Film Reviews B

B & B (NR) 84 minutes * * 1/2 Refused a bed at a Christian guesthouse because of their lifestyle, Marc (Tom Bateman) and Fred (Sean Teale) won their case and are back for a weekend stay. But when a Russian neo-Nazi checks in, it's going to make for a rough weekend. Good suspense, and nice twists and turns late in the story.

THE BAADER MEINHOFF COMPLEX (R) 136 minutes * * * Based on the book by Stefan Aust, this is the story of the Red Army Faction, a German terrorist group of the 1960s and 70s. Germany's political structure is fragile, and these young people see it headed in the direction of fascism, and will go to any means to stop it. It's an intense film, with an almost documentary feel to it at times. While this lends it strength as far as believability, there's also a lack of emotion that is often present in a re-enactment of a crime. The decline of the group as they become more disillusioned and fragmented is almost painful to watch, because as it's happening, we're beginning to understand more of their passion at the same time they are starting to lose it. R for violence, sex, and language.

BAAHUBALI 2: THE CONCLUSION (NR) 162 minutes * * * 1/2 The story continues as Shiva learns about his past and searches for meaning. To help us understand even more of what thay means (and fill in missing bits from the first film), there are numerous flashback sequences about the history of the Mahishmati Kingdom. An epice adventure film, and it actually isn't necessary that you've seen the first one to understand and enjoy this one.

BABA JOON (NR) 85 minutes * * 1/2 Tradition is important to Itzhak (Navid (Negahban). He now runs the turkey farm that his father built, and his expects his own son to continue the work. But Moti (Asher Avrahami) has other plans, and that presents a problem. Well-told story.

BABA YAGA: TERROR OF THE DARK FOREST (NR) 93 minutes * 1/2 Baba Yaga lives at the place between the world of the living and the dead. Here, she eats the souls of children, whose parents then forget them. Having finally been imprisoned in the world of the dead, she is now looking for a special child. One who can help her bridge the worlds of the living and the dead once again. Creepy sets, props, and music, but the acting isn't very good and the scares are mostly noise related and not that effective.

THE BABADOOK (NR) 87 minutes * * 1/2 It's difficult enough for Amelia (Essie Davis) to raise her son on her own. But to make it worse, her son has become fixated on a monster he is sure is coming to get both of them. Plenty of creepy and downright scary sequences, espeically later in the film. The ending is unusual, and perhaps a little bit of a letdown considering how the tension was building.

BABE 86 minutes * 1/2 James King-Smith's book comes to the big screen. Many people really enjoy this film, but I found it to be a meandering and violent story that relies too heavily on puppets to tell the story of farm life. The puppetry work is uneven as well, some being quite stellar, while other scenes are quite poor. It does have a nice finish, but getting there is a real chore.

THE BABE (PG) 109 minutes * * * Babe Ruth was a legend in his own time, and the story of that legend still has power for us today. Virtually single-handedly, Ruth's talent boosted ticket sales to baseball games which had gone into a severe slump after the Black Sox threw the world series. John Goodman gives a wonderful performance here, showing us both sides of this character. We see the Babe's recklessness and irresponsibility, drinking and being overweight, and his lack of intelligence about a number of things. But we also see his love of children, his generosity, and his phenomenal talent for the game of baseball. It's an honest portrait of a legend who was also a human being, full of talent and complete with faults. PG for language.

BABE: PIG IN THE CITY (G) 86 minutes * Babe feels guilty for causing an injury to farmer Hoggett. Now he has to go to the city with Mrs. Hoggett to try and make money to save the farm. An adventure ensues, mostly due to Babe's naive nature and Mrs. Hoggett's bumbling. The mice that were a bit cute in the first film have a larger part here, and are rather annoying. There is also a rather drawn out and traumatic sequence late in the film as the animal shelter comes to take away all the animals from the motel. Too much of the film is explained through narration during the film and the result is a negligible amount of emotional pull to keep us involved.

BABEL (R) 135 minutes * * * 1/2 What happens when you need help and people don't understand you? What if it's because you don't speak the same language or can't speak at all? Four stories are told here, very much connected, but each with their own twist on the difficulty of communication. Well-acted and thought-provoking, if a little awkwardly paced at times. Winner of numerous awards and nominated for literally dozens of others. R for violence, language, and sex.

BABES WITH BLADES (NR) 94 minutes * 1/2 The Sarnians were a once-fearsome warrior tribe. Azura (Cecily Fay) is the last, and now she finds herself fighting for her life as a gladiator. There is a group of resistance fighters. Can they rescue Azura, and can she lead them to overthrow the empire? Ambitious project from writer/producer/director Fay, who also plays the lead role and is responsible for music, editing, production design, costumes, re-recording mixing, and fight choreography (which is pretty good). Some of these aspects are clearly better than others. What is not so great is the acting and the cinematography. Fay is 4'8", which does explain why there are so many low camera angles and close-ups.

BABIES (PG) 76 minutes * 1/2 The first year in the life of four babies from different countries is examined in this documentary. It's an interesting look at different cultures, and of course, the babies are cute. Still, the message here is simply that despite cultural differences, we are still much the same, no matter where we are from. The most obvious piece that is missing here which would have made this much more impressive, is a stronger soundtrack. With virtually no dialogue, the lack of an impressive soundtrack really weakens the film. PG for nudity.

BABY BOOM (PG) 110 minutes * * * 1/2 Yuppie woman inherits the custody of a baby with predictable chaos resulting. Her live-in yuppie boyfriend can't take the new situation and moves out leaving her to be a single parent along with all of her other responsibilities. Well performed by Diane Keaton and a fine supporting cast that includes Sam Shepard and James Spader. Nicely directed and well-written with a great soundtrack from Bill Conti, Burt Bacharach, and Carole Bayer Sager.

BABY BOY (R) 123 minutes * * 1/2 Jody (Tyrese Gibson) has two children by different girls, but still lives with his mom. She wants to get on with her life. He needs to grow up and take some responsibility. Coming of age/slice of life film from director/producer/screenwriter John Singleton (who also served as music supervisor) has quite a bit of good material, but tends to repeat itself and almost lull us to sleep. Singleton should have tightened this up a bit and handed the directing or producing to someone else. It's just too long and too repetitive. Wait, did I say that already? R for violence, language, and sex.

BABY DRIVER (R) 109 minutes * * * 1/2 If there's one thing that Baby (Ansel Elgort) knows how to do, it's drive. He's almost finished paying off the crime boss he's been working for, but driving getaway cars is really the only thing he knows... and it's going to catch up to him soon. Nicely done, with well-developed characters and appealing characters and a great soundtrack. R for violence and language.

BABY GENIUSES (PG) 91 minutes * 1/2 This film was apparently inspired by the dancing baby of recent computer animation fame... and is entertaining for about that long too. The talents of Kathleen Turner and Christopher Lloyd are completely wasted. The idea is that babies hold the secrets of the universe in their minds, but at the onset of speaking, it is lost. How can the knowledge be communicated before the age of two? Interesting idea to explore, but more the stuff of science fiction than a cheaply made comedy. PG for language.

BABY, IT'S COLD INSIDE (NR) 83 minutes * * 1/2 Hannah (Jocelyn Hudon) loves tropical vacations. She currently works at a travel agency, and has just been sent on assignment to the famous "ice hotel". It's not her idea of fun, but the owner is handsome and single. The film does a nice job of showcasing the ice hotel and all it has to offer while delivering a standard romantic drama story.

BABY IT’S YOU (R) 105 minutes * * * It’s 1966 in New Jersey, and Jill (Rosanna Arquette) and Shiek (Vincent Spano) may be from opposite sides of the track, but when you’re in love, there are no rules. Director John Sayles captures the angst of teen romance and Arquette and Spano work very well together.

BABY MAMA (PG-13) 93 minutes * * 1/2 Kate (Amy Poehler) has been on the fast track to a successful career. Now she's ready for a baby. Unable to have one on her own, she decides to try a surrogate mother. But the one she chooses is full of surprises. The story gives us a nice balance of humor and sincerity, keeping Tina Fey's brilliant and over-the-top comic portrayal in check. Great cast that also features Steve Martin, Greg Kinnear, and Sigourney Weaver. PG-13 for language.

BABY RUBY (NR) 89 minutes * * Having their first child, Jo (Noemie Merlant) and Spancer (Kit Harrington) are just a little nervous. It's doesn't help when the baby is crying so much. Jo's nerves are a bit more on edge than most new parents. She's beginning to imagine strange and terrible things. Or maybe she's not imagining them.Good intensityearly on, though it fades more than it should.

BABY: SECRET OF THE LOST LEGEND (PG) 91 minutes * * A paleontologist discovers a baby brontosaurus and has to protect it from people who want to capture it. Reasonably good family film with no surprises as far as the story, which starts out well but has a weak ending. Aimed at the under-12 crowd, who will likely enjoy it.

THE BABY-SITTERS CLUB (PG) 88 minutes * * 1/2 Agreeable adaptation of Ann M. Martin's book(s) aimed at girls who baby-sit. A group of seven girls band together to form a sitting service and the adventures they have together form the basis for the stories. Nothing outstanding, but pleasant and appealing to the audience to which it is directed.

BABYLON (R) 181 minutes * * * There was nothing quite like Hollywood in the 1920s. Success doesn't look the same for everyone, and not everyone makes it to the top... or stays there for very long. The story follows several very different characters as they try to succeed in this maddening and wild world of entertainment. A powerful conversation around the two hour mark that talks about the power, the tragedy, and the very essence of filmmaking that is well worth a look all by itself. R for sex, violence, and language.

BABYLON A.D. (PG-13) 83 minutes * 1/2 Hired to deliver a package, a girl, to a land where he's not welcome. Toorop (Vin Diesel) doesn't really understand why, and we have a difficult time as well, but he'll do his best. There's plenty of actio here, but the conclusion of the film leaves us with even more questions then we have through the rest of the film. Based on the play "Babylon Babies". PG-13 for language and violence.

BABY'S DAY OUT (PG) 93 minutes BOMB Watch it if you dare! Cute baby, stupid villains, formula plot... it's hard to believe the number of highly talented people involved in this production could actually make a film that is this bad. PG for language and fake violence.

BABY’S FIRST CHRISTMAS (NR) 84 minutes * * ½ Jenna (Rachel Wilson) and Kyle (Casper Van Dien) do not get along… at all. His sister and her brother get along very well. In fact, they get married. That’s going to make for an awkward family Christmas. Something is about the change for them though. And it just might change Kyle’s heart.

BABYSITTER WANTED (R) 83 minutes * They seemed like such a nice couple. Their son is a little shy, and Angie (Sarah Thompson) needs the money. But Sam (Kai Caster) isn't an ordinary boy. Once the twist is revealed, the film has nothing more to give us, and we aren't really surprised by the twist itself, only the lack of money spent on acting lessons. And the script... which just sort of... stops. R for violence and language.

THE BABYSITTERS (R) 83 minutes * 1/2 Shirley (Katherine Waterston) discovers a new business opportunity when her babysitting job turns into a call girl service. It doesn't take long before different priorities and maturity levels spin this out of control. The acting isn't bad but the plot slides off the table pretty quickly. R for sex and language.

BABYSPLITTERS (NR) 115 minutes * * 1/2 It's time to have a child, but Jeff (Danny Pudi) and Sarah (Emily Chang) are having some difficulty. Sharing a baby with another couple seems like a good idea... until the details start taking shape. The script is uneven, with some very nice moments, and some very funny ones, but a few too many that are just dull.

BABYTEETH (NR) 112 minutes * * * Milla (Eliza Scanlen) has her own way of looking at life. Part of it is her perspective. When you don't have much time left, you tend to look at things a little differently. Still, when she starts a relationship with Moses (Toby Wallace), who happens to be a drug dealer, her parents are less than thrilled. A charming and bittersweet look at love, family, and leaving. Based on the play by Rita Kalnejais.

THE BACHELOR (PG-13) 97 minutes * 1/2 Jimmy Shannon III (Chris O'Donnell) is faced with a dilemma. He has to get married in the next 24 hours or he'll lose his inheritance, but the girl he wants to marry won't say "yes". Renee Zellweger is terrific as Anne, and she makes the film worth a look, but the plot is stale and despite the presence of veterans like Hal Holbrook, James Cromwell, Ed Asner, and Peter Ustinov, this just doesn't come across very well. PG-13 for language.

BACHELOR PARTY (R) 102 minutes * ½ Rick (Tom Hanks) is not the wealthiest of individuals, and yet he’s about to marry into a family with money. His friends decide to go all out and throw him an expensive bachelor party… where everything goes wrong. Only of note for Hanks, though this is far from his best work. R for sex and language.

BACHELOR PARTY 2: THE LAST TEMPTATION (R) 98 minutes 1/2 Perhaps a rule to consider would be that if over twenty years have passed, you don't need to do a sequel... especially when the first film wasn't really all that good either. Though at least that one had Tom Hanks. This one doesn't have much to offer. Ron (Josh Cooke) is about to get married and Todd (Warren Christie) is determined to get him into trouble so he can still be on the good side of his father-in-law. We have a difficult time caring. Filmed in Miami. R for language and sex.

BACHELORETTE (R) 79 minutes * 1/2 When three friends are asked to be bridesmaids for a girl they used to make fun of in high school, you might have an idea of what’s in store. Lizzy Caplan’s character fares a little better than the rest here, as the script gives her character a little more depth. And there are a few moments of fun, though most of the humor is just mildly rude or boring. Disappointing performances from Isla Fisher and Kirsten Dunst.

THE BACK NINE (NR) 85 minutes * * The story of Jon Fitzgerald's decision to play professional golf at the age of 40. It's a bit of a late start, but can determinationand spirit make up for lost time? More of interest to those who golf, as it explores what the pursuit of the sport means to family and friends as well as the amount of time it takes to really play well. It also has some interesting comments to make about personal values and the support one needs to accomplish your dreams. Nice bit about the trip to Scotland to explore the history of the sport.

BACK ROADS (NR) 95 minutes * * 1/2 Left to look after his three younger sisters, Herley (Alex Pettyfer) feels stuck. Slowly, as time passes, we begin to learn the backstory of his father's murder. The story is powerful, but a few pieces seem to be missing. This is Pettyfer's debut as a director, and is a promising start.

BACK TO SCHOOL (PG-13) 93 minutes * * ½ In 1940, Thornton Melon (Rodney Dangerfield) was told by his father that having an education was the most important thing in life. He believed that Thornton could do anything he set his mind to… despite Thornton having just received some very poor grades. Fade to… 1986. Thornton’s son (Keith Gordon) is having trouble at college. So he decides to help his son by going back to college himself. This does have the Dangerfield brand of humor, full of insults and crude remarks. In the midst of that is a solid story about a father and son who are both learning a valuable lesson. It works better than you might expect.

BACK TO THE BEACH (PG) 87 minutes 1/2 Frankie and Annette are a little older now, but going back to California to visit their daughter brings back more than a few memories. Unfortunately, it brings us this film... which doesn't really recapture the fun of the old beach party films. Sure, they were silly, but they still had a playful sense as far as story, where this film seems to strain to poke fun at the older films.

BACK TO THE FUTURE (PG) 110 minutes * * * * Thanks to a very cool time machine, Marty (Michael J. Fox) finds himself thirty years in the past. Lots of fun mis-adventures follow. Fox is what makes this work so well. His performance is energetic and sincere, winning us over, even when the story has a few holes. It's a fun film, and holds up well to repeated viewings over time.

BACK TO THE FUTURE PART II (PG) 102 minutes * * * This is one of those sequels that's packed with information. Filling in all the gaps that the first film left and preparing you for part three. The aging makeup isn't very good here, but the other technical aspects are quite nice, making this a good sequel despite how much detail is crammed into it. Be advised that this film comes to a close without finishing the story. When it was originally released, part three followed only six months later, so there was a sense of recapturing the feeling of the old serial films of the 1940's and 50's. So, sit down and have some fun, and make sure you watch part three for the thrilling conclusion! PG for language.

BACK TO THE FUTURE PART III (PG) 111 minutes * * * Final chapter in the saga that finishes the part of the story that began in Part 2. This time it's a trip to the wild west for our friends, with plenty of action and fun. A bit overdone in spots, but fun is definitely the emphasis. This makes enough references to events from the other two films that it really is important to have seen them first. In some ways that's a hindrance, but it's a fun series for those who enjoy science fiction/adventure.

BACK TO YOU AND ME (NR) 83 minutes * * Syd (Hartman Black) heads home for her high school reunion. Romance is lurking there, as is a troubled relationship with her mother. Memories, new beginnings, love, and forgiveness... fairly standard Hallmark TV movie fare.

THE BACK-UP PLAN (PG-13) 100 minutes * * It always seems to work that way... just when Zoe (Jennifer Lopez) has given up on finding the right guy and decides to have a baby on her own, that's when she finds him. The characters here have little depth and the script has so many cliches that they fall over each other. There are a few scenes that are good for a chuckle or two (including the birthing scene), but where was the back-up plan for a better script? PG-13 for language and sex.

BACKBEAT (R) 97 minutes * * It's Liverpool in 1960, and John Lennon and his friend Stuart Sutcliffe are beginning to make a name in the music scene. This is the story of the Beatle who wasn't, and how his absence sparked what became a legend. The relationships make for a fascinating study, though the slice-of-life presentation does get a bit tedious in a few spots.

BACKCOUNTRY (R) 86 minutes * A couple of a camping trip not only get lost, but manage to attract the attention of a killer black bear. R for language and violence.

BACKDRAFT (R) 130 minutes * * * * Stephen (Kurt Russell) and Brian McCaffrey (William Baldwin) are the sons of a firefighter who died in an explosion while Brian was watching. It's years later now, and although they are both firefighters, they are very different in most everything else. The story mixes their personal lives with a story of arson investigation, stirring in amazing special effects and an outstanding soundtrack from Hans Zimmer. Special recognition goes to Russell, Baldwin, and Scott Glenn, who do their own stuntwork in the film. It's a stunning film that you won't want to miss! R for violence and language.

BACKDRAFT II (R) 98 minutes * * * Another of the McCaffrey clan, Sean (Joe Anderson) is on the trail of an arms dealer who uses fire to cover his tracks. A bit less action here, with a story that is driven more by character development, though there seem to be a couple of missing pieces. The tone is also a little darker than the first film, with less flair. R for language and violence.

BACKSTABBING FOR BEGINNERS (R) 100 minutes * * * The United Nations "Oil for Food" program was intended to provide food and medicine for the Iraqi people during Saddam Hussein's brutal rule. While the intentions were good, and some assistance was provided, a great deal of corruption existed in the system. This is the story of Michael Soussan's (Theo James) experience working for the UN during this critical time. Adapted from the book by Michael Soussan. R for language and violence.

BACKTRACE (R) 83 minutes * When a traumatic injury results in memory loss, Macdonald (Matthew Modine) assumes the money he helped steal is gone for good. That may not be the case. But Sykes (Sylvester Stallone) has never given up on the case either. As esciting as that may sound, the story is tired and unimaginative, and Stallone in particular looks bored. R for violence and language.

BACKTRACK (R) 80 minutes * * 1/2 After his daughter dies, Peter (Adrien Brody) begins to see things from his past. In particular, he's seeing events that may give him a chance to help some souls find rest. But first, he has to put the pieces together and remember everything about what actually happened. Mediocre story, but the quality acting gives this a little boost. R for violence and language.

THE BACKWOODS (R) 93 minutes * On holiday in Spain, two couples discover a young girl locked up in a cabin in the woods. That's about it for the plot. Gary Oldman does nice work early in the film, but once he's gone, the film deteriorates even faster. Someone forgot that a story needs a middle and an ending, not just a beginning. R for violence, language, and nudity.

BACKWOODS (2008) (R) 82 minutes 1/2 An executive team heads to the woods for a game of paintball. It's supposed to teach them about cooperation, leadership, and how to be part of a team. Instead, they fall prey to the locals who have theor own ideas about what to teach them. The story has plenty of holes and not much in the way of acting. The setting is effective, but then again... it's the woods... R for violence.

BAD ACTRESS (NR) 82 minutes * OK, so the title of this really sets it up for all sorts of comments, especially when the film itself doesn't come across well. The idea actually had some possibilities, but Beth Broderick doesn't have the dry wit that's needed here. (Think something more along the lines of Wendy Malick.) It also would have helped if the script had a little more depth.

BAD APPLES (NR) 84 minutes 1/2 On Halloween night, two masked teenage girls terrorize a neighborhood, killing the people in every house where someone answers the door. Despite the lack of sense to the story, there is some suspense early on, but it gets worse as it goes along, becoming a slasher film with no real plot or sense.

BAD ASS (R) 85 minutes * * When the police seem to be doing nothing to solve the murder of his friend, Frank (Danny Trejo) takes to the streets to get the job done. The humor scattered throughout makes this more fun to watch, though much less realistic. It's nice to see Trejo featured here, even though the film isn't all that great. R for violence, language, and sex.

BAD ASSES ON THE BAYOU (R) 80 minutes * The third film in the series has Frank (Danny Trejo) and Bernie (Danny Glover) down in Louisiana for the wedding of a friend. Just like back home, trouble seems to follow them, but its nothing they can't handle. Action with occasional bits of humor, neither one of which is that good, though its fun watching Trejo and Glover. R for violence, language, and sex.

THE BAD BATCH (R) 114 minutes * * * Left to fend for herself in a wasteland that is fenced off from civilization, Arlen (Suki Waterhouse) soon falls victim to a group of cannibals. Now missing half an arm and half a leg, she is learning to deal with life in this savage place. Loyalties change quickly when you need to survive. An unusual, but very likeable film, and one that is unlikely to be forgotten. R for violence, language, and nudity.

BAD BLOOD: A CAUTIONARY TALE (NR) 79 minutes * * * Hemophilia had been a major, debilitating disease until a discovery was made that would substantially increase the ability of the blood to clot. But when this new drug became profitable, the risks that had become evident were ignored. Hepatitis B, and later AIDS, began to run rampant. Effectively weaves personal stories into the factual presentation, giving this documentary a powerful and emotioal appeal.

BAD BLOOD: THE MOVIE (NR) 76 minutes * 1/2 This is what happens when you mix a werewolf with the Creature from the Black Lagoon. A complete gorefest, with a sense of humor. That sense of humor helps, and fans of gory horror will like those parts, but the script and acting are sorely lacking anything resembling talent.

BAD BOYS (R) 117 minutes * * * ½ Mick (Sean Penn) and Paco (Esai Morales) hate each other. And while conflict between them is sure to escalate, that looks like it will be sooner rather than later since they are now both in the same prison. Energetic performances led by Penn and Morales that draw us into the story quickly. R for violence, language, and sex.

BAD BOYS (1995) (R) 115 minutes * * * Martin Lawrence and Will Smith team up in this police action film. The banter between the two is quite good at the beginning, but begins to wear thin after awhile. Marc Mancina's soundtrack really adds to the suspense, especially late in the film. This is a solid action film from director Michael Bay that is well worth a look. R for violence and language.

NAD BOYS FOR LIFE (R) 118 minutes * * 1/2 Marcus (Martin Lawrence) has retired, and Mike (Will Smith) should be taking it easy after nearly being killed. But even retirement and a near-death experience aren't enough to keep the "bad boys" out of action. Not only does the story have a couple of nice twists, but it also has a great villain in Armando Armas (Jacob Scipio). It's well-paced, but too much of the action is over-the-top, and too much of the humor feels forced and not as funny. R for violence and language.

BAD BOYS II (R) 139 minutes * * Will Smith and Martin Lawrence are back, along with Gabrielle Union in this action-packed sequel. In fact, it's so action-packed that there's room for little else. We move from one special effects stunt to the next and the few times the action does slow down, there's not much story to pick up the slack. The stunts are quite elaborate and well-done, as we expect from a film like this, but we still need a little more story... or at least a film that's a lot shorter! Filmed in Miami and Puerto Rico. R for violence and language.

BAD COMPANY (PG-13) 112 minutes * * 1/2 Jake's (Chris Rock) twin brother was a CIA agent who was killed in the line of duty. The problem is that he was in the middle of a rather important operation. So, Oakes (Anthony Hopkins) agrees to the idea of bringing Jake in to finish the job. He's not really excited about it and they don't make a particularly good team. In fact, it's not a very original idea and Rock's humor is frequently misplaced. There are some nice supporting performances which go a long way to making this entertaining. The first hour moves along pretty well, but the implausability of the setup quickly overtakes the film. It's doubtful that Hopkins will list this among his better works. PG-13 for language and violence.

BAD COUNTRY (NR) 98 minutes * * * Jesse (Matt Dillon) is a contract killer. When Bud (Willem Dafoe) finally catches him, he decides that Jesse just might be able to help him bring down a few other criminals in the area. The story unfolds nicely, building in intensity as the film moves along. Nice work by both Dillon and Dafoe.

BAD DREAMS (R) 80 minutes * 1/2 If you're familiar with "A Nightmare on Elm Street", then you might want to skip this. The big differences here are that the villain isn't as evil, the main character elicits no sympathy from us, and that the rest of the cast have even less in the way of common sense than most horror film supporting casts. Bruce Abbott earns a whole star of the rating all by himself just for doing so well with a terrible script and untalented direction.

BAD EDUCATION (NR) 102 minutes * * * It was an elite school. One of the tri-state area's best. But it had a secret. A secret that was about to come to light. Uncovered by the school's student newspaper, it was the largest public school embezzlement scheme to ever happen. The story unfolds nicely, and gives us a balanced look at the different perspectives. More emphasis on the student paper might have made it a little stronger. Hugh Jackman and Allison Janney are good here, but Ray Romano overplays his part a little.

BAD FRANK (NR) 101 minutes * 1/2 Things were going well for Frank (Kevin Interdonato), but one poor choice puts him right back into a past he thought he left behind. A dangerous and violent past. Not much depth to the characters here, but it's pretty clear that depth wasn't really the point of this story.

BAD GIRL (NR) 86 minutes * * Amy (Sara West) has been in trouble more than once, and her adoptive parents are almost at the end of their rope. Chloe (Samara Weaving) seems like the right kind of girl for Amy to have as a friend. But Chloe is a really bad girl, and Amy is about to learn what that means. A teenage "fatal attraction" story that works well thanks to strong performances from West and Weaving.

BAD GIRLS (R) 93 minutes * * Drew Barrymore, Madeleine Stowe, Mary Stuart Masterson, and Andie McDowell...four prostitutes from the wild west who are on the run after killing a man who was roughing one of the girls up. "Amusing" is probably the operative word here, with a nice poster and an appealing cast that suffer through an old and lifeless story.

BAD GRANDAS (NR) 90 minutes 1/2 He wasn't a nice man, and she didn't want to kill him. Mimi (Florence Henderson) and her friends only keep making things worse with every steop they take. That's mostly how the film goes too. The dialogue is horrible, and while the idea is mildly humorous, it just doesn't make us laugh like it should. Clearly, it was designed to be a comedy, but it keeps venturing into the realm of a more serious mystery, which is just confusing.

BAD GRANDPA (R) 95 minutes * 1/2 Johnny Knoxville pranks more people with his rude, crude, grandpa character and with the assistance of young Jackson Nicoll. If anything, there's a little too much story here and not enough pranks, some of which are hilarious, while others are just disgusting... but that's sort of the point. R for sex and language.

THE BAD GUYS (PG) 91 minutes * * * They are the ultimate collection of bad guys. A snake, a shark (voiced by Craig Robinson), a tarantula (voiced by Awkwafina), and a piranha, led by none other than the Big Bad Wolf (voiced by Sam Rockwell). Their latest job doesn't go quite as expected, but the Big Bad Wolf always has another con in mind. Fast-paced and clever script with some shar animation. Adapted from the books by Aaron Blabey. PG for violence and language.

BAD INFLUENCE (R) 97 minutes * * A bit of a character switch here, with Rob Lowe playing the sinister character. He helps James Spader out of a tough situation and then begins to manipulate every part of his life. The script and direction are too weak to deliver what we need here, though Lowe and Spader both do some nice work. R for sex and violence.

BAD KIDS GO TO HELL (R) 88 minutes 1/2 Or maybe they just end up in movies like this... that would be fitting since the story is about a group of kids at a private academy who are serving detention and end up dying off one by one. And we don't really care. R for violence, language, and sex.

THE BAD LIEUTENANT: PORT OF CALL NEW ORLEANS (R) 112 minutes * * 1/2 Sergeant McDonagh (Nicolas Cage) is already struggling, but an injury leaves him addicted to pain killers and cocaine, and the promotion from being injured in the line of duty, gives him power that he doesn't use well. Cage's performance lacks the subtleties that would add the depth we need to appreciate this study of the decline of his character. The script seems a bit rough around the edges, and might have done better with minor changes from the original (Bad Lieutenant, 1992) rather than this more drastic re-write. R for language, sex, and violence.

BAD LUCKY GOAT (NR) 71 minutes * * 1/2 Corn and Rita have a problem. After they accidentally kill a goat while driving their father's truck, they have to figure out how to get the truck fixed before he finds out. They also have to do something to make up for killing the goat. This would all be difficult enough if they got along with each other. But they don't. Beautiful scenery in this story of siblings working to overcome adversity.

BAD MATCH (NR) 79 minutes * * Harris (Jack Cutmore-Scott) loves to play it fast and loose. Lots of one-night stands. It's all working out just fine, until he meets Riley (Lili Simmons). She does not take kindly to being a one-night stand. Harris is getting more and more frustrated with every comment she makes. Nice twist ending.

BAD MEAT (R) 87 minutes BOMB Two losers come up with a plan to kidnap a congressman to get a ransom. He dies and ends up in a meat-packing plant which ruins their plans. Chevy Chase appears briefly, but it isn't worth the wait... and it's early in the film. R for sex.

BAD MILO! (R) 80 minutes * 1/2 Duncan (Ken Marino) is under a lot of stress. In his particular case, the stress manifests itself as a literal monster that lives in his intestines. Managing his stress is the only way to keep Milo under control. Bizarre metaphor with an unusual mix of comedy, horror, and drama. Sometimes it works, but most of the time, it just doesn't. R for violence, language, and sex.

BAD MOMS (R) 93 minutes * * * Amy (Mila Kunis) has been a fast-track mom for years. She’s almost at the breaking point, and then… Now, she’s thinking that she’s a bad mom, but she’s also finding out that she has quite a bit of company in that category. Kunis is good, but it’s really the supporting roles that make this film fun to watch. Kristen Bell, Christina Applegate, and Kathryn Hahn are all delightful. And be sure to watch for the interviews with the mothers of the cast at the end of the film. R for sex and language.

A BAD MOM'S CHRISTMAS (R) 96 minutes * * It's time for the holidays, and for those unexpected and unwanted visits by our bad motherly trio's mothers. Lots of bizarre behaviors begins as soon as they arrive. The ending is suddenly overly sentimental, which is in direct contrast to how packed the rest of the film is with sex jokes. It's also sets us up for a "bad grandmothers" sequel... which would likely be filled with the same sort of humor. R for sex and language.

BAD MOON (R) 76 minutes BOMB What's that? you've never heard of this film? I'm not surprised! Though it features Mariel Hemingway and Michael Pare, it's a pretty pathetic entry in the werewolf sub-genre. Pare is clawed by a wolf and seeks refuge with his sister, whose dog finds him out. The transformation scene is 68 minutes into the picture. (Yes, eight minutes before it's over!) Really lightweight film adapted from the novel "Thor". R for language, violence, and nudity.

THE BAD MOTHER'S HANDBOOK (2007) (PG-13) 70 minutes * * 1/2 Trying to deal with her mother's increasing dementia and her daughter's budding sexuality is more than enough to deal with. But when Karen (Catherine Tate) tries to get the information she needs for her passport, she learns that she was adopted. Who is she, what does it mean, and what about her own daugher? Motherhood isn't easy, and you're sure to make mistakes. Then again, there's nothing else quite like it. Funny at times, but sensitive as well. The production quality isn't particularly good, but there's an energy and honesty here that many films are missing. PG-13 for sex and language.

BAD NEWS BEARS (2005) (PG-13) 108 minutes * 1/2 Lifeless remake of the 1976 film with a bunch of misfit kids turning into a steller baseball team in spite of an alcoholic coach. More foul language than the earlier film, but what's really missing is Walter Matthau. Billy Bob Thornton even seems to act like making this film was a bad idea. His fans might want to see this, but it won't rank among the better films he's done. PG-13 for language.

THE BAD NUN (NR) 93 minutes BOMB In need of some peace and quiet to pursue her studies, Aesha (Becca Hirani) goes to a bed and breakfast in rural Kent. When a nun shows up at the door, Aesha doesn;t think much about turning her away. But this is no ordinary nun. Aside from a couple of susepenseful moments late in the film, this just tends to wander aimlessly, with nothing as creepy, spooky, or terrifying as the poster suggests.

BAD SAMARITAN (R) 106 minutes * * 1/2 Sean (Robert Sheehan) and his friend have a little scam going. But the most recent house they break into has a surprise. Inside this house, there's a girl chained up and held prisoner. All Sean wants to do is help, but that's not going to be easy. By breaking into this particular house, they have crossed a very violent and determined man. David Tennant plays the part very well. R for violence, language, and nudity.

BAD SANTA (R) 86 minutes * It's definitely a mystery as to why anyone would even associate with this extremely foul-mouthed, rude jerk who takes advantage of everyone around him. Willie (Billy Bob Thornton) and his buddy Marcus (Tony Cox) have a scam that involves stealing from stores on Christmas eve every year. Willie has grown more and more self destructive over the years and it's bound to fall apart soon. Needless to say, this is not a film for everyone, it's not a funny holiday film, and it probably won't be on anyone's favorite list of films. That said, it does have that Coen brothers' humor, though not in as liberal doses as usual. R for language, violence, and sex.

BAD SANTA 2 (R) 88 minutes 1/2 Willie's (Billy Bob Thornton) life is still sliding downhill. Marcus (Tony Cox) wants him to help on another job that he and Sunny (Kathy Bates) have ready to go, but Willie is reluctant to get involved. And Thurman (Brett Kelly) decides to stop by for a holiday visit. Just as rude and vulgar as the first one... maybe a little more... R for sex and language.

BAD TALES (NR) 97 minutes * * 1/2 Everything looks fine on the surface of this small community near Rome. But boiling beneath the surface is the violence of the fathers, the indifference of the mothers, and the tragic struggles of the children. The film's pace and tone convey the story well, but it also feels somewhat disconnected.

BAD TEACHER (R) 85 minutes * Elizabeth (Cameron Diaz) just wanted to get married to a rich guy. The teaching gig was just to kill time. But now that the engagement is off, she's back in class. Not that her teaching "skills" have improved. Sloppy script that doesn't give Diaz any credit as an actress. The story idea is really one for the younger crowd, but with the sex and language thrown in for the R rating, it doesn't work well for either crowd.

BAD THERAPY (NR) 93 minutes * * It's not terrible, but Bob (Rob Corddry) and Susan (Alicia Silverstone) are having some marital difficulties. At the suggestion of a friend, they decide to try marriage therapy. But Judy Small (Michaela Watkins) is not what she appears to be. At turns, both funny and sensitive. The problem is that it's neither quite funny enough or quite sensitive enough.

BAD TIMES AT THE EL ROYALE (R) 136 minutes * * * This is the El Royale. Those who stay in this unique hotel that straddles the state line between California and Nevada all have dark secrets. So does the hotel. For the people who stay there on this particular night, those secrets are going to lead to some pretty nasty consequences. For the people who enjoy their stories a little offbeat and unusual, this is a fun trip. R for violence, language, and nudity.

BAD TURN WORSE (NR) 85 minutes * * Life in this small, cotton-mill town in Texas is leading nowhere for these three teens. But when they steal some money from the wrong person, they find themselves caught in something much bigger and much more dangerous than they expected. The tory keeps hinting that it might get better, but it never does.

BAD WORDS (R) 86 minutes * * Exploiting the details of the rules, Guy (Jason Bateman) has made his way through the regionals to the Golden Quill National Spelling Bee... as an adult. He's trying to make a point, but his intentions aren't clear because he won't tell anyone why he's doing it. Everyone also thinks he's a jerk because he's rude and vulgar. The problem is that we don't like him either, even though we can spot the obvious sentimental ending long before it arrives. R for sex and language.

BADGES OF FURY (NR) 95 minutes * * Somebody is killing people in Hong Kong... and they die with a smie on their face. They all seem to be connected to a young actress. Much of the action is more comic in nature, with the soundtrack highlighting that idea. There are funny moments, but the balance between humor and action is awkward more often than not.

BADLAND (NR) 114 minutes * * * He's a Pinkerton man. Matthias Breecher (Kevin Makely) is also a very skilled gunslinger. His job is to take down several of the worst Confederate was criminals. He's very good at his job. Well-done western with very strong characters. The "chapter" divisions in the film are a little rough, but othewise, this works well.

BADLAND DOVES (NR) 83 minutes * 1/2 Cora (Michelle Nuquay) has had enough. She soon finds other women like Victoria (Sandy Penny) who are also ready to take out their anger and frustration on the men who have caused it. They are after one man in particular, but other men who get in the way are as good as dead. A weak script and mediocre shootout scenes don't help.

BAG IT (NR) 75 minutes * * * If you thought you knew about plastic recycling, you just might be surprised. Very informative documentary on the subject that also offers a number of very practical solutions on how we can use less plastic and why that would be a great idea.

THE BAG MAN (R) 103 minutes * * ½ Jack (John Cusack) is hired to do a job. That job is to retrieve a bag and deliver it to Dragna (Robert DeNiro)… without looking in it. Cusack does a nice job, creating a character we care about, despite the fact that he does some despicable things. The story loses steam near the end as it feels a need to answer all of the questions that have been raised by the plot turns. It would have been more interesting to leave some of those unanswered. R for violence, sex, and language.

BAG OF BONES (NR) 159 minutes * * * When Mike's (Pierce Brosnan) wife dies in a tragic accident, he decides to go to their lake house. He finds that he can still communicate with Jo (Annabeth Gish), but she's not the only one there. Now he has to uncover a secret and set things right or he too might succomb to the madness that has affected so many in the community. Good acting and great atmosphere, though it does run a bit long. Adapted from the novel by Stephen King.

A BAG OF MARBLES (NR) 108 minutes * * * The world has changed. Maurice (Batyste Fleurial) and Joseph (Dorian Le Clech) are making their way out of Nazi-occupied France. It's a very difficult journey, but they are very resourceful boys. Fine performances by both boys.

BAGGAGE CLAIM (PG-13) 94 minutes * * 1/2 Montana (Paula Patton) thinks she may have finally found the right guy. But just when she thinks he might pop the question... can she ever find true love? Sweet story with a charming, if slightly frenetic performance by Patton. PG-13 for sex and language.

BAGHEAD (R) 78 minutes BOMB Four friends go to a cabin out in the woods to talk about making a movie. They decide that a movie about a killer who wears a bag over his head would be a great idea... until one really shows up! Tedious and boring, with little talent evident behind or in front of the camera. R for language and sex.

BAIT (R) 114 minutes * * Misplaced humor sets this police thriller off on the wrong note. Jamie Foxx actually does a nice job as the unwitting bait set to trap a thief. This would've worked better as a straight thriller. The other big mistake here is that the villain gives us an overly obvious impersonation of John Malkovich. David Morse and David Paymer seem a bit frustrated that they ended up in a project that needed better direction and a bit of script work. Filmed in Toronto and New York City. R for language and violence.

BAIT (2012) (R) 87 minutes 1/2 Yet another cheap shark movie. This time, people are trapped in a grocery store after a tidal wave, with a shark swimming up and down the aisles. Really? Aside from some mildly interesting soundtrack material, this is pretty dull. R for violence and language.

THE BAKER'S SON (NR) 86 minutes * * Falling on hard times, the town of Windward was just able to bring a ballet company in for some rehearsals. It's a small influx of business, but one of the dancers (Maude Green) draws the attention of Matt (Brant Daugherty). His best friend Annie (Eloise Mumford) just might be harboring some attraction to him as well.

THE BALLAD OF BUSTER SCRUGGS (R) 129 minutes * * * 1/2 From the wonderfully twisted minds of Joel and Ethan Coen come six stories of the Wild West. As with any anthology film, there is the inevitable tendency to decide which segment is best, which is unfortunate. Of course you'll have your favorite, but what is wonderful about all sex of the stories here is that they each invite us deeply into the narrative very quickly. They are all fun stories, and the casts of each are very impressive. In the end, we find ourselves ready and willing for more stories, as these are told so well. R for violence.

THE BALLAD OF JACK & ROSE (R) 108 minutes * * 1/2 Jack (Daniel Day-Lewis) and Rose Camilla Belle) have been living a somewhat idyllic life as father and daughter on an island off the east coast. Society is beginning to creep in on them though. Housing developments are springing up down the road and as Jack's health begins to fail, he invites someone else to live with them. It's too much for their fragile world to take, and things must change. It's difficult to see the struggle that Jack is having with his relationship with a daughter who is growing up too fast because we barely feel like he's been that connected with her. His interests seem to lie more with maintaining a secluded lifestyle than with loving his daughter, which makes a substantial part of the story rather hard to sympathize with. The performances are solid, but the story itself has severe flaws. R for language and sex.

THE BALLAD OF LEFTY BROWN (R) 105 minutes * * 1/2 When Lefty's (Bill Pullman) friend is killed, he sets out to avenge his murder and bring the killers to justice. But in a strange twist, Lefty soon finds himself accused of his friend's murder. Now, he has to prove his innocence and bring the real killer to justice. Not bad, but a little lackluster. R for violence and language.

BALLERINA (NR) 76 minutes * * 1/2 Documentary look at five ballerinas from the Mariinsky Theatre. Includes interviews and behind the scenes footage of rehearsals as well as excerpts from a number of ballet performances. The focus here is the history and heritage of Russian ballet, which it does nicely, while looking toward the future.

BALLET 422 (PG) 70 minutes * 1/2 The creation and performance of the New York City Ballet's 422nd original ballet production. It's a little difficult to believe, at least with the background that we're given, that Justin Beck would be given this rather prestigious position this early in his career. He is not a featured performer, and we don't learn about any other choreography he has had major success with. It's also very easy for those who know dance and theatrical performance to spot numerous mistakes that someone with more experience would be less likely to make. The major disappointment is that we get to see relatively little of the final performance, which actually does look very good. PG for language.

BALLET SHOES (PG) 84 minutes * * The story of three orphan girls and their struggles to achieve their dreams of being an actress, an aviator, and a ballerina. Sentimental story that may not really appeal that much to the younger age group it seems to be targeted for. Adapted from Noel Streatfeild's novel, and featuring Emma Watson, this is a bit dry for the younger crowd. PG for language.

BALLISTIC: ECKS VS. SEVER (R) 85 minutes * Antonio Banderas and Lucy Liu star in this splashy, action/thriller that somehow also manages to be dry and dull. There is definitely some great stuntwork here, but the virtually non-existent story and uneven direction leave us with little in-between the stunts. Liu and Banderas do their best, but the end result is less than satisfactory. R for violence.

BALLPLAYER PELOTERO (NR) 75 minutes * * 1/2 Twenty percent of professional baseball players in the major and minor leagues come from the Dominican Republic. This is the story of two particular players as they work toward achieving their goal of becoming professional ballplayers. Interesting look at a side of baseball that is less familiar to most of us.

BALLS OF FURY (PG-13) 83 minutes BOMB He used to be a ping pong prodigy, now he's an over-weight, out-of-practice loser. That's why the FBI wants to recruit him to get to bad guy Feng (Chris Walken). Walken fans may want to see this, but unless you really enjoy bad, low-budget comedy, it's not worth the time. PG-13 for language.

BALLS OUT: GARY THE TENNIS COACH (R) 88 minutes 1/2 No, this isn't a serious movie about tennis. Gary (Seann William Scott) used to be a great tennis player. Now he's the janitor at the high school. But when the school's tennis coach dies unexpectedly, Gary answers the call to heko the team... in his own, rather unique, way. Nothing much to redeem this, but then again, Scoot isn't known for particularly high quality films... R for language and nudity.

BALTIMORE BOYS (NR) 76 minutes * * * Who you are always contains a piece of where you are from. This is the story of four boys who were part of the Dunbar High School basketball team. It's the story of the violence and poverty from which they come, the heights to which they rose, and how their past was always present.

BALTIMORE RISING (NR) 90 minutes * * * The death of Freddie Gray while in police custody served as a catalyst for protests and riots. The city of Baltimore was ready to erupt already, and in the wake of Freddie's death, did just that. The film follows the protests and the work done to make substantial changes in the way policing is done in Baltimore.

BALTO (G) 72 minutes * * 1/2 Based on the true story of a sled dog who brings much-needed medicine to children during a severe winter storm. This is a bit intense at times, for the younger ones, and starts off a little slowly too. But the characters stick with you, the music draws you in, and it ends well. It probably won't be the kids' favorite, but it's better than most of the stuff on TV.

BALTO III: WINGS OF CHANGE (G) 75 minutes * * Times are changing, and the mail that is typically delivered by sled dog teams may be changing over to delivery by air. A race is planned between the plane and the sled dogs to see who is faster. Balto and his son will lead the team, but winning the race isn't the only task that lies ahead of them.

LA BAMBA (PG-13) 104 minutes * * * Bio-pic about singer Ritchie Valens (Lou Diamond Phillips) and his rapid rise to fame. The film devotes a good deal of time to Ritchie's family relationships. Music was the creative outlet that helped him keep his dream alive. Excellent performance by Phillips.

BANANAS (NR) 86 minutes * * 1/2 Documentary that examines the countroom drama surrounding Nicaraguan banana plantation workers taking on the Dole Food Company. The pesticides that were being used have caused generations of workers to become sterile. But can they win a case where the odds are stacked so highly against them? Interesting, to be sure, but not as informative as it could be.

BAND AID (R) 89 minutes * * 1/2 Ban (Adam Pally) and Anna (Zoe Lister-Jones) have been married for awhile. They've reached a point where they argue all the time. Maybe they can turn their fighting into music. Perhaps that creative energy would be able to help their marriage. Or not. Nice script from writre/director/actor Lister-Jones. R for language and sex.

BAND OF ROBBERS (NR) 92 minutes * * * Fun adaptation and modernization of the Tom Sawyer and Huck Finn stories. It works well, though it does get a little silly in a couple of spots where the original material struggles to pull free of its time period. In general, the humor here has a very casual tone, which is a good fit.

BAND OF THE HAND (R) 109 minutes * * 1/2 Five juvenile delinquents are sent to the Florida Everglades to hopefully be reformed by a wilderness survival sort of experience with the help of a war veteran. A conflict with a drug lord from nearby Miami will put their learning to the test. The story works better than expected, thanks in no small part to Paul Michael Glaser's direction.

BANDIDAS (PG-13) 87 minutes * * Two very different women find themselves fighting the same bad guy as they try to avenge the deaths of their fathers. Salma Hayek and Penelope Cruz star in this lightweight western/action/comedy. Hayek and Cruz are fine, as are supporting performances from Steve Zahn and Dwight Yoakam, it's just that there really isn't much here. It's paced quickly and delivers a few laughs, some action, and a couple of beautiful women. Nothing too complicated, or all that memorable. PG-13 for sex and violence.

BANDIT (R) 118 minutes * * * Do what you do well. That was the way that Robert (Josh Duhamel) lived. What he did well was rob banks. A lot of them. Breaking the law would eventually catch up to him, but until then, he enjoyed doing what he did so well. Fairly standard heist film, a little on the lightly humorous side in the way the story is presented. R for language and sex.

BANDITS (PG-13) 117 minutes * * 1/2 Joe (Bruce Willis) and Terry (Billy Bob Thornton) break out of prison with no particular plan in mind. Still, it doesn't take them long to decide what their future will entail. Despite the solid performances from Willis, Thornton, and Cate Blanchett, the film lacks strength. Director Barry Levinson lets the story move around far too much, straying at one point to become more of Blanchett's story than it really should. The pacing is uneven and it becomes tiresome as the film continues to drag on until we reach the amusing ending that manages to put things back on track... a little too late. PG-13 for language and violence.

THE BAND'S VISIT (PG-13) 78 minutes * * * The Alexandria Police Ceremonial Orchestra is a small orchestra of police officers from Egypt who are going to visit Israel to play a concert. A language error puts them in the wrong place, a small city with nowhere for them to play, but plenty of room to share a few moments of life with some of the people who are there. A gentle and lightly humorous look at the way life sometimes unfolds as we move along. PG-13 for language.

THE BANGER SISTERS (R) 89 minutes * * * Goldie Hawn is priceless as usual in this delightful comedy about two old friends who haven't seen each other in awhile, and how some things have changed, while others haven't. Hawn's style is naturally infectious, but Sarandon seems to have trouble playing the serious counterpart at times, and the film does begin to lose strength about halfway through. Still, the message is strong and clear... accepting yourself and what made you who you are is the first step on the road to inner peace. R for language and sex.

BANGKOK DANGEROUS (R) 94 minutes * * 1/2 Director Oxide Pang Chun remakes his 1999 film with Nicolas Cage as a hitman who is ready to leave his job. Cage seems to be going through the motions more than anything else. Shahkrit Yamnarm does a very nice job as Kong, the small-time thief who ends up helping Joe (Cage) and becoming his student. The story is uneven, especially in regard to Joe's character. Instead of watching a slow progression, he seems to go back and forth between different emotions, when we see them at all. R for violence, language, and sex.

THE BANISHED (NR) 87 minutes 1/2 Christopher (Tigre Haller) leads a life haunted by the tortures her suffered as a child. The family he still has left is less than helpful, and his isolation from people is growing. It appears ot change when his half-sister arrives, but instead, it only makes matters worse. The film has lots of creepy and sinister atmosphere, but little else. The story and the characters often seem disconnected and confused. Perhaps the director was as well.

THE BANISHING (NR) 92 minutes * 1/2 It's the most haunted house in England. But no one told the new vicar (John Heffernan) about the history of the house. And his wife (Jessica Brown Findlay) and daughter (Anya McKenna-Bruce) are seeing and hearing some very strange things. Despite some nice camera effects and plenty of creepy moments, the story and characters struggle to draw us in.

THE BANK JOB (R) 102 minutes * * * It's just a bank job, and Terry (Jason Statham) finds it hard to believe that luck has dropped the opportunity into his lap without any strings. It just so happens that there are some very incriminating photographs in one of the safety deposit boxes at this bank. And quite a few people are willing to do just about anything to get their hands on them. Solid action film with plenty of energy and emotion. Based on the 1971 Baker Street bank robbery. R for violence and language.

  A BANQUET (NR) 94 minutes * * Betsey (Jessica Alexander) has had a profound religious experience. It has changed her faith and her actions, as she feels called to a higher purpose. Her mother (Sienna Guillory) doesn't understand, and is struggling as a single mother to raise both of her daughters. Good acting, but the story is repetitive and stagnant.

THE BANSHEES OF INISHERIN (R) 108 minutes * * * 1/2 With no warning, Colm (Brendan Gleeson) decides one day to no longer be friends with Padraic (Colin Farrell). It's a small community and this change will affect everyone. Some are bothered by the sudden change and sympathize with Padraic, who struggles to understand why. Others feel that it's Colm's right to choose to end a relationship without needing to state the reason. The stakes continue to increase as Padraic pushes for a reason and Colm pushes back that he needn't give one. A fascinating character study that is both tragic and haunting. R for language, violence, and nudity.

BAPS (PG-13) 84 minutes * 1/2 Hired to pretend she's a dying man's granddaughter, Denise (Halle Berry) finds herself really caring about old Mr. Blakemore (Martin Landau). Berry looks good, as usual, but there is little substance to this film. The last 15 minutes are touching, if rather predictable. PG-13 for language.

BARB AND STAR GO TO VISTA DEL MAR (PG-13) 101 minutes * * * Having never really been anywhere outside their small hometown, Barb (Annie Mumolo) and Star (Kristen Wiig) decide to take a vacation. They're both pretty clueless about what to expect, but they're determined to have a memorable experience. And it will be. Hilarious script from Wiig and Mumolo that does have a couple of misfires, but lots of wonderfully funny moments, including a few fun cameos. PG-13 for sex and language.

BARB WIRE (R) 92 minutes * Pamela Anderson Lee stars in this story of the comic book heroine Barb Wire. Lee's sultry voice and ability to pose for the camera come across well on the big screen. At least as far as looking sexy that is... the problem is that she can't act! Lots of glitz to this film, but the story is a no brainer... Special note: watch as the length of Lee's fingernails changes from scene to scene.

BARBARA (PG-13) 103 minutes * * 1/2 After applying for an exit visa to leave East Germany, Barbara (Nina Hoss) finds herself no longer working in the hospital, but in a remote country village. The story develops somewhat awkwardly, with subplots that often serve little or no purpose, though some are very important to the story and could use more screen time. The acting is strong, but the uneven story and pacing undermine the effect. PG-13 for sex.

THE BARBARIANS (R) 85 minutes * When the travelling group of entertainers who has adopted them is attacked, two young brothers grow up determined to make things right for those who have cared for them. Interesting that even though the brother age, no one else seems to. The only part that makes this entertaining at all is that the Barbarian Brothers (Peter and David Paul) joke around and have some fun with their roles.

BARBARIANS (2021) 86 minutes * 1/2 A birthday party goes sour as secrets begin to surface, and then a home invasion makes it even worse. We struggle to care as so many things just don't work here. The cast is fine, but the script is uneven and disconnected, leaving us with far too much to wonder about. The characters are, for the most part, difficult to like, with the exception of Eva (Catelina Sandino Moreno).

THE BARBER (R) 86 minutes * * 1/2 Arrested on suspicion for numerous murders, Visser (Scott Glenn) was released for lack of evidence. The cop who tried to catch him couldn't let it go. Now his son has the same obsession, and tracks Visser down, determined to prove what his father couldn't. Well-acted, but the story just keeps hitting the same note until you know the twist is coming. R for violence, language, and sex.

BARBERSHOP (PG-13) 98 minutes * * * Calvin (Ice Cube) inherited his father's barbershop but has never quite been able to make it financially viable. His dreams lie elsewhere, and after a couple of years, he's ready to sell it and move on. He has a lot yet to learn about the importance of the barbershop, not just to the little neighborhood in which it stands, but to himself as well. Great characters and a solid story that is a pleasure to watch. Nice music from Terence Blanchard too. PG-13 for language.

BARBERSHOP: THE NEXT CUT (PG-13) 107 minutes * * * Life has been getting more violent and dangerous in the neighborhood. That means it's time for Calvin (Ice Cube) and his friends to step up their game. This works well as a commentary on the violence in Chicago and a love letter to the city, hoping and trusting that it will soon take a turn for the better. PG-13 for sex and language.

BARBERSHOP 2: BACK IN BUSINESS (PG-13) 101 minutes * * Calvin (Ice Cube) and his buddies are back, this time with their business about to be challenged by a new place across the street. More predictable than the first and not as strong on character development though the cast seems more relaxed in their roles. PG-13 for language.

BARBIE (PG-13) 107 minutes * * * 1/2 Suddenly, Barbie (Margot Robbie) wonders about some things she's never wondered about before. Questioning everything is exhausting, but it's the only way to find the answers she needs. Ken (Ryan Gosling) will have some issues he will need to think through as well. The script is a delight! Director Greta Gerwig co-wrote the script with Noah Baumback with dialogue that is light and funny, but also very thought-provoking and challenging. It's a film to watch more than once, as it provides social commentary on much more than you might expect. Filled with extra bits of humor and a wonderful soundtrack. Definitely not to be missed. PG-13 for language.

BARBIE: A FAIRY SECRET (NR) 69 minutes * * 1/2 When Ken is kidnapped by fairies, Barbie and Raquelle set off to save him. Barbie didn't even know fairies were real, and it turns out that her two fashion stylists are fairies too! Fun story and nice to see Ken get a larger part in a story.

BARBIE: A FASHION FAIRYTALE (NR) 78 minutes * * After getting fired from a movie set, Barbie decides to take a vacation in Paris. It's going to be a new adventure that will be full of magic and fashion. The story here is not one of the more exciting ones of the series, and there's quite a bit of repititiion from one scene to another.

BARBIE & HER SISTERS IN A PONY TALE (NR) 68 minutes * * ½ Barbie & her sisters go to Switzerland to try and find her the perfect horse for a riding competition. Stacy and Chelsea are happy and having fun, but Skipper would rather be at home. It is interesting to see the sisters together, but the story is… less than fascinating.

BARBIE & HER SISTERS IN A PUPPY CHASE (NR) 72 minutes * * Barbie and her sisters are off to an island for Chelsea's dance competition. Of course, bringing the puppies along means that while the girls are having fun, the puppies are off on an adventure of their own. After a few close calls, it all works out.

BARBIE & HER SISTERS IN THE GREAT PUPPY ADVENTURE (NR) 72 minutes * * The girls are back in their old hometown and on the hunt for the town's secret treasure. The treasure hunt is the focus of the story, and the puppies don't really add anything to the story aside from their appeal as puppies.

BARBIE AND THE DIAMOND CASTLE (NR) 74 minutes * * 1/2 The diamond castle is the birthplace of music in this story full of magic, muses, and... music! Nice, upbeat soundtrack, filled with catchy tunes and with Melissa Lyons as the singing voice of Barbie. One of the better films in the series.

BARBIE AND THE SECRET DOOR (NR) 77 minutes * 1/2 Barbie stars as Alexa, a princess who discovers the door to a magical place where she learns about the magic she's cabable of. Aside from a couple of good songs (not great), the story is rather bland, making this a less-than-exciting entry in the series.

BARBIE AND THE THREE MUSKETEERS (NR) 78 minutes * * 1/2 Corinne and her friends are in training to be musketeers. Even though it isn't something that girls are supposed to do, "sometimes you must pursue your dreams, even when everyone else says its impossible". Upbeat pop/rock soundtrack and a fun story.

BARBIE AS THE ISLAND PRINCESS (NR) 81 minutes * * 1/2 Shipwrecked as a child, Rosella (Barbie) befriends the island's animals and eventually discovers her true identity as a princess and finds true love. The story isn't much to speak of, but with more songs by Megan Cavallari and Melissa Lyons again providing the singing voice of Barbie, the soundtrack is quite good. Not rated, but suitable for families.

BARBIE AS THE PRINCESS AND THE PAUPER (NR) 79 minutes * * * Most of the films in this animated series are little more than fair, but this one stands out as superior to the rest because of the music. Songs written by Megan Cavallari turn the classic story into a cute and fun musical. With Julie Stevens and Melissa Lyons singing the leads, it's sure to have parents humming or singing along as well. Not rated, but suitable for families.

BARBIE: BIG CITY BIG DREAMS (NR) 59 minutes * * Barbie is in the Big Apple, New York City, for a summer performing arts program. While there, she meets a new friend, Barbie Roberts. Their friendship is off to a great start... until they find themselves competing for a special solo spot in Times Square. The music is good, but the song lyrics aren;t all that strong or memorable.

THE BARBIE DIARIES (NR) 68 minutes * 1/2 Summer is over and sophomore year at high school is about to begin for Barbie and her friends. The story is a fairly simply look at popularity, and the animation is choppy and looks more like a video game from the 1990s.

