So Long and Thanks for All the Fish. . .

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Ghost Town

"Ghost Town" is one of those minor miracle films that one who pays enough attention to film release schedules and box office grosses is always surprised to see pop up. For one thing, it's three main actors are somewhat well known, but none of them are major money makers-one of them is very famous in the United Kingdom, but not exactly at the pinnacle of fame in America. And it also is opening on a very crowded weekend for movies, and in the middle of September which is commonly a dumping ground for studios as they get ready for their big award pushers. So it was no surprise to me when Dreamworks decided to slash their release for "Ghost Town" a whole thousand screens, but it was a surprise to me when the film actually turned out to be very very good-a somewhat conventional romantic comedy formula that is elevated by three terrific performances. 

Ricky Gervais is known to some folks here, mostly as the creator of the British version of "The Office," and than a somewhat popular HBO show "Extras." Aside from a few bit parts in some American films-"Night at the Museum," and "For Your Consideration" off the top of my head-this is his first top billing role. He plays Bertram Pincus, a most unpleasant dentist who just wants to be left alone. When his fellow dentist comes in and tells him that the receptionist had a baby recently, Bertram gives a small smile, but soon runs away while everyone's back is turned. He is rude to nearly everyone. On the gurney for his colonoscopy, he comments on the entire lack of privacy, and how one of the doctors looks like he is "on a field trip to the hospital." While on the operating table he ends up dying for seven minutes, and when he is revived he discovers that he has the ability to see dead people. Not decayed and disturbing like the dead people in "The Sixth Sense," but looking quite like they did when they were alive-even wearing what they died in. He is annoyed by several of them asking him to complete some unfinished work, and this is where he meets Frank (Greg Kinnear). Frank died by getting hit by a bus, right after a phone call with his wife Gwen (Tea Leoni) where she discovered that he was having an affair. She is getting remarried to a bad man, and Frank wants Bertram to try and stop it-and if he does it, than all the dead people will stop bothering him. 

Gervais certainly isn't going very far from his bitter characters roots with this, but that is really what he knows. It certainly is a nice test to adjust him to American audiences, especially if he wants to be in future projects. He is very funny playing a character that wants to be anything but funny. Upon our first meeting with him-where he shoves some cotton into the mouth of a patient who will not shut up-we know exactly what type of character arc to expect from Bertram, but Gervais elevates this formulaic material into something much funnier and much more enjoyment. I was reminded of this year's "Smart People," which took a common mid-life crisis indie story and turned it into something much smarter. Gervais and the wonderful dry and sarcastic Tea Leoni have a few winning scenes together-and during the obvious "confession' scenes towards the end, work well to boost us out of some rather conventional moments. And lastly there is Greg Kinnear, who brings a surprising amount of poignancy to the role, as a man who is seeing all of his flaws too late. And what really adds to the surprise of this film is how under the radar these three actors are to the common audience. But it proves that to make a successful comedy one doesn't need to go straight to the common comedic choices-they just need to get good actors. Leoni has been very funny in films like "You Kill Me" or "Flirting with Disaster." Why isn't she ever given a chance to showcase these talents a bit more?

The script-written by David Koepp, oddly enough-does cover its familiar ground, but also has its charm and originality. I liked the concept of the living having unfinished business, and how that prevents the dead from being able to move on. It was a nice twist to the typical dead wanting their last say in things, which is actually something that really divided this film from "The Sixth Sense," which one must draw comparison to. Koepp's script does a good job balancing the comedy and the heart, which comes in during the second half, including a very sweet montage where Bertram finally begins to go about helping the dead folk. And Gervais manages the dramatic areas of the film well too, but never losing that charm that makes him such a good comedian. I was upset we never saw him kiss Leoni, just for my own personal curiosity of what it looks like for David Brent to kiss someone.

It's hard to write a lot for a film like "Ghost Town," which is just a pleasant, funny, and rather sweet trip to the movies. A comedy that is subtle with its jokes, rare for a movie getting a big release in an odd release schedule. It has its flaws, yes-mostly just the familiarity of the story. But its execution (no pun intended) is better than the average romantic comedy, and the performances penetrates the funny bone many times. I hope it has legs because its one of the better mainstream films that is around at the moment, and a great boost for Gervais as a leading man.

