To provide adventure, mystery or comedy, directors often turn to far-away locations to add a bit of novelty to their films. The hero often starts out as a stranger in a weird place, a fish out of water, but over the course of the movie, she learns to adapt, fit in, fall in love, become friends… or else escapes out of that strange hell-hole she found herself in. In a good movie set abroad, you get to see some things you never would otherwise, maybe get to know some local characters — not just the hero from back home — and, ideally, hear them speak in a language the viewer can understand, or at least one with subtitles.

A bad movie of this type (like the popular and critically acclaimed “Lost in Translation”) just uses the locals as scenery, their lines untranslated, leaving the viewer in the dark as to their real characters. It’s ideal for conveying fear or alienation, but good for little else.

Tim Burton’s “Alice in Wonderland” tells a new version of the well-known story, the ultimate stranger in a strange land. His version is a different take on Lewis Carroll’s book, or, you could say, a remake of the original Disney cartoon.

Alice (Mia Wasikowska) is now an extremely rich, young woman in Victorian England, not a little girl, who is at a garden party at her palatial estate. When she has to make a big decision, with hundreds of people watching, she decides instead to chase a white rabbit down his hole. There she finds herself in Wonderland, or “Underland”, where she discovers friends and enemies all of whom seem to know her, but aren’t sure she’s the real Alice (I’m not sure either).

Her friends — the Dormouse, the March Hare, Tweedledum and Tweedledee, the Mad Hatter, the Cheshire Cat — tell her she must find the vorpal sword and slay the Jabberwocky, snicker-snack, on a specific day. Her enemies, the fractious, dictatorial Queen of Hearts (Helena Bonham Carter) who likes to yell “Off with their heads!” and her suitor, the Knave of Hearts (Crispin Glover) are busy looking for Alice, not knowing it even when they see her. Alice herself gradually shifts from being a naïve passive character, to a Joan of Arc-style heroine.

Some parts of this movie were a lot of fun, and there were some neat images added to it – the deck of cards that made up the Queen of Hearts’ army were much stronger and scarier — more metallic, less paper-y — than the original drawings by John Tenniel.

But so much of the original Alice depended on its caricatures, fun plays on words, puzzles, symbols, and poem and song parodies, which were largely dumped in this version. The one poem used, The Jabberwocky, was given too much prominence, with its unusual nonsense vocabulary (like “frabjous day”) repeated way too often in the story line. I suppose they wanted it to make sense – to small children, I guess.

I wasn’t that taken by this movie. The costumes and the design were impressive, and it had a great cast, but that’s not enough to keep me rapt. I think this version was made for small children, and has minimal appeal to adults.

Its biggest problem is that a lot of the absurdity and irony of the original is gone. Caricatures might work as political cartoons on paper, but not on the much more real move screen. When I was a kid, I liked the poems like “You are old Father William”, and “The Walrus and the Carpenter” because they were cruelly funny. That’s all been neatly scrubbed away and Disneyfied, replaced with a hard-line literalness, no irony, few twists, and fewer hints of psychedelia than even the old Disney cartoon. If the book was The Simpsons, this movie is The Flintstones.

“Green Zone”, directed by Paul Greengrass, is a movie about the reasons given by the US to justify the war in Iraq, and how one American soldier tries to uncover the truth.

Roy Miller (Matt Damon), a soldier in Iraq in 2004, is in charge of a team in Baghdad looking for weapons of mass destruction – the “WMDs” that were the reason US and Britain gave for invading that country. But his searches are turning up nothing. He thinks the intelligence they’re using is faulty. But whenever he questions it within the military he’s told there is no problem with the information, and to follow his orders and shut up. Then a local man (Khalid Abdalla) gives Miller some potentially significant news about former Iraqi government officials.

With the help of his new-found friend (“Call me Freddy”), Miller breaks up a meeting in progress, and briefly glimpses one of the men, Al Rawi, whose picture was on the “most wanted“ deck of cards that were actually issued by the US government during this war.

Miller, frustrated, turns to the CIA, as represented by a tubby, middle-aged agent named Brown. Brown casually tosses him a million dollars in cash in a knapsack to pass on to persons of interest. Meanwhile, other American officials are doing what they can to stymie his plans. Who will come out on top? What’s the secret? Is the embedded journalist, a Judith Miller-type character, reliable? Are there any WMDs at all? And what is Al Rawi’s secret information?

Green Zone is a fast-moving war flick about the big issue of US culpability for invading Iraq, as investigated by Matt Damon’s everyman soldier, and the Iraqi contact he works with. While not an anti-war movie – it depends on guns, explosions, helicopters, chases and shootouts for its eye-candy – it is clearly against the US excuses for invading Iraq. US culpability is rarely seen in mainstream movies.

The Director, Paul Greengrass, likes jiggly hand-held camera shots, and a documentary-style. To lend authenticity, he liberally borrows scenes from movies like the fantastic 2004 documentary “Gunner Palace”, which had GI’s sunbathing by swimming pools in half-destroyed Baghdad mansions. So a lot of the movie is interesting to watch. And as a shootout-mystery-thriller, Green Zone’s not bad either.

“Cooking with Stella”, Canadian Director Dilap Mehta’s first film, is about another set of people in a distant place. Maya and Michael, a Canadian diplomatic couple placed in New Delhi (played by Donald McKellar and Lisa Ray) are settling in at the High Commission.

Michael (who’s character was based on the real-life chef at Rideau Hall in Ottawa), finds himself with not much to do in New Delhi. So he tries to get their servant and cook, Stella, a Christian Indian woman known for her skill in the kitchen, to become his guru, and introduce him to Indian cooking. Luckily, the movie is more than a cooking show. It’s actually a sort of an upstairs-downstairs look at clueless expat Canadians and their wily, crooked servants who take advantage of them at the drop of a hat.

The Canadians are really side characters – Don McKellar is there more as the straight man than the comic. The main plot involves Stella (played by the very funny Seema Biswas) and the gambling, drinking, black marketeering, and paybacks that are her daily bread and butter in her little subcultural fiefdom within the embassy. When an innocent new nanny, Tannu, threatens to upset Stella’s world with her honesty, she realizes she needs a new plan. Her goals become larger and even more nefarious, but end up with Stella being kidnapped. What will become of her?

The movie is a cute, small film, with a fairly low budget, and a first-time director, so — judging by those criteria — it’s enjoyable and not bad. There’s a bit of Bollywood parody scenes, some colourful views of an outdoor food market, some funny dialogue. (It also has some painfully lame gags involving driving on the wrong side of the road, and some obvious joke set-ups) It’s loaded with lots of Canadian references — Group of Seven and Norval Morisseau pictures on the walls; a Welcome / Bienvenue sign on a foreboding embassy fence – but it concentrates less on the strangers in the strange land, more on the interesting local characters.

Actually, I liked the scenes that reminded me of Mira Nair’s movie “Monsoon Wedding”, also a comedy about the inter-linked worlds of families and their servants in India. The blah, Canadian-focused scenes were what dragged this movie down a bit and made it palatable but bland. But see it for great, funny Indian characters in a Canadian movie.