Film adaptations of graphic novels have taken many forms in the past few years. Some are grounded in realism, like Sam Mendes' screen version of Collins and Rayners' Road to Perdition. Others are highly-stylized, like Robert Rodriguez's adaptation of Frank Miller's Sin City. Vincent Paronnaud and Marjane Satrapi's 2007 film Persepolis, which recounts one woman's memories of growing up during the Iranian Revolution, manages to be both, creating an honest tale that unfolds like a delicate French fairy tale.

Persepolis is the sum of Marjane Satrapi's two autobiographical graphic novels, Persepolis I  and Persepolis II, which recount her upbringing in Tehran in the 1970s, '80s, and '90s. Nine-year-old Marjane is precocious and outspoken, but is growing up just as the fundamentalists take over in Iran. Thousands are imprisoned and women are forced to cover themselves with veils. Living with her family and community in terror of the government and the war with Iraq, Marjane westernizes herself with punk rock music and American icons. Her parents, fearing for her safety, send her to a French school in Vienna. Here, she struggles to find her place as her peers equate her Iranian heritage with the country's current political situation. She finally starts to fit in in Europe, but finds herself homesick and alone and thus gives up her freedom to return home. But the times have changed Iran, and the country is no longer the home she once knew. She ultimately decides to leave for France, where Satrapi currently resides, and where the film begins - the airport at Orly.

There is a theory commonly applied to anime that describes the power and ability of animation to present audiences with horrific or disturbing images. The idea is that through animation, anything the artist can imagine can be put on the screen. Likewise, the medium distances the audience just enough so that the horrors of war can be shown without deterring the viewer. Persepolis certainly isn't as naturalistic as Barefoot Gen or Grave of the Fireflies, but it by no means fails in representing the effects of the Iranian Revolution on Marjane's family and friends. The silhouettes of fallen citizens and the clouds of smoke that rise from bombed-out buildings say more about the pain felt by the Iranian people than even the best 3D animation could.

Persepolis may appear to be stark; it's true that the film is black, white, and shades of gray with only a few carefully-chosen moments of color. However, the warmth that the simple and welcoming animation style exudes envelops the viewer like an old Peanuts cartoon. Persepolis could have been brought to the screen as a live action film (and Satrapi has said that she was approached with a script that would place Brad Pitt and Jennifer Lopez in the roles of Marjane's parents!), but it would have lost the emotive quality of Satrapi's no-frills style. 

Despite it's cartoony visage, Persepolis is a grim tale of oppression and fear. However, the film never slips into melodrama. Instead, Persepolis maintains a quick wit and light charm throughout. The character of Marjane's grandmother is an excellent example. She is a steadfast example to Marjane of the importance of recognizing and being loyal to her heritage. She's also a little bit saucy and clearly won't be anyone's fool, showing the audience from where Marjane inherited her headstrong behavior). 

Persepolis is a near-perfect film that suffers only from presenting the audience with so many heavy subjects. Having known nothing about Iranian politics going into the film, I still found myself slightly confused upon leaving. I did enjoy the whimsical animated puppet show that illustrated the country's history and the reasons for being at war. Satrapi's tale is enormous and full of heart. Coming of age tales are one thing, and war stories are another, but to execute both to near-perfection is a rare treat. 

If I believed everything I saw in the movies, my high school experience could have been a hell of a lot more interesting. In December, little Juno MacGuff of "Juno" taught us that teen pregnancy is okay as long as it's put to a hip soundtrack. And now, Charlie Bartlett of "Charlie Bartlett" shows how peddling drugs to your high school buddies is cool if you pair the prescription with advice. 

After being kicked out of the last private school around, Charlie Bartlett (Anton Yelchin) moves back home to attend public school. His dad is in prison, so it's just Charlie and his self-medicating mom Marilyn (Hope Davis). Whereas he was a troublemaker at his previous school, he's simply getting beaten up at Western Summit High. Failing miserably at gaining popularity (it doesn't help that he wears a sports jacket and carries an attache case), he studies the social hierarchy and discovers what the school needs. Through his eager charm and desire to help, Charlie becomes a sort of psychiatrist for the student body. Teaming up with bully Murhpy Bivens (Tyler Hilton), Charlie doles out advice and pills collected from the psychiatrist his mother keeps on call. Along the way to popularity, Charlie falls in love with Susan (Kat Dennings), the daughter of the school's world-weary principal Nathan Gardner (Robert Downey, Jr.). It is with the help of these two characters that Charlie begins to figure out who he is and where he belongs. After all, isn't that what high school is all about?

Looking at the synopsis for "Charlie Bartlett," it seems as though it could be an old John Hughes movie. "Bartlett" sets itself apart from films like "Sixteen Candles" and "Pretty in Pink" by portraying an oddly optimistic high school student body that is capable of being united. Here, not only does the geeky guy get the girl, but he brings everyone from the jocks to the special education kids together in a happily ever after ending. 

Unfortunately, what could have become a dark comedy bursting with wit and cynicism ultimately plays out like an after-school special. "Charlie Bartlett" touches on a lot of serious issues like suicide, addiction, and dysfunctional families, but never quite dives in. One student almost dies from overdosing on the pills that Charlie gave him, but since Principal Gardner doesn't have enough evidence to pin it to Charlie, all Charlie gets is a stern talking to and a recommendation to "do the right thing." 

