Reel Thoughts: The Vamp Next Door

Now, come on! If Colin Farrell moved next door to you, in a dull, foreclosure-riddled Vegas subdivision, would you really wait more than five seconds before you were at his door asking for a little sugar? The new Fright Night is a meaner, leaner version of the 1985 classic, which changes up enough of the story to make it worth remaking. The original featured some bizarre casting including Stephen Geoffreys, a Tony-nominated actor who went into gay porn, and Amanda Bearse, playing Charlie’s virginal girlfriend a few years before she came out of the closet. William Ragsdale exhibited an acting range that rivals Zack Galligan in its lack of quality. Still, Chris Sarandon was a dark and sexy vampire nemesis and Roddy McDowell was a hoot as the faded TV ghost host Peter Vincent.

Fright Night 2011 takes advantage of the modern economic downturn to explain how a vampire could be preying on people without anyone noticing their absence. Families are fleeing their tract homes in Charlie Brewster’s (Anton Yelchin) North Vegas neighborhood by the truckload, so what who’s to know if they were foreclosed on... or fed upon? Toni Collette (who must have had Yelchin when she was 16) plays Charlie’s mother, a lonely real estate agent who is ticked at new neighbor Jerry (Colin Farrell) who works nights in casino construction and has a butt-ugly dumpster in his front yard.

Narrative whiplash sets in as Charlie is informed that Jerry is a vampire by his nerdy former best friend Ed (McLovin’ himself, Christopher Mintz-Plasse) almost immediately. Ed had been tracing Jerry’s movements and managed to not-capture him on camera, and he begs his old friend to help him take the bloodsucker down. Once Charlie realizes that Ed was right, his buddy is missing, so Charlie seeks out Vegas Goth magician Peter Vincent (David Tennant, channeling Russell Brandt and Chris Angel), a dissolute so-called vampire expert. The drunken lothario is not very supportive, to say the least.

Fright Night ramps up the action above the original with Jerry baring his fangs early and launching an all-out assault on Charlie, his mom and his hot girlfriend, Amy (played by the unfortunately-named Imogen Poots). While the original’s acting was sitcom-my, Farrell’s hot, dangerous performance makes the new version sexier and funnier. Wait until you see how Jerry gets around the old, “Vampires can’t come in if you don’t invite them” rule.

Even the ubiquitous 3-D is used well in Fright Night. While Yelchin is a little long in the tooth to be a high schooler, he’s way better than Ragsdale, who inexplicably had a career after the 1985 opus. While Geoffreys was creepy and cringe-worthy (“You’re so cool, Brewster!”), Mintz-Plasse actually gets some sympathy as the spurned friend. Poots does well in the thankless girlfriend role, and Collette is fun to watch and really knows how to wield a realty sign!

If you’re looking for a fun night with a few frights, Fright Night should be just right.

Review by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.

Reverend's Reviews: Iranian Girls Gone Wild

The Islamic fundamentalist president of Iran, Mahmoud Ahmadinejad, definitely wouldn't approve of the award-winning, pro-LGBT drama Circumstance (opening today in Los Angeles and New York). Maryam Keshavarz's sensual look at two girls from opposite sides of the tracks who fall in love shines a more revealing light than ever before on Iranian culture and politics. Not surprisingly, GLBT people bear the brunt of the current regime's repressive tactics, and can even be put to death.

In Circumstance, Atafeh (Nikohl Boosheri), who comes from a wealthy family, meets lower class, orphaned Shireen (Sarah Kazmy) at an underground dance party in Tehran (the film was shot in Lebanon). Despite the constant threats of surveillance and raids by Iran's Morality Police, the girls and their teen/young adult friends can't resist the time-honored temptations to dance, drink, try drugs and have sex. The biggest surprise to Shireen and Atafeh is their unexpected, mutual attraction to each other.

Naturally, they know to keep their relationship a secret. It becomes more difficult to do so once Atafeh's brother (Reza Sixo Safai) returns home from prison. Having embraced extremist religious and political views while incarcerated, he increasingly forces his conservative expectations on his family and threatens to uncover the forbidden love between Shireen and his sister.

Circumstance has swept the major awards at many of this year's film festivals, including Sundance, New Directors/New Films (a.k.a. Newfest) and Outfest, and Boosheri was honored with Outfest's Best Actress award for her film debut as the conflicted Atafeh. While I didn't find much new in the film's girl-girl romantic dynamics, it's setting and social-political commentary are certainly above the norm. Writer-director Keshavarz, who is Iranian herself, structures and frames her story beautifully, with scenes gradually moving from open and airy settings to tighter, more oppressive settings and camera shots. The performances from the mix of experienced and neophyte actors are uniformly excellent.

In an online chat with critics, Keshavarz related the many risks that she, her cast and crew members took in making the film. "I had serious discussions with the actors that we likely couldn't go back to Iran after making the film," she wrote. "Even shooting in a liberal country, like Lebanon, was still difficult; it is still illegal to be gay there." Keshavarz has been thrilled, however, with the "amazing," positive response Circumstance has received from GLBT audiences in the US as well as from younger Middle Eastern immigrants who have seen it.

While homosexuality remains a criminal offense in many Middle Eastern countries and other parts of the world, there is hope to be found in Circumstance. As history has shown — and can currently be seen in Libya and other former dictatorships — the more repressive/oppressive the environment, the more emboldened the oppressed become. This is true of both political and religious structures. Shireen and Atafeh are our latest cinematic heroines in the GLBT community's growing call for acceptance and justice.

Reverend's Rating: B+

Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.

