With the season of Summer blockbusters already in full swing here in the middle of May, you may have a tough time recalling the nominees for Best Foreign Language Film from the 85th Academy Awards ceremony way back in February. We here at the website have gotten to see the winner, ARMOUR, and two other nominees, NO and A ROYAL AFFAIR (WAR WITCH has yet to screen in our neck-of-the-woods). Now we finally get to see the entry from Norway, KON-TIKI. And it turns out that this is the perfect time for this film, for this isn’t a somber, human drama like Haneke’s intimate portrait, but a rollicking, edge-of-your-seat adventure. Yes, it is a true story set in the past like NO and AFFAIR, but after the heroes set out to sea, it feels as though their exploits could be happening right now. The story of the voyage did win a 1951 Oscar for Best Feature Documentary, so it’s high time this nautical tale was given the dramatic treatment for the back story of the men at sea. Let’s set sail on one of history’s most famous rafts. Ahoy, KON-TIKI!

We first encounter young Thor Heyerdahl as a young lad crashing through a frozen lake, nearly drowning in the frigid waters. Several decades later, the 1940′s to be exact, twenty-something Thor (Pal Sverre Hagen) is a scientific researcher in Polynesia with his lovely bride Liv (Agnes Kittelsen). Something puzzles Thor. One of his books states that pineapples are indigenous to Peru. So why are they abundant  on the island, thousands of miles away? He believes that in pre-Columbian Peru sailors used the ocean currents to travel west to the tropical isle. The only way to prove this is to make the journey utilizing the materials that would’ve been available so many years ago. In 1946 he travels to New York City in order to acquire funding from book publishers and exploration magazines such as National Geographic. The editors believe such a trip would be a fatal disaster. Even members of the Manhattan version of The Explorers Club scoff at this notion. But one man takes notice.Herman Watzinger (Anders Baasmo Christiansen) sees Thor showing a drawing of the raft to a couple of skeptical sailors at a pub. Turns out Herman is a fellow Norwegian, an engineer, reduced to selling refrigerators in the US. He makes some adjustments to the design and they soon secure funding from the government of Peru. The two men gather up a crew of fellow Norwegians (and a Swede), build a raft, and set out to re-create the ancient voyage  to Polynesia before tropical storm season begins while battling the elements, some hungry sharks, and often themselves (over a hundred days on a raft can make anybody quite testy).

Directors Joachim Ronning and Espen Sandberg grab us right from the opening frames with the tense frozen pond sequence which illustrates an important fact: Thor Heyerdahl never learned how to swim! Amazing, for a man so interested in the sea. The NYC sequence has a nice nostalgic glow. It looks as though the streets were just swept of confetti after the big World War II victory celebrations. The film really kicks in with the voyage itself. The sea is a beautiful, tranquil place much like many scenes in LIFE OF PI (we even get a few flying fish on deck). But the ocean soon shows her fury in a violent storm. The film makers cut to underwater shots of miles of rope straining to hold together the massive logs of the raft to heighten the tension. Then there’s the swarming schools of shark in an amazing scene that will have you digging your fingers into the arm rests. You’ll be asking whether the finned killers are real or are they expertly made puppets or CGI. We also get a scene of the monotony as the men bake in the sun as the raft barely seems to move. They’ve got an emergency motor, but using it would invalidate the whole trek. Oh, and they’ve got a radio too, but the signal can’t get past the mountains. The actors are quite convincing as they strain to perform their duties. As a modern viewer I kept wondering what kind of lotion they could use to protect their pale Nordic flesh (were there SBFs back then?). As the time passes I did have a tough time telling them apart since they all grow thick, coarse beards and dash about only in swim trunks. Even when they spot land, danger still lays ahead in getting past the jagged rocks surrounding the shore. KON-TIKI is far from a dry history lesson. It’s a gripping action-adventure thriller headed by a fellow named Thor who’s perhaps even braver than the hammer-wielding Marvel superhero. And be sure and stick around to find out the amazing things these men accomplished after this incredible voyage. What a crew and what a film!

4.5 Out of 5 Stars

KON-TIKI screens exclusively in the St. Louis area at Landmark Theatres’ Plaza Frontenac Cinemas

Every once in a while an author becomes famous because of forces surrounding his work, rather than the work itself. Such was the case twenty-five years ago (that long!) with Salman Rushdie when his book, “The Satanic Verses” spurred Iran’s Ayatollah Khomeni to issue a fatwa against him. Well, he’s gone on to work long after the death rights and now he has adapted an earlier novel for the big screen, MIDNIGHT’S CHILDREN, which arrives in theatres now, directed by Deepa Mehta. This novel and film have also generated a lot of controversy. It’s a broad overview of the history of India told through the eyes of fictional characters (much like RAGTIME). The focus is the big events of the last century. The title refers to the children born at midnight on August 15, 1947 when India became independent of England. Primarily it’s the story of one of them, a boy named Saleem. The film opens with the courtship of his grandparents in the 1920′s (he was a doctor who could only examine her through a hole in a bedsheet). We see the many armed conflicts over the years between India and its neighbor Pakistan, the formation of Bangladesh, and the many religious persecutions mixed in with family subplots involving infidelity and infants switched at birth. There’s also many elements of something called “magic realism”. Saleem has a prominent nose that enables him to hear voices, and, late at night, actually see and converse with other “midnight children”. The scenes border on the fantastic with each child purporting to have special powers and abilities (why doesn’t Charles Xavier take them to his school from the X-Men film series?). We think this is a dream or hallucination by Saleem until, in his twenties, he meets with one of the ladies who is a street performer with actual magic skills. This shifts in tone don’t quite mesh and causes the film to lose most of its momentum.

The actors are mostly culled from the, I guess this term is still used, “Bollywood” cinema. Their technique varies from subtle film emoting to the wild-eyed theatrical “big” style of playing for the balcony. One anglo actor is involved: Charles Dance (ALIEN 3) as a leering, bigoted “Simon Legree”-like British colonial who sneers at the idea of Indian independence (almost a cameo role). The costumes are full of bright vivid colors and the cinematography is quite striking. Unfortunately the film’s structure with frequent detours into “fantasy-land”stop the story’s flow and curtails much of Mehta’s confident direction. It was an ambitious effort to try and compress all this history into one film, but it never really engages the viewer. When it comes in Indian history crossed with magic realism, I’d rather revisit that young man in the lifeboat with the tiger.

2 Out of 5

MIDNIGHT’S CHILDREN screens exclusively in the St. Louis area at Landmark’s Tivoli Theatre

One of the great obstacles for young couples, even in this modern age, is the big meet, or reveal, to the family of the romantic partner. The women are often not “good enough” for Mother’s “perfect son”. And then there’s the woman’s father, armed with withering stares and sometimes physical aggression (as part of protecting “Daddy’s lil’ girl”). Certainly this has been the subject of movie dramas and thrillers, but recently it has become a comedy staple thanks to the box office smash MEET THE PARENTS and its two follow-ups. Well, now movie mogul Tyler Perry is jumping in, this time as producer, and gives us an African-American spin on this awkward part of the mating ritual. It’s time to meet the PEEPLES.

We first meet Wade (Craig Robinson) on the job entertaining and educating preschoolers with song. It’s not quite his dream job, but that’ll come along soon. Right now he’s happy to be sharing a lush NYC apartment with his gorgeous lawyer girlfriend Grace (Kerry Washington). She’s headed out to see her family at their home on the Hamptons this weekend. Wade wants to join her, but Grace insists on going solo. Seems it’s the annual “Moby Dick” festival and she wants to save Wade from the boredom of non-stop Melville readings. After Wade drops Grace off at the jitney bus, he confers with his toy shop/doll doctor brother Chris (Malcom Barrett), and makes a decision. Wade’s got the ring and has been waiting for the right moment to pop the question to Grace. Why not surprise her at the Peeples family home, and propose there. After a long trip, Wade arrives at stately Peeples manor. And the family has no idea who he is. Grace has never mentioned Wade to them. Aaakwaard! Over the course of the tense weekend, Wade works tirelessly to impress them, particularly the stern father Judge Virgil (David Alan Grier), and find the perfect moment to ask Grave that very important question

These fairly uncomfortable situations requires a good cast in order to keep our interest. Luckily the film is anchored by the likable, talented Robinson as the good-natured, put-upon everyman. Here he expands on the persona he’s developed on the big screen (HOT TUB TIME MACHINE) and small (“The Office”). We’re rooting for him even when the script requires him to do some ridiculous things (would his character really prance about in disco diva attire?). It’s easy to see why his Wade would be smitten by Grace when she’s played by the lovely Ms. Washington. Unfortunately this film doesn’t showcase her considerable acting chops as did last year’s DJANGO UNCHAINED or on her hit TV drama “Scandal”. She’s either embarrassed or flustered at Wade’s antics or tis rying to calm down her “daddy”. Said character is a mostly one-note, up-tight stiff , until he needs to soften by the film’s group-hug finale, so it’s not much of a challenge to the comic talents of Grier who dashed off so many characters during his long stint on TV’s “In Living Color”. The Judge is tempered by his more enlightened wife played by S. Epatha Merkerson (forever Reba the mail lady on “Pee Wee’s Playhouse”). She’s warm and nurturing, so it’s no surprise that she needs a little something extra in order to deal with her hubby. Tyler James Williams plays with his “Everybody Hates Chris” TV role as the Peeples kid brother, a braniac who yearns to be a “playa” (and has his own lil’ secret). Too often he’s just required to either fawn over Wade or bounce about in wide-eyed exasperation. Kali Hawk is quite fetching as CNN reporter sis Gloria, but can her folks really be that clueless about her romantic life, especially after spending time with Kimrie Lewis-Davis as her camera-woman “bestie” Meg (my sympathies for an cringe-inducing dinner table aria)? Barrett gives some fast-talking wiseguy charm and energy to Wade’s horndog brother Chris. Icons Diahann Carroll and Melvin Van Peebles appear very briefly for a scene, but don’t have much to do as does SNL vet Ana Gasteyer as the town Mayor (who also has secrets, of course).

