Reviews

FILM REVIEW: "2012"

By Rachel Galvin

For those of you who don't know, the world is ending in 2012. Well, at least according to the Mayans, who predicted in over 2000 years ago. They left behind some tell-tale tablets that marked 2012 as the End of Days. But the details of that are forgotten in the movie of that same name. In the movie, disaster happens... and quick, leaving the audience to catch up with the ride and no time to really grasp the reasons behind it all. But, then again, they don't care. They are following the characters try to escape earthquakes, volcanoes, floods and more.

Yes, I got the white-knuckle ride, great CGI, and the whole running-for-your-life routine with my price of admission. I expected that. But, I also got a bonus... characters I cheered for, cried for and cared for, as well as many laugh-out-loud moments. Kudos to John Cusack for bringing home some of the best throw away lines. Woody Harrelson was great as the wacked out radio hippy. Danny Glover, noble as ever, played a pivitol and moving role, as did George Segal, in a cameo role. Amanda Peet and Thandie Newton had a few nice emotional moments as well. Oliver Platt was best when he got out-of-control emotional as the elitist taking charge. Look for a few political commentaries in this film -- his name probably being one of them. Look for more from Chiwetel Ejiofor, who played a main role... he is the actor who seemingly came from nowhere. I don't recall seeing this actor before, but imdb shows a laundry list of roles, including the soon-to-be-released oddly named "Salt" with Angelina Jolie. Look for his career to be on the upswing after both of these action flicks hit the screen.

This movie rolls in slowly but builds like crescendo-ing thunder. It's 2:40 time span goes quickly and you'll be on the edge of your seat the whole time. Is it a classic? Probably not, but worth the drive, ticket and popcorn for sure.

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"Baader Meinhof Complex"

By Dave Montalbano

Nominated for an Academy Award for best foreign movie in 2008, "The Baader Meinhof Complex" is a first rate spy thriller that is part horror movie. The horror reveals the seed of modern terrorism and how it relates to world events today. It begins innocently enough, the opening shot features a German family vacationing on a nude beach. We meet Urike Meinhof(Martina Gedeck), a mother of twin girls and married to a philandering husband. Meinhof is a writer who meets blond Gudrun (Johanna Wokalek) in a courthouse. Gudrun is associated with Andreas Baader (Moritz Bleibtreu), a campus radical who believes that America is an imperialistic nation, Besides disliking Israel, Baader wants a world wide revolution and he leads street protests. After a series of violent encounters with law enforcement, Baader and his gang end up in court. Meinhof writes sympathetic articles about Baader and develops a close attachment to Gudrun. Meinhof absorbs the idealism of Baader and the Baader Meinhoff Complex is established. The Baader Meinhoff Complex seeks to revolution through the advancement of their agenda. Seeing themselves as intellectual freedom fighters, Baader, Meinhof and Gudrun mastermind attacks upon western icons and symbols.

Instead of bringing forth worldwide revolution, the Baader Meinhoff Complex become hunted criminals. Eventually the Baader Meinhof gang is rounded up and put on trial. While incarcerated, the urban legends and conspiracy theories about the Baader Meinhoff Complex grow from within prison walls. "The Baader Meinhoff Complex" works as an objective police procedural. Director Uli Edel lets the story unfold with minimal fuss. One forgets that This is a German film with English subtitles. English is spoken in a few pivotal scenes and the effect is disturbing. While resting in Sicily, the Germans from the Baader Meinhof complex seek an alliance with some Arabs from the Middle East. The only language in which these two cultures can communicate with is English, the language of their enemy. A subtle scene between the Germans and the Arabs reveal why these violent political revolutions always end up in the sewage of history. While both parties unite because of a common enemy (U.S.A.), their individual cultures create blatant barriers. This is best exemplified when the Germans go on strike due to the harsh boot camp training of the Arab soldiers. When the Arab drill sergeant goes to find his AWOL soldiers, the German recruits are seen on the roof of a building, sun bathing in the nude. For a man who lives in a country where women wear veils, the Arab is shocked by the behavior of these European women. Gudrun replies; “You can't have a revolution without sexual liberation!” Thus the consistent failure of these self described world wide revolutionaries, their dreams of world peace is limited to their own selfish perspective.

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FILM REVIEW/ INTERVIEW: "THE COVE"

Ric O'Barry spent ten years building up the "dolphin industry," through being a trainer on the TV show "Flipper" and spent over 30 years knocking it down...

The film "The Cove" educates, enlightens and even entertains as it uncovers a tragic secret about what is happening to what could be one of the smartest mammals on the planet, the dolphin. Watch as this Oceans 11-type team uses MacGuyver -esque technology, quick wits and compassion to tell the bloody tale. Look for an appearance by actress Hayden Panetierrie, who is one of the protesters.

INTERVIEW WITH RIC O'BARRY

Q. Did you expect the reaction you have been getting from the film?

A. No. We have been traveling in film festivals... Ireland, Los Angeles, San Francisco, New York... at every showing, it has been a standing ovation. I was surprised. I didn't expect it. This thing is going to be shown in 40 countries around the world...this really has the potential of shutting this thing down, finally. It may even take out whaling. I thought it was just a newspiece. [They followed me around with cameras] I thought who's going to go see a movie like that. But the filmmakers made it entertaining.

Q. What about showing this in Japan?

A. We are already working on translating it into Japanese right now. We have eight Japanese actors. The Japanese will probably ban it, but they have got to know about it by now. It will get out there... the Internet is a revolutionary tool. Jim Clark started Netscape. He has the power to get it out.

Q. How did you start with "Flipper?"

A. I was training the five young females in BIscayne Bay. We did a feature "Flipper's New Adventure," the pilot. I ended up working with them for seven years. We filmed at Miami Seaquarium. The set is still there. We would fly the dolphins to Nassau in the Bahama Islands and also film there for two to four episodes at a time.

Q. When did you first decide to be an activist against this? When Kathy [one of the females] "committed suicide" in your arms?

A. I knew before then. I think most trainers know that dolphins in captivity is not right. But they put blinders on. I did, thinking, hey, this is a great job... It was the day after Kathy, April 22, Earth Day, 1970... I took 10 years to build up the industry and worked from that day in 1970 until now to tear it down.

Q. When did you first find out about Taiji?

A. I knew about 15 years ago about it and other dry fisheries,but only went out there eight years ago for first time. I thought surely other agencies were working on the problem. I didn't want to get in their way. I was shocked to find out they weren't, other than saying "write a letter to your congressmen, buy a T-shirt..." There was no sustained campaign to stop it. I would see maybe a photo taken by a journalist once a year and that was it.

Q.Why do you think that is?

A. Well, part of the fishermen's argument is that this is a cultural thing... "You eat chicken and cows, we eat whales and dolphins, leave us alone." You can't argue with that. When I started testing the meat and detected the off the charts mercury levels, that is something we can work with. The counselmen already worked to take the meat out of the school program [where fishermen had placed it in order to play up the 'this is our tradition idea]. They didn't want their kids eating it, but they still fed it to the neighbors. This is a crime against humanity. We are staying focused on the mercury. That seems to be the achilles heel.

