NEW BRIEFS:

“ Finding Nemo”

A cute and visually captivating underwater tale, “Finding Nemo” is a film that fits the formula of a children’s film, perhaps a little too well. A Pixar film, like the “Toy Story” franchise and 2002’s “Monster’s Inc.,” “Finding Nemo” is about an overprotective parent and a fed-up little boy. However, when the boy is caught by fishermen, daddy will stop at nothing to journey through the sea in pursuit of his only offspring. While there is a good message and moral to the tale, there is also something artificial and wooden about the film’s story. True, both father and son grow, but it happens instantly and transparently. And, while the adventure has its exciting and humorous moments, it too often feels forced and fake. “Finding Nemo” is a great children’s film. But, in my book, the great films should not require disclaimers.

RATING: 2.5 OUT OF 4

“ The Italian Job”

Yet another heist film about a group of talented thieves who come together for one last score, “The Italian Job” separates itself from the pack with a bizarre car chase and its unique execution of the film’s final heist. Remembering the film now, its cars and its final twenty minutes immediately come to mind. What’s shocking is that with such a rich cast, and with the possibilities of a script that pits good guys so clearly against bad guys in a personal battle of egos, nothing about the characters, acting or emotions is remotely memorable. The filmmakers got the special effects right, but forgot in the process the characters behind the chases and thievery. While this “job” might entertain, it still leaves something to be desired.

RATING: 2.5 OUT OF 4

“Man On The Train”

“Man On The Train,” for all its patient dialogue and quiet wisdom, seems to be a film from a different era. Touring the country during the summer blockbuster season, I cannot think of a better alternative to what is being shown on most of the nation’s movie screens this weekend. About a quiet, reclusive thief who finds himself invited to the home of a retired poetry teacher for a glass of water, “Man On The Train” is about the unique friendship that forms between these two polar opposites, and the truths that emerge, indicating that each would have preferred the other’s life. In a final, achingly beautiful montage, their fates become intertwined and the purpose behind their chance meeting becomes clear. This is the kind of sleeper film that will find its fans on video, when viewers take the time to really hear what these fascinating characters are saying, and realize the beauty that is to be found in a film about people and not special effects.

RATING: 3.5 OUT OF 4

“Dumb and Dumberer”

A prequel to 1994’s “Dumb and Dumber,” starring Jim Carrey and Jeff Daniels, “Dumb and Dumberer” is a film that hopes to feed off the cult status enjoyed by its predecessor. But what made the first “Dumber” a surprise hit - well conceived sight gags and, unquestionably, the strong physical performances by its stars – is missing this time around. Take away those stars, and the original creative forces behind the first film (the Farrelly brothers), and there’s nothing left but a bunch of morons on screen and some gross potty jokes. The first film could be compared to “Airplane,” “Naked Gun” and other similar goofball comedies. I shudder to think what “Dumberer” will be compared to.

RATING: 1.5 OUT OF 4

“Winged Migration”

The appeal of most documentaries is that they provide an up-close examination of an event or personality. In the case of “Winged Migration” that up-close-and-personal examination is taken literally by director Jacques Perrin, who somehow manages to give viewers a view of birds that’s almost impossible to believe. Hovering literally feet from its subjects, Perrin’s cameras capture the splendor of flying and the majesty of birds in a way that no other film ever has. We feel as if we are flying alongside these animals, hovering in the air as they are. And while the film is a bit long for its subject matter, Perrin’s unforgettable images are surely worth the price of admission. Note: “Migration” was a 2002 Oscar nominee for best documentary.

RATING: 3 OUT OF 4

ON VIDEO

NEW RELEASE

“Narc (2002)”

A gritty cop drama about corruption within a narcotics division, “Narc” is a tense thriller from its first second to its last. Opening with an intense foot chase involving Detective Tellis (Jason Patric) he leaves the force after shooting an innocent bystander. But when another officer is killed, and internal affairs needs someone from the outside to uncover what really happened, Dowd is approached and reinstated. Working with Detective Oak (Ray Liotta), a loose cannon and the slain officer’s ex-partner, the investigation takes several unexpected twists, ending in an abandoned warehouse with a shocking revelation. Most memorable about “Narc” is its rough, unpolished style, giving the proceedings a documentary feel that makes its violence and its intensity that much more powerful. Some films unfold smoothly. “Narc” hits you in the gut.

