A LA MALA (PG-13) 96 minutes * * * Mala (Aislinn Derbez) is working on her acting career, but it's not going anywhere. What she finds that she is quite good at is testing the loyalty of boyfriends and husbands. And there are plenty of women willing to pay for that information. No surprises with the story, but charming performances, great energy, and a fun soundtrack. PG-13 for sex and language.
THE A-LIST (NR) 103 minutes * * 1/2 Sylvia (Elizabeth Bond) never made the most popular list when she was in high school. Now she's the guidance counselor, which isn't the most popular faculty role either. The A-list is still happening, but the top student is in academic trouble. She decides to help him, but only if he completes her old wish list. This runs a little long, and the lessons about popularity and honesty are oldBut Bond, Hudson Thames, and some of the supporting cast manage to keep this light, fun, and even a little cute.
THE A-TEAM (PG-13) 112 minutes * * 1/2 An updated version of the classic TV show. After eight years of successful missions, the team is in Iraq and getting ready to pull out when things don't go quite as expected. The story works well, with perhaps a bit less humor than the TV show, and an attempt to keep the focus on action. Of course it gets more unbelievable as it progresses, which is disappointing, though not surprising. Bradley Cooper and Sharlto Copley deliver the best performances here as Face and Murdock, though the rest aren't bad. Be sure to watch through the end of the credits for an extra treat. PG-13 for violence and language.
AALIYAH: THE PRINCESS OF R & B (NR) 86 minutes * * A not-very-interesting bio-drama about the talented R&B singer. The music is quite good, which is to be expected, but there just isn't a great deal of passion or energy in the telling of her story, which is unfortunate.
AARDVARK (PG-13) 86 minutes * * 1/2 Josh (Zachary Quinto) struggles with reality, so he's seeing a therapist. But Emily (Jenny Slate) has problems of her own, including getting into a relationship with Josh's brother. It's a character study of two people who are both lonely and broken. An unusual piece, but the characters have a certain tenderness, and they are well-played. PG-13 for language, sex, and violence.
ABANDON (PG-13) 93 minutes * * Two years ago, a student went missing. He was artistic and eccentric, but the foundation that stands to inherit his substantial estate wants to have the case closed. Is he dead, or is he still around, up to his rather strange ways? There are a few nice chills here, but the story becomes transparent and unimaginative rather quickly. Katie Holmes does a nice job, but she seems to have a knack for ending up in these, "less than wonderful" films. Filmed in Quebec, Canada. PG-13 for violence and language.
THE ABANDONED (R) 91 minutes * 1/2 Nice atmosphere and earnest performances, but this remains a rather lifeless story. A somewhat chilling statement in the opening narration sets the mood nicely. "Just because you're through with your past, doesn't mean that your past is ever through with you." That said, we never really connect well with these characters. And when we hear the closing narration, "Better not to know, better still to forget, best of all to be abandoned", we can't help but think we'd have been better off watching something else. R for violence, nudity, and language.
ABANDONED (2010) (PG-13) 96 minutes * * 1/2 Mary (Brittany Murphy) drops her boyfriend off for outpatient surgery. An hour later, he's gone. There's no trace of him. Did she imagine it all, or is something else going on? Nice job by Murphy as her sanity begins to slip away. The story resolves a bit too quickly and too neatly at the end, but some good suspense until then. When asked if she'll be OK, Mary responds with, "Sure I am. Gonna just keep on livin' one day at a time." Murphy didn't have much time left after making this film, but I'm sure she did just that. PG-13 for violence.
ABANDONED (2022) (PG-13) 98 minutes * 1/2 Postpartum depression can be very difficult. Sara (Emma Roberts) is trying to deal with it, but the recent move to the country with her husband and their newborn seems to be making things worse rather than better. The house has a bad history. And it has more than a few secrets that are starting to come to light. The script doesn't really offer much, but the cast and the sound effects work well to create a suspenseful atmosphere. PG-13 for violence and language.
ABANDONED: ANGELIQUE'S ISLE (NR) 87 minutes * * * Left to fend for themselves on Lake Superior's Isle Royale, Angelique (Julia Jones) and Charlie (Charlie Carrick) face a winter with dangers they never dreamed of. Angelique's Ojibway heritage may help her face these tough times, but she will need to reclaim that heritage, having distanced herself from it for some time. Beautifully filmed.
THE ABC'S OF DEATH (NR) 118 minutes * 1/2 Twenty-six directors, twenty-six short films based on words related to death, starting with each letter of the alphabet. As you might expect, their success varies. Clever, unique, funny, scary, tragic, but more often than not, disappointing, especially with nothing to tie them together except the alphabet.
THE ABC'S OF DEATH 2 (NR) 110 miunutes * 1/2 Another twenty-six short films by another twenty-six directors which much the same result. It's an interesting idea, but it just doesn't work all that well.
ABDUCTION (PG-13) 100 minutes * * Nathan (Taylor Lautner) thought everything was fine, but when his photo turns up on a missing persons website, he discovers that his parents aren't who he thought they were. His life begins to unravel, but it's also becoming dangerous. Good story idea, but both the acting and the script are hit and miss, with several very good sequences, but others that are either unconvincing, or just poorly put together. PG-13 for violence, language, and sex.
ABE (NR) 76 minutes * * 1/2 Describing himself as half Israeli Jew and half Palistinian Muslim, Abe (Noah Schnaap) is not quite like other boys. He's 12, and has a passion for food and cooking. He's also beginning to wonder what his mixed heritage means for all the various aspects of his life. For Abe, food brings everything together. It doesn't always work that way for others... at least not at first.
ABELAR: TALES OF AN ANCIENT EMPIRE (R) 66 minutes * 1/2 A princess and a vampire. Sisters from the same father, but their paths have been separate until now. The princess must find five warriors to save the kingdom, but her sister will fight it every step of the way. Lots of slow speaking in an attempt to be dramatic, and each new scene early in the film is yet another "tale". At least it's short, though it finishes with scenes from the next film. You might notice that the running time listed here is shorter than other sources might show. At the end of the film, the credits run a full fifteen minutes, and many sources will include that as part of the running time of the film. R for violence and nudity.
ABDUCTED: THE CARLINA WHITE STORY (NR) 88 minutes * * 1/2 Based on the true story of Carlina White, who uncovered the truth about the woman who had been raising her after years of living a lie. Standard bio-drama with sensational elements that make for a good TV movie.
THE ABDUCTION OF JENNIFER GRAYSON (NR) 91 minutes * A young woman (Rachel Jane Conn) is kidnapped and eventually ends up falling in love with her captor. The dialogue isn't bad, but the plot moves along at a snail's pace, with acting that isn't strong enough to sustain it. It's tedious, and when the pace finally does pick up a little near the end, it's too late.
ABEL'S FIELD (PG) 101 minutes * * The groundskeeper responsible for a high school football field becomes the mentor for a local teen. There's a good story here, but the dialogue is so flat and uninteresting, and the acting isn't much better. It's nice to see Kevin Sorbo is a more quiet and gentle role, but too many other parts of the film just don't pull through. PG for violence and language.
ABIGAIL (NR) 103 minutes * 1/2 When an epidemic closes the borders of her town, Abigail (Tinatin Daiakishvili) finds herself without a father. As she gets older, Abigal learns the truth about the edidemic that has kept her and others isolated from the rest of the world. The films seems to struggle with whether it should be a children's adventure or an adult one, never settling well into either category. It also moves awkwardly between past and present. The effects are quite good, and the story idea is initially very simple, slowly building to something more complex. Editing and direction are problematic.
ABOMINABLE (PG) 87 minutes * * 1/2 When Yi (voiced by Chloe Bennett) finds a Yeti on the roof of her building, she feels compelled to help. That means a trip to Mount Everest to help him find his way home. But there will be some obstacles to overcome. It's a good story and well-animated. The soundtrack is the weak point here. It's just not very memorable or inspiring. PG for violence and language.
ABOUT A BOY (PG-13) 96 minutes * 1/2 Will (Hugh Grant) doesn't do that well with relationships. He thinks he may have finally found a new source for dates though... single mothers. He's not really interested in Fiona, but her son Marcus is a little strange. Marcus has decided that Will would be a nice guy to have around to look after his mother. It's a cute story, but the narration is irritating, and too much of the story relies on Nicholas Hoult, who plays Marcus, and he just isn't able to carry the story. It does end nicely, but we've been ready for it to be over well before we get there. PG-13 for language.
ABOUT ALEX (R) 94 minutes * * ½ When Alex (Jason Ritter) attempts suicide, his friends all show up to offer their support. But being together again not only brings back some great memories, but all of the old issues and conflicts. Somewhat overused story idea, though some nice performances and a strong ending help make this worth a look. R for language.
ABOUT CHERRY (R) 98 minutes * * The money is good, and Cherry (Ashley Hinshaw) soon finds herself moving from photos to film in the porn industry. And other parts of her life begin to change too. It's more than a move from innocence to understanding, its also a move to a world of mixed messages and misunderstandings. The story leaves quite a few unanswered questions along the way and wraps up far too quickly. It also suffers fromthe same problem as most any film about pornography does... without showing more, its difficult to get any sense of realism, but if you show more, you can't get the "R" rating and have your film marketed to the general public. R for sex and language.
ABOUT HOPE (NR) 89 minutes * * Thomas (Justin Ray) has a list. It's a list of what characteristics his perfect girlfriend will have. The number of women who might fit onhis list is narrowing by the minute. He hasn;t lost hope yet, but it's not looking good. And then, within a very short time, he meets TWO women who just might be the one he's looking for. The film starts well, but then drags in the middle, finishing off with a strong Christian message.
ABOUT LAST NIGHT (R) 110 minutes * * * Danny (Rob Lowe) and Debbie’s (Demi Moore) first meeting leads to a one night stand. And then it quickly gets more serious, leading to a decision to live together. This is despite the “best” advice from their friends, Bernie (Jim Belushi) and Joan (Elizabeth Perkins), neither of whom expect the relationship to last very long. A great script, adapted from David Mamet’s play “Sexual Perversity in Chicago” and fine work from the cast make a familiar story well worth a look.
ABOUT LAST NIGHT (2014) (R) 96 minutes * * 1/2 The often hilarious struggles of two couples dealing with their relationships. Kevin Hart and Regina Hall balance each other fairly well. What doesn’t work well is how that sets against the performances of Michael Ealy and Joy Bryant, whose characters are less vocal, less intense, and far more believable. The film is unbalances, and we tend to focus on what’s funny rather than what is more serious, though both sets of performances are good. They just don’t work very well together. R for sex and language.
ABOUT MY FATHER (PG-13) 83 minutes * * * Sebastian (Sebastian Maniscalco) is in ove. The relationship is moving along, and now it's time for their parents to meet. That might be a bit of a problem. Salvo (Robert De Niro) is... not like most parents. Heavily narrated, and a role that De Niro has already played, but this still manages to work. PG-13 for language and nudity.
ABOUT SCHMIDT (R) 119 minutes * * * Warren Schmidt (Jack Nicholson) has only recently retired from his lifelong job when his wife dies. He's not really ready for changes of this magnitude, but he'll do his best to handle what life has laid before him. The story itself really doesn't offer us anything new, but it is well photographed, and Nicholson once again shows what an extremely talented actor he is. There's an earnest quality, and even though Warren's struggles are quite depressing at times, there is also an ironic sense of humor as well. What difference have you made with your life? Perhaps you've made a difference to someone without even realizing it. Rated R for language and nudity.
ABOUT TIME (R) 117 minutes * * * ½ On his 21st birthday, Tim (Domnhall Gleason) learns about a particular family secret… the men in the family can travel back in time to moments of their own life. There are a couple of tricks to the skill, and a couple of lessons to be learned as well. The film is a bit heavy with narration early on, but soon turns into a wonderfully romantic , funny, and sentimental look at life, love, family, and how to live every moment with intention. The cast work very well together, seamlessly telling the tale and bringing their characters to life. R for language and sex.
ABOVE SUSPICION (NR) 112 minutes * * * Detective Constable Anna Travis (Kelly Reilly) has just joined a murder investigation team that is trying to solve a series of murders. She will soon find herself a little too involved with a primary suspect. Pilot for a British murder mystery series of the same title, adapted by Lynda LaPlante from her novel of the same title. Nice work by Reilly and Cieran Hinds as well as a solid supporting cast.
ABOVE SUSPICION (2019) (R) 99 minutes * * * It's a perfect situation. An informant with plenty of inside information and a desire to get out of her current situation. But Susan (Emilia Clarke) has her own ideas about how to make her situation better. Mark (Jack Huston) is a rising star in the FBI and has a perfect life. It's a life that Susan wants. Based on the book by Joe Sharkey, it follows the case as it all slowly self-destructs. R for sex, language, and violence.
ABOVE SUSPICION: THE RED DAHLIA (NR) 137 minutes * * 1/2 DC Anna Travis (Kelly Reilly) and DCI James Langton (Cieran Hinds) track down another murderer, this time in a case with some interesting parallels to the infamous Black Dahlia case. Pacing is a bit more drawn out in this entry in the series, making it a little less exciting than the first.
ABOVE THE LAW (R) * 1/2 Steven Seagal's film debut isn't much to speak of. The action scenes are nice and Seagal looks the part, but the story preaches too much and the characters have little or no depth.
ABOVE THE RIM (R) 92 minutes * * Tommy Sheppard (Duane Martin) comes home after his mother dies. His little brother (Tupac Shakur) is now a drug dealer, and the high school basketball coach wants him to stick around and take the job when he leaves. Meanwhile, Tommy is dealing with the death of his mother and that of a friend who died years before while playing one-on-one. Interesting ideas in some sequences, but a good deal of familiar territory as well.
ABOVE THE SHADOWS (NR) 105 minutes * * 1/2 Holly's (Olivia Thirlby) mother means everything to her. When she dies, Holly is lost. She also becomes invisible. When someone does finally see her, she struggles with what that means. This wanders a bit, but is still a sweet story about grief, love, and growing up. Thirlby and Alan Ritchson work well together.
ABRAHAM LINCOLN: VAMPIRE HUNTER (R) 98 minutes * * 1/2 Adapted from the hit novel by Seth Grahame-Smith, this is the story of Lincoln that we'd never heard before. His heroism in fighting the vampires that were trying to take over the country was just as important as any of his other accomplishments. Well, OK, not really... The film is very impressive visually, with a number of very good effects, but the story is actually the weak link here. It's an interesting idea, but when you put it up on the screen, we need more depth to this, and it just isn't there. Perhaps it's because so much of Lincoln's life is familiar to so many of us, but also because thevampires he's fighting don't really seem to have their act together. Nice idea though. R for violence and sex.
ABSENCE OF MALICE (PG) 118 minutes * * ½ It wasn’t intentional, but when Megan (Sally Field) gets her story published, Mike Gallagher’s (Paul Newman) life is crushed. Undoing the damage is not going to be easy. Excellent work by Field, though Newman doesn’t seem that invested in his character. Production values aren’t the best, but the story is a good one, and keeps us interested. PG for language.
ABSENTIA (R) 90 minutes * * 1/2 A mysterious tunnel seems to be the focus of trouble in this creepy little low-budget horror/suspense flick. The dialogue and acting are simple and straightforward, but not bad. The suspense here is often understated, with the use of darkness and the suggestion of what might be there to create the suspense. R for language and violence.
ABSOLUTE POWER (R) 104 minutes * * 1/2 Pieces fall into place a little too slowly in this story of a murder witnessed by a burglar. There are some good, tense sequences, but even these seem to be drawn out a little too long. Clint Eastwood's direction is probably the culprit here, though his performance is fine. William Goldman's screenplay is up to par, but it still seems that with the talents of Gene Hackman, Judy Davis, Ed Harris, Scott Glenn, and E.G. Marshall, we should have had a more interesting picture. R for violence and language.
ABSOLUTELY ANYTHING (R) 81 minutes * * 1/2 An unusual group of aliens who are about to destroy the earth, decide to see if an earthling given the power to do anything, will actually do something that would make them change their minds. Not nearly as much fun as it should be. The story starts out with lots of imagination and fun, but then begins to lose traction and just stops going anywhere. R for language and sex.
ABSOLUTELY FABULOUS: THE MOVIE (R) 83 minutes * * After yet another faux paus (aka disaster), Edina (Jennifer Saunders) and Patsy (Joanna Lumley) are hiding out in southern France. Fans of the TV show will find this fun and refreshing. Others may wonder what all of the fuss is about. R for language and sex.
ABUNDANT ACREAGE AVAILABLE (NR) 75 minutes * * 1/2 Tracy (Amy Ryan) and Jesse (Terry Kinney) are still grieving the recent death of their father. It's unclear what that may mean for the family farm. Especially when the previous owners make an unexpected visit. Lettng go isn't easy, but at some point, it's not an option. Great characters, though spending a little more time with them would have been nice.
THE ABYSS (PG-13) 134 minutes * * * 1/2 A nuclear submarine is resting on the bottom of the ocean after having some trouble. A nearby mining unit is asked to offer assistance in checking for survivors. What no one was expecting was to come into contact with another life form. But this isn't another "monster from the deep" film. This life form is far more advanced than humans and doesn't feel the need to be hostile. Alan Silvestri's soundtrack is both beautiful and haunting, which is quite appropriate. Ed Harris and Mary Elizabeth Mastrantonio compliment each other and lead a fine supporting cast of believable and entertaining characters. PG-13 for violence and language.
ACCEL WORLD: INFINITE BURST (NR) 81 minutes * * 1/2 Haruyuki has a chance he never thought he'd have. He is now linked to the virtual network and has burst power. In fact, he becomes the fastest link to the network. Lots of background info to start, which is very helpful if you're not familiar with the characters. It happens quickly enough that if you don't need the info, it doesn't take much time to get through. It's a good story. A little over-populated with characters which makes it challenging to keep up with.
ACCELERATION (NR) 80 minutes * With her son held captive Rhona (Natalie Burn) only has a few hours to complete a series of tasks if she hopes to see him again. Lots of gunfights, a few mediocre fight scenes, and poor special effects. Burn has some moderate talent to show here, but the script and direction don't give her much to work with.
AN ACCEPTABLE LOSS (R) 97 minutes * * 1/2 Not too long ago, Libby (Tika Sumpter) was the top aide to the Vice-President (Jamie Lee Curtis). Her work was key to the United States using a nuclear weapon against its enemies. It was a successful operation, but knowing all of the details of what happened makes Libby a person who is now dangerous to Rachel (Curtis), who is now the President. Not bad, but not as strong as it needs to be. The story tends to pull back too often and not be as effective as it could be. R for language and sex.
ACCEPTANCE (NR) 87 minutes * * 1/2 Which college should she pick? Taylor (Mae Whitman) just wants to go to a good school, but her mother is pushing for the Ivy League experience for her daughter. It's about "acceptance" on various levels, and does a reasonable job, though there's little to make this memorable on any level.
ACCEPTED (PG-13) 89 minutes * 1/2 Bartleby Gaines (Justin Long) can't seem to get accepted at any school he applies to, so he decides to create his own school. It's such a great idea that a whole bunch of other unaccepted students want to go there too. It's not called the South Harmon Institute of Technology (S.H.I.T.) for nothing. Long's earnest performance goes a long way to making this work as well as it does, but it's still pretty weak. PG-13 for language.
THE ACCIDENT (NR) 316 minutes * * * When Gabriel's (Bruno Solo) wife is killed in a car accident, there are some things that just don't add up. This makes Gabriel wonder if it was actually an accident, or if something else was going on. The police don't seem to care, and as he begins to question onn his own, his suspicions only increase. It seems like everyone else in town knows more about what was going on than he does. Well-paced, multi-layered story.
ACCIDENT MAN (R) 102 minutes * * * Part of an organization of assassins, Mike Fallon (Scott Adkins) is known as the "Accident Man" for making his hits look like accidents. When someone puts out a hit on his ex-girlfriend, (Ashley Greene), he takes it very personally. And in doing so, everything he has been working for begins to unravel. A little too much narrationm but some very nice fight choreography. R for violence, language. and sex.
ACCIDENT MAN: HITMAN'S HOLIDAY (R) 92 minutes * * 1/2 Mike Fallon (Scott Adkins) returns as the "Accident Man", prottecting the son of a mafia boss from numerous assassins. He also has to save his best friend and mend his relationship with his dad. It's all in a day's work. Great fight scenes and a little bit of character development, building on the first film.
ACCIDENTAL EXORCIST (NR) 107 minutes * 1/2 He'd never really been good at much of anything. But then, Richard (Daniel Falicki) discovers that he is a really good exorcist. In fact, he's the best there's ever been. The only problem is that he's doing so many that it's wearing him out. This starts well, but it doesn't take long before it loses both energy and direction, aimlessly wandering around before it finally ends.
ACCIDENTAL LOVE (PG-13) 94 minutes * * 1/2 When Alice (Jessica Biel) gets a nail stuck in her head, it leads to all sorts of unusual behavior. And getting it removed is proving to be rather complicated. Stellar cast in a hilarious parody of political process and health care bureaucracy. Well woth watching for the cat, though the humor lacks the sharp edge that would have made it much better. PG-13 for sex and language.
THE ACCIDENTAL TOURIST (PG) 117 minutes * * * Are we merely accidental tourists in life, or are we intentional withour existence? What are the reasons behind our actions? While the story offers no real answers, it does offer us the chance to explore and expand our minds. Definitely not a film for everyone, we explore these questions through the eyes of a man who has recently lost his son to death and is now having problems with his marriage. William Hurt delivers a superb performance and his talents are combined effectively with those of co-star Kathleen Turner and director Lawrence Kasdan. Nice work from David Ogden Stiers and Ed Begley Jr. in supporting roles too, though Geena Davis struggles with her role. PG for language.
ACCORDING TO GRETA (PG-13) 87 minutes * * Sent to stay with her grandparents for the summer, Greta (Hilary Duff) is none too happy. In fact, she's even a bit difficult for us to like, and every time we're just about ready to, she does something else wrong. The script oversimplifies the situation and the characters and wraps up the story too sweetly and too quickly. Despite all of these problems, the actors manage to do a reasonably good job. PG-13 for language and sex.
THE ACCOUNTANT (R) 122 minutes * * * 1/2 Christian (Ben Affleck) is a math savant. Hired to check the books of a new client, it doesn't take him long to figure out the problem. This particular client also has some very violent connections. But to this particular accountant, that's nothing new. Christian is a man of many skills. Stretches believability a litte, but the script stays tight and focused. R for violence and language.
THE ACCURSED (NR) 82 minutes * 1/2 Once he curse has been spoken, there is no stopping it. Hana (Yancy Butler) does manage to delay the inevitable, but it is only a delay. Plenty of creepy effects, but the story is muddled and not as interesting as it should be.
THE ACCURSED (NR) 92 minutes * 1/2 Asked to take care of an elderly woman (Meg Foster), Elly (Sarah Grey) has no idea what lies in store. Suspenseful music, and some good special effects, though many of them are difficult to see with the dim lighting. The story doesn't work very well, as it tries to be more clever than it needs to be.
THE ACCUSED (R) 107 minutes * * Intense photography, music, and story, involving a gang rape case with Jodie Foster playing the part of the victim. Her performance garnered an Oscar, but it's mostly due to the emotional intensity of the story. The acting is less than believable from almost everyone here. For Jodie Foster fans only. R for language and sex (in particular, a rather unnecessary reenactment of the crime).
ACE & THE CHRISTMAS MIRACLE (PG) 87 minutes BOMB Desperate for money, Amandaa (Brande Roderick) devises a plan. She hires a couple of bumbling small-time criminals to kidnap a horse. Poorly edited and with a script that doesn't flow well, this struggles from the very beginning. As far as the story, it's fine for families, but most will find this a little silly, and very boring. PG for language.
ACE OF HEARTS (PG) 95 minutes * * Ace is a stellar police dog. When he get into trouble pursuing a particularly difficult criminal, it's going to take a lot of work to prove his innocence. Feel-good film for the younger set, though most parent will find it at least tolerable to watch. PG for violence.
ACE THE CASE: MANHATTAN MYSTERY (PG-13) 92 minutes * 1/2 When Olivia (Ripley Sobo) witnesses a kidnapping, her brother doesn't believe her. And since no one else is home right now to help, she decides to check it out on her own. A rather dark beginning for a film that is clearly aimed at a younger crowd. Except that it keeps leaning toward a kidnap/suspense story that is really a little too strong. Sobo does a great job, but the film as a whole just doesn't work. PG-13 for violence.
ACE VENTURA JR.: PET DETECTIVE (PG) 90 minutes 1/2 AJ (Josh Flitter) is working on a missing pet case of epidemic proportions. His mom wants him to stop, but his grandfather is proud of how his grandson is following in the family tradition. Flitter manages to create an incredibly annoying little character that most will want to avoid. PG for language.
ACE VENTURA: PET DETECTIVE (PG-13) 81 minutes * Jim Carrey stars as a pet detective who tries to uncover who has kidnapped the mascot of the Miami Dolphins. Carrey's first feature film, but otherwise not noteworthy for much. Full of the typical problems that result from taking a comedy skit and stretching it into a film.
ACE VENTURA: WHEN NATURE CALLS (PG-13) 87 minutes * 1/2 Well, what can I say... if you liked the first one, you'll probably like this. Jim Carrey is making a fortune spinning bad Saturday Night Live material into movies that aren't really all that funny unless you're short on sleep. Low budget, poor special effects, and a pathetic script... the poor little capuchin monkey deserves an Oscar for putting up with everything... including Carrey! PG-13 for language.
ACES: IRON EAGLE III (R) 94 minutes * 1/2 Louis Gossett Jr. and friends take to the air once again. The cast is likeable and there are some good pyrotechnics throughout the film, but the script is atrocious to say the least, making this hard to watch and hardly worth remembering.
ACES 'N EIGHTS (NR) 95 minutes * * The railroad is coming through and Thurmond (Ernest Borgnine) doesn't want to sell. Standard western story with Casper Van Dien as a reformed bad guy who helps save the day. Reasonably good western, originally shown on TV.
ACHMED SAVES AMERICA (NR) 60 minutes * * Jeff Dunham's Achmed gets the animated treatment. He ends up in the United States by accident where he fails miserably at being a terrorist. Dunham's sense of humor isn't for everyone, but this works OK as a longer story for the character of Achmed.
A.C.O.R.N.S.: Operation Crackdown (PG) 83 minutes 1/2 A squirrel decides to stage a huge robbery of a nut factory. Unimpressive animation and the story drags terribly, with far too much time spent on the details of planning and executing the robbery. We (and the children this is directed to) want to get familiar with the characters and enjoy them, and that just doesn't hapopen here. PG for language.
ACRIMONY (R) 114 minutes * * A chance encounter leads Melina (Taraji P. Henson/Ajiona Alexus) into a relationship. But Robert always seems to have secrets that keep a certain amount of distance between them. Finally, she can stand it no longer. The story is told in flashbacks and is heavily narrated, which makes for a tedious viewing experience. The bigger problem is that we never really feel any sympathy for Henson's character because we don't get a chance to connect with her. R for language, sex, and violence.
ACROSS THE HALL (R) 86 minutes * * 1/2 His fiancee is in a room across the hall... with her lover. What will he do? This remake and expansion of director Alex Mirkin's earlier short film does a wonderful job of creating a film noir atmosphere and has a wonderful mix of that style and an EC Comics morality tale, reminding us to be careful what we wish for. The way the story moves back and forth in time doesn't work quite so well, except for one spot late in the film. Very nice soundtrack by Bobby Tahouri. R for language.
ACROSS THE LINE (NR) 84 minutes * * 1/2 His hockey skills show great promise, but Mattie (Stephan James) still has to make it through high school. Racial tensions at the school are very high and showing no signs of getting better. To make it worse, it seems like Mattie is always in the wrong place at the wrong time. The story leaves quite a few loose ends as it delivers a mildly positive ending.
ACROSS THE UNIVERSE (PG-13) 125 minutes * * * 1/2 Utilizing the music of The Beatles to tell a story, we follow Jude (Jim Sturgess) as he travels to the United States in the 1960s in search of his father. Along the way, he falls in love with Lucy (Evan Rachel Wood) and becomes involved in the anti-war movement. It's a magical and fantastic trip through the words and music of The Beatles. And in retelling the events of the sixties and early seventies, we are reminded of the poignancy, the depth, and the incredible power of the lyrics of the songs. These are wonderful new renditions of the songs, with Sturgess and Wood adding their voices along with Bono, Eddie Izzard, Joe Cocker, and others. Beatles purists may cringe at that, but should still find themselves swept into the story, and taken along for the "trip". PG-13 for sex and language.
THE ACT OF KILLING (NR) 119 minutes * * * A documentary detailing the current military dictatorship of Indonesia and their brutal takeover of the previous communist regime. The most fascinating, and perhaps horrifying aspect, is that this story is told by the killers, who are celebrated as heroes. Of course, it's equally frightening that parallels can be drawn to many situations in the western world, though less often within a country's own borders. History is written by those who win.
ACT OF VALOR (R) 101 minutes * * * What begins as a fairly standard extraction mission of a kidnap victim quickly turns into something much larger. The victim was working with the CIA and was involved with a plan to smuggle powerful explosives into the United States along with the terrorists to use them. The photography has a nice mix of standard war drama presentation and an almost embedded journalist style. There's far too much narration early on, though that does stop after awhile. R for violence and language.
ACT OF VENGEANCE (NR) 91 minutes * * Two Turkish agents are trying desperately to track down a dangerous terrorist. Violence is escalating and higher numbers of innocents are at risk. The film starts well, but quickly gets mired in the process and details. It's not without some interest, but the story needs more energy.
ACTION JACKSON (R) 92 minutes * * Fine stuntwork in this appropriately titled action film with a sense of humor. Carl Weathers is the man in question, and does a fine job. Dialogue is a bit weak, and the music video breaks by Vanity are a bit on the obvious side, but most action fans will find this to be an entertaining endeavor.
ACTION POINT (R) 76 minutes * * D.C. (Johnny Knoxville) loves Action Point. Business has been declining lately, and he has to figure out how to turn that around unless he's ready to lose the place. If he's not careful, he may lose his daughter too. Full of the stunts you'd expect from Knoxville, and loosely based on the real Action Park in New Jersey that was closed down for being unsafe. R for sex, language, and violence.
ACTRESS (NR) 86 minutes * * 1/2 When Brandy Burre decides to leave acting to start a family, she believes that she is starting the next chapter in her life. As it turns out, she wasn't finished with what she had left behind. Moving back into the world of acting will mean other shifts in her life, and perhaps a new set of endings. A look at a life in the process of change, and beginning to explore what that change really means. Part biography and part reality movie.
ACTS OF VENGEANCE (R) 84 minutes * * 1/2 A lawyer (Antonio Banderas) turns vigilante to get justice for his recently deceased wife and daughter. Banderas doesn't seem to be fully invested in this, but the script and direction clearly do nothing to help. The story, of course, is far from new, and the camera seems to be overly concerned with giving us close-ups of Banderas. If you like him, this is worth a look, but it's definitely not his best work. R for violence and language.
ACTS OF VIOLENCE (R) 81 minutes * * When Roman's (Ashton Holmes) fiancee is kidnapped, his brothers are ready to help. They are former military, Deklan (Cole Hauser) in particular will stop at nothing to rescue her. That puts them somewhat at odds with Detective Avery (Bruce Willis), who is working to bring down the human traffickers who abducted her. The apparent cost of the rescue and the rather obvious moral the story is trying to present don't really connect as well as they should. R for violence, language, and sex.
AD ASTRA (PG-13) 113 minutes * * * With our planet in danger, Roy McBride (Brad Pitt) will journey to the edge of the solar system in an effort to find his father and solve a mystery. The film focuses on that journey, but a little more of the story between Roy and his father (Tommy Lee Jones) and between Roy and his wife (Liv Tyler) would have given this a little more depth. We have the sense of it, but more detail would have made this a stronger story. Nice visual effects and sound effects. PG-13 for violence and language.
ADAM (PG) 93 minutes * * * When Adam's (Hugh Dancy) father dies, his life begins to change. It's difficult enough to lose a parent, but Adam relied on his father to help him cope with his Asperger's Syndrome. Forced by circumstances to go beyond his comfort zone, Adam finds himself drawn to his neightbor, Beth (Rose Byrne). Great work by both Dancy and Byrne in a story that reminds us that love and relationships aren't easy, but they bring untold treasures... and loving and being loved each have their own treasures. PG-13 for sex and language.
ADAM RESURRECTED (R) 97 minutes * * * Adam Stein (Jeff Goldblum) survived the concentration camps of World War II. But at what cost? Is insanity a small enough price to pay for life? And, of course, what is it that makes us sane? Just a few of the questions this film ponders. Featuring a powerful performance by Goldblum in a film that is definitely intriguing, though sometimes a bit difficult to watch. R for language and sex.
ADAPTATION (R) 110 minutes * * * * It's about orchids... and so much more! The adaptation not only of orchids, but life forms in general, to the world they live in, and the adaptation of a book into a screenplay... Charlie Kaufman has accomplished an amazing feat by writing himself into the script in a way that really works. We hear the story of how he interacted with the author and the other characters from the book and the struggles he faced as he tried to adapt a book "with no plot" into a screenplay that will be interestig for people to watch. Meryl Streep does a nice job as Susan Orlean, author of "The Orchid Thief", but it's Nicolas Cage and Chris Cooper who really stand out here. Cage gets to play both Charlie and his twin brother, both writers, but with very styles and personalities. And Cooper finally gets an opportunity to take a character farther than he ever has before. He's always done well with smaller parts, and here he shows us how well he can do when given the opportunity to bring a character like John Laroche to the screen. While there is a special appeal to people who are interested in the film industry, everyone should be able to appreciate the excellent performances and the finely crafted story that this film has to offer. It's a rare orchid of a film! R for language, violence, and sex.
THE ADDAMS FAMILY (PG-13) 95 minutes * * 1/2 What this film really needed was a little less plot and a few more spooky little one-line jokes... like the old TV show it's supposed to be imitating. The performances are very good, especially by Christina Ricci (Wednesday) and Anjelica Huston (Morticia). Costumes, sets, photography, and music all compliment the performances quite well. There are some good scenes between Wednesday and Pugsley, and the school play sequences is the best part of the film. PG-13 for violence.
THE ADDAMS FAMILY (PG) 81 minutes * * 1/2 The creepy and spooky Addams family moves into a deteriorating house on a hill. But the neighborhood begins to encroach on their solitude, especially after Wednesday decides to attend the local school. A fun story, with a good mix of new jokes and jokes for those already familiar with the characters. This animated version is a nice addition to the old television show and the live-action films. PG for language.
THE ADDAMS FAMILY 2 (PG) 86 minutes * * 1/2 The children are growing up... and less interested in spending time with the family. So, Gomez plans a little family vacation to bring them all a little closer. Meanwhile, there's a chance that Wednesday belings to another family. More Addams family fun in this sequel to the 2019 animated film. Voices by Oscar Isaac, Chralize Theron, Chloe Grace Moretz, and Javon Walton among many others. PG for language and violence.
ADDAMS FAMILY VALUES (PG-13) 87 minutes * * As sequels go, this isn't too bad, with a few cute bits scattered throughout the film. The best of these is the new ending Wednesday (Christina Ricci) plans for the camp play. The best aspect is, as it was with the first, sets, costumes, and the general atmosphere created by the cast. PG-13 for language.
THE ADDERALL DIARIES (R) 82 minutes * * * Stephen Elliott (James Franco) has writer's block. In an attempt to get past it, he starts following a murder trial, which brings up a number of issues related to his father. When you add to that some drug abuse and relationship problems, Stephen is one seriously troubled person. The question is whether or not he'll be able to get a handle on it and turn his life around before it's too late. A talented ensemble cast make this worth a look. R for language and sex.
ADDICTED (R) 103 minutes * 1/2 Zoe (Sharon Leal) has a wonderful husband and two fantastic children. But the excitement of an affair entices her. And as she begins to pursue it, her life begins to unravel. Adapted from a novel by Zane, so it's no surprise that its hot and steamy as far as the sex, and that it also has an unbelievably unrealistic romantic ending. The mediocre acting doesn't help either. R for sex and language.
ADDICTED TO FRESNO (NR) 78 minutes * * Two sisters who work as maids at a hotel in Fresno think they may have killed someone. Most of the acting talent here ends up going to waste with a story that relies on sarcastic humor rather than an edgy and witty script that would have made this film something more deserving of their talents. The end is good, but it's just not enough.
ADDICTED TO LOVE (R) 97 minutes * * 1/2 How does Meg Ryan always manage to get parts with such good dialogue? She does a fantastic job of making a very mediocre film well worth watching. Matthew Broderick is fine, but it is Ryan's spunk which makes this story of rejected love and revenge so entertaining. Otherwise it is incredibly predictable, mildly cute, and maybe a tiny bit too long. R for language and sex.
THE ADDICTION (NR) 82 minutes * * * Far and away the most philosophical vampire film I've ever seen. Lili Taylor stars in this black and white film that follows her through the experience of becoming a vampire and feeling the craving and addiction to blood. Her studies of the atrocities of history only serve to heighten the new sensations she is experiencing. A beautiful piece of work that will haunt you.
ADELINE (NR) 93 minutes * * 1/2 Kay (Jane Mowder) brings her horses to a small town. She runs a program of equine therapy. The local minister is not convinced that this sort of therapy works, or should be allowed to continue, despite the positive effect it's having on his autistic son. A nice, feel good, family film, based on a true story.
THE ADJUSTMENT BUREAU (PG-13) 99 minutes * * * David Norris (Matt Damon) was on his way to a brilliant career in politics. But then he meets a girl, and even more importantly, he becomes aware of "The Adjustment Bureau". They're the ones who make sure that events happen the way they are supposed to, and knowing about them makes their work a little more difficult. Interesting and thought provoking, but able to keep the tone light enough to be fun as well. The great ensemble cast here helps make that happen. Adapted from Philip K. Dick's short story, "Adjustment Plan". PG-13 for language, sex, and violence.
ADMISSION (PG-13) 101 minutes * * * Being an admissions officer at Princeton isn't easy. There are so many fine students, but not very many can be approved. To make matters worse, Protia (Tina Fey) discovers taht one of the applicants just might be her son... and she's finding his teacher very interesting too. Fey gives an excellent performance, and Lily Tomlin delivers a fine supporting performance that is both witty and charming. Based on the novel by Jean Hanff Korelitz. PG-13 for language and sex.
ADOPT A HIGHWAY (NR) 76 minutes * * * Fresh out of prison, Russ (Ethan Hawke) is having a difficult time getting used to how things work on the outside. Then he finds a baby in the dumpster behind his place of work. It's more responsibility than he can handle, but he begins to connect to the world again because of this little baby. A gentle and tender story, well-played by Hawke, with a fine supporting cast.
ADORATION (R) 97 minutes * * Fiction and reality blend together as Simon (Devon Bostick) creatively weaves a more interesting story into a report for his French class. But we learn that even his real life is not what it seems, and he will struggle to deal with what theat means for himself as well. It's an unusual story, and the way in which fiction and truth are mixed makes the story a little tricky to follow at times. Interesting, though a bit too much time is spent on other characters and not enough time with Simon. R for language.
ADORE (R) 106 minutes * * 1/2 Lil (Naomi Watts) and Roz (Robin Wright) have been best friends since childhood. When their sons become young men, their affections are drawn to them. The cast does well with the performances, but the story has a calculated and manipulative style that tends to keep us at a distance, and the ending is very anticlimactic. Beautiful scenery courtesy of Seal Rocks, New South Wales. R for sex and language.
ADRIFT (PG-13) 92 minutes * * * She doesn't know where she's going or how long she'll be there, but Tami (Shailene Woodley) is experiencing the adventure of life. When she meets Richard (Sam Claflin), something clicks. They set off on a boat he built, with no idea that a hurricane will soon overtake them. The film is full of flashbacks of their budding relationship, mingled with their current struggle to survive after the hurricane has passed. It's less of a survival film and more of a love story with a tragic element. PG-13 for language and nudity.
ADULT BEGINNERS (R) 88 minutes * * When Jake's (Nick Kroll) world comes crashing down, he moves in with his sister and her family. And he's not really sure how to get started again. There are some good ideas here around starting over and family support, but much like Jake, the story has a tendancy to wander and lose focus. R for language.
ADULT WORLD (R) 90 minutes * * 1/2 It's not just that Amy (Emma Roberts) is now working at an adult bookstore, but she is also living in a world that now requires more adult decisions and responsibilities. She's more than a little naive, but she's learning. Roberts is good here, though the manic-depressive aspect to her character is a little strong. Nice supporting work by John Cusack and Armando Riesco. R for sex.
ADULTERERS (NR) 87 minutes * ½ When Sam (Sean Faris) comes home a little early to celebrate his anniversary, he finds his wife already doing a little celebrating of her own. Now, Sam is trying to decide just what he wants to do about his wife and her lover. This tries to be clever at the end, but it just doesn’t work that well. The cast do what they can, but the script just doesn’t have much strength for the characters or the ability to be clever.
ADVENTURE BOYZ (NR) 89 minutes * 1/2 Two boys uncover a diamond theft that ends up getting their dad in trouble. Now, they have to figure out how to set things right, and that means getting him out of jail in time to win the race and get their family back together. Light family fare with believability not a strong factor.
AN ADVENTURE IN SPACE AND TIME (NR) 82 minutes * * The story of the creationg of one of science fiction's most beloved characters, Doctor Who. It wasn't all sweetness and roses, but it was the beginning of something much larger than anyone thought. Nicely done, capturing the spirit of the creation of the show and also serving as an homage. It will be appreciated more by fans of the show, but still has some interest for others.
THE ADVENTURE OF A.R.I.: MY ROBOT FRIEND (PG) 86 minutes * * 1/2 When Noah (Jude Manley) discovers a discarded robot, he takes it home. The only problem is that the company that got rid of it decides they want it back. They consider it to be a weapon, but Noah considers A.R.I. to be his friend. Reasonably fun robot adventure film for kids. The script is a little stiff, but the effects are good. PG for violence.
ADVENTURELAND (R) 100 minutes * * Not only is his college graduation trip to Europe cancelled, James (Jesse Eisenberg) is going to have to get a summer job to help pay for graduate school. The problem is... his degree doesn't really qualify him for much. Of course, he could always work at the local amusement park. James is still rather painfully innocent and naive, and this summer, he's going to learn that relationships aren;t always pretty, and that honesty doesn't always make it go more smoothly. But, if you're willing to stay honest, and to stay through the rough spots, it will be worth it in the end. Nice ending, and a great soundtrack, though Eisebberg's performance is a bit painful to watch at some points. R for language and sex.
THE ADVENTURER: THE CURSE OF THE MIDAS BOX (PG) 89 minutes * * ½ Michael Sheen and Sam Neill both deliver nice performances here, but the story is really about Mariah Mundi (Aneurin Barnard), and Barnard seems somewhat lost here. He never really fits well into the role of an adventurer. To be fair though, all of the younger members of the cast seem overshadowed by both the adult characters and the story itself. It’s a fun story, just not told from as youthful of an angle as it could have been. PG for violence.
ADVENTURES IN BABYSITTING (PG-13) 97 minutes * * * * Chris (Elisabeth Shue) ends up babysitting when her date for the evening cancels on her. Then her friend calls to say she's run away from home. The kids blackmail Chris into taking them with her and it just keeps getting more complicated after that. Fun, light-hearted entertainment, with great music and energetic performances. This is one of those films that everyone in the family can enjoy. Filmed in Chicago and Toronto. PG-13 for language.
ADVENTURES IN BABYSITTING (2016) (NR) 93 minutes * 1/2 Disney Channel film with some similatiries to the original, but also similarities to a number of other films with kids running wild while parents aren't around. Fine for families, and mildly entertaining, but don't look for much quality or depth.
ADVENTURES IN LALALOOPSY LAND: THE SEARCH FOR PILLOW (G) 74 minutes * * 1/2 Cute animated feature for the very young. Lots of bright colors and simple animation, but nicely done, and cute characters. The rest of the girls have to find their friend Pillow before it's time to see Peanut's big surprise.
ADVENTURES IN ZAMBEZIA (G) 77 minutes * * * When Kai finds out about Zambezia, he knows that its where he needs to go. What he doesn't realize is that his father has been trying to protect him from just that. But not only is it time for Kai to learn on his own, but it's time for Tendai to let go of he past. Great story and animation filled with beautiful colors. A very nice film for the family.
THE ADVENTURES OF BUCKAROO BANZAI (PG) 93 minutes * * * 1/2 Buckaroo Banzai (Peter Weller) is not only a hero, but a rock musician and a brain surgeon. Along with his team, The Hong Kong Cavaliers, he fights the forces of evil. In this particular instance, they are invaders from the 8th dimension who are planning to take over the world. Fun adventure film with great characters and a film very much deserving of a sequel that may never happen. PG for violence and language.
THE ADVENTURES OF CLUTCH POWERS (NR) 76 minutes * * 1/2 Lego hero Clutch Powers and a few friends have to defeat the evil Mallock the Malign to prevent him from taking over the universe. It's a Legorific adventure aimed at the 5-10 year-old crowd, and as such is fine, though nothing special. Not rated, but suitable for everyone.