Q. How often do you go there?

A. My wife and I might go back four to six times per year. I go all over. I work for the Easter Island Institute. We go various places where this type of thing is going on. My wife is in Denmark right now. Q. I know you also appeared in "Flipper." Did you do additional acting? A. Yes, I made my living off acting and stunt work for 20 years down in South Florida. I did a lot of commercial work. I was in "Never Say Never," "Thunderball..."

Q. In this film, you uncover what you deem the incompetency of the International Whaling Commission. Tell me more about that.

A. Everyone thinks the IWC has things under control. They don't. They will go down in history as a ship of fools that did nothing to save the whales and dolphins. They focus on 1000 whales in the Antartic, while ignoring the 23,000 dolphins that are killed every year in Japan. They go on exotic trips. Nothing is accomplished. It is a big bureaucratic mess. We hope Obama can change it. He has already replaced delegates to the IWC. He could call the Japanese Prime Minister and say "That's it!"

Q. What is your next step?

A. Right now, I am on my way to Toronto. Then, I am going to Broom. Australia, the sister city to Taiji. They have been the sister city for over 100 years. They have a lot of power. If they suspend the relationship with Taiji until this practice stops, that may be the thing that stops it. It's all about losing face in Japan. People commit suicide to save face there.

Q. How did you meet the director?

A. It was as simple as a phone call, like you calling me now. Louis saw a short film I had made [on the subject] at a Marine Mammal conference and called me and wanted to get involved.

Q. You talked about the economic factor in this slaughter, tell me more about that.

A. Yes, we know that fishermen can receive up to $150,000. I know I saw the [bill]. I knew Ocean World in the Domician Republic gave that much for 12 dolphins. When I found that out, I placed a full page ad, an open letter to the president of the country to deny the permit. They did. Now, Ocean World is taking me and my company to court and suing for $300 million. I go to court on Nov. 2. The legal bills are already $800,000. Everyone says they will never win. But, that's not what it is about. It is about STAPP... strategic litigation against public participation. -----------------------------------------------

FILM REVIEW: "DISTRICT 9" By Rachel Galvin

When I saw the trailer for this film (produced by Peter Jackson), I wasn't interested in seeing it, but after seeing it, I am glad I did. Combining elements of several other films, Jackson was able to spin a unique tale filled with action, comedy and amazing special effects. The cast of "unknowns" added a realistic element to the story, as did the documentary-style bookends that framed the story. At first those elements seemed a bit yawn-worthy, but once the story was underway in earnest, they were the perfect addition. I also appreciated the use of video talking about the protagonist in the future, a nice foreshadowing effect that lets you know something bad is about to happen.

This is a bit of an underdog story. The main character, Wikus, is no pretty boy, action-hero type or anything you would classify as a leading man. He is a character to be sure, filled with flaws and very human. It is interesting and ironic to see his transformation as the story progresses. This tale is filled with twists and turns. It merges the worst in humanity with the best and shows that aliens too can have compassion and are not too far from us.

It is obvious there is a message to the story, a moral one. It also is political echoing South Africa's real life District 6 and the whole apartheid situation. But this is not a documentary and it is not a chick flick. There is plenty of gore, explosions and bloodshed... oh, and puking. It uses some "Minority Report" and "Iron Man" technology mixed with something out of a Star Trek alien encounter only 100 times better special effects-wise. It also combines another film, but if I mention it, it will give away a key plot point. I am sure other films are involved as well.

This film is done tongue in cheek. I laughed most of the first half of the movie. But, it definitely deserves an award for the special effects. The aliens' bodies were amazing.

--------------------------------------- FILM REVIEW: "Hello Goodybye"

By Rachel Galvin

In French with English subtitles, this film, starring Gerard Deparadieu, is a romantic comedy. Depardieu and his wife (Fanny Ardant) live happily in Paris. He is Jewish, she is converted. She is not content; after feeling the empty nest when her son marries, she decides they will leave everything and start fresh... in Israel, a strange land with strange people and her husband may be Jewish, but is not even circumsized! What befalls them is beyond belief, one problem after another as his wife struggles to find herself and he just wants to get a job. This film is sure to tickle the funny bone and even funnier for those who are of Jewish background and can get some of the inside jokes. It is, indeed, an unusual and refreshing romance. Bravo to all involved with this project! ----------------------------------------

DOUBLE TAKE: TWO LOOKS AT "STAR TREK" ----

By Rachel Galvin

From the awe inspiring landscapes to the excellent CGI and special effects, director J.J. Abrams got this right. There are so many directions he could have taken the prequel to the usually "campy" pop TV phenomenon that began in the 1960s. He could have gone just action or just all about Cap. Kirk being a ladies man. Instead, he touched on the latter, included a lot of the former, but mostly focused on character development. (And the accents are excellent!)

Overall, this felt a lot more "Star Wars." It had that much of an impact. The concept was looped about and remastered in a brand new way, making it accessible to all audiences.

