Review: "The Polar Express" Always a Wonderful Christmas Arrival

TRASH IN MY EYE No. 1 (of 2006) by Leroy Douresseaux

The Polar Express (2004)
Running time: 93 minutes (1 hour, 33 minutes)
MPAA – G
DIRECTOR: Robert Zemeckis
WRITERS: William Broyles, Jr. and Robert Zemeckis (based upon the book by Chris Van Allsburg)
PRODUCERS: Steve Starkey, Gary Goetzman, William Teitler, and Robert Zemeckis
CINEMATOGRAPHER: Don Burgess, A.S.C. and Robert Presley
EDITORS: Jeremiah O’Driscoll and R. Orlando Duenas
Academy Award nominee

FANTASY/ADVENTURE/ACTION/FAMILY

Starring: (also voices) Tom Hanks, Michael Jeter, Peter Scolari, Nona Gaye, Eddie Deezen, and Charles Fleischer with (voices only) Daryl Sabara and Jimmy Bennett

A boy, known in this story as Hero Boy (Tom Hanks/voice by Daryl Sabara), wants to believe in Santa Claus, but he’s old enough to start questioning the myths and traditions around Christmas. One Christmas Eve, a magical train named The Polar Express, arrives outside his home. Encouraged by the mysterious but friendly Conductor (Hanks), this doubting boy boards the train and heads towards the North Pole and Santa Claus’ (Hanks) home. There, he and two other children, Hero Girl (Nona Gaye) and Lonely Boy (Peter Scolari), embark on a journey of self-discovery.

I’m not crazy about the term, “instant classic.” However, I will apply it to the 2004 Christmas film, The Polar Express. Although it opened to mixed critical reviews and a less than stellar box office (compared to its budget), the film’s word of mouth kept its box office steady and strong on the way to becoming a blockbuster; the film even had a 2005 re-release to IMAX theatres. The Polar Express was one of the very best films of 2004 and will likely remain a popular Christmas film (certainly for me). One reason it will remain popular is because the film doesn’t look at Christmas from the point of view as a particular religious experience, but from the point of view as a holiday representing American can-do spirit, charity, and optimism. Like many popular Christmas film, it identifies with the notions that mark Christmas as a secular holiday, rather than a “holy day,” and the Christmas in this film is firmly rooted in American culture.

The film mixes computer-generated animation with a process called “3D motion capture.” In that method, the actors’ physical performances are digitally recorded and are later “skinned,” which means wrapping those recorded performances in computer animation. The Polar Express was the first film to use 3D motion capture for all the actors’ performances in the film. In fact, all the children’s performances are acted by adults, using over-sized props to get their movements within the physical environment correct.

The look motion capture gave the film was one of the reasons some critics had mixed feelings about The Polar Express, with one critic going so far as to say that the characters’ eyes looked creepy. Motion capture does make the characters look a little more like real people than regular computer animation. Here, the process works because the motion capture-rendered characters blend in so well with all with the CG animated props, sets, and backdrops. Basically, regardless of what processes the filmmakers used, The Polar Express has a unique look – you’ve never seen anything like it. It’s amazing; it’s magical.

Quite a bit of credit should go to Oscar-winning director Robert Zemeckis (Forrest Gump) as the ringmaster of this film. His script, co-written by William Broyles, Jr. (Apollo 13), is tight and concisely uses very little dialogue to establish character, which in turn allows the audience more time to focus on the film’s dazzling look. As a director, Zemeckis blends poignant comedy, a wondrous sense of adventure, and impressive action sequences to make a riveting and heartwarming Christmas fable.

The film treats Christmas as a secular affair – the true meaning of Christmas is on the inside, the Conductor tells Hero Boy. We can truly experience the magic of Christmas if we believe in that magic – Santa Claus, his home at the North Pole, his elves, etc. – and age doesn’t matter, as long as we believe. Friendship, sharing, humility, providing leadership, and relying on and trusting in friends – those are Christmas ideals in which we can all believe regardless of creed. The Polar Express extols those ideals in a way that only the best Christmas films can.

