W

W: Oliver Stone has given us a surprisingly even-handed look at George W. Bush and the path that led him to the Whitehouse. As such, it will probably not please his detractors or his apologists. Stone shows us Bush’s early life as a happy-go-lucky frat boy, his numerous failed attempts to succeed at a job, and most importantly, his life-long struggle to measure up to his father’s expectations. While Stone includes some incidents that point out W’s inadequacies, he handles Bush’s conversion to born-again Christianity quite sympathetically. Is W a good movie? Howard Hawks once gave this definition a good movie: "Three great scenes. No bad scenes." W doesn’t have any bad scenes, but it doesn’t have any great scenes either. It just had a lot of mediocre scenes, so I guess it qualifies as a mediocre movie. The best scene for me is the one in which Bush and his advisors discuss whether or not to invade Iraq. It clearly presents the neo-cons empire-building dream: Total U.S. presence throughout the Middle East so that, in the words of Richard Dreyfuss as Dick Chenery, "No one will ever f—– with us again." The cast, however, is quite good, and some are outstanding. Josh Brolin is remarkable in his portrayal of GWB. He manages an uncanny resemblance to the President. Dreyfuss as Dick Cheney, and Scott Glenn as Donald Rumsfeld are both scary-good. Stone presents Cheney, Rumsfeld and Wolfowitz as the true axis of evil. We also liked Jeffrey Wright’s portrayal as Colin Powell. Condoleezza Rice (Thandie Newton) is dismissed as nothing more than a fawning acolyte at the alter of Geroge W. Bush. James Cromwell is impressive as George Herbert Walker Bush, and Ellyn Burstyn is a believable Barbara Bush. Elizabeth Banks, who looks a bit like Laura Bush, is relegated to playing the supporting wife. Leaving the theater, Gary remarked that the film illustrates the danger of having a not-too-bright president in charge of the country. Because we admired the acting, we can give this otherwise mediocre film a grade of B-. GRADE B-

WAITRESS: This movie is as delicious as the best pie you ever ate. Jenna (Keri Russell) makes magical pies for the pie diner in which she works, but her life is missing anything remotely magical. She is married to a controlling, abusive lout named Earl and she is unhappily pregnant. She is afraid that having a baby will make it impossible to ever get away from Earl. Her two fellow waitresses, Becky and Dawn, together with crabby Old Joe, who owns the diner and eats there every day, are her only friends. But then, she meets the new Ob-Gyn doctor in town, Dr Pomatter (Nathan Fillion), and finds so much more than just a friend. Waitress is a romantic comedy pie that is sweet and tart and irresistible, not unlike its heroine. Keri Russell, best remembered as Felicity from the TV show of the same name, is pitch perfect and totally delightful. Becky is wonderfully played by Cheryl Hines (TV‘s Curb Your Enthusiasm), and the film’s writer/director Adrienne Shelly is equally good as Dawn. Jeremy Sisto (TV’s Six Feet Under) is suitably loutish as Earl, and Andy Griffith is suitably crabby as Old Joe. I guarantee that you’ll walk away from this movie with a smile! A.O. Scott (New York Times) said that it isn’t a feel-good movie, "it’s just a movie that leaves you feeling good." Gary enjoyed Waitress, but not as much as I did. I think that, since he’s never been a mother or a daughter, he didn’t relate to the story as strongly as I did. For me, this is an A movie; Gary says B+. GRADE A/B+

The closing scene reminded Gary of a Charlie Chaplin movie, The Kid.

I wonder if it was Adrienne Shelly’s homage to the Little Tramp?

Tragically, Adrienne Shelley, who wrote, directed and acted in the film, died shortly after its release in what at first appeared to be a suicide but was later declared a murder.

WALK HARD: THE DEWEY COX STORY: John C. Reilly is tremendously talented. He is the reason to see this bio-pic spoof directed by Jake Kasden and written by Kasden and Judd Apatow (Knocked Up). The basic plot line is this: Dewey Cox overcomes many obstacles to become a musical legend. It’s obvious from the beginning that Dewey is a fictional character, and that’s where the comparison—mentioned by many critics—with the films of Christopher Guest breaks down. Guest’s movies are so subtle that in the case of his first film This Is Spinal Tap, many people came out of the film thinking that Spinal Tap was a real band. We realized after seeing Walk Hard, that we prefer the subtlety of a Guest spoof to the obvious satire of this film. Don’t get me wrong. It does have plenty of laughs and the musical numbers are especially amusing. Reilly has the ability to sing in any style with believable skill. There are also some very funny cameos by actors playing Buddy Holly, Elvis Presley, Paul McCartney, George Harrison and Ringo Starr among others. Reilly is onscreen for most of the film’s 96 minutes, aging from 14 to 71. Jenna Fischer is adorable as Darlene, the love of Dewey’s life, with direct parallels to June Carter and Johnny Cash. There are a lot of direct parallels in this film and recognizing them is part of the fun. Plus, in one of the final scenes, you get a glimpse of the real Temptations. But, both of us thought the film seemed a lot longer than the 96 minutes running time. We decided on a grade of B-, but realize that others may like it more than we did. GRADE B-

