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dances with the devil in the pale moonlight. Public Enemies is bound to score some real fans, but I am sure it will make its share of enemies as well. Director Michael Mann takes a true Depression-era crime story and interprets it with ultra-heavy handedness beyond any sense of realism. As an art/crime film, this is an impressive flick, but its brooding quality breathes hollow.

Rising from Indiana crime sprees to Public Enemy number one, John Dillinger was regarded as a latter-day Robin Hood. Robbing banks that had gotten fat while foreclosing on famiy farms. But Dillinger embraced his rock-star status, exuding bravado and charisma. Yet the film plays out in one somber moment after another, as if everyone was still reeling from The Depression and acting all…depressed.
Johnny Depp (playing Dillinger) brilliantly festers in a uniquely restrained performance. Depp has the ability to slide into whatever role he takes and it was nice to see him in one that didn't require an English accent. A sorely miscast Christian Bale, gives us a one-note performance as FBI agent Melvin Purvis, pensively staring into space. We see him slip in and out of accents covering maybe five different Southern regions. Captivating actress Marion Cotillard, as Dillinger's love Billie Frechette, does a good job with a poorly written part. Billy Cruddup is convincing and entertaining as J. Edgar Hoover. There's a veritable avalanche of cameos and appearances by recognizable actors and some really well picked unknowns. Still, most characters come off empty. I don't care how many cool handheld shots you surround them with, it's hard to care for any character at all.

Or we could shoot hoops?Woody Allen's filmmaking career has been like one long, good conversation. He knows that sometimes he's been talking to himself, with the audience acting as psychiatrist, nodding and saying, "I see" in the right places. But Whatever Works is Woody's second wind-after losing track of the conversation to stumble about woozily, searching for the right bases; he's returned to form with a very funny, very smart farce-like comedy that beats out Annie Hall for quotable witticisms.

His last film, Vicky Cristina Barcelona is brilliant but our enthusiasm was wary, as we'd waited patiently asking of each six-monthly release, "Is this the one to get excited about?" The assumption was that he'd lost it, and so even though his most mediocre effort can be ten times better than most of what makes it onto the big screen, fun films like Anything Else got ignored. After seeing Whatever Works, you'll want to rent Vicky Cristina Barcelona, to watch it through without holding your breath.
Filmmaking is Woody Allen's way of life, and the day he wraps one film he begins to pull together the next and as he travels from country to country. Whatever Works is as much about his place in Hollywood as it is about our place in the universe. While critics complain scripts restrict his actors, to merely impersonating Allen. This time around he cast Larry David for the central character, Boris Yellnikoff – a natural fit given that David's HBO series Curb Your Enthusiasm is the illegitimate child of Allen's comedy stand-up.

if halpert went all cousin eddie. The problem after viewing the new Sam Mendes film Away We Go is that all those adjectives leap to mind - "quirky," "offbeat," "oddball" - that have been used for films like Juno, Little Miss Sunshine, and Sunshine Cleaning.

But this movie is all three of those adjectives and more. And as good as those other movies were, Away We Go treats a well-established cinema cliché (the road movie) with freshness and originality fueled by some great performances and an inventive script from Dave Eggers and Velenda Vida, the married literary powerhouse duo. What's particularly novel about this movie is the depiction of the adolescent uncertainties of an adult couple in their 30s. They are out to answer the question they ponder in the first fifteen minutes, "Are we fuck ups?"
John Krasinski (The Office) and Maya Rudolph (Saturday Night Live) are relatively new faces on the big screen as Burt and Verona, an unmarried and pregnant couple trying to find a place to call home. They flee their home in Denver after Burt's parents, played brilliantly by Jeff Daniels and Catherine O'Hara, announce they are moving to Europe for two years - just a month before their first grandchild arrives.

Busting out another Blockbuster.I can't recall any other big-budget movie based on action figures, but Transformers: Revenge of the Fallen again showcases the nuts and bolts of machines (mainly cars and airplanes) morphing themselves into humongous metallic beasts. What were once just toys for kids and flimsy animated cartoons, have, yes, transformed, into big-boy-toys in the hands of multi-millionaires Michael Bay and Steven Spielberg. And with the funds to deliver high tech goods, they go all gear-head-turbo with this newest Transformers installment.

Beginning with a pseudo tribute to 2001: A Space Odyssey, our Transformers history lesson tells us that they have been on the planet since 17,000 BC. It quickly zooms ahead to a convoluted fight scene between the Autobots, lead by Optimus Prime, against the evil Decepticons, in which either side can change into behemoth gear-grinding monstrosities.