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Stanley Kauffmann (The New Republic) finds it inexcusably empty: "To say that the story reaches no conclusion, never explains why it exists, is to compliment its nullity. Branagh is flavorless in a script for which he was to supply the flavors."

Flick Filosopher MaryAnn Johanson says the film is occasionally too absurd, but decides that "Branagh redeems it, keeping the film grounded in the wonderful, schizophrenic reality of a man desperately scrambling to maintain his cynicism only to find that letting it go isn't so bad after all."

Stephen Holden (The New York Times) says the film "reminds us that when it comes to comedy, it's all in the writing. Mr. Kalesniko's satirically barbed screenplay … stirs up an insistent verbal energy that rarely flags. The jokes are attached to a story that throws in several original screwball twists." But he predicts that its stand-out qualities may be too un-sentimental for viewers: "Audiences conditioned to getting weepy over saucer-eyed, downy-cheeked moppets and their empathetic caretakers will probably feel emotionally cheated by the film's tart, sugar-free wit."

American critics are celebrating the arrival of an Italian film called The Son's Room, which won the Palme d'Or award at the 2001 Cannes Film Festival. The plot sounds suspiciously like that of In the Bedroom, as it focuses on a family grieving the tragic and abrupt death of their teenage son. But instead of revenge, this family works at healing and moving on. Director Nanni Morretti has gained an Oscar nomination for his film, in which he plays a character similar to himself. Some critics feel his exploration of grief is more rewarding and profound than the much-lauded Bedroom, which had bigger stars and a wider release.

While In the Bedroom "shifts dramatic gears and goes off the rails a bit in its final act, The Son's Room is more consistent in tone and more satisfying," writes Peter Chattaway (The Vancouver Courier). "One of the reasons the film works so well is that it keeps introducing little surprises that push the film in subtly different directions than we might have expected it to go." Chattaway praises the fiim as "gentle, patient … uncharacteristically straightforward … [and unwilling] to settle for easy hope or easy despair."

The USCCB's critic calls it "poignant" and says, "the character-driven, gentle drama is emotionally resonant and finely edited, expressing an aching parental grief that derives comfort from an odd situation."

Stanley Kauffmann (The New Republic) says, "Moretti seems to be savoring the film, learning as much about it as we do while it goes along."

Okay, enough talk about death and dying. Let's wrap things up on a brighter note and turn from news about films to news about a film critic: America's most beloved film reviewer, Roger Ebert, successfully underwent cancer surgery this week. Doctors removed a malignant tumor from his thyroid gland.

The Ebert family posted this statement: "Our family is grateful that the surgery was a complete success and we appreciate the outpouring of support we have received. In response to all the questions asking how anyone can help, Roger's wife, Chaz, suggests that you gather together a small group of friends or family, go out to a movie—preferably one recommended by Roger—and then discuss it over dinner. At some point during the evening, give a big 'thumbs up' and send out good thoughts and prayers for Roger."

You can find the full story at Media News.

Next week: Ghost stories that'll get to you.Plus, We Were Soldiers: Mel Gibson continues in his quest to appear in every war history has to offer.

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Past review roundups are available in the Film Forum archives.

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February (Web-only) 2002, Vol. 46