TIFF Capsule Reviews (Updated Sept 3rd)

The Toronto International Film Festival Begins Thursday 4th September.

What to pick?  What to see?

Check out Capsule Reviews of some 30 films below:-

ADORATION (Canada 2008) ***** Best Bets
Directed by Atom Egoyan

Toronto auteur returns to the style of his earlier movies (EXOTICA, THE SWEET HEREAFTER) with a mature and meticulously constructed film centering on a high school student, Simon (Devon Bostick) who reveals in his drama class that his father planted a bomb in her mother’s purse.  If the bomb had not been undetected by security at the airport, the result might have been one of the worst terrorist attacks in history.  Egoyan covers issues as uncle/nephew relationships, truth and lies, cultural acceptance but mostly tolerance in the midst of hatred.  Despite some beautifully shot scenes by Paul Sarossy, the film contains amazing technical shots.  Most impressive is the split laptop-screen allowing 6 separate students to interact like a conference meeting.  ADORATION had a late screening at Cannes this year which is a pity as it probably did not get the recognition it deserved with critics being too tired to fully appreciate Egoyan’s work.  ADORATION is Egoyan’s most powerful, intimate and best work to date.  The film also stars the excellent Arsinee Khanjian (Egoyan’s wife and regular) as Simon’s teacher, Sabine.

THE BIGGEST CHINESE RESTAURANT IN THE WORLD (UK/Neth/Den 2008) ***
Directed by Weijun Chen

Director Weijun Chen (PLEASE VOTE FOR ME) immensely entertaining documentary focuses on the Wrest Lake Restaurant in the city of Changha, China that was awarded the title THE BIGGEST CHINESE RESTAURANT IN THE WORLD by the Guinness Book of Records.  Chen concentrates in the human elements of this enormous institution.  He has interviews with the owner, Mrs. Qin Linzi, shown here to be an extraordinary person – stressing her difficult early peasant life with a very strict father.  Her workers – chefs and servers who move from the countryside to the city also have moving stories to tell.  Don’t expect any lessons learnt or change in your outlook of life after this doc – but do expect to balk at a quite a few scenes.  The killing of a duck by grabbing its live heart right from the body and the deep frying of live fish will definitely be the talk of this movie.  But the singing, cooking and dancing contests are a hoot.

BLINDNESS (Brazil/Canada/Japan 2008) **
Directed by Fernando Meirelles

Fernando Meirelles (CITY OF GOD) who directed the new film BLINDESS confuses reality with credibility.  Meirelles takes great care at getting shots not only done right but beautifully (though there are some really filthy scenes) with impressive sets of a city ravaged by human beings in panic.  But the whole film is unbelievable as nothing is attempted to explain or even hinted at the cause or cure of the blindness.  The story concerns an unexplained epidemic causing people to go blind.  They see all white, allowing Meirelles to white out instead of fade out one scene to another.  Mark Ruffalo and Julianne Moore play doctor and wife.  The wife, pretending to be blind accompanies her husband into an asylum that holds the initial diseased.  The film is based on Jose Saramago’s novel and adapted for the screen by Don McKellar who directed a similar film about the end of the world called LAST NIGHT in 1998.  The impressive cast which includes Danny Glover, Gael Garcia Bernal and Don McKellar is totally wasted.

BURN AFTER READING (USA 2008) *****
Directed by Joel and Ethan Cohen

The Coen Brothers’ latest is a black comedic delight that had the critics present at the pre-TIFF screening in stitches.  BURN AFTER READING begins with CIA agent John Malkovich getting the can for his drinking problem.  So, he retreats to his drink and writing of his operations memoirs that somehow (the CD) land in the hands of Hardbodies Gym trainers Brad Pitt (playing a blonde bimbo) and Frances McDormand.  They decide to blackmail the already pissed off ex-CIA agent whose wife Tilda Swinton is having an affair with George Clooney who is dumping her for a new date who happens to be McDormand.  Everyone is sleeping with someone who is related to someone else.  Oddly enough, the only ‘moral’ person is the sexually ambiguous Pitt.  All these proceedings appear ridiculous and they are – but the Coen Brothers, expert stagers of elaborate long takes often with bouts of wicked humour have crafted another winner.  Aided by inspired performances by a near perfect cast, especially Pitt and Malkovich’s, BURN AFTER READING is the Coen Brothers at their peak. 

