Josh Brolin takes office in 'W.'

**1/2 out of ****

President George W. Bush is the controversial subject for Oliver Stone's pretentious, gutsy and middling biopic "W."

This film with a simple title sets out to cover Bush's college years through his first term as president. Filmmaker Stone is no stranger to politics after driving his films "JFK" and "Nixon" all the way to the Oscars.

With "W." Stone makes an energetic and entertaining film, but drops the ball when it comes to giving a full view of the man the nation elected -- twice. Rather, he and screenwriter Stanley Weiser (who previously wrote Stone's Oscar-winner "Wall Street") pick an assortment of vignettes that chronicle the president's highs (the first time he meets his wife Laura) and lows, which in this film are plenty.

Stone spices up the conventional story telling, injecting interesting imaginary sequences that Bush uses as analogies, such as playing baseball to a cheering crowd as one-time owner of the Texas Rangers.

The main draw of "W." isn't the plot or the direction, but the film's first-rate actors and their impersonations of recent historical figures. Much like the excitement of Tina Fey portraying Sarah Palin on "Saturday Night Live," the whole film feels rather SNL-ish with more moments of laughter than one would expect in a historical drama.

Josh Brolin ("No Country for Old Men") goes beyond the call of duty as commander in chief, having everything from Bush's walk to his talk mastered.

Jeffrey Wright ("Casino Royale") does an amiable job as Secretary of Defense Colin Powell, but grows affected during his long monologues. Elizabeth Banks ("The 40-Year-Old Virgin") is a standout as Laura Bush in select scenes. Richard Dreyfuss nicely plays a subdued Richard Cheney, unlike the funny-yet-over-the-top Toby Jones ("The Mist") as Bush's right-hand man Carl Rove. James Cromwell ("24") gives a zesty performance as Bush's always expecting Poppy and Ellen Burstyn ("The Wicker Man") is convincing in a hammed-up portrayal of Barbara Bush.

With the cast's fine performances, it is easy to tell that the normally elegant Thandie Newton ("Norbit") gets the lowest approval rating. Newton falls flat on her face in an over-the-top caricature of Secretary of State Condoleeza Rice that leaves you cringing at her voice and facial impersonations.

It is not hard to read between the lines to figure out director Oliver Stone's less-than-favorable opinion of our 43rd president. "W." is still a moderately fair portrait of the man.

'Eagle Eye' flys high

**1/2 out of ****

What if the government is watching you read this review right now? Listening to your conversations through your phone’s speaker, looking at you from your webcam and following every move you make through your cell phone’s tracking device. This is the essence of the thriller Eagle Eye which lacks the anxiety of the idea that technology is surveying you everywhere.

Everyman star Shia LaBeouf (Transformers, Indiana Jones 4) leads; reteaming with director D.J. Caruso (Taking Lives, Two for the Money) who put him on the map with the modern-day revamp of Rearview Window, Disturbia. Borrowing and modernizing elements again from Hitchcock (this time North by Northwest) and Stanley Kubrick’s 2001: A Space Odyssey, Caruso makes a thoroughly entertaining thriller that dabbles more into action than smarts.

Jerry Shaw (LaBeouf) is a Stanford dropout who works at Copy Cabana, living in the shadow of his identical twin, Air Force Cadet Ethan (LaBeouf, again).

Getting a call from his mother that his twin was killed in a traffic accident, it isn’t long after the funeral that Jerry gets another fateful call. Coming home to find his apartment filled with terrorist weapons, Jerry gets a phone call from a mysterious woman to flee his apartment and if he doesn’t obey, he will die.

Rachel Holloman (Michelle Monaghan) is an overworked paralegal who sends her son (Cameron Boyce) off by train to perform at the Kennedy Center. Shortly after, she gets a call from the mystery woman. Rachel is told if she disobeys, the train her son is on will be derailed.

Slacker Jerry and divorced mother Rachel get paired together on the mystery adventure by the phone calls. Realizing whoever is pulling their strings somehow sees every move they make. Making traffic lights go from red to green, surveillance cameras going blank and machinery operate robotically (that’s only the tip of the iceberg).

Shia LaBeouf once again gives an outstanding performance, showing that he can carry a movie, going the extra mile to make a fully-developed character. Michelle Monaghan (Mission: Impossible III) has a motherly element towards Jerry while unselfishly going on with the requests to save her son.

Billy Bob Thorton is an FBI Agent and Rosario Dawson (Sin City, Rent), playing an Air Force Investigator, round out the talented cast, trying to track down Jerry and Rachel. Julianne Moore goes uncredited as the threatening monotone voice that stipulates the instructions over the phone.

D.J. Caruso fills Eagle Eye with edge-of-your-seat car chases and action sequences that have you enthralled. When the action stops, the plots ridiculousness seeps through and the hokey ending is disappointing for the film that started off strongly. Perhaps executive producer Steven Speilberg and the many people (John Glenn, Travis Adam Wright, Hillary Seitz and Dan McDermott) that wrote the film’s screenplay are to blame for the plot going from engrossing to unnecessarily dense.

Alive with fun, solid performances, adrenaline and intrigue Eagle Eye will certainly have your eyes glued to the screen.

'Burn' a hit for Coen brothers

*** out of ****

What happens when an amateur duo of dim-witted doofuses beats the head honchos of the CIA at their own game? The answer is found in "Burn After Reading," a smart film about not so smart people.

Hot off of their success from four-time Academy Award winner (including Best Picture) "No Country for Old Men," brothers Joel and Ethan Coen, do a 360 with their new absurd spoof comedy. After variable success in the genre with hits ("The Big Lebowski") and misses ("Intolerable Cruelty"), "Burn" is without a doubt a hit.

Part of an all-star cast, John Malkovich stars as the angry, foul-mouthed CIA analyst Osborne Cox. The movie begins with Cox getting fired for having a drinking problem, angrily retorting to his colleague, "You're a Mormon! Next to you, everyone's got a drinking problem."

With his newfound spare time, spent mostly drinking and lounging, he decides to write his memoir, to the indifference of his icy wife (Tilda Swinton).

The plot gains traction when a disk containing parts of Osborne's memoir is somehow left on the locker room floor at a gym named Hardbodies. Mistakenly taken as CIA secret information, gym employees Linda Litzke (Frances McDormand), who is hankering for a plastic surgery makeover and the fitness-obsessed Chad Feldheimer (Brad Pitt), see it as an opportunity for easy money.

As the two carry out their half-baked blackmail scheme, Linda starts to date a married Treasury Department employee, Harry Pfarrer (George Clooney), who is having an affair with Mrs. Cox. As all of their lives converge, the Coens create the perfect set up for chaos, murder and hilarity.

Instead of an all-out parody, this film is more of a briskly-paced CIA comedy caper -- Joel and Ethan take the typical craziness out of a spy movie and push it to the max with their imaginative screenplay.

Playing for laughs, not awards, John Malkovich, Brad Pitt and Frances McDormand are still at the top of their games and give some of the most entertaining performances of the year.

