The Duchess (2008)

Newly wed to the Duke of Devonshire (Ralph Fiennes), Georgiana (Keira Knightley), the new Duchess, has been given two tasks: produce a male heir and undying loyalty to the Duke. With a husband who is cold and indifferent and seemingly unable to produce a male heir, Lady Georgiana indulges in her popularity as a fashion plate and other vices for happiness. Turning a blind eye to her own husband's dalliances with Georgiana's best friend, Bess (Hayley Atwell), the Duchess begins her own with dreamer politician Charles Grey (Dominic Cooper). In turn, the Duke uses his influence, wealth, and authority to limit her freedom all the while parading his own infidelities.

The Duchess takes a more soap operatic tone to the tale of Georgiana, Duchess of Devonshire. Opinionated and self-aware, unheard of in women of her time, Georgiana was immensely popular and influential in socio-political circles. It was in her own home, that Georgiana suffered the most. Director Saul Dibb creates an extravagant, if fluffy, period drama.

Ralph Fiennes and Keira Knightley give remarkable performances, providing depth where there is little. The two have a tortured chemistry, playing a severely unhappily married couple. Fiennes is able to make the Duke thoroughly evil, but still human. As the Duchess, Knightley gives a beautifully nuanced, tortured performance. The supporting cast of characters are the ones that need further development. There is no chemistry between the Duchess and Cooper's Grey. Additionally, for being the other woman, the 'third wheel', the other lady in the marriage, Atwell's Lady Bess Foster is sadly flat and inconsequential. Charlotte Rampling as Lady Spencer, the Duchess' mother and primary counsel is a pleasant surprise.

Opulent costuming and settings help create a stunning piece, but subtlety seems to be the mark of our director. The film is uncluttered with dialogue. Instead, Dibb allows subtle palate changes to mark our character's place in the aristocracy. Delicately nuanced gazes, a slight of hand, or heated silence take precedence.

Period pieces as such always fascinate. Whether it's the wigs or the torrid underbelly of a straight laced society, The Duchess is no difference. Knightley's performance as Georgiana, navigating the treacherous waters of an unhappy marriage and the confining rigors of polite aristocracy makes it worth watching.

Eagle Eye (2008)

Aimless underachiever, Jerry Shaw (Shia LaBeouf) returns home after the funeral of his overachieving twin brother to find his apartment filled with weapons and bomb-making ingredients. Single mother Rachel Holloman (Michelle Monaghan) is out for night with friends after sending her young son off to Washington with his school. A phone call from a mysterious voice, thrusts these two strangers into a series of increasingly dangerous situations and into the eye of various law enforcement agencies. Evading Agent Morgan (Billy Bob Thornton) and Air Force liaison Zoe Perez (Rosario Dawson) while working to prevent catastrophic political assassinations and clear their names, pits Jerry and Rachel against every day technologies.

Eagle Eye is an effective, if average, thriller. If you successfully enjoy the popcorn and suspend reality, you'll enjoy it more. Shia LeBeouf is on par to becoming a leading man and even with this screenplay, LeBeouf obviously enjoys himself and makes the best. Monaghan is believable and sorely underrated. Thornton, aging well, turns in a nice, if rote, supporting role.

Loaded with intense and unrelenting action sequences, Eagle Eye entertains. As much as I want to spoil the movie's ending, I trust my readers are smart enough to figure this one out in ten. Therein lies, my one disappointment. The story...

It could have been much more {like Enemy of the State}. It's as if our writers couldn't determine what to do with the protagonist. As with Taking Lives, director D.J. Caruso is there to edit and cajole solid performances.

Eagle Eye has summer blockbuster all over it with explosions, action sequences, and scoring to equal any Die Hard or Armageddon. The film never reaches, but rather languishes in what it was meant to be... pure popcorn entertainment.

Unser täglich Brot (2005)

This German born documentary takes a look at the highly clinical and uber-mechanized process of bringing food to the table. From the opening title card, the viewer can sense something unusual here. That assessment would be correct.

