lauraeileen894 Reviews

Young Adult (2011)

An achingly funny look at a hopeless case

[1 May 2012]

Diablo Cody rose to fame in 2007 by writing the screenplay "Juno", which was a big-hearted indie comedy about reaping the rewards of good choices. Its title character was also the most memorably likable heroine to come along in ages. In 2011's "Young Adult", however, Cody actually tops herself by going in the opposite direction, about how the most unlikely people can be complete screw-ups whom we should never, ever emulate. Mavis Gary (Charlize Theron) is just such a character. A former small-town beauty queen (and mean girl, natch), Mavis now resides alone in Minneapolis, but Mary Richards she ain't.

Mavis is a loser, plain and simple, and it's not because she's a divorcée with a fading writing career (it's doubtful it was that bright to begin with). That would be inaccurate and unfair; after all, many marriages fail, most people don't have stellar careers, and this doesn't make them losers. No, Mavis is a loser because she is 37 going on 15, has the joie de vivre of roadkill, and her only companion in her numb existence is a superfluous Pomeranian she can barely be bothered to take care of. One day, Mavis is shaken out of her reality TV-glued, hungover stupor by an e-mail from ex-high school sweetheart Buddy (Patrick Wilson, once again in "poor nice dope" mode), announcing the birth of his daughter with wife Beth (Elizabeth Reaser). Mavis then sets off on the ultimate fool's errand: to drive off to her old town of Mercury to steal Buddy back and, perhaps, recapture the glory of her youth... or, at the very least, the feeling of it.

Instead, Mavis is treated by Buddy with stiff politeness, condescension by her parents, and the only person who calls her out on her nonsense is Matt (Patton Oswalt), a lovable nerd and former classmate with a tragic past. Matt is the movie's Greek chorus, and voices our every disgusted thought on Mavis and her appalling antics. Still, Mavis remains determined to wrest Buddy away from her "rival", ignoring the fact that Buddy is happily married to the impossibly nice Beth.

If you think there will be last minute character development in the vein of "My Best Friend's Wedding", think again. This is not that kind of movie. If anything, Mavis grows more and more hateful as the movie progresses. She is the type of person who mentally shields herself from any lessons or harsh truths, and we realize what an utterly hopeless case she is. Theron savors this part like a rich dessert, playing Mavis as an immature parasite who has only the trappings of the success, but is in fact a wretched failure. The fact that she's still pretty seems only a small consolation. But damned if she isn't hilarious to watch! Mavis is a train wreck without social skills or tact, she can't even dress properly. She wears sweats and Uggs to Macy's, a trashy black dress to a family sports restaurant, and dresses like Grace Kelly's evil twin to a casual baby shower.

This was one of the best comedies of 2011, and it's infuriating Theron wasn't nominated for an Oscar. This is her best work, the most interesting role she's played in years. "Young Adult" is achingly funny, daring, and boasts an excellent supporting cast, particularly Oswalt, who is always a welcome addition to anything.

No, Mavis doesn't receive her comeuppance in the end, because she doesn't have to, she already has. Life itself is her comeuppance.

The Country Girl (1954)

Proof that an Oscar here and there doesn't mean much in the long run

[1 June 2011]

Whenever film articles mentioned mismatched couples on the silver screen (such as Julia Roberts and Nick Nolte in "I Love Trouble" and the travesty that was Bennifer in "Gigli"), I'm always surprised that Grace Kelly and Bing Crosby never get mentioned. After all, you have gorgeous, fashionable, classic blonde Kelly teamed up with jug-eared crooner Crosby, who was 25 years her senior (poor Bing didn't even have the physical vitality of Fred Astaire or Cary Grant to help him pull off a May/December romance on screen). You'd be hard-pressed to find a stranger looking pair, and they worked together twice: in "High Society", Kelly's final film before leaving Hollywood for royalty, and two years earlier in "The Country Girl".

"The Country Girl is barely remembered today, save for Grace Kelly's controversial Best Actress Oscar win. Judy Garland seemed like the surefire contender for her comeback vehicle "A Star is Born". Even the flippant Groucho Marx was outraged, calling Garland's loss "the biggest robbery since Brink's". I confess to be in the majority of people who love "A Star is Born", and feel Ms. Garland was indeed gypped by the Academy that year. But I decided to be fair and check out "The Country Girl" and see for myself. So, how does Ms. Kelly's performance measure up?

Well, it's by no means a bad performance, it's just not a particularly great one. In "The Country Girl", 25-year-old Kelly plays Georgie Elgin, a prematurely middle-aged woman whose husband, Frank (Crosby), is a former song and dance man whose star has faded due to tragedy and alcoholism. A stubborn, ambitious producer, Bernie Dodd (William Holden), is putting on a new musical (which, from what we're shown, looks incredibly quaint and dull) and is obsessed with making it Frank's comeback vehicle. Bernie believes in Frank, and also believes the dour Georgie is responsible for Frank's drinking and flaky behavior (Holden utters misogynistic lines that will either shock or amuse modern audiences). What unfolds are cruel revelations, sexual tension, and second chances for everyone involved.

One of my biggest issues with "The Country Girl" is that it suffers from the same problem as 1940's "Kitty Foyle", in that our heroine is eventually torn between two men, but both men are so unappealing, you desperately hope she ends up with neither (but this is old Hollywood, so consider yourself warned). Georgie must choose between Frank, who is nothing but a millstone around her neck, and Bernie, who is a short-sighted jerk of the highest order (he is given character development, but it's too little, too late).

Perhaps I'm just petty, but I believe that "The Country Girl" set an obnoxious precedent for Hollywood actresses that has endured to this day: Want that Oscar? Drab up, and it's as good as yours. Why not? It's worked for Halle Berry ("Monster's Ball"), Charlize Theron ("Monster"), and Kate Winslet ("The Reader"). I believe a performance should come first, a look second. One great example is Olivia de Havilland in "The Heiress". Ms. de Havilland was one of the loveliest leading ladies ever, but she was thoroughly convincing as a dowdy spinster. Her appearance followed her performance, not the other way around. I know Ms. Kelly's choice to shed her normally polished, glamorous image to play a weary frump was seen as gutsy at the time, I wasn't all that impressed. Why? It's Grace Kelly, for Heaven's sake. Even in dumpy sweaters, mousy hair and glasses, she still looks like the future princess of Monaco. Male audience members could even argue that Georgie has the "sexy librarian" look. And, it true, gutless Hollywood fashion, we are given a flashback of Kelly looking predictably radiant and a complete makeover towards the end of the film

Overall? Ms. Kelly is reasonably convincing, but aside from her affected look and her tired voice, it feels more like a show-off piece than an actual performance that leaps off the screen. Likewise, Crosby does his best, but he comes off more as his Father O'Malley from "Going My Way" having a lousy week. Holden is in fine form as cranky, sexist Bernie, who is forced to eat his words in one of the film's most rewarding scenes.

