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Steve Carell, Morgan Freeman, John Goodman, Wanda Sykes, Molly Shannon, Lauren Graham. Comedy/fantasy. Written by Steve Oedekerk. Directed by Tom Shadyac.

FILM SYNOPSIS: Steve Carell, reprising his role as the preening newscaster Evan Baxter of Bruce Almighty, is the next one anointed by God to accomplish a holy mission in the comedy Evan Almighty. Newly elected to Congress, Evan moves his family to suburban northern Virginia, whereupon the freshman Congressman asks God to help him “change the world.” The prayer is heard, and suddenly Evan’s life turns upside-down. God (Morgan Freeman) appears and commands Evan to build an ark. Like his biblical predecessor, this new life direction does not sit well with his co-workers, his community or his wife.

PREVIEW REVIEW: Those suspicious of the film industry using a biblical parable to fuel a movie comedy may be nervous with this concept, and may even see sacrilege where none was intended. But the comedy achieved here does not mock spiritual matters, nor is it in any way covertly used to denigrate the book of Genesis. Director Tom Shadyac (The Nutty Professor, Patch Adams, Liar, Liar) and star Steve Carell (Bruce Almighty, TV’s The Office) have simply set out to make a funny movie. It’s meant to entertain, not proselytize, and not signal the world’s end. That said, one of Tom Shadyac’s strengths as a comic filmmaker (Bruce Almighty, Liar, Liar), is to ridicule man’s folly by placing man’s goals alongside biblical principals and principles.

Its themes are universal in flavor (the need for faith and standing side by side). The film’s elements of pacing, characterizations, and the incorporation of live animals along with super CG effects all come delightfully together, resulting in a successful effort to keep young and old glued to their cinema seats. Keeping in mind that the same filmmakers assembled Ace Ventura with Jim Carrey and The Nutty Professor with Eddie Murphy, the absence of anything crude is not realistic. In an effort to capture the attention of the adolescent male, the movie contains several doses of potty humor (a dog sniffing a crotch, lots of bird droppings). However, it is devoid of the sexual imagery found in Bruce Almighty, the producers seem more family-friendly this time around. The production makes us laugh and occasionally gives us a case of the warm fuzzies.

Morgan Freeman is this reviewer’s favorite movie star of this generation. He inhabits an authority, sincerity and believability few actors possess. I’ll go so far as to say that not since Marlon Brando has an actor represented the craft of play acting with such unflinching significance. When I saw him as the President in Deep Impact, I remember thinking, “I’d vote for that guy.” His performance here is also extraordinary. He respectfully mimics the Supreme Being’s love and command in a way that pays tribute to the one God. His portrayal may even get audiences to thinking about how we were created and what lies beyond this life.

Director Shadyac proclaims himself to be a Believer, and though he is not sermonizing with this production, he does use it to address the care of this planet and loving one another. And faith. He makes it quite clear that faith is important, even inescapable. There is a moment where Evan’s faith is displayed through love for his fellow human beings. Like Noah, Evan is mocked by the community for his conviction. But when their scoffing turns to fear at the sight of imminent doom, Evan reaches out with forgiveness and a way of salvation. It was just one of the film’s touching moments. There are others.

As for laugh-out-loud moments, the star and his equally gifted supporting cast members handle the quips and visual gags with equal aplomb. It’s a family pleaser. Indeed, so far, it is the best family film of the year. But before I conclude my thoughts, a word must be said about…poop.

In nearly every film aimed at the adolescent male, you are going to find anatomical and scatological humor well represented. Indeed, bodily functions have been so associated with movie comedy of late that its mere mention tends to raise the eyebrows of those who feel such crudity should remain where it belongs – on the baseball diamond.

Now, toilet humor is my least favorite. I associate it with lazy writing. But there is almost always an exception to the rule. This is a movie filled with animals two by two, and animals are not inhibited by bodily functions. The filmmakers take advantage of this uninhibited release, occasionally using birds to, how should I put this, dump on man’s pomposity. It’s still not in the best of taste, I grant you, but if you have ever worked on a farm or built a patio under a telephone pole, you know poop is inescapable.

It’s a production that embraces kids and adults alike with its humor and its message. What’s more, Evan Almighty may cause discussion among children and their parents concerning Noah and the flood or forgiving people who have wronged you, or maybe just about poop.