*** of ****

Towelhead

Alan Ball is one of those writers whom when mentioned one either shakes their head in disgust at his work, or finds him to be a complete genius. And then of course there are those that have no idea who he is, but those need not be mentioned. Simply put, they don't know what they're missing. Hopefully you know what a daring, lurid, and interesting writer Alan Ball is. He blew me away with his writing debut in 1999 with "American Beauty," and I really enjoyed his television show "Six Feet Under" earlier in the decade. Of course when I learned that he was not only writing a new film, but also making his directing debut, my interest was at its peak. And of course when this film was premiering at the 2007 Toronto Film Festival, which I was in attendance, I wanted to do everything that I could to get a ticket for it.

Truthfully I haven't actually seen "Towelhead." I saw "Nothing Is Private," the film under its original (and in my opinion, better) title, about a year ago, and the very first cut version. I heard that nothing has been cut or changed except for the opening credit, and if that is truth than I can safely say that this is one of the best films of the year. Here we have a film of such raw emotion and extreme edginess, but never seeming like it is exploiting its main character for the sake of controversy.

Here our main character is Jasira (played by nineteen year old Summer Bishil, who warrants and Oscar nomination but probably won't receive one). Jasira, thirteen, lives with her distant mother (Maria Bello). When her mother's boyfriend ends up shaving Jasira in a moment of weakness (down there. . .), she sends her to live with her father Rifat. Ball revisits themes that he knows here, sending Jasira to suburbia, where privacy is something that is hardly practiced. Her father disapproves of almost everything, refusing to allow her to go out with Thomas-a good kid in Jasira's school, but Rifat doesn't like the fact that he is black. He does approve of Jasira babysitting Zack, a boy next door that introduces her to the word Towelhead, which he learned from his father Mr. Vuoso (played perfectly by Aaron Eckhart.) Mr. Vuoso is an Army reservist, and classifies Rafit as a lover for Saddaam and everything that he stood for. The only person that seems to actually care about Jasira, and to make sure that she is able to live her life, is her next door neighbor, the very kind and every pregnant Melina (Toni Collette). But Jasira's young adult life is soon shattered by her advanced looks, her very unprivate life, and her interest in sex that is beyond her years.

Ball has a knack for showing us scenes, images, and concepts that would make the average viewer get a bit uncomfortable in their seats. However these are things that actually happen in reality, and that actually advance the plot and enhance the characters instead of having the viewer feel like he is exploiting them. This very personal look into Jasira's life-the start of her periods, her losing her virginity, her discovering masturbation-are probably things that we wouldn't want to see, but just highlight the unprivate nature of the films major theme. I am quite upset at the title change, and still have a hard time adjusting to it. In crafting these characters, Ball does sometimes go back to the classic suburban formula, and giving most of his characters a few over the top qualities. But at the same time he gives them an odd humanity, grounding the film into a more realistic tone than one may think. For example, Jasira's father is a racist and somewhat cruel person, but from time to time he would show a different side to himself, if not for a mere second. And then he will literally unredeem himself a moment later. Such is life. Such are people.

I mentioned Summer Bishil's performance already, which is raw and very mature for such a young actress. She will be forgotten by the Academy at year's end, which is a shame. If Ellen Page can get nominated for a good performance in "Juno," than surely Summer Bishil can get nominated for a great performance here, but I say that quite sarcastically. Alongside older and very talented actors like Eckhart, Bello, and Collette, Summer Bishil really does hold her own. Aaron Eckhart is one of those actors that can drift from playing a lovable character to a downright nasty villain (as ironically seen in "The Dark Knight," which I hadn't seen when I saw this film.) As Mr. Vuoso, there is a small amount of humanity in him, and Eckhart really manages to subtly bring it out in him, but for the most part he is a creep of a man. It is their scenes together that really were the films highlights-giving us a great balance of extreme seediness and extreme innocence, where one clearly overpowers the other.

As for Ball's direction-I hardly have any quips about it. There is a certain feeling of dread when a good writer ends up doing a directing debut. There is a feeling that he might end up putting more effort into one aspect than another. That was the problem with Mike White's debut "Year of the Dog," where instead of a directing style he just put his characters in the center of the screen-very uninspired and not very creative. But Ball does a few neat touches. I think it was a good move that he revisited themes that he did in the past, because it gave him a chance to get used to the directing gears for future projects, where I hope he does things a bit differently storywise. "Towelhead" is certainly an impressive debut for Ball, and it's sure to be one of my favorite films of the year.

