CLOUDY WITH A CHANCE OF MEATBALLS 2: A FEAST FOR THE EYES

I didn't get a chance to see the first film in this series (I'm assuming more will come) but I did know enough to know what it was about. So walking into this one didn't leave me wondering for the first 20 minutes what was going on. It also helped that they sort of give you an idea from the start as well.

The folks of Swallow Falls have been relocated while a clean up of their food filled city is underway. Hero/inventor Flint Lockwood, the man who created the machine that turned items into food, now works at The Live Corp Company, owned and operated by his hero, Chester V, and responsible for the town's cleanup. There he will work alongside some of he greatest minds in the world creating all sorts of wonderful things. Or so he thinks.

One of Flint's first assignments is to return home to not only clean up the problem there but to find his original invention. It seems that it not only has created food from the skies but has also begun turning food into living beings. Not the hamburgers from cows sort but living breathing combinations of food stuffs into new creatures. In so doing Chester V also puts a wedge between Flint and his friends, something we know will eventually be corrected and at which point our unknowing hero will realize was a mistake as he uses them to help save the world. Yes it seems that Chester V actually has evil plans in store for Flint's invention and Flint and the gang must unite to put a stop to said plans.

Really the movie boils down to a simple story and that actually works in its favor. Rather than overcomplicate things it makes the movie easy for both kids and inattentive parents to follow. The real treat here is the visual imagery that is on display. The animation is fantastic (even though I'm not a huge CGI animation fan) and the colors on display make you ooo and aahh about once per minute. The combining of food into animals is amazingly inventive and works well within the guidelines of the story.

But the true test of how good a kid's film is lies in its ability to not only take us somewhere we've never been before but to make us want to visit it again and again. For myself I found the world presented here one that I'd love to see over and over again. Keeping it fresh will be the hardest part. Keeping it a feast for the eyes the easiest. In the end both kids and adults will find this one a movie worth adding to the collection.

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WHO IS HARRY KELLERMAN AND WHY IS HE SAYING THOSE TERRIBLE THINGS ABOUT ME? : DATED AT BEST

There are some movies that prove that no matter how talented the actor seen front and center may be they can't always save the movie they are in. Those moments also make you wonder what that actor was thinking when they signed on to make that particular movie. Such is the case with Dustin Hoffman in this movie.

The story centers around George Soloway (Hoffman), a pop songwriter who has trouble connecting with anyone on a personal level. Sure he may go through the motions but does he really love anyone other than himself? For that matter does he even love himself? Moving in and out of fantasy and reality, we get to see this tormented artists try and reconcile his life and the changes that superstardom results in. I have a hard time dealing with people talking about tormented artists having lived through hearing about people actually tortured in various wars in my lifetime.

As George lives his life and worries about his own existence and stardom someone is trying to mess with that same life, the title character of Harry Kellerman. There are hints as to who he might be that are muddled at best and misleading at worst, but in the end it makes sense as to just who this culprit is. The problem is as disjointed as this film is by that time you find yourself not caring.

This is one of those movies that fans call ahead of it's time and art but in the end are just confusing and boring. They will tell you how wonderful it was to see a film with a disjointed timeline or that doesn't use the standard narrative structure. When I read reviews like that it usually says to me "I don't get what the heck is going on here but I don't want to appear unintelligent so I'll heap more praise and follow the rest of the lemmings".

I would say that Hoffman does do a great job of acting here even if the end result is boring but that might make someone think it was worth watching. Perhaps if you were a die hard Hoffman fan that might make it worthwhile. I thought that the movie was pretentious and more than that put on display an example of the worst of the time period it was made. There are some movies that when you watch them you can immediately narrow down the decade it was filmed in and when they're really bad you can almost note the year. This is one of those films. 1971 never looked worse for movies than this one.

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THE MONUMENTS MEN: THE IMPORTANCE OF HISTORY

We live in a throw away society, a world where everything is expendable and ready to be tossed aside once we've finished with it. Kids today seem only interested in themselves and what's going on in the present, never caring what happened before they were born. The saddest part of this is the fact that in being this way they never expose themselves to some of the greatest things in the world, everything from classic novels to pieces of art that have survived centuries. With any luck a few of them will watch THE MONUMENTS MEN and consider doing so.