WALK THE LINE: We saw this film with my sister and brother-in-law and all four of us felt the movie suffered from not using Johnny Cash’s voice. Joaquin Phoenix did a fine job of representing the man in black, but we missed hearing the singer’s voice. Plus, Phoenix’s voice just wasn’t good or distinctive enough to warrant the acclaim that Cash got. Reese Witherspoon was perky and appealing as June Carter Cash, but she doesn’t sound at all like the singer. That, however, didn’t bother us as much as much. Walk The Line is an entertaining biopic, but for us it didn’t have the gravitas of Ray. The film about Ray Charles had broader canvas because it was written during the struggle for civil rights. And, we heard the real Ray Charles! Perhaps our expectations were too high and that increased our disappointment. In his review, Roger Ebert described the typical musical biopic: Hard times, obscurity, success, stardom, too much money, romantic adventures, drugs or booze, and then (if they survive) beating the addiction, finding love and reaching a more lasting stardom. That about says it. The difference, of course, is the music. In this case, the music didn’t do it for us. We all agreed this was a solid B movie, but not the A film we were anticipating. GRADE B

WALL-E: This film is a triumph of the animator’s art. WALL-E, the lead character, is a trash-compacting robot—the last one still working on earth. Within minutes, the audience falls in love with this dilapidated but adorable piece of machinery. We are totally engaged in watching him do his thing in a devastated city full of empty buildings and huge piles of compacted trash. WALL-E collects treasures from the trash, finds a cockroach buddy, and spends his downtime watching a video of Hello Dolly. He is a sweetly sentimental little robot. When a space ship deposits an egg-shaped robot named EVE, WALL-E is immediately smitten. We are told that the people of the earth left when the earth became uninhabitable. They live in luxury in a space station, and EVE has been sent from there to see if the Earth will sustain life. This first part of the film is enchanting, but, when the two robots leave for the space station, I felt some of the charm stayed behind. Mike LaSalle of the San Francisco Chronicle put it this way: For as long as it stays on Earth, "WALL-E" is a great film, and on its way to being one of the masterpieces of the decade. But then it leaves Earth, and, once it does, it goes into pedestrian territory. Oh, there’s still plenty of creativity and a few entertaining robots, but oddly, once people are introduced, the film loses some of its humanity. We did appreciate the homage paid to 2001: A Space Odyssey, and we liked the ecological message. Hope the message resonates with younger viewers. Andrew Stanton is the writer and director of what is certainly one of the best animated films of recent years. Still, it isn’t one of our favorite genres, and Gary would give it only a C+ for his enjoyment. I liked it better and think it deserves at least a B. I think those who are partial to animated films will probably give it an A. GRADE B/C+

WAR OF THE WORLDS: If you are a science fiction enthusiast, I think you will love this film. Perhaps Barbara passed this review to me because after nearly every science fiction film I see, I vow never to subject myself to another. But the flesh is weak, and at my age the memory is weaker. I was actually fascinated by the first third of the film. My fascination waned during the second third, and during the last third, I was silently pulling for the space aliens to finish the annihilation. In an uncharacteristic attempt at fairness, I have to say the film has a lot going for it. It is based on H.G.Wells’ science fiction classic, the incomparable Steven Spielberg directs it, and we can watch the always-attractive Tom Cruise make escaping extraterrestrials look plausible. Dakota Fanning can scream in terror with the best of them and, of course, Tim Robbins can handle about any acting assignment handed him. All in all, it is a good film if you like the genre . . .if not . . . not so much. GRADE C+

THE WAR ZONE: If you are looking for a few chuckles, I suggest you avoid this film. But, if you like rain, isolation, relentlessly dark scenes, dysfunctional families, teenage depression, and starkly realistic incest, this may be the film you have been waiting for. We wanted to see this film for two reasons. First, it is Tim Roth's directorial debut. We have always admired Roth's acting. Second, Roger Ebert placed this film among his top ten of 1999. 1 usually agree with Roger Ebert, but not this time. I'm afraid I would have trouble getting this film to the top of my bottom ten list. In fairness to the film, it is well acted and, given the demands of the script, very believable. If any of our readers would like to defend the merits of this film, we would be happy to include your comments in the Readers' Views section. GRADE: D

WATER: Water is the third in director Deepa Mehta’s political trilogy. The first two films were called Fire (1996) and Earth (1998), and, after seeing this beautiful film. we are anxious to see the first two. In Water, Mehta tells the story of India’s long-standing practice of shunning widows; of forcing them into group homes and forbidding them to remarry. The film is set in 1938, when a widow had three choices: throw herself on her husband’s pyre, marry her husband’s brother, or live the rest of her life in seclusion. It is an example of a policy of economic necessity masquerading as religious imperative. Although India has laws that permit widows to remarry, this tradition is still so prevalent today* that Mehta literally risked her life to make the picture. After Hindu fundamentalists destroyed her sets and threatened her life, she had to finish the film in neighboring Sri Lanka. As the story begins, we meet Chuyia, who is 8 years old. Her father tells her that her husband has died, although she can’t even remember being married. He takes her to an ashram where a group of widows provide for themselves by begging. She is befriended by a beautiful young widow named Kalyani. Although the widow who rules the ashram insists that widows remain virtuous, she sees no contradiction in prostituting Kalyani in order to earn money for the ashram. One day, Chuyia meets a handsome young man who eventually falls in love with Kalyani, upsetting just about everyone and leading to tragedy. Many of the scenes take place beside the Ganges (actually a river in Sri Lanka) where people go to pray, wash themselves, and cremate their dead loved ones. The New York Times critic called this film "exquisite." We agree. GRADE A-

*At the end of the film we are told that there are 34 million widows in India today, most of them living in abject poverty.

