THE GREAT BUCK HOWARD (2008)

Starring: John Malkovich, Colin Hanks & Emily Blunt

Director: Sean McGinly

This is a very agreeable "feel good" movie and, as such, should find favor with a great many of those who view it. The story, which is in the tradition of other "behind the scenes with a difficult talent" films as My Favorite Year, concerns an aging mentalist -- do not call him a magician, please -- named Buck Howard (Malkovich), who was once at the top of the heap but is now reduced to playing to small, if appreciative, audiences far from the big time. His new road manager, Troy (Hanks), has joined Buck because he is floating aimlessly after dropping out of law school and is trying to "find himself." Working with Buck is an education in itself, as he has taken self-delusion to an extreme, is entirely self-involved, and more than a bit temperamental. But there's something about Buck that draws Troy in and ultimately teaches him a lesson about being true to himself.

Buck is a very audience-friendly film, provided that viewers are willing to let themselves be taken along for a fairly manipulative ride. Director-writer McGinly has created a well-crafted screenplay that hits all the right buttons in terms of eliciting the desired response. Where he has fallen down a bit is in not adding real depth to the story or keeping it as tightly focused as it might have been. Troy's dilemma is a bit too superficial, as is the setup with his disapproving father (well-played by the actor's real-life papa, Tom Hanks). The part of the plot which deals with Troy's dalliance with a young P.R. agent feels incomplete, perhaps because Blunt's dynamic, eye-catching performance makes the viewer want to learn more about her character and see more confrontations between the agent and Buck. However, neither of these flaws (nor McGinly's tendency to overwrite and overuse the narration) is fatal by any means and they're more than made up for by some wonderful comic moments and McGinly's trenchant yet amiable way of dissecting the whole concept of celebrity. Most importantly, Buck has Malkovich operating at the top of his not inconsiderable form. The actor clearly relishes this character, and it is a joy to watch him inhabit Buck's skin and bring him to beautiful life. Malkovich finds the humanity beneath the caricature without letting the caricature slip away; Buck's trademark "I love this town" is funny because it is simultaneously cheesy and heartfelt. As Troy, Hanks isn't able to hold his own against Malkovich -- or Blunt -- but he does the best he can as the "straight" man in the movie. The supporting cast, especially Steve Zahn's and Debra Monk's on-target "hayseeds," are aces. McGinly's direction is smooth, if a bit too concerned with getting its points across, and Tak Fujimoto's cinematography is both glossy and warm. (87 mins.)

My Rating: ***

LA STRADA (1954)

Starring: Anthony Quinn, Giuletta Masina & Richard Basehart

Director: Federico Fellini

La Strada is often considered one of the masterpieces of 20th century filmmaking, a sad and poignant remembrance of innocence lost and of the roads that each of us must choose. As with much of the work of director Fellini, man is viewed as suspended between the heavens and the earth, adroitly symbolized here by Il Matto/The Fool (Basehart), a high-wire circus performer. Fellini's motifs are among the most influential of all post-WWII filmmakers, and you'll find clever Fellini and La Strada references in such unlikely films as Blues Brothers 2000. Giuletta massina's Chaplin-like Gelsomina is among the screen's most poignant and tragic performances, and she, like the entire film, is aided by Nino Rota's evocative score. Fellini had few production values to work with, but here he doesn't need them. La Strada is among the most studied films of late Italian Neo-Realism and a classic of the first rank. (115 mins.)

My Rating: ****

THE SOLOIST (2008)

Starring: Robert Downey, Jr. & Jamie Foxx

Director: Joe Wright

When the Soloist was originally intended to be a 2008 Oscar hopeful, the initial advertising campaign made it look like a cross between Shine and A Beautiful Mind. And the setup certainly smacks of Oscar bait: Los Angeles Times columnist Steve Lopez (Downey), recovering from an especially nasty bike accident, meets the homeless Nathaniel Anthony Ayers (Foxx) during a walk through the park. Because Nathaniel plays a violin with just two strings -- and plays it rather well -- he catches Steve's eye, and Steve, always on the lookout for a story, strikes up a conversation. When the obviously mentally ill Nathaniel mentions that he went to Juilliard, Steve decides to investigate the man's life, and discovers that the onetime cello prodigy suffered a schizophrenic breakdown while he was at the school, leading to a life on the street. Steve proceeds to write a column about Nathaniel, and the overwhelmingly positive response to the story prompts the gift of a cello from a reader. After delivering the present to Nathaniel, Steve slowly finds himself, almost against his nature, trying to make life better for the man.

This kind of movie quickly falls apart if the actors overplay the inherent sadness of the situation, and thankfully the stellar cast never makes that mistake. Although he's become more famous for performances in blockbusters like Iron Man and Tropic Thunder, Downey hasn't lost an ounce of his dramatic chops. He makes Steve selfish and prickly, but also so charming and funny that you understand why his subjects trust him with their life stories. You can also see why his ex-wife (Catherine Keener), who is now his boss, stays close to him even though she left their marriage. Steve begins asking himself why he cares so much about what happens to Nathaniel, questioning his own motivations -- is it really an ongoing act of selfless goodness, or is he just doing it for his career? Steve doesn't find a satisfying answer, until realizing that this new friendship offers the chance for him to become a better person.