"The Country Girl" isn't terrible, but it is extremely dreary and outdated. I maintain that Judy Garland should have won for "A Star is Born", a magnificent musical that still holds up today. "The Country Girl", on the other hand, is proof that an Oscar here and there doesn't mean much in the long run.

Whisper of the Heart (1995)

One of the loveliest coming-of-age stories I've ever seen

[4 October 2007]

I never would have imagined that one of the loveliest coming-of-age stories I've ever seen would be an animated film from Japan. Not since "The Man in the Moon" has a movie reminded me of the delicious, optimistic highs and devastating lows of adolescence. "Whisper of the Heart" is from Hayao Miyazaki, the "Walt Disney of Japan". It is probably his most down-to-Earth project, but it no less magical than "My Neighbor Totoro" or "Naussica of the Valley of the Wind". "Whisper of the Heart", just like my favorite Miyazaki film "Kiki's Delivery Service", shows enchanted places that exist not in alternate worlds, but in our own town and imaginations. This is the film that introduced the debonair cat, the Baron, who was featured in "The Cat Returns" and voiced by Cary Elwes. He is only a statue in this film, and comes to life only in our heroine's imagination.

"Whisper of the Heart" has one of the most delightful, realistic heroines ever to grace an animated film: Shizuku (voiced in the American dubbed version by Brittany Snow, "Hairspray") is bookish, spirited, emotional, a bit flighty, and dreamy without being annoying. She adores reading and writing, and is often scolded by her family members for "being in her own world". In other words, I could completely relate to her.

It is the beginning of Suzuku's final year in middle school... and the beginning of the first stirrings of romantic feelings. The film's biggest delight is the intriguing set-up for the Meet Cute: Shizuku is astonished to find that a bunch of books she's checked out from the library have been checked out previously by the same person: Seiiji (voiced by David Gallagher, "7th Heaven"), an intelligent boy who lives in antique store with his grandfather and dreams of being a violin maker.

Shizuku becomes fascinated with Seiiji, and, after a series of misunderstandings, they finally meet. It feels like first love, but Shizuku finds out Seiiji is going to Italy for further training in violin making. Suzuku feels inadequate in comparison, feeling she just "goofs off reading and writing stupid lyrics". While Seiiji is away, Shizuku becomes inspired to tap into her talents as a writer and writes a story called "Whisper of the Heart". What starts as an effort to prove herself to the talented Seiiji becomes an eye-opening journey to Shizuku as she discovers how special she truly is, and how she finally becomes ready to leave adolescence behind.

"Whisper of the Heart" is not only a beautifully animated film (it features a sunrise that even Disney couldn't top) with a lush score (with the recurring John Denver tune "Take Me Home, Country Road"), but a slice of life tale with magical realism thrown in. Shizuku finds adventure simply by following a vagabond cat named Moon who was riding the subway train by himself. At first, this seems like a set-up for an "Alice in Wonderland"-like story, but we then laugh when we find out Moon is just being an indifferent wanderer, just like real cats. And the romance between Seiiji and Suzuku is handled perfectly: it's as sweet and tender as it is tentative and awkward. Never has an animated film felt so real. It will really take you back to your preteen years, but in a good way. It is a warm, enchanting film that make your heart not whisper, but sing out loud.

Note to parents: "Whisper of the Heart" is rated G, but it is very leisurely (its one flaw) at 111 minutes, so the under-10 set might get antsy.

Ordinary People (1980)

Brutally honest look at moving on after tragedy

[7 September 2007]

I could not take my eyes off "Ordinary People", a brutally honest look at moving on after tragedy. Robert Redford pulls no punches, minces no words, and doesn't sugarcoat a single, painful scene as the story of a suburban family and the secrets they share unfolds.

Athletic, popular Buck Jarrett was the town's Favorite Son... and clearly a favorite son of his mother, WASP-ish Beth (Mary Tyler Moore, boldly playing against type). But when Buck dies during a boat accident, he is survived by his insecure, mild mannered brother Conrad (Timothy Hutton), who incurs Beth's passive aggressive wrath. While meek father Cal (Donald Sutherland) struggles to keep the peace, Conrad seeks the help of a hard nosed psychiatrist (Judd Hirsch) and begins his journey of recovery from survivor's guilt and learns that pain in life is always better than the alternative.

What makes "Ordinary People" stand out from other movies is the fact that it shows, rather tells. That, combined with Moore's peerless performance, reveals how little Beth thinks of poor Conrad. Take a breakfast scene, for instance, where Conrad refuses the French toast Beth makes for him. While Beth chatters on about her plans, she roughly shoves the French toast down the garbage disposal, saying, "You can't save French toast!" Or a devastating scene that takes place late on a school night. Conrad's light is on when he should be asleep... and Beth breezes by his room without so much as a glance. It is powerful stuff.

This is one of the best cast ensemble dramas I've ever seen. Hutton rightly won an Academy Award as the damaged Conrad. He bravely goes through torturous emotional scenes that threaten to tear your heart to shreds. Sutherland is also sympathetic as Cal, a man who has to choose between saving his son or his marriage. Moore, however, owns this movie. I wanted to write off Beth as simply a villain... but I just couldn't. This is a woman who believes in hiding ugly emotions, in placing reputation over familial love, and who flies off on vacation when things get rough. Yet Moore makes Beth someone who, at one time, might have been a truly lovable person, but allowed that part of her to die along with her son. Hirsch is darkly humorous as the rough edged Dr. Berger, and a young Elizabeth McGovern is appealing as a sweet classmate Conrad shows an interest in.

"Ordinary People" is a complex film that refuses to point fingers or go for easy answers, but reveals how there are no happy endings in life; rather, precious moments of joy we should savor in spite of, and because of, the pain.

My Favorite Wife (1940)

Disappointing screwball comedy

[7 September 2007]

I'm well aware that the classic screwball comedies often relied on somewhat unlikable characters and morally questionable plots, but "My Favorite Wife" lacks the two saving graces of screwball comedies: real chemistry between the leads and a truly winning heroine. The plot is simple: a man's long-presumed dead wife shows up (she's been marooned on an island for seven years) the same day he's taken a new wife. Hijinks ensue. If the plot sounds familiar, it's because it was remade over two decades later as "Move Over, Darling".

