AWCH Film Reviews -- November 2006

(Becky T) Opening November 2, 2006

Journalist Borat travels to New York from his home, Kuczek, Kazakhstan, to learn things of benefit to his country, such as “beautiful womens, democracy and porno.” Upon arrival, Borat experiences a subway and an elevator for the first time. He interviews a panel of feminists. However, the lure of meeting Pamela Anderson causes him to set off for California in an ice cream truck, after taking driving lessons. Accompanied by his producer Azamat Bagatov, he traverses Washington, D.C., Virginia, Texas, Oklahoma, South Carolina, etc. Along the way he speaks pidgin English with an Eastern European accent to Americans in an etiquette class, a gay pride parade, an antique shop (where he breaks many things), a fraternity, etc. He opens a rodeo in Salem, Virginia, by singing the Kazakhstan national anthem to the tune of the Star Spangeled Banner.

Borat is a character created by Sacha Baron Cohen of Da Ali G Show fame. He is totally outrageous from coast to coast always leading people on to reveal their “racism, anti-Semitism, misogyny, jingoism and hypocrisy” as accurately listed in the press information. Cohen stays in character and his victims never realize that they are the butt of the joke. This is just as funny as Da Ali G Show, except that the jokes become repetitious in the end. Possibly he is best in short skits; a lot of Borat goes a long way. I can imagine that Cohen (and possibly Michael Moore) will soon become too well-known, making it impossible to talk to people incognito in order to elicit idiotic remarks. How did he manage to release the film without being arrested or sued by everyone in it? And how much is real and how much is contrived? He is assisted by Larry Charles (Seinfeld) and Jay Roach (Austin Powers films).

(Osanna V) Opening November 2, 2006

Sofia Coppola (Lost in Translation, Virgin Suicides) directs Kirsten Dunst (Spiderman) in this portrayal of the possibly misunderstood Austrian princess who became Dauphine of France at the age of 14. The film is based on Antonia Fraser's biography Marie Antoinette:The Journey. While it's impossible to complain about the exquisite details of the costumes, sets and extravagant accessories, it is very easy to complain about virtually everything else in this movie. The overbearing and irritating music (an erratic mixture of grunge, badly sung pop, 18 th century period, and a lost piano solo somewhere between jazz and I'm not sure what) is the first thing to hit the viewer/listener. Next comes the most boring set of opening credits I've seen in a long time; until Kirsten Dunst's name appeared I thought the wrong movie was being projected. As for the story, how it unfolds and is presented, it brought to mind the most unimaginative history lesson you could want to sit through. A lot of facts, hammered home in case you missed the point: I think we saw Louis and Marie Antoinette get into bed and go to sleep without consummating their marriage at least a dozen times. The same for the number of times we see Louis go hunting. The extensive collection of Marie's shoes might have been less boring, but the 25 or so pairs flash by so quickly there is hardly a chance to appreciate them!

I guess the intention was to portray Marie Antoinette as a victim of circumstance. At a fairly young age, she has to leave her beloved Austria and, for the good of political alliance, marry the heir to the French throne. Her timid husband has obviously not been told anything about the birds and the bees (in spite of the obviously promiscuous society he lives in), and Marie Antoinette not only has to suffer the disdain of the court, but also her mother's letters implying it's all the young girl's fault: with her beauty and youth she should, after all, be able to charm her own husband. It takes seven years and some friendly advice from Marie Antoinette's brother for Louis to finally to get the point. We sigh with relief when the couple finally produces a daughter. There is joy in the court, and harmony seems to embrace family life; but for some unexplained reason Marie Antoinette goes off to live at the Petit Trianon and has an affair. It is totally unclear if the son born later – and cheerfully acknowledged as the new 'Dauphin de France' – is actually Louis's son. Then there was a third child... but it died. And so it continues as the country falls bankrupt from financing the extravagant court life and the American war. Finally, the hungry populace revolts, storms the Bastille, and the Royal family is taken away in the middle of the night.

