Fast and Furriest
by Betty Jo Tucker

Because of those cute previews for G-Force, I could hardly wait to see this latest Walt Disney movie. If I loved Alvin and the Chipmunks, the quirky hamster in Bolt, and those darling Air Bud puppies, surely I would also be charmed by an elite force of guinea pigs out to save the world. Sorry, folks, that didn’t happen. The CGI animals lack visual appeal, the frenzied action goes on too long, and the human actors seem bored by their own characters.

Who are the G-Force members? Assisted by Speckles (voiced by Nicolas Cage), a mole with extraordinary computer skills, this ace rodent spy team includes Darwin (voiced by Sam Rockwell), Blaster (voiced by Tracy Morgan) and Juarez (voiced by Penelope Cruz). Although each guinea pig is supposed to display a unique personality, it’s not always easy to tell them apart — and I had trouble understanding the dialogue spoken by Blaster and Juarez at times. Darwin, self-confident and commanding, leads the gung-ho group, Blaster provides comic relief, and Juarez is the stereotypical sexy spitfire. They all have access to cool spy gizmos and gadgets ala James Bond.

Zach Galifinakis (looking too easygoing for this assignment) plays Ben, the researcher who has developed a way to converse with these critters and also serves as their human wrangler. Their mission? To thwart the plans of Saber, an ambitious billionaire (Bill Nighy) who’s involved in placing dangerous microchips in electrical appliances everywhere.

After an officious FBI agent (Will Arnett) informs Ben he’s closing down the G-Force activities, our heroes decide to prove their worth by stopping Saber any way they can. In the process, they reluctantly recruit a wacky hamster (voiced by Steve Buscemi) and Hurley (voiced by Jon Favreau), a lonely guinea pig with unmet emotional needs.

Jerry Bruckheimer (Pirates of the Caribbean) produced this movie, so it’s no surprise that fast-paced chases, loud explosions and furious action sequences fill the screen. Unfortunately, these elements overwhelm everything else and detract from the film’s value as a family entertainment offering. Most youngsters at the screening I attended were not amused — not even by the usually giggle-evoking flatulence scenes. However, I saw the 2D G-Force. Perhaps children watching it in 3D became more excited about the guinea pigs and their spy game. But for me, it would take a lot more than objects flying in my face to improve the G-Force viewing experience.

(Released by Walt Disney Studios Motion Pictures and rated “PG” for some mild action and rude humor.)

For more information about G-Force, please go to the Internet Movie Data Base or the Rotten Tomatoes website.

Betty Jo Tucker is a member of the Online Film Critics Society (OFCS) and the San Diego Film Critics Society (SDFCS). She teaches an online class, “The Reel Deal: Writing about Movies” for the LSS School of Writing and has published three movie-related books including CONFESSIONS OF A MOVIE ADDICT, an amusing memoir about her life at the movies. Betty Jo serves as the editor/lead film critic for ReelTalk Movie Reviews and hosts a weekly radio show, “Movie Addict Headquarters,” for BlogTalkRadio. She also writes monthly film commentary for the Colorado Senior Beacon. For more information, please go to www.BettyJoTucker.com

Don’t Mess with the Kids
by Betty Jo Tucker

Sometimes a cheesy movie makes me happy because it’s just plain fun. Aliens in the Attic probably won’t win any awards — or receive many positive reviews – but it tickled my funny bone. After watching the humorous shenanigans by youngsters who fight off a group of menacing little creatures from outer space, I was in a good mood for the rest of the day.  And, if aliens ever take over my abode, it’s the Pearson kids I would call on to take care of them.

On the first day at their summer vacation house, the Pearson cousins discover that tiny space aliens have set up operations in their attic while preparing for an upcoming invasion. These strange-looking beings use a special gadget for human mind control, but it only works on adults, so it’s up to reluctant math braniac Tom (Carter Jenkins), smart-aleck Jake (Austin Butler), twin brothers Art and Lee (Henri and Regan Young, respectively), cutie-pie Hannah (Ashley Boettcher) and sexy Bethany (Ashley Tisdale) to put aside their differences and save the day. Bethany’s smarmy boyfriend Ricky (Robert Hoffman) is no longer a teen, which means he’s vulnerable along with the other adults (Kevin Nealon, Gillian Vigman, Andy Richter and Doris Roberts) at the summer house as well as the local sheriff (Tim Meadows) who drops by occasionally.