Talk about 88 minutes badly spent! Cary Grant plays a spineless, weak willed dunce who doesn't have the guts to tell his new wife his old wife is back. Irene Dunne swings back and forth from charming and lovely to manipulative and shrewish and back again. Gail Patrick should have played the role as Grant's new wife in a bitchier manner. After all, this is the same actress who nearly stole the show from right under Carole Lombard in "My Man Godfrey" as the deliciously evil older sister. Instead, Gail's Bianca is rather pathetic, and you end up feeling sorry for her. Heck, in the scene where she punches Grant in the face, I found myself cheering instead muttering insults at her expense. Randolph Scott got a chuckle from me as Grant's health nut rival for Dunne's affection. Top that off with dull courtroom scenes and Dunne and Grant's two obnoxiously adorable, only-in-Hollywood children, and you've got one disappointing screwball comedy.

Still, Grant and Dunne were both wonderful actors, so don't let this trifle turn you off from their other films.

Ghost World (2001)

An excellent parable about disaffected youth

[1 September 2007]

Terry Zwigoff has created an excellent parable about disaffected youth in "Ghost World". The character of Enid (memorably played by Thora Birch) is a sardonic iconoclast, and a bit of a hero to me. She has her own style, speaks her razor sharp mind, and truly doesn't care what people think about her. Picture a female, proactive version of Holden Caulfield. I desperately wish I were more like Enid when I was in high school.

Enid's partner in crime is Rebecca (Scarlett Johannson), who has one foot in the offbeat world Enid inhabits, and the other foot in the mainstream world Enid loathes. Rebecca's one of those types who never seem to mean what they're saying, not because of dishonesty, but because of lack of self-knowledge and security. When these two pals start to drift apart after they graduate from high school, Enid latches on to champion loser Seymour (Steve Buschemi, who seems to live for these kinds of roles), a devoted record collector. Through one long, seemingly uneventful summer, Enid takes a good look at the world around her, and a painful series of events force her to find her own place in it.

I adored this anti-"teen movie", and it was so refreshing to see a heroine who wasn't a blandly blonde, pool cue shaped cheerleader who spouted out adorable one-liners. Enid is a proud loner and rebel, who wears her crazy wardrobe and Truman Capote glasses with pride. Zwigoff never allows the movie to be Hollywood saccharine or indie film depressing. It's full of realistic, human characters we've all known at one time or another. I was further amazed by how true to life "Ghost World" is. Nothing in the film turns out the way you expect it to, but, really, isn't that just the same as life?

Junebug (2005)

A fine film carried by Amy Adams's star power

[29 August 2007]

"Junebug" is a deliberately paced, lovely little film that was everything "The Family Stone" (which came out the same year) wanted to be. A slice of life parable about cosmopolitan art dealer Madeleine (a superb Embeth Davidtz) meeting her new husband George(Allesandro Nivolo)'s family in suburban North Carolina. There is a bit of suspicion and resentment towards this newcomer, but Madeleine is instantly embraced by Ashley (Amy Adams), George's pregnant sister-in-law. Ashley at first seems like an empty-headed, gauche chatterbox, but we soon find she represents the best side of human nature: warm, kind, open-minded, and brave. By the end of the film, we see that the intellectual Madeleine and George's gruff family could stand to follow Ashley's example. Amy Adams carries this film, even though she is not the main character. She never strikes a false note, and creates one of the most unexpectedly memorable characters in recent years. With her red hair, owl eyes and wispy voice, Adams is one of the most unique actresses working right now, and will continue to get the critical attention she deserves. See "Junebug" for no other reason than the sheer brilliance of Amy Adams's star power.

Far from Heaven (2002)

Spellbinding and bittersweet

[24 July 2007]

The films of the great director Douglas Sirk are primarily remembered today by either classic movie buffs or serious students of film. In wider, mainstream circles, Sirk isn't always thought of in the same terms of, say, Alfred Hitchcock or John Ford. Todd Haynes, however, brought Sirk's classic melodramas back to the public conscious with "Far from Heaven". The film is a loving tribute to the master of '50s melodramas, borrowing primarily from "All that Heaven Allows". Haynes uses the same blinding, brilliant autumnal hues, the decidedly artificial looking sets, and a sometimes sweeping, sometimes ironic score by the late, great Elmer Bernstein. The vicious town gossip in "FfH" is even named Mona after the same character in "AtHA" It also has a similar plot of a lonely suburban wife finding solace in the company of her gardener.

But Haynes's story is more complex than Sirk's. Cathy Whitaker (Julianne Moore) isn't a widow like Jane Wyman's Cary Scott, but a once happily married woman in 1957 who has discovered her husband Frank (Dennis Quaid) is gay. Shocked and humiliated, Cathy's once perfect existence is shattered, and she has no one to confide in... no one except Raymond Deagan (Dennis Haysbert), her kindhearted black gardener. Raymond is wise and nonjudgmental; the complete opposite of Cathy's shallow circle of friends and neighbors, and he and Cathy become close friends.

Haynes isn't out to make a pretty picture. Like Sirk, Haynes boldly exposes the lies, prejudice, ignorance, hypocrisy and cruelty that belied the sunny facade of the 1950s. There is a loss of innocence for Cathy by the movie's end, as she discovers that it is apparently acceptable for Frank to live a life of deception and infidelity, yet Cathy can't even "be seen" with a black man. She sees that children can be just as monstrous as adults when white classmates attack Raymond's young daughter. And when Cathy's fair weather friend (Patricia Clarkson) turns against her when Cathy needs her most, she realizes that sometimes your friends are even less trustworthy than your enemies.

The ending is rather sad and not wholly unexpected, but Moore's deft performance makes us believe that, somehow, Cathy will be all right.

Sorry, Wrong Number (1948)

Powerful, unconventional thriller

[19 July 2007]

"Sorry, Wrong Number", on the surface, seems derivative of every other suspense drama from the 1940s with its climactic score and shadowy cinematography. Yet, at the end of this gripping thriller (which is economically paced at 88 minutes), I was stunned at how it really stands on its own as a great piece of film-making. It is full of heart-stopping suspense, twists and turns, and an ending I guarantee you won't see coming. Another surprise is our heroine, bed-ridden heiress Leona Stevenson (Barbara Stanwyck), isn't your typical, spunky female lead (like, say, Theresa Wright in "Shadow of a Doubt") or a coolly elegant Hitchcock blonde knockoff. On the contrary, our protagonist is, in many ways, the antagonist. Leona is a shrill, spoiled, manipulative rich girl who bulldozes her way into humble young Henry (Burt Lancaster, looking remarkably clean-cut)'s heart until he agrees to marry her. A so-called heart condition forces Henry to agree to Leona's every whim, all for the sake of her fragile health. But Henry's patience with his domineering wife starts to wear thin, and it's one fateful night when Leona accidentally overhears a murder plot on the phone that she faces not only some ugly truths about herself, but also her own mortality.

