Capsule reviews of films playing the week of Nov. 3 

CASE 39 Case 39 is one of those unwanted Hollywood bastards, a production that was completed years ago and has even been released in other territories but is only now making its stateside debut. Just how old is this picture? Let's just say that when filming began, David O. Selznick was still combing the country for the perfect Scarlett O'Hara. OK, so I exaggerate by a decade or seven, but the point is that for this to have had a shot at succeeding, it probably needed to predate Orphan, The Omen and perhaps even The Bad Seed in the "evil that kids do" mini-genre. As it stands, its thudding familiarity is only compounded by its narratively limp and technically humdrum presentation. Renee Zellweger stars as a social worker who saves 10-year-old Lilith (Jodelle Ferland) from execution by her seemingly religious-wacko parents, only to eventually figure out that the adults were only trying to save the world from their demonic daughter. Along the way, cop Ian McShane demonstrates remarkably poor aim when it comes to firearms, child psychiatrist Bradley Cooper discovers hornets crawling out of every bodily orifice, and Zellweger manages to make a horror film that isn't even one-tenth as terrifying as her romantic comedy New In Town. *1/2

DESPICABLE ME When James Stewart offers to lasso the moon for Donna Reed in Frank Capra's classic It's a Wonderful Life, it's purely a romantic gesture. When Gru (Steve Carell), the star of the 3-D opus Despicable Me, plots to shrink the moon to a size small enough so that he can make off with it, it's clearly to show that he's the baddest dude around. After all, if a supervillain isn't feared and respected, then what good is he? Despicable Me is a witty, congenial lark that obviously won't have the staying power of Toy Story 3 but serves quite nicely as a pleasing placeholder in the cinematic summer of 2010. Sweet-natured yet also avoiding the cloying sentiment that tarnishes any great number of toon tales, this finds Gru enlisting the aid of three oblivious orphan girls to help him one-up his biggest competitor in the supervillain sweepstakes, a self-satisfied nebbish (Jason Segel) who calls himself Vector. Naturally, Gru knows nothing about children, and just as naturally, the girls will teach him about family and responsibility. But that comes later. First, the movie has to let loose with a volley of inspired sight gags, a smattering of adult-oriented humor (note the homage to The Godfather), and some screen-pushing innovations to justify the 3-D expense. ***

DEVIL Agatha Christie meets M. Night Shyamalan in Devil, and damn if the mystery author's inspiration doesn't put the hack auteur's career back on the right path. Make no mistake: There's nothing special about Devil, but after a string of notorious flops, it's surprising to see Shyamalan involved with a film that's at the very least watchable. Still, any praise should be followed by an asterisk, since his contributions are relegated to co-producing the picture and coming up with the storyline (John Erick Dowdle and Brian Nelson get credit for the direction and screenplay, respectively). But regardless of how the muted kudos is parceled out, the end result is a moderately entertaining tale that borrows Christie's Ten Little Indians template of putting a group of strangers together and having them get picked off one by one. Here, we find five people trapped together on a stuck elevator, with the added element of having the killer among the quintet actually being the devil in disguise. The supernatural angle occasionally lapses into silliness (the pontificating by a superstitious security guard grows overbearing), but Dowdle comes up with some interesting visuals, and the atmospheric score by Fernando Velazquez (The Orphanage) is, uh, heaven-sent. **1/2

EASY A Heathers in the 1980s. Clueless in the '90s. Mean Girls in the noughts. It seems like every decade insists on producing a razor-sharp high school satire centered around the travails of a likable female protagonist. Easy A appears to be this new decade's first entry in the sweepstakes, and while it can't quite compare to its enduring predecessors, it will do just fine until something more permanent comes along. Emma Stone gives a bright performance as Olive, a virginal wallflower who erroneously ends up being tagged as the biggest slut at her high school. Soon, Olive is likening her situation to Hester Prynne's in Nathaniel Hawthorne's The Scarlet Letter, and rather than fight the rumors, she starts wearing tight-fitting clothes accentuated by a red letter "A." The Hawthorne comparisons are often clumsy, and Olive's friends and tormentors are a rather nondescript lot. But there's still much to enjoy: Stanley Tucci and Patricia Clarkson as the Coolest Parents Ever; Thomas Haden Church wearing sensitivity well as a congenial teacher; Lisa Kudrow in a welcome appearance as a shallow guidance counselor; and no shortage of clever retorts penned by debuting scripter Bert V. Royal. Easy A may be about the kids, but aside from Stone's contribution, it mostly benefits from all the adult supervision. **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. **

