Some thoughts about "Wilson's," "Live Free or Die Hard" and "Superbad," after the jump …

These holidays often boil down to too much snacking and barely enough relaxing — sitting around, reading new books, watching DVDs — and there has been plenty of that. More this year than some, in fact. As we were leaving church on Christmas Eve, the bride tried to reach for the rail by the unlit steps outside, missed and fell down the steps. It was a terrifying sight, and she could have been hurt much worse than we was. And while major injury was avoided, she is still well scraped and bruised, and she has had to curtail her urge to be active, so she can heal.

Anyway, last night we caught the unrated version of "Live Free or Die Hard," and I was pleased to see that in this rendition, the concluding word once again follows "Yippie-ki-yay." It was not included in the theatrical release, which was edited for a PG-13 rating, to the dismay of those of us who have faithfully watched the "Die Hard" movies. And watched them more than once.

Three of us were watching — me, the bride and Target Demo, the now-32-year-old daughter. (Younger Son, 18, was at work.) The language didn't bother me in that group. But when all four of us had sat down to watch the unrated DVD of "Superbad," I was maybe 10 minutes in when I said, "I can't do this."

I saw the movie in a theater. I laughed very hard at the movie. I acknowledged its unrelenting crudeness when I gave it a positive review. But that just wasn't the same as sitting and watching with family members. Then it was too gross. It was, in fact, embarrassing. It made me uncomfortable and I just could not sit there any longer.

Maybe it would have been different in a theater, where you sit in the dark, somewhat isolated from those around you. But, as I said in a previous post, I was somewhat unnerved during "No Country for Old Men" because I knew how the bride was reacting to the violence against animals. So I might have flinched during "Superbad," too.

But it's all about context, isn't it? Not only whom you see a movie with, but where and how you see it — big screen or small; home, crowded theater or a theater with just a few folks in it; theater where people yak or one where there's respectful silence; tired when you watch or over-caffeinated. It all goes on.

There have been times when I have wondered if a review should contain some kind of explanatory note: This film was seen on a weekday afternoon with a handful of other professional movie-viewers, when I was fighting a cold and had had to deal with rotten traffic on the way to a theater in Cleveland where the seats are really uncomfortable. Same deal with television reviews: This review is based on a rough cut with temporary music, watched at home one afternoon with interruptions because the phone kept ringing.

But I am rambling. And I am rambling to avoid facing the issue of "Charlie Wilson's War," a movie that I still have not made up my mind about.

Oh, it has good things, including Tom Hanks's performance as the title character, a Texas congressman who was crucial to giving Afghan rebels the money and weapons to fight their Soviet invaders; that effort bled the Russian economy and morale, and helped lead to the fall of the Soviet Union. And just about any time Hanks and Philip Seymour Hoffman (as an abrasive but canny CIA man who helps guide Wilson) are on screen, you're seeing two guys playing at the top of their games, and those games are far more than mere serve and volley.

But the movie itself, written by Aaron Sorkin (from a book about Wilson) and directed by Mike Nichols, felt odd, almost as if it was unfinished, a series of scenes meant to be part of a longer and more textured movie. This is especially true near the end, when the Afghans and their U.S. supporters have triumphed, but the U.S. then fails to win the peace. That failure is covered very briefly, assuming the audience knows what happened, and that there is no point in dwelling on that and Charlie's resulting misery.

At the same time, though, that sketchy pay-off — a real contrast to what we might have seen had Sorkin done this material during his years on "The West Wing" — allows the movie to end with an ending the audience can take as happy: the Soviets vanquished, Wilson being applauded. It's not entirely like what "I Am Legend" did, sending Will Smith to his fate but tacking on a touch of optimism that was not in the Richard Matheson novel.

Only, where "I Am Legend" can suggest a future we do not see, "Charlie Wilson's War" leads to a present where we know exactly what happened. And the movie overall is at once an indictment of American government and an endorsement of the American spirit. Officialdom will not help the Afghan people in their war, but a couple of flawed but determined cowboys with the right connections — and Charlie Wilson has spent his career making the right connections — can change the world.

Or can they really? Doesn't the American system ultimately, and tragically, overwhelm the cowboys? I'm reading Tim Weiner's "Legacy of Ashes: The History of the CIA," where he argues that the agency's annals are "replete with fleeting successes and long-lasting failures abroad." His emphasis, of course, is on failure. And I wonder if there should be greater emphasis on that in "Charlie Wilson's War."

