Welcome to Minne-sow-tuh

In New In Town, Lucy Hill (Renée Zellweger) is an ambitious, up and coming executive living in Miami. She loves her shoes, she loves her cars and she loves climbing the corporate ladder. When she is offered a temporary assignment - in the middle of nowhere - to restructure a manufacturing plant, she jumps at the opportunity, knowing that a big promotion is close at hand. What begins as a straight forward job assignment becomes a life changing experience as Lucy discovers greater meaning in her life and most unexpectedly, the man of her dreams (Harry Connick, Jr.).

Lucy Hill (Zellweger), an ambitious exec for a Miami-based corporation, accepts, with extreme reluctance, an assignment to restructure a failing food-manufacturing plant in the frigid climes of small-town of New Ulm, Minnesota (actually Winnipeg, Canada). Her worst expectations about the isolated place and its rustic populace are quickly realized as she meets Blanche (Siobhan Fallon Hogan), her irrepressibly perky secretary; Stu (J.K. Simmons), the openly insolent and unimpressed-by-outsiders plant foreman; and Ted (Harry Connick Jr.), the hunky union rep for whom she takes an immediate dislike. Like the odious stepchild of Fargo, New in Town gleefully offers up citizens of rural, snowbound New Ulm, Minnesota as a collection of funny-speaking, Jesus-loving, tapioca-making misfits deserving of nothing less than outright mockery. That one of the lead weirdoes has the gall to climactically criticize transplanted city girl Lucy Hill (Zellweger) for looking down on those very traits exemplifies the cluelessness of Ken Rance and C. Jay Cox's script. A lack of self-awareness, however, is no big surprise considering that the narrative—in which high-heeled Miami exec Lucy is sent to oversee a New Ulm manufacturing plant and (duh) learns that simple folk are okay and that her soulmate happens to be a local rube (Harry Connick Jr.) who loves beer and pickup trucks—offers up city-is-bad, country-is-good blather that was cliché before its leading lady was even born. Watching the charmless, strident Zellweger (shot by Elmer in unflatteringly lit close-ups) smirk, pout, and whine is about as entertaining as wrestling a grizzly bear, though presumably there's someone out there (anyone? Anyone?!?) that finds hilarious the idea of her struggling with a stuck hunting-outfit zipper that's preventing her from going pee.  No wonder President Obama closed Gitmo—for any future torturing, all he has to do is make terror suspects endure New in Town. Even the quote-whore blurb that accompanies the film's latest commercials ("It's Legally Blonde meets Sweet Home Alabama!") doesn't do this rom-com's wretchedness justice, so agonizingly inane is its story and so insulting (to its characters and to the audience's intelligence) is its humor. Yet more than its dim-witted socioeconomic-clash gibberish and a lead performance from Renée Zellweger that induces viewer daydreams about the sweet relief of being deaf, dumb, and blind, the most notable aspect of Jonas Elmer's tale is its admission that Hollywood really, really hates Minnesota. To those anonymous few, enjoy. To the rest, remember: If you choose to swim in sewage, don't complain about coming out feeling like shit. It has a couple funny moments, but nothing that's even remotely rememberable. This only gets a 2 on my "Go See" scale.

Outlander, Aliens, and Visigoths Oh My

Science Fiction movies usually don't interest me, so I went into seeing "Outlander" expecting to really hate it, fortunately I found a half way decent movie, once I was able to suspend belief in what I was watching. Usually this works for me during Sci-Fi movies, or comic book adaptation movies. Otherwise I would wonder just why I bothered sitting through this movie.

