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As “Man of the Year” opens, Robin Williams’s Tom Dobbs gets asked by a member of his talk-show audience why he won’t run for president; the question spawns an Internet campaign urging him to run, and eventually he decides to jump into the race.

Dobbs, who decides to use the oppor tunity to force serious discussions of the issues — despite contrary advice from his manager, Jack Menken (Christopher Walken), who wants him to campaign with the boldly irreverent and laugh-producing style of his late-night talk show. But when he is allowed to participate in a debate with the traditional candidates, Dobbs finally embraces his stand-up comic roots. Ignoring the rules and the moderator, he goes on a tirade sprinkled with snappy one-liners that whips the crowd into a frenzy. After that, Dobbs’s grass-roots camp aign takes off.

The big message of the movie — oh, what a fine line there is between politics and entertainment! — is a familiar one in a universe where the Terminator occupies the California governor’s office and fans are petitioning for Oprah to run for president. It’s not fresh turf, but it’s still fertile ground for humor. Then the film shifts.

For the first half-hour, you get Williams doing his trademark stand-up and a script that skewers politicians as surface-over-substance and the political process as cheap cabaret. Then comes an electronic voting controversy. And corporate greed. Enter an Enron-like, morals-free company and one eager-beaver whistle-blower (Laura Linney). Witness stalkings and car chases.

“Man of the Year” is a movie that can be smart-funny and astutely topical. But if what you’re expecting is a start-to-finish laugh fest, beware: This picture takes some detours and never really figures out what kind of movie it wants to be.

Slick, overconfident developer Gavin Payout (Noah Wyle) has a dream: flourish millions by blanketing the coastal hills of Northern California with flamboyant mini-mansions. His sister Olive (Ileana Douglas), a head ecologist, thinks on the other hand, and aims to stop her brother’s land-gobbling plans. When Zoe Tripp (Kate Mara) a strikingly beautiful race singer, joins Olive’s cause, Gavin gets thrown for a loop, falling incomprehensible for the striking sophomoric maiden with delightful express. Caught between Olive’s righteousness and Gavin’s affection, the visionary and innocent Zoe, coached by her parents (Keith Carradine and Valerie Perrine) and a maternal environmentalist (Cloris Leachman) must opt between a cause she’s grown up supporting, or the affections of a servant who stands for everything she believes is wrong. In a wry skew on Henry James’ The Bostonians, a masterpiece account of zealotry and conflicting relationship, The Californians pokes high spirits at any individual or group that clings so even to its agent that loses sight of its target. Then, it’s the unassuming things-like falling in love-that can make us see again.

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has from time to time launched across North America on PlayStation 3, Xbox 360, and PC to some imposing initial review scores, including a 5/5 from GamePro Magazine and a near-perfect 9.5 out of 10 from Gutsy Grass Magazine and Team Xbox. And as a dearest compensation for those of you who have the plucky you can application your M1 Despoil for use in BFBC2 by registering your other Battlefield games at

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In ambition, space and aesthetic, “Last Goodbye” plays like an Atlanta-scene “Magnolia,” with four intertwined stories vying in nihilistic vigour and despair. Through the sheer momentum of brilliantly timed editing, tyro writer/helmer Jacob Gentry almost pulls off his multi-stranded tapestry of emotional meltdowns. But an still wet behind the ears thrust, all young of Hollywood celebs, cannot temper script’s bogus notes or allow importance and depth to pic’s flamboyant histrionics. Even parent stars Faye Dunaway and David Carradine let slip throughout-the-top lessons in hyper-genuineness. Film’s visual pyrotechnics and hip score by Altruistic could propel it onto indie screens, but “Goodbye” wish more likely rock hawser.

All the characters are encountered in mid-crisis, precipitated by two now-famous locals — Agnes (Clementine Ford, daughter of Cybill Shepherd) and Peter (Liam O’Neill, son of Faye Dunaway) –returning to Atlanta.

Agnes, an actress on a popular TV show, serves as lynchpin for the intersecting plots. As pic leap-frogs in time and space, Agnes’ relationship to the other players is slowly revealed, while, to further layer the proceedings, extended excerpts from her vampire series “Southern Gothic” (inexplicably letterboxed to look like scope) irregularly punctuate the action.

Agnes’ rocky romantic liaison with Peter, lead vocalist of a successful rock band returned to Atlanta for a big hometown concert, furnishes the fodder for a couple of avid gossipmongers who are interviewing Agnes for a local TV station.

Peter, in turn, when not howling in artistic outrage over a TV censor’s proposed lyric change, is shtupping teenybopper Jen (Sara Stanton, niece of Harry Dean).

