New Releases
GLORY ROAD (PG) Jerry Bruckheimer Films and Walt Disney Pictures produce a tale of athletic and social advancement about the struggle and triumph of black players breaking into a sport primarily dominated by whites. Glory Road is based on the true story of Coach Don Haskins (played by Josh Lucas of An Unfinished Life), who took the first all-black lineup to the NCAA basketball championship in 1966. Elaborating on the importance of camaraderie among teammates and of loving and respecting a man regardless of his skin color, Glory Road suggests that there are beautiful moments in and outside of discontent, and does so in a way that's far from disappointing. James Gartner directs; also stars Tatyana Ali, Emily Deschanel, Derek Luke and Jon Voight. Opens Jan. 13 at local theaters. 3 stars.
HOODWINKED (PG) A clever but overly convoluted kiddie flick that re-envisions the Red Riding Hood story as a Rashomon-like conundrum of competing and overlapping narratives. Everybody tells their side of the fairy tale — Red, the wolf, the woodsman, the grandma — as secrets are revealed, stories dovetail and cancel each other out, and, ultimately, some sort of paltry pay-off takes place. The film tries to balance physical comedy and other kid-friendly humor with elements aimed at older viewers, but there's not much middle ground here, and the movie winds up feeling compromised and more than a little confused. Featuring the voices of Anne Hathaway, Glenn Close, Jim Belushi and Andy Dick. Opens Jan. 13 at local theaters. 3 stars.
LAST HOLIDAY (PG-13) Director Wayne Wang's well-meaning misfire is gentler and more appealing low key than you might imagine, but it's also lazily scripted and stocked with cardboard-cutout characters who are either saints or demons. Saintliest of all is Georgia (Queen Latifah), a humble, self-sacrificing everywoman who, upon discovering she has three weeks to live, flies to Prague with the express aim of throwing caution to the wind and living life to the fullest. Latifah's character checks into a $4,000-a-night hotel, pampers herself, has a wild and crazy experience or two skiing and jumping off bridges, and rubs elbows with a couple of rich businessmen and politicians (most of whom are every bit as devilish as Georgia is angelic). Despite some early promise, the movie winds up as predictable and maudlin as the trailers make it out to be, and not even the normally nimble Wang (Chan is Missing) or the larger-than-life Latifah can turn that around. Also stars LL Cool J, Timothy Hutton, Alicia Witt and a slumming Gerard Depardieu — saddled with moronic speeches in which he compares Latifah to a humble, underappreciated turnip. Opens Jan. 13 at local theaters. 2.5 stars.
USHPIZIN (NR) A poor, ultra-Orthodox Jewish couple in Jerusalem discover the hard way to be careful what you wish for (or pray for) in this modern folk fable from Israel. Financially strapped Moshe and his wife Malli (real life couple Shuli Rand and Michal Bat Sheva Rand) consider the sly low-lifes that show up at their door as a "gift from God," but eventually find their saint-like patience taxed when the uninvited guests begin turning their world upside down. Ushpizin (literally Holy Guests) was made with the cooperation of Jerusalem's notoriously publicity-shy Hassidic community, and the film offers, beyond the modest charms of its story, a rare look at the inner workings of a rarely seen culture. Also stars Shaul Mizrahi and Ilan Ganani. Opens Jan. 13 at Sunrise Cinemas in Tampa. 3 stars.
RECENT RELEASES
AEON FLUX (PG-13) Based on the popular MTV animated series of the '90s, Aeon Flux takes us 400 years into the future to the last city on Earth. Charlize Theron, making her debut in the sci-fi action genre, stars as an underground operative leading the rebels against totalitarian rule of a seemingly perfect society. Also stars Martin Csokas, Jonny Lee Miller and Frances McDormand. (Not Reviewed)
BEE SEASON (PG-13) The new film from Scott McGehee and David Siegel (Suture, The Deep End) is a very curious, vaguely cerebral drama about a household in crisis when sixth grader Eliza (Flora Cross) turns out to be a total savant in the area of spelling, causing her academically minded, control freak dad (Richard Gere), a religious studies professor, to begin instructing her in the ways of Kabbalah in order to maximize her gift. Meanwhile, Gere's son (Max Minghella) is getting cozy with the Hare Krishnas on the sly, and mom (Juliette Binoche) is slipping out at night to indulge in a few deep, dark secrets of her own. The basic form here is pure soap, but with flashes of oddly shaped substance and a sprinkling of mysticism that, while it doesn't quite mesh with the rest of the material, is fascinating all on its own. Buying Gere as a Jewish scholar, on the other hand, is a stretch no one should be required to attempt. Also stars Kate Bosworth. 3 stars.
