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Susan Sarandon plays her role with a truly deft hand. You don't see HER: you see every tormented and bitter woman struggling with desperate circumstances (and cussing like a sailor, at the most difficult point in the story). She, as the first wife, Jackie Harison is settled, punctual and thoroughly devoted to her children.  

Isabel Kelly (Julia Roberts) is the successful photographer soon to be Stepmom who can't seem to get the hang of caring for children and their not always so convenient schedules.   Isabel is perfect as Jackie's subsuming counterpart. Woefully inadequate and aware of every flaw, she struggles to fill the shoes of Jackie as a tragedy unfolds.  

Both parents grow to understand their failure to rise to the demands of their first marriage as a gentle and steady love enfolds the entire family. The real and sweet part of the movie was that this love was not resident in one valiant person but rather shown forth from different characters as the movie progressed.  

This is definite kleenex grade movie-watching!

As to the chair potatoe on my left - this wall of steel melted, exposing his raw emotions: blubbering like a baby in his seat.  

One subtlety that is not so subtle is the Liberal Doctrinaire's propensity to mingle into entertainment vehicles some gratuitous message of political correctness (either in an allusive form, as in this movie, or in a more overt and tasteless manner.) In this case the Trail of Tears and black slavery were merely insinuated. They were subtly inculcated into pure entertainment fiction so that viewers cannot escape the "guilt of the past" even when we are indulging in and buying escapism. (Just be aware of the almost cliched efforts to recall and assign generational guilt. Such messages are not benign or without cost. They are, like dripping water on a stone, designed to shift attitudes. Take them seriously and protect the sanctity of your thoughts, and alert children equally to efforts to manipulate them.) It's unfortunate that deceit such as this makes us often "pay" twice for the movies we see.

That said, F. Murray Abraham is truly great as an evil, scheming, vengeful, perfidious (Look it up.), ugly decrep dictator from a dying "civilization." This "civilization" has a secret plan that interests The Federation. A project based on the plan has begun, unbeknownst to the crew of the Enterprise, which is drawn into the matter in response to certain unexplainable actions by... Mr. Data, whose self-protection subroutines have gone on steroids.

The Crew is all the familiar faces of the second generation. Jean-Luc Picard (Patrick Stewart) is back; so are Commander Riker, Lt. Cdr. La Forge (Levar Burton), Counselor Troi (Ooooh! So cute!), Lt. Worf (HE gets pimples), and the rest. All do a more perfect job than ever in the past. In this cosmic misadventure, a mysterious affliction gradually brings out unusual tendencies in Our Crew, leaving us in the audience as participants divining the reason why.

The drama mounts ever so gently, always delightfully punctuated with new and resourceful quirks of intelligent humor. You'll LOVE it: we did. Just be sure that your BS Deflector Shields are in their upright and locked positions whenever political correctness is stirring.

*

Robin Williams (Chris Nielsen) and Cuba Gooding, Jr. (Albert) are solid and very entertaining. This is a morality play with an edge! The story affirms some traditional religious themes and there are some really neat, and truly surprising, twists that speak to family issues. Also, the special effects are exponents of superb, original thinking... and never overdone. But, while "What Dreams May Come" has emotion, it lacks soul: it's flat where it should be feeding your imagination and making the intended drama come alive.

Some scenes are potentially disturbing for wimpies and those who've recently lost someone. Younger teens and kiddies don't fit the demographics either. Nonetheless, Mrs. Diaper, the Diaper Entourage, and I dialed back our expectationometers and had a good time. This is a good one for the rest of us and ( Mrs. Diaper Commentary) really sparks deep discussion afterwards.

Is Robert De Niro (alias Sam) really ex-CIA?? What alliances and connections does his companion Vincent (Jean Reno) have? The two give new meaning to the term "freelance mercenaries". What commitments and dependencies do the haunting Dierdre (Natascha McElhone) and others in their party have? What, indeed, IS Sam's angle? Is it what it seems, or is it something else? Who is this Seamus character? (Is he Sam's Doctor Moriarity?) All of the answers unfold throughout the movie... some of them obliquely, some powerfully.

A weapons deal in the dark shadows of Paris goes bad. Snipers are poised to eliminate Sam and his accomplices. His cool perception and experience foil the trickery. From here, the webs of deception and treachery, cross and double-cross; and the intensity of chest-pounding, action-charged adventure multiply exponentially.

