AWCH Film Reviews -- March 2006

(Rita PS) Opening March 2, 2006

Sobering, chilling and confusing, but a masterpiece. Philip Seymour Hoffman, the actors’ actor, has done it again. His portrayal of Truman Capote is so perfect it is scary. At every turn Seymour Hoffman has Capote’s combination of innocence, neediness and duplicity down pat. The voice, the femininity, the affectations are all there. Catherine Keener is wonderful as Capote’s colleague, friend and adult-in-residence Harper Lee. Clifton Collins is a revelation as Perry Smith, the beautiful embryonic artist turned murderer, abetted by Mark Pellegrino, as the simple and raunchy Dick Hickock. Oscar winner Chris Cooper confirms his status as one of the best supporting actors of his generation.

The film examines the events that gave birth to Capote’s non-fiction novel In Cold Blood. We go from Capote’s New York City world of jazz, alcohol- and nicotine-fueled parties to a laconic and barren Kansas. We are looking for Capote’s next masterpiece while witnessing the investigation into the senseless murder of the unlucky Clutter family. What we get is a powerful story that asks, “How far should a writer or artist go in pursuit of success?” Through the course of his interviews with Perry Smith over several years, Capote met his low class doppelgänger, and the alternative he saw was not pretty. Yet he kept his incipient love in check and focused only on the prize – a best-seller. It is telling that Capote never published another book after spending six years on In Cold Blood and died in an alcoholic stupor many years later. Not a cheerful film but an excellent film worth seeing. If only to understand the repercussions of getting everything you always wanted as a writer.

(Karen P) Opening March 2, 2006

Award-winning director Terrence Malick attempts to give us yet another version of the love story of John Smith (Colin Farrell) and Pocahontas (Q’Orianka Kilcher). And like every narrative with an angle, Malick presents a "new world" of thought rather than in word. His attempt to create a mood for "lost in translation" worked with a script no one could write home about, literally. However, Malick’s slow-moving interpretation of two worlds colliding in the 17th century among the Native Americans and the English settlers is told through incredible cinematography. Since Pocahontas was such a significant part of the peace that developed between the two groups, naturally Malick goes after her story through imagery because she had to learn a different language and a different culture. The love story of John Smith and Pocahontas exposes an interesting side of innocence to relationship building which is somewhat childlike, full of inquiry and wonderment. Aside from the cinematography, the entry of character John Rolfe (Christian Bale) was my saving grace for this two and a half hour sit. Also, curious to learn more about his character, I did some research and thoroughly enjoyed brushing up on my history. But, many aspects of Malick’s version of the historical narrative were disturbing to me because I had not thought about the accounting in the same manner. And often the sequences were out of order, which appeared to be more of a technical issue of the film, but, hey, the producers promised a three hour version to appear on screen in summer 2006. Oh, won’t that be grand: an even longer version of very little script.

(Adele R) Opening March 2, 2006

Requiem is a film “inspired” by the story of Anneliese Michel, who died in 1976 at the age of 23 after experiencing a weekly ritual of exorcisms for over a year. She weighed 31 kilos at her death, and her mental condition had evolved into extreme manifestations of psychosis. Whether or not you believe she was truly possessed by the spirits of Lucifer, or prefer a more scientific explanation, is up to you, but this is not a horror film like The Exorcist or The Exorcism of Emily Rose.

The director, Hans Christian Schmidt, and author, Bernd Lange, concentrated on that part of Michel’s life which led up to the exorcisms, whereby the details, dialogues, and relationships in the movie are entirely fictitious. Nonetheless, they did retain certain facts. Like Anneliese Michel, the character of Michaela Klinger (Sandra Hüller) had been suffering from an increasingly bizarre form of epilepsy since she was 16. Now at 20 she is eagerly preparing to be a student at the University of Tübingen, a world apart from her strict Catholic family and small Bavarian village. But her epilepsy attacks cannot be controlled by the medication she has been taking and evolve into even more freakish forms. The doctors are no help, and she cannot find solace in her religion. The pull of the free, uninhibited student life of the early 70s which surrounds her is in direct contrast to her carefully guarded, Catholic upbringing. Her battle to keep some sort of balance in her life is failing. Her mother, (Imogen Kogge) – who makes Mommie Dearest look like Mother Teresa – is uncomprehending and unforgiving, and Michaela’s desperation is painful to watch. Her patient and loving suitor, Stephan (Nicholas Reinke), and her strongly supportive friend, Hanna (Anna Blomeier), cannot save her.

