THE OVERNIGHT
Even with a goatee, Adam Scott has such a sweet baby face, and can exude such endearing boyishness, that when you see him in an early playground scene in his latest film, you're half-surprised that a more towering adult isn't pushing him on a swing. Yet longtime fans know that Scott also possesses a canny understanding of how to employ his naturally guileless countenance for tension (as in the 2002 thriller High Crimes) or melancholy (HBO's sadly ignored Tell Me You Love Me) or acerbic wit (Party Down, Parks & Recreation, and numerous et ceteras). And that chameleon-ic talent makes him perhaps perfectly cast in the new comedy The Overnight, writer/director Patrick Brice's three-quarters-successful chronicling of an alternately invigorating and deeply uncomfortable grown-up sleepover.
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Seth MacFarlane, I thought, did a fine job hosting the 85th Academy Awards ceremony. He turned out to be a fine choice for the frequently thankless Oscar-emcee position, tossing in some fine jokes in between the generally fine production numbers and mostly fine acceptance speeches ... .
SILVER LININGS PLAYBOOK
WATER FOR ELEPHANTS
(The following is Mike Schulz's interview with Curtainbox Theatre Company co-founder Kyle Bornheimer, written for the area organization's Web site
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INGLOURIOUS BASTERDS