George Clooney stars as Frank Stokes, a military officer in World War II who presents a case to President Roosevelt about the famous works found in museums in Europe. In this presentation he shows Roosevelt famous pieces of art that have gone missing, supposedly taken by Hitler to be put on display when he wins the war in a specially built structure. That is if he doesn't damage them first or if the allies don't damage them while fighting battles from one town to the next. Stokes request is that a special select group of men work to save these pieces of art before they are all destroyed. Given the go ahead, he assembles his team.

The team is small. There aren't that many people qualified or willing to be a part. Each has their own role to play in helping with this seemingly impossible task. Included in the group are James Granger (Matt Damon), Richard Campbell (Bill Murray), Walter Garfield (John Goodman), Jean Claude Clermont (Jean Dujardin), Preston Savitz (Bob Balaban) and Donald Jeffries (Hugh Bonneville). These are the Monuments men, the elite group that sets out to fulfill the task Stokes has set forth. Granger is sent undercover to find out as much information as he can concerning the whereabouts of artwork stolen in France. The rest are split into teams and sent searching for other various artifacts.

Using various methods they accumulate enough knowledge that they discover a pattern used in the transport of these works of art. It appears that each location on the map they point out with the clues presented there are underground mines where the art has been stored, at least in part. As the troops move forward, the team accompanies them in an attempt to fulfill their mission. Placing their lives in danger, not all will come home, but each will play his part in this truly historic mission.

This gives you the basic idea of what the movie is about. What it doesn't do is show the admiration these men had for not just the task at hand but the items they were sent to save. While some might find a Rembrandt of a museum quality piece of artwork in a foreign church boring, these men look upon each with reverence and respect. The military might see their job as unworthy of their efforts but a twist results in them finding more than they bargained for.

Based on the true story of this team the movie offers it all. There is plenty of camaraderie among the team, an affection that develops between them as they move forward. There is the awe that each one inspires with the items they find. There is humor in various moments where things can be light hearted. And there is tragedy as some fall to the enemy.

What makes this movie important though is to consider what it was they actually accomplished. To think that some of these pieces might have disappeared (which some actually did) makes their story one of success where few thought it could happen. That they were able to rescue as much as they did is an amazing feat and one that should be lauded. I found it amazing that it took this long for their story to be told.

The movie offers not just great entertainment but a piece of history that all should be made aware of. It's a film that young people should see to realize that there was a world out there before they were born and that many things they take for granted could simply have not been there if not for the efforts of people like this. Ipads, Ipods and Facebook are all great things but not near as great as what these people saved. It would be nice to know that at least a few people in the world appreciate the work that they did. Hopefully young people will find enough interest to watch this movie and feel a bit of that.

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ART OF THE STEAL: ART FOR THE TAKING

Movies about criminals have fascinated movie goers for decades. Consider the typical heist films of the past like THE ASPHALT JUNGLE (1950), TOPKAPI (1964) and both versions of THE THOMAS CROWN AFFAIR (1968 & 1999). All were heist films that had you rooting for the criminals to get away. It was the story and performances that made them interesting, showing how these thieves would go about stealing whatever precious object they had set as their goals. Now comes THE ART OF THE STEAL, a new heist film that starts off meek and ends with a flourish.

Kurt Russell is Crunch Calhoun, a driver for a crew of art thieves who starts the film being sent to prison in Poland after a job goes south. He should have been free but his brother Nicky (Matt Dillon) sold him out to the cops so he could skate free. After 5 and a half years (time off for good behavior), Crunch is out of prison and has gone straight. He now jumps cars on his motorcycle, occasionally taking a fall for a set fee. Living with Crunch are his wife Lola (Kathryn Winnick) and his sidekick Francie (Jay Baruchel).

A phone call has Crunch back in touch with his old crew led by Nicky. The old contractor in their crew has been informed by a collector that there is an item to be stolen that he will pay top dollar for. Rather than a piece of art like they've stolen in the past, this is a rare book printed by Gutenberg right after he printed the Bible. The Book of James is a piece that exists but has been stolen and replaced by a forgery. Unfortunately the thief transporting the book was caught and arrested and the book impounded by the border patrol at Niagara Falls. All they have to do is steal it within 3 days from the impound, a well monitored, well guarded facility.

Crunch comes up with a plan that might work but Nicky finds flaws in it. Instead he comes up with a different plan that will incorporate some of Crunch's ideas instead. The team sets about putting the plan into motion which involves a hilarious piece of art that has to be seen to be believed. Once they piece is taken things should progress to an exchange for cash and the movie end, right? Not this time.

