It can’t just ALL be about a boy wizard named Harry Potter. There have to be other fantasy-driven stories grounded in reality that are just as exciting. And so there is: The Spiderwick Chronicles a series of short books by Tony DiTerlizzi and Holly Black which tells us about the magical creatures who live around us but who remain invisible so we humans won’t freak out. Probably a wise choice for most but there are a few who want to see the creatures. One such person is Arthur Spiderwick (David Strathairn) a turn-of-the-century naturalist who has witnessed the likes of sprites goblins hobgoblins ogres and trolls at work. He has documented their secrets and habits in his Field Guide--a book that if placed in the wrong hands could make some fantastical beast maliciously omnipotent. Jump ahead some 80 years when we meet Spiderwick’s descendents the Grace family who have moved into his dilapidated house in the woods. Newly divorced mom Helen (Mary-Louise Parker) has uprooted her kids--teenage Mallory (Sarah Bolger) and twins Jared and Simon (both Freddie Highmore)--to start a new life with Jared being the one protesting the loudest. That is until he finds Spiderwick’s field guide and quite literally opens Pandora’s box giving evil ogre Mulgarath (Nick Nolte) who has desperately wanted the book since its inception the window of opportunity he’s been waiting for. The Grace kids have to band together--with a few otherworldly allies of course--to protect the book at all costs. Although Highmore (Charlie and the Chocolate Factory) struggles at times with the American accent the young British lad continues to prove his worthiness in the acting department--and joins the ranks of playing twins onscreen that dates back to Patty Duke on The Patty Duke Show (yes they were just cousins but they were identical cousins). Highmore does a nice job distinguishing between the two boys but he seems to have the most fun playing Jared. And rightly so since Jared is the true hero of the story. He is deeply wounded by his parents’ divorce blaming his mother for it all but in discovering this magical and dangerous world that goes way beyond his personal problems he quickly snaps to it. Bolger (In America) too takes her clichéd older-sister-who-knows-everything role and freshens it up adding a fierce determination to protect her family--with an expressive face that makes her very watchable. The adult cast isn’t nearly as important but they all fit in nicely especially Joan Plowright as Great Aunt Lucinda Spiderwick’s 80-something daughter who saw her father taken away by sylphs the keepers of the faeries’ secrets when she was 6 and has been trying to explain it ever since. Then there are the voices of some of the creatures the Graces meet including Martin Short as the ever-faithful house brownie Thimbletack; Seth Rogen as the hobgoblin Hogsqueal a piggish and friendly fellow whose spit in the eye gives you the Sight; and Nolte as the horrible villainous Mulgarath. OK all those who believe in faeries raise your hand! The Spiderwick Chronicles is just the kind of story that gets an imaginative kid to run out to the garden to start looking for sprites and director Mark Waters inherently understands this. Better known for his comedies such as Mean Girls and Freaky Friday Waters nonetheless grabs hold of the Spiderwick’s mythology and firmly plants it in reality with normal modern kids encountering a whole magical realm. Taking from the illustrations of co-author Tony DiTerlizzi Waters also gives us new versions of magical creatures we’ve read about for ages. Goblins for example look like giant frogs and act like attack dogs in this film as opposed to the more civilized view of them in the Harry Potter books--and goblins in Spiderwick can be killed by tomato sauce which melts them. Nice touch. Trolls too aren’t great big lumbering fellows but more dinosaur-like in Spiderwick. And let’s just say ogre Mulgarath looks nothing like Shrek but more so a devilish creature with yellow eyes and great big horns. Spiderwick is indeed scary at times maybe too scary for the younger kids but the action sequences and chase scenes are thrilling enough to keep everyone else’s attention.
In the 1950s Senator Joe McCarthy began a witch hunt in Washington and Hollywood to cleanse the nation of "commie sympathizers." No one dared stand up to him for fear of being targeted themselves until journalist Edward R. Murrow (David Strathairn) did an expose of the senator on his television program See It Now. In doing so he risked himself the livelihoods of the reporters working for him and the reputation of CBS. The network stood behind him although very reluctantly and Morrow swayed public opinion--a landmark moment in broadcast journalism.
David Strathairn is wonderfully subtle as the legendary Murrow from small nervous facial tics as he prepares to go live on the night of his controversial broadcast to his barely concealed contempt for the puff pieces he has to do like an interview with Liberace. Patricia Clarkson and Robert Downey Jr. also do nice work as a married couple who hide their relationship since it's against company policy but their characters--and indeed all of the characters--are all very thinly sketched. The meatiest supporting role belongs to Ray Wise (Laura Palmer's crazy dad on Twin Peaks) as CBS news anchorman Don Hollenbeck who is barely hanging on after being labeled a "pinko" in the right-wing press. George Clooney as Murrow's producer Fred Friendly is low-key but still deftly funny. A number of supporting players like Tate Donovan don't have much of a chance to stand out. McCarthy himself is presented only in archival footage.
George Clooney in his second outing behind the camera is clearly going for a documentary type of feel resulting in out-of-focus shots and quick pans that often land on nothing at all. Dramatic scenes are interspersed with so much unedited archival footage that after a while it does feel like you're watching a documentary although a documentary would likely have provided more context. For some reason a jazz singer (Diane Reeves) is frequently seen performing in a studio at CBS or at a club that Murrow's staff all frequents. The musical interludes are lovely but ultimately rather pointless. You have to respect Clooney's wanting to tell this story and to tell it an unadorned non-Hollywoodized kind of way that Murrow himself would likely have approved since he didn't approve of mere "entertainment." But except in a few rare moments the film remains more of a dry history lesson than a movie in its own right.
Ask any of the homeless living in the tunnels and they’ll say that living underground isn’t so bad. They don’t have to pay rent they don’t have to pay for electricity and they can smoke their crack without anyone bothering them. The homeless featured here explain how they survive underground -- usually in graphic detail -- and it isn’t always pretty.
The subjects here are as real as they come: family men and women who reveal in detail how they ended up as drug addicts living in New York’s least prestigious borough.
Singer’s fascinating black-and-white exposé captures the pride these people have in their dilapidated homes and shows how they’ve adjusted to life underground. Firing off questions from behind the camera Singer manages to dig deep bringing one particular homeless woman to tears.