Responsible for evoking most of the laughter here, Hoffman (Step Up 2 the Streets) shows off his exceptional ability for physical comedy during hilarious sequences when “Ricky” is taken over by the mind-control thingamajig. Hoffman’s dance training certainly must have come in handy for this role. But he’s also quite funny in scenes where his character secretly mocks his girlfriend’s dad (Nealon), makes belittling remarks to her brother (Jenkins), and finally realizes what’s been happening. Almost matching Hoffman in earning laughs is veteran actress Doris Roberts (Grandma’s Boy), especially during a ninja-like fight scene where she displays fantastic moves, thanks to the magic of special effects.

All cast members deliver entertaining performances in this amusing family movie, but I wish Andy Richter, one of my favorite comedians, had received more camera time. His “Uncle Nathan” seems like a throwaway part. And, although the voice talent for the aliens (Thomas Haden Church, Josh Peck, Ashley Peldon, J.K. Simmons, and Kari Wahlgren) works fine, their physical appearances could have been more startling and scary. I did, however, particularly enjoy the E.T.-ish relationship between one of the aliens and the youngest Pearson (the adorable Boettcher).

Directed vigorously by John Schultz (The Honeymooners) from an imaginative script by Mark Burton (Wallace & Gromit in The Curse of the Were-Rabbit) and Adam F. Goldberg (Fanboys), Aliens in the Attic offers 86 minutes of refreshing summer fun. The only message? When it comes to space aliens, trust your kids.

(Released by Twentieth Century-Fox Film Corporation and rated “PG” for action violence, some suggestive humor, and language.)

For more information about Aliens in the Attic, go to the Internet Movie Data Base or the Rotten Tomatoes website.

Betty Jo Tucker is a member of the Online Film Critics Society (OFCS) and the San Diego Film Critics Society (SDFCS). She teaches an online class, “The Reel Deal: Writing about Movies” for the LSS School of Writing and has published three movie-related books including CONFESSIONS OF A MOVIE ADDICT, an amusing memoir about her life at the movies. Betty Jo serves as the editor/lead film critic for ReelTalk Movie Reviews and hosts a weekly radio show, “Movie Addict Headquarters,” for BlogTalkRadio. She also writes monthly film commentary for the Colorado Senior Beacon. For more information, please go to www.BettyJoTucker.com

Betty Jo Tucker will be on Heal Yourself  Talk Radio on Thursday July 23, 2009 from 1:00-1:30 pm est. We will be discussing Harry Potter and the Half Blood Prince as well as other great new releases, all part of our “Movies That Inspire” Section with Heal Yourself  Network.

Cinematic Wizardry
by Betty Jo Tucker

Producer David Heyman summed up Harry Potter and the Half-Blood Prince in a recent Entertainment Weekly interview. “What I love about the movie is that it has many different parts — comedy, romance, suspense, good versus evil – but it also sets up the final chapter that is Deathly Hallows,” he explained. Indeed, this sixth Harry Potter outing includes all those elements, yet the film’s marvelous visuals are what I admire most about it. While watching Harry unlock memories captured as liquid in crystal capsules or visit an eye-popping magic novelty store or struggle with a host of horrific zombie-like creatures or – well, the list goes on – I couldn’t help going deeper and deeper under the spell of its cinematic wizardry.

Of course, I confess being a longtime Harry Potter fan. So my interest in the fascinating characters here is a given. The strong bond of friendship among students Harry Potter (Daniel Radcliffe), Hermione Granger (Emma Watson) and Ron Weasley (Rupert Grint) has always meant a lot to me. Seeing them face the stirrings of young love in The Half-Blood Prince offers fans a bit of humor amid all the suspenseful intrigue at Hogwarts School of Wizardry and Witchcraft during this particular term.

What are Headmaster Dumbledore (Michael Gambon) and “Defense Against the Dark Arts” Professor Snape (Alan Rickman) up to? Who should be trusted? Why does Dumbledore give Harry such a dangerous mission? How can Harry uncover the truth about the villainous Lord Voldemort’s time as a student (Hero-Fiennes Tiffin) at Hogwarts, especially his relationship with “Potions” Professor Slughorn (Jim Broadbent)? Why is Draco Malfoy (Tom Felton) acting even more sinister than usual? And who is The Half-Blood Prince? Clearly, there’s evil afoot, and the stage is being set for a showdown between Harry and Voldemort, which will take place at the end of the franchise.

But back to the amazing look of Harry Potter and The Half-Blood Prince. Director David Yates (Harry Potter and the Order of the Phoenix) and cinematographer Bruno Delbonnel (whose visual artistry also enhanced A Very Long Engagement) must be modern wizards, for — with the help of magical special effects, sets, music and costumes – they have created a movie of incredible beauty despite its mostly dark themes. I understand they had to recolor the film before its release, and whatever that means, it definitely worked for me.      