Our Daily Bread is an artful and aesthetically chilling film. Director Nikolaus Geyrhalter seems content to allows images and rhythm to speak for itself--that is the movie's crowning glory. Geyrhalter's camera is an observer, not an interferer and as each vignette unfolds, it's the viewer's own reaction that will ultimately define the film's tone.

As I see it, Unser täglich Brot, is a quiet examination of the dehumanizing of our food.

Man on Wire (2008)

This fascinating documentary recounts the 1974 feat of Frenchmen and high wire-walker Philippe Petit. Obsessed with the Twin Towers before they were built, Petit, begins to prep for the stunt. Joined by an assortment of odd fellows, Petit's obsession has them sneaking into the building on several occasions to learn more before the epic walk.

Man on Wire is an engaging example of a man and his passion. Philippe Petit makes a great interview. He is so expressive. His passion for life is infectious; his determination, arresting. By contrast, the group of friends that assist him with this feat are equally awed and frightened. Petit relates the numerous and unexpected issues--wind sheer, building flex, even the angles at which the building are set, create hurdles that Petit and his fellows must surmount.

The story is breathtaking. The documentary showcases a few other walks with stills, eye witness accounts, and footage as it builds to that fateful day. The walk across the Notre Dame cathedral is incredible.

As docs go, Man on Wire, is artfully conceived with equal parts actual footage and dramatization. With it's gorgeous play on color and editing, the film has a fresh art house feel. Additionally, the score is beautiful.

Walking on a wire in itself is an amazing feat. That fact that it was accomplished on what is now a symbolic pair of buildings brings a poignancy to the film. The footage of the NYC policeman, post high-wire, is sweet.

Man on Wire showcases a man with a true zest for life--we all should be jealous! This one is a must see for fans of the genre.

The Inauguration (2009)

To be honest, I've avoided the television and radio today because of the overwhelming canonization of Barack Obama. The media darling of the moment, the inauguration is the topic of all conversation as it should be. Be forewarned. The following are my opinions alone. No, I didn't vote for Barack Obama. I didn't vote for McCain either.

A few things strike me:

• The overwhelmingly negative comments from Baby Boomers about Barack Obama. I'm surprised. Are you concerned a new generation is stepping into power? Concerned that we will push you out or worse, forget you? Why the disparaging remarks? There seems to be a consensus that this President, much like JFK, won't survive his term. Rubbish. Unlike those who grew up during the tide of Civil Rights, we, the young people of this fine nation don't think/speak/act in terms of color. Racial jokes and stereotypes aside, we don't care. We see a man with fresh ideas, willing to go against the popular vote, willing to engage in discourse, willing to try for change.
• Reading the transcript of Barack Obama's speech, I am filled with hope and excitement. His words evoke a patriotism, a love for this great nation, that I didn't really know was there. Sure, we all are in the honeymoon stage, but if we would call take this feeling we have today, bottle it, remember it two years from now when American really struggles to right the gluttony, pride, deception, and consequences of our actions, we would all be better off. Barack Obama is well spoken.
• Barack Obama's call for volunteerism and being involved is close to my heart. If only we all would pause to consider. As cliche as it may be, let's get back to family--let's celebrate it and stop allowing outside influences to corrupt our children. Imagine if we did that they might even be less influence after all.
• Regardless of how you vote, you must respect Barack Obama. I didn't see like him, I said respect him. I, for one, have tremendous respect for a man who refuses to play along as the media continues to throw the 'race card'.
• Joseph Lowry, EXCUSE me?! How do you go from, "We thank you for the empowering of thy servant, our 44th president, to inspire our nation to believe that, yes, we can work together to achieve a more perfect union. And while we have sown the seeds of greed, the wind of greed and corruption, and even as we reap the whirlwind of social and economic disruption, we seek forgiveness and we come in a spirit of unity and solidarity to commit our support to our president by our willingness to make sacrifices, to respect your creation, to turn to each other and not on each other..." to "Lord, we ask you to help us work for that day when black will not be asked to get back, when brown can stick around — when yellow will be mellow — when the red man can get ahead, man — and when white will embrace what is right." Your comments are perverse and hardly appropriate, dumba** How ignorant and careless of you.
• It's pretty incredible to see the hordes of people waving, crying, chanting, and smiling all for our President. I'd like to think that for this moment, perhaps all of America really was united.

