SON OF A BEACH

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The foundation of New York City comprises multitudes of people—Wall Street traders, Upper West Side mothers, pretentious artists who pose and preen in galleries and, of course, the help. But one of the more popular of NYC creatures (at least in Hollywood) is the party girl. From Holly Golightly to the Ari Graynor character in
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GOMORRAH

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After two-plus hours of gangster flick carnage, the Italian art movie Gomorrah ends with a surprise. An epilogue—using solemn white-on-black lettering—explains that the previous gunplay, blood-splattering and numbing Italo-disco pulsations was done for an honorable, muckraking cause. Ha! Director Matteo Garrone pretends to expose Camorra, the vicious Neapolitan version of the Mafia that has ravaged
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CORALINE

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“Find our eyes, and our souls will be free.” That should be the credo of every film animator who pretends to make innocuous commercial entertainment. But it comes from Henry Selik’s deeply amusing Coraline—an animated film that might be too good for children. It arrives in time to expose the atrocious Wall-E. Coraline’s story of
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FANBOYS

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Set in 1998, the decade that began pop culture’s fragmentation, Fanboys finds comedy in movie fanaticism. Four Ohio-bred, post-high school Star Wars geeks—Eric (Sam Huntington), Linus (Chris Marquette), Hutch (Dan Fogler), Windows (Jay Baruchel) and a smart tag-along female—make a pilgrimage to Skywalker Ranch, the new Mecca. That may sound trivial, but something’s genuine in
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RENEE ZELLWEGER ONLY INDUCES YAWNS IN TRANSPARENTLY POPULIST NEW IN TOWN

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The funniest thing about New in Town is the title. Its fish-out-of-water story of Miami-based corporate executive Lucy Hill (Renée Zellweger) sent to small town Ulm, Minnesota, to downsize a snack-food plant is old as Zellweger’s clumsy female Bridget Jones formula—and old as Hollywood’s hills. Yawn-inducing déjà vu descends upon scenes of
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BLESSED IS THE MARTYR

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Hannah Senesh is the Jewish Joan of Arc. As part of the only military operation to attempt a rescue of Jews held in concentration camps, the Hungarian Senesh left Palestine to parachute into Yugoslavia, where she was arrested, tortured and eventually executed. Her story has inspired millions, so why does she comes across as such
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OF TIME AND THE CITY

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Movies, at their greatest, are personal endeavors. That’s true for audiences as well as filmmakers—especially Terence Davies, whose newest film Of Time and The City continues his individual exploration of the medium. Once again, Davies revisits his youth growing up in post-WWII Liverpool, England—as in the masterly features Distant Voices, Still Lives and The Long
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THE LODGER

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Unlike Terence Davies, whose use of the cinematic past becomes a felt element in his storytelling, writer-director David Ondaatje repeats the past so inexpertly that The Lodger (an update of Alfred Hitchcock’s 1926 film) is almost comically schlocky. Ondaatje’s poor technique lowers the basic material—the Jack the Ripper legend, which has already been remade three
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