BROKEBACK MOUNTAIN (R) As nearly every man, woman and child in North America has probably heard by now, Ang Lee's new movie is the epic tale of two rough and tumble cowboys who discover, to their great amazement, that they only have eyes for each other. A delicate study in repressed emotions not unlike Lee's Crouching Tiger, Hidden Dragon and The Ice Storm, Brokeback Mountain follows the star-crossed Jack and Ennis (Heath Ledger and Jake Gyllenhaal) over the years, through loveless marriages, failed attempts to forget one another, and covert reunions where passions are quickly reignited. Heath Ledger's mush-mouthed Ennis (he might have taken elocution lessons from Billy Bob Thornton's Sling Blade guy) is a classic western hero, a strong, silent type who barely says anything, but who manages to communicate worlds of conflicted pain and longing with a minimum of dialogue or actorly fussiness. Several of the movie's performances are outstanding, but Ledger's sublimely understated, heartbreakingly physical performance is as much a force of nature as the Wyoming landscapes that dominate the film, calm and tender one moment, exploding in pent-up fury the next. And if it's subtext you're after, there's subtext aplenty here; American iconography inevitably takes on interesting new shapes while the whole movie occasionally feels like a vintage Douglas Sirk melodrama-cum-social-critique, gently massaged into a realm where men and women have so little interest in one another that they can't even be bothered with the so-called war of the sexes. At root, though, Brokeback is something profound in its simplicity, a deliriously romantic and deeply elegiac tale of a love that dares not speak its name. Also stars Michelle Williams, Anne Hathaway and Randy Quaid. 4.5 stars.
CAPOTE (R) Anyone who has read In Cold Blood or seen the 1967 movie version will be basically familiar with the raw material here — a pair of drifters reveal themselves to a reporter while awaiting execution for the senseless slaughter of a Kansas family — but Capote yanks the focus away from the killers and puts it squarely on the writer and his process. That writer is Truman Capote, portrayed by Philip Seymour Hoffman in a performance that gives us traces of all the Capotes that we think we know — the narcissistic dandy, the sensitive artist, the twee fop with the whiney baby voice, the literary powerhouse — and fuses them all into a character too complex and human to be pigeonholed by any of those descriptions. Also stars Catherine Keener, Clifton Collins Jr and Chris Cooper. 4.5 stars.
CHICKEN LITTLE (G) Disney's latest computer-animated feature offers an increasingly familiar scenario: plenty of great stuff to look at, but not much by way of memorable characters or even a stick-to-your-ribs story. Featuring the voices of Zach Braff, Garry Marshall, Joan Cusack and Steve Zahn. 2.5 stars.
THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE (PG) Although it gets off to a decidedly slow start, this big-screen adaptation of C.S. Lewis' beloved book turns out to be pretty smashing entertainment. Four heroic young siblings stumble into the film's magical realm of talking animals, evil queens, fauns, gryphons, centaurs, satyrs, Cyclopses and even a stripped-down Kris Kringle. The sheer profusion of fantastical beasties on display is worth the proverbial price of admission. It all culminates, as if you couldn't guess, in a massively proportioned Lord of the Rings-lite battle royale between the forces of good and evil, but hey, you could do a lot worse. Stars Tilda Swinton, Georgie Henley, Skandar Keynes, Anna Popplewell, William Moseley, James McAvoy and Jim Broadbent. 3.5 stars.
THE FAMILY STONE (PG-13) The basic set-up here involves a yuletide reunion with the Stones, a mostly good-natured and open-minded bunch who nevertheless find themselves deeply offended when one of the adult siblings (Dermot Mulroney) brings his painfully uptight fiancée (Sarah Jessica Parker) home to meet the family. Oh, and did I mention that the doe-eyed younger Stone brother is not only gay but deaf, and has an impossibly adorable African-American boyfriend to boot? Or that Mother Stone is terminally ill and played by Diane Keaton? Or that Parker's perfect sister (Claire Danes) eventually shows up and lights up everyone's life in a way that instantly telegraphs the entire last act of the movie? It all bubbles over in a mad rush of predictable partner-swapping and soul-baring as The Family Stone struggles to convince us that its glib, cookie-cutter story is less bogus than it really is. Also stars Rachel McAdams and Luke Wilson. 2 stars.