(Nancy T) Opening November 2, 2006

A lot of English is spoken in this German documentary from multitalented director/actor/saxophonist/painter Julian Benedikt. Alongside listening, it is fascinating to watch the concentration of a jazz artist making his/her music. We see musician after musician performing 30 to 40 years ago and again today. While interesting, this repetitive “then and now” approach is not enough to carry the film. Compare this to Benedikt’s 1996 award -winning film Blue Note - A Story of Modern Jazz, about the two Jewish Berliners, Alfred Lion and Francis Wolff, who after emigrating to New York in 1938 formed the famed record label in the same year! Play.. is more a history of jazz, treating this music as the Ken Burns’ films treat it. as something from the past. What about the scene today? Hardly a mention of the new young, thriving European jazz scene. (You can sample jazz yourself when a mix of Americans and Europeans play in Nancy’s Galerie on the Planten un Blomen side of the Dammtor Bahnhof every Friday from 22:00-1:00.)

(Karen P) Opening November 2, 2006

In The Santa Clause 3, the awarding-winning Emmy director, Michael Lembeck, teams up with Walt Disney Studios as they zoom into part three of the life and times of Santa (Tim Allen) and Mrs. Clause (Elizabeth Mitchell). Santa’s head elf in toy operations, Curtis (Spencer Breslin) observes that Santa is having trouble coping with the normal day-to-day work load. He is concerned because December 24 is just around the corner and Santa, of all people, needs to be in full form. Curtis calls an emergency council meeting of the Legendary Fantasy Figures: Mother Nature (Aisah Tyler), Father Time (Peter Boyle), Easter Bunny (Jay Thomas), Cupid (Kevin Pollak), Tooth Fairy (Art La Fleur) and Sandman (Michael Dorn), looking for help. He pleads with them to come to the North Pole to observe Santa’s crisis. Curtis hopes that they will offer some solutions about relieving the pressure caused by the oncoming Christmas rush, the imminent arrival of baby Clause, and a family crisis brought on by the in-laws. Santa is in denial of his undue stress but agrees to pass on some of the work load to his dear friends on the legendary fantasy council. The most annoying member, Jack Frost (Martin Short), has Santa-envy and secretly devises a plan to convert Santa’s world to Frosty’s world. The adventure begins when Frosty mesmerizes everyone connected with Santa into declaring him unfit for the profession of Santa Claus. Frosty sabotages the “clause” in Santa’s mission. The wonderful life of Santa and the magical secrets of the North Pole are in danger of disappearing. With the magic in her snow globe, Santa’s step daughter, Lucy (Liliana Mumy), puts the thaw on Frosty’s attempt to keep his cold chill on the Christmas spirit forever, thus giving us another heart-warmer for the season.

(Adele R) Opening November 2, 2006

Snow Cake is one of those rare movies where all the parts come together perfectly to make a small masterpiece. The acting from every member of the cast is superb and Sigourney Weaver and Alan Rickman give performances that are so nuanced and intelligent that you are awed by how perfectly they hit the mark. The script delivers in many ways: great dialogue throughout the film (including the interchanges between Vivienne ( Emily Hampshire) and Alex Rickman; compassion and humor, not pathos, and a loving portrayal of an autistic woman which will stay with you for a long time.

Alex is a taciturn, fiercely reserved Brit on a journey to Winnipeg in the Canadian winter. When he stops for a meal in a diner and a young woman asks to sit at his table, he is visibly annoyed. She’s a cheerful, bouncy type who wants to talk and, sensing a deep sadness behind his closed face, wants especially to get him to talk. She also wants a ride. Eventually, but reluctantly, he takes her along with him but as she climbs into the SUV he tells her he has just gotten out of jail for killing a man. She hesitates for an instant but then gets in the car, and as the ride progresses, he warms, ever so slightly, to Vivienne’s childlike charm, and off-beat insights into the human psyche. They stop for a crossing and suddenly a semi-trailer ploughs into the car and Vivienne is killed.

Alex climbs out of the wreck unharmed. Wretched with survivor guilt, he decides to visit Vivienne’s mother in the absurdly-named town of Wawa. He is shocked to find Linda (Weaver) although informed of her daughter’s death, seemingly unaffected. Very quickly though, Alex realizes that something is not “right” with Linda, and discovering that she is alone and that her parents cannot be reached for a day or two, he acquiesces to her insistence (motivated by her need to have someone to take out the garbage on Tuesday--Vivienne’s job) to stay with her. It is only the next day that he is able to make better sense of her bizarre behaviour when he learns from a neighbour that Linda is autistic.

