Boilerplate Biopic

There’s nothing wrong with Ray that a little less hype couldn’t fix. As biopics go, it’s pretty good. Jamie Foxx is convincing as the iconic Ray Charles. Writer James L. White and writer/director Taylor Hackford employ a clumsily expository flashback structure that actually pays off beautifully at the end with a startling and unexpected moment of transcendence and vision. Two and a half hours clip by briskly. And there’s plenty of Charles’ music.

Reincarnation’s Provocative Practicalities

Birth is the perfect antidote for anybody who thinks reincarnation is a romantic notion, allowing for a reunion with the spirit of a loved one who has died. By mining the practicalities of the situation, the movie becomes a rare work that humanizes and seeks to understand the effects of reincarnation instead of merely employing it for cheap horror or cheesy romance.

The Ethics of Desperation

A key reason Dirty Pretty Things works so well is that the audience can never be sure in what direction it will go. It might be a sober exploration of issues related to immigration, or it might be a romance, or it might be a humanistic thriller, or it might be a Lynchian mystery, or … . It’s all those things, actually, and at least pretty good at all of them. The movie is nimble, and just when you think you’ve nailed it, it swerves in another direction.

Village Idiocy

Bashing The Village, of course, is easy. But out of M. Night Shyamalan’s plodding, over-deliberate bore — neither intellectually stimulating nor marginally entertaining — could have been salvaged a good, serious, potentially wrenching exploration of the concept of the social contract.

Forced Whimsy

Watching The Life Aquatic with Steve Zissou initially created a pleasant sensation — ah, yes, my old friend Wes Anderson — that over two hours turned tedious and finally grating. Anderson has taken his love of artifice and dry humor to its logical end and proves that it doesn’t work. Now, hopefully, he can go back to making rewarding movies.