Men on Film: Two Critics, One Day

Reverend's Reviews: One (Not Very Fine) Day:

July 15th is revered in Anglican Church circles as the feast of Saint Swithin (sometimes spelled Swithun), a 9th-century bishop of Winchester known for — in the words of his Wikipedia entry — "posthumous miracle-working." Swithin is referenced several times in the new movie One Day, opening nationwide today. If only the good saint's miracles extended to cinematic adaptations of bestselling novels; One Day could use one.

An uneasy mix of romantic longing and thwarted fairy tale, the plot follows two British friends and occasional lovers over a 20-year period beginning with their initial encounter on July 15, 1988. A middle-class, ambitious wannabe-writer, Emma (played by American actress Anne Hathaway), meets the wealthy, uninhibited Dex (Jim Sturgess of the Beatles-inspired musical Across the Universe) following their college graduation. The film subsequently revisits the pair each July 15th thereafter, and we watch the ebb and flow of their careers and angst-ridden relationship via vignettes accompanied by period-appropriate pop songs.

This "annual checkup" conceit ultimately proves precious and plodding, despite the occasionally clever ways each date is worked into the scene visually. I haven't read the novel by David Nicholls upon which the film is based (Nicholls also wrote the screenplay). A co-worker who has read the book informs me that the years and events aren't presented chronologically/sequentially on the page as they are on screen. I therefore suspect that events in the novel are presented in a more nuanced and layered way than they are in this heavy-handed movie version.

At least viewers are privy to some lovely scenery in Great Britain and France (shot by Benoit Delhomme) while we watch the lead characters struggle, work, love, grieve and skinny dip. By film's end, one of them learns "Whatever happens tomorrow, we've had today" as the result of a tragic twist so heavily foreshadowed in the moments before that it should surprise no one.

The cast can't be faulted for One Day's shortcomings. Hathaway and Sturgess are fine in their roles and have good chemistry. I am already weary, however, of Hathaway playing tortured romantic victims following this and last year's Love & Other Drugs. Here's hoping she gets to bust loose and kick some ass as Catwoman in next summer's The Dark Knight Rises. Patricia Clarkson (Far from Heaven, Easy A) is good as always in her brief turn as Dex's doting, terminally ill mother.

Directed by Lone Scherfig, One Day serves as a disappointing follow-up to her more subtle, Oscar-nominated film of 2009, An Education. It also represents a rare misstep for the usually reliable Focus Features, maker of such gay-interest successes as Brokeback Mountain, Milk and Beginners. Some fellow critics and audience members may find One Day miraculous somehow. By it's final 20 minutes, though, I was praying to Saint Swithin for deliverance.

Reverend's Rating: C-

Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.

On the other hand...

Reel Thoughts: A Blue Valentine (That People Will Actually Want to Watch):

From Same Time, Next Year to (500) Days of Summer to last year’s brutal Blue Valentine, films that unfold on timelines are fascinating, because you get to see the characters change, sometimes radically, from date to date. One Day is like Same Time, Next Year in that we follow Anne Hathaway and Jim Sturgess on the same date over twenty-three years, starting with a night of passion on the graduation day in 1988 all the way to 2011. At first, the date skipping from year to year seemed too quick and too facile, but as the film progressed, you grow to love Emma and Dex, flaws and all. July 15th, or St. Swithin’s Day as Dex informs Emma after their not-completed tryst, grows dramatically in significance as the pair grow older.

David Nicholls has adapted his best-selling novel masterfully, showing Dex’s rise as a smarmy television host and Emma’s escape from a dead-end restaurant job to become the teacher and then novelist she always wanted to be. Of course, Dex’s superficial fame leads to a drug-addicted, sex-drenched superficial life that is bound to burn out, and it does. Through everything, Emma’s and Dex’s friendship and love survives, and this is what makes One Day so powerful and moving.

Everyone has regrets and wonders how there life might have been different if they had engaged with that one elusive person. Writer Nicholls and Danish director Lone Scherfig (An Education) frankly show the highs and lows that fate gives us, and never stoop to easy laughs or unearned payoffs. Hathaway and Sturgess each give incredibly nuanced performances, aided by the luminous Patricia Clarkson as Dex’s mother and a cast of fine British actors. Emma and Dex’s relationship is presented in a real, mature fashion, full of the fights and reconciliations that every couple faces.

Anyone who has ever experienced the highs of love and the devastating lows of loss will want to experience this One Day. Its hopeful ending will comfort you with the promise that life can rebound, even when you think it cannot. With Sarah’s Key, The Help and now One Day, the best movies of the year are finally arriving.

Review by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.

Reverend's Reviews: Darwin or Bust

While most of us long to live in a place that truly accepts us just as we are with no questions asked, few of us would like that place to be anywhere in the vicinity of Death Valley. Long considered one of the most inhospitable places on earth, Death Valley has nonetheless been called "home" for 150 years by the varied residents of tiny Darwin, California.

Nick Brandestini's illuminating new expose of the locale — appropriately titled Darwin — is now playing as part of the 15th annual DocuWeeks in New York and Los Angeles (showtimes and more information may be found at the film's official website). The town is currently inhabited by 35 generally eccentric men and women, a mere 1% of Darwin's population of 3,500 at its peak in 1877. They proudly boast in the film of having no government, no church, no children and no jobs, save one. "I got the best job," says local postmaster Susan, "because it's the only job." Virtually everyone else lives on Social Security or disability benefits alone, and everyone has a past.

Darwin's other residents include Monty, an originally very handsome man with artistic longings who moved there in the 1950's to work as a lead miner, and his wife; Hank and Connie, who have embraced paganism after abandoning their formerly conservative Christian lives; and Hank and Connie's transgender son Ryal, who was born a girl but found in Darwin a tolerant community that supported his transition to male. Ryal and his partner, Penny, have since moved away from Darwin, hoping to find similar acceptance in the world beyond Death Valley.