The inclusion of high tech gadgetry from the moving images on the bar menu to the robotic cop on a flying motorcycle to the Romulan who throws holograms made this a techie's dream, not to mention the ships themselves. The alien element isn't over the top either. The big nosed guy in the bar, even though shown numerous times, was so well-done I didn't care.
The most important aspect was that the characters were so true to life that it didn't matter the star date. These felt like people you could relate to and wanted to hang out with. You wanted to see more of them.
Trekkies, I guess I count myself among them, will equally love this picture for its multiple inclusions of one-liners straight out of the series. Bones was amazing. He had some of the funniest lines in the whole movie, and there were plenty of them.
My friend, who is not a Trekkie, showed me the mythological connection between Star Trek and Greek mythology and the way it follows to a tee the concept of the heroic journey. Fascinating.
There are so many good things to this film. Every character was wonderfully acted. Winona Ryder's very brief appearance was wonderful. And seeing Spock (Leonard Nimoy) was bittersweet.
Let's not forget the scare factor. There were several times I jumped in this movie. The IMAX experience (viewed at the Museum of Discovery in Fort Lauderdale --www.mods.org) made it all that much more in your face. The monsters were a few of them. Yes, there are monsters. And they are well done. Despite that, I think kids could see this movie and not be scarred by it so bring the kids along.
Star Trek is a must-see! Sequel? I wanted to see more. ----------------------------------------------------------- ---By D.S. Ullery
I saw the new "Star Trek"on Friday, May 8th in the company of someone who is an avowed and dedicated Trekker. I am not. I am a lifelong casual Star Trek fan (I refer to myself as a "lifer") -particularly classic "Trek" - but this doesn't translate into a lifetstyle choice. I have no desire to own memorabilia, wear a gold tunic or employ the Vulcan Nerve Pinch. I have the utmost contempt for Klingon themed weddings and I don't tend to spend my time studying fictitious alien languages.
What I enjoy about Star Trek- what has always drawn me in- is the refreshingly optimistic vision Gene Roddenberry created of a future where humankind has abandoned the pettiness which governs the present , combined their resources and moved on to the next logical step in our cultural development- exploration of the stars.The notion of people of not only different nationalities but different biological origins working in unison to explore the galaxy opens the door for myriad plotlines involving political and social commentary. It also clears a path for the more creative filmmakers in this enduring franchise to orchestrate effective and entertaining sci-fi action.
When you have a crew of beloved human beings being attacked by an enemy from either another world or across the span of time in the cold depths of space (or on the surface of an unfamiliar planet), it adds that much more gravitas to the action. Even as a casual lifer of a fan, that distinction earned Trek a pedigree I don't believe most other sci-fi deserves.
Despite this inherent strength, by the time the final Next Gen film "Nemesis" and the ultimately unsatisfying prequel series "Enterprise" had hit, it was clear that Star Trek had run out of steam. Suddenly this venerable sci-fi property had become the butt of a joke. A running gag. Star Trek was not cool anymore and the hardcore fans were even less cool by association. I'm happy to say that -as of May 7th, 2009 (the official opening night of the new film) and courtesy of creative maestro J.J. Abrams (on the greatest roll in tv/film history) - Star Trek has it's mojo back. The new film is a fast paced, emotionally involving rollercoaster that honors the conventions of the 1960's series while giving the entire concept a desperately needed update.
The basic plot..well, does it matter? There is a plot and it's actually a pretty good one, managing to deftly connect the classic Trek characters to events which unfolded during the course of the Next Generation series, but all you really need to know is that we see the origins of Kirk, Spock, Bones , Uhura , Scotty, Sulu and Chekov. The characters are effectively sketched and introduced and, as the film unfolds, fate begins to establish the comraderie which has become the hallmark of Roddenberry's creation. Christopher Pine is charming and likeable as young Jim Kirk, at first brash but guided to realizing his awesome potential. Zachary Quinto pulls off a frankly amazing hat trick by not only perfectly channeling Leonard Nimoy as Spock ( a moment on the transporter pads near the end of the film is particulary evocative), but somehow managing to simultaneously make the role completely his own. I could go on as each of the characters is fleshed out and the entire cast- including Eric Bana as Romulan baddie Nero- gives it their all and does not disappoint. But I want to take moment to address the one aspect of "Star Trek" which is easily the most effective: Karl Urban as Leonard "Bones" McCoy. Eerie doesn't even begin to describe the level of familiarity Urban brings to the role. When he first appears in the film, the audience actually hears the doctor before we see him and that first line of dialogue (I wouldn't dream of revealing it here) is so pitch perfect and absolutely characteristic that the viewer knows exactly who is boarding that shuttlecraft even before he appears on camera.
Urban easily provides the standout performance of the film. Visually, the film is a masterpiece and may be leaning towards award consideration come the next Oscar season.
ILM returned to outdo themselves. Never has Trek looked this sophisticated and never has deep space been so convincing. Gone are the days of the rainbow streaked launch into warp speed (which, to be honest, I am going to miss). Now Federation vessels are literally gone in the blink of an eye while throughout the film Romulan weapons of unbelievable destructive power mix with sleek, beautiful starships , updated (yet recognizable) hand phasers, a spectacular new concept for the look of transporting and a giant ice spider bound to give even the most dedicated sci fi fans a case of the heebie jeebies. This is eye popping stuff. There is an emotional resonance to the film as well.
After a surprisingly powerful opening sequence, the movie launches a sequence of events, which help the viewer to realize that the reboot wasn't merely a marketing ploy, its actually a legitimate plot point. The appearance of Leonard Nimoy as Spock at a crucial point in the film illustrates the connection this story has to the original canon. As a result, we are now seeing our familiar Trek family being launched in a new direction. While their classic personalities are intact, where the universe takes the crew of the U.SS Enterprise from here is anyone's guess.
So with all of this excellence on display, does the film step wrong? Only once , but it bothered me: Nero's linguistic mannerisms. The villian is a labor class Romulan warrior and his dialogue is written and delivered in such a way that I often got the impression he was formerly employed as a plumber in the Bronx. For someone with Nero's origins, this guy certainly used a lot of human colloquialisms in his speech. This single complaint was about the height of my animosity towards the film.
In all other regards, I felt "Star Trek" really did boldy go where most films have not gone before- it exceeded it's hype and delivered on its' inherent promises . "Star Trek" is funny, vibrant, uplifting, optimistic, intelligent, one hell of a fun ride and handily makes being a fan cool again. If you're already a harcdore fan (or a casual lifer like me), this will be a vindicating experience. If you're a scifi fan who has never really understood the series phenomenon, you just might walk out of this film thinking the Trekkers are on to something. Let's hope the sequel is delivered at Warp Factor 9. Bravo. Rating: A+

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DOUBLE TAKE: TWO LOOKS AT THE SAME MOVIE FILM REVIEW: "Wolverine" --By D.S. Ullery

