Can it really be ten years since the Men in Black stormed the cineplex? Yup, it’s a darn shame they couldn’t use their neuralizers ( or as J first called them, “flashy things ” ) to erase our memories of that dismal 2002 sequel MEN IN BLACK 2. Hopefully the film makers have used the time to determine what went wrong and how to make a third film that can recapture the fun of the first. Speaking of time, we’ve not seen Will Smith in a film since 2008′s SEVEN POUNDS. Can he re-establish the Summer as ” Big Willie Time”? To find out let’s get that dark suit out of the closet, grab a pair of shades ( and 3D glasses), and take one strange trip in MEN IN BLACK 3.

As this installment begins, we’re witness to the break out of an alien criminal named Boris ” The Animal ‘ ( Jemaine Clement )  from a max, I mean really max, security facility. Cut to old partners Agents J ( Smith ) and K ( Tommy Lee Jones ) investigating a crashed spacecraft on the streets of New York City. Later on, the always stoic K delivers a eulogy for their departed boss Z at MIB HQ as we’re introduced to their new supervisor Agent O ( Emma Thompson ). That evening our heroes raid an Asian restaurant where K makes a discovery that sends him into a melancholy funk. The tight-lipped vet refuses to share this link to the past with his partner, so J hits the research files back at the base. Later that night J and K share an odd phone conversation. The next morning J heads to his partner’s apartment and is shocked to discover a family living there with no knowledge of K. And what’s with J’s craving for chocolate milk? Returning to HQ, his fellow agents are confused by his inquiries about K, because, as O informs him, K was killed on a mission over forty years ago! Oh, and Earth’s being invaded by spaceships from a distant world. Aha! Boris made the leap back in time and eliminated K via a secret device! J’s got no choice but to use said device and travel to 1969 in order to save K ( and the world ). Back in that groovy year J and a much younger K ( Josh Brolin ) embark on mission that will take them to Coney Island, Shea Stadium. Andy Warhol’s Factory, and , eventually,  the launch of Apollo 11 at  Florida’s Cape Canaveral in order to stop Boris’s fiendish plot.

First off, this is a huge improvement over the second film, but that may be damning with faint praise. Director Barry Sonnenfeld keeps things moving quickly in the first act and makes great use of 3D ( the prison break is a fantastic sequence ). Besides Mr. S several other members of the old team are back. Danny Elfman provides some great new riffs to his original pounding score. It’s wonderful seeing the skilled artistry of make-up effects master Rick Baker once again. In the modern bookend scenes most of the creatures are rendered using some pretty great CGI ( including that gang of wise-cracking, antennae-wiggling bugs ). Once we’re in the sixties, the aliens are similar to the pop-culture BEMs ( Bug  Eyed Monsters ) seen in TV shows like ” The Outer Limits” and ” Lost in Space “. Perhaps another Oscar nom for Mr. B ? Kudos also to the art directors for giving the past scenes a candy-colored glow. There are lots of great looking period fashions and classic vehicles. Of course the agents back then had their own cool futuristic gizmos, but here they too have a clunky, retro vibe. As for the actors, Smith carries the film on his broad shoulders and considerable screen charms. He convincingly stumbles and stammers as he is the ” fish out of water ” in this weird time. Carrying him through is his affection for his co-worker. Speaking of which Jones is his old, reliable cranky self as the veteran agent. The curmudgeon does show his feelings a bit as he begins to re-live his past regrets. The best surprise in the film is the inspired casting and performance of Brolin as the 1969 model  K. He’s a smoother, squinting version of Jones ( he’s got that Southern drawl down pat! ), who’s not quite the old ” stone face “. He even smiles at J a couple of times. Thompson’s a great addition as the button-down all business O, who’s very fluent in Venusian! The lovely Alice Eve plays her 60′s self in a couple of too brief scenes. Speaking of brief, Bill Hader of TV’s ” Saturday Night Live ” scores big laughs as an agent deep, deep under cover. Clement is both scary and funny as both versions of Boris ( augmented with some seriously gross CGI effects ). The only problem with the film is a somewhat soft second act involving an alien named Griffin played by Michael Stuhlbarg from A SERIOUS MAN. He can see several alternate futures at once, but can’t really interfere or prevent events. He reminded me of a shorter, schlubby version of “The Watcher” character from Marvel Comics. His ramblings become muddled and confusing after a few screen moments ( wonder if the role was written with Sonnenfeld’s RV star Robin Williams in mind ). But , despite this detour, the new adventure is a worthy follow-up to the 1997 original and with sprightly work by Brolin, MEN IN BLACK 3 is a fun, pleasant ride through the galaxy and the decades. Now allow me to direct your attention to this small silver device….

Overall rating: 3.5 Out of 5 Stars

A True Crime story – In 1997, in the town of Carthage, Texas, the body of wealthy, epically bitchy widow Marjorie Nugent, 81, was found in her freezer, shot four times in the back. Beloved local funeral director Bernie Tiede soon confessed to the murder so the District Attorney took him to trial and won a conviction. Director/writer Richard Linklater’s comic take on this story is the new film BERNIE.

Bernie (played by Jack Black) is well-regarded by his boss not only for his skill in dressing up the deceased, but in subtly pushing more expensive coffins on their families. He’s a pudgy, effeminate man who sings with a church choir and is the director and leading man in a local production of The Music Man. Is Bernie gay? One Carthagian notes: “He just loves hugging and kissing the old ladies, but a woman his own age he wouldn’t give the time of day”, but despite being “a little light in the loafers”, he’s one of Carthage’s most popular residents. Bernie takes an interest in the town’s newest widow, the crotchety multimillionaire Margie Nugent (Shirley MacLaine). As the first person who has shown this widely-despised person any kindness (her own grandkids are suing her), Bernie charms the old woman to such an extent that she treats him to first-class world travel and nights at the opera. Bernie leaves his job at the funeral home to become her full-time companion, but when Margie becomes too demanding, treating him like a servant rather than a friend, with non-stop put downs and nagging, Bernie does a slow burn until he is ultimately fed up enough to gun her down in her garage. He keeps her death a secret for several months, doling out her fortune to the people of Carthage in a string of charitable acts. The D.A., Danny Buck Davidson (Matthew McConaughey) is so certain that the town would acquit the well-liked man despite his confession that he gets the trial moved to a more backwoods county.

BERNIE is a well-played true crime story that rockets along without a dull moment. The story is mixed with talking head interviews with a couple dozen of Carthage’s resident busybodies. Linklater uses a combination of real East Texans and actors (including McConaughey’s mom) for these roles, a device rich in dialect-strewn humor that works as a balance against the murder and humiliation at hand. These folks find it strange that Bernie has befriended Marjorie, but less strange that he’s murdered her. The writing (or improv) by Linklater and co-writer Skip Hollandsworth is sharp in these sequences and many of the film’s best lines coming from the townsfolk, one who describes neighboring Austin as “the home of girls with hairy legs and liberal fruitcakes”.

As a high-energy dandy with a yearning desire to please others, Jack Black sheds his wild-man persona and plays Bernie fairly straight (so to speak). There’s Black’s trademark flash of mischief, but Bernie is complex and mysterious and the actor is careful not to slip too far into caricature. It’s a revelatory performance, a unique, sad character and those who claim that Jack Black is a one-note actor of limited range should really see the prissy way he walks, and the sincere way he cries and the way he sings gospel in BERNIE. The movie’s probably too slight for Oscar talk, but Black deserves to be in the running. Shirley MacLaine plays Marjorie with very little dialog, just  angry glares and  curt demands, and while the actress seems underused, it’s a realistic portrayal of the type of woman who’s lonely and bitter through no one’s fault but her own. The connection between Bernie and Marjorie seems real and the film is at its best when these two are sharing screen time. A scene in a diner where Bernie scolds Marjorie for her eating habits; “You really don’t need to chew refried beans that much”, is poignant and genuine and they make a classic on-screen couple. BERNIE has a homespun and casual tone which nicely reflects the Texas setting. Like Steven Soderbergh, Richard Linklater (a native Texan) is a director who’s never formulaic. With an accomplished and eclectic body of work that spans mainstream and independent fare alike, Linklater uses the medium of cinema to pursue subjects he finds interesting and with BERNIE, he’s made one of the best films of the year so far.

4 1/2 of 5 Stars

This review was originally posted when HEADHUNTERS played at the St. Louis International Film Festival last November

In true Norwegian fashion, HEADHUNTERS is a taught thriller that pleases from the first to the last frame. Director Morten Tyldum (FALLEN ANGELS) weaves an intoxicating mystery that begins as a heist film. Roger Brown (Aksel Hennie) is a man of short stature with a large house and a towering beauty of a Swedish trophy wife named Diana (Synnove Macody Lund), as intelligent as she is stunning. What she doesn’t know is that Roger is not everything he appears to be.

Roger spends his days working as a successful corporate recruiter, a fitting cover for a man whose greatest skill is “knowing” people, but he supplements his lavish lifestyle by moonlighting as a thief, specializing in valuable works of art. Everything Roger does is to please Diana, so when the opportunity of a lifetime reveals itself, he sees the job that will end all jobs, but it begins with getting his mark a job.

Clas Greve (Nikolaj Coster-Waldau) is an ex-military special ops soldier turned CEO of a major GPS nanotechnology developer. Recently having entered early retirement, Roger meets Clas at the opening reception for Diana’s gallery. Upon hearing about a priceless work of art that Clas possesses, Roger immediately begins developing a plan to relieve Clas of the artwork and set himself and Diana up for life, which Roger sees as the only way to truly secure his most prized possession. Unfortunately, despite Roger’s very careful and competent thieving skills and his attention to detail, what lies in store for him is far beyond his expectations and risk assessment.

HEAD HUNTERS is a methodical, calculated thriller that takes great care in setting up the dominoes in just the precise manner, intricately positioned for maximum fallout. Roger leads the audience through his every step, his motives and his methodology, seamlessly allowing the viewer into his life without disturbing the all-important third wall. It’s rare that we get to empathize with a criminal, but Roger’s motives are as honorable as they are selfish.

