The hothouse dramas of Tennessee Williams were considered pretty scandlous back in the '50s because, hello! it was the '50s. These days, warmed-over Williams just doesn’t have the same impact, even if provided by Williams himself, via a long-unproduced screenplay. Rookie director Jodie Markell's handsome production of The Loss Of A Teardrop Diamond conjures up the usual intemperate Williams brew: unspoken homosexual longing sublimated into the tale of a fragile, yet willful Southern belle  too arty and sophisticated for her stifling social milieu, teetering on the brink of madness. Pale, porcelain Bryce Dallas Howard goes brunette to play Fisher Willow, a Memphis debutante ca. 1923 who's spent some time abroad, bobs her hair, and has a yen for jazz. She's also smitten with dirt-poor Jimmy Dobyne (Chris Evans)—his father's an affable drunk and his mama is locked up in a madhouse—who runs the commissary on her rich Daddy's plantation.

EXTRAORDINARY MEASURES When his two youngest children are diagnosed with a rare and fatal disease, a young business entrepreneur (Brendan Fraser) ditches the corporate world to set up his own foundation with a renegade scientist (Harrison Ford), in hopes of developing a cure. Keri Russell and Jared Harris co-star. Adapted from the non-fiction book, "The Cure," by Geeta Anand. Tom Vaughan directs. (PG) 102 minutes. Starts Friday.
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Colin Firth is marvelous navigating grief in 'A Single Man'

The scary-beautiful image that begins A Single Man, a naked male figure floating embryo-like (or possibly drowning) under water, plunges the viewer into a sense of edgy dislocation. All the better to appreciate the mindset of the film's protagonist, a quietly closeted gay expatriate Briton in sunny L.A., grieving over the loss of his longtime partner, who no longer fits into his own well-tailored life. From these opening moments, we share the protagonist's unease about the randomness of the universe in Tom Ford's spare, elegant study on the nature of grief.

In a  just universe, Jeff Bridges would have a roomful of Oscars by now. He's been so great in so many roles for so long, it's almost ironic he's getting some of his best notices ever for the broken-down country singer he plays in Crazy Heart. Not that Bridges isn't spectacular in the part—is he ever. But Bridges is an actor of such wry, thoughtful subtlety who makes it look so effortless that some viewers may miss the exquisite craftsmanship of his performance, or, worse, assume he's just playing himself. Bridges invests 57-year-old "Bad" Blake with all the cantankerous brio and innate, slightly shopworn charm accrued from a hard life lived on the road. After four marriages, fleeting fame, and a lifetime of bad decisions, he travels the byways of the desert Southwest in his Chevy Silverado, playing with pick-up bands in bowling alleys and honky-tonks, fueled by cigarettes, whiskey, and the occasional groupie of a certain age.

Visuals, scruffy charm, trump confusion in 'Imaginarium of Dr. Parnassus'

Terry Gilliam's The Imaginarium of Dr. Parnassus ought to be better than it is. Some scenes waffle and teeter all over themselves before coming to the point, and the narrative wanders off down a few too many dark passages, squandering its momentum. Gilliam coaxes splendid, witty playing out of his gifted cast in some scenes, but in other moments, it sounds as if they were directed to play from an outline of the story instead of a script.

But as a celebration of human imagination, and a passionate defense of the power of storytelling, Dr. Parnassus keeps drawing us into its cheerfully amok orbit. Now that technology has caught up with Gilliam's own fervid imagination, he's able to construct ecstatic onscreen dreamscapes alongside the tawdry fun-house charm of the film's "realistic" sequences. Some lovely moments are also provided by Heath Ledger in his last film role, Tom Waits, as a purring, deadpan Devil, and a sly cameo by Johnny Depp.

Teen angst, divorce, raging hormones and lovesickness all crawl under the creative covers for an amusing romp in director Miguel Arteta’s Youth in Revolt. The film, which is based on C.D. Payne’s 1993 read, “Youth In Revolt: The Journals of Nick Twisp”—and its literary brothers, “Revolting Youth: The Further Journals of Nick Twisp,” and “Young and Revolting: The Continental Journals of Nick Twisp”—is a delicious dark comedy that finds its protagonist (Michael Cera in a winning role) hoping to win the affections of a nubile teen dream (Portia Doubleday as Sheeni Saunders) that he meets during a family vacation. It’s the perfect role for Cera, who has already mastered the art of playing the underdog in other films like Superbad, Nick and Norah’s Infinite Playlist and, of course, a career-making role in Juno. But here, he’s given a little more to play with creatively, mostly because the character of Nick Twisp, revered in some literary circles, is such a rich beast filled so many wild emotional undercurrents.

CRAZY ON THE OUTSIDE  Tim Allen makes his directing debut in this comedy in which he also stars as an ex-con who causes havoc when he moves in with his sister (Sigourney Weaver) and her family. Ray Liotta. Kelsey Grammer, and Jeanne Triplehorn co-star. (PG-13) Starts Friday.
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Love, strong women among the themes found in the best films of 2009

Some movies are so great, I just want to grab people by the lapels and drag them off to the moviehouse. There weren't many films like that in 2009, but if it was an unexceptional movie year in general, there were still a few small gems worth noting. Here are my Top Ten films of the year, plus a few guilty pleasures. Enjoy!

AVATAR James Cameron's new sci-fi epic involves a US military unit sent to a lush, tropical planet whose cultured, indigenous warrior population is determined to keep the invaders from despoiling their land. Sam Worthington stars as a young US war vet technologically altered to resemble the native people and sent in as a scout. Zoe Saldana is the indigenous tribeswoman with whom he falls in love. Sigourney Weaver, Michelle Rodriguez, and Giovanni Ribisi co-star. (PG-13) 150 minutes. Starts Friday.
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