SOME SPOILERS follow I wanted to enjoy this film because -as of late- comic to film adaptations have been getting better and better. I acknowledge that ,although I am familiar with Wolverine from the comics, he has never been one of my favorite characters. I did, however, enjoy Jackman's take on the character in the original X-Men film, so I was willing to give the new movie a shot with an open mind. Here's the problem: This isn't a movie, it's series of action scenes tacked together on a bare bones plot. Yeah, as a matter of fact, after seeing the origin stories of Spider-Man, Iron Man and Batman all play out with not only advanced F/X work but solid writing and skilled direction during the past decade, I did expect a better effort from X-men Origins. The Bad: Jackman did well, but there were too many shots of him snarling and howling with his arms outstretched out- claws extended - and posing before he lunges into the thick of battle. That iconic image only has the intended impact if you see it occasionally. Here, they show this same pose multiple times in the film and after about the fourth time I was thinking to myself "Okay,man, we get it. The guy is an animal." By the halfway point, Jackman's attempt at characterization was overcome by the music-video style direction which preferred to focus on repetitive action scenes. It didn't help anything that I did not for one solitary second buy that there was any chemistry between Silverfox and Logan, robbing the film of some much needed pathos (However the moments where Logan and Vincent interact were so effective that they somewhat countered this). Another point: The action. Except for one amazingly shot and choreographed battle between Logan, Deadpool (more on him in a minute) and Vincent atop a nuclear reactor, the action scenes all reminded me of moments from other, better movies. People leaping impossible distances through the air at one another? Been done. People scaling walls through superhuman speed, strength and agility ? Been done. Slo-Mo destruction of a bullet? Been done. The hero going toe to toe with an aircraft? Been done. Yeah, the helicopter bit was actually alright, but honestly, I thought it was a lot cooler when the Hulk brought down the helicopter in Ang Lee's 2003 movie by catching a missile a helicopter had fired at him, biting off the warhead and then tossing the warhead back at the same 'copter. And as final battle sequences go, last years Incredible Hulk featured a superior climactic battle between the primary hero and villian than this one did. For all the hype and considering how beloved this character is to fans, I expected them to really raise the bar and instead they took a step back. Deadpool: That scene on the reactor was righteous, but his final look and the way it played out just made me recoil. I wanted that red costume. I wanted more of the wisecracks. I admit I missed that extra bit with him coming to life again ( I did see the scene in the japanese bar,though) so that "fourth wall" moment might have alleviated my irritation over what we got. What annoyed me was that he starts out the film well..I enjoyed Ryan Reynolds' earlier moments on the plane. I just didn't care for how his story thread ended. I hope he gets his own film and is given the proper treatment. The Good: Now the movie wasn't all bad. Jackman (before the director's incessant drive to push action scene after action scene swallowed him whole) , does manage to bring some of that charm back to the character for a time. The scene in the logging camp was one of the best in the movie, with him telling the guy to "run along" while chomping that cigar, eyebrows raised. I wish there had been more moments like this. Gambit: Freakin' loved Gambit in this. His scenes were classic and I'd like to see him return in another film, perhaps with a bit more screen time. For all the fights and explosions in this movie, not one effect came within a mile of being as cool as Gambit's handling of his deck of cards. Vincent Creed: Here we come to what I think is the strength of this film. Liev Schreiber is awesome in this movie. He easily steals every scene he's in. Vincent was hands down the highlight. Did I think X-men Origins:Wolverine was a complete piece of crap? No, I didn't actually. It has a some wit, there are some impressive sequences and a few of the performances are excellent. But I think it represents a step backwards in quality for a genre of film which as grown more sophisticated and intelligent since Logan first clawed his way across the silver screen in Singer's original film. Given what the premise of this film was, I was looking for a story with a stronger narrative and a tighter focus on characterization. Instead -save for a scene that occurs when Logan is a kid- what we got is an adrenalized dose of the same thing we've already seen this character doing three times before. Rating: C+ ---------------------------------------------------- FILM REVIEW: "Wolverine" By Rachel Galvin Perhaps I have become a bit jaded, especially after seeing classics like "The Watchmen," but I wasn't that impressed with "Wolverine." Perhaps after a second viewing, I will feel better about it. I am not the only one to notice the obviousness of the CGI work, especially when Logan shows his claws. And a huge obese character looked terrible and seemed pointless to me. The whole interaction between him and Logan reminded me of Austin Powers and took me out of the seriousness of the film. Not sure if it was the editing, the directing or what exactly, but the pacing seemed off to me, slow. I felt there needed to be a bit more in depth look at some of the characters of the team of men that Logan joins in the beginning and greater relationship building between the characters to make the later scenes more plausible. I loved the montage at the beginning. Something about it was reminiscent of "The Watchmen." It was an amazing cinematographic feat. The highlight of the entire film was Ryan Reynolds, who played off his naturally-given talent of being a smart ass brilliantly and then competely wowed me at the end as he became "dead pool." Although some comic-book fans felt his character didn't fit the image of dead pool once he reached the end, I loved the makeup and the action with him throughout was the best of the entire movie. I also enjoyed Gambit, although at the end when he says "Trust me, this way," or whatever he says, it was a little monotone. I didn't think we saw enough development of who he was for us non-comic book fanatics in the audience. I had never heard of Gambit so had no clue. The effects surrounding him and also the high schooler with super hero laser beams projecting from his eyes was great. There were some quick glimpses of characters that I loved as well toward the end. In fact, the end is when I felt the movie really got started. Another highlight was Liev Schreiber. His acting was wonderful. Hugh Jackman was good as well, and you get to see him naked, which leads to a great scene between him and another character as he is discovered in an old barn. The comedy, especially of him in the bathroom as he discovers the destructive powers of his new claws, really works and is a laugh-out-loud moment. I am not sure quite what I was expecting with "Wolverine," but it obviously didn't meet my expectations. Probably on a second viewing, I will soften a bit on my review. I think there is plenty to the story that fans and non-fans will enjoy that it is worth seeing. My counterparts really seemed to enjoy it.

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FILM REVIEW: "American Violet"

By Rachel Galvin

Between fighting off her ex-boyfriend/ baby daddy, raising her four kids and working as a waitress, Dee (played by Nicole Beharie) doesn't have time to sell drugs. Yet, the police descend upon her and all her black neighbors in the projects where she lives, taking them in and offering a chance at freedom in exchange for a guilty plea. Unlike others, Dee sees the injustice intrinsic in the system and looks for a way to fight back.

You would never know this is Behaire's first feature film. Her performance is seemless and worthy of respect and admiration. From quiet joyful moments with her kids to the hopelessness of a jail cell to the pure rage she shows in the face of danger, she is a young powerhouse and most definitely one to watch for in the future.

As for other actors: Of course, Alfre Woodard can do no wrong. Michael O'Keefe is electric in his steely-eyed stillness as the cold-hearted and racist district attorney. Xzibit, who is normally a rapper, gives a believable performance as Dee's often-drunk ex, who has shacked up with a female who is a known child molester and seems to hate Dee. Tim Blake Nelson effectively plays the ACLU scholarly type, who comes in to try to correct the problem. Malcolm Barrett really gets his stride as co-counsel when interrogating O'Keefe's character, showing some great moments. Defecio Stoglin has a great monologue as Brian Green. Then there is Tim Ware, whose natural sense of fun takes a sly and stealthy bent in this film as he takes pleasure in twisting words and adding spin when interrogating the defendant and witnesses.

The pace is a bit on the slow side and when it wraps up, it does so almost too quickly in this drama, originally named "American Inquisition," but the message is important, it is based on a true story and is has great acting. The plot is moved along by the many twists and turns that befall young Dee and the strength of character she exhibits while simply trying to work, go off to school and raise her four children in peace. It is definitely an eye-opening film about the justice system and some of the inequalities that probably still go on within our system.

--------------------------------------------------- FILM REVIEW: "Fast & Furious" By Rachel Galvin

Action lovers will love this flick. From start to finish, this has more fast turns, flipped cars, fiery explosions and near misses than your average race car video game. The plot is fairly straight forward. Something goes down, those who are willing seek revenge. Drugs are involved, hot cars and a lot of hip grinding and lip locking by scantily clad ladies for no apparent reason other than to titilate the players in the audience. This film does bring together the original cast, each are great characters so it is nice to see them back and Vin Diesel and Paul Walker melt like butter with their smooth talking, braun-bustin'-out finesse. The lady counterparts have a lot less character development in this one. The plot is fairly predictible but, overall, I give it a two thumbs up for great stunts, effects and action. There is also the telltale levity thrown in for effect. A small but brilliantly played role is done by Shea Whigham, who plays one of the agents. Also a special props to whoever decided to include the pet iguana (look for him near the beginning of the film). ----------------------------------------------------

