POOH’S HEFFALUMP MOVIE
G, 68 mins.

It has been quite a few years since I last visited Hundred Acre Woods, but after seeing the endlessly cheery “Pooh’s Heffalump Movie” I am happy to report that Tigger still bounces, Rabbit still worries, and Pooh continues his honey obsession, staring down diabetes at every turn. Most happily for me, Eeyore is still cynical (I think movie critics most relate to Eeyore; perhaps it is the chronic pessimism and below-average looks.)

Innocent and endearing – the most offensive thing about the film is its spectacularly lazy title – “Heffalump” is enjoyable enough. One morning Pooh, Piglet, Tigger, and the rest are awoken by a ferocious roar. It is, Rabbit concludes, a ferocious Heffalump. The critters decide to march into harm’s way and capture this unseen creature. Roo, still too young, is made to stay behind, but that doesn’t stop him from crossing the woods alone. Soon he finds the infamous heffalump, and the two become fast friends.

The songs in this quasi-musical, sung mostly by Carly Simon, don’t advance the story, which would be fine if they were any good. In any event, the film is nothing more than back-to-back television episodes; it’s short, so at least children can sit through it (mostly) and parents won’t pull their hair out. Though they may want to bring along a crossword puzzle.

MY MOTHER’S SMILE
unrated, 103 mins.

A smartly written film that deals with theology without a patronizing attitude, “My Mother’s Smile” stars Sergio Castellitto in a stellar performance as Ernesto, an artist separated from his wife but loyal and devoted to their son, Leonardo. One afternoon Ernesto is approached by a priest working for the Vatican who tells him that the church is considering canonizing his mother.

Ernesto, an atheist who in fact hated his mother, is taken aback. Upon investigation he learns that his family, including his estranged wife, is behind the possible canonization, and realizes that he has been kept out of the loop. Ernesto is disheartened to learn that his family wants the process to succeed not because they believe in it, but because it would bring them prosperity and opportunity.

Marco Bellocchio (who both wrote and directed) has made Ernesto a complicated man; he seems not to believe in his atheism as much as in being contrary. Mr. Bellocchio seems to advance an ethic of irony, where the cynic is less prone to blaspheme than his family. Ernesto is not let off the hook, either, as he falls in love with, of all people, his son’s religion teacher. Mr. Bellocchio’s film is a mature, thought-provoking piece.

THE LETTER
unrated, 76 mins.

In 2002, Lewiston, Maine, met national controversy when its then-Mayor, Larry Raymond, who was elected after running heavily on an anti-immigrant platform, wrote an open letter to the Somali immigrants in his town asking them to stop their friends and family from moving to the town. Mr. Raymond’s letter polarized Lewiston. Ziad H. Hamzeh’s earnest “The Letter” documents the aftermath of Mayor Raymond’s missive.

Mr. Hamzeh’s film is thoughtful and revealing, boasting a large cast of interviewees who want to either keep or change Maine’s condition of being, as one puts it, “The Whitest State in The Nation.” While the film is short, Mr. Hamzeh makes sure to carefully cover every aspect of the controversy. Where he makes a mistake however, is in his editing style.

Too desperate to paint the Mayor’s supporters as bigots, rather than trust the audience to come to that conclusion, Mr. Hamzeh continually cuts off those subjects who agree with Mr. Raymond (the majority of whom are members of the white supremacist group, The World Church of the Creator) in favor of one with a contradicting point of view. The abruptness of these cutaways forces one to wonder what has been omitted, or taken out of context. For it’s sober look at bigotry, fear, and hate unwarranted in the context of rural America, though, “The Letter” is a valuable document.

UNSCREWED
unrated, 75 mins.

A comic mockumentary, “Unscrewed” follows a married couple as they try to conquer their intimacy problems. Not ready to give up on their marriage, the pair (played by Hans Hoffman and Heather Smith) go through a series of experiments to get back in touch with their dwindling libidoes, switching off between couple’s therapy, a visit to a Tantric den, and taking part in expensive treatments from a urologist.

“Unscrewed” is nevertheless repetitive and dull, featuring an overall ‘trying-too-hard’ feel throughout. Neither adequately farcical nor dramatically compelling, much of the humor falls flat. Funny moments do come in the form of Douglas Manes as a condescending sex therapist, but even he grates by the film’s end. Like Mr. Hoffman and Ms. Smith, who do game work here, he just can’t keep up the dull work of the filmmakers.