Another highlight of this movie is Bonnie Wright’s lovely performance as Ginny Weasely, Ron’s sister, who sparks Harry’s interest in more than a friendly way. It’s a delightfully understated turn, one that comes across as quite warm and genuine. However, as usual, Alan Rickman, takes the acting honors. With that intense facial expression and those unique vocal inflections, Professor Snape simply commands the screen whenever he’s on camera. Everyone else also does a fine job, but I wish Hagrid (Robbie Coltrane) and Professor McGonagall (Maggie Smith) had been in more scenes.

Although The Half-Blood Prince is not my favorite Harry Potter movie (I liked the first one best), it’s definitely a must-see for Harry Potter fans as well as for anyone who loves well-made fantasy films.

(Released by Warner Bros. Pictures and rated “PG” for scary images, some violence, language and mild sensuality.)

For more information about Harry Potter and the Half-Blood Prince, go to the Internet Movie Data Base or the Rotten Tomatoes website.

Betty Jo Tucker is a member of the Online Film Critics Society (OFCS) and the San Diego Film Critics Society (SDFCS). She teaches an online class, “The Reel Deal: Writing about Movies” for the LSS School of Writing and has published three movie-related books including CONFESSIONS OF A MOVIE ADDICT, an amusing memoir about her life at the movies. Betty Jo serves as the editor/lead film critic for ReelTalk Movie Reviews and hosts a weekly radio show, “Movie Addict Headquarters,” for BlogTalkRadio. She also writes monthly film commentary for the Colorado Senior Beacon. For more information, please go to www.BettyJoTucker.com

If you haven’t seen all the Harry Potter movies yet, I suggest you go and purchase them now! My kids love to watch Harry Potter over and over again!
Harry Potter Years 1-5 (Full-Screen Edition)

If you would rather have your kids do something this summer other than video games and sitting in front of the TV might I suggest they read the Harry Potter Series:
The Complete Harry Potter Collection Box Set: The Philosopher’s Stone; The Chamber Of Secrets; The Prisoner of Azkaban; The Goblet of Fire; The Order of The Phoenix; The Half Blood Prince; The Deathly Hallows (The Complete Harry Potter Collection, 1-7)

Gangster Lament
by Betty Jo Tucker

Playing John Dillinger in Public Enemies, Johnny Depp proves why he still rules filmdom for me. His intriguing performance here contains the same impressive attention to detail he’s brought to so many other movie characters. Simply by watching Depp’s expressive face, we know Dillinger gets a kick out of movies, enjoys singing while driving away from a crime, loves the public’s attention, and — though calm most of the time — is prone to violence when provoked. Too bad the rest of this eagerly awaited crime drama comes across as a mixed bag, making it difficult to invest emotionally in what’s happening on screen during much of the film’s two-hour-plus running time. Depp and Marion Cottilard, as Dillinger’s spunky love interest, cause a few sparks to fly in their scenes together, but that’s not enough to evoke a strong emotional attachment to Public Enemies throughout.

Back in the 1930s, the FBI named bank robber John Dillinger as Public Enemy No. 1, and Michael Mann’s (Collateral) movie focuses on the FBI’s relentless campaign to bring him down. Key figures in this zealous crusade are G-Man Melvin Purvis (Christian Bale) and his boss, J. Edgar Hoover (Billy Crudup). Both of these ambitious men realize funding for their crime-fighting activities depends on the outcome of their work on this case. But they’re up against America’s obsession with gangsters — which reached a peak during the Great Depression — and Dillinger’s favor with the public. During that decade, distrust of authority even helped boost attendance at gangster films featuring stars like James Cagney (The Public Enemy), Humphrey Bogart (Petrified Forest) and Edward G. Robinson (Little Caeser).

Claiming he “robbed the bank’s money, not the people’s money,” Dillinger took many risks during his crime career, which garnered him a lot of press. However, he probably  underestimated the tenacity of Purvis and the agents in his crew, especially a new member played with stunning clarity by Stephen Lang (The Treatment). Public Enemies deals — perhaps too briskly — with those facts.

Of course, we know how the story ends, so the movie includes very little suspense for viewers. But we are treated to provocative revelations about Dillinger’s romance with Billie Frechette (Cotillard, Oscar-winner for La Vie en Rose). It’s interesting to see how quickly Dillinger zooms in on Frechette, and how willing she is to go along with him, despite his criminal activities. Depp and Cotillard project a steamy chemistry as lovers, and their passion for each other reminds us of the sexy rapport between Depp and Juliette Binoche in Chocolat.