During the scenes in which Charlie is handing out advice from bathroom stalls, it's hard to take him seriously. Charlie is eager to be liked and honestly seems like he wants to help, but it's difficult to look past the naive rich kid wanting to be popular. Anton Yelchin plays Charlie to be the kid you want to hate but can't. His enthusiasm reminded me of the Charlie Bartlett of my high school: a briefcase-carrying, libertarian nut job that was always trying to tell me his latest theories on how the government should be run. Yelchin's acting seems stilted, as if he's wearing a back brace and talking through a forced smile, but he exudes a peculiar quality in awkward moments, such as when he breaks into song at the piano or puts on an accent, that makes him inexplicably likable. His performance is a little bit cheesy, but this can be forgiven since the entire film carries a tongue-in-cheek tone.

Though Yelchin portrays the film's titular character, it is Robert Downey Jr's Principal Gardner that steals the show. His melancholy and despondent Gardner loves his daughter, is losing control of his job, and sinking further into madness and alcoholism. Downey Jr., who possesses a great unpredictability and slight madness, gives Gardner an air of cynicism and insanity that appears to be necessary to cope with running a public high school. He is hapless and the student body hates him, but this does not discourage him enough to not want to help Charlie realize that he's "just a kid." As Charlie sees it, Gardner needs him to help him control the school. But from Gardner's point of view, Charlie is a kid that was forced to grow up too fast and now is in need of control himself. In one of the final scenes, Gardner offers Charlie advice that turns out to be the funniest line of the film: "Never, never attack a drunk guy with a gun."

When I went to see "Charlie Bartlett" in Atlanta, I was the only person in the auditorium. This was great for me, but it doesn't bode well for the film's reception by audiences. "Charlie Bartlett" was entertaining, but not something I'll watch again. With its failure to see the dark comedic potential of the subjects it touches on but doesn't explore, the film falls short of what is needed to become a cult classic like "Rushmore" or "The Breakfast Club." 

Bruges is the capital and largest city of West Flanders in Belgium. The city is known for its historic value as most of its medieval architecture is intact. Bruges is a quiet town that looks as if it's been preserved in a fairy tale. Enter Ray and Ken. In Bruges, theatre writer Martin McDonagh's first feature-length film, is an energetic romp that not only presents the viewer with great characters, but it also offers a tour of a beautiful city.

Ray (Colin Farrell) has just successfully pulled off his first hit, a priest, but he accidentally murdered a little boy in the process. Since killing a child is unacceptable, Ray and Ken (Brendan Gleeson) have been sent to Bruges by their boss Harry (Ralph Fiennes) to hide out and wait for instructions. Though Ken is instantly enraptured by the medieval town, Ray finds it boring, saying, "I grew up in Dublin. Had I grown up on a farm, or was retarded, Bruges might impress me. But I didn't and I'm not, so it doesn't." 

While wandering through the city streets, Ray happens upon a film set where he meets Chloe (Clémence Poésy) and a dwarf named Jimmy (Jordan Prentice). Chloe doesn't turn out to be who she seemed, bringing Eirik (Jérémie Renier), a skinhead pickpocket into the mix. When Harry finally calls and informs Ken that Ray is the next hit, Ken is forced to decide whether or not to obey his boss and eliminate his friend. I won't dare reveal the ending, but the way in which In Bruges brings all of its players together is genius.

The film is a dark comedy, at times bordering on absurdity and at others approaching depressing. From the first scenes, in which we see what Ray has done, we don't know whether to laugh or cry. By the end, we are laughing if only to break the tension. 

In Bruges is some of Colin Farrell's best work in what has sadly become quite a long time. This may be a result of the film's allowing him to just be an Irish lad. Bruges is, in his terms, a "shithole," and though guilty for his crime, he can't wait to return to London. For Ray, everything is a game; he offends a family of large American tourists, is fascinated by midgets, and punches a man and his girlfriend in a restaurant for complaining about cigarette smoke in the smoking section. Farrell transitions from funny to serious almost seamlessly, showing the oceans of guilt that lay within his immature exterior.

Brendan Gleeson's Ken is gruff but sympathetic, and is trying to be as good a person as he can be despite what he's done in the past. While dragging Ray to museums and churches throughout the city, the pair share their thoughts on the afterlife and what their occupation means for their souls. In this way, In Bruges uses the city to develop the characters. The establishing shots play as an homage to the city, presenting us with postcard views of this fairy tale place without feeling like a documentary. 

The views of the quiet tourist town also serve as ironic contrast to the mayhem taking place between all of the characters. A beautiful door opens to reveal an apartment full of guns and ammunition, a 13th-century belfry becomes the site of a heartbreaking suicide, and a peaceful hotel is transformed into the starting grounds for a shoot-out. 

