A wonderful cast, an intelligent and funny screenplay and fine direction more than compensate for a few implausible plot twists in The Kids Are All Right. I found the characters compelling and parts of this film made me laugh harder than I expected. This film is not perfect, but it is very good.

Jules (Julianne Moore) and Nic (Annette Bening) seem just like any other married couple, except that they are lesbians and, using the same sperm donor, each had a child.  Nic is a driven doctor who likes to be in control. Jules is the more easy-going partner who stayed at home with the kids, while she tried to start several businesses. Their eighteen-year-old daughter Joni (Mia Wasikowska) was valedictorian of her high school class and is getting ready for college. Their fifteen-year-old son Laser (Josh Hutcherson) may be hanging out with the wrong crowd, but his family loves him. All seems right with this happy family until Laser convinces his sister Joni to contact their sperm donor/biological father Paul (Mark Ruffalo). Paul is the owner of a restaurant that features organic and local foods. He has never been married and is in a casual relationship with gorgeous Tanya (Yaya DaCosta). Paul is amenable to a relationship with Joni and Laser, despite strong objections from Nic and ambivalence from Jules. The film explores how Paul’s presence affects all the members of the family. Whether he is a positive force or destructive interloper is for the audience to determine.

Julianne Moore and Annette Bening are completely credible as a couple in a long-term relationship. Their love scenes are committed and sincere, without a hint of self-consciousness. Bening’s Nic looks uptight as she questions Laser about his choice of friends, pushes her daughter to read her graduation speech to Paul and initially dismisses the plans Jules makes to start a landscaping business. Bening is hilarious as Nic pastes a fake smile on her face and grills Paul about his life. As he answers her questions, Nic responds by looking like she swallowed a sour pickle. Yet Bening makes the controlling Nic likable and sympathetic, as we see Nic’s insecurity in her face. Moore is ingenuous and innocent as Jules tries to solve every conflict with calm discussions. When Nic harangues their son about his choice of friends, Jules earnestly asks him, “Is he (the friend) the kind of person who will help you grow?” I have been hooked on Mark Ruffalo since You Can Count on Me, and he infuses Paul with charisma and sweetness. Paul uses his hands when he talks and punctuates his speech with “likes” and “you knows,” but Paul’s laid-back personality is never annoying, and we see why the other characters are drawn to him. Mia Wasikowska and Josh Hutcherson make Joni and Laser seem like actual teenagers rather than caricatures. Wasikowska, last seen in Alice in Wonderland and HBO’s In Treatment, continues to impress me. Joni is uptight like mother Nic, but soon opens herself to Paul.  Josh Hutcherson does a good job of making sullen Laser seem vulnerable, as Laser first defends Paul when his sister says that donating sperm is weird. Laser counters by saying with conviction, “If he hadn’t we wouldn’t be here. Respect.”

Credit writers Lisa Cholodenko and Stuart Blumberg for respecting the characters and the audience, by making this family just like any other. Joni and Laser refer to their parents as Moms and are mortified by stories of how their parents met, but not because their parents are lesbians. Nic and Jules have the same conflicts (taking each other for granted, division of labor, need for emotional support) as any other couple. In response to questions from Laser about why his parents enjoy pornographic films, Nic and Jules provide one of the best explanations I have ever heard. The moments of humor here are many, and director Cholodenko is restrained enough to keep those moments from seeming over the top and unrealistic. One of my favorite scenes has Nic and Paul connecting by singing a Joni Mitchell song. The scene is hilarious, but also restrained and moving. Although Nic initially resents Paul and sees him as someone trying to “steal” her family, he merely emphasizes needs all the members of the family are trying to suppress, just as meeting them awakens needs in Paul.

It has been eight years since Lisa Cholodenko’s second film Laurel Canyon and twelve since her debut with High Art. Like those fine films, The Kids Are All Right is a thoughtful exploration of women and their complex relationships. The characters here seem more mature and down to earth and I wanted to see more of them. Although the story takes an implausible turn near the end and the resolution is a bit too easy, this film worked for me. And I enjoyed every minute.

The Kids Are All Right. Directed by Lisa Cholodenko.  Julianne Moore (Jules), Annette Bening (Nic), Mark Ruffalo(Paul) Mia Wasikowska (Joni), Josh Hutcherson (Laser) and Yaya DaCosta (Tanya). Focus Features, 2010.

Gail sees a movie appears every Wednesday.

I like the idea behind Inception more than I like the film itself. Considering its box office success and positive word of mouth, perhaps I am in the minority. Inception maintained a high level of excitement throughout and the action sequences and effects are first rate. I enjoyed the film while I watched it, but found it eminently forgettable. Why all the fuss?

Cobb (Leonardo DiCaprio) agrees to assemble a team for one last job of corporate espionage, so he can stop running from the authorities and return to his family. But Cobb does not break into offices; he breaks into the human mind. Inception is the process of accessing the mind (and planting an idea) through dreams. Business mogul Saito(Ken Watanabe) needs to convince Robert Fischer, Jr. (Cillian Murphy) to break up his father’s companies. But this mission requires “shared” dreaming convincing enough to fool the dreamer’s subconscious. Soon Cobb is joined by his dream team of Ariadne (Ellen Page), Arthur (Joseph Gordon-Levitt), Yusuf (Dileep Rao) and Eames (Tom Hardy) in action sequences that take place in their shared dreams. Of course, there is the risk that their minds will be destroyed, and the subconscious is a scary place. This is especially true in Cobb’s case, as his dead wife Mal (Marion Cotillard) has turned into a malevolent presence in all of his dreams, and threatens the minds of everyone on the mission.

Going into a film like this, you expect a fuzzy and convoluted plot, and Inception does not disappoint. In true Christopher Nolan fashion, the action starts in the middle and the past is slowly revealed. I like films where I have to really concentrate to figure out what is happening, and Inception is certainly that kind of film. The scenes of buildings inverting and crumbling, shown on those copious advertisements for the film, are still powerful. The parts of the dreams without gravity, featuring a floating Joseph Gordon-Levitt, were among my favorites. I especially liked all of the scenes that had the audience (and sometimes the characters) struggling to distinguish between dreams and reality. But one problem with the script is that there does not seem to be enough at stake. Where the characters in the The Matrix films fought against a dream world created by artificial intelligence in order to live in reality as free humans, the mission in Inception is motivated by greed. The ethical concerns arising from forcing an idea into the subconscious of an unsuspecting dreamer are barely mentioned. The weak justifications for the breach of ethics are almost an afterthought. This makes rooting for the characters difficult.

I still think Leonardo DiCaprio turned in his best performance in What’s Eating Gilbert Grape, and has been inconsistent in his lead roles. His Cobb is a bit dull and he appears to be sleepwalking through this film. It is great to finally see Ellen Page in an adult role, and all of her scenes make the film better. Page and Gordon-Levitt have real chemistry and I would have liked to see more scenes with them. All of the other characters on the mission are more interesting than Cobb, but we never get to really know them. This is a shame because Tom Hardy, Ken Watanabe and Dileep Rao have plenty of charisma and deserve even more screen time. When Cobb meets his father Miles (Michael Caine) Cobb tells Miles that “you taught me to navigate people’s minds” and I wanted to know more about this interesting character played by the charismatic Caine. But then Miles disappears for almost all of the rest of the film. Marion Cotillard’s performance is so strong that she practically blows DiCaprio off the screen. The problem is that she only exists in flashbacks. It is hard to get invested in her; yet she could be the film’s best character.

When much is revealed at the end of the film (I won’t give anything away here), I was underwhelmed. The technology of shared dreaming and its many possible uses are much more interesting to me than the fate of the morose Cobb. Writer/director Christopher Nolan has made some wonderful films. But Inception lacks the heart-pounding excitement and subtle intelligence of previous efforts like The Dark Knight and Memento. Inception is enjoyable at times, but I expected better.

Inception. Directed by Christopher Nolan .  Leonardo DiCaprio(Cobb), Joseph Gordon-Levitt (Arthur), Ellen Page (Ariadne), Tom Hardy ( Eames), Ken Watanabe (Saito), Cillian Murphy  (Robert Fischer, Jr.), Tom Berenger(Browning), Marion Cotillard (Mal), Dileep Rao (Yusuf) and Michael Caine (Miles). Warner Brothers Pictures, 2010.

Gail sees a movie appears every Wednesday.

In the Twilight universe, The Twilight Saga: Eclipse is better than New Moon, although not quite as much “fun” as the first Twilight. The change in director was a good one, and the focus of the film is back on the more interesting characters. The cast still has a certain charm, and although I am beginning to tire of author Stephenie Meyer’s heavy handed and simplistic abstinence agenda, I cannot blame the filmmakers. They did what they could with the sometimes cringe-worthy story.

The Twilight Saga: Eclipse begins with Bella’s (Kristen Stewart) final days in high school. Her friend Jessica (the underused Anna Kendrick) gives a rousing valedictory speech at graduation about making mistakes in order to find out who you really are. Apparently Bella thinks this means that she should let Edward turn her into a vampire.  Edward protests, but not that much. A new evil is in town, however, and romance must be put on hold. Vampire Victoria (Bryce Dallas Howard) is assembling an army of ultra strong newborn vampires to wreak havoc in the town and get revenge on the Cullen family, through Bella.  An uneasy alliance is formed between the vampires and the wolves, and rivals Edward (Robert Pattinson) and Jacob (Taylor Lautner) must work together to protect Bella. Can all three of them stop flirting long enough to combat this new evil army?

