Theater-August: Osage County

Winner of 2008's Pulitzer Prize for Drama and the heavy favorite to take the Tony Award for Best Play on June 15, the exhilarating August: Osage County has taken Broadway by storm, firing up critics and audiences alike. Retaining most of the original cast from it's acclaimed run at Chicago's Steppenwolf Theatre, August: Osage County centers on the highly dysfunctional Weston family of Oklahoma, headed by literary professor and alcoholic patriarch Beverly (Michael McGuire), and imbalanced, vitriolic matriarch Violet (Deanna Dunagan), who has a weakness for prescription painkillers. When Beverly goes missing, the pair's three daughters (Amy Morton, Sally Murphy, Mariann Mayberry), as well as the entire extended family, return to the homestead. The complexities of the large family's dynamics come into focus as they alternately show love and hurl profane insults and tirades at each other. Relationships are tested, shocking secrets are revealed, and the family comes near it's breaking point as they deal with disastrous events. It's all insightful and tragic, not to mention hilarious and ferociously entertaining, thanks to the razor sharp script by Tracy Letts (Bug) and the outstanding ensemble cast, not one of whom isn't pitch perfect. Special mention should go to Dunagan, who is electric as the vicious but deceptively complicated drug addict Violet; and to Morton, as eldest and strongest daughter Barbara, who is also dealing with her rebellious daughter (Molly Ranson) and cheating husband (Jeff Perry) and is more like her mother than she knows. It's a wonderful, layered performance, and the scenes between her and Dunagan are some of the most powerful of the play. With some sitcom and soap opera elements thrown in, August: Osage County is fast, funny, and thoroughly energetic and engrossing. It clocks in at a robust 3 1/2 hours, but only feels about half of that. One of the best plays I've ever seen.

Indiana Jones and the Kingdom of the Crystal Skull

After 19 years, Indiana Jones is back, albeit a little older and grayer. He's still sporting his fedora and bull whip though, and still knows how to get into trouble. This time around, Indy (Harrison Ford) has found a new nemesis in Communist Russians, led by scientist/dominatrix Irina Spalko (Cate Blanchett). The Russians have stumbled onto some paranormal phenomenon that promises unlimited power (kinda like the Ark of the Covenant and the Holy Grail did), and they need the expertise of Dr. Jones to help them find it. After a grand escape in old-fashioned Indy-style and a number of complex plot contrivances, Jones ends up in South America racing against the Russians to hunt down the artifacts (which do involve a crystal skull). Along the way he picks up a young greaser sidekick, Mutt Williams (Shia LeBeouf); Professor Oxley (John Hurt), the leading expert about the treasure they seek who has been driven insane by his quest; and Indy's old flame from the first film, Marion Ravenwood (Karen Allen). In keeping with the Indy tradition there are plentiful chases, fights, and grand action spectacles, all leading to a final discovery of the true power and meaning of the centuries-old relics.

The Indiana Jones films are among the most beloved of American films, and as such, Indiana Jones and the Kingdom of the Crystal Skull has been one of the most anticipated movies of the last few years, especially after reuniting stars Harrison Ford and Karen Allen, producer George Lucas, and director Steven Spielberg. So does it live up to the almost unreasonable hype? Well, not entirely, but it's far from a total disappointment. Ford easily slips back into the Indiana Jones role, incorporating his sly wit, humor, and intelligence; and even at 65 is credible as an action hero. He still has plenty of chemistry with Allen, who brings a spark of energy as the feisty Marion. Spielberg, who essentially invented the summer blockbuster trend, is still an expert at staging action sequences, capped off with a thrilling chase sequence in the rain forest that involves parallel Jeeps, a series of waterfalls, giant killer ants, and a bunch of monkeys. The problem is really in the central story, which is unnecessarily convoluted and even silly at times. It exists mostly as a tent pole for the action scenes, and as a result, Crystal Skull lacks the emotional resonance of Raiders of the Lost Ark or Last Crusade. It's more in line with Temple of Doom, which was well-made, over-the-top entertainment with little connection to the characters. Crystal Skull will likely be viewed in the same way. It doesn't quite live up to the impossible expectations, but it's a fun, old-fashioned, entertaining ride. A lesser Spielberg film is still better than most.

Iron Man

The canon of Marvel Comics has been raided many times over the last few years, resulting in films that range from the heights of X2 and Spider-Man 2 to the dregs of Fantastic Four and Elektra. They've gone to the well again this summer with Iron Man (and again later this summer with take-two of The Incredible Hulk. DC Comics gets it's shot with The Dark Knight). Iron Man stars Robert Downey, Jr. as billionaire Tony Stark, a genius weapons manufacturer who lives a fast life of drinking, partying, and women. While on a sales trip in Afghanistan, he is taken hostage by a rogue terrorist group who already use much of his company's technology for their murderous acts and want him to build a super-missile for them. He instead builds a kick-ass weaponized, armored suit which he uses to escape. Upon returning to the U.S., he has a change of heart about how he's made all of his money and decides to shut down his company's weapons division, much to the chagrin of long-time friend and partner, Obadiah Stane (Jeff Bridges). Stark instead invests his time in perfecting his armored suit design, planning to now use his brains and technology for the good of the world. He enlists the help of his loyal assistant Pepper Potts (Gwyneth Paltrow) and military friend Rhodey (Terrence Howard) in his quest against evil, as Obadiah's intentions and motives become clearer.

Not being a huge comics fan, I knew very little about Iron Man going in. However actor-turned-director Jon Favreau (Elf, Zathura) creates a thoroughly accessible and entertaining film for comic fans and non-fans alike. The writing is sharp and clever, and the action (which is mostly first rate, with a few exceptions) actually serves the story, instead of the other way around. The acting is excellent across the board, with the supporting cast such as Paltrow and Howard creating three-dimensionality out of what could have been stock characters. The movie's success, though, rests on the not-so-obvious but inspired casting of Downey, and he is more than up to the challenge. He fully embodies Stark's transformation from playboy to concerned (but not brooding) crime fighter, without giving up the sarcasm and wit that makes Iron Man a unique and more human superhero. It's one of the best comic-book performances ever. As with any origin story, there can be somewhat of a let's-get-to-it feeling before Iron Man actually shows up, but Favreau keeps things moving pretty well with well-placed action sequences and humor. The gold standard of the recent glut of comic-book movies has been set by Spider-Man 2 and Batman Begins, and while Iron Man may not quite reach those heights, it comes pretty damn close. Check it out. And don't forget to stay after the credits.