Despite comedic sequences featuring prostitutes and a coked-out midget, or Fiennes' Harry taking out his frustration on his phone, In Bruges takes a dramatic and almost surrealist turn towards the end. As Harry arrives in Bruges to take care of the job himself, the film becomes a string of twists and turns that keeps the viewer guessing. Despite the unexpected ending, In Bruges never disappoints. Surprisingly gory for how funny the film is at the beginning, In Bruges will remind the audience of Lock, Stock and Two Smoking Barrels and Snatch. Even then, the final deaths occur by choice, showing even hit-men have ethics.

In Bruges, an impressive first feature-length film for McDonagh, shows that there are still fresh ways to tell stories about hit-men. The film is entertaining, thought-provoking, and features an open ending interesting enough to provoke a post-screening discussion. If nothing else, In Bruges may inspire you as you plan your next vacation.

"In Bruges"
Starring: Brendan Gleeson, Colin Farrel, and Ralph Fiennes
Plot: Two hit men, while on a semi vacation in Bruges, receive an unlikely assignment.
Extras:  Deleted Scenes, Gag reel, and making of featurette

Bottom Line: The years most entertaining film thus far, also happens to be the best. Writer-Director Martin McDonaugh's delivers a sharp, exceedingly dark comedy that somehow functions as a violent morality tale and small town character study. Farrel clearly has fun using his native irish accent, while Gleeson deserves award recognition for his turn as the aging hitman who seems to enjoy sight seeing more than killing. With this being McDonaugh's feature debut, one can't help but eagerly await his sophmore outing.  Extras: B-  Film: A

"Charlie Bartlett"
Starring: Robert Downey Jr., Hope Davis, and Anton Yelchin
Plot: Prep school drop out Charlie Bartlett causes a commotion at his new school when he acts as a surrogate psychiatrist to the various troubled students who populate the local public school system. 
Extras: Directors commentary, rest room confessional featurette, and a music Video

Bottom Line:  Anton Yelchin and Robert Downey Jr. impress in this John hughes esque brat pack picture that seems infused with the same psychiatric meds the title character prescribes to his classmates. The duo of charismatic performances elevate a coming of age teen comedy in desperate search of its own clique. Extras: B- Film: B-

"Definitely, Maybe"
Starring: Rachel Weisz and Ryan Reynolds
Plot: Reynolds plays a political consultant who in the midst of a divorce recounts to his younger daughter the stories of his romantic past.
Extras: Directors commentary, Making of doc, and deleted scenes.

Bottom Line: With cinematic wastes of space such as "P.S. I love You" and "27 Dresses" populating the battered romantic comedy genre, "Definitely, Maybe" is a welcome, albeit still slight, surprise. Reynolds posses undeniable charm and Kevin Kline promptly steals every scene given to him as a jaded professor. Extras: B+  Film: B-

Also on DVD this week: "10,000 B.C." and "Persepolis"

The American Film Institute (AFI) posted a new set of Top Ten lists today. They are separated by genre, but taking the top film from each category gives you the following list:

• 2001: A Space Odyssey (Science Fiction)
  
• City Lights (Romantic Comedy)
  
• The Godfather (Gangster)
  
• Lawrence of Arabia (Epic)
  
• Raging Bull (Sports)
  
• The Searchers (Western)
  
• Snow White and the Seven Dwarfs (Animation)
  
• To Kill a Mockingbird (Courtroom Drama)
  
• Vertigo (Mystery)
  
• The Wizard of Oz (Fantasy)
  

By category, the lists are as follows:

Animation

1. Snow White and the Seven Dwarfs, 1937

2. Pinocchio, 1940

3. Bambi, 1942

4. The Lion King, 1994

5. Fantasia, 1940

6. Toy Story, 1995

7. Beauty and the Beast, 1991

8. Shrek, 2001

9. Cinderella, 1950

10. Finding Nemo, 2003

Fantasy

1. The Wizard of Oz, 1939

2. The Lord of the Rings: The Fellowship of the Ring, 2001

3. It's A Wonderful Life, 1946

4. King Kong, 1933

5. Miracle on 34th Street, 1947

6. Field of Dreams, 1989

7. Harvey, 1950

8. Groundhog Day, 1993

9. The Thief of Bagdad, 1924

10. Big, 1988

Gangster

1. The Godfather, 1972

2. Goodfellas, 1990

3. The Godfather Part II, 1974

4. White Heat, 1949

5. Bonnie and Clyde, 1967

6. Scarface: The Shame of a Nation, 1932

7. Pulp Fiction, 1994

8. The Public Enemy, 1931

9. Little Caesar, 1930

10. Scarface, 1983

Science Fiction

1. 2001: A Space Odyssey, 1968

2. Star Wars: Episode IV - A New Hope, 1977

3. E.T. - The Extra Terrestrial, 1982

4. A Clockwork Orange, 1971

5. The Day the Earth Stood Still, 1951

6. Blade Runner, 1982

7. Alien, 1979

8. Terminator 2: Judgement Day, 1991

9. Invasion of the Body Snatchers, 1956

10. Back to the Future, 1985

Western

1. The Searchers, 1956

2. High Noon, 1952

3. Shane, 1953

4. Unforgiven, 1992

5. Red River, 1948

6. The Wild Bunch, 1969

7. Butch Cassidy and the Sundance Kid, 1969

8. McCabe & Mrs. Miller, 1971

9. Stagecoach, 1939

10. Cat Ballou, 1965

Sports

1. Raging Bull, 1980

2. Rocky, 1976

3. The Pride of the Yankees, 1942

4. Hoosiers, 1986

5. Bull Durham, 1988

6. The Hustler, 1961

7. Caddyshack, 1980

8. Breaking Away, 1979

9. National Velvet, 1944

10. Jerry Maguire, 1996

Mystery

1. Vertigo, 1958

2. Chinatown, 1974

3. Rear Window, 1954

4. Laura, 1944

5. The Third Man, 1949

6. The Maltese Falcon, 1941

7. North by Northwest, 1959

8. Blue Velvet, 1986

9. Dial M For Murder, 1954

10. The Usual Suspects, 1995

Romantic Comedy

1. City Lights, 1931

2. Annie Hall, 1977

3. It Happened One Night, 1934

4. Roman Holiday, 1953

5. The Philadelphia Story, 1940

6. When Harry Met Sally... , 1989

7. Adam's Rib, 1949

8. Moonstruck, 1987

9. Harold and Maude, 1971

10. Sleepless in Seattle, 1993

Courtroom Drama

1. To Kill a Mockingbird, 1962

2. 12 Angry Men, 1957

3. Kramer vs. Kramer, 1979

4. The Verdict, 1982

5. A Few Good Men, 1992

6. Witness for the Prosecution, 1957

7. Anatomy of a Murder, 1959

8. In Cold Blood, 1967

9. A Cry in the Dark, 1988

10. Judgement at Nuremberg, 1961

Epic

1. Lawrence of Arabia, 1962

2. Ben-Hur, 1959

3. Schindler's List, 1993

4. Gone With The Wind, 1939

5. Spartacus, 1960

6. Titanic, 1997

7. All Quiet on the Western Front, 1930

8. Saving Private Ryan, 1998

9. Reds, 1981

10. The Ten Commandments, 1956

"Be Kind Rewind"

Starring: Jack Black and Mos Def
Directed by Michel Gondry

Plot: Jerry and Mike are two local video store clerks who have to remake their VHS library when all the tapes become magnetized, all the while  trying to save their mom and pop video store from corporate comglamorates.

Extras: Brief making of Featurette and Theatrical Trailer.

Bottom Line: Unfiltered Michel Gondry can fatally rely on visual charm instead of coherent storytelling (see "Science of Sleep"). "Be Kind Rewind" fortunately boasts a pair of infectious performances from Jack Black and Mos Def adding emotional gravity to expected whimsy. The Danny Glover sub plot slows down the proceedings considerably, but with a contagious aura of innocence and wonderment surrounding the main draw of the film (Jack Black and Mos Def remaking famous Hollywood Blockbusters as heavily advertised). "Be Kind Rewind" becomes something rare in today’s market place: A film about the joy and simplicity of movies.  Extras: C- Film: A-


"Fool's Gold"

Starring: Kate Hudson and Matthew McConaughey

Plot: Treasure hunter McConaughey unwillingly enlists the help of his ex Hudson on his next big adventure.

Extras: N/A

Bottom Line: A mind numbing entry into the barren romantic comedy genre, Fool’s Gold doesn’t come close to the already low standard established by the previous McConaughey and Hudson vehicle "How to Lose a Guy in Ten Days." Awkwardly unfunny and far too long, the only to reason to see "Fool’s Gold" would be for McConaughey’s and Hudson's tans.  Movie: F


"Under The Same Moon"

Plot:  A young boy who happens to be an illegal alien, braves the dangers of the borders in order to find his mother.

Extras: N/A

Bottom Line: A manipulative melodrama that simplistically portrays the current immigration debate. Any sense of character identity is overwhelmed by the films didactic tone and cliché ridden narrative.  Film: C-

Also on DVD today: "Caramel," "Chaos Theory," "Welcome Home Roscoe Jenkins," "Rails and Ties"

Poor Benjamin Gates. In the first "National Treasure," he was thought to be crazy for continuing a hunt for the Knights Templar Treasure that had been sought after by six generations of his family. And now, in "National Treasure 2: Book of Secrets," he must restore the name of his great-grandfather, who has been accused of being a co-conspirator in the assassination of President Lincoln. So much treasure, so little time. If only "National Treasure 2" had the spunk of its predecessor to make it worth the trip.

In an opening sequence that bares a gloss only a Disney historical recreation could bare, we see an interaction between John Wilkes Booth and Thomas Gates, great-grandfather to Ben (Nicholas Cage) that takes place four days after the end of the Civil War. Gates is instructed to decipher a code, but when Booth leaves to murder the President, Gates rips his findings from Booth's diary and throws them into the fire. With his last breath, he whispers a clue to his young son. 

Ben and his father (Jon Voight) are in the midst of explaining how their relative kept Booth and his gang from finding the wealth of treasure hinted at on the map when they are interrupted by Mitch Wilkinson (Ed Harris), who reveals one of the diary's missing pages. According to this slightly burnt scrap, Thomas Gates was one of the conspirators. 