FILM REVIEW "The Golden Boys" By Rachel Galvin

(To see trailer, look under Review--also read Cinema Dave's interpretation) This turn of the century piece set up yonder in Cape Cod way features some actors we haven't seen for a spell and certainly not in this context. Complete with period costumes, Bruce Dern, David Carradine, Charles Durning, Rip Torn and Mariel Hemingway all are pieces within this puzzle. The pacing of this picture is about as slow as a butter churn and ripe with folksy phrases. The plot deals with three old disorganized seaman who think it best to find a wife -- one of them has to sacrifice himself for the other two -- so that they can all live together under a housekeeper's care. Throw women's lib out the window, but, hey, it is the early 1900s before suffrage. The writer, Daniel Adams, who wrote the script from a book by Joseph C. Lincoln, who lived for a bit in Florida, seems to be in love with his words and the actors eat them up like candy. The overall mood is charming and sweet. The younger actors are less interesting then the elder spit and vinegar types. Bruce Dern's boyish charm is endearing. Carradine's old man of the sea, complete with pipe, is handsome. Rip Torn adds comic relief with his shy nervousness. Charles Durning, at one point in the film, has such a moment of vulnerability within his eyes it is striking. Mariel Hemingway does a fine metered performance as well. (Other characters seem to come and go without much need or purpose. Accents come and go as they please as well). This doesn't fit the mainstream formula but rather seems more like a classic historical or theatrical piece. It is a parlor piece, suitable for all ages and unoffensive -- simple, G-rated and wrapped around the simple pleasantry of interaction between the characters. It is certainly a rare turn for these well-known stars. -----------------------------------------------

PBIFF LINE-UP/ REVIEWS: "GOLDEN BOYS"/ "BART GOT A ROOM"

BY CINEMA DAVE MONTALBANO

The Palm Beach International Film Festival (PBIFF) has announced their agenda for their 14th annual event, beginning April 23. Character actor James Cromwell will be given the Lifetime Career Achievement Award for his distinguished resume, ranging from "Star Trek First Contact" to "The Green Mile" and "LA Confidential."

PBIFF to welcome James Cromwell

Besides showcasing our community with locally produced films from Boca Raton High School, the 14th Annual PBIFF will screen 110 films from around the world. Last year, Morocco was the featured country, this year Italy receives the spotlight.

Last year, actress Veronica DeLaurentiis helped to cheer Morrocan cinema, this year, Italian Cinema is in the PBIFF spotlight

World Showcase of Italian Cinema is curated by longtime PBIFF friend, Veronica De Laurentiis, author, actress, and the daughter of actress Silvana Mangano and film producer Dino De Laurentiis. This exhibit will be housed at the Sunrise Cinemas Mizner Plaza. (If you attend this event, make sure you give a shout out to Eric the Doorman, who is currently starring in his own documentary, filmed in Boca Raton).

Opening this weekend are two films that have connections to South Florida. "The Golden Boys" is an independent motion picture that attempts to capture the spirit of author Joseph C. Lincoln and his tales of a fictional Cape Cod. Lincoln was born on the seashore of Massachusetts in the 19th century, but died in Florida, circa 1944. "The Golden Boys" opens April 17

"The Golden Boys" opens with black & white stock footage of New England schooners on rough seas. As the film stock goes from black and white to color, the audience sees the grubby reality of Captain Jerry (Rip Torn), an old salt on a dinghy. Captain Jerry shares his large house with two other crew mates; Captain Perez (Bruce Dern) and Captain Zeb (David Carradine). After eating some home cooked, but poorly tasting clam fritters, the three old Captains decide that they need a woman in the house. Upon deciding that the most economical choice would be to have a wife, the three men put an ad in a newspaper for a mail order bride. When Martha (Mariel Hemingway) arrives on the train depot, the three old gentlemen revert into adolescent behavior. "The Golden Boys" has some fine performances from the ensemble cast, that also includes Jon Savage, Julie Harris and Charles Durning. In particular, Bruce Dern gives a charming performance. Dern has a childish rapport with Rip Torn that is fun to watch on the rustic New England landscape. Sadly, the slow paced exposition at the beginning of the "The Golden Boys" makes this 96 minute motion picture seem longer than it is. On a much lighter note, "Bart Got a Room" opens this week. A Fort Lauderdale International Film Festival Award winner, "Bart got a Room" is a delightful ensemble (Cheryl Hines, William H. Macy headline) comedy shot in Hollywood, Dania and Hallandale. The film is perfectly timed to correspond with both spring break and for high school seniors who stress over having a date for the senior prom. Like local blockbuster, "Play the Game," "Bart got a Room" is delightful from beginning to the end. ----------------------

"The Great Buck Howard" (In theatres Mar. 20)

This film is about a has-been mentalist Buck Howard (John Malkovich) who employs an unemployed law student drop-out (Colin Hanks) as his new road/ personal manager to try to revamp his fading career. Between the efforts of this novice and the prowess of a fiery publicist (Emily Blunt), Howard ends up back in the public eye. This funny film also stars Tom Hanks, who also produces along with Gary Goetzman. Written and directed by Sean McGinly. the film also features Steve Zahn, Debra Monk and Griffin Dunne. ---------------------------------------------------------------- FILM REVIEW: "The Watchmen" By Rachel Galvin

The Comedian says, "This is the American Dream, it came true..." one of many poigniant though-provoking lines in this picture This is a must-see movie of epic proportions, but not for the kiddies. Directed by Zack Snyder, known for "Dawn of the Dead" and "300," this movie follows a trend of gore. It also has a few scenes that might as well be "soft porn for superheroes," they remind me of "Heavy Metal" for some reason, which is announced to be remade by, you guessed it, Zack Snyder, in 2010. The grandiosity of the cinematic scope, the historical elements and social connotations of this picture are right up there with "Dune" and "Blade Runner," probably the latter more so. The 80s elements remixed are a great feature as well. This is ultra-realism, a hard-edged look at the real life of super heroes that sometimes don't give a damn and sometimes use their power for bad purposes. The acting is superb albeit downright creepy in parts. There are some classic scenes, interesting cinematographic choices and a few great one line zingers. I really didn't notice the length of the film at all. The graphics were amazing as well as the props, sets and everything that came together to make this surely one of the best films of its genre of all time. That about sums it up. ------------------------------------------------------------------- "Two Lovers" By Cinema Dave Montalbano

