Get to Know Winnie the Pooh's Namesake in A Bear Named Winnie

This Friday, the new Disney movie Winnie the Pooh hits theaters, and though I’m not sure how well the tubby little cubby can compete against the final installment of that equally popular British export known as Harry Potter, I know I’m not the only one looking forward to seeing him on the big screen again. In anticipation of that event, I watched A Bear Named Winnie, the 2004 live-action film directed by John Kent Harrison, who wrote it with John Goldsmith based on the true story by Simon Vaughan.

In this movie, set during World War I, we get the story of Lt. Harry Colebourn (Michael Fassbender), a young Canadian soldier in a veterinary corps who rescues an orphaned bear cub and smuggles her aboard the train to training camp. He names her Winnipeg after his hometown and calls her Winnie for short. While his gruff commander, Col. John Barret (Gil Bellows), warns him that he’s going to have to do something about her before they head off to do some real fighting, Winnie quickly grows very attached to Harry, and shaking her off isn’t going to be so easy.

Winnie is the bear after whom Winnie the Pooh is named, and the movie is framed by scenes several years later that show her at the London Zoo, where she is one of the most popular residents. The bulk of the movie deals with her presence at the training camp in Quebec and later in England, after Harry pulls off another smuggling act, this time in a sea chest. His chief accomplices in this endeavor are geeky Ivy League graduate Ian Macray (Jonathon Young) and cheerful goofball Randy Taylor (Aaron Ashmore). As powerful as the bond between Winnie and Henry is, the movie is just as much about the friendship between these young men, particularly Henry and Ian.

Winnie, played by three different bears named Chester, Charlie and Bonkers, is a charming creature, though she is loud and rather disaster-prone. She has a habit of bellowing in moments of distress, and her ingenuity causes problems when she escapes and makes for the mess tent. However, in times of tranquility she is a comfort to those around her, whether she is nuzzling noses with the camp horses or wrapping her furry limbs around Harry in a firm bear hug. There are moments of comedy with her disastrous antics, but the story more often veers toward the heartwarming.

The only member of the cast I recognized was Ashmore, who has so consistently charmed me as Smallville’s fresh-faced Jimmy Olsen. His character here is of a similar disposition, and he adds levity to most of the scenes in which he appears. Young brings an uptight but sympathetic air to Ian, who is sheltered and jittery but very passionate about his veterinary work. The core friendship between Ian and the more outgoing Henry is helpful in getting us to understand the plight of soldiers during this time. The stern but kind presence Bellows brings stands in contrast to the lunacy of the unit’s top commander (David Suchet), a general who is far removed from soldiers’ concerns.

A Bear Named Winnie is mostly a war story, though its PG rating keeps it from becoming too graphic, even as it delves into some of the harsh realities of wartime. It’s a tale of friendship and how bonds forged in trying times can carry the despairing through to happier days. Christopher Robin and A. A. Milne are characters in the movie, and an end-credits note confirms their identities, but this is not really their tale. They have just enough of a screen presence to tie the movie in with the Winnie whose popularity continues a century later. That Winnie remains my favorite of all fictional bears, but it seems the real Winnie had a lot to recommend her as well.

Thomas Kinkade Finds Himself as an Artist in The Christmas Cottage

My brother Nathan is a senior in college majoring in Painting. He loves a lot of artists, but Thomas Kinkade, whose warm and fuzzy, light-infused landscape paintings are a staple at the calendar kiosk where I work this time of year, is not one of them. Still, I think that he would appreciate The Christmas Cottage, the 2008 film that loosely chronicles one memorable Christmas in the life of a college-aged Kinkade.

In this feel-good movie written by Ken LaZebnik and directed by Michael Campus, Jared Padalecki plays Thomas, who has returned to his tiny hometown for Christmas break and is shocked to discover that his mother (Marcia Gay Harden) is so far in debt that she is about to lose her cottage. Though Thomas feels like a fish out of water, with a slight air of superiority when it comes to most of the townsfolk, he delves into an art project that he feels is beneath him in hopes that it will help pay his mother’s bill. What he needs to do is create a Christmassy mural to advertise for a local businessman. When he confesses his malaise to his mentor, neighbor Glenn Wessels (Peter O’Toole), this aged artist at the tail end of an illustrious career advises him to put forth his very best effort and use the job as an opportunity to honor his town and its residents.

