Nobody Knows (2005)

Flaky mother moves into a not-big-enough apartment by concealing the existence of three of her four children from the landlord. This means that the kids have to be exceptionally quiet and stay hidden inside. None of the children attend school. The eldest, Akira, is the default head of the household. He shops, he cooks, and he takes care of his younger siblings. Sometimes Mom's home for dinner -- but usually she's not. And then Mom gets a new boyfriend and starts spending even more time away. We find out it's a pattern with her to land a fella without letting him know about her children -- but this time, she assures Akira, she really thinks they'll all be able to live in a house together, once she's ready to let him know about the kids she's got stashed away, that is. Instead of a new father, Akira awakes one morning to find a note and some cash on the kitchen table.

I haven't been able to stop thinking about this since I saw it. Not only is it an amazing story, it's so beautifully told. There's an almost gentleness to the telling -- not sensationalistic or exploitative. All of the children are natural actors and the slow changes (longer hair, slightly too-tight clothes, ever-dirtier surroundings) are perfect.

Although this is fiction, it is based on an actual case in Japan. Sometimes my heart hurts just thinking about how terrible human beings -- especially those who've taken on the responsibility of parenthood -- can be.

A

The Rose Tattoo (1955)

Woman lets herself go completely to seed after the husband she worshipped (undeservedly) dies. Somehow an idiot drunk shakes her out of her pity-party by making it known that he'd like to grope her at the earliest opportunity.

It seemed like half of the dialogue was screechy arguments (ugh) and Lancaster acted like a complete buffoon -- and not in an endearing way. It made me a little sick that our heroine was settling for such a complete loser.

I was genuinely surprised to discover that this is a Tennessee Williams play because it's not nearly as nasty as I find most of his work to be. But just 'cause it's not nasty doesn't mean I have to like it.

C

Mary Christmas (2002)

I've got my TiVo set to catch all movies with "Christmas" or "Holiday" in the title. I really should figure out a way to have it exclude those airing on PAX...

Rich little girl who lost her mother when she was young wishes for a new one for Christmas. Single, pretty lifestyle reporter for a local news station gets assigned to do a heartwarming series on one family's Christmas preparations. And there ya go. That's plenty of story for a little film that makes you feel all warm and cozy -- but the acting is flat and there's a really unnecessary element of Christmas Magic that the film would've been so much better off without.

It's something to watch while wrapping presents or trimming the tree. No need to give it your full attention as it doesn't really deserve it. Frankly, it doesn't even seem to expect it.

C-

Walk the Line (2005)

I was really entertained by the music portions of the movie. Joaquin channels Cash's performance behaviors and vocals so completely that I would've sworn he was lip-synching if I hadn't known ahead of time that the sound was coming from his own throat.

But the movie -- especially as a romance -- didn't have the heft it should have had. Johnny and June "the couple" seemed to kinda just suddenly be there rather than us ever understanding why they'd fall in love (other than opportunity and convenience). The detox scenes made me think more highly of Mr. and Mrs. Carter than of June, who just seemed to be helping Mom and Dad.

By all means, give Joaquin the Oscar. And you can go ahead and nominate Reese, too -- but don't dare give anything to the screenwriter who turned this biography into a bit of a bore.

B

Long Day's Journey into Night (1962)

Mom's a dope fiend, dad's stingy, big brother's a malcontent, and little brother's sick. These points are hit -- repeatedly in dramatic monologues by each of the characters -- to the point of tediousness.

There's nothing natural about this movie. Everyone kind of waits for their turn to take the spotlight and then bellows their lines as though auditioning for drama club. Ick.

D-

Christmas in Connecticut (1945)

Yay! Time for Christmas movies! This was the third (or fourth maybe?) time I've seen this one, but it was new to the boys.

Gracious living columnist whose articles are all about her sprawling farm, luscious meals, home décor, and husband & child is recruited by her boss - a stickler for printing the truth - to play hostess to a young war hero over Christmas. Problem is that she's actually single, living in a cramped apartment, without the faintest clue about how to put together a meal.

Terrific fun to see the columnist and determined friends fake a home and do it well. Awfully predictable, but that's certainly not a drawback in this kind of film. Charmed us all.

B+

Charlie and the Chocolate Factory (2005)

Yeah, I'm one of those people who grew up on Gene Wilder's Willy Wonka and -- despite my affection for Depp and his offbeat characterizations -- I was more than a bit irritated at the peek the trailers showed me. Depp's Wonka appeared more than "offbeat." He looked (and sounded) ridiculous. So, I wasn't terribly excited to see this film.

What a pleasant surprise. The early scenes (pre-factory) were simply magical and succeeded in making me fall in love with this little Bucket boy and his entire family. Once we got to the factory and I had the chance to get to "know" Depp's Wonka, I understood a little better what was going on with the teeth and the weirdness. It surprised me greatly that more of the character is what I needed to be able to stand him.