The Twilight Saga: Eclipse contains more scenes that made me squirm with horror than did it predecessors. One needs to be prepared for them.  Bella’s father doesn’t seem to notice the supernatural characters that court Bella, but he is concerned with her chastity. He warns her that, “You don’t want to have to get married because you weren’t careful.”  Apparently a world with vampires and werewolves is also a world without abortion and adoption. After more horrific conversation with her father about sex, Bella stands in her kitchen telling her father, “I am a virgin.”  Her father decides he likes Edward a little more now.  Edward is also concerned with Bella’s virginity. Despite her attempts at seduction, Edward refuses Bella’s advances because he is afraid he might hurt her. The logic here is a little fuzzy since Edward has reluctantly agreed to “turn” Bella. But Edward insists they marry first, before the turning and the sex. Edward has made peace with the idea of turning Bella into an immortal bloodsucker, but his moral code cannot allow premarital sex.  He is old fashioned and says he would court Bella if they lived in his time. There is more horrifying conversation, but I cannot bear to recount it. We do not know if Jacob has similar reservations, but he certainly likes to show Bella his bare and ripped chest. “Doesn’t he own a shirt?” Edward asks.   But when the trio camp out on a snowy mountain top, Bella shivers with cold. Fortunately, Jacob is there to wrap his hot wolf arms around her to keep her from freezing to death. Jacob lets a jealous Edward know that this technique would be more effective without clothes. It is to no avail, because while Bella has no problem kissing each of them in front of the other and declaring her love to both of them, she loves Edward more.  But Jacob must be really warm, because the next morning, Bella does not even don a coat, despite still being on the snowy mountain top,

Screenwriter Melissa Rosenberg does provide some enjoyable moments here. My favorite  scenes were the flashbacks involving Rosalie Hale (Nikki Reed) and Jasper Whitlock (Jackson Rathbone). The scenes showing their human and early vampire lives add much needed texture to this story and allow us to see more of these two talented actors.  The training scenes with the werewolves about how to kill the newborn vampires were also effective. I always enjoy the scenes with Dr. Carlisle Cullen (Peter Facinelli) and Alice Cullen (Ashley Greene) and was glad to see those characters used a little more in this film. Rachelle Lefevre, who played Victoria in the last two Twilight films, was replaced in this one with Bryce Dallas Howard. I liked Lefevre’s performance and I am not sure what this substitution (in a small and underdeveloped role) added to the film.

Director David Slade does a good job of keeping the story moving in this 124 minute film. The Twilight Saga: Eclipse has an exciting opening featuring none of the main characters. The actions scenes were riveting and the wolves were used to maximum effect.  This film looks good and has less excess than the previous Twilight installment. Perhaps Slade is also responsible for getting a better performance from Taylor Lautner, as wolf boy was a bit wooden in the previous films.  I still think moody Kristen Stewart elevates the films, and her chemistry with her co-stars is undeniable. Sparkly Robert Pattinson’s Edward seems a bit wimpy in this film, but perhaps that is intentional to make the choice between Bella’s two supernatural  suitors somewhat compelling.

The Twilight Saga: Eclipse should appeal to the young female fans of these films. This film is all about romance and Bella’s choice between these two hunks. Will she choose the vampire or the werewolf? It doesn’t really matter as long as she practices abstinence with both of them.

The Twilight Saga: Eclipse. Directed by David Slade.  Kristen Stewart (Bella Swan), Robert Pattinson (Edward Cullen), Taylor Lautner (Jacob Black), Bryce Dallas Howard (Victoria), Anna Kendrick (Jessica), Jackson Rathbone (Jasper Whitlock), Peter Facinelli (Dr. Carlisle Cullen), Dakota Fanning (Jane), Ashley Greene (Alice Cullen), Billy Burke (Charlie Swan) and Nikki Reed (Rosalie Hale). Summit Entertainment, 2010.

Gail sees a movie appears every Wednesday.

In a summer full of expensive blockbusters and juvenile comedies, Cyrus is a welcome relief. This low key, 92 minute comedy manages to be quirky, dark and sweet. It has an indie low budget feel, but boasts a big star cast.

John (John C. Reilly) is lonely and cannot seem to connect with women. Although he has remained friends with his ex-wife Jamie (Catherine Keener), the news of her impending marriage to Tim (Matt Walsh) hits him hard. When Jamie and Tim drag John to a party, John meets Molly (Marisa Tomei) and it looks like John has finally found love. But Molly lives with her adult son Cyrus (Jonah Hill), who seems too dependent on his mother. As Molly and John grow closer, Cyrus escalates his attempts to sabotage their relationship. But the surprise is when the mild John fights back.  Can anyone win this war?

Writers/directors Jay Duplass and Mark Duplass say they like to hold the cameras themselves, and let the actors work without marks. There is a script, but the actors are encouraged to improvise. (A similar technique was used in the film Humpday, which starred Mark Duplass.)  Combined with the hand held camera look, tight close-ups and minimal soundtrack, Cyrus has the feel of documentary.  It also feels as though the directors stepped back to let the actors find their way. And Reilly, Hill and Tomei do not disappoint.

Reilly’s hangdog looks emphasize John’s insecurity. He rarely smiles during the first part of the film, and his relief at meeting Molly is palpable. He cannot believe a beautiful woman would be interested in him. “I am like Shrek; what are you doing here in the forest with Shrek?” he asks her. His drunken rendition of The Human League’s “Don’t You Want Me” is hilarious precisely because it is not over the top; it seems realistic. Reilly’s subtle portrayal allows us empathize with John instead of pitying him.  We see John’s insecurity in Reilly’s tentative smiles and we see that he wants a real relationship. When Cyrus starts to mess with John, Reilly shows us that John is not a pushover.   Hill shows even more vulnerability here than his other summer comedy, Get Him to the Greek. Cyrus is well-spoken and calm when he invites John to stay for dinner and then questions John and Molly about their sex life, but Hill hints at darker depths. Hill radiates sincerity when he is with Molly, but shows his hostility when he threatens John with a steely gaze saying, “You are out of your league.” Hill manages to make this threat credible and hilarious at the same time. Tomei’s performance is relaxed and natural, as Molly radiates warmth and kindness. We understand why her lover and her son are so drawn to her. When Molly and Cyrus wrestle and hug, Tomei infuses the scenes with warmth, rather than weirdness. This makes those scenes even funnier and stranger.

Much of the humor in Cyrus comes from a real and bittersweet place. Cyrus and John are motivated by their loneliness. The psychological warfare between Cyrus and John is funnier because it is not mean-spirited; it is desperate and sad. Neither character realizes he is a mirror image of the other. Both are needy, insecure and lonely. John is inappropriately dependent on his ex-wife in the same way that Cyrus is inappropriately dependent on Molly. John cannot see that the warmth and compassion that he loves in Molly is the same warmth and compassion that allows her to indulge Cyrus. When Molly tells John that Cyrus, “has not come into himself yet” she could have been talking about John. Cyrus and John resent each other because they both see Molly as a woman who can rescue them from their sad lives. What I like most about this film is that this realization is gradual, and slowly builds. These characters moved me and they also made me laugh. Cyrus is a small film. In a summer of big budget blockbusters, that is more than fine with me.

Cyrus.  Directed by Jay Duplass and Mark Duplass.  John C. Reilly (John), Jonah Hill (Cyrus), Marisa Tomei (Molly), Catherine Keener (Jamie) and Matt Walsh (Tim). Fox Searchlight Pictures, 2010.

Gail sees a movie appears every Wednesday.

The most interesting thing about this film is watching these four Saturday Night Live alumni as they hit middle age. SNL gave these young comics a chance to work on rebellious and sometimes edgy comedy and characters.  Yet here are these four in the most conventional of comedies. Did writers Adam Sandler and Fred Wolf craft a funny screenplay? Well, if you think jokes about breastfeeding, urine streams, farts and men injuring themselves are side splitting, this is the film for you.  The only redeeming thing about this film is the obvious chemistry between the leads. These guys are fun to watch and provide a few laughs. But the script is not that funny and not very interesting.

When their childhood basketball coach dies, Lenny (Adam Sandler), Eric (Kevin James), Kurt (Chris Rock), Marcus (David Spade) and Rob (Rob Schneider) reunite for the funeral and for a weekend in Lenny’s rustic old childhood getaway, which Lenny rents for the weekend. They bring their families and they bond. The grown up bullies from their childhood challenge them to a basketball game.  The friends learn a lesson about what is important in life.

The five main characters use one-liners as a means of communication.  They playfully insult each other and gossip about whoever is not there. See, even though the film is called Grown Ups, they really do not act like grownups at all. This point was made in a funnier and more intelligent way in the far superior Funny People (also starring Sandler). These characters are not particularly interesting or original. Lenny is a successful agent with a beautiful wife (Salma Hayek) and 2 spoiled children. Eric is overweight and pretending to be employed, and his wife Sally (Maria Bello in a thankless role) is still breast feeding their four year old child. Marcus is a womanizer without a girlfriend.  Kurt is the stay at home husband with a domineering wife (Maya Rudolph). The best character is Rob, a sensitive guy married to Gloria (Joyce Van Patten) a much older woman.

 The performances in Grown Ups are strongest in the scenes that feature most of the leads. What little humor there is in this film comes from the way the actors interact.  Sandler, Rock, Spade and Schneider have great timing as they finish each others’ sentences and seem to compete for the best joke. Kevin James does a good job of keeping up. Sandler is playing a character not as interesting as others he has played and Spade is his usual snotty self. I enjoyed seeing Chris Rock in a more passive and sweet role; it made his occasional barbs even funnier. Rob Schneider plays it straight as a new age guru type, and he actually made me laugh. His performance of Ave Marie and his kiss with wife Gloria were the only high points in the film. The talented females in this film are forced to play unlikable, uninteresting and unfunny characters. The female characters seem to be present here to set up jokes or to be the butt of jokes. The character of Mama Ronzoni (Ebony Jo-Ann), whose main characteristics seem to be that she is African American, overweight, flatulent, has bunions and is mean to her son-in-law, is particularly insulting. Only Joyce Van Patten has a meaty character to play, and she makes the most of it. The filmmakers provide a little (but not enough) relief with some strong supporting performances from Steve Buscemi and SNL alums Colin Quinn and Tim Meadows.