GET LOW The great Robert Duvall is usually incapable of delivering a performance that's less than acceptable, but his now rigid devotion to the image of the folksy Southern sage does mean that he's long lost the ability to surprise. Get Low finds him in familiar territory: He plays Felix Bush, a 1930s Tennessee hermit who has lived in self-imposed exile for decades. But Felix needs help to pull off his unique idea — he wants a funeral party thrown for him while he's still living, so he can attend it and finally reveal his deep, dark secret — so he turns to a shady funeral home director, Frank Quinn (Bill Murray) to handle the preparations. Felix's unburdening of his secret to a mob of partygoers feels anticlimactic given the lengthy buildup, and the plot points directly tied to this event — flashbacks, testy relationships with old acquaintances — stir little interest. Where the movie succeeds in its ability to successfully pit Duvall's no-nonsense Felix against Murray's calculating Frank. Rather than appearing out of place in this rustic setting, Murray flourishes, relying on his trademark wit and deadpan delivery to not only bring out the best in Duvall but also to frequently one-up him. An Oscar campaign is guaranteed to be built around Duvall, but it's really Murray who allows Get Low to hit its high notes. **1/2

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. ***

INCEPTION Christopher Nolan's first film since the eye-popping success of The Dark Knight is a moviegoing marvel with the ability to get cineastes intoxicated on the pure pleasure and the pure possibility of the medium of film. Offering any sort of synopsis is a risky business, since this is one of those pretzel-shaped pictures that rewards the unaware. Suffice it to say that it's set in what appears to be the near future, when it will be possible to enter other people's dreams. Dom Cobb (Leonardo DiCaprio) is the best in the business of creeping into targets' minds and extracting valuable secrets for which others will pay a hefty price. But his latest assignment doesn't go exactly as planned. Tackling such prominent themes as (to borrow from dream expert Salvador Dali) the persistence of memory, Nolan has created a head-scratching one-of-a-kind that's both knotty enough and ambiguous enough to lead to conflicting opinions down the years. Nolan also slyly borrows from the classics of yesteryear, with particularly obvious nods to 2001: A Space Odyssey, Citizen Kane and select Hitchcock titles. It all adds up to a superb motion picture, one with the ability to infiltrate both our dream state and our waking life. ****

IT'S KIND OF A FUNNY STORY Art (or entertainment) doesn't exist in a vacuum, which makes It's Kind of a Funny Story appear even more puny upon continuous reflection. Screened before the recent spate of teen suicides, the film (based on Ned Vizzini's novel) seems even more trivial and pretentious in their wake, a fuzzy drama about a privileged New York teen (inert Keir Gilchrist) who checks himself into a mental health ward. Why, you ask? Because he thinks about jumping off a bridge due to — well, there's this cute girl, you see, and, oh, yeah, the world situation is pretty bad, and, uh, homework sucks. But all it takes to set him right is a grotesque fantasy sequence set to "Under Pressure" (David Bowie should sue), a dour mentor (The Hangover's Zach Galifianakis) dealing with his own issues, and all the sitcom-ready patients parading around the hospital corridors. Where's Nurse Ratched when you really need her? *1/2

