YOO-HOO, MRS. GOLDBERG

YOO-HOO, MRS. GOLDBERG (2009). Written, produced, and directed by Aviva Kempner.

Yoo-Hoo, Mrs. Goldberg is primarily a biography of Gertrude Berg, who played the much-beloved character of Molly Goldberg on the long-running radio/TV series The Goldbergs. (Her neighbor would yell out of her window, "Yoo-Hoo, Mrs. Goldberg.") But it is also an evocation of a particular time in history, and a look back at the radio, television and motion picture industries as they were during a different era. In addition, Yoo-Hoo, Mrs. Goldberg also covers everything from WW2, the holocaust and anti-Semitism to the often tragic consequences of the blacklist in the fifties and its effect on many careers in show business. Berg, born Tilly Edelstein, became "the first woman to build a media empire." She wrote but originally had not intended to act on the radio show The Rise of the Goldbergs, but she was so suited for the lead role that she got it, and continued to play the part when it debuted as the TV series The Goldbergs on 1/10/49. Philip Loeb was excellent as her husband, but due to his liberal and labor causes he was branded a communist and CBS dropped the show when Berg refused to drop Loeb. However, Loeb finally had to leave the series when it became apparent that no other network would air the program as long as he was a part of it (he later committed suicide). 

The Goldbergs continued with first Harold Stone, and then Robert Harris, as Mr. Goldberg, but it lost much of its audience when the family moved from the Bronx to the suburbs. Although focusing on a Jewish family, it was the universal themes on the program that made it a hit with so many. Berg later wound up doing more than one project with, of all people, Sir Cedric Hardwicke! The movie is bolstered by interviews with the late Berg's relations, co-workers, and many people both in and out of the industry who were greatly influenced by her. Yoo-Hoo, Mrs. Goldberg is charming, sad, and altogether excellent. NOTE: The DVD release of Yoo-Hoo, Mrs. Goldberg contains many extras, including a few episodes of the series itself. 

Verdict: This is a superb documentary on every possible level. ****

WEB OF LIES

Majanda Delfino and Andrew W. Walker

WEB OF LIES (2009 telefilm). Director: Tristan Dubois.

Abby Turner (Majandra Delfino) works for an Internet security firm and has just come up with a state-of-the-art new system. Alas she discovers that this system may have been compromised after her boyfriend, Josh (Andrew W. Walker) is killed and the FBI informs her that he was a cyber-criminal. Afraid they will think she's involved, Abby does her own investigating, hooking up with a female hacker named Spider (the impossibly named Kaniehtiio Horn); dodging agents Wilcox (Michael Mando) and Anderson (Tara Nicodemo); and consulting with her boss, Michael (Ted Whittall). Then she re-discovers a totally unexpected ally from the past that she's not certain she can trust. While Web of Lies stretches credulity at times, it is fast-paced and absorbing for the most part, with good performances from Delfino, Walker, Horn, and the others. Tyler Hall and Jesse Rath are also notable in supporting roles. There aren't enough suspects of the Really Big Bad Guy, but there's still one very surprising twist near the end.

Verdict: Credible suspense telefilm. *** out of 4.

SOLITARY

Amber Jaeger and Kieron Elliott

SOLITARY (2009). Director: Greg Derochie.

Sara (Amber Jaeger) is having a lousy day, to put it mildly. She begins to suffer from panic attacks and can't leave her house, a victim of agoraphobia. Then her husband Mark (Kieron Elliott) disappears, but the police tell her he hasn't been to work for six months. Then she thinks things keep appearing and disappearing each time she turns her back; discovers she might be an heir to two million dollars; and sees Mark surreptitiously dodging around the back yard at night and even inside the house. She doesn't trust her shrink, and suspects her sister is sleeping with Mark, and becomes completely paranoid. What the hell is going on here? Some viewers might find the ending incredibly moving -- Andrew Keresztes' music certainly helps in that regard -- but others might find it irritating, a below-Twilight Zone level cop-out (and also a mite science-fictiony). In the lead role Amber Jaeger is competent enough, but she's not always up to the demands of the part. Elliott as her husband, Kristine Sullivan as her sister Gena, and Andrew Johnson as Dr. Reznik, Sara's psychiatrist, make a somewhat better impression. Brian Spangler and B. Anthony Cohen are fine as the cops on the case, and Dalton Leeb makes for a quirky repairman.

