Eustace Joins His Cousins for High Seas Adventure in Voyage of the Dawn Treader

Back in 2005, Walden Media released The Chronicles of Narnia: The Lion, The Witch and the Wardrobe, the first in a series of adaptations of C. S. Lewis’s classic seven-book fantasy series. Last year saw the release of the third installment, The Voyage of the Dawn Treader, which takes place roughly 1300 years Narnia time after the first installment and just a few short years after the second.

Lucy Pevensie (Georgie Henley), who was the first of her siblings to discover the magical world of Narnia and whose connection remains the strongest, returns with her brother Edmund (Skandar Keynes), this time via a painting instead of a wardrobe. The painting of a magnificent ship on the high seas hangs on the wall in the bedroom of their younger cousin Eustace Clarence Scrubb (Will Poulter), an insufferable prat who finds his cousins’ tales of Narnia tedious. While Lucy and Edmund are overjoyed to be whisked away to Narnia and revel in the reunion with several old friends, particularly the youthful King Caspian (Ben Barnes) and the valiant mouse Reepicheep (Simon Pegg), Eustace, swept up along with them, feels he has wandered into a nightmare from which he simply cannot awaken.

Michael Apted, new to the Narnia helm, directs this film, which has a rather episodic feel to it. While I’ve read Dawn Treader a couple of times, it’s been nearly a decade since the last time, and I decided to keep my memory fuzzy in order to avoid purist irritation as much as possible. The movie certainly does deviate from the book in several significant ways, but since there were several parts I didn’t remember too clearly, I wasn’t that focused on what was changed.

The movie does put added emphasis on Lucy’s awakening adolescence – mostly, it seems, for the purpose of incorporating Anna Popplewell as her older sister Susan. The film also adds a young stowaway who looks up to Lucy. There’s a decent message in there about being your own person and not living in the shadow of an older sibling; Edmund mirrors Lucy’s struggles to a lesser degree with Peter (William Moseley), who, like Susan, is not involved in the adventure but appears in a dream sequence.

Another prominent addition is a creepy green mist that follows Caspian and his crew everywhere. It reminds me of the Nothing in The Never-Ending Story, an evil force that sucks the life and joy out of everything it touches, but its effects are specific to each person, presenting dark temptations to otherwise virtuous characters. Its presence adds a prevalent sense of danger and, along with the search for the seven swords of the seven lords who sailed away from Narnia years earlier, serves as a glue holding the separate adventures together, but I’m not entirely sold on it.

What’s especially disappointing about the movie is how little involvement Aslan (Liam Neeson) has. Granted, the great lion always spends a majority of each novel out of sight, but his presence, or at least his absence, is always deeply felt. Here, one almost forgets about him for long stretches of time. When he appears, he makes an impression, but he does so very seldom, and a particularly powerful scene from the book gets such short shrift that you might almost blink and miss it in the midst of the epic sea battle with which the event alternates. While I was pleased with Aslan’s final appearance in the film and how much of his dialogue from the end of the book remained intact, I did not like how that crucial earlier scene played out.

The scene involves Eustace, who, despite all the movie’s special effects and rollicking adventure, is really the best thing the movie has going for it. Poulter is deliciously irritating as this stiff, disagreeable child who has petulance down to a fine art. Yet in the midst of his obnoxious behavior, one also can’t help feeling sorry for him. Practical Eustace, an intelligent young man with a mind for science, can’t wrap his head around the wonders before him. But does anybody bother to bring him up to speed? Not really. They make gentle jabs at his confusion and cowardice instead of taking the time to help him make the transition. Even Lucy, who I adore for her compassionate spirit, does little to put him at ease. He’s a sheltered, wimpy boy who’s been thrust into a world that doesn’t make sense full of people and creatures who don’t much like him. In the movie, he feels more like a vulnerable victim, and his lashing out feels more understandable.

One of my favorite elements of the movie is the use of Eustace’s diary as both narrative device and character exploration. We really get into his head here through his funny, eloquent journal entries, which Poulter reads with such fervor in voiceovers. I also loved the slow development of his relationship with Reepicheep, a character who is at once noble and comical. Eustace despises the sword-wielding rodent from the first, but the persistent Reepicheep gradually earns his respect and even friendship. Pegg brings the perfect balance of humor and depth to the voice work, and the mouse is well animated so that he seems very realistic.