RATING: 3.5 OUT OF 4

“Old School”

About aged college graduates who return to campus years later to start up a frat, “Old School” intends to target the “Animal House” generation with a new buffoonish, immature comedy romp. The problems I had with this film began with its very premise. While we all tend to laugh at goofy college guys, and say “boys will be boys,” something about these older men, with wives and families, just didn’t click. When one older guy wakes up the next morning with a sixteen year-old, I stopped chuckling, and started pondering what legal troubles he may be facing. Besides Will Ferrell, who still seems to have the mania of college in his eyes, most of “Old School” fails to capture the craziness, energy or even guilty chuckles of those frat films it hopes to emulate.

RATING: 2 OUT OF 4

“About Schmidt (2002)”

I placed “About Schmidt” at No. 2 of my top 10 films of 2002, and I firmly believe that the greatest flaw of this year’s Academy Awards occurred when “Schmidt” failed to secure a best picture nomination. About one lonely and hopeless retired man, searching for meaning in his life, “Schmidt” is a heartwarming story because it refuses to gloss over the emptiness that so often consumes people in today’s world. Some may see this as depressing, or as hopeless, but I saw it as invigorating. Finally, a film is willing to see both the goods and bads of life, acknowledge that sometimes things work out and sometimes they don’t, and is brimming with the hope that, if we all try hard enough, we can make our own mark on the world. Jack Nicholson’s reserved performance, as the bland and passive Warren Schmidt, is one of the best of his career.

RATING: 4 OUT OF 4

“ Die Another Day (2002)”

After two disappointing appearances by Pierce Brosnan as James Bond in “Tomorrow Never Dies” and “The World Is Not Enough,” “Die Another Day” proves to be the best Bond film since 1995’s “Goldeneye.” Concerning tensions in Korea, and some terrorists who long to redirect the power of the sun, “Die Another Day” finds the balance of fun and action that was missing in the rather bleak and drab entries listed above. Featuring a car chase on a frozen lake, a palace made of ice and a burning plane plummeting to Earth, I must admit that I had fun while watching this entry in the 20-film franchise. And, much to my delight, “Die Another Day” manages to turn the tables on Bond fans more than once, offering a ride that is not only fun, but surprising.

RATING: 3 OUT OF 4

BACK SHELF PICKS

“To Kill A Mockingbird (1962)”

With the passing last week of the unforgettable Gregory Peck, no film comes to mind more easily than 1962’s “To Kill A Mockingbird.” In the American Film Institute’s recent ranking of the all-time great movie heroes, Peck’s performance as “Mockingbird’s” stoic Atticus Finch ranked #1. And it is his performance that has made “Mockingbird” one of the best films ever made. Based on the famous Harper Lee novel, “Mockingbird” is about an innocent black man brought to trial on specious charges, and Finch, the quiet, resolute white lawyer determined to stand up for what is right. It is an unforgettable tale of everyday bravery and injustice, and alongside Peck’s other great work in “Twelve O’Clock High (1949),” “Cape Fear (1962),” “The Yearling (1946)” and “Spellbound (1945),” is a testament to the fine actor he was. He died at the age of 87.

RATING: 4 OUT OF 4

“ Fiddler on the Roof (1971)”

In honor of the Tony Awards last Sunday, I stretched my brain to find a movie based on a popular play or musical. Of course, at the top of my list of movie musicals is “Singin’ In The Rain,” but a close second is the 1971 unforgettable classic “Fiddler on the Roof.” Generally considered to be the last great movie musical before “Moulin Rouge” or “Chicago,” depending on personal preference, “Fiddler” is a hallmark cinematic achievement and a film that is found in almost every family’s video collection. After seeing the live music and dancing on stage Sunday, I cannot think of a better film to return to after all these years.

RATING: 4 OUT OF 4