**** of ****

Burn After Reading

It only took twenty years, and about a dozen terrific pictures, but the Coen Brothers have finally got into the more public spotlight, and the wide release and rather large box office take (their largest to date) for "Burn After Reading" is strong evidence of that. Perhaps now their films won't be released into the obscure only to appear on DVD a few months after their release. But it's clear that even after winning the Oscar last year for "No Country for Old Men" that the Coens are not crossing the line into the mainstream, and "Burn After Reading" is vintage Coens from beginning to end-from their classic low camera angles, to their "man at the desk" trademark that seems to appear in every film that they've ever done. 

I will be as quick as possible with the plot, as this is a film where the less you know the better. The film begins off in Langley, Virginia, where CIA analyst Osbourne Cox (John Malkovich, as sleazy and sardonic as ever) is released from his job (no reason is really given except that he has a drinking problem.) Telling his wife Katie (Tilda Swinton) that he quit, he begins to work on his memoirs. Katie is meanwhile having an affair with Harry (a bug-eyed anti-Cary Grant-esque George Clooney), who is also married but enjoys going to internet dating services to meet and lay women. His latest prey is Linda (Frances McDormand), who works at Hardbodies Fitness Center, along with Chad (a gleefully over the top Brad Pitt). It is here where the meat of the story comes into play. Katie wishes to divorce Osbourne and her divorce lawyer has her get a CD containing his financial statements. This CD ends up in the hands of Chad, who teams up with Linda to try and get some kind of blackmail reward for it, as they think it contains some truly secret information. Linda wants the money to pay for four plastic surgeries in her quest to "re-invent" herself. And its from here that the fates of these five characters, and a small handful of others, come together.

The real ingenious part of "Burn After Reading" is how the main catalyst for this story is a CD-ROM that really doesn't contain any type of important information. Nobody outside of Linda and Chad really have any reason to care about its contents. And this is why the real meat of the film is that nearly every character in this film is a complete idiot, leading to one of the most frustratedly brilliant third acts in the recent memory (aside from the nearly perfect third act of "In Bruges" from earlier this year.) And our ending is just as sudden as the one for "No Country for Old Men," but still on the most satisfactory note. We don't get big finales for all of the characters here, and the last scene starts without the audience knowing that this is the end, and it really hits the nail on the head for how insignificant this story is in the grand scheme of things, and it also features J.K. Simmons is one of his most memorable roles, despite the fact that he's only in two scenes throughout.

As for the performers, there is good work from everyone involved, though some better than others. I already noted J.K. Simmons as a highly memorable character, both in character and through quotes. The best of the ensemble is probably John Malkovich, who is great as the frustrated, confused, and rather sick Osbourne Cox. After that is Brad Pitt, who does get last billing but is as hilarious as ever. Pitt really does take advantage of his "pretty boy" looks, and turns them into one ingeniously witty character. Chad is a real fitness freak at heart, clad with his red gym outfit and his iPod strapped to his shoulder. Clooney and McDormand do some good work, and its fun to have the lead actress not be an icon of beauty, which is actually addressed in the film. And lastly Tilda Swinton is clearly having fun with her very cold and icy Katie Cox, who is ironically a children's doctor.

As for the Coens-I really don't think we have to worry about them falling into the mainstream after all of this attention they've gotten. They really do stick to their roots, and allow the average audience to get enjoyment out of it. This isn't the strongly over the top comedy the ads seem to make it out to be, but those who enjoy black comedy will get strong entertainment out of it. The Coens also keep their typical angles and styles. Their quick edits on conversations, as well as the abundance of low angles-we are always looking up at their characters. And lastly their classic "man at the desk" image, of a man of rather high stature being seen behind a desk, prominent on their throne of glory. In this case its clearly J.K. Simmons, but its such a repeated image in their films that it is always worth mentioning. They did stray away from their usual cinematographer, Roger Deakins, who was nominated last year for his work on "No Country," but he had commitment to another film-Deakins was missed, but the film looks as crisp and clear as ever. It is always amusing watching a Coen Brothers film in a packed theatre to catch audience reaction. It's very rare that the entire theatre erupts into laughter at the same time-rather we have scattered reactions, which really do show how many different crowds their brand of humor relates to. "Burn After Reading" is not their best film, but it is very funny, very entertaining, and a great antidote to the powerful dark "No Country for Old Men" last year.