As summer comedies go, Get Him to the Greek is funnier and better in every way. As for Adam Sandler comedies, the middling You Don’t Mess with the Zohan is funnier. In many ways, Grown Ups reminds me of Couples Retreat. It has talented performers who enjoy working together and who the audience enjoys seeing together. But someone needs to tell Sandler and his friends that a good comedy requires more.

Grown Ups.  Directed by Dennis Dugan.  Adam Sandler (Lenny Feder), Kevin James(Eric Lamonsoff), Chris Rock (Kurt McKenzie), David Spade (Marcus Higgins), Rob Schneider (Rob Hilliard), Salma Hayek (Roxanne Chase-Feder), Maria Bello (Sally Lamonsoff), Maya Rudolph (Deanne McKenzie), Joyce Van Patten (Gloria), Ebony Jo-Ann (Mama Ronzoni), Steve Buscemi (Wiley), Colin Quinn (Dickie Bailey)and Tim Meadows (Malcolm). Columbia Pictures, 2010.

Gail sees a movie appears every Wednesday.

People may think she is the joke, but Joan Rivers is completely serious about being funny.  Having never seen Joan Rivers perform live, I found her mildly funny (and sometimes annoying) when I would catch a snippet of her act on television. But I changed my opinion after watching this insightful and fascinating 84-minute documentary. Rivers is hilarious and to my surprise, inspiring.

Joan Rivers: A Piece of Work follows a year in the life of the then 75-year-old Rivers. Rivers candidly discusses her numerous cosmetic surgeries, the suicide of her husband Edgar Rosenberg, her relationship with her daughter Melissa, her relationship with Johnny Carson, who made her a star and then later blackballed her, and other professional triumphs and failures. The old footage of Rivers doing her act illustrates the success she deserves. Interviews with fellow comics Don Rickles and Kathy Griffin, daughter Melissa (she explains that her family referred to Rivers’ career as “the career” and Melissa felt that the career was like another sibling), and business managers and staff add to the portrait of the complex Rivers. What struck me here was Rivers’ astonishing hard work, her grounded sense of herself and her passion.

At the start of the documentary, Rivers points to the blank pages of her date book and says “You want to see fear? I will show you fear.” She wants to work all the time, and says yes to every offer if the money is right. She will hawk jewelry, give lectures and travel anywhere. Rivers explains this by saying that she lives an opulent lifestyle (she describes her ornate penthouse in New York by saying that, “This is how Marie Antoinette would live if she had money”) and says that she prefers to work rather than retiring and living more modestly. One senses that this is only partially true. Her friends and business associates describe Rivers as a work addict. This would explain why she travels the country doing gigs, many in remote places with less-than-glamorous hotel accommodations (she sprays the toilet with Lysol in one hotel). Rivers has a huge file cabinet with jokes, each drawer meticulously labeled by topic, like “Melissa’s Dates” or “My Sex Life.” The documentary shows Rivers frequently creating and honing material. She tries an Obama joke on her staff, asking them if it is too much. “We used to call Jackie Kennedy Jackie O; can we call Michelle Obama Blackie O?” Her staff tells her it is too much.

Rivers is candid about her many cosmetic surgeries and allows directors Ricki Stern and Anne Sundberg to shoot her without any make-up, even though Rivers says she finds her naked face scary. She allows herself to be roasted on Comedy Central despite the fact that she know there will be jokes about her age and her plastic surgery. She is right about that, and she says those jokes still hurt. But she smiles and takes part. One of the more powerful scenes shows a stand-up gig where Rivers is heckled by an audience member offended by her act. Rivers cuts him down and manages to keep the audience on her side. But after the show, she explains that this is not always easy to do. She expresses sympathy for the heckler.

My favorite scenes show Rivers working on an autobiographical play, “Joan Rivers: A Work in Progress by a Life in Progress.” The play was a big hit at the Edinburgh Fringe Festival and the film shows Rivers trying it out in London. The first night audience seems to love it, but Rivers refuses to celebrate. She wants to wait for the reviews. She does not get carried away by her love for the play. The reviews are mostly bad. Rivers feels the pain of the bad reviews, but they do not affect her belief in the project. However, the reviews make her decide not to take it to New York. She knows that the New York press will be even tougher. River seems to have arrived at that rare emotional place. Her belief in her talent is strong, but she is not deluded by her ego. She can look at each situation realistically. When she appears on a bill with other well-known comedians to honor George Carlin receiving the Mark Twain award, she assesses her own performance. “I was funnier than some and not as funny as others.”

The film shows both the low points and the high points in what turned out to be a big year for Rivers. Despite having trouble booking gigs because of ageism, she goes on The Apprentice and wins. When doors start to open again, she is thrilled. She points to her date book, which is now full. She reads the entries aloud by the time, followed by the activity. “That’s happiness,” she says. But she understands show business, and knows that she has to take advantage of whatever opportunities she has now. Towards the end of the film she reveals that she is “only really happy when she is onstage.” She talks admiringly about comics like George Burns and Phyllis Diller who still performed when they were in their nineties. “I think I will outlast them,” she states. I believe her.

Joan Rivers: A Piece of Work.  Directed by Ricki Stern and Anne Sundberg.  Joan Rivers (Herself), Melissa Rivers  (Herself), Kathy Griffin (Herself), Emily Kosloski (Herself), Mark Anderson Phillips (Himself), Don Rickles (Himself) and Larry A. Thompson (Himself). IFC Films, 2010.

Gail sees a movie appears every Wednesday.

In a rare moment of insight, Ben Kalmen (Michael Douglas) says that he feels invisible. Used to attracting the attention of women and the respect of men, this once powerful man feels irrelevant. Michael Douglas proves that he is anything but irrelevant with a strong and nuanced performance in Brian Koppelman and David Levien’s Solitary Man. He is helped by a first rate supporting cast, fine direction and a thoughtful screenplay.

When Ben (Douglas) learns from his doctor that he may have a heart problem, Ben dismantles his life. The once successful and honest car dealer commits fraud and loses his business and his money. He divorces his wife Nancy (Susan Sarandon) and chases younger women. He never goes back to the doctor. But when accompanying his girlfriend’s daughter Allyson (Imogen Poots) to her college interview at his alma mater, his perspective changes, in large part due to Allyson, old friend Jimmy (Danny DeVito) and new friend Daniel (Jesse Eisenberg). But can Ben really change or is it too late?

Michael Douglas does an excellent job of making a somewhat reprehensible character likeable. He is onscreen for most of the film, and I never tired of watching him. The 66 year old actor is still attractive and charismatic. His sex scenes are hot, yet at the same time uncomfortable. His success with younger women is believable, yet when a college student at a party asks him, “Aren’t you a little old for this?” we agree that he is. Much of the humor here is the kind that makes you cringe with embarrassment for Ben, as when he instructs his grandson to call him dad, and not granddad, as he tries to catch the eye of a younger woman. “Give me a hug, maybe she will think we are married,” he tells his grown daughter. Douglas does a terrific job of playing Ben as a guy completely unaware of his age and the way his actions hurt others.  But Douglas makes us feel for Ben and we see his insecurity as he flashes a tentative smile that does not reach his eyes as he begins to confront the truth about his life.

Danny DeVito gives a restrained and sincere performance as old friend Jimmy, a man who is the opposite of Ben. As Ben looks around the college diner Jimmy runs, he asks if Jimmy is ever tempted by the attractive coeds.  Showing the self-awareness that Ben lacks, Jimmy explains that the girls are not exactly chasing him. “I look and go right back to what I am doing,” he explains.  Devito and Douglas have an easy rhythm in their scenes together and are very convincing as old friends.  Jesse Eisenberg, so good in The Squid and the Whale, Adventureland, Zombieland and everything else he is in, brings his usual sensitivity and charm to Daniel Cheston, the young college student Ben befriends. Daniel looks up to Ben as Ben teaches him to talk to girls and encourages Daniel to explore the college life that is “nothing but possibilities.” Yet Daniel sees, as we do, that Ben has a darker side, and that there is something quite pathetic about a man like Ben going to college parties. Douglas and Eisenberg’s scenes are among my favorites; they are both funny and sad. 

 Directors Brian Koppelman and David Levien (Koppleman also wrote the screenplay) strike a nice balance here in making a film that is contemplative, but not ponderous, and still funny.  I absolve them for writing the terrible screenplay for Steven Soderbergh’s The Girlfriend Experience.  Solitary Man has all the substance and subtlety that film lacked. What resonates here is that Ben does much more than confront his mortality; he confronts his relevance. I liked the ambiguous ending, because the choice Ben will eventually make is irrelevant. What matters is that he realizes he has a choice.

Solitary Man.  Directed by Brian Koppelman and David Levien.  Michael Douglas (Ben Kalmen), Susan Sarandon (Nancy Kalmen), Danny DeVito (Jimmy Merino), Mary-Louise Parker (Jordan Karsch), Jenna Fischer (Susan Porter), Imogen Poots  (Allyson Karsch), Jesse Eisenberg (Daniel Cheston) and Olivia Thirlby (Cheston’s Girlfriend). Anchor Bay Entertainment, 2010.

Gail sees a movie appears every Wednesday.

It belongs to a genre that I do not always like, so my expectations for Get Him to the Greek were low. But this film has smart dialogue, likable characters, great performances and best of all, it is funny. It is really funny.