First time feature director Tina Gordon Chism does a good job pacing the proceedings based on her own screenplay. The Hamptons locations are quite lovely, but we can’t escape the sitcom feel of the film. It seems as though three or four half hour episodes have been stitched together ( “The Sweatlodge Incident” ” Papa’s Saxophone Gig”, etc.). The same problem befell the PARENTS series as they wore out their multiplex welcome. Too many situations are placed to grab the big laughs with little character consideration (Washington is a schoolgirl outfit is quite, uh, diverting, but would Grace do that mere feet away from the folks?). A scene where Wade encounters several Hamptons ex-beaus of Grace seems very contrived. A romantic encounter that goes quickly to black seems as though the film makers are too concerned about offending anyone. This contributes to the general blandness of the film. If you’re a fan of the actors then you’ll want to take this East Coast trip. Let’s hope much better, original, edgier fare is in their film future.

2 Out of 5

To reference the old song from TV’s “Schoolhouse Rock”, for superhero flicks three is usually not a “magic number”. Going back 30 years (wow!), the Christopher Reeve Superman blockbusters started their full downward slide with SUPERMAN III (the idea of Supes fighting himself is cool, but Richard Pryor as a master computer-hacker?). SPIDER-MAN 3 was certainly the weakest of the Raimi trilogy with super-villain overload and a dancing black-clad Peter Parker (ugh!). BATMAN FOREVER had Tim Burton handing over the directorial reins to Joel Schumacher with disastrous results (the same is true when Brett Ratner replaced Brian Singer on X MEN: THE LAST STAND). Some fans may cite the change in film makers for the faults of those part threes. Well our favorite “billionaire genius playboy philanthropist” is back with IRON MAN 3, but with a new addition calling the shots. Director of the first two flicks, Jon Favreau, is a producer ( and suits up once again to portray the loveable “Happy” Hogan), but this one’s in the hands of Shane Black, a screenwriter with one directing gig (KISS, KISS, BANG, BANG) on his resume. Can he buck the trend with third movie appearances (not counting last Summer’s smash MARVEL’S AVENGERS) and make our armored hero soar at the box office?

IRON MAN 3 actually begins with a sequence set years before his first adventure. It’s New Year’s Eve 1999 and Tony Stark (Robert Downey,Jr.) is taking Prince’s song about that year to heart. He’s at a science conference in Switzerland, sloshed to the gills, and trying to get botanist Maya Hansen (Rebecca Hall) alone, with the help of his trusted bodyguard (Favreau). An over-eager fledging tech guru, the nerdy, limping Aldrich Killian (Guy Pearce), head of Advanced Ideas Mechanics intrudes on the duo’s amorous plans. Tony’s casual cruelty with Killian will come back to haunt him. Zip ahead to now. Colonel James Rhodes (Don Cheadle) AKA War Machine has been given a stars and stripes paint job and renamed the Iron Patriot, and is the President’s personal enforcer. Tony’s not sleeping after the traumatic events in NYC last year, so he spends his long nights tinkering in his lab. Thanks to some tiny gadgets embedded just under the skin of his arms, he can summon pieces of his new armor to locate him and form around him like an iron cocoon. He’ll need this new upgrade because a global terrorist titan, the Mandarin (Ben Kingsley) hijacks the media in order to broadcast his threatening video messages. Pepper Potts (Gwyneth Paltrow) is still running Stark Industries with Happy as head of security. One day she gets a visit from the now sophisticated and successful Killian, who tells her of his new human enhancement invention, Extremis, which can repair tissue. Something about Killian and his driver Savin (James Badge Dale) sounds an alarm in Happy’s noggin. His sleuthing leads him to a tragedy, which puts Tony on a collision course with the Mandarin. After an attack on his home, Tony’s separated from Pepper, and is without his tech and forced to learn the truth about the Mandarin’s operation before his super-powered goons find and eliminate the now un-armoured genius.

Sure, all the CGI bells and whistles make the golden avenger one of the coolest heroes around, but he wouldn’t be here for a third blockbuster if not for the man inside the suit. Downey gets to stretch his acting more than in the second installment (and the Holmes flicks for that matter). Yes Stark is not the cruel jerk before donning the amour (although it’s great to revisit him in the movie’s opening minutes), but his decision to better the world has taken a toll on his psyche. We can almost smell his ‘flop-sweat’ as he endures constant panic attacks. But that snarky sense of humor is still there particularly when Tony is temporarily teamed with a wiley ten year-old boy played by Ty Simpkins (a wonderful dynamic). Tony has to use his high-tech wizardry, even as his state of the art lab/workshop is thousands of miles away, His courage doesn’t come from the gadgets, but from his damaged heart. Said heart belonging to Paltrow whose Pepper continues to be one of the strongest love interests in superhero movies. The chemistry between the two actors is the film’s real emotional weight. Downey also has a great rapport with Cheadle as the highly-trained military man tries to guide the cocky, often physically inept, techie. But what’s an action flick without a great villain? Kingsley has a real dead-eyed banal menace as the Mandarin, who shows a different side in the film’s final confrontations. He’s matched by the cold, calculating Pierce, who’s much more than a science geek who has made good. Hall’s sexy scientist also has lots of secrets, but the talented actress doesn’t get enough screen time to flesh out this role. Terrific character actors William Sadler and Miguel Ferrer round out the film’s exceptional cast.

Shane Black has avoided the part 3 and new director jinx, by giving this film a much darker, sinister feel. He has Tony get into an intense cat and mouse, hand to hand fight scene with the scary enhanced henchmen (and women) who seem to have molten lava pulsing through the veins. They’re certainly more deadly than the Iron Monger (Jeff Bridges in the first flick) and Mickey Roarke’s Whiplash from the previous entry. Black keeps the film rolling at a good pace in between the many effects-laden battle scenes. The attack on Casa de Stark is impressive, but a tense, mid-air rescue is even better. The final fight sequence does go on a tad too long with a main baddie that just can’t seem to stay down, but it’s a minor quibble. When things are wrapped up, the film almost feels like it’s saying goodbye to ole ”shell-head”, but we do get a “Bond”-style end title card before another entertaining post credits bonus scene (worth sticking around for). IRON MAN 3 can’t quite much the discovery fun of the first flick, but it’s more consistent than the 2010 follow-up. I hope we’ll spend some more screen time with Downey’s damaged hero in the near future (besides another Avengers outing). We’ll see if Marvel Studios, like Mr. Stark, have a few more fun tricks up their sleeves.

4 Out of 5

Looks like it’s time for another “inspired by true events” night at the multiplex. It’s not a heavy drama or political thriller, not even a mushy tear-jerker. Nope, this is a raucous, raunchy R-rated comedy about kidnappers. Uh, uh, felons. And it’s from that master of big screen comedy Michael Bay. Yup, fresh off the TRANSFORMERS trilogy. Well, this flick is about some larger than life characters, though not several stories tall like the Autobots. Bay can do the big explosions and gun battles, but can he really dive into the Apatow territory? You’ll get to find out in PAIN & GAIN.

The main focus of P&G is the gang’s ringleader (mastermind is stretching things a bit), Danny Lugo (Mark Wahlberg). It’s South Beach, Florida circa 1995 and Lugo’s an ex-con (a shady investment racket) now working as a fitness trainer at Sun Gym. But he’s not satisfied. He wants the high life and he wants it now! He sees a oppurtunity in a new client, sleazy business mogul Victor Kershaw (Tony Shalhoub). Lugo will snatch up Mr. K and force him to sign over everything (mansion, cars, bank account) to him. But Danny needs help so enlists two co-workers, the steroid-shooting Adrian (Anthony Mackie) and the just-released-from-prison, born-again, newly sober behemoth Paul (Dwayne Johnson). After several botched attempts they nab Kershaw and proceed to clean him out. But after everything’s signed over,what will they do with their victim? And how will the stay a step ahead of the law? What will happen when all of the Kershaw estate is spent? Will these goofballs begin a crime wave?

Well I suppose you could use an internet search engine to read about the real life case which would be infinitely more entertaining than enduring this over 2 hour (!) vulgar, plodding misfire. I’m sorry Paramount Studios, these three guys aren’t mischievous dimwits. They’re criminals who are now right where they should be. Yeah, the Kershaw character is a jerk, but he doesn’t deserve the endless abuse (think Rasputin with gold chains). There might have been some well-earned laughs in the script, but Bay has sledge-hammered them into a nauseating pulp. There’s countless action sequences that go to slow motion that allows Bay to freeze frame on the actors’ grotesque grimaces. That’s before the sweaty close-ups and the camera zipping in and out of rooms through a small hole or crack (yeah, it’s cool but move on!). Bay goes out of his way to fill the screen with wacky eccentrics (hey, let’s make the motel bouncer a little person! Hee hee!) and misses no opportunity for a juvenile gross-out. Really, we gotta’ see the severed digit again? And the hefty hospital guy’s bathroom accident? Of course, Bay’s noted misogyny is on full display. The ladies are either video-vixen bombshells or hateful shrews. All the better to sell an awful rape joke. Oooo, edgy! Via the constant title cards we’re told this is a true story although many characters endure injuries that should put them in traction without slowing their stride. Stick with the shoot-em-ups and building debris, Mr. Bay, movie comedy will live without your gifts. I was actually feeling embarrassment for the cast.