Sandra Hüller gives a luminous performance in her first feature role and fully deserves the Silver Bear for Best Actress awarded her this year at the Berlinale. The film is an affecting exploration of a mental and physical breakdown and the utter powerlessness of medicine and religion, even the love of family and friends, to deter the disaster.

(Kirsten G) Opening March 2, 2006

Underworld was a surprise international hit in 2003 for director Len Wiseman and lead actors Kate Beckinsale (The Aviator) and Scott Speedman (xXx). As a result, we now have Underworld: Evolution, a sequel that picks up right where Underworld left off and explores more of the back story of the blood feud between vampires and Lycans (werewolves) that exists in the shadows of 21st century Europe. After murdering the leader of her clan, vampire Selene (Beckinsale) is now on the run with lover Michael (Speedman), a vampire-Lycan hybrid, from both her fellow vampires and the Lycans. Her only hope is to find and wake Marcus (Tony Curran), the only remaining elder in her clan, in hopes that he can help her. But Marcus has an agenda of his own – to find and free his brother William, the first of the Lycans, which would have terrible consequences for humanity.

Underworld: Evolution is filled with more of the same elements from the original Underworld – brooding visuals, blood-soaked battles, and Beckinsale in a skin-tight leather bodysuit. However, the plot is very convoluted, meaning that only real devotees of the original film will be able to easily understand who’s who and what’s going on. The action sequences are a little more original this time around, but that’s the only improvement. Despite the presence of top-rate British actors Bill Nighy and Sir Derek Jacobi, this Underworld is de-volution, not an evolution, from the original.

(Osanna V) Opening March 2, 2006

This movie stars Nicolas Cage, Michael Caine, Nicholas Hoult (About a Boy), and was directed by Gore Verbinski.

If The Weather Man was a weather forecast, it would be predicting overcast skies, monotonous drizzle and the kind of cold humidity that really gets into the bones; and, in spite of the movie’s message that the weather is, in fact, unpredictable whether you’re a trained meteorologist or not, this forecast would be totally accurate. Well, maybe I did forget the rays of weak sun that breaks through the cloud cover towards the end; or maybe I completely missed an ingenious satire on the American Dream. I was not alone, however; more than one person was asleep and others left the cinema.

This is Nicolas Cage (David Spritz in the film) in his typecast role of pathetic, uninspired and unsympathetic whatever, with no apparent excuse for his depressed outlook, foul language and, at times, violent behaviour. The brief moments when he appears on TV giving the weather forecast, actually show that he is capable of playing a friendly, everyday kind of Joe. This is also Michael Caine doing another failed American accent. He plays Spritz’s father, a Pulitzer Prize-winning author dying of lymphoma; yet he is incapable of preventing the working-class, cockney lilt he’s renowned for from slipping through.

It’s unfortunate that Nicholas Hoult’s follow up to About a Boy should be in a movie that will be so easily forgotten. As Spritz’s son, the young actor did put on a competent performance.

(Kirsten G) Opening March 9, 2006

Academy Award-winning director Ang Lee (Crouching Tiger, Hidden Dragon) has achieved something rare with his latest film, Brokeback Mountain: he has crafted an unusual, powerful love story that just happens to be about two men. Based on the short story by Pulitzer Prize-winning author Annie Proulx, Mountain first introduces us to cowboys Ennis (Heath Ledger) and Jack (Jake Gyllenhaal) as they wait outside a trailer hoping to secure a job for the summer of 1963. They are hired by rancher Aguirre (Randy Quaid) to herd sheep on beautiful but desolate Brokeback Mountain. In this isolated setting, their relationship progresses from camaraderie to friendship to real intimacy, but soon the summer ends and they must leave each other. Each eventually marries – Ennis to his sweetheart Alma (Michelle Williams) and Jack to rodeo queen Lureen (Anne Hathaway) – and has a family, but they never forget each other. When Jack gets in touch with Ennis four years after they parted on Brokeback, they decide to meet again, resulting in the first of many unexpected consequences . . .