 The job seems simple enough. Record company executive Sergio (Sean “P. Diddy” Combs) sends employee Aaron (Jonah Hill) to London to pick up rock star Aldous Snow (Russell Brand) and take him to New York for an interview on the Today show, and then to his concert at the Greek Theater in Los Angeles. What could go wrong in three days?  But Aaron has a fight with girlfriend Daphne (Elisabeth Moss) and then must battle Aldous’s addictions, temper, father and many detours. And that is just the beginning.

 Writer/director Nicholas Stoller made the wise decision to keep his script simple, and trust that the funny would emerge.  Unlike some films (like the vastly inferior The Hangover) this story does not rely on tigers, kidnapping or other unlikely occurrences. The fact that the situation is more realistic makes the film funnier. Those familiar with the music business will get an extra laugh at the insincere enthusiasm of music business employees, but all of us can appreciate the buttoned up employee having to babysit the out of control rock star. Rock star Aldous Snow first appeared in Jason Segal’s Forgetting Sarah Marshall, and Stoller does an excellent job of fleshing out the character here. The film’s opening is a hilarious array of music videos, among them Snow’s flop “African Child.” Stoller concentrates on the relationship between Aldous and Aaron, and the performers make the most of Stoller’s material.

Russell Brand is perfect again as Aldous Snow and deserves this starring role. He is convincing as a decadent rock star as he sings and moves onstage to songs like “The Clap,” and stays high and inebriated. Yet he is also charming and likeable. Brand commits entirely to the character, deftly straddling the line between slight exaggeration and realistic portrayal. We understand his influence on Aaron as he convinces Aaron to join in his debauchery, asking, “Doesn’t it make sense that we stay here and have the time of your life?” he argues, British accent pronounced and eyes wide and innocent. Jonah Hill is sweet and sympathetic as Aaron diligently tries to get Aldous to his gig, but cannot help being star struck, as he describes Aldous saying, “He is rock and roll personified.”  Every time Aaron over indulges, he ends up covered in vomit, or worse.  The characters (and Brand and Hill) are great foils for each other, and keep the film funny and interesting. Mad Men’s Elisabeth Moss plays the straight man as Daphne, Aaron’s overworked girlfriend, and Brand, Hill and Moss somehow make a threesome funny.  Rose Byrne (most recently seen in television’s  Damages) is over the top funny as Jackie Q, Aldous’s ex-girlfriend, and her music video is one of the film’s funniest. Colm Meaney adds another layer of humor as Jonathan, the father of Aldous, as he gets mean and drunk and in Las Vegas, and makes Aldous seem like a responsible adult by comparison. But the best supporting performance in the film is Sean Combs as Sergio, Aaron’s boss.  He is at his funniest as the scary and threatening boss explaining the concept of the “mind fuck” to Aaron, using a steel gaze and intensely asking Aaron, “Do you feel my mind-dick going into your mind?”

Stoller directs the film at a brisk pace using fast cuts and montages (one especially funny montage features French fries, booze and vomit) for maximum comic effect. He also avoids the trap of having too many self-indulgent “serious” moments where characters learn some kind of lesson.  Stoller treads lightly here, so we see the change in the characters, but never at the expense of what is funny.  Although I did not expect it, Get Him to the Greek had me laughing for 109 minutes.

Get Him to the Greek.  Directed Nicholas Stoller.  Russell Brand (Aldous Snow), Rose Byrne (Jackie Q), Colm Meaney (Jonathan Snow), Jonah Hill (Aaron Green), Elisabeth Moss (Daphne Binks) and Sean ‘P. Diddy’ Combs (Sergio Roma). Universal Pictures, 2010.

Gail sees a movie appears every Wednesday.

What happens when the day you have been breathlessly anticipating finally arrives? You start to think it will never happen, and then just like that, you are sitting in a dark theater surrounded by gaggles of other like-minded women (and a few men). You and the other women just know that you will love Sex and the City 2, because you have loved these characters for years, and you would follow these four women anywhere. Those who never cared for the television series may not care for the film, but the filmmakers made this film for you, and other devotees of the television series. But while I loved the experience, Sex and the City 2 needs a clearer story and stronger writing. Like many sequels, Sex and the City 2 is not as satisfying as the first film.

The film starts two years after the last one ended, and the four women seem to have everything they always wanted. But is it enough? Charlotte (Kristin Davis) has the children she fought to get, but the stress of motherhood may be too much. Miranda (Cynthia Nixon) is happy with her husband and child, but a sexist boss is making her job intolerable.  Samantha is getting all the commitment-free sex she wants, but her battle with menopause threatens to cool her passions.  Our heroine Carrie (Sarah Jessica Parker) has a happy marriage with the love of her life and a successful career. So why is she complaining?

The film has a knock out beginning, as all the characters attend the over the top wedding of friends Anthony (Mario Cantone) and Stanford (Willie Garson).  Charlotte points to Carrie and explains, “Her best gay friend is marrying my best gay friend.” The wedding features a show stopping (film stopping?) performance by Liza Minnelli as she sings and dances the Beyoncé hit “Single Ladies” and also performs the ceremony. The scenes of the friends at the wedding are among my favorites, and the wedding scenes manage to be both hilarious and strangely moving. Cantone and Garson are terrific in their scenes, and the characters have always been a great contrast to the four women. Carrie and Stanford have a meaningful pre-wedding chat and Carrie and Big (Chris Noth) are questioned about their decision not to have children.  Carrie and Big look uncomfortable, and I assumed this would be an interesting issue the film would explore. But it is not, and instead Carrie seems more concerned with her husband’s feet on their couch.

Writer/director Michael Patrick King’s script devotes too much time to the unclear problems of Carrie and Big at the expense of the more interesting and believable problems of Charlotte, Miranda and Samantha.  Carrie’s sniping at Big is not really in character and contradicts Carrie’s growth in the first film. While the couple had a real conflict (marriage and commitment) in the first film, here the conflict seems manufactured. That is a shame, because the audience would have enjoyed watching this couple deal with some real issues, and then watching Carrie and her pals discuss the problems.  The best scene in the film has Charlotte and Miranda sharing their real feelings about motherhood as they raise their glasses to toast mothers everywhere. I wish the film had more scenes like that one.

The other problem with the film is that the women leave New York for a trip to Abu Dhabi (Morocco is the real location), and this trip lasts for most of the film. While I always enjoy seeing these four on a vacation together, Abu Dhabi seems like the wrong place for them.  While there was always a sense of irony about the ridiculous clothes and even the wedding here, the opulence in Abu Dhabi seems wrong. The women stay in a hotel that looks like a palace and are served by a staff that works hard for little money. These characters should feel more than a little uncomfortable with the repression of women in this culture, but the treatment of this issue seems glossed over, yet at the same time is heavy handed. I enjoyed Miranda’s radiance and enthusiasm as she plans sight- seeing trips and urges the others to respect the local culture, but this place detracted from the story. These characters should make more than a passing reference to the current political and economic climate.

Despite being featured in the advertisements, the characters of Smith (Jason Lewis) and Aidan (John Corbett) make all too brief appearances. How could a film that runs over two and a half hours be guilty of a too cursory treatment of so many characters and issues? King spends too much time on the lavish plane, hotel rooms and camels of Abu Dhabi.  More time should have been spent on interactions between these four characters. It is the characters that the audience loves. We don’t need to see them on camels, but we do need to see them laughing and talking about their problems together. Sex and the City fans will happily accompany the women to the desert, but we would be happier accompanying them on the rich emotional journey their characters usually take.

While the four women dine together, Samantha toasts their friendship by saying, “We made a deal ages ago — men, babies it doesn’t matter — we are soul mates.” It is that connection that resonates with the audience for this film. Despite its flaws, that is why I would see Sex and the City 2 again.

Sex and the City 2.  Directed Michael Patrick King.  Sarah Jessica Parker (Carrie Bradshaw), Kristin Davis (Charlotte York), Cynthia Nixon (Miranda Hobbes), Kim Cattrall (Samantha Jones), Chris Noth  (Mr. Big), David Eigenberg (Steve Brady), Evan Handler (Harry Goldenblatt), Mario Cantone (Anthony Marantino), Willie Garson (Stanford Blatch), Liza Minnelli (Herself), Jason Lewis (Jerry ‘Smith’ Jerrod)and John Corbett (Aidan Shaw). New Line Cinema,  2010.

Gail sees a movie appears every Wednesday.

I enjoyed the first Iron Man so much that I was really looking forward to Iron Man 2. I should have known better. I would watch Robert Downey Jr. in anything and Tony Stark is a compelling character, but Iron Man 2 falters under the weight of Justin Theroux’s bloated screenplay.  Even able director Jon Favreau cannot recreate the magic of the first film. 

Now that Tony Stark (Robert Downey Jr.) has “successfully privatized world peace,” he has become a bit insufferable. But primed to take Stark down is scary Ivan Vanko (Mickey Rourke), a brilliant scientist turned criminal. Also gunning for Stark is the not scary arms manufacturer Justin Hammer (Sam Rockwell). If that were not enough, Stark has to testify before Congress and Senator Stern (Garry Shandling). Oh, yeah, the device keeping him alive may also be killing him.  Fortunately, the loyal Pepper (Gwyneth Paltrow) is at Stark’s side. But a new woman has caught Stark’s eye. Is sexy and mysterious Natalie Rushman (Scarlett Johansson) friend or foe? Are there too many characters in Iron Man 2? 

