Looking at war through the eyes of the “enemy” can be illuminating, haunting, and surprisingly touching. So it is with director Clint Eastwood’s “Letters from Iwo Jima,” a companion piece to the previously released and ultimately less effective “Flags of our Fathers.” It is a daring piece of work, especially considering how few American war movies offer any alternative perspective-but its audacious length and rather simplistic story line don’t put it on the same level of more recent epics like “Saving Private Ryan,” or “Black Hawk Down.”

After significant losses in the South Pacific, the American forces saw the little volcanic island of Iwo Jima as an increasingly important military location due to its proximity to mainland Japan. Though its true value was debated for years, at the time many officials felt Iwo’s success as an early warning station used by the Japanese to radio reports of incoming B-29 bombers made American capture a top priority.

For their part, the Japanese, however misguided it may seem now, felt that losing the island would put the mainland at direct risk of takeover by the Allies. By early 1945, the Japanese naval military was decimated and the 22,000 troops that were entrenched on the island had little support, greatly out numbered and outgunned by the invading American forces. “Letters” depicts the ensuing 6 week battle which caused more Allied casualties than any other during WWII.

Due to the superb defensive preparations which involved an elaborate system of caves, concrete blockhouses and pillboxes, (expertly recreated in the film) Allied success did not come easy.

Leading the defense was Lt. General Kuribayashi (nobly and potently portrayed by Ken Watanabe) a fine military strategist and charismatic leader who had lived in the U.S. for 5 years-a fact poignantly underscored in some of the films’ best scenes. Also with ties to the U.S., and featured prominently is Olympic equestrian champion Baron Nishi (Tsuyoshi Ihara). The most compelling storyline is that of reluctant infantryman Saigo (Kauai Ninimoya). A frail former baker who can’t shoot straight and whose primary motives are not unlike most grunts–pure survival-he dreams of making it home to his wife and newborn child.

Lacking a hero to root for, the film’s 141 minutes seem even more ponderous given that none of the plot points have much of a revelatory resolution or dramatic arc.

“Letters” nonetheless succeeds in its humanistic (and still relevant) anti-war ideology. That is, beyond the complex reasons for military conflict and despite differences in culture, religion, and language, soldiers on opposite sides share much in common.

Less clear, especially coming from a Western mind set are the reasons behind the seemingly futile and horrifically brutal practice of committing suicide by the Japanese soldiers, depicted frequently (with the grenade being the weapon of choice) in the film.

Eastwood, who continues to make flawed but uniquely satisfying movies (“Million Dollar Baby,” “Mystic River,”) well into his 70′s, should be applauded for his sensitive and masterful handling of a concept long overdue. In a field of the weakest Best Picture Oscar nominees in easily 25 years or more, “Letters from Iwo Jima” is the choice by default.

Grade: A-
Rated R for graphic war violence.

Despite the senseless and implausible cyber-centric plot that keeps interfering with the brilliantly bombastic action scenes, “Live Free Die Hard” is this summer’s best adventure-by a mile.
Could it be that 19(!) years have passed since the original “Die Hard” set the new standard for thrill-a-minute action and spawned the gritty but lovable anti-hero NYPD cop John McClane which launched Bruce Willis’ career to the stratosphere? (“Entertainment Weekly” magazine recently named “Die Hard” the greatest action movie of all time.)

Fans of the franchise that includes two other decent installments (1990′s “Die Hard 2: Die Harder,” and 1995′s “Die Hard with a Vengeance.”) will not be disappointed by the head-shaking, magnificently staged and executed action scenes. And fortunately, they come thunderingly loud and often. Whereas previous installments were situation-focused and involved only a building, an airport, or a chunk of the Big Apple, “Live Free” has apocalyptic ambitions on the mind of its hacker heavies.

Led by disgruntled former federal IT security wiz Thomas Gabriel (Timothy Olyphant), a rogue group hacks into seemingly every national computer-run system to create traffic chaos and security breakdowns that serve primarily as diversions. Gabriel’s ultimate goal (of course) is to pull off the greatest financial fleecing in history. Expectedly, McClane ends up in the middle of the mayhem while trying to protect a cyber dweeb (a likeable Justin Long of the Apple commercials) who himself has become a target for the villains.