Said cast being composed of usually good actors, but they’re not given much here. Wahlberg is mostly frustrated and agitated when not getting in somebody’s face. Johnson ‘s Paul is there to mainly be the butt of countless jokes on his religion (adding fuel to the fire of the pro-value groups) with some homophobic and coke-snortin’ gags tossed in. Mackie is the panicky, fast-talkin’ soul man who, of course, has to have a thing for plus-sized white chicks (particularly the talented Rebel Wilson who’s neglected for much of the film). Shaloub can play arrogant D-bags in his sleep, so the Kershaw role is no great stretch. The very funny Rob Corddry (HOT TUB TIME MACHINE) is wasted as the clueless Gym owner. Ken Jeong riffs on his sneering HANGOVER persona as an infomercial huckster. The only actor that seems to really be playing a human being is Ed Harris as a determined private investigator.The few scenes with his wife (played by Emily Rutherfurd) have a real warmth lacking in the rest of the tawdry tedium. Ah, better cut from them and go back to the chases and boobs! Even a terrific actor like Harris can’t class up this mess. It’s like seeing a beloved teacher cleaning an outhouse. There’s not a thing to be gained from all this movie going pain, but because of Mr. Harris I’ll give it…

1 Out of 5

In 2011 writer/director Jeff Nichols dazzled film fans with a dream-like tale set in the heartland called TAKE SHELTER which featured a fabulous, shoulda’ been Oscar nominated performance by Michael Shannon along with great supporting turns by Jessica Chastain and Kathy Baker. Now Nichols returns to a similar setting for MUD. The earlier film took place on the dusty plains, while the new work floats on the water surrounding a sleepy Arkansas town that’s seen more prosperous days. SHELTER used inventive special effects for its nightmare plot, but MUD has no such fearsome images as it weaves its tale of love, loss, and growing up. The new film also showcases several terrific performances that should be remembered later in the year during awards season.

MUD is centered around two boys around 13 or 14 years-old, just on the cusp of adulthood. Ellis (Tye Sheridan) lives in a ramshackle house on the river with his bickering mother and father (Sarah Paulson and Ray McKinnon), while ‘Neckbone’ (Jacob Lofland) shares a dingy trailer with his Uncle Galen (Michael Shannon). Close to dusk the two steal away to an island where (thanks to a recent storm and flood) a speedboat is perched in the upper branches of a tree. The boys plan on making it their clubhouse, but are surprised to find fresh food (a loaf of bread) and footprints inside the boat’s cabin. Racing back to their boat on the beach they run into the source of the food and footprints: a scraggly man who calls himself ‘Mud” (Matthew McConaughey). Mud is waiting to meet someone and can’t leave the island. He offers to pay the young boys for any supplies they can bring to him. Soon Ellis learns that Mud is wanted by the police, but they continue to meet with the fugitive. Mud finally comes clean with the boys. He’s waiting for word from his true love, a beauty with birds on her hands, Juniper (Reese Witherspoon). He’ll run away with her, but needs the boys’ help to bring the speedboat out of the tree and fix it, so the couple can evade the police on shore. The boys discover Juniper in town, but learn that a rich, powerful businessman has hired armed goons to exact revenge on Mud before the police can arrest him. Can the boys’ help Mud and Juniper escape down the river before the cops and the hit squad catch on to them?

This film has the best acting ensemble I’ve seen so far in 2013. Though it may be titled MUD, the film truly rests on the shoulders of two relatively unknown actors. We really view the events through the wide eyes of Sheridan as Ellis. He’s got to face the harsh truth about love. Mom and Dad are going to split and he’s powerless in preventing it, or really understanding it. His own budding romance with the slightly older May Pearl is taking unexpected turns. Even the pure love story of Mud and Juniper is not what it seems. His introduction to the adult world of relationships is heartbreaking. Lofland as best bud Neckbone may seem tougher on the outside, but we still see traces of the child whose parents have left him. Shannon, as his partying uncle, is a good pal, but struggles with his parental duties. Mud becomes something of a father/mentor to the two boys. McConaughey takes this meaty role and runs with it. this film is a great follow-up to his impressive 2012 trio of great performances in BERNIE, LONE STAR, and MAGIC MIKE. He’s left the dopey rom-coms and silly action flicks behind him and is really choosing great scripts. Often Mud seems to be a con artist, until we see that he can still be conned himself. Witherspoon is memorable as the haunting etherial beauty whose soul is darker than anyone imagines. McKinnon is compelling as the father who has been beaten down by life. Sam Shepard is terrific as Ellis’s mysterious neighbor who may have a connection to his fugitive hero. Again, Nichols put together a wonderful cast.

And Nichols works well from his original script. It really captures that warm, sleepy small town setting. This helps make the sudden bursts of violence even more powerful. This isn’t shrugged-off action-film stunts, people will really be hurt or die. Adam Stone’s cinematography conveys the dirt and grit of the town streets along with the beauty of the river. David Wingo’s music score never intrudes or overpowers the human drama. All their contributions make MUD one of the great coming-of-age dramas. You’ll be glad that you took a movie cruise with Nichols and his crew.

4.5 Out of 5

Once again film makers have mined the histories and stories of World War II for another fascinating, little known tale of survival. The best known story may be that of Anne Frank, who was back in the news recently thanks to a pop music star visiting her museum. Two years ago the St. Louis International Film Festival was wowed by IN DARKNESS, a dramatic feature that told the story of Polish Jews who lived in the city’s sewers to avoid arrest by the occupying Nazi forces. In release now is NO PLACE ON EARTH, a similar story told in a very different way. EARTH is basically a documentary that uncovers a new survival story that’s every bit as moving and dramatic as the former film.

The new film actually begins in the United States, New York city to be exact. Underground explorer Chris Nicola decided to travel to his forefathers’ homeland in the Ukraine. While looking through the caves he discovered some curious artifacts: buttons, keys, kitchen utensils and other items that seemed to be from a few decades in the past. Working with local officials and residents, Nicola learned that several families fled to the caves and hid for over 500 days when Nazi troops occupied their villages. The film makers interview the last living members of the families, while actors are used to illustrate their stories. Later Nicola brings them back to the Ukraine and shows them their underground shelters where they lived in fear over 65 years ago.

Director Janet Tobias has assembled a brisk engaging film that’s a great historical mystery. The first focus is on Ricola as he gathers up the remnants of life in the scary 1940′s, but it’s soon  taken over by the film’s heart: the oral testimonies by the remaining members of the Stermer and Dodyk families. The recreated sequences featuring actors interpreting these stories are well done, but are not as powerful as the emotional remembrances of these now elderly survivors. Though they were only grade school age, the incidents are recalled as if they happened days, not decades, ago. The smells, feelings, and tastes (the meager meals made to last for days) are still fresh as are their love and admiration for family members long gone. This gives the film quite an emotional knock-out as the interviewees return to their homeland. Although much as changed, the names of the neighbors still linger. Surprisingly several of the physically frail decide to be lowered into the still cold, muddy caves where they point out chalk messages scribbled on the walls. NO PLACE ON EARTH is an engaging, entertaining celebration of the human spirit. How many of us could take eighteen months in the dark, dank underworld?

3.5 Out of 5

NO PLACE ON EARTH screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

One complaint of older film fans is that the stars of today can’t compare to those from Hollywood’s “golden age”. Modern actors appear in one type or genre of film and don’t seem to branch out. Clark Gable or Tyrone Power could go from romantic comedy to action thriller and even musicals and westerns. Well there’s one actor working today that truly attempts a variety of films, and he’s still at the top of the box office: Mr. Tom Cruise. Last year he scored with a musical comedy (ROCK OF AGES) in the Summer and squeezed in an action thriller (perhaps the start of a new franchise), JACK REACHER right before Christmas. In the last few weeks before the official Summer blockbusters, he’s returned to the science fiction arena without the director that guided him in his last two SF epics, MINORITY REPORT and WAR OF THE WORLDS: Steven Spielberg. As he did with Brad Bird in MISSION IMPOSSIBLE: GHOST PROTOCOL Cruise is working with a relative feature film rookie. Director/screenwriter Joseph Kosinski is still fresh from his debut effort TRON: LEGACY. So what kind of futuristic fable has been cooked up by the vet star and the rookie?

Tom Cruise’s voice over narration gets us up to speed on his OBLIVION character Jack. More than sixty years in the future, the Earth is a burned out shell thanks to a battle with alien invading hordes. Nuclear weapons stopped them, but made most of the planet uninhabitable. Earth’s population escaped to a floating space station called the Tet, before making Saturn’s moon Titan their new home, Huge platform stations syphon Earth’s oceans for its energy reserves. Flying round probes known as drones monitor and protect these stations from the few remaining bands of aliens called “scavengers”. Jack is part of a team with his wife Vickie (Andrea Riseborough) who live high above the planet to perform maintenance duties on the drones. Every day Jack takes a small aircraft down to the surface while Vickie provides him intel and checks in with their supervisor at Tet, Sally (Melissa Leo). Although his memory had been wiped years ago, Jack relishes roaming the remains of a sports stadium and is somehow drawn to the Empire State Building (only its observation deck level is left) via some strange dreams of another woman he met before the war. He’s even got a cabin-like hideaway deep in the forest away from the radar scans. Jack and Vickie are counting the days before their term of duty ends and they return to Tet. But some odd things are going on. The scavengers attempt to capture him, not destroy him. Then Jack investigates a crashed space capsule. One of the pods contains a sleeping woman, the one from his dreams…Julia (Olga Kurylenko). This starts Jack on a journey that may give him all the answers that he has been seeking or will result in his death.

Cruise flexes his star power charisma as Jack who becomes the audience’s gateway into this weird new world that has many familiar touchstones. His physicality is put to great use in the film’s many action sequences, whether he’s blasting at the baddies, engaged in a fight to the death with an unexpected opponent, or zipping across the barren landscape on his (very cool) collapsible motorbike. His best acting work may be in the quiet times as we see the confusion when he must process ideas that go against everything he believes, especially when the girl of his dreams intrudes on his reality. And nobody looks better piloting a space craft or fighter jet than TOP GUN’s “Maverick”. Although he’s featured prominently in the ads, Morgan Freeman has more of a supporting role as the black-clad Earth dweller that might hold the key to all the secrets. His few scenes with Cruise give the film a much-needed energy boost. Riseborough is a great sexy brainiac as Jack’s partner, who’s all business during the working day, but really lets her hair down (and sheds the space duds) after hours. But she has a tough time competing with the mysterious, sultry Kurlenko as the intruder in this high-tech Eden. It’s a shame she doesn’t have more scenes working side by side with Cruise besides being a damsel-in-distress. Leo is terrific as the icy cold, smiling face of authority seen on the monitors. Her repeated sing-song delivery of ” Are you an effective team?” soon as has a threatening sting. This is an impressive supporting cast, but this is definitely rests on Cruise’s shoulders.