The only trouble is that while Eustace’s transformation is as central to the film as to the book, in the movie it seems to come about mostly as a result of Reepicheep’s mentorship rather than Aslan. For the third time, the most compelling relationship in the movie is with one of the children and an unusual Narnian being – not with the lion who is central to the series and the only character to appear in all seven novels. First Tumnus, then Trumpkin and now Reepicheep steal the show. Moreover, while he does display annoying behavior, Eustace’s journey seems to be less one of letting go of self-centeredness and more one of embracing self-confidence. It changes the dynamic of his character and, again, lessens the emphasis on Aslan’s transformative power.

As with the previous installments, those who have read the books will find plenty to grumble about but also a lot to celebrate. While I don’t agree with all of the decisions made by Apted and screenwriters Christopher Markus, Stephen McFeely and Michael Petroni, I still found it an engaging adventure and was encouraged by the fact that the final moments foreshadow not one but two sequels. That those sequels will be made is not set in stone, but if the opportunity arises to visit Narnia on the big screen once again, you can bet I’ll be on board for the voyage.

Lars and the Real Girl Leads a Stellar Pack in 2007

The year 2007 was a very significant one for me in terms of pop culture, though not so much because of movies. It was in 2007 that I finally was able to start watching LOST in prime time, and even more notably, it was in 2007 that the final installment of the Harry Potter series - which I can honestly say was the most highly anticipated book of my life - hit bookshelves. Nonetheless, 2007 also marked the year-long return of my friend Dan, an aspiring screenwriter, and he saw to it that I would be more prepared for the Oscars in 2008 than I ever had been before. It was also the year my friend Beth send me a trial subscription to Netflix and got me hooked. Consequently, I have, to date, seen more than 40 movies that were released in 2007. It was a good year for movies. These were my ten favorites.

Music and Lyrics - This one came out on Valentine's Day, and my friend Libbie and I had planned to see it opening day, then head home in time for a joint viewing of LOST, which turned out to be one of the most romantic episodes in the show's history. But a blizzard kept us from doing either, so on the 15th we headed out to see whether this Hugh Grant / Drew Barrymore flick would be as endearing as the commercials suggested. We ended up liking it even better than we'd hoped. It was sweet, funny and romantic. It inspired the aspiring songwriter within me. And Libbie and I still randomly burst into Pop! Goes My Heart sometimes; that cheesy mock-'80s video that starts the film is worth the rental price all by itself.

Bridge to Terabithia - I'd been looking forward to this one for a while, as the book had been a favorite ever since I first read it at the age of ten or so. My cousin and I were so inspired by it that we spent several family get-togethers plotting a theatrical adaptation of it, a project that eventually fell apart when we realized we couldn't really do it justice with only two actors. Thankfully, Walden Media had plenty of actors at its disposal, and all performed admirably. I was a little worried about how faithful this would be to the book, since the previews made it look more like a fantasy epic, but ultimately I was very impressed with the results.

Spider-Man 3 - I saw three "part three" movies in the month of May, all on opening night, as I'd decided that it was my duty as a movie reviewer to see as many blockbusters as I could, as early as possible. Pirates of the Caribbean was fun but convoluted, while Shrek the Third was mostly disappointing, but I found I really liked Spider-Man 3. I think it helped that I was pretty much unfamiliar with the comics; I understand Sam Raimi played fast and loose with canon here. In any case, I got caught up in the humor and adrenaline of the movie, and the enthusiastic audience helped make it one of my most enjoyable opening-night experiences.

Harry Potter and the Order of the Phoenix - The fifth movie was, of course, just an appetizer before the long-awaited meal of the seventh book. Nonetheless, I was excited about it, in part because it was the first film in the franchise I actually managed to see in the theater. While I wish the running time hadn't been quite so slim, I loved the creative use of montages and newspaper headlines to convey a lot of information at once, often in a humorous manner. And the introduction of Luna, possibly my favorite female character in the series, was fantastic.

Hot Fuzz - When I saw a preview for this one, I suspected it would be my kind of movie, at least mostly; I'm not big on violence, but it looked like this murder mystery would keep most of the mayhem off-screen. It was my brother, who'd never heard of the movie before, who wound up seeing it first; he liked it so much he bought it as soon as it came out on DVD, and I watched it with him and spent half the movie doubled over with laughter. Simon Pegg is hilarious as the uptight cop sent to Nowheresville, England because the rest of the London force is getting tired of him one-upping them. But it was Nick Frost who really won me over as his dim-witted, gold-hearted deputy. Definitely a winning team.