Ben and Patrick, picking up Riley (Justin Bartha), Abigail (Diane Kruger) and later Ben's mother Emily (Helen Mirren) along the way, set out to find the hidden treasure that would prove that Gates was one of the good guys. The mission takes them to Paris, London, Washington, and finally Mt. Rushmore. With the help of the President, the Gates gang finds the presidential Book of Secrets, thought to be an urban legend, which includes a photo of the final piece of the map. It's no surprise that they once again find a secret room filled with golden artifacts, avoid arrest, and save the family's name. 

I can't imagine how unbearable "National Treasure 2" would have been without the star power Disney can afford. It appears that the actors are having so much fun that it's hard not to want to join in. Unfortunately, "2" just doesn't have the same pizazz that the original had. Gates once again has all the answers, but he doesn't really have to work very hard to get to the treasure. Though the original found Ben constantly hounded by the bad guys (Sean Bean and pals), Wilkinson and his henchmen are always too far behind and not "bad" enough. 

The story for "2" is just as convoluted as the first. We're supposed to believe that the guy who designed the Statue of Liberty left a clue that leads to an old ship that was made into two desks that currently reside in the Queen's study in Buckingham Palace and the Oval Office in the White House and contain secret compartments holding planks of wood with Native American hieroglyphs, except that one was destroyed but not before President Coolidge could write about it in the secret Presidential diary and how Mt. Rushmore was carved to cover it all up? Ok. And on top of all that, our main character has access to all of these because all of the security cameras have mysteriously disappeared. 

Silliness of the story aside, I found myself constantly wondering, "Who the hell is building all of these secret compartments, stone trap doors, and underground tunnels?" The folks over at Disney still have a wonderful imagination, I'll give them that much. 

Sadly, when it's all said and done, the ending is too perfect. The discovery has reunited Ben and Abigail (whose relationship was on the rocks at the film's opening) and also Patrick and Emily, who had apparently divorced because of Patrick's persistent but fruitless treasure hunting. Well, clearly nothing says "I love you" like a big room of treasure and even better, a way out of the flooded underground temple. 

"National Treasure 2" is hard to hate since, let's face it, no one went in expecting high art. It's not great, it's not even that good, but it still manages to entertain, mostly due to Cage's determined Gates. This money-grubbing sequel from the same folks that have jammed 2 disappointing "Pirates" films down our throats reunites a fun and energetic cast for another fast-paced adventure, but fails to reclaim the spark that made the first "National Treasure" so much of a guilty pleasure. 

Who knows, perhaps they'll fix the formula the next time around. Oh yes, did I mention the open ending? When the President tells Ben where to find the Book of Secrets, he asks him to take a look at page 47. At the end, he asks Ben if he took a gander, and he replies "Oh yes. It was life-altering." If that isn't enough to convince you that there's more treasure to be found, Disney has recently purchased the web domains for NationalTreasure3DVD.com and NationalTreasure4DVD.com. There's just no rest in sight for the Gates family. 

"I'm Not There" (Two disc edition)
Directed by: Todd Haynes
Starring: Cate Blanchlett, Richard Gere, Christian Bale, and Heath Ledger

Plot: Six different actors portray the many personas of Bob Dylan

Extras: Feature commentary, deleted/alternate/extended scenes, outtakes, auditions, and more.

Bottom Line: Simultaneously meditative and exhilarating, "I'm not There" is writer/director Todd Haynes post-modern poem to Bob Dylan. Using six different actors to portray Dylan proves ingenious, as traditional musical biopic genre conventions are bypassed for thematic relevance in reinforcing the ambiguous personality of Dylan. "I'm Not There" functions as pop-essay, exploration of the many facets of an individuals personality, and ultimately a touching tribute to one of the 21st centuries most prolific artists. Extras: A Film: A


"P.S. I Love You"

Starring: Hiliary Swank

Plot: After her husband dies of a freak illness, Holly (Swank) tries to recover by traveling to Ireland and possibly finding someone else. 

Extras: N/A

Bottom Line: The highlight of this dismal excuse of a romantic dramedy takes place when a gag-inducing "adorable" Irishmen (Gerard Butler) dies, leaving behind an overacting, grieving widow Holly (Hilary Swank). From then on, contrived plot sequences of Holly trying to come to terms with the death of her husband will likely make even the kindest viewers eyes hurt from all the rolling. Kathy Bates and Harry Connick Junior supply the occasional, welcomed comedic relief in unfortunately minor roles. Extras: N/A Movie:D-


"Teeth"

Plot: A highly pious Christian teen set on remaining a virgin until marriage discovers her vagina has its own set of teeth.

Extras: Audio commentary, Behind the scenes, and deleted scenes.

Bottom Line: "Teeth" surprisingly walks the thin line of camp and horror. Revolting and hilarious, "Teeth" should rightfully become a midnight camp classic. Extras: B- Movie: B+

"27 Dresses"

Directed by: Anne Fletcher

Starring: Katherine Heigl, James Marsden, Malin Akerman, Edward Burns

Plot: Heigl plays Jane, an idealistic and romantic "always a bridesmaid, never a bride" woman secretly in love with her boss. When her younger sister wins his heart, Jane reexamines her lifestyle and decides that it's time to think about herself.