But not even this movie star of three decades (really, RISKY BUSINESS is over 30 years old?) can make this poorly plotted, slowly pace sci-fi mish-mash work. Or should I say SF stew? Mix in I AM LEGEND and WALL-E, add a smidgen of THE MATRIX and TOTAL RECALL, and let simmer for two very long hours.It seems that as soon as the story would gain some momentum, another tedious firefight (with lotsa’ sparks) would grind things to a screeching halt. The drones are the flick’s deadliest threat, but often look like flittering shiny white bowling balls with a red cyclops eye. A music score that seems disconnected to the action until it hammers in a heroic ending flourish doesn’t add much. Claudio Miranda’s cinematography is exceptional as are the visual effects and art direction (love the clear swimming pool at the bottom of the high-rise work station), but it’s not enough to make this misguided futuristic fable worth your time. It’s a great looking flick that needed a more polished script and much tighter editing. I suppose that’s the reason this film’s get a late April release rather than face off against the Summer’s box office onslaught. Save your movie money for them and put off a tip to OBLIVION for a rainy day rental.

2 Out of 5 Stars

The sun is shining, the birds are chirping, and it’s time to crack open the windows after so many long months. Ah, springtime, when a young man’s (and many not so young) thoughts turn to … baseball. Well, it turns out that many in Hollywood have the old “horse-hide” on the brain too. This favorite American pastime has graced the big screen many times from light comedies such as ALIBI IKE and MAJOR LEAGUE to heavy dramas like BANG THE DRUM SLOWLY. One classic flick, THE NATURAL, could be classified a Fantasy allegory while another, BULL DURHAM, is a sexy bedroom romp. Of course, film makers have chosen to tell several real-life stories of the diamond with PRIDE OF THE YANKEES (Lou Gehrig’s tale), a couple of Babe Ruth biopics, and the lady players of World War II in A LEAGUE OF THEIR OWN. Now Brian Helgeland (THE ORDER) is telling the story of Jackie Robinson in the new film 42 (that’s his Dodger number). But his is a truly unique story since he became a catalyst for great social change in this country. Can modern audiences relate to a sports story set in a time when many of today’s super sports-stars would not have been allowed to play?

A narrated newsreel montage places us back in those heady post WWII years. America’s back on the move in 1946. And things were about to change at the ole’ ballpark. Brooklyn Dodgers president and general manager Branch Rickey (Harrison Ford) has a sure-fire plan to make “them bums” world champions. Much to the dismay of many in the organization, he decides to add a black man to the roster. Rickey’s been following the stats of the Negro League, and he believes that a young player from the Kansas City Monarchs, Jackie Robinson (Chadwick Boseman), is just the man to take them all the way. Before Rickey signs Robinson to their international affiliate team, the Montreal Royales (as a tryout for a Dodgers spot), the men meet at the New York office. The GM explains that Jackie will suffer constant jeers and threats, but must have the courage to rise above the taunts and not strike back. Quickly marrying his hometown sweetheart Rachel (Nicole Beharie), the two travel down to Florida for spring training. Over the next few years they face an onslaught of bigotry as Jackie bares down to become an inspiring hero that changed the face of the sport, and, perhaps, the country.

An impressive cast has been assembled to tell this true sports and segregation saga. Boseman scores both an and off the field as Robinson. He’s got a believable physical presence as he plays the game, while showing the frustration that nearly freezes him up during some of the nasty altercations with fans, rivals, and evan team mates. Because Jackie will not fight back, so Boseman must communicate with tightened gestures and through his eyes. He’s not really able to loosen up until he’s re-united with his beloved Rachel, who’s played by Beharie as a beautiful, supportive angel with a rebellious streak. She’s got no tolerance for this “whites only” nonsense. The most flamboyant role is played by the film’s  biggest movie star, that is Ford as Rickey. He seems to relish diving into this character who’s miles away from his usual leading man work. With his round spectacles, frumpy suits, and guttural growl, there’s barely hint of Han or Dr. Jones. Early on, he almost veers into hammy cartoon  territory, but reins in the more theatrical aspects near the film’s dramatic last moments. Rickey’s blunt, stubborn, and often fatherly toward the boys on his team. That team is composed of a group of terrific young actors headed by Hamish Linklater’s funny awestruck Ralph Branca (great in a locker room exchange with Jackie) and Lucas Black (that can’t be the SLINGBLADE kid!) as Dodgers star Pee Wee Reese. Several TV vets round out the cast with ex “Grey’s Anatomy” doc T.R. Knight as Ricky’s right hand man, another doc from “Scrubs” John C. McGinley as radio play by-play man Red Barber, “Law and Order: SVU” cop Christopher Meloni as the tough, no-nonsense coach Leo Durocher (wished there was more of him in the flick), and funnyman Alan Tudyk of “Suburgatory” as the despicable former Dodger now Phillies manager Ben Chapman. During a crucial game Ben spews hateful epitaphs at Jackie with the constant force of a machine gun all with a look of dead-eyed ignorance, truly the face of bigotry. He may be the first great movie villain of 2013.

The film’s production team has captured that nostalgic golden glow after the US had finally finished that grim war to end all wars. The period suits, setting, and autos are impeccable (right off the assembly line). The movie really works best in the game scenes. Helgeland shoots them almost like the tense showdowns in Leone Westerns. Jackie hops away from a base daring the pitcher to try to stop his progress. When at bat, he’s not only looking to connect for a homer, but has to be quick to drop when the ball is used as a weapon to crack his skull (“What if they try to bean you?” “I’ll duck!”). Off the field the film has a tough time regaining its footing. Yes, Jackie Robinson was a real hero, but we never really get to know him as a human being, with foibles and faults (even Speilberg showed that “Honest” Abe could be long-winded and manipulative). When he does lose his temper in the hallway beneath the field it feels long overdue (and a real release for the audience). Luckily kindly Mr. Ricky’s there to calm the waters (at times the film comes close to the “white folks rescuing the poor, but noble black folks” attitude of THE HELP). The film ends with lots of photos and footage of the real people involved along with tributes from the major leagues. 42 is an earnest, well made film about our country’s not always glorious past. Robinson’s story is well worth the big screen treatment, but by keeping him on a pedestal we never really get to celebrate the flesh and blood man.

3.5 Out of 5 Stars

Well, we all knew this would happen sometime. When the SAW flicks opened big, the studios made a mad scramble to tap into the new fright flick fans. They chose not to dig deep into their vaults to resurrect Dracula, Frankenstein, and the old Universal crew. Nope, not the thirties, but how about a new spin on the splatter epics of the late seventies or early eighties (stuff that was still on the shelves at the video stores). There have been recent remakes and reboots of Jason, Freddy, Michael and a few others (usually without the participation of the creators). That’s why most folks were surprised that producer Rob Tapert, director/screenwriter Sam Raimi, and “Ash” himself, Bruce Campbell decided that the time was right for a remake (most film folk prefer “re-imagining”) of their 1981 cult classic THE EVIL DEAD. It’s been stated that they wanted to tell the story with a proper feature budget and more professional actors. But after two feature sequels, several video games, and comic book follow-ups, does that familiar tale of horror still pack a punch? And, for Tristar, can this version grab all the movie goers who weren’t yet born when the original made a big splash (a thick, red color splash)?

The new rendition drops us right into a nightmare. An innocent is lost to a very foul-mouthed nasty demon. After the blood-red opening title, we’re in the modern-day outside a beaten-down shack deep in the backwoods. David (Shiloh Fernandez), with new girlfriend Natalie (Elizabeth Blackmore) in tow, is reuniting with some old friends at his family’s run-down vacation cabin. But this is not just a fun weekend getaway. Surly teacher Eric (Lou Taylor Pucci) and nurse Olivia (Jessica Lucas) are there for David’s troubled sister Mia (Jane Levy). The siblings had a falling out after the death of their mother. Eric and Olivia are determined to help end Mia’s drug addiction. They believe, with the help of her only family, that she can finally kick this deadly habit while far away from civilization (previous attempts in town did not take). While cleaning up the cabin, they discover that the place has a basement. Downstairs, hidden in the mess (lots of dead cats) Eric discovers a tome wrapped in tight barbed wire:  the human skin-covered Book of the Dead. As Mia suffers the agony of withdrawal, Eric opens up the book and…something happens. Soon the group is fighting unseen forces as a torrential downpour traps them inside this wooden prison far, far from help and hope.

While it is true that the veteran actors here are more confident than those from the 1981 original, their characters don’t really have the same impact. Most are merely there as demon fodder (particularly Ms. Blackmore, who is given little to do till her time in danger). I guess Fernandez is the closest to the “Ash” hero figure, but he’s not nearly as compelling as Levy (currently starring on ABC’s sitcom “Suburgatory”). She brings a great deal of energy and a dark, punk attitude to the damaged Mia long before she’s in full Regan MacNeill mode. From then on she’s engaged in constant gross-out sequences while verbally taunting her cabin-mates. To be honest, the almost non-stop abuse of these five bland characters quickly becomes…tiresome. Okay, another cutting scene, another assault with kitchen ware, and so on, making the film seem much longer than its 91 minute running time. First time feature director/screenwriter Fede Alvarez utilizes sound booms and loud bangs to ratchet up the tension as seen (or heard) in most of current horror thrillers. Fortunately he does retain a few elements from the original such as the look of the backwoods shack and the POV steady-cam charging through the forest at top speed. What’s sorely missing from the original trilogy is the giddy sense of humor (although, it’s hard not to think of last year’s delightful send-up, CABIN IN THE WOODS, while viewing this new flick). Hey, I’d put EVIL DEAD II on my short list of great horror comedies. The gore hounds and make-up fans (very little CGI here) should be very pleased, but long time DEAD-heads may wonder why this redo exists, besides using the beloved title to scoop up some box office. At least there’s a nice treat after the end credits that’ll bring a smile to true movie geeks everywhere. Just a shame the previous 90 minutes is not as entertaining.

