BAADASSSSS! A movie about the making of 1971's Sweet Sweetback's Baadasssss Song should in good faith boast a title equally as memorable, and writer-director-producer Mario Van Peebles did his part by naming this How to Get the Man's Foot Outta Your Ass. Predictably, the MPAA nixed the title, and Van Peebles complied by renaming it Baadasssss! in order to gain wider acceptance -- an ironic compromise, since the whole point of the 1971 picture was that its creator, Mario's dad Melvin Van Peebles, backed down from no one in his efforts to bring his groundbreaking film to the screen. With Mario playing his own father, the new Baadasssss! tells the fascinating back story of how Melvin turned down an offer to be the major studios' token black filmmaker in order to realize his goal of producing a raw, edgy work that spoke directly to Afro-American audiences tired of seeing themselves portrayed primarily as subservient buffoons. Sweetback turned out to be a monster moneymaker, the first of the "blaxploitation" flicks, and an important stepping stone in the development of independent cinema, but this new picture chronicles how the process of bringing it to the screen took a major toll on Melvin's health, family and finances. Shot in an appropriately rough'n'tumble style that occasionally gives this the illusion of a documentary, the movie is ultimately a son's affectionate tribute to his dad, an often difficult man who may have floundered as a regular father but established himself as a "founding father" of a different sort. 
CONTROL ROOM It's easy (and understandable) to find folks taking potshots at Fahrenheit 9/11, but only the most rabid right-wingers will find comparable offenses in Control Room, an eye-opening documentary about Al-Jazeera, the Arab news network that's been tagged "Osama bin Laden's mouthpiece" by those in the Bush administration. Jehane Noujaim (co-director of startup.com) meticulously builds the case that the Arab station is no less jingoistic than our own Fox News Network in presenting its version of the Iraq war and that, in many instances, it's more honest and responsible in presenting what's really going on over there. By not editing its raw footage of the battles and the resultant American and Iraqi casualties (as opposed to the censorial policy of US news channels), the network serves as a frontline witness to the atrocities being committed in the name of democracy, and its employees are presented as conscientious journalists who understandably have a rooting interest in the future stability of the region. Noujaim's primary interview subjects -- US Press Officer Lt. Josh Rushing and Al-Jazeera reporter Hassan Ibrahim (formerly with the BBC) -- are both interesting and articulate, yet it's the words of one Al-Jazeera newsroom staffer that perhaps hint at the state of surrealism that prevents Bush from being unanimously denounced by this country as a war criminal: "The whole war actually is like an American movie. You know the end. You know who's the hero. You know the bad guys; they're going to die. But you still watch because you want to know how it's going to happen." 1/2
CURRENT RELEASES
AROUND THE WORLD IN 80 DAYS Less an adaptation of Jules Verne's novel than a quasi-installment in the Shanghai Noon / Knights franchise, this expensively priced but cheaply realized action yarn finds Jackie Chan playing a martial arts expert who takes on all villains in an effort to return a jade Buddha statue back to his remote Chinese village. Stranded in London, he passes himself off as a French valet named Passepartout and hitches an intercontinental ride with inventor Phileas Fogg (Steve Coogan), who has bet that he can travel around... well, you know this part. Everything about this production seems tired, from Chan's fight routines to the soggy humor to the cameo by Arnold Schwarzenegger, looking rather ghastly as a lecherous Turkish prince sporting skimpy duds, a hideous wig and a jaundiced complexion. 1/2
THE CHRONICLES OF RIDDICK The 2000 sleeper hit Pitch Black turned out to be one of the better Alien rip-offs to hatch over the years, but anyone expecting a repeat of that movie's high level of excitement and imagination will be sorely disappointed by this sequel, which places the character of Riddick (Vin Diesel) in a fantasy tale in the dour Dune/Stargate mold. Deadly dull at the outset -- here's one Diesel-fueled vehicle that's neither fast nor furious -- the picture improves as it progresses, though not enough to warrant two hours of invested time. Diesel's Riddick is part of the problem: An intriguing character when kept in the shadows for much of Pitch Black, he's become infinitely less interesting as an out-and-out action hero.
DODGEBALL: A TRUE UNDERDOG STORY For devotees of dum-dum cinema, here's Dodgeball to placate the lowest common denominator while also allowing discerning filmgoers to slum in style. Oh, sure, writer-director Rawson Marshall Thurber didn't have to look further than his weather-beaten VHS copy of Animal House for inspiration, and some of the jokes not only thud to the ground but then spend a few uncomfortable seconds writhing in agony. But when it has its game face on, this offers a satisfying number of laughs, characters that we care to follow, and cameo appearances that (in contrast to those in Around the World In 80 Days) are positively inspired. At a time when many ambitious studio films are aiming high and falling short, here's one that delivers on its low-pressure promise.