Is Joaquin Phoenix really quitting acting to pursue a career as a caucasian rap artist? Perhaps following in the footsteps of Vanilla Ice? Perhaps a career change is due for Mr. Phoenix, for he has been acting since the age of eight (when he was billed as Leaf Phoenix). Boy Phoenix made an impact upon the ensemble cast of **Parenthood,** directed by Ron Howard and headlined by Steve Martin. Former cast mate and full time author Harley Jane Kozak, whose new book **A Date You Can’t Refuse” is due for release on Saint Patrick’s Day, said of her costar; “All I can say is that Leaf was one of the most outrageously talented children I've ever encountered and that was clear from the very first read-through. We all looked at each other with raised eyebrows, because he had us crying at a scene rehearsal, with script in hand. He was a force of nature.” Joaquin Phoenix is a force of nature in **Two Lovers,** reportedly the actor’s last motion picture. Phoenix portrays Leonard Kraditor, a morose individual who lives in Queens County, Long Island. Leonard takes medication for his bipolar condition and he lives with his parents, Reuben ( Moni Moshonov) and Ruth ( Isabella Rossellini). After falling into the ocean (or was it a suicide attempt?), Leonard learns that his parents are planning a business dinner with the Cohen family. The matriarchs of the Cohen and Kraditor families hope to play matchmakers for Leonard and Sandra Cohen (Vinessa Shaw). Leonard and Sandra are courteous with each other, there is no romantic chemistry. While walking through his parent’s hallway one afternoon, Leonard meets Michelle (Gwyneth Paltrow). Leonard and Michelle realize that they share opposing views from their bedroom windows. As Leonard develops an instant attachment towards Michelle, the two go night clubbing together. While performing his charming “white man break dancing,” Leonard learns that Michelle has a steady boyfriend, who happens to be married with children. As the story and character development progresses, Leonard is offered a choice in his relationships. Leonard can pursue a relationship with a woman who needs him, or a woman who wants to take of him. While the choice should be obvious to the audience, the choice is a conflicting one for Leonard Kraditor. **Two Lovers** deals with individuals who must heal from the scars of their past. Leonard’s depression could stem from his inability to let go of a previous relationship, a clue revealed with his cell phone ring tone set to **Fur Elise,* Ludwig van Beethoven’s bagatelle of lost love. **Two Lovers** is mostly a performance driven movie. Isabella Rossellini manages to take an underwritten role and fills her moments with nosey maternal pain. Gwyneth Paltrow is challenged with a role that is far removed from her **Shakespeare in Love** and recent comic book character portrayals. Yet, **Two Lovers** will be remembered for Joaquín Phoenix’s controlled and nuanced performance. Perhaps Mr. Phoenix should study his own understated acting style before he embarks on a full fledged career as caucasian rap artist. Word. -----------------------------------------------------------------

"The Wrestler" By Cinema Dave The credits roll for "The Wrestler" with a montage of wrestling matches and heavy metal music. As writer/director's name comes up, we learn that Randy the Ram (Mickey Rourke) was a big name in 1989. Twenty years later, Randy the Ram is still a crowd favorite, but it is now a very small crowd. Randy the Ram has gone from filling stadiums to barely filling elementary school gyms. In the dressing room, Randy is an iconic legend, well liked by the neighborhood kids and is generous with an autograph to his fans. Yet Randy the Ram's personal life is in a shambles. He is evicted from his trailer and needs a bagful of drugs to keep his body functioning. Randy has also been estranged from his daughter Stephanie (Evan Rachel Wood) who is a college student. At least Randy has a soulmate in Cassidy (Marisa Tomei), a 44 year old stripper who has also seen better days. As the writer for "The Wrestler," Darren Aronofsky has created a drama that drinks from the scribes of lore, Ernest Hemingway's short story "The Battler" or Rod Serling's "Requiem for a Heavyweight." At the director, Aronofsky acknowledges an audience that has grown up with "Rocky" movies, Vince McMahon wrestling and reality television. "The Wrestler" takes the viewer behind the scenes of a wrestling event. The film delights with backstage conversations. The ticket buyer witnesses the professionalism of the wrestlers in the locker room, in contrast to the onstage showmanship in the ring. With gritty realism, the violence looks more real in "The Wrestler" than what one sees on Pay Per View Television. "The Wrestler" is a performance driven movie. Mickey Rourke makes the most of his comeback role, Randy the Ram has charm - but a subtle character flaw that is worthy of Greek Tragedy. Evan Rachel Wood is in three scenes, but provides the heart of the movie. Then there is Marisa Tomei as the aging stripper, Cassidy. Given the conclusion of the film Darren Aronofsky would be wise to draft a companion piece to "The Wrestler," perhaps "The Stripper?" With fewer scenes than Mickey Rourke, Marisa Tomei dominates the film. When she is not on the screen, one wonders what Cassidy the stripper is up to and how she will raise her son. Beneath her veneer of stripper professionalism, Tomei's eyes reveal a damaged soul. While there is plenty of physical action, this talkative drama will not hold late night audience attention. Yet, "The Wrestler" is an afternoon drama worthy of a matinee price. -------------------------------------------------------- DVD REVIEW: "Righteous Kill" By Rachel Galvin Any film with two of the greats: Pacino and DeNiro already stands on its own merit in my book. Add a few extraordinary secondary characters, especially Carla Guino (who exudes sexuality from every nymphomaniac-masochistic pore) and top it off with a great script and you get an overall good quality picture. The plot is fairly straightforward with a twist. Basically, someone is killing off bad boys and Pacino/DeNiro need to find out who. I highly recommend this film. There is not a lot of superb acting. It is just basically these boys doing what they do best. It isn't anything more than that. But that is good enough for me. If anything Guino's vibe is more worthy. Yet everyone is pretty much a one-note wonder. Again, it still works. If you like this type of film, you will definitely enjoy watching. ------------------------- REVIEW: "Chandi Chowk to China" By Rachel Galvin After seeing this movie multiple times, I can now quote it and I have two songs stuck in my head: the theme song and "Baby Can't Dance." You'll see what I mean when you watch it. The beginning of this film for me could do no wrong. It was epic in its cinematic quality with brilliant editing and special effects intercut with bollywood-style dancing. This film is a mix of Jackie Chan and Bollywood meets "Karate Kid" or "Rocky". The main character, Sidhu, played by Akshay Kumar, was extremely funny in the beginning. His friend, the master Chopstick, played by Ranvir Shorey, got better and better as the movie progressed. Dada, played by Mithun Chakraborty, had this tough guy Charles Bronson look to him (only Indian). His acting was perhaps the best of all. Then there is the gorgeous-doesn't-cut-it Deepika Padukone, who played not one but two roles brilliantly. She was flawless in every aspect. This movie really has an element of so many other films. There is high-kicking body-bending martial arts moves high in the sky a la "Matrix" or several other similar films, that is one of the great parts of the movie. The comedy is certainly another, over the top but unexpected and great. The movie falls apart for me about an hour in when it turns from a campy comic adventure into a a tale of revenge and reuniting a long lost family. Suddenly, the Sidhu isn't funny anymore. His groveling is pathetic and his turn into a strong character doesn't make me want to cheer. I just want to go back to the way it was in the beginning. I am unhappy at the turn of events. It is almost as if they stop in the middle and begin a brand new story. Also, the memories that keep coming back come back way too many times and you wish it was over already. Basically, it is too long. I noticed there were quite a few children in the theater and they didn't seem to understand the not so pleasant concepts but rather enjoyed the comedy. There is violence but very little blood. It is appropriate for families and it is still a very fun movie to watch. I also loved the Chinese James Bond gadget sequence with the funny Chinese guy. (Again, you have to watch to understand). This is just another wacky add-on that really adds to the comedy. Also see another review under videos done by I.S. members Al McGhee, Alyn Darnay and John Delia -------------------------------------------------------------------