C’EST PAS MOI, JE LE JURE! (Canada 2008) ***1/2
Directed by Philippe Falardeau

Quebec Philippe Falardeau returns to the festival with another humorous yet dramatic tale of family.  His quirky CONGORAMA was brilliant in its non-time linear execution and his new film centres once again on the family or the lack of one.  This is the story of young Leon.  Falardeau’s film could be alternatively called HOW TO COMMIT SUICIDE AND SURVIVE as Leon attempts the deed countless times for various reasons, the main one being to bring dad and mum back together.  Falardeau contrasts pessimism and hope.  It might appear that Falardeau’s film leads nowhere but on closer examination, his film surprisingly reveals (this has to be read between the lines) that truth and love conquers all.  Falardeau is a young director to watch!

IL DIVO (Italy 2008) ***
Directed by Paolo Sorrentino

Winner of the Jury Award at this year’s Cannes, IL DIVO marks the triumphant return of Italy to filmmaking since the days of Fellini, Petri and Visconti.  Unfortunately, IL DIVO is not as good as heralded by the Italian press.  There is too much information relayed and too fast with too many characters in too short a time, especially for those unfamiliar with Italian politics.  On the positive side, the music (love the song selection), acting and staging of the court cases and killings are superb.  The story traces the controversial career of Italy’s Prime Minister, Guilio Andreotti (Toni Servillo) who though charged with over two dozen court charges, survived and now serves as a senator. 

DOWN TO THE DIRT (Canada 2008) *
Directed by Justin Simms

Based on his novel and directed by him, Justin Simm’s DOWN TO THE DIRT is an example of low budget undisciplined film making.  For one, though listed at 100 minutes, the film is almost two hours in running time.  It begins with a character lying on the ground, half beaten up, and then recounts the story leading to his sorry state and then goes on when it is certain that nobody cares anymore.  To make matters worse, the close up of the blood dripping from the man’s cut up face shows inconsistency of blood colour and really poor make-up.  DOWN TO THE DIRT has the occasional laugh out loud humour – due to the stupidity of the newfie characters.  One positive thing of the film is that the film does have a total newfie feel to it – down to the Stompin’ Tom like soundtrack.  (I know Stompin’ Tom is from New Brunswick but I have not known a Newfoundlander who did not like his folk music.)

LA FILLE DE MONACO (France 2008) **1/2
Directed by Anne Fontaine

Anne Fontaine’s film LA FILLE DE MONACO has an excellent set-up.  She pits three wildly different characters together.  One is brilliant, cultured and respected lawyer Bertrand (Fabrice Luchini), the second his quiet, strong and handsome bodyguard Christophe (Roschdy Zem) and the third flamboyant, beautiful and charming Audrey (Louis Bourgoin) – the fille of the film’s title.  But the result of her film is far from satisfactory.  This comedy of sorts is more drama than laughs with Fontaine (DRY CLEANING, NOUVELLE CHANCE) delivering keen observations on the interactions of her characters.  But like most of her other films, LA FILLE DE MONACO lacks punch and one wonders what message she is trying to send.  Another problem is actor Luchini.  Fontaine should have picked a more handsome lady-killer.  It is really difficult to believe beautiful women falling at the feet of this unfit, soft-spoken soft bodied over the hill lover.

GOMORRAH (Italy 2008) ****
Directed by Matteo Garrone

The long length of 135 minutes of GOMORRAH is understandable as director Saviano’s film tells 5 different related stories of a mafia organization called the Neopolitan Camorra.  Of the five, the one involving two teen hooligans who believe that they can make it on their own undermining the mafia is the most engrossing.  Garrone’s puts the audience right into the action with his filming style that switches frequently from hand held to pan shots depending on the situation or mood he wishes to create.  The stories take time to unfold with the characters given the time to talk.  Garrone reveals the human side of the mafia (human traits like greed, the need to save face) as well the desperation of the simple men who fall victim.  The result is a film that is marked with the director’s signature style combining well the elements of art with reality.  Based on the book by Saviano, who had to go into hiding when the best seller was first published.

THE GOOD, THE BAD, THE WEIRD (South Korea 2008) **
Directed by Kim Jee-woon

An obvious rip-off of Sergio Leone’s Italian spaghetti western epic THE GOOD, THE BAD AND THE UGLY, South Korean Kim’s THE GOOD, THE BAD, THE WEIRD is a lengthy unfunny and unimaginative waste of time.  It is, of course neat to see Koreans wearing western garb riding horses in the desert, but the novelty wears off pretty fast.  The good is a famous bounty hunter, the bad a merciless gang leader and the weird an odd train robber.  Events lead to the eventual three way shoot out at the film’s climax, just as in the Sergio Leone’s film.  Kim at least builds some interest at the start of the film with the introduction of a mysterious map – but the rest of the film is a let down.  This is supposedly Korea’s most costly production.