WE ARE MARSHALL: I can never resist a good sports story—especially one about football. Especially one based on true events. In 1971, a plane crash killed most of the Marshall University (Huntington West Virginia) football team along with all but one of its coaches. Four players were not on the plane: three because they were injured and one because he overslept. The University president, nicely played by David Strathairn, makes the difficult decision to continue the football program. He first asks Red Dawson, the one assistant coach who was not on the plane, to take over as head coach. Dawson wasn’t on the plane because at the last minute he volunteered to take over a recruiting trip for another coach. Matthew Fox (TC’s Lost) is excellent as Dawon, who declines to become head coach because he is suffering from survivor‘s guilt. Finding someone to coach a varsity football team with only four players proves to be impossible until Jack Lengyel (Matthew McConaughey) volunteers for the job. Critics have been divided on McConaughey’s performance. One thought he overacted to the point of chewing the scenery; another called his performance "comic." On the other hand, Richard Roeper thought it was McConaughey’s best role ever. Some critics seemed to forget that the actor is playing a real person—one who by all reports was a bit eccentric. Lengyel himself, who now lives in Sun City, AZ, was pleased with McConaughey’s performance, so we can assume it is an accurate portrayal. We also liked seeing Ian McShane as a father who cannot get over the loss of his son, and cannot bring himself to support the University football program. We enjoyed the performances and the story. Not the best football movie ever madebut an emotionally satisfying one. GRADE B.

WEDDING CRASHERS: It’s a formula plot but it has some winning performances, most notably from Owen Wilson, Vince Vaughn, and Rachel McAdams. John Beckwith (Wilson) and Jeremy Klein (Vaughn), are a pair of womanizers who crash weddings in order to take advantage of the romantic atmosphere and connect with vulnerable single guests. They are very good at it. Until John falls for Claire the sister of the bride at a celebrity wedding. Jeremy connects with another of the bride’s sisters at the same reception and finds he has more than he can handle. But Beckwith is in love, for the first time, and this puts a strain on the men’s friendship. Rachel McAdams is adorable as Claire Cleary. She is a brunette here and it so becomes her that she should never go back to her blond look. The two men are, by profession, divorce negotiators and the opening scene of them at work is very funny. The montage of the two men at various weddings went on a bit too long and I found myself hoping the movie had a plot and that it would unfold soon. (Gary doesn’t agree. He loved the montage.) At another point we were afraid the movie wouldn’t be able to sustain the laughs, but they managed to keep it funny and, at appropriate times, suitably serious. I’m a fan of both Wilson and Vaughn and they make a great couple here. Also appearing is Christopher Walken, wasted as Claire’s father, and Jane Seymour, sexy and funny as Claire’s mother. We were surprised to see Wil Ferrell is a small but amusing role. GRADE: Gary B+, Barb B

WE DON'T LIVE HERE ANYMORE: In this film we follow the lives of two unhappy couples: Jack and Terry (Mark Ruffalo and Laura Dern), and Hank and Edith (Peter Krause and Naomi Watts). Both Jack and Hank are teachers at a local Community College and are best friends. Terry and Edith are stay-at-home wives and mothers and they are also best friends. Predictably, the couples struggle with boredom in their lives and infidelity as an escape from that boredom. The problem with the script is that is played at one emotional level nearlly all the time. On the positive side, the acting is uniformly outstanding. All four actors seem to fit their roles perfectly. John Curran, the director, shows skill in the way that he affords us intimate glimpses into the lives of four people who are going through some sort of early mid-life crisis. It's all just a bit grim. As A.O. Scott of the New York Times said, "John Curran . . . is not inclined to rescue his characters with levity." We agree. But because of the fine acting, we are giving this gloomy story a B. GRADE B

WE OWN THE NIGHT: Based on the trailers I thought this was a 1940’s remake—good brother vs. bad brother starring Pat O’Brien and James Cagney. It did start out that way. Mark Walberg is the good brother, a Captain in the New York Police force. His father (Robert Duvall) is the Chief of Police. Joaquin Phoenix is the bad brother. He manages a Brooklyn nightclub, consorts with questionable characters, uses recreational drugs, and has a lusty relationship with his gorgeous girlfriend, Eva Mendes. The film is set in 1988 when the slogan, "We Own the Night," was painted on the sides of New York squad cars as a promise to reclaim the night streets from the drug lords. Not surprisingly, most of the scenes are shot at night. Unfortunately, many of the characters speak their lines in a soft mumble that makes it difficult for some viewers to catch all the words. Duvall is a notable exception. Even when he speaks softly, you can hear every word. We often find that films of this genre have plot elements that strain credulity and this film is no exception. However, the acting was fine—Phoenix was especially effective—and the story did provide a few new twists on an old theme. GRADE B

WE WERE SOLDIERS: This is another outstanding war movie. Like Black Hawk Down, We Were Soldiers tries to make the battle comprehensible, and it succeeds. Unlike BHD, WWS shows us scenes before the men leave for battle, which give us a change to identify with some of the soldiers. It also intersperses the battle scenes with scenes of the wives back on the army base and we see Moore's wife (Madeleine Stowe) delivering those dreaded Department of War telegrams. Both films are based on a true incident. This film tells of the first major battle between the Americans and the Viet Cong in 1965. That battle took place in the Ia Drang Valley, known as the Valley of Death. Lt. Col. Hal Moore (Mel Gibson) is the commanding officer who is ordered to take his 450 soldiers into battle against an enemy that numbered in the thousands. Almost half of Moore's men were killed, but he vowed to leave no one behind, and he didn't. Gibson is very good in the role of a battlefield commander who was known for the paternal bond he developed with his men. Chris Klein (Election) stands out as a dedicated soldier and Greg Kinnear adds a needed light touch with his role as a helicopter pilot. Sam Elliot is outstanding as an old-timer who fought with Moore in Korea. Barry Pepper is Joe Galloway, a reporter who began as an observer of the battle, but became a participant. Galloway and Moore wrote a book, We Were Soldiers Once...and Young that is the basis for the movie. According to Galloway, the end result is a movie that's "85 percent reality, 15 percent Hollywood." Moore says "Soldiers captures the battle, in all its intensity. It captures the love of soldiers for each other. And it certainly captures my grief. The film is horrifying to watch, and I did get a bit weary of all the unflinching violence and had to look away. There is a lot of blood and gore, so if that bothers you, you may want to skip this one. If you would like to see an accurate depiction of what Roger Ebert called "The curtain-raiser of a war in which American troops were better trained and better equipped, but outnumbered, out maneuvered and finally outlasted," then by all means, see We Were Soldiers. GRADE: Gary A-; Barbara B+

