filmlistingsderomanticizing of the myth of the suave,Michael Corleone-style gangster icon, thefilm is overwhelmingly effective. But consideringthat what you’re seeing is, essentially,what’s actually happening in and aroundNaples right now, Gomorrah begins to feelmore like a weird, Jodorowsky-esque surrealistnightmare. It’s amoebic in its portrayalof the society-wrecking, viral natureof organized crime, and it has no room forsentimentality or even, in the end, hope.For sure, it’s a violent gangster movie; itdoesn’t glamorize the lifestyle one bit.(Saviano, who had a hand in the screenplay,has been under police protection sincehis book was published three years ago.)Shot in a flat, unobtrusive documentarystyle by cinematographer Marco Onorato,Gomorrah weaves together five separatestorylines, all of which, in turn, revolvearound a seedy, crumbling tenement onthe outskirts of Naples. <strong>The</strong>re’s 13-yearold Totò (Abruzzese), an inherently goodkid sucked into the vortex of the Camorrawhen he does some low-level hoods asemiaccidental favor involving a misplacedhandgun. <strong>The</strong>re are two Scarface-quotingteenage lamebrains, Marco (Macor) andCiro (Petrone), who scheme to steal acache of weaponry from some other localhoods, with predictably disastrous results.And then there are the weasely, haplessmoneyman Don Ciro (Imparato); his unctuous,casually evil boss, Franco (Servillo);and, finally, Pasquale (Cantalupo), a frazzledhaute-couture tailor who’s in a bind overhow to keep up with the protection moneyhe owes the Camorra. All the charactersare brilliantly delineated, the grimy plazasand parking garages equally, drably arresting.This film is gorgeous like a corpse,but there’s no rigor mortis yet; it moves tothe inexorable beat of 9mm slugs hittinghuman meat. Director Garrone’s unflinchingportrait of a very real hell on earth wonthe Grand Prix at the 2008 Cannes FilmFestival (plus a boatload of other awards),but this isn’t some pomo arthouse picturelooking to score points by subverting thegangster paradigm; it’s a killer film aboutkillers who idolize film but are unable orunwilling to parse the doom that always cropsup come Act III. “Gomorrah: See Naplesand die,” or, more accurately “Gormorrah:See Naples die.”– Marc Savlov★★★★ Dobie78 T H E A U S T I N C H R O N I C L E MARCH <strong>27</strong>, <strong>2009</strong> a u s t i n c h r o n i c l e . c o mGomorrahD: Matteo Garrone; with Salvatore Abruzzese, Toni Servillo, Gianfelice Imparato, Maria Nazionale,Carmine Paternoster, Salvatore Cantalupo, Marco Macor, Ciro Petrone. (NR, 136 min., subtitled)Based on Roberto Saviano’s bestselling exposé about theItalian crime machine known as the Camorra, Gomorrah(pun intended) is riveting from its first frame to its last. As anewreviewsCROSSING OVER D: Wayne Kramer;Characters of various nationalities, allwith Harrison Ford, Ray Liotta, Ashley Judd, JimSturgess, Alice Eve, Cliff Curtis, Alice Braga, Summer Bishil,Justin Chon. (R, 113 min.)ensnared within the incongruous machineryof the American immigration system, arethe subjects of the interlocking stories ofCrossing Over. Framed as a multistrand narrativein the manner of Crash and Babel,Crossing Over also echoes those titles inthe way its pastiche of stories creates awell-intentioned social message. <strong>The</strong> objectiveof writer/director Kramer (<strong>The</strong> Cooler)is to show us what a mess the post-9/11U.S. immigration and naturalization processhas become. Somewhat patronizingly,Crossing Over shows us how our government’sunfeeling and easily inveigled systemsacrifices innocent human beings tothe letter of its laws while exempting othersthrough sheer dumb luck or willful chicanery.