a stiffening hat and tail are too harsh for a PG rating?) The self-righteous shock of these haters might be more persuasive if they refrained from tagging the movie with harsh and tasteless words. (Does being offended by a fart joke ever justify the words "This movie s-cks b-lls"?) Besides, isn't squirreling mild bits of grownup humor into children's movies a commonly accepted way of tossing a bone to the parents who have to stay awake during the entire production anyway? So let's look at the real rather than the imagined weaknesses and strengths of this movie. First of all, the art direction is whimsical and inspired -- perhaps by Edward Scissorhands as much as Seuss. The storyline is quirky and fun -- however, the first 20 minutes are a preamble about the mother's real estate career and her sleezy neighbor's designs on her hand (and money) in marriage. The two children perform admirably in their updated Seussian roles. Mike Myers as the Cat is deep-dimples cute -- until he starts spouting the same schtick as all of his previous characters (yes, sometimes in the same sentence). Thing 1 and Thing 2 are so over the top that the nagging thoughts at the back of your head begin to make you wonder, "What were they thinking?" Oddly, the CGI fish is the most lovable character in the movie! 4 stars. (12-11-08)

Rudolph and Frosty's Christmas in July

The appeal of Rudolph and Frosty's Christmas in July is pure nostalgia for Rankin-Bass stopmotion Christmas specials more than the script and the soundtrack, which are passable though not as catchy or memorable as previous shows. What's amazing is the length and breadth of the script and production: 97 minutes of characters, exposition, and musical interludes including a circus and two parades. For main characters, you get Rudolph and Frosty with his wife Crystal and two children plus Santa and Mrs. Claus -- with sentimental songs and narrative going back to their weddings -- not to mention the evil wizard Winterbolt (voiced by Paul Frees -- think Boris Badenov meets Saruman). You also have Lilly Loraine (Ethel Merman), owner of the Circus by the Sea, with her acrobatic daughter Laine. To wind up the plot, let's not forget Scratcher the jealous reindeer, Big Ben the whale, and Jack Frost. The story goes on and on -- though in a good way unless you happen to be feeling grinchy or just grownup. As a result, tykes should love the circus and its animals best after Rudolph and Frosty and Santa, however, the middle of the show may be too dark and sinister for them. (Winterbolt's arsenal includes an ice scepter that shoots beams, an icy-faced talking wall, an all-seeing ice globe, snowdust that puts bad ideas in good characters' heads at a great distance, dark fog and cyclones, and a snake-drawn sleigh -- all in service of his nefarious scheme to overcome Rudolph, Frosty and family, Santa and ultimately all the children of the world.) On the other hand, we get to see the origin of Rudolph's glowing nose as a salvific gift from the celestial Mother Borealis and the courage she inspires in him. Speaking just for its length and inventiveness, Rudolph and Frosty is a Christmas classic though a lesser light in the firmament. See it at least once but make sure you have enough milk and cookies to last 97 minutes. 4 stars. (12-11-08)

A Charlie Brown Thanksgiving / The Mayflower Voyagers

A Charlie Brown Thanksgiving is an annual classic for holiday viewing. It almost doesn't feel like Thanksgiving if I miss it in a given year on the tube. This holiday special is not as iconic and endearing as It's the Great Pumpkin, Charlie Brown but the characters are as tried and true and beloved as ever. Our story: Charlie Brown has plans to spend Thanksgiving at his grandma's but his friends invite themselves over for an early dinner at his house; trouble is he only knows how to make popcorn and toast -- but in the end all agree that Thanksgiving is about togetherness and sharing. The Mayflower Voyages is first 24-min segment of the eight-part miniseries This Is America, Charlie Brown that first aired on CBS in 1988 (imdb.com/title/ tt0307141). It's a kid-informative narrative of the Pilgrim crossing, settlement, and Thanksgiving with the Peanuts characters set as children against the larger tableau (talking about their challenges and fears and participating in the common life). The gang's characters all show through: among others, Snoopy's excitement, Charlie Brown's insecurity, and Lucy's bossiness (being a fussbudget during the crossing and assigning chores upon landing -- "Pretty faces always get put in charge," she purrs). This disc makes a familiar learning unit for children ages 2-9 and a great holiday viewing tradition for the whole family. 4 stars. (11-30-08)

Where the Wild Things Are and Other Maurice Sendak Stories

I've always watched this disc, of course, to see Where the Wild Things Are and In the Night Kitchen -- two wonderfully illustrated children's storybooks by Maurice Sendak -- but I also enjoy all the Nutshell tunes save One Was Johnny. (1) Where the Wild Things Are with music and narration by Peter Schickele: The truly classic storybook's delightful illustrations become artfully animated as Max, sent to his room without supper for being "a wild thing," enters a forest and sails to an island of giant "wild things" where he becomes king and leads a "wild rumpus" until he returns home to his room -- and supper. (2) The Nutshell Kids with music and vocals by Carole King (exerpted from the 1975 TV program Really Rosie): Alligators All Around presents an alliterative alphabet in song, Pierre perpetually says "I don't care" until he is eaten by a lion and rescued, One Was Johnny presents a number song with animals, and Chicken Soup With Rice is a duly playful tune. (3) In the Night Kitchen with narration by Peter Schickele: This memorably mysterious storybook's illustrations become animated as Mickey floats, in a dream, naked from his bed to the night kitchen, where Oliver Hardy-lookalike bakers sing and obsess over milk and making "Mickey cake" while Mickey, briefly clothed in a dough jumpsuit, flies a plane made of dough to "get milk the Mickey way" before he floats off to sleep in his bed. 3.5 stars. (11-25-08)

Madagascar: Escape 2 Africa

If the first Madagascar movie made you a fan of the infectious dance tune that goes "I like to move it move it," then yes, you'll find more of Prince Julian with his lemur cohort and dance tunes to groove by in this second Madagascar movie. If you love the leading cast of zoo animals -- Alex the rockstar lion (Ben Stiller), Marty the crackalackin' zebra (Chris Rock), Melman the hypochondriac giraffe (David Schwimmer), and Gloria the easygoing hippo (Jada Pinkett Smith) -- then Madagascar 2 will reveal more about their dreams, motivations, and resolutions -- this time in Africa. (It's almost like The Lion King takes on Woody Allen in the borscht veldt: Oy! Did you hear my son is king of New York?) Of course, if your favorite Madagascar schtick is those wacky penguins, then fasten your seat belts for an in-flight movie that delivers even more penguin schtick (and that's a good thing, despite how it sounds). Madagascar 2 gives us more of all the good stuff we enjoyed in the first movie and it's actually funnier. The lead characters are a little less hyperkinetic than spastic rubber bands (whew!) and more into wrestling with and processing the internal conflicts of their relationships: Alex's need to be the center of attention vis-a-vis his long-lost parents, Marty's individuality vis-a-vis the zebras' herd mentality, Melman's unrequited love vis-a-vis Gloria, and Gloria's attraction to a hirsute (yech!) ladies' hippo named Moto-Moto. (I would have given the movie 5 stars without him.) In the end, all the characters solve their problems in their individually wild and weird ways and the penguins inexplicably ("You didn't see anything") procure the materiel for a celebration. Gotta love those penguins! Flipper slaps all around! 4.5 stars. (11-24-08)

Cliffhanger

Cliffhanger lives mostly up to its name, serving up a mix of elements similarly found in The Edge, Broken Arrow, and Vertical Limit -- except the bad guys are hunting down GPS-tagged suitcases of money (instead of nukes) and the mountain-climbing heroes don't require oxygen tanks (or jackets, says the villain). The opening scenes are a memorable setup for Gabe (Sylvester Stallone) as a hypermuscular if morose mountain climber who is forced to outrace the bad guys with the help of his mountaineering pal Hal (Michael Rooker) and girlfriend Jessie (Janine Turner). I like Caroline Goodall as a bad-girl copter pilot but esp. John Lithgow's bad-guy histrionics -- he's petulant with a pistol -- including the homicidal steps he'll take to repeatedly level the playing field. You may shiver in your seat if you feel the cold and the heights as Stallone races through his Herculean paces to get to the money first then outwit and outflank the guys with guns. The climax and finale are even more exciting (and explosive); the only thing I didn't like was the movie's raft of expletives. Cliffhanger is a goodie that bears repeated watching -- whenever you feel like it since it's now on IW. 3.5 stars.

Star Trek: The Next Generation: Season 3

[1 of 2] STNG hit warp speed in its 3rd season as Picard and crew faced intransigent entities esp. the Borg onslaught in the season cliffhanger. [Disk-Episode] 1-1: *Evolution* (A scientist's study of a stellar event that occurs every 196 years is threatened by an alien life form), 1-2: *The Ensigns of Command* (Data must evacuate a proud colony of humans found to inhabit a planet that belongs to the reclusive Sheliac, who will exterminate them), 1-3: *The Survivors* (Picard and crew respond to a distress call to find the entire surface of the planet destroyed except for a single house and two elderly occupants who are not what they seem), 1-4: Who Watches the Watchers (A nascent quasi-Vulcan society turns from reason to superstition when it idolizes Picard and nearly sacrifices Troi), 2-5: *The Bonding* (Picard and crew help a young crew member cope with the loss of his mother, killed on a planetary mission, even as he faces an alien mentality's attempts to comfort him with a surrogate mother and home), 2-6: Booby Trap (LaForge finds hope for romance with a holodeck simulation of the ship's designer as he seeks to free the ship from an inescapable energy-draining radiation field), 2:7: -The Enemy- (LaForge and a Romulan officer are lost on a planet of violent storms and must collaborate to survive), 2-8: The Price (Picard hosts negotiations for trade control of a new wormhole as Troi becomes emotionally involved with the unflappable opposing negotiator), 3-9: -The Vengeance Factor- (hoping to broker peace between two long-warring factions, the crew discovers a devious plan for revenge), 3-10: The Defector (Picard must discern the veracity of a defecting Romulan officer who warns of invasion), 3-11: The Hunted (the crew learns a Federation candidate society has exiled a former warrior caste rather than rehabilitate them), 3-12: -The High Ground- (Dr. Crusher is taken hostage during a planet's civil war). [*Best* episodes, -weakest- episodes] 5 stars. (11-24-08)

Igor

Igor is chock full of quirky humor and arcane plot twists that look bewildering on paper but are satisfyingly weird on the silver screen. It's perky but too dark for young kids, however, boys aged 10-12 should enjoy it -- with some generous dollops of satire for parents. In a mashup of congenital deformity and societal stereotyping, Igor (John Cusack) has a one-note career track as the hunchback laboratory assistant to the mad scientist Dr. Glickenstein (John Cleese). You can almost hear the "Yes, Massa" when it comes out as the requisite "Yes, Master." After a freak lab accident, Igor decides to try and change his stars. His master's nemesis, Dr. Schadenfreude (Eddie Izzard), holds King Malbert (Jay Leno) and the town of Malaria in thrall after turning the economy into a mad-scientist-based military-industrial complex. Igor has taken (made) his own assistants in the form of the suicidal yet undead rabbit Scamper (Steve Buscemi is wryly hilarious in the role) and the disembodied and misspelled Brain (Sean Hayes is as funny as Chicken Little's Fish Out of Water). The gargantuan woman, Eva (Molly Shannon), looks less lumpy and frumpy than you'd expect of a Ms. Frankenstein but that's the cutesy grotesque style of the movie -- think Tim Burton meets Disney. Eva wants to become more than Igor intended for her -- and I think she (and the movie) succeeds. 4 stars. (11-19-08)

How Do Dinosaurs Say Goodnight?

How Do Dinosaurs Say Goodnight? is the animated children's story that anchors this seven-story collection. Author Jane Yolen narrates--bedtime stories are a specialty of hers, I've attended one of her storytimes (and supplied the milk and cookies)--and the illustrations by Mark Teague are delightfully Edward Hopperesque. It's a creative and colorful depiction of how children's bedtime procrastinations resemble dinosaurs thrashing and gnashing about (even jumping on beds). Think of that kids' macaroni commercial but with T-Rexes and Stegosaurs that eventually kiss their parents night-night and drift off to dreamland. Yolen is a master; her writing tends to become a modern classic and this story fills the bill. Animated stories that follow are In the Small, Small Pond written by Denise Fleming and narrated by Laura Dern (frogs and cranes drawn in colorful splotches explore their aquatic habitat); Zin! Zin! Zin! A Violin written by Lloyd Moss with music by Marvin Hamlisch (eleven musicians with instruments drawn in a loose European style gradually compile a symphonic ensemble); All the Colors of the Earth by Shiela Hamanka (a multiracial gaggle of kids celebrates a multicolored world); and for three "bonus" stories Joey Runs Away by Jack Kent (a young kangaroo runs away from "home"--his mother's pouch--to avoid cleaning his comically cluttered room); A Weekend With Wendall by Kevin Henkes (a boy mouse, as a selfish houseguest, drives a girl mouse crazy); and Moon Man by Tomi Ungerer (a luminous, scintillating, and phase-shifting man-in-the-moon visits earth and has wacky adventures). The stories are all wonderfully illustrated and pleasingly narrated but the pond, violin, and color stories are educational while the dinosaur, kangaroo, mouse, and moon stories are by far my favorites. The shimmering man-in-the-moon feels ethereal and his revels suggest the work of Winston McKay. 3.5 stars. (11-18-08)

Garfield as Himself

Lorenzo Music preceded Bill Murray as the voice of Garfield and he sure pegs the nearly comatose metabolic level of America's favorite feline (who will run to save his tush if he must). This disc has three episodes: Here Comes Garfield (after Odie, his canine sidekick, is taken to the pound, Garfield engineers a breakout for all incarcerated animals); Garfield on the Town (our cat gets lost in a tough neighborhood but right outside the building where his mother and weird relatives still live); and Garfield Gets a Life (Garfield's owner Jon joins a dating service for dweebs that is sincere and pathetic (humorously so). (For the record, a nerd is academically gifted but socially inept. A geek is technically gifted but socially inept. A dweeb is just socially inept.) Garfield even makes an in-joke about the Garfield-on-suction-cups doll people stick on car windows. Cute low-key family fun esp. for the kiddos. 3.5 stars. (11-18-08)

Goodnight Moon

Goodnight Moon and Other Sleepytime Tales is a well-produced storytime program from HBO that includes more than a dozen charming segments during its 30-minute runtime. I would recommend watching it straight through with your child the first time but during the day; afterwards use the chapter selections to let your child view his or her choice of one or more segments from the varied menu before bedtime. (This should help mitigate complaints from adults who have it in for Susan Sarandon or claim Mercer Mayer's story gave their tykes nightmares. In other words, if a parent can't tell the program mixes bedtime stories with lively child interviews that might counter sleepytime, trust the tot to choose.) Every bit of this compilation is a charmer for the child within and is nicely done. Throughout the half-hour, children with the most animated voices and faces speak from their heart about dreams and blankies and more. (Don't miss the final vignette after the closing credits.) Tony Bennett sings Hit the Road to Dreamland. Susan Sarandon gently reads a lightly animated version of Margaret Wise Brown's bedtime classic Goodnight Moon. Lauryn Hill sings Hush Little Baby. Billy Crystal reads a lightly animated version of Mercer Mayer's cute There's A Nightmare in My Closet. Natalie Cole reads Faith Ringgold's dreamlike Tar Beach. Aaron Neville sings Brahms' Lullaby. Patti LaBelle sings Twinkle Twinkle (Little Star). This disc will breathe new life into classic bedtime tales and tunes -- which I hope you already know well -- and, trust me, the children's sweet- and wry-faced reflections are truly wisdom "out of the mouths of babes." 3.5 stars. (11-15-08)

The Simpsons: Season 11

[1 of 2 parts] Only Family Guy packs more humor and irreverence into a half-hour than The Simpsons. Season 11 includes Episode 1: Beyond Blunderdome (Homer consults with Mel Gibson for the production of Mr. Smith Goes to Washington but has a falling out), 2: Brother's Little Helper (Bart is put on an experimental drug to control his destructive behavior but he grows paranoid--though for good reason: The MLB is spying on us), 3: Guess Who's Coming to Criticize Dinner (Homer's love of food gets him hired as a food critic, however, his newfound power puts his life in danger), 4: Treehouse of Horror X (Aliens Kang and Kodos introduce I Know What You Did-Iddly-Did [The Simpsons accidentally murder Ned Flanders], Desperately Xeeking Xena [Bart and Lisa as Stretch Dude and Clobber Girl save Lucy Lawless as Xena from Comic Book Guy as The Collector], and Life's A Glitch, Then You Die [Homer's incompetence causes a global Y2K disaster and humanity�s evacuation of Earth], 5: E-I-E-I-(ANNOYED GRUNT) (Homer cultivates an addictive tomato-tobacco hybrid), 6: Hello Gutter, Hello Fadder (A washed-up husband and father, Homer earns a fling at fame by bowling a perfect game), 7: Eight Misbehavin' (Apu and Manjula have octuplets and sign a zoo contract that proves exploitive, so Homer performs in their place with Butch Patrick and several cobras), 8: Take My Wife, Sleaze (Homer wins a motorcycle and forms a biker gang, which angers a real gang by the same name, which kidnaps Marge, who reforms the toughs before Homer rescues her), 9: Grift of the Magi (A toy company takes over the grade school and uses students as test subjects for a pernicious new Christmas toy), 10: Little Big Mom (Marge is hospitalized after a family ski trip but Bart and Homer prove too much for Lisa, so she convinces them they have leprosy so they will clean up their act), 11: Faith Off (Bart believes he has healing powers after a tent revival meeting and it's all downhill from there). 5 stars. (10-28-08)

Simpsons Gone Wild

TV. The Treehouse of Horror collections are the only Simpsons theme sets that make sense to publish, in my opinion. Four-episode sets on a disc such as Simpsons Gone Wild have virtually nothing in common but the name Simpsons, so the dedicated fan would much rather see the release of full-season disc sets (with extras). Anyhoo, this disc contains Homer's Night Out (Season 1, Episode 10: Homer gains infamy with Marge and the whole town after Bart sneaks a photo of his stag-party shenanigans), Homer the Moe (Season 13, Episode 3: Homer and friends start drinking in his garage after Moe's bar gets a trendy makeover), Sunday Cruddy Sunday (Season 10, Episode 12: Homer and friends sneak into the Superbowl after learning their tickets are fake), The Mansion Family (Season 11, Episode 12: Mr. Burns goes for treatment at the Mayo Clinic while the Simpsons house-sit his mansion and sail his yacht into a nest of pirates), and a Krusty the Clown featurette. 3.5 stars. (10-27-08)

Christmas with The Simpsons

The Simpsons are always funny but they have been funnier than these selected episodes. Even so, these are memorable segments to enjoy if you don't plan to watch every season in its turn. This first of two "Christmas-themed" discs includes: Simpsons Roasting on an Open Fire (Season 1, Episode 1: Bart's antics burn up the family's Christmas budget and Homer's stingy boss gives no bonuses so the Simpsons confer their own gift in a rejected racetrack dog named Santa's Little Helper), Mr. Plow (Season 4, Episode 9: Homer destroys his car, buys a snowplow for no good reason, then becomes the snow-removal magnate and TV pitchman Mr. Plow), Miracle on Evergreen Terrace (Season 9, Episode 10: Bart's antics cause the conflagration of the family's Christmas tree and presents -- and it's all downhill from there), Grift of the Magi (Season 11, Episode 9: A toy company takes over the grade school and uses the students in product-development focus groups for its pernicious Ferbie-like gizmo), and She of Little Faith (Season 13, Episode 6: Lisa decides the family's Protestant congregation is too concerned with money and chooses Buddhism). 3.5 stars. (10-27-08)

The Simpsons: Season 1

After 20 years, these first-run episodes remain memorable and The Simpsons endure as America's most lovable dysfunctional family. The humor is layered and irreverent yet values-driven. (Bart gets in trouble or Homer screws up but they learn a lesson.) Episode 1: Simpsons Roasting on an Open Fire (Homer gets no Christmas bonus but manages to adopt the family dog), 2: Bart the Genius (Bart cheats on an IQ test and briefly attends the gifted children's school), 3: Homer's Odyssey (Fired from the nuclear plant for repeated safety violations, Homer launches a civic safety campaign before the plant rehires him), 4: There's No Disgrace Like Home (The Simpsons prove to be so dysfunctional, even during family therapy, they get "double money back" and buy a new TV to promote togetherness), 5: Bart the General (Bart enlists his classmates in a retaliatory battle and truce with the schoolyard bully), 6: Moaning Lisa (Fighting the blues, sax-loving Lisa finds inspiration in fading jazzman Bleeding Gums Murphy), 7: The Call of the Simpsons (An RV excursion goes horribly wrong and Homer is mistaken for Bigfoot), 8: The Telltale Head (Bart saws off the founding father's statue's head and talks down an angry mob of townspeople), 9: Life on the Fast Lane (A shiftless bowling instructor tries to seduce Marge but she chooses Homer), 10: Homer's Night Out (Homer gets into trouble at a coworker's stag party but wins Marge back with a sincere speech), 11: The Crepes of Wrath (After the exasperated principal enrolls him in a foreign-exchange program, Bart is enslaved by crooks but saves the French wine industry), 12: Krusty Gets Busted (Bart proves his TV idol, Krusty the Clown, is innocent of robbery, instead fingering Sideshow Bob), 13: Some Enchanted Evening (As Homer and Marge head for a motel to rejuvenate their marriage, the Babysitter Bandit begins to empty their house before the Simpson kids overpower her). For similar offerings, see my Animation lists. 5 stars. (10-27-08)

Futurama: The Beast with a Billion Backs

Three successive to-be-continued episodes tell an extended and inventive Futurama story that includes human-alien sexual and emotional congress (tidily and speedily represented so preteens may miss it) and Bender's curmudgeonly love-hate relationship with humans and life. The Beast with a Billion Backs is a Shakespearean reference to sex ("the beast with two backs"). In essence, a gigantic tentacled space ganglion crosses an interdimensional rift and captures all humans (save Leela) a la Matrix, inducing them to a euphoric state of union. The situation gets changed -- followed by more euphoria -- followed by more change. Bender has several death wishes (for himself and others) and flirts with a robot conspiracy. Frye finally gets a girl (if briefly). Zapp finally gets some action (the weasel). Two characters are thought to be forever lost. Various scenes are reminiscent of Futurama's Robot Hell episode and The Simpsons' The Itchy and Scratchy Show (for gore). Lots of stuff goes on as the plot shifts and turns, so it will be a rewarding and funny Futurama viewing (esp. for fans) even if the resolutions aren't particularly strong. My favorite is when the characters, not the plot, drive the developments and resolution -- if only in the disconnected ending when Bender explains "Love is greedy. I sure love you meat bags!" 3.5 stars. (10-19-08)

Starz Inside: The Pixar Story Continues

Richard Roeper presents a 6-min making-of introduction to Ratatouille that addresses how the artists developed the computer-animated films physical humor, what is cute, and even how colors show through wet clothes. He also presents a 6-min introduction to the production work and storyline of WALL-E. This 12-min short will remind you in rapid-fire form just how excellent both movies are! IW. 4 stars. (10-19-08)

Finding Rin Tin Tin

This movie does not feature Rin Tin Tin's distinctive bloodline. Rin Tin Tin's descendants have starred in all other movies but this movie was produced without the permission or participation of the Rin Tin Tin bloodline's Texas breeder as described in a Houston Chronicle article dated October 7, 2008 (chron.com/disp/ story.mpl/pets/dogs/ 6043745.html). 0 stars. (10-7-08)

The Safe Side: Internet Safety

The Safe Side: Internet Safety is a very goofy, fun, kid-oriented video that adequately communicates the important lessons about Internet safety to children. John Walsh is involved and Julie Clark does an amazing job as Safe Side Superchick with Pippi Longstocking-style pigtails and a trademark "ha ha!" Parents may roll their eyes but kids eat this stuff up and laugh their way through their learning. The dangers of the Internet are explained frankly but not overplayed. (One greasy smoking chat room guy gets the message across in three seconds.) My youngest son loves this video and after two viewings can tick off the vital lessons! 4 stars. (9-28-08)

Star Trek: The Next Generation: Season 2

[Part 1 of 2] The second season of my most favorite sci-fi program ever hits its stride as Data plays Sherlock Holmes and the prickly Q introduces the overpowering Borg. Disc 1, Episodes 1-4: *The Child* (impregnated by a luminous being, Troi gives birth to a fast-maturing visitor), Where Silence Has No Lease (the ship enters an inescapable void where a soulless intellect threatens death), *Elementary Dear Data* (Data and Geordi, playing Holmes and Watson on the holodeck, unwittingly create a self-aware Prof. Moriarty who would escape the holodeck), -The Outrageous Okona- (the ship takes in a rogue smuggler who is wanted on two worlds linked by a pregnant girl as Data tries to learn standup comedy). Disc 2, Episodes 5-8: Loud as a Whisper (a deaf and telepathic mediator with his tripartite chorus takes an interest in Troi), The Schizoid Man (a brilliant if narcissistic scientist usurps Data's mind), Unnatural Selection (a genetically enhanced race of telekinetic children may be causing a rapid-aging epidemic), *A Matter of Honor* (Riker adapts to the challenges of an exchange post of command on a Klingon ship). Disc 3, Episodes 9-12: *The Measure of a Man* (Data counters a Starfleet decision to disassemble and study him as property, fighting to prove his legal status as a person), -The Dauphin- (Wesley falls for a girl who will unite her warring world -- yet she has a secret), Contagion (the ship takes on a destructive infection linked to a Romulan presence), *The Royale* (the away team becomes trapped in a recreation of a badly written casino novel and must play along to escape). [*Title* denotes best, -Title- denotes weakest episodes.] 5 stars. (9-28-08)

Blushing Bloopers

Blushing Bloopers means embarrassing gaffes with colorful language -- so no, these outtakes should not be shown to 10-year-olds and no, they do not merit an R rating. (The Soupy Sales topless dance is hilarious but would earn a PG-13 for brief nudity.) Also please understand that this collection is not America's Funniest Videos with the Bob Saget comic schtick introducing each snippet. Here we have stream-of-consciousness goofs generally chased by cusswords -- ribald, risque, rapid-fire, and raw bloopers from Abbott & Costello to Ronald Reagan to M*A*S*H and much more. It is a hoot to see and hear Jerry Lewis and Dean Martin ad-libbing their intro to The Caddy but don't expect digital remastering of tossed-off bloopers from the 1940s to the 1970s! The height of hilarity in this collection are Carol Burnett's droopy undercarriage and John-Boy Walton ("That's no reason to hang him by his balls from the Christmas tree!") and Porky the Pig ("Son of a b-b-b-!"). IW, 45 min. 3 stars.

Emmet Otter's Jug-Band Christmas

The Country Bears meet the Muppets in Frogtown Hollow. Otters are my favorite animals but all of the Muppet animals in this production look ratty or tatty. I'm not a big fan of characters whose every other word could be "Duh-ee" and Emmet's best friend fits that bill, as do a handful of rapscallions from Riverbottom who frequently come tearing through the town with devastating results. Crowd scenes such as the talent show are positively chaotic; the best scenes are when Emmet is alone, stepping out on a winter's morn, or when he's reminiscing with his impoverished mother about his late father. (The only redeeming scene, in my book, is their heartwarming duet, singing "When the River Meets the Sea," although the jug-band's rehearsal of Barbecue is rollicking fun too.) After 30 minutes of countrified bumpkins interacting and singing otherwise forgettable tunes, we get a tepid "Gift of the Magi" story involving the town talent show, but the conclusion is obnoxious and counterdramatic. I had to get the disc through Blockbuster but I missed the last few minutes because of disc damage. 2.5 stars. (11-11-07)

The Happy Elf

This Rankin-Bass-like animated feature is a great new Christmas classic. Harry Connick Jr. makes a cool storyteller about the inhabitants of Bluesville and Eubie the elf's plan to redeem them from Santa's naughty list. The animation and voice talent (featuring Lewis Black, Mickey Rooney, and Rob Paulsen) together make for perfect schmaltz and holiday cheer. The Happy Elf was briefly available via Instant Watch and is currently Unavailable but I managed to buy my own disc. 4.5 stars. (9-1-08)

Ben 10: Race Against Time

This live-action take on the popular alien-tech-powered superhero cartoon series for kiddos is pretty good for special effects and passable for plot and acting. I like the Men-in-Black-style subplot (esp. the elevator and alter-egos) that causes Ben to say, "I guess Bellwood isn't so boring after all." Robert Picardo brings an understated humor to his role as school principal. Graham Phillips does well as Ben Tennyson. Haley Ramm does the best as his smarter sister Gwen. Don McManus and Beth Littleford are a subtle hoot as parents intent on treating Ben with "enlightened" or "new age" sensibilities. The strongest and my favorite character in the cartoon series, Grandpa Max, is played by Lee Majors as sort of a cross between Nick Nolte and Jimmy Buffet. Christien Anholt is pure cardboard as the uberego xenovillain Eon. The climactic scenes feel like a complete mishmash or hatchet job -- confusing and cartoonish in the worst sense. Just barely 3 stars. (9/1/08)

The Wave

I saw the 1981 TV version, which won an Emmy, a Peabody, and a Young Artist Award, in a college class. I expect this feature film version to be an even more significant depiction of a true story that is similar to the famous Stanley Milgram experiment in groupthink and totalitarianism which is often cited in the media. This is going to the top of my Save movies queue and I will review it as soon as possible.

Star Wars: The Clone Wars

The TV commercials for Star Wars: The Clone Wars (Animated Feature) weren't impressive -- on a living-room screen much less for the script, animation, or voice talent. There's something to be said for my being a Star Wars fan from the very beginning -- the more lamentably to see the depths to which George Lucas has fallen -- but the clincher was my close relation to a 10-year-old Star Wars fan. We had to go see it. While my concerns for the script and animation proved on target, the battle action was truly a driving force and the voice talent turned out better than I had been led to expect. (In the commercial excerpts, Padwan Ahsoka sounds like a nasal Valley Girl who might next blurt out "Hel-lo-o-o..." She turns out to be a fairly competent Jedi trainee, even if her banter sometimes delays the mission.) The animation is particularly wooden -- like the scripting and acting of the typical Star Wars character -- so it fits right in. (I'm not kidding. Count Dooku and Emperor Palpatine each look like a totem pole or a Kachina doll.) This feature is meant to expand on the story behind the excellent cell-based animation of the prior Clone Wars series from Genndy Tartakovsky. While much is new, we only see the caped back of General Grevious and limited battle action with Asajj Ventress. We also have to endure the subplot of a proposed Imperial alliance with Jabba the Hutt over the kidnapping and recovery of his "punky muffin" infant son. It takes a Jar Jar Binks or a "punky muffin" to make clear-thinking adults regret their younger affection for the Star Wars saga (esp. when they realize that Jabba-nese is basically mangled English -- slime is slimo, for instance). This animated feature stands downhill from the live-action movies -- if that were possible -- in depicting characters but the action sequences are fairly riveting as animation goes. 4 stars.

Man on Wire

I managed to catch a preview for Man on Wire, a fine and poetic documentary about the French acrobat Philippe Petit's grandest clandestine coup: walking on a wire suspended between the twin towers at the top of the World Trade Center in 1974. (A consummate wirewalker since his teens, Petit went back and forth several times across the span and even knelt and laid down on the wire as if he were taking a snooze.) Described in his own words and through interviews with his former collaborators, archival film, and reenactments, Petit waxes lyrical about what motivates his acrobatic gift and his lifelong dream (since age 11) to walk between the two towers. (His is not the corporate mindset. Indeed, he has a great sense of humor.) The first part of the movie describes the cabal (or coterie) of friends gathered to scope out and plan what essentially amounts to a heist in reverse: smuggling in and setting up tons of equipment under the cover of night -- with guards close at hand for hours at a time. This part is full of dry humor and the audience laughed often. The second part describes the wirewalk itself. You could have heard a pin drop in the audience. Man on Wire is a documentary with heart -- but heart so intense at the time that it turns out impossible to maintain in the long term. (The caper cost Petit at least two of the closest relationships he had.) 4 stars. (8/18/08)

Get Smart

In Get Smart, Steve Carell (as Maxwell Smart and, later, Agent 86) and Anne Hathaway (as Agent 99) make a fine update and tribute to the original TV series starring Don Adams and Barbara Feldon, except with Steve Carell and his chief, Alan Arkin, the drollery is less tongue-in-cheek and even drier. I like how CONTROL respects Max's tech skills, relying on his always-on-the-dime analyses of global hot spots (even though no one actually reads his reports -- this is supposed to be the real world after all). Max and his junior techs -- gnomish but ubergeeky -- maintain the lifeblood of a modern spy apparatus: technology and information flow. Even so, Max continues to pursue his dream of becoming a field agent. He gets a mission and is partnered with the more competent (and coolly alluring) Agent 99. Anne Hathaway one-ups Barbara Feldon's '60s mod look in a black fall wig, lashes, and black gown -- plus she's field-smart and wickedly kick-butt -- yet for all his klutziness, Max gets a few maneuvers right. (Never fear, he does get occasion to say "Missed it by that much.") A couple of the TV series' tech toys come into the story, in tongue-in-cheek and essential ways. Get Smart is a hoot for old fans and comedically stands on its own for whose born after the '60s. With an extra half-star for the script's sweet comedy and nostalgic euphoria, 4.5 stars. (8-18-08 updated 12-22-08)

Conversion

Short. Conversion is a Master of Fine Arts project filmed on a Navajo reservation in New Mexico (in Navajo with English subtitles). As a short film, it is rudimentary and diffuse -- as if a grad student produced a National Geographic documentary from the 1950s -- and takes on (but only implicitly) the issue of Protestant missionaries "interfering" with Navajo religious culture. (Their spiritual guidance apparently causes a death.) Conversion yields food for thought -- but it's a lightweight buffet. The calories exist to sustain a modicum of thought and discussion -- but like any church potluck dinner, it's up to you to bring something to the table and then to fill your own plate. IW. 9 min (including 2 min of closing credits). 3 stars.

Batman Beyond: Return of the Joker

TV. I caught Batman Beyond: Return of the Joker on the tube with my youngest son and found it to be pretty good, wrestling with character developments and presenting plot twists more nimbly than most cartoon shows of this type. Particularly interesting is the uncovering of what happened to the Joker in his last encounter with Batman and whether Batman's old nemesis really has returned. (Hint: His middle name isn't Eugene. Eugenics. Get it?) The Batman Beyond series is generally well done and this installment digs firmly into the foundation of the relationship between the retired Bruce Wayne and his young protege. IW. 3.5 stars.

Fools Rush In

Fools Rush In is in my Romance Top 10 list. I own the movie. It's now on IW. It's a great date/couple's movie that I'll never tire of watching. Salma Hayek is luscious; Matthew Perry stumbles into love, with hilarious results -- esp. when his WASP world encounters her Mexican culture. This movie is sensitive, responsible, and never cartoonish in its portrayal of what happens to a mixed-culture couple (with their families) that meets and chooses to stay together and make it work even if they met through irresponsible circumstances (for example, a one-night stand, as in the movie, or by a more modern extension, perhaps an Internet romance). The chemistry between Salma and Matthew is smooth and the ending doesn't present a convenient wrapup either. Fools Rush In preceded Knocked Up by 12 years and is eminently superior in oral hygiene (clean language). 4.5 stars.

The Puppet Masters

The Puppet Masters is The Langoliers meets Invasion of the Body Snatchers. Its made-for-TV look-and-feel squares it in the mediocre camp yet it's worth a watch. I'm not a print-retentive sci-fi fan sniping how the movie wasn't 100% faithful to Robert Heinlein's novel. You watch a movie as a movie. Even lukewarm, Donald Sutherland is good as the senior government official who refers to himself as "the old man." The others' acting was tepid with a paucity of facial expressions. Still, I've caught this movie on cable a couple of times and enjoyed it just fine. (It's better than The Core!) 3 stars.

The Mummy Returns

The Mummy Returns is a lot of fun if you don't demand the technical perfection of the Indiana Jones movies. The characters are pretty much the same as in The Mummy (1999) yet a bit more developed, however, the special effects are often ragged. (Rushing waters defy various laws of physics and Dwayne Johnson reprises his excellent role in The Scorpion King but only as a Doom-quality computer-graphics villain.) I always enjoy Brendan Fraser's characters and here he does the Indiana Jones schtick with a panache that's less wary and world-weary and more mix-it-up. I like Rachel Weisz even more as a "field librarian" who can kick serious butt. The fight scenes are all good esp. Rachel's mano-a-manos with the slinky femme fatale Patricia Velazquez. The undead villain Imhotep (Arnold Vosloo) is more complex and has some challenges of his own. Oded Fehr is a superb protector figure and Freddie Boath is the archeologist couple's plucky young son. Despite the script's frequent whiff of Swiss cheese, this movie is chock full of swashbuckling as only Brendan can swash! I give The Mummy 4.5 stars but, for technical sloppiness, The Mummy Returns gets 4 stars.

The Mummy

The Mummy is an awesome special-effects swashbuckling blockbuster movie. It calls to me every time I see it on cable and I intend to own it (as I do its sequels). Brendan Fraser is superb as the reluctant archeologist hero and Rachel Weisz is no mere damsel as his brainy librarian wife. The energy onscreen as these two chew through their challenges is amazing, the special effects from Lucasfilm's ILM are simply awesome, and I love the tongue-in-cheek humor infused throughout the production. (It gives your tongue something to do besides get chewed on from suspense.) If you need the equivalent of a car wash for your endocrine system, see The Mummy and you'll feel soaked, spent, and limp in no time. Enjoy! 4.5 stars.

Iron Will

Iron Will is White Fang meets Spirit of the Wind (the story of Iditarod dogsledder George Attla, not available on video or DVD). Iron Will is the well-done (for Disney) story of a novice dogsledder whose courage inspires a WWI-era nation. Will Stoneman (the very talented Mackenzie Astin) enters a 500-mile dogsled competition from Canada to St. Paul to win the $10,000 purse and save the family farm. August Schellenberg is the Native American who introduces him to discipline and courage. David Ogden Stiers is the James J. Hill-style railroad magnate who offers the prize and Kevin Spacey is the opportunistic newspaperman who makes Iron Will a household name. I enjoy the snow, the period attire, the anti-Kaiser song-and-dance number, and the idiosyncratic gaggle of dogsled competitors (esp. George Gerdes as the almost cartoonishly villainous Swede). Iron Will is a squeaky-clean family show that will appeal esp. to dog lovers and patriotic types, though a few dirty tricks on the trail from the Swede might bother tykes 6 and under. Astin and Spacey make this show shine. It feels authentic through and through and families may be on the edge of their seats right to the final inches of the race. 4 stars.

Mercury Rising

Mercury Rising is The Witness meets The Bourne Identity (or Enemy of the State). It's a typical Bruce Willis action flick with sinister government baddies (led by the coldblooded Alec Baldwin) intent on eliminating an autistic savant (and anyone connected to him) who knows something they don't want anyone to know. It's the ultimate "If we told you, we would have to kill you" (or "We're from the government, we're here to help you meet your maker") movie except in this case the autistic child figured it out on his own and only Bruce Willis stands between him and a bullet. Bruce does a lot of running interference and thinking on his feet, copping a bit of his usual attitude though the script doesn't let him really own his performance as in 12 Monkeys or the Die Hard movies. Miko Hughes as the autistic boy is quite good (though he's not Natalie Portman in The Professional). Yes, the plot has a few Swiss-cheese holes. No, the adults' interaction with the autistic child isn't always realistic (though it's always sensitive). Well, that's because this is an action movie and the plot has to race along; deal with it. I like this movie a lot and I plan to watch it again. 4 stars.

Apollo 13

Just two three-quarter- million-mile trips after the historic moon landing of Apollo 11, moon missions had become so "commonplace" that the networks refused to carry the weightless in-flight tour of the Apollo 13 -- until disaster struck and the whole world began watching, rapt in tension as well as hope and prayer for three astronauts' safe return. In the wake of Tom Hanks' edited and now iconic words "Houston, we have a problem" and against all odds, Ed Harris as Flight Director Gene Kranz (in an Oscar-nominated performance) exemplified NASA's (and America's) can-do attitude by professing, "I believe this will be our finest hour." Here is heroism that sticks, heroism without fantasy, heroism that counts -- when three men's lives were on the line a long way from home. The story of the astronauts' courage and the ground crew's ingenuity in a doomed situation is riveting, moving, and inspiring. I own Apollo 13 and will never get tired of watching this milestone in cinema, faithfully and painstakingly recreated with many trips in a weightless "vomit comet" airplane. Every person in the cast delivers a stupendous rendition, from each astronaut to every ground technician and family member. Apollo 13 is a labor of love and it shows. 5 stars.

Sigmund and the Sea Monsters

TV. Pufnstuf fans may love anything from Sid & Marty Kroft but I had never heard of Sigmund and the Sea Monsters until just now! This service now carries Season 1 (not linked on this page) so feel free avoid this subset disc of four episodes or flag it as Not Interested -- if you intend to watch the full first season.

Galaxy Quest

Galaxy Quest is classic Star Trek meets Event Horizon (with General Mandible from Antz as the villain Sarris). This movie is peerless as a spoof of Star Trek and an homage to its fans. As our story begins, Tim Allen's head still swells to fill his enduring reprise role as Capt. Peter Quincy Taggert and he just pegs the William Shatner swagger, combat roll, ripped shirt, etc. Alan Rickman is diffident as the once-Shakespearean actor who can't shake his fame as the Spock-like carapace-sporting Dr. Lazarus ("By Grabthar's hammer you shall be avenged!"). Sigourney Weaver is poured into her uniform as Lt. Tawny Madison, whose role as communications officer is basically to repeat everything the computer says to the crew and vice versa. Tony Shalhoub is the impassive Tech Sgt. Chen, whom nothing seems to faze. (Maybe his fazer was set on stun.) Sam Rockwell is a Trekkie-type fan who gets picked for a mission as Crewman No. 6 -- so, true to Star Trek folklore, he is justified to fear an imminent death as the most dispensable crew member. Enrico Colantoni does admirably as the leader of the Thermians, whom Tim Allen's character first assumes are just highly nerdy sci-fi fans with no social skills. It's probably not possible to adequately represent this movie's plot and humor or to summarize its dead-on parody of all things Trekkian and sci-fi-ish, so take the word of all rabid Star Trek, sci-fi film, and Galaxy Quest fans: Galaxy Quest is the funniest sci-fi spoof ever. Not only that, but it has a plot, twists, character development, and a slam-bang feel-good wrapup. I lived on Star Trek (classic and Next Generation) throughout my school years and I will never tire of watching this old chestnut. After The Matrix, it was the second movie I bought to inaugurate my DVD system. If you have ever enjoyed Star Trek, Galaxy Quest will feel like a comfortable old shoe. 4 stars.

The Middleman: The Complete Series

TV. Sweet mother of pearl, is The Middleman hilarious! (OK, it's droll and tendentious -- which means hilarious if you really appreciate dry humor and sarcasm.) The Middleman is Due South meets The Librarian: Quest for the Spear -- or The Tick meets Burn Notice -- or The Lost Room meets Men in Black. Straitlaced Matt Keesler plays the M.I.B.-like Middleman with a glib if mordant postmodern bite, saving the world from the doom of the day. Natalie Morales plays his snarky sidekick and Mary Pat Gleason plays his snarkier battleax of a librarian (who can dispense coffee from her midriff, among other things). The Middleman loves to showboat its tightly written, rapidfire dialog interspersed with totally quirky plot developments from the supernatural to the banal -- ripping into parodies of fashion designers, PETA activists, clueless suburbanites and more. Available on instant watch for a limited time, I've seen the pilot and episode 1 on this service; since episode 4 airs on ABC in two days, I suspect episode 3 will appear on IW at that time. If you have enjoyed any of the shows referenced earlier, be sure to catch The Middleman. After only two minutes, I discovered it is a program I could watch over and over and over! 5 stars. (7-5-08 to be updated after 7-28-09 DVD release).