FUN WITH DICK AND JANE (PG-13) A sad and pointless remake of the 1977 George Segal/Jane Fonda comedy about nice middle-class folks reduced to robbery when the economy crashes. The original was no great shakes itself, but the 2005 version is a chore to sit through, as well as a terrible waste of two good performers, Jim Carrey and Tea Leoni, neither of whom has ever been less funny (at least in a movie that's nominally a comedy). The first half of the film joylessly details the couple's descent into fiscal hell (culminating in scenes of self-mutilation played for laughs), while the second half features a series of painfully unfunny slapstick robberies and brazenly unsubtle satires of corporate greed. Unpleasant and depressing stuff recast as comedy for America's New Dark Ages. Also stars Alec Baldwin and Jeff Garlin. 1.5 stars.
GOOD NIGHT AND GOOD LUCK (PG-13) Ostensibly, actor-turned-director George Clooney's remarkable new film is a more-or-less true account of that pivotal moment in American politics when CBS reporter Edward R. Murrow dared speak out against Joseph McCarthy, the Commie-hunting U.S. Senator who turned paranoia into a national pastime. David Strathairn is an effective presence as Murrow, a 1950's proto-liberal media star (Murrow might just be the Anti-O'Reilly) who spoke his mind and crusaded tirelessly for the truth, brow furrowed earnestly and a burning cigarette permanently wedged between his fingers. Clooney chose to shoot in black and white, a wise decision that lets us know that Good Night and Good Luck is art, too, while blending seamlessly with the extensive archival footage of McCarthy incorporated into the film. Also stars Robert Downey Jr, George Clooney, Ray Wise, Patricia Clarkson and Frank Langella. 4 stars.
GRANDMA'S BOY (R) A 35-year-old slacker moves in with a trio of high-spirited female octogenarians in what sounds like it might just be a little too close for comfort to Golden Girls meets Three's Company meets American Pie. Cross your fingers. Stars Allen Covert, Shirley Knight, Shirley Jones and Kevin Nealon. (Not Reviewed)
HARRY POTTER AND THE GOBLET OF FIRE (PG-13) Although somewhat darker in tone than its predecessors, Harry Potter and the Goblet of Fire is every bit as blockbusterific as the rest of the series, and, despite its long length, is designed for maximum efficiency. The new Potter adventure moves at a brisk clip, re-establishing old characters and introducing new ones while supplying an abundance of those purely fantastic flourishes that fans of the series have come to expect. Director Mike Newell pares away Rowling's gratuitous sub-plots and paces what's left beautifully, segueing from moments of light comedy and budding romance to sequences of unexpected intensity. The story is, as usual, more basic good-versus-evil stuff, but Newell and company present it in such fine style that we barely notice the empty calories. Stars Daniel Radcliff, Rupert Grint, Emma Watson, Robbie Coltrane, Ralph Fiennes and Michael Gambon. 4 stars.
HOSTEL (R) Cabin Fever writer/director Eli Roth enlisted executive producer Quentin Tarantino and a savvy Internet buildup to make Hostel one of the most anticipated horror flicks of the New Year. In it, three backpackers (Jay Hernandez, Derek Richardson and Eythor Gudjonsson) leave the standard European student haunts in search of carnal pleasures, only to end up the object of others' infinitely darker desires. Hostel takes a little too long to build, and depends more upon tension and revulsion than outright scares, but once the blood starts to flow Roth gets a lot of mileage out of the idea (not to mention the visuals) of human torture. The film may not single-handedly redeem the American horror genre, but it is one of the most original, visceral and wholly wrought movies the genre has offered in a while. Oh, and there's, like, a thousand boobs, too. Also stars Barbara Nedeljakova, Jana Kaderabkova, and Jan Vlasak. 3.5 stars.