I really loved the slow camera work in this movie, the way it cautiously creeps over every bit of scenery, enhancing Leona's (and our) sense of dread. Kudos as well to whoever put the sound of a rotary dial in the score during the opening credits. After you've seen this movie, that sound becomes downright menacing. "Sorry, Wrong Number" relies heavily on the convention of flashbacks, so if you have no patience for this plot device, this is not the movie for you.

Stanwyck makes Leona someone you root for, even though she plays the most hateful rich girl this side of Paris Hilton. Then again, Stanwyck also made a con artist lovable in "The Lady Eve" and a middle-aged schemer in "Double Indemnity" sexy, so it really comes as no surprise. She also shows how Leona's icy calm slowly unravels, and by the movie's end she looks as if she's aged a decade.

Lancaster is also good as the fed-up husband, creating a character so complex you don't know what to think of him.

This is an underrated, unconventional classic that is especially powerful seen in the dark. See it, and count your blessings that we no longer live in the era of rotary dials and inefficient operators.

Snow White (1987)

So delightfully bad, you must see it

[18 July 2007]

Cannon Movie Tales were a low budget string of films that had remarkably big stars in them, but were really much too corny for most people's taste. I highly urge everyone to avoid the clunky adaptation of "Beauty and the Beast". The only other one I've seen is "Snow White", which is marginally better... but that's damning with faint praise, considering this version of "Snow White" isn't particularly good and has a considerable list of faults.

Take, for instance, Snow White and the Prince's meeting. He meets her right after she is awakened from the poisoned apple (instead of a revitalizing kiss, the piece is jostled out of her mouth). Instead of a courtship, they immediately marry in what is easily the most joyless and mechanical wedding to ever appear in a children's film. Neither couple looks remotely happy. It could be because they haven't had a properly dated; but then, when has that ever been important in fairy tales? Couldn't one of them at least crack a hint of a smile? As the Evil Queen, Diana Rigg seems to channel Gloria Swanson from "Sunset Boulevard". In every scene Rigg was in, I waited with baited breath to hear her say, "All right, Mr. De Mille, I'm ready for my close-up!" Rigg also has a dreadful musical number (and the poor dear can't sing a note) and an appallingly hideous wardrobe. We're talking foot-high headdresses and shapeless, sequined tunics. Don't you think someone as vain as the Queen would be a little more fashion savvy than this? The editing is also inexcusably poor. When little Snow White (Nicola Stapleton) is running from the hunter trying to kill her, there are random, stock footage close-ups of animals that play no part in the scene whatsoever, like the lingering shot of a python that has no payoff at all. And for such a climactic, pivotal scene, it was rather boring and ineffective.

The dwarfs are at least partially amusing, acting like a bunch of aging vaudevillians, and painfully attractive brunette Sarah Patterson ("The Company of Wolves") plays Snow White. She brings nothing new to the part, but since Snow White isn't supposed to be interesting, that's to be expected.

Normally, I write reviews warning people against bad movies. However, this version of "Snow White" is worth a watch for its corny screenplay, bad acting, and some of the most ridiculous sequences ever. Remember when I mentioned the poisoned piece of apple coming out of Snow White's mouth? It actually flies out of her mouth, in a hilarious, bad blue screen effect, and soars through the sky and hits the Evil Queen in the head. Words fail me.

Grab a movie buddy and have a some MST3K-style quips ready for this delightfully campy fairy tale.

I'm Alan Partridge (1997–2002)

Watching someone else's failure was never so much fun!

[1 July 2007]

What Martin Short's fake talk show host Jiminy Glick is to the states, Steve Coogan's Alan Partridge is to the U.K. (albeit funnier and more sophisticated). Coogan's fictional alter ego Partridge had his own "chat show" in 1995 called "Knowing Me, Knowing You- with Alan Partridge" (which many British viewers thought was the real thing!). The show was strategically made to only last one season in order to bring about the spin-off "I'm Alan Partridge", which dealt with the demise of Partridge's show and his not-so-brilliant career.

Rubber-faced, snaggle-toothed Coogan creates one of the best unlikable characters since John Cleese's Basil Fawlty. Alan "A-Ha!" Partridge is an untalented, unprofessional, self-deluded, insensitive buffoon who's blissfully unaware of the fact that no one likes him and that no one misses his short-lived show. Forced to work as an early morning disc jockey and live in a fleabag hotel, Partridge struggles to rebuild his career, but always failing due to his own stupidity and tactlessness. He is a burden to the hotel staff (he's lived there a whopping six months), a tyrant to his loyal assistant Lynn, and thorn in the side of BBC executive Tony Hayers.

It is a bit depressing, watching Partridge fail episode after episode, but he's such a pompous twit you quickly stop caring and just enjoy the darkly comic ride. One episode dealt with Partridge's insulting England's farmers (I don't dare spoil how they exact their revenge). Coogan hams it up as vile Alan Partridge, who's unsympathetic to the point of pure evil (in one episode, he uses a recently dead man's hand to finish signing the TV contract to relaunch his career). The supporting cast gamely keep straight faces amid Partridge's idiotic antics.

Watching someone else's failure was never so much fun!

The Tick (2001–2002)

Prepare to face... "The Tick"!

[22 June 2007]

I don't think any other actor than the towering, deadpan Patrick Warburton could pull of the role of the blue-clad buffoon The Tick. The Tick may be dim-witted, prone to making long-winded, nonsensical soliloquies and may be the most unintentionally destructive hero since Sledge Hammer, but he also has a heart of gold and is willing to stand up to any challenge. Whether it's stopping petty crooks or throttling an uncooperative coffee machine, the Tick is just the hero The City needs... whether they like it or not! Joining the Tick in his quest for justice are loyal but nebbish moth man Arthur (David Burke), tough cookie Captain Liberty (Liz Vassey), and blasé ladies' man Bat Manuel.

Like many TV shows, the live action version of "The Tick" suffered an early death on the Fox network, but it has thankfully become a cult classic. I actually found this one to be funnier than the animated series. Not that I'm diminishing the legacy of the great cartoon, but to see flesh-and-blood adult actors dressed in these ridiculous costumes, uttering ludicrous lines ("Abso-doodle!") and fighting comical villains (Apocolypse Cow, Destroyo), makes "The Tick" so literal and so rewardingly hilarious.

