A perfect husband a devoted father a loyal friend a successful architect—yes Steven Burke (David Duchovny) is the kind of flawless family man we only encounter in hankie-soaking Hollywood melodramas. He exists solely to be killed off just so his friends and family can become better people through their loss. So it comes as no surprise that Steven dies a Good Samaritan's death while on his way home—of course—from buying ice cream for his two kids. If that won’t get you crying nothing will. Steven’s death leaves his wife Audrey (Halle Berry) a mess. She can’t look after herself let alone her daughter Harper (Alexis Llewellyn) and son Dory (Micah Berry). Instead Audrey turns to Steven’s best friend Jerry (Benicio Del Toro) for help. Not really the smartest choice—Audrey despises Jerry for squandering his life and career on drugs. But Audrey’s desperate for a shoulder to cry on so she inexplicably invites Jerry to stay at her home while he tries to clean up his act. Quicker than you can say “rest in peace ” Jerry’s dispensing words of wisdom to Steven’s kids and in a moment of unintentional hilarity spooning with the lonely Audrey in her bed. Audrey naturally comes to believe that Jerry isn’t the strung-out leech she’s considered him all these years. Still we can’t help but count down the minutes until Jerry slips back into his old habits. Or wonder how long it will take for Audrey to kick Jerry out of her house when the inevitable happens. Things We Lost in the Fire serves an important purpose: to make clear that Halle Berry’s performance in Monster's Ball wasn’t a happy accident. As a widow unable to function without her soul mate Berry shakes up the otherwise maudlin proceedings with a rage and intensity that’s honest and fearless. Never afraid to present Audrey as occasionally cold and unsympathetic especially in regards to her treatment of Jerry and her children Berry nevertheless always makes us feel Audrey’s burning love for Steven without resorting to Joan Crawford-like histrionics. Too bad Audrey is defined only by her role as a wife and mother—Berry never receives the chance to show that Audrey has a life outside her family. She does share a good rapport with the typically brooding Benicio Del Toro whose ravaged face reveals more about Jerry’s lifetime of self-inflicted pain and suffering than words ever could. But there is a slight spark to be found in Del Toro’s sleepy eyes which gives us the impression that Jerry has what it takes to live one day at time with the support of his new friends. David Duchovny doesn’t do much beyond smiling like he’s just been named Father of the Year for the 10th time. Not that Duchovny needs to exert himself to make Steven charming and likeable—Steven is as happy and uncomplicated as Duchovny’s Californication philanderer is as sad and screwed up. Alexis Llewellyn and Micah Berry (no relation to his onscreen mother) nail the anguish confusion and profound sense of loss that comes with grieving for a dead parent without being annoyingly precocious. How disappointing it is to discover that not even the usually calm and collected Susanne Bier can turn Things... into something more than the standard Lifetime TV weepy of the week. The Danish director’s Hollywood debut is very much like her earlier character-driven dramas in that it is preoccupied with how established family dynamics shift in the wake of a life-altering event. After the Wedding and Brothers managed to be poignant without getting too gushy but Bier cannot keep Things... from drowning in its own sentimentality. The problem clearly lies with screenwriter Allan Loeb’s emotionally manipulative script which fails from the start to convince us Audrey would open her house to her late husband’s drug buddy. Ignoring Loeb’s hard-to-swallow premise Bier does an excellent job of establishing the relationship between Audrey and Jerry. Theirs is a well-presented study in co-dependency which results in an insightful—though occasionally obvious—exploration of drug addiction the grieving process and the pursuit of personal redemption. Things... smartly avoids making much of its interracial marriage—it would only overcomplicate matters—or taking Audrey and Jerry down a path that would led to an ill-advised romance. If only Bier and Loeb showed some guts in the way they portray Steven. Surely he had at least one skeleton in his closet to make him seem more human. Everything we learn about Steven—especially about the fire referenced in the seemingly cryptic title—merely reinforces the notion that he was too good for this world. Or at least the world Hollywood thinks we live in.