As is often the case with Norwegian films, especially of this genre, HEADHUNTERS is beautifully shot with a cold, post-modern sensibility. Roger’s house is a rigidly designed array of juxtaposed boxes that compliments the compartmentalized life he leads. Roger is calm, cool and in control while the supporting characters around him appear very much the opposite, from a seemingly desperate Lotte (Julie R. Olgaard) with whom Roger has an affair to the wild and reckless Ove (Eivind Sander), with whom Roger works on his moonlighting venture through a strategic partnership.

What we witness in HEADHUNTERS is the transformation of Roger from a well-disguised man living in fear to a strong and determined man born of the need to fight for survival. We witness Roger transform before our eyes, pushed to the extreme before he realizes what’s truly important and how vain and superficial his life has been prior to meeting Clas Greve.

Clas is a great antagonist, emotionless and precise, like a well-oiled machine with a clear purpose, but able to conceal himself in plain sight. I couldn’t help but notice a resemblance of Nikolaj Coster-Waldau to Josh Holloway from TV’s LOST, which I felt oddly added to the appeal of the character. Clearly this was unintentional, but every little bit helps. When it boils down to the essence of what makes HEADHUNTERS tick, it’s a lack of clearly defined good guys and bad guys. The story is ultimately a tale of misguided intentions and confusion in the face of well-laid plans. The tension between Roger and Clas is built upon a principle of two masters of their craft in a race to finish first, but the confusion arises from Roger reacting to misinformation and assuming a false conclusion.

HEADHUNTERS is a lot of fun, with some dark humor and brutal moments, all wrapped up into a true nail-biter. Aksel Hennie is excellent, showing an impressive range as his character is drug through the ringer on so many levels. I imagine HEADHUNTERS will surely be swallowed up by the Hollywood remake machine, if it hasn’t already, but the original is definitely worthy of your time.

HEADHUNTERS opens in St. Louis today at Landmark’s Tivoli Theater

Hasbro may have naming and branding rights to the film, but don’t let the “source material” fool you. BATTLESHIP is an action-packed, fun-filled piece of pure popcorn entertainment that deserves a spot amongst the best of it’s kind. The board game-inspired film is directed by Peter Berg (THE KINGDOM, VERY BAD THINGS) who has given the film it’s greatest strength… a knowledgeable and talented commander at the helm of this summertime blockbuster.

Taylor Kitsch (JOHN CARTER, FRIDAY NIGHT LIGHTS) stars as Lt. Alex Hopper, a smart yet unfocused and discipline-challenged Navy officer. Alex has no direction in life and nothing but trouble in his future, so his big brother Commander Stone Hopper, played by Alexander Skarsgard (STRAW DOGS, TRUE BLOOD) recruits Alex by way of an ultimatum in an attempt to help turn his life around. Brooklyn Decker (JUST GO WITH IT) plays Alex’s girlfriend Sam, who also happens to be the daughter of Admiral Shane, played by Liam Neeson (THE GREY, TAKEN).

With the back story planted in the backs of our minds, the core of BATTLESHIP begins as humanity is caught off guard when a message sent into deep space is answered by a visit from an alien race far from being your childhood E.T. It becomes quickly apparent that these invaders are far more advanced in every way than we mere, puny humans, but like so many times before in the motion pictures, we humans strike back and fight to survive, proving we can overcome any obstacle thrown at us, regardless of how overwhelming the opposing force may be.

BATTLESHIP does not set itself up as a film with some stellar, intricately designed plot. It truly does wear it’s heart on its sleeve, stating with bold bravado that it intends to satisfy your primal desire for action, big guns and explosions… lots and lots of explosions. The difference being that BATTLEFIELD does this with such technical confidence combined with a script written specifically to show off how cool the film will look and feel. Despite a cast filled with several stars, the real star of the film is the visceral, bone-rattling experience of the characters they play.

In so many ways a happy melding of INDEPENDENCE DAY (1996) and PEARL HARBOR (2001), Peter Berg’s BATTLEFIELD overcomes my initial skepticism and surpasses my expectations of another Michael Bay style showcase of explosions with weak writing and exaggerated plots. Sure, it may sound like I’m splitting hairs, but Berg manages to bring together the massive special effects, the non-stop action, the patriotism, the kinetic visual style, the somewhat hokey love story, and the thin plot in a way that encourages pleasurable suspension of disbelief.

BATTLESHIP features strangely simple lizard-like humanoid aliens in Halo-esque armor. The only design element of the aliens I found slightly off-putting are the weird quadruple-thumb claw-like hands. These seem a flawed choice for a race of being so technically advanced, more interested in orchestrating a full-scale invasion than with taking an immediately aggressive approach. Initially, this has the human military confused as they struggle to understand and defeat the aliens’ superior weapons and defensive technology. Cut off from the rest of the Naval fleet by a giant force field dome, Alex Hopper and his Destroyer crew must find a way not only to survive, but to save humanity.

The alien ships are vaguely Transformer-like, but its more accurate to think of them along the lines of the classic ’80s cartoon M.A.S.K, whereas the alien ships reconfigure themselves into a sort of “battle mode” when the need arises. The alien arsenal is different enough to satisfy the science-fiction fans without being absurdly over-the-top and unrealistic. On the other hand, the over-sized fireball-fueled circular saws of death that the aliens unleash on Hong Kong were pushing the boundaries of being absurd, but with an audience now well-accustomed to TRANSFORMERS films, I doubt it will be an issue.

Did I mention there are a lot of explosions? Good. The audience is likely to cheer loudest during the all-out battle scenes, as they did when I saw the film and with good reason. BATTLEFIELD draws on that video game culture of craving glorified violence and I couldn’t have been more happy to comply. Overall, the acting was average, but this isn’t the kind of film you see hoping for an Oscar-worthy performance. Liam Neeson is a great actor, but he and Alexander Skarsgard as well have far less screen time than Taylor Kitsch, accompanied by his crew including Petty Officer Raikes, played by hip hop star Rihanna, making her acting debut. Surprisingly, she does all right as the Vasquez-like [ALIENS] woman who controls the “big guns” of Hopper’s Destroyer ship.

BATTLESHIP is more than just a board game turned into a movie, which I’m sure is what most people think it will be. With that said, its still a film that’s all show and little substance in as satisfying a way as that can be. The ultimate question on so many of your minds is most likely “how can they make the Battleship game into a movie?” Here’s my answer to you… they have not turned the board game into a movie, but rather made a cool movie that shares the name of the game. Without giving anything away, there is one scene — a very crucial scene — whereas the board game’s general method of play is cleverly and indirectly referenced. Audiences should be able to pick up on this scene — for those who have played the game — smile at the reference and then continue to enjoy the film unencumbered by any actors yelling the line “You sunk my battleship!”

Overall Ratting: 3.5 out of 5 stars

In all the discussion last week about Johnny Depp’s eighth film collaboration with Tim Burton on DARK SHADOWS another actor/director team has a work that’s about to reach theatres, DARLING COMPANION is the sixth film that actor Kevin Kline has made with screenwriter/ director Lawrence Kasdan. It’s hard to believe, but their first together, THE BIG CHILL was released thirty years ago. The new film harkens back to their earlier efforts like CHILL and GRAND CANYON since it addresses family issues and surrounds Kline with a great cast of seasoned screen vets. Amidst the high decibel destruction of this Summer’s blockbusters a small story about a long married husband and wife ( and their pet ) may be a relaxing change-of-pace.

The film begins as Beth ( Diane Keaton ) is cooing to her new grandchild at the Denver airport. After she says goodbye to her youngest daughter’s family, Beth and her eldest, single daughter Grace ( Elisabeth Moss ) hit the road for home. But something catches Beth’s eye : a wounded mutt cowering in the snow. The ladies scoop up the dog and visit a veterinarian’s office ( Grace takes a shine to the handsome doctor ). Instead of delivering the pooch to the animal shelter, Beth brings him home to meet her workaholic, spinal surgeon hubby Joseph ( Kline ). He squawks at first, but eventually gives in and the pup ( now named Freeway ) joins the family. Fast forward to another big family event as Grace weds the vet at their vacation getaway home in Utah. After the happy couple head to their honeymoon, Joseph loses Freeway while taking a walk in the woods. And so, a search begins with the remaining guests : Joseph’s sister Penny ( Dianne Wiest ), her loutish new boyfriend Russell ( Richard Jenkins ), Penny’s son ( and Joseph’s office partner ) Bryan ( Mark Duplass ) and the sultry caretaker of the estate, Carmen ( Ayelet Zurer ).  Can they reunite the panicky Beth with her beloved, darling companion?

So there’s the somewhat simple story that Kasdan and his wife Meg have cooked up. It’s certainly not as convoluted as Lawrence’s directing debut BODY HEAT ( not a lot of steamy, sweaty sex either! ). But there’s a nice languid pace and some great performances. Keaton and Kline make a believable couple. He’s doing a riff on some of his stodgy, uptight characters while she’s not too far away from her ” Annie Hall ” whimsy. They can fuss and fight while still finding each other’s quirks endearing. Wiest also works well with Kline, but she really shines in her scenes with Jenkins. He’s become one of the screen’s most delightful character actors ( as the recent CABIN IN THE WOODS confirms ). His Russell annoys all of the family but Penny. He’s a gregarious guy who’s always working on a get-rich-quick scheme. Sure he’s a doofus, but it’s hard to resist his charms. The only subplot that doesn’t quite ring true is the blossoming romance between Bryan and Carmen. We can see where it’s headed very early. It’s the old opposites attract bit. The earthy exotic ( she has a gypsy heritage ) gets the cold, wasp-y professional to cut loose. Her ” psychic powers ” routine is a bit overused. Luckily, Joseph is there to roll his eyes and call her on the BS. Aside from a welcome cameo from Sam Shepard as the sheriff ( he just wants to fly fish! ) and a nightmare animated clip, there not many shocks or surprises in the film. But Kasdan directs with a sure hand and the Utah scenery is breathtaking. If you’ve got some affection for these wonderful actors, then this gentle tale of family ( and pet ) love may be a nice break from the explosive thrillers. It’s a bit of cinema comfort food with some old film friends.

