Nebraska is, well, home

It's only natural that someone living in Nebraska (Omaha) should review Alexander Payne's newest movie, Nebraska. Who knows the vibe better than a longtime resident?

Did I mention that Payne grew up in Omaha as well?

Nebraska is opened this weekend in "selected cities," including Omaha (at Film Streams). Judging from the reaction of the preview crowd, people are going to love this movie. (early reviews of both critics and audiences are very, very good.) The crowd applauded at the end and left the theater smiling and happy. Me too.

In the front seat, Bob Odenkirk as Ross Grant and June Squibb as Kate Grant. Riding in the back are Bruce Dern as Woody and Will Forte as David.

Payne made the choice to shoot the film in black and white, which is entirely appropriate at setting the right mood for this melancholy, sometimes sad, and sometimes hilarious film. What is not "sometimes" is the quality of this film, its actors, and its uncanny ability to capture the feel of small town mid-America.

It stars Bruce Dern as an aging, delusional father – with some wild hair! – who is convinced he has won a $1 million sweepstakes. The movie takes us on the odyssey undertaken by Woody Grant (Dern) and his son David (SNL's Will Forte) from Billings, Montana to Lincoln, Nebraska. (Dern turns in the performance of his career and is a sure Oscar nominee. Forte delivers a nuanced performance for which I would gladly give him an Oscar  nod.)

After trying to convince his irascible father that he had not won anything, David decides to humor him and drive him to Nebraska – especially after Woody tries over and over to walk there, in the winter, by himself. They leave despite the adamant disapproval of Woody's very funny wife Kate (June Squibb) and son Ross (Bob Odenkirk). Ross has just landed as a fill-in news anchor in Billings. David sells stereo systems. The parents' home is a very modest house in a lower middle class neighborhood. Life has not been financially kind to Woody, who used to live and work in the fictional small town of Hawthorne, Nebraska.

Woody is not only suffering from just a touch of dementia, but is an unrepentant alcoholic. He's painfully thin and has an empty stare and speaks in monosyllables. His last wish is to pick up his million dollars so he can buy a new pickup truck (despite no longer having a driver's license) and a new air compressor to replace the one he insists his onetime business partner Ed Pegram (Stacey Keach) stole from him when they owned a garage in Hawthorne. In fact, that's their first stop (after a hilarious quick visit to Mt. Rushmore).

Woody and David make the rounds of Woody's old haunts – mostly bars – including his former garage. They visit Woody's brother Uncle Ray (Rance Howard – yup, Ron's dad), where Aunt Martha (Mary Louis Wilson) flits around and her two slobby sons Bart (Tim Driscoll) and Cole (Devin Ratray) get to work baiting their cousin David. The two dissolve into hysterics every time they think that it took David more than a day to drive from Montana to Hawthorne. It is clear that they were way back in line when the Good Lord handed out smarts.

When Woody blabs that he has won a million dollars, some of the hometown crowd reveal their greed and try to collect past "debts" from him. This despite David's repeated explanations that Woody has not won anything. If anyone is the "villain" of this tale, it is Ed (Keach).

But this story is to be enjoyed for its small details, not necessarily the plot (for which writer Bob Nelson earns kudos). Rich performances by the principal cast are only part of the story. Actors in small roles, like that of former Omaha sportscaster Ray Stevens, also shine.

It is a talent of director Payne that he coaxes such subtle performances out of his actors. Although Woody and David exchange a minimum of words, we learn volumes about them. We come to view Woody with affection, despite his character flaws, especially as a father. While never articulated, David's love for his dad becomes evident, especially in the final heartwarming scenes.

This movie is more than the sum of its parts. You leave with a deeper understanding of people you might have dismissed. Your faith in mankind, while shaken, is ultimately renewed. And you get to see small town and rural Nebraska in amazing detail, like the blades of grass in an Andrew Wyeth painting.

A scene in a cemetery is at once sad and gloriously funny. A search for missing teeth is genius. In fact, you'll take many indelible memories with you after you see this gem. Unlike most releases, this one takes you on a journey during which you think, and feel, and laugh, and perhaps shed a tear, then leave satisfied, with that feeling of fullness you'll enjoy after Thanksgiving's dinner. So, I give thanks for this movie and to all who had a hand in it.

See you at the Oscars, Nebraska.

Three and a half stars!

The Book of Mormon

Despite the song "Turn It Off," they really know how to turn it on in the Tony Award-winning musical, The Book of Mormon, now on stage at the Orpheum.

As you walk past the souvenirs in the lobby, you begin to get an idea of what's to come. Besides the usual coffee cups and key chains (and of course T-shirts) there are boxer shorts and umbrellas with crude messages that only become fully understandable when you hear the lyrics. Funny, if cringe-inducing, stuff.

The totally irreverent, off-color, in-your-face musical is not for the faint-of-heart, but it definitely delivers the laughs. So turn off your PC filter and your inhibitions, and sit back for a wild ride with Elder Kevin Price (Nic Rouleau) and Elder Arnold Cunningham (A.J. Holmes) to their mission in Uganda. It's a long, long way from "Sal Tlay Ka Siti," and Orlando for that matter.

Elder Price dreamed of doing something amazing during his two-year mission. And he wanted to do it in Orlando. But he learns that the self-absorbed young man ["You and Me (But Mostly Me)"] has been paired with Elder Cunningham on a two-year stint in the poverty-stricken country in Africa.

Elder Cunningham is a bumbling, incompetent follower who is excited with his posting and his "new best friend."

Their arrival in Uganda begins with being robbed at gunpoint by the local warload, General Butt F-ing Naked, who shoots people just to make a point. (Interestingly enough, I learned that his namesake, General Butt Naked, an African warlord, actually exists and was every bit as evil as the play's villain until his conversion to Christianity. Art imitates life!)

Joining the other missionary young men posted there, the two learn how difficult their mission will be. The people are being terrorized by the warlord and his followers, are suffering from extreme poverty and most of them have AIDS. Men are killed, women are being circumcised, and virgins (mostly babies) sacrificed. Hope is elusive and the villagers sing a song ("Hasa Diga Eebowa!") to cheer themselves up. When the missionaries learn that the translation is profane and blasphemous, they see what they are up against.

Okay, long story short, Elder Price tries and fails to capture the minds and hearts of the villagers – in fact he gets himself kidnapped by the warlord. Encouraged by the beautiful young villager Nabulungi (Syesha Mercado), Elder Cunningham takes over ("Man Up"). Because of his fragile grip on the Mormon teachings and his propensity to lie, he tells some whoppers to relate to the villagers' needs. But his motives are pure; he really wants the people to have hope and a better life.

And, praise be, it works! He baptizes her and the rest of the village follows, to the delight of the church hierarchy. In a hilarious scene, the villages put on a play to demonstrate what they have learned and Elder Cunningham's lies are revealed. The hierarchy, furious, sends all of the missionary elders packing.

Is that the end of it? Go see for yourself ... there are still six performances left, tonight,Friday night, and twice on Saturday and Sunday.

