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MILK The China Syndrome, Wall Street and even Casablanca are examples of movies that happened to be in the right place at the right time – that is to say, life imitated art (or vice versa) as each picture's release neatly dovetailed with real-life incidents that in one way or another mirrored what was happening on-screen. Milk follows suit: Although it's set in the 1970s, it couldn't possibly be more relevant; for that, we have to blame those hideous anti-gay measures that recently passed in California, Florida, Arkansas and Arizona. Back in the '70s, Harvey Milk (played by Sean Penn) fought against similar hysteria: Tired of homosexuals such as himself being treated as second-class citizens, he found himself drawn to political office as a way in which to fight for equality. Eventually elected to the San Francisco Board of Supervisors, he continued to grow in stature and influence, a career ascendancy which did not sit well with Dan White (Josh Brolin), the board's most conservative member – and, as it turned out, its most trigger-happy. The Oscar-winning 1984 documentary The Times of Harvey Milk offered a flawless look at the career of this passionate progressive, so it's a testament to the richness of Gus Van Sant's direction and Dustin Lance Black's screenplay that this fictionalized version feels authentic in its every movement. As Milk, Penn delivers the performance of his career, and he's backed by a superlative cast containing only one weak link: Diego Luna as Milk's insecure lover, Jack Lira (James Franco fares much better as Harvey's previous lover, Scott Smith). But this is a small misstep in an otherwise excellent production full of passion and purpose. ****
THE READER The Reader, adapted from Bernhard Schlink's bestseller, arrives with all the obvious trappings of a year-end "prestige" picture. But since more time is spent exposing the milky white breasts of Kate Winslet than exposing the horrors of the Holocaust, viewers might be forgiven for thinking they stumbled into a big-budget remake of Ilsa, She Wolf of the SS. Winslet's Hannah Schmitz is a streetcar conductor in post-WWII Germany who enters into an affair with 15-year-old Michael Berg (David Kross); as a form of sexual foreplay, she likes him to read to her from the classics. She soon drops out of his life, and it isn't until a few years later, while he's attending college, that she reappears – as a former Nazi guard on trial for the atrocities she allegedly committed during the war. The Reader is a thorny story, and its failing isn't because it elects to answer key questions about its characters in shocking fashion – after all, many great movies are about less-than-admirable figures – but because it waves off these revelations with all the impatience of a restaurant patron shooing away a waiter attempting to remove the soup bowl before it's drained. At first glance, the movie's shifts through time periods (Ralph Fiennes is suitably moody as the older, troubled Michael) keeps us on our toes, but they eventually reveal themselves to be gimmicky to the point of distraction. The picture does head toward a major secret, but I wasn't sure if the answer to this mystery was supposed to provide insight or shift our sympathies or what exactly. All it does is reveal that, despite Winslet's strong performance, Hannah isn't really worthy of our attention – or perhaps even this movie. **1/2
SEVEN POUNDS The last time Will Smith teamed up with director Gabriele Muccino, the result was the box office smash The Pursuit of Happyness. With their latest collaboration, it seems as if the pair were engaged in the pursuit of crappyness. That might sound like an especially harsh pronouncement for a film that seeks only to provide uplift, but why spend up to 10 dollars on a ticket when a Hallmark card expressing the same sentiments – and in a less laborious manner, to boot – can be had for a mere three bucks? Smith, charisma intact, plays Ben Thomas, an IRS agent who's clearly up to something good. Reaching into the lives of various strangers, he tries to get to know them before bestowing his blessings – and his finances – upon them. Among those he contacts are a blind telemarketer (Woody Harrelson), a battered single mom (Elpidia Carrillo) and, most importantly, Emily Posa (Rosario Dawson), a woman in desperate need of a heart transplant. Meanwhile, a deadly jellyfish lurks in the background (no, really). Scripter Grant Nieporte attempts to keep all the puzzle pieces from connecting until the end, but the scattered flashback sequences allow viewers to suss out what's up. The story thread distribution is also lacking: The movie might have had more emotional resonance had we been able to watch Ben spend equal time with all his targets, but because the focus is on the Ben-Emily romance, the other bits never gather much steam. Harrelson in particular gets gypped: His sightless man is the most intriguing character, but he's disappointingly held in check. Pound for pound, this ranks as one of the season's biggest downers. **