SPOILER ALERT: Dr. Reznik and Gina talk about the choices Sara has as she lays in a coma. In other words, should she wake up and face the pain of a tragic death in the family, or opt to simply pass away and avoid the anguish? Since Sara seems to be at best in her early thirties or even younger, the choice she -- and the film -- make is rather irresponsible.

Verdict: A quasi-religious suspense film that is reminiscent of Jacob's Ladder. **1/2.

FEAR ISLAND

Aaron Ashmore, Benna O'Brien, Haylie Duff, Kyle Schmid

FEAR ISLAND (2009 telefilm). Director: Michael Storey.

A group of friends travel to an island for fun and games, but first discover that they have a stowaway, Megan (Lucy Hale), and then that an unknown person is playing pranks that become increasingly nasty, leading to many murders. The movie is mostly a flashback after Jenna (Haylie Duff) is found on the island in shock. Other characters include cute Mark (Aaaron Ashmore), slick Kyle (Jacob Blair), his brother Tyler (Kyle Schmid), Ashley (Jessica Harmon), and Keith (Jim Thorburn), who has some sort of relationship to the brothers. Trying to find out what really happened are Detective Armory (Martin Cummins) and a shrink named Dr. Chalice (Anne Marie DeLuise). Fear Island is suspenseful and intriguing, boasts a good, talented cast and competent direction, and has some good twists as well. 

Verdict: Enjoyable thriller from Canada. ***.

A YEAR OF HITCHCOCK: 52 WEEKS WITH THE MASTER OF SUSPENSE

A YEAR OF HITCHCOCK: 52 Weeks with the Master of Suspense. Jim McDevitt and Eric San Juan. Rowman and Littlefield; 2009.

This volume looks at the films of Alfred Hitchcock with a fresh and often discerning eye, from his very first films up to classics like Vertigo and Psycho, and his later films such as Marnie and Frenzy. The authors make it clear that Hitchcock was often competing with himself, that you expect so much from the "Master," that you're disappointed if you see little imperfections, even though even Hitchcock's lesser films are often much better than those of lesser directors. Some of the authors' assertions are a little surprising, such as "Strangers on a Train is not one of Hitchcock's most well-known movies," but the book seems to be geared less for the serious Hitchcock fan than for newcomers to his work. Long-time fans of the Master may not find too much that is new, but the authors' analyses [while you won't always agree] are good, and they often make interesting points about a particular movie. One unfortunate aspect to the book, and which may make it seem like "Hitchcock Lite" to the casual observer, is the use of trendy sidebars as if this were "Hitchcock for Dummies." Still, the book is a good read whether you're new to Hitchcock or already very familiar with his work.

Verdict: Solid look at the films of Alfred Hitchcock. ***.

HIGH SOCIETY: THE LIFE OF GRACE KELLY

HIGH SOCIETY: THE LIFE OF GRACE KELLY. Donald Spoto. Three Rivers Press/Crown; 2009.

This is an entertaining and absorbing look at the life and career of Grace Kelly, the actress who worked with Hitchcock and others and dropped out of Hollywood to become the princess of Monaco. Kelly was the niece of the playwright, George Kelly, who wrote "Craig's Wife" and other plays so she did have a special "in," although her looks, bearing and talent may have helped her in any case. Kelly appeared on many live television dramas such as "The Rockingham Tea Set" on Studio One, as well as on the stage, where she hoped to make a name for herself. But Hollywood called, and after a couple of minor (Fourteen Hours) and major (Mogambo) roles  she wound up in Alfred Hitchcock's Dial M for Murder  and two others for the Master, Rear Window and To Catch a Thief. Kelly won an Oscar for her work in The Country Girl and was set to become one of Hollywood's most important mega-stars when she fell in love with the prince of Monaco and sailed off for what wasn't quite a fairy tale ending. Spoto makes it clear that Kelly itched to act [she did one short film much later which has been suppressed by the royal family] and was rather bored with her duties as a princess and her allegedly storybook life in the castle. Hitchock nearly got her out of retirement by offering her the lead in Marnie, but as much as Kelly wanted to do the film, it didn't work out. While High Society may not be the last word or is as rigorously in-depth as it could have been, it is a solid, readable account of Kelly's life and career.