As the fifth year at Hogwarts begins most of the wizardry world is having a hard time believing Voldemort (Ralph Fiennes) has returned further propagated by the Ministry of Magic who refuses to recognize anything evil is brewing and blames all the hullabaloo on Harry (Daniel Radcliffe) and Dumbledore (Michael Gambon). The Ministry even interferes with Hogwarts business by making Ministry employee Dolores Umbridge (Imelda Staunton) the new Defense Against the Dark Arts professor whose outwardly sweet demeanor hides a sadistic streak a mile wide. She thinks the children should only learn about the Dark Arts “theoretically” and tortures all those who disagree. But the Voldemort threat is a reality and Dumbledore has re-formed the Order of the Phoenix a group of witches and wizards that prepares to battle the Dark Lord. Harry is unfortunately being kept in the dark for his protection of course even as his connection to Voldemort grows stronger and he’s royally peeved at being ignored. Urged on by Hermione (Emma Watson) and Ron (Rupert Grint) he forms his own order of Hogwarts students called Dumbledore’s Army to teach them what defenses against the Dark Arts he has already learned. Oh yeah Harry also shares his first kiss but make no bones about it—love is the furthest thing on Harry’s mind when the crap hits the fan. War is imminent. Everyone steps up their game in Order of the Phoenix. Radcliffe Watson and Grint have shed their adolescent whininess and aw-shucks goofiness to give their characters the greatest depth so far. They are forced to grow up pretty quickly in Order with little time for any playfulness and the three actors handle the seriousness with aplomb. Of course both Radcliffe and Grint have already ventured out of the Potter world—Radcliffe shed more than just adolescence on stage in a production of Equus while Grint lost his virginity in the indie Driving Lessons--and their extra experience shows in Order. Also good are Matthew Lewis as the usually clumsy Neville Longbottom who shows his mettle in more ways than one and newcomer Evanna Lynch as the slightly off-kilter Luna Lovegood who proves to be a loyal member of Dumbledore’s Army. But the kids have to keep up with the talented adult cast especially Oscar-nominated Staunton (Vera Drake) as Umbridge. The veteran actress’ interpretation of one of J.K. Rowling’s nastiest characters so far in the Potter lore is spot-on down to the pink wool suits and irritating twitter “ahem” she uses when she wants your undivided attention. Helena Bonham Carter also makes an impression however over the top it is as the evil Voldemort follower Bellatrix Lestrange. Does she ever want to look pretty onscreen? Then there’s the laundry list of Brits whose time onscreen may be short but is nonetheless memorable including Alan Rickman as the sneering Prof. Snape; Gambon as the wise but flawed Dumbledore; Gary Oldman as the kindly Sirius Black Harry’s only real family; and of course Fiennes as He-Who-Must-Not-Be-Named. His late-in-the-game appearance once again throws you for a loop. It stands to reason that at five movies in moviegoers would have a favorite Harry Potter flick by now. Those who love those Triwizard Tournament special effects might feel The Goblet of Fire was the best; or Prisoner of Azkaban for its time-bending action. Yet The Order of the Phoenix may be the one movie that speaks directly to the fans of the books. Without as much wide-eyed wonderment or wizardry flash the story is still chockfull of compelling details that are absolutely pivotal to the continuing Harry Potter saga. Screenwriter Michael Goldenberg (Peter Pan) and director David Yates (HBO’s The Girl in the Café) manage to wade through this volume of information and cut successfully to the chase with great effect. Yates who has signed on to do the sixth movie Harry Potter and the Half-Blood Prince even shows an affinity for action in the final dramatic confrontation between good witches and wizards and bad ones. But overall Order of the Phoenix may leave audiences not as well-versed in the novels a little itchy for some good old-fashioned wand-waving and Disney special effects. Thing is it’s just going to keep getting darker and darker for Harry and his crew. The days of happy fun playtime are over.
