AWCH Film Reviews -- September 2007

(Geysa W) Opening September 6, 2007

I was really pleasantly surprised with this third film in a series. I had seen the other two Bourne movies and was prepared to compare them, expecting a standard procedure of just another genre of action choreography. The Bourne Ultimatum is a breathtaking espionage thriller with Jason Bourne (Matt Damon), a trained assassin without a country or a past. He is always a step ahead of the people who are following him. After the death of his lover Marie (played by Franke Potente), Bourne seeks revenge. He wishes to destroy his pursuers and then disappear forever until an article in a London newspaper changes everything, and he returns to the streets of New York. This film is full of surprises with a new innovative story and structure. With its intelligent espionage strategies, the audience will be wide awake the whole 111 minutes.

(Becky T) Opening September 6, 2007

This third version of Hairspray is a successful fusion of the original 1988 John Waters film and the 2002 Broadway musical. The first notes of “Good Morning Baltimore” will send you to the aisles of the cinema to dance the mashed potato. From there, the energy-laden pace continues to the finale “You Can’t Stop the Beat,” with 23 songs in between, all originally sung by the cast.

Once again Tracy Turnblad (Nikki Blonsky) and her friend Penny Pingleton (Amanda Bynes) dream of participating in the Corny Collins TV Show, where sky-high hair-dos and dance techniques predominate. Tracy refuses to face reality both personally (she is much too chubby to cut a figure on the dance floor) and politically (an integrated, black and white dance group is utopia). The moral of the story is: discrimination is passé and, of course, Tracy wins out in the end. But first she must lead Motormouth Maybelle (Queen Latifah) and her children Seaweed (Elijah Kelley) and Little Inez (Taylor Parks) on a march to stop segregation at the TV station; convince her couch potato mother Edna (John Travolta) that there is life outside the home; steal away Amber von Tussle’s (Brittany Snow) boyfriend Link (Zac Efron) and be crowned Miss Teenage Hairspray by Corny Collins (James Marsden).

Older established actors must hustle to keep up with this new generation of spectacular talent. Travolta has a hard act to follow Divine and Harvey Fierstein who played Edna in the original and the musical respectively, but he succeeds. Christopher Walken plays Tracy’s father Wilbur, and Jerry Stiller (who was Wilbur in the original) makes a comeback as Mr. Pinky of Hefty Hideaway. Michelle Pfeiffer, with her anorexic figure, blond wig, and startling jewellery, is fantastic as Amber’s mother, the studio executive from hell. Nikki Blonsky is no longer a nobody from Long Island as she is a smash hit whom people are comparing to Bette Midler. In fact there are no weak actors, and Adam Shankman is an excellent choice of director with his background as dancer and choreographer. Marc Shaiman and Scott Whittman wrote all the songs as well as some new compositions not in the Broadway show. Although filmed in Toronto, each scene is authentically Baltimore. Anyone who loves musicals will love this one. It’s also interesting to check out the old version on DVD, and guess what: the musical opens in London in October, so here’s your chance if you are unable to fly over to New York City.

(Jenny M) Opening September 6, 2007

Imagine being the niece of the model who sat for one of the most famous paintings in the world. Imagine owning not one, but five pictures painted by one of the most famous artists in the world. British director Jane Chablani tells the true story in documentary form of Maria Altman’s struggle to claim these pictures, which were painted by Gustav Klimt.

Maria was born into a fabulously wealthy family and illustrates the point with an anecdote about her father. He was lent a Stradivarius violin by one of the Rothschilds and felt honour bound to hold weekly musical soirees in order to play it.

The Austrian painter Gustav Klimt was known for befriending and painting the portraits of wealthy women, and he was so enamoured of Maria’s aunt, Adele Bloch-Bauer, that he painted her twice and made hundreds of sketches of her. The most famous painting shows a beautiful woman wearing a superb jewelled choker and is nicknamed The Golden Adele. In her will Adele left both her portraits and three landscapes also by Klimt to her husband Ferdinand and asked that they go to the Austrian National Gallery after his death. Adele died in 1925, however, and at that time women had no rights under Austrian law. Ferdinand in turn willed the paintings to Adele’s sister’s children, one of whom was Maria. She grew up, got married and continued to live her charmed life until 1938, when the Nazis marched into her homeland. Maria’s husband exchanged his cashmere factory for a ticket out of Dachau, and the pair eventually found their way to California. The paintings went the way of all Nazi loot, and Adele’s glittering diamond choker found its way onto the not so glamorous neck of Hermann Goering’s wife.

