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Film Reviews: Premonition, I Think I Love My Wife and Others 

Also Behind the Mask: The Rise of Leslie Vernon and Tortilla Heaven

Wednesday, Mar 14 2007
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 BEHIND THE MASK: THE RISE OF LESLIE VERNON The postmodern trend of self-reflexive horror movies � itself a clich� by now �� comes back to haunt us with this engaging and surprisingly clever entry about an aspiring psycho killer in the Jason Voorhees/Michael Myers mold who tells all to a TV newsmagazine crew in the days leading up to his planned assault on a posse of hormonal teenagers at (where else?) an abandoned farmhouse. If Scream sought to explain the rules of the slasher game, Behind the Mask: The Rise of Leslie Vernon attempts to demystify the tricks of the trade, as its eponymous stalker (Nathan Baesel) explains just how those in his �profession� manage to make doors slam mysteriously shut, cause fuse boxes to blow at opportune moments, and sprint across great distances while appearing to move very, very slowly. And since no horror-movie bogeyman would be complete without a tireless archnemesis, or �Ahab,� Vernon gets one in the form of beleaguered psychiatrist Doc Halloran (played by Nightmare on Elm Street star Robert Englund, in an affectionate nod to Donald Pleasance�s familiar Halloween persona). Studded with similar in-jokes for the fan-boy crowd, this debut feature for writer-director Scott Glosserman and co-writer David J. Stieve verges on the twee and overly self-conscious at times, especially when Vernon takes to lecturing his media observers about the genre�s Freudian symbology. But at its best, Behind the Mask offers some, um, cutting insights about mass-media blood lust and the cult of the serial killer, and in Baesel, who is by turns charming, manic and thoroughly scary, it has a gifted young actor who clearly relishes a role he can sink his pitchfork into. (Los Feliz 3; Sunset 5) (Scott Foundas) See film feature

BEYOND THE GATES See film feature

CAFFEINE �Maybe you can help solve a mystery,� echoed Robert Stack�s immortal words at the end of each episode of the 1980s reality-TV phenom Unsolved Mysteries. But it would take a regular Sherlock Holmes to figure out what possessed Emmy-nominated Mysteries creator John Cosgrove (whose r�sum� also includes small-screen documentaries on subjects ranging from teen pregnancy to gun control) to try his hand at this overly antic coffeehouse comedy. Shot on a Santa Clarita sound stage but set inexplicably in London, Caffeine unfolds over the course of one eventful day at the Black Cat Cafe, where the manager (Marsha Thomason) has just kicked her cheating boyfriend (who also happens to be the chef) to the curb, a demented old granny keeps mistaking patrons for her cross-dressing husband, and a couple of stoner dudes (Andrew Lee Potts and Mike Vogel) try to curry favor with a Tolstoy-reading porn star (the strapping Sonya Walger). And then there�s Grey�s Anatomy star Katherine Heigl � probably the only reason the movie is getting any kind of distribution �� as a lovelorn young woman on a blind date with a steroidal cockney loudmouth who propositions sex by pointing excitedly at his trousers and announcing, �Never �ad any complaints.� Cosgrove and screenwriter Dean Craig aim for the kind of close-quarters chaos that John Cleese and Connie Booth turned into high comic art on Fawlty Towers, but Caffeine�s roundelay of sophomoric urination, masturbation and pedophilia gags isn�t half as funny as the atrocious British accents of the largely American cast (including waiters Mena Suvari and Mark Pellegrino) or the endlessly recycled exterior shot of a double-decker bus passing by. Bloody hell, indeed! (Sunset 5; Playhouse 7) (Scott Foundas)

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DEAD SILENCE was not screened in advance of our print deadline, but a review will appear here soon. (Citywide)

FIRED! Woody Allen canned actress Annabelle Gurwitch from his 2003 play, Writer�s Block, with a dressing-down so traumatic that it sent her reeling right into the arms of a book contract (Fired!), a stage play (Fired!), and now Fired! the movie, in which the camera-hungry Gurwitch (with co-directors Chris Bradley and Kyle LaBrache) succeeds in assembling the best kind of pity party � one where all the revelers are sharp, funny and finally successful enough not to give a shit about their past job woes. (Gurwitch solicits confessions from celebrity friends, including Sarah Silverman, Andy Dick and David Cross, but the highlight is Tate Donovan�s puppet-show reenactment of being replaced by Matthew Broderick in Torch Song Trilogy.) Too bad Gurwitch�s attempt to extend her neurotic hobbyhorse into a survey of the American job market � including a trip to a GM plant in Lansing, Michigan � smacks of disingenuous slumming. (Grande 4-Plex; Monica 4-Plex) (Michelle Orange)

I THINK I LOVE MY WIFE From the makers of Pootie Tang, one the greatest movies ever made, comes I Think I Love My Wife, the most unlikely remake in the history of cinema. Director, co-writer and star Chris Rock claims his comedy is an update of Chloe in the Afternoon, the concluding opus in Eric Rohmer�s famous suite of �Moral Tales.� None of the froggy nuance and mise en sc�ne nonsense here; Rock appears to have been inspired by the opportunity Chloe affords for unloading bitter chauvinism and venting hostility. The moral of this tale is that when women aren�t sexless, boring and safe (i.e., wives), they�re horny, fun and frightening. Rock plays Richard, an über-buppie investment banker whose mellow Westchester domesticity is upended by the arrival of Nikki (Kerry Washington), a flirtatious fox from his past. Co-written by Pootie director Louis C.K., the plot wonders if Dick can resist while offering just a touch of that old crazed, incongruous, sah-dah-tay je ne sais quoi (notably in an elevator meltdown scene that rivals the bare-assed squirm from Borat). Rock capably directs a screenplay graced with one or two chuckles (�You stare at a soccer mom too long and they�ll post your name on the Internet�) and soured by a whole lot of misogyny. (Citywide) (Nathan Lee)

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