Send Help

 So bored.

Stranded in doldrums. The Secret Agent, available for digital pre-order for weeks. No sign of release date. It's actually coming to theatre near me, but it's almost three hours, and most showings start late in the afternoon. Send Help. Send Help. Send Help...

[Help arrives and it's...]

I didn't mean the new Sam Raimi movie, but I'll take it.

[Review Contents. Spoilers Inevitable]

Okay, so we have Linda Liddle (Rachel McAdams), a corporate strategist at Preston Strategic Solutions. When old man Preston, who promised to promote her to VP, kicks the bucket, his son Bradley (Dylan O'Brien) takes over. Bradley, however, promotes his frat buddy Donovan (Xavier Samuel) to VP. He's nice enough, maybe, to let her come along to Bangkok as he and the guys finalize a merger. Their private jet crashes into the Gulf of Thailand, with Linda and Bradley as the only survivors (as a Sam Raimi movie, everyone else dies messily).

The two of them wash ashore upon an island. Linda, a Survivor fan who once auditioned for the show, quickly puts her survival skills to good use. Bradley, who sprained his ankle in the crash, is anything but grateful for Linda's efforts. But Linda eventually asserts her dominance over her boss. Soon enough, the two of them come to a mutual understanding - maybe more. But eventually, we see how far she's willing to go to not lose her newfound power. Especially when civilization draws near ...

Yes, it’s thematically similar to Triangle of Sadness, and both films were in development by 2019. You can easily tell them apart, not just in style, but in length - Send Help runs a half-hour shorter than Triangle at 114-minutes. During this time, we see Linda and Bradley’s relationship evolve and devolve all over the place. Once they hit their mutual understanding, you might forget that this is supposed to be a horror film. By the end, however, their alignments reverse along with the power hierarchy. Are either of them the hero, the villain or some twisted neutral? 

It's pretty clear-cut at the start. You can easily sympathize with Linda when she's passed up for her promotion. She may be socially awkward, but she's quite capable, and Bradley just makes excuses. Her Survivor audition video, which "entertains" the guys just before the crash, is kind of lackluster, but you can't hold it against her. After the crash, Bradley still tries to boss her around, but realizes he needs her help. All that genuine chemistry, however, doesn't stop him from feeding her poison berries and leaving her to die (it doesn't work). When Linda encounters Bradley's fiancée Zuri (Edyll Ismail) on the island, what happens next will easily shift sympathies to him - especially since Zuri is actually pretty nice. And then, we get to a major plot twist.

Let's talk about that Sam Raimi style, shall we? It's very much evident at the start, when we get some uncomfortable close-ups centered around Linda's tuna-salad sandwich. Cinematographer Bill Pope also gives us more appealing shots of the main island, even when things get messy. Oh yes, the violence is extremely messy, whether it's in the plane crash or Linda hunting an extremely durable boar. It's especially messy when Bradley and Linda have their final fight, which leaves her practically looking like a Deadite from The Evil Dead. Even with the obvious CGI, the violence still feels just as grotesque. There's also an impressive sound design, with one jump scare being a particular highlight, and an energetic score by Danny Elfman. 

Without going too much into spoilers, Linda's moral realignment sends her to near supervillain levels by the climax. It's a pretty drastic change, but it's also a minor quibble. Still, the moral & power shifts make Send Help a pretty interesting horror movie. Anyone looking for something twisted, messy and silly will get their money's worth and then some. I think I said enough ...

Now, when do I see The Secret Agent?

Little Amélie or the Character of Rain

Everything seems Golden for KPop Demon Hunters at the upcoming Academy Awards, as it’s guaranteed to win both of its Oscars. It does have viable challengers, particularly at Best Animated Feature, where we find two French films, Arco and Little Amélie or the Character of Rain. I have no idea if and when I'll see Arco, but I just saw Little Amélie on the big screen just a month after it debuted on demand. Let's get to it.

Our narrator, Little Amélie (Loïse Charpentier), is born to a Belgian family in Japan. She spends her first two years in a vegetative state, which she compares to being a God. And much like a God, she’s worshipped by her parents - diplomat Patrick (Marc Anaud) and pianist Danièle (Laetitia Coryn). On her second birthday in August 1969, an earthquake happens, and she suddenly gains consciousness. But she’s practically feral until her grandma, Claude (Cathy Cerdà), gives her a taste of white chocolate; after which she’s an eager learner and a good speaker (Emmylou Homs voices her on-screen dialogue).

