Burn After Reading (2008)

* * * *

Leave it to the Coen brothers to follow up last year's best film, No Country for Old Men, with a film as quirky and off-the-wall as Burn After Reading. Ten years after the Big Lebowski followed their finest film, Fargo, the Coen's churn out another comedy with bizarre characters and situations, grim humor, and an outlandish premise. The Coens enlisted a star-studded cast including Brad Pitt, John Malkovich, Tilda Swinton, J.K. Simmons, Richard Jenkins and Coen-veterans Francis McDormand and George Clooney for their highly anticipated follow up. The story revolves around Chad (Pitt) and and Linda (McDormand) who stumble across a CD with government files that belongs to Malkovich's character Osbourne Cox, and attempt to use their discovery to get some cash out of Cox for Linda's plastic surgery. And that's only the half of it. The situations that arise are both outrageously funny and at times disturbingly sad. The dialogue is sharp and creates memorable characters, even in Coen brothers terms, especially Pitt's Chad which is easily the funniest performance of his career. All of the actors step into characters far from their typical roles and sell them completely. The film has definitive Coen style; quick and to the point with little waste. Like all of their films, Burn After Reading is full of cynical humor that points out flaws in society, and this film does so perhaps more than any of their others. The Coens are some of the only filmmakers who have the cojones to make a film like this to follow a Best Picture winner and to follow the ending of No Country for Old Men with the conclusion to this film. Some may be surprised or even disappointed with the obvious indulgence the brothers took in making such an eccentric film, but Burn After Reading is a lot of fun. It has its flaws, but just like its characters, in the end there is more to laugh about than to be turned off by, and the film is very successful as a satire of American culture and politics.

Good for: Coen Brothers fans, Brad Pitt fans, fans of dark comedies

Bad for: people who like straight-forward comedy, the easily disturbed

The Gallery
The Economist: * * * *
The Surfer: * * * *
The Film Maker: * * * *

Tropic Thunder (2008)

* * * * *

Ben Stiller is one of the funniest, most talented people in Hollywood, but his resume has played out like Ryan Howard's career; a few homeruns and a whole lot of strikeouts. Tropic Thunder, however, is the funniest movie this year among some strong competition, and is a classic that puts Stiller at the top of the comedy scene with the likes of Ferrell and Apatow. Stiller steps behind the camera in Tropic Thunder for the first time since Zoolander, directing an ensemble cast of Robert Downey Jr., Jack Black, Steve Coogan, Danny McBride, and newcomer Brandon T. Jackson. Stiller penned the script with Etan Cohen (not to be confused with Ethan Coen of Coen Bros. fame) about a group of actors who are sent to film a war movie. When the director (Coogan) feels that the project is suffering due to lack of motivation, he strands the troupe in the Vietnamese jungle and the line between acting and reality starts to blur. The film is an amalgam of satire and original storyline, and Stiller mixes in gag humor, witty punchlines, and countless references to past war films. Tropic Thunder is way smarter than Hot Shots but not as topical as Dr. Strangelove, and the result is a movie that is loaded with laughs of all varieties. The cast is incredible, as Stiller, Black, and Downey Jr. form an amazing squad, playing stereotypical actors far from their real-life identity. Stiller is hilarious, as usual, and plays a hothead, doofus action-star somewhat similar to some of his past roles such as White Goodman in Dodgeball (and looks surprisingly jacked). Jack Black turns in one of his best performances as a drug-dependent comedian/actor, and newcomer Brandon T. Jackson manages to hold his own among the stars as Alpa Chino. Its hard to quantify Robert Downey Jr.'s performance, who plays Kirk Lazarus, the only "real actor" of the bunch. Lazarus is so committed to his role that he "becomes" a black man, and like Lazarus who he plays, Downey Jr. is so entrenched in the role it is easy to forget the man is actually white. The performance is instant comedy legend; Downey Jr. is so good that literally every one of his lines is funny, everything he says becomes a joke. Tropic Thunder packs a surprise attack, however, that is outright brilliance; cameos. There are many guest appearances, but there are two major stars playing large roles (unmentioned in the credits and promotion of the movie) that are both lights-out, laugh-out-loud performances. Overall, the film relies much more heavily on strong, intricately detailed comedic performances than profanity and vulgarity, and Tropic Thunder is more of a "film" than most of the funniest comedies from the past few years. There is plenty of profanity and obscene violence to elicit an R rating, but the dirtiness simply complements great acting and writing, instead of replacing it. The film has a cohesive feel that shows that everyone involved embraced the project, and features such as three fake commercials/previews that precede the film are clever and add to the depth of the characters. Stiller's script is the funniest he has ever written, and the story that goes along ties together all of the character's flaws and strengths for a well-rounded, surprisingly compelling plot. The laughs hit hard and often, as Tropic Thunder is a classic war comedy that has more to say about the state of Hollywood than war.