J.K. Simmons deserves a mention as the baffled CIA superior who tries to follow the blackmail-murder-love triangle situation. At the end of the film he asks, "So, what did we learn?" The answer is "nothing."

However, like a good episode of "Seinfeld," learning much about nothing is rewarding even on its own, as long as it keeps us laughing.

"Indiana Jones" is back

**** out of ****

Everyone’s favorite globe-trotting, artifact-digging, whip-cracking, fedora-wearing professor is back in Indiana Jones and the Kingdom of the Crystal Skull. Harrison Ford graces the silver screen again as Indiana Jones, exactly 19 years after 1989’s Last Crusade; Crystal Skull is the franchise’s 4th installment.

Not quite the Indiana Jones we know from Raiders of the Lost Ark, there is still plenty of nostalgia from start to finish, appeasing the older generation as well as today’s, bringing out the excitable kid in all of us.

The year is 1957 and Indy is once again in peril, being captured by Russian radical sword-wielding psychic scientist Irina Spalko (Cate Blanchett). Spalko forces Jones to search for a mysterious magnetized artifact in a government warehouse, but just in the knick of time, Indiana escapes…temporarily.

Young greaser Mutt Williams (Shia LaBeouf) meets up with Indy for his aid in finding lost colleague, Professor Oxley (John Hurt), who was previously kidnapped by Spalko to find the legendary city of gold, El Dorado. But the gold is not at stake, rather a crystal skull. The crystal skull is a supernatural object that grants its retriever unimaginable powers.

Setting off to South America and the deep, dark dangerous jungles of Peru, Indiana Jones, with Mutt in tow, fight off creepy-crawlers, hoards of ants, ancient tribes and the Soviets with non-stop action and adventure at every turn.

Harrison Ford is back in action as the adventure-seeking, wise-cracking Indiana Jones. Even though he is well into his sixties, Ford still can crack a whip. Also aging well is Karen Allen reenacting her role as Marion Ravenwood. Indiana’s tough-girl love interest in Raiders, Allen is pleasurable in her scenes next to Ford.

For today’s youth, Shia LaBeouf, who seems to be Speilberg’s favorite actor (producing most of his films), joins the crowd as the young spelunker. Cate Blanchett dons a heavy Russian accent as our villain, but probably is one of the weakest dastardly characters in the series with a underdeveloped part.

Steven Speilberg and George Lucas team up again and still have the magic touch. Lucas, who dreamt up Star Wars, also came up with idea for Indiana Jones. However, David Koepp (wrote Speilberg’s War of the Worlds, The Lost Word: Jurassic Park) pens the fun script that at spots gets murky.

Speilberg keeps up his outstanding credentials with stupendous sequences that you must see to believe. In particular, a jungle car chase with plenty of swashbuckling and bullet flying action that will keep anyone on the edge of their seats.

With plenty of familiarity too it, one reason why this Jones feels slightly different from the others is its CGI. Still with plenty of practical special effects (reportedly only 30% of effects were CGI), the graphics in some scenes can’t help but go unnoticed, though they are of course top-notch. Also, the extraterrestrial subject matter doesn’t feel too Jones-ish.

With exactly the perfect amounts of danger, humor, adventure, romance and swashbuckling, Indiana Jones and the Kingdom of the Crystal Skull is nearly impossible not to enjoy.

"Iron Man" ushers in blockbuster season

***1/2 out of ****

All that glitters is iron as "Iron Man," the first summer blockbuster of 2008, starts off the season with a gigantic bang.

It was only a year ago that "Spider-Man 3" took theaters by storm in what was dubbed the "summer of the threequel," with the third installments of the "Shrek," "Pirates of the Caribbean," "Ocean's," "Rush Hour" and "Bourne" franchises. This summer could be dubbed the "start of a summer series" with the coming of "Get Smart," based on a TV show, "Mama Mia!," a musical and "Wanted," a novel. "Iron Man" comes from a comic series and is one of the best films of the year so far.

Stan Lee's creation, Iron Man first made his appearance in comic books in 1962. Unlike most of the superheroes of the time, Iron Man was one of the first to have no real superpowers other than an invincible suit. Always a second-tier Marvel superhero, it shouldn't be long until Iron Man becomes a household name.

Robert Downey Jr. plays the main character Tony Stark. Stark is a genius engineer/billionaire/playboy who lives in a futuristic house on the coast of Malibu. His fortune comes from Stark Industries, a company that sells high-tech military weapons capable of mass destruction.

On a return trip back home from showing weapons to an army in Afghanistan, a group of terrorists, led by Raza (Faran Tahir), kidnap Stark and hold him in captivity. They want him to build a Jericho missile for their group with help from fellow captive Yinsen (Shaun Toub). What Tony builds isn't a missile, but another weapon entirely. He manufactures a makeshift suit of iron equipped with flamethrowers and rocket technology to fly.

Eluding his kidnappers after an exhilarating shoot 'em up thrill ride, Stark arrives home with a conscience crisis from seeing his weapons being used against the people that they are supposed to protect.

After a snazzy red and gold paint job and some creative engineering adjustments, Stark suits up as Iron Man to protect the world from the harm that he created.

Downey plays the role with a slick ease, comical not cynical and has fun with the part while engaging the audience with enjoyment as he gets adjusted to the suit's gadgets.

The Oscar-caliber cast is exquisitely perfect. Gwyneth Paltrow plays Stark's breezy, sarcastic assistant/love interest Pepper Potts. Terrence Howard is Stark's right-hand man and military pal Jim Rhodes. Jeff Bridges plays Obadiah Stane, Stark's shady business partner.

Mark Fergus and Hawk Ostby ("First Snow," "Children of Men") along with newcomers Art Marcum and Matt Holloway wrote the screenplay that captures the drama and development that most films lack, and supply a dose of comedy and action. The ending, however, misses the same ingenious spark as the rest of the film.

The countless special effects are some of the best to date and extraordinarily seamless with the reality of the scene.

Move over Spider-Man and Superman, "Iron Man" is flat out an all-around crowd-pleaser.

Helen Hunt reappears with new film

*** out of ****

Academy Award-winning actress Helen Hunt seemingly has fallen off the movie map since 2000's "Cast Away" and "What Women Want." Hunt makes her comeback not only as an actress, but as a first-time feature film producer, writer and director with "Then She Found Me"

The film stars Hunt as April Epner, a New York schoolteacher who goes into a mid-life crisis after multiple hits of fate.

The first is her inability to conceive a child naturally with her biological clock ticking. The second hit catches April off guard when her husband, Ben (Matthew Broderick), who works at the same school, unexpectedly leaves her. The third hit is her adoptive mother, Trudy (Lynn Cohen), passes away and, if that isn't enough, April's birth mother, Bernice (Bette Midler), decides to re-enter April's life. Then, a gentlemanly Brit named, Frank (Colin Firth), a father of one of April's students, unexpectedly enters her life.

Well directed, the movie has both April and the audience feeling overwhelmed with all of this happening and on board for a charming ride.