Pride and Prejudice (1995)

Definitive Jane Austen adaptation

[10/10 · 3 June 2007]

The BBC miniseries version of "Pride & Prejudice" will undoubtedly be the yardstick by which all Jane Austen adaptations will be measured. Oh, there have been plenty of entertaining adaptations since then, such as "Sense and Sensibility" and the 2005 version of "P&P" with Keira Knightley, but it's safe to say that the classic miniseries is the definitive adaptation of a Jane Austen novel. Director Simon Langton captures the essential wit, satire, and suspense of Austen's most character-driven story.

Twinkly-eyed, rosy-cheeked Jennifer Ehle makes a delightful Elizabeth Bennett, and she perfectly embodies Elizabeth's finest qualities: cool-headed, headstrong, witty and passionate. Elizabeth deserves to be placed in the same category of strong literary heroines such as Jo March and Scarlett O'Hara. You come to love Elizabeth as you watch her escape an engagement to the repulsive, simpering Mr. Collins (David Babson) and maintain her sanity among her foolish family members, including her hysterical mother (Allison Steadman) and her vapid, boy-crazy youngest sister Lydia (Julia Sawalha, playing the antithesis of her character from "Absolutely Fabulous"). The supporting cast is also delightful, including Susannah Harker as Elizabeth's serene and lovely sister Jane, Crispin Bonham Carter as Jane's cheerful suitor Mr. Bingley, and Benjamin Whitrow as cynical Mr. Bennett.

But let us not forget the real highlight of "Pride and Prejudice": Colin Firth's star making turn as the misunderstood (but no less dashing) Mr. Darcy. Elizabeth initially dislikes Mr. Darcy, but is surprised to find that he improves "on closer acquaintanceship". Firth plays Mr. Darcy as a man who is uptight and priggish on the outside, but warm, passionate, and romantic on the inside. Plus, it helps that Firth is criminally handsome and has soulful brown eyes that could melt even the coldest heart (oh, I'm such a girl!). The kiss at the end is one of the tender, romantic kisses I've ever seen on screen

"P&P" remains true to the spirit of Austen's story, so it doesn't pander to modern audience's expectations (if your tastes run towards explosions and sloppy sex scenes, this is not for you). Yet it remains delicious entertainment for people willing and patient enough to give it a try. Jane Austen, obviously, never lived to see her books made into film, but I think it's safe to say this brilliant miniseries would have made her glow with, well, pride.

Breaking the Waves (1996)

The power of love

[1 June 2007]

"Breaking the Waves" is a painful look at the unexpected power of faith and love. While I thought it was much longer than it needed to be and I had severely mixed feelings about the symbolism-heavy ending, "Breaking the Waves" is still a haunting film about what we cherish and what we suffer through when we devote our lives to a another.

Our heroine, Bess (Emily Watson, in her legendary film debut), is an innocent, unstable young woman recently married to kindhearted, salt-of-the-Earth oil rigger Jan (Stellan Skarsgard). Sheltered all her life by her strict, religious upbringing, Bess experiences a sexual awakening from Jan's love, and for the first time in her life, she feels real passion and happiness. Her new, blissful life is shattered when Jan is paralyzed in a freak accident, no longer able to make love to his wife. So Bess begins a brutal, emotional journey of sacrifice, that will put her love for Jan, and everyone's idea of faith, to the ultimate test.

There are no easy answers in "Breaking the Waves". We are forced to question Bess's choices, her faith, and her mental state. It's revealed that she has had a nervous breakdown in the past, her co dependence on Jan worries her pragmatic sister-in-law (the late Katrin Cartridge), and Bess frequently talks to herself as the voice of God whenever she prays. Jan's rather selfish request to his fragile wife, to have sleep with random men so he can vicariously have intercourse with her, makes you wonder if Jan is high on painkillers, brain damaged from the accident, or was just sick in the head to begin with.

Or perhaps I'm just being too cynical. Perhaps Bess really is a secular saint chosen by God himself. Perhaps Jan's request of his wife really does send him on the road to recovery. Director Lars Von Trier wisely refuses to spoon feed us a simple solution.

Bess and Jan's relationship really reminded me of Christopher and Dana Reeve. True, the Reeves were very wealthy and could afford all the help and physical therapy they needed, but what it really comes down to is the love and sacrifices a married couple are willing to make for each other. It's been said that when Christopher Reeve told his wife she didn't have to stay with him, she told him she would stay, because he was still the same man she loved, injuries and all. Bess stays with Jan and follows his shocking wish for the same reason: he's still the man she fell in love with. Love isn't always pretty, soft, or easy, but can be rough and difficult path that either ends a relationship or make it stronger.

"Breaking the Waves" may be far from uplifting, but it is a hopeful reminder that, to quote Jan, "love is a mighty power".

The Wonderful World of Disney: Once Upon a Mattress (2005) Season 47, Episode 8

A Disney movie that isn't shy!

[31 May 2007]

In the vein of the classic, 1997 version of "Rodgers and Hammerstein's Cinderella", Disney released another delightful piece of eye candy, "Once Upon a Mattress", the musical twist on "The Princess and the Pea". "Once Upon a Mattress" is actually quite risqué for a Disney film. Oh, it's hardly HBO-worthy stuff, but not many ABC family movies lightheartedly deal with premarital sex, latent homosexuality, and the most shocking Oedipal relationship since Angela Lansbury and Laurence Harvey in "The Manchurian Candidate".

Hypersensitive/conservative parents better beware. For everyone else, it'd be a shame to miss the incomparable Carol Burnett (who originated the role of "Princess Fred" in the 1959 production of "OUaM") as the domineering Queen Aggravain, mother of meek Prince Dauntless (Denis O'Hare). When Prince Dauntless falls hard for robust, vivacious tomboy Princess Winnifred(Tracey Ullman), or "Fred" as she likes to be called, Queen Aggravain determines to sabotage the relationship by giving Fred a test she's convinced she'll fail. It's up to the mute King Sextimus (Tom Smothers), and dewy-eyed, pure hearted lovers Sir Harry (Matthew Morrison) and Lady Larken (Zooey Deschanael) to stop Queen Aggravain.

The costumes nearly steal the show, rich with explosive colors and sumptuous designs (Burnett's jewel-drenched costumes are designed by none other than Bob Mackie). Ullman gets wears yummy gowns of red and gold velvet, and Deschanael looks every bit the fair maiden in delicate, candy-colored silk dresses and rosy cheeks. The songs are also catchy and hummable, ranging from bombastic to ironic. I was surprised at what an incredible belter and game dancer Ullman was! In the show stopping number "Shy", she slides down poles and gets tossed about, Eleanor Powell-style, without missing a beat. Burnett shows that, even in her '70s, she's still a performer to be reckoned with, delivering the rather disturbing number "That Baby of Mine" with the hip-swiveling conviction of a burlesque dancer. All the couples have just the right amount of chemistry and a hell of a good time is had by all. Join the fun and don't be shy!