Alex’s own story, his love affair with Maggie (Carrie-Ann Moss), Linda’s neighbour, his growing closeness to the wonderful person who is Linda, and Linda herself, are the heart of the movie.

Angela Pell , the script writer, based her knowledge of autism on her own experiences with her seven-year-old son and Weaver researched her role among autistic women and sought advice from doctors and psychologists. Director, Marc Evans, has created a gem of a film with compassion and respect for the feelings of its characters and a light hand which leaves the outcomes of the interwoven stories undefined but full of hope and love.

(Trish F) Opening November 9, 2006

Adapted from P.D. James' novel The Children of Men, Academy Award nominated filmmaker Alfonso Cuarón creates a chilling look at a mere 20 year leap in the future, of a world on the brink of extinction. Due to 19 years of world-wide infertility, man is rapidly losing both vision and hope for their future. Within this bleak setting of evolving chaos, violence and a world-wide refugee crisis, Theo (Clive Owen), whose native England has turned into a militarized imperialist state, immediately captures his countrymen’s sense of malaise in his daily mission to blur the immediate horrors with a bottle of bourbon. Instantly life spins on a dime, as Theo is abducted and forced to face a blast from his past, that of his one-time-love and activist partner Julian (Julianne Moore), now the head of a covert group fighting for civil rights - in particular those of the repressed refugee population. One refugee in particular, the young Fugi woman Kee (Clare-Hope Ashitey), turns everyone's world upside down, and especially brings life and hope back to both Theo and all others that enter her path to freedom.

Cuarón's third film, and second English language picture, is one that tackles some meaty themes: personal relationships, political strife, trust, betrayal and numerous others. Although the sci-fi nature of the picture is apparent, the films story revolves around strong humanistic themes. This is the type of picture, one wishes would never come to an end. It is visually and intellectually full and thus fulfilling. The acting is top notch, and all other cinematic details are superb. Most of all, it is uplifting to see someone rooting for the good that is still left in mankind....even in 2006!!!

(Becky T) Opening November 9, 2006

In this bland comedy, a mean power broker Max Skinner (Russell Crowe) drives to the south of France to inspect a villa and adjacent vineyards which he inherited from his deceased uncle Henry (Albert Finney). Over the years, he had lost contact with the old man who was a deciding influence in his life (according to film flashbacks of Max’s youth). Nostalgic memories, as well as small predicaments, e.g., being imprisoned in a dry swimming pool, cause him to extend his stay. In the end he gives up plans to sell off the old heap; Max mellows and becomes a gentleman farmer. He settles down among the grapes with loyal friends such as his surprise illegitimate cousin Christie from California (Abbie Cornish), a now curvy childhood friend Fanny (Marion Cotillard), as well as Francis and Ludivine Duflot the couple which runs the place. Even his real estate agent Charlie succumbs to the sirens of the sunlit hills. Directed by Ridley Scott, this is not a typical Scott/Crowe film. I suspect that it was an excuse for Scott to spend a tax-deductible vacation in the Province where he has property. I also suspect that it was a favour to Scott’s old friend Peter Mayles, who wrote the book of the same title, a follow-up to his other successful books about the area such as A Year in Province. A Good Year (for wine, of course) is a good film for anyone who wishes to enjoy scenes of a real chateau called La Canorgue set in gorgeous Côtes du Luberon without having to strain even one brain cell.

(Adele R) Opening November 9, 2006

We are familiar with the dreadful scenes from countless movies on the Holocaust. The round-up at before dawn; the transport to Auschwitz or other concentration camps with hundreds jammed into cattle cars without water, food, any sanitation except a bucket or protection from the heat in summer, the bitter cold in winter; the desperate need for hope against all odds. Yet the images still shock--the horror never eases no matter how obvious or familiar the script because it is all too vivid in our minds and nightmares. This really happened, we can never forget that, and it imbues even a mediocre film with seat-gripping intensity.

As it happens, Der Letzte Zug is not a bad film. It is predictable, and none of the events comes as a surprise. But it portrays the hope along with heart-rending despair and the mostly useless escape attempts which bind you to the characters. The actors, especially the father (Gideon Burkhard as Henry Neuman) and nine-year old daughter (Lena Beyerling as Nina) are excellent. The families chosen to represent 688 desperate Jews on that horrific six day journey from Berlin to Auschwitz in 1943 are fictional composites drawn from eye-witness accounts and fashioned into a workable script by Stephen Glantz. The film is well directed by Dana Vávrová and Joseph Vilsmaier The footage in the cattle car was shot with hand-held cameras and the elaborate choreography necessary to film so many people pressed together in that small space must have been mind-boggling.