FAHRENHEIT 9/11 Let's be honest: For better or worse, this will be viewed as a propaganda tool first and a motion picture second, and those with strongly held political views won't be swayed one way or the other by Michael Moore's filmic diatribe against the Bush family (it's Moore's hope that the "undecideds" who brave the film will theoretically end up handing the election to Kerry). But is it worth seeing? Certainly -- and not even so much because of its politics, but because of its compassion. As is often the case with Moore, the movie works best when he removes himself from the equation and lets his subjects hang themselves through existing news footage. Still, for all its political pelting, this is at its most gripping when it simply focuses on the innocent people whose lives have been destroyed either by the heinous terrorists or by the abhorrent policies of this administration. 1/2
GARFIELD: THE MOVIE A film about the fat cat star of one of the least inspired comic strips ever to line birdcages coast to coast? We're talking about an uphill battle, and this doesn't even make it past the footstool. As envisioned by creator Jim Davis, Garfield is an ugly, unseemly beast, and that pretty much describes this film as well. Small children will at least get their parents' money's worth -- they'll squeal with delight at the mayhem perpetrated by the computer-generated cat -- but this will feel like a slow crawl through broken glass for anyone old enough to have mastered the fine art of shoelace-tying. So is there anything positive to say about it? Sure: At least it's not Family Circus: The Motion Picture. Trying to live through a film version of that atrocious comic would exhaust all nine lives -- and then some.
THE NOTEBOOK Every summer seriously needs at least one picture to fill that Bridges of Madison County / Ya-Ya Sisterhood slot (otherwise, we'd completely choke on the sweat and testosterone), and this adaptation of Carolina writer Nicholas Sparks' popular weepie arrives as this year's bit of alternative programming. The story is fairly standard stuff that we've seen before in some variation or another: She's young, beautiful and rich, he's young, handsome and poor, and they're forced to contend with obstacles both personal (her disapproving mom) and public (WWII) in order to keep their love alive. The reason to consider catching this is to watch the terrific performance by Rachel McAdams, whose luminescent work, coupled with her turn as the meanest of the Mean Girls, marks her as a compelling newcomer. 1/2
THE STEPFORD WIVES The second version of Ira Levin's novel stars Nicole Kidman and Matthew Broderick as harried New Yorkers who move to a quiet Connecticut suburb where everyone appears to lead happy, stress-free lives. But while he immediately takes to their new surroundings, she becomes suspicious of the fact that the town is comprised of nerds married to beautiful women who will do anything they request. This may well end up being the summer's most ill-conceived movie, a ham-fisted attempt at social commentary further undone by last-minute reshoots that end up contradicting plot points established earlier in the film. Director Frank Oz and writer Paul Rudnick are satisfied to turn this chilling cautionary tale into a swishy camp outing, with more emphasis on snap-finger witticisms and immaculate decor than on anything of substance. 1/2
SUPER SIZE ME Morgan Spurlock decided to eat only McDonald's for a whole month, heading to the Golden Arches for his three squares a day. By the end, he had (among other things) gained 25 pounds and watched his cholesterol skyrocket. Despite the obviousness of its conclusions, this is still an outrageously entertaining documentary that presents its material in such a compelling manner, we often feel like we're hearing its nuggets (McNuggets?) of information for the first time. Spurlock documents all aspects of his experiment, yet he also talks with health advocates and explores the reasons why the fast food industry has become such an integral ingredient in the American lifestyle. This is a movie filled with big laughs, yet even the guffaws don't diminish the periodic bouts of anger, depression and horror we personally experience as we watch a nation eating itself into oblivion. 1/2
THE TERMINAL Steven Spielberg's latest is loosely based on the true story of a man who, because of twisting ribbons of red tape, had to live in an airport after being denied access into any country (including his own). Tom Hanks plays the accidental tourist Viktor Navorski, and as we watch him settle into his new "home," we're delighted by the rich vein of humor and moved by Hanks' compassionate performance. But after a wonderful first half, the movie turns shameless and never lets up. Stanley Tucci plays the paper villain of the piece, a rabid airport official who tracks and torments Viktor as if he were Inspector Javert on the hunt for Jean Valjean; meanwhile, Catherine Zeta-Jones gets unconvincingly shoehorned into the plot as Viktor's nitwit love interest. Arguably Spielberg's least subtle movie, it's still worth a quick glance. 1/2
TWO BROTHERS In casting the lead roles for Two Brothers, director Jean-Jacques Annaud (The Bear) came up with a revolutionary idea: He used real tigers to play the parts of tigers! So forget about all those fake CGI critters that have become the norm of late -- Annaud's approach is so retro that it's practically progressive. His movie's all the better for it: This is a tremendously touching story about two tiger cubs who get separated shortly after birth and are reunited under dire circumstances one year later. There's a complexity involved in some of the characterizations that usually isn't found in this sort of family film -- the man vs. nature theme isn't always painted in simplistic good vs. evil brushstrokes -- and some of Annaud's animal footage is simply remarkable.
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