ADVENTURES OF DALLY & SPANKY (PG) 81 minutes * * The miniature horse Spanky is one of the very few things Addy (Brenna D'Amico) has to remember her father by. But keeping Spanky is not cheap and money is tight. Spanky and Dally get along well, so with the help of her half-sister Ella (Reylynn Caster), Addy pouts together a talent show for the two pets. The competition will be tough, but the prize money could let them keep Spanky. The script is overly simple, which doesn't allow for much character depth. Mildly entertaining family fare. PG for language.
THE ADVENTURES OF ELMO IN GROUCHLAND (G) 68 minutes * * * Nice little adventure film for the Sesame Street crowd. Elmo's blanket is thrown into Oscar's trash can and has to be retrieved from Grouchland where the evil Huxley (Mandy Patinkin) has taken possession of it. Good music and plenty of guest appearances keep this bright and entertaining even for the not so young crowd.
THE ADVENTURES OF FORD FAIRLANE (R) 96 minutes * * Foul-mouthed Andrew Dice Clay in his first feature film as Ford Fairlane is fairly funny, but still falls flat. The humor wears thin quickly and his line "Some people play hard to get... I play hard to want," is all too true. R for language.
THE ADVENTURES OF HUCK FINN (PG) 104 minutes * * * 1/2 Elijah Wood stars in this version of the Mark Twain classic. He does an outstanding job and receives wonderful support from the talents of Jason Robards and Ron Perlman. Bill Conti's music is magnificent as well. This is great family entertainment, and its refreshing to see new talent play an old role so well. PG for violence.
THE ADVENTURES OF HUCK FINN (2012) (PG) 93 minutes * * This German retelling of the classic tale is darker in tone than most others. There are still moments of humor, and the actors try their best, but this just isn't one of the better versions. PG for violence and language.
THE ADVENTURES OF JOE DIRT (PG-13) 83 minutes * * Joe's life has always been a rough one. Abandonded by his parents at a young age, he's always been looking for them. Now he's telling his life story on the radio, and it just might be the way to finally find them. David Spade's cynical brand of humor works fairly well here, but the story gets boring rather quickly and the character performances by the supporting cast are little more than cardboard cutouts. At least it doesn't run too long! PG-13 for language.
THE ADVENTURES OF JURASSIC PET (PG) 82 minutes * Chris (Kyler Charles Beck) has always wanted something different to happen. Thanks to a visit to a local curiosity shop, he finds himself the caretaker of a baby dinosaur. It doesn't take long for the situation to get more than a little out of control. This is an adventure film for the younger crowd, but most who are over the age of five or six probably won't find this very interesting or entertaining. PG for violence.
THE ADVENTURES OF JURASSIC PET 2: THE LOST SECRET (PG) 81 minutes * 1/2 A young dinosaur gets trapped in this world and is going to have to be taken care of until the next full moon when the doorway back into his own time opens again. The story is marginally better than the first film, bt the CGI effects are not, and neither is the acting. PG for violence.
THE ADVENTURES OF MARK TWAIN (G) 90 minutes * * * These are the last days of Mark Twain as he is on his way to meet Halley's Comet. The film recounts brief versions of several of Twain's more famous stories. Filmed in Claymation, and a true delight to watch.
THE ADVENTURES OF MILO AND OTIS (G) 72 minutes * * * Cute film about a cat and a dog and their friends and adventures. Though it's aimed at younger children and animal lovers, Dudley Moore's wonderful narration goes a long way toward making it entertaining for just about anyone. G because it's so cute.
THE ADVENTURES OF PEPPER & PAULA (PG) 86 minutes * Based on the life of Pistol Packin' Paula (Mindy Raymond), and her dog, Pepper. The poorly written family friendly script makes it difficult for the modestly talented cast to get very far with this film. PG for language.
THE ADVENTURES OF PINOCCHIO (G) 86 minutes * * Jonathan Taylor Thomas stars in this modern retelling of the classic story. There's more comedy in this version, which is only fun to watch when Bebe Neuwirth is smacking Rob Schneider around. Otherwise, it's Martin Landau who steals the show as Gepetto, with an additional touch of class provided by Genevieve Bujold as Leona.
ADVENTURES OF POWER (PG-3) 85 minutes 1/2 Power (Ari Gold) is an air drummer. It's really the only thing he's good at. Gold wrote, directed, and acted in this, and though the role should have at least a little of an underdog appeal, he's more annoying than anything else. More of a waste of time than an adventure. PG-13 for language.
ADVENTURES OF ROBOREX (PG) 82 minutes * * The only friend James (Kalvin Stinger) has is his dog. Or, at least that's true until something falls from the sky. Although the acting here is mediocre at best, the story makes this a fun science fiction/adventure film for kids, complete with a ridiculous villian. PG for violence.
THE ADVENTURES OF ROCKY & BULLWINKLE (PG) 84 minutes * * * 1/2 Fearless leader, Boris, and Natasha have made their way into the real world and are planning on taking over the world by using really bad TV! Corny, silly, and loads of fun! The mood of the old cartoon, with its bad puns and frequent asides to the audience is here, but that's not all. The animation and effects work is near perfect, and Piper Perabo's performance as Karen Sympathy is a delight. Cameos by Carl Reiner, Jonathan Winters, John Goodman, Whoopi Goldeberg, and others are evident throughout the film. And the song "Through the Eyes of a "Child" at the end, gives it just the right touch. Fans of the old show should find this to be a fun film that captures the spirit of the series and takes it to the big screen. PG for violence.
THE ADVENTURES OF SCOOTER THE PENGUIN (NR) 80 minutes * Scooter isn't like other penguins, but the family that takes care of him teaches him to be the best he can be. Eventually, he finds his true home, but not before a few adventures. Both the voices and dialogue here are very poor. Most anyone over the age of three is going to know that there are loads of better cartoons than this that are available.
THE ADVENTURES OF SHARKBOY AND LAVAGIRL IN 3-D(PG) 85 minutes * * Adventure film for children with the title characters coming to life from the imagination of a young boy. They teach the lessons that it's important to dream, to dream unselfishly of how the world can be a better place, and to work to make it happen. All good stuff, but the acting is pretty bad. It's definitely no "Spy Kids" and we expect a little better from director Robert Rodriguez. PG for violence.
THE ADVENTURE OF THE AMERICAN RABBIT (G) 80 minutes * * He's a rabbit superhero. That's about it. Cute for the 3 to 5-year-old crowd, but the character animation is poor quality and the story is minimal.
ADVENTURES OF THE PENGUIN KING (NR) 74 minutes * * 1/2 The life of a king penguin as narrated by Tim Allen. As well as explaining much of what happens during the lifetime of a king penguin, Allen adds bits of humor in his inimitable style. The photography of gorgeous, and the film also gives us a look at all of the other animal life that lives on or near South Georgia Island close to Antarctica.
THE ADVENTURES OF TINTIN (PG) 96 minutes * * 1/2 Young reporter and amateur sleuth Tintin (voiced by Jamie Bell) is on another adventure. Originally created in 1929 by Belgian artist Georges Remi using the name Herge, Tintin has successfully been adapted to radio, television, theatre, and film. The animation style used here, which has often resulted in characters whose facial features lack a life-like quality, has improved and works very well here. Some of the sequences are repetitive, and the film would have benefited from either a little more story or a little trimming. PG for violence.
ADVERSE (R) 90 minutes * * 1/2 Ethan (Thomas Ian Nicholas) is trying to take care of his sister. She's making the job difficult, especially when he learns how deeply in debt she is to Kaden (Mickey Rourke). There's quite a bit of energy here, and plenty of room for the story to have lasted a little longer. It feels a little rushed, but otherwise works well. R for violence, language, and nudity.
ADVICE TO LOVE BY (NR) 82 minutes * * 1/2 Which is the way to go? Science of romance? Kendall (Erinn Westbrook) writes books on the science of love. Dr. Lovestruck (Brooks Darnell) believes in romance and writes a column about love from that angle. When they meet, they might both have something to learn about how love works. Standard story with good performances though it does wrap up a little too quickly.
AE: APOCALPSE EARTH (NR) 83 minutes * Having left earth to find a better place to live, this group of space travellers tries to survive on a planet they now find themselves on. The story isn't too bad here, and the twist ending is nice, though not surprising if you've seen much science fiction. Special effects are very repetitive, though what's here is well done. Better acting and dialogue are what's missing...
AEON FLUX (PG-13) 86 minutes * * 1/2 In a not-too-distant future, the world's population all live in a single, utopian city. But all is not as perfect as it seems, and there are those who are working to change the balance of power. Aeon (Charlize Theron) is one of them. Too much of the visual aspect of the film seems to lack originality and far too much of the dialogue is simple and shallow. It allows us to become less interested in what happens and care less when things aren't explained that should be. Still, the overall idea is still interesting and worth a look for sci-fi fans. PG-13 for violence and sex.
AFERIM! (NR) 101 minutes * * 1/2 When a gypsy slave has an affair with a nobleman's wife, a constable is sent to retrieve him. Costandin (Teodor Corban) takes his son with him on the job to help, and to teach him some life lessons. This is a journey on which they will both learn a great deal.
AN AFFAIR OF THE HEART (NR) 89 minutes * * * Rick Springfield's moment in the spotlight came and went, as do those moments for many others. He began to tour less and record less, and eventually stopped for a few years. But when he decided to come back and do what he loved, his fans were, and are, still there. A very intimate look at Springfield and some of his most dedicated fans. This is a very fitting portrait of one of rock's most accessible and genuine stars.
AFFAIRS OF STATE (R) 93 minutes * * 1/2 Ambitious, and looking for a shortcut up the ladder, Michael (David Corenswet) works with Callie (Thora Birch), who collects compromising information on important people. But Michael makes the mistake of having sex with both the wife and daughter of a presidential candidate. He only thought he knew how to play this game. He's going to learn very quickly just how little he knows. R for sex, language, and violence.
AFFLICTED (R) 80 minutes * * When a couple of friends go off on a trip to exotic lands, it takes a turn for the worse when one of them comes down with an illness. Only, this isn't an ordinary illness. The reality style of filming becomes very pretentious once Derek (Derek Lee) takes over the operation of the camera. This gets a few points for a creative idea as far as how the vampires are created and how they survive. R for violence and language.
AFFLICTION (NR) 111 minutes * * * Afflicted with the violence of his father, Wade's world is clouded, tainted, and he will end up on a path that is very similar. This is not a particularly pleasant film to watch, but it is solidly performed by Nick Nolte, James Coburn, Sissy Spacek, and the rest of the cast. It is rather strange to lead us astray toward the beginning with the elements of a mystery. It is no mystery what the film is trying to tell us. Written and directed by Paul Schrader from the novel by Russell Banks.
AFFLUENZA (NR) 78 minutes * * 1/2 Fisher (Ben Rosenfield) is a talented young photographer. He moves to Long Island for the summer to make some connections to help with his admission to college. Instead, he finds himself in the middle of wealth, sex, and politics... and what it means to have privilege. Nice work by Rosenfield.
AFGHAN STAR (NR) 88 minutes * * * From 1979 to 2004, watching television or listening to music in Afghanistan, has been considered sacriligious, and even a crime. The new government is allowing it, and the show "Afghan Star" seeks musical talent in a style similar to talent shows from other countries, where contestants are voted on by the public as well as a panel of judges. It's still not safe everywhere in Afghanistan to pursue a career in music, so some of the contestants are actually putting their lives at risk. Brave look at not just a TV show, but at the culture of Afghanistan as it struggles to grow and change while at the same time honoring its own history.
AFRAID (NR) 74 minutes * A weekend retreat. A remote cabin. What could go wrong? How about a twisted cabin owner who is watching their every move? For most of the film, not much happens. Most of the action that does take place isn't interesting or scary, but mostly annoying. This especially applies to the editing. Complete with an unsurprising ending.
AFRICAN CATS (G) 84 minutes * * * From DisneyNature films, yet another beautifully filmed documentary with wonderfully moving music. Narration by Samuel L. Jackson tells us the story of a pride of lions and a cheetah with her cubs. Two different African cats, but their stories compliment each other, and together, they tell of life in this beautiful and sometimes harsh land. Filmed on the Masai Mara National Reserve in Kenya.
AFTER (PG-13) 100 minutes * * Having led a fairly sheltered life, Tessa (Josephine Langford) heads off to college. It doesn't take long for her to meet Hardin (Hero Fiennes Tiffin). He's romantic and risky, and everything she hasn't had a chance to experience. Heartfelt performances help this a litte, but it's still just another teen angst love story, adapted from the novel by Anna Todd. PG-13 for sex and language.
AFTER ALL THESE YEARS (NR) 83 minutes * * 1/2 When Audrey (Wendie Malick) is accused of murdering her ex-husband, she doesn't have much time to prove her innocence. This Hallmark TV movie has a nice balance of comedy, mystery, and drama. Malick does well here. The characters may not be all that deep, but for light entertainment, it works well and ends nicely.
AFTER CLASS (NR) 90 minutes * * 1/2 His grandmother is dying, almost no one in the family gets along with each other, and he's in trouble because of an exchange with a student during one of his classes. Josh (Justin Long) is having a rough time. Packed with dialogue, which many of Long's films are. The difference here being that his inability to listen (because of how much he's talking) is central to his character in a more poignant way. The story does give him a chance to listen, and when he does, he learns. Part of what he learns is that he needs to listen more.
AFTER DARKNESS (R) 91 minutes * The Beaty family is not particularly close. As the sun burns out and they await rescue, tensions begin to grow. It's an interesting concept, but the script is so wrapped up in the conflicts between the characters, that it never generates much sympathy for any of them. Tim Daly and Kyra Sedgwick have so little chemistry, either positive or negative, that they might as well be in different films. R for violence and language.
AFTER DUSK THEY COME (R) 78 minutes * Five young friends take a boat to meet some other friends for a party. On the way, they get stranded on an island that doesn't seem to be on the map. It's an island that has something unusual living on it... a sort of humaoid wolf creature. Really dumb ending, though there weren't really any options for a good one. R for violence and language.
AFTER EARTH (PG-13) 93 minutes * * * After crashing on an inhospitable planet, Kitai (Jaden Smith) has to travel nearly 100 kilometers to retrieve the remaining emergency beacon from the other part of the ship. Life on this planet has evolved as hostile to humans, and the only way past it is to have no fear. Not an easy task for a boy whose father sets such a high mark. The technology integrates very well into the film and the story. It's ever present, and integral, but not unbelievable or distracting. Jaden does fairly well, especially considering how much of this film relies completely on him. PG-13 for violence.
AFTER EVER HAPPY (R) 91 minutes * 1/2 Fourth entry in the "After" film series, this one uncovers a family secret that has first Hardin (Hero Fiennes Tiffin) and then Tessa (Josephine Langford) spiralling out of control. The characters seem to be battered by their circumstances here, moving back and forth as they first gain our support and then throw it away, then become charming, and then become careless... over and over. Abrupt ending that sets the stage for part five. R for language and sex.
AFTER HOURS (R) 93 minutes * * * Late one night, Paul (Griffin Dunne) agrees to go out on a date with a woman he just met. It's not going to be a typical date. Bizarre story with intense emotions and unusual happenings. An unusual film from director Martin Scorsese, but definitely worth a look.
AFTER KONY: STAGING HOPE (NR) 96 minutes * * * In an effort to heal part of the terror in the wake of Joseph Kony's cruel leadership in Uganda, a team of volunteers are using theater. It will be a way for the young people of Uganda to tell their stories and deal with their grief and frustration and anger in a constructive and educational way. Though there is much to heal, and the struggle is not over, it's also clear that there is hope.
AFTER LOVE (NR) 97 minutes * * 1/2 Once upon a time, Boris (Cedric Kahn) and Marie (Berenice Bejo) loved each other. It's different now. They can't stand each other, though they both love their two daughters. What makes it difficult is that their financial situation makes living together an attractive option. But that is growing more difficult by the moment. Solid drama, but the topic can make it a little difficult to watch as their need to be separated becomes more clear yet no easier to address.
AFTER PARKLAND (NR) 91 minutes * * * This documentary takes a look at the Parkland, Florida community's response to the school shooting that killed seventeen people. The film has a nice balance of expressions of grief, support, and the activism and change that are all a part of moving forward after something like this happens. A nice mix of tribute and a call to action.
AFTER SHE DIED (NR) 99 minutes * 1/2 Jen (Liliana de la Rosa) loves her mother very much, and is heartbroken when she dies. Imagine her surprise when her father introduces her a few weeks later to his new girlfriend... who looks exactly like her mother. Might it actually be her mother? The suspense if fairly good, but the special effects are not. And thee story moves very slowly early on.
AFTER SHE WAKES (NR) 75 minutes * 1/2 Sleep paralysis and night terrors are bad enough, but Danni (Hannah Ward) and her daughter are having the same dreams. The recent tragedy their family experienced could have been the catalyst, but this is more than grief. The shifts in the story from realistic to the supernatural and back again aren't terribly convincing, though the production is well put together.
AFTER THE DARK (R) 102 minutes * * * In a variation of the lifeboat game, twenty senior philosophy students face a challenge on their last day at school. If only ten of them were able to be in a shelter in the event of a nuclear holocaust, which ten would it be? As always, the point of this exercise is to think outside of the box, and understand that while logic may serve well to make decisions like this, it need not be completely utilitarian in nature. Clever and insightful script. R for violence and language.
AFTER THE END (NR) 87 minutes * A small group of survivors struggle to overcome issues that arise in the Australian countryside after a devastating outbreak. After a particularly vicious attack by a group of marauders, it would appear that they should find a safer place to stay. But where is safe? Cliffhanger endings don't often work well in films, and this one is a perfect example of one that doesn't.
AFTER THE FALL (R) 107 minutes * * When Bill (Wes Bentley) loses his job, he doesn't tell his wife... or anyone else. It's not long before the need for money arises, and he stumbles into a life of crime. The set-up works well, with no real surprises, but that leaves it with little room to be creative as it becomes clear that there are only two choices. Few will like the ending. R for language and sex.
AFTER THE GLORY (PG) 98 minutes * * For most, the end of war signals a welcome return to home and family. This story follows three men whose return home after World War II is not as positive as was hoped for. The ending resolves a little too quickly, but it's a good character study PG for violence and language.
AFTER THE MURDER OF ALBERT LIMA (NR) 94 minuites * * 1/2 Who killed Albert Lima really isn't a mystery. It's pretty clear. His son Paul has been trying to get justice through the legal system, but hasn't been having any luck. Perhaps it's time to take justice into his own hands. An interesting look at a very personal pursuit of justice.
AFTER THE RAIN (NR) 108 minutes * * * 1/2 Akira Tachibana (Nana Komatsu) is in love with her boss. But that's really only part of the reason she spends so much time at work. A beautiful story about love and passion that goes beyond what might be felt between people. Adapted from the manga.
AFTER THE STORM (NR) 114 minutes * * 1/2 Ryota (Hiroshi Abe) was once a famous author, but now barely manages to get by. He lives in the past and keeps hoping things will change. On one stormy night, he finally begins to understand that moving on is not only possible, but it is what he really needs to do. Starts out very slowly, but builds and finishes quite well.
AFTER THE STORM (2019) (NR) 87 minutes * 1/2 The storm is a big one, and Lauren's (Madeline Leon) home isn't the only home to be severely damaged. The rebuilding process brings her close to Collin (Bo Yokely) again. Their past has been rocky, but that appears to be changing. The script and acting here just don't have much depth.
AFTER THE SUNSET (PG-13) 92 minutes * 1/2 Max (Pierce Brosnan) and Lola (Salma Hayek) are retired jewel thieves who are just trying to relax on a tropical island. But when the right temptation happens to cross their path, they just can't pass it up. Too bad they couldn't pass up making this film... None of the cast seem all that interested in playing their characters here, with the possible exception of Woody Harrelson. The larger problem though, is that the story trips itself up every few minutes by dropping clues that give away everything that's going to happen. Definitely one of the less exciting heist films you'll find. PG-13 for language and violence.
AFTER THE WEDDING (R) 119 minutes * * * When Jacob (Mads Mikkelsen) goes to Copenhagen to try and arrange for a grant to help the orphanage he works with in India, he has no idea what lies in store. Pieces of his past are about to come together and things he never thought possible will be well within reach. It won't be easy though, time has gone by, and every minute missed was precious... but so is every minute that lies ahead. Heartfelt and sincere performances from Mikkelsen, Rolf Lassgard, Sidse Babett Knudsen, and Stine Fischer Christensen. Life is full of possibilities and changes even, or maybe especially, after the wedding. R for language and sex.
AFTER THE WEDDING (2019) (PG-13) 105 minutes * * * Isabel (Michelle Williams) runs an orphanage in Kolkata. Finances are a struggle, but she has the opportunity to turn that around. If she goes to New York to meet with a benefactor in person, a very large donation will be given to the orphanage. Once in New York, she soon learns that she has a very particular and deep connection to the family donating the money. We make choices, and those choices sometmies have very lasting effects. Very nice work by both Williams and Julianne Moore. PG-13 for language.
AFTER WE COLLIDED (R) 98 minutes * * Their story is not new. It's a love story with intensity. It begins with a lie and often involves arguments and frustration. It also remains mostly two-dimensional despite the passion. Josephine Langford and Hero Fiennes Tiffin play the star-crossed couple, with nice supporting work from Dylan Sprouse. The script just doesn't have the edge it needs, and the direction is nothing special either. Adapted from the book by Anna Todd. R for sex and language.
AFTER WE FELL (R) 95 minutes * * It's a big opportunity for Tessa (Josephine Langford), but moving to another city is a challenge. On top of that, her father reappears in her life, and she learns some new things about her boyfriend Hardin (Hero Fiennes Tiffin). A fine twist ending, if a little abrupt. The problem is that Hardin's character is difficult to like, which takes away some of the power of the ending. R for sex and language.
AFTER WE LEAVE (NR) 82 minutes * * 1/2 Their off-world visas finally came through, but that means Jack (Brian Silverman) needs to find his wife so they can both go. This would be the wife he left several years ago. He only has a few days to find her. There are plenty of people who don't want to help, and even some who will do everything they can to stop him. Although there are science fiction elements here, this is really more of a drama. The low budget hurts the film a little, but it's still quite good. The ending won't make very many people happy though.
AFTER WORDS (NR) 85 minutes * * * When the library branch where Jane (Marcia Gay Harden) works closes down, she heads to Costa Rica to spend what she expects to be the brief ending to her life in an adventurous place of beauty. Both she and her personal tour guide will change their outlook on life after this encounter. Great chemistry between Harden and Oscar Jaenada in this charming story.
AFTER YANG (PG) 90 minutes * * 1/2 He was supposed to help Mika (Malea Emma Tjandrawidjaja) adjust to her adoptive family. He is much more than that. He's become part of their family. He is also an AI, and when he breaks down, there is a grieving process. At times, both tender and thought-provoking, but at others, it's just awkward. PG for language.
AFTER.LIFE (R) 97 minutes * * * Wonderfully creepy film! Eliot Deacon (Liam Neeson) is able to speak with those who have recently died, most of whom aren't wuite ready to let go so easily. Anna (Christina Ricci) is the most recent of these and doesn't understand why Eliot can't, or won't bring her back to life. Not really scary, but definitely on the macabre side of things. Nice work by Neeson and Ricci, as well as young Chandler Canterbury in this unusual story. R for language, sex, and violence.
AFTERDEATH (NR) 86 minutes * * A beach. Strange noises. A cabin with unusual paintings. Five people find themselves here. They quickly realize that they are dead, but understanding what it means and if there is another place to go are more difficult questions. Interesting. The ending isn't going to make many people happy, but getting there isn't bad. The acting isn't the best, but the story and effects make up for it.
AFTERGLOW (R) 111 minutes * * * Lucky (Nick Nolte) and Marianne (Lara Flynn Boyle) are both married to people who aren't interested in having sex with them. The honeymoon is over and they have distanced themselves from the relationship. Lucky and Marianne understand the importance of intimacy and find themselves together as they struggle to deal with their problems. This is a fascinating study of two couples and their interactions and relationships. It is also a reminder that those who have denied their sexuality will always struggle to find an effective means to express it, while those who accept it will find freedom. R for sex and language.
AFTERMATH (NR) 89 minutes * * * What at first appears to be a domestic abuse call quickly turns into an investigation of a serial killer. Originally airing as part of the DCI Banks television series, this adaptation of Peter Robinson's novel delivers an intense story that keeps us involved an interested from start to finish. Nicely adapted to the screen, and well-acted.
AFTERMATH (2012) (NR) 90 minutes * * A dramatic look at what life would be like after a nuclear holocaust event. The story does a fairly good job at trying to create a realistic environment for the characters. Unfortunately, what we don't have is much in the way of background for them, which makes it difficult to sympathize or connect to them.
AFTERMATH (2017) (R) 88 minutes * * It was a tragic mistake. Anger, guilt, and grief will have to run their course for both of these men. The story moves along slowly, but works out a little too simply and neatly at the end. It makes the rest of the film appear to be a little overly sentimental. R fo violence.
THE AFTERMATH (2019) (R) 103 minutes * * 1/2 After World War II was over, British military were assigned to different locations to assist with the reconstruction effort. Colonel Morgan (Jason Clarke) and his wife (Keira Knightley) take up residence in the house of a German widower (Alexander Skarsgard), who is none too happy about the arrangement. A post-war romantic drama, mostly focused on the romance. R for sex and violence.
AFTERNOON DELIGHT (R) 94 minutes * * ½ Rachel (Kathryn Hahn) doesn’t really know quite what she’s looking for when she decides to go to the strip club. Something new and different… something to spice up her life… enter McKenna (Juno Temple), who is more than willing to make a new friend and end up working as Rachel’s live-in nanny. The dialogue tends to spiral out of control and then settle back into more mundane moments, which lends a very uneven feeling to the story. In some ways, that works as a way for us to feel some of the awkwardness of the characters, but its not always effective. Nice work by Temple in yet another of her rather quirky and offbeat characters. R for sex and language.
AFTERNOON OF A FAUN: TANAQUIL LE CLERCQ (NR) 88 minutes * * * A taller, more angular ballerina than had ever graced the stage, Tanny redefined modern ballet. She was the muse and eventual wife of George Balanchine, but her time on stage was cut short by polio at the age of 27. Well-done biography and tribute to an amazing talent.
AFTERSHOCK (NR) 130 minutes * * 1/2 A devastating earthquake in China separates a young set of twins. 240,000 people lost their lives in the Tangshen earthquake of 1976. This story commemorates those lives and honors the struggles and heartbreak of those who survived. A powerful and emotional film.
AGAINST ALL ODDS (R) 122 minutes * * ½ Jake (James Woods) wants to find his girlfriend, so he hires Terry (Jeff Bridges) to look for her. The only problem is that when Terry finds her, he doesn’t want to let Jake know. The acting is good, but there are too many plot twists, most of which really aren’t necessary and just muddle the story. Based on the film “Out of the Past”. R for sex, violence, and language.
AGAINST THE DARK (R) 87 minutes * A Steven Seagal vampire/zombie film... yes, now you've seen it all. Apparently these vampire/zombies can be killed in much the same way as anyone else. Beheading is not necessarily required, although it works quite nicely. This does make the them easier to kill... and the film less interesting to watch. Seagal continues to avoid getting his hands dirty (using a sword for most of the kills) or a hair out of place. R for violence and language.
AGAINST THE ROPES (PG-13) 106 minutes * * It may be a man's world, but Jackie Kallen (Meg Ryan) wa raised on boxing, and when she gets the chance to show it, she knows as much if not more about the business than any man that's ever done it. It's nice to see Ryan in a non-romantic role that she can really run with. The script doesn't allow for much depth for the characters, but Ryan's facial expressions manage to add quite a bit to her character. The real Jackie Kallen has a bit part as a reporter in the film. PG-13 for violence and language.
AGAINST THE SUN (PG) 95 minutes * * * The three man crew of a World War II fighter plane are forced o ditch their plane in the ocean. No food, no fresh water, and no help in sight. Powerful and dramatic story with fine performances by the cast. PG for language.
THE AGE OF ADALINE (PG-13) 106 minutes * * * 1/2 Due to a very particular set of circumstances, Adaline (Blake Lively) stopped aging. In some ways a blessing, but it puts relationships at major risk, because others will grow old while she will not. A beautiful love story with a gentle and sensitive performance by Lively. The supporting cast and the script lend this an almost timeless depth. PG-13 for language.
AGE OF DINOSAURS (NR) 85 minutes 1/2 A research company figures out how to regenerate dinosaurs from DNA. The only trouble is that they get loose and terrorize the city. The CGI effetcs aren't too bad, but the story is... and the ending still manages to leave quite a few dinosaurs roaming around.
AGE OF ICE (NR) 81 minutes BOMB Massive earthquakes cause tectonic plate shift and severe weather changes. Don't ask for much more of an explanation, because it either isn't given, or doesn't make any sense. The CGI effects are horrible, and what little there is to the story seems to be focused on given a reason for more special effects, which is just sad, because they aren't any good.
THE AGE OF INNOCENCE (PG) 133 minutes * * Beautiful camera work and exquisite costumes and sets make for a production that is worth a look. Even the shots of perfectly decorated plates of food show us the detail to which they have gone. The story, of an age of pretenses and deceit rather than innocence, little different from present day, suffers from an imbalance. Michelle Pfeiffer is featured, and does a fine job, while Daniel Day-Lewis gives us a very weak performance. Winona Ryder is little more than a shadow, though her role could have been stronger. And why must we have that annoying narration? The ending has a bit of class, but getting there is more than most of us can bear.
AGE OF KILL (NR) 82 minutes * * Sam (Martin Kemp) is a black ops sniper in England. His career is at risk after a bad decision. Now, he's being blackmailed into killing six people for a mysterious terrorist. It sounds exciting, but it's mpt. Lifeless performances and a story that is both preditcable and uninteresting don't leave us with much to enjoy. The production values are good, but it just isn't enough.
THE AGE OF SHADOWS (NR) 136 minutes * * 1/2 Seoul, South Korea in the 1920s. Members of the Korean resistance are planning an attack, and secret agents from Japan are closing in on them. Lengthy spy drama with a moderate level of suspense.
THE AGE OF STUPID (NR) 84 minutes * * * An interesting look at how humanity is racing toward destruction. Told through the eyes of a survivor (Pete Postalthwaite) as he tells us stories and shows film clips that he has access to in his position as a curator in a library of human history in the year 2055. Covers a wide variety of ways in which human beings have been ruining the planet.
AGE OF THE DRAGONS (PG-13) 87 minutes * A rather dry version of the classic Moby Dick. The film tries desperately to stay within the classic story, which only highlights the flaws. Danny Glover tries to sound powerful and theatrical, but too often it seems more bluster than actual strength. There are some nice dragon effects, but that's about all this has to offer. PG-13 for violence.
AGE OF TOMORROW (NR) 86 minutes 1/2 Oh no, it's an alien invasion of Earth with loads of cheap costumes, bad dialogue, and silly plot turns, all courtesy of that bargain basement film studio... The Asylum.
AGE OF UPRISING: THE LEGEND OF MICHAEL KOHLHAAS (NR) 119 minutes * * * Absorbing story about a man of honor, who felt he had no choice but to take matters into his own hands to see that justice was done. And when the tables turned, he willingly faced the justice for what he had done. Nice work by Mads Mikkelsen.
AGE OUT (PG-13) 89 minutes * * 1/2 Having just aged out of foster care, Richie (Tye Sheridan) is now on his own. It's not easy, and his new friend Swim (Caleb Landry Jones) is not a good influence. He also meets Joan (Imogen Poots). Sometimes life plays tricks, and things are connected in ways we never imagined. The story is a little too laid back and subtle considering the events that happen. It makes Sheridan's character a little difficult to believe, though he and the rest of the cast do a fine job. The fault lies more with script and direction. PG-13 for language and violence.
AGELESS LOVE (NR) 98 minutes * * Yale (Nicholas Runfolo) and Nina (Elizabeth Caponigro) become part of a much bigger story when they begin their relationship. She's fourteen years older than he is, and she has five children. A heavily narrated bio-drama that is a reenactment of the life story of Yale and Nina. The story is charming. The narration is not.
AGENT CODY BANKS (PG) 96 minutes * * * Cody Banks (Frankie Muniz) is part of the CIA's junior agent training program and the agency has decided to activate him. His job is to get close to Natalie Connors (Hilary Duff) whose father is apparently working for some rather nasty people. The only problem is that Cody has trouble talking to girls... It's a story that manages to be cute enough to make parents smile and exciting enough to keep the younger crowd watching. It's aimed primarily at the 8-12 age group, but some of the secret agent equipment is worthy of James Bond himself. Plenty of story and character development packed into this, and a nice supporting performance from Angie Harmon as Cody's "handler". Madonna served as one of the executive producers. PG for violence.
AGENT CODY BANKS 2: DESTINATION LONDON (PG) 94 minutes * After about twenty minutes, this begins to get really tedious. The younger ones in the audience were growing very restless as well. One new gadget after another, and very little story. Some of the gadgets are interesting, but the story is too ridiculous and having Anthony Anderson as Muniz's assistant just never works. PG for violence.
AGENT RED (R) 89 minutes * Matt Hendricks (Dolph Lundgren) has the unenviable task of making sure a highly contagious biological weapon gets back to safe storage. Of course there are a few people who would like to stop him. Lundgren is showing his age a bit here, with a slimmer look and a bit less action. The real problems are the less than exciting script and the bad acting by so many of the supporting cast. R for language, violence, and nudity.
AGENT TOBY BARKS (G) 82 minutes BOMB A secret agent dog whose family doesn't know about his secret life. It doesn't really make any sense as to why he should live with a family. Then again, most of this doesn't make much sense. The cast badly overacts in an attempt to be funny and appeal to kids, but it just doesn't work.
AGNES (NR) 90 minutes * * It's just a rumor at first, but they can't take any chances. Father Donaghue (Ben Hall) is called in to investigate the possible possession of a nun. He brings a neophyte (Jake Horowitz) who is there to learn as well as to make sure Father Donaghue stays on task. This is really almost two films. The first goes off the rails fairly quickly. The second is better, but it ends awkwardly.
AGNES OF GOD (PG-13) 100 minutes * * * 1/2 Sister Agnes (Meg Tilly) is discovered with a dead newborn in her room. Doctor Livingston (Jane Fonda) is tasked with finding out exactly what happened and who may be held to account for it. That will not be an easy task, and the answers she finds may not be the ones anyone wants to hear. A haunting and powerful story with a talented cast that work very well together.
AGORA (R) 120 minutes * 1/2 Alexandria, a center of knowledge and of conflict between Pagans, Jews, and Christians. Even when the Christians and Jews unite to defeat the Pagans, they soon find themselves fighting each other. Most of the film deals fairly extensively with Hypatia's (Rachel Weisz) philosophy and research on astronomy and that of a young slave who is in love with her. Her story never really fits that well with that of the historical conflict, and we seem to be watching two films that cross paths at times, rather than one, cohesive film. R for violence.
A.I. (PG-13) 138 minutes * * * 1/2 This is not a cute film about a little robot boy who wants to become human. There are elements of sentimentality here, but they are intermingled with science and philosophy. David (Haley Joel Osment) has been created as a prototype. A child robot with the capability to love. But can humans really love robots? Can an organic (orga) person really care that deeply about a mechanical (mecha) being? Love can be fickle, and love can hurt. And sometimes we do not act in love even though we may still feel it. Parallels are drawn to the story of Pinocchio, but this is still a different and very beautiful story. It is also very much a Stanley Kubrick film, even though Steven Spielberg is the one who finished the project and had more creative input. It "feels" like a Kubrick film, and his films can take a bit of getting used to. They tend to simmer in the back of your mind for weeks after watching them. Osment is amazing and Jude Law does a wonderful job as Gigolo Joe, who helps him on his journey to find the blue fairy. It's a beautiful piece of work. One that I think Kubrick would have been proud to have his name associated with. PG-13 for violence and language.
A.I. RISING (R) 83 minutes * * On a deep space mission to Alpha Centauri, Milutin (Sebastian Cavazza) will be investigating options for colonizatioin. He felt no need for assistance or companionship, but the company decided to send Nimani 1345 (Stoya), an android that is programmed to do whatever Milutin wants. The film starts well, and ends even better, but it loses its way for much of what lies in between. R for sex and language.
AI WEIWEI: NEVER SORRY (R) 88 minutes * * * The story of Chinese artist and activist Ai Weiwei, his art, his expression, his influence, and what that means to both the Chinese people and to the world of art. The mix of interviews and other other information balances well. R for language.
AIDA'S SECRETS (NR) 92 minutes * * 1/2 From a young age, Izak knew that he was adopted. He knew little about his mother, nothing about his father, and nothing of the existence of his brother. The rest of his adoptive family knew, but Izak didn't find out until he was 67 years old. And then, even more secrets begin to come to light.
AINBO: SPIRIT OF THE AMAZON (NR) 70 minutes * * 1/2 Ainbo's friend is now the leader of the village. She needs help though, and Ainbo is going to try and be that help. Her spirit guides will assist her, but they're a little difficult to understand sometimes. Good characters, but the story isn't all that strong and is missing a couple of powerful songs to lift up the message. There is one in the closing credits, but we needed a couple earlier in the film. The animation quality is somewhat mixed.
AIN'T THEM BODIES SAINTS (R) 91 minutes * * 1/2 Bob (Casey Affleck) loves his wife. When times get rough, they turn to a life of crime and Bob takes the fall. But by the time he manages to escape, there are things that have changed that neither of them anticipated. Nothing outstanding here, but a solid story that is well-acted. R for violence.
AIR (PG-13) 89 minutes * * Waking from stasis sleep, Bauer (Norman Reedus) and Cartwright (Djimon Hounsou) have a job to do. They need to care for the other people who are still in stasis. But supplies are scarce, and the air is running out. Not a bad premise, but the problems they face tend to keep repeating, and the ending is rather underwhelming. PG-13 for violence and language.
AIR (2023) (R) 107 minutes * * * 1/2 This is the story of how Nike signed Michael Jordan to represent their brand of shoes. It was not an easy process, and Nike wasn't the only company in the race to sign the basketball legend. But through the vision and determination of Sonny Vaccaro (Matt Damon), it happened. There are a number of scenes with great dialogue here, especially the one between Damon and Viola Davis. Alex Convery delivers a great script. Nice to see Damon and Ben Affleck working together here, along with Jason Bateman and the rest of the cast. R for language.
AIR AMERICA (R) 107 minutes * * 1/2 Mel Gibson and Robert Downey Jr. are pilots for the CIA during the Vietnam war. Their specialty is smuggling and getting into close calls. There's some great banter between Gibson and Downey, but not much material in between. This is one of those project that was a good idea on paper, but somebody forgot to hire a screenwriter who knew how to write. The special effects keep things interesting, but the story just never goes anywhere. R for language.
AIR BOUND (PG) 89 minutes * * 1/2 Gavin (voiced by Nash Grier) is looking for andventure and the ocean, and manages to find both. Finding his way to the edge of the ocean with his friend, they meet some ship mice just in time to hear a request from Chester (voiced by Michelle Ruff). He's a mouse from Dream Island, and they are in desperate need of help on the island. Courage and adventure come in all sizes. The weasels may be a bit scary for the younger viewers. Very nice animation. PG for violence.
AIR BUD (PG) 93 minutes 1/2 The story is fairly typical Disney fair about being part of a team. The only problem is that only one character is developed enough for us to know or care about. The court scene at the end feels out of place and Bill Cobbs role as the retired pro basketball player/janitor/last-minute coach is the only part of this that has much class. The younger crowd get impatient for this film to end. PG for language.
AIR BUDDIES (PG) 74 minutes * Disney has made several direct-to-video sequels to "Air Bud", which is puzzling as it was not much of a success. Most have attempted to address different sports. This one does have the advantage of using cute puppies in the story. Unfortunately, it's little more than a poor reworking of "101 Dalmatians". In fact, just in case you didn't pick up on the idea, they show you part of it during the film. Sad. Children over the age of six will be bored very quickly. PG for language.
AIR COLLISION (PG) 90 minutes BOMB After a storm takes out satellite communications, Air Force One and a commercial jet are about to collide. Surprisingly slow-paced and the bad CGI effects don't help. Absolutely amazing that an airplane can hit so many things and keep flying... PG for violence and language.
AIR FORCE ONE (R) 118 minutes * * * Most of the points here are purely for entertainment. The film is paced well, with a great soundtrack by Jerry Goldsmith, but the only character with much pizzaz is Gary Oldman's. Too many plot complications are solved far too quickly and there are lots of segments that just don't make much sense. Flashy fun that won't be remembered for long by those who see it. R for language and violence.
THE AIR I BREATHE (R) 90 minutes * * * 1/2 Writer/director Jieho Lee took six years to complete this fascinating film based on the concept of a Chinese proverb that lists four fundamental emotions: happiness, pleasure, sorrow, and love. The film opens with a quote from Henry Ward Beecher, "No emotion, any more than a wave, can long retain it's own individual form." It's an interconnected, wrap-around story, interesting in it's variety and well performed by a cast that seems to sense the almost magical quality of the story even as they deliver their performances. Kevin Bacin, Julie Delpy, Brendan Fraser, Andy Garcia, Sarah Michelle Gellar, Emile Hirsch and Forest Whitaker. R for sex, violence, and language.
AIR STRIKE (R) 89 minutes * Bruce Willis has a featured role here, though the story is about five Chinese people trying to protect a valuable asset that the Japanese Air Force is trying to destroy. Lots of explosions and gunfire, but they all look cheap. The US version of the film is 25 minutes shorter than the original, but it's not clear that the extra footage would make this any better. Bit parts for Adrien Brody and Rumer Willis. R for violence and language.
THE AIR UP THERE (PG) 101 minutes * * 1/2 Kevin Bacon is Jimmy Dolan, an assistant coach who may be on his way out... unless he learns what coaching is really all about. He heads to Africa in search of a star player, and learns more than he expected to. This has some of the same feel of "Cool Runnings" and "The Cutting Edge", but far less heart than either of them.
AIRBORNE (NR) 78 minutes 1/2 Starting over after a pandemic has destroyed much of the population. Billy (Brigham McNeely) manages to stumble into Bo (Robert Clayton). Bo is a kind soul and takes Billy under his wing. All would be good exceept Bo is a Christian, and his "brother" wants to kill him for that reason. The script is a mess, poorly organized and poorly written, not that the acting is much better.
AIRHEADS (PG-13) 89 minutes * Three idiots take a radio station hostage, with toys guns, in an attempt to get their recording demo some airtime. With talents like Brendan Fraser, Adam Sandler, and Steve Buscemi, you'd expect a little more than this delivers. Knowing the music business makes this a little more comical, but it's still nothing to rave about.
AIRPLANE II (PG) 79 minutes * * It’s a space shuttle, not an airplane, but OK… It’s also not really as funny as the first film, but it’s also a little less offensive. In the world of sequels, it isn’t bad, but it also could have been much better. PG for violence, sex, and language.
AJAMI (NR) 116 minutes * * 1/2 Conflict between a family and a gang erupt into almost war-like violence in this film from Israel. The story is told in chapters that have some overlap, which is a little confusing until the last chapter brings the story together. The bigger problem here is just that there needed to be a bit more trimming on several of the scenes that include more than is helpful to the story.
AKEELAH AND THE BEE (PG) 106 minutes * * She's a whiz at spelling and needs the resources and motivation to make it to the national championship. We're an audience and we deserve a film with a little more depth. When Akeelah's mother, played by Angela Bassett doesn't want her daughter to have a coach, or do anything after school, or see anybody... we never really see enough of what she's going through to understand why she's beaing so difficult. And Akeelah never really seems to care that much about winning, it's more about having some friends. PG for language.
ALABAMA MOON (PG) 96 minutes * * * Moon (Jimmy Bennett) grew up in the woods of Alabama with his father. His father is dead now, and Moon has to find a way to survive. A predictable, sentimental coming of age story, but it is well-told and well-performed. Based on the novel by Watt Key. PG for language and violence.
ALADDIN (G) 85 minutes * * * * One of the most entertaining films to ever come out of Disney's animation department. Robin Williams is absolutely perfect as the genie and Alan Mencken and Tim Rice deliver a rousing score as well. There's plenty of entertainment here for all ages... adventure, comedy, romance... don't miss it!
ALADDIN (2019) (PG) 120 minutes * * * Two people both in search of a magical lamp. Aladdin (Mena Massoud) and Jafar (Marwan Kenzari) are both trying to obtain it, but Princess Jasmine (Naomi Scott) is just coming into her power, and she will play a key role in what is about to happen. The two biggest changes from Disney's earlier, animated version of the story are the smaller and less flamboyant role for the genie (Will Smith), and the empowerment of Jasmine. It's a very nice update to the story, keeping the music mostly the same, with a few lyric tweaks, and with lavish sets and props. Scott and Smith are great here, but the rest of the cast is a little less convincing. PG for violence.