Many of the media stories prior to the release Mountain have referred to it as the “gay cowboy film”, which is unfortunate because that label really shortchanges this film. Although Mountain obviously addresses issues about homosexuality and, especially, its non-acceptance by the small town folks living in the American West in the 60s, 70s and 80s, at its core this film is about intimacy, fidelity, commitment, and trust – regardless of gender or sexual orientation. While Mountain does not shy away from the physical aspects of Ennis and Jack’s relationship, it also doesn’t overdo it; the focus is more on how being forced to live a lie affects every aspect of the men’s lives. Ledger and Gyllenhaal are excellent in these challenging roles, deftly combining cowboy machismo with a touching vulnerability. Williams and Hathaway are also very believable as wives who know that something is missing from their marriages but who are unable to determine exactly what. My only complaint with the film was its rather slow pacing, but the beautiful Canadian landscapes (standing in for Wyoming and Texas) and excellent soundtrack helped make up for the occasional lack of action. Overall, Brokeback Mountain may cause you to re-examine your stereotypes, but be aware that it also may break your heart in the process.

(Shauna K) Opening March 9, 2006

In Last Holiday meek Georgia Byrd (Queen Latifah), a sales clerk in a Louisiana department store is suddenly diagnosed with a terminal illness and given only four weeks to live. Upon reflecting on her past and paging through a scrapbook in which she has pasted pictures of her dreams, her book of possibilities as she calls it, she suddenly realizes that she has been letting life pass her by. So, in order to make up for lost time and realize a few of her dreams in the short amount of time she has left, she quits her job, withdraws her life’s savings from the bank and hops on an airplane to Prague. For the first time in her life money is no object, and she experiences Europe in style, by flying first class and staying in the most expensive suite at the exclusive Hotel Pupp. She also braves extreme sports for the first time in her life; after all, what does she have to lose? Georgia lives life to the fullest and with confidence. Dying gives her a new outlook on life and she amazes and inspires everyone she meets, including the hotel’s master chef, Didier (Gerard Depardieu), Louisiana Senator Dillings (Giancarlo Esposito), the owner of her former workplace, Matthew Kragen (Timothy Hutton), the guy she has had a secret crush on for years, Sean Matthews (LL Cool J) and even the crotchety old housekeeper of the hotel, Ms. Gunther (Susan Kellerman). Not only does Georgia finally learn to live, but everyone else around her does as well.

Despite Georgia’s terminal illness, Last Holiday is not the least bit macabre but rather light, fun, and funny. Queen Latifah is perfect in the role of Georgia and keeps the audience laughing and smiling throughout the film. And although it is not atypical for an American comedy, and not of award caliber, Last Holiday is definitely very enjoyable and worth seeing. I, and indeed the rest of the audience as well, left the theatre smiling and merry. Last Holiday is a feel good movie, Queen Latifah style.

(Shauna K) Opening March 16, 2006

Much to his parents' chagrin, 35 year old Tripp (Matthew McConaughey) not only still lives at home, but also has no intention of leaving the nest. Finally Mom (Kathy Bates) and Dad (Terry Bradshaw) call in a professional for help. Paula (Sarah Jessica Parker) has what she believes is the perfect step by step method, which involves her getting the said man to fall in love with her, for convincing a man to move out on his own. But Paula meets her match when she meets Tripp.