Good for: Stiller fans, war movie fans, anyone with a sense of humor

Bad for: some Will Ferrell fans, the easily offended

The Gallery
The Economist: * * * * *
The Surfer: * * *
The Writer * * * *

Tell No One (2008)

* * * *

Tell No One is the story of a doctor who, while browsing the internet at work, receives a strange e-mail from his wife. The catch; she has been dead for eight years. This simple premise at first glance seems like something that should be destined for a month on the big screen and a quick DVD release. The catch; Tell No One is adapted from an American novel, but is shot entirely in French, in France, and by a young director at the helm of only his second film. Director Guillaume Canet brings a fresh, exciting feel to this suspense thriller without resorting to typical Hollywood cliche. The film stars François Cluzet as Dr. Alex Beck, who was at first accused but eventually cleared of his wife's brutal murder. Eight years later, he is still grieving when he is mysteriously contacted by her. The police decide to reopen the investigation, and in his attempt to decipher if the message was a cruel hoax or a paranormal phenomenon, he becomes a fugitive of the police. There are many strange characters, all of which are portrayed believably by a strong supporting cast. However, the star is Cluzet who is brilliant as Beck, capturing the humanity of a husband who has lost the love of his life and the acumen of a doctor trying to solve a difficult puzzle under intensely odd conditions. Canet challenges the audience just as Beck is challenged in the film, leading the plot down many sudden twists and sharp turns and dropping little clues along the way. At times the film becomes quite confusing and just when things start to come together, another element is thrown in which completely adjusts the viewpoint. Tell No One is a mystery film on the surface, and a great one at that, but a love story at heart. The suspense of the plot is complemented by flashbacks and imagery which give an emotional depth to the events taking place. Canet is clearly influenced by Hitchcock and American suspense films of the past and creates a blanket of tension that hangs over the audience, building heavier and heavier as the film nears its conclusion. When everything starts to come together for real, the depth in the performances and story make the conclusion, which may be the best final scene of the year, that much more rewarding for the viewer. The film is adapted from a book, and there are some illogical circumstances that were likely a result of condensing a novel into just over two hours of film. The reality of the film is at times sacrificed for continuity, and although this definitely detracts from an otherwise effective portrayal of reality, the performances and script are so strong that the inconceivable situations are largely overshadowed. The basic premise seems stale at first glance, but the inner-workings of this story are very well written and original. Tell No One is the rare thriller that holds you to your seat without insulting you with mindless violence, major plot holes left unexplained, or rehashing the same old scenarios. Its a good thing the script made it past Hollywood to France. Like Guillermo del Toro with Pan's Labyrinth and Juan Antonio Bayona with the Orphanage, Canet stays true to the genre while packing so much depth into the characters ad the story. Foreign directors, of late, seem to be much more capable of providing layers of entertainment, so that the film is not merely a thrill ride but a work of art with the potential to be interpreted and enjoyed on many levels. The French perspective keeps the film fresh, and the combination of a sharp, young director and an extremely talented leading man yield a gripping thriller with more to it than what meets the eye.

Good for: fans of foreign films, people who like mysteries and suspense, a date

Bad for: people who cannot read subtitles

Vicky Cristina Barcelona (2008)