We see the mural as a work in progress throughout the movie, and gradually, it gains more and more personality as Thomas decides to fill it with specific people who have meant a lot to him and to the town. As he paints, he struggles with the idea of finding his own distinct style. It isn’t until the last minute that he is inspired to add the light pouring through all the windows, that touch that has become his trademark. Thomas’s relationship with Glenn is the heart of the story, and O’Toole gives a heart-rending performance as a very talented man losing control of his faculties – both his mind and his all-important hands. Despite the hints of dementia creeping in, Glenn still is a great source of wisdom for his troubled young neighbor.

While painting is the main focus of the movie, there are several subplots. In the silliest, Thomas’s congenial brother Pat (Aaron Ashmore, who plays the adorable Jimmy Olsen on Smallville) takes a job for a man embroiled in a bitter battle with his neighbor over who has the best Christmas display. Mrs. Kinkade has her hands full trying to corral a chaotic assembly of townspeople for a nice Christmas pageant. Most notably, the family is thrown into a tizzy when Thomas and Pat’s long-absent father (Richard Burgi) shows up again, broke, sardonic and unrepentant for his lack of involvement in their life.

The Christmas Cottage probably isn’t one of those Christmas movies I’m going to watch repeatedly, but I’d certainly have no objection to watching it again with my brother to see what he thinks of it. It definitely feels like a Hallmark movie, though it isn’t really. As I tend to enjoy those sappy made-for-TV efforts, though, that doesn’t bother me. If you’re intrigued by Thomas Kinkade or art in general, it’s worth making a stop at The Christmas Cottage.

Smallville's Shortened Seventh Season Piles on the Fun With Kryptonian Kara

Back in 2006, my brother Nathan, then a senior in high school, got me hooked on Smallville on DVD. In the months leading up to his departure for college, we watched the first three seasons. Over the course of his freshman year we watched two more. But since then it's been slow going in getting caught up, so that we only just now finished season seven and are faced with the fact that we're probably never going to actually catch up with this show, since if past seasons are any indication, season eight will hit DVD about a week before season nine premieres. Well, maybe we'll try to cram it all into one week. Or maybe we'll just resign ourselves to watching Smallville exclusively on DVD. Frankly, I'm pretty surprised at the show's longevity, simply because it's a prequel, and Clark's seemed on the verge of donning those tights for about three seasons now. But I'm not complaining, and if I still have Smallville to look forward to after LOST concludes, so much the better.

Season seven of Smallville is, in some ways, lighter than the sixth, in which Clark must deal with the aftermath of a staggering personal loss and the impending nuptials of the girl of his dreams to his best-friend-turned-arch-nemesis, all while trying to round up a series of bloodthirsty intergalactic convicts who make the meteor freaks look like minor irritations. It isn't that the stakes aren't high in the seventh season, but the sense of peril is less pervasive, and there's even a fair amount of domestic tranquility for Clark, who really seems like an adult for the first time (though Tom Welling looks exactly the same as he did when Clark was supposed to be a freshman in high school). Though he's still a farm boy, he's now running the place, with his mom Martha (Annette O'Toole) out of the picture in Washington, D.C. Moreover, he's spending more and more time in Metropolis, where intrepid reporter Chloe Sullivan (Allison Mack) and dorky heart-of-gold photographer Jimmy Olsen (Aaron Ashmore) work for The Daily Planet, soon to be joined by budding journalist Lois Lane (Erica Durance). Can it be long before Clark joins their ranks? For the second season in a row, an alternate reality sequence has him donning the iconic thick-framed glasses and suit. Now if only phone booths weren't so hard to come by nowadays...

Though political advancement removes Martha from the equation, Lex's (Michael Rosenbaum) father Lionel (John Glover) still has a significant role to play in Clark's life. It's curious to see him playing the protective, paternal role, especially since Martha is no longer there to act as a link between these two powerful men. While Lionel often acts in ways that seem suspect, he claims to be on Clark's side, and despite years of experience with Lionel's villainy, Clark generally seems to believe that this tycoon has turned over a new leaf. Lionel has been one of the show's most compelling characters for me, in large part because of Glover's brilliant performance; his theatrical background and his masterful way of masking his character's motivations remind me very much of LOST's Michael Emerson. And like Ben, the bug-eyed baddie Emerson portrays, Lionel is a character I've been longing to see redeemed in the end. Since I don't see how that can happen with Lex, I've transferred my hopes onto Lionel. It takes a while for him to become a part of the season, but once he does, his participation is crucial.