During the Iron Age, Kainan (James Caviezel) a man from a far-off world, crash lands on Earth, bringing with him an alien predator known as the Moorwen. This creature has many capabilities, it can be near invisible, and it can turn from a blue hue to a bright red when it is angry or attacking. When Kainan reaches land his co pilot is dead and as Kainan searches the valley, he comes across a village, this village lies in ruins, flames and blood are everywhere. The claw marks on the door are recognizable to Kainan, he saw them on the door to his own home when the Moorwen attacked his home village. Kainan is taken prisoner by Wulfric (Jack Huston) and dragged back to the castle of King Rothgar (John Hurt) where he is tied up and beaten by Wulfric and other vikings. Freya (Sophia Myles) comes to tend his wounds but Kainan has already burned through his ropes and escapes from the hut. As he runs out several vikings are being attacked and killed by the Moorwen, they don't even see it coming. As Kainan reaches the outer doors of the village he recognizes the sound of the Moorwen and returns to the village. He is recaptured by the Kings men and taken to a hall, the elders discuss what exactly they are facing, they believe it is a bear, Kainan tries to tell them it is more like a dragon, they scoff at him and tell him he is now part of the team that will hunt the creature.

During the hunt they find a cave that just happens to have a large bear in it. They are able to kill this bear and return to the village, Kainan knows this isn't what killed the men of the village but he knows the King and the others are so happy. A band of survivors from the first village the Morrwen attacked are led by Gunnar (Ron Perlman) they attack the village as the men are feasting, several of the men are killed, but they are able to drive Gunnar away. Latter Gunner will help the men fight the Moorwen, but King Rothgar is killed, Wulfric becomes the king and the men agree they must kill the Moorwen. Kainan returns to his sunken ship in order to retrieve metal from it so they can make swords to defeat the creature, when he sees a Moorwen swim past him with a body. Kainan returns to the surface and sees Wulfric clinging to whats left of their boat, Freya is no longer with them, Kainan knows she is the person the Moorwen has taken. The men now set out to track the creature, they track it to a cave that they believe the creature is using to sleep.

When the men enter the cave they hear what they believe is the creature, but we see that a second smaller creature is feasting on a pile of bodies that have been stacked up like firewood. Freya is among the bodies stacked up and she is trying to get away, but attracts the smaller Moorwen, the creature approaches Freya the men arrive in time to get the Moorwen to attack them, Kainan is able to fight the creature and the men are successful in slaying it, the group of vikings is of course slimmed down, but they are victorious. Just as the men get ready to celebrate the adult Moorwen charges them, the 3 survivors, Freya, Wulfric and Kainan run out through a waterfall, they are trapped on a ledge. The two men fight together to destroy the creature, Wulric is killed in battle and he tells Kainan that he wanted to be King for so long, and that he hopes Kainan wears the crown far longer than he himself was able to. the end of the movie shows the viking funeral for both Kings, Rothgar and Wulric, it also shows how Kainan returned to where he crashed and destroyed his homing beacon, he decides to stay with his new friends.

I give Outlander a 3 and on my avoidance scale a 0, this is a really entertaining movie, it is worth seeing, there is so many movies out now that are not worth seeing, this small limited movie is a hidden gem. Take the time to see this movie, you will find yourself enjoying it as much as any other major studio film of it's type. If you like the Alien and the Predator series of films you will really like this take on the other world creature movie.

Outlander is rated R for Violence

Running time is 1 hr. 55 mins.

The Telling Of Biggie's Life Is Notoriously Enjoyable

Notorious is the story of Christopher Wallace. Through raw talent and sheer determination, Wallace transforms himself from Brooklyn street hustler (once selling crack to pregnant women) to one of the greatest rappers of all time; The Notorious B.I.G. (Biggie Smalls) Follow his meteoric rise to fame and his refusal to succumb to expectations - redefining our notion of "The American Dream."