THE LAST EXORCISM The prospect of journeying to Hell and back seemed less daunting than sitting through another horror yarn made in the faux-documentary style of The Blair Witch Project, but this one proves to be a pleasant surprise. Director Daniel Stamm uses the fake cinema verite style to milk a lot of tension out of this feature in which the disillusioned Reverend Cotton Marcus (Patrick Fabian) takes along a documentary crew to perform an exorcism in some remote Louisiana hellhole, to prove that exorcisms are bogus and merely prey upon the superstitions of rubes. Cotton thinks he's found a perfect showcase as devout farmer Louis Sweetzer (Louis Herthum) insists that his sweet teenage daughter Nell (Ashley Bell) is demonically possessed. After some initial scoffing, Cotton realizes that there is indeed something wrong with the girl, but is it merely psychological trauma or is Satan really hanging around? Propelled by unexceptionally fine performances from Fabian and Bell, this creepy yarn builds to a powerhouse ending that would be even stronger were it not so choppy and truncated. In fact, too many unanswered questions prevent this movie from soaring to even greater heights. Still, as a deftly executed piece of unsettling cinema, it's only fair to give Daniel Stamm — and the devil — their due. ***

LET ME IN The world needed an immediate remake of Sweden's 2008 Let the Right One In about as much as it needed another vampire flick, yet the good news is that Let Me In can hardly be construed as a shoddy, cash-in-quick product. Crafted with extreme care by writer-director Matt Reeves (Cloverfield), this is that rare retelling that pays the utmost respect to its predecessor — I'd be hard-pressed to single out even one frame that cheapens the memory of the original. As before, the setting is an apartment complex in a frozen environment (here, Los Alamos, NM), where lonely young Owen (The Road's Kodi Smit-McPhee) notices he has a new neighbor in the form of Abby (Chloe Grace Moretz of Kick-Ass). Picked on by bullies and exhibiting some disturbing character traits himself, Owen is happy to become friends with this strange girl who doesn't like candy and can only hang out with him at night. Reeves largely sticks close to the look and tone of the first film, but not in the annoying manner of Gus Van Sant's atrocious Psycho remake. While his slight altercations result in a picture not quite as powerful as its predecessor (particularly during the climax, a mesmerizing piece of filmmaking in the '08 take), he's to be commended for creating a film that ably stands on its own. ***

MY SOUL TO TAKE The best thing about this dud is that it may force folks to revisit Wes Craven's past works and finally realize that he's always been nothing more than a hack in the horror field, a Uwe Boll with a better sense of where to place the camera. (Forget Scream and Freddy Krueger; Red Eye and The Hills Have Eyes, neither great but both certainly watchable, represent his apex of aptitude.) In this head-smackingly stupid film, seven children are born on the same night that a serial killer known as the Ripper is brought down. Sixteen years later, the kids are being picked off one by one, begging the question: Is the Ripper still out there somewhere, or did his soul enter one of the babies on that fateful night long ago? To his credit, Craven keeps his rampant misogyny in check — in most of his films, it's the victimized women who receive the fetishistic close-ups and elongated death scenes, but here, each slaying (male and female) is as dully and incompetently presented as the next. His screenplay is so haphazard that one wonders if he was writing pages minutes before each day's shooting commenced; additionally, there are no horror set-pieces worth mentioning, and Craven's stock high school characters would have made John Hughes cringe. It all adds up to a soul-crushing waste of time. *

NANNY MCPHEE RETURNS Considering that 2005's Nanny McPhee hasn't exactly established itself on this side of the Atlantic as a family classic, there's nothing about the title Nanny McPhee Returns to suggest that this sequel will fare any better. Perhaps Universal Pictures would have been wise to keep the film's original British moniker, Nanny McPhee and the Big Bang, in the hopes that a few ill-informed folks stateside would mistake it for a softcore romp and hand over their hard-earned dollars. Certainly, this children's tale could use more bang for the filmgoer's buck, relating an occasionally clever but often daft yarn about the efforts of the title character (again played by Emma Thompson) to help a struggling mother (Maggie Gyllenhaal, affecting a fine English accent) with her brood while her husband's off fighting in World War II. The children are all well-cast, but this overdoses on the saccharine: Watching CGI critters do supposedly cute things (a bird constantly belching, pigs engaging in synchronized swimming) isn't exactly my cup of tea — English Breakfast, English Afternoon, or otherwise. **