Unfortunately, the “crime story” part of Public Enemies frequently appears disjointed.  Although Dillinger claims he “sticks with his pals” and they stick with him, I had trouble seeing sufficient evidence of that, perhaps because of the fast-moving pace emphasized in most of these sequences. A few continuity issues also bothered me. For example, what was going on with Dillinger’s moustache? Now you see it, now you don’t. My husband says that’s being nitpicky because it takes only about two weeks to grow a moustache and, after all, matinee idol Clark Gable sported one then. But anytime I start thinking about something like this while watching a film, it takes me away from the total immersion experience I expect from a movie.

On the plus side, period costumes, sets and background music succeed in transporting us back to the 1930s. Like Johnny Depp’s acting, these elements of Public Enemies get all the details just right.  How do I know? No time-machine magic needed – I was there.

(Released by Universal Pictures and rated “R” for gangster violence and some language.)

For more information about this movie, please go to the Internet Movie Data Base or Rotten Tomatoes website.

Betty Jo Tucker is a member of the Online Film Critics Society (OFCS) and the San Diego Film Critics Society (SDFCS). She teaches an online class, “The Reel Deal: Writing about Movies” for the LSS School of Writing and has published three movie-related books including CONFESSIONS OF A MOVIE ADDICT, an amusing memoir about her life at the movies. Betty Jo serves as the editor/lead film critic for ReelTalk Movie Reviews and hosts a weekly radio show, “Movie Addict Headquarters,” for BlogTalkRadio. She also writes monthly film commentary for the Colorado Senior Beacon. For more information, please go to www.BettyJoTucker.com

Ordinary Man, Extraordinary Hero
by Betty Jo Tucker
After watching Captain Abu Raed, I have a new favorite movie hero. Sorry, Spider-Man and Zorro. You’ve been dethroned by an elderly widowed janitor at Jordan’s Amman International Airport. Abu Raed may not look very heroic, but he shows tremendous courage while trying to make a difference in the lives of children who become charmed by the adventure stories he spins for them.

Played with humor and compassion by Nadim Sawalha (Syriana), Abu Raed is not perfect. In fact, he’s not really a “Captain.” But the children in his neighborhood think he’s an airline pilot because they see him wearing a pilot’s cap he found in the airport trash. At first, Abu Raed discourages the youngsters concerning this belief, but he soon goes along with them, becoming a sort of Pied Piper who entertains the group with stories about imaginary voyages to other lands. When Abu Raed’s pretense is discovered, he could have given up on these children, but he continues to care about them — even to the point of endangering his own safety.

Amin Matalqa — who wrote, directed and produced Captain Abu Raed — reports that  Charlie Chaplin’s City of Lights is one of his favorite films. “The character of the Tramp represents the sweet man on the street,” he points out. By skillfully blending humor, pathos, drama and suspense, Matalqa has created a mesmerizing film reminiscent of Chaplin’s classic work.

Why did Matalqa set the story in an airport? He comes from a family of pilots, and he’s always been interested in the difference in social classes, so an airport made sense to him, for it’s where the poor and the rich meet. In this case, it’s the perfect setting for an impromptu meeting between Abu Raed and a real airline “captain,” portrayed with compelling sensitivity by lovely Rana Sultan, who becomes his friend and humanitarian accomplice. However, much of Captain Abu Raed also plays out in the streets where Abu Raed and the working class children he befriends live. Their humble neighborhood contrasts dramatically with the lavish house of Nour (Sultan’s character).

Sawalha and Sultan deserve praise for their terrific performances here, but so do all the child actors. I absolutely loved the delightful way they react to Abu Read’s storytelling sessions! Hussein Al Sous stands out as a youngster who causes Abu Raed the most trouble yet needs his help the most. It’s heartbreaking to watch the pain in this young boy’s eyes during most of his scenes.

Captain Abu Raed, the first Jordanian feature film exported for international cinema, boasts outstanding production values as well as solid acting and an admirable story with universal appeal. Reinhart Peschke’s dramatic cinematography draws viewers into Abu Raed’s world, and Austin Wintory’s splendid background music enhances what’s happening on screen without interfering with the movie’s flow.      

It’s hard to believe Captain Abu Raed, Jordan’s entry for the 2009 Oscar race, is  Matalqa’s first feature movie. Film festival audiences have already recognized its high quality. Among the numerous honors bestowed on this superb film are the 2008 Sundance Audience Award for Dramatic World Cinema and the Grand Prize for Dramatic Feature at the 2008 Heartland Film Festival.