“Live Free” plays up the old school cop’s crustiness against the glib frailty of the young slacker, and gives both Willis and Young enough wiseacre comments to keep things light. Actress Maggie Q as the bad girl henchwoman has one particular t?te-?-t?te with McClane that concludes with a memorable SUV-in-an-elevator-shaft showdown. Somehow, McClane fighting off a pursuing Harrier jet while driving a semi-trailer only barely seems over-the-top– a tribute to director Len Wiseman’s (“Underworld”) ability to disguise CGI effects with creative prop choreography.

Even low-tech novices will tire quickly of the seemingly superhuman ability of anyone who sits at a computer to be able to hack into any system and overcome any security system in seconds. Why would such brilliant evildoers waste so much time, money, and energy figuring out endless firewalls when it’s so easy to crack into any bank and transfer endless amounts of money?

Ah, but if that were the case we wouldn’t get to see McClane use a police car to down a helicopter. Yipee-ki-ay your way past the plot flaws and enjoy the ride.

(Though the film racks up quite a body count, it skirts an R rating for lack of enough profanity and no nudity. Still, parents should be cautioned.)

Grade: B+
Rated PG-13 for violent action and strong language. Running time 130 minutes.

Better to fold ‘em than to spend time watching Eric Bana and Drew Barrymore go literally nowhere in a film that relishes the art of “Texas Hold ‘Em”. If that’s your thing, more power to you, but don’t go looking for something compelling, surprising or meaningful. A real disappointment from talented director Curtis Hanson (“In Her Shoes,” “L.A. Confidential”).

Grade: C-
Rated PG-13 language

George Clooney is a true, old-fashioned movie star. That term is bandied about a lot these days, but in Clooney’s case there’s no debating the term. As such, he can make the films he wants to make and his masculine grace as an actor makes almost any film he’s in watchable. “Michael Clayton” is certainly that– watchable. But as it piles on plot point upon plot point and introduces characters every few minutes for what seems like nearly an hour, this corporate cover-up thriller will leave many viewers scratching their head.

Complexity is fine as long as it leads to a worthwhile destination. But the ending of “Michael Clayton” relies on a confession-provoking device that’s so familiar it is now clich?. Even “Law and Order’ wouldn’t dare use it.

To some, the acting alone may be worth the ride. Clooney stars as the titled character, a “fixer” in a major New York corporate law firm. His job is to assess the needs of the firm’s big-time clients and clean up any messy details before or while his firm tends to the legal mumbo jumbo. On occasion he may have to look after the firm’s own attorneys, as is the case with his firm’s representation of U/North, a huge agrichemical firm that is the target of a class action suit. Tom Wilkinson is excellent, Oscar worthy, as a once-brilliant defense attorney who has gone mad with paranoia and also appears willing to blow the whistle on his own corporate client. Clayton becomes trapped in a moral dilemma: how to help his friend and be true to his firm, and yet listen to his instinct that tells him that the client is hiding something.

A failed business venture that leaves him $75,000 in debt increases the pressure on Clayton, and Clooney wears a distressed look on his handsome visage in nearly every frame.

For all its shadowy ambience and murky environs, “Michael Clayton” doesn’t really have a compelling story to tell. Unlike the similarly-themed “Erin Brockovich” or “The Insider,” the film sheds little light on the merits of the issues that hang in the balance. And unlike the best of the John Grisham adaptations (e.g. “The Firm”), we’re not sure whom we ought to root for in “Michael Clayton.” That’s the drawback to a thriller whose “thrills” are based more on psychology than real action. Change a few of the details and its “Syriana” all over again.

That may please some, but good acting alone can’t make up for an absence of plot twists, action sequences, and a case worth dying for. “Michael Clayton” wants it both ways. It requires smarts to understand what’s going on, and a lack of smarts to care and not be able to predict the outcome.

Grade: B-
Rated R for language and some sexual dialogue

If you’ve never had a ruthless gym teacher, you probably can’t appreciate Billy Bob Thornton’s portrayal as “Mr. Woodcock.” Those of us who were educated in an era when emotional and even a certain amount of physical abuse was tolerated within the school system can relate to Woodcock’s students. He bullies them incessantly, with put-downs and grueling exercises of the basketball-to-the-gut kind. For the middle-school age boys of the small Nebraska town where the film takes place, Woodcock is their boot camp drill sergeant in a sweat suit and whistle.

