Visioneers (2007)

Level 3 Visioneer George Washington Winsterhammerman (Zach Galifianakis) is disillusioned with the good life. Employed by the Jeffers Corporation, the largest and friendliest and most profitable corporation in the history of mankind, George has it all in a world where the threat of spontaneous combustion looms. That right, people explode from stress and George is showing early symptoms. Desperate not to explode, George is forced to examine his life. A stable job and comfortable marriage with Michelle (Judy Greer) doesn't make him happy. Even his life coach can't seem to turn George off of auto-pilot. Then his pole-vaulting brother comes town.

Visioneers is a satiric, slightly futuristic black comedy that tries to be the next Office Space. It's not, but it's fun all the same. Thoroughly quirky and oddly random, Visioneers isn't cohesive--sadly, the wheels fall off during the last half of the film.

Zach Galifianakis carries the film with the weight of every corporate drone. The Jeffers morning greeting is something we've all dreamed about. As a descendant of THE George Washington, this George is sad man, bored with routine, but unsure of how to break out of it. Haven't we all felt that way?!

Visioneers doesn't depend on much. Set in a modern, dystopian society, the production is bare bones. It's the cast that imbues the film with life. Judy Greer is top-notch as Michelle. She, too, is looking for happiness and looks to TV personality Sahra (Missi Pyle) and her latest book recommendation '1001 ways to be happy'. Checking them off like clock-work, Michelle is too preoccupied with her own happiness to bother with George or their never-seen-onscreen son, Howard.

As I see it, Visioneers examines the grim reality of life. The duality of the dialogue here is thought-provoking and ultimately the sole reason for viewing. Sadly, the film won't leave a mark on pop-culture thanks to some glaring missteps {and poor marketing}, but overall, Visioneers is a nice compliment to Office Space. If you're a fan of that, you'll want to see this.

J4T: 3 stars

L'Avocat de la terreur (2007)

Wes Anderson's recom was the catalyst for this choice. This documentary from Barbet Schroeder examines the man known as Terror's Advocate, Frenchman and defense attorney Jacques Verges. Verges is perhaps best known for defending war criminal like Slovadon Milosovich and Klaus Barbie, but he can also be found defending those engaging in the most heinous acts of terror {and typically supporting the Palestinian cause}.

For what it is, Terror's Advocate, is a provocative documentary of a cocky, arrogant, slick cosmopolitan who has made it his profession to humanize those who have murdered, assassinated, and maimed people who have stood against them. Terror's Advocate is a fascinating and angering look as Verges, but the film really stands as a history lesson on the rise of terrorism--ultimately examining the founding fathers of car/cafe bombings. Verges' relationships with them become merely a footnote.

Here's the thing. Raised as seeing right and wrong as different as black and white, I take offense at this man's profession. Wrong is wrong. It doesn't matter that you did it for the 'right' reasons. Murder and maiming accomplish nothing other than to establish you, the killer, as inhumane. Watching this man, decriminalize obvious genocidal maniacs is an assault on my intelligence. This doc made me angry.

As I see it, kept in context, Terror's Advocate is an eye-opening, polarizing documentary that successfully examines the 'other side'. Still, the human in me sees this man {and all that he stands for} as wrong.

Coraline (2009)

Young Coraline (Dakota Fanning) is enchanted by the Other World found on the other side of a small door in her family's new apartment. In the Other World, the Other Mother (Teri Hatcher) dotes on young Coraline. Finding a strangely improved world of her own, Coraline considers staying forever until the ugly truth is exposed. When Coraline wants to leave her other world and Other Mother say no, Coraline must unravel the sinister fantasy.

Coraline, a stop-motion creation from director Henry Selick, is creepily captivating. Dark, bleak, and macabre, this is hardly fare for the Disney set. Juxtaposed against vivid animation and equally daunting score, is an eerie atmosphere that's riveting.

The central theme of the story is an oft-used catalyst. Its only the medium used here that makes this animated piece worth watching. Coraline's reality and fantasy stand in grave contrast. While I don't think Selick successfully executes thematically, he certainly gives us lots to look at. The aesthetic is stunning; odd neighbors, a creaky old house, a bedraggled black cat--it all becomes magical at the hand of Selick.

Despite it's beautiful nature, Coraline contains a frightful element that won't endear the film to anyone but disaffected youth. It's too scary for children; not intelligent enough for adults. As I see it, Coraline is creepy and destined to become the hottest line at Hot Topic. While the film may be a must-see for fans of stop-mo or Selick, I, will not be visiting Coraline again any time soon.