April has a hard time believing the bouncy Bernice, a semi-famous morning talk show host, is her mother, a woman who never is entirely honest about the story of April's adoption and her birth father.

When April finally settles in with the idea of Bernice being her mother and her newfound romance with Frank, a new problem arises: April finds out she is finally pregnant, but with Ben's baby. Ben, trying to come back into the picture as the father, brings complications to her romance with Frank.

Sorting through life with the help of each of these characters and her non-adopted brother Freddy (Ben Shenkman), "Then She Found Me" is a realistic look into making the best of what life gives you, even if it appears to be the worst.

"Then She Found Me" boasts a fabulous cast of actors who rarely are seen in films anymore, including Bette Midler, whose last appearance was in the underwhelming 2004 remake "The Stepford Wives."

Colin Firth ("Bridget Jones's Diary") is fine as the single father Frank, but the role isn't much of a stretch from his previous work. Matthew Broderick gives a rare dramatic performance as April's husband, who is finally ready to accept responsibility. Two-time Oscar nominee Midler fits her role like a glove as the over-the-top Bernice, who generates the film's biggest laughs.

Hunt marvels as April in a difficult role that reconfirms her status as an Oscar-winning actress. As a director and writer she pulls it off. Starting as a comedy, the film is a little rocky, but the fairly smooth transition into drama is where it excels.

The brave screenplay doesn't feel like a studio product, like most films of its genre today. The movie provides a content down-to-earth ending that caps off a satisfying journey. One of the better movies of its class in a long time, "Then She Found Me" truly is a find.

"Baby Mama" is a bundle of joy

*** out of ****

Baby movies seem to be all the rage in Hollywood. "Baby Mama" is a comedy that shows us the lighter side of pregnancy. While we confirmed this from last year’s "Knocked Up", "Waitress" and "Juno", unlike "Baby Mama" all of these films had a sober edge. "Mama" takes the sugary-sweet approach making it less memorable than the other films. However, it sure doesn’t skip on the laughs, providing many knee slapping moments.

From "Saturday Night Live"’s Weekend Update, the comedic duo Tina Fey and Amy Poehler have taken different career paths. Fey became a successful award-winning TV actress on NBC’s "30 Rock". Poehler stuck with "SNL" and took supporting scene-stealing roles in comedies like "Blades of Glory" and "Shrek the Third" to name a few.

In "Baby Mama" the laughable duo reteams again oozing with comedic chemistry.

Fey plays Kate Holbrook, a slightly altered version of her neurotic "30 Rock" character, Liz Lemon. Vice President at a Philadelphia organic supermarket chain; years of climbing up the corporate ladder, single Kate realizes all that is missing in her life is a baby. After many failed attempts at conceiving, 37-year-old Kate whose chances of becoming pregnant are one in a million, resorts to surrogacy.

When finding out that the hefty fee for a surrogate is $100,000, Kate wittily replies to clinic’s owner Chaffee Bicknell (Sigourney Weaver), “It costs more to have some one born than to have someone killed.” Chaffee casually rejoinders, “It just takes longer.”

Here is when Angie Ostrowiski (Amy Poehler) a loud trailer park slob comes into play as Kate’s surrogate. While it seems hard to believe that a woman like her could pass the clinic’s screening process, Angie agrees to help Kate achieve her dream of becoming a mother.

But after Angie and her common-law boyfriend Carl (Dax Shepard) break-up, Angie, who has no clue on the rules of pregnancy, moves in with the welcoming Kate.

While living together, Angie teaches Kate how to let loose while Kate teaches Angie how to grow up; their clashing personalities provide many laughs in this female buddy comedy. Not serious or offensive to anyone, Baby Mama’s message shows that there are multiple ways of obtaining a child and no choice is the wrong one.

Lone writer Michael McCullers ("Saturday Night Live", "Austin Powers 2-3", "Undercover Brother") also makes his directorial debut. Predictable but fun, McCullers adds in some curveballs that you never see coming, that involve Angie not being entirely truthful with Kate.

A big strong supporting cast adds to the movies fun. Weaver is comical as the extremely fertile clinic owner. Shepard has his share of humorous one-liners. Romany Malco ("Weeds", "The 40 Year Old Virgin") is the amusing door-holder at Kate’s building who becomes Angie’s confidant. Maura Tierney ("ER") adds snarky quips as Kate’s sister along with Holland Taylor ("Two and a Half Men") as her mother. Siobhan Fallon also has a brief part as the teacher at a Lamaze class with an Elmer Fudd accent, one of the movie’s funniest scenes.

Gregg Kinnear is a big player in the film as Kate’s love interest who mixes in some drama. Steve Martin however, is the weakest actors as Kate’s over-the-top hippie boss with most scenes not fitting in with the rest of the film.

The pairing of two of the funniest women today, Tina Fey and Amy Poehler, is what makes this movie an event to see. The scenes without them together are usually the frailest. Thankfully about 90% of the time they are side-by-side. Fey plays the same role type of a buttoned-up character with an everyday charm. Poehler on the other-hand is a loud-mouth, shrill, obnoxious character that somehow manages to find a place in our hearts.

A smart light comedy, "Baby Mama" is certainly a bundle of joy.

'21' falls short of winning hand

** out of ****

"21's" winning slogan, "winner, winner, chicken dinner," is quoted quite often, but the movie is more of a turkey. The newest card playing movie since last year's Drew Barrymore-Eric Bana flop "Lucky You," "21" is definitely more entertaining, but still goes bust.

From across the pond, "Across the Universe" and "The Other Boleyn Girl" star Jim Sturgess puts on his best American accent as the film's lead, Ben Campbell. Ben is an Massachusetts Institute of Technology student who can do math faster than a calculator. He's in desperate need of a scholarship or $300,000 to achieve his dream of attending Harvard Medical School. Opportunity knocks on his door when his math professor Micky Rosa (Kevin Spacey) offers him a place on the school's secret card counting team, the "MIT Blackjack Club."

Ben reluctantly takes Rosa up on his offer, realizing his financial woes and the persuasion from seductive Jill Taylor (Kate Bosworth), his campus crush. The condition that he imposes upon himself is playing only until he can win enough money for Harvard -- "a means to an end."

Jetting back and forth from chilly Boston to glossy Las Vegas on the weekends, the team counts their cards and then their chips, raking in the dough.

As they change their names and wear disguises to masquerade their identities, their days become numbered with increasing security technology. The day arrives sooner than expected as the casinos see that their profits are slipping and vigilant security pro Cole Williams (Laurence Fishburne) starts to unearth Micky's elaborate system.

For blackjack novices, don't fear, the movie gives a brief tutorial on how the game works, as well as the intriguing team's hand gestures, body movements and word signals to indicate if a table is "hot," "cold" and other player codes.

"21" has exciting blackjack table scenes, though away from Las Vegas' glitter the film is stale. "21" does manage to be rousing enough to follow through, even at its most tedious points. Screenwriters Peter Steinfeld ("Be Cool," "Analyze That") and Allan Loeb ("Things We Lost in the Fire") capture the excitement of the game, but provide a failing hand with the rest of the story.