BARBIE: DOLPHIN MAGIC (NR) 60 minutes * * When a gemstone dolphin is captured at the research center where Ken works, he thinks it just needs the help that his boss is so generaously offering. Barbie and her new mermaid friend Isla know that's not what Ken's boss really has in mind. Now, if they can just figure out how to set the gemstone dolphin free. Overly simple story, and missing a good soundtrack, though it is nice to see Skipper, Stacie and Chelsea all in this together.

BARBIE IN A CHRISTMAS CAROL (NR) 72 minutes * * 1/2 Barbie narrates another story, this time a modernization of the classic "A Christmas Carol". This time, the spirits of Christmas past, present, and future visit a spoiled young girl who learns a very important lessons. Pretty much what you'd expect.

BARBIE IN A MERMAID TALE (NR) 70 minutes * * 1/2 Raised as a human, Merliah (Barbie) is competing in a surfing contest when her hair begins to change color. It's the first sign that she's coming of age. She didn't know she was half-mermaid/half-human, but now she's needed to help save the undersea kingdom that her evil aunt Eris is ruling. Fairly standard entry in the series, but the surfing part of the story is a nice touch.

BARBIE IN A MERMAID TALE 2 (NR) 69 minutes * * 1/2 It's the one year anniversary of Merliah's return to her ocean kingdom. Her aunt is causing trouble again, and it's up to Merliah to save the day (and the ocean). The message is a little heavier here than in part one, with a story about competition, friendship, and responsibility.

BARBIE IN PRINCESS POWER (NR) 70 minutes * * The kiss of a magical butterfly gives Kara super powers. Now, she just has to figure out how to use them. A few cute moments, but less entertaining than most entries in the series.

BARBIE IN ROCK 'N ROYALS (NR) 80 minutes * * * Another stand-out entry in the series, with very nice musical numbers and fun characters, thought the story is less than original. Due to a registration mix-up, Courtney (Kelly Sheridan) and Erika (Chiara Zanni) end up at the wrong camps. Courtney ends up at Camp Pop, and Erika finds herself at Camp Royalty. As well as the quality soundtrack, the animation of the dance moves in particular is very well done.

BARBIE IN THE PINK SHOES (NR) 67 minutes * * 1/2 Kristen (Barbie) puts on a pair of magic pink shoes and finds herself in the story of Giselle. The bulk of the film is the story of Giselle as told through the ballet. Very nicely choreographed and animated and the song, “Keep on Dancing" fits nicely.

BARBIE MARIPOSA (NR) 71 minutes * * Barbie tells Bibble a story about Mariposa, a butterfly fairy, and the time she saved the rest of the butterfly fairies by being very brave, but more importantly by being herself. Non-musical entry in the series with good animation, but a mediocre story. Not rated, but suitable for families.

BARBIE MARIPOSA & THE FAIRY PRINCESS (NR) 76 minutes * * 1/2 Barbie stars as Mariposa as she and her friend Princess Catania work together to save Shimmervale. The animation uses a much more rich and varied color scheme than we see in most of the Barbie series, making it very visually appealing to watch.

BARBIE PRINCESS CHARM SCHOOL (NR) 77 minutes * * Blair (voiced by Diana Kaarina) is a waitress, working hard to help her mom and sister. When she wins a year at Princess Charm School, she doesn't really think its for her. Neither does Dame Devin (voiced by Nicole Oliver), but of course there's more to the story. Mediocre animation, but the story works reasonably well.

BARBIE SPY SQUAD (NR) 72 minutes * * Barbie and her gymnast friends Renee and Teresa become secret agents to try and recover some gems that are part of a mega-weapon. It's not a bad idea, but the story is very thin. Strange, since the way this ends is clearly a setup for at least one more entry in a sub-series.

BARBIE: STAR LIGHT ADVENTURE (NR) 76 minutes * * The stars are fading, and Barbie has been chosen as part of a team to solve the problem. This is more of an adventure than most of the Barbie films, which has some appeal, but the story isn't all that strong.

BARBIE: THE PEARL PRINCESS (NR) 70 minutes * * Barbie stars as a mermaid princess who doesn't know that she's a princess. Living her life in seclusion, Lumina dreams of a chance to go to the castle and what the life of a princess must be like. But her evil uncle hos plans of his own to rule the kingdom. Some nice music, but nothing very memorable about the story.

BARBIE: THE PRINCESS & THE POPSTAR (NR) 71 minutes * * 1/2 Princess Tory and Keira want to change places, which will of course give them the opportunity to learn just how good things were for them before. This Barbie/musical version of the classic "Prince and the Pauper" works well, in part to some very nice music, and the vocal talents of Jennifer Waris and Tiffany Giardina as the singing voices of Tory and Keira.

BARBIE VIDEO GAME HERO (NR) 69 minutes * * Working on designing a new videogame, Barbie finds herself transported into the game and needing to fight a virus that is threatening to destroy the game. The values of teamwork and not giving up when faced with possible failure are the focus here. The soundtrack is rather unimpressive, which is a disappointment.

BARCELONA (PG-13) 99 minutes * * * Young naval officer Fred Boynton (Chris Eigeman) goes to Barcelona to stay with his cousin Ted (Taylor Nichols). Ted has always had trouble getting relationships with women to last, so Fred tries to help. Filled with the subtle humor of Ted's daily life, the film also gives us a European background that doesn't always shed a favorable light on Americans. A charming film, though it is a bit disjointed in spots.

BAREFOOT IN THE PARK (NR) 105 minutes * * * 1/2 How can you possibly go wrong with Robert Redford and Jane Fonda? Charming and entertaining adaptation of the Neil Simon play about newlyweds in a five-story walk-up apartment. This is a fun romantic comedy that eventually spun off a short-lived TV series. Sit back, relax, and enjoy a look at newlywed life through the delightful eyes of Neil Simon.

BARELY LETHAL (PG-13) 93 minutes * * 1/2 Megan (Hailee Steinfeld) just wants a normal life. So she checks out of the spy program and enrolls in high school... which is much more difficult than she imagined. Cute, but predicatable, and the script focuses on Megan, which is not a surprise, but it doesn't leave much room for Samuel L. Jackson or Jessica Alba's characters, which could have helped the story. It's light and fun, but could have been better with stronger supporting roles. PG-13 for sex, language, and violence.

BARK RANGER (PG) 80 minutes * * Life on the park grounds is going to be exciting this summer. Gold treasure, bad guys, talking dogs... Lots of fun for the under 10 crowd. Others are not likely to be all that amused. PG for language.

THE BARN (NR) 81 minutes * 1/2 Sam (Mitchell Musolino) and Josh (Will Stout) make the mistake of entering an abandoned barn and waking up The Boogeyman, Hallowed Jack, and The Candycorn Scarecrow. This is going to be a terrifying Halloween. Set in 1989, it does a good job of recreating the atmosphere of horror films of that time. Though if you're not a horror nostalgia buff, you probably won't notice... or care.

BARNEY THOMPSON (NR) 89 minutes * * Barney (Robert Carlyle) is a bachelor in Glasgow. Nothing unusual there. But then one murder begins to lead to another, and before he knows it, Barney is at the center of a murderous mess. Nice work by Emma Thompson, but the script lacks the sharp edge it needs, though there are some fun sons included that fit very well.

BARNEY'S VERSION (R) 120 minutes * * * Barney (Paul Giamatti) says what he thinks, even when he probably shouldn't. He has loved, lost, and loved again. Life has been good... at least, according to Barney's version of the story. A touching story of an imperfect man that is alternately funny and frustrating. Adapted from Mordecia Richler's novel. R for language and sex.

BARNYARD (PG) 83 minutes * * While the farmer's away... featuring the voice talents of Kevin James, Courteney Cox, Sam Elliott, Danny Glover and a few others. The moral of the story is learning to grow up and take responsibility, not something with great appeal to kids in particular, especially since Otis apparently has to stop having fun to become responsible. Writer/director Steve Oedekerk thought it would be funny for the male cows to have udders (in case you were wondering). It's more... disturbing than it is funny. Unevenly paced in general and dragging miserably in several spots, this just isn't a something that most people (whatever age) are going to find very interesting or fun. PG for language and violence.

THE BARRENS (R) 91 minutes * 1/2 Richard (Stephen Moyer) takes his family camping, with part of the agenda being the scattering of his father's ashes at their old fishing site. But this particular area is also supposed to be home to the Jersey Devil. Richard is seeing it again, as he did years before. But is he hallucinating or is it real? The acting here isn't all that great, but they don't have much of a script to work with either. R for violence and language.

BARRICADE (PG-13) 76 minutes 1/2 It was supposed to be a fun winter trip to a remote cabin in the woods. A great place to build snowmen, go sledding and skiing, and have a great time. But something else is in these woods, and perhaps it's already in the house. Nice setup, but this never really follows through. As explanations are given, they start contradicting, and we lose interest very quickly. PG-13 for violence.

BARRYMORE (NR) 80 minutes * * * 1/2 Bravura performance by Christopher Plummer as the charismatic legend of stage and screen, John Barrymore. Plummer won a Tony for this performance on Broadway, and it has only subtly been altered to make the transition to film. A bold and unforgiving, yet sensitive performance.

BART GOT A ROOM (PG-13) 73 minutes * 1/2 He doesn't want to go with his longtime friend, but other possibilities don't seem to be working out. He's in a panic now, because even Bart got a date... and a room. The characters here don't really have much appeal. William H. Macy adds a little spark, but the lack of energy and excitement in the story puts a damper on that as well. PG-13 for sex and language.

BARTON FINK (R) 111 minutes * * * Fink (John Turturro) is a playwright who makes the big time, but still has trouble convincing certain people that his ideas have merit. This is from the very unique and sometimes bizarre writing/directing team of Joel and Ethan Coen, whose fans will love this. It took best film, actor, and director awards at the Cannes Film Festival, and Carter Burwell's score is also worth mentioning. Not for everyone, but if you like your films a little on the strange side, you'll really enjoy this.

BASEKETBALL (R) 103 minutes * 1/2 Surprisingly enough the actual idea of combining basketball and baseball as presented, sounds like an interesting concept. Aside from that, this is mostly what you'd expect from a low budget comedy starring the creators of the "South Park" cartoon. Rude bathroom humor abounds, along with lots of cheerleaders in lingerie and other unusual clothing. Lots of cameos from sports stars, but not much else to keep your interest for long. R for language.

THE BASEMENT (NR) 80 minutes * A dramatic beginning from writer/director Martin-Andre Young, with five teens running into a basement to avoid someone or something that is after them. It soon becomes evident that it's some "one", and then starts making less sense as it goes along. The "surprise" ending takes too long to arrive, and we don't see enough character development despite the amount of time with these characters trying to figure out how to avoid what seems to be inevitable.

BASHMENT (NR) 105 minutes * 1/2 Was the gay bashing provoked by the victim, or did the song lyrics inspire and inform the actions of the perpetrators? Dialogue heavy, some of which is good, some of which is self-indulgent. The message is good, but the delivery is very heavy-handed, which will make it hard for some to hear. Based on the play.

BASIC (R) 93 minutes * * 1/2 A ranger basic training exercise has gone bad and Colonel Styles (Tim Daly) decides to call on his old friend Tom Hardy (John Travolta) to help sort things out. His techniques may be a bit unorthodox, but so is what happened that night in the jungle. There is a twist, but the surprise is diluted by the fact taht we're given so many scenarios as possibilities, we just sit back and wait to hear what the truth is. The acting is good, but nothing outstanding as should be expected from Travolta as well as Samuel L. Jackson, Taye Diggs, and Giovanni Ribisi. R for violence and language.

BASIC INSTINCT (R) 121 minutes * * 1/2 Another in the collection of cops attracted to killers genre as Michael Douglas finds himself drawn to Sharon Stone, who is suspected of committing some ice pick murders. The story sets things up very well, but the climax is rather disappointing. The film also tends to rely on sex as a tool to distract us as well as Douglas from the clues at hand. Not bad for the genre, but mostly thanks to the skills of Stone and director Paul Verhoeven, who knows how to set up a scene and manipulate the audience. R for sex and violence.

BASIC INSTINCT 2 (R) 110 minutes * 1/2 Fourteen years after the first film was made, someone decided to do a sequel to a mediocre thriller. Unfortunately, they forgot to hire a good director, writer, or much of a cast. Sharon Stone is back, and looking good, but definitely a bit more... mature. David Thewlis is the only member of the cast that deserves a positive mention. David Morrissey's portrayal of Dr. Glass, a criminal psychologist, and the latest victim of Catherine Tramell's (Stone) twisted mind, is nothing less than completely void of emotion. There are some twists to the story, but since this is a sequel to a film with lots of twists, you sort of expect it. Unless you're a die-hard Stone or Thewlis fan, this probably isn't worth your time. R for sex, language, and violence.

BASKET CASE 2 (R) 85 minutes BOMB Cheap special effects, horrible acting, and lousy direction all manage to ruin what might have been an interesting sequel about a guy who tries to hide out with his deformed brother in a carnival sideshow.

THE BASKETBALL DIARIES (R) 98 minutes * * * Jim Carroll's recollections of the 1960's come to life through Leonardo DiCaprio's performance, following him through his time as a high school basketball star and on to being a street junkie. DiCaprio's fine performance is well-supported by Bruno Kirby, Lorraine Bracco, and Juliette Lewis. Depressing, and a little preachy at times, but quite good.

LOS BASTARDOS (NR) 82 minutes * * 1/2 Sometimes life pushes you hard. These two young immigrants to the U.S. feel that they have no choice but to push back, but it leads to tragic consequences. It's a simple but powerful film, though some of the longer scenes with little or no dialogue are a bit awkward.

BASTARDS (NR) 95 minutes * * When his sister's husband commits suicide, Marco (Vincent Lindon) goes to Paris to set things straight. But the more he uncovers, the more complicated the story becomes. The story tends to keep us at a distance, not letting us care very deeply about any of the characters.

BATMAN (PG-13) 121 minutes * * * Dark, and thoroughly satisfying film that gives this comic book legend the big screen treatment he always deserved. The special effects are a bit weak early on, but the film is very well acted, with not only Michael Keaton and Jack Nicholson turning is solid performances, but Kim Basinger, Pat Hingle, Billy DeWilliams, and Jack Palance all do good work as well. The story is presented well, so that even those few people who might not be aware of who Batman is, will understand the caped crusader's motives and methods. Tim Burton's direction gives this the dark edges that were present when the comic first appeared, making it perhaps a little less pop entertainment, but much more effective. PG-13 for violence.

THE BATMAN (2022) (PG-13) 167 minutes * * * * Far and away the darkest presentation of the Batman character yet, there is no doubt to that within the first few minutes of the film. There is also a consistency to that darkness throughout the film. In particular, gone are the cartoonish villains, replaced by characters who are truly threatening and realistic. Gritty and brooding, this new series (for we can assume it will be at least a three film series) also starts off with both the Riddler (Paul Dano) and the Penguin (Colin Farrell), though he is referred to here by his real name, Oz. We also have Selena Kyle (Zoe Kravitz), with all of the complexity she brings as both a hero and a villain. This also works well for those who have never seen any of the other films or read any of the comics. Though it doesn’t recount everything, glimpses of Batman’s (Robert Pattinson) past are here, and we begin to see the bigger picture. Pacing is quite good, and despite the length of the film, the time passes quickly. While there are clearly moments that stretch believability, there are fewer of them than you might expect, which works to strengthen the story. There is also a very nice, and not so subtle hint at a villain who will be in the next film. I mean, who else would already be in Arkham and have a laugh like that? The other Batman movies have all been fun, to varying degrees, but this one manages to take the story to a deeper and darker level. Nice job! PG-13 for violence and language.

BATMAN AND HARLEY QUINN (PG-13) 68 minutes * * With Poinson Ivy and the Floronic Man threatening to turn everyone into plant people, Batman and Nightwing find themselves working with Harley Quinn to stop them and save Gotham. A bit more humorous and sexy than most of the series, but it works well with Harley Quinn's character. PG-13 for sex, language, and violence.

BATMAN & MR. FREEZE: SUBZERO (NR) 63 minutes * * Mr. Freeze needs an organ donor to save his wife. Unfortuately, he chooses Barbara Gordon, who just happens to be Batgirl. Not only does she not want to an organ donor at this time, Batman and Robin don't take too kindly to the idea either. Well-rounded story, but the animation is mediocre.

BATMAN & ROBIN (PG-13) 119 minutes * * 1/2 Lots of elaborate costuming and special effects, though that isn't really a surprise. The stories get cornier and cornier as this series continues. It would be nice to see a return to the dark edges of the first film rather than be heading toward the comic animation that was the trademark of the 60's TV show. George Clooney seems a bit stiff as Batman, but Chris O'Donnell and Alicia Silverstone work well as the family continues to grow. Arnold Schwarzenegger plays a fine Mr. Freeze, but Uma Thurman's Poison Ivy is at her best when she is the less seductive Dr. Eisley. PG-13 for violence and language.

BATMAN: ASSAULT ON ARKHAM (PG-13) * * ½ Amanda Waller (voiced by CCH Pounder) assembles a team of villains to retrieve some information that the Riddler took from her. The biggest challenge for the team will be gaining access to where it is stored… inside Arkham Asylum. This is one of the darker and more violent animated Batman films, and clearly not for the younger fans of the Dark Knight. PG-13 for violence, sex, and language.

BATMAN: BAD BLOOD (PG-13) 70 minutes * * 1/2 Nightwing and Robin team up with Batwoman and Batwing while Batman is absent without explanation. Nice story that isn't afraid to take a darker tone and explore some different sides of the characters than usual. PG-13 for violence.

BATMAN BEGINS (PG-13) 131 minutes * * * 1/2 Very impressive beginning to a new series of Batman films that promises to be much more dark and realistic than any we've seen so far. Christian Bale does a nice job and there are so many supporting performances that are well done, it's hard to know where to start. Michael Caine, Liam Neeson, Gary Oldman, Morgan Freeman, Rutger Hauer, Ken Watanabe, Katie Holmes... OK, I'm not so sure about Katie. It's a new character for the story and it works fairly well, I'm just not sure why anyone felt it was necessary. This also does take a bit of extra time at the beginning to set the stage, and might be a bit slow going for those who already know the legend, but the pace picks up soon enough and never lets go after that. PG-13 for violence.

BATMAN FOREVER (PG-13) 116 minutes * * * Val Kilmer's outing as the caped crusader is a success. Battling the Riddler (Jim Carrey) and Two-Face (Tommy Lee Jones) and assisted by Chris O'Donnell as Robin, this aims for a more upbeat portrayal of the characters. It's the approach the comic book took in the '70s, though prior and since, the tone has been of a darker nature. PG-13 for language and violence.

BATMAN: GOTHAM BY GASLIGHT (R) 74 minutes * * 1/2 Bruce Wayne, Selina Kyle, Harvey Dent, and many other familiar faces are here in this alternate Batman world. It's set during the Victorian age, with a certain killer on the loose, one Jack the Ripper. A fun, alternative Batman adventure that is quite well done. R for violence.

BATMAN: HUSH (PG-13) 79 minutes * * 1/2 Someone is using Batman's enemies as pawns in a much bigger game. There is a higher level of intensity here than in many of the animated Batman features. It gives this a little stronger and darker tone. The climax is not as impressive as the rest of the film, though the part of the story (including the ending) that involves Catwoman is quite good. Adapted from the novel of the same title. PG-13 for violence and language.

BATMAN NINJA (PG-13) 80 minutes * * Gotham's criminals are running rampant in feudal Japan thanks to a time machine. They're trying to take over the country and change history. It's a good thing that Batman and a few of his friends were transported back in time so they can put a stop to it. A rather unusual Batman story. In general, it works well, though the giant fighting robots don't really add much of anything to the story. PG-13 for violence.

BATMAN RETURNS (PG-13) 119 minutes * * The demented and deformed Penguin and the deranged and deadly Catwoman team up in a diabolical duo that has the caped crusader rather confused. It's a little confusing to us as well. Sometimes they seem to be working together, sometimes they aren't, and neither one of them seems to have any motive for causing any trouble. Special effects, costumes, and sets are the real highlight here, with director Tim Burton's style very evident. Still, the use of two villains is too much. We end up being deluged with information about them while pyrotechnics light up the screen, but there is little in the way of a story here. Better luck next time Batman! PG-13 for violence and language.

BATMAN: THE DARK KNIGHT RETURNS PART 1 (PG-13) 73 minutes * * 1/2 Batman hasn't been seen for ten years and crime in Gotham is on the rise. Does he still have what it takes to bring the new breed of criminals to justice? The animation is less than thrilling, but the story is interesting and definitely keeps us engaged. PG-13 for violence.

BATMAN: THE DARK KNIGHT RETURNS PART 2 (PG-13) 73 minutes * * 1/2 Now officially out of retirement, Batman has to deal with a new police commissioner, and the Joker, who is once again on the loose. Nice continuation of the story, though the two films are short enough that they could have been released as one. PG-13 for violence and language.

BATMAN: THE KILLING JOKE (R) 72 minutes * * * In this dark chapter of Batman's story, he can't be pulling punches in dealing with the Joker, who has once again escaped from Arkham Asylum. Adapted from the graphic novel, the story also features Batgirl as she works with Batman and struggles with continuing her crime-fighting career. R for violence.

BATMAN: THE MASK OF THE PHANTASM (PG) 72 minutes * * 1/2 Voices by Dana Delaney, Efrem Zimbalist Jr., Mark Hamill, and Abe Vigoda, in this feature film spinoff from the Saturday morning cartoon. The opening animation is impressive, but after the first few moments it reverts to sloppy Saturday standards. It's too bad, because the story is actually fairly good.

BATMAN: UNDER THE RED HOOD (NR) 73 minutes * * 1/2 It's five years after The Joker kills the latest boy wonder. Batman is working with Nightwing (the first Robin) to try and deal with the latest maniac who is calling himself The Red Hood. Meanwhile, The Black Mask is running rampant and The Joker is about to find a way out of Arkham Insane Asylum again. The animation here is strictly Saturday morning fare, but the script by Judd Winick is quite good.

BATMAN UNLIMITED: ANIMAL INSTINCTS (NR) 75 minutes * * 1/2 Robotic animals are attacking Gotham and no one knows why. Batman needs to figure out what's going on and put an end to it. Flash, Green Arrow, and Nightwing are there to help, along with Batman's current sidekick, Red Robin.

BATMAN UNLIMITED: MECHS VS. MUTANTS (NR) 73 minutes * * To battle the giant monsters that Mr. Freeze has created, Batman and Green Arrow create a couple of giant power suits of their own. Battling giants somehow just isn't as interesting as regular sized heroes and villains.

BATMAN V SUPERMAN: DAWN OF JUSTICE (PG-13) 144 minutes * * * Batman (Ben Affleck) and Superman (Henry Cavill) face off against one another, but then have to work together to deal with both Lex Luthor (Jesse Eisenberg) and Doomsday. One of the more exciting bits is how the story begins to work in Wonder Woman and the rest of what will become the Justice League. What is less exciting is Eisenberg's performance as Luthor. PG-13 for violence.

THE BATMAN VS. DRACULA (NR) 81 minutes * * 1/2 Penguin and The Joker have both escaped Arkham Asylum. As they look for a stash of loot, Penguin inadvertently resurrects Dracula. He may be even more difficult to deal with than Batman's usual foes. The solution does seem a bit obvious and too easily achieved.

BATMAN VS. ROBIN (PG-13) 77 minutes * * * Not only is Batman struggling with Robin's motivations and lack of discipline, Bruce is having issues with Damian. It seems that it doesn't matter whether he's trying to be a young superhero or just a typical boy, there are issues that run deep that he is not coping with very well. When Talon offers to become the mentor and father figure that Robin/Damian has been looking for, it gets even more dangerously complicated. Very strong character development and a nice addition to the animated series of Batman films. PG-13 for violence.

BATMAN VS. TEENAGE MUTANT NINJA TURTLES (PG-13) 84 minutes * * 1/2 When Shredder teams up with Ra's Al Ghul and the League of Assassins and creates a combination of venom and ooze, Batman, Batgirl, and Robin will need to team up with the Teenage Mutant Ninja Turtles to stop them. Nicely written adventure with a great mix of heroes and villains. PG-13 for violence.

BATMAN VS. TWO-FACE (PG) 69 minutes * * A fun trip to the past with Adam West and Burt Ward doing the voice work for Batman and Robin. The animation style also harkens back to the old days of the live-action TV series they starred in. Also featuring the voices of Julie Newmar and William Shatner. Fans of the old TV show will enjoy this, but newer fans of Batman probably won't. PG for violence and language.

BATMAN YEAR ONE (PG-13) 61 minutes * * 1/2 Based on the graphic novel, this relatively brief animated feature takes a look at Batman's first year of fighting crime. Jim Gordon is new to Gotham's police force, and Batman is just beginning to get the hang of what it means to fight crime. Catwoman is just getting her start as well. The story does take a few liberties with the original comic book, but it's an interesting story that works well. The animation is nothing special, but fans of the character aren't likely to be disappointed. PG-13 for violence and sex.

BATS (PG-13) 87 minutes BOMB Plastic bats and bad dialogue are the highlights here. And then there's the camera that jerks all over the place... and the story is so full of holes that one wonders how they ever managed to get Lou Diamond Phillips to even sign on to star in it. You've been warned! R for violence and language.

BATTERIES NOT INCLUDED (PG) 101 minutes * * * Small aliens arrive to help the residents of a tenement in New York that's about to be demolished. Definitely derivative of "E.T." and "Close Encounters of the Third Kind", but with more of an "afterschool special" feel to it. Hume Cronyn and Jessica Tandy are charming as usual and are largely responsible for the film's appeal. James Horner's soundstrack helps as well.

BATTLE FOR TERRA (PG) 74 minutes * * 1/2 The survivors of a war that destroyed Earth are looking for a new home. But the planet they find to be ideal already has inhabitants. The battle for Terra begins, as the residents fight to survive and the Earthlings struggle with what their survival might mean. The animation is very good here, but the story is rather simple and the characters are very broadly drawn, with little development. PG for violence.

BATTLE IN SEATTLE (R) 91 minutes * * * Dramatized retelling of the events around the 1999 meeting of the World Trade Organization in Seattle, Washington. The WTO is a controversial organization, and everyone knew that there would be protests, but when tensions are high, it's easy for a situation to get out of hand. The presentation is, for the most part, one-sided, telling the story of a passionate group of people who continue to protest the activities of the WTO. There are a few attempts to show how a few of the local authorities did try to allow the protesters the space and time they needed as well as support the WTO meeting. R for language and violence.

BATTLE IN SPACE: THE ARMADA ATTACKS (NR) 86 minutes * * 1/2 An anthology of five short films, though the first is shown without a title. It is mildly interesting, but it ends before we know very much. "The Hermes" is the worst of the lot, with the acting and costumes being particularly bad. "The Agamemnon" has a good story, though the ending is rocky and has a slightly sinister twist that doesn't fit with the rest of the story. "The Perses" has good acting and a ccnvincing story with a nice twist. "The Caronte" is easily the best of the bunch, with engaging characters and an intense story. Ending with this piece was definitely a good choice. The second segment hurts the film, as does the lack of something to wtap these together more effectively.

BATTLE LOS ANGELES (PG-13) 107 minutes * * Aliens from space attack L.A., and several other places too. The creature effects are nicely done, though we rarely get very much of a close look at them. The editing and photography attempt to give us the feeling of being one of the Marines in action, and succeed fairly well. It does mean that quite a bit of the acting happens very quickly and is more than a little difficult to follow. The bigger problem is that this lacks much of an emotional pull as we never feel a connection to any of the characters, with the exception of Sgt. Nantz (Aaron Eckhart). PG-13 for violence and language.

THE BATTLE OF MARY KAY (NR) 93 minutes * 1/2 The story of Mary Kay cosmetics, and some of the competition they faced at one point in the history of the company. Nice work by Shirley MacLaine, but Parker Posey's over the top performance as her primary competitor turns this into a piece of fluff. MacLaine seems at a loss at times to understand why Posey is acting this way... or why she signed on to do this film.

BATTLE OF THE DAMNED (R) 82 minutes * * Another viral outbreak that creates a world full of zombies. This time, Max Gatling (Dolph Lundgren) and a group of robots work together to fight them off. The robots are an interesting addition, and it’s particularly helpful that they never seem to run out of ammunition. Lundgren’s acting has improved over the years, but the script could still use a little work. R for violence and language.

BATTLE OF THE YEAR (PG-13) 104 minutes * * The "Battle of the Year" is an international competition, and the plot revolves around the US team trying to bring home the trophy that has eluded other US teams for so long. It's a standard competition film in many ways, though we don't really learn much about the coach's motivation. Lots of very nice b-boy moves here, which fans will enjoy, and is the main reason to give this a look. PG-13 for language.

BATTLE ROYALE (NR) 112 minutes * * * Adapted from the novel by Koushun Takami, this "loss of innocence" story wasn't released in the United States on DVD until 2012, despite being shown at a couple of film festivals in 2001. It also initially faced a great deal of legal pressure from Japan, where it was intially released. A class of 9th graders are chosen at random and taken to an island where they will play the "Battle Royale", a 3-day event where there can only be one survivor. There are danger zones, and exploding neck bands, but the real danger they will face is each other. Can their friendships survive this test? Do their hatreds run that deep? Are they ready to be adults? When you understand the story as a whole, the premise works very well and the ending is wonderful. There are a few rough places in the script, but it's well worth a look for the social commentary on adolesence. Beat Takeshi and Chiaki Kuriyama, both well known to international audiences are here, Takeshi as the teacher and Kuriyama as one of the students. Most countries where this has been released have rated it the equivalent of an R for the graphic violence.

BATTLE DOGS (NR) 86 minutes * When a werewolf epidemic breaks out, the CDC wants to locate patient zero and find a cure. The military wants to harness their fury and use it as a weapon. (Big surprise, right?) Bad CGI effects. The story gets pretty corny near the end, but up until then, it's actually not too bad... for an Asylum production.

BATTLE FOR SKYARK (PG-13) 82 minutes * 1/2 With monsters roaming the earth, those who can get away move to Skyark. But there isn't room for everyone. Orphans are sent back to the surface to fend for themselves. An interesting idea, but the script is less than imaginative, and the cast are, for the most part, not terribly exciting. PG-13 for violence.

THE BATTLE OF CHOSIN (PG) 113 minutes * * * The war in Korea had been going on for a few months. General MacArthur thought the war would be over by Christmas. In a surprising turn of events, the American forces and UN troops found themselves surrounded by 85,000 Chinese soldiers in the mountains that encircled the Chosin Reservoir. The narration starts rather slow and dry, but as the conditions get worse for the soldiers and the images more profound, the narration becomes more intense. PG for violence.

BATTLE OF THE SEXES (PG-13) 115 minutes * * * As Billie Jean King (Emma Stone) rose to the top of women's tennis, the sport became something much more than it had ever been. It was easy for anyone to see that women's tennis was selling just as many tickets as the men's side of the sport, but the women weren't being paid anything even remotely close to what the men were. Change was about to happen, and a big part of that would fall to King and her nemesis, Bobby Riggs (Steve Carell), a chauvenistic, boisterous, show-off, who had been sitting atop the ranks in men's tennis. The story builds well to a very nice finish, but it still would have been nice to see a little more tennis action. PG-13 for sex.

BATTLE SCARS (NR) 90 minutes * 1/2 The idea is to show how difficult it is for veterans to adapt to civilian life. And the film keeps returning to that idea, but gives us characters that are two-dimensional and had lives that weren't very successful before they left for war.

BATTLECREEK (R) 95 minutes * * A rare skin diseasse keeps Henry (Bill Skarsgard) out of the sun and mostly by himself. That's about to change after a young woman's car breaks down and leaves her stranded in town. An emotionally charged story with some overly dramatic, if sincere, performances. R for language, nudity, and violence.

BATTLEFIELD EARTH (PG-13) 110 minutes * 1/2 It's the year 3000 and humans are now an endangered species. Used as slave labor, they live in caves until they are captured and taken by the aliens to do work. The aliens themselves aren't that smart, but why do the humans end up living in caves and completely forgetting how to use technology? The only real point in the film is that knowledge is power and much of that emphasis is lost since it's really hard to condense such a huge book into a feature film. It's interesting to note that none of the big names in visual effects wanted anything to do with this film... and it shows. PG-13 for violence.

BATTLESHIP (PG-13) 121 minutes * * 1/2 The Naval forces of the world have gathers in the Pacific Ocean for a series of military games. As they do so, a signal that was recently sent to another planet from a base in Hawaii receives an answer. It's a bit of a stretch to get this from the board game, but the idea of how to sink a ship you can't is there. For the most part, this is a science fiction/action film with good special effects, though there is quite a bit of repetition. Also interesting to note that the "international" aspect of the Naval games is bascially the United States and Japan. PG-13 for violence and language.

BATTLESTAR GALACTICA: BLOOD & CHROME (NR) 90 minutes * * 1/2 Take a trip back to the first Cylon War in this TV add-on movie to the second Battlestar Galactica TV series. The story contains plenty of info, but does rely on you being at least somewhat familiar with the series. Definitely aimed at fans, but a nice addition to the series.

BATTLESTAR GALACTICA: THE PLAN (NR) 107 minutes * 1/2 Despite being created by humans, the Cylons eventually rebelled. This is the story of their ultimate plan. Supplement to the 2004-2009 TV series, this not only relies heavily on familiarity with that series, but feels like a hastily assembled piece focused on answering questions that the series didn't have time to answer. The ending is nice though.

THE BAY (R) 79 minutes 1/2 Mutant isopods kill most of the residents of a small town on the east coast of the United States. Another bad reality-style film, narrated by one of the "survivors". Filmed in South Carolina. R for violence and language.

THE BAY OF SILENCE (NR) 86 minutes * * After losing one of her twins due to falling while pregnant, Rosalind (Olga Kurylenko) is never the same. Now, the other child is dead, and Will (Claes Bang) is trying to figure out exactly what happened. He's beginning to uncover parts of her past that are disturbing. What's also disturbing is the somewhat awkward flow of the story, as well as how many questions it leaves unanswered.

BAYOU CAVIAR (NR) 107 minutes * * Once a talented boxer, Rodney (Cuba Gooding Jr.) is now a nightclub bouncer who finds himself in the wrong place at the wrong time. Working with a photographer friend (Famke Janssen), he tries blackmail to work his way out of the situation. Good acting, but the story wanders all over the place.

THE BAYTOWN OUTLAWS (R) 91 minutes * * 1/2 The Oodie brothers know injustice when they see it, but their methods aren't much better. Nice work by Barry Battles and Griffin Hood in creating a story with characters who we can be sympathetic with even though they aren't really good guys. We see just enough goodness in them and far less in the rest of the characters that this draws us in to see what will happen. R for violence, language, and sex.

BAYWATCH (R) 115 minutes * * 1/2 Rather than trying to be a parody of the TV series, the approach here is to do a comedy/action film that is inspired by the series. To be sure, there are a few bits that do poke fun at the series, but mostly, this just has fun with the idea, and it carries across well. The story really isn't anything new, (a corporate boss trying to take over an area for development), giving our main cast a few "evil" characters to play off of. Fun and light-hearted, and you need not really have watched the series to have fun with this. R for language and sex.

BE COOL (PG-13) 112 minutes * * Adapted from the novel by Elmore Leonard, this sequel to "Get SHorty" has Chili Palmer (John Travolta) switching from being in the movie business to being in the music business. Not everyone is thrilled with the idea... neither was I. There are some fun in-jokes, but the story wanders all over the place and never really gets anywhere. In fact, it often feels like the whole point of some scenes is just to have a chance to work in another cameo appearance, which the film is packed with. Fans of "Get Shorty" may enjoy this, but it just doesn't hold together very well. PG-13 for language and violence.

BE KIND REWIND (PG-13) 96 minutes * * Struck by lightning, Jerry (Jack Black) becomes magnetized. When he walks into the video store that his friend Mike (Mos Def) is working in, all of the videos are erased. They decide to shoot new versions of the films, which become a hit and save the store, which is about to be demolished. What starts out as an extremely ridiculous film that is rather difficult to sit through, somehow manages to become a sentimental story about friends, neighborhoods, and the joy of filmmaking. It's not bad if you can make it to the end, but it's not an easy task. PG-13 for sex.

BE MY VALENTINE (NR) 83 minutes * * 1/2 A widower and his young son learn from each other as they both explore romantic relationships in this Valentine's Day romantic comedy from the Hallmark Channel. Predictable, but cute.

BE SOMEBODY (PG) 84 minutes * * 1/2 A young rock star (Matthew Espinosa) finds himself on the run and hiding out with a girl who really doesn't care about his fame or his music. It's giving him a taste of the normal life that he's been missing. Predictable, and the acting isn't very strong, but it's written in a way that gives the two main characters and gentle and sincere charm, and that goes a long way toward making it more appealing. PG for language.

THE BEACH (R) 112 minutes * * 1/2 A map to a secret beach on a secluded island falls into Richard's hands. He invites a young French couple to go with him to see if it's more than just a local legend. They find the island, and the beach, but also begin to realize that secrets come with a cost and that paradise never remains so once trust begins to fade. Leonardo DiCaprio and Virginie Ledoyen star, and the scenery is beautiful. The story is shallow though, and despite some nice mood-setting music from Angelo Badalamenti, we tend to feel like we're looking at a postcard that should inspire feelings but doesn't. Filmed in Thailand. R for sex, violence, and language.

BEACH BLANKET BINGO (NR) 98 minutes * * * Want to stay warm? Enjoy the beach? Why not settle in and warm up with that fun beach crowd? Frankie and Annette star in the best of the beach movies along with Paul Lynde, Don Rickles, Linda Evans, Buster Keaton, and many more. With all the crazy antics, it’s sure to tickle your funny bone and keep you warm. This was the fifth in the “Beach Party" series, of which there were seven. So if you want to stay on the beach for awhile...

THE BEACH BUM (R) 85 minutes BOMB Drifting aimlessly through life, spending his wife's fortune, Moondog (Matthew McConaughey) has it made. When his wife dies, she leaves a will that stipulates that he must finish his book before he gets any more money because she knows he will burn through it all. So he writes the book, gets the money, and then burns it all. Poor excuse for a movie that doesn't really seem to have any point. There are several big names in the cast, but their scenes appear to be randomly pasted into an almost non-existent story. R for language and sex.

THE BEACH HOUSE (NR) 91 minutes * * 1/2 Heading back home to fix her mom's beach house, Cara (Minka Kelly) is going to face some difficult decisions. Past, present, and future sometimes come together in ways we least expect. The story tends to wander, but it's because it follows the characters as we learn their backgrounds. It helps us get to know the characters well, but the story takes a little while to get where it's going.

BEACH RATS (R) 93 minutes * * Frankie (Harris Dickinson) is gay, but his friends don't know. Neither does his new girlfriend. He's a nice guy, but he's keeping his sexuality hidden for now. Much like Frankie, the film wanders without much direction as he drifts through his life not knowing what he wants or where he wants to go. Winner and nominee of numerous smaller festival and similar film awards. R for sex and language.

BEACHES (PG) 119 minutes * * * 1/2 If you could describe C.C. Bloom with just one word, it would probably be "vivacious". Of course, even that word only touches the surface. C.C. was a go-getter even as a child. Even as she matures and some of her hopes get dashed on the rocky shores along the way, she keeps moving ahead with her head held high. She's nothing like her friend Hillary Whitney, who is from a well-to-do family and has never had to do much for herself. The friendship they form as children will be tested by time, which is a hard taskmaster. But when love is true and selfless, it will only grow with time. The story is a true work of art, and Georges Delarue has subtly captured each mood that dances past us in the course of the film with a soundtrack that is sheer perfection. Bette Midler delivers her best performance since "The Rose" and Barbara Hershey does an outstanding job as well. There are a couple of scenes that don't fit well in the film and slightly mar the overall effect, but this is definitely a film to see and a story to take to heart.

BEACHES (2017) (NR) 84 minutes * * 1/2 Two women, friends since childhood. Their shared journey is full of laughter, tears, and so much more. This TV movie remake of the popular classic is definitely a notch below, but the story is strong enough that it still manages to be good.

THE BEACHES OF AGNES (NR) 110 minutes * * * 1/2 Director Agnes Varda turns the camera on herself, because we each have stories to tell. Starting on the beaches she knew as a child, we follow her life and career. The films she made, the photos she took, the art that she and her friends created. A brave and brilliant piece of work. And, as she notes at the end of the film, there is more to come, because, "while I live, I remember."

BEACON POINT (NR) 79 minutes * A small group shows up for their hike on the Appalachian Trail. While they don't know that their hike leader was just fired, it does become clear very quickly that he isn't very nice. Sadly, we feel almost as lost as the hikers in a story that wanders around aimlessly for too long.

BEAN (PG-13) 85 minutes * 1/2 Rowan Atkinson has made a career of mugging for the camera and saying few words. In fact, you'll probably hear more words from him here than ever before. But as with most comedians who deliver clever short skits, stretching their work into a feature film doesn't work very well. The occasional bit is funny, but the stretches between are very taxing. Filmed in Los Angeles and London.

THE BEAR (PG) (1989) 90 minutes * * * 1/2 Excellent nature drama about a season in the life of a bear cub. The scenery is beautiful, as you might expect, and the photography does a great job of capturing both creature and creation. The violence is a bit strong in spots, but nature can be that way at times. PG for violence.

BEARS (G) 74 minutes * * * This DisneyNature film follows the journey of an Alaskan brown bear and her two cubs in their first season with their mother. It's no surprise that the scenery is stunning, and the photography alone is worth watching as it shows us the beautiful Alaskan wilderness.

BEAST (R) 103 minutes * * 1/2 Struggling with a desire to pull away from her family, Moll (Jessie Buckley) is finding fewer reasons to stay with them once she meets Pascal (Johnny Flynn). He's sexy and mysterious, and he may also be responsible for several local murders. There's plenty of mood here... sexual tension, family relationships, suspicion, and suspense... but the story never really follows anything for very long or really tries to go to any great depth. The result is less than satisfying, though there's plenty of quality material along the way. R for violence, language, and sex.

BEAST (2022) (R) (87 minutes * 1/2 Dr. Nate Samuels (Idris Elba) knows the dangers of the Savannah. He and his two daughters are about to deal with one of the worst... a lion whose entire pride has been butchered by poachers. It's angry. It's dangerous. Somehow, Samuels and his daughters must survive. Some of the animation is good, but some of it is definitely not. As far as the story, it's just not very realistic. R for violence and language.

BEAST OF BURDEN (R) 85 minutes * In the middle of a drug smuggling run, Sean (Daniel Radcliffe) is trying to sort things out with his wife, the cartel he is smuggling for, and the DEA. The bulk of the film takes place in the cockpit of a small plane as Sean makes numerous phone calls. It's just not very convincing or interesting. R for language and violence.

BEAST OF THE WATER (NR) 78 minutes 1/2 The ancient quest for the fountain of youth. But the fountain is not unprotected, and greed will bring the fury of the beast upon those who seek this magical treasure. The story isn't bad, or all that original, but bad acting and direction sink this pretty quickly.

THE BEAST OF XMOOR (NR) 81 minutes * There is a legendary beast that prowls the North Devon Moor. A pair of young filmmkaers set out to capture evidence of the beast. A few moments of good suspense, but its far from enough, and the resolution is less than satisfying by a fairly large margin.

THE BEAST WITH A BILLION BACKS (NR) 87 minutes * * 1/2 Futurama fans beware, an alien creature named Yivo is taking over the world! Can our unusual group of futuristic misfits keep it together long enough to defeat this alien menace? The story does tend to drag on a bit long, but the humor that fans of the show love is all there, just stronger in the earlier parts of the film.

BEAST WITHIN (R) 86 minutes * In an effort to combine Hitchcock's classic with a zombie motiff, we have a zombie virus transmitted by birds. Now, a small group of people is trying to survive, hiding out in a doctor's mansion. Not only does this provide them with a number of technical and scientific opportunities to address the situation, but they pretty much all seem to have a very good understanding of medicine and research. How convenient. Stiff and awkward dialogue. Also known as "Virus Undead". R for violence, language, and sex.

BEASTLY (PG-13) 82 minutes * * * Kyle (Alex Pettyfer) is good-looking and rich, which means he pretty much gets anything he wants, especially at school. But when he disses Kendra (Mary-Kate Olsen) by asking her to a dance and then making fun of her when she shows up, he discovers that the comments people made about her being a witch weren't so far off after all. Now he has one year to find true love, or stay ugly forever. The script is dripping with sappy romance and moralistic dialogue, but Neil Patrick Harris' performance as Kyle's tutor is wonderful, making the film much more entertaining than it would have been otherwise. Mary-Kate Olsen also appears to have a great deal of fun with her costumes here, as well as being sufficiently creepy. PG-13 for language and violence.

THE BEASTMASTER (PG) 114 minutes * * * ½ Raised by another family to protect him from an evil priest, Dar (Marc Singer) is now on a quest for revenge when his adoptive father is killed. He must also reclaim his birthright. His ability to communicate with animals will aid him on his quest. Nice work with the sword by Singer, and he also deals well with the light bits of humor in the script. PG for violence and sex.

BEASTS OF NO NATION (NR) 130 minutes * * * When Agu's (Abraham Attah) brother and father are killed, he runs. And like many boys in a country that is in the midst of civil war, he finds himself drafted into that war. The only other option is death. This is the story of Agu's journey into war as a child soldier. Powerful story with a remarkable performance by Attah.

BEASTS OF THE SOUTHERN WILD (PG-13) 88 minutes * * * 1/2 Hushpuppy (Ouvenzhane Wallis) lives with her father in "the bathtub", an island on the south side of the levee near New Orleans. Theirs is a life of constant struggle, but also of courage and dedication. Hushpuppy may only be six years old, but she understands a great deal. Charming performance by Wallis, and despite the almost overwhelming tragedy that permeates the story, it ends on a powerful and triumphant note. Adapted from the play, "Juicy and Delicious". PG-13 for violence and language.

BEATDOWN (R) 88 minutes 1/2 Unpaid debts, stolen money, and underground fighting are the plot elements, but the weak dialogue and worse acting don't do much for a story that feels empty and without energy. There are some pretty violent fight scenes, but it isn't enough to give the film what it needs. R for violence, language, and nudity.

THE BEATLES AND INDIA (NR) 92 minutes * * * An exploration of the Beatles' time in India and the influence that the music of India had on their own music, and by extension, rock and pop music in general. Filled with audio and video clips from interviews that tell the story, along with narration and still photographs.

THE BEATLES: EIGHT DAYS A WEEK, THE TOURING YEARS (NR) 97 minutes * * * ½ Wonderful look at The Beatles, with a primary focus on their life performances. Packed with interviews and photos as well as newsreel footage, home movies, and performances. From their early days in The Cavern until the end of their touring days at Candlestick Park in San Francisco on August 29, 1966. An absolute must for fans of their music, and an informative presentation by director Ron Howard that even those who aren’t fans should appreciate.

BEATLES STORIES (NR) 83 minutes * * * Director Seth Swirsky has put together a collection of interviews with people who had some sort of encounter with one or more of The Beatles. It's an absolute treasure trove for Beatles fans. These are the stories you've never heard before and there are definitely some gems here. What a treat!

BEATRIZ AT DINNER (R) 75 minutes * * Beatriz (Salma Hayek) is a practitioner of holistic medicine. When her car breaks down at a client's house, she ends up staying there for the night. The dinner guests that evening are not the most gracious people, and Beatriz is conflicted about what to say or do. Unusual piece that tries a little too hard to be clever and loses a little sincerity along the way. R for language and violence.

BEATS (NR) 104 minutes * * * August (Khalil Everage) is a musical genius, but because of what happened a few years ago, he won't leave his house. (Not that his mother would let him.) Reese (Anthony Anderson) has an ear for music, and knows he's found a major talent as soon as he hears August's beats. The challenge will be how to break into the Chicago music scene, and away from August's mother. The story is a bit incomplete, but the performances are quite good all around.

BEATS (2019) (NR) 97 minutes * * * It's 1994 in Scotland, and music with a heavy beat has been banned. Johnno (Cristian Ortega) and Spanner (Lorn MacDonald) decide to risk everything to go to a rave. It's going to be a wild ride. Based on the play by Kieran Hurley. Well-directed, with some fantastic work by MacDonald.

BEAU IS AFRAID (R) 174 minutes * * 1/2 Already teetering on the edge of madness, Beau (Joaquin Phoenix) slips off when his mother dies. The real and unreal merge into a twisted something else. A second viewing helps, but it's a long film to have to watch twice. There's good energy early on, but it starts to slow down after the first hour. Editing would have helped keep the rest of the film more engaging. R for violence, sex, and language.

BEAUFORT (NR) 121 minutes * * * Beaufort was a castle at one point. Now it lies in ruins, and the Israeli forces that occupy it are retreating from Lebanon and leaving this particular outpost. They need to destroy it before they leave, but the orders for their evacuation continue to be delayed. Interesting story covering a less-talked about aspect of war and it's effects on those who have been fighting.

THE BEAUTICIAN AND THE BEAST (PG) 102 minutes * * If you can't take Fran Drescher's voice, you won't like this at all. Otherwise, it's a mildly entertaining story of a New York beautician who ends up teaching an eastern European dictator a few things about leadership. Lots of charm here, but this definitely could have used a little trimming. Partially filmed in Czechoslovakia. PG for language.

BEAUTIFUL (PG-13) 105 minutes * * 1/2 Mona wants to win a beauty pageant... more than anything in the world. She befriends Ruby, and they work together on the way up from small town pagents for little girls, through the years to the American Miss pageant. Making sacrifices and stepping on toes along the way, Mona begins to succeed. But at what cost? Mona has always put herself first, but the time has come to think of others, and she might just discover that there are things that just might be a little more important. Minnie Driver and Joey Lauren Adams do a nice job in the lead roles here, but Hallie Kate Eisenberg steals virtually every scene she's in. For some films that might be a detriment, but it works well here as it helps paint Mona in a darker light, making her transformation at the end a bit more powerful. PG-13 for language.

BEAUTIFUL BOY (R) 92 minutes * 1/2 When their son does the unthinkable, his parents must not only try to understand why, but deal with the harrassment from those who feel a need to lash out in anger. Maria Bello and Michael Sheen are very good here as the distressed parents, but the story doesn't move very far. It's a character study of this couple, but a rather romanticized and unrealistic one. R for language and sex.

BEAUTIFUL CREATURES (PG-13) 117 minutes * * * 1/2 Absolutely wonderful story, adapted for the screen by director Richard LaGravanese from the book by Kami Garcia and Margaret Stohl. Jeremy Irons and Emma Thompson are wonderful here, but so are relative newcomers Alden Ehrenreich and Alice Englent. Viola Davis and Emmy Rossum deliver strong supporting performances as well. It's a magical and adventurous ride, with gorgeous photography by Philippe Rousselot, and the cast have done a fine job in bringing it to life. PG-13 for violence and sex.

BEAUTIFUL DARLING: THE LIFE OF CANDY DARLING (NR) 82 minutes * * 1/2 Bio-documentary of Candy Darling, one of the key figures from Andy Warhol's "Factory". It also serves as an homage to Darling's career and her struggle to be an actress and to be loved.

A BEAUTIFUL DAY IN THE NEIGHBORHOOD (PG) 102 minutes * * * Having gained a reputation that is less than pleasant, Lloyd Vogel (Matthew Rhys) has been given a less risky assignment. He's to write a short piece about Fred Rogers (Tom Hanks). It will turn out to not only be the most challenging piece he's ever written, but it will change his life. It's a great cast, and well led by both Rhys and Hanks. The ending scene is less satisfactory, but everything else works quite well. PG for violence and language.

BEAUTIFUL GIRLS (R) 108 minutes * * * As Will Conway (Tim Hutton) returns for a class reunion, he finds that many things have changed among his friends, but some things remain the same. Yes, we've heard this story before, but the cast makes this worth watching. Rosie O'Donnell, Uma Thurman, Anne Bobby, Matt Dillon, Martha Plimpton, Natalie Portman... Most of the emphasis is placed on character development, and it's fun just to watch these characters interact with each other. They are so "alive" that we just want to keep watching, long after the film is over. R for language.

A BEAUTIFUL LIFE (NR) 79 minutes * * 1/2 Maggie (Angela Sarafyan) is a runaway, trying to find a fresh start. David (Jesse Garcia) is kind enough to put her up for the night. Slowly, a friendship forms, and a journey begins. Some of the supporting characters here are a bit over-simplified, or almost undefined, btu the leads are quite good. Adapted from the play Jersey City, by Wendy Hammond.

A BEAUTIFUL MIND (PG-13) 127 minutes * * * * Picture of a young man driven to find the one idea that will give him recognition... John Nash (Russell Crowe) is a gifted young man, with an incredible mind, but intelligence many times comes with a cost. Will John be able to deal with that cost... or even be aware of what it is? Adapted from Sylvia Nasar's book, this is a brilliant film that chronicles Nash's life and the mind that made the man. Not only does Crowe give a fine performance, but Jennifer Connolly has finally landed a role that is a perfect fit. Dramatic biography at its best. PG-13 for language.

BEAUTIFUL OHIO (NR) 86 minutes * * * Chad Lowe's directorial debut is a portrait of a family that is coming of age. Clive (David Call) is a mathematical prodigy. His younger brother William (Brett Davern) is overshadowed by his brother's genius, and is also falling in love with Clive's girlfriend Sandra (Michelle Trachtenberg). Both boys are growing apart from their parents, who aren't ready to see their boys leave home. Well-acted and nicely directed drama.

A BEAUTIFUL PLACE TO DIE (NR) 84 minutes * * 1/2 Forced to retire early due to an injury, Detective Jackson (Jesse Metcalfe) finds himself helping out the local police chief with a murder case. (After all, he is the one who found the body.) The cast does a good job with a mystery that moves the suspicions around quite well. Adapted from the "Martha's Vineyard Mystery" series of books by Philip R. Craig.

BEAUTIFULLY BROKEN (PG-13) 104 minutes * * 1/2 The story of three families, tied together through both tragedy and hope. A positive Christian message film about forgiveness and staying focused on what lies ahead. Based on a true story, with plenty of emotional pull. PG-13 for violence.

BEAUTY AND THE BEAST (G) 80 minutes * * * The Disney version of the story presents a bit too much violence and the younger ones are given a mixed message about Beast as he is both violent and loveable, depending on the scene. The animation is uneven too, with some amazing sequences and others that are rather sloppy. The overall effect isn't bad though, and the score and title song both won Oscars for Alan Mencken and Howard Ashman.

BEAUTY AND THE BEAST (2017) (PG) 114 minutes * * * 1/2 Disney brings their animated musical version of the classic story to life with a mix of live action and animation. Though still a musical, this is a slightly darker version, and is more clearly not for younger children. The special effects are delightful, and very effective, and the talented cast do an amazing job of capturing the magic of the story. PG for violence.

BEAUTY & THE BRIEFCASE (NR) 86 minutes * * 1/2 Lane (Hilary Duff) is having trouble finding a boyfriend. How can that be possible in New York , with so many eligible men? Her new strategy is to go undercover in the business world to date a different sort of guy... and write a story about it! Adapted from the novel, Diary of a Working Girl by Danielle Brodsky, it's a cute, romantic comedy with a fun performance from Duff. Nothing deep here, but it doesn't pretend to be either.

BEAUTY IS EMBARRASSING (NR) 86 minutes * * * Painter, cartoonist, sculptor, puppeteer, designer... and much more. Working in the arts for over thirty years, he is a pioneer, a renegade, an enigma. Wayne White was and is, a successful independent artist, which is not an easy task. You'll also discover that even though you may not have heard his name before, you've undoubtedly seen his work.

BEAUTY SHOP (PG-13) 101 minutes * * Gina (Queen Latifah) is tired of how she's being treated by Jorge (Kevin Bacon) and decides to quit and open up her own beauty shop. It's not easy, but she's got the skills and the friends and she's going to make the best of it. The cast is likeable and there are a few bits here and there that will make you smile, but there's just no depth. Most of the supporting cast is wasted here, which is a shame considering how much talent is there. Alfre Woodard, Della Reese, Sherri Shepherd, Mena Suvari, Andie McDowell... Then again, the writers credits are mostly mediocre TV shows and movies like "Glitter", so it's hard to expect too much. PG-13 for language.

,a name="46281">THE BEAVER (PG-13) 85 minutes * * * Walter (Mel Gibson) is suffering from depression. When he discovers a mechanism to help him work through it, that could be a good thing. But the beaver puppet he is using begins to take over. Walter can't seem to integrate his life and emotions in a way that makes sense. His two boys are having a similar problem, and only one thing is likely to help. An interesting story, handled with sensitivity. Great supporting work by both Jodie Foster and Anton Yelchin. PG-13 for sex and language.

BEAVIS AND BUTTHEAD DO AMERICA (PG-13) 76 minutes BOMB The animation for the TV series is very poor in quality, and this matches it frame for frame. Filled with the typical immature humor that has made them famous, we follow the two as they try to steal a TV since theirs was stolen. Duh! PG-13 for language.

BEBE'S KIDS (PG-13) 69 minutes * Irritating animation of questionable quality about a guy who goes on a date with a woman who brings along her three bratty children. There is a moral here, but who wants to hear it through all the smart remarks in a cartoon based on characters created by Robin Harris.

BECAUSE I SAID SO (PG-13) * * 1/2 Trying desperately to make sure that her daughter doesn't follow in her footsteps, Daphne (Diane Keaton) is doing everything possible to find the right man for her daughter Milly (Mandy Moore). It's creating more than a little mother-daughter conflict, and Milly's sisters Maggie (Lauren Graham) and Mae (Piper Perabo) are drawn into the family spats as well. It's a comedy style that Keaton is familiar with and plays well, having lots of dialogue and plenty of emotion along with it. While the film is clearly about the relationship between Daphne and Milly, it's too bad that some of the fine supporting performances are mostly drowned out, though that does have its similarities to real life. Some may find Keaton's performance a little annoying until late in the film, but this mostly loses points for being a too familiar story that could have used some stronger direction. PG-13 for language.

BECAUSE OF WINN DIXIE (PG) 103 minutes * * Opal (AnnaSophia Robb) and her dad (Jeff Daniels) move to a new town where she doesn't have any friends unitl a stray dog wanders into her life. As their friendship grows, it touches other people in the town, a town that needed to feel the touch of friendship and love to bring it back to life. Sentimental and simple tale, adapted from the novel by Kate DeCamillo, and a nice family film. PG for language.

BECKMAN (NR) 94 minutes * 1/2 A contract killer, Beckman (David A.R. White) finds himself in a church and with a change of heart. He becomes the minister of the church and adopts a daughter. When she is kidnapped, he reverts to his old ways. The story is pushed along so fast that we never believe Beckman's character or what happens to him. White isn't a bad actor, but the script is really bad. The overly staged fight scenes don;t help. It does end much better than would seem likely from the earlier parts of the film.

BECKY (R) 86 minutes * * 1/2 Becky (Lulu Wilson) and her dad are headed to the lake house for a retreat. She's still dealing with the death of her mother while her father has moved on, inviting his girlfriend and her son along on the retreat. The bigger problem is the criminals who have escaped and decided to pay a visit to the same lake house. The story fizzles a little at the very end, but getting there isn't too bad, thanks to some great work by Wilson. Plenty of gory effects. R for violence and language.