Martin Smith, who wrote the screenplay for Stealing Klimt, considers the question of holocaust restitution and whether the work of Austria’s most famous painter should remain in the country of his birth, on display to its citizens, as Adele intended. It is a pity that Austria’s culture minister, who played a prominent part in the legal struggles for the paintings, declined to be interviewed for the documentary, because it is rather one-sided as a result.

Maria’s case was tested in Austrian and American courts, including the Supreme Court. Justice is eventually served, but only after a long drawn-out struggle. Why then are you are left with a feeling of disappointment at the end of the film? It is a tribute to Ms. Chablani and Mr. Smith that their documentary leaves you wanting to discuss the questions it raises further.

(Kirstan B) Opening September 13, 2007

Journalist couple Mariane (Angelina Jolie) and Daniel Pearl (Dan Futterman) are in Karachi, Pakistan, where Daniel is researching a story on the shoe bomber, Richard Reid. Daniel has a high-level job as South Asia Bureau Chief for the Wall Street Journal. His wife is five months pregnant. On Jan. 23, 2002, he left the walled compound where they lived for a meeting from which he would never return. In effort to find him, their neighbors’ telephone lines were appropriated, and immediately their home was converted to a bustling nerve center for Pakistan and U.S. authorities – the ambassador even brought in his private chef.

This docu-drama follows the turbulent five weeks of the cooperative investigations, until Daniel's beheading was confirmed. Among the numerous flashbacks was an earlier meeting with a government official that sealed Pearl’s fate, when he did not deny that he was Jewish.

Director Michael Winterbottom (The Road to Guantanamo) had filmed In This World in Pakistan in 2001 and was familiar with the dangers for foreigners there, especially since 9/11. "We filmed on the streets and in the real locations where Danny went …We want the audience to trust that they are seeing an accurate account of what happened," staying close to Mariane Pearl’s memoir A Mighty Heart:The Brave Life and Death of My Husband Danny Pearl, co-written with Sarah Crichton. The film’s glaring message was that ex-pats and locals could not freely mix, and also there was a huge economic gap between them.

The Captain (Irfan Khan, The Namesake) was a more complicated, interesting character, worth noting. Otherwise this noble film was a bit confusing and jumped around through a mountain of characters who got lost in all the flashbacks. Angelina Jolie was great, but her constant humorless stoicism in this impossible situation was difficult to watch. The minute of the Pearls’ wedding at a French chateau was probably added to show a happier time but seemed totally out of place.

(Kirstan B) Opening September 13, 2007

I had no high hopes for a cooking movie/romantic comedy with this lame title. But, I was drawn against my better judgment by a strong urge get a second performance glimpse of Little Miss Sunshine cutie Abigail Breslin and cocky cutie Aaron Eckhart, who shone brilliantly in Thank You for Smoking. Plus, if I could choose to look like just one current film star, it would be either Monica Belluci or Catherine Zeta-Jones, for all of their non-blond voluptuousness.

Knowing that No Reservations (cringe) was a remake of a recommended German film (Bella Martha) which I never got around to seeing, I was at least rooting for a good Hollywood reprodution. It seemed like a long film as I looked at my watch twice, only to be let down by an expected ending where everyone lives happily ever after. No surprises.

Kate (Zeta-Jones) is a New York City chef whose life is her restaurant kitchen, as full of rules for the staff as she puts on her personal life. A typical Manhattan control freak who actually wonders why she needs to visit a shrink, Kate’s world is rocked by the sudden death of her sister as she receives custody of her teary, pre-teen niece Zoe (Breslin, who is propped before the cameras with shining, recently Oscar-nominated eyes in just about every scene to remind us that she is missing her mom). Additionaly, restaurant owner Paula (Patricia Clarkson) hires sous chef Nick (Eckhart), whose opera-singing, printed chef pants, gusto way of living spices up the kitchen but not Kate’s cold, cold heart. The triangle in place, we get to endure Zoe’s first smile when Nick makes her some real kid food (Kate has been making gourmet fish for the poor girl), Zoe using her weepy-eyed power to arrange a “family date”, Nick and Kate enjoying a dish of tiramisu on the living room floor in spite of themselves, and the inevitable overnight stay with pancakes for everyone in the morning.

