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Martha K. Baker

Ordinarily, a biodoc of a critic would appeal to a smallish audience, but a documentary about Roger Ebert appeals more widely. Before Ebert, film critics were rather a precious group comprising the likes of Sarris and Kael. After Ebert, especially after PBS’ “Sneak Previews” went on the air, film criticism entered popular culture.

One of the films currently showing at the IMAX theater of the St. Louis Science Center is this engaging look at lemurs. It puts the animated movies in the Madagascar franchise to shame, for this documentary, shot with the giant IMAX cameras, shows the creatures in their natural habitat.

“Jersey Boys”: the movie is not the stage play. The electricity is turned off. Never will you feel like singing along, let alone tapping your feet to the beat. That must be what Clint Eastwood wants. He has made the film his from Marshall Brickman’s and Rick Elice’s musical.

For what is a film but a duet of words and pictures? That fact automatically sets up any movie entitled "Words and Pictures" as redundant. So how to avoid cliche? Screenwriter Gerald di Pego doesn't; in fact, the film is freighted by words, lofted by pictures, the kind on canvas and film.

A documentary about the pictures side of Hunter S. Thompson's words does not appeal much to readers who think Hunter S. Thompson was a louche excuse for a man and a writer. So that's not a good reason to see "For No Good Reason" to see the excellent film about Ralph Steadman.

"Fed Up" is this year's "Inconvenient Truth." You know you're going to have big data thrown at you, and you know you're going to have your heart strings thwacked, but you may not be ready for how angry you become at the successful efforts of food lobbyists on good sense.
 

All the ingredients are there for a dramatic, heart-punching story of immigrants in the Twenties of the Twentieth Century. Two Polish sisters, Magda and Ewa, arrive at Ellis Island in 1921, separated when Magda is found to have tuberculosis and is quarantined. Ewa must find shelter when the women's aunt and uncle do not show.

Forget Jon Favreau's other movies as actor, writer, or producer. Forget "Iron Man" and "Swingers." Just enjoy "Chef." It's relatively predictable, plows no new acreage, and is so foodie that it's pornie, but it's a delight, too, with Favreau just dandy as writer, director and actor.

If you were lucky enough to watch "Hung" on HBO a year or so ago, then you've already seen a good take on the concept that women will buy sex from clean and sober gentlemen. You will also have seen a better version of this theme than you get in John Turturro's "Fading Gigolo."

If you don't follow baseball, you might not have known about the advent of Indian players in the major league. You might not have known about an agent named Jamie Bernstein, who needed an influx of money to keep going. After losing a client who would have been worth millions, JB plops on his bachelor couch, flipping through channels.

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