HEAVEN ON EARTH (Canada 2008) ***
Directed by Deepa Mehta
Toronto based Indian Writer/director Deepa Mehta’s (WATER, EARTH, FIRE) most serious fiction film works well primarily for the mystic ambiguities present in her tale of abused bride, Chand (Preity Zinta).  In her desperation for love and happiness, Chand uses a Jamaican witch’s potion to entice her husband.  Mehta’s frequent ponderous style works well here to actually create more audience anticipation.  She also blends in current social issues (teenage rebellion; Canadian living; immigration) with ancient beliefs of the past (filial loyalty, superstition).  In Mehta’s case, HEAVEN ON EARTH may not be a desirable.  The abrupt ending to this occasional thought provoking film may not satisfy some.

L’HEURE ETE (France 2008) ***1/2
Directed by Olivier Assayas

L’HEURE ETE is a non conventional drama of a family in the midst of the decision on what to do with property and estate following a death.  Two brothers (Charles Berling and Jeremie Renier) and a sister (Juliette Binoche) biggest problem is whether to sell the family house.  But the contents pose a problem as well as the estate contains many artistic ornaments – some valuable and some not so as expected.  Assayas’ easy going style varies from steady shots to handheld camera as he takes his viewer on a tour of the French art circles while keeping the story grounded in the strength of the family.  The best shots are the film’s opening and ending sequences where the children at play and teen show the innocence as well as maturity of the offspring.  Very watchable and pleasurable as an art painting!

HORN OF PLENTY (Cuba 2008) **
Directed by Juan Carlos Tabío

Juan Carlos Tabío’s HORN OF PLENTY feels much like his popular STRAWBERRY AND CHOCOLATE.  Tabio’s tale of poverty, love and lust is nothing more than fluff disguised as realistic drama in a social political setting.  The story concerns the Castineiras family sorting out an inheritance with the authorities.  The family is so poor that the protagonist Bernardito (Jorge Perugorria) cannot have sex in peace.  He needs a dividing wall in his house.  The dysfunctional family concerns non-speaking parents, sister and a mistress.  Tabio’s works his actors well with solid performances with erotic sex scenes.  The cinematography is worth mentioning as it displays the locals scenes of a little seen Cuba.  HORN OF PLENTY is nice to look at but not funny, romantic or dramatic enough.

HUNGER (UK 2008) ****
Directed by Steve McQueen

Winner of the prize for best feature at Cannes this year, HUNGER documents in graphic detail the last 6 weeks of the life of IRA Bobby Sands (Michael Fassbender) in an Irish prison.  The prisoners undergo a ‘no wash’ and ‘blanket’ protest till a hunger strike begins.  Steve McQueen (a photographer) shoots his film with long takes, most ending with a punch.  Though it might appear that not much action is taking place in most scenes, the contrary is happening.  McQueen is building up emotions in the viewer.  He shows not only the points-of-view of Sands and the IRA sympathizers but the prison guards involved in the brutality as well.  McQueen’s camera crosscuts to the facial expression of one guard behind his helmet shield.  McQueen also follows long segments with little to no dialogue to ones containing talk non-stop (the debate between Sands and the priest).  Though HUNGER is not everybody’s cup of tea (be prepared for close-ups of maggots, decaying food and excrement), McQueen gets the purpose for his film more than effectively across with disturbing clarity.

Il Y A LONGTEMPS QUE JE T’AIME (France 2007) ****
Directed by Philippe Claudel

Writer/director Philippe Claudel’s debut feature is a tearjerker with an impressive build up towards its climax.  A story of guilt and grief, the film follows the lives of two sisters, Juliette (Kristin Scott Thomas) and younger Lea (Elsa Zylberstein).  When the film begins, Lea fetches her from the airport and brings to her family home, much to the consternation of her husband.  Why were they apart?  Why are they now reunited?  What is the family secret?  Claudel reveals only bits at a time making his film a whydunnit as well as a drama of wills.  There are lots to be read between the lines in this movie - the old man at the swimming pool and his young conquests; the metaphor of the South American Orinoco River; Claudel’s use of Lea’s over adorable daughter to highlight Juliette’s emptiness over the loss of her own son but most effective is the question of whether loss of memory is worth memory of a terrible incident.  Claudel moves his film at a pace allowing his audience to appreciate what he is getting across.  I’VE LOVED YOU FOR SO LONG (English title) is a very impressive first feature.