The ending is a slight disappointment. As the film progresses, the story becomes too unrealistic, which is funny, since the movie is loosely based on the true story of the real MIT Blackjack Team and adapted from the book "Bringing Down the House," written by Ben Mezrich.

Director Robert Luketic ("Legally Blonde," "Monster-in-Law") certainly has some style with fascinating aerial shots of Vegas and the fast-editing on the casino floors, but it's Something we've seen already in the superior "Ocean's 11."

Jim Sturgess does a fair job as Ben, but seems somewhat miscast. Kevin Spacey tries his best with the role, but gives up along the way becoming over-the-top without much depth. The same goes for Fishburne. The average Bosworth surprisingly works well in the role of Ben's love interest. Aaron Yoo ("Disturbia") and Liza Lapira ("Cloverfield") are affable as fellow teammates Choi and Kianna.

With a great concept, "21" folds on quality story telling. Not worth the gamble to see in the theaters, "21's" good enough to ante up $3 for a rental.

'Shutter' should click with horror fans

**1/2 out of ****

Does the thought of another foreign horror remake make you shudder? Well, fortunately there is "Shutter," one of the best in recent memory. The profitable Asian horror-remake phenomenon took off in 2002 with the wildly successful "The Ring" and "The Grudge," but has since crashed with this year's "One Missed Call" and "The Eye."

"Shutter" manages to standout with a complete, sensible and suspenseful storyline, which makes up for the lack of scares. What's the common everyday technology we should fear this time around? A camera. Produced by the makers of "The Ring" and "The Grudge," Rachael Taylor from "Transformers" plays the role of Jane Shaw, taking the place of Naomi Watts and Sarah Michelle Gellar as our blonde leading lady. The movie starts on Jane's wedding day as she and her husband, professional photographer Benjamin (Joshua Jackson) prepare for a quick move to Tokyo, where he is renewing his career with a company he worked at two years ago.

After developing his first photo-shoot assignment, all of the pictures appear ruined by orbs of an unknown light source. The same quirk materializes on pictures from their honeymoon and tourism shots. While Benjamin thinks it is a camera problem, Jane believes it's a supernatural event after seeing a ghostly young Japanese woman (Megumi Okina) suddenly appear and disappear throughout her day. As Ben becomes immersed in his work, Jane tries to figure out why she is having ghostly hallucinations. The photos are "spirit photos" according to Ben's assistant, Seiko (Maya Hazen), knowing this because her ex-boyfriend, Ritsuo (James Kyson Lee), coincidentally operates a magazine featuring "spirit photos." This is one of the big plot-turning coincidences that occur in "Shutter."Learning from Ritsuo that the photos are trying to communicate, Jane tries to figure out what that message is before it is too late. Benjamin begins to see the woman, and his friends Adam (John Henley) and Bruno (David Denman) also detect her, with knowledge of who she might be.

As the mysterious light in the photos becomes a clearer image and the sightings turn into violent physical attacks, the newlyweds must find a way to end the manifestations before death do they part.

"Shutter" has a solid story with fairly reasonable explanations. Still, why the photo ghost can also appear physically outside of the pictures is a head-scratcher.

The young actors play their parts with intrigue -- though "Dawson's Creek" star Joshua Jackson seems absent and uninvolved in most of his scenes. Taylor does an effective job for the majority of the film but is static at times. The supporting cast holds up the film but does nothing spectacular to improve upon it.

Staying true to scary Asian remakes, writer Luke Dawson keeps the same imagery of the original 2004 Thailand version, but tones the plot down. Masayuki Ochiai directs the film with style but forgets how to leave the audience spooked. Even at the feature-length run-time of 85 minutes, it seems to drag a bit.

"Shutter" certainly works as a thriller, but not as a horror flick mainly because the camera shies away from gory parts and scenes that are too frightening to maintain a PG-13 rating.

For thrills without shrills, "Shutter" will definitely click for you.

It's a who's who of stars in 'Horton'

*** out of ****

"A person's a person, no matter how small." That is the lesson for us all, that walk down the theater hall, to see Dr. Seuss' "Horton Hears a Who!" -- a worthy Hollywood adaptation once and for all.

After the so-so "How the Grinch Stole Christmas" and the dire "Cat in the Hat," a Dr. Seuss story has found the right form in animation instead of live action, capturing the true essence of the book. The cartoon-y animation, true to book form, helps the movie come to life with many of the scenes inspired by the book's drawings. The talented voice cast with top-rated comedians of old and new, along with the hilarious script, boost "Horton" to one of the best family and comedy films this year.

"Horton" starts off with the star of the film, Horton (Jim Carrey, who starred in "Grinch"), a lovable and eccentric elephant living in the jungle of Nool, dictated by Sour Kangaroo (Carol Burnett) who dislikes imagination and things out of order. While taking a bath, Horton hears cries for help coming from a speck of dust floating in the air and chases it down, catching it on a daisy. Trying to talk to the speck, he ends up communicating with the Mayor (Steve Carell) who, unbeknownst to him, oversees the mircoscopic town of Whoville. Dr. Mary Lou Larue, the town's scientist, says that if the town cannot reach stability it is doomed. The Mayor, not believing Horton, who he can only hear but not see, makes the task of survival that much harder.

The Mayor passes on the information to Horton, who is determined to find a stable place for Whoville. He decides to go to the top of the highest mountain in the jungle of Nool. When the resident of the jungle catch wind of the story and start using their imaginations, Sour Kangaroo is unyielding in her attempts to destroy the speck, saying "The only things that are real are what you can see, hear, or feel." The Mayor, too, is under pressure, unable to convince his wife (Amy Poehler), the wicked councilman (Dan Fogler) and the rest of the town of their impending fate.

Sour Kangaroo solicits help from an evil vulture, Vlad (Will Arnett), to destroy the speck. Horton must watch out for aerial attacks from Vlad and the vigilant eye of Sour Kangaroo on his journey to the top of mount Nool.

First-time directors Jimmy Hayward and Steve Martino do an excellent job of recreating the imaginative landscape created by Dr. Seuss with gratifying colorful visuals. Screenplay writers Dan Daurio and Cinco Paul also find the quintessence of the book, not straying far from its many themes with jokes-a-plenty.

Jim Carrey has a wide vocal range for Horton, providing a great character voice, and Steve Carell also gives equally fine voice-work as the reluctant Mayor. Dan Fogler and Will Arnett make excellent villains and Seth Rogen gets some snickers as Horton's mouse friend. Jaime Pressly ("My Name is Earl"), Jonah Hill ("Superbad"), Jesse McCartney ("Alvin and the Chipmunks") and Niecy Nash ("Reno 911!") round out the superb supporting cast. However, it is Carol Burnett that creates the fullest character with plenty of personality that you can't help but love and hate.

From the animation team that brought us "Ice Age," "Horton Hears a Who!" is another magical hit.