REVIEW: "Bolt" By Cinema Dave Montalbano

While attending Spooky Empire’s "Screamfest" in Orlando last October, actor Malcolm McDowell was surrounded by minions from "Halloween," "Friday the 13th" and our local bogeymen, Jerry & Woody. Despite being the guest of honor at this creepy affair, McDowell told his audience, ”I am the voice of the heavy in the new Disney movie "Bolt. I recommend this magnificent movie!” While this dog of a movie is not in the same stratosphere as this summer’s PIXAR classic "WALL-E," "Bolt" is a clever movie on it’s own heart tugging merit. Bolt (voiced by John Travolta) is a television superhero dog on a television series filmed in a California studio. Through a series of misadventures while on tour on the east coast, Bolt ends up stranded from his costar, Penny (Hannah Montana’s Miley Cyrus). Penny is heartbroken, but the director (James Lipton, the host of "The Actor’s Studio") and Penny’s agent are determined that the show must go on. In the meantime, Bolt does not have a clue that he is in danger or really lost. In fact, the dog believes that he is reliving one of his super adventures in the battle of good and evil with Dr. Calico (McDowell). "Bolt "provides both family entertainment and a satirical look at movie making in Hollywood. There is plenty of humor that grows from character motivation and action. There is also an exciting climax involving rescue from a burning studio. With a gung ho attitude, "Bolt" is an endearing hero and has been a box office champion with local audiences. If you have not seen "Bolt," Disney has reissued the movie with a short subject titled, "Tokyo Mater," a short subject featuring the characters from Pixar’s "Cars" universe. ------------------------------------------------------------- REVIEW: "The Light Before Christmas" By Cinema Dave Montalbano The Museum of Discovery IMAX Theatre presents "The Light Before Christmas." This new 40 minute short subject is shot in old school stop motion animation, like the Christmas classics "Rudolph the Red Nosed Reindeer" and "Santa Claus is Coming to Town." In fact, when "The Light Before Christmas" concludes, there is a bonus feature which explains how this stop motion animation movie is produced. The behind-the-scenes-documentary is clever and funny, avoiding an academic egghead lecture that one would expect in a Museum of Science. "The Light Before Christmas" opens with a brother and sister traveling in a forest on Christmas Eve during a blizzard. The mother had sent the children to go find the Candleman and give him a gift at his home. Being a good host, the Candleman provides hot chocolate (with a Christmas Spirit additive) and reads Clement Clarke Moore’s classic "The Night Before Christmas"("A Visit from St. Nicholas") to the children. By this point of the film one expects Rudolph the Red Nosed Reindeer and Yukon Cornelius to stop by. Instead the producers do something subtle, clever and inspirational. At one point, the boy asks, “Why does Santa Claus always give gifts?” The Candleman replied; “Santa learned from the giver of all gifts.” The next action is not spoken, but the Candleman points to his Nativity scene. Moments afterward, the boy performs a gesture that ends "The Light Before Christmas" with a touching gesture. The Christmas Movie Season is here and if one is looking for family entertainment during an afternoon, both "Bolt" and "The Light Before Christmas" will provide fine family memory. ------------------------------------------------------- REVIEW: "Cadillac Records*" By CinemaDave Montalbano

This movie is one of those films that will become more popular with time. Produced by Beyonce Knowles, "Cadillac Records" presents an entertaining story about the creation and closing of Chess Records, a small business that proved that music listening is color blind. The storyline is perfunctory and connects the dots of history, but it is the spaces between the dots that is the heart of "Cadillac Records." The best part of this film is the musical performances; recreated by Jeffrey Wright as Mississippi moaner Muddy Waters, Columbus Short as tragic harmonica bluesman Little Walter, Mos Def as country music inspired Chuck Berry and Beyonce Knowles as sultry songstress Etta James. These three minute musical performances and the heart and soul of "Cadillac Records." The brains behind Chess Records is Leonard Chess (Adrien Brody), an European immigrant who saw the American Dream beyond the junkyard that he owned. Chess starts off owning a club in the negro part of town, where he signs Muddy Waters and Little Walter. Chess produces a blues record album and takes Muddy Waters on a tour of the Chitlin’ Circuit in the deep south. The record album makes Leonard Chess a rich man and he repays his talent with a new Cadillac. When Chess moves his business from nightclubs to record producing, musical talent migrate to Chicago. Chess signs a rival to Muddy Waters, Howlin’ Wolf (Emanon Walker) and introduces the country western influenced sounds of Chuck Berry. Always innovative, Chess signs Etta James as a tough contrast to the men of Chess Records. Through the musical alchemy of blues, country western and jazz music, a new sound is created in American music, called Rock and Roll. To show the modern influence of Chess Records, "Cadillac Records" concludes with some hop/hop and rap music. This film would be an excellent introduction for music students in secondary schools, except that "Cadillac Records" is “R” rated mostly for language. "Cadillac Records" provides some tough love lessons about the subject of responsibility. This theme comes into focus during the big showdown between the frugal Howlin’ Wolf and flamboyant Muddy Waters. While Muddy is Chess Records biggest star, he is always needing a cash advance from his boss, the Wolf is command of his own purse strings and accepts no freebies from Leonard Chess. After seeing "Cadillac Records" the career of Howlin’ Wolf would be a worthy sequel. "Cadillac Records" is the Mount Olympus that inspires the music that is indigenous to American Culture."Breakfast with Scot" By Cinema Dave http://CinemaDave.Livejournal.com The big losers of Election 2008 was not Senator John McCain and Republicans, but homosexual political advocates. With overwhelming margins, California and Florida voters supported the marriage amendment between a man and a woman. Defeated in the polls, some aggressive gay political action committees have protested against Christian churches. The protests have been ugly and offensive, perhaps creating a greater riff between these two cultures and alienating people on the political sidelines. In release tomorrow, "Breakfast with Scot" does not have a political manifesto. "Breakfast with Scot" is a situation comedy that happens to deal with gay foster parents and the ramifications of fitting into society. With an exception of a few false notes toward the end, "Breakfast with Scot" is an entertaining comedy about growth and redemption within the holiday season. Set in Toronto, "Breakfast with Scot" opens at a Maple Leafs' hockey scrimmage for local school children. While most of the players are generous with their autographs, Eric McNally (Thomas Cavanagh) snubs a boy who worships his hockey heroics. Thanks to instant karma, McNally's bratty behavior earns him a career ending injury. Five years later, McNally has become a local sportscaster who has landed a prime hockey assignment in Norway. As McNally returns home from work, he realizes that his homosexual partner, Sam (Ben Shenkman) will be given foster custody of Scot (Noah Bernett), an elementary school aged boy whose mother had died of a drug overdose. Unlike the worldly experienced and successfully professional Sam and McNally, who closet their gay tendencies, Scott is an innocent sissy boy with long hair and a charm bracelet. When alone, Scot sings Christmas Carols. When confronted by a peer with anger management issues, Scott offers the boy a kiss. When Scot admits to liking musicals , but not liking sports, McNally and Sam fear for the boy's safety in a homophobic community. McNally attempts to make Scot street tough. Fortunately, "Breakfast with Scot" places an emphasis on situational humor and not political preaching. It is a film about characters who are attempting to adjust to alternating situations while maintaining one's dignity under fire. While Thomas ("Scrubs," "Eli Stone") Cavanagh is the most recognizable face with a definite character arc, "Breakfast with Scot" will be remembered for the quirky children cast in the film. Noah Bennett makes the transition from a girly boy to that of an overly aggressive athlete. "Breakfast with Scot" does falter towards the end. This film features an awkward epiphany scene that feels false and does not live up the film's previous heartfelt intentions. Yet when the film concludes, one feels satisfied with the fates of the characters. With the inclusion of Elton John's "Dance into Christmas" during the musical montage, there is a subtle message about peace on earth and good will towards man. "Breakfast with Scot" will not solve cultural differences, but it is a start in the right direction. ------------------------------------------------------------------------- REVIEW: "Quantum of Solace" By Rachel Galvin **SPOLIER ALERT*** (I don't think I give away too much)

