My Life in Ruins

Nia Vardalos was virtually unknown until she did My Big Fat Greek Wedding back in 2002. In that film, she was outstanding as Toula Portokalos, a young Greek woman who falls in love with a non-Greek and struggles to get her family to accept him.

She shines again as an American tour guide of Greek ancestry in My Life in Ruins.

Nia brings a certain something to her roles that makes her win our hearts. She is charming, humorous, self-deprecating, and socially inept....which make us, the viewers, want to reach out and help her find her way. When she smiles, the world seems to brighten.

In My Life, she is frustrated by being a high-end, culturally-oriented tour guide for tourists who prefer ice cream and souvenirs over viewing the Parthenon. No spoiler here, but we can safely disclose a bit more about the plot: On her "last" tour, she bonds with some wonderful, wacky tourists who help her discover a lighter side of herself. Of course, she also falls in love with a dashing Greek man!

Lest my illustrious readers believe that the film is a masterpiece, I would add my dear spouse's one-line description: STUPID! Yes indeed, there is much to mock in this light-weight caper. The tourists are stereotyped, the portraits are superficial, and the tone is sophomoric.

But if you like nice scenes of Greece, care to smile at the antics of tourists, and feel a certain love for Greek people, you will have a wonderful time.

Knight and Day

Are you ready for action? Are you ready to laugh? Do you dig Tom and Cameron? Then this mindless, fun film is perfect!

The stars of Knight and Day need no introduction. I have seen both actors in every film they've made. My favorites? Cameron Diaz's work in The Mask, opposite Jim Carrey. And Tom Cruise's acting in the first Mission Impossible. With talent like this, a film's gotta be good!

The plot is fairly easy to describe without being a spoiler: Tom is a rogue CIA agent who might be good or bad. Cameron plays an innocent bystander caught up in the fray. Together, they flee in planes, trains, and automobiles...and along the way, Tom shoots, knifes, or Karate chops his way to glory.

I have never been a great fan of comedic thrillers. The Killers, with Ashton Kutcher and Katherine Heigl, succeeded in the genre. Knight and Day does it even better. Why do we laugh as the protagonists struggle to survive? Because both Tom and Cameron do a super job of playing their roles with tongues firmly planted in cheeks. You can almost see the characters winking at the audience as they grin their way through the travails of the mildly labyrinthian plot.

One important caviat: Tom Cruise loves to pose for the camera. Convinced that he is the most dashing man alive, Tom smiles up a storm. My recommendation: Take Tom at face value. He's poking a bit of fun at himself. Cameron too.

If you're in a lighthearted mood and seek entertainment that will not make you think, check out this DVD.

Grade of B+. Lots of fun. A few obvious flaws in the tone and flavor of the flick.

The Duchess

Keira Knightly first appeared in a big way in Bend it Like Beckham. As a the young teen who loved soccer, she acted up a storm and left the viewer wondering, "Who is this talented new star?" Then came the pirate films with Johnny Depp, where she almost out-shined the all-too-talented Depp. Well, Keira has come a long ways. Just watch her excel as the lead in The Duchess!

This is not an easy film to watch. If you have the slightest angst, or should I say, revulsion, about the treatment of women in early times, you may feel yourself nauseated...or simply furious. We're not talking mild enslavement of women by men, as we often see in Jane Austen or Charles Dickens tales. Way back when, if a woman were poor she had to find a suitable mate.

No, fellow feminists, this story goes further: The Duke of Devonshire figuratively imprisons not one, but two women, one his wife, the other his mistress, on his sprawling estate. How does he do so? By blackmail! The deal: Want to see your kids? Then join me please, will you?

OK, no spoiler here. There so much to this film. But it takes a strong stomach to watch. For example, the Duke expects a male heir. When the poor Duchess cannot deliver, the Duke simply dismisses his daughters as useless human beings. Ah, if only we could introduce the backward fellow to Gloria Steinem!

Ralph Fiennes plays the caddish, nasty brute of a duke with delightful perfection. Keira is Oscar-worthy for her role as the subjugated duchess.

The set designs are sumptuous. The costumes dazzle. To counter the discomfort of the story, the film offers a complete and believable return to England in the late 1700's. The portrait is of the upper class. Wealth abounds. So does immorality.

Grade of A. Absolutely worth seeing. A film wonder.

Book of Eli

I'm a Denzel Washington fan. His film credits are too numerous to list, but to most film buffs he's about as good as acting gets. Problem is, even someone as good as Denzel cannot save a truly miserable film.

The Book of Eli should have been called the Book of Confusion. As usual, this reviewer will not spoil the flick for those who have not seen it, but suffice it say that our hero--notwannabe hero--is a wanderer in post-Apocalyptic America. He carries a book, a Bible, one of the last remaining holy texts in the world. The protagonist must carry the book to the West, because he has heard a voice that told him to do so.

Not a bad premise. Strange that the story could not unfold logically and intelligently from this point on.

Seems some baddies want to steal the Bible. Why? Who knows? Seems a beautiful female (Mila Kunis) wants to escape the baddies and travel with the wanderer. Why? Who knows? Seems that some folks out there have some kind of skin disease on the hands. What? Huh?

Action: Oh, there's plenty of this. But's it's wanton, inconsistent, and certainly makes no sense. The hero, for example, is a Kung Fu expert, who uses his knife to destroy the hordes, much as the heroine in Kill Bill does. OK, but why do we have a ninja artist amid the post-apocalyptic idiots?

And finally: The delivery of the Bible.... Cannot give this part away, but really, it makes little more sense than the rest of the film.

Grade of Triple D for D-angerously D-itzy and D-uuuuuh.

Moscow Ballet Nutcracker

OK, this review is of a live performance, not a film. But I beg the reader's indulgence: Fact is, so much of what we like in film has to do with aesthetics. We revel in the sheer beauty of the actresses and the dashing handsomeness of the actors. We marvel at a scene so perfect in design and substance that it resembles a painting masterpiece.

It's not too big a leap (pun intended), therefore, to say a few words about the ballet. Film fans, will you permit me to comment on an extraordinary event? I refer to the Nutcracker presented tonight, December 22, 2010, at the Dodge Theater.

My dear spouse and I always go to the Russian ballets. Be it the Kirov or the Moscow Ballet, be it Swan Lake or The Nutcracker, the Russians do it best. In the former Soviet Union, most people consider ballet to be the finest art form. The top companies recruit dancers at the age of three or four and mold their talent over generations. Small wonder that the likes of Nureyev and Baryshnikov came from the land of the former tsars.

We have viewed the San Francisco Nutcracker nearly every year for the past thirty years. We have watched films of the New York Nutcracker. But the most famous productions here in the U.S. seem to pale by comparison to their Russian counterparts.