* * * *

Leave it to Woody Allen to prove once again what great writing can do to a simple premise. The master of dark humor has returned to familiar territory, framing the curious nature of human relationships within his cynical perspective. At age 71, he is as sharp as ever. Allen employs his most recent muse, Scarlett Johansson, as twenty-something Cristina, who is on a trip to Spain with her girlfriend, Vicky, played by Rebecca Hall. Vicky and Cristina are best friends yet total opposites. Vicky prefers men on the path to fortune and serious relationships, whereas Cristina yearns for whimsical flings with artists and thinkers. They just so happen to encounter an artist at dinner, Juan Antonio, played by Javier Bardem. The bizarre love triangle which ensues involves sight-seeing through Barcelona, a lot of wine, and the emergence of Maria Elena, played by Penelope Cruz. Bardem is every bit as smooth as his character Anton Chigurh in No Country for Old Men was haunting, and is great to watch in an excellent role to follow up his Oscar winning performance. Johansson is mediocre for the most part, and aside from Lost in Translation, has yet to show great skill or just what Allen sees in her. She and Hall both have bright spots within their performances, but fade in the presence of Bardem and Cruz. Although neither of their characters names appear in the title, Bardem and Cruz are the stars of the show and are thunder and lightning when on screen together. They are sexy, combustible, and truly enact the passion that has come to be associated with the Hispanic lifestyle. Cruz is on fire in one her best roles. Maria Elena is a beautiful inferno seemingly unable to control her emotions or tact. Cruz has quietly built an impressive resume in good films, and may be the most underrated actress in the business. Allen compliments the beauty of his cast by capturing the beauty of Barcelona with landscape shots and locations ranging from fine restaurants and museums to small villages and trees under the moon. The film is one of the sexiest of the past few years, but shows very little and leaves much to the imagination. A particularly evocative scene involving Cruz and Johansson in a dark room, however, is likely to be one of the film's most memorable. Like all of Allen's films, he touches on the intricacies and oddities of love, placing his characters in situations everyone can relate to and having them ask themselves questions that we have all considered, although not for sixty years like Allen has. The humor is sharp but not obvious, hitting the nail on the head for some and flying over the head for others. But for those that get it, they will be laughing hard, on the inside. Woody Allen is the dean of the romantic comedy and brings legitimacy to an otherwise atrocious genre. Once again, he shows exactly how it is supposed to be done with a spicy, intelligent film.

Good for: Allen fans, people who like romantic comedies, fans of dark humor, art film fans

Bad for: people who liked 50 First Dates

Pineapple Express (2008)

* * * *

Stoners rejoice: the stoner film genre has made a triumphant return with Pineapple Express, the brainchild of Superbad writers Seth Rogen and Evan Goldberg. The central theme of Pineapple Express is, of course, marijuana, but unlike many recent so-called weed movies, the underlying premise and surprisingly detailed plot make the film enjoyable for all audiences. Starring Rogen and James Franco as a customer (Dale Denton) and drug dealer (Saul Silver), respectively, the film follows the two as they try to escape from a drug dealer who Denton witnessed committing murder. When Denton scrambles to escape from the murder scene, he drops a joint containing the potent marijuana strain Pineapple Express, which Ted Jones, the murderer, finds and tracks to Saul Silver. Chaos ensues as the two full-fledged stoners both light up joints and car tires in an attempt to not get whacked. Rogen proves yet again that he belongs in center stage, and despite his chubby, goofy appearance, he can carry a comedy on his broad shoulders. Franco, known by many more for his looks than talent, truly avoids type-casting by playing a lazy pot dealer, a character even more stoned than Rogen. Together, they make a legendary tag-team that will go down in stoner lore. Pineapple Express follows in the footsteps of other Judd Apatow classics by complementing a great premise and hilarious leads with an extremely talented supporting cast. Rosie Perez, who seemingly disappeared after White Men Can't Jump, returns as a crooked cop with a knack for violence in what may be the best role of her career. Gary Cole, like his role as Lumbergh in Office Space, brings a twisted element to Ted Jones which works wonders when he is on the screen with Perez. And Danny McBride, as Red, turns in the most notable supporting performance as he has some of the film's most memorable lines and is nearly killed time and time again. Apatow recruited little known David Gordon Green to direct, and Green delivers a sharp, stylish film that stays true to a brilliantly written script. Rogen and Goldberg crafted plenty of jokes and dialogue that will resonate with the stoner culture, and there are plenty of bizarre situations characteristic of Apatow films (Denton's high school girlfriend), but what separates Pineapple Express from Dude, Where's My Car and Half Baked is the legitimate crime/thriller storyline. Many will be surprised by how well the action scenes are executed, with shrewd detail such as characters firing guns as if they never have touched one before. And even the most toasted in the audience will snap out of their daze when they see the surprising level of violence and gore. The soundtrack frames each scene perfectly, and a black-and-white prologue featuring Bill Hader sets the tone for the film. There are definitely jokes that will go over some of the audience's head, and some dialogue is so dumbed down for those who have lost some brain cells to the wacky weed that those who abstain may not be impressed, but there is enough intelligence and creativity here to prevent any comparisons to How High. Pineapple Express is clearly a descendant of the Cheech and Chong lineage of buddy capers and marijuana glorification, but the film clearly shows inheritance from Tarantino as well, and its authenticity and originality has re-lit the cherry of the stoner film.

