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The Lord of the Rings: The Fellowship of the Ring ruled the box office so impressively, moviegoers can count on Tolkien-mania returning in force next Christmas, when the film's sequel—The Two Towers—opens. (The Return of the King will wrap up the trilogy the following Christmas.) The first film in Peter Jackson's riveting big screen adaptation continues to draw more raves than any movie since Titanic. A lot of these reviews have been mentioned in Film Forum over the last three weeks (1, 2, 3), so let's focus on newer releases this week.

Five new films opening or already playing across the country this week focus on men trying to make something better of themselves. One is a morally reprehensible man who tries to improve himself to save his family … or at least, he pretends to. Another constructs a meaningful, useful identity for himself, because he cannot remember who he is. The third tries to better himself in spite of a difficult mental disorder. Tired of being seen as weak, the fourth strives to be stronger and more self-assured. And number five? He'll conquer the world with boxing gloves on.

* * *

The Royal Tenenbaums is the latest comedy from up-and-comer Wes Anderson (Rushmore, Bottle Rocket). It features a large, talented ensemble cast, spectacular sets, and a cast of characters as varied and strange as the Addams Family. Tenenbaums follows the sad disintegration of the Tenenbaum family, and one man's efforts to bring them back together again, for one reason or another. When Royal Tenenbaum (Gene Hackman) divorces his wife (Angelica Huston) and leaves her with their three genius children, mother and kids spend the rest of their meandering lives limping from the damage. A father's love is crucial, and devastating when it's gone. Rarely have the effects of paternal neglect been so cleverly portrayed; each Tenenbaum child staggers off into extreme behavior. Ricky (Luke Wilson) gives up tennis and launches into a life of loneliness at sea. Helen (Gwyneth Paltrow) plunges headlong through reckless love affairs and depression. Chas (Ben Stiller) tries ruthlessly to control his shattered existence, especially after the death of his own spouse. When Royal arrives and announces that he's dying, he realizes it's going to take a lot more than a sob story to bring the family together again.

Wes Anderson has here, in my opinion, the year's most brilliant comedy, one that tackles the painful politics of divorce and abandoned children with surprising conviction. The comedy is subtle, swift, brave, and hilarious. Each member of the cast is in top form. This is Paltrow's best performance in years and Hackman demonstrates again that he's a far more interesting comic actor than his usual tough-guy roles suggest.

Even as it jars the funny bone, it can break the heart. Royal can't just come home and pick up where he left off. The damage he has done is too great. He has to start over, earn trust, and build healthy relationships. But are his intentions honest? Nevertheless, I came away deeply impressed at how the smallest loving gesture, whether it is sincere or not, can begin a chain reaction of goodness and honesty in the midst of wreckage.

Other critics in the religious press are similarly impressed. The U.S.C.C.'s critic says, "With comic compassion, Anderson depicts gradual maturing in a madly dysfunctional family."

Phil Boatwright (The Movie Reporter) says Tenenbaums "may be the best film I've seen so far this year. Despite its objectionable material … it teaches the need for family and forgiveness, and gives a brilliant portrait of a man seeking atonement. There is a depth behind the twisted humor and much poignancy in the subtle drama."

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December (Web-only) 2001, Vol. 45