9 of 10
A+

NOTES:
2005 Academy Awards: 3 nominations: “Best Achievement in Music Written for Motion Pictures, Original Song” (Glen Ballard and Alan Silvestri for the song "Believe"), “Best Achievement in Sound Editing” (Randy Thom and Dennis Leonard), and “Best Achievement in Sound Mixing” (William B. Kaplan, Randy Thom, Tom Johnson, and Dennis S. Sands)

2005 BAFTA: 1 nomination: “BAFTA Children's Award: Best Feature Film” (Steve Starkey and Robert Zemeckis)

2005 Golden Globes: 1 nomination: “Best Original Song - Motion Picture” (Glen Ballard and Alan Silvestri for the song "Believe")

Sunday, January 01, 2006

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New York Film Critics Circle "The Social Network"

Founded in 1935, the New York Film Critics Circle is, according to their website, “an organization of film reviewers from New York-based publications that exists to honor excellence in U.S. and world cinema.” Members are critics from daily newspapers, weekly newspapers, magazines, and online general-interest publications (that meet certain qualifications). Every year in December, Circle members meet in New York to vote on awards for the year's films. The Circle also puts on an awards presentation, which will be held on Monday, January 10, 2011 to honor 2010 winners.

The Circle was the first film critics organization that I encountered as a budding, young movie lover. The Circle's awards have been predictors of the Oscar nominations. However, The Circle sees it awards “as a principled alternative to the Oscars, honoring esthetic merit in a forum that is immune to commercial and political pressures,” according to their website.

Here's the complete list of the 2010 winners:

Best Film – The Social Network

Best Director – David Fincher (The Social Network)

Best Screenplay – Lisa Cholodenko & Stuart Blumberg (The Kids Are All Right)

Best Actress – Annette Bening (for The Kids Are All Right)

Best Actor – Colin Firth (The King’s Speech)

Best Supporting Actress – Melissa Leo (The Fighter)

Best Supporting Actor – Mark Ruffalo (The Kids Are All Right)

Best Cinematography – Matthew Libatique (The Black Swan)

Best Animated Film – The Illusionist

Best Non-fiction Film – Inside Job

Best Foreign Language Film - Carlos

Best First Feature – Animal Kingdom

Review: "American Gangster" is Gangsta, Though it Falls Short of Greatness

TRASH IN MY EYE No. 28 (of 2008) by Leroy Douresseaux

American Gangster (2007)
Running time: 157 minutes (2 hours, 37 minutes)
MPAA – R for violence, pervasive drug content and language, nudity, and sexuality
DIRECTOR: Ridley Scott
WRITER: Steven Zallian (based upon the article “The Return of Superfly” by Mark Jacobson)
PRODUCERS: Brian Grazer and Ridley Scott
CINEMATOGRAPHER: Harris Savides (D.o.P.)
EDITOR: Pietro Scalia
2007 Academy Award nominee

CRIME/DRAMA

Starring: Denzel Washington, Russell Crowe, Chiwetel Ejiofor, Josh Brolin, Lymari Nadal, Ted Levine, Roger Guenveur Smith, John Hawkes, RZA, Ruby Dee, Ruben Santiago-Hudson, Carla Gugino, Cuba Gooding, Jr., Armand Assante, Idris Elba, Common, Warner Miller, Albert Jones, J. Kyle Manzay, T.I., and Clarence Williams III

In the late 80’s, a critic (I don’t remember whom) said, in reference to Joel and Ethan Coen’s Miller’s Crossing, that every American director who wanted to achieve greatness had to make at least one epic crime film (like The Godfather or Mean Streets). Ridley Scott was born in Great Britain, but the majority of his work has been for American movie studios. It seems only right that, in the tradition of great crime movies by such uniquely American filmmakers as Francis Ford Coppola and Martin Scorcese, Scott tackle a great American crime story. Scott’s Oscar-nominated 2007 film, American Gangster, chronicles the rise of Frank Lucas, the real-life Harlem drug kingpin who left segregated North Carolina and eventually started a heroin ring in the late 1960’s that netted him over a quarter of a billion dollars in assets by the time he was brought down.

After the death of his mentor, Elsworth “Bumpy” Johnson (Clarence Williams III), Frank Lucas (Denzel Washington) slowly, but gradually takes his place, building an international heroin ring that begins in Asia’s Golden Triangle. With the help of his cousin, a military officer named Nate (Roger Guenveur Smith), Lucas smuggles the heroin through the military back to the east coast of the U.S. Under the name, “Blue Magic,” Lucas sells a product that is twice as pure as other heroin on the street, but at half the price.