THE WEATHER MAN: The Studio is marketing this movie as a comedy, but that isn’t very accurate. There are some amusing moments, but this is really the story of a man who hasn’t lived up to his expectations. It’s the story of a man assessing his own life and finding it wanting. Although David Spritz (Nicholas Cage) is the weather man on a Chicago network TV channel and makes a salary well into the six figures, he believes he has fallen far short of his father’s (Michael Caine) illustrious career as a Pulitzer-prize-winning author. He doesn’t have a degree in meteorology, so he doesn’t predict the weather, he only reads it. Viewers passing him on the street and unhappy with the awful Chicago winter, throw food at him. What’s more, his personal life is in shambles. He is divorced from Noreen (Hope Davis), and she is seeing another man (Michael Rispoli). His son, Mike (Nicholas Hoult, About A Boy) is in rehab for smoking pot, and his pre-teen daughter is heavy and unhappy. It’s surprising that there are any amusing moments at all in a movie about a man who is depressed and unsatisfied with his life. Cage and Caine are both terrific and work well together, and Davis seems incapable of ever giving a less than excellent performance. In spite of the superior acting and the well-written script, the movie is a downer and we don’t think it will have much audience appeal. GRADE B-.

WHALE RIDER: We took grandson, Nathan, to this movie and he though it was just OK. "Too much chanting," he said. We liked it better, but not as much as we had hoped. It tells the story of Pai, a young Maori girl, who wants to be the leader of her tribe. She is the first born of the first born, etc., but she is a girl and Maori tradition says the leader must be the first male son. Her grandfather loves her, but cannot forgive the fact that she is female, even though she displays all the skills and intellect needed to become a leader. The title comes from the legend that the first leader rode on the back of a whale to lead his people to New Zealand. The film was written and directed by Niki Caro and was inspired by a novel by Witi Ihimaera. Pai is played by Keisha Castle-Huges and she is luminous. This is what Ebert, who loved the film, had to say: " I fear you might make a hasty judgment that you don't want to see a movie about a 12-year-old Maori girl who dreams of becoming the chief of her people. Sounds too ethnic, uplifting and feminist, right? The genius of the movie is the way it sidesteps all of the obvious cliches of the underlying story and makes itself fresh, observant, tough and genuinely moving." Gary says C+. I thought it was a fascinating look at a different culture struggling to keep tradition alive, so I give it a B. (Maybe it's the feminist in me.) GRADE: B/C+

WHAT JUST HAPPENED: If the life of a Hollywood producer is anywhere near as stressful as it is for Ben (Robert DeNiro), they all must be taking handfuls of pills daily! Ben has two ex-wives. Because of this, alimony and child support take a big bite out of his income. Now, his current film, titled Fiercely, is in danger of failing because the director refuses to re-cut the awful ending. What‘s more, the film he is about to start may be cancelled because its star, Bruce Willis, refuses to shave off his Santa Claus beard. Between picking up his various children for school, attending meetings with studio head Catherine Keener, attending therapy sessions with his most recent ex-wife (Robin Wright Penn), and answering his almost constantly ringing phone, Ben is stressed to the max. De Niro is at his best here, alternately funny and touching, and his performance carries the movie. Barry Levinson directed this insider’s look at what goes on in the movie business and it is frequently hilarious. It's also rather sad. Willis is amusing playing a prima donna movie star and John Turturro is hilarious as Willis’s frightened agent. . Rolling Stone’s Peter Travers called it an insider's take on the greed and vanity that make Tinseltown tick. Los Angeles Times reviewer, Carino Chocano, wrote: The movie is brilliant at portraying the incredibly high stakes of the seemingly inconsequential and the tremendous amounts of money spent on it. Another critic thought it was too much an insider movie to appeal to non-Hollywood people. We don’t agree with that critic. Gary says B+, I say B. GRADE B+/B

WHAT LIES BENEATH: This movie has its moments and they are scary. Unfortunately, the spaces between those moments are sometimes boring. It does, however, have Michelle Pfieffer and she is definitely worth watching. Harrison Ford is Pfieffer's husband. Our local critic loved this movie, but most of the other critics have been lukewarm. We always have trouble with ghost movies, and thought the final thrilling moments were a bit much. However, Robert Zemechkis (Forest Gump) did a capable job of directing, and the actors do their best to make the characters believable. If you enjoy a good scare, you might like this one. GRADE: C+

WHAT PLANET ARE YOU FROM?: Barbara asked me to review this film knowing that the best I can do is damn it with faint praise. I chuckled occasionally and found it rather amusing at times. I wanted to see the film because Mike Nichols directed it and it is filled with impressive players: Annette Bening, Ben Kingsley, Greg Kinnear, and Garry Shandling. Also I thought the trailer was excellent. Garry Shandling plays an alien sent to earth to impregnate a female earthling. The reasoning behind this leaves one scratching one's head, but suspension of reality testing is often called for in comedy. We did not fall asleep and we did not leave the theater feeling we had been cheated. GRADE : C