WALL-E

WALL-E is Charlie Chaplin meets Short Circuit. Our star, the compact robot WALL-E (for Waste Allocation Load Lifter Earth-Class), is a grimy but perky R2D2 and the sole inhabitant of Earth, long abandoned as a vast global garbage dump. After 800 years, WALL-E is the last functioning trashbot because he's developed a personality plus the foresight for spare-parts storage and self-repair. By gritty determination and hitching a ride with his eventually requited love interest, the sleek and overpoweringly defensive EVE (for Extraterrestrial Vegetation Evaluator), WALL-E traverses space to personally witness -- and help resolve -- humanity's failed utopia, painted in the circus colors of Meet the Robinsons but also daubed in the lies of the HAL-like AUTO pilot computer. Consumerism falls straight in the movie's message crosshairs as the megacorporation BNL (for Buy iN Large, like the b-st-rd grandspawn of BFI and Wal-Mart) is revealed as purveyor of the doom of humanity. (Fred Willard is entertaining as the avuncular CEO, speaking on tape to the present generation. Sigourney Weaver also voices the ship's computer in a nosegay to the Alien movies as well as GalaxyQuest.) WALL-E is a fresh, cloying classic of animation that primarily appeals to children and technogeeks but carries a basic human appeal that will make it a family favorite for, let us hope, generations to come. The disc's bonus shorts, Presto (also seen in the theater) and BURN-E, present ingeniously hilarious slapstick. 5 stars. (7-5-08 updated 12-26-08)

Kung Fu: Season 1

TV. Kung Fu is a gem that outshines its early '70s origins, purveying Eastern philosophy (harmony, pacifism, integrity) through David Carradine's itinerant Shaolin priest. A sleeper hit and a generational milestone, it is not to be missed. (I had to acquire it from a competing service since this service has not stocked the disc set in 2.5 years. Incidentally, for those who have been confused over what's on what disc, I believe you received the three-disc, two-sided set that our service lists as six one-sided discs.) Some have kibbitzed that Bruce Lee engendered the series idea but was passed over because of racism. However, Bruce Lee was an overpowering physical presence and a TV audience would not be able to understand what he said. The producers eventually settled on Carradine. Kung Fu owes its success to David Carradine as the humble Kwai Chang Caine, Keye Luke as the blind Master Po, and Philip Ahn as the stern Master Kan, who (with all the others) portrayed the meditative and harmonious spirit of the Shaolin monastery through the very DNA of the series. I still love every scene where Caine impassively faces an onslaught of Indian arrows or palooka ranchers and deflects their enmity (physically and philosophically) to prevail (as a willow "prevails" through a storm). Our materialistic society needs the timeless lessons gleaned from the flashbacks of "young Grasshopper" in this series. Its emphasis is on story and character. Look beyond its simplicity to find nuggets of wisdom to last a lifetime. Disc 1 contains the pilot and featurette on side 1, episodes 1-3 on side 2. The pilot covers Caine's monastery days and episode 2 powerfully presents Caine's encounter with his grandfather and redemption of a fallen preacher. 5 stars.

VeggieTales: Lyle the Kindly Viking

Yes, I am an adult and I watched VeggieTales: Lyle the Kindly Viking all by myself, OK? My son can see it tonight -- but VeggieTales! Vikings! What's not to love? (It helps that I'm from Minnesota, but still.) No one does hammy humor or softpedal schmaltz (with scooped and jammed vocals) quite like VeggieTales. That being so, on this disc Archibald Asparagus tries to class up the production values a bit by hosting a Masterpiece Theatre-like presentation of Hamlet (called Omelet). Larry's Silly Songs becomes Classy Songs (but as with Hamlet, the new label is for window dressing only). Then in the title presentation, Lyle breaks the Viking code by (1) not taking stuff from others and (2) giving his share back -- with the lesson that making friends is better than having stuff. The animation and storyline are very good and the message is mild (expressed in four sentences, including one Bible verse). In a word: Share. This is my favorite of all the VeggieTales titles I have yet seen. I had to rent it through a competing service since it has not been in stock here for a couple of years. 4.5 stars.

Nosferatu the Vampyre

Werner Herzog's Nosferatu the Vampyre (1979) is a devoted recreation of and tribute to F.W. Murnau's Nosferatu, eine Symphonie des Grauens (1922), itself a seminal rendition of the legend of Dracula and perhaps the creepiest silent film ever made. The psychodynamic Klaus Kinski plays the eerily malevolent yet melancholy Count Dracula, whom menace precedes and pestilence follows. Understand that Nosferatu is no Die Hard, Lord of the Rings, or Incredible Hulk. Even so, this black-and-white film should grip you from its lingering opening scenes of naked human mummies and hold you, by its somnolent etherealness, through the journeys of realtor Jonathan Harker (Bruno Ganz) from his home in Wismar, Germany (actually Delft, The Netherlands) to and from Dracula's home in Transylvania, Romania (actually filmed in Czechoslovakia). There the hovering, seemingly conflicted Count attacks him after a bread-cutting mishap, ultimately sealing his doom among the living. The Count also desires Jonathan's wife Lucy Harker (Isabelle Adjani) as well as, apparently, all of western Europe in due time. Her town swiftly fallen under the sway of the Count, Lucy knows what she must do; she gives herself to it (slurp, slurp) and succeeds. It is not enough to arrest the Count's successor, however, so we have a sequel setup more than a tidy ending. (I had to rent this disc from a competing service since it has not been stocked by this service for two years. I also rented the twin version that was filmed in German, and I agree it feels more authentic because Kinski and other actors were speaking in their native tongue.) It's interesting to note the Count's fangs, which are no Barnabas Collins-sized twincisor overbite but resemble one of those postage-stamp-sized plastic triangular paper clips or a too-tiny, two-tined bottle opener. Oh well, his stomach is clearly bigger than his eyeteeth. For technical factors, 4.5 stars, but for emotional impact, 4 stars.

VeggieTales: Minnesota Cuke and the Search for Samson's Hairbrush

Don't ask me why this light-touch evangelical spoof of Indiana Jones is named Minnesota Cuke but it's a trademark Veggie-cute treatise on facing one's fear of bullies. Larry the Cucumber is the namesake explorer Minnesota Cuke, who seeks the mystical hairbrush of Samson both to benefit a museum in Moose Lake (a real place in Minnesota) and to defeat Professor Rattan, a competitor who has bullied him since the second grade. Moral of the story: Like Samson, our power comes from God, not talismans or personal traits. The traditional Silly Song is the entertaining Teen Angel-like Pizza Angel, which you may have heard in a Silly Songs compendium. It's one of their better tunes. A playground-bully sketch precedes these goodies (plus the usual bonus features) that is mild and understated but apparently too scary for the tenderest of tots (ages 2-4). Watch this disc and you'll be singing Pizza Angel for a week! I picked it up at my public library since it has been out of stock at this service for two years (though, humorously enough, this service stocked it within two days of my submitting this review). 4 stars.

Kung Fu Panda

To his adolescent fan minions, Jack Black is an idol; to me, he's a pudgy, juvenile sinkhole where humor goes to die. However, the awesome animated movie Kung Fu Panda belongs heart and soul to Jack Black; as Po, the schlubby panda Dragon Warrior trainee, Jack Black rocks! (You've never heard a guy wheeze so fervently and in so many ways -- nor seen his animated twin do so.) In the end, Po's infectious disingenuousness wins the day despite more disciplined compatriots and a far more powerful enemy. (He finds another way to be true to his gifts and to slack his way to victory.) The voice talent by Dustin Hoffman as his severely tried kung fu master is particularly excellent but everyone else is good too. The animation is highly impressive in reflecting Chinese culture, martial art skills, and cinematic choreography. Kung Fu Panda is full of heart and has several creative plot twists. I laughed heartily a number of times and the many kids in the theater clearly enjoyed themselves too. As the closing credits rolled, my 10-year-old insisted that we buy the disc. Be sure to stay to the last moment for a closing epilog scene. 5 stars.

Short Circuit

Short Circuit was one of my favorite films during the 1980s. Sure, the acting is low-key but sufficient: Steve Guttenberg is programmer nerd with a modicum of social skills ("It doesn't think, it just runs programs!") Newton Crosby, Ally Sheedy positively glows (esp. when steamed or "changing color") as coffee-truck owner Stephanie, Fisher Stevens is a hoot as the English-eviscerating techie of East Indian extraction ("Let us break wind!") Ben Jabituya, and Tim Blaney is awesome as the voice and spirit of Johnny 5. I even love Austin Pendleton as the put-upon CEO buffoon Howard and G.W. Bailey as the gung-ho militaristic head of security Skroeder. Johnny 5 carries this movie as the infectiously excited, newly sentient robot who chooses to rewire his killbot programming and prevent any person or animal from ever being "disassembled, dead" again. I love his joyous thesaurus-speak and zest for life! Admittedly, Short Circuit has many cartoonish bits (after a stampede through the commodes, the killbots cry "Nobody light a match!" and later are reprogrammed for Three Stooges slapstick), but I'm a sucker for physical comedy. Short Circuit 2 barely got 3 stars but I give Short Circuit a gleeful 4.5 stars.

Starman

Jeff Bridges was good in the groundbreaking special-effects movie Tron (though it had a two-dimensional plot, literally) but he really splayed his legs and displayed his physical acting chops in Starman, where he plays a crashlanded incorporeal alien that recreates a human body to reach its rendezvous extraction point at Flagstaff, Arizona. The alien, reincarnate as Karen Allen's mournfully deceased husband, takes more than baby steps in its new adult body; Bridges looks, with every shambling and doddering step, to be struggling to find his balance and center of gravity. The special effects are minimalist and just believable enough to carry the story -- as is the script -- nor does the acting get in the way. Karen Allen exudes emotion as she encounters and ultimately collaborates with her late husband's taciturn doppelganger -- and their parting is tender, loving, and hopeful. Starman is a movingly romantic tale, but it's unfair to brand it as a chick flick (which I define as a movie starring only chicks talking about chick stuff, such as Beaches or Terms of Endearment). Starman's setting is science fiction but its guts are the pains and joys of human intimacy and marital love -- a phenomenon that I believe generally requires a man and a woman to create and maintain. Starman may be nearly a quarter-century old but its script and acting help it easily hold its own hands-down as a classic. 4 stars.

The Andromeda Strain

TV. Early press said the remake was hamhanded, brassy, and preoccupied with virulent as well as violent body counts. (These charges are true.) I watched it anyway -- and I'm glad I did. For one thing, the top-secret Wildlife biomedical laboratory deserved better than 1960s computer technology -- and this remake delivered on many of my dreams: x-ray-film-like laptops, virtual-3D touchscreens, natural-language voice-based command-and-response, etc. The acting was yeomanlike -- unimaginative, yet no one tripped over their shoelaces, with the most talent glimmering through Gen. Mancheck (Andre Braugher) and Dr. Angela Noyce (Christa Miller). The script proved better than I expected at presenting seminal scientific concepts from the book and a few updated issues (esp. national security -- though a black hole was singularly unnecessary). The Clinton/Bush mashup of a president (Ted Whittal) had faith in his star scientists' professional acumen and a great line ("I'm not going to risk going to war on some half-baked evidence and a hunch") as did Dr. Noyce about our linearity ("If we could examine all of our choices like a box of chocolates, what would we have at stake?"). TV reporter Jack Nash (Eric McCormack) had the meatiest role, even if he was supposed to be in rehab for cocaine abuse and fell off the wagon. Having escaped a nefarious government assassin yet facing imminent microbial death, he ventures a prayer and forswears drugs. A pot-smoking good-ol' girl fleeing the same death later offers him a toke: �No, I took a vow.� The climactic ending in the Wildfire facility gets mangled with two unnecessary scientists� deaths and a rescue crawl that�s both mawkish and gruesome. Explosions all look hokey as do the microbial advance and retreat (followed by the inevitable �We did it!�). The wrapup is a wakeup call as to how politicians are never content to leave science to the scientists. I give the classic 4.5 stars and this fairly riveting remake 4 stars.

Wedding Crashers

Wedding Crashers is a romp, as expected, but a romp with a resolution. Colin Wilson and Vince Vaughn are a hoot as two energetic party animals and impressive schmoozers of kids, grandparents, and parents in their pursuit of willing young women to bed; they are also disciplined adherents to the Wedding Crashers code, which propounds more than 100 maxims and strictures (many which are cited in the DVD's special features). It's a letdown when they meet the code's revered founder, who turns out to be a smarmy a--hole. They also both fall in love with the daughters of the Treasury Secretary, played engagingly by Christopher Walken. This movie shows more than two single men behaving with zeal and wild abandon; it shows how they willingly reconsider their ways and choose to pursue their hearts and do the right thing. The writing and production values are excellent, if some of the humor was (to me anyway) predictable. 4 stars.

Night at the Museum

I just saw this movie on the big screen (a must -- though we missed the IMAX screen due to highway construction). (I had to see Rexy in action. Fetch, boy!) This movie is a strong entry in the special effects and feel-good categories and a positive entry in the moral-of-the-story category too. Lots of laughs, lots of fun! I esp. enjoyed Dick Van Dyke and Mickey Rooney. Ricky Gervais as the inarticulate museum curator was a stitch. Owen Wilson can do no wrong. Ben Stiller plays Larry, a putz of a single father who can't hold down a job much less his self-respect. (Not funny so I like the sequel better.) He's conflicted (but desperate) about accepting a job as a museum night guard -- and anyway, the job is pushed on him since he's about to become the disgruntled retirees' patsy. He struggles through his nocturnal predicament and habitual malaise ("Yeah, no, I got it") until he realizes that he must get personally involved to respect others (and himself) and to make a difference. The humor comes from the initial premise of museum exhibits that come to life at night plus the wrangling between miniature cowboy Jedidiah (Owen Wilson) and miniature centurion Octavius (Steve Coogan); the human touch comes from the breezy Jedidiah and the noble Teddy Roosevelt (Robin Williams) who pines for Sacagawea (Mizuo Peck). The moral of the story is about the courage of persistence, of being a great person in the daily tasks, of faithfulness and making a difference no matter where you find yourself. There's a good lesson in book learning and museum learning too, which can't hurt in our days when "test your knowledge of Spongebob Squarepants trivia!" (a real Nick commercial seen today) is too often the norm. This is a fine family film -- with a PG rating for bits of rough language and battle violence -- that may have you dancing at the end too. 4.5 stars. (1-13-07 updated 5-29-09)

Koyaanisqatsi: Life Out of Balance

Documentary. When Koyaanisqatsi came out in 1983, a local reviewer called it one of the 10 best films of the year -- so I began keeping a films-to-watch list and put it in the number-one spot. Well, I finally got around to watching it. (In my defense, it was out of print for 10-12 years during the 1990s. It was available on instant watch when this review was written but is being resubmitted later since it never posted.) Koyaanisqatsi is indeed an innovative marriage of artistically directed cinematography and the neo-cum-classical compositions of Phillip Glass -- sort of like a Pink Floyd video with a Yo-Yo Ma soundtrack. After seeing the second and third installments of the Qatsi trilogy, my 9-year-old son is interested in seeing this one too. I would watch it again anytime, though my favorite of the three is Powaqqatsi. By the way, this is clearly one of those movies where half the audience cries "Brilliant!" and the other half cries "Garbage!" My conclusion? When I can watch an artistically inventive movie and find a constant flow of thoughts and insights to draw upon, yet another sees nothing -- I choose perception and inspiration. As for the Hollywood clones, let them eat Cage. 5 stars. (2-24-07)

Dixie Chicks: An Evening With the Dixie Chicks

Music. Here is a well-produced romp with one of the most accomplished and dynamic true-country groups in the world. The Dixie Chicks are old-school country with acoustic bluegrass roots older than their well-dyed roots. (I no longer have any idea what their original hair colors were but their music is as original as all get-out.) In this energetic and highly competent acoustic performance, Emily's virtuoso licks on dobro and banjo thrill the crowds while Martie's effortless fiddle swabs and obvious joy in her musicianship form a supportive frame to Natalie's virtually perfect lead vocals. The supporting ensemble and symphonic bands are awesome. The camerawork dynamically captures the power of the music, leaping from riff to lick to capture every musician's best work. We see plenty of the Chicks' spontaneity and humor and the set list presents much of their Home disc while opening and closing with their much-loved classics. The audience clearly had a great time and you will too. 4.5 stars.

Regarding Henry

The world is a better place with Regarding Henry in it -- an underrated film with understated performances that stay with and grow on you. It is a story about an a--hole of an attorney who loses his mind, then becomes a better human being. After his trauma, Harrison Ford is such a puppy dog. His acting, as well as Annette Benning's, is memorable. The callousness of the workplace, esp. for his profession, is believable, and I like the twist at the end. This is not a date movie, since it is about a major marriage crisis, though it is for couples that are married or plan on getting married. (Expanded from my original review dated 12/31/05.) 3.5 stars.

Naqoyqatsi

Documentary. While I was excited to see the first two parts of the trilogy and I give them 5 stars, this one gets only 3 stars. An aurally thrumming and visually pulsing kaleidoscope of studied and stock video images, this third helping of the Qatsi trilogy borders on tired cliche, especially when the images of nuclear bomb explosions begin painting the screen. (If technology is bad, then pray what is the alternative? The problem is the human choice to do evil, not the tool -- pen or sword -- by which one chooses to wreak evil.) Koyaanisqatsi (1983) and Powaqqatsi (1988) proved to be innovative marriages of artistically directed cinematography and the neo-cum-classical compositions of Phillip Glass, but 19 years later Naqoyqatsi (2002) feels like a pastiche and an also-ran. My 9-year-old son watched it with me and generally found it interesting as I offered possible interpretations of this section and that -- nevertheless it began to feel like a film project that an arts high school student put together, esp. after a series of bald juxtapositions of images began banging the propaganda pan just a bit too stridently for comfort and I grimaced frequently at the unsubtlety of it all. 3 stars.

The Andromeda Strain

Michael Crichton's 1969 novel, The Andromeda Strain, reads like a chatty medical geekfest team-written by Isaac Asimov, Tom Clancy, and Robin Cook. The movie hews closely to the novel, even to the point of (gasp) presenting science on an equal footing with fiction. (Here brainy and collegial male and female scientists are the saviors of the human race instead of action-figure alpha males in the military-political command chain.) It makes perfect sense to portray (rather than gloss over) the multileveled descent into the bowels of the Wildfire laboratory. The whole narrative is presented as a biomedical detective story, from the aerial photography flyover of the town of Piedmont to the hazmat-suited Wildfire team performing a field biopsy on the wrist of a corpse to the recovery of two survivors and the satellite to the clinical and molecular-biology work in Wildfire itself. "Hard" science fiction novels and movies such as The Andromeda Strain are less about fatuous or syrupy entertainment and more about intellectual and ethical education -- less about providing a wild if forgettable ride and more about delivering a meaty and cogent examination of the hows, whys, and wherefores of human decisions and actions (esp. those that will determine whether we as a species survive or become extinct, largely from our own ignorance). While technology has certainly advanced rapidly since their day, 2001: A Space Odyssey, Fantastic Voyage, and The Andromeda Strain remain the premier science-fiction novels and movies from 1966-1971. (By the way, 2001 and Andromeda both received G ratings while Fantastic Voyage got a PG, which only shows that Republicans have made significant advances today in their ability to complain about three seconds' worth of viewing a female cadaver's breast and soapy male butt cheeks -- so expect the same amount of complaints about the same number of seconds of soap-covered skin in the Sci-Fi Channel remake, which I review separately.) 4.5 stars.

Indiana Jones and the Raiders of the Lost Ark

"It's not the years, it's the mileage." Indiana Jones and the Raiders of the Lost Ark is virtually *the* perfect action-adventure blockbuster. It's hard to imagine anyone who hasn't seen this movie (between 1 and 50 times) and loved it! Like the first two Star Wars films (and similarly with all my friends), Raiders of the Lost Ark sure caught my imagination and set my adrenaline pumping! (I still get jazzed just thinking about the movie.) These three films were made by the two "bad boys" of independent cinema at the height of their imaginative powers. Raiders was a perfectly crafted showcase of what the best scriptwriting, acting, editing, sound effects, and pre-CGI special effects can do. The first ten minutes set up the story but so much happens that you've seen as much as in 30 minutes of any previous movie -- and it only gets more exciting! I love Indy's derring-do panache, all the script's humorous bits ("I don't know, I'm making this up as I go"), and Marion's infectious spunk (two words which in another context would be malodorously unhygienic). Don't tsk-tsk the shooting of the swordsman; that scene is not a slam against Arabs, just a (cheap) shot at the duel or swordfight as a cinematic convention (which is why it was funny in 1981). Indy is after all the ultimate pragmatist who doesn't believe in anything but his own fists -- until he and Marion are saved by "the power of God, or something." The audience is happy when the maudlinized Nazis get their comeuppance from the Ark (for which kids under 10 may want to cover their eyes). All this and there's no sex -- now that's pure unadulterated storytelling and an action movie for the ages! 5 stars.

Indiana Jones and the Last Crusade

Indiana Jones and the Last Crusade, as the third episode in the series, is my second-favorite Indiana Jones movie (not a hard choice since the first movie is unassailably excellent, I may never watch the much-reviled second movie, and I won't see the new fourth movie until tomorrow). Last Crusade has a passle of Indiana's feats of derring-do but they are slightly less adrenaline-inducing than his take-no-prisoners stylings in Raiders of the Lost Ark. The Nazis are back as villains (fronted by a phone-it-in femme fatale) as Indy seeks to obtain the magical Holy Grail before they do. The best part is the pairing (and near parting) of Sean Connery and Harrison Ford as Senior and Junior Jones, father and son. Their comedic interaction is understated and satisfying with sufficient plot twists and turns. Though more contrived and less organic than Raiders, the discovery and recovery of the Holy Grail is a ripping good yarn as it goes -- esp. since a healf-hearted attempt is made to explain how "only the penitent man shall pass." (Ultimate supernatural power is not obtained when man's might makes right but when God accords grace and mercy.) "Choose wisely!" 4 stars.

Enigma

Enigma is Infinity meets Contact halfway as World War II codebreakers at Bletchley Park struggle to break the Nazis' Enigma machine-based code and win the war. Here we see the brainy side of how the war was actually won -- with a modest attempt to accurately represent the intellectual underpinnings of the Enigma project. As with Infinity, a romantic relationship trumps mathematics as the key storyline in Enigma; still, the Tom Stoppard screenplay is much better than wilted tripe and the characters do a clean job with it. Dougray Scott's face is as emotionally impassive as any math prodigy's so it is left to Kate Winslet to understatedly play the intellectual -- oh those hornrims! -- who becomes his serious love interest. First, however, his uninitiated nerdy heart (and a different pound of flesh) is given a workover by the blonde strumpet played to perfection by Saffron Burrows (in one short scene of prone waist-up dalliance plus lots of wrapping him around her finger). Enigma is better than Infinity and almost as good as Finding Neverland not to mention Pearl Harbor. I had to obtain it via a competing service since it has been out of stock on this service for at least two years. 3.5 stars.

Hitch

I was interested in the "dating doctor" premise of this movie but ultimately Hitch left me less than satisfied. It was good but not great. Will Smith is always superb -- I'd say he's on my can-do-no-wrong actors list -- but the allergic-reaction scene and a few others just struck me as reaching too far (the script's fault not Will's). Sorry but except for the jetski kick, Will's interactions with Eva Mendes were ultimately forgettable, as were most of the scenes with Amber Valletta, who played the dishy celebrity who inexplicably falls for the schlubby Kevin James. The meat of the movie spins (like toasted lamb on a spindle) around Will's dating tutorials with Kevin esp. where the former nixes the latter's jiggy moves and chews him out for completing a practice kiss (never a comfortable sight for any straight male). In a word, Hitch was unbelievable. Its genuine laughs were balanced by as many or more cheesy or queasy moments. Enjoy it but you probably won't be back for a second viewing unless you're a big Crocodile Dundee fan. 3 stars.

Turner and Hooch

Turner and Hooch came out the year after Big -- so Tom Hanks was golden. Here he does a nice-guy turn as Scott Turner, a small-city detective poised for a big-city career move. He's also a compulsive neat freak who is particularly put out when forced to take in a junkyard mutt (named Hooch for his favorite drink) that is the only witness to the murder of his master Amos. Turner shows Hooch the ropes and lays down the boundaries in his home ("This is not your room!") but Hooch quickly demonstrates that he knows no bounds: The whole house is his squeaky toy and the inside of Turner's car is his lunch ("No! Don't eat the car!"). This aspect of the movie is simply hilarious esp. since the production team enhanced the viscosity and flingability of the dog's saliva -- it goes everywhere -- and Hanks comes to commune with the mutt on the same level (even sharing a knosh and a kiss). Objectionable to family-values folks 20 years ago and still today are the scenes where Turner's police partner tells him he needs "the big R" and "to relax" (that is, get laid) and where Turner precipitously takes up post-panky bedroom and kitchen space with the town vet (Mare Winningham) in the sartorial splendor of his tighty-whities. These flaws notwithstanding, Turner and Hooch is a comedic classic that slings saliva like you have never seen before (and may never want to again). Hooch is a natural for the part; he's all heart. 4 stars.

Beyond Tomorrow

20080511 Also known as Beyond Christmas, Beyond Tomorrow is a sweet sleeper of a Christmas classic. It's A Wonderful Life meets Ghost but with less stringent scripting and production values -- though its hokiness doesn't get in the way of its heart. Three wizened business partners find a creative way to replace two no-show guests for their festive Christmas dinner then virtually adopt the young man and woman (Richard Carlson and Jean Parker), who have fallen in love at first sight. Success is devious for the dashing young Texan crooner named James Houston but the couple's trio of guardian angels continues to intervene and intercede for them even after tragedy strikes. (Think of Charles Winninger as an Irish luminous Obi-Wan Kenobi or Patrick Swayze interceding before a heavenly cloud, who at one point responds, "O'Brien, you are the most stubborn soul we have ever loved.") Truly luminous, however, is the trio's aged housekeeper (Maria Ouspenskaya), an exiled Russian countess; her every word and expression is golden. Small gems, if you appreciate these sorts of things, include a festive singing of Jingle Bells in a handful of languages and the movie's leisurely approach to continuity and pre-Blob special effects. Bonus materials include the original (noncolorized) movie plus public service messages for war bonds by Bette Davis and for Easter seals by Bob Hope. 3 stars.

Eloise: Little Miss Christmas

TV. This Emmy-winning program, based on the popular Eloise books written by Kay Thompson and illustrated by Hilary Knight, is a positive delight. Girls through age 9 should love it but so should anyone who enjoys a heartwarming holiday special. (The title mentions Christmas but Hanukkah and other family celebrations are included. I found this disc at my local library since it was unavailable at the time here. Don't confuse it with Eloise at Christmastime.) Eloise is as physically and mentally energetic as ever, with a whimsy and imagination that wins over the hearts of all who meet her. In this episode, she leads the children's preparations to stage a holiday program, facing major challenges both known and unknown. (Lynn Redgrave as Nanny requests a favor and Tim Curry as Mr. Salamone has an unrelated and providential change of heart. Matthew Lillard as Bill does his best but is upstaged by the real McCoy before he can arrive.) The animation in this series is wonderful, with facial expressions and scene framing and motion that are very creative. Watch the facial expressions of every hotel employee to learn more about their personalities -- and to be surprised -- throughout the show. Mary Matilyn Mouser as Eloise simply cawnt, cawnt, cawnt go wrong in this role. She's a heartstealer! 4.5 stars. (12-30-07)

Galapagos: IMAX

Documentary. Galapagos 3D is a fine and inspiring documentary reminiscent of most films in the IMAX genre. The 3D effects are especially fun since you can reach out and touch the various creatures basking or swimming in front of you. However, I have no idea what film others saw because I have to disagree with 40 of the 44 previous reviewers who criticize the film as boring and insubstantial. In fact, from their litany of complaints, I get the distinct impression they are mostly homeschooling families that have specific (and oft-stated) objections to women scientists and the theory of evolution itself. They also complain that 90% of the film is underwater -- it's more like 33% -- and that having a narrator gets in the way of the film. Wakeup call to the kewpie-brained folk: Half of all human beings are women; wearing shorts is appropriate in an equatorial archipelago; wearing a bathing suit is appropriate when swimming; exploring lava caves on a volcanic island is appropriate because -- it just is, even if you aren't the first person to go there, which the narrator was; exploring the ocean bottom around this unique ecosystem is appropriate when you discover 12 species of amazing creatures previously unknown to humankind; and discussing the theory of evolution is appropriate HERE, if no other place on earth, since the Galapagos are the foundry and showcase of the theory, as anyone with a brain should know! Also, every other IMAX film has employed a scientist narrator and it makes the subject matter more accessible when he or she emotes ("This really is amazing") about how their groundbreaking discoveries make them feel. The only persons who would fail to understand these points must lack a true sense of wonder and empathy. Science is awe-inspiring, and the more so to people of faith -- when they have not set up a false dichotomy between faith and science. The music in this documentary is visceral and inspiring, as I expect and appreciate in other IMAX films. 4 stars.

Tim & Eric Awesome Show, Great Job!: Season 1

Tim & Eric Awesome Show is the most god-awful, intentionally rancid and untalented attempt at humor on the airwaves now. Tom Goes to the Mayor was marginally funny in a talentless way but in T&E these guys are freakishly obnoxious. It makes me cringe just to see any given second of the Adult Swim promos. My eyes--! 1 star.

Glick Doesn't Do Red Carpet: Jiminy Glick at the Independent Spirit Awards

This N-tfl-x production starring Jiminy Glick (Martin Short as a ribald, tubby, and obnoxiously airheaded movie-star talk-show host) is as funny as the Primetime Glick television show (2001-2003). I haven't laughed so hard in a long time. (Steve Buscemi does not appear, however.) See it -- 32 min -- only on instant watch! 4.5 stars.

Adrenaline Rush: The Science of Risk

Documentary. Cliff jumping, synchronized team sky diving, and wingsuit-assisted flight comes to the high-definition IMAX format. More a paean to adrenaline than a scientific essay, Da Vinci is credited for the foundational aerodynamic designs. What a trip! Fall at 200 mph with these skydivers to the tune of Peter Gabriel singing "When You're Falling" (miscited in the credits as "When You're Fallen"). 37 min. 4 stars.

Colossus: The Forbin Project

Desk Set and Colossus: The Forbin Project were the initial two films on my first movie list about computer technology on celluloid. Like Network and Forbidden Planet, Colossus is an intelligent and insightful movie that proved seminal to many others depicting the future. Released in 1970 (though the film itself shows the date in Roman numerals as 1969), the computer technology is of course dated but the human story is dead-on as a fable for all future times. The script ably negotiates the daunting challenges of a massively sophisticated computer that decides the most logical thing is for it to take total control of all human society -- even lulling the military-political- industrial complex and setting traps before exacting its megaton "lessons" on humanity. Eric Braeden is a TV actor who does quite well in the Sean Connery-like lead role of Dr. Forbin and Susan Clark (Airport) is his teammate and "mistress." (Since this is still the demure 1960s, you can just make out her breasts through the glass vase before she slips into the bedroom to hide under the covers and engage in pillow talk like none you've ever heard. Austin Powers hasn't done anything but steal from every other movie before it.) Gordon Pinsent is the Kennedyesque U.S. President, with chief advisor William Schallert (whose venerable career spans from 1947-2007 and counting). Colossus: The Forbin Project is not about CGI and special effects -- since neither is real life -- but about the moral dilemmas that human actions create and that require human action (or rebellion) to rectify. Taken in its historical and cultural context, Colossus chillingly and memorably identifies and addresses those questions in dramatic fashion -- and leaves them open for further discussion, refusing to neatly package the story as if it were an intellectual snack or pop-cultural junk food. Seen with eyes from the era that predated personal and handheld computers, Colossus remains timeless. 5 stars.

Odyssey 5: The Complete Series

Odyssey 5 is Apollo 13 meets 12 Monkeys (or even Lost). I saw the first half of this 20-episode series on Sci-Fi and was very impressed. Now I'm finally working my way through the DVD set. Peter Weller is always good but the nail-down-the-timeline premise is what carries this show like a train. A space shuttle crew led by Commander Chuck Taggart (Weller) is performing a challenging satellite retrieval just before the planet Earth is catastrophically destroyed. A time- and space-traveling alien tells the crew he has found 50 other worlds similarly destroyed and offers them the chance to go back in time five years to try to stop the apparently external influences that will lead to Earth's destruction. At first, several crew members just want to seclude themselves and try to change history for their personal benefit but they finally accept their joint and dangerous mission. Who or what is behind the two code names, Bright Star and Leviathan, that seem to have led to doomsday? As the crew begins to uncover an apparent conspiracy and cover-up, alien or artificially designed supercreatures, and threads that go progressively deeper and more dangerous, their actions and inquiries affect the timeline and may even accelerate the foretold destruction. Can their actions change the future -- for the better -- and amidst so many moving targets, can they ultimately succeed? This series was Emmy nominated for its Farscape-like musical score. 4.5 stars. (3-27-08 updated 10-24-09)

Horton Hears a Who!

Horton Hears A Who is much better than prior animated fare of recent years (Chicken Little, Over the Hedge, Ice Age, even Madagascar). In fact, it bears the noteworthy imprint of trying to hew true to the Seussian textus receptus: Whoville is definitely Whoville and its inhabitants (with their iambic diction) are unmistakably recognizable as the brainchildren and godchildren of Ted Geisel. Jim Carrey (previously an over-the-top green-suited ham known as the Grinch) is remarkably restrained as the large-but-not-in-charge Horton ("An elephant's faithful, one hundred percent"). Steve Carell (previously Hammy the hyperkinetic squirrel in Over the Hedge) is remarkably restrained as the Mayor of Whoville. Carol Burnett is a triple-threat control-freak as the authoritarian kangaroo who lays down the rules so no one (esp. God forbid the children) questions the rules or thinks for themselves. Horton ("A person's a person, no matter how small") knows he must save Whoville at any cost -- which promises to involve an encounter with Will Arnett's mercenary buzzard Vlad ("I devour heem two times"). The soundtrack is wonderful and theater viewers (including myself) went gaga over the googly-eyed little yellow creature known as Katy -- or the other Vlad, a bunny who bakes cookies. So you see Horton has a coherent and cohesive story with plenty of bits of whimsy to amuse any and all. 5 stars.

Behind Enemy Lines

Behind Enemy Lines is Enemy of the State meets The Peacemaker and Enemy at the Gates. The carrier-based military action is punked, funked, and jammin' (as several reviewers who are ex-military have confirmed). Owen Wilson brings a seat-of-the-pants macho 'tude to the game as a Navy fighter-jet navigator. You needn't be prescient to guess that he gets shot down behind enemy lines: The artwork shows a plummeting jet plane, the description says he gets shot down, and the title is after all Behind Enemy Lines. He has to evade being captured or killed and hump across miles of mountainous terrain, all the while in hot pursuit by a tank division of Serb militia and one particularly tenacious (if greasy) sniper. Yes, Wilson evades fire twice while the entire hillside around his backside is being pockmarked with shells and, yes, the final scene where he runs back into harm's way to fulfill the mission is pure Hollywood; take it as entertainment rather than a documentary and chew your popcorn. This movie captures my attention and my imagination every time I see it because of the military action -- including the diplomacy that runs counter to the rescue attempts -- but also the hang-tough, hang-true camaraderie that a band of Navy and Marine soldiers share under the command of the always human Gene Hackman. I dare you to sit still during the fighter jet's evasive maneuvers! 4.5 stars.

Lost: Season 1

TV. My oldest son (not to mention everyone he knows) is hooked on Lost; he clued me in after receiving the first season on DVD for Christmas. You will be hooked from the incredibly gripping first five minutes all through the compounding complexities and mysteries that pervade the entire first season. There are a few annoying loose threads, like the swaying trees -- what is this, The Lost World? -- that are left dangling in the breeze but plenty of secrets and epiphanies (like Locke's) that will blow you away. Come experience what is truly a historic TV drama series. Oh, yeah, disc 7 is commentary only so skip it unless you're into the stuff about the show too. 5 stars.

The Thing

The Thing (1982) is Invasion of the Body Snatchers (1978) meets An American Werewolf in London (1981). Yes, The Thing captures Cold War paranoia but its hamhanded gore is inferior to the chilling viscerality of Alien (1979). Alien showed us that the special effects of The Thing and An American Werewolf were old-school -- they succeed well enough in their context, though dated. Truth to tell, I've always been put off by the guttering gristle of The Thing; the harrowing is not just horrific but horribly deficient compared to the Gigeresque alien and its face-hugging brood. The Thing will remain a classic but the Alien saga will far outlive it. 4 stars.

Mind Hunters

Mind Hunters is Basic meets House on Haunted Hill with a bit of Jason X. FBI profiler trainees are stranded overnight on an island (I know, no cell phones) and must determine who is the killer among them. I caught this on cable last night and it kept my interest with the he-said, she-said whodunnit debates and inventively gruesome deaths, naturally one by one. (Members were either offed in the presence of the team or found strung up with elaborate booby traps that led to members being offed in the presence of the team.) You won't know who it is till the last four minutes. My only complaints are the heightened jangliness of the audio every time another threat presents itself and the short screen times for Val Kilmer and Christian Slater. 3.5 stars.

Bait

Bait is a low-rent Enemy of the State. At first Jamie Foxx was annoying with too much fast-talking shuck-and-jive and jibber-jabber but he toned it down as he proved himself to be a responsible going-straight guy and hero. (Seeing any man choose to settle down and be responsible for his infant son makes him a real hero and Jamie goes even further before the end.) The villain is a John Malkovich wannabe but he's omniscient and chilling enough to do the job. Bait held my interest to the end, even on cable till 430 am. 3 stars.

Number One

A beautifully rich, continually undulating and metamorphosing, visual and aural display with aquacentric images of naked bodies, stones, and fire too. There is much to see and study here through multiple viewings to those so inclined. Less-enlightened types will occupy themselves trying to discern nipples and other body parts but to me this montage tells the story of the emotional life of a relationship. 10 min. 4.5 stars.

Please Stand Back!

Technically fascinating but artistically unsatisfying. You know the pixellation they use on the bad boys in Cops? Apply that to an urban scene, throw out all but a teasingly small selection of pixels (say, 10%), then dynamically magnify, clarify, and diminish them in a 3D-perspective mosaic. I've never seen this technique used before and it's a challenge to make out any prismatically depicted portion of a scene, however, the treatment is ultimately unfulfilling since scenes portray sidewalk and cobblestone with the occasional street sign or plot of stanchions. I'd award 5 stars for concept but 2 stars for execution. 8 min. 3.5 stars.

Dave Chappelle: For What It's Worth

TV. Dave Chappelle's voice and perspective is uniquely infectious but he is an acquired taste. He's today's leading purveyor of "motherf-----" and "b-tch" (or "bee-yotch!"). This program is pretty crass and crude (dope, gays, sex) but if you have no problem with that, you should laugh it up. I had a smirk on my face most of the time, with frequent chuckles. (I think his comic sketches are much funnier than his standup.) My favorite parts were the simple distinctions between grape juice and grape drink ("Sugar. Water. And purple.") and his socially relevant comparison between two newsworthy 15-year-olds, one white and one black. Dave knows how to address racial issues head-on but with always with incipient humor. You know he's going to be funny, even when he is being relevant. Keep it real, Dave! 3 stars.

The World Is Not Enough

I don't understand others' criticisms of The World Is Not Enough. Since when have Bond movies ever lacked for over-the-top high-tech spy gear, chase scenes, and sexy women (intelligence and acting skills not required)? So what if Denise Richards can't act? Sorry to break it to you, but in this franchise, a Bond girl is there for her alluring body and its pliable vulnerability to Bond's charms -- unless I am imagining that Bond historically beds every woman who comes within two meters of his person. Enjoy each Bond movie for what it is. Bond is about exotic locations, GQ meets MI-6, the spectacle of the chase, sexiness, and campy one-liners. Why complain about what you expect to see? I like Pierce Brosnan's Bond a great deal: urbane, aloof, unkillable, and preeminently deadly. I especially like a cold devious Bond villain and Robert Carlyle as Renard, the man who can feel no pain, made an impressive Bond baddie. Sophie Marceau played heiress Elektra King and a complex villainess. Kudos to Dame Judi Dench as M, Desmond Llewelyn as Q, and John Cleese as R. Every Bond movie is made to be big, a spectacle of spectacles. The World Is Not Enough makes me happy to see it any chance that comes up. Click my avatar to explore my list of all Bond movies. 4.5 stars.

Tomorrow Never Dies

Tomorrow Never Dies is a very good Bond movie, updated with a media mogul as global warmonger, a remote-control car, great chase scenes, a supremely sexy Bond woman in the alluring Teri Hatcher, and a kickass Chinese agent in Michelle Yeoh (who plays her counter-Bond role with panache before she joins the Bond-did-me club in the closing scenes). Bond is about exotic locations, GQ meets MI-6, the spectacle of the chase, sexiness, and campy one-liners -- and this installment has them in spades and clubs. I really like Pierce Brosnan's Bond: urbane, aloof, resourceful, unstoppable, and deadly. I especially like a devious villain and Jonathan Pryce is certainly full of himself. Every Bond movie is made to be big, to outdo itself, to be a greater spectacle than anything before. This chapter in the Bond saga never makes me regret another viewing. Click my avatar to explore my list of all Bond movies. 4.5 stars.

Dragonfly

Dragonfly kept me on the edge of my seat in the theatre and blew me away at the end. It still does so every time I watch it -- the ending viscerally moves my world. I don't understand the cynics who blow off this movie as nothing special (or worse). Maybe you need to have truly loved someone, or to have children, or to have lost someone dearly beloved to you, or to fear such a potential loss, or to have a shred of humanity in your heart. No, the movie is not perfect; one awkward moment for me is the young resuscitant's bugged-out eyes. Yet Joe (Kevin Costner) is quite believable as a highly competent medical doctor who, as head of the ER, has an overwhelming weight of responsibility on his shoulders and no time to address his grief and loss. He doesn't know how to talk about his feelings, only to blurt them out physically as he wrestles with his supernatural puzzle -- and it is driving him crazy. He is a sympathetic character who carries us with him through the mysteries he encounters -- and he will not be denied the ultimate answer. Dragonfly is a movie about the love between two soulmates who have dedicated their lives to serving others -- and, in so doing, receiving the love and appreciation of others -- yet who are separated by that great chasm called death. But is there a bridge, and has Joe's Emily (Susannah Thompson) found it? Most importantly, Dragonfly is a movie about faith. As Joe says at the end, "Faith is what gets us there." For similar offerings, click my avatar then explore my Afterlife movie list. 5 stars.

GoldenEye

Goldeneye is a very good Bond movie, harking back to Conneryesque themes and updated for primo high-tech spy gear, chase scenes, and sexy women. The criticisms never fail to confound me, however. If Goldeneye is not believable, does it then follow that Goldfinger (or any other Bond movie) *was* believable? Just enjoy each Bond movie for what it is. Bond is about exotic locations, GQ meets MI-6, the spectacle of the chase, sexiness, and campy one-liners. You get what you pay for. I really like Pierce Brosnan's Bond: urbane, aloof, unstoppable, and preeminently deadly. I especially like a cold devious villain and Sean Bean as MI-6 turncoat Alex Trevelyan can always excel at that. My God, let's not forget Famke Janssen as Xenia Onatopp (the sexpot always has a sex-pun name)! She's not only deadly but lovin' it. I think I speak for most men in saying that if we have to go, we'd pick Famke over lethal injection every time. Every Bond movie is made to be big, to outdo itself, to be a greater spectacle than ever before. Goldeneye's chase and fight scenes are always worth another viewing. Click my avatar to explore my list of all Bond movies. 4.5 stars.

Little Farm

Take only with weak tea or strong liquor! Little Farm (US, 8 min) opens with trailerpark-ish intersibling cussing then come-ons then gruesome death. The audio is thoroughly obnoxious, the visual effects are wholly amateurish, and the inscrutable ending will burst on you like a wet balloon (indeed, almost laughably so). This short really isn't worth so many words to review but I thought I'd give it a second chance. I'm sorry I did. Now I only hate it all the more. 1.5 stars.

Ask the Insects

Der Ostwind

Der Ostwind [The Eastwind] (US, 10 min, Red Baron meets Sky Captain and the World of Tomorrow, 4.5 stars). Excellent!

One Rat Short

Five animations from the US, UK, and Canada ranging in style from Sky Captain and the World of Tomorrow to Ratatouille to South Park: One Rat Short (US, 10 min, Ratatouille meets Star Wars with a superb story, animation, emotion, and music, 5 stars). So cool!

Motodrom

Six shorts from US, Germany, and Denmark that range from a kinesthetic aqueous tomb to three blasted humans to two slaughtered pets. Take just one with weak tea or strong liquor: Motodrom (Germany, 8 min, low-rent NASCAR on motorbikes, 2.5 stars).