Grandma Claude arrives with Nishio-san (Victoria Grosbois), a housekeeper hired by the family’s landlady, Kashima-san (Yumi Fujimori). While Grandma Claude eventually leaves, Nishio stays around and eventually bonds with Little Amélie. Through Nishio, Little Amélie learns quite a bit about Japanese culture, especially the kanji for “rain,” which is pronounced “Ame” like her nickname. But Kashima, who lost so much during World War II, detests them bonding. Amélie learns a lot about the world by the time she turns three.

In French, the source novel by Amélie Nothomb actually translates to The Metaphysics of Tubes rather than The Character of Rain. This comes from a longwinded metaphor at the start of Little Amélie’s narration. There’s nothing longwinded, however, with this film, as despite its dense thematic material, it’s just 78-minutes long. During which, you'll grow attached to Amélie, her family, her childhood sense of wonder, and especially her friendship with Nishio. It's hard to hate anyone in her orbit, even if they're her bratty big brother André (Isaac Schoumsky) or Kashima herself. In fact, Kashima's emotional wounds make her pretty sympathetic.

Its watercolor art style, visualized by directors Liane-Cho Han and Maïlys Vallade, matches Amélie’s sense of wonder. She’s amazed by a vacuum cleaner, enough that it becomes her first word, and how it visualizes its suction power helps you understand the appeal. Through this art style, you'll start to wonder if she can really cause earthquakes or part the sea, or if it's just her imagination. Either way, these cosmic phenomena are great to look at. Some surprisingly effective and haunting food metaphors visualize Nishio describing her surviving the air raids during the war. The Japanese scenery is stunning, especially when it's lit by candles during Obon. It's all accentuated by a marvelous score by Mari Fukuhara.

Little Amélie is a short but sweet film. She goes through so much that you’ll be surprised once the credits hit. A few things, like Kashima’s ultimate compassion, could have been developed better, but they’re just minor flaws. You'll just have to see this film anywhere and however you can. Still see it. I think I said enough.

Hamnet

Umm, excuse me! Don't you mean Hamlet?

Why, right out of the starting gate, and someone's asking me this question.

No, Baxter. I mean Hamnet. You'll understand why once I explain the same-named movie, newly nominated for multiple Oscars, including the first ever Oscar for Casting. This has Chloe Zhao and Maggie O'Farrell adapt the latter's novel into screenplay form. Zhao, of course, also directed it.

Okay ...

So, there's this young Latin tutor (Paul Mescal) in the sixteenth century. We don't get his full name, until the end, but we realize right away that this is William Shakespeare himself. One day, he sees Agnes Hathaway (Jessie Buckley), a falconer and herbalist, walking by his students' house. They quickly fall for each other. They marry over the objections of their families; Will's, in particular, is aghast that he'd marry the daughter of a "forest witch." In due time, Will's writing career takes off, while he & Agnes have three kids - Susanna (Bodhi Rae Breathnach) and twins Hamnet (Jacobi Jupe) & Judith (Olivia Lynes). 

(Oh, so that's why it's called Hamnet.)

But this isn't a happy family movie. Will is often away at London writing for the Lord Chamberlain's Men. Judith gets the Black Plague and lies on her deathbed. Hamnet asks God to let him take her place and He obliges - Judith recovers and Hamnet dies. Will copes by writing Hamlet, a name we learn at the start was considered interchangeable with Hamnet, something Agnes picks up on. And she's not happy. Maybe she just needs to see what it's all about. Yeah, that's pretty much it.

You can probably tell that this will be a tough sit. I’ve heard for months how it left critics and audiences emotionally wrecked. It would disservice the subject matter if Hamnet’s death wasn’t the least bit devastating. That scene didn't disappoint, though it didn't leave me a sobbing mess. Sure, Hamnet & Judith had particularly nice chemistry, but they're fully introduced about an hour in, and it doesn't take long before the tragedy hits. It could have hit more if they were around longer, but I digress. I was more moved when Hamlet (Noah Jupe, Jacobi's big bro) gives his dying speech, which moves the entire Globe audience - Agnes included - to comfort him. It's quite a sight.