This movie about hip-hop icon Christopher Wallace lifts its title from its subject's primary stage name. Yet one of the Notorious B.I.G.'s posthumous hits might've been more appropriate: "Mo Money Mo Problems." Thankfully, Notorious strips away a lot of the societal context of the rap feud and puts the focus more on the personal. The main character of this film is not really the Notorious B.I.G. but Christopher Wallace (Jamal Woolard), the son of a Jamaican immigrant named Voletta (Angela Bassett) and an absentee father. Basically a decent kid, the teenaged Christopher decides that he doesn't see a lot of money-making opportunities for black folks in his Brooklyn neighborhood - a teacher telling him he'll never be more than a garbage man doesn't help - and so he begins hustling drugs. What he fails to initially realize is that he has a talent that could take him further than he could ever imagine: he could rap. Christopher is introduced to a hungry young music producer named Sean "Puff Daddy" Combs (Derek Luke), who helps him put together a stage persona and a demo tape. The newly dubbed Notorious B.I.G. (a.k.a. Biggie Smalls) soon becomes the top-selling artist on Bad Boy Records. He romances a young department store clerk named Kimberly Jones (Naturi Naughton) and helps launch her to rap stardom as Lil Kim by encouraging her to play up her sexuality. Later, Christopher falls for and marries another recording artist, Faith Evans (Antonique Smith). There is a downside too. Biggie's stardom helps launch a whole thriving New York rap scene and, subsequently, a rivalry with West Coast rap star Tupac Shakur (Anthony Mackie). That rivalry, of course, left both men dead. I guess Notorious would have been interesting enough as a straightforward account of Christopher Wallace's brief life and tragic death. However, director George Tillman, Jr. and screenwriters Cheo Hodari Coker and Reggie Rock Bythewood are interested in going a bit deeper. This is very much a character study in which a young man named Christopher uses his talent to tell the story of the streets. He finds wealth, fame, and groupies in the process; it's a story many people relate to. He also finds trouble: romantic trouble, business trouble, personal trouble. The movie suggests that, in spite of his stage persona, Christopher Wallace didn't always want to just be the badass that his image made him out to be. He ultimately decided that he wanted to be a better husband, a better father, a better businessman, and a better friend. While Notorious doesn't sanctify him (far from it, in fact), it does imply that his life fueled his material, rather than the other way around. Too many have written off the deaths of Biggie and Tupac with the whole "live by the sword, die by the sword" cliché when, in fact, these were two men who had more depth, sensitivity, and business savvy than they got credit for. The reason why that's important is that rap music is really the only form of entertainment where you can go from the streets to the suites overnight. Not literally, of course, but close enough. Unlike many forms of show business, which are difficult to break into, the rap world is potentially accessible to anyone, no matter how humble or rough-hewn their beginnings. In fact, the tougher you've had it, the more "cred" you carry. The possibilities are intoxicating for any young dreamer with a rhyme and a desire to rise up in life. Notorious really conveys this idea, both in plot and in style. The story progresses quickly, conveying how quickly one can get swept up in the business once a foot is in the door, and the visuals are alternately glitzy and gritty, just like the rap game itself. Jamal Woolard makes a sensational debut as Christopher Wallace. Aside from the strong resemblance, he also gives an accomplished performance, showing us all sides of the man he is playing. When Biggie is trying to do right, we believe his sincerity. When he's doing wrong, we understand that he has disappointment in himself. The other great addition is Christopher Jordan Wallace (Biggie's real life son) as the pre-teen Christopher Wallace. Naturi Naughton is also a virtual dead ringer as Lil Kim, especially in her musical numbers. Derek Luke and Anthony Mackie do not resemble Puffy and Tupac as closely, yet both actors accurately convey the distinct physicality of the men they are portraying. And, of course, Angela Bassett is terrific, as always. Despite top billing, her screen time is limited. Even so, she serves as the moral center of the film, as Voletta is the woman who gave Christopher his drive and ambition, as well as an underlying sense of morality that ultimately brings him full circle before his untimely end. My one question about Notorious has to do with stuff that may have been left out. While all the ups and downs of Biggie's life are detailed, the film is somewhat hazy about the connection between his murder and Tupac's, never really exploring the East Coast/West Coast grudge with much specificity. If the movie is to be believed, Christopher Wallace was essentially an innocent in the feud - someone who tried to stop it but got caught up instead. While there is evidence that may be true, everything I've read/seen suggests it was more complicated than Notorious lets on. Check out Nick Broomfield's excellent documentary Biggie and Tupac, which posits that Biggie's slaying was a diversion to throw blame for Tupac's murder onto L.A. street gangs and off of West Coast impresario Marion "Suge" Knight. It's also interesting that Sean Combs, who serves as an Executive Producer on Notorious, comes off clean as a whistle. The movie's Puffy is something of a guardian angel to Christopher, constantly trying to guide him in the right direction. While Combs no doubt had his friend/business partner's best interests at heart, one can't help but wonder if he was always as noble as he's shown to be here. Those thoughts didn't nag at me too much, though, because the film is not fundamentally about the murder, and it's certainly not about Puffy. It's about Christopher Wallace - the person behind the persona. Notorious is a well-made, compelling, and ultimately humane film, even if you don't like rap music. This Biopic gets a strong 4 on my "Go See" scale.