Overall Rating : 3.5 Out of 5 Stars

Well, it looks like somebody’s borrowing from Gary Marshall (  lifting ideas in Hollywood? Shocking! ). A few years ago Mr. Marshall scored a big hit with an ensemble comedy centered around a major holiday in VALENTINE’S DAY. He repeated that basic idea a few months ago with NEW YEAR”S EVE. Well, there’s not too many romantic holidays left, so how can this formula be tweaked? Maybe a birthday? No, a ” birthing day’! It’ll be about several couples trying to have a baby! We’ll get multiple stars and try to mix them up in the months prior to the big day. This way we can re-use the Marshall plan ( history reference! ) and maybe do a CRASH ( the Best Picture Oscar winner ) riff for the final hospital scenes. And as Woody Allen did forty years ago with EVERYTHING YOU ALWAYS WANTED TO KNOW ABOUT SEX…, we’ll use the title of a best-selling instructional book. And so these marketing elements are mixed together for the new feature comedy ( maybe dramedy ) WHAT TO EXPECT WHEN YOU’RE EXPECTING.  But does this cinema concoction deliver ( get it? ) big laughs?

OK, let’s get out our programs and meet the  players and ( prospective ) parents. First up is photographer Holly ( Jennifer Lopez ) and her musician mate Alex ( Rodrigo Santoro ). She’s more excited about adopting an infant than him, so she sends Alex to meet with a friend’s hubby who’s part of the ” daddy dudes” ( kind of a ”Mr. Mom mob” ) led by Vic ( Chris Rock ). Next up is Wendy ( Elizabeth Banks ) who owns a maternity shop that extolls the beauty of motherhood ( she’s even written a children’s’ book on the joys of breast-feeding ). After much effort she and husband Gary ( Ben Falcone ) conceive. When they break the news to Ben’s hypercompetitive auto racer dad Ramsey ( Dennis Quaid ), he announces that he’s having twins with his much younger trophy wife Skyler ( Brooklyn Decker ). Couple three is TV show fitness trainer Jules ( Cameron Diaz ) and her TV show dancing partner Evan ( Matthew Morrison ). Wow they’ve referenced two reality shows ( because, you know they’re hot and trendy! ). And for the young twenty-somethings we’ve got former flames and competing food truck owners ( because, you know they’re hot and trendy! ) Rosie ( Anna Kendrick ) and Marco ( Chase Crawford ). After some fast flirting they hook up after a gig and…the chiefs have a bun in the oven! We follow the ups and downs of these couples leading up to the mad dash to the hospital in the final frames.

Unfortunately this film may copy the Marhsall formula too well, since the momentum is stopped with each story as the film feels compelled to jump to another one. Still some moments work better than others. Banks is one of our most gifted comic actors ( on the big and small screen as shown on TV’s “30 Rock” ). Her future mom wendy  is a sweaty, bloated, raw nerve who can’t believe that her own pregnancy is the opposite of the lovely experience she’s been promoting at her shop. At said shop, the film makers cut to Rebel Wilson for a Melissa McCarthy-type sight gag or one-liner to get a cheap,quick laugh. Adding to Wendy’s frustration is the fact that young Skyler seems to completely comfortable. Most of the other couples spend too much of their screen time arguing. Jules and Evan fuss constantly about circumcision. Really?!  Dramatic tension is ramped up by Holly losing her big photo gig and keeping it a secret from Alex. A subplot about Gary and Ramsey in constant competition never really works, but Quaid has lots of rugged ” good ole’ boy ” charm ( Burt Reynolds might’ve place this a part a couple of decades ago ). It’s a shame that Ramsey’s stereotypical Southern belle missus is saddled with too many “y’alls” in every line of dialogue. Rock is wasted in the repetitive sequences with other dads in the park. I guess the tales of nearly maiming their infants is endearing, as are scenes of near disaster with a clumsy toddler. Rosie and Marco really get short-changed in their screen time. They’re absent from most of the last half. And of course on the big day we get lots of running down long hospital corridors and urgent instructions to breathe and push. This another one of those movies you can see with an older relative ( surprised it didn’t get released on Mother’s day weekend ). There’s nothing to upset anyone and there’s plenty of sweet infants to coo at. For those of us that enjoy unpredictable comedies with an edge and some wit, at a very full two hours this feels longer than nine months. Hollywood has delivered another safe, ” sit-com”y bundle of blah.

Overall Raing 1 Out of 5 Stars

Sasha Baron Cohen set the bar pretty high with his last two comedies, BORAT and BRUNO, and while THE DICTATOR doesn’t quite reach the biting heights of those two, it’s still the funniest film of the year so far and I’m pleased to report that Cohen’s brilliant improv skills work well even when he’s attached to an actual script with written dialogue and structure. Though lacking the earlier film’s candid camera format, THE DICTATOR follows the similar fish-out-water template of an outlandish foreigner set loose on American soil. Cohen plays Admiral General Aladeen, the dim-witted bearded dictator of the fictional oil-rich African state of Wadiya. He rules with a ridiculous iron ego, changing hundreds of words in the Wadiyan dictionary to Aladeen including both “positive” and “negative”, which leads to a hilariously uncomfortable scene in an HIV clinic. His recent announcement to pursue a nuclear program (he can’t keep a straight face when he discusses his “peaceful” plans for uranium), puts the rest of the world on edge and when the U.S. threatens action, Aladeen’s top advisor Tamir (Ben Kingsley) accompanies him to New York City to explain himself in front of the United Nations. But Tamir has plans to get rich by turning Wadiya into a democracy, and in order to do so, he betrays Aladeen by hiring security head John C. Reilly to assassinate him and replace him with an even more dim-witted body double (also Cohen). Aladeen escapes his captors – though not before they can cut off his beard, rendering him unrecognizable – and is taken in by an organic food store (The Free Earth Collective) owner named Zoey (Anna Faris), who believes him to be a political refugee named Alison Burgers. While trying to adapt to his new life in America, Aladeen runs into dissident Wadiyan nuclear scientist Nadal (Jason Mantzoukas) and together they plan to restore him to power where he belongs.

Dedicated “In loving memory” to Kim Jong-il, THE DICTATOR is less edgy than Cohen’s previous two films and the joke-to-laughs ratio is slightly lower but it’s still sharp satire that’s remarkable for a mainstream Hollywood comedy in its politically incorrectness. Removing the pseudo-documentary style of Cohen’s previous efforts, the spontaneity of his interacting with folks who don’t know they’re in a movie in favor of a traditional narrative reveals a flimsy, nonsensical story but it’s no less offensive when taking its sharp knives to the American way of life. The film’s richest cultural humor comes in Aladeen’s relationship, and initial disgust, with Zoey’s eco-friendly uber-liberal. He finds her green thinking, cartoonish feminism, and hairy armpits bewildering, and it’s she who must tame his verbal and physical abuse of her store’s staff and customers. Another highlight is  a trip to Manhattan’s Little Wadiya neighborhood, where our hero wanders into the Death to Aladeen restaurant staffed by refugees he thought he’d executed. There’s a helicopter tour sequence that spoofs white fears of Mideast terrorism that’s cinema’s funniest 9-11 gag to date, and you’d have to lack a pulse not to roar at the vagina-vision childbirth scene. Not all of the jokes work. A scene where Zoey teaches Aladeen to masturbate,  integrated with shots of soaring eagles, leaping dolphins, and Forest Gump’s leg braces falling away, goes on way too long. Too many jokes are wringed from a severed head and a botched attempt to zip-line between skyscrapers seems from a lesser comedy. Every race, gender, age, animal, disability, sexual orientation, and political stand is skewered in THE DICTATOR, but like BORAT, it’s disguised as good-natured naivety, maintaining sympathy for the anti-Semite despotic dictator at the film’s center. There’s also a couple of really funny celebrity cameos, including self-deprecating bits by Ed Norton and Megan Fox. Larry Charles, who helmed both BORAT and BRUNO, directs in a straightforward manner that well-serves the star and, unlike Judd Apatow, he knows when enough is enough, delivering this package of laughs at a tight 84 minute. Funny and recommended.

Rating: 4 out of 5 Aladeens

The history of cinema has had many long-running actor/director partnerships. What first springs to my mind is the long collaboration between actor John Wayne and director John Ford, which has inspired several film books and documentaries. More recently we’ve had the Martin Scorsese and Robert DeNiro team-ups ( although Leonardo DiCaprio may just catch up to Mr. D ). And now we have the eighth film that actor Johnny Depp has done with director Tim Burton since they first paired all the way back in 1990 for EDWARD SCISSORHANDS ( Wow! ). After films based on children’s books, a low-budget filmmaker’s life, and a Broadway musical what have the duo decided to tackle now? Why, it’s a classic cult TV show from the late 1960′s : DARK SHADOWS. What’s their take on this supernatural soap opera?.