The Tragic Story of Nling

Five animations from the US, UK, and Canada ranging in style from Sky Captain and the World of Tomorrow to Ratatouille to South Park: The Tragic Story of Nling or The Convenient Thinness of A Paper Life (Canada, 15 min, South Park in Hobotown with Squigglevision bluescreen -- actually frame-by-frame laser-printed black-and-white animation of a fallen human/donkey society taken to alcohol, 3 stars). Odd and deceptively innovative but probably not very memorable (in a good way). If indeed Nietschean, the moral of the story might be: Never kiss your @ss goodbye.

Light Work I

Six shorts from US, Germany, and Denmark that range from a kinesthetic aqueous tomb to three blasted humans to two slaughtered pets. Take just one with weak tea or strong liquor: Light Work I (US, 8 min, insipid sepia-toned die-cut processes interweave with colorful organic microcellular glibs and globs to rhythmic industrial tones, 3.5 stars).

Sophie

Six shorts from US, Germany, and Denmark that range from a kinesthetic aqueous tomb to three blasted humans to two slaughtered pets. Take just one with weak tea or strong liquor: Sophie (Denmark, 14 min, pregnant wife opens a can of worms on her husband in the strangest place, 4 stars).

In Passing

Five animations from the US, UK, and Canada ranging in style from Sky Captain and the World of Tomorrow to Ratatouille to South Park: In Passing (UK, 5 min, urban surroundings portrayed and discussed as a Terminator-like cyberorganic heads-up display, 5 stars). Excellent, however, it will probably be appreciated by 4 out of 5 college graduates but unappreciated by 4 out of 5 cosmetology school graduates.

Oiran Lyrics

I can respect this short for its Japanese cultural differences (which may grate on many Americans) but its infectious peppiness belies the serious subject matter--it's hard to be a prostitute with a pimp--and the music (voice and instruments) is consistently flat. Speaking of culture clash, imagine a soundtrack that blends the Paul Schaefer Orchestra with the Naked Brothers Band and David Bowie's A Space Oddity then plays them at cacophanous, breakneck speed and out of key. This soundtrack would be worse. 2 stars.

Infinite Delay

Six shorts from US, Germany, and Denmark that range from a kinesthetic aqueous tomb to three blasted humans to two slaughtered pets. Take just one with weak tea or strong liquor: Holding Pattern in Infinite Delay (US, 9 min, ethereal sonic/aqueous environment spells doom, 4 stars).

Songbird

Six shorts from US, Germany, and Denmark that range from a kinesthetic aqueous tomb to three blasted humans to two slaughtered pets. Take just one with weak tea or strong liquor: Songbird (US, 6 min, housewife trapped by boorish husband and dog frees her mind, gore lowers score to 4 stars).

A Bit of Fry and Laurie: Season 1

TV. These guys are hilarious! A blend of Monty Python and Kids in the Hall, Steven Fry and Hugh Laurie are literate, glib, droll, and diversely talented. (Hugh is a master pianist.) I didn't see the same hair style twice among dozens of sketches and they dress up as women too. One of my favorite recurring sketches is the incredibly polite department of national security. Their British humor is arch or possibly arcane to some; I was delighted to follow every word, however, it did get a bit taxing after watching nearly the whole disc in two stints. I didn't get some cultural references to UK personalities (from the 80s) nor could I appreciate the cryptic on-the-street bits (for example, in its entirety: "I'm not going to suck it") in between the sketches. For similar offerings, click my avatar then explore my British-Comedy list. 4.5 stars.

Avatar: The Last Airbender: Book 1

TV. Avatar is an exceptionally well-done animation with some anime-like elements but a layered, character-based story that both intrigues and delights. Every character has a back story that develops in complexity and range, sometimes turning our conceptions on their ears. You can esp. empathize with the wise teacher known as Uncle and in time even sympathize with the dark figure of the Fire Nation's Prince Zuko. The battle scenes are based on Chinese martial arts forms such as Tai Chi and are always part of the tactics of the larger battle or story line, which expands with each episode. I think it's significant that, of the 144 reviews preceding mine here, about a half-dozen did not like it (1 or 2 stars), a half-dozen liked it (3 stars), nine really liked it (4 stars), but more than ten dozen loved it -- and often the reviewers were adults who said they were captivated after watching Avatar with their children, and told their relatives about the show, who got hooked too. Don't miss this animation treat! 5 stars.

Howard the Duck

As my friend Denis here said, Howard the Duck is a love-it-or-hate-it movie. I was intrigued by the premise of a duck-with-attitude from another planet come to Earth to do something-or-other and (reportedly) get it on with Lea Thompson. Well. This. Movie. Stinks. Granted, it came from the 80s, so I can forgive a certain amount of tastelessness. However, it only weakly fulfills its premise and the production values and special effects approach garage-level if not garbage-level quality. George Lucas had his name on the screen and all I could think of as this -- thing -- rolled on and on was "This is 10 years after Star Wars debuted and this is the best they can do?" I realize the people that enjoy this film take all the trashy special effects in stride and have a hoot of a time but all I could do was wince. Jeffrey Johnson (weasely hatchet man in The Devil's Advocate) and Tim Robbins (in his worst role that I have seen and nearly the worst role ever) play scientists who have invented a space-cannon-like device they call a "spectrograph" which, of course, malfunctions, giving us every bit of this sordid plot. The ever-plucky (heh) Howard falls in with Lea Thompson, who leads an all-girl punk rock band. (Never have you seen so much teased-out hair in one place.) They nearly kiss once. The movie has a few rough words and the humor was nonexistent. (The funniest line is Howard's "If God had meant us to fly, he wouldn't have taken away our wings." Eh.) I will say I never realized Lea had such long slim gams. (They show them a lot.) I really wanted to like this movie but I just couldn't, though I give them credit for trying (for the first 20 minutes or so). Sad to say, I think the only market for this movie is the 8-18 crowd, so long as they have no sense of taste and just love a good romp -- through schlock and "Aww...!" 2.5 stars.

Eloise at the Plaza

Eloise at the Plaza is an astonishing delight. Hewing true to the book (with even a cameo and fresh art by the illustrator Hilary Knight), Eloise (Sofia Vassilieva) is simply adorable, incredibly energetic, and she pairs four couples for a finale at the debutante ball! Eloise is the highly precocious and forthright six-year-old girl who is the star of the beloved books by the likewise precocious and forthright Kay S. Thompson that have inspired two generations of women such as Linda Ellerbee. Sofia is a facile study in the cultured and outspoken whirlwind that is Eloise; every scene is spot-on-the-money. (She's better than that piker Macauley Culkin was in Home Alone.) Eloise befriends a young boy and takes him on a horse-and-carriage tour of New York City even as she "tries, tries, tries" to introduce and arrange three couples' dates at the debutante ball -- in addition to colluding to get three invitations. Naturally, her actions bring her into contact with the highest strata of society -- because she learned forthrightness from her globe-traveling mother -- and she unites two families and two couples in joy. Her pranks are hilarious, esp. the reception received by newly hired events coordinator Prunella Stickler (Christine Baranski). Jeffrey Tambor as Mr. Salomone is as perspicacious as ever esp. in his attempts to keep secrets from Eloise (which is impossible). Like her Christmas film, this Eloise movie is a paean to New York City with a script and humor that are excellent. You may find the subplot with the young boy to have a moving conclusion; I did. Some say Eloise's pranks are a bad example for children but kids know it's only a movie and, besides, any child who would imitate a prank after seeing it in a movie as lighthearted as this one has bigger concerns about the effectiveness of his parenting than learning bad behavior from a little blonde girl with a heart of gold. 5 stars. (3-9-08)

Die Another Day

Others' criticisms aside, I loved the thrilling tank chase, invisible car, etc. Since when have Bond's toys ever been realistic? Q is about pushing the technological edge and invisibility is a real-world nascent technology. Nor will I kibbitz over which Bond movie is best or worst; everyone has their own preferences, so why pigeonhole? Enjoy it for what it is. Bond is about exotic locations, GQ meets MI-6, the spectacle of the chase, sexiness, and campy one-liners. So whatsa problem with all the haters? Madonna's theme song was excellent and set the tone for an uncharacteristically dark yet contemporary opening where Bond is in prison undergoing torture. (He is nearly mortal after all.) I like Pierce Brosnan's Bond a great deal: urbane, aloof, and preeminently deadly. I especially like a cold devious Bond villain but Zao was the least impressive of all the Brosnan Bond baddies; his hissy fit really cut into his image. Halle Berry looked great but was the chilliest Bond girl ever; modern and sexy but aloof (sort of an anti-Bond). Every Bond movie is made to be big, a spectacle of spectacles. Die Another Day hits on all cylinders though weakly on the villain piston. 4.5 stars.

Star Wars: Clone Wars: Vol. 2

It's an impressive series not to be missed by anyone remotely piqued by the Star Wars mythos, however, it borders on camp when Mace Windu goes against 1,000 killbots with his bare hands. (If the Jedi could fight this fantastically, what happened to doddering Old Ben Kenobi in Star Wars: A New Hope?) Hot 'n' heavy battle scenes and dueling lightsabers, antiseptic deaths by the boatload, you know -- cartoon carnage. The voice talent is quite similar (only Anthony Daniels as C3P0 is original) and the sound effects all originate from Ben Burtt and ILM. Hoo-rah! 4 stars.

Star Wars: Clone Wars: Vol. 1

A faithful rendition of the Star Wars saga in animation, Clone Wars depicts events between Episodes II and III, that is, of Anakin in his 20s as he becomes "more powerful with the Force" (but also a mite more snippy). The cartoon-length mini-episodes present a near-constant barrage of intense lasergun and lightsaber battles with fantastic anime-like action such as Jedi knights leaping up, down, or laterally for up to a half-mile without harm. (Just suspend the laws of physics and think of it as Crouching Jedi, Hidden Sith.) Beyond the battles and special effects, the best part is the back story and some semblance of emotion from characters such as Obi-Wan and Anakin. (We all know how George Lucas likes to gloss over scriptwriting and character development to get on to the next cool creature or laser blaster.) I first caught this series on Cartoon Network and was duly impressed. I rented it from this service as soon as possible and turned my youngest son onto it. Next we had to have our own copy of the set and of course he's a huge fan. (Now can someone please tell me how to turn off a ten-year-old's Star Wars jibber-jabber? I am now learning far more about the back story and minor characters than any responsible adult has a right to know.) The Clone Wars weaponry and tactics are always surprising and inventive but the series leans too heavily on the fact that, in animation, your characters can do anything, or I'd award more than 4 stars.

Me, Eloise

Eloise is as cute and cloying (in a good way) as ever in this episode where she makes a new friend in Yuko, a Japanese violin prodigy. The two get in trouble but everything works out in the end. Sweet and endearing throughout, the show reprises the beloved characters of Nanny (Lynn Redgrave), Mr. Salamone (Tim Curry), and of course Eloise (Mary Matilyn Mouser). This episode belongs to the 6-part Eloise: The Animated Series that is available via Instant Watch on this service. For similar offerings, click my avatar and see my Animation and Eloise lists. 4.5 stars. (3-2-08)

Gilbert Gottfried: Dirty Jokes

Gilbert Gottfried delivers a solid stable of standard dirty jokes (I'd heard maybe a third) in his inimitable style with minor humorous embellishments. He also impersonates Alan King, Bill Cosby, Jerry Seinfeld, and more. Six jokes were more than edgy about bodily fluids so that the audience either groaned or hesitated to do more than chuckle nervously. He spent the last ten minutes telling the highly scatological joke ("world's dirtiest joke" is accurate) found in The Aristocrats. He kept a rictus of humor on my face till the last six minutes but ya gotta love the guy's delivery and sense of playful mischief no matter what; he doesn't slow down -- even in the credits: "Wardrobe from the back of Gilbert's closet. He liked the red shirt but ultimately decided to go with the black." 3.5 stars.

In the Line of Fire

U.S. Marshals meets Death of A President (almost). Perhaps the most extensive and authentic-looking depiction of the President's Secret Service protective detail yet. Clint Eastwood is Clint Eastwood; what more can I say? Better yet, John Malkovich is John Malkovich -- wow. Just his eyes show you how unhinged this psycho assassin is -- and then he starts talking, trying to get into Clint's head. ("Your death too, if you get too close to me.") Clint growls him down every time, fixated obsessively on his sworn duty. ("You've got a date with my fist, you wacko!") Rene Russo is a good costar for Clint, professionally and interpersonally. (She couldn't be as hot as in The Thomas Crowne Affair.) I wish some scenes had not been so contrived (for example, Clint is surrounded by press photographers with his head swimming for 2 minutes) but Clint gives us many semi-iconic scenes and some soul-searching to boot. I own this movie and I approved this review. Click my avatar then explore my President movies list. 4 stars.

Sundance Shorts 2007: Animation

Five animations from the US, UK, and Canada ranging in style from Sky Captain and the World of Tomorrow to Ratatouille to South Park: Ask the Insects (US, 8 min, graphically processed biometrics show poetry in motion to the accompaniment of poetry celebrating biodiversity, 4 stars), Der Ostwind [The Eastwind] (US, 10 min, Red Baron meets Sky Captain and the World of Tomorrow, 4.5 stars), In Passing (UK, 5 min, urban surroundings portrayed and discussed as a Terminator-like cyberorganic heads-up display, 5 stars), One Rat Short (US, 10 min, Ratatouille meets Star Wars with a superb story, animation, emotion, and music, 5 stars), and The Tragic Story of Nling or The Convenient Thinness of A Paper Life (Canada, 15 min, South Park in Hobotown with Squigglevision bluescreen -- actually frame-by-frame laser-printed black-and-white animation of a fallen human/donkey society taken to alcohol, 3 stars). Overall 4 stars.

Sundance Shorts 2007: On the Edge

Six shorts from US, Germany, and Denmark that range from a kinesthetic aqueous tomb to three blasted humans to two slaughtered pets. Take just two with weak tea or strong liquor: Holding Pattern in Infinite Delay (US, 9 min, ethereal sonic/aqueous environment spells doom, 4 stars), Light Work I (US, 8 min, insipid sepia-toned die-cut processes interweave with colorful organic microcellular glibs and globs to rhythmic industrial tones, 3.5 stars), Little Farm (US, 8 min, intersibling rivalry starts with F words before it gets hot and then dead, 1.5 stars), Motodrom (Germany, 8 min, low-rent NASCAR on motorbikes, 2.5 stars), Songbird (US, 6 min, housewife trapped by boorish husband and dog frees her mind, gore lowers score to 4 stars), Sophie (Denmark, 14 min, pregnant wife opens a can of worms on her husband in the strangest place, 4 stars). Overall 3 stars. Infinite Delay is cryptic if beautiful while Light Work is cryptic if industrial -- both can benefit from repeated viewings. Little Farm is so gross you'll not need to see it again. Motodrom is a one-timer too. Songbird has a good story arc, cartoonishly (and grotesquely) conveyed. Sophie is the most authentically emotional though the ending is unclear. Overall 3 stars.

The Rambler

To a Neil Young-type soundtrack, a guitar-toting drifter hitchhikes into a hellish situation. I never would have gotten into the car, and it only gets worse -- before it gets even worse. Omigod, do not watch this on a full stomach. Seriously, I am warning you, if you do watch this, be ready to get so sick you may puke. Low-budget, cryptic, riveting, but GROSS. 13 min. 3 stars.

Farewell Packets of Ten

Because our two leading ladies are not going to win a modeling or singing competition any time soon yet they interact so amiably, this film short (3 min) could probably be turned into a good reverse-psychology antismoking propaganda spot. 4 stars.

I Love Sarah Jane

This postapocalyptic zombie-pandemic vision of suburbia might put you off shucking a lobster, crabs, or oysters for a while. Jimbo's still in the mood for love though. F words. 15 min. 4.5 stars.

By Modern Measure

The understated French (and subtitled) charm of Amelie meets the pop-culture dopiness of Napoleon Dynamite as if we were watching a nature documentary of two American teens: "While genocide and sectarian violence continued in this and that foreign country, the young couple ate Ho-Ho's and vacuously discussed their mutual love of Taco Bell." Indicting and satiric. 6 min. 5 stars. (updated 8-17-08)

The Funeral

A young woman plans and rehearses her funeral almost as thoroughly as if it were her wedding. Mordantly (not morbidly) funny. 9 min. 4.5 stars.

A Relationship in Four Days

There's not a lick of humor here -- just a suggestion of smug banter as they propose a game called verbal polo -- and barely a moment when the male and female leads aren't smoking like chimneys. She's pretty and smart; he's lazy and full of himself; how quickly they fall for each other is a puzzle (other than a desire for someone to control). Failing to find humor, the only meaning I could divine in this film short is a possible interpretation of his statuette. 26 min. 4 stars.

FCU: Fact Checkers Unit

CSI meets Just Shoot Me. Hilarious -- the two leads more than Bill Murray in fact! A little over the top but the associate editor looks so typical and the music is great. 9 min. 5 stars.

Sick Sex

She's sick, he wants sex. Funny in the wry sense of the all-too-transparent machinations a man will go through to try to get off but not ha-ha funny. A few anatomical and F words. Nothing happens but it might leave you a bit "steamed." 12 min. 3.5 stars.

Ignite

Hyperkinetic time-lapse videography of the California wildfires amplifies their vicious threat and deadliness but I found this short (3 min) to be too hurried, repetitive, and obnoxious to think of it easily as art. 2.5 stars.

Spider

Holy crap! This film short (9 min) made me jump twice in shock! The boyfriend was such a jerk too. What kind of guy lets his girl pump the gas, throws flowers and chocolate at a relationship problem to make it go away, and then buys a fake spider to get back at her anyway? You won't forget this short, it really packs a punch. 4.5 stars.

Nikamowin

This excellent if experimental Canadian short (11 min) is a tightly produced compilation of mind-bending, pulsing video imagery melded to a hip-hop-like vocal stream of sound-sampled speech in Cree. It conveys an energetic visual and aural texture that is undeniably art, though inscrutably less than self-evident. 4 stars.

Untitled #1

What the hell was that? Fufu Rufu the dog masquerades as a buffalo and, in the worst bluescreen work I have ever seen, is calqued on top of 1950s-grade (and I mean 16-mm-quality) videographic (it would insult lexicons everywhere to use the term cinematographic) imagery. At least it's only 4 min in length. 1.5 stars.

Motion Studies: Inertia

A well enough done but very understated (and short) film short about a nerdy approach to a nerdy subject. At 2 min total, the short itself is barely as long as its intro credits, but it should give you a chuckle or a wheeze. 3 stars.

The Apology Line

Lonely cityscapes and cathartic voyeurism accompanies authentically stoic, tearful, or plaintive calls to an anonymous apology line. Effective and occasionally moving. 10 min. 3.5 stars.

The Mark

Man, this is bad. It is truly the worst thing I have ever seen. Frenetically shot, badly acted, intentionally sloppy and unfocused scenes on scratchy film -- they had to be working very hard to reek this much. The only good thing is that it's over in 4 min. 1 star.

Avatar: The Last Airbender: Book 2

TV. The best animation appeals to adults as much as or more than children and Avatar certainly does that. For overall quality, I'd say Avatar is the best animation on the tube, hands down. Avatar presents traditional Chinese philosophies with a bit of pop humor but always displays excellent artwork, writing, and voice talent. Characters have motives and (gradually revealed) histories as they try to live up to their destinies as airbending (or waterbending or earthbending or firebending) disciples, training to become masters. Virtues are portrayed as positive examples while evil motives and actions are portrayed as negative paragons. Aang, of course, acts like a kid but is gaining in confidence and discipline as he trains against a deadline to become the Avatar. Sokka is always good for a laugh. Katara is the glue that holds the trio together. Prince Zuko only gets more complex and multidimensional. Uncle Iroh is a fount of wisdom and rootedness. Azula would be a hottie if she weren't so evil. 5 stars.

The Touch of the Master's Hand

Human lives are like the mastercrafted violin, long disregarded and nearly sold for a penny on the dollar beneath their true worth, once touched and restored "by the touch of the master's hand." The classic story by Myra Brooks Welch (published by the Foursquare Gospel Brethren) is set to video with a beautiful violin arrangement. For similar offerings, click my avatar and explore my Evangelical movie list. 3.5 stars.

La Femme Nikita: Season 5

TV. For psychological and tactical drama in a world that has terrorists, La Femme Nikita is an order of magnitude smarter and tauter than 24 has ever been. No matter what anyone -- superior or peer -- said or did within Section or outside, as a covert operative you never knew if it would prove terminal to your career because of the densely layered psychological manipulation and political maneuvering. It was not even clear at times whether Nikita or Michael truly loved each other or were merely following orders. As Nikita learned to outgame her superior and then his superior, and then to uncover (and begin to share power with) who was really in charge of Section, things continued to get interesting. No one can ever replace Alberta Watson as Madeleine, however, or Eugene Robert Glaser as Operations, or Roy Dupuis as Michael. This is, I continue to think, the best television series I have ever seen. It made counterterrorism operations highly realistic -- unlike what we see in 24 or, for that matter, D.C. 5 stars.

Prayers for Little Children

This is the best of Jennifer Naimo's Little Children series, establishing a warm and firm foundation in prayer and faith for little children. It's sort of a Blue's Clues for Catholic (and, I think, Episcopal) kiddos. (The prayers and songs are both traditional and contemporary; the Pope is merely mentioned twice; and one snippet discusses Our Lady of Lourdes.) This program is designed for the mindset of children aged 8 and under, feels personal and intimate, and is very well done. (I personally find it very moving and wish I had had a program like this for my own children as well as my own parents.) Thank you, Jennifer and friends! For similar offerings, click my avatar and explore my Catholic movie list. 5 stars.

The Gift of the Magi

Everyone's acting in this low-budget production is wooden but Rosemary Deleonardis as the grandmother has a lovely voice and generally saves the day as she narrates the story. At 19 minutes, it's a small investment of time but you would be just as well served by reading this literate and romantic story aloud to your loved one. For similar offerings, click my avatar and explore my Christmas movie list. 3 stars.

Elf

I was concerned that Elf might be a bit dopey (passing gas jokes, etc.), given that it's Will Ferrell, but he really came through on the innocent Christmas elf angle and I was pleasantly surprised by the whimsical tone sustained by much of the movie. Bob Newman is wonderfully disarming as Will Ferrell's foster father and Zooey Deschanel is understated as his platonic love interest. Elf is Big meets Santa Claus Is Comin' to Town and maintains a childlike sense of wonder even in the big grownup world of New York City. (Even though Will was disgusting with his spaghetti-and-syrup trick, he gamely dives into it and stays completely in his character throughout the show. James Caan is his newfound curmudgeon of a birthfather who has a sudden change of heart just in time for the wrapup.) No, it's not a movie solely for adults, but if you are in touch with your inner child, you should find some laughs. Charming and a budding classic -- not greater than the Santa Clause movies but definitely better than Emmet Otter's Jug-band Christmas. For similar offerings, click my avatar and explore my Christmas movie list. 3.5 stars.

Fantastic Four

Don't believe the naysayers (who cancel themselves out anyway). This is a sufficiently well-produced movie to make for a fun viewing. It's better than Hulk and Ghost Rider, with the feel of Spider-Man 3 and Lost in Space. Now I didn't grow up collecting and reading every Fantastic Four comic book in existence -- I had a life. And while it's valid to complain that Ben Grimm's lips are wrong or his head isn't square enough -- who cares? Some reviewers kibbitz that there's insufficient exposition of how our superheroes came to be while some say there's too much. (Is this possibly because it involves science, which requires thinking?) Some say Reed Richards is a romantic idiot with Susan Storm so he couldn't be a genius. (Geeks generally get an F in dating. The movie makes it clear he's "the dumbest genius around" and has issues with self-esteem so all he does is work.) Johnny Storm as the full-of-himself ladies' man is the one to watch -- he brings a sense of adventure to whatever life brings and he brings the team together in the end, all on the premise of "this is who we are" instead of rejecting their superpowers, which would have meant defeat for the whole world. Victor von Doom (say it with a straight face) is the most resource-rich villain yet -- he has more toys than Bruce Wayne! Jessica Alba is alluring in her suit, yada yada, but I don't see why she has to go invisible and remove her clothes in public when the men have to walk through the crowd anyway. Michael Chiklis as Ben Grimm conveys emotion and pathos better than Sandman in Spider-Man 3. Ioan Gruffudd does fine as the self-retiring genius (but please don't make him reach for toilet paper as a sight gag again). I honestly didn't think Jessica Alba could act but she passed off a verisimilitude, you know? Chris Evans as Johnny Storm is the most developed character in the movie -- even if he is shallow, he's true to himself, and ultimately to the team. 4 stars.

Ladyhawke

I have greatly enjoyed this movie ever since I first saw it in the theater; I own a copy today. I think it was my introduction to Matthew Broderick (assuming I saw War Games in a college arthouse rerun) because I was impressed with his character as Phillipe "the Mouse" Gaston, an escaped thief who talks simply and directly to God about his troubles. Phillipe is saved from recapture by the stern but gallant Navarre (Rutger Hauer), ex-Captain of the Guard, loyal to the king but likewise pursued by soldiers of the villainous Bishop of Aquila (John Wood). The power-mad cleric has cast a spell on Navarre and his beloved Isabeau d'Anjou (Michelle Pfeiffer) so that they can never simultaneously be together in human form -- if the bishop can't have her, no one can (goes the logic) -- so Navarre is a wolf by night, Isabeau is a hawk by day. The scenery of vast swards and sweeping skies is memorable even as the story of cursed lovers who cannot touch is moving. (Pfeiffer was also considered the It girl of the day.) Father Imperius the Monk (Leo McKern) is a growling friar who assists the trio to confront the bishop in his medieval church lair. Some fault the production for its synthesizer-based soundtrack, which does seem wimpy and dated, though quaintly so. (Mike Oldfield's Tubular Bells soundtrack for The Killing Fields is much more visceral and timeless by comparison.) Ladyhawke shows a lot of influence on films like The Princess Bride and A Knight's Tale. It remains a classic in its genre and should be seen (and shared) by anyone with a romantic bone in his or her body. 4 stars.

Dugong

Australia, 18 min, a long-lost brother shows up with a quiet surprise for his kid brother's wedding, 4 stars. (Not originally available for instant viewing. See my separate review of the entire disc.)

Man

US, 16 min, a teen girl makes a rendezvous with an Internet horndog but her sister "has her back" in unusual ways, 4 stars. (Not originally available for instant viewing. See my separate review of the entire disc.)

The Sound of People

Ireland, 8 min, an intensely personal examination of death, 5 stars. (Not originally available for instant viewing. See my separate review of the entire disc.)

The Second Line

US, 20 min, two Katrina survivors find day labor for another FEMA camper that goes awry, 3.5 stars. (Not originally available for instant viewing. See my separate review for the entire disc.)

Madame Tutli-Putli

A captivating tale of a tatty marionette on a creepy train ride, 5 stars. Memorable in a technical way even if it may be hard to understand. (See my separate review of the entire disc.)

Crossbow

Australia, 15 min, neglected son of emotionally unavailable parents seeks an exit, 4.5 stars. (See my separate review of the entire disc.)

Cherries

UK, 15 min, Homeland Security reaches into a racially tense private boys' school, 3.5 stars. (See my separate review of the entire disc.)

Scoring

If you don't mind rolling closeups of lips, teeth, and tongues kissing, Scoring is a mildly erotic paean to the simple (if it were only that) act of kissing. An Irish paraplegic describes how two-hour kisses work for him -- and the visuals are poetry in motion. Sensual! IW, 3 min. See the other Sundance shorts on my Shorts IW list. 4 stars. (1/31/08 updated 8/29/08)

Chonto

An autobiographical mockumentary about a pop musician gone to seed and his adventure gone awry with an ape named Chonto, 4.5 stars. Way cool! (See my separate review of the entire disc.)

I Have Seen the Future

Three kids taunt a father and son playing tennis to the son's Zenlike reflections, 4.5 stars. Authentic. (See my separate review of the entire disc.)

August 15th

I don't want to give away what happens, but crimes are committed on a mountain-road bus in China, and two lovers part ways. August 15th is based on a true story and, wow, it really makes you think hard about what you would do in a similar situation. You may not easily forget the crux of this narrative or the looks on the lovers' faces. IW, 22 min. See the other Sundance shorts on my Shorts IW list. 4 stars. (1/31/08 updated 8/29/08)

Wind, Ten Years Old

Iran, 23 min, girl attends Islamic school with anti-Western aspirations, 4.5 stars. Captivating. (See my separate review of the entire disc.)

The Execution of Solomon Harris

A chilling vignette of a state execution gone awry -- what's a warden to do when the electrocuted prisoner doesn't die? Chilling! IW, 8 min. See the other Sundance shorts on my Shorts IW list. 4.5 stars. (1/31/08 updated 8-17-08)

The Loss of a Wrestling Match

The Loss of a Wrestling Match shows us the water-rationing, training, and discipline it takes to be an undefeated high-school wrestler -- and the meaty, high-energy match that mars the Utah small-town youth's perfect record. Gripping! IW, 11 min. See the other Sundance shorts on my Shorts IW list. 4 stars. (1/31/08 updated 8/29/08)

Paradise

A lyrically creative CGI ecosystem, 4.5 stars. Eye candy. (See my separate review of the entire disc.)

Smile

Canada, 18 min, Chinese emigrant family prepares for a portrait, 4.5 stars. Charming. (See my separate review of the entire disc.)

Teat Beat of Sex

Like a poetry slam set to idiosyncratic animation with a turntablism soundtrack, Teat Beat of Sex is one woman's explicit musings on sex and intimacy. I could appreciate the ribaldry of the animation mixed with a whimsical transformation of metaphors that made the candor feel less kinky. The voice of French narrator Signe Baumane also felt authentic and spontaneous. Three one-minute episodes are rapidfire, candid, and quite funny -- if you're comfortable enough with frank sex talk to connect with the humor. IW, 4 min. See the other Sundance shorts on my Shorts IW list. 4 stars. (1/31/08 updated 8/29/08)

The Deep

US, 7 min, Brazil meets Pi, 5 stars. Impressive. (See my separate review of the entire disc.)

Gas Zappers

Gas Zappers is clearly for the Adult Swim generation not the Bush neocon crowd. It employs South Park-style arcade-videogame graphics and animation to combat gas-guzzling SUVs, George Bush, petroimperialism, and global warming in general. You will probably love the story arc and finale if you are a Democrat or Green party person, a believer in alternative energy technologies, or a treehugger. Don't watch it is you're a Bushie, work in the petroleum industry, or have no sense of humor. IW, 6 min. See the other Sundance shorts on my Shorts IW list. 5 stars. (1/31/08 updated 8/29/08)

On the Assassination of the President

US, 6 min, high-tech forensic briefing is unsealed, 5 stars. Impressive. (See my separate review of the entire disc.)

Lloyd Neck

US, 16 min, two teen boyfriends hang out with kid sister tagging along, 2 stars. Diffuse and not to my taste. (See my separate review of the entire disc.)

Because Washington Is Hollywood for Ugly People

South Park meets JibJab as a writhing melange of grafted images blends the Bush administration and presidential candidates plus Saddam, Osama, and Jesus with dancing women, weapons, poo, and more in an antiwar message that remained cryptic even after two viewings, 4.5 stars. (See my separate review of the entire disc.)

The Librarian: Quest for the Spear

The Librarian: Quest for the Spear (2004) is basically A Night at the Museum (2006) and National Treasure (2004) meet Indiana Jones 1 (1981) and 3 (1989). The Librarian is a tongue-in-cheek, clever, camp-ridden romp with made-for-TV action, special effects, and editing. Noah Wyle does a fine job as the scrappy, cute, brainy geek who gets hired as the current caretaker of the world's most important library. Bob Newhart does his usual schtick with grand aplomb as Librarian Emeritus and Noah's guiding mentor. (Don't miss Bob's whoopass fight scenes at the end.) Jane Curtin is also a stitch as Bob's starchy second-in-command. The star of the show, however, is Sonya Walger as Noah's Lara Croft-style bodyguard. She's hot (in a made-for-TV sort of way)! Adults who have lost touch with their inner child will gripe about the production values of this movie and it's true: The plot, editing, and special effects are so slapdash sometimes that this is arguably more of a family film than action-adventure or fantasy. On the plus side, it doesn't take itself too seriously so you don't have to either. It is full of little surprises esp. droll tongue-in-cheek touches and dialog. Noah continues to hope for a way to win her heart, kidding about jungle sleeping arrangements and being put off, since Sonya is after all a professional (who was nominated for a Saturn award for this role). Near the end they find a rapprochement and, while nothing is shown but a disheveled bedroom, that may be too much for some families and little innocents. On the other hand, Olympia Dukakis is Noah's doting mother who is pleased that a woman has finally answered her son's phone. I leave you now with three words: Droll. Tongue-in-cheek. Funny! For similar offerings, click my avatar and explore my Librarian movie list. 4.5 stars.

The History of America

The History of America (Silverado meets Heavy Metal in a wry mockumentary on the founding of America, with known history turned on its ear, after a cowboy/astronaut war fought in rotoscopic mayhem, 4.5 stars).

Napoleon Dynamite

Napoleon Dynamite is American Women (The Closer You Get) meets Lost in Translation -- in high school -- in Idaho. Jon Heder in his debut role perfectly pegs the character of Napoleon Dynamite, a gawky dweeb of furrowed facial expressions, galling narcissism, appalling lack of social skills, and a trademark swoop-and-scurry of shame. Efren Ramirez is his new classmate Pedro, a stereotypical Mexican whose vacant expressions outpan Napoleon's. They silently form a fortuitous alliance. Aaron Ruell is Napoleon's worthless brother Kip and Jon Gries is their has-been uncle Rico. Their social setting is as spare and dreary as you would imagine for any rural town in Idaho. (Every girl on the cheerleading squad appears to be genuinely, let's say, homespun, though Tina Majorino as Deb and Haylie Duff as Summer evince an inner potential each in their way.) Shondrella Avery plays Lafawnduh, Kip's Internet "soulmate." (Be sure to keep watching after the closing credits.) There isn't much of a plot or acting (unless feigning catatonia is an Oscar category) but what people love about this movie is how well the cast members (esp. Napoleon and Pedro) embody the everyman who is a nobody. Yes, we may all have known a dweeb like Napoleon while serving our time in secondary education. The fans' affection is born of more than just the humor of recognition, however. This movie conveys a sympathy for these characters, who soldier on and succeed despite every indication that their lives will never amount to anything. That's what viewers respond to and love. So don't be a sip-and-snip wine snob of a viewer, expecting to critique this movie based on the same rationale that applies to every art film you've seen and judged previously. Like Napoleon, take a big swig of the orange juice with a raw egg stirred in it, shudder and force it down. You'll find that it stirs up a visceral side that you may have forgotten. 4 stars.

Jim Gaffigan: Beyond the Pale

Only twice did I almost crack a smile. [2/26/08 However, I've found since watching that his "peanuts gallery" voice is hard to forget and grows on me. Probably a second viewing would be funnier!] Gaffigan's jokes -- diffuse more than subversive -- never touch home and playing his own hecklers gives him too much credit. First he mutters quietly as if that's funny; claims he's Korean as if that's funny; says he dated a panda as if that's funny; claims to have a stomach implant as if that's funny; and so on. Lots of talk about food as if it's pornographic -- except Hot Pockets as if they're scatological. Gaffigan is mildly painful to watch. The righteous heckler theme almost began to make sense by the end because in the last four minutes, he compares Catholic church services to waiting in line at the DMV, prefers to sin at Mass, makes irreverent cracks about Christ and Mary, has Joseph swearing, compares heaven to a gated community, and (with his last words) implies that Moses smoked pot. Blech! This is not (as some claim) a family-friendly show. Gaffigan frequently talks about porn, sex, and more. 2 stars.

Leonard Part 6

I know Leonard Part 6 ("The first five parts have been classified for reasons of national security") is famously panned but I laughed my head off when I saw it (sober) on video 20 years ago. Yes, it's dumb -- but dumb done smart (not dumb-squared). Under-the-shoulder rocket launchers. "Grape me!" Meat patties that sear. "The Latin. Do the Latin"! I won't try to defend it; if you hate it, you hate it. But if you want really bad special effects, acting, and vegan villains, Leonard's your man -- with his butler. 4 stars.

Arthur Gets Spooked

TV. Three Arthur episodes on the theme of scary things teach kids the value of finding the courage to go against the flow: The Scare Your Pants Off Club (Arthur and his schoolmates love the SYPO book series so much they fight a parental book ban that turns out to be misinformed), Friday the 13th (the Brain tries to debunk superstition and briefly reconsiders whether bad luck is real), and The Boy Who Cried Comet (beginning with a Rod Serling homage called The Buster Zone, space-alien-crazy Buster discovers a real comet). Now A Word From Us Kids takes a field trip to the Ladd Observatory. These episodes contain the situational inventiveness that's common to Arthur programs but the comet episode adds a couple extra twists, including a shaggy alien ending. For similar offerings, click my avatar and explore my Arthur-PBS show list. 4 stars.

The Red Balloon / White Mane

As (I think) the first movie I ever saw at age 6 (that I have not seen again till now), The Red Balloon is a nostalgic treat and a timeless tale of childlike joy and hope. The huge red balloon is a true symbol of a child's deepest and purest joy, and how this balloon becomes magically devoted to the little boy is whimsical and endearing. The ending is sad before it is (ahem) uplifting but this is a movie every child should see in a respectful setting (maybe at the library but not as an apertif to Spongebob please). Because our pint-sized Parisian protagonist is no Joel Haley Osment, 4 stars. White Mane is the story of a wild, spirited white stallion in the dry/marshy flatlands of France and the boy who tames him. It's slow (so be patient) but progresses through its paces, though to an indeterminate ending (sad by implication but hopeful in fairytale words). Because a vicious (uncut, real) horse fight occupies five minutes, 3 stars. Children younger than 6 may be bothered by the tragic elements and fail to grasp the symbolism in both films but these two cinematic milestones should not be missed. Overall: 3.5 stars. For similar offerings, click my avatar and explore my Waif movie list.

America's Most Haunted Inns

Documentary. The Jeff Corwin Experience comes to ghost-haunting excursions. A blonde medium ambles through New England inns of haunted repute, affectionately addressing "spirits" by name and calling them beautiful. While she seems sincere, she offers no context for her bemused conversations, so she comes off as either cryptically authentic or slightly crackers. I gave the film makers the benefit of the doubt for sincerity and integrity, but the lack of explanation for any of their "evidence" indicates they are only playing to willing converts who want to believe in ghosts without authentic reason to do so. (They claim to present proof but neglect or fail to do so.) What video camera and still camera are these that capture dozens of "spirit" globules floating in mid-air, and where can I get one of each? Doesn't the photographer's constant camera flashing scare the spirits or wash out the dust motes? (Exactly how was PhotoShop put to use anyway?) Some of those "spirits" look like cigarette smoke -- and while we assume he doesn't smoke while on the prowl inside the historical inns (though some guests with ghost stories were), we witness him smoking while approaching a "spirit" in the alleged most gripping scene at the end. Skepticism works in two ways: The producers have to present their "documentary" in as objective a manner as possible and work to explain away every appearance of subjectivity. (Integrity cannot be assumed, it must be demonstrated.) Similarly, the inn owners as subjects have to participate objectively; only one former owner did. I'm not saying the photos captured spirits or dust motes, though the latter certainly sounds more plausible. And that is the third way that skepticism works: Occam's razor says that all things being equal, the simpler answer tends to be the correct one. This movie wasn't laughable but it sure wasn't believable -- except to those the producers chose to interview. 3 stars.

Arthur's Tasty Treats

TV. Three Arthur episodes on the theme of making dessert help teach children the value of creative collaboration: Buster's Sweet Success (Buster, the world's worst salesman, needs a way to sell his chocolate bars before he eats them or the band may play like paupers for the next year), Dad's Dessert Dilemma (Arthur leans on his father's catering business to supply the school with cake and sweets), and How the Cookie Crumbles (will rich-girl Muffy choose cookie-baking success over the friends whose recipe she's using?). Now A Word From Us Kids shows blind students in the kitchen learning how to bake cookies. You can never tire of the Ziggy Marley theme song, "Hey, what a wonderful kind of day, you can learn to work and play, and get along with each other." For similar offerings, click my avatar and explore my Arthur-PBS show list. 4 stars.

Arthur's Great Summer

TV. Three Arthur episodes that are slightly less inspired than usual address "what I did on summer vacation": Arthur Goes to Camp (Arthur and the gang learn the value of teamwork and strategy during a scavenger hunt), The Shore Thing (Arthur and friends debate the appeal of the new Aqualand vs. the defunct Marineworld but experience the thrills of "Ocean Zone"), and The Short Quick Summer (Arthur fears he wasted his summer before realizing all of the adventures he had by reading books). During the Now A Word fom Us Kids segment, schoolchildren draw pictures of their summer suitcases' contents ("...a portable TV...") and write letters about teamwork to Arthur. This disc bares moments of the usual creativity but isn't slathered with them. For similar offerings, click my avatar and explore my Arthur-PBS show list. 3.5 stars.

A Sing-a-Long for Little Children

A fairly peppy and fun collection of songs for Catholic children teaching prayers to Jesus, intercessions to Mary, and celebrations of Christ's sacrificial love for his Church. It even has some cute outtakes (see the glove-chomping donkey)! The music is mainly '90s vintage electric piano with kids chorale but with some updates. Jeniffer Naimo has a sweet and fluid voice and Bernie Choiniere adriotly leads two songs. Tunes include Our Father, Oh My Sweet Angel, Hail Mary (calypso beat), Joy to the World (Black gospel beat), We Are the Church (rocky with a rappy end), Faith Hope and Love (showtuney), Rise and Shine, Divine Mercy, That's A Sacrifice, Jesus Christ Is Ris'n Today, and Memorare (Remember O Most Gracious Virgin Mary). There's song and dance, children's art, inclusiveness of the disabled, and more. See if you can spot Bob the Sheep. 27 minutes. 3.5 stars. For similar offerings, click my avatar and explore my Catholic movie list.

Arthur's School of Hard Knocks

TV. Three Arthur episodes with a theme of rational thought and discipline show how Arthur and his friends (and kid sister D.W.) can grow up (and smarter) by making the right decisions: Arthur vs. the Very Mean Crossing Guard (Arthur and Brain think D.W. can be gullible but learn they're not immune either), Buster Makes the Grade (Buster is allergic to studying but finally steps up to the plate when he risks repeating third grade), and D.W. All Fired Up (D.W. shies away from school during fire safety week but learns to take charge of her fears). As my ten-year-old son said, Arthur always has a positive message to teach children -- not (he added) like Billy, Mandy, and the Grim Reaper! For similar offerings, click my avatar and explore my Arthur-PBS show list. 4 stars.

Arthur: Parents Are from Pluto

TV. Three episodes centered on parental angst lead Arthur and the other children to appreciate their parents for who they are: Kids Are From Earth, Parents Are From Pluto (Arthur and his classmates experience embarrassment over the impressions their parents will make at their school's annual Parents' Open House), My Dad, The Garbage Man (Francine is embarrassed to have her classmates take a field trip to learn about her father's work as a sanitary engineer -- but his enthusiasm teaches them it's cool to be green), and Mom and Dad Have a Great Big Fight (Arthur and D.W. stress out over the potential scenarios of family breakup after their parents argue over spilled milk). The third episode is more creative (and cathartic) than usual, and you never grow tired of Ziggy Marley's theme song! For similar offerings, click my avatar and explore my Arthur-PBS show list. 4 stars.

Sundance Shorts 2008: Animation

Available only as instant viewing on this service, this collection of eight animated short films is impressive in its inventiveness and originality: [1] Because Washington Is Hollywood for Ugly People (South Park meets JibJab as a writhing melange of grafted images blends the Bush administration and presidential candidates plus Saddam, Osama, and Jesus with dancing women, weapons, poo, and more in an antiwar message that remained cryptic even after two viewings, 4.5 stars), [2] Chonto (an autobiographical mockumentary about a pop musician gone to seed and his adventure gone awry with an ape named Chonto, 4.5 stars), [3] Gas Zappers (South Park meets a fight-global-warming video game, 5 stars), [4] I Have Seen the Future (three kids taunt a father and son playing tennis to the son's Zenlike reflections, 4.5 stars), [5] Madame Tutli-Putli (a captivating tale of a tatty marionette on a creepy train ride, 5 stars), [6] Paradise (a lyrically creative CGI ecosystem, 4.5 stars), [7] Teat Beat of Sex (one woman's musings on sex and morality, 4 stars), and [8] The History of America (Silverado meets Heavy Metal in a wry mockumentary on the founding of America, with known history turned on its ear, after a cowboy/astronaut war fought in rotoscopic mayhem, 4.5 stars), overall 4.5 stars.