This Prequel Expands On What We Already Knew

This prequel story traces the origins of the centuries-old blood feud between the aristocratic vampires known as Death Dealers and their one-time slaves, the Lycans. In the Dark Ages, a young Lycan named Lucian  (Michael Sheen) emerges as a powerful leader who rallies the werewolves to rise up against Viktor (Bill Nighy), the cruel vampire king who has enslaved them. Lucian is joined by his secret lover, Sonja (Rhona Mitra), in his battle against the Death Dealer army and his struggle for Lycan freedom.

The first film in the Underworld franchise hit our screens back in 2003, with director Len Wiseman cooking up his tale of the ancient feud between Vampires and Lycans (werewolves), which had evolved over centuries and was still raging right up to the present day. He continued the story with Underworld: Evolution, where the heroine of the piece, Selene (Kate Beckinsale), discovers the true bloodlines between the Vampire and Lycan clans. Set centuries prior, the prequel Underworld: Rise Of The Lycans is an "origin" tale, and tells the story of Lycan (soon to be) leader Lucian (Sheen), his forbidden love for Vampire Sonja (Mitra), and his struggle for freedom from the oppressive rule of head Vampire Viktor (Nighy). Even though the foundations had been laid with the two previous efforts, former creature designer Patrick Tatopoulos has created a stylish entry into this well worn horror franchise. Filming in the same blue hue, Tatopoulos has not changed anything too drastically, and the buckets of blood, violence and gore still reign supreme. With the ancient story of the slaves (werewolves) rising up against their oppressive, tyrannic rulers (vampires), the film borrows heavily from various famous films of the past (Kubrick's Spartacus, Gibson's Braveheart) and glosses it over with a fantasy/horror fable sheen. There's admittedly nothing new here, but first time director Tatopoulos has created a moody, atmospheric, stylish work (shot in New Zealand), and loyal fans will find that there's still bite left in this franchise. In the typically gloom-laden yet surprisingly entertaining prequel to the first two vampires-versus-werewolves flicks, head vamp Viktor has trouble with his captive turncoat-werewolf Lucian who has fallen for his ultra-sexy daughter, Sonja. Vampires and werewolves, of course, are not allowed to date, so this leads to all manner of bother. Viktor's right hand man, Tannis (Steven Mackintosh) sees them one night as they part, but keeps it to himself. Amid much spilling of blood, clanging of swords and gnashing of teeth, the bare-chested Lucian becomes fed up with being a slave and plots to escape the vampires' sprawling lair so he can help his Lycan-thropic brethren get some payback. With the help of Sonja and Tannis, he makes his escape and starts plotting his revenge. Lucian also wants to go steady with Sonja, but to do that he must bring an end to Viktor's horrendous overacting. Those Goth-savvy filmgoers who enjoyed the first two Underworld epics will have no complaints here. Everything they love is delivered in spades: foreboding sets, sexy costumes, mock-serious dialogue about destiny and bloodlines, frenetically edited action, and very straight performances. To non-Goths who weren't all that psyched by the first two epics, this third has three big things going for it. The film benefits by coming to us immediately after Twilight, so those who were bored witless by the wimpy emo version of vampires will delight in seeing them portrayed as they should be - with fangs, blood, growling and, as mentioned, much gnashing of teeth. The whole thing also works by being set in a time before vampires hooked up with gun dealers. There was always something a bit odd about seeing a supernatural Kate Beckinsale blasting away with high-powered sidearms. Somehow swords and giant arrows seems more appropriate for this particular other-world. The film's cherry, though, is the study in contrasts offered by Sheen. A brilliant stage-trained actor, Sheen can be seen playing David Frost opposite Frank Langella's Nixon in the superb Frost/Nixon. But while that performance is more likely to win him awards, Sheen certainly deserves credit for the high level of high-volume conviction he pours into his Underworld werewolf. They sure don't do screaming, snarling and gnashing of teeth like this on Broadway. The one real letdown was that there was no Kate Beckinsale. Okay, let me fix that, she's in there but there is no new dialog. You just get that one scene of her that we first saw in the original Underworld. This cool prequel gets a 3 on my "Go See" scale.

