opening this week
An Inconvenient Truth (PG) Reviewed at left.
Click (PG-13) Workaholic architect Michael Newman (Adam Sandler) comes to own a universal remote that allows him to fast-forward and rewind to different parts of his life. But complications arise when the remote starts to overrule his choices.
Waist Deep (R) An ex-convict (Tyrese Gibson) gets tangled up with an L.A. gang after his car is hijacked with his son inside.
A Prairie Home Companion (PG-13) The first great film of 2006 is also one of the best films Robert Altman has ever made. There’s more life, energy, and cinematic invention in this film from the 81-year-old legend than in all the exploding, effects-driven rubbish taking up screen space at the movies this season. An ensemble piece with a star-studded cast — Kevin Kline, Meryl Streep, Lily Tomlin, Lindsay Lohan, Garrison Keillor — the film is basically a backstage look at the fictional last performance of Keillor’s long-running radio variety show, A Prairie Home Companion. It succeeds on this level, but, more, the film becomes a strangely charming meditation on death and the passing of an age — not as a bad thing, but as something that is merely an inevitable part of life. Keillor has handed Altman the script of a lifetime, and Altman has given him the perfect film of his brainchild — while summing up so much of himself and his films in the bargain. —Ken Hanke
Ballet Russes (Not Rated) Daniel Geller and Dayna Goldfine’s rousing documentary tells the story of a once-celebrated, now long-defunct ballet company that changed the face of modern dance. Although Ballets Russes has an admirable sense of humor about itself, there’s a holiness here that’s easy to sign onto. Curiously, it’s the ballet corps — members of which grew up into a pioneering gay porn director (Wakefield Poole) and Batgirl (Yvonne Craig) — who sound the most reverential about the companies. The stars are less dewy-eyed, but when they gather for a reunion in 2000, it’s obvious that dance is a bug they caught young and never got over. There is one scene in particular that’s a hell of a heartbreaker, in which George Zoritch and Nathalie Krassovska re-create a scene from Giselle, which they danced 50 years prior … the moment — and the movie — are nothing short of majestic. —Kimberley Jones
The Break-Up (PG-13) Think Who’s Afraid of Virginia Woolf? with the characters dumbed-down to double-digit IQs. The Break-Up is easily as much fun as lobotomizing yourself with a dull spoon. Marketed as a romantic comedy, the film is blessed with neither romance nor comedy. A pre-credit sequence explains how — but not why — Jennifer Aniston’s character hooked up with Vince Vaughn’s character (apparently she’s a sucker for a free hot dog and a little snappy patter). The entirety of the charismatically-challenged couple’s relationship is detailed in “candid” snapshots (raising the question of who took the pictures of them in bed) behind the credits. The remaining 90-odd minutes of the movie exists merely to demonstrate how annoying and unlikable they are. It does a splendid job of that long before the movie has the decency to end. —KH
Cars (G) Though the big-eyed, childish looking characters of Cars might lead you to think otherwise, what the film really is, is a love letter to the heyday of the American road and the faded mystique of Route 66. What could have been Pixar’s most simplistic, pre-teen limited film turns out to be one of their biggest and most mature, as it tackles larger themes that’ll probably fly right over the heads of kids. It’s the characters that really sell Cars, but even so, there are moments in this film where you’ll forget you’re looking at a cartoon. It’s a stunning piece of work, a visual masterpiece, the kind of movie that would be a must-see even if the story weren’t any good. —Joshua Tyler
The Da Vinci Code (PG-13) First of all, anyone whose faith can be undermined by a Ron Howard picture is probably on pretty shaky ground belief-wise to start with. There’s nothing very shocking about The DaVinci Code — except maybe for the mauling it’s gotten from some critics. What were they expecting? A daring visionary work? It’s a film version of a middlebrow pop novel made by the quintessential middlebrow pop director of our age. Howard delivered exactly the film I expected — a glossy, well-made, utterly impersonal work that questions the divinity of Christ for seven reels only to turn around and conclude that belief in that divinity is essential in the eighth. It’s entertaining — especially when Ian McKellen is onscreen — but hardly substantial. —KH
The Fast and the Furious: Tokyo Drift (PG-13) One hundred cars were destroyed in its making, so if you want speed and destruction you’ll be happy. There are also lots of short-skirted, vacant-eyed women. The location is gadget-obsessed Tokyo where there’s no such thing as a straight thoroughfare, so “drifting,” or driving sideways, is what he-men do at night — in parking garages, crowded city streets, and lethally-curving mountain roads. Terrific racing. Ho-hum everything else. —Marci Miller