Distributor: Universal

Marion Cotillard, Sylvi Testud Pacal Greggory, Emmanuelle Seigener, Jan-Paul Rouve, Clotidlde Courau, Gerard Depardieu. Written & directed by Oliver Dahan. Biography.

FILM SYNOPSIS: An impressionistic portrait of legendary chanteuse Edith Piaf, the film explores the singer’s rise to fame, despite tragedies and drug addiction. Known as La Mome Piaf (The Little Sparrow), Piaf’s life mirrored that of Judy Garland and Billie Holiday. Piaf remains, however, one of France’s icons, her voice one of the indelible signatures of the 20th Century.

PREVIEW REVIEW: A powerful performance from the diminutive Marion Cotillard highlights this otherwise overwrought production of Edith Piaf’s life. Born into poverty, raised in a bordello, yanked away from a loving surrogate mother, forced to perform as a child to earn eating money, injured in a car accident that leaves her bent over and addicted to pills, finally finding true love, alas with a married family man who is killed in a plane crash, Piaf suffered a life with more ups and downs than Garland and Holiday combined. The nonlinear story is so wrought with tragedy that by film’s end, one wishes for the days of such musicals as The Sound of Music or even Funny Girl.

At one point as a child, Edith sees a vision, a Saint Theresa, who promises to look after her. This seems to be her main connection to spiritual matters, until she seeks a psychic in order to make contact with her dead lover. This, as you can imagine, doesn’t do her much good.

One can’t watch the film without realizing that life is full of challenges and bitter-sweetness. Even the rich and famous are unable to escape problems. And no matter how much they obtain, there’s just a little more outside their reach. Conclusion: Life is about more than gaining the whole world – or even the little cottage with the white picket fence. Life is a fleeting moment in time, an obstacle course filled with mountains and valleys. And each obstacle we face has to do with character development and faith.

I’m not all that sure many will discern that philosophy as I’m not all the sure it was the director’s intent. It’s just something I’m reminded of whenever I see characters on the silver screen dealing with adversity. No matter who you are, problems are unavoidable. They’re meant to be a part of the life experience and give evidence that there is more to our stay here than obtaining self-glory.

Distributor: Picturehouse

FILM SYNOPSIS: A documentary written, directed and produced by Michael Moore (Fahrenheit 9/11, Bowling for Columbine), Sicko sets out to investigate the dysfunctional American healthcare system. Using his trademark dry, caustic humor, Moore compares U.S. medical care plans to those of existing ones in Canada, England, France and Cuba.

PREVIEW REVIEW: With his confrontational, often controversial approach, Michael Moore is a guy you either respect or find offensive. Over the years, beginning with Roger and Me, the portly propagandist has taken on the car manufacturing industry, President Bush, gun control, Republicans, an ailing Charlton Heston and now the business of health. It’s difficult to look upon him the same way as when he tenaciously tracked down then General Motors chairman Roger Smith in 1989. It is reported that he earned $25 million for this latest production, and by his girth, it would appear that Mr. Moore has since learned to accept the bounty of capitalism, if only during meal time.

Many believe that Moore has always blended his essay on corporate America with supposition and opinion, often using his political bent and savvy style to cover his version of the facts. That said, it cannot be denied that sickness is big business, run by conglomerates just as powerful as the oil industry or Capital Hill. Whatever your opinion of Mr. Moore, his latest filmed effort raises questions and encourages debate. That’s healthy in a society that seems manipulated by the greed and avarice of powers that be.

Distributor: Lionsgate

Ioan Gruffudd, Jessica Alba, Chris Evans, Michael Chiklis, Julian McMahon. Sci-fi action adventure. Written by Don Payne, Mark Frost. Directed by Tim Story.

FILM SYNOPSIS: Besides having to deal with their returning nemesis, Dr. Doom, the fearsome foursome must now contend with a new threat, an intergalactic being known as the Silver Surfer. Lots of havoc ensues as an alien force threatens to destroy Earth.