It's not all doom and gloom, though. In fact, Agnes and Will shine together from the moment they meet - even as she tries to shoo him off. Their subsequent romance and their family time is quite endearing. It’s quite funny to see Will humor the twins when they pull a twin-switch on him. It’s especially nice to see Mary (Emily Watson), Will’s mother, warm up to Agnes. They cope with Hamnet’s loss differently, though neither are wrong in their paths. Still, Agnes gets the biggest focus as we see her rebuild herself after the tragedy. As I said, it's quite rewarding when Agnes sees Hamlet.

Amongst the supporting cast, a few highlights include Joe Alwyn as Agnes's supportive brother Bartholomew, David Wilmot as Will's mean father John, and Justine Mitchell as Agnes's stepmom Joan. Breathnach, as Susanna, does her best with her limited narrative focus. Still, I thought the older Jupe was excellent as "Hamlet" (who, in real-life, was originated by Richard Burbage). You'll especially feel his frustrations when Will runs him ragged as they rehearse the play's "Get thee to a Nunnery" scene. They have a much friendlier, and moving, moment on-stage when Will plays the Ghost of King Hamlet. His final speech is a triumphant moment.

Max Richter's melancholic score was nominated today, but Lukasz Zal's ethereal cinematography wasn't. It's a pity, because paired together, they give us an exquisite experience. Its most emotional moments leave the camera running so everything can develop naturally. The makeup work used for the twins' sicknesses is appropriately disturbing, even if the overnight reversal is a bit questionable. It rightfully earned its last few nominations for its production and costume designs. Everything from the Globe Theatre to its patrons looks convincingly lived in; the stage Hamnet's spirit exits into is perfectly haunting.

Yes, Hamnet is emotional, but it might be more so if you know nothing about Shakespeare the man. That way, you can experience his every gut punch as hard as he does. It's still a pretty good film, and I can see why it's currently a top contender for Best Picture. I cordially invite you to see why for yourself. I think I've said enough. 

All You Need Is Kill

You know, I have the feeling I've been here before ...

What am I saying? Of course I have!

A long time ago, I reviewed Edge of Tomorrow, a Tom Cruise movie based on Hiroshi Sakurazaka's novel All You Need Is Kill. This year, I get to look at an anime movie which keeps the novel's title, but not its exact storyline. So, how does it do a second time around?

In the distant future, a giant space weed called Darol takes over Japan. It’s not doing much, except taking up space, so humanity mostly ignores it. Those who don’t are employed by the UDF (United Defense Force) on the world's largest landscaping job - with mech suits and robots! 

One year later, Darol basically blooms, unleashing monsters on the mechanized gardeners. These things don't have names, but I'll henceforth call them "Mimics," per the novel and first film. When Rita, a UDF loner, kills a certain Mimic, she's bathed in its blood just as it kills her too. And then, she wakes up hours earlier, gets to work, gets killed again, wakes up hours earlier, gets killed again, wakes up, tries to runaway but ...

Yup, she's stuck in a time loop. After a while, she decides to train herself to fight the Mimics. She soon gets pretty good at it, even if she still keeps dying over and over. But nothing really changes until she meets Keiji, a guy who also got doused in the same Mimic's blood. She not only finds a friend, but she finds a valuable partner in her war against the Mimics. Unfortunately, due to some stuff, all these loops are actually part of Darol's master plan. It's up to Rita and Keiji to destroy Darol in one final loop; otherwise, it's game over.

When you compare notes, Edge of Tomorrow actually sticks to the broadest strokes of the novel. This time, director Kenichiro Akimoto and writer Yuichiro Kido remix the novel’s concepts somewhat significantly. Darol is their invention; the protagonists are different; and even the ending takes after the first movie. It’s easy to surmise some bits of their worldbuilding, but you’ll have to piece together a few more details yourself. I was kind of lost when Dr. Shasta, the UDF kid genius, explained what made the loops possible. It was some kind of spores, but I couldn't discern what name she gave them. I might just need a repeat viewing.

Also, unlike Edge of Tomorrow, none of Rita’s deaths are played for laughs. They’re all sudden, all brutal, and often as she makes good headway against the Mimics. Her repeated losses drive her to despair, even suicide during one loop. It’s an 82-minute movie, and the endless cycle of death starts pretty early. It gets pretty tedious after a while, but the mood literally brightens when Keiji shows up. We're relieved with Rita once she realizes she's no longer alone in the universe. They're both traumatized, as we learn in flashbacks, and it's quite rewarding to see them help each other. You'll definitely feel something during a dark turn in the final battle. But it ends all right.