Meanwhile, Detective Richie Roberts (Russell Crowe), a New Jersey police detective, is finding that his unwillingness to steal money and drugs like many of his crooked colleagues has made him an outcast. His fortunes change when he’s pegged to start his own special investigative unit that will focus not on small time dealers, but on the major players, which puts Frank Lucas squarely in his sights. However, Roberts’ shadowy hunt might land him more than just another crime boss.

American Gangster is an engrossing story that is smoothly and efficiently told, considering that its epic scope seems too large for a single film that runs under three hours. [American Gangster’s DVD release has a longer version of the film.] As well told as this film is, it seems to be missing a lot, thus, making it seem like a shadow version of classic 70’s crime dramas that are also set in the gritty, crime-ridden metropolis that was New York City then. This is certainly a juicy period piece, in which everything: the clothes, cars, sets, and furnishings feel like the 1970’s. Even the members of the cast seem caught in a malaise of poverty, crime, and corruption, as if they were caught in a 70’s time warp.

Still, although the mood is right, the heart of this movie is the duel between Washington’s Lucas and Crowe’s Roberts, and much of that is relegated to the film’s last half hour. Ridley Scott and his screenwriter, Oscar winner Steve Zallian (Schindler’s List), certainly create an engaging story chronicling both Lucas’ rise and Roberts’ reinvention of himself and resurrection of his career. Washington plays Lucas as if he were a cool big cat, a predator stalking the room – seen and unseen. He’s the smartest guy in the room and the most dangerous man among many bad men, because Lucas knows when to use violence and how much. Like many of Washington’s performances, it is a blast to behold and so good because he gives so many layers to Lucas – many of which we only glimpse. Crowe reveals Roberts to be a man of honor and integrity in his professional life, but woefully pathetic in his personal life. In that way, Crowe keeps Roberts as interesting as the alluring bad guy, Lucas. That we know Roberts is so pathetic as a family man balances the Boy Scout cop side of him – which by itself is not entirely interesting.

This film is ultimately missing the meat of the confrontation and larger relationship between these two men. American Gangster, Scott’s film, is mostly about Lucas building his empire, and that story is attractive. However, a complete story about a great gangster recounts both his rise in the criminal underworld and his fall at the hands of a determined lawman (or men). American Gangster is a fine film, but it shorts us on the epic battle between criminal and detective and thus, shorts itself of greatness.

7 of 10
B+

NOTES:
2008 Academy Awards: 2 nominations: “Best Achievement in Art Direction” (Arthur Max-art director and Beth A. Rubino-set decorator) and “Best Performance by an Actress in a Supporting Role” (Ruby Dee)

2008 BAFTA Awards: 5 nominations: “Best Cinematography” (Harris Savides), “Best Editing” (Pietro Scalia), “Best Film” (Brian Grazer and Ridley Scott), “Best Music” (Marc Streitenfeld), “Best Screenplay – Original” (Steven Zaillian)

2008 Golden Globes: 3 nominations: “Best Director - Motion Picture” (Ridley Scott), “Best Motion Picture – Drama,” and “Best Performance by an Actor in a Motion Picture – Drama” (Denzel Washington)

Sunday, June 01, 2008

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Japanese Sci-Fi Film, "Gantz," to Screen One-Night Only

ACTION-PACKED ‘GANTZ’ HITS BIG SCREENS NATIONWIDE IN ONE-NIGHT WORLD PREMIERE

 

NCM Fathom, NEW PEOPLE and Dark Horse Comics Bring Exclusive Event Featuring Two of Japan’s Biggest Stars to 325 Select Movie Theaters LIVE on January 20

GANTZ, a live-action Japanese feature event, is making its world premiere in 325 movie theaters in an exclusive one-night Fathom event on Thursday, January 20th, 2011 at 8:00 p.m. ET / 7:00 p.m. CT / 6:00 p.m. MT / 8:30 p.m. PT (tape delayed). Following the feature, GANTZ’s two leading actors, Kazunari Ninomiya (Letters from Iwo Jima) and Kenichi Matsuyama (Death Note, Detroit Metal City) will participate in an exclusive live interview that can only be seen at this event.

Tickets are available at participating theater box offices and online at http://www.fathomevents.com/. For a complete list of theater locations and prices, please visit the web site (theaters and participants are subject to change).

Presented by NCM Fathom and NEW PEOPLE, in association with Dark Horse Comics, GANTZ (English dubbed) tells the story of childhood friends Kei Kurono and Masaru Kato who are accidentally killed while trying to save another man’s life. Rather than find themselves in the hereafter, however, they awaken in a strange apartment in which they find a mysterious black orb they come to know as “GANTZ.” Along with similar abductees, they are provided with equipment and weaponry and manipulated into playing a kind of game in which they are sent back out to the greater world to do battle with alien beings, all while never quite knowing whether this game is an illusion or their new reality.