While Sarah Jessica Parker’s performance as Paula isn’t bad, it didn’t strike me as being particularly convincing either. MathhewMcConaughey, however, couldn’t be more believable in the role of Tripp. And Kathy Bates is wonderful as his mother. All three, and indeed the rest of the cast as well, do keep the audience laughing throughout the film. And I personally believe I laughed more during this film than I have in any other film in years. The story line is not entirely realistic and there isn’t a deep message or a clever commentary on society, but the film is a comedy, so this is ok. What a comedy should be is funny. And Failure to Launch, directed by Tom Dey, quite simply, is hilarious.

(Mary W) Opening March 16, 2006

Bree (Felicity Huffman) is anxiously looking forward to her operation that will finally make her body into the woman that in her heart she already is. A week before the operation, she receives a call from Toby (Kevin Zegers), who is in juvenile detention in New York, looking for his father Stanley. Bree hastily explains that there is no Stanley at that number and hangs up. Before Bree has her operation, however, she must have the approval of her therapist. She reluctantly tells her therapist about the call and is advised that the operation will be cancelled unless and until Bree comes to terms with her past, which includes meeting the son she/he didn’t know he fathered. Bree realizes that she must fly to New York and meet Toby or risk another year long wait for her operation.

When Bree meets Toby at the juvenile detention center, he mistakes her for a Christian missionary. She does nothing to dissuade him. Toby explains that he wants to travel to Los Angeles to become a porn star. Bree offers to take him there, not telling him that they will stop by his stepfather’s house on the way. The stop at Toby’s former home ends in disaster, and the two reluctantly continue their trip together to L.A. The long trip covers much more than just miles as Bree/Stanley and Toby learn about each other. After being robbed by a hitchhiker, the pair seeks refuge at Bree’s home, where her Christian parents are less than welcoming until they realize that Toby is their grandson.

The outstanding performances of Felicity Huffman and Kevin Zegers drive your emotions as you experience with them the wrong turns they both make until they find the rocky way forward together, which results in a terrific film about unconditional love, understanding and acceptance.

(Mary W) Opening March 16, 2006

In V for Vendetta, a touch of love and murderous revenge are woven through this political thriller directed by James McTeigue. Based on the graphic novel by David Lloyd and Alan Moore, the time is a futuristic totalitarian Britain. A mysterious man in black, whose identity is hidden behind the hideous grin of a Guy Fawkes’ mask, comes to the rescue of Evey (Natalie Portman) who is caught outdoors after curfew by two police now known as Fingermen who want to have their way with her. V (Hugo Weaving) vanquishes the villains leaving Evey intrigued. Thus begins the relationship between V, who seeks to free the people of England from a fascist government and Evey, an orphan of political activism. But V is also on a very personal mission to wreak vengeance on those who imprisoned, tortured and maimed him during a government experiment. As he eliminates his former captors one by one, V furthers his efforts to blow up Parliament which he believes symbolizes the present tyranny. His plan is inspired by Guy Fawkes, who in 1605 was caught in a tunnel beneath Parliament with 36 barrels of gunpowder. There are lots of amusing, not so subtle references to current political issues, such as news reports on the downfall of the United States precipitated by the disastrous war in Iraq. View the video to verify victory for the villains or vigilante V.

(Karen P) Opening March 23, 2006

…To be a winner, you have got to feel the earth tremble underneath your feet …was the beginning of a poem that Cale Crane (Dekota Fanning) heard her grand-pop Crane (Kris Kristofferson) recite many times when they talked about the art of understanding a race horse. Cale is the second generation of a famous Kentuckian family of horse trainers by the last name of Crane. Down on their luck, the Crane family has lost most of their estate. They have had to revert to working for neighboring wealthy horse-racing families just to pay the bills. Cale loves to be with her dad and jumps at every chance she gets to watch him in action. Ben Crane (Kurt Russell) is getting a very special horse, Sonya, ready to race, but at a nice and slow pace which is not fast enough for Ben’s boss, Palmer (David Morse). Palmer insists on racing their prize horse. Against his better judgment, Ben obeys his boss and allows it, even though he knows the horse is telling him she is not ready to race on an unstable leg. Sonya does not finish the race, and Palmer blames Ben for the tragedy and wants the horse shot on the spot. Cale is observing the whole interaction between her dad and his boss. Ben knows of Cale’s affection for the horse, so he avoids making the decision about the abrupt ending of Sonya until later. For this, Ben is fired and stuck with seriously injured horse.