We've also got Lana (Kristin Kreuk), who just won't go away no matter how many times it seems like she may be off the show for good. Since I never hopped aboard the Clark and Lana ship, and since I know he's going to end up with Lois anyway, I'm not sure I appreciated Clark and Lana's cohabitation in this season as much as I could have. I mean, poor Clark has wanted this for years, and now he finally has a shot at domestic bliss with his one true love, a woman who now knows most of his deep dark secrets. But her tenure as a Luthor girl did nothing to improve the toxic aspects of her personality; despite the sweet exterior, some of her actions this season are downright diabolical, and it isn't long before distrust and deceit starts to settle in at the Kent Farm.

Though he stoops to some very dark deeds this season, at times, Lex still manages to come across as a decent human being, particularly in his associations with the newest member of the principal cast, a blonde beauty named Kara (Laura Vandervoort) who happens to be Clark's biological cousin. Yes, it just so happens that Kal-El was not the only Kryptonian to escape to Earth, but Kara was stuck in suspended animation for a couple decades longer. Her first act upon awakening in this strange new world involves rescuing Lex from a watery death in a precise parallel of what Clark did in the show's very first episode. Lex sees her first as an angel of mercy, later as the key to solving the mystery that has plagued him for so many years. Kara carries herself with an air of innocence and youthful rebellion. Though she remembers the infant Kal-El, Clark is now older than her, and since she's on his home turf, he has to show her the ropes. Unlike Clark, she doesn't feel the desire to keep her powers secret; convincing her to lay low is one of his most trying tasks throughout the season. Meanwhile, he struggles with revelations about an old family feud that cast Kara in a questionable light and suffers the indignity of knowing this newcomer might be a novice in the ways of Earth but is fully equipped to take to the skies. On the whole, I found Kara a refreshing addition, injecting an extra dose of youthful fun into the season and allowing Clark a different sort of significant relationship in his life while opening a window to a deeper understanding of his biological mother.

Because I've always loved Jimmy Olsen and because Ashmore captures the character's sweetness and goofiness perfectly, Smallville has finally sold me on a Chloe romantic relationship with someone other than Clark that I can root for, particularly since Chloe's status as Clark's most cherished and indispensable friend is assured at this point. Chloe and Jimmy share some of the most tender moments of the season, as well as some of the funniest. Granted, their courtship has its ups and downs, particularly since Chloe is afraid to reveal to him that she has been endowed with a miraculous gift with potentially fatal side effects, and Kara's immediate (and rather inexplicable) infatuation with him complicates matters somewhat. But I'd much rather watch these two characters I genuinely love and can sympathize with equally work together through the trials that come their way than cringe over the twisted couplings that surround them. I'm starting to think theirs may turn out to be Smallville's grandest love story. It's fun to throw Lois into the mix too, especially when she and Jimmy end up working together, since their personalities contrast so magnificently. While romantic sparks never fly between them, it's sweet to watch them develop a deeper sense of respect and affection for one another. Meanwhile, Lois's luck in love seems to change this season when the hunky new boss Grant Gabriel (Michael Cassidy) takes a liking to her.

Some old faces resurface this season, including the silky artificial intelligence known as Milton Fine (James Marsters); filthy rich, gadget-heavy vigilante Oliver Queen (Justin Hartley), who secures a surprising assistant in his quest to rid the world of injustice; and, much to my excitement, the long-neglected Pete Ross (Sam Jones III), who vanished without a trace back in the third season. Don't get too excited; he's not in it for the long haul. But just getting a brief visit with this terrific character, the Ron Weasley of Smallville, is a true gift to long-time fans of the series. Other significant characters, such as Jonathan Kent and Dr. Virgil Swann, are referenced but not seen, while one sinister character maddeningly assumes Clark's identity, which naturally leads to complications, mostly with his relationship to Lana. Of course, every season includes at least one instance of Clark being "not himself," either because he's under the influence of some nefarious substance or because someone else has assumed his form, but this is one of the more effective uses of that device. On a related note, two otherwise ordinary people in Clark's life suddenly develop unusual abilities, which leads to comical situations but ultimately causes insecurity all around.

