Reel Critics

* EDITOR’S NOTE: The Reel Critics column features movie critiques written

by community members serving on our panel.

It’s a good bet on film noir world

“Croupier” takes you inside the world of a London gambling casino, where

Jack Manfred, portrayed by Clive Owen, takes a job as a croupier to

support himself while he struggles to complete his first novel.

“Croupier” is an exciting return to the world of film noir--a mood of

smoke and mirrors infuses every scene. Long before it is actually

present, you feel a sense of danger. Much of the credit for this film’s

success lies in the performance by Owen. His Manfred is undeniably

handsome and very charming, in spite of his icy detachment from those

around him.

All around him are women: some whom he uses, and some who are using him.

Jack is, in his own way, a man of principle and honesty, perhaps because

he is smart enough to know that life is easier when you’re one of the

good guys.

The plot starts slowly, giving you time to become fascinated with the

intricacies of the croupier’s job. All that lovely money coming into the

casino night after night--there are many opportunities for a croupier to

cheat and profit illegally from his position.

There are also many controls in place to make sure a croupier doesn’t

give in to temptation. And there are people who know enough about the

controls to circumvent them. Wheels within wheels.

Suddenly you begin to realize that the wheel is spinning faster, and you

no longer know who is a good guy or a bad guy--or gal. Everyone has a

scheme.

In true film noir fashion, you never really know everything. I do know

that I loved this movie, and I’m looking forward to seeing it again.

* JUNE FENNER, a Costa Mesa resident in her late 50s, is vice president

of a work force training company.

Aardman’s ‘Chicken Run’ will make you giddy

Last week I stood in line at the market on 17th Street waiting anxiously

for the checker to tally up my total. I have never been so eager to part

with my money.

I was as giddy as a contestant waiting to hear those magical words: You

have just won. Please tell me that I’ve won, I thought--two free tickets

to see Aardman Animation’s latest film, “Chicken Run.”

Cheers from the audience. Tears from my family and friends. Strange looks

from shoppers around me. From behind me spoke a polite mother, “Do you

have children?” With a Gromitesque arched eyebrow, I declared, “Oh no,

these are for me.”

How could I explain myself? What could I say? I’m just a child at heart.

Plain and simple: I’m a fan of Aardman Animation. And I think everyone

should be.

Roughly 10 years ago, during “Spike and Mike’s Festival of Animation”

held at the old Mesa Edwards Cinema, I was introduced to the phenomenal

craftsmanship of Peter Lord and Nick Park. There were other animation

shorts that filled the playbill--even some that found future screenings

in MTV-land. But I was fascinated with “Creature Comforts,” a charmingly

expressive clay-animation short in which zoo animals respond with wry

British humor to a documentary interview.

I had never seen anything like it before. They continued to enthrall me

with their Academy Award-winning series “Wallace & Gromit.”

I was hooked.

With a plot like a “Hogan’s Hero” episode or “The Great Escape” film,

“Chicken Run” tells a story of a group of chickens, imprisoned POW-style

behind barbed wire. After numerous failed attempts to escape, they look

toward a mysterious and boastful Rhode Island Red rooster (voiced by Mel

Gibson) for liberation.

Although an American character in a typically all-British Aardman

production seemed odd at first, it did make way for some witty

across-the-seas banter. (And, well, it o7 wasf7 Mel Gibson.)

However, the Yank does not save the day, and the chickens find inner

strength, courage and success as a team.

Since “Chicken Run” is Aardman’s first foray into full-length features, I

was concerned the collaboration with DreamWorks--a larger, more

commercialized Hollywood studio--would negatively affect their customized

style, charming characters and witty storytelling. Previously, striving

to remain independent, Aardman had rejected numerous collaborative offers

from Disney.

But from the signature toothy smile to clever one-liners, the animators

sacrificed nothing in the production’s quality. Without

computer-generated effects, the enormity of their task is mind-boggling.

Co-directors Lord and Park remain true to their vision, perfecting each

frame-by-frame detail, such as camera angles from a knee-high chicken’s

viewpoint or action sequences with anchored close-ups and flurries of

background activity--not to mention Park’s ingenious ability to breathe

emotion, energy and life into inanimate clay models.

Although preschool children may cackle at the slapstick calamity of the

characters, they will miss the subtle wit and delightful puns. Adults may

be pleasantly surprised when they find themselves laughing more than

their children, who may become quiet as a fish. (Hint: Don’t miss the

final scene after the credits.)

Why stay cooped up this summer? Spread your wings. Flock to see “Chicken

Run.”

* JULIE LOWRANCE, 40, is a Costa Mesa resident who works at a Newport

Beach overnight aircraft advertising agency.