Based on events of a true story, Dreamer tells the story of how a broken family and their crippled horse choose to pull together to be a family again with big dreams. Everyone wants a winner, but only a few know the art and sacrifice to winning.

(Shauna K) Opening March 23, 2006

Jerry Shepherd (Paul Walker), Antarctic guide and dog lover, lives and works in one of the harshest environments on Earth. When his boss Dr. Andy Harrison (Gerard Plunkett) asks him to take a scientist who is in search of a one of a kind meteorite to an even remoter part of the continent, he hesitates due to it being late in the season and the ice being thin. The only way to make the trip is by dog sled, and even then it is risky. Jerry and the doctor do make and survive the trip, though just barely and just before the biggest Antarctic storm in decades strikes. They are immediately med-evacuated to not nearby McMurdo station. Jerry at first refuses to leave his dogs, which are his life, behind, but gives in when his pilot and friend Katie (Moon Bloodgood) promises a return flight for them. Katie is unable to keep this promise and soon nearly everyone, including Jerry, is evacuated off Antarctica due to the ever-intensifying storm. While Jerry, in the USA, tries to come to grips with having abandoned his dogs, Max, Maya, Shorty, Dewey, Truman, Shadow, Buck, and Old Jack fight for survival alone on Antarctica.

Eight Below is truly a beautiful tale of survival in the wilderness. And while Paul Walker’s and the rest of the cast’s performance, including Jason Biggs as the goofy Charlie Cooper, aren’t bad, the dogs definitely steal the show. Their training, performance, and expression of emotion, though maybe a bit humanized at times, is absolutely amazing. In addition, the scenery is breathtaking and the viewer gets a peek at what life at the bottom of the world may be like. Equally amazing is that Eight Below is based on a true story. Despite the corny perfectly timed shooting stars that streak across the screen from time to time, I was astonished every time the number of days that the dogs had been alone appeared at the bottom of the screen. But being that this film is Walt Disney, don’t expect adult language, sex, schemes, or violence. It is without doubt a family film. Eight Below, though not without adventure and peril, is a fantastic, albeit clean, film that both children and adults, and especially dog lovers, will enjoy.

(Osanna V) Opening March 23, 2006

Spike Lee directs Denzel Washington, Clive Owen, Jodie Foster, Christopher Plummer and Willem Dafoe in a film about a clever bank robbery.

Dalton Russell (Clive Owen – though his face is covered most of the time) is about to commit the perfect robbery. “Why?” he is asked right at the beginning of the movie. “Because I can,” he answers.

That it is a perfect robbery is true, but the reason behind it is much more complex. Of course, it's also perfect because it's a movie. While some of the strategy is quite ingenious (like dressing all the hostages in painter overalls, white masks covering half their faces and dark glasses, exactly like the robbers themselves), other details do need to be overlooked for credulity.

The story is straight forward enough: a bunch of masked men and women take over a bank, including about 30 hostages. The police arrive on the scene within minutes and cordon off the whole area. Detective Keith Frazier (Denzel Washington) is brought in to negotiate and begins to establish a relationship with Russell. As time passes, however, Frazier realises that Russell's demands are not only excessive, they are totally impractical for a viable escape. It becomes clear that Russell is stalling. What is his purpose? Madaline White (Jodie Foster) is sent in by the owner of the bank (played by Christopher Plummer) to further negotiate. She discovers a whole new dimension to the robbery, but is not going to share it with the very frustrated Frazier; but the viewer does begin to get an inkling. Finally, Russell provokes a showdown and the SWAT team moves in. All the hostages are freed; but how, among close to 40 people all dressed the same, to know who truly was a hostage and who is just posing? In the end, what's more, no money appears to have been taken; so has a crime really been committed? This is the question the chief of police asks Frazier, suggesting he put his energy into other, more important cases. Frazier can not let go and continues to investigate, which makes sense because, as the viewer knows, Russell committed the perfect robbery. The final question is, what did he rob and how did he get away with it?