Simply put, the dance in this Nutcracker is exquisite, bold, graceful, passionate....unlike any other ballet. Of the 30 or so dancers in the troupe, every single one is capable of being the lead. The stage is simply full of prima ballerinas. The dancers perform duets that boggle the mind: they bend their bodies to create shapes, leap with the ease of cats, and remain in perfect sync. The choreography is original and daring.

So, if you occasionally tire of film, take a break by seeing a Russian ballet. You'll delight in the beauty of the art form and return to film with a new view toward aesthetics.

The King's Speech

The Miracle Worker meets My Fair Lady? Well, not exactly, although this did pop into my head early in this film. But oh, this is a rare treat in film-going.

Tracing the factual and extraordinary working friendship between England's King George VI (formerly Prince Albert), played by Colin Firth, and a would-be actor/elocution coach, Lionel Logue, played by Geoffrey Rush. As Albert's royal responsibilities increase to the point of finding himself King following Edward's abdication, and the public's new love affair with radio, his debilitating stammer propels him to seek the help of Logue.

This film is not long on action or plot twists, and had a few drawn-out parts. How it makes up for this is by humor (from bawdy to intellectual) and superb close-up acting. Firth is hitting his career stride with A Single Man and now this. He is exceptional. His tight, constricted, impeded speech in this role was gripping. I felt his pain through the entire movie.

I found Rush's character to be so appealing, he almost became attractive to me. Almost. He carried himself with so much physical control - a direct contrast to Firth's lack of control in his speech.

It was also a delight to see Helena Bonham Carter as her beautiful, cleaned-up self. Her last several roles have required her to downplay (I suspect she enjoys this) her looks (e.g. Charlie and the Chocolate Factory, Sweeney Todd, Harry Potter...) Her portrayal of the to-be Queen Mum was tender, believable and accurate in posture, etc.

This film is about politics. It is about life in the Royal Family. It is about the life-long psychological damage a father can impart on a son. It is about the advent of World War II. It is about the power of language and speech and image in leadership, not to mention its loneliness. But this educator chooses to see this as a film about teaching and the teacher-student relationship. Like Lionel's methodology, good teachers teach more than the subject, treat more than the symptoms. Within the process of guiding a student to success, we must be good listeners and "watchers" to see what really drives the student. We must command our own respect (even from the King of England) and demand discipline. We must, to a certain degree, become friends with the student, even dropping our own guard now and then to reveal our own humanity.

Ironically, the real gentlemen resemble their opposites in the film. But the right actors played the right parts. A darn good movie. Take from it what you will.

King George VI

Mr Logue

Perfect Stranger

This 2007 film noir takes "noir" to a whole new level. Wow, what a high-octane thriller!

The film stars three of my favorites, Bruce Willis, Halle Berry, and Giovanni Ribisi. Bruce has done some great stuff, including Die Hard and The Sixth Sense. Halle has won a Best Supporting actress for her role as the spouse of a death row inmate in Monster's Ball. And I liked her in James Bond too! Ribisi was outstanding as a sleazy salesman in The Boiler Room. All shine in this very twisted, delightfully dark drama.

Without spoiling the plot for those intending to see the DVD, this reviewer can explain some basics: Halle plays Rho, a brazen journalist, whose interest in exposing corrupt politicians knows no bounds. She has a close childhood friend who is unexpectedly murdered. Now she must use the internet to try to trap the killer.

Bruce Willis plays the main suspect with perfect aplomb. He might be bad, he might not. He is definitely potentially violent, as he reveals by physically man-handling an employee he fires in the workplace.

But there are other suspects... Is it the strange journalist, played by Ribisi, who is so enamored of Rho?

Or someone else?

As the emails fly, so do our emotions. We fear for the poor girl seeking the truth via online clues. We are amazed by her courage.

The plot bends and turns, like a serpentine labyrinth, as the facts emerge. The ending is gripping and creepy!

Have fun and plan to take no popcorn breaks from this potent whodunit. Grade of A plus.

Mr. Brooks

Kevin Costner has done some great film roles. As the soldier who lives among Native Americans in Dances with Wolves, Costner was convincing and genuine. He was even better, in my mind, as the farmer/dreamer who builds a stadium in Field of Dreams. And he was fantastic as Wyatt Earp. This reviewer is a Costner fan.

The talented actor does a wonderful job of being a spooky killer in Mr. Brooks. Without spoiling the film for those who have not seen it, I can reveal the basic plot. Mr. Brooks is a very successful businessman, a civic leader, a devoted spouse, and a loving father. He's got just one little flaw: he can't seem to stop killing people!

The fun of this flick is in the protagonist's alter-ego: he has regular dialogs with his killer self, played brilliantly by William Hurt. Poor Mr. Brooks really wants to stop murdering random folks...but his fictitious other self makes him do it. Ah, how difficult it is for the fine citizen to counter the blood-thirsty longings of his fantasy pal!

Now add to this strange situation a daughter who, it seems, might have inherited that little murder gene from her dear dad. Oh my, how complicated life can get for decent families to get along in the world without succumbing to their needs to kill others!

This very BLACK thriller is a must see. Lots of tension. Some suspension of disbelief required, of course. But not to be missed.

Grade of A-. A few flaws but super entertainment.

I Love You Phillip Morris

Jim Carrey's got guts. Since his neophyte brilliant days on In Living Color, he always puts it all out there. No truer than in his latest, I Love You Phillip Morris, a based-on-a-true-story romp about a talented liar, Steven Russell, who falls in love with a fellow inmate, P.M., played by Ewan MacGregor. This is such a fun, quirky, unpredictable farce (if autobiographical can also be farcical). I took younger son to see it, neither of us knowing too much about it. Those with our heterosexual orientation were in the theatre's minority, and it only added to the fun to hear the biggest laughs coming from the gay crowd, such as over Russell's line: "What people don't realize is, it costs A LOT of money to be gay in Miami Beach!" (that's more of an essential quote than a verbatim one). It does strike me odd that an entire audience finds itself giggling slightly when two gays express real passion and love for each other. I suspect we'll evolve beyond that.

Both son and I enjoyed the film. No deep themes here. One reviewer called this a dramedy. I saw it as all comedy. Many, if not most, of the laughs would have even worked in a hetero-paradigm. Carrey carries the job so well, as does E. M. Doggone it, I bought their entire relationship. I think this film will grow on me the more I think about it. Might even see it again!

The Tourist

Skip it. I walked out. Don't tell Johnny!

American Idol

This reviewer happens to be an artist and in this capacity has learned a vital lesson: every project can get muddled if the artist does not know when to leave it alone. Such is the pathetic story of the previously successful American Idol.