Take a potty break before the show: you'll be glued to your seat once it starts. The Vixen and I arrived fashionably late and saw no nudity; but, shoot-em-ups, a less-than-surgical neck slitting, the feel-it-as-you-hear-it sound track, bone-jarring chase and explosion scenes, and some coarse language may be a bit much for any but the most mature teens and their adult companions. AND... take a wimpy liberal with you. Glimpse at 'em squirming. It's great bait for a discussion on gun control. (Be sure to have your pocket version of the Constitution at the ready!) THIS MOVIE IS FATED TO BE A CLASSIC. SEE IT. IT'S GREAT HAIRY-CHESTED STUFF!

I don't know how closely this movie shadows his life story, but the narrative is compelling and deeply moving. As much as a story about Frankie Lymon, it is equally a succinct commentary on the street-level dark side of the 60's around which much of the myth of the era is hung. It is also a story focused upon his betrayal of three heroic women who loved him: One who literally sold her soul to save him, another who gave him her all and lost everything by trusting him, and yet another whose innocence and decency charmed every vision she had of him.

The saddest note is in the tragedy of Frankie's own story. Abused by the senseless brutality of his father, he lived with a constant emotional scar. A child thrust by destiny into the cutthroat music business and into a world of adult emotions, he was unguided and unprepared. He loved to sing. He had a magical talent and electricity that never failed to charm, but he lacked the depth of character and maturity to make the right choices.

Larenz Tate is mesmerizing as Frankie Lymon. He is absolutely spellbinding on stage. No one could have better captured the essence of this latter-day Svengali; nor could anyone have done a better job in the role of his second wife, Zola, than Halle Berry. Likewise, Vivica Fox is superb in the role of his first wife, Elizabeth.

This is an excellent movie, though one plagued with some contextual profanity and blue scenes. It can be a real kick-in-the-pants that screams to those in limbo: "Do something constructive with your life! Love those who trust you!" Go and see this, but leave the rug rats and teens at home.

Soon the blessed day came and Mr. Sun smiled on our endeavor. Panting fiercely from the ride, we secured our tricycles to a post and entered the theater with tickets in hand. (To think that we could have bought tickets and watched that dumb PGA tour.)

Only trivial moments later, the lights fell and the action began. Tragedy struck almost immediately; but, soon enough, light materialized from the screen and I recovered my napkins. Just in time, too; for it was from this moment that I was inescapably captured by this golden fairytale. It is a hugely inventive and lavishly appealing rebirth of the Cinderella story.

Mrs. Diaper and I were both captivated, mysticized. We loved it! Dougray Scott is SMOKIN' as Prince Henry! Drew Barrymore is charming, engaging, savvy, delightfully sweet and wholesome, and marvelously witty in her role as Danielle (the Cinderella character of the story). Angelica Houston was plus parfait as the wicked step mother and Megan Dodds was perfectly despicable as the callous, scheming, self-absorbed beastie-step-sister, Marguerite. Their humor was laced with just the right counterpoint of self-effacing humor, as was Melanie Lynskey's stand-out performance in playing the dim, omnivorous, but adorable step sister, Jacqueline. Every single cast member was stellar.

Unfortunately, someone in Hollywood tainted yet another movie that should be for the whole family by injecting the word "h*rsesh*t" into the script. This completely gratuitous profanity could easily have been swapped for an innocuous word such as "balderdash". You have to ask, then, "Why wasn't it?" What perverse moron decided to toss it into the middle of this wonderful little story about the triumph of innocence and good?

This aside, the title, is a self-conscious allusion to the inevitable perfect ending, and you'll find yourself one of the silent conspirators wishing each piece of perfection into place... gratified and not the least bored that it turned out that way. Go see it with your children. You'll love it and they will too (AND you can handle the language misstep when it happens!)  

Samuel L. Jackson is a top police negotiator and he's tight with his cop bud of many years. Then someone brutally kills his friend in a lonely location after he lets slip some tantalizing clues and Jackson is set-up for the fall.

Very quickly his credibility begins to tank as the cruel con goes into full swing and he finds himself nearly alone and on the short end of a bad situation in which fate is already painting his name on a prison cell. He confronts a sinister I.A. cop who appears to have set him up and the dice start rolling on the rest of his life as one moment builds on another until there is no turning back.