IT MIGHT GET LOUD (USA 2008) ***1/2
Directed by Davis Guggenheim

It might get loud and it does in director Davis Guggenheim’s (AN INCONVENIENT TRUTH) inspiring documentary IT MIGHT GET LOUD.  Here, the power of the electric guitar is unleashed through the words and performances of three living masters, Jimmy Page of Led Zeppelin, The Edge of U2 and Jack White of The White Stripes.  The film is much better than it sounds.  Guggenheim also shows the blend of art (the craftsmanship of the instrument) to science (the electronics).  Guggenheim’s film soars occasionally, like in the scecnes when he transposes The Edge playing with jingles, to his rehearsal to U2’s live performance with full acoustic in a major stadium.  Here Guggenheim shows The Edge’s metamorphosis from talent to pure genius. 

O’HORTEN (Norway 2008) **
Director Bent Hamer

Norwegian writer/director Bent Hamer is famous for his quirky hunour in films like KITCHEN STORIES and FACTOTUM.  This time around, Hamer finds his humor in the study of recent train driver retiree Horten (Bard Owe) and his ability or rather inability to adjust to his new lifestyle.  Unfortunately, this character holds little interest nor do the situations concocted by Hamer.  The ‘choo-choo’ cheering at Horten’s farewell party fails to achieve any sympathy or humor to the proceedings and the Norwegian wintry landscape (there are repeated shots of the train traveling out of the tunnel into he vast whiteness) seem to underline the film’s emptiness.

JCVD (Fr/Lux/Bel 2008) ***
Directed by Mabrouk El Mechri

Who would guess that JCVD (short for Jean-Claude Van Damme), Van Damme’s come-back movie, would be one of the action star’s best films?  Directed by El Mechri, JCVD begins with JCVD bashing and shooting up his enemies in a new film he is making.  Complaining after to the director that he can’t do these kind of long takes any more (I am 47, he says) Van Damme is not afraid of parodying himself (he is broke and has child custody problems) or his past films.  The result is an earnest, very funny and action packed film that makes JCVD an appropriate pick for TIFF’s opening film for the Midnight Madness series.

LAST STOP 174 (Brazil 2007) **
Directed by Bruno Barreto

Director Barreto’s LAST STOP 174 is based on the widely seen and acclaimed 2003 documentary BUS 174 that detailed the events of the standoff between the cops and the young man that took the bus hostage.  In LAST STOP 174 made years later obviously cashing in on the success of the BUS 174 and films like CITY OF GOD, Barreto’s film, despite his attention to detail, looks like an exploitation rip-off.  Baretto concentrates on the story of a mother looking for her son.  The son eventually turns out to be a worthless violent teen that ends up creating havoc on the bus.  For all that it is worth, Barreto’s tale is all over the place and fails to evoke any sympathy from the audience.  Even the mother, with a holier than thou attitude, appear as unbelievable as her sissy preacher boyfriend. 

NOT QUITE HOLLYWOOD (Australia 2008) ***
Directed by Mark Hartley

Mark Hartley’s NOT QUITE HOLLYWOOD starts up brilliantly and uproariously with an insight on the beginning of the Australian film industry.  The funniest bit is his take on the then Australian censor known to have only one arm.  (He has never shown up in person always apologizing that he would have given up his right arm to be present.) From free-wheeling sex romps to blood-soaked terror tales to high-octane action car chases, NOT QUITE HOLLYWOOD contains an unbelievable number of Aussie film clips from films never seen by those under the age of 30.  For many like me, the film is a nostalgic trip into the gore, violence, sex and fun filled forgotten films like PATRICK, THIRST, the ALVIN PURPLE and MAD MAX films.  Hartley remembers to pay tribute to the art classics like PICNIC AT HANGING ROCK, and MY BRILLIANT CAREER.  But his film is a bit too long, dragging a bit near the end though Quentin Tarantino gives his bit to enliven the proceedings.  To his credit, Hartley has assembled an impressive cast of talking heads that includes Jamie Lee Curtis, Dennis Hopper, Stacy Keach, Quentin Tarantino, Brian Trenchard-Smith, Steve Railsback and aussie directors Barry McKenzie and Bruce Beresford.