I have been an IDOL fan from the beginning. I remember the fun I had listening to Simon, Paula, and Randy rant about the very first contestants. I remember them lauding the talented winners and critiquing the losers. The threesome had a chemistry that was unbeatable. The picture above, smiles and congeniality, says it all.

Then the management starting shaking things up: Kara joined up, Paula got canned, and Simon flew the coop. Now who do we have? The lone survivor Randy, Jennifer Lopez. and the old rocker Tyler.

The new painting is blotched and has no resemblance to the old. Just picture the Mona Lisa with a big white stripe across her mysterious face. Oh my, what a horror!

The owners of the Yankees have the right idea: When you find real talent, and the talent works together like a smooth machine, and the public loves that machine, you pay whatever is necessary to keep the team intact.

I predict that the great IDOL will wane over the next few years and achieve an early and unexpected demise. Meanwhile, this reviewer will probably not watch the iconic reality show for the first time ever.

Sad.

Two Lovers

Joachim Phoenix, since emerging from the shadow of his charismatic brother, River, has become a gifted character actor. Remember him as the mark in Clay Pigeons? Remember him as Johnny Cash in Walk the Line? Once again, the actor with the intensive eyes creates a memorable role.

In Two Lovers, Joachim plays a socially withdrawn, troubled soul who, having parted ways with his fiancee, now lives in a muddied world of depression, exacerbated by his decision to reside with his parents. We feel for the tormented young man, who, lost in his way, reminds us at times of a more mature Dustin Hoffman in The Graduate.

Without giving away key elements of the story, we can safely say that our forlorn hero perks up when he meets not one, but two, beautiful women. Curiously, one is a cultured, intelligent brunette, who is part of his social milieu. The other is a blond bimbo who can't figure out whether to leave another man, who happens to be older and married.

With Vinessa Shaw playing the brunette and Gwyneth Paltrow playing the blond, two great actors pave the way for a very conflicted situation! Whom will the indecisive, arrested mid-30's adolescent, choose? How will he present his preferences to his family? What about future in-laws?

This viewer was spellbound by the whole situation. With the tightness of a stage play, the plot unfolds and surprises with each turn of events. Joachim Phoenix leaves a lasting impression of a young and destructive misfit.

Deadly Impact

Sean Patrick Flanery and Joe Pantoliano... oh my, what a "deadly" combination of actors! Deadly impact will have an impact on you that might send you running for cover!

Sean is well known for being the handsome hero: in this reviewer's mind, his best work was in the Boondock Saints series. Ladies, if you don't really care for action films, you'll enjoy staring at this hunk, no doubt.

Joe Pantoliano is the go-to guy for any good mafia/gangster type role. He is as gritty, mean, and streetwise as bad guys get. He can outdo Brando or Pacino for strong-arm, bully power any day of the week!

OK, no spoiler here, but suffice it to say that Sean is FBI, and Joe is very, very evil. It's not just good cop chases bad dude. It's good cop chases brilliant, wicked, personally vengeful, awesomely skilled outlaw.

Remember Dennis Hopper's bomb skills in Speed? Multiply that weird talent by 10 and add to it a guy who revels in using the cops' spouses as leverage. Now you've got Joe Pantoliano where he belongs, acting up a storm! So, thriller fans, get the point?

Now let it be said that this reviewer has enjoyed being riveted to his chair by other dramas. But in my mind, no other film in recent memory grabs quite the way this one does. At one point in the film, you wonder if anyone is really clever enough to catch the mad bomber.

Grade of A for Audaciously good.

Civic Duty

Oh my, this is a tense one! For viewers who don't mind being so glued to the screen that they are willing to forego snacks and potty breaks, Civic Duty is the flick to watch.

Without being a spoiler, this reviewer can describe the plot: A fine, sturdy, handsome, upstanding-seeming citizen, who is a CPA and apparently happily married, has a reversal of sorts: he is laid off. No big deal to the macho man. He'll just send out resumes. Problem is, as he awaits calls from the job leads, he sits around at home.

Now for some folks, a little home time is great: catch up on TV, snack, nap, play on the computer, whatever.

For others, time alone is a KILLER! The pun is definitely intended here. Remember Kafka's portrait of a man who goes insane? Remember Dostoyevsky's Raskolnikov? Remember Camus' Meursault? Or in film, remember Michael Douglas in Falling Down? Portraits of folks coming apart can be daunting indeed!

There's more to the plot that cannot be described...no spoiler, as usual, from this reviewer. Suffice it to say that our apparently solid protagonist has a few characters flaws which lead to his slow demise.

A fascinating portrait of the human mind. Well up there with the best portraits of instability.

More importantly, an extraordinary study in bigotry and paranoia. If you've ever wondered about an oddly dressed man on an airplane, and thought, "uh, is this a bomber?", then this film is a must-see for you.

A for Addictive and Astonishing.

Crank 2: High Voltage

Jason Statham, a former Olympic diver, made his name as an action hero (with a British accent) in the Transporter series. Amy Smart is best known for her role in the Butterfly Effect and for playing romantic parts. Together, the actors are dynamite.

You have to have a special appetite for Crank: High Voltage. You have to possess LOTS of suspension of disbelief. You have to appreciate humor in an action film that does not purport to be too closely associated with reality. You have to laugh at blood, and sometimes smile at stupidity.

No spoiler, but our hero has a special medical issue: he is the bearer of an artificial heart...and he needs lots of electrical charges to keep that ticker going. How and where he gets those electrical boosts forms the essence of the comedy. He makes use of batteries, transformers, and high wires. One way he generates heat is by being passionate, in public, of course, with his girlfriend Amy Smart.

Get the idea? Enter the realm of the ridiculous and enjoy!

If you like action, and you're up for some bizarre tongue-in-cheek humor, try watching this very unique, and very engaging, thriller.

B grade for Blissfully mindless entertainment.

2:22

Every so often an "indie" film is released that keeps viewers glued to the screen. 2:22, a little known film noir, is one of them.

Starring mostly unknowns, there are only two recognizable figures: Gabriel Byrne and Val Kilmer. Apparently, the famous actors took virtually no salary as a favor to the writer/producer of the flick who was a friend of theirs.

No spoiler, but the story is basically about a heist gone bad. It's a familiar theme in action films, but this time it's done with special pizzazz. The thieves are mostly older guys who have done time in prison and who have been lifelong friends. Val Kilmer plays an oddball diamond cutter with excellence.

Problem is that the unlucky foursome who do the heist have to take hostages, unexpectedly, and one of these hostages just happens to be a very, very bad dude. The bad dude is quite trigger happy. Soon a new motif appears: gang warfare and revenge!

Does it all hang together? Sort of. But the movie is nevertheless worth seeing. It has some remarkable "dark" qualities, cynical and satirical, that remind us of the Coen brothers. We get to like the weird characters, and we get to like the story.