Okay, so this reads more like a synopsis than a review. That's because I am reluctant to reveal too much with details of the very clever songs. Running gags like Elder Cunningham's inability to get the beautiful Nabulungi's name right are laugh-out-loud funny ... some scatological, many drawn from other Broadway musicals ("Nala" for instance). I'd love to write a list of the names, but this is a family-friendly blog.

Who takes a hit during this show, in words and visuals? Just about everyone: Besides the Mormons, Catholics, Jews, homosexuals (especially homosexuals), even Jesus. And many more.

Penned by the writers of “South Park” (Trey Parker, Matt Stone) and “Avenue Q” (Robert Lopez, they comically pay homage to musicals, When you go, see if you can match the musical to the song:
Tomorrow is a Latter Day, The Lion King, The King and I, A Chorus Line and Les Miz.

Show highlights include Rouleau's singing of "I Believe," a song which is both funny and inspirational and sincere. It's a beautiful song with an infectious rhythm that will stay stuck in your head long after you leave the theater.

In fact, all of the songs are catchy ... I'm sure the soundtrack CD sounds great. And the songs lend themselves to some great production numbers and fantastic choreography (by Casey Nicholaw, who also co-directed). There are no weak links in the cast: all possess great skill at singing, dancing and acting.

Sets are very effective and draw us right in to the action.

The star's fellow missionaries – outfitted in the familiar short-sleeve white shirt, black tie and sans-a-belt, are hilarious (loved looking at each one in turn during the song and dance numbers), especially Pierce Cassedy as Elder McKinley who has learned to switch his homosexual desires and sings about it ("Turn It Off").

The villagers, especially the guy with the intestinal problem, are equally effective.The end result of the show is a message of hope and surprising faith. While not endorsing a specific religion, it does endorse a belief system ... something you may not have expected from the naughty lyrics.

I often say that the touring cast is just as good as Broadway's. In this case, it's more than true. Lead actor Nic Rouleau came from the role in Broadway. He understudied Omaha's own Andrew Rannells, who won a Tony nomination for his original role. Another star in the cast is Syesha Mercado, whom you may have voted for in season seven of "American Idol." She came in third (behind winner Dave Cook and Dave Archuleta). After seeing her performance here, she probably should have won!

So ... short story long, The Book of Mormon is highly infectious and surprisingly uplifting. I found myself smiling until it hurt. I loved getting permission to laugh at very un-PC things. If you are the tolerant sort who is not too easily offended, and you are over 18 (21 is better), then go see this clever musical – THIS WEEK. Some tickets are still available, but I wouldn't wait too long. Go "Two by Two" or more ... just GO!

Visit http://omaha.broadway.com/shows/book-mormon-baa/ for information and tickets.

Lion King Roars!!!!

This is the final week of The Lion King at the Orpheum Theater.
If you haven't seen it yet, bribe someone for a ticket and get there asap! Seats were flying out of the box office from the start of the show's four-week run.
And rightly so.
This is the second time I've seen the show, and it has not lost any of its luster. In fact, it was better than ever!
It's hard to pick a favorite character, but I really, really liked Scar, played by the incredible Timothy Carter. The villain manages to evoke both disgust and sympathy for his complicated character. At the cast party, where I was fortunate enough to meet many of the the wonderful cast and crew members, I spoke to Mr. Carter, leaving me even more impressed! What a bright, insightful actor!
Likewise Simba (grown up), a gorgeous young man with a great voice, and a wonderful personality as well. Jelani Remy reminded me of Shemar Moore in Criminal Minds, and there's nothing bad about that!
The children who played the young Simba (Zavion Hill that night) and Nala were adorable (oh, the boys would kill me for saying that!) and so sweet and talented. Little Kailah McFadden came over to my husband at the cast party and introduced herself and asked if she could sit with him. What a lovely little lady who just turned 12.
I had the pleasure of visiting with the dance captains Jason Lewis and Kendra Moore. They both serve as "swing" performers as well, filling in for just about any part. Smart, friendly, and – there's that word again – talented people! I am so grateful I was able to meet and visit with them.
I'm sure I will be leaving out many wonderful performers, but I certainly need to talk about four in particular: Timon (Nick Cordilleone), Pumbaa (Ben Lipitz), Mark David Kaplan (Zazu), and Rafiki (Nteliseng Mkhela)! The first two are of course the characters known for "Hakuna Matata." They are hilarious. They have to be seen to be believed!! LOL
Zazu, who is Scar's very funny right-hand-bird, injects some really smart humor throughout the show. Ah, and Rafiki is the character (a baboon) who holds the plot together as narrator and more. And she is the most surprising in person. This tiny little young woman wears a large and heavy costume, rendering her unrecognizable in person.
I can't say enough about the music and voices. Simply spectacular.
Then there are the rest of the animals, including my favorites, the giraffes. I got to meet both of them and we had a great time comparing notes about walking (and dancing and prancing) on stilts. Both of them (I'd write their names if I could read their autographs on my poster that they signed!) were funny and very brave. It takes ladders to get them on and off their costumes but they are fantastic to watch.
We all know the story, so I won't even bother (rent the Disney movie!) to recap it. But it is at once funny, moving, inspirational, and most of all, perfect entertainment for the whole family. Everywhere I go, when I talk to people who have seen it and have brought their children, they can't stop raving. Or should I say ROARING?
Go. You'll love it!

The Oscars have arrived!

As usual, I am posting my picks. My confidence is only moderately high, since this is SUCH a competitive year. I have not see every nominee, but have seen quite a few, and I think all the major contenders. So, here goes:

Best Picture: Argo   (Lincoln is so close that it's almost a toss-up. Lincoln does hold the slight edge of having its director nominated as well. They are usually selected together. So, we'll see! I liked them both and perhaps even liked Zero Dark Thirty more, so I have not real preference.)

Best Actor: Daniel Day Lewis  (Personally, I thought Hugh Jackman's performance was amazing, but Day Lewis was phenomenal too. Still, Day Lewis is the closest thing to a lock this year!)

Best Actress: Jennifer Lawrence (A really tight race, with amazing performances all-round. If Jennifer doesn't get it, I believe Jessica Chastain will. There has been renewed interest in the performance of Emmanuelle Riva in Amour -- and she was terrific, but I think it goes to one of the younger actresses. At first I thought Naomi Watts would win, but there's no buzz there anymore.

Best Supporting Actor: Tommy Lee Jones   Another tough category, with Christoph Waltz winning some earlier awards, and Robert De Niro always a favorite. But I think I'll stick to Jones, who was such a key player in Lincoln.

Best Supporting Actress: Anne Hathaway  Early buzz was for Sally Field, but that faded. And after I saw Les Miserable, I saw why Hathaway was the favorite. She (and the movie) was marvelous.

Best Director: Steven Spielberg for Lincoln. I haven't yet seen it, but I've read quite a bit of sentiment for Ang Lee for Life of Pi. But I'm betting the academy will want to spread the love for Lincoln by giving this to Spielberg.