Verdict: Interesting look at a Hollywood legend. ***.

THE REAL STORY: THE AMITYVILLE HORROR

THE REAL STORY: THE AMITYVILLE HORROR. Smithsonian Network. 2009. Producer/director: Virginia Quinn.

This episode of the non-fiction series The Real Story looks at the facts behind "The Amityville Horror," which was a best-selling book supposedly based on a true story that later became a box office hit on the screen; there were remakes and sequels as well. Although it takes its time getting to this conclusion by first looking at the claims and the people who believe them, The Real Story pretty  much makes it clear that the whole thing was an elaborate hoax. For instance, the infamous "red room" was merely a toy closet. Investigators tried to exorcise the house but discovered no sinister influences, although an eerie little boy allegedly showed up in a photograph which could have been faked. Among those interviewed are "investigative reporter" Laura Didio [it is never revealed which paper or supermarket tabloid she may have written for], and a childhood friend of the family whose members were tragically slaughtered in the house and who, unlike Didio, has significant and intelligent things to say. It is theorized that the Lutz family, who moved into the house after the massacre and claimed the house was haunted, may have mistaken explainable events for supernatural phenomena -- or maybe they were just lying.

Verdict: Pulls the lid off a hoax that fooled the dumb and the gullible. ***. 

WHITECHAPEL: THE RIPPER RETURNS

Davis, Penry-Jones and Pemberton

WHITECHAPEL: THE RIPPER RETURNS (2009). Director: S. J. Clarkson.

"He's like a wife who wants to change all your bad habits."

Whitechapel is a British television series, with each of three seasons consisting of three or four episodes. The premise has modern-day London police officers investigating crimes that have ties to the past. The first season focused on a series of murders in Whitechapel in which the unknown killer is recreating the ghastly crimes of Jack the Ripper. Heading the investigation is the comparatively young and inexperienced DI [Deputy Investigator] David Chandler (Rupert Penry-Jones), who gets the men under his command to clean up their act and clothing [making them stupidly assume that he must be gay], and his chief assistant is grizzled Deputy Sergeant Ray Miles (Philip Davis). Both helping and hindering the investigation is one Edward Buchan (Steve Pemberton), a "ripperologist" who first comes to the police with his theory that recent murders are copycat crimes of the original Ripper. Chandler has quite a time convincing his superiors -- let alone his men -- that a new Jack the Ripper is at work in Whitechapel, but before long there's plenty of horrific evidence that his theory is correct. [Hint: don't watch this while you're eating.] Each episode of The Ripper Returns is only 45 minutes long making the full mini-series only two hours and a quarter, so it can be watched on DVD in one sitting. While the story lacks that certain gritty veracity and takes certain liberties, the series is entertaining, creepy, and has good performances, with Penry-Jones making an appealing and attractive protagonist.

Verdict: Watch out for that Ripper! ***.

BEYOND A REASONABLE DOUBT (2009)

Michael Douglas confronts Jesse Metcalf

BEYOND A REASONABLE DOUBT (2009). Writer/Director: Peter Hyams. From the 1956 screenplay by Douglas Morrow.

C. J. Nicholas (Jesse Metcalfe) is a young, ambitious reporter who thinks he's got a great story: he's convinced that district attorney Mark Hunter (Michael Douglas) has won a long string of cases because he and a cop confederate are manufacturing last minute evidence and convicting defendants regardless of guilt or innocence. C. J. gets help from Ella (Amber Tamblyn), an associate of Hunter's, and from buddy Corey (Joel David Moore), who plays a particularly important part in his scheme. C. J. arranges to get himself arrested for a murder he didn't commit, figures that Hunter will do his usual trick with fake evidence, and at the last minute Corey will rush in with proof that said evidence was manufactured. Obviously, things don't work out the way C.J. intended. This is a highly interesting and adept updating of the 1956 Fritz Lang movie of the same name. While Metcalfe may need a little more seasoning before he can carry a whole picture [Douglas is excellent but has only a supporting role], he has his moments, the other actors are fine, and the movie has some clever and ingenious twists and turns.