Some details after the jump. …

In brief, from press releases:

Airing on CBS on Monday evenings, The New Adventures of Old Christine has become a huge fan favorite drawing in over 10 million viewers each week to watch Julia Louis- Dreyfus' hilarious and insightful performance as the title role. The first Seinfeld cast member to return to TV with a huge hit, Julia Louis-Dreyfus earned the 2006 Emmy as Outstanding Lead Actress in a Comedy Series for her portrayal of Christine as well as a SAG and Golden Globe nomination. Now, viewers can relive the moments when Christine Campbell, a single working mom learns that her ex is dating a much younger woman with the same first name, as Warner Home Video (WHV) gets set to release The New Adventures of Old Christine: The Complete First Season on January 15, 2008 for $29.98 SRP. The laugh out loud DVD set includes all 13 episodes and bonus features in a 2-disc collection. …

This holiday season consumers will be drawn into the beautiful and deeply emotional episodes that comprise the fourth season of One Tree Hill when Warner Home Video (WHV) releases One Tree Hill: The Complete Fourth Season on December 18, 2007. Timed for release in conjunction to the show's upcoming new season premiere in January 2008, this engaging DVD collector's set will include six discs, featuring 21 episodes and loads of bonus features that will keep any One Tree Hill fan entertained for hours. The DVD set will retail for $59.98 SRP. …

The gut-busting coming-of-age comedy for a new generation, SUPERBAD debuts unrated on Blu-ray(tm) High-Def and a two-disc DVD December 4, 2007 from Sony Pictures Home Entertainment. Available for the SLP of $34.95 (two-disc DVD) and $43.95 (two-disc Blu-ray(tm) High-Def), the unrated edition struts onto the scene with additional footage deemed too raunchy for theaters and a bevy of bonus material, including "Line-o-rama," a running tally of obscenities; "TV Safe Lines," a series of alternate lines from various scenes in the film; "Everyone Hates Michael Cera," a funny faux-featurette where cast and crew dish about why they hate "nice guy" Cera; "On-Set Diaries"; deleted scenes; audition footage; a gag reel; hilarious menus featuring the doodles of young Seth; running commentaries with Judd Apatow, Seth Rogren, Greg Mottola, Evan Goldberg, Jonah Hill, Michael Cera and Christopher Mintz-Plasse, and much more. Also, unique to Blu-ray, is the Super-meter which allows viewers to keep tally of all the lewd and crude lingo in the film. SUPERBAD will also be available as a single-disc DVD in both rated and unrated versions for the SLP of $28.95.

My review of "High School Musical 2" is here. My review of "Superbad" is here.

After the jump, Barry Corbin, and the perils of magazine deadlines … and a new part 2, with "Damages," "Mad Men," "Rescue Me" (so beware of spoilers if you haven't caught up)…

Barry Corbin finally appear as Brenda's father on "The Closer," and what fun it was. He is such a solid actor, able to play the comedy and drama in a character, sometimes within the same scene. He can, as he did on "The Closer," intimidate another character (in this case, Fritz), then make it a joke — and still make you remember the intimidation even as he is smiling. All that, and him playing off both Kyra Sedgwick and Frances Sternhagen. TV heaven, dropped in a sturdy episode. (The elevator scene!)

Talking to some of the "Closer" fans around my office, though, reminded me of the varieties of viewing habits. They were surprised to see Corbin's bald head, since they remembered him in the main from "Northern Exposure," where he had hair. But I;m sure there are other viewers — like my bride – who think of him the way he looked on "The Closer," because it is close to the way he looks on "One Tree Hill."

I made a magazine run last night, mainly to check on the Allure and OK! pieces about Britney Spears. (This is, after all, part of my pop culture mandate.) And while doing so, I began thinking about an item for tomorrow's HeldenFiles, probably to be called "Fun at the Newsstand."

And what was that fun? Well, there was Lindsay Lohan on the cover of the September issue of Elle, with the quote "I'm glad I went to rehab." But, as the magazine notes in the article, it's from an interview done just before her Memorial Day disaster, and the ensuing trip to rehab (which are at least described in the text with the interview) — and therefore well before her most recent troubles and her current reported stint in a Utah facility.

Then there's the Summer 2007 issue of In Style Weddings. Jennifer Morrison of "House" on the cover. Lovey-dovey pictures inside of Morrison and co-star/fiance Jesse Spencer. Description of wedding plans, discussion of The Dress.

They called off the engagement this week.

Part 2: I've been doing some catchup this weekend, for the past week's "Damages," "Rescue Me" and "Mad Men." I also have a couple of upcoming "Mad Men" I may get so, although our Viewing Of The Day is the forthcoming DVD of "Heroes."