As if Darwin's position on the map wasn't enough to discourage habitation, it is also located near a Naval Weapons Station established in 1943. The residents' only apparent, enduring fear aside from their water supply potentially being cut off is of one day having a nuclear bomb "accidentally" dropped on their community. Interestingly, the town's most prominent, longtime inhabitant is Michael Laemmle, grandson of the great Carl Laemmle, who founded Universal Pictures and supervised many westerns and other movies shot in the vicinity of Darwin during the 1930's-50's.

As someone is quoted during the film, "There sure is a lot of wasted talent in Darwin." The real-life characters depicted, though, more often than not credit their isolated home with bringing true peace and fulfillment to their previously troubled lives. They clearly have no regrets. Darwin is not only revealing but also quite funny due to things the residents say. To its credit, the documentary never leads viewers to laugh at the subjects' expense.

The Swiss-born Brandestini (who last made an acclaimed film about artist H.R. Giger) writes in the film's press notes of how he became fascinated with America's "living ghost towns" such as Darwin. He not only directed and produced the result of his interest, but personally shot the doc in vivid, hi-def style that captures the landscape's natural drama and edited it as well. While I haven't personally visited Darwin, I won't soon forget it thanks to Brandestini's haunting travelogue.

Reverend's Rating: A-

Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.

Reel Thoughts: Ch-Ch-Changes

The Change-Up is a "Career-Down" for everyone involved, a piece of cinematic baby poop so noxious, it could wipe out the rain forests. I was personally offended by every single minute of this stupid, curdled monstrosity. It is all the more depressing for how it sours the charisma of Ryan Reynolds, Jason Bateman, Olivia Wilde and especially poor Leslie Mann. The scene where Mann is forced to sit on a toilet and fumigate the bathroom with her Thai food diarrhea is the kind of thing you would force an actor to do when you really, really hate them. Similarly, Reynolds’ debased slacker and Bateman’s mopey drip make you wonder why they’re stars at all. My "Worst Movie of the Year" list just got a lot easier to compile.

Easily the worst entry in the Freaky Friday body swap oeuvre, The Change-Up presents us with two equally awful baby-men who exchange pea brains after peeing in a magic Atlanta fountain. Dave Lockwood (Bateman) is a work-obsessed family man while Mitch Planko (Reynolds) is a repulsive womanizer who trolls Lamaze classes for his sex partners. Alan Arkin plays his hugely disappointed father, echoing the audience’s feelings. Once they’ve traded places, each man ruins the other’s lives, and we couldn’t care less.

Trust me when I tell you that after the opening scene where Dave’s baby shoots projectile poop straight into his mouth not once but twice, the film only goes downhill from there. The story has no point, the characters change from scene to scene from hating the switch to loving it and the narrative has the momentum of a clogged sewer line. Only the least discriminating viewer could laugh at the admittedly outrageous and sometimes sickly funny sight gags without feeling supremely guilty and dirty afterwards.

The Change-Up even looks cheap and low budget. Supporting characters like Arkin’s newest wife look like they were plucked from a mall contest, and the Atlanta setting feels like the winner in “the cheapest filming location” sweepstakes (watch out, Albuquerque!). I hope that Bateman and Reynolds can change up their agents and get better parts in better movies.

Reel Thoughts Rating: F

Review by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.

Reel Thoughts Interview: Could It Happen Here?

When you listen to the vile rhetoric of Christian Conservatives like Michelle Bachmann and her “therapist” husband Marcus, who call LGBT people “barbarians” who are “linked to Satan”, it isn’t hard to sympathize with the foreign-born French Jews in Sarah’s Key, Gilles Paquet-Brenner’s heart-breaking drama based on the best-selling novel by Tatiana De Rosnay. Could such a witch-hunt happen again, this time to the LGBT community, the Mexican immigrant population or the Muslim community?

Director Paquet-Brenner pondered the question of whether such inhumanity as occurs in his film could happen again to another scapegoat minority when we spoke recently at the Phoenix Ritz-Carlton. “I don’t see gay people as different people, so I think everyone will appreciate the story. I am more in a political or religious perspective with Sarah’s Key, but I see where you are going,” Paquet-Brenner replied. “What is very important to me is that the film is universal, and so of course, you can include other minorities such as the gay community. I can see how someone especially in, how you say Deep America (Middle America), I understand how you can feel excluded or attacked, so you can definitely relate to these people. That is very interesting.”

Sarah’s Key interweaves two stories set almost seventy years apart in Paris. In 1942, ten year-old Sarah (the amazing Mélusine Mayance) is a Jew living in the Marais section of Paris when the police suddenly show up door-to-door to arrest all foreign Jews. Instinctively knowing that something terrible will happen to her family, she locks her young brother in a closet, assuring him that she will return. She is sure that her father, hiding in the basement, would come upstairs and free him, but he is found also and there is no one to save the boy as the family is taken to an indoor sports rink called the Vel’ D’Hiv.

In 2009, American journalist Julia Jarmond (Kristin Scott Thomas) is investigating the infamous round up, where 13,000 French Jews were locked into the hot arena without food, water or bathrooms for three days, leading to conditions much worse than the Superdome after Hurricane Katrina. Those who survived were taken to concentration camps, including Sarah’s family. In her research, Julia discovers shocking connections to Sarah through her French husband’s family, and she is determined to uncover the truth of what happened to the little girl and her brother, who escaped internment in the camps.

“I often say that the story isn’t about a Jewish family, it’s about a family. The same thing could have happened in Rwanda during the genocide,” Paquet-Brenner explained. “It could happen to a gay couple living in Iran or Uganda.” He also knows that Scott Thomas’ following in the gay community holds appeal. “She’s an icon, right? I can see it because she is a very strong woman.”