WHAT THE #$*! DO WE KNOW?! : O.K., it is a strange title, and I will even concede it is a strange film. But I guess a film dealing with quantum physics would have to be. It is a documentary and closer to an educational film than most films you have seen. There are a lot of brilliant talking heads and mind blowing special effects. Barbara and I expected to see this film in a nearly empty theater but were surprised to walk into a crowded theater near the Arizona State University campus. Apparently it has been doing quite well at film festivals. I would not have predicted this form a film dealing with quantum uncertainty, neurological processes, and altered perception that can alter "reality." I think I liked the film better than Barbara. She feels she can't recommend it, but I think you should take a chance if you have the opportunity to see it. The only familiar face you are likely to see in the film is that of Marlee Matlin, the hearing impaired actress from Children of a Lesser God (1986). GRADE B-/C

WHAT WOMEN WANT: Nick (Mel Gibson) is a talented Ad man and a world-class chauvinist pig. His reputation in the advertising field has been made by appealing to men's testosterone in order to sell products. If you want an Ad with a bikini-clad woman in it, Nick is your man. But the advertising world is changing and Nick's boss hires a hotshot woman to be creative director of the agency. Darcy (Helen Hunt) is fondly referred to in the Ad world as a man-eating bitch, and Nick is determined to get rid of her and claim the job he feels is rightfully his. Nick has never had any trouble talking a woman into bed, but he hasn't a clue how to have a relationship with one. Even his daughter says he behaves more like an uncle than like a father. His idea of charming the "girls" who work in his office is to tell them off-color jokes. In real life, he would have been brought up on sexual harassment charges years ago. That's the set-up and it's pretty good. Now comes the fantasy. In a very funny scene, Nick is accidentally electrocuted. He suffers no injuries, but a strange thing happens--he can now hear women think. At first, he hates his new power, then he realizes it can help him get his job back, and ultimately, he learns to be the kind of man every woman wants--the kind who truly listens and understands. Unfortunately, this part of the movie sinks under the weight of sentimentality. We both liked the way the opening of the film introduces us to Nick by letting us hear others talk about him. We also thought Gibson was unusually good. He manages to be believable in an unbelievable situation and this lighthearted role lets him exert his not inconsiderable charm. His dance number is delightful. I also thought he and Ashley Johnson, who plays his daughter, worked very well together. Their improving relationship is convincingly portrayed. Marisa Tomai is fun to watch and it's nice to see her get a decent part. Hunt is OK as Darcy, although I couldn't quite buy their relationship. Hunt has a very reserved demeanor and Gibson is much more ingratiating. She is cool and he is warm. It's hard to imagine them with a life together. There are some funny lines, though, and What Women Want makes for an enjoyable couple of hours. GRADE: B

WHATEVER WORKS: Whenever Woody Allen writes and directs a new film, Barb and I are usually interested enough to try it. Our Woody favorites include Annie Hall and Sweet & Lowdown. Although Whatever Works doesn’t reach that level of excellence, it did have a lot of laughs for us and we both give it higher marks than most of the professional critics. Larry David plays Boris Yellnikoff, a self-proclaimed genius and world class pessimist. It is not unlike the role he plays in his HBO series, Curb Your Enthusiasm. Unlike Woody’s annual film releases of the last five years which were set in Europe, this film returns to a familiar Manhattan setting. It is a romantic comedy that he originally wrote in the 1970’s for Zero Mostel but it was never produced. With a little rewriting and innovative casting (most Hollywood actors jump at a chance to be in a Woody Allen film) the stage is set for his signature one-liners, tongue-in-cheek philosophy, and his fascination with barely legal young women. The young woman, Melody, is played by the gifted and versatile Evan Rachel Wood (The Wrestler, Across The Universe). Here she plays a perky cheerleader type who finds herself homeless and hungry in New York. Acting honors also go to Patricia Clarkson who is a delight to watch playing Melody’s mother. Without giving away too much of the plot, Whatever Works builds to a warm-hearted and we thought satisfying finale. Many will avoid this film because they just don’t like Woody Allen. But in spite of his rocky personal life, we still enjoy many of his films and think this one deserves a look. GRADE B

WHEN DID YOU LAST SEE YOUR FATHER?: This is the story of a son who has difficulty relating to his father. It is based on a real life memoir by Blake Morrison who also participated in writing the screen play. Colin Firth is Blake and the always wonderful Jim Broadbent plays Arthur, his father. The elder Morrison was a doctor who was full of life and enthusiasm, so full that he frequently irritated and embarrassed his son. When Arthur is diagnosed with a terminal illness, Blake arrives to spend the remaining time with his parents. As he struggles to cope with his father’s imminent death, he remembers incidents from their past. We see Blake as a young boy and as a teenager. The film introduces a young actor, Michael Beard, who plays the teenaged Blake, and he perfectly captures a teenager’s frustration and annoyance with his exuberant parent. Juliet Stevenson is Blake’s mother and Gina McKee, so memorable in the BBC series The Forsythe Saga, is Blake’s wife. This is a touching story, but it is also very slow-moving. Too slow for Gary, who can’t give it more than C+. I am such an inveterate Colin Firth fan that I would watch him do almost anything. I was also very impressed with Broadbent, who manages to bring just the right touch of vulnerability to Arthur: You can understand Blake’s conflicted feelings but, in the end, you have great sympathy for both of them. GRADE B/C+