Inside Man is a fun movie, in spite of the questionable holes – small, but holes none the less – in the story. One has to wonder about the purpose of Jodie Foster in the movie; it is not crucial and, if anything, adds further confusion. On the other hand, it also leads to the viewer getting a background idea into what is going on, giving them an advantage over Washington's character most of the time. Then again, was that necessary? Whatever, it's an entertaining couple of hours, with actors who practise their craft well.

(Adele R) Opening March 23, 2006

Germany has a talented new filmmaker: Florian Henckel von Donnersmarck, and this film, his first, has just won the Bavarian Film Prize for the Best Actor (Ulrich Mühe), Best Script and Most Promising Director (von Donnersmarck) as well as the seal “Especially Worthwhile” for the film.

Von Donnersmarck delivers the story of life in the former DDR but, unlike its predecessor Good Bye Lenin, this is no comedy. The film explores, without inhibition or moral confusion, exactly how devastating the unrelenting surveillance of a police state is to the lives of the people who must live under such regimes. From those who spy to those who are spied upon – and that covered nearly everyone in East Germany – the consequences are devastating. The film is a suspenseful thriller, a poignant love story, and a searching and affecting psychological portrayal of its main characters.

The Stasi captain, Gerd Wiesler (Mühe), is assigned to spy on a successful playwright, Georg Dreymann (Sebastian Koch) and his companion, the actress Christa-Maria Sieland (Martina Gedeck of Bella Martha, who is brilliant). Wiesler thinks at first it will be a boost to his career, but his ambitions change as he witnesses the love and trust between Georg and Christa and the group of artists around them.

The film’s beginning, first an interrogation and then a school for Stasi spys, seems staged and implausible, but then the film takes on detail and a gripping intensity that turns the stomach (especially in light of the NSA’s eavesdropping activities in the USA these days). Von Donnersmarck spent eight years researching his film in the Stasi archives in Berlin, and Ulrich Mühe, who grew up in Saxony under the repressive regime, remarked in the press notes that, in his opinion, none of the film is the least bit exaggerated. It is a chilling revelation.

(Mary W) Opening March 23, 2006

Macho man Bo Laramie (Cole Hauser), a good ole boy from Wyoming, has just made his first successful action film and is rocketed into instant superstar status. Along for the ride, his wife Abby (Robin Tunney) and six year-old son Zach (Blake Michael Bryan) are a bit shell-shocked from all the attention, but they are excited about their new, perfect Hollywood life until the paparazzi set their sights on the Laramie family.

At first just annoying, four relentless paparazzi, led by Rex Harper (Tom Sizemore) begin to disrupt every aspect of Laramie family daily life. Ugly stories alleging adultery and worse dominate the front pages of tabloids, making it impossible for Abby to even take Zach grocery shopping. When Bo strikes back at Rex, he ends up being charged and sentenced to anger management classes. Then Rex and three of his buddies decide to make their own personal fortunes off photos of the Laramies. They begin with a car chase which results in a crash reminiscent of the tragic accident that killed Princess Diana. While Zach lies in a coma and Abby recovers from her injuries, fate in the form of a motorcycle accident gives Bo the chance for justice.

The characters in this film are refreshingly real, and although similar stories have been told many times before, the ways in which Bo capitalizes on his personal skills and tips from a sympathetic cop (Dennis Farina) constantly surprise and entertain. Cameo appearances from Mel Gibson, Vince Vaughn and Matthew McConaughey add a bit of star power to a quirky, funny film that doesn't need celebrity to make this one a hit!