I Love This Movie!

TV. Available only for instant viewing, I Love This Movie! is a series of two-minute capsule presentations on 26 movie classics from the 1930s to the 1980s. I don't know who picked the movies but the selection (from classic to neonoir to postmodern adolescent) and presentation (pop glam with popcorn and a couch cushion) seem geared to teens: Abbott and Costello Meet Frankenstein, Airport, All Quiet on the Western Front, American Graffiti, The Andromeda Strain, The Birds, The Breakfast Club, The Bride of Frankenstein, Cape Fear, Dead Men Don't Wear Plaid, Double Indemnity, Dracula, Duck Soup, Earthquake, For Whom the Bell Tolls, Harvey, Imitation of Life, The Jerk, MacArthur, Marnie, Monty Python's The Meaning of Life, Psycho, Rumble Fish, Slap Shot, The Sugarland Express, and Vertigo. The script, talent, editing, and production are all quite tight -- you could set your watch by the trivia question and answer snippets. Despite others' gripes, the hosts do a fine job (though they are absent from IMDB and, apparently, all of Google). At 2 minutes each, these movie capsules are like snacking on popcorn and better than a trailer. I'd never heard of Marnie before and I've also made plans to see Slap Shot and The Sugarland Express. 3 stars.

Unsolved History: Inside Hitler's Bunker

Documentary. The most comprehensive analysis of Hitler's bunker's construction and his last days yet, if still unsatisfyingly vague and inconclusive on key details. A sonar and lidar survey of the largely sealed site of Hitler's final bunker -- now covered by a parking lot -- enabled a digital reconstruction of the entire complex, frequently with the aid of testimony from two surviving staff members (a driver and a courier). This program presents the deepest penetration I have yet seen of the bunker's secrets and Hitler's last days, though what is not known is still big enough to fill the bunker. 4 stars.

Unsolved History: JFK: Death in Dealey Plaza

Documentary. This program impressed me as an exceptional effort since it digitally and seamlessly united all known video and photo evidence of the JFK motorcade, repeatedly played (walked us) through what happened with commentary, and then discussed (analyzed) the testimony in that light. Replication of Oswald's marksmanship under measured conditions showed he that could have squeezed off three precise shots in eight seconds. The grassy knoll and other issues are extensively debated, yielding (as I recall) doubt and no firm conclusion. I caught this on TV as my first JFK documentary and it seemed quite diligent and thorough, without a whiff of wild-eyed conclusion jumping. 4 stars.

It's the Great Pumpkin, Charlie Brown

TV. A holiday-defining classic that is simply not to be missed, full of funny original bits (Snoopy vs. Red Baron, Great Pumpkin, "I got a rock"). I pity the adult or child who does not "get" and love this show. (The need to teach character in the midst of adversity does not go away because society has become politically correct.) Some complain that the characters' challenges are ominous and depressing while others complain that the name-calling ("Blockhead," "Stupid") only encouraged the same in their children. Charles Schultz had a keen and abiding sense of what is human, including our deepest emotional and spiritual yearnings, and this show presupposes that its viewers are familiar with the milk of human kindness. (A child who starts acting like a brat was predisposed to do so -- or not predisposed not to do so. Don't blame the show, train the child.) The point is to empathize with poor put-upon Charlie Brown, Snoopy, and Linus -- not the bullies -- because to think bullies no longer exist in modern days is a greater fantasy than Snoopy's heroic delusions. 5 stars.

Robbie the Reindeer in Hooves of Fire and the Legend of the Lost Tribe

TV. Robbie the Reindeer is Wallace & Gromit meets Rex the Runt with reindeers. It's hilariously inventive in characters and ripostes (comebacks) without being cliched in the least. As one running gag, Robbie is Santa's new navigator and the son of the most famous reindeer named R--- (no one is allowed to say his name, presumably for copyright reasons). Santa wears Coke-bottle glasses -- though he also likes stylin' and bling -- and his wife and infant child sport identical beards. Robbie must save the day amidst two evil plots hatched by the nefarious Blitzen, assisted first by gnomish elves and then Vikings. For those with young innocents to protect, Donner is a strong female and Robbie's eventual love interest while Vixen is a female who is mildly suggested as naughty and Blitzen apparently gets blitzed at a campfire. The doughnut mouths are cute and evocative of Davey & Goliath stopmotion animation. The voice talent (Ben Stiller, James Woods, James Belushi, Jerry Stiller, Hugh Grant, Jeff Goldblum, Britney Spears and many more) is simply great! I can't say enough about how funny the pratfalls and prattle are in this show -- I love it! For similar offerings, click my avatar and explore my Christmas movie list. 5 stars.

Fairly Oddparents: Channel Chasers

TV. Fairly Oddparents is absolutely one of my favorite kids' cartoon shows. It's witty and fast-paced with action and dialog that even adults can enjoy on multiple viewings. Channel Chasers adds spice to the usual manic silliness (Wanda: "Cosmo, you're an idiot!" Cosmo: "Yeah, but I'm your idiot!") by spoofing about two-dozen popular TV shows. I love parodies and, while brief, the spoofs in Channel Chasers never cease to amuse. Catch this show yourself and see pilloried versions of The Jetsons, Terminator, Scooby Doo, Peanuts, Speed Racer, Tom & Jerry, The Simpsons, Blue's Clues, Batman, Sesame Street, Pokemon, Dragonball Z, Rudolph the Red-Nosed Reindeer, and more. Timmy has to use time travel to stop the evil babysitter Vicky, who has become a future global dictator. Twists, turns, and plenty of Matrix- and ninja-style action. For similar offerings, click my avatar and explore my Animation movie list. 5 stars.

Lourdes: Pilgrimage and Healing

Documentary. Lourdes: Pilgrimage and Healing is a basic documentary about Bernadette of Lourdes and the Marian shrine at Lourdes. Catholics will be gently moved by seeing the rivers of pilgrims in procession -- millions attend this best-known Marian shrine annually, according to the film and Wikipedia -- but hearing dozens of pilgrims speak about their spiritual experiences may produce the greatest impression to anyone with a listening ear. As one pilgrim said, assisting and identifying with the sick and infirm is itself a spiritual healing. This film is low-key and feels dated but its straightforward message moved me to begin to learn more. For similar offerings, click my avatar and explore my Catholic movie list. 3 stars.

Wallace & Gromit in Three Amazing Adventures

Wallace & Gromit in Three Amazing Adventures is Nick Park's earliest and arguably his best work. The subtle expressions and gestures of all the characters are spot-on -- from cheese-loving window-washing inventor Wallace and his right-hand dog Gromit to the chicken-burglar penguin and Shaun the sheep and all the accompanying characters. If you love impossibly contrived Rube Goldberg-type contraptions, Keystone Cops-style chase scenes, British silliness, and physical humor, stop right here and watch the whimsy of The Wrong Trousers (Wallace's robotic trousers are hijacked by a nefarious penguin), A Grand Day Out (our duo takes a ship to the moon in search of cheese), and A Close Shave (sheep rustlers frame Gromit but get foiled in the end). For extras, don't miss the 10 minishorts called Cracking Contraptions -- my favorite is the Snoozotron! Chicken Run and Curse of the Were-Rabbit are grander productions with more going on, but for comically genius stopmotion animation these Three Amazing Adventures are my favorites. For similar offerings, click my avatar and explore my Animation and British-Comedy movie lists. 5 stars.

Dr. Katz: Professional Therapist: Season 1

TV. Dr. Katz has a lowkey, professional demeanor that helps him deal with his therapy patients, sullen redhead receptionist, and slacker adult son. His patients are actually standup and improvisational comedians, so the timing and patter of the dialog is perfect. This show is so funny! It's as melancholy as but funnier than The Critic and about as funny as Family Guy if less antic. This is the crew that also created Brendan Small's Home Movies, which has a similar comic feel. I like Squigglevision just fine. (I'm also enthused about Home Movies and A Scanner Darkly.) I suppose I should only give Dr. Katz five stars if the dialog goes snap-crackle-pop but I think it's near genius just with a gentler pace. For similar offerings, click my avatar and explore my Animation movie list. 5 stars.

Linnea in Monet's Garden

Linnea in Monet's Garden is a deliberately, artfully drawn animation about a young girl named Linnea and her elderly neighbor, Mr. Bloom, who share an appreciation for fine art, esp. the paintings of Monet. Together they examine an art book of Monet prints -- which the program reproduces for the closer study of the viewer -- and then travel to visit the garden that Monet created and painted so voluminously. Actual photos of Monet in his garden then and the garden itself now are woven into the pair's art adventure and solid information is imparted to help more deeply appreciate Monet's work -- including closeups and discussion of his brush-stroke technique. The program conveys Monet the artist's connectedness with nature; at one point, as Linnea achieves her dream and stands on Monet's Japanese bridge, gazing at the skies reflected in the water, she murmurs, "It's never been more 'now' than right now." Any child can appreciate this story, forthrightly drawn and told, as can any adult who loves art. For similar offerings, click my avatar and explore my Animation movie list. 4 stars.

How Can I Celebrate Advent?

How Can I Celebrate Advent? is a well-done, chatty, and child-friendly explanation of the Advent wreath -- its purpose, its parts, and its scriptural basis. Kids should enjoy the puppet characters Beth and Digger even if adults may be amused by how fast their heads bounce as their mouths open so wide. The voice talent and script is fairly smooth even if the tone is a bit rah-rah ("So, God is love, huh? Wow, I'll have to remember that!" "Yeah, you've got the idea!" -- not an actual quote). The producer is connected to the Catholic Glenmary organization but I didn't notice any denominational bias so this film can be used by any family that wants to use a scriptural symbol of light and hope in their homes during the pre-Christmas season. For similar offerings, click my avatar and explore my Catholic movie list. 3 stars.

How Can I Celebrate Halloween?

How Can I Celebrate Halloween? is a cute and cogent discussion about Halloween as the Christian holiday Hallow(ed) E(v)en(ing) to help kids accept the fun of the holiday and discount its scary themes as well as fundamentalist fearmongering about the devil, evil spirits, etc. Since every society has seasonal festivals, pagans needn't snipe "we had Samhain first"; this film in fact credits Halloween's origins as such (though not by name) and is perfectly entitled to focus on how the Church celebrates in its own way (All Saints' Eve). Even though the widemouth puppets remind me of Pac-Man or the baby in South Park (and the boy sounds like Cartman), their discussion is very clear, educational, and witty. Their conversations are interwoven with illustrated scenes from the Bible about God's protection and Christ's salvation and a very catchy pumpkin song. For children aged 4-8, this film should aptly serve families or Sunday school classrooms where Halloween is seen with rainbow colors instead of only black and white. For similar offerings, click my avatar and explore my Catholic movie list. 3 stars.

The Go-Go's: Live in Central Park

Music. The Go-Go's rock! The girls have fun on stage, play a steady stream of their hits, and show how they appreciate their audience. The video is good but the audio could have been better; Belinda's vocals lacked fidelity. Belinda has the lowest energy quotient of all the band but she slinks her way through every performance. (She is not even 50! At least, until August 17, 2008. For an insight into how two decades can mature a rocker, a guy fan called out "Belinda! I love you!" and she replied "Really? You don't even know me" and chuckled.) The Go-Go's are infectiously fun and still the only girl band (all playing their own instruments) with a #1 album on the charts. Talented pioneers in the '80s with better chops than ever, the Go-Go's have still got it! (And remember: Strong, sexy, rockin' girls are supposed to sweat!) 3 stars.

Merle Haggard: Live at Billy Bob's Texas

Music. Classic country music icon Merle Haggard plays for (he guesses) his 60th time at Billy Bob's Texas in Fort Worth, "the world's largest honky-tonk" saloon, seating more than 6,000. If you love this man and his music -- and here's hoping you do -- give this concert a listen. Merle, may you keep on pickin'! 3 stars.

Stephen's Test of Faith

Stephen's Test of Faith is for evangelical children aged 12 or so whose parents want to begin to discuss with them how to grow in courage for their witness to Christ and the Bible -- to not back down. The staging and acting is so-so but the sets and costumes are pretty good for an ultra-low-budget production. (It's not The Hiding Place.) Daniel Kumatz gets credit as the young leading man whose classmates ridicule him after he makes a touching presentation about his grandfather's WWII Bible. He then has a series of dreams about St. Stephen, John Wycliffe, and other Christians being persecuted throughout the ages -- some of the scenes probably too intense with implication for children under age 10. There is what could be construed by Catholics as a shot at the pre-Reformation hierarchy, which did in fact oppose and persecute those who translated the Bible into English. The message of the inspirational song at the end is that persecution brings joy in the morning. This movie could use some polish -- though it seems suitable for family or Sunday school class discussion -- so for technical reasons I give it 2.5 stars. For similar offerings, click my avatar and explore my Evangelical movie list.

Christmas Do-Over

Christmas Do-Over is Meet the Parents meets Groundhog Day. It is not a Groundhog Day clone because that movie required Bill Murray to keep perfecting the one day until he got it right; in this movie, Jay Mohr doesn't know in which direction he has to go or if he will ever be able to escape. At first, he's a cynical, self-absorbed 35-year-old adolescent who's intent on ruining Christmas for everyone -- esp. once he realizes there's no escape from his predicament. Next he tries dozens of variants in several different directions; the permutations never fail to amuse. Only when he turns the tables on the situation, works to gain every advantage, and does more than mouth the right words but actually becomes the person he used to be for his son and ex-wife can he begin to have hope -- and even then nothing is certain. Every member of the family does a great job in their roles; you really grow familiar with their personalities over time. (Ruta Lee as Granny is a character as well as a septuagenarian dish while Daphne Zuniga as Kevin's ex-wife Jill is kindhearted and genuine. I enjoyed how Kevin eventually steals the initiative from Todd -- he is so devious!) Based on my personal experience, I would not say this movie is insensitive or unrealistic regarding divorced families (other than encapsulating a story of Christmas magic in a very tight Hollywood timeline). Warning: The tumult of one scenario involves a tussle with sullen neighbors dressed as Jesus, Mary, and Joseph. Christmas Do-Over is hilariously entertaining as well as heartwarming. I really enjoyed it and would be happy to watch it every year from now on. For similar offerings, click my avatar and explore my Christmas movie list. 4 stars.

The Chances of the World Changing

Documentary. From the cover art and description, I thought this story would be a green person's paradise. Instead of terrariums, however, we get tubs. Richard Ogust has given up his writing career and turned his Manhattan apartment into a warehouse full of opaque plastic tubs housing 1,600 turtles. While he has altruistically taken it upon himself to preserve numerous endangered turtle species, he is burning out by doing all the work himself -- and as inefficiently as possible, lugging and dumping individual tubs and snipping greens by hand! Much is made of a farm property he intends to take over to found a turtle research institute but these plans fall through as do all of his fundraising efforts. To save the three-hour daily commute, he takes to camping outside temporary storage space in New Jersey. (No mention is made of whether he has electricity and water for self or turtles.) He looks tense and intense and he admits to being depressed on a daily basis. The photography is washed-out and lackluster and the focus of this film is on his personal dilemma rather than the turtles. I gave up after watching one-third of this dull, defeatist treatise on a depressed terrapin collector who seems to have had none of the expected and beneficial qualifications that could have averted the ultimate failure of his self-appointed mission. 2 stars.

Jesus: The Complete Story

Avery Brooks is narrator in another documentary that attempts to debunk the biblical and other historical evidence of the life and ministry of Jesus by paying attention disproportionately to unorthodox and "schismatic" writings. Therefore I have no need to see this attempt to do the same.

Blood Simple

Frances McDormand makes her debut (as in Fargo, always with a dead-on local accent) and Emmet Walsh steals the show as the crafty good-old-boy private dick/gunsel/slimeball in the Coen brothers' first film. The story and scenery should grab you and not let you go till it's over with plenty of plot twists and double-crosses for everyone. 4.5 stars.

Sundance Shorts 2008: Drama

Shorts. August 15th (China, 22 min, crimes are committed on a mountain-road bus, 4 stars), Cherries (UK, 15 min, Homeland Security reaches into a racially tense private boys' school, 3.5 stars), Crossbow (Australia, 15 min, neglected son of emotionally unavailable parents seeks an exit, 4.5 stars), Dugong (Australia, 18 min, a long-lost brother shows up with a quiet surprise for his kid brother's wedding, 4 stars), Lloyd Neck (US, 16 min, two teen boyfriends hang out with kid sister tagging along, 2 stars), Man (US, 16 min, a teen girl makes a rendezvous with an Internet horndog but her sister "has her back" in unusual ways, 4 stars), On the Assassination of the President (US, 6 min, high-tech forensic briefing is unsealed, 5 stars), Pariah (US, 27 min, lesbians visit a strip club, 1 star) [viewed only 3 min], Scoring (Ireland, 3 min, paraplegic narrates closeups of kissing, 4 stars), Smile (Canada, 18 min, Chinese emigrant family prepares for a portrait, 4.5 stars), Soft [instant viewing not available], The Deep (US, 7 min, Brazil meets Pi, 5 stars), The Execution of Solomon Harris (US, 6 min, state execution goes awry, 4.5 stars), The Loss of a Wrestling Match (US, 9 min, undefeated high-school wrestler loses a match, 3 stars), The Second Line (US, 20 min, two Katrina survivors find day labor for another FEMA camper that goes awry, 3.5 stars), The Sound of People (Ireland, 8 min, an intensely personal examination of death, 5 stars), Wind Ten Years Old (Iran, 23 min, girl attends Islamic school with anti-Western aspirations, 4.5 stars). Overall 4 stars.

The Scent of Green Papaya

The Scent of Green Papaya is Girl With a Pearl Earring meets Babette's Feast but in 1950s Saigon. It's a sensory feast that presents each sight and sound as if it were new, with little dialog to get in the way. I can still hear the crackle of the split papaya's flesh. See it also if you (like Mui) appreciate lizards, frogs, and crickets and living in harmony with nature. Man San Lu and Tran Nu Yen-Khe play the servant girl Mui at ages 10 (in 1951) and 20 (in 1961). The family's mother treats Mui well because her own mother does nothing but mourn the loss of a granddaughter who also would have been 10. The youngest boy (about 5) finds ways to torment Mui but she remains faithful to her duties and at peace with her life and the world around her. (If you wonder why his parents didn't spank him, please remember that they are Buddhists.) Half the joy of this movie is to see how life was lived in a 1950s Saigon neighborhood. The open walls and windows, the flora and fauna, the rains, the music, the prayers, and all the daily routines -- we see all the sights and hear all the sounds. (We have to imagine the feel of the papaya flesh and its seeds within.) The minimal dialog is culturally true; I love the scene where Mui displays variations of the facial expressions of a supplicant or servant for several minutes. Time here is not what it is in urban America, thank the Maker. Life is rooted and fully human, each moment lived with purpose and intent -- almost languorously -- and beauty, because even in uncertainty, even in sorrow, the prepared soul can find beauty and peace. This is cinema -- unpretentious and authentically human. It may change you profoundly. Incidentally, this service hasn't stocked it in months so I acquired it through my public library interbranch request system. 5 stars.

The Net

The Net is the quintessentially clueless, impossibly premised computer-technology movie. It's worse than Sneakers, and would be worse than War Games if hadn't tried so hard. Sandra Bullock is attractive and can fake looking smart -- and even act on occasion -- but everything the script has her doing betrays any intelligence the premise claims her character would have. The fact is, Hollywood people just don't grasp technology; they don't have a clue. (And why should they? They have people for that.) And it wouldn't be so bad except that it seems like they are incapable of wanting to even try to understand technology -- but they insist on writing scripts about killer computers and killer viruses and whatever other trendy nouns gone amok they may run across. Computers in movies are like guitars in cartoons: Only once in my life have I ever seen either one portrayed accurately. In fact, as editor of a computer magazine at the time, I attended the Macworld convention where the closing scenes were filmed; I missed seeing Ms. Bullock, but I was told her words gave the impression that she had just seen her first computer. I think it's great that she got to play an Eraser-like role (minus Ahnuld's macho histrionics) and I wish her all success in her career but there's not much that can be done with this limp paper towel of a script. It's a fun popcorn movie if you have a wide capacity for the suspension of disbelief but I would watch Air Force One again -- or Firewall -- before this one. 2.5 stars.

The Curse of the Jade Scorpion

Woody Allen has a lock on playing the nattering nebbish who attracts alluring women -- so people should stop complaining that they don't find him to be a credible romantic interest in his movies. It's his schtick to be neurotic, nerdy, and antic -- and if Henry Kissinger can attract Jill St. John in real life, why can't Woody Allen attract Helen Hunt in his own movie? Speaking of the movie, The Curse of the Jade Scorpion isn't jaded just formulaic. The story lurches through its paces. Allen, as an old-school seat-of-the-pants insurance investigator in 1940, clashes with Helen Hunt as the newly hired efficiency expert. Their chemistry could clearly use more fire but the best dialog in the film is the parting shots between these two in scene after scene (in the droll manner of "Don't let the door hit your backside on the way out and cause spinal damage"). Allen also bandies some trademark one-liners with Charlise Theron's sultry siren ("You like athletic men? Because I could maybe fit in a pushup or two before you come over"). As a movie, Jade is fun but wooden. Woody has done better. Intellectually, I recognized the wittiness of Allen's patter but emotionally, I never laughed as with his earlier work, though I nearly chuckled once. Helen Hunt showed more spunk in As Good As It Gets and at one point looks downright haggard. Jade is such a pale homage to The Thin Man that I long for Myrna Loy and William Powell. Its period jazz soundtrack is a delight but I thought Night in a Persian Market was overused as a theme. 3 stars.

In the Arms of Angels

Short. This 13-minute film made a good choice for free instant viewing, however, I didn't realize till afterward that it's a Mormon testimony from ldsfilms.com. Now I wonder if every one of the 55 two-sentence reviews are from Mormons packing the ballot box (not that that would be wrong). Nevertheless, I was moved from the beautiful opening scenes and the hymn "Come Thou Font of Blessing" played throughout this short film. It's a true story set in 1885 and the extras in the film are played by descendents of Ms. Richards. The crucial "miraculous" moment is very vaguely described and clearly a matter of personal and communal belief -- amazing only if you accept it on faith: you believe it because you are predisposed to do so. Also known as A Pioneer Miracle, this film is an inspiring story about heartfelt prayer, angelic intervention, and children of God learning obedience to their heavenly and earthly fathers. 4 stars.

SpongeBob SquarePants: Atlantis SquarePantis

TV. Never have such high-quality production values (animation, color palette, music, storyline, audio, voice talent, quirkiness) been made to serve such mindless dopiness (dreck). It was on TV and my son loves the show so I had no choice. OK, I've seen it; don't sue me, esp. if I try to warn you from it. If you're a Spongebob fan, there's nothing I can say to dissuade you (short of a rolled-up newspaper). It is better than an average Spongebob episode and worse than the movie (although it spares us The Goofy Goober song by throwing in a space aliens subplot). Let me put it this way: If you love Spongebob, it goes without saying you'll love this. It also goes without saying there's little medical science can do for your appreciation of what constitutes fine art. On the other hand, if you can stay away, just do so. You'll thank me. It's true they underused David Bowie and the music was no great shakes but at least there was no Goofy Goober song (which was great but goobery). 4 stars for Spongebobiness and 2 stars for intelligence required for a net 3 stars.

Walking with Dinosaurs: Bonus Material

Documentary. This making-of feature is more interesting than the Walking with Dinosaurs episode itself, from the technical perspective of how dinosaurs did everything to how the producers recreated same (anatomy, construction, locomotion, fighting, feeding, sex, giving birth) in addition to humor (human/dinosaur interaction in between segments). Don't miss this bonus disc (clearly titled as Bonus Material and described as presenting a making-of-the- documentary documentary as opposed to the documentary itself -- to those who read listings anyway). It's very informative, illustrative, and (esp. to children, I'm sure) exciting! 4 stars.

King of the Hill: Season 3

[Review 2 of 2] TV. King of the Hill has the most consistent and consistently funny family storyline on the tube. Its low-key humor is at least as funny as The Simpsons and Family Guy and funnier than American Dad but with less of the dysfunction and edgy bits that are offensive to those who believe in "family values." The Hill family is, in fact, as authentically American and patriotic as apple pie; Hank, Peggy, and Bobby have their foibles, but they form a stable core and a foil for the dysfunctions of others (chiefly neighbors Dale, Bill, Boomhauer, Khan, and Hank's father Cotton). Disc 1: Death of a Propane Salesman: Propane Boom 2 (after the Mega Lo Mart explosion, Hank discovers he fears propane), And They Call It Bobby Love (Bobby falls for an older girl who breaks his heart), Peggy's Headache (Peggy learns the truth about Nancy's headache treatments from John Redcorn), Pregnant Paws (Hank seems to care more about breeding his hound Ladybird than impregnating Peggy), Next of Shin (Hank's father tries to abandon a pregnant Didi). Disc 2: A-Firefighting We Will Go (Reno 911! has nothing on these volunteer firefighters), To Spank With Love (Peggy gets assertive with a discipline problem as a substitute schoolteacher), Three Coaches and a Bobby (Hank brings back his old football coach as Bobby defects to the soccer team), De-Khanstructing Henry (Hank causes a competitive Khan to lose his job). Disc 3: Love Hurts And So Does Art (a Dallas art exhibit invades Hank's medical privacy as Bobby gets gout from an addiction to rich deli food), Hank's Cowboy Movie (Hank hopes to attract the Cowboys' training camp from Wichita Falls to Arlen), Dog Dale Afternoon (Dale aggravates Hank with a new riding mower), Revenge of the Lutefisk (Bobby burns down the church at a holiday dinner). [Note: This season includes 25 episodes on three double-sided discs; this review covers all episodes on side 2.] Also see my Animation list. 5 stars.

King of the Hill: Season 2

TV. Humor as dry and Texan as you can find on the tube. Almost every line has a subtle barb on Texan attitudes about guns, football, childrearing, the workplace, the schools, emotions, etc. Disc 1: How to Fire a Rifle Without Really Trying (Bobby and Hank enter a father/son shooting competition), Texas City Twister (Hank sends Luann back to the trailer park), The Arrowhead (academics excavate Hank's front yard), Hilloween (Hank puts on a haunted house to fundamentalist vilification), Jumpin' Crack Bass (Hank seeks custom fish bait but mistakenly buys crack), Husky Bobby (Bobby becomes a husky size model). Disc 2: The Man Who Shot Cane Skretteburg (teens cap Hank & Co. in several paintball raids till they finally win), The Son That Got Away (Bobby and friends explore a cave and get lost), Bobby Slam (Bobby takes up wrestling), The Unbearable Lightness of Laying (Hank sees his mother in bed with her new Jewish lover), Meet the Manger Babies (Luann forces Hank to choose between her church puppet show and his Super Bowl party). Disc 3: Snow Job (Hank learns his propane sales boss has an electric stove), I Remember Mono (Peggy learns how Hank really got mono in high school), Three Days of the Khando (Hank, Dale, and Khan get stuck south of the border), Traffic Jam (Chris Rock picks on Hank in a comedy defensive driving class), Hank's Dirty Laundry (Hank must exonerate his name after Arlen Video claims he rented a porn tape). Disc 4: The Final Shinsult (Hank's war-hero father steals Gen. Santa Ana's false leg), Leanne's Saga (Luann's mama gets out of prison and raises hell), Junkie Business (Hank hires a drug abuser rather than a qualified Hispanic woman), Life in the Fast Lane: Bobby's Saga (Bobby sells sodas at the racetrack and nearly gets killed), Peggy's Turtle Song (Peggy becomes a full-time mom and writes a song that confuses the feminists), Propane Boom: Part I (Hank, laid off, hires on at Mega Lo Mart until it is leveled by a propane blast). 4.5 stars.

Spider-Man: Bonus Material

Bonus. If you love Spider-Man, of course you want to see this companion disc of bonus materials. It's packed full of relevant and substantive details and shows more than the usual creativity. So what if there are no deleted scenes? 4 stars.

A Century of Science Fiction: "Sexy Sci-Fi"

Documentary. Bookended by a stilted Christopher Lee against a backdrop of seriously outdated special effects, this 25-minute production ranges extensively in touching on more than 55 "science fiction" movies from the 1920s to the 1980s that continue the tradition of pulp magazines by their inclusion of "scantily clad women for no particular reason but the obvious." 3.5 stars.

A Century of Science Fiction: "Artificial Intelligence"

Documentary. Hosted by a stilted Christopher Lee against a backdrop of seriously outdated special effects, this production does a barely adequate job of glossing over the "artificial intelligence" themes of nearly two-dozen "science fiction" movies from the 1950s to the 1980s, from Demon Seed to Weird Science to Futureworld to Terminal Man to The Last Starfighter and more. 3 stars.

Visit to the Sepulcher

Music. A beautifully sung, authentically staged production of the 12th-century medieval resurrection play Visit to the Sepulcher (Visitatio Sepulchri) at the Abbey St. Benoit de Fleury in the Loire Valley of France, the original and traditional site of its presentation. This is the 1979 reenactment, performed by the Washington Cathedral choristers, not the remastered 2002 version. For similar offerings, click my avatar and explore my Catholic movie list. 4 stars.

Let's Go to Mass

Let's Go to Mass is a blend of slightly dated (vintage) as well as timeless objects, images, music, and rituals presented in aural and visual vignettes designed to acclimate children aged 0-5 to attending Catholic Mass. The visuals are mostly rich and colorful, esp. the floral arrangements. The music is mostly beautiful hymns played on a grand piano or a spinet, however, one-third of the accompaniment was on an upright piano and more tinnily played than any adult accompanist I've ever known in a Catholic liturgy. Catherine Hicks speaks for 5 minutes at the end about how parents may use the program as a support to introduce their children to creating a habit of attending Mass and having a relationship with God. Think of this program as Teletubbies on the cheap -- with one angel puppet that bobs almost as much as a bobblehead against a black backdrop -- and most useful through repeat viewing and a springboard for teaching moments. This disc is from the Paulists and thus very Catholic -- it sure isn't (say) Episcopal -- it's just not doctrinal because the target age is children aged 0-5, including preverbal infants. For similar offerings, click my avatar and explore my Catholic movie list. 3 stars.

Nativity: The Art and Spirit of the Creche

Documentary. Nativity: The Art and Spirit of the Creche is a beautiful presentation of dozens of folk-art and artisan-crafted nativity sets from numerous lands with a detailed historical and cultural discussion of why Christianity values the creche scene so much. After the cross, it is the most recognizable symbol of the coming of Jesus Christ; the standalone nativity scene (separate from architectural embellishment) greatly grew in popularity with its introduction by St. Francis of Assisi; it depicts the Holy Family as the exemplar of familial love, devotion, and piety; it depicts the rich and the poor alike who are called to witness the event; and (as one of a half-dozen priests and creche experts commented) children can relate to the Christ Child, esp. knowing that "this is a child their parents have to obey." Exquisite classical music accompanies the documentarians' discussions. The presentation is only 27 minutes but it is packed with more cultural artifacts and historical perspective than I have ever seen in less than half an hour. For similar offerings, click my avatar and explore my Catholic and Christmas lists. 4.5 stars.

Arthur: It's Only Rock & Roll

TV. The Backstreet Boys' vocal collaboration suffuses this single 50-minute special episode of Arthur with original music from Francine and her rockin' band of school musicians. It should remain a popular disc to kids (even after 2007) as it addresses the fame of superstardom and the value of remaining true to one's roots (as Francine's group sings, "the music is all I need"). The Boys were modeled and drawn as animal characters in the Arthur world (as two bunnies and three bears) and their vocal performances are fluid and intimate. Bonus materials include four brief making-of segments, including the in-studio video of the Backstreet Boys performing the Arthur theme song. Fun, more mature, and impressive for an Arthur production. For similar offerings, click my avatar and explore my Arthur-PBS show list. 4.5 stars.

The Quiet Man

The Quiet Man is a true classic romance (and Irish slice-o'-life) movie with plenty of social and romantic tension, drama and whimsy (bein' Irish an' all). They just don't make 'em like this anymore! John Wayne plays his trademark taciturn manly-man though with a visible vulnerability: A financially independent American bachelor, he has come to Ireland to buy his childhood home in Innisfree (paying a multiple of the asking price), apparently to take an early retirement -- and to put something painful in his past behind him. He promptly spies Maureen O'Hara as the fiery redheaded sister of his bachelor neighbor, a surly blockjawed cuss of a man played by Victor McLagen, and decides then and there that he will marry her as soon as possible. (First, of course, he must court her, as they sit on opposite sides of the surrey, with Barry Fitzgerald as the quintessential Irishman, Michaleen Oge Flynn, between them as matchmaker and chaperone, advising, "No pattyfingers, if you please. The proprieties at all times.") Red, as her brother is known, will have none of it, however, and he does everything in his power to block the lovers and to ruin their love. Even with the townsfolk's loving collusion and many a festive musical interlude, Wayne's dark secret eventually comes out as he realizes he has no choice but to face his fear and to fight the man for the honor of his woman. (He does not fear fighting, but winning.) The final scenes shift gears to become a maudlin romp. O'Hara's fiesty interaction with Wayne is half the fun of the movie; the broguish rogues’ shenanigans the rest. Theirs is a rich human community of sympathy, compassion, and collaboration (Red notwithstanding). Passion, mischief, and a special relationship are evident between the chaste lovers, and the movie rarely misses a chance for a spot of wry Irish humor. (My favorite scene is when the minister spies the bed after the wedding night, jumps to a conclusion, and remarks, "Impetuous! Homeric!") 4.5 stars.

Arthur Saves the Day

TV. Three Arthur episodes about courage and competitiveness come off largely as fun and whimsical as usual: Buster Baxter, Cat Saver (after he circumstantially saves a cat, the town's praise goes to Buster's head until his friends change his tune, with a twist), D.W. All Wet (D.W. conquers her octopus phobia), and The Big Blow-Up (a playground tiff escalates between Francine and the Brain until Arthur and Buster decide to "write" what's wrong). For similar offerings, click my avatar and explore my Arthur-PBS show list. 3.5 stars.

Tom Holland: Total Body Workout

Exercise. A refreshingly solid cardio and strength-building workout in four (roughly) quarter-hour segments. Tom Holland is about work and results (no puffery) and the music doesn't get in the way (aggravate). Finally, a workout disc *by* a manly man *for* manly men (no Richard Simmons)! It's so good I got my own copy. 3.5 stars.

Dr. Seuss: The Grinch Grinches The Cat in the Hat

Delightful animation and writing -- as would be expected from vintage 1950s Seussian sources. The Grinch tries to steal all the joy of a beautiful day but the Cat in the Hat appeals to his good side. (You have to see it to learn the details.) Since this service does not currently stock this disc, I saw the show on videotape without the Hoober-Bloob episode. Later I acquired the disc, also from the public library, and similarly enjoyed the half-hour Hoober-Bloob tale. (It's a whimsical rococo prenatal preview of a child's life on Earth.) I give Grinch 3.5 stars and Hoober-Bloob 2.5 stars for an overall 3 stars. (12/30/07 updated 7/10/08)

Arthur's Best Friend

TV. Arthur's Best Friends is even more imaginative and heartwarming in matters of childhood whimsy than usual. All three episodes are full of mini-scenarios depicting the imagination of Arthur, D.W., Buster, and friends: D.W.'s Deer Friend (D.W. gets to see and learns how not to scare away a deer she named Walter), Arthur's Faraway Friend (Arthur and Buster begin writing their own swashbuckling adventures and continue while Buster travels the world with his dad for the summer), and Buster's Back (Arthur is worried Buster will have become so worldwise that he won't want to play checkers anymore). One scene pays homage to Star Wars and the Fantastic Four as Arthur imagines Buster landing vertically in a space shuttle with hydraulic landing gear. In short, solid (if simple to the eye) animation, voice talent, and family dynamics integrate well throughout each story. For similar offerings, click my avatar and explore my Arthur-PBS show list. 4.5 stars.

Arthur's Baby

TV. Baby Kate is as cute as a bug in two episodes that overlap somewhat (Arthur's Baby and D.W.'s Baby) where Kate's older siblings come to terms with caring for their youngest sister. Arthur also learns to take the upper hand in his first babysitting gig with the out-of-control Tibble twins. Every disc contains an And Now From Us Kids segment; here, children engagingly talk about new arrivals and helping care for younger siblings in their families -- notice the initial wobbly camera angles that mimic a child's nervous sway at the news of a new sib. For similar offerings, click my avatar and explore my Arthur-PBS show list. 4 stars.

Arthur's Teacher Trouble

TV. The first and title episode of this disc, Arthur's Teacher Trouble, is one of the most popular, probably because of its inventive depictions of grade-school student/teacher angst. (Mr. Ratburn is rumored to be a tough teacher, so Arthur's third-grade friends sweat a bit until they learn from "the Rat" himself.) Arthur's Spelling Trubble shows Arthur doing a good job preparing for and participating in the school spelling bee. Arthur Plays the Blues (also included on the Arthur's Musical Medley disc) shows Arthur learning a bit more about preparation and performance discipline. For similar offerings, click my avatar and explore my Arthur-PBS show list. 4 stars.

Arthur's Best School Days

TV. This disc's three episodes (Arthur and the Square Dance, Team Trouble, and Buster Hits the Books) are slightly less imaginative and authentically humorous than usual, however, Square Dance entertainingly posits the question of whether Francine likes Arthur (and vice versa) and Buster Hits the Books amusingly spoofs Willy Wonka and the Seussian corpus. Notice how Mr. Ratburn's slide projector strobes realistically. For similar offerings, click my avatar and explore my Arthur-PBS show list. 3.5 stars.

Arthur Writes a Story

TV. Three Arthur episodes centered on the theme of reading and writing play with the perspective of just how much imagination may be safely allowed: Arthur Writes A Story (Arthur learns to omit fantastic embellishments in his school report), Locked in the Library! (Francine's not talking to Arthur but she'd better start when the two get locked in the library), and I'd Rather Read It Myself (D.W. can't read but, using only a book, she holds the Tibble twins with rapt attention). For similar offerings, click my avatar and explore my Arthur-PBS show list. 3.5 stars.

Breasts: A Documentary

Documentary. This movie humanized a part of women's bodies that so many people objectify and sexualize, and it did so with warmth, candor, and humor -- enlightening anyone who wants to see breasts as their owners see them: the pluses and minuses before coming to peace with them. Reminiscent of the closing scene in Real Women Have Curves, we see human beings who happen to be women instead of women who happen to be human beings. 3.5 stars.

Glory to God Alone: The Life of J.S. Bach

Documentary. A good program for an elementary or a Sunday school class (or any curious adult) about Bach and his deeply human and spiritual influence on the whole of Western classical music. It covers the dates, places, and persons of influence in his musical career -- he was an expert organ player and builder at age 17 -- and provides professionally recorded excerpts of numerous Bach compositions as well as glimpses of original Bach musical manuscripts while Harvard professor Christopher Wolff and classical guitarist Christopher Parkening explain the "layering" and complexity of Bach's music. Produced as a Mosaic "video magazine" episode by the Evangelical Lutheran Church in America but with no denominational territoriality at all. For similar offerings, click my avatar and explore my Evangelical list. 3.5 stars.

Eloise in Hollywood

More endearing and inventive than the average Eloise episode. Eloise has an adventure in Hollywood, where she is a natural (in the good sense) and plays well with a new cast of persons. Yet she misses her life in the Plaza so she extricates herself to return to her beloved home. A strong 4 stars. For similar offerings, click my avatar then explore my Animation list. (1-3-08)

Wallace & Gromit: The Curse of the Were-Rabbit

Everyone loves Wallace & Gromit. The Curse of the Were-Rabbit is a thoroughly inventive, affectionate, G-rated romp full of caroming confrontations with things that go bump in the night. Cheeseloving Wallace's Rube Goldberg inventions, his faithful canine assistant Gromit's silently suffering facial expressions, and Lady Tottington's mincing are an absolute stitch. I love the rabbits' playful glee even when suspended inside the Bunvac 5000. (Think of a tent-sized Dyson vacuum for bunnies.) You'll need to see this movie more than once to catch all the claymation details. Don't miss the deleted scenes and many other extras about Ardman Productions, including the claymation short Stage Fright (a cowardly vaudeville dog trainer and his female associate overcome a bullying silent movie producer). For similar offerings, click my avatar then explore my Animation and Stopmotion lists. 4.5 stars. (12-30-07 updated 4-18-09)

VeggieTales: Gideon: Tuba Warrior

Animation as cute and tunes as catchy (and kitschy) as you would expect from the VeggieTales people. The first story is about George Mueller of Bristol, England, who founded many orphanages on the principle that he totally trusted God's providence for everything and never asked anyone for anything. Next, the Pirates Who Don't Do Anything decide to try doing something, followed by a silly song and the story of Gideon (as only VeggieTales can slice and dice a Bible story). Funny enough to be worth watching a second time if you are an adult and many times if you are a child. 4 stars.

Elf Bowling: The Movie

If you think a movie based on a video game would have a tenuous raison d'etre and story line, Elf Bowling -- based on a series of popular Internet games from nstorm.com -- should be more lame than Transformers or either Lara Croft movie. And it is. However, it's not as bad as you'd expect. It's not great but it's not a stinker. In short, it pales slightly in comparison with any of the Christmas classics, but it's creative enough to ride in on their coattails. The computer graphics are acceptable (esp. the elves' toy workshop, which resembles a Kids Next Door headquarters stuck in the middle of a Willy Wonka theme park) and I was impressed by how much of a story line they were able to shoehorn into a virtually nonexistent premise. In essence, our story begins with the toy-thieving pirate Captain Santa Maria Klausawitz Kringle (Joe Alaskey) and his devious brother Dingle Kringle (Tom Kenny). It's The Road to Eldorado meets Rudolph the Red-Nosed Reindeer and the Island of Misfit Toys. The plot stretches credulity and is a little hard to follow -- I will admit to nodding off through parts of two viewings -- but Klaus and Dingle encounter a North Pole settlement of toy-making elves who make billions of toys with no takers. They scheme to become the takers under the guise of a business partnership but Klaus grows in altruism and sympathy for the world's children in contrast with Dingle's deviousness. Klaus marries the Teutonic streudel chef while Dingle takes up with a tall stacked harpy (possibly voiced by Jill Talley, who is Karen the Computer Wife in Spongebob Squarepants and Boob Woman in American Dad!). The music is nice and the dance numbers are passable. Either way you swing with Elf Bowling, it's a heck of a lot better than Grandma Got Run Over by a Reindeer and -- my ultimate weathervane of turdishness -- Doggie Poo. For similar offerings, click my avatar then explore my Animation and Christmas lists. 3 stars.

King of the Hill: Season 1

TV. King of the Hill has been a droll hoot of a Texas-themed spoof for ten years now. Hank, Peggy, and Bobby Hill are so middle-of-the-road it's a wonder they're not road kill in the highway of life, but their staunch values get them through anything together. Hank and Peggy are sometimes so uptight and repressed that they're dysfunctional and they sometimes see Texas not America as their true republic. Still, they muddle through every challenge together and consistently demonstrate faithfulness and integrity. The Hills live in the small-town enclave of Arlen, where Hank's dedication to his chosen profession as a propane (he speaks the word with reverence) salesman as well as to his lawn, his tools, his gun, and his huntin' dog Ladybird rival his devotion to his wife. Peggy, in turn, possesses self-esteem beyond her chosen profession as a substitute teacher; her Spanish mispronunciations border on the painful, though she manages to win the state Boggle championship. Bobby is a pudgy, underachieving comedic wannabe with a good heart. Hank's trailer-park niece Luanne lives with the Hills while her mama is in prison. The Hills' neighbors are lovable and pathetic blends of Texans we may know: Dale (amateur exterminator, cuckold, and conspiracy theorist), Bill (part-time Army Reserves barber, divorcee, and emotional wreck), and Boomhauer (ladies' man and speaker of a monotone Texas patter that is hilarious if incomprehensible to non-Texans). See the pilot episode plus 13 episodes including Square Peg (the Hills begin a comic love/hate relationship with new Laotian neighbors) and King of the Ant Hill (Hank chooses his lawn over Dale because "I have lots of friends but only one lawn"). Every disc has deleted scenes, the second disc has the animators' 60-some rules of The Do's and Don'ts of King of the Hill (that will help you appreciate the show�s artistry) and Dale's Conspiracies, and the third disc has an audio commentary with a Barenaked Ladies music video. 4.5 stars.