Time for a bit of disclosure here. During its original run on ABC television, I was mad for this weird little show! My grade school was almost in my back yard, so I literally ran out those exit doors when the last bell rang in order to plant myself in front of the bulky console TV and get creeped out Monday through Friday. ” Dark Shadows ” was the brainchild of the late Dan Curtis, who went on to produce the original TV movies, ” The Night Stalker ” starring Darren McGavin as reporter Carl Kolchak and ” Trilogy of Terror ” with Karen Black fighting those vicious little dolls, in addition to the acclaimed mini-series ” The Winds of War ‘ and its sequel ” War and Remembrance “, and he also directed two feature films based on ” Shadows ‘ along with BURNT OFFERINGS. This daytime drama with elements of gothic romance was about to be cancelled when Curtis had a desperate, brilliant idea :  Let’s put a vampire into the show ! Unknown ( to US TV audiences ) actor Jonathan Frid was a sensation as the lovesick bloodsucker Barnabas Collins. The program became must-see viewing for young people everywhere ( it’s odd to recall that the fortysomething Frid was cover featured on teen fan magazines alongside the Monkees and Bobby Sherman ). And that canny Curtis helped unleash an avalanche of merchandising. Barnabas was the star of a daily newspaper comic strip, monthly Gold Key comic books, board games, model kits, record albums, and a long-running series of original paperback novels. And I had as many of them that I could lay my grubby little hands on! But these bright star burned briefly. Dark Shadows ended it’s five-year run in 1971, but like Mr. Collins it’s not been completely dead. Curtis spearheaded an NBC prime time remake in the early 1990′s and a TV movie in 2005. The original series has played om cable, been released on home video, and inspired fan conventions ( though not as many as ” Star Trek” ). Talk of a new big screen version has been kicking around for years. I was intrigued by Depp and Burton’s involvement and, like many fans of the original, were taken aback by the comedic tone of the trailer. But I must keep an open mind. This is intended for modern movie audiences who have probably never heard of the series. Ya’ know, this may work!

And then I finally viewed the new film. The plot tries to incorporate several storylines from the show’s early season. Prior to the opening titles, we are introduced to Barnabas as a young boy in Liverpool as he and his parents are about to begin their voyage to America. Also headed across the pond is young Angelique Bouchard and her mother , who will work as a servant to the Collins family. The young lass is already smitten with the dark-haired boy. Upon their arrival in Maine, the prosperous family begins a successful fishing business, establishes the city of Collinsport, and starts construction on the opulent Collinwood estate. Years later Barnabas ( Johnny Depp ) gives his heart to the lovely Josette ( Bella Heathcote ) and spurns the affections of Angelique ( Eva Green ). You know what they say about a woman scorned. Ms. A turns to witchcraft to end their romance and turn Barnabas into a vampire. Later she leads a group of torch wielding villagers to trap him in his coffin, bind it with heavy chains, and bury him in the deep woods. The film then jumps to hip, happenin’ 1972. Victoria Winters arrives in the town in answer to a  child care help wanted ad. She finds Collinwood a dark, gloomy shell of its former glories. Victoria first encounters Willie ( Jackie Earle Haley ) who is the estate’s main caretaker along with the doting, elderly Mrs. Johnson. Seems only four Collins family members occupy the great mansion:  matriarch Elizabeth Collins Stoddard ( Michelle Pfieffer ), her rebellious teenage daughter Carolyn ( Chloe Grace Moretz ), Elizabeth’s brother Roger Collins ( Jonny Lee Miller ) and his pre-teen son David ( Gulliver McGrath ). Also living there in order to treat David’s emotional issues ( he sees his deceased mother ) is the hard-drinking Dr. Julia Hoffman ( Helena Bonham Carter ). Later that evening a construction crew working in the woods outside Collinwood unearths a coffin wrapped in chains. To their regret, they sever the bonds and release a famished Barnabas. After a culture shock stroll through town, he returns to his ancestral home. He makes Willie his hypnotized servant, strikes a deal with Elizabeth, and vows to restore both the estate and the family fishing business. Only one thing stands in his way ( besides that nasty thirst ) – a rival seafood cannery run by the still youthful and gorgeous Angelique, who has convinced the town that she’s just the latest in a long line of family moguls. Oh, and it turns out that Victoria is the spitting image of the vamp’s long-lost love Josette. Can Barnabas Collins turns things around for the family while romancing a new/old flame and staying a step ahead of his spell casting nemesis?

I may have made this flick sound more exciting than it really is. At two full hours, you’ll feel as though you’ve been chained inside a buried casket. Perhaps it needed a merciless editor, or, more likely, a couple more passes at this unwieldy script. Much is made of the Barnabas/Victoria romantic subplot, but she seems to vanish for a good half hour while more time is devoted to the tiresome antics of Angelique. There’s not one, but two big confrontation scenes in her company boardroom. This affords the filmmakers a chance to indulge in some juvenile sex jokes, as seen in the trailer when the two enemies give in to passion ( with a nod to the Catwoman lick from Burton’s BATMAN RETURNS ). There’s even more coarse sex gag ( literally ! ) with the doctor. Really guys? Seems the ladies find the bloodsucker irresistible even with pounds of clown white covering his mug ( in the TV show Frid looks like an average Joe till he bared his fangs ), and a dark airbrushed streak down his cheekbones. The seventies era is reconstructed well, although items like lava lamps and troll dolls appear in order to garner easy laughs. As does a TV performance by the Carpenters on an old-fashioned color TV. Speaking of music, I was let down by the usually reliable Danny Elfman. He uses a few music cues from Robert Colbert’s classic TV score, but the show’s main theme is never heard. Instead we get lots of FM-style classic rock ( ” Nights in White Satin ” over the main titles? Okaaay ). However I did enjoy seeing the real Alice Cooper recreating his early performances.

Speaking of performances, the actors make a valiant effort with the meager source material. Depp seems to be enjoying his role immensely, although at times he seems to be doing mix of his James Barrie and Sweeney Todd while strutting about in his odd costume choices ( at least he kept the wolf’s head cane ). Pfeiffer has little to do until the messy finale. It’s hard to accept her in this matronly part.Moretz is one of our most promising young actors, but here she’s trapped as a sullen, surly teenager. Miller and Carter are there to model funny 70′s fashions and be funny, sleazy types while mugging at the camera. Heathcote is a lovely ingenue, but sets off no real sparks with Depp. Neither does the usually engaging Green whose witch character becomes a campy, cartoon villainess who’s more tedious than menacing. When it comes to screen menace, few actors are greater than 60′s and 70′s vampire movie icon Christopher Lee, who graces the screen in an all too brief cameo. But the best cameo may be that of cast members from the original TV series : Kathryn Leigh Scott ( Victoria ), David Selby ( Quentin ), Lara Parker ( Angelique ) and Barnabas himself, the late great Jonathan Frid who passed away just weeks ago. Kudos for including this brief nod.

Tim Burton has always been stronger with visuals than narrative, so it should come as no surprise that the big finale is so disjointed. One big reveal of a family member’s secret pounces in from left field. The film’s opening scenes seem to have the proper dramatic tone, but once Mr. B returns home, everything is jokes- the 70′s decade kitsch , sex patter, and whoosing cartoon sound effects. That’s not to say that the original TV show wasn’t funny. Rewatching the series on DVD, you’re struck by the cheesy effects, flimsy sets, often hammy acting, and overwrought dialogue ( the show was shot live on tape, so many flubs are preserved ), but the producers were striving for more than cheap laughs. Sometimes a dramatic TV show can be transformed into an enjoyable big screen comedy, like 1987′s DRAGNET and the recent 21 JUMP STREET. Here everything seems forced. A friend recently asked, ” Fans of the original won’t appreciate the comic tone, young moviegoers don’t know of the old show, so who did Johnny and Tim make this for? “. I believe they really made it for themselves and only their most hardcore fans may join them. For the rest of us…well, uh, at least Barnabas isn’t sparkly!

Overall Rating: 1.5 Out of 5 Stars

DEADFALL is bound to get comparisons to FARGO. With a few minor script tweaks and slightly different accents, this could have been passed off as a direct to DVD sequel. It is not that there are any similar characters or storylines but more so in the look and feel of the film. Had this been FARGO 2, I’d call it a worthy successor although I’m sure others will want my head on a platter (or my body in a woodchipper) for saying that. Prior to seeing the film, I heard some strongly negative feedback and was even told to avoid it completely by someone who attended an earlier press screening. Since then I’ve noticed a slew of negative reviews calling it an absolute mess and much worse. Honestly, I don’t know why everyone is ranking on this film so much because I loved the hell out of it.

DEADFALL opens with a car crash. Addison (Eric Bana) and his sister Liza (Olivia Wilde) make it out alive but their driver is not so lucky. Addison kills the first cop on the scene while Liza stuffs a bag full of the scattered money they just stole from a casino. They decide to split up as they each attempt to make it across the border. Addison ends up killing his way through the woods and Liza uses her looks to secure a ride with Jay (Charlie Hunnum) to his family’s cabin near the border. It is Thanksgiving and he is going to see his mom (Sissy Spacek) and dad (Kris Kristofferson) despite their strained relationship. Problem is Jay just got out of prison and may have accidentally killed a former business partner who refused to give him the money he owes. Addison faces some obstacle himself with the police after him investigating the murder of the trooper he killed. Despite the wishes of her father / police chief  (Treat Williams), among the search party is the very capable Hanna (Kate Mara) who just so happens to be old friends with Jay and his family.

Believe it or not, there are even more side stories and important characters that I’ve chosen to excise for time. Yes, the film is convoluted. Yes, it has moments of needless complications and mass coincidence. Yes, it can be a bit campy and has heavy-handed moments that feel a bit forced. Yes, the fairly incestuous relationship between Addison and Liza is a bit weird. Yes, the insanely sexist attitudes within Hana’s police department feel horribly outdated. Yes, I’m starting to see why some people didn’t like this film after typing all that.

But none of that really matters because DEADFALL is damn fun. And the single biggest aspect that will suck you in and keep you watching no matter how ridiculous things get is Eric Bana. If this film came out before KNOCKED UP, this would be the movie they were all toasting to in the nightclub. Eric Bana’s performance is brilliantly twisted and wildly unhinged without ever going too far over the top. Addison is a badass who does some truly awful things with a wink and a smile. The film has plenty of other great things going for it like some wonderful visuals, thrilling action set pieces, the beautiful Kate Mara, and unnecessary Olivia Wilde nudity. But the only real reason you need is ERIC F***ING BANA!