No matter what, "Horton" is definitely for you, even if you are a Grinch.

Action-packed '10,000 B.C.' short on facts

**1/2 out of ****

Woolly mammoths helped build the pyramids, dinosaurs hid in jungles, saber-toothed tigers were the size of cars and humans spoke English 12,000 years ago? Do not expect to walk out of the theater with historic knowledge by watching the timeline-twisted "10,000 B.C." What you should expect is a historically inaccurate thrill ride of pre-historic creatures and tribes with plenty of action.

"10,000 B.C." is set among a secluded mountain tribe of mammoth hunters that has managed to find the miracle of 21st-century dental care. The simplistic plot focuses on the young, unwilling leader, D'Leh (Steven Strait), who finds his tribe attacked by a marauding group on horse back, capturing much of the tribe for slavery. During the raid, D'Leh's promised wife, Evolet (Camilla Belle), is one of the many abducted, prompting him to go save her and the others.

The perilous journey cuts through the stunning CGI-landscape of high-peaked, snowy mountains, predator-infested jungles and blistering deserts. As D'Leh fights through the conditions, he also must conquer the tyrannical empire and its leader by uniting fellow clans to rescue his people. The story smoothly flows with periodic narration by Omar Sharif.

Roland Emmerich, the man behind "Independence Day," "Godzilla," "The Patriot" and "The Day After Tomorrow" certainly doesn't know the meaning of small scale, and "10,000 B.C." is no exception. Co-writing the screenplay with the film's composer, Harald Kloser, Emmerich masterfully crafts the computer-created world of "10,000 B.C." Scenes of woolly mammoth stampedes, dinosaur attacks and gigantic pyramids make "B.C." easy to enjoy.

You cannot help but feel as if the film pulled a page from the '06 Mel Gibson film "Apocalypto" or the '60s Raquel Welch movie "One Million Years B.C." where the pyramids and dinosaurs are a better fit, respectively.

If only Emmerich cared as much about his actors than his CGI, "10,000 B.C." could have been better received by audiences. While the performances from the relatively unknown actors are surprisingly sturdy, more than a few scenes are laughable, but for all the wrong reasons.

Leading man Strait ("The Covenant") gives a solid performance as an outcast (his father abandoned the tribe when he was young) turned leader, though never exuberates much charisma in battle for a savior role. Belle, known for being the victim in the 2005 horror remake "When a Stranger Calls," plays the damsel dimly without much sense of distress.

The battles on top of the pyramids with charging wooly mammoths are the type of moments when "10,000 B.C." are at its peak. The other scenes are just idle until the next grand battle, which thankfully are only about five minutes away. Watchable and at times admirable, "10,000 B.C." is still visually fascinating and entertaining one that the whole family could enjoy. For fun and excitement, this is a point in history worthwhile to look back upon.

"Semi-Pro" is only Semi-Decent

**1/2 out of ****

Will Ferrell's latest comedic outing, "Semi-Pro," never becomes a slam-dunk, or a three-pointer for that matter. It does score a few points, but mainly just hits the backboard.

In the vein of Ferrell's other hilarious sports satires "Talladega Nights: The Ballad of Ricky Bobby," "Kicking and Screaming" and "Blades of Glory," "Semi-Pro" drops the ball, taking it one too many with a stale been-there-done-that taste.

Funnyman Ferrell still generates enough sporadic laughs to make "Semi-Pro" a worthwhile venture for fans of the star and this genre.

Ferrell once again plays a superficial, self-absorbed and highly confident character, this time under the alias of Jackie Moon. Set in the mid-1970s, Jackie is a one hit wonder with his Barry Manilow-esque "Love Me Sexy" and uses the money from the song to acquire an American Basketball Association (ABA) team -- the Flint, Mich., Tropics.

Acting not only as the owner, but as a coach, player and promoter, Jackie learns that the ABA is to merge with the National Basketball Association (NBA) at the end of the season. The catch is that only the top four teams will be part of the merger.

At the bottom of the rankings, the sad-sack team gets a much-needed boost when Jackie recruits a former NBA has-been, Monix (Woody Harrelson). It isn't long after Monix clashes with the only promising player on the team, ball-hog, Clarence "Coffee" Black (Outkast's Andre "3000" Benjamin). As the team starts shaping up and the attendance increases, the Tropics look as if they are on their way to be a part of the NBA.

We all know that Will Ferrell can be funny, even in his sleep, with his comedic ability, but he doesn't bring anything new to the table in a film relying heavily on sight gags rather than dialogue. You can't help but laugh at the song "Love Me Sexy" and the promotions to bring in the fans.

To be noted, this film is rated R, unlike Ferrell's other sports films. Ferrell and crew never bother to go the extra mile in what could have resulted in a PG-13 rating, by editing a few words.

Woody Harrelson, who reached film stardom in his 1992 basketball comedy "White Men Can't Jump," shines in most of his scenes. Harrelson carries a majority of the funny lines that work, but a subplot with his ex, Lynn ("ER's" Maura Tierney), just slows down the poorly paced film thanks to first-time director Kent Alterman.

As random as "Semi-Pro" is, there are a number of subplots and scenes that should have wound up on the cutting room floor. A prime example is the scene of a drugged-out hippie fan who receives an un-cashable $10,000 check after scoring a free-throw, played by Jackie Earle Haley of sports comedy "Bad News Bears" fame.

"Saturday Night Live's" Kristen Wiig makes a brief appearance, as well as Patti LaBelle, Rob Corddry and Andy Richter. Andrew Daly ("MadTV") and Will Arnett are dependable for laughs as the wise-cracking sports commentators.

When the fourth quarter rolls around, "Semi-Pro" stays strong, but that isn't enough to win the game. While the film is worth a watch if you like Will Ferrell's previous work, but ultimately "Semi-Pro" is just a semi-decent flick.

"Be Kind Rewind" Short on Laughs

** out of ****

"Be Kind Rewind" is one of those movies that would make a stellar short film, but stretch it to feature length and you're looking for the fast-forward button. The movie's simple idea is to take popular films and parody them on a shoe-string budget with YouTube quality. This is the concept for this relatively absurd film.

"Be Kind Rewind" has a lot of heart, but never delivers on the laughs. Set in Passaic, New Jersey, the film starts off strong. The opening scene focuses on a dumpy, corner brick-and-mortar movie rental store called Be Kind, Rewind. In this store you won't find a DVD anywhere, only VHS, and yes, this is set in present day.

The store owner is Mr. Fletcher (Danny Glover), who leaves Mike (Mos Def), the only other employee, in charge of the store while he scouts out local competition. Mike is odd and shy, with a strong sense of morality that sometimes gets twisted by Jerry (Jack Black), his goofy friend who works in a junk yard.

Jerry hits the play button on this slow moving plot when he destroys a local generator claiming it was controlling his mind, sending magnetic waves through his body. Next morning when Jerry enters the store, he inadvertently magnetizes all the tapes, rendering them blank. In fear of upsetting Mr. Fletcher, and the survival of the store, Mike hatches an idea. Jerry and Mike remake short versions of all the films. In come the parodies.