The best scene in the film is the opening Stark expo, as Robert Downey Jr’s Tony Stark celebrates himself. Downey is terrific and funny as the over the top Stark extols his own virtues to screaming throngs. But Downey is appropriately pensive as he checks his blood levels for toxicity. Stark’s romance with Pepper, so charming in the first film, is practically non-existent here. Gwyneth Paltrow is forced to alternate between whining and arguing with Stark, and her character seems stripped of her former spunkiness. The rich relationship between Stark and Lt. Rhodes (a very underused Don Cheadle) is shortchanged here, and the petulant argument Stark starts with Rhodes seems out of character. Weapons manufacturer and Stark rival Justin Hammer (Sam Rockwell) is about as threatening as a fly, and his character gets too much screen time. Sam Rockwell gives a one note performance here, and that note is annoying.  The film threatens to get really interesting when Nick Fury (the always interesting Samuel L. Jackson) shows up, but this does not happen until the end of the film, and Jackson’s appearance is too brief.

Other than Downey, the bright spots in this film are Mickey Rourke and Scarlett Johansson.  Ivan Vanko (Rourke) is bent on revenge and seems a little crazy. Buff and tattooed Rourke looks menacing enough to defeat Iron Man. His Russian accent is convincing and scary, and his silver teeth glisten as he spits out, “There will be blood in the water, and the sharks will come….” All of his scenes are compelling, and I would have liked a little more of Rourke.  Scarlett Johansson manages to be both cool and red hot as the enigmatic Natalie Rushman. Stark is instantly attracted to her, and Johansson makes Natalie leaning over his shoulder seem overtly sexual.   Unfortunately, their flirtation goes nowhere, and Stark seems to give up too easily.

The second half of the film is better than the first half, and Iron Man 2 would have benefited from some judicious editing.  This film did not need to be 124 minutes long. The special effects are certainly big, and there are some cool looking fight scenes. “I am Iron Man. The suit and I are one,” Stark tell a group of senators.  True enough, but I wish Tony Stark had been given a better story. 

Iron Man 2.  Directed Jon Favreau.  Robert Downey Jr. (Tony Stark), Don Cheadle(Lt. Col. James ‘Rhodey’ Rhodes), Scarlett Johansson (Natalie Rushman), Gwyneth Paltrow (Pepper Potts), Sam Rockwell (Justin Hammer), Mickey Rourke (Ivan Vanko), Garry Shandling (Senator Stern)and Samuel L. Jackson (Nick Fury). Paramount Pictures, 2010.

Gail sees a movie appears every Wednesday.

While waiting in line for a preview screening of Letters to Juliet, I overheard an exchange between two twenty-something females in front of me. “I think this is going to be one of those romantic movies, and that is bad. Real life isn’t like that.” They were right of course.  Real life is rarely like Hollywood romantic films. So if you do not like chick flicks, stay away. But in the category of chick flicks this one is not so bad. It looks gorgeous and has strong performances from charismatic actors.

Sophie (Amanda Seyfried) is a fact checker for the New Yorker who longs to be a writer. Her fiancé Victor (Gael García Bernal) is handsome and charming, but he is consumed with opening his restaurant. When they take a trip to Verona, Victor spends most of his time tasting olive oil and visiting vineyards. While exploring Verona on her own, Sophie stumbles on a wall where the lovelorn leave letters about their romantic problems for “Juliet” to answer. Sophie is befriended by the group of women who answer the letters in Juliet’s name, and when she uncovers a letter written in 1957, Sophie answers it. The letter writer Claire (Vanessa Redgrave) and her grandson Charlie (Christopher Egan) join forces in Verona with Sophia to search for Claire’s lost love Lorenzo. Charlie is skeptical and argues with Sophia, but we all know that is just foreplay. Can true love conquer all? What do you think?

What makes this film better than others in the same genre are the lead performances and the beautiful scenery provided by Verona and the surrounding area.  I admit to loving Amanda Seyfried in everything, and as usual, she is charming and lovely here. Her Sophie is likable and sweet, and we root for her as she searches for romance and a writing career in Italy. Gael García Bernal, who hooked me with his performance in The Motorcycle Diaries, is charismatic and funny as Sophie’s fiancé Victor.  He radiates energy and enthusiasm throughout the film, especially when he tastes new food. “This is amazing; this is the best thing l ever tasted,” he exclaims, his dark eyes bulging, his white teeth flashing and his hands gesturing wildly. Seyfried and Bernal look great together, and make a believable couple.  I enjoyed the scenes of them touring vineyards in Italy and tasting pasta in New York.  It is to the credit of the writers that Victor is not a cad. He is distracted by his passion for his profession and not another woman.  This makes the triangle more interesting than usual. But Bernal is almost too charming, and I found myself rooting for him, and not interloper Charlie. Charlie is a bit of a stuffed shirt who is a closet romantic, but Christopher Egan seems a bit dull and colorless, especially next to Bernal.  It is apparent that love will blossom between Charlie and Sophia, and that this is the couple we are supposed to root for, but it is hard to get too excited about Egan’s Charlie.  What is exciting is the search for Claire’s lost love that has Claire, Sophia and Charlie driving around the Italian countryside. I enjoyed their trip almost as much as they did.

Vanessa Redgrave is marvelous as grandmother Claire, a romantic with a practical streak. She encourages the romance between Charlie and Sophia stating, “Life is the messy bits.” But her eyes sparkle with hope as she searches for her Lorenzo, and her lip quivers as she tells Sophia that she wants to find Lorenzo and tell him that she was “so sorry for being such a coward.” I found myself more caught up in the romance between Claire and the elusive Lorenzo than the romance between Sophia and Charlie. The most magical moment in the film comes (I won’t divulge how) when Claire and Lorenzo (Franco Nero) finally meet.  Nero’s performance is too brief, but he makes every moment count. Close to 70, he is still virile and commanding, and his scenes with Redgrave were, well, romantic.

Redgrave and Nero played Guenevere and Lancelot in the 1967 film version of the musical Camelot. It is a special thrill to see them play lovers here. In real life, they have been an off and on couple and are now married.  Perhaps those women in line were wrong about real life not being like the movies?  Probably not, but the journey through Italy is one worth taking.

Letters to Juliet.  Directed Gary Winick . Amanda Seyfried (Sophie), Gael García Bernal (Victor), Christopher Egan (Charlie), Vanessa Redgrave (Claire) and Franco Nero, (Lorenzo). Summit Entertainment, 2010.

I am loath to criticize Babies, lest anyone misconstrue my comments about the film as criticism of the actual babies in the film.  The babies are adorable and wonderful, and perfectly cast as adorable and wonderful infants. At times this film is exciting, moving, funny and provocative.  Although the film has many wonderful moments, in its totality it is a bit dull. It would make an interesting PBS television special, but it doesn’t really succeed as an entertainment experience requiring the purchase of a ticket.

This documentary follows the first year in the lives of four babies (Bayar, Ponijao, Mari and Hattie) from four vastly different places on earth (Mongolia, Namibia, Tokyo and San Francisco).  We occasionally catch glimpses of parents or hear the few words they speak to the babies, but there is no real dialogue or narration; it is just the babies. We see them as newborns, and watch as they learn to crawl, smile and walk. Bayar lives in a Mongolian dwelling with his farmer parents and brother and spends a lot of time outside with the animals. Ponijao also spends most of the film outside in the African dust with her mother, siblings, other females and animals.  Although Mari lives in a Tokyo high-rise and Hattie lives in a San Francisco house with a hot tub, both live similar baby lives. Mari and Hattie are both only children in big cities, both rarely spend a minute alone and both attend classes with their parents.

All of the babies in the film seem happy and loved, despite the dramatic differences in wealth and culture.  Do we frown on the excess in the modern and wealthier cultures? The baby in Tokyo visits animals in the zoo. The baby in San Francisco goes to some kind of meeting where the babies sit in a circle with their parents while the adults chant, “The earth is our mother and she will take care of us.” Yet it is the babies in Mongolia and Namibia who interact with nature on a daily basis, whose parents raise cattle and remove animal entrails while the babies look on, who spend much of their time playing with rocks, sand and dirt. But it is hard not to have a visceral reaction while watching Ponijao’s head being shaved with a knife, watching Ponijao drink muddy water, watching Bayar be alone and surrounded by cattle, and watching flies and insects land on these babies.  I worried about the lack of clean drinking water and the safety of these two babies in Mongolia and Namibia.

The trailers for the film show the best scenes in Babies, and perhaps the filmmakers want to make the point that all babies are the same wherever they live.  It is somewhat thrilling to watch all the babies learn to say the equivalent of “mama” and watching them crawling and laughing.  We feel for Bayar and Ponijao when they cry when teased by their siblings. We share Mari’s frustration when she cries at being unable to put an oval block in a hole, and feel bad for Hattie when she is afraid of the hot tub. But if you see this film, be prepared to spend time listening to babies cry.  Even though the film  looks beautiful and is only 79 minutes, if feels at least 20 minutes too long. Although I enjoyed parts of it, I found it unsatisfying. Yet the conversations I have had about the film have been more interesting than most conversations I have about films. In some ways, our reaction to this film is more interesting than the film itself. What is the price we (and the babies) pay for excess or poverty? Are modern parents too overprotective or are babies who are not so protected in danger? The film does not attempt to answer the questions, it only suggests them. Perhaps that is part of the point.

While watching Babies, I found myself wondering if most babies would like this film. It has many elements babies would enjoy. The film is shot low, at baby level. The film has many scenes of nipples and babies nursing, as well as babies peeing and pooping.  All four babies interact with pets, play with toys and learn. Babies have no need for context or narration, so unlike me and some other adults, they would not miss those elements here. Babies will be content to let the adults determine if this film has any deeper meaning.

Babies ( Bébé(s)).  Directed Thomas Balmes.  Bayar (Self), Hattie(Self), Mari(Self)and Ponijao (Self). Focus Features, 2010.

Gail sees a movie appears every Wednesday.

Despite the comic talents of Tina Fey and Steve Carell, Date Night is sorely lacking in the laugh department. It is not funny enough to be a good comedy, and not interesting enough to compensate for the lack of truly funny moments. The charm of the stars and the strong supporting performances cannot make up for the poor script.