I can’t help feeling that Captain Abu Raed marks the beginning of a beautiful friendship between Amin Matalqa and discerning moviegoers everywhere.

(Released by Paper and Pen Films/NeoClassics Films; not rated by MPAA. Click here to visit the movie’s official site.)

For more information about Captain Abu Raed, please go to the Internet Movie Data Base or Rotten Tomatoes website.

Betty Jo Tucker is a member of the Online Film Critics Society (OFCS) and the San Diego Film Critics Society (SDFCS). She teaches an online class, “The Reel Deal: Writing about Movies” for the LSS School of Writing and has published three movie-related books including CONFESSIONS OF A MOVIE ADDICT, an amusing memoir about her life at the movies. Betty Jo serves as the editor/lead film critic for ReelTalk Movie Reviews and hosts a weekly radio show, “Movie Addict Headquarters,” for BlogTalkRadio. She also writes monthly film commentary for the Colorado Senior Beacon. For more information, please go to www.BettyJoTucker.com

Dancing with My Father
by Betty Jo Tucker
Father-daughter dynamics receive a compelling exploration in Henry Jaglom’s Irene in Time. This touching film is blessed with an astonishing performance by Tanna Frederick as a woman obsessed by the memory of the good times she had with her father before he died. Frederick’s charismatic appeal reaches out from the screen, drawing us deeper into “Irene’s world” with each successive scene. She makes us laugh, cry, and care about this sensitive young lady who so desperately wants to recapture the feeling of being special and loved.

Jaglom (Hollywood Dreams), who wrote as well as directed Irene in Time, admits he’s harbored a longtime fascination with the complex relationship between fathers and daughters and the “profound effect that fathers seem to have on their daughters’ lives, often long after the fathers themselves were gone.”  He points out that many important works of literature have dealt with this theme, including Charles Dickens’ Little Dorrit, William Shakespeare’s King Lear, and Sylvia Plath’s Daddy. Jaglom also acknowledges an intense interest in movies about how “Love beats Time ” - films like A Guy Named Joe, Portrait of Jenny and Stairway to Heaven. Irene in Time combines these two themes and - of course — is scheduled for release on Father’s Day weekend (2009).

The depth of feeling Irene (Frederick) still has for her father comes through in practically all of her conversations – whether with her women friends, her mother, her lovers, or even with perfect strangers. Some of the best sequences in this film involve revelations by women concerning how their fathers have influenced the way they relate to men and the problems or joys that brings them. Yes, it’s a “talky” movie, but with all the speeded-up camera work, car chases and overblown special effects blasting away at us in so many summer offerings right now, Irene in Time serves as a refreshing change of pace.

As much as Irene loved her father, she’s shocked at the secrets she finds out about him. Why does a chanteuse (Andrea Marcovicci) sing a song only Irene and her father knew about? What caused the break-up between her mother (Victoria Tennant) and her father? Will Irene be able to decipher the mysterious clues left by her dad? I was fascinated while watching Irene discover the answers to these questions.

Part of the charm of Irene in Time comes from the film’s lovely music. “When I hired Harriet Schock to write the music,” Jaglom reports, “telling her what Irene in Time was about, she — stunned — immediately said to me: ‘I married my father.’ And right there in my living room, she sat down at the piano and played a song for me that she had written, ‘I’m Dancing with My Father.’ Tanna sang it together with Harriet’s band in a club one night and suddenly all the pieces of what I was looking for seemed to fall into place.”

I love that song and the way it’s used in Jaglom’s film. Frederick (Hollywood Dreams) can certainly belt out a tune! She’s a terrific addition to Harriet Schock and her band in their scenes here. I also enjoyed the spirited “I’m Learning at Starbucks” number. And the wonderful Marcovicci (Someone To Love), whose cabaret shows play to sold-out audiences throughout the nation, casts a spell with her soulful rendition of “Forever in Time We’ll Be.”

Thank you, Henry Jaglom, Tanna Frederick, and everyone connected with Irene in Time. You’ve given us a truly memorable Father’s Day gift.

(Released by Rainbow Releasing and rated “PG-13″ for thematic elements and some sexual content. Click here for the film’s official site.)

More information about Irene in Time is available at the Internet Movie Data Base or Rotten Tomatoes website.

Listen to Tanna Frederick’s “Movie Addict Headquarters” interview on June 16th by clicking here.