BECOMING CHAZ (NR) 84 minutes * * * Chaz Bono always wanted to be a boy. When Chaz was young, there was no support and no discussion about the possibility of a sex change. This is the story of Chaz's transition from female to male. It's not an easy process, and the emotional support needed to make that transition is no small matter. But at this point in Chaz's life, it's available. Very intimate look at the process and at Chaz.

BECOMING JANE (PG) 111 minutes * * * The life and loves of young Jane Austen (Anne Hathaway) that shape the writer she became are the story here. Hathaway looks very comfortable here and the story is entertaining. More emphasis on Austen's actual writing and a bit less on the romance would have made this a more serious and more substantial piece, but entertainment rather than art seems to be the emphasis here, which is a bit unusual for a period film. PG for nudity and language.

BED AND BREAKFAST (PG-13) 98 minutes * * * A handsome stranger befriends three generations of women in this unique little film. Roger Moore, Talia Shire, Colleen Dewhurst, and Nina Siemaszko are featured in this interesting story, set on the coast of Maine. It's an exploration of feelings, relationships, hopes, and dreams as Moore's character helps to unlock what each has kept to themselves. A wonderful little film that most will enjoy.

BED OF ROSES (PG) 84 minutes * * 1/2 When her fast-paced life is interrupted by death, Lisa (Mary Stuart Masterson) is forced to take time off and relax, which she doesn't know how to do. Christian Slater steps in to add romance to her life, but is she ready for that? Lots of great scenes here, but the flow seems a little off and the ending is rather weak. One of the best parts here is actually Pamela Segall's performance as Lisa's friend Kim.

BEDAZZLED {PG-13) 86 minutes * 1/2 This remake of the Peter Cook/Dudley Moore film lacks the charm and class of its predecessor. Brendan Fraser and Elizabeth Hurley look great and they do appear to work well together, but the script is shallow and it affects the characters despite the appeal of the actors. It ends up being just another glossy remake that we could've done without. PG-13 for language.

BEDROOM EYES (R) 88 minutes * Out for a jog, a young man notices a woman undressing in a window. He stops to look. And then he returns to the same spot on other nights. But then he witnesses a murder. It’s not a bad story, and it plays out well, but the cast isn’t really up to carrying it very well.

BEDROOM EYES (2017) (NR) 78 minutes 1/2 "Bedroom Eyes" is the online name that Willa (Pristine Edge) uses with her clients. The problem is that her clients are starting to turn up dead. Cheap sets and props and plenty of soft-core sex scenes. The acting isn't nearly as bad as everything else about this film, but that doesn't mean it's good... it's just not as bad.

THE BEDROOM WINDOW (R) 115 minutes * * * While having an affair with the wife of his boss, Terry (Steve Guttenberg) is put in an awkward situation. Sylvia (Isabelle Hupert) witnesses an attempted murder through the window. How can Terry report it without giving away the affair? Situations continue to be both awkward and suspenseful, which is an unusual mix, but it works better than expected. Guttenberg isn’t all that great here, but it’s nice to see him in a more serious role. R for sex and violence.

BEDTIME STORIES (PG) 93 minutes * * * 1/2 Uncle Skeeter (Adam Sandler) is helping out his sister and taking the night shift, babysitting his niece and nephew and telling them some bedtime stories. Funny thing about those stories... parts of them seem to show up in real life the next day. It's a delightful story, full of magic, adventure, comedy, romance, and action. Jonathan Morgan Heit and Laura Ann Kesling are adorable as Skeeter's nephew and niece and Russell Brand delivers another fine supporting performance. Fun film for the whole family! PG for language.

BEE MOVIE (PG) 82 minutes * * Barry (Jerry Seinfeld) wants a better life. But when he flies out of the hive, he not only breaks the rule and talks to a human, he discovers that humans are stealing the honey. When he stops them from continuing to commit this horrible crime, the results are even worse. The moral of the story is that we all depend on each other. Too many of the characters are overplayed here. It's a style that would work if the film was aimed at the very young, but too much of the humor is targeted at older teens and adults. PG for language and violence.

BEE PEOPLE (NR) 101 minutes * * 1/2 Gregg McMahan is "The Bee Guru". This documentary follows him and several other bee specialists as they do their various sorts of work with this very important insect. A very educational look at bees, bee culture, and why beekeeping is so important.

BEE SEASON (PG-13) 100 minutes * * * Eliza (Flora Cross) has an amazing skill. Not only can she spell better than most people, when she closes her eyes, the words seem to speak to her. It's a skill that fascinates her father and he becomes absorbed in it. Meanwhile, his wife is having a breakdown, and his son is growing more distant by the minute. An interesting look at family relationships and parenting, well-performed by all. Flora Cross in particular does an amazing job here, and the ending, while not unexpected, fits perfectly. Adapted from the novel by Myla Goldberg. PG-13 for language and sex.

BEE TEAM 2 (NR) 73 minutes * * 1/2 Zip and Zap only get a brief celebration as heroes for saving the hive's honey (in the previous film). Two of their fellow bees are missing, and everyone needs to go look for them! The target audience here is age five and under. They should find this fun and entertaining, but those who are older will find it far less so.

BEECHAM HOUSE (NR) 270 minutes * * * John Beecham (Tom Bateman) leaves the British Trade Company, with plans to start a trading company of his own. There are complications, not the least of which are the people who begin to arrive at his mansion, including some troublesome family members. Lavish sets and costumes in this sprawling drama.

BEER FOR MY HORSES (PG-13) 87 minutes * 1/2 Two deputy sheriffs try to rescue a girl from drug lords who have kidnapped her. Notable for plenty of acting talent, though it isn't by Toby Keith, who also co-wrote this. He needs to stick with singing and stay out of the film business. The film struggles with whether it's a comedy or a western, and going either direction would have been better than what we see here. PG-13 for violence, language, and nudity.

BEER LEAGUE (R) 82 minutes * Read the title again... do you really need a description? Artie Lange plays a loser with a beer gut who gets a self-esteem boost when a woman actually finds him interesting and attractive. He manages to become a better person, okay, a little bit better person, and inspire his softball team to win... almost. Not much here. R for language, sex, and more language.

BEERFEST (R) 106 minutes 1/2 To salvage the honor of their grandfather, they must assemble the world's best beer drinking team. Then again, maybe their granfather DID steal the secret recipe after all. Maybe we don't really care. We definitely don't need the story to go on this long. Look at the title. Did you really think it would be any different? R for language and sex.

BEETHOVEN (PG) 83 minutes * * 1/2 Plenty of laughs, a touch of suspense, and a huge Saint Bernard give this film is strengths. There aren't any surprises, but it's basically a fun family film that most people find entertaining. PG for language.

BEETHOVEN'S BIG BREAK (PG) 97 minutes * 1/2 Beethoven is now a single father, caring for three pups and manages to land a job acting in a movie. This sixth film with the lovable and large canine falls flat on several counts, not the least of which are acting and script. PG for language.

BEETHOVEN'S CHRISTMAS ADVENTURE (PG) 86 minutes * 1/2 A Christmas elf who would rather not be working the reindeer stables ends up losing Santa's toy bag. It will be open to Beethoven to save the day... and Christmas. First, they need to find the toy bag. Filled with the usual bumbling bad guy antics. PG for language.

BEETHOVEN'S 2ND (PG) 83 minutes * * 1/2 Beethoven's back... and this time he (and his new girlfriend) have four puppies that get into almost as much trouble as their father did the first time around. Formula family fare, basically harmless and somewhat amusing with a cute ending. PG for language.

BEETHOVEN'S TREASURE TAIL (PG) 92 minutes * 1/2 Beethoven's latest adventure has him taking a break from making movies and helping a boy find a treasure that will help save a town. Even as a kid's dog adventure movie, this doesn't really get very far. PG for language and violence.

BEETLEJUICE (PG) 88 minutes * * * Two ghosts would like to rid their house of it's living tenants and ask for help from Betelgeuse (Michael Keaton). Not only does Keaton deliver a hilarious performance, but the entire cast here is great. It's an amazing collection of characters played by Geena Davis, Alec Baldwin, Winona Ryder, Catherine O'Hara, and many more. Directed by the appropriately creepy Tim Burton and with music from the macabre Danny Elfman, this is a delightfully strange and fun film.

BEFORE AND AFTER (PG-13) 104 minutes * * Jacob (Edward Furlong) is accused of murdering a young girl. His father (presuming his guilt) wants to cover things up but his mother (presuming his innocence) wants him to tell the truth and deal with things openly. It's an interesting idea, but the script takes too long to lay things out for us and degenerates into argumentative scenes all too often.

BEFORE I DIE (NR) 110 minutes 1/2 A new minister arrives for a small community. It seems like a charming town, but something else lies just beneath the surface. Adapted from the book, "My Soul To Take" by Dale Freeman, but really thin on dialogue. The pacing drags as a result, though the suspenseful music manages to help a little.

BEFORE I DISAPPEAR (NR) 94 minutes * * * Richie (Shawn Christensen) doesn't see much point in going on, though he's also not having a great deal of luck in bringing it to an end. Then his sister calls, asking him to take care of his niece for a few hours. Writer/director Christensen delivers a witty script that manages to be both dark and sensitive. He makes the mistake of taking on the lead role though, which would have been hand;ed better by someone else. Great soundtrack too.

BEFORE "I DO" (NR) 57 minutes 1/2 Caleb (Jensen Atwood) is a firefighter, and he's seen a lot in that line of work. Approaching 40, he wants there to be more substance to his life on the personal side, and it just doesn't seem to be happening. He dabbles in art, the relationship he longs for seems elusive. Shallow, with characters that are barely two-dimensional.

BEFORE I FALL (PG-13) 93 minutes * * * Sam (Zoey Deutch) is having a little bit of déjà vu. And since it keeps happening, maybe there is something she can change so that it doesn’t keep happening. Of course, when she finally figures it out, it will all seem so obvious. Nice adaptation of the book by Lauren Oliver, though the narration at the end could have been much shorter. PG-13 for sex, violence, and language.

BEFORE I GO TO SLEEP (R) 86 minutes * * Christine (Nicole Kidman) has amnesia and starts each day fresh, with the help of notes that she leaves herself. Kidman is good here, but Colin Firth seems out of place. It's also quite easy to see where the story is headed, long before it gets there. The production quality is very nice though, so at least it isn't really boring to watch. R for violence and language.

BEFORE MIDNIGHT (R) 104 minutes * * * The next chapter in the life of Jesse and Celine. Another nine years have passed, and the patterns they have settled into have reached that point where they both begin to ask some questions. As with the previous films, this is very heavy on dialogue, but the conversations are intimate and real. This is a unique series of films in that the passage of time they refer to is real in that the films have that same nine year separation. It gives a different and very unique intimacy to the stories as Ethan Hawke and Julie Delpy revisit their characters and continue to shape them. R for sex and language.

BEFORE SOMEONE GETS HURT (NR) 83 minutes * 1/2 Tim (Michael Welch) heads a team of supernatural investigators whose internet show is becoming very popular. They pull no punches, and are not afraid to declare a supposed haunting to be a hoax. But is this new site a fake or is it real? They're having some difficulty in deciding, and they may not be able to find out before it's too late. This set's up nicely, but doesn't end very well.

BEFORE SUNRISE (R) 99 minutes * * * A chance encounter on a train in Europe. Two people who feel an attraction and are willing to relax and see where life takes them. It may be a bit hard to accept at first, but it rings true. Sometimes it's easier to be honest and open with a stranger, and sometimes love comes quickly. Perhaps a little too wordy at times, but very romantic and with a good ending that rings true to the characters and the story. Ethan Hawke and Julie Delpy bring out the best in each other in this romantic drama.

BEFORE SUNSET (R) 77 minutes * * * Nine years have passed and Jesse and Celine meet again. Their lives have changed, but there are some things that remain the same. Ethan Hawke and Julie Delpy reprise their roles from "Before Sunrise" and assist director Richard Linklater with the script in this romantic sequel. It suffers from the same talkiness that the first does, but is just as romantic and true as well. Filmed in 15 days and featuring three songs written and performed by Delpy, this is a romantic sequel that should only be seen after viewing the first. R for language.

BEFORE THE DEVIL KNOWS YOU'RE DEAD (R) 113 minutes * * 1/2 It was a simple plan that should have gone off without a hitch. But aren't those the ones that always seem to go wrong? Now Andy (Philip Seymour Hoffman) is in even more trouble. Trying to set it right only seems to become more complicated and his frustration at those around him escalates until the tragic climax. Hoffman chews up the scenery, as he often does, but the real problem here is that none of these characters are likeable, and they are all trapped by their own inadequacies. Carter Burwell's music works well here, and Ethan Hawke, Marisa Tomei, and Albert Finney give passionate performances, but it's not enough. R for sex, violence, and language.

BEFORE THE FIRE (NR) 88 minutes * 1/2 The pandemic is shutting down all of the major cities and transportation is becoming difficult. Ava (Jenna Lyng Adams) unwillingly heads to her old hometown in a rural area with the idea that she will be safer there. There are also issues about how not everyone there will welcome her return. There's another person from her past who will be more of an actual threat. Not a great deal of depth to the characters here, and the story is pretty thin as well.

BEFORE THE FLOOD (PG) 90 minutes * * * Climate change continues to get worse. For every step forward in dealin with the situation, we seem to take two backwards. This documentary is about Leonardo DiCaprio's work as the United Nations' Messenger of Peace, and what he learned about climate change, as well as what it will take to turn things around. PG for language.

BEFORE THE RAINS (PG-13) 94 minutes * * * Henry Moores (Linus Roache) is a wealthy Englishman living in India. His latest project is a new road that will make him even more rich, providing a better route to transport the spices he is selling. The affair he is having with a local married woman may put an end to that. And his loyal assistant T.K. (Rahul Bose) is torn between his country and culture, and a desire to embrace the more modern world of the English. Honesty, integrity... what we do and the choices we make have lasting consequences that we often can't see. Based on the "Red Roofs" segment of the film "Yellow Asphalt". PG-13 for violence and sex.

BEFORE THEY VANISH (NR) 86 minutes * * A drama based on the life of Frank Kuntz, and his lifelong devotion to preserving a herd of horses that descend from a herd that belonged to Sitting Bull. They are a unique breed in how they relate to hhumans and they work extraordinarily well as therapy horses. The pace is slow, and the acting is awkward, in part because the cast all play themselves. But the story is genuine, and tugs at the heart.

BEFORE WE GO (PG-13) 89 minutes * * * ½ Nick (Chris Evans) and Brooke (Alice Eve) are both having bad days. Now, they’re stuck in Manhattan, and finding each other’s company to be a good thing. And the adventures that lie ahead for them on this unusual night, are going to create a bond that they didn’t expect. Well-drawn and very likeable characters thanks to both the writing team and some fine work by Eve and Evans. PG-13 for language.

BEFORE YOU KNOW IT (NR) 94 minutes * * Living with his daughters, Mel (Mandy Patinkin) is a struggling playwright. His daughters are about to learn that the mother they thought was dead is actually alive and well and starring in a soap opera. Hannah Pearl Utt and Jen Tullock work well here as sisters struggling with a new reality that is forcing them to re-examine their lives. They had grown accustomed to how things were, and change may not be for the better, but staying the same isn't really an option.

BEFORE YOU SAY "I DO" (NR) 87 minutes * * 1/2 While rushing over to see his fiancee, who has just decided that she isn't ready for this committment, George (David Sutcliffe) is in an accident. Now, about that wish he made about meeting Jane before her first marriage... Cute story, and nice work by Sutcliffe, which, along with a delightful supporting performance by Lauren Holly, make this worth a look.

BEFORE YOUR EYES (NR) 100 minutes * * * Gulistan (Senay Orak) and her brother Firat are in the car with their parents, when they are stopped by men in a police car and shot. Orphaned, they are soon on the street. But an opportunity comes when Gulistan finds the man responsible and decides on upon a course of revenge. Remarkable performance by 10-year-old Orak that earned her a best actress award at the Istanbul International Film Festival.

BEGIN AGAIN (R) 106 minutes * * * Dan's (Mark Ruffalo) career in the music business is on the fast-track to nowhere. And then he meets Gretta (Keira Knightley). Talented, impressionable, and fresh off the bus, Dan just might be able to help her become a star. The musical aspects of the film, not just the soundtrack, but the story elements, are very good, and capture they spirit and integrity of the characters and the story quiet nicely. The ending is more realistic than grandiose, but fits the film very well. R for language.

BEGINNERS (R) 98 minutes * * * It isn't just that his father came out as a gay man at the age of seventy-five, but that he also died just a few short years later. Oliver (Ewan McGregor) is having to deal with his own issues around relationships and intimacy in ways that he never has before. It's all different now, and he's more than a little lost. Melanie Laurent's performance as Anna is full of subtleties that offset the awkward feelings and moments that McGregor's character is experiencing. It works quite well. R for sex and language.

A BEGINNER'S GUIDE TO ENDINGS (R) 89 minutes * * 1/2 For these brothers, the death of their father holds a secret that will change their lives. With so little time left, they each have to deal with what that means for them. The script does a nice job of weaving the stories together and bringing them to a nice finish, giving the cast room to explore the characters and their feelings while guiding their course. R for language.

THE BEGUILED (R) 89 minutes * * * The Civil War is still in progress when a Union soldier who is wounded finds himself at a school for girls in Virginia. His presence there causes more than a little consternation on the part of several of the women and girls who reside there. Well-done remake of the 1971 film. It's not quite as strong as far as acting, but it's a worthy effort. R for sex.

BEHEMOTH (NR) 86 minutes 1/2 A once active volcano appears to be starting up again. The town of Ascension is in danger, but this is not an ordinary volcano event. Something else lies beneath the surface of the mountain. OK CGI effects, barely passable acting, and a just plain bad story.

BEHEMOTH (2021) (NR) 85 minutes * Joshua's (Josh Eisenberg) daughter is dying. He's desperate. But the man he thinks is responsible, isn't who he appears to be. This has a promising start, witha couple of creepy moments, but then it just stops going anywhere. It tries for a twist ending, but it's too little too late.

BEHIND ENEMY LINES (PG-13) 100 minutes * 1/2 While straying slightly from a scheduled flight path to investigate suspicious activity, Lt. Chris Burnett and his pilot are shot down. Now he's down behind enemy lines and in deep trouble. Owen Wilson, likeable though he may be, just doesn't have what it takes to carry a lead role. His sincerity does score a point for this, though that's a small satisfaction. Of course, it doesn't help that the film's story is ridiculous. Filled with procedures the military would never consider and with marksmen who can't hit a target and explosions that never seem to get the best of Burnett. PG-13 for violence and language.

BEHIND ENEMY LINES: COLOMBIA (R) 90 minutes * This time around, the Navy SEALS are accused of taking ou tthe leaders of opposing groups, so the US denies knowledge and leaves them "behind enemy lines" on their own. Looks more like MacGyver and crew but even more far-fetched as far as the story. Despite the fact that some of the action here is reasonably good, it looks like this franchise may have played itself out. R for violence.

BEHIND ENEMY LINES II: AXIS OF EVIL (R) 92 minutes * * North Korea has a nuclear missile ready to launch. A mission to disable it has been compromised. Now, four men are on the ground, behind enemy lines. The action remains at a pretty intense level throughout the film, though the political scenes are very stiff and lifeless. R for violence and language.

BEHIND THE CANDELABRA (NR) 114 minutes * * The story of Liberace's (Michael Douglas) later years and his friend and romantic partner Scott (Matt Damon). Douglas does a marvelous job here, and the story keeps a nice balance between sensationalism and straightforward drama. More of the music would have been nice, but the focus on his later years seems to have precluded that.

BEHIND THE MASK: THE RISE OF LESLIE VERNON (R) 87 minutes * * 1/2 Leslie Vernon (Nathan Baesel) is about to become a serial killer, It's something he's been working up to. Knowing that he's about to begin, he grants a documentary film crew access to his life. For horror fans, this is fascinating and fun as it not only features cameos and bit parts from a number of pervious horror film stars, but is packed with references to other horror films. It's also an analysis (of sorts) of the art and design of horror films and stories. Those who don't have an appreciation for horror films and/or haven't seen much of the genre will be struggling to understand most of the film. R for violence, language, and sex.

BEHIND YOU (R) 82 minutes * When Claire (Elizabeth Birkner) and Olivia's (Addy Miller) mother dies, the girls end up with a reclusive aunt. But there's something strange about the mirrors in the house, and Claire may have just released a rather viscious demon. Mediocre story with a cheap and predictable ending. The soundtrack and photography create some suspense, but not enough to make up for the script and direction. R for violence.

BEHIND YOUR EYES (NR) 80 minutes 1/2 Steven (Tom Sandoval) and Erika (Frida Farrell) are on their way to spend a weekend with his parents. But it turns into a nightmare. It also doesn't make much sense. A muddled script and poor acting undermine this pretty quickly. and the ending just sort of fades away for no real reason...

BEING CHARLIE (R) 94 minutes * * After Charlie (Nick Robinson) ditches youth drug rehab, he finds himself facing adult rehab or jail. Choosing rehab, he meets Eva (Morgan Saylor), who has plenty of her own issues still to work through. The story tends to wander, flirting with more serious implications, but rather than pursuing them, it drifts off to other subplots, leaving us somewhat dissatisfied. R for sex and language.

BEING ELMO (PG) 73 minutes * * * Kevin Clash is the man behind the extremely popular Sesame Street character, Elmo. This is his story, from his early days watching Captain Kangaroo and the first episodes of Sesame Street, to becoming a mainstay of the show. It's a very nice bio-pic that also pays homage to Jim Henson and the rest of the early crew at Sesame Street. Especially nice to see Clash giving a tour of the workshop to an up-cand-coming puppeteer, much like the tour he received so many years earlier. PG for language.

BEING EVEL (NR) 99 minutes * * * ½ Very comprehensive and balanced look at the life, career, and lasting influence of one of the most extreme daredevils the world is ever likely to see. Packed with footage of his stunts and interviews with people who lived and worked with him over the years.

BEING FLYNN (R) 95 minutes * * * Nick (Paul Dano) hasn't seen his father for eighteen years, but now, his taxi-driving, would-be-writer father calls for help because he's been evicted. Nick struggles with what to do, because he never really knew the man. Part of him wants to help and re-connect with his father, but he's actually still dealing with the issues of abandonment he feels. Wonderfully introspective and thought-provoking script by director Paul Weitz, adapted from the book by Nick Flynn. R for language and sex.

BEING FRANK (R) 106 minutes * * 1/2 He just wants some freedom, so Philip (Logan Miller) decides to go on a spring break trip with a friend. And that's when he discovers that his dad (Jim Gaffigan) has a second family. What is he to do with this newly discovered information? A nice blend of comedy and drama, with the humor coming from the awkwardness of the situation rather than any attempt to make light of it. R for language and nudity.

BEING HUMAN (PG-13) 117 minutes * * 1/2 The story of a story... five stories, woven together by the presence of Robin Williams. It's a strange piece of work, not exactly fun to watch, but interesting. Williams' performance makes it worth a look, but don't expect this to be your favorite of his films.

BEING JOHN MALKOVICH (R) 106 minutes * * * * Craig Schwartz (John Cusack) is a puppeteer of little fame. This means that he must find other work, which he does, on the 7 1/2 floor of a business building. Even more strange though, is the destination that lies beyond the little door he finds behind some filing cabinets one day. This is plain and simply, an incredible piece of work. Cusack and John Malkovich are perfect and the story, despite its bizarre concept, is a poignant one. Who are you and who do you want to be? Is it not enough to be yourself? R for language and sex.

BEING JULIA (R) 100 minutes * * * A brilliant performance from Annette Bening as theatrical diva Julia Lambert in this adaptation of W. Somerset Maugham's novella, "Theatre". Bored with her successful theatrical career, Julia longs for something exciting. When she finds it, in the form of a younger man, it proves a bit much to handle. But only for a moment. She is, after all... Julia Lambert. The only difficulty here is that Bening so overwhelms everyone and everything else that even some of the plot is overshadowed. Bening earned a well-deserved Golden Globe award for a performance that is definitely one of the best she's ever given. R for sex and language.

BEING THE RICARDOS (R) 125 minutes * * * 1/2 A brilliant comedian and an amazing producer and musician. Lucille Ball (Nicole Kidman) and Desi Arnaz (Javier Bardem). With their career on a rocket to the top, they face two crises. Lucy is accused of being a communist, and Desi is accused of having an affair. Both accusations will change their lives and test their relationship. Marvelous work by the cast, but especially by Kidman, who was nominated for an Oscar for her performance. R for language.

BEING THUNDER (NR) 84 minutes * * * Indigenous people have long recognized that not all people fit into a binary gender identification. A two spirit person is a way that some tribes view that distinction. Sherente is one such individual, from Rhode Island's Narragansett tribe. Despite this recognition, and no rules that prohibit a two spirit person from competing in powwow dance competitions, there are those within their community who don't agree, and who work to prevent Sherente and others like them from winning or even competing.

BEIRUT (R) 105 minutes * * 1/2 A former diplomat, Mason Skiles (Jon Hamm) finds himself in the middle of some very dangerous negotiations. The acting here is good, but the story just doesn't draw us in very well. The twists and turns are overly obvious and manipulative, with the result being that we are more discouraged than intrigued. R for language, violence, and nudity.

BEL AMI (R) 96 minutes * * Georges (Robert Pattinson) discovers that he has the ability to become both powerful and wealthy by manipulating influential women. Adapted from the novel by Guy de Maupassant, this period drama has all of the right look and some good acting, but a mean-spirited lead character that Pattinson manages to deliver without the charisma that would make us want to know him. R for sex and language.

BEL CANTO (NR) 94 minutes * * 1/2 Hosting a party, Hosokawa (Ken Watanabe) invites opera singer Roxanne Coss (Julianne Moore) to perform. A militant group takes everyone hostage, looking for the president, who was supposed to attend the event but chose not to. And, as sometimes happens with extended hostage situations, unexpected relationships begin. A tragic story, adapted from the book by Ann Patchett.

BELFAST (PG-13) 93 minutes * * * 1/2 The late 1960s were a violent and troubled time in Ireland. It's the world where Buddy (Jude Hill) is growing up. His coming of age is complicated by trying to figure out where his loyalties should lie. What do his parents say, what do his friends say, what does the church say... It's not an easy task for a young boy t decide. Writer/director Kenneth Branagh does a masterful job of creating the atmosphere, and won an Oscar for his screenplay. Filming in black and white was a wise choice. Very nice soundtrack too. PG-13 for violence and language.

BELGRAVIA (NR) 261 minutes * * * After the defeat of Napoleon, the Trenchard family has been working their way into the upper levels of society. It's a journey that began before the war, but the wealthy in London are not very accepting of newcomers. Very nice period drama, adapted from the book by Julian Fellowes.

BELIEVE IN ME (PG) 104 minutes * * * He never wanted to coach girls, and no one thought these girls could win anyway. But these girls won't give up... not when someone believes in them. Based on the book, "Brief Garland" by Harold Keith, this is the story of his nephew, Coach Jim Keith, who became a legend in girl's basketball. Definitely a bit sentimental, but it draws us in quite nicely. Solid drama, especialyl for those who enjoy sports! PG for language.

THE BELIEVERS (R) 108 minutes * 1/2 A modern-day police investigation of a murder turns into more than anyone bargains for when it's discovered that the deaths of three children could lead to their parents becoming rich, famous, and infuential. The special effects are poor at best, relying on being gross enough to make you turn away quickly. Somehow, Martin Sheen manages to come off fairly well. Otherwise, this is a watered-down voodoo story with a rather silly ending that makes us wonder why we sat through the whole movie.

THE BELKO EXPERIMENT (R) 85 minutes * * 1/2 An office building suddenly becomes a cruel social experiment. A voice comes across the intercom, announcing that if the people inside don't kill two of their fellow employees within the next half hour, there will be repercussions. And that is just step one. The idea is similar to the "lifeboat" scenario, where a group must determine who is fit to live and who is left to die on the sinking ship. Lots of graphic violence, and an ending with a twist that is really no surprise. R for violence, language, and sex.

BELLA (PG-13) 86 minutes * * 1/2 Life can turn corners very quickly. Jose (Eduardo Verastegui) was a soccer star, but now works in a restaurant for his brother. He is inexplicably drawn to Nina (Tammy Blanchard) as she faces a crisis. Just having someone to listen can make all the difference in the world. It's a gentle and beutiful film in many ways, though some of the subplots are a little distracting. PG-13 for language.

BELLE (PG) 99 minutes * * * Belle (Lauren Julien-Box/Gugu Mbatha-Raw) is left to be raised by her great uncle. She is mulatto, which in 18th century England prevents her from achieving the status due her by bloodline. The death of her father leaves her with a great deal of money, which further complicates the issue, both for her and for her white, aristocratic, and penniless cousin. Fact-based costume drama with nice work by the entire cast to bring the story to life. PG for language.

BELLE (2021) (PG) 115 minutes * * * "U" is a new online world that has become very popular. It's a place where Suzu can overcome her shy nature and become not just accepted, but sought after. She also learns that her newfound popularity comes with responsibility. She also learns that, in order to save someone she cares about, being her true self is the only way. A beautiful story with equally beautiful animation. PG for violence and language.

A BELLY BADGE FOR WONDERHEART (NR) 63 minutes * * 1/2 Young Wonderheart learns the importance of patience and honesty as she waits to learn what her belly badge will be able to do. Part of the Care Bears series.

BELONG TO US (PG-13) 80 minutes * A fighting dog escapes its owner and finds its way to the home of a young girl (Brooklyn Funk). The film moves back and forth between the owner who wants to find the dog and the girl and her family, who grow attached to it. The story is fine, but the script is stiff and overly simple, and the acting and pacing are in need of some help. PG-13 for violence.

BELOVED (R) 162 minutes * * Oprah Winfrey and Kimberly Elise star in the story of a mother and daughter in early America, faced with struggles of violence and poverty. It's a dark and rather disconnected account that makes the film hard to understand until well into the picture. People seem to rave about anything Oprah does, but I found this to have nowhere near the impact of "The Color Purple". The actors all do fine work here, but the material is uneven and lingers far too long on story elements that make little sense until late in the film. Unless you're a real fan of Oprah, you'll probably be disappointed. R for violence and nudity.

BELOVED SISTERS (NR) 165 minutes * * * Schiller (Florian Stetter) is a rather controversial figure, which is part of what makes him appealing to both Charlotte (Henriette Confurius) and Caroline (Hannah Herzsprung). In a controversial move of their own, they decide to share his affections. Lavish production, with beautiful scenery, sets, props, and costumes. Though fictional, the style makes it quite easy to believe this could be a true story.

BELOW ZERO (R) 93 minutes * * A screenwriter with writer's block locks himself in a freezer to try and get past it. Interestingly enough, writer/director Signe Olynyk did the same to get a better feel for the character. But after five days in solitary, with no phone or internet and temperatures that are dropping, does something to your mind. A fun idea that plays out fairly well, but does take a little too long to get to the not too surprixing twist ending. R for language and violence.

BELZEBUTH (NR) 106 minutes * * While still dealing with his own grief, Detective Ritter (Joaquin Cosio) has to deal with a massacre at a school. It seems like a violent, but explainable crime... until a priest shows up... from the Vatican. Now, it appears that his own tragedy may be connected to this current case. Slow-moving story. There's good suspense near the end, but there's also lots of explanation of events that tends to undercut the suspense.

BEN IS BACK (R) 96 minutes * * 1/2 Showing up unexpectedly, Ben (Lucas Hedges) makes his mother happy. His step-father and sister aren't so sure. He's had severe drug problems in the past, and therapy seems to be going well. But can he last even for a day back at home? The story is a bit lopsided with how much of it centers around Ben's mother Holly (Julia Roberts). Learning more about his sister, his step-father, and some of his friends would have added some much needed depth to the story. R for language.

BEN 10: ALIEN SWARM (NR) 65 minutes * * 1/2 Live action version of the Cartoon Network show. Ben's (Ryan Kelley) childhood crush shows up, asking for help to find her missing father. The problem is that her dad was a plumber, and was disavowed for stealing alien computer chips. But he may be the only hope they have of stopping the chips, which have started to activate and cause major problems. Nothing stellar here, but it's a reasonable live action version, and a nice compliment to the cartoon.

BEN 10 VS. THE UNIVERSE: THE MOVIE (NR) 72 minutes * * With the fate of the Earth on the line, Ben has his work cut out for him... again. Team Tennyson is working to help, but Ben is dealing with some increased powers of the Omnitrix. They are proving to be a little difficult for him to control. Fun for Ben 10 fans, though the action is a little repetitive.

BEN-HUR (PG-13) 118 minutes * * * Dark remake of the classic film. The emphasis on the subjugation and persecution of the Jewish people is stronger here, and it adds a depth to the story that was missing from the 1959 classic. The earlier film was more focused on the spectacle and magnificence of the Roman Empire as well as the Christian element of the story. Those are all here too, but the darker tone makes this version feel more realistic. PG-13 for violence.

BENCHWARMERS (PG-13) 78 minutes * 1/2 Three former nerds... OK, they're still nerds... take on all the mean little kids in a baseball tournament. Rob Schneider, Jon Heder, David Spade, Jon Lovitz... that should pretty much tell you what sort of humor to expect. There is an attempt to make it meaningful with ideas about sticking up for the underdog and how bullies will get what's coming to them. It doesn't really add anything to the film. It IS fun to see the cars that Jon Lovitz gets to drive though. PG-13 for language and violence.

BENCHWARMERS 2 (PG-13) 87 minutes * 1/2 After a rather nasty accident during a game, Ben McGrath (Chris Klein) is no longer able to play baseball. Several years later, he finds himself with no choice but to work with the softball team that his law firm has. And, of course, that will inevitably mean that he has to step up to the plate. It's going to be a rough season. Lots of prat falls and sexual humor, but relatively harmless and occasionally funny. PG-13 for language.

BEND IT LIKE BECKHAM (PG-13) 106 minutes * * * Jess is just a normal English girl who is trying to meld her Indian heritage with her love of soccer. The problem is that her parents, mom in particular, think its totally inappropriate and feel she should respect the customs and traditions of India. The film does a wonderful job of creating sincere characters who are wrestling with issues of identity on a deep level. Inspirational and fun. PG-13 for language.

BENDA BILILI! (PG-13) 83 minutes * * * In Kinshasa in the Democratic Republic of Congo, there is a band called Staff Benda Bilili, which means "look beyond". They are a group of musicians who have been afflicted with polio, which has affected their mobility, but not their spirit or their ability to create powerful music. The film follows them as they record their first CD and performe their music live in Europe. PG-13 for language.

BENDER'S BIG SCORE (NR) 88 minutes * * Bender and the rest of the crew are back. Thanks to some internet spam and virus issues, the crew are now working against their will for some aliens. What makes it worse is the discovery of a time travel code tattooed on Fry's butt. Typical Futurama humor, with lots of in-jokes, which makes it more fun for those familiar with the series.

BENDER'S GAME (NR) 85 minutes * * 1/2 Bender discovers that his lack of imagination is getting in the way of making friends and having fun. Meanwhile, the crew deals with a shortage of dark matter fuel and Leela has trouble dealing with anger management. More fun time with the Futurama crew that fans of the series will enjoy.

BENEATH (NR) 86 minutes * When part of the mine caves in, the miners are trapped... but they aren't alone. The claustrophobic atmosphere is quite celar and mostly effective. This has the potential for suspense on a much more effective level, but instead relies on cheap supernatural scares that quickly grow boring.

BENEATH HILL 60 (NR) 111 mminutes * * * This is the story of a lesser known group of soldiers during World War I, the miners, who tunnelled beneath and behind enemy lines to trigger explosions that would help change the tide of war. Hill 60 was a particularly strategic point, and Captain Olver Woodward (Brendan Cowell) was their exceptional leader. An emotional and gritty look at life in the trenches during WWI. Very nice dedication at the end, "to the extraordinary skill and courage of the tunnellers from both sides - may their descendants continue to live in peace".

BENEATH THE DARKNESS (R) 89 minutes * 1/2 Better watch out for that creepy neighbor. They just might be a killer. Predictable thriller with Dennis Quaid as the neighbor in question. The atmosphere the film creates works reasonably well, but the script is very unimaginative. R for violence and language.

BENEATH THE GREEN (NR) 78 minutes * Strange film about an astronaut who is trapped inside the mind of a planet. The story, such as it is, jumps all over the place. It's difficult to even tell if repeated viewings would help, as the film is also heavily symbolic. There are many beautifully photographed scenes, but there's little to connect them.

BENEATH THE LEAVES (NR) 85 minutes * * 1/2 Many years ago, a man (Doug Jones) kidnapped four boys. They managed to escape, and their kidnapper was arrested. Years have passed, and now the kidnapper has escaped from prison. He wants to pick up where he left off. One of the boys is now a detective, but in pursuing the case, he may be falling right into a trap. Very creepy ending, but getting there is surprisingly not all that exciting.

BENEDETTA (NR) 126 minutes * * * She was only eight years old when she entered the convent. Benedetta (Virginie Efira) has always had visions, and they increase in frequency and intensity as she gets older. Some of them are erotic in nature, whie others are more spiritual. Miracles happen as well, though the abbess (Charlotte Rampling) has her doubts as to their authenticity. Benedetta will face another test though, in the love of a younger girl, and her own temptation to act on that love. The truth may never be known, but Benedetta's faith is difficult to deny.

THE BENEFACTOR (NR) 85 minutes * * After Franny (Richard Gere) recovers from the accident, he's not the same. His friends are gone, the pain doesn't stop, and he does everything except address the real problem, choosing instead to keep it secret. Gere's character is mot written well, hinting at complexities that are never adequately explained or developed. The rest of the characters are fine, but without the depth we need from the main character, this doesn't have what it needs to carry the story.

BENJI: OFF THE LEASH (PG) 97 minutes * Yet another Benji film, this one apparently suggested when someone found a dog they thought looked like Benji and wrote producer/director Joe Camp about it. He decided to do a film about what the dog's life was like before he was found and became a star. Too bad it sounds like every other story we've already heard with a boy whose best friend is the dog and attempts by a couple of bumbling idiots to try and catch the dog. The last few minutes are nice... if you make it that far. PG for violence.

BENJI THE HUNTED (G) 86 minutes * * Nice scenery and photography, and the music is pretty good too. But poor human acting (Hey, I'm not going to pick on the dog!), weak direction, and only four and a half minutes of dialogue. OK, maybe that isn't too bad considering the people don't do that well anyway... Filmed in Oregon.

BENNETT'S WAR (PG-13) 89 minutes * * A true natural for motocross racing, Marshall Bennett (Michael Roark) enlists in the Army and ends up in their motorcycle unit. An IED puts an end to his military career, but he's determined to get back to racing. It's not going to be an easy road back. The acting is mediocre, and the story is a little stale, but the race sequence at the end is very good, and is well-supported by the soundtrack. PG-13 for language and violence.

BENNY & JOON (PG) 95 minutes * * * Benny & Joon are brother and sister, caring for each other despite her mental illness which sometimes exhibits itself rather violently. When Sam (Johnny Depp) shows up with his own eccentricities, he and Joon are drawn together. It's a love story, and a parable, about how we feel cut off... abnormal... and may behave rather strangely when we don't have love in our lives. The acting carries the film well and the story serves as an important reminder to us all.

BENNY LOVES YOU (NR) 93 minutes * 1/2 It's time for a change. Jack (Karl Holt) cleans hosue, which includes tossing away his childhood stuffed animal Benny (who bears a striking resemblance to Elmo of Sesame Street fame). Benny doesn't appreciate being discarded like that, and decides to start killing people if they cause Jack any problems as a way to show his love for Jack. Very repetitive, though it does have a fairly good balance of horror and tongue-in-cheek humor.

BENT (R) 91 minutes * * * There was a time when Danny Gallagher (Karl Urban) was a great cop. Now he's for hire, and currently in the middle of a murder case that involves some very influential people. Lots of great twists and turns in the story, which is based on the Gallagher novels of J. P. O'Donnell. R for violence, language, and sex.

BEOWULF (PG-13) 105 minutes * * Life-like animation is the highlight of this adaptation of the epic poem "Beowulf". The story has changed a bit, but it's still an exciting adventure. Perhaps the most disappointing aspect is the appearance of Grendel, whose image is extremely distorted. Featuring the voice talents of Ray Winstone, Crispin Glover, Angelina Jolie, Anthony Hopkins, and Robin Wright Penn among others. PG-13 for violence and sex.

BEOWULF & GRENDEL (R) 100 minutes * * 1/2 Modernized version of the epic poem "Beowulf", with a bit more graphic violence and foul language, thus getting an "R" rating. The story itself is so strong that it overcomes the mediocre adaptation. The most impressive aspect of the film besides the story itself is the beautiful Iceland scenery.

BEREAVEMENT (R) 102 minutes * * 1/2 Kidnapped at the age of six, Martin (Chase Pechacek/Spencer List) is lucky in that his kidnapped didn't kill him. Perhaps it was his fascination with Martin's inability feel physical pain. But being forced to live with a man so twisted and evil causes a different sort of pain for Martin. Allison (Alexandra Daddario) is new in town, staying with her uncle after the death of her parents. Will she be able to help Martin, or will she become just another victim of his captor? Creepy in parts, but somewhat nonsensical in others. R for violence, language, and nudity.

BERGMAN ISLAND (R) 110 minutes * * * Chris (Vicky Krieps) and Tony (Tim Roth) are a film-making couple who decide to do a retreat to the island Ingmar Bergman used to use for inspiration. Perhaps some of that inspiration can help them with the projects they've been working on. The script is marvelous, and sweeps the cast along with it. Roth is a rough fit here, and was late to both the cast and the filming. He's not bad, just not the best fit. R for sex and language.

BERLIN, I LOVE YOU (NR) 109 minutes * * * Fourth in the "Cities of Love" series, this one is set in Berlin, Germany. The film consists of ten somewhat intertwined short stories, highlighting the city and its residents. It's a very nice entry in the series. Berlin is a city of contrasts and dualities, and the stories reflect this reality quite well. R for language and sex.

BERMUDA TENTACLES (NR) 85 minutes 1/2 When the prsiden't plane goes down in the Bermuda Triangle, his escape pod is jettisoned and sinks to the bottom. (Which may be a problem the designers want to address.) The rescue team discovers more than they bargained for, including why verything has been disappearing in the area. There are some interesting ideas late in the film, but getting there is weak, and the finish is unconvincing.

BERNARD AND DORIS (NR) 100 minutes * 1/2 Billionairess Doris Duke (Susan Sarandon), portrayed here as a spoiled and very demanding woman, drove away many people who worked for her over the years. Although this does end reasonably well, getting there is a chore. Sarandon never really convices us that she's that mean or cantakerous, though she does go through a number of mood swings in the course of the film. To be fair, the poorly written script doesn't give her or Ralph Fiennes much to work with.

BERNIE (PG-13) 94 minutes * * 1/2 This is Bernie's (Jack Black) story. He was a gentle man, and well-liked in the community. He becomes caretaker for Mrs. Nugent (Shirley MacLaine). She is possessive, demanding, and may have pushed Bernie just a little too far. Quirky, dark comedy based on a true story. Black seems a bit uneasy with this more sincere, straight role, while MacLaine's experience with both comedy and drama is clearly evident. PG-13 for violence and language.

BERNIE THE DOLPHIN (G) 83 minutes * 1/2 Holly (Lola Sultan) and Kevin (Logan Allen) love the water and their dolphin friends. When they stumble across some "evil" land developers, they're going to need some help to put an end to their nefarious plans. Moderately entertaining family film.

BERNIE THE DOLPHIN 2 (G) 95 minutes * 1/2 The good news is that Bernie is back. The bad news is that Winston (Kevin Sorbo) is back too. He's even going to be working at Marineland while he's on parole. He has plans to kidnap Bernie, but that may change. A famiyl film that's all about second chances.

THE BERRYFEST PRINCESS MOVIE (NR) 64 minutes * * 1/2 Who will the new Berryfest Princess be? After a few challenging rounds to see who would be the best choice, it's down to Strawberry and Orange. But now the competition is causing problems. What's more important, friendship or winning? Cute for the 4-7 age crowd it's aimed for, though parents may opt to stay in the next room.

BERSERK: EGG OF THE HIGH KING (NR) 71 minutes * * * A companion to the anime series, this is the first entry of a story arc that explains how the main character, Guts (voiced by Hiroaki Iwanaga) eventually became the "Black Swordsman", who trusts no one but his sword. The animation is quite nice, with subtle touches in most scenes that really add to the quality and depth.

BERSERK: THE BATTLE FOR DOLDREY (NR) 87 minutes * * 1/2 Follow-up to "Egg of the High King", this picks up the story as Guts continues to fight but realizes that his destiny may not lie in continuing to fight next to Griffith and his followers. More graphic violence than the first film, and this also suffers from that "middle of the trilogy" syndrome, delving more deeply into the characters while paying less attention to the story.

BESIDE STILL WATERS (NR) 74 minutes * * ½ Daniel’s (Ryan Eggold) parents both died recently, and as a last fling before having to sell their cabin, he invites some old friends. Some of the past relationships reignite, but so do some of their past conflicts. The story finishes well, and though the acting is nothing outstanding, this is still a very nice debut for writer/director Chris Lowell.

BESSIE (NR) 107 minutes * * * 1/2 Biopic about the supremely talented Bessie Smith (Queen Latifah). Her style was powerful, brash, and unforgiving. For a time, she was clearly and simply... the best. Queen Latifah does a marvelous job here, bringing this legend to life again.

BEST CHRISTMAS PARTY EVER (NR) 83 minutes * * 1/2 Jennie (Torrey DeVitto) throws amazing Christmas parties for the party company she works for. Her boss is getting ready to retire, and asks her nephew to help Jennie. That's going to create a few problems. Some nice performances help give an overly sentimental Christmas story a more personal touch.

BEST DEFENSE (R) 90 minutes * Wylie’s (Dudley Moore) inept approach to his work comes back to haunt him when the tank he designed fails on the battlefield. Aside from a few brief bits, the humor here falls flat, in large part because the story just isn’t interesting. R for language and sex.

THE BEST EXOTIC MARIGOLD HOTEL (PG-13) 117 minutes * * * * The advertisements paint a wonderful picture, and these seven retirees can't wait to settle in to their new location in beautiful India. When they arrive, they discover that this is not the best, nor very exotic, and its barely a hotel, having seen better days quite a long time ago. But the young man who runs it has a drea... if only he has the chance to make it come true. Fabulous cast with Judi Dench, Maggie Smith, Bill Nighy, and Tom Wilkinson. While I'm not usually all that thrilled by narration, what we have here are bits full of wisdom and insight, magnificently delivered by the inimitable Dame Judi Dench, and they work extraordinarily well. Adapted from the book, "These Foolish Things" by Deborah Moggach.

BEST FRIENDS (PG) 106 minutes * * * ½ Life has been working well for Paula (Goldie Hawn) and Richard (Burt Reynolds). So well, that they decide to take the next step. They’ve been roommates and lovers, so why not get married? Well, they’re about to find out just how different that can be. A fun script and great work not only by Hawn and Reynolds, but a talented supporting cast who add quite a bit to the story. PG for language and sex.

THE BEST GOVERNMENT MONEY CAN BUY (NR) 74 minutes * * 1/2 If you've ever wondered how decision are made in the United States government, this film will explain a great deal. Lobbyists have an incredible amount of influence, and though there are some that do work on behalf of groups of citizens, most are employed by corporations or the super-rich. An informative documentary, though a bit dry in its presentation.

BEST IN SHOW (PG-13) 84 minutes * 1/2 It's time for the Mayflower Dog Show. And what a strange group of people it is who bring their dogs to try and win the coveted "Best in Show". Full of wild stereotypes and crazy characters, but there just isn't much of a story to work with. The budget is incredibly slim as well and it shows, but the characters still manage to make us laugh. PG-13 for language.

THE BEST LITTLE WHOREHOUSE IN TEXAS (R) 109 minutes * * * Whether or not it’s the “best” may be up for discussion, but Mona (Dolly Parton) runs a very successful business that a local television reporter is trying to shut down. The local sheriff (Burt Reynolds) is a frequent customer though, and is working with Mona to keep the doors open. Fun adaptation of the Broadway musical. R for sex and language.

THE BEST MAN (R) 116 minutes * * 1/2 Harper (Taye Diggs) is back in the old neighborhood to be best men for an old friend. It sets the stage for talk about old relationships and new possibilities. What will make it a bit awkward is the book he wrote that is based on his own life and the people he has known. It's fiction, but there's quite a bit of truth as well. Diggs and the rest of the cast do a nice job, but the script makes them deal with petty things far too often and shies away from letting the characters become real. It's mostly fluff, making it an OK video rental, but nothing you'll remember. R for language and nudity.

BEST MAN DOWN (PG-13) 86 minutes * * * 1/2 When Lumpy (Tyler Labine) dies unexpectedly, Scott (Justin Long) and Kristin (Jess Weixler) cancel their honeymoon to make his funeral arrangements. Along the way, they will learn far more about Lumpy than they knew before, in part from Ramsey (Addison Timlin), a young girl who teaches them not just about Lumpy, but about friendship and expectations. Delicate balance of drama and humor that works very well thanks to the skill of writer, and first-time director Ted Koland. Timlin does an amazing job in her role, adding a depth that anchors the story quite nicely. PG-13 for sex and language.

THE BEST MAN HOLIDAY (R) 119 minutes * * * Writer/director Malcolm D. Lee follows up his 1999 hit, "The Best Man", with this seasonal story. Life is far from merry for these friends as they try to celebrate Christmas. Wonderful cast with great chemistry make this a very nice sequel. R for language and sex.

BEST MAN IN GRASS CREEK (PG) 78 minutes * * This is definitely a cute idea for a story. A guy who has problems with weddings since he was once stood up by his fiancee as the service was about to start, finds himself being the best man for a guy he hardly knows so he can make a sale and not lose his job. There's plenty of good material about marriage and committment, and a good deal of country charm, but the pace is off. If you see the outtakes at the end, it's easy to realize that the biggest problem here is that John Newcombe is not a great director. He does a nice job as Adam, and he produced the film too, but directing is not where his skill lies. Too much of the film drags, and that's not a good sign when it's a fairly short film to begin with. Filmed in Grass Creek, Indiana. PG for language.

BEST NIGHT EVER (R) 73 minutes 1/2 A girl's night out, bachelorette party in Las Vegas. Except they end up in a cheap motel instead of the posh hotel on the strip, and that's only the beginning of their misfortune. The female version of "The Hangover" just doesn't really work well, mostly because the acting talent is missing. It's not really a surprise, and you should know not to expect much from a film when you repeatedly see faces and product names blurred out because permission wasn't given (ie. paid for). R for sex and language.

THE BEST OF ENEMIES (PG-13) 127 minutes * * * A civil rights activist and a Ku Klux Klan leader come into conflict in Durham, North Carolna in 1971. It starts with the burning of a school. This town was on the edge, and now it has a decision to make. There's plenty of hatred and violence, but there's also a chance for something better. Nice work by the cast in a tensestory that reminds us how easy it is to not listen to an opinion that is different from our own, yet how important that can be. PG-13 for language and violence.

THE BEST OF ME (PG-13) 111 minutes * * Drawn together again by the death of a man who was like a father to them, they discover that their love for each other is still quite strong. Of course, tragedy will strike before the story is over, because it's a Nicholas Sparks story, and it's always pretty much the same. Good performances by James Marsden and Michelle Monaghan. PG-13 for sex, violence, and language.

THE BEST OF MEN (NR) 89 minutes * * ½ Until Dr. Guttmann (Eddie Marsan) showed up, those who had crippling injuries were mostly kept out of pain and out of sight. He refused to give up on them, which inspired many to be exactly what he knew they were… “the best of men". Eventually, his efforts to support their rehabilitation would result in the creation of the Paralympics. Inspirational story, but the script tends to get mired in details and specifics, losing some of the emotional power needed to pull us farther into the story.

BEST OF THE BEST (PG-13) 95 minutes * 1/2 Incredibly predictable film about the training of two olympic karate teams. There are a couple of good fight scenes, but the ending is far-fetched and the talents of Eric Roberts and Christopher Penn deserve better. The sequel does a little better, though it's a little surprising that they bothered making one.

BEST OF THE BEST 4: WiTHOUT WARNING (R) 86 minutes 1/2 A girl with evidence on a counterfeit operation plants a stolen disk on Tommy (Phillip Rhee), involving him with some nasty villains. Rhee directs this entry in the series (as he did the third) and produced all four. The mix of martial arts and guns is a little better here, but the acting is some of the worst in the series. R for violence and sex.

BEST OF THE BEST 3: NO TURNING BACK (R) 86 minutes * 1/2 It's a small town, and things have been quiet. A group of white supremacists have different plans for the town. A teacher and a sheriff that put up some resistance are not going to be a problem for them to handle. What they aren't ready for is Tommy Lee (Phillip Lee). Rhee also serves as director for this third entry in the series. Most of the martial arts fights are early in the film with the later fights involving more bullets. R for violence.

BEST OF THE BEST II (R) 96 minutes * * Eric Roberts and friends are back in this martial arts sequel as they go about avenging the death of their friend, Travis (Christopher Penn). Production values here are much better than in the first film, but it's still the same basic formula story, relying heavily on music and the revenge idea to get us involved.

THE BEST OFFER (R) 125 minutes * * * 1/2 An experienced auctioneer for high-end art, Virgil (Geoffrey Rush) has developed a taste for fine art. But the reclusive woman who has recently hired him to auction off her collection is becoming something of an obsession. The film starts slowly, but draws us in both gently and quietly, just as it does to Virgil. His talent soon becomes surpassed by his greed, and the web that he becomes entangled in is both very complex and painfully simple. Very theatrical style of presentation that clearly show how this could work on stage. R for sex.

BEST SELLERS (NR) 97 minutes * * * Her publishing house is struggling. But Lucy Stanbridge (Audrey Plaza) has an idea. She decides to contact Harris Shaw (Michael Caine), who owes her a book. Against his better judgement, he agrees to help out. His idea of helping out ends up giving Lucy a whole new set of problems she has to deal with. A witty and sentimental script from Anthony Grieco, and strong performances by both Caine and Plaza.

THE BETA TEST (NR) 90 minutes * * ½ Only a select few ever receive the invitation. When Jordan (Jim Cummings) receives the mysterious purple envelope that contains an offer for an anonymous sexual encounter, he is fascinated… and instantly obsessed with the idea. It rapidly leads to the collapse of everything else in his life. A strange piece with a scene-chewing performance by Cummings.

BETHANY (NR) 86 minutes 1/2 Claire's (Stefanie Estes) mother was not the most kind and loving parent. And now that Claire and her husband have moved back into her childhood home, the memories are creeping back. There's something else on the edge of those memories. Something terrifying. Except the movie is more puzzling than terrifying. Poorly paced and illogical, though the sound effects are pretty good.

BETHANY HAMILTON: UNSTOPPABLE (PG) 94 minutes * * * She was an incredibly talented young girl. An athletic surfer who constantly challeneged herself. When she lost an arm in a shark attack, it became just another challenge to overcome. A very well edited and directed look at Bethany and her unstoppable spirit. PG for violence.

BETHLEHEM (NR) 95 minutes * * Recruited when he was 15, Sanfur (Shadi Mar'i) feeds information to an Israeli sercet service agent. When his older brother, who is a Palistinian militant is killed, the power struggle to replace him puts everything at risk. Strong performances, but the story is uneven and the ending very incomplete.

BETRAYED (R) 123 minutes * * * Debra Winger delivers a stellar performance as an undercover FBI agent who is torn between her loyalty to her country and her job and the man she has come to love. The films pulls its punches too much as far as the story though, and we feel a little betrayed ourselves. Part of the story is the idea that fear and insecurity are at the heart of what creates people like Gary Simmons (Tom Berenger), but how can we help them when our own fears and insecurities get in the way?

BETSY'S WEDDING (R) 91 minutes * * As one might expect from the title, it's about a wedding. What you might not expect are that Molly Ringwald's costumes are far from attractive and that Alan Alda whines throughout the whole film. These problems serve to undermine the strength of the film, which lies in the social commentary it makes. Numerous talented supporting cast are present here, but most of them aren't put to good use. R for language.

THE BETTER ANGELS (PG) 91 minutes * * * Indiana in the early 1800s was still a wilderness area, and growing up in this harsh environment was far from easy. Young Abraham Lincoln (Braydon Denney) learned much here, and this film takes us through those character building years. The black and white photography and the sparse dialogue show both the unforgiving realities, and the natural beauty of the land. The loneliness, and the inner strength that result from surviving such a place and time were a refining fire of sorts, the result of which would become clear in later years. PG for violence.

A BETTER LIFE (PG-13) 93 minutes * * 1/2 Trying to provide a better life for his son, Carlos (Demian Bichir) is working as hard as he can. The odds are against him, and the outlook is grim, but he won't give up. The story here is not only rather depressing, but fairly dry as well. Bichir does a good job. Uncomfortably close to reality in some ways, but worth a look. PG-13 for violence and language.

BETTER LIVING THROUGH CHEMISTRY (NR) 87 minutes * * It's been a quiet life for Doug (Sam Rockwell). So when a chance for something new and exciting grabs him, he finds himself going along with it. An offbeat comedy that takes a couple of different turns. The tone remains light, though there is some misdirection that attempts to make us think otherwise.

BETTER OFF DEAD (PG) 93 minutes * 1/2 Isn't it amazing how when you're going through a breakup, every song you hear is a love song? That's what Lane (John Cusack) is going through. Well, everything else in his life is also not going very well. Despite some good potential, and several very good scenes, this just doesn't flow well.

BETTER THIS WORLD (NR) 87 minutes * * 1/2 The story of the two friends who were charged with domestic terrorism for the events at the 2008 Republican National Convention. It also profiles Brandon Darby, who was the FBI informant and who had also been quite a radical a few years earlier. Fairly dry documentary.

BETTER WATCH OUT (R) 84 minutes * * A little twist on the "killer stalking the babysitter" idea. There is some creativity here, but not enough. The plot is far too elaborate for us to believe when the setup is so simple. R for violence and language.

BETTIE PAGE REVEALS ALL (R) 98 minutes * * 1/2 Bettie Page became a pin-up sensation and sex symbol for decades, and in fact, still has quite a following. This bio-documentary provides the back-story for how it all began. It pulls no punches, covering the good, the not-so-good, and everything in between. Quite a bit of audio interview with Bettie is included here, making this a very personal biography as she has the chance to answer questions that had before this only been answered by others. R for sex.

BETTY AND CORETTA (NR) 85 minutes * * TV drama about the wives of Martin Luther King and Malcolm X and how they supported their husbands work and ideals, and took up the cause after their untimely deaths. The story is somewhat oversimplified, which isn't necessarily a surprise from a TV movie, but there are a few moments that have some real depth. Ruby Dee's narration doesn't really fit all that well, but it's nice to see her here, and her voice has a depth of sincerity and personal experience that many would not.

BETWEEN HEAVEN AND GROUND ZERO (NR) 83 minutes * * 1/2 A first-hand account of surviving the attack on the World Trade Center towers in New York. Mostly centereed around Leslie Haskin's experience, but there's quite a bit of supporting material from a few other survivors and responders as well as Haskin's family and friends. Th dramatic recreation scene isn't all that good and doesn't really serve much of a purpose though.