All of this takes place in the first half of the film. What happens from their turns the heist into something else altogether different. Sure, their will be an exchange and money to be made. But is this heist the last one of the film? Or is something else going on here?

The movie opens nicely, setting the stage for the heist that follows. It also puts into play a number of things that will tie into it all including a goofy Interpol agent who uses an art thief arrested in the past to help him, played by Terence Stamp. As the film progresses it offers a nice combination of suspense and humor that works well for all involved. There is no character that doesn't have their chance to shine in the limelight here. Each brings to their part nuances that make them their own. I've always thought Russell was an overlooked marvel in his films and this proves that he still has what it takes. I stated in another review that Matt Dillon has become a better actor than anyone could have imagined years ago. The rest all turn in performances that match these two and make it a definite ensemble piece.

As the film progresses from the start though it feels like it might not be the best thing since sliced bread. But by the last reel you'll discover that it is one of the best heist films ever made. It brings something new to the table that differentiates it from the rest. And best of all it entertains from start to finish.

Thirty minutes in I thought it was a good movie that I probably wouldn't want to keep and watch again. By the end of the film I had changed my mind. It was that good. So if you're willing to take a gamble on a crime film, then make sure you give this one a watch. I'm guessing it will be on your list of movies to recommend as well as it is on mine.

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I, FRANKENSTEIN: FRANKENSTEIN, DEMONS AND ANGELS OH MY!

I've admitted on more than one occasion that I am a horror film fan. True horror fans love nearly every horror film made, the bad as well as the good. Truth be told the majority of those films fall somewhere in the middle, never quite reaching classic status but rarely being so bad as to be putrid. So when you find one that sits in the middle but teeters toward the good side it's a joy. I, FRANKENSTEIN falls into that category.

The film opens with a retelling of the Frankenstein tale as told by the creature (Aaron Eckhart) to the point of his creator dying of cold at the North Pole. The creature returns his body to his homeland and buries him. Before leaving the graveyard he is attacked by demons. Saving the creature from their attack are the gargoyles. A nice twist on the concept of appearance is that the demons look like humans and the gargoyles are actually angles sent to protect mankind. They offer to protect him, going so far as to give him a name (Adam), but he turns them down, accepts the weapons they provide him and wanders the Earth for the next 200 years.

During that time Adam finds himself fighting off demons with greater frequency until he is finally drawn back to where it all began, where he was given a chance at redemption. Why is it the demons are searching for Adam? What is it they could want?

The story unfolds in bits and pieces, details of which I won't share here. Suffice to say that the lead demon (Bill Nighy) needs either Adam or the book written by Frankenstein himself which explains how he was able to re-animate the corpses he sewed together. It seems that Nighy is funding research on bringing back the dead for supposed scientific purposes. Face it; we all know this won't end well. The truth lies in the fact that Nighy is the lead demon and his real reasons won't be revealed early on.

You know from the earliest moments in the film that an eventual beat down between the demons and gargoyles will happen before the film ends. You also get the idea that Adam will be caught in the middle of it all and will be taking out as many demons as he possibly can during that battle. But will he and the gargoyles succeed or will the demons win this battle? And what is their ultimate reason for seeking to re-animate the dead?

All questions are answered by the end of the movie. It is the journey to that point that is enjoyable.  I've seen numerous reviews slam this movie as having the worst twist on the Frankenstein creature ever filmed but I have to disagree. With so many standard versions having been made it was nice to see a different direction taken for once. Most importantly with this twist is the discussion rarely held about the creature, the discussion of his having a soul or not. Does he or doesn't he? And if he doesn't is that something that can be changed?

In such wild roles you would think actors would come off as over the top, but that's not the case here. Each and every one makes their character believable, not and easy task with this material. To help them along an extreme use of CGI (computer generated images) are used to make both demons and gargoyles seem alive on screen.

Brought to you by the same people responsible for the UNDERWORLD series of films, this movie looks a lot like those with vampires and werewolves replaced by demons and gargoyles. It has that same blue tint to nearly the entire film and given that Nighy was in the earlier series there are moment you could see it as just another episode. But the change in creatures helps alter that a bit.

Is this the greatest thing since sliced bread? By all means no. But it does offer a brief entertainment that will have you rooting for the creature and enjoying some fantastic special effects. It's one I've thought I might continue to enjoy in the future. It all depends on your likes and dislikes. For me it was worth watching.

