The story, yes, is a romantic comedy, but not the kind you’re thinking.  It is, of course, centered around Jack.  He’s a quiet, mostly unremarkable man, with few friends, and even less family.  The two friends he does have are Clyde (John Ortiz), and Lucy (Deaphne Rubin-Vega).  They’re good friends to him, and seem to have it together.  They match him up with another slightly odd acquaintance of theirs, Connie (Amy Ryan).  The two start a strange romance that buds quiet nicely, while at the same time, Lucy and Clyde’s marriage is deteriorating as truths come out about infidelities and betrayals of trust.

The play is written by Bob Glaudini, and was adapted for the screen by him as well.  It’s full of witty and fresh dialog and fantastic scenes.  It’s an optimistic view on the joys of loving and being loved, despite all kinds of obstacles.  It should come as no surprise that something this sturdy comes from Hoffman, who literally gets lost in his character.  There’s not much Hoffman does that’s less than superb.  While it seems, in the beginning, that the film was going to take a turn closer to the tone of Welcome to the Dollhouse, Hoffman manages to keep this story hopeful, and bright.  His direction style is confidant, and well-toned.  The world was introduced to Ryan’s comedy during her short stint as Holly on The Office.  You’ll be pleased to know that she’s just as funny here, and makes personal manias endearing, and even sexy.  In one of the film’s most charming moments, she gently explains to Jack her humble requirements when they decide to make love for the first time.  It instantly reminds of a similar scene between Adam Sandler and Emily Watson in Punch-Drunk Love.  I don’t think it’s too high of praise to compare Jack to the P.T. Anderson film.  The optimism found here is refreshing, without sacrificing a charismatic, and intriguing plot.  This, I’m sure, will surface as one of the best that Sundance has to offer this year.

3.5 out of 4 stars

The story is based on true events that came to pass in Los Angeles in the 1920s and 30s.  Christine Collins is a single mother, raising her nine year old son.  She works as telephone operator (and a damn good one at that).  She’s called into work on a Saturday, and leaves her son Walter at home.  When she returns, he’s gone.  She seeks the help of the insanely corrupt LAPD, but is met with ambivalence.  Five months later, the police return a boy that is four inches shorter than Walter, and doesn’t look like him at all.  When she tries to convince the police that it’s not her son, she’s thrown into an insane asylum until she’s willing to admit that the boy returned is, in fact, her boy.  Assisting her in her fight is Gustav Briegleb, an outspoken reverend who uses his weekly radio broadcasts to expose political and police corruption.  Also sprinkled in is a completely insane Canadian serial killer that may or may not have killed Christine’s son.

The drama is ultra compelling.  The lengthy two hours and twenty minutes flies by as Eastwood deftly works his magic.  And who could want a more talented cast than Angelina Jolie, John Malkovich (who plays the good Reverend), and Amy Ryan (who plays one of Christine’s fellow internees at the asylum).  Jolie is an acting tour de force who may have given the best performance of her career, if the Academy ignores her again (they completely ignored her compelling performance in A Might Heart) they need punched in the face.  The script writing was also a feat, albeit it slightly surprising, coming from J. Michael Straczynski who spent most of his time until now writing for Babylon 5 and Walker, Texas Ranger.  The chief complaint of most critics thus far is the fact Changeling gives into convention far too often.  While the plot is slightly formulaic, it doesn’t deter how much you’ll enjoy this film.  Don’t let the trailer fool you into thinking this is a light, sad story about a wronged mother either, it’s dark, really dark, and fantastic all the way.  Don’t listen to the naysayers, this is one terrific film.

3.5 out of 4 stars

Rottentomatoes: 54% – Cream of the Crop: 46%