I fear that the wish of the producer, Alfred Brauner (who also wrote the story the script is based on), that the film will draw crowds into the cinemas, will not be realized. The awful truth is that the audience for films about the Holocaust is disappearing and the seemingly impossible concept that this period of history might someday be relativized, belittled or actually ignored or forgotten becomes more likely as the stories become almost too familiar and the need to bear witness, if only as a movie-goer, feels less urgent.

(Becky T) Opening November 16, 2006

Ray (Declan Donnelly) and Gary (Anthony McPartlin) fly from England to the U.S. to investigate material about the life of Elvis. They return home with material about a mysterious autopsy of an alien in Roswell, New Mexico, USA – mysterious because the U.S. military has kept the info under wraps since 1947 and only the former photographer, now an old man, could sell them a spare copy of the film. Surprisingly they didn’t buy the Brooklyn Bridge, because anyone could sell Ray and Gary anything; there is nothing on film, specifically not any autopsy of any alien. Their reputation is on the line. They make a counterfeit version of the event, good enough to fool millions of people when their “top secret” was leaked in 1995. This is supposedly a true story. Whether you believe it or not (I didn’t), it is fun to see them set up the “alien” under wraps in the kitchen, don space suits for the “operation,” and watch granny interrupt the filming to pass out cookies. This is a comical film about amateurs making a film, comical if you like British humor. I can imagine director Jonny Campbell sitting with his cohorts over beer and peanuts, discussing weird characters, such as a crazy art dealer (Götz Otto), and writing a script for 13-year-old boys who will probably be the most enthusiastic viewers.

(Becky T) Opening November 16, 2006

We experience 24 hours in the pitiful lives of poor white American teenagers. Joe has volunteered for the Armed Forces, although his father died in Viet Nam. His girlfriend Valerie has reserved Phil to keep her warm in Joe’s absence. Phil needs $2000 for a drug deal. Terry sleeps her way to a real job. Steve buys a gun to shoot his abusive father. All come together at Joe’s going-away party. In the end, five are dead or hospitalized. No one has learned from mistakes or shows any promise of a bright future. They will muddle on until despondent old age. Probably the most interesting fact is that the director is a young German from Kassel: Holger Ernst. He filmed in the U.S. with relatively unknown American actors speaking English (Joe Petrilla, Nicole, Vicius, Robin Taylor, Julianne Michelle). I found the film to be an exceedingly arrogant German take on Americans. He lived there 1992-94, but only delivers clichés, such as putting the trappings of Christianity into the homes (church, pictures of Christ) and having everyone smoke and say fuck. Why not make a similar but more truthful film about teenagers in his own country, perhaps in Hamburg or Berlin? In the end, it’s all been said much better before, such as in the film 11:14. Herr Ernst should think about making soap operas.

(Karen P) Opening November 16, 2006

The Last Kiss from director Tony Goldwyn and Paul Haggis, (wrote screenplay for Oscar best pictures L.A. Crash and Million Dollar Baby) is an adaptation from the Italian film, L’Ultimo bacio, which portrays life experience where reality bites. Michael (Zach Braff) and Jenna (Jacinda Barrett) appear to be the ideal young professional couple and the envy of their friends. They represent an image of stability and happiness until the shock of Jenna’s pregnancy puts Michael into a personal identity crisis. He freaks out and turns into a run-away-bridegroom! To avoid his anxiety relating to the commitment of marriage, parenting, and sacrificing oneself for the good of the other, Michael chooses to join his very immature friends on the wild side of life, seeking to satisfy fantasies which Jenna never knew existed. One passionate kiss turns Michael’s innocence into a nightmare. Consumed with guilt, Michael turns to Jenna’s father, Stephen (Tom Wilkinson), a man who is weathered by storms of his own. Stephen lovingly helps Michael deal with the consequences caused by selfish choices – the treatment that brings Michael one step closer to maturity. This is not a happy end narrative but it seeks to portray the reality and the tragedy of many modern day romances.