Claire (Tina Fey) and Phil Foster (Steve Carell) are a happily married couple with small children, but they are beginning to tire of their regular “salmon and potato skins” date night. In an effort to spice up their romantic life, they try dinner at a trendy New York restaurant.   After a long wait, they take the reservation of another couple, the Tripplehorns. Before they finish dessert, two crooked cops (Jimmi Simpson and Common) point guns at them and demand a stolen flash drive. The case of mistaken identity has the Fosters on the run from cops and criminals all over New York, and culminates in a big show down at a strip club. Will they survive the night or will Claire and Phil have to strip?

The biggest problem with this film is the predictable and inane script by Josh Klausner. The car chases and other action sequences are not really interesting because we never believe that the Fosters are in danger.  The comedy scenes arising from the “danger” are not nearly funny enough, perhaps because the situation is so contrived. The film is best when it focuses on the small moments between the Fosters and we glimpse their relationship. My favorite scenes in the film are those when the Fosters visit Claire’s former client Holbrooke (Mark Wahlberg). Holbrooke is a cool spy type who is shirtless in every scene. Claire and Holbrooke flirt, much to Phil’s chagrin. When they discuss Phil’s insecurities, he says that he wants to be more than the guy who cannot load the dishwasher correctly. Their conversation is funny because it seems authentic.  I would have been much more interested in a film about this couple and what might really happen when they take a reservation that is not theirs.

Steve Carell and Tina Fey are charming and likeable as usual, and the Fosters seem like an actual married couple. They are amusing as they use fake accents and speculate on the relationships of other patrons, but these rare moments of comedy have nothing to do with the plot of Date Night. The other comedy moments seem forced, and somewhat desperate. One senses that the scene of Carell and Fey in the strip club was intended to be hilarious, but instead it seems rote. Carell and Fey seem much too comfortable with their dance, and discomfort is what is needed for the scene to provoke laughs. The funniest scene in the film belongs to James Franco (Taste) and Mila Kunis (Whippit). Taste and Whippit are the criminals using the name Tripplehorn.  Despite their rough looks and behavior, they react with shock and disgust when they learn that the Fosters took their dinner reservation. “Who does that?” Franco yells.  They argue and are over the top, but somehow are believable. They steal the scene and I wished the film had more scenes with Franco and Kunis.

If you are forced to endure Date Night, stay through the end of the credits. The outtakes of Fey and Carell are terrific.  They are much funnier that any of their scenes in the film. I wish Date Night had provided Fey and Carell with better material.

Date Night. Directed by Shawn Levy.  Steve Carell (Phil Foster) Tina Fey (Claire Foster), Mark Wahlberg(Holbrooke) Jimmi Simpson (Armstrong), Common (Collins), James Franco (Taste)and Mila Kunis(Whippit). Twentieth Century Fox Film Corporation, 2010.  

Gail sees a movie appears every Wednesday.

 According to nerdy Dave Lizewski (Aaron Johnson) a superhero is a “perfect combination of optimism and naiveté.” Of course, skill with lethal weapons and a fearless nature are also required.  In Kick-Ass, however, the powerless become unlikely superheroes.  The film is a parody of superhero movies, but I was still invested in the characters and story. And most of all, Kick-Ass is a hoot.

Dave Lizewski wants to help people and is tired of feeling invisible and helpless. So he orders a costume that “looks like a green condom” and suddenly he is YouTube sensation “Kick-Ass.” The girl he likes is interested and he is happy. But then he encounters a real superhero, in the improbable form of a little girl.  “Hit-Girl” (Chloë Grace Moretz) works with her father “Big Daddy” (Nicolas Cage) to bring down a dangerous drug ring led by Frank D’Amico (Mark Strong). But when Hit-Girl and Kick-Ass join forces, things really get dangerous.

The  screenplay by Jane Goldman  and Matthew Vaughn (he also directs the film) is based on the comic book by Mark Millar and John Romita Jr. The film alludes to its comic book origins in ways that are quite effective, but do not detract from the characters or plot. The story starts with voiceovers from Dave Lizewski about his path to becoming Kick-Ass, but follows two other sets of “superhero” types.  Rich kid Chris (Christopher Mintz-Plasse) becomes the Red Mist in a misguided attempt to help his father.  But the toughest superhero combination of the three is “Hit-Girl” and her father. “Hit-Girl” and “Big Daddy” perpetuate violence with gleeful abandon and no remorse. The villains treat “Hit Girl” like any other hardened criminal and do not hesitate for even a moment as they try to kill her.  And of course what is causing controversy is that little “Hit-Girl” uses the kind of R rated language that would be commonplace in a Mamet play.  Some may find this disturbing, but for others (like me) it is hilarious.

All of the performances in Kick-Ass are very strong, but this film belongs to Chloë Grace Moretz and Nicolas Cage.  Moretz, who gave an outstanding performance in (500) Days of Summer, is adorable and hilarious.  Wide-eyed Moretz wears her hair in pigtails and squeals with childlike delight when her father presents her with a nifty knife for her birthday.  But  Moretz is even funnier when she dons a purple wig, curls her lip and shows “Hit-Girl’s” world weary cynicism. When a cowed Kick-Ass asks how he can get a hold of her, she replies, “You just contact the mayor’s office. He has a special signal he shines in the sky; it’s in the shape of a giant cock!” This is mild language from “Hit Girl”; she is as tough as Uma Thurman’s bride in Kill Bill. As “Big Daddy” Cage does a very precise Adam West imitation, complete with exaggerated, uneven pauses and monotone delivery.  When not wearing his Batman-like costume, Cage’s “Big Daddy” is a typical cheery and affectionate father. He calls his daughter “honey bunny” and beams with paternal pride as he watches “Hit Girl” handle a knife with expertise. Moretz and Cage have real chemistry and are convincing as loving father and daughter.  British actor Aaron Johnson is likeable and appealing as “Kick-Ass,” and it is easy to root for him. Christopher Mintz-Plasse (Chris D’Amico/Red Mist), hilarious as Fogell/McLovin in Superbad, is similarly funny here as the rich kid and fake superhero.

 
The advertisements for this film are misleading. The film is about kids, but it is in no way for kids.  Kick-Ass is rated “R” for good reason.  But  I found this cute little girl who spouts obscenities while beating up bad guys to be empowering as well as funny.  Watching “Kick-Ass” and “Hit Girl” triumph over evil is satisfying.  As “Hit Girl” says  when attacked, “So, you wanna play?” Absolutely.

Kick-Ass. Directed by Matthew Vaughn.  Aaron Johnson (Dave Lizewski / Kick-Ass) Lyndsy Fonseca (Katie Deauxma), Christopher Mintz-Plasse (Chris D’Amico / Red Mist), Mark Strong (Frank D’Amico), Chloë Grace Moretz (Mindy Macready/ Hit-Girl) and Nicolas Cage (Damon Macready/ Big Daddy). Lionsgate, 2010.  

Gail sees a movie appears every Wednesday.

“Stealth marketing” sounds like a good idea. In fact it might work, which makes the idea behind Derrick Borte’s satire on American consumerism almost believable. But while the performances are good, the plot clever and the dialogue fun, the predictable ending and lack of depth makes The Joneses mildly enjoyable, but ultimately of little consequence.

The Joneses appear to be the perfect American family. Parents Kate (Demi Moore) and Steve (David Duchovny) are attractive and committed to each other. Their high school age children Jenn (Amber Heard) and Mick (Ben Hollingsworth) are well-mannered and popular. But the Joneses are a “unit” posing as a wealthy family. Their job is to get their friends and neighbors to buy targeted products. As their boss K.C. (Lauren Hutton) says, “If people want you they will want what you’ve got.”  But Jenn is a bit wild, Ben has a secret and Steve has a crush on his fake wife, who seems to be all business. And the Joneses are beginning to actually like their neighbors Summer (Glenne Headly) and Larry (Gary Cole), even as these neighbors struggle to keep up with the Joneses.  Soon it is hard to tell what is real and what is fake.

The best scenes in the film involve the stealth marketing techniques. Kate finds the best salon in town and befriends the most popular hairdresser, gaining introductions to the town’s wealthiest citizens. She recommends beauty products. Steve makes friends on the golf course and soon the other men want everything he has. The high school classmates of Jenn and Mick are even easier to lure.  Beautiful Jenn applies lipstick and all the girls in the locker room want that shade. Handsome and popular Mick has a new gaming system that all the boys love. Neighbor Summer is trying to peddle her own line of cosmetics, but still falls under the Joneses’ spell. The funniest scenes in the film take place at the party thrown by the Joneses.  When people comment on the delicious hot appetizers, Jen whips out a frozen food box and says with enthusiasm, “Chef Robert.” The entire party seems like a block of commercials

Demi Moore looks better than ever, and her performance as the single-minded Kate is compelling. But the romance with David Duchovny’s Steve seems contrived, and it is difficult to believe a woman like Kate would swoon for low key Steve. The motivations of these characters are never closely examined, so we are not sure why they agreed to this job in the first place. The doubts they express seem to be predicated on an unrealistic turn of events. Amber Heard and Ben Hollingsworth are believable and charismatic as the fake high school students Jenn and Mick, and their characters are appealing. I would have liked to know more about them, and I wish more of the film was devoted to these characters and less time was devoted to the romance between Moore and Duchovny. Just as the stealth marketing plot heats up, the film take a mundane turn, and never recovers.

When the Joneses roar into the neighborhood in their new car, Steve declares to his unit, “We are going to do some damage in this town.” I would have liked to see that, but Derrick Borte’s film never fulfills its promise.  Like the shiny golf clubs and big flat screen television the Joneses entice their neighbors to buy, The Joneses  looks good at first, but is not really worth the money. 