NEVER LET ME GO A fairly good movie that had greatness within its grasp, Never Let Me Go, based on the acclaimed novel by Kazuo Ishiguro, uses softcore science fiction to jump-start its tale of an Earth in which cloning became a reality decades ago. The result is that people are now being produced specifically for the purpose of donating as many organs as possible before death takes them away; three of the young adults facing this dreadful fate are imperturbable Kathy (Carey Mulligan), impetuous Ruth (Keira Knightley) and impressionable Tommy (Andrew Garfield). Perhaps mindful of its British setting, director Mark Romanek outfits the entire picture with a stiff upper lip, never allowing for any variations of tone and counting on the material to jolt the audience into emotional awareness. It's an interesting gambit that's only partly successful, respecting the viewers' intelligence but too often reducing the capable actors to blank slates and the storyline to a glass that's only half full. **1/2

THE OTHER GUYS It makes sense for a film like, say, An Inconvenient Truth or Enron: The Smartest Guys in the Room to end with a plea to our sense of activism or with a mountain of hard data about the evils of unchecked capitalism. But what to make of The Other Guys, featuring closing credits that are packed with statistics concerning government bailouts and the glaring discrepancy between the average salaries of CEOs and the rest of us poor clods? No matter: The film's ample laughs had already dried up long before this ode to Michael Moore muckraking. That's a shame, because for its first hour, The Other Guys is a very funny movie, as two desk cops, meek Allen Gamble (Will Ferrell) and hotheaded Terry Hoitz (Mark Wahlberg), are provided a chance to step up once New York's finest (Samuel L. Jackson and Dwayne Johnson) are put out of commission. Ferrell holds his excesses in check more than usual (though still not enough to my liking), and he and Wahlberg prove to be an amusing team — whether scripted or improvised, their banter is often top-grade. But humor largely vacates the premises during the second half, as the emphasis is placed more on autopilot action sequences and, worse, a topical, torn-from-the-headlines scam that's an ill — and dull — fit for this sort of raucous outing. **1/2

RED One of the better action spectacles of recent vintage, Red is a smart, slick endeavor that gets added mileage from its cast of seasoned screen vets. How seasoned? The arithmetic mean of the five top-billed stars' ages is 59; throw 93-year-old supporting player Ernest Borgnine into the equation, and the calculator starts to overheat. Based on the DC comic book, this plays like a wink to Danny Glover's classic line from the Lethal Weapon series: "I'm too old for this shit." In Red, these aging ex-agents (played by Bruce Willis, Morgan Freeman, John Malkovich and Helen Mirren) are definitely not too old for the challenges placed in front of them, all of which stem from the fact that they've been marked for termination for shady reasons. Frank Moses (Willis) is one of these former CIA hotshots trying to save his own skin, a task made more difficult by the fact that he also has to protect the innocent woman (a winsome Mary-Louise Parker) inadvertently mixed up in these dangerous dealings. By employing imagination in all facets of the production, Red manages to avoid being lumped together with another recent title with AARP credentials: the generic, geriatric The Expendables. Besides, in a celebrity smackdown between Sylvester Stallone and Helen Mirren, my money's on the great Dame. ***

SALT A neo-Cold War thriller would seem like just the ticket for cineastes who fondly recall Iron Curtain-courting capers on the order of The Spy Who Came In from the Cold and select James Bond tales. And the title even suggests a nod to that chunk of 20th century history involving U.S.-U.S.S.R. tensions, as SALT was the name given to discussions centering on reducing both nations' arsenals of nuclear weapons. Unfortunately, the majority of this film fails to honor either its cinematic predecessors or its real-life milieu: Extracting the occasional misplaced titter from viewers, it stirs memories less of John le Carre and more of Yakov Smirnoff. Angelina Jolie headlines as Evelyn Salt, a CIA agent accused of being a Russian spy; as she follows a trail of clues in an effort to clear her name, it begins to appear as if maybe even she's not completely certain about her own identity. Jolie is practically the whole show; the rest is negligible, from the repetitive (if well-staged) chase sequences to the absurd plotting, which — thanks to obvious casting in a key role — culminates in a final twist that can be spotted even before moviegoers manage to crack the top layer of their buttered popcorn. There's already talk of a sequel to Salt, but it's going to have to provide a lot more flavor than this bland offering. **