Its cel-shaded characters animated by Studio 4°C are quite strange. While the Mimics are fascinatingly eerie spider-flowers, not one human has the same body shape. The humans are all angular, and they look particularly gangly when they don their mechanized Jackets. If anything, the humans visually stand out, since only Rita, Keiji and Dr. Shasta narratively stand out. It's pretty colorful, but when Keiji reveals he's also a looper, the color palette actually brightens significantly. It's a heavy-handed, yet appropriate, design choice. We also get some great sound effects, particularly for Darol's roars, and a delightfully eerie soundtrack by Yasuhiro Maeda.

As I looked back on Edge of Tomorrow, I remembered how excellent its terrifying opening montage was, how fun Tom Cruise was playing against type, and its spectacular effects. Maybe I might give that a repeated viewing, too. All You Need Is Kill is so short that I almost considered doubling it up with Charlie the Wonder Dog. Obviously, I didn't, but that's okay, since this film was already a fine matinee on its own. I think it's fine to check out both this film and Edge ot Tomorrow together, though.  I think I said enough.

Blue Moon

 I’ve just covered a Song Sung Blue, now let’s hear about a Blue Moon. 

Unlike a few other films, Blue Moon never rose to a theatre near me. It’s been on-demand for at least a month now, but I’d rather not pay $19.99 if I could help it. Well, it got discounted this week, so I bought it digitally. Let’s see what folks have seen since October.

It’s March 31st, 1943, and Oklahoma! has just debuted on Broadway. Rodgers and Hammerstein’s breakout hit would, of course, codify American musical theatre for decades to come. But tonight, Lorenz Hart (Ethan Hawke), Richard Rodgers’ (Andrew Scott) former collaborator, seriously doesn’t see what the fuss is about. He finds it a cornpone mess, but he knows that it will be playing long after he’s dead. Since we first see him collapse on the street and die off-screen that November, we know it won’t be that long for him.

Hart walks out on Oklahoma!’s title song to drink his sorrows at Sardi’s. The rest of the film has him hang around Sardi’s, talking to bartender Eddie (Bobby Cannavale), a fictional pianist named Morty Rifkin (Jonah Lees), and even a few actual famous people. Most significantly, he tries to patch things up with Rodgers and maybe go steady with the significantly younger Elizabeth Weiland (Margaret Qualley). He’ll try to make the most of it, even if everything doesn’t go his way.

Robert Kaplow’s screenplay, which Richard Linklater directed, says it’s inspired by Hart and Elizabeth’s letters to each other. Obviously, I don't have the source material on hand, but maybe it's not necessary, considering that this whole movie is a "what-if" scenario. Who knows if Hart actually met all those future famous people at Sardi's? Who knows if Elizabeth actually existed or is a composite? But Oklahoma!'s reviews, which we hear quoted during the afterparty, are actually factual. They were really wowed by its ability to blend songs, dances together with a story.

It's interesting that the radio reporter announcing Hart's death calls him and Rodgers "America's Gilbert and Sullivan." W.S. Gilbert, in case you're interested, was rather cantankerous and irascible, which perfectly describes Hart in this film. He showcases his entertaining ego as he and Eddie quote Casablanca, dismisses Oklahoma!'s exclamation mark, and even its source material - the now-obscure play Green Grow the Lilacs. Until the afterparty arrives, it's just him, Eddie, and Morty, with Hawke never wasting a word as Hart. When he's silent, you can tell that he realizes he's at the end of his rope. He can't even fathom why Rodgers would rather do more serious works - as Sullivan did - than their satirical ones.

Obviously, Rodgers and Hammerstein (Simon Delaney) figure into the plot, but who else do have? Hart helps inspire E.B. White (Patrick Kennedy) to write Stuart Little. He also annoys a young Stephen Sondheim (Cillian Sullivan) with a joke that "Stevie" will use decades later in A Funny Thing Happened on The Way to The Forum. Elizabeth brings her classmate, George Roy Hill (David Rawle), for a quick cameo. Morty, while fictional, is still a pretty cool guy. Let's not forget Elizabeth, whose personality, emotional maturity and chemistry with Hart are simply radiant. He doesn't get the girl, but it surely was fun while it lasted. I wonder if I'm reading into this optimistically.