2.5 Out of 5 Stars

Once again film makers are taking movie goers to that far off time of 1968 when barriers were broken, laws and minds were changed, and the air was filled with really great music. Just a few months ago David Chase brought us a semi-autobiographical film about playing in a band, NOT FADE AWAY, which used pop songs to accent the big changes in society during that decade. This new film also tells about a musical group of the 1960′s, except this time the tale is set in Australia. And said group is composed of the continent’s indigenous people, the Aborigines. As the announcers would say into the mike on those makeshift stages, ” Ladies and gentlemen,… THE SAPPHIRES”.

The film begins with four little girls singing for their appreciative families outside their meager homes in the dusty outback. Flash forward to 1968. Now young women, three of the quartet are still singing. There’s the eldest sister Gayle (Deborah Mailman), the leader and guitarist, Cynthia (Miranda Tapsell), a wild free spirit engaged again to a fella’ that can’t seem to say “I do”, and the baby Julie (Jessica Mauboy), who’s got a powerhouse voice and a baby of her own. They travel into town, and much to the disdain of the locals, compete in a talent show. They don’t win the prize, but they do impress the event’s sodden host Dave Lovelace (Chris O’Dowd). But he thinks that they’re not suited for singing the country tunes of Merle Haggard. These gals should be belting out the soul hits so popular on the radio and juke boxes. He wants to manage them and soon finds them the perfect gig: performing for the armed forces over in Vietnam. But the girls believe they need the full foursome from their childhood days. They travel to the big city and track down their cousin Kay (Shari Sebbens). Because of her light skin, she had been snatched up by government agents and given to a white family. Fortunately Kay has a love of the new music, along with a need to escape her straight-laced world, and joins the girls as they practice for the big audition. Can they make the sweet harmonies of their youth once more? And can Dave really guide them safely through the brutal battlegrounds of Southeast Asia?

This slighty, breezy flick’s MVP is definitely the snarky O’Dowd (so funny as Kristen Wiig’s cop suitor in BRIDESMAIDS). We first meet his Dave character as he awakens from the back seat of his beat-up set of wheels, hung over, punching in his Sam and Dave 8-track, and stumbling about in his tighty-whiteys. He’s a lush, a rascal, but deep down he’s got a heart of gold. And he truly loves these country gals. With his brogue, O’Dowd plays him almost as a Gaelic Bill Murray. Unfortunately he’s much more compelling than the title characters. The actresses try to bring some energy to their roles, but seem more like types than real people (the bossy one, the sexy one, the shy one, the over-confident one). Some of the ladies are veterans of the original stage production of this story, so they still seem to be emoting for the balcony seats. It doesn’t help that the less pleasant aspects of the decade are given a nice glossy sheen ( that’s kind of ugly, but aren’t these dances and fashions adorably tacky?). In the prologue we’re told that the Australian government referred to the native Aborigines as “flora and fauna”, and the story of Kay being snatched up by those mysterious “men in black” because of her white features is pretty horrific, but aside from some learned bigotry spouted by the returning Kay, nothing seems to dampen the bouncy attitude of the heroines (gosh, we’ll win em’ over!). Evan the ‘Nam sequences are softened considerably. It all seems to be like a noisy, messy Summer camp. When violence does intrude on the upbeat proceedings (most of the gals get their own super-cute soldier boy), the film makers back off when a major character is affected. TV news footage clips are used to cue up emotional scenes along with more somber “message” ballads for some clunky dramatic moments. The film as an interesting view of an era that’s been presented in countless other films, but it backs off the more tragic themes in order to be more of a feel-good “girl power” trifle. At least we get to see some photos of the real women that inspired this tale over the end credits. They’re the real jewels in this story of THE SAPPHIRES.

3 Out of 5 Stars

THE SAPPHIRES plays exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

Cavemen (and women) have long been a staple of comedy films and cartoons. From almost the start of cinema, funny men donned the fur skins and fright wigs. Buster Keaton started in the silent era soon followed by the Three Stooges up to more recent flicks like the 1980′s classic CAVEMAN. But they were also taken fairly seriously in ONE MILLION BC and QUEST FOR FIRE (and of course the opening scenes of 2001: A SPACE ODYSSEY). Two long running newspaper comic strips,”Alley Oop” and “B.C.”, starred early humans while the comic books had Howie Post’s “Anthro” and Joe Kubert’s ”Tor”. It was only logical that animators would pick up the club with theatrical shorts like DAFFY DUCK AND DINOSAUR from Chuck Jones and Tex Avery’s THE FIRST TEXAS BADMAN. Artist Bob Clampett whipped up some early sketches for a proposed prehistoric family short, but it took Bill Hanna and Joe Barbera to score big with the first made-for prime-time-TV smash hit “The Flintstones” (which in time spawned a feature-length animated movie and two big-budget live-action flicks). Well now the fine folks at Dreamworks Animation are unleashing the story of another family that’s far from ’stone-age modern”. Here come THE CROODS!

This family unit is led by big poppa Grug (Nicolas Cage) who struggles to keep his clan safe and fed. There’s his patient wife Ugga (Catherine Keener), her cranky mother Gran (Cloris Leachman), goofball son Thunk (Clark Duke), feral baby girl Sandy, and the wild card, teenage daughter Eep (Emma Stone). She’s adventurous and curious, two traits that Grug tries to discourage. She won’t even be part of the family sleeping pile at night in their protective cave. One evening she spots a light piercing the darkness. Squeezing out of a cave opening, she meets a teenage wondering nomad named Guy (Ryan Reynolds) and his traveling pet, a sloth named Belt. Guy has discovered fire along with the knowledge that the earth is changing (slowly forming the continents we all know). After giving her a conch shell (“Blow into it and call me if you’re in trouble”), Eep rejoins the family. When a massive earthquake strikes the next day, the rocky landscape breaks away to reveal a lush, green forest full of wonders along with new dangers. When these strange beasts attack, she summons Guy with the shell. Can this stranger, who has somehow entranced  Eep, convince the stubborn Grug to make the journey to the two towering peaks and save the family?

After a shaky first few features (SHARK TALE), Dreamworks continues the spark of excellence begun with the first KUNG FU PANDA and HOW TO TRAIN YOUR DRAGON. The new film is not quite as strong as those two, but it’s miles above many of the dismal family fare that’s been filling the multiplexes, particularly the recent ESCAPE FROM PLANET EARTH. This one should keep the folks at Pixar on their toes. After some terrific 2D hand-drawn style cave painting illustration in the opening moments, we’re treated to a manic slapstick sequence with the whole family trying to score a bird’s gigantic egg. It’s wonderfully expressive movements and action are enhanced by the 3D effects (this may be the best 3D cartoon animation yet). And the use of color is dazzling, especially when the family enters the new jungle world. Nope, we’re not given the old standard wooly mammoths and sabre tooth tigers. There’s wonderful hybrids like elephant mice, peacock flying turtles, an alligator dog, and deadliest, a swarm of piranha parakeets that zoom about and leave nothing but skeletons in their wake. Kudos to the film’s directing team Kirk DeMicco and Chris Sanders for allowing their art team to let their imaginations run wild.

Of course all this eye candy would get a bit tiresome with some good characters to tell the story. The real heart of this tale is the relationship between Grug and Eep. It’s the teenager wanting to spread her wings while poppa just wants to protect her and hang on to his princess for as long as he can. The design of Grug is closest to the cartoon caveman standard of hulking mass and big melon-head. But there’s no pigden English in this dialogue. His form of speaking may be more articulate than many TV sitcom daddies. And this part gives Cage a real chance to shine (more so than most of his live-action roles). He has a great rapport with Stone, who gives Eep a great rough-and-tumble attitude while still being a flirty, swoony teen. With her bright red hair, Eep could almost be an ancestor of BRAVE’s Murida, save for the cavegirl’s powerful-looking upper body (that rock-climbing is quite the workout). Of course the tots will be most smitten with the Tasmanian Devil-like Sandy (“Release the baby!”) and the snarky, expressive Belt. Actually there’s a character for every family member to enjoy. Yeah, that’s right! This is a flick that will entertain the whole family! Let’s hope the rest of the animated features due out this year will be as well produced. To paraphrase one of Grug’s sayings, THE CROODS is never not loads of fun!

4 Out of 5 Stars

So, this weekend we’ve an example of the true-crime feature-length documentary with WEST OF MEMPHIS. Turns out we’ve got another type of doc opening up. It’s the one-day-in-the life-of feature film. These slice-of-life films have followed a couple of policemen over a twenty-four period, or perhaps the kitchen area of a restaurant’s busy Saturday night. Well, this doc’s about a place that’s busy seven days a week: the emergency room of a hospital. That’s why the check-in area is known as THE WAITING ROOM (and this award-winning film’s title). Director Peter Nicks and his film makers converged on Oakland, California’s Highland Hospital, known as a public safety-net hospital. The under-staffed and overwhelmed crew must not only deal with the endless tide of mostly uninsured sick and injured, but rush to save the lives of those being brought in by the EMTs. Those cases make the ER crew’s heart race (one doc even says that the long-running TV drama “ER” inspired him to seek this line of work), but most of the day is taken up by the filling of forms, phone calls, and frustration.