<strong>The</strong> individual stories seem tailoredtoward making points rather than creatingrealistic characters and situations. At thecenter of the drama is Ford’s Max Brogan,an Immigration and Customs Enforcementagent who’s having trouble sleeping at nightafter busting a Mexican seamstress in aCalifornia factory, whose son will be castto the streets after she is deported withouthim. But even before his insomnia kicksin, we discover he’s a softie when a fellowworker bellows: “Jesus Christ, Brogan!Everything is a goddamn humanitariancrisis with you!” Max’s partner, HamidBaraheri (Curtis), is of Iranian descent andhas issues with his soon-to-be-naturalizedtraditionalist father and his sexually defiantAmerican-born sister. In another storyline,Sturgess plays musician Gavin Kossef, whotries to get a green card by overinflating theimportance of his Jewish faith. His wouldbegirlfriend, Claire Shepard (Eve), is anAustralian actress who is willing to tradesex for a green card, which works to theadvantage of dishonest immigration adjudicatorCole Frankel (Liotta). Cole, in turn,is married to an immigration lawyer whoseheart bleeds for an African child trappedin a government detention facility. Also inthe same lockup is adolescent TaslimaJahangir (Bishil, last seen in Towelhead),a Bangladeshi who is arrested by antiterroristforces when she reads aloud aschool assignment which expresses herunderstanding of the frustrations thatguided the actions of the 9/11 bombers.<strong>The</strong> movie practically grinds to a halt, however,with the story of Yong Kim (Chon), aKorean teenager caught up by peer pressurein a convenience-store robbery. Alsoin the store is ICE agent Hamid, who, afterkilling the other two robbers, delivers anunbelievably lengthy lecture to Yong aboutAmerican values while the teen holds hiscocked gun to an employee’s head. <strong>The</strong> latticeworkof social meaning that makes upCrossing Over is ultimately a flimsy structurethat pays lip service to liberal valueswhile only occasionally inventing anything ofdramatic significance. – Marjorie Baumgarten★★ ArborEK: THE POWER OF ONENot reviewed at press time. This Hindiremake of the Telugu film Athadu is anD: Sangeet Sivan; with Bobby Deol, Shriya Saran, NanaPatekar, Chunky Pandey. (NR, 158 min., subtitled)action film about a professional assassinwho is accused of killing a politician.– Marjorie BaumgartenTinseltown SouthTHE HAUNTING INCONNECTICUT D: Peter Cornwell; withVirginia Madsen, Kyle Gallner, Elias Koteas, Martin Donovan,Amanda Crew, Ty Wood, Sophi Knight. (PG-13, 103 min.)<strong>The</strong> Haunting in Connecticut opens witha title stating that what follows is “basedon a true story,” which is all well andgood and practically a mandate for thistype of haunted-house film. But what gallsme – and what will have other genre fansgnashing their teeth down to the sublingualtissue – is that Cornwell’s film, stylisticallyat least, is really “based” on snipsand snatches of Lucio Fulci’s <strong>The</strong> Beyond,Mario Bava’s Shock, Alejandro Amenábar’s<strong>The</strong> Others, and, of course, <strong>The</strong> AmityvilleHorror. <strong>The</strong> film is based much more onthese film forerunners than it is based onany supernatural events alleged to haveoccurred in the real world. Technically, thefilm is adapted, loosely, from splatterpunkauthor Ray Garton’s book In a Dark Place:<strong>The</strong> Story of a True Haunting, but <strong>The</strong>Haunting in Connecticut has the patchworkfeel of a director at odds with himself.Cornwell, who shot the immensely popularstop-motion short “Ward 13,” doesn’t geta lot of help from his screenwriters, AdamSimon (Carnosaur, Brain Dead) and TimMetcalfe (Revenge of the Nerds, Kalifornia).