Let’s, ahem, sing some praises for the technical works. First, to the makeup and hairstyling crew, for rendering Hawke unrecognizable as Hart. You might not even know that this short, balding man shares an actor with the Grabber until you hear him talk. I still have a little trouble connecting them together. Yes, I also said he was short, as the real-life Hart was a foot shorter than Hawke. A few seamless camera tricks, plus some inherent quirks in Susie Cullen's production design, help pull off this illusion. This is practically a filmed stage play, considering the scope, and thankfully, the Sardi's set is never boring or claustrophobic. It helps that there's a pleasant score by Graham Reynolds, which mostly adapts old favorites, to accentuate the mood.

It may be a film about a man's final months, but Blue Moon is surprisingly entertaining. Hawke’s performance may be getting all the awards buzz, but it also has a fun supporting cast and stellar script. Really, everyone involved should take a bow or two. You'll have to see it for yourself, however and whenever you can. It might get you in the mood for Oklahoma!, or may be Rodgers and Hart's whole catalog. If I'm in the mood, I might review Linklater's other film of the season, Nouvelle Vague. But that's it for today.

If I Had Legs, I'd Kick You

 This movie, with this peculiar title, came out in October near me, but I passed up my chance to watch it then. With Rose Byrne getting Oscar buzz, I realized I had to see it some time. That time came a few days ago, as I rented it through Amazon and pressed play. Let’s see what I’ve missed.

Linda (Byrne) has a lot on her mind. Her Ship Captain husband, Charles (Christian Slater), is on a two-week worktrip, leaving her to take care of their daughter (Delaney Quinn). Their daughter, who isn’t even named and whose face is mostly kept off-screen, requires a feeding tube to treat an unspecified condition. They can’t keep up with Dr. Spring’s (director and writer Mary Bronstein) strict wellness program. And then, her ceiling collapses, which requires the two of them to move to a motel.

It just so happens that Linda is a therapist, who regularly receives counseling from a colleague (Conan O’Brien). One of her regular patients is Caroline (Danielle Macdonald), a new mother with severe postpartum depression. One day, Caroline up and leaves Linda with her baby, and her husband (Bronstein’s husband Ronald) can’t be bothered to immediately relieve her. Although she gets the police to help, Linda can’t get any for the ceiling, which gets worse by the day. All of this causes her mental health to deteriorate further and further. Is there a light at the end of her tunnel?

When we first see Linda, we see only her, and occasional glimpses of her daughter. Between Christopher Messina’s extreme close-ups, and Linda’s weariness, we can already tell that she’s dealing with a lot. Indeed, some of her problems, like the collapsing ceiling, are rather farcical. As the film goes on, her problems get surreal, occasionally violent, and pretty maddening. It even gets depressing, as Linda wonders if she’ll end up like Yoselyn Ortega or Andrea Yates. Thanks to Byrne’s performance, Linda never loses her audience’s support, even as she partakes in something drastic - and disturbing - in the climax. Still, to answer my question, the film leaves her with a sliver of hope for the future.

There’s a pretty good supporting cast in Linda’s orbit, even if their characters aren’t at all likable. O’Brien, as the colleague, is so restrained and serious that he's practically unrecognizable. But with Charles absent, Dr. Spring too condescending, and Caroline's husband callously unhelpful, he's still a welcome sympathetic ear. It's also pretty funny when he and Linda squabble after Caroline vanishes. She also has James (ASAP Rocky), her motel's superintendent, and Diana (Ivy Woulk), the front desk clerk, to help her out. Still, Linda's difficult personality stretches their limits, and you won't blame them when they hit theirs. Linda's arch-nemesis, a parking attendant (Mark Stolzenberg), clearly hit that limit ages ago, but he's just annoying compared to some of her other problems. 

Let's give a few shout outs to its technical aspects. There's no composer credited, but we still get something like a score here. It's mostly an unsettling soundmix filled with ambience and the occasional muzak, which does wonders in putting us in Linda's headspace. Her hallucinations, and the occasional real-life violence (particularly a shocking incident with a hamster), are visualized with pretty spectacular effects. There's some pretty great production design, by Carmen Navis, for Linda's apartment in every bit of its disrepair. And finally, everything is held together nicely by editor Lucian Johnston.

Overall, If I Had Legs, I'd Kick You can be an extremely uncomfortable comedy to watch. Yes, despite the nightmare fuel, and the mental crises, it's still a dark comedy. But as I said, the slim, yet hopeful ending for its protagonist, makes this cinematic ordeal worth watching at least once. It's disturbing, yes, but it's also strangely rewarding. If it doesn't sound appealing, don't worry, for I've got something a bit more palatable next time. 