Nicks focuses in on a few cases, from check-in to finally check-up. We meet a middle-aged carpet-layer without insurance who must take a cut in pay to keep working. He can only manage the pain of spine-spurs with pills, surgery is out of his reach. He smiles and jokes with the billing worker in an attempt to deal with his dire situation. A young married couple in their twenties must cope with the possibility of testicular tumors. They’ve been shuttled to Highland after another medical provider cut them loose. The most heart-tugging subplot deals with a divorced father having to bring in his very sick grade school-aged daughter. She can’t seem to swallow, and her blood-pressure is sky-high as is her fever. Dad can’t seem to keep up a brave face for her. He tells the camera about another trip to the ER with a child that did not have a happy ending. Luckily his ex-wife arrives, and the two put aside their squabbles to comfort their sick girl. Also, of big help is the upbeat registration agent, a sprightly, sassy grandmaw’ with sparkling eyes behind bright red glasses. She seems to help relieve the pain almost as much as the medical staff. We get to meet a couple of doctors as they try to collect information from angry, frustrated patients and one chronic substance abuser (he asks for his pastor, who seems tired of the man’s inability to remain sober). Then there are those brought in by ambulance. We can feel the despair as the staff learns that a gunshot victim was only fifteen. Minutes later a senior nurse advises a young doc on how to break the news to the boy’s family (“Not ‘he’s gone to a better place’, say ‘he died’”). The image of the boy’s body being wheeled into the morgue freezer and the sound of the heavy metal door clanging shut will haunt you.

This is expert on-the-fly filmmaking. We don’t hear Nicks asking questions of the principals. Only once are they acknowledged (a women leaving the ER into the dark street asks about the safety of the surrounding neighborhood). Time-lapse effects are used to show the ever-shifting stream of waiting people. The hours pass and day turns into night. We wonder just how long the staff shifts last. THE WAITING ROOM is an excellent report on this country’s health crisis. And it’s also a social media project. Viewers are encouraged to log in the film’s blog for updates and further information. It’s an enlightening, engageing look at people who carry on despite their obstacles. As the sun comes up, and the cameras are packed, the sick and injured fill up the chairs and wait…and wait…

4 Out of 5 Stars

THE WAITING ROOM screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

There have been many feature-length documentaries over the years that have explored the same subject matter. Docs about the Holocaust have almost become a sub-genre (and usually get a slot in the Oscar nominations becoming a go to entry in Oscar ballot contests). There have been several about different wars, particularly World War II and Vietnam. Many profile celebrities and music genres. Then, there are the true crime films. Usually they begin with the crime, follow-through with the police investigation, and conclude with the trial. It’s a popular format on broadcast TV with CBS’s “48 Hours” and fictionalized with the long-running “Law and Order” franchise. There’s also a few cable channels just devoted to these stories. It’s still surprising that one true crime story has inspired countless TV reports and investigations in addition to four (!) full-length documentaries. I’m talking about the gruesome murder of three 8-year old boys in West Memphis, Arkansas twenty years ago. Three teenagers, Jessie Misskelley, Jason Baldwin, and the enigmatic Damien Echols (whose goth attire would fuel speculations that the killings were part of a Satanic ritual) were arrested, tried, and convicted (with Echols placed on death row). This was the subject of the “Paradise Lost” trilogy of films that started airing on the HBO premium channel beginning in 1996 (the final entry aired last year). These films outraged people around the world who believed that the trio (dubbed the West Memphis Three) did not get a fair trial. One of those outraged was New Zealand film maker Peter Jackson (of “Lord of the Rings” movie fame). He, along with partner Fran Walsh and director Amy J. Berg, decided to produce a theatrical feature doc that finally arrives in theatres now. The makers of WEST OF MEMPHIS luckily were on hand as the Three were back in the headlines last year.

Certainly much of WEST has been presented in the “Lost” trilogy (and the new doc addresses several points brought up in the previous works). There’s the flickering police video footage of the bruised, sliced boys’ bodies floating in the shallow,dank water. We view the local news footage of the emotional press conference. And then the arrest of the three with townspeople screaming as they are lead into the courthouse is presented. The frustrations of the trial are replayed with the young men shuttled off to prison after sentencing. WEST disputes much of the testimony (on camera a witness recants her trial testimony) and gives an alternate reason for some of the physical evidence. The marks on the boys’ bodies may not be from a knife, but bites from a vicious type of turtle (try not to wince as a researcher allows one of these “nasties” to chomp down on his arm). Much of the focus then shifts to Lorris Davis, one of the heads of the “Free the West Memphis Three” movement who eventually married Echols in 1999. She was the person contacted by Jackson and Walsh. The two film makers are interviewed on camera along with rockers Eddie Vedder and Henry Rollins (who organized fund-raising concerts) and footage of Johnny Depp from a “48 Hours” piece is excerpted. As the years pass, the pressure increases for a new trial with many of those involved feeling the heat as they seek higher office. Then the realization that Echols’s health is rapidly deteriorating. The time locked away has nearly taken his sight and may take his life. They begin to explore one option, the Alford plea,  an admission of guilt which would gain their release. But all three must agree to this. The suspense builds as Echols tries to hold on and stay alive.

The movie’s strengths are with those scenes of Davis gathering forms and signatures and conferring with new determined lawyers. On the other side we see the original prosecutors refusing to budge on some very flimsy evidence and testimony. WEST only loses its way as it points the finger at the “real” killer. Berg and Jackson dismiss the colorful culprit of the “Lost” trilogy John Mark Byers. For a good half hour the film makers scream “J’Accuse!!” at another stepfather. There’s some interesting interviews, one an eyewitness story that could be used in court and several “here say” stories which would be thrown out immediately, along with some leading, secret telephone recordings. The accused does come off as a creepy thug in the filmed interviews, but it doesn’t seem enough to convict. Aside from this sleuthing, WEST OF MEMPHIS is one of the better investigative documentaries made on a true crime case. It’s compelling and even uplifting as who see how the power of the public was able to bring these young men out of the depths of prison. They’ve been given a second chance. But there’s a shadow across the film’s final moments. Three little boys were brutally murdered 20 years ago and the perpetrator may still roam the streets. Their chances ended at eight years, and justice may be never be dealt for them.

3.5 Out of 5 Stars

WEST OF MEMPHIS screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

Time for a twisted take on a very special subset of the business they call show (which is like no business I know). Yup it’s another flick about (exploding hand gesture)…magic! Very hot on the heels of last week’s box office behemoth OZ: THE GREAT AND POWERFUL, comes another story of an illusionist. This is a more modern and comic take on this entertainment staple that certainly pre-dates the wagons and caravans of OZ. Magicians soon went from those carnival side shows and became sensations of live theatre with Harry Houdini, perhaps achieving the greatest fame (folks still gather every Halloween awaiting his return from the great beyond). They even inspired a long-running newspaper comic strip, Phil Davis and Lee Falk’s “Mandrake the Magician”. When television began in the late 1940′s they immediately snapped up these performers for their visual appeal. A few hosted their own childrens’ shows while others became fixtures of the popular variety show format established by ED Sullivan’s Sunday night staple. The TV variety show is almost extinct now (swallowed up by the late night talk shows), but a few could pack arenas and headline TV specials like David Copperfield. And illusionist Doug Henning had his own Broadway show in the 1970′s. But where did most of the other magicians flock to in order to ply their trade? Well, that 24-hour entertainment mecca of Las Vegas, of course! And this is the setting for the delightful new movie farce THE INCREDIBLE BURT WONDERSTONE (cymbal crash, horn flourish)!

When we meet young Burt, he’s on the run from a pack of bullies. Finally returning home, his spirits are lifted by the best birthday present this ten year-old could ever want. It’s a deluxe junior magic kit created by his TV idol, Rance Holloway!. Burt immediately pops in the VHS tape and is dazzled by the amazing feats performed by the master (played by Alan Arkin complete with “Mandrake” pencil mustache, tux, and cape). Soon, through their mutual love of magic, Burt becomes best pals with another outcast, Anton Marvelton. They hone their skills over the years (even performing on Johnny Carson’s “Tonight Show”) and eventually the adult Burt (Steve Carell) and Anton (Steve Buscemi) are signed by Doug Munny (James Gandolfini) to be the Las Vegas Bally’s Hotel and Casino’s house headliners, complete with their own theatre. Here’s the poster that would entice the tourists:

But unrivaled success has turned Burt into a diva. After the act’s latest buxom blonde assistant quits in the middle of the show, the duo hastily enlists a nervous stage hand, Jane (Olivia Wilde) to take her place. All seems to go well, until the appearance of a new type of magic man on the strip causes a sensation. Street performer and cable/internet phenom (the star of  “Mi..”, aww, I won’t spoil it) Steve Gray (Jim Carrey), whose act mostly consists of physical endurance stunts, which make the boys’ tricks look tired. When an attempt to do a live outdoor stunt in the same vein goes horribly wrong, the childhood pals split. Burt attempts to carry on, but his career goes into a nose dive. Soon he imposes on the hospitality of Jane, who turns out to be quite the illusionist herself (seems magic’s in her blood). Eventually Burt is relegated to entertain at a retirement home for Vegas performers. Will a chance encounter with a boyhood hero along with a young fan’s devotion finally put him back in the big show rooms?