Verdict: A rare case of a remake being perhaps slightly -- and arguably -- better than the original. ***1/2.

DON'T DARE MISS THE NEXT THRILLING CHAPTER

DON'T DARE MISS THE NEXT THRILLING CHAPTER.-Anthony L. Fletcher. Undercliff/Mill City Press; 2009.

Fletcher's enthusiasm for the cliffhanger serial comes through in this book that looks at many serials of different genres -- science fiction, costumed heroes, jungle action and the like -- rating movies from two to five stars. Fletcher is knowledgeable about these movie serials, and this book would be a good bet for newcomers to the genre who are looking for some recommendations; it has less value for the more "seasoned" cliffhanger enthusiast. Fletcher gives all of the best serials, such as The Adventures of Captain Marvel their due, but be forewarned that some of his five star choices are a little  bizarre [I'm still scratching my head as to what he sees in the stinker Hawk of the Wilderness -- but to each his own!] Nevertheless, this is a good introduction to the genre, and Fletcher's prose is not bad. The book is an somewhat unwieldy over-sized trade paperback, which would make sense if it was illustrated, but the only photos are on the front and back cover. [Apparently this is self-published.]

Verdict: Good for fans seeking to learn more about the great and not-so-great cliffhanger serials. ***.

NINE

Daniel Day-Lewis as Fellini-Contini

NINE (2009). Director: Rob Marshall.

"My body's nearing fifty and my mind is nearing ten."

Famous Italian director Guido Contini (Daniel Day-Lewis), whose last couple of films have been flops, is trying to come up with a script for his new one -- his ninth -- while juggling a wife, Luisa (Marion Cotillard), a mistress named Carla (Penelope Cruz), who is also married, and other women as well. This is  based on the Broadway show of the same title, which in turn was inspired by Federico Fellini's semi-autobiographical film 8 1/2 [which has never been one of my favorite Fellini films]. The trouble with the script, which tries to deal with the conflict artists have with a repressive church and friction between their personal and professional lives among similar matters, is that it has nothing new to say on those subjects. Contini is the stereotypical neurotic ladies man with a big ego and a few moments of sensitivity, and while he's very well played by Day-Lewis, he ultimately isn't very interesting on his own. What we're left with is an entertaining adaptation of something that probably played better on the stage. Maury Yeston's songs are tuneful enough without being spectacular, and there are some well-done and sexy production numbers, such as the hookers singing "Be Italian." Cruz and especially the very lovely Cotillard are excellent, and there is good support from Nicole Kidman as a movie star, Judy Dench as a costumer-assistant to Contini, and Sophia Loren as Contini's mother! Not to put it crudely, but many see this film [and 8 1/2 as well] as less a celebration of womanhood than a paean to the arrogant male ego and his obsession with "pussy."

Verdict: Flawed and minor in most ways, but also colorful and well-produced with a fine lead performance. ***.

HOW TO BE A MOVIE STAR: ELIZABETH TAYLOR IN HOLLYWOOD

HOW TO BE A MOVIE STAR: ELIZABETH TAYLOR IN HOLLYWOOD. William J. Mann. Houghton Mifflin Harcourt; 2009.

Mann has decided not to write a straight-forward bio of Taylor but focus on certain highlights of her life, the result being that the book actually has as much depth and knowledge of the woman as bios that cover every facet of her life and career. [To all intents and purposes this is  a full biography.] You can read about Taylor's early career and aggressive mother, who'd been an actress herself; her affairs with, and marriages to, Eddie Fisher and Richard Burton; the making of the mammoth Cleopatra; the death of husband Mike Todd in a plane crash; her feud with Hedda Hopper, who was sued for claiming another Liz-husband, Michael Wilding, was gay; the filming of career highlights such as Giant and Who's Afraid of Virginia Woolf, in which Liz was supposed to look slatternly; and so on. Of course, some things get lost -- Rhapsody, in which Taylor is terrific, is again glossed over [as it was in Taraborrelli's book] and there's no mention of Toscanini [I would have loved to have gone behind-the-scenes with Taylor and co-star C. Thomas Howell!], but you can't have everything. Naturally, when a star has been written about as often as Taylor, lots of stuff gets rehashed, but Mann is a good enough writer to make it all very interesting and readable nevertheless. Taylor's trials and tribulations may no longer be terribly important in the great scheme of things, if they ever were, but they do make good reading and Mann adroitly explores how Liz's romantic carryings-on and choice in movies helped open liberal sexual doors in Hollywood for better or worse. Mann is also the author of Behind the Screen, Kate, and Edge of Midnight on director John Schlesinger; all are recommended.