"Be Kind Rewind" relies on its laughs to come from the parodies that rarely generate a chuckle. "Rewind's" biggest belly-busters are from the natural moments, but they aren't enough to carry the film. The parody highlights range from "Driving Miss Daisy," "Rush Hour 2," "The Lion King," "Ghostbusters" and "Boyz N the Hood" -- anything is fair game.

The director and writer is the Oscar-winning visionary Michel Gondry ("Eternal Sunshine of the Spotless Mind," "The Science of Sleep"). A Frenchman, Gondry shows his love for American cinema in his most mainstream film yet. Gondry shows his troubled writing skills with poor pacing, but manages to stir up natural, down-to-earth dialogue even for such a quirky film.

Jack Black ("King Kong," "Nacho Libre") again can't contain himself, but is more relaxed than in his past comedic outings. Black is the perfect fit for a character like Jerry who is obnoxious and unaware of his surroundings. Mia Farrow makes another trip back to the big screen as Miss Falewicz, a friend of Mr. Fletcher who keeps an eye on naive Mike. Melonie Diaz joins in on the fun as one of the actresses in the parodies.

Mos Def ("16 Blocks," "The Italian Job") is the one to keep an eye out for. He is excellent as Mike with his quirky mannerisms and shy behavior. Like Mark Wahlberg, Mos Def is one of the few rappers-turned-actors that manage to make a smooth transition to film.

"Be Kind Rewind" is one to watch on DVD. However, you won't find yourself hitting rewind when it is over.

The Fantasy of "Spiderwick Chronicles" Charms

*** out of ****

"The Spiderwick Chronicles" is another book-to-screen outing, but unlike the rest, this one stands out. Fatigued after all of the fantasy novel adaptations from last year alone, high-profile films such as "The Golden Compass," "The Seeker: The Dark is Rising" and "Stardust" were all shunned by audiences. With rushed starts, abrupt stops and confusion all around, "Spiderwick" shakes things up by letting the viewers take a breath without skimping on the CGI warfare.

Rated PG, "Spiderwick" does have some genuinely scary moments, but this is one that the whole family can enjoy.

Based on the five-part, best-selling kids' series, the film is a faithful adaptation which combines all of the books into one presentation.

The story starts with Helen Grace (Mary Louise-Parker) moving the family to the dilapidated Spiderwick Estate after her divorce. The estate was inherited from her great-great uncle Arthur Spiderwick (David Strathairn). Oldest daughter Mallory (Sarah Bolger), who enjoys fencing, and her bookish, pacifist brother Simon (Freddy Highmore) are supportive of their distraught mother and the move. Simon's identical twin, Jared, (also played by Freddy Highmore) isn't as supportive. Adventurous, curious and headstrong, Jared is upset with his mother and would rather live with his father.

The action starts quickly when Jared finds Arthur's secret laboratory and discovers a strange old book. The book, which has a "do not open" note attached, turns out to be a field guide of the magical world around the estate and the secrets of the mysterious creatures in the surrounding woods. Jared soon becomes a believer after he meets Thimbletack (voiced by Martin Short), a small, hamster-like man who was Arthur's assistant.

Simon also becomes aware of this mystical world with strange occurrences, though Mallory and their mom are not yet convinced. The twins learn that the evil shape-shifting ogre leader, Mulgarath (Nick Nolte), will stop at nothing to retrieve the book to become even more deadly. Mallory and mom soon become believers when the house is attacked by frog-like goblins.

Unlike most fantasy films, "The Spiderwick Chronicles" doesn't hold back -- goblins not only chase the kids, but also claw and stab to the point of cuts and bruises. With many evil and hideous creatures, there are also helpful ones such as the hog-looking Hogsqueal (voiced by Seth Rogen), and flower-like fairies who help with the fight in an action-packed CGI sequence.

Known from his Lindsay Lohan hits "Freaky Friday" and "Mean Girls," director Mark Waters enters new territory and is just as successful. Waters has stunning and majestic imagery filled with CGI creatures and live-action actors intertwining beautifully making this one a must to see in the theaters -- or IMAX, where it also is being shown.

Karey Kirkpatrick, David Berenbaum and John Sayles wrote the welcoming screenplay from Tony DiTerlizzi and Holly Black's novels. It leaves no confusion and a longer exposition to create character depth, adding a much bigger impact when it comes time for the final result.

"Weeds" star Mary Louise-Parker takes the backseat playing the caring-but-unaware mom.

The real star of "Spiderwick" is the young and very talented British actor Freddie Highmore ("Finding Neverland," "Charlie and the Chocolate Factory") who sports a decent American accent. Highmore, who acts both roles, amazingly creates two very separate characters as if they were played by different performers.

The animation department deserves recognition for the stunning visuals, as do Short and Rogen for being the friendly and likeable voices of their unique characters.

Working as a stand-alone film, with a nicely closed ending, "Spiderwick" isn't the next "Harry Potter" or "Narnia," but there is still so much adventure and fun, you would want to go back for another round.

'Over Her Dead Body' gets some laughs

**1/2 out of ****

While heaven isn't the most desirable place to be on your wedding day, the main character in "Over Her Dead Body" would definitely say it's hell.

Eva Longoria Parker, who plays the wickedly hilarious Gabrielle Solis on the hit comedy "Desperate Housewives," doesn't need to stretch far to play her ghostly role in this romantic comedy. "Over Her Dead Body" is quite charming on its own silly terms and is much better than you might expect.

The film begins with Kate (Longoria Parker), a "bridezilla," shouting commands at her wedding staff minutes before the guests arrive. "Knocked Up's" Paul Rudd plays the groom, Henry, a friendly, laid-back veterinarian.

Running around to inspect the final touches, Kate blows up when she finds that the angel ice sculpture is missing its wings. After a heated argument with the sculptor (Stephen Root), a mishap occurs and the angel falls over and, with an ironic splat, sends her to the heavens above.

Fast-forward a year later and Henry still thinks about Kate, not moving on with his love life. Henry's sister, Chloe (Lindsay Sloane), takes him to her psychic friend, Ashley (Lake Bell), who has been told to say that Kate wants him to move on.

To Chloe's joy the plan succeeds. Henry does move on -- with Ashley. Chloe isn't the only one upset. Kate is, too! Like two peas in a pod, Henry and Ashley hit it off. But Kate's ghost, only visible to Ashley, is hell-bent on destroying their relationship. Accordingly, Kate is stuck in limbo and can pass through the Pearly Gates only after she completes unfinished business, which she believes is to protect Henry.

While the audience quickly discovers what she must really do to finally pass on, we still have fun watching Kate as she tries to figure it out for herself in this comical, supernatural love triangle.

Amusing as it might be, "Over Her Dead Body" (originally titled "Ghost Bitch" and "How I Met My Boyfriend's Dead Fiancee") falls victim to the standard plot formula of its genre -- boy meets girl, loses girl, gains girl back.