One little complaint: the CG used for Violet (during her transformation AND exiting the factory) and Mike (exiting). Very late '90s creepy in their rubbery look.

B

Harry Potter and the Goblet of Fire (2005)

Saw this in the theater directly in front of a whole row of junior-high kids trying to outdo each other in snide remarks. I think I heard "buttmunch" at least twice as much in one evening as in the rest of my life combined.

HP and the GoF is my least-liked (so far) of the Potter series of books. The movie, however, is pretty darn good. My older son remarked that if he hadn't read the books, he'd have been completely lost -- and it's true that you just kind of get plopped into the story here. But, come on, who HASN'T read the series by now? The only people I know who'd be confused are bookburning fundamentalists...and they're sure as heck not going to be seen in a theater supporting the dark arts with their wallets now, are they?!

Now the book is way too long to have been fully represented on screen -- but I don't care. I'll still complain that everything felt way too rushed. For example, there was barely time for dragon-dread to register before it was time to battle one. The effects this time out were spectacular -- the Quidditch World Cup and the underwater scenes being particular standouts. But, as a whole, the lighting was lacking. We get it -- this is a darker chapter in the Hogwarts story -- but must the darkness be so dang literal?

But wow to the ending. I sobbed just as hard in the theater (the front of my shirt was WET, for crying out loud -- crying out loud. I kill me.) as I did when reading the book the first time. Ralph Fiennes is an inspired Voldemort.

B

Mostly Martha (2002)

Martha is a chef. And that's it. Her entire life is lived in a kitchen or in her apartment waiting to go to the kitchen. Then, just like in "Baby Boom," an accident lands this lone, uptight woman with a child.

But the set-up (driven woman gets a kid) is the only thing this film has in common with "Baby Boom." This isn't a comedy -- though it is a charmer. It's also a heartbreaker and a romance. I wasn't always enamored with the direction the story took, but I was always willing to go along with it. Just a nice affirmation that sometimes life can work out...and that often making someone else's world a bit better can have the delightful result of making your own better as well.

B+

Happy Endings (2005)

All of the storylines are strong, affecting, and handled well by the actors and tonally. The standout thread (both in performance and story itself) is Jude's. Gyllenhaal is simply amazing as a manipulator trying hard to keep her tough shell intact and, sadly, succeeding.

I liked the pop up titles as a device...but they got a little too cutesy at times and were overused somewhat.

B+

Over the Edge (1981)

Kind of a low-rent Outsiders where every kid's a greaser and almost every adult's a soc -- Matt Dillon even tries out his rebel act here first. But it's just so ridiculous. It winds up being a poorly-acted Teens Gone Bad horror movie, even has a Dawn of the Dead ending with the adults trapped in a building while the kids run wild.

The only value to this movie for me was the fact that it transported me, momentarily, to my youth. These kids would've been right at home in my middle school yearbook. And did everyone own the same striped sheets in the late '70s? We did -- and I know I've seen them pop up in a couple of other films, too.

D

Heights (2005)

It feels a little undercooked -- though I can't really think of anything that's missing or that could have been done better. I had a real grasp on all of the characters (everyone does fantastic work) and they didn't overdo anything. I guess it's better to opt for a little less than it is to wind up with too much.

B+

Home Movie (2002)

This reminded me quite a lot of "Gates of Heaven" (by Errol Morris) in that there's an idea -- here it's unusual homes, in GoH it's pet cemeteries -- and the camera is simply trained on those involved. The participants are only slightly different that the average joe. They're not extraordinary, they're just slightly quirky -- and that's not quite enough to sustain interest over the course of a feature. Once I'd gotten a look at the homes and the residents of each, I wasn't too interested in hearing them yammer on about it. The cat family and the freeloader in the electric house especially tried my patience, though I wouldn't mind spending an afternoon with the houseboat dude.

I really enjoyed "American Movie: The Making of Northwestern," another of Chris Smith's documentaries. There, however, it was more than just the idea that was intriguing -- there was a character on whom to hang the film (Mark Borchardt).

C

State of Mind (2003)

This TV movie was airing in the former time slot of the absolutely brilliant BBCA series "Bodies," so I thought I'd give it a watch. It sure starts off with a bang: guy floors his SUV and crushes his wife to death.

But it's all sub-par crime show from there. I could guess the twists with no exertion and was bored to tears by the heroine's dissolving marriage. Law & Order does this twice as well on a weekly basis.

C-

Cronicas (2005)

I love to play the game "mafia," which causes me to think of almost situation with unknown components in terms of "if this were a mafia game..." I actually say that phrase sometimes when arguing with my husband to show him how his comments would get him lynched in a game.

So, anyway. There's a serial child rapist/murder (we're talking 100+ victims) in Ecuador. John Leguizamo is a star reporter for a sensationalistic newsmagazine who's made it a mission to uncover "The Monster's" identity. He becomes convinced that he's found his man, but must jump through hoops to confirm what he thinks he knows.