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

Well, just a week after THE AVENGERS broke box office records here’s another big team-up movie. Instead of super-heroes teaming up, this film showcases a great group of British actors of, uh….a certain age. When these vets get a great script the results can be just as engaging as any CGI-enhanced mayhem. Actually I was reminded a bit of the original COCOON. Of course there’s no glowing E.T.s, but these mature folks do encounter people of a somewhat alien culture, and their lives are changed radically ( no magic breakdancing, though ). Let’s take a cinematic getaway with some familiar film friends and check into THE BEST EXOTIC MARIGOLD HOTEL ( for the elderly and beautiful ).

In the first scenes of John ( SHAKESPEARE IN LOVE ) Madden’s new work we met the Brits who’ll be sharing a long journey and become the residents of the mentioned hotel. Evelyn ( Judi Dench ) is a recent widow whose late husband hid their true financial worth from her. Graham ( Tom Wilkinson ) is a judge who’s tired of the legal world, ready to retire and return to the site of his happier youth. Muriel ( Maggie Smith ) is a cranky, xenophobic former housekeeper who must travel abroad for a needed surgery. Douglas ( Bill Nighy )is a recent government retiree who must find a cheaper place to settle after a poor investment, much to the chagrin of his frustrated wife Jean ( Penelope Wilton ). Two of the travelers are on the prowl for new partners : the randy Norman ( Ronald Pickup ) and the upwardly mobile Madge ( Celia Imrie ). After viewing the hotel’s website and gorgeous brochures, this group make the long trek to India. At the end of the arduous trip, they arrive at a ramshackle structure that does not resemble the lush photos. The enthusiastic young owner Sonny ( Dev Patel ) assures them that everything will be finished soon. He’s inherited the place from his late father and is determined to restore it to its former glory ( and then be able to marry his beautiful girlfriend ). Over the next few weeks, while settling in, the residents explore the city and attempt to start a new life in their exotic surroundings.

Madden does a terrific job of moving the story along and showing us this colorful land, but it’s the cast that makes this trip come alive. The always delightful Dench glows as a woman who, after being taken care of most of her adult life, blossoms when she takes a chance in the bustling city. Wilkinson delivers another strong, engaging performance as a man regaining his joy for life while revisiting the locale where he was most happy as a youth. Fans of TV’s ” Downtown Abbey ” will relish seeing Smith as the surly, cynical wheelchair-bound woman who finally allows a bit of sunlight to break though her tough, hard shell. Nighy’s terrific as a man determined to find adventure and fun despite his wife’s pessimistic attitude. His zest for this new place is contagious. Imrie and Pickup both generate big laughs while they’re looking for love ( or a nice romp in the boudoir ) in this unfamiliar place. Patel brings a lot of energy to the young manager’s role ( sometimes too much energy ) and is often exhausting, but his character finally mellows out. This film shows that life and adventure is not over once you reach those golden years, that retirement may be more of a beginning. This message and this cast helps make THE BEST EXOTIC MARIGOLD HOTEL, a most pleasurable film vacation destination.

Overall rating: 4 Out of 5 Stars

ANY DAY NOW may have a story that seems fitting for a Movie of the Week but that doesn’t change the fact that it is a incredibly well crafted film full of surprisingly powerful performances. Paul (Garret Dillahunt) is a closeted District Attorney and Rudy (Alan Cumming) is an aspiring singer currently working as lead in a drag performance at a gay bar. When Rudy’s negligent junkie neighbor ends up in jail, he looks after her son Marco (Isaac Leyva), a teenager with Down syndrome. Family Services places Marco in a foster home but Rudy soon finds him wandering the streets and takes him in once again. With temporary custody approved by Marco’s mother, Rudy and Paul begin raising him as their own. But when it is discovered Rudy and Paul are not cousins but a gay couple, they face a harsh legal battle to keep Marco in the safe and loving family environment they created for him.

Garret Dillahunt is probably best known for continuing the long-standing tradition of hilarious TV dads on Fox’s RAISING HOPE. I do not watch the show nearly as often as I’d like but he is consistently funny whenever I do. I haven’t noticed him in much else so it was a very pleasant surprise to see that just like Bryan Cranston (another former scene-stealing TV dad), Dillahunt is just as gifted a dramatic actor as he is comedic. He has a strong presence in the film and some truly great chemistry with the equally talented Alan Cumming. This may be Cumming’s best performance to date or at least his most powerful. Newcomer Isaac Leyva is truly captivating as Marco, almost immediately forming a deep connection with the viewer.

Travis Fine also deserves much praise for his expert handling of this story. Not only does he prove himself a very capable director but his writing is sharp and full of emotion. Credit for the script also belongs to George Arthur Bloom who originally wrote it over 40 years ago, which was the basis for Fine’s rewrite. It can be extremely difficult to find the right balance of humor for a film like this but the light touches throughout feel completely natural and welcomed. The only time I was a little caught off guard was the introduction of Don Franklin as a quite comical lawyer who shows up in the third act. At first he seemed to walk in from a different movie but he actually adds a lot of necessary levity that eases us into the finale.

The film takes place in the 70s but its underlying themes are just as relevant today. Full of fantastic performances, this is certainly a film that will have some buzz around it come Awards season. As someone who tends to avoid movies that require a box of Kleenex with ticket purchase, I cannot recommend this movie enough. Go see it, even if you are a cold heartless bastard.

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

THE GIANT MECHNICAL MAN was a bit of a letdown for me. While enjoyable as is, the film never lives up to its full comedic potential, which is a real shame considering the talent involved. In a role written to play to her strengths, Jenna Fischer is the confused, mild-mannered Janice who finds a job selling grape drinks at the zoo. Apparently the zoo is a beacon of hope for the unemployed because this occurs the day after Tim (Chris Messina) walks in and instantly gets a job there after his girlfriend dumps him. (Seriously, is it really that easy to get a job at a zoo?) Tim also has an interesting hobby / side job of painting himself silver, wearing stilts and walking around as the titular Giant Mechanical Man. A friendship forms between the two just as Janice’s overbearing sister (Malin Ackerman) tries to set her up with a motivational speaker / author played eerily well by Topher Grace.

TGMM is a romantic-comedy that tries to be a lot deeper than it really is and that is where it falters. It works best when dealing with the rom-com aspects of the story but gets weighed down by mostly unnecessary dramatic beats that feel too repetitive. I can’t help but feel like this film would have been far more entertaining if all the main characters were not so damn depressed most of the time. I also found myself wondering why Tim didn’t just tell Janice that he was the mechanical man after she not only mentions her respect for him but also visits him while he’s in character. It seems they were saving the revelation for a fairly anti-climatic finale although it probably would have been far more entertaining watching Janice cover up and ultimately explain (especially to her sister) that she’s dating the often-ridiculed street performer.

I guess the fact that I am still wondering what could have been means there was enough substance actually in the film to hold my interest more than a week after watching it. With that in mind, I’ll recommend giving TGMM a chance. It is worth watching at least once anyway if only for Topher Grace’s crazy good take on a motivational speaker or Rich Sommer as his biggest fan.

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

With a title like YOUR SISTER’S SISTER, I was expecting to see something more along the lines of a Nicholas Sparks or Danielle Steel adaptation rather than the truly hilarious and heartfelt sort-of romantic-dramedy it turned out to be. Jack (Mark Duplass) has had a rough time dealing with the death of his brother, which happened exactly one year ago. Jack’s best friend / late brother’s ex, Iris (Emily Blunt), gives him the keys to her father’s remote cabin for a little alone time to relax and reflect on his life. Once there, he discovers Iris’ sister Hanna (Rosemarie DeWitt) is already staying at the cabin after ending a 7-year relationship with her girlfriend. After a drunken night of confession, Jack and Hanna sleep together only to be woken up the next morning by the arrival of Iris, who decided Jack shouldn’t be entirely alone after all. You may think you know where this is going but the film will still surprise you.

YOUR SISTER’S SISTER is done in the same loose and largely improvised style of Lynn Shelton’s previous films; however, it feels much more refined here. This is partly due to an upgrade in equipment but it also seems like Shelton has grown as a filmmaker both in terms of storytelling and visuals. True, there is not much story to work with but the three main characters are fully realized and a joy to watch, which is great considering they are the only ones on screen for the majority of the running time. Mark Duplass, Emily Blunt and Rosemarie DeWitt are all fantastic, bringing their roles to life with a naturalistic but never ordinary approach. Most of the comedy stems from their rapid-fire dialogue, which is equally witty and earnest.

The film is not without flaws but they are so minimal in comparison to all that it gets right. While the editing is fairly tight for this kind of style, there are a few moments that tend to linger on just a little too long, especially during a montage towards the end. Speaking of the end, I personally felt it concluded perfectly but those who prefer everything to be wrapped up may be upset when the credits begin scrolling. The story may not be the most original, nor are some of the situations, but the manner in which they are presented in makes it all feel fresh and authentic.

Despite being a fan of Shelton’s HUMPDAY and this film’s solid cast, I was just not really looking forward to seeing this. I really think the title played a large part in that but the less than riveting description found in the Tribeca guide probably didn’t help either. On the advice of several people at the festival, I gave the film a chance and I’m so glad I did. Not only was it one of the best films there but also one of the finest I’ve seen this year. IFC Films will be releasing the film next month and I highly recommend you make an effort to seek it out.

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

Review by Barbie Snitzer

Barbie Snitzer has worked in the entertainment industry in the US and France.  The combination of both passions distinguishes her blog Le Movie Snob where she regularly posts on American and French movies. Comments in English and/or French are welcomed.

http://lemoviesnob.com/

“Damsels in Distress”- or “How I felt watching this movie”

The word “damsel” connotes a helpless woman, she of the archetypical silent movie scene tied to the railroad tracks helplessly overacting her anguish until she rescued by a handsome hero.  Intentional or not, this evocation of Golden Hollywood is entirely à propos my strong disappointment with this movie:  Hollywood, we are taught by the movies themselves, is the land where dreams are made, and failure just means success is even closer!