Enchanted - The return of the Disney movie musical! This felt like a throwback to the likes of Mary Poppins and Pete's Dragon, not to mention the fully animated princess tales it so joyfully spoofs. Amy Adams is radiant as the naive, sugary-sweet princess yanked from her animated world into the mean streets of New York. The movie really hinges on her performance, as well as the wonderful songs that simultaneously honor and parody Disney classics like Be Our Guest and Whistle While You Work.

Ratatouille - Somehow, I never managed to catch this one in theaters, which surprised me given my great love for Pixar. But my brother Nathan received it for Christmas, so I ended up ringing in the New Year with a rat named Remy. This is a more adult-oriented film than most Pixar flicks; with all the references to fine cuisine and French culture, I wouldn't be surprised if some kids tuned out before the movie was over. Nonetheless, the animation is beautiful, the story is inspiring, and the expertly written and delivered dialogue of Anton Ego is as delicious as the dish he so lovingly describes.

No Country for Old Men - If you'd given me a primer on this movie before it came out and asked me whether I thought I would like it, I'm sure my answer would have been no. I don't know how it is that I failed to have any idea what it was about before I saw it, but when my dad and brother whisked me off to watch it with them, I only knew it had gotten Oscar buzz. I soon discovered why. Yes, it's horribly violent. One of the most violent movies I've ever seen. Yet it's also extremely funny, and brimming with humanity, in large part due to the reflective sheriff so perfectly portrayed by Tommy Lee Jones. I was rooting for this one to get the Best Picture Oscar and was most gratified when it succeeded.

Juno - I didn't see this until my birthday, which is nearly halfway through February; it was one of the last notches on my Oscar readiness belt. Easily the most uplifting of the five Best Picture nominees, this tale of a plucky teen negotiating unexpected pregnancy resulting from a single fling with her endearingly awkward best friend won me over quickly. I loved the clever dialogue, the compassionate relationships, the quirky soundtrack. A cheerful gem of a film.

Lars and the Real Girl - I've listed the rest of my top 10 in the order in which I saw them, but I'm stepping out of order for this one, which I never would have seen if Dan hadn't dragged Libbie and me to the theater with him. I'd read a blurb in Entertainment Weekly, but it left me with the impression that this was some sort of raunchy futuristic comedy, and I wasn't exactly reeled in. So imagine my surprise when I found myself unable to stop smiling practically from the moment the movie started! This gentle, Capra-esque film about a socially inept, emotionally damaged young man who learns to interact with the world with some help from a life-size doll and an understanding community is one of the funniest, most tender films I've ever watched. While it's hard to begrudge Diablo Cody's win with Juno, I really would have loved to see this one take home top honors for its unique, life-affirming screenplay.

A good year for movies, to be sure. I recommend them all. But most of all, I recommend Lars and the Real Girl, which didn't get nearly enough attention. For me, it was the sweetest movie surprise of the year.

Beam Aboard the Starship Enterprise With Zachary Quinto and Company

This weekend, two of my all-time favorite televisions shows are united on the big screen. LOST creator J. J. Abrams helmed the 2009 theatrical reboot of Star Trek, perhaps my most anticipated film of the year, bringing with him fellow LOST head honchos Damon Lindelof and Bryan Burk, along with composer Michael Giacchino and Greg Grunberg, whose part in the film, while even tinier than his brief turn as the doomed pilot of Oceanic 815, is certainly memorable, though you'll probably have to consult the credits to figure out who he is. I watched Star Trek regularly with my family when I was growing up, and Spock was one of the first fictional characters I came to adore whole-heartedly. No matter who was involved in this movie, I would have been standing in line on opening night, but the LOST connections sweetened the deal.