You’d think with a Philip Glass score, great-looking food shots, and Oscar-caliber lead actors that the filmmakers would have all the right ingredients on the table for a delightful entreé. The problem lies in following the recipe directions so carefully that the end result is enjoyable but expected, and it sorely lacks the hodge-podge creative flair of a passionate chef. It would be two stars on the Michelin scale, but since we are talking obvious chick flick, I’ll throw in an extra one for the girls. I think I need a break from all things sous chef after my summer fare of Ratatouille and No Reservations and perhaps will meander to the video store in search of Bella Martha with English subtitles.

(Shelly S) Opening September 13, 2007

Paulas Geheimnis is definitely super for kids who live in Hamburg, since it was filmed there and there is much to recognize. Many of the actors were booked through agencies, but a few were found directly at schools. This story could happen to anyone. Paula’s wallet, mobile phone and diary are stolen on the subway. Classmate Tobi witnesses the theft by a Romanian gang and offers to retrieve the things if she helps him with English. Paula can’t stand him since he is not of her social standing, but her diary is extremely important to her, so she risks working with him. Paula’s world opens up as she switches places with Tobi’s sister during the summer camp holiday. Her fantasy world collapses as she is confronted with the hard, daily lifestyle of Tobi’s family and the street kids. Through Tobi’s courage and the risk the Romanian kids take to return her diary, she realizes how unimportant the diary really is in comparison to the lives of these children. While trying to save them, she herself grows up and recognizes what real life is all about.

This film showed at the 2006 Filmfest Hamburg, and we talked to the stars and the director about the making of this film. They filmed in the summer holiday and did not miss any school, but it was difficult. They had to work long, hard days. The director emphasized to the kids in the audience that being an actor is not as glamorous as one thinks, and this job is not for everyone because you have to memorize lots of lines and put in many hours for it to work out. The actors also have to be team players and respect each other as well as help each other. They also explained that they had to get special permission to film in the subway, actually to rent it for a day, in order to film that sequence.

(Becky T) Opening September 13, 2007

When the opening credits are written in dripping blood, you know that you are in store for a violent film. This portrays young revolutionaries in Spain in 1973 at the fall of Franco. A small group of bearded Spanish and French students steal money to support the workers’ struggle. Young German actor Daniel Brühl plays the real-life anarchist Salvador Puig Antich. Salvador is arrested and sentenced to death by strangulation, but not before his lawyer fights for his freedom and his sisters console him in prison by thumbing through old photo albums. Thousands of fans attend his funeral. The sympathy for this anarchist is almost as great as that for Sophie Scholl and her brother in the film Sophie Scholl – The Last Days. The most interesting part of the film is that Daniel Brühl is German, but speaks excellent Spanish – all because of having a Spanish mother and spending vacations in Spain. Three cheers for bilingualism; you never know what advantages it will bring. This film showed at the 2006 Filmfest Hamburg and is by Manuel Huerga from Spain.

(Thelma F) Opening September 13, 2007

Two women in Cameroon are making waves. The documentary Sisters in Law, which has already won several documentary film prizes, follows Judge Beatrice Ntuba and prosecuting attorney Vera Ngassa through three cases in which two little girls and one woman are the victims of physical abuse in the home. A very brave example is Amina who takes her (Muslim) husband to court although this has never been done before in Kumba in southwestern Cameroon. If she had lost the case, she would have been sent back to her family, who never understood her not accepting her fate, and she may very well have been killed. Amina's winning the case is a success story for all women in the country who, until Ngassa and Ntuba came along, were expected to tolerate beatings and rape by their husbands.

The documentary is very factual but also shows the empathetic side of the sisters in law. They even feel a certain amount of compassion toward the abusers. In other words, they work for a cause: not to show their own power, but to turn their community into a better place. In spite of the harshness we see, there is still the bright light of Africa to observe: the typical street scenes of a small West African city and the closeness of family and friends. I saw the film in pidgin English and Hausa with German subtitles.