The citizens of this nation owe it to our children and the generations to come to clean up this mess. Yes, we are facing the greatest deficit ever seen, unemployment in ever increasing numbers, outsourcing is rampant, health care costs are soaring... it's daunting and overwhelming, but we've got to begin somewhere. I hope we can begin with Barack Obama's leadership. Pitch it. Start holding yourself accountable.

America loves an understory. Well, she's in one. I hope that in a few years, all of this potential isn't laying by the wayside. But aside the tide of emotion and allow logic to take hold. Here are your inevitables:

• The media will need an enemy at some point. Fickle as it is, I'm guessing less than a year.
• Barack Obama is just one man. You must remember that thanks to our blessed Forefathers, power is held by the rich few. Capitol Hill is where the money is; it talks. You and I don't have a special interest group, so we are screwed.
• Rising health care, Social Security, the massive nation debt--it's not going away and until true reform is enacted no amount of 'hope' from an idealistic President can change sh*t.
• America will always be at odds with the world as long as we are aligned with Israel. It's Biblical fact. No amount of peacemaking will change the hearts and minds of that are filled with hate for centuries.

As Ghandi said, "Be the change you want to see in the world." Until citizens of this nation take that to heart, true change will never come. Considering being that change in your world. You don't have to be elected to the White House to make a difference at some level.

Appaloosa (2008)

Gunfighters turned lawmen, Virgil Cole (Ed Harris) and Everett Hitch (Viggo Mortensen) come to the bullied town of Appaloosa to dispatch the hated rancher, Randall Bragg (Jeremy Irons). Things become complicated with the arrival of the beautiful and aloof Allison French (Renee Zellweger).

Appaloosa is an odd one. I'm on the fence. While there are certain aspects of the film that I enjoyed; my interest wained numerous times and I found myself eying goofs--not a good sign. I'll refrain from picking it apart as the performances by Harris and Mortensen are exceptional.

As westerns go, Appaloosa fits in the new breed of westerns we've seen in the past year. The story meanders. There's no big gunfight or last hurrah. It's a gritty, subtle film with conviction. The relationship between Cole and Hitch is at the center of the film. This nuanced friendship is well played by Harris and Mortensen--it's the film's saving grace and ultimately the only reason to see the film. Cut from vastly different cloths, the two complete each other and not in a Brokeback Mountain kinda way. The dialogue between these two is amazing.

The supporting characters are essential to the story but are mere caricatures. Renee Zellweger, as a needy single woman is horribly miscast. Jeremy Irons is nicely set as the film's protagonist, but has no bite. Timothy Spall pops up as does veteran character actor James Gammon.

Production wise, Appaloosa contains an authenticity with dusty, isolated places and costumes all nicely detailed. {See how bored I got?} Director Ed Harris has a keen eye. His camera work keeps the film fresh and artful, but not presumptuous.

Appaloosa is a mixed bag. Harris and Mortensen make it interesting. Just don't expect a Tombstone or Unforgiven.

I'm Not There (2007)

In this movie's defense, I can't be the target demographic. At best, I am a casual fan of Bob Dylan and fascination is the key to enjoying Todd Haynes' I'm Not There. Cate Blanchett, Ben Whishaw, Christan Bale, Heath Ledger, Richard Gere, and Marcus Carl Franklin play various stages and personas of Bob Dylan's life.

I'm Not There lacks a coherent story, but, much like the man, it's still fascinating. Bob Dylan's rise from peer-proclaimed folk/protest singer to ICON is a remarkable story of reinvention and relevancy.