I'm still watching "Damages" because I keep expecting it to get better. And every now and then there's something I like a great deal, like the look on Ted Danson's face when he talks about the cost of shipping a grenade. But I still think it's mainly implausible melodrama, and a clunky one at that. The time shifts from the present day (post killing) to the past (case in progress) and even to the deeper past (Florida) are just distracting; once the killing was established in the first episode, it should have settled for a more linear narrative from the case to the present day. The everybody's-got-secrets subtext is overworked, too, mainly because the secrets so far just aren't that interesting. But Glenn Close is growing on me, her behavioral tics seeming more understandable — at least, if we accept the idea that she is crazy as a bedbug. "Damages" has come one of those big potboiler novels that I'm determined to finish, even if doing so isn't all that enjoyable.

"Mad Men," in contrast, is just plain terrific. It also involves a world full of secrets, in particular those of Don Draper (the superb Jon Hamm), who has changed his name and abandoned his old life — including, we now know, an adoring younger brother. The story of Don and his wife Betty (January Jones) by itself is enough to carry a pretty good show, but the weaving in of other characters and stories remains strong. And unlike "Damages," where I feel as if I'm constantly having to fit someone new into the fabric, "Mad Men" does not overburden us in a given week by trying to tell too many stories.

Then there's "Rescue Me." For a moment this week, it had me — in the scene where Tommy is sitting on the rooftop and talking about what it means to bury your child. coming after we've gotten to the depth of Mike the ex-probie's pain. There was also the sheer amusement of the looks on Lou and Franco when they finally see what the new chief has been rumored to have. But I'm still not feeling that great old "Rescue Me" vibe. The intervention scene never quite worked. The baby-kidnapping — or was it a baby-un-kidnapping? — felt fake. The Gina Gershon scene, pointless. More and more this seems like one of those shows that had a season or two of greatness and now just can't figure out how to quit.

I liked "Superbad" more than "HSM 2." Does that make me a bad person?

I've already posted some thoughts about "Superbad," and I'll have a full review in Friday's Beacon Journal that I'll link here later. Today I watched "HSM 2," also for a review in Friday's paper to be linked later. Two movies about high-school kids premiering on the same day. Nice timing.

I had looked forward to both projects. I'm a fan of producer Judd Apatow and writer-actor Seth Rogen, both so key to "Superbad." And I liked the original "High School Musical." Seriously. I've seen it more than once. Seriously. But, at the end of the day, I liked "Superbad" a lot more than "HSM 2," and I am already bracing for reader complaints.

"Superbad" is, after all, a very R-rated comedy full of raw language, sexual posturing and at least one bit I couldn't begin to describe here.

(I won't describe it in part because this blog is rated G, according to this gizmo, although that rating may change if I ever get around to a post I've been pondering about love and sex in modern entertainment. Or just because I used the word "sex." Or if I say "Looky Ploot,"* the title of a 1950 song currently stuck in my head, which the ratings gizmo may not know what to do with.)

So there's "Superbad" on the one hand. And on the other we have "HSM 2," which is all sparkly and clean and family-oriented and hand-holding and building up suspense about — brace yourself — a kiss. A reader could look at the two reviews and go, oh, this guy hates family fare and likes bad stuff — even though there's no either/or here. You can like one, the other or both, and will have plenty of chances to see each.

And what can I do? I watched both and had my opinions. You can't start massaging your opinions out of fear of readers' reactions. There's no end to that slope once you start sliding. And if I want readers to trust me — even that form of trust that involves reading me enough that you know you will disagree with anything I say — then all I can do is say what I think.

Still, I wish I had liked "HSM 2" a little more. (Let the record show I didn't hate it. But I didn't think it was as good as the first movie.) I understand the people who long for good family viewing, and want to know when it comes along. I just didn't think this movie was all that good. And while I wouldn't remotely recommend "Superbad" to all those kids who have parties planned around "HSM 2" on Friday night, it made me laugh a lot.

*By Emmitt Slay and His Slayriders, included on the CD "More Mellow Cats 'N' Kittens: Hot R&B and Cool Blues 1946-1952.

I might also call it "The 40 Year Old Virgin" for teens. Or the realistic "Can't Hardly Wait." Or "Seth Rogen Is a Softie at Heart." But …

I'm not sure any of that will prepare people for how thoroughly raunchy (the lack of an NC-17 indicates that the ratings board is deaf, as well as possessed by a visual impairment that keeps it from seeing drawings) "Supebad" is — and how very, very, very funny it is. Funnier than "The Simpsons Movie," by far. And while Rogen is onscreen again, hot on the heels of proving his leading-man skills in "Knocked Up" (which has racked up more than $145 million at the box office so far), this is further proof that he knows how to write. Yes, he and co-writer Evan Goldberg are writing about themselves; they still hit it out of the park in their portrayal of obsession, lust, romance, vulnerability and longing for romance.

Seriously. It really is "American Graffiti."