Moonstruck (1987) [Deluxe Edition] – DVD|Blu-ray Disc

**/****
DVD – Image B Sound B+ Extras B+
BD – Image B- Sound B+ Extras B+
starring Cher, Nicolas Cage, Vincent Gardenia, Olympia Dukakis
screenplay by John Patrick Shanley
directed by Norman Jewison

by Travis Mackenzie Hoover SPOILER WARNING IN EFFECT. If you were to make a film about African-Americans in which everyone is shiftless, ignorant, and constantly eating watermelon or fried chicken and acting lascivious, you'd be rightly vilified for your inherent racism. But if you were to make a film about Italian-Americans in which everyone is loud, hilarious, and constantly eating pasta and acting lascivious, apparently you'd be rewarded with the Oscar for Best Original Screenplay. That, at least, is the conclusion one draws from watching the stereotype cavalcade that is Moonstruck, which, however affectionate, creates a tedious minstrel show out of those wacky Eye-talians while minimizing their pain. There's plenty of talk about the chaos of love and the torment of attraction, but who are they kidding? That everything works out in the end for problems that would normally rip a family apart is par for the course in a Norman Jewison film, meaning baked ziti for all and true drama for none.

In Treatment: Season Two (2009) – DVD

Image B Sound B

by Walter Chaw Where the first season ended with at least lip-service to ambiguity and frustration, the second runs a disturbingly cheery course of happy horseshit and the worst kinds of Dr. Phil-isms while canonizing our Sainted Paul (Gabriel Byrne) on the cross of other peoples' problems. Taking up where the series left off, we find Paul divorced, relocated to New York, and in the process of being sued by the cartoonishly belligerent father (Glynn Turman) of a patient from Season 1 who killed himself. This 35-episode batch follows sessions with Mia (Hope Davis), a lawyer and former patient who owns the insult of the term "hysterical"; April (Alison Pill), a college student with a saviour complex and a nasty cancer; Oliver (Aaron Grady Shaw), a chubby adolescent enduring his parents' divorce; and Walter (John Mahoney), a powerful CEO on the brink of a fall. Then there's Paul, of course, who's dealing with single parenthood, the possibility of losing his practice, and another woman patient who wants to jump his analytical Irish bones.

Cosmonaut (2009)

Cosmonauta
**½/****
starring Claudio Pandolfi, Sergio Rubini, Mariana Raschilla, Pietro Del Giudice
screenplay by Susanna Nicchiarelli, Teresa Ciabatti
directed by Susanna Nicchiarelli

Cosmonautby Bill Chambers Susanna Nicchiarelli's Cosmonaut (Cosmonauta) opens with little Luciana fleeing Holy Communion, shedding the accoutrements of the ceremony on her sprint back home. She seems a little young to be throwing off the shackles of religious conformity, younger even than her alleged onscreen age of nine, but the punchline's priceless in its precociousness: "Because I'm a communist!" she barks when her mother asks why she left church. There's actually a bit more to her rebellion than that. With their dad gone (having died a "true communist"), she looks to her geeky older brother Arturo for guidance, and because it's 1957 and the Soviets are about to launch Sputnik, he favours the godless world of communism as well. From a North American perspective, the movie is interesting in that respect, as very rarely do our history books stop to consider the excitement that Sputnik and Yuri Gagarin must have engendered in Europe on their way to depicting America's mad rush to win the space race. Even propaganda footage showcasing the likes of Laika the Russian dog–which forms the basis of transitional montages similar to but less operatically intense than the ones that constitute a good portion of Marco Bellocchio's Vincere–was mostly new to me. In fact, when the moon-landing cropped up in the finale, I breathed a sigh of disappointment, though it's worth noting that it may not be such a cliché in Italy.

Hereafter (2010) – Blu-ray + DVD + Digital Copy

½*/**** Image A Sound A Extras C+
starring Matt Damon, Cécile De France, Jay Mohr, Bryce Dallas Howard
screenplay by Peter Morgan
directed by Clint Eastwood

by Ian Pugh It's an age-old problem: how do you make a movie (or write a book, or stage a play) about the broad and ultimately philosophical subject of death? Not like this, that's for sure. Looking and feeling like it was shot from inside an aquarium, Clint Eastwood's Hereafter is a failure of staggering proportions. Three stories intertwine to form a bland whole: George (Matt Damon) is an honest-to-gosh psychic who's trying and failing to stay out of the racket; Marie (Cécile De France) is a French TV presenter who recalls visions of the afterlife after being caught in the Indian Ocean tsunami; and Marcus (Frankie McLaren) is a young lad who seeks answers when his twin brother dies in a traffic accident. Rest assured their paths will cross in profoundly obvious ways as they wrap their heads around the very concept of death and what comes next. I'm certainly not the first person to compare Hereafter to Babel, but Eastwood offers little alternative. Hereafter approaches the various perceptions of death in the same way that Alejandro González Iñárritu approached "life," and the end result is equally bloated and condescending.