Ninomiya and Matsuyama are two of Japan’s biggest stars. Ninomiya, best known in America for his role in Clint Eastwood’s 2006 blockbuster, Letters from Iwo Jima, is both an actor and a singer. He is world-renowned as a member of the Japanese boy band “Arashi,” which topped Japan’s music charts in 2009 with the three best-selling singles. Matsuyama has been one of the most sought-after actors in Japanese film and has won several awards including Japanese Academy Awards Best New Actor (2007) and Most Popular Actor (2009). Matsuyama is recognized for his part as L in Death Note (2006), Death Note II: the Last Name (2006) and Death Note: L, change the WorLd (2008).

“GANTZ is the kind of kinetic action film that pushes the boundaries of the sci-fi genre,” said Seiji Horibuchi, founder of NEW PEOPLE. “We’re very excited to work with NCM Fathom and Dark Horse Comics to organize this special event and look forward to the property’s domestic popularity growing even more following this new release.”

GANTZ will appear in 325 theaters, including AMC Entertainment Inc., Cinemark USA Inc., Clearview Cinemas, Cobb Theatres, Goodrich Quality Theatres, Hollywood Theaters, Marcus Theatres, National Amusements, Rave Motion Pictures, R/C Theatres and Regal Entertainment Group movie theaters, as well as The Beacon Cinema (Pittsfield, MA), The Carolina Theatre (Asheville, NC) and Palace Cinema 9 (South Burlington, VT), through NCM’s exclusive Digital Broadcast Network —North America’s largest cinema broadcast network.

“GANTZ offers a thrilling world that nobody has ever seen in live-action,” said Dan Diamond, vice president of NCM Fathom. “Incredibly popular in Japan as well as among American manga and anime enthusiasts, this new GANTZ rendition is sure to thrill audiences in local movie theaters around the country.”


About National CineMedia (NCM)
NCM operates NCM Media Networks, a leading integrated media company reaching U.S. consumers in movie theaters, online and through mobile technology. The NCM Cinema Network and NCM Fathom present cinema advertising and events across the nation’s largest digital in-theater network, comprised of theaters owned by AMC Entertainment Inc., Cinemark Holdings, Inc. (NYSE: CNK), Regal Entertainment Group (NYSE: RGC) and other leading regional theater circuits. NCM’s theater network covers 170 Designated Market Areas® (49 of the top 50) and includes approximately 17,300 screens (15,700 digital). During 2009, over 690 million patrons attended movies shown in theaters currently included in NCM’s network (excluding Consolidated Theatres, Rave Cinemas and R/C Theatres). The NCM Fathom Events broadcast network is comprised of over 550 locations in 156 Designated Market Areas® (49 of the top 50). The NCM Interactive Network offers 360-degree integrated marketing opportunities in combination with cinema, encompassing over 40 entertainment-related web sites, online widgets and mobile applications. National CineMedia, Inc. (NASDAQ: NCMI) owns a 48.2% interest in and is the managing member of National CineMedia LLC. For more information, visit http://www.ncm.com/ or http://www.fathomevents.com/.

About NEW PEOPLE
Based in San Francisco, California, NEW PEOPLE offers the latest films, art, fashion and retail brands from Japan through its unique entertainment destination as well as licensing and distribution of selective Japanese films. NEW PEOPLE strives to offer the most entertaining motion pictures straight from the "Kingdom of Pop" for audiences of all ages, especially the manga and anime generation, in North America. Some titles include DEATH NOTE, KAMIKAZE GIRLS, and THE TASTE OF TEA. For more information about films, please visit www.viz-pictures.com. To learn more about NEW PEOPLE in San Francisco, please visit http://www.newpeopleworld.com/.

About Dark Horse Comics
Since 1986, Dark Horse Comics has proven to be a solid example of how integrity and innovation can help broaden a unique storytelling medium and establish a small, homegrown company as an industry giant. The company is known for the progressive and creator friendly atmosphere it provides for writers and artists. In addition to publishing comics from top talent like Frank Miller, Mike Mignola, Neil Gaiman, Gerard Way and comics legend Will Eisner, Dark Horse has developed such successful characters as The Mask, Timecop, and SpyBoy. Additionally, their highly successful line of comics and products based on popular properties includes Star Wars, Indiana Jones, Buffy the Vampire Slayer, Aliens, Conan, Emily the Strange, Tim Burton, Trigun, Serenity and Domo. Today Dark Horse Comics is the largest independent comic-book publisher in the U.S. and is recognized as one of the world's leading publisher of licensed comics material.