WHERE THE HEART IS: This is the kind of story that makes a better novel than a movie. There is absolutely no dramatic flow in this film: The episodes are totally unconnected, and much of the action seems totally unmotivated. I enjoyed the book even though it was a bit on the comy side. Because I already had a fondness for the characters, and because I enjoyed some of the episodes, I could go as high as a C-kind of a wobbly C I admit. Gary thought it was a case of worthwhile actors stuck in a worthless script, and feels his D+ is generous. We both like Natalie Portman and think she is going to be a big star, but agree she was wasted in this movie. We also liked Stockard Channing and Ashley Judd. Perhaps the movie could have benefited'trom a narrator. I had been looking forward to this film and it was a disappointment. GRADE: C-/D+

WHERE THE MONEY IS: This is a mediocre crime caper movie distinguished only by the presence of Paul Newman. He plays Henry, a career bank robber who got caught because a power failure trapped him in a bank vault. He feigns a stroke and is transferred from the prison hospital to a nursing home. Carol (Linda Fiorentino) becomes fascinated with him and convinced that he is play-acting the stroke victim. She tricks him into "waking up,' and convinces him to plan a job with her and her husband, Wayne (Dermot Mulroney.) None of this is as interesting as it sounds. Even the caper itself is lackluster. There are maybe two good scenes and too many boring ones. However, Newman's charm and Fiorentino's sultry appeal give this film what little oomph it has. Mulroney plays such a schmuck that it is not at all hard to imagine that Carol is more interested in Newman than she is in him. GRADE: C

WHIP IT: The critics on At The Movies agreed that the script for this first directing effort by Drew Barrymore consisted of "one familiar beat after another." But, in spite of the clichés, they enjoyed the film, mostly because of the "hangout factor:" they enjoyed hanging out with the talented cast. We agree that the cast is talented and that they seemed to be having fun making this coming of age film about a girl whose mother wants her to win beauty pageants while she would rather win at roller derby. I’m not much for beauty pageants, but I’m even less so for roller derby. Barrymore does a skillful job of filming this fast and frequently violent sport, but I don’t think I’ll become a fan anytime soon. Ellen Page is once again a high school student trying to find a place to fit in. Her character, Bliss, is not as articulate as her character in Juno, but she is just as likeable. Marcia Gay Harden and Daniel Stern are her parents, and Kristen Wiig, Drew Barrymore and Juliet Lewis play her hardcore roller derby teammates. I loved their names: Maggie Mayhem, Smashley Simpson and Iron Maven. One girl is named Bloody Holly and Bliss becomes Babe Ruthless, much to the eventual delight of her father. The names were the best thing about the roller derby. For us, the banal plot made it difficult to enjoy the movie, in spite of some excellent performances. We thought it was an unusual choice for Barrymore’s first directing outting. Hope she finds a better script next time. GRADE C+/C

WHITE OLEANDER: This is the story of the love/hate relationship between a daughter and her mother. And what a mother Michelle Pfeiffer is! Astrid describes her as "dangerous" and yet she says she never felt so safe as when she was with her. When Astrid's mother, Ingrid, is sent to prison for murdering her boyfriend, Astrid is forced to deal with a series of foster homes. Things do not go well. She is also forced to deal with the compelling hold that her mother has over her. The powerful performance of Alison Lohman in the role of Astrid makes this a movie to be reckoned with. We were totally engrossed in the story. Pfeiffer is stunning as an evil but charismatic woman, and Robin Wright Penn and Renee Zellweger were appealing as two of Astrid's flawed foster mothers. Patrick Fugit, from Almost Famous is a young man who befriends Astrid. Roger Ebert criticized the screenplay, but we rather liked it. I haven't read the popular novel on which it is based, but would be anxious to hear how the movie and the book compare from anyone who has. Peter Travers of Rolling Stone insultingly called the film an "estrogen overload." What is it with these male critics? They never object to testosterone overload. While we thought this was a good screenplay, it wasn't outstanding enough to deserve an A. GRADE: B+

WHO KILLED THE ELECTRIC CAR?: If you have a tendency toward low blood pressure, I highly recommend this documentary film as a therapeutic fix. Actually, I highly recommend it anyway. It is the sad story of how and why a highly efficient and dearly loved (by its users) automobile was not only pulled out of production, but totally shredded and sent to a dirty grave as if someone wanted to erase a chapter in automotive history. In the early 1990’s much of the nation, but especially California, was choking to death in their own automobile emissions. The California Air Resources Board (CARB) adopted a Zero-Emission Vehicle mandate pressuring auto companies to produce working exhaust-free cars. The demand of CARB seemed modest: 2% of all new cars sold in California would be exhaust-free by 1998. GM responded with the EV1, a car that had incredible acceleration and speed and required only recharging to keep running. It was quiet and clean and produced a lot of happy drivers. The cars also threatened to cut into the profits from the gas guzzling polluting cars, So the auto companies sued California and won. Since all the EV1s were leased, they could be legally recalled and destroyed even though satisfied customers and fans wanted desperately to buy them. This is an issue-oriented documentary, as was Al Gore’s Inconvenient Truth. If you have the opportunity, I think you will be well rewarded to work it in. GRADE B+

