Capsule reviews of films playing the week of Nov. 17 

Page 2 of 6

DUE DATE A painful comedy in the lowest-common-denominator mold, this finds Robert Downey Jr. cast as Peter Highman, an architect trying to get from Atlanta to Los Angeles before his wife (a wasted Michelle Monaghan) gives birth. But once he bumps into aspiring actor Ethan Tremblay (Zach Galifianakis), that's not going to be easy: After Ethan's bumbling lands both of them on the "no-fly" list, Peter is forced to drive cross-country with this eccentric imbecile. Unlike its antecedent Planes, Trains & Automobiles, in which John Candy somehow managed to make his character both annoying and endearing, this never allows us to warm up to Galifianakis' insufferable character, although that has as much to do with the actor's sandpaper personality as it does with a sloppy script credited to four writers. The screenplay presents Ethan as such a buffoon — and spends most of its time mocking him — that it's embarrassing in those moments when it makes a play for audience sympathy. In the midst of all this horse manure, it's almost amazing that Downey manages to concentrate enough to deliver a fine performance. It's disheartening to see him squandering his talents in such a dud, but his professionalism at least prevents the entire picture from devolving into a complete circle jerk. *1/2

EAT PRAY LOVE Not haven't read Elizabeth Gilbert's memoir, it's entirely possible that, in comparison, this film version seems about as complicated as an episode of Dora the Explorer. But on its own, it's a richly rewarding experience, following one woman's journey both across the globe and within herself. Julia Roberts delivers her strongest performance since Erin Brockovich a full decade ago — as Liz Gilbert, she brings to the forefront the doubts, frustrations and longings inherent in a woman who realizes she's not content with her marriage or her surroundings and elects to set out on new adventures. Liz finds both spiritual and physical nourishment during her travels to Italy, India and Bali, but her lessons aren't conveyed to us in the usual cookie-cutter platitudes; instead, the dialogue is frequently lyrical and lovely, never cheapening the thoughts or feelings being revealed. In a summer that was dominated (as always) by male-skewering titles, Eat Pray Love is certain to get dismissed in some quarters as Sex and the City 2's sister in failed counter programming. But with its themes of self-discovery and its impressive roster of award-caliber actors (Javier Bardem, Richard Jenkins, Viola Davis), it's actually an intelligent movie for discerning grownups who wouldn't be caught dead seeing Grown Ups. ***1/2

THE EXPENDABLES The Truth In Advertising award for the summer of 2010 goes to The Expendables, which employs (however unintentionally) its own title to push the fact that this is a disposable action film that will dissipate from memory almost immediately. Its primary — make that only — selling point is its large cast of macho action stars ... but the truth only goes as far as the marquee. As the leader of a group of mercenaries hired to take down a South American dictator, Sylvester Stallone is almost always front and center, but those expecting him to share significant screen time with fellow Big Boys Bruce Willis and Arnold Schwarzenegger will be disappointed that the other two are only in one scene. And really, is it that big a deal to have a cast that includes Steve Austin, Randy Couture and Terry Crews? These guys would line up for a straight-to-DVD American Pie sequel if asked. Nobody goes to this type of movie for the acting, but given the lack of excitement in most of the action scenes (more mano-a-mano skirmishes would have better served the film rather than the ceaseless gunfire and explosions), there's little else to discuss. Faring best are Jason Statham and Mickey Rourke; delivering the worst performance is Dolph Lundgren, who apparently hasn't learned a single thing after 25 years in the business. **

HEREAFTER Throughout his career, Clint Eastwood has offered increasingly mature treatises on the subject of death, specifically how it relates to the act of one person taking another's life. Hereafter finds the filmmaker coming at us from a quieter place, examining the notion of death away from the sudden impact of a .357 Magnum or other forms of violent, purposeful retribution. The script by Peter Morgan (The Queen) follows three separate stories that eventually dovetail in one satisfying finale: A bona fide psychic (Matt Damon) copes with loneliness; a French journalist (Cecile de France) tries to function after a near-death experience; and twin boys (Frankie McLaren and George McLaren) in London deal with a tragic incident. This haunting picture unfolds with the patience of a good book, a factor likely to turn off more antsy audience members. Yet more discerning viewers who don't flinch at its meditative rhythms will find much to appreciate, starting with the understated manner in which Eastwood and Morgan present their material. Steadfastly refusing to engage in dogmatic pursuits, the pair are content to offer a universally accessible look at the manner in which people become so preoccupied with the notion of death that they are unable or unwilling to live for themselves. ***