ALADDIN AND THE DEATH LAMP (NR) 85 minutes * Aladdin (Darren Shahlavi) and his friends unleash a jinn that wants to take over the world instead of just granting the three wishes that a jinn is supposed to do. Very much a one-note story and the performances are sub-par, even for a TV movie. Some of the special effects are fairly good, but most of them are repeated quite a few times, which adds to the low-budget feeling of the film.
ALAMAR (G) 72 minutes * * Natan's parents are separating. He is five years old now, and his father wants to take this opportunity before Natan leaves for Rome with his mother, to teach him about the Mayan part of his heritage. Think... home movies with a point. It's an interesting point, and Natan is cute, but there's not a great deal of substance here.
THE ALAMO (PG-13) 128 minutes * * This version of the events at the Alamo dwells primarily on the relationships among the higher profile people who were there. At times, it appears to blame some of those personal conflicts for what happened, and at other times, it clearly indicates that it was Sam Houston's fault for not arriving earlier. The script somehow manages to both oversimplify the situation and drag it out at the same time. There is some beautiful photography courtesy of Dean Semler, and Jordi Molla delivers a very nice supporting performance as Juan Seguin. PG-13 for violence.
ALAN PARTRIDGE ALPHA PAPA (R) 86 minutes * * When Alan's (Steve Coogan) fellow DJ Pat (Colm Meaney) gets sacked by the new company, he takes hostages at the radio station and will only talk through Alan. Of course this is the perfect chance for Alan to make himself look good for the new bosses, who were about ready to fire him as well. Cooper's incessant chatter will grate on your nerves if you aren't already a fan. R for language, violence, and nudity.
ALASKA (PG) 106 minutes * 1/2 As one might expect, the scenery is beautiful. The story is far too unrealistic to keep us involved and caring about the characters. The scenes with the polar bear cub are fun though, and the children learn to respect nature and discover their own talents as they deal with traumatic situations. Fraser Heston directed this and his father, Charlton has a part as a man with no regard for nature who gets what he deserves thanks to Thora Birch and the rest. PG for violence.
ALASKAN NETS (NR) 113 minutes * * * Fishing and basketball. Everything in Metlakatla, Alaska revolves around these two things. Fishing is the way of life for this community, and basketball offers the hope that there might be more. Thirty-four years ago, they won the state championship. For the first time in all of those years since that win, they just might have a chance to do it again.
ALBATROSS (NR) 87 minutes * * 1/2 Beth's (Felicity Jones) new friend seems to be just what she needs in terms of working out of the shell she tends to stay in. Emelia (Jessica Brown Findlay) is new in town, and quickly becomes Beth's friend, but finds herself drawn to Beth's father. The story is rather predictable, but has a few very good sequences, especially when it stays focused on the relationship between Beth and Emelia. It's their story, though most everyone here has an albatross around their neck.
ALBATROSS (2022) (NR) 96 minutes * * A very awkward dinner party. Thomas (Romaine Waite) and Elizabeth (Katherine Gauthier) are a well-to-do bi-racial couple. The dinner party is at the home of Dr. Burke (David Keeley), whose credentials are somewhat questionable. Many things are not what they appear to be, yet that appearance is given a high value. The story twists in on itself, but takes some work to get there.
ALBERT NOBBS (R) 109 minutes * * * Albert (Glenn Close) is a good butler. A gentle and quiet person, Albert is well-liked by most of the staff. With dreams of starting a tobacconist shop, Albert is putting money aside. But Albert also has a secret, and is growing more and more anxious for a way to stop living a lie. Fine acting that earned both Close and Janet McTeer Oscar nominations. Filmed in Ireland. R for sex and language.
ALEX & EMMA (PG-13) 91 minutes * * * Alex Sheldon (Luke Wilson) has to get his book written in the next thirty days or the people he owes money to will kill him. That means he has to get some help. Enter Emma Dinsmore (Kate Hudson), who can take dictation and transcribe the book for him, though she'll definitely offer some criticism of her own along the way. Hudson and Wilson work well together, though this is much more a showcase for Hudson's amazing charm and wit. Director Rob Reiner knows how to bring out the best in actors, and this is another fine example. In fact, not only does Hudson light up the screen with her comic skills, we get the chance to see a bit of fire in one particular sequence as well! This is a bit on the talky side, and though the narration fits well with the style of the film, it adds even more to that aspect. Filmed in Los Angeles and Boston. PG-13 for language.
ALEX & ME (G) 82 minutes * * If there's anything Reagan (Siena Agudong) loves more than soccer, it's soccer star Alex Morgan (played by Alex Morgan). When Reagan falls and hits her head, she starts seeing and talking to Alex. It's going to be a little tricky now, because no one else can see Alex. On the good side, what better trainer could she have in her quest to be a better soccer player? Morgan isn't very good here, but Agudong makes up for some of it.
ALEX CROSS (PG-13) 95 minutes * * Cross (Tyler Perry) is on the case of a rather nasty assassin. He needs to solve this case quickly, but even with his superior detective skills, this is going to be a tough one. The scenes between Perry and Matthew Fox are very good, but despite a little creativity in a few spots, the story is far too slick, with everything fitting neatly and unrealistically into place. Adapted fromthe novel "Cross" by James Patterson. PG-13 for violence, sex, and language.
ALEX RIDER: OPERATION STORMBREAKER (PG) 86 minutes * 1/2 Surprisingly uninteresting spy adventure for kids. Alex's (Alex Pettyfer) uncle disappears and Alex is left to stop the evil Darrius Sayle (Mickey Rourke) from taking over the world's computers. Rourke seems to be wondering why he signed on for this, Ewan McGregor has only a brief appearance as the uncle who disappears, and Alicia Silverstone doesn't have much to do either. Anthony Horowitz adapted this from his own book, but there's not much spark to it. PG for violence.
ALEXANDER (R) 168 minutes * * 1/2 The story of the great Alexander, the stuff of legends. Oliver Stone had been wanting to make this film for quite some time, though it appears part of his problem once again is his inability to keep things brief. In fact, with narrative interludes by Anthony Hopkins as Ptolemy, this covers enough territory to have been a miniseries. The battle scenes are one of the stronger parts of the film. The weaker parts are all of the flashbacks and the idea that Angelina Jolie could be Colin Farrell's mother. Despite fine performances by both, the relationship is never believable. Nice soundtrack by Vangelis. R for violence and sex.
ALEXANDER AND THE TERRIBLE HORRIBLE NO GOOD VERY BAD DAY (PG) 75 minutes * * * Alexander (Ed Oxenbould) always seems to have a bad day. If only everyone else could have one instead. Better be careful what you wish for... Very cute and fun, with a sharp script by Ron Lieber, adapted from the book by Judith Viorst. Nice ensemble cast. PG for language.
ALEXANDRA (2007) (NR) 88 minutes * * 1/2 Life as viewed from different perspectives... an elderly woman who has seen much of life, and her grandson, serving in the military. She visits him at the army base in Chechnya. We follow her journey there, the time she is able to spend with him, and her efforts to help him. Slow and thoughtful, if not always believable.
ALFIE (R) 98 minutes * * This remake of the classic film with Michael Caine consistently falls short of the earlier version. Jude Law does a nice job, and there are moments here and there where this film does hint at something greater. Part of what it lacks is the sense of playfulness of the earlier version, which is crucial once Alfie realizes that if he's never serious, he'll never really find true love. The direction in this version asks Law to be more of a playboy who has moments of sincerity and finally comes to a sense of realization. R for sex and language.
ALI (R) 151 minutes * * 1/2 Strong performance from Will Smith in this bio-pic about the great one. The first fifteen minutes is your clue to how the movie is going to run... slowly. The cast does nice work here, but director Michael Mann has opted for an approach that is a bit too drawn out. The story mixes elements of Ali's private and professional life along with current events of the period that were influential as well. Smith captures the effects of the events so well with his performance, that to draw them out only bores us. One also wonders why they felt the need to use makeup effects to get Jon Voight to look like Howard Cosell. No attempt was made to do so with other characters and it proves to be a distraction every time Voight is on screen as he looks more like a corpse than the character he's portraying. R for violence and language.
ALI & AVA (NR) 90 minutes & & 1/2 Ali's (Adeel Akhtar) life sort of falls apart when his marriage does. Then he meets Ava (Claire Rushbrook). They seem an odd pair, even to each other, but something about it just seems right. For awhile, they are just friends, and that's fine. Then there's a shift, and their relationship deepens. Nice work by Akhtar and Rushbrook.
ALICE (PG-13) 106 minutes * * * Familiar style of presentation from Woody Allen as we watch Mia Farrow contemplate having an extra-marital affair. Those who don't like Allen's work won't like this film, but for those who do, it's a treat to watch Farrow's performance. The supporting cast is stellar and talented, performing their roles to perfection. It's a little wordy, as Allen is prone to, but it's more charming than most of his other films as well. PG-13 for language.
ALICE (2009) (NR) 183 minutes * * * This lengthy TV movie version of the Alice in Wonderland story has been updated and shifted with a rather unusual sort of sci-fi/noir twist. It's intriguing and works quite well, thanks in no small part to a talented cast that includes Kathy Bates, Tim Curry, Matt Frewer, Colm Meaney, Harry Dean Stanton, and Caterina Scorsone as Alice. Inventive, imaginative, and very different.
ALICE DARLING (R) 84 minutes * * * She's finally found someone who loves her. At least that's what Alice (Anna Kendrick) thinks. Against her better judgement, she agrees to spend the weekend with her two best friends. What she doesn't realize is that she's in a very abusive relationship, and her friends are trying to help her realize that. Nice work by the cast, well-led by Kendrick. Rated R for language and sex.
ALICE IN WONDERLAND (2010) (PG) 100 minutes * * * Director Tim Burton takes us on another trip down the rabbit hole. Alice (Mia Wasikowska) is about to be proposed to. She slips away to think about things for a few minutes, and revisits that magical land wear she learned so much about herself before. There are new lessons to learn this time, though the characters are the same. This is a more adventurous telling of the tale. Both dark and colorful, sinister and magical, with a rather strange sense of humor, and not really for the younger crowd. It's a different sort of Alice adventure, courtesy of Burton and his frequent cohorts, Danny Elfman and Johnny Depp. PG for violence.
ALICE THROUGH THE LOOKING GLASS (PG) 103 minutes * * * Alice (Mia Wasikowska) has grown up, but all that means is that her problems have changed somewhat and the magic and adventure are more elusive. When she learns that the Hatter is in trouble and that the only way to save him is to find his missing family. She knows that she must do what it takes to help. That will mean travelling through time and facing some of her old foes. Wonderful production design and special effects. Familiarity with the first part of the story is important to understanding this part of the larger story. PG for violence and language.
ALIEN ADDICTION (NR) 95 minutes * Nothing much changes in Riko's (Jimi Jackson) life. At least, not until a couple of aliens crash land nearby. He's pretty chilll about it and they seem nice, but a couple of alien hunters are trying to capture them and become famous. It would seem that their ability to relax and enjoy the pleasures of this planet are going to be cut short. Briefly and mildly humorous.
ALIEN AGENT (R) 88 minutes * 1/2 Oh no! The aliens have come to invade the earth! How fortunate for us that another alien shows up who plans to stop them. It's not that the story idea of alien invasion is a bad one, though it has been done quite a bit, but the dialogue is stiff, the acting is two-dimensional, and the energy just isn't evident here. R for violence and nudity.
ALIEN ARRIVAL (NR) 97 minutes * * The war continues. Lang won the war and Hatch's followers are in prison, but change is in the wind. Kye Cortland (Dan Mor) is sprung from prison and sent on a mission, but things don't go as planned. The story is a little thin and has plenty of holes. It also relies heavily on Mor, who has some difficulty carrying the film. There is good material here, just not enough of it.
ALIEN ARTIFACTS: PYRAMIDS, MONOLITHS, AND MARVELS (NR) 76 minutes * * 1/2 An exploration of ancient structures and where they might have originated. This documentary does a good job of exploring possibilities and offering hypotheses without putting any specific ideas forward as definitive answers.
ALIEN AUTOPSY (PG-13) 84 minutes * * * There are many people who believe that there is life on other planets. Ray (Declan Donnelly) and Gary (Anthony McPartlin) may have managed to get their hands on film footage of an alien autopsy... or not... Quite funny, and it leaves the question still unanswered. Includes footage fromthe documentary "Alien Autopsy", about the actual case involving two young men from Britain who were accused of creating a fake documentary about the Roswell UFO incident. PG-13 for language and nudity.
ALIEN: BATTLEFIELD EARTH (NR) 77 minutes 1/2 It all begins when a UFO crashes in the Nevada desert. The United States captures the stranded aliens and ends up starting a war with them. The policy the US has about not negotiating with terrorists is putting the fate of the world at risk. The animation isn;t bad, but the script is, and most of the acting isn't much better. This also moves farther and farther toward being an anti-war film as it progresses, with that idea eventually taking over the film.
ALIEN CONVERGENCE (NR) 84 minutes 1/2 Giant flying reptilian monsters are attacking the planet. It's a good thing that there's a new fighter jet technology that can equip people to fight this new threat. The excitement and energy level are here, but the low-budget special effects, sets, and props really hurt the overall effect. And the acting isn't that great either.
ALIEN COVENANT (R) 116 minutes * * * 1/2 Second prequel, following "Prometheus", and from the same director and producer as "Prometheus" and "Alien". In other words, these three, and perhaps the first sequel ("Aliens") are the most treu to the original vision. The story here is about a ship of colonists on their way to establish themselves on a new planet. Encountering some difficulties, they end up finding themselves near what could be a perfect planet that is much closer than their original destination. It is, indeed, a perfect planet. But not for them. Not only is this an excellent entry in the series, but it is a chilling chapter in the saga even if you haven't seen any of the others. R for violence, language, and sex.
ALIEN DOMICILE (NR) 72 minutes 1/2 Two groups of people find themselves in the tunnels under Area 51. One of the groups is a special forces unit, but all that training isn't going to make any difference. This is Area 51, and strange things are about to happen. Dry and slow-moving. Lengthy scenes with little or no dialogue and no action. That's not good when the story is presented as a scinece fiction action/thriller.
ALIEN FROM L.A. (PG) 82 minutes 1/2 Kathy Irelland's first film has her playing the part of Wanda, a nerdy teenager who sets out to find her father, an archaeologist who has gone missing. She finds a world underneath ours, populated by aliens. Campy and silly, but not as much fun as it should be. PG for violence.
ALIEN NATION (R) 86 minutes * * * The aliens are among us... and we're integrating them into our society, albeit not without some grumbling. Det. Sykes (James Caan) agrees to take one on as his partner to help investigate the murder of his former partner by an alien. Caan and Mandy Patinkin convince us that this would work with their banter and there's plenty of action as well.
ALIEN RESURRECTION (R) 103 minutes * * 1/2 What can you do when you kill off the star of your show and you want to have a sequel? Evil scientists decide to clone Ripley (Sigourney Weaver) in an attempt to make an alien they can deal with since she had an egg inside her when she died. The story here is a little better than part three, but the power and creativity of the first two will probably never be equaled. Winona Ryder seems a little out of place here too, though the rest of the cast is fine. R for violence and language.
ALIEN RISING (NR) 84 minutes 1/2 In trying to understand a recently discovered alien technology, the military recruits a former homeland security agent and a martial arts expert (Any Hathaway). No need to ask why that makes sense, because it just doesn't. Poor CGI animation that gets worse as the film goes along, and a story that just never really manages to be interesting or make much sense. And there's also my favorite... needless and poorly written narration.
ALIEN SURVEILLANCE (NR) 75 minutes BOMB At an office party, one of the most boring you'll ever see, people who leave the room for any reason, find themselves hypnotized by aliens. It all happens in real time, caught on four security cameras, with the focus never changing, and interrupted by electornic interference. Sound quality is awful, but beyond that, the film is just one of the most boring you could ever imagine.
ALIEN 3 (R) 108 minutes * * Sigourney Weaver is being chased by the aliens again, this time on a planet where all that remains is an old prison colony where the men have become members of a religious order of monks. The alien (just one) runs amok until the end of the film. (Yawn) That's right, this is pretty boring when compared to the other entries in the series. All of the improvements that made part two so good are abandoned, leaving a film that still has a fairly good look, but nothing underneath to make it interesting. R for violence and language.
ALIEN TRESPASS (PG) 80 minutes * * * An alien spaceship crashes on earth and the pilot of the ship now has to enlist the help of humans to track down a prisoner that escaped. For those who love the older science fiction films of the 1950s, this is a fun trip back to that style of film. It pays tribute to the older films not only stylistically, but with numerous specific references as well. PG for violence.
ALIEN UPRISING (NR) 81 minutes BOMB A prison planet has a problem with aliens that are attacking. There's also a problem with a story that lacks imagination and talent. The lack of talent is spread around very well. Bad sound quality, weak special effects, poor dialogue and acting...
ALIEN UPRISING (2012) (R) 98 minutes * A few friends get together for a night out on the town. And then the aliens attack. The film tries to maintain a realistic approach to the idea, which works reasonably well in a few spots, but the story is so disjointed that the effect is more frequently undermined. And then, much like the suddenness of the attack, the film is over. R for violence, language, and sex.
ALIEN VS. PREDATOR (PG-13) 89 minutes * * 1/2 This long-awaited film does a nice job of combining the two science fiction series. In a nutshell, the predators use humans as a way to breed some aliens for a hunt as part of the coming of age for some of their own kind. A group of scientists stumbles across the secret location where this usually takes place and... the beginning is definitely a bit slow and the ending is definitely yet another ridiculous stage-setting for a sequel. Nice work from Sanaa Lathan as Alexa Woods, the only one smart enough to figure out what needs to be done. PG-13 for violence.
ALIEN VS. PREDATOR: REQUIEM (R) 88 minutes 1/2 A predator ship with alien specimens on board crashes on earth, releasing the specimens. Now another predator ship is on the way to deal with the situation. It's a dark film, and I don't mean sinister, I mean that there isn't enough light to see very much. That's never a good sign. The soundtrack leaves a great deal to be desired as well. The actors... well, apparently they couldn't get any more work on the television shows they've all played small parts on, so they signed on for this movie. Even fans of the series will find this entry more than a little tedious. R for violence and language.
ALIENATE (NR) 82 minutes * Aliens have invaded the earth. That has made life difficult. In the midst of this, one man tries to get back home to his wife. Unfortunately, the script and acting don't give this much depth and there isn't much of a resolution either.
ALIENS (R) 134 minutes * * * Several years after the end of the first film, Ripley (Sigourney Weaver) is finally picked up by a salvage vehicle. After explaining her story to the people at the facility where she is taken, she learns that the planet where she first escaped the aliens has just been colonized by humans. And then contact with the new colony is broken. Ripley leads a team to return to the planet and fight the aliens once again. The one thing that fans of the first film clamored for was more aliens and more “of” the aliens. This film delivers both, and is one of the finest science fiction/horror sequels you are ever likely to see.
ALIENS ATE MY HOMEWORK (PG) 85 minutes * * When aliens invade the Earth, it's up to a couple of middle-schoolers to save the planet. They are now part of the Galactic Patrol, which they had no idea existed. It's a big responsibility. Lots of fun for the 6-10 year-old crowd, but it's a little too light-weight. Adapted from the novel by Bruce Coville. PG for language.
ALIENS IN THE ATTIC (PG) 80 minutes * * The Pearsons were just going to have a normal family vacation, but when aliens land on the roof, that's all going to change. Especially because, as the younger members of the family quickly discover, the adults are easily controlled by the aliens, while children seem to be unaffected. Mildly entertaining science fiction adventure film for the younger crowd. PG for violence and language.
ALINE (PG-13) 119 minutes * * 1/2 Though this is not an official bio-drama about Celine Dion, it's very close. Aline Dieu (Valerie Lemercier) is the youngest in her musical family, and achieves fame due to her immense talents and the guidamce of Guy-Claude (Sylvain Marcel). Lemercier wrote and directed this as well as taking on the lead role. It's quite good, though the ending feels a bit incomplete. PG-13 for language.
ALITA: BATTLE ANGEL (PG-13) 117 minutes * * * It's 2563. Reassembled from scrap parts, Alita (Rosa Salazar) has no memory of her past. Dr. Ido (Chris Waltz) put her together, but there's only so much he can teach her. She needs to find out about her past and her purpose on her own. The graphic novel series Gunnm is the basis for this high-tech, fast-paced, science fiction adventure. Director Robert Rodriguez does a great job of bringing this to life. Hopefully, it's just the beginning. PG-13 for violence and language.
ALIVE (R) 119 minutes * * * 1/2 This is the story of the 1972 South American rugby team whose plane crashed in the Andes mountains on the way to Chile. Rather than presenting itself as an adventure film for our entertainment, it asks us to get to know the characters. We find ourselves closer than ever to experiencing what survival conditions like these might ask of us. Moral choices become less clear under extreme conditions, and we realize that we should find out why people behave the way they do, rather than passing judgment on them without trying to understand. Beautiful scenery, the music of James Newton Howard, and a fine cast, bring this well-written story to life. R for violence and language.
ALIYAH (NR) 85 minutes * * 1/2 Alex (Pio Marmai) wants out of Paris. He's tired of his life as a drug dealer, and tired of always bailing his brother out of trouble. It won't be easy, especially because a romantic relationship just begins to blossom as he's about to leave. Understated story about choices and change. Good acting, but the subtle and slow-moving story make this a little rough.
ALL ABOUT NINA (R) 97 minutes * * 1/2 Nina (Mary Elizabeth Winstead) hasn't had much luck in relationships. She processes much of her anger and frustration through her stand-up comedy routine. Rafe (Common) is different than the men in her previous relationships, and he seems to good to be true. A rough and powerful performance by Winstead. R for sex and language.
ALL ABOUT STEVE (PG-13) 95 minutes * 1/2 Decidedly silly performance from Sandra Bullock as a young woman who thinks she's finally found the man she's been looking for. The only problem is that he doesn't agree. Hard to keep from laughing in a few spots, but there isn't really much to this lightweight romantic comedy/ PG-13 for language and sex.
ALL ABOUT THE BENJAMINS (R) 94 minutes * 1/2 Ice Cube co-produced and co-wrote this story in which he plays a bounty hunter who is fast and free with the violence. He stumbles into a diamond heist and thinks that solving the crime could be his ticket to a private investigation firm of his own. Unfortunately, we've seen all this before and the banter between Ice Cube and Mile Epps gets tiresome far too early. The chase scenes are poorly filmed and the editing is poorly done as well. The soundtrack does offer a nice collection of music, but that's hardly a reason to spend your time on this. R for language and violence.
ALL ABOUT US (NR) 85 minutes * When two filmmakers aren't able to get their award-winning independent film picked up by a studio for distribution, they set out to make a new film with a more bankable star. The script is slow and awkward, and the story and characters just aren't interesting or appealing. The actors here are trying, but they don't have much of anything to work with.
ALL AMERICAN CHRISTMAS CAROL (NR) 85 minutes * * Cindy (Taryn Manning) is not the most responsible mother to the many children she has (all from different fathers). She's about to lost custody of them unless three particular ghosts can get her to change her ways. There are a few cute moments here, but the best piece here is Beverly D'Angelo's performance in a supporting role.
ALL AMERICAN HIGH REVISITED (NR) 79 minutes * * 1/2 High school life in Southern California in 1984. The film was finished but barely seen. Rediscovered and with a few updates, the new perspective from almost thirty years later adds a fascinating look at those high school years. Great work in uncovering this gem and doing the work to update it.
ALL CHEERLEADERS DIE (NR) 84 minutes 1/2 When a high school cheerleader and her football captain boyfriend have a falling out, the game is on. The only thing is, thanks to a little bit of help from the supernatural, these boys are in way over their heads. Cheap ending. Based on the 2001 film.
ALL DOGS GO TO HEAVEN (G) 79 minutes * 1/2 Disappointing cartoon feature from the talented Don Bluth. The character of Anne Marie is adorable, but the music sounds cheap and the animation is not very well done. It does have a nice ending, but only the youngest children will be entertained enough to stay until then.
ALL DOGS GO TO HEAVEN 2 (G) 76 minutes 1/2 Gabriel's horn to open the gates of heaven for dogs is stolen and Charlie gets to go back to fetch it. Along the way he flirts with another dog and rescues a kid. What fun... a great cast of voices (Charlie Sheen, Sheena Easton, Dom DeLuise, Ernest Borgnine, Bebe Neuwirth...) that is utterly wasted.
ALL EYES (NR) 85 minutes * * 1/2 His podcast was always a little on the unusual side. And then Allen (Jasper Hammer) has an interview go horribly wrong. Now he's interviewing a farmer who claims to have a monster in the woods near his house. He wants Allen to help. Allen is wondering what he got himself into. Interesting story with some surprising twists.
ALL EYEZ ON ME (R) 135 minutes * * * Well-done biopic of the life of Tupac Shakur (Demetrius Shipp Jr.). The emphasis is more on the message Shakur presented and how his life and culture shaped that message rather than on how the conflicts with fellow artists might have resulted in his death. Nice work by Shipp. R for language, violence, and sex.
ALL FOR LOVE (NR) 83 minutes * * A successful romance novelist, Jo (Sara Rue) is having some trouble. It isn't just writer's block, but her last novel was full of factual errors. Here editor (Teryl Rothery) was far from happy, but has a solution. As it turns out, she has a little brother who runs a Nacy SEAL boot camp. It's a perfefct way for Jo to learn the facts she'll need for the next novel she'll be writing. The story here is a little thin, but Rue does a nice job, especially in some of the more subtle moments.
ALL FUN & GAMES (NR) 71 minutes * 1/2 Even those who live in the town of Salem, Massachusetts aren't aware of all of the stories. Perhaps if they were, some of the bad things wouldn't happen. Marcus (Asa Butterfield), Billie (Natalia Dyer), and Jonah (Benjamin Evan Ainsworth) end up playing some very dangerous games that some of the children of Salem played in the past. Good effects and acting, but the story doesn't really have much room to go anywhere.
ALL GIRLS WEEKEND (NR) 84 minutes 1/2 A weekend adventure is supposed to help these friends reconnect. But when they get lost in the woods, their focus changes. And it appears that something wants them to stay lost in the woods. Considering the supernatural element is what is keeping them from finding their way out, there isn't much done with it aside from hints. That just isn't enough with so much of the story relying on it.
ALL GOOD THINGS (R) 97 minutes * * 1/2 David (Ryan Gosling) and Katie Marks (Kirsten Dunst) were very much in love. They seemed to be the perfect couple. But when she goes missing, their perfect life begins to unravel a bit. Based on a real case, that is still unsolved. Gosling delivers a rather chilling performance, though the old age make-up used for his older age scenes, isn't really all that good. Of course, the idea that this marriage was really that good at any point is more than a bit of a stretch, and the disintigration happens very quickly here, which adds to the difficulty in believing that it was ever any good. R for violence, language, and sex.
ALL GOOD THINGS (2019) (NR) 98 minutes * Two spoiled rich girls have to spend a couple of weeks with their grandparents on a farm instead of in Hawaii with their friends. Of course they learn a lot and help save the farm, which is facing financial hardship. The acting is mediocre, though the script and pacing often make it look a little worse than it is.
ALL I SEE IS YOU (R) 102 minutes * * 1/ A tragic accident when she was young took Gina's (Blake Lively) sight as well as the lives of her parents. A new operation is finally able to restore much of her sight... and exposes issues which she wasn't aware of before. Great photography, but the story falters in the second half as the characters begin to focus inward. R for sex and language.
ALL I WANT FOR CHRISTMAS (G) 88 minutes * * 1/2 Thora Birch is outstanding in this story of two children who have a special Christmas wish regarding the reuniting of their parents. It's a predictable story, but the actors do such a nice job that we don't mind too much. Leslie Nielsen even does a good job here as he plays Santa. A good holiday family film.
ALL I WANT FOR CHRISTMAS IS YOU (G) 84 minutes * 1/2 All Mariah (voiced by Breanna Yde and Mariah Carey) wants for Christmas is a puppy. It's not likely, but a chance to babysit a puppy might prove to her parents that it's something that could work. Or not. The story drags quite a bit. Carey sings the title song late in the film, as well as a few others, so her fans may well enjoy the soundtrack.
ALL I WISH (R) 89 minutes * * All Senna (Sharon Stone) ever wanted was everything. It took awhile, but eventually manages to achieve just that. The story is told by skipping through her mid-life on her birthdays, showing us glimpses of her life as the years go by. It's a powerhouse cast, featuring Ellen Burstyn, Tony Goldwyn, Famke Janssen, and Liza Lapira along with Stone, but it still comes up a little dry. R for sex.
ALL IN (PG-13) 95 minutes 1/2 Ace (Dominique Swain) needs more money for school. Her friends are betting that the poker skills she learned from her father will let them all win big. Half poker movie and half medical drama and not very good at either one. Michael Madsen and Louis Gossett Jr. do the best they can with their supporting roles, but the main cast is sorely lacking in talent, though they don't have much to work with as far as a script. PG-13 for language and sex.
ALL IS BRIGHT (R) 104 minutes * * 1/2 When Dennis (Paul Giamatti) gets out of prison, he discovers that his daughter has been told that he's dead and that there's no steady work to help him get settled. When he does manage to get a part-time job with an old friend selling Christmas trees, it's not what anyone would call ideal. A very bittersweet story with a strange mix of cynicism and hope. Depressing, but also with a dark sense of humor. R for language and nudity.
ALL IS LOST (PG-13) 99 minutes * * 1/2 Robert Redford stars as a man who is all alone at sea when his boat crashes into a shipping container that is adrift. Without power, he must try to repair the boat and get back to land. Redford does a nice job, but the open sea can be more desolate than most places, and the pace is slow and tedious, giving us too much time to wonder why he was this far away from anything without anyone apparently knowing where he was. PG-13 for language.
ALL IS TRUE (PG-13) 98 minutes * * When a prop cannon misfires and the Globe Theatre burns to the ground, it's as if the life has been sucked right out of him. Shakespeare (Kenneth Branagh) remains a somewhat mysterious person, with many of the details of his life unknown. This film tries to fill in many of those blanks, especially around his final years. The film moves from reality to dream and back again, and it doesn't fit very well. PG-13 for language.
ALL MY LIFE (PG-13) 86 minutes * * 1/2 It was one of theose chance meetings, but Jenn (Jessica Rothe) and Sol (Harry Shum Jr.) are a perfect match. As their relationship grows more serious, and a wedding day begins to get close, Sol is diagnosed with liver cancer. A romantic tear-jerker. PG-13 for language.
ALL OF ME (PG) 89 minutes * * 1/2 Edwina (Lily Tomlin) has it all figured out. Her soul will be transferred to a younger body. But something goes wrong, and she ends up in the body of her lawyer (Steve Martin)... and he's still there as well. It's a fun story, and Martin does a good job here. There are some inconsistencies, but it all works out well in the end.
ALL OF MY HEART (NR) 82 minutes * * 1/2 Jenny (Lacey Chabert) is in a rough spot, but she's just received some good news. She owns half of a house. The problem is that the other owner wants to sell and Jenny has a better idea for what to do with the house. Of course, something else may happen once the two of them spend some time together. Cute romantic comedy.
ALL OF MY HEART: INN LOVE (NR) 84 minutes * * They are just about to open their new bed and breajfast when a big storm hits. The damages mean that Brian (Brennan Elliott) has to go back tp the city to ern some extra money while Jenny (Lacey Chabert) stays at the inn, working on repairs. It quickly puts a strain on their relationship, which they will have to deal with before it's too late.
ALL OF MY HEART: THE WEDDING (NR) 84 minutes * * 1/2 The big day is rapidly approaching, but Jenny (Lacey Chabert) and Brian (Brennan Elliott) are still having financial challenges. So much so that it looks like they may have to let go of Emily's Country Inn. Third in the "All of My Heart" series, building nicely on the previous two, but you'll miss quite a bit if you don't see those first.
ALL QUIET ON THE WESTERN FRONT (R) 140 minutes * * * A view of World War I in the trenches. The experience of war is not what young Paul Baumer (Felix Kammerer) was led to believe it would be. He expected heroism, pride, glory. Instead, it is tough, dirty, and unfair. It's also frightening, unrelenting, and unlike anything he could have imagined. A haunting soundtrak. Adapted from the novel by Erich Maria Remarque. R for violence.
ALL RELATIVE (NR) 81 minutes * * Harry (Jonathan Sadowski) would like to have a relationship with Grace (Sara Paxton). While he's trying to work on that, he ends up in bed with another woman... who he later learns is Grace's mother. Played as drama rather than comedy, the dance around the truth gets tedious until it is finally revealed.
ALL ROADS LEAD HOME (PG) 108 minutes * * The accident that killed Belle's (Vivien Cardone) mother has left her feeling lost. Her father (Jason London) feels guilty, and her grandfather (Peter Coyote) is still angry. As Belle acts out her feelings, her father thinks that staying out at the farm with her grandfather will help them both. Of course, they all have lessons to learn and steps to take to move past the grief they are feeling. The script is a bit on the simple side, though the performances are sincere. Aimed primarily at the pre-teen crowd. PG for language.
ALL SAINTS CHRISTMAS (NR) 83 minutes * * 1/2 A candid picture of Lisette (Ledisi) and her ex is mistaken as the announcement of their engagement. It doesn't help when her family insists that her "fiance" comes home with her for Christmas. But, her career hasn't been doing all that well, and the publicity could help her improve things on that front.
ALL SHE WANTS FOR CHRISTMAS (NR) 91 minutes * * Noelle (Monica Keena) works for a Christmas ornament company that is about to be closed. How can she save the store? And what about that new guy in town? Mildly entertaining holiday story with reasonable performances, though there's little imagination or originality to the story. Not rated, but suitable for families.
ALL SHE WISHES (NR) 84 minutes * 1/2 Sophie's (Lexi Giovagnoli) birthday present from her grandmother is quite special. But all it takes is one wish to create quite a few complications. Aimed at the tween crowd, but despite some charming work by Calum Worthy in the co-starring role, this just doesn't work very well.
ALL-STAR SUPERMAN (PG) 73 minutes * * 1/2 Over-exposure to the sun's energy is killing Superman. But as he's completing one last mission, other Kryptonians show up on Earth. He also has to deal with Lex Luthor (as always), an energy consuming parasite, and more. It's all in a day's work for Superman. The story is a bit unfocused early on, with too many competing storylines, but it manages to finish well, though we're never really in any doubt about how it will end. PG for violence and language.
ALL STARS (PG) 98 minutes * * 1/2 A group of youth in London come together to save a local community center that's about to be demolished. The plot is far from original, but the script is imaginative and fun, which adds a little life to the "kids save their favorite place" story. PG for language.
ALL SUMMER LONG (NR) 84 minutes * * It's going to be a long summer for Tia (Autumn Reeser) and Jake (Brennan Elliott). She's taking a break from being a lawyer to captain a boat. He just got hired as the chef on that same boat. They went through a bad breakup, and now they will be in close quarters for the whole summer. The story is a bit thin here, even for a Hallmark movie.
ALL SUMMERS END (NR) 82 minutes * * 1/2 Conrad (Tye Sheridan) is beginning to prefer the company of Grace (Kaitlyn Dever) to that of his longtime buddies. But just as those feelings are intensifying, tragedy strikes in a way that complicates things. Heartfelt performances from the cast do a nice job of helping a somewhat tired story.
ALL THAT MATTERS (NR) 79 minutes * 1/2 His dream is to be a travel blogger, but Jay (Christopher A. Martin) is "stuck" in his job working for an insurance company. His girlfriend has a big opportunity at work, but it's going to involve a completely different track than Jay wants to be on. The script is very heavy on dialogue, and not always very well written. The film starts well, and makes some good points, but begins to lose steam at around the halfway point.
ALL THE BOYS LOVE MANDY LANE (R) 86 minutes * Mandy (Amber Heard) matured quite a bit over the summer, so all of the guys want her to be at the party. But the secluded ranch where the party is taking place is becoming littered with corpses. The action is very minimal through most of the film, with most of the suspense and horror happening in the last 15-20 minutes. The characters are shallow stereotypes, not very well performed, which is at odds with the very artistic and suspenseful soundtrack by Mark Shulz. R for violence, sex, and language.
ALL THE CREATURES WERE STIRRING (NR) 76 minutes * * 1/2 It's all about Christmas in this macabre collection of holiday horror. A very nice collection of creepy stories. The connecting material is strange and somewhat less appealing... until the end. Most anthology horror films don't work very well. This one does better than most, which is a pleasant surprise.
ALL THE DEVIL'S MEN (R) 93 minutes * 1/2 Once a Navy SEAL, Collins (Mel Gibson) is now a bounty hunter. His latest job will put him up against dangerous villains and old friends, while he tries to save the world. It looks good, but the characters are shallow and the story is very tired. Lots of gunfire, but not much else. R for violence and language.
ALL THE KING'S MEN (2006) (PG-13) 121 minutes * * * Sean Penn stars in this adaptation of the Robert Penn Warren novel, filmed before in 1949 and 1958. Although this film is unlikely to get the same sort of accolades as the 1949 version with Broderick Crawford, it is quite good on its own. Willie (Penn) is a man of integrity who finds himself running for Governor of Louisiana. A true man of the people, he wins, but finds his hands tied by the rest of the political machine. There's a price to pay for having power, and a price to pay to keep it. Filmed in Louisiana. PG-13 for language and violence.
ALL THE MARBLES (R) 110 minutes * * * Harry (Peter Falk) manages Iris (Vicki Frederick) and Molly (Laurene Landon). They are the California Dolls, a wrestling tag team. They’re careers aren’t doing all that well, but it’s what they love to do. Light-hearted, energetic fun with a touch of the sentimental.
ALL THE MONEY IN THE WORLD (R) 128 minutes * * * The first billionaire, John Paul Getty (Christopher Plummer) was not known for sharing his money, or for spending it unwisely. When his grandson is kidnapped and held for ransom, he's not convinced that he should pay anything. What he does is hire Fletcher Chase (Mark Wahlberg) to deal with the situation. It's not a pretty portrait of Getty, but nice work by Plummer and Michelle Williams. R for language and violence.
ALL THE PRETTY HORSES (PG-13) 112 minutes * * 1/2 John Cole (Matt Damon) thought he was going to run the ranch after his father dies, but his mother has other plans. So John and a friend head off to Mexico, where they find themselves working on the biggest ranch in the country. The rules are a little different though, and things begin to get complicated when John falls in love with Alejandra (Penelope Cruz), the ranch owner's daughter. The story takes its time telling us about John's journey to manhood, and takes a few side trips that aren't realyl necessary. It has the right look, but rings hollow. The chemistry we need to see between Damon and Cruz isn't there, but the script doesn't give it much of a chance anyway. PG-13 for language and violence.
ALL THE RIGHT MOVES (R) 87 minutes * * * There’s not much left for anyone in this Pennsylvania town, but Stefen (Tom Cruise) is determined to use his skills on the football field to get a scholarship and get out. The ending is not a crowd-pleaser, but it’s a well-told story with a cast that works hard to make it feel real. R for sex, language, and violence.
ALL THE WAY (NR) 128 minutes * * * A chronicle of Lyndon Baines Johnson's first year as president of the United States. While the nation mourns the loss of John F. Kennedy, Johnson works to pass the Civil Rights bill. Great work by Bryan Cranston, but the supporting cast creates a vivid background for him to play against. Great makeup!
ALL THE WILDERNESS (NR) 72 minutes * * Dealin with the death of his father has left James (Kodi Smit-McPhee) feeling disconnected and uncertain about life. Smit-McPhee does a nice job, but the script and direction are a little weak and lac an intensity and depth that would have made this a stronger film. It does get a little better toward the end.
ALL THE WORLD IS SLEEPING (NR) 105 minutes * * * Life has not been easy for Chama (Melissa Barrera). Her drug addiction is getting worse, and she may lose her daughter. That's motivation to kick the habit, but resources are slim and the path is steep. Good drama, and the image near the end of the hills of sand is very fitting.
ALL THINGS FALL APART (R) 107 minutes * * A rising football star (Deon, portrayed by 50 Cent) is diagnosed with cancer near the end of his college career. The performances are reasonably good here, but the emotions seem muted, keeping us from connecting very deeply with the characters. Some of this is the fault of the script, but the rest is direction. R for language.
ALL THINGS MUST PASS (NR) 93 minutes * * * From its humble beginnings as part of a drug store in a small town, to its heights as a 200 store force in the music business... this is Tower Records. At first selling used jukebox records and working their way to having the largest inventory of recorded music, their selection was like no other. Changing formats and price wars as other retailers entered the business turned the tide and rapidly took the wind out of the sails of the entire music retail business. Tower was no exception, they were merely the biggest to fall.
ALL THINGS TO ALL MEN (NR) 82 minutes * * 1/2 Low-key but interesting story of a thief caught between opposing forces in the London crime world. The performances here are steady and good, but the low energy of the story tends to slow the pace down a little too much.
ALL THINGS VALENTINE (NR) 83 minutes * * 1/2 An advice columnist is asked to write a series of articles on her least favorite holiday, Valentine's Day. An outspoken critic of her advice and her suggestions on how to celebrate the holiday ends up being the guy she has just started dating. A Hallmark romantic commedy with predictable results.
ALL TOGETHER (NR) 92 minutes * * * 1/2 Five friends with various concerns around aging decide to live together so that they can take care of each other. The arrangement does make some things easier to deal with, but others continute to be difficult, just in different ways. Humorous and touching, with excellent performances all around from a great ensemble cast that includes Jane Fonda and Geraldine Chaplin.
ALL WIFED OUT (NR) 80 minutes 1/2 A "last night" on the town with his friends before Jimmy (Scott Rodgers) decides whether to move in with his girlfriend or not. A couple of the supporting roles here actually show a tiny bit of talent, but the main cast and the script drag this down very quickly and never give this a chance.
ALLAN QUARTERMAIN AND THE LOST CITY OF GOLD (PG) 96 minutes * * This follow-up to “King Solomon’s Mines” features Richard Chamberlain returning to the role of Allan Quartermain on an adventure to find his brother, who is lost in the wilderness of Africa. Sharon Stone reprises her role as Jessie Husten, which is nice, but the music seems to be the same as the first film too, and the jokes are a little less funny here. PG for violence and language.
ALLEGED (NR) 89 minutes * * 1/2 A look at the Scopes trial through the eyes of the small town reporter who had no idea that the story would become so well known. He also didn't realize that he would be expected by some to portray his friends and neighbors in a less than positive light. The trial is really more the setting here than the focus, with the relationship between Charles (Nathan West) and Rose (Ashley Johnson) clearly in the forefront. Not bad for what it is, which is a romance with a simplified and romanticized version of the trial as a backdrop.
ALLEGIANT (PG-13) 109 minutes * * Nice third chapter in the series, but it won't make much sense if you haven't seen the other two. It's also a slower paced portion of the story, and that lower level of energy won't help if you don't already like the characters. PG-13 for violence and nudity.
ALLEGORIA (NR) 65 minutes * 1/2 A variety of artists discover that the horrors of their minds are real. It's a collection of five short films. The stories are separate, but do start connecting with each other, so it's not strictly an anthology film, though it does have that style. Writer/director Spider One is the younger brother of Rob Zombie.
ALLELUIA (NR) 83 minutes * * 1/2 Michel (Laurent Lucas) seduces women in order to take financial advantage of them. Gloria's (Lola Duenas) response is different from most, and they become accomplices. But Gloria's possessive nature is making it somewhat difficult for Michel. Creepy, but it doesn't get far enough into the characters to be all that interesting.
ALLIED (R) 117 minutes * * 1/2 During the early days of WWII, two people meet. He's a Canadian intelligence officer, and she's a French resistance fighter. They marry. And then he learns that she may be hiding a very dangerous secret. Marion Cotillard is good here, but Brad Pitt seems rather disconnected. R for violence, sex, and language.
THE ALLNIGHTER (PG-13) 98 minutes BOMB The ultimate party film... as in, you can turn it on and no one would care that they weren't actually watching it. No plot, lousy photography, barely adequate music, and pathetic dialogue. Tamar Simon Hoffs directed her daughter Susanna in this, and it looks like they shot it in their basement.
ALL’S FAIR IN LOVE AND ADVERTISING (NR) 86 minutes * * When the ad agency that Tom (Steven Weber) works for is sold, he soon finds himself out of work, labeled as “old and irrelevant". But he’s not about to let that stop him. Cute Hallmark TV movie fluff, and Weber knows how to make this sort of script work as well as it can.
ALLURE (NR) 101 minutes * * 1/2 Working as a house cleaner, Laura (Evan Rachel Wood) stars work at a new house where she meets Eva (Julia Sarah Stone). They become friends, and when Eva is frustrated by the way things are going at home, Laura offers her a place to stay. But Laura is damaged and manipulative, leaving Eva trapped in a situation that is even worse. Nice work by both Wood and Stone in this emotional story.
ALMA'S RAINBOW (NR) 83 minutes * * Her life is beginning to change. Alma (Kim Weston-Moran) is growing up. This is her story, filled with many strong women from whom she learned much. As much as she learned, she also taught, because learning is possible at any age if you're open to the possibility. Although written for the screen, this has the feel of a stage to screen adaptation.