PREVIEW REVIEW: Marvel’s first family of superheroes returns, perhaps to redeem themselves for the 2005 installment almost as much as to cash in on the comic book genre. Director Tim Story’s first attempt at bringing the blue-suited super-crime fighters to the silver screen was uneven. It had some humor, but the special effects were so-so and the dialogue less than. Due to sloppy writing, that production had little heart. The heroes didn’t seem to do much for others, the story constrained to their own desires to return to normalcy. Surly, narcissistic and charmless, the foursome was not so fantastic. All that has changed. The effects here are as good as I’ve seen. And the pacing, the humor, the action, and even the dialogue are superior not just to the first installment, but to many action/adventure wannabes. Quite simply, 2 is Fantastic!

My only complaint is the casting of Jessica Alba. Oh, I love her. She’s talented and a beauty, but Hollywood is full of blue-eyed blondes who could fit the look made famous in the comic book. So what do the producers do? They cast a dark skinned woman, going as pale as possible on the Max Factor, cover her striking brown eyes with blue contacts, and helmet her gorgeous brunette hair with wigs that look like they were made from Trigger’s tail. Go figure.

Distributor: 20th Century Fox

Emma Roberts, Josh Flitter, Max Thieriot, Rachael Leigh Cook, Tate Donovan. Family Mystery Adventure. Written by Andrew Fleming and Tiffany Paulsen. Directed by Andrew Fleming.

FILM SYNOPSIS: Based on characters created by Carolyn Keene, Nancy Drew follows teenager Nancy (Emma Roberts) as she accompanies her father, Carson Drew (Tate Donovan), to Los Angeles on one of his business trips and stumbles across evidence about a long-unsolved crime involving the mysterious death of a beautiful movie star. Nancy’s resourcefulness and personal responsibility are put to the test when she finds herself in the middle of the fast-living, self-indulgent world of Hollywood.

PREVIEW REVIEW: I liked everything about this movie, mainly because it’s smart. And witty. For example; after nearly being run down, Nancy asks her friend, “I wonder who tried to kill us?” The filmmakers are spoofing B-film dialogue, but lovingly. The line was purposely corny, but delivered with an affection that caused a lighthearted giggle from young and old. Another moment is equally entertaining. Nancy finds a bomb in her car. Surrounded by unknowing teens, she grabs the ticking device and nonchalantly moves off, calmly offering this reason for the rudeness, “Excuse me, I have to defuse this bomb.”

Nancy’s pension for sleuthing is explained by the death of her mother years before. Mom remains a mystery, one Nancy can’t solve, so she tries to decode other puzzles. And though the world is now populated by world-weary adults and children, Nancy is her own person and prefers a different time and attitude. She’s encapsulated herself in a sort of retro-cocktail hour, constructed by Bossa Nova music and all things mid-1960s, perhaps the world her mother had lived in. She seems out of step with her new schoolmates, but Nancy sees no need to fit in if it means not being herself.

Nancy wears knee socks and penny loafers and drives a vintage roadster, not because she’s stuck in a time warp like those movies that mocked TV’s Brady Bunch, but because she finds them a good fit. Her style is not predicated on the fickle flair of girls afraid to try anything outside the limited mindset of their peers.

Most everything about the production is geared to adolescent females, giving them an instructive message about being true to yourself, while also caring for others. And Nancy understands that to achieve a goal, you have to work for it, not merely expect it to be given. It’s a kind of lesson in character building, but subtly incorporated into the comic adventure so that youngsters never feel they are being preached to.

Emma Roberts, niece of Julia, has a good screen presence. It takes skill to handle tongue-in-cheek humor and she manages everything the script and her director toss at her. As for the director, he is nearly as brave and chichi as the lead character. He paces the film deliberately, allowing for character-revealing moments and taking his time to show Nancy dealing with predicaments, then wisely speeding up the action before today’s music-video generation can lose interest. That assumption is based on the fact that all the preteeners at the screening remained glued to their seats as Nancy went about her business much like a cross between Sherlock Holmes and television’s MacGyver.

The film has a chic look, taking advantage of colorful Southern California locales. And there’s even a surprise cameo. No, it’s not Aunt Julia, but it’s a friend with whom she’s co-starred a couple of times. I won’t give him away, but I wouldn’t be surprised if in real life, Emma calls him Uncle Bruce. Oops.

Nancy Drew is clever, stylish and downright fun.

Distributor: Warner Bros.