Good for: potheads, Apatow fans

Bad for: straight-edgers

The Gallery
The Economist: * * * *
The Surfer: * * *
The Film Maker: * * * *
The Writer * * * * *

Step Brothers (2008)

* * * *

Another summer, and the Judd Apatow train keeps on chugging. The Apatow posse has grown larger and larger with each subsequent hit film, but with Step Brothers, he brings out his top guns Will Ferrell and John C. Reilly, and pairs them with one of his best directors, Adam McKay (Talladega Nights, The Landlord). This deadly comedic combination could make laughs out of seemingly any premise, and Step Brothers is more of a testament to that statement than one could imagine. Ferrell and Reilly play 40+ year old men still living with and mooching from their mom and dad, respectively. When the mother and father, played by Mary Steenburgen and Richard Jenkins (The Visitor), fall in love and get married, Brennan (Ferrell) and Dale (Reilly) become Step Brothers and move into the same house. And really, thats all there is to the film. The premise itself is just an excuse to get Reilly and Ferrell on the screen at the same time. For nearly anyone else this would be a cop-out and a flop, but for this, its a riot. Both actors are at the top of their game, delivering their immature, profane, and offensive humor in large, near-constant doses. Despite starring in Walk Hard, the under-appreciated Reilly still seems to be flying under the radar. But make no mistake, he is every bit as funny as Ferrell in this film, holding his own and sometimes even outshining him. Most often, though, the two complement each other near perfectly, making a powerful comedy tag-team. There is plenty of gross-out physical humor, and brilliantly vulgar lines that will defy the imagination of even the most raunchy minds. After wading in PG-13 territory for a few films, its nice to see Ferrell return to the land of the F-Bomb, and Reilly picks up right where he left off with Dewey Cox. Although Jenkins and Steenburgen provide a few laughs as the parents, and a turn by Adam Scott as Brennan's younger, more successful, completely over the top brother sets up Ferrell for some great scenes, the film almost comes across as a two-man comedy hour that just happens to have some other actors around to take up space. The story, for the most part, is completely typical, and because of the abundance of laugh-out-loud humor, it doesn't really matter. For the same reason though, those who don't have a taste for Ferrell's adult humor will have almost nothing left to enjoy. This isn't a great film in the sense of modern cinema, and its not meant to be. The bulk of the intelligence on-hand is the bizarre creativity required to write and recite uniquely vulgar lines, vulgarity no 14 year old or frat boy has yet dreamed of. This also isn't Apatow or Ferrell's finest moment, but Step Brothers may just go down as the cult-classic of the Apatow collection. The storyline isn't nearly as original or clever as the 40 Year Old Virgin, Anchorman, or Talladega Nights, but there are just as many memorable quotes as a 2-hour stand-up comedy special, which is what Step Brothers essentially is.

Good for: Apatow fans, Ferrell fans, immature people

Bad for: serious people, deep thinkers

The Gallery
The Surfer: * * * *
The Film Maker: * * *
The Writer * * * *

The Dark Knight (2008)