In a few highly-charged minutes, emotions push him over the edge and into a hostage situation much like those he is trained to de-fuse. The action is hot and sometimes violent as Jackson tries, against mounting odds, to untangle a vicious web of deceit that demands all of the skills and resources of his career. Kevin Spacey turns in a brilliantly taut and charged performance as a white knight brought in to "defuse" Jackson, but he finds himself quickly immersed in a deadly riddle with few clues.

Like the action, the heat rises a bit on the language; but, this a great movie for mature mystery buffs. High energy spy rations petered out quickly. Even though we are experts in provisioning, drooling tongues kept asking for more. But, familiar readers will recognize this as a good sign! Mrs. Diaper and I thoroughly enjoyed this action-packed winner. It's a gripping, edge of the seat thriller, yet on par with a fine crossword... grist for the mind! Just leave the usual sub-teens, mercurial postal workers, and nail-biting wimpies at home.

It was from these clues that I first judged the honesty of Spielberg's work. War is at once complex and immediate; but completely incomprehensible to glib panty-waists jostling for advantage before a camera.

This is a profound glimpse of humanity... its foibles and its bright shining moments in that shekinah where one man gives up his life for another... the courage and wisdom that events bestow on the unsuspecting, the ordinary who draw it out from that deep inner place where it had never existed.

It stands in monumental contrast to the lesser nature of humanity where such courage and sacrifice are misunderstood, dismissed and forgotten by succeeding generations or shamelessly misused as fodder for self-promotion.

I suspect that there are some who have, by now, convicted me of extravagant hyperbole. For them, I offer this bone... Multiply the entire movie experience by about 200; add spaces of drumming boredom laced with anxiety, fatigue and grime, figure in the surreal timelessness of baseball with future corpses you dare not get too close to, and multiply the anguish of losing someone by a random factor of at least 5. This might make Saving Private Ryan a truly real capsule of one front-line tour of duty for one of these guys. But this movie is as close to the emotion and experience of it all as we're likely to get in a movie theater.

There is way too much violence and carnage for weenies, gun control thumb-suckers and rug rats. Leave younger children, mercurial postal employees and people with delicate constitutions at home. This is hairy-chested stuff for strong constitutions. However, if you're a strong, growed-up woman with swagger like Mrs. Diaper (aka Caped Vixen) you'll bring your foxhole shovel brimming with chewy morsels and become thoroughly engrossed in this moving and beautiful, loving tribute to some of this century's finest men and women. It's an anticlimax to note that some contextual adult language is used.

The movie was marred only by the casting of liberal kook Ted Danson in a roll totally unsuitable for him. The cast is sprinkled with familiar character actors who did wonderful jobs. Tom Hanks turned in a stellar performance.

Birdie's eccentric, animal-stuffing-and-dressing mom, Ramona ( Gena Rowlands ) welcomes the grandchild and admonishes the grown child to get it together. The beauty of this story is that nothing earth-shattering takes place to force Birdie out of the dumps. She has to get back to living just like everyone else - and in doing so she sees the little painful scars she left as a thoughtless teenager on some of the town folks. She also has a chance to rethink her understanding of what love is and is not.

Harry Connick Jr. plays Justin Matisse, the once nerd now thoughtful suitor who gently romances Birdie into reality and out of childhood prejudices. Little Bernice, convincingly portrayed by Mae Whitman, gave a wonderful performance of a child coping with the difficulties of parental separation.  This is tough on the dad, but in this movie the guy earns it.

The joyful menagerie of stuffed animals in Ramona's house embarassed Birdie in her youth. As Birdie mentally crawls out of her shell she sees this atmosphere of sharing joy and honesty with others as the innocent, fairy tale sweetness which was her mother, Ramona. The warmth from all of the core players felt like peeping into someone's life on the mend. The music underscored the emotions perfectly.

This is not a movie for macho jock types like Birdie's ne'er do well husband, Bill. They just won't get it.

This is a great movie for affirming those who understand that life is the expression of truth and hope and love.

Deep Impact  
"Greater love hath no man than this, that a man lay down his life for his friends." (John 15:13) These are the words that the heroism depicted in this movie recalled in my thinking and it echoes the real-life heroism that marks the finer moments of the human character.

Although a movie neighbor exhibited depraved indifference to cinematic excellence, his strident snoring was tolerated by all (We were raptly intent on the movie.) and served as an intermittent and humorous counterpoint to the unfolding and intensely realistic drama on-screen. Mrs. Diaper was closest to him and even she laughed. My grandparents used to snore like that and got separate bedrooms.