PLUS TARD, TU COMPRENDRAS (France 2008) **
Directed by Amos Gitai

Originally titled PLUS TARD or LATER, the new title adds on the additional phrase TO UNDERSTAND in the future tense.  The understanding here refers to a man’s (Hyppolyte Giradot) dealing with his grandparent’s death during the Holocaust in a Nazi concentration camp.  Thos familiar with director Amos Gitai’s works (KIPPUR, KADOSH, FREE ZONE) will not be disappointed with his beautiful shots, long takes and wide camera pans.  Gitai often has his characters placed in a scene with more information relayed by what is occurring in the background.  He often calls his actors to ponder over issues, wander around the scenery or stare blankly into the open.  It is both interesting and odd to watch animated actors like Giradot, Jeanne Moreau (VIVA MARIA! JULES ET JIM) and Emmanuelle Devos (ROIS ET REIN) move so slowly.  Though beautifully shot with great attention to detail, Gitai’s film on memory and identity fails to move and affect audiences one would expect a film with such a theme to.

RACHEL GETTING MARRIED (USA 2008) *
Directed by Jonathan Demme

The worst part of attending a wedding is to hear all the wedding speeches.  In his strife for authenticity, director Jonathan Demme forces his audience to sit through almost 20 minutes of grueling verbal diarrhea during a wedding rehearsal.  Kym (Anne Hathaway), just out of drug rehabilitation and coming to grips with reality is not really welcome at sis’ (Rosemarie DeWitt) wedding with the entire family barely tolerating her.  The film documents with brutal realism, the interactions of the family members.  There is nothing really wrong with RACHEL GETTING MARRIED in terms of production values and acting.  But Demme includes manipulative dialogue from first time writer Jenny (daughter of Sidney) Lumet and worst of all, racist African tribal dances to celebrate the groom’s African American heritage.  Demme should have taken to heart the words of the rehab caretaker at the beginning of the film when she says: “You are only responsible for your own actions.” RACHEL GETTING MARRIED is the best example I can think of, of well orchestrated artistic rubbish.

REAL TIME (Canada 2008) ***
Directed by Randall Cole

Smart low budget comedy that lags a bit in the middle (despite its short length of 80 minutes) about a hired killer Reuben (Randy Quaid) and the gambler debtor Andy (Jay Baruchel) he is hired to kill.  The film is called REAL TIME as the clock in the car registers 1.41 and the killing is to occur at 3 p.m. with the film obviously taking place in real time.  Writer/director Cole covers issues like outlook in life but it is the dynamic interaction between the two lead actors Baruchel (in best form here after TROPIIC THUNDER and last year’s JUST BURIED) and Quaid that makes the film tick.  Filmed in Hamilton, Ontario.

RESTLESS (Isr/Can/Germ/Fr/Belg 2008) *
Directed by Amos Kollek

RESTLESS is a very angry film about Moshe’s (Moshe Ivgy) search for redemption in NYC.  He has dumped his son, now a sniper in the Israeli army whom he has not met.  Kollek has got his film all wrong.  For one, who would sympathize with a person has horrid as Moshe?  He has not only abandoned his son and his pregnant girlfriend, but hammers a brick to his landlord’s head after not being able to pay the rent.  Worst still, he starts hitting on a bartender (Karen Young) while being drunk and unable to pay his tab.  The audience is then led to believe that this girl will later fall for Moshe.  Worst still, the father and son reconciliation comes at the end after the son (who visits NYC) takes out a gun.  They shout, scream and hug.  What a cop-out!  RESTLESS will undoubtedly have audiences squirming restlessly in their seats.

LE SILENCE DE LORNA (Belgium/Fr 2008) **
Directed by Jean-Pierre and Luc Dardenne

The Dardenne Brothers return again with a film aiming at jolting their audience into realizing the enormity of a topical problem issue.  Having dealt with unwed births, illegal workers and youth violence, LE SILENCE DE LORNA concerns immigration marriage shams.  Lorna (Arta Dobroshi) is an Albanian paid to wed Belge druggie, Claudy (Jeremy Renier) in order to get citizenship.  Divorcing him later, she is to wed a mobster, Fabio in order for him to gain citizenship.  But when Fabio (Fabrizio Rongione) plans to kill Claudie, the question is whether Lorna will remain silent.  This is the Dardennes most fictionalized film in terms of a more involved storyline with the camera taking more of an observational view rather than a protagonist’s point of view.  His previous films often had the camera just behind the neck of a character whereas in SILENCE DE LORNA, the camera takes a step back.  Unfortunately, the film also takes one step back in terms of effectiveness.  You realize the Dardennes are in trouble when they have to rely on Lorna speaking aloud to convey what is happening on screen.