The Bottom Line: I think I'm the only 18-25-year-old woman who hasn't jumped on the Katherine Heigl-is-the-next-Julia-Roberts bandwagon. "27 Dresses" got a 40% on Rotten Tomatoes, with most of the criticism complaining about the lack of originality and fizzy dialogue. The consensus seems to be "not bad but not great." There don't appear to be any special features on the DVD.

"The Diving Bell and the Butterfly"

Directed by: Julian Schnabel

Starring: Mathieu Amalric, Emmanuelle Seigner, Marie-Josée Croze, Jean-Pierre Cassel

Plot: "The Diving Bell and the Butterfly" is the true story of Jean-Dominic Bauby, the editor of the French Elle magazine who suffers a stroke that leaves him paralyzed except for one eyelid. When most people would give up, Bauby learns to live with "locked-in syndrome" and actually dictates his memoires letter by letter to a nurse and helper.

The Bottom Line: "Diving Bell" was nominated for 4 Oscars but was grossly overlooked at the ceremony. This film has a difficult message to translate and pulls it off with amazing artistry. What sounds like a depressing and slow-moving story has been expertly transformed into one of the most touching films of 2007. The DVD features commentary by the director.

"The Golden Compass"

Directed by: Chris Weitz

Starring: Nicole Kidman, Daniel Craig, Dakota Blue Richards, Ian McKellen

Plot: This is the film adaptation of the first film in the "His Dark Materials" series by Phillip Pullman. "The Golden Compass" is the tale of a parallel universe in which Lyra Belacqua travels to the North to save her friend and other kidnapped children from terrible experiments by a mysterious organization.

The Bottom Line: "The Golden Compass" was a box office flop and one of the final nails in New Line Cinema's coffin. 

"How She Move"

Directed by: Ian Iqbal Rashid

Starring: Tre Armstrong, Boyd Banks, Clé Bennett, Ardon Bess

Plot: A high school student is forced to leave her fancy private school and return to her ghetto-fabulous school where she re-kindles her passion for the competitive world of step dancing. 

The Bottom Line: Haven't we already seen this movie? Like a million times? "How She Move" got a 68% on Rotten Tomatoes. If you like step dancing movies, then by all means, go out and get yourself some "How She Move." If not, this is another one to skip.

Also available today: "Nanking," and "Moondance Alexander."

"The Savages"

Starring: Phillip Seymour Hoffman and Laura Linney

Plot: Two estranged sibblings unite to find their ailing father a retirement home, while dealing with their own seperate mid life crisis.

Extras: Twenty minute making of featurette, along with two short extended scenes. 

Bottom Line: Two perfectly balanced lead performances by Hoffman and especially Linney, bolster a film that revels in its "indieness."  Nicely realized moments of dry, dark humor offer just enough relief from typical independent film pathos, making "The Savages" an excellent, albeit slightly overrated, choice.  Extras: B- Movie: B+

"Charlie Wilson's War"

Starring: Tom Hanks, Julia Roberts, and Phillip Seymour Hoffman

Plot: Based on the true story of congressman charlie wilson and how he along with select others led the most covert operation in American History.

Extras:  N/A

Bottom Line: When first announced, "Charlie Wilson's War" immediately become the film to beat for best picture at the 2007 Academy Awards. The pedigree seemed infallible with stars Tom Hanks, Phillip Seymour Hoffman, Julia Robert working from a script by Aaron Sorkin, all under the guiding hand of legendary director Mike Nichols. The end result is a needlessly short (90 minutes), undercooked political satire. Fortunately, the great Phillip Seymour Hoffman and Tom Hanks deliver superb performances bringing out the best in Sorkin's expected, zippy dialogue. Extras: N/A Movie: B

"Cloverfield"

Plot: The night before a young single New York bachelor leaves for his new job in Japan, something huge attacks the city.

Extras: A director and producers commentary, three featurettes, and 2 alternate endings.

Bottom Line:  For me, the head ache inducing transformers remained memorable only for the mysterious teaser trailer attached to the film of an upcoming J.J. Abrams monster movie shot handheld camera a la " The Blair Witch Project." For months, "Cloverfield" remained behind a shroud of secrecy with many proclaiming that with its january release would come a complete reinvention of the monster movie genre. Upon viewing "Cloverfield" under such intense buzz and speculation, I could not help but feel a bit underwhelmed with the final slightly cluttered product. "Cloverfield" is to be enjoyed on its own goofy terms, just don't be looking for the second coming of Christ.  Extras: A- Movie: B-

Also out on DVD this week: "One Missed Call," "Romulus, My Father," "Starting Out In The Evening," and "The Orphanage."

An unlikely Christmas film, "The Savages" centers on two middle-aged siblings that are put in charge of caring for their declining father. 

Wendy Savage (Laura Linney) is a budding playwright in New York City. The word "budding" here of course means that she lives a modest life, works for a temp agency, and takes advantage of the office supplies to send out grant requests. Her brother Jon (Philip Seymour Hoffman) is a professor and writer living in Buffalo. One day, Wendy receives a phone call informing her that their elderly father Lenny was found writing on the bathroom wall in his own excrement. He is living in a retirement community with his equally-elderly girlfriend in Sun City, Arizona. However, not too far into the film, she keels over and effectively renders Lenny homeless. 