Glen Hansard, Marketa Irglova. Romantic musical drama. Written & directed by John Carney.

FILM SYNOPSIS: Struggling with life’s obstructions, an Irish vacuum repairman who yearns to sell his music and an Eastern immigrant meet and find their love of music draws them into a romantic relationship.

PREVIEW REVIEW: I have a great deal of positive to assert concerning this film, but allow me to get the negative stated first. The film has a limited budget feel, with an unsteady camera movement throughout that drives this reviewer crazy. This particular camera gimmick started out in the action/adventure genre then spread throughout the industry as if filmmakers had found the Utopian way of shooting pictures. It’s supposed to give a scene movement, energy. It should however, be used sparingly. Like the abundant use of obscenity in a screenwriter’s pallet, this use of moving camera has lost its originality and only serves to say the artist is limited in his abilities. As for obscenity, the f-word is used throughout this film. Evidently, the Irish poor use it even more than Americans. It’s excessive, though I’ll grant it does reveal the characters’ inner frustrations in this film. The other dialogue is crisp, involving and helps give full dimension to the people on screen.

Okay, here’s what I liked about this film. It is a musical, but both the main characters are musicians and the music doesn’t come out of nowhere. It’s part of their lives as they find themselves creating music together. As for the music itself, it’s not hummable like the score of My Fair Lady or The Sound of Music, but it is extremely soulful. The male lead sings from his gut, not his throat. And what are they singing about? Not politics – yea! (Used to love Nora Jones until she decided to set us all straight concerning how we are governed.) Both sing about life and how the loves of their lives have affected them. It’s still the most powerful emotion that can be set to music - unrequited love. Anybody remember Sinatra’s One For My Baby? Or his Angel Eyes? That’s what they’re singing about here.

Here’s another positive about this film. It’s not about going to bed together. They don’t do that here. Like Bill Murray’s Lost in Translation, Once is about two people connecting. Lonely, the man does make the suggestion after only one day with the girl, but she makes it clear that’s not going to happen. She’s already made that mistake, leading to childbirth. Though she adores her little girl and is a responsible mother, she has no intention of having another out of wedlock. And she is concerned about the little one having a father.

The man is sensitive to others. When he catches himself using some raunchy language in front of a lady, he apologizes. Both have positive relationships with their parents. Indeed, these are good people.

Lastly, there’s the film’s ending. It is exceptional. A bit melancholy, but very moving. This is a film that will draw attention come Oscar time.

Distributor: Fox Searchlight

George Clooney, Brad Pitt, Matt Damon, Andy Garcia, Don Cheadle, Bernie Mac, Ellen Barkin, Al Pacino, Casey Affleck, Scott Caan, Eddie Jemison, Shaobo Qin, Carl Reiner, Elliot Gould. Action adventure. Written by Brian Koppelman & David Levien. Directed by Steven Soderbergh.

FILM SYNOPSIS: In the fanciful sequel to Ocean’s Eleven and Ocean’s Twelve, Danny Ocean and his gang reunite for their biggest heist yet. Al Pacino and Ellen Barkin join the cast in this elaborate caper.

PREVIEW REVIEW: Though the script is non-linear, sometimes challenging to follow, director Steven Soderbergh maintains a lively pace incorporating a gleeful sense of humor with funny gags and several edgy twists. Sadly, while the film avoids most crudity, there are three profanities (the misuse of God’s name, or Christ’s). And lest you think I’m condoning a movie about thievery, let me assure you that the scenario is so far-fetched, it can’t be taken seriously. That said, these are characters who live outside the law, and in the last two outings, they pulled off an elaborate crime, as well as other felonies, without paying a price. And they're all really cool while doing it. If you find a movie that glorifies crooked behavior objectionable, even if it is done so tongue-in-cheek, you might want to pass on this one.