The Governess

The Governess is Artemisia or Miss Potter meets Girl With A Pearl Earring. The Sephardic Jewish maiden Rosina hires on as a Christian governess on the Scottish Isle of Skye under the name Mary Blackchurch. Rosina (Minnie Driver) wins over her difficult young charge Clementina (Florence Hoath) and ultimately proves to be the intellectual and professional equal of her scientist employer, Charles Cavendish (Tom Wilkinson), who is laboring to devise a photographic fixative process that Mary herself (during a secret Passover celebration in her room) accidentally discovers. Working away together in his estate's laboratory, which is off-limits to his emotionally tenuous wife (Harriet Walter) and all others, Mary's adventurous streak emerges in an intellectual as well as a physical attraction to her employer. (The few who criticize this film mistakenly presume that women fall in love only for youth and not also for intellectual or professional companionship.) Mary seduces Charles, initiating an unrequited love. "We can be anything we want," she says, but as a Christian and a family man he resists and ultimately rejects the new ground she has broken. The cultural rift climaxes here because his concern is his faithfulness while hers is her happiness. Furthermore, as a scientist, Charles requires self-control to succeed in his work in advance of the daguerreotype; his refusals to continue the dalliance, which she assumes will be a lifelong professional and intimate partnership, cause her to become unhinged. We see full frontal nudity of the senior Cavendish and (twice) the junior, Henry Cavendish (Jonathan Rhys Meyers), plus (twice) Mary's aureoles and her full dorsal nudity. The Governess is redolent in Jewish culture and period costume and its character studies are intriguing. It is ultimately a movie about societal convention vs. self-actualization: In what ways do we limit, hinder, handicap -- or allow others to limit -- our own prospects for happiness? 4.5 stars.

Arthur: Arthur Goes Crosswire

TV. In three episodes about cliquishness vs. inclusiveness, Arthur and his friends learn to forgive and forget in order to get along: Arthur Goes Crosswire (after sailing in Muffy's yacht and rescuing the star of Bionic Bunny, Arthur takes on Muffy's airs of snootiness and exclusivity until his friends show him how he's changed), Buster's Growing Grudge (Buster learns to let go of his grudge against Binky and make peace), and Poor Muffy (Muffy stays at Francine's and learns to appreciate the hoi polloi despite leftovers, no cable TV, no servants, etc.). For more Arthur, click my avatar then explore my Arthur-PBS list. 4 stars.

Arthur's Music Medley

TV. Three episodes centered on Arthur's and his classmates' musical talents (or lack of them) present the usual amount of fun and mayhem: Arthur Plays the Blues (Arthur's beloved piano teacher is retiring, so she arranges for him to train under the brilliant if demanding Dr. Fugue), Brother Can You Spare A Clarinet (Binky vacillates between his tendencies as a big-kid bully and a sensitive and gifted clarinet player), and To Beat or Not To Beat (the boys consider whether to be candid about Francine's lack of musical talent). For more Arthur, click my avatar then explore my Arthur-PBS list. 4 stars.

Arthur's Family Vacation

TV. Arthur and D.W. have some unexpected adventures in these three episodes themed on vacation days off. They have a fun if far different family vacation than planned in Arthur's Family Vacation, help build a chicken coop in Grandpa Dave's Old Country Farm, and learn about their dad's bellbottoms and more in Arthur's Almost Boring Day. As always in Arthur's world, the family is the origin of support and resourcefulness. For more Arthur, click my avatar then explore my Arthur-PBS list. 3.5 stars.

Arthur: D.W. Thinks Big

TV. Three episodes themed around Arthur's assertive (and more interesting) younger sister D.W. teach children lessons in self esteem and working together. (What the initials D.W. stand for is an inside joke of the series and direct questions are often skirted, probably to maintain a sense of mystery. Once, when asked what her initials stand for, D.W. says, "I don't want to talk about it," and once, when a Secret Service agent asks, "Just initials? Couldn't you people give your daughter a real name?" her father just shrugs. Those who watch the show, however, know that D.W.'s full name is Dora Winifred Read.) In the episode D.W. Thinks Big, an excited D.W. wants a role to play in her aunt's wedding but is put off by her self-important flower-girl cousin and every busy adult until she discovers and volunteers for an emergency errand that is well-suited for her size. (In the Now A Word from Us Kids segment that typically follows the first of three episodes on each disc, children discuss their classroom exercise in exploring what each child can do by virtue of his or her individual size.) In the episode Arthur and D.W. Clean Up, the Read siblings learn the meaning of their father's admonition "Many hands make light work." In the episode For Whom the Bell Tolls, Arthur is delighted that D.W. has lost her voice for a few days -- until he realizes that it means waiting on her hand and foot and could last for a long time (unless he can prove that she's now faking). For more Arthur, click my avatar then explore my Arthur-PBS list. 4 stars.

Arthur's Eyes

TV. Arthur's Eyes is another creative presentation of three Arthur episodes from PBS, this time centered on the theme of children's looks and social acceptance: Arthur's Eyes (how Arthur learned he needed eyeglasses and came to accept his change in appearance and his classmates' comments), Francine's Bad Hair Day (tomboy/athlete Francine is nearly persuaded by Muffy and a makeover to look and remain feminine for school picture day), and Draw! (Francine teases a "mousy" girl then blows off her hurt feelings with "She'll get over it" until all the kids turn the tables before learning their lesson too). Particular chuckles come from the teacher talent show preparations in Draw! as a perky guitar-playing folksinger pursues the school secretary to "put a smile on her face." For similar offerings, click my avatar and explore my Arthur-PBS show list. 4 stars.

Arthur: My Club Rules

TV. Arthur's Club Rules has three episodes about socialization through learning and making rules together with two episodes being computer-game-themed and more creative and humorous than average: My Club Rules (the children can't agree on clubhouse rules so each starts his or her own club, until loneliness reunites the gang), Sue Ellen Gets Her Goose Cooked (the children deal with obsessiveness over an Internet game), and Best of the Nest (the Internet game's upgrade tempts the children to avoid camping in the real woods). As a bonus bit, don't miss the mumbling wilderness expert in a faux documentary. For similar offerings, click my avatar and explore my Arthur-PBS show list. 4.5 stars.

Zoom In: Stories Behind the 2007 Gotham Awards

Documentary. A refreshing examination of the work and dedication of the producers and actors in the independent films of 2007 that were submitted for NYC's pivotal Gotham Awards: I'm Not There, The Savages, Into the Wild, Juno, Great World of Sound, The Namesake, No Country for Old Men, The Darjeeling Ltd., Before the Devil Knows You're Dead, Jimmy Carter: Man from Plains, Taxi to the Dark Side, Sisters Are Doin' It for Themselves, Sicko, and Frownland. Including a live tribute to Roger Ebert and a discussion of women as directors. 3.5 stars.

Vermilion Pleasure Night: Vol. 2: Vox Stimuli

TV. You have never seen anything as edgy as this. Sometimes nightmarish, sometimes vapidly cheerful but always postmodern, most of the sketches and vignettes involve ornately or scantily clad women -- or zombies. I only watched Episode 3. First is Zombie Family ("You dropped your eyeball, sis" and in every segment the mother sinks a hatchet into her daughter's heads one or more times. Think of Vicki Lawrence in Mama's Family on crack.) Then is Mannikin Family (Mikey wants to stay home sick from school, Mikey gets possessed, Mikey's parents move and leave him behind). Lucy's House presents four women as dolls dancing and singing about being married and becoming human. In Midnight Kitchen, a blindfolded and manacled women attempts to cook won tons, gets high on paint thinner and worse. Fitting Room shows a naked women posing and dancing behind cutout outfits. Provocative video eye candy of women serves as fillips between the segments. It's all PG and geared to men as much as women but if you are familiar with Japanese culture (or at least MXC and Iron Chef), you can understand how this appeals to their edgier-than-Adult Swim mindset. 3 stars.

Dr. Seuss' How the Grinch Stole Christmas

This is the greatest Christmas classic of them all! A must-see every year for sure. Poor put-upon Max the Grinch's lap dog -- he is a hoot! You simply can't beat Chuck Jones's animation, the great voice of Boris Karloff, or June Foray (also the voice of Rocky the Squirrel and Natasha). The Whos in Whoville know the real spirit of Christmas -- a generous heart, no presents required. For similar offerings, click my avatar and explore my Animation and Christmas movie lists. 4.5 stars.

Fairly Oddparents: School's Out! The Musical

TV. I can never tire of the adventures of poor put-upon Timmy Turner, his evil babysitter Vicky, and his loving fairy godparents Wanda and Cosmo. The writing, voice talent, and artwork are a constant stitch! For similar offerings, click my avatar and explore my Animation list. 4.5 stars.

Eloise Goes to School

A great animated story, based on the popular books, about a free-spirited six-year-old girl who introduces herself as "Me, Eloise!" and how a snooty school didn't quench her spirit but helped her draw a valuable lesson. This is my first exposure to Eloise and I found her to be a true delight! I'm going to see everything Eloise. Watch her pirouette! For similar offerings, click my avatar and explore my Animation list. 3.5 stars. (12-27-07)

Arthur: Arthur Gets Along

TV. Three great Arthur episodes showcase the characters in alternative timelines -- imaginative what-if situations that play with the narrative before reaching the moral of the story. First we have D.W.'s Time Trouble: D.W. takes a Jimmy Stewart-like trip back in time with her imaginary friend as companion to envision what life might be like if she were the older sibling. (This episode is about as complex as the writing gets.) Then we have To Tibble the Truth: The perpetual motion and excuse-invention machines known as the Tibble Twins gradually learn that telling the truth might not be so bad. Finally there is Waiting to Go: Buster breaks Brain's watch on the soccer field so they learn how elastic time can feel while waiting for a ride. For similar offerings, click my avatar and explore my Arthur-PBS show list. 4 stars.

Binky Goes Nuts

TV. Binky Goes Nuts is a slightly less interesting compilation of four episodes than the usual 4-star fare that is Arthur from PBS. For episodes we have Binky Goes Nuts (Binky learns he has a peanut allergy and self-education is the best prevention), Breezy Listening Blues (Brain gets a B- and, thinking the easy-listening music in his family's ice-cream parlor is numbing his edge, he learns a lesson in customer service), Arthur Weighs In (Arthur briefly reaches "husky" size and learns to stretch himself through exercise), and The Law of the Jungle Gym (rich kid Muffy expels the tough kids from the jungle gym until a reconciliation occurs). Most of the episodes seem to be spreading a story premise that feels a bit thin, however, the funniest bit is Binky's dream about an evil Mr. Legume (a giant peanut in a bowler hat) who threatens to sandwich Binky in peanut butter. For similar offerings, click my avatar and explore my Arthur-PBS show list. 3.5 stars.

Winsor McCay: The Master Edition

It's a pleasure to see these restored original prints of the birth of motion-picture character animation in 1911. If you like Walt Disney's Steamboat Willie, Winsor McCay's Little Nemo and Flip preceded Mickey Mouse by 17 years. (If this sounds new to you, Maurice Sendak's In the Night Kitchen is reminiscent of McCay's Little Nemo in Slumberland and George McManus' Bringing Up Father starred Jiggs, who could be McCay's Flip if the hobo/scamp joined high society.) The film shorts on this disc are black-and-white and silent -- with placards for narrative and dialog with musical accompaniment. Don't rent this disc looking for Family Guy yuks or Samurai Champloo action. Yes, it's a history lesson -- an actual documentary of the birth of character animation -- but you also need to be able to appreciate the nuances of the art esp. in its birth. McCay was a master caricaturist and quite intuitive about expressing character and telling a story -- but in this earlier, less adrenaline-soaked age, there's a relaxed rapidity and a pioneering as well as an exploratory quality to the pace of his animation. Seeing Flip flip, vamp, and scamp about is amazing (historically speaking). Seeing Gertie the Dinosaur prance coquettishly is an order of magnitude cooler than Steamboat Willie's mechanical bumping up and down. (No one knew what dinosaurs looked like or how they might have moved yet.) McCay's reenactment of the German torpedoing of the luxury liner Lusitania, with 1,960 civilians aboard and the loss of 1,200, in 1915 commemorated that generation's version of the attacks on the World Trade Center. McCay's ouevre is so realistic that it often resembles a film documentary and must have been quite moving in that era. McCay made 4,000 drawings in one month to animate Little Nemo and 25,000 drawings to animate the sinking of the Lusitania. He gave up animation in 1921 but continued with print cartooning. His genius lives on. See my Animation list. 3.5 stars.

Arthur: Arthur Rides the Bandwagon

From PBS, Arthur is a delightful series that continues to resonate with children and the child in all of us. This DVD contains three episodes with a peer-pressure theme: Arthur Rides the Bandwagon (Arthur resists, then considers capitulating to, the latest toy fad), Attack of the Turbo Tibbles (the hyperactive Tibble twins go overboard with play-acting a Power Rangers-like show), and Prunella's Special Edition (superfan Prunella has a problem with her special edition of a Harry Potter-like book everyone else is consumed with reading). Arthur always contains a creative presentation and kidworthy lessons. In the segment of each program where second graders present a creative project, kids showcase the toys they invented and built from common objects such as tennis balls, paper plates, clay, and so on. For more Arthur, click my avatar to explore my Arthur-PBS list. 4 stars.

Rudolph the Red-Nosed Reindeer

For stopmotion artistry and nostalgic pleasure combined, this is probably most people's favorite Christmas classic of all time -- not to be missed! 5 stars. For similar offerings, click my avatar to explore my Christmas list.

Arthur's Celebration

TV. Arthur is a super kid's television series from PBS. The family dynamics and creativity seen in this show are well above average. Arthur is 8 and his bossy kid sister D.W. is turning 5 in these episodes. Notice all the creative versions of what is supposed to really happen on New Year's Eve. This series wins a steady 4 stars. For more Arthur, click my avatar to explore my Arthur-PBS list.

Martin! God Loves You

A simply yet attractively illustrated, well-narrated and inspiring account of the life and message of Martin Luther, suitable for all children through age 14. The narrator intones clearly as he sympathetically recounts Luther's life from birth to death, even quoting from a deathbed letter to his wife. Luther's message and influence are not overstated, only presented in their simplest form with integrity and populism as their mainstays, with a mildly inspirational finish. For similar offerings, click my avatar to explore my Evangelical list. 4 stars.

Cherub Wings: Vol. 8: Oops! Sorry

Cherub Wings is syrupy sweet and perky but Christian tykes will love the cherubs' creative evangelical encouragement about forgiveness. As I said in my review for Vol. 6, Cherub Wings will be scary to some adults. (Take grownups' natural aversion to Barney the Dinosaur and then imagine turning Barney into two angelically sweet if preachy babies. Saccharine in stereo -- on wings!) Young children do respond to such outright emotional ingenuousness, however. Cherub Wings is not for the uninitiated: Children of evangelical parents are the target demographic here -- esp. those who attend congregations that sing praise and worship songs. Parents who do not attend church or who attend a mainline denomination where saying "Praise the Lord!" does not feel second nature will, of course, feel like fish out of water and fail to be parentally supportive of the message presented here. It's truly child-centric and should be refreshing to children under age 7. For similar offerings, click my avatar to explore my Evangelical list. 3 stars.

Saturday Night Live: The Best of Saturday TV Funhouse

TV. Saturday TV Funhouse is as twisted and inventive as Family Guy but edgier. Hosted by the Ambiguously Gay Duo cartoon characters (special thanks to Stephen Colbert). I confess AGD seems weak after the initial gag line "What is everyone looking at?" wears thin. Admittedly, it's a tenuous plot line at best, so it's only a fun picnic to those who brought their own potato salad. This DVD is chock full of 24 zany episodes with transitions plus 20 or so additional sketches as extras. My favorites include the Abu Dhabi Kids show Saddam and Osama; Sexual Harassment and You (where the only determinant between what is and is not harassment is the confidence and attractiveness of the male); Inside the Disney Vault (ewww!); The Narrator That Ruined Christmas (Burl Ives's Snowman loses his cool after 9/11); Jesus Christ (tussles with televangelists but loves Linus reciting the Nativity); Divertor (combines forces with the President, Nancy Grace, and the fearmongering Fox News); Find the Black People in the Knicks Game (blip!); Christmastime for the Jews (great claymation and vocals); Sen. John McCain (introduces Pres. Bush after much self-torture); and Shazzang! (a genie with, um, father issues). Fun with Real Audio extras include the animated mashups Perot/King, State of the Union, Snyder/Parton, Casablanca, and more. Further cartoon extras include Titey (Titanic turned Disneyfied pap), Ray of Light (Disney remakes adding football's Ray Lewis), Heteroy (an antigay evangelist and his buds), Globetrotters Christmas (the boys shoot hoops with Joseph and Baby Jesus), Religetables (a VeggieTales spoof concerning religious strife and scandals), Passion of the Dumpty, Santa and the States (a Rudolph the Red-Nosed Reindeer spoof where Santa sides with the "liberal elite"), Bees (unaired: Bush and posse call bees terrorists and "liberate" [decimate] a beehive ["not for the honey"]), and Conspiracy Theory Rock (a Schoolhouse Rock spoof). AGD gets 1.5 stars but the whole disc 4 stars.

Cherub Wings: Vol. 6: Never Outta Sight

Cherub Wings is the Teletubbies talking like Barney and singing Care Bears songs about praising Jesus -- scary to most adults but, like the previously mentioned shows, it seems to be just what kids enjoy and need. It's very child-centered, speaking to children at their level about how near they are to God and his goodness and help. There is an animated Bible story in the middle (with childlike art styles) and a beautiful song at the end (comparing each child to the sparrow God loves) set to scenes of children playing, smiling, and hugging. It sure beats Spongebob and the other manic fare kids find nowadays! Two cherubs bookend the program and the show's artists give them creative perspectives, sound effects, and accoutrements (like a cloud skimmer car). It's for ages 3-5 but my ten-year-old son watched it a bit and said "This is pretty cool." For similar offerings, click my avatar to explore my Evangelical list. 3 stars.

VeggieTales: Dance of the Cucumber

OK, I'll admit it: Cute...! I've stayed away from VeggieTales for years because of the schmaltz factor and only dipped my toe in the waters by viewing a few discs over the past year. I recognized from the start that VeggieTales (1) has fine production values (animation, musical composition, editing, voice talent) and (2) is never going to get less schmaltzy (campy, obnoxiously funny, you get the idea). Oh well, I'll deal with it. Several of Larry's "silly songs" on this disc are cute enough to pass schmaltz, esp. Pizza Angel and Sport Utility Vehicle (an SUV-centered love song that parodies SUV drivers' motivations and trills "we'll slam into 4-wheel drive and pick up a dozen eggs"). The best song of all is the final one, My Day. For similar offerings, click my avatar to explore my Evangelical list. 3 stars.

Mother Teresa: Seeing the Face of Jesus

A beautifully illustrated, well-narrated, detailed children's storybook biography of Mother Theresa of Calcutta, from birth to death. The pastel colors are very attractive and her story is told quite accessibly. For similar offerings, click my avatar to explore my Catholic list. 4 stars.

The Rosary for Little Children

Ms. Naimo playfully, musically, and reverently presents the purpose of the rosary in a show more like a Miss Rogers Neighborhood for Catholic kids than Barney the Dinosaur for video-weaned munchkins (thank God). There's nothing wrong (esp. to children) with praying for healthy babies' birth: People have done it universally for thousands of years (until the last 35 years anyway). It is a bit distracting to pray while a scene focuses on a fetus in utero, however, if only because all other scenes are of children or infants or adults. It feels a bit scripted (since it is) but it succeeds and I'm glad to see a disc like this for kids. For similar offerings, click my avatar to explore my Catholic list. 3 stars.

Goya in Bordeaux

Goya in Bordeaux is Amadeus meets Girl with a Pearl Earring -- in a dark alley. It's a textured art film about the life of Francisco Goya, who painted grotesques, massacres, and nightmares. (I've loved his work since high school. According to Andre Malroux, "After Goya modern painting begins.") The film opens in a bloody slaughterhouse then begins playing cinematic pattycake with time and space, passing between Goya in his death bed and in his prime. (At one point the two versions of Goya speak with each other.) Admittedly the narrative develops at half the speed of Lost in Translation and fails to focus fully on either his art or his personal life, so we get half as much as we'd like from each. The costuming and soundtrack are exceptional (think Dangerous Liaisons with flamenco) and the married Goya's love for the Duchess of Alba is noteworthy. (Maribel Verdu is a vision, esp. nude.) The battle scenes near the end feel plodding and posed, and we would have been better served with more than a few in-situ recreations of Goya's paintings of grotesque suffering in the political climate of his day (when he laments that literacy is resisted because the powers that be retain their position through calumny and manipulation). I sought this movie out on videocassette because this service has not stocked it in some time. For similar offerings, click my avatar to explore my Favorites (other 5 stars) list. 4.5 stars.

Enchanted

Enchanted is superb! It will not only please anyone who has ever enjoyed a Disney movie but it will please anyone who has ever hated a Disney movie (so long as you can stand the saccharine). Enchanted turns Snow White, Cinderella, Sleeping Beauty and every other chirpy-damsel-in-distress movie on its ear as it up-ends the animated world of the prince and his true love and dumps them into real-life New York City. Talk about fish out of water! Amy Adams as Giselle never lets up on the lilt and the song and the hope in her voice -- she's a gem of Disney princess-to-be perkiness. James Marsden is Prince Edward, noble and fey (not foppish and gay like Chris Sarandon as Prince Humperdinck in The Princess Bride). Susan Sarandon is killer as the evil Queen Narissa. The special effects and soundtrack are excellent too. One of my viewing companions said "This is the perfect movie for preteen girls!" -- and it is -- but any male or female of any age will enjoy this film -- provided you enjoy fairy tales, or else excellent parodies of them. For similar offerings, click my avatar to explore my Favorites (other 5 stars) list. 5 stars.

Frosty's Winter Wonderland / 'Twas the Night Before Christmas

This third Frosty cartoon (narrated by Andy Griffith) isn't as good as the first two, Frosty the Snowman (narrated by Jimmy Durante) and Frosty Returns (narrated by Jonathan Winters). You'll like it but I realized this is mainly because of all the music and themes it lifts from the previous two shows. Basically, a jealous Jack Frost keeps trying to steal Frosty's magical hat and Frosty gets a snowwife (who needs a magical hat of her own). Lame programs typically pull plot devices out of their hat, but in this tale of musical hats, it's hats that are being pulled out from -- I don't know where. I give Frosty's Winter Wonderland 2.5 stars. On the other hand, 'Twas the Night Before Christmas is a season's classic that will never be forgotten, with Rankin-Bass animation and voice talent that's a delight. Added to the classic Clement Moore poem, it's the story of a clockmaker's human family and a sublet mouse family and how they help reconcile Santa with Junctiontown after the publication of a grinchlike anti-Santa letter in the town paper. For similar offerings, click my avatar to explore my Christmas list. 4 stars.

Little Nemo: Adventures in Slumberland

Little Nemo: Adventures in Slumberland is In the Night Kitchen meets Spirited Away. It's an animated delight with a belle-epoque to art-deco feel, a largely Japanese production of the most famous work of turn-of-the-century illustrator Winsor McCay, who influenced Maurice Sendak and others. Nemo is a child who loves trains and airships and is invited to visit and to rule Slumberland as heir prince. He is given two powerful tokens of his future reign and makes a promise of responsibility to the king. Trouble ensues and he bravely pursues making things right. The story itself is quite creative and the scenes convey a somnambulistic quality, particularly when Nemo is astride his flying bed -- that is, where the line between dream and reality is, neither Nemo knows nor do we. Mickey Rooney is excellent as Flip the scamp (who resembles a hobo version of Jiggs in the comic strip). Other voice, music, and writing talents involved include Rene Auberjonois, June Foray, Melissa Manchester, and Ray Bradbury. Nightmarish scenes and an intense train-chase scene at the beginning may be too much for children under age 8, but this show should captivate anyone with a lively imagination and a receptive mind. I acquired it through interlibrary loan on videocassette since a DVD is apparently not yet available. For similar offerings, click my avatar to explore my Animation list. 4.5 stars.

Cadfael: The Holy Thief

TV. Think of the Cadfael detective series as CSI: Shrewsbury, A.D. 1137-1145. Think of it as The Name of the Rose: Medieval Victims Unit. Think of it as 221B Baker Abbey. Think of it as the original Monk. I was greatly interested in viewing this series as soon as I discovered it through this service. After all, it has monks, abbeys, Latin, plainchant, compline, tonsures a modern hair stylist would censure -- it was after all the Middle Ages, where every day was a bad hair day, esp. if you had taken vows of celibacy. Did I mention monks and Latin? What's not to love? Cadfael (Derek Jacobi) is an herbalist with a penchant for chemistry and an ad hoc detective who essentially doesn't buy the powers-that-be's post hoc ergo propter hoc presumptions of criminal acts, so he figures out who really dunnit and helps negotiate a humanitarian, feel-good ending. The Holy Thief episode (set in A.D. 1143) sees Cadfael stick to the case and save the life of the presumed murderer, a young novice monk, and the beautiful servant woman to whom he has taken a shine. (If this case is any indication, I will make two predictions about the remaining episodes: First, the murderer is not one of the abbey's monks, or whoever is first accused, but will turn out to be some Machiavellian overlord or his henchman acting with guile and subterfuge. Second, young novices are going to conveniently forget their solemn vows and run off to start a happy new life with the first beautiful woman who falls in love with them.) This series has PBS written all over it -- literally and gestaltwise -- but it's charming and just might possibly do half as much for monks as Columbo and The Sopranos did for Italians. 3.5 stars. For similar offerings, click my avatar to explore my Catholic and Detective movie lists.

The Squid and the Whale

The Squid and the Whale is The Misadventures of Margaret meets Ordinary People (sort of). Everyone's acting is very good (esp. Jeff Daniels channeling John Hurt as a bushy-faced, pedantic English professor) but I wish the moral of the story (squid and whale locked in mortal combat) had been less subtle; the ending is kind of weak. (I blinked and almost missed it.) This is basically the riveting and painful chronicle of a couple's divorce and how to do it all wrong -- parents promoting their priggish and selfish agendas and conflicting their two sons by involving them in everything they should not even know about. Particularly ironic is how the clueless, self-important father advises his oldest son to "play the field" sexually because he wished he had done so at that age. Last but not least, the youngest son clearly has emotional problems (swearing and drinking and acting out sexually in public -- eww!) that are never addressed. This movie makes me even more squeamish than In the Company of Men because adults who should know better do nothing and allow their sons to begin their careen down the same ill-begotten path. It's a movie that will stick with you and make you think. Maybe if we had more movies that so authentically showed the psychological destruction of divorce, we'd have less of it and more couples working harder at their marriage than pretending they did so they can seek their lost adolescence. I'd award 4 stars for the acting but I mark it down for the eww! factor. 3.5 stars.

Bringing Out the Dead

Bringing Out the Dead is a wild ride along the edge of a nervous breakdown. Frank (Nicolas Cage) is an ambulance driver who can't sleep because the persons he hasn't been able to save come back to haunt him and talk to him. John Goodman and Ving Rhames are two jaded shift partners but Tom Sizemore is an amped-up wack job eager for blood -- he's even willing to pick a fight and cause some of it himself. The photography and psychological torsion of this film are amazing; kudos to Martin Scorsese! The real drama is in the line between Frank's haggard grip on life and how he's losing it but he develops a platonic love interest with Patricia Arquette that forms a haven of comfort for both. This movie is reminiscent of City of Angels, Angel Eyes, The Sixth Sense, and (probably, since I haven't seen it yet) Fear and Loathing in Las Vegas. It's a keeper! For similar offerings, click my avatar to explore my Favorites (other 5 stars) list. 5 stars.

In the Company of Men

In the Company of Men is The Good Father meets The Business of Strangers. It's a taut, aggravating psychological drama that showcases what some men as well as some women of small social conscience do in the real world to the opposite gender all the time: the dating and dumping game. (Watch any Sex and the City episode to see how a given man or woman will scurry to be the first to do the dumping -- because 'tis better to dump than to be dumped.) What's infuriating about the 30-ish fratboy lead character, Chad (Aaron Eckhart), is that he deliberately and maliciously chooses to date and dump an innocent and vulnerable woman -- just for spite -- and talks his nebbish college-chum co-worker (Matt Malloy) into playing along, turning his dirty trick into a competitive sport to boot. Just as Anthony Hopkins in The Good Father misogynistically growled at Jim Broadbent "You have to jerk their chain!" here Aaron Eckhart murmurs "You can't give up control!" Stacy Edwards is their attractive victim, channeling Marlee Matlin to play a deaf woman who can read lips and use her "deaf voice." (For those not familiar with deaf culture -- and Chad is bilious about her speech impediment -- she is not "deaf-mute," merely deaf. Stacy Edwards evinces a beautiful voice and personality, convincingly portraying a deaf woman. As a comic treat that will resonate with the deaf, Matt Malloy's character clearly is pleased with himself for learning two three-word phrases in ASL.) The movie's ending wields a double twist that will make it unmistakable that Chad is not just a cad, he is a sociopath and a very bad man. I am worried about the reviewers who think this movie is hilarious! If you have a heart, this movie will make you think as well as feel angry -- but that's better than feeding us pablum or sweetness and light. This movie draws a line in the sand and makes you glad you're on the right side of it. After all, there but for the grace of God goes anyone. 4.5 stars.

Gattaca

Wow! I had heard high praise for Gattaca. Now that I've finally seen it, I'd say it's a muscular marvel of science-fiction prescience, clairvoyance, and poignancy. Gattaca is The Minority Report meets Code 46 -- except Gattaca predated those films by 6-7 years. Gattaca is named for the human genome -- our DNA contains the amino acids guanine, adenine, thymine, and cytosine -- and for the genetic engineering and space exploration corporation that industrialized the human gene pool, institutionalizing a scientifically justified and pervasive form of discrimination against those who were not born through genetic design. (They become janitors, not astronauts.) It is a society based completely on genetic control -- the most ultimate form of control, among the many evident in this taut and austere film. (Forget the ID badge, EZ-TAG, FICO credit score, and surveillance camera; your proof of identity -- and access to all societal amenities -- is *you*, as tiny bits of your DNA are sampled and tracked everywhere you turn.) Some have complained that Gattaca is too rigid or formulaic but I see it as a perfectly crafted minuet of totalitarian angst. In short, when every skin flake or eyelash fallen from your body can be and is freely collected and analyzed by employers and crime-scene investigators alike, you have to be very bright and disciplined to get around the system. Ethan Hawke's character is that man -- and more. Jude Law is his similarly determined though less mobile accomplice. Uma Thurman is an eventual love interest who discovers his secret. We also have some nice appearances from Ernest Borgnine, Tony Shalhoub, and Alan Arkin. Gattaca is as good as Contact. If you're not concerned about the future -- as in, this very thing actually happening within a decade or so -- then don't see Gattaca. If you care about the pitfalls of life in a technological society and have a social conscience, see it; buy it; own it. I sure will. 5 stars.

Arthur Cracks the Case

TV. Along with Wishbone and Reading Rainbow, I always loved the Arthur programs on PBS when my boys were young. I still love them all -- Arthur is just as pleasant and entertaining as ever! The theme song "Hey (What A Wonderful Kind of Day)!" sung by Ziggy Marley is a classic feel-good tune that I never want to get out of my head, and of course it has a great message for kids. This disc has three Arthur episodes: D.W.'s Snow Mystery (what happened to the snowball that Arthur's kid sister stored in the freezer for safekeeping?), Arthur's Mystery Envelope (Arthur worries about what's in the sealed envelope the principal gave him for his mother), and Finders Key-pers (Arthur, Brain, and Binky find a mysterious key and debate what it's for and how to share it). Besides its creative characters, each with their own personalities and stories, one particularly whimsical aspect of the Arthur programs is how its characters will often explain how they remember or imagine an incident (such as the seven reenacted versions of who opened the freezer before D.W.'s snowball was last seen) but with subtle differences inimical to their personalities and motivations. At 40 minutes per disc rental, Arthur episodes are like popcorn shrimp, though I'll borrow as many as possible from the library to save on mailbox turnaround time. Kids through age 8 will love Arthur and so will you, if you have any kid left in you! For similar offerings, click my avatar to explore my Arthur-PBS list. 4.5 stars.

The Nightmare Before Christmas

The Nightmare Before Christmas is a classic work of creative genius from the twisted mind of Tim Burton that's become a perennial holiday favorite for many. The script, the animation, and the music are near-perfect and will appeal to all who can perceive the humor and the positive message inimical to this danse macabre. Jack Skellington, the skeletal Pumpkin King, is the acknowledged scaremaster of Halloween Town but he begins to wonder if there's something more. He stumbles onto Christmas Town and discovers delight in the Christmas lights, preparations, and festive anticipation. He tries to analyze the trappings of Christmas in the laboratory -- but science alone can't isolate the meaning of Christmas. He decides to investigate for himself and to take direct action but his plans go awry. With help from the ghoulish but plucky Sally, Jack returns to make everything right. This show is a truly unique gem in the creative firmament. The stop-motion animation, choreography, musical score, and vocal performances are unmatched en ensemble. The child in each viewer should be able to look beyond the ghoulishness of Halloween Town's denizens to see the humor and whimsy that's evident in every word, song, and gesture. (The mayor has two faces, for example, and he uses them a lot with perfect timing.) One could even argue that the dead vs. living metaphor is an allegory for Jack's spiritual quest to find the joy that lies on the other side of the grave. Finally, here is a movie that is deep enough in visual and narrative texture to be more than puff and fluff. And Danny Elfman's musical genius certainly slathers the frosting on the cake. Enjoy! For similar offerings, see The Corpse Bride or click my avatar then explore my Christmas list. 5 stars.

Black Books: Series 2

TV. Hm, *not* as original or as funny as Monty Python or Seinfeld but definitely as funny as Will Ferrell on any given day. And Dylan Moran as Bernard Black does not *shine* exactly -- it's more of a scruffy, muzzy, *smear* really -- if you don't mind the smell. (Warning: Do not eat anything this man prepares in the grimy "kitchen" of his open-and-closed ptomaine tavern! And mind the growling critters underfoot and in the pots!) Dylan Moran as the shop owner is as surly as ever. Bill Bailey as his assistant shines even more brightly (esp. in his outright piano playing, however, his underhanded performances are clearly preposterous). Tamsin Greig has lost her shop next door so seems demoted in script attention but still holds her own. Black Books is an affectionately funny show that grows on you because of the chemistry the trio has together but I wouldn't call it hilarious when I can see many of the jokes coming a kilometer away. Have a laugh or two! For similar offerings, click my avatar then explore my British-Comedy list. 3.5 stars.

Mama's Boy

Poor Jon Heder. Either he won't or he can't get out of the Napoleon Dynamite rut -- playing the nerdy put-upon schlub who eventually finds a bit of his inner mensch. Mama's Boy flags in on either side of average: Same old schtick as School for Scoundrels with a few touches of Napoleon Dynamite (like the squint, the short-lived protest, and the swoop and scurry of shame), except this time, his mother (Diane Keaton at 61, as fluttery a thigh-slapper as in every one of her roles) is the love interest that a grown man (Jeff Daniels at 52, a schmaltzy caricature of a motivational speaker) intends to usurp. Halfway through, I was growling and ready to give Mama's Boy 2.5 stars, because the humor got more predictable than usual and the prevalence of bird-flipping, phallic imagery, and sexual double entendres in addition to pot smoking. The story became somewhat more authentic in the second half, however, and eventually reached a feel-good conclusion. Jon's facial and verbal histrionics are getting old but the soundtrack by Mark Mothersbaugh and others is an awesome collection of indie rock. I gave Napoleon Dynamite 4 stars for iconic affection and School for Scoundrels 4 stars for physical and negative humor but Mama's Boy seems lucky to have made it with 3 stars. For similar offerings, click my avatar then explore my Campy movie list.

Nature: Koko

Documentary. If you love animals (esp. gorillas) or nature films, you will love this film. If you would like to expand your knowledge and understanding of humanity and our place among the creatures of our world, you will love this film too. In fact, you just may love Koko -- an unlikely and unparallelled ambassador between our hearts and minds and those of the great apes. Koko is clearly an intelligent, curious, and creative creature who can express herself with originality. You may empathize with her dating efforts -- she really did find nothing but big hairy apes who didn't know how to communicate. This program is eye-opening and heartwarming. What if Koko had never been discovered? Every schoolchild should see this documentary. 4 stars.

Team America: World Police

So I'm not a South Park fan. I was not interested in seeing Team America: World Police from the previews -- and I was still not interested after seeing the whole gosh-darn thing! I saw it on a whim in June 2007 as one of the first Instant Viewing selections on this service. The marionette control looks very sloppy since the characters generally seem to be taking two steps forward and one step back -- they just waggle and swim through the air. (This gets hilarious when two characters engage in hand-to-hand "combat" -- they basically look like two twits thwapping and slapping in each other's general direction, or else playing pattycake.) The dialog is dull and the acting is, uh -- wooden! (Snirk.) Seriously, the only funny part is Kim Jong Il singing "I'm So Wonewy" (except he sounds like Cartman from South Park). Oh, and not so funny, the team opens by blasting the place to shreds in the process of saving the people -- sort of like using a hammer to crack an egg -- while they cheer themselves as Team America. And yes there is puppet sex. Yeesh -- just rent Hot Shots! instead. 2 stars.

In the Realms of the Unreal

Documentary. I rented In the Realms of the Unreal in December 2006 though now this service offers it via Instant Viewing. It is the strange yet intriguing tale of a disturbed yet evocative artist. (Note: You really need to love art and the exploration of new meaning it invites to fully appreciate the subject of this well-done if unglamorous documentary.) Henry Darger was an antisocial nobody all his life, working as a janitor and living in a spare room provided by neighbors. He rarely spoke with anyone and lived like a virtual hermit, dedicating himself to working on a mass of illustrations depicting his 15,000-page neo-Edwardian fantasy ouevre. He died alone with no friends or relatives. Today he is considered the most influential "outside artist" who, like Grandma Moses, was discovered late in life or (in Darger's case) posthumously -- lacking any formal training or influence whatsoever yet producing artistic work of a chilling and inimitable vision. His work is that of an amateur but in the vein of Arthur Rackham or the Campbell's soup kids. Perhaps like Ted Kaczynski, he had apparently undergone a great deal of perceived or actual neglect or abuse as a child, but unlike the Unabomber, he spent his life in quiet and devoted artistic creativity. Darger poured out his soul into stories and murals depicting a band of cherubic blond girls, heroines in peace and in war while constantly under threat of brutal attack and slaughter by imperialistic hordes of adults. The documentary patiently and impartially portrays what little we know of Darger's life and what we might infer from his work, panning slowly over scenes of battle and peace treaties. Darger's is without doubt a unique and idiosyncratic artistic vision -- but if you truly love the mystery that is the artistic soul, the creative product of this tormented man's life may stay with you for a long time. 4 stars.

Allosaurus: A Walking with Dinosaurs Special

Documentary. All allosaurs, all the time! An extremely well-done CGI-based educational program about Big Al the allosaurus (30 min plus a good making-of show that's also 30 min). Just don't let morsel-sized children (10 and under) watch it before bedtime! Trust me on that one. For similar offerings, click my avatar then explore my Dinosaur list. 4.5 stars.

Easy

Easy is 40 Days and 40 Nights meets The Feast of Love. Marguerite Moreau (who looks and sounds like Laura San Giacomo of Just Shoot Me) is a vision and a joy in this movie, carrying it effortlessly, and the entire cast shines with her. Our story opens as her answering machine is disgorging a boatload (to put it nicely) of excuses from men who have dated, apparently had sex with, and then dumped her. She eventually describes herself as a "pathetic jerk magnet" to her pot-smoking accupuncturist. (Let's just call that a truism instead of a stereotype, much less a tautology.) She meets a sensitive poetry professor (Naveen Andrews of Lost) and almost succeeds in a smidgin of better self-control but falls hard for him -- only to bounce away when he briefly resembles a jerk before he falls hard for her (too late). She decides to take a 90-day vow of celibacy, and the love and support from her family and friends are palpable. This movie always feels true as it sensitively explores her character growth while she strives and learns to be true to her ethical as well as her emotional integrity. (I can only attribute the negative reviews here to romantic cynicism; as Chris Noth said in Sex and the City, Season 1: "Oh, I see. You've never been in love." For the morally sensitive, Easy has several scenes of nudity and extended, tender lovemaking.) Despite the moving targets that true love and commitment have become in this modern age, engendering hiccups that test her commitment, she explores a healthier relationship with Bryan O'Byrne. With plenty of other plot developments and twists, I can't wait to revisit this authentic and delightful story about the search for romance that has character and commitment! For similar offerings, click my avatar then explore my Relationships list. 4.5 stars.

Mr. Magorium's Wonder Emporium

This is a great movie for any child or for any adult still in touch with his or her inner child. If you have lost touch, please do not see this movie or rate it here, dragging down the magic for everyone else. I was instantly interested in seeing this movie the first time I saw its trailer, but I became wary after recent TV commercials began taking all the "magical" special-effects shots out of context and stacking them into 30 seconds, making the movie seem cheesy and vapid. On actually seeing it, regrettably as a skeptical viewer, I was won over and well pleased. It is a magical movie with a soft and tender feel to Mr. Magorium (Dustin Hoffman) and his special, loving relationship with employee Molly Mahoney (Natalie Portman) and store patron Eric Applebaum (Zach Mills). Dustin is almost flawless; Natalie was mostly fine but needed better direction; and Zach was like a gem. I would have liked more interaction and oomph from the accountant (Jason Bateman) and Bellini (Ted Ludzik), since they clearly had greater potential to the story. I particularly appreciated Mr. Magorium's attitude about living in the moment and finding the wonder in 37 seconds well-spent, not "waiting" but fully living. He also tells Mahoney (as she is known), "Your life is an occasion. Rise to it." For all the newness of its wonder, then, the story still felt a little light, and lacked a more satisfying ending. I will gladly see it again. One whimsical thing done with the closing credits (and IMDB listing) is to use common-sense language to list all the characters by their first name and activity (such as Andy, the Boy Who Likes to Color) and most of the crew by what they do. The toy company list was in small print and took a full screen! If you love toys, this is the movie to see. 4.5 stars.

Cartoon Noir

Cartoon Noir is a quirky and original set of six animated shorts. I consider three of them worth my time and two of those memorable; the other three, well, that's life. Story of the Cat and the Moon (Spain) is a simple black-and-white nautical affair with undulating, dynamic nuances of animation that will play with your imagination. Club of the Discarded (Czechoslovakia) is a notably weird yet creative segment about decrepit manikins in a warehouse that become animated to live out a daily routine of sorts; their kinetics and timing are all spot-on and true. Ape -- about a steady diet of ape carcass and parts for dinner -- feels coarse and oafish. Gentle Spirit (Poland) is drawn in a dense and dark palette with winning elements but couldn't hold my interest. Abductees seemed childishly drawn and lame in subject and execution. Suzan Pitt's Joy Street was phenomenal in its evolution of drawing styles, color palettes, creativity, and emotional range of communication; I loved it. For similar offerings, click my avatar then explore my Animation and Sundance 2008 lists. 3 stars.

Throg

Oh, man, this reeks. I mean, really, truly, honest to God reeks. I never give up early but with this one I made an exception. The first 13 minutes (that's as much as I could stand) is full of bad lighting, acting, and editing -- and only two marginally funny lines: "I used to be somebody! Armies used to soil themselves on hearing my name!" and "Take this [with you, son]. It's the rock we found you under." I would have found the opening credits funny in grade school. Imagine watching Mel Brooks' A History of the World meets Strangeheart -- then make it even tackier than Strangeheart. Nay, dear varlets! Flee! Flee! 1 star.

Eat the Rich

Eat the Rich blends disparate elements and runs a bit slow, with acting and editing that's a bit off, but it has a raw energy and power (not to mention the Motorhead soundtrack) that drives its satire. It would appeal better to the 1980s but terrorists and other riffraff still mingle with the rich. Alex (the transgender Alan/Lanah Pellay) is a put-upon waiter at B-st-rd's, where the obscenely rich hoot and boast over their wealth and power. He/She takes up with three other disenfranchised revolutionary wannabes, eventually opening a restaurant where they abuse and serve the rich (literally). Nosher (James Bond film stuntman Nosher Powell) plays a hands-on old coot of a Home Secretary of Defense who is such a good politician that he can schmooze his way out of a sex scandal after a gaggle of tabloid and TV reporters catch him in flagrante delicto. The ending is lame and, again, the acting is bad, but Alan/Lanah does all right, Nosher is a hoot, and a mysterious double agent channels Charlton Heston to good effect. 3 stars.