Once again, Robert Duvall... Robert Duvall, as Spurgeon Tanner: veteran astronaut, just grabs your attention, your heart and your soul with his performance. My respect for his on-screen warmth, for his ability to connect with viewers' emotions -- in short, his professionalism as an actor -- has grown during the course of his career to a point that startles even a superhero like myself. It is a mark of the excellence of everyone else, especially Tea Leoni (as Jenny Lerner: news reporterette / anchor), that they were almost equally good.

Jenny Lerner uncovers what she takes to be a sex-scandal, involving a mysterious woman named Ellie, that leads to the White House. Following up on her hunches she is suddenly whisked away by FBI agents to a basement meeting with President Beck (Morgan Freeman). They assume she knows that Ellie is E.L.E. (Extinction Level Event) and so change their plans to move up the date of a press conference announcing the watching public the discovery of a wayward chunk of matter the size of New York City headed toward earth (a potential E.L.E.).

Jenny's personal life with her mother (Vanessa Redgrave), newly remarried father (Maximilian Schell) and stepmother is already fractured and this life threatening event just bubbles it all to the surface. Meanwhile Jenny's career has brought her to the coveted anchor desk on TV where she leads the waiting public through the difficult flight by US and Russian astronauts to blow up this doomsday rock.

And for those of you who like the smoochy kissy-face stuff there's a teen love story in this for you. Elijah Wood plays Leo Biederman, the kid who discovers this errant piece of mountain sized fear while on a class astronomy field trip. His girlfriend, Sarah Hotchner (Leelee Sobieski) marries him after he convinces her that the government will let her and her family join him as part of the "ARK" [American Reconstruction Kit??](one million people partly randomly chosen to survive in the prepared salt mines in Missouri - to carry on America).

Then there's the astronauts planting nuclear mines right on this flying, gaseous thunderball. Wow, current Flash Gordan! Most movies would have made this the only real story going here. What a treat that there are so many lives to watch.

There is a meteor shower of contextual profanities (uttered by Houston space control, et cetera) sprinkled throughout the entire film ( the big "G__ D@M#" makes several appearances, as does the F-word, along with a supporting cast of others). Children should be cautioned and younger ones left at home. Otherwise, take the whole family. I can't imagine a more entertaining or compellingly realistic movie! Perfectly directed, perfectly cast, perfectly acted, perfectly timed and perfect special effects! Did I say it's hyper-realistic? It's so real that you'll find yourself starting to synthesize the path of your own thoughts and the false euphoria that intercedes in the final days and moments of life.

You can't imagine what this movie is like without being there. You certainly will loose out if you wait for video release on this one. You cannot deprive yourself and family of the big screen impact of this. You must go see this!

My favorite character was the wiley, half-witted Griffin (by Bronson Pinchot). As soon as someone comes out with a replica for big kids, I'm going to get one and perch it on my computer monitor. Mrs. Diaper was most taken with the two-headed dragon and what I call the "axe chicken".

This is a sweet, very witty and extremely well animated little story (especially the Ogre); a quite imaginative new take on the Camelot theme and other golden fairytale fantasy elements.

And how about that Garrett? What a role model for challenged people! Surviving in the wild without disability payments, food stamps or free cheese! With only a seeing-eye bird/mentor/companion and last-minute assistance from the dundering, two-headed dragon (marvelously done by Eric Idle and Don Rickles); he was able to fight nasty-mean Baron Ruber and his evil tin androids, restore Excaliber to Camelot, become a Knight of the Round Table, and ride off into the sunset with the leading female animation!

Go see it with your kids. You'll probably enjoy it just as much as they do!

Les Miserables 
Jean Valjean (Liam Neeson), as a starving youth, breaks a window to steal bread, and is sentenced to 20 years hard labor in a rock quarry. It is late 18th century France. He is brutalized by the experience and brutalizes others, but the thread of his decency never dies. Eventually, paroled, he takes overnight refuge in the home of a kindly Bishop (Peter Vaughan) and expresses hopelessness about his future.  (And Mrs. Diaper noted the hopeless dirtiness of his fingernails throughout the movie.  But that's another story.)

