LOVERLY: THE LIFE AND TIMES OF MY FAIR LADY

LOVERLY: THE LIFE AND TIMES OF MY FAIR LADY. Dominic McHugh. Oxford University Press; 2012.

This scholarly tome looks at virtually every aspect of the world-famous and wonderful musical, Lerner and Loewe's My Fair Lady, from George Bernard Shaw's play Pygmalion to the Broadway (and subsequent) productions of the musical, the acclaimed motion picture version, and reassessments of the show over the decades. McHugh goes into various attempts to go against Shaw and turn the piece into a conventional romance, and how librettist and lyricist Alan Jay Lerner did his best to avoid that situation. The book goes into casting choices and decisions -- Mary Martin was for a long time the front-runner to play Eliza Doolittle -- as well as rehearsal problems and how they were dealt with. McHugh also scrutinizes and analyzes the music (unless you're a music student these passages may be a little dry, of course) and cites composer Frederick Loewe's influences. McHugh hardly leaves a stone unturned, although I must say I was given pause when he describes "On the Street Where You Live" -- in my opinion a beautiful and soaringly romantic number and a major highlight of the score -- as "superficially pretty, but a little dull and insipid [like Freddy]." Dull and insipid? To each his own. I also recommend The Musical Worlds of Lerner and Loewe.

Verdict: More than anyone could possibly want to know about My Fair Lady. ***. 

SUMMER VACATION

Yiftach Klein

SUMMER VACATION (2012). Directed by Tal Granit and Sharon Maymon. Short.

In this short Isreali drama, Yuval (Yiftach Klein) is vacationing with his pretty wife, Michaela (Hilla Vidor), and their two children, at the beach. After being playfully buried in the sand up to his neck by his offspring, Yuval finds himself trapped as the tide comes rushing in. His rescuer, who pulls him out of the sand, (in both the literal and figurative sense) is Iftach (Odad Leopold), who is at the resort with his casual flame (Ido Bartal). Although Yuval keeps this from his wife, he and Iftach are already acquainted -- in fact, they were lovers for quite awhile and Iftach keeps hoping he can get Yuval back. Things of a sexual nature occur between the two men, and Iftach decides to tell Michaela the truth, almost leading to a tragedy and an unresolved finale. The trouble with this too-short film (23 minutes) is that there isn't enough time for character development nor to answer some important questions. A bigger problem is that Yuval -- be he gay or bisexual -- is clearly dealing with self-hatred issues and is essentially a complete dickhead. At one point he even accuses Iftach of molesting his teenage son. One also loses sympathy for Iftach, who should certainly leave his ex to his closeted life and move on with another, more agreeable man, and he is rather unkind to the man he came to the resort with. Many of the developments in the story are cliched, and have been related often in movies where the lover is female. However, the acting is good, and Shai (Shay) Peleg's cinematography is first-rate.

Verdict: Absorbing but ultimately ho hum tale of closet case trapped in wet sand. **1/4.

DARIO ARGENTO'S DRACULA

Thomas Kretschmann as Dracula

DRACULA (aka Dario Argento's Dracula and Dracula 3D/2012). Director: Dario Argento.

Jonathan Harker (Unax Ugalde) arrives in the town of Hapsburg to do work for Count Dracula (Thomas Kretschmann), who has a sinister reputation. Waiting for his wife, Mina (Marta Gastini), to join him, Harker renews his friendship with Lucy (Asia Argento), who begins withering from the attacks on her by Dracula. Apparently Dracula is primarily interested in Mina, whom he believes to be a reincarnation of his wife, who died 400 years earlier. Will Van Helsing (Rutger Hauer) be able to save her from the fatal "love" of the vampire? Argento's version of Dracula seems to take its cue from the earlier Dan Curtis telefilm (and other versions), adding an unconvincing pseudo-romantic subplot that barely amounts to anything. The film's main strength is Kretshmann's excellent portrayal of the undead count -- attractive and compelling he makes the best Dracula since Christopher Lee. If only Argento's picture had the entertainment value of the best of the Hammer Dracula films. There is one striking scene when Dracula forms from a swarm of bees then rapidly dispatches several men who are conspiring against him -- naturally this has its share of gore a la Argento -- but otherwise the film is relatively lethargic and minor, with no real justification for yet another version of the story. The other actors all give good performances for the most part, although a fatigued Hauer seems rather uninterested in the proceedings. The picture is not especially scary, but there are some good FX, including a giant preying mantis that seems dragged in as an extra added attraction. This version takes place entirely in Hungary. The following year Kretschmann played Van Helsing -- not Dracula -- in the TV series, Dracula.

