By Gregg Shapiro

Contributing writer

In theaters:

“Beowulf” (Paramount/Warner Brothers)—Based on the epic poem “Beowulf,” there is nothing poetic about Robert Zemeckis’s big-screen adaptation, although it does approach being an epic of animated violence. Employing the same creep-inducing computer animation technique behind his adaptation of the Christmas classic “The Polar Express,” Zemeckis drags this classic piece of literature into the 21st century.

In Denmark in 507 A.D. a village is being terrorized by Grendel (Crispin Hellion Glover), a hideous and gigantic skinless beast whose sensitive hearing causes him to go on murderous rampages. Following a particularly brutal slaughter, in which he spares the life of King Hrothgar (Anthony Hopkins) and Queen Wealthow (Robin Wright Penn), a call is put out, with a hefty reward, to anyone who can rid the kingdom of Grendel. Beowulf (Ray Winstone) and his band of merry men arrive to save the day. Homoerotic humor might be the last thing one might expect at this point in the film, but in a sequence involving a naked Beowulf preparing for his death match with Grendel and the ensuing dual, the film takes just such a briefly unexpected turn. But things quickly get serious again following the suicide of Hrothgar, the violent destruction of Grendel and the grisly retribution of Grendel’s mother (Angelina Jolie, oddly more believable than in any of her human roles), when Beowulf both becomes king, partners with the widow Wealthow and pays a visit to the infamous cave. There he encounters Mommy dearest and is seduced, as Hrothgar was (he was Grendel’s dad), into giving the 24-carat bitch another offspring. Could “Beowulf” be a morality tale about deadbeat dads? You be the judge. To fully appreciate the guts and gore, “Beowulf” is best experienced in 3D at the Navy Pier IMAX Theatre, 700 E. Grand. Call (312) 595-5MAX.



Limited runs:

Robert Stone’s “Oswald’s Ghost,” featuring archival footage, first-person accounts and interviews with Norman Mailer, Gary Hart, Dan Rather, Tom Hayden and others, has its Chicago premiere Nov. 21 at the Gene Siskel Film Center, 164 N. State.


A new print of David Lynch’s 1977 debut feature “Eraserhead” is screened at the Gene Siskel Film Center, 164 N. State, November 23-29.