Song Sung Blue

I’ve held off on watching Song Sung Blue ever since it came out on Christmas. I don't really have a good reason why. But after Kate Hudson was nominated for the SAG Award on Wednesday, I immediately went off to watch it. So, let's see what everyone else has been singing blue about.

Craig Brewer converted Greg Kohs's 2008 documentary into narrative form. It immediately starts with Mike Sardina (Hugh Jackman) seemingly being interviewed for another documentary. Shot tightly close by Amy Vincent, the now Oscar-shortlisted cinematographer, he tells us about his life, his passion for music, and even his alcoholism. It's at this point we learn he's at an AA meeting, celebrating his 20th "sober birthday" with a performance of Neil Diamond's titular song.

Mike, a Milwaukee mechanic, is also a cover artist named "Lightning." One night, at the Wisconsin State Fair, Mike is supposed to cover Don Ho, but he'd rather be himself. So, he quits, but not before he meets single mom Claire Stengl (Hudson), who's covering Patsy Cline. Once they get acquainted, they decide to form a Diamond tribute band, Lightning and Thunder. Their careers take off when they open for Pearl Jam, and they eventually marry.

What else happens? Claire gets into a horrendous accident, which leaves her physically and mentally scarred. She and Mike argue a lot as he struggles to find work outside of their act. Her daughter, Rachel (Ella Robinson), gets pregnant, though she's got an adoptive couple on standby. Mike also has a bad heart, and the family's insurance isn't that good. I think that's it.

For the first hour or so, it’s all fun and games as Lightning and Thunder meet, fall in love, and make beautiful music together. It gets buoyant whenever they sing Diamond, from the obvious Sweet Caroline to obscure songs like Play Me, Soolaimon and Holly Holy. The songs are delightful, and Hudson and Jackman are clearly having fun playing together. It's 132- minutes long, and the scenes off-stage may make you feel every second of it.

After the accident, it rushes through all the problems I mentioned above. Claire’s accident - a random car smashes into her while she’s gardening - is legitimately shocking, but Mike having a heart attack at the hospital is a little too much. Granted, this actually happened in real life, but this is the first time we learn of his “jacked up heart.” It only acts up again in another shocking accident. It’s a bit hard to follow, though never tedious, as the dramatics pile up. It doesn’t help that the film, as a whole, condenses the real-life timeline to a few years at most.

So, what about Lightning and Thunder? Well, Jackman is pretty charming as Mike, but that's a given. He lights up on stage, discusses music, or even expresses annoyance over Sweet Caroline. He's got an ego, but he's still humble enough to acknowledge his Thunder, especially near the end. Hudson is pretty enjoyable as Claire, and you'll really feel for her when she's put through the ringer. I already mentioned their electric chemistry, but one of their best scenes off stage is the awkward manner he proposes to her. You'll smile with them and even laugh uneasily when Claire misses another runaway car by seconds.

Let’s meet the supporting cast. Fisher Stevens is fine as Dr. Dave Watson, Mike’s manager and dentist who helped craft his Lightning persona. It dawned on me that Tom D’Amato, Mike’s agent, had a very familiar voice, though only later did I realize it was Jim Belushi. He’s good too, as is Michael Imperioli as fellow impersonator Mark Shurilla. “Sex Machine” (Mustafa Shakir), the James Brown impersonator, is quite fun, but Angelina (King Princess), Mike’s daughter from his first marriage, is just there. She and Rachel become besties, but Rachel’s brother Dayna (Hudson Henley) has far more plot relevance.

That Oscar-shortlisted cinematography is dazzling, but it’s even better with Billy Fox’s editing. There’s the crash, which cuts to black just before impact, but that’s enough to jolt anyone awake. The other accident is quick and brutal, even if the aftermath may befuddle you (it embellishes some details, but it's consistent with the true story). If any one scene earned Stewart her spot, it's a very creepy nightmare where Claire performs Sweet Dreams on stage. And finally, let's give some praise to the visual effects team; you'll know why when you see Claire post-accident.

Song Sung Blue is fine, but it could've been better if it developed its timeline better. Still, if all you want is a Neil Diamond experience, then Jackman and Hudson's performances will give it to you in spades. They're just as good as the real, real deal himself, who unfortunately never shows up here. But let's not hold that, or The Jazz Singer, against him. I think I said enough.