Verdict: Paging Peter Cushing. **.

THE THREE STOOGES (2012)

Sean Hayes, Chris Diamantopoulos, Will Sasso

THE THREE STOOGES (2012). Directors: Bobby and Peter Farrelly.

"You must be French -- that's a lot of oui oui." One of the Stooges referring to a baby.

If you're expecting a biopic that looks into the lives of the Three Stooges, look elsewhere. This purports to tell the life story of the Stooges, who are left on the doorstep of an orphanage run by nuns, and cause such damage over the years that the place has to close unless they can come up with $800,000. Fat chance! In sub-plots, an avaricious lady (Sofia Verara) hires the Stooges to allegedly murder her "dying" husband (Craig Bierko/Kirby Heyborne) and Moe winds up the star of a reality series set in Jersey! The Stooges are recreated by Sean Hayes (Larry), Will Sasso (Curly), and Chris Diamantopoulos (Moe), and they all do a nearly flawless job. Diamantopoulos really has Moe's voice down pat; Sasso does Curly's shtick to perfection, but Hayes isn't quite there as Larry. As to be expected in a modern movie, there's a gross 21st century sensibility in some sequences -- the boys uses babies to literally piss on each other in a hospital nursery -- and the humor is perhaps more black than it was in the Stooges' day. On the other hand, much of this is laugh-out-loud funny, and it's basically good-natured if at times in questionable taste. The child actors are all excellent, and Stephen Collins [The First Wives Club] scores as the duplicitous Mr. Harter. Other cast stand-outs include Jane Lynch as the Mother Superior and especially the wonderful Larry David as the delightfully dyspeptic Sister Mary-Mengele! A sequel to this film has been announced.

Verdict: Some very funny moments. ***.

DALLAS REDUX

Jon Ross (Josh Henderson) faces his father J. R. (Larry Hagman)

DALLAS (2012).

After Dallas wrapped up its fourteen year run, it turned out that there was still life left in those enduring characters. First there were two telefilms, J. R. Returns (1996) and War of the Ewings (1998), both of which had continuity problems and both of which were forgettable, below the level of the best episodes of the series. There was also a prequel telefilm I have not yet seen and  a reunion special which brought together several of the cast members to reminisce, with host Larry Hagman amusingly referring to the show's thirteen years when the series actually lasted fourteen seasons. Then came the reboot in 2012, which was a whole different story. The show wisely focused -- at least at first -- on the younger generation, which included J. R.'s son Jon Ross (Josh Henderson) and Bobby's adopted son, Christopher (Jesse Metcalf of Beyond a Reasonable Doubt), who were each billed first in the credits on alternating episodes. The show was also smart enough to retain Bobby Ewing (Patrick Duffy), Sue Ellen (Linda Gray), and especially J. R. (Larry Hagman). We first see J,. R. despondent in a nursing home, but he gets out of his funk, shows up at the Oil Baron's Ball on a walker, then throws that walker away and gets back into the action, which includes a whole love-hate thing with Jon Ross.