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VAMPIRE ACADEMY: A VAMPIRE MOVIE THAT SUCKS

Perhaps it's due to my age but I honestly am tiring of the teen movies coming out these days. Even in my twenties I enjoyed the films about that age group better than what's coming out now. Movies like THE BREAKFAST CLUB and even SIXTEEN CANDLES told us more about the teens of the day and their problems than this new crop has done. Today it seems that teens can't face normal problems so we place them in danger via vampires or twisted tales of the future. Of the lot only the HUNGER GAMES films have proven worthwhile. Now we have VAMPIRE ACADEMY, based on the best selling series meant for teens. Even that bothers me knowing that teens would rather read this than things more worthwhile.

The story revolves around two friends involved at the Vladamir Academy, the titular location referred to in the title. They live in a world where there is a certain order to vampires. First off is the Moroi, the good vampires, nobles who feed off of willing donors but do not turn them. The Moroi are practitioners of magic involving the elements. They also age and die eventually and aren't as apt to suffer at things like the sun or other folk legends.

Those that do suffer from those maladies are known as the Strigoi. These are ex-Moroi who have drained a human being completely thus turning themselves into savage blood draining killers. These are the vampires that we have come to fear. They do avoid the sun and can only be killed with a silver stake through the heart.

Lastly there are the Dhampir. These are the offspring of a unification of human and Moroi. The Damphir are raised to protect the Moroi from any evil that might befall them, especially attacks from the Strigoi who seem determined to wipe out all traces of the civilized vampire sect.

Now you have the history of the cast of characters in this movie. It's told via narration through Rose (Zoey Deutch), a Dhampir whose best friend also happens to be the next in line for the crown, Lissa Dragomir (Lucy Fry). Not only are the best friends but the two start the movie on the run, having escaped from the Academy. Somewhere along the line they've become bonded and Rose has the ability at times to see through the eyes of Lissa. They're caught and brought home by Dimitri, the best Dhampir, and his crew. Before entering the Academy they are attacked but survive.

Once they are home the headmistress of the school chastises them for leaving and placing Lissa in great danger. But she's not the worst problem they face. They now have to return to high school and all that entails, including a young Moroi named Mia who has stolen Lissa's old boyfriend and has now set out to destroy Lissa and Rose's reputations. It's cat fight time at school!

As all of this unfolds Rose goes into heavy duty training as a Dhampir. At present she's only a novice, now the time has come for serious training. Between her psychic connection to Lissa and seeing things going on in her life and her attraction to her teacher Dimitri, this isn't going to be easy. It becomes more difficult when strange things begin happening at the school to Lissa including finding dead animals hanging from her door. Someone seems to have their eye set on something dreadful happening to Lissa and now it's up to Rose to find out who.

There were too many things I didn't like about this movie to single one out as the worst. The acting was so-so at best. Even Gabriel Byrne as an aging Moroi doesn't come off well. The sets of the film feel fake at every moment. It's as if any blade of grass was astro turf and all the walls look like stage sets from a high school production.

Perhaps the worst part of this for me was the story itself. It feels so borrowed, so un-fresh as to be spoiled.  The entire story feels as if a number of other teen centered concepts were placed into a blender and turned on high. From TWILIGHT we have vampires, from HARRY POTTER we have a school and from CLUELESS we have the teen girls banding together to take on a common enemy. To think that this has yielded not one but several books frightens me.

The movie ends with a set up for a sequel but I found myself hoping that they didn't make the attempt. I wouldn't want to watch this movie again let alone a sequel. That's saying something because I've always felt that while a first film set up a universe the second always expanded on it. I have no desire to see this one expanded. I don't even think I'll watch this one a second time.

Perhaps, as I said at the start, it has something to do with my age. Maybe if I were a teenage girl this movie would hold some sort of attraction for me. Then again the box office numbers for this movie were so distant from that of TWILIGHT that maybe we're in luck and this will be the one and only film those few fans will have.

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REEL ZOMBIES: FICTION BECOMES REALITY

There have been tons of found footage movies made in the wake of THE BLAIR WITCH PROJECT. Some have been good, some mediocre and a large number terrible. So when you read on a label or description of a film that you're going to be watching one a mind set kicks in that says the odds are against it being good. It's always a surprise and treat when it is.

REEL ZOMBIES takes the found footage format, combines it with a behind the scenes making of documentary and comes up with something original and entertaining. I will say that at first I found the movie a tad slow and uninspired, but the more I watched and considered the theme the better it got.