I am not sure where to begin there are so many loopholes and problems with this film. I had high expectations going in despite my dislike of "Casino Royale." Now, in comparison, that film shines like a star. The characters are not developed. The storyline makes no sense. The locations are pointless. The acting is mediocre. The technology is boring. Even poor Judi Dench doesn't come out well because overall the film suffers. The only saving grace comes in the form of action, which starts from the get-go, although the hack job editing really cuts up many of what would be great shots, leaving the spectator confused, especially in the beginning. I can see the shot list in my head: Bond's eye, a flash of the inside of the car, a headlight, perpetrator's face, flash of the grill of the truck he drives, perpetrator waves arms, Bond grips steering wheel, shot of wheel turning... It was all just so overdone. And what about this secondary woman that comes on the scene who insists on only being called "Fields." Who decided to put her in a trench coat? Was that a trite remark on being a secret agent? Ooooh... Puleese. Awful. Her dress later was lovely, however. I did enjoy the final shot of her, however. It seems as if the hack job editing went throughout the plot. It seems as though pieces are missing. Maybe this is the Cliff Notes version and no one told me, yet, it doesn't even hit the high points. What happens to the guy in the trunk who escapes? Why does Bond suddenly not seem to care. Why does Greene become the target? And how unbelievable was this Olga chick coming up and saying "You sent someone to kill me?" At least she was dressed nicely. And the acting by Mr. Greene was just as bad. In fact, I didn't see one good stand out actor in the whole piece. Bond came off as mechanical. I didn't want to root for him. He, to me, was the villain. I had no sympathy whatsoever for him. When he discovers Greene's secret, he watches the children suffer and drives away. He says later that things will be set right. Wouldn't it have been better to show what was happening rather than talk about it? I mean Alyn Darnay, scriptwriter, says in his book "The Script" to use the dialogue or the action to show, not narrate about it. This was the best example of why talking does not work. Greene mentions Quantum. But it is the first mention in the whole movie, unless I missed something. Is this a sequel in the making? What the? The best scene in the whole movie is when the building blows up. This is when Greene (the actor) really shows his stuff. You can feel his rage as he battles Bond. That is a great scene. But why does Bond go to help Olga and then just sit there for a good few minutes without doing anything, to have a reason to show her intense eyes and say "no, not like this..." Pointless. Argggh, I think this is the worst review I have ever written about anything. I would recommend refreshing yourself by seeing "Casino Royale." I know there were several references and characters from that film that it would have benefited me to remember. If you like action, you will probably still like this film. I know a heck of a lot of people who did... so go for it. "Tru Loved" Opened Nov. 21. Starring Jane Lynch, Jasmine Guy and others. SYNOPSIS: Tru, 16, is uprooted by her lesbian moms from her comfortable gay-friendly home in San Francisco and moved to a conservative, suburban community in Southern California. Tru’s only friend is a closeted football player, and even that friendship is jeopardized when she starts the school’s first Gay-Straight Alliance Club. ------------------------------------------------------------------------------------- "Battle in Seattle" Opened Nov. 14 (Catch it at Gateway Theater in Ft. Lauderdale) Review by Rachel Galvin

Today, this film couldn't be more relevant. With the world seemingly in economic breakdown, U.S. jobs being outsourced and people turning to the controversial Walmart in order to afford products, a movie on the overseeing trade body named the WTO is very appropriate. This organization was begun in 1995 but its roots lie with its predecessor GATT, started in 1948. Its goal is to deal with free trade among countries. The controversy arises when countries' own rules and regulations are taken away in order to conform to WTO trade standards and issues of profit become more important than human issues -- like medicine for AIDS patients or untainted imports. This film pitts police against protestors, everyone from turtle lovers to teamsters, who come to realize that each other is not the enemy. With multiple shots of the sea of protesters, this film, written and directed by Stuart Townsend (usually in the acting field) seems like news footage from the riots it depicts (in 1999 Seattle where an estimated 50,000 to 100,000 protesters showed). It follows a group of protesters, who seek non-violence but end up trapped in a very violent and scary situation as Seattle becomes a seeming police state and innocent bystanders are caught in the proverbial cross hairs to a tragic end. As relationships develop, actors are allowed to stretch themselves. Characters like the mayor's assistant add levity (through his constant nervousness). We feel sorry for the mayor , who, too, is trapped by the unfolding events. This film really makes you think. It is reminiscent of a film on the '60s protests and takes you to that mentality. Power to the people. Beaten down, literally, day after day, the protesters come back for more. Michelle Rodriguez's character sums up the rationale well: "You have that voice too... the voice that says if you don't stand up and fight, everything beautiful will be taken away..." The film stars Ray Liotta as the troubled mayor, Charlize Theron as the pregnant wife, Woody Harrelson, who out does himself, as the conflicted cop and Michelle Rodriguez, as the tough girl. Martin Henderson as Jay, who really becomes a focus in this film, is especially one to watch. He steals many of the scenes with a real depth of emotion. Make sure to drink lots of water because you are bound to be talking a lot after this film! Want to be informed? www.battleinseattle.com cfr.org/publication/9386/ globalissues.org/article/46/wto-protests-in-seattle-1999 TRAILER ----------------------------------- -------------------------------------------- "The Last Lullaby" Review by Rachel Galvin

This film exudes complicated emotions. Tom Sizemore (Price) is a hit man who hesitates when he comes across his latest job. This clever con man does what he can to double cross as many people as possible with seeming ease, but things are about to change when he meets up with Sasha Alexander, who plays Sarah. Although the acting is wonderful (besides the two main characters watch Ray McKinnon's delicious evil character), it is the original story that really stands out (screenplay by Peter Biegen and Max Allen Collins.) Brilliant one-liners make the plot more memorable. The special effects, for an independent, are excellent, at times not for the squeamish. The use of location adds depth of charm and believability to these characters. This was shot right where Director Jeffrey Goodman lives in The Great State --Shreveport, Louisiana. Goodman (i.S. member) allows the characters to breathe, giving them space to develop, allowing them to unfold before our eyes. The use of wide angles and wonderful intimate two-shots capture moments and give the viewer an idea of the surrounding (Director of Photography is Richard Rutkowski). Watching this film it is difficult to believe it is an independent and that seems impossible that this is Goodman's first feature. With non-stop twists and turns at a gentle pace that allows for in depth character development, "The Last Lullaby" (currently in the film circuit -- it was at FLIFF this year)is a must-see.