“Julie & Julia”

I’m probably not the only reviewer who liked one half of “Julie & Julia” better than the other. (For those who are wondering, the “Julia” half.) But then, who is Julie Powell (Amy Adams) in comparison to Julia Child (Meryl Streep)? Julie Child is an icon – her kitchen is in the Smithsonian, for Pete’s sake. Julie Powell is a frustrated writer in an unfulfilling job looking for a creative outlet. For Julia, cooking is a passion. While perhaps no less a passion for Julie, her feat is more of a stunt, as she cooks her way through Julia’s classic, “Mastering the Art of French Cooking” and blogs about it. The truth is, the story of Julia Child and how she became “Julia Child” is just more interesting. The love affair between Julia and her husband, Paul (Stanley Tucci) is charming and something I’d never heard about. So it adds a new dimension to the character we know from “The French Chef.” Post-war Paris, where the Childs live when Paul is a diplomat, is much more picturesque than Queens, N.Y. And Amy Adams is simply outgunned in the acting department. Not only does Meryl Streep have more to work with in Julia Child, she performs the feat of bringing this larger than life character down to earth. In contrast, Amy Adams (who I usually love) feels like she’s trying to keep up, just as Julie is trying to keep up with Julia. Director Nora Ephron does a great job of knitting the two stories together and making them move in parallel paths. And it’s actually quite enjoyable, hence my rating. But I think it would have been even better if it were titled “Nobody & Julia” or better still, “Paul & Julia,” hence my tweet: Julie & Julia-Nora Ephron blends Julia Child’s story with that of blogging admirer Julie Powell and creates a lopsided soufflé. 7.5 (out of 10)

“Julie & Julia”

Released: 2009

Rating: PG-13

Length: 123 minutes

Cast: Meryl Streep, Amy Adams, Stanley Tucci, Chris Messina, Jane Lynch

Director: Nora Ephron

Genre(s): Adaptation, Romantic Comedy

“The Shootist”

I’m not a huge fan of westerns, but “The Shootist” is one I popped to the top of my queue because of its star, John Wayne. This was the last film he made before finally succumbing to lung cancer. I haven’t seen a lot of Wayne’s work, so I don’t know if it’s one of his best. But it’s certainly a good film. As my tweet says, The Shootist-In an unfortunate case of typecasting, an aging John Wayne dying of cancer plays an aging gunslinger dying of cancer. 8 (out of 10), Wayne’s character, J.B. Books, is dying of cancer. He returns to Carson City, has his doctor, E.W. Hostetler (James Stewart) confirm the diagnosis then takes a room in a boarding house owned by the widow Rogers (Lauren Bacall). While it’s Books’ intention to live out his final days quietly, Dr. Hostetler, the Carson City Marshal (Harry Morgan) and the widow’s son, (Ron Howard) who is fascinated by Books’ life as a gunfighter, coax him into going out in the proper fashion. Fans of the John Woo school of shoot-outs with their atmospheric lighting, slow-motion photography of unloading ammo magazines and an aviary-load of flying doves – may be a little disappointed by the simplicity of this film’s climatic scene. But it’s a fitting ending for a man of action and few words, just as “The Shootist” is for the career of John Wayne.

“The Shootist”

Released: 1976

Rating: PG

Length: 99 minutes

Cast: John Wayne, James Stewart, Lauren Bacall, Ron Howard

Director: Don Siegel

Genre(s): Drama, Western

“The Twelve Chairs”

My tweet: The Twelve Chairs-Mel Brooks made a movie between “The Producers” and “Blazing Saddles” that no one ever talks about. This is it. 5.5 (out of 10) I never heard of this movie before. But even Brooks’ less successful films are usually a good time. “The Twelve Chairs” certainly opens on a good note. It’s post-revolutionary Russia and an old lady, a one-time member of the aristocracy, makes a death-bed confession to hiding a fortune in jewelry inside an old dining room chair (one of 12) that has since been lost. That sends orthodox priest Father Fyodor (Dom Deluise) and her son-in-law, Ippolit Vorobyaninov, (Ron Moody) on a race to find the chairs and ultimately the jewels. I was expecting a madcap treasure hunt akin to “It’s a Mad, Mad, Mad, Mad World.” But “The Twelve Chairs” never rises to that film’s level of slapstick and certainly not to the inspired lunacy of “The Producers” or Blazing Saddles.” It’s not all bad though. Frank Langella, as a larcenous beggar who teams up with Vorobyaninov, is a dashing presence. And both Dom Deluise and Ron Moody have their moments. But unless you’re a hardcore Mel Brooks fan who wants to see everything in his catalog, I think you can better than “The Twelve Chairs.” Brooks certainly did.

“The Twelve Chairs”

Released: 1970

Rating: NR

Length: 94 minutes

Cast: Ron Moody, Frank Langella, Dom DeLuise, Mel Brooks

Director: Mel Brooks

Genre(s): Comedy