Thus does Hollywood function like as a lottery; the majority of its product is dreck , a fact that nutures every soul with the faith and courage to make the trek out west.  They are confident in their abilities to produce superior work; they will embody the prosperity gospel as they concurrently enrich their ego and humanity’s cultural canon.  Talk about a win/win!

Before you think I’m too cynical, remember that I am a snob (not a cynic), one who punctures pretension that we may truly be enriched by movies rather than lower our standards to feed the myth.

Perhaps it was this noble intention that explains director Whit Stillman choice to make and set his films on the East Coast thus avoiding the dehumanizing dues-paying Baywatch PA gigs.  It does however explain why he felt entitled that his voice be heard again after an 18 year absence.

Absence can make the heart grow fonder, and age need not be a liability, but it is incumbent on the voice to justify its absence with growth, or just be fresh and entertaining.   For all those who complain about Woody Allen’s career of late (and I’m not going to defend him for the French) he certainly has tried to say something different with each film, albeit with the same characters (himself and an inappropriately younger love interest), and he doesn’t rest on his laurels.

Stillman’s first film, “Metropolitan” (1989) was original:  a rich chat-fest among privileged white young people from New York.  Cool.  He followed that up with “Barcelona” in 1994 about chatty rich white young people from New York studying in Barcelona. Okay. So I wasn’t interested in seeing “The Last Days of Disco,” but I could guess from the subject that it involved rich white people in New York with maybe less chatter.

I probably would have skipped this one too had I not been invited to a screening, but I was not holding Stillman’s past against him.  But someone should have.  To paraphrase a snarky button I have:  just because you want to say something doesn’t mean it deserves to be heard.

His characters are less than stereotypes; they are speech delivery vessels who take turns giving monologues rather than having dialogues.   Lead actress Greta Gerwig (who I thought was Chloë Sevigny cleaned up until corrected afterwards! ) was masterful in owning Stillman’s longwinded, awkward monologues. She is a superb actress, bravo!   Stillman does have talent for spotting smart non MAWs (Model-Actress-Whatevers).    Outsider Lily is played by Analeigh Tipton, a finalist from America’s Next Top Model who is definitely not a MAW.  Casting men, I’m not so sure.  He seems to cast exclusively dark-haired, square-jawed, Ivy League-ish rogues for all principal male roles.  Even the annoying French actor Hugo Becker has an exquisitely angular jaw.

The “Damsels” attend Seven Oaks, a fictional formally all-girls East Coast college that could be a non-paid nod to the Seven Sisters colleges.  Its campus is a Potemkin Village East Coast College set that was very likely the exact one used in “Ordinary People” in 1981 or “Class” in 1982.  The buildings have no names, just Doric columns and very precisely strewn dead leaves- good job Set Decorator!

The film centers around a not-at-all believable clique of diverse young women, who live Brady-Bunch style in one bedroom, as if.  They spend most of the movie walking around campus in a gaggle, carrying only binders.  Occasionally, they stop to have short encounters with goofy characters, most of whom are “Roman” fraternity members.

The director seems to not want any details that would remind us of our own college lives.  The time and place seem intentionally unspecific.  There are no cell phones or computers, let alone books. There are no consistent cultural clues; maybe this is also intentional but it’s actually confusing. Violet dresses as June Cleaver with no irony whatsoever; her cohorts are latter era generic preppies, and outsider Lily’s attire is contemporary hipster-blah.

I sensed a theme about what a great time of life it is when you’re young at college.  It’s great! No one goes to class, has a computer, or even carries a textbook. College is about happy times.  Like a frosted cupcake that doesn’t need that extra sugar decoration that is always added anyway, there’s a happy song to conclude:  George and Ira Gershwin’s “Things Are Looking Up.”  This wasn’t a musical earlier, but that’s okay! They did this in “Slumdog Millionaire,” and that made a lot of money, so a song at the end means this movie will make a lot of money too.  And get Oscars.
The overall theme is the same as every other movie about college anyone has ever seen:   Love hurts.  I’ll never get over it.  Ok, maybe I will (upon receiving attention from someone else).  Life gets better.  I’ll love my friends forever.

Am I wrong?

Those who are at least a decade out of school and matured normally have learned that as time passes, the Law of Nostalgia kicks in. We tend to remember our college years and entire youth for that matter, through rose-colored glasses, minimizing the adversities.  Our lives and memories evolve and change because they are supposed to.

So, here’s my hypothesis:

A couple of days ago, I decided to watch the much hyped new HBO series Girls.  In the début episode, I recognized, but couldn’t immediately name an actor. OMG!  It was Chris Eigeman, the handsome young star of “Metropolitan.” What happened to him? I was astonished to see how much he’d aged.  It looked like a lot more than twenty-four years.  He’d gained a little weight, but he looked haggard, fatigued and worn down by life. Maybe he didn’t become a superstar, but he’s enjoyed a very consistent long career.  To be fair, I’ve not seen comparable pictures of Stillman, and as a director he is not held to the same standard, but I would suspect life has rocked his foundations as well.

Here is where the Hollywood Lottery mindset comes in:  those who achieve success young are cursed with not only having set an impossible standard for themselves, but with ignorance of how they did it.  If they are unable to maintain their success, they revert to their immature selves, do what the younger self did.

Whit Stillman was a hot young director on top of the world.  Over two decades ago. His subsequent films weren’t completely trashed, but they didn’t overtake or even match his earlier acclaim.  It’s not a fault to want to succeed more than once.  Wanting to be successful and respected, even as a movie director does not define a narcissist. (I know, it does seem like it should, but it doesn’t.)

The delusion occurs when one begins to think past success entitles one to a free pass to future success . If you don’t believe me, watch any “Behind the Music” or almost any “E! True Hollywood Story.”

So, from seeing the change in Chris Eigeman and enduring ninety minutes of bloviating prose, I’m guessing Whit Stillman, upon reaching midlife thinks he has something to say, and because he’s been a successful movie director, someone gave him money so he could say whatever he wanted.
He didn’t say anything.   This aggravates me.

There are so many people who do have something to say who never get the chance, and they won’t because life isn’t fair.  When I see a movie, I want to be challenged, to be entertained, to see something new, even from a director who isn’t.

I repeat:  this is only my hypothesis based on my snobby opinions.

I advise all damsels and their rescuers to avoid enduring the distress of this movie.

DAMSELS IN DISTRESS opens in St. Louis today at Landmark’s Tivoli Theater

Review by David Henry

The Korean film MY WAY is an ambitious, continents-sprawling epic set against the backdrop of World War II, and simultaneously an intimate drama about two men who find themselves swept up in the tsunami of history, with their destinies intertwined. In some ways it is not unlike Ben Hur, minus the Christian elements. Filmmaker Kang Je-kyu, known in his native land as a top-notch director of action films, demonstrates an uncanny ability to juggle both of these normally disparate elements in a way that seems effortless, so that the movie feels big and small at the same time. In a way, it almost feels like three or four films playing back-to-back, or even an epic miniseries. Kang is telling a very episodic story here, one that eschews the traditional Western 3-act model of filmmaking and adapts a 4-act structure which makes the film seem longer than its 143 minute running time, but in the best way possible. My Way is always compelling and always engaging, and I honestly wouldn’t have minded if this had been 3-4 hours long.

As a Westerner, I found it fascinating to see World War II depicted from the ‘other side’, as it were, although My Way is really not about the war at all, but rather about the experiences of its two main characters, Korean marathon runner Kim Jun-shik and Japanese aristocrat and soldier Tatsuo Hasegawa. We follow them from Korea to Russia to Europe, seeing the war from the perspectives of a Japanese base, a Russian POW camp, and the German encampment at Normandy Beach.

Kang Je-kyu’s reputation as one of Korea’s top-acclaimed filmmakers is well-earned. He shows off his skills quite well with this film, assisted by a terrific ensemble of artists that have come together to communicate his vision. Cinematographer Lee Mo-gae has photographed a gorgeous-looking film that is always breathtaking to look at. At $23 million dollars, My Way is the most expensive movie ever made in Korea, and it looks like it cost twice as much. The battle scenes (of which there are plenty) look amazing, and Kang manages to communicate the chaotic nature of modern warfare while never confusing the viewer. You feel the claustrophobic bedlam of every surrounding battle and yet you never lose track of what is happening. The special effects are also top-notch, and I found that I was so immersed in the action that I couldn’t tell where the practical effects ended and the CG began. Kang wisely doesn’t dwell on his effects as if they are the story, but rather uses them to tell the story, a lesson that a few Western filmmakers could certainly stand to learn.

One Western filmmaker Kang may draw comparisons to with this film is Steven Spielberg. I expect that the battle sequences in My Way will certainly remind people of Spielberg’s own WW2 opus, Saving Private Ryan, especially as both films feature an epic depiction of the storming of Normandy Beach on D-Day (interestingly enough, while Saving Private Ryan begins with that battle, My Way ends with it). If so, the comparison will be well-earned, because Kang echoes Spielberg’s instinct for camera placement and the cause-and-effect structuring of action scenes that draw the viewer in rather than distancing or confusing them as so much of today’s films that pass for “action” are guilty of.

Kang is also helped along here by a fantastic cast. Korean leading man Jang Dong-gun plays the leading role of Kim Jun-shik, and reminds me of a young Chow Yun-Fat, bringing a similar type of brooding intensity to the role. Curiously enough, the role of Jun-shik is an anomalous one in My Way, as he is the only character who stays relatively the same throughout the war while everyone around him changes. My Way never shies away from the horrors of war, and demonstrates in a very real way how those horrors can change people, both for worse and for better. Friends become enemies and enemies become friends. There is some powerful character development going on in this movie, particularly in the character of Hasegawa Tatsuo, played by Joe Odagiri, who is the other main character of My Way. Oddly enough though, while everyone else is represented in various shades of grey, Jun-shik is consistently depicted as more or less heroic. His decent humanity never really falters, unlike the other characters in the film. Could this be because he is the Korean hero in a Korean film? I admit I don’t know about Korean filmmaking to hazard a guess, but I can’t help but wonder about it, especially when the film deals with such difficult and sensitive topics of Korean history such as the Japanese occupation during World War II that serves as the setting of the film. I wonder if Kang Je-kyu (who also produced the film and co-wrote the script) felt the need to feature a consistently noble Korean hero whose dignity always remains intact?