Born Yesterday (1950)

She's no dumb broad!!

[23 May 2007]

Judy Holliday and William Holden are wonderful as the ditzy gangster's moll and the man who shows her she's better, smarter, and classier than she thinks she is in "Born Yesterday". When course, oafish, inexplicably wealthy junk dealer Harry Brock (jowly Broderick Crawford) decides to hit Washington DC to suck up to politicians (and more, as we'll find out), he realizes his lisping, uncultured, gum-smacking fiancée Billie (Holliday) will make a wretched first impression. Despite the fact that Harry himself makes "dumb broad" Billie look like Marie Curie, he pays writer Paul Verral (Holden), a quintessential '50s nerd with horn-rimmed glasses and Byrlcreem saturated hair, to play Henry Higgins to Billie's Eliza. As Billie's interest in politics (and Paul) grows, she does indeed "smarten up"... and becomes a force to be reckoned with, much to Harry's chagrin.

What I found remarkable is that the setup is nothing like modern "bet" comedies (like "She's All That"). Billie knows from the beginning that Paul is being paid to teach her. This also isn't your typical "makeover" comedy: yes, Billie learns to "talk good", to understand to workings of politics, and to read on her own free will (my favorite scene is when, stuck for an insult at Harry's expense, she runs to her massive dictionary before spitting out "antisocial!!"), but our heroine learns so much more. She learns to read the fine print on the papers Harry makes her sign. She learns to question Harry's shabby treatment of her, his morals, and her own place in life... and she decides that she doesn't like any of them. In the end, Billie uses knowledge to escape her abusive relationship, develop self-respect, and win a man truly worthy of her affection.

Holliday is both hilarious and sympathetic as Billie, and a reminder of a bygone era when women were not only genuinely funny, but weren't a size 0. Holliday gets to strut her stuff and show off her hourglass figure in flamboyant yet sumptuous Jean Louis outfits (I coveted those sparkly pajamas!). Everyone remembers the classic "gin rummy" scene where Billie wallops Harry at cards with robotic consistency. Crawford and Holden also provide excellent support as two very different men vying for Billie's heart. It's hard to believe that "Born Yesterday", the classic comedy about improving the mind, was released right at the beginning of the anti-intellectual '50s. What a waste that no one learned what Billie did: that expanding you mind and horizons will help you escape your complacent way of thinking and that you're never too old to learn.

The Pursuit of Happyness (2006)

A not bad docudrama

[22 May 2007]

While "The Pursuit of Happiness" is by no means a perfect film (it skirts more unpleasant issues such as racism in the workplace), it is nevertheless a moving, watchable true-life parable about the rough road towards achieving the American Dream. Will Smith is shockingly good as Chris Gardner, devoted father and aspiring stockbroker. He is recently homeless, has only a high school degree, and a five-year-old son (Jaden Christopher Smith) to support. Thankfully, Chris has pluck, charm and a childlike stubbornness in abundance. I don't know if the movie tell the real Chris Gardner's story 100% accurately, but I have no doubt "The Pursuit of Happiness" captures the seeming hopelessness of his situation and Gardner's spirit and dogged determination. A fine effort that makes you believe anything is possible.

Roxanne (1987)

Is more like Chris than C.D.

[18 May 2007]

If I could choose one thing about "Roxanne" to sing my praise of, it's the brilliant make-up job for Steve Martin. His Pinnochio-like nose is an unrealistic concept, but it is so perfectly rendered, you start to believe that this is really Martin's own schnoz. That's really the best thing about this 1987 update of "Cyrano de Bergerac". It's by no means a terrible movie, but its premise outshines the actual finished product. Oh, it does pay a decent tribute to the classic story, from the famous scene in which our hero, C.D. Bales (Martin) finds 20 ways to insult his own nose, the balcony scene where he woos his beloved Roxanne (played here by Daryl Hannah) through the more handsome but less verbally inclined Chris (Rick Rossovich), and even a duel of sorts (with a tennis racket and a golf club in place of swords).

Yet "Roxanne" falls short, mainly due to the fact that it's a touch overlong and too lighthearted for its own good. Also, I found Hannah to be a rather insipid and uninspired choice as Roxanne, especially since Roxanne is supposed to be a brilliant astronomer. Sure, any man could have a crush on her, but to have someone as sweet, witty, and passionate as C.D. fall madly in love with her? Call me a hardened cynic, but I just didn't buy it. Martin is at his best as C.D., and he's almost able to make you ignore his enormous honker. He's genuinely funny, and the scenes that reveal his insecurities about his looks are quietly moving. I must also make special mention of Rossovich as Chris, C.D.'s unknowing rival for Roxanne's affections. He plays Chris as a decent guy who isn't stupid, just painfully shy and terrible with words. Despite his good looks, he's no more confident than C.D. is. I guess the movie's other moral is that beautiful people have problems too. Steve Martin fans will probably adore this one, but for everyone else, it probably won't make much of an impression.

The Slipper and the Rose: The Story of Cinderella (1976)

Lush retelling of "Cinderella"

[17 May 2007]

As someone who has become rather disillusioned with the story of Cinderella, I appreciate any film that puts a unique spin on it. My favorite example is 1998's "Ever After" with its feminist protagonist and more in-depth love story. I was happily convinced that that was the only version of "Cinderella" for me. Yet, after recently viewing "The Slipper and the Rose", I've decided this lush, 1976 musical comes a close second. Despite its daunting length of 143 minutes (parents of kids used to the breezy Disney cartoon may want to think twice about showing this to the little ones), "The Slipper and the Rose" is a beautifully photographed (filmed in Austria), immensely enjoyable lark of a movie that is a must for any fairy tale fan. It dares to address issues that other "Cinderella" adaptations fail to acknowledge: the futility of trying to find "the maiden who fits this slipper" (that's right, our prince doesn't find Cinderella in the way you'd expect), the hard knock life of a fairy godmother, and the difficulties of two people from different ranks in life to marry.