From the time I first heard about this new Star Trek, I was pleased by all the attention being lavished upon Spock but slightly nervous about the casting, since Zachary Quinto also plays Sylar, who sadistically sliced open many an unsuspecting head on Heroes before I gave up on the series. I imagine the reason for Quinto getting so much of the spotlight is two-fold: in full regalia (including, of course, the pointy ears), he bears an extraordinary resemblance to the original Spock, and the logical half-Vulcan - the only holdover from the show's first pilot - really is the glue that holds Star Trek together. The more I saw of Quinto's Spock in magazines and late-night interviews, the more I embraced him as Leonard Nimoy's successor, so that by the time my latest issue of Entertainment Weekly arrived with a cover bearing a crystal-clear headshot of New Spock, I could gaze at it enthralled and not be remotely reminded of the hated Heroes villain.

Still, looking the part and acting it are two different things, so I reserved total acceptance until the movie, in which Spock is every bit as central a character as I'd hoped. Quinto's Spock has slightly less control over his emotions than Nimoy's; for the most part, he is the same calmly detached officer, a cool voice of reason rising above the flaring tempers among his crewmates. But there is conflict within him, and never are his human emotions so strongly roused as in matters concerning his mother. The tender relationship the film presents feels like one of many throwbacks to Star Trek IV: The Voyage Home. Spock, it transpires, is a bit of a mama's boy, but that doesn't stop him from being one of the most brilliant minds Starfleet has ever known.

Quinto conveys each subtle inflection of his genius masterfully while keeping us aware that Spock's feelings are submerged rather than nonexistent. Speaking in a gentle but authoritative tone, he is polite and precise and, when the occasion calls for it, droll. And thankfully, writers Roberto Orci and Alex Kurtzman give him plenty of compelling material, not to mention opportunities to whip out many Spock trademarks, including the Vulcan salute, nerve pinch and mind meld and the acknowledgement that something is "fascinating".

Spock also lifts quotes from specific moments in the series and subsequent movies, my favorite of which is the touching "I have been, and always shall be, your friend." This line is uttered not by Quinto but by Nimoy, whose appearance midway through the film is the audacious anchor upon which the plot rests, allowing Abrams wide creative license as he proceeds with the series. The movie is loaded with references meant to appease long-time fans, but Star Trek II: The Wrath of Khan offers especially integral inspiration for the plot, from the revenge-driven crusade of tattooed Romulan Nero (Eric Bana) to the unpleasant interrogation method he uses. The nod that excited me the most involves a cocky young James Kirk (Chris Pine) taking a casual bite out of an apple as he takes the Academy's no-win scenario test for the third time.

The movie is hardly a collection of catch-phrases, but each of the major seven characters gets some time in the limelight, and there were cheers in my showing each time the officers uttered a familiar command or exclamation. Keep an ear out for Kirk saying, "Beam me up"; communications officer Uhura (Zoe Saldana) opening hailing frequencies; helmsman Sulu (John Cho) putting the ship into warp speed; ensign Chekov (Anton Yelchin) talking about "wessels" and "Wulcans"; engineer Scotty (Simon Pegg) bellowing, "I'm givin' it all she's got!" and Dr. McCoy (Karl Urban) snapping, "I'm a doctor, not a physicist!" Keep an eye out, meanwhile, for a man of little consequence dressed all in red and a surprising song credit rewarding longtime fans who stick around after the movie is over. Even with my eyes peeled, I missed the cameo of late Last Lecture author Randy Pausch, an avowed Trekker, early in the film; I'm sure that the next time I watch it, I'll catch plenty of other Easter eggs too.

Fans should be pleased with all of these opportunities to prove their prowess, and newcomers aren't likely to be distracted by them. While they miss the fun of the in-jokes, they have the advantage of not constantly comparing new with old and wondering whether these incarnations are betrayals. I have little issue with the acting in terms of these characterizations. More eyebrow-raising are some of the details written into these characters' histories and personalities. The aforementioned critical plot point explains some of the discrepancies, but there's also an extent to which these characters are being reinvented.

This is most evident in the cases of Uhura, Sulu and Chekov, whose personalities were always less developed than the other four. Saldana, who I first saw as an unabashed Trekker in The Terminal, makes sweet Uhura quite a bit feistier, especially in run-ins with Kirk. I appreciate the emphasis on her smarts but found it annoying that demure Uhura evidently wasn't good enough the 21st century. However, I like her much better once she gets on the ship, at which point another surprising aspect of her character emerges. It gels more with the tender, compassionate woman Nichelle Nichols played, and mostly I'm okay with it, though it strikes me as a controversial direction to take. Cho lacks the vocal gravitas to have me entirely convinced that he's Sulu; of the main seven, he's the only one whose casting I question. His role is mostly light, and while he does contribute in important ways on a couple of occasions (I especially like the way his established fondness for fencing is integrated), he seems a little greener to me than he should. Chekov, meanwhile, doesn't seem green enough. In the original series, I tended to think of him as capable but ultimately little more than comical eye candy. This time around, he's a Wesley Crusher-esque wunderkind, just as funny and adorable as always but considerably more indispensable. Of the three second-tier characters, he is my favorite, both then and now.