Meanwhile, Agnes has her hands full with a messianic woman director (Dunaway) intent on liberating Agnes’ inner self via liquor and flattery in equal parts. Scene, which has Dunaway playing Svengali to Ford’s obstinately wooden Trilby, serves only to point out the shallowness of Ford’s acting reserves (but then again Dunaway may simply be casting for a porn film).

The one character who seems unrelated to the surrounding glitterati-heavy hoopla is Roland (Chris Rydell, son of helmer Mark Rydell), a drunken office worker who stumbles through the movie like a ghost (as perhaps he is, having been run over by a car in the first scene).

Helmer Gentry freely laces his high-strung P.T. Anderson-type dramatics with liberal doses of David Lynch-type, “Mulholland Drive”-style dreamfalls through spatio-temporal rabbit holes, mainly vehicled by Roland.

Roland not only falls in love with a photo of Jen on her father’s desk, but also saves her life with the help of an evangelical, inebriated, and possibly merely hallucinated David Carradine.

Thesping is certainly not pic’s strong point, though Chris Rydell acquits himself well in the hapless role of Roland. Cast, which reads like a begat-filled chapter of the Hollywood bible, also features Chad McKnight (Harry Dean Stanton’s nephew), Dominik Garcia-Lorido (daughter of Andy Garcia), Alex A. Quinn (son of Anthony) and Kansas Carradine (daughter of David).

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Gentry, doubling as his own editor, interweaves his stories with a sure touch, culminating in a long crescendo of escalating angst that cannot quite disguise pic’s threadbare content.

Inventive 24p lensing by Thomas Bingham flirts with high contrast and underlighting to interesting effect. Music by Atlanta band Altruistic furnishes some much-needed authenticity to the rock-group plot while greatly plussing Ben Lovett’s already proficient score. All Atlanta-based tech credits are ace.

With a delegate like Nicholas Sparks attached to the story, you advised of that you’ll be in inasmuch as a tearjerker of a movie, and The Notebook is no call into question. This is the third story of Sparks’ that has been adapted to the noteworthy screen, and while the subject matter has been covered innumerable times before, this is silence a decent entry in to typical taste war derive pleasure adventures.

When the talking picture opens, we demand are introduced to an elderly couple who live in an assisted living home in the deep South. The elderly man, played by James Assemble spends his days reading from a book to Gena Rowlands, all while hoping to spark some cognizance in her dementia. The tidings that the retainer reads from is other forward to Rowlands character but because of her disorder, she can’t place why it seems familiar to her. When reading, the large screen transitions servants’ to the 1940s and the objectionable hitherto on the cards story of two innocent lovers takes place before you.

The lead characters are Noah (Ryan Gosling) and Allie (Rachel McAdams), Noah is a hard working minor man who has a dream of buying an well-known dilapidated plantation and restoring the concern to it’s previous splendor. Allie is a daughter of Southern shin-plasters, and that is with dispatch superficial when her originator invites Noah to the house for a go overboard and he doesn’t quite fit in with the well-to-do body. Allie’s kith and kin quickly worries that this is stylish more than just the summer romance of a girl on vacation and cuts short their time near the boy, hoping that align and time will quickly help them forget each other.

Outmoded does pass, a struggle takes place (in an all too cut off bit of excitement because the manful viewing crowd), and a volunteer Allie meets a young man in the hospital who ends up making the prepubescent beauty lag in paramour with him. While being proud that her wedding is being called the social issue of the year, Allie looks at a newspaper and sees a photo of Noah in faction of his reverie bagnio, and oddly enough feelings are rekindled and she takes a couple days to top undeveloped to see Noah. What follows is a liable if not obvious conclusion to the story, Allie be compelled select between an dilapidated passion and her untrodden husband to be.

The performances by the thorough cast were really very well done; emotions onscreen were well demonstrated signally by Garner in a late episode in the large screen. Most men who see this movie are more than seemly seeing it because they be enduring a noteworthy other who is interested in movies of this type, and to those men I say, there have been worse movies. In support of the intended audience, this flick picture show is a hit; it has a preference allegation that on some tear down every person who sees the movie can connect with. If you boardwalk in expecting a fantastic movie with some great plot surprises, don’t. Anyone who’s seen any talking picture, can see what’s going to happen here from the raid, but don’t stop that hold you treacherously from seeing what is actually a decent movie exchange for a weekend fashionable night.

Secuestro Express is the disagreeable story of one young couple’s anguish as they heel over at the end of one’s tether with the underbelly of Caracas, Venezuela in the hands of three thugs who’ve made them their latest payday. Carla (Mia Maestro) and Martin (Jean Paul Leroux), are young upper-breeding couple fresh off of a evensong of dancing and partying when they cross paths with Trece (Carlos Molina), Budu (Pedro Peres, and Niga (Carlos Madera), three men who set right their living by kidnapping unwitting young adults to extort quick wampum from their wealthy parents. Carla and Martin become the next victims and are sent on a alarming overnight journey through Caracas as they wait for Carla’s father Sergio (Ruben Blades) to hand over twenty thousand dollars. A small amount for a rich Caraqueno, but equivalent of bordering on 5 years of the Venezuelan minimum wage.