As the catalyst for Steve's change, foxx pulls off a disciplined, subtle performance. Foxx isn't interested in earning our pity -- a choice that undermines so many actors playing mentally ill characters. You never question the debilitating nature of Nathaniel's disorder, but you also never question that he's able to take care of himself to the best of his ability, surviving -- however miserably -- in L.A.'s large homeless community. Both he and Downey avoid obvious melodramatic choices, and in doing so they create unfailingly honest portraits of complicated people.

(109 mins.)

My Rating: **1/2

CROSSROADS (1986)

Starring: Ralph Macchio, Joe Seneca & Jami Gertz

Director: Walter Hill

A superb blues score by guitarist Ry Cooder highlights this enjoyable fantasy about an ambitious young bluesman (Macchio) who "goes down to the crossroads," in the words of Robert Johnson, to make a deal with the devil for fame and fortune. Most viewers will enjoy the performances, the story, and the music in this all-too-rare-big-screen celebration of the blues and its mythology.

This misbegotten fantasy seems like a revamp of The Karate Kid, with a crotchety old musician replacing the wise karate master who guided macchio's coming-of-age. Halfway through, it becomes a Faustian morality play in which Macchio has yo play a mean guitar to save his mentor's soul. (100 mins.)

My Rating: ***

PANDORA'S BOX (1929)

Starring: Louise Brooks

Director: G. W. Pabst

Pabst's most famous film featured his first, star-making collaboration with American actress Brooks in a complex exploration of sexual psychology and Weimar Germany's social decadence. Working from Frank Wedekind's play in Pabst's trademark realist style, Pabst and Brooks transformed the character of Lulu from an evil temptress into a hedonistic innocent at ease with her sexuality. Pursued by men and women alike, Lulu is prey as much to social repression as to her own insatiable desires, as she winds up blamed for the troubles that others have brought on themselves through their own sexual hypocrisy. The appearance of Jack the Ripper at the conclusion is a sign less of sensationalist melodrama than of Lulu's internalized victimization. Brooks's subtle, nuanced performance and Pabst's fluid editing style infuse Pandora's Box with a sensuality that remains undiminished to this day. Critically panned on its release, Pandora's Box has since come to be seen as a hypnotic masterwork, remarkable for its frank treatment of sexuality and the sympathetic, inscrutable, fascinating presence of Brooks, who became a Jazz Age flapper icon. (131 mins.)

My Rating: ***1/2

ALL ABOUT EVE (1950)

Starring: Bette Davis, Ann Baxter, George Sanders & Celeste

Holm

Director: Joseph L. Mankiewicz

Mankiewicz's jaundiced look at the show biz battle zone better known as Broadway is probably the summit of Hollywood movie-making; it's as finely crafted an entertainment as we're likely to see. Eve, a female Uriah Heep, insinuates herself into the good graces of some theater folk whose generosity does not prepare them for this cunning steamroller out to eliminate years of hard knocks at their expense. What gives this cynical high comedy its emotional resonance and depth, however, is poignance with thick Davis plays Margo Channing, the just-turned-forty actress who's a living monument to enormous talent and volcanic temperament.

Witty dialogue to spare, especially great when spoken by Sanders and Thelma Ritter. 6 Oscars include Best Picture, director, screenplay, and Supporting Actor (Sanders). Later musicalized on Broadway as Applause. (138 mins.)

My Rating; ****

DON'T BOTHER TO KNOCK (1952)

Starring: Marilyn Monroe, Richard Widmark, Anne Bancroft &

Elisha Cook

Director: Roy Ward Baker

Those who consider Monroe an actress of limited range should take a look at Don't Bother To Knock, in which the sex symbol is cast in a most un-Monroe-like part and turns in a quite impressive performance. Monroe's talent was considerable, and while she shown in the lighter roles that emphasized her obvious sexual allure, she was quite capable of handling meatier roles. Knock is also interesting to watch because Monroe's part is a surprising one for a star to take -- a psychotic who is not especially sympathetic. Knock has lots to recommend it aside form Monroe, include a script that, while it often stretches credulity, is nonetheless tightly structured and features some great dialogue, as well as an across-the-courtyard-through-the-windows scene that is engrossingly voyeuristic. A very young Bancroft turns in a solid performance, as do Cook and Widmark is less solid; he's fine, but he doesn't seem to be totally engaged in his part and thus can't fill out some of its more two-dimensional qualities. Knock could have been a truly top-notch little thriller had director Baker given it a bit more sizzle. Unfortunately, he's a bit cautious, and so Knock doesn't build up the head of steam and the tense suspense that it needs to. Nevertheless, it's well worth a look, especially for Monroe fans. (76 mins.)

My Rating: ***