The film is very faithful to the book. “I chose to work very hard on the screenplay, because if you try to fix it in the editing room, you’re dead. It has to work as a reading experience, and then it translates straight to the screen.” He did expand on what happened to Sarah, which turns out to be one of the film’s most touching parts. He split the filming in two to accommodate Scott Thomas’ schedule and to allow him to give the 1942 scenes the raw, hand-held camera technique that puts you right in the terrifying action.

“The thing with the round-up is that it’s not like the authorities were brutal on purpose with the Vel D’Hiv, it’s just that they were totally unprepared. In the police, you had people who were against it, and people who supported it. It was a very, very difficult time in France, society was totally torn apart. You had this Vichy Government who was collaborating with the Germans. My grandfather was a German Jew from Berlin and he was arrested by the French. It was very complicated. I like when Kristin says to the young journalist (who asks why no one objected to the round up), “What would you have done? You have no idea what you would do in that situation. Some people want to simplify it; I don’t.”

Paquet-Brenner has already received acclaim and French awards for his first film, Pretty Things, in which future Oscar-winner Marion Cotillard played twin sisters, one who assumes the other’s identity when she is murdered. The handsome director shows such mastery with Sarah’s Key, he deserves Oscar attention as well.

Sarah’s Key Review:

As terrible as it sounds, some films about the Holocaust and its aftermath leave you feeling unmoved, well-made though they may be. Schindler’s List was the most searing and gut-wrenching experience on the subject, and Sarah’s Key possesses a more modulated but similar power to devastate you.

Kristin Scott Thomas plays a part close to her life as Julia, an American married to a French man and living in Paris. Julia is a passionate journalist who wants to shed light on a shameful period in France’s history, when they aided the Nazis in persecuting the Jews. Like in Arizona today, however, it was the foreign-born who were singled out for arrest and who found themselves demonized by the politicians.

Julia discovers the story of one little girl who escaped in order to save her brother who’d been left behind in their Paris apartment, but she has no clue how close to home the story will hit. Gilles Paquet-Brenner does an incredible job putting you into Sarah’s life, and seamlessly layering it with Julia’s journey of discovery and heartache. The film leaves you feeling uplifted by the end, much like the experience of reading a perfect novel.

The performances, especially by young Mélusine Mayance as Sarah and Scott Thomas, will leave you catching your breath with their honest power. The story itself will reduce you to tears many times, but Paquet-Brenner is a compassionate director who cuts back and forth in time perfectly, saving you from dissolving into uncontrollable sobbing from the brutality of the 1942 atrocities.

Sarah’s Key is a mystery well worth unlocking, and you will find one of the best films of the year.

Interview and review by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.

Reverend's Review: A Theological Tree Worth Scaling

Terrence Malick's long-awaited The Tree of Life had its world premiere at May's Cannes Film Festival and received a decidedly mixed reaction. Reportedly, as many attendees booed as applauded it but the film was ultimately awarded the Palme D'Or, the festival's top prize. It has similarly received as many pans as kudos from US critics since opening in limited release here, and has grossed a mere $9 million at the box office to date.

Malick is the much-revered but far from prolific auteur responsible for such thinking-person's epics as Days of Heaven and The Thin Red Line. The Tree of Life is only his seventh film in over 40 years as a director. His movies are naturalistic, frequently wordless, lengthy (this one is 2 ½ hours) and slow moving, all of which translates as "dull" to many modern filmgoers. I do agree with most, though, that Malick's last venture — 2005's The New World, based on the story of Pocahontas — was a colossal bore.

The Tree of Life, however, is easily Malick's warmest movie and may well endure as his masterpiece... although the obnoxious heckler at the screening I attended would surely disagree. It is also a profoundly theological work. While different viewers may draw different conclusions, the movie struck me as being about nothing so much as God's relationship with what God has created. This creation, as depicted in The Tree of Life, includes planets, dinosaurs, and a Texas family struggling with the untimely death of one of its members.

Brad Pitt gives a terrific, multi-layered performance as the domineering head of the O'Brien family, which also includes his wife (the radiant Jessica Chastain) and their three precocious boys. Oldest son Jack (played by newcomer Hunter McCracken as a youngster and Oscar-winner Sean Penn as an adult) increasingly challenges his father's authority as he matures. This serves as a fairly obvious but effective metaphor for many people's relationship with God and/or the faith in which they were raised while transitioning from childhood to adulthood.

Mrs. O'Brien comments early on in The Tree of Life about the choice human beings must make between the order of Nature which, she says, "seeks its own good," or that of Grace, "which seeks the good of all." Saints Augustine and Thomas Aquinas, among others, would appreciate this framing device. The eternal tension between Grace and Nature is subsequently illustrated via gorgeous, painterly sequences (by George Lucas's special effects house, Industrial Light & Magic) replicating the creation of the universe and Earth's primitive past, as well as through Jack's decades-long effort to reconcile the family's loss and his feelings toward his father.

Most of what constitutes dialogue in the movie is intimate voiceovers, wherein the characters question God and themselves about whatever meaning there might be behind everyday events great and small. That makes The Tree of Life a film that must be listened to carefully, which apparently is increasingly difficult for today's cineplex attendees. The excellent music score — much of it woven from seemingly disparate classical and contemporary sources — by Alexandre Desplat (The King's Speech) similarly helps to make this an aural as well as a visual experience. Luminous cinematography by Emmanuel Lubezki (Children of Men) accentuates the latter dimension.