***1/2 of ****

Mister Foe

I must admit I do not know much about Jamie Bell, a well received British actor who sparked interest when he appeared in 'Billy Elliot" in 2000. My only real exposure to him in a real leading role was in the Lars von Trier penned "Dear Wendy," a film I liked but did not have many comments regarding the young Bell. And now he appears in "Mister Foe," given a very depth-filled role in a very memorable little film. "Mister Foe" is a very gentle and well acted drama, which could have went a very different direction in terms of execution. Made in the United Kingdom, I have a feeling that had it been made in the United States, or in the hands of a more incompetent director, "Mister Foe" could have gone a more quirky and generic indie route. The eccentricities of its main characters are treated in a very human and natural way, instead of using them for cheap laughs or unnecessary comedy. And this is done, not only through the very realistic screenplay, but also the natural performances by the entire cast.

Bell plays Hallam Foe, who spends his days and nights spying on various members of his family and his neighborhood. Obsessed with his dead mother, whose photo appears very large on the wall of his treehouse, Hallam spies on his stepmother Verity, and his father Julius (Ciaran Hinds). His mother reportedly drowned after taking a large dosage of sleeping pills, but Hallam is convinced that Verity had some part in the wicked deed. He only makes appearances during meal times, where Verity has to go outside of the Foe estate and call for him on a large bullhorn. Both Julius and Verity agree that Hallam should grow up and leave home, and idea that Hallam greets with much negativity. That is until he is walking down the streets and spots a young woman that looks just like his mother. He follows her into a hotel, where he asks for and receives a job washing dishes. He befriends the look-a-like, named Kate, and soon does not return home. Instead he follows her, and makes a small room in a shack overlooking her window, where he watches he have an affair with a married man. But soon him and Kate's friendship takes a much darker, romantic turn, confronting Hallam with an Oedipal crisis and risking his natural routine.

Bell does a really great job here, channeling some of the more classic "angry young man" films of the 60's and the 70's, such as "Alfie" or "Saturday Night and Sunday Morning." We follow him throughout the film, from a very observatory standpoint. From the opening shots, done with a shaking camera and only a few feet away from his face. Our relationship with him is abruptly forced on us, but it ends up being quite a welcome one. And we watch him go about his business, slowly. We see him go about his spying or his regular routines as if plot and story doesn't matter. It probably takes about thirty minutes before Kate is even introduced. As Kate, Sophia Myles (who probably is best known for her turn in the other stalker main character film "Art School Confidential") is cute and charming, and her on-screen chemistry with Bell is very engaging. It is a role that could possibly become a bit creepy-after all, Kate and Hallam have a relationship that is based on a common look to his mother, and when they become intimate it manages to be sweet and not disturbing. 

Along with the Kate/Hallam relationship, there is a much more subtle and much briefer relationship subplot between Hallam and his father, which bookends the films but ends up being quite the core of the film, especially in the next to final scene, where the true revelations of the death of Hallam's mother come to light. It is a very dark scene, both in tone and visuals, but is a poignant finish to the bulk of the films conflicts. As I mentioned, the film manages to avoid being a comedy through the eccentricities of its characters-from example. Hallam's fetish for following people makes for some minor light comedy, especially in the beginning, but it never goes over board to poke fun at it. In addition, we see Kate as a very troubled young woman, and not as a over the top character that many indie film protagonists manage to fall in love with-such as "Garden State" or "Eternal Sunshine of the Spotless Mind"-two fine films, but had "Mister Foe" gone into that territory it would have been a very dangerous thing. The Verity character, played by Claire Forlani who disappeared for a while after the late 90's, is also given more dimensions than just the goldigger stepmother cliche that we have seen many times before.

It is these unconventional moves that bring "Mister Foe" out of the standard independent film formula, and along with some very good performances by the entire cast it makes for quite a nice light drama. Hallam is a very likable character, and none of the films subplots ended up weighing the film down. Moving from the personal storyline, to the love story, to the family story with great ease and careful pacing, "Mister Foe" has enough going on to keep the viewer consistently involved, and Hallam Foe stays with the viewer long after the final black out. It's a good little movie that will easily be dregged down with the early Oscar contenders coming out in the next few weeks.