The film is highly conceptual as the six actors playing Dyan play him as periods of time in his life as Poet (Franklin), Star (Blanchett), Actor (Ledger), Prophet (Bale), Outlaw (Gere), and Protester (Whinshaw). Some story lines are harder to follow than others and I couldn't help think that a true fan of Dylan would get more out of this. The symbolism, if any, was lost on me. I did pick up certain places, events, and people of the time like Allen Ginsberg or Edie Segwick, but still I couldn't shake the feeling that I wasn't prepared or knowledgeable enough to truly appreciate this movie.

Cate Blanchett and Christian Bale are incredible to watch. Blanchett is Dylan at his most recognizable. She is amazing and is easily the film's highlight. Bale is equally fascinating and Ben Whishaw's Dylan is charming. Although I didn't quite comprehend what stage of Dylan he was, his monologue is remarkable.

I'm Not There is beautifully rendered. Each period has a specific aesthetic and alongside the Dylan score, it's beautiful. Still, as I see it, I'm Not There is to Dylan as Across the Universe is to The Beatles. For what it is, a 2+ hour, conceptual bio of Bob Dylan, it's cool man. Cool.

the F word

With 20+ years between my fav coworkers and I, today's lunch conversation took a funny turn. The two mothers mention how awful their respective sons' language gets when they are talking to their friends. One remarks 'The F word is no big deal to them. It's just another word.'They both turn to me; I grabbed another bite of salad and smiled.

So, the F word. I use it and it is just another word, I guess. Sometimes used in jest, definately used in frustration at times, but it doesn't carry the stigma that it does with the older generation. It's sounds really awesome when a British bloke says it.

Miss Pettigrew Lives for a Day (2008)

Guinevere Pettigrew (Frances McDormand) doesn't suffer fools and has has lost yet another nanny position due to her no nonsense attitude. Unemployed and homeless in London at the turn of the Century, Miss Pettigrew seizes an opportunity by sneakily answering Delysia Lafosse's (Amy Adams) request for an assistant. Hopeful American starlet, Miss Lafosse finds herself in a pickle. Caught between three men, Michael, Nick, and Phil--all who can offer her different things, Delysia must choose between them. Soon inseparable, Delysia and her new social secretary Miss Pettigrew are navigating the myriad of parties and men of high society with hysterical results.

Miss Pettigrew Lives for a Day is a charming romance set in the 1940s. Lavish and wonderfully entertaining, the film knows exactly what it's doing. It's pure fluff, but all in extravagant fun. Amy Adams is enchanting as she bobs her way along. As Delysia, Adams is exuberant and aloof. Prim and proper as Miss Pettigrew, Frances McDormand is a hoot. She brings a wonderful comedic touch to the film. Her ongoing joke about eating is so subtle, you don't quite pick up on it until the film fades to black. It's funny in retrospect. Cirian Hinds (BBC staple and SO underrated) and Lee Pace play our love interests.

The film is extravagant with settings and costuming. Pre-war high society London is alive and vivacious. The film embraces the taboos of the day and enjoys them. The pace is lively and the big band score furthers the vibrant tone. The whole film is just bopping along; it's fresh and quite lovely.

Miss Pettigrew Lives for a Day is lighthearted entertainment--a nice change to my melancholic, drama laden palate as of late. Perhaps the story is a bit far fetched, but it's almost too easy to enjoy this one thanks to genuine performances from the cast and lively settings.

The Art of Travel (2008)

This independent offering is lackluster. Christopher Masterson stars as Conner Layne, fresh out of high school and newly jilted by his high school sweetheart. His single honeymoon in Latin American soon turns into a year long, coming of age adventure.

The Art of Travel should have been exciting and authentic. Instead it's ho-hum and mediocre. Masterson is dull. Where is the passion and trepidation of a young adult on the cusp of an adventure? The film needs more life. The B-fabulous cast also includes Johnny Messner, Brooke Burns, and Bijou Phillips. No one can be accused of trying to hard in this one.

