This month’s movie review includes: Doubt, Bedtime Stories, Hancock & Ghost Town. Feel free to comment and let us know what you think…
Doubt
Directed by John Patrick Shanley; 2008
THE BEST PART of “Doubt” has to be the taut, rigorously rich writing of John Patrick Shanley, which carries the film from scene to scene with graceful impact and unadulterated focus, and without ever using the word “molestation.” The term’s absence protects the story — about an otherwise exceptional priest’s devious transgressions and a seemingly icy nun’s devotion to his impeachment — from trivialization and politicization. It keeps it real, personal, and as heart-achingly disturbing as it should be. We don’t learn anything new about the Catholic Church’s most infamous scandal, but perhaps for the first time, we feel deep in our bones how tragic, how deeply contemptuous, it is. Shanley’s fiction — as illustrated through impeccable on-screen performances by Meryl Streep, Phillip Seymour Hoffman and Amy Adams — drives home the sad message that in a cruel world, doubt may be our only hope. THE BIGGEST PROBLEM with “Doubt” is that it might be a touch too much of a “play on screen” than a “movie” for some audiences and Oscar voters. If any film could get unfairly snubbed in the box office or by the academy, this is it. My vote? Best Picture, hands down.
Bedtime Stories
Directed by Adam Shankman; 2008
THE BEST PART of “Bedtime Stories” is its playfulness, which is reminiscent of “Enchanted” (though never as precious) and “Finding Neverland” (with none of its beauty). Adam Sandler reprises his role as crass yet sweet, good-hearted yet self-indulgent, semi-jackass, semi-heroic everydude, and does it with the same comedic charm to which we’re accustomed. With the help of Keri Russell, Courteney Cox, Russell Brand, and a couple of super adorable kids, he takes us on a wistful, preposterous and touching journey through a series of impromptu bedtime stories that come true in unexpected ways. The gags range from kid-friendly slapstick to adult-oriented innuendo, pretty much all of them funny. Of special interest to fans of “Happy Madison” fare (if you are, you know what this means): Rob Schneider makes a ridiculously hilarious cameo appearance. Worth seeing just for this. THE BIGGEST PROBLEM with “Bedtime Stories”? Well, it has one of those predictable, formulaic plots that rely on a clichéd relationship conflict to carry it through to the final act. The whole “gal is led to believe something untrue about guy so she suddenly hates him and he has to win her back” thing is fine for “Full House” reruns, but let’s get this crutch out of major motion pictures.
Hancock
Directed by Peter Berg; 2008
THE BEST PART of “Hancock” is that, however flawed, it manages to create a pretty decent new superhero. Played by the ever-likable Will Smith, the invincible flying Hancock has the necessary character flaws — he drinks, swears and is kind of a jerk — and the required mortal weakness. It’s even pretty unique. Hancock’s Achilles heel, his kryptonite, is a person, a divine soulmate, a female counterpart, the yin to his wang — er, 
yang. She’s super too, perhaps even more so, but when they get together (and since they are eternally, cosmically drawn to one another, they can’t wholly avoid it), they lose their powers and become, in ways they previously weren’t, human. THE BIGGEST PROBLEM with “Hancock,” though, is what it doesn’t have — what HE doesn’t have — and that’s a villain. The movie tries to establish an evil, omnipresent “they” — you know, the everyday murderous bad guys that plague all of time and every place — but doesn’t follow through. Instead, we get some wacko and a few idiot thugs. Sorry, but rising crime rate isn’t enough of an impending doom to justify a superhero. “Hancock II” needs to give Hancock an arch nemesis.
Ghost Town
Directed by David Koepp; 2008
THE BEST PART of “Ghost Town” is that it never falters in its ability to balance contemporary, character-driven romantic comedy with impossible fantasy. It could cross the line between unbelievable and ridiculous; it doesn’t. It could rely on visual gags or goofy “ghosts causing mischief” humor; it doesn’t. It could apologize for the unlikeliness of its premise; no — it commits, follows through, and achieves. Yes, we’ve seen humans helping ghosts find peace in the movies before, but never like this. It’s nothing like “A Christmas Carol,” or the early nineties “Ghost” or “Ghost Dad.” No, “Ghost Town” is more like a less-dramatic, slightly sillier “As Good As it Gets.” It’s about a guy who’s given up until circumstances beyond his control connect him with the right woman, who in turn makes him want to be a better man. Ricky Gervais shines in the role; his comedic timing and ability to pull off disgruntled, annoyed and impatient are noteworthy. THE BIGGEST PROBLEM with “Ghost Town” is that it might be a tad too subtle. Here and there, Ricky does something hilarious, but tiny. A glance. A mumbled line. A gesture. Fans will look for this stuff, but everyday moviegoers might miss it, and that’s a shame. “Ghost Town” is a really funny, really great movie that a lot of people might think is just okay.
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