At times it’s difficult to have an educated (or otherwise) discussion about this movie. Just bring up the well-known H.G. Wells’ title and the response you’ll get from the media-overdosed masses is “Yeah, it was cool, but what the hell is up with Tom Cruise? I think he’s finally cracked.� Or “Did you hear what Tom did on Oprah? Ya know, the couch thing?�

Did I inquire about your feelings on Tom? No, no, I am certain I did not. Let me state here that I am about as interested in Tom Cruise’s love life as I am the whereabouts of Michel Jackson’s real nose or Britney Spears’ legendary virginity.

Now, back to the big screen.

I liked the movie just fine, all things considered.

I can hear my ‘movie-snob’ friends groaning as I say this, but they groan every time I admit I like a mainstream flick (which happens a lot). But don’t worry, my moaning pals, I have plenty of bad things to say about it too. Truly though, does anyone go to a Tom Cruise, high-budget, Hollywood summer film in the hope that they’ll be entering the realm of classic cinema? If you do

Let me start by admitting that I have never read the book. I also didn’t see the first movie starring Gene Wilder until the age of 30. And it creeped me out.

I’d heard of this beloved childrens' book, and here it was, another movie. And it was freaky. A bit darker than I anticipated. I was totally unprepared…A candy coated acid trip gone wild. It took Johnny Depp to make me take another look, and I’m thankful I did. I really enjoyed this newest version.

Johnny, Johnny, Johnny, can you do no wrong? I’m a huge Johnny Depp fan. Not simply because he’s one of the most beautiful men on the planet, but because he is, hands down, one of the most talented. Johnny Depp has an admirable history of taking difficult roles that could make or break a career. He then plays those parts in ways that most actors would never have imagined. A risk taker who has just begun to get the attention and praise he deserves.

By Kasey Anderson

Based on chapters from the Hellblazer graphic novels, “Constantine� wants to be equal parts eye candy and morality tale. Unfortunately, director Francis Lawrence and star Keanu Reeves are only able to deliver half of that equation. Lawrence, a former music video director (and it shows) makes his feature directorial debut in stunning visual fashion, crafting a film that manages to be visually stimulating without overwhelming the material.

Reeves, as protagonist John Constantine, doesn’t fare so well.

Employing his trademark wooden demeanor (which should, in theory, be an effective tactic when one is playing a cancer-ridden demon hunter), Reeves sulks and grimaces his way through the film, attempting what one would assume is stoicism, but comes off looking simply bemused. Whether he’s overwhelmed by the potential of large-scale destruction, or by the substantial talents of his supporting cast (Rachel Weisz, Shia LeBouf, and Djimon Hounsou all turn in solid performances) is uncertain, but the one emotion Reeves seems eminently capable of portraying is “Huh?�

It’s film festival season again. Wedged in between the annual awards ceremonies and the summer blockbuster deluge, the 29th Seattle International Film Festival is packing 220-plus films into three weeks of movie overload. The festival, as all festivals are, is a proving ground for the next would-be hit directors for any and every sort of genre of film you can imagine. As such, it’s a great place to see a mixed bag of movies that will most likely never see release in this country, or possibly anywhere at all; the winners, as it were, enjoy modest and limited release. Of course, the festival isn’t about winners and losers, it’s about a love of filmmaking and an opportunity to see films with a little more character than the major studios are willing to risk. So put down that Big Mac and Mocha Malt Frappuccino, and come on over to indie country. Doesn’t your brain get enough comfort food as it is?