Best Song: Skyfall by Adele. At least the Bond movie will get something for one of the best pictures of the year!! (Should have gotten a nomination for best picture!)

Cinematography: Hoping it's Roger Deakins for Skyfall, but will most likely go to Caludio Miranda for Life of Pi. And where is the nomination for cinematographer for The Impossible?

Best Original Screenplay: Mark Boal, Zero Dark Thirty

Best Adapted Screenplay: I'm going with Chris Terrio for Argo, but it could be Tony Kushner for Lincoln.

Foreign Language Film: Amour (oddly enough, from Austria) A slam dunk. And a very depressing movie, by the way!

Sound Editing: I'm going to agree (again) with the World Herald reviewer and pick my favorite movie -- Zero Dark Thirty.

I'm not going to pick "Visual Effects" because I'm ticked off that Skyfall isn't nominated! (Life of Pi should win.)

So there you have it. I don't know enough to pick in the other categories. May the best man, or woman, win!!!

10 … 20 … Zero Dark 30

It finally opened wide, after an agonizing wait. The wait was worth it.
Zero Dark Thirty, the controversial movie about the killing of bin Laden, turned up the suspense (a remarkable feat in a story in which we all know the end) and never let it wane.
The movie covers the 10 year span after 9/11 when the CIA embarked on a long and tedious search for the al-Qaeda kingpin. At the center of the search is the character Maya (Jessica Chastain), the agent who becomes obsessed with finding him. Maya is based on a real person (and is also said to be part compilation). Director Kathryn Bigelow (outrageously passed over for an Oscar nomination) has said the movie is based on the first-hand accounts of unnamed persons. That the government is trying to unearth names tells me that Bigelow got close. And that flap about the use of torture? C'mon, who doesn't believe it was employed in the early hunt, especially when Obama expressly forbid it after taking office? I, for one, think the movie makers got this pretty darn close to the truth. And the final assault on the compound was probably as close as we're ever going to get to the truth. It rang true and showed us just how treacherous and dangerous the mission was and how brave and well-equipped those Seals were. But I'm getting ahead of myself.

There is a gritty reality to the whole film. I'm still spitting dust and sand out of my mouth.
I've come to admire not only the people who spent years of frustration running down thousands of leads and coming up short most of the time, and the talented cast who portrayed them. We get a unique insight into how the CIA works and how incredibly tedious their work is. People rotate in and out of the Middle East, while Maya stays the course. Her first co-worker, Dan, played to perfection by Jason Clarke, is an expert at torture, but there's very little payoff in terms of information. Those being "interrogated" – in a blisteringly hot, bleak bunker, chained in a standing position for hours when they aren't lying face-up being water-boarded – are either hardcore terrorists or small frys who don't know anything. Either way, information leading anywhere is hard to come by. And while he's tough, Clarke's character shows his softer side in surprising ways.
The CIA does know (probably) that a very elusive carrier may be the key, but finding him is proving as hard as finding bin Laden. Clue after clue dries up. And still Maya persists.
Chastain is supported by a terrific cast, including Kyle Chandler as the CIA station chief, Jennifer Ehle as another colleague, James Gandolfini in a small but pivotal role as the head of the CIA, and Chris Pratt and Joel Edgerton as Navy Seals, and many more.
The action is often quiet, but always tense. Throughout the movie's two and a half hours, no one left the auditorium, remaining riveted on the screen. My only quibble with the movie is the length … I think a little bit could have been trimmed in the early going. But Chastain makes up for that by being a constant luminous presence. She certainly deserves her Oscar nomination.
The violent scenes, including torture and killing, are handled with restraint. The language is what you would imagine if you were working under the conditions they were. Even Chastain joins in as "one of the boys."
One of the pluses of the film is getting the recent history we all know (or think we know) presented to us visually, putting everything into context. How many times have we said: Why can't they find that guy? What's taking so long? This helps to answer those questions. It also gives us a close-up look at the conditions our military have been enduring.
This is a meticulously-crafted film about an important topic. Never over-the-top, it feels real at all times. And the final raid is a real nail-biter, as we move right alongside those Seals, seeing the action through night-goggles just as they are. Fascinating.
I highly recommend this powerful movie. While it may have taken a few liberties, it's about as close to a history lesson as we're going to get.
Four reels for this one. 

Good Evening…

"The Master of Suspense" started each episode of his television show, "The Alfred Hitchcock Hour," with that greeting, then proceeded to set the scene for the week's episode. The show ran at same time as some of the director's best motion pictures, including the subject of this movie.
In Hitchcock, we are introduced to the eccentric filmmaker and his wife and uncredited collaborator, Alma Reville, as he struggles to get Psycho made in 1959.

It was such a departure from his other movies, although also a suspenseful plot, that he couldn't convince Paramount to bankroll it. He was so convinced he had to make this picture (after buying up every single book he could so no one could reveal the ending), he financed it himself, mortgaging his home.
While this is the story of Hitchcock's (Anthony Hopkins) making of Psycho, it is also a love story between him and his wife, Alma Reville (Helen Mirren, who just snagged a Golden Globe nomination), who backed him 100% all the while putting up with his fixations on his young, icy blonde stars. Scarlett Johansson plays Janet Leigh very capably, looking striking in the wonderful period wardrobe. James D'Arcy nails it as Anthony Perkins – he's a dead ringer. And Jessica Beal is lovely as Vera Miles, who is at odds with "Hitch." Toni Collett, Danny Huston, and the familiar faces of Ralph Macchio and Wallace Langham of "C.S.I." flesh out supporting roles.
The screenplay also serves up a generous helping of humor, resulting in some hearty laughs. Hitchcock's pronouncements were often colorful and funny, here especially concerning his battle with his weight. There is also a poignant side to the story, well-played
Besides terrific performances by the whole cast, the movie boasts wonderful period clothes, home decor, cars – everything connected to 1959.
Those of a certain age who are very familiar with Sir Hitchcock's films will delight in learning more about the man and his home life, pulling back the curtain that has always veiled the director. They will surely enjoy this movie immensely (myself among them).
For younger audiences, the appeal may be in the star power and in the romance of film making in general. Fans of Psycho will love it, especially the shaping of the iconic movie and how it evolved.
In an interesting, and artsy, addition to the movie, we become acquainted with Hitch's apparent muse, the serial killer Eddie Gein (Michael Wincott), whose grisly deeds were unearthed in 1957, who "speaks" to the director during the planning and filming, inspiring some of Hitch's innovative shooting and editing techniques.
The score by Danny Elfman was right on; not surprising as Elfman's biggest influence was Bernard Herrmann, who scored Psycho.
A very entertaining, well-made movie with terrific acting and a good screenplay, Hitchcock deserves a rating of three and a half reels (out of four).

Wow, how times flies! One evening turned into another. Because it's Friday, I am going to reverse the order of my promised reviews.

Let's start with Skyfall.