*** of ****

Traitor

"Traitor" is one of those good films that makes a quiet opening during an off-movie season (in this case, one of the last few days of August). And it performs decently at the box office, before disappearing out of the theaters and then popping up a few months later on DVD. It's a sad fact that films like "Traitor" appear as counter programming to garbage films that young audiences would eat up (in this case, "Babylon A.D." or "Disaster Movie,") but this is why film critics enjoy their jobs-because from time to time they will be saved from trash with something worthy like this one. I am assuming that "Traitor" is trying to go down a similar path as "The Constant Gardener," which managed to find an audience after being released on the final day of August three years ago. And based on its first weekend box office, it might not do as bad as I had assumed. 

It could be the face of Don Cheadle, plastered on all of the posters and television spots, that could get people out. I don't exactly understand why Don Cheadle doesn't have a bigger career than he does. He's been nominated for an Oscar, people know his name, he headlines films all the time. He's one of those actors who goes off the radar for a bit, and than he'll be in a film and quietly blow me away (like in last summer's "Talk to Me," which deserved an acting nomination for him.) Here he plays Samir Horn, who is blamed for a few explosions and bombings in Yemen by Roy Clayton (Guy Pearce) and his partner Max Archer. I will warn readers from here on there are a few minor spoilers for the film, but only revelations within the first forty five minutes of the movie. I went into the film quite blindly, so everything was really a surprise for me. Samir ends up escaping from Clayton's custody, and runs off with Omar. Clayton discovers that Samir was once involved with the FBI. Samir and Omar then join a group of terrorists, using Samir's explosives expertise as a way to get them to bomb embassies in London. A cat and mouse chase ensures between Clayton and Samir, leading up to a massive terrorist attack where Samir and company plan on blowing up thirty buses in various locations around the world all at the same time. But there is also a slim chance that Samir might be actually working with the FBI, under Carter (Jeff Daniels, in a cameo appearance despite heavily appearing on all the advertisements), the only person that knows his true identity.

These cat and mouse films have been made several times in the past (I think I am mostly reminded of "Catch a Fire" as the most recent entry in this type of film), but its the execution of "Traitor" that really elevates the material from typical standard political thriller. The film flows along at such a natural pace that at times its almost as if there wasn't even a script. Cheadle plays most of the emotion through his face, which in certain scenes seem to contain all of the pain and sadness that Samir is clearly going through-having to leave his girlfriend, job, and identity behind as he emerges deep undercover. And even if he isn't undercover there is still a kind of pain in him and he struggles with what he is doing. When he blows up the London embassy he hears on the news that eight people were killed. "8?!" he cries out. When asked why he's upset, he stumbles out "I would have thought it would be more." Scenes with no dialogue are carried by Cheadles ability to contort his face to always have the audience see the layers behind Samir.  Side work by Jeff Daniels and Guy Pearce is both good. I wish Daniels would have had more screen time, as his performance contained some layers to his character that weren't quite there. Perhaps there was something cut out of the final film-some more backstory between his relationship with Samir-that we won't be able to see. It really is just more backup to the fact that Jeff Daniels is a fine actor, even in small plot moving characters such as Carter. I really don't have much to say about Guy Pearce. He isn't one of my favorite actors around, but when he does a movie I have no objection to him normally. 

The whole movie really does work together in terms of suspense. From the opening explosion, across the world as we follow Samir, Cheadle's performance works with the technical work around it. The intense score really does fit well. The shots are short, but never headache inducing-all of the action portions are edited to where we can actually see what is going on. And the script (which is based on a story that was presented by Steve Martin, which made me leave the theatre in shock), is smart enough to leave plenty of suspense even after twists are called out. I never actually felt like I was one step ahead of Samir or Clayton, and when the final twist presents itself I actually laughed out loud by how clever I found it. And the ending scene does not get as preachy as it could have, giving Cheadle the final line that could have been a long winded speech had this been a different type of movie. "Traitor" is a damn good suspense film, centered by a fine performance by Don Cheadle, who can take as long a break as he wants in between projects, as long as he keeps delivering the goods.

*** of ****

Hamlet 2

When I first read an article about "Hamlet 2" back in January when it premiered at the Sundance Film Festival I was instantly attracted to its title. A musical sequel to Hamlet? What fun! And then I read that Steve Coogan was the star, a British actor that I have enjoyed for a few years ever since I saw his short with Alfred Molina in "Coffee and Cigarettes." Both of these forces merged to form some kind of anticipation from me. Sadly "Hamlet 2" was not the comedy masterpiece that I had hoped for, but it is certainly an entertaining film, and a nice ending for the summer movie season. It also completes the quartet of R-rated comedies of "Step Brothers," "Pineapple Express," and "Tropic Thunder." I'm a bit pleased with Focus Features for giving it a moderately wide release (and failing, sadly), as it might give Coogan some kind of notice in America along with his memorably explosive appearance in "Tropic Thunder." 