For good or bad, Woodcock’s insults and sadistic methods make up the only reasons to see this film that also stars Sean William Scott as one of Woodcock’s favorite targets who– flash forward –is a successful self-help book writer. Trouble is, Farley (Scott) comes back to Forest View as a celebrity only to find his widowed Mom (Susan Sarandon) has fallen in love with, guess who, the gym teacher of his nightmares. Thornton, as arguably one of America’s most versatile actors can drop deadpan one-liners as well as anyone, and the premise holds enough merit to keep things interesting. Sarandon, always a class act, brings some credibility to the preposterous silliness that surrounds her. For once, Scott is playing the straight guy, sort of, and can’t be completely blamed for the one dimensional nature of his character-the potential for satire here is simply not explored. A bigger problem for Scott’s character, and his career for that matter, is his stunning lack of charisma. Ladies and gentlemen-the new Ashton Kutcher!

Amy Poehler (TVs “Saturday Night Live”) provokes some chuckles as Farley’s alcoholic (every comedy seems to require one) hyper-agent and Ethan Suplee (TVs “My Name is Earl”) plays the same lovable/big schlub/best friend he’s known for.

One can’t help but wonder what the Coens or Farrellys might have done with this cast and premise-there would certainly have been more character development and you can bet your huskers, either team of directing brothers would have had a ball giving the humor more of a local flavor. (To its credit, “Mr. Woodcock” doesn’t completely ignore its small town environs; the film does little to distinguish itself).

There’s a lot of sexual innuendo and language in a film that seems to be marketed to young teenagers so parents should be cautioned. But some may find the punishment Mr. Woodcock dishes out to his students even more offensive. But they never had Mr. Embry in 8th grade P.E. who made us play bombardment-think killer dodgeball–if we wanted to get a good grade. For those who can relate, Thornton’s performance will be both terrifying and occasionally hilarious.

Grade: B
Rated PG-13 (for crude and sexual content, thematic material, language and a mild drug references)

One can only surmise from the infrequency of their arrival that memorable romantic comedies are difficult to make. Nevertheless, audiences crave them while critics tend to (unfairly) trash them because the “Rom-com” is by its nature a light, sweet, formulaic confection that satiates a public that sometimes just wants to relax and cry a little– while laughing a lot.

Heaven forbid that an audience just wants to be effortlessly entertained. “Music and Lyrics” does just that. Despite a copout ending that dumbs down the film’s previous wit-filled 90 minutes, there’s plenty to enjoy and few mainstream audiences will be able to resist its charms.

Hugh Grant plays Alex Fletcher, a former 80s pop star reminiscent of Andrew Ridgley, whom you remember as the “other guy” in George Michael’s pop band Wham! In one of the film’s unique touches, Alex is a happy has-been, content to sing his catchy songs and shake his aging hips for middle-aged groupies at amusement parks and school reunions.

When his agent (“Everybody Loves Raymond’s” Brad Garrett) informs Alex of an opportunity to write a song for megastar-of-the-moment and Buddhist-diva Cora (newcomer Haley Bennett), he’s willing but lyrically challenged. (A surprise given Alex’s gift for non-sequiters and witty banter.) Enter plant caretaker Sophie, a jilted hypochondriac whose watering inadequacies are more than made up for by her heretofore undiscovered gift for ballad writing. After some convincing by Alex, the two decide to collaborate, but they need to compose quickly because they are given a one week deadline.

Grant and Barrymore’s strengths are fully utilized here, and both are up for the necessary casual chemistry that’s required. Grant punctuates the frequent punchlines with his trademark eye-batting effervescence. On one occasion, while reminiscing about one of his audience’s candy-throwing reaction, he refers to the scene as a “dietetic Altamont.” (Brush up on your Rolling Stones history if you don’t get it.)

Barrymore has played this kind of ditzy character before, but she rarely has someone as comically adept and charismatic as a sidekick. Her neurotic reactions to being exploited by ex-boyfriend and literature professor’s (Campbell Scott) bestselling novel are familiar territory for her but we still buy into it.

Also making a nice contribution is big-boned comedienne Kristen Johnston (TV’s “3rd Rock from the Sun”) as Sophie’s older sister who gushes hilariously when in the presence of former teen crush Alex.

Best of all, “Music and Lyrics” has plenty of decent original music penned by Fountains of Wayne bandleader Adam Schlesinger (“Stacy’s Mom” was a 2003 hit), who also wrote the title track for “That Thing You Do.” He knows a thing or two about writing good pop. You will find yourself humming “Way Back Into Love” on your way out of the theater.

If only there were a way back to fix the contrived, cheesy ending involving the “big concert love pronouncement.” Up to that point, “Music and Lyrics” is worth a listen (and a look).

Grade: A-
Rated PG-13 for some sexual content