Atonement: The power of secrets and lies

Before diving any further into Joe Wright's often very challenging movie about the novel by Ian McEwan, let me predict that you will hear the word "Atonement" more than any other when the Oscar nominations are announced Tuesday morning. That's not really an assessment of how much I liked the movie (which I mostly did), just an observation about what we can expect very soon (and why, of course, it was given a not-at-all-coincidental wide release this week.)

If I was unable to fall in love with the movie, that fact comes from the built-in structure of both the novel and the flick. I won't spoil the major twist, which feels perfectly natural in McEwan's book but a little forced at the end of a two-hour movie, but I will say that by design it gives a remoteness to the love story at the tale's core (the love story which, of course, gives them a double dose of movie-poster eye candy with Keira Knightley and James McAvoy, even if this movie in so many ways belongs to young Saoirse Ronan as Briony Tallis.)

The movie is at its strongest in the first 45 minutes or so, when Wright almost perfectly captures the atmosphere that nurtures all the best and worst aspects of Briony's budding creativity. Though the almost constant clacking of typewriter keys turns into a gimmick far too quickly, it's easy to see how she could be led to (willfully?) misinterpret what she saw one evening at the manor house where she was raised, an act of betrayal which will permanently alter the lives of her sister Cecilia (Knightley) and Robbie (McAvoy), the son of a family servant who lusts for Cecilia (and, in particular and understandably, a certain part of her anatomy.)

I don't want to give away any more than that, because much of the magic of this opening portion comes in discovering through whose eyes you're watching it all unfold. At its best, in particular with the closing shot of Robbie returning home with the defiant twins in tow, it's as good as and strongly invokes Jean Renoir's "Rules of the Game."

It's at this point, when the flick shifts to the wartime lives of Cecilia, Robbie and Briony, that it develops a rather severe distance (again, much of that can be credited to what we learn at the end, but I stlll found it to be a drag on the viewing experience.) There's just, as hard as Knightley and McAvoy tried, a lack of passion to the tale that prevents you from growing more attached to either of them, or to Briony (who will be played by two more actresses as the story continues.)

Which isn't to say there aren't some stunning visual sequences in the second half, particularly the five-minute-or-so scene on the beach at Dunkirk, where Robbie and two of his fellow soldiers arrive in pretty rough shape. It's probably the most impressive set piece of 2007 (though I still prefer the arrival of Remy in the kitchen at Gusteau's in "Ratatouille"), and rivals what Alfonso Cuaron put together at that burned-out building in "Children of Men.") Just as an aside, I was waiting to see if Wright would let the black soldier in their ragtag group have any lines at all, which made me laugh way louder than I should have when he finally gets to utter his two-word, dead-on assessment of their rather dire straits.

In all, I would urge that you don't let any of my qualms let me stop you from seeing this fine flick, the kind of satisfying fare for adults (an impressive 50 or so of whom turned out for my 11 a.m. showing Friday morning) that we just don't get often enough for me. And as far as the Oscars go, it hopefully sets up a great battle royale in the category of Best Supporting Actress between Amy Ryan for "Gone Baby Gone," Kelly Macdonald for "No Country for Old Men" and young Ms. Ronan for her superb work here (and hopefully an appearance from Allison Janney for "Juno" too.) My heart's with Macdonald and my money's on Ryan, but I wouldn't count out Ronan either if "Atonement" goes on the awards roll I'm expecting.

And now, if you'll excuse me, I have some bills to pay, some grocery shopping to do and then a John Sayles (huzzah!) movie to watch at my local multiplex. Peace out.

A weekend off, but recommendations aplenty

For me at least, there will most likely be no movies this weekend, because I'm headed up to Asheville, N.C., to spend the weekend with my folks. Not anything near a complaint, mind you, just the facts.

Even so, here's what I would recommend watching (and avoiding) from this weekend's busy wide-release slate:

1. "30 Days of Night"
You can tell from the begrudging respect given to this one by reviewers who usually heap scorn on horror movies that it should at least be pretty darn fun. What's beyond dispute is that it's based on a very clever premise: A pack of vampires attacks a small Alaskan town in the dead of winter, giving them 30 days of interrupted darkness for a feeding frenzy. Bring it on.

2. "Gone Baby Gone"
I may be the only person that didn't much care for "Mystic River" at all, but this flick directed by Ben Affleck (yes, really) from another Dennis Lehane novel about an abducted child sounds like it's less heavy-handed but more solidly entertaining.

2. "Rendition"
Even those who agree with the politics of this one (and since it basically, I think, boils down to don't torture innocent people, who doesn't?) might find it more than a little preachy. I'm confident, however, that Gavin Hood, director of the simply flawless "Tsotsi" (if you haven't seen this one, do so immediately), will deliver a smart and entertaining political thriller. And the cast is simply amazing.

4. "The Ten Commandments"
OK, from here there's a distinct drop off. An animated version of the Ten Commandments story without Charlton Heston or, according to reviews, much life at all? No thanks.

5. "The Comebacks"
Seeing Bill Buckner boot that ball in the World Series was pretty darn funny the first time it happened, but I just can't see any possible reason I would want to see him re-create it again (and yes, he's really in this) in this "spoof" of sports flicks. I thought it was the very funny Rob Corddry who had the misfortune of playing coach Lambeau Fields (get it?), but it's apparently his look-alike, David Koechner. Please, please, please do not go see this.

"Sarah Landon & the Paranormal Hour"
I list this one last but with no number because I simply know nothing about it. I will say, though, that the title above is much better than "Sarah Landon & the P," as it's listed at one of my multiplexes. That could be a whole different kind of weird, I'm afraid.

So, there you have it. Please feel free to offer your opinions on any of those, and have a fantastic weekend. Peace out.