JARHEAD (R) Director Sam Mendes does an awful lot of rambling and posturing here, while showing precious little of the insight that elevated his American Beauty above its pretensions. Jarhead is a war movie where the war is barely seen. There's not much excitement, tension or depth as we watch a bunch of newly-minted marines go through basic training, clean toilets, talk about wives and girlfriends. The soldiers don't wind up seeing combat until the last 20 minutes or so, at which point we get a handful of arresting images of the killing fields of Kuwait, but not much else. Stars Jake Gyllenhaal, Peter Saarsgaard, Lucas Black, Jamie Foxx and Chris Cooper. 2.5 stars.
KING KONG (PG-13) Director Peter Jackson goes back to the basics here, re-setting this classic tale in its original timeframe and remaining extremely faithful to the original story, while giving it lots of room to breathe. Besides the seriously hefty running time (nearly every minute of which deserves to be there), Jackson ups the ante in other significant ways, intensifying the action on all fronts and clarifying the beauty-and-the-beast bond that is key to the story. King Kong is basically beautifully realized old-school filmmaking with a 21st-century facelift, and Jackson segues skillfully from humor to horror to adventure to romance. Adrien Brody is well cast as the sensitive hero, as is Jack Black (keeping his eyebrows under control and playing it relatively straight for once), and Naomi Watts exhibits star power to burn. But the real star here is Kong himself. Jackson's Kong is a personality kid who takes CGI to infinity and beyond, whether he's gazing contemplatively at a sunset or tearing up the city trying to locate his special blonde, just like Jimmy Stewart obsessing on Kim Novak in Vertigo. And when the monkey finally climbs that famous building in the end and has his Top-of-the-World-Ma moment, there's little doubt that Jackson's doomed monster is also one for the ages. Also stars Jamie Bell, Colin Hanks and Andy Serkis. 4.5 stars.
MEMOIRS OF A GEISHA (PG-13) Beautiful to look at and with barely a thought in its pretty little head, Memoirs of a Geisha takes what might have been a culturally-specific slice of Asian subject matter and inexplicably infuses it with heaping helpings of that old Chicago razzle-dazzle. The film takes place in Japan around the time of the Second World War, but it's a Hollywood fantasy-Japan, where everybody speaks English and acts like they're in an American movie. We're thrust headlong into the tale of Sayuri (Zhang Zyiyi), a penniless waif who is forced into service at a geisha establishment and eventually inducted into their ways. The movie rushes through this crucial training period, shredding nuances along the way, in order to cast itself as your basic, overheated melodrama dwelling on various thwarted love affairs and romantic rivalries. An overlong film that feels rushed at all the wrong moments, Memoirs turns out to be a visually impressive but hopelessly generic soap gussied up with a few superficial exotic flourishes. Amplifying the scent of kitsch in the air, the non-native-speaking actors all speak a lightly accented English better suited to an old Godzilla movie than a serious dramatic venture. Also stars Ken Watanabe, Michelle Yeoh, Gong Li, Koji Yakusho and Kaori Momoi. 2.5 stars.
MUNICH (R) Despite a marketing campaign that sells it as a more-or-less straight-ahead suspense thriller, Munich is a glum, oddly muddled affair, so consumed with wallowing in ethical ambiguities and hand-wringing over endless cycles of violence that it forgets to give us an engaging story. Director Steven Spielberg focuses on the aftermath of the slaughter of 11 Israeli athletes at the 1972 Munich Olympics — when a hit squad was dispatched to assassinate the Palestinian organizers of the massacre — but Munich is less concerned with creating a visceral thrill ride out of the often horrifying mechanics of revenge than with grinding our noses in the pointlessness of it all. If you were expecting a Kill Bill adrenaline rush recast as a less guilty pleasure, forget it. Spielberg leans over so far backward in an effort to be evenhanded that there's really no one to root for or against, a problem exacerbated by too many forgettable characters saddled with flat-footed dialogue endlessly re-stating the movie's thesis that violence begetting violence can only be wrong. Stars Eric Bana, Geoffrey Rush, Daniel Craig, Ciaran Hinds, Mathieu Kassovitz, Hanns Zischler, Ayelet Zurer and Michael Lonsdale.