(Karen P) Opening November 16, 2006

The latest Woody Allen film Scoop, actually puts the word “fun” into a good murder mystery. Yes, it is really quite funny and a nice change from his predictable neurosis dramas. The intriguing but light-hearted development of the plot could be associated with similar mystery series from Nancy Drew or Agatha Christy. The delightful and capricious story was complimented with exceptional acting performances that genuinely warm the heart.

A renowned British news reporter, Joe Strombel (Ian McShane), mysteriously kicks the bucket while covering the story of the “taro card” killer. Strombel’s findings were to be exposed shortly before his death and would have incriminated high ranking British dignitaries and revealed the killer. Sondra Pranksy (Scarlett Johansson), an American student of journalism visits friends from London during the investigation of Strombel’s death but is unaware of the story’s importance. Sondra attends a magic show with her girlfriend and is called out of the audience to participate in magician, Sid Waterman’s (Allen), missing person act. She agrees to be put into the magic box and while she is missing from the audience, Strombel’s ghost appears. He gives her the last thread of evidence he had needed to connect tycoon, Peter Lyman (Hugh Jackman), to the murders. Sondra reappears before the audience, all out of sorts, but with the Scoop that London is waiting for and the dream story which will make her famous. Two unlikely detectives, Sid and Sondra, take us on a wild goose chase as they become entangled partners in order to solve the mystery of London’s taro card killer.

(Rita PS) Opening November 16, 2006

Someone said youth is wasted on the young. In this case notable comedic talents are wasted on director Ivan Reitman’s attempt at a screwball comedy.

Hollywood “boyfriend” extraordinaire Luke Wilson looking pudgy and tired lacks his usual luster. No wonder his Matt Saunders can’t pull any NYC babes. So instead like many of our colleagues, he whiles away the hours designing interiors for Asian clients. Matt has a secret crush on a cute colleague (Anna Faris) but wouldn’t dream of taking on a girl dating a male model. So instead we get stuck with the usual male bonding gripes and tales of women in and out of bed courtesy of Matt’s sex-crazed buddy, Rainn Wilson. Enter the quintessential neurotic art gallerist Jenny Johnson (Uma Thurman) who moonlights as G-Girl. Think Wonderwoman with a private shopping account at Bergdorf Goodman and Barney’s. She just wants to feel like a super natural woman.

Through the usual serendipity, Matt and Jenny “meet cute” and reveal that psycho girlfriends with glasses are powerful sex artists who just cannot take “no” for an answer and that men want women that are all sex but no commitment. Just to keep the story going, Jenny gets a nemesis in the shape of English comedian Eddie Izzard. He’s a real treat as the neurotic nerd on steroids and Jenny’s abandoned paramour, Professor Bedlam. All in all the film is nice to look at: NYC in the fall; fantastic apartments; and great if over the top outfits for G-Girl. We even get a new standard for the ultimate sexual bang. However, with such a cast Mr. Reitman should put them to work and produced a more original comedy for our times of confused gender roles and expectations.

(Becky T) Opening November 16, 2006

This German comedy features Til Schweiger as Fred, a construction worker who wishes to impress his snooty girlfriend Mara. He pretends to be handicapped in order to win a basketball for her fat, obnoxious son. Fred’s best friend and co-worker Alex (Jürgen Vogel) is an accomplice and pushes the wheel chair. Fred wins the prize, but attracts the attention of the press; journalist Denise is wild to include him in a documentary about the handicapped. As a result, he must freeze in the role of a speechless, spastic person and live in a home for the handicapped among other unfortunates, including ambitious Ronnie, who is not fooled and threatens to expose Fred’s deceit. There are complications as Mara’s parents, as well as a fictitious twin brother get involved. Schweiger perfectly plays a stud labourer and fool. Either this comes naturally to him, or he is truly a good actor. Vogel is also excellent, probably The Actor of the Year having also just appeared in Der Freie Wille and Ein Freund von Mir. The real Berlin Albatross basketball team throws the winning ball. The original script was written by Americans Cinco Paul and Ken Daurio and I could imagine it starring Adam Sandler or Eddie Murphy. In the end the Germans picked it up for director Anno Saul who made the successfully funny Kebab Connection. I have no proof, but I can well imagine that this film, which pokes fun at handicapped people, was too politically incorrect for the USA. Germans in my audience laughed at the slapstick and at such sentences as “You don’t look handicapped enough,” all the way through and I’ll admit, I had couldn’t resist a smile sometimes.