ALMIGHTY THOR (NR) 88 minutes BOMB Half-hearted attempt by Asylum studios to cash in on the popularity of this character thanks to the Marvel franchise. The approach is more classic, and far less fun, with CGI effects that are almost as bad as the dialogue and acting. Richard Grieco has sunk to a new low.
ALMOST AN ANGEL (PG) 92 minutes * * Paul Hogan plays an ex-convict who decides to go straight after nearly dying. The story has quite a few holes in it and Hogan's charm, isn't enough to cover them up. It's mildly entertaining, but mostly forgettable. PG for language.
ALMOST CHRISTMAS (PG-13) 107 minutes * * 1/2 The first Christmas without their mother around is going to be difficult for this family. They are more than a little dysfunctional, and she used to hold things together, at least for the most part. Wonderful cast, featuring Gabrielle Union, Mo'Nique, Kimberly Elise, Omar Epps, Romany Malko, Danny Glover, and more. PG-13 for language.
ALMOST FAMOUS (R) 117 minutes * * * It's 1973, he's 15 years old, and he's going on the road with a rock band. Director Cameron Crowe lived this story and does a fine job of bringing it to the screen. Of course it's been romanticized here and there, but the heart of this film is evident. We watch as the lines blur between groupie and critic, innocence and experience, and between the heart of rock & roll and the "death" it experienced due to over-commercialization. William Miller (Patrick Fugit) plays the part of the young man modeled after Crowe, but it's Penny Lane (Kate Hudson) that we'll remember the most. She's a gem to watch and the part is a perfect fit. Frances McDormand, Jason Lee, Fairuza Balk, Anna Paquin, and Philip Seymour Hoffman are featured as well. R for language and nudity.
ALMOST FRIENDS (NR) 98 minutes * * 1/2 Charlie (Freddie Highmore) has a bad crush on Amber (Odeya Rush). But she already has a boyfriend. Still, feelings being what they are and all... he's not quite ready to give up. Likeable characters and good performances make this worth a look, but the script and direction are both a little awkward.
ALMOST HEROES (PG-13) 86 minutes * 1/2 Chris Farley died before this film was completed, but that isn't really noticeable. What is evident is the importance that David Spade played in Farley's comic routines. Without Spade, Farley's humor has little to resonate with and the film gets tedious rather quickly. Matthew Perry seems very out of place here and the only person worth watching is Lisa Barbuscia. PG-13 for language, violence, and nudity.
ALMOST HOME (NR) 68 minutes 1/2 Rachel (Bella Mancuso) isn't supposed to leave the house, but her grandfather just wants to go for a walk. Despite the good message here, the film really drags. The script is very poorly written, with dialogue feeling very forced and most of the performances show little emotion despite the focus of the story, which carries quite a bit of emotion.
ALMOST HUMAN (NR) 71 minutes BOMB When his friend disappeared two years ago, Seth (Graham Skipper) was the last person to see him. His explanation for his friend's disappearance is that it was aliens. It would now seem that Mark (Josh Ethier) is back... but something has changed. Sure, the special effects are cheap, but the story is barely there, despite how long and drawn out this feels. Writer, producer, director, and cinematographer Joe Begos clearly needed some help with this.
ALOFT (R) 90 minutes * * * Meeting her son after leaving him twenty years ago, Nana (Jennifer Connelly) struggles with how to relate to him. The film tries to fill the gap by moving back and forth between past and present, but struggles to keep the story moving forward. Starts slowly, but strong performances help this create a deep and meaningful finish. R for language and sex.
ALOHA (PG-13) 99 minutes * * * The tropical paradise of Hawaii is the setting for Brian (Bradley Cooper) to reconnect with an old flame, while unaware that he is slowly falling for Allison (Emma Stone). The story is a little heavy on manipulative formula, but there's plenty of character to go around, with some nice comic touches as well as more emotional moments. Beautiful scenery. PG-13 for language.
ALOIS NEBEL (NR) 76 minutes * * * Nebel is a train dispatcher who keeps to himself and lives a quiet life. When a stranger who doesn't speak turns up one day, Nebel finds himself being drawn into a mystery. The black and white animation suits the mood of the film nicely, adding to the dark and depressing nature of this post WWII story. But even so, there are moments of light. Nicely done!
ALONE (R) 94 minutes * 1/2 When Jessica (Jules Willcox) decides to move, she's not expecting any real problems. Especially not being kidnapped. Jessica seems to make more than her fair share of bad decisions, and "the man" (Mark Menchaca) seems to be very fortunate in the choices he makes. The music and pacing provide some good tension, despite the predictability of the script. R for violence and language.
ALONE FOR CHRISTMAS (NR) 84 minutes ½ A family’s dog manages to save his home from the criminals who try to rob it while they are gone for the holidays. Poorly written and poorly directed holiday film with talking dogs that is a rather blatant rip-off of “Home Alone".
ALONE IN BERLIN (R) 96 minutes * * 1/2 When the Quangels lose their son in the war, their feelings about supporting it change. They begin their own little resistance movement, distributing postcards with notes that express opposition to Hitler and the Nazi party. Good drama, but it tends to shy away from ever getting too intense despite the struggle the Quangels face. R for violence.
ALONE IN THE DARK (R) 86 minutes * * When the power goes out at a mental hospital goes out, four psychopaths break out and track down their doctor. They have a house call of their own they want to pay. Great cast (Jack Palance, Martin Landau, Donald Pleasance), but the story just doesn’t really deliver much. R for violence, language, and sex.
ALONE IN THE DARK (2005) (R) 90 minutes * The doorway between light and dark was opened and something evil slipped through. Yes, there is a reason to be scared of the dark. It's because they might be showing a movie like this one. Adapted from the Atari video game... OK, that was your first clue... the next clue is the really long narrated opening that lets you know there was another 15-20 minutes of film that they must have decided they didn't have enough money to film. This does have some nice special effects, but little else. Too much of the story seems like it was reworked from other sources that we've already seen before. R for violence.
ALONG CAME A SPIDER (R) 94 minutes * * * This adaptation of James Patterson's novel is about a kidnapper with visions of grandeur invites Alex Cross to try his luck at cracking the case. But with Cross on the case, things just might not go as planned. There are some nice plot twists, but Morgan Freeman seems to take things a little too lightly. Monica Potter handles her role nicely and the pace of the film keeps us interested despite how neatly things manage to wrap up toward the end. R for language and violence.
ALONG CAME POLLY (PG-13) 85 minutes * * 1/2 Reuben Feffer (Ben Stiller) has just come out of a relationship and isn't sure he's ready for another one yet, but then along comes Polly... It's a light-hearted look at the risks of being in a relationship, and what taking those risks can do. Stiller really hits the mark here, though working opposite Jennifer Aniston can't hurt. In fact, the rest of the cast, which includes Philip Seymour Hoffman, Debra Messing, and Hank Azaria among others, all deliver solid performances that make this a fun film to watch. The story lets us down a bit as far as developing the characters a bit more, but that won't show up as much if you're watching on video. Nice soundtrack by Theodore Shapiro as well! PG-13 for language and nudity.
ALONG CAME THE DEVIL (NR) 81 minutes * Ashley (Sydney Sweeney) and Jordan (Kyla Deaver) are twins whose father was very abusive. We see a glimpsse of this and then years elapse and Jordan heads off to college. Ashley starts noticing strange things. At this point, the story moves to the demonic possession part, which is more interesting, though offers nothing we haven't seen before. The back story here just isn't very convincing, and though there are a few creepy moments, there just aren't enough.
ALONG WITH THE GODS: THE TWO WORLDS (NR) 134 minutes * * * In the afterlife, judgments happen over the course of the next several weeks to determine if you are worthy of reincarnation. Ja-hong (Tae Hyun-Cha) died an honorable death and will have three guides to help him along the way. (Those who die less honorably may have no guides to help them.) But Ja-hong hasn't done this before and isn't really prepared for what lies ahead. Amazing effects and a fun story, though there are times when it's a little difficult to follow.
ALPHA (PG-13) 89 minutes * * 1/2 When events don't go as expected, Keda (Kodi Smith-McPhee) finds himself separated from the rest of the hunting party and left for dead. Not only does he manage to find a way to survive, but he manages to befriend a wolf who is in a similar circumstance. Together, the achieve the unexpected. Beautiful scenery, and nice work by Smit-McPhee.PG-13 for violence.
ALPHA AND OMEGA (PG) 79 minutes * 1/2 Kate (voiced by Hayden Panettiere) is an alpha wolf and Humphrey (voiced by Justin Long) is an omega. The custom of the pack dictates that they can only be friends, nothing more. But nature has other plans when they end up getting trapped and transported to a new location. The journey home will create a bond that they didn't expect. Mediocre animation, with wolves that look fuzzy rather than furry, and just lower quality in general. The language here is a bit rough as well, giving this what I'd call a "hard" PG, and there's a fair amount of "natural" violence as well.
ALPHA DOG (R) 108 minutes * * * Johnny Truelove (Emile Hirsch) deals in drugs. When he isn't paid, he gets upset. Jake isn't sure how he's going to get the money he owes Johnny, and it gets worse when Johnny kidnaps his little brother. But posturing and violence only creates more of the same. Well-acted and violent story, based on the life of Jesse James Hollywood, one of the youngest men on the FBI's most wanted list. R for language, violence, and sex.
THE ALPINES (NR) 92 minutes * 1/2 These seven friends all received invitations to a reunion weekend at a cabin. From each other. But none of them were the ones who sent the invitations. It takes no time at all before their negative qualities surface and we no longer care much about what happens to any of them.
ALREADY GONE (NR) 88 minutes * * Robinson (Tyler Dean Flores) just can;t deal with life at home anymore, mostly because of his abusive step-father. He decides to leave, and to take his step-father's girlfriend (Justine Skye) along with him. They have no real idea of where they are going. Much like its main character, the film wanders without much direction, though in many ways, that is really the point of the story.
ALREADY TOMORROW IN HONG KONG (NR) 74 minutes * * * He's from New York. She's from Los Angeles. They are both in Hong Kong, but for different reasons. Their connection is almost instantaneous, but they are both already in relationships. (His girlfriend is there, her boyfriend is back in LA.) A year later, they meet in Hong Kong again, but nothing much has changed. Or has it? Very brave ending that most will find very frustrating, but which fits the story very well.
ALTER EGO (NR) 64 minutes * He’s sure that someone is out to get him. And not just anyone. Alan Schaeffer (Dylan Walsh) is a writer. A character he created has made him quite a bit of money. Ivan Tannier is a really bad man. But he’s just a creation of Alan’s mind… or is he? The story boxes itself in far to quickly, though it might have made a nice anthology TV series piece. Don’t be fooled by the longer running times some sites list. There are almost a full ten minutes of credits here!
ALTERSCAPE (NR) 89 minutes * Feeling there is no way out of his depression, Sam (Charles Baker) jumps out of a window. But it turns out that there was indeed another option. Dr. Loro (Michael Ironside) has perfected a way to control how the mind deals with emotions. Sam's failed suicide attempt will make the perfect test subject, and it turns out that he has some special abilities that are about to be opened up. The film relies heavily on special effects, but gets so wrapped up in them that the story gets a little lost. The acting isn't great, but could've worked with a better script.
ALTIPLANO (NR) 102 minutes * * * When a villager in the remote, mountainous region of Peru dies from mercury poisoning, it's attributed to doctors from the outside, whose modern ways are bringing a curse upon the people. But modern science brings miracles as well as curses, and the clash of old and new has much to teach those from both worlds. A truly beautiful piece of film, with much of the latter part almost completely without dialogue.
ALTITUDE (R) 83 minutes 1/2 A thief trying to escape from a hijacked airplane hopes to get assistance from an FBI agent (Denise Richards) on the plane. Very poorly choreographed fight scenes, and disappointing work by Dolph Lundgren, who mostly smirks and doesn't really say or do much of anything. Richards tries, but she really isn't equipped to carry a film, especially one that isn't written well. Silly ending. R for language and violence.
ALVIN AND THE CHIPMUNKS (PG) 86 minutes * * Live action and animation mix version of the classic cartoon about those adorable and annoying singing chipmunks. Very nice animation work in this family film, but unfortunate that more of the songs by The Chipmunks weren't included. It's mostly for the age 6-10 crowd, but it's not bad for the rest of us either. PG for language.
ALVIN AND THE CHIPMUNKS: CHIPWRECKED (G) 79 minutes * 1/2 As you might suspect from the title, the Chipmunks are on a cruise ship when Alvin's antics get them stranded on an island. Lots of partially developed subplots here, and less fun than either of the first two films.
ALVIN AND THE CHIPMUNKS: THE ROAD CHIP (PG) 85 minutes * * 1/2 The Chipmunks take a trip to Miami to stop Dave from getting married. Of course, they discover that it might not be a bad thing after all. Packed with music (40 songs listed in the credits), and typical chipmunk fun. PG for language.
ALVIN AND THE CHIPMUNKS: THE SQUEAKQUEL (PG) 81 minutes * * Thanks to Alvin, Dave is in the hospital and the chipmunks are now in the care of Dave's rather irresponsible cousin Toby (Zachary Levi). They end up in a competition against the brand new talent discovered by their agent, The Chippettes! Great to see Wendie Malick and Zachary Levi working together! And, not that you'll recognize the voices, but the Chippettes are voiced by Amy Poehler, Anna Faris, and Christina Applegate. PG for language.
ALWAYS (PG) 115 minutes * * * 1/2 Romance, suspense, mystery... beautiful photography, great music from John Williams, superb acting by Holly Hunter... and Steven Spielberg as the director. Richard Dreyfuss is a bit off at times, but it may well be because of the strength of Hunter's performance. It's a film that's full of wonderful insights and quotable lines about the importance of being able to let go of what you love. Spielberg has always enjoyed exploring the unknown with his films. This time around, he mixes that with romance and just a touch or two of humor. It's what Spielberg does best... he creates a world and shows us a piece of it. A piece of himself that touches cords of truth within each of us. A reminder that encourages us to dream and to do what we can to keep those dreams alive.
ALWAYS AMORE (NR) 83 minutes * * * He's quite good at his job, but Ben (Tyler Hynes) isn't always appreciated, at least not at first. He's a restaurant consultant, and his latest job involves the restaurant owned by Elizabeth (Autumn Reeser). She doesn't want to change the vision of her late husband, but the restaurant is struggling. Good story and great chemistry between Reeser and Hynes. Really nice supporting work by Patty McCormack and Erica Tremblay.
ALWAYS AND FOREVER (PG-13) 96 minutes * 1/2 Four young girls make a pact to never let anything stand between them. Years later, they are drawn together by death. The remaining three are being stalked. The reason, and the identity of the stalker is something they need to work together to uncover. A couple of twists, but the biggest problem is that as the protagonist, Nicole (Cynthia Addai-Robinson) just isn't very likeable. PG-13 for violence and language.
ALWAYS SHINE (NR) 83 minutes * 1/2 Two friends head off to Big Sur for a weekend with the intended purpose of reconnecting with each other. They have drifted apart due in no small part to their constant competition with each other. This just never really gets where it needs to go, and then delivers a rather strange ending.
AMADEUS (R) 154 minutes * * * * The life story of classical composer Wolfgang Amadeus Mozart as told by his long-time rival Antonio Salieri (F. Murray Abraham). Adapted from the highly successful Broadway play, this managed to get a few awards of its own, including eight Academy awards for best picture, director, costumes, screenplay, actor, and more. A fine adaptation that expands on the stage production very well. And don't think that you need to be familiar with Mozart's work or even classical music in general. It's a dramatic and powerful production with a story that is both intriguing and passionate. R for nudity.
AMADOR (NR) 108 minutes * * * 1/2 When Marcela (Magaly Solier) begins to take care of Amador (Celso Bugallo), she has no idea how much she'll learn from the experience. Difficult decisions lie just around the corner, but Marcela will do what she must. A heartwrenching and touching performance by Solier in this wonderful film.
AMANDA & JACK GO GLAMPING (NR) 87 minutes * * It's not just their marriage that is going through a rough spot, Jack's (David Arquette) is too. Maybe this camping trip will improve both, Or maybe not... The supporting characters are actually more interesting than the leads here, but unfortunately, we don't get to know them very well. Arquette has never been a particularly strong actor, and trying to carry this film as the script asks, is just a little too much.
THE AMATEUR (R) 110 minutes * * ½ A cryptographer for the CIA, Charles Heller (John Savage) blackmails the CIA into training him as an assassin and sending him on a mission where he can avenge the death of his wife. Of course there are a few twists and turns, and the story, adapted from Robert Littell’s novel, is good. The acting is not. R for violence, nudity, and language.
THE AMATEURS (R) 93 minutes * * Andy (Jeff Bridges) sometimes has ideas come to him. They are often projects that just never work out. His latest brainstorm is about how he could make more money. Making a pornographic movie sounds like a great idea. And there are plenty of people in town who are willing to help... or are they? A stellar cast does what they can with a rather silly idea that just isn't written very well. It's a pleasant diversion, but the cast deserved better, and so do we. R for sex and language.
THE AMAZING CATFISH (NR) 89 minutes * * ½ A slice of life piece about two women who form a bond after meeting in a hospital. Martha (Lisa Owen) invites Claudia (Ximena Ayala) to live with her family, and Claudia, in turn, becomes a second mother to Martha’s children. The story starts slowly, but gets better as it progresses, working into an interesting tale about these two women and their intertwined lives.
AMAZING GRACE (PG) 113 minutes * * * Historical drama that follows the work of William Wilberforce (Ioan Gruffudd) and his friendship with John Newton (Albert Finney) Wilberforce was clearly affected by the words and work of Newton, especially the words to the now famous hymn. The film moves somewhat awkwardly between past and present, but is otherwise a fine historical film with solid performances by all. Also starring Michael Gambon, Cieran Hinds, and Rufus Sewell. PG for language and violence.
THE AMAZING PANDA ADVENTURE (PG) 80 minutes * Another "boy and animal" story with beautiful scenery, and very poor special effects. From the very start, Ryan Slater (Christian's little brother) gives us no indication of acting skills. It only gets worse as we settle into the formula story that doesn't even give us the emotional tug on our heart at the end. Very disappointing.
AMAZING RACER (PG) 88 minutes * * After her father dies, Shannon (Julianne Michelle) learns that the mother she thought had died during childbirth is actually still alive. For her part, Shannon’s mother never knew that the baby survived. Now, they need to find a way to get to know each other. Based on a true story by John Mowad, this relies very heavily on Michelle’s performance, which just isn’t strong enough to carry the film. Most of the supporting roles fare a little better, but not by much. PG for language.
THE AMAZING SPIDER-MAN (PG-13) 128 minutes * * * Andrew Garfield stars as the web-slinger in this reboot of the Marvel franchise. A little faster pace and sharper dialogue along with the strong casting of Emma Stone as Gwen Stacy work quite nicely. The story also does a very nice job of developing the villain, The Lizard (Rhys Ifans), which is key to any hero's story. The CGI effects aren't quite as seemless as they should be, but the exciting story goes a long way to make up for it. PG-13 for violence.
THE AMAZING SPIDER-MAN 2 (PG-13) 133 minutes * * 1/2 The story here is definitely geared to those who already know Spidy and some of his backstory, with assumptions made about the Green Goblin and hints about other villains that may show up in future films. Electro does work nicely here, with good effects and a strong story arc for his character. The slow-motion action shots are overdone, and the CGI effects in the scenes with Spider-man still aren't as sharp as the rest. PG-13 for violence.
AMAZING WINTER ROMANCE (NR) 82 minutes * * 1/2 Heading back home for some fresh inspiration for her latest article, Julia (Jessy Schram) doesn't know that seeing her childhood pal Nate (Marshall Williams) is going to mean as much to her as it does. Very nice supporting work from Zoe Fish as Nate's niece Ava.
AMAZONIA (G) 78 minutes * * 1/2 Told through the eyes of Sai, a capuchin monkey. He was born in captivity, but when the plane he is on is forced to land in the Brazilian rainforest known as the Amazon, he will learn much about the world that he never knew. The manufactured story isn;t the best, but the photography of the rainforest is gorgeous.
THE AMBASSADOR (NR) 95 minutes * * *Director Mads Brugger masquerades as a consul for the Central African Republic. Or at least he tries to. His goal is to get a closer look at the blood diamond market and with any luck actually return home with a few of them in his pocket. A bit unusual and not without a little humor in spots, though some is probably a bit unintentional.
AMBER ALERT (R) 74 minutes ½ Seeing a car that fits the description of an amber alert, some friends decide to follow and investigate. This is another of those “found footage" films, though the idea is barely believable, but at least the camera is fairly steady. Much of the footage is repetitive, the dialogue is annoying, and the action is not very realistic. R for violence and language.
AMBITION (R) 95 minutes * * 1/2 Lou Diamond Phillips wrote the screenplay for this sympathetic tale of a psychopathic killer. It's a dangerous game, to play with the mind of a psychopath who isn't confined... dangerous and cruel. It's an interesting approach that works, in part, due to a solid performance from Clancy Brown. R for violence and language.
AMBITION (2019) (NR) 81 minutes * Jude (Katherine Hughes) has begun to wonder if she has what it takes to be the musician she wants to be. What makes that questioning even more problematic is that people around her are dying. She's afraid that she might be next. (Or there might be another explanation, but it's not very convincing.)
AMBULANCE (R) 134 minutes * * * Danny's (Jake Gyllenhaal) life has always been about the next bak job. His brother (Yahya Abdul-Mateen II) has focused more on honor and honesty. Circumstances have forced the current situation, but this may be the one job Danny doesn;t walk away from, and Will is right in the middle of it. Strong supprt from Eiza Gonzalez and a fun supporting role for Olivia Stambouliah in this action film from director Michael Bay. R for violence and language.
AMBUSH AT DARK CANYON (R) 93 minutes * * Accused of bank robbery, Marshall Donovan (Kix Brooks) has to break free to prove his innocence and save his wife. The bulk of the film is an extended flashback, which tends to undermine any suspense factor this might have had. There are a couple of nice gunfights, but the story drags with too much over-played drama and not much action, especially considering the way the characters are introduced. R for violence, language, and sex.
AMBUSHED (R) 95 minutes * Drug crimes and undercover agents, with Dolph Lundgren and Vinnie Jones pitted against each other. Plenty of over-acting and far too many obviously low budget props, sets, costumes, and one-liners. And that doesn't even count that the story doesn't really answer most of the questions we have when it ends. R for violence, language, and sex.
AMELIA (PG) 106 minutes * * 1/2 Bio-pic about Amelia Earhart (Hilary Swank), focusing on her flying career and her relationship with George Putnam (Richard Gere). Swank does a nice job, but Gere, Ewan MacGregor, and the rest of the cast seem more like an afterthought than an integral part of the film or her life. Perhaps the idea is that Earhart's romance was with the skies, but we're missing the passion in that part of the story here. PG for language.
AMELIA 2.0 (NR) 85 minutes * * With his wife slowly dying due to a brain aneurysm, Carter (Ben Whitehair) decides to have her undergo a unique new procedure. It will transfer her memories into a new, synthetic body. But is it still her? The story is mostly drawn in very broad strokes, bringing up numerous questions that it often barely addresses. The acting is mediocre and the sound quality rather poor, but there are some very good scenes, and there are some interesting possibilites that it does spend some time on.
AMERICA BETRAYED (NR) 91 minutes * * 1/2 Scathing indictment of the Army Corps of Engineers and their responsibility for the devastation during and after Hurricane Katrina. Beyond just blaming, the film examines corruption within and around the Corps and their involvement in other projects.
AMERICA HAS FALLEN (NR) 92 minutes 1/2 The phone number that this attractive stranger gives Ryan (Tom Getty) to call is not her number. Instead, it detonates a bomb, killing dozens of innocent people. Now, he has to track down those responsible before he gets caught by the authorities. The story tries desperately to be suspenseful and intricate, but only succeeds in being confusing and unbelievable.
AMERICA THE BEAUTIFUL (R) 101 minutes * * 1/2 Documentary look at the culture of beauty in the United States. The film focuses on the brief career of one young (12-year-old) model, but covers a variety of related areas. Commercial image, health, cost, changing trends... it's a fascinating look, though rather brief and sometimes not very thorough in its coverage. R for language.
THE AMERICAN (R) 99 minutes * * * With his cover blown, Jack (George Clooney) leaves Sweden and heads to Italy to meet with someone who can help. But who can he trust? This is an espionage thriller, but not like most you will see in this genre. The story and performances are more low-key, with an emphasis on style rather than action. Director Anton Corbijn has been better known for his work on the videos of Depeche Mode and U2, but the style works here as well. Adapted rfom Martin Booth's novel, "A Very Private Gentleman". R for sex and violence.
AMERICAN ANIMALS (R) 112 minutes * * * Four college students who are looking to make their mark on the world become fascinated with the rare book collection at the library. With interviews from the people who actuallt committed the crime, this is a rare and interesting look at a very unusual crime. It's also a story that leaves you wondering very sincerely... why would they do it? R for language and sex.
AMERICAN ANTHEM (PG-13) 101 minutes * After breaking his arm, Steve (Mitchell Gaylord) decides to give up both football and gymnastics. Until he meets Julie (Janet Jones). The acrobatics footage is well-done, but the story and the editing are both very weak. The competitive scenes are very lopsided, showing very little of anything but the two stars. Gaylord was a gold-medal gymnast on the US Olympic team just a couple of years before this film was released.
AMERICAN ASSASSIN (R) 103 minutes * * * Seeking vengeance for the death of his girlfriend, Mitch (Dylan O'Brien) slides deeper and deeper into the world of counterterrorism. The film has a rough start, but does build nicely after a bit. The action is well-paced, and the performances are mostly convincing. Adapted from the book by Vince Flynn. R for violence, language, and nudity.
AMERICAN BAD BOY (R) 94 minutes * Samuel (Antoine Cleveland) has to pay off a loan fast. The quickest way to earn that money seems to be working in a strip club. But his sweet, caring girlfriend, and his minister/father better not find out what he's doing. Not a great story, and the performances don't have much depth or feature much skill. R for sex and language.
AMERICAN BADGER (NR) 77 minutes * 1/2 Known by the codename "Badger", Dean (Kirk Caouette) is a hired killer. His latest job is to find out some information from a call girl (Andrea Stefancikova). He finds himself getting too close to her and wanting to help her. That means going against his own boss as well as hers. Caouette is better known for his stunt work, but he writes, directs, and stars in this film. It's a bit much, and the script could definitely have used some work. There's too much narration, and the direction isn't very strong either. The acting isn't bad, and there are some very intense and violetn actionsequences that work very well.
AMERICAN BEACH HOUSE (NR) 88 minutes 1/2 Six random strangers win a contest where they get to spend time at a beautiful beach house in Malibu, California. It's a sort of parody of some reality shows with the focus here being on the competition between the males and the females. Once in awhile, Lorenzo Lamas or Mischa Barton drop in. The script and acting are both very lightweight. The film tries to go a little deeper at the end, but it just isn't convincing.
AMERICAN BEAUTY (R) 116 minutes * * * * Incredible characters! This is the story of a man who has lost interest in life. Lester Burnham (Kevin Spacey) no longer cares about his job, his wife is a highly driven and not all that successful realtor, and his daughter Jane (Thora Birch) is a bit on the typically strange side. And then Lester meets Jane's friend Angela, an American beauty, even if she IS the same age as Jane. Offbeat and boundary pushing, with dialogue that is as sharp as a knife. Spacey is amazing once again, and Bening, Birch and Mena Suvari are perfect in their roles as well. Alan Ball has written a tantalizing script, and those who like their films on the original side will love this one. R for language and sex.
AMERICAN BLACKOUT (NR) 87 minutes * 1/2 When an apparent cyber-attack causes a cascading powergrid failure, the United States is left without power except what can be provided for a short time by generators and batteries. What little story there is tends to be rather monotonous, but there are some interesting ideas and factual bits scattered throughout as this tries to be both drama and documentary, though not really succeeding well at either one.
AMERICAN BRAWLER (NR) 88 minutes 1/2 Teaching martial arts just isn't making enough to pay the bills, so Carlos (Marco Antonio Alvarez) takes to the underground fighting circuit to cover his debts and protect his family. Except for the fight scenes, the performances are pretty lifeless. Poorly produced soundtrack with music that doesn't help the mood or tone of the film.
AMERICAN CARNAGE (R) 96 minutes 1/2 A new executive order puts all of the children of undocumented immigrants in detention. Helping to care for the elderly can improve their situation. But the elderly aren't what they seem. This has some faint connections to "Solent Green", but struggles with an uncertainty of what a good balance might be between drama and comedy. R for violence, language, and nudity.
AN AMERICAN CAROL (PG-13) 77 minutes 1/2 Twisted version of "A Christmas Carol" that lampoons Michael Moore as an anti-American filmmaker who is visited by three ghosts in an attempt to change his mind. Starring Kevin Farley, the younger, and less talented brother of Chris Farley. PG-13 for language.
AMERICAN CONJURING (NR) 83 minutes BOMB It's one thing to move into a fixer-upper, but this used to be an orhanage, and someone apparently hasn't left yet. The story idea doesn't work that well, though there are a few nice sound a music effects. Unfortunately, the idea itself is so weak and poorly developed, that a few good effects don't really make much difference.
AMERICAN COWBOYS VS. ALIENS (NR) 75 minutes BOMB Well, to start off with, let's clarify the title... it's one cowboy and one alien, because the budget was apparently less than most of us have in our wallet the day before payday. Lengthy sequences with little or no dialogue... or plot. Because there wasn't money to pay for that either.
AMERICAN COWSLIP (R) 103 minutes * * Ethan Inglebrink (Ronnie Gene Blevins) has agoraphobia, and a few other problems. Both of his parents are dead, his brother is a law officer who wants to save his soul, his girlfriend is sleeping with half of the town, his neighbor is trying to repossess his house, and his drug habit is getting out of control. But he's determined to win the annual garden competition by growing a beautiful American Cowslip. Strange comedy co-written by Blevins and director Mark David. Interesting at the very least for having Rip Torn, Cloris Leachman, Bruce Dern, Peter Falk, Diane Ladd, and Val Kilmer. R for language and sex.
AN AMERICAN CRIME (R) 88 minutes * * * The story of the brutal beating, torture, and abuse of young Sylvia Likens (Ellen Page) that resulted in her death. Left with a woman her parents barely knew, Sylvia and her sister find themselves part of an abusive and extremely dysfunctional family. The other children in the house and even others eventually participate in the abuse. Catherine Keener's portrayal of Gertrude Baniszewski is not that of a totally evil woman, but rather one whose understanding of right and wrong is twisted. A woman who takes her frustrations out on Sylvia rather than her own children, but eventually denies their testimony in an effort to save herself. Powerful and emotional story that is not for everyone. R for violence and language.
AMERICAN CYBORG: STEEL WARRIOR (R) 91 minutes 1/2 Futuristic action film with an inventive use of sets and some interesting costumes. Of course this is mostly due to creativity that is forced by a low budget... The story is weak and the dialogue is pathetic, but Nicole Hansen manages to rise above it and deliver an adequate performance.
AMERICAN DREAM (R) 79 minutes * 1/2Their project just needs a little more money, but Scott (Luke Bracey) and Nicky (Michiel Huisman) end up talking to Yuri (Nick Stahl) about what they need. The deal seems a little shady right from the start, and so they find another way to get the money they need. Yuri doesn't like it when people go back on their word. Paper-thin story that relies heavily on Stahl's ability to play a villain, which is only moderately successful. R for violence, language, and sex.
AMERICAN DREAMER (R) 90 minutes * * Cam (Jim Gafficgan) is about to make a very bad decision. His money situation is not good, and one of his most reliable sources of income is from a drug dealer who he plays chauffer for. When he decides to try and extort money from said drug dealer, it's obviously not going to end well for anyone. The cast is good, but too much of the story remains hidden for too long. R for violence, sex, and language.
AMERICAN DREAMZ (PG-13) 103 minutes * * 1/2 It's the hottest reality talent show on TV! Making dreams come true has made for a great show, but it involves some... manipulation. This season will have some very interesting contestants, and the final battle will be more thrilling than ever before. Fun parody of "American Idol" with Hugh Grant, Mandy Moore, and Dennis Quaid among others. Nothing stellar here, but worth a few chuckles at the least. PG-13 for language.
AMERICAN DRESSER (NR) 93 minutes * * 1/2 A cross-country motorcycle ride seems like a good way for John (Tom Berenger) to clear his mind after the death of his wife. There will be a few stops along the way to deal with some past issues, and his friend Charlie (Keith David) decides to join him on the trek. Nice road movie, reminding us that the past is what it is. The road ahead is where we can make changes. The character development isn't all that deep, but it's enough to keep the story going.
AMERICAN EXIT (PG-13) 83 minutes * 1/2 Charlie (Dane Cook) doesn't have much time left. He wants to spend some of it with his son. But Leo (Levi Miller) doesn't really know his dad. Trouble follows both of them. The story isn't very convincing, partially because some sizeable pieces of the narrative seem to be missing. PG-13 for violence and language.
AMERICAN FABLE (NR) 93 minutes * * 1/2 In a matter of days, Gitty (Peyton Kennedy) learns two secrets about her family. The secrets conflict with one another, and Gitty is going to have to make a decision soon. It's a bit of an unusual piece, with a strange ending, but is somehow still satisfying. Excellent work by young Kennedy in the lead role.
AMERICAN FARM (NR) 83 minutes * * 1/2 A look at a way of life that is rapidly vanishing. Director James Spione's mother grew up on a dairy farm. While the expectation was for the family to continue to run the farm for decades to come, it's a difficult business, and not something that any of the children or grandchildren seem all that interested in. Home movies, photos, and interviews with various family members tell the story of life the way it was, and how it is now.
AMERICAN FICTION (R) 111 minutes * * * Monk (Jeffrey Wright) is a talented author, who writes quality literature. His books haven't been selling very well though. Maybe he should try his hand as some cheap, crass, popular fiction. After seeing an example of this new style, his agent (John Ortiz) is good with it. It's going to be more successful than either of them expected. A hard-hitting satire on literature, race, and the arts. At the same time, it is also a sensitive drama. Adapted from the book "Erasure" by Percival Everett. R for language and violence.
AMERICAN FIGHTER (R) 92 minutes * * Ali (George Thomas) was hoping that his parents could come to the United States. Instead, his father is now dead and his mother is gravely ill. The money needed to pay for her care is far more than he has. An underground fight club offers a chance for Ali to make the money he needs... if he can survive. The fight scenes are well done, but the rest of the film is very shallow. R for violence.
AMERICAN FRIGHT FEST (NR) 87 minutes * A town that is financially struggling decides to turn their local abandoned asylum into a horror attraction with the help of a horror film director. When a van full of psychotic killers crashes nearby, the opening night of the attraction is going to be more gruesome than expected. It's a good story idea, and there are some fun characters here, but the story gets stuck once the killers enter the asylum. Even more surprisingly, the idea that the asylum could be haunted is almost completely ignored. The ending is alse rather abrupt.
AMERICAN FUSION (PG-13) 91 minutes * Yvonne (Sylvia Chang) is trying to hold her life together, but raising her son and taking care of her mother are tough jobs. When she meets Jose (Esai Morales), he seems like the perfect man, but her strange family just keeps making it worse. There are just too many unlikeable characters here, not the least of which is Yvonne's mother, who even comments about herself that she is highly insensitive and culturally ignorant. If you bother to stick around, it does resolve reasonably well at the end, but it's really not worth the wait. PG-13 for sex and language.
AMERICAN GANGSTER (R) 149 minutes * * * When Bumpy (Clarence Williams III) dies, Frank (Denzel Washington) takes over the business. But Frank plans to run things a bit differently. He's selling drugs that are stronger, but selling them for less... and his business is expanding faster than anyone else can cope with. When the government begins to crack down on the drug business, Frank and Richie (Russell Crowe) are on a collision course. Power can become just as addictive as a drug, and Frank doesn't want to lose the power he has. Dark and brooding film, yet slick and polished like most other Ridley Scott films. Based on the article "Return of the Superfly" by Mark Jacobson. R for language, violence, and nudity.
AN AMERICAN GIRL: CHRISSA STANDS STRONG (NR) 88 minutes * * 1/2 Chrissa (Sammi Hanratty) and her parents have moved to a new town and she's having trouble making new friends. In fact, some of the girls at school are being rather mean. Chrissa learns how to stand up for herself and inspires others to speak out against those who bully. Sweet and sensitively told story with nice performances from the entire cast. Adapted from the American Girl series of books.
AMERICAN GUN (R) 91 minutes * * * One gun is used to kill, but it affects far more than one life. The story traces the lives of those affected, from the families of those killed, to the brother of the shooter, to the principal of the school and the policeman who arrived on the scene. Intensity does vary here, with some scenes being far more emotional than others, but the idea is clear enough. Solid performances all around and a strong ending help make this a film well worth a look. R for violence and language.
AMERICAN HARDCORE: THE HISTORY OF AMERICAN PUNK ROCK 1980-1986 (R) 96 minutes * * 1/2 Documentary history of the American punk rock movement, packed with interview clips and performance footage. Focusing on the hardcore aspect of the movement and its rebellious nature, this manages to give us a strong picture of the history, but it discounts the direction punk rock later took and pays no regard to the British scene and its effect. R for language.
AMERICAN HARMONY (NR) 82 minutes * * 1/2 The International Championships of Barbershop Singing, as we follow four groups and their work to win this vocal competition. There is a bit more than singing involved though, as these performers demonstrate so well. Too bad we don't see more of the competition and some of the connecting material doesn't seem very necessary.
AN AMERICAN HAUNTING (PG-13) 77 minutes * * * Retelling of the Bell Witch haunting, the well-documented story of the unusual events experienced by a family in Tennessee. This version of the story is adapted from the novel "The Bell Witch: An American Haunting" by Brent Monahan and proposes an interesting possible explanation for the events. Despite the explanation, the events themselves are quite creepy and sure to give you a few chills at the least. It's more of an old-fashioned horror story in many ways, and works well thanks to solid performances and a genuinely spooky atmosphere throughout. PG-13 for violence.
AMERICAN HEIST (R) 91 minutes * 1/2 When Frankie (Adrien Brody) and James (Hayden Christensen) got in trouble, Frankie took the fall. While he's on the inside, James has worked to stay on the right side of the law. But once Frankie's out, it all comes tumbling down. Christensen is fairly good here, but Brody is surprisingly unconvincing, and the supporting cast is mostly forgettable. R for violence, language, and sex.
AMERICAN HERO (NR) 83 minutes * 1/2 Melvin (Stephen Dorff) has a special ability, but he uses it mostly to scam people and occasionally to impress girls. He wants to be more responsible, but it just never seems to work. And then he learns something about what it means to use his powers for something more. The story is very incomplete, not just at the end, but really all the way through. Motivations and direction just never give us enough to understand Melvin or those around him very well.
AMERICAN HONEY (R) 160 minutes * * 1/2 Star (Sasha Lane) has no real home, or even much in the way of connection to anyone. She soon finds herself working for a magazine sales crew, but staying with a group who move fast, party hard, and skirt the law is difficult and not like anything she's done before. The relationships are complicated, and navigating that is not something she feels comfortable with, or is even sure she wants. She's looking for someting more, but doesn't really know for sure what that is. Nice character study, but the story tends to wander a little too much. R for sex and language.
AMERICAN HUSTLE (R) 131 minutes * * 1/2 When a con man and his partner are forced to work with an unconventional FBI agent, things are going to get a little rough. Good drama, and a great cast, featuring Christian Bale, Amy Adams, Bradley Cooper, and Jennifer Lawrence to name a few, but too heavy with narration early on. The soundtrack, which features some wonderful music, tends to take over the film in a few spots. R for language, sex, and violence.
AMERICAN LOSER (R) 91 minutes * 1/2 Rather depressing comedy, and in fact, as it progresses, it gets less humorous as it tries to make the point that Jeff (Seann William Scott) is trying desperately to find the balance between having fun and being responsible. Also known as "Trainwreck: My Life as an Idiot", which makes for a more descriptive, though perhaps less appealing title. Adapted from the book, "The Little Yellow Bus" by Jeff Nichols. R for language and sex.
AMERICAN LOWRIDER (R) 82 minutes * When they lose a lowrider hop-off, the boys have to figure out how to raise $25,000 to pay off the wager. They need the money fast, and everything they try to do just seems to make matters worse. This tries very hard to be funny, but mostly just comes off as dumb. R for language.
AMERICAN MADE (R) 106 minutes * * 1/2 Barry Seal (Tom Cruise) was looking to make some money. As a pilot, his skills were sought after by some very wealthy people who needed to move their product from one location to another. Almost overnight, Barry became a key player in what would eventually become known as the Iran-Contra Affair. Although this is a fact-based story, a good deal of liberty has been taken with those facts. It does increase the entertainment level of the film, but it stretches believability a little too far. R for language and sex.
THE AMERICAN MALL (NR) 97 minutes * 1/2 Just like it sounds from the title... it's a story about teenagers in a mall. Complimented by a very nice soundtrack, but amateurish choreography, which makes this easier to listen to than to watch. And, although the actors do apparently sing their own songs (probably lipsynching their own vocals) according to the credits, the editing is not done well and just doesn't look right. If you like this sort of thing, try the "High School Musical" series, which is much better. Not rated, but basically PG.
AMERICAN MOONSHINE (NR) 114 minutes BOMB When Katie (Vanessa Leigh) has finally had enough, she kills her husband. And then she has to deal with his shady business partners. The script is dry and unbelievably slow-moving, and it would have been easy to cut at least 30 minutes out of this to at least have it waste a little less of our time. The credits list only the cast, but that's probably because writer/director/producer Michael Fredianelli likely did everything else anyway.
AMERICAN MUMMY (NR) 79 minutes BOMB Not only do these college students find a mummy on their dig site in New Mexico, one of them performs a blood ritual to re-animate it. That was smart. Slow and boring script with acting that isn't any better.
AMERICAN MURDERER (R) 97 minutes * * 1/2 Based on the real life story of con artist Jason Derek Brown (Tom Pelphrey), who spent his adult life taking from others and never looking back. After killing an armored truck driver, the FBI was on the case, but Jason was not an easy person to find. The tension in the story is good, but it's also frequently interrupted with flashbacks. As well, the scenes that don't feature Pelphrey are a little dry. R for language, sex, and violence.
AMERICAN MUSCLE (NR) 72 minutes * In the next 24 hours, John Falcon (Nick Principe) is going to get back at every person who had anything to do with his being in prison for the last ten years. Most of the hand-to-hand fighting scenes are well choreographed. The problems are the mediocre script and the poor cinematography.
AMERICAN NINJA (R) 92 minutes * A soldier uses his martial arts training to fight mercenaries in the Philippines. Don't look for anything deep here, because there isn't. There also isn't much in the way of acting or quality fight scenes.
AMERICAN NINJA 5 (PG-13) 100 minutes 1/2 The American Ninja, still played by David Bradley, but for some reason now named Joe Kastle instead of Sean Davidson, is going to rescue a girl and teach a young boy the ways of the ninja. This entry in the series is aimed at a slightly younger crowd. PG-13 for violence.
AMERICAN NINJA 4: THE ANNIHILLATION (R) 97 minutes 1/2 Michael Dudikoff returns to play Joe Armstrong, teaming up with Sean Davidson (David Bradley) from part three as they fight a terrorist and his ninja army. The fight scenes remain the same and the story grows thinner as the series continues. R for violence and language.
AMERICAN NINJA 3: BLOOD HUNT (R) 87 minutes 1/2 The Cobra (Marjoe Gortner) is working on a virus to be used for terrorism. The American Ninja, now played by David Bradley, teams up with Curtis Jackson, played by returning Steve James, have to take him and his army of ninja warriors down for the count. The fight scenes are about the same as previous films in the series, though some seem overly staged. The acting is a little worse. R for violence and language.
AMERICAN NINJA 2: THE CONFRONTATION (R) 86 minutes * When Marines continue to go missing from their United States embassy post, two Army Rangers (Michael Dudikoff and Steve James) are sent in to solve the problem. Some of the fight scenes are good. Others not so much. R for violence and language.
AMERICAN OUTLAWS (PG-13) 90 minutes * * 1/2 When the Younger and James boys come back from the war, they discover that the North is not yet done giving them trouble. Now it's in the form of the railroad. But the railroad men are going to get a little more than they bargained for when they try to cross the Younger and James families. This does take a few liberties with history in an effort to entertain us, but the embellishments work fairly well. And the decision to keep this relatively short was a wise one as well. Gabriel Macht does a particularly nice job as Frank James. PG-13 for violence.
AMERICAN OZ (NR) 112 minutes * * * The story of L. Frank Baum, author of "The Wizard of Oz". He came from a wealthy family, but Frank repeatedly sees failure in nearly every venture he undertakes. Even when he found success with the Oz books, his first attempts to bring them to film were not successful. It would eventually become one of the most well-known and influential stories ever written.
AMERICAN PASTORAL (R) 103 minutes * * * Swede (Ewan McGregor) and Dwn (Jennifer Connelly) have a near-perfect life. But their daughter Merry (Dakota Fanning) is deeply affected by the social unrest and protests of the 1960s that are swirling around her. A powerful performance by Fanning, and nice supporting work by Connelly. McGregor's performance is a little weak, perhaps distracted by his directorial duties on the film. R for sex, language, and violence.