The Romantics (2010) – DVD

ZERO STARS/**** Image C Sound B Extras D
starring Katie Holmes, Josh Duhamel, Anna Paquin, Elijah Wood
screenplay by Galt Niederhoffer, based on her novel
directed by Galt Niederhoffer

by Walter Chaw Though technically correct, I much prefer the term “Romanticists” to “Romantics,” but that’s a fussy kind of neither here nor there in a film, hyphenate Galt Neiderhoffer’s The Romantics, that suffers from nothing like precision, elegance, or, crucially, poetry. It’s a nightmare–a handheld, artfully ugly mash-up of Rachel Getting Married and Dead Poets Society that starts with credits in Wes Anderson’s favourite font and slogs on through with Lilith Fair/coffee-shop folk and a character played by Katie Holmes who’s jealous of a character played by Anna Paquin’s boobs. Let’s call it a draw, ladies, and discuss instead this variety of faux-prestige romcom, which hijacks Lloyd Dobler’s holding of a boombox blaring Peter Gabriel over his head by having frickin’ Josh Duhamel hoist an iPhone with Keats’s “To a Nightingale” on its screen. It features idiots like dollar-store Cameron Diaz Malin Akerman and an increasingly Gollum-esque Elijah Wood in awkward supporting roles; allows scenarios like the nightmare rehearsal-dinner toast montage; and tasks Candace Bergen’s team of handlers and feeders to drag her out to yet again fulfill the role of Tyrannosaurus Reaction Shot. Good job, Ms. Neiderhoffer, for not only mistaking Catch & Release for Noah Baumbach or Lars Von Trier, for not only setting your indie emoti-fest in the Dan in Real Life bizarre-verse, but for borrowing a bad burlesque from the lame 27 Dresses, too.

The American (2010) – Combo Blu-ray + DVD + Digital Copy

***½/**** Image A+ Sound A Extras B-
starring George Clooney, Violante Placido, Thekla Reuten, Paolo Bonacelli
screenplay by Rowan Joffe, based on the novel A Very Private Gentlman by Martin Booth
directed by Anton Corbijn

by Walter Chaw Though nothing more than a well-made Jean-Pierre Melville shrine at first glance, Anton Corbijn's lovely The American leaves a surprising amount of aftertaste in a year of film that will probably be remembered for the number of "growers" among its roster of resonant pictures. An unusual take on the monotony of any profession (be it prostitution or engineering to-order weapons for assassins), it's more evidence that George Clooney, with this tribute to Melville, his Kaufman-scripted Confessions of a Dangerous Mind, and his Tarkovsky redux Solaris, is quietly becoming a visible, above-the-line champion for smart American genre flicks–fomenting his own little underground Nouvelle Vague with movies that audiences, for the most part, are anxious to dismiss. The American is provocatively self-conscious in the way of its best French antecedents; aware of the shoulders upon which it stands (everything from Le Samourai to Breathless to later stuff like the homegrown Eye of the Needle), it also has the gumption to title itself after the original title for Citizen Kane. In so doing, it announces itself as something like a commentary on how the passionate, bloody carnality at the foundation of the United States has aged into an almost bored functionality in the first decade post-9/11.

One Swayze Summer: A DVD Tribute to Patrick Swayze

Swayzedvdstitle

“Good-looking people turn me off. Myself included.”
Patrick Wayne Swayze

RED DAWN (1984) [COLLECTOR’S EDITION] – DVD
**½/**** Image B Sound C+ Extras N/A
starring Patrick Swayze, C. Thomas Howell, Lea Thompson, Powers Boothe
screenplay by Kevin Reynolds and John Milius
directed by John Milius

THE OUTSIDERS (THE COMPLETE NOVEL) (1983) [TWO-DISC SPECIAL EDITION] – DVD
****/**** Image A+ Sound A Extras A+

starring C. Thomas Howell, Matt Dillon, Diane Lane, Leif Garrett
screenplay by Kathleen Knutsen Rowell, based on the novel by S.E. Hinton
directed by Francis Ford Coppola