Bizarre ending...but what else is new? That's an "indie" at its best!

The Walking Dead

OK, zombie fans, fasten your seat belts for a wild ride! The new AMC series is a winner. Zombies? Yes indeed. For an appreciation of the genre, please refer to this reviewer's comments on Woody Harrelson's fine film, Zombieland.

Not interested? Are you not interested in what makes people paranoid...what makes people join groups...what makes people hostile toward others...what makes people act like the weird social beings that they are?

You might see what this reviewer is implying. The new AMC series portrays zombies and those who flee from them, yes. But more importantly, it presents wonderful imagery, symbolism if you will, about the human condition. Think of zombies as metaphors for those we reject for reasons of color, race, creed, whatever. Think of those who escape the zombies as groupies who seek the comfort of others as they struggle to survive...sound like normal life?

Our daughter is a professor of philosophy, and, as usual, she steers us toward the "thinking" films. Anyone who enjoys some of TV's offbeat series, such as Mad Men, Big Love, and more, will see in new zombie shows much more than diseased freaks and escapers with guns.

So think LARGE, dear viewers, and give the AMC show a try. This reviewer has been riveted.

Right at Your Door

Every film has to have a good premise to succeed. This one lacks severely in the premise domain and therefore falls flat on its face.

Here's the no-spoiler scenario: Dirty bombs have been detonated in L.A. and the wife (Mary McCormack) has left for work. The husband, a self-centered sort, stays home. Wife gets zapped by toxic smoke (as in above picture) and comes home. Husband says, "Stay outside. You're contaminated!" Thus the lousy premise.

Fact is, very few of us seriously married guys would leave our dear wives out in the cold for fear of catching her dirty bomb bug. Would you not tend to your kid if he had malaria? Would you not approach your mom if she had TB? This reviewer would tell his soulmate, "Come in, dear!

Let the contamination chips fall where they may!"

So, instead of watching man reject woman for fear of catching her disease for two full hours, take your loved one to a good dinner...and of course a flick! Just don't stay home and watch this dog!

D- for Dour, Depressing, and Darned Stupid!

Murder at 1600

My dear spouse and I went back to a 1997 flick and enjoyed it immensely. Sometimes we have to return to earlier times to discover, or re-discover, film gems.

Wesley Snipes used to be the go-to guy for great action movies. I recall his fantastic work in Blade, Demolition Man, Rising Sun, Passenger 57, and White Men Can't jump. Diane lane has wowed us in Nights in Rodanthe, Unfaithful, The Glass House, and Under the Tuscan Sun.

Put the two together, and you've got acting magic.

No spoiler, so read on, film buffs. The plot is simple: A beautiful woman's body is found in a rest room. The story would unfold as a normal whodunnit, except for the fact that the crime took place in the White House! Gee, now we have to figure out if the president is involved! Or could it be his son? Or was it a utility man? Or a random stranger?

Let's hope the muscled, macho Wesley Snipes, homicide detective extraordinaire, and the lovely, brave Diane Lane, Secret Service agent extraordinaire, can join forces to find the killer. Problem is, the White House is blocking the way! Go figure. Now it's up to the heroes to defy the odds to solve the crime.

This viewer was glued to the set. As the plot unfolds, we come to root for the pair of investigators, whose unwavering moral compasses are a rarity in the principle-compromising halls of government!

A for Action. A for A-one. Go rent this oldie. You'll love it.

Unstoppable

Thrilling! And I don't use that word often.

Right before movie began, I whispered to hubby, "Let's go for a ride," and that we did! Mr. Denzel Washington plays a supporting role in this one. I say that because the real star of this film is the train, or, I should say, trains. From the very first 10 minutes I sensed the filmmakers' utmost respect and admiration for these immense, powerful vehicles that continue to keep this country moving. Director, Tony Scott, makes creative use of sound, close-up camera angles, sped-up filming to convey a mode of machinery most of us never come close to. His treatment of mixing in "news" coverage offers added perspectives and drama.

Unstoppable's (not to be confused with earlier film of same name with Wesley Snipes) other co-star, Chris Pine, holds his own with Mr. Washington. And, he is gorgeous. There was just enough personal background stuff to keep the humanity there without becoming sentimental or cliche.

I liked that there was no "bad guy" in this movie (just a profoundly stupid one). I liked that there was no contrived romance. The thrill and tension of this movie was so unceasing that I couldn't even hold hubby's hand; I held my own! And at one point I realized I had forgotten to exhale for some time! My shoulders were all clinched up. Get the point? Whew.

This movie's 95 minutes or so is just enough. One can't maintain that pace for much longer. Trust me, you will get your money's worth in that time.

Postscript: We live about 1 1/2 miles from a railroad track - just far enough away to enjoy the train whistles without windows breaking and heads hurting. Any time between 3:30-5:30 a.m. we'll hear one now and then. We learned some time back, that different train whistle patterns denote different messages. Sure enough, every train that passes through our residential area (I guess that's the code) follows: MEDIUM, MEDIUM, SHORT, LONGGGG. They are all done manually, because each conductor's is a little different. A lot like jazz. Cool, huh?

The Spanish Prisoner

Steve Martin is incredibly versatile. He does comedy. He plays bluegrass banjo. And on occasion, to our delight, he does serious drama. He's excellent in The Spanish Prisoner.

Made a decade ago, the story is about a sting. No spoiler, as usual, but let me say that this "noir" thriller really grabs the viewer.

Just imagine yourself as a creative mind working in an industry where your most recent breakthrough, which could bring the company (and you) millions, is very hush-hush. You've got the plans and details for your brilliant idea in your office safe. But soon, circumstances push you to open the safe...

Rebecca Pidgeon, one of the best character actors of the 90's, is delightfully creepy as the wannabe girlfriend of the mark. She flits around, full of energy and mystery, and we constantly wonder what her angle is.

Steve Martin is not on stage a lot, but when he is, he shines. He has a wonderfully cynical, enigmatic smirk when he grins. He becomes friends with the victim of the scam. Question is, what is his role in the whole sting?

So, turn back the clock, rent the 1997 DVD, and enjoy a weird, complex, intriguing plot unfold. You won't be disappointed. Just one caution: the ending could be slightly more interesting to be consistent with the rest of the movie.

Due Date

This will be brief. In two words: Skip it. Why, oh, why, does an actor of the caliber of Robert Downey, Jr., allow himself to sell out to a trite, formulaic trip with the of-recent over-exposed Zack Galifanakis? I appreciate his flexing his comedic wings - he's good at it, but this movie was so stupid and boring that I twice fought the temptation to check my phone's email!! I can't even be articulate here.