Video Alternative: To Catch A Thief. A reformed burglar (Cary Grant) must capture a copycat or go to prison. Beautiful Grace Kelly aids him. I use this film as an alternative to a lot of caper films of today due to the fact that although the lead character had been a thief, he now sees the error of those ways. But even more than that, my suggestion comes from the fact that it is one of the most elegant movies ever made. Not only are Mr. Grant and Ms. Kelly about as good-looking as humans can get, but the film itself is quite stunning. The look, the sound, and the use of Monaco’s location are elements each superior to just about any film I can think of. Add to that Hitchcock’s tight, sophisticated direction and the audience finds itself totally immersed in the story. While Hitchcock presents some rather sexy encounters between his stars, he’s suggestive but never vulgar. It proves more alluring than today’s graphic handling of screen sexuality. There’s something more captivating here, more mesmerizing than any other of Hitchcock’s films. I’m not saying it’s a better film than Vertigo or North By Northwest, but it is certainly one of his most hypnotic efforts. A few minutes and you’re hooked, unable to click the remote. This hasn’t come from just the fine performances. Nor from the camera work. It is that indefinable something that makes an auteur superior to a mere director.

Distributor: Warner Bros.

Animated comedy from Columbia Pictures. Voices of Shia LaBeouf, Zooey Deschanel, Jeff Bridges, Jon Hedder, James Woods, Mario Cantone, Jane Krakowski. Directed by Ash Brannon, Chris Buck.

FILM SYNOPSIS: Surf’s Up profiles teenage penguin Cody Maverick (Shia LaBeouf), an up-and-coming surfer, as he enters his first pro competition. Followed by a camera crew to document his experiences, Cody leaves his family and home in Shiverpool, Antarctica to travel to Pen Gu Island for the Big Z Memorial Surf Off. Along the way, Cody meets surf nut Chicken Joe (Jon Heder), famous surf promoter Reggie Belafonte (James Woods), surf talent scout Mikey Abromowitz (Mario Cantone), and spirited lifeguard Lani Aliikai (Zooey Deschanel), all of whom recognize Cody’s passion for surfing. Cody believes that winning will bring him the admiration and respect he desires, but when he unexpectedly comes face to face with a washed-up old surfer named Geek (Jeff Bridges), Cody begins to find his own way, and discovers that a true winner isn’t always the one who comes in first.

PREVIEW REVIEW: Remember Chicken Run? You know, the claymation comedy set at a chicken farm where a flock of hens are determined to fly the coop before meeting a fowl fate. With enough visually going on to keep little ones enthralled, it also contained sly, pun-riddled humor to keep the most anti-animation adult amused. And let’s not forget the sight gags. Picture a rooster in solitary, ala Steve McQueen’s Cooler Joe in The Great Escape. The expressive faces (chickens with teeth – is that great?), the pacing, adventure and witty dialogue make for a fun family movie outing. Well, Surf’s Up is no Chicken Run.

Now, I admit, I’ve seen enough animated animal movies – especially ones about penguins. What’s up with all the penguin movies? You want to see a penguin movie – see March of the Penguins, which is an insightful and humorous look at life for these creatures in the Antarctic. It’s fascinating for kids and adults, alike. But enough with movies about penguins surfing or dancing. Surf’s Up is not clever or witty enough to be an inspirational parable. And with the distinct lack of laughter among the youngest crowd members at the screening, I have to say it’s not much of a kid’s comedy, either.

The animation is top drawer, there are a few funny moments and the lesson of putting others first is clear and poignant, but considering how the studio has been putting its trailer in front of our captive eyes in theaters for the past year, I expected it to be at least as funny as Happy Feet. It isn’t.

Distributor: Columbia Pictures

Carly Schroeder, Elisabeth Shue, Dermot Mulroney. Sports drama. Written by Lisa Marie Petersen, Karen Janszen. Directed by Davis Guggenheim.

FILM SYNOPSIS: Set in 1978, Gracie is an inspirational film about a teenage girl who overcomes the loss of her brother and fights the odds to achieve her dream of playing competitive soccer at a time when girls’ soccer did not exist. Based on true events from the lives of the Shue family (producer and co-star Andrew Shue, Academy Award-nominated actress Elisabeth Shue, the film is directed by Academy Award-winning director Davis Guggenheim (An Inconvenient Truth), who happens to be part of the family, being married to Elisabeth Shue.