* * * * *

An unprecedented amount of hype surrounded the Dark Knight, and the aggressive marketing campaign, viral internet buildup, and mythic nature of Heath Ledger's final performance put the film in prime position to disappoint. The expectations were unheard of, yet, riding on Ledger's remarkable performance, Christopher Nolan's epic vision, and an inspired cast and crew, the Dark Knight beat the odds to meet and perhaps even exceed the cinematic and box office anticipation. The Dark Knight is to superhero films what the Godfather is to mob films, Apocalypse Now to war films, Scarface to mob films and Star Wars to science fiction. There are other great films in this genre, but the Dark Knight is the best, and the bar has clearly been raised. The story picks up where Batman Begins left off, with Gotham City in turmoil and Batman doing his part to restore justice to the city. Word comes along of a new powerful player in the crime scene who is getting under the skin of both the law enforcement and rival mobs, and goes by the name of the Joker. The ensuing battle between Batman, the Joker, and district attorney Harvey Dent involve sly backhanded negotiations, gripping fight and chase scenes, heists, twists, turns and more. Nolan deserves tremendous credit for writing an engaging plot that is sharp and fast despite running at two and a half hours, for capturing all of the performers at the best of their ability, and for framing the story within the beautiful Gothic imagery of Gotham City. The film was shot largely with cameras suited for IMAX, and although any big screen will do the film justice, the IMAX experience is one in itself. Christian Bale once again delivers a standout performance as Batman and Bruce Wayne, with the Wayne persona becoming a bit darker and more sadistic, channeling aspects of Bale's performance as Patrick Bateman in American Psycho. Aaron Eckhart, the wild card of the film, is excellent as Dent, embodying the public servant's noble and devious sides very believably. The supporting cast remains largely the same, except for a moderate improvement with Maggie Gyllenhaal replacing Katie Holmes as Rachel, and once again Freeman, Caine, and Oldman are spot-on. The film, of course, belongs to the late Heath Ledger. The maniacal and eccentric, yet painstakingly nuanced performance will go down as one of the best villains ever captured on film, haunting, and chill-inducing at times. The Joker has never been more entertaining, demented, but most of all, realistic. The Joker (or any of the characters) is no longer a cartoon character or a silly bad-guy with a big grin, but a twisted individual with a history and a reason for his insanity. The Dark Knight follows Batman Begins in that the tradition of hero versus bad-guy for its own sake is thrown out the window, and the reasons behind each character's motivations is explained to bring depth to the roles and circumstances. The performances and script aren't meant to be a thrill-ride; these characters and stories, like Batman Begins, pay homage to the original comic book writers intent of using fantasy as an allegory for the issues and circumstances the modern world faces. The film is loaded with symbolic imagery, and religious, governmental, and moral motifs. The attention to detail is remarkable, and the depth to which the Dark Knight can be dissected will thrill diehard comic book fans while drawing in many casual fans as well. There are times where the Dark Knight loses some of the ultra-realistic sense that dominated Batman Begins, leaning more toward traditional super hero movie action, but the powerful and unique performances and story seem to overshadow the film's flaws. The Dark Knight will have its place in history and pop culture for its box office successes and the media hype machine that surrounded it, but movie fans will remember it as the best of its kind, a film loaded with actors at their strongest, a writer/director capable of bringing an unforgettable vision to the screen, and a highly entertaining, yet entirely thought provoking film.

Good for: movie fans of all kinds, Batman fans, Ledger fans, Bale fans

Bad for: those who don't like long movies, people who automatically dislike popular films

The Gallery
The Economist: * * * * *
The Surfer: * * * *
The Film Maker: * * * *
The Writer * * * *

Batman Begins (2005)

* * * *

Batman Begins came out in 2005 and made a stir among its guaranteed audience, the legion of comic book and video game fans, but wasn't a huge hit because of its dark, nature, favoring dialogue and realistic action to the bombast action and explosions of all the previous Batman and other superhero movies. For the same reason it wasn't a blockbuster, Batman Begins developed a somewhat cult following as a truly good film, not just a box-office hit. One thing is for sure, upon its release Batman Begins was the best Batman film of all time and is solely responsible for the mega-hit Dark Knight which was to follow. Director Christopher Nolan, who gained acclaim for his 2000 thriller Memento, took the groundwork laid by Tim Burton and Joel Schumacher for the first four Batman movies and threw it in the garbage, starting anew at the most appropriate place, the beginning. Whereas previous directors framed the saga of Batman within a theme park, thrill ride atmosphere, Nolan gives Batman, the only superhero without superpowers, the realistic treatment he deserves. Gone is the superfluous action and slapstick humor and silliness, as Nolan welcomes accomplished actors such as Christian Bale, Morgan Freeman, Michael Cane, Liam Neeson, Gary Oldman, and more into the story. Batman Begins chronicles Bruce Wayne's metamorphosis into the Dark Knight, starting with scenes that we have seen in other movies and culminating in his pursuit of justice in Gotham City. Christian Bale, one of truly great actors in Hollywood, is a perfect for Batman and dons the Batsuit with more authenticity than anyone to date. He is surrounded by a plethora of solid actors, all of whom (disregarding Katie Holmes as childhood friend and love interest Rachel Dawes) deliver rock-solid performances. The script is sharp and the only action is what is absolutely necessary, but the strongest point of the film is the astounding depth, particularly for a superhero film. Batman Begins pays homage to the true essence of the original comic, exploring the nature of vigilante justice, crime, punishment, terror, and order and uses the Dark Knight as a metaphor for these deep and complex issues. The use of the Scarecrow, although played devilishly by Cilian Murphy, may disappoint some as Scarecrow is one of the less exciting on the remarkable list of Batman villains. Batman Begins isn't perfect and has some of the comic book film cliches that are nearly impossible to avoid, but Christopher Nolan took a big chance, reinventing Batman in the dark world of Gotham City with great actors, a realistic perspective, and an honest look into pertinent issues.