The story we have here is that the zombie apocalypse has actually occurred. People are doing their best to survive and for the most part it isn't as dreadful as portrayed in most films. Among those who are doing fine Mike and David, the producer and director of a series of zombie flicks made pre-apocalypse. While ZOMBIE NIGHT 1 and 2 didn't fare well at the box office, these low budget film makers plug away with the hopes that theaters will one day be open again and searching for product. Since many of the major studios have fallen, these guerilla film makers have the chance to produce product that they think will be in demand.

What better type of movie to make then than a zombie flick! Especially since the needed effects and make up on the zombies are no longer an issue. Rather than hire actors to play those parts they hire a zombie wrangler to handle the zombies and intend to shoot in as safe a condition as possible. They also gather together a number of the crew that they've used in the past, all still apparently safe after the reality of zombies came into existence.

Hiring actors is easy as well with the studios no longer around and actors looking for work. One of the funniest concepts here is that they continue to be oblivious in some ways to the dangers around them and still have that heavy duty boost of ego that makes them want to be in movies rather than simply survive in a world turned around. One actress is more than eager to pop her top to get the lead part, something you would think wouldn't be necessary during these times. But this is a low budget film and why would anyone looking to be in pictures change their attitude just because the world is ending?

With little to no apparent script or at least one written on the fly the group begins shooting. When their first casualty happens (as any moviegoer knows will happen) it is actually one of the funniest scenes in the movie. Your immediate thought is how could anyone be so stupid as to get themselves in that spot where they could be harmed. Then you start to think well of course he did it, he was more concerned with making this movie than his own safety. That or he thought others were looking out for him not realizing they were thinking of the shot as well.

The movie progresses with actors and crew members constantly placed in danger and totally oblivious to it all, instead focusing on making their movie. When one actor is bitten he insists on carrying on and filming until he turns thereby giving his all to his final performance. Of course the producer and director readily agree and keep on shooting.

At moments this feels like a Troma film in large part do to the nearly non-existent budget used to make this film. But it also relates to those films in that we have a group of people who love movies trying to do their best with no money. They also offer a group that wants to be involved at all costs even though the world around them has fallen.

As I said it take a while for this movie to get rolling and at times remains a bit slow, but when you place yourself in the shoes of those involved the humor slowly begins to develop. No, this is not Oscar material by any means, but it does have a bit of sweetness involved for anyone who ever hoped of making a movie. Perhaps not everyone would go to these extremes but to see this group carrying on in the face of adversity makes for a movie that is entertaining at times. Go in expecting the worst, expecting along the lines of the lowest budgeted movie ever made and you'll take away something that's worth watching at least once but definitely not over and over again.

Then again if I were one of those people who found movies much funnier when on a drinking binge perhaps this movie would prove to be more funny than I thought. If that's the case, or if you simply love low budget films made with more heart than dollars, this could be your cup of tea.

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POMPEII: SO SO SWORD & SANDAL

It wasn't all that long ago or at least it feels that way, that Hollywood suddenly remembered the sword and sandal films of the sixties and began making them all over again. There were some great films made too, in particular GLADIATOR and TROY. Then the genre died out again or found itself taken over by ridiculously low budgeted reproductions of those popular films. It went back to the shelf. Now director Paul W.S. Anderson tries to bring it to life again with POMPEII. Unfortunately the film falls somewhere between those two types of films, the good and the bad.

The story revolves around Milo who as a child watches as his parents and entire tribe of Celt horsemen are slaughtered by the Romans led by General Corvus (Keifer Sutherland) and his right hand man Proculus. Pretending to be dead, young Milo climbs from under the bodies of those who were slaughtered only to later be captured and placed into slavery.

Years go by and Milo (Kit Harington) grows to be a fighter in ancient Britannia. When he catches the eye of one of the promoters for gladiatorial fights in Pompeii, he is taken back to that ancient city. Along the way he encounters Cassia (Emily Browning) when one of the horses pulling her carriage falls. He catches her eye not just because of his looks but because he puts down the horse in the most humane way possible.

Cassia gets to Pompeii before the slaves on their way. It turns out that her father Severus (Jared Harris) is the ruler of the city. Severus is trying to promote the city into a minor version of Rome and is aided in doing so by his wife Aurelia (Carrie-Anne Moss). While pleased to see their daughter home once more they have yet to find out why she came back from Rome. That is explained later when now Senator Corvus arrives to negotiate with Servus for assistance to rebuild the city. Of course, he uses his desire to marry Cassia to eventually seal the deal.

