scmovieguy

As a fan of the stage musical, I was worried that the film might not measure up - but they hit this one out of the ballpark! Bright, bouncy and joyously hilarious! A big smile hit my face as soon as it started and I didn't stop grinning until the end of the credits.

I haven't heard a press screening audience applaud after musical numbers since "Chicago" - and they cheered! The huge cast is uniformly terrific. Travolta, Pfeiffer and Walken are a hoot and Nikki Blonsky couldn't be more perfect.

The performances, script, lyrics, sight gags and costumes wage an all-out assault on your funny bone. Even the set dressing gets laughs!

This is the movie musical that Grease, Rent and Dreamgirls should have been.

Bravo!

Everything George Lucas did wrong in "The Phanton Menace," the disappointing prequel to his "Star Wars" trilogy, he does right - brilliantly right - in "Attack of the Clones." This time out, the force is strong in him - in a very big way.

This fifth chapter of the sprawling space saga recounts the coming of age of Annakin Skywalker (the Jedi knight who will become Darth Vader) as the democratic Republic is on the brink of a war which will ultimately transform it into the evil Empire.

Lucas wisely returns to the elements that made the original "Star Wars" such a groundbreaking success: timeless mythological themes; endearing characters; heart-pumping action scenes; and the energetic derring-do of Saturday matinee serials.

I promise not to reveal major plot points, but the story begins when Jedi knight Obi Wan Kenobi (Ewan McGregor, maturing nicely into Alec Guinness) and his protege Annakin (Hayden Christensen) are summoned to protect the regal Padme (Natalie Portman); the former Queen Amidala has taken a Hillary Clinton turn and is now an outspoken senator.

The great success of the first "Star Wars" was its cunning blend of familiar movie genres - sampling not only science fiction serials but gun-slinging westerns and fantasy classics like "The Wizard of Oz."

In "Attack of the Clones," Lucas serves up heaping helpings of film genres including the film noir detective, sci-fi paranoia, political thrillers, and action scenes that recall everything from James Bond to "Jason and the Argonauts" and Robin Hood's merry men battling it out in Sherwood Forest.

Venturing into territory that's totally new to him, Lucas also gives us a classical star-crossed love story between Annakin and Padme (the future parents of Luke and Leia). Christensen and Portman are exceptionally fine actors, giving emotional depth to the two most complex characters in the "Star Wars" canon. (And as screen lovers, they make "Titanic's" Leo DiCaprio and Kate Winslet look positively homely.)

Seeds are sown of plot developments yet to come as the saga takes on a generational and mythological weight that's worthy of the Greeks. A turning point in Annakin's emotional transformation makes for an unforgettable scene of pain, love and fury, the likes of which we've never seen in a "Star Wars" movie.

Lucas also recaptures the blend of humor, satire and adventure that seemed effortless in the early films but was nearly absent in the dry, impersonal "Phantom Menace." Familiar characters and relationships are in full force here; Obi Wan and Annakin have a loving but contentious mentor/pupil thing going on; C3-P0 experiences a hilarious identity crisis; and in two words: Yoda rocks!

Samuel Jackson is on board as Jedi Master Mace Windu; Ian McDiarmid is back as the not-to-be-trusted political bigwig Palpatine; and Christopher Lee debuts as the dark side Jedi Master Count Dooku (at what point can we start to giggle at some of these names?).

Jimmy Smits fills out his Renaissance costume nicely as Senator Bail Organa but doesn't get much to do yet. (Oh wait, that was Princess Leia's last name - I see an adopted daughter in his future...)

The saga also continues its generational theme with the introduction of warrior Jango Fett, and his son Boba (who will grow into the feared bounty hunter of "The Empire Strikes Back").

The film is a magnificent thing to look at. From the glittering urban sprawl of Coruscant (think Manhattan to the tenth power) to the red-rock planet Geonosis, and the romantically sumptuous paradise of Naboo, the film's digital artisans break new ground in eye-popping production design.

In it's strong storytelling, depth of character and vigorous action scenes, "Attack of the Clones" is a mature piece of filmmaking, created by a man who has returned to his creative roots. No more Jar Jar Binks jokes, George. It's good to have you back.

"The Majestic" borrows Capra-esque themes (ordinary Joe gains strength from small-town goodness to battle a corrupt government) as it celebrates the magic of movies themselves.

Writer Michael Sloane's inventive McCarthy era fable (of an amnesiac screenwriter who's mistaken for the long lost war hero son of a small town) touches on meaningful themes of identity, loss, the high cost of war and the principles on which this country was founded.

The central theme of the film, as Carrey's character helps the town rebuild its dilapidated movie house, is that the movies are our temple of wonder and refuge from the harsh realities of life.

It's a movie that's unashamedly in love with the movies, and with human themes that have fallen out of favor in our cynical times.

Frank Darabont's large cast avoids the cutesie-pie acting style that makes Capra's films seem dated today. Carrey's cynical wink to the audience is replaced here by open-hearted earnestness; Martin Landau is wonderful as the lost hero's father; and Lori Holden combines dream girl perfection with honest acting skill as the girl he left behind.