BETWEEN US (NR) 89 minutes * 1/2 As they begin to settle into their relationship, a young couple start to wonder if their spontaneous, carefree, and exciting days are all done. Unfortunately, the screeonwriter wasn't brave enough to deal with how the lack of excitement could just lead to a disconnect and not necessarily to affairs, especially not by both people in the relationship.

BETWEEN WORLDS (R) 83 minutes * Though he thinks he is helping, Joe (Nicolas Cage) is actually interfering. Julie (Franka Potente) has a special ability to contact the spirits of those who have passed to the other side. But things are about to get really complicated. The plot of this film is one of those things. Part of the problem is that too much time is spent on aspects of the story and characters that are unimportant rather than on those that are. Potente is good here, Cage plays his standard role, and too much of the film focuses on sexual relationships rather than the supernatural elements of the story. R for sex, language, and violence.

THE BEVERLY HILLBILLIES (PG) 88 minutes * * A new cast brings the classic old TV comedy to the big screen... with limited success. People seem to forget that these old shows worked because they had very little plot. One situation, one complication, one moral statement, with laughs distributed throughout. The cast does a good job here, it's the script that does the damage.

BEVERLY HILLS CHIHUAHUA (PG) 85 minutes * * 1/2 Chloe (voiced by Drew Barrymore) is a very pampered chihuahua. When her owner needs to leave on a business trip, she leaves Chloe in the care of her niece (Piper Perabo). But during a quick trip to Mexico, they are separated, and the adventure begins. Interesting array of people doing voices for this... Andy Gacria, George Lopez, Placido Domingo, Edward James Olmos, Cheech Marin... Reasonably cute and entertaining film for the younger crowd and fans of chihuahuas. PG for violence and language.

BEVERLY HILLS CHIHUAHUA 2 (G) 79 minutes * * Papi, Chloe, and crew are trying to save Sam's parent's house. In the process, they end up catching some bank robbers. Meanwhile, Papi is learning how to be a more responsible father, and Delgado makes contact with his two sons. The subplots add a little depth to the story, but not that much.

BEVERLY HILLS CHIHUAHUA 3: VIVA LA FIESTA (G) 84 minutes * 1/2 The family is moving to a fancy hotel and everyone is excited about it except Papi. He thought things were just fine the way there were. And it will get worse before it gets better. Weaker subplots here, and mostly just more of the same, which is beginning to get a little stale.

BEVERLY HILLS COP (R) 102 minutes * * * Spin-off from the film "48 Hrs.", with Axel Foley (Eddie Murphy) working on a murder case and finding the culture of Beverly Hills very different from that of Detroit where he was working before. Wonderful stunt work, and Murphy does a very nice job of mixing humor into a film that is packed with action and a very good mystery.

BEVERLY HILLS COP II (R) 98 minutes * * * Bad things are happening in Beverly Hills again. Axel (Eddie Murphy) gets a call from his friend Captain Bogomil (Ronny Cox). There's an "alphabet killer/thief" on the loose and Axel's expertise is needed. Packed with action and set to Harold Faltermeyer's heavily rhythmic score, this is a slick, polished production, though there are a few editing problems and story holes. Plenty of great dialogue bits throughout the film, and nice work by the supporting cast.

BEVERLY HILLS COP III (R) 96 minutes * * 1/2 Set against an amusement park background, Axel Foley (Eddie Murphy) is back in action again. A little thin on story, this still manages to deliver a fair amount of action and ruthless killers, making it a satisfactory entry in the series though not quite as good as part two.

BEVERLY HILLS NINJA (PG-13) 84 minutes * Chris Farley without David Spade is like... well, it just doesn't work very well. This is mildly amusing, but doesn't have the humor that was in Farley's previous two theatrical films. Nicollette Sheridan and Chris Rock co-star. PG-13 for language.

BEVERLY HILLS WEDDING (NR) 82 minutes * * It's the dream wedding that Molly (Brooke D'Orsay) has always wanted for her sister... or maybe for herself. It becomes clear pretty quickly that Sophia (Emma Johnson) and her fiance (Ben Sullivan) aren't actually all that excited about the venue or all of the trimmings that Molly has planed. It might work for another couple though.

BEWARE OF MR. BAKER (NR) 89 minutes * * 1/2 Ginger Baker was not only the drummer for Cream and Blind Faith, his amazing work was the beginning of a new age of percussion that combined jazz and rock & roll with a hard edge and different rhythms. He is also credited with being the originator of the drum solo. Particular highlights include drum challenges with his son and with Fela Kuti.

BEWARE THE LAKE (NR) 81 minutes BOMB When the new girl attracts the attenion of the football captain, his girlfriend plots a murder. And of course, since Tabitha's (Anja Knebl) is Romanian (and apparently by default, a gypsy), she places a curse on those who killed her daughter. Terrible dialogue, not that the acting or direction are any better.

BEWITCHED (PG-13) 98 minutes * * 1/2 In this modernized version of the classic TV show, Isabel Bigalow (Nicole Kidman) is a witch trying to live as a mortal who ends up playing the part of Samantha on a remake of the Bewitched TV show. It's a cute twist and works fairly well as a way to introduce the idea without being just another remake. Unfortunately, Will Farrell's character of Jack Wyatt is an annoying, egotistical jerk who wants all of the attention and gets too much of the screen time as well. And Shirley MacLaine, who plays an actress playing the part of Endora, doesn't get enough. PG-13 for language.

THE BEYOND (NR) 89 minutes * 1/2 An anomaly in space appears near Earth. Twenty-five years later, it reappears. As more information is uncovered, it becomes clear that someone needs to enter the anomaly. It's the only way they can really learn what it is and what it can do. It will not be an easy process. The story moves between a documentary style and a drama. The stransitions work well, but the material leans toward the dry and dull for too much of the film. It does end well, but it's a tough road to get there.

BEYOND A REASONABLE DOUBT (PG-13) 100 minutes * * Remake of the 1956 suspense film, updated with new technology. Hunter (Michael Douglas) has an impeccable prosecution record and C.J. (Jesse Metcalfe) is suspicious of how that's happening. The set-up and the twist are classic, but events happen too quickly and there are clearly holes in the story that seem even more evident with the addition of modern technology to the story. Douglas' performance is clearly two-dimensional, but the later parts of the film move the story along well, and even though it isn't surprising, there is sufficient suspense to keep us interested. PG-13 for sex, language, and violence.

BEYOND BORDERS (R) 118 minutes * * Sarah Jordan's (Angelina Jolie) heart is touched by a dramatic plea for aid, so she empties her bank account and heads to Ethiopia to help with relief work. What she discovers is a situation even more dire than she had imagined, and one that is comlicated by politics and funding issues. The film is definitely uneven and it feels like too much was left on the cutting room floor. Still, it definitely deals with an emotional subject and does a reasonably good job showing how it affects Sarah. It also had an impact on Jolie as she has become involved in the same issues in the real world. R for violence and language.

BEYOND RANGOON (R) 96 minutes * * * Traveling to the Far East to escape the memories of the recent murder of her husband and child, Laura Bowman (Patricia Arquette) must remain in what is now a military state when she loses her passport. What happens to her as she faces a culture that sees things in reverse from her perspective makes for an interesting story that is very well told. Inspired by actual events, this is a fascinating film that you won't soon forget. R for violence, language, and nudity.

BEYOND SILENCE (R) 107 minutes * * * Lara (Sylvie Testud) has love music ever since she was a child. As she grows older, she finds that it touches her in a way that nothing else does and that she feels she should pursue it as a career. How can she explain this to her parents who are both deaf? Parents who rely on her as their interpreters and are reluctant to let her leave their home. It's a story of dependence and independence that is both inspirational and touching.

BEYOND SKYLINE (R) 100 minutes * * 1/2 The aliens have landed, and the odds seem overwhelming. But their plan has a flaw, and that's all Detective Corley (Frank Grillo) needs. Too much of the film is just people shooting at aliens. There's some good plot early on, and it does come around for a nice finish. This isn't a sequel to "Skyline", but more of a supplement, as it includes some scenes from the first film, just from a different perspective. R for violence and language.

BEYOND THE BLACKBOARD (PG) 96 minutes * * * It was her first teaching position, and Stacey (Emily VanCamp) was excited about the possibilities. But this "school" is a room at the local shelter, with peeling paint, holes in the floor, and no one to care about the students... except Stacey. She's determined not to give up, and her dedication makes a difference. Great work by the younger members of the cast.

BEYOND THE CALL TO DUTY (NR) 98 minutes BOMB A military mission becomes much more when the team ends up encountering zombies. Poor, and very boring script that somehow manages to get in the way of the bad acting.

BEYOND THE EDGE (NR) 116 minutes * * Sent to explore the literal "end of the universe", a scientist and a pilot set out on their journey. Thirteen years later, they arrive. But what lies at the end of the universe? It would appear that reaching the end may allow access to all parallel timestreams. This idea is presented, but not explained very well, and the cast struggles with a less than satisfactory script, both theoretically and practically. By the end, a few pieces have fallen into place that help, but the story drags quite a bit along the way.

BEYOND THE GATES (NR) 109 minutes * * * The story of the Rwandan genocide told through the eyes of an English teacher and a Catholic priest John Hurt and Hugh Dancy both do fine work here, but as with other versions of this story, it is the story itself that overpowers us with its scope and meaning. Filmed in Rwanda.

BEYOND THE GATES (2016) (NR) 79 minutes 1/2 Their father has been missing long enough that Gordon (Graham Skipper) and John (Chase Williamson) need to shut down his old video store. When they stumble across a video board game called "Beyond the Gates", they discover what might have happened to their father. The idea isn't completely without merit, but the low budget ruins most of the effects, and the attempts at acting ruin most everything else.

BEYOND THE LAW (NR) 84 minutes * Frank Wilson (Johnny Messner) left the police force in disgrace. That means he knows the dark side of the law quite well. When his son is killed by the son of a mobster (Steven Seagal), he's not going to stop until the killer is dead. Lots of vengeance killings. Almost no martial arts from Seagal, though he's barely even in the film anyway.

BEYOND THE LIGHTS (PG-13) 110 minutes * * * 1/2 Controlled and manipulated from an early age, Noni (Gugu Mbatha-Raw) has become a success. But it, and she, are fragile. Kaz (Nate Parker) is a different sort of man than she's used to. And he may just help her find what she needs to really take the next step. Really nice work by both Mbatha-Raw and Parker. They are strong performances that look very natural, and are well-supported by the rest of the cast. They also perform their own songs, which adds to the sincerity of the production. PG-13 for sex and language.

BEYOND THE LIMIT (R) 101 minutes * Adapted from the Graham Greene novel, this story of a doctor and how the choices he makes lead him to more and more complicated situations may have been a better book than a movie, though even that is unclear. The pace drags and the characters are difficult to like, though Michael Caine still manages to come through with another strong performance.

BEYOND THE MASK (PG) 98 minutes * 1/2 An old world adventure about the American colonies and an East India company assassin. This overplays its hand and comes off a little too splashy and new, when a darker and more subtle tone would have been more effective. The leads also seem to play this without much depth or skill, which prevents us from connecting very well with the story. PG for violence.

BEYOND THE MAT (R) 99 minutes * * * This is a documentary about what goes on behind the scenes and outside the arena of the modern wrestling scene. The history of the WWF, WCW, and ECW are sketched out through interviews and narration. What's refreshing about this particular piece is that it doesn't shy away from some of the negative aspects. We see Jake the Snake struggling with his addiction to crack and trying to mend the broken relationship with his daughter. We watch as Mick Foley realizes just how upset his children get when they see him get hurt in the ring. There are plenty of exciting and positive moments as well, making this a well-rounded documentary that keeps our attention and leaves us with a better understanding of the sport and industry of modern wrestling. R for violence and language.

BEYOND THE MYTH (NR) 90 minutes * * 1/2 Breed discrimination has had a very negative effect on pit bulls. In fact, there are a number of dog breeds that are all referred to as pit bulls, even though they aren't truly pit bulls. The film also documents how pit bulls are, in fact, no more dangerous than several other breeds of dogs, but that they have been targeted by the media as dangerous despite how trainable and hard-working they are. What seems to be missing here is the information about other breeds of dogs that used to be targeted, such as doberman pinschers and german shepherds.

BEYOND THE REACH (R) 86 minutes * 1/2 Madec (Michael Douglas) is used to getting his own way. An accident on a hunting trip puts him in a tough spot. But his guide has it a little worse. The ending is overly manipulative and completely expected. Adapted from the book "Deathwatch" by Robb White. R for violence.

BEYOND THE SEA (PG-13) 110 minutes * * * Bobby Darin biopic that tells the story with an emphasis on his relationship with Sandra Dee (Kate Bosworth). Told with guidance from his younger self, this is an entertaining piece, with the songs performed by Kevin Spacey. He also managed to direct, co-write, and co-produce as well as write a song of his own for this. Only his first credit as writer and his second as director, this is impressive. His performance offers nothing out of the ordinary, but Spacey's "ordinary" is better than most. PG-13 for language.

BEYOND THE TREK (NR) 87 minutes * 1/2 After contact is lost with a deep space mining ship, a rescue team is sent to find out exactly what happened, and if there are any survivors. The crew of this rescue ship is comprised of genetically modified humans, and they are having some issues of their own. The characters here are impersonal and difficult to relate to. It fits the story very well, but definitely makes it less interesing.

BEYOND VALKYRIE: DAWN OF THE FOURTH REICH (R) 97 minutes * * Operation Valkyrie was an attempt to assassinate Hitler. When it failed, the job of this special ops team shifts. They were going to extract the man expected to lead post-war Germany. Now, they need to stop the Nazi officers who are planning to establish the Fourth Reich. A little on the overly simplified and sentimental side, but not bad. R for violence, language, and nudity.

BEYOND WHITE SPACE (NR) 88 minutes * 1/2 In 2156, there are ships that "fish" in space. They bring back creatures of various kinds. The Essex has just made contact with something very large and unusual. Is it truly one of the dragons of legend that guard the gates of heaven? The crew will need to avoid white space and a band of space scavengers before they can find out. A few good effects here, but they are repeated endlessly. The ending is interesting, but inconclusive.

THE BFG (PG) 109 minutes * * * An orphan girl meets and befriends a nice giant, though initially, she is a little bit concerned about how this all might work out. Together, they must discover a way to stop the man-eating giants who have decided to come to the human world and cause problems. (Because eating people would, of course, cause a few problems.) Ruby Barnhill is delightful and the animation is simply wonderful in this adaptation of the charming and memorable story by Roald Dahl. PG for violence and language.

BHUTTO (NR) 108 minutes * * * The story of Benazir Bhutto's rise to power. Bhutto's personal charisma shows through in the interview footage, and there are also a number of interviews with those who knew her well. It's preented as a mosaic of who she was and what she was trying to do, rather than a strictly descriptive or analytical approach. As a result, it's a powerful and emotional biography.

BICENTENNIAL MAN (PG) 123 minutes * * * 1/2 In the not too distant future, many home may be purchasing household robots to do many of the daily chores. This is the story of the Martin family and their robot, who begins to exhibit some rather unique characteristics. It's also about what it means to be alive, to have freedom, and to pursue your own destiny. Robin Williams does an outstanding job as Andrew, who goes in search of others like himself, only to find that he is unique. Adapted from Isaac Asimov's short story, "The Positronic Man", it's a wonderful tale, beautifully translated to the big screen. James Horner's music and a song by Celine Dion, "Then You Look at Me" highlight the soundtrack. And Oliver Platt delivers a perfect supporting performance too. This is a gem, don't miss it. PG for language.

BIDDER 70 (NR) 70 minutes * * 1/2 The story of Tim DeChristopher's act of civil disobedience, bidding and winning wilderness land in Utah where the U.S. government was planning to allow energy production. Does a nice job covering the details of the case as well as talking about the principles of civil disobedience and the power it can have when people are willing to deal with the consequences.

BIG (PG) 101 minutes * * * 1/2 A wish to be "big" gets a little out of hand as a boy becomes a man overnight. Director Penny Marshall deftly handles the material here, but it's hard to go wrong with a story like this when Tom Hanks is your leading man. A funny and touching look at childhood and adulthood, their differences, and their similarities.

BIG ASS SPIDER! (PG-13) 76 minutes * * Fortunately for the hospital where the "contagion" was mistakenly delivered. Alex (Greg Grunberg) was in the ER. He's a professional pest controller, who just happens to specialize in spiders. True, he's a bit... unconventional in his approach. Silly, but it never takes itself seriously, so it manages to remain fun. PG-13 for violence.

BIG BABY (NR) 74 minutes * A two-year-old gets his hands on his grandfather's invention and turns himself into a 30-year-old. Now, his siblings have to catch him before their parents get home. The obligatory ridiculous villains are here, reminding us that the target audtience is pre-adolescents, who will likely find this very boring and only occasionally amusing.

BIG BAD WOLVES (NR) 105 minutes * 1/2 Three men finds themselves drawn together through a series of violent murders. Very dry and subtle humor, that might have worked better if the pacing of the film didn't drag quite so much.

THE BIG BOUNCE (PG-13) 81 minutes 1/2 Jack (Owen Wilson) is always running a scam, but they never work for long. Everything he does seems to go wrong pretty quickly. Like being in this movie. Despite the heavy-hitting talent involved here, this plods along at a terribly slow pace and has dialogue that just makes you cringe at times. Sara Foster, as the romantic interest, and yet another of the people who all seem to be scamming each other, has loads of great looks... and no acting talent. The beautiful scenery is courtesy of the north shore of Oahu, Hawaii. Adapted from an Elmore Leonard novel, this also features Charlie Sheen, Morgan Freeman, Gary Sinise, and Bebe Neuwirth. PG-13 for language and nudity.

BIG BULLY (PG) 85 minutes * Your first "big" clue that this isn't going to be good is the cast. Tom Arnold and Rick Moranis, neither of whom seem to be able to make a good movie. The story is moralistic goop about a bully and a nerd who grow up and have children who have the same problem but are able to deal with it better than their parents did.

BIG BUSINESS (PG) 93 minutes * Big dud is more like it. This is a one-joke film that loses its strength after about twenty minutes. Bette Midler and Lily Tomlin are wasted here though Tomlin in particular, does have a few gems here and there in the film. Even Lee Holdridge's music seems to fade away after the first few scenes.

THE BIG CHILL (R) 101 minutes * * * * The death of one of their friends serves as not only a reunion for these former college classmates, but as a time to examine their lives and whether or not the priorities they have set for themselves are good ones. Stunningly talented cast, and a brilliant script from director Lawrence Kasdan. R for sex and language.

BIG DADDY (PG-13) 87 minutes * * Sonny (Adam Sandler) has a relationship that's on the rocks, but the perfect solution may have just shown up on his doorstep. Now he has a chance to be a responsible adult. Of course, it isn't so easy being a father, as he quickly discovers. It's too bad this reverts to the toilet humor that was Sandler's early trademark instead of moving toward more sophisticated humor. The story has a lot of potential and Sandler definitely has the talent, but it's barely evident here. PG-13 for language.

THE BIG EASY (R) 97 minutes * * Dennis Quaid and Ellen Barkin star in this story of police corruption in New Orleans. The story doesn't really offer us anything new, but Quaid and Barkin do nice work here except for the accents. If they weren't going to cast someone from the area, they should have rewritten the part.

BIG EYES (PG-13) 100 minutes * * 1/2 Margaret's (Amy Adams) paintings had never drawn much attention until Walter Keane (Christoph Waltz) came along. It became clear all too soon though, that what Walter really saw was a way to promote himself. The more successful the paintings became, the more that success fed his ego, and the more pressure it put on their relationship. PG-13 for language.

BIG RIVER (NR) 85 minutes * 1/2 Not one of Stephen King's better stories. Tess (Maria Bello) takes a detour and finds herself prisoner of the twisted man who stopped to "help" her. She gets revenge. Bello does a nice job giving her character some depth, but the story just doesn't have far to go, and we know where it's headed.

BIG FAN (R) 85 minutes * * Paul (Patton Oswalt) is one of the Giants biggest fans. But when he gets assaulted by their quarterback, he's in a tough spot. His favorite team could be dramatically affected by his decision. What will he do? Oswalt has a difficult time carrying this film, especially when it's unclear how much sympathy we're supposed to feel for the predicament he's in. R for language and sex.

A BIG FAT FAMILY CHRISTMAS (NR) 84 minutes * * 1/2 It's a chance to have her photography featured on the front page. It will mean working with the new guy (Shannon Kook), but even more frightening for Liv (Shannon Chan-Kent), it's a story about her own family. Nice work by Chan-Kent.

BIG FAT LIAR (PG) 83 minutes * * Jason (Frankie Muniz) has a problem with telling stories. It's just a natural talent, but it's gotten him into trouble one too many times and now his parents don't believe him anymore. He's going to have to go to Hollywood with his friend Kaylee (Amanda Bynes) and convince a movie producer to call up his dad and admit that he stole Jason's idea for his movie. It's a kid's adventure film, reasonably entertaining, with lots of movie-making in-jokes mixed in with the fluff. Filmed mostly at Universal Studios themepark in California. PG for language.

BIG FISH (PG-13) 117 minutes * * * 1/2 This is the story of Edward Bloom (Albert Finney/Ewan MacgGregor), a teller of tall tales. His story is full of imagination and magic, just like yours and mine if we're willing to see it that way... Edward's son Will (Billy Crudup) doesn't see it that way though, and now that his father is dying, he feels like he's never really known his father at all. Edward was a man whose life was filled with stories. Stories that were told so often, that he became them... and in their continued telling, he lives on. Director Tim Burton has done it once again, creating a story that is both poignant and sentimental and telling it with wit and charm. All of us have stories to tell, and Burton has a talent for using the screen to tell his in a way that few others do. The only problem at all here is that the film does start off a little awkwardly and it takes a few minutes to get rolling. Filmed in Alabama and Paris, France. PG-13 for language and nudity.

BIG FISH & BEGONIA (PG-13) 95 minutes * * * There is another world, connected to and yet separate from that of humans. The beings who live there control time and all things connected to it. They are allowed to visit the human world for seven days when they reach the age of sixteen. This is the story of an encounter that is not supposed to happen, and yet because it does, there are two who will forever be connected. There is a balance in all things. A timeless story of love and connection, beautifully animated. PG-13 for nudity.

THE BIG FIX (NR) 88 minutes * * * The Gulf Oil Spill wasn't much of a surprise to some people. BO had a poor safety record and was keeping pace with the rest of the industry as far as greed for power and profit. This documentary details how they continued to ignore warning signs until it was too late. It also takes a look at the power of the oil industry and it's lobbying efforts in general. It's not a pretty picture, but the information is well-presented.

BIG GAME (PG-13) 78 minutes * * When the president's plane goes down, it doesn't take too long to figure out that it isn't an accident. Now it's up to a 13-year-old boy going through his wilderness coming-of-age experience to rescue him. Bits of humor here and there try to temper the rather outlandish storyline, with limited success. The story moves along very quickly, which also doesn't allow for much in the way of character development either. PG-13 for violence and language.

BIG GEORGE FOREMAN (PG-13) 122 minutes * * * Options were limited for George (Kei Rawlins/Austin David Jones/Khris Davis). He was always better at fighting than anything else. Quickly rising to the top was a fun ride while it lasted, but then things changed. But George still had more fight left in him than anyone expected. Very nice work by Davis iin this solid bio-drama. PG-13 for violence.

BIG GOLD BRICK (NR) 129 minutes * * * One night while driving, Floyd Deveraux (Andy Garcia) hits Samuel (Emory Cohen). His recovery process will be a long one. When Floyd learns that Samuel is a writer, he brings Samuel into his home and commissions him to write his biography. The film takes quirky to a new level... sort of. We've seen quirky like this before, but not in a film that pretends to be so normal. Garcia anchors that normality. And Cohen's character drifts through, never all that sure of what is real and what he is imagining. Definitely not for everyone, but a remarkable first feature from writer/director Brian Petsos.

THE BIG GREEN (PG) 95 minutes * 1/2 Disney's formula story of misfit kids getting together to form a winning team is getting old and boring. This time it's a soccer team and Steve Guttenberg is the local sheriff. Yawn.

BIG HERO 6 (PG) 92 minutes * * * A mysterious masked man steals Hiro's (voiced by Ryan Potter) microbots and uses them for evil purposes. He decides to use a modified version of the health care robot that his brother designed, along with some modified suits for some friends, to save the day. The title refers to the name of the group these friends form, that will continue to fight the forces of evil. (ie. sequels) There is a treat for those who watch to the end of the credits. Fun humor, and an entertaining story, even though the setup for a sequel is a little annoying. PG for violence and language.

THE BIG HIT (R) 87 minutes * 1/2 A couple of members of a hit squad decide to make a little extra money on the side and do a kidnapping. The only problem is that the girl they end up kidnapping is the goddaughter of their boss. The mix of mafia action and satirical comedy just doesn't work here. At times, usually the scenes with Mark Wahlberg, it's not too bad. But at other times, usually the scenes with Lou Diamond Phillips, it's almost unbearable. China Chow steals what little there is of this show as the smart-mouthed kidnap victim. R for violence, language, and nudity.

BIG IN JAPAN (NR) 96 minutes * * * A small rock band that never seems to have much luck, hires an "agent" who thinks they should try their luck in Japan. His questionable connections don't appear to be of much help at first. Silly and even a little ridiculous at times, but this film also has a tender and sweet side that begins to find its way to the surface after awhile.

BIG KILL (R) 123 minutes * * 1/2 Big Kill is a small town on the rise. The trouble is that it's rising on the wrong side of the law. In particular, that would be due to a dangerous preacher (Jason Patric) who has a violent and deadly manner of dealing out justice, and a gunslinger (Lou Diamon Phillips) who shoots first and doesn't really ask any questions. When a gentleman from the east and two gambling drifters come to town, things reach a tipping point. A bit of a shaky start, but this ends very well. R for violence, sex, and language.

THE BIG LEBOWSKI (R) 112 minutes * * * 1/2 A case of mistaken identity sends Jeff Lebowski (Jeff Bridges), better known as "The Dude", off on a bizarre series of events. In fact, the further along he gets, the more strange the circumstances seem to be. Was Bunny really kidnapped? Who has the million dollars? And who is following the dude in that blue Volkswagen? The characters are typical of the Coen brothers, and are well-acted from the very beginning. John Goodman, Steve Buscemi, and Julianne Moore round out the main cast in this bizarre tale that is a real treat for those who enjoy their films on the more original side of things. R for language, violence, and nudity.

BIG LEGEND (NR) 88 minutes * 1/2 The forests of the Pacific Northwest provide the setting for Tyler (Kevin Makely) to propose to his girlfriend. She says "yes", but later that night, there's an attack. A year later, he's still looking for answers, and returns to the location where she disappeared. This starts well, but then gets a little dull before it finally picks up again near the end.

BIG MAN JAPAN (PG-13) 102 minutes 1/2 In times of stress, or anger, Masaru Daisato (Hitoshi Mastumoto) transforms into a giant. At other times, he shrink back to normal size. At the moment, he's being followed around by a film crew and is being interviewed, when he isn't battling other monsters. The fight scenes are mildly interesting, especially if you enjoy Godzilla movies, but the material between the fights is incredibly tedious. PG-13 for violence and langauge.

BIG MIRACLE (PG) 95 minutes * * 1/2 Always hoping he'd find "the" news story that would give him a shot at the big leagues, Adam (John Krasinski) discovers three whales stranded in the ice near Barrow, Alaska. Everyone gets involved, including his former girlfriend, which may or may not be a good thing. The story flirts with deeper meaning and emotions, but shies away from it at almost every turn, opting for light humor instead. Adapted from the book, "Freeing the Whales" by Thomas Rose. PG for language.

BIG MOMMA'S HOUSE (PG-13) 92 minutes * * Malcolm (Martin Lawrence) is used to being in the middle of the action. So he's not too thrilled when he and his partner are assigned to watch a house where an escaped convict might show up. It's a tired script that only manages to give us a few moments of humor or excitement. Lawrence, Nia Long, Terrence Howard, and the rest of the cast do their best, but in the end, it just isn't enough. PG-13 for language and nudity.

BIG MOMMA'S HOUSE 2 (PG-13) 94 minutes * 1/2 On the job again, Big Momma is doing the nanny thing and rescuing a family while catching the bad guys. Interesting mix of comedy, action, and sentimentality that works better than you might think, mostly due to the talents of Martin Lawrence. There are definitely holes in the story, and it's overly sentimental toward the end, but it does have a few more moments of humor than the first. PG-13 for language.

BIG MOMMA'S LIKE FATHER LIKE SON (PG-13) 99 minutes * * 1/2 Big Momma goes undercover at a girl's sorority along with her "niece". This is one of those odd series, where they actually seem to be getting a little better. The action sequences are fairly good here and the supporting performances do a nice job of helping Martin Lawrence and the pacing works well too. No Academy awards here, of course, but this third entry in the series is the most entertaining so far. PG-13 for language and violence.

BIG NOTHING (NR) 77 minutes * * * Are you ready for some twisted fun? Charlie (David Schwimmer) is unemployed and frustrated. His new buddy Gus (Simon Pegg) has some ideas about how to make money. but his plans seem to have a way of not turning out exactly like they should. If you enjoy films like "Lock Stock and Two Smoking Barrels" and "Snatch", you'll probably find this fun as well. Schwimmer is a little less annoying than usual here, and Pegg is terrific. There's even a cute little twist at the end.

THE BIG PICTURE (NR) 105 minutes * * * Paul (Romain Duris) seems to have the perfect life. But when he not only discovers that his wife has been cheating, but kills her lover, it’s all going to disappear. Assuming the dead man’s identity, he tries to start over. In the end, he will learn something that he never expected. Well-played drama with solid acting throughout. The story is intense enough to keep our interest, but also light enough to keep us entertained.

THE BIG SHORT (R) 124 minutes * * * Featuring pretty much everything you need to know to understand the financial crash of 2008. Informative and entertaining, with some fun "asides" as the story moves along. There are several nice supporting roles here, butt he story itself is really the star, and the script does a very good job of letting us know that. R for language, and sex.

BIG SHOTS (PG-13) 84 minutes * * Kid from the suburbs runs away after his father's death and ends up making friends with a young con-artist on Chicago's south side. Their adventure together includes gangsters and close calls as they search for the other boy's father. Very nicely cast film though the target audience here is a bit hard to figure out. The language is a bit rough for the younger kids, but older ones probably won't be that interested.

THE BIG SICK (R) 118 minutes * * * Kumail (Kumail Nanjiani) and Emily (Zoe Kazan) fall in love. His family doesn't approve, and they struggle with that, along with other cultural differences. When she contracts a mysterious illness that results in her being placed in a coma, Kumail finds himself having to deal with her parents, and with his own feelings. Very nice work by Nanjiani, and several nice supporting performances. Based loosely on Nanjiani's life, and the writing captures that quite nicely. R for language.

BIG SKY (NR) 90 minutes * * ½ Hazel (Bella Thorne) is on her way to a treatment center with some other patients when their van is attacked. The kidnapper’s don’t even realize she is there, because her agoraphobia is so intense that she’s in a small compartment in the back of the van. But now she has to find a way to get help. And the sky is so big. Taking advantage of the story and the setting, this film does a nice job of creating intensity and a strong character while keeping the budget modest. A simple, but effective film.

BIG SKY RIVER (NR) 83 minutes * * 1/2 Taking a break from the big city as well as her ex, Tara (Emmanuelle Vaugier) is spending some time in the country. That's where she meets Boone (Kavan Smith), who recently lost his wife. Each dealing with their own grief, they will need to take a new relationship slowly, but it looks like it just might be what both of them need.

BIG STAN (R) 99 minutes * 1/2 Stan's (Rob Schneider) business practices have landed him in prison for three to five years. He does manage to get a short reprieve, so he has a chance to get ready for what's about to happen. He realizes that the only way he'll survive in prison is to be the toughest, meanest person there. It won't be an easy task. There are a number of funny bits here, but many that aren't so funny and a few in poor taste as well. The biggest problem is just that it begins to drag on after a bit. R for sex and language.

BIG STAR: NOTHING CAN HURT ME (PG-13) 107 minutes * * * Despite never achieving mainstream success, the band, "Big Star" continues to have a tremendous amount of influence on pop, rock, and alternative musicians. It's a very fitting tribute that does a great job of mixing history and accolades. PG-13 for language.

BIG STONE GAP (PG-13) 96 minutes * * * 1/2 Ave (Ashley Judd) isn't quite sure when it happened, but she's now the "spinster" of Big Stone Gap. It actually doesn't bother her that much, but when an old family secret resurfaces, everything is going to change. Gret cast, and a very nice feature film debut for writer/director Adriana Trigiani who was born in Big Stone Gap. PG-13 for language.

BIG TIME MOVIE (NR) 61 minutes * * Big Time Rush is about to start their world tour... unless something goes wrong. It's sort of an Austin Powers with Beatles music for the tween crowd. There are a few Big Time Rush songs here too, and of course, fans of the group will enjoy this, but for the rest, it's just harmless and not very memorable.

BIG TOP PEE-WEE (PG) 80 minutes * * Pee-Wee Herman (Paul Reubens) goes to the circus in this love story for kids... sort of. Some of the humor is a bit on the adult side. Herman's typical humor is a bit toned down here in favor of the love story, which makes it a more tolerable for the adults. There are plenty of cute animal tricks and a nice performance from Valeria Golino as the love interest. Reubens does the actual singing for "The Girl on the Flying Trapeze".

THE BIG TOWN (R) 106 minutes * * Based on the novel "The Arm" by Clark Howard, this is the story of gutsy farm boy J.C. Cullen (Matt Dillon) who has made it in Chicago as a dice player. Nice film noir piece with solid dialogue and performances though the story needs a bit more depth. Cast also includes Diane Lane, Tommy Lee Jones, and Bruce Dern.

THE BIG TRIP (G) 80 minutes * A very grumpy bear is the mistaken recipient of a baby panda. A rabbit, a wolf, and a tiger decide to help the grumpy bear as he sets out to deliver the baby panda to its rightful parents. The story has quite a few characters that are annoying, negative, or just not very likeable. It's difficult to see how most small children would be very interested in this.

BIG TRIP 2: SPECIAL DELIVERY (PG) 86 minutes * Entrusted with delivering a grizzly bear cub to its expectant parents, Patrick and Oscar embark on another adventure. Similar story to the first film, and none of the characters have become any more likeable than they were in the first film. PG for language.

BIG TROUBLE (PG-13) 78 minutes * 1/2 Rarely has the title of a film been so fitting... early screenings of this were not received well, so it went back to the editing room. Then it was delayed due to the unfortunate events of September 11, 2001 because it does deal with a bomb being on an airplane. Before finally being released, they apparently cut a little more footage. The final result feels like it's been hacked to pieces. Without the talented cast it boasts, it would fare even worse. It's adapted from Dave Barry's novel and features the talents of Tim Allen, Rene Russo, Jason Lee, Dennis Farina, Tom Sizemore, and Janeane Garafalo. It begins a a mildly amusing comedy of errors, but as it continues, it grows less and less amusing and the damage done by the editing grows more obvious. PG-13 for language and violence.

BIG TROUBLE IN LITTLE CHINA (PG-13) 95 minutes * * * ½ All Jack (Kurt Russell) was trying to do was to help a friend. But Wang Chi’s (Dennis Dun) fiancée is also desired by the evil sorcerer David Lo Pan (James Hong). The stage is set for an epic adventure and battle. Great fun, and the sort of adventure that Russell is very comfortable with. The script, written by Gary Goldman and David Z. Weinstein and adapted by W. D. Richter is a gem, filled with a campy realism that is not easy to achieve.

THE BIG UGLY (R) 100 minutes * * 1/2 Looking for a way to launder money, some London mob bosses find themselves in an oil deal in West Virginia. They aren;t mixing very well with the locals. Still, there may be a way for some of them to find at least a little common ground. The premise isn't very convincing, and the film relies heavily on stereotypes, but the cast does a nice job. Featuring Vinnie Jones, Malcolm McDowell, Ron Perlman, and Bruce McGill. R for violence, language, and sex.

THE BIG WEDDING (R) 83 minutes * * * Though they've been divorced for awhile, for the sake of their adopted son's biological mother, who is coming to see her son get married, Don (Robert DeNiro) and Ellie (Diane Keaton) agree to pretend to still be married. It's not going to be easy. Nothing much to surprise us in the story here, but the characters are fun, and the cast works well together. Based on the film Mon Frere se Marie. R for language and sex.

THE BIG WHITE (R) 100 minutes * * 1/2 Paul Barnell (Robin Williams) may have just discovered a way out of his dead end job as a travel agent in a small town in Alaska. He has a life insurance policy on his brother, who hasn't been seen in a few years, and then he just happens to find a body in a dumpster... pretty simply solution, right? Except for the unforgiving insurance investigator (Giovanni Ribisi), the guys who are responsible for the body in the dumpster, and the untimely return of his missing brother (Woody Harrelson). Think "Fargo" meets "Northern Exposure" and you'll have an idea of what to expect, though this runs out of steam before we get to the end. Filmed in Manitoba and Yukon, Canada and in Alaska. R for language, violence, and sex.

THE BIG YEAR (PG) 95 minutes * * 1/2 A new year has begun, and that means the birding record is about to be challenged. Will Kenny (Owen Wilson) be able to hold on to the record, or will veteran birder Stu (Steve Martin) or newcomer Brad (Jack Black) be able to take the lead? Wonderful cast with several big name actors in bit parts. Nice mix of humor and charm, which isn't something Wilson or Black are particularly known for. PG for language.

BIGFOOT CHRONICLES (NR) 92 minutes BOMB A documentary filmmaker decides to make a film about bigfoot, almost more intent on proving nothing is there. Of course he encounters the creature. The sound quality is horrible, but then again, most of the production seems to have been paid for with pocket change. Occasionally there is a faint glimmer of acting talent from someone, but that appears to be just luck.

BIGFOOT COUNTRY (NR) 76 minutes * Four minutes of opening credits with no story is not a good way to start. We quickly find ourselves watching quite a bit of nature footage with very little acting, though considering the quality of the acting that we do see, that may be a good thing. Somehow, despite the bad acting, dialogue, and photography, this manages create a fair amount of suspense. The ending doesn't really fit though.

GIGFOOT'S BRIDE (NR) 72 minutes BOMB Wandering around the woods, killing the occasional human or animal, bigfoot's life is pretty simple. When he comes across Judy (Jordan Phipps), that all changes. Now he's in love. It's unclear why the need was felt to call this creature "bigfoot", as he does not really fit the typical description of a bigfoot. He looks more like a deformed human. (And he speaks English.) Lots of footage with no dialogue, and lots of times when it's puzzling that bigfoot can see people so clearly, but they can't see him.

BIGGER (PG-13) 103 minutes * * * Joe Weider (Tyler Hoechlin) had a dream. The human body is an amazing creation, and with the proper conditioning, it can accomplish fantastic things. Joe and his brother wee two poor kids with grit and determination, and they launched an empire. Well-done bio-drama, showing both the successes and challenges that they faced along the way. PG-13 for language and violence.

A BIGGER SPLASH (R) 120 minutes * * 1/2 Marianne (Tilda Swinton) and Paul (Matthias Schoenaerts) are taking a break from their hectic lives on a remote island near Italy. The unexpected arrival of an old friend and his daughter threatens to do more than ruin their brief moment of peace. Good acting, but the story tends to drift between plots without really choosing a central one. R for sex and language.

BIGGER THAN THE SKY (PG-13) 102 minutes * * Fans of the theater will enjoy this light comedy about life, love, and the art of acting. All Peter (Marcus Thomas) wanted was a small part in a play and a chance to meet some new people. Instead, he gets the starring role in a production of Cyrano de Bergerac and a crush on his co-star. Amy Smart and John Corbett do nice work here, and the story, though simple, is nicely told. PG-13 for language.

BIKER BOYZ (PG-13) 106 minutes * * Some very nice motorcycle stuntwork here, though the story is a little on the thin side. Kid (Derek Luke) isn't like his father. He won't be a bike mechanic, he wants to run the whole crew, so he starts his own club, the "Biker Boyz" and begins to challenge the "authority" of Smoke (Laurence Fishburne). The difference between men and boys is the lessons they've learned about honor, respect, and family. The actors all do nice work here, but the story lets them down. Orlando Jones, Lisa Bonet, Brendan Fehr, and yes, even Kid Rock, all do a good job. Based on a magazine article. PG-13 for language and violence.

BILAL: A NEW BREED OF HERO (PG-13) 105 minutes * * * Bilal and his sister are kidnapped and taken far from their home. They find that their world is no longer one of kindness and justice, but one of violence and greed. One day the opportunity for change will come, and Bilal will find himself at the center of that moment. Nice work with the animation, but it's the strength of this historical story that makes this film both interesting and memorable. PG-13 for violence.

BILL (NR) 85 minutes * * Shakespeare, that is. Literary comedy that explores the time right before he became so well known. This strays a bit too often into drama, where it loses the energy of the more comic scenes. It does end well, though it's less humorous overall than it should have been.

BILL AND TED FACE THE MUSIC (PG-13) 83 minutes * * 1/2 Time is running out for Bill (Alex Winter) and Ted (Keanu Reeves) to save the universe with their music. They decide to go and find their future selves and get it done that way. It's kind of like cheating, but hopefully no one will notice. Thankfully, their daughters (Samara Weaving and Brigette Lundy-Paine) come to the rescue. A fun sequel with a nice message about the ability of music to bring people together. More cameo appearances would have been nice, but Lundy-Paine's supporting performance is quite good. PG-13 for language.

BILL AND TED'S BOGUS JOURNEY (PG) 86 minutes * * The boys travel to Heaven and Hell as they battle robot imitations of themselves in an effort to save the universe. Low-budget comedy sequel is written all over this, but it still manages to be creative in spots.

BILL AND TED'S EXCELLENT ADVENTURE (PG) 87 minutes * * * Bill and Ted are far from the brightest guys you'll meet, but they do have fun. Light-hearted and surprisingly effective story with engaging performances from Keanu Reeves and Alex Winter. Don't forget... "be excellent to each other and party on, dudes!" PG for language.

BILL CUNNINGHAM NEW YORK (NR) 82 minutes * * 1/2 Photographer Bill Cunningham has documented New York society, culture, fashion, sub-culture, and much more. Interviews with him and those who have known and worked with him over the years work to create an interesting picture of a unique personality. It's interesting, but does tend to meander rather than have much direction.

BILLIE (NR) 93 minutes * * * After years of research and interviews on legendary blues and jazz singer Billie Holiday, the book that Linda Lipnack Kuehl was working on was never finished. Despite that, the work she did has been extraordinarily helpful in understanding Billie because of how many people she interviewed who are now gone. This film is about both Billie and about Linda, who was determined to understand the real Billie Holiday.

BILLIONAIRE BOYS CLUB (R) 93 minutes * * A group of young men in Los Angeles make a plan on how to get rich. It's a financial game, and it turns deadly far more quickly than they thought possible. The acting is quite good, but the only character who gets any sympathy from us is Joe (Ansel Elgort), and he's so ineffectual that our sympathy is brief and passing. R for language, violence, and sex.

BILLY BATHGATE (R) 103 minutes * * * Tom Stoppard does an absolutely wonderful job of translating E.L. Doctorow's novel to the screen. The film is packed with story and does a fine job of telling the story of Billy, a boy who stumbles into the world of gangsters and climbs up the ladder. Dustin Hoffman, Nicole Kidman, Loren Dean, and Bruce Willis all deliver solid performances for us too. The only downfall is that the energy level seems a bit low. Since we've seen this story so many times, that lack of energy keeps the film from having the impact on us that it needs to for us to really be impressed. R for violence and language.

BILLY CLUB (NR) 85 minutes * When they were children, a disturbed killer murdered three members of their little league team. Fifteen years later, the maniac is back (from the dead), and out to get the rest of the team. There are some interesting scenes early on, but then the pacing starts to drag, and the story struggles to hold our interest after that.

BILLY ELLIOT (R) 111 minutes * * * Eleven-year-old Billy finds himself fascinated by the ballet. He secretly starts to take lessons, but when the news finally reaches his father, Billy must fight for the right to pursue his dream. It's a wonderful story of self-discovery, though too much time is spent on subplots that distract us from the main story. For those who understand the power of dance and the creative spirit, this is a must-see. R for language.

BILLY LYNN'S LONG HALFTIME WALK (R) 108 minutes * * * 1/2 When Billy's (Joe Alwyn) company is brought back to the United States for a victory tour, it's not all sunshine and roses. This does a better job than most in this genre in talking about the contrast between military and civilian life. No matter where you find yourself in regard to whether a particular military conflict is "right" or not, once it has begun, it already is. The important piece (for this film/story) is to love and respect one another for the choices that have been made. To be sure, this leaves out the perspective from the other side of the conflict, but it goes a long way to addressing a unifying respect and support on one side of the fence. R for language, violence, and sex.

BILLY MADISON (PG-13) 86 minutes 1/2 Billy (Adam Sandler) must go back through all twelve grades of school and graduate before he can take over his father's business. Once again, material for a couple of skits on Saturday Night Live are stretched into a weak film without that many laughs. Sandler is a good comedian, but needs to find some good direction.

BILLY: THE EARLY YEARS (PG) 83 minutes * * 1/2 Robby Benson directs this straight-forward bio-pic about evangelist Billy Graham (Armie Hammer). As the title notes, the focus here is on the beginning of Graham's career in the ministry. The signs are evident while he is in high school, and the film follows him through his first major crusade in 1949. Solid performances all around, though the dialogue is a bit stiff at times. PG for language.

BILLY THE KID: NEW EVIDENCE (NR) 83 minutes * * * In 2010, a tintype was discovered that appeared to be an image of Billy the Kid and his gang. But is it actually who it appears to be? This is the story of the authenticating process to determine if the tintype is genuine. Mixed in to the story are details about Billy the Kid and those around him. A fun and interesting journey, narrated by Kevin Costner.

BILLY THE KID: SHOWDOWN IN LINCOLN COUNTY (NR) 79 minutes BOMB The title is basically the plot, though calling it a plot gives it more credit than it deserves. Ultra low-budget, and it shows. That means not only the acting and script are of poor quality, but things like editing, photography, and sound even show a severe lack of experience. There also seems to ba a desire by the filmmakers to create roles for everyone they knew who had a few minutes to spare. The film is overly populated with random characters who serve no purpose.

BILOXI BLUES (PG-13) 103 minutes * * * This second entry in Neil Simon's autobiographical trilogy follows Eugene (Matthew Broderick) through his basic training for the Army. Simon has a flair for telling a story that translates well on stage or screen and the talented cast does a wonderful job under the direction of Mike Nichols, bringing it all to life. Matt Mulhern and Corey Parker deliver particularly good performances.

THE BINDING (NR) 85 minutes 1/2 Bram (Josh Heisler) is having visions. He claims that they are from God. He won't tell anyone very much, but part of it is that he will need to kill his infant daughter to prevent the apocalypse. Far-fetched story that goes in circles and doesn't end well. The performances are mostly fine, but because of the story, it's very disappointing.

BINGO (PG) 86 minutes BOMB Extraordinarily boring and totally unbelievable film about a dog... who needs a better agent than the one who landed him this role! Even the music in this film is irritating.

BIO-DOME (PG-13) 91 minutes * Like most of Pauly Shore's projects, this is mostly forgettable fare with Stephen Baldwin as his equally air-headed buddy. They get trapped in a biosphere and wreck a science experiment. There were some good ideas here, but somehow they got lost along the way.

BIOSPHERE (NR) 103 minutes * * * They are the last two people on the planet. Ray (Sterling K. Brown) and Billy (Mark Duplass). When the last of their female fish dies, the reality of what is happening begins to set in. But then one of the fish changes. Someone else might be changing too. An interesting exploration of a possibility. There is comedy here, but it's there to help the characters (and us) deal with the tension of a topic that is both unique and meaningful. Nicely done, and one of Duplass' best performances.

BIRD BOX (R) 117 minutes * * It happens suddenly. If you see it, you have an overpowering urge to die. But no one knows exactly what it is. Good intensity throughout, despite some rather gaping holes in logic. Those holes aren't really ever filled in, even at the end. As is fairly typical, Sandra Bullock's performance lends a sense of realism to the story and helps us suspend our disbelief more than we otherwise might. Adapted from the book by Josh Malerman. R for language, violence, and sex.

BIRD ON A WIRE (PG-13) 104 minutes * * * Rick Jarmin (Mel Gibson) has been under the FBI's witness protection program. Unfortunately, it turns out that someone on the bureau is working for the bad guys now and they want Jarmin dead. Enter Marianne Graves (Goldie Hawn) who almost married Jarmin a few years ago. Now she finds herself on the run with him. It's a wild chase with lots of action and a bit of comedy. Of course the story is a bit hard to believe, but Hawn and Gibson make it fun to watch. PG-13 for language and violence.

BIRD PEOPLE (NR) 124 minutes * * With no apparent reason to give as the cause, Gary )Josh Charles) suddenly decides to leave everything. His job, the deal he was suppsed to close, his wife and kids... We also meet Audrey (Anais Demoustier), a hotel maid who isn't as satisfied as she first appears to be. Heavy on symbolism and light on plot, the imagery here is beautiful, but connecting it to something more meaningful is less satisfactory.

BIRDBOY: THE FORGOTTEN CHILDREN (NR) 72 minutes * * 1/2 Once upon a time, life was better. Three children leave home to search for a place where that might still be true instead of just being a faint memory. Very dark and depressing in tone until the end, and even then, it's not what you would necessarily call a "happy" ending, but it does move closer to that idea.

THE BIRDCATCHER (NR) 94 minutes * * 1/2 Esther (Sarah-Sofie Boussnina) finds herself alone and on the run in Nazi-occupied Norway. She hides out on a farm, pretending to be a boy. The family she stays with has a number of issues which help distract attention from her, but eventually, her secret will be discovered. The story is a bit shaky, but the performances are strong enough to keep our attention.

A BIRDER'S GUIDE TO EVERYTHING (PG-13) 82 minutes * * 1/2 David (Kodi Smit-McPhee) is a dedicated birder. The club at school is rather small, but David may have just discovered a duck previously thought to be extinct. They need to get a picture of it, but an expedition is likely to interfere with David's participation in his father's wedding. Sincere performances help this, but the story has a forced and sometimes abrupt feel to it, which is partly the script and partly editing. PG-13 for language and sex.

BIRDMAN (R) 112 minutes * * * 1/2 Riggan (Michael Keaton) used to play a popular action hero in the movies. He's older now, and directing and starring in a Broadway show. In his mind, it's more prestigious and artistic. Of course, his mind is also still telling him that he's Birdman. He also has to deal with an amazingly talented but difficult to control actor (Edward Norton), a tempermental daughter (Emma Stone), and a mix of romantic/sexual relationships... and, well... Amazing work by Keaton, with fantastic support from Norton, Stone, Naomi Watts, and Zach Galifianakis, and the rest. An Oscar winner for best picture, director, cinematography, and screenplay, those who have a background in theatre will find yet another layer to the story. R for language, sex, and violence.

THE BIRDS (NR) 120 minutes * * * 1/2 Not for the squeamish, this 1963 thriller is still a scary treat to watch! Along with "Psycho", it's one of Alfred Hitchcock's best known films. Make sure all the windows are closed before you start watching! Based, albeit loosely, on a short story by Daphne DuMaurier, this is a film that will stick with you for a long time.

BIRDS LIKE US (PG) 78 minutes * * The opening is very visually impressive and creative. Then the film starts. The animation does improve later, but it's a rather strange mix, moving between character driven story and image driven story, the later of which is not appealing to young children. The story is about a group of birds who who know nothing of life beyond the tree they live in. They decide to venture out on their own, risking their sense of security in search of something better. Inspired by "Conference of the Birds" by Farid-ud-Dai Attar. PG for language.

BIRDS OF AMERICA (R) 80 minutes * * * * Morrie (Matthew Perry) became the man of the house when he was eighteen. That meant being responsible for raising his little sister and brother. They turned out to be... unique. They are all together once again, and it's driving Morrie crazy very quickly. They are a genuinely dysfunctional group of siblings. Then again, "functional" doesn't necessarily mean "good", does it? A truly fascinating group of characters, very well performed by Perry, Ginnifer Goodwin, and Ben Foster. And a script by Elyse Friedman, that does a perfect job of capturing the insanity of family and siblings who truly do love each other. Nice work! Filmed in Norwalk, Connecticut. R for language and sex.

BIRDS OF PREY: AND THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN (R) 101 minutes * * * Now that Harley (Margot Robbie) has finally decided to part ways with The Joker, there's no one to make things easy for her. She's going to have to learn to take care of herself. So, when Roman Sionis (Ewan McGregor) starts causing trouble, Harley finds herself working with Black Canary (Jurnee Smollett), The Huntress (Mary Elizabeth Winstead), and Renee Montoya (Rosie Perez) to get things done. Nice fight choreography and stunt work. There are also a number of bits of humor worked into the script to keep the mood light and fun, which is in juxtaposition with how violent Harley (in particular) can be. Robbie does a great job with a character that she has definitely made her own. R for violence, language, and sex.

BIRDSONG (NR) 164 minutes * * 1/2 One might not expect the trenches of WWI to bring back memories of a pasisonate love affair, but the place where Stephen (Eddie Redmayne) is fighting is very close to the place where he fell in love. A BBC wartime love story, this is a little uneven during the first hour as it moves between the love story and the war, though it manages to settle out well enough by the midpoint of the film.

BIRTH (R) 94 minutes * * Anna's (Nicole Kidman) husband dies while jogging in Central Park. Ten years later, as she's about to get married, a boy shows up who claims to be Sean... her husband... and she can't keep from wondering... could it be true? The dream-like atmosphere of the movie is enhanced by a soundtrack that has a mesmerizing quality. Cameron Bright, who plays the young Sean has a haunting quality all his own, and does a nice job here, as does Kidman. But the script falls short of doing the idea of reincarnation justice, choosing instead to dwell, rather uncomfortably, on the possible sexuality of the relationship and the awkwardness it presents. R for language and sexual themes.

THE BIRTH OF A NATION (R) 110 minutes * * * This is not a remake of the classic and very controversial silent film that was a history of the borth of the Ku Klux Klan. This is a history that focuses on Nat Turner (Nate Parker), an educated slave, preacher, and leader of what would soon become an uprising. Parker also wrote the script and directed the film, which he handles well. R for violence and nudity.

BIRTH OF THE DRAGON (PG-13) 88 minutes * * * Nine years before "Enter the Dragon". When Wong Jack Man (Yu Xia) shows up in the United States, everything Bruce Lee (Philip NG) has worked for is put at risk. There has to be a fight, and he has to win. This presents a much more egotistical version of Lee than we usually see. The purpose would seem to be to emphasize the effect that the fight with Wong Jack Man had on him. Great fight sequences, and strong performances by Yu Xia and Philip Ng. Wong Jack Man served as a consultant for the film. PG-13 for violence and language.

BIRTH OF THE LIVING DEAD (NR) 72 minutes * * 1/2 In depth history and critique of the original "Night of the Living Dead", and the effect it had, and continues to have on horror films in general and zombie films in particular. Nothing new here for fans of George Romero's work, but those who are newer to the genre will find this informative and interesting.

THE BIRTHDAY CAKE (R) 85 minutes * * It's an old tradition. A celebration at the home of Brooklyn's last mafia boss. Giovanni (Shiloh Fernandez) will bring the cake, though he doesn't really want to go to the party. Gio has a good heart, but he doesn't really fit in with his Uncle Angelo (Val Kilmer) or the rest of his family. Good production values and a great cast. The story leaves us with some unanswered questions abd jumps around a little too much. R for language, violence, and nudity.

THE BIRTHDAY WISH (NR) 87 minutes * * 1/2 Expecting a proposal no later than her 30th birthday, Gwen (Jessy Schram) is a bit puzzled and frustrated when it appears that won't happen. Alex (Marcus Rosner) just doesn't get the hint. She makes a birthday wish to see into the future, and discovers that maybe Dave (Luke Macfarlane) is the one she should be with.

BISBEE 17 (PG) 103 minutes * * * Some towns have a dark past. Bisbee, Arizona is one such town. In 1917, during World War I, the primarily immigrant workforce participated in a strike for better wages and conditions. They were rounded up by a posse of 2,000 men and taken out in rail cars to the desert of New Mexico and left to die. This is the story of the Bisbee Deportation. The film does note that the history is being told primarily by those who remained in town and that most of the people who were deported were immigrants. It means that a few parts of the story are less emphasized. A good portion of the film is a reenactment of the deportation in which most of the townspeople take part, As such, it helps the town cope with a piece of their history that has not always seen much light.

BITE (NR) 85 minutes * It was just a fun little bachelorette party, and just a little bug bite. Casey (Elma Begovic) hates bugs, and this bite is getting worse instead of better. Lots of gross and slimy effects. The story gets off to a rough start and then moves into the more unusual aspect. That grotesque turn is where it fares a little better.

BITE THE DUST (NR) 89 minutes BOMB Waco (Russell Clay) and Dutch (George Nelson) are bounty hunters on a mission. Too bad they couldn't find a good script. Waco and Dutch get caught up in a search for some missing orphans. The script is sloppy and poorly written, and the acting is no better.

BITTEN (R) 83 minutes * * Jack (Jason Mewes) is a paramedic who stumbles across a beautiful young woman in the alley near his apartment. She's covered in blood and can;t remember who she is. He decides to help her out, but it's going to be more of a challenge than he's expecting. Interesting mix of humor and horror, but the ending falls flat. R for language, violence, and sex.

BITTER FEAST (NR) 101 minutes * * After pushing his sustainable cooking style too far, Peter Grey (James Le Gos) finds himself not just off the air, but out of his restaurant. One particular food blogger is primarily responsible for this turn of events, so Peter devises a plan. The problem is that we have little sympathy for either man despite a couple of brief attempts by the film to create some. The ending is fitting, but getting there is a long and winding trip.

BIUTIFUL (R) 133 minutes * * * 1/2 Uxbal (Javier Bardem) is just trying to do a good job raising his children. But his recent medical diagnosis is making that a bit more difficult. It's no surprise that Bardem was nominated for an Oscar, and won a few other awards for his bravura performance, but many of the supporting performances are quite strong as well. It's a powerful story, with a tearful ending, and well worth a look. R for language and sex.

BLACK ADAM (PG-13) 97 minutes * * * After he received the power of the Egyptian gods, it was clear that it was too much power for him to handle. He was quickly imprisoned to prevent any problems. 5000 years have passed and he has been freed from his prison, but not on purpose. Can Black Adam (Dwayne Johnson) adjust to this new world he finds himself in? Can he prove that he can control his powers and use them for good? Nice introduction not only to a somewhat lesser-known DC comics character, but to the Justice Society, which also faeatures less familiar DC characters. PG-13 for violence and language.

BLACK AND BLUE (R) 104 minutes * * 1/2 With only a couple of weeks in the field, Alicia (Naomie Harris) ends up recording narcotics officers killing drug dealers. She makes her choice, but it seems that every cop on the force is dirty and out to stop her. An intense story, though believability is stretched a little bit too far. The cast does a nice job, even if some of the roles aren't all that complex. R for violence and language.