The Lake House (PG) A good film that is nearly a very good film. The thing that ultimately keeps it from being more than good is simply that director Alejandro Agresti and screenwriter David Auburn (Proof) never quite get the film past a combination of effective melodrama and fantasy (or sci-fi) and into the realm of the gloriously romantic. Put simply, any romance that doesn’t make at least one successful major assault on your tear ducts is one handkerchief shy of great romance. Engaging performances from Keanu Reeves and Sandra Bullock as the duo with the bad luck to fall in love despite living in different time frames help, but the movie’s too cerebral for its own good. —Ken Hanke
Mission Impossible III (PG-13) Two solid hours of preposterous stunts, ridiculous plotting, Tom Cruise’s biceps, and lots of things blowing up — all in bone-jarring Dolby sound. No, it’s not unwatchably bad, but it’s remarkably undistinguished. The big development this time is giving Cruise a girlfriend/fiancee/wife (Michelle Monaghan) for the villain (Philip Seymour Hoffman) to imperil. This affords Cruise the chance to emote. Unfortunately, Cruise’s tears seem about as sincere as his trademark smile, while his scenes of soulfully gazing into Monaghan’s eyes suggest less rapturous devotion than the star studying his own reflection therein. —KH
Nacho Libre (PG) I don’t know that it’s fair to say that Jared Hess’ new film, Nacho Libre, proves that his Napoleon Dynamite was a fluke. In the end, Nacho Libre is pretty much the same film all over again. Oh, the plot — Mexican monk (Jack Black) sets out to become a wrestler — is different, but it’s the same sort of deadpan, meandering narrative with the same lack of discernible structure. But Napoleon Dynamite offered the illusion of freshness wrapped up in a fairly mediocre movie. Here, Hess proves that even with a decent budget and a star, he can still scale the heights of mediocrity. Strictly for the “Vote for Pedro” T-shirt brigade and people with a burning desire to spend 100 minutes looking at Jack Black in spandex. —Ken Hanke
The Notorious Bettie Page (R) Mary Harron’s unconventional black-and-white biopic is a splendid visual treat, evoking both seamy noir and Eisenhower-era American naivete, while occasionally switching to some of the most gorgeously supersaturated color stock this side of Douglas Sirk. But like Page herself, the film leaves you wanting more. Gretchen Mol inhabits the role of Page like a second skin, and while she’s not as curvy as the real thing, she’s got the sassy, wide-eyed innocence down pat. Yet no matter how many retro-burlesquers and online cheesecake Suicide Girls you see sporting her sexy black ‘do, Page herself remains a haunting, ethereal enigma. Harron’s film captures her spirit but not her soul. The Notorious Bettie Page raises more questions than it answers, which is not necessarily a bad thing. —Marc Savlov
The Omen (R) One tolerated the bogus piety, extra-Vatican huggermugger and general Panavision gloom of the original The Omen because one knew there was a really cool decapitation or impalement to follow. Alas, the days when a possessed nanny could hurl herself from a mansion top and dedicate her demise to The Antichrist are gone. The sole way the new Omen might conceivably work is in its sadistic one-upmanship of the original’s fanciful deaths. But director John Moore’s idea of gore innovation is to simply linger on the bloody remains — and to relentlessly reference 9/11 in an attempt to get us in a properly antsy Armageddon-ish mood. —Ian Grey
Over the Hedge (PG) “It goes on forever!” screams one of the animal characters in Over the Hedge, describing the new shrubbery that popped up around their woodland home while they hibernated. But that also nicely describes the urban sprawl hidden behind it: Thousands of humans packed in tract housing, driving minivans, talking on cell phones, and paving over anything that gets in their way. Far from another computer animated classic, Over the Hedge nevertheless is a cute, clever little movie that gets on the screen, entertains, and then gets off. It’s succinct and sweet. Good enough. —KH
Poseidon (PG-13) There’s a website where you can use your keyboard to rock an S.S. Poseidon in a bottle till it finally capsizes. It’s a tremendous waste of time, yes, but less so than Wolfgang Petersen’s Poseidon, and considerably more entertaining. Petersen’s remake of the much-loved camp-and-cheese 1972 film The Poseidon Adventure is a mind-numbing combination of bad writing, characterless characters, and terabytes of state-of-the-art CGI work. The writing (what there is of it) transcends every known standard of terrible. After the ship has turned over thanks to the film’s “rogue wave” and hundreds of people have been killed in a sequence that looks like the prom from Carrie minus the pig blood, someone actually asks, “How bad is it?” Petersen puts his B-list cast through their paces and does create a few tense moments, but it’s a lot of effort for very little return. —KH