The Shape of Things

I was going to give this movie 3 stars for being an adequate story of collegiate relationships -- but the last 15 minutes literally blew me away. Rachel Weisz is amazing as always. Paul Rudd does fine as her nerdy-turned-hottie love interest; so does Gretchen Mol as a past Ms. Could-have-been. Her fiance and his best friend, Paul Weller, is OK but I just don't like the guy's looks or roles. (He's a sleazy player in The Business of Strangers too.) The dynamics of the relationship between Rudd and Weisz was sufficient to hold to hold my interest throughout the film but what Weisz did with the whole thing at the end knocked my socks off. For the morally squeamish (like Rudd at the start): This film contains pot smoking, bedroom canoodling, and offscreen oral sex. 4.5 stars.

Black Books: Series 1

TV. Black Books is Fawlty Towers meets Seinfeld. An Irish sop of a bookstore owner (Dylan Moran) wants nothing to do with customers or finances, preferring verbal abuse, alcoholism, and bad hygiene. (Think of a shabbier Ewan McGregor with a John Cleese tongue doing nothing at all like Jerry Seinfeld, but add in smoking and drinking.) His newly hired sidekick/foil/assistant (Bill Bailey) is like Tim Allen's Richard Karn in Home Improvement. (He's earthier and funnier, with David Crosby hair.) Their retail neighbor (Tamsin Grieg) is a lot like Elayne Boosler, smokes, and has phone sex in one episode. This show is funny enough for Brit humor -- sometimes a miss for Americans, sometimes as dated and predictable as Monty Python, but wacky, affectionate, and fun. (To the show's critics: Yes, Bernard Black is a contemptible person -- but what's funny is how he proves to us by his example and reverse psychology just how contemptible such boorishness is. So maybe you just prefer to never witness anything objectionable, but one way to draw a lesson -- or to land a knockout punch -- is to come at it from left field.) Black Books is creative, though not particularly deep -- and I found that it begins to grow on and stays with you. The trio has great rapport together, esp. when abusing perfectly polite customers. 3.5 stars.

Fido

Fido is Shaun of the Dead meets Pleasantville or Blast from the Past -- a delightfully quirky (okay, twisted) take on Lassie, with a sweet 1950s big band soundtrack. It even asks the big questions, like Do zombies have souls? Carrie-Anne Moss is a 1950s housewife, looking so domestically alluring that Eddie Haskell would have been a very bad boy. Dylan Baker is her clueless husband in a loveless marriage. K'Sun Ray is their son Timmy, a bright boy who asks the deeper questions that make complacent adults uncomfortable. Their decade is not the 1950s that we remember, however: People live in the fenced cities of a postapocalyptic society where anyone who dies, returns as a zombie. ("Help! Grandma fell -- and she's getting up!" cries one girl in a civil-alertness propaganda film.) The '50s duck-and-cover paranoia is aimed at the walking undead, outdoor education class for children means rifles and target practice, and the siege mentality sounds just a bit like our war-on-terror fearmongering. Be thankful, then, for the pervasive Zomcon corporation, whose technology permits the control of zombies (though with the occasional glitch, not to mention preemptive removal of aging relatives), turning them into inept but captive working-class servants. This is how Timmy gets his own pet, Fido (Billy Connolly), who increasingly displays more humanity in his interaction with his family than does Timmy's father or his zombie-war-hero neighbor (Henry Czemy). Of particular note is another neighbor (Tim Blake Nelson) with an even more unconventional relationship with his female zombie servant, not to mention the setup for a scene that begins with "Fido, where's Timmy? Is Timmy in trouble?" and ends with two snotty scouts getting their just deserts. Fido is a hoot of a movie that will almost make you love its namesake. Great script, acting, and soundtrack. 5 stars.

Aurora Encounter

Crazy-eyed character actor Jack Elam (from numerous Westerns but also Home Improvement's Stinky Mike) alone is worth the price of admission. Carol Bagdasarian is passable, as are the west Texas schoolgirls she mentors. George McFarland (in his only role in 42 years since playing Spanky in The Rascals) is the Texas governor. Unfortunately, this movie meanders -- as does the diminutive space alien -- real slowlike. It has a few bright spots but is far from riveting. The special effects suck. Aurora Encounter is no E.T. meets Open Trails. I saw it on instant viewing or I'd be upset for wasting a queue slot. See it for the empathy between Jack Elam and Mickey Hays. Or between Jack and his moon dog. 2.5 stars.

Paycheck

In Paycheck, a high-tech mercenary (Ben Affleck) performs "reverse engineering" to disassemble and duplicate (or even improve on) laser-display products from competitors of Alltech -- though as we see, Alltech pretty much considers the whole world to be its competitors when it comes to high-tech supremacy. To protect itself legally (as well as illegally), Alltech "wipes the memory" of our protagonist for the duration of his contract (usually two weeks). Never mind how they can do this--they show his nerdy wallflower friend (Paul Giamatti) literally zapping individual synaptic memories like he's playing a video game! Then the schmoozy CEO (Aaron Eckhart) ups the ante with a tantalizing contract (three years, $98 million) but by the end of the project, he becomes a domineering "chief execute-if (anyone crosses him)." Never have you seen so many Blackwater-style corporate guards and agents shooting up the public streets and corporate halls of Seattle willy-nilly. Ben and his love interest (Uma Thurman, a botanical doctorate in Alltech's employ, this time as Poison Ivy's good twin with a bit of kickass Beatrice Kiddo thrown in) dodge and run through hailstorms of bullets and perform enough martial arts to thrown down all the bad guys by the end. The mystery plotline of Ben's alternate set of personal effects is what makes the movie most interesting. While John Woo's best is other directors' worst, Paycheck steadily shoulders its way through gaping plot holes and weak acting to deliver a handful of fun or memorable scenes--plus plenty of chase scenes and pyrotechnic explosions. The science is as sloppy as in Ang Lee's The Hulk, but at least they tried. (Paycheck could have been The Minority Report for science, and nearly as disciplined as Mission: Impossible II for everything else. Live Free or Die is as wild with pyrotechnics but it's a smartass franchise -- it has an excuse!) Even so, like Chain Reaction I did (mostly) enjoy catching Paycheck a second time. 3.5 stars.

Meet the Robinsons

Meet the Robinsons is a spirited and fascinating tale of intelligence, creativity, drive, and self-determination (accomplishing one's dreams). It's really a superb story of hope, love, and faith, as child prodigy Lewis finds the family that will adopt and love him and lead him to the future he (learns through time travel that he) will create as a hugely successful inventor. The color palette and architectural design of our pint-sized hero's future world is a wildly inventive Art Deco gone Technicolor and based on the wonderfully illustrated book by James Joyce, A Day with Wilbur Robinson. Almost every character is as idiosyncratic and manically original as Caffeine Patch Lady, who is just a stitch (for laughs and, for Lewis, in time). Don't miss Coach either. The voice talent is all excellent, esp. Lewis, his childhood roommate Goob, and Bowler Hat Guy, though I did not recognize any of the talent names beyond Angela Bassett as the nurturing foster mother Mildred, Adam West as Uncle Art, Nicole Sullivan as Franny, and Tom Selleck as Cornelius. Some say the movie seems to get confused in the middle after introducing all the family members, but I was able to follow the hyperkinetic action and I was impressed with how well-delineated so many characters were presented. The scenes with the T-Rex and the Cuisinart bowler hat are exceptional. The music is memorably awesome and performed by three of my all-time favorite artists (the genius Danny Elfman himself, Rufus Wainwright, and the soulful Rob Thomas) in addition to the All-American Rejects' driving and unforgettable performance of "The Future is Alive Today." The DVD's bonus features include a making-of production that shows how the movie was made using conventional and CGI animation and, more importantly, discusses the inspiration behind the story's themes of adoption and Lewis's mantra for life: "Keep moving forward." Disney has a real winner here in a story I look forward to watching over and over again. 5 stars.

Ansel Adams: American Experience

Documentary. Ansel Adams was a seminal force in American photography and nature conservation. PBS ably tells his life story -- how he found and exercised his gift for showing us our world in pictures that are luminous. 4.5 stars.

Why Dogs Smile and Chimpanzees Cry

Documentary. This is an interesting topic and documentary that most people would be well-served to consider. It could have been more verbally and visually interesting but the production presents the subject adequately. It's not some godless PETA agenda to anthropomorphize animals (compare them and make them equal with people), it simply presents the facts of how animals devotedly care for their young (nurturing), how young animals learn from their mothers (emotional and intellectual socialization), and so on. Chimps like Washoe and Gorillas like Koko have learned American Sign Language and communicated their feelings -- and Washoe has taught another chimp ASL. I think our world will be better served as we humans get off our high horse (as it were) and see animals as our companions. Let's see them not as we would prefer them to be but as they really are. For that, we can thank Diane Fossey, Steve Irwin, and all the other conservation-minded people who love and respect life -- not just human life but all life. 3.5 stars.

Comic Book Confidential

Documentary. Comic Book Confidential presents a panoply of great comic artists from the 1940s-1980s who read and discuss their work and how they created it. Pretty much anyone you could think of gets at least 5 minutes -- even Lynda Barry -- so the historical value is satisfactory to say the least. We also get hundreds of art panels in vignettes with sound effects. See the Dark Knight's vicious vengeance before Batman became TV schmaltz. See the origins of Captain America and Superman, the Fabulous Furry Freak Brothers, and Art Spiegelman's Maus. See mainstream and counterculture graphic art wedded with narrative text in the unique form that America created in the comic book (today known as the graphic novel). I had to acquire it on videotape through interlibrary loan since this service hasn't stocked it in some time. 3.5 stars.

Dinotopia: Season 1

TV. Dinotopia is a Lost World series with virtually unknown actors who do quite well in their roles. The father (Michael Brandon) has had bit parts dating back to Love American Style and his sometimes bombastic style is a good foil to the other characters. His two teenage sons (Shiloh Strong and Erik von Detten) play opposites in temperament, loyalty to Dinotopia, and approval from their father. The incumbent mayor (Jonathan Hyde) is truculent but compassionate. I esp. like the three lead women: his wife the incumbent matriarch (Sophie Ward), his daughter and frequent emissary (Georgina Rylance), and a devious outlaw jezebel (Lisa Zane). Dinotopia is no Jurassic Park but I've grown fond of its characters and story arc. It's probably not for children 10 and under, since my youngest son was scared off by the first episode, which features a lot of chasing and chomping by T-Rexes -- not representative of other episodes but quite a disappointing start to the series. You may be bemused by the father pulling a Henry Ford on Waterfall City and by the citizens pulling A Christmas Carol on him in return. Either way, the dinosaur and architectural artwork is attractive and imaginative, and the society is well-conceived, with humans in couture dating from the Renaissance to the 1800s. Episodes deal with more adult societal dynamics than the books, which appeal to young children because the boys are younger and lack a parental foil. 3.5 stars.

Crank Yankers: Season 1: Uncensored

TV. Yes, Wanda Sykes's Honda t-rd sketch is a classic, but the broadcast was so lame I know I don't need to rent the disc. On average each show included one sketch that was marginally ha-ha but Special Ed and the old guy got old very fast. Crank Yankers can be safely avoided without loss of joi de vivre. Spongebob Squarepants is funnier and less stupid. 1 star.

Crank Yankers: Season 2: Vol. 1

TV. Don't waste your time. Jimmy Kimmel is just not funny here, nor anyone else. Is it really worth 220 minutes of your time to sift through and find the one funny sketch in this entire season? Hadassah, Special Ed, the old guy puh-leeze! 1 star.

Lars and the Real Girl

Ryan Gosling is amazing! Here is a rare gem. It requires suspension of belief to complete the story arc -- but it's a tale told with great subtlety and emotion. Ryan plays Lars, a loner who lives in the garage beside the family home which his married brother and expectant wife occupy after the passing of the sons' parents. Lars will do almost anything to avoid social contact with his sister-in-law and everyone else in this this small river town (feels like Ohio). I caught a clue and figured out his problem early on but the magic of the movie is how artfully his illness is identified and how sensitively the townsfolk treat him. Lars and the Real Girl is The Shipping News meets Angel Eyes. This movie will really open your eyes to how loving and listening to someone is the key to unlocking their mental illness. Patricia Clarkson as the family doctor is a gem as she does just that -- allowing Lars to heal himself, as it were. The theater was full of laughter throughout the movie but of varying kinds -- nervous or unrestrained -- as appropriate. Don't miss this movie! Ryan should get another Oscar nomination for his role as Lars. 5 stars.

Bella

I cannot speak highly enough of Bella. Bella is why we watch movies. Bella is why we award Oscars. Don't miss this one, you'll regret it. It has elements of Angel Eyes, Maria Full of Grace, and Tortilla Soup and is the polar opposite of Citizen Ruth. The story is tightly wound and develops organically so you don't know what is going to happen next, esp. while Nina (Tammy Blanchard) is visiting the family home of Jose (Eduardo Ver�stegui). These two actors are amazing together, and the rest of Jose's family is impeccable too; I couldn't take my eyes off their faces lest I miss a single nuance of their expressions. This is an emotionally gripping movie (if you care about such things at all) and a very authentic, human, interpersonal movie. It's about a relationship into which Jose realizes he must invest himself, from the moment he learns one thing -- and we get to see the petals of his story slowly unfold. What a beautiful flower he has nurtured in the end. 5 stars.

Ratatouille

Ratatouille is a cinematic and gustatory delight! It's an extremely well-done movie that, more than kids, will appeal to adults, foodies, and Francophiles. Toy Story and The Incredibles were my favorite Pixar films until Ratatouille, but this latest movie is extremely faithful to the nuances and joys of the culinary life and the culture of Paris. Patton Oswalt is perfect as Remy the culinary rat, as is Lou Romano as Linguini, his insecure protege. Janeane Garafolo is super as Colette and the rest of the kitchen staff is full of personalities with their own shady past and present quirks. Peter O'Toole is wickedly menacing as Anton Ego, the supercilious restaurant critic. Every detail of the culinary profession has been studied and reproduced faithfully on screen. Remy -- he cares because he can cook! 5 stars.

The Year Without a Santa Claus

These three Rankin-Bass stop-motion-puppet shows on one disc -- The Year Without a Santa Claus, Rudolph's Shiny New Year, and Nestor the Long-Eared Christmas Donkey -- are a nostalgic joy and they hold up well even today. I recommend them wholeheartedly to any family as a lasting Christmas tradition! In the first show, a weary Santa (Mickey Rooney) wants to take a holiday from his thankless job -- the North Pole has phone but no postal service yet, it seems -- so Mrs. Claus (Shirley Booth), two elves, and two reindeer pitch in to prove that people still believe in him. The Snowmiser and Heatmiser characters are hilarious and memorable and the townfolk are endearing. In the second show, Rudolph is called into service to locate Baby New Year before Old Man Time (Red Skelton) runs out of time. The story is full of quaint and inventive details as Rudolph gathers companions to help him in his journey: the million-year-old cave man, Sir Ten-Two-Three (a knight so named for 1023, reputed to be the year that all the Grimm's and Mother Goose fairy tales came true), Big Ben the whale, Ben Franklin, etc.; Baby Time is on the move since everyone laughs at his big ears, but Rudolph knows how to comfort a misfit to be loved for who he is. In the third show, Nestor the donkey's ears are so long he trips on them but he is selected as the beast of burden that Mary rides to Bethlehem. The Rudolph and Nestor shows were made back in the day when the story of the Christ Child was still communicated with prominence and inspiration in prime-time TV Christmas specials and, with the Muppet programs, they are among my favorite classic Christmas shows of all time. These three programs' production values are still impressive today. See them, if you haven't already, and if you have, see them again soon! 5 stars.

Heavy Metal

Heavy Metal is George Lucas meets Frank Frazzetta to a Sammy Hagar soundtrack. Amazing animation, script, and action across six linked storylines. Seminal stuff! I first saw it in the movie gallery at a sci-fi convention 25 years ago. From the opening scenes of an astronaut riding a car through reentry to the Earth's surface to the end, this is pure '70s animated sci-fi enjoyment. Advisory: Decapitation and other gruesome deaths, curvaceous female anatomy, nudity, and some sex. 4 stars.

Everyone Says I Love You

Everyone Says I Love You is not one of Woody Allen's better works and mostly it proves which stars can't sing (John Cusack can't but Alan Alda can), however, everyone takes a risk and performs so well together that Woody's affection for the musical and the scenery in New York and Paris makes it succeed just well enough. You have Woody's usual clatter and patter of conversational multitasking and you have his nebbishness. (Nattering nabobs of nebbishness?) He sleeps with the most beautiful women (in the past or off camera) even though the words Woody Allen and sexy should never be used in the same sentence. The musical numbers are sweet, though you can barely hear Woody's solo and I couldn't believe Julia Roberts did one too. The best numbers are the spectral funeral-home visitees and Woody's duet with Goldie Hawn (whom you have to see in Groucho Marx getup). I also loved the liberal Democratic family clashing constantly with the son turned Republican -- until we find out what caused him to flip! I wouldn't buy this movie but I'd certainly watch it again, with the right companion. I had to locate this movie in videocassette through the library system since this service doesn't currently stock it. 3.5 stars.

Women on the Verge of a Nervous Breakdown

I love Pedro Almodovar -- and Madrid -- but Women on the Edge of a Nervous Breakdown feels like a telenovela masquerading as what Volver became in full fruition 20 years later. This movie's beginning reveals some resplendent camerawork and a pervasive clock/time theme but then devolves into what feels less like high art and more like lowbrow comedy. I understand and enjoy its planned wackiness and over-the-top hamminess; I was with it straight through the scene where the male and female leads (Fernando Guillen and Carmen Maura), stars of a popular TV soap opera, record their lines in studio -- separately, because he has already left her, as she is beginning to find out. Their soap opera dialog is as thick as oatmeal. She has huge beautiful orbs a man could get lost in. (Her eyes!) He has begun to play an elusive rigamarole with her, just missing her by phone or in person and leaving messages promising to see her there or then, when he's just avoiding her and planning a trip with another woman. She starts going crazy. Through impossibly improbable coincidences, she meets and has confrontations with his new lover and his former lover -- who has not been right in the head since he left her. Complications arise, involving a young dandy played by Antonio Banderas, lots of spiked gazpacho, and a police gun or two. I love the mambo taxi driver! The chase scene had to be 25 mph tops (snooze or snicker). Maura does a wonderful job with her role, and all her sister victims of chauvinism do well enough in theirs, but the script and the pacing were too relaxed to succeed as a wacky action movie -- that is, too much like the telenovela format that this movie was trying to surpass. It works well enough as a 1980s foreign film from Spain but it's not as timeless as Almodovar's later work will prove to be. Watch it in Spanish to improve your vocabulary. I tracked down a copy on videocassette through the public library because this service hasn't stocked it in months. 3.5 stars.

Tim Conway: Timeless Comedy

TV. This disc presents (only) 57 minutes of the inimitable Tim Conway in the early days of his career and, apparently, the television industry itself (must be 40 years ago). See him crack up his straight men even then (Bing Crosby, David Janssen, etc.)! The jokes are funny, even if they feel quite dated, because of his flawless sense of physical and verbal nuance and timing. All routines are live and uncut, which is a treat in itself, however, I could only watch half of this disc because I longed for the rapier wit of his Carol Burnett Show years. These routines feel more like a butter knife -- albeit an expertly wielded butter knife. 3 stars.

The Office: Series 1

TV. The Office is an amazingly well-written and sharply produced programme (British spelling there). The documentary format makes it feel live, real, and accessible while simultaneously putting the glaring mishaps of mismanagement front and center. This is groundbreaking satire better than any other British humor I've seen. And talk about dry! If you don't have a problem with the vocabulary and accents of British English (wanker, etc.) then you ought to appreciate The Office greatly. Of course, if you love the culture across the pond, you'll love The Office. The characters are well-drawn and the expressions are often priceless. I did fall in love with the U.S. version of this series first, which I find to be fuller in character enunciation and plot development. (It has many more episodes and twice as many seasons at this writing.) You can pick out the equivalencies in nearly every character and even some of the same scenes and expressions -- though I respond much more warmly to the humor in the U.S. version. This is the genius that started it all! 4.5 stars.

The Humanoid

A strong 80s vibe with its manes, mops, and music -- OK as an anime, nothing exceptional, although the ending is slightly dramatic. 2.5 stars.

Rex the Runt

Wallace & Grommit meets Monty Python and Hitchhiker's Guide to the Galaxy. I caught on immediately that Rex the Runt is hilarious claymation full of surrealism and rapidfire silliness. It took a few episodes to realize it's not an odd family unit with a dog, it's four dogs in an odd family unit. Rex (the titular lead and narrator), Wendy (who is as frustrated as any woman living with three male slobs would be), Bad Bob (the oversized bloke who wears an eye patch and always carries an oversized gun), and Vince (who has gangly teeth, murmurs nonsequiturs, and suffers from Random Pavarotti Disease) apparently all sleep in the same bed, eat constantly, watch a lot of absurd programmes on the telly, and go on surreal "adventures" (deflating the Earth and riding it through space like a deflated balloon for three episodes, frequently using their shrink-ray gun or their time machine made from a can of beans, entering a star search contest, getting brainwashed by the celebrity head of the Church of Chemicalology, and the like). Most of their adventures involve getting ripped off for "10 quid" at a time by a creepy love camp headmistress, the unethical Dr. Dogg, and others. Vince falls in love with a vacuum cleaner he ordered from the telly and gets married. Hygiene is often a discussion topic. A lottery is won -- and immediately taken back due to damages caused by the quartet's shrinking, adoption, and abandonment of the city of Birmingham. Children under 10 may find much of the rapidfire verbal silliness and British slang over their heads but adults with a warped sense of humor should love this show. It could perhaps be rated PG since Wendy has obvious if nondescript boobs (though one telly spoof has girls with bigger fake ones), the language can be mild (cr-p, fat b-st-rd), and one character gives the finger to the telly. Rex the Runt is an excellent British spoof of modern television programming and suburban ennui. 5 stars.

Mr. Smith Goes to Washington

Mr. Smith Goes to Washington is one of AFI's Top 100 Films for a reason. Jimmy Stewart is in top form as Citizen Everyman and genuinely funny esp. during his filibuster. I love his scene on the phone with the D.C. debutante. Jean Arthur is excellent esp. in her drunk and "I quit" scenes. Yes, the film plays up Stewart's wide-eyed delight in Washington and his patriotism, but this was before we entered WWII. Besides, how many people from middle America got to see D.C. other than in the movies? Here is a morality play for every American to watch and to think about -- so that "government by the people and for the people may not perish from the earth." 4 stars.

Broken Arrow

Broken Arrow is The Peacemaker with Christian Slater instead of George Clooney and John Travolta instead of Aleksandr Baluyev. This is after Pulp Fiction and before Swordfish and Be Cool -- John's become a bad boy with an attitude (and a nuclear weapon)! Christian is his former copilot, the boy scout who will fight to the end to stop him. He's assisted by Samantha Mathis instead of Nicole Kidman, but she'll scrap to get the upper hand too. Sure, the plot has holes big enough to drive a train or fighter jet through at times, but I think it's a sufficiently exciting suspension-of-disbelief movie (like Hollow Man or The Cliffhanger) that's always worth a watch. You've got to respect a baddie who has planned ahead for every contingency, just so he can be snide and/or lethal about getting what he wants! 3 stars.

Forbidden Planet

It's a sci-fi pilgrimage or epiphany to finally see the seminal film Forbidden Planet, starring (admit it) Robbie the Robot, not to mention a young (who knew?) Leslie Nielsen. I had to get this one from the public library since this service lists but doesn't stock it. Forbidden Planet is the fountain in the sci-fi sands from which sprang Star Trek, Lost in Space, Star Wars, and everything that came afterwards. It's more scientific, inventive, and psychological too. Don't critique its special effects against modern sci-fi offerings, since that is their forte while scientific accuracy and psychological drama is this film's. The scientific and creative bases for the sets and script are undisputably original and intelligent -- and after 51 years, they still beat any other movie that has since been made. (By the way, sci-fi movies universally favored flying saucers until Lost in Space in the mid-60s, after the Gemini, Mercury, and Apollo space programs taught us about rockets.) In short, I doubt we'd have had Star Trek, Lost in Space, Star Wars or any intelligent sci-fi (as opposed to monsters-in-space or monsters-from-space shoot-em-ups) without Forbidden Planet. Go, Robbie! 5 stars.

The OH in Ohio

I like Parker Posey kinds of movies but not the fact that she smokes pot in every one I've seen so far. I wanted to like this movie more because it is a lighthearted attempt at a slice-of-life study of a woman whose lifelong frigidity finally ends in her sexual awakening -- though apart from her husband (not funny, because he was not the problem, though after 10 years he did give up first because she was too repressed to consider it important, even in therapy). Next, she slides into addiction, followed by promiscuous behavior (also not funny). Her blonde, arm-windmilling assistant pries her for every detail of her exploits, giggles in stereo, and considers her a sex goddess (even though Parker nearly loses her new VP position). Her husband, meanwhile, has taken to bedding his star student, which also makes for some sticky situations. Liza Minelli briefly plays a New Age women's sexuality coach and Danny DeVito has an extended role as Wayne the Pool Guy, Parker's new love interest. (As always, Danny may be a fat hairy old gnome, but he's a lovable fat hairy old gnome.) Ultimately the movie explores too many situations irresponsibly or plays them for laughs before leaving them as loose ends. Even the ending feels tangential. Call this one Sex and the City (starring Charlotte turned Samantha) meets Living Out Loud. 3 stars.

Bicentennial Man

The Remains of the Day meets I, Robot in a sensitive exploration of what it means to be loyal, creative, free, loving, and a human being. Based on the seminal and prolific science-fiction writings of Isaac Asimov, who created worlds and cultures spanning thousands of years where robots (operating under the Three Laws of Robotics) gradually become indistinguishable from humans, Bicentennial Man gives us Robin Williams as Andrew, a unique robot with the continual desire and capacity to grow and to better himself. Initially purchased as a household appliance (albeit a mobile and polite one) and treated as property, Andrew displays a sensitivity and an aspiration to continually learn that serves him well in his loyalty towards his family (esp. Sam Neill as Sir and Hallie Kate Eisenberg plus Embeth Davidtz as his beloved Little Miss and, later, her granddaughter Portia). He is emancipated by his first owner and begins a quest to gradually approximate humanity not only in his interior creative and emotional life but also in his exterior appearance. The robotic design and capacity for facial and emotional expression in this movie are unparalleled and all other technology is well-designed too (with the exception of Andrew's cheeseball headmounted holographic projector). Williams really makes this movie, and the ensemble cast does a warm job of their family dynamics esp. for a sci-fi movie. Williams gets to play the rapid-fire comedian briefly and he utters a number of low-key but funny one-liners as he learns to express his frustration with humans who share a certain gene pool. (Best line: "Does it involve a window?") This movie is similar to but not as long as A.I. and would make a good thinking-family film for children older than 10 (due to a four-letter foray and morning-after pillow talk). However, I was disappointed in the last two minutes, which proved perversely anticlimactic twice over -- and implied that the Hippocratic Oath will no longer exist in 2205. 4.5 stars.

A Wrinkle in Time

Disney owes us a big-screen redo of this subpar made-for-TV production of an exceptional piece of literature by Madeleine L'Engle. It's about as good as Star Trek in script, special effects and acting when it should have been at least at good as The Chronicles of Narnia or Harry Potter. Hints of the novel's stellar brilliance leak through but Disney repeatedly drops the ball with weak results. The scene with A Happy Medium is a particular disappointment and the exposition often feels as mechanically induced as Bridge to Terabithia with the acting sometimes as leaden. The special effects are from the Smeared Colors School of Art and inadequately portray the tesseract, winged horse creature etc. On the whole, David Dorfman is exceptional as the young and gifted Charles; to see him in the making-of featurette is a pleasure. Katie Stuart is believable as Meg and I like Gregory Smith as Calvin. Alfre Woodard as the spritely Mrs. Whatsit mainly does her usual best but occasionally strikes an off-note. Kate Nelligan is quite good as the imperious turned less-implacable Mrs. Which ("Meg, I have always prided myself in my wisdom, but you have taught me much"). I _love_ Alison Elliott as Mrs. Who! Kyle Secor as the Man with the Red Eyes does OK because, as in Commander-in-Chief, he can be a touch megalomaniacal in the number-two position of authority. The IT police would never catch anyone for all their impassively standing around in Raybans. The script does best when it quotes the book to convey the hope and mystery that love and providence can eternally bring to bear in the defeat of evil. Read the book, read the book, read the book! But if you can appreciate a movie about familial devotion enduring through the totalitarianism and mind games of an evil police state that one child alone must defeat through faith, hope and love then see A Wrinkle in Time -- and don't miss the interview with Madeleine herself, one of our brightest stars in the authorial firmament. 4 stars.

The Best of Mr. Peabody & Sherman: Vol. 1

TV. A classic kids' cartoon from 1961 but seriously dated for adult viewers. Think Boris Badenov speaking with a mild German or French or Italian accent and you can peg every historical character that Mr. Peabody and his boy Sherman visit through the Way Back time-travel machine (15 episodes on this disc). History is bent in service of the story, so Beethoven can hear our friends and converse with them. Cultural stereotypes of the 1950s are the biggest tin ear of the show (all Chinese eat chop suey, for example). Yes, the show parodies history, but like reading Dave Barry's history of America, you have to be an adult who knows history to laugh at the scallawaggery of the in-jokes (the Nina, the Pinta, and the Santa Fe). The characters of Peabody and Sherman are the real gems of the show and like any good cartoon, the parts that appeal to adults -- in this case, Peabody's pedantry and wry humor -- are what make it succeed and survive the generations. Be warned, though: The punch lines are far worse groaners than I remember (the best one is "crown Jules" as in Verne). Frankly, I think Jay Ward's shows explain how I developed my warped sense of humor. 4 stars.

The Simpsons Movie

At 87 minutes, the Simpsons movie is not as funny as any given 22-minute TV series episode -- but it's funnier than I expected from the previews and it succeeds much better than other animated series-turned-movies. Besides, you really have to see the mob scene -- and Homer riding like Ghost Rider in the Videodome -- on the big screen. 3 stars.

High Noon

A psychological not an action-packed Western (till the end) that redefined the genre. Watch it if you enjoy a taut, tightly told story above adrenaline-soaked shoot-em-ups (till the end). Gary Cooper does a super job as the lone lawman surrounded by townspeople who fear to lift a finger on his or their own behalf. (Courage and cowardice always reveal themselves in the moment-by-moment speech and decisions that every person makes when setting their own destiny.) Grace Kelly is fine in her first role and Katy Jurado is smokin' with her fiery eyes and expressions. The cast of well-known names all do their roles proud -- such subtlety in every line and facial expression! The script is terse and the photography is lean -- everything is just right, without an ounce of fat on the cinematic menu. The movie's ever-present, understated theme song ("Do Not Forsake Me" sung by Tex Ritter) jump-started the trend for movies to have theme songs and sell the music or soundtrack too. High Noon is a technical masterpiece and a classic among classics but it does run like a train to its inevitable conclusion. Gotta love the ending! Here is a Western that even women can love. 4 stars.

Strangeheart

This is a hard movie to get hold of! Finally got it though. If you love pubs or live in Dallas or are Scottish this is a must-see, of course, but if you revel in intentionally bad filmmaking or just incredibly lame spoofs of Braveheart, you're a smaller demographic but that'll do too. Basically this is Braveheart meets A Knight's Tale, filmed in some park with a pack of 200 self-admitted "sexually deviant alcoholics." Note the staggered shifts in lighting and focus -- and beardedness of the lead character. The anachronisms and song-and-dance numbers make it jolly. The deleted scenes and outtakes are actually the most intelligent parts of the film, don't miss them. Strangeheart is not likely to catch on like the Rocky Horror Picture Show or even Hardware Wars, but any film that doesn't take itself seriously has something to hoot about and this one fills the bill. 2.5 stars.

The Office Special

TV. A satisfactory epilogue to The Office series on BBC. Go Tim and Dawn! David Brent is going to die alone, isn't he? I absolutely love Steve Carell's Office series better -- Ricky Gervais's is a bit more dry while Steve's is just a train wreck, it not only makes me cringe but shudder! Don't miss seasons 1 and 2, hey? 4 stars.

Parasite Dolls

Passable graphics and story line for a cybernoir cops-and-androids anime. The lead character looks like Keanu Reaves and talks like Charlie Sheen; he's an implacable plainclothes cop. He has a straight-up android partner he doesn't really trust because androids are going haywire on a regular basis. A live-wire female cop backs him up too; let's just say they all three have their hands full. The graphics are almost as good as Ghost in the Shell and the story was strong enough to hold my attention. A little android sex and a lot of bullet holes (word to the wise). 3 stars.

Pokemon: The First Movie

If you're an adult and can stay away from the Pokemon movies, do so at all costs. If, however, you are beholden to a child who has been infected by the Pokemon bug, well, you're toast. A Pokemon movie is like a Simpsons movie or a Star Trek movie or a Star Wars movie: Fans cannot and will not stay away, no matter how lame the script; indeed, they will clamor and chatter about its intricacies for days (nay, years). The basic approach to write any Pokemon movie script is as follows. Ash: I'm going to be the greatest Pokemon master in the world! [All wannabe, no basis.] Brock and Misty: Yay! Every dang Pokemon in the script: [Endlessly repeat own species name over and over; for example] Pikachu! Pikachu! Pi-ka-chu-u! [for emotional complexity] Oh well, at least I got to sleep through this yawner. 1 star.

Pokemon Heroes: The Movie

If you're an adult and can stay away from the Pokemon movies, do so at all costs. If, however, you are beholden to a child who has been infected by the Pokemon bug well, you're toast. At least I got to sleep through the dang thing. 1 star.

Read or Die

I highly recommend this anime for the inventiveness of its characters, action, and plot. It shows a fresh take and a fighting spirit and is fun to watch. First I'm attracted to the idea of a scatterbrained young woman who is so taken by books that she can literally tune out a surrounding apocalypse when she's absorbed in reading; Paper works as a never-say-die special agent for British library operations and has the magical ability to mold paper to her will (for use as ninja stars, whip, parachute, etc.). Her fellow agents are Miss Deep, a martial arts expert and a buxom babe -- how does she keep that lowcut top on despite all those gymnastics? -- who has the magical ability to pass through matter at will, and Drake, a cut above Special Forces kinda guy. The bad guys are really bad, and so's their technology and plans for world domination; they know how to travel in style, they know how to fight, and they just can't be beaten. Several times our heroes seem to be down for the count. The whole story is gripping and the ending is satisfying too. 4 stars.

The Tick: The Complete Series

Utterly droll, offbeat, and hilarious! David Warburton goes Adam West on The Tick -- but campier -- and his cohorts Arthur (The Moth), Captain Liberty, and Batmanuel can barely put up with him. (He's distracted by everything except his heroic patter: "Pass the syrup of righteousness for my pancakes of justice" and so on.) Fox killed The Tick and Family Guy so you have to wonder who earns the bacon over there, but thank the maker for The Tick on DVD! 4.5 stars.

A Mighty Wind

As understated and folksy a satire of the folk music world as folk music itself is understated. This movie is as affectionate as A Prairie Home Companion with some interesting character delineations, esp. Eugene Levy as a spaced-out 60-ish beatnik. Christopher Guest's ensemble improvisation techniques concoct a broth that's richer for all the actors' contributions. A Mighty Wind may be too sweet and laid-back for some with edgier tastes, but nuggets of edginess appear in the New Age couple and the bassist with a gender issue. The music is great! For similar offerings, see my mockumentary movies lists. 4.5 stars.

Shark Tale

Very inventive scenery and characters by way of illustrations and a catchy, hip-hop-themed story line. Lots of pop culture references including spoofs of pop culture itself. Will Smith in the lead role can do no wrong and the whole supporting cast is good, from Robert De Niro, Martin Scorsese, and Peter Falk down to Missy Elliot and Christina Aguilera in the closing scenes. 4 stars.

Freedom Fries: And Other Stupidity We'll Have to Explain to Our Grandchildren

Documentary. A thought-provoking and (thanks to "Rev." Billy) gospelacious examination of what happens when would-be patriots promote cheap words and empty symbolism instead of courage, character, and meaningful sacrifice in an effort to bring about real change. Without taking political sides, this film starts by comparing the Freedom Fries brouhaha and other Bush administration pettiness with historic events of real social and political symbolism (Boston Tea Party, World War II victory gardens and industrialization, Rosa Parks bus boycott) and proposes what it would take to become truly oil independent. Instead, our society's version of living free has now become reckless and conspicuous consumerism: Shop, travel, spend, and buy gas-guzzling SUVs to adorn the bumper with a Support Our Troops bumper sticker. What ever happened to previous generations' version of living free: Save, invest, spend conservatively, buy locally? How about giving up gas-powered vehicles for a year like Rosa Parks and her compatriots gave up riding the bus for a year? Excellent food for thought. I really liked this documentary and its production values. It showed integrity in the accuracy of its presenting of the corporate side of things as well as a lot of inventiveness in its spoofs of corporate behemoths like Starbucks, Wal-Mart, etc. Almost one-third of the movie was filled with "Rev." Billy's preachin' an' a-prayin' -- some may think him a buffoon but he and his "congregation" at the Church of Stop Shopping have the evangelistic schtick down pat and I think their gospel music is great! Change-eluia! Don't miss the iPod ad parodies called iRaq during the closing credits. 4.5 stars.

Good Friday Special: Fulton Sheen

TV. This program was broadcast in 1965 and is quite a bit heavier than his Angels talk (which included humor) but with a more human touch towards the end. I say heavier in the sense that it is solemn (as one would expect for a Good Friday homily); as far as substance, all of Bishop Sheen's talks are imbued with "meat" that you can take away with you. Here he presents the cross of Christ as a figure for how humans approach God and each other: with apathy (indifference), antipathy (hate or opposition), sympathy (love or support). For similar offerings, see my Catholic saints, studies, and movies lists. 3 stars.

Angels: Fulton Sheen

TV. This program was broadcast before a live audience one year before I was born. Bishop Sheen's reputation as a great speaker and orator on spiritual matters is accurate, as I've finally just learned. He's funny, relevant, and deeply insightful even today. His concern is all humankind -- Christian, Jewish, Muslim, pagan -- man, woman, and child. I learned more about angels and drew inspiration from his 25-minute presentation and I suspect you will too. For similar offerings, see my Catholic saints, studies, and movies lists. 3.5 stars.

His Last Words: Fulton Sheen

TV. This program presents the 1979 recording of Bishop Sheen delivering his 58th and final Good Friday homily from the pulpit of St. Agnes Church in New York City. It includes a couple bits of his trademark populist humor and provides a fine example of his style of homiletics. See this one if you want a good example of what the man was like when addressing his beloved flock, or anyone with an ear to hear. For similar offerings, see my Catholic movies, studies, and saints lists. 3 stars.

Action Man: Space Wars

This show would have held my attention well at age 10. Action Man is a combination live-action/animated cartoon series with a 1980s feel and some computer special effects. It has a small budget but sincerely tries hard and just might grow on you. 2.5 stars.

Film Geek

Napoleon Dynamite as film geek -- and he gets the girl. Practically destined to become a cult classic. 4 stars.

The 40-Year-Old Virgin

Boy, am I glad I didn't waste good money on this stinker in the theater. A tiny pearl of loving sentiment at the end lies awash in potty-mouthed bilge for the preceding 2-1/4 hours (3/4 hour too long). The sewer of words just never stops! I try to avoid trash-mouth movies but this is the worst I have seen since Born on the Fourth of July. There is a redeeming value in comparing the sweetness and innocence of Steve Carell's non-sex-fixated adult life (nerdy though it be) with the raging immaturity, vulgarity, and promiscuity of every other person around him (including a half-dozen who in the real world would be promptly fired or placed under arrest). Steve even stands up for his lifestyle choice despite constant public humiliation -- bravo! His dating relationship with Catherine Keener is a gem because it pays attention to true love and it waits for marriage. The Age of Aquarius reprise over the closing credits is entertaining because it includes every character but this movie is no There's Something About Mary. Still, I feel so dirty that I can only give it 2.5 stars.

The Company: Inigo and His Jesuits

Documentary. A satisfactory and informative history of Inigo Lopez (St. Ignatius of Loyola) and the founding of the Jesuits. For similar offerings, see my Catholic saints, studies, and movies lists. 3 stars.

Memron

A low-budget and initially understated yet increasingly manic and hilarious mockumentary about a post-Enron-like outplacement support group -- think of The Office with similar amounts of dysfunction but more casual production values. Every character has a significant amount of loserness to contribute and the ensemble cast's combination yields more than the sum of the individual parts. Don't miss the outtakes at the end, which form an epilogue. Warning: These people are all pathetic, because the point of satire is to skewer wrongheaded thinking and actions. The self-involved Memron executives continue to rip off those who are down on their luck like sharks in a pool full of chum. We all know people like these characters so with any luck, Memron might lead you to ask "How can anyone be that way?" For similar offerings, see my mockumentary movies list. 4 stars.

Joe Rogan: Live

TV. Joe Rogan does not travel in my preferred media circles (NPR, PBS, MSNBC) so I was vaguely aware that he hosts Fear Factor (which I do not watch). His 48-minute standup routine impressed me, though, because despite his pessimistic assessment of humanity ("We're here to f--- s--- up"), he can't believe people still watch Fear Factor. In fact, he seems to be all against human stupidity and all for being smarter than the next guy. Joe's comedic delivery is very physical, vocal, and, yes, raunchy -- but smarter than the average bear (say, Carlos Mencia, who clearly lifts Joe's style). Enron is what's scary for Joe: "These guys were ripping off accountants!" He admits men are stupid for women ("pussywhipped") while women are ten steps ahead of men on everything. He's cogent about the intellectual entropy we find ourselves in and the possible ramifications. His populist rants are not as glib as Dennis Miller but they begin to make sense as much as any Dilbertian societal analysis. 4 stars.

K-Pax

A surprisingly intelligent treatment of the what-if-I-were-an-alien question, regrettably marred by the hypnosis-as-crystal-ball and psych-ward-patients-as- cheerleaders plot devices -- in other words, Star Man meets One Flew Over the Cuckoo's Nest. The quizzical vagrant Kevin Spacey meets uberpsych Jeff Bridges, the original Star Man (see Spacey's gait for kudos to Bridges) but here so dedicated to diagnosing Spacey that he turns his staff into a cold-case team and flies cross-country to investigate a lead. Every word of dialog is pivotal as Spacey asks the pithy questions and provides undeniable answers that all but prove he is an alien -- a point that no one is willing to concede, naturally. Fortunately, Bridges uncovers Spacey's back story, regrettably marred by the plot device of investigating a long-abandoned crime scene and gazing at a tattered tableau -- followed by the camera's convenient depiction of the crime scene's reenactment. (Don't let young children see this part.) No definitive conclusion can be made, however, and the truth could lie in either direction (or both) as the story reaches resolution. The lighting effects are pivotal and well-crafted throughout the movie, as is the music and soundtrack, down to the closing tones of Sheryl Crow's "Safe and Sound" arrangement that are reminiscent of radio telescope signals. 4 stars.

Santa Claus Is Comin' to Town

Santa Claus Is Comin' to Town is a classic Christmas gem and a real nostalgic treat. If you grew up watching this show every Christmas season, you'll find an annual viewing still warms the cockles of your heart. The production values and stopmotion animation are quite excellent and hold up very well against digital techniques, in my opinion. Character design, continuity, and the original soundtrack are esp. noteworthy. You'll love all the voice talent, from Fred Astaire (Postman Narrator) and Mickey Rooney (Kris Kringle) to Keenan Wynn (Winter Warlock) to Paul Frees (Bergermeister Meisterberger and henchman Grimsby in the Teutonic helmet) to Robie Lester (Jessica). Key musical numbers are "It's A Difficult Responsibility" and "Put One Foot in Front of the Other." The original songs are all catchy and Jessica even has a solo number reminiscent of Julie Newmar. This short (48 min) but creative production does more to explain the origins of Kris Kringle -- from infancy to his first toy missions to Sombertown -- than Jim Carrey could do for the Grinch. As a bonus, The Little Drummer Boy (25 min) is also included but here the back story is a bit darker than in Pinocchio: Thieves murder Aaron's father (shown with a quick cutaway) so he "hates all people" (repeating this many times) and is quite the young tough (even in forced servitude) until his encounter with the Christ Child. For similar offerings, click my avatar and see my Christmas, Stopmotion, and Snow lists. 5 stars.(10-14-07 updated 12-18-08)

Hardware Wars

The first Star Wars parody but much tackier today than I remember on first seeing it 25 years ago. Several quality levels below Attack of the Killer Tomatoes but that's its charm (if you like chump charm). The funniest lines are weak at best. Unless you want the extra features (see mwp.com for details), save yourself a rental and visit YouTube to see the 13-minute video that is anything but "digitally enhanced" (blaster rays are literally scratched across the film)!