Seems like it’s been a long time since we’ve seen Carell in this type of comedic role. I mean he scored some laughs last year in HOPE SPRINGS and SEEKING A FRIEND FOR THE END OF THE WORLD, but he was basically being the straight man for Streep, Jones, and Knightly (hid Dodge in WORLD was very low-energy). This is the silly Steve from ANCHORMAN and THE 40 YEAR OLD VIRGIN (and is woefully missed on NBC Thursday nights). Burt is arrogant, preening, and pompous spouting a lion’s-mane wig, too much mascera, whitened choppers, and a ludicrous spray-tan, but Carell still has us rooting for him as his life spirals downward. It helps that he has a terrific ensemble to play with in this show-biz sandbox. Buscemi brings a great sad-sack quality to his role as the tad less garish, and more in touch with reality, stage partner to Carell. It’s great that he can bounce from ruthless gangster on HBO’s “Boardwalk Empire” to this funny sloe-eyed schlub. Their other partner on stage is played by the stunning Wilde who brings some great comic timing to what could’ve been the standard supportive girl friend role. Her exasperated expressions as she deals with the clueless Carell (“It’s Jane!”) are priceless. Her stunning good looks may have kept producers from considering her for great comic roles. Let’s hope she gets more work that showcases her skills. Usually with action flicks we say that the hero is only as good as the villain, well Burt has a great adversary in Steve played superbly by comedy kingpin Carrey. His Chris Angel/David Blaine parody energizes the film. Steve Gray is a strutting peacock like Burt, but with a cooler-than-thou rock star attitude. He’s truly his own worst enemy. Another comic pro that gives the flick a real jolt is Arkin as the old magic legend Rance. In their third film together (LITTLE MISS SUNSHINE and GET SMART) Arkin has a great rapport with Carell, as he helps Burt tap into his lost sense of wonder. Gandolfini’s  also terrific in the role of the casino mogul/ showman who still has a touch of a street thug (harkening back to those days when Vegas was ruled by “the boys”). Also scoring big laughs in a small role is SNL vet Jay Mohr as an admirer of Burt, Anton, and Steve, “Rick the Implausible”, who works the casino longue show at 2 AM. This is quite the comedy dream team.

The supervisor of said comedy sandbox is TV vet Don Scardino (most recently from the much missed “30 Rock”, so long Liz Lemon ‘sniff’). He’s got some clever scene transitions up his sleeves (viola’!) and a real knack for clever sight gags (Burt pulling up to the Lady Luck to seek a job is inspired). Of course he’s bringing to life a clever script that includes work from the HORRIBLE BOSSES team of Jonathan Goldstein and TV star John Francis Daley (currently co-starring on “Bones”, but for me he’ll always be Sam Weir in Judd Apatow’s one-season wonder “Freaks and Geeks”). The guys know about Vegas entertainers and make wonder use of the Nevada locations (and that final sequence will have you chuckling as you head out the exit doors). Kudos to the art direction crew, particularly  on the opening 80′s flashback (never heard of a top-loading VCR getting a warm round of applause). If your movie comedy appetite was revved up by last month’s IDENTITY THIEF, then head to the multiplex and feast on THE INCREDIBLE BURT WONDERSTONE (love the cast of THIEF, but BURT has more than twice the laughs). If you’re in a good silly mood, then (to paraphrase the stage show’s theme music) ” Abra, abra-cadabra. It’s gonna’ reach out and grab ya’!”

4 Out of 5 Stars

Conflicts in the Middle East became the inspiration for two of the Best Feature Film nominated movies this past year with ZERO DARK THIRTY and, the eventual winner, ARGO. Another powerful film was nominated over in the Best Documentary Feature category that is perhaps just as compelling as those dramatic interpretations. SEARCHING FOR SUGARMAN took home the Oscar in that race, but THE GATEKEEPERS received much critical acclaim, and now it has being released to more US markets. There have been several films over the years that have dealt with this global hotspot, but this new film offers a unique perspective and a rare glimpse of an elite agency that has operated in the shadows for a long, long time.

Director Droh Moreh takes us inside the operations of Israel’s secret service agency the Shin Bet (I had heard of the Mosaad thanks in part to Steven Spielberg’s MUNICH, but was unfamiliar with this group). Moreh was able to get six former heads of Shin Bet sit before the cameras and discuss their history (none had talked publicly about their work prior to this). The film jumps about the history of the country as it focuses on the different problems and challenges each of them have faced. The post World War II formation of the country utilizes great old newsreel footage. More news images are used to discuss the Six Day War and the subsequent occupation of the West Bank. This takes the film into Shin Bet’s first big challenge in dealing with the Palestinian forces. Policies of interrogation (including torture) and recruitment (enlisting Palestinian informants) are discussed. The controversy surrounding the 300 bus hijacking and the execution of two terrorists is one of the film’s major highlights. Later, after the Oslo Accords in the 1990′s, Shin Bet had more problems to face. Islamic jhiadists and Hamas operatives seeped into Israel, and carried out suicide bombings throughout the cities. The agency also had to deal with Jewish terrorists who planned attacks on public transportation and succeeded in assassinating a prominent politician. It’s a wonder that each of these men lasted more than a couple of years in this high pressure position.

Many documentaries are criticized for relying on “talking head” sequences (the camera fixed on the face of a person being interviewed off-camera), but this method is the greatest strength of this film. Most of these men seem eager to explain their actions, although we do occasionally hear the voice of Moreh attempt to prod them as a few become tight-lipped and obstinate about some “touchy” topics. A couple of these topics are being debated in the US these days. One is whether torture works in extracting valuable information (a major plot point in ZERO DARK THIRTY). Another is collateral damage as they now rely on targeted assassinations using satellite images to strike against possible threats (much like the drone discussions here). All the men are filmed against a backdrop simulating a base of operations with multiple screens and monitors displaying constant images and information (and, yes, the film is subtitled). But Moreh does break up the interview scenes with some great selected news footage (so many sad scenes of people wailing over countless broken bodies). The sequence devoted to the 300 bus hijacking has some astounding computer animation work (created by the French effects house Mac Guff) that allows us to zip in and around historic photographs and news film. The most powerful images may be the mostly silent black and white images shot from above as they track suspected terrorist agents. We hear snippets of chatter and wait to witness the blasts. THE GATEKEEPERS is an expertly produced investigative documentary that is essential viewing for anyone wanting to know more about a part of the world that seems to be in constant turmoil. It’s surprising that the constant pressure of heading Shin Bet allowed these men to reach middle age and beyond.

4 Out of 5 Stars

THE GATEKEEPERS screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

Students, time to put down your textbooks and dash over to the cinema for yet another history lesson. Seems we were just here for an American history lecture from Steven Spielberg’s Oscar winner LINCOLN. This time we’ll explore the world stage (or soundstage) with the new film EMPEROR. The two films have a bit in common besides the involvement of actor Tommy Lee Jones. Both are set at the conclusions of their respective wars. The former close to the end of fighting, the new film occurs after the signatures on the surrender treaty are barely dry. And both films zero in a particular event. Abe’s trying to make sure the thirteenth amendment is passed, while this recent film wants to ascertain the depth of the Japanese emperor’s role in WWII. Treatment of the losing forces are also factors in the respective films. Class, time to jump into the multiplex time machine and visit a very bruised and battered land of the rising sun.

It’s late Summer 1945 and Japan has surrendered to the allied forces. General Douglas MacArthur’s (Jones) staff lands in Tokyo to enforce these terms of surrender and start to help this country get back on its feet. The general is feeling the pressure from Congress back in the states. They want to punish the men responsible for the attack on America in 1941, even going all the way up to the country’s beloved (and thought of as a god)Emperor Hirohito. But MacArthur needs hard evidence before arresting him as a war criminal. He assigns General Bonner Fellers (Matthew Fox) the task of collecting information and giving him a report recommending a course of legal action within ten short days. Fellers is chosen for his knowledge of the country, but others on the staff fear that he may be biased because of a pre-war love affair with a Japanese teacher, a woman Fellers attempts to locate with the aid of his driver/interpreter. A lot is riding on this conflicted man’s shoulders. If he finds the Emperor culpable, his execution as a war criminal could prompt countless native suicides, non-stop rioting (necessitating millions of US soldiers to be stationed there indefinitely), and, perhaps of their highest concern, Japan could go communist. Fellers races to interview the belligerent, unfriendly officials as the clock quickly ticks away.

Featured prominently in the movie poster is Jones as iconic MacArthur which may lead movie goers to believe he dominates the film. Unfortunately it is a supporting role, but Jones is so compelling we keep hoping for him to show up and liven up the proceedings (and boy do they need it), much as he did in LINCOLN. He’s not just mimicking the newsreel image with his big sunglasses and jutting corncob pipe. He’s a man of contradictions. At times thoughtful, compassionate, and wise while also being flamboyant (eager to pose for the photogs), egotistical, spiteful (after a phone call from the president Mac snarls “Liar!”), and politically ambitious. I want to see an entire film about him (no disrespect to Gregory Peck who played him in a screen bio decades ago), but that’s not what EMPEROR focuses on. It’s really the story of the smart, earnest, far less interesting Fellers. The forty-six year-old Fox still seems too boyish to play a general (he still has the lean look from last year’s disaster ALEX CROSS). He barks at subordinates and stands up to an accuser, but he’s often relegated to looking respectfully at his boss and disgraced Japanese officials. After his fine work anchoring TV’s “Lost” for many years, it’s a shame that the film roles have not been up to that level.

Director Peter Webber tries to keep the movie visually interesting, but there’s just so much that can be done with basically an interrogation film. Fox travels from one office to another questioning former officials, usually sharing tea or saki. Most are English subtitled while some native actors speak English with mixed results. Webber tries to break things up with flashbacks of Fellers’s romance with the beautiful Aya, the Japanese student he met in college during 1932. But even the dreamy shots of the two cavorting amongst the bamboo trees slow the film’s momentum even more. The rest of the film Fox walks or drives his jeep through the rubble-filled streets as he chain-smokes countless cartons of Chesterfields. The setting, scenery, and costumes are impressive, but the film feels longer than the deadline for Fellers’s report. The rebuilding of postwar Japan is an interesting story, but this re-telling just fails to really engage viewers. Perhaps if there were fewer interviews and a whole lot more of the always entertaining Mr. Jones. Let’s hope he kept the shades and pipe.

3 Out of 5 Stars

Hollywood’s biggest night is this Sunday! Want to watch the big show projected on the big screen at one of the showcase theatres of St. Louis? For free (well, nearly free with a non-perishable food donation)? Yours truly will be there with trivia questions and prizes during the commercial breaks! Here’s the official press release:

JOIN FELLOW FILM BUFFS AT FREE OSCAR PARTY CO-HOSTED BY SLFCA AND LANDMARK THEATRES

Enjoy the Oscars telecast on the Tivoli’s big screen and win plenty of movie-related prizes when the St. Louis Film Critics Association co-host their third annual Oscar Night Party, along with Landmark Theatres.