Wendy convinces Jon that they both need to fly out to Arizona to see their father. Upon their arrival, they both realize that he is too much for either of them to handle alone. Thus, they decide to put him in a nursing home in Buffalo. Lenny clearly doesn't have much time left, so Wendy stays with Jon, and they learn to be siblings again.

It is unclear exactly what sort of childhood they had with Lenny, but it does not appear to have been a good one. In fact, it seems to have deeply affected their abilities to maintain stable relationships of their own. Wendy is having an affair with a married man about whom she does not seem to care. Likewise, Jon is living with his Polish girlfriend of three years, a woman he refuses to marry even though this results in her deportation. He weeps over his breakfast, but is it out of the sadness of seeing her go or the shame of his own inability to heal his emotional scars?

While Wendy and Jon grow and cope with the realization that they are middle-aged and must learn to take better care of themselves despite the lingering impact made by their father, Lenny remains a consistent curmudgeon throughout the film. This is an interesting and noteworthy choice by Jenkins. Whereas most family films make an attempt at some sort of reconciliation between estranged relatives, "The Savages" is a more honest portrayal. Lenny is a crotchety old man at the beginning, and he remains that way through the entire film. He is foul-mouthed, bitter, and constantly irritated. Any departure from this state is a result not of being surrounded by family but of the illness slowly taking control of his body.

"The Savages" is a quiet film built on the nuance of performance rather than showy special effects. Linney and Hoffman both give nearly-flawless performances. Jenkins had both actors in mind while writing the script, and she should now add "casting director" to her credits. These two actors (having never worked together before) exhibit such an amazing chemistry that it is almost impossible to see them as actors or plot devices. It is hard to believe that this Hoffman is the same person appearing in two other features this season, "Before the Devil Knows You're Dead" and "Charlie Wilson's War." The scene in which Jon is tied up in a sling in order to repair a muscle strained during a game of tennis between the siblings is particularly effective in communicating their relationship. In this one scene, they laugh, they cry, and they try to prove their worth as writers and people to each other. 

Looking back on this review, "The Savages" does not appear to be your typical Christmas movie. However, the film is an honest look at the darker side of family loyalty. No matter how horrible a childhood was, children should be there for their parents in the end. Having lived through a similar situation at the ripe old age of 19 (aside from the bad parent-child relationship part), I found Jenkins' story to be a well-crafted tale of a child's reluctance to say goodbye and a parent's realization that it is time to go. "The Savages" is a smart, well-written drama and an honest look at what makes us who we are.

Old Hollywood is littered with the names and faces of some of the cinema’s most famous leading actors and stars. Accomplished thespians like Laurence Olivier and John Gielgud and stars like Humphrey Bogart, Cary Grant, and James Stewart have become part of the cinema lexicon and are almost universally known and recognized by film buffs and casual movie viewers alike. Olivier’s name is synonymous with expert acting and Bogart, Stewart, and Grant represent the best in comedic and dramatic acting in the Golden Age of Hollywood. But hidden underneath the layer of famous stars and big names lies a world of men and women who are not widely known by the typical film viewer yet have a face that one would immediately recognize as having seen in a movie before, producing the inevitable inquiry, “What else have I seen them in?” These familiar faces are the performers who belong to an underappreciated group of cinematic character actors.

A character actor, by my definition, would be an actor who always plays a variety of small, supporting roles in an assortment of different kinds of pictures. A good character actor gives his or her all for a role, regardless of the film’s story or the peculiarities of the character. Old Hollywood has numerous, stand-out character actors. There is Ward Bond, the man who appeared in nearly every famous slice of Americana including “Gone with the Wind”, “It’s a Wonderful Life”, and “The Searchers”. There is Walter Brennan who brought his unique vocal style to such classics as “Sergeant York”, “Red River”, and “Rio Bravo”. One of these character actors who has left an impression on me with every performance I have seen by him is the talented Claude Rains. Short in stature but enormous in talent, Claude Rains never ceases to astound me with his understated performances which are often accentuated by his aristocratic, soft-spoken British accent.

It is perhaps Rains’ voice which is the most versatile. Depending on the role, it can come across as either soothing and reassuring or villainous and deceitful. Along with Morgan Freeman’s and a few others', it is one of those unforgettable on-screen voices. Rains appeared in everything from Universal monster films and Hitchcock thrillers to big costume epics and American film essentials.

Here is a look at some of his most memorable performances:

“The Adventures of Robin Hood” (1938)- As the villain Prince John, Rains is delightfully sinister and a tad flamboyant as the oppressor the heroic Robin Hood (Errol Flynn) and his band of men successfully combat.

“Mr. Smith Goes to Washington” (1939) - In Frank Capra’s acclaimed work, Rains stars opposite James Stewart as the elderly statesman Joseph Paine who at first warms to the newly-elected Smith (Stewart) but eventually ends up going behind his back by way of some political corruption. It is a performance in which Rains was nominated for an Oscar.