No beating around the bush: the best action film of the year. Yes, really.

But it's not just an action movie. Daniel Craig as James Bond has made the role his own with this, his third, installment. He is simply fantastic in it. He's manly, flawed (!), strong, tender, suave, funny, loyal, and vulnerable. What more can you ask for in a movie hero?

From the exhilarating opening scenes, Bond gets the adrenalin pumping!

What's new here? Bond revisits his past, revealing more about the man than has ever been shown before. We understand him so much better. And love him more.

Oscar-winning director Sam Mendes brings a relentless pace and, along with his cinematographer, Roger Deakins, breath-taking new locales. There's eye candy to spare, be it the rugged hills of Scotland or the neon beauty of Singapore, or the stunning beauty of leading ladies Naomie Harris and Bérénice Marlohe.

The acting is a cut above many films and probably all the previous Bonds. 

The story is simple: As Bond rises from the "dead," having been shot in the long, thrilling, edge-of-your-seat opening, he reluctantly returns as 007 when MI6 comes under attack. Bond's loyalty to M (once again the magnificent Judi Dench) is tested as her past comes back to haunt her (and she's pretty ruthless at the beginning of this), and he knows he must hunt down and destroy the threat, seemingly from within. It seems that when he was "killed," he let the bad guys get their hands on a vital list of secret agents, an action he died trying to prevent, M is blamed, and is being forced to retire.
There are many red herrings, but since you probably already know that a bizarre-looking Javier Bardem is the chief villain, they may or may not pan out.

The outstanding cast also includes French actress Berenice Marlohe as Severine, English beauty Naomie Harris as field agent Eve, Ben Whishaw as Q, Ralph Fiennes as government agent Gareth Mallory, and Albert Finney (I won't say who he plays ... it's more fun for you to figure that out).

This movie could easily stand alone as a great spy movie. But it is very much a Bond film, thanks especially to all of the retro references (the audience silently – or not-so-silently – speaks the lines that are left unspoken). The old "Bond" music is played more often than it has in the past several movies, and at just the right times.

The gadgets are more subtle, but just as much fun. For aficionados, it's a lot of fun anticipating their use. 

The action is spectacular and inventive. A long motorcycle chase over impossible terrain gets the heart pumping. An underground scene is magnificent. The action scene in Singapore is eye-popping. Even the routine gun-play is both scary and fun. The almost obligatory casino scene is very different from all the others. And while all Bond movies are over-the-top, this one seems more grounded than the others.

Dench and Finney are marvelous, as is Naomie Harris, who combines beauty, charm, humor and a lot of grit into the complete package (just wait until you find out who she is!).

So many memorable moments in the 2 hour and 20 minute show. And it is bookended by the beautiful theme song co-written and sung by Adele, and the iconic Bond camera lens pose.

A must-see on so many levels.

Don't let this one get away. My husband, who has not been a fan of Craig as Bond, was completely won over and insists on seeing it again! I didn't need much convincing but it made me an even bigger fan than ever. There might even be some Oscar-buzz here, deservedly so.

It's rated PG-13 for intense violent sequences throughout, some sexuality, language and smoking (!). But aside from the violence, it's pretty tame compared to, say, Flight (which is rated R).

Four Reels for this terrific movie!

After a LONG break, I'm BACK, with more enthusiasm than ever. I hope you will enjoy my comments and reviews as I go forward. First up will be a review of Flight, followed by a review of Skyfall. Fasten your seatbelts – I'll be back in just a little while this evening.

Did you vote? I did!

Spider-Man is, well, Amazing

Pardon the long, long interruption of this blog. Happily, I'm back and rarin' to go...out in Omaha!

Let's begin by looking at the latest motion picture release, the one that opened at 11:50 last night, July 3. 

That, of course, would be The Amazing Spider-Man.

The reboot of the series that started less than a decade ago with Toby McGuire has burst upon the screen – in 3D and IMAX no less – with a new title hero, Andrew Garfield.

The story returns to Spider-Man's beginnings as Peter Parker, complete with the mysterious disappearance of his parents, his being raised by his aunt and uncle (the well-cast Sally Field and Martin Sheen), and being bitten by a spider while on a sort of field trip.

But this Spider-Man is edgier and actually more believable. He really acts like an ordinary teenager (which for a 29-year-old actor is impressive). He worries a lot – about having a crush on fellow student Gwen (a radiant Emma Stone), being bullied by a bunch of nitwits at school, and about why and how his parents died (?). 

When he first discovers his new abilities after that fateful bite, he has a bit of fun with them (what boy wouldn't like to virtually fly?), and then when things take a dark turn, he uses them to exact revenge.

His actions turn him into someone wanted by the police, whose chief just happens to be Gwen's father (Denis Leary).

But when his unique abilities are needed for good, he steps up to the plate. And when things go wrong, they go really, really wrong. His father's former partner, Dr. Curt Conners (a very good Rhys Ifans), with Peter's help, takes what was a promising medical breakthrough and uses it unwisely to say the least as he transforms into a hideous lizard. That's when the special spider effects rally go on steroids.

All that is all the more impressive in 3D, to say nothing of IMAX.

Those two film treatments have undergone a real transformation in terms of their watchability. Yes, we still have to wear the glasses, but at least they're comfortable. We no longer have to put up with fuzzy red/green moments or stomach-churning, vertigo-inspiring action. Well, some of the action is supposed to be like that, but that's another story.

Anyway, the end result is a beautiful film, crystal clear and awe-inspiring, Those "flying" sequences are really beautiful, if a little bit terrifying.

So, should you go?

Did you like the first version? I'm betting you'll like this one even more. I really love the new Peter Parker. And the chemistry between Peter and Gwen is palpable (it doesn't hurt that they are an item in "real" life). All of the acting is really good, believable, never over the top. 

Ifans is a far cry from his goofy character in Notting Hill; he's all grown up and likable when he isn't turning into a lizard monster.

Even Spider-Man's creator Stan Lee makes a cameo in a very funny scene in the school library.

The film's violence and occasional gory bits make it a PG-13, but, refreshingly, the language is "G" (one of Peter's curses is "Mother Hubbard"). 

I loved the heart of this, the good acting, the great look of it, and the eye-popping action. It is a fun, fun summer film and one of the best action movies in recent years. I recommend it for all those who like fast action, smart actors, dialogue that rings true, and a little sentiment to boot. It's a little dark, but not as dark at the current Batman series.

Go ahead. Go see it. In 3D. In IMAX if possible. Let it spin its web around you!