The Bishop begins, like water dropping on stone, to plant seeds of good in the barren soil of Valjean's mind. But, alas, Valjean is still unrepentant and makes an early morning departure with the cherished silver, striking the Bishop in the process. As Madam Thenardier mourns the loss of their tableware, the Bishop expresses gentleness toward her and beautiful humility, saying "we can use wooden spoons and forks". It is at that moment that the re-captured Valjean is returned to their house with the stolen goods. When asked to press charges, the Bishop gives Valjean another lesson in God's love by confirming Valjean's unlikely story and asking his release, saying that "he should have taken the silver candlesticks as well. They are worth more." As the authorities leave, the Bishop affirms that he has "bought (Valjean's) soul" with that act of divine mercy and forgiveness and that Valjean must reform his ways and become a new man. (A man's soul is worth more than silver.) A puzzled Valjean suddenly can no longer resist the love that will transform his life. And the remainder of his life reflects a continually growing goodness and gentleness where a brutal man had been.

Valjean moves to the small French village of Vigau, with forged identity papers and begins afresh as a laborer in the local brick factory. When, it goes bankrupt, he saves the factory and turns it around as its new owner, improving the working conditions for everyone.

Valjean is eventually so well respected and loved that the townsfathers demand that he be their mayor, in spite of his protests. As the reclusive and kindhearted mayor of his small village, Jean Valjean is also its most successful businesssman. Later, he becomes the benefactor of a little girl, Cosette, in promise to her dying mother (Uma Thurman). To complicate things Javert, a former prison guard (Geoffrey Rush ) in Valjean's old prison quarry, is sent to the town as its new chief of police. Javert is a basically good man tormented and shamed by his parents transgressions, and ruled by a fatal flaw... an unyielding sense of statutory right and wrong. He cannot, in the manner of the day, conceive of a bad person ever being redeemed. Eventually, he recognizes Jean as the escaped convict of so long ago. Unable to recognize the fruits of goodness planted everywhere by Valjean's new life, he sets his mind to bringing Jean Valjean to justice.

It becomes a play of one good man against another, in which one man's vision of good blinds him to the marvelous good of another. It betrays the foolish waste caused by a single minded purpose, as --time and again-- Javert is presented with the flower of Valjean's good life and, like a pitiful beggar, is impoverished in the presence of it. Little by little, though, it eats away at his blindness in the same manner that love removed the callouses from Valjean's eyes. With gentle acts and proofs of love. [Note: Not random acts of kindness!]

Barely escaping to Paris on foot with little Cosette, Jean scales the walls of Paris jumping to freedom in a convent in which he raises Cosette peacefully for ten years. Teenage Cosette (Claire Danes) has a curious mind and begs not to become a nun but rather to see the world beyond the walls. Like any good father, Valjean bends to his ward's wishes and the move to a Paris home which brings Cosette into the streets of Paris with a revolution underway. She hears Marius (Hans Matheson) at a street rally, and love soon follows the couple.

By now Javert is surveiling these Paris insurrectionists and discovers that the young ring leader is actually in love with Jean Valjean's ward! What luck! Javert can stop the revolt AND bring in Jean Valjean! He disguises himself and enters the revolutionists headquarters so that he may follow Marius to Cosette and finally Jean Valjean. His plans backfire and he becomes the prisoner of the revolutionaries. Jean Valjean softens his hardness once more by sparing his life, even in the face of Javert's honest profession that he will never relent in his pursuit of Valjean. But, it is plain that the conflict in Javert's mind is becoming unbearable.

For those of you unfamiliar with the story I'll let you know simply that it has an unlifting ending. This massive work is played out with great richness in characters and scenery. The only glaring flaw is found in the Irish and English accents of some of these "French" people. (When in France, PLEASE speak with a French accent!)

There is, as with any revolution, a degree of violence and bloodshed - not for little ones! The best thought of the story is by the author ..

"The book which the reader now holds in his hands, from one end to the other, as a whole and in its details, whatever gaps, exceptions, or weaknesses it may contain, treats of the advance from evil to good, from injustice to justice, from falsity to truth, from darkness to daylight, from blind appetite to conscience, from decay to life, from bestiality to duty, from Hell to Heaven, from limbo to God. Matter itself is the starting-point, and the point of arrival is the soul. Hydra at the beginning, an angel at the end."

Victor Hugo (1802–85), French poet, dramatist, novelist. Les Misérables, pt. 5, bk. 1, ch. 20 (1862).

