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Pimp my chocolate factory:

Snotty children, an ambitious pimp and offbeat relationships take the silver screen this weekend

Charlie and the Chocolate Factory (PG)

Tim Burton’s Charlie and the Chocolate Factory is an excellent remake of the 70s Willy Wonka and the Chocolate Factory, based on the classic book written by Roald Dahl. The new version does not attempt to resemble the original film but rather creates its own unique setting and redefines its main characters. The plot remains fairly the same: the poor Charlie Bucket finds a golden ticket and is invited, along with four other children, to tour Willy Wonka’s enchanting chocolate factory.

There are, however, a few differences that distinguish this movie from the previous one. We all remember the little singing Oompa-Loompa workers of the original movie, which in this case are being replaced by multiple computer-generated duplications of the same tiny person. The music has also changed considerably, from one basic song sung by the “original” Oompa-loompas to a broader variety of musical styles, giving the film a more contemporary twist. Also the new version further develops the five kids who win the desired Golden Tickets, especially the character of Violet, the gum-chewer.

Johnny Depp does an outstanding job playing the character of Willy Wonka. He brings a special combination of sarcasm and comedy to this role, sustaining the audience’s fascination and curiosity. Unlike the charismatically eccentric Willy Wonka played by Gene Wilder in the original film, Johnny Depp’s imaginative interpretation of the “God of Chocolate” makes his character the main focus of this remake. Under the brilliant direction of Tim Burton, Depp gives depth as well as personal history to a character that was once perceived as one-dimensional and almost too mysterious. Burton succeeds, yet again, to create a magical world that is visually breathtaking in addition to being enriched with emotional value.

The movie is an enjoyable celebration of childhood, innocence and SUGAR, and therefore I strongly recommend replacing the traditional popcorn with significant amounts of chocolate! You won’t regret coming prepared.

—reviewed by Noga Ashkenazi

Me and You and Everyone We Know (R)

Like many independent films, Me and You and Everyone We Know fails to fall into any one Hollywood category. One part romantic comedy, one part coming-of-age tale and one part examination of the human condition, this award winning film (at both Cannes and Sundance) is a revealing, wondrous and somewhat surreal take on the connections between people both young and old.

At the center of Me and You and Everyone We Know is the relationship between struggling multimedia artist Christine (Miranda July) and recently divorced shoe salesman Richard (John Hawkes). A chance meeting in Richard’s shoe store gradually leads to a quirky and touching romance, and the two characters share a palpable, however offbeat, chemistry. However, their relationship is just one of the many that populate the film.

Richard has two sons, 14-year-old Peter (Miles Thompson) and 7-year-old Robbie (an amazing performance by Brandon Ratcliff) with whom he shares a relationship that is far from traditional. Peter is learning to explore his sexuality with two older neighborhood girls, although he seems to have a greater connection with a younger girl Sylvie (Carlie Westerman) who is preoccupied with preparing for her future. Meanwhile, Robbie turns to the computer for friendship and, in one particularly disconcerting scene, has cyber sex with an unseen older woman.

While this summary may seem off-putting, especially in regards to the portrayal of children’s sexuality, it is a testament to the power of Miranda July’s (who also wrote and directed the film) vision and atmospheric control that the film remains weightless and dreamily inquisitive. As a successful performance artist making her first full-length film, Mrs. July brings a unique perspective to the medium; Me and You and Everyone We Know’s “Originality of Vision” – the title of the award it won at the 2005 Sundance Film Festival – makes it well worth seeing.

However, along with any film driven by “tone” and “vision”, if the director’s sensibilities do not match your own, the film’s cohesion and brilliance can disappear quickly. That said, Me and You and Everyone We Know is an original piece of movie making and, in my estimation, is well worth the risk.

—reviewed by David Coombs

Hustle and Flow (R)

The plot of Hustle and Flow focuses on a pimp from Memphis reaching for his dreams in spite of his situation. DJay (Terrance Howard) has grown weary of his present way of life. He is pushing 40 and has never met his early aspirations to be a rap star. Instead he has become a street hustler and a low-end pimp, a profession not deserving of his talent or time.

When a chance meeting provides him with an opportunity to cut a few tracks, DJay uses his street-hustling skills to try and get himself noticed by an established rap star (played by Ludacris).

Director Craig Brewer had problems in selling his script because of the color of his skin: white. But when acclaimed director John Singleton (Boyz in the Hood) read the script, he attached his name to the project, and the film took off. Subsequently the film won the audience award at Sundance and was bought by MTV films.

This is not a typical “MTV hip-hop film” with a popular rapper as the lead. Terrance Howard gives a serious performance as the ambitious Pimp/MC DJay, and supporting actors Anthony Anderson and Taryn Manning give the best performances of their careers. Hustle and Flow is not a film to be dismissed easily. While it deals with the life of a pimp, it does not glorify or condemn that lifestyle. Craig Brewer is a filmmaker who can present a controversial subject in a way that satisfies his audience.

As DJay said, “it’s not the size of the dog in the fight, but the size of the fight in the dog;” this film, a small, low-budget production, is one of the finest films released this year. Hustle and Flow is for those who like a film that will make you think, but is also incredibly enjoyable.

—reviewed by Tony Dalpra

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