Three and a half (out of four) reels

2012 Oscar Picks

 My Oscar Picks, some by reasoning, some by sentiment:

My reasoning:
I think The Artist will win, because the momentum is all theirs now. There was a time when The Descendants had the steam, and before that The Help. Hugo is mounting a last-minute attempt to grab the spotlight, but I think that’s too late.
The other Best Picture nominees (9 in all) are:
Extremely Loud & Incredibly Close (reviews are either very good or very critical); Midnight in Paris (a personal favorite of mine, but no buzz); Moneyball (also a very good film, but it just lacks that “Wow” factor; War Horse (a fine movie with no acting nominations…it is the kind of sweeping movie that may have won 30 years ago); and The Tree of Life (which I did not see, and apparently neither did anyone else, and is reported to be a touch too arty).
I would really like for The Help to win (it really sticks with you and it has a story both poignant and heroic), but I won’t quibble if (and when) The Artist does. I liked The Descendants from our very own Alexander Payne, but don’t think it has the heft to win. The Help will get their love with acting statues (and deservedly so). The Descendants will earn Payne another writing award, and probably a Best Actor acting award for Clooney. I say probably, for this race is too close to call really. Jean Duiardin did a great job in a difficult role, having to convey everything with his face and body language, and pulling it off. Gary Oldman was also terrific in the underrated  Tinker Tailor Soldier Spy. But I think Clooney has the love (his only “con” is that he has an acting Oscar).
The Best Actress race is equally hard to pick. Merle Streep has her incredible body of work leading up to a performance that critics have lauded (I haven’t seen it yet, but knowing Streep, she’s great). Viola Davis has turned in some terrific performances in the past few years, including a nomination for Doubt (her co-star? Merle Steep!). This one is too close to bet any money on, but I’m going with Davis because I just thought she was magnificent.
Supporting Actress is easy: Octavia Spencer (The Help) all the way. I’m in love with Minnie. Loved her in the book; loved her in the movie. She is the movie’s mojo. The other actresses are good, but Spencer just blew everyone away. Bet on this one if you must bet.
Supporting actor will apparently go to longtime superb actor who has yet to earn an Oscar, Christopher Plumber. It will probably help the film get some viewers; I doubt if anyone watching tonight has seen Beginners!
I have one quibble: that Rooney Mara from The Girl with the Dragon Tattoo didn’t get a more serious look. I thought she was amazing. I walked out of the (fabulous) movie knowing she would get a nomination. Talk about transformation! I guess she would be up there with Glenn Close if that were the criteria (didn’t see her movie, yet, but of course she’s wonderful).I loved Mara and can’t wait to see the two sequels. I can’t get her portrayal out of my head. She absolutely broke my heart.
In my picks in other categories, I gave some love to Mara’s movie (which may not win, but I thought it should) and even a couple nods to Harry Potter, because I never did think it got enough attention from the Academy (old white men). I hope someday they give it an honorary Oscar. After all, it was a record-shattering success from start to finish and it was a stupendous undertaking done well all along the way, by several directors. The series will stand the test of time to be sure.
Oh, since the Best Director prize usually goes to the director of the Best Movie, I’m assuming that Michel Hazanavicius (maybe we’ll find out how to pronounce it tonight!) will win. If on the other hand The Help wins, then maybe Payne or Scorsese will win, since inexplicably, The Help’s director was not nominated (I guess they didn’t need him to so lovingly bring the best-selling book to the screen).
I guess you can hear my little nitpicks, so I’d better wrap up by saying that Octavia Spencer will be dressed exquisitely, and Merle Streep will not. But then there Sasha Baron Cohen…
And now, it’s OFF TO THE OSCARS!

Shhhhh ...It’s a Silent Movie!

I was not prepared to like The Artist all that much. After all, it was in black and white and used subtitles (you know, like closed captioning) instead of dialogue. There was music of course, and near the end, a sound or two.
Then, lo and behold, I started caring about those black-and-white people, got sucked into their story, exhibited all the right emotions at the right times, and – although it was maddeningly predictable – fell under its spell.
Much of that was due to the performances of three of its stars – two of them Oscar-nominated.
Jean Dujardin and Bérénice Bejo are both delightful in their roles as the silent movie star and the up-and-coming talkies ingenue. Their budding love story is really fun to watch. 

The story has every up and down: elation, sorrow, love, heartbreak, humor, triumph, tragedy, and redemption. 
And it has Uggie. Now there’s one actor that should have been nominated. The adorable little Jack Russell Terrier sticks to Dujardin like glue, and his every move is just terminally cute. Everyone should be so lucky as to have a dog like that. 
The makers of this movie did several things right. They cast the right actors, the aforementioned and others like James Cromwell, John Goodman, and Penelope Ann Miller. They got the details right, with great props and sets and costumes that allowed us to step back in time to the late ‘20s and early ‘30s. The home decor, the cars, everything was perfect.
The movie isn’t perfect – it’s pretty simple after all – but it sure was fun. 
As for it’s Oscar chances, I’m ambivalent. I’ll discuss that further in my Oscar picks ... which will follow this post.
But for now, I’d recommend you get to a theater and see The Artist. You won’t waste your money!
I’m giving this three-and-a-half reels (out of four). Actually, more like three-and-three-quarters.

Blue Man Group Review

Opening night and the Orpheum was packed, all there to see three hairless men painted blue.
Beginning with a series of funnier and funnier and sillier and sillier electronic messages scrolling above the stage, the audience was engaged. They eagerly did whatever the messages commanded them to do, like reciting "Happy Birthday" to someone in the audience (“No singing!”). Like a warm-up comedian, the signs got the crowd laughing and clapping, before we ever saw a human being (or a blue man). 

 

Then the three appeared, performing some acts we may have seen before on television, like making paintings with colored spit, or catching said paint balls in their mouths before painting. The blue man on the right caught a stream of them, in two sessions, so many I lost count after about a dozen. The people in the front rows wore clear raincoats in anticipation of the mess.
People were plucked from the audience to appear on stage in skits. 
My favorite of the night was the young woman who sat with the three at a dining table, all facing the audience and all mirrored above so we could see the tabletop clearly. Slowly, they moved through a meal of Twinkies … well, you kinda had to be there, but it was hilarious. At one point, a blue man hands her a candle and a lighter. No sooner does she light it than another blue man whips out a fire extinguisher and puts it out. When one begins vacuuming up Twinkie wrappers, he oversteps and sucks up a piece of Twinkie, prompting another one to suck up “Christina” on the Andrew Wyeth painting hanging behind them. 
Beautiful visuals filled the stage often. Expert use of hi-tech devices enhanced the show; and their send-up on tweeting was very funny and relevant. 
They played unlikely musical instruments (PVC pipe?), making credible music. They flung an unsuspecting audience member, covered in blue paint, up-side-down onto a canvass (“backstage" and most likely pre-taped).
They concluded with a “rock concert,” complete with audience rules of behavior (all given by those overhead electronic signs and on-stage screens). We were bombarded with confetti and streamers and ginormous inflated glowing balls, all accompanied by strobe lights. I was happy for the ear plugs they provided on request, although I heard old-hands say this wasn’t nearly as loud as some of their shows.
And hour and a half, straight through, of laughter. All ages attended, and all seemed to enjoy it immensely. Definitely worth the price of the ticket! 
Blue Man Group continues through Sunday, with matinees added on Saturday and Sunday. Limited seats are available for the weekend, so hurry!