J4T: 2½ stars

Stripes (1981)

The viewing of this movie began as a homework assignment. My task: view and reimagine a key scene for a Firm skit in the fourth quarter. After sitting through this nonsense, all I could think was 'this isn't funny.'

Stripes is a Bill Murray vehicle of the early 80s. *yawn* It's an excuse for him to act half-heartedly as a loser. As John Winger, Murray plays a man who joins the Army as a last ditch attempt to validate his existence after losing his job, girlfriend, houseplants, etc. Winger, along with best friend Russell Zitsky (Harold Ramis) and an assortment of other losers (John Candy, Conrad Dunn, Judge Reinhold, among others) whose spirits are willing, but bodies are not, wreak havoc during basic training. Much to the chargrin of Sgt. Hulka (Warren Oates) and Capt. Stillman (John Laroquette), the regiment of misfits actually get it together.

Directed by Ivan Reitman (my first clue), Stripes is obviously dated. The film has moments of comedic zingers, but overall the film itself is undisciplined. I cannot attest to the film's 'classic' status as Stripes' charms fall flat.

As I see it, I prefer my Bill Murray matured and dramatic {see Broken Flowers or Wes Anderson films}. It's the slovenly nature and ridiculousness that ultimately irritates me. Call me a snob, but this film lacks any true value. Alas, I am not rid of this film as I must concern myself with one key scene: the ceremony parade.

Postscript 07.29.09 ~ Found the value... my age works against me here. But apparently Stripes tapped into pop culture at one time. As anyone of middle age about Stripes and the reactions are classic. Guess you just had to be there.

Harry Potter and the Half-Blood Prince (2009)

As this film is no ordinary film, this is no ordinary review. If you've read the book, you can guess how Harry Potter and the Half Blood Prince goes. What you can't guess is how brilliantly writer Steven Kloves and director David Yates focuses the main storyline from the book, executes the key points and subtly layers the development of supporting characters--often times without saying a word.

Harry Potter and the Half-Blood Prince is a fine adaptation of the book thanks to each element being on par with the next. Let's break it down:

• Casting ~ Obviously phenomenal, I think in part to the trio of friends aging before our eyes. Harry, Ron, and Hermione (Radcliffe, Grint, Watson) share such affection with one another. It's authentic. Progressing into the gangly teen years, the trio discovers these odd feeling of attraction that threatens to complicate matters. Director Yates handles it perfectly with the right touch of humor.
• Screenplay ~ Kloves has a phenomenal book to draw from. In a perfect world, we'd see, feel, and hear it all. Alas, that's what the book if for. Kloves exercises tough love by developing essential moments, but underscores what we, the viewer really needs.
• Direction ~ David Yates delivers. Kloves gave him the tool to execute; Yates murdered it. What's perhaps most fascinating is while he maintains focus on Harry and Tom Riddle, he doesn't neglect the supporting cast. Rather he counts on the viewer's memories to develop the subtle hints surrounding Harry.
• Atmosphere/Design ~ The film is eerie and foreboding. Much like Harry, we know what's coming and Yates plays to that. Without the small moments of humor or Slughorn's perplexed facial expressions, there would be no release for anyone. Equally dark, the production is cast in tones of grey. All the joy at Hogwarts is tempered by the knowledge of the Death Eaters ever-increasing presence. Even Quidditch can provide a small level of comfort. The cinematography is perfectly executed providing an air of underlying suspicion and danger.
• Score ~ It is unassuming, but a beautiful compliment.

With that out of the way, allow me to disclose my personal high {and low} points. The greatest delight for me was the execution of characters. Jim Broadbent as Prof. Horace Slughorn is brilliant. Equal parts oddball and haunted, Slughorn is top-notch. Rupert Grint continues to flaunt impeccable comedic timing. Albus Dumbledore (Michael Gambon) has never been more relevant. Serverus Snape. Perfectly. Succinct. Luna! Also of note: the pensieve/memory sequences were perfect. The CGI and direction through each sequence was riveting. Kudos to Yates for picking the story up precisely. It was nice to see Neville, Hagrid, Seamus and the like hanging around.

My disappointments lie mainly with events that I deem crucial being footnotes or left out. What of Bill Weasley? Fleur? Tonks? Draco Malfoy was sorely lacking. His lurking about Hogwarts is an insult to the character. I really needed/wanted the conversation between Snape and Harry to take place. Though it was more of a visual, I needed that conversation. There is more to Tom Riddle to have been explored. The Slug Club?! C'mon!!