(Jenny M) Opening March 23, 2006

This is Julian Fellowes’ first movie since his Oscar-winning script for Gosford Park. He has written as well as directed this film, which once again concerns Britain’s upper classes, though this time the setting is the present. This enthralling film is about rich people in posh homes not being exempt from human frailty. Given the subject matter, it is no hardship to watch the story play out in beautiful homes. London lawyer James Manning (beautifully played by Tom Wilkinson) is an upstanding member of the community who is faced with a moral dilemma. His integrity crumbles when self-interest makes him protect his wife Anne (Emily Watson) from facing up to the responsibility of her actions. Anne is aided by Bill (Rupert Everett) who plays an upper class layabout to perfection. The acting in this movie is superb and so is the writing. You’ll enjoy Separate Lies, and you’ll enjoy thinking about the problems it highlights. You may even ask yourself what you would do in circumstances similar to those which James has to face.

(Becky T) Opening March 30, 2006

Attilio (Roberto Benigni) is a poet and university professor whose book, The Tiger and the Snow, is symbolic of Attilio’s undying, unrequited love for Vittoria (very beautiful Nicoletta Braschi). This is love “pure as snow and wild as a tiger” to quote Benigni who also directs. Vittoria accompanies Iraqi poet Fuad (Jean Reno) to Baghdad to write a book. Attilio learns that Vittoria is lying wounded in a hospital in this war-torn country and this is where the fairy tale begins. By magic Attilio shows up in Baghdad, procures the correct medicine, spends time in a U.S. prison and saves Vittoria without her ever knowing it. It’s a perfect fantasy as long as you are willing to go along with the incongruities. I’m still not convinced that Vittoria actually existed or that Attilio went anywhere except in his imagination. Any normal person would have stayed home and made do with beautiful Nancy who loves him.

The photography and colors are pleasing; there is a minimum of nice music played at the right times, especially a new song by Tom Waits, who makes a cameo appearance, called You can Never Hold Back Spring. There are humorous scenes, e.g., Attilio loaded down with medical supplies and looking like a suicide bomber. There are parallels to Benigni’s biggest success, Life is Beautiful; for example in both films Benigni’s character refuses to admit reality, creating a perfect world for himself and his loved ones. But a little bit of Benigni goes a long way; he gibbers constantly (in Italian with German subtitles), all the time nervously hopping around, until I thought I would go mad. He is much more effective in smaller roles, like those he made with Jim Jarmusch, e.g., Coffee and Cigarettes, Down by Law, or Night on Earth. Loyal fans or Italians might disagree; see for yourself.

(Patricia R) Opening March 30, 2006

The Cuban born Spanish film director Benito Zambrano has created his second feature length film, the first being Solas, about his beloved Cuba, where he received his degree in film making. Understanding that the energy and passion of Cuba is shown best through its music, he has created a format to show the new Cuban music scene – an energetic mix of samba, salsa and blues.

“I couldn’t possibly deal with a story that would be a vague criticism of Cuban reality.....I felt like writing a story which was based on concrete reality and then expanded it into issues as universal as possible, and entertaining at the same time,” states Zambrano.

Through the personal story of struggling musicians Ruy and Tito, the difficult issues of emigration, family, separating and the different responsibilites of men and women are explored. While preparing for an upcoming concert, Ruy and Tito learn that Spanish producers are in Cuba looking for new talent – it could be the chance of their lifetime to leave the island and obtain worldwide recognition. But at what personal costs to both of them and their families?

The scenes of normal Cuban life may be more familiar to Europeans than to Americans, as Americans are still living under a strict embargo and cannot legally enter Cuba. Cuba's baseball team presently cannot even receive visas to attend the World Baseball playoffs in Puerto Rico, a territory of the U.S. It is a special privilege to be given a glimpse of the real Cuban scene today – young and vibrant, with the raw edge of frustration. Ruy and Tito ride in a 1954 red Chevy convertible, selling straw hats and cigarettes to tourists, and dream of being discovered and going to Spain, while Tito’s wife Caridad beads necklaces for extra cash and dreams of escaping with her children to Florida. But their love for the island, the music and for their friends and families is strong and difficult to leave behind.

Benito Zambrano has painted a fresh picture of the real Cuba, one that is often easily stereotyped. A touching story with almost two hours of great music – Cuba libre!!