BLACK & WHITE (R) 92 minutes 1/2 There's an incredible collection of talent in front of the camera here, but not much behind the camera. Robert Downey Jr., Brooke Shields, Jerry Stiller, Gaby Hoffman, and Elijah Wood are featured along with Mike Tyson and Claudia Schiffer. The story lacks direction and seems to still be in the formative stage rather than at a point where filming could begin. The energy level is good, but there's no focus. The bribery storyline weaves through part of the film, but seems basically pointless. Filmed in New York. R for language and sex.

BLACK BEAUTY (1994) (G) 85 minutes * 1/2 This version of the classic story is narrated by the horse, which becomes rather irritating after about 15 minutes. The photography and music are beautiful, but our star (the horse) acts a bit too much like a trick circus horse rather than the black beauty we are hearing about in the story. The mix just doesn't work very well.

BLACK BEAUTY (2015) (PG) 84 minutes 1/2 Rescued from an abusive owner, Beauty finds a home where supportive care is provided by a young girl. Lengthy shots with no dialogue and not particularly good music while other sections are very heavily narrated. It's a family film as far as the PG rating for violence, but there really isn't much to appeal to any audience.

BLACK BOOK (R) 138 minutes * * * World War II saga that revolves around a little black book that contains some very important information that is dramatically affecting the lives of those whose names are contained in it. It's a powerful story with twists and turns as loyalties and lies are tested on both sides. Winner of a number of awards, director/co-writer Paul Verhoeven delivers a solid war drama with a compelling story. R for violence, sex, and language.

BLACK BOX (R) 80 minutes * 1/2 Greed comes with a cost. The box will give you what you most desire, but the price is high. Variation of a classic morality tale that works much better when shorter. The script attempts to draw several storylines together without much success. The production values manage to create a nice atmosphere, but that's almost all this has going for it. R for violence, sex, and language.

BLACK BUTTERFLY (NR) 92 minutes * Ariel's (Mahogany Monae) dreams of being on the Olympic swim team are shattered after a sexual assault eaves her traumatized. Her family, friends, and coach decide to pursue some justice on their own. Poor sound quality here, but the script is the worst aspect, leaving these inexperienced actors little to work with. An important topic, but this really drags after the first hour.

BLACK BUTTERFLY (2017) (R) 89 minutes * * Having some difficulty with his writing, Paul (Antonio Banderas) goes on a retreat. But when he gives a ride to a man who helps him out at a diner, he finds himself in a dangerous game of cat and mouse. The story sets up nicely, but then begins to feel overly cotrived, with both the script and the direction lacking energy or creativity. R for language.

THE BLACK CAULDRON (PG) 105 minutes * * 1/2 The cauldron must be protected and kept from falling into evil hands. The plot is relatively simple, but for a Disney film, this is a very dark story and has a good deal of violence, both actual and implied. Most versions of the film have cut these scenes, and the film was not released to the video market for a long time. Based on "The Chronicles of Prydian" series. PG for violence.

BLACK CHRISTMAS (R) (2006) 81 minutes * The 1974 horror film of which this is a remake, is viewed by many as the original slasher horror film. But there's a reason the slasher horror genre didn't get much attention until a few years later when "Halloween" was released. The characters in Black Christmas aren't appealing or all that interesting, and the haunting theme music which became a staple of the genre is missing. While this new version does spend more money on effects and puts a layer of "gloss" on the production quality in general, the story is still weak. Billy and Agnes remain lifeless and unsympathetic. And the film is ultimately uninteresting except to the horror completist. R for violence, sex, and language.

BLACK CHRISTMAS (2019) (PG-13) 86 minutes * 1/2 It's time for Christmas break at Hawthorne College. Before they can leave campus, the sorority girls are starting to die. There's a dark secret on this campus, but these girls aren't going to go down without a fight. A bit of sexist satire with a twist of horror. This is fairly intense near the end, but a bit slow-moving early on. PG-13 for violence, language, and sex.

BLACK COAL THIN ICE (NR) 106 minutes * * 1/2 Though no longer on the police force, former partners get involved in the hunt for a serial killer. And it looks like it might be the same one who cost them their jobs a few years earlier. Nicely done Chinese police thriller with a film noir style. The ending is abrupt and has much less energy than the rest of the film, which is disappointing.

BLACK COBRA (R) 84 minutes * 1/2 Sizwe (T.J. Storm) is trying to sell his family's diamonds to help his father. It's not going to be easy. Los Angeles is a very dangerous place when you're trying to sell diamonds on the black market. There are a few good fight scenes here, but the dialogue and acting are less than spectacular to say the least. R for language and violence.

BLACK COFFEE (PG) 80 minutes * 1/2 Sometimes when one door closes, another opens. But sometimes that first door opens again. This romantic comedy tries hard, and has some good ideas, but the script is too weak, with quite a bit of repetitive dialogue. It ends rather awkwardly as well, though Christian Keyes delivers a noteworthy supporting performance. PG for language.

THE BLACK DAHLIA (R) 117 minutes * * 1/2 James Ellroy's novel about the most notorious murder case in Hollywood is adapted for the big screen with only moderate success. The atmosphere is all here as far as sets, costumes, lighting... but the decision to be more explicit with violence and sex moves this away from the film noir style it initially seems to aim for. Josh Hartnett and Aaron Eckhart play their parts very well as the two policemen who finds themselves caught up in the murder investigation. Scarlett Johansson and Hilary Swank do nice work as well. It's the story and direction that give us the most trouble. It's too explicit, too convoluted at times, and too easily resolved. One of the reasons the case has been so intriguing over the years is because it has never been solved. While hinting at a solution could have worked, answering the question is disappointing. R for violence, sex, and language.

BLACK DAWN (R) 92 minutes * * When former CIA agent Jonathan Cold (Stephen Seagal) surfaces unexpectedly, it looks like he's switched sides. Could he really be helping the terrorists acquire a nuclear weapon, or is he planning something else? More guns than fists in this Seagal action flick, but otherwise it's pretty typical for him. R for violence, language, and sex.

BLACK DEATH (R) 91 minutes * * A dark look at a troubled time, and the journey of a young monk. He travels with a group of crusaders in an attempt to discover what truth there is to the rumor that in one remote village, people who have died from the plague are coming back to life. The story feels incomplete at times, which could be either the result of a bad script, or poor editing. Most of the characters here aren't that appealing though, being either nasty or naive. It does capture the atmosphere rather well. R for violence and language.

BLACK DOG (PG-13) 84 minutes * 1/2 In need of money to keep the bank from foreclosing on his house, Jack (Patrick Swayze) takes a job driving a semi from Georgia to New Jersey. Of course, his license has been suspended and the load is illegal weapons... Full of semi-truck chases and crashes, but that's about all we can say. The script is maudlin, and the ending is pathetically predictable, but those stunt people sure got a workout! Filmed in North Carolina and Georgia. R for violence and language.

BLACK DYNAMITE (R) 83 minutes * * Black Dynamite (Michael Jai White) is fighting for revenge. "The Man" killed his brother and is ruining the neighborhood in every way imaginable. Poking fun at the "Shaft" series, and a few other blaxploitation films of the 1970s, this keeps the humor a bit too refined and intellectual to be as much fun as it should have been. R for sex, violence, and language.

BLACK FLY (NR) 85 minutes * * Jake (Dakota Daulby) and Noel (Matthew MacCaull) are two brothers who have drifted apart. Violence is part of their past, and finding each other again, mey not be something that should really happen. The performances here aren't the strongest, but the bigger problem is the one-note script that doesn't help develop the characters.

BLACK '47 (R) 96 minutes * * 1/2 After spending time fighting for the British, Feeney (James Frecheville) deserts his post to return home, where he understands that his family has fallen on hard times. That doesn't even come close to describing the horrors that he finds when he arrives. It is the Great Famine, and he is determined to hold to account those who are responsible for the death of his family. A dark and violent time of history. Well-played. R for violence and language.

BLACK FRIDAY (NR) 80 minutes * * Corporate expects big sales on Black Friday. Ken (Devon Sawa) and Chris (Ryan Lee) are just two of the employees who are called in to work the late shift at "We Love Toys". But something has infected the shoppers, and the staff have a problem to solve... and it's not just at their store! Definitely played for laughs, but the effects are good, and so is the script, combining low-budget zombies and monsters with shopping for toys.

BLACK GHOSTS (NR) 95 minutes BOMB Maya (Sandra Karinsdotter) is devastated by the loss of her girlfriend and turns to the occult to find a way to bring her back. Of course, she gets more than she bargained for. Too bad we don't. Lots of mood, but not much story.

BLACK HAWK DOWN (R) 135 minutes * * * Intense and realistic war film that chronicles the events in Somalia in 1992 when U.S. soldiers were left in the middle of enemy territory as their helicopter goes down. Delivers far more realism for longer stretches than most war films are willing to do. The intensity is less in the second half of the film, and we needed to see more character development here, but it's still a memorable film that may well be a bit too graphic and intense for some viewers. The quote from Plato at the beginning definitely sets the mood... "Only the dead have seen the end of war." Filmed in Sale and Rabat, Morocco. R for violence and language.

BLACK HAWK DOWN: THE UNTOLD STORY (NR) 67 minutes * * 1/2 A narrative description of the events in Mogadishu, Somalia in October of 1993. Told by the members of the military who were there. The interviews are the majority of the film, with some animation and a minimal amount of live footage and still photos.

BLACK IS... BLACK AIN'T (NR) 85 minutes * * 1/2 Director Marlon Riggs takes a look at black identity, masculinity, and sexuality and how it relates to and informs the rest of black culture and how it became what it is. Excellent interviews with bell hooks and Cornel West among others.

BLACK KNIGHT (PG-13) 91 minutes 1/2 Jamal (Martin Lawrence) works for Medieval World, a small amusement park who is about to face stiff competition from a newer bigger park called Castle World. When Jamal gets transported back to medieval times, he thinks he's just at the new Castle World park... at first. And we thought this might be funny... at first. There are a couple of moments, but for the most part, it's a one man show with the rest of the cast playing the straight part... and it doesn't work. PG-13 for language and violence.

BLACK MASK (R) 86 minutes * * The 701's are a group of genetically enhanced people, used as soldiers, who were supposed to be "retired" after things got a bit out of hand. Simon (Jet Li) is only one of those who escaped. And he seems to be the only good one as well. Wonderful martial arts fight sequences, but not a great deal more. It's an interesting idea. but there is far too much comedy here for the film to sustain the intensity it needs. R for violence and language.

BLACK MASS (R) 115 minutes * * * A ruthless and violent criminal, Whitey Bulgerm (Johnny Depp) becomes and FBI informant to get rid of his own competiton in South Boston. Eventually, his plans begin to unravel, and even Bulger's brother, a very powerful and equally ruthless senator can't help him. Nice supporting role for Joel Edgerton. R for violence, language, and sex.

BLACK MOON RISING (R) 95 minutes * Hired by the FBI to steal a tape they need for evidence, Quint (Tommy Lee Jones) soon finds himself in a big mess. The cast also includes Linda Hamilton and Robert Vaughn, but the script and direction are dry and dull, making the film feel much longer than it is. R for violence, sex, and language.

BLACK NATIVITY (PG) 88 minutes * * Christmas in New York serves as the setting for a teenager to learn some lessons while spending time with relatives he barely knows. Forgiveness and the opportunity to begin anew are the ideas here, and have quite a bit of power, but the presentation style seems to shift from very good dramatic scenes, to musical performances by Jennifer Hudson. It just doesn't work well. Nice work by Jacob Latimore. Adapted from the play by Langston Hughes. PG for language and violence.

BLACK NOVEMBER (NR) 92 minutes * * * The powerful and emotional story of big oil and the Nigerian government treating people so poorly that they had no choice but to rise up in resistance. Chilling ending.

BLACK OPS (R) 87 minutes 1/2 An old battleship is recommissioned and sent out on another mission. But something else is still on board. The problem is that the whole film is so dark, we never really see that much. Then again, it would have probably been better if we'd seen even less. R for violence and language.

BLACK OR WHITE (PG-13) 118 minutes * * 1/2 When his wife dies in a car accident, Elliot (Kevin Costner) is left to take care of their granddaughter, Her other grandmother doesn't really like that idea and is pushing for the courts to make a decision in her favor. An emotional story, though the characters tend to remain undefined and two-dimensional. We're left with feelnig this is more about the process, and not about the people. That may end up being true in real life, but it doesn't make for a good story. PG-13 for language and violence.

BLACK OUT (NR) 87 minutes * * About to be married, Joe (Raymond Thiry) thinks he's left his life of crime behind... until he wakes up next to a corpse. He's been framed, and is going to have to figure out how to get out of this mess quickly, or his wedding might turn into a funeral. The story tries to have the same sort of dark humor that makes films like "Snatch" and "Pulp Fiction" so much fun, but the writing here just isn't quite sharp enough to pull it off. There are a few moments, but then it loses both the intensity and the ironic sense of humor that are essential for it to work.

BLACK PANTHER (PG-13) 123 minutes * * * It is time for a new king to rule the land of Wakanda. But before T'Challa (Chadwick Boseman) can take the throne, he must deal with a challenger from his past. Numerous fight scenes, and the hand-to-hand combat is quite well done. The CGI effects that are used throughout the film are more of a mixed bag, with some that are very impressive and others that just aren't. The humor is over-played, with the exception of Shuri's (Letitia Wright) character. Some light humor would be fine, but there is more here than really fits well in the story. PG-13 for violence.

BLACK PANTHER: WAKANDA FOREVER (PG-13) 154 minutes * * * Still in mourning over the death of King T'Challa, the people of Wakanda face a new threat from an ancient people who live in the watery depths. It will fall to Shuri (Letitia Wright) to wear the Black Panther suit and be the one who leads her people. There's a little less humor in this sequel, and a bit more action, which suits the story well, though some of the fight scenes are a little repetitive. There's also a very fitting tribute to both the memory of T'Challa and to Chadwick Boseman at the end. PG=13 for violence and language.

THE BLACK PANTHERS: VANGUARD OF THE REVOLUTION (NR) 113 minutes * * * Intense and in-depth history of the Black Panthers. Packed with interviews and historical news footage that tells the story of the movement and the people behind it. The film does a very good job of showing the problems and the weaknesses of the organization as well as the successes and the strengths.

THE BLACK PHONE (R) 98 minutes * * * Children have been disappearing. No one knows how or why. Gwen (Madeleine McGraw) is having dreams about a creepy man and black balloons. Then her brother Finney (Mason Thames) is kidnapped and taken to a soundproof basement. There's a phone on the wall. It doesn't work... but it keeps ringing. The voices on the other end are the previous victims. Great suspense, and some nice chills as well as a couple of noise scares, and an extra twist near the end. R for violence and language.

BLACK PLAGUE (R) 114 minutes * 1/2 It appears to be good fortune that the soldiers have returned with a hostage who may be a prince. Perhaps it will help them ransom back their king who was recently captured. Unfortunately, it becomes obvious very quickly that their hostage brings something else with him that they weren't expecting. Something very dangerous. Slow-moving and rather dry, though it does give a dirty and unpleasant look at the time period, which is more realistic than many other films seem willing to do. R for violence, sex, and language.

THE BLACK POWER MIXTAPE 1967-1975 (NR) 95 minutes * * * A look at the Black Power Movement in the United States through the eyes of a Swedish television crew. With access to many of the movement's key people, it's an interesting and important piece of history that is now available after thirty years of being in storage.

BLACK RAIN (R) 124 minutes * * * Dark and gritty film from director Ridley Scott with Michael Douglas as a New York City police officer delivering a Japanese mobster back to the authorities in Japan. Nick (Douglas) believes that you can't win if you don't take the risk. He also feels strongly that you can't really stand on the sidelines without picking a side. He's determined that "New York is one big gray area" that doesn't understand his reasoning and therefore can't judge his actions. In Japan, he'll learn the meaning of honor, and he may discover that things aren't so gray in New York after all. R for violence and language.

THE BLACK RIDER: REVELATION ROAD (NR) 108 minutes * 1/2 Life is rough in the years after the rapture. Josh (David A.R. White) is trying to find The Shepherd, a task that is proving to be far from easy. Sequel to "Revelation Road" and "Revelation Road 2", featuring the same cast and crew. Think "Mad Max" on a low budget and with lots of Christian eschatology thrown in. The worst bit is the unexplained Australian accent that Kevin Sorbo uses in a few scenes.

BLACK ROBE (R) 97 minutes * * 1/2 A Jesuit priest travels with the Algonquin Indians to teach them about God. The photography here is beautiful and the story is absorbing, though very violent. It's rather like "Dances With Wolves" without the pretenses. Hard edges, and sometimes hard to watch, but an interesting film. There are some sequences that suffer from poor editing, but the story remains solid. R for sex and violence.

BLACK ROCK (R) 76 minutes * 1/2 Sarah (Kate Bosworth) convinces her two friends, who don't like each other, to go spend vacation time on an island with her. But when three guys show up on the island, which is rather small, the pans change, and the trip is going to turn into a nightmare. Interesting (and entirely unrealistic) what the girls are able to accomplish when they have no weapons and are fighting for their lives against three men with military training. Written and directed by Katie Aselton, who also plays Sarah's friend, Abby. R for violence, language, and nudity.

THE BLACK ROOM (NR) 91 minutes * A young couple moves into a wonderful new home. But it turns out that something is already living there. And it's hungry. When it finally figures out how to leave the house (with the help of the innocent couple), things go from bad to worse very quickly. The acting lends the film more credibility than it deserves.

BLACK ROSE (NR) 79 minutes * * When the LAPD finds itself struggling to solve a string of murders, they call in a Major from the Russian police force. The girls who have been killed are all Russian, so perhaps he'll have a better idea of how to find who's responsible. His methods are also a little more direct than the LAPD is used to. Alexander Nevsky's acting is not great, but the former bodybuilderdoes a decent job at directing this police thriller.

BLACK SEA (R) 110 minutes * * 1/2 Looking for a submarine filled with gold has Robinson (Jude Law) taking some rather extreme risks. The tension is intermittent, which makes this less than convincing, but the even bigger problem is Law's inability to make us think he knows how to command, lead, or even remotely inspire a crew. R for language and violence.

BLACK SHEEP (PG-13) 82 minutes * * 1/2 Al Donnelly (Tim Matheson) is running for office... that is, unless his little brother Mike (Chris Farley) manages to ruin it for him! Al's only chance is to put someone (David Spade) in charge of keeping his brother out of the way, but that's easier said than done. Farley and Spade work well together, though the shifts from comedy to serious moments are sometimes a little uneven. The usual production faults of a modestly budgeted film are here, but the chemistry between the leads is in top notch form and will have you laughing so hard you'll fall out of your seat! PG-13 for language and violence.

BLACK SHEEP (2006) (NR) 81 minutes BOMB Of the two brothers, Angus (Peter Feeney) was always the more creative. His latest experiments have resulted in... were-sheep... for lack of a better word... or a better plot. Laughably bad on most counts and boring on the rest.

BLACK SITE (R) 85 minutes * 1/2 A high-level asset is brought into a secret CIA base for interrogation. Abigail (Michelle Monaghan) is particularly interested because of his connection to the death of her husband and daughter. Monaghan is more than capable of handling this role, but the script reduces much of her dialogue to fluff, which hurts the story and makes her look bad. Jason Clarke plays the villain well, and the story itself isn't bad. There are a few twists and turns, though none of them are very surprising. R for violence and language.

BLACK SNAKE MOAN (R) 110 minutes * * * When her boyfriend leaves for military duty, Rae (Christina Ricci) can't wait. She has desires that need to be met. Lazarus (Samuel L. Jackson) has troubles of his own. His wife is gone, and controlling his temper has never been easy. When he finds Rae on the side of the road, he only wants to help. But Rae needs more than bandages and blankets can fix. Is Lazarus up to the task? Does Rae really want his help? Change doesn't come easily. Sometimes our blues run so deep, we can't find the light anymore. But maybe we can find someone else who can. The film has a low-budget '50s feel to it, with characters that are larger than life. Ricci and Jackson play them to the hilt, having fun with the parts while remaining true to both the characters and the story.... a story of the blues. R for language, violence, and sex.

THE BLACK STALLION RETURNS (PG) * * * 1/2 When his precious black stallion is stolen by the original owners, Alec (Kelly Reno) must travel to Arabia to reclaim him. Wonderful and adventurous sequel, adapted from the book by Walter Farley. Filmed in Italy, Morocco, and Algeria.

THE BLACK STRING (R) 89 minutes * * He hasn't been out on his own for long, and making new friends is a challenge. So Jonathan (Frankie Muniz) decides that he'll call an 800 number to meet a girl. Now he has a rash. But this doesn't seem to be an ordinary STD. It feels otherworldly, and Jonathan needs serious help. The atmosphere is great, and Muniz does his share in helping to create it, but it begins to lose ground after awhile, and the ending just isn;t that exciting or impressive. R for violence, language, and sex.

BLACK SWAN (R) 103 minutes * * * 1/2 Nina Sayers (Natalie Portman) gets the coveted role of the white swan iin "Swan Lake", but it's a duel role, and she must learn to play that of the black swan as well. To do it well, she finds herself descending uncontrolably into a world of madness. Director Darren Aronofsky opts to use some elements more typical of horror films to create some of the suspense here. Perhaps not the most effective way to go, but it does work, and shows us how twisted and scary Sayers' journey to the darker side really is. Portman earned a well-deserved Oscar for her powerful performance. R for sex, violence, and language.

BLACK TOWER TEMPTATION (NR) 82 minutes & 1/2 This vampire film has a very thin and emprty script that doesn't require muc hin the way of acting. Not that most of the people here would fare much better with a better script. The music and photography are fairly stylish, but this is not among the better vampire films you'll find. Originally titled "Temptation".

BLACK WATER (R) 86 minutes * An Australian mangrove swamp is not a good place to be lost. Especially when there is an alligator around. Though there are some worthwhile attempts at creating suspense with good camera work, the script and acting undermine it with ease. Even fans of croc horror are likely to be disappointed with this. R for violence and language.

BLACK WATER (2018) (R) 101 minutes * * When Wheeler (Jean Claude Van Damme) wakes up, he finds himself being interrogated by the CIA on a secret submarine. There are lots of deceptions here, trying to keep the plot insteresting, but that becomes less effective as the film progresses. Lots of gunfire and a few good hand-to-hand combat sequences. R for violence and language.

BLACK WATER: ABYSS (NR) 95 minutes 1/2 A group of friends decide to explore an unmapped cave in Northern Australia. They are not as well-prepared as they thought, especially when they realize that a crocodile is sharing the waters in the cave. No real surprises here. Mediocre acting and a poor script.

THE BLACK WATERS OF ECHO'S POND (R) 89 minutes 1/2 This private island has an ancient and dark secret. Nine friends, visiting for a fun holiday, are about to uncover a game. When played, it will bring out the worst in each of them. That's not much of a stretch, since most of them don't seem to have any redeeming qualities (or acting skills). R for violence, language, and sex.

BLACK WIDOW (R) 106 minutes * * Great cast in a far-to-simple mystery. Catherine Petersen (Theresa Russell) marries men for their money and then dispatches them. Alexandra Barnes (Debra Winger) is on the case, but Petersen has already realized it and plans to take care of her too. There's some nice suspense at the end, but the ending comes too abruptly. Also starring Dennis Hopper, Nicol Williamson, Terry O'Quinn, Diane Ladd, and Mary Woronov.

BLACK WIDOW (2021) (PG-13) 124 minutes * * 1/2 Having left the Avengers, the Black Widow, aka Natasha Romanoff (Scarlett Johansson) finds herself deep in a situation with people and relationships from her past. Lots of information about the Black Widow character, and it's good, but it tends to slow down the pace of the story. The fight scenes and chase scenes infuse some energy, but only as long as they last. The one consistent bright spot here is Florance Pugh, who plays the part of Yelena, sister of Natasha. PG-13 for violence and language.

BLACKBALL (NR) 92 minutes * 1/2 Though his style is more than a little unconventional, Cliff Starkey (Paul Kaye) is a natural at lawn bowls. He may be the best hope for the British team to win the tournament, but he's going to need to work with Ray Speight (James Cromwell), who plays the game with a more traditional approach. Though this comes from the National Lampoon team, there's not much to hint at that. Of course, why someone thought that a film about this sport would be a great topic for a film is something else that should be looked into.

BLACKBEAR (NR) 91 minutes 1/2 After being captured and tortured, two marines, Bear (Scott Pryor) and Cowboy (Darrin Dewitt Henson) struggle to face life after the military. There's very little depth to these characters, and the supporting cast are little more than shadows of stereotypes.

BLACKBEARD (NR) 166 minutes * * * TV movie version of the adventurous life of Blackbeard (Angus MacFadyen), focusing on his search for the treasure of Captain Kidd. Plenty of pirating adventure and a bit of romance along the way. It does run a little long, especially considering that the intended audience seems to be young teens.

BLACKBERRY (R) 114 minutes * * * It was a rough start for Blackberry. New territory was being charted. A new world was being created. This was the birth of the smartphone. It's also the story of how easy it is sometimes for companies to crash. Nice work by Jay Baruchel in a perfect example of how single-mindedness and greed can propel you to the top... and right over the edge. R for language.

BLACKBIRD (R) 95 minutes * * Randy (Julian Walker) is not only having to deal with a mother on the verge of a breakdown, but with the pressures of a small, southern Baptist community, where his homosexuality is viewed as a sin. R for sex and language.

BLACKBIRD (2019) (R) 93 minutes * * * Gathering her family around her, Lily (Susan Sarandon) has chosen to end things on her own terms and in her own time. The rest of the family are aware of this and have agreed to it, but that doesn'e mean they don't have grief to experience and frustrations to share. Fine ensemble cast led by Sarandon and Sam Neill. R for language and sex.

THE BLACKCOAT'S DAUGHTER (R) 88 minutes * 1/2 It's winter break at a Catholic school for girls. KatKiernan Shipka) and Rose (Lucy Boynton) are going to have to wait a little longer to get picked up by their parents. While they wait, something evil is in the works. Meanwhile, a young mental patient has escaped and is on her way to the same school. The plot is sketchy and the film tries so hard to create the mood, which it does well, that it forgets to tell the story. R for violence and language.

THE BLACKENING (R) 92 minutes * They're in a cabin in the woods, and a killer is on the loose. They know the rules of horror films, but will that help keep any of them alive? It's a fun way to start out, but this fizzles pretty quickly, undoubtedly looking far better on paper than it turned out. R for language and violence.

BLACKFISH (PG-13) 80 minutes * * * Documentary look at Sea World's orca shows and the capture and training of these magnificent animals. Sea World corporate has thrown a fit about this film, claiming that it doesn't show the whole picture of what they do, in particular, about the conservation work with orcas. While its true that the film barely talks about that, it's a similar argument that other corporations that destroy parts of the environment use, and it doesn't make up for the damage they cause. It's clear that Sea World as an organization did not tell the trainers everything they knew about Tilikum, and it's also true that there have been over 70 documented orca attacks on trainers at Sea World. PG-13 for violence.

BLACKHAT (R) 125 minutes * * * Nick (Chris Hemsworth) has an opportunity. Part of the hacker code he wrote is being used by someone else. It may be the chance Nick needed to get out of prison, but it's also turned into a high stakes battle with powerful players. Intense and involving, but despite being nicely written, it does seem to be a little overly complex and unrealistic. R for violence and language.

BLACKKKLANSMAN (R) 129 minutes * * * He's not just the first African-American police officer in Colorado Springs, but he's about to infiltrate the Klan. This is the true story of the work Ron Stallworth (John David Washington) did to bring down the Klan in Colorado. The balance between humor and drama is a tricky one, and there are many times where it works very well here, but also a few where it doesn't. Another fine piece of work from director Spike Lee. R for language and violence.

BLACKLIGHT (PG-13) 97 minutes * * * It’s something Travis Block (Liam Neeson) never considered. The FBI targeting innocent citizens. But the director of the FBI (Aidan Quinn) has positioned himself above everyone, and he’ll do whatever it takes to stay there. Block will have to do just as much and more in order to stop him. Plenty of car chases scenes and gunfire, with a little hand-to-hand combat as well. Neeson is in familiar territory here, and he’s still good at it. PG-13 for violence and language.

BLACKMARK (NR) 92 minutes * * It's 1963, and a nuclear incident is at risk of happening and escalating the Cold War. It's up to two men, one American, and one Russian, to stop things from going too far. The tone of the story lends itself to a more personal interpretation of the events, but it just isn't written all that well. It's very wordy and dry, though it does finish with a nice flair.

BLACKOUT (NR) 88 minutes * 1/2 When a nationwide power outage leaves communities not only without light, but without communication, a group of violent criminals see their opportunity. Despite the positive note at the end, the bulk of the film focuses on the worst in people. That move isn't a surprise, but it feels very shallow.

THE BLACKOUT (2019) (NR) 124 minutes * * 1/2 A small area of Earth in Eastern Europe is all that is left. What happened? The military and government are trying to figure it out, but as they begin to piece things together, they will realize how difficult getting back to normal is going to be... if it's even possible. This starts out very well, and then drops back for awhile. The ending definitely raises a few questions. Overall, not a bad entry in the military science fiction sub-genre.

THE BLACKOUT (2019) (NR) 74 minutes * * * Zoey (Leah Henoch), Liza (Hillary Anne Matthews), and Jen (Tess Paras) are having a party in spite of, or maybe because of, the impending hurricane. As the storm gets close, the power goes out. Friends and strangers begin to share stories. Bits of themselves. Lights in the darkness. Writer/director Daniela De Carlo has created an intimate drama with characters we want to know more about, even as the film comes to a close.

BLACK'S GAME (R) 101 minutes * * * When Stebbi (Thor Kristjansson) finds himself in trouble with the law because of a fight, it seems like good fortune when he runs into an old friend. He soon finds himself part of an inner circle of the drug trade in Iceland. Inspired by actual events, this is a detailed look at the inside of the drug trade. The stakes are high, and breaking trust can mean certain death. Well-drawn characters and a story that builds well make this a very solid thriller. R for sex, violence, and language.

BLACKTHORN (R) 97 minutes * * 1/2 The theory here is that Butch Cassidy and the Sundance Kid didn't die in a shootout with the Bolivian Army in 1908, which is the generally accepted version of history. Blackthorn (Sam Shepard), otherwise known as Butch Cassidy, is feeling a need to visit his old home one last time, and finds himself in the company of a young robber who needs his help. It's an interesting alternative history, though the energy level remains fairly low, and the story isn't particularly creative beyond the initial concept. R for violence and language.

THE BLACKTREES PROPHECY (NR) 91 minutes * * 1/2 Part of a group of doomsday preppers, Warren Kaine (Aran Bell) is the first to hear the message and get to his shelter. But someone tampered with the air vent, and now, Warren is dead. Was it an enemy? Or perhaps it might even have been a friend... DC Barnaby (Neil Dudgeon) will have to figure it out.

BLACKWATER (PG-13) 78 minutes BOMB It was supposed to be a fun vacation in the Florida Everglades. Running from a bunch of killers who live in the swampland wasn't what they had in mind. The soundtrack just sounds cheap, not that the dialogue and acting are any better. PG-13 for violence, language, and sex.

BLACKWAY (R) 84 minutes * * When Lillian (Julia Stiles) has some problems with a particularly rude and aggressive stalker, she gets some help from a couple of the locals. But their stories are all entertwined, so her problems don't really go away. Great actors dealing with a mediocre script and direction. R for violence, language, and nudity.

BLADE (R) 114 minutes * 1/2 Blade (Wesley Snipes) is a "day walker", a vampire who isn't bound by the same rules as others. In fact, he works against them in an effort to rid the world of those who would treat humans as food. Snipes and Stephen Dorff both do good work, but the film gives us little in the way of originality. Too many of the fight scenes use strange camera angles and tricks that de-emphasize the stunt work and keep us from being drawn all the way into the story. R for violence and language.

BLADE OF THE 47 RONIN (R) 102 minutes * * 1/2 Following the events of "47 Ronin", the clans continue to fight each other. Yurei (Dan Southworth) is on a quest to unite the Witch and Warrior blades to form a weapon that will destroy the samurai permanently. Only a descendant of the 47 Ronin will be able to defeat him. The bloodline is thought to be ended, but there just might be one left. Luna (Anna Akana) might be a descendant. Or is she something else? Lots of very nice swordplay and stunt work. The story wraps up well too. R for violence and language.

BLADE OF THE IMMORTAL (R) 137 minutes * * 1/2 After an epic battle, Manji (Takuya Kimura) is cursed with immortality. He hopes to become mortal again, but not until he has avenged the death of Rin's (Hana Sugisake) parents. Lots of sword fighting and lots of violence. There are some other interesting weapons used in some of the fights, but they aren't featured very well. R for violence.

BLADE RUNNER (R) 118 minutes * * * * One of my all-time favorite science fiction films with Harrison Ford as a man who tracks down renegade androids and disposes of them. Fabulous production design, a soundtrack by Vangelis, and a cast that also includes Rutger Hauer, Sean Young, Daryl Hannah, and Brion James. Thought-provoking and very memorable, it's a must-see for science fiction fans. I actually prefer the original version that includes the voice-over narration by Harrison Ford, but either way, it's a classic piece of film. R for violence and language.

BLADE RUNNER 2049 (R) 153 minutes * * * * K (Ryan Gosling) has begun to question some things about his work and what it means. To find the answers he seeks, he may need to find the very elusive Rick Deckard (Harrison Ford). A visually stunning piece of work, with all of the technical aspects just as impressive as they were in the first film. Although this stands well on its own, it's also a perfect fit to continue the ideas from the first film. R for violence, sex, and language.

BLADE: THE IRON CROSS (NR) 68 minutes * 1/2 A standalone story featuring one of the most iconic characters of Charles Band's "Puppet Master" series. An evil Nazi scientist (Roy Abramsohn) tries to use reanimation technology for his own benefit. Elisa Ivanov (Tania Fox) brings Blade back to life to stop him. Nice entry in the series, but it doesn't really develop the character of Blade all that much, despite the focus.

BLADE TRINITY (R) 114 minutes * * Blade (Wesley Snipes) faces off with the original vampire with a little help from the Nightstalkers, including Abigail (Jessica Biel) and Hannibal (Ryan Reynolds). Reynolds' one-liners add some unwanted comic relief, especially when it appears in some scenes that he is more than capable of handling the action sequences. The fight sequences are well choreographed here, but the characters are two-dimensional and the film tends to drag because it lacks creativity. R for violence and language.

BLADE II (R) 109 minutes * * 1/2 Blade (Wesley Snipes) is asked to fight a new kind of vampire by the very vampires he's been pursuing. It seems they don't enjoy fighting on two fronts. More overt use of cgi effects in this film make it rather cartoonish, but it works. The tone manages to be a little less serious, while the story tries to keep you interested. Fans of the first film don't seem to enjoy this one as much though, preferring the more realistic fight scenes in the first. R for violence.

BLADES OF BLOOD (R) 104 minutes * * Political loyalty comes into question between two warriors. Both are sworn to fight to the best of their ability, but only one will become the new leader of the country. Subplots and humor are mixed in, but the humor is more successful than the subplots, which mostly serve as distractions. R for violence.

BLADES OF GLORY (PG-13) 86 minutes * * Chazz (Will Ferrell) and Jimmy (Jon Heder) were rival skaters, but when they get into a fight as they are receiving their medals, they are banned from the sport. However, there may just be a loophole that will let them skate again... as a couple. The premise is so ridiculous that it manages to work fairly well. The charicatured performances add to the effect and despite how corny and stupid this is, we can't help but laugh. Cameo appearances from a number of professional figure skaters including Scott Hamilton, Brian Boitano, Dorothy Hamill, Peggy Fleming, and Sasha Cohen. PG-13 for language and violence.

BLAIR WITCH (R) 82 minutes * * Another entry in the series, though perhaps unnecessary. When a video surfaces that shows someone he thinks might be his sister, James (James Allen McCune) and his friends head off to where the tape was found. The only problem is that these are the woods the Blair Witch haunts. The last third of the film has some pretty creepy stuff, but it takes way too long to get there. R for language and violence.

THE BLAIR WITCH PROJECT (R) 76 minutes * * 1/2 This definitely gets points for being inventive! The problem is that we don't really get to find out much about the Blair witch. There's a little information at the beginning, but the bulk of the film is the crew getting lost in the woods and what happens to them at the end. We needed them to talk about the project a little more. Framing the film with information by those who found the film after the three students turned up missing would have added some depth as well. It really isn't all that scary, unless you're afraid of being lost in the woods. But it does stand up fairly well as a solid, low-budget production that is worth a look. R for language.

BLAME IT ON FIDEL (NR) 95 minutes * * * 1/2 The story of young Anna (Nina Kervel) as she finds herself struggling to understand why her parents leave their comfortable life and become activists for the causes of the people. Anna just wants things to be the way they were, though at the same time, she knows they never will be. Kerval gives an amazing performance in her first film that is both charming and intense. And director Julie Gavras does a wonderful job of showing us the world through Anna's eyes. Her frustrations, anger, passion, realization, and understanding draw us into the picture almost instantly, and keep us there until the end.

BLAME IT ON RIO (R) 99 minutes * Best friends Matthew (Michael Caine) and Victor (Joseph Bologna) take a vacation together in Rio. They bring along their teenage daughters. Matthew starts a relationship with Victor’s daughter… which is awkward at best, and more than a little upsetting for Victor. Some of the humor is good, but there’s a lot of nothing to slog through to get to it. Definitely one of Caine’s worst films. R for sex and violence.

BLANK CHECK (PG) 90 minutes * The moral to the story here is plain enough... money can't buy friends. Originality isn't something this film is trying to lay claim to. In fact, there isn't much this film CAN take credit for except being an advertisement for some expensive toys. One of those rare bad films from Disney studios, just to show you that they do make mistakes. PG for language.

BLANKMAN (PG-13) 92 minutes * 1/2 One of the most idiotic super-hero movies you'll ever see. Damon Wayans plays an immature guy who's tired of seeing how bad things go and decides to take the situation in hand despite having no super-powers. The last 20 minutes are slightly redeeming, but it's hard to sit through the rest.

BLAST FROM THE PAST (PG-13) 107 minutes * * Prepared for the worst case scenario, Calvin (Christopher Walken) has built an underground home complete with supplies to last for 37 years. Their son has never seen the light of day and now prepares to enter the world to buy supplies and maybe find a girl... Brendan Fraser is wonderful here and Alicia Silverstone plays his romantic interest. There are cute moments throughout, but it's a one-joke film that never manages to rise above that occasional cuteness. PG-13 for language.

BLAZE (R) 113 minutes * * * The political atmosphere of the southern United States in the 1950's and 60's provides the setting for a rather unique love story. Governor Earl Long (Paul Newman) finds himself falling for Blaze Starr (Lolita Davidovich), a stripper on whose autobiography the film is based. The real Blaze is here as well, playing the part of Lily. It's a fascinating story that is played well not only by the leads, but by the entire cast. The southern flavor is strong, and the emotions are strong.

BLAZE (2018) (R) 120 minutes * * * Blaze Foley (Ben Dickey) was a foundational part of the Texas outlaw music movement. Musicians like Merle Haggard and Willie Nelson owe part of their success to Blaze. Not quite a biography, this is more of a possibility of his life, told second and third hand. The film moves back and forth between time periods in a very relaxed way, which fits the tone, but doesn't really help the flow of the story. R for language and sex.

BLAZE (2022) (NR) 93 minutes * * 1/2 After witnessing the rape and murder of a woman, Blaze (Julia Savage) is traumatized. As she tries to process what she saw, her imagination serves as a place of refuge, allowing her to deal with pieces of the event. Highly symbolic, which can make this a little difficult to follow, but nice work by Savage.

BLAZE YOU OUT (R) 94 minutes * * They live in a rough neighborhood, to say the least, but when Alicia Melissa Cordero) goes missing, her sister Lupe (Veronica Diaz-Carranza) will stop at nothing to find her, no matter the risk. There's plenty of atmosphere and symbolism here, most of which works well. But too much of the dialogue has an overly dramatic tone, trying to create added meaning, and the effect it tends to have is the exact opposite, making most of the characters appear hollow and almost lifeless. R for language, violence, and sex.

BLEAK NIGHT (NR) 114 minutes * * When his son commits suicide, this father (Cho Seong-ha) struggles wo find an answer as to why it happened. His son's two closest friends might be able to help, but they aren't interested in talking about it. The story is rather tedious, though this is likely an effort to help us feel the father's frustration. But the film is also filled with flashback sequences that aren't helpful to the flow of the story or the intensity of emotion that he's feeling.

BLED (R) 92 minutes * 1/2 An attractive young artist is led to try an ancient drug. It will lead her to a sensual world where she will become the prey of a vampire. Soon, she will entice others to use the drug, and the vampire will be closer to moving from his world into theirs. Nice lighting and effects, and reasonably good music too. The acting... not so much. R for violence and sex.

BLEED FOR THIS (R) 110 minutes * * * Vinny Pazienza (Miles Teller) was a good boxer, but the tide had changed. And just as he started to change with it and see good progress, there was a car accident, and a grim prognosis. But Vinny was not one to be counted out. Very nice finish, and great work by Aaron Eckhart. R for language, sex, and violence.

THE BLEEDING (R) 73 minutes 1/2 The world is in trouble. Mostly because the acting here is so bad. Our hero Shawn (Michael Matthias) delivers such a stiff performance, he might as well be one of the undead himself. The dialogue sounds like a really bad comic book. The only reasons for a half star here, are the nice artwork for the poster, and the use of a hearse that's referred to as the "War Wagon". R for violence, language, and nudity.

BLEEDING HEART (NR) 84 minutes * * May (Jessica Biel) can't believe her luck. She's finally found her birth sister. But Shiva (Zosia Mamet) has lived a far different life than May. Getting her away from it is not going to be easy. Surprisingly little depth to the story, which makes it somewhat difficult to care about the characters.

BLEEDING STEEL (R) 103 minutes * * * When his daughter becomes part of a scientific experiment, Officer Lin Dong (Jackie Chan) must protect her. But a super-villain with nearly limitless resources who will stop at nothing to use her for his own evil purposes stands in the way. Very nice work by Tess Haubrich as the villainous "Woman in Black". It's a good adventure and there are some very nice fight sequences, but the humor is a little too strong for the story. R for violence and language.

BLENDED (PG-13) 111 minutes * * 1/2 Jim (Adam Sandler) and Lauren (Drew Barrymore) agreed to never see each other again after the horrible blind date when they first met. But now they're on vacation together. As is typical of a Sandler film, the comic bits are often related to sex, and this time around, some parenting jokes are there as well. It's the third time that Sandler and Barrymore have done a film together, and they work very well as a team, making the film fun to watch, even if most of what happens is no surprise. PG-13 for sex and language.

BLESS ME, ULTIMA (PG-13) 99 minutes * * * When an old medicine woman comes to live with Antonio (Luke Ganalon) and his family, some of the other people around aren't too happy because they view her as a witch. The magic she understands is no witchcraft, but it will help Antonio as he matures. A beautiful coming-of-age story with a very poignant ending, though there's too much narration. Adapted from Rudolfo Anaya's novel. PG-13 for violence and language.

BLESS THE CHILD (R) 103 minutes * * Cody was left with her aunt Maggie (Kim Basinger) shortly after birth. Her mother was on drugs during her pregnancy, but that doesn't explain Cody's unique behavior. It's actually not a bad role for Basinger, though as events turn apocalyptic, she's a bit out of her depth. The story manages to carry on, but it's the strength of the myth rather than the performances or technical aspects of the film that make this work as well as it does. Holliston Coleman does a nice job as Cody, but even her character takes a back seat to the myth. R for violence and language.

BLESSED AND CURSED (NR) 101 minutes * * 1/2 With a beautiful voice, Dwight (Deitrick Haddon) finds himself in demand to sing at church. He quickly gets caught up in church politics, and relationships, and it becomes a tangled mess for awhile. Haddon wrote the music here, which is quite good. The script, however, is rather wordy. The performances aren't bad, when the script doesn't get in their way... which is more often than not. There are still several moments when this does shine a little.

THE BLETCHLEY CIRCLE: CRACKING A KILLER'S CODE (NR) 132 minutes * * * During the war, these four women worked together to crack German military codes. They were experts in their field. Now, they've joined forces after the war to solve a series of murders in London that are baffling the police. Very nice story, though the ending is more than a little obvious as we start to get close.

BLIND (R) 99 minutes * * Bill (Alec Baldwin) is a novelist and a teacher. Blinded in an accident that killed his wife, he is also rather cynical. Suzanne (Demi Moore) though she had it all, and then her husband landed in jail, and implicated her. The community service she is assigned to complete is to read the paper's of Bill's students out loud so he can grade them. Of course, it doesn't take long for them to find a connection. Stale story, but Baldwin and Moore at least make it tolerable to watch.

BLIND DATE (PG-13) 91 minutes * * * Alcohol can have some strange effects on different people. Some get sick, some get dizzy, some are almost unaffected. But then there is Nadia Gates (Kim Basinger). When she drinks, terrible things happen. Things like people losing their job, their car, their friends, and very nearly their lives. Walter Davis (Bruce Willis) has the unfortunate luck of being Nadia's blind date on one such occasion. He was warned that she could become wild after having a drink. He thought that meant something else. Bruce Willis carries this, mostly because Basinger can't carry much. And Blake Edwards' direction leaves Willis on his own a few times, which doesn't work very well. PG-13 for sex, violence, and language.

BLIND DATE (2007) (NR) 74 minutes * * Inspired by Theo Van Gogh's film of the same title, Stanley Tucci writes and directs this slight alteration of the story. Tucci and Patricia Clarkson play a couple who are struggling in their relationship and impersonate other people on blind dates to try to bring excitement back into their relationship after a crisis. It's a tragic story, but the wordy script and overly dramatic characters keep us at arms length until the very end. We see the events unfolding, but never really connect well with the characters.

BLIND DATING (PG-13) 90 minutes * 1/2 Danny (Chris Pine) has been blind since birth. His family has always been very supportive, well, except for his brother. After a great deal of difficulty with dating, he may have finally found the woman he loves. There are a couple of problems though. Pine does a nice job here, and Eddie Kaye Thomas adds more than a few bits of humor as his brother. The rest of the cast is rather non-descript at best, and while the film does manage to generate a few chuckles, it doesn't offer much else. PG-13 for sex and language.

BLIND HORIZON (R) 95 minutes * * When Frank (Val Kilmer) wakes up, he finds himself in the desert and with amnesia, though he soon recalls something of a plot that might involve an assassination attempt on the president. It's a bit difficult for anyone to believe him... until a few other pieces begin to fall into place. Despite the stellar cast (which includes Sam Shephard, Neve Campbell, Faye Dunaway, and Amy Smart) this consistently has the feel of a mediocre TV production and we find ourselves missing those all-important commercial breaks that might add a little suspense. R for language and violence.

THE BLIND SIDE (PG-13) 124 minutes * * * Even with no place to call home, Michael Oher (Quinton Aaron) continued to go to school and keep trying. When his path crosses with that of Leigh Anne Tuohy (Sandra Bullock), everything changes. Of course she sees someone in need and wants to help, but she sees something else in Michael too. It's not long before everyone else does too. The inspirational and true story of Oher, who became a first-round draft pick in the NFL. Nice work by Bullock, Aaron, and a hilarious performance by young Jae Head. Carter Burwell's soundtrack is a great fit here, and it's also very nice to see footage of the real Michael Oher during the end credits. PG-13 for language.

BLINDED BY THE LIGHT (PG-13) 112 minutes * * * Finding a way to express yourself is often a struggle. Javed (Vivick Kaira) doesn't like most of what he writes. And then he discovers Bruce Springsteen. All of his struggles as a young Pakistani in England are right there. Bruce seems to undertand it all, which means that Javed can finally find his own voice. Great work by the cast in a story about growinig up and following your dreams. PG-13 for language.

BLINDNESS (R) 113 minutes * * * 1/2 An extremely contagious epidemic of blindess strikes without warning. Although the government works to contain it, the epidemic only grows. Only one person seems to be unaffected. Why is this happening, and how can the world cope if there is only one who can see? Adapted from the novel by Jose Saramago, this is a fascinating exploration of what happens when a society must begin again. Powerful and thought-provoking ending. The chemistry between Mark Ruffalo and Julianne Moore is the only real weak point here, though they each work well with the rest of the cast. R for violence, language, and sex.

BLINDSIDED (R) 80 minutes * Poorly written rip-off of the classic "Wait Until Dark" featuring Michael Keaton as a criminal who enters a blind woman's (Michele Monaghan) apartment, looking for a hidden fortune. Two-dimensional characters and only moderately successful suspense sequences along with a very convenient and unconvincing ending leave us wanting much more than this has to offer. R for violence and language.

BLINDSPOTTING (R) 92 minutes * * 1/2 With only a few days left on his probation, Collin (Daveed Diggs) is starting to get a little worried about how to start the new life he wants. The story stays relatively light until it nears the end, where it gets very intense. Nice work by both Diggs and Rafael Casal. R for language, violene, and sex.

BLING (NR) 83 minutes * * 1/2 Initially explaining a bit of the background behind bling and why some people feel it is an important means of self expression, this quickly moves to an exploration of the current conditions of the diamond trade. Our unfortuhate hip-hop musicians and one of the designers of bling are treated to a trip to areas where diamonds are mined and given first-hand information about how people are treated. It's a sobering experience, though the film somehow manages to avoid the depth of emotion that would have been more convincing. In the end, our musicians may have given up blood diamonds, but not all diamonds, and what about the gold they wear... it's a similar story.

THE BLING RING (R) 83 minutes * * 1/2 Spoiled rich delinquents find homes of rich people to break into. Part of it is about stealing, but much more of it is about emulating the lifestyle of the ultra-rich. The characters here are a little shallow, but in this particular story, that's actually not far off the mark. Even more sadly perhaps, this is based on a nonfiction article in Vanity Fair by Nancy Jo Sales. R for language.

BLINK (R) 100 minutes * * The key to a murder may be locked in the retroactive vision of a nearly blind woman. Emma Brody (Madeleine Stowe) has surgery that will restore her sight and the flashbacks she keeps having may be able to help the police, but the story as a whole is hard to believe and relies too much on that one note for it to succeed.

BLINK OF AN EYE (NR) 97 minutes * * * A recounting of Michael Waltrip's racing career including a deep and abiding friendship with Dale Earnhardt. It was something bittersweet that Michael's first win was the race where Dale lost his life. Packed with racing footage and interviews.

BLISS (R) 109 minutes * * * 1/2 After suffering a heart attack, Harry (Barry Otto) begins to wonder if life on earth is actually not life at all, but hell. The film is packed with symbolism and benefits from a second viewing, but it is definitely unusual, and the sort of film that is very thought-provoking. R for sex, violence, and language.

BLITHE SPIRIT (PG-13) 90 minutes * * * Suffering from writer's block, Charles (Dan Stevens) enlists the aid of a medium. He is hoping to connect with a creative spirit who can be his muse and help him get past this mental block. Instead, his ex-wife is summoned... and she won't go away. Delightfully playful performance from Leslie Mann as first wife Elvira. A nicely done remake. PG-13 for language.

THE BLOB (1988) 91 minutes * 1/2 Remake of the old classic with the title creature resulting from biological warfare research and being a bit more gooey than the old one. Featuring Kevin Dillon and Shawnee Smith in a cast that was never meant to be nominated for any Oscars. Interesting to note the "blob wranglers" in the credits... Filmed in Abbeville, Louisiana.

BLOCKERS (R) 94 minutes * * Three parents who have been friends since their daughters first went to school have a brand new issue to deal with. It's prom night, and the girls have made a sex pact to lose their virginity. Ummm... not if their parents can help it! The truth is, it's actually time for all of them to grow up, and the kids are probably going to get there first. R for sex and language.

BLONDE AMBITION (PG-13) 88 minutes * 1/2 After her boyfriends goes to the big city to become famous, country girl Katie (Jessica Simpson) goes to visit. While that may not end up working out, Katie finds herself with a job. And while there are those who think they are using her to create chaos, Katie's good nature and innocence may be more than they have bargained for. Simple, silly, and mostly for fans of Simpson/ Pg-13 for sex and language.

BLONDE AND BLONDER (PG-13) 92 minutes 1/2 Pamela Anderson and Denise Richards are "dumb and dumber" in this story of two bungling airheads who are mistaken for assassins. Richards is no Oscar winner, but Anderson makes her look good in comparison. Not that the story helps either of them very much. PG-13 for language and sex.

BLOOD (NR) 88 minutes * * 1/2 Police officers and brothers, but now they are investigating a crime they committed themselves. Their father expected more of them. Simple and straightforward story with heavy foreshadowing. Based on the TV series, "Conviction".

BLOOD AND BONE (R) 90 minutes * * Having done his time, Bone (Michael Jai White) is out of prison and hoping to make good on a promise to a friend. He finds his way into the underground fight scene, and crushes one opponent after another. There are some nice fight scenes by White, but the plot is so shallow and character development is non-existent except for Bone. There is enough there for us to see a little potential, but with nothing from the other characters, it doesn’t get very far. R for violence and language.

BLOOD & CHOCOLATE (PG-13) 93 minutes * * Adapted from the book by Annette Curtis Klaus, this is the story of a young werewolf's love for a human and her struggles with what that means for both of them and for the rest of her family. The transformations from human to wolf are nicely done and focus on art rather than on gore. Unfortunately, the energy level remains rather low throughout the film, perhaps because of that more artistic focus. In some ways, the emphasis is less on lycanthropy and more on relationship as Vivian (Agnes Bruckner) struggles with her love for someone her family rejects. PG-13 for violence, sex, and language.

BLOOD AND MONEY (NR) 87 minutes * 1/2 Hunting in the woods in Maine, Jim Reed (Tom Berenger) makes an unpleasant discovery. Because of that, there are not people who are out to kill him. The characters here, except for Reed, are very two-dimensional. There are also way too many mistakes that Reed makes for the story to be even remotely believable. Berenger, along with the photography and music give this a little strength, but not much.

BLOOD BROTHERS (2007) (R) 93 minutes * * They are brothers, but now that they have been employed by the boss of a local gang, their lives take a new direction. And not all of them are happy about it. The mood shifts rather dramatically throughout the film making it difficult for the story to flow smoothly. The characters don't seem to connect that well with each other either. R for violence.

BLOOD BROTHERS (2015) (NR) 96 minutes * 1/2 Two brothers who work on the assumption that they are better in every way than those around them. But when a cop with a unique talent comes after them, things begin to change. Inspired by the Leopold and Loeb murder case. The performances and script are stiff and dry.

BLOOD CLOTS (NR) 65 minutes * As with most anthology films, pacing is awkward, and this one is no exception. Clots one and six fair the best. There's no connecting material, which isn't necessarily a bad thing, but it might have helped if it was handled well. The "clots" are as follows: 1-Hell of a Day (trapped in a basement by zombies, 2-Never Tear Us Apart (know your relatives), 3-Blue Moon (making a film in the woods during a full moon is a bad idea), 4-Time To Eat (fresh meat in the basement), 5-Still (trying to hide in plain sight), 6-Hellyfish (the name says it all), 7-The Call of Charlie (first dates can be awkward).

BLOOD CREEK (R) 85 minutes * When Victor (Dominic Purcell) finally escapes his captors, he wants revenge. His younger brother is willing to help. But the house where they were holding Victor has a sinister past that is tied to occult experiments that the Nazis were working on during World War II. The story drags more than it should, though it does pick up a little energy near the end. R for violence and language.

BLOOD DIAMOND (R) 135 minutes * * * Violent tale of the diamond market in Sierra Leone in the 1990s during a bloody civil war. It's also the story of two men, whose differences begin to mean less as their stories entwine with that of an unusual pink diamond. Leonardo DiCaprio and Djimon Hounsou both deliver bravura performances in this tense drama. Excellent, hauntingly melodic score by James Newton Howard. Sometimes loving your country may mean risking more than you ever thought possible. And a reminder that much of what we enjoy in life comes with a price that is often paid in blood. R for violence and language.

BLOOD FATHER (R) 82 minutes * * 1/2 Link (Mel Gibson) hasn't spent much time with his daughter in awhile. And now he finds himself needing to protect her from some pretty nasty individuals. Solid story and production values, and the supporting cast is strong. Gibson a little less so. Nice work on the ending, which opts for something a little more believable than might have happened. R for violence and language.

BLOOD FOR BLOOD (R) 87 minutes * 1/2 Martial arts film with Lorenzo Lamas featured as a youth services division worker with the local police department. Too many annoying flashbacks and too much two-dimensional acting. The martial arts scenes are fair, but the lack of story leaves this high and dry.

BLOOD FOR IRINA (NR) 67 minutes 1/2 The first of director Chris Alexander's vampire films featuring Irina (Shauna Henry). A vampire who lives in a rundown motel near the sea, she kills nearly everyone she meets except for the motel manager who helps keep her secret, and a prostitute she counts as a friend. There's no dialogue, and far too many scenes are filmed in slow motion. It's not a long film, though it manages to feel that way. It does have a somewhat interesting twist at the end.

BLOOD GLACIER (NR) 94 minutes 1/2 A mysterious red glacier has been discovered by scientists working in the area. It's having a bizarre and dangerous effects on the local wildlife. And on humans as well. Fairly intense, but that's a credit to the music and photography, not the acting, script, or special effects.

BLOOD HARVEST (NR) 84 minutes BOMB The set-up for the story isn't terrible, but you wouldn't know it from the dialogue. There are long sequences with no little or no dialogue that feel like filler material. Poor photography and editing rob the film of any intensity it might have had. When we finally learn the answer to the question of who (or what) was doing the killings, it's just silly and overly complex.

BLOOD LAKE: ATTACK OF THE KILLER LAMPREYS (NR) 83 minutes BOMB A lamprey population explodes and begins to move from one body of water to the next. They want blood. We want a better movie. Typically ridiculous "monster" movie, filled with bad decisions and bad acting.

BLOOD MONEY (R) 104 minutes * * The Hong Kong triads are interested in cutting out the competition and being the primary supplier of cocaine to China and Australia. They hire Zheng Zhou (Zheng Liu) because his is quite simply the best. Even so, it's not going to be quite that easy. Plenty of action, both martial arts and guns, but not very much character development between the fight scenes, which makes it difficult to care very much about how it all works out. R for violence, language, and sex.

BLOOD MONEY (2017) (R) 80 minutes * * Miller (John Cusack) ditches his getaway plane and is on the run. He needs to find the money he dropped, but the three young friends on a camping trip in the area are going to present a problem. The biggest problem for the three young friends is that when on the run from someone who might kill them, they can't seem to stop yelling at each other. That makes it really eay for Miller to find them. R for language and violence.

BLOOD MOON RIVER (NR) 54 minutes BOMB Out to prove that the legend of Blood Moon River isn't true, a bunch of friends head out to explore. Of course they discover more than they bargained for, and of course they use a hand-held camera and a script written by someone with no imagination or talent.