The Joneses. Directed by Derrick Borte.  Demi Moore (Kate) David Duchovny (Steve), Amber Heard (Jenn), Ben Hollingsworth  (Mick Jones), Glenne Headly (Summer),Gary Cole (Larry)and Lauren Hutton (KC). Roadside Attractions,2010.  

Gail sees a movie appears every Wednesday.

Yes, The Square has an adulterous affair, a bag of money, a construction site and teeming rain — all the de rigueur components for noir thrillers.  But Aussie filmmaker (and former stunt man) Nash Edgerton directs his first full length feature with crisp pacing, effectively placed shocks and just the right amount of humor.

Raymond Yale (David Roberts) is in a passionless marriage, but is having an affair with Carla (Claire van der Boom) a younger woman married to blue collar Greg (Anthony Hayes). Greg and his poker buddies are up to something, evidenced by the bag of cash Carla finds in their house. “It is cash. It can’t be decent,” she tells her lover, suggesting they take it and run away together. “That is why taking it is a bad idea,” Ray replies. But the two seem to really care about each other, and Ray tries to engineer a fire to cover the theft. The arsonist (Joel Edgerton, who also co-wrote the screenplay) gets a little scary when something goes wrong.  Ray is also having trouble at the construction site and someone is blackmailing him. The pressure is mounting and the suspects are numerous.

Grey haired David Roberts gives an appropriately measured and understated performance as the low key Raymond Yale. Ray rarely raises his voice and his calm demeanor suggests an average nice guy. He is likeable, but we do not know him that well. We root for him, but only a little. His affair with the younger and poorer Carla has some steamy moments, but neither of them seems to be especially manipulative. Yes, she urges him to take the bag of cash, and he initially resists the idea, but he doesn’t need much convincing. Ray seems to want to make the moral choice, but death seems to follow him. Young and pretty Carla works at a beauty salon, and seems quite different than the usual heartless and conniving femme fatale. Claire van der Boom’s Carla is unhappy in her marriage and tired of waiting for her married lover to leave his wife. She genuinely wants to be with Ray. Joel Edgerton is scary, compelling and strangely likeable as volatile Billy, whose perplexing relationship with his very timid girlfriend Lily (Hanna Mangan Lawrence) might be just as interesting the relationship between Ray and Carla.

Some are already comparing director Nash Edgerton and his brother Joel to those other filmmaking brothers-the Coens.  As director Edgerton noted during a Q&A after the preview screening, it is both a compliment and a bit too soon for that comparison.   But these filmmakers show lots of promise.  Edgerton provides plenty of mood as the characters in The Square celebrate a warm weather Christmas outdoors and encounter torrential downpours, dark and winding roads and muddy construction sites. Edgerton builds tension slowly, and then provides blood and shocks when you least expect them. Some shocks are integral to the plot and some have nothing to do with the plot, but all of them made me jump. But despite, or perhaps because of, the tension, there are moments that induce laughter.  And this combination makes The Square all the more fun.

 The Square is being shown in most theaters along with Spider, Edgerton’s 2007 short.  The less than 10 minute short is terrific; funny, scary and a good introduction to The Square. Spider begins with a quote from “Mum” — “It is all fun and games until someone loses an eye.”  When the Edgertons are involved, losing an eye is just the beginning.

The Square.  Directed by Nash Edgerton.  David Roberts (Raymond Yale) Claire van der Boom (Carla Smith), Anthony Hayes (Greg ‘Smithy’ Smith) Joel Edgerton (Billy), Lucy Bell  (Martha Yale), Hanna Mangan Lawrence(Lily) and Bill Hunter (Gil Hubbard). Apparition, 2010.  

Gail sees a movie appears every Wednesday.

“I’m trying to do nothing for a while,” Roger Greenberg (Ben Stiller) tells his ex-girlfriend Beth (Jennifer Jason Leigh) at an L.A. party. Greenberg does not have to try very hard. But Noah Baumbach’s character-driven film about an inactive and neurotic guy is both compelling and funny. Its strengths are the pair of strong lead performances and Baumbach’s subtle and witty script.

Roger Greenberg (Stiller) was once in a band and on the verge of a record deal, but is now a carpenter in New York. After a stint in a mental institution, he goes to L.A. to house sit and dog sit for his vacationing brother. Greenberg spends most of his time trying to build a doghouse, writing complaint letters to corporations and trying to reconnect with friend and ex-band mate Ivan (Rhys Ifans).  But he soon finds himself depending on his brother’s personal assistant Florence (Greta Gerwig) for rides, dog care and companionship. Can his self involvement and her low self esteem be the basis for a successful romance?

Ben Stiller reins in his usual wackiness and gives a restrained and serious performance as Greenberg. Stiller looks gaunt and haggard and he rarely smiles. When Ivan commiserates with Greenberg, stating that youth is wasted on the young, Greenberg says, “I’d go further. I’d say life is wasted on people.” Stiller delivers the line without a hint of irony. His eyes dart around rooms nervously, as if Greenberg has trouble focusing on personal interactions. Greenberg’s initial seduction of Florence is painfully awkward.  When he manipulates Florence into driving him home, I cringed but also felt sorry for him. Stiller’s Greenberg is sad and doesn’t enjoy his selfishness.

Greta Gerwig gives an inspired and moving performance as the insecure Florence. She is lovely, vulnerable and sweet and makes the character easy to like. People use her, but she is so nice that she wants to see the best in people. When Florence tells Greenberg that she is impressed that he is willing to do nothing, Gerwig says it with complete sincerity and admiration.  Her response to Greenberg’s clumsy romantic advances is, “I’m wearing kind of an ugly bra.” Gerwig is natural and believable in every scene and I never tired of her or Florence.

Baumbach directs his 107 minute film at a leisurely pace, which emphasizes Greenberg’s inertia. Baumbach’s screenplay (based on a story by Baumbach and wife Jennifer Jason Leigh) shows a man who seems to have no goals and no close relationships. Much of the film’s humor comes from discomfort and pain. Greenberg’s behavior is so boorish that I laughed and squirmed with embarrassment for him. At times he is difficult to like, but I sympathized with his sadness and loneliness. In one my favorite scenes in the film, Greenberg shares a meal with Beth (Jennifer Jason Leigh).  He remembers every detail of their relationship, even though it has been over for more than 15 years.  But for Beth, their time together is a distant memory. When Greenberg suggests that they go on a date, Beth declines and frantically signals for the check. We see that Greenberg is hurt and that he is stuck in the past.

While Greenberg is not as strong a film as The Squid and the Whale, I liked it more than Margot at the Wedding. I admire the choice to write about a character some may find unlikable, but who faces familiar conflicts. Towards the end of the film, Greenberg shows a flash of self awareness in a conversation with Ivan, as Ivan tells him about the difficulty of “finally embracing the life you never planned on.”  I was moved by Greenberg’s understanding of this.  He finally understands that it takes more than doing nothing to find happiness in the life you have, even if it is a different life than the one you expected.

Greenberg.  Directed by Noah Baumbach.  Ben Stiller (Roger Greenberg) Greta Gerwig (Florence Marr), Chris Messina (Phillip Greenberg) Rhys Ifans (Ivan Schrank), Jennifer Jason Leigh (Beth) and Mark Duplass (Eric Beller ). Focus Features, 2010.

Gail sees a movie appears every Wednesday.

Sometimes you sit in the dark and think, “Why can’t it always be like this?” Well, that is what happened to me when I watched the delightful gift that is City Island. This film is funny, smart, moving, packed with great performances and set in a fascinating place.

City Island looks like a picturesque New England fishing village, but it is just a small community in the Bronx, at the edge of New York City and surrounded by the Long Island Sound. Vince Rizzo (Andy Garcia) explains that in this close knit community, people who were born on the island and never moved are called “clam diggers” and residents who come from somewhere else are called “mussel suckers.” Vince is a clam digger, and lives with his family in a house near the beach and the boats. But despite the view, the Rizzos have problems. Vince is secretly taking an acting class in Manhattan, but his wife Joyce (Julianna Margulies) suspects he is having an affair. His teenage son Vince Jr. (Ezra Miller) has a fetish involving feeding obese women. His home-from-college daughter Vivian (Dominik García-Lorido, also the real life daughter of Andy Garcia) is acting strange. But the biggest problem may be Tony (Steven Strait), Vince’s son from a previous relationship. Vince is a prison guard (he insists on the term “correctional officer) who finds that Tony is incarcerated in the jail where he works. Vince arranges for Tony to be released into his custody, but doesn’t tell his family or Tony, that Tony is his son. Will this family survive its secrets?

Andy Garcia is both funny and touching as Vince, the rough family man who yearns to be an actor. His desire to act and his insecurity about his abilities are moving, and his obsession with Marlon Brando and his imitation of Brando during an audition are hilarious. Julianna Margulies gives an equally strong performance as Vince’s wife Joyce. She is the volatile and emotional Italian wife. When Vince asks her to make a nice dinner she answers, “You want balloons or something?” It is a treat to see Margulies as this kind of earthy and raw character, very different from her current role in The Good Wife and many of her previous roles.  Some of the best scenes in the film take place at the dinner table, as the members of the family snipe and yell at each other while passing plates of steaming and delicious-looking Italian food. Ezra Miller is hilarious as Vince Jr., the wise cracking teenager who says things like, “Oh my peptic ulcer,” as he clutches his side and feigns agony. Miller spouts sarcastic lines like these with sharpness, but without sounding mean. Steven Strait’s Tony is the perfect foil for this family, as he quietly takes in the family’s antics, while hinting at hidden depths. Emily Mortimer is wonderful in the supporting role of Molly, Vince’s acting partner. Mortimer and Garcia manage to have chemistry without having their characters cross any lines. Alan Arkin makes the most of an all-too-brief appearance as Tony and Molly’s acting teacher. His diatribe about Brando’s pauses had most of the audience howling.