Fifteen-year-old Gracie Bowen (Carly Schroeder) is the only girl in the family of three brothers. Their family life revolves almost entirely around soccer: her father (Dermot Mulroney) and brothers are obsessed with the sport, practicing in the backyard’s makeshift field every day from morning ‘til night. Tragedy unexpectedly strikes when Gracie’s older brother Johnny (Jesse Lee Soffer), star of the high school varsity soccer team and Gracie’s only protector, is killed in a car accident. Struggling with grief over her family’s loss, Gracie decides to fill the void left on her brother’s team by petitioning the school board to allow her to play on the boys’ team in his place. Her father, a former soccer star himself, tries to prove to Gracie that she is not tough enough or talented enough to play with boys. Her mother, Lindsey Bowen (Elisabeth Shue), already an outsider in the sports-obsessed family, is no help either. Undeterred, Gracie proves herself and manages to bring her family together in the face of their tragedy.

PREVIEW REVIEW: There have been several female celebrities of late in trouble with the law and seemingly lost emotionally. My theory, for what it’s worth, is that if a young girl has a supportive, healthy relationship with her dad, she won’t be looking for love and acknowledgement in all the wrong places. This movie points that out. The lead’s father, more comfortable with his sons, doesn’t know how to talk to or show affection for his daughter. And when her beloved older brother dies, she feels adrift. So, the movie is about more than a girl wanting to play a man’s sport. It’s about fathers and daughters. The film has a lot to say and it handles the subject not with much subtlety, but certainly with sincerity.

The only trouble for me is that I don’t get soccer, period. Let alone why a girl would want to play it. I guess I’d have a difficult time sending my little girl out to play a sport I knew would injure her. I’m afraid I’d have been one of the bad guys, I’d have said no. But, as I said, the film isn’t really about this sport, but about communicating your love for your child.

Carly Schroeder (Firewall, Prey) shows spunk and determination and though I’m not an expert, her ability with a soccer ball seems genuine. The pacing is good, but the filming of the actual “big” game is less than convincing. It’s not a great sports film, but the filmmakers have made a solid goal with its message.

Distributor: Picturehouse

Kevin Costner, William Hurt, Demi Moore, Danielle Paabaker, Marg Helgenberger, Dane Cook. Written by Bruce Evans, Raynold Gideon. Directed by Bruce Evans.

FILM SYNOPSIS: Earl Brooks is a loving family man and local business icon, a hero to all. But Mr. Brooks has one small character flaw. You see, he enjoys murdering complete strangers. And while committing one of his clandestine killings, spurred on by his devilish alter ego (William Hurt), the crime is witnessed by a voyeuristic neighbor. And this is where Mr. Brooks’ life becomes a bit more complicated. It turns out the spying neighbor has an unusual blackmail demand – he wants to go along for the ride.

Also dogged by tenacious detective Tracy Atwood (Demi Moore), who’s battling her own demons and a vengeful ex-con bent on killing her, Mr. Brooks soon discovers that his college dropout, pregnant daughter has her own sick secret – she too enjoys the thrill of the kill.

PREVIEW REVIEW: This may be Mr. Costner’s best performance. It’s intense, controlled, and mesmerizing. The story, though over the top (three serial killers for the price of one), is nonetheless suspenseful, even terrifying. And the premise is unnerving – an upper crust, praying, pro-lifer breaks into locked houses with the mastery of a Mission Impossible regular and shoots people in their beds. Doesn’t get any creepier than that.

Although it is well made, I have a couple of problems with Mr. Brooks. Along with having to sit through the usual R-rated explicit content, which is neither creative nor soul satisfying, the movie stirs up a paranoiac fear that each new person met may harbor a dangerous secret side. And of course, the maniac is a hypocrite who prays and believes in the rights of the unborn.

From years of studying movies and their makers, I get the feeling that some in that industry relish the exploitation of a religious person who is discovered to be a wrongdoer. Now, to be fair, perhaps this film’s intent is not so covert. Maybe the character is written as a man of prayer and a pro-lifer merely to give him dimension, and not meant as a swipe at religious folk. But have you noticed, these found-out hypocrites are never followers of Buddha or Gandhi? In the movies, it’s always a conservative Christian who turns out to be the real threat. Why is that?

Video Alternative: HARVEY. Here’s a story about another guy with a secret. James Stewart stars as a gentle soul by the name of Elwood P. Dowd who likes everybody–including his invisible six-foot rabbit, Harvey. Funny and heart-warming.

Distributor: MGM