YOUNGBLOOD (1986) [TOTALLY AWESOME 80s DOUBLE FEATURE] – DVD
ZERO STARS/**** Image D+ Sound C-

starring Rob Lowe, Cynthia Gibb, Ed Lauter, Patrick Swayze, Jim Youngs
written and directed by Peter Markle

POINT BREAK (1991) [PURE ADRENALINE EDITION] – DVD + [WARNER REISSUE] – BLU-RAY DISC
***/****

DVD – Image B- Sound A Extras C
BD – Image B- Sound B+ Extras C
starring Patrick Swayze, Keanu Reeves, Gary Busey, Lori Petty
screenplay by W. Peter Iliff, based on the novel by Rick King
directed by Kathryn Bigelow

DIRTY DANCING (1987) [TWENTIETH ANNIVERSARY] – DVD
½*/**** Image B Sound A Extras B

starring Patrick Swayze, Jennifer Grey, Jerry Orbach, Steven Reuther
screenplay by Eleanor Bergstein
directed by Emile Ardolino

GHOST (1990) [SPECIAL COLLECTOR’S EDITION] – DVD + BLU-RAY DISC
*/****

DVD – Image A- Sound B Extras B
BD – Image A Sound B+ Extras B
starring Patrick Swayze, Demi Moore, Whoopi Goldberg, Tony Goldwyn
screenplay by Bruce Joel Rubin
directed by Jerry Zucker

KEEPING MUM (2006) – DVD
½*/**** Image A Sound B+ Extras B

starring Rowan Atkinson, Kristin Scott Thomas, Maggie Smith, Patrick Swayze
screenplay by Richard Russo and Niall Johnson
directed by Niall Johnson

by Walter Chaw Early on in the stupidest/smartest movie of 1984, a band of high-schoolers, having just witnessed a few planeloads of Cuban paratroopers land in their football field and machine gun their history teacher (“Education this!”), stock up for a stay in forest exile by cleaning out a gas-n-sip. Sleeping bags, canned goods, and the last thing off the shelf? That’s right: a football. I spent the rest of Red Dawn trying to figure out if the football played some role in the eventual fighting prowess of our carbuncular guerrillas or if it was merely a big “fuck you” to the rest of the world that thinks “football” is soccer. The jury’s still out, because while there’s an awful lot of grenade-chucking in the last hour of the picture, none of it looks particularly football-like (or athletic come to think of it) despite the deadly accuracy of each toss aimed at the hapless commie combatants. (So clueless are they about modern-day conventional warfare that they’re repeatedly ambushed by this untrained makeshift militia; they’re the Washington Generals to our Harlem Globetrotters.) It’s just one puzzle in an altogether puzzling film–one that has Patrick Swayze playing Charlie Sheen’s older brother (and Jennifer Grey the sister of Lea Thompson in an even greater genetic stretch) and C. Thomas Howell as a remorseless, psychopathic nihilist who takes his dose of glory by Rambo’ing up against a Russian attack helicopter. Maybe his transformation from ’80s-wallpaper milquetoast to tough-guy killing machine had something to do with being forced by the brothers Swayze-Sheen to drink fresh deer blood from a tin cup.

Justified: The Complete First Season (2010) – Blu-ray Disc

Image A- Sound B Extras B
"Fire in the Hole," "Riverbrook," "Fixer," "Long in the Tooth," "The Lord of War and Thunder," "The Collection," "Blind Spot," "Blowback," "Hatless," "The Hammer," "Veterans," "Fathers and Sons," "Bulletville"

by Jefferson Robbins Fish gotta swim, birds gotta fly, Timothy Olyphant gotta sidle. It's the actor's natural means of locomotion–he may approach an object or adversary or inamorata head-on at first, but by the time he's within arm's length, his gaze has tilted to squint at his target with one coyote eye dominant. It's the walk not only of an actor who's thoroughly considered the best way to present himself to a camera, but also of a man who might have to reach for his pistol at any time. It may be an actorly crutch, but Olyphant can alternately wield it as a wedge, a hook, or a truncheon to coerce a viewer into watching him more closely. We want to know what he sees that makes his glare go askance.