(Kirstan B) Opening September 13, 2007

In the overflowing world of CGI feature films, Surf's Up catches a new wave in the prevalent penguin market. Geared toward children that can sit through more dialogue and burping humor than action, the story and "mockumentary"-style presentation should appeal to pre-teens and adults as well. Produced, directed and written by Ash Brannon/Chris Buck/Christopher Jenkins and released from Sony Pictures, it is the story of penguin teenager Cody Maverick (Shia LaBeouf), a penguin from Antarctica who is inspired by his childhood idol, champion surfer Big Z (Jeff Bridges), to follow his dream by entering his first surfing competition. In the pre-event activities on the beaches of Pin Gu Island (umm, Hawaii?), he meets a sassy lifeguard/potential girlfriend Lani (Zooey Deschanel), a laid-back surfer bum/aficionado Chicken Joe (Jon Heder), Don King-style event promoter Reggie Belafonte (James Woods), and his newest buff rival, Tank Evans (Diedrich Bader). Somehow, these characters are more refreshing than cloying in stereotypical roles you would expect from a kids' movie. When Cody is injured in a bad wipeout, he ends up in the hands of Geek, a lackadaisical loner living in a remote forest hut. Geek teaches Cody all about surfing: it comes from inside, not the glam of the spectacle. With patience, he shows Cody the beauty of being "in the Tube", finding the grain of wood that speaks to you while crafting your own board, and the ability to admit that there is something wonderful in living in the moment for yourself. All of this is found simply by "letting go". Not a bad message in its Zen simplicity and a nice change from the usual themes of botched parent/child relationships and having to prove yourself to the world by outlandish feats and bravado. The film unwinds in a nice, un-cliched way to the end like a crashing wave that breaks, slithers up the beach and deposits the foamy surf on the wet sand. Easy. Cool.

What makes Surf's Up a worthy catch are the stunning surf scenes (dark and sunny days alike) where the water just looks so real, the creative use of penguin markings to resemble tatoos, and the way we receive the story through flashbacks, interviews, and "old reel" takes in documentary format. The soundtrack was fresh and engaging: with nary a single Beach Boys song, old stand-bys like Wipeout were perfectly rocked-up to seem new. I would recommend the original version for the voice talents of Jeff Bridges (think “the Dude” from Big Lebowski) and Jon Heder, though German dubbing does a interesting job of mocking American mid-western accents.

Even if you've never surfed before, catch this wave, ride the tube and let go.

Second Opinion (Vicki F-M)

Three stars for kids under 6 or 7. Very cool message and subtle images (which may be noticed only by the older person sitting next to the kid) but too much talk and not enough action for small children. Surf's Up is getting a big thumbs up on the parent internet sites, being approved for lack of violence and lack of bad language (not even a "butt"). Do expect lots of gas jokes, from both ends of the penguins. Cute animated movie overall, but we liked Happy Feet better, if its penguin movies you're after.

(Becky T) Opening September 13, 2007

Yella (Nina Hoss) is a young woman who leaves her husband Ben (Hinnerk Schönemann), in spite of his promises to change his ways. Her last encounter with Ben lands both of them and his car in a river from which both must crawl, soaking wet. She leaves her village of Wittenberge for a new chance in life. In her hotel she meets Philipp (Devid Stiesow), who hires her for a few days to check contracts and wrap up business deals. She is brilliant in pointing out competitors’ weaknesses and finalizing business profitably for Philipp, who hires her for another gig. Ben finds and stalks her; she sleeps with Philipp.

This German, three-person drama by Christian Petzold stretches over a few days. All three spend much time driving and telephoning and gazing at the sky as crows and airplanes fly over. Yella joyfully calls her father to report that things are looking up and perhaps he will have a chance to meet her new friend. However, things seem not quite right: Yella always wears the same clothes; she emerges from the river with both her high heels firmly on her feet; she finds an empty train compartment. There is a surprise ending, but my idea that Yella was a supernatural witch was wrong.

This film showed in competition at the 2007 Berlinale, and during the press conference Director Petzold said he took the idea from a U.S. Civil War short story by Ambrose Bierce. The actors appreciated Petzold’s special way of working; namely, long rehearsals without make-up and costumes during which the actors were encouraged to develop their characters themselves. Yella was filmed at the huge EXPO campus in Hanover, which makes the film seem even more devoid of characters. There were various speculations about the name Yella, but I still believe that it is short for Daniela. Nina Hoss won best actress at the Berlinale for this role.