(Shauna K) Opening November 23, 2006

When slacker Bartleby Gaines (Justin Long) realizes he’s been rejected from every college he applied to, he has his friend Sherman (Jonah Hill) create a website for a fake college in order to save face with his parents. Sherman’s fully functional website not only fools Bartleby’s parents, but also fools and sends acceptance letters to a whole incoming freshman class of students. Accepted, a comedy obviously inspired by the classic high school and college films Animal House, Ferris Bueller’s Day Off and Revenge of the Nerds has funny moments and even a message, but yet is only mediocre at best.

(Osanna V) Opening November 23, 2006

Sony Pictures Releasing presents Daniel Craig (Love is the Devil,Tomb Raider) as 007,

James Bond, in a remake of Casino Royale, based on Ian Fleming's first Bond novel and directed by Martin Campbell (GoldenEye, The Mask of Zorro). Eva Green ( Kingdom of Heaven) plays Vesper Lynd, and for the fifth time Dame Judi Dench (Iris, Shakespeare in Love, Mrs. Henderson Presents) takes on the role of “M”. Le Chiffre, Bond's creepy opponent across the poker table, is played by Mads Mikkelsen. The entertaining script was put together by Neal Purvis, Robert Wade and Academy Award winner Paul Haggis ( L.A. Crash, Million Dollar Baby).

James Bond – only recently elevated to the 00 status with a licence to kill – is on the trail of Le Chiffre, an international criminal who has specialized in laundering and banking money for terrorist organizations. Le Chiffre has a weakness, however: poker and playing shady games on the stock exchange. When his elaborately laid plan to make a fortune on the market is foiled by Bond, the gambler loses millions of his clients' money, which he desperately needs to recuperate if he wants to stay alive. Le Chiffre's solution is to set up a high-stakes poker game at the Casino Royale: ten players, each bringing 10 to 15 million dollars to the table.

M16 sends Bond to take part in the game. The idea is to keep Le Chiffre from winning and being able to further support terrorist actions around the world. To keep a close eye on the government's money and to ensure it is not recklessly gambled away, Bond is accompanied by the beautiful and intelligent accountant, Vesper Lynd. The two fence cleverly with words at their first encounter, each defending their position and protecting themselves from closer involvement; however, when the action gets intense and their lives are on the line, they are irresistibly drawn together...

It's good to be able to say that this Bond movie is not just more of the same. Instead of the opening sequences with incredible stunts in cars, boats or aeroplanes, we have a Bond who is very physical, running, climbing, leaping, hands on tackling, getting beaten up and surviving through it all, if somewhat worse for the wear. Daniel Craig is more reminiscent of Sean Connery in the early days, than the more elegant Roger Moore and Pierce Brosnan of later Bond films. Even with his clothes on, he's physically convincing as a secret agent, and with eyes as blue as his, it's not hard to believe he can charm most women. The script is amusing and clever, and Bond's character has a development which, according to Craig, is much closer to the original character of Fleming's books.

(Mary W) Opening November 23, 2006

Set in Spain, in 1792 the high council of the Catholic Church is considering whether to take action against an artist, Francisco Goya (Stellan Skarsgard) for his etchings which depict prostitution, sex abuse, witchcraft and satirical critiques of the clergy. Brother Lorenzo (Javier Bardem) suggests that the pictures illustrate current events and rather than punish the artist, the Church should return to the Inquisition to out Jews, witches and Protestants. The scene switches to Goya painting Ines (Natalie Portman), the lovely 16-year-old daughter of a rich merchant.

Later, Ines dines with friends in a tavern. She looks at a roasted piglet and refuses to eat it. Members of the Inquisition take note, assume she is in fact a Jew and request her presence for questioning. She appears voluntarily and is totally mystified as to why the Church is interested in what she ate for dinner and why she doesn’t like pork. Refusing to admit she is a Jew, they put her to The Question. While hanging naked from her wrists, she screams for her torturers to just tell her what the truth is so she can be set free, thus confessing to being a Jew. She is thrown in the dungeon where she is repeatedly raped by Lorenzo. Her father tries what he can to get her out, including bribing the Church. Through his contact with Goya, he invites Brother Lorenzo to dinner. Outraged that his innocent child has been put to The Question, he strings Brother Lorenzo by his wrists to the chandelier and in such pain, Lorenzo signs an absurd confession. Lorenzo’s subsequent attempts to free Ines fail, however, and when the confession comes to light, he is banished from the Church and flees to France. Twenty years pass and the paths of Goya, Lorenzo and Ines cross again with more tragic consequences.