Most of the season's best episodes shine a light on past events. Lara and Blue both help Kal-El's mother to emerge from the shadows of memory as a vibrant, loving woman, while Fracture offers a fascinating peek into Lex's labyrinthian mind, giving us a compelling reason to consider him redeemable despite all evidence to the contrary. This little-seen side of Lex emerges again in the chilling Descent. I also enjoyed the It's a Wonderful Life-like Apocalypse, in which Clark has a chance to see what the world would be like if he'd never made it to Earth. Throughout the season, surprising connections among characters come to light, and the trustworthiness of various characters remains unclear. It's a season that keeps us guessing, and having a whole lot of fun along the way. It's a shame that, due to the writers' strike, there are fewer episodes than usual, but even so, season seven is top-notch.

A More Adult Clark Makes New Friends and Enemies in Smallville's Sixth Season

Three years ago, my brother Nathan got me hooked on Smallville, the CW show that re-imagines the adolescence and young adulthood of all-American superhero Clark Kent. Within one year, we'd watched the first five seasons, but we only just finished season six now, which leaves us two seasons behind and despairing of ever catching up before the series concludes. Whether or not we manage it, we'll certainly be sticking it out to the end on DVD.

Every season of Smallville finds Clark and company with different preoccupations. This time around, Clark (Tom Welling) has a doozy of a problem on his hands when he accidentally releases several of the most heinous criminals in the universe from the Phantom Zone where he was trapped by Zod, the evil entity whose possession of Lex Luthor (Michael Rosenbaum) set up the season five cliff-hanger. Rounding up the rogue Zoners becomes his top priority, though he also has his eye on Lex, who is secretly experimenting on meteor freaks while getting uncomfortably cozy with Lana Lang (Kristin Kreuk), who, much as he hates to admit it, is still the girl of Clark's dreams.

For the most part, Lex's devotion to Lana seems to be the only thing keeping him from fully succumbing to his devilish destiny, though there are still flickers of decency that come across elsewhere, particularly in a powerful late-season moment with Clark. Their interaction is limited, however, and generally bristling with animosity. It's clear that Lex hasn't far to go to become Clark's nemesis, just one indication that the series must be nearing its end. I get the sense that if Lana had embraced Lex's advances a season or two earlier, it might have been enough to curtail his villainy; by this point, he's just in too deep.

Another indication that the series is moving into its endgame is the relocation of much of the action to Metropolis and the addition of both the Justice League and bumbling photographer Jimmy Olsen (Aaron Ashmore). As a long-time fan of Jimmy, I was tickled to see him join the cast of characters, though I had mixed feelings about the manner in which he was introduced as an old flame of Chloe Sullivan (Allison Mack), since he turned up just when it was beginning to look like Clark might actually return Chloe's long-unrequited affections. Since we know that Clark has to end up with Lois Lane (Erica Durance), though, I guess there's not much point in throwing him and Chloe together now and risking the strength of their friendship. In that light, adorable Jimmy is most welcome as a sincere suitor and a consistent source of comic relief.

The season drops occasional hints at the future Lois and Clark romance, especially in Crimson, the Valentine's Day episode in which Lois applies some aphrodisiac lipstick with disastrous (but largely hilarious) results. But Clark is still mooning over Lana throughout the season, while Lois spends half the season getting acquainted with charming billionaire Oliver Queen (Justin Hartley), a prep school rival of Lex who turns out to have as many secrets up his sleeves as Clark does. Their sassy repartee reveals a couple well suited to each other, but like most of the romances on this show, their blossoming love is threatened by the things they conceal from each other.

Even Martha Kent (Annette O'Toole) has a romantic prospect on the horizon, though in this first full season since the death of the Kent patriarch, her grief is too fresh for her to consider anything beyond friendship with the ever-enigmatic Lionel Luthor (John Glover). He is a powerful ally for her as she strives to serve honorably in the senatorial seat Jonathan won at such high personal cost. At this stage of the game, Lionel may be the most fascinating character for me simply because he's such a wild card. Chloe is the only other major player without an established destiny in Superman mythology, but it's a pretty safe bet that Clark's best friend isn't suddenly going to turn evil. Lionel, on the other hand, started out pretty rotten, and some of his actions in this season still seem reprehensible. But he also appears to be fighting for the side of good at times, and if nothing else, his affection for Martha is genuine. While his redemption would be ironic in the face of Lex's ultimate villainy, it would lessen the sting of that terrible transformation. Like Michael Emerson, who portrays the inscrutable Ben Linus on LOST, Glover constantly keeps us guessing with his complex performance.