Coogan plays Dana Marschz, a failed actor who worked in commercials for awful products ("I'm having a herpes outbreak. Right now. . .but you'd never know it. Thanks Herpicol!") After not getting work for a while he became a high school drama teacher is Tucson, Arizona, where dreams go to die. The drama elective isn't very popular, and every year Dana takes a popular movie and writes parts for his two "suck ups" Rand (whose sexuality is often called into question) and Epiphany. Every year the play is panned in the school paper by Noah Sapperstein, whose small size isn't a problem with Dana goes to him for advice. This year Dana learns two things. One, that many of the other electives have been cancelled, causing two dozen minorities to be forced to take drama. And two, that this is the final year of drama, as budget cuts are causing it to be cancelled. Noah tells the desperate Dana to put on the best play he possibly could, and Dana finished with Hamlet 2, a musical sequel to the Shakespeare play which is really a metaphor for his relationship with his father. Everyone basically agrees it is a terrible idea, especially since nearly every single major characters dies at the end of the original play.

In the play, Hamlet has a time machine which he uses, along with the help of Jesus Christ, to go back in time and save those he loves. But its the un-PC content within the story that end up causing the problems, and not the fact that Dana is touching what is considered to be the greatest play ever written. Its the fact that Jesus is considered to be a stud muffin who turns on all the girls (leading into the plays musical number "Rock Me Sexy, Jesus"). It's the fact that Satan is French kissing the President. And its the opening scene, where Hamlet, Jesus, and Hilary Clinton all come out of the time machine having some kind of a three way. This leads to the interference of Cricket Feldstein (Amy Poehler), who is hired to ensure that Hamlet 2 ends up getting performed, as the entire town is suddenly in an uproar over its content.

Steve Coogan is very funny as Dana, and he goes appropriately over the top in the role. His facial expressions and his excitement about acting and Hollywood that are impossible not to laugh at. Especially when he encounters Elisabeth Shue, who has quit acting and decided to take up nursing. And it also happens to be that Elisabeth Shue is Dana's favorite actress of all time. But it is clear that Coogan put an extreme amount of energy into the part, and it really does show. He carries the film for its first two thirds, and than the final act (which is pretty much the play itself) is quite funny unto itself strictly through concept. 

The first hour is loaded with flaws, many of which I was able to see past simply because the film was extremely entertaining. One of these is the mention of Dana's home life, and his marriage to Brie (Catherine Kenner) and them having a roommate, Gary (David Arquette.) Kenner is her usual caustic and witty self, but her character is somewhat not needed, sans for the scene where she leaves Dana-the films only foray into seriousness. It is this serious scene that ends up making the performance of Hamlet 2 more than a completely random and insane segment, and we can understand how troubled Dana was in the past. Arquette is completely useless, and he is actually given a role where he really doesn't need to do much other than just stand there in the corner and be silent. I did like the nabs the film made towards the inspirational teacher genre, which Dana is always trying to be, citing films like "Dead Poets Society" or "Mr. Holland's Opus." And how the tough kid in the class (Octavio, who for most of the film Dana thinks is named Heywood Kablowme) comes from a very intelligent family and has gained early acceptance to Brown. It's small moments of brilliance mildly scattered about the first hour that held the film together along with Coogan's performance. Not all the jokes here are winners, and at times it gets a bit to slapsticky for the material, but it does hold attention.

Also to note, the film does not only get better written as it moves along, with after the first fifty minutes it feels like its in the hands of a different director. In the first half we get quite a bit of short shots, framed with a single persons head in the shot, very much like a sitcom. It isn't until the play gets put into motion does director Andrew Fleming play around with tracking shots (for which there are quite a few during a choral version of "Maniac") and more trickier images. It just becomes a much better film as it moves along, although I wish the final scene had a more stronger punch (despite ending in the most sensible way I can imagine). But all in all, despite many imperfections "Hamlet 2" is an entertaining comedy, and hopefully will be a vehicle for Coogan to get more notice in the U.S. 

*** of ****