Betty Jo Tucker is a member of the Online Film Critics Society (OFCS) and the San Diego Film Critics Society (SDFCS). She teaches an online class, “The Reel Deal: Writing about Movies” for the LSS School of Writing and has published three movie-related books including CONFESSIONS OF A MOVIE ADDICT, an amusing memoir about her life at the movies. Betty Jo serves as the editor/lead film critic for ReelTalk Movie Reviews and hosts a weekly radio show, “Movie Addict Headquarters,” for BlogTalkRadio. She also writes monthly film commentary for the Colorado Senior Beacon. For more information, please go to www.BettyJoTucker.com

Never Insult a Dinosaur
by Betty Jo Tucker

When meeting a dinosaur, remember to treat the creature with common courtesy. By all means, avoid saying anything hinting at the small size of the huge reptile’s brain. Dr. Rick Marshall learns that crucial lesson and more in Land of the Lost. Portrayed hilariously by Will Ferrell, this disgraced scientist finds himself in a strange parallel universe after traveling through a space-time vortex. But he’s not alone. An admiring research assistant — played by Anna Friel — and a redneck survivalist — portrayed by Danny McBride — are also along for the wackiest adventure of their lives. It’s a silly movie with ridiculous costumes and sets that almost match those in Ed Wood’s Plan 9 from Outer Space, one of the worst films ever made. And I loved it!

As usual, Ferrell (Blades of Glory) gets into his outlandish character with every fiber of his being.  He gives Dr. Marshall just the right combination of self-importance and cluelessness. When he says things like “Remember to point your toes” while directing his posse as they swing from ropes to escape a dangerous situation, I couldn’t help bending over with laughter. I had the same reaction watching him sing “I Hope I Get It” (from A Chorus Line) as he tries to retrieve his time travel invention after discovering it in a nest of dinosaur eggs about to hatch. And his running battle with television’s Matt Lauer is absolutely hysterical.

Competition in the acting department comes from –  believe it or not — Grumpy, a dinosaur who hates Dr. Marshall, and Chaka (Jorma Taccone), a monkey-man who joins the humans after they save him from execution by his peers. Grumpy seems very real indeed. We can see him think, re-act and rage at Dr. Marshall’s insults. Chaka is hard to take at first, but he grows on you. He’s especially appealing when he learns to belt out a rousing  show tune. Friel (TV’s Pushing Daisies) and McBride (Tropic Thunder) are also fun to watch as their characters suffer through many humorous crises caused by the oblivious Dr. Marshall.

Will the intrepid time travelers ever find their way back home? It’s hard to care. Because they’re so funny in their new environment, we start thinking they belong there.

Directed by Brad Silberling (Moonlight Mile) and inspired by the 1970s TV series of the same name, Land of the Lost asks viewers to take off their thinking caps and put on their dunce hats. Comic rewards await for those who agree to do just that.

(Released by Universal Pictures and rated “PG-13″ for crude and sexual content and for language including a drug reference.)

For more information about this film, please go to the Internet Movie Data Base or Rotten Tomatoes website.

Music and Friendship
by Betty Jo Tucker

In this crazy world of ours, finding a true friend has to be one of life’s most treasured gifts. The Soloist, a film blessed with superb performances by Robert Downey Jr. and Jamie Foxx, presents this theme through contrasting scenes of great beauty and gritty realism. Seamlessly combining topnotch acting, splendid cinematography, elegant music, impressive writing and a humanistic approach, The Soloist emerges as the best movie so far this year.

Downey Jr. (Tropic Thunder) simply couldn’t be better as Steve Lopez, a frustrated Los Angeles Times columnist looking for a story. I think the camera loves this actor almost as much as it adores Johnny Depp. Fortunately, The Soloist features Downey Jr. in a variety of highly interesting close-ups and moods. Watch those dark eyes change as his character goes from curiosity about Nathaniel Ayers (Foxx), a strange homeless man he meets, to amazement while listening to this Juilliard-trained musician play Beethoven on a two-stringed violin. Pay attention to his facial expressions during scenes showing Steve’s determination — and, yes, downright pushiness — when trying to help Nathaniel. Note how his body language registers feelings of depression after some of Steve’s plans just don’t work out. I applaud Downey Jr. at the top of his game here.

Portraying a musical genius suffering from schizophrenia, Foxx (Collateral) succeeds in projecting Nathaniel’s unabated passion for the works of Beethoven. He makes Nathaniel feel believable to us despite his bizarre behavior, which includes rambling, incoherent speeches and outlandish outfits. We even forget Foxx is an actor, especially in such scenes as the one showing his character trying as hard as he can to keep a cello in order to play it in an under-highway tunnel. Because of what Foxx and Downey Jr. bring to the table, interactions between Nathaniel and Steve as their friendship grows are nothing short of priceless, no matter how stormy it becomes at times.