Writer Jeff Lowell ("John Tucker Must Die") points out some witty observations with laugh-out loud moments that are too sporadic, turning the film's status to lifeless in between.

A twist involving Dan (Jason Biggs), Ashley's gay business partner, towards the end is very surprising, but too ridiculous and unbelievable to be clever. To be noted, Lowell is taking double duties, making his debut as director.

Longoria Parker, dressed in white throughout the film, is hilarious, but at times needs to take it down a notch making some moments obnoxious.

Lake Bell ("Boston Legal") gets the job done well and shines in a few scenes.

Biggs flails around in a slapstick role and is quite funny while doing it. However, Rudd acts as if he is the one passing on. The main problem with Rudd is he never appears to be the type of person to marry snobby perfectionist Kate and the on-screen chemistry never comes through.

With its many high points and some flaws, "Over Her Dead Body" never fully comes alive.

Cops Fight Cyber Killer in "Untraceable"

** out of ****

Diane Lane dukes it out with a Web site and all its watchers in the new cop thriller "Untraceable."

Director Gregory Hoblit, who had the great Sir Anthony Hopkins and Ryan Gosling fighting it out in the straight-laced "Fracture" last year, utilizes the same no-twist plot principle. This is an undeniably energetic film, but too often has the viewer being able to guess what will happen from scene to scene.

Lane gives a marvelous performance as Jennifer Marsh. Widowed with an 8-year-old daughter, Annie (Perla Haney-Jardine), Marsh works the night shift, alongside her friend Griffin Dowd (Colin Hanks), as a cop in a Cyber-crime division.

The events start to unfold when a Web site, http://www.killwithme.com/, starts streaming live. The site features people in contraptions that could have been stolen from the set of "Saw," providing live video of the person's eventual bleeding, frying, or acidic doom. The gimmick is that the more viewers the site gets, the quicker the person dies, thus making the visitors accomplices to murder as well as the killer (Joseph Cross), who is revealed way too early to prolong the suspense.

The problem? The Web site is somehow untraceable, confirmed by the cyber unit's computer lingo that only one with a Ph.D. in computer technology could understand. But, as the killer's body count grows, it is not long before Griffin and Jennifer, who are closing in on the killer's identity, may become the next victims in front of the Web cam.

"Untraceable" tries to comment on our violence-induced culture and asks would you visit such a site? But then again, curiosity killed the cat, literally, as the first victim of the site is a cat, before the viral-video killer moves up the food chain.

Hoblit ("Primal Fear," "Hart's War") directs with style and some impressive shots that go wider, straying away from the typical jump-shot angle tricks.

The highly talented Diane Lane gives us an intrepid performance while Hanks is an admirable co-star.

Previously starring in "Fracture," Billy Burke makes an entrance later in the film as Detective Eric Box and does a meaningful job. On the opposite end, Cross overacts unnecessarily with a menacing blank stare, as if we forget he is the mastermind killer.

Is "Untraceable" unwatchable? No. If you miss it in the theatre and are looking for a decent thrill with a satisfying ending, "Untraceable" should show up on your radar as a rainy day rental.

Definitely miss this 'Call'

* out ****

"One Missed Call" is the first film of 2008, but starts the year off with the wrong number.

Shannyn Sossamon ("Dirt," "Moonlight") gives an uninspiring performance as the fearless heroine, Beth Raymond, in a role that we've seen in horror films time after time.

The plot is simple: Beth's friends are all dying around her in tragic accidents after receiving a cell phone call. When her friends hear their missed call's voicemail, it is the sound of their death. The call is listed two days later at the exact time of their death sent from the cell phone of a person that died before them.

In the 48-hour doomsday waiting period, Beth's friends tell her how they start hallucinating, seeing insects crawling about and decomposed faces as a reminder of their end of days. When found dead they all have a red hard candy found in their mouths.

The cops don't believe Beth's claims, since after the deaths the messages are erased.

Police officer Jack Andrews (Edward Burns), our second hero, assists Beth after his own sister becomes a victim of the cursed call.

When Beth gets her own fatal call, however, she and Jack spelunk through eerie buildings and investigate through newspaper and police archives to find the origin of the voicemails and a way to save Beth before anyone else gets the killer call.

"One Missed Call" is dull and boring, failing to provide at least one genuine moment of fear. It also follows the patterns of similar themed films such as fellow Japanese remakes "Pulse" and "Dark Water" (both not much better). "Call" also raises many questions. Why listen to the message if you know the outcome? This question never dawns upon Beth and her friends. Instead the movie continues with their destiny, which leaves the characters and audience not very surprised with what happens next.

Since they can't cancel their phone plan (through Boost Mobile, the only company that lent its name and product), they do destroy their phones, but this doesn't seem to stop the vengeful spirit.

Giving the best performance of the film is the usually reliable Burns, who sleepwalks through his part as Jack.

This is the first American film for French director Eric Valette, whose directing style is either formulaic or got lost in translation with the common close shot angles for chilling jump scenes that got more of a laugh than a yelp. Screenwriter Andrew Klavan ("Don't Say a Word") has some good ideas but seems to have forgotten the elements of common sense and an ending.

The best moment of the film happens during the first few minutes when victim number one meets her fate by the ghoul, but seconds later the ghost reappears and takes the life of her cat.

This is when the cracks start to show -- did the cat also receive a voicemail?

With failed attempts for the film trying to explain itself, especially the connection between the characters and the curse, "One Missed Call" is definitely one to hang up on.

Katherine Heigl shines in "27 Dresses"

*** out of ****

"27 Dresses" is the new chick-flick of '08, but, guys beware, this is one you can go to and still have a laugh.

We have seen some variation of the formulaic romantic comedy "27 Dresses" countless times. Does it give us any new insight on the subject of marriage? No. Does it offer anything remotely original? No. Does it make an enjoyable comedy? Yes.

Katherine Heigl, of "Gray's Anatomy" and "Knocked Up" fame plays late twentysomething Jane, a hopeless romantic. Jane's life is neat and organized, working as an assistant at an eco-friendly company. Her boss George (Edward Burns) is oblivious that Jane holds a secret love for him. Jane's love life, however, sits on the back burner while acting as her friends' go-to-gal for planning weddings.

Jane is the embodiment of "always a bridesmaid never a bride." She's been one 27 times and counting. Keeping all the dresses crammed into an overflowing closet provides many amusing flashbacks.

At a pre-wedding party for a co-worker, Jane finally works up the nerve to ask George out, but her younger sister Tess (Malin Akerman) beats her to the punch.

The news gets worse when the manipulative Tess becomes engaged to George, which devastates Jane.

When Tess asks Jane to plan her impromptu wedding, spineless Jane can't say no.

In the meantime, Kevin (James Marsden), writer for the commitments section of The New York Journal, is pessimistic about marriage. Meeting Jane at a wedding, Kevin's persistent for a date, popping up in her daily life after finding Jane's dropped planner.