Good for: Batman fans, fans of the original comic, Bale fans

Bad for: action movie fans

The Gallery
The Economist: * * * *
The Film Maker: * * *
The Writer * * * *

Wanted (2008)

* *

Wanted does exactly what it was set out to do; that being to appease the appetite of the mindless summer movie watcher with guns, girls, and gore. This film is the very definition of a Hollywood action movie and boasts all the necessary ingredients including dazzling fight sequences, stunning CGI, a mind-bending plot, and Angelina Jolie. To top it all off, the writers try to add layers upon layers of depth and allusions to societal pressures to fit in, be successful, and do the right thing, a message that resonates perfectly with the target audience. James McAvoy (Atonement) stars as Wesley Gibson, a down-and-out office worker frustrated with the repetition and monotony of his everyday life. When he finds out his dad, who has been missing since the day he was born, was a deadly, superhuman assassin, he realizes his destiny to become a member of "The Fraternity" and follow in his father's footsteps, avenging his death. Morgan Freeman plays Sloan, the leader of the Fraternity, in a performance that could literally be exactly the same as at least five other Freeman roles in the past decade. Jolie as Fox and Common as Gunsmith are members of the Fraternity and help train Wesley to attain his supernatural assasin abilities. Wanted may be one of the most cliched movies of all time, and is essentially the textbook example of an action movie. There are so many elements contrived from other films its difficult to keep count by the time the credits roll. Some scenes are so generic they become painful to watch, while others are so fast-paced, visually impressive, or downright hot (Jolie) that you can't take your eyes off the screen. The last twenty minutes involve so many plot twists that they seem to happen just for the sake of throwing the audience off the right path. The nerdy action lover who can recite lines from the Matrix series will probably follow along and find genius within the writers efforts to make a statement about taking control of your life and creating your own destiny. The rest of us won't understand what happened or why and won't care enough to figure it out either. Wanted is pure sleaze and proud of it, and people will either love or hate it for exactly that reason.

Good for: action fans, drunk people, someone not in the mood to think, Jolie fans

Bad for: artists, people bothered by violence

Charlie Wilson's War (2007)

* * *

Compared to the weak war films of the past few years, Charlie Wilson's War stands out as the smartest, funniest, and easiest to watch. That's not saying too much, though, when you look at the competition. For having the word "war" in the title, the film, like the Cold War, has very few guns fired and focuses much more on the behind-the-scenes aspects of American politics. Starring Tom Hanks as politician Charlie Wilson, Charlie Wilson's War is based on the true story of a Texas politician and his overt and covert efforts to defeat the Soviets, chronicling from the late seventies to the end of the eighties. Director Mike Nichols (The Graduate, The Birdcage, Closer) assembled a star studded cast with Hanks, Julia Roberts, Amy Adams, and Philip Seymour Hoffman to deliver a witty script written by Aaron Sorkin (A Few Good Men, The West Wing). The Charlie Wilson character is perfectly suited for Hanks who embodies the southern playboy congressman's clever and charming personality. Roberts and Adams hold their own alongside Hanks as his love interest and assistant, respectively, but once again Hoffman steals the screen and is clearly the best actor in the film despite being only a supporting character. As an obnoxious CIA agent and Wilson's partner and, at times, antagonist, Hoffman turns an average character into a memorable one with a nuanced performance equal parts funny and annoying. If only more actors could bring such depth to characters as Hoffman does; in any size part the story is enhanced by his intricate approach to his roles. The film is to the point, running right on time around 100 minutes, and for the right audience is thoroughly entertaining. Nichols manages to make a decade of political struggle and slow progress fun to watch by only including the important parts of the story, particularly the parties, sex, spying, and backhanded deals. The film isn't that thought provoking and comes across more as a "can-you-believe-this" true story than a reflection on the Cold War or politics in general. For some this will be refreshing, as Hanks and Hoffman together on screen are great fun, and for others it will be too run of the mill. Charlie Wilson's War doesn't fail on any levels, and succeeds in telling a story most people didn't know about in a way that will keep their attention.

Good for: people who study history, politicos, fans of true stories

Bad for: people who dislike politics, uptight people

The Gallery
The Economist: * * *