As I see it, only purists will take issue with Harry Potter and the Half-Blood Prince. To fully enjoy the film, it is essential to view all the movies as an entity separate from the books. Do that and I guarantee a good time.

Bonus Feature: Book

As a fan of film criticisms, it's not often I find a book that celebrates film for being epic-ly entertaining. We could discuss at length the finer points of Kubrick, Pollack, or Bergman--but that would be lame. I'd rather debate which Michael Mann film is more thrilling: Collateral or Heat. (Pst! It's Collateral)

Kenneth Turan's book, Now in Theaters Everywhere celebrates intelligent entertainment. It's what he calls the most endangered film species. Breaking down just what makes Air Force One so great (IMHO, it's Gary Oldman, but Turan disagrees).The book is segmented into different genres with a quick explanation of plots. Casting, scripting, director's notes are also examined, not for technical reason; but more for the why behind the film's success. He also validates some of my favorites that I simply love (Elf, The Truman Show, Starship Troopers).

The author/critic is easily relatable; the man unabashedly loves movies--even the more questionable ones. This book is a great read that celebrates the main reason we all go to the movies: entertainment.

Valkyrie (2008)

At the height of the Third Reich, many Germans may have wished Mein Führer dead. Only a few would actually try. Nazi Colonel Claus von Stauffenberg (Tom Cruise) was one of them. Stauffenberg returns to Berlin, Germany after sustaining injury in Africa. In Berlin discovers senior officials that share his view and are working to show the world that "we are not all like him." Hitler is dangerous and must be removed from office if Germany, nay, all of Europe is to survive this war. Joining political and military figures already installed in Hitler's government, Stauffenberg plots a daring mission. As Operation Valkyrie (See German composer Richard Wagner's "Die Walküre") unfolds, Stauffenberg finds himself a central player as he is tapped to deliver the bomb to the Führer's feet.

Valkyrie would be a riveting, effectual period drama if it weren't for practically everything! This film does everyone, actor and viewer alike, an injustice. Character development is only the beginning of the problems. With a loaded cast that includes the likes of Bill Nighy, Eddie Izzard, Kenneth Branaugh, Tom Wilkinson, Terrance Stamp, and Stephen Fry, there should be genuine development. Additionally, the British accents that pop in and out of the scenes are irritating. The film opened in German and should have stayed that way.

Honestly, I can't tell what director Bryan Singer is doing. The film is uninspiring, but it looks good. Set detail and costuming create a cold, menacing atmosphere. Sure you know the ending, but that shouldn't keep it from being interesting. For this drama to be effective, you've got to develop the people behind the plot. There is no suspicion, intensity, or emotional provocation.

As I see it, there are better films that document this heinous period of history. The life of Claus von Stauffenberg is fascinating. This movie, however, is not.

J4T: 1 star

Darkon (2006)

Warning: the following review is simply harsh. No apologies--you've been warned!

In a land, not so long ago, there were losers. These losers are mad at the world. Content to whine instead of taking action to fight against those who have done them harm; instead they meet on weekend to bash each other with foamy swords while wearing face paint.

Darkon is a bemusing and highly irritating documentary that centers around a live action role playing game put on by unattractive people. These fantasy world of Darkon contains ancient hexes of land where an amalgam of orks, centurions, elves, Jedi, knights, maidens, hags, and Skeletors habituate. It's a fantasy world where slightly-to-obesely overweight white males 'battle' each other on an underused football field.

The participants interviewed over the course of the film begin as interesting folk and then they begin to whine about how society has treated them. How they can't get laid or blown. How they can't seem to rise out of their parent's basements. How they suck. That is where my sympathy reaches its end.

While these battles and this film even, are not undertaken lightly: costumes, weaponry, heraldry--it's all incredibly detailed--I can't shake the fact that all these people need a smack in the face. They all need to be told to 'suck it up and deal'. Life is not a fantasy and while you choose to bury your hurt, fear and insecurities inside Mordam or Laconia, your life is passing you by.

Darkon is nicely constructed and in the first 30 minutes, you will find yourself caring for this misfits. But after an 60...you'll be frustrated, as I was. Guess I just don't 'get' it. What was perhaps most maddening {and this is my OCD talking} is the historical inacuracies of the role playing. Dude!! You can NOT call on Zeus and Poisiden during the 1700s. Please could you get your gods straight?!

