Lost in Translation

Fulfilling the boundless promise exhibited in her debut effort, The Virgin Suicides, director Sofia Coppola crafts a sublime love letter to both Tokyo and transitory friendship with her newest film, Lost in Translation. Hollywood star Bob Harris (Bill Murray) has been shipped off to Japan to hawk Suntory whiskey to the natives. There he encounters Charlotte (Scarlett Johansson), the beautiful wife of a photographer who spends much of her day staring out her window in hopes of somehow finding herself within the city’s skyline. The pair are soon discovering Tokyo culture and a profundity in their friendship that is lacking in their respective marriages. Johansson perfects the prolonged sulk, while Murray delivers his best performance yet, donning the hats of weary voyager, droll companion and cynical mentor with equal comfort. There are plenty of belly laughs to be had along the way, but what remains with the viewer is the significance of the fleeting connection that these two people share. Coppola dreamily lingers on every scene, adorning each of them with the sensation of the aftermath of a first kiss. (BYC)

Pieces of April

This low-budget family dramedy, imagines whatever happened to that high school loner who was always up to no good in chemistry class. 21-year-old April Burns (played with unassuming grace by Katie Holmes), armed with the emotional support of her affectionate boyfriend (Derek Luke), embarks on a mishap-filled day of cooking and decoration to prepare her humble New York apartment for a Thanksgiving dinner with her estranged family (headed by Oliver Platt and Patricia Clarkson). Pieces of April showcases homegrown storytelling at its best and marks a strong directorial debut by Peter Hedges (the screenwriter behind About a Boy). (VA)

School of Rock

Jack Black is not a particularly funny man. He can pull off a one-liner, and he brightly sustains the Chris Farley torch of manic physical clowning, but it’s clear that his comedic range is inversely related to his girth. Fortunately, the producers of School of Rock have forged an ideal vehicle for Black’s brand of mischief, and with a sturdy cast and script behind him, he manages to whip up some of the biggest laughs of the year. Black plays Dewey Finn, a guitarist thrown out of his band, rendering him even less capable of paying the rent that he owes his substitute teacher roommate. Posing as his roommate, he assumes the responsibility of educating a classroom of unusually well-behaved fifth graders, who he discovers to be, rather conveniently, excellent musicians. School of Rock echoes with comic and emotional resonance without getting mired in sentimentality, allowing Black to revel in a role in which he manages to hit all of his notes perfectly. (SAW)

Under the Tuscan Sun

A bit of late-summer escapism unfolds on the other side of the pond, as a recent divorcee (Diane Lane) flees to Italy, purchases a villa and finds a mysterious foreign love interest. Adapted for the screen by Audrey Well—who also produced and directed—from author Frances Mayes’ bestselling memoir, with a number of departures from the book. In the past, Wells has been responsible for such mixed fare as George of the Jungle, The Truth About Cats and Dogs and The Kid; here she strives to transcend the cliches of the typical romantic romp. An array of complications and subplots flesh out the simple story of one woman falling in love with a countryside estate, a beautiful landscape and a new life. (SWVL)

Veronica Guerin

Director Joel Schumacher’s latest movie is based upon on the life of the Sunday Independent reporter of the same name. The film is the story of her self-imposed mission to clear the streets of drugs and drug pushers, culminating in her brutal death at the hands of gang leaders attempting to protect themselves from the momentum of her crusade. Most important, it is the story of Guerin herself: her character, her motivations, her fears and doubts. Cate Blanchett’s resplendent performance as Guerin seethes with passion and intensity in every scene. It is her skillful work—as well as that of her supporting cast—that compensates for the film’s directorial inadequacies. (GPH)