It's terrific that the show has several vital cast members who are now seniors, but annoying that Duffy, Gray and Hagman -- despite their very large parts -- are not listed as bonafide stars of the show but only listed under "with." Hagman wheeled and dealed for the first two seasons, but then passed away, as did his character. Frankly I had always thought that Gray and Duffy, while competent, were lightweights, but in their senior years these two actors really stepped up their game. Gray has a superb scene when she is hungover at J. R.'s grave site, and Duffy, out of J. R.'s long shadow, not only delivers an impassioned knock-out performance, but becomes the true star of the show and its most important and pivotal character. That's saying a lot when there are so many younger, good-looking and talented co-stars, especially Josh Henderson as Jon Ross, a devilishly charismatic "bad boy" who has a lot more sex appeal than his father ever did (if they ever remake Hud, Henderson would make you forget Paul Newman). Brenda Strong (who was mostly unseen in Desperate Housewives, although her deceased character was the narrator), Mitch Pileggi [Shocker], who was also in the final seasons of the original show, and especially the wonderful Judith Light [Save Me] as a mother from Hell also make a strong impression. Watch her getting turned on as she insists a drug dealer do a body search on her for hidden wires!

Ken Kercheval, who managed to appear in every season of the original show, as well as the two telefilms, is back as Cliff Barnes. Cliff always seemed vaguely demented, and in this reboot, he is clearly demented, his actions those of a lunatic, such as allowing his own daughter to be nearly blown up and killing his unborn grandchildren because he still wants to strike back at those damn Ewings. Kercheval seems to be having fun playing a man who has been turned, a bit improbably, into a hateful villain.

Dallas only lasted three abbreviated seasons (ten episodes for the first season, and fifteen apiece for the last two) and ended on a cliffhanger that will never be resolved. I think there was way too much of those Mexican drug dealers in the final season, and they were simply not that interesting. The writers, who managed to make the characters more dimensional than in many soap operas, certainly had enough material to work with without dragging in an ever-present drug cartel, and that may have hastened the series' abrupt cancellation. Still, Dallas was a fun ride while it lasted.

Verdict: Some fine acting, interesting developments, and good scripting help put this over. ***.

DARK SHADOWS: RETURN TO COLLINWOOD

DARK SHADOWS: RETURN TO COLLINGWOOD. Pomegranate Press; 2012.

Kathryn Leigh Scott, who played Maggie Evans on Dark Shadows, came out with this new photo book on the eve of the release of Tim Burton's quite dreadful big-budget film adaptation. Scott writes of how the members of the old cast, especially Jonathan "Barnabas" Frid, were disappointed that they were given no actual characters to play but were condescendingly cast as "party guests" (whom I never even spotted). Helena Bonham Carter, cast as Dr. Hoffman, was pleasant to their faces but later announced that the old series was "awful." (Apparently she said this before she saw the movie!) The rest of the book is full of notes and photographs pertaining not just to the original series, but the 12 episode remake starring Ben Cross as Barnabas. Then there are such anecdotes as the time Gale Sondergaard showed up on the set of the sixties series, and apparently auditioned for a role she either didn't get or didn't want. Scott also writes of what went on behind the scenes of the two Dark Shadows movies, such as House of Dark Shadows, that were made immediately after the cancellation of the TV show. The main focus of the book, of course, is on Scott, but there are interesting observations of the other actors as well.

Verdict: Primarily for Dark Shadows fanatics but packed with good photos. ***.

A KISS AND A PROMISE

Mick Rossi

A KISS AND A PROMISE (aka Sex Killer/2012). Director: Phillip Guzman.

David Beck (Mick Rossi) and his wife, Samantha (Natasha Gregson Wagner), run a bed and breakfast in a small town. Their sole regular tenant is Charlie Matthews (Sean Power), who is David's lover. But David's big secret isn't his bisexual behavior, but the fact that he gets off on strangling girls and women, something we learn fairly early in the picture. A Kiss and a Promise is more of a three-character study than a suspense thriller, and if it works at all it's because of the excellent performances by all three leads. The movie is, one imagines, very loosely based on a true story (if at all), which might be why the script doesn't quite hold together. Samantha doesn't quite seem comfortable with the fact that her husband also sleeps with his boyfriend (who hopes to sell a book but winds up being paid for sex instead) under the same roof, but one has to wonder why she puts up with it at all, considering she owns the business. The back stories of the characters are completely unexplored, which means that it's only the acting that makes them dimensional; it would have been nice to know more about Charlie, for instance. Patrick Bergin and Robert Miano are police detectives, and the other supporting parts are also well played. While this may not have been the intention, the movie has the dubious distinction of presenting a really fucked up "gay couple." Guzman fails to imbue the movie with any sustained tension.  The "truth" of this story is suspect on many levels, but the biggest factor is a certain letter that, according to notes at the end of the movie, "was never seen again." Since no one actually got to see the letter but a dead man and a cop who improbably disposes of it, how would anyone, including the filmmakers, even know it existed? Wagner is the daughter of Natalie Wood.