As I see it, Darkon is fascinating look at LARPing and it's complex rules, rituals, and customs. It's weird, but it's an interesting social commentary too. But, sadly, this film makes fodder out of these self-exiled misfits. It was all too easy. I will not recommend this film to anyone--not even the most hardcore.

The Man Who Fell To Earth (1976)

Every now and then a film comes along that is more pretentious than even I can stand. I shall defend 2001: A Space Odyssey to the death as there is method to Kubrick's maddening classic. This movie, The Man Who Fell to Earth, I will not.

David Bowie stars as Thomas Jerome Newton, a humanoid alien, who comes to Earth in search of water for his own planet. Infinitely smart, Newton employs patent lawyer Oliver Farnsworth (Buck Henry) and turgid genius Nathan Bryce (Rip Torn) to execute his numerous start-up companies all with the intent of funneling money towards his return trip home. That is where the story ends and the frail, enigmatic Newton becomes enraptured of human vices.

The Man Who Fell to Earth is guilty of unending pretension that wastes quality cinematography and intriguing concepts on opiate fiends. I daresay how else could you enjoy this vapid psychedelic mess without the assistance of illicit drugs?!

The film is a series of poorly executed edits that unsuccessfully meld the alien and the human. Studded with numerous sexual encounters that needlessly assault the senses and overwhelmingly odd chain of events, this film is dumbfounding.

David Bowie is brilliantly weird and upsetting as the eccentric Newton. His features suit the role perfectly. Equally weird, but not in the brilliant way is his whiny drawling mistress Mary-Lou (Candy Clark). I'd rather bleed from the ears whilst listening to Michael Bolton and Kenny G duet than endure her again.

As I see it, The Man Who Fell to Earth is a disjointed, tedious and self-important film. Billed as a sci-fi cult classic, the film falls flat unlike Bowie's oft-engorged member found here.

J4T: 0 stars

The Proposal (2009)

Assistant-eating, man-hating, bitter book editor Margaret Tate (Sandra Bullock) is in danger of being deported to her native Canada due to her visa status. Upon news of this eminent disaster, Tate finagles her long-suffering assistant Andrew Paxton (Ryan Reynolds) to marry her in efforts to thwart the impending deportment. Can you guess the rest?

The Proposal from director Anne Fletcher (27 Dresses, Step Up) is a fresh, yet predictable romantic comedy that heralds the return of Sandra Bullock. Only Betty White threatens to steal the show.

Casting is what makes the tired story new. Sandra Bullock is an All-American doll despite the vicious woman she tries to portray. Bullock isn't convincing enough, but puts on a good show. Ryan Reynolds {who has come along way since Two Guys, a Girl and a Pizza Place} is equally adorable. He, too, phones in a solid performance. The onscreen chemistry is nice. Craig T. Nelson and Mary Steenburgen pop-up as Andrew's parents providing moral support for us, but the real joy is Betty White. As white-haired Grandma Annie, she provides the most cornball of comedic elements. The tribal ritual is hysterical nonsense.

The Proposal trades one beautiful setting, New York City, for another: Sitka, Alaska. With all this beauty, the movie is great to watch despite odd edits and underdeveloped could've-been-more-interesting sub-plots.

As I see it, The Proposal is a fun, serviceable summer romance. Welcome back, Sandra Bullock! I hope to see more.

J4T: 3 stars

The Godfather (1972)

One more item to check off the 'things to do before I die' list. The Godfather heralded as cinematic masterpiece, found on AFI's and everyone else's Top Everything List. It's loved, hated, copied, spoofed, derided, but ultimately celebrated. I suppose the final push for viewing this one was finishing up Steven Spielberg's five recoms.

In truth, I knew only of The Godfather from various pop culture references but dismissed watching it because it was a 'gangster' movie. Oh, and the endless hype of being the 'best movie...ever...'

With Francis Ford Coppola at the helm, The Godfather is a masterful production. The writing, direction, casting, score... it all blends seamlessly to create a world of family, greed, deception, murder, loyalty and revenge. It's a film of beautiful contrast worthy of distinction.

Marlon Brando is exceptional as Don Corleone--a pitch-perfect benefactor with equal tenderness and icy brutality. A young James Caan and Robert Duvall are fascinating, but Al Pacino is simply riveting. As the youngest Corleone son, the only one not in the family business, baby-faced Pacino is spot-on. Imbuing the son with tempered innocence and hopeful determination his evolution from student to Don is remarkable. Pacino grows subtly; his face more grim and hardened as the film progresses. It's an interesting character study.