Being a Terrence Malick movie, much of The Tree of Life is deliberately paced and intentionally vague. Roger Ebert has compared it to 2001: A Space Odyssey in scope, but I didn't find Malick's work nearly as confounding as Stanley Kubrick's sci-fi/pseudo-religious classic. Adventurous moviegoers who don't require over-amplified sound and 3D glasses (although this is one movie that would be even more spectacular in 3D) will likely be enthralled as I was. The Tree of Life is one of the very best films of 2011 thus far, no matter what its more graceless detractors are saying.

Reverend's Rating: A-

Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.

Reel Thoughts: Don't Be Stupid

In a summer full of pumped-up superheroes and marauding car-robots, Crazy, Stupid, Love. is a much-appreciated change of pace, a witty, hilarious and constantly surprising comedy for adults without a single “We got so wasted... what did we do?” joke. Directed by Glenn Ficarra and John Requa (who can do no wrong after I Love You, Phillip Morris) and starring a fantastic cast including Steve Carell, Julianne Moore, Ryan Gosling, Marisa Tomei and Emma Stone, Crazy, Stupid, Love. is a multifaceted romantic classic in the vein of Love, Actually (maybe the secret of success is putting punctuation in your title).

Cal (Steve Carell) is blindsided when his wife of twenty-five years, Emily (Julianne Moore), announces over dessert that she wants a divorce, and that she slept with a coworker. Drowning his sorrows at a hip LA bar, he meets Jacob (Gosling), the ultimate player, who takes pity on the clothing-and-haircut-challenged Cal. Jacob gives Cal a macho makeover and ‘lessons with the ladies’, while finally meeting the girl of his dreams (Stone), who makes him want to reform.

Meanwhile, Cal’s thirteen year-old son (the unfortunately-named Jonah Bobo) is madly in love with his seventeen year-old baby sitter (Liv Tyler look-alike and America’s Next Top Model finalist Analeigh Tipton), who in turn, has a crush on Cal. Tomei has a priceless supporting role I can’t divulge, and suffice it to say, there are more surprises in Crazy, Stupid, Love. than in a case of Cracker Jacks. Ficarra and Requa, along with Tangled scribe Dan Fogelman, have mined yet another off-center piece of comedy gold.

Gosling seems to revel in playing off his good looks and killer abs, rather than hiding them as he did in Blue Valentine, and it is a joy to watch. Carell and Moore have such great, mature comic timing and chemistry that you can’t help but root for their success.  Stone is quickly becoming a Julia Roberts wattage star, based on this performance, Easy A and the upcoming The Help.

You would have to be crazy or stupid not to love Crazy, Stupid, Love.

Review by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.

Reverend's Interview: Meet Harmony Santana

Gun Hill Road has been winning rave reviews from critics and audiences since its premiere in competition at the 2011 Sundance Film Festival. Since then, the film — about a recently-released convict who returns home to discover his teenage son is living as a woman — scored the prestigious opening night slot at Outfest and a theatrical distribution deal. It will open throughout California and the US beginning tomorrow.

I had the opportunity to speak privately with Harmony Santana, who plays the movie's central trans character of Michael/Vanessa, as well as writer-director Rashaad Ernesto Green during their recent visit to Los Angles. Currently undergoing her real-life transition from male to female, the 20-year old Santana is stunningly beautiful both on- and off-screen. She was just beginning the process when Green cast her in Gun Hill Road.

"I was looking for the genuine article," Green said. "I was looking for a real transgender person to play this transgender teen role, which was really hard." It took Green two months of searching through New York City nightclubs, GLBT community centers and drag shows before he was referred to Santana during NYC's Pride events. Santana was working an HIV prevention booth. Green described the part of Michael/Vanessa and asked Santana to audition even though she had no acting experience apart from a high school play.

Of her first professional acting experience, Santana glowingly recalls "It was like I was living a dream; I loved going to set, and the makeup and hair, everything." She said she found great support during the three-month shoot from her much more experienced co-stars Esai Morales (La Bamba, Caprica) and Judy Reyes (Scrubs), who play her parents. Santana gives an outstanding performance, and has already followed it up with what she describes as "a bitchy role" in not one but two entries in the Eating Out comedy series. "This is the start of my career," Santana says of her plan to become a successful actress and ultimately play non-transgender roles.

I asked her how she is both like and unlike the trans character she plays in Gun Hill Road. "We have the same boy problems; I think all transgender people do," Santana said in terms of the similarities. That being said, she had a boyfriend of two months at the time of my interview and reported things were going well. Of the differences, Santana noted her relationship with her father is much more estranged than that shown in the film between Michael/Vanessa and her father. "I haven't spoken to my dad in like four or five years," she said. Fortunately, Santana's family ties with her mother and 15 siblings are much stronger and they have been very supportive of her personal transformation. "I also didn't go through the physical stuff." Santana says in comparison to the abuse that Michael/Vanessa endures from her father and others.

Family isn't only the dominant theme in Gun Hill Road but was, according to Green, the inspiration behind his screenplay. "Someone very close to me in my life went through something similar, where he had a child in transition," Green shared. "I watched their family deteriorate over the course of a few years because of his inability to accept his child's transition, but at the same time he loved his child so much and I saw a child without her father." In the wake of this experience, Green decided he "wanted to make a piece of art that didn't necessarily give all the answers but at least pointed them in the right direction."

Audience response to the finished film (both nationally and internationally) has been tremendous, according to both Green and Santana. "People's eyes are being opened to a world they thought they knew but now they are getting to see another side of it," Green said. Santana has experienced viewers "coming up to me and hugging me and crying and saying how much the film means to them." She appreciates in particular a group of lesbians who came up to her and told her how much she is inspiring them, as well as Facebook messages she regularly receives saying the same.