AN AMERICAN PICKLE (PG-13) 82 minutes * 1/2 Accidentally falling into a pickle vat moments before the factory closes down, Herschel (Seth Rogen) is preserved for 100 years, at which he is discovered and re-awakens. Problems ensue. Quirky, but it does have a few nice moments. PG-13 for language.
AMERICAN PIE (R) 91 minutes * * * As American as... the struggles of high school boys who are trying to have that first sexual experience with a girl. Although this drags a bit in a few spots, the characters are well-rounded and feel real enough to keep us interested. Some have criticized this film for being overly explicit, but I found it to be unflinchingly honest. Not only in how it presents the pursuit of sex, but in it's realization as well. Make all the plans you want, sex will happen when it happens. R for language and sex.
AMERICAN PIE 2 (R) 98 minutes * 1/2 Relying heavily on the success of its predecessor, this sequel manages to follow our stars as they have finished up their first year after high school. Not a great deal has changed. The actors do appear to be a bit tired of their characters though, and it makes a few of the scenes rather awkward. This definitely should have been shorter than the first film... not longer. R for language.
AMERICAN PIE PRESENTS BAND CAMP (R) 87 minutes * 1/2 This one is about Stifler's younger brother Matt. Trying to follow in his brother's infamous footsteps, he lands himself in band camp as punishment and eventually becomes a band geek. Typical sex comedy though this one tries to have a heart, it just doesn't have the budget to come up with much of a story. The acting isn't that bad for the level of experience here, though it's not going to win any awards. R for language and nudity.
AMERICAN PIE PRESENTS: GIRLS' RULES (R) 92 minutes * Four girlfriends who are determined to get everything they want before they graduate. (aka boys) The story flips the typical idea and gives us girls who can't stop thinking about sex and boys who would rather take it slow. What doesn't work here is the same thing that doesn't usually work... starting off with a crude approach and turning it into a romantic story. R for sex and language.
AMERICAN PIE PRESENTS THE BOOK OF LOVE (R) 89 minutes * 1/2 Three high school boys learn all about the mysteries of sex and love, thanks in part to the legendary book of love that has been passed down for forty years. More raunchy than witty, though that's probably not a surprise if you've seen any of the other films in the series. Good for a couple of guilty snickers, but not much more. R for sex and language.
AMERICAN PIE PRESENTS THE NAKED MILE (NR) 98 minutes * This series continues to get progressively worse as it goes along, stretching farther and farther for plot ideas. This time it's Erik Stiffler (John White) who is still a virgin and bringing shame to the Stiffler name. His girlfriend isn't ready to have sex, but gives him a "free pass" while he and his buddies are at the "Naked Mile" event at the college his cousin attends. Will he lose his virginity with all of those sexy college co-eds around? Who cares! Filmed in Toronto and Hamilton, Ontario.
AMERICAN POLTERGEIST (NR) 73 minutes BOMB A ghosthunter crew is about ready to call it quits on their whole project when they get a call to investigate claims about a very active poltergeist. Not a bad idea, but the low budget kills any hope this might have had of being watchable. There are a few special effects that show a little promise, but the music, acting, photography, editing, and sets just reek of cheap. And then it ends, which is a relief, but it's not a good ending either.
AMERICAN POLTERGEIST: THE CURSE OF LILITH RATCHET (NR) 102 minutes 1/2 Finding a shrunken head at a store, Alice (KateLynn E. Newberry) and Lauren (Brianna Burke) take it to a local podcast host who deals with the paranormal. But when he recites the special words while doing a live podcast... The acting isn't great, but the script and photography make it look and sound a little worse than it is. Not sure why the phrase "American Poltergeist" was attached to the beginning of the original title for the film as it doesn't really fit. The soundtrack is the best and scariest part of the film. Also, in an attempt to pretty much run the whole show, Eddie Lengyel not only served as writer, producer, and director, but location manager, props, co-costumer, post production supervisor, casting, co-sound designer, co-second unit director, co-music orchestration and conducting.
THE AMERICAN PRESIDENT (PG-13) 107 minutes * * * The president of the United States is a widower who has found someone he'd like to date... but what will the American public think? Fun and watchable, thanks to Michael Douglas and Annette Bening, though her performance is a little shaky at the start. They're no Spencer Tracy and Katharine Hepburn, but they have a little more chemistry than Rock Hudson and Doris Day . This is a nice film that reminds us that there is a human side to the White House. PG-13 for language.
AMERICAN PSYCHO (R) 97 minutes * 1/2 Portrait of a man on the edge. He seeks perfection and stimulation. But things aren't going so well lately and small problems seemto really get on his nerves... he's killing more regularly now. It's a slick and empty production, which may be a statement about the character, but it just doesn't work for the film. There are moments that seems to capture something beyond what we see, but not enough of them and nothing to draw them together. R for violence, language, and sex.
AMERICAN PSYCHO II: ALL AMERICAN GIRL (R) 83 minutes * * 1/2 It all started when her babysitter was almost the victim of a serial killer. Rachael (Mila Kunis) gets a taste for the kill. When she takes a class with former FBI agent Robert Starkman (William Shatner), she wants to be his teaching assistant. And she'll stop at nothing to get what she wants. Fun murder/thriller with tongue firmly in cheek, and marvelous work by Kunis. R for violence and language.
AMERICAN REJECT (NR) 83 minutes * * 1/2 It was a brief run. Kay (Kathleen Elizabeth Monteleone) was on a talent show... until she was voted off. Now she's on a spinoff show about the losers from the main show. It's not going well. The film sort of wanders around for awhile, but finishes on a very stoong note, making us want to stay with these characters just a little longer.
AMERICAN RENEGADES (PG-13) 96 minuutes * * 1/2 On a mission in Bosnia, a team of Nacy SEALs hear an interesting story. It's a tale of Nazi gold, and it seems that it's at the bottom of a naerby lake. The characters work well, but there's too much history that we don't need at the beginning that uses time that could have been on character defelopment later in the film. PG-13 for violence, sex, and language.
AMERICAN REUNION (R) 105 minutes * * The old crew is getting back together for their tenth reunion. Well, it took an extra couple of years, so it's actually their thirteenth reunion, but who's counting? Not much has changed, including how long some of the gags go on. It's fun for fans of the rest of the series, but full of in-jokes that won't be much fun for anyone else. R for sex and language.
AMERICAN SAMURAI (R) 83 minutes BOMB David Bradley (of American Ninja fame) plays a samurai who will be fighting his half-brother, who is yakuza. Their battle will be part of a larger challenge in a fighting arena. The fighting scenes aren't very good, and the story is very tired. R for violence, sex, and language.
AMERICAN SATAN (R) 107 minutes * * * Be careful what you ask for. "The Relentless" are just getting started, or at least making a serious effort. It's a rough road, but they have managed to get the attention of someone who is very influential. Suddenly, their careers are off like a rocket. The lead singer is Johnny Faust (Andy Biersack), which is no accident as they have made a Faustian bargain to ensure their success. It doesn't take long before things spiral out of control and the consequences of their arrangement become more clear. Wonderful job of casting and a great soundtrack. R for sex, language, and violence.
AMERICAN SICARIO (R) 96 minutes * 1/2 Being at the top of the Mexican drug cartels is a constant battle. Erik Vasquez (Philippe A. Haddad) is an American who fancies himself as the new person on top. But he quickly makes enemies not only of the top two cartels, but even of those who were supporting him as he rose to power. Haddad does not carry this very well. R for violence, language, and sex.
AMERICAN SIEGE (R) 88 minutes * 1/2 Grace (Anna Hindman) and her brother want to know what happened to their sister. The truth is... it's complicated. Much like the rest of the plot here, which is filled with twists, turns, and dead ends, not all of which make sense or are all that interesting. Bruce Willis is here, but it doesn't really help. R for violence and language.
AMERICAN SKIN (R) 85 minutes * * * When another young black man is killed, his father (Omari Hardwick) reaches his breaking point when the officer responsible for the death is not prosecuted. Derwood decides to hold his own trial. The dialogue is intense, and covers a wide variety of topics around racism and bias. The truth is hard, and rarely simple, but it is worth having the conversations. Great work by the cast. R for language and violence.
AMERICAN SNIPER (R) 126 minutes * * 1/2 The story of Chris Kyle (Bradley Cooper), an extraordinary marksman with the Navy SEALS. Kyle's character is almost oddly distant in parts of the film. Perhaps the intent is to portray how he dealt with what he was doing, but it distances us as well. The effect is to overly romaticize the character in an almost dream-like story. Cooper does do a nice job here, but the film wraps up too quickly, which only reminds us of the other inconsistencies in the story. R for violence and language.
AMERICAN SON (R) 81 minutes * * 1/2 Before deployment to Iraq, Mike (Nick Cannon) gets a 96 hour leave. Afraid that it will change the way he'll be treated, he doesn't tell anyone at home about his orders. A thoughtful and introspective performance from Cannon. R for language and sex.
AMERICAN SON (2019) (NR) 87 minutes * * When her son doesn't come home from a night out with friends, Kendra (Kerry Washington) is frustrated beyond words. Police protocol is not helpful when she is fearing for the life of her son. And the young and inexperienced officer isn't helping matters. Not that experience on the police force would necessarily help him be any better at dealing with issues of race. Intenses, character-driven drama that frequently feels like a stage production, which it initially was.
AN AMERICAN TAIL (G) 76 minutes * * * * Fievel Mousekowitz and his family leave Shostka, Russia in 1885 to come to America. During a storm somewhere in the Atlantic between Germany and New York City, Fievel is washed overboard. Upon finally arriving in New York, bu bottle instead of boat, he sets out to find his family. Though it may look a little tough at times, it will all work out. (This is a G-rated film after all.) Lessons are learned and friends are made. The animation process used for the bulk of the film is called xeroxography, which is a faster and less expensive way to animate. Normally, this might make a film look a little rough, but Don Bluth knows how to smooth out the rough edges and make it look better. James Horner’s soundtrack, along with a couple of very fine songs from Cynthia Weil and Barry Manilow, add just the right touch.
AN AMERICAN TAIL: FIEVEL GOES WEST (G) 69 minutes * * Fievel and his family are tricked into going west by a clever cat, but he gets separated from his family during the trip. This short animated sequel lacks the charm of the first film and doesn't have as many quality songs, but those under age 7 will find it enjoyable enough to keep their attention through most of the film.
AMERICAN TEACHER (NR) 75 mintues * * * This documentary makes a convincing case that what is wrong with the educational system in the United States is the way the system treats teachers. The demands are high and the pay (and other forms of appreciation) are low. Focusing on four teachers, we take a look at the realities of the profession. Just as important is understanding what is happening, we also begin to understand what needs to change and how that might happen.
AMERICAN TEEN (PG-13) 96 minutes * * 1/2 The lives of five teenagers in Warsaw, Indiana are explored in this documentary. They are very different from one another, and most of them don't really associate with each other at school or in the community. But Warsaw is small enough that their lives still intersect from time to time. An interesting slice of middle-American teenage life. PG-13 for lamguage.
AN AMERICAN TERROR (NR) 79 minutes * ½ In planning to get back at the bullies who have been picking on them, these friends find themselves trapped by an even bigger bully. And this one is far worse. A sadistic killer, who loves to torture his victim. Poor photography that tries to create suspense and mystery but which is mostly frustrating and disappointing.
AMERICAN TRAITOR: THE TRIAL OF AXIS SALLY (R) 105 minutes * * * As the title states, this is the story of the trial of Mildred Gillars (Meadow Williams), known to most as Axis Sally. Her situation was very similar to that of Tokyo Rose. The film focuses on the trail after the war, but includes scenes from her broadcasts and life during the war. Williams does a nice job, but Pacino's performance as her lawyer is rather low-key until the end. R for sex.
AMERICAN ULTRA (R) 88 minutes * * 1/2 He never had a clue that he was an experiment until he was activated. It's an interesting idea, but Jesse Eisenberg's character has too many inconsistencies to be believable. It's almost as if the direction of the story changes between some of the scenes. The cast does a good job, but the material and direction let them down. R for violence, language, and sex.
AMERICAN UNDERDOG (PG) 107 minutes * * * Ever since he was little, Kurt Warner (Zachary Levi) had a dream. It didn;t all work out like he thought it would, but slowly, the dream began to move toward becoming a reality. It's an emotional, underdog sports movie, even better because it actually happened. Nicely done, with a good mix of footage from the actual games in which Kurt played. PG for language.
AMERICAN VIOLET (PG-13) 98 minutes * * 1/2 Dee (Nicole Beharie) is arrested for dealing drugs. It's not a crime she committed, but that doesn't matter. It's called racial profiling, and Dee is going to have a tough time convincing anyone that she is innocent. Taking a plea bargain would be the easy way out, but the mark on your record doesn't go away, and would mean problems for other parts of her life. Great work by Beharie, though the supporting performances and the writing let her down a little. PG-13 for language and violence.
AMERICAN WARFIGHTER (NR) 101 minutes * Dealing with PTSD is a daily challenge. Rusty (Jerry G. Angelo) is doing the best he can. The acting is mediocre, but the script and direction are what make this film difficult to watch. And the ending will likely leave you with more questions than answers.
AMERICAN WARSHIPS (NR) 86 minutes 1/2 Three days before "Battleship" was released in theaters, this came out on video. It's a very similar story, but without the flash, excitement, or quality. An aircraft carrier about to be mothballed responds to a distress signal and uncovers somethig out of this world. Slow to start, and the weak special effects and bad dialogue don't help.
AMERICAN WEDDING (R) 90 minutes * 1/2 Jim (Jason Biggs) and Michelle (Alyson Hannigan) have decided to tie the knot. Of course, you know that it can't be as simple as that. Not with these characters... There are more serious messages mixed in with this film than with the first two "American Pie" films, but that doesn't compensate for all of the tired jokes that are in almost every scene. R for language and sex.
AN AMERICAN WEREWOLF IN PARIS (R) 93 minutes * 1/2 Three members of a daredevil club take a tour around Europe, ending up in Paris, where they find much more than anticipated. Andy ends up diving off the Eiffel Tower to save Serafine, who is determined to kill herself. The story itself isn't that bad, but the large doses of humor mixed into the story tend to undermine any spooky or scary effects that might have been present. The special effects are uneven throughout the film as well. The Eiffel Tower fall is near perfection, but many of the werewolf effects leave much to be desired, leaving too much to the computer and not fitting in with the film. Julie Delpy and Tom Everett Scott weather it all fairly well, but most fans will still be a little disappointed. R for violence and nudity.
AMERICAN WOMAN (R) 107 minutes * * * When her daughter goes missing, Debra (Sienna Miller) is at a loss. It's not like her life was wonderful before, but now she also has to raise her infant grandson. With no answer or explanation, closure is difficult. Well done character study, with Miller turning in a fine performance. Nice supporting cast too. R for language and sex.
AMERICANO (NR) 102 minutes * * * The death of Martin's (Mathieu Demy) mother means that he has to travel to the United States to close her estate and erepatriate her body to France. It's a journey filled with memories, but Martin is discovering that the negative image he's had of his mother is an incomplete picture. The script tends to wander off into subplots that aren't necessary, but finishes nicely, and even as it wanders, we follow along, understanding that Martin is still lost in his search.
AMERICANO (2016) (G) 85 minutes * * Cuco (voiced by Rico Rodriguez) wants to modernize his family's circus. First, he needs to understand and respect what is already there, which he finds more than a little challenging. He'a about to learn a very important lesson in a very unexpected way. Mixed quality animation in a feature-length cartoon aimed at 5-7 year-olds.
AMERICA'S FAMILY (NR) 98 minutes * * 1/2 It's unexpected and happens quickly. Emiliano (Emmanuel Lopez Alonso) works for a law firm, but is inexperienced. His family is blown apart when ICE comes and arrests his mother, and shortly after that deprts his brother. Meanwhile, his father takes shelter in a local synagogue. Early on, this feels a little like a docu-drama, but then it begins to shift to have less of a documentary approach.
AMERICA'S SWEETHEARTS (PG-13) 96 minutes * * Eddie (John Cusack) and Gwen (Catherine Zeta-Jones) used to be Hollywood's perfect couple. They've already split up, but there's one movie left to promote. Can they put aside their problems long enough to promote the film? The rather elaborate set-up is a bit much, but it isn't the real problem. First and foremost, we see far too much of Billy Crystal. His part just isn't that essential to the story and it wastes valuable time. Zeta-Jones doesn't look comfortable with her role either. Cusack, on the other hand, is wonderful and Julia Roberts does a nice job as well. If you like them, this is a film you'll want to see. PG-13 for language.
AMERIGEDDON (PG-13) 88 minutes ½ The United States relies very heavily on the power grid, and this film takes a look at what happens when a terrorist organization takes that grid down and institutes martial law. Never fear, a few US patriots can save the day. Low budget conspiracy theory film with a story that was clearly thrown together without much thought. Photography isn’t too bad, but most everything else is. PG-13 for violence.
AMEXICANO (PG-13) 82 minutes * * 1/2 Bruno (Carmine Famiglietti) would have never guessed that he would have a friend who was an illegal immigrant, but he admires Igancio's (Raul Castillo) work ethic and an unlikely friendship forms. The acting is far from polished, which tends to give this a realistic tone, but makes it a little difficult to watch at times. The story has plenty of heart though, and makes up for some of the acting. Pg-13 for language and violence.
AMIRA AND SAM (NR) 84 minutes * * Trying to settle into life after the military, Sam (Martin Starr) is having a bit of a rough time. It feels like a whole new system. Along the way, he falls for Amira (Dina Shihabi), an Iraqi woman who is struggling with issues of her own. They neither one expect it, and he past is threatening to make it worse. The turn the story takes at the end doesn't really fit with the way the characters have been in the rest of the film.
AMISH GRACE (NR) 88 minutes * * 1/2 Fictionalized account of the tragic killing of five Amish girls at Nickel Mines, Pennsylvania in 2006. Forgiveness in the face of such tragedy is not easy, even for those who have been raised to believe that there is no other course. Kimberly Williams-Paisley's performance is a bit sensationalized here, but the story does deal with some strong emotions.
AMISTAD (R) 148 minutes * * * 1/2 Intense and graphic telling of the Amistad slave ship, the slave revolt, and the ensuing trial. Anthony Hopkins is brilliant as John Quincy Adams, outshining the rest of the cast by far. It's hard to see much of what goes on early in the film, as though director Steven Spielberg is leery of showing too much of the violence. It might have been better to shed a bit more light on a few of those scenes though, and just not show as many of them, cutting the film down by 5-10 minutes at least. R for violence.
AMITYVILLE CLOWNHOUSE (NR) 65 minutes BOMB Sequel to "Amityville Toybox". The cursed toy monkey from the Amityville house is up to no good again. Poor editing and direction that leave lots of "dead time". (For example, two minutes of watching someone draw the Amityville house windows while birds chirp noisily off screen.) The special effects are also extremely cheap.
THE AMITYVILLE HAUNTING (NR) 87 minutes BOMB A new family moves into the famous haunted house. Isn't it a good thing that their son is an amateur filmmaker so that we have some "found footage" to take a look at? Maybe not. Over-edited (for being found footage), and boring special effects.
THE AMITYVILLE HORROR (2005) (R) 82 minutes * * 1/2 This remake of the 1979 classic that definitely has some creepy sound effects and interesting camera angles. The story itself seems to be a bit more true to Jay Anson's book, but the performances are less convincing than they were in the earlier film. Ryan Reynolds does have a few moments, and young Chloe Moretz does a nice job, but on the whole, the performances are poor and distract from the nice job the special effects people did to create the mood. R for violence and language.
AMITYVILLE: MT. MISERY RD. (NR) 72 minutes BOMB Chuck and Karolina Morrongiello do pretty much everything here, directing, producing, acting, cinematography, sound effects... and they don't do any of it remotely well. The sound and video quality are horrible, which isn't all that surprising when you understand that the enture film was shot with a cell phone, the shadow of which is plainly visible in some of the more poorly edited sequences. It's basically a bad homoe movie about a haunted vacation trip, though over half of the film is the couple on the way to the location, and much of the rest is her wandering around the woods. Laughably bad.
THE AMITYVILLE MURDERS (NR) 94 minutes * * 1/2 The violent history of one particular house in Amityville came to light after the night of November 13, 1974. That was the night that Ronald DeFeo Jr. (John Robinson) killed his family. An abusive father made life difficult at home, but it was the dangerous game that Butch and his sister played that really changed things. They opened the door to something very dark and evil. Something that wanted blood. This doesn't really do much aside from recounting the facts of the case. Obviously, the specifics of the supernatural aspect aren't known, but they are presented here in a way that doesn't sensationalize, but simply offers up a possible explanation based on Butch's testimony.
AMITYVILLE RIPPER (NR) 76 minutes BOMB Marianne (Kelsey Anne Baker) and Annie (Angel Nichole Bradford) are trying to get in touch with the spirit of Jack the Ripper. Their efforts don't seem to work at first. Then it does. The humor here relieson the characters knowing that they are in a movie and by letting us know that they know by breaking the "fourth wall". It works fairly well the first time they do it, but then it starts happening regularly, and it loses effectiveness very quickly.
THE AMITYVILLE TERROR (NR) 81 minutes BOMB Poor attempt to cash in on the "Amityville" name. A bunch of teenagers... who all look like they're in their 30s... anyway.. The bad acting is complimented by even worse sound effects and music. There's no realeffort to explore much of the supernatural side of the story as this focuses on a few slasher horror scenes and some cheap scares.
AMITYVILLE THANKSGIVING (NR) 70 minutes BOMB Or, you could call this "The Marraige Counselor From Hell", which would be more accurate and remove the reference to Amityville, which only serves as the setting. Each Thanksgiving, one more struggling couple is added to his collection. Bad acting, horrible script, cheap effects, sloppy editing... they don't get much worse than this.
AMITYVILLE: THE AWAKENING (PG-13) 83 minutes * 1/2 A new family has moved into the Amityville house. Joan (Jennifer Jason Leigh) didn't tell her daughters that she knew it was haunted, and that she hoped to use the mysterious powers of the house to heal her son, who is in a coma. But "healing" isn't what lies in store for him, or the rest of the family. A few creepy moments due to the soundtrack. PG-13 for violence and language.
AMITYVILLE 3-D (PG) 90 minutes * ½ A reporter moves into the house, but his attempt to prove that the house isn’t evil end up proving the exact opposite. Lots of 3-D effects, which are mostly pointless and annoying, and the story seems overly concerned with details that really don’t add anything. PG for violence and language.
AMITYVILLE II: THE POSSESSION (R) 103 minutes * * * Someone new has moved into the house in Amityville, and their son is about to be possessed by something demonic. The best in the series, which can all be credited to the acting. After all, the story basically just keeps revisiting the idea that something in the house keeps possessing someone that lives there. R for language violence, and sex.
AMITYVILLE VAMPIRE (NR) 91 minutes BOMB A cleaning crew shows up at the Amityville house and unwittingly releases an evil force that moves into the nearby woods. A young couple on a camping trip discover that the story of something evil in the woods is more than just a local legend. Too bad they didn't find someone who could write a script... or direct a film... or act...
AMMONITE (R) 113 minutes * * * A fossil hunter, Mary Anning (Kate Winslet) is given little credit for the work she has done, though she is well known in the field. Enter Roderick Murchison (James McArdle), a scientist and fan of Anning's work. His wife (Saoirse Ronan) is with him, convalescing, though she doesn't appear to be interested in going so. The two women end up spending a good deal of time together, which begins awkwardly, but develops into something much more intense than either of them are expecting. The sex scenes in the film are intense and tend to distract from the character development of the two women, which is otherwise quite strong. R for sex and language.
AMONG FRIENDS (R) 73 minutes * A murder/mystery party turns into a torture/revenge party as one friend goes off the deep end. The difficulty here is that the more we learn about the characters as the story moves along, the less we care about what happens to any of them. R for violence, language, and sex.
AMONG THE BEASTS (NR) 94 minutes * * 1/2 LT (Tory Kittles) has looked for a missing child before. This time, he's been asked by a gangster's daughter (Libe Barer) to find her cousin. It's bringing back some memories for LT, but also a chance to balance the scales a little. Dark and gritty. A nice ending, and a few good surprises along the way.
AMONG THE SHADOWS (NR) 93 minutes 1/2 Brexit is a reality, and in the years that followed, a new European Federation formed. That sets the stage for some political intrigue, but the story seems to be more interested in the werewolves. And then there's Kristy's (Charlotte Beckett) uncle who is murdered. The story is a mess, and the photography and special effects aren't far behind. There are a few moments that create a mood that works, but something quickly comes along every time to ruin it... like lindsay Lohan's terrible performance.
AMONG WOlVES (NR) 107 minutes * Prohibition is on the way out, and unions are gaining influence. But when these miners stand up for their rights, they are gunned down. Assistance is needed to protect the rights of the workers and their families, and the men who are willing and able to provide that assistance are a little on the questionable side as far as character. The women whose husbands have been killed have few options, so they rely on the kindness of Angel (Jeff Fahey) and his friend Michael (Trace Adkins). For the most part, the film is surprisingly quiet and slow-moving. It makes for a rather dull film, with only a few bursts of action.
AMOS & ANDREW (PG-13) 91 minutes * 1/2 Amos Odell (Nicolas Cage) is a two-bit criminal who just can't stay clean. Andrew Sterling (Samuel L. Jackson) has moved to the island of his dreams, away from the prejudices he's felt before, or so he thought. A nosy neighbor turns Sterling in as a thief, and it suits the local police chief just fine, until the tangled web of lies gets too big. In the meantime, the film has grown boring and lacks the comedy to make it appealing or the drama to make it meaningful. PG-13 for language.
AMOUR (PG-13) 120 minutes * * * 1/2 When Anne (Emmanuelle Riva) has a stroke, it really surprises Georges (Jean-Luis Trintignant). It's an unwelcome confirmation of their age. They've been retired for some time, but very much in love and still feeling fairly young. Love sometimes asks very difficult things of us, especially toward the end of life. Very realistic combination of the tener and the tragic in this emotional story that won an Oscar for best foreign film. PG-13 for violence and language.
AMOUR FOU (NR) 91 minutes * * 1/2 Heinrich (Christian Fiedel) wants to leave this world in love. In other words, commit suicide with someone else who loves him. He can't convince his cousin, whom he adores, and when he does find someone who might be interested, he's not convinced that it isn't because of her terminal condition that she is agreeing. Well-acted, and with a very subtle, refined, and somewhat dark sense of humor.
AMREEKA (PG-13) 92 minutes * * * With a chance to leave the oppression they are experiencing in Palestine, Fadi (Melkar Muallem) and his mother (Nisreen Faour) pack their belongings and head for the land of opportunity. But the challenges are more than they expect. Fadi finds it difficult to fit in at school and Muna discovers that despite her experience, jobs are not really so easy to find. Solid acting and a story that gives us a glimpse of the experience of the immigrant experience in the United States. PG-13 for language.
AMSTERDAM (R) 127 minutes * * * Three friends find themselves at the center of an insidious plot. The time is the 1930s, and the world is on edge. It's a convincing mix of fact and fiction from director David O. Russell. Well-written and with a stellar cast. What isn't clear is why Christian Bale's performance so mimics that of Peter Falk's Columbo. It doesn't help or hurt the story, but it's very distracting. R for violence.
AMULET (R) 94 minutes * 1/2 Homeless and in need of help, Tomas (Alec Secareanu) is offered a place to stay in exchange for work. The house Magda (Carla Juri) and her mother live in is in need of much repair. The more time Tomas spends with Magda, the more he finds himself drawn to her. But he can also tell that something isn't right. Something dark and evil. The film gets more strange and symbolic toward the end. R for violence, sex, and language.
AMUSEMENT (R) 80 minutes * Another psycho killer with a grudge is about to start killing. Yes, the clown is creepy, but there are so many plot holes and poor decisions made by the characters that most of this just doesn't make much sense. There are a few scenes that have some good suspense and effects, but there's nothing to hold it together. R for violence.
THE AMUSEMENT PARK (NR) 52 minutes * * * West View Park in West View, Pennsylvania serves as the setting for this film. Filmed in 1975 and released in 2021, this is still a very timely commentary on the treatment of the elderly in the United States. (Which is disappointing to say the least.) Packed with symbolism and a fine example of director George Romero's skill at creating a story that is also social commentary. Once featuring a concert by none other than The Rolling Stone (in 1964), the park had seen better days by the time Romero was filming there. In fact, the oark closed just a couple of years after the film was made and is now the site of a residential facility, which is commentary in itself.
AMY (R) 119 minutes * * 1/2 Bio-documentary about Amy Winehouse that does a good job of covering most of her life. Lots of information about her early life and the beginning of her career, though the details around the last year or two get a little less thorough treatment. It leaves us to fill in some of the blanks around the effect that fame had on her and exactly how the support she had earlier either wasn't enough or actually fell away. R for language.
ANA (NR) 103 minutes * * 1/2 When Rafa (Andy Garcia) meets Ana (Dafne Keen), he can tell she's a bit of a con artist. So is he, but his debts are getting a little out of hand. Ana might be a little more helpful in coming up with some new cons, which could make a big difference in his economic situation. Very nice work by both Garcia and Keen. And some beautiful footage of Puerto Rico.
ANACONDA (PG-13) 85 minutes * 1/2 Small group of people attempting to film a documentary in the Amazon find more than they bargained for. The snake f/x are somewhat mixed, some being quite good and others looking too computerized or too mechanical. The plot twists are no real surprise and this short film seems to drag on forever. Lots of potential, but nothing to take note of. Filmed in Brazil. PG-13 for violence.
ANACONDA 3: OFFSPRING (R) 88 minutes BOMB Oh no! The snake is going to have babies! Can "The Hoff" save us? It's not surprising to see David Hasselhoff here, but John Rhy-Davies should have known better than to sign on for this. R for violence.
ANACONDAS: THE HUNT FOR THE BLOOD ORCHID (PG-13) 93 minutes * Crew of people looking for a flower with powerful medicinal properties find giant anacondas during mating season instead. How they survive a boat captain who takes them over a waterfall, spiders that can kill, crocodiles, fighting among themselves, and a rainstorm in the jungle is hard enough to believe, let alone the snakes, which suffer from the same problems they did in the first film. Filmed in Fiji. PG-13 for violence and language.
ANALYZE THAT (R) 89 minutes * This is yet another example of why not to make a sequel... far more foul and crude dialogue and far less humor are the highlights as Paul (Robert DeNiro) discovers that someone is trying to kill him and ends up enlisting Ben's (Billy Crystal) help once again. Both DeNiro and Crystal seem bored by the whol idea and it comes across in their performances. R for language and violence.
ANALYZE THIS (R) 98 minutes * * 1/2 Even gangsters have bad days, and Paul Vitti (Robert DeNiro) is no exception. He decides that seeing a psychiatrist might be in order. Enter Dr. Ben Sobel (Billy Crystal), who is now raising eyebrows by associating with a known gangster. The film unfortunately never manages to find the balance between drama and comedy, leaning more toward comedy in most segments, giving the edge to Crystal's performance rather than DeNiro's. Lisa Kudrow and Chazz Palminteri are both here as well, but their roles are so small that there's little point. R for violence and language.
ANASTASIA (G) 87 minutes * * * The animation is superb and the songs are lyrical and beautiful, but choosing a story from history puts certain confines on what you can do. Disney studios faced this problem with "Pocahontas", 20th Century Fox has chosen the story of Anastasia. Focusing on the later part of the story and bringing in the aspect of romance help, but this doesn't have the strong emotions it needs to sweep us through the story. Bartok, the bat companion of Rasputin (voice by Hank Azaria) steals every scene he's in and manages to keep us well entertained, but this isn't as strong as it could've been. Perhaps a bit too much money was spent on big name voices for the characters that should've been spent elsewhere.
ANASTASIA: THE MYSTERY OF ANNA (NR) 190 minutes * * When she is rescued from the river, Anna Anderson (Amy Irving) no longer remembers who she is. As her memories begin to return, she claims to be Anastasia Romanov. But Anastasia was presumed to be dead. The film clearly functions on the assumption that Anderson is who she claims to be, and focuses on drama and romance rather than history or legality. It definitely makes it feel a little light on facts, but it still looks good and plays well.
ANCHORMAN 2: THE LEGEND CONTINUES (R) 117 minutes * * Ron (Will Ferrell) loses the anchor job to his wife, but gets the chance to be on a brand new 24-hour news station... not exactly in prime time though. There are a few good jokes about CNN, and the scenes with Steve Carell and Kristen Wiig are hilarious. It's also amazing to see all of the cameo appearances for the National News fight sequence. Heavily weighed down with Ferrell's brand of humor, which is more than a little much to take for this long. R for language and sex.
ANCIEN AND THE MAGIC TABLET (NR) 107 minutes * * * When Ancien was little, her father used to tell her a special fairytale. She continiues to visit that story in her dreams. But now, real life seems to be running parallel to those dreams. Just maybe, she can save her dad if she saves him in her dreams. She has magical powers there, which might be just what is needed. Fun and imaginative story.
AND SO IT GOES (PG-13) 90 minutes * * * When the son he barely knows drops off the granddaughter he's never met, Oren (Michael Douglas) has some choices to make. His neighbor (Diane Keaton) is ready to help, but that involves a little more than Oren understands at first. The story is definitely sentimental and manipulative, but the characters are likeable enough, even Douglas' cynical and sour Oren, that it works. Great cast that also includes the talents of young Sterling Jerins, YaYa DaCosta, and Frances Sternhagen. PG-13 for sex.
AND THEN THERE WAS YOU (NR) 97 minutes * * When Natalie (Garcella Beauvais) discovers her husband's secret family, she is devastated. It will take time to heal, but she might be able to trust again if the right person comes along. (Thus the title.) A rather low-key drama about relationships with good performances, but a very stale script.
AND THEN THERE WERE NONE (NR) 163 minutes * * * Fine version of the classic Agatha Christie mystery. Good suspense throughout as the ten people on the island try to figure out who the killer is as they die off one by one. A little darker and more sinister than some versions, which adds some nice tension to the mix.
AND THEY'RE OFF(PG-13) 85 minutes * 1/2 Dusty (Sean Astin) is the subject of a documentary. He's a horse trainer. Not a very good one, which has some people wondering why the cameras are following him around. It's a behind the scenes parody of horse racing, similar in spirit, and in effectivenees, to "Best in Show". PG-13 for language.
AND WHEN DID YOU LAST SEE YOUR FATHER? (PG-13) 83 minutes * * * Jim Broadbent and Colin Firth star in this story of a father and his son, adapted from the book by Blake Morrison. Parenting is an act of shaping or creating, and we are also shaped by those who parent us. How will we be remembered, and what does that say about us as well as those we remember. Solid performances in an emotional and thought-provoking drama. PG-13 for language.
ANDRE (PG) 89 minutes * * 1/2 Standard animal film aimed at family viewing as we here the story of a seal that is adopted and cared for by a family. Tina Majorino gives a wonderful performance as the daughter and the footage of the real Andre and his adopted family at the end of the film is a nice touch. Nice family fare, and a very good rental film.
ANDROID COP (NR) 84 minutes * ½ Thankfully, this low-budget, futuristic police drama has a sense of humor. It’s not comical (except in a few spots where it shouldn’t be), but there’s a sense of the story remaining light and not too serious, which is a good move. Too many films from The Asylum not only reek of low-budget, but of stories and characters that try too hard to be funny or scary or serious or whatever… this time its just… there’s this cop, and he has a partner who’s an android. Sometimes that’s really helpful and other times it doesn’t work out all that well.
THE ANDROMEDA STRAIN (G) 131 minutes * * * A virus from space is now threatening life on planet earth... sounds like a corny movie from the 50's. But this is from Michael Crichton's terrifying best seller and is sure to keep you at least a little spooked. A fine piece of work, and a classic science fiction/thriller.
THE ANDROMEDA STRAIN (2008) (NR) 173 minutes * * * Updated version of the 1971 science fiction thriller. Nominated for six Emmys, this is a very nice remake that does a great job of modernizing the story. A few of the visual effects are a bit weak, and the pacing of the story is uneven a few times, but the strength of the story carries this quite well.
ANDRON (R) 92 minutes * Waking up and not knowing where they are, this group of people work to find their way out of what appears to be a subterranean maze. Slowly, clues begin to become evident. But who is watching them, and why? It's a little too convenient that one of the players ends up having the answers to virtually all of the questions. The ending, which is supposed to tease us with the possibility of a sequel, instead just feels like a cheat. R for language and violence.
ANDY WARHOL (NR) 227 minutes * * * Documentarian Ric Burns shares with us the story of the extraordinary and often controversial artist, Andy Warhol. As always, Burns takes the time necessary to show all the sides of his subject, so we see the good and the bad, the confusing and the brilliant, the irresponsible, and the trend setting.
ANESTHESIA (R) 85 minutes * * * The intertwined lives of people with a connection to a mugging victim. It's a stellar cast, with fine performances all around. The ending isn't likely to be a favorite, but this sort of story often ends in a way that doesn't resolve all of the stories that are being told. R for language, sex, and violence.
ANGEL (R) 90 minutes * * The best student in her class, 15-year-old Molly (Donna Wilkes) also has a job. She works the streets at night as “Angel”, a prostitute. She’s living two separate lives, but when tragedy strikes and her two lives overlap, she has a choice to make. Not as much of an exploitation film as it could have been, and the story works fairly well. R for sex, violence, and language.
ANGEL DOG (PG) 83 minutes * 1/2 A dog is the only survivor of a tragic car accident. He seems to know who needs to have him around and being around him seems to make people feel better and life works out better for them too. Beyond the emotional appeal, which does tug at the heart a little, the story drags in several spots, and Jake (Jon Michael Davis), as the surviving family member who wasn't in the accident, is difficult to like. PG for language.
ANGEL EYES (R) 99 minutes * * Sahron (Jennifer Lopez) tends to have problems with relationships. After being rescued by a stranger during a shoot-out, she finds herself strangely attracted to him. It's a story about the healing that needs to take place for some people before they can truly love another. A bit on the spooky side, with some fine photography and music, but a bit thin on the story. Lopez and Jim Caviezel look the part, but things just never quite reach the level they need to. R for language and sex.
ANGEL HAS FALLEN (R) 113 minutes * * 1/2 After a surprise attack, the president (Morgan Freeman) is in a coma, and Mike Banning (Gerard Butler) is being framed for the attack. It doesn't take him too long to figure out whose really behind the attack, but stopping them is going to be much more of a challenge. What the story lacks in creativity, it tries to make up for with gunfire and explosions. The acting isn't bad, though Butler seems tired of the character in this third film in the series. R for violence and language.
ANGEL HEART (R) 109 minutes * * 1/2 Harry Angel (Mickey Rourke) is hired to find a singer. It's a little more difficult than it sounds. Everything seems to get more violent and evil the longer he looks. Based on William Hjorstburg's novel, adapted for the screen and directed by Alan Parker, which might explain some of the strangeness of the film. Plenty of talent involved here, it's just so unusual that it never really draws us in.
ANGEL IN THE HOUSE (PG) 87 minutes * * 1/2 Zooey (Toni Collette) and Alec (Ioan Gufffudd) have been thinking about adoption, but when Eli (Maurice Cole) shows up on their doorstepit does seem a little out of the ordinary. Still, the agency says it's OK, so they decide to see how it will work. The script is overly simple and predictable, which undercuts some of the sentimentality. But, Cole's performance is spot on, and charming enough to make this worth a look. PG for language.
ANGEL OF CHRISTMAS (NR) 83 minutes * * 1/2 When Susan (Jennifer Finnigan) is assigned to write an article about a Christmas angel that has been in her family for years, she has no idea what's in store. She doesn't really like Christmas and has shut herself off from romantic relationships as well. Some things might just be changing in her life. Cute holiday romantic comedy.
ANGEL OF MINE (R) 94 minutes * * 1/2 Still grieving the death of her daughter, Lizzie (Noomi Rapace) begins to imagine that she has seen the girl alive. Her obsession begins to get the better of her and may just drive her over the edge. An intense performance by Rapace, who carries the film well. R for language and sex.
ANGEL-A (R) 85 minutes * * * Another little gem from writer/director Luc Besson, this is the story of a small-time scam artist who has reached the end of his rope. It is then that he finds Angela (Rie Rasmussen). Andre (Jamel Debbouze) can't figure out why she is so fascinating, or why she wants to be around him. And it makes even less sense when he learns that she is an angel, sent to help him. Debbouze and Rasmussen at first may appear to be an unlikely pair, but in this fable-like story, it works very well. Andre has a few lessons to learn, and if he's willing, Angela will help. She just might help you too. R for language and sex.
AN ANGELIC CHRISTMAS (NR) 67 minutes * Celeste (Karen Abercrombie) has her work cut out. First, she will be a friend to young Delainey (Elizabeth Howlett). That friendship will put her on a course to becoming a guardian angel and getting her wings. The two of them will also bring back the spirit of Christmas by warming the heart of the town's scrooge. There's a lot of story packed in here, but it all lcomes fromother stories that we're already familiar with, primarily "It's a Wonderful Life". So, along with a little narration, we can skip right through. It's just that, when we get done watching this, we feel like we missed something.
ANGELS & DEMONS (PG-13) 131 minutes * * 1/2 A pope has just died, and now four cardinals have just been kidnapped. It appears that the mysterious Illuminati are responsible. Professor Langdon (Tom Hanks) is asked to step in to help. Adapted from Dan Brown's novel, this is a nice, slick production, but more than a little too neat in how everything works out. And some of the suspense sequences are far-fetched at best. Definitely a bit less appealing than "The Da Vinci Code". PG-13 for violence and language.
ANGELS CREST (R) 88 minutes * 1/2 The case of a missing boy slowly tears a community apart. OK, and we do begin to understand some of the pieces as the film goes along as to why people aren't getting along, but we also seem to still be missing quite a bit of the back story even at the end. It makes us wonder why some of the people are acting the way they do. The tone is somber throughout, but lacks the depth we need to understand and care about anyone here. R for language and sex.
ANGELS FALL (NR) 94 minutes * * Reese (Heather Locklear) has just been drifting, but when her car has trouble, she ends up settling down in a small town. It isn;t long before what she's been running from catches up with her. Adapted from the Nora Roberts novel. Lockelar does fine here, though the characters are pretty much formula creations. Filmed in Alberta, Canada.
ANGELS IN THE DUST (NR) 91 minutes * * * The Cloete family moved to South Africa to begin a project to care for orphaned, abandoned, and abused children. Hundreds of children and their families now benefit from the work the Cloete's are doing. It's a true story about what people can do in the midst of crisis by reaching out and taking care of others. Inspirational and sometimes heartbreaking documentary.
ANGELS IN THE OUTFIELD (PG) 96 minutes * * 1/2 Remake of the 1951 film with Christopher Lloyd, Danny Glover, and Tony Danza, and Brenda Fricker. A last place baseball club has a streak of wins thanks to some angelic intervention. A bit thick with moral/theological statements, but pleasant enough overall. Very similar to the original, though the actors seemed to work better together in the first film.
ANGELS IN THE SNOW (NR) 87 minutes * The Montgomery family is falling apart. On vacation in a remote, but very nice cabin, they end up hosting another family stranded in a ferocious winter storm. And they will learn an important lesson. Not the best script or acting, but if you're looking for a sentimental Christmas movie, it does hit that note.
ANGELS SING (PG) 82 minutes * * 1/2 Michael (Harry Connick Jr.) doesn't like Christmas, but finds himself the proud owner of a beautiful new home on Austin's most famous street. Most famous, that is, for huge Christmas displays. Sometimes life teaches you lessons in ways and at times you least expect it. Sentimental holiday film with some great music and good performances by the entire cast. Adapted from the book "When Angels Sing" by Turk Pipkin. PG for language.
ANGER MANAGEMENT (PG-13) 98 minutes * * * In the wrong place at the wrong time, Dave Busnick (Adam Sandler) finds himself in anger management therapy with the highly unusual Dr. Buddy Rydell (Jack Nicholson). Nicholson is a delight here, playing up the eccentric aspects of his character and just having fun. Sandler's performance definitely brings Albert Brooks to mind, as his character continues to wander more deeply into mistakes until things finally start to turn around. It's a nice script that gives everyone a chance to shine. Lots of cameos throughout the film as well. PG-13 for language and violence.
ANGIE (R) 102 minutes * * * Angie (Geena Davis) doesn't know what lies ahead for her in life. Like the rest of us, she just has to wait until it happens. This is a film about the journey of life, and what it means to one particular, and very interesting, woman. Adapted from the novel, "Angie, I Says", this gives us a good look at Geena Davis in prime dramatic form, with a script that will have you laughing and crying. R for language and sex.
THE ANGRIEST MAN IN BROOKLYN (R) 78 minutes * * 1/2 Patience is not one of Henry's (Robin Williams) virtues. And so, Dr. Gill (Mila Kunis) blurts out that he has only 90 minutes to live. Now Henry has another reason to be angry. Williams does a nice job as cranky "Mr. Negativity", though it isn't difficult to see that a more sentimental aspect to the story will surface before long. The anticipation of that shift is what keeps us watching, because we want to watch him change. R for language and sex.