The conscience and unconscious intricacies of the film are overwhelming. Plots weave in and out; each character seemingly at the center of the viewer's world. Death comes swiftly, without regret. Family is first. Respect is demanded, trust earned.

The film is visually arresting. The production is dark and lavish. From pinstripes to suicide doors, the execution of every detail is top-notch. With cinematography that makes the most of each frame, Coppola speaks volumes in a whisper. The balance between heavy-handed Coppola and the screenplay from Mario Puzo is brilliant.

As I see it, The Godfather is an investment clocking in at nearly three hours. Still with untold extravagance, the film delivers eloquent storytelling in masterful form.

J4T: 4 stars

Two Lovers (2008)

Leonard Kraditor (Joaquin Phoenix) is recovering from a jilted engagement that has left him suicidal and despondent. With the help of his parents (Isabella Rossellini and Mono Moshonov), Leonard is slowly coping. Enter Sandra (Vinessa Shaw) the beautiful, reasonable daughter of his father's business partner. As their relationship begins to blossoms, Michelle (Gwyneth Paltrow) moves in across the hall. Leonard is fascinated by both women for entirely different reasons. Sandra is the safe choice. Beautiful, but self-destructive Michelle is the exciting one.

Two Lovers from writer/director James Gray is a beautiful, yet bleak romance set in Brooklyn that explores wants and needs on two levels. It's a startling mature film that is unafraid.

The cast is superb. Joaquin Phoenix nails another weighty role. This time as scarred man, depressed and conflicted. Leonard is perfectly nuanced thanks to Phoenix' unrelenting sadness. As the two lovers, Shaw and Paltrow stand in extreme contrast, but shine wonderfully in their respective roles. As Sandra, Shaw is compassionate and equally fascinated by Leonard. Quickly falling for him, she is the safe, solid choice in this small Jewish community. Paltrow parlays a beautiful turn as an object of desire into a multi-faceted mess. The mistress of a high dealing lawyer, Michelle is equally glamorous and dangerous. Leonard quickly becomes infatuated. For once, Paltrow is simply mesmerizing.

Leonard is a fascinating character study. Watching him juggle to very different women with no malice toward either is riveting thanks to Phoenix. Under Gray's direction, Phoenix is allowed to pace the film as Leonard needs ultimately building to a simple paradox: do you choose the one you love or the one who loves you?

Two Lovers is studded with remarkable performances. A gentle melancholy and authentic setting further cements this unconventional love triangle as refreshingly real. As I see it, Two Lovers is a wonderfully tempered romantic drama that is content to be grounded and revel in normalcy.

Just for Tom: 3 stars

Rocky Top Tennessee

Day four: K'ville. People are obnoxious and rude. This melting pot of East Hill natives, posh outsiders, students, and God knows who else... I don't claim to 'get' this town, but for being such an active area for commerce in the Vol state..um.. I'm not feeling it. Still, the shopping is great. The hotel is luxurious. I really don't have to leave here.

Sidebar: Cable television is fascinating. Do I really need to know about extreme bathrooms and where to find them?! No. But I watch it anyway. As I do extreme restaurants {Modern Toilet is a bathroom themed restaurant chain in Asia}, trauma in the E.R., bits of Underworld Evolution {immediately queued}, Van Helsing, a Bond movie marathon on USA and Iron Chef America {love it}. Seriously, my brain is melting... gotta go..

Evening in K'ville finds me shopping online at the Oakley website. It's too easy to spend money there. While I'm stilling sporting my original purchase of 11 years ago...still hit the site for the latest in fashion. Might not sport, but I can wear it.

Made the mistake of checking the Firm inbox. Bad choice. That'll ruin a good mood.

Houdini (1953)

Before he became a legendary illusionist, Harry Houdini (Tony Curtis) was a mere sideshow when he first met Bess (Janet Leigh). But with extraordinary charisma, a natural skill, and unrelenting self-promotion, Houdini would slowly rise to fame with his beautiful ever faithful now wife and assistant. No matter Houdini's obsession in capturing audiences worldwide, Bess is nearby. As each illusion trumps the previous, Houdini's dance with death becomes even more daring.

This classic biopic from director George Marshall is a monument to Technicolor. Combined with the onscreen pairing of Curtis and Leigh and taut reenactments of Houdini's stunts, the film is exciting.