Due Date (2010) + Megamind (2010)|Due Date – Blu-ray Disc

DUE DATE
***½/**** Image A Sound A Extras C-
starring Robert Downey Jr., Zach Galifianakis, Jamie Foxx, Michelle Monaghan
screenplay by Alan R. Cohen & Alan Freedland and Adam Sztykiel & Todd Phillips
directed by Todd Phillips

MEGAMIND
**/****
screenplay by Alan J. Schoolcraft & Brent Simons
directed by Tom McGrath

by Ian Pugh SPOILER WARNING IN EFFECT. Peter Highman (Robert Downey Jr.) is eager to fly out of Atlanta back to Los Angeles to witness the birth of his child, but a chance encounter with wannabe actor/lone weirdo Ethan Tremblay (Zach Galifianakis) lands the pair on a no-fly list and leaves Peter without his luggage or his wallet. With no alternatives, Peter becomes Ethan's unwilling passenger–taking a seat alongside a small dog and the ashes of Ethan's late father–on a road trip west. There appears to be a general consensus that the premise of Todd Phillips's Due Date too closely resembles that of John Hughes's Planes, Trains & Automobiles, but there's a vital difference in that Due Date's lead characters are legitimately crazy. The exasperated straight man is re-imagined as a sneering jerk full of jealousy and rage (Downey Jr. maintains a cold, sweaty stare throughout), while the lovable klutz is a dangerously irresponsible lout. Roger Ebert once wrote that the Hughes film was about "empathy [and] knowing what the other guy feels." So it is; by virtue of its characters, Due Date bypasses empathy altogether, yet it still talks about treating other people with a modicum of compassion. Phillips has finally made a naughty comedy that contemplates the consequences of its actions. Here's a movie in which a father-to-be grows so frustrated with an annoying boy that he socks him in the stomach, then unknowingly mocks a disabled veteran (Danny McBride) and gets his ass kicked for it.

Sundance ’11: If A Tree Falls: A Story of the Earth Liberation Front

**/****directed by Marshall Curry by Alex Jackson I have officially reached the point in my life where when I see a cop beating up on a hippie, I identify with the cop. There's a shot in Marshall Curry's If A Tree Falls: A Story of the Earth Liberation Front in which the police spray two ELF members directly in the eyes with mace during a peaceful sit-in. Some audience members behind me interjected, I think by pure reflex, "That's not fair!" But I found myself feeling considerably less enraged. Yes, these protesters were being entirely non-violent, but what alternatives have…

Sundance ’11: Salvation Boulevard

*½/****starring Pierce Brosnan, Jennifer Connelly, Ed Harris, Greg Kinnearscreenplay by Doug Max Stone & George Ratliff, based on the novel by Larry Beinhartdirected by George Ratliff by Alex Jackson What a waste. The cast assembled for George Ratliff's Salvation Boulevard is one for the ages. You have Pierce Bronson as super-evangelist Reverend Dan Day, Jennifer Connelly as infatuated housewife Gwen Vandeveer, Ciarán Hinds as Gwen's hard-ass Naval vet father Billy, and Ed Harris as pompous, bearded intellectual Dr. Paul Blaycock. These are traditionally serious dramatic actors in roles that lend themselves to caricature, yet they invest these characters with history…

Sundance ’11: Benavides Born

All She Can**/****starring Corina Calderon, Jeremy Ray Valdez, Joseph Julian Soria, Julia Verascreenplay by Daniel Meisel & Amy Wendeldirected by Amy Wendel by Alex Jackson Amy Wendel's Benavides Born is throwing me for a loop, and I'm getting a little frustrated about it. I understand that this film isn't trying to be Step Up 4 or the female weightlifter version of Rudy--but it's not really giving us a viable alternative to that kind of programming, either. On a very basic level, I don't know what this movie's about. The small town of Benavides, Texas has only three industries: fast food,…

Once Upon a Time in America (1984) [Two-Disc Special Edition] – DVD|Blu-ray Disc

****/****
DVD – Image B+ Sound A- Extras C+
BD – Image A- Sound A- Extras C+
starring Robert De Niro, James Woods, Elizabeth McGovern, Tuesday Weld
screenplay by Leonardo Benvenuti, Piero De Bernardi, Enrico Medioli, Franco Arcalli, Franco Ferrini, Sergio Leone & Stuart Kaminsky, based on the novel The Hoods by Howard Grey
directed by Sergio Leone

Onceuponatimeinamericacap

by Bill Chambers Such is the level of cinematic sophistication in Sergio Leone's Once Upon a Time in America that all of the miserable things that happen in the picture make you giddy, filling you with the joy that is basking in an artist's command of a medium. At first, the powers-that-be didn't get it: Warner Bros. took Leone's non-linear vision and straightened it out, and the result was a picture that, though chronologically told, made no sense. This was a fascinating lesson in syntax–films are composed of "meanwhile"s, not "and then"s, perhaps none more so than Once Upon a Time in America, which is about the co-existence of past, present, and future tenses. (It's like an extrapolation of the riddle of the Sphinx: what walks on four legs in the morning, two legs in the afternoon, and three legs in the evening?) Luckily, the studio saw the error of its ways and reissued Once Upon a Time in America a year after its butchered American release in its longer, knottier international form, and to illustrate the dramatic disparity between the 139-minute domestic and 227-minute global versions, critic Sheila Benson labelled the former the worst movie of 1984 and the latter the best movie of the 1980s. Pauline Kael wrote, "I don't believe I've ever seen a worse case of mutilation."