THE ANGRY BIRDS MOVIE (PG) 88 minutes * * The birds are very trusting. Well, except for Red (voicced by Jason Sudeikis). He just knows that the green piggies are up to something, but he's going to have to find a way to prove it, because no one believes him. There's a good bit of focus on anger, which makes sense because of the title characters, but it does mean that there's a good deal of anger-based violence. The cute baby birds steal most every scene they're in, which is somewhat telling. PG for language and violence.
THE ANGRY BIRDS MOVIE 2 (PG) 89 minutes * * 1/2 Thanks to a recent attack on the pigs by an unknown enemy, they want a truce with the birds. Red (voiced by Jason Sudeikis) doesn't trust them, but it may be necessary to put his mistrust aside... at least for the moment. A little more fun than the first film, with a better mix of characters and a little more from the baby birds. PG for language and violence.
THE ANGRY BLACK GIRL AND HER MONSTER (NR) 88 minutes * * What if death was a disease? A disease can be cured. That's what Vicaria (Sarah-Grace Spicer/Laya DeLeon Hayes) thinks. So, when her brother dies, she sets about finding a way to bring him back. A modern day twist on the Frankenstein story. Some of this works well, but other parts not as much.
ANGRY NEIGHBORS (R) 83 minutes * * A retired writer, Harry Marsh (Frank Langella) just wants to live a quiet life on his island in the Hamptons. Then his neighbor builds a giant mansion next door. What else can he do? None of the cast appear to be very invested in the story, which has a surprisingly relaxed feeling for being about feuding neighbors. R for language.
ANGRY VIDEO GAME NERD: THE MOVIE (NR) 108 minutes 1/2 The attempt here is to be a funny, low-budget film that is low-budget and silly on purpose. It does succeed at being low-budget, with bad effects and a story that seems to be mostly ad libbed. Most of what there is of a story is centered around the old E.T. videogame, considered to be the worst videogame of all time, and and responsible for the videogame crash of 1983. The bits around this idea are already known to gamers, and the rest of us wonder why we should care.
ANGUISH (NR) 87 minutes * * Tess (Ryan Simpkins) has been diagnosed with an identity disorder. That's not what it is at all, and Lucy's (Amberley Gridley) presence seems to be growing stronger of late. The story takes awhile to get going, and tends to be more about creating uncertainty and suspense rather than anything specific or frightening. In some ways that works, but it also tends to be a little self-absorbed.
ANGUS (PG-13) 85 minutes * * * It's his high school freshman year and Angus (Charlie Talbert) has never spoken to the girl he's had a crush on for years. This fun slice-of-a-kid's-life film has lots of charm, great music, and some wonderful performances from Talbert, George C. Scott, Rita Moreno, and Kathy Bates. The message is obvious, but it's the way in which it's presented that keeps us watching and caring about Angus.
ANGUS BUCHAN'S ORDINARY PEOPLE (PG-13) 109 minutes * 1/2 Angus Buchan's "Mighty Men Conference" in South Africa draws men from all over the world to hear his message of transformation and hope. This is the story of three men who made that journey and the paths they took that led them to attend the conference. Very slow pacing that might have been helped by having more focus on the conference and its effects on people rather than on what led people to attend. PG-13 for violence.
ANGUS, THONGS, AND PERFECT SNOGGING (PG-13) 95 minutes * * * 1/2 Delightful, charming, funny, and romantic look at a young British girl coming of age. She and her friends are venturing into the world of being a teenager and everything that goes with it. Very nice work by Georgia Groome as Georgia. Tons of story packed into this film that adapts a couple of Louise Rennison's books. Even the cat (actually played by two different cats) does a wonderful job here! Filmed in Brighton, Eastbourne, and London, England. PG-13 for language.
ANIMAL (R) 89 minutes * * Ving Rhams is "Animal", tough and mean, and determined to survive the streets, prison, or whatever life throws at him. Of course he eventually realizes that it might be better another way. Rhames and Terrance Howard both do nice work here, but the story (created by Rhames though scripted by someone else) doesn't say anything we haven't heard numerous times. Filmed in San Juan, Puerto Rico. R for violence and language.
THE ANIMAL (PG-13) 74 minutes * 1/2 Marvin (Rob Schneider) always wanted to be a cop. Now he's a superhero... sort of. After a tragic accident, some of his body parts have been replaced with animal parts. The only problem is that he acts like those different animals sometimes. Typically dumb/funny antics that you'd expect from a film of this type. At least it doesn't last too long. PG-13 for language.
ANIMAL CRACKERS (PG) 95 minutes * * 1/2 Horatio and Buffalo Bob had the world's best circus, but love came between the brothers and Horatio decides to leave. Many years later, the circus is a shell of its former self, and it is at risk of being taken over by Horatio, whose ego is still getting in the way. Bob's son and his family will need the magic of a special box of animal crackers in order to save the circus. Featuring the voal talents of Emily Blunt, Danny DeVito, John Krasinski, Ian McKellan, Raven-Symone, Sylvester Stallone, Patrick Warburton, and many more. PG for language.
ANIMAL KINGDOM (R) 104 minutes * * 1/2 The violent lives of his uncles are not only creating troubles for "J" (James Frecheville), but real danger is lurking just around the corner. There might be a way out, but it is frought with danger as well. Good story, but the performances are lacking the intensity and strength they need at times. R for violence and language.
ANIMALISTIC (NR) 82 minutes 1/2 Kidnapped on her way to a press conference, Emma (Hanna Oldenburg) finds herself in the hands of three violent and sadistic people who plan to have their way with her. As it turns out, they may have taken on more than they can handle. Lots of two-dimensional acting and poor photography.
ANIMALS (NR) 81 minutes * * 1/2 Jude (David Dastmalchian) and Bobbie (Kim Shaw) are adept at the art of the con. They are drug addicts, but manage to stay just ahead of collapse... until they don't. Dastmalchian wrote and stars in this personal and disturbing look at life on the edge. Not really a dark and gritty look, but the darkness is there in the obvious self-deception that Jude and Bobbie are both sinking in.
ANNA (R) 94 minutes BOMB Two amateur paranormal investigators steal a possessed doll from a "museum". Not a good idea. Neither was making this movie. Bargain basement effects, one-dimensional acting, horrible sound quality, and the list goes one. R for violence and language.
ANNA (2019) (R) 113 minutes * * * There are many things she wants out of life, but Anna (Sasha Luss) eventually decides that the most important is freedom. Her skills as an assassin just might be enough to buy her that ticket. Another gem from writer/director Luc Besson, with very nice work by Luss and a fine supporting role by Helen Mirren. R for violence, language, and sex.
ANNA AND THE APOCALYPSE (R) 87 minutes * * 1/2 High school is a tough time, but as Anna (Ella Hunt) and her friends discover, the zombie apocalypse just might be worse. Anna may have also just found what she's best at. The music is quite good, and Hunt delivers a solid performance with both her acting and singing. The film starts much stronger than it finishes though, which is unfortunate. R for violence, language, and sex.
ANNA AND THE KING (PG-13) 142 minutes * * * Splendid version of the classic story of a teacher who goes abroad to instruct a prince, but who ends up not only educating an entire country and its king, but learning more about life and love than she ever dreamed possible. Based on the diaries of Anne Leonowens, this is less glamorous than you might expect. Jodie Foster and Chow Yun-Fat present us with a film that feels very much like the truth. It does run on a bit, but it's hard to find a place to make a cut. Filmed in Malaysia. PG-13 for violence.
ANNA KARENINA (R) 122 minutes * * * Highly stylized and artistic version of the classic story by Leo Tolstoy. It's a beautiful production, but it can also be very confusing early on if you aren't already familiar with the story. Keira Knightley and Jude Law do nice work here, and make it easier to keep watching until the story does begin to make more sense. R for sex and violence.
ANNA NICOLE (NR) 88 minutes * * ½ The tabloid life of Anna Nicole Smith (Agnes Bruckner). The story doesn’t pull any punches and stays on the more sordid side of things. There’s a mild and tentative note of sympathy in that its fairly clear that once in awhile, her life would start to take an upward swing, but it just never seemed to hold on that track for more than a moment. Disappointing to see Martin Landau here as it gives him little more than a chance to look bad.
THE ANNA NICOLE SMITH STORY (NR) 85 minutes * The tabloid life of Anna Nicole Smith. Brainless narration tries to cover for a story that has little depth or imagination. There are occassional glimmers of something more in a few of the characters, but most of this story is so glossed over that there isn't much left. In a way, that's what happened to Anna Nicole, but by the time we're at the end of this film, we don't really care.
ANNABELLE (R) 95 minutes * * 1/2 Another creepy doll, another possessed household. The special effects and sound effects are pretty good here, with a nice mix of quiet creepiness and louder effects. The visual effects have that same sort of balance between the more subtle and the more grotesque. R for violence.
ANNABELLE COMES HOME (R) 100 minutes * * 1/2 Another misadventure at the home of Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga). A babysitter and her friend end up releasing Annabelle... again. You'd think the Ed and Lorraine would do a better job of securing a doll they feel is so evil that it needs to be blessed every week. The story isn't very good, but there's more than enough creepy and scary to go around. It is also nice to see such a strong role for Mckenna Grace as young Judy Warren. R for violence.
ANNABELLE: CREATION (R) 104 minutes * 1/2 Part of the "Conjuring" franchise, and the second "Annabelle" film, this is the story of the creation of the doll. It is a story of tragic death, and something very evil. In their desire to have their daughter back, this couple opened the door to an evil presence that only seems to go stronger with time. Creepy stuff, but the story jumps around and doesn't always make much sense. R for violence.
ANNAPOLIS (PG-13) 98 minutes * 1/2 Jake (James Franco) never thought he'd get a chance to go to the academy. Now that he's there, it's a bit more difficult than he thought, but he's beginning to find within himself what others have seen all along. While that part of the plot is good, the inordinate amount of time spent focusing on the brigades (the boxing tournament where rank has no meaning) does not strengthen the film. It quickly degenerates to a face-off between Jake and Cole (Tyrese Gibson) and their battle in the ring. Dumb ending too! PG-13 for violence and language.
ANNE OF GREEN GABLES (2016) (NR) 84 minutes * * * Fine version of the classic story about Anne Shirley (Ella Ballentine), an orphan who is sent to live with a couple (Martin Sheen and Sara Botsford) who had asked for a boy. Anne is everything they never wanted, and exactly what they, and she, need.
ANNE OF GREEN GABLES: FIRE & DEW (NR) 87 minutes * * 1/2 Anne (Ella Ballentine) is off to study at Queen's College, which is yet another sign that she is growing up. Matthew (Martin Sheen) and Marilla (Sara Botsford) struggle with what it means that she is doing just what they had hoped.
ANNE OF GREEN GABLES: THE GOOD STARS (NR) 87 minutes * * 1/2 Another of Anne Shirley's (Ella Ballentine) many adventures. Her constant competition with Gilbert (Drew Haytaoglu) begins to turn into something more romantic in nature, but that ends up putting some other friendships at risk, and Anne must make a choice. Another fun chapter in the continuing story.
ANNIE (PG) 125 minutes * * * The musical story of a precocious orphan and her adventures as she tries to find the perfect home. Wonderful sets and choreography, but the cast is what makes this work so well. From the talented Aileen Quinn as young Annie, to the great work by Carol Burnett, Albert Finney, and Ann Reinking, it’s a cast that works very well together. PG for violence, language, and sex.
ANNIE (2014) (PG) 111 minutes * 1/2 Another version of the classic musical. The script updates are a mixed bag, with some working well and others just falling flat. Cameron Diaz is a poor substitute for Carol Burnett, and seems to wonder why she's here as much as we do. PG for language.
ANNIE'S POINT (NR) 85 minutes * * * Annie (Betty White) is determined to fulfill her husband's last wish. She takes Ella (Amy Davidson) along for the cross-country trip, filled with laughter and life lessons. Ella protests for a bit, but it is her grandmother after all. White and Davidson work well together, and White's sparkling charm brighten's what would have otherwise been a fairyly mediocre story.
ANNIHILATION (R) 108 minutes * * * A "meteor" strikes a lighthouse, and a strange shimmer begins to surround it. Then the shimmer starts to expand. Only one person has come back from an expedition to explore the site of the impact. Lena (Natalie Portman) volunteers to go on the next mission as it was her husband who returned. A very unusual and thought-provoking story, though it takes awhile to pull us in. The effects are a strange mix of the beautiful and the macabre. Adapted from the book by Jeff VanderMeer. R for violence, language, and sex.
ANOMALISA (R) 83 minutes * * 1/2 Michael (voiced by David Thewlis) is a customer service specialist. He's also boring, by his own admission. On this particular trip, he's going to meet someone who is going to change all of that. It's an interesting choice to have Tom Noonan do all of the voices except for Michael and Lisa. The point is obvious, but it tends to overstate the point, which could have been made in other ways. The ending takes a more poignant turn, but getting there is not the easiest journey. R for sex and language.
THE ANOMALY (NR) 92 minutes * * Ryan (Noel Clarke) only has ten minute bursts of consciousness in which to figure out what is goig on and why. Also, each time he wakes, he's in a reality that differs, at least in part, from the one he was just in. There's quite a bit of potential for the story, but the way its designed also makes it difficult to understand without watching it more than once. In an attempt to keep us interested when the story may be confusing, we are treated to slow-motion special effects and fight sequences, with limited success.
ANOMALY (2016) 69 minutes 1/2 The story of a house and a family dealing with an extreme possession. Stiff dialogue and two-dimensional acting undermine a suspenseful story. There are a few mildly creepy moments thanks to some sound and visual effects, but we needed so much more that this just doesn't deliver.
ANONYMOUS (PG-13) 124 minutes * * * There are many theories about the works of Shakespeare and who wrote them. Some even contend that Shakespeare wasn't actually a real person. This particular version grants that Shakespeare was real, and that the plays were actually written by Edward, Earl of Oxford (Rhys Ifans) and given to him through playwright Ben Jonson (Sebastian Armesto). Interesting possibility and well-played. PG-13 for violence and sex.
ANOTHER CINDERELLA STORY (PG) 87 minutes * * Just like the title says, this is another Cinderella story. This Cinderella lives in Beverly Hills. Her step-mom is an aging pop star, and the "prince" is a hot young pop star who is hosting a contest to find someone to sing and dance in his new video. Nice choreography, and very nice work by Selena Gomez, who makes this fun to watch. PG for language.
ANOTHER DAY OF LIFE (NR) 76 minutes * * * The powerful and moving story of Polish reporter Ryszard Kapuscinski and the three months he spent in war-tirn Angola. As a journalist, his mission is to tell the story of those who might otherwise never have a voice... to make sure they are heard and remembered. The film mixes animation and live action that is mostly interview segments. The mix works well.
ANOTHER EARTH (PG-13) 88 minutes * * * Responsible for a tragic accident, four years later, Rhoda (Brit Marling) is trying to make amends. At the same time, a parallel earth has been discovered. It is apparently identical in every way, including life. it offeres interesting possibilites for Rhoda to consider. Fascinating ending, and a very strong mix of science fiction and fact with a dramatic story. Nice work by writer/actress Marling. PG-13 for violence and sex.
ANOTHER 48 HRS. (R) 92 minutes * * * Jack Cates (Nick Nolte) hasn't been able to turn up any information on the "iceman" and is going to have to turn to Reggie Hammond (Eddie Murphy) for help... again. There's plenty of action here and the story is fairly interesting, but the villains aren't very strong. Nolte and Murphy work well together and their parts are well-written, which more than carries the film. But stronger villains for them to work against would have made this more exciting and memorable. R for violence and language.
ANOTHER HAPPY DAY (R) 112 minutes * * Gathering for Dylan's (Michael Nardelli) wedding should be a happy occasion. But as with manny families, this one is more than a little dysfunctional. Tends to waste the talents of most of the actors by having far too many scenes that involves screaming or crying. Ellen Barkin, Ellen Burstyn, Demi Moore, Thomas Haden Church, and George Kennedy to name a few. R for language and nudity.
ANOTHER MOTHER'S SON (NR) 98 minutes * * * The English island of Jersey was occupied by the Nazis during World War II. Apalled by the treatment of prisoners, Lou (Jenny Seagrove) takes a young Russian man into her home to protect him. It is a risk, but she is only doing what she hopes someone would do for her own son in similar circumstances. Based on a true story.
ANOTHER ROUND (NR) 113 minutes * * 1/2 Martin's (Mads Mikkelson) teaching has become dull. His students lack any confidence that he will teach them well enough to pass their exams. Three of Martin's teacher friends join him in an experiment that rpoposes a better and more energetic life with a blood alcohol level of .05 all the time. Their experiment doesn't go quite as expected, though they do learn some important lessons about friendship, family, and alcohol.
ANOTHER SOUL (NR) 76 minutes BOMB A family moves into a house. Their daughter is now in danger of being possessed by something that was already in the house. Very stiff dialogue and a very tired and horribly written script. Not that the acting skills of the cast help matters at all.
ANOTHER STAKEOUT (PG-13) 104 minutes * * 1/2 Richard Dreyfuss and Emilio Estevez are on the job again. This time they're trying to find a missing witness with the assistance of Rosie O'Donnell. Unfortunately , her character never really fits here and feel much like an unwanted and unnecessary third wheel. Dreyfuss and Estevez worked well together in the first film (and here), so it's unclear why they felt they needed to bring in a new character. PG-13 for violence and language.
ANOTHER WOLFCOP (NR) 72 minutes * 1/2 In this sequel to WolfCop, werewolf Lou Garou (Leo Fafard) has to deal with the sinister plans of a businessman out to take over the town. This town is already full of unusual creatures, but there are about to be quite a few more if Swallows (Yannick Bisson) has his way. Be sure not to drink any of that Chicken Milk Beer! Silly, low-budget horror film that works fairly well because it never takes itself too seriously. Plenty of gross effects.
ANOTHER YEAR (PG-13) 121 minutes * * * A year in the life of Tom (Jim Broadbent) and Gerri (Ruth Sheen). An ordinary couple, with family and friends, and love for each other that keeps them going. Wonderful acting in a story that often lets us forget that this isn't real. PG-13 for language.
ANOTHER YOU (R) 90 minutes * * Gene Wilder plays a compulsive liar and Richard Pryor is a street hustler. The two become involved in an elaborate scam that gets them into trouble every step of the way. Although they've both done worse films, this is far from their best material. R for language.
THE ANSWER (NR) 78 minutes * 1/2 There have always been some strange things in Bridd's (Austin Hebert) life. He's never really tried to figure out what it means. After being attacked, that might change, especially with Charlotte (Alexis Carra) pushing him along. The story isn't very well developed, leaving us with too many holes and characters we struggle to believe. The energy remains at a rather low-loevel throughout.
THE ANSWER MAN (R) 94 minutes * * * Arlen Faber (Jeff Daniels) is the author of the ultimate book on spirituality, "God and Me". His success, and the fame that come with it have made him a recluse, but his carefully constructed barriers are starting to collapse. The massage therapist he's seeing for his back is more than he bargained for, and the young man at the nearby bookstore where he's trying to get rid of his old books is asking questions that are challenging his own world view. The cast is delightful, and the script is both thoughtful and charming. Also starring Lauren Graham, Lou Taylor Pucci, Olivia Thirlby, and Kat Dennings. R for language.
ANSWERS TO NOTHING (R) 119 minutes * * The strongest storyline here is about a young girl who goes missing and the search for both her, and her abductor. There are other stories here, some of which tie in directly, others which do not. The script tends to wander from one story to the next, including some flashbacks, which makes it a challenge to follow. More importantly, few of the characters are ones we find ourselves caring about, or even all that interested in. The ending is quite well done, though for many, it will prove to be extremely unsatisfactory and more than a little depresing. R for sex, violence, and language.
THE ANT BULLY (PG) 81 minutes * * 1/2 Lucas gets picked on by a bully and takes his frustration out on a nearby anthill. But the ants have a surprise for him. Theyshrink him down to their size and teach him that ants have feelings too. Adapted from the book by John Nickle, and featuring the voices of Nicolas Cage, Julia Roberts, Ricardo Montleban, Meryl Streep and Lily Tomlin. One memorable quote from the film has much to say not only about children, but about adults as well.... "Some humans prefer to clobber people they don't understand." PG for violence.
ANT-MAN (PG-13) 110 minutes * * * A very nice adaptation of the Marvel charactr to the big screen. As with most of Marvel's films, the story has been changed from the comic, but it works well. The script is clever, though perhaps a little too heavy on comedy at times. Paul Rudd struggles with that, but it's because the situation his character is in is different, and not really funny. PG-13 for violence.
ANT-MAN AND THE WASP: QUANTUMANIA (PG-13) 113 minutes * * 1/2 When things go wrong, they go wrong very quickly. At least that's been Scott Lang's (Paul Rudd) experience. He and his family are now in the Quantum Realn, and they need to find a way out. There's a problem though. They have to be careful, because Kang the Conqueror (Jonathan Majors) is being held there as a prisoner, and there's a chance that their own exit from the Quantum Realm might give him a chance to escape. There's a bit too much humor, but otherwise, this is a good entry in the Marvel film series. PG-13 for violence and language.
ANTARCTIC EDGE: 70 DEGREES SOUTH (NR) 71 minutes * * * It's dangerous work, but it's also tremendously important. This is the story of an expedition to the West Antarctic Peninsula. In 2014, the ice on the peninsula reached a tipping point. The melt that is happening can't be stopped. What does that mean for the rest of the planet? A very informative documentary, with a good mix of interviews, expedition footage, and diagrams, to get an understanding of the work and what it all means.
ANTARCTICA: A YEAR ON ICE (PG) 89 minutes * * * Detailed look at life in Antarctica over the course of a year at McMurdo, the American base on the continent. Interviews and footage of life in and around McMurdo give us a fascinating look at a very different life from what most of us will ever experience. PG for language.
ANTEBELLUM (R) 101 minutes * * The world has suddenly changed for Veronica Henley (Janelle Monae). She's at a loss to figure out how she was transported back in time, but it seems at though that is exactly what has happened. There's quite a bit of powerful anology here, and some great acting. There are also some unanswered questions that leave the story with some very hard to ignore flaws. R for violence and language.
ANTHONY ZIMMER (NR) 80 minutes * * * Zimmer is responsible for the theft of a great deal of money. The people he stole from aren't very nice, and they aren't very happy. He's trying to meet up with the woman he loves (Sophie Marceau), but that won't be all that easy. Marceau delivers a classy and refined performance, but a bit dry. We also need to understand a little more about the people Zimmer stole from as they feature more prominently later in the film. Remade as "The Tourist", which does a little better explaining the villains and adds some lightly humorous touches as well.
ANTHROPOID (R) 115 minutes * * * General Reinhard Heydrich is Hitler’s third in command. He is also known as the Butcher of Prague. This is the story of the mission to assassinate him. Operation Anthropoid. An intense and violent World War II drama with strong performances all around. R for violence.
ANTI MATTER (NR) 105 minutes * * 1/2 Working on an experiment to transport matter, Ann (Yaiza Figueroa) takes the trip herself. And something isn't right. There are some holes in the story, which isn't really a surprise in this sub-genre of science fiction, but the dialogue is even weaker than the story. Acting and production quality are a little low, but this still manages to be interesting and entertaining.
ANTIBIRTH (NR) 90 minutes * 1/2 Lou (Natasha Lyonne) doesn't feel well, and she's been partying for so long, she doesn't really remember much. Including how she got pregnant. Definitely unusual. The performances are very good, but the story keeps hinting that something else is just beyond what we're being told. When it finally delivers, it just isn't all that great.
ANTICHRIST (NR) 98 minutes * * Working to cope with the grief from the horrific accidental death of their young son, a couple (Willem Dafoe and Charlotte Gainsbourg) go to their cabin. The idea is that spending time in this remote location, away from everything else, will help them process their grief. Instead, it puts them on a violent and destructive path. It's about the dark side of nature, both external and internal. Wonderful symbolism, but it also veers off into exploitation a little too often.
ANTIDOTE (NR) 89 minutes 1/2 An idealistic doctor (Natali Yura) searchies for a cure to a devastating disease. Meanwhile, a couple of treasure hunters (Randy Couture and Chuch Zito) find themselves on the same path, which is leading them all to the White Witch of Mayan legend. Couture and Zito are not great actors, but they do much better than Yura, who isn't believable at all.
ANTIHUMAN (NR) 112 minutes * 1/2 An old psychological research facility is still home to the tortured ghosts of its history. Maggie (Anya Korzun) is looking to resolve issues from her past, and hopes that a visit to the place where her mother used to work will help. The ghosts have other ideas. It's a strange piece, with a mix of 1970s British exploitation horror and artistic imagery. A great example of art at the expense of story.
ANTITRUST (PG-13) 103 minutes * * Milo (Ryan Phillippe) is a computer genius, and he has the skills and talent that Gary Winston (Tim Robbins) needs to make his global communications system operational. As Milo soon discovers, Gary will stop at nothing to acquire what he wants and to stop those who he sees as competition. Slick production values make this pleasant enough to watch, but despite the dressing, it's still the same old story of a power-hungry adult who is eventually brought down by a "powerless" underdog. Phillippe and Robbins, along with Claire Forlani and Rachel Leigh Cook all do reasonably good work here, but you won't miss anything if you slip out of the room for a minute or two. PG-13 for language and violence.
ANTIVIRAL (NR) 103 minutes * * * You too, can now be infected with the same illness as your favorite celebrity. Syd (Caleb Landry Jones) has even figured out a way to make a profit on the side, but it has some rather dangerous side-effects. Writer/director Brandon Cronenberg, son of David Cronenberg, follows in his father's footsteps with a scientific horror film with a touch of dark humor. An expeansion of his short film, "Broken Tulips", this is also social commentary on the obsessive nature of celebrity worship that never seems to fade.
ANTLERS (R) 94 minutes * 1/2 Running a meth lab out of an abandoned coal mine, Frank (Scott Haze) and his friend are attacked by a creature, which also attacks Frank's son Aiden. It changes them, and they are now kept in a locked room that Frank's other son Lucas (Jeremy T. Thomas) keeps watch over. The new teacher )Keri Russell) is well-meaning, but fearing abuse, she investigates. It leads her to the room, which she then unlocks. Some good effects, though many are too much in the dark. The story also doesn't really go into much of an explanation abuot the Wendigo. R for violence and language.
ANTONIA'S LINE (R) 105 minutes * * * * A woman returns to the town of her birth after WW II, with her daughter in tow. They are unconventional to say the least, but their wills are strong and the town soon begins to change. This film is delightful from start to finish. Antonia's family learns the meaning of love, hatred, forgiveness, life, and death. Powerful lessons which create characters that are deep and memorable. Winner of the Oscar for Best Foreign Film.
ANTWONE FISHER (PG-13) 114 minutes * * * Antwone Fisher (Derek Luke) has a problem with anger. It will take him some time and a superior officer in the military who has a great deal of patience, but eventually, he'll discover the man behind that anger. The story moves along rather slowly at first, as we learn about Fisher primarily through his sessions with Davenport (Denzel Washington) and through flashbacks. It finishes quite nicely though. Washington's direction (his first feature-length work) is a little stiff, but shows great promise. He also co-wrote this along with the real Antwone Fisher. PG-13 for language and violence.
ANTZ (PG) 77 minutes * * General Mandible wants to start a new colony of ants by marrying the princess and killing off those who aren't loyal to him. Of course, Z will save the day by serving as an inspiration to others. Questioning his status as a worker and becoming a soldier, he leads them to safety and helps them to begin thinking for themselves. The animation is wonderful, but the story is a bit narrow in focus and aimed far above the heads of children. One wonders why they didn't make the story a bit more complex and/or violent and go for the PG-13 rating. As is, it's PG for language and violence.
ANVIL: THE STORY OF ANVIL (NR) 78 minutes * * 1/2 Anvil... the band that almost was... Anvil is a heavy metal band that began in the 1980s and just never quite made it, despite having a great sound and influencing several other successful bands of the same period. The amazing part is that even after all these years of just missing success, they are still around... which is more than some of those "more succesful" bands can say!
ANY DAY (NR) 96 minutes * * Vian (Sean Bean) is out of prison and looking to start over. It's not easy. Bean does some very nice work here, but has to carry too much of the film, with the rest of the cast lacking in depth and development.
ANY DAY NOW (R) 92 minutes * * * 1/2 When Donatello (Alan Cumming) finds Marco (Isaac Leyva) alone in his neighbors apartment, he just wants to help. Marco's mother agrees to sign over custody, but Donatello's homosexual lifestyle is deemed inappropriate by the court. Powerful story with an absolutely stunning ending and a bravura performance by Cumming. R for sex and language.
ANY GIVEN SUNDAY (R) 155 minutes * * 1/2 Oliver Stone's heavy-handed direction heads to the football field in this story of a coach and his struggling team. The Sharks lose two quarterbacks in a game and end up using a young third-string player (Jamie Foxx) who has talent, but is not a team player. Sparks fly as his success and charisma appeal to the owner of the team (Cameron Diaz), but fail to acoomplish much on the playing field. The dramatic sequences off the field are handled well, but the segments on the field are noisy, confused, poorly directed, and poorly edited. The jerky camera movements , which are undoubtedly meant to show us the intensity of the sport, serve only to give us a headache. And the uniforms for some of the opposing teams and their cheerleaders are atrocious. Fans of Al Pacino won't be suprised to know that it's his strength as an actor that carries the film. R for language, violence, and nudity.
ANY HUMAN HEART (NR) 276 minutes * * * A look back on the life of Logan Mountstuart (Matthew Macfadyen/Jim Broadbent), primarily through his interactions with the many women in his life. Not just those who have shared his bed, but friends, relatives, and other women who have been a part of his life. Although a rather lengthy adaptation of William Boyd's novel, it's a fascinating approach to creating and understanding a character. Nice work by the cast. The movement back and forth in time is a bit distracting in a few spots, but is handled well most of the time.
ANYONE BUT YOU (R) 96 minutes * * 1/2 He was being gracious, she needed some help. The next thing Bea Sydney Sweeney) and Ben (Glen Powell) know, they're in a relationship. Five minutes later, they aren't. Their friends all think they should be together, and then they find themselves at a wedding halfway across the world. Maybe they should play along. Fun story. R for language and sex.
ANYTHING FOR JACKSON (NR) 94 minutes * 1/2 Grieving the death of their grandson, Audrey (Sheila McCarthy) and Henry (Julian Richings) perform a satanic ritual to bring him back. It doesn't work out quite like they expected it to. Well-done gross effects, but the story is messy too, with a few sequences that work well, but only a few.
ANYTHING FOR LOVE (NR) 83 minutes * * 1/2 A very driven executive submits an online profile that isn't completely true. She ends up on a date with the perfect guy. Except that his profile wasn't completely honest either. Of course it all works out because this is a predictable and sentimental Hallmark romance.
ANYWHERE BUT HERE (PG-13) 107 minutes * * * A mother and her teenage daughter are headed across the country from Wisconsin to sunny California. Ann (Natalie Portman) doesn't really want to go, but her mother (Susan Sarandon) thinks it will be better. Parenting isn't easy, but then again, neither is being a kid. The interactions between these two fabulous actresses are incredibly real. The narration is a bit thick at times, but Portman has a screen presence that few people ever have and brings you inside the film so quickly you don't have time to think about it. Roger Deakins' photography and Danny Elfman's music really help set the mood as well. There's also a gem of a scene between Portman and Thora Birch, another great young talent. Life is a process of growing up and letting go. PG-13 for language.
APACHE WARRIOR (NR) 81 minutes * * 1/2 Utilizing real battle footage, this is the story of the Apache helicopters and their use in warfare. The focus is on one particular mission, with interviews of pilots and crew members connected to that mission. While the documentary remains focused on this one mission, it establishes itself well as a story of how the Apache helicopters function on a mission, and how critical their support can be.
APACHES (NR) 80 minutes * 1/2 Five teens spend the night at a fancy villa where one of them knows that the owners are on vacation. It's a fun night for them, and they take a few things as they go. When the owners return, they don't report it to the police, but to a local crime organization, which sends things spiralling in a direction the teens never expected. The ending is unusual, but the last 10-15 minutes tend to wander and make less sense than the rest of the film.
APARTMENT 143 (R) 76 minutes * 1/2 Reality-style investigation of unexplained activities in an apartment. The approach here is more of a scientific one, which does answer some questions for the characters, but not others. The ending is a predictable and cheap attempt to throw in a supernatural bit. R for language and violence.
APARTMENT 1303 (NR) 94 minutes * * 1/2 Sayaki (Aki Fukada) is thrilled to get such an inexpensive apartment to share with her friends. There's a reacon, of course, that has to do with the deaths of several young women who either jump or fall off the balcony. It would seem that the place is haunted. Creepy moments are scattered throughout the film. The same is true of the suspense, which leaves the film with uneven energy.
APARTMENT 1303 (2012) (R) 81 minutes * * Janet (Julianne Michelle) wanted to get away from home, so she moved into an apartment. It sounded like a great deal, but some things are just too good to be true. Definitely creepy, though the story is more than a little thin on explaining some of the fairly important details. R for langugae, violence, and sex.
APARTMENT TROUBLES (NR) 73 minutes * * Evicted from their apartment, Olivia (Jennifer Prediger) and Nicole (Jess Weixler) head to Los Angeles, where ther are new possibilities. The trouble is that the same problems seem to follow them and hold them down. Filled with quirky characters, but they never really mesh with the sensitive and gentle story of these two friends. Prediger and Weixler co-wrote and co-directed this as well.
APARTMENT 212 (NR) 93 minutes * Starting over isn't easy, but it's exactly what Jennifer (Penelope Mitchell) is trying to do. But the neighbors next to her new apartment aren't helping. And then there's the fact that something seems to be biting her at night. Good suspense, and the story builds well, but the little monsters aren't very impressive when we finally start seeing them.
APEX (NR) 87 minutes * * The Apex Company provides very discrete hunting opportunities. Humans are both the predator and the prey. Dr. Rainsford (Neal McDonough) has become a bit bored with the game of late, winning over the other hunters with ease. The company decides to ramp up the game by bringing in Thomas Malone (Bruce Willis). He's going to be a bit more of a challenge. Another variation of the Richard Connell short story, "The Most Dangerous Game", first published in 1924. Willis and McDonough are good here, but the rest of the cast are barely two-dimensional.
APEX PREDATORS (NR) 62 minutes BOMB A new coastal resort is getting ready to open, but swimmers are starting to disappear and body parts are washing up on the beach. Could it be a coordinated attack by the sharks? Could it be some of the worst acting you'll ever see? An ending that makes no sense, but at least the film is mercifully short. (It may not feel like it though.)
APOCALYPSE DAY ONE (NR) 96 minutes 1/2 After the apocalypse, society moves to a more authoritarian style of government. Christian (Zach Pappas) fights for peace. The Continental 10 organization says it supports peace too, but that's questionable. More of a romantic drama than an action film. It's also very wordy, which makes it even less interesting. The low-budget is most noticeable with the photography and music, but the acting isn'g great either.
APOCALYPSE POMPEII (NR) 84 minutes 1/2 When a family is visiting the ancient ruins of Pompeii, Mount Vesuvius decides to erupt again. Good thing this family knows how to handle a disaster! John Rhys-Davis overacts while everyone else does the opposite.
APOCALYPSE RISING (NR) 79 minutes BOMB Low-budget science fiction with barbarians, zombies, and Jesus. Six aliens leave their world because it is being destroyed, and find themselves on Earth, which is soon to face the same destruction. Or, this could also be the story that just happened to develop after the cast and crew saw what was available at the discount prop and costume shop.
APOCALYPSE ROAD (NR) 85 minutes * 1/2 It's a new world. A twisted and violent version of the old one. Two sisters find themselves separated, and they will do everything they can to find each other again. The big problem here is the lack of clarity and direction in the story. It becomes especially clear at the end... or UNclear.
APOCALYPTO (R) 130 minutes * * 1/2 In part, this is the story of the fall of the Mayan civilization, but it's also the story of Jaguar Paw (Rudy Youngblood) and his efforts to survive and protect his family and his tribe. It's about how reaching for too much and not being satisfied can cause you to fail. Mel Gibson's direction takes a step backwards here as he once again lingers on the gross special effects rather than recognizing that they should not be the focus, but what can add depth and realism to a scene. The animatronic puppet scenes are particularly bad in that they aren't even well done. Great soundtrack by James Horner and beautiful photography courtesy of Dean Semler. Filmed in Mexico. R for violence and nudity.
APOLLO 13 (PG) 134 minutes * * * 1/2 Yet another fine film from director Ron Howard, this time about the Apollo 13 mission to the moon. Fabulous performances throughout the film, even those playing the very small roles. The special effects and photography here really make us feel like we're watching the real thing. It's a major part of the reason the film is able to take hold of us so effectively and keep us watching even when we know exactly what will be happening. PG for language.
APOLLO 18 (PG-13) 77 minutes * 1/2 In 2011, 84 hours of classified footage from the Apollo 18 mission was uploaded to the internet. This film is complied from that footage. (As well as some other footage, because the mission obviously didn't have this many cameras going at once.) Yet another homoe movie horror film, this time with a little conspiracy theory thrown in for good measure. At least the cinematography in this subgenre has improved as filmmakers have realized that they can still get that home movie feeling without being quite so jerky with the camera. PG-13 for violence and language.
THE APOLOGY (NR) 89 minutes * * 1/2 She's been dealing with the pain of having a daughter who has been missing for twenty years. Still, Darlene (Anna Gunn) is about to take that drink she's been avoiding for that same length of time. She doesn't expect her ex brother-in-law (Linus Roache) to show-up. And she certainly doesn't expect to hear the story he has to tell. The story is strong overall, but some of the details are a little less convincing.
APORIA (R) 100 minutes * * * The loss of a partner can be devastating. Sophie (Judy Greer) is also dealing with a daughter who is not dealing well with the loss of her father. When Sophie learns that a friend of her husband has created a time machine of sorts, she's faced with a choice. The problem is that any change has ramifications. Which reality is the right one? The scope is kept to a limited set of experiences, and works at that level. It also hints at a wider scope, ,which doesn't work as well. The ending is good, though not everyone will like it.
THE APOSTLE (PG-13) 128 minutes * * Sonny (Robert Duvall) is a preacher from the Holiness movement. Beginning his career at a young age, it is all he has known. His wife Jessie (Farrah Fawcett) finally leaves him after repeated attempts to try and reconcile their differences. Sonny continues to have affairs and, after assaulting Jessie's male friend, she is able to not only retain custody of the children but have Sonny removed from the church. The story wanders through their lives at an amicable pace, but far too much times is spent with us listening to Sonny speak in front of his congregations. His message is simple enough, as is that of the film... does the good one accomplishes outweigh the bad? It is left for us to decide, but the film would've been less a chore to watch if it had been a bit shorter. Duvall directed, wrote, acted, and served as an executive producer for the film. It looks like it was a little too much to handle effectively. PG-13 for violence and language.
APOSTLE OF DRACULA (NR) 81 minutes * Years after having an intense sexual encounter with Dracula (Javier Caffarena), Lucy (Nathalie Legosles) finally awakens from a dreamlike state. She thirsts for blood, and though Van Helsing (Paul Lapidus) will try to save her, it may be too late. Inspired by Bram Stoker's "Dracula" and Edgar Allan Poe's poem "The Spirits of the Dead". There's some very nice photography, though it doesn't always have much to do with the story. The film is heavily narrated, but the dialogue between the characters isn't that good anyway.
APPALOOSA (R) 108 minutes * * * Adapted from the Robert B. Parker novel, Virgil (Ed Harris) and Everett (Viggo Mortensen) are hired to bring some order to a small western town. Randall Bragg (Jeremy Irons) has other ideas about who is in control. Reasonably good western story, but Harris decided to not only act, but direct, co-produce, co-write, and sing a song during the closing credits. It's a little too much. Renee Zellweger never quite seems to fit here either. Her performance isn't bad, it's just awkward at times. R for violence and language.
THE APPARITION (PG-13) 74 minutes * * 1/2 An experiment goes terribly wrong, and an entity that was manifested by Ben (Sebastian Stan) and his friends is now out to make their lives a living hell. Several very creepy moments throughout and a strong finish help give this an edge, as does the nice soundtrack by Tomandandy. PG-13 for violence and sex.
APPARITIONS (NR) 82 minutes * College graduations often mark a turning point. A time for new beginnings. Lily (Cate O'Connor) is on a different journey. One that will take her back to her childhood home. She wants to uncover the nightmares that seem to be her only memories from that time in her life. The townspeople think Lily's home is cursed. They may be right. A little offbeat at the beginning, but then it settles into nothing surprising.
APPETITE FOR LOVE (NR) 83 minutes * * Small town girl makes it big and ends up being sent back to the small town on business. Everything she left is still there, and she is tasked with upgrading an old family restaurant to a new, corporate model. However, one of the things that hasn't changed is that her old flame still lives there, and it's going to make life a little complicated. A Hallmark romance that ends up being a little light on story.
APPLE OF MY EYE (PG) 80 minutes * * When Bailey (Avery Arendes) has what appears to be a minor horse riding accident, she's not concerned. But then her vision begins to deteriorate. As her vision gets worse, a new opportunity arises. Cute story, but a less than strong performance from Arendes doesn't do this any favors. PG for violence.
APPLESAUCE (NR) 89 minutes * * The story of the deterioration of two couples (and those around them), as revelations about their pasts lead to revenge and inability to forgive. Dark satire that has some great moments, but loses its focus too often. Onur Tukel wrote, directed, edited, acted, and should have stepped back from a couple of those roles.
APPLESEED ALPHA (PG-13) 89 minutes * * Very nice animation and graphics, but the story here is not very imaginative. A quest for something better in a post-apocalyptic world. The dialogue does do a good job of defining the lead characters in a way that makes us want to know more about them. PG-13 for violence and sex.
APPLESEED EX MACHINA (PG-13) 100 minutes * * 1/2 It's the year 2133 and it's a future where humans, cyborgs, and bioroids live in harmony. Until a series of unexplained attacks threaten to destroy this utopia. An ESWAT team is called in to try and deal with the situation, but they have personal issues to deal with as well. The animation if fine here, but the story just never really seems all that engaging. It's almost without emotion, which we need to see and feel for us to care about the characters. Despite the appealing visuals, it's a little dry. Based on the comic book. PG-13 for violence and language.
APPRENTICE (NR) 88 minutes * * Aiman (Firdaus Rahman) is in training to become the chief executioner at a maximum security prison. Thre is something that he is hiding though. A secret that he still struggles with. The story ultimately lets us down, but Rahman delivers a fine performance that is worth a look.
APPROACHING THE UNKNOWN (R) 83 minutes * * * William Stanaforth (Mark Strong) is on his way to Mars. It's the first human mission to the planet. A short time after his launch, Emily Maddox (Sanaa Lathan) is on her way to meet him there. Even so, the journey is a very solitary and lonely one, which is not something that everyone can deal with. Strong does a nice job here, as he faces the prospect of a very lengthy amount of time with no human contact. R for language.
APPROPRIATE ADULT (NR) 132 minutes * * * Mrs. Leach (Emily Watson) has just been trained as an apprpriate adult, a person who assists the accused when they might have trouble communicating or understanding. Her first case turns out to be far more than expected as the body count keeps rising. A hauntingly powerful murder trial story that is based on an actual case. Solid performances all around.
APPROVED FOR ADOPTION (NR) 68 minutes * * * Jung was one of the thousands of Korean orphans adopted by families from Western Europe and the United States at the end of the Korean War. Telling his story through home movies and animated sequences, we get a picture of the struggles and the joys, and how he became who he is today. Powerful and emotional ending, and the mix of visual presentation styles works very well.
APRIL AND THE EXTRAORDINARY WORLD (PG) 99 minutes * * * Just as they are about to discover something amazing, April's scientist parents disappear... as have many other scientists over the years. Twenty years later, she is continuing the work of her parents. She is going to discover something very interesting. Fun adventurous story that starts a little slowly, but begins to pick up energy after about 20-30 minutes. PG for violence and language.
APRIL FOOL'S DAY (R) 88 minutes * * 1/2 It's another holiday murder spree. The story sets up very well, but the murders offer nothing new, interesting, or unusual. The finale works well, but getting there involves too much that just isn't that interesting.
APRIL FOOL'S DAY (2008) (R) 87 minutes 1/2 This remake of the 1986 horror film has lots of pretty faces, but not much in the way of talent. Not that the original was that great of a film either. It's all about tricking someone into confessing their guilt, but we don't really care. R for violence, language and sex.
AQUA TALES (PG) 70 minutes 1/2 After eating a wish fish, Opil makes a wish that he soon regrets. Not that we really care, because he's such a brat, which doesn't make this appealing to watch. Of course there's a point at the end, but getting there is tedious at best. Animation is uneven, with some sequences very flat while others have a better and deeper quality. PG for language.
AQUA TEEN HUNGER FORCE COLON MOVIE FILM FOR THEATERS (R) 79 minutes BOMB Master Shake, Frylock, and Meatwad fight a piece of exercise equipment that is trying to take over the world. Disjointed story with poor animation, not that the TV show this comes from is much better. Fans of the show will enjoy it, others should stay away. R for language and violence.