Here is my first WTF? Moment of the year : In the big battle scene where the Lycans are making their way to Viktor's castle, Lucian's second in command Raze (Kevin Grevioux) is leading the pack while the vampires are shooting harpoon-like arrows at them. In one scene he is still in his human form, but when the scene switches then goes back he has changed into his Lycan form, but immediately after another quick scene change we see Raze again in his human form.

....And The Winner Is....I'm Hoping..

The Oscar nominations have been made. There were a few surprises, but here is where the fun begins. The Optimist and The Cynic are looking forward to finding out who will win this year and the best way to make it even more enjoyable is by making our own predictions as to who will win. So, lets get started. ...And The Winner Is.....

Some tough choices when it comes to Best Actor in a Leading Role, but I think that i'm gonna have to go with Sean Penn for Milk. This man has been snubbed before with "I Am Sam" and "Into The Wild", but this year he DESERVES the award for his portrayal of Harvey Milk as he took the movie and made it more about the man and not just a GAY man.

Next up is Best Actor in a Supporting Role, while I think that Robert Downey Jr. had a great year and should be hailed as the comeback king of '08, i'm gonna have to to give this one to Heath Ledger for the Dark Knight. He WAS the Joker, hands down better than past incarnations. No one in the near future will be able to do a better job.

Best Actress in a Leading Role, should go to Anne Hathaway for Rachel Getting Married. Seeing her play a recovering addict returning home for her sister's wedding was a surprise for me. After being typcast as the funny girl she took a chance and tried a dramatic role and pulled it of flawlessly.

Best Actress in a Supporting Role is a tough category. I liked all the nominees in their roles, but i'm gonna go out on a limb and say that I think Marisa Tomei will win for The Wrestler. As the stripper who just seems too old (in the patrons eyes) to be doing what she's doing, but you also understand it because she has a child. The budding relationship between her and Mickey Rourke is quite memorable.

Best Animated Feature Film! My kinda category! I loved all the nominees in this category and although I LOVED Bolt, Wall-E will win. Great animation yet again by Pixar about a lonely trash compacting robot who finds love in another robot named EVE. Beautifully done with a solid story that brought out the kid in us all.

Best Art Direction will go to The Curious of Benjamin Button. The movie story of a man living his life literally backwards as he was born old and steadily gets younger as his life goes on. The sets and style of the film made you believe that this was actually possible, that it really happened.

Best Cinematography should go to Changeling. The 1920's never looked so well. Lighting and settings set the flow of this dramatic story of a woman that mysteriously loses her child and is forced to come to grips and listen to the LAPD as they try to cover up their own mistakes as they seem to look for her child.

Best Costume Design should go to Australia. I don't know if Hugh Jackman in a half opened shirt qualifies as a costume, but it gets my vote! Seriously, Kidman's outfits and Jackman's rugged look fit well into the film that was being represented.