Don’t let the previews fool you—Terabithia isn’t anything like Chronicles of Narnia. Based on the Newbery-Award winning children’s novel by Katharine Paterson the story is more about childhood friendships and the way imagination can quite literally open new worlds. Jess Aarons (Josh Hutcherson) sees himself as an outsider at school—and at home. He really only feels himself when he’s drawing. Then he meets the new kid Leslie Burke (AnnaSophia Robb) who has just moved from the big city. Despite their differences—she’s rich he’s poor—they become fast friends. Leslie who likes to spin magical stories opens Jess’ eyes to the possibilities and together they create the secret kingdom of Terabithia a mystical place accessible by swinging on an old rope over a stream in the woods near their homes. Interacting with the Terabithian denizens they’ve imagined both evil and good Jess and Leslie learn to deal with the pressures of their young pre-adolescent lives—and learn what the power of real friendship truly means. The young fresh cast really make Bridge to Terabithia work. Robb and Hutcherson are already veteran kid actors: Robb is best known for stealing hearts in Because of Winn-Dixie (another kid novel adaptation) and popping chewing gum as Violet in Charlie and the Chocolate Factory while Hutcherson played the tough older brother in Zathura as well as Robin Williams’ kid in R.V. Their acting experience clearly shows as they make the friendship between Jess and Leslie both genuine and heartfelt. There isn’t a false moment in their performances especially from Hutcherson who at first sends off an I-could-care-less vibe but through his soulful eyes becomes more attached to Leslie and their secret place. And as Jess’ little sister 7 year-old Bailee Madison plays the moppet without any cutesy affectations. As far as the adults are concerned stand outs include Robert Patrick as Jess’ stern dad just trying to make ends meet for his family and Zooey Deschanel as the kids’ music teacher who Jess has a crush on. In 1978 author Katharine Paterson wrote Bridge to Terabithia for her then 11 year-old son David Paterson about a special friendship he had. It was an instant hit. Now David all grown up is able to bring his mom’s touching story to life as one of the writers. Talk about a family effort backed by Walden Media--the geniuses behind Holes and Chronicles of Narnia. Directed by Rugrats creator Gabor Csupo Terabithia truly captures the essence of childhood imagination even I dare say more so than Narnia. Maybe it’s because the idea of Terabithia comes from the minds’ of very real children who are going through very real emotions as they enter into adolescence. Csupo keeps the imagery simple allowing audiences to create a fantasy world filled with mythical creatures right along with the film’s main characters. And if you haven’t read the book you might be surprised by the story’s poignancy. In a saturated field of animated duds and kid films better suited as after-school TV specials Bridge to Terabithia stands out as a one of the better family movies to come around in a long time.
Attempting to delve into one of Tinseltown’s most curious scandals--the mysterious suicide (or was it?) of the original TV Superman actor George Reeves--the story begins after Reeves (Ben Affleck) is found dead of a seemingly self-inflicted gunshot wound during a late night party in his Benedict Canyon home. The case then unfolds through the eyes of Louis Simo (Adrien Brody) a street-smart publicity hungry private dick hired by Reeves’ grieving mother. As Simo slowly peels back the layers of Reeves’ seemingly glamorous life he discovers an actor of charm talent and sophistication whose every opportunity for a big break fizzled forcing him to lead a frustrated existence slumming in the superhero show he deemed beneath him. Gradually identifying with Reeves’ failed expectations for himself Simo discovers a host of candidates who may have actually pulled the trigger on the actor including his young party girl paramour (Robin Tunney) his longtime lover and patron (Diane Lane) and his lover’s husband a powerfully connected studio “fixer” (Bob Hoskins). It is Brody not Affleck who carries the bulk of the film on his shoulders and the Oscar winner delivers a finely etched turn as Simo who’s fractured potential mirrors Reeves’ but quite simply Simo’s story isn’t nearly as dark or engaging as Reeves’ life or the mystery surrounding his death. Affleck an actor who has had his share of ups downs duds and disappointments in Hollywood delivers one of his most charming and fully realized performances to date even if his spot-on recreation of Reeves’ speech pattern is a bit distracting. The luminous Lane’s acting talents remain in full blossom in a character she’s well-suited to play—the aging beauty fearing the road ahead—and she commands every scene she’s in. Unfortunately there should have been many many more of them. She’s almost criminally underused. Hoskins more menacing then ever and the reliable stable of supporting players like Joe Spano are all top-notch as well; only Tunney apparently trying to channel both Betty Boop and Bette Davis simultaneously seems a bit off her game as the wannabe femme fatale. Best known for his strong turns helming many of the best episodes of television series such as The Sopranos Sex and the City and Six Feet Under first time feature director Allen Coulter’s cool assured hand and meticulous recreation of Cold War Los Angeles are major bonuses here. Even when Simo’s story sags in comparison to Reeves’ Coulter keeps us interested particularly when staging the Rashomon-like sequences depicting the various theories behind Reeves’ demise. But by skimping on Reeves’ story in favor of a less compelling fictional framework built around a private detective investigating the case we never see one key suspect’s possible murder scenario enacted visually and it comes off as a glaring omission.