Verdict: Very readable and entertaining book that is as much about Hollywood as it is about Taylor. ***1/2.

THE PINK PANTHER 2

THE PINK PANTHER 2 (2009). Director: Harald Swort.

"Here is the Pope's ring! His wife will be happy."

Steve Martin returns as Inspector Clouseau in this sequel to The Pink Panther (2006). A thief known as the Tornado is stealing national treasures, including the famous Pink Panther diamond [ignoring the first film, the diamond is now the national symbol of France and has no owner]. A crack team of international detectives, including Clouseau, are assembled to uncover the identity of the Tornado and stop the thefts. Aishwarya Rai Bachchan [!] is fun and sexy as the one woman in the group, Sonia, and Emily Mortimer is back as Nicole, who is carrying a torch for Clouseau. Others in the cast include the always-wonderful Alfred Molina, John Cleese [somewhat disappointing as Dreyfus], Jeremy Irons as a suspect, and even Lily Tomlin as a woman who tries to teach Clouseau political correctness but finds it a losing battle. Jean Reno underplays nicely as Clouseau's partner, Ponton, carried over from the first film along with Nicole. There are some funny scenes in this -- Clouseau interviewing the Pope at the Vatican is especially memorable -- and the film is essentially amiable with a fine Martin seemingly enjoying himself. You probably will, too, even if there have been better "Pink Panther" movies.

Verdict: Not a terrible time-passer. **1/2.

GIALLO

GIALLO (2009). Director: Dario Argento.

Linda (Emmanuelle Seigner) is horrified to learn that her sister, Celine, a model, is the latest in a line of women kidnapped by a disfigured, unknown maniac. She teams up with an American F.B.I man working in Rome, Inspector Enzo Avolfi (Adrian Brody), to try to save her sister and trap her abductor. This is Dario Argento treading water, as the film is well-acted [hard to figure how or why Brody wound up in this but he's made other bad film choices after winning an Oscar for The Pianist in 2002] but not very absorbing or interesting. Argento has made much, much better films than this, but at least it's slightly better than his tedious 2005 telefilm Do You Like Hitchcock? Brody also appeared in Predators, Hollywoodland --which showcased him much more as an actor -- and the most recent King Kong, all of which, despite their flaws, are better than this disappointing "thriller."

Verdict: Not the Argento you remember. **.

THE BOX

THE BOX (2009). Writer/director: Richard Kelly.

Loosely based on Richard Matheson's short story "Button, Button," this film at least has an intriguing premise: a man (Frank Langella) shows up at the home of a young couple (Cameron Diaz; James Marsden) and gives them a small box. If they push the button in the box, he tells them, they will receive one million dollars, but someone -- they don't know who -- will die. The moral dilemma, uncertainty and sheer strangeness of the situation carry the movie ... for a time. But despite some striking images and not bad acting, the picture is more like a bad dream than anything else -- it's impossible to tell if it's supposed to be taken seriously or not. Ultimately it's a waste of a great idea.

Verdict: Not much point in opening this box. **.

LEGION

LEGION (2009). Director: Scott Charles Stewart.

When an old lady named Gladys (Jeanette Miller) goes nutso in the isolated Paradise Falls diner, it signals the beginning of a battle between mankind and angels, supposedly sent by an angry God to wipe out humanity. Okay -- at least the Devil didn't do it. The archangel Michael (Paul Bettany) tries to help humankind as a furious battle with demonic/angelic creatures ensues. Despite all the alleged horror trappings, this is really just a mediocre action flick with decent special effects, fine photography, and good acting from a cast, including Dennis Quaid and Charles Dutton, that deserves a much better script. Laughably bad for most of its length, the film plays like a burlesque and is simply too stupid to be enjoyable.

Verdict: Watch out for movies with characters named "Jeep." *.

DISTRICT 9

DISTRICT 9 (2009). Director: Neill Blomkamp.