Suspend belief will help the audience get through the year long trek through the Darien, a hotly contested bit of Panamanian jungle. Their trek is {big surprise} uneventful, save for a snake, a stuck Jeep, and a run-in with a less than threatening FARC commander.

The Art of Travel is a good idea, poorly rendered. For wanderlust, go watch The Discovery Channel. This one is destined for weekend afternoon TV billing and nothing more.

The Curious Case of Benjamin Button (2008)

The curious case of Benjamin Button (Brad Pitt)begins at his birth in New Orleans at the turn of WWI. Rejected and abandoned by his father, Benjamin has all the health problems of an 80 year old at birth. Blinded by cataracts, his small body rife with arthritis, Benjamin is taken in by Queenie (Taraji P. Henson) a black care-giver in an old folks home. Benjamin, born with the mind and body of an old man is aging in reverse. Daisy (Cate Blanchett), the granddaughter of a resident, notices Benjamin during a visit and what a curious case he is.

The Curious Case of Benjamin Button is going to be a polarizing film. My feeling is that you'll either love or loathe this one. Clocking in at just under three hours, you are investing not only time, but emotion is this beautiful interpretation of F. Scott Fitzgerald's novella. Told in a nonlinear fashion {frustrating for some}, the film is told through the journal entries of Benjamin Button and the memories of the ailing Daisy, now in the late stages of life.

David Fincher's task here is monumental. With a screenplay from Eric Roth, director Fincher creates an endearing love story with unusual circumstances. Key to the film's success, is powerful performances from Brad Pitt and Cate Blanchett. Pitt is amazing and despite being CG'd almost the entire movie, he is fascinating as Button. He moves with understanding of the character; it's amazing to behold. Equally stunning is Cate Blanchett. Her character, Daisy, is a dancer. Not only is she convincing as a dancer, but Cate ages wonderfully. Her grace and skill are exciting. Julia Ormond, Tilda Swinton, and Jared Harris are among the costars.

You can't help but fall in love with Benjamin. He's an odd sort at every age, but he's progressively getting younger--it's remarkable. The frustration and resignation of Benjamin's circumstances are always looming and beautifully rendered.

{This review is getting no where. My apologies.}

The Curious Case of Benjamin Button is a study of mortality with powerful performances delivered by all. Told with a beautiful melancholy of the inevitable, this film is masterpiece of love, loss, and life. As I see it, if you're willing, you will be rewarded.

Gran Torino (2008)

All American curmudgeon Walt Kowalski (Clint Eastwood) hasn't changed since the Korean War. Long-held prejudices and general crotchetiness define the veteran. As his Michigan neighborhood decays around him, filling with immigrants and gangs, Kowalski wonders with harassed amusement. His neighbors, an Asian immigrant family, are just another thorn in his side. When their teen son, Tao, tries to steal Walt's beloved '72 Gran Torino as part of a gang initation, Walt is no longer a passive player in this story. Kowalski confronts his prejudices and assumes an unlikely role in the life of the vulnerable teen.

Gran Torino is a deceptively simple character driven story produced and directed by Eastwood. The film gets off to a shaky start as Eastwood seems to be almost a caricature of himself. Something clicks {about the time Kowalski takes a long drawl from his Pabst} and Eastwood transcends the setting and delivers a hard fought performance.

As a snarling, no-nonsense, racial-epithet spewing veteran, Eastwood is amazing to watch. At 70-something, this veteran has earned the right to say whatever he damn well pleases, but this is modern day. Kids nowadays are dangerous. Or are they really? As Kowalski, Eastwood is pitch perfect. {Quite frankly, he is reminiscent of my late grandfather--the garage scene with Tao brought back memories of my Pap.} Eastwood is blue-collar America.

Gran Torino examines many themes: pride, family, loss, friendship, honor and sacrifice, prejudice and redemption. Thanks to true dialogue, top-notch direction, subtle pacing, and tender humor what should have been a predictable story turns into something more genuine.