War Horse

Looking for a thrilling yet heartwarming story? This is the one for you (and all of your family save maybe the little ones).
Steven Spielberg’s War Horse is the story of a boy and his horse ... well, really it’s much, much more. It’s the start of WWI in England, and horses are being conscripted into the army.

Albert and his parents are at odds about the thoroughbred (Joey)
that dad foolishly bought instead of the plowhorse he needed.

Young Albert, who has raised the spirited horse named Joey, must part with him for the cause. The young officer promises he will do his best to bring Joey home to Albert. Sadly, that partnership is cut short and the horse begins an odyssey across the front lines, from German to France to No Man’s Land.
Joey is used by Brits and Germans, friends and foes. He is worked beyond most horse’s capabilities. But beautiful Joey is strong and special and touches many lives.
Meanwhile, Albert is finally able to join the Army in his quest to find his horse. Sound melodramatic? It might have been but for the deft hand of Spielberg, who elevates it to a thing of beauty. From the natural beauty of the English countryside to the terrible beauty of battlefields, he brings World War I to life just as he did WWII in Saving Private Ryan.
The war scenes are difficult to watch, but necessary to this story. At two and a half hours, it is long, but not overly long. Newcomer Jeremy Irvine, along with Emily Watson and Peter Mullan and the rest of the impressive cast, are spot on in their roles.
Put this in the category of movies like Seabiscuit, National Velvet, Secretariat, Marley & Me, Lassie … stories of heart, and loyalty, triumph over sometimes enormous odds. I liked this movie a lot and was especially moved by the tragic scenes of war.
Three and a half reels (out of four)

Quick Movie Reviews

Trying to decide what movie to go see this week? Here are some possible titles (that we have not yet reviewed). 

Tinker Tailor Soldier Spy
Fantastic adaptation of John Le Carre’s great novel about the Cold War of 1973 and the British Secret Intelligence Service, aka MI6, code-named The Circus. A flawless cast of knowns and unknowns make this intellectual thriller exciting and compelling.

Tops in the cast are Gary Oldman as George Smiley; Colin Firth (Bill Haydon), Ciaran Hinds (Roy Bland), David Thewlis (Percy Alleline), and John Hurt as Control. Shining in her role was Kathy Burke as Connie Sachs. David Dencik (Tody Esterhase) and Tom Hardy as Tricky Ricky Tarr.
It opens with Mark Strong as Jim Prideaux embarking on a dangerous mission in Hungary, one that ends badly and results in the ouster of Control and George Smiley. But a mole (double agent) is suspected in the Circus, and Smiley was secretly rehired to find him or her. Then there’s Karla, a mysterious Russian spy. The title is demonstrated as those in the Circus are labelled by the nicknames, figuratively and literally, as their photos are taped to chess pieces.
For those looking for bloody crashes and other fireworks, they may be disappointed. For those looking for a complex puzzle with plenty of suspense and nail-biting, this film is for you. I read the book long ago and only retained the atmosphere of the story. The film brought that to life and much more. Oldman is perfect as Smiley, a quiet, introspective man who is as mysterious as his prey.
I highly recommend this one.

Four Reels (out of four)



Mission Impossible   Ghost Protocol
So you do want explosions???  In another sequel to the popular series starring Tom Cruise, the star reclaims his place as a plausible action star/IMF operative. You’ve already seen clips of some of the more daring stunts, chief among them a stroll on the outside of the tallest office building in the world, in Dubai.

Yes, it’s heart-stopping. The film is what it is ... and a very good “what it is” indeed. Full of action, suspense, excitement and funny lines to break the tension. Cruise is buff and capable, even though he’s been disavowed (remember that line in the TV series about being disavowed?) and must clear his name on his own. Well, almost on his own. He picks up a ragtag bunch of IMF fugitives to assist him. No wait, I can’t even begin to describe the plot a week after seeing it. What I do remember are the endless clever and explosive sequences. It’s a wild ride … predictable but fun. I didn’t see the IMAX version, but can only imagine how much more explosive that is!

Three Reels (out of four)



Sherlock Holmes: A Game of Shadows
If you loved the first one, you’ll love this one as well. I’m surprised I remember anything about the first one; minutes after seeing it two years ago, I stepped outside and ended up upended on the icy sidewalk, breaking my leg! But I digress!

I made it home safely from this one, so I remember it much more clearly. Every loves Robert Downey Jr., and this is just one reason why. He’s cute, funny, charming and in total command of his material. His pairing with Jude Law as Watson is inspired. I realize that some critics were less than thrilled with this, pining for an authentic handling of a Sherlock Holmes tale (as in boring). But this is not Shakespeare. It is fun. I will agree with critic Roger Ebert on one thing: I too enjoyed it (even) more than the first. Holmes is once again battling his nemesis, criminal mastermind Prof. James Moriarty (Jared Harris). But first, he must cope with Watson’s impending wedding. In all cases, the game is afoot. And a fun and lively game it is. One of my husband’s favorite bits however, was quite a small one (I loved it too), as Holmes experiments with creating costumes that can render him invisible in a room. Very funny stuff.
Forget the Sir Arthur Conan Doyle. Just enjoy the ride that is 21st century Sherlock Holmes!

Three and a half reels (out of four)

We Bought a Zoo

Based on a true story (as written by Benjamin Mee in his autobiographical account in England), this tale of a widowed father (Benjamin Mee portrayed by Matt Damon) who, to find a way to deal with his grief, quits his job, uproots his son (Colin Ford) and (adorable) daughter (Maggie Elizabeth Jones), buys a house in the country (outside of L.A.) that just happens to have a forlorn fixer-upper zoo. 

He also inherits a team of zoo-keepers, led by Angus MacFadyen and Scarlett Johansson’s characters. Thomas Haden Church plays Mee’s practical brother. Of course, it also stars a bevy of animals, including a monkey, a tiger and a very large bear.
While the movie is imperfect, never quite achieving the level it strives for, there are pluses. Damon is so likable and believable, he is a joy to watch. His relationship with his young daughter no doubt flows directly from his relationships with his real-life daughters. The sweet, shy connection between Matt and Scarlett’s characters is handled well. And overall, the movie has a joyful tone. I found myself smiling a lot and rooting for the cash-strapped group to succeed in reopening the zoo, despite a lot of obstacles. We also want the family to overcome their unbearable grief so that they can take up living again.

The movie, at 2 1/2 hours, is 1/2 hour too long. In spite of all that, it is a nice family film and I did enjoy it. So, fear not, it is PG, and except for some sad moments involving animals, is suitable for all ages.

Technically, I’d give it a B-, but that’s not possible, so I’m giving it:

Three Reels (out of four)

more to come....

Are You Blue, Man?

I’ve got the cure! Blue Man Group will be in Omaha beginning Tuesday, Jan. 17, and will continue through Sunday, Jan. 22. Start times are 7:30 p.m. Jan 17 - Jan. 19; 8 p.m. Jan. 20-21; 2 p.m. Jan. 21-22; 7:30 p.m. Jan. 22.

