THE COST OF WAR: Simon (Richard Gere) and Duck (Terrence Howard) walk among the dead in The Hunting Party.
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INTO THE WILD Into the Wild finds Sean Penn turning in his best directorial effort to date; adapting Jon Krakauer's based-on-fact novel, he has fashioned a somber, reflective film about a young man whose actions are so open to interpretation that where some will see an idealist, others will see an obnoxious brat; where some will see a martyr, others will merely see a moron. Emile Hirsch delivers a strong performance as Chris McCandless, a well-to-do college graduate who donates all his savings to charity and head for the wilderness. Determined to leave society and all its hypocrisies behind, he treks all over North America's untamed terrain, meeting a wide range of interesting individuals along the way. Into the Wild is especially memorable in the manner in which it offers no absolutes. Functioning as a bookend piece to Werner Herzog's excellent documentary Grizzly Man, it demonstrates that nature is as beastly as it is beautiful, and even noble aspirations run the risk of getting trampled under its imposing weight. All of the characters have their say, yet even when people's opinions run counter to each other's, everyone is making sense and no one is being disingenuous. Penn obviously feels enormous sympathy for his protagonist, yet he doesn't present him as a saint, only a charismatic if troubled kid whose defining feature is that he managed to live a life less ordinary. ***
LARS AND THE REAL GIRL How is it even possible to make a PG-13 movie about a man and his plastic sex doll? To their (sort-of) credit, director Craig Gillespie and writer Nancy Oliver give it a shot by fashioning a gentle parable about an introvert whose relationship with said object is actually a cry for help – plus, it doesn't hurt audience acceptance of the film (and the character) that he never uses the faux-female for what she was intended. In a performance that's as calculating as it is sweet-natured, Ryan Gosling plays Lars, a shy man who cringes at the mere thought of interacting with other humans, whether at the office, at parties, or even in the home of his brother (Paul Schneider) and sister-in-law (Emily Mortimer). Lars ends up purchasing a sex doll online, but rather than using her to satisfy God-given urges, he maintains a platonic relationship, escorting her all over town and introducing her to bewildered townsfolk as his Brazilian girlfriend Bianca. Rather than shunning Lars, his family and neighbors go along with the delusion, coaxing him (and Bianca!) into becoming more involved with the community even as a psychiatrist (Patricia Clarkson) attempts to uncover the source of his behavior. An often clumsy fable about the sting of loneliness and the welcome balm of selfless intervention, Lars and the Real Girl can't quite manage a gimmick that's well-suited for a short film but thin when stretched out over 105 minutes. The supporting cast is fine, especially Schneider and Mortimer as Lars' perplexed family members and Kelli Garner as a co-worker who could use some of that love and affection that Lars bestows on Bianca. **1/2
MICHAEL CLAYTON Far easier to follow than its impenetrable trailer would lead one to believe, Michael Clayton plays like Erin Brockovich without the populist appeal – it centers on the title character (George Clooney), a law firm "fixer" who's always called upon to clean up messy problems for the company's clients. Hating his job but stuck with it due to massive debts and an expensive divorce, Michael finds himself caught in the middle when Arthur Edens (an excellent Tom Wilkinson), Michael's good friend and the firm's best attorney, seemingly goes bonkers and threatens to derail their most important case: defending an agrochemical company against a lawsuit filed by ordinary citizens. Michael's boss (Sydney Pollack) orders him to talk some sense into Arthur, but it turns out that the agrochemical company's chief counsel (Tilda Swinton) is willing to go to more extreme lengths to silence the wayward lawyer. Tony Gilroy, adapter of the Jason Bourne novels, makes his directorial debut here (as well as writing the script), and it's an assured first effort. He steadfastly avoids including anything that can be deemed extraneous or overreaching, preferring to rest his faith – and the picture's fate – in the hands of his accomplished actors and in the strength of his own script. There are no real surprises in Michael Clayton, just the awareness of a job well done. ***
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