Bardem is wickedly terrific as the evil monk. Although Brother Lorenzo’s story overwhelms that of Goya and his paintings, the little bit of history and horrific suffering give lurid background to his famous paintings. This is a rare film that is too short, which results in not enough character development or history but is nevertheless, an extraordinary blend of history and art.

(Becky T) Opening November 23, 2006

Franz (Josef Bierbuchler) receives a spam email which promises great riches. Someone in Kenya expects a huge sum of money and will share it with an investor, who, in return, must guarantee security for a bank account and deposit a few thousand in it. Franz should have enough life experiences to recognize a scam, but his own bankruptcy leads to desperation. He hires Leyla (Sibel Kekillli) to translate for him in English. The deal backfires. His beautiful wife Martha (Hanna Schygulla) stands by him but can help very little because she is blind. He disrespects his grown children who dare to advise him. Franz, showing some of the stubborn spirit of younger days, books a flight to Africa to search for The Man in order to retrieve his money. Leyla accompanies him. In the end he makes an unfortunate, unnecessary decision, but his heirs will be happy. Viewers, who appreciate the talents of Bierbuchler, a well-known and experienced German actor, will be happy to see him back on screen. The same goes for fans of Kekilli, of Head On fame. Whether the overall result of the film is satisfactory is questionable. Although the scenery is beautiful, the symbolism, e.g., snow, Schubert’s “Winterreise” song, a blind old African, a vanished village, a lonely wife, etc, misses the mark leaving the film with little to make it worthwhile.

(Becky T) Opening November 30, 2006

“Don’t ever, ever lose the egg.” That is the highest priority among Emperor penguins. Father Memphis is not so lucky and his egg escapes him during the long, dark arctic winter. The result is a learning-impaired son named Mumble who can not sing like all the other penguins. Instead, he has an annoying tic of shuffling his feet uncontrollably. His cheerful disposition, courage and optimism are not enough to be accepted. Even his open-minded schoolmate Gloria rejects him after he tries her patience. Noah, the clan elder, bans him, but he is not lonely for long. He meets Los Pinguinos: five Adelies penguins named Ramon, Nestor, Rinaldo, Lombardo, and Raul, who admire Mumble for his happy feet since they are also full of rhythm. The six friends are concerned about the low fish supply and consult Guru Lovelace. He is no help, but joins them in their search for answers which takes Mumble far, far from home.

Director George Miller (Babe) has made an amazing animated movie. He denies that he was inspired by March of the Penguins, but got his idea to work with animated penguins after watching a BBC documentary called Life in the Freezer. There is much to praise such as 42 popular and wonderful songs from oldies (Rodgers and Hart) to top hits (Elvis, Prince, Queen) to rap – many of them sung by the talented actors who also voiced the characters, such as Nicole Kidman, Hugh Jackmann, Robin Williams, and Brittany Murphy. Mumble (if you haven’t already guessed) is a world-class tap dancer and his choreography, literally his every movement, was created by that NYC world-class tap dancer SavionGlover. Anyone who has seen Glover, will recognize him in this cartoon animal, created by cutting edge digitalization called Motion Capture technique. No wonder there are 1000 names on the list of credits.

There are many messages and parodies – perhaps too many, which is the reason this isn’t a five-star film. One message, obviously, is that people should be true to themselves. Also, humans are destroying the environment (over-fishing, glaciers melting) although here they see the light, unlike the evil humans in Over the Hedge. There are many means of communicating and everyone, no matter how different, has a niche (much like the melodious communication in Close Encounters of the Third Kind). There are many cultures in the world, as seen through various kinds of dancing, e.g., tap, flamenco, Riverdance, Zulu, etc. The parodies such as Elvis, Marilyn Monroe, and TV preachers are on target.

I recommend Happy Feet to anyone nine years or older, since it rather long (108 minutes) and sometimes goes off on tangents. Don’t miss it, even if you have to make do with the German version; the dubbing is quite good and features two German stars, Ben Becker and Rick Kavanian.