Meanwhile Milo finds himself in the slave quarters of the gladiators and a target of another slave whose brother he killed. While he survives that the odds of his surviving the arena are slim, even more so when the plan is to have him face off against his cell mate Atticus (Adewale Akinnuoye-Agbaje), a slave who is about to win his freedom if he defeats his 19th opponent. The pair square off during practice when an attempt is made once more on Milo only to be stopped by Atticus. While each knows they will one day face off against one another in the arena, a bond develops between the two.

In the background of these stories is the mountain that rises above Pompeii that seems to be developing into eruption mode. Since we know the story of Pompeii there is little suspense formed by this except wondering just when it will finally blow.

A change in plans in the arena has Milo and Atticus united to face off against the Romans. It's at this time that Corvus makes known his intentions for Cassia to her parents. It also happens to be when things begin to happen with the mountain filling the next 30-40 minutes with tons of special effects and carnage. Even with all of that happening a final face off between good guys and bad must take place.

Shot using tons of green screen the movie does a good job of making you believe you're looking at an ancient city, but then again used as much as it is your belief starts to dwindle after a while. The explosive effects of the last portion of the movie are well made but at the same time stretch your ability to suspend belief as the main characters all just fall short of being engulfed in flames, fireballs, earthquakes or floods.

The acting has no standouts here and is fair for the most part. Surprisingly the one performance that disappointed me the most was from Sutherland whose English accent in a movie set in ancient Rome falls flat. Browning's performance as Cassia lacks the depth and believability to carry off the story. Part of that is due to the love at first sight story telling that has her fall for Milo without any hesitation whatsoever.

On the whole POMPEII isn't a terrible movie but it isn't a really good one either. It's one of those movies you probably won't be too disappointed in seeing if you like the genre, but not one that you'll want to revisit again after watching. As I watched the movie I kept thinking back to how great movies like SPARTACUS and GLADIATOR really were. When you think of another movie you want to see again while watching the one in front of you, it's not a sign of how good that movie is.

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20 FEET FROM STARDOM: MORE THAN BACK UP

If music is little more to you than mindless sounds coming out of a radio in the car then this movie might not be for you. Then again perhaps once you watch it you'll get more out of the music you hear. Perhaps you'll realize the craftwork and emotions that spew forth from that box in the car or your stereo are part and parcel with what makes music so special. I thought this film would be a movie about Darlene Love and discovered it was so much more.

20 FEET FROM STARDOM is a movie that on the surface talks about back up singers throughout the history of rock and roll. They started back in the fifties and sixties but progressed from there. A few were content to simply be next to mega stars. Some gained fame and fortune of their own. But most found themselves off to the side of the main act, helping him or her achieve the accolades they desired themselves. This movie starts as their story but slowly alters into a history filled with some fantastic music.

Many of the back up singers are African-American women who played a major yet unrecognized part of musical history. They were members of groups like the Blossoms which featured the afore mentioned Darlene Love. The movie describes how her connection with producer Phil Spector resulted, for example, in her voice being heard as the main singer for the Crystals who then lip synched her record when performing. It wasn't until years later when she gained fame on her own and this was after she left music for some time to work as a house cleaner of all things. It was hearing her own voice on the radio singing "Christmas (Baby Please Come Home)" while working at that job that made her decide music was what she was destined to do.

But not all singers had the good fortune that Love did. Singer Claudia Lennear was hugely popular as a back up singer with many groups, in particular Joe Cocker and with the Rolling Stones. And yet her solo career went nowhere. She now teaches Spanish. Lisa Fischer also sang with the Stones and has toured with them in each of their concert tours from 1989 through the making of this film. And yet solo star status has bypassed her as well.

Each of the ladies (and one man) whose story is told here had that desire to sing, to express themselves and bring music to the world via their voices. They were there when it all began and in the hey day of rock and roll as we know it. And yet few will recognize their names. But when the music tracks they sang on are played here you'll find yourself with your jaw dropping and saying "That was her? I had no idea!"

While there is much joy in hearing some of this music again there is great sadness in these stories as well. That stems from the fact that while they were there, while they were contributing to music that we all know and love, they never got that recognition they so richly deserved. At least until this movie came out. The fact that it won the Oscar this year for best feature documentary will be a great help in getting their stories told.