Tickets start as low as $20 (see TicketOmaha.com)

Blue Man Group is best known for its wildly popular theatrical shows and concert which combine music, comedy and multimedia theatrics to produce a totally unique form of entertainment. Although it is impossible to describe, people of all ages agree that Blue Man Group's show is intensely exciting and wildly outrageous experience that leaves the entire audience in a blissful, euphoric state. With no spoken language, Blue Man Group is perfect for people of all ages, languages, and cultures.

In this spell-binding show, three enigmatic bald and blue characters take the audience through a multi-sensory experience that combines theater, percussive music, art, science and vaudeville into a form of entertainment that is like nothing else either on or off Broadway.

The show's origins lead back to the late '80s, when longtime friends Chris Wink, Phil Stanton and Matt Goldman began to appear on the streets of Manhattan covered in blue make-up. The appearances led to a theatrical show, which premiered at the legendary performance space La Mama, ETC and finally to off-Broadway's Astor Place Theatre in 1991. Since then, over 60 Blue Men have entertained crowds in New York, Boston, Chicago, Las Vegas and beyond. 

The blue men do use a variety of materials on stage and at times those materials get into the audience close to the stage. While it does not happen all the time, they do strongly suggest that you do not wear "clothing that you consider nice or valuable." They encourage casual attire for the show; jeans and sneakers are ideal. Strobe lights may be used.

Their statement on age-appropriateness:
"One of the great things about seeing Blue Man Group is that it appeals to all ages. Kids will enjoy the lights, color and spectacle. Adults enjoy the humor, social commentary and depth of the character. Even the hardened theatre critic finds a deeper message behind the fun and mess."

The show will run about 110 minutes with no intermission. 

Sorry I’ve been AWOL!

New Year, new resolution: Post OFTEN to this blog! There are several more blog topics that will be posted in the next couple of days. Keep visiting! Thanks for hanging in there. HAPPY NEW YEAR!
Now look for my new review of The Girl with the Dragon Tattoo, just posted.

The Girl with the Dragon Tattoo

First Swedish author Stieg Larsson wrote a blockbuster series of books, The Millennium Trilogy (named for the magazine of which his protagonist is co-publisher and owner), the first of which was The Girl with the Dragon Tattoo. The books were all published posthumously.
Then Sweden made films of each of the books, to critical acclaim befitting movies based on the praised books.
Now, David Fincher has made the first book into the 2011 movie of the same name.
For better or worse, I have not yet read the books, nor did I see the Swedish films. So I came in cold, with expectations that this could be something special.
I was not disappointed. The filmmaker who brought us such diverse movies as Fight Club, Se7en, Zodiac, The Curious Case of Benjamin Button, and The Social Network, has created a flawless film.
That said, this film isn’t for everyone. For instance, the squeamish or easily-offended viewer will recoil at the violence, nudity, sexuality, and sadism within. There is also one scene that cat-lovers will hate.

The setting is Sweden. Mikael, a disgraced journalist who loses a libel suit after exposing a corrupt businessman (Daniel Craig) and his newly-acquired freelance research assistant Lisbeth (Rooney Mara), team up to write a biography of a wealthy scion Henrik Vanger (Christopher Plummer) while actually investigating the disappearance and presumed death of his great-niece nearly 40 years earlier. Henrik and his family all live on a family-owned island, in separate mansions, of course. They are estranged, dysfunctional, unlikable (two of Henrik’s brothers were enthusiastic Nazis), and decidedly unforthcoming. Enter Martin Vanger, Henrik’s great-nephew, now CEO of the Vanger Corp. (Stellan Skarsgard), whose home looms over all on the island. These are just some of the many players. If you want to keep them all straight, you might google a cheat-sheet before going to the theater.
Mikael moves into a caretaker’s cottage on Henrik’s estate to research his book. It’s a barely livable space with heat, in the bitter Swedish winter, hard to come by.
Everyone turns in stunning performances, none more amazing that Mara’s portrayal of the sullen Lisbeth. She’s my pick for Best Actress. (Hey, if Natalie Portman can win for Black Swan, another very dark performance, then surely Mara can!)
I’d try to explain the plot, but it’s just too complicated. If you pay close attention you can follow it all, though, as the mystery unfolds through some ingenious sleuthing. There is an aura of danger throughout that permeates the theater. Sweden is yet another star, showing us a seldom-seen backdrop which is fascinating if sunless.
I loved the controlled performance of Craig, who is decidedly less glamorous than James Bond. These characters are all flawed, and yet we find something to like in almost all of them, something to root for.
The images in my head won’t go away, even as time passes. This is probably perceived as an “art” film, or at least an “arty” one, but I think it is just a dark mainstream film with a lot of plot and a lot of courage not to flinch.
Some of the situations and images are very hard to experience, but they help to bring out the character of those wounded souls.
As I said, not for everyone, but for those who go after knowing what to expect, you will be rewarded with superb acting and plenty of quiet thrills. It’s like the train wreck that you can’t turn your eyes away from.
Oscar material for sure.
Four reels (out of four)!

Beautiful Dracula

The fabulous presentation of Dracula by Ballet Nebraska last Friday night only proves the promise this young company has.
Performed at the Orpheum Theater, the dramatic ballet was a visual feast. From the enormous handsome sets to the impressive lighting, the mood was suitably creepy. Transylvania indeed. Kudos to set design and construction wizards Ron Barrett and Homer McClure, and lighting by Jerry Wolderski of Theatrical Media Services.
And the next best thing to live music is expertly edited recorded music and a great sound system. The music of masters – Liszt, Strauss, Brahms, Kilar, Class, Barry, and Goldenthal – were perfectly blended to set the tone.
The costumes were so beautiful they took your breath away. Lucy’s red dress was perfection, as were the brides’ dresses. Even the flower-strewn hairdos were heavenly. And the Masquerade Ball/Wedding Reception gowns were resplendent. Even the men’s costumes were impressive (especially Dracula’s). All worked to tell the story more effectively.
Ah, the story. A familiar one. Jonathan Harker (Matthew Carter who is also ballet master) come to the Transylvania castle of Count Dracula with papers to sign. There he almost becomes a victim of the vampire, with three of Dracula's brides taunting him (Erin Alarcon, Claire Goodwillie and Kelsey Schwenker). He escapes to his fiancee, Mina. The three vampire brides were so beautiful, and so graceful, it was simply enchanting. The choreography was quite lovely and foreshadowed a larger version later.
The Masquerade Ball offers the opportunity for all of the company to dance, either to a Strauss waltz or as a band of Gypsies who entertain (in more beautiful, colorful costumes). A mysterious masked guest arrives, but no one recognizes Count Dracula as he dances with Mina, the bride, and her best friend, Lucy (in the stunning red dress). After the ball, he returns to find Lucy alone, begins to seduce her then bites her, leaving her dead.
At her funeral, the Count shows up to claim his new bride, taking her body with him to his castle, with Jonathan, Mina and townspeople on his heels.
At the castle, Lucy is brought to life as a vampire. When Mina is left alone, Lucy begins to initiate Mina as Dracula’s next bride. But when the Count sees Mina again, he realizes he is in love with her, so can’t claim her as his vampire bride.
All of these scenes are brought to life with some pretty wonderful dancing. Sasha York IS Dracula. He conveys his creepy nature in a subtle way that is all the more menacing. Natasha Grimm as Mina and Erika Overturff as Lucy were both terrific.
Really, by the last act, I was beginning to be swept away by the ethereal beauty of the dancers – my criteria for a really wonderful experience at the ballet. Guest choreographer Winthrop Corey is amazing, and I think this company was up to the challenge.
Congratulations to Ballet Nebraska founder and artistic director Erika Overturff (also the beautiful Lucy) on her many accomplishments, wearing her many hats.
I am really looking forward to Ballet Nebraska’s next offering, their own brand new version of The Nutcracker. It will be presented at Iowa Western Arts Center on December 2 and the Omaha Music Hall on December 4. There will also be a Nutcracker Tea Party at Joslyn Castle, hosted by the Ballet Nebraska Guild, on November 27. (Visit the website: balletnebraska.org.)
Count Dracula may be scary, but the ballet bearing his name is beautiful!