The Promise (PG-13) Coming closer even than Zhang Yimou’s Hero and House of Flying Daggers to resembling the Chinese cover art for a vintage Iron Butterfly album, Chen Kaige’s The Promise is psychedelia extremis. Hardly a minute passes without a concentrated dose of digital froufrou and lavish cartoon- poetic imagery. The assault of chintz is relentless — in support of a half-baked honor-love-mistaken-identity yarn — but it’s also wildly campy. Who loves who and why is never made clear, and the mano a mano is managed via quick edits, not the actor’s movements. There are lovely moments — the slave rescuing the feather-robed princess on a tether and flying her like a kite — but they’re gumdrops in a vat of cheap candy. —Michael Atkinson
Roving Mars (Unrated) Director George Butler, whose previous IMAX outing took him to Antarctica, delivers an eye-popping mix of people and machine, of genuine images and computer-assisted animations based on real pictures from NASA’s two Mars rovers, Spirit and Opportunity — all of it accompanied by a magnificently ethereal score from composer Philip Glass. This is space-geek nirvana. I didn’t think it was possible for me to be any more in love with the idea of Mars — of going there, of exploring the planet, of seeing the Martian sights. But after seeing Roving Mars, I am. —MaryAnn Johanson
R.V. (PG) R.V. is more than just a bad movie — it’s symptomatic of a kind of bad movie that seems to be proliferating like cinematic cockroaches. Cut from the same bolt of polyester as Cheaper by the Dozen, Johnson Family Vacation, Are We There Yet?, The Shaggy Dog and god only knows how many other exercises in mediocrity passing for “family comedies.” The premise is the same in each: take one name star and subject him to humiliations various and sundry, all involving children who make you reconsider your objections to grievous corporal punishment. Then turn everything around in the final reel by pouring treacle over it, so that everyone learns a valuable life lesson for a picture-perfect future that would have embarrassed Norman Rockwell at his most saccharine. The major difference here is that you get to see Robin Williams covered in what the film coyly calls “fecal matter.” —KH
United 93 (R) When it happened, for those of us watching it on TV from our living rooms and offices, the events of September 11, 2001 seemed almost like some Hollywood disaster movie. When the twin towers of the World Trade Center fell, many might not have been surprised to see the name Roland Emmerich emblazoned somewhere in the breaking news broadcast’s credits. But now that day is a movie; a movie which, oddly enough, feels every bit as real as that day didn’t. Don’t see United 93 unless you are sure you’re ready for it. —Ian Grey
Water (PG-13) The Indian-Canadian writer-director Deepa Mehta, whose last film was the misfired cross-cultural parody Bollywood/Hollywood, displays a far richer understanding of the cinema of her native land in Water, which hitches some of the most irresistible conventions of Hindi movie melodrama to an earnest agenda of social protest (which also got it banned in India). The target here is the orthodox Hindu prohibition against the remarriage of widows, who are quarantined in ashrams because their very shadows are regarded as polluted. After the death of the aged husband she’s never met, the child widow Chuyia (Sarala) is abandoned in one of these moldy ruins beside the Ganges, where she instantly sparks conflict. Water is manipulative propaganda in service of a good cause.
Wild Safari 3D: A South African Adventure (Unrated) The Charleston IMAX reaches back to 2005 for a kid-friendly 3D tour through South Africa’s national parks in search of the world’s top five big game animals: the elephant, the Cape buffalo, the rhinoceros, the leopard, and the lion. It’s mostly a film for the 12-and-under set, as the pacing moves at Teletubby speed. The film rolls as if the audience is seated in the back of a topless Range Rover; it’s supposed to make one feel in the middle of the action, but the only action you’re likely to feel is car sickness. As with most IMAX films, the entertainment quotient is at least matched by the fun-fact-and-educational quotient. But for those not toting tots, consider passing on this one and taking in the remarkable Roving Mars instead. —Kinsey Labberton
X-Men: The Last Stand (PG-13) Compared to other comic book movies, the X-Men trilogy puts its social politics on its leather sleeves. No matter whether they’re “good” X-Men, led by civilized Professor Xavier (Patrick Stewart), or the more militant “evil” mutants led by Magneto, the franchise’s minority population of super-powered genetic aberrations stands in for any despised underclass. It would be great if all films lived up to their relevant themes or operatic aspirations. But The Last Stand features enough subplots for a bookcase full of graphic novels, including a teenage love triangle and the resurrection of a character from the previous film. With so many heroes, villains, henchmen, and political figures jockeying for screen time, everyone gets short shrift except for overreaching Magneto and anguished Wolverine (Hugh Jackman, the series’ MVP). —Curt Holman