Morgan Freeman in DreamcatcherDREAMCATCHER

Just how unspeakably bad is the Stephen King adaptation Dreamcatcher? Allow me to present a few examples of opening sentences I was considering for this review:

Michael Moore in Bowling for ColumbineBOWLING FOR COLUMBINE

Michael Moore's latest, the astounding documentary Bowling for Columbine, has finally made it to our area (it's currently playing at the Quad Cities Brew & View), and although I spent a couple hundred words extolling its merits last month in the Reader - where I named it my favorite movie of 2002 - the film is so good that a few hundred more seem necessary.

Bonnie Wright and Daniel Radcliffe in Harry Potter & the Chamber of SecretsHARRY POTTER & THE CHAMBER OF SECRETS

Although I didn't care for last year's Harry Potter & The Sorcerer's Stone, I was more than willing to greet the new Harry Potter & The Chamber of Secrets with an open mind.

Before our cineplexes, and this column, become completely inundated with family-oriented holiday fare such as Treasure Planet, the latest Harry Potter, and The Santa Clause 2 (which is already in release ... how is it that holiday movies, like Christmas decorations at the mall, now routinely arrive the day after Halloween?), let's take a brief look at some of autumn's more adult works, a couple of which - unsurprisingly - have already left a theatre near you.

ZOOLANDER

Those of us who've been waiting, in film after film, for Ben Stiller to hit the comedic peaks he reached on his short-lived TV series The Ben Stiller Show might find Zoolander pretty irresistible.

Sam Neill in Jurassic Park IIIJURASSIC PARK III

Jurassic Park III could have been good. Strike that - it could have been very, very good. There are ideas, gags, and individual set-pieces in director Joe Johnston's sequel that match anything Steven Spielberg came up with in the first two installments of the Jurassic Park series, and it features one running joke involving a cell phone that is sheer perfection. The effects are impressive, the cast is fine, and the movie clocks in at 90 minutes, and who on earth wouldn't be thrilled by that?

Ving Rhames and Tyrese Gibson in Baby BoyBABY BOY

It's a small movie, but the scope of John Singleton's Baby Boy is enormous; the film is nothing less than a critique of young African-American males, a warts-and-all look at the infantilization of those who consider themselves true men. Singleton received great acclaim a decade ago for his writing/directing debut, Boyz N the Hood, and while his take on Shaft last summer was an enjoyably over-the-top romp, Baby Boy is his first work to make good on the promise he showed in 1991: The movie is superb. Where nearly every scene in Boyz N the Hood was filled with dread and the threat of violence, the images in Baby Boy are steeped in sadness and resignation, with exquisite moments of joy, fear, and strength throughout.

Morris Chestnut, D.L. Hughley, Bill Bellamy, and Shemar Moore in The BrothersTHE BROTHERS

The Brothers, the comedy-drama debut from writer-director Gary Hardwick, is a good-and-bad movie in which the good parts far surpass the bad, and that alone makes it one of the finer movies of the year.

Kevin Costner in 3000 Miles to GracelandI remember a time, not so long ago, when I actually looked forward to movie trailers. Getting the chance to see what certain performers and directors had coming up next; witnessing the artfulness of the preview itself, which has to build anticipation with three minutes of footage; experiencing that happy rush when an entire audience simultaneously reacts to a trailer with a feeling of "I can't wait to see that"? I ate it all up.

 

Eugene Levy and Catherine O'Hara in Best in ShowBEST IN SHOW

The genius of Christopher Guest lies in his belief that nothing is funnier than mediocrity. (He's the antithesis of Peter Shaffer's Salieri in Amadeus, who saw it as a tragic failure.) In his two finest cinematic efforts, This Is Spinal Tap and Waiting for Guffman, the performers examined in the "mockumentary" format - Tap's hard rockers and Guffman's thespians - were delightful because of their clueless self-satisfaction; they truly thought they were creating Art, or at least really kick-ass entertainment. And the joke blossomed every time we watched them perform their shows before audiences, because it turned out that these well-meaning hacks, while by no means terrific, weren't all that bad. They might have been lacking in talent, but their enthusiasm was infectious, and it made sense that their shows were hits. (God knows I've seen worse community-theatre productions than Guffman's Red, White, & Blaine.) Guest, who co-wrote both films and served as director for Guffman, was thereby able to poke fun at his characters and have you genuinely rooting for them at the same time.

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