In some ways, this is a very dark season. Lex's plans grow more and more grandiose and grotesque, and we learn in a flashback of a disturbing chapter in his youth. The Zoners wreak major havoc on some unsuspecting humans - not to mention the fact that there are still troublesome meteor freaks to contend with. The hustle and bustle of urban Metropolis can't match the comfort of bucolic Smallville, and an intrusive, oppressive score often ensures a skin-crawling sensation, especially in any scene involving Lex. On the other hand, new situations and characters inject freshness into the series. Many of the scenes with Lois and Oliver and Jimmy and Chloe are just plain fun, and it's a kick to see how the writers find ways of paying homage to these characters' forebears. Noir, an episode late in the season in which Jimmy dreams his way into a film noir version of his life, plays like a love letter to The Adventures of Superman. Clark has his own alternate experience with reality in Labyrinth, a much less aesthetically pleasing episode that finds him cooped up in a mental institution; reminiscent of LOST's Dave, in which an old friend of Hurley's turns up to inform him that the Island is all in his head, it allows us to see these familiar characters from an unusual perspective.

While I started getting tired of Lana's drama queen ways back in season two and always faulted Clark just a bit for overlooking the intrepid Chloe in favor of whispery, whiny Lana, giving her such intimate access to Lex puts her in an interesting position this year. Though she shows an alarming capacity for duplicity and vice, she also reveals the depth of her feelings for Clark, taking the character in refreshingly tender directions as she comes closer to figuring out just what he's been hiding all these years. Having Lois follow in Chloe's footsteps by writing for a tabloid is a fun way of bringing her closer to her journalistic future, and Chloe's bond with Clark is as solid as it's ever been, with one late-season development giving her role as his most reliable wingman even more creative possibilities.

Smallville grows more complex every season, sacrificing some of the innocence of previous seasons but creating a more intriguing web of plots and characters so that each episode is an important piece of the puzzle rather than being just a showcase for the meteor freak of the week. Will Clark ever don the famous suit and take to the skies? I can't wait to find out!

Smallville Enthusiast Takes the Plunge Into Veronica Mars

I have a friend who's been trying to get me to watch Veronica Mars for more than a year. It's not that I objected to the idea, but I was a tad wary of the possibility of adding yet another show to my list of obsessions, and anyway I figured it would be more fun to watch the show with him. I finally got my chance last month when he cane back to town for an extended stay. By this time, he'd hooked his sister, and the three of us sat down to watch the show together. I was entertained but not enraptured, and my lack of outward enthusiasm led them to suspect they were forcing the show on me; I was hooked enough, however, that I objected and insisted I really did want to see the rest of the season. Last week, I finished it. Do I have another obsession to deal with? Nah. But I would like to watch the last two seasons...

Until the merger, Veronica Mars aired on UPN, which I tend to think of as the WB's older brother. So when I sat down to watch this show, I couldn't help but compare it with Smallville, which is similar in many ways but rather less edgy. Veronica (Kristen Bell) reminds me a great deal of Chloe, the dangerously inquisitive high school journalist who manages to crack most of the mysteries in her little town, with plenty of help from a long list of contacts. Like Chloe, she's gutsy and snarky; she lives alone with her father after her train wreck of a mother takes off; there are certain mysteries she's especially obsessed with solving... She even looks like Chloe with her shoulder-length blond hair. Moreover, she pals around with good-natured, indispensable Wallace Fennel (Percy Daggs III), who's practically a dead ringer for Pete Ross, right down to my suspicion that he has an unrequited crush on Veronica. Toss in the Luthor-like dynamic between smart-alecky rich kid Logan Echolls (Jason Dohring) and his movie star father Aaron (Harry Hamlin) and this show is only a few cornfields and super-powered teenagers short of a small town in Kansas.