THE WHOLE NINE YARDS: There are some laughs in this comedy about a mafia hit man and his next door neighbor. Most of the laughs come from the physical comedy skills of Matthew Perry who plays Oz Oseransky, a dentist trapped in a terrible marriage. Bruce Willis is Jimmy Tudeski, a contract killer who informed on his mob bosses and is hiding out in a Montreal suburb, next door to Oz. This is a typical Willis role, and he is quite good. Rosanna Arquette, who plays Mrs. Oseransky is perfectly awful. Her attempt at a French-Canadian accent is ludicrous. Amanda Peet is Jill, the receptionist in Oseransky's dentist office. She is a contract killer wannabe, and is thrilled to learn that Jimmy the Tulip has come to town. She, too, provides a lot of the laughs. Michael Clarke Duncan, an Oscar nominee for The Green Mile also appears. There is a little nudity and a lot of killing. I thought it was rather amusing for a mediocre movie. Gary liked it better because it made him laugh a lot. In fact if someone better than Arguette had played Perry's wife, he might have rated it even higher. GRADE: C+/B-

WILD WEST COMEDY SHOW: In September, 2005, Vince Vaughn loaded four stand-up comics into a bus and set off on an unprecedented 30 day comedy tour. They traveled over 6,000 miles and performed 30 shows on 30 consecutive nights in 30 cities from Hollywood to the Heatland. In the documentary, Vaughn plays host and also performs improvisational sketches with surprise celebrity and musical guests. (Dwight Yoakam is one of the guests.) If you enjoy stand-up comedy you will definitely enjoy this film. We thought it was funny and interesting, and, at times, rather touching. In between snippets of the stand-up routines, we got glimpses of the comics off-stage, interacting with fans, with their families and with each other. We saw their anxiety before, and sometimes after, performances and learned how and why they became comedians. The troupe was in the South at the time of Hurricane Katrina and donated the proceeds from several of their shows to the Katrina Relief Fund. One of the most interesting off-stage events was their visit to a Katrina relief camp, where they distributed free tickets to that night’s show. The four comics featured are Ahmed Ahmed, who turns his airport experiences into humor; Sebastian Maniscalco, who left his day job as a waiter to go on the tour; Bret Ernst, who is a bundle of energy and especially good at physical comedy; and John Caparulo, who we thought was the funniest of the four, in spite of his proclivity for four-letter words. In fact, if four-letter words offend you, perhaps you’d better skip this one. GRADE B+

WIMBLEDON: I'm partial to movies with a sports background and I also like romantic comedies so, when the two genres are combined, I have high expectations. Wimbledon more than met those expectations. Even though I don't play tennis, I enjoyed experiencing the Wimbledon atmosphere, and both Gary and I thought the tennis playing looked authentic. Peter Colt (Paul Bettany) is a fading British tennis star, currently ranked 119 in the world standings. He is a wild card player in the famous tournament and plans to retire after his last match. Lizzie Bradbury (Kirsten Dunst) is a hot young American star. They meet "cute" and it doesn't take long to see they were made for each other. Bettany and Dunst make a most appealing couple. The comedy is provided by Colt's unorthodox family and by Jon Favreau who is Peter's former agent. The script is literate and smart and the director keeps it light and entertaining throughout. Bettany must have played tennis because he looked good to us when serving and volleying on the Wimbledon grass courts. He is surely one of the most charming actors working today. He was memorable as Russel Crowe's imaginary friend in A Beautiful Mind, and as the surgeon in Master and Commander. He also impressed us in Dogville. He is a most versatile and talented actor. Sam Neill appears as Lizzie's dad. GRADE B+

WIDOW OF SAINT-PIERRE: Most critics have raved about this somber morality tale. We agree that it is expertly made, but it didn't rate very high on our "enjoyment meter." The story is set in 1849. The wonderful Juliette Binoche is Madame La; her husband (Daniel Auteuil) is a Captain in the military and is in charge of the garrison on a French island off Newfoundland. When Neel Auguste (Emir Kusturica) is sentenced to death by guillotine he is remanded to the garrison prison. There is a problem, though. His execution cannot be carried out because there is neither executioner nor guillotine on the island. It is many months before the death machine can be sent by ship to Saint-Pierre, and during that time, Auguste becomes a protégé of Madame La. She puts him to work in her garden and loans his services out to various townspeople. He actually becomes a productive and valued member of the community and gains the sympathy of most of the community. This is the classic argument against capital punishment: After many months, the man you execute is a different person from the man who committed the crime. Love until death is the second theme of this movie and Madame La and her adoring husband exemplify that theme. In an interesting note, "widow" was slang for the guillotine. The movie plays like a classic novel, and there is no Hollywood ending here. I suspect that some of you will like this one better than we did. GRADE: C+

THE WOMEN: In 1939 George Cukor brought The Women, a play by Claire Booth Luce, to the screen. It starred such Hollywood luminaries as Norma Shearer, Joan Crawford, Rosalind Russell, Paulette Goddard and Joan Fontaine. It was remarkable for its day because no men appeared in the film. It was all women, and all about women. It was catty and bitchy and lots of fun. Diane English, creator of TV’s Murphy Brown, has spent over 13 years bringing her updated version to the screen. Unfortunately, the story is a bit of a mess. It doesn’t have the rapid-fire pace of the original, and English is not successful in creating characters that are compelling. The basic story is the same: Nice rich woman (Meg Ryan) finds out her husband is having an affair with a sexy slut. She handles it with help from her friends (Annette Benning, Debra Messing & Jade Pinkett Smith). We both liked Candice Bergen (Murphy Brown), who plays Ryan’s mother. The other women were all OK, but except for Debra Messing, none was particularly amusing. And Meg Ryan’s shaggy curly locks make my fingers itch for a comb! Gary liked it better than he expected to, but would give it only a C. (He was one of three men in the theatre when we saw it on a Sunday afternoon.) The women in the audience seemed to enjoy it and laughed frequently. We laughed occasionally. I say B-. GRADE B-/C+