Best Directing,  I believe should go to Slumdog Millionaire. A story so good that it could only be told on the big screen. As the tale unfolded you find yourself really getting involved with each character.

Best Writing (Adapted Screenplay) goes to yet again...Slumdog Millionaire. From book to screen it transfers beautifully. A story of a young man doing all that he can to find the girl that he loves is depicted wonderfully on the big screen.

Best Writing (Original Screenplay) goes to one of my favorite movies last year, Happy-Go-Lucky. A look at a few chapters in the life of a cheery, colorful, North London schoolteacher whose optimism tends to exasperate those around her.

Now, onto the biggest honor of them all....

Best Picture will go to Slumdog Millionaire. The story of the life of an impoverished Indian teen who becomes a contestant on the Hindi version of "Who Wants to be A Millionaire?", wins, and is then suspected of cheating.

Your Wedding Better Watch It

Liv (Kate Hudson) and Emma (Anne Hathaway) are best friends who since childhood have planned every detail of their respective weddings. At the top of their bridal "must have" list: a ceremony at New York's ultimate bridal destination, the Plaza Hotel. Now, at age 26, they're both about to get married; they're about to realize their dreams; and they're about to live happily ever after. When a clerical error causes a clash in wedding dates - they're now to be married on the same date! - Liv, Emma and their lifelong friendship are put to the ultimate test. Liv, a successful lawyer who is used to getting what she wants, including the perfect job and the perfect man, won't settle for anything less than the perfect wedding she has dreamed of for years. Emma, a schoolteacher who has always been good at taking care of others, but not so much in looking after herself, discovers her inner Bridezilla and comes out swinging when her own dream wedding is imperiled.

Anne Hathaway and Kate Hudson make charming frenemies in the new comedy Bride Wars. Hathaway has a shy demeanor that grows into assertiveness while Hudson is snappy and sparkling from start to finish. This isn’t comedy on a grand scale but it is pure enjoyment for those who get into the spirit of the film. Liv (Hudson) and Emma (Hathaway) have been friends since childhood. They played dolls and dress up together and always wanted to be part of each other’s wedding. Plus the wedding had to take place at the Plaza Hotel in New York in June. Liv grew up to be a successful attorney while Emma opted for the life of a grade school teacher. Though different in lifestyles and surroundings, their friendship has remained strong. So of course they are thrilled when they get engaged within days of each other. Their fiancées, Fletcher (Chris Pratt) and Daniel (Steve Howey), handle the female bonding without comment. The serpent enters this garden of glee when the young women find that through a mistake the weddings have been booked at the Plaza for the same day. This means in order to be part of each other’s weddings someone will have to change their date. At first things go friendly and cooperatively but then things escalate and “bride wars” break out. Both Hudson and Hathaway are good enough actresses to keep the fun flying and the sentiment in check – until the end. Then it is sweet time for the women and for the audience. This ends the movie on a bright note and satisfies all who attend. Hudson shows some Goldie Hawn talent in this film. She looks great and does the physical and verbal comedy with ease. Hathaway is a more reserved actress but she throws herself into this part and makes Emma’s transition believable. Candice Bergen, who has suddenly become the grande damme of Hollywood, plays the wedding planner. This would seem to be a fertile field for comedy but Candice plays it straight, to the detriment of the film. Bergen can be hilarious in the right role but this obviously isn’t the right role. Bride Wars is just a fluffy, puffy bit of fun that will take your mind of your problems and focus them on someone else’s. Hudson and Hathaway provide you with laughs while not over complicating a semi-silly situation.Hathaway is terrific as the vulnerable, slightly submissive schoolteacher (although it would have been nice to show her inevitable transformation more fully). Hudson makes good use of the spoiled, kittenish calculation that always lurked behind her daisy-fresh charm. The whole thing goes by quickly and painlessly, providing a few laughs, some decent lines and the requisite hard-core, high-fashion details -- the sort of vicarious window-shopping that movies like this need to deliver as regularly as punch lines. All in all, it's a good girlfriend movie and a decent date-night picture. It won't change your life, of course. But it might begin to change Hudson's career. Go see it, relax and enjoy it. A 3 on my "Go See" scale.