As a trans person herself, I asked Santana about when she first began realizing she was different from other boys. "I was in the second grade," she replied. "I had gone into the bathroom at school and another boy followed me into the bathroom. We started making out and that was my first kiss ever. It all went from there." The three of us laughed as Santana debated whether her personal and romantic experiences have gone uphill or downhill after that early start.

Santana offered the following advice to other trans people: "Be yourself, be happy, and have hope in your family; they might not be supportive now but it takes time." Even if things don't work out, she spoke encouragingly of finding "family in other places, especially among your friends."

For more information on Gun Hill Road, visit the film's official website.

Interview by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.

Reel Thoughts: Absolution Day

If potential and casting were all that mattered, Cowboys & Aliens would be a surefire hit. Unfortunately, perhaps driven by the oh-so-serious Daniel Craig, everyone involved decided to fight every impulse to inject humor, lightness and originality. Don’t get me wrong, Cowboys & Aliens is extremely well made and Craig, Harrison Ford, Sam Rockwell and Olivia Wilde give good performances. It’s just that they could have called the thing “Absolution Day” and called it a day. It is so by rote, I expected Bill Pullman to show up as President Grant to deliver a rousing battle speech before they kick alien butt. Cowboys & Aliens is perfectly serviceable and gets the job done, but it could have been so much better.

Craig plays a mysterious stranger who isn’t Clint Eastwood, who shows up in the lawless town of Absolution in the New Mexico Territory circa 1875. He has a strange bracelet and no memory, but it appears that he is a train robber named Jake Lonergan, who is wanted for murder. Wilde plays a prairie knockout named Ella, who seems to know where Jake has been and what the bracelet means.

Ford is Colonel Dolarhyde, the iron-fisted boss of the town, whose ne’er-do-well son Percy (Paul Dano) is a drunken blowhard itching for a fight. Soon, the townsfolk have more to worry about than Percy’s random shooting of deputies; alien ships appear and start snatching people and blowing things up. Jake’s arm shackle activates and helps him blast one of the invaders out of the sky, and he realizes that he is the only one who can beat the aliens.

Cowboys & Aliens echoes Super 8 with its underground slimy creatures, but it is totally missing the latter’s sense of wonder and exuberance. Director Jon Favreau knows action and he does a good job with the battle scenes. Craig gives gravitas to his character, and makes you feel for the loss of his love (Abigail Spencer). If the screenwriters had just embraced the premise’s campier aspects, Cowboys & Aliens could have been out of this world fun.

Review by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.

Reverend's Reviews: Double Vision

History has proven that Saddam Hussein, the late long-ruling dictator of Iraq, was no Mr. Nice Guy. If The Devil's Double is to be believed, however, Hussein's son Uday — a.k.a. "The Black Prince" — was even more decadent and vicious. This fact-based, no-holds-barred exposé of political corruption and immorality opens today in New York and Los Angeles.

"We must have discipline," proclaims Uday, just prior to beating the unfortunate soldier coerced into serving as his body double. Former schoolmates and similar-looking enough to have been confused as brothers, Latif Yahia and Uday form an uneasy partnership, with the safety of Latif's parents and siblings serving as necessary collateral.

As Latif and Uday, Dominic Cooper's performance blew me away. Cooper is probably best known for his role as the fiancé of Meryl Streep's daughter in the movie version of Mamma Mia!, but can also be seen currently in Captain America: The First Avenger as Howard Stark. The Devil's Double marks Cooper's first lead in a feature film. It's a terrific double-turn, and he is particularly good as the unhinged Uday. It doesn't hurt that director Lee Tamahori (Die Another Day) doesn't refrain from showing off Cooper's impressive physical attributes as well.

Actually, the entire cast is excellent. French actress Ludivine Sagnier (Swimming Pool) utilizes an effective mix of bravado and fear as one of Uday's prostitute mistresses who falls for Latif. Raad Rawi memorably portrays the Husseins' head of security as, in the words of Latif, "a good man in a bad job." As Saddam Hussein, Australian actor Philip Quast inspires no small degree of sympathy once the audience has gotten to know his spoiled, sociopath son (Quast also plays Saddam's double). Mimoun Oaissa has fun as Uday's gay assistant/dresser.

The screenplay by Michael Thomas is insightful, although scenes seem to become repetitive and the violence numbing as the film goes on. According to the press notes, Tamahori drew inspiration from Brian DePalma's 1983 version of Scarface, and it shows in the amounts of cocaine snorted and brutal bloodletting depicted. Like Scarface, The Devil's Double is definitely over the top at times, no less so than during a climactic birthday party Uday throws for himself where the guests are forced to disrobe. But then again, that's likely the way it was in Hussein-era, pre-Gulf War Iraq. Sam McCurdy employs gorgeous photography in desert shades of red, brown and gold of the story's setting, opulence and decadence (the movie was actually filmed in Malta).

"One day when God visits, we'll have justice," one character says. While Iraq is at present still taking slow steps toward democracy, at least the Husseins have been removed from power there once and for all. The Devil's Double makes it abundantly clear that this couldn't have happened a day too soon. See the movie if for no other reason than Dominic Cooper's revelatory performance, and watch a star being born.

Reverend's Rating: B

Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.

Toon Talk: Reel American Hero

Created by Joe Simon and Jack Kirby in 1941, the star-spangled Marvel Comics hero known as Captain America has been fighting for truth, justice and the American way for 70 years now. In his long, illustrious career, the good Captain’s four-color exploits have taken him from the battlefields of World War II to the far reaches of outer space. But Cap’s greatest challenge was making a successful leap to the silver screen.