<strong>The</strong>ir stilted dialogue and endless streamof expository yakking seem better suitedto one of the post-dubbed Euro-shockersmentioned above. As for the story, true ornot, Madsen and Donovan are ill-cast asSara and Peter Campbell, a fiercely boringupper-middle-class couple who neverthelessmake the potentially exciting decisionto move their family into a house thatformerly served as both a mortuary andnexus of eternal evil. (<strong>The</strong>y don’t know thatgoing in, but still.) <strong>The</strong> move is predicatedon situating the family closer to a hospitalwhere son Matt (Gallner) is being treatedwith chemotherapy and experimental drugsfor an unspecified, rapidly metastasizingcancer. Living as he is in the borderlandbetween life and death, Matt is able to seevisions of the house’s tortured past, thoughit’s not long before the entire Campbell clanis surrounded by haints and horrors. Whoyou gonna call? Elias Koteas! (Duh.) <strong>The</strong>veteran character actor (<strong>The</strong> Thin Red Line,Zodiac) appears here as a priest who, likethe increasingly horrified Matt, is also sufferingfrom a dearth of decent dialogue anda surplus of cancer. Koteas’ overearnestperformance almost makes <strong>The</strong> Hauntingin Connecticut worth a look, but ultimatelyeven the star of Cronenberg’s Crash can’tsalvage what is essentially a substandardrip-off of <strong>The</strong> Amityville Horror. – Marc Savlov★■Barton Creek Square, CM Cedar Park, HillCountry Galleria, CM Round Rock, SouthparkMeadows, Highland, Gateway, Lakeline,Tinseltown North, Tinseltown South, Westgate
KNOWING D: Alex Proyas; with NicolasCage, Rose Byrne, Chandler Canterbury, D.G. Maloney,Lara Robinson, Nadia Townsend, Alan Hopgood, AdriennePickering. (PG-13, 122 min.)<strong>The</strong> precipitous decline of NicolasCage from moody arthouse upstart tomuscle-bound action hero to popcornselling,check-cashing hack has been welldocumented,so I won’t go into it here. I’lljust say that it can’t be any good for anactor’s reputation when he’s outemotedby a quartet of faceless CGI space aliens.In Knowing, Cage is nearly somnambulantas John Koestler, an astrophysicist,widower, and father of one who divideshis time between raising his son, Caleb(Canterbury), contemplating the randomnessof the universe, and drinking heavily.When Caleb brings home a mysteriouspiece of paper covered in seemingly arbitrarynumbers that was pulled from a50-year-old time capsule, Koestler useshis skills as a math wiz to determine thatthose numbers aren’t random at all but theexact dates, locations, and death countsof every major global disaster that hasoccurred since that paper first went intothe ground. Koestler’s friends, of course,think he’s a drunken paranoid, clutchingat straws as a way to make sense ofthe senseless death of his wife. But itbecomes harder to argue with him whenplanes and subway trains start crashing oncue and deadly energy bursts start workingtheir way from the sun toward the Earth’sozone layer. In true mid to late-period-Cagestyle, Knowing is a film in which little thingslike acting and writing and intelligibility takea back seat to special effects. But, my,oh my, what special effects Knowing has.Proyas (I, Robot) may not care much for thesubtleties of social behavior, but the manpulls no punches when it comes to humancarnage. I’ve never seen so many peopleon fire before or been forced to contemplateat such length the death throes ofwoodland creatures. And the film’s coupde grace – an apocalyptic wave of fire andbrimstone – is so beautiful and terrifying,it will make the filmgoers both thank Godfor their quiet little lives and forget theyever saw Independence Day. Knowing isa nonsensical, pop-philosophical stew ofbiblical prophesy, meteorological aberrations,spooky kids, and aliens disguisedas German techno artists, but damned ifit isn’t an anxiety-fueled kick in the teeth As perfect as a movie can beGomorrah (NR)Crossing Over (R)EK: <strong>The</strong> Power of One (NR)<strong>The</strong> Haunting in Connecticut(PG-13)Slightly flawed, but excellentnonethelessHas its good points, and itsbad pointsthat feels just right