BLOOD NIGHT: THE LEGEND OF MARY HATCHET (R) 80 minutes 1/2 Blood Night is the anniversary of the death of a local legend. Mary Hatchet killed her parents, and after some nasty episodes in the local insane asylum, she dies. Of course, on the anniversary of her death, she returns. Gross and silly scares, getting more and more bloody as the film reaches its end. R for violence, sex, and language.

BLOOD OATH (NR) 71 minutes BOMB Not one of Troma Studios better efforts, this lacks the sometimes imaginative story that makes some Troma films at least a little fun to watch. The acting is bad, and the effects are excessively bloody, but we expect that. But a story about a group of friends going out into the woods to investigate a local legend and ending up getting killed? Please.

BLOOD OF A CHAMPION (NR) 80 minutes ½ Ten years in prison make it difficult for Shadow (Bokeem Woodbine) to make the switch to civilian life. Boxing is what he was good at, but the only thing available now is the underground circuit. It’s not where he wants to be, but what else is there? Unfortunately, Woodbine doesn’t have anywhere to take this because the script and direction leave him without a chance to do much with the character. But the real trouble is the cinematography and editing, which really ruin the film.

BLOOD OF REDEMPTION (NR) 78 minutes * * Framed for killing his father, Quinn (Billy Zane) not only has to defend his name, but discover who is trying to take over the business. His friend Axel (Dolph Lundgren) may be the only person who can help. Lots of narrated backstory here, which is kind of boring, but there are a few good fight scenes and a better than average performance from Lundgren.

BLOOD OF THE VIKINGS (NR) 144 minutes * * * An in-depth look at the Vikings, working to separate fact from fiction, truth from legend. An exploration that looks at archaeology and genetics, using both history and science to paint a more accurate and still fascinating picture. Nicely done documentary with interviews and a chance to see a number of artifacts.

BLOOD ON HER NAME (NR) 81 minutes * * Covering up an accidental killing leads Leigh (Bethany Anne Lind) into an ever-tightening web. The pace and tone of the film don't really compliment the story, though each is quite good on its own. The ending introduces a bit of doubt, which again, doesn't quite fit with the rest.

BLOOD ON THE FLAT TRACK (NR) 89 minutes * * 1/2 Packed with interviews and game footage from the Rat City Rollergirls league from Seattle, Washington. It's an insider's look at a fun and colorful sport that has slowly been growing in popularity since the early 2000s. Mixing entertainment with athleticism, these women give it their all!

BLOOD OUT (R) 82 minutes * * His brother just wanted to get out, but when he's killed by members of his own gang, Officer Spencer (Luke Goss) is determined to find out exactly what happened and bring the killers to justice. Going undercover is going to be complicated, but he's not going to give up easily. Pretty standard action film, with an unrealistic ending where everything works out OK. Filmed in Baton Rouge, Louisiana. R for violence, language, and sex.

BLOOD PAGEANT (NR) 110 minutes * 1/2 The reality show "American Dream" is about to turn into a nightmare. One of the contestants uses magic to give herself an edge. It gets out of hand rather quickly. It's not a bad story although there is an unusual mix of humor, horror, and religion. Some of the photography is poorly done, and it definitely runs a little too long.

BLOOD QUANTUM (NR) 95 minutes * * The dead re returning to life. The indiginous people on the Red Crow Mi'kmaq reserve seem to be the only ones who are immune. Much like the blood quantum determines who is a true member of the tribe, they now have to decide whether those asking for help should be helped or turned away. Gory and violent zombie film, but the indiginous people's aspect of the story does make this a little more unique.

BLOOD RANSOM (NR) 85 minutes * 1/2 Jeremiah (Alexander Dreymon) kidnaps Crystal (Anne Curtis). His boss doesn't appreciate that because he considers Crystal to be his girlfriend. Jeremiah and Crystal are in love and on the run, but she's chaning. Most of the effects aren't very good, and the story has lots of holes. Still, the idea isn't bad, and the style and tone of the film work well.

BLOOD RELATIVES (NR) 83 minutes * * 1/2 Things have settled into a pattern for Francis (Noah Segan), but that's about to change. His daughter Jane (Victoria Moroles) has tracked hom down. He didn't even know that he had a daughter. She's also a vampire. Just like him. There are touches of humor, but much of the story is really about an estranged father and daughter trying to find a way to connect in a situation that's a little more unusual than most.

BLOOD SAND AND GOLD (NR) 85 minutes * The lost treasure of Sir Francis Drake. Mave (Monica West) enlists Jack's (Aaron Costa Ganis) help to recover it, but there are going to be some unforseen difficulties along the way. Pacing is weak, but the bigger problem is that the sibling rivalry between Mave and her brother is barely believable. It's an important part of the story, and it just doesn't work.

BLOOD SHED (NR) 95 minutes 1/2 Also known as "American Weapon", which actually makes a little more sense as a title. A group of young adults are set to spend a weekend at a cabin in the woods only to find a war veteran who has gone over the edge and starts killing them all. There are a few tense stalking scenes, but way too much boring material here.

BLOOD SIMPLE (R) 97 minutes * * * Joel and Ethan Coen's tribute to film noir results in this delightful mystery/thriller. A man hires someone to kill his unfaithful wife and her partner, but the twists and turns will keep you guessing for a long time. Frances McDormand's debut is a real treat, and not to be missed.

BLOOD: THE LAST VAMPIRE (R) 83 minutes * * Saya (Ji-hyun Jun) is a 400-year-old half-human, half-vampire agent of the government, slaying demons while appearing to the outside world to be a teenage girl. This is a live-action version of the anime feature, with Corey Yuen doing a great job of directing the action sequences. Special effects are not all that great, and much of the action takes place in darker scenes with far too many cut-shots. R for violence.

BLOOD TIES (R) 124 minutes * * * Set in Brooklyn, New York in the 1970s, the story explores the lives of two brothers who live on opposite sides of the law, but remain very close. Based on the French film "Les Liens de Sang" and featuring a stellar cast that includes Clive Owen, Billy Crudup, Marion Cotillard, Mila Kunis, Zoe Saldana, James Caan, and Lili Taylor. Very solid drama. R for violence, language, and sex.

BLOOD WORK (R) 106 minutes * * Although he's retired from the FBI, former agent Terry McCaleb (Clint Eastwood) is drawn back into a case. Nothing really different from Eastwood here, but the script is just awful in some spots. (Notably, a scene between Eastwood and Anjelica Huston.) The story never really manages to hide much from us either, which takes away most of the potential for suspense. Adapted from Michael Connelly's novel, fans of Eastwood's more recent work won't be too disappointed, but it probably won't be a favorite either. R for language and violence.

BLOODLANDS (NR) 218 minutes * * 1/2 A kidnapping case sets some wheels in motion that have DCI Tom Brannick (James Nesbitt) going back to the details of a cold case. It's a very personal case since it involves his wife, who is missing and presumed dead. Well-done but fairly standard mystery/thriller from the UK.

BLOODLINE (R) 92 minutes * * 1/2 Evan (Seann William Scott) is a school counselor. He sees first-hand what bad family situations can do. He begins to take matters into his own hands. It gets even worse when he has his own child, but as it turns out, he comes by the violent side of his behavior quite naturally. Just the right touch of creepiness to the story, but Scott struggles with convincing us. R for violence, nudity, and language.

BLOODLINES (NR) 88 minutes BOMB The hills of Kentucky (actually Alabama and Florida) are the setting for a violent and twisted family who have some strange ideas about how to continue their family tree. Poorly written story with some clear influence by the "Texas Chainsaw Massacre" series. The acting is virtually non-existent. Not rated, and not really worth your time.

BLOODRAYNE (R) 87 minutes * 1/2 Rayne (Kristanna Loken) is a Damfir, child of a vampire and a human. Her vampire father killed her human mother and she wants to avenge her mother's death. Based on a video game, which isn't a good way to start. Still, this does have a bit of creativity in spots and a fine performance from Loken that goes a long way to keeping this from being a bomb. It's definitely two-dimensional though, so despite an impressive supporting cast (Billy Zane, Meatloaf Aday, Michael Madsen, Udo Kier, Michael Pare, Michelle Rodriguez, and Ben Kingsley) most of its appeal will be strictly to fans of the vampire film genre. Filmed in Romania. R for violence and sex.

BLOODRAYNE 2: DELIVERANCE (NR) 94 minutes 1/2 Not only are we missing Kristanna Loken in this sequel, but we're missing anyone of note, and a script. Michael Pare does come back for this one, but we have to wonder why. The story is a different take on Pat Garret and Billy the Kid, with Billy being a vampire that Rayne needs to rid the town of before the railroad comes through and starts bringing him dinner on a regular basis. Overly staged and poorly acted sequel only of interest to genre completists. Filmed in British Columbia.

BLOODRAYNE: THE THIRD REICH (R) 69 minutes 1/2 Rayne's adventures during the reign of the Third Reich. Who knows where else she'll turn up in history now? Lots of splashing blood effects and another mediocre performance by Natassia Malthe. At least this one is shorter, though there are seven minutes of credits after the film is done to pad this out to the 76 minutes most sources list as a running time. Filmed in Croatia. R for violence, sex, and language.

BLOODSHOT (PG-13) 103 minutes * * 1/2 A passionate and dedicated soldier, Ray Garrison (Vin Diesel) becomes part of a new research program after his death. He is re0animated, enhanced, and is even reprogrammable. But something else soon becomes clear, and Ray is going to have to set things right. Nice story, adapted from the Valiant Comic book series. Great to see a well-done film from another comic book publisher that isn't Marvel or DC. PG-13 for violence and language.

BLOODSPORT (R) 87 minutes * * 1/2 Based on the real-life story of Frank Dux, with Jean-Claude Van Damme featured as the first westerner to win the Kumite. Definitely a low-budget production, and the acting is far from great, but the fight scenes are quite good and the soundtrack does a nice job of setting the various moods.

BLOODSUCKER'S HANDBOOK (NR) 76 minutes 1/2 He's not talking. Since the authorities can't get a response from the vampire they appear to have detained, they call in a priest (Cory Ahre). Condu (Jeremy Herrera) is willing to talk to him, and begins to tell a strange story. The story is mildly intersting, but the production quality is poor`, and most of the acting is pretty bad. It's not really violent or sexy, either of which might be expected from a vampire film. Instead, this tries for a more surrealistic approach. It only partially succeeds.

BLOODSUCKING BASTARDS (NR) 82 minutes * * Evan (Fran Kranz) is hoping for a promotion. But that’s before the office is taken over by vampires. It turns out that his fellow office workers are out to get him in more ways than one. With humor that leans toward that of “Office Space" and “Shaun of the Dead", the script works to keep the tone light and fun. Most of the time that works, though the quality in general just isn’t all that great.

BLOODSWORTH: AN INNOCENT MAN (NR) 78 minutes * * 1/2 Kirk Bloodsworth was convicted and sentenced to death for the sexual assault and murder of a nine-year-old girl. The problem with this is that he was innocent. Heavily narrated by Bloodsworth as he tells the story of his conviction and eventual release. There are some powerful moments of slience as the camera pans through the prison.

BLOODTHIRST (R) 86 minutes BOMB Vampires now rule the world. Humans are struggling to survive. There are still a few vampire hunters, and John Shepard (Costas Mandylor) is one of them. Can he kill the master vampire before he becomes a vampire himself? Terrible effects, but the script might even be worse. Everyone in the cast is either over-acting or not acting at all. R for violence and language.

BLOODWORTH (R) 85 minutes * * * E.F. Bloodworth (Kris Kristofferson) has come back to town after years of being gone. Most things haven;t changed much, including how some of his family are still mad at him for leaving. Forgiveness isn't easy, and for some, it may not be possible. A powerful story about family, and one young man's struggle to understand what it means and what he can learn from it. Based on the book, Provinces of Night, by William Gay. The cast is a delight, featuring solid performances by Reece Thompson, Frances Conroy, Kristofferson, Val Kilmer, Dwight Yoakum, W. Earl Brown, and Hilary Duff. R for language and violence.

BLOODY BALLET (NR) 80 minutes * Landing the lead role in a major dance production should be a good thing. For Adriana (Kendra Carelli), it's a major life stress event that brings up all sorts of insecurities and paranoia. The second level of the story is about a journalist who uncovers Adriana's story. The hope is that in telling it, he might be able to help her spirit find peace. The film as a whole wraps up too easily, and despite a hint of turning out better, manages to fail. Brett Mullan does just about everything except act in this film.

BLOODY KNUCKLES (NR) 80 minutes 1/2 A comic book artist offends the wrong people and they cut off his hand... but it isn't done offending people yet. There are some good points that the story makes, but the dialogue needs much more work than was spent on it. Acting and special effects are weak as well. This is one of those low budget horror films with plenty of heart and a good idea, and not enough to get it very far.

BLOW (R) 117 minutes * * * It starts with George Jung's desire not to be poor. He moves far away from home to attend college and begin life on his own, he finds himself selling marijuana on Manhattan Beach in California. One thing leads to another, and George is soon a very wealthy man. There are problems though, and while the film spends a good deal of time on them, we also see another side of George. We see a man who loves his father and his daughter more than anything else. A man who keeps trying. Johnny Depp does a wonderfull job showing us both sides of this very interesting character and is well supported by a cast that includes Penelope Cruz, Rachel Griffiths, Paul Reubens, Ray Liotta, and Bobcat Goldthwait. It's a more sentimental film than you might expect, but well-worth watching. R for language and violence.

BLOWING UP RIGHT NOW (NR) 78 minutes * * Mandy (Sujata Day) and Shep (Danny Jolles) have been together for several years. Just as they hit a rough spot that makes it look like things will have to change in their relationship... there's a nuclear missile scare. At first it draws them closer, and then it doesn't... and then... The story moves back and forth, trying to be both witty and charming. Sometimes it succeeds, but not as often as it should,

BLOWN AWAY (R) 115 minutes * * 1/2 James Dove (Jeff Bridges) is an expert on bombs. He hasn't always been with the Boston Police Department though. And now his past is coming back to haunt him in the form of Ryan Gaerity (Tommy Lee Jones). Gaerity also knows a thing or two about bombs, and he's killing members of the bomb squad just to make his point. The story is paper-thin and the Irish accents don't come off very well, but the action is well-paced and keeps things fairly interesting. R for violence and language.

BLUE BAYOU (R) 112 minutes * * * Life is going well for Antonio (Justin Chen). He and his wife Kathy (Alicia Vikander) are expecting a baby. And then theree's an incident. Now he's facing deportation. A story about family, and how we want the best for them, but it doesn't always work out that way. A powerful and emotional ending. R for language and vi0lence.

BLUE BEETLE (PG-13) 119 minutes * * * Chosen by an alien piece of sentient hardware, Jaime Reyes (Xolo Mariduena) becomes the Blue Beetle. The suit and its technology activate as needed. The humor is a little strong here, but the effects are quite good, and the soundtrack works well. The story gives us a nice introduction to the character, but we aren't in a strong place for a sequel at the end of the film. PG-13 for violence and language.

THE BLUE BUTTERFLY (PG) 93 minutes * * 1/2 A ten-year-old boy who has a brain tumor wants to travel to a Costa Rican rain forest in search of an elusive butterfly. Though the enotmolgist he has looked up to for so long is at first not interested in helping, he soon realizes the importance of helping the boy achieve his dream. Mild tear-jerker with solid performances, based on a true story. PG for language.

BLUE CAPRICE (R) 90 minutes * 1/2 Dramatized retelling of the Beltway sniper attacks that focuses on the relationship between Lee (Tequan Richmond) and John (Isaiah Washington). The story drags terribly, especially early on, and the pacing would have worked much better if the shootings had been shown throughout the film with extended flashbacks slowly creating the story that led to them. R for violence and language.

BLUE CITY (R) 78 minutes * * 1/2 He's been gone for a little bit, but when Billy (Judd Nelson) returns home, he learns that his father has been killed. Since no one else has done much about it, Billy enlists the help of a couple of friends to find and punish those responsible. Nothing much new or creative in the story, but the cast, which also includes Ally Sheedy and David Caruso, make it work, and Ry Cooder's soundtrack does a great job of capturing the emotional tone of the story. R for language and violence.

BLUE CRUSH (PG-13) 98 minutes * 1/2 The big surfing competition is coming up fast. Can Anne Marie (Kate Bosworth) master the fear that has been controlling her or will she opt for time with her new boyfriend instead? If you want to see a real surfing movie, catch Endless Summer or its sequel. There are too many distracting subplots here, but the idea isn't bad. Life is about the choices we make, the opportunities we take, and the ones we leave behind. PG-13 for language.

BLUE CRUSH 2 (PG-13) 107 minutes * 1/2 Sana (Sasha Jackson) is heading to South Africa to catch some waves and get in touch with the spirit of her mother. She meets up with a community of young surfers like herself, each searching for their own connections and sense of meaning. Acting skills definitely aren't the emphasis here, and if you really want to see surfing, there probaby isn't enough of that here for you either. PG-13 for violence, language, and nudity.

BLUE DEMON (PG-13) 85 minutes BOMB Genetically created sharks are on the loose! Fortunately, they can be controlled by computer... unfortunately, there's a US general who wants to use them for evil purposes. You have been warned! Dedee Pfeiffer, sister of Michelle stars in this poorly written film with even worse special effects. PG-13 for violence and language.

BLUE GOLD: WORLD WATER WARS (NR) 87 minutes * * 1/2 Water is predicted to be the new currency. Wars may be fought over it, and the available supply is likely to decrease. There are communities that are already fighting back, but how long can they stand up to some of the giant corporations? Adapted from the book, Blue Gold: The Fight to Stop the Corporate Theft of the World's Water.

BLUE HILL AVENUE (R) 123 minutes * * 1/2 Tristan (Allen Payne) and his friends run the drug trade on Blue Hill Avenue. But they've grown too big, and its all about to change. The narration is heavy and unnecessary, keeping us a little distant from Tristan and his struggles with how his upbringing conflicts with his lifestyle. R for violence, language, and sex.

BLUE IS THE WARMEST COLOR (NC-17) 170 minutes * * ½ When Adele (Adele Exarchopoulos) meets Emma (Lea Seydoux), she not only begins to explore more of her own sexuality, but a social connection and support system that is both more open and honest than she’s used to. In some ways, she finds this very comforting, but in others, it is obviously far more challenging. The leads do a nice job here, but the plot tends to be repetitive and stagnant, somehow keeping us at a little distance when intimacy and connection might have been more effective. NC-17 for sex.

BLUE JASMINE (PG-13) 95 minutes * * * 1/2 Jasmine (Cate Blanchett) had it all. As a New York socialite, she was on everyone's "best" list. When it starts to fall apart, she heads to San Francisco to stay with her sister. But Ginger (Sally Hawkins) isn't that thrilled to have her around, and Jasmine quickly finds that things are unravelling more quickly and completely than she realized. As with most of Woody Allen's films, the characters are magnetic. Even when they aren't that likeable, they are difficult to turn away from. Amazing work by Blanchett, who won an Oscar, but also a very nice supporting role for Andrew Dice Clay. PG-13 for language and sex.

BLUE JEAN (NR) 93 minutes * * Jean (Rosy McEwen) is a coach at a secondary school. Her personal life and professional life have been kept separate. That's a good practice in general, but with the news reporting very negatively on gay and lesbian sex, it's perhaps even more important at the moment. A new girl on the team threatens to shatter the image Jean has worked so hard to establish. The film doesn't really take this very far and the ending feels rushed. We needed to see and hear a bit more about what is happening in the community outside the school and perhaps how it is affecting a couple of other people.

BLUE LAGOON: THE AWAKENING (NR) 88 minutes * 1/2 Two teens on a class trip end up stranded on an island in the Caribbean. What a surprise. Sappy teen romance with sex and violence kept to a minimum as this is a TV movie.

BLUE LIKE JAZZ (PG-13) 101 minutes * * * A bit disillusioned by a recent event at church, Don (Marshall Allman) decides to head to Reed College instead of the more conservative Trinity college that his family and church want him to attend. He's working to redefine himself, but finding the task a bit more difficult than he expected. It's time for an existential crisis. The script does a wonderful job of giving these characters both depth and sensitivity, making the story feel very real. Filmed in Nashville, TN and Portland, OR. PG-13 for language.

THE BLUE ROOM (R) 70 minutes * * 1/2 They were in love, but now a crime has been committed. Facts are overwhelmed by emotions. The interrogation process seems to uncover more about feelings than facts. Intriguing, but the ending falls short of any sort of resolution or explanation. R for sex.

BLUE RUIN (R) 86 minutes * * 1/2 When Dwight (Macon Blair) hears that the man who killed his parents is about to be freed, he doesn't feel that he has a choice. Someone like that just can't be allowed to be free. A tragic story that maintains a slow and steady pace throughout, though there is some suspense as the story unfolds. Cinematographer Jeremy Saulnier also wrote and directed this drama about guilt and revenge. R for violence and language.

BLUE STREAK (PG-13) 89 minutes * * When a robbery goes bad, Miles Logan (Martin Lawrence) hides the diamond he's stolen in a building that's under construction. What he didn't know was that it was the new building for the LAPD. This is another of those films that suffers from a poor mix of comedy and action. It's a real shame too, because most of the action is quite good but the comedy is too ridiculous and doesn't fit. Lawrence has the talent to pull off a solid action film, but someone thought they needed to have the comedy to make it better. They were wrong. PG-13 for violence and language.

BLUE THUNDER (R) * * * 1/2 Blue Thunder is a special edition police helicopter. Frank Murphy (Roy Scheider) has been chosen to be the test pilot, but putting the machine through a series of test missions only increases his sense that something more sinister is in the works. An exciting action film with some amazing helicopter stunt work, photography, and editing. R for violemce, sex, and language.

THE BLUE TOOTH VIRGIN (R) 78 minutes * * 1/2 David's (Bryce Johnson) friend brings him a script to look at. A script called, "The Blue Tooth Virgin". It's a character driven thriller. And it's not very good. But how can he tell his friend, or should he? Sam (Austin Peck) decides to get other opinions. It's an interesting character study of two friends, struggling with their careers, ambitions, and at times, their friendship. It's a bit dry, but still manages to have a quirky sort of charm. R for language.

BLUE'S BIG CITY ADVENTURE (NR) 67 minutes * * 1/2 It's Josh's big chance to be in a show on Broadway. When he forgets his notebook, he's going to need some help. That means that it's time for some clues! A fun adventure for "Blue's Clues" fans with lots of music, dance, and nice work by Josh Dela Cruz.

BLUES BROTHERS 2000 (PG-13) 117 minutes * * The music in this film is wonderful! The music talent that is here is beyond belief... B.B. King, James Brown, Wilson Pickett, Blues Traveler, Isaac Hayes, Jonny Lang, Dr. John, Aretha Franklin, Lou Rawls, Eric Clapton... the list just goes on and on. Aside from the music though, the only aspect of the film that has any quality is the performance of young J. Evan Bonifant as Buster, who is taken in by Elwood Blues (Dan Aykroyd). So, buy the soundtrack and skip the film, unless you're a BB fanatic! PG-13 for language and violence.

BLUE CHIPS (PG-13) 101 minutes * 1/2 Disappointing basketball film with Nick Nolte as a Bobby Knight clone. Extremely predictable and not very well written or edited. Filmed in Frankfort and French Lick, Indiana, it's vastly inferior to the film "Hoosiers", though basketball fanatics may still find it somewhat interesting. PG-13 for language.

BLUE SKY (PG-13) 96 minutes * * 1/2 Jessica Lange won an Oscar for her performance in this drama about military life. The sub-plots get rather tangled up as we get into the film, but Lange and Tommy Lee Jones both perform well and give us a glimpse of life on a military base. Supporting cast do fairly well too, with Powers Boothe, Chris O'Donnell, and Amy Locane standing out as the best.

BLUE STATE (R) 89 minutes * * 1/2 What do you do when life doesn't happen the way you want it to? When the presidential election doesn't go the way John (Breckin Meyer) wants it to, he heads to Canada. His company on the trip is Chloe (Anna Paquin), who is running from some troubles of her own. Meyer and Paquin are a somewhat unlikely pair, but both are talented enough to make this work. And the story has just enough charm to keep us interested. Filmed in Winnipeg and San Francisco. R for language.

BLUE STEEL (R) 98 minutes * * 1/2 A search for identity and self-worth by a stock trader in New York lead to multiple murders and the involvement of a new cop who's being implicated in the murders. No real surprises in the story, but director Kathryn Bigelow has a feel for the atmosphere. Brad Fiedel's music is good too, and there are some nice character performances by Jamie Lee Curtis, Ron Silver, Clancy Brown, Louise Fletcher, and Elizabeth Pena. R for violence and sex.

BLUE VALENTINE (R) 107 minutes * * * Cindy (Michelle Williams) and Dean (Ryan Gosling) are a couple who are very much in love, but the relationship just isn't working out well. The film moves back and forth from past to present, highlighting what used to work and that which no longer does. This constant movement also fractures our attention, drawing us into the disintigration of the relationship, but makes it rather difficult to watch. it works well at the end, and a more gradual movement to that pace would have been more powerful. R for sex and language.

BLUEGREEN (NR) 74 minutes * * Documentary look at the connection that so many people feel to the ocean. There is some philosophical discussion here, and lots of footage of surfers. Considering the premise, this isn't a particularly informative film, though some of the interviews are interesting.

BLUMENTHAL (NR) 84 minutes * * 1/2 Harold Blumenthal (Brian Cox) was a successful playwright who poked fun at his family in his work. Over the course of the film, we discover through watching a piece of their lives, just why that was so successful for his plays. Quirky, fun, and likeable characters, finding their way through life after the death of a relative they may not have cared much for, but who understood them very well. Pacing is slow early on, but picks up as the film moves along and ends very well.

BLUNT FORCE TRAUMA (NR) 92 minutes * * * Two gunfighters. Their styles are a little different, but they journey together, at least for awhile. These are modern gunfighters, who duel for money and the thrill, and sometimes something else. Low-key and philosophical rather than action-packed, but that's a large part of what makes this interesting.

BLUR (NR) 92 minutes BOMB Amateurish production about an artist who starts seeing things and killing people. Plenty of signs that this is a low-budget production, and nothing much to let us know that anyone knew very much about what they were doing. It's not worth your time to watch this.

BMF: THE RISE AND FALL OF A HIP-HOP DRUG EMPIRE (NR) 61 minutes * * 1/2 Though almost an urban legend in description, BMF was very real. Based in Atlanta and employing over 400 people, they were structured like a business and very well organized. They dealt directly with the Columbian and Mexican drug cartels, though its still unclear how they established those connections so quickly. Told in a rather dry, news-story approch, but there are some very interesting sections.

BOARDING GATE (R) 99 minutes * 1/2 Asia Argento plays a woman who is involved in relationships with two men. She soon discovers that the one is about to kill the other. Argento does a good job here, but everyone else in the film seems void of emotion, making this rather difficult to keep watching at times. It's hard to care about who has planned the hit or why, and what is motivating Argento's character to keep going in the face of so much two-dimensional acting going on around her. R for violence and language.

BOAT TRIP (R) 89 minutes * 1/2 Nick (Horatio Sanz) is trying to help his buddy Jerry (Cuba Gooding Jr.) get over a broken relationship and convices him to take a cruise where he'll be exposed to lots of new relationship possibilities. The only problem is... they end up on a cruise for gay men. Plenty of sex jokes and not much of anything else. Gooding is a good sport, but this feels too much like a film he had to do to complete contractual obligations. R for language.

BOB ROBERTS (R) 96 minutes * * 1/2 Tim Robbins' writing/directing debut is a political satire about a senatorial candidate whose ability to manipulate the public knows no bounds. Filled with fun and interesting cameo appearances, and has some very interesting points to make. Unfortunately, it breaks down a bit toward the end, turning itself into a lesson rather than finishing out the story. Interesting characters though, and worth a look if you like Robbins at all.

BOBBLEHEADS: THE MOVIE (PG) 79 minutes * * With their humans taking a much needed vacation, the bobbleheads have to take care of things at home. That includes defending it from guests and intruders. A little surprising that more bobbleheads aren't present. There are only three main characters, with one additional supporting, and a cameo by Bobblehead Cher. More supporting characters would have helped fill out the story and make the idea of a sequel a little more appealing. PG for language and violence.

BOBBY 108 minutes * * * In 1962, Robert Kennedy seems to be the best hope the United States has for ending an unpopular war and for dealing with the increasing racial tensions. In large part, this is presented through the preparations of the Ambassador Hotel as it prepares for Kennedy to arrive. Intercut with actual footage of Kennedy's campaign, and featuring an amazing array of talented actors, this has the feel of a Robert Altman film. It is, in fact, directed and written by Emilio Estevez. It does wander a bit and the subplot with Elijah Wood and Balthasar Getty could have been trimmed. Still, it's an impressive piece with an important message that still rings true: It's not by fear, retaliation, or seeing people as "other" that we move forward. We all share the same short time on earth. We should share it well. R for sex, language, and violence.

BOBBY FISCHER AGAINST THE WORLD (NR) 91 minutes * * 1/2 A look at the life of the Bobby Fischer and his brilliant, yet brief career in chess. The same genius that conquered the world of chess, led to a solitary and tortured life.

BOBBY JONES: STROKE OF GENIUS (PG) 120 minutes * * * Little Bobby Jones Jr. was raised around golf, so it was no surprise that he took to the game so easily. He had a natural and powerful swing... and a temper to match. When he finally learns to control it and to believe in himself, he becomes the champion that so many already knew he was. Even if you don't care much for golf, it's easy to appreciate the story of someone who loved the game and not the money or fame that often come with it. Jim Caviezel delivers a heartfelt performance in a very nice biographical film about one of golf's greatest players. PG for language.

THE BOB'S BURGERS MOVIE (PG-13) 95 minutes * * 1/2 Summer is about to begin and Bob's Burgers is having serious money issues. If that wasn't bad enough, a huge sinkhole just opened up right in front of the restaurant. And that's just the beginning. This is a nice addition to the television series if you're a fan, and a good introduction to the characters if you aren't. PG-13 for language.

BODIED (R) 116 minutes * * * It's an interesting graduate thesis about battle rap. But when Adam (Calum Worthy) actually takes part in a battle and wins, he's instantly addicted. It's an art form, but it's not just about improviation and combining insults and social commentary, but it's also about keeping your cool and knowing where the line is. Nice work by Worthy, and solid support from the rest of the cast. R for language and sex.

BODIES BODIES BODIES (R) 89 minutes * 1/2 A hurricane is approaching. These friends are gathering for a party. It's at David's (Pete Davidson) house, and there will be plenty of drugs and alcohol. They decide to play a murder mystery game. But then things go terribly wrong. Will any of them survive? There's some good tension, but these characters are difficult to like or care much about. R for violence, sex, and language.

BODY AT BRIGHTON ROCK (R) 84 minutes * 1/2 She's always been the lightweight on the ranger crew. When Wendy (Karina Fontes) trades with a friend for the train duty, she has no idea what's in store. It takes her no time at all to get lost. And then there's the body. She's going to have to spend the night with it too. There's some good suspense and creative storytelling, but it does stretch believability a little too far. R for violence and language.

BODY BROKERS (R) 103 minutes * * * Breaking an addiction is difficult work. Utah (Jack Kilmer) is going to give it a shot. The problem is less about how difficult it is to stay clean and more about the money the industry makes from filling the beds in the treatment centers. A hard-hitting critique of the recovery industry that reminds us there are other options, and that any industry can be abused and used for profit. The tone of the film is serious enough that it comes across as a dramatized documentary, which appears to be the intent. R for language and sex.

BODY CAM (R) 90 minutes * * Officer Lomito-Smith (Mary J. Blige) discovers not only the violent death of one of her fellow police officers, but strange body cam footage. And no one else seems to be able to see it except her. As the night progresses, the violent crimes start piling up, and so do the unexplainable occurances, The mix of police action and supernatural doesn't work that well, but Blige does some nice work here. R for violence and language.

BODY CHEMISTRY (R) 80 minutes * 1/2 One of many clones that "FATAL ATTRACTION" spawned. This one features Marc Singer and Mary Crosby as a sexual behavior researcher and his lab partner who get involved with each other. The film starts out nicely, but loses ground quickly. R for sex and violence.

BODY DOUBLE (R) 115 minutes * * ½ Housesitting for a friend, Jake (Craig Wasson) is enjoying the scenery provided by an attractive neighbor who regularly strips in front of the window. His interest becomes infatuation, and then there’s a murder. The film takes a long time to set things up, but the second half is well-paced and intriguing if you can make it through the first half. R for sex, violence, and language.

BODY OF EVIDENCE (R) 96 minutes * * Madonna stars as a woman accused of killing her husband with sex that is more extreme than he can handle. Defense attorney Willem Dafoe falls under her twisted spell. A boring film that relies too heavily on sex scenes to carry it along. This is a waste of talent put together to capitalize on the controversial career and talents of Madonna, who is capable of far better than you'll see here. Joe Mantegna does give a nice supporting performance though.

BODY OF LIES (R) 122 minutes * * * Leonardo DiCaprio delivers a very strong performance as Roger Ferris, a CIA agent who is working to bring down a particularly dangerous terrorist. It will involve laying a very complicated trap, made even more difficult by the lies that will need to be told and believed, yet not uncovered until the right moment. Great work by DiCaprio! Adapted from the novel by David Ignatius and directed by the wonderfully talented Ridley Scott, the film moves us along in a way that reminds us that there are many sides to the story and that lies and truth are often difficult to unravel once they become entwined. R for violence and language.

BODY PARTS (R) 84 minutes * 1/2 A criminal's arms, legs, and head are trying to reassemble themselves. Not very scary, not very bloody, and not very interesting. The special effects are alright, but nothing special in this adaptation of the novel, "Choice Cuts".

BODY SNATCHERS (R) 84 minutes * * 1/2 Settling into life on a military base can be difficult. Steve (Terry Kinney) and his wife (Meg Tilly) have moved their family to a particularly unique military base. There are aliens here, and they are taking over. Steve's daughter Marti (Gabrielle Anwar) is one of the first to understand what's happening. But what can she do? Another adaptation of the classic horror story by Jack Finney. It's a nice adaptation, but the effects are a little weak. R for violence, nudity, and language.

THE BODY TREE (NR) 95 minutes * 1/2 To honor the memory of a murdered girl, her friends travel to Siberia. But something very mysterious is about to happen. It's an interesting idea that gets a little overly complicated with details when it should have focused more on the emotions of the characters and the suspenseful aspect of the story.

THE BODYGUARD (R) 123 minutes * * 1/2 Glossy love story with Kevin Costner and Whitney Houston slowly finding themselves drawn to each other. The story starts out a little strangely, turns sappy and then sort of just quits. Rather odd for being from Lawrence Kasdan, but part of the problem is that it just runs on too long. The slick presentation works better on video than on the big screen too.

BODYGUARDS AND ASSASSINS (NR) 133 minutes * * * The early 1900's in Hong Kong was a time when rebellion and dissent were common. This is the story of the revolutionary legend Sun Wen's visit to Hong Kong, and how he was protected and able to meet with and inspire those who would eventually be able to bring about the end of the Qing Dynasty. The fight scenes are qute well done, and since this is a retelling of historical events, the "heroes" don't always survive, which makes some of the fight scenes more realistic.

BOGUS (PG) 106 minutes * * * Albert (Haley Joel Osment) is a little boy who needs magic and his imaginary friend to help him cope with his mother's recent death. But his innocent approach has much to teach us all about our imagination's ability to help us survive. A classy ending, well-acted by Gerard Depardieu, gives this just the right touch to make it a memorable film. Co-stars Nancy Travis and Whoopi Goldberg round out the cast and Marc Shaiman provides the music for this charming film. PG for language.

LA BOHEME (NR) 106 minutes * * * Film version of the classic opera, featuring the beautiful voices of Anna Netrebko and Rolando Villazon. The cinematography does a nice job of catching some of the more subtle pieces of acting and facial expression that are typically over-acted to make the point on stage. The effect mananges to soften the mood in some sequences and yet intensify it in others, and it works quite nicely.

BOHEMIAN RHAPSODY (PG-13) 129 minutes * * * 1/2 The story of Freddie Mercury (Rami Malek) and Queen. Brian May and Roger Taylor served as executive producers, and the film feels like an homage to an old friend who was often misunderstood. Freddie always struggled with acceptance and security, but as all of the members of Queen noted, they were the perfect mis-match of different souls. Believing in each other despite their differences is what allowed them to create such amazing music. Great work by Malek, and well-supported by the rest of the cast. PG-13 for sex and language.

THE BOILER ROOM (R) 111 minutes * * Seth Davis (Giovanni Ribisi) wants to make a fast buck. he drops out of school and starts running a small casino out of his room. One of his customers lets him in on a way to make even more money. He can become a stock broker. But this particular firm isn't quite what it looks to be. Ribisi does a great job, as does Vin Diesel, but the film starts out roughly and relies heavily on Ribisi. Most of the other characters are little more than shadows and the story doesn't delve into much of anything other than Seth's efforts to please his father by succeeding. R for language.

BOILING POINT (R) 87 minutes * * 1/2 Red (Dennis Hopper) just got out of prison and has a debt to pay. But when the con goes bad and Federal Treasury agent Mercer (Wesley Snipes) gets involved, Red is in over his head. Snipes does a great job here, but there's nowhere near the amount of action needed to keep this kind of film as fast-paced as it needs to be. The story does present us with an interesting idea, but it's hard to stay interested in it for very long.

BOLERO (NR) 102 minutes 1/2 A young woman's quest to lose her virginity. Also known as another of director John Derek's sexploitation films featuring his wife, who simply can't act. The plot is nonsense, but the soundtrack isn't bad.

BOLT (PG) 90 minutes * * * Bolt is a canine actor who doesn't realize that he's an actor. The studio likes the realistic acting that they feel Bolt would lose if he knew the truth. But when Bolt accidentally gets off the set, he thinks it's still part of the episode from earlier that day. He has to save Penny. But he has a lot to learn along the way. Lots of fun and adventure, though the fire scene toward the end is a bit intense. Mittens the cat and Rhino the hamster are great supporting characters, supplying plenty of laughs along the way. PG for violence.

BOMB CITY (NR) 95 minutes * * * Punks and jocks clash in a small town in Texas. Anger and frustration run high on both sides, though there are also clearly times when all is calm. The message is clear. Intolerance of difference can only lead to a sad end. Wise words from Marilyn Manson at the end of the film.

BOMBER BOYS (NR) 89 minutes * * 1/2 Ewan and Colin McGregor are back with another look at WWII aricraft and their importance to the war. This time, it is a Lancaster, and one of only two left in the world that are still in flying condition. Solid historical information, and fun to watch as Colin trains to fly this majestic bird.

BOMBSHELL (R) 104 minutes * * * The working atmosphere at the Fox Network had been toxic for women for years. At some point, it was going to have to be addressed. The question was what would be the thing that would set it off and who would be willing to go on the record. The film centers on Megyn Kelly's (Charlize Theron) experiences after she called out Trump for his misogynistic comments. Despite the power of the story, the script still manages to soft-pedal this. It's a great cast, featuring Nicole Kidman, Margot Robbie, Allison Janney, Kate McKinnon, and Connie Britton. Regina Spektor's song, "One Little Soldier" during the credits is a powerful finish. R for sex and language.

BOMBSHELL: THE HEDY LAMARR STORY (NR) 85 minutes * * * Hedy Lamarr was unconventional. A stunning beauty, whose intellect was always under-appreciated. She had always wanted to tell her own story, and thanks to the discovery of four tapes from an interview she did later in her life, this film allows her to do just that. Along with interviews with her children and many of her friends and co-workers, her own words paint a picture of an amazing life. The story of a woman, who among her many achievements was also responsible for the invention of frequency hopping technology, upon which a great deal is based.

BONE COLD (NR) 104 minutes * * Sent on a sniper mission in the snowy wilderness of the Ukraine, Jon (Jonathan Stoddard) and Marco (Matt Munroe) soon find something else than have to contend with. There's some good tension here, and a few good scenes, but the energy fades near the end. The resolution feels more like an epilogue, and doesn't have the element of mystery or doubt that could have given the film a little more of an edge.

THE BONE COLLECTOR (R) 111 minutes * * * Denzel Washington is Lincoln Rhyme, a forensic detective who is a quadrepelegic, and who sees little point to living. That is, until a murder investigation is dropped into his lap by his friend Paulie (Ed O'Neill). Curiosity keeps his mind active and he soon loses himself in the investigation, training a young cop (Angelina Jolie) in the art of forensic investigation, for which she has a natural ability. The story moves along well, and Washington delivers a nice performance. Jolie gives us a good mix of inexperience and instinct with her performance too. The end lets us down a bit, but it's a nice trip getting there. Filmed in New York and Montreal. R for language and violence.

BONE DRY (R) 95 minutes * 1/2 Long and drawn-out vengeance film with Eddie (Luke Goss) forced to take a trek through the desert. Jimmy (Lance Henrikson) keeps pushing and pursuing, and by the time we find out why, we're not really interested anymore. Goss and Henrikson both deliver solid performances, but the rest of the film is paper thin. R for violence and language.

BONE EATER (PG-13) 81 minutes 1/2 Construction workers disturb an ancient Native American burial ground incurring the wrath of the Bone Eater... an animated skeleton that disintigrates people with its touch. The soundtrack by Chuck Cirino is fun and adventurous, but this is mostly notable for its cast... Bruce Boxleitner, Gil Gerard, William Katt, and Veronica Hamel. PG-13 for violence.

A BONE TO PICK (NR) 83 minutes * 1/2 Lightweight murder mystery with Candace Cameron Bure as librarian and amateur sleuth Roe Teegarden. Part of a series from Hallmark. Harmless enough, but the acting ad script could use some work.

BONE TOMAHAWK (NR) 125 minutes * * 1/2 A small town in west Texas finds itself the victim of savage and cannibalistic cave-dwellers. Over the past few days or weeks, they have kidnapped several townspeople. A posse goes in search of them, but they are woefully unprepared for what lies ahead. A brutal and violent story. It's too bad that we don't ever really learn that much about the Troglodytes. That may have been an effort to keep them mysterious and threatening, but it mostly just makes them an unknown piece of the story.

BONEHILL ROAD (NR) 75 minutes BOMB Out of the frying pan and into the fire. Emily (Eli De Geer) and her daughter finally manage to get away from their abusive husband/father, but now they're stranded in the woods with werewolves on the prowl. And the only home nearby is home to a twisted killer. The bad acting, script, and direction don't give them much of a chance either.

BONEJANGLES (NR) 73 minutes BOMB The serial killer Bonejangles (Keith Melcher) is on his way to an asylum while under heavy guard, when the van breaks down. The police find themselves in a town full of demons and zombies. Bonejangles may be their only hope of surviving. Bad effects and even worse acting.

BONFIRE OF THE VANITIES (R) 122 minutes * * Brian DePalma's direction is a bit off here, tackling a straight drama is not his forte. The acting, by Bruce Willis, Melanie Griffith, and the rest is good, and Vilmos Zsigmond's photography is perfection defined. But the story plods along with no energy and has us bored after the first few minutes. There are a few scenes that sparkle, but in a film this long, that just won't endear it to very many viewers.

BONNEVILLE (PG) 82 minutes * * * All Francine (Christine Baranski) is asking is that her father's ashes be buried next to her mother. As his most recent wife, Arvilla (Jessica Lange) feels that it isn't what he would want, but decides to comply. The road trip she takes to deliver them will not be without it's challenges, or it's comic moments, or it's lessons. Nice work by Lange and Joan Allen, but Kathy Bates is the one to watch here. A wonderful example of the friend everyone needs to have. PG for language.

BONNIE & CLYDE (NR) 152 minutes * * Lengthy TV movie look at the career of Bonnie & Clyde that takes plenty of liberty with historic details. In particular, it gives Bonnie a much more influential and violent role. Worse though is that Emile Hirsch and Holliday Grainger in the lead roles often seem to be reading their lines from poorly written cue cards rather than acting.

BONNIE & CLYDE: JUSTIFIED (PG-13) 83 minutes BOMB Covering the time period from their early romance up until their untimely demise, this is a look at the infamous bank robbers. Two-dimensional acting, but to be fair, the script barely manages to have one. The narration, which is lifeless and mostly pointless, also rhymes... like the title. Was that supposed to be cute? It's not. PG-13 for sex.

BONOBOS: BACK TO THE WILD (NR) 83 minutes * * * The Bonobo apes of the Congo are an endangered species. This is the story of one young Bonobo. and also of the work that naturalist Claudine Andre is doing to save them. A very nice nature film for the whole family.

BOO! A MADEA HALLOWEEN (PG-13) 98 minutes * * Madea (Tyler Perry) is watching Brian's daughter for Halloween, but that's not so easy when all Tiffany wants to do is go to a party and not stay home with Madea. Then again, if you somehow manage to pull one over on Madea, you'll definitely regret it. Standard Madea humor with a lightly spooky twist. PG-13 for language.

BOO 2! A MADEA HALLOWEEN (PG-13) 90 minutes * * When Tiffany (Diamond White) and her friends get into trouble at a haunted campground, Madea (Tyler Perry) and crew come to help. It's more of the same, so Madea fans will have fun. PG-13 for language.

BOOGEYMAN (PG-13) 83 minutes * 1/2 When Tim was 8 years old, the boogeyman in the closet got his father. He's 22 now, his mother just died, and he's going back to that house to spend the night. Full of wonderfully creepy sound effects, but far too many of the scares are just loud noises. There are a few moments with decent chills, and the ending had some good ideas, they just weren't executed well. Interesting camera angles add to the creepy effects in the film, but the editing is quite rough and ruins the effects in other scenes. PG-13 for violence.

THE BOOGEYMAN (2023) (PG-13) 92 minutes * * 1/2 As a therapist, Will (Chris Messina) has heard plenty of strange stories. The latest involves a nightmarish creature that has now taken up residence in the dark corners of his home as it pursues his own daughters. The film builds tension well as it progresses, but is paced a little slowly overall. Nice effects though. Based on the short story by Stephen King. PG-13 for violence and language.

BOOGEYMAN 2 (NR) 89 minutes * Bearing little resemblance to the first film, the boogeyman seems to have become just another slasher, though the end of the film sets things up for another sequel. The plot centers around Laura (Danielle Savre), who checks herself in to a psychiatric facility to deal with her fear since her brother seems to be doing better and appears to be ready to leave the facility.

BOOGEYMAN 3 (NR) 91 minutes * 1/2 The boogeyman is stalking a college campus, growing stronger each time the story is told. There are quite a few good chills here, with ample use of the stuttering stop-motion technique as well as background appearances of the boogeyman. The acting leaves quite a bit to be desired though, and the result means that while we occasionally get a chill, we don't care about the characters.

BOOGIE (R) 86 minutes * * Boogie (Taylor Takahashi) loves basketball. And he's good at it. His dream is to play in the NBA. His parents have conflicting ideas about how to make that happen, but the reality will take its own course. Very nice supporting performance from Taylour Paige. Takahashi struggles to present a character with more than one side, which makes the story more shallow than it should be. R for language.

BOOGIE NIGHTS (R) 146 minutes * * Free sex, cheap drugs, and the burgeoning adult film industry are the topic here. The film takes its time (a little too much time) getting us into the swing of things. Eventually, what it all comes down to is that everyone here is interested in feeling good and making money. Nothing wrong there, but if those are your only goals, you'll soon find (as the characters do) that neither one lasts or comes with a guarantee. Burt Reynolds gives a listless performance as filmmaker Jack Horner, whose new star Dirk Diggler (Mark Wahlberg) learns the ropes. R for sex and language.

BOOGIEPOP AND OTHERS (NR) 105 minutes * * 1/2 Just what is the connection between the missing students, the homeless man, a new drug, and a serial killer who seems to be hunting one of her classmates... Nagi Kirima Maya Kurosu) definitely has her work cut out for her if she hopes to find the answer to this unusual puzzle. The story repeats itself a number of times as it explains events from different angles. It's an irritating style because we don't actually need to see whole scenes played through again, just the clips that we weren't able to see when the story was told from earlier perspectives. That would also improve the pacing.

BOOK CLUB (PG-13) 97 minutes * * * They've been friends forever, and their book club has always been a great way for them to connect with each other. They have just begun reading "Fifty Shades of Grey", and it's shaking up their worlds. Great cast, both lead and supporting, and it's nice to see a film with so many strong and well-written characters. Jane Fonda, Diane Keaton, Candice Bergen, and Mary Steenburgen work very well together in this fun comedy. PG-13 for sex and language.

BOOK CLUB: THE NEXT CHAPTER (PG-13) 99 minutes * * 1/2 After spending so much time in quarantine due to Covid, these four friends are ready for an in-person adventure. And what better way to celebrate Vivian's (Jane Fonda) upcoming wedding than to go to Italy? It's great to see the cast together again, but this isn't quite as much fun as the first, though that's the fault of the script, not the acting. PG-13 for language.

BOOK OF BLOOD (R) 92 minutes * * The dead travel along highways, and at the intersections, there are opportunities to cross over. Mary (Sophie Ward) is a paranormal researcher who is exploring a house that appears to be one of those intersections. Adapted from Clive Barker's short stories "The Book of Blood" and On Jerusalem Street". The acting isn't quite as strong as it needs to be and the script doesn't do Barker's interesting story idea justice. R for violence, sex, and language.

THE BOOK OF ELI (R) 109 minutes * * * Eli (Denzel Washington) is on a journey... a mission. He has a book that needs to be delivered to a special place. But Carnegie (Gary Oldman) wants the book too, because he understands how much power the words will have in this post-apocalyptic world. After all, it's the book that many say was responsible for starting the war, and it's the only copy still said to exist. Nice twist ending and plenty of room for Washington and Oldman to chew up the scenery along the way. Filmed in New Mexico. R for violence and language.

BOOK OF EVIL (NR) 85 minutes 1/2 Is Stan Brian Barrett) procrastinating or does he have writer's block? Either way, he has less than 24 hours to turn something in to his publisher. Fortunately for him, a bunch of strange and sinister events start happening, giving him plenty of material to use. Presented as a series of shorter segments, turning this into an anthology film. Acting, script, and effects are all pretty bad, while the photography and music do at least have a number of good moments.

THE BOOK OF HENRY (PG-13) 101 minutes * * * 1/2 He knows something is wrong next door, but Henry (Jaeden Lieberher) is only eleven, and his poewr to effect change in this situation is limited. Still, his attempts may be enough if it manages to get someone else to step up. Beautifully paced story that, while a little overly emotional, does a remarkable job of moving us right where it needs to. PG-13 for language.

THE BOOK OF LIFE (NR) 61 minutes * * * 1/2 Director Hal Hartley takes a look at the end of the world. It's December 31, 1999, and time for the last of the seals to be opened on the book of life. But maybe not... to initiate the apocalypse or not... not an easy choice to make. As with most Hartley films, this is very philosophical and dialogue heavy, but there are light touches of humor scattered throughout the script that contrast with the forboding subject.

THE BOOK OF LIFE (2014) (PG) 87 minutes * * 1/2 Who will win the heart and the love of Maria (voiced by Zoe Saldana)? Will it be Manolo or Juaquin? Interesting animation, but the style, which features wood block marionette-like characters, doesn't really look all that wonderful, and while curious and interesting, is also a little inconsistent with the rest of the film. The ending is very nice. PG for violence and language.

BOOK OF LOVE (PG-13) 82 minutes * * Corny, but fun look at life in the mid-1950's. It's mostly fluff, but it's harmless and easy to watch, which is more than you can say for some films.

THE BOOK OF LOVE (2016) (PG-13) 102 minutes * * When Henry's (Jason Sudeikis) wife dies, his reason for living is gone. He drifts. And then he finds Millie (Maisie Williams). Her dream is to cross the Atlantic on a raft. It may be an unrealistic dream, but Henry is inspired by Millie's dedication to her dream. Sudeikis isn't a great fit here, though he gets better toward the end of the film. Williams' inconsistent accent doesn't help a great deal either. It's a good script, but the cast and direction just aren't what they need to be. PG-13 for language.

THE BOOK OF RUTH: JOURNEY OF FAITH (NR) 89 minutes * Poorly written and the style of delivery is very reminiscent of those overly dramatic and overly simplified soap operas. And it gets worse as the film progresses. Annoying narration is there to beat you to death with a story that isn't that complicated to begin with. Bookending the story with that of David's is a nice touch, but a few moments of style aren't enough to do very much for this film.

BOOK OF SHADOWS: BLAIR WITCH 2 (R) 85 minutes * * Much like its predecessor, this begins with interviews of the townspeople. The idea is that everyone knows the first film was just a story, but tourists are flocking to the town anyway. A tour group travels to the site of the witch house to spend the night camping and... well, I wouldn't want to spoil it for you! Fairly inventive for a sequel and this sets us up nicely for a part three. It does rely heavily on your having seen the first part, but the characters were well chosen and the scares are nicely augmented by the music. Filmed in Baltimore. R for language, violence, and nudity.

THE BOOK THIEF (PG-13) 125 minutes * * * 1/2 Liesel (Sophie Nelisse) is sent to stay with a family she doesn't know. Her brother died during their journey, and it's not the most friendly of places. The war means many different things, and chief among them is keeping secrets. One of Liesel's is that she loves to read. The narration is ethereal and poetic, delvered, appropriately enough, by "Death" (Roger Allam). Very nice adaptation of Markus Zusak's novel about a young girl and her life during World War II, and a wonderful performance by Nelisse. PG-13 for violence.

BOOKER'S PLACE: A MISSISSIPPI STORY (NR) 88 minutes * * * When Booker appeared in a documentary in 1966, it was far more important than he, or many others, realized. Being honest about his work as a waiter in a "whites only" restaurant, set him in motion as a civil rights activist. Decades later, the son of the director of the documentary meets with Booker's granddaughter to revisit the sites and to talk about the past and the present. A powerful and emotional film that delivers an important look at civil rights and anti-racism.

THE BOOKSHOP (PG) 106 minutes * * * Florence Green (Emily Mortimer) has a passion for books. She decides to open a bookshop in a small town in England. Many people with influence in the community do not want this, but Florence is determined. Her passion plants a seed. It's a charming story, though also frequently a little depressing. Adapted from the book by Penelope Fitzgerald. PG for language.

BOOKSMART (R) 96 minutes * 1/2 Succeeding at school was a very important goal for Molly (Beanie Feldstein) and Amy (Kaitlyn Dever). But on the last day of school, they learn that their classmates are all succeeding as well, even though they partied all year. So... Molly and Amy decide to attend the end of year party, and to make up for lost time. A few cute moments are scattered throughout the mostly crude script. R for sex and language.

BOOMERANG (R) 112 minutes * * 1/2 Marcus Graham (Eddie Murphy) meets his match when he falls in love with Jacqueline Broyer (Robin Givens). Not really sure why this film is so long, as there isn't a great deal of substance, but Givens, Halle Berry, Grace Jones, and Eartha Kitt make the film fun to watch. Murphy's performance gives us everything from charming and funny (with Halle Berry), to crude and unpracticed.

BOON (NR) 90 minutes * * Trying to stay under the radar, Boon (Neal McDonough) has no intention of getting involved. But when the troubles of a neighbor (Christiane Seidel) land in his yard, he can’t help it. Performances are fine, and the intensity toward the end is good. The characters are too shallow though, and the story is paper thin.

THE BOONDOCK SAINTS: ALL SAINTS DAY (R) 112 minutes * * * A priest is killed in Boston and it looks like the Saints did it. But they didn't. Whoever did, is going to be sorry though, because the Saints don't appreciate being framed. As always, they show no fear about going up against organized crime, but then again, they have their own network of helpers. Plenty of action and a few chuckles along the way as well. Julie Benz' supporting performance is especially nice here, adding a little something different to the mix. R for violence, sex, and language.

BOONE: THE BOUNTY HUNTER (NR) 79 minutes * 1/2 A bounty hunter by profession, Boone (John Hennigan) is raising the ante to increase his audience. He's going after a drug lord, but the stakes are going to be a little higher than he anticipated. Maybe too high. There are some nice fight sequences, but the story is silly and lacks imagination.

THE BOONIES (NR) 93 minutes 1/2 Have you heard the one about the friends who go on a camping trip and run into a family of cannibals? Not only have we heard this multiple times, but the "villains" in this story are overly cartoonish and the scares are cheap shots rather than anything really suspenseful. There are some gross effects, but that's about it. There's even an issue with the story, because for such a well-spoken mother of two, the way the "family" is attempting to continue makes no sense.

BOOST (NR) 92 minutes * Jimmy (Grazi DiPaolo) steals cars. but now he's been asked to boost a particular car for a very large amount of money. When he discovers exactly what it is that he's transporting, the stakes get even higher. Awkward photography with far too much close-up work. All that ends up doing is highlighting the poor dialogue and stiff acting.

DAS BOOT (R) 145 minutes * * * * The conditions on a submarine are less than ideal. Add to that what can happen during wartime, and you have what can quickly become a horrific experience. But the mission still remains the number one priority, no matter your discomfort. This is the story of the men and the mission of one German U-boat during World War II. Nominated for six Academy Awards, it's a brilliant piece of work that does an amazing job of making the viewer feel that they are on the U-boat experiencing exactly what these men did. R for violence and language.

BOOT CAMP (NR) 92 minutes * 1/2 The Advanced Serenity Achievement Program is a behavior modification camp for teens. Parents pay to have their children reconditioned to become less troublesome. Parents do have to make some adjustments as well, but the focus is on the teens. Camps of this style have few government regulations and their effectiveness remains questionable. The characters here are shallow and difficult to sympathize with, and the script is unimaginative to say the least.

BOOTY CALL (R) 75 minutes * Jamie Foxx and Vivica A. Fox star in this unsuccessful attempt at entertainment. There are a very few moments with anything worthwhile, and the best scene is in the restaurant, near the beginning of the film. After that this is a one-joke film with two guys who have to keep going back to the store to get different kinds of protection so they can have sex. R for language.

BORAT: CULTURAL LEARNINGS OF AMERICA FOR MAKE BENEFIT GLORIOUS NATION OF KAZAKHSTAN (R) 79 minutes BOMB First and foremost, this fails for the same reason almost every other comedy skit from a TV show (this is from "Da Ali G Show") fails... there just isn't enough material to stretch it into a feature length film and it loses it's humor when stretched to more than 15-30 minutes. Offensive and ridiculous, this lacks even the humor that films like "Jackass the Movie" and it's sequel have. At least they make fun of themselves instead of using racist and sexist humor as a mainstay. Kazakhstan was initially very upset by Borat's character and only began to play along when they decided they couldn't really do anything to stop it. R for language and nudity.

BORAT SUBSEQUENT MOVIEFILM (R) 90 minutes 1/2 Sacha Baron Cohen reprises his role as Borat. He's been in Kazakhstan, but is returning to the United States. Once again, he will learn more about American culture as well as American politics and just a little about the COVID 19 pandemic. Just as rude and distastful as the first film. The inclusion of Borat's daughter (Maria Bakalova) does help the story a little. At least it took 14 years to make a sequel. Hopefully it will be at least that long before the next one. R for sex and language.

BORDELLO OF BLOOD (R) 80 minutes * Corny and rather two-dimensional characters abound in this "Tales From the Crypt" film starring Erika Eleniak and Corey Feldman. Plenty of in-jokes for the crypt crowd, but not much to distinguish this from other similar low-budget productions. Watch episodes of the TV show instead! R for language, violence, and nudity.