Verdict: Flawed if compelling, but you might wonder what the point is, if any. **1/2.

SINISTER

SINISTER (2012). Writer/director: Scott Derrickson.

"I'd rather cut my hands off than write a book for fame or money."

Ambitious true-crime writer Ellison Oswalt (Ethan Hawke of Taking Lives and Daybreakers) desperately wants another bestseller, and puts his wife and two children at risk by moving them into a house where an entire family was hung in the backyard. Ellison finds a box full of old super-8 movies and discovers that each reel contains footage of another family being slaughtered (over time in different locations). A deputy (James Ransone) offers to help him in exchange for credit, and puts him in touch with Professor Jonas (Vincent D'Onofrio), who tells him that symbols found at the crime scenes point to a demon named Bughuul, an "eater of children." Then ghosts begin to appear in the house ... Sinister has an excellent premise and is undeniably creepy, although it drags the ending out too much and one wishes it had eschewed the supernatural altogether, but it is what it is. Hawke, Juliet Rylance as his wife, and Fred Dalton Thompson as the sheriff, give very good performances. Much better, and much more disquieting, than the over-rated It Follows.

Verdict: Suspenseful and eerie horror film. ***.

TARZAN: THE CENTENNIAL CELEBRATION

TARZAN: THE CENTENNIAL CELEBRATION The Stories, The Movies, The Art. Scott Tracy Griffin. Titan; 2012. Introduction by Ron Ely.

In this incredible coffee table book you learn about the life of Edgar Rice Burroughs and his creation of the endurable hero, Tarzan. The chapters are divided into discussions of each novel (with publication history) and movie (from the silent period until television) with background on Tarzan actors from Johnny Weissmuller to Gordon Scott, Ron Ely, and beyond. The tome also looks at the Tarzan comic strips and books. It is a huge, heavy volume, lavishly illustrated (with stills, background photos, paintings and comic art), with added sections on various aspects of the Tarzan mythos (such as one called "Dinosaurs in Africa?"). If the book has any flaw it is that it completely avoids any real discussion of native Black Africans in relation to Tarzan, a peculiar omission in this day and age as Tarzan -- a white man more powerful and heroic than the black natives -- is often seen as an inherently racist concept.

Verdict: The book for Tarzan enthusiasts. ***1/2.

AMERICAN HORROR STORY: ASYLUM [Season 2]

Jessica Lange as one weird sister

AMERICAN HORROR STORY: ASYLUM [Season Two]. 2012.

"Mental illness is the fashionable explanation for sins." -- Sister Jude.