Easy A (2010) – Blu-ray Disc

**½/**** Image A Sound A- Extras B
starring Emma Stone, Penn Badgley, Amanda Bynes, Thomas Hayden Church
screenplay by Bert V. Royal
directed by Will Gluck

by Jefferson Robbins What do I have to do these days to see a teen sex comedy where teen characters get to have sex? Filmmakers have gotten so good at larding chastity tracts with suggestiveness that you come out of the theatre believing, for fifteen minutes or so, that you actually witnessed youth in debauch. So far, the 21st century in teenage fare is like the Hays Code era all over again, only not well-written. Terrified at being accused of portraying high-schoolers doing what millions of high-schoolers do, studios have turned sexual misdirection into the best special effect since the lightsaber.

Sundance ’11: Incendies

****/****starring Lubna Azabal, Mélissa Désormeaux-Poulin, Maxim Gaudette, Rémy Girardscreenplay by Denis Villeneuve, in collaboration with Valérie Beaugrand-Champagnedirected by Denis Villeneuve by Alex Jackson There are two incredible images in Denis Villeneuve's Incendies. The first of these is during a preamble to the main story. A small Arabic boy is having his head shaved. We push in on his face as he stares contemptuously at us. Everything childlike has been gutted out of him and he's been filled back up with rage. I can't recall the last time I saw the aftermath of child abuse concentrated so concisely and with so…

Sundance ’11: Uncle Kent

**/****starring Kent Osborne, Jennifer Prediger, Josephine Decker, Joe Swanberg, Kevscreenplay by Joe Swanberg & Kent Osbornedirected by Joe Swanberg by Alex Jackson Despite having recently celebrated his fortieth birthday, children's-show cartoonist Kent Osborne is no closer to leaving young adulthood behind. Never married and not a father, he finds himself too embarrassed to date anyone. Every single woman his age feels her biological clock ticking and asks, on the first date, whether he's ready to have children. With no greater purpose outside of his work, Osborne wastes his days smoking pot, frequenting Chatroulette, and trolling craigslist. You would think that…

Sundance ’11: I Saw the Devil

Ang-ma-reul bo-at-da***½/****starring Lee Byung-hun, Choi Min-sik, Jeon Gook-hwan, Jeon Ho-jinscreenplay by Park Hoon-jungdirected by Kim Ji-woon by Alex Jackson The rape scenes in Kim Ji-woon's I Saw the Devil are the most blatantly eroticized and sadistic I've seen since Kathryn Bigelow's Strange Days, but they're countered by the hilariously gory revenge scenes against the rapist (Choi Min-sik) by his victim's boyfriend (Lee Byung-hun). The film isn't trying to rationalize the rape with the revenge or the revenge with the rape. Rather, it regards women and the men who rape them as equally undeserving of our sympathy. One is tortured for…

The Killer/Hard-Boiled [Blu-ray Double Feature] – Blu-ray Disc

THE KILLER (1989)
****/**** Image C- Sound C Extras B
starring Chow Yun-Fat, Danny Lee, Sally Yeh, Chu Kong
written and directed by John Woo

HARD-BOILED (1992)
***/**** Image C Sound B Extras A+
starring Chow Yun-Fat, Tony Leung, Teresa Mo, Philip Chan
screenplay by Barry Wong
directed by John Woo

