The most telling moment in the Circa '21 Dinner Playhouse's splendid re-imagining of Grease is a minor one, and - like most of this production's finest moments - nowhere to be found in the original script. (It's actually an invention of director/choreographer Ann Nieman's, designed to cover a scene change.) Danny (Jeremy Jonet) and Cha-Cha (Nicole Polzella) have just won Rydell High's dance competition, yet instead of relishing the victory, Danny runs off to re-claim the heart of his true love, Sandy (Cheryl Hoffman). As the decorations come down and the stragglers depart, Cha-Cha - who has even been rebuffed by the nerdy Eugene (Mark D. Lingenfelter) - finds herself alone, and she takes a beat, gazes at the suddenly meaningless trophy in her hands, and quietly, sadly walks off stage.
Joe DiPietro's Over the River & Through the Woods is a charming stage sitcom, and based on a final dress rehearsal held January 10, the production of it that opened the Playcrafters Barn Theatre's 2006 season is perfectly charming, too. The large, invited audience of (mostly) seniors who attended the rehearsal seemed to have a terrific time; the show's punchlines, more often than not, got their laughs, and there was no denying the sweetness of spirit that emanated from the show - if smiles were audible, it would have been deafening in the Barn Theatre.

Josh Lucas in Glory RoadGLORY ROAD

Is it just a coincidence, or do you think there's an annual meeting wherein Disney shareholders tell the studio's executives, "Bring us this year's feel-good, triumph-of-the-underdog sports flick, and if you can find one that's more formulaic, clichéd, and shameless than last year's, all the better!" A couple of years back, we endured Kurt Russell guiding a bunch of interchangeable skaters to Olympic victory in the hockey drama Miracle, and my head is still reeling from the moribund sentimentality - and beyond-obnoxious miniature caddie - of The Greatest Game Ever Played, which managed to make golf look about five times less exciting than the sport's reputation would suggest.

It's tempting to label the musical accomplishments of the Holmes Brothers as "unclassifiable," but that's not entirely accurate. Their sound is easily classifiable. As blues. And gospel. And rock.

Years before he became a filmmaker, writer-director David Riker worked as a photojournalist, and found himself especially haunted and moved by the plight of immigrants in Manhattan's Latin American neighborhoods.

Heath Ledger and Jake Gyllenhaal in Brokeback MountainBROKEBACK MOUNTAIN

In Ang Lee's agonizingly fine romantic western Brokeback Mountain, two taciturn young men - Ennis del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhaal) - are hired, in the summer of 1963, to tend flocks of sheep on a Wyoming expanse. During the early days of their tenure, the men barely speak. Yet as the months pass, they form a solid friendship, and on one particularly cold night atop the mountain, Ennis and Jack share a bottle of whiskey and a sleeping bag, and - experiencing wordless, nearly aggressive desire - have sex. Despite the inevitability of the encounter, the sheer, naked hunger of the scene is startling, but a greater surprise comes some 20 minutes (and four years of screen time) later, in a scene so powerfully, emotionally true that - like much of Lee's transcendently moving work - it hits like a slap in the face.

Reported cases of sexual trafficking in the United States are horrifying and, unfortunately, not uncommon. In recent years, our federal courts have heard cases involving a group of Thai women - promised good-paying restaurant jobs - forced into prostitution upon their arrival in New York; a group of Mexican teenagers - told they would be working as waitresses and child- and elder-care workers - held in sexual slavery in Florida and the Carolinas; a syndicate of smugglers and pimps who brought hundreds of Asian women (some as young as 13) into the United States, forcing them to work as prostitutes - and making them live in bondage - until their "contracts" were paid off.

Matthew Broderick, Will Ferrell, and Nathan Lane in The ProducersTHE PRODUCERS

Devotees of the theatre had plenty of reason to be excited about The Producers, the movie version of Mel Brooks' stage work based on his 1968 movie. (Got that?) This tale of two Broadway crooks who plan to make a fortune on the worst musical ever conceived has been brought to the screen by the Broadway production's director/choreographer, Susan Stroman, with all of Brooks' musical-comedy numbers intact, and the show's original stars, Nathan Lane and Matthew Broderick, reprise their roles as Bialystock and Bloom. It's enough to make a theatre fan nearly giddy with anticipation.Yet after more than two hours spent with this theatrical adaptation, I wanted nothing more than to get my ass to a movie.

Timothy Treadwell in Grizzly ManGRIZZLY MAN

When March of the Penguins became a sleeper sensation this past summer, I was pretty thrilled, and not merely because the film itself is wonderful. Documentary hounds like myself often spend an inordinate amount of time attempting to convince people that, strictly as an entertainment option, a well-made doc can be preferable - more surprising, more emotionally engaging - than most Hollywood releases, and so the emergence of this little-penguins-that-could tale as a box-office bonanza was, for many of us, cause for celebration.My hope is that those who missed March of the Penguins during its summer run will now be catching up with the film on DVD, and may even be moved to seek out other docs they'd heard of yet were unable to see theatrically. (And if this applies to you - and I promise to stop pressing this issue soon - get your hands on Murderball as soon as humanly possible.)

My annual challenge in composing a list of the year's best movies almost never lies in deciding what to list. It lies in deciding when to list. As every movie fan knows, film studios - both majors and independents - generally unleash their most prominent Academy Award hopefuls (and, oftentimes, most interesting works) at the end of December, giving these films their best chance at being remembered, and potentially embraced, by the notoriously forgetful Academy.

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