Now in theaters, Captain America: The First Avenger achieves that feat with flying colors. This period-perfect film boasts superior production values, an embarrassment of acting riches cast-wise and plenty of flag-waving enthusiasm that carries this never campy, always gung-ho summer actioner to blockbuster heights. As directed by Joe Johnston (who also helmed the similarly-set cult favorite The Rocketeer), Captain America smartly sidesteps the typical pitfalls of the superhero genre, playing more like a WWII spy thriller… albeit one that just happens to have a super-powered leading man.

Chris Evans (who has plenty of cinematic super-powered experience thanks to two Fantastic Four flicks, Push and Scott Pilgrim vs. the World) is said leading man...

Click here to continue reading my Toon Talk review of Captain America: The First Avenger at LaughingPlace.com.

Toon Talk: Silly Ol’ Bear

It has been 34 years since Disney’s first feature length visit to the world of A.A. Milne’s “bear of very little brain”, The Many Adventures of Winnie the Pooh. During that time the character, along with his fellow inhabitants of the Hundred Acre Wood, have become beloved pop culture icons, spawning everything from television series and DVDs to theme park attractions, not to mention a seemingly never-ending line of merchandise, from stuffed animals and toys to books and video games.

Additionally, three more feature films — The Tigger Movie, Piglet’s Big Movie and Pooh’s Heffalump Movie — have been released theatrically, with (as the titles suggest) our Pooh in supporting roles. But he returns to center stage in his unexpected yet delightful latest big screen adventure, simply titled Winnie the Pooh (in theaters now). And, as this title suggests, it’s back to basics for the lovable Pooh crew...

Click here to continue reading my Toon Talk review of Winnie the Pooh at LaughingPlace.com.

Reverend's Reviews: Natural Tendencies

"You cannot control what is wild." So reads graffiti left by a so-called "eco-terrorist" in the new documentary If A Tree Falls: A Story of the Earth Liberation Front, which opens today in Los Angeles and will soon have a national rollout. Their warning, however, applies well to another fine doc, Project Nim, which is already playing in some cities and opens in LA today as well. As both films illustrate, tragedy has resulted historically whenever humanity messes with the environment and other species. Why didn't those of us old enough to remember heed those 1970's TV commercials for Parkay Margarine, in which viewers were cautioned: "It's not nice to fool Mother Nature"?

If A Tree Falls, directed by Marshall Curry (an Oscar nominee for Street Fight) and Sam Cullman (who also serves as cinematographer and previously shot What Would Jesus Buy?, among other documentaries), focuses on several members of a cell of the radical Earth Liberation Front, a.k.a. ELF. Since 1996, ELF members have engaged in acts of arson aimed at crippling such non-Earth friendly sites as timber companies, wild horse slaughterhouses, ski lodges (causing $12 million in damage at one such resort in Vail, Colorado) and SUV dealerships. ELF was subsequently labeled the "number one domestic terrorism threat" by the FBI... prior to the attacks of September 11, 2001, anyway.

In 2005, 14 people associated with ELF were arrested. We hear first-hand here the personal stories of how some of these initially-docile individuals became environmentalists willing to sacrifice their own freedom and survival to prevent what one of the accused (and ultimately convicted) terms "the reckless destruction of the planet." Stepping in where protests and letter-writing campaigns against offending businesses had failed, ELF drew media attention to the plight of the environment while causing acts of destruction that — to the perpetrators' credit — never injured or killed anyone.

"It's hideous to be called a terrorist," says ELF member Daniel McGowan. I prefer to think of the subjects of If A Tree Falls as tree huggers with attitude, especially since we've seen what true, life-threatening terrorists can do. Without endorsing their tactics, I admire ELF's tenacity and efforts at educating the public. The movie gets a bit bogged down in legal and procedural details during its final 30 minutes but it will, hopefully, open eyes and hearts.

Project Nim is even more potent as an indictment against those who would try to manipulate "the natural order." Directed by Academy Award-winner James Marsh (Man on Wire) and winner of the Best Directing Award for World Documentary at this year's Sundance Film Festival, it is a probing exploration — at times painfully so — of humankind's arrogance as well as of the moral superiority some other species unwittingly possess.

Created from a combination of vintage footage, recent interviews with some of the surviving players, and re-created moments featuring an actor in a monkey suit, Project Nim recounts an extraordinary experiment during the 1970's in which an infant chimpanzee was removed from its natural mother only days after its birth and given to a human mother with instructions to raise it exactly as she would a human child. The goal: to determine whether humankind's closest relative could learn to communicate as a human being.

Utilizing American Sign Language, Nim (as the chimp was rather impersonally named) was taught a number of English words as well as how to dress himself and use the toilet. However, enduringly primitive and even violent actions by Nim indicated, as one researcher says in the film, "You can't give human nurturing to an animal that can kill you." After five years, the experiment's end was suddenly declared and Nim was relocated first to a chimpanzee research center in Oklahoma, then made a subject of medical research and ultimately abandoned to a solitary cage in an animal refuge in Texas.

Nim's journey is undeniably harrowing at times, and Project Nim may be tough for some animal lovers to get through. Gratefully, and wisely on Marsh's part, the challenging moments are leavened by enough cute and/or comic episodes of Nim interacting with his supporters both as a youth and as an adult that the film leaves one feeling hopeful rather than depressed. The humans involved, while sometimes well-meaning, are also revealed to be irreversibly ignorant with perhaps two exceptions: Dr. James Mahoney, who ultimately facilitated the transfer of numerous chimps, including Nim, from the bio-medical lab he managed to more hospitable surroundings, and Bob Ingersoll, who visited and continued to communicate with Nim for over 10 years before Nim's death at the age of 26 in 2000.

I'm all for trying to talk to the animals (some of my family members and friends even call me "Doctor Dolittle" due to the affinity seemingly shared between me and many non-human creatures), but I believe we ought to meet them on their linguistic level rather than unrealistically expect them to meet us on ours. I think that's the way Mother Nature... not to mention God... intended.