Oh, it had about 6 good laughs, but the very funniest line came without anyone else in the theatre "getting" it. Very early in the film, Robert Downey Jr.'s character says to TSA, "I've never done drugs in my whole life!" I laughed so hard. Coming from our Mr. Downey, this was an adorable tongue-in-cheek moment that must have required several takes to say it with a straight face! Oh, my stars.

Anyway, save your money. An upcoming one looks hilarious (Hall Pass) but then I've been wrong before, and it doesn't come out until February. Argh.

I Am Alive: Documentary of Andes Survival Story

Back in 1972, a team of rugby players, mostly 20 year olds, flew across the Andes on the way to a soccer match. They wore T-shirts, drank and caroused in the plane, and laughed as they told stories of sports games. Right over the middle of the snow-covered mountain range, their plane shook. Seconds later, the plane hit a mountain peak, sheared off the rear, and sent about 25 passengers to a snowy death. The other 49 players miraculously survived as the front fuselage slid down a mountain slope and came to an abrupt stop.

In 1993, the story was popularized with a movie that starred Ethan Hawke. It was a moving, harrowing tale of how the survivors stayed alive (by eating human flesh) for more than two months, before two brave souls, half starved and bearded, somehow hiked 37 miles across the snowy peaks to get help and save the others. This movie is a must-see.

However, this review is not about the film. It's about the documentary made just last year on the incredible story. Done by the History Channel, this is no doubt the most riveting, rounded, unbiased documentary ever produced. In it, we meet Nando, one of the two fearless warriors who defied the odds and made it to safety....but only after being stranded for some 63 days with fellow survivors in the fuselage.

I am entranced by what drives people to survive. If you are too, consider watching this story. You'll reflect on the strength of the human spirit. You'll weigh moral decisions the survivors had to make. You'll marvel at how young people grew up in the course of two months.

Most of all, you'll ask: What would I have done?

A+ grade. Fantastic, gripping work.

Inside Job

My dear spouse and I finally got out to the movies...did we choose something frothy and entertaining? No, not this time! We chose a flick that taught us an incredible history lesson...and made us wonder about folks in the business world.

The Inside Job is a two hour documentary that covers the financial dealings of AIG, stock brokerages, and other large companies that dealt in derivatives, subprime loans, and other questionable dealings that brought about the disasters of 2008. We learn first-hand about money-driven CEO's who would stop at nothing to earn a buck and whose underhanded business practices led to the housing market crash, unemployment, and global recession.

The most interesting parts of the story are the people involved. We learn about the Harvard professors who earned million dollar consulting fees as they played advisors to The White House and sold their expertise to the highest bidders. We learn about trusted names like Greenspan, Geitner, Paulson, and Bernanke, and see how our trust in power-mongering egomaniacs might have been badly placed.

One of the biggest shockers of the documentary lies in the fact that Obama has employed nearly every participant in the Great Meltdown. We discover that, as we remain shocked by the past exploits of our financial anti-heroes, these personalities are still in control.

Most of all, to this viewer, the documentary unfolds like a morality play, where the amoral MBA's control the pursestrings and the rest of the world looks on in dismay. Did the major players commit illegal acts? Hard to say. Where there was ponzi-scheming, indeed they did. Yet it seems only Madoff took the fall for that one. Was it beyond the law to receive massive corporate compensation from companies that had relied on government bailouts to avoid bankruptcy? Probably not. But it pushed the limits of decency.

This history lesson is worth seeing. Our daughter, whose interests lie not in finance but in philosophy, told us to run out and see this flick. She was right, because indeed the lessons lay more in the world of philosophy than than the world of currency.

The unemployed are suffering, those who lost their houses are suffering, and others who did not get so badly hit have the luxury of seeing this film and asking, "What is our world coming to?"

I remember Val Kilmer as a knockout gangster in Heat. He was great as Simon Templar in The Saint opposite Elizabeth Shue. He played a very believable Doc Holiday in Wyatt. BUT: He was awful in Double Identity.

Maybe we should not fault the actor. The storyline was so poor that it was almost laughable. I will for once be a spoiler, because I would recommend highly against any readers seeing this film.

A doctor is doing goodwill work behind the Iron Curtain, somewhere in Bulgaria. There, he is mistaken for a spy, so the various mafias are after him. He can often escape to freedom but does not. He is of course smitten by a pretty face, so why would he want to get back to the West? Uh, to survive, maybe?

Why are the baddies after him? Who knows? Who cares? Why doesn't he get of there when he can? Who knows? Who cares? Why does the plot go from okay to utterly stupid? Who knows? Who cares?

This reviewer is normally quite positive on films. My esteemed colleague sometimes implies that I tend to overstate the credits and understate the debits. Not true this time.

Stay away from this dog! F for Failure to be intelligent or entertaining.

Vice

This little known police procedural came out in 2008, and it's a keeper! Michael Madsen and Daryl Hannah have perfect chemistry that keeps the dark plot moving along and makes us invest in the characters.

A note on both actors: Madsen has been doing great stuff for years. I recall his incredible dance in Reservoir Dogs, where he holds a pistol, wondering whom to shoot, as he rocks to the song "Stuck in the Middle with You." What a guy! Daryl Hannah, beautiful to this day, made a great splash in the movie by that name, with Tom Hanks, did the original Wall Street with Michael Douglas, and played the ruthless Elle in Kill Bill. What a gal!

Vice offers a solid, believable story. No spoiler, as usual: A bunch of crooked cops make a bust and can't resist stealing 40 million dollars worth of drugs. Problem is, the bad guys not only want it back...but wreak revenge by knocking off the cops one by one.

It's up to our illustrious pair of heroes to solve the mystery. Will they? They have internal demons of their own, so will their hubris bring them down? Oh my, how tense the films gets.

The pace is slow, so for those seeking continuous action, this is not the right flick. For viewers who appreciate a very "noirish" police story, with shady characters who veer to the other side of the law, this film offers a solid night's entertainment.

Hereafter

Clint Eastwood has hit his 80s. Wow. I suppose that's why he has tackled the last great frontier of death to explore in his latest with Matt Damon. I revere Mr. Eastwood. I adore Mr. Damon. I will go see any project they are involved with. I was a little reticent, however, to see this film, worrying that I was still too steeped in mourning my mother's death to handle this subject. Yet, what more timely topic to allow my brain to ponder?

Well...I found this film to be quite forgettable. Weaving three sub-plots that tie up nicely in the end, it had Eastwood's eye for setting and camera work. It was well filmed. It just wasn't well-conceived. The most gripping (terrifying for this viewer who has a fear of catastrophic water events!) scene was the first - a recapturing of the Indonesia tsunami, absolutely BRILLIANTLY filmed. Took my breath away.

From there the film rode a wave of dullsville.