It’s a minor complaint, though, in what turns out be a terrific film; one of the best I’ve seen in 2012. MY WAY deserves to earn a place in the pantheon of great WW2 films alongside modern classics like Saving Private Ryan. And it certainly deserves your patronage as a great movie.

4 of 5 Stars

MY WAY opens wide today, May 4th, though not in St. Louis

This review originally ran in November when THE FAIRY played as part of the St. Louis International Film Festival

What if you met a real life fairy? How would you know? What would you do? American audiences had a similar proposition presented through cinema in 1984′s SPLASH, replacing a fairy with a mermaid, with whom Tom Hanks fell deeply in love with. The 2011 French film LA FEE (The Fairy) is also a romantic fantasy, co-written and co-directed by Dominique Abel, Fiona Gordon and Bruno Romy.

THE FAIRY is about a man named Dom, played by Dominique Abel. He works as the front desk clerk in a small hotel. He’s friendly, quiet, and perhaps more than a little naive. In the beginning of the film, Dom is hoping to settle down for the evening with some television and a sandwich. Unfortunately, business chooses otherwise.

After first handling an odd customer and his scurrying bag, Dom meets Fiona, played by Fiona Gordon. Fiona is a spritely woman. This is fitting, as the first words from her mouth include “I am a fairy.” What should one say to such a claim? Dom takes this in stride, as he does with everything in life. Fiona rents a room, and thus begins their adventure.

THE FAIRY is a cute — almost excessively so — little number that’s part romantic comedy, part musical, part slapstick and part Charlie Chaplin. Dom and Fiona are very animated characters in a very animated live-action film. After saving Dom’s life from a near-fatal sandwich, Fiona offers Dom three wishes. He first wishes for a scooter, then follows up with a wish for free gas for life. Fiona gladly complies. For the remainder of the film, we await Dom’s third and final wish.

Dom and Fiona connect quickly. Fiona shows Dom a world he never knew existed, right there in his own community. Her free spirit opens his eyes, but the truth about Fiona is a mystery that remains uncertain throughout THE FAIRY. Is Fiona really a fairy, or simply an unstable citizen? I found myself less and less concerned with this question as I was drawn deeper into the quirky world of these two characters.

THE FAIRY is a lot of fun, but if it doesn’t appeal to you at first, give it time. It took me 15-20 of the film before I finally settled into the experience. I am not typically a fan of musicals, but the charming silliness of THE FAIRY is rather hard to resist. The musical numbers, which are really more dance pieces, as the characters don’t sing, are strange and eccentric, but in their own way alluring.

In keeping with the film’s central characters, THE FAIRY is a richly colorful film that feels like something from another era. I was repeatedly reminded of the 1964 classic THE UMBRELLAS OF CHERBOURG. THE FAIRY is clearly a low-budget film, or at least is meant to look that way, perhaps drawing inspiration for its production design from theatrical stage production. From green screen chases to swimming jellyfish made of plastic grocery bags, the whimsically simple design is a major factor in the film’s charm.

Whether you’re a pushover for French film, an admirer of the silent era of slapstick comedy, or just looking for a unique option for a date night movie, THE FAIRY is a romantic option like no other I’ve seen in quite a long time.

THE FAIRY opens in St. Louis today at Landmark’s Plaza Frontenac Theater

Oscar Svendsen (Kyrre Hellum) wakes up in a seedy strip club, underneath the body of a dead oversized stripper, and surrounded by cops. What follows is the story of how he got there told mostly through flashbacks while being investigated by a very thorough and incredibly compelling detective (Henrik Mestad). This is a tale of lottery, greed, corruption and fake recycled Christmas trees.

JACKPOT is bloody good fun, pure and simple. It is a pitch black Norwegian comedy that tosses around clever dialogue and dead bodies with glee. The structure is similar to films like THE USUAL SUSPECTS and there are familiar elements throughout, although it all still feels fresh and fun. Jo Nesbo’s writing is sharp and each character is a good mix of quirky and dangerous. Director Magnus Martens handles the material quite well and strikes a good balance of comedy, blood splatter and intrigue. There are some really great visual gags including some set up early that lead to fine payoffs later on. I’d rather not spoil any of them but my favorite is on display at the very end of the trailer below if you are curious. Personally, I suggest only watching the trailer up to the title card if even that far.

If this sounds at all like a film you want to see, I highly recommend seeking it out rather than wait for the (most likely) inferior American remake, which is always a strong possibility with films like this.

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

” I’d like to speak with you about the Avengers Initiative ”. Can it really be four years ago that SHIELD director Nicholas Fury ( Samuel L Jackson ) spoke those fateful words to a surprised Tony Stark ( Robert Downey, Jr. ) at the end ( the very tail end, after the final credits ) of IRON MAN ? Marvel fans around the globe were ecstatic. The fabled comic book company was now in the film business ( other characters were licensed to other studios )  and Jon Favreau’s rollicking action hit was the first in their partnership with Paramount. With this bit of dialogue, were they announcing their intentions to team up some of their greatest heroes in one massive movie event? Fans were teased again later that Summer when Stark strode into the bar where General ” Thunderbolt ” Ross was drowning his sorrows at the end of THE INCREDIBLE HULK. Expectations rose two years later with IRON MAN 2 which ended with SHIELD agents in the desert surrounding a huge hammer protruding from the earth. The next Summer saw more Marvel superstars headline their own feature films: THOR and two months later, CAPTAIN AMERICA : THE FIRST AVENGER. The principals are all introduced, and now, finally, it’s time for Earth’s mightiest heroes to gather with a hearty ” Avengers assemble! ” Hold on to your popcorn!

Before we settled into our cushy theatre seats let’s take a look back at the comic book roots of this team. Legend has it that, in the early 1960′s,  Atlas ( Marvel’s precursor ) publisher Martin Goodman was on the golf green with the head of his publishing competitor National Periodicals ( now DC Comics ). Martin supposedly overheard the man bragging about the big sales on his new book ” The Justice League of America”, about the adventures of a team of their biggest heroes including The Flash and Green Lantern. He made a mental note and instructed his comics editor Stan Lee to come up with a group of super-heroes. Ah, but it was not the start of the Avengers yet! Stan came up with the Fantastic Four along with artist extraordinaire Jack Kirby and so began Marvel Comics. Over the next few years several more characters were added to Marvel’s roster and Stan was finally ready to do his take on the Justice League. In the first issue of the Avengers back in 1963, Iron Man, the Hulk, Thor, Ant Man, and the Wasp joined forces to stop a plot by Thor’s treacherous sibling Loki. Gathering at Tony Stark’s NYC mansion, the group announced their ‘tentative” partnership ( that Hulk was a wild card! ). Sure enough, two issues later, ole’ Greenskin has joined forces with Prince Namor, the Sub-Mariner to take on his former team mates. Traveling back home via submarine after the battle, the heroes spot a frozen figure of a man floating at sea in the landmark fourth issue adventure “  Captain America Joins the Avengers ”. Cap became an important Avenger and with issue 16 he was the group’s leader. In ” The Old Order Changeth”, Stan had decided to replace the other members because it was too difficult to co-ordinate their solo stories with the group’s exploits ( Cap’s solo stories in Tales of Suspense were set in World War II ). Bucking tradition, the new Avengers were former villains : Quicksilver and the Scarlet Witch from the X-Men stories along with Iron Man nemesis Hawkeye. Since then heroes have joined and taken leave as the book continues to be one of Marvel’s best sellers. So much so, that when the company decided to create the Ultimate line with younger versions of their established titles, The Avengers were revamped for this alternative universe. Here the team was formed by the head of the secret hi-tech spy agency SHIELD, Nick Fury to battle an alien invasion.

For the new film, elements of both versions of the team are combined. Several theatres are holding Marvel marathons prior to the premiere in order to get fans up to speed. Without revealing too much I’ll try to do the same without 12 hours straight at the multiplex. as the epic begins, Thor’s evil half-brother Loki ( Tom Hiddleston ), who survived the collapse of the Rainbow Bridge at the conclusion of THOR, is conspiring with the inhabitants of a dark, desolate planet ( and, as the film makers have strongly stated previously, these are not the Kree and Skrull races from the Marvel Comics universe ). Loki believes he’s found a way to transport to Earth and open a portal for the aliens’ invading army. Back on planet Earth, Nicholas Fury, aided by Agents Maria Hill ( Cobie Smulders ) ,vet of three Marvel movies Phil Coulson ( Clark Gregg ), and Clint Barton AKA Hawkeye ( Jeremy Renner, who had a brief cameo in THOR ), is overseeing research headed by Professor Selvig ( Stellan Skarsgard, also from THOR ) on the mysterious white-glowering cube called the Tesseract ( a powerful Asgardian power source retrieved from the ocean’s floor by Tony Stark’s father in CAPTAIN AMERICA : THE FIRST AVENGER ). Chaos erupts at the SHIELD facility as the cube opens a window that unleashes Loki. As the demigod escapes with the cube, the professor, and several entranced agents, Fury decides to enact the Avengers Initiative. Assembling the team is not an easy task. Coulson calls on Tony Stark as he’s setting up house with Pepper Potts ( Gwyneth Paltrow ) at the brand spanking new NYC headquarters of Stark Industries. Natasha Romanoff AKA the Black Widow ( Scarlett Johannson ) is pulled off her current mission in order to track down and retrieve Dr. Bruce Banner ( Mark Ruffalo ). Seems the Tesseract gives off a Gamma radiation signature and , uh…SHIELD may have need for Banner’s furious green alter-ego. Fury himself reaches out to Steve Rogers AKA Captain America, who’s not been eager to enter the modern world after nearly 70 years in icy suspended animation. Together the heroes, soon joined by the mighty Thor ( Chris Hemsworth ), have to overcome their differences ( and strong personalities ) and work as a team in order to track down the cube and prevent Loki and his alien forces from enslaving humanity. No time for a group orientation reception with these super-folks!