Lord Greystoke, Tarzan, (Casper Van Dien) is "called" to Africa by his witchdoctor friend mere days before his wedding to Jane Porter (Jane March) in England. Nigel Ravens (Steven Waddington), an archeologist with visions of learned and financial grandeur, has stolen the key to the lost city Opar (you'll swear they're saying "Oprah") and the race to stop him from looting Africa of its most prized jewel (the birthplace of civilization) is on.

Great care has been taken to emulate details of the early 20th century allowing the audience to readily embark on this African adventure. Special effects are marvelous and evoke the mystery of the dark continent even though it's filmed in Australia and the US. Daring, beautiful, courageous, mystical, silly are just a few phrases for this latest chapter in the Tarzan saga. We could do with more of this!

Mrs. Diaper and I are thinking about trying on some skins. Super heroes have to stay up to date.

Best of all, like the toy in a box of Cracker Jacks, you get something tangible to keep after the confection's gone. You get good examples on winning, leading and following. I really like the way that Scott Bakula plays Gus Cantrell. He's a great comic prop and he does it with intelligence, compassion, and a clean mouth. I also like the way that what, in some movies, could have been a morally compromising hotel stay with buxom companion Maggie Reynolds (Jensen Daggett) instead included no nudity, no sexual reference, and was clarified at the movie's end with the declaration that they were going on their honeymoon.

There is also no Charlie Sheen this time and I'm glad. This sequel would have been hurt by his character. There are different eccentricities and quirks in this show's cast, as well as the reappearance of the superstitious, VooDoo worshiping Pedro Cerrano (Dennis Haysbert) and the legend in his own mind, Twins Manager Leonard Huff (Ted McGinley).

In this installment, Cantrell plays out his pitching arm in the minors and is asked to manage the Buzz, farm team of the Minnesota Twins. Obviously this group of misfits needs inspiration and enlightenment along with a few good players from Cantrell's previous playing days. What could be better than Cerrano and Taka Tanaka (Takaaki Ishibashi), right?

As for the truly unique NEW personalities already on this team, well... I won't give it all away. You'll have to see it. Anyway, Cantrell brings this strange menagerie together and they start to pile up a string of completely astounding wins.

It is at this point that a sly plot maneuvers the minor-league Buzz into an even more improbable face-off with the major-league Twins, and the fun really breaks loose. The Super-wife Companion was ready to grab her glove and join them. In her words "I could smell the warm spring air right there in the show!"

Just be aware that this is big-league fun, best left to mature teens and adults because of some of the language. The Diaper whipped out his krypton-impregnated stylus and began jotting down each one of the offending epithets as they occurred, clocking one each for: he*l, cr#p, b%ll sh!t, cr#pola, sh!t, and a rather atheletic use of "Jesus". This is still a strong triple play, even though it could, and should, have been a solid grand slam. If you're a Big Leaguer, Back to the Minors can be a fun diversion from reality for those who mental-floss as the need arises.

Unknown to Truman (Jim Carey), he has been the hit tv star of his own show from birth 30 years earlier. All around him is a scripted world of hidden cameras and actors occasionaly hawking products "on set". They are always, always working Truman to the show's advantage; as when the same pair of old geezers buttonholes him each day near a big wall advertisement.

People around Truman are written in and out as the plot dictates and his Leave-It-to-Beaver world continues without a hiccup. Ah, but there is one hiccup: Love awakens Truman and his quest, while still unusual in premise, is expected and becomes all-consuming. Eventually, Truman's viewers want to know ..."Will he make it?"

Somehow, this story worked for the Diaper Duo, who vastly enjoyed it, though we can't exactly pinpoint the genesis of that feeling. A co-conspirator might have lent a hint when he said "It was so good to see Jim Carey NOT being Jim Carey."

This is a real tossed salad of events, concepts and emotions that plays out beautifully and logically and makes some quite profound observations without really voicing them. It's sort of an Itchy and Scratchy doing Immanuel Kant kind of experience. SOME WORDS OF CAUTION: This could really spook some paranoids, so don't sit next to a seething postman or student. They may get the itch to go off. Also, save those bucks.... leave kids at home (They won't get it.) and make it a matinee date just in case you don't get it either.

Diaper Darling and I were just discussing this and concluded that we might not be gushing about the movie so much if we had paid to see it. But, soon after, I found myself thinking that I could see it again. I really think that, aside from being Jim Carey's most creative work, this could become a cult classic. (Note to parents: A few very brief, but absolutely unjustifiable moments of swearing.)