FEATURE REVIEW

"Son of Man"
Three and a Half Stars
B+

In 2006, South African director Mark Dornford-May served up the stirring "U-Carmen eKhayelitsha," a remarkable and beautiful take on Bizet's "Carmen" performed in the Xhosa dialect starring Pauline Malefane in the title role.

This year, Dornford-May is back at the Indianapolis International Film Festival with yet another powerful film, "Son of Man," the story of Jesus set in present-day Africa. Malefane again collaborates with Dornford-May, first in the role of Mary and in co-writing the script and the music for the film.

Much like he did with "U-Carmen," Dornford-May takes a minimalist approach to dialogue and, instead, emphasizes visual imagery, choral pieces and inspiring musical works. With a theological approach that seems to cross lines between Liberation Theologies and Desmond Tutu's Ubuntu Theology, "Son of Man" is both fiercely loyal to the traditional Christian story of Jesus and, yet, daringly courageous in both politicizing and culturally integrating the story into words and images that resonate with African culture.

While not quite an equal to the mesmerizing "U-Carmen," "Son of Man" is a remarkable, inspiring and unique film that will inspire Christians and non-Christians alike.

CAPSULE REVIEWS

"Pope Dreams"
Three Stars
B

Despite a title that seems to more emphasize Andy's papal aspirations, "Pope Dreams" is really much more about the young people whose lives intertwine and their own fumbling efforts to figure out the meaning of love, friendship, faithfulness and hope.

Unlike many stereotypical teen flicks, however, "Pope Dreams" isn't necessarily filled to the brim with expected happy endings and healed relationships. Instead, the happy endings in "Pope Dreams" mostly revolve around each character finding out who they really are and, when necessary, changing their lives, their friendships and tossing aside their security blankets of fear, anxiety, insecurity and wishy-washy dreams. As Brady, Marnette Peterson proves herself an actress to be watched with a vulnerable, confident performance.

Julie Hagerty, most widely known for her comic work in "Airplane" and "What About Bob," offers a subtle, touching performance as a mother facing her death with courage and grace. Stephen Tobolowsky also shines as her grieving spouse, who is both frustrated by and yet fiercely devoted to his misguided son. Noel Fisher, a 25-year-old actor who has been acting practically since the day he was born, provides both an emotional core and comic touch to the film portraying Andy's longtime best friend, Pete.

With an intelligence and authenticity often lacking in teen-oriented films, "Pope Dreams" is a precious film and an outstanding first effort from writer/director Patrick Hogan.

"Swedish Auto"
Three Stars
B

There's not an actress working today who can play the fucked up beauty queen like the lovely and intense January Jones.

In "Swedish Auto," a haunting slice of smalltown America written and directed by Derek Sieg, Jones practically dances among the walking wounded as 19-year-old Darla, a waitress who lives a haunting existence at the hands of her terminally ill stepfather while her morphine-addicted mother sits idly on the sidelines.

In one of the more unusual uses of stalking as a plot device, Nora stalks Carter (Lukas Haas), a shy auto mechanic who was orphaned when his parents were killed in a car wreck during his childhood. Carter, in turn, stalks a beautiful violinist (Brianne Davis), just to hear her music, and, yes, he also stalks Nora.

When Carter makes his stalking a touch too obvious and is discovered, "Swedish Auto" comes to life as a dysfunctional, yet sweet and tender love story reminiscent of Henry Thomas and Robin Tunney in "Niagara, Niagara."

"B.I.K.E."
Two Stars
C

Having been on the film festival circuit for two years now, "B.I.K.E." is an only modestly satisfying documentary that purports to look at the Black Label Motorcycle Club, but actually spends more time into the psyche of Anthony Howard, the film's co-director.

The film's obsession with Howard and preference to minimize attention to the group's anti-corporate foundation only serve to make the film feels a bit self-indulgent and counter to the club's own stated goals.

One can't deny, however, that "B.I.K.E." is occasionally interesting and, at times, visually appealing. If, perhaps, the film focused more of its attention on the club itself and, likewise, had Howard given up directorial control once the story turned its attention on him then "B.I.K.E." may have become a satisfying documentary.

“The Trouble With Dee Dee”
Two and a Half Stars
B-

Starring the wonderfully funny Lisa Ann Walter as Dee Dee, "The Trouble with Dee Dee" follows the brashly sweet talking Dee Dee and her gay son (Mason Gamble) and ever faithful assistant (J.P. Manoux). Born into money, Dee Dee seemingly avoids responsibility while filling her days with quiet acts of kindness and oreos. When her father (Kurtwood Smith) tires of her lack of responsibility and demands she attend the family foundation's board meeting, Dee Dee defies him once again and finds herself cut out of the family riches and homeless.

What feels like a remarkably predictable storyline that has been played to death time and again, nevertheless feels fresh and alive and even heartwarming thanks to the energetic and spirited performance of Walters. The film, written and directed by Mike Meiners wonderfully reflects Meiners' own Second City comedy roots. "The Trouble with Dee Dee" often feels like a throwback to the days of screwball comedy, but balances itself with a contemporary sensibility and an undeniable message that the good we do in life will follow us wherever our life journey takes us.