AQUAMAN (PG-13) 132 minutes * * * He'd heard the stories for years, but Arthur (Jason Momoa) is about to learn just who he really is and what it really means. The worlds of earth and sea are about to clash, and the only one who can stop the two from destroying each other is the true king of Atlantis. Aquaman. The story trie to tackle a little too much, and ends up glossing over quite a few points. The special effects are impressive, but also a little repetitive. It's a good origin stor, and sets things up very nicely for a sequel. PG-13 for violence and language.
AQUAMAN AND THE LOST KINGDOM (PG-13) 113 minutes * * 1/2 Seeking revenge for the death of his father, which he blames on Aquaman (Jason Momoa), Black Manta (Yahya Abdul-Mateen II) is a powerful threat. He is so powerful that Aquamand decides to seek his brother's (Patrick Wilson) assistance. There's plenty of action heree, a little too much in a couple of scenes. The bigger issue is the humor, which comes off a little too strong in several spots. The interplay between Momoa and Wilson is good, but Abdul-Mateen's character doesn't have much depth, and a well-developed villain is essential for a superhero movie. This isn't a bad sequel, but it could have been much stronger. PG-13 for violence and language.
AQUAMARINE (PG) 98 minutes * * Emma Roberts stars in this adaptation of the Alice Hoffman children's novel. Two young girls, one of whom is about to move away, find a mermaid. If they can help her find true love, she'll grant them a wish. Of course, there IS more than one kind of love. Overly sweet and silly despite the fact that is has a good point to make. PG for language.
AQUARIUS (NR) 141 minutes * * 1/2 The last tenant of a once fine apartment building, Clara (Sonia Braga) faces off with the company who wants her out. It's a great role for Braga, but the strength of the story fades toward the end, leaving us with a less powerful finish than it should.
ARABIAN NIGHTS: THE DESOLATE ONE (NR) 127 minutes * * 1/2 Part two of the trilogy by Miguel Gomes. The flow and pacing of this film are somewhat better than in the first part.
ARABIAN NIGHTS: THE ENCHANTED ONE (NR) 120 minutes * * The third and final part of the trilogy. In some ways, knowing more about the history of Portugal might help in appreciating the trilogy. But the three films also illustrate quite well that the story often remains the same over time, despite small changes here and there. There is quite a bit of written explanation on screen here, which tends to interrupt the flow of the film.
ARABIAN NIGHTS: THE RESTLESS ONE (NR) 120 minutes * * 1/2 Using the structure of the Arabian Nights, director Miguel Gomes tells the story of a year (August 2013 - July 2014) in the history of Portugal. An interesting idea which works well in some ways, but not in others.
ARACHNOPHOBIA (PG-13) 103 minutes * * Fairly good acting here, and this is definitely one of those horror films where they realize how silly the idea is and just play with it. That goes a long way toward making it more entertaining. The spider effects are good, but the story quits on us at the end which spoils some of the fun we had up until then.
ARAYA (NR) 81 minutes * * * 1/2 Fascinating look at the lives of the people in northern Venezuela who live and work near a salt mine. The cinematography is nothing short of stunning. It's a simple, yet very peotic film that not only shows us the people of this place, but draws us in, through both image and sound. By the end of the film, we have been to this place, and we understand that, while the work is difficult, it is important. And it's important to do the work by hand, so that there is a stronger connection to the place where we live.
ARBITRAGE (R) 101 minutes * * 1/2 Robert Miller's (Richard Gere) world is about to come crashing down. He's trying to sell his company before the manipulation he's done with the accounts is discovered. Then he's in a car accident with his mistress in the car. The facade is crumbling quickly. The ending is sure to frustrate many viewers, but even so, it's an interesting character study of a man we want to like, but who keeps making it difficult for us. R for language and violence.
THE ARBOR (NR) 91 minutes * * 1/2 The life of playwright Andrea Dunbar is presented in a biographical drama that involves the actors lip-synching to the actual spoken words of people who knew her. The Arbor referred to in the title is an estate in Bradford, West Yorkshire, and the sometimes challenging neighborhood in which Dunbar was raised. It's interesting, especially because of the unique style, but tends to drift at times, including information that doesn't quite fit.
THE ARBORS (NR) 116 minutes * * Ethan (Drew Matthews) keeps to himself, barely connecting with his brother Shane (Ryan Davenport). One night, he finds a dead deer in the middle of the road. Dragging it off to the side to clear the road, he notices something inside the carcass. He is curious. And his curiosity leads him into trouble. He and the creature become linked. That may or may not be a good thing. A slow-paced monster movie that is more interested in creating a sinister and suspenseful atmosphere than in really trying to scare us.
ARCADIA (NR) 87 minutes * * * A cross-country journey with their father sounds like it will be fun, and their mom will be on her way soon... or will she? It doesn't take long for the shine to wear off, especially with the moods their father begins to exhibit. It's truly a coming-of-age story for Greta (Ryan Simpkins), who is the focus of the story and does a very nice job.
ARCHENEMY (NR) 84 minutes * * * He was a hero. A hero with tremendous powers. Max Fist (Joe Manganiello) was a force to be reckoned with when he was on his home world. Here on Earth, no one believes his story except Hamster (Skylan Brooks). Hamster is looking for the story that will jumpstart his career. A fun and interesting anti-hero story with a very nice supporting role for Zolee Griggs as Hamster's sister Indigo.
A.R.C.H.I.E. 2 (PG) 78 minutes 1/2 Archie the robotic dog goes on a new adventure. This time, he'll help uncover a thief at the local carnival. Unfortunately, the film is not just filled with bumbling villains, which is what we expect from this sort of film, but the whole cast seems to act that way. The story drags, and the jokes fall flat. While this is clearly aimed at the 5-7 year old crowd, there's too little of Archie's antics to keep them interested. PG for language.
ARCHIVE (NR) 104 minutes * * * Working on his third and most human-like artifical intelligence, George (Theo James) has encountered a few problems. He's getting close to achieving success, but someone is watching, and success might not look like he wants it to. There are a couple of minor editing problems, but this has a powerful ending that makes you want to watch it all over again.
ARCHONS (NR) 84 minutes * Their rock group is on its way down. Not that it was ever really that much of a success. More of a one hit wonder. They are now on a trip into the Canadian wilderness. There is some good suspense late in the film, but along the way, the effects aren't very good and the ending itself is pretty bad.
ARCTIC (PG-13) 84 minutes * * 1/2 After his plane crashes in the Arctic, Overgard (Mads Mikkelsen) does what he can to stay alive, remaining with the plane and surviving off the land. Soon, he will have to make a decision about whether or not to try and find help rather than waiting for it to come to him. Beautiful scenery. The story moves slowly, as you might expect, but Mikkelsen does a nice job. PG-13 for language and violence.
ARCTIC DOGS (PG) 89 minutes * * He's always wanted to be a top dog, but Swifty (voiced by Jeremy Renner) is "just" an arctic fox. When Otto Von Walrus (voiced by John Cleese) decides to take over the shipping service, Swifty has to set everything right. Being himself might be more important than being a top dog. It's a nice message, but it's less exciting than it should be and the soundtrack is mediocre though the closing song is nice. PG for violence and language.
ARCTIC TALE (G) 81 minutes * * * The National Geographic film crew follow the lives of a young polar bear and a young walrus as they brave the dangerous world of the Arctic. Queen Latifah provides the narration for the story, which also deals with how the world of these magnificent creatures is growing increasingly smaller due to global warming. There are scenes of wildlife feeding, but the violence of these is kept to a bare minimum, making it very much a film that is suitable for the family.
THE ARDENNES (NR) 89 minutes * * * When a home invasion goes wrong, Dave (Jeroen Perceval) manages to get away while his brother Kenny (Kevin Janssens) does not. Seven years later, Kenny is getting out of prison and Dave tries to help him go straight. Dark and depressing story about two brothers in a downward spiral that they just can't get away from.
ARDENNES FURY (NR) 84 minutes * 1/2 A tank crew that is behind enemy lines diverts from their intended path to rescue some orphans. Not a very believable story, and the special effects are very low budget. The characters are well-drawn, which does manage to keep our interest for awhile.
ARDOR (R) 95 minutes * * * The rainforest of Argentina provides the setting for this mystical tale of violence and redemption. The action and photography set the modd nicely. And although elements are there throughout the film, the ending in particular is clearly styled after many western classics, despite the jungle setting. R for violence and sex.
ARE WE DONE YET? (PG) 87 minutes * 1/2 Based on the film, "Mr. Blandings Build His Dream House", this is a tired and not very funny film with Ice Cube and Nia Long as a couple struggling with the problems of owning a home that ends up needing quite a bit of work. If you really liked "Are We There Yet?", you might like this, otherwise, you'll want to stay away. PG for language and violence.
ARE WE THERE YET? (PG) 90 minutes * 1/2 It's "Home Alone" on the road, with Ice Cube having the unfortunate task of taking two kids, who don't want anyone interested in their mother, on a road trip to see her on New Year's Eve. Ice Cube does what he can, but it's a tired idea, and we can see how tired he is of it after about thirty minutes. By the time it all works out well, we don't really care that much. PG for language.
ARE YOU HERE (R) 110 minutes * * When Ben (Zach Galifianakis) learns that he has inherited a sizeable amount of money from the death of his father, he takes a road trip with his friend Steve (Owen Wilson) to go pick it up. The characters moveback and forth from being rude and insensitive to being funny and charming, and then back again. The overall transition through the film is a positive one, but also not very believable. The story doesn't seem to know how to get from the beginning to the end, and tends to just wander until its time to be over. R for language and sex.
ARE YOU SCARED? (R) 76 minutes 1/2 Simply put... no. Bored maybe, but not scared. Awww, come on, you knew I was going to say that, right? Seriously, aside from a couple of special effects that aren't too bad, this doesn't have much to offer. The plot, about teens who think they are contestants for a game show instead of in a demented man's warehouse, is a clear rip-off of the "Saw" series of films. And the acting is even worse. Will you be scared? No. Will you watch it? I hope not. R for violence and language.
ARE YOU SCARED 2 (R) 90 minutes 1/2 And once again, no. This time around its four twenty-somethings who fall for a trap set by a killer. They think they're playing a treasure hunt game from a geocaching website, but it turns deadly rather quickly. Boring and dull, which is not what we need from a horror film. R for violence, language, and nudity.
ARE YOU THERE GOD? IT'S ME, MARGARET. (PG-13) 99 minutes * * * Life is about to change for Margaret (Abby Ryder Fortson). Her family is moving, which means new friends, a new school, and so much more. None of it is anything she's looking forward to. Nice adaptation of the novel by Judy Blume, with a fine performance from Fortson, and solid supporting work by the rest of the cast. PG-13 for language.
ARENA (PG-13) 91 minutes * When comared to lifeforms from other planets, Earthlings have not been all that strong. But they may have finally found a competitor who is good enough for the "Arena". That's about all there is to the story, which clearly isn't much. There are some fun supporting characters, but it's just not enough to make this very exciting or memorable. PG-13 for violence.
ARENA (2011) (R) 90 minutes * Logan (Samuel L. Jackson) runs a gladiator arena that streams the fights to the internet for a fee. These are fights ot the death. David (Kellan Lutz) finds himself as one of the combatants. Lots of gratuitous violence, nudity, and not very good acting. Don't let Jackson's presence fool you, this is strictly B-grade material. R for violence, nudity, and language.
ARGO (R) 112 minutes * * * * There was more to the Iranian hostage crisis of 1979 than we knew before. The United States embassy was taken over by followers of Ayetolah Khomeni, and it would be over a yaer before they would be released, but there was a complication. Six U.S. citizens managed to get out of the embassy during the confusion of the takeover. Still in Iran, they were hiding at the Canadian ambassador's house. Pretending to be a film crew, a team goes in to rescue them. It's not going to be easy. A fantasic adventure story, based on the actual events, this is full of great suspense sequences and the script and direction have impeccable timing. A triumph for director Ben Affleck, who was overlooked for a best director nomination, but won the Oscar for best picture. R for language and violence.
THE ARGUMENT (NR) 79 minutes * * * A small cocktail party after her successful performance leads to an argument between Jack (Dan Fogler) and Lisa (Emma Bell). They decide to re-enact (repeatedly) the evening to determine who was right and who was wrong. Progressively more outrageous and humorous as it goes along. Though this was written for the screen, it clearly leans toward those with an appreciation for theatrical performances.
THE ARISTOCATS (G) 77 minutes * * * 1/2 Excellent character voices and cute kittens, along with a few annoying geese in this Disney cartoon. It's not one of their more popular titles, but it's still quite good.
THE ARISTOCRATS (NR) 79 minutes * * 1/2 It's a movie about a joke, yet it's so much more. If you know the joke, I don't need to tell you. If you don't, the only warning I can give is that it's by far the most potentially offensive joke you could ever hear. It's freeform, and the object is to be as gross, crude, vulgar, and offensive as possible. The film studies the art of the joke itself, why, and when comedians use it, and what it means... sort of. My favorite parts were Kevin Pollack's imitation of Chris Walken, Bob Saget's version of the joke, and Gilbert Gottfried at the Hugh Hefner roast. NR for extremely vulgar language.
ARKANSAS (R) 111 minutes * * * A couple of low-level drug dealers, Kyle (Liam Hemsworth) and Swin (Clark Duke) stumble into a better situation... until it goes bad. The story wanders a couple of times, but still manages to hold our interest because of the characters. And the ending is quite good. R for violence, language, and nudity.
ARLINGTON ROAD (R) 113 minutes * * Suspicion, in and of itself, is not a bad thing. When it leads you to the truth, it is rewarding, but when it blinds you to the truth, it can be a dangerous attitude to have. Michael Faraday (Jeff Bridges) begins to grow suspicious of his neighbor, but takes it to the level of paranoia. Bridges does a fine job with the role, but the script and direction take this too far. It takes away from the credibility of the film and removes much of the suspense inherent in the story. Angelo Badalamenti's music is wonderful, but doesn't make up for a film that is hampered by the direction taken by Bridges character. R for language and violence.
ARMAGEDDON (PG-13) 144 minutes * * * 1/2 Director Michael Bay has managed to keep the action nearly non-stop and still run a solid thread of human interest in this "asteroid-to-end-the-world" film. Bruce Willis and his crew are being sent to the rock to drill and explode it before it crashes to earth. Plenty of suspense, with great action scenes handled by several different special effects studios. One of the more interesting aspects of the film is the number of scenes from around the world as we see people from different countries dealing with the issues that arise as people think about what might happen. Yes, it's predictable and a bit sentimental, but handled well, predictability and sentimentality can draw us in and give us a film to remember. PG-13 for violence and language.
ARMAGEDDON TIME (R) 106 minutes * * * "Fitting in" isn't something Paul (Banks Repeta) is very good at. Everyine in his family seems to have ideas for his future and what he needs to do to be a success. The only thing Paul can get behind is being an artist, and no one is his family thinks that's a good idea. Growing up is hard sometimes, and Paul is learning that life isn't always fair. Great work by the cast. R for language.
ARMED (R) 116 minutes * 1/2 Things aren't going well for chief (Mario Van Peebles). It would seem that the other men in his old unit are having similar issues. Is it a conspiracy, or is the idea of conspiracy part of the trauma as well? A very twisted timeline makes this difficult to follow for at least the first half of the film. And even though it becomes a little more clear as the story progresses, the messages about gun violence and mental health overshadow what little story there is. R for violence, language, and nudity.
ARMED AND DANGEROUS (PG-13) 83 minutes * * ½ With their careers going nowhere, Frank (John Candy) and Norman (Eugene Levy) sign up for security jobs. Surely, things can only get better, right? Or not. As it turns out, the firm they have started working for is corrupt. They decide to do something about it. Standard fare for both Candy and Levy. Not much substance, but quite a few laughs.
ARMED RESPONSE (R) 90 minutes * All contact with a military compound shuts down when the AI system running it experiences a failure. A special ops crew is sent in to figure out exactly what went wrong. Lots of shooting and running from... nothing that we can see. Too much of this just doesn't add up, and too much of the action is repetitive. R for violence and language.
ARMORED (PG-13) 83 minutes * The plot holes here are so big that you could drive... yup, an armored truck through them. The acting is reasonable, but then again, there's quite a bit of talent here. Matt Dillon, Jean Reno, Laurence Fishburne, and Skeet Ulrich to name a few. but the script is flat and almost comical... except that it's sadly obvious that they weren't trying to be funny. PG-13 for violence and language.
THE ARMY OF CRIME (NR) 134 minutes * * 1/2 World War II. The occupation of France and the French Resistance. Though the Nazis referred to them as the "Army of Crime", these were multinationals who served as the core of the resistance movement. Most of the characters here remain a bit distant, making it a little difficult to relate to them and view this as much more than a history lesson. Especially with a film that goes past the two hour mark, we need to connect to some of the characters a little better than we are able to here.
ARMY OF DARKNESS (R) 76 minutes 1/2 Mercifully short sequel to "EVIL DEAD II" that finds Bruce Campbell trying to find his way back to the present, wisecracking his way through the medieval ages. A few good special effects and some fairly good music are all that make this bearable.
ARMY OF ONE (R) 86 minutes * ½ Gary Faulkner (Nicolas Cage) has been given a mission from God. He’s supposed to go to Pakistan and capture Osama Bin Laden. The footage at the end of the film shows the actual Gary Faulkner, and it becomes unclear as to why he is portrayed in such a cartoonish manner in the film. Faulkner clearly was an unusual person with a rather unique perspective on how to deal with Bin Laden, but there was nothing funny about it. The humorous tone ends up keeping us at arms length away from the story and the character. R for language.
ARMY OF THE DAMNED (NR) 85 minutes BOMB The acting is… not one of the stronger parts of the film. The only thing this film has going for it is the presence of Tony Todd and Michael Berryman. Sadly, their talents are wasted in the repetitious nonsense of what someone tries to pass off as a story. It doesn’t even seem to try to go anywhere.
AROUND THE WORLD IN 80 DAYS (2004) (PG) 114 minutes * 1/2 Another version of the Jules Verne classic novel, this one with Steve Coogan as the inventor who takes a trip around the world. Sidekick Jackie Chan comes along, but only to return a stolen jade Buddha to his village. Loads of cameo appearances by everyone from Rob Schneider and Owen Wilson to Macy Gray and Arnold Schwarzenegger. It doesn't help much. PG for violence and language.
ARRIVAL (2016) (PG-13) 111 minutes * * * * Linguistics professor Louise Banks (Amy Adams) has been asked to interpret the language of the aliens who have just arrived on Earth. It's no easy task, and humanity is not known for its patience. She needs to learn from them, and quickly, or those with other agendas might begin to have more say in how events proceed. Often mesmerizing, the story is one that will likely (and should) stay with you for a long time. PG-13 for language.
ARSENAL (R) 87 minutes * 1/2 JP (Adrian Grenier) is trying to get his brother back from the kidnappers. There are double-crosses, dirty cops, and plenty of bullets. Nothing you haven't seen before, though the brother angle is played well. Nicolas Cage does a terrible job of over-acting, and the slow-motion blood splatters are almost as annoying as the jumpy camera shots. R for violence and language.
ART IS... THE PERMANENT REVOLUTION (NR) 80 minutes * * 1/2 Art is expression, but it's also more. The documentary not only takes a look at how social issues and protest are addressed in art, but it follows the creation of three particular pieces. An etching, a wood cut, and a lithograph take shape while we watch and learn about the history and power of art as revolution. Fascinating!
ART OF FALLING IN LOVE (NR) 89 minutes * * 1/2 A talented artist, Vanessa (Kimberly-Sue Murray) is working on a mural when she meets Nate (Josh Dean). He seems like a great guy, but she has a secret that she's not ready to share. Her cancer is in remission, but it may be returning. Adapted from the Harlequin novel, "The Last-Chance Maverick" by Christyne Butler. Murray is quite good here, with plenty of charm, but sensitivity too.
THE ART OF GETTING BY (PG-13) 80 minutes * * 1/2 George (Freddie Highmore) is a misanthrope, though a bit younger than one might expect for having that title. He's abuot to reach a critical point in his life. Pushed by feelings he didn't think possible, and by tragic moments that inspire change. Life keeps moving, and its up to us to hold on to what we want and to let go of the rest. The story is a bit pretentious and Highmore doesn't always fit well with the rest of the cast. PG-13 for language and sex.
THE ART OF RACING IN THE RAIN (PG) 102 minutes * * * The story of Enzo, a golden retriever whose owner in a race car driver. He learns about life from Deny (Milo Ventimiglio) and his racing, and is determined to retain what he learns so that it can be used in his next life, where he intends on being a race car driver himself. Heavily narrated, but very well-written. PG for language.
THE ART OF SELF-DEFENSE (R) 100 minutes * * * After being mugged, Casey (Jesse Eisenberg) feels completely unprepared for anything that might happen in life. He enrolls in a karate class, where he learns a great deal, though not exactly what he expects. It's a dark comedy with a very dry wit, and can be a little difficult to sit through, though it ends quite well. Nice work by the cast in this unusual film from writer/director Riley Stearns. R for violence, sex, and language.
THE ART OF THE STEAL (NR) 98 minutes * * * Albert Barnes collected the finest paintings by Renoir, Cezanne, Matisse, Van Gogh, Seurat, and many more. But Barnes refused to donate the collection to a museum, or even allow for that possibility after his death. He intended it to exist as a collection housed in a school, and for study by it's students. However, the cost of maintaining the collection soon make it difficult, and the greed of nearby museums, the city of Philadelphia, and a few particular individuals in the business world prove to be stronger than expected. A fascinating look at a side of the art world we don't often see.
THE ART OF THE STEAL (2013) (R) 84 minutes * * ½ It’s always about one more heist. Crunch (Kurt Russell) puts his old team back together to pull it off one more time. The story maintains a light sense of humor, which helps a little, and Terrance Stamp plays a nice straight bit to offset that well. There is a nicely done double twist, but it comes late and a bit too predictably. The narration is overdone as well, with the story not really needing the explanations it provides. R for language and sex.
THE ART OF US (NR) 83 minutes * * 1/2 She'll do just about anything to get the promotion, but the artist Harper (Taylor Cole) lined up isn't going to be ablt to make it. As luck would have it, the man she just hired to walk her dog just happens to be a talented artist. Taylor embellishes his background a little, and events get a little out of control. It will all work out in the end.
THE ART OF WAR (R) 114 minutes * * 1/2 Neal Sharp (Wesley Snipes) is a covert operative for the United Nations and the situation at the UN has been getting a little sticky lately. So sticky, in fact, that it's rather hard to follow all the twists and turns that this story takes. Don't worry, everything works out in the end and there's plenty of action along the way. It's just that it would've been nice to understand what was going on before things wrap up. Snipes delivers his usual solid performance, and the rest of the cast do a nice job too (Anne Archer, Maury Chaykin, Michael Biehn, and Donald Sutherland). Still, the film has little to offer in the way of depth or heart, which also means it has little chance of being a film that you'll remember having seen. R for violence and language.
THE ART OF WAR II: BETRAYAL (R) 100 minutes * 1/2 Called up out of retirement, Agent Shaw (Wesley Snipes) finds himself wrapped up in a plot to assassinate several US senators. It's a little too slick, with Snipes not ever really getting dirty or taking a wrong step, and the ending ties it all up in a pretty little bow. R for violence, language, and sex.
THE ART OF WAR III: RETRIBUTION (R) 84 minutes 1/2 Anthony "Treach" Criss takes over for Wesley Snipes, doing a far worse job in the role. To be fair, the story is poorly written and not very interesting. Since it's about an attempt by a terrorist from North Korea trying to get a nuclear weapon, the filmmakers use a few real news clips. It doesn't help. R for violence, language, and sex.
ART SCHOOL CONFIDENTIAL (R) 98 minutes * * 1/2 Jerome (Max Minghella) is following his dream of going to art school to become a great artist like his hero Picasso. Despite his talent, art school is more frustrating than he expected. He also finds another passion... Audrey (Sophia Myles). Almost two films in one, the first part of the film being much lighter in tone than the second. Each is good on its own, but when put together, the integrity of the film slips away. R for language, nudity, and violence.
ARTHUR (PG) 97 minutes * * * 1/2 Dudley Moore, in the best role of his acting career, is a spoiled millionaire who has to choose between money and love in this classic comedy co-starring Liza Minelli. John Gielgud won an Oscar for his supporting performance. Plenty of laughs, although the point of the film is clear as well.
ARTHUR (2011) (PG-13) 106 minutes * * 1/2 Remake and update of the 1981 comedy classic, a story of a spoiled, child-like multi-millionaire, who learns the meaning and importance of love and not taking things for granted. Clearly not as good as the original, but Russell Brand is very good here, and Helen Mirren is outstanding in the role originated by Laurence Olivier. PG-13 for sex and language.
ARTHUR & MERLIN: KNIGHTS OF CAMELOT (NR) 88 minutes * * 1/2 Returning from a war, Arthur (Richard Short) along with his knights and Merlin (Richard Brake) learn that Mordred (Joel Phillimore) is working to take over the kingdom. A little darker in tone than most Arthurian adventure films, which helps lend it a note of authenticity.
ARTHUR AND THE INVISIBLES (PG) 86 minutes * * * An amazing adventure awaits Arthur in his own backyard. He needs to find the rubies his grandfather buried, and he'll need the help of the Minimoys to succeed. This delightfully magical film is based on a universe created by Celine Garcia and brought to life by Luc Besson. It's an entertaining adventure for both children and adults, with characters voices by Freddie Highmore, Robert DeNiro, Madonna, Mia Farrow, Jimmy Fallon, and Harvey Keitel among others. PG for violence.
ARTHUR CHRISTMAS (PG) 92 minutes * * 1/2 Arthur would love to inherit the job of Santa from his father, but it looks like it will go to his brother Steve. But when Santa misses a present, Arthur is the one who is determined to deliver it... with the help of his grandfather and the original Santa sleigh. The story is a bit hectic and slapstick, but it does end well, slowing down a little and finishing with a nice Christmas message, as you might expect. PG for language.
ARTHUR NEWMAN (R) 89 minutes * * * Running away from life can sound very appealing and can look like a fast fix for some problems. Arthur (Colin Firth) even happens to find someone else doing the same thing. But as they both soon discover, unresolved problems don't disappear. Firth and Emily Blunt do great work here and look and act very comfortably together, which makes the story appealing all the while it is making its point. R for sex and language.
ARTICLE 99 (R) 95 minutes * * 1/2 Ray Liotta plays a doctor in a veteran's hospital who care about treating patients more than about keeping his job. Kiefer Sutherland is the new kid on the block who wants to keep his nose clean. It's a great cast, and the film has a lot of heart, but the script and direction miss the mark in far too many places for this to keep the momentum it needs. It's a little better on video than it was in the theaters, making it a reasonably good rental.
THE ARTIST (PG-13) 93 minutes * * * 1/2 Silent film star George Valentin (Jean Dujardin) is at the peak of his career. Loved by everyone, he seems to have it all. A chance encounter with Peppy Miller (Berenice Bejo) gives her a start as well. But times are changing, and the advent of "talkies" puts an end to George's career while Peppy's star is rising. The film does a wonderful job of telling the story in a medium that isn't used much anymore. Being both black and white AND silent was a brave move, and one that is handled quite well by cast and crew, witht he result being far more than a throwback or even an homage. It's a beautiful piece of work as well. PG-13 for violence and language.
THE ARTIST'S WIFE (R) 91 minutes * * *
It seems sudden to Claire (Lena Olin), but others have noticed. Her husband, the reknowned artist, Richard Smythson (Bruce Dern) has just been diagnosed with Alzheimer's disease. He was right in the middle of creating his latest art for an exhibition. That may not be able to happen. A powerful performance from Olin. R for language and sex.
AS ABOVE SO BELOW (R) 88 minutes * ½
The search for the ancient philosopher’s stone leads this crew into the catacombs beneath the streets of Paris. They find themselves going continually deeper and seeing and hearing things that just don’t make sense. What lies below is not only the stone, but the passageway to Hell itself. Editing is of the jerky reality style, but with lots of cut shots, so it’s a bit of a letdown. It does do a fair job of showing how tight and small many of the passageways are, so those with claustrophobia may not want to watch. R for violence and language.
AS COOL AS I AM (R) 86 minutes * * * 1/2
Lucy's (Sarah Bolger) life has been the same for some time, but that's all going to change. Driving, kissing, sex, and much more. And with it all happening so quickly, it's going to be an interesting spring. Powerful coming of age story, anchored by a stunning performance by Bolger. Virginia Korus Spragg's adaptation of Pete Fromm's novel does a great job catching some of the subtleties of Lucy's character which Bolger then takes to the next level. It's one of the few COA films where you can see so clearly that the character realizes their childhood is gone and what that means to them. R for sex.
AS GOOD AS DEAD (R) 83 minutes * 1/2
When a fundamentalist religious leader is killed, his wife sets out to find his killer. But it appears that one of the men they identify as responsible may be innocent, not that it stops them from torturing him. The performances here tend to be caricatures, but what's worse is that none of them are very likeable, which gives us little reason to keep watching. R for language and violence.
AS GOOD AS DEAD (2022) (NR) 85 minutes * 1/2
He was responsible for putting some very bad men in prison. Now, because he decided to train a boy who was eager to learn, his hiding place has been compromised. Lots of hand-to-hand fighting and plenty of guns too. What there isn't much of is character development or depth of story. The cast still manages to do fairly well in spite of those issues. Featuring Michael Jai White and Tom Berenger.
AS GOOD AS IT GETS (PG-13) 134 minutes * * * *
Melvin Udall (Jack Nicholson) is extremely obsessive/compulsive, but his world is about to change, no matter how hard he tries to keep it from doing so. Though Nicholson's character is the focus of the story, it's really a tale of three people, incredibly different from one another, who are drawn together by circumstances they don't understand. As they cope, we too, are drawn into their story, perhaps finding a bit of ourselves in their struggles. Nicholson and Helen Hunt are wonderful, but it is Greg Kinnear who turns in the best performance. PG-13 for language, violence, and brief nudity.
AS GOOD AS YOU (NR) 85 minutes * * 1/2
Jo (Laura Heisler) is grieving the loss of her partner. She's also even more determined to have the baby they were talking about. But is she ready? It's a good story, but the script is overly talking, and more full of ideas than emotions, where more of a balance between those would have been more effective.
AS HIGH AS THE SKY (NR) 88 minutes * * 1/2
When her sister shows up with daughter-in-tow, Margaret's (Caroline Fogarty) organized life is in danger of unraveling. Adapting to change is not something she does easily. Quirky but sweet story with reasonably good performances.
AS I LAY DYING (R) 105 minutes * * *
The Bundren family struggles to honor Addie's wish to be buried in a nearby town. Poetic and powerful language, nicely adapted from the William Faulkner novel by James Franco, who also directed. Following the story will be a little difficult if you haven't read the book, and not much easier if you have. Still, despite the challenge this presents in watching, it is very well done. R for sex.
AS LUCK WOULD HAVE IT (NR) 86 minutes * * 1/2
The resort company Lindsey (JoAnna Garcia Swisher) works for wants to acquire a particular piece of land in Ireland. The city doesn't want to sell. Lindsey enters the local matchmaking festival to try and win over the locals by being involved in the community. She does win over one person in particular...
AS OF YET (NR) 81 minutes * *
The quarantine has been going on for four months. Naomi (Taylor Garron) is done with it. Sort of. She wants to meet up with a potential boyfriend she met online. Meanwhile, her roommate (who has been in Florida) is poking holes in her plans. Told through video diaries and video calls, and very heavy with dialogue. It's a story about how the pressures from something outside our control can bring other issues to the surface. A good ending, but the story is uneven until then.
ASCENSION (NR) 228 minutes * * 1/2
The United States space program did more than most people ever realized. A ship was launched on a hundred year mission. But with a mission of that length, what does that mean for the generations that will have to take on the mission after being born and raised on the ship? It's a fascinating experiment... in more ways than one. Tends to drag on and include subplots that aren't really necessary, and the ending is rather open-ended and unsatisfactory.
ASCENSION (2021) (NR) 95 minutes * * 1/2
Through the use of beautiful and sometimes stunning photography, we see a picture of China and its people as a society constantly changing and re-imagining itself. Individual productivity and societal improvement are key. A beautiful and fascinating film.
ASHBY (R) 97 minutes * * *
It's a story about a boy becoming a young man. Dealing with the broken aspects of his home, falling in love, finding his place among his peers, and learning lessons about life from a most unusual and unlikely neighbor. Ed (Nat Wolff) is going to learn a lot in just a little amount of time. One of Mickey Rourke's better performances, with more depth than he usually gets to work with. The story appears to wander, but there is purpose to those moments. R for langugae, sex, and violence.
ASHER (R) 99 minutes * * 1/2
He's had a long career as a hitman, but Asher (Ron Perlman) is ready to slow down. Just a couple more jobs and he'll retire. As sometimes happens though, it quickly becomes a tangled mess, and the bodies are stacking up. Perlman delivers a nice, grumbling performance, and Famke Janssen is a very good counter-balance. We needed more from Marta Milans and Peter Facinelli though. They play two of the stronger supporting roles, but just don't get enough screen time. R for violence and language.
ASHES (NR) 84 minutes 1/2
Andrew Stanton (Brian Krause) is a doctor doing research on a way to cure AIDS. More than a little obsessed with his work, he crosses an ethical line. Now, there's a highly contagious, deadly, mutated virus that is on the loose. A bad script and some weak supporting performances take their toll fairly quickly. And if you manage to last, the ending is both incomplete and disappointing.
ASHES IN THE SNOW )NR) 95 minutes * * *
Lina (Bel Powley) and her family live in Lithuania. In 1941, they are sent to Siberia as part of Stalin's restructuring of the regime. Even in the darkest of times, Lina's spirit and her art are able to give her hope and strength. Haunting performance from Powley in a poignant story.
ASHES OF TIME REDUX (R) 91 minutes * * *
Re-tuning of the 1994 film about a man who lives in the desert, offering himself for hire as a swordsman/hitman. Sometimes those who hire him have conflicting agendas. And sometimes, love of epic proportions is woven into the mix. The soundtrack features cello solos by Yo-Yo Ma and the film is beautiful to watch, and the story almost seems secondary at times. R for violence.
ASHFALL (NR) 123 minutes * * *
A volcano erupts on the border between North Korea and China. It will tear the region apart if they can't find a way to stop it. The film is well-paced, with plenty of action and questionable loyalties, and lots of suspense. It's an action/thriller that does a nice job of continuing to take us right up to the edge.
THE ASIAN CONNECTION (R) 90 minutes *
Jack (John Edward Lee) and Sam (Byron Gibson) decide to rob a bank. But the one they rob just happens to have the money of a very powerful drug lord inside. Now, they're on the hook, robbing other banks to pay back the debt. But the man they're working for tries a double-cross of his own, leaving jack and Sam in even worse shape. The script starts well, but quickly loses its way, and the dialogue is never very strong. The acting is OK, but just not enough to get this up to even a mediocre level. R for violence, language, and sex.
ASK ME ANYTHING (NR) 96 minutes * *
Katie (Britt Robertson) takes a year off between high school and college to decide what she wants to do. Mostly its to have lots of sex and blog about it. But she does manage to learn a few things along the way. The ending doesn't work very well, but that may be because we have been convinced through the rest of the film to doubt the character. Writer/director Allison Burnett adapted this from her novel.
ASK THE DUST (R) 113 minutes * * 1/2
Arturo Bandini (Colin Farrell) is a struggling writer. When he encounters Camilla (Salma Hayek), his life seems to spiral out of control. He can't focus on his writing anymore, but she doesn't even seem interested. It's a mildly interesting study in passion with a solid performance from Farrell. Hayek is cleraly secondary here, which is a shame as the role doesn't allow her to do much acting, keeping her little more than an object in the story. Set in the 1930's in California, though there isn't any real need for that as it's a story where time really doesn't matter. There are some nice contrasts in setting between ocean and desert that reflect Bandini's struggles. R for sex and language.
ASKING FOR IT (R) 98 minutes * *
It happens all too often. A date ends up becoming a sexual assault. Shortly after experiencing one of these date-turned-assaults, Joey (Kiersey Clemons) meets Regina (Alexandra Shipp), who introduces her to the Cherry Bombers, a femme gang that fights against misogyny. They have plenty of situations to address, and it would appear that events are headed to a violence climax. It’s a powerful message, but the story itself isn’t nearly as strong as that message. R for violence, sex, and language.
ASMODEXIA (NR) 78 minutes * *
Eloy (Lluis Marco) and his granddaughter Alba (Claudia Pons) are on a mission. There are so many exorcisms to be performed and the tide seems to be turning against them. Barcelona seems to be on the verge of being lost, and who knows what that means for the rest of the world. Interesting twist at the end.
ASPEN EXTREME (PG-13) 116 minutes * * 1/2
Two boys from Detroit go to Aspen and discover that there's more to life than skiing and women. The skiing sequences are wonderful, the acting is mediocre, and the story is pathetic. But if you enjoy skiing or seeing Finaola Hughes and Teri Polo, you'll definitely find this worthwhile. PG-13 for language and sex.
THE ASPERN PAPERS (R) 84 minutes * * *
On a quest to track down the love letters of a particular poet, Morton Vint (Jonathan Rhys Meyers) will do nearly anything to obtain them. As he works his way into the life of one of the poets former lovers, he also begins to uncover other pieces to the mysterious man whose work and life he has studied for so long. Beautifully filmed, with great work by the cast. Filmed in Venice, Italy. R for sex.
ASS BACKWARDS (NR) 77 minutes BOMB
If you can imagine "Dumb and Dumber" with a female cast... and without any jokes that work... you'll end up with this. Tedious and boring.
THE ASSASSIN (NR) 101 minutes * * *
Very quiet and slow-moving piece, with a focus on the beauty of movement and simplicity. Trained to be an assassin since childhood, Yinniang's (Qi Shu) usual targets are corrupt governors. But now she has been sent home to kill the cousin to whom she was betrothed. It is a test. Will she choose to continue as an assassin, or return to her past?
ASSASSIN (2023) (R) 83 minutes * *
The world of assassins has changed. Similar to warfare that is carried out with the use of drones, assassins can now inhabit the body of someone else to accomplish their work. Once finished, they jump back out of the body they have been using. It's an interesting idea, but isn't developed well and has a somewhat sudden and incomplete ending. Notable for being the last film released featuring Bruce Willis. R for violence and language.
ASSASSIN CLUB (R) 107 minutes * * *
As an assassin, Morgan (Henry Golding) is used to danger. Something is different about his current list of targets though. It appears that they are all trying to assassinate him. Intense, and full of twists and turns that work well. Having Noomi Rapace as part of the main cast doesn't hurt. Well done! R for violence and language.
ASSASSINATION (PG-13) 84 minutes * * ½
Killian (Charles Bronson) has a new assignment, which is to protect the president’s wife (Jill Ireland). Not only does she not want protection, she does everything possible to make life difficult for anyone who tries to protect her. Bronson and Ireland work well together, as they have many times before. The plot is nothing surprising, but it’s interesting enough that with Bronson and Ireland around, it’s reasonably good entertainment. PG-13 for violence and language.
ASSASSINATION (2015) (NR) 138 minutes * * *
In 1933, Japanese-occupied Korea is fighting back. But a complex plan to kill the Japanese commander is complicated by a traitor in their midst. Elaborate, but well-written story that does a good job of keeping our attention.
ASSASSINATION NATION (R) 100 minutes * * 1/2
It's a typical small town in the United States. Nothing much going on here... until a malicious hacker starts exposing some dark and twisted secrets that begin to unravel the fabric of the town. As the secrets continue to be exposed, the victims become vigilantes, but true justice can be difficult to administer when guilt is unclear. Strong social commentary about the hypocrisy of those who want to force their views on others without living them. It's a hardcore message, but the film gets a little impressed with itself and strays from the point, though it finishes well. R for violence, sex, and language.
ASSASSINATION OF A HIGH SCHOOL PRESIDENT (R) 87 minutes * 1/2
Someone has stolen a bunch of SAT tests and Bobby Funke (Reece Thompson) is trying to find out who did it. It doesn't take too long to uncover the culprit, but is there more to the story than he realizes? This second part of the story almost feels like another movie, and a bit less interesting than the early part. There's little to no chemistry between any of these characters, and the story as a whole doesn't do much to draw us in. R for sex and language.
THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD (R) 153 minutes * *
Overly long and somewhat tedious retelling of the events leading up to the death of Jesse James. Brad Pitt's performance as James is a bit cavalier, though Casey Affleck earned a well-deserved Oscar nomination for his performance as Robert Ford. Ford's awe of James eventually turns to disgust and Affleck does a nice job with the role. It's as if the story never quite fills the screen as James is presented to be such an epic and legendary character by the attitudes of Ford and his brothers, but Pitt's performance never lives up to that expectation. The narration doesn't really help here either, except at the end of the film. Adapted from the novel by Ron Hansen. Filmed in Calgary and Winnipeg. R for violence and language.
THE ASSASSINATION OF RICHARD NIXON (R) 91 minutes * * 1/2
Character study of Sam Bicke (Sean Penn), who plotted an assassination attempt on President Richard Nixon. Penn does a nice job of showing us the changes that occur as Bicke is faced with a boss who is very strict on how sales are to be achieved, an attempt to start a business partnership, and increasing dissatisfaction with the government of the United States. There's an interesting tension in the film as the anxiety of Bicke's character increases, the music almost becomes even more relaxing. Penn does a nice job and there's a small, and well-done role by Don Cheadle, but the film doesn't get us connected with Bicke enough for us to care about him. R for language and violence.
ASSASSINS (R) 125 minutes * * *
The best assassin in the world is getting a run for his money by a young upstart. Sylvester Stallone and Antonio Banderas are rival assassins in this fast-paced action film. Who will complete the assignment? Who will spot the weakness of the other and be able to use it to their own advantage? Great job by both leads, though Julianne Moore's role needed to be played with more strength. An exciting film that will keep you on the edge of your seat.
ASSASSIN'S BULLET (R) 86 minutes 1/2
An FBI agent who has left that life behind is asked to help out on a case where his particular skills could be very helpful. The script is muddled at best, and helps, along with very mediocre photography and editing, make everyone look bad. Christian Slater is not convincing at all, but very little here is. R for violence.
THE ASSASSIN'S CODE (NR) 92 minutes * * 1/2
Still trying to make his mark, Michael Connolly (Justin Chatwin) is about to get his first case. It's a case full of twists, bad deals, and crooked cops, but Michael is determined to follow it through and figure it out. Chatwin gives a very sincere and likeable performance. The production values are a little weak, but the story works well and has a nice finish.
ASSASSIN'S CREED (PG-13) 101 minutes * * 1/2
While the Templars continue, as they have for ages, to search for the Apple of Eden, said to contain the key to free will, the Assassins are committed to stopping them. Callum (Michael Fassbender) is about to enter this world, and follow in the footsteps of his ancestor, a master assassin. A bit confusing at first if you aren;t familiar with the video game series on which this is based, but eventually, most of the story holes begin to fill in and we can begin to enjoy the adventure. PG-13 for violence and language.
ASSASSIN'S GAME (R) 82 minutes 1/2
A hitman is called in to clean up a botched assassination. The fight scenes are lengthy but boring, and te performances aren't great, but the dialogue doesn't help much. Of perhaps more interest than anything else is that of the 38 cast members listed in the credits, only 8 of them have names, and 22 of the remaining ones are simply referred to as "goon". R for violence and language.
ASSASSINS RUN (R) 84 minutes * 1/2
After the Russian mafia kill her husband, Maya (Sofya Skya) seems to be next on their list. Unimaginative and unbelievable story. What would have helped this a little would have been some background on Maya, who seems to be talented in both ballet and martial arts. As it is, its just kind of silly. R for violence and sex.
THE ASSAULT (R) 67 minutes *
In an abusive relationship, Lindsay (Jordan Ladd) decides she's had enough. Teaming up with her friend Nicole (Nikki Moore), she plans to steal some big money from her husband and then leave him. It doesn't quite go as expected, in part because the script isn't very good. Not that the performances or direction are much better. R for language, violence, and nudity.
ASSAULT ON HILL 400 (NR) 85 minutes 1/2
Hill 400 was a strategic location that provided the Third Reich with high ground in that area. In November of 1944, the 2nd Ranger Battalion of the United States Army was tasked with takinig the hill and defending it. Rather dry and lackluster script and equally thin characters and performances.
ASSAULT ON PRECINCT 13 (R) (1976) 90 minutes * * *
When a police station that is about to be shuttered comes under attack, the people inside are forced to decide what has to be done to stay alive. Bare bones prodution makes the police station feel very deserted. The script is pretty sparse, but manages to be intense and even witty at times. R for violence and language.
ASSAULT ON PRECINCT 13 (R) 102 minutes * * 1/2
Remake of the John Carpenter classic with Ethan Hawke and Laurence Fishburne as unlikely allies when a virtually abandoned police station comes under siege on New Year's Eve. Fishburne does a nice job here, but Hawke's performance lacks the focus it needs to develop a strong character. Plenty of gunfire, explosions, and a few car crashes and a nice soundtrack by Graeme Revell keep this just slightly above average for the genre. R for language and violence.