(Karen P) Opening November 30, 2006

The award winning film, In My Father’s Den, commands the attention of the film buff with awesome cinematography which brings the countryside of director Brad McGann’s own New Zealand homeland to life. The slow-moving narrative, involving tragic family secrets, is perfectly paced to keep you entangled in a web of intrigue. McGann’s thriller executes precisely every twist and turn of a well-developed plot par excellence. It is almost as good as reading Maurice Gee ’s novel from which the film is derived.

Paul (Matthew MacFadyen), a renowned war journalist, returns home to a small town in New Zealand after the announcement of his father’s death. Longing for a haven of rest from the atrocities he experiences in his occupation, he initially welcomes the thought of being home. After the funeral, Paul and his brother, Andrew (Colin Moy), attend to the business of the family estate. This involves cleaning out a hideaway in the woods to which their father had periodically escaped. It was a surprise to Paul to find out that the lair is also regularly visited by a teenage girl named Celia (Emily Barclay). In spite of Paul’s arrogant mannerisms and their vast age difference, Celia and Paul become friends. Their friendship becomes the therapy needed for each of them to deal with a mysterious past. Celia helps Paul to see the world through her innocence and to find a renewed hope in humanity. Paul helps Celia see the world through his journalism, which gives her hope that she, too, can make a difference in the world. Their worlds fall apart when Celia goes missing and Paul is under suspicion for keeping company with a minor.

(Shauna K) Opening November 30, 2006

With a failed motivational speaker for a father, a heroine snorting grandfather, a suicidal gay uncle, and a brother who has refused to speak for nine months, little Olive Hoover’s family could not be more dysfunctional. When Olive is selected by default to compete in the Little Miss Sunshine beauty pageant in California, the entire family piles into their old VW van for a road trip which becomes an intensely personal journey, and luckily for the audience hilarious as well, for all. This refreshingly real near-black comedy is not to be missed. It showed at the Hamburg Film Festival.

Second Opinion by Nancy T 1/2

This is a hilarious comedy about a family of extreme individuals, each member rejecting the other members’ values—making life together tough. Grandpa (Alan Arkin) a bitter, secret heroin addict, lives with his son’s family and teaches nine-year-old Olive (Abigail Breslin) a dance routine so she can participate in her dream, the Little Miss Sunshine Beauty Pageant. Super squeaky clean dad Richard (Greg Kinear) is a workaholic entrepreneur whose “Refuse to Lose—a nine-step program” is dead, but as he truly believes in his product, he refuses to lose. Worn-out working mom (Toni Collette) trying to hold it together with KFC, now adds suicide watch to her duties, as her depressed brother Frank (Steve Carell) a gay Proust scholar, moves in to share her teenage son Dwayne’s bedroom. Dwayne refuses to speak until he is old enough to join the Air Force in two years. All pile into an old VW bus to rush cross state to the beauty competition, where what really matters is revealed. Little Miss Sunshine was the closing film of the HHFF, where the audience loved it and it was one of my favorites too. It is the first feature film for the directorial team of Jonathan Dayton and Valerie Faris, makers of music videos and commercials. Be ready for some strong language.

(Becky T) Opening November 30, 2006

This thriller by Jim Sonzero has all the elements of a scary movie: shadows, flickering lights, cockroaches, maggots, isolation and fresh naïve faces (new actors Kristen Bell, Ian Somerhalder, Rick Gonzales, and Christina Milian). The only prop missing is a pool of blood. The opening credits run through mysterious computer codes – a hint of what is to come, namely computer ghosts, which manifest as viruses and infect computers and mobile phones and finally people, who then commit suicide before crumbling into ash. Thus does Mattie lose boy friend Josh as well as several other college friends. In the end, she and new-found friend Dexter drive through a depopulated city to a countryside WiFi-free safe area designated by the government. Will they make it? Tune in to Pulse 2, which is probably in the works already. As with several previous thrillers, e.g., The Grudge and The Ring, this film also originally came from Japan and is based on the 2001 film Kairo by Kiyoshi Kurosawa. Wes Craven (of Scream fame) rewrote the screenplay for Western tastes. You might not leap out of your chair for fright as producer Joel Soisson predicts, but the music and sound effects are effective and red utility type will suddenly seem very important.