BAYOU BLUES: The Princess and the Frog.
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THE TWILIGHT SAGA: NEW MOON Hollywood's second foray into the Twilight zone features enough fantasy and romance to satisfy most hardcore devotees of Stephenie Meyer's vampire saga, but just as many viewers will notice that this is too often a case of the emperor -- or, more specifically, buff teenage boys -- wearing no clothes. Twilight might have been occasionally ripe, but that worked for the material, as director Catherine Hardwicke instinctively fed into the oversized angst that all too often defines the lives of teenagers wrapped up in their daily melodramas. By comparison, new helmer Chris Weitz keeps the proceedings on a low simmer, an emotional oasis only punctuated every once in a while by Bella's howls as she pines for her one true bloodsucking love. But we're getting ahead of ourselves. In New Moon, vampire Edward Cullen (Robert Pattinson) has decided that it's too dangerous for his human girlfriend Bella (Kristen Stewart) to be around his kind, so he and his family pack up and leave their Forks, Wash., home, ostensibly for good. Missing her soulmate, Bella shuts down completely, and is only slowly drawn out of her shell by her friend Jacob (Taylor Lautner) -- and by the discovery that Edward appears in ethereal form whenever she's in danger. Bella repeatedly puts herself at risk -- riding motorcycles at daredevil speeds, diving off impossibly high cliffs, gorging on fast-food combos every day for a full month (OK, kidding on that last one) -- but soon discovers that an even deadlier option materializes with the return of some vampiric foes. And what's with those gigantic werewolves stomping through the Pacific Northwest woods? In my review for Twilight, I wrote that the movie was "a love story first and a vampire tale second." Given Pattinson's ascension to pinup star as well as the pack of shirtless hunks filling out this latest film's supporting cast, it's safe to amend that statement to read that New Moon is a love story first and a male-model calendar second. The vampire tale has become almost incidental. **1/2
UP IN THE AIR In the cinema of 2009, Ryan Bingham should by all accounts emerge as the Protagonist Least Likely To Be Embraced By The Nation's Moviegoers. That's because Ryan works as a downsizing expert, hired to come in and dismiss employees that their own bosses are too gutless to fire face to face. Ryan is excellent at his job, which would make him the antagonist in virtually any other film. But because he's played by charismatic George Clooney, Ryan becomes less a villain and more a representative of the modern American, a tech-age person trying to reconcile his buried humanity with what he or she believes is necessary to survive in this increasingly disconnected world. That's the starting point for this superb adaptation of Walter Kirn's novel, but the film covers a lot more territory -- both literally and figuratively -- before it reaches the finish line. As Ryan jets all over the country doing his job, he makes the acquaintance of a fellow frequent flyer (Vera Farmiga), and they strike up a romance that's among the sexiest and most adult placed on screen in some time. Yet Ryan's carefully constructed life threatens to crash and burn when his company's latest hire (Anna Kendrick), a whiz kid just out of college, implements a plan that will require the grounding of all employees, including Ryan. Penning the script with Sheldon Turner, director Jason Reitman (now 3-for-3 following Juno and Thank You for Smoking) has created a timely seriocomic work that manages to be breezy without once diminishing the sobering realities that constantly hover around the picture's edges (for starters, the fired employees interviewed in the film are not actors but real workers who were let go from their jobs). Farmiga and Kendrick are excellent as the two women who unexpectedly alter the direction of Ryan's life, yet it's Clooney, in his best screen work to date, who's most responsible for earning this magnificent movie its wings. ****
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