Best in Show

A finely humorous, intricately drawn, understated, character-driven improvisational comedy that is so tightly woven with subtle hilarities you'll want to see it again and again. If you like Monk more than Predator, you'll enjoy the quirks and interactions of this lovable ensemble of dog lovers and the affably dunderheaded commentator (Fred Willard) of the fictional Mayflower competition. Buy this disc! For similar offerings, see my mockumentary movies list. 4.5 stars.

Mission Hill: The Complete Series

TV. Slightly funnier than Gary & Mike (not yet available on DVD) and a hair short of the chuckle gradient of Undergrads. Andy French is a 24-year-old wannabe (hit and miss, unpublished) cartoonist whose life interests are drinking and sex and who "works" for a day job at a waterbed store owned by a burly, hairy Slav who patronizes strip clubs and briefly takes Andy under his sordid wing. Andy's roommates are the Lincolnesque Jim, the breathy New Age Posey, his geeky (and I do mean freaky-geeky) high-school-age brother Kevin, and their slightly crazed and unsanitary dog Stogie. Neighbors include an unlikely gay couple and a Latino-hyphenate het couple. Great fun is poked at science fiction conventions and fans, Ivy League enrollment angst, and much more. A must-see if you're interested in "adult animation" series beyond (edgier though not as funny as) The Simpsons, Futurama, King of the Hill, The Critic, Family Guy, and so on. For similar offerings, see my animation movies list. 4 stars.

Quadrophenia

A mostly dated, thick, bosh (incomprehensible) tale of 1960s Brit biker angst and self-destruction. The Who rocks, of course, though the Mods (often in Sammy Davis Jr. outfits) dance to da-doo-ron-ron tunes and mix it up with the rival Rockers (in black leather jackets). You'll have to work very hard to understand these cockney reprobates, even if you know the slang ("wankers," "nig-nogs from West India"). Biker beatings and riots ensue in Brighton and Phil Daniels (in a well-acted role) continues his delinquent slide downhill (with no help from his daft parents), though he presumably returns from the deep end. (Just going by the story without the available commentary, it looks like less than one-half of a male take on Thelma and Louise along the spectacular cliffs of Dover.) Sting is fashionably cool in his debut but even The Who couldn't make me care enough about these young turks to give Quadrophenia the same 3 stars I give The Dead Poets Society. 2.5 stars.

The Office: Season 3

TV. This series continues to be supremely hilarious and has become my favorite program because of how it makes me belly-laugh and feel affection towards this incredible collection of corporate cretins. Steve Carell continues to be a train wreck of a manager whose missteps are as exasperating as they are endless. Every character in this series is well-developed and when dialog is short, the facial expressions are always priceless. (They are not blank stares but universally emotive if you are feeling the same things they are, in other words, if you watch intelligent TV with intelligence instead of a blank stare of your own.) Here is a community of commiserates to make anyone cringe -- and laugh. For similar offerings, see my office movies list. 5 stars.

Thank You for Smoking

A glib, acid-tinged study in the smarm and the schmooze of a take-no-prisoners spin doctor for the tobacco industry. Satirically funny as hell! Interestingly, the art design recreates cigarette package graphics as a storyboard device. Whether you prefer to view or avoid such things, be aware that this movie has several quick sex scenes. 4.5 stars.

Paradise Now

Paradise Now is Maria Full of Grace for the Palestinian suicide bomber. On a human level, this movie examines the political and emotional ramifications of what it is like to be selected and sent on a suicide bomber mission. From the squalor of Palestine to the love of a woman to the martyrs' vigil to the complications of a mission gone wrong, everything is presented just as it is, without bias or editorializing. As with Maria Full of Grace, you see how people are presented with choices at every turn and how simply some may be drawn into collaboration in heinous acts. The acting is so translucent as to let us see and feel what the two candidates for "martyrdom" are going through as each considers whether to quit or pull the trigger. (Sorry, political extremists, but it's not martyrdom when you are killing yourself and it's not sacrifice when you are killing others.) A riveting and challenging examination of how people make life-and-death choices in critical junctures. 5 stars.

The Discoverers: IMAX

Documentary. A superbly done movie worthy of the IMAX format and approach: excellent in production values and inspiring in subject matter and presentation. The cinematography, photography, audio, and storyline meet the usual IMAX standards -- tip-top -- while the film takes good advantage of the IMAX camera's strengths in presenting fisheye and panoramic views as well as swooping and sweeping flyovers. You'll see reenactments (narrated in English with actors speaking in their native Spanish) of Magellan's discovery of the Pacific passage and of Maria Sautuola's discovery of stone-age cave paintings in Spain and you'll witness the exciting work of scientists, from Newton's discovery of prismatic color to those who are mapping the surface of Venus in 3D to those who are discovering how dolphins can communicate with us through visual and even abstract language to those who are studying the Earth's magnetic field through the ballet of the Northern Lights. For similar offerings, see my comprehensive IMAX movies list. 5 stars.

Shaun of the Dead

A well-done hoot: Bridget Jones meets Dawn of the Dead, but with cricket-bat zombie whacks instead of fisticuffs. Don't miss the superb visuals that make a silent social commentary about how zombie-like modern suburban life can be. There's a bit of The Tao of Steve here too with a nice soundtrack. Hilarious in a droll, British, off-your-chump sort of way! 5 stars.

Feast of Love

While not as movingly written and acted as Crash or The Notebook, The Feast of Love is set, plausibly at the intersection of Love Actually and Places of the Heart, in a small college community in Oregon where nine lives intersect and overlap in love and loss while wrestling with the what-ifs and consequences of their personal choices. Morgan Freeman is the endearing centerpiece as a college professor on extended personal leave because of a great loss in his life, with Jane Alexander well-cast as his strong and supportive wife. Similar to the sensitive but wronged character he played in As Good As It Gets, Greg Kinnear is the idealistic husband of Selma Blair and later Radha Mitchell, as each flawed woman shows how bad girls don't want nice guys. Alexa Davalos and Toby Hemingway are a charming young couple facing challenges and finding help and support from the community clustered around Freeman and Kinnear. A handful of sex scenes and a handful of nude scenes transport this movie from the emotionally moving and tightly integrated neighborhood of Crash to the episodic red-light district of Closer, but because The Feast of Love runs from good to ever better in its connection to our universal human wants and needs, I ranged from giving it 3.5 stars to 4 stars to, by the end, 4.5 stars.

Fantastic Voyage

A sci-fi classic which, while dated in social mores and special effects, will remain a classic. It stands with Andromeda Strain and Voyage to the Bottom of the Sea as the three best sci-fi films of the 1960s. Sure, Raquel Welch's top appears to be chronically zipped down but (a) if you read his novels, Isaac Asimov was a breast man, so the movie is cleaving true to the book and (b) who's complaining? This story captures people's imagination and does a fine job with the special effects technology of the day (contemporary with the Mission: Impossible and Star Trek TV series and 10 years before Star Wars). A keeper! 4 stars.

Little Miss Sunshine

A fairly straightforward comedy about a fairly twisted extended family that fundamentally still loves each other. The ensemble cast interacts well together, albeit at times dysfunctionally. (The movie is rated R for language, drug use, and sexual content.) Each family member is messed up in their own way but approaches their individual peace while sticking together as a family during the road trip from hell. As for Steve Carell's character, I'd be depressed if I were the "foremost Proust scholar" too! Oddly enough, the most twisted part of this movie is the little girls' beauty pageant, where the "tarted up" artificial Barbie dolls are seen as normal. 4 stars.

Dixie Chicks: Top of the World

Music. Great country music from the Dixie Chicks in an inventive stage design (opening like a forest canopy with a surrounding yellow-brick-road-like walkway). The first two songs sounded tinny and rockified but the ensemble warmed up as it went acoustic. The best numbers are "Long Time Gone," "Traveling Soldier," and the closing "Wide Open Spaces." The camera cuts rapidly between the girls, who wore different urban-grunge outfits in each of at least nine cities, but the one thing I never got used to was Natalie's Mohawk mullet and Piccadilly Circus outfit. Top of the World appears only by way of the music video (which is awesome) but it should have been one of the 18 songs included in the concert compendium that is this disc. 4 stars.

Clear and Present Danger

With Patriot Games, this was one of the best Tom Clancy novels and is the best of the movies to date. (The Hunt for Red October was quite good, if plodding, though The Sum of All Fears was barely passable.) It has zip and crackle: a secret special-ops drug war in Colombia, a rocket-launcher ambush of the U.S. delegation, Jack Ryan (cowboy ex-Marine that he is) personally rescuing our men on the ground, and finally barking back to the President "How dare _you_, sir!" in defense of the Constitution. Like The Peacemaker, I never mind catching parts of this movie on TV during a break. While quite realistic, I'd give it full fifth star if parts weren't somewhat implausible. All the actors do a fine job, from Harrison Ford to James Earl Jones to Willem Dafoe to Joaquim de Almeida to Donald Moffat as the President. 4.5 stars.

Patriot Games

The book was better -- more intellectually taut -- but the movie is still a visceral thrill. Of the Tom Clancy book-based movies, I prefer Clear and Present Danger overall but Patriot Games has its moments. Harrison Ford delivers a better Jack Ryan -- everyman, patriotic, and "cowboy" -- than Alec Baldwin. Sean Bean is insanely intense in his hatred as an ultra-extreme ex-IRA terrorist. The highway attack is gripping but the home attack seems perfunctory when compared to the book. 4 stars.

RoboCop

If you like to see bad guys going apes--t with machine guns and robotic enforcers returning fire, RoboCop is almost as creatively nuanced as Terminator without the mindless tedium of Starship Troopers. The backstory offers social satire on TV news (SDI and presidential mishaps) and advertising (you'll wanna drive the 6000 SUX) as well as corporate privatization of the police force (a prelude to more sinister plans). Peter Weller plays a robot capably and sensitively (though with less personality than Anthony Daniels as C3P0) and Nancy Allen does well as his tougher-than-Cagney partner. The bad guys are well-played as over-the-top thugs. Don't let kids or grammas watch this movie, though; people getting capped is, shall we say, a big recurring theme (though with burst-blood capsules rather than projectile spluts as in 300). 3.5 stars.

The Lives of Others

A powerful bildungsroman that delicately portrays how an East Berlin playwright and his actress consort survive under state surveillance and interrogation led by a dogged captain who has a gradual change of heart. 5 stars.

L.A. Confidential

The quintessential silver-screen cop movie with a stellar cast and a complex, memorable story. Russell Crowe, Guy Pearce, and Kevin Spacey are excellent and Kim Basinger is luminous; James Cromwell and Danny Devito are great too. Tighter than The Usual Suspects or Seven and the soundtrack is awesome; this movie really conveys the times. See this movie! It is not one you will easily forget. 5 stars.

Bush's Brain

Documentary. A somewhat murky and plodding indictment of the Machiavellian Karl Rove's "dirty tricks" and "scorched earth" political maneuverings, which can be characterized over the decades in every instance as (a) taking total control of all details of a client's political campaign, (b) pulling the dirtiest tricks imaginable (doing "whatever it takes" to win), (c) destroying the candidate's campaign but often also his career and family, and (d) denying involvement in any dirty tricks. This is the guy who did all this to machinate a takeover of the Young Republicans at age 22! Karl Rove is the original divider who believes himself to be a uniter (as did the Fascists, only they had guns). Rove was more than a brilliant conquistador for the Republican party and a Svengali for Bush; he polluted the waters and destroyed honorable "competition in the marketplace of ideas" for at least the present generation of bipartisan politics. It's vital to the healing of our nation and authentic (as opposed to mindless) patriotism that he has been drubbed out of office and should eventually be made to answer for his sins. How interesting that none of the members of the Bush administration have served in a war, and they call this a "war presidency" even as they mismanage and neglect every domestic crisis and military theater they have faced -- while continually if falsely claiming political victory. 3.5 stars.

MirrorMask

MirrorMask is an astonishing and artfully produced fantasy film, unparalleled by anything I have yet seen. From the opening credits through every moment to the closing credits, it immediately entered my top 10 favorite films, even my top 5. It is something like Pan's Labyrinth meets Brazil and Naked Lunch at the Cirque du Soleil, with elements reminiscent of Moulin Rouge, Willow, Big Fish, The Fountain, Labyrinth, and the art of Basquiat. The art direction, costuming, and special effects are phenomenal, and (contrary to the criticism of some) the storyline is sustained and revelatory throughout. True, this is no The Fifth Element or Die Hard with postmodern grit, mayhem, and explosions; it is an intensely imaginative fairy tale. It is dreamlike but not somnambulist; the plot develops in a consistent and steady fashion and it held my interest and sense of surprise to the end. Stephanie Leonidas did a wonderful job in her (dual) lead role, as did Gina McKee in her (triple) role as her mother. I greatly enjoyed Rob Brydon who I presume played her father, Dora Bryan (whose acting career dates back to 1947) as her Aunt Nan, and Jason Barry is the perfect foil as her "jester" ("important man") Valentine. The use of illustrative overlays, sepia tones, and antique crank cameras -- not to omit the imaginative creatures -- throughout makes MirrorMask a sustained and always fresh movie to watch, and watch again. 5 stars.

The Inspector Collection

The Pink Panther Collection has been renamed The Inspector Collection (Save and Play title) since my request on 23 Sep 2007 to correct the description (since 17 5-min cartoons do not total 425 minutes). Nevertheless the description and episode list still remain incomplete. Furthermore, this disc is all but identical to the second disc in The Pink Panther Classic Cartoon Collection: The Inspector: Vol. 1 (Save and Play title, reviewed there) and Vol. 2 (Save but not Play title, reviewed there). I give 3.5 stars to the Inspector Clouseau cartoons for overall story and illustration quality. This collection is a bit more rococo in style (esp. with architecture) than The Pink Panther but without the "cool" factor of the Pink One himself. You have to love the unflappable calm with which the Inspector usually confronts each challenge and esp. the mild-mannered confusion of his ever-present sidekick Deux-Deux. My youngest son (age 11) loves to watch these with me. 3.5 stars. (9-22-07 updated 2-15-09)

The Pink Panther Classic Cartoon Collection: The Inspector: Vol. 1

Classic episodes of the Inspector Clouseau cartoons, including my 25-year personal favorite "Reaux, Reaux, Reaux Your Boat" ("Say Oui, not Si!" "Si, Senor, I mean, Oui"). [This link no longer goes to The Pink Panther Classic Cartoon Collection: Vol. 6 (1980) -- nor does this review appear under the Vol. 1 title currently shown -- so I will review Vol. 1 and 2 directly. 3.5 stars. (9-23-07 updated 2-15-09)

Babette's Feast

One of the greatest movies of all time, ably yet understatedly acted, and so timeless as to be reminiscent of John Huston's The Dead. The reality and the metaphor of Babette's redemptive banquet is subtly and beautifully portrayed. 5 stars.

Who the #$&% Is Jackson Pollock?

Documentary. Imagine that a salty-tongued, truckdriving, trailerpark grandma buys an abstract painting as a gag gift for $5 at a thrift shop -- then discovers it could be a Jackson Pollock creation worth tens of millions. Next imagine how the art experts puff and preen over their assertions of expertise and do no more than sniff impolitely in her general direction. Here is a great documentary that doesn't stack the deck either way. While many seem to love this woman for her determination to get a straight answer from the art "experts," it doesn't take a chummy populist to conclude she is (as one of her own business partners admits) "her own worst enemy." Nevertheless her story is a meandering yet captivating one for all who are genuinely curious about the art world. She gathers forensic experts to try to prove her painting is a Pollock, yet the art experts pooh-pooh scientific evidence that would convict in court. The art world, we learn, is about consensus, and sometimes illusion, but most importantly, great naked gobs of money. 4 stars.

Smokin' Aces

Ben Affleck does nothing for this movie, but Alicia Keys helps carry quite a chunk of it. This movie has lots of action, I mean, mayhem. More so than acting, really; mayhem is more to the point. You'll see a few glaring plot holes but mostly big frothy mounds of mayhem, mayhem, and more mayhem. It's quite creative, actually, as mayhem goes. If you like mayhem, don't miss this film! It's Ocean's Eleven meets The Usual Suspects before it starts going bat-on-a-jig crazy with so many professional killers in the crossfire you might lose track for a while as I did. 4.5 stars.

Maxed Out

Here is a truly eye-opening expose of predatory lending practices where credit card companies intentionally target high-risk persons, then penalize them irremediably, all while stuffing the politicians' pockets and writing their own carte-blanche legislation (the anti-bankruptcy bill, authored by the largest Bush campaign contributor). The human side of this story is replete with numerous suicide and foreclosure victims who were financially responsible until the credit card companies, like the tobacco industry, deliberately and unethically manipulated them with harmful products that the companies know will have inevitable and irreversible detrimental effects on their health and livelihood. What makes it worse is how the "haves" chuckle and simper over the misfortune of the "have-nots" whose life's possessions they are taking away even as they claim they have been blameless for doing the right thing. Don't miss the attorney who decries the 90% error rate of credit bureau records -- unless you're flagged as a VIP (a politician or an actor), when the bureaus will ensure that your record is 100% accurate. A two-tiered society, yes, we have become so -- because of Reaganomics on down to the man who is a divider, not a uniter. 5 stars.

Through Gates of Splendor

Here are the roots of the real story told in The End of the Spear. Elisabeth Elliot herself narrates this compilation of actual film footage from the missionaries' lives and their first encounter with the Aucas, followed by their survivors' successful attempts at establishing rapport and sustained contact with the tribe that killed their five husbands and fathers. Elisabeth Elliot is an exceptional woman and in this original filmstrip (copyright 1961) she sensitively interprets the extraordinary challenges and rewards of missionary life where truly "no man had gone before." 4 stars.

Soylent Green

A classic Brave New World film that'll stick to your ribs and your mind. New York City's 40 million inhabitants in 2022 make the city resemble a refugee camp, real food is so scarce that only the rich have it, and thanatoriums help the elderly shuffle off this mortal coil. Oh, yes, and women who come with luxury apartments are called "furniture." Charles Heston delivers a better portrayal here than does Oscar Werner in Fahrenheit 451 of the increasingly conflicted civil servant, and Edward G. Robinson touchingly portrays an old man with rich memories of life when it was better. The banquet scene where the two dine on a few leaves of lettuce says it all. Meanwhile the corporation that controls half of the world's food supply keeps churning out brick-hard tiles of Soylent Green, reputedly made of plankton but in dwindling supply. What's a greedy, murderous, politically connected corporation to do...? 4.5 stars.

Living in Oblivion

Living in Oblivion is a movie I've been intending to give a second chance since it and Primer were my first two Instant Watch movies on a laptop that turned out to be dropping sectors and showed severely degraded video streaming. I stand by my original assessment: "A low-budget film with so-so acting about making a low-budget film with so-so acting. You do the math." I still prefer Steve Buscemi in small doses esp. in an ensemble cast (as in Reservoir Dogs) though as star and director, not so much, since he is hard to look at or (as with Woody Allen) to conceive of as being attractive to the opposite sex in any way. I still think this is an interesting film about the process of making films that will attract film buffs, however, I'm more amenable to commending Living in Oblivion as a drama that will hold your interest and make you say "Now that was a well-spent 90 minutes with a story I will remember and cherish." This movie stays with you and grows on you. Frankly, I like the ensemble cast better than ever and I have become a fan of the film's stylistic touchstones: black-and-white for real life with color for camera takes, cinema-verite closeups and long shots, and an amusingly reflexive music soundtrack that steps in during camera takes but pauses during characters' moments of hesitation. Carolyn Keener has a wonderfully moving scene even though she is for the most part playing mediocre take after mediocre take to show the garish meat and the bones of independent film making. Think of this movie as a video record of a trip that captures every mile marker of road, every eye blink of the passengers, and so on. There is some story framing and dramatic structure, albeit in the questionable technique of dividing the film into three parts. The whole production is rather stolid but nevertheless appealing because of its intimacy and sensitivity. 2.5 revised to 3.5 stars. (9-18-07 updated 8-11-09)

Zoolander

Hilarious through and through! A great spoof of the fashion model industry. Funnier than Austin Powers by a long shot and full of dozens of cameos. A great job by Ben Stiller, Owen Wilson, and Will Farrell. Gotta love the gasoline fight, runway walkoff, and the rest of the schmaltzy delight that is Zoolander. 4.5 stars.

The Painted Veil

A haunting tale of love unrequited but eventually discovered against the backdrop of natural beauty and human tragedy. Edward Norton is a bookish British microbiologist absorbed in his work -- now _that's_ acting! -- who proposes marriage to Naomi Watts the day after meeting her at a high-society party because he must return to his research station in Shanghai. They don't love each other, and he comes to hate her after she commences an affair with a career diplomat who (she later learns) makes a habit of loving and leaving "second-rate" Englishwomen. Her husband then volunteers himself (and his cloistered wife) to fight a deadly cholera outbreak in backwater China. While no Mother Theresa, she wrestles with her feelings of compassion and inadequacy before committing to assist a convent-ion of nuns in their school and hospice care of a passel of orphans. Over time, the couple comes to a rapprochement over their prior expectations for each other -- more than a detente and eventually a sincere (if tragic) love. The movie strays from the book at a number of points but holds well together. If you liked Sommersby or Sweet Land then The Painted Veil should please you well. 5 stars.

Grilled

Not a lick of humor and it just gets worse. Romano's and James's expressions on the DVD cover art show exactly how anyone who watches this movie will feel. The production values are adequate but the story and the roles of these two schlubs just flop around like dead fish. The hot Sofia Vergara promises to make things interesting but nothing capitulates beyond a few lame double entendres. Any B movie is four grades better than this loser -- making it an F movie, which also fits in with the script's limited vocabulary. 2 stars.

Network

An astonishing film with one of the best scripts ever -- highly literate in its skewering of the nonliterate (visual) mass medium of television and amazingly prescient in foresaging Darwinian reality TV and more. Now, more than 30 years later, we have seen much of the sensationalistic and voyeuristic programming insanity come true as proposed by the Jezebel played by Faye Dunaway. William Holden plays the network exec who stands for human values but falls inside her orbit of love, sex and power. (She uses all three as her tools but she herself only understands the last one.) Peter Finch literally comes to see himself as a "modern-day prophet denouncing the hypocrisies of society" (believing his own hype and hyperventilating into hyperbole). This film has to be seen -- and more than once -- to be believed. I can't believe it took me this long to finally catch it. Here is a monumental film that speaks to the ages, warning us against our baser proclivities and pursuit of the lowest common denominator in all its forms (political, economic, moral, and cultural). 5 stars.

2010: The Year We Make Contact

This Arthur C. Clarke vehicle portrays the hard science of the story realistically and largely believably. The mystery slowly unravels to a climactic event that is (as predicted) "something wonderful." Panoramic space scenes and the political, interpersonal, and logistical challenges of the Russian and American crews (plus the revived HAL-9000 computer) make for a taut sci-fi tale that is monumental in the genre. This sequel to the granddaddy of all sci-fi films is a cerebral Aliens without the monsters and mayhem. A true classic. 5 stars.

A Scanner Darkly

Live-action solarized rotoscoping animation is the perfect technique to carry off this psychedelic tale by Phillip K. Dick about a future where drugs are the new terrorism. Keanu Reaves does his Mr. Anderson thing as a narcotics officer who doesn't yet know he has a dual personality in the squirmy, psychotic "Bob" and Robert Downey Jr. is excellent as his Jeff Goldblum-like sidekick; was Woody Harrelson acting to portray a whacked-out goop or was he just being himself? Several twists at the end add fresh layers to the story. It's no Memento but you'll probably want to watch it twice to pin the whole plot down. 4.5 stars.

Legally Blonde 2: Red, White & Blonde

Not as funny as the original Legally Blonde and even noticeably contrived but still makes for a fun view. Elle is back! Gotta love her in pink! Go Bruiser! 3 stars.

Jesus of Nazareth

This is the classic epic-length treatment of the life and resurrection of Jesus Christ, with a stellar if predominantly European cast. First as a boy and then as a man, the piercing blue eyes of Jesus (Robert Powell in the adult role) have the desired prophetic effect, even if they have always creeped me out for being non-Semitic. Another creepy touch is the treatment of Christ as a chronically catatonic orator, pronouncing his teachings as if he were in a trance. It's a hard balance to achieve when depicting a divine man; at least The Passion of the Christ depicts him laughing and weeping. 4.5 stars.

Volver

Penelope Cruz is a dish _and_ a strong woman who ultimately (with the help of her "late" mother) brings three generations of her family's troubled women back together. Not as artificially polished as a Hollywood film, this is a foreign film about real life and it is a great story with sufficient twists and developments. It would be easy for some to label this a chick flick that engages in male-bashing (or worse) but it is a story about the emotional strength of women and everything that happens is driven by the circumstances of the story. Think of it as Steel Magnolias set near Madrid if you must. The dialog is often rapid so you should know Spanish well or be able to read subtitles fast -- it is a foreign film after all -- and that is its charm. I agree with other reviewers that Penelope Cruz deserves and flourishes in this role, which she would have never received in a Hollywood vehicle. �Anda, Pedro Almod�var!

The Perfect Stranger

This is the most sensitive and creative presentation of the Christian faith from an evangelical point of view that I have seen -- and that's saying a lot when such productions are universally ham-handed. Kudos to all involved -- esp. the writer, director and actors -- for the inherent lack of Bible thumping! It's true this is not a big-budget production, but it inherently needn't be. Pamela Brumley has an Amy Irving look and I think she does a fine job in her role. (Sure, she gets shrill with her husband, but he has just finished ignoring her, being clueless about his daughter's day, and divulging his intent to attend a ball game in lieu of prior dinner plans with his wife. She is a modern woman who has had to be a mom and an attorney, so her desire for a measure of marital support is justified and her testiness and cynicism can be understood.) Jefferson Moore as Jesus looks Swiss, it is true -- but wait for the twists at the end -- and he sensitively carries his very demanding side of the dialog as self-effacingly as William Macy might. Just as Nikki (Brumley) is gradually convinced thoroughly of his authenticity, so should any viewer who doesn't carry a chip on their shoulder. (You cannot say he is trashing Hinduism and Islam when his points about these faiths are true. Only Christianity teaches that it is not good deeds or even good character but a relationship with a person -- Jesus Christ -- that makes one right with God.) Be that as it may, this movie sensitively and cogently addresses the intriguing question: What would having dinner with Christ be like? Having a personal conversation over an evening meal is the perfect venue to get around the vagaries of theological generalities and buzzwords. This movie is a personal and moving approach to the discussion and I only resist giving it 5 stars because it is a low-budget production and a demanding task to intuit God's own dialog with unparalleled sensitivity. 4.5 stars.

Hudson Hawk

I bought Hudson Hawk after seeing only bits of it on TV. This is my kind of escapist fare: creative, quirky, and twisted. Our story starts and ends with the narrative tome device and hangs its premise on the life and work of Leonardo da Vinci. (We even see a quick shot of the unfinished Mona Lisa and its original model -- yikes!) Bruce Willis gives personality to Hudson Hawk, a cat burglar who executes his capers by musical numbers (he knows the time length of any crooner tune you ask him). He's just gotten out of prison and all he wants is a decent cappuccino (a running gag) and an honest job, but an expanding coterie of crooks coerces him into pulling not one but three master thefts in Italy. Danny Aiello does a super job as his doughy sidekick. Andie MacDowell is an undercover nun who is dedicated to her mission, which naturally means kissing Willis. James Coburn ably leads one gang of toughs, who have hilarious roles and lines, while Sarah Bernhard is an over-the-top crime diva paired with the equally insane David Caruso to mastermind the whole operation and their own quirky henchmen. Great scenery, great action, great humor, great tunes, no sex just mayhem -- what's not to love? Hudson Hawk gets cartoonish at one point but ably spoofs the heist genre while standing on its own as an inventive and multilayered story. 5 stars.

Primer

I initially thought Primer was a weak, mumbly mess that could have been much better written, edited, and acted. I had hoped for Enigma but got Office Space instead (so I said). However, given its $7K budget and my network and audio problems right before getting a new laptop, I decided to give Primer a second chance (and a third view). It is a fairly memorable story for being so low-key if intentionally cryptic. Primer is no Memento (which I have seen eight times) but it still holds my interest enough that I expect to figure it out. As for the story, two garage-startup engineers puzzle their way into inventing a time machine and agree to keep it secret -- yet all they do is pussyfoot around, unethically use themselves as test subjects, and scheme to do who knows what else. (Q. What kind of time machine requires you to sit in a crate in a storage locker for 10 hours at a crack? A. One that costs $7K in PVC pipe and grommets!) Layer on layer of temporal complexity is implied in the film's second half -- I just wish for exposition at least as clear as the muttered technogabble (which I get) in the film's first half. I hope the sepia, blue, and green tones in most scenes were intentional for artistic reasons and not just for the lack of UV, fluorescent, and other filters. Primer is on the whole memorable and impressive, esp. given its limited resources, but properly produced it could be so much more. It is like a cat burglar who had the entire museum to himself yet only lifted a box of Kit Kat bars from the gift shop. 2 stars up to 3 stars. (9-5-07 updated 9-7-08)

Pan's Labyrinth

Kudos to Guillermo del Toro for the creative and artistic vision behind Pan's Labyrinth. The imagination behind the creatures and special effects is fantastic (literally). Here is serious fantasy -- Lemony Snicket or Harry Potter without the schmaltz. In fact, it's served straight up, alongside realism, through a heaping dose of fascism as seen in the brutal zealotry of Sergi Lopez. Ivana Baquero is wonderful and tragic as the 11-year-old would-be princess. All the acting is quite good and the real world is blended seamlessly with the fantasy realm. After many struggles, things don't turn out well (mostly) by the end in our world but they turn out for the best in the girl's longed-for realm. How real or interwoven the two worlds truly are, however, is never answered -- and I, for one, would dearly like to know. 5 stars.

The English Patient

This movie should appear in the thesaurus as a synonym for cinematography. It is a class act in the realm of movie-making and you can't call yourself a serious movie lover unless The English Patient moves you to the core. The plot is interwoven with flashbacks that progressively reveal the full story in the present, the scenery is captivating, the acting is gripping, the script is sublime, and the panorama of human experience they depict is a cinematic treasure. This movie is about the duality and unpredictable tragedy (esp. in wartime) of human decisions, made wisely or unwisely, in the service of social, professional, or romantic needs. The adultery between Ralph Fiennes and Karen Scott Thomas is as passionate and sincere as any nascent true love -- though not without several brushes with mortality. (The R rating comes from several nude scenes and some trysting histrionics.) Warning: You will whine about having watched this movie if you find that thinking makes your brain hurt and sustained thinking makes it explode. This is a serious movie and that means no gratuitous explosions or Arnold Schwarzenegger one-liners. The best litmus test: If you're a Seinfeld fan, this movie is not fit for you -- or rather, you are not fit for it. For anyone with a heart and a brain, this is definitely a movie to own. 5 stars.

Sweet Land

Sweet Land is Sommersby meets The Shipping News in Minnesota. The scenery and the acting are enchanting and beautiful. The character and emotional restraint visible in the faces of these people of the land is amazing. Olaf (Tim Guinee) is a stoic Norwegian bachelor farmer who longs to be wed to his intended bride. The community opposes their union because she is a German immigrant in the aftermath of WWI. Young Inge (Elizabeth Reaser) is a sharp, doe-eyed dish who will not let her destiny be denied. Old Inge (Lois Smith) is a timeworn gem who emanates the lifelong love of her husband. The story is reminiscent of bits from The Notebook and It's A Wonderful Life and the landscapes can be jawdroppingly gorgeous. Most of the movie is in English but even if you don't know Norwegian or German, the intentional lack of subtitles for these scenes incurs the same effect in viewers as would be experienced by the characters: their dependence on communicating by emotions and gestures rather than words. Unless you're uncomfortable with reality outside the city limits, vote to see this film in a heartbeat. 5 stars.

The Darwin Awards

Not as funny as Fargo or Groundhog Day but better than Dave Barry's Complete Guide to Guys. Joseph Fiennes is too softspoken half the time but he and Winona Ryder do well at their roles. The plot isn't too inspiring: Prissy police profiler, disgraced and seeking employment, is paired with a jaded insurance adjuster. The more he becomes preoccupied with Darwin Award "winners," the more he risks making similar lethally stupid mistakes. The "documentary photographer" gets some funny lines from behind the camera. Don't miss the Mythbusters guys, who sell the jet engine to a racecar wannabe, and Josh Charles from Sports Night as a paramedic. 3.5 stars.

Apocalypto

Awesome film! Visually stunning, adrenaline-pumping, slightly less graphic than The Passion of the Christ and 300 for yick or splut factor. For panoramic views, cinematography, scriptwriting, linguistics, sound editing, film editing, set construction, costuming, and makeup -- not to forget action -- this story rocks! It's a gripping narrative arc that kept me writhing on the edge of my seat. Those that complained it's a racist movie are off their feed; I would worry about Mel Gibson's gore fetish though. As to the Mesoamerican history academic who complained it's not 100% historically accurate and conflated several cultural trends, hm, well, Hollywood has never done that before, have they? Hey, I'm a Tolkien scholar and Lord of the Rings didn't follow the book verbatim either. The forced-march and Mayan temple scenes are captivating for their beauty and attention to detail as well as their brutality. See this movie for the action and suspense -- you really care about the characters -- which is doubly amazing, since its script is written entirely in a Mayan tongue. (Cool!) 5 stars.

Evita

Musical. Here is a modern political opera with style. The music is memorable esp. as sung by Madonna and Antonio Banderas. The makeup and costuming are superb. (Ah, the 1940s!) The crowd scenes (rallies, protests, marches, routs) are impressively staged. Madonna makes this production shine! Look out for streaks of melodrama though. 4.5 stars.

Code 46

Wow! This is simply an astounding movie that will linger and won't let you go. The story is imbued with visual and aural textures and an emotional complexity that, while appearing smooth on the surface, actually run deep, very deep. Here is a groundbreaking, thoroughly iconic film that blends the storylines of 1984, Children of Men, and Gattaca with a global gestalt (filming was in Shanghai and Dubai) reminiscent of Koyanisqaatsi. It's a sci-fi setting for a love story that is an art film too. The emotional and sexual chemistry between Tim Robbins and Samantha Morton is undeniable, though each has reasons to be of two minds: His marriage and her "therapy" for violation of Code 46. It's interesting how widely others' reviews of this movie vary -- from comments comparable to "astonishingly rich and complex story and acting -- unparalleled" to "I didn't understand it -- boring, a waste of time." (Hm, I wonder which is the smart crowd and which is the dumb crowd.) Probably just a half-dozen dystopian-future sci-fi movies have grabbed me as strongly and enduringly as Code 46. A must-see movie from BBC Films and the director of A Mighty Heart. 5 stars.

Harvey Birdman, Attorney at Law: Vol. 3

TV. Harvey Birdman presents a constant stream of visual and verbal punbits. Harvey and company's fast-paced absurdist wit is enhanced in season 3 by cameos from U.S. Supreme Court justices and Frida Kahlo plus a "classic" Birdman cartoon from "1967." You have to see every episode more than once to catch every quick snatch of humor. 5 stars.

Spy Game

I originally gave this one 3 stars but after catching it a second time, I raised that to 3.5 stars and, on further consideration, 4 stars. Spy Games is not as iconic or memorable as Enemy of the State, Babel or even A Clear and Present Danger but it's at least as good as Swordfish and a good sight better than Sneakers. Redford ably plays the coolheaded, experienced but now deskbound spy who prepares his career-capping rogue operation beneath the noses of his superiors. Pitt plays the earnest junior operative who needs rescue. The action is often fast-paced, realistic and gritty, esp. when suicide bombers are involved, but the storyline often lost me during the bureaucratic subterfuge -- Redford's superiors just look like a gallery of nameless white guys I could care less about. Redford, Pitt and the two women make this movie but everyone else does a good job. Watch this after you're tired of multiple viewings of the Mission Impossible movies. 4 stars.

Hair

Hair is a raucous celebration of hippie culture -- if you lived through those days -- but to modern folk it will play like a goofy otherworldly sketch that fails to explain why people dressed and acted like that. Twyla Tharp's choreography is amazing as always, the singing and acting is superb and the two lead actors (Treat Williams and John Savage) perform memorably. The hippie lifestyle just seems so anachronistic to a post-Enron, post-Goth, post-Columbine, post-9/11 etc. world. We have really lost our way from the idealism of the flower children, while we in this Bratz and Botox age laugh at their hair, clothing, hygiene and irreverence for capitalism. The final twist is a telling one and a brave message to remember during the Vietnam -- and Iraq, or any -- war. 5 stars.

Doggy Poo

An odd Korean short film that's sensitively done, if you don't think about it too much. Our story: A piece of poo falls by the side of the road and, being self-aware, asks "Why am I here?" questions of himself and passersby. The plotline is as somnolent as a Pokemon episode without a battle. If only the subject matter were less squeamish; some might ask "Why would anyone make this movie?" though I'd say sincere creativity can take even this form. Nevertheless, my youngest son and I only watched this because it's short and available online. 2 stars.

Intolerable Cruelty

This movie began with enough delightful quirks (Geoffrey Rush and George Clooney can almost do no wrong) that it caught my attention (on cable TV) and affection even before the credits showed it to be a Coen Bros. venue. While it is not up to their usual snuff for originality, this movie is full of enough twists and sendups that I would happily watch it again. Catherine Zeta-Jones is subtle as the spider eyeing fly after fly and all the satellite roles (Billy Bob Thornton, Cedric the Entertainer and the rest) were excellent. Not as hot as Russo and Brosnan in The Thomas Crowne Affair or as volatile as War of the Roses but mercifully more engaging than Law of Attraction. A few of the twists are either predictable or intractable -- you either see them coming or you can't figure out how they got there (for example, it's unclear for professional reasons why Clooney gets the hots for Zeta-Jones, although it's clear for every other reason in thye book). So if you can deal with less-than-perfect plotting, here is a strong entry that people seem to either love or hate -- therefore those who hate it may do so because of their expectations rather than the content of the film itself. This movie skewers the cynicism of L.A.'s power-playing marital-prenup divorce gallery by exposing it in all its seaminess and promotes old-fashioned love and vulnerability for their own sake -- what more could a true romantic ask for? 4.5 stars.

Moral Orel: Vol. 1

TV. I had to see this show because of the subject matter: A postmodern Babbitt and son. Moral Orel is Davey and Goliath meets Family Guy or The Oblongs, not South Park as some say (no swearing). Its satire hits dead-on more often than it misses or goes flat. Orel is an 11-year-old who sincerely loves God but is so sheltered by the religion-based denial mechanisms of his family, pastor and co-inhabitants of Moralton, Statesota that in his zeal, he mistakes or simply takes their advice too far. (No one wants to see innocent Orel getting drunk, smoking crack, bludgeoning gay boys or passing out his urine to drink, but satire shows unpleasant things to prove that the rationales which led to such outcomes are what are truly heinous.) In the process, and in the inevitable ensuing encounter with his dad and his belt in the den, Orel learns valuable life lessons -- or does he? Read the Wikipedia entry on the show for a breakdown of the characters but the potential is rife for the exposure of the sin and folly of Moralton's adults as Orel, in his trusting nature, follows their advice. Everyone in town is smug about their church attendance and spiritual superiority (esp. to Catholics) but of course it doesn't do their lives any good. Orel's dad, Clay Puppington, is so bitter about his dead-end job and sexless marriage that his religion-based pronouncements to Orel about the purpose of marriage and life are naked in their error and resentment; their burned-out Protestant minister has a coffee mug that reads "I hate my boss." The librarian burns books and protests movies, even The Ten Commandments. Also, in every episode we learn of a "lost commandment," which is often the basis for Orel's erroneous adventures, such as the 18th, "Thou shalt be loyal to all thy friends at the same time." Moral Orel skewers self-important fundamentalist priggishness far more effectively than most people know. Moral Orel is often tasteless but its satire and message is rarely baseless. 5 stars.

Ocean's Twelve

George Clooney and Brad Pitt are back with some help from the rest of the Ocean's Eleven crew, but the plot divides them up singly and into subgroups -- and against no less than four major antagonists -- so their appearances feel like cameos. (You see Bernie Mac in what seems like 3 scenes for 60 seconds total.) Matt Damon has a slightly bigger role but as a bumbler (apparently) and some of the plot twists stretch credulity. (I loved the idea of Julia Roberts impersonating Julia Roberts but how it was carried off was a clear fumble.) Ocean's Twelve is slower in action and humor than Ocean's Eleven -- you may get confused if you don't hear every line or nod off but it may not make a difference or you may not even care -- however, the dynamics parboil for a bit during the final plot twists. Catherine Zeta-Jones is a welcome addition. 3.5 stars.

Ocean's Eleven

A very nicely done art-of-the-con flick! The ensemble cast plays very well together and with plenty of understated humor. (To George Clooney nitpickers: It's not being cocky when he's right and he wins, esp. after affecting humility.) Here is a smartly designed production that resembles the brainy twists and turns of the Mission: Impossible TV series more than the amped-up MI movie franchise and is almost as fun as The Italian Job. 4.5 stars.

Wonderworks: Bridge to Terabithia

This film stands on its own, however, at one hour in length it contains very little on Terabithia and the lead characters' relationship, unlike the popular recent release (which left one wanting more). In short, this film is definitely not as good the 2007 version, or even your average 1980s Disney "family movie," but it's OK for the homeschool crowd that eats this kind of thing up. 2.5 stars.

Underdog

They did a pretty good job with this movie, sustaining the production values and the cute factor enough to dispel my concerns for its quality (based on the previews) and even win me over. I really liked the movie, esp. the cartoon-based introductory homage, script riffs back to the original and rapped-up theme song. The storyline was a bit thin but Patrick Warburton as Cad outshone the usual mad doctor's sidekick schtick. The chaos of the heroic superdog's bumbling flight makes for plenty of physical humor and the verbal jokes stay fresh enough for plenty of chuckles, even for adults. Stay for the "outtakes" which are all predictable cliches but that's why they are included. 4 stars.

Les Miserables in Concert

Musical. Here is the "dream team" with a vast choral cast in a nearly flawless concert presentation of the world's best-loved musical, lyrically and compositionally more complex than The Phantom of the Opera (fewer catchy tunes but more impressive, indeed nearly operatic). The Thenardines are well-played as opportunists (to be kind), Valjean is staunch, Cosette is luminous and Javert is awesome. 5 stars.

2001: A Space Travesty

Sure it's not as funny as his other movies, but it's not as rancid as people say. This is Leslie Nielsen not Robin Williams, people! Look at the cover art -- coneheads, phal-lic aliens and Nielsen's vacant-eyed stare -- does this look like a cinematic masterpiece to you? Anyway the women are hot and the alien costumes are great; don't miss the quick bits including background chatter and Bush Sr. There is enough here to make me want to see it again or to freeze-frame certain scenes -- if I had time. Sure, it's schlock -- and not his best schlock. Sure, it insults your intelligence -- but it doesn't bit-ch-slap it into unconsciousness. There is enough comic genius here to please the indulgent soul -- though if you keep a laffometer on hand, you probably don't have the patience. 2.5 stars.

Star Trek: Nemesis

I finally purchased and watched the final Star Trek movie in the franchise and I found it to be an exceptionally riveting and emotionally moving denouement to the Star Trek corpus. Only nitpicking Trekkers without a real life would call this a sucky movie (and they do). What's up with hissyfit critiques on the order of "Capt. Picard had three more grey hairs in this movie -- man, he is showing his age and should be retired"? "Lt. Cmdr. Data's left eye is .001% less yellow than his right eye -- he looks terrible"? "After all the trouble with Lore, why would they reassemble B4?" (Hm, maybe something to do with "to seek out new life and new civilizations"?) "Too much emotion, not enough science" from some and "too much science, I wanted more emotion" from others? You just can't please the schematic nerds. Moviemaking is ideally about story, characters and drama -- with inevitable compromises. Nemesis holds up the best, in my mind, against all other Star Trek movies in this regard: No cheesy humor (Spock employing "colorful metaphors"), anachronistic pop culture references ("Lock and load") or deus ex machina time-travel machinations; instead we get a completely self-contained character- and story-driven narrative with a build and resolution that makes sense from start to finish. I was alternately frozen to my seat and moved with great sentiment by the transitions and choices of every character. Each actor did yeoman's work in his or her part. Picard found a match in his clone (which is all I should say about the plot). Star Trek: First Contact is more iconic and fannishly sentimental but Nemesis holds together and stands alone with greater dramatic integrity. 5 stars.