PARADISE NOW (NR) Walking a very fine line between humanist art-cinema and Palestinian agit-prop, Paradise Now dares to present what is essentially a sympathetic look at suicide bombers. The wannabe terrorists of Paradise Now are people we can relate to, who love their mothers, have girlfriends, quirks and aspirations, and who just happen to be angry or disaffected enough to have been recruited for a "martyrdom mission" to kill as many innocent people as possible. Never mind about the potential victims being innocent; the movie flits right over that little detail, so you're likely to miss it too. Paradise Now bears a superficial resemblance to the thriller genre, but what we mostly get is a relentless drumbeat of human desperation, punctuated by a series of litanies in which our "heroes'" principal enemies, the Israelis, are routinely reduced to faceless, sadistic monsters. Regrettably, the film's effort to supply its suicide bombers with a human face hinges to an alarming degree on dehumanizing their intended victims. Stars Kais Nashef, Ali Suliman, Ashrof Barhom and Lubna Asabel. 2.5 stars.
PRIDE AND PREJUDICE (PG) So yes, Hollywood, Bollywood and PBS have already weighed in with adaptations of Jane Austen's beloved novel. But don't let that scare you away from this latest film version. For one thing, director Joe Wright gives us the most vivid depiction yet of the very real class differences that separate filthy-rich Darcy (Matthew MacFadyen) from the merely filthy Bennets and their proud daughter Elizabeth (Keira Knightley). And if the rest of the Bennet girls are almost too authentically annoying in their giggly obsession with marriage, the underlying sense of economic desperation feels right. Donald Sutherland, so effective lately as snaky Senator Templeton in TV's Commander in Chief, shows his range in a subtle and ultimately quite touching performance as Elizabeth's weary dad; doleful yet dreamy MacFadyen is the most believable Darcy yet; and Knightley, if a little too perky, is at least as much of a natural wonder as the lush English countryside that surrounds her. 3.5 stars.
THE PRODUCERS (PG13) A shrill and shambling attempt to bring Mel Brooks' much-loved Broadway production to the big screen, The Producers arrives feeling like a thing embalmed. The story concerns a second-rate Broadway producer (Nathan Lane) who, upon discovering he can make more money from a sure flop than he can from a sure hit, teams up with his accountant (Matthew Broderick) to stage the worst show ever seen. That play is a little romp entitled Springtime for Hitler, which, though amusing enough, wasn't nearly the epitome of bad taste Brooks thought it to be even when he first conceived it back in 1968. The movie now seems as dated as it is lifeless and, without the hugely magnetic presence of Zero Mostel (who starred in the original film version), Brooks' faux-Marx Brothers borscht-belt shtick sinks like a rock. Also stars Uma Thurman, Will Ferrell, Gary Beach and Richard Bart. 2 stars.
RENT (PG-13) Jonathan Larson's rock opera of Puccini's La Boheme (set in Manhattan's East Village of the 1980s) seemed dated from the first day it appeared — an unintentional middle-brow parody of the very artists and eccentrics it wanted to ennoble — and the years have been especially unkind. We get over two hours of a multicultural, polysexual crew of starving artists prancing around crooning occasionally eloquent but more often sappy, preachy and pretentious lyrics about all sorts of social issues, set to an ungodly mix of bad Tin Pan Alley tunes and overblown dino-rock. The play Rent was a half-decent idea with a very limited shelf-life and it should have been allowed to die a dignified death, but no such luck. Stars Taye Diggs, Jesse L. Martin, Rosario Dawson, Idina Menzel, Adam Pascal and Wilson Jermaine Heredia. 2 stars.
RUMOR HAS IT (PG-13) Rob Reiner produces another romantic comedy with a moderately witty storyline. Jennifer Aniston stars as Sarah Huttinger, an obituary writer and emotionally distraught bride-to-be who learns that her family was the inspiration for the novel and film The Graduate. After certain parental possibilities come to light, she goes searching for Beau Burroughs, an ex-lover of her deceased mother and living grandmother (played by none other than Shirley MacLaine). Despite a promising start and sporadically hilarious moments, a rushed conclusion makes Rumor Has It merely average. Also stars Kevin Costner and Mark Ruffalo. 2.5 stars.