An alien race that has been sequestered in a slum in Johannesburg learns that they are to be forcibly moved from their homes. In charge of their relocation is a man named Wikus (Sharlto Copley), but in an accident he begins to mutate into one of the "prawns," as the crustacean-like aliens are called, and needs to ally himself with them. Told in documentary fashion, this supposed sci fi version of apartheid seems derivative of  a lot of other movies [such as Robocop] and despite some interesting elements is a tedious effort to sit through. Produced by Peter Jackson. Whatever you want to call it, this is not good movie-making.

Verdict: Pretty awful. *

GREEN LANTERN FIRST FLIGHT

GREEN LANTERN: FIRST FLIGHT (2009). Director: Lauren Montgomery.

"You're nothing but a bunch of bickering old biddies!"

This full-length animated feature focuses on the popular DC Comics hero who is the subject off a new live-action movie opening later this summer. Hal Jordan (Christopher Meloni of Law and Order: SVU) gets a ring from a dying alien and becomes the latest member of an intergalactic corps of space heroes, the Green Lantern Corps, who answer to diminutive old men called the Guardians of the Universe. The villains of the piece include a redesigned old Justice League foe named Kanjar Ro and Green Lantern's arch-enemy, Sinestro (Victor Garber), who used to be a Green Lantern himself  before he turned rotten. Green Lantern: First Flight is well-directed by Montgomery, looks great (with fluid animation and beautiful artwork and coloring), but the story itself is just a bit on the blah side. The voice characterizations are good with Garber a stand-out as Sinestro.  To read about the origins and early adventures of Green Lantern, check out The Silver Age of Comics.  

Verdict: Disappointing, but whets the appetite for the live-action theatrical release this summer. **1/2.

G. I. JOE: THE RISE OF COBRA

G.I. JOE: THE RISE OF COBRA (2009). Director: Stephen Sommers.

"G. I. Joe" actually began life as a Hasbro toy -- pardon me, action figure -- for boys back in the sixties. Eventually "G.I. Joe" became the name of an international special ops division instead of an individual, fighting a sinister group known as Cobra [Read: THRUSH], and Hasbro brought out more character dolls of both good guys -- and gals -- and bad. There was more than one cartoon show based on the toys, several comic book series [one from Marvel amassed 155 issues and was revived last year], a whole slew of animated feature films, and at least one live-action movie. Most of the major characters are represented in this film, which explains the origins of Cobra and its main members Destro and Cobra Commander, while having our heroes running around trying to stop their dastardly plot -- using missiles to wipe out cities. These missiles are more than mere explosives, however; they contain "nanomites" which can eat through metal and in the film's most exciting scene, do just that to the Eiffel Tower [and assorted cars etc.] in Paris! A sub-plot has "Duke's" former fiancee, Ana, now working for Cobra, which employs conscienceless mind-slaves to do much of its dirty work. There's some great high-tech stuff and FX in the movie, which is often simply too frenetic for its own good. Fans of the cartoons and comics will probably have a better time than the rest of us, but the picture does have its exciting moments. The acting is more than adequate for this kind of stuff, although there are no real cast-stand-outs. Some might find Channing Tatum a bit stiff as Duke, and Joseph Gordon-Levitt a bit wasted as Rex/Cobra Commander. Sienna Miller and Rachel Nichols are okay as the ladies on opposite sides.

Verdict: Noisy, busy, and not half-bad. **1/2.

ELSEWHERE

ELSEWHERE (2009). Written and directed by Nathan Hope.

Sarah (Anna Kendrick), a "nice girl" in Goshen, Indiana, is friends with "bad girl" Jillian (Tania Raymonde). When the latter disappears after a leaving a frantic phone message, Sarah is determined to find her with the help of her nerdy friend, Jasper (Chuck Carter). Although there are a couple of good scares in Elsewhere, for the most part it's slow, a bit dull and predictable, and hasn't much style to speak of. The film does boast some good acting, however, from the aforementioned Raymonde and Carter, as well as from Olivia Dawn York as Darla, and Jon Gries as her father, Mr. Tod. The film may hold your attention but it doesn't build to a big enough pay off.

Verdict: Not the nail-biter it should have been. **1/2.