Superman Returns (*** out of five stars) Superman returns courtesy of acclaimed filmmaker Bryan Singer (The Usual Suspects, X-Men) in a film that carries on the proud tradition of its predecessors. Set chronologically five years after the events of 1980s Superman II (yet specifically dated 2005), the Man of Steel returns to Earth after a long journey to the remains of his birth planet Krypton.
During his absence, perennial love interest Lois Lane (Kate Bosworth) found herself a boyfriend with whom she has a young son. Lex Luthor (Kevin Spacey) is fresh out of prison with an eye on Supers abandoned Fortress of Solitude, which may contain the means to finally defeat his invincible foe. The plot is easily summarized as Luthor hatches another diabolical scheme to defeat Superman and rule the world, thus it's truly up to Singer to make this film a memorable one.
As is to be expected, the action sequences are, for the most part, slick and enjoyable, although they dont seem to convey the same excitement as those in the directors X-Films. Singer provides a few moments just for the comic fans, but surely loses the bulk of their favor after liberties are taken in the Superman mythology. Singer relies on mainstream audience knowledge of this same mythology, a risky move considering the fact that the previous Superman film was released 19 years prior. The directors primary achievement is the creation of an atmosphere that perfectly complements the subject matter.
Audiences will never question the belief that a man can fly, as Superman gracefully floats aboveground in a reality like their own with just a hint of dreamlike fantasy. Instead of taking the trendy route of relying on current events as inspiration for the films themes, Singers stylish, poignant journey of rediscovery deals with archetypes commonly found in comic books. The result isnt the epic adventure story that audiences are expecting, but a much more personal journey that roots itself in realistic human emotions as much as a film about a heroic alien can.
Newcomer Brandon Routh makes a fantastic Superman and an adequate Clark Kent, although he never gets the chance to fully explore the alter-egos clumsy antics. The fast-talking pluckiness of reporter Lois Lane has been abandoned in favor of a harried career-soccer-mom by the screenwriters, but Bosworth does as fine a job as shes allowed. Spacey approaches Luthor in a menacingly effective manner. He maintains a level of diabolical calm throughout, allowing his fantastically straight countenance to do the evil talking for him. And unlike Gene Hackmans Luthor, Spaceys fits of frustrated rage come across more threatening than they do humorous.
Frank Langella gives a standout performance as Daily Planet head Perry White, delivering the characters classic Great Caesars Ghost! line perfectly. Also of note is Parker Posey as Luthors prissy right hand henchwoman.
Note: 20 minutes of the film can be experienced in 3-D on select IMAX screens. Its a great gimmick that may indeed feature the best 3-D work yet, but the action scenes have obviously been engineered with the 2-D crowd in mind, with the format not nearly explored to its potential.
- Eric Bresler
A Love to Hide (**** out of five stars)
In this disturbingly moving period drama, its Paris, 1942. Two gay lovers, Philippe and Jean, hide their love from their families and from the occupying Nazi army. Philippe works with the Resistance while Jean runs his family business, a dry cleaner.
When Jeans childhood sweetheart Sara shows up their door, her family murdered by the Gestapo, they take her in and nurse her back to health. Philippe gets her a fake ID and Jean obtains her a job at the cleaners. But its quite a struggle keeping their ragtag family safe from the Nazis.
Jeans brother is a collaborator and his dad a sympathizer.
Tragedy closes in as Jean is accused of being a member of the third sex and having an affair with a Nazi officer. Superb performances from Jérémie Renier (Criminal Lovers) and Bruno Todeschini (Son Frère) as the young lovers are just one piece of this emotional journey. The film features strong attention to details as the Nazi occupation of France is rendered in all its infamous glory complete with outstanding scenes in a 40s gay bar. (French with English subtitles)
- Scott Cranin
Tipping the Velvet (**** out of five stars)
Tipping the Velvet is a stunning tour-de-force lesbian romantic drama in grand BBC style with fabulous music, costumes, acting, language, story and yessex. Its also the movie the tabloids rumored Eva Longoria and Beyonce to be making together next year (they arent, but it sure made for a fun image).
Heres hoping someone brings this story mainstream, because we'd have to call this our favorite movie with a lesbian theme to date. This is not a movie just for dykes everyone will enjoy this grand entertainment. Pop the disc in your machine, pull up a comfy easy chair, get your dog settled in and you'll be lost in queer London, circa 1900 for the next three hours.
Nan Astley (Rachael Stirling) is a sweet girl who shucks oysters in her parent's Whitstable oyster parlor. One night she accompanies her family and boyfriend, with whom she is not smitten, to the vaudeville show. On stage she is entranced by the site of male impersonator Kitty Butler (Keeley Hawes). After weeks her stares come to Kitty's attention and she is summoned backstage. When Kitty asks her to become her dreser, she readily complies. Just a small touch of Kitty sends her reeling. Nan realizes almost immediately that what she wants is "wrong" by societal standards, but she's gotta have that woman! Addicted to music hall life, and with Kitty, Nan leaves her familys nest and follows her heart to London. There she finds heartbreak with Kitty and a shocking victorian lesbian underworld that must be seen to be believed.
Based on the novel by Sarah Waters and adapted by Andrew Davies (Bridget Joness Diary), this powerful BBC drama is both a frank depiction of lesbianism and a witty and moving account of a young woman who will win your heart while searching for her own. Be prepared for plenty of female nudity, a large brown leather stitched strap-on dildo, a victorian lesbian party, scenes of male impersonation, amazing music hall scenes, lush costumes, a superb score and an addictive story.
- Scott Cranin