I had doubts about Karl Urban as the irascible Bones, since I previously knew him as Eomer, who I found just about the most boring character in Lord of the Rings. Then again, he didn't make much of an impression on me in the book, either, so I wasn't sure if that was really the actor's fault. Bones gets almost as much screen time as Kirk does, particularly toward the beginning, and thankfully, my worries were unfounded; he absolutely nails the good doctor's drawl and good-natured crankiness and gets many of the movie's biggest laughs. Particularly funny, especially considering classic Kirk's unending aversion to Sickbay, is the sequence in which he chases Jim around the ship, attempting to administer a series of unwanted treatments. It feels most appropriate that the film establishes the two as firm friends long before they serve together on the Enterprise.

Hot-headed, libidinous Jim Kirk was always my least favorite of the Enterprise Seven. He may have been brave and heroic, but his lack of respect for authority and his arrogance always got on my nerves. Unsurprisingly, the early-twenties version is even more obnoxious. Like everyone else besides Quinto, Pine bears no especially striking physical resemblance to his predecessor, but he captures his mannerisms well. I also have to offer kudos to the writers and young actors alike on the scenes depicting Kirk and Spock in childhood. Rabble-rousing Kirk's (Jimmy Bennett) is hilarious, exhilarating and the first of several action sequences that seem inspired more by Star Wars than Star Trek. Contemplative Spock's (Jacob Kogan) stands in stark contrast, though it also demonstrates the half-Vulcan's struggle to come to terms with his opposing natures, exemplified by an amusing exchange with some older students causing my brother to exclaim, "Spock's bullies would get beat up by the bullies on any other planet in the universe!" Instrumental to Kirk's development this time around is Captain Christopher Pike (Bruce Greenwood), whose stern but kind mentorly role I love. Greenwood seems a little on the old side to be playing this captain who was in command in the show's original pilot, but the relationship feels believable.

That just leaves Pegg's Scotty, who takes so long to turn up I started to half-wonder if we were going to see him at all. Our introduction to him is a comical highlight, and he continues to steal the screen whenever he pipes up, usually with a cheerful assertion of some sort. I would speculate that of the seven, Pegg had the most fun; the Scottish engineer seems positively giddy throughout most of his all-too-brief appearances. I also like his interaction with one of the movie's few non-humanoid aliens. Few fans would argue with the statement that in the battle of Star Trek versus Star Wars, the latter has the coolest aliens. Abrams and his team seem determined to amend that, or at least remain open to the idea of a more diverse Federation. My favorite example of this is the disgruntled creature who finds himself lodged between Kirk and Uhura in the disastrous bar scene reminiscent of Top Gun in which he meets and puts the moves on her.

Giacchino's stirring score blends neatly with the action most of the time, with some of the more emotional moments containing hints of music we've heard on LOST. The special effects are impeccable, aside from a few moments that seem to be overdoing it just a little. I'm not too used to Jedi-style sword fights and escape from enormous hostile creatures on this series. Those new to the franchise at least aren't likely to complain that the movie lacks action. The movie offers something to love for viewers at any point along the previous Star Trek experience spectrum; as for me, I'm already looking forward to the sequel.

Hot Fuzz Gives Me the Warm Fuzzies

Earlier this year, I saw a preview for a British comedy that looked like it would be hilarious if only I could get past the violence, but it was my brother, who'd never heard of it before, who got to it first. As soon as he saw it, Nathan declared Hot Fuzz one of the funniest movies he'd ever seen. So funny that as soon as the DVD hit shelves, he bought it; last night I watched it with him, and my expectations were gloriously met.