Transformers

Boys will be boys and bots will be bots but let's ignore the nostalgia effect. As a parent, I've studiously ignored Transformers all my life but trust me and check it out -- this movie stands on its own and rocks! The acting is subpar, beneath War of the Worlds and even Back to the Future, but if you don't sweat it then the special effects will impress you. This movie depicts military satellite and other technology believably but the overwhelming attraction is the Transformers. Seeing those vehicles rachet, contort and morph into towering robotic hulks with emotionally expressive mecha-faces will blow you away every time. Vaguely reminiscent of Spider-Man, King Kong and The Matrix for its urban battle for the cosmos, Transformers will only disappoint SFX-driven action movie fans if they complain about expecting more from a movie that's based on a children's toy and TV series. If that's all you were expecting, you will have a blast! 5 stars.

The Pink Panther Classic Cartoon Collection

TV. Pure pink pleasure drawn from the original 1960s cartoon episodes. The Instant Viewing offerings currently include all listed cartoons on the first two discs. With its spare artistic style and memorable Mancini music, this treasure trove hardly dates itself while the physical humor is always choice and the sound effects classic. A must-see for all ages. 4.5 stars.

The Simpsons: Christmas 2

TV. Not the best Simpsons theme disc or Christmas four-episode collection possible, but it's 80% as funny as the usual Simpsons fare. Most episodes have a tenuous connection to Christmas: (1) As Mr. Burns's paid "prank monkey," Homer Simpson (playing Santa in the town Christmas parade because he's endomorphically fit for the job) is commanded to fling fish offal on the happy crowd�but finds a stand-in. (2) In "Skinner's Sense of Snow," Principal Skinner and the children of Springfield Elementary are snowed in by a blizzard with only an inept Homer Simpson to save them. (3) Homer is tired of the Christmas songs that are in the public domain so he writes the implausible hit "Everybody Hates Ned Flanders" (which even Ned and his kids cheerfully sing and William Shatner covers), so to escape this latest song he has gotten sick of, the family spends most of the episode at a dude ranch. (4) In the cleverest (most truly Simpsonian) episode of the bunch with plenty of bits to please or peeve everyone (including parodies of Jimmy Stewart, Mr. Magoo and A Christmas Carol), Homer grinchily steals the whole town's Christmas presents after his Buddhist daughter Lisa tells him people should find the joy and meaning of the holiday without the commercial trappings. 4 stars.

Surf's Up

A totally funny sendup as well as a character-driven story of penguins-who-surf and the similarly humanlike hangers-on who do or don't believe in their beloved craft of riding the waves. James Woods does a fair Don King sendup while the heroes of the story are both true to themselves and grow personally. The show is consistently hilarious and even got loud guffaws from one woman in the upper seats on opening weekend. Some have criticized Robin William's characters as stereotypes but, people, every cartoon character is stereotypical: Valley guy/girl, nerd/brain, airhead/ditz, leader/jock, etc.; broad-brush character portrayal is what "caricature" means. 4.5 stars.

The Simpsons: Bart Wars

TV. A frippery of Simpsonian goodness (humorous hijinks) in a four-episode selection that has nothing to do with Star Wars! Watch it if you want a quick Simpson snack but skip it if you're going to watch all seasons' episodes anyway. 4 stars.

Godspell

Musical. Godspell is named for the Old English word for Good News. This 1960s musical's setting is dated (the film was made in 1972, just before the opening of the World Trade Center, scene of the softshoe-ish number "It's All for the Best") but its flower-child whimsy can still be relevant, and of course the music is timeless. Everyone who loves Broadway (or high school) musicals should hear and see performed the unforgettable numbers "Prepare Ye," "Save the People," "Day by Day," the vampish "Turn Back O Man," "Bless the Lord," "All Good Gifts," "By My Side," "On the Willows," and the finale. (I can still sing these songs by heart more than 30 years after being introduced to them!) The flower-child skipping and hugging may cause some cringing, but this production hearkens back to a much more innocent time -- so see it for that too! 3.5 stars.

Spider-Man 3

Three major supervillains thirsting for Spidey's blood, Spidey's inner demons (brought out by a squiggling black blob of a space symbiote that crash-lands 50 feet from Peter and MJ up in a tree, k-i-s-s-i-n-g), Peter's crumbling relationship with MJ (and his best friend, who is also a rival for her affections in addition to one of the three supervillains), and Peter's wish for an end to the thanklessness and small injustices of a masked superhero's life -- not to mention his hunger for the adulation of the citizenry -- make this film one bloated cinematic smorgasbord. I felt lost and began losing interest halfway through, and my youngest son (a huge Spidey fan) began asking to leave early, doubtless due to the characters' soulful emoting. Villains are dispatched only to reappear half a hour later, numerous times. The CGI is fine but no better than The Mummy (and Brendan Frasier is a much more versatile and interesting actor than Tobey Maguire). Venom gets short shrift and is not as deeply drawn as the other two villains, whose back stories make them interesting. Tobey gets to lampoon his character a bit by thinking he has finally reached the height of cool -- but if you look, everyone passing him is trying to give him wide berth because a nerd's idea of cool is just offbase. Peter's been self-centered and totally clueless about MJ's struggles -- but the movie does well to have him own up to what a husband needs to be for his wife (thanks to good old Aunt May). This is a jam-packed movie with a great deal to offer Spidey fans and newbies -- and for the most part it succeeds. It just reaches too far though Kirsten Dunst is a charmer in her role as MJ esp. as a jazz songbird. 4.5 stars.

Spider-Man 2: Bonus Material

They go on for apparently 2 hours in the Making of documentary but I couldnt stick through to the finish. They prattle on about moviemaking but nothing you couldnt figure out from common knowledge (what youve already learned from TV). I think its not that interesting unless youre a rabid fan and under 14 years of age. 3 stars.

Ghost Rider

If you don't think about it too hard and just munch your popcorn, Ghost Rider is a lot of fun to watch. Even in a bad haircut, Nick Cage can do no wrong: He brings a quirkiness to the role that goes beyond comic-book stereotype. (Like Hellboy, he realizes he can choose to fight evil.) Eva Mendes is always a dish! I loved folksy Sam Elliott here and as the bookend narrator in The Big Lebowski. The best scene is when Nick and Sam ride together. Lots of plot twists and turns and the special effects are good. Ghost Rider doesn't take itself too seriously but I dock the movie one star because it's too silly in some scenes. While the flaming Ghost Rider and his torch of a hawg are fun to see, a feature-length movie seems a bit much towards the end. 4 stars.

Jesus Christ Superstar

The music is still supremely memorable and moving after the albums 36th birthday! I hadnt heard it in 30 years and Id never seen a stage or movie production before now. This is an impressive effort, set in the Mediterranean desert, with an inventive blend of neo-Roman and hippie costumes. (Pilates soldiers carry gaffing forks and howitzers, and dyed afros abound in some dance numbers.) The dancing is energetic and tightly choreographed, esp. considering the rocky terrain. Ted Neeley as Jesus has wise, weary, clear eyes and sings with soul (most of the time). Carl Anderson as Judas is the true star of the show, for talent and storyline. (In the extras, Tim Rice explains that the show is about the humanity of Jesus and his disciples, but Judas most of all.) Anderson sings soulfully to his core as Judas considers and rationalizes his motives for betraying Christ. Yvonne Elliman touched my heart with her portrayal of Mary Magdalene -- and anyone who thinks she was romantically or otherwise implied to be involved with Jesus has not been listening to the music. The key to both the characters of Judas (who hates and betrays Jesus while proclaiming to love him) and Mary (who as a prostitute has loved many men but fears she doesnt know how to love Christ even as he inspires authentic, generous love in her) is the line they each sing: I dont know how to love him He scares me so. Everyone knows Jesus is human but they are all faced with the realization that he is something much greater -- through his healing, his teaching, his pacifism, and his sacrifice -- and anyone who thinks this production is a secular, hippie rip against the divinity of Christ has not been listening to the music. The musical score of this rock opera is immortal and will still be greatly appreciated generations from now. Catch a look-see for yourself; I think youll be glad you did. 4.5 stars.

Peter Jennings Reports: The Kennedy Assassination: Beyond Conspiracy

Here is a common-sense and factual alternative to subjective and speculative conspiracy theories. Those who espouse the latter will never be convinced, however, because by definition a conspiracy theorist will always choose speculation and implausibility over Occam�s razor (�All things being equal, the simplest answer tends to be right.�) 3 stars.

Reconstruction

As an art film, Reconstruction is a bit pretentious and emotionally distant, but the story and acting carry it as better than Run Lola Run though lesser than Memento. The director in his first film commits the sin of tendentiousness in the opening and closing scenes by saying straight out �This is a film about love� and �It may be only a film, but it still hurts.� (What a way to spoil the magic, Boe. The only way he could have been more maudlin is to call the movie Metaphor and use a mime instead of a street magician to open and close the didactic verbal bookends.) The musical number �Night and Day� sounds cheesy (sung off-beat and as if through a vintage microphone) and the grainy, swoopy camera shots together invoke all that gives art films a bad name. However, the story gradually unfolds into multiple layers that, it turns out, affect each other and should leave you guessing. The swoopy shots make integral artistic sense once the story reveals its complexity. The story�s true solution may not exist or prove lesser than that of Memento, but the characters and the acting carry the film ably, esp. considering the real-life consequences of marital infidelity. Maria Bonnevie is a glowing vision -- and I didn�t catch until after the viewing that she plays both girlfriends. 4.5 stars.

House on Haunted Hill

Some disagree but for a formula-genre movie, I have found this one to be quite original, spooky and welcome for repeat viewings. It really holds my interest and makes me sit on the edge of my seat! By definition, a movie like this has to have cheesy and inexplicable plot twists (esp. the classic �let�s split up and wander about aimlessly until we get killed off one by one�) but I just really like the actors (esp. Geoff Rush) and the premise. (By the way, I gave 5 stars to the remake of 13 Ghosts.) The acting here isn�t inspired but it has its moments � and sufficient plot twists. Some think a CGI ghost is a copout but why should this movie be expected to follow different rules than every other (horror as well as sci-fi)? 4 stars.

French Impressionism at the Musee D'Orsay

Documentary. This is a good basic introduction to the Impressionist masters in the Musee DOrsay but the graphics and video reproductions are quite inferior until the detailed-view artwork enlargements enter the picture. The voice talent is adequate with no complaints. 2.5 stars.

Da Vinci and the Code He Lived By

Documentary. A truly respectable study of the decades of contributions made by da Vinci, setting his life in historical context and pegging it on the code of excellence that a driven genius chooses to live by. They claim he may have been a greater engineer of warfare than a painter. (He did not like the younger Michelangelo and lost his military contracts when his political patrons got their butts kicked in war.) 4 stars.

The Origin of the Rings

Documentary. This is a D-list effort to explain the life and works of J.R.R. Tolkien and the major motion picture based on Lord of the Rings. The experts who sit and deliver cover the basics but not very engagingly. In a word, no one in Tolkiendom has heard of any of them (save maybe one) and no one outside of Tolkiendom will be able to stay awake. Stand-ins for J.R.R. Tolkien as a boy and as a man look nothing like him (the former is closest but the latter looks more like a cross between C.S. Lewis and Tolkien scholar T.A. Shippey) and all illustrations seem geared only to resemble fantasy in general while having nothing to do with the world created by J.R.R. Tolkien. Even worse is when various no-name movie production artists hold forth on their opinions and renderings of what a wizard, hobbit, orc, and elf might look and act like -- who cares? 2.5 stars.

Ancient Mysteries: Bigfoot

Documentary. Typically tenuous tenets make this program long on speculation and short on any semblance of fact or meaningful conclusions. Nimoy claims Bigfoot/Sasquatch accounts date back to Viking days and cites �thousands� of witnesses but later �hundreds� of witness accounts; yet skeptics abound for a lack of believable evidence. As Fox Mulder would say, �The truth is out there.� Woo-woo...! My 9-year-old son found the show quite interesting. Note: The Bigfoot image on the disc box is much clearer than anything you will see on film esp. through the online viewing option. 2.5 stars.

Wishbone: Paw Prints of Thieves

PBSs Wishbone programs are a literary and a thespian lovers delight (though only 3 half-hour programs are on disc so far). Wishbone�s voice talent is always engaging and entertaining, the supporting cast always does a fine job, and the costuming and interpretation of each tale from the human world to one with a canine protagonist (in this case, as Robin Hood, Prince of Thieves) are always masterful. Wishbone episodes take a whimsical and educational approach to getting kids interested in literature that parents will enjoy too. 4 stars.

Rudolph the Red Nosed Reindeer and the Island of Misfit Toys

What is it with the Barney set? Who spies a movie with a release date of 2001 and says �Hey, this must be the movie I loved to watch every Christmas as I was growing up (in the 60s, 70s, 80s)�? No, this is not the beloved original 1964 stop-motion holiday classic! This is a mostly passable computer-animated sequel to the beloved original 1964 stop-motion holiday classic. In a word, this movie is no Toy Story. For Pete�s sake, it has Rick Moranis singing instead of Burl Ives crooning! Other than that, it has the same characters as the holiday classic and a similar message to the classic Toy Story -- it just doesn�t compare to either movie in any way that we would consider �above average.� I am hoping to convey two things to the Barney gallery through all this repetition, because it seems to be necessary: This is not the holiday classic movie, and it is not as good as the classic holiday movie. For the rest, let the viewer beware. Now stop complaining that you were disapponted to learn this movie is not the holiday classic and it is not as good! 2.5 stars.

John Cleese on How to Irritate People

TV. Skip this disc (born in 1968) if it is older than you. Heck, skip it if you are older than this disc -- you have less time to spare! This very early John Cleese only hints at his later work esp. his corporate training material in the same vein. In a word, these sketches are, well, sketchy, though they clue us to his future promise. Several sketches are over-the-top and overlong (esp. John's fawning twit of a dinner date with Connie Booth). The Indian restaurant owner scene may strike modern viewers as offensive and the prankish airline pilot bit no longer seems funny either. Still there is a kernel of the best of British humor here, preferably sought out by Monty Python completists. The best bits are the daft elderly game show contestant ("I'm 94! I'm 743!") and the movie-theatre "pepperpots" ("Well, I never!"). 2 stars.

Muppets from Space

Wacky Muppet antics but far less than the usual authentic Muppet magic. After an entertaining beginning (where Gonzo has a recurring dream of being refused entry to Noah's Ark before a houseful of Muppets jockey for the bathroom and then breakfast), the plot meanders without much focus or humor. (Other than Gonzo's lexicokinetic Cap'n Alphabet cereal and Jeffrey Tambor's quasigovernmental alien-seeking agency, I began asking myself when the Muppets are going to have anything to do with space.) Gonzo's origin and the space connection are resolved in the final 20 minutes (a la Close Encounters) but his resulting decision is so just-read-the-script that it doesn't even rise to mawkishness much less sentimentalism much less real emotion. (Only Anakin Skywalker at any age could give a more wooden scriptreading.) This film's opening moments, costumes, and '70s soundtrack (Billy Preston, Kool and the Gang) are the only things that kept it from getting one less star. 3 stars.

Daria: The Movie: Is it Fall Yet?

TV. Daria is a female Dobie Gillis for the 1990s -- smart, self-aware, and acerbically funny as heck. You'd swear Will Farrell was the voice for her father but all the voice talent is awesome -- I could listen to any episode repeatedly to catch every nuance every character, esp. the Fashion Club airheads. (For those who don't "get" satire, the voices of the high school football player and his cheerleader girlfriend are supposed to be grating and insipid.) As an added bonus, every episode includes, with the closing credits, a cavalcade of characters masquerading in a panoply of creative costumes and time periods. 5 stars.

My Big Fat Greek Wedding

Here a hilarious portrayal of an in-your-face traditional-family setting (which the Greeks invented, no doubt)! Though John Corbett is quiet and sane (not boring) compared to the rest, everyone in this ensemble cast is phenomenal (tiptop and sometimes over the top). Nia Vardalos can book my airfare anyday and her parents are to die for! If I were a woman, I would have given this movie 5 stars, but Nia clearly bears the full brunt of her family's, um, communal bent so while it's a serious adjustment for her non-Greek (say it's not so!) husband it is not as bad as facing them alone. This movie did for Greeks what Moonstruck did for Italians and Bend It Like Beckham did for Indians. (Do we need similar movies for Catholics and Jews?) 4.5 stars.

Bridget Jones's Diary

A fine ensemble cast and a memorable performance by Rene Zellweger make this movie a charmer with staying power. Zellweger really does a smashing bit as a cagy British bird who longs to fly like an eagle but too often ends up thumping her wing on the doorpost. The film treats everyone affectionately, even the boorish Hugh Grant and the sullen Colin Firth. There isn't a dull spot in the show (save maybe the pudgy rump replays) and I love the quirky bits. Some men will class this as a chick flick to be avoided at all costs but if your guy does, girls, he's a Grant not a Firth, with a less empathetic soul than you deserve. 4 stars.

Bridget Jones: The Edge of Reason

The same nattering, neurotic relationships rebound back and forth in this affectionately toned sequel until Bridget finally sorts through all the plot twists and turns and settles on her man (and he on her). 4 stars.

Daria: Is it College Yet?

TV. Daria is the poster child for the too-cool-to-care MTV generation and star of the entertaining animated series. As such, Daria is an acquired taste -- either you get her smart, dry brand of sarcasm or you don't. I love this show, it really works for me. 5 stars.

Coral Reef Adventure

Documentary. The luscious piscine hues and kinetically flowing sculptures of the coral reefs of Australia's Great Barrier Reef and the Fiji Islands are captivating and the soundtrack is lyrically lush too. The CSNY and Fijian musical vignettes are delicious and delightfully blended (viz. a French Polynesian version of Teach Your Children). I've seen this movie at the IMAX and via streaming video and it stays fresh and viewable. You get a concept of the community of scientists who are monitoring our ecosystem and working to find ways to save our flora and fauna as well as humanity itself. I don't understand the troglodytes who deny the fact that the Fiji waters are 2 degrees warmer and that logging causes silting which kills the reefs that rely on photosynthesis. Man is killing these reefs, refuses to admit responsibility, and blames the bearers of facts and solutions as the dunderheads? This movie will teach our children and lend an appreciation for nature to those who are willing to listen. 5 stars.

Baraka

Documentary. More visually creative and thematically stimulating than Powaqqatsi and Koyaanisqatsi put together, Baraka is from the other films' cinematographer and editor and is the finest example of this kind of movie yet. 5 stars.

Animals Are Beautiful People

Documentary. This has got to be the best (fairly picturesque, thoroughly affectionate, dryly humorous) animal documentary ever. It's no 1990s National Geographic because of its 1970s photography but its only dry parts are the Namib and Kalahari deserts and the humor. I can't picture any family or animal lover not loving this movie! It justly bears a G rating because the only thing that gets caught and eaten are a few eggs. (More eggs escape, by the way.) This film is endlessly captivating, heartwarming, and educational. It covers dozens of animal species and teaches you about their behavior with an economy of well-selected and perfectly choreographed vignettes. I loved this movie when it came out and I won't ever grow tired of seeing it again and again. Thanks for putting me onto it, Dad! 5 stars.

Undergrads: Freshman Season

TV. Undergrads is a warm and genuinely funny look at college life in the post-GenX era. There's talk of hookups and drinking but the storyline is tightly woven around the personalities and choices of four lifelong friends: slacker wallflower Nitz, macho jerk Rocko, airhead chick magnet Cal, and Star Wars computer nerd Gimpy (plus insecure student activist Kimmy and several others). 4.5 stars.

Bridge to Terabithia

Here is a real-life not a make-believe story that will make anyone but the most coldhearted stone-troll cry -- but it's real life from the eyes of two budding adolescents, so it's ideal for that age range yet emotionally overwhelming for younger children and never as focused as an adult would prefer. This movie feels like another (but lesser) Eragon: set in rural America and skipping from plot step to plot step faster and more perfunctorily than you can say "just read the script," the storyline feels like it was penned by the audience it's about and for: 13-year-olds. Yet this is also the movie's strength, since it incarnates an authentic sense of what it's like to be a preteen "good kid" in a tough crowd (the average school). The two child stars go through the motions of the script as far as adult moviemaking standards go, but they ably embody the nuanced angst (puppy love, adventurousness, peer pressure, naked fear, etc.) of true-to-form youth. In fact, I wasn't aware of how sympathetically my 9-year-old son and I had connected with them until tragedy struck. It's unfair to spoil a key plot element for those who have yet to see a film, so I can only say we tearfully wept for the rest of the movie and were quite sad and depressed about it for at least another hour. The boy star's do-your-chores farmer father redeemed himself with a sensitive, father/son bonding scene and his youngest sister revealed her gift as she stepped into a brave new world, but the fantasy-forest dimension of this movie will always leave you panting for bigger and better scenes of the denizens. I would give this movie 4 stars for that element and 2 stars for betraying us emotionally, so I give it 3 stars on balance. Still it was authentic emotion and empathy so it was a movie-watching and a human experience unlike few we have yet shared. 3 stars.

Futurama: Monster Robot Maniac Fun Collection

Futurama gets four stars for its close-to-stellar humor and storylines but this disc is a weak repackaging of four (great) episodes with fewer than the usual extras. You will laugh -- but if you're a fan, you'll already have watched the full four seasons, and if you're a newbie, some of the jokes ("He make good snoo-snoo") will go over your head. 4 stars.

Employee of the Month

Like any movie costarring Steve Zahn or made in the spirit of the Coen brothers, it seems like people either love this film or hate it. I was pleasantly surprised by this movie. First I was surprised to find this movie on the discount table at Blockbuster. Later I was surprised to learn there are two movies with the same name made two years apart and this was the other one. While viewing this movie, I was surprised to find that Matt Dillon is a better actor than his titles which I've previously seen (There's Something About Mary, In & Out, One Night at McCool's) would suggest. (He was superb in Crash.) This movie is full of inventive plot twists and pleasant touches--a true pleasure to watch. Employee of the Month is something of a blend of Matchstick Men, U Turn, Bringing Out the Dead, and Crash. The ensemble cast is great individually and together, the editing is kinetic without going overboard, and the final plot twist will surprise you if you don't look at the fourth scene shot on the back of the DVD case. 4.5 stars.

The Messengers

I just came back from a preview showing of The Messengers. Here is a jangly-nerved blend suggestive of The Birds, The Grudge, Signs, Dark Water, and more. It has the loud thumps that make you jump and the things that go bump (in the day or in the night). It has the indescript blur of a something that runs past your field of vision (background or foreground but always behind the character in scene). It has ghostly images appearing under or over beds, chittering and chitonlike clattering of creatures that haunt the house, would-be homicidal crows, dangling farm implements, violent poltergeists, and a sweet little aphasic boy who points at and is drawn to the chimeras that only he (usually) can see. John Corbett does a great (Jeff Bridges-like) job as a trusted farmhand who flips out. Kristen Stewart does a yeoman's duty as the teen daughter who is the most-afflicted household member (though almost everyone gets poked with a fork till they're done). Evan and Theodore Turner steal the show as the mucus-encrusted, gently smiling tyke who sees all but can only tell some. See this movie -- it will make you tense, and glad you saw it. 4 stars.

The Queen

The Queen is a quintessential movie. (At its end, I thought, "Now *that* was a movie!") Its performances are measured and outstanding, its story fascinating and snugly fit, its direction balanced and dead-on -- in a word, quintessential. Helen Mirren will take the Oscar. She is completely convincing as the sovereign embodiment of royal tradition yet also a human being with habits and emotions, just needing an adjustment to the Royals' perspective on Lady Diana. This movie is a captivating modern-day morality play that discerns the line between what is stiff-upper-lip prim and what is do-the-right-thing proper. All the supporting cast members turn in fine performances, esp. Michael Sheen as Tony Blair.

Happy Feet

Without going into great detail, Happy Feet is the best animated movie in recent years, bar none! It's infectiously joyful and inspiring and the music is awesome. Compared with every other animated film in recent memory, Happy Feet wins hands down! Five stars.

Unforgiven

A meaty, gritty Western morality tale that you should remember for a very long time. It didn't connect with me as emotionally as Silverado but it's a deeper and truer story that won't let go either, just in a different visceral way. As an actor and a director, Clint can do no wrong! 4.5 stars.

Mad Hot Ballroom

Documentary. Here is an infectious and inspiring journey into the hearts and minds of fifth graders who are learning to ballroom dance -- very well! A passel of NYC kids at a number of schools take a 12-week dance course then head straight into a citywide competition -- all I can say is wow! (I loved Indigo team best and they won.) The teachers' enthusiasm and dedication is great to witness and a wonderful racial mix of kids opens up with their thoughts about boys, girls, parents, and growing up. This film showcases a superb program for teaching life skills and self-confidence to our inner-city youth and will be inspiring to anyone who believes in children, education, the arts, and growing up as a contributing member of society.

Enron: The Smartest Guys in the Room

Documentary. This film chillingly reveals -- through video and audio tapes of those Darwinian snakes Lay, Skilling, and Fastow with their dog-eat-dog traders -- just how far and deep the perpetual posing and intentional deceptions really ran at Enron. Lay was a close personal friend of the Bush presidents and personally machinated the deregulation of electric power in California (even as he denied such truths) so that his traders could manipulate and hobble the power grid at will -- and then chortle over their every coup. (It's all on tape!) Enron traders were morally compromised people who were told to step on the throat of their own grandmother or their own boss to make millions for the company and themselves; do you think they cared one whit for any of the tens of thousands they defrauded out of their life savings or the millions of citizens they economically raped in California, all to the tune of billions of dollars? The Milgram experiment is even more relevant here than to Abu Graibh because of Enron's drink-the-Kool-Aid cultlike status. This documentary should deeply anger you, no matter what your political affiliation, if you have a conscience of your own.

Miss Potter

This is a delightful and charming English love story in a gorgeous panoramic setting. Living amidst an Edwardian society of manners that was stultifying to gifted women, Beatrix Potter (Rene Zellweger) drew animals and the outdoors since she was a child and became a woman of independent means upon the publication of her series of animal tales that grew immensely popular as children's books. Her endearing and inimitable drawing style is crisply and colorfully reproduced, and in an inventive bit of whimsy, they sometimes become animated as they interact with her imagination. Zellweger's idiosyncratic and inspired facial expressions artfully convey the complex emotions of a "proper" woman who chafes for a measure of autonomy as an intelligent woman in her 30s. She meets the man who will become her publisher (Ewan McGregor) and in time the two forge a romance (all under the watchful eyes of her parents and crone of a chaperone). McGregor and Matyelok Gibbs, her chaperone, are a delight, and the film has plenty of moments that made the preview audience around me laugh heartily. Miss Potter is a wistful and innocent love story about the love of art and animals and books but esp. the love of a man and a woman who agree to a summer's separation imposed by her parents, only to be separated forever before they can wed. The scenes in Beatrix Potter's beloved English Lake District, which her estate became instrumental in preserving as a national park, are breathtaking. 4.5 stars.

Terminator 3: Rise of the Machines

An adrenaline-laced wild ride with plenty of mayhem and a sexy botte fatale! T3 isn't as iconic as T1 or T2, but it's riveting because its chase and crash scenes are much bigger and the Terminatrix can't be stopped by anything short of a nuclear blast. Arnold does fine as do Nick Stahl as John Connor and Claire Danes as his future spouse and lieutenant. Kristanna Loken is hot -- often quite literally! -- as the lethal late-model T-X. Yes, the plot has holes but they're lacy not regular Swiss-sized. This movie covers the bases and gives you a workout at the same time. 4.5 stars.

Commander In Chief: The Inaugural Edition: Part 2

The Bush machine stole two elections and doubtless cancelled this stellar program--showing themselves to be as conniving as the Republican speaker who opposed this fictional woman president. This show was not about Hillary Clinton, though reactionary types manage to see a snake behind every flower. How unfortunate when politics undermine the arts and circumvent the truth.

Barnyard

Barnyard is certainly no Lion King. It's not even Madagascar or Over the Hedge. It's not as funny as Chicken Little. Barnyard has its moments of humor, brilliance, and sweetness; they're just mixed in with a lot of bits that miss the mark and may jar adults or cause them to snooze. (The writers betray their inanity by penning a joke about the New World Order.) My 9-year-old laughs and loves this movie esp. the mouse and the hairball character. My favorite scenes involve the postman and the neighbor lady but I think the dark scenes and much of the stretched efforts to riff and be cool are just off. By the way, to all those whose reviews consist solely of one sentence or an entire paragraph mumbling "but male bovines don't have udders"--you have udderly no imagination and probably need a good nipple tweaking yourself.

Commander in Chief: The Inaugural Edition: Part 1

TV. Commander in Chief is not as presidential as The West Wing but it feels more presidential than our current administration ("I'm the decider" and "what he said"). It's full of states(wo)manlike and principled independent leadership on the part of Geena Davis, of decisions as well as appeals to tell the truth and to "do the right thing," in direct contrast to the smarmy two-faced politically motivated backstabbing and machinations of Donald Sutherland. This is not to say the characters play to type or are black-and-white; they are complex, well-played to the letter, and truly keep you guessing. I was not pleased that the mindless antics of the teen son and daughter could be tolerated in the White House, however, Geena and her "first gentleman" husband ably explore the gender bender of a female president while balancing the politics of reality with the commitment and tenderness of a real marriage. Highly recommended for any student of democracy and humanitarian values.

Broken Flowers

OK, I am a fan of Bill Murray and his minimalist acting. I loved this movie's concept and I was eager to see it. Nevertheless when I finally did, it was like watching paint dry (with no real or implied plot development going on behind Bill's ragged drooping eyelids). I gave Lost in Translation five stars because I could infer and empathize with the ennui and anomie that were inimical to Bill's persona. Broken Flowers is so thoroughly minimalist, on the other hand, that it stands virtually indiscernible from an ottoman collecting dust (interspersed with scenes of planes taking off and cars ambling down country roads). It became almost painful how Bill did little more than mope or stare into the distance with a blank expression -- a truly blank expression, because he never gave any hint of a consciousness or a will behind those vacant stares, much less any potential to learn or grow through his experiences, which were generally so vacuous and futile that in the end I was aggravated since he was apparently doomed to such a fate (sort of a perpetual Groundhog Day without hope or clue of redemption). I almost gave this movie two stars but the chatty-Cathy teenyboppers on the bus helped redeem its entertainment value, as did Sharon Stone's breezy portrayal of an ex-girlfriend -- not to mention her troubling exhibitionist daughter Lolita. ("Interesting choice of name" intones Bill Murray -- in between scenes involving the near and full frontal and dorsal nudity of otherwise unknown Brea Frazier.) Frances Conroy also hints at potential for story and character development, but ultimately disappoints. Two other ex-girlfriends fail to deliver even a perfunctory whiff of plot potential. Bill's neighbors and their five children are good, sincere, happy souls -- and he expresses sincere and wistful affection for them -- yet they appear to be the antithesis of what vexes him and he can never have. Frustrating! Barely 3 stars.

Matchstick Men

Matchstick Men is no Road to Perdition; its light touch is its salvation. Seeing this movie is its own reward, but let's be clear: It's more visceral, human, and funny than The Whole Nine (not to mention Ten) Yards. Nicholas Cage does a fine job playing a quirky, obsessive-compulsive "con artist" with an established career and a sterile lifestyle who suddenly finds out he has a 14-year-old daughter who wants to become involved in his life. He discovers he has feelings (that he mostly doesn't know what to do with yet) -- hopes, worries, and joys -- about this precocious young woman, esp. in regard to his risky career and rigid lifestyle. (Apparently the only thing he eats, for example, is canned tuna.) This movie was very satisfying and never slowed down for want of fresh story development, right down to the (wow, a happy) ending. Everyone in the supporting cast carried the story on their shoulders (through all the plot twists and tensions) and made this a very good, believable, feel-good movie. 4 stars.

Shooting War: World War II Combat Cameramen

Documentary. Here is a good chronological and contextual overview of World War II documentary motion pictures, including some scenes never before released, with extensive commentary from the cameramen themselves. (Tom Hanks narrates and appears initially in a huge bushy beard -- he must have been in production for Cast Away.) Wars had been photographed before but WWII was the first war that was intentionally and massively covered by embedded cinematographers like John Huston and John M. Ford in addition to more than 1,500 soldiers trained as cameramen. Their job was to document every beach landing, carrier operation, urban tank match, and so on. (Cartoons and war films formed the original cinematic trailers and Saturday moviegoing was the best way for civilians back home to get their news of the war. The documentary footage was incorporated into the embedded producers' own coverage, which became war propaganda as it increasingly involved battle reenactments, ship and plane models, actors, and scripting.) The raw war footage was necessary for the conduct of war by generals and for the comprehension of war by civilians. As such, these cameramen on the ground and in the air showed their mettle and often risked their lives to help America "get the big picture" of the war, with a measure of the personal courage, professional dedication, and service to humanity that we have seen in war correspondents ever since. 3.5 stars.

Aguirre: The Wrath of God

Here is a visually and psychologically powerful portrayal of progressive megalomania, played so physically and idiosyncratically by Klaus Kinski. His face is unforgettable with its Teutonic definition, bloodless sculpted lips, and ever sharp but hooded eyes. His swaggering posture is unflaggingly simian, with a low center of gravity as he pivots always at his knees. His choices, strategies, and actions present a study in Machiavellianism. Visually the landscape is stunning as well, and the cinematography (most impressive given the arduous conditions and young age of the director) is creatively varied and always sumptuous, even when feasting on squalor. This is The Mission meets The Lord of the Flies on The African Queen. The greed and expedience of the conquistadors and even the monk are chilling as they slip from self-deception that they choose into self-deception they cannot control. Such is madness, after all. 5 stars.

Real Women Have Curves

Omigosh this is a wonderful movie! It's a captivating study of Latina womenhood -- sort of a Latin version of Moonstruck or a less-in-your-face, more-passive-aggressive My Big Fat Greek Wedding. Every scene conveys Latin culture in L.A. with great visual and clarion quality, esp. the dynamics of Latina women of various ages between themselves and in their families. It's as beautiful, accurate, and sympathetic as Maria Full of Grace yet as sincere as The Full Monty or as virginal as My Big Fat Greek Wedding. It's not a comedy but it's a genuine slice-of-life story that cuts across age groups, where everyone (esp. the charming America Ferrera but not her drama-coach mother Lupe Ontiveros) accepts themselves as they are. America (she of the alluring eyebrows, here in her debut role but most recently the star of Ugly Betty) is fine with her weight because she is a "real" woman who refuses to follow her mother's dictates to lose weight, attract a man, get married, and care for her husband and children. She wants to do that -- but not only that, not just yet, and not just because it's what her mother wants! (Her mother has only recently given up on her older daughter, who runs the family business that provides all the women with sweatshop wages, but wages all the same.) The dynamics of the mother-daughter relationship are captivating and I won't divulge any maternal contradictions here. Be sure to view the additional year-later scene though -- it helped resolve the story and pushed me over from joy to nary-a-dry-eye. Down with starving-waif supermodels! Up with real (esp. Latina) women -- of every shape and curve!

The Muppets Wizard of Oz

Given the supremely high marks that people generally give The Wizard of Oz and anything to do with the Muppets, this movie sucked big-time (sort of like that fakey cyclone effect Dorothy had going on there). Ashanti (whose opening scenes mimic a music video) can sing like a songbird, but she can't act to save her soul. She has three facial expressions: amused, tentative, and blank (her favorite). The musical numbers are entirely forgettable. Fozzie sounds like Miss Piggy half the time. The sets and lighting are uninspired (save the art nouveau traceries of Oz, however, they bathe everything in neon green). Gonzo as the Tin Thing shows a spark of inventiveness and spiri, and Miss Piggy and her biker gang are a sight to see. However, the adult references were all off-color and highly inappropriate for a Muppets movie. (A low-cut, big-boobed woman waggles her hokey-pokey for Gonzo and turns into a chicken in the clunkiest chunk of computer animation I have ever seen.) This movie really was pathetic. Queen Latifah cannot act either yet she and Miss Piggy were the brightest stars in this shilled piece of schlock. 2 stars.

Fawlty Towers: The Complete Set

TV. This series showcases some of the best writing ever on British or American television. Fawlty Towers displays both hilarious arrogance and bumbling gall as only John Cleese can portray them -- with a fine supporting cast! You'll want to see each episode more than once to memorize the pithy lines. Thirty years old but hardly dated at all! 4 stars. For similar offerings, click my avatar then explore my British-Comedy list.

Beyond the Da Vinci Code

I caught this impressively produced documentary on the History Channel. It easily outdistances all others for its production values, research, visuals, and memorability. In short: *No* evidence supports Dan Brown's conspiracy theory, much less the legends on which he posits it. 3 stars.

Millions

Millions is a delightful modern morality play led by the pure-hearted, naive Damian (Alex Etel, age "5") who sees and speaks with saints in his everyday life and his cogent, practical brother Anthony (Lewis Owen McGibbon, presumably age "9") who is both protective and problematic. After discovering a suitcase full of money that "fell from heaven" onto the boys' cardboard-shanty playhouse near the train tracks, Damian wants to give it to "the poor" while his brother wants to spend it to their advantage. Damian needs Anthony to help preserve the secrecy and to keep him from being taken advantage of, but each boy's every decision carries consequences that must inevitably compound, involving their parents, a trusted adult, a sinister figure who is seeking the stash, and potentially the law (here largely absent or inept). The story is beautifully and artistically filmed, the acting is spot-on excellent, and the exposition is creative and often whimsical. The scenes of Damian speaking with his beloved Catholic saints are precious, as are those of the school's Nativity play, and Damian's relationship with his mother may move you and moisten your eyes. This is a wonderful morality tale and a family film (so long as yours is not a *moralistic* family that wants to keep its children from the mention that mothers have nipples and breastfeed their babies). 4 stars.

Tony Hawk: Boom Boom Sabotage

A weird animated feature that varies in quality between sub-Doogal and quasi-rotoscopic. Half the characters are skateboarding kids with bad haircuts (one with a mullet), half are grotesquely drawn circus sideshow freaks (one dressed as a pullet). Tony Hawk looks almost lifelike and motion-capture technology effectively conveys the skateboarding antics of all, esp. during a kids' mid-feature round that practically looks videotaped. The voice talent is fairly good and a few laughs are evident. Don't miss the lowrider-cruising hiphop clowns and winged monkeys. 2.5 stars.

The Great Muppet Caper

Old-time vaudeville humor and song is again revived on the silver screen as the Muppets do their schtick, I mean, stuff! I made sure to see the first three Muppets movies as they came out in the theatres (pre-videocassette). This one is not as good as The Muppet Movie or even The Muppets Take Manhattan but it takes an honored place in the pantheon for its music and musical numbers. The most memorable and charming scenes are the bicycle tour through the park and Miss Piggy's modeling fantasy (complete with synchronized swimmers and Charles Grodin dubbed in to sing like Mario Lanza). The extras include only a Pepe interview with Miss Piggy as "the diva who would not be denied." 4 stars.

The Fountain

Awe-inspiring, spiritual, artistically and emotionally layered, and visually stunning! The previews only hint at the sublime (and subliminal) beauty of the scenes, the visual poetry of the overlays that link and interrelate scenes throughout this film, the sonorous texture of the soundtrack music, and the complex tapestry of the story as it unfolds and unravels across three eras -- from a terrestrial beginning to a cosmic rebirth. The visual effects are captivating and essential to the story so they are more than eye candy, they develop (and reveal) the plot. (They esp. convey and interrelate textures better than anything you've yet seen.) Hugh Jackman acts his heart out as a Spanish conquistador loyal to his queen, a modern-day cancer researcher with a stricken wife, and a Moby-like spacefarer to the stars. In each segment (intricately and integrally interwoven), Jackman's persona (and esp. his love interest) is running out of time. Rachel Weisz is a vision of beauty across the ages and conveys her persona's motivations adequately. This film is Contact, 2001: A Space Odyssey, The Mission, and almost every epic movie rolled into one. It will blow you away. "We are all made of stars!" 5 stars.

Skeleton Man

I caught this on the Sci-Fi Channel (usually a bad enough sign) and, while I could spend greater effort describing exactly how bad it is, I figure: Why bother, given how little creative effort the producers put into making the movie itself? So (trust me) this description will suffice: stupid, stupid, stupid, stupid, stupid, stupid, stupid, stupid, stupid, stupid, stupid, stupid, stupid, stupid, stupid, stupid, stupid, stupid, stupid, stupid, stupid, stupid, stupid, stupid, stupid, stupid, stupid, stupid! 2 stars.

With God on Our Side: George W. Bush and the Rise of the Religious Right in America

Documentary. This is a full-fledged (sympathetic yet probing) history of the Religious Right's rise to dominance, culminating in the presidency of George W. Bush. Interviewed are a veritable Who's Who of leading evangelical figures in the politics of the past 45 years. Even having lived through this era myself, I gained fresh insights and perspectives I didn't have. For similar offerings, click my avatar then explore my Evangelical list. 4 stars.

The Motorcycle Diaries

This is a strikingly picturesque portrayal of the geographical and human landscapes of South America that resonates with the simple human values of justice and compassion. It is the romantic story of a road trip actually taken by Ernesto "Che" Guevara and his friend Alberto Granado, nearly circumnavigating South America, when they were 23-24 and 29-30. It is "based" on "the writings" of Che Guevara and the memories of Alberto, who consulted with the production and appears in the (overly sympathetic) epilog. It implies nothing of their later Communist or revolutionary lives beyond portraying them as adventurous, passionate young men who came to reply on pluck and courage even as the sensitive and poetic (and asthmatic) Guevara begins to perceive the mounting injustices of the ill and impoverished who are evicted and interned wherever the landed and the rich put them. This is a picturebook paean to the vistas and the people of South America even as it paints a hagiographic picture of young Che as a cosseted waif who finds morality and manhood in a Father Damien-like altruism and empathy for the people. It's less historical and moving than Ghandi but oh so panoramic. 4 stars.

The Muppet Movie

A whoop-de-doo of funnyboneheadedness! I loved this movie greatly for its fast-paced (Airport! style) comic delivery when I saw it in the theatres. You need to see it more than once to catch all the jokes, lyrics, and sight gags. Many of the jokes are simple and sweet for the moppet crowd (viz. a literal fork in the road) and the cameos are simple and sweet as well (except for the perfectly snooty then snotty waiter played by Steve Martin). Mel Brooks's comeuppance doesn't work for me but anyone should love the cameos by Bob Hope, Edgar Bergen, Milton Berle, and many more. They don't make movies like this anymore! Anyone should be amazed to see Kermit playing banjo and riding a bike, plus Miss Piggy's antics, and I still guffaw at Kermit's romantic scenes with Miss Piggy (the poor sap). The song Rainbow Connection is a sentimental classic that everyone should see in situ (as sung and played by Kermit himself). The characters carry out a perfect blend of situational humor and schmaltz with plucky aplomb. You gotta love the hecklers (Statler and Waldorf), the manic wackos (Animal, Gonzo, and the bomb guy), and the adult humor in the songs. (I'm impressed with how they fit "A skunk was badgered, the results were strong" into a kid's movie.) If you don't find something to love in this movie, well, that's just un-American! 5 stars.

The Man Who Knew Too Much

If you think British humor is hard to read, try reading the characters' lips in this 72-year-old movie. It features deadpan baddie Peter Lorre and climaxes in a shootout with hostages against the police. The plot is marginally suspenseful and the acting has its moments -- such as Edna Best in the music hall, torn between two courses of action. An early Hitchcock classic but the lighting and sound are fairly muddy. 3 stars.

The Life Aquatic with Steve Zissou

This movie slowly grows on you until its complete effect wins you over by the end. At first it's retro-Cousteau (cheesy film titles and lumpy documentary scripting and acting) and self-satirical (in a foppish, Italian Explorer Society kind of way), then increasingly quirky (with whimsically colorful CGI piscines), but always with the brushed-leather feel of the humanity that Bill Murray and his ensemble cast all contribute together. (Willem Dafoe and esp. Kate Blanchett stand out best.) You should love the Dave Bowie songs performed a la portugues above all, as they tie the film together in an aural texture as did Jonathan Richman in There's Something About Mary. This film adds several wonderful touches reminiscent of The Big Fish and Buckaroo Banzai. 4.5 stars.