in shaky <strong>2009</strong>. It’s justengaging enough to make you accept thepossibility that two kids from the Bostonsuburbs may just be mankind’s only hopefor the future and just exciting enough tomake you forget that you’re watching aNicolas Cage movie. – Josh Rosenblatt★★★ Alamo Drafthouse Lake Creek, AlamoDrafthouse South, Barton Creek Square, CMCedar Park, Hill Country Galleria, CM RoundRock, Southpark Meadows, Highland, Gateway,Lakeline, Tinseltown North, Tinseltown South,WestgateMONSTERS VS. ALIENSD: Rob Letterman, Conrad Vernon; with the voices ofReese Witherspoon, Hugh Laurie, Seth Rogen, Will Arnett,Paul Rudd, Rainn Wilson, Kiefer Sutherland. (PG, 94 min.)Back in 2007, DreamWorks mogul JeffreyKatzenberg rather boldly stated that heintended to only release films in 3-D fromthen forward, making the studio’s Monstersvs. Aliens something of a gauntlet throwdown.While the flagship film’s effect happilydoes not induce the eye-crossing andstomach-turning so common to motion pictures’attempts to bully two dimensions intothree, one would hope for an endorsementmore ringing than “Monsters vs. Aliens:Doesn’t give you a migraine!” We meetthe pert, if unremarkable, Susan (voicedby Witherspoon) on the morning of her weddingto Derek (Rudd), whose vacantness istelegraphed in his job title of TV weatherman.(Curiously, we never learn how Susan spendsher days; her ambition appears limited toa desire to see Paris – and really, whodoesn’t?) Soon, an errant meteor pulsatingwith a mysterious substance signalsceremony-interruptus; Susan, in closestproximity, gets her DNA scrambled andmorphs into a literal bridezilla by sproutinglike Jack’s beanstalk some five stories tall.<strong>The</strong> government quickly whisks her away toa containment center, where Susan – nowcalled Ginormica – makes reluctant friendswith a whole host of monsters, which iswhere the film finally has some fun. <strong>The</strong>Area 51 residents include a half-man, halfcockroach,the product of a mad scientist’sself-experimentation (a deliciously acerbicLaurie); a lovable fish-ape hybrid called theMissing Link (Arnett); and, perhaps mostwinningly, BOB (Rogen), an amorphousBicarbonate Ostylezene Benzoate so dafthe tries to woo a plate of jiggling Jell-Oat a backyard barbecue (he is, after all,technically brainless). <strong>The</strong> film filters theopenings & ratingsMonsters vs. Aliens (PG)Scott Walker: 30 Century Man (NR)Sunshine Cleaning (R)12 Rounds (PG-13)/Mediocre, but with one or twobright spotsPoor, without any saving gracesLa bombafantastical plot doodlings of those campysci-fi classics of yore – the tin-can flyingsaucers and marauding 50-foot woman –through the modern formula for animatedpictures (morality plays tempered by a chorusof wiseacres). It’s a shame the balancedidn’t tip more in the direction of the former,because there is something rather dopilysweet in its story of a misfit band of monstersunleashed from quarantine to defendEarth from an alien invader. <strong>The</strong> misfits, asever, must take a back seat to the morality,and the result – while in no way migraineinducing– traffics in rote truisms (love theskin you’re in; leave no man behind; etc.)that are admirable but perfunctory and leaveno greater an impression than BOB did onthat Jell-O mold. – Kimberley Jones★★ Alamo Drafthouse Lake Creek, AlamoDrafthouse Village, Barton Creek Square, CMCedar Park, Hill Country Galleria, CM RoundRock, Southpark Meadows, Dobie, Highland,Gateway, IMAX <strong>The</strong>atre, Lakeline, Metropolitan,Tinseltown North, Westgate VULCAN VIDEOFOREIGN. CULT. CLASSIC.112 WEST ELIZABETH ST & 609 WEST 29TH STtwo-for-one tuesdays & wednesdaysstudent discount thursdaysbuy-sell-tradeopen til 2am on weekendsGO TEAM VULCAN! a u s t i n c h r o n i c l e . c o m MARCH <strong>27</strong>, <strong>2009</strong> T H E A U S T I N C H R O N I C L E 79