THE BORDER (R) 107 minutes * * Charlie (Jack Nicholson) is no saint, and his work as a Border Agent has provided him with numerous opportunities to break the law. But when a young woman’s child is taken to be sold on the black market, it’s one step too far for him. He has to take a stand. Slow-paced and rather dry, with a low-key performance by Nicholson. R for violence and language.

BORDER (2018) 100 minutes * * * Tina (Eva Melander) has the unique ability to smell fear. In comes in very handy in her job as a customs officer. She is not like those around her, and though most people she knows accept her, she knows there has to be something else. Then she meets a stranger who is undeniably like her, and yet... An unusual but memorable story, with a stronger performance by Melander. R for sex, violence, and language.

BORDER RUN (R) 92 minutes * Sofie (Sharon Stone) is looking for her brother, who has been lost in the midst of the human smuggling that is happening around the U.S./Mexico border. The script has little in the way of energy or interest until late in the film. Stone overacts, and almost everyone else in the film does the exact opposite. R for violence, sex, and language.

BORDERCROSS (NR) 82 minutes * Danny (Lorenzo Lamas) is looking at a possible boxing comeback. His son is with him and ready to help, but ends up being kidnapped. Now, Danny is determined to find him. Of course, the local law enforcement is corrupt and won't be much help. The story is painted in very broad strokes, and the bit of religion that is sprinkled in here doesn't fit well at all.

BORDERLAND (R) 100 minutes * * People are going missing near the border between Mexico and the United States. An evil drug lord uses sacrificial offerings to protect those who work for him... which seems kind of ridiculous because of how vicious his henchmen are. Can't they just do the protecting? Of course three young men looking for a good time end up in the wrong place at the wrong time and find themselves in trouble. Bloody, violent, and not really all that inventive, but they get points for not having the victims be attractive young women. Based in part on a number of missing persons cases that were connected to the occult. R for violence, language, and sex.

BORDERTOWN (R) 105 minutes * * * The towns on the southern side of the US/Mexico border use cheap labor and the conditions are harsh. Their only interest is in truning a large profit quickly. Murders are a regular occurance, and Lauren (Jennifer Lopez) has been sent to cover the most recent set of murders that seem to have a common style. It's an intense story, based on the conditions in Juarez that have grown worse since the 1990s. Nice work by Lopez and a fine supporting cast. R for violence, sex, and language.

BORG VS. MCENROE (R) 99 minutes * * * Chasing his fifth consecutive Wimbledon title, Bjorn Borg (Sverrir Gudnason) is the best tennis player in the world. But right behind him and coming on strong is John McEnroe (Shia LaBeouf). This does a very nice job of showing two talented and determined men who seemed to the general public to be so very different from each other. In truth, their passion and dedication created a respect between them that they couldn't really acknowledge until later in their lives when the competitive moments between them had passed. R for language and nudity.

BORN A CHAMPION (R) 108 minutes * * * Skilled in the Brazilian art of Jiu Jitsu, Mickey (Sean Patrick Flanery) was unbeatable. His one defeat early on though, was a brutal one. It left him with an injury that would keep him from fighting for years. Flanery co-wrote the story, based on some of his own experiences and no stunt doubles were used in the film. The story is an emotional one, and while the overall arc of the story is a familiar one, it is well-written and has more depth than many in the genre. R for language and violence.

BORN AMERICAN (R) 97 minutes * Three students from America are on a vacation in Finland and decide to make a brief visit to Russia, just for fun. Russian soldiers see them and start shooting, eventually capturing them and taking them to prison. The story is hard to believe, but the performances don’t help.

BORN BAD (NR) 89 minutes * It’s every parent’s nightmare… their rebellious daughter ends up with a really bad boy… as in a psychotic killer. OK, maybe not every parent’s nightmare… Nothing but overplayed stereotypes here. No surprises and slightly less than average performances all the way around.

BORN IN EAST L.A. (R) 80 minutes * Caught in an immigration raid by mistake, Rudy (Cheech Marin) gets deported to Mexico and has to figure out how to get back home. The last ten minutes of this are well-written and well-acted, but good luck getting there. Playing this for laughs just doesn't work very well and Marin lapses into his old material and old style, and it's just not funny anymore.

BORN INTO BROTHELS (R) 80 minutes * * * 1/2 When photographer Zana Briski went into the red light district of Calcutta to document what that life was like, she found herself drawn to the children who lived there. She began to teach them the art of photography, and found that it might be a way for some of them to find a way out of the brothels. Inspirational and heartbreaking, this is an eye-opening film that won an Oscar for best documentary feature. R for language.

BORN ON THE FOURTH OF JULY (R) 138 minutes * * 1/2 Ron Kovic's personal odyssey through the Vietnam experience leaves us with a rather warped view of events. Director Oliver Stone's abrupt scene changes seem made for TV release, though the special effects are too extreme for TV. In fact, some of the effects draw more attention than the story in spots, which is unfortunate since these tend to be the moments when the film is actually trying to say something important. Promoted as a film that would show us a side of the war we hadn't seen, this shows us nothing that we haven't seen many times before. "APOCALYPSE NOW" and "GARDENS OF STONE" show us sides of the Vietnam war we don't see very often... and maybe someday someone else won't shy away from the actual events and will avoid making another obviously commercial film like this. R for violence, language, and sex.

BORN TO BE BLUE (R) 93 minutes * * * Jazz legend Chet Baker (Ethan Hawke) has seen better days. Drug addiction pulled him down, and at this point, there doesn't seem to be much left. But then he gets the opportunity to star in a film about himself. It offers a chance to reviatlize his career, but it also allows the old demons another chance to grab hold. Very nice work by both Hawke and Carmen Ejogo. R for language, sex, and violence.

BORN TO BE WILD (PG) 95 minutes * 1/2 Teenage boy wants to set gorilla free, gorilla acts like a pet, everything works out well, the end. Corny, and with poor special effects, this is not one that you'll want to see more than once, but the sentimental ending is handled pretty well.

BORN TO RAISE HELL (R) 89 minutes * 1/2 Another low budget Steven Seagal film. This time, he's part of an international drug task force team. His partner was recently killed and he's out to take down the people who did it. Fairly typical for the genre, though a bit less martial arts and a few more guns. R for violence, language, and sex.

BORN WILD (R) 100 minutes 1/2 When CJ (William Shockley) gets out of prison, he heads back to his old home town. But it's not the same as it used to be, with crime and corruption all over. CJ s going to try and change that. Not really much action, and too much well-intentioned effort to create drama with silence and camera angles... it just doesn't work. R for violence, sex. and language.

BORN YESTERDAY (PG) 95 minutes * * 1/2 Harry Brock (John Goodman) is a rich man. He buys companies, senators, girlfriends, ...and a tutor for his girlfriend as well. But Billie (Melanie Griffith) learns quickly, and a little knowledge can be a dangerous thing, and a little desire can go a long way. Not much substance here, but Goodman and Griffith give us good performances. Based on Garson Kanin's play, the script suffers a little in translation to the screen. PG for language.

A BORROWED IDENTITY (NR) 97 minutes * * * Eyad )Tawfeek Barhom) has a chance to go to a very prestigious boarding school. But fitting into this Jewish school will be difficult for this Palistinian boy, even more so when he falls for a girl who also attends there. An interesting ending to a powerful story about friendship and identity.

THE BORROWERS (PG) 82 minutes * * 1/2 The classic Mary Norton story is modernized here with moderate success. The characters are mostly the same, but the story quickly takes a turn by separating the borrower children from their parents, thus causing a more exciting adventure to occur. The props are wonderful, though the other special effects are a bit uneven at times. But the key to this film's success lies in the simplicity of its plot and the short length of the film overall. These work together to keep our attention by keeping the pace moving along. It makes for a modest, but entertaining little film that will do well enough that a sequel won't be out of the question. PG for violence.

THE BOSS (R) 99 minutes * * From the bottom to the top, Michelle Darnell (Melissa McCarthy) is the image of a self-made, successful woman. Then she gets convicted on insider trading and has to start all over again. Typical vulgar humor as is present in most McCarthy films, with a sweet message almost visible. McCarthy fans will love it. Others, not so much. R for sex and language.

THE BOSS BABY (PG) 88 minutes * * * Tim (voiced by Miles Bakshi and Tobey Maguire) just got a new baby brother. He’s clearly a little different from most baby brothers. In fact, this baby is on a mission, and he’s going to need Tim’s help. That’s when Tim decides that having a baby brother around may not be such a bad idea after all. Cute and inventive story. PG for language.

THE BOSS BABY: FAMILY BUSINESS (PG) 99 minutes * * * Tim and Ted may have grown up, but some things haven't changed... like Baby Corp. Featuring the vocal talents of Alec Baldwin, James Marsden, Amy Sedaris, Ariana Greenblatt, Jeff Goldblum, Eva Longoria, and more. Plenty of action and laughs in this sequel, and a very nice story. PG for language.

BOSS'N UP (NR) 83 minutes * Snoop Dogg apparently decided that there was no point in applying for a rating for this movie. With a few minor cuts, it could easily be an "R". Then again, with a few minor cuts, there wouldn't be much left except the music videos... It's the story of Corde Christopher (Snoop Dogg), who becomes one of the best pimps around. He gets arrested for murder, learns his lesson, and aspires to greater things... like teaching others how to be pimps. Snoop fans may like this, but others should stay away.

BOTH SIDES OF THE BLADE (NR) 112 minutes * * * Sara (Juliette Binoche) has been with Jean (Vincent Linden) for a number of years. Their relationship is going through a little rough patch, which is complicated by the fact that Jean's best friend and current business partner, Francois (Gregoire Colin) is Sara's former lover. Superb acting in this dramatic love triangle.

BOTTLE SHOCK (PG-13) 106 minutes * * A small winery, one of many in southern California. An equally small wine shop in France. Steven Spurrier (Alan Rickman) decides to have a contest. In part, he hopes to demonstrate the superiority of French wine, but he also expects to increase the credibility and appeal of his shop. Of course, sometimes the unexpected happens. Based on fact, the story is both interesting and fun, though not unpredictable. Still, Rickman's performance is a bit too tongue-in-cheek and we find it difficult to think Spurrier really knows much about viniculture from the way he is portrayed here. PG-13 for language and sex.

BOTTLED WITH LOVE (NR) 83 minutes * * 1/2 Sometimes it's difficult to give love a chance, but Abbey (Bethany Joy Lenz0 decides to put herself out there and take a risk. It's going to be a bit bumpy, but this is also a Hallmark movie. Co-starring the charming and talented Andrew W. Walker.

BOTTOM OF THE 9TH (R) 107 minutes * * 1/2 It's been seventeen years since Sonny Stano (Joe Manganiello) has been on a baseball field. Not everyone is interested in giving an ex-con a break. For that matter, Sonny isn't sure he even wants to be back on a baseball field at all. When he proves that he still has what it takes to be on the field, he begins to think that he just might have a chance. Very nice work by Manganiello. R for language and violence.

BOULEVARD (R) 84 minutes * * * A sensitive protrayal by Robin Williams of a man who has hidden inside himself for so long, that he doesn't know how to stop, even when he feels that he can no longer hide. This is one of those quiet and sensitive films that will ikely stay with you for awhile. R for language and sex.

BOULEVARD! A HOLLYWOOD STORY (NR) 83 minutes * * 1/2 The story of the making of a musical based on the movie Sunset Boulevard. Written by Dickson Hughes and Richard Stapely, the musical was also the story of the film's star, Gloria Swanson. A fascinating look at the creative process as well as the film and its star.

BOUNCE (PG-13) 102 minutes * 1/2 At the last minute, Budyy (Ben Affleck) gives his plane ticket to another man. Now the plane has crash and Buddy is living with the guilt. Trying to do something nice for the widow, he finds himself falling in love with her. Gwyneth Paltrow plays the part of the young widow well, but Affleck's performance seems shallow and too often insincere. Then, of course, to top things off, we have a sappy romantic ending that undermines the realistic performance that Paltrow his given. Filmed in Los Angeles and Palm Springs, California. PG-13 for language.

THE BOUNCE BACK (PG-13) 99 minutes * * 1/2 A relationship guru and a therapist each have totally different approaches to healing broken relationships. And they both have ones to get over. And if you don't know where this is going, I don't know what to tell you. Nice chemistry between the leads, and a fun, if very predictable story. PG-13 for sex and language.

THE BOUNCER (R) 86 minutes * He's just trying to raise his daughter, but Lukas (Jean-Claude Van Damme) is in trouble because of the outcome of a fight at a bar. Very low-ebergy story, with a few fist fights and a couple of gun fights. Van Damme's performance only hits one note over and over. R for violence, language, and sex.

BOUND (NR) 87 minutes * Michelle's (Charisma Carpenter) affair with a younger man, including a foray into the world of BDSM, helps her gain the control over her life that she'd been looking for... right... We're not convinced by the story or the performances. The story is manipulative and unrealistic. Sexy, to be sure, but way overplayed.

BOUND BY A SECRET (NR) 87 minutes * 1/2 The diagnosis Jane (Lesley Ann Warren) has received is making her reconsider a decision she made years ago. You, on the other hand, might want to reconsider why you want to watch this. Stellar acting is not part of the plan here, and it's not clear who thought that having Warren and Meredith Baxter work together would be a good idea. maybe that's a secret too.

BOUNDARIES (R) 100 minutes * * * Laura (Vera Farmiga) has boundary issues. In particular, boundary issues with her father, who has just been kicked out of the nursing home where he's been living. She finds herself on a cross-country trip with him... and her son... and some dogs... Great work by Farmiga, supported well by the rest of the cast and a sharp script. R for language and nudity.

THE BOUNTY (PG) 125 minutes * * * The story of William Bligh’s (Anthony Hopkins) cruel leadership and how the men on his ship, led by Fletcher Christian (Mel Gibson) rose up to take command of the ship and control their own fate. Scenery and photography are very good, as are some of the performances, but there’s a stiffness and lack of energy that keep this from being an even better film. And it runs a little long. PG for sex, violence, and language.

THE BOUNTY HUNTER (PG-13) 106 minutes * * 1/2 Milo (Gerard Butler) is a bounty hunter. His latest assignment is to pick up his ex-wife and take her to jail. He's excited about the opportunity, but he also has no idea what he's in for. Not only is Nicole (Jennifer Aniston) still a handful on her own, she's in the middle of uncovering a big story... that some people don't want uncovered. Good chemistry between Butler and Aniston help keep this entertaining, though it resolves a bit quickly at the end. PG-13 for violence and language.

THE BOUNTY KILLER (NR) 80 minutes * Once upon a time in the United States, not only was bounty hunting legal, but it was considered to be part of the law enforcement system. When a wealthy man's daughter is kidnapped in an effort to get him to sell his land, he hires a bounty hunter (Crispian Belfrage) to kill the kidnappers and bring her back. There are lots of editing and photography problems, but the acting script aren't too bad for a low-budget western, and the soundtrack is good. Co-writer and director Chip Baker also served as casting director, sound effects editor, and co-editor of the film.

THE BOURNE IDENTITY (PG-13) 111 minutes * * * Jason Bourne (Matt Damon) is a secret agent who was sent on a mission. The mission didn't go as planned and now he has amnesia. With no idea who he is, he has no idea who he can trust. He befriends Marie (Franka Potente), but even with her help, he's struggling to figure things out. The story, adapted from Robert Ludlum's novel, is quite good, with suspense remaining right up until the end. And John Powell's soundtrack adds quite well to the tension. The ending does happen a little too quickly and neatly for the way the rest of the story was paced, and Damon youthful appearance works against believability at times as well. Potente compensates nicely for some of this, but it does take the edge off in a few scenes. PG-13 for language and violence.

THE BOURNE LEGACY (PG-13) 126 minutes * * 1/2 Aaron Cross (Jeremy Renner) was part of another operation, similar in many ways to Treadstone, of which Jason Bourne was a part. Cancelling Cross to try and clean up the trail won't prove to be any easier than trying to stop Bourne. It's interesting, and there are plenty of great chase scenes, but the chemistry between characters and the passion aren't as strong as in the other films in the series. PG-13 for violence.

THE BOURNE SUPREMACY (PG-13) 102 minutes * * * Nice sequel with Bourne (Matt Damon) still working on figuring out what happened on his earlier mission and having to come out of hiding because he's being framed for other murders. More time spent on character development in this entry, which helps us feel more like we know Bourne and a few of the others, but the details of the story suffer a little in some spots because of it. Still, this is shaping into a nice series and Damon does well with it despite his youthful looks. PG-13 for language and violence.

THE BOURNE ULTIMATUM (PG-13) 106 minutes * * * Bounre (Matt Damon) is beginning to remember, and at the same time, someone else is hot on the trail of where it all started as well. Plenty of tense chase scenes and close calls, and a very nice ending as well. The soundtrack adds well to the tension though it's a bit repetitive in spots. The editing could have used a bit more work in some of the fight sequences, but all things considered, another nice entry in this series. PG-13 for language and violence.

BOWFINGER (PG-13) 91 minutes * * Small-time producer/director Bobby Bowfinger (Steve Martin) can't get the star he wants for his new picture, so he films it with the rest of the cast walking up to him on the street and saying their lines. At times, this does give us a fun look at the creation of low-budget films and the love for movies that these folks have. But there's little to hold these moments together and create a flow that will keep us watching. "Matinee" does a better job in that respect. It's an appealing cast, with Eddie Murphy, Heather Graham, and Christine Baranski complimenting Martin. But it just never quite lives up to its potential. PG-13 for language.

BOWLING FOR COLUMBINE (R) 117 minutes * * * 1/2 Michael Moore once again displays his talent for combining an easy-going, down-home style with a tenacious pursuit of the truth. His subject is gun control and is triggered (yes, I meant to say that) by the fact that one of the youth responsible for the shootings at Columbine High School in Colorado lived in Michael's hometown of Flint, Michigan for awhile. It's important to remeember that Moore is a card-carrying member of the National Rifle Association and firmly believes in the right to bear arms. Still, he clearly demonstrates how something has gone wrong in a world where things like Columbine happen. Among the best moments of the film are impressive statistics about violence in other countries compared to the US, a wonderful interview with Mariyn Manson, an impressive encounter at K-Mart's headquarters, and an interview with NRA president Charleton Heston. A wonderful piece of work. R for language and violence.

THE BOX (PG-13) 108 minutes * * A box is delivered to an unsuspecting couple. It has a button. If they decide to press the button, two things will happen. First, someone, somewhere, who they do not know, will die. Second, They will recieve a payment of one million dollars. Of course, there is a catch. Unfortunately, it's even more than you might expect and involves the NSA, aliens, and the fate of the world... what? Based on Richard Matheson's short story "Button, Button" this is stretched a bit beyond the 30-minutes that would have done it justice. It's really a short and simple morality tale that has been overly complicated here, though the presentation still works reasonably well, thanks in part to a wonderfully creepy performance by Frank Langella. PG-13 for violence and language.

THE BOXCAR CHILDREN (G) 77 minutes * * The beginning of the Boxcar Children as they first find the boxcar and start life on their own. They do reasonably well until young Violet gets sick and they realize they need to reach out for help. The animation is stiff and the story can't help being somewhat dated. Of some interest to fans of the books, but not many others.

THE BOXCAR CHILDREN: SURPRISE ISLAND (NR) 79 minutes * * 1/2 The children travel to their grandfather's private island, where they spend the summer living off the land, having adventures, and making new friends. The animation is mediocre, but it's a good story.

BOXING HELENA (R) 101 minutes * * 1/2 Julian Sands and Sherilyn Fenn star in this bizarre film about the extent to which one man will go to possess the woman he loves. Fenn is quite good here, but Sands seems to struggle with the material at times. Directed and written by David Lynch's daughter Jennifer, which might account for some of the rather strange elements. Interesting, but not for everyone's tastes. R for sex and language.

THE BOXTROLLS (PG) 88 minutes * * * 1/2 So-called because they wear boxes, which also serve as a place to hide. Their numbers are dwindling thanks to some humans who fear them and are trying to eradicate them. Supposedly, they kidnapped a baby and killed his father, thus creating the fear that people are acting on. But the baby is now a boy, and he has a different story to tell. Very creative story and animation, with a wonderful reminder that it isn't hats, cheese and boxes that make us who we are... we make us who we are! PG for violence and language.

BOY (NR) 82 minutes * * * Boy (James Rolleston) has imagined a perfect version of his father, who has been in prison for awhile. When his father returns, his focus is on finding a bag of money which he buried. Boy soon realizes what kind of a man his father truly is. Sometimes we expect a little too much from people, but there are also times when there's still hope.

THE BOY (2016) (PG-13) 89 miunutes * 1/2 Greta (Lauren Cohan) takes a job as a nanny for an elderly couple with a young child. It's a little strange when she learns that the child is actually a doll, but she quickly learns that it's a coping mechanism for the son they lost in a fire several years ago. But is it something more? There's an interesting twist, but there are also aspects of that turn of events that don't make sense. There's some good suspense here, but the lack of story logic late in the film undercuts any power the ending might have had. PG-13 for violence and sex.

BOY A (R) 103 minutes * * * 1/2 Released back into society years after committing a terrible crime as a young boy, Jack (Andrew Garfield) is trying to start over. No matter what attempts are taken to insure that his past is buried, it continues to haunt him. Starting over will be difficult at best. It may not be possible. Tragic and haunting story adapted from the novel "Carousel Bar" by Jonathan Trigell. R for language and sex.

A BOY A GIRL A DREAM (R) 84 minutes * * Two dreamers meet in Los Angeles on the eve of the 2016 presidential election. Dreaming is important, and so is fiollowing through on your dreams, and both Cass (Omari Hardwick) and Free (Meagan Good) have trobule doing. The script is heavy with dialogue, though it does occasionally pause for reflection. It's still dry and perhaps a little too realistic in portraying how easy it is to imagine the possibilities and how difficult it is to follow through. R for language.

THE BOY AND THE BEAST (PG-13) 114 minutes * * 1/2 Kyuta is an orphan who loves to explore. When he finds a unique and amazing world of beasts, he becomes apprentice to a warrior beast, and they soon find themselves in a position where it is up to them to save both worlds. Beautiful animation, though the story does tend to stray off course. PG-13 for violence and language.

THE BOY AND THE WORLD (PG) 73 minutes * * * Winner of numerous awards, this animated feature from Brazil is, on the surface, the story of a boy searching for his father. As he searches, he also learns about the world around him. In particular, he learns about how interconnected everything is, which is the deeper part of the story. With little dialogue, the film relies on its powerful images and beautiful soundtrack to convey its message. PG for language.

THE BOY BEHIND THE DOOR (NR) 84 minutes * * They were just playing catch. Then, suddenly, Kevin (Ezra Dewey) is gone. Bobby (Lonnie Chavis) goes looking for him and then they are both gone. Kidnapped. Bobby manages to escape, but hearing Kevin's cries for help, he decides to return. Some good tension, but believability isn't very high.

A BOY CALLED PO (PG) 90 minutes * 1/2 When his wife dies, David (Christopher Gorham) is left to take care of their autistic young son by himself. In the midst of their grief, father and son are driven further apart, risking a second major loss for both of them. Given the strength of the idea of the story, it's surprising that the characters are so shallow. It's also disappointing that the soundtrack is so repetitive. PG for language.

THE BOY DOWNSTAIRS (PG-13) 86 minutes * * The "boy" in the title is not only Diana's (Zosie Mamet) ex-boyfriend, but unexpectedly a tenant in the building she just moved into. The script catches all of the awkwardness present in lots of relationships. There are plenty of good moments here, but they fit together awkwardly. That may be by design, but the problem with that is it's difficult to watch. Still, it's a good debut from writer/director Sophie Brooks. PG-13 for sex and language.

BOY EATS GIRL (R) 72 minutes * * As if things weren't rough enough for Nathan (David Leon)... constantly picked on by the school bullies, no luck with the girls... now he's back from the dead and trying to protect his friends from the zombie plague he inadvertently unleashed on the town! Almost more of a comedy than a horror film, though there are a few scenes... Filmed in Ireland and on the Isle of Man. R for violence, language, and sex.

BOY ERASED (R) 109 minutes * * * Entering into a gay conversion therapy program, Jared (Lucas Hedges) begins to deeply examine his life. But this is no easy weekend "cure". This is just the evaluation part of the program. Based on the memoir by Garrard Conley. A powerful performance by Hedges quickly draws us in and keeps us there. R for sex and language.

BOY GENIUS (NR) 90 minutes * Child prodigy, Emmett (Miles Brown) needs some help to solve a crime that is putting his family at risk. Mary (Rita Wilson) might be able to help, though her approach is less conventional. A film full of mostly unlikeable characters, which means that we don't really care about the missing person.

THE BOY IN THE STRIPED PYJAMAS (PG-13) 87 minutes * * * Bruno (Asa Butterfield) and his family have to move, and Bruno isn't to happy about it. He does manage to make a new friend fairly quickly though. Leon (Zac Mattoon O'Brien) is the same age as Bruno, but lives behind a fence and wears striped pyjamas. The images of boyhood innocence are in stark contrast with the tragic and horrible realities of World War II in this tale of a childhood friendship that was all too brief. Filmed in Hungary. PG-13 for violence.

THE BOY NEXT DOOR (R) 85 minutes * * Her husband's affair wrecked their marrige. The boy that just moved in next door is... tempting. Of course, then he becomes a dangerous stalker. No surprises and a gratuitously violent finish. R for violence, sex, and language.

BOY TOY (R) 87 minutes 1/2 Jake (John White) can't seem to find a job, not that he;s really been trying all that hard. But then he stumbles across a new idea... maybe he could be a male escort. Sounds like a good idea, until he falls for his biggest client's daughter. Not much substance here (bet that's a surprise), and the script feels like it's mostly a bad ad lib. R for sex and language.

THE BOY WHO COULD FLY (PG) 104 minutes * * * ½ After her father’s death, Amelia (Lucy Deakins) and her mother (Bonnie Bedelia) and brother (Fred Savage) move to a new town. Adjusting to the death and the moving is more than a little difficult. One of Lucy’s classmates lives next door, but Eric (Jay Underwood) has a unique perspective on life through an autistic lens. He sits on his roof most evening, and imagines himself flying. It’s a beautiful story, with wonderful effects by Richard Edlund, and a great soundtrack from Bruce Broughton. As Miss Sherman (Colleen Dewhurst) says near the end of the film, “Maybe, if you wish hard enough and live long enough… anything is possible.”

BOYFRIENDS OF CHRISTMAS PAST (NR) 84 minutes * * 1/2 Having a few issues with committment in her relationship, Lauren (Catherine Haena Kim) is about to lose another boyfriend (Raymond Ablack). Before that happens, she will receive a few visits from the "spirits" of her past boyfriends, who hope to give her enough incentive, and the opportunity to change.

BOYHOOD (R) 160 minutes * * 1/2 It's interestig to see a film that follows a boy's coming-of-age by filming the same set of characters over a period of twelve years. Still, the story has little difference from many coming-of-age films, and it loses something by being a fictional story while reaching for the realism that comes with using the same actors. (For a much more extensive look at the same idea using no artificial story, check out the "Up" series.) A curiosity, and mildly intriguing, but director Richard Linklater has done better. R for language.

BOYKA: UNDISPUTED (R) 83 minutes * In this fourth entry in the "Undisputed" series, Boyka (Scott Adkins) has grow tired of smaller fights and is looking for something with more prestige that would be a better fit for his skills. It's going well an opponent dies as a result of one of the fights. Lots of MMA fights in the ring here, with convincing stuntwork, but the dramatic scenes are far less convincing and are clearly sandwiched between the fights. R for violence and language.

BOYNTON BEACH CLUB (R) 101 minutes * * 1/2 Growing old may not be easy, but it can still be fun. That's the premise for this look as the members of a bereavement club in Florida where people move past their recent losses and on to the next relationship. There are some cute bits here and there, but this is still mediocre at best. It's nice to see these folks again, but better material and direction is sorely lacking. Starring Joseph Bologna, Dyan Cannon, Len Cariou, Sally Kellerman, Michael Nouri, and Brenda Vaccaro. R for sex and language.

THE BOYS ARE BACK (PG-13) 100 minutes * * * Being a single parent is a new skill that Joe (Clive Owen) is going to need to develop. Now that their mother is gone, his boys need him even more. It's not a matter of being a perfect father, but refusing to give up is a good way to start. Wonderfully sensitive and gentle performance from Owen, and nice work by both of the boys (George MacKay and Nicholas McAnulty). PG-13 for language.

THE BOYS FROM COUNTY HELL (NR) 86 minutes * * 1/2 They've grown up with the legend, but they're about to find out just how true some legends can be. An ancient Irish vampire has just been reawakened. It's a very well designed vampire story that plays off the standard folklore but takes it in a slightly different direction. There are a few bits of humor too, but not too much.

BOYS ON THE SIDE (R) 110 minutes * * * 1/2 Whoopi Goldberg and Mary Louise Parker, a very unlikely pair, are going to ride-share a trip out west. Drew Barrymore comes along for the ride when they get to Pittsburgh. This is no travelogue though, it's a story of friendships and tragedy, laughter and love. The characters here are drawn remarkably well, and Goldberg and Parker give us fabulous performances. The mixture of having a down-on-her-luck musician, a neurotic, and a free spirit traveling together is fascinating to watch and leaves us wanting more. A film that is guaranteed to have you laughing... and crying. R for sex and language.

THE BOYS: THE SHERMAN BROTHERS STORY (PG) 96 minutes * * * 1/2 The story of the amazingly talented creative musical team of Robert and Richard Sherman. Together, they wrote so many songs that were, and still are, listened to by children all over the world. this is the story of how those wonderfully memorable songs came to be. their musical collaboration was magical, though they rarely saw eye to eye, and eventually grew very far apart from one another. Directed by their sons, Jeff and Greg, who despite the distance their fathers still maintain, worked together to direct this informative and occasionally sentimental portrait of two very talented songwriters. PG for language.

BOYZ N THE HOOD (R) 105 minutes * * 1/2 This first film for director John Singleton is a bit thick on the morals, but is basically a good tale of life in South Central LA. It's a favorite of many fans of the genre and did break ground on dealing more directly with this topic in major motion pictures. And it boasts an impressive cast that includes Larry Fishburne, Ice Cube, Cuba Gooding Jr., and Angela Bassett. R for language and violence.

THE BRACELET OF BORDEAUX (PG) 91 minutes * 1/2 Two young girls use a magic bracelet to find a missing dog and bring the dognappers to justice. Stilted dialogue and poor acting undermine a story that, though not original, does have some appeal for the younger crowd. PG for language.

BRADDOCK: MISSING IN ACTION III (R) 98 minutes * 1/2 Chuck Norris returns again in this highly improbably action film directed by his brother Aaron. He single-handedly blows up an entire prison camp while rescuing around fifty children and a priest, taking over an airfield and stealing a C-47 airplane to get them all out. Right... Nice songs at the beginning and end of the film.

BRAD'S STATUS (R) 95 minutes * * 1/2 Finding it difficult to beliece that his son is almost ready to leave for college, Brad (Ben Stiller) is taking him on some college visits. It's making him think about the choices he's made over his own lifetime, and the opportunities that he has (or hasn;t) provded his son over the years. Nice work by Stiller in what is ultimately a very tender, though heavily narrated, film. R for language.

THE BRADY BUNCH MOVIE (PG-13) 84 minutes * * There are some great cameos by some of the original stars here, and a good feel for the spirit of the old show. Updating this for the 90's by adding alot of sexual innuendo jokes isn't really appropriate. It makes the film a mix of recreating the old show and making fun of it at the same time. PG-13 for language.

BRAHMS: THE BOY II (PG-13) 80 minutes * 1/2 Their move to the Heelshire estate in the country was supposed to reduce the trauma from a recent break-in. But when their son Jude (Christopher Convery) discovers a creepy doll buried on the ground, life grows more strange by the moment for Liza (Katie Holmes) and her husband. Lots of creepiness, but no surprises to the story, which is a very brief extension of the first film. PG-13 for violence.

BRAIN DEAD (R) 81 minutes * * 1/2 Interesting and rather bizarre little horror film that deals with paranoia. Maybe a bit too bizarre for most folks, but the effects and music are pretty good and the story is... different. Those who follow lower budget horror will be interested to note that Charles Beaumont wrote this and Julie Corman produced it. Make sure you stick around for the end. I don't think you'll be sorry. R for violence and nudity.

BRAIN DONORS (PG) 76 minutes * Mindless rip-off of the Marx Brothers' "A Night at the Opera" that delivers only a few good gags. This is another good example of why not to try and remake a classic film.

BRAINSCAN (R) 92 minutes * * 1/2 Grieving over the death of his mother, and obsessed by computer games and horror movies, Michael (Edward Furlong) finds himself drawn into a new game that is more dangerous. Trickster emerges from the video screen, challenging Michael's perceptions of real and unreal, life and death, sense and nonsense. Some good effects, and an interesting (if somewhat familiar) villain, give this a little spark, but not enough to make it all that memorable.

BRAINSTORM (PG) 106 minutes * * * ½ When the technology to record and play back what people are thinking becomes available, it doesn’t take long for the military to become interested. Visually very impressive, though much of that will be lost on a smaller screen. A fascinating idea, and Christopher Walken delivers another of his classic performances. PG for sex.

THE BRAINWASHING OF MY DAD (NR) 88 minutes * * 1/2 Documentary filmmaker Jen Sanko explores her father's shift in thinking from left of center to far-right extremist. She details the general political and social movement of the United States as a whole, looking at both how and why the right-wing media has become so influential in the 2010's. Her father's situation remids us just how much what we watch and listen to can influence our attitudes and perspectives.

BRAM STOKER'S DRACULA (R) 120 minutes * * 1/2 Multi-million dollar presentation of the classic story that boasts a haunting and frightening portrayal of Dracula by Gary Oldman. Anthony Hopkins delivers an equally strong performance as Van Helsing. But Keanu Reeves and Winona Ryder fall so short of the mark it's ridiculous. Narration, split screens, and rapid scene changes early in the film try to deliver too much information too quickly for us to absorb it all in one sitting. Director Francis Ford Coppola has tried to present too many details of the legend here and we find ourselves laughing at scenes late in the film rather than being absorbed in or frightened by what we are seeing.

A BRAMBLE HOUSE CHRISTMAS (NR) 83 minutes * * 1/2 When his father leaves a nurse a sizeable portion of his estate, Finn (David Haydn-Jones) is determined to investigate. As he gets to know Willa (Autumn Reeser), he learns what a kind and caring person she is. There are a couple of wrinkles, but it all turns out fine in Hallmarkland.

BRAND NEW DAY (PG-13) 78 minutes * * * Willie (Rocky McKenzie) is about to enter seminary, an honorable and noble path to a career in the ministry. But Willie is also in love... with a sexy young woman who is passionate about music and life. Based on the Australian musical, Bran Nue Dae, this is not only a delightful story about love and religion, but an exploration of the tensions between aboriginal and white culture in Australia. There's nothing quite like upbeat music with a lyric that packs a punch. PG-13 for sex and language.

THE BRASS TEAPOT (R) 97 minutes * * 1/2 More money is usually a great thing, but Alice (Juno Temple) and John (Michael Angarano) discover that the more money they want the teapot to produce, the more they must endure pain. The story definitely has an EC Comics sort of style, as this somewhat painful morality tale is laced with humor. The cast do a great job of playing it all vert straight-faced, which helps make it work. R for violence, sex, and language.

BRASSED OFF (R) 101 minutes * * * English mine workers who spend their spare time playing in a brass band find the company of each other and their music a source of comfort as pits close and they find themselves out of work. It's an unusual mix of drama and comedy that manages to work. A talented cast, featuring Pete Postlethwaite and Ewan MacGregor make us feel right at home with their struggles. It's a charming film that will bring a smile to your face. R for language.

BRATZ (PG) 95 minutes * 1/2 Live action version of the mildly obnoxious cartoon. Four girls who have been friends for years, find that high school is a little bit more challenging than they expected, especially when there's a student body president who's a... not very nice person. Of course it helps that these girls never seem to want for anything. They are definitely "material girls". of course, friendship, like, it matters too! Yeesh! PG for language.

BRATZ BABYZ SAVE CHRISTMAS: THE MOVIE (NR) 72 minutes * * The babyz take a trip to the mall and discover that a trio of criminals are about to ruin Christmas. Cure holiday entry in the series, though the story seems a bit disconnected in a few spots, and the animation is not all that great either.

BRATZ DESERT JEWELZ (NR) 71 minutes * * At a fashion show with their friend Katia, the girls find themselves on a magic carpet ride... literally. Now they have to find a genie's lamp before it ends up in the hands of the wrong people.

BRATZ GIRLZ REALLY ROCK (NR) 80 minutes * * The girls are at a summer music camp, competing for a spot in major motion picture. The competition gets a little extreme for a bit, but of course the girls realize that friendship is what really matters. Fairly typical Bratz material.

BRATZ GO TO PARIS: THE MOVIE (NR) 59 minutes * * 1/2 The Bratz head to Paris to solve the mysterious super model poisonings that have been happening. Since they’ll be going undercover as models, they’ll have to work quickly before one of them ends up in trouble. This is technically three episodes of the television show, but the story arc works well enough to run them together here as a movie.

BRATZ SUPER BABYZ (NR) 71 minutes * * Generic cartoon with your favorite Bratz getting super powers for a short time and defeating a group of alien potatoes. Need I say more? Harmless enough, but not very memorable either.

BRAVE (PG) 81 minutes * * * 1/2 Princess Merida has always been rather strong-willed, but her father is a bit ocncerned now that his daughter is single-handedly determined to save the kingdom from the curse that has been around for so many years. But it is her strong will and her unwillingness to give up that will help win the day. The animation here is absolutely wonderful, and while played to add to the effect of 3D, it works very well in 2D, highlighting the skill of the animators in creating such realistic depth and movement. The story is also packed with humor and excitement, though it does get a little dark and scary in a couple of spots, though only briefly. Winner of the Oscar for best animated feature, this is definitely another of Disney's long line of successful films. PG for violence and language.

BRAVE NEW JERSEY (NR) 86 minutes * * 1/2 The story of a quaint little town in New Jersey on one very special night in 1938. The night of Orson Welles' broadcast of "The War of the Worlds". Each of the residents approaches the idae of an alien invasion a little differently, but they all begin to think about what that very idea might mean. Their lives will never be quite the same again. Light and fun story.

THE BRAVE ONE (R) 118 minutes * * * Rachel (Jodie Foster) and her boyfriend are attacked, and as she begins the long road to recovery, she begins to find solace in righting the wrongs around her. But it's a violent path, and though she finds herself drawn to it, there's clearly a struggle she finds with the idea that she is capable of doing these violent acts. Excellent work from Foster, and Terrence Howard does a fine job as the detective who is working to stop her. Sometimes things happen in life that change you. You're not always better or worse... just different. R for language, violence, and sex.

BRAVEHEART (R) 169 minutes * * * What tells the true worth of a man, his wits, his strength, his passion? Some, like William Wallace, are blessed with all three. Well-told story, brought to the screen by director Mel Gibson, who also gives us a stunning and powerful portrayal of the historic figure of Wallace. A bit more gory than necessary in a few spots and there are some editing problems here and there, but a very good film that most people are very impressed with.

BRAVEN (R) 90 minutes * * Dealing with an aging father who is more than a little stubborn, Joe Braven (Jason Momoa) has a much bigger problem now. A friend has used Joe's cabin to stash a shipment of drugs. The friend's boss wants the drugs, and Joe just wants to protect his family. Plenty of action, though there are also plenty of lapses in common sense. R for violence, language, and sex.

BRAVETOWN (R) 110 minutes * * 1/2 Josh's (Lucas Till) search for meaning and purpose will take him where he least expects, but perhaps most needs to be. More than a little sentimental and manipulative. What's worse though, is that the end of the films seems to be rushed and incomplete, missing a lengthier and more complete resolution. R for language and sex.

BRAWL IN CELL BLOCK 99 (NR) 125 minutes * * When Bradley (Vince Vaughn) loses his job, he ends up turning to running drugs. But when a deal goes bad, he not only ends up in jail, but with some very bad people who are determined to get him. Bradley knows how to play hard when he needs to. Very violent, and the special effects aren't very good, but Vaughn does some really nice work.

THE BRAWLER (NR) 92 minutes * * The story of Chuch Wepner (Zach McGowan), a fighter who was persistent, though not terribly successful. His career served as the inspiration for the film "Rocky", but that attention didn't really help his career. His career had to sink all the way to the bottom before he could see a way to turn it around. McGowan isn't bad here, but the story just isn't that interesting or exciting after the first half hour, and McGowan struggles to carry it after that point.

BRAZIL (R) 131 minutes * * * * The world has become both convoluted and confusing and Sam Lowry (Jonathan Pryce) would love to do something about it. He'd also just like to leave it all behind and run off with the woman of his dreams (Kim Greist). But now that he has interfered with what he believes to be a wrongful arrest, the government is determined to punish him. From the beautifully twisted mind of Terry Gilliam, a wonderfully creative and nightmarish vision of the future. R for violence.

BREACH (PG-13) 104 minutes * * * When he is pulled off of a detail he thought might get him on the fast track to a promotion, Eric (Ryan Phillippe) is more than a little upset. He has no idea that the agent he's now pretending to be a clerk for is possibly the worst double agent the FBI has ever seen. The tale evolves slowly and deliberately, showing us how Agent Robert Hanssen's (Chris Cooper) view of the world has shifted. Cooper's deliberate and thoughtful performance is convincing, though the supporting cast seems to struggle a bit in some sequences. Inspired by a true story and rated PG-13 for language and violence.

THE BREACH (2014) (NR) 80 minutes * * 1/2 Wild salmon populations have been decimated. Mark Titus is a fishing guide and lifelong lover of salmon. He uncovers where the fish have gone and whether a return is still possible. The film shows how hatcheries and fish farms actually harm the natural salmon populations and prevent the natural process for the fish. There is a focus on the proposed Pebble Mine in Bristol Bay, Alaska as an example of the issues around how to protect the salmon population and give the fish a chance to repopulate the rivers where they used to be so numerous/

BREACH (2020) (R) 90 minutes 1/2 Stowing away on a spaceship headed for New Earth, Noah (Cody Kearsley) wants to protect his girlfriend. She just happens to be the daughter of the Admiral (Thomas Jane). There is another creature who is on the ship, and it wants to go to New Earth as well. Hopefully Clay (Bruce Willis) can stop it. Lots of gunfire and some mediocre effects, though the creature is less than mediocre. The first few minutes aren't bad, but this goes downhill quickly. R for language and violence.

BREAD AND TULIPS (PG-13) 114 minutes * * * 1/2 Rosalba (Licia Maglietta) has been the busy housewife for so long that she's forgotten what it's like to have time to herself. When she gets left behind by the tour group on a family vacation, she decides to take advantage of it and have a vacation on her own. What she discovers will change her life. Charming and funny, this is a delightful tale that feels like a breath of fresh air. Solid performances all around make this a film not to be missed. PG-13 for sex.

THE BREADWINNER (PG-13) 81 minutes * * * In Afghanistan, Parvana (voiced by Saara Chaudry) lives under the rule of the Taliban. Her father ends up being arrested by them and Parvana disguises herself as a boy to earn money for her family and to have more freedom. An intesnes and powerful story., adapted from the book by Deborah Ellis. PG-13 for violence.

BREAK (NR) 77 minutes 1/2 A crime boss hires a hitman (Frank Krueger) to end his life rather than die of a terminal disease. The catch is that he's supposed to kill the man's girlfriend... who used to be his. Poorly scripted dialogue and scenes that are staged very slowly and very obviously are apparently supposed to give this a comic book/noir sort of feeling. It doesn't work. There are a number of well-known actors here, but their appearance is overshadowed by writer, director, producer, actor Marc Clebanoff's inability to handle so many aspects of a film by himself.

THE BREAK-UP (PG-13) 102 minutes * * 1/2 Relationships take work, sacrifice, and understanding, and even then, it still doesn't always work like you want it to. Sometimes you can see things more clearly after a break-up. Jennifer Aniston and Vince Vaughn star along with Joey Lauren Adams in the story of a couple who break up and then have to figure out who is going to leave the apartment when they neither one want to... or maybe it's that they don't want to break up? PG-13 for language and nudity.

BREAKDOWN (R) 89 minutes * * The one-note script isn't too bad here, but one does wish they had developed a few sub-plots to make this a little more interesting. Kurt Russell does a nice job playing a non-hero and there is a great (if a bit over-done) car chase scene toward the end of the film. Nice, suspenseful music by Basil Poledouris to try and keep us on the edge of our seats, but we've seen this too many times already. R for violence and language.

THE BREAKFAST CLUB (R) 98 minutes * * * It's unlikely that these five students would have ever spent this much time together otherwise, but now they find themselves in detention together. An impressive array of acting talent, but also a fine script and skillful direction, both from John Hughes. R for language and sex.

BREAKFAST ON PLUTO (R) 121 minutes * * * 1/2 Cillian Murphy is Patrick "Kitten" Braden, left at the door of a church as an infant. Patrick has always been a bit... different, and refuses to become like the other boys. When he decides to look for the mother who abandoned him, he'll find much more than he bargained for. Murphy does an excellent job here, and director Neil Jordan handles the topic with both humor and sensitivity that not only entertains, but helps us see the world through Kitten's eyes. Adapted from Patrick McCabe's book. R for sex, language, and violence.

BREAKIN’ (PG) 81 minutes * ½ Boy with talent falls in love with girl with talent who ignores him. The dialogue here leaves a lot to be desired, and the acting isn’t that great either. Ozone (Adolfo Quinones) and Turbo (Michael Chambers) both have an energy that carries their characters well, but it’s not enough to carry the film. PG for violence.

BREAKIN' ALL THE RULES (PG-13) 81 minutes * * Quincy (Jamie Foxx) writes a book about how to breakup with someone and then finds himself dating his best friend's girlfriend... before they've actually broken up. Meanwhile his friend (Morris Chestnut) is getting in hot water pretending to be Quincy so he can be a player. Not much to the story here, but Foxx and Chestnut almost always deliver solid performances and Gabrielle Union does a nice job as well. PG-13 for language.

BREAKIN' II: ELECTRIC BOOGALOO (PG) 89 minutes * Another community center is on the bulldozing list, and the locals who love to breakdance work to save it. Boring story, but the acting is slightly better than in the first film. Pacing is frequently awkward, with the movement between dance and plot just not working well. PG for violence and language.

BREAKING (PG-13) 97 minutes * * 1/2 Brian (John Boyega) is having a rough go of it. After serving his country as a marine, he just wants the money he's owed so he doesn't have to live on the streets. The transition to civilian life often is not an easy one for veterans. Nice work by Boyega. PG-13 for violence and language.

BREAKING AND ENTERING (R) 114 minutes * * * When someone breaks into his landscaping design studio, Will (Jude Law) is as upset as anyone might be. When it happen again, he takes it upon himself to keep an eye on the place. That also gives him an excuse to avoid home, where things are broken as well. The stories are parallel throughout the film. Once things are broken, how do they heal, if at all? On the metaphoric level, the film is quite good, and the acting by the leads (Jude Law, Juliette Binoche, and Robin Wright Penn) is quite good. Most of the supporting performances seem almost pointless at times, and do little more than generate distracting conversations. Trim these away, at least somewhat, and the film would be stronger. R for sex and langauge.

BREAKING AT THE EDGE (R) 80 minutes * Bianca (Rebecca Da Costa) keeps seeing a girl who has gone missing. But is she just hallucinating, or does the girl want something from her? Unimaginative story with a mediocre performance by Da Costa and an ending that just doesn't deliver much of anything. R for violence, language, and sex.

BREAKING BREAD (NR) 86 minutes * * 1/2 The A-shan Arabic Food Festival pairs an Arab chef and a Jewish chef, asking them to create unique foods. Created by Dr. Nof Atamna-Ismaeal, the first Muslim Arab to win Israel's Master Chef. The focus is on food rather than religion. That just might make all the difference in the world. Very nice soundtrack.

BREAKING IN (R) 91 minutes * 1/2 A lightweight John Sayles script isn't helped much here by mediocre performances from Burt Reynolds and Casey Siemaszko. Reynolds is an old safecracker who has taken on Siemaszko as a trainee, but it just never really goes anywhere. R for language and sex.

BREAKING IN (2018) (PG-13) 86 miunutes * * After her father's death, Shaun (Gabrielle Union) takes her kids to his estate, ready to tie up loose ends and sell the place. But there are some very nasty men looking to open the safe that is somewhere in the house. The bad guys are pretty nasty, and the high-tech house adds a few small points of interest, but the story is still a little too predictable. PG-13 for violence, sex, and language.

BREAKING THE GIRLS (NR) 84 minutes * When Alex (Madeline Zima) gets cut out of her father's will, she comes up with a plan. Misleading relationships, lies, and treachery abound, though originality is nowhere in sight. The ending is not going to make very many people happy with the result.

BREAKING THE WAVES (R) 156 minutes * * * 1/2 Bess (Emily Watson) is a simple young woman, both naive and uneducated. Her love for Jan makes her world complete. But when he's injured in an accident her world is shattered. Jan convinces her to find comfort in the arms of other lovers with the idea that it will help him recover. Watson gives an amazing performance that quickly draws us in. Her innocence and her struggle with love and what it means is both fascinating and heartbreaking to watch. At times it's a bit difficult to watch, but it's a film you won't forget. R for sex and language.

BREAKING THROUGH (NR) 97 minutes * 1/2 Casey (Sophia Aguiar) suddenly finds herself with some wonderful opportunities. But instant fame means a life change. Is she really ready for what that means? Nice dancing, but not enough of it, and the dramatic sequences are very mediocre.

BREAKING WIND (R) 69 minutes BOMB Other than the brief running time, this doesn't have much going for it. It's a parody of "The Twilight Saga: Breaking Dawn", but it's rather slow and dreary for a comedy, and you can probably think up better jokes on your own. R for language and sex.

BREAKNECK (NR) 98 minutes 1/2 "When nothing goes right, go faster." Max Falco (Lorenzo Richelmy) and Kyle Roberts (Ludovic Hughes) are extreme sports athletes who are game for just about anything. They've been invited to participate in a contest run by a secret group called Black Babylon. The Go-Pro camerawork is annoying, but the stunts are reasonably well executed. The first hour is interesting and intense, but as the film continues, there's too much repetition, and we soon become more interested in when it will end than in the race.

BREAKOUT (NR) 85 minutes 1/2 When a pair of young siblings witness a murder, the killers set off to track them down. Meanwhile, the childrens' father has to break out of prison to help them. Filled with logical flaws and nonsense, though no fault of the actors, who manage to act like this all makes sense.

BREAKTHROUGH (PG) 112 minutes * * 1/2 Joyce's (Chrissy Metz) faith is an important part of her life. She's not very thrilled with the new minister (Topher Grace) at her church. But when her son drowns, the church and her faith are what give her the support she needs, even that new minister. An emotional story of a miraculous recovery. PG for language.

BREATH (NR) 110 minutes * * 1/2 The lure of surfing draws two teenage boys into a friendship with a legendary and mysterious older surfer. He serves as their mentor as they take risks they had never dreamed of and ride waves that are the stuff of legend. The film strugges to be a surfing film and a coming of age story. It succeeds at the first, but doesn't really work all that well as a COA story. Based on the novel by Tim Winton.

BREATHE (NR) 84 minutes * * 1/2 Just your normal French teenager, Charlie (Josephine Japy) makes friends with the new girl. But Sarah (Lou de Laage) is more than a little on the wild side, and decides to have some fun at Charlie's expense. Predictable story, but nice work by Japy and de Laage.

BREATHE (2017) (PG-13) 113 minutes * * * 1/2 Andy Serkis makes his directorial debut with this story about Robin (Andrew Garfield) and Diana Cavendish (Claire Foy). As a couple, they not only dreamed of adventure, but lived it and breathed it. All of this in the face of Robin's sudden decline in health due to polio. Great work by Garfield in a passionate story full of energy and determination. PG-13 for violence.

BREATHE IN (R) 92 minutes * 1/2 A sexy young foreign exchange student disrupts the lives of her host family soon after arriving. Much of the turmoil takes place inside these characters, but what they are thinking and feeling doesn't come across that strongly. It's interesting to see a story like this presented in a way that isn't all that hot or steamy, but it's almost too laid back. R for language.

BREATHING (NR) 87 minutes * * * As part of his rehabilitation, Roman (Thomas Schubert) needs a day job while still returning to the detention center in the evenings. He ends up working at a mortuary, which at first is very difficult, but it begins to help him ask important questions about his own life and how he got to this place in it. Sincere and sensitive story with very genuine performances.

BREATHLESS (R) 98 minutes * * * ½ Translation and modernization of the Francois Truffaut film of the same title from 1960. Jesse (Richard Gere) is on the run from Las Vegas to Los Angeles. Stealing cars and shooting police just add to his trouble, which continue to escalate. Monica (Valerie Kaprisky) gets caught up in the whirlwind that is Jesse. A story that is both energetic and romantic. R for sex.

BRIAN BANKS (PG-13) 94 minutes * * * Banks (Aldis Hodge) was a promising young football player. Wrongly convicted, he's back at the bottom and trying to fight his way up. The legal system is not going to be much of a help. An inspiratonal drama with a solid performance from Hodge. PG-13 for language.

BRIAN WILSON: LONG PROMISED ROAD (BR) 89 minutes * * * Extensive look at the life and career of Brian Wilson. As the creative force behind The Beach Boys, Brian was responsible for numerous hit songs and labeled early on as a musical genius. It was not an easy life, and the pressures of both home and the music industry were intense. Brian is willing to talk about all of it... the good and the bad. Very nice bio-documentary though hearing more from the other members of the group could have added another important layer.

BRICK (R) 105 minutes * * * Brendan (Joseph Gordon-Levitt) has never had many friends in particular, but that won't stop him from finding out why his ex-girlfriend is dead and who is responsible. He'll start with the crowd she was hanging out with most recemtly, but they are a tough bunch, and it will not be an easy task. Rian Johnson's debut as a feature film writer and director gives us a smartly written film that definitely keeps us interested. It's definitely a little rough in spots, but manages not to reveal to omuch too quickly. Wonderfully quirky performances from Lukas Haas, Noah Fleiss, and Matt O'Leary. R for violence and language.

BRICK LANE (PG-13) 98 minutes * * * Choosing the more traditional route of agreeing to an arranged marriage, Nazneem (Tannishtha Chatterjee) finds herself in London, married to a man she does not love and becoming more depressed as time goes by. The stories of her sister's escapades back in Bangladesh feed her frustration, but there may yet be an opportunity for change if she is willing to take the risk. The tension between tradition and change are explored through fine performances. Beautiful costumes! PG-13 for sex and language.

BRICK MANSIONS (PG-13) 85 minutes * 1/2 Part of Detroit has been walled off. It was for good reason, or at least that's the story. But now, they have to get inside to stop a crime lord from blowing up the city. Most of the focus here is on parkour chase sequences and hand-to-hand fight scenes. They're quite good, but the story seems to be a secondary consideration. Paul Walker and RZA don't deliver outstanding performances, but they deserve a little more from the story. PG-13 for violence, language, and sex.

BRIDAL FEVER (NR) 84 minutes * 1/2 Landing the job of editing the new Dahlia Marchand (Delta Burke) book is an honor... and a major challenge. Especially if Gwen (Andrea Roth) expects to actually have any influence over the end product and to actually be an editor rather than just taking dictation. Meanwhile, all of her old classmates are getting married... and reminding her how little time she has left to find the right person. Mostly empty-headed fluff, though there are a few moments late in the film that have a tiny amount of depth.

BRIDAL WAVE (NR) 85 minutes * * With her wedding about to happen, Georgie (Arielle Kebbel) is struggling to deal with everything, including the last-minute delay by her husband-to-be. When Luke (Andrew Walker) shows up, she begins to wonder if all of these troubles were more significant than she first suspected. Lightweight romance from Hallmark.

THE BRIDE (NR) 93 minutes * * 1/2 Three lovers whose tales are inextricably entwined. It's a tragic trio of love, despite its beauty and poetic flair. Based on "Bodas de Sangre" by Federico Garcia Lorca and beautifully filmed.

BRIDE FLIGHT (R) 120 minutes * * * Three young women on their way to New Zealand to marry men they barely know. Their lives will always be connected after this flight, as well as with that of a young man who is also on the flight with them. Nicely written, with characters that work well together and the romantic aspects work well, keeping the characters both interesting and entertaining. R for sex.

A BRIDE FOR CHRISTMAS (NR) 85 minutes * * ½ It’s the third engagement she’s broken. Jessie (Arielle Kebbel) is now convinced that marriage just isn’t in her future. Aiden (Andrew W. Walker) has been challenged by some friends to get a girl to marry him in just four weeks. It’s a match made in Hallmark heaven. The story is a tired one, but the cast manages to work wonders with it.

BRIDE OF CHUCKY (R) * OK, starting with the idea that this whole series has always been more than a little ridiculous, this is actually one of the better entries. Most of this is due to the addition of Tiffany, Chucky's girlfriend and partner in crime. The banter between the two brings a little life to the story, though it is still one of the weaker horror film series in existence. Filmed in Ontario. R for violence, language, and sex.

BRIDE WARS (PG) 84 minutes * * 1/2 Best friends since childhood, they have always dreamed of having a June wedding at the Plaza Hotel in New York. But getting engaged within days of each other, their friendship is about to become a free-for-all, especially when their weddings just might end up on the same day. Kate Hudson and Anne Hathaway work well together here, though the story draws them with such broad, cartoonish strokes that they never seem very real. It's certainly good for a few laughs, and Hudson and Hathaway both seem to enjoy themselves throughout. PG for language.

BRIDESHEAD REVISITED (PG-13) 127 minutes * * * The lives and loves of the residents of the Brideshead estate as told through the eyes of Charles Ryder (Matthew Goode). Adapted from Evelyn Waugh's novel, this is a very good period drama with convincing performances throughout. PG-13 for sex.

THE BRIDESMAID (NR) 104 minutes * * 1/3 Director Claude Chabrol's version of Ruth Rendell's novel gives us a classic, twisted suspense/thriller. Senta (Laura Smet) is an attractive young woman who meets Philippe (Benoit Magimel) at a wedding. She quickly falls in love with him, but does he love her? Will he do what she asks to prove his love? Nicely done, with fine acting by the leads and the experienced direction of Chabrol making it worth a look.

BRIDESMAIDS (R) 124 minutes * * 1/2 Annie (Kristen Wiig) always thought she was Lilian's (Maya Rudolph) best friend. But one of Lilian's bridesmaids is making Annie's life more than difficult. Wiig and Rudolph are good here, butt he story keeps trying to be more and more outrageous and that stops working after awhile. It does move fairly well between comedy and drama, and Wiig in particular does a nice job of working with those transitions. Melissa McCarthy pretty much steals every scene she's in, which does make for a quite a few laughs, but doesn't really help the story. R for sex and language.

THE BRIDGE (R) 90 minutes * * * Honest and somewhat disturbing documentary about suicide, focusing on the Golden Gate Bridge, the most frequent site of suicides in the United States. Talking with surviving family and friends as well as those who have attempted suicide, the film explores reasons and motives as well as ways for those who remain to cope with the sad reality of what has happened. R for language/subject matter.