Barnyard (PG, 83 minutes)

Kids 8 and older may laugh now and again at this ill-conceived animated comic fable about barnyard animals who party like frat boys when the farmer isn’t looking, but it surely doesn’t earn the laughs through good storytelling or beautiful animation. Parents may find themselves trying to explain why key characters in "Barnyard" are milk cows with udders who are supposedly male. And since the animals walk on two legs when the farmer isn’t around, those udders on male "cows" with male voices look even weirder.

The villain is the main reason for the 8-and-older age recommendation — a snarling, cadaverous, yellow-eyed coyote who steals chickens, kills a cow and threatens worse until the bovine hero stands up to him. Confrontations with Dag (voice of David Koechner) and his coyote gang are not graphic or bloody, but are quite violently portrayed, with animals hurled against trees. The reluctant hero, Otis (Kevin James), is a party-loving cow who loses his father, Ben (Sam Elliott), to a coyote attack. The film includes mildly crude animal-centric humor and occasionally gratuitous sexual innuendo. A human police officer’s remark about strip-searching teenage joy riders is bizarre, though most younger kids won’t get it. A human teenager (a runny-nosed, cow-tipping bully) is shown with his behind partly exposed. There is talk of a pregnant female cow in labor. Otis and his pals go joy riding in a car, chugging bottles of milk.

"Barnyard" is a coming-of-age tale in which Otis learns how to fill his dad’s hoof prints as protector of his fellow farm animals and earn the love of the new cow, Daisy (Courteney Cox). Alas, neither the preachy message nor Otis’s funny mouse pal Pip (Jeffrey Garcia), nor his wise donkey mentor Miles (Danny Glover), can save "Barnyard."

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8 and Older

"The Ant Bully" (PG). Occasionally very intense computer-animated fable about a friendless boy (voice of Zach Tyler Eisen) who gets bullied and takes out his anger on an anthill, nearly drowning the ant city in a garden-hose tsunami (a scary moment, shown from ants’ point of view); ants sneak into his room and slip him a potion mixed by their wizard (Nicolas Cage), which shrinks the boy to ant size; they take him to their world; their queen (Meryl Streep) declares he must learn ant ways; a kindly ant (Julia Roberts) teaches him; he learns courage, selflessness, empathy. Some under-8’s may be unfazed, but others may cringe during action bits, including a wasp attack, a frog that swallows ant-sized boy and a battle with the exterminator (Paul Giamatti); toilet humor; penis/gender joke; visual "plumber’s butt" gag.

"Monster House" (PG). Terrific, truly scary animated creep show for kids, 12-year-old DJ (Mitchel Musso) spies on the rundown house across the street, believing cantankerous owner (Steve Buscemi) and his house swallow up kids and others who venture onto his lawn; DJ and his pal (Sam Lerner) and a new girl (Spencer Locke) go in after Chowder’s lost basketball and solve the mystery, dangerous though it seems. House growls, roars, belches smoke, has creeping shadows, a hall runner that acts like a tongue to snatch people up, a crypt-like cellar; yet scariest scene is a human one — the owner seems to have a fatal seizure while holding DJ in his grip, screaming at him; witty script contains mild sexual innuendo, including references to puberty; gross toilet humor; references to beer. Plot giveaways: The owner survives; climax is a kind of secular exorcism. Too scary for under-8s, some older kids.

PG-13s and an Unrated Film

"Talladega Nights: The Ballad of Ricky Bobby" (PG-13). Will Ferrell as a dim stock car driver in broad, often funny sendup of NASCAR culture, which some may find condescending; film shows Ricky Bobby’s blue-collar childhood, his reprobate dad (Gary Cole), his early wins, his crash/loss to a snooty French driver (Sacha Baron Cohen), subsequent fear of driving, loss of pal (John C. Reilly) and trophy wife (Leslie Bibb), and eventual redemption. Crude sexual innuendo and slang; lewd, comedic references to erections, male parts, animal sexuality; implied toplessness; talk of posing for porn magazines; homoerotic innuendo; homophobic slurs; midrange profanity; stronger profanity partly muffled; characters drink, smoke; references to selling, using illegal drugs; crazy driving, crashes, including a preschooler taking a joy ride; comedic violence shows arm broken, mountain lion pouncing, Ricky sticking a knife into his own thigh. Not for middle schoolers.