One of the best things about writer/director Raymond De Felitta’s script is that these flawed characters are so likable. They seem authentic, they make mistakes and tell lies, but we sense goodness in them. Despite the drama, we see that this family loves each other. Although we can see how some of the revelations will unfold, there is enough edge in this comedy to set it apart from more predictable films. This film kept me laughing and I really cared about these people and was moved by their struggles.

In this film, City Island looks like a beautiful place to live and Raymond De Felitta’s crisp direction made me feel like a clam digger for 100 minutes. Although the end of the film is immensely satisfying, I was sad to leave these people and City Island. 

City Island.  Directed by Raymond De Felitta.  Andy Garcia (Vince Rizzo) Dominik García-Lorido (Vivian Rizzo), Julianna Margulies (Joyce Rizzo), Ezra Miller (Vince Jr.), Emily Mortimer (Molly), Steven Strait (Tony Nardella) and Alan Arkin (Michael Malakov). Anchor Bay Films, 2009.

Gail sees a movie appears every Wednesday.

Roman Polanski’s moody political thriller features a great cast and plenty of pointed political allusions. Although the pace is more leisurely than some action films, the writing is smart and the twists keep you guessing. It is not in the same class as some of Polanski’s other films (The Pianist , Chinatown , Rosemary’s Baby), but it is not a bad way to spend 128 minutes.

The former Prime Minister of England (think Tony Blair) Adam Lang (Pierce Brosnan) is writing his life story when his ghost writer dies under mysterious circumstances. A new ghost writer (Ewan McGregor) is dispatched to Martha’s Vineyard (Germany stands in for the United States here) to finish the book. But something is not right, and there is tension between Lang’s assistant Amelia Bly (Kim Cattrall) and Lang’s wife Ruth (Olivia Williams). When The Ghost (no one ever says his name) finds some clues in the effects of his deceased predecessor, he starts investigating on his own. Meanwhile the former Prime Minister may be charged with war crimes. Could there be a connection? If not, why is The Ghost being chased by mysterious men who may want to kill him?  

The Ghost Writer is filled with windy beaches, fog and lighthouses. The Ghost spends much of his time alone in his creepy motel and then later in the Prime Minister’s desolate beach house. Polanski wrote the screenplay with Robert Harris (adapting his novel), and the dialogue in the film is lean and often quiet. But Polanski slowly builds tension, as the Ghost tries to find meaning in a few cryptic words and the suspicious behavior of the Prime Minister and his handlers. The scenes of the Ghost talking to the Prime Minister about his life are interesting, but the film gets exciting when the Ghost senses something sinister.  A GPS leads the Ghost to an encounter with Professor Paul Emmett (Tom Wilkinson) and their seemingly benign conversation escalates the mystery. The film’s most exciting action sequence has the Ghost racing to get on a ferry, being chased through the ferry and escaping over a fence without his car.  Unlike some action sequences, this chase seems real. Credit goes to Polanski for showing restraint here, and adding to the excitement.

Ewan McGregor has a difficult job, as not much is revealed about the Ghost. But he makes the character likeable. When he realizes that Ruth may be trying to seduce him, he tells his reflection in the bathroom mirror that is it a bad idea. His wry delivery shows his self awareness, even as he is obviously tempted. McGregor and Olivia Williams have powerful chemistry, and it is great to see Williams shine in a starring role. She is convincing as the beautiful and brilliant woman who seems to be running her husband’s political career. Her jealousy seems real as she bickers with Amelia, her husband’s assistant and mistress. Ruth’s attraction to the Ghost seems sincere as she stares into his eyes when they share a drink.  She is seductive, but with an edge. Williams makes it clear that Ruth has layers and secrets.

 Handsome Pierce Brosnan plays Prime Minister Lang as a genial lightweight (he cannot remember the Ghost’s name and refers to him as “man”) who bemoans the fact that he cannot do simple things for himself, but seems oddly dependent on his wife. Early in the film one of the characters describes Lang by saying,  ”He wasn’t a politician; he was a craze.” The always charismatic Brosnan hints at the Prime Minister’s darker side as he goes quickly from laughter to anger when cornered in a conversation with the Ghost.  Tom Wilkinson gives one of the film’s best performances as Paul Emmett. Emmett  seems the average academic with nothing to hide as he agrees to talk to the Ghost.  As the Ghost catches Emmett in some lies, Emmet remains calm and enigmatic, and this makes him more mysterious.

When the Ghost first reads Lang’s manuscript, he pronounces it terrible, saying, “All the words are here; they are just in the wrong order.” But it is not until the end of the film that we understand what this means.  Like the rest of the film, the end is quiet, but potent.

The Ghost Writer.  Directed by Roman Polanski.  Ewan McGregor (The Ghost), Kim Cattrall (Amelia Bly), Pierce Brosnan (Adam Lang), James Belushi (John Maddox) Timothy Hutton (Sidney Kroll), Olivia Williams (Ruth Lang), Tom Wilkinson (Paul Emmett)and Eli Wallach (Vineyard old man). Summit Entertainment, 2010.

Gail sees a movie appears every Wednesday.

In the exciting opening scene of Brooklyn’s Finest, bad guy Carlo (Vincent D’Onofrio, in an effective but too brief performance) explains to Sal (Ethan Hawke) his philosophy about “righter and wronger.” Issues of moral relativism drive this taut cop thriller, and it is sometimes hard to tell the cops from the criminals. Crisp direction from Antoine Fuqua (Training Day), compelling characters and a trio of excellent lead performances kept me completely engaged in a film from a genre I usually avoid. The film is a bit of a downer but it is exciting and enjoyable.

Brooklyn’s Finest follows the lives of three cops over several days, as they each struggle with their jobs, lives and morality.  Eddie (Richard Gere) is a few days short of retiring after 20 years on the job. He contemplates suicide, visits prostitutes and crosses the days off his locker calendar. When he is ordered to spend his last few days training a rookie, he balks. When the squad commander asks Eddie if he wants to spend his last two minutes on the job doing something worthwhile, Eddie answers, “No.” But Eddie’s cop days are not quite over. Tango (Don Cheadle) is deep undercover in a drug ring and is promised a promotion if he can make one more drug bust. But Tango is torn between his job and his strange loyalty to drug dealer Caz (Wesley Snipes). Sal (Ethan Hawke) arrests drug dealers but the stress of supporting his children and pregnant wife Angela (Lili Taylor) challenges his moral code, despite support from honest partner Ronny (Brian F. O’Byrne). The three main cops have no real scenes together, but their lives intersect at the end of the film.

Richard Gere, looking haggard and hopeless, is the essence of the burned out cop who just wants his pension. Eddie’s affect is flat as he goes through the motions of his last week on the job, refusing to be interested in his rookie partners.  When one of them berates him for not interfering when a man hits a woman, saying, “In my book that is called a coward,” Gere replies flatly, “But you know I’m not much of a reader.” But when he finally turns in his badge and is told, “You’re done” Gere replies with disappointment, “That’s it?” Despite outward appearances, Eddie is not quite done with being a cop.  The excellent Don Cheadle is charismatic and convincing as Tango, the undercover cop. He is tough when posing as a drug dealer, and we see why his cover is intact. He is jumpy as the cop who is having trouble keeping his two lives separate, as he demands, “I want my life back,” while waving a fork in the face of his commanding officer. Cheadle shows how close to the edge Tango is when he nearly hits Agent Smith (a tough as any tough guy Ellen Barkin) after she tries to pressure him into setting up the dealer who befriended him. It is one of the film’s most intense scenes and Cheadle and Barkin play it perfectly. Ethan Hawke’s tattooed and smoking Sal is wound so tightly that we know he will snap; it is just a matter of when. Hawke is convincing as the caring husband and father when with his wife and children. Sal almost hits one his cop friends for making a racist remark in front of his children, and goes to confession after he bends the rules. “I don’t want God’s forgiveness, I want his help,” he tells his priest. But Sal is merciless with the criminals he encounters, and Hawke is scary as Sal gets darker every time he bends the rules. Wesley Snipes gives an understated and completely believable performance as drug dealer Caz, and has real chemistry with Cheadle. Brian F. O’Byrne plays honest cop Ronny with rough sincerity, as the one cop who has not lost his way.

Despite a running time of 132 minutes, the film never drags. Director Antoine Fuqua keeps things moving at a brisk pace, and sustains suspense and excitement throughout the film. Apparently the parts of Brooklyn these cops frequent have not yet been gentrified. These streets look gritty and unsafe. There are lots of scenes in restaurants, cars and near graffiti covered buildings. Fuqua uses many close-ups and many two person scenes, which adds to the film’s intensity. Fuqua has assembled an excellent cast, and gets strong performances from all of them. Michael C. Martin’s screenplay is full of tension and believable small moments.  Its only flaw is that the resolution is dependent on a series of coincidences that strain credulity.

This film reminds me somewhat of Martin Scorsese’s The Departed, although nowhere near as strong and without the twists and turns. But the complex characters and performances had me hooked, and I found that I was rooting for their moral sides. The three main characters are deeply flawed, but that is what makes them, and Brooklyn’s Finest, compelling.

Brooklyn’s Finest .  Directed by Antoine Fuqua.  Richard Gere (Eddie), Don Cheadle (Tango), Ethan Hawke (Sal), Wesley Snipes (Caz), Vincent D’Onofrio (Carlo), Brian F. O’Byrne (Ronny Rosario), Lili Taylor (Angela)and Ellen Barkin (Agent Smith). Overture Films, 2009.

Gail sees a movie appears every Wednesday.