(Becky T) Opening September 20, 2007

This docu-drama is based on a true story about an American spy in the FBI and a breach in U.S. security. Young FBI agent Eric O’Neill (Ryan Phillipe) takes on the job of aide to his colleague Robert Hanssen (Chris Cooper). O’Neill has orders from his boss Kate Burroughs (Laura Linney) to observe Hanssen in order to bring him down for espionage. He is suspected of selling U.S. military secrets to the Soviet Union, but Hanssen has always appeared innocent throughout 23 years of service. He comes across as a devout Catholic who spends much time in church and says, “Godlessness is why Russia failed.” On February 18, 2001, Attorney General John Ashcroft announced the arrest of Hanssen, who is presently sitting in solitary confinement for life in a Colorado prison.

This film with its psychological cat-and-mouse plot has difficulties maintaining any kind of interest-holding tension. There are feeble attempts, e.g., O’Neill becomes discouraged and must be bolstered by his boss, he can’t confide in his wife who suspects infidelity, or he and Hanssen are caught in a traffic jam. The actors are unconvincing, especially Caroline Dhavernas who plays O’Neill’s East German wife. It would probably be more interesting to read any of the books written about this “worst spy in American history,” who earned approximately $1.5 million from Russia over 15 years. By director Billy Ray.

Second Opinion by Kirsten G 1/2

In an era of action-packed spy films like The Bourne Ultimatum, viewer expectations for Breach may be a bit out-of-kilter. Breach is a methodical film with no chase scenes or martial arts-style fights, but it is a thriller nonetheless. Chris Cooper is excellent as Robert Hanssen, convincingly portraying him as a frustrated spy and conservative Catholic whose treachery is both unbelievable and plausible. We see Hanssen through the eyes of agent O'Neill and understand how Hanssen could have fooled the FBI, as well as his close friends and colleagues, for such a long time. The film does start a bit slow (keeping to the true story as much as possible may have limited director Billy Ray's storytelling options), but it is well-worth sticking it out to experience the capture of the U.S.'s most notorious spy.

(Becky T) Opening September 20, 2007

In the first five minutes, Kale (Shia LaBeouf) and his father go from fly fishing in an idyllic landscape to bleeding in a terrible car accident in which the father dies. Later, a grieving Kale socks his Spanish teacher. A judge gives him three months’ house arrest for assault, and he is fitted for an ankle shackle. His mother (Carrie-Anne Moss), bless her heart, has no pity; she throws out the TV and computer games and draws up a list of chores. Gradually Kale uses his “spatially challenged” environment to check out the neighbors “as a natural side effect of boredom” through binoculars. New-girl-on-the-block Ashley and his schoolmate Ronnie help him pass the time. They decide that neighbor Robert Turner (David Morse) is a serial killer, and their observations turn into a stake-out, “which you can’t have without coffee and doughnuts” according to Ashley.

The first half of the film is full of fun incidents about teenage conflicts, young love, brats, and values. The second half is filmed in traditional, typical scary movie mode as the serial killer hovers in corners or cars; lightning flashes and flashlights flicker; there is a secret passageway; and nobody believes the kids. Director D.J. Caruso has given LaBeouf the opportunity to follow in James Stewart’s footsteps a la Rear Window. He’s no Stewart, but he could be the new John Cusack. Aaron Yoo as Ronnie and Sarah Roemer as Ashley are refreshing, as is the pop music in the background. Caruso’s own young sons play the brats.

(Birgit S) Opening September 20, 2007

Martin Walser’s novel Ein fliehendes Pferd (published in 1978) is still one of the best-selling works of contemporary German literature, translated into many languages. With the background of a well-praised book by one of Germany’s foremost writers, the young director Rainer Kaufmann (born 1959) faced no easy task. He successfully transformed the story (script Ralf Hertwig, Kathrin Richter) into a moving, intelligent, humorous and modern film.

