Director Joshua Seftel’s humourless attempt at war satire WAR, INC should learn a lesson or two from the highly successful Mike Nichol’s 1972 film CATCH 22 based on the best selling novel by Joseph Heller.  Nichols assembled a great comedic cast while Seftel opted for non comedians like John Cusack and Ben Kingsley in his film. 

Based on the novel by Anne Michaels, FUGITIVE PIECES is a lyrical sometimes moving film about loss, love and redemption.  Directed by Jeremy Podeswa (he last made the Cannes hit, THE FIVE SENSES in 1999), the film is beautifully shot, slow paced and full of flashbacks and inter-cut stories.  After witnessing his parents’ murder and sister’s abduction, young Jakob Beer is rescued and moved to Greece by archaeologist, Athos (Rade Sherbedgia). 

Based on photographs and videos taken by soldiers of tortured terrorist suspects (most of which are probably innocent) in Abu Graib prison, documentarist Error Morris (THE THIN BLUE LINE and THE FOG OF WAR being his most famous films) creates a horrifying picture of military abuse.  He interviews the soldiers in the shots (most of which were charged and sentenced) offering their views and reasons of why the deeds occurred.  Needless to say, this is disturbing stuff.  A military expert classifies each shot as either a criminal act or standard operating procedure (SOP) of the film’s title. 

Arguably the most anticipated film opening so far this year, the Marvel comic action hero IRON MAN film hits the screens with special extra showings to ensure that it not only makes #1 at the box-office this weekend, but #1 with a difference.  Oddly, its director Jon Favreau (ELF, ZATHURA) is not particularly well-known for action pics, being famous more for his acting (SWINGERS, VERY BAD THINGS) roles.  It is not surprising therefore to find his film following the formula of past successful Marvel adaptations to the big screen.  The film comes complete with the expected Stan Lee cameo.

Based on the 1990 novel of the same name by Elinor Lipman, THEN SHE FOUND ME is a good pick for Helen Hunt’s directorial debut.  It offers Hunt the opportunity to both direct, act (she plays the main role) and work in a part that is close to her age (which shows) and path in life.  The story, a romantic drama about a 39-year schoolteacher, April whose biological clock is ticking fast is one that combines a mother-daughter relationship with the topic of motherhood.