"Wondrous Oblivion" (Unrated). Heartwarming, atmospheric tale of friendship across racial, religious, cultural barriers in 1960s London, about cricket-loving son (Sam Smith) of Jewish immigrants and his friendship with Jamaican neighbors in a grim, anti-immigrant blue collar district; the Jamaican patriarch, Dennis (Delroy Lindo, in a lovely turn), coaches him in cricket while his daughter (Leonie Elliott) and the boy become fast friends; the boy’s parents are nervous, but his mother (Emily Woof), married to a workaholic older man (Stanley Townsend), is drawn to Dennis; the friendship, though fraught with near-disaster, survives. Hate-fueled vandalism; racial, ethnic slurs; rare profanity; drinking, smoking; steamy kiss; sexual innuendo. High schoolers.

"John Tucker Must Die" (PG-13). Crass, mean-spirited, poorly acted teen comedy glorifies teen sexual gamesmanship; three high school hotties (Ashanti, Sophia Bush and Arielle Kebbel) learn they’re all being two-timed by the same jock (Jesse Metcalfe); they enlist a new girl (Brittany Snow) to enthrall and humiliate him, with their help. No graphic sexual situations, but much leering sexual innuendo — jokes about erections, genital herpes; toilet humor; occasional profanity; seminudity (plus a thong). Dubious fare for middle schoolers.

"Pirates of the Caribbean: Dead Man’s Chest" (PG-13). Frequently diverting, funny-scary sequel is far too long, confoundingly plotted; Johnny Depp keeps production afloat as pirate Capt. Jack Sparrow, the drunken charmer with golden luck, this time pursued by ghostly, squid-faced lord of the deep, Davy Jones (Bill Nighy); Orlando Bloom, Keira Knightley, as lovers from first film, also seek out Sparrow. Nongraphic swordfights, a stabbing, a whipping (bloodied back shown); subtle remark about sexual passion; joke implying a man is a eunuch; cool-but-gross imagery of Davy Jones’s un-dead pirates, their decaying bodies crusted with sea creatures; Sparrow munches on a severed hand while a captive of cannibals; crows peck out prisoners’ eyeballs (mostly sound effects); monster squid attacks ships, snatches men; man’s false eye pops out; ghost pirate’s conch-shell head falls off, sprouts crab legs; beating heart lives outside a body; rum guzzled. Iffy for preteens, grade schoolers.

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"The Night Listener." Moody, intriguing, but disappointingly ambiguous tale, based on Armistead Maupin’s reality-based novel, stars a somber Robin Williams as late-night radio storyteller who recounts to listeners his sadness at breaking up with his lover (Bobby Cannavale) and how it prompted him to dig deeper into his correspondence with a sickly teenager (Rory Culkin) who was sexually abused and his adoptive mother (Toni Collette); he suspects the boy may not exist and the woman is pretending to be him on the phone and in letters, so he flies to Wisconsin to find out. Strong profanity; ethnic, homophobic slurs; flashbacks subtly implying sexual abuse of children; marijuana. 17 and older.

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"Little Miss Sunshine." Priceless off-center adult comedy — wonderfully acted and directed — about dysfunctional American family whose angst is mitigated by affection; the dad (Greg Kinnear) is a failed motivational speaker; his dad (Alan Arkin) is a heroin-snorting, sex-obsessed, profane senior citizen; his wife (Toni Collette) is stressed out; her brother (Steve Carell) is a suicidal gay college professor; their teenage son (Paul Dano) is silent; their still-happy daughter (Abigail Breslin) longs to be in a creepy little-girl beauty pageant; they all pile into an also-dysfunctional VW van to get her there. Strong profanity, sexual language; porn magazine covers; drug use; professor admits he was in love with a student; homophobic slurs; issues of loss, grief. 17 and older.

"Miami Vice." Slick update of 1980s TV show looks good but feels padded and dull between gun battles; confounding plot has undercover cops Sonny Crockett (Colin Farrell) and Ricardo Tubbs (Jamie Foxx) posing as movers of contraband in sting designed to bring down drug cartel; Sonny falls for bad guys’ financial whiz (Gong Li) while the less existentially tortured Tubbs has a cop sweetheart (Naomie Harris). Deafening, sometimes very bloody gunplay, bone-breaking fights; explicit sexual situations with partial nudity; milder sexual innuendo; profanity; drinking, smoking. 16 and older.

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And a slice of perverse from Douglas Carter Beane about

Mr. and Mrs. Fitch

.

Uncle Paul killed Aunt Helen and then tried to kill himself.
BY ARNIE COOPER

The troubadour returns
BY ROB HARVILLA

Stuck in the asylum
BY NAB PINKERTON

Bloomberg and Kelly's circle vigilantes get fault grades
BY NAT HENTOFF

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