WONDER BOYS: What does a dead dog have in common with a jacket once worn by Marily Monroe? Not much, except that they are both plot elements in this goofy but very amusing comedy. Wonder Boys is based on a 1995 novel of the same name by Michael Chabon, and it was directed by Curtis Hanson who scored big with his first film, L.A. Confidential. Michael Douglas, looking scruffy and laid back, is Grady Tripp, an English professor who wrote a best-selling novel seven years ago, but hasn't produced anything since. Toby McGuire (The Cider House Rules) is James Lear, the most promising student in Grady's writing class. He is also the weirdest. The two of them have a weekend adventure that is indescribable. Frances McDormand is the chancellor of the University and Grady's lover, while Richard Thomas is her husband, the head of the English Department and the owner of the aforementioned dog and jacket. Robert Downey appears as Grady's editor. The script is literate, unpredictable, and totally entertaining. The characters are quirky and yet completely believable. GRADE: A-

THE WOODSMAN: It takes courage to make a film about a pedophile and to make him sympathetic. To play that character is a challenge for an actor. Kevin Bacon lives up to the challenge in this disturbing film. His is Walter, a man recently released from prison after spending 12 years incarcerated for molesting young girls. The only apartment he is able to rent is, ironically, across the street from a grammar school. Walter is shut down emotionally, afraid of his urges. He asks his therapist, "Will I ever be normal?" To Walter, "normal" is being able to see young girls and not have the urge to do wrong. Walter is befriended by Vickie, a co-worker (Kyra Sedwick). His only other friend seems to be his brother-in-law (Benjamin Bratt). Walter’s sister refuses to see him. He is visited frequently by a hostile police officer (Mos Def). Watching Walter watch the children in the schoolyard is unsettling. When he follows a young girl, we fear the worst. Statistics are against a man like Walter changing, but when Vickie says to him, "I see something good in you," we hope that she is right. This is not for those who want a good time at the movies. The Woodsman is difficult to watch, but we think it handles a difficult subject with skill and sensitivity. It is the first film directed by Nicole Kassell, who wrote the screenplay together with Steven Fechter, based on his play. GRADE B

WORLD TRADE CENTER: Oliver Stone tells the story of two Port Authority Policemen trapped in an elevator shaft in the concourse of the World Trade Center on September 11, 2001. There is no conspiracy theory here and no politics; just an amazing story of a day in which the world saw both incomparable evil and unparalleled heroism. It is the true story of John McLoughlin and William Jimeno, two of the last survivors extracted from Ground Zero and the rescuers who never gave up. As usual, Stone can be a bit heavy-handed but the film really worked for us. We both thought it was incredibly moving. It brought back the horror and the patriotic response we all felt that day. Nicholas Cage (McLoughlin) and Michael Pena (Jimeno) spend most of the film pinned under debris, unable to move and desperate to stay alive. Now that’s acting! Oliver Stone cuts away from the trapped men to show us the agony their families are going through. We liked both Maria Bellow and Maggie Gyllenhaal as their two wives. Oliver Stone cuts away from the trapped men to show us the agony their families are going through. Stone goes a bit over the top when it comes to the character of David Karnes, the Marine who found the two trapped men. He gives him an uncharacteristic and overly melodramatic line, but after all, it’s Oliver Stone. He likes his emotion a bit overwrought. That didn’t spoil the film for us. We think it’s worth a B+. GRADE B+

THE WORLD’S FASTEST INDIAN: (2005 release) I liked nearly everything about this film except the title. Although technically appropriate and certainly cleaver, I’m afraid the title misled many to miss this little gem of a movie. The Indian referred to in the title is a 1920 Indian motorcycle that was lovingly modified over the next few decades by Burt Munro, a New Zealander who still holds a world speed record. Burt Munro, a legend in New Zealand, is brilliantly played by Anthony Hopkins who is also a legend in his field. In the year 1967 at the age of 68, Burt competed against riders four decades younger, while using an ancient Indian held together with spare parts and mechanical genius. But the film isn’t only about racing. It is a heart-warming story of an immensely likeable man played by an immensely likeable actor. I liked the film marginally more than Barbara, but we both highly recommend it. GRADE A-/B+

THE WRESTLER: Barbara and I agree that Mickey Rourke delivers a memorable portrayal of a burnt-out 1980s-era professional wrestler that will probably earn him an Oscar nomination. But since I liked the film marginally better than she did, I earned the honor of writing our views. Rourke plays Randy "The Ram" Robinson, a man on the downward slope of a professional career that had a few high points in the distant past. Many in the movie business said the same about Rourke, but I hope this film will turn heads and open up a better future in the industry for this talented man. No matter how well you remember him from films like Diner (1982), 9 ½ Weeks (1986), or Barfly (1987, you will find it nearly impossible to find that skinny boy’s body inside the mass of old muscle playing "The Ram." Nearly as impressive in her role as an aging stripper is Marisa Tomei who won an Oscar for her wonderful role in My Cousin Vinny (1992). Tomei is 44 and I guess that would be considered old in the "exotic dancing" profession, but I have to say she still looks pretty terrific. The wrestler gives us a glimpse behind the scenes of Professional Wrestling, but ultimately it is a character study and to me a fascinating one. The high expectations we carried with us into this 1¾ hour independent film may have slightly lowered our final grade, but we still think it earns: GRADE B+/A-