Strangely enough, "The Slipper and the Rose" is almost more about the prince than Cinderella. This isn't our grandparents' Prince Charming. Our handsome prince, Edward, isn't some vapid mannequin of a human being, but an idealistic, humorous, earthy, passionate young man with his own ideas of how to live his life and find his queen. He also loathes the idea of being "the grand prize" in the ball. Edward is brought exquisitely to life by Richard Chamberlain, who lends his softly handsome face and supple singing voice to this charming tale. Gemma Craven as Cinderella is hit or miss, but she's a pleasant singer and game dancer, and brings a serene maturity to the part. We are also treated to a perfectly smarmy wicked stepmother, a doltish, Mel Brooks-like king, and an eccentric, cranky fairy godmother. The songs are catchy and delightful, written by the Sherman brothers, best known for their work in "Mary Poppins". "Protocol-igorrically Correct" won't easily leave your head, and "When He Danced With Me" is sung by Craven with infectious joy and passion. This a fine adaptation of "Cinderella" full of surprises, romance, and even a layer of complexity. If you like unique re-tellings of your favorite fairy tales, "The Slipper and the Rose" is just the film for you.

Terms of Endearment (1983)

Overrated and manipulative

[1/10 · 9 May 2007]

I am a heterosexual, red-blooded woman who hates "Terms of Endearment". There, I said it, and I don't care who knows. "Terms of Endearment" is one of those insufferable movies aimed for women, even though it is clearly written by men who clearly don't know anything about real women. It's also a disjointed, plot less, excruciatingly dull story with some of the most poorly written characters to ever disgrace the screen.

I didn't know which female protagonist I found more insufferable: Aurora (Shirley McClaine), an overbearing mother who clings to her daughter Emma (Debra Winger) like a leach but doesn't appear to actually love her. Aurora is one of those people who refuse to let go and let God, as evidenced where she happily wakes her sleeping baby daughter up because she's convinced that Emma has suffered "crib death". Emma is so sick of her mother's nagging ways, she marries the first loser who shows interest, much to her mother's chagrin ("You are not special enough to overcome a bad marriage," Aurora bluntly tells her).

Then there's Emma herself, who I desperately wanted to root for, having an overprotective mom myself. Emma could have been written with a certain amount of dignity, passion, and endearing insecurities and intelligence that emerge in spite of Aurora's crappy parenting. Instead, Emma is an immature, petulant, flighty ninny who goes from having a backbone of steel one moment to being a complete pushover the next. She firmly calls her ne'er-do-well husband Flap (Jeff Daniels) on his infidelity, and yet stays with the cheating bastard for no clear reason whatsoever. Not to mention Winger plays Emma the way one would a mentally unstable 3-year-old and who sounds she doing the world's worst Joan Cusack impression. I got the feeling her children would be like the type of kids who have to raise and clean up after their alcoholic parents.

I knew something was wrong when the only character I even remotely liked was Jack Nicholson's aging womanizer character. Considering that I don't even like Jack Nicholson, that's really something.

Worst of all, "Terms of Endearment" is responsible for starting the trend of manipulative tearjerkers that involve families coming closer because of death ("Stepmom", "The Family Stone", "One True Thing"). Not only is it reprehensible to treat death so lightly, but it is unfair to the audience. It's as if filmmakers are punishing them for not being emotionally invested enough in the characters by creating latent feelings of guilt by killing them off. And it's always with Hollywood Cancer, the type of cancer where vomiting and chemotherapy somehow never come into play.

I have nothing against chick flicks, I really don't. Just this one.

The Comedians of Comedy (2005)

That's it??

[1/10 · 9 May 2007]

I have recently become a huge fan of Patton Oswalt. I think he's the most deliciously original comedian to come along in ages. He is refreshing and fearless in his routines, which run the gamut of topics from how much Bush sucks to the sleazy exploits of 1970s producer Robert Evans. I'm a longtime fan of Maria Bamford and her wide-eyed innocent/schizophrenic routine. Whenever she effortlessly switches her naturally high-pitched voice to one that is clipped and throaty, I can't help but giggle. I liked Brian Posehn long before I even knew he was on "Just Shoot Me", and there is something so innately funny about his aging nerd persona. All three of these talented, unique comedians headline "The Comedians of Comedy", a Netflix documentary about their U.S. tour. They truly deserve to be stars, and this tour gave them the recognition they so richly deserve. I thought,no, I KNEW I'd like this movie...

But I was wrong. Instead of the three comics each getting their own routine segments, "The Comedians of Comedy" is bogged down by meandering and dull documentary scenes that contain no humor, no insight, nothing of real interest. I think there is a total of 30 minutes of intermittent stand-up routines total in the 109 minute movie. What a rip-off! Come on, is anyone really interested in seeing our stars banter in their RV? Where's the humor in seeing Posehn in an arcade and a comic book shop? Does anyone find random diner scenes particularly funny? If this movie couldn't have shown our comics strutting their stuff, at least make it about what life is like on the road. It's not even about that. Worst of all, the comics never appear to be having real fun. Oswalt admits how bored he is doing a radio interview, Posehn sheepishly admits to how much he sucks at giving a tour of his home, and Bamford nervously improvises every time the camera is pointed at her, and her humor there is only sporadic.

Sheesh, these guys deserve a chance to show the world their unconventional, amazingly crafted humor that is a refreshing change of pace from the brainless entertainment of mainstream comics like Dane Cook. Instead, we have to sit through their mundane, everyday routines on the road in a substandard bore of a movie whose quality could easily be surpassed by any student film. If you can locate any of Oswalt's, Posehn's, or Bamford's performances on DVD, by all means do. Their talent should be a joy to behold, not a chore like it is here.

The Lady Eve (1941)

She needs him like the ax needs the turkey!

[4 May 2007]

Not many actors could make an unscrupulous, vindictive cardsharp lovable. Then again, not every actor is Barbara Stanwyck, and she accomplishes this daunting task beautifully in "The Lady Eve". Jean Harrington (Stanwyck) and her father, the "Colonel" (James Coburn), are a daughter/father con artist team who prey on unwitting rich folks on cruise ships. On one such cruise, they meet their richest, most naive victim: Charles Pike (Henry Fonda), a hopelessly gullible reptile lover who's just spent a year in the Amazon. He's been far away from civilization... and from women, so imagine his stunned reaction when sexy, worldly Jean makes a pass at him. Jean initially just wants Charles's money, but she unexpectedly falls in love. Charles, however, finds out about Jean and her father's shady ways and unceremoniously dumps her. This really throws Jean for a loop: she's used to breaking hearts, not having her own broken. She's refuses to let some pampered rich boy permanently wound her pride, so she decides to exact her own unique revenge on the deserving Charles...

"The Lady Eve" is indeed a fine comedy, but I didn't quite love it as much as I thought I would. I think it's because, in the end, they completely de-claw Jean and have her throw herself back at Charles. I don't care what anyone says: there's no way a vibrant, feisty, independent woman like Jean would ever fall for an effete nincompoop like Charles. She may be a con artist, but that doesn't mean she shouldn't have standards! I thought Charles could have been written better; there's a huge difference between innocence and stupidity. I much preferred the relationship between Jean and her father. While hardly a good role model, he obviously loves his daughter and even supports her when she toys with the idea of going on the straight and narrow to win Charles.

