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COUNTRY STRONG Jeff Bridges won an Oscar this past year for playing a boozy country singer in Crazy Heart, but don't expect Gwyneth Paltrow to win even so much as a People's Choice Award for playing a similar part in Country Strong. It's not that Paltrow is bad — she does a valiant job trying to overcome the role's predictable arcs through sheer force of tears and slurred words — but it's unlikely many folks will remember a movie that may well be "country strong" but is most assuredly cinematically weak. The film is basically a soap-opera version of musical chairs, as superstar Kelly Canter (Paltrow), her husband-manager James (Tim McGraw), hunky up-and-comer Beau Hutton (Garrett Hedlund) and aspiring singer Chiles Stanton (Leighton Meester) all attempt to commence and/or rekindle relationships. Consistency is hardly the strong suit of writer-director Shana Feste, but at least the unlikely character transitions allow the actors to provide some shadings to their portrayals. Yet at almost two hours, the film is criminally overlong and has as many false endings as The Lord of the Rings: The Return of the King. The soundtrack includes mostly new tunes, but the only country song that kept racing through my increasingly bored mind was Willie Nelson's "Wake Me When It's Over." **
DUE DATE A painful comedy in the lowest-common-denominator mold, this finds Robert Downey Jr. cast as Peter Highman, an architect trying to get from Atlanta to Los Angeles before his wife (a wasted Michelle Monaghan) gives birth. But once he bumps into aspiring actor Ethan Tremblay (Zach Galifianakis), that's not going to be easy: After Ethan's bumbling lands both of them on the "no-fly" list, Peter is forced to drive cross-country with this eccentric imbecile. Unlike its antecedent Planes, Trains and Automobiles, in which John Candy somehow managed to make his character both annoying and endearing, this never allows us to warm up to Galifianakis' insufferable character, although that has as much to do with the actor's sandpaper personality as it does with a sloppy script credited to four writers. The screenplay presents Ethan as such a buffoon — and spends most of its time mocking him — that it's embarrassing in those moments when it makes a play for audience sympathy. In the midst of all this horse manure, it's almost amazing that Downey manages to concentrate enough to deliver a fine performance. It's disheartening to see him squandering his talents in such a dud, but his professionalism at least prevents the entire picture from devolving into a complete circle jerk. *1/2
FAIR GAME By now, it's accepted by all but the most deluded right-wing zealots that the Bush administration took this country to war under false pretenses. There was a point when the vessel of justice could have been righted and a course for a better tomorrow could have been charted, but instead, lies were upheld, misinformation was spread like so much manure, and the moment was gone. Fair Game is a film about that moment. Naomi Watts stars as Valerie Plame Wilson, the CIA operative whose undercover status was blown in retaliation for her husband Joe Wilson (Sean Penn) writing a New York Times op-ed piece in which he revealed that the justification for going to war with Iraq was a fabrication on the part of the war criminals in the White House. The film tracks the lives of the Wilsons professionally and personally, showing how the political fallout was placing a severe strain on their marriage. The most fascinating element of this important picture is the philosophical difference that exists between the couple. Joe is an idealist, honestly believing that he can take on the neocon thugs and win; Valerie is a realist, realizing the futility of any such efforts. It's an interesting dichotomy, because while our hearts side with Joe, our minds know — and our current history proves — that Valerie was right. ***
FASTER The basic outline sounds simple enough, as a taciturn man billed as "Driver" (Dwayne Johnson) is released from prison and begins bumping off those responsible for his incarceration as well as the death of a loved one. As he carries out his mission, he's pursued on one side by "Cop" (Billy Bob Thornton) and on the other by "Killer" (Oliver Jackson-Cohen). But Faster isn't merely interested in upping the body count. Driver spends a lot of time thoughtfully listening to a religious radio program, a plot device far more integrated and effective here than in the recent Stone. Cop is a hardcore drug user who's treated with disdain by everyone from his skilled partner (Carla Gugino) on the job to his estranged wife (Moon Bloodgood). And Killer is a wealthy computer genius who became a hit man out of sheer boredom with his life, only finding satisfaction with a girlfriend (Maggie Grace) whose idea of foreplay is firing off a few rounds in the backyard. An inexplicable close-up of a photograph two-thirds through the picture blows any chance at keeping the twist ending under wraps, and this unfortunate error somewhat tempers the mounting tension. But despite this miscue and a few lapses into illogicality, Faster largely succeeds as an efficient actioner. **1/2