A New Breed of Cuteness

When their new guardians forbid 16-year old Andi (Emma Roberts) and her younger brother, Bruce (Jake T. Austin) to have a pet, Andi has to use her quick wit to help find a new home for their dog, Friday. The resourceful kids stumble upon an abandoned hotel and using Bruce’s talents as a mechanical genius, transform it into a magical dog-paradise for Friday – and eventually for all Friday’s friends. When barking dogs make the neighbors suspicious, Andi and Bruce use every invention they have to avoid anyone discovering “who let the dogs in.”

Canine charmers fill the screen in Hotel for Dogs, but the heartwarming relationship between a brother and sister gives this movie fantasy its greatest appeal. Emma Roberts and Jake T. Austin steal the show as siblings placed with foster parents more interested in themselves than in the welfare of their charges. These two young actors deliver endearing performances and make us care deeply about the characters they play. Andi (Roberts) and Bruce (Austin) try their best to hide their dog Friday from the Scudders, the latest foster couple they’ve been assigned to live with. It’s not easy, for Friday even sneaks bacon right off the counter behind Mrs. Scudder’s (Lisa Kudrow) back. Thankfully, the mutt is quick -- but Andi and Bruce fear it won’t be long before Friday will be discovered. They have to find a good home for their beloved pet. Friday himself, however, discovers an old hotel where a couple of other dogs have been hanging out. The place turns into a godsend for canines, especially after the inventive Bruce designs areas and contraptions any dog would love. Unfortunately, even with help from three other youngsters (Johnny Simmons, Kyla Pratt and Troy Gentile), Andi and Bruce may not be able to save the 30 animals who come to reside in their doggie hotel. But, oh how we want them to succeed! Roberts and Austin excel at showing their characters’ strong feelings and support for each other here. Sixteen-year-old Andi looks out for 11-year-old Bruce and vice-versa. And they don’t want to be separated. It’s refreshing not to be bombarded with the hostility between brother and sister we’ve been exposed to in many other movies and television shows. Andi and Bruce emege as excellent role models for kids: they help each other out while rescuing dogs and creating a loving family they so desperately want.  Dogs of many breeds, shapes and sizes appear in this entertaining comedy -- and even the scruffiest ones look adorable. Not surprisingly, they perform impeccably. Called upon for such stunts as sitting quietly at a dinner table, fetching objects tossed by a strange invention, running frantically through the streets, howling and barking on cue, and so forth, these canny canines bring excitement and humor to their scenes.  Among the human supporting cast, Don Cheadle and Kevin Dillon stand out as a caring Social Services worker and an uncaring foster father, respectively. Cheadle exudes warmth in every sequence with the lead youngsters, whereas Dillon comes across as a first-class jerk -- exactly what his funny role requires. It's pretty far-fetched, but director Thor Freudenthal gives it all a fairy-tale quality, complete with plenty of whimsical inventions created by Bruce. Friday responds to a loudspeaker on their apartment balcony projecting the sound of a can opener; at the hotel, the dogs enjoy conveyor-belt meals and a very large, convenient fire hydrant with an elaborate drainage system. (Just when you think this movie's going to totally ignore the dogs' elimination practices, it gives you much more than you ever wanted to know.) Mostly aimed at grade-school-age kids, the film delicately handles the issue of Andi and Bruce's grief over their lost parents: We see it, without having to be told. As the siblings plot to save their four-legged friends — and discover that the perfect human parents were standing close by, after all — kids should warm to their adventures. Hotel for Dogs is ultimately a sweet reminder of the importance of family and community, human and canine alike. A happy 4 on my "Go See" scale.