As Eastwood growls the final song, you can't help but thing you saw something special here. And if it turns out to be his last performance onscreen, then Gran Torino isn't a bad way to go. The film ends on an unexpected note, but for the best. Gran Torino is a bittersweet, but memorable piece and a must see treat for Eastwood fans.

Marley & Me (2008)

Disclaimer: This is not a movie that I would choose to see. For once, I had company--they picked. Lame--was my first thought. I'm writing this review while I'm still all warm and fuzzy from the theatre this evening. I didn't want to like it.

Jennifer (Jennifer Aniston) and John Grogan (Owen Wilson) are young newlyweds beginning their life together. Moving to South Florida to take on new jobs, the two adopt a 'Clearance Puppy' soon to be known as Marley. Lovable yet troublesome, teaches the couple many of life's important lessons.

Marley & Me, currently the top-dog of the box office, is heartwarming story that celebrates the highs and lows of life through the eyes of man's best friend. Surprisingly good and genuine, this film will have anyone with a heart beat bawling.

Wilson and Aniston have beautiful chemistry onscreen. Cute, modern, relatable, the two are enjoyable to watch, but the comedy aspect really is hit or miss. The antics of Marley punctuate all of the couple's memories together. It's nice to see the endearing Wilson. {Trust me, you can't take your eyes off the watch--he seems to wear it the ENTIRE film.} Aniston, doesn't do it for me. She is beautiful to look at, but she comes across as a one trick pony.

Director David Frankel (The Devil Wears Prada) tells a lifetime in 90+ minutes successfully with fun sequences that not only pace the movie, but keep the Grogan's from being too boring. Eric Dane stars as Sebastian, John's bachelor friend who is everything John wanted to be. Alan Arkin stars as John's editor/mentor in Florida. Arkin provides solid comedic relief like only he can.

Marley & Me borders on boring for me, mainly because our couple {just like in real life, I think} settles into routine. Both John and Jenny struggle with the consequences of choices. The film addresses life in a refreshingly honest fashion. The audience doesn't fester in the lows or become disenfranchised by the highs.

Marley & Me is sentimental hit. See it, but it's worth waiting to cry in the comfort of your own home.

Camp Rock (2008)

Mitchie (Demi Lovato) has a beautiful voice and musical aspirations. She's hoping to spend her summer at the exclusive Camp Rock, but the only way her blue-collar parents can swing it is if Mitchie will help in the kitchen. Desperate to fit in, Mitchie goes to great lengths to hide her less than glamours life. Pop star Shane Gray (Joe Jonas) has been put on notice for his bad boy antics and comes back to his roots as penitence. Gray begrudgingly takes on the duties of a counselor, but as he faces the screaming hordes of fan, he overhears Mitchie singing without seeing her face. He spends the rest of his summer searching for the girl that stole his heart

In Disney's world, teens are fresh-faced, bright-eyed, well-groomed, vague, and musically inclined. Camp Rock, the latest in mass merchandising, stars Joe Jonas (singer of the teeny pop band The Jonas Brothers). Overly-styled and ridiculously colorful is another positive, if shallow, offering. The cast is cute. The dialogue a bit cheesy and sadly the musical numbers are rote.

As Disney original's go, there isn't much original here. Pegged as the next High School Musical, Camp Rock is sorely lacking the humor, story, and geniune dialoge of it's predecessor. Still, you can't argue with the positive messages.

Camp Rock is no more than average. As I see it, don't bother with this one. See High School Musical instead.

Ghost Town (2008)

A colonoscopy gone bad leaves dentist Bertram Pincus (Ricky Gervais) with the horrible ability to see ghosts. Dr. Pincus isn't a people person; he's a self-centered pricks that goes out of his way to avoid everyone. He can't avoid the ghosts once word's out he can see them. Recently deceased Frank (Greg Kinnear) strikes up a deal with Bertram. Keep his widow (the woman he was cheating on, at the time of his death), Gwen (Tea Leoni), from marrying a smug human-right lawyer.