In this at times very suspenseful and superior second season of the hit horror show, most of the action takes place in an asylum, Briarcliff Manor, run by nuns. The lead characters include Sister Jude Martin (Jessica Lange), who is in charge of the place, although that opinion isn't shared by the psychotic Dr. Arden (James Cromwell), who conducts sick experiments on the inmates. One of these inmates, and the heroine of the show, is Lana Winters (Sarah Paulson), a lesbian who has supposedly been incarcerated for inversion therapy [the main storyline takes place in the sixties] but who actually had been threatening to dig too much into how the miserable institution was run. A present-day framing story has to do with the reappearance of a maniac, Bloodyface, who once had something to do with the Manor, and whose first victim is that annoying mouse, Adam Levine. Other characters include the "nympho," Shelley (Chloe Sevigny); Monsignor Timothy (Joseph Fiennes); sympathetic Dr. Thredson (Zachary Quinto of Star Trek into Darkness); Sister Mary Eunice (Lily Rabe), who undergoes a startling change in personality; and deceptively calm serial killer Leigh Emerson (Ian McShane of Young and Willing). Along with a compelling storyline which pits Lana vs. Sister Jude (until everything gets switched around), there are alien abductions, weird monsters in the forests surrounding the asylum, a winged angel of death who makes periodic appearances, and even a self-indulgent but fun rock video with the sisters and patients dancing to "The Name Game." In other words, almost everything but the kitchen sink, but mostly it works. While the show occasionally comes close to veering into "torture porn" territory, it is very well-acted by all mentioned, with a truly marvelous Lange making a much better impression than she did in season one. One could say this season of American Horror Story has the spirit of E.C. Comics.

Verdict: Very entertaining, creepy, and with some excellent performances. ***.

GRABBERS

Watch out for that mouth!

GRABBERS (2012). Director: Jon Wright.

On isolated Erin Island, where nothing much ever happens, Garda [or cop] Lisa Nolan (Ruth Bradley) comes to work temporarily. Ciaran O'Shea (Richard Coyle), who drinks more than he should, is the island officer she is assigned to. Before long they both have their hands full with alien monstrosities of varying sizes -- one is absolutely huge -- who have slimy tentacles the better to snatch you up with and insert you into their toothy maws for dinner. Scientist Adam Smith (Russell Tovey) and the others determine that people who survive attacks by the monsters have a large amount of alcohol in their systems, so the two cops gather up the island residents to the local pub and get everybody drunk to save their lives; liquor is toxic to the hungry creatures. This is a likable, mildly gruesome horror-comedy that is abetted by good actors playing engaging characters; it's scary and funny but ultimately a little too silly for its own good. The FX and photography are top-notch.

Verdict: Not as much fun perhaps nor as inventive as Attack of the Crab Monsters, but it has its moments. **1/2.

DEADFALL

Hunnam, Wilde, Bana and Kristofferson

DEADFALL (2012). Director: Stefan Ruzowitzky.

Addison (Eric Bana) and sister Liza (Olivia Wilde) have participated in the robbery of a casino and are on the run during a blizzard. When they decide to split up and meet later, Liza encounters an ex-boxer/jailbird named Jay (Charlie Hunnam), who is also on the run from police. Jay takes Liza home to his parents' place, where Addison shows up to reconnect with Liza -- and finds a whole family of hostages. But will the sheriff's daughter, Hannah (Kate Mara), manage to save the day?  Bana, Wilde, Hunnam and Mara [House of Cards] all give very good performances in this and there's an interesting supporting cast, with Treat Williams as the sheriff, and Kris Kristofferson [Blade] and Sissy Spacek [Carrie] as Jay's parents. The movie has a kind of old-fashioned script with abrupt character reversals but also a certain degree of suspense. Bana makes a dynamic lead.

Verdict: Passable crime drama. **1/2.

HOLLYWOOD ENGIMA: DANA ANDREWS

HOLLYWOOD ENIGMA: DANA ANDREWS. Carl Rollyson. University Press of Mississippi; 2012.

While perhaps not in the top tier of movie stars, Dana Andrews did have a long, successful career and starred in a great many movies, the most famous of which is probably Laura. Due to what Rollyson describes as a "minimalist" acting style, Andrews could at times be unfairly seen as a Great Stone Face, although some of his performances belie that impression; he got his characters' feelings across with less showy effects. Andrews' big problem was alcoholism, which began to affect his life and his work as the years went by, until he got on the wagon and went public with his affliction in a public service TV spot against drunk driving -- certainly an act of courage. Andrews was no great fan of the phony Hollywood lifestyle, and avoided such rockbound Republicans as Wayne and Heston. Written with the cooperation of Andrews' family -- much of the info on his early life comes from a series of letters, perhaps related in a little too much detail -- the negative elements of his life are mentioned if downplayed. Basically this is a solid look at the actor's life and times. Some of Andrews' most memorable films and performances include Boomerang, Beyond a Reasonable Doubt, and an episode of the TV series Checkmate. 