SECRETARIAT Until the Sports Illustrated subscription runs out at the Walt Disney Studios offices, I expect audiences will continue to be privy to cookie-cutter yarns centered around notable achievements in the sports world. Secretariat is the latest from the studio stable, and it relates the truly remarkable story of the magnificent racehorse that set records while winning the Triple Crown in 1973 (and simultaneously appeared on the covers of Time, Newsweek and Sports Illustrated while doing so). The races are exciting, but to get to these sequences, we're forced to wade through a lot of vanilla material about the difficulties faced by Secretariat's determined owner (typically reliable Diane Lane) and flamboyant trainer (John Malkovich, taking neither his role nor the movie seriously). Despite these tepidly staged interludes, the overall picture isn't quite as bland as, say, The Rookie or Miracle. Still, the staidness made me long for the studio's earlier sports flick Alive — at least that one had rugby players munching down on each other. **1/2

THE SOCIAL NETWORK Like the screwball comedies and film noir staples of yore, The Social Network exhibits an extraordinary gift for gab. Words fly like machine gun strafes, and arguments generally end with the more verbally adroit speaker standing over the other person like a wave that's managed to tumble a surfer. If screenwriting was considered a sport, Aaron Sorkin's script wouldn't just be competing for movie awards but for Olympic gold as well. One of the best films of the year, this is the fascinating story of how Harvard nerd Mark Zuckerberg (Jesse Eisenberg) created Facebook and in the process became the world's youngest billionaire. Yet this isn't an inspiring movie about an underdog beating the odds as much as it's a prickly mishmash of how one person's insecurities led to material gains even as his personality remained stuck in an arrogant, off-putting zone. Director David Fincher keeps the proceedings moving at a rapid clip, a task made easier by Sorkin's breezy, biting dialogue and great performances by the entire cast. But a quick pace isn't the same as a hurried one, and The Social Network takes its time in showing how one loner was able to unite 500 million friends, even as he remained perpetually hidden on the other side of the cold, glaring screen. ***1/2

THE TOWN While The Town doesn't quite match the giddy pleasures of Gone Baby Gone (which, after all, was second only to No Country for Old Men on my 10 Best list for '07), it aptly illustrates that writer-director Ben Affleck won't have to contend with either the label of "beginner's luck" or "sophomore jinx." A crackling drama with a fine sense of both spacial relationships (thank Affleck the director) and character relationships (thank Affleck the writer), this adaptation of Chuck Hogan's novel Prince of Thieves (co-scripted by Peter Craig and Aaron Stockard) is set in a section of Boston known for producing more bank robbers than anywhere else in the country. One of these heist-happy fellows is Doug MacRay (Affleck), who leads his accomplices on a caper that results in the masked bandits briefly taking a hostage, bank employee Claire Keesey (Rebecca Hall). Electing to keep tabs on Claire to insure she doesn't get too chummy with the FBI, Doug strikes up a friendship with the unsuspecting woman, a camaraderie that quickly turns into love. A genre flick like this can't avoid all the clichés, but it manages to sidestep some of the biggest ones — at any rate, it's the little moments that make this stand out. The film can quickly shift from funny to frightening, and it plays out in ways not entirely expected. ***1/2