Ghost Town is a character-driven piece that is nicely played by the entire cast. The film gives Gervais plenty of room to be himself; he's in perfect form. Quick-witted, yet uber straight laced, Gervais creates Pincus as a man uncomfortable in his own skin trying to get a little peace. Based on this performance, I don't know that Gervais is leading man material, but he still manages a solid 'everyman' character that is not only funny, but endearing. Tea Leoni is solid foil to Gervais. She equally eye candy and interesting. Greg Kinnear (not a fan) gets to play the jerk, as a ghost. He's comedic timing is right on. Kristen Wiig is a delight as Pincus' urologist.

Ghost Town has a quirky feel, but despite the onslaught of funny, the film turns into a sweet, romantic story that I fell in love with {much like Stranger Than Fiction}. Writer/director David Koepp (Secret Window) keeps the film from too much sentimentality or stupidity, but it's the solid performances from the cast that make this one.

If you enjoy Ricky Gervais in Extras or The Office, or enjoy off-beat comedies, Ghost Town is for you.

About a Boy (2002)

Living off the royalties of his father's legacy, fashionable Londoner Will Lightman (Hugh Grant) is the epitome of shallow. His lifestyle affords him the opportunity of doing nothing. So Will spends his days searching for available women. Bored and alone, Will wonders if this is all life is. 15 year-old Marcus (Nicholas Hoult) is the son of a emotional, quirky, and suicide-prone Fiona (Toni Collette). A chance meeting develops into an odd and unexpected friendship for both boys as Will and Marcus learn life's lessons.

About A Boy is a surprisingly effectual dramedy. Hugh Grant is his charming self, but unlike his typical rom-com fare, About A Boy takes an unexpected and enjoyable turn that celebrates life and friendship. Grant does more than just look good; he imbues Will with a gradual transformation from emotionally stunted boy to maturing, responsible adult. Young Hoult plays a sad little kid nicely. Toni Collette plays her neglectful mother to a tee {annoyingly good}. Rachel Wiesz appears in a small, uncredited role.

About A Boy takes a 'it takes a village' approach to Marcus' story, but directors Chris and Paul Weitz allow the film to grow, almost organically, focusing on Marcus and Will's friendship. The sub-plots: Fiona, school-bullies, Will's shallow lifestyle, all become unnoticed in the course of the film.

Based on Nick Hornby's best-seller, this film could have been a lot of things. Fortunately, About A Boy is more than it should--which is lame. Instead you'll find a genuine story with surprising heart.

Burn After Reading (2008)

I don't know how to quantify Joel and Ethan Cohen's latest endeavor, Burn After Reading. Suffice to say, if you've got 96 minutes to spare, this movie wouldn't be a waste. This quirky farcical caper is insanely weird and too funny {but only if you lean left of center and enjoy the dryer, darker side.}

An moronic pair of gym employees (Brad Pitt and Frances McDormand) discover a copy of a recently penned memoir from former CIA analyst Osbourne Cox (John Malkovich) and try to turn a profit in returning it.

Burn After Reading is pure hilarity--it's downright ludicris--watching these numb nuts from Hardbodies and the CIA parlay one mistake into another. The movie is character driven and thanks to a stellar cast that also includes George Clooney, Tilda Swinton, and J.K. Simmons the characters are nicely developed with tics and quirks that add everything. Malkovich and Pitt compete to steal the show, but Clooney sweeps in and kills. The dialogue is equally hysterical.

This film marks only my fourth Coen film. Raising Arizona {bites}, O, Brother Where Art Thou? {bites harder}, and No Country for Old Men {doesn't bite} being the others. No, I don't know how Burn After Reading compares or truly fits with their body of work. Does it matter?!

As I see it, Burn After Reading is sardonic fun that will be lost on most viewers. The precious {and warped} few will enjoy this one.