Hitchcock knew he was in the entertainment business. David Schwimmer and company seem to recognize this, too. The story is lame and simple—a guy learns ten years too late that he dumped the wrong gal, and now must run a marathon to win her back (!!)—but I connected with it. It contains a refreshing bit of human interest. It feels good in a predictable and humorous way. It celebrates the triumph of the human spirit. With some clever writing and sight gags, this movie felt like those madcap comedies of old I love so much. It’s an approach that sells movie tickets. In short, Run, Fat Boy, Run is fun, hopeful, positive and very funny.

Will went to Washington to change the world. He wanted to change society for what he thought was better. He was a morally good person, and he had all the right ideals. He believed that he could have a hand in change if he supported the right candidate. He believed he could change the morality of the people he was around. He believed the world would be a better place when he helped Bill Clinton get elected. We all know the large public humiliation. We see Will refocus his change-wreaking tactics to ever smaller and smaller targets, until finally he realizes the only corner of the universe he has any control over is himself.

The emotion and psychological changes that take place in Youssef are handled with extremely delicate yet powerful cinematography. The Willow Tree eloquently handles the challenges of learning life anew through a totally different experience. An experience of starting over. The most profound part of the film is in how a blind man can become a seeing man—yet actually become more blind than ever before. Even though he now has a driver’s license. This is a very perceptive and profound film. Mr. Majidi is a master storyteller.

He Was A Quiet Man is a clever take on the detachment we have with our neighbors. “He was a quiet man.” “He seemed like a nice guy.” So let me get this straight. Since he seemed like a nice guy, we should just leave him alone and assume he is not someone we should mingle with. If, of course, he were a bad dude, we would stay away from him anyway. So he ends up a loser either way, thanks to us. The film is an expose on how we treat others. The dark comedy is biting, clever, and more than a little convicting.

I predict that this film will be another powerful foreign movie that few will see. And that will be an utter tragedy. The film is based on Bauby’s most unusual autobiography, which he dictated letter by letter by blinking his eye. His ability to dictate his story via his soaring intellect and uncontrollable emotions—if expressed only through the simple act of blinking his thoughts letter by letter—is a wonder of human achievement rivaling any of the man-made wonders of the world. The screenplay does credit to Mssr Bauby’s creativity and grace, and the camera work is also absolute perfection. This film is a masterwork by Julian Schnabel. His sensitivity to the subject matter was no doubt inspired by the sheer unimaginable work of genius and persistence exhibited by Bauby and his aides. The film handles this difficult subject in creative and comedic ways. Schnabel brings a rare ability to make a film out of an inert subject.

Why is it that God all

Brian DePalma calls the current Iraq war “senseless.” That may a bit naïve coming from someone who hasn’t been violated by Al Qaeda, Saddam Hussein, or even by the U.S. Military, but war is never senseless to the participants. There is always a reason; we just may not agree with it, or we may not know enough to understand. That being said, De Palma’s film performs a valuable service: it opens some unadulterated windows into what is happening in this war in one way at least—presenting us with photographs of actual wartime casualties. Redacted is “inspired” by the rape and murder of a 14-year old Iraqi girl in Samarra in 2006. What this fictionalized account shows is that war, and the evil that causes it, distorts and perverts even the best of people.

In short, this is a heartwarming film. But the acting is phlegmatic with few outstanding performances (except for August’s dimples). Special kudos to Terrence Howard as Lyla’s social worker, Richard Jeffries, though. Keri Russell is a lackluster disappointment as Lyla, and Robin Williams, as August’s mentor Wizard, is a little too sinister for young viewers. Despite the dead giveaway which is telegraphed from the outset, the story is interesting. In fact, familiar as the story may seem, there are some fun surprises—and I like the comfort of a familiar tale. And the fact that August feels and hears music in everything gives August Rush its underlying spirituality.

There is so much to commend No Country for Old Men, from additional cast members to set design. The script is sparing yet profound. The photography and music add to the desperate feeling. The stark beauty of west Texas adds its boundless hiding places, yet imperviousness to escape. In this barren world without humor the Coen brothers are able to utilize cliché and culture to find funny observations and insert them into the script. The sophisticated and deadpan humor is deftly handled by the cast. I started this movie prepared to be critical due to its subject matter. But the quality of this production and the human observations it makes are priceless. It is a terrific film.

Look for funny lines and irony. Look for a good time. Look for the underlying theme. Wristcutters: A Love Story is a sort of road film with a bite. I would characterize this film as a mixture of Garden State quirkiness and Primer intelligence. The important theme is the utter selfishness of suicide. Belittling the self-consumed ones who consider suicide may be just the impetus they need to realize their destructive thought-life and reverse their course. Just go see it. You will find some funny and insightful stuff. And for what it’s worth, you will understand the kind of humor I appreciate.

Control is more than an introduction of a rock star gone awry. Filmed in black and white and with humble reality, it is a great example of how new ideas in filmmaking can bring abrupt change to the art of cinematic storytelling. Director Anton Corbijn has captured a photograph’s intimate quality and transferred the effect to his film. I will even go so far as to say that it probably helps that Corbijn is a rookie director. He doesn’t have bad habits to unlearn. The film itself is somber but believable, and very engaging.