Review: "The School of Rock" is Sweetness Playing Edgy

TRASH IN MY EYE No. 251 (of 2004) by Leroy Douresseaux

The School of Rock (2003)
Running time: 109 minutes (1 hour, 49 minutes)
MPAA – PG-13 for some rude humor and drug
DIRECTOR: Richard Linklater
WRITER: Mike White
PRODUCER: Scott Rudin
CINEMATOGRAPHER: Rogier Stoffers, N.S.C.
EDITOR: Sandra Adair
Golden Globe nominee

COMEDY/MUSIC

Starring: Jack Black, Joan Cusack, Mike White, Sarah Silverman, Adam Pascal, Lucas Papaelias, Lucas Babin, Jordan-Claire Green, Veronica Afflerbach, Miranda Cosgrove, Joey Gaydos, Jr., Robert Tsai, Angelo Massagali, Kevin (Alexander) Clark, Maryam Hassan, Caitlan Hale, Cole Hawkins, Brian Falduto, James Hosey, Aleisha Allen, Zachary Infante, Rebecca Brown, and Jaclyn Neidenthal with Frank Whaley (no credit)

Dewey Finn (Jack Black) is a wannabe rock star kicked out of his own band. Dewey has also been mooching off his roommate, Ned Schneebly (Mike White), a substitute teacher, for years, but Mike’s girlfriend, Patty Di Marco (Sarah Silverman), wants Dewey out of the picture if he doesn’t pay his rent. In need of cash, fortune favors Dewey, when he answers a phone call meant for Ned. Dewey, pretending to be Ned, poses as a substitute teacher at an exclusive prep school. Upon discovering that the students in his particular classroom are quite musically gifted, Dewey tries to turn them into a rock band with himself as the leader. His goal is to enter the upcoming Battle of the Bands contest and win the $20,000 prize. Of course, there are complications.

The School of Rock certainly seems out of place in the filmography of director Richard Linklater, the fine director behind such fabulous films as Before Sunrise, Before Sunset, and Dazed and Confused. However, that this feel-good, warm-hearted, family-friendly comedy actually feels very good, is simply warm-hearted, is nicely family-friendly, and is funny is a testament to Linklater’s skill. This could have been yet another mediocre flick about a rebel who sneaks into the system and teaches the kids (the Socrates motif) to feel good about themselves, believe in themselves, and unleash their creative skills and talents. Yes, it is just another one of those films, but it works because it’s entertaining and ultimately doesn’t seem so contrived.

A lot of the credit goes to Jack Black. His performance is one of sustained madness that is a shaky house of lies built upon a flimsy foundation. Black isn’t just another funny fat guy; he’s also a movie star with an intriguing film personality. So far, he’s basically played the same person, but there is something about him that works on the big screen, even when you realize that the characters he plays are selfish and sneaky suckas. He has a look on his face and a mean glint in his eyes that suggest he deserves watching; for some reason it works.

The School of Rock is not without it’s problems. At times it seems too contrived and too long. The narrative seems bogged down in the classroom when the entire school begs to be examined, especially Joan Cusack’s uptight and anal school principal Rosalie Mullins. Ultimately, Dewey Finn is let off the hook too easily, but it leads to a sweet finale, so I can cut The School of Rock some slack.

7 of 10
B+

NOTE:
2004 Golden Globes: 1 nomination: “Best Performance by an Actor in a Motion Picture - Musical or Comedy” (Jack Black)

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NYC Online Film Critics Love "The Social Network" and "Black Swan"

The New York Film Critics Online is a group of Internet film critics based in New York City that meets once a year, in December, for voting on its annual NYFCO Awards.  As usual, The Social Network dominates, winning awards for "Best Picture" and "Best Director."  Aaron Sorkin wins the screenplay award, which he has done for most of the awards season so far, at least except when Chris Nolan wins for Inception's screenplay:  Black Swan picked up a number of awards, including the actress award for Natalie Portman.