Verdict: Compelling bio of an interesting man and performer. ***1/2.  

THE HOUSE OF REDGRAVE: THE LIVES OF A THEATRICAL DYNASTY

THE HOUSE OF REDGRAVE: The Lives of a Theatrical Dynasty. Tim Adler. London: Aurum Press; 2012.

Despite the title, this book is essentially a biography of the late Tony Richardson, the British film director who was married to Vanessa Redgrave and was the father of the late Natasha Richardson, who died when she was married to actor Liam Neeson (The Other Man). Apparently the book's publisher thought that Richardson's name wouldn't sell a book, so this was re-imagined as a book on all of the Redgraves, which it isn't, even though there are sections on Vanesssa, her brother Colin, and her daughters late in the book; most of the text covers the life and career of Tony Richardson (The Loneliness of the Long Distance Runner; Tom Jones), who brought a stark reality to British theater and cinema that had been missing before. Adler looks at the nutty brother and sister duo of Vanessa and Colin (the latter of whom is largely unknown in the U.S.), both of whom devoted more attention to radical politics than to their own children. Lynn Redgrave, despite a highly successful career, gets short shrift except for passages on her discovering that her husband was the actual father of her grandchild and the resulting scandal, and her death from cancer. Richardson is portrayed as a gifted narcissist who could be both generous and loved, nasty and hated, and was decidedly confused and uptight about his sexuality. Adler doesn't seem that comfortable or up-to-date when writing about Redgrave's and Tony Richardson's homosexuality, and some passages might be considered borderline homophobic and decidedly dated. However, the book is a good read and generally well-done if you're looking for a tome on Richardson and his circle. For a book that's actually about Michael Redgrave and his family, see Donald Spoto's The Redgraves: A Family Epic.

Verdict: Quick and entertaining read, albeit flawed. ***.

JACK REACHER

Tom Cruise and Rosamund Pike

JACK REACHER (2012). Writer/director: Christopher McQuarrie.

When a military man is arrested for shooting five civilians, he insists that his lawyer, Helen (Rosamund Pike of Wrath of the Titans) -- the daughter of the district attorney -- get in touch with an investigator named Jack Reacher (Tom Cruise). Reacher is at first convinced of the man's guilt but the more he digs -- and once he is warned off the case and even attacked -- the more he realizes that there's more to the story than meets the eye. Five people were murdered but was just one of them the true target? And will Reacher survive to find out the truth? Jack Reacher is a credible suspense film, although the motivations of some of the characters and the reasons for their conspiracy are never fully explained. Werner Herzog, Robert Duvall, Alexia Fast, among others, offer good supporting performances, and Cruise [Mission: Impossible] gives his customary satisfactory "action star" turn. Although he has hardly any dialogue, the very intense Jai Courtney as a sinister bad guy almost manages to steal the movie away from Cruise with little effort. McQuarrie keeps things moving at a brisk pace and the film is very well photographed by Caleb Deschamel.

Verdict: Absorbing if imperfect thriller. ***.

THE REDGRAVES: A FAMILY EPIC Donald Spoto

THE REDGRAVES: A Family Epic. Donald Spoto. Crown; 2012.

This is a solid and highly interesting -- and rather depressing -- look at a famous theatrical family. The first -- and most compelling -- half of the book looks at patriarch Michael Redgrave, who fathered three children but whose main passion was for men, and had boyfriends all during his marriage, some of whom could be considered long-time partners. The second half of the book looks more closely at the lives and careers of Redgrave's daughters Vanessa and Lynn, and son, Corin, all of whom became actors. Redgrave's wife, actress Rachel Kempson, eventually took a lover of her own, but he was also attracted to men, and Vanessa's husband, director Tony Richardson, was also homosexual [these men were "bisexual" in the sense they also had relationships with women, if for no other reason than appearances, but their main interest was men]. All of this old-fashioned shame and guilt from closet cases gets wearying after awhile, even if the time period was pre-Stonewall [the advent of modern day Gay Liberation]. The Redgraves does not ignore the careers and achievements of these individuals, however, and also looks into the lives of Nastasha Richardson [Tony and Vanesssa's daughter, who died tragically young] and Jemma Redgrave, another very talented actress. Spoto weaves an excellent tapestry of changing attitudes toward both actors and gays, with a theatrical and film world background providing added atmosphere.