There was nothing original in the exploration of life after death. Not a new idea, image, or tone. I felt much more, emotionally and spiritually, from Sixth Sense. One character's near-death experience was treated as if it was virgin territory, filled with controversy and denial. This is 30-40 years too late. Elizabeth Kubler-Ross's research, as well as Robert Moody's in the field have over-documented people's experiences. It just isn't earth-shattering as it was treated here.

I am mystified by this film and hope Mr. Eastwood hasn't lost his directing edge. I did not cry at any time here. I did not leave the film having my thoughts or emotions stretched. After the film, spouse and I just didn't have anything to talk about. Not a good sign.

By the way, we watched Invictus last night - another Eastwood/Damon collaboration. It was slow at first, but ended up better than I expected, and better than Hereafter.

No Remorse

I have never been a big Tom Selleck fan. But in recent years, with more maturity, the actor seems to be better than ever.

He does a fine job of playing the hard-boiled, ex police chief in a small town. No spoiler here, but the police have some unsolved murders on their hands, and clearly there is only one guy in town with enough savvy to figure them out.

Now for the interesting part: The film is based on a Robert B Parker story. I have long been a fan of Parker's mysteries. Unlike other writers who strive to sound real but rarely succeed, Parker always creates outcast cops and detectives who are quiet loners, often down on their luck, with terse lines, macho layers, superficial friendships, and a bottle of whiskey at hand.

So the fun in this film is in the dialog. With Kathy Baker playing the only real friend Selleck has, the exchanges of words are minimalist at best. An example: When the seductive wife of an old acquaintance offers herself to Selleck, he simply says, "Wow"....and leaves the room! What a guy.

Not a great film, and certainly not worthy of hyperbolic critical note. But if you want to sit back and enjoy a solid mystery with weird, offbeat characters, give this flick a try.

Unthinkable

Can any film with Samuel L Jackson be a loser? Not in this viewer's book! Once again, the skilled actor, the ace of "intensity," delivers top-notch acting that appears worthy of Oscar notice.

The plot is simple, and I can share it without being a spoiler: SLJ is an expert in witness interrogation, and he is called in to help get information from a terrorist who claims he has planted three atomic bombs on U.S. soil. The viewer can only imagine the kind of expertise SLJ brings to his task....and it isn't very pretty!

The brilliance of this film is in its tightness: The plot evolves in a confined space, seeming more like a theatrical setting than a flick. But sometimes a restricted locale can create greater tension--like the prisoner being interrogated, we feel trapped.

My first reaction: Ugh! Who wants to see a suspect questioned...and, uh, more than slightly mistreated? Not so fast, cynics! This is a fantastic morality play. The plotlline tugs at our heartstrings, making us wonder, what really is our position on such creative activities as water-boarding? Do the ends ever justify the means? What would we do if we had to extract information from someone to save millions of lives?

Not for the faint-hearted. For the movie-goer who admires outstanding performances and appreciates a story that make us question our own values.

Watch Carrie Ann Moss shine as well.

Alien - 1979

[This image SO deserves to be larger; couldn't get it to enlarge.]

Well, I just saw Clint Eastwood's newest, The Hereafter, and will post a review, but frankly, it's fast fading in my mind and I want to talk about this old classic I recently revisited.

There I was, minding my own business, when I turned the channel and Alien was just starting. I thereby lost 2 hours of my life sitting, riveted, completely caught up in a film I knew I liked, but had forgotten how AWESOME it was. In fact, I had to stop with 20 mins. to go to fix dinner, so I taped the remainder and couldn't wait to return to it the next day! That's the sign of a good movie.

1979 - ah, yes, I remember it well. I believe Alien was the modern start to a wave of sophisticated sci-fi flicks. While sci-fi is not my favorite genre, if a movie is good, it's good. Here we see early signs of director, Ridley Scott's, genius. Now, I don't need to summarize the movie for you; so I'll just itemize what makes this such a classic.

1. Sigourney Weaver. Remember, this was 1979, and to see a female protagonist who is strong, resourceful, and darned intelligent was an important statement in those times. Weaver has a square set prominent jaw - perfect for her character's steadfast nature. She looks like she's wearing zero make-up and her natural flawless, porcelain complexion is striking. (Naturally, they had to include the obligatory "wearing barely more than bikini panties" shot near the very end. oh well.) Her character is all heroine.

2. The plot satisfied both the themes of "teamwork," and "solo-hero."

3. The alien prototype is downright terrifying (right up there with my second place choice of the one in Terminator (see previous post). From it's "birth" out of John Hurd's chest, rapid molting, and surprise appearances, it truly scares the hell out of me.

4. I am struck by the contrast between the ultra sophisticated, high end technology in science and engineering in machinery and weaponry, pitted against the most primitive of organic substance that was the alien. Every inch of the ship is antiseptically clean and bright and minimal - the monster is dark and wet and slimy and gross. And if you look closely, many of the structural designs and patterns on the alien are actually replicated in the technological interior sets of the spaceship, such as the spine on one and the coiled pipes of the other. Amazing.

5. Put all that in the hands of Scott as he adds elements of darkness, wetness, blinking (almost disco) lights, tinkling chains, and great scoring and you have one mesmerizing monster movie. When Ripley (Weaver's character) finally blasts the alien out of the ship I literally burst into clapping and cheering.

If it's been a long time since you, too, have watched this classic, revisit it. It's a goody!

Jonah Hex

This viewer is crazy about film originality. Every so often, a flick is so bizarre in plot and imagery that it sears our imaginations and makes us stand up and say, "Wow!" Such is Jonah Hex.

Consider for a moment a protagonist with a face so disfigured you cannot stand to look at him. Consider too a man who can temporarily resurrect, and talk to, the dead. Now add beautiful Megan Fox to the mix, throw in the acting genius of John Malcovich, and take a basic revenge plot that becomes iconic in power, and you've got Jonah Hex.

Josh Brolin plays the outcast, the creepy hero, with brilliance. He impressed us as Harvey White in Milk. He was fantastic as the greedy, money-seeking victim of a killer in No Country for Old Men. But in Jonah Hex, Brolin, with grizzled flesh and the mouth of a monster, outdoes himself. He is every bit the living Frankenstein who rides the old west, consulting the dead, as he pursues the man who destroyed his family.

Where did the writers get such a strange plot? Who came up with such an offbeat, eerie story? Tough to answer....but suffice it to say that once you've seen this film, you'll have a very different view of the avenging angel!

Want to have fun? Return to the days of the Civil War and watch Jonah take on evil in the world. It's an experience you won't soon forget.

Letters to Juliette

Amanda Seyfried, the rebellious daughter in Big Love, has become the go-to star for "Chick Flicks." Once again, she does a great job of playing the forlorn searcher of true love who wins our hearts on her journey.