Teacher Helmut Halm (Ulrich Noethen) complacently sits under a shady tree in the local lido with book in hand and casually observes his surroundings. His eyes keep returning to the tattooed shoulder of a young, slender blond, whilst half-heartedly listening to his wife’s invitation for a swim in the lake. Helmut never swims; he does not like for his feet to lose contact with solid ground. He needs to be fully in control, watching is quite enough for him. For 12 years he and his wife Sabine (Katja Riemann) have spent their vacations here. It is a quiet place; nothing unexpected happens. His musings are noisily disrupted when Klaus Buch (Ulrich Tukur), a long-forgotten school friend, charges towards him with open arms, a big smile lighting up his well-meaning face. Helmut is not a bit pleased to see him and nervously tries to shrug him off. The next surprise follows. The slender blond is hanging on Klaus’ arm, unashamedly kissing and seductively cuddling up to him. Helmut is still looking on sheepishly when his wife Sabine returns from her swim, surprised to see her husband in the company of the gregarious couple. She is even more surprised when Klaus tells hilariously funny stories of Helmut’s school days. “All lies!” is his angry but embarrassed reply.

Helmut is annoyed and irritated by Klaus’ invasion, by his permanent high spirits, his jokes and constant need for activities, including sailing. But sensual Sabine’s curiosity is aroused. Is there another, hidden side to her husband? She enjoys spending time with this lively couple. Klaus Buch is good fun; he pays her complements and makes her laugh. Her husband’s sulky mood seems to change too. He cannot take his eyes off Helene (Petra Schmidt-Schaller), the gorgeous blond with an alluring charisma who admires his knowledge of books and his love for the world of birds. It sizzles with erotic emotions leading to refreshingly comical scenes. Helmut’s secure world seems to crumble. His days become disturbingly turbulent. It is not just a breeze freshening up the routine of his marriage. When Helmut and Klaus are caught in a raging storm while sailing on the lake, emotions reach a peak and the events take a surprising turn.

Rainer Kaufmann has carefully chosen his very able and experienced actors, which are among the best one can find in Germany, including the superb newcomer Petra Schmidt-Schaller as Helene. The film is evenly carried by the four actors, making it an enthralling, erotic-frivolous but sensitive comedy with good dialogues.

(Birgit S) Opening September 27, 2007

Hamburg-born Turkish director-writer Fatih Akin’s new film The Edge of Heaven (the German title translates as On the Other Side) was first shown at the Cannes Festival 2007 and brought him the prize for best script as well as a prize from the Ecumenical Jury. This second film of his trilogy “Love, Death and Devil” is very different from Head-On (Gegen die Wand). It will appeal to a different – probably even larger – audience as it is more sophisticated and touches on a range of topics. Cameraman Rainer Klausmann did a wonderful job with his “stills” of the rural Turkish landscape and the the different cities.

The film opens – and ends – with Nejat (Baki Davrak), a Turkish university professor sharing a humble flat with his immigrant father Ali (Tuncel Kurtiz), a widower in his seventies. Ali regularly visits Hamburg’s red light district, where he befriends the prostitute Yeter (Nursel Köse), who happens to be a Turkish-Moslem. As Yeter is threatened by two fundamentalist countrymen who don’t approve of her trade, she accepts the old patriarch’s offer of moving in with him and his quiet, withdrawn son Nejat. This decision does not bring her luck. During an argument Ali hits her, resulting in her accidental death. Ali lands in prison. Nejat, now totally estranged from his father, decides to look for Yeter’s daughter in Istanbul, who thinks her mother is working in a shoe shop. After Yeter’s sudden death he wants to take over and continue to pay for the daughter’s university education as a kind of reparation.

The second part of the film introduces Yeter’s daughter Ayten (Nurgül Yesilcay), a political activist on the run. After witnessing the arrest of her comrades, she heads straight for a plane to Hamburg (whilst Nejat is travelling in the opposite direction). She meets well-off college student Lotte (Patrycia Ziolkowska), who takes her home to conservative and disapproving mother Susanne (Hanna Schygulla). The two girls become lovers. Ayten, still looking for her mother, is searching Hamburg’s shoe shops. When stopped by a traffic control, she is arrested and has to return to Turkey, where she is promptly imprisoned. Lotte is devastated but determined to free Ayten and follows her to Istanbul. Here she bumps into Nejat, who has found his new destination selling German books in his own little shop. Lotte spends her days struggling with Turkish bureaucratic procedures. At long last she receives a permit to visit Ayten in prison and the disaster takes its course, ending with her – accidental and shocking – death.