TOY STORY 3 Threepeats may be rare in the sports world, but they're even harder to achieve in the cinematic realm. Yet here comes Toy Story 3, bucking the odds and satisfying sky-high expectations to emerge as the perfect final chapter in a trilogy that's guaranteed to live on for generations (to infinity and beyond?). In this outing, Andy is set to go to college and has to decide what to do with the few remaining toys from his childhood, all stuck in a box that has been gathering dust under his bed for years. Through miscommunication, the gang ends up at a daycare center that promises to be a playhouse paradise. But things aren't quite what they seem, and Woody (Tom Hanks), ever loyal to Andy no matter the cost to his own future, plots a great escape. In most respects, this gem is careful to avoid repeating its predecessors. There are some memorable new characters (including the immaculately groomed Ken, voiced by Michael Keaton), and the four screenwriters superbly tap into the feelings all of us have encountered during our respective childhoods, when we employed our toys as a passageway to new worlds and new experiences. Toy Story 3 may look like a family film, but as it tackles issues of loss, identity and self-worth, it reveals itself as perhaps the most adult movie out there. ****

WAITING FOR "SUPERMAN" Davis Guggenheim, who won an Academy Award for An Inconvenient Truth, here presents another inconvenient truth: The United States public school system just isn't working. This comes as a shock to absolutely no one, but because it's a universal issue that affects legions of folks across the country — particularly the children — it's the sort of film that begs to be seen. This documentary, heavy on the outrage and frustration and light on the inspiration and hope, often focuses on a hero (education reformer Geoffrey Canada), an anti-hero (controversial former chancellor Michelle Rhee) and a villain (the self-serving American Federation of Teachers), but the heart of the film of course rests with its youngest subjects. Central are five students (in LA, NYC and DC) whose best chance at having a bright future lies in whether they'll be randomly selected in their respective locales' education lotteries to be transferred from their low-performing neighborhood schools to successful charter schools. While this climactic section of the picture proves to be the most schematic (whose name or number will pop up next?), it's impossible not to be left either elated or heartbroken, depending on which way the (lottery) ball bounces. ***

WALL STREET: MONEY NEVER SLEEPS Michael Douglas won the Best Actor Oscar for his sly turn as uber-capitalist Gordon Gekko in 1987's Wall Street, but the majority of the film's running time was commandeered by Charlie Sheen as his gullible protégé Bud Fox. That timeshare worked for that picture, but with the 23-years-after-the-fact Wall Street: Money Never Sleeps, it's no secret that we're all here for Douglas. But aside from a quick glimpse of him in the prologue, he doesn't return for a full half-hour, meaning that it's Shia LaBeouf calling the shots. He's passable as a financial whiz kid who's in love with Gordon's daughter (Carey Mulligan) but finds himself turning to her estranged dad to help take down a corporate nemesis (Josh Brolin). But it's Douglas' continuing commitment to his iconic role that sporadically gooses the proceedings, at least until a mawkish conclusion that resembles nothing so much as a Wall Street — and Wall Street — crash. **1/2

YOU AGAIN There's a lot about You Again that's instantly disposable, from its generic title to its bland leading lady to a storyline that's as weightless as a sponge cake. But leave it to the old pros in the cast to prevent this from completely sinking into the abyss of immediately forgotten comedies. Kristen Bell, only fitfully succeeding in making an impression, plays Marni, who's shocked to learn that her brother (Jimmy Wolk) is marrying Joanna (Odette Yustman), the girl who made her life an endless hell back in high school. Everyone in Marni's family thinks Joanna is the greatest, so Marni makes it her mission to expose her as malicious and deceitful. For her part, Marni's mom (Jamie Lee Curtis) is aghast when she discovers that Joanna's aunt is a former school chum (Sigourney Weaver) with whom she had a falling-out decades ago on prom night. The Marni-Joanna clashes offer little that's new, so the fun is in watching those exquisite older actresses, Curtis and Weaver, square off against each other. Throw in the always-welcome Victor Garber as Curtis' husband, an amusing Kristin Chenoweth as a spirited dance instructor, and a cameo by a former Dallas star that almost made me fall out of my seat, and you may want to give You Again a chance. But only if Mean Girls isn't playing on cable. **1/2