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MARCH OF THE PENGUINS It's awfully hard to resist the charms of this documentary, which is as single-minded in its approach as its protagonists prove to be in their determination to keep their species alive. Originally a French film filled with first-person -- uh, first-penguin -- narration (yes, it anthropomorphized the animals) and pop songs, this has been refashioned for American audiences as a traditional documentary, with pleasant theme music and soothing narration provided by Morgan Freeman. At the risk of sounding like a xenophobic clod who would endorse "Freedom fries," I have to say I approve of the changes -- hearing a baby penguin exclaim the Gallic version of "Gosh, Dad, it sure is cold with all this ice!" would surely have made me cringe. The French are apparently second to none when it comes to making movies that champion wildlife, and this joins Winged Migration, The Bear and Two Brothers as sterling examples of the form. 3 stars.
MURDERBALL This Sundance favorite is a movie that's easier to admire than adore, and its makers wouldn't have it any other way. Though its focus is quadriplegic men who play wheelchair rugby, this documentary refuses to traffic in easy pathos and cheap sentiment: Its emotional moments are earned the hard way -- that is to say, honestly. Clearly, Murderball doesn't want us to feel uplifted by the everyday struggles of these men; instead, it neatly averts the audience condescension that's invariably generated by documentaries of this ilk by forcing us to view its characters as equals, as guys -- sometimes likable, often not -- who are macho jocks first and physically impaired men second. The movie loses steam whenever its attention turns to the on-the-court rivalry between the US and Canadian teams; far more compelling are the personal glimpses of people whose broken bodies are no match for their brawny spirits. 3.5 stars.
MUST LOVE DOGS Many of the elements that have made the contemporary romantic comedy such a grueling (and formulaic) experience are present in Must Love Dogs, and yet the movie nonetheless will work for those willing to surrender themselves to its dreamy passion. The film's success begins and ends with its leading players, and yet it's important not to undervalue director Gary David Goldberg's script (adapted from Claire Cook's novel), which adds some interesting quirks to a familiar framework. Diane Lane plays a recent divorcee who takes a chance on meeting single men through an Internet dating service, while John Cusack co-stars as the most promising of her prospective suitors. Elizabeth Perkins, Christopher Plummer and especially Stockard Channing excel in key supporting roles, yet the movie firmly belongs to its stars. You either buy into this fantasy or you don't -- me, I happily wallowed in it. 3 stars.
RED EYE Red-Eye qualifies as the best movie that director Wes Craven has ever made: Unlike his usual junk (The Last House On the Left, Scream), this at least feels like an A-list project rather than the masturbatory exercises in misogyny he tends to foist upon the public. Rachel McAdams delivers a strong performance as Lisa Reisert, whose flight home to Miami turns into a terror trip once she discovers that the charming guy (Cillian Murphy) sitting next to her will involve her in an attempted political assassination. Red Eye may not expand the parameters of the thriller genre but it certainly knows how to make its way inside its well-established conventions. Unfortunately, that can only take it so far, and even at 85 minutes, the movie begins to coast as it reaches its obvious climax. Still, considering I once wrote that I would never subject myself to any more Craven images, this is enjoyable enough to make me glad I gave him a second -- or would that be fifth? Or eighth? -- chance. 2.5 stars.
THE SKELETON KEY Kate Hudson stars as Caroline Ellis, a caretaker who's hired to look after a stroke victim (John Hurt) residing in a creaky mansion in the middle of the Louisiana swamps. The patient's wife (Gena Rowlands) views Caroline with suspicion, though she quickly earns the trust of the elderly couple's lawyer (Peter Sarsgaard); at any rate, it's not long before it's Caroline who has to keep her guard up, as mysterious events suggest that a paranormal presence might be living within the house. The supernatural element extends beyond what's talking place on the screen, as it appears that Rowlands, delivering a performance of high camp, has been possessed by What Ever Happened to Baby Jane?-era Bette Davis. While enjoyable, her overripe turn dilutes the story's potency, though the movie rights itself in time for a satisfying twist ending. 2.5 stars.