In the pilot episode, we're introduced to the three major mysteries that will preoccupy our heroine throughout the season. 1) Where is her mom? 2) What happened the night of the party that ended with her waking up half-clothed in a strange bed? 3) Who really murdered her best friend Lilly Kane (Amanda Seyfried)? She pursues the first two questions quietly and occasionally, focusing most of her attention on the third, because of which a man's life hangs in the balance, to say nothing of her father's reputation. Keith Mars (Enrico Colatoni) used to be the sheriff of Neptune, California, but when he went after Lilly's influential parents following her death, he was forced out of office. Now he runs a private practice with his sleuthing daughter, with whom he enjoys a chummy relationship. While he tries to keep her from getting in too far over her head, he recognizes that Veronica is a very clever and determined young lady, so he generally gives her a pretty loose rein.

Wallace, a newcomer to Neptune who meets Veronica when she rescues him from humiliation on his first day of school, is subsequently willing to put himself on the line for her, and there are many scenes of them enjoying lunch together in the sun-drenched cafeteria outside the school, plotting another covert activity. Oddly enough, another of Veronica's good buddies is Eli "Weevil" Navarro (Francis Capra), the gang leader who antagonized Wallace. Weevil's a tough guy, but deep down he's a softie, and he too owes Veronica after she clears his name when he is wrongfully sent to prison, so he often lends a hand when Veronica needs it. Also firmly in her camp, though not seen quite as often, is Cindy "Mac" Mackenzie (Tina Majorino), an off-beat computer whiz who evidently plays a larger role in later seasons.

And what would a teen drama be without a little romance? Although prior to the beginning of the show, Veronica only had one boyfriend - Lilly's brother Duncan (Teddy Dunn), who dumped her without explanation shortly before his sister's death - she manages to have three major romantic relationships in her junior year of high school. The first and shortest-lived of these is with Troy Vandegraff (Aaron Ashmore), a friend of Duncan's who seems like a great guy but appears to be hiding something. Later, she falls for Leo D'Amato (Max Greenfield), a sweetheart of a cop who provides a refreshing contrast to the corrupt Sheriff Lamb (Michael Muhney), but that relationship is compromised with the advent of ardent affections from a surprising source.

The cast is solid, with the notable exception of Dunn, who wanders lifelessly through nearly every scene. Keith is probably my favorite character, a doting father with a fantastic sense of humor, childlike enthusiasm and an unconventional way of getting his job done. Wallace and Leo are instantly lovable, while Weevil and Logan are sweet underneath a carefully constructed exterior. The latter is an especially fun character, always ready with a smirk and a biting remark, and has further to go than Weevil when it comes to being a decent guy, but he steps up to the challenge impressively a couple of times. Mac is an intelligent outsider who has much more in common with Veronica than Lilly ever did; Veronica herself is nearly always likable, with a strong sense of morality and loyalty to her friends and parents, though she sometimes stoops to dubious methods to extract information. Among the more minor players, I'm especially fond of cynical lawyer Cliff McCormack (Daran Norris), who often assists Veronica in her endeavors, and perpetually exasperated principal Van Clemmons (Duane Daniels), who skulks about the school with a hangdog expression, wanting the best for his students but annoyed by Veronica's ability to outsmart him.

Joel Silver and Rob Thomas are the show's producers, with the latter having a hand in writing all the episodes. It's well written, though the dialogue veers much closer to R-rated territory than Smallville does. Like LOST, it makes frequent use of flashbacks, but these are filmed in a fuzzy, jarring way, and we never stay immersed in them very long. Otherwise, the cinematography is pleasing enough, and while most of the music used on the show is a little loud for my tastes, it fits the tone well. One of my favorite aspects of the show is the episode titles, nearly all of which are a pop culture reference, from Star Trek to Leave it to Beaver.

Like the first season of Smallville, which features a succession of new Kryptonite-infected terrors to defeat, the first season of Veronica Mars is full of individual mysteries, but the season-long arc is well-defined enough that watching individual episodes out of order is likely to be confusing, and most of the questions are tied up nicely enough by the end that this season could stand alone. That it doesn't need to should be a comfort to fans who are mourning its spot on the CW's fall lineup, and I'm looking forward to watching the rest of the series. There might not be any meteors to contend with, but Mars is out of this world!