ASSAULT ON VA-33 (R) 87 minutes * *
While meeting with the head of the U.S. military's Joint Chiefs of Staff, the VA Hospital where Jennifer (Gina Holden) works is taken over by terrorists. THey have no qualms about killing anyone who gets in their way. Meanwhile, her husband Jason (Sean Patrick Flannery) figures out that something is happening. Can one man save the day? Of course he can. Some pretty ruthless villains, which help the story, but it's still very difficult to believe what is happening. R for violence and language.
ASSAULT ON WALL STREET (R) 97 minutes * 1/2
Financial woes can cause people to do rather extreme things. Jim (Dominic Purcell) is the latest to fight back against the system. Not a typical Uwe Boll film in that this one features a big name cast and is actually fairly well-written. Not original, but at least it doesn't look like it was put together over the weekend on a $50 budget. Although the ending is less than impressive. R for violence and language.
THE ASSENT (NR) 82 minutes * 1/2
Strange things have been happening, and as much as Joel (Robert Kazinsky) doesn't want to admit it, his son Mason (Caden Dragomer) may be possessed. There are some good effects, but most are not well lit, and the story is very simple, with one twist near the end, which it then very carefully explains.
THE ASSIGNMENT (R) 91 minutes * * *
Frank (Michelle Rodriguez) is a hitman. But when he crosses the wrong person, he wakes up post gender reassignment surgery. Now, Frank is out to get the doctor who did the operation... and anyone else who had anything to do with it. And if a few other people get in the way... well, that's too bad for them. Nice work by Rodriguez, and a really nice film noir atmosphere throughout the film. R for violence, sex, and language.
ASSIMILATE (NR) 89 minutes * *
Making a video about their boring town is not only a way for Zach (Joel Courtney) and Randy (Calum Worthy) to pass the time, but maybe they can raise some money to help them get out of town. But as they continue filming, they notice something strange. The people in their town are changing. Their town is being assimilated! It's one thing to know that, but can they convince anyone else before it's too late? A modernized, teen version of "Invasion of the Body Snatchers". Good production quality and the cast works well.
THE ASSISTANT (R) 82 minutes * * 1/2
Jane (Julia Garner) is an assistant to a top level entertainment executive. Her work not only includes general office assistance, but cleaning, babysitting, and other things that the male assistants don't have to do. There are other signs of sexist and abusive behavior, some of which are overt, while others are not. Jane decides to take a stand. And she learns just how difficult that can be. We want her to be more aggressive, but this is about the real world, where most of the time we just put up with what happens. It's a quiet film about a harsh reality. The film does not leave us in a place that feels good, but rather with a stronger awareness of how abuse that is not overt can also be destructive and degrading. Very nice work by Garner. R for language.
THE ASSISTANT (2021) (NR) 132 minutes BOMB
Recently released from prison, RayShawn (Nelson J. Davis) lands a job as an assistant to a media mogul. He might have been better off staying in prison. Several awkwardly long scenes that serve no point. If this was edited down to around ninety minutes, it would at least be a little better. Of course, a better script, cast, and director would also help.
THE ASSOCIATE (PG-13) 107 minutes * 1/2
Two women who won't accept "no" for an answer create an investment firm that takes off like a rocket. Whoopi Goldberg and Diane Wiest do there best with a script that drags on forever and with characters that don't have the integrity of those in "Working Girl". Another example of wasted talent as this also features Tim Daly, Bebe Neuwirth, Lainie Kazan, and Austin Pendleton. PG-13 for language.
ASTEROID CITY (PG-13) 99 minutes * * *
We follow a playwright and the creation of his play while it unfolds. The time is the 1950s, but it also seems to be the future. Full of writer/director Wes Anderson's dry humor. The cast is phenomenal, featuring Jason Schwartzman, Scarlett Johansson, Tom Hanks, Bryan Cranston, Edward Norton, Lieve Schreiber, and more. One of Anderson's more likeable quirky films. PG-13 for nudity and language.
ASTEROID: FINAL IMPACT (NR) 86 minutes 1/2
A dangerous meteor shower is going to be the first of many that get progressively worse. And that doesn't count the dark asteroid that is not yet visible. Only one scientist (of course) can save the world, but will anyone listen in time? Given the script, the acting isn't terrible, but that's not really saying much. Poor and repetitive effects.
ASTEROID VS. EARTH (NR) 87 minutes BOMB
With a giant asteroid on the way to crash into earth, and no way to blow it up, the people here decide to move the earth out of the way. The number of scientific and logical flaws here make this entire film just a bad idea. The acting actually ends up being the best part of the film... and that's not a good thing.
ASTRAL (NR) 80 minutes * 1/2
What if there was another level of perception? Alex (Frank Dillane) is intrigued by the idea and begins to experiment with what it might mean. How can he prove that he has been on the astral plane? And what if someone else is there? The story starts well, but then takes a turn toward demonic possession. It's a cheap move, and makes the story less creative and less interesting.
ASTRAL CITY: A SPIRITUAL JOURNEY (NR) 103 minutes * * 1/2
Andre (Renato Prieto) "wakes" after dying, to find himself in purgatory. it's not long before he finds himself in the Astral City. There are many things to learn. The film is quite beautiful, though the story jumps around quite a bit and the logic is a bit fuzzy in a few spots. Those familiar with Chico Xavier's book, written with the help of the spirit of Andre Luiz are likely to find this a little less confusing.
ASTRO BOY (PG) 86 minutes * * *
Metro City's residents used to live on Earth. Now they live in paradise, on an island in the sky. But all is not well in paradise, and when Dr. Tenma loses his son in a tragic accident, he decides to create an indestructible replacement... Astro Boy. The problem is that the blue energy that gives Astro Boy his life is sought after by the evil President Stone, who has other plans for its use. Plenty of adventure and humor, and a happy ending. The animation is quite good, but mirrors the simplicity of the comic. PG for violence.
ASTRONAUT (NR) 92 minutes * * 1/2
It's always been his dream, but the window of opportunity is closing for Angus (Richard Dreyfuss) to take a trip into space. Especially since he's just recently been moved to a retirement home. Dreyfuss is good here, and the supporting cast does a nice job too. It's the story itself that just isn't very strong or convincing.
THE ASTRONAUT FARMER (PG) 98 minutes * * 1/2
Charlie Farmer (Billy Bob Thornton) may have been discharged from the Air Force, but he never gave up on his dream. He's a farmer, and he's building a rocket. But at what cost to his family. Not only is it an expensive hobby, it brings more than a little ridicule his direction. Thornton does a nice job as the dreamer who can't quit his dream, but the story lets us down by trying to bring in humor when it isn't really needed. PG for violence and language.
THE ASTRONAUT'S WIFE (R) 103 minutes * 1/2
A shuttle mission, an explosion, two minutes of contact with the astronauts is lost. Now that he's back home, strange things are happening. The film moves slowly, though there is suspense and a sort of creepy edge to events that occur. But the script is heavyhanded and doesn't really let us care about the characters. Johnny Depp and Charlize Theron seem to work well together, but that doesn't help the overall effect that much. R for violence, sex, and language.
THE ASYLUM (R) 85 minutes * 1/2
What better place to have a hardcore party than an old asylum? Now, they are trapped inside with demonic possession issues. Intensely gross, especially during the second half, but that's also when the story begins to slip away. R for violence, language, and nudity.
ASYLUM BLACKOUT (NR) 80 minutes * *
An insane asylum probably isn't the place you want to be when the power goes out. These four asylum cafeteria workers are going to be in for a long night. An interesting idea, but despite some good acting, this gets caught in the gross horror track and wanders for quite awhile until delivering a mildly interesting ending.
ASYLUM OF DARKNESS (NR) 115 minutes * *
When he wakes up, Dwight (Nick Baldasare) finds himself in a mental asylum. He has to find a way out, but when he does, it seems that the outside world is just as disturbing. The blending of horror and madness are reminiscent of both Lovecraft and Poe, and the film captures a sense of the horror films of the 1960s and 1970s that also addressed much of their work. It does run a little long, but the ending works quite well.
AT ANY PRICE (R) 99 minutes * 1/2
When a crisis puts their family farm at risk, the tensions between Henry (Dennis Quaid) and his son Dean (Zac Efron) threaten to cause even more problems. The script and direction leave Quaid with a character that has no subtlety, and little depth. The ending is unusual given the message of the film, which seems to be that honesty and honor are highly valued characteristics. R for sex and language.
AT ETERNITY'S GATE (PG-13) 102 minutes * * * 1/2
The story of Vincent Van Gogh's (Willem Dafoe) middle and later years. This was the most artistically intense time of his life, when his paintings became brighter and his style more established. It was also the time during which he was in an asylum and suffered from delusions and poor health. The photography and direction do a very good job of expressing his confusion, frustration, and his artistic genius. That combination led many, including Van Gogh, to believe that he was mad. PG-13 for language.
AT FIRST SIGHT (PG-13) 92 minutes * *
Amy Benic (Mira Sorvino) goes to a spa to relax and finds herself falling in love with blind masseuse Virgil (Val Kilmer). But is she really falling in love? Doesn't that mean accepting someone as they are? Flawed script that leaves Kilmer and Sorvino floundering and us wishing we hadn't bothered. There are a few moments, but the characters never come to life for us. PG-13 for language and nudity.
AT HOME IN MITFORD (NR) 83 minutes * *
Looking for inspiration for her next book, Cynthia (Andie MacDowell) goes to Mitford. It's a quiet little town where everybody knows everybodym and where her next door neighbor just might be the best thing to happen to her in a long time. Good acting, but the chemistry between the leads just isn't there.
AT MIDDLETON (R) 98 minutes * * 1/2
Parents of two prospective college students meet during the campus visit and fall for each other. Vera Farmiga and Andy Garcia work well together and the setting is cute. The part of the story about their children tends to get lost, which is disappointing, because it slights their performances, which are more than up to the task of being a stronger part of the film. A better balance between the two pieces would have made for a better film. R for sex.
AT THE DEVIL'S DOOR (NR) 88 minutes *
Selling a house with a questionable past leads real estate agent into the murky world of demonic possession. The script is even more murky and difficult to follow, with subplots that take over and redirect our attention. Creepy, but only at isolated moments.
AT THE EDGE OF THE WORLD (PG) 87 minutes * *
The Sea Shepherd Conservation Society, founded by the co-founder of Greenpeace is on their third campaign to fight Japanese whaling ships in the Antarctic. Their ship is considered to be a pirate ship, associated with no country, and as such, has no official authority. But they fight for the whales... to save the lives of these majestic creatures who are being hunted for "scientific" purposes. As a documentary, it's a little too play-by-play, and more footage of the whales would have added to the strength of the message. PG for violence and language.
AT THE GATE OF THE GHOST (R) 105 minutes *
This adaptation and modernization of the film Rashomon has nowhere near the class and style of the original. The story is told several times from different viewpoints in an effort to get at the truth, but seems to serve here as more of a chance to reuse the same footage numerous times. The emphasis is more on showcasing the very beautiful sets and costumes, though even these appear to be gaudy and shallow rather than rich and authentic. R for violence and sex.
ATL (PG-13) 103 minutes * * 1/2
Life in the ATL, much of which revolves around Cascade, the local skating rink. A little love, a little heartache, a little talent, a little honesty, a little trouble... it's all a part of life in the ATL. Antwone Fisher wrote the story this is baed on, but it lacks both the power and the focus his autobiographical film had. It does end nicely, but getting there is a bit of an indirect path to say the least. PG-13 for language and violence.
ATLANTIC CITY (R) 100 minutes * * ½
Lou (Burt Lancaster) always wanted to be important… to do something that mattered. He may be getting that chance, but this is Atlantic City, and while lots of people come here with dreams, few of them ever materialize. Wonderfully atmospheric piece, and it was nominated for five Academy Awards. It’s well worth a look, but the moody nature of the story isn’t for everyone. R for language, violence, and sex.
ATLANTIS: THE LOST EMPIRE (PG) 88 minutes * *
Very unevenly paced film. Starts a little slowly, picks up the pace, begins to drag again, gets exciting, has an incredibly boring sequence where we're introduced to each of the characters as they sit around a campfire and tell us who they are... whose idea was THAT? The animation is nice, but most of the kids in the audience while I watched this were ready to go play in the lobby after about 15 minutes. Not one of Disney's more entertaining films, which is unfortunate as it was a rather interesting idea. PG for violence.
ATLAS SHRUGGED PT. 1 (PG-13) 89 minutes * * *
The economy is in terrible shape and oil is tremendously expensive. The United States is relying on rail transportation for both passengers and business. The largest rail company is struggling with lines that need replacing and is looking at an experimental new metal. Corporate greed and a socialist government are out of control, and the world's most creative and intelligent people are disappearing. This does a very nice job of adapting Ayn Rand's classic novel to the big screen. What's rather strange is the idea of releasing it in two parts. It's not like there's a huge following of fans that will be waiting in line for part two. And since this wasn't that long, why not just release a single film that covers the whole book? PG-13 for sex.
ATLAS SHRUGGED PT. 2 (PG-13) 106 minutes * * *
The story continues as Taggart (Samantha Mathis) and Rearden (Jason Beghe) begin to buckle under pressure from the government. Solid acting, but a bit frustrating that we don't reach the end until part three... PG-13 for language.
ATLAS SHRUGGED PT. 3 (PG-13) 92 minutes * *
Taggart (now played by Laura Regan) sinds John Galt (Kristoffer Polaha), and begins to understand what he and the people who went missing are trying to accomplish. Narration fills in the gaps in this sometimes overly grandiose final chapter of the story. There's ,uch more emphasis on Ayn Rand's philosophy as the story reaches its conclusion, and it tends to overrun the characters. It's also more than a little awkward to change cast members for the final chapter of the film. PG-13 for violence and sex.
ATOMIC BLONDE (R) 108 minutes * * *
Lorraine (Charlize Theron) has a job to do. She's one of England's best... an MI6 agent who is ruthless. The one who always gets the job done. Theron is very good here, and the rest of the cast make her look even better as she rips up the scenery. Very violent, and more than a few twists and turns that make paying attention very important. R for violence, language, and sex.
THE ATOMIC CAFE (NR) 81 minutes * * 1/2
In the 1940s and 1950s, the United States government released a number of short propaganda films that were designed to reassure the general public that nuclear weapons were "safe". (They were bombs after all.) Funny in a very macabre sort of way, and also rather frightening to think that the masquerade was as successful as it was.
ATOMICA (NR) 79 minutes * 1/2
Abby (Sarah Habel) is sent out to a remote nuclear power plant to address a communications equipment failure. Once there, she soon grows suspicious that something else is wrong. The story set-up is less than convincing, and Abby's character just doesn't seem credible. We are drawn in by the shifting suspicions, but we need a little more.
ATONEMENT (R) 110 minutes * * *
Keira Knightley, James McAvoy, and Saoirse Ronan star in this adaptation of the novel by Ian McEwan about a young girl whose false accusation has far more repercussions than she could have imagined. Ronan earned an Oscar nomination for her supporting role here and the film earned numerous other nominations and awards. Sets, costumes, acting, screenplay... just a very good production all around. Sex, violence, and language.
THE ATONING (NR) 87 minutes * 1/2
Vera (Virginia Newcomb) and Ray (Michael LaCour) don't have the best of marriages, but there's another, much bigger problem they are currently facing. The twist at the halfway mark is only part of the story. It's well done, and the story moves well on both sides of that mark, though the dialogue isn't all that great. Cannon Bosarge's performance as Sam is clearly the weakest, and that really hurts the story.
THE ATTACK (R) 100 minutes * * *
Amin (Ali Suliman) can't believe that his wife could be responsible for the explosion. How could she become a suicide bomber without him being aware of it? Finding the answer to that question will be a challenge, both practically, and emotionally. Well-written story that looks at terrorist bombing from a slightly different angle than usual. Nice work by the cast. R for violence, language, and sex.
ATTACK FORCE (R) 91 minutes 1/2
Even fans of Steven Seagal may want to stay away from this direct-to-video piece. Seagal has struggled with his last few films, and this is the worst so far. The budgets seem to get smaller, the sets looking more and more like cheap plastic, the actors looking more and more like they have no acting experience at all... There are a couple of fight sequences that are OK, but even those are toned down from past films. One of the worst bits here is the dubbed dialogue that doesn't even sound like Seagal. Apparently, the story was changed again after filming was done and he was no longer available. Bad move, and bad movie. R for violence, language, and sex.
ATTACK OF THE UNKNOWN (NR) 100 minutes *
While transporting a violent criminal (Robert La Sardo), a SWAT team finds themselves trapped in a county detention center because of an alien invasion. Most of the effects are laughably bad, and the story occasionally takes a detour that makes no sense. (Not that the premise makes much sense either.) The acting is a little better, but not much. Fans of science fiction should still be able to find some things to like here as the film does actually have a few good ideas, and it tries hard.
ATTACK ON TITAN PART 1 (NR) 91 minutes * * 1/2
The walls around their city have kept the Titans out for the past hundred years. But now, the walls have been breached, and these giants are killing everyone in sight. Fortunately, the inner wall held, but it's time to take the fight to the Titans, and repair the outer wall. A little slow to start, but it builds excitement and energy as it goes along. Very graphic violence.
ATTACK ON TITAN PART 2 (NR) 81 minutes * * 1/2
This begins with almost five minutes of a recap of the first film. That's nice... unless you just got finished watching part one. After that, we move to learning some back story about how the Titans were created, and then continue with the adventure. It ends with a few questions still unanswered, but it still manages to work out well for most of the film's main characters.
ATTACK THE BLOCK (R) 79 minutes * * 1/2
Aliens are falling from the sky, but the youth here in south London are pretty tough, so when you attack their space, you'd better look out. Led by Moses (John Boyega), these boys will do whatever it takes to protect their home. The aliens themselves are pretty cool. Simple, but effective, as is the story of why they arrive and what they are doing. Interesting and very different sort of alien invasion movie. R for violence and language.
THE ATTORNEY (NR) 125 minutes * * *
He may not have the degree that other lawyers do, but Song Woo-seok (Kang-ho Song) is creative and determined. It pays off quite well until he takes one particular case. It has more risks and challenges than any other case to find its way into the system, and he just can’t let it go. It will change his life forever. Nicely told story with strong performances by a well-balanced ensemble cast.
ATYPICAL WEDNESDAY (NR) 87 minutes *
Gabe (J. Lee) befriends Alec (Cooper J. Friedman) outside their therapist's office. The problem is that when Gabe offers to drive Alec home (since Alec's grandmother didn't pick him up), Alec doesn't seem to know how to get there. The script and direction are not good. Friedman doesn't help matters. though the rest of the cast is fine.
THE AUCTION (NR) 107 minutes * * *
Gaby (Gabriel Arcand) runs a sheep frm pretty much by himself. His daughters moved out a long time ago, but when one of them needs help, Gaby will do what he can. The problem is that the only money he has is tied up in the farm, and even that isn't much. A gentle, but somewhat depressing story about farming, family, and changing times.
AUGMENTED (NR) 84 minutes * * *
This is the story of Hugh Herr. A climbing accident at the age of 17 left him a double amputee. He has spent the rest of his life designing and testing bionic limbs, with a goal of creating prostheic limbs that can move and feel like the real thing. A fascinating and inspiring look at the possibilities for this new technology.
AUGUST: OSAGE COUNTY (R) 114 minutes * * * 1/2
It's clearly not the most functional of families, but when the three Weston sisters come back home to deal with a crisis, a particular piece of the unspoken past comes to light in a way that their mother and her sister never expected. Throughout the story, we watch as every character systematically destroys their lives by avoiding and disguising the truth. The ending here is less depressing than that of the play from which this is adapted, though it does still fit. In the film, Barbara (Roberts) in effect declares that enough is enough, providing a glimmer or hope, though whether that will actually be true remains unknown. Powerhouse performances all around from an absolutely stellar cast that includes Meryl Streep, Julia Roberts, Chris Cooper, Ewan MacGregor, Margo Martindale, Sam Shepard, Dermot Mulroney, Juliette Lewis, and Abigail Breslin. R for language.
AUGUST RUSH (PG) 107 minutes * * *
It's one night of magical, musical passion, but real life intervenes and pushes three lives apart from each other rather than together. But music lives... and breathes. It moves and flows... and eventually, it returns. August (Freddie Highmore) knows that he will find his parents again, and senses that it is music that is the key. It's a sentimental story that sacrifices believability in more than one spot, but we like where it ends up. What we could have done without is Robin Williams' Fagin-like performance. A street artist who saw talent and offered a few wise words and a little help would have been much more suited to this story. PG for language and violence.
AUGUSTINE (NR) 98 minutes * *
After suffering a particularly severe seizure, Augustine (Soko) is sent to a psychiatric hospital. This particular facility specializes in dealing with “female hysteria" and Augustine quickly becomes the star attraction. Well-acted, but the script rarely gets past the surface and leaves us with characters that feel rather hollow. We have hints that there is more there, such as the relationship between Augustine and her doctor, but hints are all we really see about much of these characters.
AUSSIE & TED'S GREAT ADVENTURE (G) 87 minutes * *
Aussie loves his owner, but he's a little jealous of her new, and magical, teddy bear. He feels guilty about hiding it, but now the bear isn't where Aussie put it. And so the adventure begins. Cute, but not all that imaginative story about a girl, her dog and a magical teddy bear.
AUSTENLAND (PG-13) 92 minutes * * ½
Jane (Keri Russell) loves everything Jane Austen. Frustrated with her current circumstances, she books a special “Austen vacation", the ultimate, immersive experience. She’s looking for love, but she’s about to find herself. Cute, but a bit overly self-conscious story with nice work by both Russell and Jennifer Coolidge, who seem more relaxed in their roles than the rest of the cast. PG-13 for language.
AUSTIN POWERS (PG-13) 84 minutes *Comic version of "Demolition Man" with Mike Myers as a parody of James Bond. This does have a couple of moments here and there, but it's mostly forgettable. There are some nice costumes, but well-dressed doesn't mean well-made. Myers wrote and co-produced and should go back to doing short skits for TV shows. PG-13 for language.
AUSTIN POWERS: THE SPY WHO SHAGGED ME (PG-13) 90 minutes * 1/2
Barely better than the first film, the plot has Dr. Evil going back in time to steal Austin's mojo. Full of more bad puns and in-jokes for those of us who've seen lots of movies, but it's only that funny if you're tired. Seth Green steals the show as far as acting, but acting isn't really a high priority here anyway. PG-13 for language.
AUSTRALIA (PG-13) 158 minutes * * *
Lady Sarah Ashley Nicole Kidman) inherits a large ranch, but faces hostile takeover from another rancher (Bryan Brown) unless she can somehow manage to get her cattle to the stockyard despite the attempts of his men to stop her. She hires a drover (Hugh Jackman) to help, but in addition to the treacherous landscape and the interference of Carney's men, Australia is also beginning to feel the effects of World War II, with air attacks by the Japanese. In addition, this is also the story of young Nullah (Brandon Walters), whose aboriginal mother is dead and whose white father denies his responsibility. Walters is excellent, and the film itself is both a history of and a song to the country and peoples of Australia. PG-13 for violence, sex, and language.
AUTHOR AUTHOR (PG) 101 minutes * * *
Ivan Travalian (Al Pacino) is a lucky man. The play he wrote is going to be produced on Broadway. Now, if he can just figure out how to handle the workload that involves while raising the five kids he now has to raise by himself. Brilliant script by Israel Horovitz, and nice work from Pacino as usual.
AUTHORS ANONYMOUS (PG-13) 88 minutes * * 1/2
Cute story with Kaley Cuoco and Chris Klein as members of a group of beginning authors. She's the surprise success story and he's the one with an unspoken crush on her. It's a sweet story, with an interesting angle as it tries to be a documentary about the authors group. It doesn't always work that well, and there are a number of inside jokes for those in the literary and publishing world, the the humor is light enough that it's a pleasant enough film to watch. PG-13 for language.
AUTISM: THE MUSICAL (NR) 91 minutes * * *
The Miracle Project was created to bring children with autism and Asperger's Syndrom together to learn a musical and to learn how to interact with others. The film explores the lives of the children and some of their parents as they come together for this project. Challenges are found each day, but together, something wonderful and amazing happens.
THE AUTOMAT (NR) 77 minutes * * *
They were a revolutionary idea in the restaurant business. Put in a nickel, open the door, and you had food. Also known as Horn and Hardart, and beginning in Philadelphia, they soon spread to New York. This is the story of the Automat and the influence it had on American society. An informative and charming look at a very unique institution.
AUTOMATA (R) 105 minutes * * 1/2
Jacq (Antonio Banderas) is an insurance investogator for the ROC Robot Corporation. As he digs into some recent claims, what he discovers about robots that are potentially altering themselves, is... eye-opening. There are definitely some interesting ideas here, borrowed in part from Isaac Asimov's laws of robotics and what happens when those laws are not followed. The special effects are quite good, and the robotic characters follow a very logical pattern of behavior. The humans in the story often seem to be functioning based on some backstory that we only get hints of, which weakens the story as a whole. R for violence, language, and sex.
THE AUTOPSY OF JANE DOE (R) 87 minutes * *
Who is this woman on the autopsy table, and what exactly was the cause of her death? The deeper Tommy (Brian Cox) digs, the more unusual clues he finds. Definitely some creepy moments, but this keeps teasing us with deeper meaning and a more complex story that it just never really delivers. R for violence, nudity, and language.
AUTUMN DREAMS (NR) 83 minutes * * 1/2
A young couple gets married but are convinced to quickly have it annulled. It's now years later, and as Ben (Colin Egglesfield) plans to wed, he discovers that the marriage he thought was over, is actually still valid. And it turns out that there just might still be a spark there too. A couple of fun supporting performances give this Hallmark film a little more entertaining edge than some.
AUTUMN IN NEW YORK (PG-13) 99 minutes * * 1/2
Will (Richard Gere) has never stayed with one girl very long since he lost the woman he loved. But now, the daughter of an old friend stands a chance at breaking through the wall he's built around himself. Sure, there are some differences that give the relationship some unique dynamics. He's 48, she's 22... he can't make a commitment, she doesn't have long to live... Gere and Winona Ryder don't have the on screen chemistry we need here, but individually, they do some nice work. Vera Farmiga does a very nice job in a small role as well. It's a film that reminds us of the importance of making the time we have special, rather than trying to find a way to have more time. PG-13 for language and sex.
AUTUMN IN THE CITY (NR) 83 minutes * * 1/2
Moving to New York City to see if she can find her calling, Piper (Aimee Teegarden) meets Austin (Evan Roderick), from across the hall in her apartment building. He seems to be a very cynical person, but he's on a similar journey to that of Piper. The story has a nice balance of cynicism and optimism.
AUTUMN ROAD (NR) 94 minutes * * 1/2
Struggling to get her acting career going, Laura, (Lorelei Linklater) is traumatized by a tragic accident. Then she meets Charlie and Vincent (Riley Cusick) who run the local haunted house. They have their own dark secrets. Good suspense, and writer/director Cusick handles the dual acting role well. The story wandeers a couple of times, but as a feature debut for both his writing and directing skills, it's quite good.
AN AUTUMN ROMANCE (G) 87 minutes * * 1/2
When money gets tight in the community, Taylor (Jessica Lowndes) loses her job at the library. She travels to a small town in Montana to spend some time with her brother, and ends up helping him as he tries to save his small hotel from being turned into a resort by Joel (Chad Michael Murray). There just might be some romance in the air. Adapted from the book, The Tycoon's Kiss by Jane Porter. The film is also known as "Colors of Love".
AVA (R) 93 minutes * * *
Ava (Jessica Chastain) is an assassin. Well-trained by Duke (John Malkovich), her efficiency has recently come into question. Management is concerned about her ability to continue doing work for them. Ava is aware of this, which means there are few people she can trust. The acting is wonderful, but that's no surpise with Chastain and Malkovich also receiving support from Geena Davis, Colin Farrell, and Common. The fight scenes are less convincing though, and the story is a little tired. R for violence, language, and sex.
AVALANCHE SHARKS (NR) 80 minutes BOMB
OK, sharks that "swim" in the show sinks shark attack films to a new low. Of course they are mystical sharks that are part of a curse, which explains why they can swim in little more than an inch of snow. Right. The only way to get rid of them is to re-establish the protection a shaman established years before. In other words, straightening up the mystical markers he stuck in the ground that got knocked over. Don't say you weren't warned.
AVALON (PG) 121 minutes * * *
Five brothers move from Russia to the United States in this third film from director Barry Levinson in a series that are all set in Baltimore. It's a film about families, tradition, and memories that moves slowly and carefully, painting a picture that feels very real. Well-acted and superbly directed, though it does slow down a bit too much in a few spots.
AVATAR (PG-13) 157 minutes * * * 1/2
Avatars are created to work for only one individual. Fortunately for the military, Jake and his now deceased brother are twins, so Jake can work the avatar that was designed for his brother. Fortunately for the Navi, Jake is a little more likely to question the orders he receives. The animation is simply stunning, proving that if you have enough money to spend, perfect is clearly possible. The movement from live action to animation is virtually seamless, and from this aspect, the film is not to be missed. The story is a bit derivative though, and clearly takes many cues from the history of the native peoples of the North American continent. James Cameron is one of a very few people who can get Hollywood to support the creation of a film that costs so much. And once again, it has paid off. PG-13 for violence, language, and nudity.
THE AVATAR PROJECT (NR) 64 minutes BOMB
Four people in a room taking a test. It's a multi-stage test, and the goal is to begin to control the subjects and turn them into terrorists. Very bad sound quality and photography, and an ending that makes no sense. Even beyond that, if you're telling a story about how people are turned into terrorists who are controlled by others, this has to be one of the least interesting ways to explain it.
AVATAR: THE WAY OF WATER (PG-13) 183 minutes * * *
The humans are working to colonize Pandora, and they have found a way to look like Pandorans through genetic manipulation. Jake Sully (Sam Worthington) will do his best to protect them. Overly long and often more concerned with creating atmosphere rather than telling a story. Despite this, it still manages to work well thanks to the amazing animation. PG-13 for violence, nudity, and language.
AVENGE THE CROWS (NR) 93 minutes * 1/2
The Crows were once a powerful gang in Los Angeles. Loca (Danay Garcia) and her cousin are all that is left. When Cammy (Angelique Rivera) is attacked by an old rival gang member, Loca must avenge not only her cousin, but the Crows as well. The story moves along well until it nears the end. It slows down way too much as it explains everything that was skipped earlier in the film... step by step. It pads the running time, but we really didn't need the extra material as we'd already figured most of it out anyway.
AVENGED (NR) 89 minutes * 1/2
On the way to meet up with her fiancee, Zoe (Amanda Adrienne Smith), a deaf girl, runs into some ruthless southwestern thugs who kill her. But at the moment of death, her body is possessed by the spirit of a bloodthirsty Apache warrior. There are some similarities to "The Crow", but this is a grittier, less polished stpry. There is some good energy, but it relies heavily on stereotypes and some lack of logic that hurt the story a little.
AVENGEMENT (NR) 84 minutes * 1/2
Cain (Scott Adkins) is mad enough at the people who put him in prison, but he's even more fed up with getting beaten up while on the inside. Once he finds a way to get out, he's going hunting. And he's not handing out mercy. Plenty of fight scenes, but more of the brawling, street fighting type than of the martial arts variety.
AVENGER DOGS 2: WONDER DOGS (NR) 65 minutes BOMB
Sharposky is back to his evil deeds, and that means the Avenger Dogs are back in action. The animation is at least a little more varied than in the previous films, "Avenger Dogs" (also known as "Wonder Dogs") and "Jurassic Bark", but it's still very bad. The script is not only overly packed with dialogue, but really isn;t a good fit for the target age group this seems to be trying to appeal to.
THE AVENGERS (PG-13) 81 minutes * 1/2
Ralph Fiennes and Uma Thurman give this film the right look and do a fine job handling the subtleties of their roles. The direction seems to prefer the cartoonish approach rather than the spy/adventure film angle that one might expect, and the film suffers for it. Sean Connery is sorely miscast as the villain, and the film just never gets off the ground as far as excitement. At 81 minutes, one wonders what ended up on the cutting room floor and how different the end result might have been with another director. PG-13 for violence and language.
THE AVENGERS (PG-13) 128 minutes * * *
Finally, after several other movies about Iron Man, Thor, Hulk, and Captain America, we have The Avengers movie we've been waiting for. Though not essential, it probably does work a little better if you've seen the other films as it adds more depth to the story. Joss Whedon's script is very good, and his style of direction delivers great action, yet creates space for humor as well. There are a couple of overly CGI animated moments that are a bit too cartoonish, but in general, the effects are quite good. Comic book purists will find fault with some of the storyline, but the recent films haven't been 100% true to the comics either, and this new, film "universe" has it's own version to tell. And it does a very nice job of it. PG-13 for violence and language.
AVENGERS: AGE OF ULTRON (PG-13) 134 minutes * * *
Tony Stark and Bruce Banner unleash more than they anticipated when they activiate a peace-keeping system. The opening is overly cartoonish, which continues to happen in some of the more intense action sequences. The dialogue is uneven, with pacing and timing of humor and drama a little awkward. Scarlet Witch (Elizabeth Olsen) and Quicksilver (Aaron Taylor-Johnson) are nice additions to the cast. PG-13 for violence and language.
AVENGERS: ENDGAME (PG-13) 169 minutes * * * 1/2
A very fitting climax to a series of twenty-two films, including three other Avengers films. The order of viewing many of the previous films is a little less important than making sure that "Captain Marvel" and "AvengersL Infinity War" are the last two seen before this final film. The special effects and soundtrack are wonderful, but it's seeing so many of the characters from the previous films that gives this that extra appeal that fans of the series will love. Well, that, and watching many of them show just how strong they can be when pushed harder. PG-13 for violence and language.
AVENGERS GRIMM (NR) 83 minutes * *
Rumpelstiltskin (Casper Van Dien) has grand ambitions, and when he destroys the magic mirror, its up to Snow White (Lauren Parkinson), Sleeping Beauty (Marah Fairclough), Cinderella (Milynn Sarley), and Rapunzel (Rileah Vanderbilt) to defeat him. Fun idea. The sets, props, make-up, and script are weak, but this still manages to have plenty of style and a good overall design.
AVENGERS: INFINITY WAR (PG-13) 138 minutes * * *
Thanos is making progress, all too quickly, in collecting all six of the Infinity Stones, which will give him incredible power. The Avengers had been taking a break of sorts, but now, they not only need to assemble, but add to their ranks if they hope to defeat him. It's a great story, but where it succeeds most is also a point of failure. The story brings together a great number of heroes, and does so very smoothly. But if you aren't already familiar with them, a good deal of what happens between them (including the humor) will be lost. Also, as with the rest of the films connected to this storyline, there are extra scenes in the credits, including one at the very end where Nick Fury... Fantastic effects and a very nice soundtrack as well. PG-13 for violence and language.
AVENGERS OF JUSTICE: FARCE WARS (NR) 84 minutes BOMB
A parody of Star Wars and the Marvel and DC superheroes and villans. The world is in trouble because so many of the battles have bankrupted the world. Everyone is having a difficult time. That would include anyone trying to watch this movie. It's just not funny. At all.
AVENGING ANGEL (R) 89 minutes *
This sequel to the film "Angel" features Betsy Russell as the former prostitute Molly, who has reformed and is on the way to becoming a lawyer. But when her friend, Lt. Andrews (Robert F. Lyons) is shot, she returns to the streets to get revenge. The production values are a little better this time around, but the story is not, and makes us wonder if this might not have been better as a comedy.
AVENGING FORCE (R) 102 minutes * ½
When Matt (Michael Dudikoff) goes to visit his friend Larry (Steve James), he discovers that Larry is in trouble. It quickly becomes a tangled mess, and Matt finds himself being hunted by the bad guys. Lots of violence, though it isn’t really that graphic. The performances aren’t all that bad, but the fight choreography isn’t very good.
AVENUE MONTAIGNE (PG-13) 100 minutes * * *
Although the Bar des Theatres usually only hires waiters, Jessica (Cecile de France) is hired on a temporary basis because business is picking up and they just lost two other waiters. It's a pleasant little restaurant in the middle of the arts district in Paris, and Jessica gets to meet all sorts of famous people. The story flows in a sort of free-form style, mixing and mingling the people Jessica meets, letting us get to know them and understanding bits and pieces of their lives. If anything is missing, it's more time with Jessica. Cecile de France has an energy and innocence that are utterly charming and endearing, and we want to know her better and find out what happens next for her, though it's sure to be something good. PG-13 for language and sex.
AVH: ALIEN VS. HUNTER (NR) 80 minutes 1/2
A spaceship crashes on earth and strange looking spider aliens are released along with an alien hunter. The aliens wreak havok, but mostly snarl and hiss as this is less expensive for the special effects department to work on.
AVIA VAMPIRE HUNTER (NR) 85 minutes BOMB
On the trail of one particular vampire, Avia (Allison Valentino) will not stop until she has killed it. Leon Hunter is writer, director, producer, cinematographer, and editor. The last two clearly should have been left to someone else. Special effects and makeup are pretty bad too.
THE AVIARY (R) 91 minutes * *
Jillian (Malin Akerman) and Blair (Lorenza Izzo) are on the run. The desert is the only place they can go. It's all that surrounds the cult where they have been living. Desert. It is a harsh and often unforgiving landscape. But even with the dangers that the desert presents, the biggest danger is still in their minds. This drags quite a bit in the middle, but it does begin and end well. R for language and violence.
THE AVIATOR (PG-13) 164 minutes * * *
Howard Hughes (Leonardo DiCaprio) was many things, but his love of aviation was above all else. This bio-pic doesn't shy away from the eccentric, reclusive, and obsessive/compulsive side of Hughes, but his love of aviation and drive to succeed in whatever he chose to become involved in are here as well. DiCaprio's performance gets better as the film progresses, but Kate Blanchett's performance of Katharine Hepburn was too affected. The best performances of the film are from John C. Reilly and Matt Ross who portray the two men without whom Hughes would never have been able to accomplish all that he did. PG-13 for language, violence, and nudity.
THE AVIATORS (NR) 75 minutes * *
In a broad sense, this is the story of the pigeons that were used to carry messages in World War I. Sadly, though the story is quite dark and historical, it is trivialized by creating animated characters that cute and funny. The mix is odd, and its difficult to figure out who the intended audience might be. That's a shame, because some of the historical scenes are quite good.
THE AVON BARKSDALE STORY (NR) 60 minutes * * 1/2
This is the story of the real Nathanial Avon Barksdale, whose life story became part of the show, "The Wire". Extensive interviews with Barksdale are interspersed with interviews with a few of his friends and his mother and information about how his story works into the story of the show.
AWAIT FURTHER INSTRUCTIONS (NR) 88 minutes * 1/2
Tensions are already high at the Milgram home over the holidays. But when Nick (Sam Gittins) and Aanji (Neerja Naik) go to leave the next morning, they find that they are all trapped inside... and receiving mysterious instructions through the televisioin. Good early on as it deals with what is essentially a behavioral experiment. As it moves further toward the science fiction/horror part, it dramatically reduces believability and generates far more questions than it ever attempts to address.
AWAKE (R) 79 minutes * * 1/2
He's a rich young man with a bad heart, and he's in love with a beautiful girl. Of course, that's only part of the story. There are some nice twists and turns here as well as nice performances by some of the cast. What starts as a medical drama/love story almost has a sort of EC Comics approach as it progresses, with a macabre moral to the story. Terence Howard, Jessica Alba, Hayden Christensen, Lena Olin, and Fisher Stevens. R for violence, language, and sex.
AWAKE (2019) (NR) 87 minutes * *
When he wakes up, the only thing that seems certain is that he (Jonathan Rhys-Meyers) is wanted for multiple murders. There's a twist, but it isn't all that surprising. The acting is fine, but the script and direction are less than inspiring.
AWAKEN (R) 84 minutes *
Natalie Burn co-wrote and co-stars in this thriller abouit people who find themselves on an island and being hunted for their organs. Lots of familiar faces here, Daryl Hannah, Edward Furlong, Vinnie Jones, Jason London, David Keith... but the story and script are less interesting than the cast. R for violence.
THE AWAKENING (R) 102 minutes * * * ½
Florence Cathcart (Rebecca Hall) is experienced at explaining away the supernatural. In 1921, she visits a boarding school for boys to uncover the ghost of a boy who has all of the students frightened. She fully expects to discover a talented prankster who the staff will be able to discipline. What she finds is something she never expected. An elegant and mysterious thriller, with a fine ensemble performance and a haunting climax. R for violence and sex.
AWAKENINGS (PG-13) 117 minutes * * * *
Dr. Malcolm Sayer (Robin Williams) is a neurology research specialist. He never intended to work with people on a daily basis as their doctor. But he finds himself working in the chronic care ward of Bainbridge Hospital with patients who are near catatonic, and with the theory that they know what's going on around them. Williams is convincing in his shy, but persistent pursuit of truth and hope for these chronic patients, and Robert DeNiro is charming and convincing as Leonard Lowe, who is the first to try an experimental drug. This is a rare film. Not only is it outstanding in every technical aspect, but it does something else. It dares to touch our hearts with hope, even while it tells us that sometimes things just don't work out the way we'd like. Not many films or filmmakers have the talent and the courage to accomplish both of those tasks.
AWAY & BACK (NR) 95 minutes * * 1/2
trumpeter swans are not all that common, but Jack Peterson (Jason Lee) has a few who have chosen his farm as their seasonal home. When a particular swan's eggs need some help, young Frankie (Maggie Elizabeth Jones) steps in, despite her dad's protests. But when a local ornithologist with poor people skills decides she can do a better job, things don't go very smoothly. A story with nature, family drama, and a little bit of romance.
AWAY FROM HER (PG-13) 106 minutes * * *
Very nice feature film debut for writer/director Sarah Polley. Adapted from the short story, "The Bear Came Over the Mountain" by Alice Munro, this follows the story of an older couple as they face the issues around dealing with Alzheimer's Disease. The story is both heart-breaking and heart-warming, and well-performed by all. PG-13 for language.
AWAY WE GO (R) 90 minutes * * 1/2
Looking for a place to live and raise their child who will soon be born. Burt (John Krasinski) and Verona (Maya Rudolph) get advice from all of their friends and relatives, but none of it seems to be all that helpful... except to let them know where they don't want to move. Sweet and a little offbeat, with honest and earnest performances from Krasinski and Rudolph, and a wonderful ending. R for language and sex.
AWFUL NICE (R) 88 minutes ½
Or… mostly just awful. Two brothers, who don’t get along, inherit the family cabin when their father dies. They aren’t sure whether to keep it or sell it, and either way, it’s not in very good shape anymore. There are a couple of funny moments, but most of the comedy is forced and the characters aren’t that likeable or funny. James Pumphrey and Alex Rennie don’t bring much to this, but the script, which Rennie is partly responsible for, and the direction, don’t do anything to help. R for language and sex.
AN AWFULLY BIG ADVENTURE (R) 110 minutes * * *
Set in the late 1940's, this is the story of a rather cruel theatrical director and the struggling young actress who falls in love with him. Taken from Beryl Bainbridge's novel, it's a study of characters and their reactions to pressure. Hugh Grant, Georgina Cates, Peter Firth, and Alan Rickman are fascinating to watch, though this isn't something to watch if you want to be happily entertained.
AWOKEN (NR) 83 minutes * *
Fatal Familial Insomnia is a condition where you can't sleep for so long that you eventually die from lack of sleep. Blake (Benson Jack Anthony) is suffereing from it, and his sister Karla (Sara West) is determined to help. The thing is, this isn;t exactly FFI. It's something a little more supernatural. Good story and effects. The acting falls a little short of what it needs to be though.
THE AXE IN THE ATTIC (NR) 107 minutes * * 1/2
The devastation and lingering effects of Hurricane Katrina are explored in this documentary. The directors spent sixty days traveling through the affected areas interviewing people with the hope that their efforts will bring more attention to the continuing struggles of those affected as well as potentially raise some much needed funds.
A-X-L (PG) 90 minutes * *
Attack Exploration Logistics - A-X-L. Miles (Alex Neustaedter) is a bit of a loner. It's not helping him get ahead with his dirt bike racing. But when he finds AXL in the desert, he ends up activating the robotic dog's owner-identification program. AXL will now protect him at any cost. Can Miles find a way to keep AXL from the scientists who want him back? The story has a tendency to hold back, and doesn't really show us what AXL is capable of, though it offers many hints. The resolution comes a bit too easily and the final note is not surprising. PG for violence and language.
AYA OF YOP CITY (NR) 83 minutes * * 1/2
A fun and vibrant community, Yop City is a place where there are no strangers. Aya loves to spend time with her friends, but when one of them learns that she's pregnant, some things will have to change. It's a good story, and fun to watch, but the real star is the soundtrack. Based on the graphic novel of the same title.
AZUMI (NR) 124 minutes * * *
Raised with other orphans to become an assassin, Azumi (Aya Ueto) is one of the best. She and the others work for the Tokugawa Shogun, who is working to restore peace. Well-written story with very nice effects and a great performance by Ueto.