Adam C. Capparelli
SARAH SILVERMAN: JESUS IS MAGIC (R) A lot of people who caught Sarah Silverman's show-stopping turn in The Aristocrats are already calling her the new Lenny Bruce, but it takes a lot more than a filthy mouth and a knack for provocation to sustain great comedy. And though Silverman's comic timing is almost always impeccable as she revels in taboos from sex to race to 9/11 to AIDS in Jesus is Magic, there's a certain sameness to the material that eventually makes this particular brand of outrageousness feel just a little bit over-thought and, well, tired. Still, there's a lot of funny stuff in this barely feature-length document of the comedian's live show, and Silverman makes good use of her fresh-faced, nice-Jewish-girl-next-door persona to deliver a barrage of decidedly non-PC bombshells. Silverman fans will find much to like in Jesus is Magic, but the film would have probably played better as an hour-long HBO Special. Also stars Bob Odenkirk and Brian Posehn. 3 stars.
THE SQUID AND THE WHALE (R) The year's most meticulously detailed, deeply personal and magnificently neurotic account of a family splitting apart at the seams. The family members are a bright, talented bunch headed up by a mother and father (Jeff Daniels and Laura Linney) who are both writers, one whose star is rising, one with a star seriously falling, and whose marriage is well on the way to its messy end. That doesn't translate well for the two Berkman boys — 12-year-old Frank (Owen Kline) and older brother Walt (Jesse Eisenberg) — as they struggle with the gravitational pull of screwed-up, hyper-intellectual parents and adjust to the unpleasant, absurd realities of divorce. The Squid and the Whale is a delicate film about people who are often brutally honest, with director Noah Baumbach managing to find something appealing and even endearing in characters who are frequently selfish, arrogant and flat-out pretentious. Also stars William Baldwin and Anna Paquin. 4.5 stars.
SYRIANA (R) A film that attempts to be the last word on that scariest of unholy trinities — oil, money and blood — Syriana sometimes seems less like a political art-film and more like a thinking man's horror movie (think Land of the Dead with less cannibalism and where the zombies are rewritten as CIA agents). Writer-director Stephen Gaghan, screenwriter of Steven Soderbergh's similarly timely Traffic, throws together an almost unmanageable ensemble of some two dozen characters, from American politicians and oilmen to Arab sheiks and suicide bombers, in an ambitious attempt to offer up a mosaic of the enormously complicated forces (economic, religious, cultural, etc.) fueling immoral acts on both sides of the ongoing War on Terror. There's much that's thought-provoking and even important about Syriana, but the effect of the film is a bit like a jigsaw puzzle that disorients us so much in the beginning we begin to lose patience with seeing it through to completion. Stars George Clooney (nearly unrecognizable as a paunchy graybeard), Matt Damon, Jeffrey Wright, Chris Cooper, William Hurt, Mazhar Munir, Tim Blake Nelson, Amanda Peet and Christopher Plummer.3.5 stars.
WALK THE LINE (PG-13) Walk the Line is an engaging, star-studded production that gives us a more or less accurate accounting of Johnny Cash's life, but there's a generic feeling to the movie very much at odds with the edginess of its subject. The movie follows Cash's rise to stardom in the '50s and his subsequent fall, duly noting the marital problems, the drug problems, the inevitable cold turkey turn-around and the eventual comeback. The film is a little too concerned, though, with creating an overly tidy arc out of the events of Cash's life, and there's little here of the epic scope of Ray, no real sense of why Cash was important. Joaquin Phoenix does a serviceable job evoking Cash's physical presence, and Reese Witherspoon's perky Carter is a lot of fun to watch (and fun to listen to; she's a surprisingly strong country singer) — but, frankly, this couple could be almost any pair of innocuously attractive lovebirds. 3 stars.
WOLF CREEK (R) Despite the considerable buzz generated at Sundance, there's not ultimately much separating director Greg McLean's nasty little thriller from your standard garden variety kids-stalked-in-the-wilderness-and-hacked-to-bits flick. The story here (based on true events, we're solemnly assured) is basic and simple: three young pals (Nathan Phillips, Cassandra Magrath and Kestie Morassi), on vacation in the Australian outback, find themselves stranded and then pursued by a sadistic and seemingly invincible killer. The killer gloats, the kids die and that's really about it. 2 stars.
Reviewed entries by Lance Goldenberg unless otherwise noted.
This article appears in Jan 11-17, 2006.