Most of them are older now. Many have found work elsewhere other than in music. Some have stayed the course and continue to find plenty of work in everything from commercials to sound effects to still back up singing. The fact that they can still out sing many new youngsters is amazing to see.

As I watched the film another thing that saddened me was the current state of music today compared to the music these heroes of rock were making back then. Music consisted of actual instruments as well as real, un-filtered vocals. It was actual music as opposed to tweaked voices, programmed computer sounds and loops of classic tracks repeated to offer a back beat. If nothing else perhaps this movie will make some singer out there look at what is possible with real instruments and voices. Maybe they'll see that it's about the craft of perfecting your voice as opposed to the histrionics of waving your hands up and down while you shift from note to note.

It's not about who wins AMERICAN IDOL, it's about actually making music. Tell me the truth; after all those seasons of the show how many can you still name who won and how many are actually chart toppers now? I'm guessing very few (I can think of two). And yet here we are, in some cases almost 50 years later, talking about women who sing as good today as they did in their prime. If you like music then don't miss this movie. If you're a music lover then make a point of adding it to your collection.

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BAD COUNTRY: TROUBLE IN LOUISIANA

It's always great to see an actor rise from what he once was to something far better. Such has been the case, at least for me, when I look at the career of Matt Dillon. He began as a teen heartthrob back in the seventies and at the time I was never quite fond of him. His acting always seemed the same to me, a sullen look and grin that became repetitive instead of showing acting ability. As he aged though, Dillon began to show that he did indeed have some acting chops. His roles became more adult in a good way rather than the sordid style some young actors take. His latest shows he still has plenty of great roles yet to come.

BAD COUNTRY takes place in the seventies in Baton Rouge, Louisiana. A huge crime syndicate runs almost every criminal enterprise in the county. Someone high up in the organization has the money and means to pay off judges, law enforcement and anyone who might stand in their way. Detective Bud Carter (Willem Dafoe) has had enough of it. He wants to take down the man at the top, bypassing the small fries that he always seems to get. A chance arrest of one of these men gives him that opportunity.

Jesse Wieland (Dillon) has done tough time in prison in the past. Facing more time isn't anything he can't handle physically. But as a new father, married to a woman he loves (Amy Smart), he wants to be outside to raise his child. Carter offers him a chance to do so by becoming an informant, a man inside that will help him bring down the syndicate. At first Jesse turns down the offer. When the man outside has his drug using brother, also in prison, killed, Jesse decides to have his revenge.

With the hope of taking on the syndicate now Carter is disappointed when the Feds jump onboard. Instead of a seasoned vet they send in a green attorney to head the investigation, a man on his first case. To say that the teams involved don't work well together is an understatement. The local police, the FBI and the ATF all want a piece of the action. It's the ineptitude of the Federal agencies that nearly bring the whole thing to a horrible collapse.

Jesse works his way back into the syndicate headed by Lutin (Tom Berenger). While Lutin may try to appear to be a father figure of sorts to his crew he is indeed the most ruthless man living in Louisiana at the time. Jesse pulls off a jewel theft for him to start and then works up to buying illegal arms. When that deal goes bad due to one of his crew losing his temper, all hell breaks lose and the chances of the entire project are up in the air. Only Jesse can save this sting and in doing so will have to lay his life on the line.

When you have an ensemble cast like this one, one of two things can happen. A single actor can chew up the scenery and spit it out making the entire cast look bad. Or they can work harmoniously to achieve a solid story and film that entertains and keeps your interest. The second is what happens here. Dafoe's portrayal of Carter displays a man desperate to make a difference but at the same time with enough heart to want to protect even a contract killer like Jesse when he's placed in harm's way. Dillon shows a man dealing with the mistakes of his past in the hope of redeeming himself. And Berenger, a great actor rarely given the roles he deserves these days, brings life to Lutin making him seem like an elder statesman of crime who is every bit as lethal when brought face to face with someone as he was when he was younger. Toss in Neal McDonough in a role unlike those he's played before and you have a great cast working at top form.

While an entertaining and well done film, this is not what I would consider Oscar material. Instead it does the best thing a movie can do by telling a story and making you feel for the characters involved. Some could have had more development along those lines but the two leads make you want something good to happen their way. You want the bad guys to get their just deserts. By the last 30 minutes you beg for that to happen.

So get ready to feel that southern humidity ooze out of your pores. Grab a sweet tea and set back. Know that bad times are coming for some and heroics from others. And finally sit back and enjoy the ride.

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