For a film so stock full of big characters ( and some who’ve starred in solo flicks ), it’s astounding that the actors still get individual moments to shine. The biggest gun ( with two features under his metal belt ) is Downey who’s still full of surprises as Stark. Of course we get the snarky attitude and tossed-off one-liners ( he’s got great nick names for his team mates ), but we get some more of his romantic side that we saw in the first Iron Man flick. He’s got a terrific rapport with Paltrow ( almost like a Tracy and Hepburn or Loy and Powell from the Thin Man movie series). Their playful banter is always a welcome bonus in this action extravaganzas; We also see Stark’s bravery and determination when they suffer a personal loss. Hemsworth acts the role of the thunder-god with great energy and bravado. He’s happy to get to know these Earth dwellers once more. Evans as Cap is not the morose warrior still battling WWII that the comics portrayed in many of those early stories. Cap embraces these new wonders and quickly takes command on the battlefield just as he did int he 1940′s. He even gets to crack a few jokes! New to the role of Bruce Banner after Eric Bana in Ang Leee’s HULK ( not officially part of the Marvel movie-verse ) and Ed Norton in THE INCREDIBLE HULK , Ruffalo combines elements of the two actors along with Bill Bixby’s David Banner from the TV series. He’s strong, quiet, sensitive, and intelligent while keeping a tight lid on his emotions. I like that the Hulk is a separate person in his mind ( ” the other guy ‘ ). As for that guy, the effects people have done a terrific job on him. He’s a good cross of the Bana ” Shrek on steroids ” and the ” vein-y”, tiny- torsoed Norton Hulk. When ole’ ” Jade-Jaws ” finally enters the film at midway point, he almost steals every scene.  Back at HQ, the team’s guided by Jackson’s Fury. He’s a strong fighter with a lot of weight on his shoulders. Not only must he unite the team and kept track of Loki, he must answer to his mysterious bosses ( the real powers behind SHIELD ). The wiley Fury’s not above massaging the truth in order to placate his superiors and inspire his forces. As for his main agents, Gregg is once again a delight as the efficient Coulson. In a very funny bit of business, he’s almost sidetracked by his ” man-crush ” on Rogers ( he’s got a mint set of Captain America trading cards! ). Renner’s Hawkeye is more of an enigma. He’s SHIELD’s expert sniper and exhibits that loner mentality as he observes the cube experiments from a distance, hidden in the shadows. Until he joins the Avengers, the only other agent he connects with is the Black Widow. Johansson was first introduced in the role in IRON MAN 2 and this is her best screen work in quite a while. Thanks to the film’s talented screenwriter/ director we get some insight as to how she got her deadly code name. She’s no damsel in distress, but an expert interrogator along with her considerable fighting skills. Skills needed in bringing down Loki. Hiddleston expands on the deceitful, cunning villain from THOR. He relishes the idea of being worshipped by conquered earth people and will not hesitate snuffing out dessenters. Loki’s unabashedly, gleefully evil. As far as comic book movie bad guys he doesn’t reach the stellar heights of Heath Ledger’s amazing Joker, but he’s a more than worthy adversary for this movie ” dream team “.

When talking earlier about the Black Widow I alluded to the film’s talented co-screenwriter/ director. The greatest triumph of the film may be the emergence of a new, film power player: Joss Whedon. Of course we fans of the Whedonverse ( referring to his TV shows ” Buffy the Vampire Slayer “, its spinoff ” Angel “, ” Dollhouse”, ” Firefly” and the feature film sequel SERENITY, the internet sensation ” Dr. Horrible’s Sing-a-Long Blog “, many comic books and a co-writing credit on the recent CABIN IN THE WOODS ) have been singing his praises for years, since he was a major ” script doctor ” on films like TWISTER and an Oscar nominee for co-writer on the original TOY STORY. He’s done an amazing job juggling all these characters and never letting the big action set pieces overwhelm the actors. So, of course, Buffy’s Dad would help us really get inside the Widow’s head. As for those set pieces…they’re pretty fantastic. Unlike many big action-fests, you can always understand what’s going on.  The editing flows. This really helps when Cap’s taking on the alien army on ground level. Whedon also upholds a a great tradition from the comic source material that really spotlights the contrast between Marvel and DC comics. When two DC heroes meet it’s, ” What brings you to Central City, Green Lantern? ” ” Why, I’m trying to track down Sinestro, Flash! ” followed by a hearty handshake. Over at Marvel, it’s immediately throw-down time! With Whedon involved, it goes without saying that there’s lots of laughs  packed in with the mayhem.

The movie is being presented in 3D, but I don’t think it’s essential to view it in that format. It’s a good upconvert ( like the Cap solo movie ), but aside from some big gun barrels, Loki’s power staff ( get yer’ minds outta’ the gutter! ), and hovering spacecraft the extra D doesn’t add much to the big battles. The movie slows a bit when the principals bicker in a meeting room ( what is this? Super-reality TV ? ), but it soon picks up speed and never lets up till the end credits roll ( that’s a fast 140 minutes! ). Speaking of end credits, the Marvel movies have a tradition of taking on a final bonus scene after the final credit. This time they’ve placed it at the midway point ( as did last Summer’s THE GREEN LANTERN ). Your enjoyment of it may depend on how big a Marvel comics fan you are. But you should stay and see all the folks that worked on it! They did a spectacular job ( Kudos again on the Hulk. It’s the green giant we fans have been wanting to see in the movies )! The meeting of the Marvel movie universe and the Whedonverse has produced a superior screen entertainment that is a high water mark for future comics based films. Hey Nolan-Batman and rebooted Spidey! You’ve got a very tough act to follow! Avengers ( and movie-lovers ) assemble!!

UPDATE : I’ve gotten reports that there is a bonus scene after the final end credit ( in additon to the mid-credit scene I mentioned above ) !

Overall Rating : Five Star-spangled Shields, Five Uru Hammers, Five.. aww, Face Front, True Believers! 5 Out of 5 Stars

EDDIE – THE SLEEPWALKING CANNIBAL is a fun little dark comedy that will surely find a nice audience although it might not rise to a level of cult phenomenon that one might think based on the deliriously twisted plot. Lars Olafssen is a former well-known artist who lost his muse 10 years ago. Finally content with not painting anymore, he takes a small teaching gig in Koda Lake, Canada where he ends up also having to care for Eddie, a seemingly harmless handicapped adult played perfectly by Dylan Smith. Eddie was traumatized as a child by the death of his parents so he no longer speaks. He also has a tendency to wake up in the middle of the night, shed his clothing down to his tighty-whities and eat people while still asleep. This would be horrible if not for the fact that seeing Eddie’s carnage somehow triggers a creative response in Lars, leading him to start painting again.

One of the things I absolutely hate about movies set in the art world is that often people are depicted as creating their so called masterpiece and when you see the artwork, it is nothing special. A large part of EDDIE is Olaf’s paintings yet they are given the golden briefcase treatment, meaning we never actually see them. This is one of the many things the film gets right. It knows exactly what to show, as evidenced by the very brisk pacing and perfectly short running time. While the film may not always be nonstop hilarity or thrills, it is certainly never dull. I do agree with some other people’s sentiments that the film gets better the bloodier it becomes but I think the restraint from showing much gore at first works thematically as both Eddie and Olaf strive towards their magnum opus. There are a lot of other little details in the film that work equally well, such as the running joke of the radio DJ commenting on how each of the classical music pieces played throughout the film directly correlate to tragedy and scenes of death.

Rather than spoil any more surprises, let me just recommend checking out EDDIE when it finds some sort of a release. This is a damn fun film and despite the outlandish concept, it is easy to relate to especially for creative types. There’s no telling how far some artists will go to get their muse back…

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

I will throw myself onto the altar as a sacrificial lamb so that fellow critics much better than I do not fall prey to using the following super cheesy & painfully obvious opening statement in their future reviews of this film. Remember me as a hero…

Much like the parked ice cream truck Jess Weixler finds herself stuck in for the majority of the running time, FREE SAMPLES goes nowhere. Yes, I know that’s bad. It’s the sort of line your friendly neighborhood entertainment guru will say in his segment on the local news in attempt to be clever. Unfortunately it does perfectly apply to the film. Hungover and unsure of pretty much everything in her life, Jillian (Jess Weixler) finds herself working all day parked in a vacant lot handing out free samples of an ice cream-like substance to a cast of quirky characters. There are a few subplots including a distant “kind of” fiance, a quick-witted guy she met the night before (Jessie Eisenberg), and a friendship with an elderly patron (Tippi Hedren).

In the end, there is some very minor character growth but it is in no way a substantial arc. This would be fine if the journey was entertaining but even at 80 minutes, the film seems to drag its feet far too often. This is not the fault of the actors; everyone seems to do well with what little material they have to work with. Jess Weixler channels her inner Winona Ryder as the smart yet irritatingly bitchy Jillian and Jason Ritter seems to have fun as Wally. Jessie Eisenberg is on his game as a much more confidant version of the character we have seen him play many times before. Sadly many of the hilariously quirky characters that show up for free ice cream fail to be hilarious or even relevant to the story in any way. The jokes falling flat could be due to poor delivery but it is more likely due to the script that could have used a bit more love before cameras started rolling. There are a few really good moments, namely the ones with Jason Ritter and Jessie Eisenberg, but they do not appear nearly often enough to save this slow mess.

Jerry Cavallaro – @GetStuck – JerryCavallaro.com