A grieving mother Susanne arrives in Istanbul, following the footsteps of her daughter, and finds Nejat in his bookshop. When Ayten is finally released from prison, the militant rebel and the motherly Susanne are joined in their mutual sorrow. It is a touching rapprochement of the two very different women. Hanna Schygulla (of Faßbinder fame) gives a quiet but emotionally strong performance, adding a special quality to her role.

Despite all tragedy, the film is focused on a positive look on life, forgiveness and love. Above all it is a very human film, free of all judgment and patronizing attitude. The characters are portrayed with great empathy by the outstanding cast, where small gestures often give away deep emotions.

(Jenny M) Opening September 27, 2007

Do you ever find yourself wondering quite at which audience Hollywood filmmakers aim their products? This movie might make you ask yourself that question. Comedy director Tom Shadyac, his production partner Michael Bostick and comedy writer Barry Fanato developed this story ten years ago, but it wasn’t until big star Adam Sandler and Kevin James agreed to work for them that they felt ready to make the movie. A lot has happened in the intervening ten years, not least the public’s attitude toward and acceptance of homosexuality. Surely nobody anywhere still laughs at jokes about gay couples or finds caricatures of gay people funny? Surely public tolerance and understanding has matured in the last ten years? Surely there was no need to make this movie?

I’ll give away some of the plot so you don’t have to bother yourself going to the cinema, forking out good money and watching it for yourself.

Chuck (Adam Sandler) and Larry (Kevin James) are firemen in Brooklyn. Larry saves Chuck’s life in a burning building so Chuck owes him big time. Now the plot thickens. Instead of grieving over his wife’s death, Larry should have been sorting out his life insurance. He discovers that red tape prevents him from naming his children as his beneficiaries. Not to worry, there is a loophole and all will be well if Chuck can be persuaded to be Larry’s domestic partner. Now you see how the film got its title.

Bureaucracy isn’t fooled so easily so Larry and Chuck decide to consult a lawyer and ensure that their arrangement looks convincing in the eyes of the world, not least their colleagues in the Brooklyn Firehouse. Their lawyer Alex (Jessica Biel) just happens to be female and gorgeous and, surprise, surprise, Chuck falls for her. How can he pretend to be gay and not betray his feelings, especially when Alex decides that he is her new best girlfriend? A successful lawyer forms an instant friendship with a fireman? Pigs might fly.

Alex suggests that the boys formalise their arrangement with a Niagara Falls wedding and invites them to a gay fancy dress party, which provides the script with lots and lots of corny jokes and overuse of the word faggot. In the end there is a court battle presided over by a judge played by Richard Chamberlain (who must have had food for thought as he played his part.) Fire Chief Captain Tucker (Dan Ackroyd) listens to his conscience and makes a dramatic confession in the courtroom, but you know that everything will turn out well.

This is a fast-paced movie full of clever and popular film stars, and it is a pity that they are let down by such a poor script. It is dedicated to the real fire fighters in the Brooklyn Firehouse where filming took place and to their brave colleagues who died on 9/11.

(Shelly S) Opening September 27, 2007

Full-time fine artist Armin Völckers has switched his media, and in taking this risk, he has snapped up instant success with his first short film Leroy Cleans Up by winning a special BMW prize for film editing. Leroy is now the follow-up feature film using the same ideas as the short, which deals with intercultural problems in Berlin.

What happens to a 16-year-old boy when puberty has just kicked in? For Leroy attending high school, it is more than just the ordinary growing pains. His problems are extremely complicated: no mobile phone, no television and no discussions with his parents on the subject. So when Leroy falls in love, how does he make contact with the girl? He opts for the old style of inadvertently bumping into her on the street. Much to his surprise it works! His new girlfriend, Eva Braun, invites him to meet her family, but Leroy’s best friend warns him that Eva has five skinhead brothers, and Leroy is black!

Völckers uses his artistic background as well as a sense of humor to tell this story of racism and cultural identity. The film is a continuum of cultural contrast: one minute classical music, the next soul. Leroy discovers Malcolm X and all the Black political movements as well as being confronted with the Neo-Nazi and skinhead movement. He struggles with his own identity: is he black like his father and should he embrace Black Power? Or is he like his German mother since most Germans only see a black boy on the surface? Who is he? The constant character in the film is Eva, who seems to be able to accept everyone for who they are. This is an excellent film which could be used in schools to help integrate the classrooms. It shows that fighting is not the best solution and that there are more creative ways to deal with our differences.