To be or not to be ... Anonymous

Did that Bard fellow, William Shakespeare, really write all those plays and poems?
The new film, Anonymous, attempts to answer that question definitively.
Another question: are we the audience able to follow the intricate political thriller?
We shall attempt to answer that question definitively.
Suppose that the reportedly nearly illiterate bard actually took credit for the works of Edward De Vere, Earl of Oxford. Why would Shakespeare do it? Why would De Vere permit it? What else is at play at the time of upheaval in Queen Elizabeth’s England circa 1550 - 1603?
If you know the answers to even some of those questions, you should be able to navigate this new film easily. If not, you – like me – will probably suffer from confusion as the fast-talking (with those English accents!) cast weaves its spell.
Okay, it sounds like I didn’t like it. Not so. I just got confused on occasion.
It didn’t help my confusion that the film jumped back and forth in time, forcing me to ID not one, but two, faces for every name.
Here’s the good news: It’s not only an interesting premise, but a pretty convincing one, at least in this context. The film does satisfactorily explain the whys. De Vere, the mature version played by Rhys Ifans (an absolute chameleon – do you remember him from Notting Hill?) – is mesmerizing as the talented royal who was driven to write despite the taboo against him stooping to such a thing. Enter Will Shakespeare, an aspiring actor who in fact could read but not write. De Vere wants his plays produced (at the Rose, later called the Globe, Theater). To do so, he must find someone to submit them; he chooses Ben Johnson, another writer, with the stipulation that he will not reveal the true author. Wait. Where does Shakespeare come in? Sort of accidentally. Once he has taken credit for one of the plays on stage, he has to stick with it, and so does De Vere.
But, that is not the whole story. The big picture includes the struggle taking place over the throne of the aging queen. (Remember that whole Mary, Queen of Scots thing?)

Joely Richardson and Jamie Campbell Bower as the young Queen
and Earl.

The cast is quite good, including Vanessa Redgrave (looking ancient) and her real life daughter Joely Richardson, who portray the “virgin” queen as older and younger versions. Richardson’s young queen falls in love with De Vere and may have had his child. Okay, I’m going to stop staggering through English history, known and unknown, now because I’m out of my element (and I actually studied this era rather enthusiastically at one time!).
What can’t be beat: the atmosphere of the streets, the palace, the Globe (I have been to the replicated Globe and this brings it to life). The actors, the costumes. If this had smell-a-vision, we’d probably have to leave the theater.

Vanessa Redgrave and Rhys Ifans in later years.

One final prop to Rhys Ifans. He was fantastic. And tell me he didn’t look like Ryan Gosling’s clone! (I’m not the only one who thought so.)
There’s a lot of drama here, and a few laughs along the way. It immerses us in a time four centuries ago with fully realized characters. I do think this will appeal to a somewhat narrow audience. Pity, it’s a fascinating look at history, with not a little speculation thrown in.
So, did it answer the question: Did that Bard fellow write all those plays?
You’ll have to see the movie and decide for yourself. And that’s the fun of it.

I’m giving this three reels (out of four).

"The Ides of March are come"

As Caesar said, “The Ides of March are come.” 
It’s not the 15th of the month, but the Ides are indeed here and there’s no need to beware. The Ides of March, starring George Clooney and Ryan Gosling, opens today, heralding the official beginning of the Oscar race.
What do we think of when we say “Ides of March”? Betrayal by those you trust. Hence the title of this terrific film.
But there are many forms of betrayal, and its many forms are explored here. The story takes place during the last few frantic days before a heavily contested and pivotal Ohio presidential primary, pitting two Democrats. Gov. Mike Morris (Clooney) is waging a tight race led by his campaign manager Paul (Philip Seymour Hoffman) and press secretary Stephen Meyers (Ryan Gosling). Stephen is an idealist who reveres Morris. Paul Giamatti is Hoffman’s counterpart. When a chink appears in the governor’s armor, Stephen faces the biggest challenge of his career. His idealism is shattered in ways we don’t see coming.

Ryan Gosling is winning, no matter which way the campaign goes.

Clooney co-wrote and directed this taut political thriller. While the challenges of the campaign are not new, and in fact mirror reality, the way these participants handle the challenges is gripping and revealing.The inside look at a campaign is fascinating and it, like everything else in the movie, feels authentic. That is one of the film’s strengths. Another strength is the powerhouse cast – each of them hitting just the right notes.
The film revolves around the character of Stephen Meyers. Ryan Gosling, that chameleon actor who dominates every film he is in, positively shimmers in this and is sure to garner an Oscar nod. Not far behind is Clooney as the enigmatic candidate. Nor is Philip Seymour Hoffman (I can’t think of a bad performance in his career) who is both likable and ruthless. Paul Giamatti is likewise ruthless. The women in this story are equally powerful and engaging. Young intern Molly Stearns, portrayed by Evan Rachel Wood, catches the eye of Stephen, resulting in a complicated relationship. (FYI, Mollys’ father, Jack, is played by Gregory Itzin, so good on 24.) Marisa Tomei is compelling as New York Times reporter Ida Horowicz.
The script is very smart, and echoes many themes in today’s politics, which even supplies one of the film’s funniest and most ironic references. 

George Clooney (left) and Ryan Gosling (center) in a staff meeting.

I liked that the movie moved quickly, with zigs and zags we don’t see coming. I love it when I can’t predict where a movie is going. 

This is not a spoiler, but the ending is abrupt and may infuriate some. I personally loved it.

Just as I loved this smart film, shot on location in Cincinnati, and especially the acting of Ryan Gosling – who never looked better, and that’s saying something!

This film earns 3 1/2 reels (out of 4).