THE WINNERS:
Picture: The Social Network

Director: David Fincher, The Social Network

Actor: James Franco, 127 Hours

Actress: Natalie Portman, Black Swan

Supporting: Actor: Christian Bale, The Fighter

Supporting Actress: Melissa Leo, The Fighter

Breakthrough Performer: Noomi Rapace, The Millennium Trilogy

Debut Director: John Wells, The Company Men

Ensemble Cast: The Kids Are All Right

Screenplay: Aaron Sorkin, The Social Network

Documentary: Exit Through the Gift Shop

Foreign Language: I Am Love

Animated: Toy Story 3

Cinematography: Matthew Libatique, Black Swan

Music: Clint Mansell, Black Swan

TOP 10 FILMS
127 Hours
Another Year
Black Swan
Blue Valentine
The Ghost Writer
Inception
The Kids Are All Right
The King’s Speech
Scott Pilgrim vs. the World
The Social Network

http://www.nyfco.org/

Meet the Fockers Just Wants to Make You Laugh... Nothing More

TRASH IN MY EYE No. 111 (of No. 2005) by Leroy Douresseaux

Meet the Fockers (2004)
Running time: 115 minutes (1 hour, 55 minutes)
MPAA – PG-13 for crude and sexual humor, language, and a brief drug reference
DIRECTOR: Jay Roach
WRITERS: Jim Herzfeld and John Hamburg, from a story by Marc Hyman and Jim Herzfeld (based upon characters created by Greg Glienna and Mary Ruth Clarke)
PRODUCERS: Robert De Niro, Jay Roach, and Jane Rosenthal
CINEMATOGRAPHER: John Schwartzman
EDITOR: Alan Baumgarten, Lee Haxall, and Jon Poll

COMEDY

Starring: Robert De Niro, Ben Stiller, Dustin Hoffman, Barbra Streisand, Blythe Danner, Teri Polo, Owen Wilson, Spencer Pickren, Bradley Pickren, Alana Ubach, Ray Santiago, Tim Blake Nelson, Shelly Berman, and Cedric Yarbrough

In 2000’s Meet the Parents, “Greg” Gaylord Focker (Ben Stiller) meets his girlfriend Pam Byrne’s (Teri Polo) parents, Jack (Robert De Niro) and Dina Byrnes (Blythe Danner), but Jack Byrnes is the suspicious father that is every date’s worst nightmare. Much hilarity ensued as Greg tried to earn Jack, a retired CIA officer’s, trust. Four years later, here comes the sequel, Meet the Fockers (the MPAA allegedly demanded that the studio find a family with Focker as a real last name before they allowed the name to be in the film’s title.), and this time Greg and Pam are planning marriage. Jack has more or less grown to accept Greg, mainly because most of his attention is currently on his grandson, Little Jack (Spencer and Bradley Pickren), whom the Byrne’s are sitting while his parents are away.

So it’s time for the Byrnes to meet the Fockers, Greg’s parents, Bernie (Dustin Hoffman) and Roz (Barbra Streisand). Greg and Pam join her parents for the long road trip to Miami where the Bernie and Roz live, and while the trip goes well, the initial meeting between the two sets of parents goes a little awry. That’s just a taste of troublesome things to come, especially after Jack learns that Greg has a few bombshell secrets that Greg’s trying to hide in order to stay in Jack’s vaunted “circle of trust.”

Meet the Fockers is exceedingly funny, although also deeply shallow. The film’s vulgar and crude comedy matches such teen and twenty-something favorites as There’s Something About Mary and American Pie for raunchiness. Meet the Fockers was a giant hit over the 2004 Christmas holidays and well into 2005 because it is ostensibly a family comedy with a lot of belly laughs and plenty of outrageous humor – some of it capable of chasing prudes out of the theatre. Still, the screenwriters and the cast, who are so game to play this script to the hilt, are to be commended for making great humor out of incidents, misunderstandings, misfires, miscalculations, etc. that would bring real families to the brink of a war of the relatives.

Ben Stiller, coolly playing the straight man, keeps this movie sane. Robert De Niro is too intense and actually makes his character hateful, except for the opening and closing scenes. Dustin Hoffman alternates between being annoying and funny. Barbra Streisand is a comedy dynamo, and shows a side of her talent that hasn’t been seen much the last 20 years or so – that of the delightful comedienne. Overall, Meet the Fockers gives much laughter for its value, whether you see it at home or in a theatre. In fact, this is a must-see for people who just want to watch a movie that will make them laugh.

6 of 10
B

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