As someone who strictly avoids horror movies, I never saw Shaun of the Dead, this film's predecessor, but if it's along the same lines - and Nathan assures me it is - I think I'd better check it out. Hot Fuzz is primarily a spoof of action movies, specifically those involving cops, though I detect a strong homage to Lord of the Rings as well, unless that's just my personal bias showing, though the discovery of the cameo of Peter Jackson as a man dressed as Santa Claus seems to strengthen my case.

Nicholas Angel (Simon Pegg) is a dour, excessively law-abiding copper in London who has gotten so good at his job that his superiors decide to send him away lest he make the rest of them look bad. This means going all the way to Sandford, a tiny town in the country where not much of anything ever seems to happen. It's won the award for best village for years, and Nick's new boss, the eccentrically jovial Frank Butterman (Jim Broadbent), assures him it's quite the safest place in England. That's not such good news for the talented, disciplined officer, who seems as though he'll go stir-crazy if he doesn't find something more interesting to do than chase after rogue swans.

It doesn't help that Frank pairs him up with his son, good-natured, dim-witted Danny (Nick Frost). Danny has more questions for his new partner than a child on the first day of kindergarten, mostly eager inquiries into the more exciting aspects of Nick's job in London. The nonstop chatter would almost be enough to drive the taciturn newbie crazy, except that, much like lovable tow truck Mater in Cars, Danny seems to be the only one of his new colleagues who doesn't despise him, and when mysterious deaths begin to arouse Nick's suspicions, it is Danny who stands by him and tries to crack the case despite the insistence of most of the townspeople that a double decapitation, an explosion, a death by church roof and an impalement with shears over the course of one week are all merely unfortunate accidents.

The tiny town is littered with colorful characters, including the obnoxious Andys (Paddy Considine and Rafe Spall), fellow cops who antagonize Nick as much as possible; the sinister Simon Skinner (Timothy Dalton), who owns an independent grocery store; Tom Weaver (Edward Woodward), who's a bit overzealous when it comes to his disdain for the living statue (Graham Low) who regularly offers his bizarre performances to passersby; unintelligible Arthur Webley (David Bradley), who is strangely fond of clipping others' hedges and collecting volatile weapons; pesky journalist Tim Messenger (Adam Buxton), who's always eager to put the worst possible spin on every situation; Martin Blower (David Threlfall), a careless driver, unfaithful husband and slaughterer of Shakespeare; Lurch-like lug Michael Armstrong (Rory McCann) and many others.

While the secondary characters are delightful - and Broadbent, always a treat to watch, is especially entertaining here thanks to his bizarre delivery and jolly demeanor - what really drives this movie is the dynamic between straight-laced, severe yet pitiable Nick, whose closest relationship upon arriving at Sandford is with his cherished Japanese peace lily, and wide-eyed, dopey-grinned, fun-loving Danny, who is brimming over with childlike innocence and enthusiasm. Pegg is entertaining as a generally composed man who learns from Danny how to loosen up a bit. Their tender scenes together, accompanied by soft lighting and Samwise-makes-an-inspirational-speech-style music, are touching, but Pegg gives his best performance when reacting with aghast incredulity as he learns the true motivation behind the string of murders.

Frost, meanwhile, perfectly plays one of the most huggable characters I've ever come across, despite the f-words that occasionally escape his lips. (The profanity in this movie actually wasn't as bad as I expected, and a special feature entitled Hot Funk amusingly dubs it for television.) As the movie progressed, I became increasingly concerned about Danny's safety, as his death would make a profound impact and might make sense as the culmination of the first true friendship of Nick's life. It would both be in keeping with Nick's lousy luck and might provide the impetus for some climactic heroics. Is Danny indeed headed for that big doughnut shop in the sky? I won't give that away, but the fact that a farcical film had me biting my nails in worry over one of its characters is testament to its genius. Hot Fuzz doesn't just make you laugh; it makes you care.

And scream, if you watch movies the way many people ride roller coasters: letting out a blood-curdling yowl whenever things seem a bit dicey. I don't, but my mom does, so while aside from the action-packed finale, each murder is immediately preceded by the blatantly ominous appearance of a robed, hooded figure, leaving plenty of time to avert my eyes, I did jump a few times thanks to my mom's vocal commentary, which came even though she too had her eyes closed. Suffice it to say that the deaths are gruesome, and the squeamish are most certainly advised to ignore the screen for a few key moments, but the vast majority of the film is perfectly benign, and the laughs and warm - make that hot - fuzzies render those brief scenes well worth enduring.