Stanwyck owns this movie. Like Bette Davis, she was never a conventional, classic beauty, but it was her confidence, style, and way she carried herself that made her a knockout. Stanwyck also gets to don gorgeous Edith Head dresses, including that resplendent, sparkling white gown with cap sleeves (you have any idea how hard it is to carry off cap sleeves?) that she wears when she re-enters Charles's life.

So, in my humble opinion, the romance falls a little flat, but the comedy sure doesn't! To see Stanwyck at her most seductive and Henry Fonda at his most ridiculous, don't miss "The Lady Eve".

42nd Street (1933)

Still a naughty, gaudy, bawdy, sporty good time

[4 May 2007]

The plot of "42nd Street" has been reduced to cliché: the star gets injured the night before the opening of the Broadway musical, and a younger, wet-behind-the-ears chorus girl takes her place and becomes an overnight sensation. There have undoubtedly been lesser musicals with this plot, it's even happened in real life (suspiciously often, I might add). But "42nd Street" did it the best.

The cast is impeccable: Bebe Daniels as the high-strung star; a pre-Fred Astaire Ginger Rogers as decidedly loose "Anytime Annie" ("She only said 'no' once, and then didn't hear the question!"); Una Merkel as Annie's ditzy, tart-tongued pal Lorraine; and Warner Baxter as world-weary, amoral director Julian Marsh. The movie made a temporary star of Ruby Keeler and a longer lasting star of Dick Powell. Keeler plays star-to-be Peggy Sawyer, who somehow remains an unflappable innocent amid all the Broadway cynics. Critic Pauline Kael once labeled Keeler as "awesomely untalented", but Keeler is so doe-eyed and winsome, you like her anyway in spite of her tinny singing voice, clunky dancing and unimpressive acting. Powell (who, from certain angles, looks like a more boyish Will Ferrell) is appealing as Peggy's love interest Billy, playing the type of guy that words like "jeepers" and "swell" are not foreign to his lips. He's also an amazing singer, his buoyant tenor carrying the show-stopping number "Young & Healthy".

And let's not forget those Busby Berkely numbers! "42nd Street" really launched Berkely's legendary career. Yes, we get to see his trademark kaleidoscopic look in "Young & Healthy", but we also get a glimpse at his innuendo-laden style. For instance, the "Young and Healthy" number has the camera gliding between the silk-stockinged legs of dancers. In "Shuffle off to Buffalo", Keeler simulates having an orgasm.

Nearly 75 years after its release, "42nd Street" remains a "naughty, gaudy, bawdy, sporty" good time!

The Queen (2006)

Hail to Helen Mirren

[2 May 2007]

Helen Mirren is magnificent and heartbreaking as Queen Elizabeth II in "The Queen". Playing the monarch during the week following Princess Diana's death in 1997, Elizabeth is straight-forward, unsentimental, old-fashioned and unflappable... which are the qualities that the British public (or, indeed, the world) don't want her to display during this tragic time. Elizabeth simply wants a private, tasteful mourning between Diana's family and her own. Yet the tragedy rapidly gives way to a frenzy of hysterical grief from the masses, and Elizabeth is torn between doing what is expected of her and doing what she feels is right. Stephen Frears expertly handles an extremely sensitive subject without becoming didactic or copping out. "The Queen" isn't about heroes or villains, but simply about people who must come to grips with their own feelings. Frears also shows us that there is more to Elizabeth than her stiff upper-lip mentality and backbone of steel. He shows us a woman who expertly drives a jeep through rocky terrains, who loves walking her Welsh Corgis, and who still turns to her wizened mother, the Queen Mother, for help and calls her "Mummy". Mirren is exquisite, but Michael Sheen deserves praise for his multi-dimensional portrayal of the then newly appointed Prime Minister Tony Blair. He plays Blair with an intriguing mix of adult experience and youthful eagerness, whose emotional struggles mirror Elizabeth's, albeit in a decidedly less subtle manner.

This is one of those rare films that actually live up to the hype. Long live "The Queen".

A Face in the Crowd (1957)

A cynical masterpiece and testament to Andy Griffith's talent.

[1 May 2007]

Larry "Lonesome" Rhodes of "A Face in the Crowd" starts out as a loud, brashly charming ex-convict, to small-time radio celebrity, to beloved TV star, to a powerful media conglomerate. As time goes on, we see Rhodes for what he really is: a soulless shell of a human being desperate for power and God-like status. He's an obnoxious, drunken, selfish, opportunistic, womanizing lout who's on the bottom of the totem pole of human decency and morals. Most shocking of all? Lonesome Rhodes, one of cinema's most realistic, repugnant villains, is played by Andy Griffith.

That's right, Andy Griffith. The beloved TV icon best known as wholesome, laid back country boy Andy Taylor on "The Andy Griffith Show", screams, yells, leers, laughs maniacally, throws tantrums, and shows a frightening array of ugly emotions in a performance that actually rivals Humphrey Bogart's as Fred C. Dobbs in "Treasure of the Sierra Madre". It's a shame that Griffith has been pigeonholed by his classic TV show. "A Face in the Crowd" could prove to any skeptic that Andy Griffith is really, truly, an honest-to-God ACTOR. He initially plays Rhodes as a slovenly, deceptively innocent hick from the sticks. When he is given a shot at fame by ambitious talent scout Marcia Jeffries (Patricia Neal), Rhodes milks it for all it's worth. It starts out all in good fun, but as his star rises, his morals plummet dramatically, and poor Marcia is forced to bear the burden of knowing she's helped create this monster.

I also must take my hat off to Ms. Neal, an underrated actress and master of slow-burning intensity. She eschews common acting choices for ones that really feel painfully real. For instance, in one scene where Rhodes has hurt her yet again, she slowly approaches her bed. Instead of the predictable falling down on the bed and crying, Neal lets out one tortured, anguished sob and walks away, a crushed woman. It's acting at its most devastatingly honest.

Elia Kazan creates a scorching, brutal indictment of the media age and the corrupting power of celebrity. Many critics believe it was the harbinger of similar, contemporary classics such as "Network" and "To Die For". As Mel, the pragmatic writer played by Walter Matthau tells Marcia, we the people are responsible for a celebrity's power. "It when we see through them, that's our strength", he says. In today's celebrity worshiping times, when R. Kelly continues to release hit singles when he should be rotting in jail for child molestation, when untalented kids make idiots of themselves on "American Idol" just for their 15 minutes, when Paris Hilton is famous just for, well, existing, truer words were never spoken.