“The Wolf Man” (1941)- In this Universal monster classic, Rains portrays Sir John Talbot, father to cursed lycanthrope Larry Talbot (Lon Chaney, Jr.). Rains brings a strong sense of fatherly wisdom and devotion to the role of Sir John. He sternly defends his son to the growing voices of disdain coming from their tiny village, while also trying to persuade his offspring that his werewolf activities are entirely a creation of his imagination. It is a supporting role in a short movie, yet Sir John is an extremely rich character. He is a man driven by science, secured by a faith in the divine, and filled with a completely unending love for his son. Rains’ voice eloquently speaks lines of insight and understanding to Larry, informing him (in one of the best lines of the film) when the two are examining a telescope that “all astronomers are amateurs. When it comes to the heavens there is only one professional”. It is a great line and this is my personal favorite performance by Rains.

“Casablanca” (1942)- This is the role in which Rains will forever be remembered. He is amusingly suave as Captain Louis Renault, the head official of the police force in the haven town of Casablanca. Louis is friendly to everyone- the Nazis, the French, and Humphrey Bogart’s Rick- and without question is a corrupt official. One of his best lines comes when he leads a raid on Rick’s café. Yelling that he is shocked to find gambling going on inside the café, a man comes up and hands him his winnings for the night. Eventually, he comes down on the side of his friend Rick and, in the end the two embark on “the beginning of a beautiful friendship”. It’s a great performance in one of the great American films.

“Notorious” (1946)- This Hitchcock essential probably contains Rains’ greatest performance. Here, he plays the film’s heavy, a Nazi named Alex Sebastian. Hiding out in Rio with other Nazis following the end of World War II, Sebastian is seeking to do something very sinister with quantities of uranium he has hidden in the wine cellar of his house. Ingrid Bergman stars as a spy who marries Sebastian in order to uncover his diabolical secrets. It is a complex role for Rains. He at first is completely naïve toward’s Bergman’s Alicia and her true attentions, believing that she is really in love with him. When he finds he has been had, he turns subtly evil and collaborates with his vindictive mother on how to murder Alicia for her duplicity. It is a role that brings out the best in Rains: he presents vulnerability and affection at first, then vengeance and wickedness. And all of this is articulated by way of his distinct, charismatic voice. A must see.

Some of Rains’ other stand-out performances include his roles in “The Invisible Man”, “Now, Voyager”, “Lawrence of Arabia”, “The Phantom of the Opera”, and “The Greatest Story Ever Told”.

"Aliens vs. Predator: Unrated Edition"

Directed by: Colin Strause and Greg Strause

Starring: Steven Pasquale, Reiko Aylesworth, John Ortiz, Johnny Lewis, Ariel Gade

Plot: The infamous aliens and predators descend on a small town, forcing the local residents to band together and fight for survival.

The verdict: I didn't see this film because I'm not so much for the "Alien" and "Predator" series, but I have it on good authority that campy as it may be, this installment in the series is worth the watch, if you can stand the gore. I shudder to think what the unrated version might hold, since the theatrical version was rumored to be one of the bloodiest films to hit the big screen in recent past. The average critic gave the film a C, but if you love this sort of movie, then critics be damned, for surely "Aliens vs. Predator: Requiem" will satisfy all of your blood and gore needs.

"Before the Devil Knows You're Dead"

Directed by: Sidney Lumet

Starring: Philip Seymour Hoffman, Marisa Tomei, Albert Finney, Ethan Hawke

Plot: Two down-on-their-luck brothers organize the perfect crime. Unfortunately, it all goes horribly wrong and destroys both their families and their lives. 

The verdict: "Before the Devil Knows You're Dead," which takes its title from an Irish saying, is dark, depressing, hopeless, and heart-wrenching. It's also the best film I saw in 2007. The acting is phenomenal -- Oscar snub! -- but the script and story of family betrayal make it both painful to watch and something you don't want to end. 

Grade: A+

"In the Name of the King: A Dungeon Siege Tale"

Directed by: Uwe Boll

Starring: Jason Statham, John Rhys Davies, Ray Liotta, Matthew Lillard, Leelee Sobieski

The Plot: An evil army invades a peaceful world with the intention to conquer Castle Ebb and vanquish the King. Meanwhile, a family man named Farmer sets out to find his kidnapped wife and avenge the death of his son.

The verdict: I must confess, this is yet another of this week's releases that passed me by. But by the looks of the box office figures (it brought in a mere $4.5 million in the U.S.), I'm not the only one. The DVD features deleted scenes, extended scenes, and a behind-the-scenes featurette. That's a lot of scenes. Perhaps it's worth a rental. 

"I Want Someone To Eat Cheese With"

Directed by: Jeff Garlin

Starring: Jeff Garlin, Sarah Silverman, Richard Kind, Amy Sedaris, Bonnie Hunt

The Plot: James is a frustrated Chicago actor looking for a soul mate. After being dumped by his girlfriend, losing a part to a teen idol, and failing to follow the steps of Overeaters Anonymous, he meets Beth. 

"Juno: Special Edition"

Directed by: Jason Reitman

Starring: Ellen Page, Michael Cera, Jason Bateman, Jennifer Garner

The Plot: I think we all know the story of little Juno MacGuff. 

The Verdict: Despite its many awards and Oscar nods, "Juno" was a bit of a disappointment for me. Smart and clever, but not laugh-out-loud funny, "Juno" had been too hyped by the time I saw it. Ellen Page did a wonderful