This film was so well-made that although the opening scene made it completely clear to me that that Vinicio (the suspect) was up to no good, I almost immediately changed my mind and got on his side. Then I flipped back to my original idea. Then I just wasn't sure. And then the movie ended abruptly. Bravely. I liked that the newsmagazine team behaved believably -- I mean, what would I do if I succeeded in convincing everyone of something that I didn't myself believe? What would I do if my unchangeable actions benefited me personally but made the world around me worse? Would I admit it and be reviled? Or would I take the money and keep my mouth shut?

I couldn't help but think that Vinicio would be a helluvan opponent in a game of mafia. Assurance of his guilt was followed quickly by doubt every time. Very well acted. Very good film.

A-

The Richest Girl in the World (1934)

Titular girl wants to find a guy who loves her for herself, not her money. She decides to test a potential suitor by pretending to be her secretary (and vice versa) and actively encouraging him to woo the supposed richie. I wish it had been a bit lighter as the emotional mindgame felt kind of impossible to put in the past - regardless of whether or not he successfully negotiated the test.

B-

Millions (2005)

Gary wandered into the room about a half-hour in and stood there for a few minutes before asking, "What is this? It's fascinating." And, indeed, it is at the beginning. Widower moves his two young sons into a brand-new subdivision and we quickly find out that the younger son is a bit fanciful. He talks about the saints at every opportunity, to the discomfort of his new schoolmates and teacher. After a regular enough start, we get an out-of-left-field visit from St Clare in Damian's appliance-box fort. He seems unfazed -- happens all the time. And then a bag full of soon-to-be-defunct pounds (changing over to the Euro soon) crashes through the roof. I mean, wow.

I enjoyed the visits from the saints. I really liked the relationship between the brothers and their very different ideas of the best way to use the money. I loved the father and his first steps with a new lady. But, in the end, the story didn't hold it together. Bad men coming after the cash just got in the way of the narrative. Better, in my opinion, for the cash to have been completely theirs and any bad men to be visible only to Damian -- just like the saints. I also didn't like the middle-of-the-night long line of beggars. I mean, what the heck?

Definitely original, but just not as marvelous as it could have been.

B

Mysterious Skin (2005)

The first 10 minutes or so were very hard to watch. I wasn't quite sure I'd be able to continue with the film. I'm glad I did.

This film is certainly not for everyone...I'd venture to say it's not for MOST. Two young boys with an experience in common grow up in opposite directions: one's a swaggering hustler without a thought for his own safety and the other's an inhibited momma's boy. From the viewer's point of view, there's not much of a mystery -- but the two leads make me believe that the full truth was not accessible to them.

Michelle Trachtenberg, again, feels like she's playing dress-up in a role that's just too big for her. She plays things a little too aloof and gets it wrong. When she's on the screen, the organic feel of the film is thrown off and it feels a bit like a high school play.

A-

The Lusty Men (1952)

Might sound like a bodice-ripping melodrama - but it's actually a top-notch film about life on the rodeo circuit.

Mitchum's a recently injured champion rider who happens upon young up-and-comer Kennedy and his wife Hayward. The newlyweds are hoping to earn enough cash to buy their own little ranch and hubby thinks that, with Mitchum as a mentor, rodeo cash could be just the shortcut he's looking for.

The riding scenes are truly exciting and the portrayal of life on the road and effects of sudden wealth believable. All three leads are extremely good.

A-

The Dancer Upstairs (2003)

Alright -- either I saw an extremely edited version of this film or the poster has some 'splainin' to do:
This was one muddled story and I blame the direction entirely. I felt as though I were being told this by someone sitting in the next room speaking so quietly that I had to strain to hear him and who kept jumping around in the narrative. The character who was, I'm guessing, supposed to be our comic relief (Sucre) was simply annoying. The love affair (such as it was) came so late in the film that I didn't get invested in it...which I think is alright since neither of the participants in said affair seemed too into it either.

And, by the way, the Dancer lived downstairs.

D+

Blood on the Moon (1948)

A tight, no-nonsense Western. Mitchum's a stranger who comes at his old friend's summons for help. It doesn't take him long to size up the situation and make up his mind to switch sides -- a decision easier made than accomplished.

Compelling and to the point, though I've no idea what the title means.

B+

Stranger on the Third Floor (1940)

Reporter testifies in a murder trial and upsets his bland girlfriend who thinks the defendant looks like a kid. Reporter's next-door neighbor gets knocked off and then there's a bunch of stagey nightmare sequences that look good but are laughably stiff. Bland girlfriend then morphs into stupid girlfriend by trying to capture the real killer all by her lonesome. Yawn.

The only thing unexpected in this movie are Lorre's cheapo Halloween teeth.

D+

The Green Years (1946)

Sweet-natured story about a young orphan going off to live with his extended family. I enjoyed the first half immensely - young Dean Stockwell and great-grandpa Coburn interact wonderfully and really made me believe that they were rescuing each other. Once the hero grows into a young man, the charm dissipates somewhat...but it's still a definite keeper.

B+