My esteemed colleague once wrote in lauding a violent movie, "I'm a girl...." Great preface, which I shamefully mimic: "I'm a guy...." BUT: I love this soppy movie!

Here's why: It takes place in Italy, a favorite alternate world where my spouse and I live the Renaissance vicariously, eat pasta, and stare at beautiful people. It stars the cute, pixie-ish, adorable Amanda. It also stars the very talented and mature Vanessa Redgrave. It involves two generations of lovers, old and young. It centers around a generosity of spirit that is absolutely touching.

Then there's the Verona and Romeo/Juliette motif. What fun to place a romance in the very place where spurned lovers write notes and hope to get answers!

No specifics, but can you imagine two former teen lovers who meet again after 50 years? Will the spark still be there? Will they even recognize each other? Can they make a life after so much time? To mirror those tensions, will the young female protagonist realize that her Italian fiance is a self-centered jerk and find the man of her dreams?

If you're a gal or guy with a heart who still thinks about the wonder of love, run out and rent this film.

A for captivating, entertaining, and delightfully soapish!

Glee'sRockyHorror

READERS: We invite you to go first this time! Tell us what you thought of this week's Glee episode: A tribute to Rocky Horror Picture Show's 35th anniversary.

Mad Men 10-17 Finale!

Hey! Anyone out there remember Dallas or The Bob Newhart Show? My friend Keiko nailed it when she suggested this season's finale (What? Finale already? Can't be!) must be a long dream sequence, cause otherwise I'm sittin' here scratching my head and saying, Huh?" Don...is...in...love? With Miss "Bad Teeth?" Sorry, but even SHE mentioned her teeth! Now, we've been watching Don go through changes all season, but I must confess I don't know if I can handle a gushy, grinning, goober-faced Don Draper. I will even suggest, for your consideration, that Jon Hamm is one of the rare gorgeous men who actually looks less attractive while smiling broadly. He does NOT know this woman. I think he is drawn to a mommy for the kids. And why such a hurry? Truly weird. [I did adore watching him in daddy-mode, though.] Poor Dr. Miller. I still think she is right for him. Ironically, he's now a turd because he's doing the honorable thing of marrying.

I winced at Peggy's subtle (except to us) heart stab at hearing of Don's impending marriage. Then Don pours salt on the wound by insulting her saying, "She reminds me of you." ARGH!!!!! Peggy and Don are so unlikely, and yet...

Again we are reminded of the uneveness in the corporate world as Peggy feels her huge landing of new account was trumped by Don's announcement. I'm sure if roles were reversed with a "girl" in the office announcing her engagement, all the hoopla from the fellow execs would be on business. It was such a weird gender-bender.

Well, every finale needs more than one bombshell. Joan is still with child. OMG. We all know whose it is, don't we! My sister was right. She questioned if Joan had actually gone through with the abortion. Well-played, Marsh.

A couple of fun retro details: "The Name Game" playing in the background. And Topaz stockings. Now, when they first mentioned Topaz, nothing stuck with me. Later when I realized it was stockings I had a major instant mental elevator ride from deep in the basement of my brain to the top floor of consciousness. (Whew - I am in an extended metaphor mood!) I remember Topaz stockings - they came in a sweet little white box and encased in tissue paper. In my house these were reserved for very special occasions - family wedding, prom... I haven't thought about this in ________ years.

Last scene with Don and Betty closing up shop felt real, painfully real, with each walking in a different direction. Divorce is always so sad.

WHAT am I going to watch next Sunday??

Mad Men 10-10-10

Betty Draper is a wicked, wicked mother. There, I've said what you're all thinking. When each night's episode begins with, "Previously on Mad Men," and I see domestic Draper scenes, I sigh; tonight's show will feature the FAMILY. Now that Don isn't in that family, I wish it would all center on MAD[ison Avenue]MEN. Because nothing really develops here. We get the dynamics. That said, tonight we watched little Sally as she teeters between the sweet girl she was and probably misses being, and the Betty-morph she keeps slipping into, thanks to said mother! Betty shows cold, but polite distance toward her two sons, but downright animosity toward her daughter. I think it's an alpha-female syndrome. As her girl matures (which we are literally watching as the child actress thins out into adolescence), the mother sees her replacement in the world, a world that Betty bitterly misses - modeling, socializing, playing, youth. One hint of this was in the bizarre scene where Betty desperately clings to continuing her own visits with S's child psychologist. This is one fragile, brittle woman in arrested development who is ready to crack. And yes, part of me feels very sorry for her, and I suspect we will learn why down the road. Actually, I take back what I said earlier; it is pretty interesting.

Quick note: opening scene of her feeding hot dogs to her children before step-dad comes home and the adults will have "different food" jolted my memory box. My parents were friends with a couple who would frequently serve their boys hot dogs while the parents ate steak, justifying it that the kids didn't "like" steak. Could be. But my mom was always so indignant that there would be such a food hierarchy. {Years later, one of the sons "accidentally" shot and killed his dad. oops.}

The sub-plot of artist-junkie was a weird one, but with this show, I hold great trust that the wisdom will be revealed. Sure enough, in a later scene, Don sits staring at her tormented canvas. I wonder if it held fascination for one who has his own addictions and lapses of control, hmmm?

The Lucky Strike meltdown intrigues me. As they mentioned a new cigarette aimed at women, all I could think of was, "it has to be Virginia Slims," right? We'll see. The rapid flashes to each person's private reaction with totally 60s film music in background was quite authentic.

Don Draper's manifesto, Why I Am Quitting Tobacco, was stunningly brilliant and courageous. But I know the feeling: on those rare mornings I would wake up having no clue what I would be doing in 3rd period class, I'd pull out all creativity, throw caution to the wind, and usually had one of my best lesson plans. Brilliance under pressure - haha. He was an ass for stating a new "policy" the firm had not discussed, but the ol' "best defense is good offense" is the act of a leader. Wow. It's "I'm breaking up with you." "Oh yea? Well, I don't want you anyway." WHAT'S GOING TO HAPPEN NEXT WEEK?

A fun reference: Barefoot in the Park. Great play. One of my favorite nostalgic movies. I saw it on the first morning after 8th grade graduation.

Lastly, I am continuously amazed by all the alcohol in the offices. Whew.

The Social Network

While my film blog buddy enjoys the crisp air of the Swiss Alps, I shall scoot in and offer comments on The Social Network, which examines two intellectual property lawsuits brought against founder/CEO of Facebook, world's youngest billionaire, Mark Zukerberg (currently worth $5 BILLION!) While the film did not enjoy cooperation from Z., its makers drew heavily on court records for authenticity, trying to show various perspectives.

I enjoyed the film. Really, I did. Dialogue was in the incredibly crisp, tight, fast-paced, witty, pay-attention style of screenwriter Arron Sorkin (West Wing and others). Direction by David Fincher followed suit.