Reverend's Ratings:
Project Nim: A-
If A Tree Falls: B

Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.

Reel Thoughts: Criss-Cross

Who doesn’t smile when they think of getting revenge on a “horrible boss”? Neither as bad as I feared nor as good as it could have been, the star-studded black comedy Horrible Bosses (which opens today) is a gender-swapped 9 to 5 for the recession era.

Three pals, played by Jason Sudeikis, Jason Bateman and Charlie Day, each have bosses from hell who make their lives miserable. Nick’s (Bateman) is by far the worst, a megalomaniac named Davis Harken, played to malevolent perfection by Kevin Spacey. David delights in humiliating Nick while dangling a never-to-be promotion in his face. He even made him stay at work late when his “Gam-Gam” was dying.

Kurt (Sudeikis) loves his boss (Donald Sutherland) but hates his sleaze ball son Bobby, played by a gleefully slumming Colin Farrell in a nasty comb-over. Guess who kicks the bucket, leaving the chemical company in the hands of Bobby the tool? Dale (Day) gets no sympathy from his pals about his boss troubles. Slapped with a “Registered Sex Offender” label for urinating in an empty playground at midnight, Dale takes the only job he can get, which is as a dental assistant for a voracious man-eater named Julia Harris, DDS, hilariously played by Jennifer Aniston. Her non-stop sexual come-ons are more than the meek and mousy Dale can take.

A drunken night together inspires the trio to plan taking out their troublesome terrors, leading to a comedy of errors that is an entertaining diversion for the audience. Jamie Foxx has a funny cameo as the guys’ “murder consultant” named Motherfucker Jones.

Horrible Bosses is one of those juvenile adult comedies like Hall Pass, Bad Teacher, The Hangovers 1 and 2 and Bridesmaids. It is big on lowbrow laughs and short on character development, especially for the females in the cast. I can see why Aniston enjoyed her role, getting to look gorgeous and basically emasculate Day the whole movie long, but I’m surprised that she didn’t in turn ask for some miniscule nods at a character other than the Skinamax vixen she’s asked to play. Sudeikis’ lothario routine seems like delusional posturing, yet his character scores with every woman he wants, which is all of them.

If you accept that Horrible Bosses is a bit of white male wish fulfillment and enjoy it as such, you’ll have a lot of laughs. There are enough terrible bosses out there to make that part of the story universal. However, I don’t see the film ever inspiring much praise among women, straight or gay. There are so many gay male sex jokes, as is usual in this kind of film, that gay men may enjoy all the subtext flying around. A case can even be made that Dale’s revulsion at Aniston is due to him being in the closet.

Reel Thoughts Rating: B

Review by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.

Toon Talk: Mater Days

One could call Pixar’s seemingly unending winning streak an embarrassment of riches. With a string of number one box office hits and Academy Award wins, not to mention all the critical huzzahs and audience love, it’s not entirely unforgivable that the studio would take a chance to rest on their laurels for a bit with their latest animated release Cars 2 (in theaters now).

Ask any Pixar fan to name their favorite Pixar movie and chances are you won’t hear Cars mentioned much. It is also one of only two Pixars to not win the Oscar for Best Animated Feature since the category’s creation in 2001 (ironically, the other is Monsters, Inc., which will also get a sequel next year). So why a second Cars instead of a sequel to one of Pixar’s bigger, more beloved hits like Finding Nemo or The Incredibles...?

Click here to continue reading my Toon Talk review of Cars 2 at LaughingPlace.com.

Reverend's Reviews: Trollin'

Norway's legendary trolls are alive but not well in first-timer André Øvredal's handheld fantasy TrollHunter, opening today in Los Angeles and playing other US cities this summer. After centuries of seclusion in their remote territories — monitored by the secretive Troll Security Service (TSS) — the giant beasts have begun rampaging beyond their traditional fjords and caves. Could this be the result of humans encroaching on their land? Global warming? Some kind of infection or disease?

A group of college students has noticed an unusual degree of government activity in the troll-impacted areas. Unaware of the existence of trolls and suspecting bears instead, they set out with video cameras to document "the truth." Needless to say, the students can't all handle the truth. This is especially the case for the closeted Christian among them since, faithful to troll specs, the critters can smell believers' blood and aren't fond of it.

Filmgoers have endured similar faux exposés of the supernatural captured on video in recent years, ever since the blockbuster success of 1999's low-budget The Blair Witch Project. We've seen shaky-cam hauntings (Paranormal Activity 1 and 2), possessions (The Last Exorcism), zombie uprisings (Diary of the Dead), monster attacks (Cloverfield) and alien invasions (Skyline, Battle: Los Angeles). TrollHunter doesn't offer anything new to the genre, but it rises a notch above most of these entries thanks to its excellent special effects. The visual and sound designs for the trolls bring the simultaneously amusing but scary creatures to vivid cinematic life.

Øvredal's screenplay riffs cleverly on Norwegian folklore and history as well as science, religion and government conspiracy theories. For example, we're informed that trolls customarily consume large amounts of charcoal and concrete because they suffer from "calcium deficiency," and a new member of the documentary team responds "Muslim is OK, right?" after learning of the trolls' violent aversion to Christianity. The actors are adequate for their naïve-student roles, although veteran Otto Jespersen is great as the film's crusading title character.

One has to wonder what's next in the burgeoning series of documentary style creatures-on-camera epics; dragons, fairies or gnomes seem like prime candidates. In the meantime, TrollHunter offers some unique and entertaining modern twists on the legends of old.

Reverend's Rating: B-

UPDATE: TrollHunter is now available on DVD and Blu-ray from Amazon.com.

Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.