Verdict: Well-done and a very good read. ***1/2.

DEEPLY SUPERFICIAL: NOEL COWARD, MARLENE DIETRICH AND ME

DEEPLY SUPERFICIAL: NOEL COWARD, MARLENE DIETRICH, AND ME. Michael Menzies. Magnus/Riverdale Avenue; 2012.

Michael Menzies, born in New Zealand, wanted a more fabulous life and convinced himself that he was the [highly unlikely] figurative and literal love child of two celebrities he admired, Noel Coward and Marlene Dietrich. Coming out and moving to London, then New York and Hollywood, he recognized he had no performing talent [although he has had some success as a writer] and took jobs on the fringes of show biz, such as working for film's DeLaurentiis family. Menzies did manage to meet Coward in the early days, but never did catch up with Dietrich, although he tried to model himself on their style and behavior. Frankly, Deeply Superficial, while a quick and basically well-written read, has a somewhat dated quality, as in these days of gay bears and increased knowledge of the diversity of the large gay male community, self-described "queens" who model themselves on divas are just a little passe, however amusing and likable. Most of the biographical notes on the two legends seem cobbled together from many, many bios on Coward and Dietrich, and Menzies admits that if the facts are dull he just elaborates a bit, therefore you have to take what he says about these celebrities with a grain of salt. The best chapter has to do with Menzies' friend who loves the same music as he does and dies of AIDS -- the book is temporarily transformed from a, yes, superficial tome to a trenchant and moving one -- but alas that is only one chapter. Still the book can be read in under an hour and has its fair share of entertaining moments, and his notes on his real parents can be poignant. This is similar to other books that link unknown show biz types to the much more famous, such as Under the Rainbow by John Carlyle.

Verdict: Superficial look at two major stars by an appealing supporting player. **1/2.

WHITECHAPEL Series 3

Davis, Penry-Jones and Pemberton

WHITECHAPEL Series 3. 2012.

The third season of the British crime drama which has cops in Whitechapel solving unusual and gruesome cases consists of six episodes and three separate storylines.  Ripperologist Edward Buchan (Steve Pemberton) gets a job at the police station when Deputy Inspector Joe Chandler (Rupert Penry-Jones) hires him as researcher over the objections of grizzled, pit bull-like Deputy Sergeant Ray Miles (Philip Davis). The first case has to do with multiple murders in homes and businesses where the sole survivor is always a self-absorbed female. The second story has to do with the murder and dismemberment of several women, which may be tied in to a very strange lady who lives in a cluttered, ramshackle house with her husband's preserved body in it. In the third story a "Bogey man" terrorizes the neighborhood and may be an escaped madman who has the only copy of the silent Lon Chaney film London After Midnight*. Miles keeps trying to match Chandler up with women, but it never works out. The performances are excellent, including Hannah Walters as DC Riley. The stories are quite interesting, but this business of a black cop being superstitious and so terrified of a suspect that he lets him out of jail smacks of Stepin Fetchit and is ridiculous. You can read about season one here, and season two here. *[I believe the script refers to this lost silent movie as London After Dark for some reason.]

Verdict: One hopes there will be future seasons of this show/mini-series -- perhaps with some positive black and gay characters. ***. 

SUPERMAN VS. THE ELITE

Watch out for a pissed-off Man of Steel!

SUPERMAN VS. THE ELITE (2012 direct-to-video). Director: Michael Chang.