Casting and performances were dead on: Jesse Eisenberg playing King of Passive-Agression, Zuckerberg, and of most note, Justin Timberlake, who proves he can not only be dynamite on stage, but deliver a performance that made this unapologetically HUGE Timberlake fan actually forget who he was. Wow.

One of the most dramatic indicators of an invention's success is when it changes the lexicon (e.g. "I xeroxed it.") Facebook changed the word "friend" into a verb. ("Hey, friend me, o.k.?") By the end of the film. we are shown that Z., who has brought together over a million "FRIENDS," has not one real one to call his own. Therein lies the poetic irony.

Best line of the film came at very end when an attorney says to M.Z., "You're not an asshole, Mark. You're just trying so hard to be." I think that nailed his persona.

As I said, I enjoyed watching this, and yet, the morning after I question what I got out of it. Was I enlightened? Moved? I realize the focus of the film was the legal cases themselves, but I wanted to know more about Zukerberg. What lay beneath that stoic facade? Also, they should have shown more of Facebook's impact - numbers do not tell a story. A million members. O.k. But even a 30 second clever montage of our everyday use of this social phenomenon would have had an impact.

By the way, I just discovered the Winklevoss twins were played by one gentleman. Completely amazing - I had no idea.

I find the passive-aggressive personality to be immensely undesireable, downright maddening, even viscous. Let's not worry about Mr. Zukerberg; now that he's sold Facebook he's not got one "friend," he has 5 billion.

Mad Men 10-3-10

After this week's episode, my sister asked me, "Do you think what's-his-name (Pete Campbell) will leave the firm?" Therein lies part of this series' success for me: I HAVE NO IDEA! I can never tell what turns this show will take. Not a clue.

This week's show centered on Roger Sterling. An interesting sign of how he stands out from the rest can be found in his office. If you notice, the rest of the greater office is still grounded in the furnishings and interiors of the 50s. Not Roger's. He has embraced (notwithstanding his residual resentment of the Japanese) the new go-go look of the burgeoning pop culture 60s. And it appears uncomfortable, lacking color, cheap, and short-lived in plastic. All image. Hmmm. Roger's going through a tough time. On this night, he lost Joan. Again. Really this time. Well, maybe. The scene was so poignant to this viewer. Again, I felt it. Authenticity oozes from these two; makes one believe in "chemistry" for actors, as in real relationships. I was sure Roger left her building and found a little corner in which to weep. Yet we next see him keeping up appearances with loyal wifey.

He is completely blowing it at work. What is going on? I am fascinated by "work" drama; it is such a nice change from "domestic" issues and I learn a lot, so watching the ripple effect of losing accounts offers revelations in the corporate world. But Roger is just losing control of everything.

Don was a bad boy again, and I am disappointed in him! Brother. And this new secretary is no jackpot - has bad teeth! I don't really believe in sex addiction, but in today's pop psychology, maybe that's what he has.

Just a few funny moments that I relished:

WINCED AND CHUCKLED when the short little squirt/nephew/employee's raised hand was overlooked. Yea, I feel your pain.

WINCED AND CHUCKLED during the big Lucky Strike crisis pow-wow, did my eyes deceive me or was Bert Cooper in his jammies??

WINCED AND CHUCKLED as Pete Campbell pacing in maternity waiting room while Trudy is in false labor, (god, how primitive) and his father-in-law suggests he "go about your business." !! That old paradigm just seems so bizarre now-a-days.

WINCED AND CHUCKLED again as Peggy managed to successfully sell her Playtex gloves pitch while sporting lipstick on her teeth. OMG! Those male asses wouldn't alert her ('cept for the Playtex guy himself).

[By the way, my very dear, dear friend, a gay male, was the one who taught me a fool-proof way to avoid the lipstick-on-the-teeth faux pas. Rest in peace, Stevie, and thanks!]

Mad Men 9-26

See? I can post pics that aren't of Jon Hamm. But it's not as much fun...

Anyhoo, another strong episode, I mean so strong that at one point I stopped breathing, I swear to God. It was when Don had his panic attack. I could not breathe till he could. Mr. Hamm is not just about looks; the man can ACT!

Finally, we move into the era of the Beatles. Sally's euphoric pre-teen primal scream was dead-on. Don certainly seems to be trying to reach his impressionable daughter.

This episode was a nice balance of several characters. Joan and Roger's predicament was not handled with any surprises, tho. However, what a painful moment when Joan is taken for the mother of a daughter in a pickle. Imagine the pain. Her "I'll take care of everything" veneer is starting to get to me, tho. I need to see her EXHALE, lest she explode out of that amply stuffed wardrobe. How like her to immediately say to Roger, "I'm really sorry," over their love-embryo. So typical of many of us women.

Introduction of the Playboy Club was a tickle. I truly hoped (and halfway expected) to see Hef actually appear, sporting a little hair dye and a smoking jacket. It would have been too awesome.

Lane's attempt to break out? His own love relationship seemed to come out of nowhere. Very sad, pathetic really, the way his "proper" father treated him.

Back to Don - This was immensely dramatic as we watched his terror. I was amazed by Pete's noble sacrifice. What does he have to gain? Is it to arm himself for later? He seemed like he really couldn't bear the idea of a no-Don firm. And Betty's cover-up can only mean she still has feelings for him. His new love interest (Dr. Miller, first name?) seems good for him. "I don't want any secrets." wow.

We all have secrets. We ALL have secrets. But I wonder what it would be like to LIVE a secret every day of your life. I have a friend who lives a lie every day. Must be torture.

Finally, the episode's ending song of "Do You Want to Know a Secret?" by the Beatles was, as usual, perfection in clever appropo.

This series satiates me.

Lakeview Terrace

Remember Samuel L Jackson as the Bible-thumping hit man in Pulp Fiction? He was hauntingly bad as the assassin with weird, religious fanaticism.

SLJ has done so many powerful roles, it's time someone nominate him for a Best Actor. In Lakeview Terrace, Jackson again shows why he's Oscar material.

The information I will provide about the plot is on the jacket cover, so no spoiler here: SLJ plays a cop who is just slightly miffed at a "mixed" couple who move in next door! The racist officer has strange reasons for hating black women who go with whites, so he lets his new neighbors know they are not welcome in no uncertain terms.

Patrick Wilson and Kerry Washington play the victimized couple with a mixture of arrogance and stupidity. The result is a taut, tense, tight, scary plot that grabs viewers and pulls them into the film.

Will the cop wreak vengeance on the innocent lovers? Will the couple survive the harassment? All bets are off as the plot unfolds, with each scene making the knot in our stomachs oh-so-much tighter!

A- grade. Super acting. Some suspension of disbelief required. Top notch entertainment.