Matt Fagerholm

CHICAGO – “Fearless” is the best way to describe the comedy of Sacha Baron Cohen. People who find his humor too vulgar and over-the-top have missed the point. Cohen’s goal is to be as vulgar and over-the-top as humanly possible.

CHICAGO – Chris Columbus is not a filmmaker renowned for his use of subtlety. He seems incapable of telling a relatable human story without relying on his trademark brand of sophomoric slapstick. I was surprised that Macaulay Culkin didn’t pop up in Columbus’s “Rent,” and start hurling paint cans at the characters during their “Seasons of Love.” Even at age 51, Columbus is still an unruly child at heart.

CHICAGO – Patrick McGoohan was ready to quit. After playing secret agent John Drake in over eighty episodes of the British TV show “Danger Man” (known in the US as “Secret Agent”), McGoohan was clearly in need of a change. Luckily, his script editor George Markstein had a great idea up his sleeve.

CHICAGO – The legendary Richard Curtis returns this week with “Pirate Radio,” the story of Radio Rock and the first disc jockeys to ever play rock and roll in the United Kingdom.

CHICAGO – “Hell is other people!” declares reclusive author Arlen Faber. That’s nothing compared to the hell of fake people, who permeate so many subpar pictures marketed as “indie” entertainment. There’s not a single character in “The Answer Man” that feels the least bit realistic.

CHICAGO – If you thought Al Gore’s truth was inconvenient, get a load of the one presented by filmmaker Robert Kenner. To paraphrase Peter Finch, Kenner’s new documentary is guaranteed to make viewers exclaim, “I’m as mad as hell, and I’m not going to eat the same way anymore.”

CHICAGO – When a New York subway dispatcher finds himself locked in a tense battle of the wits with a deranged criminal onboard Pelham 123, he’s offered this bit of advice from a seasoned hostage negotiator: don’t enter his world. The same warning could be issued to viewers intent on entering the world of Tony Scott.

CHICAGO – When did “gentleness” first become “unhip” in children’s films? Practically every studio in America, with the exception of Pixar, feels the need to make their “all ages” entertainment as abrasive, dumb and crude as their escapism targeted at teens and simple-minded adults.

CHICAGO – Though graphic novels may read like great movie storyboards, they often fail to translate into compelling cinema. From “Sin City” to “Watchmen,” filmmakers have tried replicating graphic art with a reverence more suffocating than exhilarating. Images that reverberated with power on the page become coldly calculated on the big screen. No matter how tightly structured a film may be, it must give viewers the illusion of spontaneity. And there’s nothing more tiresome than a horror film in which all the scares feel telegraphed.

CHICAGO – There was a time when a Woody Allen film starring Larry David would have been an obvious slam dunk. Both men have created comic personas so vivid and indelible that it’s hard for viewers to pinpoint the line separating “performance” from “personality.” They have mastered the art of neurotic kvetching, though their similarities are skin-deep at best.