They eventually start dating, but Jane can't stop being frustrated with planning the wedding of the groom who should have been hers.

Jane also can't stand to see George get hurt, being blinded by Tess' lies and fake persona.

"27 Dresses" is consistently funny throughout. The montage of Jane wearing the 27 dresses is hilarious and the drunken karaoke scene is a highlight of the movie.

Heigl is amusing as Jane and handles the dramatic scenes nicely with plenty of chemistry wtih James Marsden.

Newbie Swedish actress Malin Akerman ("The Heartbreak Kid") wasn't exaggerated enough for most of her scenes, causing them to be somewhat lackluster.

Edward Burns is suitable as George, but acts too aloof throughout the movie.

Judy Greer, who plays Jane's co-worker and best friend Casey, provides comic relief.

In her second attempt at directing after the hit "Step Up," Anne Fletcher, a long time choreographer, paces the film well with drama and comedy in the mix.

Screenwriter Aline Brosh McKenna ("The Devil Wears Prada") wrote the witty screenplay. Unlike most romantic comedies, the script is believable without relying on unrealistic coincidences.

In a sea of cute date movies, "27 Dresses" is certainly engaging (no pun intended).

A Bloody Good Show

** out of ****

Premiering on Broadway in 1979, Stephen Sondheim's macabre musical "Sweeney Todd: The Demon Barber of Fleet Street" (adapted from Christopher Bond's play of the same name), makes it to the big screen 28 years later -- just in time for Christmas.

Directed by Tim Burton, Johnny Depp plays the title role in his sixth collaboration with the director and fifth collaboration with female lead Helena Bonham Carter.

Revolving around the themes of revenge, murder, poverty and cannibalism, this sure isn't "Mamma Mia!"

Set in a dreary 18th century London, "Sweeney Todd" tells the infamous story of Benjamin Barker (Depp), a barber, wrongfully accused and sent away by Judge Turpin (Alan Rickman) with the help of his sailor friend, Beadle Barnford (Timothy Spall). Turpin's motive is to get to Barker's wife Lucy (Laura Michelle Kelly) for whom he longingly covets.

Returning 15 years later to London with the alias Sweeney Todd, Barker hopes to be reunited with his wife and daughter and to seek out revenge on Turpin and Barnford.

Sweeney Todd opens his barber shop above Mrs. Lovett's (Bonham Carter) Meat Pie Shop, which she sings about in "The Worst Pies in London." Lovett and Todd partner in a heinous relationship. Upstairs, Todd slits the throats of his customers, while downstairs she'll fillet their meat into her pies. Sweeney lures his customers with a guarantee of "the closest shave you'll ever know."

Being sidetracked from his main goal and with the body count piling up, Todd is driven to exact revenge with nothing to stop him in this dark musical.

While with most films you wish the second half could have been as good as the first, the opposite holds true for "Sweeney Todd."

Finally gaining momentum after a sleepy first act, the film maintains a high energy until the satisfying end.

Burton orchestrates the stylized, large-scale production, having the camera zoom up and down the streets of the gloomy London landscape to establish much of the film's mood in a way that is eye candy for the viewer. Many kudos go out to the cinematographer, set designers and costume and make-up departments. Most of the film looks black-and-white. Until, of course, the blood gushes out in Tarantino-like quantities, looking almost cartoonish, to create an outstanding visual effect.

Johnny Depp, looking similar to his "Edward Scissorhands" character (his first film with Burton), is magnificent as Sweeney Todd in an award-worthy performance. He displays a strong singing voice.

The big surprise is Bonham Carter with some of the best lines in the movie. Her voice is soft, elegant and tuneful, but can't overcome the comparisons to Angela Lansbury's performance on Broadway.

The supporting cast keeps the film afloat. One surprise is a small role played by Sacha Baron Cohen as a faux Italian shyster.

Barely a word not spoken in song, Sondheim's lyrics are clever and witty for the most part, but the lines played just for laughs fall flat.

While "Sweeney Todd" is a musical, it isn't one for the whole family.

Like Mrs. Lovett's meat pies, "Sweeney Todd" is an acquired taste.

Almost 'Legend'ary

*** out of ****

Is it me or does every film set in the future have some sort of apocalyptic theme to it?

In "I Am Legend," the desolation is set in not-so-far-off 2012. From the first few scenes of the movie it is not hard to tell that something huge has happened to New York City.

Will Smith stars as Robert Neville, the last man alive in a deserted Manhattan. Weeds are growing out of the streets, the Brooklyn Bridge is dilapidated, lions and other zoo animals are prowling about, but everything else lies still. Come nighttime, however, the streets are alive -- or to be more precise, undead.

How did this come about? We cut to one of many appropriately placed flashbacks. It is 2009. While things look normal, there are some alarming changes taking place -- gas hitting a bit south of $7 per gallon and a cure for cancer has been found. The miracle cure's side effects, however, are more than just a headache.

The people given the revolutionary cure develop a virus, eventually turning into creatures that look like zombies with hairless pasty-gray skin and dilated pupils. Their vampire-like characteristics include feeding on blood and burning in the light. These primitive and aggressive people are called "dark seekers." The virus is transmitted through the air and during attacks from the monsters.

Neville, a scientist who helped with the cure, leads the chaotic evacuation/quarantine for New York City, aka ground zero. Events go terribly awry when his wife and daughter die along with others as the unstoppable virus wipes out humanity.

Immune to the virus, Robert's only companion is his dog Samantha. Living in a barricaded safe house, Robert works hard to find a cure for the virus using his immune blood when he's not out searching for survivors. He also broadcasts signals on the radio alerting possible survivors about where to meet up with him.

Racing against the clock to find a cure, with the dark seekers waiting for him to make a fatal error, the supposed "last man on earth" may not be alone after all.

Based on the 1954 novel by Richard Matheson, "I Am Legend" is the third film incarnation. The first was 1964's "The Last Man on Earth," starring Vincent Price, followed in 1971 by "The Omega Man," starring Charlton Heston.

The opening special effects are impressive. Seeing a deserted, rundown New York City with wild animals racing between abandoned cars is a spectacle. Later scenes are dicey at best. The dark seekers are effective but look as if they belong in a video game rather than a big-budget sci-fi horror film.

As far as acting goes, the one person that gets the credit (and there really only is one person to give it to other than a loveable dog), is superstar Will Smith. Smith is brilliant and makes "Legend" captivating. Showing paranoia, fear, loneliness and the willingness to survive and strive for a cure, Smith captures the audience's hearts as the hero, but also as a villain for having taken part in the virus' creation.

This is the second feature film for music-video-directing star Francis Lawrence. His first film was the passable comic book adaptation of "Constantine." While "Legend" is an improvement (Lawrence shows that he can create effective atmosphere full of many heart-racing, seat-jumping scary moments that leave shivers), Lawrence still needs to work on covering plot holes.
Most of the questionable consequences of a disaster you can shrug off, but you can't help wondering how there's electricity with no generators.

Not quite legendary, "I Am Legend" does make a name for itself.