Will Steve be able to help Nathaniel? How much should one person interfere in another person’s life? Is being a good friend enough? The Soloist offers an honest exploration of these questions.

Cinematographer Seamus McGarvey (World Trade Center) adds considerable class to this special film. “Architecture is frozen music,” someone once observed, and never before has that statement hit home to me like it does in one lovely sequence from The Soloist. While Nathaniel plays the cello, doves fly over L.A. buildings and call attention to the beauty of the notes being played and the physical artistry of the structures.

In contrast, The Soloist also dramatizes the plight of our country’s homeless population. Disturbing scenes of deplorable living conditions for these forgotten individuals (90,000 homeless people in L.A. alone) shock us into wondering how society could let fellow human beings live in such squalor.

Directed with meticulous care by Joe Wright (Pride & Prejudice) from Susannah Grant’s (In Her Shoes) intelligent adaptation of Steve Lopez’s revealing book, The Soloist won’t please viewers looking for sickly sweet entertainment. But those seeking a movie of depth — one that matters — will surely sing its praises, and hopefully through this year’s awards season.

(Released by DreamWorks/Paramount Pictures and rated “PG-13” for thematic elements, some drug use and language.)

For more information about this film, go to the Internet Movie Data Base or Rotten Tomatoes website.

Betty Jo Tucker is a member of the Online Film Critics Society (OFCS) and the San Diego Film Critics Society (SDFCS). She teaches an online class, “The Reel Deal: Writing about Movies” for the LSS School of Writing and has published three movie-related books including CONFESSIONS OF A MOVIE ADDICT, an amusing memoir about her life at the movies. Betty Jo serves as the editor/lead film critic for ReelTalk Movie Reviews and hosts a weekly radio show, “Movie Addict Headquarters,” for BlogTalkRadio. She also writes monthly film commentary for the Colorado Senior Beacon. For more information, please go to www.BettyJoTucker.com

What Happened Next?
by Betty Jo Tucker

When X-Men Origins: Wolverine ended, I whispered to my husband, “And then what happened?” — which proves this movie definitely had me hooked and eager for another chapter of  Wolverine’s history. Granted, I’m an avid Hugh Jackman fan more than an X-Men groupie, and Origins boasts lots of great sequences showing Jackman in all his glory. But it also excels in character and story development, especially during the first part of the film.

Jackman takes full opportunity to display his considerable animal magnetism again as Logan, a mutant with retractable claws that appear under times of great stress, who first came to U.S. moviegoers’ attention in the original X-Men film. He also gets a chance to show Logan’s tender side — before becoming the indestructible Wolverine — in lovely scenes with Lynn Collins (Bug). And Jackman impresses as a sibling outraged by the actions of his older brother, Victor, played by Liev Schrieber (The Omen) in his most intense film performance to date.

Tracing Logan’s history back though time, this exciting prequel presents a montage of the many wars he and his brother took part in. Finally, Logan becomes disgusted with all the carnage and walks away from it, which doesn’t sit well with Victor nor with William Stryker (Danny Huston, almost as menacing here as in 30 Days of Night), a military commander experimenting with mutants as soldiers. After settling down for a long peaceful life with Kayla (Collins), an act of horrific violence sends our hero on a mission of revenge. In the process, he undergoes replacement of his body structure with a powerful metal — and voila! — deadly new claws materialize right before our eyes.

SPOILER ALERT

How Logan assumes the name of “Wolverine” and deals with his brother plus the ambitious Stryker forms the second part of the film. Action galore kicks in, and Jackman seems up for it indeed. His work-out sessions certainly paid off — as shown in Wolverine’s many violent battles with his enemies, especially with the strong and tenacious Victor.

It’s important to remember that Wolverine started out in the X-Men series with amnesia, and Origins explains why. We also meet a few other remarkable mutants. My favorites? Wade Wilson/Deadpool  (Ryan Reynolds) and Remy LeBeau/ Gambit (Taylor Kitsch). Bringing super energy to their work here, both Reynolds (Definitely Maybe) and Kitsch (The Covenant) are great fun to watch. However, I wish more visual attention had been given to Reynolds’ transformed character during the last part of the film. As is, only his eyes give him away

X-Men Origins: Wolverine emerges as a high-powered revenge movie, and that theme almost always works for me (even though I’m a pacifist — go figure). My only complaint?  It isn’t a musical. Don’t laugh. I hear Jackman was great in the stage production of Beauty and the Beast.