Tony Curtis is mesmerizing as the master escape artist. Aloof, brash, slightly obnoxious, Curtis is fun to watch. Janet Leigh, as Bess, dotes on Houdini/Curtis. It's cute, really--almost disgustingly so.

Houdini is dazzling. Director Marsall weaves dramatic sequences that are filled with suspense among lulls of romance and naysayers. But let's get back to the real reason Houdini is so dazzling--the color!! Each frame dances onscreen thanks to extravagant production values. Costuming and wonderful detail accent the couple beautifully.

As I see it, Houdini is an entertaining treat. Don't expect accuracy. Think romanticism and you'll enjoy the film for what it is: good fun.

the things you see in Cullowhee...as you are leaving..

Day three: Sunday. We wake, greeted by rain. No worries. The final day of the festival moves quickly. Goodbyes and well-wishes are shared. The rain seems to have driven most everyone inside; that's always good for business. This day ended quickly. Many smiles are replaced with frowns when it's time to go; those arthitic knees and bad backs flare up. Fortunately, we didn't have a load up in the rain. A few quick pics of Catamount Gap and we're headed back. The drive through and around the myriad of National Forests (Pisgah, Cherokee, Smoky Mountains, et al) was in the rain. Heavy clouds obscure the mountain tops and make for a beautiful scene no picture can do justice.

the things you see in Cullowhee...again

Day two: July fourth brings sun and clear skies. The first official day of the mountain festival. Let the people watching begin! Spirits are high, friendships are renewing, dollars exchanging. Festivals like these, don't require much work, but demand a laid-back attitude and genuine smile. Easy to be had in the right company. The day moves quickly. Laughter comes quickly and evening plans are quick to be made. Disappointed at the news the small town had axed the fireworks, pizza and beer were in order. It was a fun night of 20 questions, avoidance, Dr. Phil sessions, crispy crustt, and one lone firework on the campus of WCU.

the things you see in Cullowhee

Day one: Lady and I arrived in this small mountain town mid-morning. I knew I loved this town the first time I saw it because...get this... they have signs ENCOURAGING U-turns! The weather couldn't have been better. Mild, sunny, and beautiful! Setting up our wares was a new take on an old favorite. Looks and smells amazing. Although we are surrounded by older, mainly retired folks and a few cavorting soccer moms, the mountain festival set is always filled with interesting people. Erik's back. By 9p.m. EST, we are tucked safely away in the affectionately named Hatchet Inn. {If you've seen horror movies, you know what I'm talking about.} The University Inn is a series of rooms in and on the mountains out here. Gloriously secluded, you could {in theory} be hacked to death and never found.

Phoebe in Wonderland (2008)

Phoebe Lichten (Elle Fanning) is always in trouble. The girl-- a bundle of nervous tics, odd thoughts and behaviours--is a source of constant frustration for her mother (Felicity Huffman) and father (Bill Pullman) and her teachers. Enter drama teacher Miss Dodger (Patricia Clarkson) who casts Phoebe in the lead of the class production of Alice in Wonderland. Seeking counsel from the play's characters, Phoebe is able to navigate her real world much to the chagrin of those who care most.

Phoebe in Wonderland is a peculiar drama that doesn't so much entertain as it does perplex. First time writer/director Daniel Barnz concocts a quirky story about mental illness. His casting is sheer perfection. Elle Fanning is commanding as troubled Phoebe-a girl who wants to be normal, but who's mind won't allow it. She has control beyond years; if she keeps this up she will no longer be Dakota Fanning's sister. As mom Hillary, Felicity Huffman is equal parts frustration and joy. Bill Pullman is understated brilliance. Patricia Clarkson is pitch-perfect as an eccentric drama teacher determined to leave the world a better place.

The film highlights some remarkable creativity. The first thing that struck me was the cinematography. Vivid, but tailored. Each frame is highly detailed, but often oddly captured. I like it. Trading between Phoebe's fantasy realm of the Mad Hatter and her harsh reality of rejection, Barnz is seamless. The film is a series of beautiful contradictions.

As the story unfolds, Barnz stays his camera on Phoebe and without that constant, I think the wheel would fall off towards the end. The tone of the film is altered greatly by what seems to be a quick finish. While I'm glad alls well that ends well, I felt cheated by such a nicely presented solution. The musical number is discomforting.

As I see it, Phoebe in Wonderland is an unexpected delight--in an odd sorta way.

Just for Tom: 3 stars {Don't think you'd really like it as much as I did, Tom.}