Superman stops the Atomic Skull after he's already incinerated several people, then has to battle some genetically engineered monster insects. In the latter battle he gets help from some super-powered beings who come to call themselves "The Elite." At first Superman is happy that there are new heroes, but disturbed that their take-no-prisoners attitude and violent methods, as opposed to his more responsible within-the-law approach, have people cheering. The situation gets worse when the Skull escapes and kills more people and the Elite want to finish him off once and for all. [For which we can hardly blame them.] But the big boy scout insists on law and order, even for the Skull, and the battle is on, especially when the members of the Elite murder all the heads of state of two countries to prevent a war. It seems that an outraged Superman is going to give in to his dark side and handle the Elite the same way they would handle him -- bloodily -- but  the Man of Steel just may have a trick or two up his sleeve. Joe Kelly's screenplay is not only full of thrills and action but is also thought-provoking, with good characterizations. [Although why was it necessary to make the villainess a big "tramp,"as if equating sexuality with evil?] The character voices are very well done by George Newbern (Superman/Clark), Pauley Perrette (Lois Lane), and Robin Atkin Downes (Manchester Black, the leader of the Elite), among others. Michael Chang's direction is fast-paced and continuously exciting, and the animation is fluid and striking. Want to bet that this will probably be better than the upcoming big-screen Man of Steel? We'll see.

Verdict: Excellent animated super-hero movie. ***1/2.

SKYFALL

"Skyfall:" Bond's family estate in Scotland

SKYFALL (2012). Director: Sam Mendes.

MI-5 is on high alert: a computer drive with a list of undercover agents in terrorist groups has been stolen, but while attempting to get it back James Bond (Daniel Craig) is accidentally shot by a fellow agent. Bond takes his time reporting back for duty, only to discover that the info on the drive is being used to kill many other agents; even headquarters comes under attack. The mastermind behind this is a highly disgruntled former agent, Silva (Javier Bardem), who is out to take down the whole network and especially M (Judi Dench) whom he chiefly [pun intended] blames for his troubles. Skyfall is somewhere between the excellent Casino Royale and disappointing Quantum of Solace in quality. There is not nearly enough plot for a movie that is almost two and a half hours long, and Bond has been turned into a very callous and unemotional creature. At one point he does nothing to stop an assassination [we never even learn who the victim was], and seems unperturbed by the death of a woman who helped him [admittedly he takes down the bad guys immediately thereafter]; even Roger Moore would have shown more emotion during such scenes. Most incredibly, Bond simply shows up in the shower of a woman that he knows has been manhandled by men since the age of 12 [Ian Fleming's Bond may have been a lover boy but he showed women more respect.] In fact the film has a general streak of misogyny through it, and M seems especially inept; at one point the villain breaks out of confinement with such ease that it's almost laughable.

Skyfall is the name of Bond's estate in Scotland, where he takes M for a final stand against Silva and his allies. As Silva, Javier Bardem is pretty awful; he seems to be channeling his inner Joker. A scene when he questions Bond and tries to make him uncomfortable by sort of coming on to him is meant to be homoerotically hip, but instead it seems dated, a throwback to the nasty gay villain. [For the record Silva's sexual orientation is never really established.] Silva tells Bond, "there's a first time for everything," to which Bond replies "what makes you think this is my first time?" which some have interpreted as Bond being bisexual when such is not the case. In any case, the scene doesn't really work.

The film has some striking cinematography by Roger Deakens [another reason why the movie has been vastly over-praised], some exciting action sequences involving high-speed trains and the like, and has recaptured some of the romantic atmosphere and elegance of earlier Bond films. Thomas Newman's music is generally helpful. Craig and Dench are competent, and newcomers Naomie Harris [the agent, Eve, who becomes the new Miss Moneypenny], Berenice Marlohe [as the seductive Severine] make a favorable impression. Ralph Fiennes is in the running for M's job, and a nearly unrecognizable Albert Finney plays the Bond family gameskeeper and figures in the finale. Director Mendes at least keeps things moving.

Verdict: Despite its many good points, this is far from being a great 007 outing. **1/2.