The event begins at 6 p.m. on Sunday, Feb. 24, at the Tivoli Theatre in University City. The live ABC Oscars telecast will be shown in the 450-seat main auditorium beginning at 7 p.m. Seating is not reserved.

Although admission is free, SLFCA and Landmark Theatres encourage people to bring non-perishable food and canned good donations, as a collection for Operation Food Search. Concessions will be available for purchase.

Will “Argo” continue its awards season juggernaut? Are Daniel Day-Lewis and Jessica Chastain shoo-ins for the top acting honors? How funny will Seth McFarlane be as the host? Cheer on your favorite nominees with fellow movie buffs and win entertainment-themed items, such as T-shirts, posters, CDs, DVDs and more.

The St. Louis Film Critics Association, a professional association of working film critics in the St. Louis area, will award prizes for contests, including trivia questions before the show starts and during commercial breaks. Everyone will receive an Oscar ballot as well, with the top three who correctly guess the most winners receiving special prizes.

The mission of the St. Louis Film Critics association is to promote appreciation of great cinema in St. Louis and to promote St. Louis as an area that appreciates great cinema. The member film critics review films for a variety of media, including print, radio, television and Internet in the greater St. Louis Area. SLFC presents the year-end St. Louis Film Critics Awards to recognize the best in films shown in St. Louis that year. The association also presents awards at the St. Louis International Film Festival and St. Louis Filmmakers Showcase, both presented by Cinema St. Louis.

The Tivoli Theatre, restored to its original 1924 splendor in a 1995 renovation, is located at 6350 Delmar Blvd. (Delmar Loop). It is listed in the National Registry of Historic Places.

For more information on the St. Louis Film Critics association, visit the www.stlfilmcritics.org website. For information on the Tivoli, visit their website at www.landmarktheatres.com. The Tivoli phone number is (314)995-6270.

We’ll see you there this Sunday!

Alright, let’s forget these late Winter blues! Let’s head to the multiplex and see Dwayne Johnson (still “The Rock” to ‘rasslin’ fans forever) blast the bad guys! Those sleazoids don’t stand a chance against him, he’s invincible, he’s unstoppable, he’s…tearing up? And getting beaten up? This movie is inspired by true events, so he’s playing pretty much a real guy. And what’s Oscar-winner Susan Sarandon doing here? This movie’s full of surprises (the least of which is the fact that this early year release is not a complete dud). Mind you there should be enough destruction to please his audiences. But the big shocker is that it has a message (that’s hammered in with a factoid after the final fade out). Looks like Mr. Johnson is looking to expand his “brand” (and stretch his acting muscles) with his newest effort, SNITCH.

The character that gets all the action rolling is eighteen year-old Jason Collins (Rafi Gavron). He’s living with his mom Sylvie (Melina Kanakaredes) after she divorced his dad John Matthews (Johnson). One day he accepts a delivery package from his vacationing best pal. The box contains a big bag of ecstasy and a tracking device that alerts DEA agents that sweep in and arrest Jason. A panicky Sylvie calls up John, who’s started a new family (younger wife and toddler pre-K daughter) and owns a big construction firm. After a discouraging talk with their lawyer, John contacts the politically ambitious state’s attorney Joanne Keeghan (Sarandon). Under the new tougher drug trafficking laws Jason will get a mandatory ten-year sentence unless he gives up another drug dealer (that’s why his pal set Jason up). This was Jason’s first time and he knows no other drug dealers. Things look hopeless till John comes up with a plan. He’ll get one of the ex-cons that’s working at his construction company to introduce him to some dealers and then get those names to the feds who will then spring his son. After much persuasion (and bribery), a recent employee with a drug bust in his past, Daniel (Jon Bernthal) reluctantly agrees to set up a meeting (Daniel’s got a wife and young son and doesn’t want to return to that life).  Using a company semi, the two make a drug run for local pusher Malik (Michael Kenneth Williams) which catches the attention of his boss, the ruthless ‘El Topo” (Benjamin Bratt). John thinks he’s earned a lesser sentence for Jason by delivering Malik, but Keeghan wants the kingpin Topo. Can John and Daniel set him up for the federal agents without endangering all their loved ones?

Johnson is expanding on his screen persona by playing a fella’ that doesn’t have it all together. We’ve seen him play the heir apparent to Sly and Arnold in several films, along with forays into comedy and kid flicks (he was THE TOOTH FAIRY remember?). This is a real dramatic departure for him. Like Russell Crowe in THREE DAYS LATER he’s an average Joe who has to get dirty in order to save a loved one, the type of role Harrison Ford and Mel Gibson would’ve taken years ago. He’s filled with regret about letting his son push him away while starting this new marriage. We see him worry about the brutality of the thugs that he must deceive (downing quite a few scotches). This is the most vulnerable we’ve seen him in a screen role. The film also establishes a new screen action star in Bernthal (perhaps best known for his terrific work on TV’s “The Walking Dead”). He strives to protect him family (trashing some street gang thugs trying to recruit his young son) while his time with his boss almost tears them apart. It will be interesting to follow his future film choices. Speaking of TV actors, Williams expands on his roles in “Boardwalk Empire” and “The Wire” for the cold, sinister, unpredictable Malik. He’s one scary dude who’s only topped by Bratt’s cold-eyed, slow-talking menace as the big boss (he was almost doing a riff on Ricardo Montalban). It turns out that the folks on the other side of the law aren’t completely trust-worthy either. Sarandon’s career politico is much more interested in winning the next election than helping John get his son out of jail. Barry Pepper’s undercover agent is more up-front with him. He’s honest about the deadly risks and chafes at her maneuvering (even calling her “Dragon Lady” out of earshot).

Stuntman turned writer/director Ric Roman Waugh does indeed have a great talent in laying out the action sequences. The final truck/car freeway gun battle produces more thrills than a similar sequence in A GOOD DAY TO DIE HARD. And the meetings between John and the drug bosses are packed with a nervous tension. Unfortunately several scenes turn into shouting matches and he includes too many flashback bursts, perhaps to remind us of John’s motivations (our memories are better than that). This doesn’t serve this modest thriller well and contributes to a lull prior to the big finale. It just seems to be 15 or 20 minutes too long. But the film is a pretty entertaining “B” picture (Johnson has two big blockbuster “A” flicks coming out over the next few months). And the movie’s heart is in the right place. If the flash card before the end credits is factual then these mandatory drug trafficking sentences need to be overhauled. This is a good effort by Johnson in testing more realistic subject matter. And for an early year movie, SNITCH is entertaining, informative, and heads above some of the dismal early year releases clogging up the cinemas.

3.5 Out of 5 Stars

BLESS ME, ULTIMA is an interesting blend of film genres. On one hand it’s a nostalgic coming of age drama set in that golden era of the 1940′s similar to SUMMER OF ’42 and A CHRISTMAS STORY. It recalls that simpler time that was not quite as idyllic as many remember. The film’s also a look at culture clashes with this Mexican family settling in the US in search of a better life. Most of all ULTIMA is about different forms of faith. The Catholic church is a large part of this family’s life, but they still have a belief in the old ways. Namely the supernatural. They speak of it in hushed tones, whispering of witches and curses and demons. All these themes are explored in this story of a boy and a wonderous time that seems so long ago.

Antonio (Luke Ganalon) is young boy of seven or eight living with his family in a New Mexico village in 1944. His three older brothers are overseas fighting the war. Everything is fairly quiet with his two older sisters and his mother and father. Everything changes when his grandmother Ultima (Miriam Colon) comes to live with them. The young boy and aged women forge an immediate bond despite the rumors that she practices witchcraft. The two enjoy the last weeks of Summer together as she teaches him about the healing gifts provided by nature. Ultima’s skills are finally requested when Antonio’s uncle pleads with her to lift a life-draining curse placed on his brother. This pits her against the gruff, violent Tenorio (Castulo Guerra), the father of three daughters accused of practicing the dark arts. The family must deal with his threats along with internal conflicts when the older brothers return.  Soon Antonio begins his schooling with a desire to eventually become a priest. But can he protect his wise beloved grandmother from Tenorio’s evil schemes?

This lyrical tale is really built on the relationship of Antonio and Ultima. Ganalon has wide eyes that register amazement at the magical events happening in his dusty backyard. These eyes also glimpse the horrors, like the tracking of a returned vet and the showdowns with Tenorio. He also works well with the other young actors especially in dealing with one classmate who questions his life and religon. Colon brings many decades of screen acting to her role as the gentle, Earth-mother. She seem like a sweet granny, but she becomes a fierce lioness when her family is threatened, particularly by the excellent Guerra as the sinister Tenorio. There’s also great work by Joaquin Cosio as the tragic town drunk Narciso who is able to summon courage to protect his friends. Benito Martinez is also compelling as Antonio’s father, whose dreams of California vineyards are not shared by his offsprings. It’s an impressive acting ensemble.

Said ensemble is led by veteran actor/screenwriter/director Carl Franklin, who first became known for his gritty crime thrillers ONE FALSE MOVE and DEVIL IN A BLUE DRESS. This is a bit closer in spirit to his later family “dramedy” ONE TRUE THING. Perhaps because of his many years in front of the camera, Franklin is able to get expert work from the actors. Most of all he establishes a dreamy, everyday feeling to the proceedings. There’s no flashy effects work during some spell-casting scenes which somehow makes these occurences more magical. He is able to use some of his experiences in action flicks to give a scene of urgency to some of the altercations, especially in the showdowns with Tenorio. Franklin’s done most of his work for the small screen lately, so it’s great to see him doing great feature work again with this gentle tale of family and faith. This tender story makes us wish we grew up with someone as mystical, magical, and maternal as Ultima.

3.5 Out of 5 Stars