SUGAR (USA 2008) **
Directed by Anna Boden and Ryan Fleck

Writer/directors Anna Doden and Ryan Fleck’s (HALF NELSON) second feature SUGAR follows the travails of Dominican baseball star Miguel a.k.a. SUGAR as he is recruited by the States and sent over.  From his assimilation to an Iowan household to his tough baseball games, SUGAR demonstrates that life is never easy, especially for the talented.  Boden and Fleck do well with the execution of the excitement of the baseball games – as it baseball is probably the most difficult game to excite on screen, but it is the examination of Miguel’s loneliness that is the more interesting.  Fortunately, that is the centre of the film and not the baseball matches.  Alengis Perez Solo is winning as the loser in a film that unfortunately suffers from an unsatisfactory ending.  The film also shifts from one focus to another without resolving the problems brought on (the temper tantrums; the injury et. al.)

THREE MONKEYS (Turkey/France/Italy 2008) **
Directed by Nuri Bilge Ceylon

Those familiar with the works of Turk director Ceylon (CLOUDS OF MAY, CLIMATES) will be pleased to note that his new feature, a film about the breakdown of a closely-knit family contains stunning cinematography, long takes and deep personal reflections – elements found in all his other films.  The film begins with Eyup (Yavoz Bingol), a father taking the rap for his boss in a hit and run car accident.  While in prison, his wife Hacer (Hatice Aslan) has an affair while son Ismail (Ritaf Sungar) wanders directionless in life.  The question then is whether the money Eyup is earning is worth the family troubles.  But he is confronted with his ‘see, hear and speak no evil’ attitude when released from prison.  But the problem with Ceylon’s film is that he does not clearly define the real root of his characters’ flaws nor does he bother to resolve them.  With the film’s artistic look, the audience feels increasingly alienated with each character.  The result is a fine looking empty film that eventually bores rather than captivates.  Ceylon won the best director award for this film at this year’s Cannes.

UNDER RICH EARTH (Canada 2008) ***
Directed by Malcolm Rogge

This earnest Canadian documentary takes the viewer to a remote mountain valley in Ecuador where local farmers face their worst enemy – the American corporation.  In order to drive these hard working farmers from the land in order to make way for copper mining, corporations go down dirty tactics.  Mercenaries are hired to threaten the farmers with guns and tear gas.  The rallying of the people demonstrates that these farmers have had enough.  Director Rogge show the two sides with interviews from a company official and from many involved in the fight.  UNDER THE EARTH is an educational down to earth doc without any bullshit.

WENDY AND LUCY (USA 2008) **
Directed by Kelly Reichardt

WENDY AND LUCY is executively produced by Todd Haynes.  It is not surprising to see why Haynes was interested in the project as WENDY AND LUCY shares the same sparse style of Haynes’ earlier films.  Director Reichardt’s film of a girl and her lost dog traces, with a documentary styled look, Wendy’s slow deterioration into tears (she starts off as one foul-mouthed hard cookie) as she exhausts one avenue after another in her desperate search for her dog.  It does not help that she is broke and on her way to Alaska (traces of a poor man’s version of INTO THE WILD?) with no money, family or friend.  But Reihardt’s film is too manipulative with help appearing just at the right moment or her call to family made just so that the audience can be told that the family does not care.  The reason for Wendy’s journey to Alaska is never dealt to satisfactory detail.  When Wendy finally finds Lucy, she throws a stick three times for Lucy to catch.  Lucy gets it.  But most viewers will not get the point of this movie. 

ZACK AND MIRI MAKE A PORNO (USA 2008) **
Directed by Kevin Smith

Seth Rogen (the most probable actor to represent Kevin Smith as a teen plays Zack, living with best friend Miri (Elizabeth Banks).  Despite the suggestive title and a few ‘sexy’ scenes in the filming of the porno, Smith’s new film is essentially a good natured romantic comedy.  Unfortunately, harmless fare is not Smith’s forte and this film falls short in laughs, especially when compared to the recent spat of Jude Apatow films, some of them with Rogen in.  No prizes in guessing correct whether Zack and Miri come together at the end.  Even the sex jokes are mild in nature.  Example: the pick up line: “Don’t thank me. F*** me!”