We Are The Children

This is so late it seems like it probably ought to just get skipped. But that would more likely lead to stopping altogether, and while you might think that’s for the best and I might agree with you, if I don’t at least fight it a little I’ll just feel stupid later.

A Mighty Heart – I suppose this is what a “serious” Steven Soderbergh movie (i.e. Traffic, Syriana) would feel like if he wanted us to be able to follow what was going on. Of course, it helps that we kind of know what happens. It especially helps when they don’t show you what happens because they know you know what happens and figure it would be distasteful to actually show you (again.)

Knocked Up – In The 40 Year Old Virgin, Judd Apatow was able to straddle that precarious line of comedy on the one side of which lies what today’s America apparently considers funny and on the other side of which lies the kind of comedy that gets shows like Freaks & Geeks a fanatical following after its inevitable cancellation. On this movie, he’s taken a step backward on both fronts.

1408 – John Cusack is in a room by himself for 45 minutes. Something seems very wrong about that conceptually, but it works. In that you don’t really notice he’s been in a room by himself for 45 minutes. I’m still not clear on what happens at the end, or why anything happened in the first place, but that might be the preferable scenario in this case.

Evan Almighty – Ah, man. It’s not as if your expectations could have been all that high after Bruce Almighty, but you’ll be remembering that one fondly after this. Steve Carrell is competently surprised/annoyed/resigned with all the things that are happening to him, but that’s all there is. Things happening to him. He doesn’t really do anything. Well, okay. He makes Morgan Freeman “do the dance.” But it hurts me to recall this for you. Don’t make me do it again.

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