by Walter Chaw It's possible to try to detail the history of John Woo at the beginning of the Heroic Bloodshed movement in Hong Kong–how, with the first two A Better Tomorrows (the second of which features a genuinely astonishing amount of violence and the infamous subtitled malapropism "don't fuck on my family!"), he created in buddy Chow Yun-Fat a fashion/role model in the James Dean mold, and how he eventually left for Hollywood's golden shore at the service of Jean-Claude Van Damme and John Travolta (twice) and Nicolas Cage (twice). It's possible–but Planet Hong Kong, City on Fire, Hong Kong Babylon, and on and on have done a pretty fair job of it already. Better to say that Woo's group of films from this period–the A Better Tomorrow pictures, his acknowledged masterpiece The Killer, his flawed but undeniably bombastic Hard-Boiled, and his ambitious, deeply felt Bullet in the Head–meant the world to me as a Chinese kid growing up in a predominantly white area in predominantly white Colorado. I saw a devastated 35mm print of The Killer at a midnight show in CU Boulder's Chem 140 auditorium in the early-'90s. It was dubbed (a mess), the screening was packed, and I, for maybe the first time in my life (and still one of the only times in my life), felt a genuine kinship with my countrymen and a certain pride in being Chinese. Here, after all, was the best action film I'd ever seen, and it wasn't John McTiernan's or Robert Zemeckis's or Steven Spielberg's name above the title, but someone called John Woo. And he was directing not Bruce Willis nor Arnie nor Sly nor any of the tools he would eventually work with in the United States, but a handsomer version of me with the same last name. As existential epiphanies go, it wasn't bad.

You Will Meet a Tall Dark Stranger (2010) + Secretariat (2010) – Blu-ray Discs + Conviction (2010)

YOU WILL MEET A TALL DARK STRANGER
**/**** Image A Sound B
starring Antonio Banderas, Josh Brolin, Anthony Hopkins, Gemma Jones
written and directed by Woody Allen

SECRETARIAT
**/**** Image A Sound A Extras B
starring Diane Lane, John Malkovich, Dylan Walsh, Scott Glenn
screenplay by Mike Rich, suggested by the book Secretariat: The Making of a Champion by William Nack
directed by Randall Wallace

CONVICTION
**/****

starring Hilary Swank, Sam Rockwell, Minnie Driver, Juliette Lewis
screenplay by Pamela Gray
directed by Tony Goldwyn

by Ian Pugh You Will Meet a Tall Dark Stranger represents the apotheosis of what shall now be called the New Woody Allen Average–those perfectly competent nothing movies that never rate more than two, two-and-a-half stars. I say that without a hint of sarcasm, and I say that as someone who considers Allen's work a primary influence–and as the guy who regularly defends Scoop. But I have to be honest: the New Woody Allen Average has become so predictably mediocre that I just can't take it anymore. The director's latest surrogate is another novelist, Roy (Josh Brolin), who's struggling to complete his latest book. It's putting a strain on his marriage to Sally (Naomi Watts), so he looks into the window of his pretty next-door neighbour (Freida Pinto) for romantic respite. Sally, an art curator, feels the same pressure, and casually drifts closer to her boss, Greg (Antonio Banderas). Sally's father Alfie (Anthony Hopkins) has left his wife for a prostitute (Lucy Punch), while his ex, Helena (Gemma Jones), retreats to spirituality, consulting a medium to find out where she stands in the great cosmic plan. It's a matter of "what you want" versus "what you take" in a race to see which floundering/philandering idiot can make the most tragic mistakes in the span of 90 minutes. Is it any different from Vicky Cristina Barcelona? When you break it down to its most basic components…no, not really.

Barney’s Version (2010) + No Strings Attached (2011)

BARNEY'S VERSION
***/****
starring Paul Giamatti, Rosamund Pike, Minnie Driver, Dustin Hoffman
screenplay by Michael Konyves, based on the novel by Mordecai Richler
directed by Richard J. Lewis

NO STRINGS ATTACHED
**/****
starring Natalie Portman, Ashton Kutcher, Cary Elwes, Kevin Kline
screenplay by Elizabeth Meriwether
directed by Ivan Reitman

by Ian Pugh It's easier to accept Barney's Version once you realize it doesn't have much to say. Little more than a series of vignettes, the film surveys in piecemeal fashion the life of one Barney Panofsky (Paul Giamatti), a Jewish artist who endured three tumultuous marriages (the wives are played by Rachel Lefevre, Minnie Driver, and Rosamund Pike) and the mysterious death of best friend Boogie (Scott Speedman, whom I initially mistook for Hugh Jackman) along the way to producing a popular soap opera. Giamatti doesn't do outstanding work here, but he's reliable in that familiar Giamatti way: perpetually locked in a state of concentration, trying to understand the subtext of whatever fortunes or misfortunes befall him. Seems like we're all trying to figure things out, doesn't it? The film doesn't know whether to focus on life as a comedy or as a drama, and for that reason alone, it feels incredibly disjointed. It should be. It's supposed to be.