See review this issue. Regal Cinemas, etc.

Beyond Hatred
I'm not sure why you would want to watch Beyond Hatred—a documentary about the family of a homosexual man killed by skinheads—unless maybe you're grappling with the loss of someone to a hate crime, and need to be inspired by this family's resolutely constructive attitude about the whole thing. Because otherwise—if you're just into sitting through 86 minutes of human processing for no real reason—there are a multitude of volunteer organizations that'd be happy to put your time to much better use. MARJORIE SKINNER Living Room Theaters.

Blades of Glory
Will Ferrell and Jon Heder play competing men's figure skaters with wildly different styles, who, after tying for a gold medal, whip each other's asses and get permanently barred from the singles' competition. Pariahs in the sport, a former coach persuades them to return to figure skating—but as two guys skating in the pairs division?! Whaaaa??? LET THE HOMOPHOBIC HILARITY ENSUE! WM. STEVEN HUMPHREY Regal Cinemas, etc.

The Buffy the Vampire Slayer Musical
See Film on pg. 44. Cinema 21.

Children of Paradise
1945's film—directed by Marcele Carne and written by Jacques Prevert—deals with "a swirling world of passions and larger-than-life characters in a world of art and artifice where fate takes control." Whoa. Deep. Northwest Film Center's Whitsell Auditorium.

El Immigrante
The first thing that sticks out about El Immigrante—a documentary about an illegal immigrant from Mexico who was shot and killed—is how frank and open subjects on both sides of the issue are. Maybe it says more about the current state of discourse in America, but it's downright shocking to hear a border patrol agent talk about how immigrants are just like anybody else, looking for work and a better life—they just have to cross a border to find it. The story of the shooting unwinds slowly (like, cough syrup slowly), with information about the incident unfolding between interviews about immigration. If you can get past the snail's pace, you'll find a sad, honest film—the kind the immigration debate needs more of. SCOTT MOORE Hollywood Theatre.

Evan Almighty
See review this issue. Regal Cinemas, etc.

Fantastic Four: Rise of the Silver Surfer
Director Tim Story's first Fantastic Four aimed for a lighter, goofier tone than X-Men or Spider-Man or Batman Begins. In some ways, Story succeeded (it is a nice change to have superheroes who aren't super-grumpy), but in most, he failed—the first Fantastic Four boasted the intelligence and feel of a crummy sitcom, and Rise of the Silver Surfer fares only marginally better. The sequel's scarce improvements are largely due to the Silver Surfer, whose inclusion is more than welcome: As the metallic, CG Surfer flies over Earth marking spots for destruction, there's a fluidity and grace to his character that's only improved when he begins talking like Morpheus, thanks to the voice of Laurence Fishburne. But then cue the product placement (the Fantastic Four's "Fantasticar" is made by Dodge, while the Thing's favorite beer is Dos Equis), the janky storytelling, and—somehow, against all laws of physics and taste—an absolutely repulsive-looking Jessica Alba. ERIK HENRIKSEN Regal Cinemas, etc.

The Golden Door
Set in the beginning of the 20th century, The Golden Door (Nuovomondo is its original Italian title) follows a very poor Italian family of a widower, his mother, and two teenage sons—one deaf and mute—as they make their way to the United States with exaggerated ideas of the promises held in the New World. The addition of Lucy (Charlotte Gainsbourg) to their party seems odd, although it provides the additional depiction of a young woman emigrating alone, and the desperate choices that leaves. While more or less uneventful, The Golden Door illuminates a chapter in US history that is not irrelevant to the border anxieties of our country today. MARJORIE SKINNER Fox Tower 10.

The Man You Had in Mind
The premise of this made-in-Portland documentary is simple: meet five gay male couples who've been together for one, seven, 10, 15, even 51 years. Through interviews with the couples, and sometimes their family and friends, we hear how they got together, and how they've stayed together. If this film featured five straight couples, it would be the most boring documentary ever made. It's only marginally more interesting because of the gay factor. Which begs the question: Was the documentary made for homophobes, so they could see how "normal" gay couples are? If so—and I think this is the case, given that director James Tuchschmidt has written, "Why is it that some people have such a problem with the [building a life together] scenario when it involves two men?"—mission accomplished. But yawn. AMY J. RUIZ Living Room Theaters.

A Mighty Heart
See review this issue. Regal Cinemas, etc.

See review this issue. Cinema 21.

Paris, Je T'Aime
Paris has gotten more valentines than any other city in the world. The reasons are obvious: It's beautiful, and it makes people want to be in love. So the impulse behind Paris, Je T'Aime is nothing new—the results, though, are as stunning and varied as the city itself. Paris is comprised of 18 five-minute films, unrelated save that they are each set in a different Paris neighborhood. If sitting through 18 short films sounds tedious, consider the talent involved: Alfonso Cuarón, the Coen Brothers, and Alexander Payne are among the directors, and actors include Steve Buscemi, Fanny Ardant, Maggie Gyllenhaal, and Juliette Binoche (and yes, Gérard Depardieu is in it). Even if there's no amour lost between you and Paris (I hear some people don't like the French?), Paris, Je T'Aime is worth seeing: The films included range from hilarious to heartbreaking, and together they capture the expansiveness and excitement of being alive and in love with a city. ALISON HALLETT Fox Tower 10.


See Feature on pg. 12. Portland Center for the Performing Arts, Northwest Film Center's Whitsell Auditorium.

Rules of the Game
One of those canonical "greatest movies of all time" that, while dry at times, is obviously influential (just about every drama that's ever taken social class as its subject owes a debt to this film). Guests at an estate in the French countryside fall in and out of love with one another, oblivious to the army of servants who rush about oiling the gears of the elaborate social mechanism. The brilliance of a few scenes stands out undeniably—the hunt scene alone, in which rabbits are chased toward well-dressed ladies and gentleman who stand waiting, guns at the ready, justifies sitting through the rest of the film. ALISON HALLETT Northwest Film Center's Whitsell Auditorium.

See Film on pg. 44. Hollywood Theatre.

The Trials of Darryl Hunt
A documentary about Darryl Hunt, a black man who was wrongly convicted—by an all-white jury—for the 1984 rape of a white woman. Hollywood Theatre.

The Wendell Baker Story
Like a fine wine, there's a lot to be said for letting a mediocre indie film rest on the shelves for the better part of three years—especially when it's already straight to video in a number of European countries. Wait, no—strike that. Taking his first spin in the director's seat, likeable lunkhead Luke Wilson tries on the lovable rogue persona of older bro Owen (who, in turn, tries to play villain) in a desperately fumbling Wes Anderson retread about an ex-con, a retirement home, and something resembling redemption. The only plus? Overly-quaintified performances by cinematic greats Harry Dean Stanton and Kris Kristofferson. ZAC PENNINGTON Clinton Street Theater.