(Released by 20th Century Fox and rated “PG-13” for intense sequences of action and violence, and some partial nudity.)

For more information about this film, please go to the Internet Movie Data Base or Rotten Tomatoes website.

Betty Jo Tucker is a member of the Online Film Critics Society (OFCS) and the San Diego Film Critics Society (SDFCS). She teaches an online class, “The Reel Deal: Writing about Movies” for the LSS School of Writing and has published three movie-related books including CONFESSIONS OF A MOVIE ADDICT, an amusing memoir about her life at the movies. Betty Jo serves as the editor/lead film critic for ReelTalk Movie Reviews and hosts a weekly radio show, “Movie Addict Headquarters,” for BlogTalkRadio. She also writes monthly film commentary for the Colorado Senior Beacon. For more information, please go to www.BettyJoTucker.com

Symbols and Threats and Bombs, Oh My
by Betty Jo Tucker

Angels & Demons follows symbologist Robert Langdon as he helps the Vatican solve a deadly threat to the Catholic Church. In this second film adaptation of a Dan Brown religious thriller, action overwhelms plot while we watch our hero — played again by Tom Hanks — race from one incredible crisis to another. Although parts of this movie come across as totally unbelievable, it contains enough excitement and stunning cinematography to give viewers an entertaining couple of hours at the multiplex.

Electing a new Pope is always serious business. But when four of the main contenders are kidnapped and a bomb threat arises, it’s a matter of grave concern. And when the Illuminati, an anti-religious group thought no longer in existence, becomes suspect, it’s time to call in the world’s most renowned symbologist. However, Professor Langdon can’t help being surprised at this summons, for he and the Church were not on friendly terms during his deciphering of The Da Vinci Code. Still, he agrees and rushes to the Vatican. There he joins forces with physicist Vittoria Vetra (Ayelet Zurer), one of the researchers working on an anti-matter bomb which has been stolen. And, of course, that’s the ultra-powerful bomb in question here.

Racing against time, Langdon and Vetra face considerable obstacles in their mission to save the kidnapped cardinals and prevent the destruction of the Vatican and “half of Rome.” Among the characters aiding and/or hindering their efforts are: Camerlengo Patrick McKenna (Ewan McGregor); Commander Richter (Stellan Skarsgard, head of the Swiss Guard; Inspector Olivetti (Pierfrancesco Favino); Cardinal Strauss (Armin Mueller-Stahl); and a mysterious hit man (Nikolaj Lie Kass).

As with most mystery thrillers, telling more about the plot and the suspects would ruin the surprises, so I’ll remain mum concerning those elements of the film – except to say suspension of disbelief is a must while watching Angels & Demons.

Fortunately, Hanks brings confidence and an air of dignity (a new hairdo helps!) to his role, even while rushing around and saying some pretty ridiculous things, including comments about statues pointing to clues. Zurer looks continually frightened, but her character should be very afraid, so that works for her. McGregor seems a bit young to play a priest so high up in the Church hierarchy, but he’s quite convincing most of the time. Skarsgard makes us wonder if he’s a good guy or a bad guy — and that helps evoke suspense in several scenes. The other key characters also deliver fine performances.

Angels & Demons offers more than a mystery to be solved. It’s also filled with fascinating tidbits about such famous figures from the past as Galileo and Bernini as well as provocative statements about science vs. religion.  But no doubt about it, the cinematography steals the show in Angels & Demons. Salvatore Totino’s intriguing photography of beautiful statues, ornate churches, crimson-garbed cardinals and of the film’s thrilling climax is worth the price of admission.

(Released by Columbia Pictures and rated “PG-13” for sequences of violence, disturbing images and thematic material.)

For more information about this film, please go to the Internet Movie Data Base or Rotten Tomatoes website.

Betty Jo Tucker is a member of the Online Film Critics Society (OFCS) and the San Diego Film Critics Society (SDFCS). She teaches an online class, “The Reel Deal: Writing about Movies” for the LSS School of Writing and has published three movie-related books including CONFESSIONS OF A MOVIE ADDICT, an amusing memoir about her life at the movies. Betty Jo serves as the editor/lead film critic for ReelTalk Movie Reviews and hosts a weekly radio show, “Movie Addict Headquarters,” for BlogTalkRadio. She also writes monthly film commentary for the Colorado Senior Beacon. For more information, please go to www.BettyJoTucker.com