THE BRIDGE PART 1 (NR) 86 minutes * * 1/2 Molly (Katie Findlay) and Ryan (Wyatt Nash) become friends during their first year at college. The Bridge is a bookstore, a coffee shop, and a place to dream and to be part of a bigger family. Findlay has a very casual and natural presence and style that fit this Hallmawk romantic drama very nicely. Based on Karen Kingsbury's book.

THE BRIDGE PART 2 (NR) 86 minutes * * 1/2 A fire, a shortage of money, and a stay in the hospital bring doubts and fears, but this is a Hallmark TV movie, OK? Definitely needs to be seen along with the first part.

BRIDGE OF SPIES (PG-13) 134 minutes * * * 1/2 The story of James B. Donovan (Tom Hanks), a lawyer who is recruited to defend a Russian spy during the Cold War, and then to broker a trade for an American held prisoner in Russia. The Coen brothers and Matt Charman deliver a tightly written script based on actual events. It's a solid, Cold War thriller that features a fine ensemble cast that will keep your attention from beginning to end. PG-13 for violence and language.

BRIDGE TO TEREBITHIA (PG) 90 minutes * * * Jess (Josh Hutcherson) is the kid that everyone seems to pick on. At least that's what happens until Leslie comes to town. The two of them quickly become friends and share magical adventures in a land called Terebithia. Sometimes life can make it tough to believe in dreams. Then again, if you can believe, it just may be that those very dreams are what can help you deal with life's troubles. Just remember - "Look really hard, and keep your mind wide open." Wonderful fantasy film for the young at heart, with magical special effects and a memorable story. PG for violence.

BRIDGEND (NR) 105 minutes * * As Sara's (Hannah Murray) dad tries to understand why so many teens in this small community are committing suicide, she begins to fall in love with one of these at-high-risk teens. Based on the actual incident, but fictionalized in part because no explanation was ever determined. The film chooses not to really explain anything either, choosing instead to tease us with possibilities, and hinting at possible ideas. It's frustrating, but perhaps only because of how unsettling it is.

THE BRIDGES OF MADISON COUNTY (PG-13) 130 minutes * * * 1/2 Moving a little slowly at first, the story does grow on you if you're willing to give it a chance. You find yourself wondering soon enough how things will work out between Francesca (Meryl Streep) and Robert (Clint Eastwood). The dialogue is the weak spot here. It moves from what we can only label as sappy triteness at some points, to a larger than life style that reminds one of characters in a Tennessee Williams play. For those who like their films more on the relaxed side, this is one you'll want to catch. PG-13 for language and nudity.

BRIDGET JONES: THE EDGE OF REASON (R) 101 minutes * * * Charming sequel that begins with Bridget (Renee Zellweger) in a successful relationship with Mark Darcy (Colin Firth) that she just can't help but keep finding ways to sabotage. Zellweger's skills are what makes this work, though the supporting work by Firth and Hugh Grant doesn't hurt. Nice soundtrack with well-chosen songs to compliment the moods of the film as well. R for language and sex.

BRIDGET JONES'S BABY (R) 116 minutes * * * Bridget (Renee Zellweger) is wondering if she's ever going to be in a relationship again. And she'd really love to have a baby. Sudden;y, she finds herself pregnant and not sure which of two men is the father. From one extreme to the next, that's the way Bridget's life always seems to work. Zellweger remains charming and is still able to carry the role, and the film. R for language and sex.

BRIDGET JONES'S DIARY (R) 92 minutes * * * Bridget (Renee Zellweger) is 32 and single. If things don't change, she might stay single for the rest of her life. Sometimes, you can't find love until you quit playing the games and just relax. Zellweger is wonderful, and her style of acting makes Bridget seem very real to us. Helen Fielding's novel adapts to the screen well and it's a delight to watch Zellweger as she tries her hardest to find herself and that special someone. R for language and sex.

BRIDE AND PREJUDICE (PG-13) 105 minutes * * * Now that her parents have pretty much taken care of marrying off her older sister, Lalita is next in line. She thinks she may have found the right man, but her parents are looking at someone else, and then there's this other guy... promoted as the Bollywood version of Jane Austen's "Pride and Prejudice", this is a bright, colorful, musical adaptation that is set in India. It's definitely a refreshing look at the story, though it's a bit uneven at times. PG-13 for language.

BRIDEGROOM (R) 70 minutes * * * 1/2 Tom and Shane were deeply in love. When they finally came out to their parents, Shane's were very accepting, while Tom's were not. When the law changes to allow same-sex marriage, the next step for their future together is clear, but tragedy strikes, and in dealing with their grief, Tom's family shut out everyone who doesn't support their image of their son. It's a very moving tribute to Tom and the relationship that he and Shane shared. Be sure to watch through the credits. R for language.

BRIEF ENCOUNTERS (NR) 258 minutes * * * 1980’s England. Four women decide to become Ann Summers party planners. It’s a rather unique job, and not everyone approves of what they are selling, or even that they are selling it. But times are changing. Well-written British drama with light touches of comedy throughout, and solid performances by the ensemble cast.

BRIEF INTERVIEWS WITH HIDEOUS MEN (NR) 75 minutes * * Monologuesm dialogues, and discussions about relationships, love, and life experience. Very heavy with dialogue. There is some really good material here, but the presentation is awkward and cumbersome and lacks the flow that would give it some extra strength.

BRIGHT LIGHTS BIG CITY (R) 103 minutes * * 1/2 A down-and-out aspiring writer has recently lost his wife to a modeling career and his mother to death. Both events have affected him so deeply that he can't accept the reality of either one. It's an intense character study adapted from Jay McInerney's novel, but it never really grabs us the way it needs to. The cast includes the stellar talents of Michael J. Fox, Kiefer Sutherland, Diane Wiest, John Houseman, and Swoosie Kurtz. It's too bad the script wasn't able to capture more of the strengths and weaknesses of these characters and do a better job of bringing them to life. The actors all give it their best shot, but it just doesn't happen.

BRIGHT STAR (PG) 115 minutes * * * The romance between Fanny Brawne (Abbie Cornish) and John Keats (Ben Whishaw) was intense, passionate, and all too brief. This film explores that relationship and the effect it had on Keats' poetry. Consistently good performances by the cast and the sets and costumes transport us back to the days of the romantic poets. Nicely done! PG for language.

BRIGHTBURN (R) 85 minutes * * On a night when they least expect it, Tori (Elizabeth Banks) and Kyle (David Denman) are gifted with a baby. A baby from another planet. But Brandon (Jackson A. Dunn) is no Superman. Oh, he has super powers, but he's not really interested in helping others. A good amount of the story seems to be missing, as motivation for the character development that does happen is just not there. The ending almost works, but seems to be off just a little. The film as a whole seems to have been a good idea that just misses the mark. R for violence and language.

BRIGHTON BEACH MEMOIRS (PG-13) 104 minutes * * ½ A coming of age story about Eugene (Jonathan Silverman), a young, Jewish boy, growing up in a large family. This is one in a series of plays/films that Neil Simon wrote, based on his own life story. This particular chapter struggles a bit with a balance between humor and drama, never really settling well in either space. There are many good scenes and lines, which is typical of Simon’s work, but this part of his life story just doesn’t come across as well as some of the others. PG-13 for sex, violence, and language.

BRIGHTON ROCK (R) 102 minutes * * The only thing Pinkie (Sam Riley) is really very good at is taking risks. Of course at some point, his luck is going to run out. Rose (Andrea Riseborough) is drawn to him, and even when he tries to push her away, she will not be deterred. An interesting, though somewhat depressing character study adapted from Graham Greene's classic novel. R for violence, language, and sex.

BRIGSBY BEAR (PG-13) 93 minutes * * * James (Kyle Mooney) loves the show "Brigsby Bear". What he doesn't know is that no one else is watching. When the show is cancelled, he struggles to understand why anyone would cancel such an amazing show. But what he learns soon after, will be even more difficult to comprehend. A little offbeat, but also a very tender and gentle story about both growing up and starting over. Sincere performances and a script that encourages us to forgive the oddity in favor of the message. PG-13 for language and sex.

A BRILLIANT YOUNG MIND (PG-13) 106 minutes * * * Nathan (Asa Butterfield) is a brilliant student. His social skills are more than a little backward. Earning a spot on the national math team opens up a new world for him. While that is fraught with concerns, it also opens up new possibilities for being with people who are like him, and may just be able to be friends. Well-told story and a talented ensemble cast. PG-13 for language and violence.

BRIMSTONE (R) 141 minutes * * * Liz (Dakota Fanning) is a midwife to her small community in the west. But when the new preacher comes to town, she quickly realizes that something is gravely wrong. The story is told in non-chronological chapters that slowly reveal the events of Liz' life. Nice work by Guy Pearce, who does "evil" really well. R for violence, sex, and language.

BRING IT ON (PG-13) 92 minutes * 1/2 Kirsten Dunst and Eliza Dushku star in this heavily stereotyped film about cheerleaders and cheerleading competitions. While they do make an effort to show that there is more to the sport than standing on the sidelines of a game and that both girls and boys cheer, far too many of the girls are presented as egotistical airheads. The idea that the two best captains would help each other to raise the level of competition is nice, but poorly written. Dunst seems to gravitate to this kind of film, but it's a shame to see Dushku waste her time on this. PG-13 for language.

BRING IT ON: ALL OR NOTHING (PG-13) 93 minutes * * Third in the series, and the most fun to watch. This one manages to have more laughs and more cheerleading routines than either of the other two films. The stereotypes are still there, but where the first film was more serious and the second painfully attempting to be funny, this one manages to relax a bit. PG-13 for language.

BRING IT ON: CHEER OR DIE (PG-13) 87 minutes 1/2 Forbidden from practicing their routine on school property, the Diablos get access to an abandoned school because they are determined to win the cheer competition. But someone is equally determined to stop them. This seventh entry in the series just doesn't have much to offer. There are only a small number of cheer routines, and the characters are even more shallow than any of the previous films. PG-13 for violence, language, and sex.

BRING IT ON: FIGHT TO THE FINISH (PG-13) 98 minutes * This fifth entry in the series features Christina Milian as Lina, a cheerleader who moves from East L.A. to Malibu. The new school's squad is pretty bad, and the local all-star squad isn't looking for anyone new. Maybe she should start a new all-star squad. Paper-thin plot and steroetypical characters that are only momentarily brightened by a couple of fairly good cheering sequences. PG-13 for language.

BRING IT ON: IN IT TO WIN IT (PG-13) 87 minutes 1/2 Tired story has the Jets and the Sharks working together to beat another team. Not only is it difficult to believe, it's not funny either. Aside from a few good cheerleading bits, this has almost nothing to offer. Not that we're really surprised at this point in the series... PG-13 for language.

BRING IT ON: WORLDWIDE #CHEERSMACK (PG-13) 91 minutes * 1/2 Routines are getting stale for the Rebels, and the team isn't all that excited about the way Destiny (Christine Prosperi) is running the team. A challenge from a mysterious team known as "The Truth" may be just what they need to push them to the next level. It's all more of the same, though the light humor works at least some of the time. The story tries to include too many teams, which is nice for some diversity, but cuts out the strength of the routines as a whole. PG-13 for sex.

BRING ON THE NIGHT (PG-13) 92 minutes * * 1/2 Musical documentary that chronicles not only Sting's first solo concert and the preparation, but the formation of formation of the band that is part of that effort. The film also takes a look at The Police, and how Sting hopes to stay on the cutting edge of music as a solo artist. An excellent soundtrack with some amazing rock and jazz music, which should not be a surprise.

BRINGING DOWN THE HOUSE (PG-13) 101 minutes * * 1/2 Peter Sanderson (Steve Martin) was just trying to set up a date over the internet with an attractive young lawyer. What he gets instead is Charlene Morton (Queen Latifah), who is nothing like what he expects, but who may be exactly what he needs. She shakes up his life and finally gets him to open his eyes to things he'd been missing all along. Full of the slapstick, physical humor that Martin has always been great with, and with a serious message that doesn't weigh too heavily on the story. Originality is not the order of the day, but Martin and Latifah are the ones that make it worth a look anyway. PG-13 for language.

BRINGING OUT THE DEAD (R) 116 minutes * * * Frank Pierce (Nicolas Cage) is an EMT who has worked in and around the neighborhood he grew up in for a long time. As an EMT, you don't always save lives, though you do save quite a few. There are always "ghosts" around, and Frank's ghosts are getting a rather strong hold on him. The film is more than a little strange in spots and not everyone will be thrilled with the topic or the style that Martin Scorsese has chosen to use in filming it. The ending is nice though, and the idea is sound, that sometimes people need to die, and we need to help them by being willing to let them go. R for violence and language.

THE BRITTANY MURPHY STORY (NR) 84 minutes * 1/2 Slightly sensationalized TV movie about the life and career of the title actress. It's a little puzzling why they chose someone to play the part that looks so little like Brittany, though she does do a reasonably good job in the part.

BROADCAST NEWS (R) 129 minutes * * * 1/2 A story about those who deliver the news, and what goes on behind the scenes. Great dialogue and wonderful chemistry between the three leads, and the rest of the cast is top-notch as well. William Hurt, Albert Brooks, Holly Hunter, Joan Cusack, and Jack Nicholson are the big names here, but everyone does a nice job. Realistic sets and a very fitting soundtrack from Bill Conti give this just what it needs to complete the picture.

BROADCASTING CHRISTMAS (NR) 84 minutes * * 1/2 Emily (Melissa Joan Hart) and Charlie (Dean Cain) have fought for the same job before, but this time the stakes are a little higher. Charming, romantic, and sentimental Christmas romance. Nice work by the entire cast in this feel-good holiday film.

BROIL (NR) 88 minutes * * 1/2 This isn't the first time Chance Sinclair (Avery Konrad) has had trouble at school. The result this time is that she is sent to live with her grandfather (Timothy V. Murphy). The family is wealthy, and Chance is about to learn just how devious and dysfunctional they truly are. Very stylized, with performances that verge on being overly dramatic.

BROKEBACK MOUNTAIN (R) 128 minutes * * * Ennis (Heath Ledger) and Jack (Jake Gyllenhaal) meet as cowboys working a herd of sheep. Their friendship quickly deepens into something that isn't expected or accepted by those around them. They continue their relationship in secret over the years, and the affect this has on them and those around them is the focus of the story, adapted from a short story by E. Annie Proulx. It's a lyrical and gentle story, told with sensitivity and understanding. It would have been nice to understand Ennis' quiet mumblings, but much of his dialogue is very difficult to understand, though we do get most of the meaning through his body language. Some of the supporting performances are lacking a depth that could have served the film more effectively. Not quite worthy of the Oscar recognition it received, but still a very good film. R for sex and language.

BROKEDOWN PALACE (PG-13) 95 minutes * 1/2 Perhaps there are a few young college girls out there who really might think that a cheap vacation in Thailand would be a good idea. Perhaps they might even be duped into carrying drugs onto an airplane by a flirtatious young man... Not that films have to be realistic to be good, but this one goes a little far out and Claire Danes and Kate Beckinsale struggle with these improbabilities poorly. This is a great example of how a project is designed around a couple of young stars and a soundtrack (which has some nice music) and fails to amount to much as a film. Filmed in the Phillippines and Manila. PG-13 for language and nudity.

BROKEN (NR) 87 minutes * * * When Skunk (Eloise Laurence) witnesses one of her neighbors attack another, the innocence of her childhood begins to crumble. She becomes more and more aware of the darker aspects of life. Powerful performances all around, with especially stellar work by Laurence who also sings the films two featured songs.

BROKEN ARROW (R) 101 minutes * * * Plane and helicopter crashes, train wrecks, nuclear weapons, explosions, gunfire, fist fights... an action-packed film that gave the stunt crew a great workout! Set in the desert, with music from Hans Zimmer that sets the tone, this is a nuclear western. Good deputy Christian Slater has to find a way to bring John Travolta (deputy gone bad) to justice. Fun and fast-paced! R for violence and language.

BROKEN BRIDGES (PG-13) 100 minutes * * 1/2 The tragic death of several young men from the same town in a military "event" (it's not clear exactly what happened) serves as a catalyst for Bo (Toby Keith) to return and pay his respects. Also coming back to town is Angela (Kelly Preston), the girl he left when she was pregnant with his daughter. Now he has the chance to mend some broken bridges and spend time with his daughter Dixie (Lindsey Haun). Bridges go both directions and often lead to other bridges as well. The cast does a nice job here and the music, courtesy of Keith and his band, is good as well. Nothing outstanding, but a nice, casual look at how relationships need tending to if we expect them to grow and be healthy. PG-13 for language and violence.

THE BROKEN CIRCLE BREAKDOWN (NR) 108 minutes * * * Didier (Johan Heldenbergh) and Elise (Veerle Baetens) love each other very much, but the death of their daughter will put that love to a test like no other. Told in a series of flashbacks that explore their life before and with their daughter, even as it moves ahead to its own tragic conclusion. Nice work by the two leads.

BROKEN CITY (R) 103 minutes * * 1/2 In a city filled with corruption, it's no surprise that Billy Taggart (Mark Wahlberg) is struggling. Especially now that he's found out what the mayor has been up to recently. But the city may be so broken that the truth can't find a way to be heard and that justice will remain elusive. Nice work by Wahlberg, though it's not really an unusual role for him. Supporting performances are fair, with a rather subdued performance from Russell Crowe, especially considering his being the villain of the story. R for language, sex, and violence.

BROKEN DIAMONDS (PG-13) 85 minutes * * * Preparing to go live in Paris, Scott (Ben Platt) is stunned to learn of his father's death. Worse yet, his sister Cindy (Lola Kirke) is now in his care because the facility in which she was staying has kicked her out. Scott may have to put his plans on hold, especially when she quits taking her meds. Great work by both Platt and Kirke as their characters tackle the difficult experience of living with mental illness. PG-13 for language.

BROKEN EMBRACES (R) 122 minutes * * * The past comes flooding back when Harry (Lluis Homar) gets a visit from the son of an old business partner. Ernesto (Jose Luis Gomez) had paid to finance one of Harry's films that featured Ernesto's mistress. Harry falls in love with her, which complicates things, especially when Ernesto asks his son to film what goes on each day on (and off) the set. The flashbacks and name changes make this a little confusing, but the story is absorbing and the performances draw us in over the course of the film. Director Pedro Almodovar delivers yet another fine film. R for sex and language.

BROKEN ENGLISH (PG-13) 93 minutes * * 1/2 Nora Wilder (Parker Posey) is frustrated almost to the point of panic. She's a thirysomething and she's still single. Relationships are a struggle for Nora until a slightly younger man from France shows up in her life. But he's only going to be around for a few days. Posey does a very nice job, showing us a sensitivity and inner pain that we don't usually see in characters she plays. The script and direction let us down though. It's Zoe Cassavetes first script and second directorial effort. It's not bad, but at the end in particular, the story feels forced and unnatural. PG-13 for language and sex.

BROKEN FLOWERS (R) 101 minutes * * * Bill Murray stars in a story about the mistakes of the past and the possibilities of the future. A letter arrives, informing Don (Murray) that he may have a son. He visits four former lovers and learns more than he thought possible. Murray does an excellent job here, as his character explores the past with touches of humor here and there, while never losing sight of the importance of the search. R for language and nudity.

THE BROKEN HEARTS GALLERY (PG-13) 104 minutes * * * Lucy (Geraldine Viswanathan) collects things. In particular, she collects memoribilia from her relationships. She soon begins to collect what other people have saved, creating a Broken Hearts Gallery. It's an idea that grows as she meets Nick (Dacre Montgomery), who might have a location (begrudgingly) for the gallery. Fun characters and a script that is both quirky and charming. PG-13 for sex and language.

BROKEN HILL (PG) * * 1/2 Tommy (Luke Arnold) dreams of getting away from the sheepherding business in the Australian outback that is part of his family. He wants to be a musical composer, and to spend time with a particular girl, who seems to have a way of getting him into trouble. Inspirational soundtrack by Christopher Brady, but the acting here isn't very good. PG for language.

BROKEN HORSES (R) 95 minutes * * Jake (Anton Yelchin) and Buddy (Chris Marquette) have leaned on each other for support ever since they were young. It's even more important once their father is killed. The gang wars along the US/Mexico border where they live are fierce. Buddy's understanding of things is limited, but when it turns out that he's on the wrong side of things, Jake has to save him. The darker side of the story remains a bit too far in the shadows, though this does have a very poignant ending that works well. R for violence and language.

BROKEN LIZARD'S CLUB DREAD (R) 98 minutes 1/2 Cocoanut Pete's Paradise Island is experienceing a bit of trouble... people are dying... rather violently... and we don't really care.... Yet another in a long line of duds with Bill Paxton's name attached. This one can't seem to decide if it's a comedy or a horror film. R for sex, language, and violence.

BROKEN VOWS (R) 87 minutes * * There's something about Tara (Jamie Alexander). When Patrick (Wes Bentley) sees her, he can't see anything else. But after an initial seduction, she wants to stop. He doesn't. And saying "no" to Patrick sends him over the edge. Bentley nails the creepy/stalker role, but no one else seems invested in this, leaving the story dragging too much and too often. R for violence, language, and sex.

BROKEN WINGS (NR) 77 minutes BOMB A mission of revenge is interrupted by two friendships that bring a new appreciation for life. While that sounds like it could be an interesting story, the acting, photography, editing, and sound quality are so bad that it ruins the film. There are a few moments that show some promise as far as story, but the other aspects just overwhelm them with poor quality.

BRONIES: THE EXTREMELY UNEXPECTED ADULT FANS OF MY LITTLE PONY (NR) 80 minutes * * 1/2 Yes, you read the title of the film correctly. These are the bros who love ponies. And to be clear, we're talking about the 4th generation of the characters, or didn't you realize they'd been around long enough for that? Perhaps it is a bit unusual that a cartoon intended for little girls would have this appeal, but at least the values of the show are kindness, truthfulness, and helping others. It could be worse. Interesting to say the least.

BRONSON (R) 83 minutes * * * Though his early life was not particularly troubled, Bronson (Tom Hardy) ends up in jail for robbing a post office and learns to become even more of a fighter than he already was. In fact, life in jail is more comfortable to him that life outside, and he becomes Britain's most violent prisoner, spending over thirty years in solitary confinement despite having never committed a murder. Hardy delivers a fascinating performance that is gritty, violent, humorous, charming, and intriguing... all at the same time. A stunning job that is well worth an Oscar, though he wasn't nominated for one. R for violence, language, and nudity.

A BRONX TALE (R) 113 minutes * * * 1/2 The directing debut of Robert DeNiro is just as impressive as one would have hoped. Chazz Palminteri shares in the project, starring in the story he wrote for the stage and adapted for the screen. It's the story of young "C", growing up in the Bronx, next door to a bar. As small-time gangster Sonny (Palminteri) grows in power, their friendship grows in strength. It's a tale of friendship, loyalty, life, and death. Filmed in Brooklyn and Queens. R for violence and language.

THE BRONZE (R) 95 minutes * * Hope (Melissa Rauch) is still living in her past glory as a bronze medalist in Olympic gymnastics. She has a chance to be something more, but it will involve putting others first, which is not something she does well. Excessive foul language, which is there so that we can see how insensitive she is, but it makes her come of not as insensitive, but as disgusting. R for sex and language.

BROOKLYN (PG-13) 105 minutes * * * When Ellis (Saoirse Ronan) arrives in Brooklyn, the last thing she expects is to fall for a local boy. Her Irish pride and heritage run deep, but what does that mean when she is living in Brooklyn, New York? Strong performance by Ronan, and the script does a very nice job of giving her a great deal of character depth. Where it comes up a little short is in doing a better job of creating stronger supporting characters. PG-13 for sex and language.

BROOKLYN BROTHERS BEAT THE BEST (NR) 92 minutes * * * * Alex (Ryan O'Nan) just wants to perform his music, but it's kind of depressing, and he doesn't have much luck with partners. That is, until he finds Jim (Michael Weston), who has some rather unique ideas about music. Quirky and fun story, with a great soundtrack. O'Nan's debut as both director and writer delivers a film that is both insightful and entertining.

BROOKLYN CASTLE (PG) 100 minutes * * * In Brooklyn, IS 318 is a Jr, High School that has won more national chess championship titles than any other school. This is their story. It's a wonderful look at not only an amazing school chess program, but at the importance of education and educational incentives. PG for language.

BROOKLYN RULES (R) 94 minutes * * 1/2 Michael, Carmine, and Bobby have been friends since childhood. The streets of Brooklyn have taught them a few things about friendship and life. It's similar to so many other mafia films about how young boys grow up around the violence and become part of it. And, there's really nothing to make this stand out much. It's not bad, but it's far from original. R for violence, language ,and sex.

BROOKLYN'S FINEST (R) 126 minutes * * With only seven days left before retirement, Eddie Dugan (Richard Gere) is just trying to stay quiet. Tango (Don Cheadle) is undercover and just needs one more high profile bust to make detective. But is he too far undercover to come back now? Sal (Ethan Hawke) just wants to be able to buy a new hosue for his growing family, but it's hard to make ends meet on his current salary. Their paths are about to cross, and their lives will not be the same afterwards. It's too bad that we find it difficult to care much about any of them. Gere's performance is rather lifeless, and Hawke and Cheadle, while delivering good performances, have characters that just aren;t that likeable. R for violence, sex, and language.

BROTHER BEAR (G) 78 minutes * * * A young native American Indian learns some powerful lessons when he is transformed into a bear. Starts with the usual issues around family, death, and other typically scary stuff for the little ones, but moves to brighter territory soon enough and wraps up nicely. Great music from Phil Collins and "Great Spirits" which is sung by Tina Turner, is beautiful.

BROTHER BEAR 2 (G) 66 minutes * * Nita is about to be married, but she must free herself from her connection to Kenai to do so. But should a tie so strong be severed? Perhaps there is another way. A bit less entertaining than the first, and the story strays off the point from time to time. Like the first, it manages to get back on track and finish nicely. A fair sequel for those who enjoyed the first film.

BROTHER NATURE (R) 90 minutes * * Everything seems to be going amazingly well for Roger (Taran Killam)… until he meets his future brother-in=law. But maybe he can learn something in the midst of this insanity. The supporting cast does a great job here, and the humor is not so off-the-wall or annoying, which has an end result of making this at least reasonably entertaining. R for sex.

BROTHERHOOD (R) 70 minutes * * 1/2 It starts as a fraternity prank, but it goes terribly wrong. Now, someone has been shot, and another has been taken hostage. As the night goes on, it just seems to keep getting worse, and its no laughing matter. Pretty intense, and for all of the loose ends that are thrown around as far as the story, it manages to wrap up rather well. Filmed in Arlington, Texas. R for language, violence, and sex.

BROTHERHOOD OF BLADES (NR) 105 minutes * * Three elite guards must face the conflicting loyalties of their shared brotherhood and their duty to protect the emperor. The action is mostly sword play, which might be expected from the title, but there isn't really all that much of it. Sets, props, and cinematography are all quite good, but the pacing slows down far too much in several spots. It makes the film feel longer than it is, despite ending well.

BROTHERHOOD OF BLADES II: THE INFERNAL BATTLEFIELD (NR) 115 minutes * * * Action-packed prequel with Shen Lian (Chang Chen) trying to prove his own innocence as well as that of his friend Pei Lun (Jiayin Lei) and a mysterious woman, Bei Zhai (Mi Yang). Lots of swordplay here, but even more importantly, the pacing here is better than in the first film.

BROTHERHOOD OF BLOOD (R) 81 minutes * 1/2 This is a group of vampire hunters find themselves in a unique position. One of their own is more than what he seems, but also happens to need rescuing. They must infiltrate and even work with some vampires to be able to find him. The story is somewhat interesting, but the jumbled timeline doesn't do it any favors, creating more confusion than is necessary. R for violence and language.

BROTHERHOOD OF THE WOLF (R) 135 minutes * * * More history than horror, this provides an interesting look at a France strongly under the influence of king and church, and easily intimidated by stories of a strange and ruthless beast that prowls the country, preying on women and children. Gregoire de Fronsac and his companion, Mani, arrive in an area the beast seems to prefer and attempt to unravel the mystery. It's a captivating story, with some wonderful fight sequences and fine swordplay. R for violence and sex.

THE BROTHERS (R) 95 minutes * * Four friends and their various relationships are the topic here. Nothing new, though Morris Chestnut, D.L. Hughley, and Bill Bellamy do some nice work and their characters are fairly interesting. The rest of the cast isn't so lucky and struggle to be noticed at all. There are a few good scenes, but they don't tie together into a movie. R for language and sex.

BROTHERS (2009) (R) 100 minutes * * * Sam (Tobey Maguire) is the "good" brother. Responsible, married, serving in the military. Tommy (Jake Gylenhaal) just got out of prison. But things change when Sam's helicopter crashes in Afghanistan and he is reported dead. Tommy is helping Grace (Natalie Portman) and her daughters, and Sam is doing things he never thought he would, just to stay alive. When he returns, he is a changed man, and the three of them will need to answer a very different set of questions. Nice performances by the leads, and by young Bailee Madison as well. Adapted from the Danish film "Brodre". Rated R for violence and language.

THE BROTHERS BLOOM (PG-13) 107 minutes * * These tow boys have been con artists almost since birth. But the younger Bloom (Adrien Brody) is about to spoil their latest con by falling in love with the mark. The script definitely has charm, and the narration works nicely at the beginning, telling the story of their childhood. Unfortunatly, as the brothers get older, much of the playfulness of the script, and the characters, seems to fade away. PG-13 for violence, sex, and language.

THE BROTHERS GRIMM (PG-13) 111 minutes * 1/2 Silly fantasy film about the Grimm brothers, who stage elaborate pranks and tell stories of their adventures only to get involved in some real-life adventures that are far more terrifying. Heath Ledger and Matt Damon seem to be having fun here, but everyone else is taking it too seriously. Fairly good special effects, but the direction just doesn't give this the strength it needs. Filmed in Prague, Czech Republic. PG-13 for violence.

THE BROTHERS GRIMSBY (R) 76 minutes * 1/2 As kids, Nobby (Sacha Baron Cohen) and Sebastian (Mark Strong) were inseperable. That was a few years ago. Now, Sebastian is a secret agent, and Nobby is... well... Nobby. Cohen takes a good, and potentially funny spy thriller, and stamps his typical immature and crude mark on it. Cohen fans may like this, but others will probably want to steer clear. R for sex, violence, and language.

THE BROTHERS MCMULLEN (R) 95 minutes * * * A slice of real life as two younger brothers move in with their older brother and his wife. This has the feel of old home movies at times, and it may take awhile to grow on you, but it will do just that. You'll feel as if you've known these three brothers for years, and you'll want to know more. A great film about relationships that will make you think about how important they are to you in the myriad ways in which they affect our lives. R for language and sex.

BROTHERS OF WAR (NR) 111 minutes * * * 1/2 A sweeping saga of World War II, and a very intimate story about brothers, with all of the contradictions, frustrations, and love that come with it. Told to another set of brothers, it gives us a layered story with a fine ensemble cast.

THE BROTHERS SOLOMON (R) 88 minutes * 1/2 Two brothers (Will Arnett and Will Forte) who have terrible luck with dating (which they well deserve), are on a mission. They need to have a grandchild to give their father am incentive to come out of his coma. Of course with sons like these, you might want to stay in the coma... The best part of the film is the sky banner, but you might not make it that far. The comedy is mostly tedious and often comes across like bad stand-up material. R for sex and language.

BROWN SUGAR (PG-13) 105 minutes * * * Syd (Sanaa Lathan) and Dre (Taye Diggs) have been friends since childhood. They speak the language of hip-hop music and it runs in their blood. It's a love story about music and the two people that find themselves drawn together through their love of it. It's also an appreciation of hip-hop and a criticism of rap. Lathan and Diggs both do nice work here and make the film a pleasure to watch. PG-13 for language.

BRUCE ALMIGHTY (PG-13) 93 minutes * * 1/2 Bruce (Jim Carrey) has just had what feels like the worst day of his life. It feels like God is against him, or at the very least ignoring him. So, in a moment of desperation, he asks for a sign. God (Morgan Freeman) grants Bruce the ability to be God, but with greta power comes great responsibility. Carrey does make this fun to watch and Freeman and Jennifer Aniston are both good as well, but the message is sugar-coated and trite. PG-13 for language.

BRUNO (R) 77 minutes 1/2 Bruno (Sacha Baron Cohen) is host of the hot fashion show, Funkyzeit, until he crosses the line. Now he's headed to Los Angeles to become a celebrity. Cohen's brand of humor is not for everyone, though it will manage to offend just about everyone at some point or other. The song at the end of the film is a gem, but I'd recommend finding some other way to catch it than sitting through the whole film. R for sex and lnaguage.

BRUSH WITH DANGER (NR) 80 minutes * * Alice (Livi Zheng) and Ken (Ken Zheng) have made their way illegally into the US. After a few close calls and some very good luck, Alice's skills as an artist catch the eye of a local art dealer. But this man has an ulterior motive, and their lives are about to move to a very dangerous place. The cast tries hard, but the script has a very shallow and manipulative tone.

BUBBLE (R) 72 minutes * * 1/2 Interesting piece about a lonely middle aged woman who begins to develop a friendship with a young man in the doll factory where they both work. Complications arise when a younger woman begins to work at the factory and attract his attentions. Director Steven Soderbergh uses an approach here that is both subtle and powerful, creating a story that feels very real. R for language.

BUBBLE BOY (PG-13) 77 minutes * * A boy with an immunity deficiency lives in a plastic bubble and falls in love with the girl next door. Now she's going to get married and he decides to build a portable bubble unit to go after her. Keep in mind, this is played for laughs, unlike the 1976 TV movie with John Travolta with a similar storyline. There have been a few people who've taken offense at how they make fun of the disease, but hold on! They take pot shots at Christianity, Hinduism, people with physical deformities, bikers, overprotective parents... if any of that offends you, you might want to stay away. Otherwise, you may find it mildly amusing at times, as our plastic-encased hero runs after the girl he loves. PG-13 for language.

BUCK (PG) 84 minutes * * * The real-life inspiration and resource for the movie "The Horse Whisperer". Buck teaches horse clinics across the US. His gentle, but firm approach is tremendously successful. Fascinating and heartwarming look at someone who has learned a great deal and who does a wonderful job teaching what he has learned. PG for language and violence.

THE BUCKET LIST (PG-13) 92 minutes * * * 1/2 The bucket list... a list of things you want to do before you "kick the bucket". Carter (Morgan Freeman) and Edward (Jack Nicholson) set off to see how much of their list they can check off. Two amazing actors working with direction from Rob Reiner... it would be hard to go wrong. Marc Shaiman's soundtrack moves us through the emotions of the film quite nicely and Sean Hayes delivers a wonderful supporting performance as well. Of course it's a bit of a tear-jerker, but that's easy enough to tell. Grab a few tissues and enjoy! PG-13 for language.

BUCKSKIN (NR) 80 minutes * * The captain's son Levi (Blaze Freeman) has gone missing in the Buckskin Woods. A mysterious place, the woods are known as a location that steals your soul. It doesn't take all that long to find the boy. Finding the way back out of the woods is another matter. The ending is a little abrupt, but getting there is appropriately haunting.

BUCKY LARSON: BORN TO BE A STAR (R) 88 minutes 1/2 When Bucky (Nick Swardson) discovers that his parents were porn stars, he heads to Los Angeles to find his destiny making movies like his parents. He becomes an overnight sensation, though less... well-endowed than pretty much anyone else. A few funny moments, though mostly rather inane. Surprisingly not all that vulgar with its humor, just dumb. R for sex and language.

BUDDY (PG) 78 minutes 1/2 Rene Russo plays Gertrude Lintz, an eccentric woman who raises wild animals in her home as if they were children. Based on fact, this is horrible. The ape puppetry is the only aspect that saves this from total worthlessness. Definitely a must-NOT see film. PG for violence.

BUDDY BUDDY (R) 93 minutes * * Life has gone from bad to worse for Victor (Jack Lemmon), and he has decided to kill himself. In the hotel room next door is Trabucco (Walter Matthau), a hitman on a job. Except Trabucco keeps trying to stop Victor. Matthau’s character seems forced, and is less convincing than Lemmon’s. With the focus on Victor, Trabucco is just a mechanism and could as easily have been a bellboy, a plummer, or a pizza delivery person. The irony of him being a hitman is of no importance to the story. R for language, violence, and sex.

BUDDY GAMES (R) 92 minutes 1/2 These six guys have been friends forever. It's been awhile since they've seen each other though, and Shelly (Dan Bakkedahl) is having a rough time. So, the Bobfather (Josh Duhamel) puts the Buddy Games on one more time to bring them all together again. The games aren't that interesting or exciting. The focus of the story is on their friendship, but in a way that tries to be funny and just fails. R for sex, language, and violence.

BUDDY GAMES: SPRING AWAKENING (R) 89 minutes * Grieving the loss of their friend Durf, the rest of the buddy crew steal his ashes and take them back to the place where the games began. It is there that they learn that the Buddy Games have continued without them. They also quickly learn that they aren't as young as they used to be. Fans of the first will enjoy this, and the story is slightly better, but not by much. R for sex and language.

BUFFALOED (NR) 93 minutes * * 1/2 Ever since she was little, Peg (Zoey Deutch) has wanted to get out of Buffalo, New York. She decides that debt collecting is the business to be in if she wants to make lots of money in a short time. It's going to take every bit of her skill at hustling. Deutch gets free reign here with a wild character. Most of the time it works fairly well, but toning it down just a little might have worked better.

BUFFY THE VAMPIRE SLAYER (PG-13) 81 minutes * * Paul Reubens (aka Pee Wee Herman) gives us a vampire that is at time hilarious and at times somewhat haunting. This is supposed to be a fun, campy outing, but Buffy herself (Kristy Swanson) seems to forget that. Reubens has the right feel for the film, making it worth a look, but don't expect too much resemblance to the popular TV show. What makes this work is the originality of the idea, though the overall delivery falls a bit short and ends with a whimper instead of a scream. PG-13 for language and violence.

BUG (R) 97 minutes * 1/2 Agnes (Ashley Judd) is getting strange phone calls. Her ex is out of prison and is a violent man who she wants to stay away from. She's met this new guy, Peter (Michael Shannon). He's a little strange, and he has this "thing" about bugs. He ex is starting to look like a better choice. Based on a play by Tracy Letts, this unusual little piece ends up provoking laughter in most people who watch it, simply because the sort of paranoia portrayed here is hard to really understand. The story tends to get a little out of control toward the end, and we're ready for the film to end because the idea is beginning to make us uncomfortable as well. Could people really think this was happening to them? And who was it that was calling on the phone? R for violence, language, and sex.

A BUG'S LIFE (G) 87 minutes * * * * The ants pick the food, the grasshoppers eat the food... it's the way things have always been, but Flik wants it to change. Astounding animation and amazing characters that come to life thanks to a fun script and the creative talents of the cast and crew. My favorite is the circus scene, but be sure to stay for the "outtakes" during the credits, they're absolutely hilarious. Great entertainment for the whole family!

BUGSY (R) 133 minutes * * 1/2 Stylish film covering the life of Bugsy Siegel, starring Warren Beatty and Annette Bening. Barry Levinson's direction really helps pull the film together and keeps us watching despite Beatty's awkward performance. He approaches his character using two styles, one of which is too laid back to be believable, and the other is violent and not like anything Beatty can get a handle on. Ben Kingsley and Bebe Neuwirth both do great work, as does the rest of the supporting cast.

BUILDING STAR TREK (NR) 92 minutes * * 1/2 This documentary sets about exploring the many ways in which Star Trek has shaped and influenced the science and reality of the world. Two specific projects are also covered. The one is the restoration of the model of the USS Enterprise acquired by the Smithsonian National Air and Space Museum. The other is the re-creation of the bridge of the USS Enterprise for a museum. The film does tend to skip quickly from one topic to the next and back again, but most Star Trek fans won't mind.

BULL (NR) 102 minutes * * * Kris (Amber Havard) is searching for a role model. The friends she has that are her own age are delinquents, and her mother is in jail. Her grandmother is too busy to spend time with her. That leaves Abe (Rob Morgan), a rodeo clown and former bull rider who doesn't really want to become a mentor as he's having issues of his own. But he sees something in Kris. and he finds himself caring about this young girl who is adrift. She has nowhere else to turn, and it might just be what he needs as well. Havard is wonderrful here, playing a character whose options seem to disappear with each passing day.

BULL DURHAM (R) 107 minutes * * The lives and loves of the Durham Bulls minor league baseball team... OK, it's a bit more than that, but there's a good deal of junk to sift through before the really good material, which is the last fifteen minutes. Kevin Costner and Susan Sarandon do fairly good work here, but Tim Robbins seems to wish he were somewhere else. Baseball fanatics seem to love this, but there are many, far better baseball films out there.

BULLET HEAD (R) 87 minutes * * Time is running out for Stacy (Adrien Brody), Walker (John Malkovich), and Gage (Rory Culkin). It was supposed to be an easy job, but Blue (Antonio Banderas) is not someone to cross, and even worse, a very determined and near-rabid dog is cutting off their escape routes. It's a great cast, but the story drags along despite their efforts. The couple of slight twists aren't enough, and there are moments when it's clear that some of the story just ends up missing. R for violence, language, and nudity.

BULLET IN THE FACE (NR) 132 minutes * * 1/2 This sadistically funny look at the life of a criminal is from Alan Spencer, creator of that very unique TV show, "Sledge Hammer". Satirical and violent, it pushes us to the edge at times, but that's the point. The performances are over the top, but designed to help us hear the satire in ways we might not expect. Though originally released in separate episodes, the first "season" ends up being the length of a feature film and may be the only taste we get of these interesting characters. That means the cliffhanger ending is a little frustrating, but there's also a sense in which it fits the story better than anticipated.

BULLET TO THE HEAD (R) 86 minutes * 1/2 James Bonomo (Sylvester Stallone) is a hitman who rarely trusts anyone, but when a co-worker dies as a result of a hit, he finds himself working with and trusting a cop (Sung Kang). Formula story with two-dimensional characters, though the visuals do a nice job of capturing the feel of a graphic novel... which is what this was adapted from. "Du Plomb Dans le Tete" by Matz. R for violence and language.

BULLET TRAIN (R) 119 minutes * * * This isn;t just any bullet train. This one has five assassins on board. They don't know about each other at first, but their paths soon cross... and get very tangled. The story is a bit tangled as well, and a second viewing helps. The script is fun, and so are some of the characters, but it also tends to be a bit too much some of the time, especially as it gets closer to the end. R for violence, language, and sex.

BULLT TRAIN DOWN (NR) 83 minutes BOMB It's a brand new bullet train taking its first trip in California. Of course, someone has rigged a bomb to go off if it slows down to under 200 miles per hour. Bad acting and even worse special effects. Plus, we've already seen this same idea numerous times, and much better. This is another gem from Asylum Studios, so don't say you weren't warned.

BULLETPROOF (R) 79 minutes * * It's nice to see Adam Sandler in a non-comedic role, but he doesn't work well with Damon Wayans here. There are a few good moments, but the picture drags its feet in too many places to get us interested. Poor direction appears to be the problem. It is nice to see James Farentino and James Caan, but they can't save this from being mediocre at best. R for language and violence.

BULLETPROOF (2020) (NR) 81 minutes * * 1/2 School classrooms are no longer a place that can be assumed to be safe from viooence. This documentary explains what that looks like for schools and the communities in which they are situated. Everything from lockdown drills, firearms training, classroom discussionis, and relaxation practices. There are no answers here, just a look at how the world has changed for students, teachers, and the communities where they work and learn.

BULLETPROOF MONK (PG-13) 97 minutes * * * This is a very nice example of how appealing characters can really help a film. It's a story about a legendary scroll that must be protected and how that responsibility is passed along. Chow Yun Fat does a nice job here, but the real surprise is Seann William Scott. His character does a nice job of growing and changing as the film progresses and we find ourselves drawn in by his curiosity and energy as well as by his mentor's patience and understated sense of humor. Jaime King rounds out the trio of the main cast quite nicely and we are left with the distinct desire to see more of these three and their adventures as they protect the sacred scroll. PG-13 for violence.

BULLETPROOF 2 (NR) 93 minutes * Many years have passed since the events in the first film. Twenty-five to be exact. Jack (Faizon Love) has a new assignment to stop a powerful crime family based in South Africa. This struggles to be more than a shadow of the first film. Love and Kirk Fox are no Damon Wayans and Adam Sandler, and they have a difficult time keeping this entertaining, though the uninspired script certainly doesn't help.

BULLETS FOR THE DEAD (NR) 87 minutes * On his way to claim the bounty for the criminals he's captured, James Dalton (Christopher Sommers) ends up needing their help when the zombie apocalypse begins. It's interesting to have a zombie film set in the old west, but the story drags and the characters are all too clearly ill-equiped to survive in a situation like this for very long.

BULLETS ON THE BORDER (NR) 80 minutes * * 1/2 This documentary addresses three separate cases of Mexican nationals killed by U.S. border agents. The victims in all three cases were teenagers. Violence has increased along the border between the U.S. and Mexico. The border patrol claim threats of personal attacks while citizens on both sides of the border claim that the the actions of the border patrol are more often unprovoked and the actions are excessive. What the documentary makes clear is that the border patrol is subject to little in the way of oversight and is rarely held responsible for the way they handle any interactions during their work.

BULLETS OVER BROADWAY (R) 96 minutes * Tiresome story of budding playwright David Shayne (John Cusack) wanting to direct his own play. To do so he has to have it produced by a gangster who makes all sorts of demands about the production. It's nice to see a Woody Allen film that he isn't in, but the shrillness is still there. Not for those who don't like Allen and not of interest to those who aren't savvy to the ways of the theatre.

BULLHEAD (R) 124 minutes * * 1/2 It seems like a good deal at the time, but Jacky (Matthias Schoenaerts) is about to discover that there's more to this deal than he understood. And it's going to spin out of control very quickly. Strong performance by Schoenaerts), creating a character who we can sympathize with while also feeling frustration at the choices he makes because we know where they will lead. R for violence, language, and sex.

BULLITT COUNTY (NR) 94 minutes * * 1/2 Four friends start off on the Bluegrass Bourbon Trail as part of a bachelor party. But their first stop is no longer a distillery. It has been converted into a winery. So, they decide that maybe they should skip the trail and search for a buried treasure from Prohibition days. Perhaps it will also remind them of the dark secret they share and have tried to forget. The ending is a little out of place, but getting there is an interesting mix of drama, mystery, and suspense that works well.

BULLY (PG-13) 95 minutes * * 1/2 This documentary takes a look at the topic of bullying by examinging several different cases of bullying and interviewing those involved. Be aware that this gets both fairly intense and sometimes frustrating. Even so, in many ways, it barely scratches the surface of what goes on in many schools. PG-13 for language.

BULWORTH (R) 102 minutes * * 1/2 Senator Bulworth (Warren Beatty) is on the campaign trail for reelection. But he's tired of the game and the lies, so he puts out a contract to have himself killed. Of course, now that he's living the end of his life, he's more relaxed, honest, having a good time... maybe he should stick around... There's a great deal of solid political satire here, mixed in with social commentary as well. The idea of Bulworth doing rap doesn't work very well, but the biggest problem is Beatty's performance which comes across as rather uneven. Directing, co-producing, and co-scripting were enough for him to handle here without taking on the major role as well. I guess that adds a bit more to the commentary than he might have thought. R for language and violence.

BUMBLEBEE (PG-13) 109 minutes * * * Bumblebee is sent to Earth to keep it safe and ready for the rest of the Autobots. While there, he meets and befriends Charlie (Hailee Steinfeld). There's plenty of action and great effects, which is to be expected from a Transformers movie, and Steinfeld does a nice job. Most of the supporting roles are a little thin though. As far as the story, even though it's earlier in the chronology, it relies on familiarity with what happens later, which is somewhat awkward. PG-13 for violence.

A BUNDLE OF TROUBLE: AN AURIRA TEAGARDEN MYSTERY (NR) 84 minutes * 1/2 Martin's (Yannick Bisson) niece shows up with a baby and needs help. Aurora (Candace Cameron Bure) happily volunteers to help, and then it all goes wildly out of control. Kidnapping and an illegal adoption ring are the focus here, rather than a murder. Standard entry in the series, though perhaps a little bit more predictable than usual.

THE BUNNY GAME (NR) 74 minutes 1/2 As far as Bunny (Rodleen Getsic) is concerned, it's just another day. That means turning another trick to get money for food and drugs. The trucker she just hitched a ride with is not her usual type of customer, and Bunny may not come back from this trip. Not much dialogue, and Hog (Jeff Renfro) seems to repeat the same rape/torture process with multiple victims according to the flashback sequences. Filming in black and white does give this some interesting light and shadow effects, but those may have been accidental rather than intentional. Not something most people will be interested in watching.

BUNOHAN, RETURN TO MURDER (NR) 96 minutes * * 1/2 Three brothers in Malaysia find themselves drawn together againas their father is dying. They had become strangers to one another, and even enemies. Now, they must face each other, and come to terms. Though the setup is fairly good, the ending is rather awkward.

BUNRAKU (R) 115 minutes * * * A drifter, a young samurai, and a bartebder collaborate to defeat a great evil. Fun, if slightly off-beat, film with the look and feel of a graphic novel and very stylishly choreographed fight scenes. R for violence and language.

THE 'BURBS (PG) 96 minutes * * 1/2 What a great idea for a simple vacation. Peace and quiet and lots of serenity, all in your own backyard. The only problem is that Ray Peterson (Tom Hanks) doesn't live in your typical neighborhood. The Klopeks, who live next door, have a house in desperate need of repair. And then there are those noises emanating from the house at night... There are lots of great little bits throughout the film as we watch Hanks and the others try to figure out what's going on at the Klopeks' house. Despite these good bits, the film lacks direction and focus and we walk away with little to be impressed by.

BURDEN (R) 111 minutes * * * A new museum opens up in a small, South Carolina community. The Redneck KKK Museum. Change needs to happen, but the Reverend Kennedy (Forest Whitaker) is struggling with how best to make that happen. Mike Burden (Garrett Hedlund) on the other hand, is trying to figure out whether he wants the love of the Klan, or the love of a woman. A powerful story of change, and what it sometimes takes to get there. R for violence and language.

BURGLAR (R) 96 minutes * * * Bernice (Whoopi Goldberg) is a burglar who gets caught in a rather touch situation. While in the middle of a job, she "witnesses" a murder. And that's just the beginning. She actually only hears the murder, what she was stealing ends up being stolen by the killer, and now she is being accused of the murder. Her only help in all of this oomes from an ex-cop (G.W. Bailey) who is only interested because she owes him money, and her friend (Bob Goldthwait). Goldthwait is in rare form, especially his scene as a delivery man. Goldberg and Goldthwait work well together, (a "golden" combination... couldn't pass that up...) but the mood changes from comedy to drama and back again are not smooth and hurt the overall effect of the story. R for sex. violence, and language.

BURIAL (NR) 89 minutes * * The war is over, but there is still a very particular mission that needs to be completed. Hitler's remains need to be delivered to Moscow. The story is told through an extended flashback. Framing the story that way works nicely. What doesn't work as well is the supernatural aspect of the story. Aside from creating some suspense, it doesn't seem to serve much of a purpose, despite how much of an emphasis is placed on it.

BURIED (R) 91 minutes * * 1/2 Paul Conroy (Ryan Reynolds) wakes up to find himself buried in a wooden box, with no clear idea of where he is or exactly what happened. Though the film does a great job of conveying the claustrophobic feeling of the situation, it's a bit unrealistic that the phone battery, the lighter, the oxygen, etc., would all last as long as they do here. reynolds does a nice job here, especially considering how diffiult it is to carry a film so completely on your own. R for language and violence.

BURIED ALIVE (NR) 91 minutes * 1/2 A group of college students go to an old house in the desert next to a haunted mine. Two of them are cousins, and grandchildren of the property owners. There's a family curse that is calling for payment. Nothing surprising here, including the slightly below mediocre performances and production quality. The ending is also abrupt and leaves several questions unanswered.

BURKE AND HARE (R) 85 minutes * 1/2 In need of money, Burke (Simon Pegg) and Hare (Andy Serkis) have been having no luck of late. They've discovered that there is something that is needed by the medical school in Edinburgh. Cadavers. With Pegg and Serkis, the humor here is expected, though it's often somewhat subtle and mixed with straight-laced drama. More often than not, the humor tends to be puzzling and at most, elicit a snicker or two. R for sex and langauge.

BURLESQUE (PG-13) 114 minutes * * * With stars in her eyes, Ali (Christina Aguilera) heads to Los Angeles. She loves to dance, and the burlesque club run by Tess (Cher) seems to be the perfect fit for her. Aguilera is stunning, but seeing more of the rehearsals would have added some depth that would have been nice. It's also a shame that we don't get to see a bit more of Cher. At least one more musical number with her as the featured performer would have been nice. A little too much time is spent on the subplot of the potential sale of the club, though that part does have a nice resolution. PG-13 for sex and language.

BURN AFTER READING (R) 91 minutes * * 1/2 Ozzie (John Malkovich) quits his job with the CIA and plans to write a memoir. But the disc with the manuscript on it falls into the inept hands of a couple of fitness center employees (Frances McDormand and Brad Pitt) who think they've found super secret espionage information. Keep in mind that this is a Coen brothers film and if you like their films, you'll find this fairly entertaining. Dark humor and plot twists work their way throughout the film, but the Coen's have done better. R for language, violence, and sex.

BURN NOTICE: THE FALL OF SAM AXE (NR) 87 minutes * * 1/2 Serving as the back story to the TV series, this is the story of how Sam Axe (Bruce Campbell) lost his job. For all of his smart aleck attitude and off-beat humor, it's hard not to like Campbell's character, though it's disappointing not to see Gabrielle Anwar around.

BURNING BLUE (R) 98 minutes * * 1/2 Two aircraft accidents on a Naval aircraft carrier results in a federal investigation. Of course the investigator will begin by looking for technical issues with the planes or behavioral issues with the pilots. When he learns that at least one of the pilots has been frequenting gay club, things get nasty. Sensitively told story, which helps, because the acting isn't very strong. R for language and sex.

THE BURNING PLAIN (R) 96 minutes * * 1/2 Discovering that her mother is having an affair, Mariana (Jennifer Lawrence) plans to teach her a lesson. But the price of that lesson is high, and the fact that she is in a relationship with the son of the man her mother is having an affair with only complicates things further. But the guilt she nurtures will never go away until she faces what happened and begins to truly move forward. The story moves from past to present in a way that is not perhaps the most effective way to tell the story as it is both somewhat confusing at first, and then undercuts some of the power of the story. Still, Charlize Theron does a nice job, and the rest of the cast does a good job of supporting her. R for sex and language.

THE BURNING SEA (PG-13) 98 minutes * * ½ An oil platform collapses off the coast of Norway. It happens much more quickly than it should have. As it turns out, that’s a signal of what is to come… which will be much worse than the collapse of one oil platform. Good drama and good tension, but there’s just not the extra intensity or stronger character development we need to get this past the plus side of average. PG-13 for violence, language, and nudity.

BURNING THE FUTURE: COAL IN AMERICA (NR) 86 minutes * * 1/2 Over half of the electricity in the United States comes from burning coal. Mountaintop mining is a cheap and easy way to extract a majority of coal quickly. The idea posited here is that it is fueled by greed, pollutes the environment, and actually costs more jobs than it creates. Old style coal mining coupled with newer clean burning techniques could be an answer, but only if we slow down our use of electricity or supplement it with other sources. Thoughtful documentary that offers quite a bit to think about.

BURNT (R) 96 minutes * * * Adam Jones (Bradley Cooper) is a great chef. A few years ago, he imploded his career with his addictive and generally bad behavior. He has since then turned his life around. And he's going after that third Michelin star. Nice supporting cast with good depth of character. If anything, it's Cooper who comes up lacking in a couple of scenes, though that seems to be the fault of the script rather than his performance. R for language.

THE BURNT ORANGE HERESY (R) 93 minutes * * * It's the chance of a lifetime. An opportunity for art critic James Figueras (Claes Bang) to interview the reclusive artist, Jerome Debney (Donald Suthermand). It is also the cover story for something more devious. The twists and turns here are subtle and slow, but well-played. R for sex, language, and violence.

THE BURROWERS (R) 91 minutes * * Western horror film (a bit unique in that aspect), with people blaming the Native Americans for the viscious attacks that are happening. The only trouble is, that the killing is actually being done by mysterious creatures from under the ground. R for violence.

BURTON AND TAYLOR (NR) 82 minutes * * This bio-pic focuses primarily on the time in Richard Burton and Elizabeth Taylor’s lives when they returned to performing on the stage. It was a time in their lives that was even more confrontational and fraught with conflict than the rest (or so we are told). Perhaps the most surprising note is that despite the considerable acting skills of the leads here “Liz & Dick" which featured Lindsay Lohan is actually a better film.

BURY MY HEART AT WOUNDED KNEE (NR) 125 minutes * * * Long overdue adaptation of Dee Brown's book about the events surrounding the massacre at Wounded Knee. The story has been told many times, but Brown's version has a sensitive and sentimental touch that helps us feel the impact in a little different way. Solid performances all around.

BURYING THE EX (R) 86 minutes * * 1/2 Max (Anton Yelchin) wants to get out of his current relationship because she is driving him up the wall. He didn't expect her to get hit by a bus and die... and then come back from the dead. She just won't leave him alone. Nice ZomCom with plenty of fun prop and artwork pieces from lots of other horror films that fans of the genre will enjoy seeing. R for sex, violence, and language.

BUSHWACKED (PG-13) 86 minutes * A combination of two of Daniel Stern's previous films (City Slickers and Home Alone) this has less than half the quality of either. On the run for a crime he didn't commit, he hides out with some boy scouts and causes more trouble. Unless you're a fan of Stern, don't bother.

BUSHWICK (NR) 89 minutes * * It's taking awhile to figure out why it's happening, but Lucy (Brittany Snow) and Stupe (Dave Bautista) quickly decide to work together to survive. The story gets more than a little far-fetched and illogical, but the intensity works well, and doesn't let up very much.

BUSTER'S MAL HEART (NR) 93 minutes * * 1/2 Buster's (Rami Malek) paranoia has grown over the years. It destroyed his marriage and has him living in hiding in the wilderness, sometimes breaking into vacation homes or vacant properties, but his paranoia only continues to grow. The lack of continuity in the way the story is presented may lead the viewer to feel some paranoia of their own. The strange ending probably won't help either.

BUT NOT FOR ME (NR) 103 minutes * * Will (Marcus Carl Franklin) hasn't been on his own very long at all. Looking for inspiration, he focuses on a neighbor to whom he feels drawn. But he is still bursting with idealism and possibility, while aptly named Hope (Elena Urioste) has become more practical as time has passed. Tired story that gets too caught up in its message and forgets to develop the characters.

BUTCH CASSIDY AND THE SUNDANCE KID (PG) 112 minutes * * * * Exciting retelling of one of the legends of the wild west starring Paul Newman and Robert Redford. Winning Oscars for best screenplay, cinematography, and original score, this is a must for fans of westerns or action films. Many memorable scenes throughout the film will keep you involved, and if you watch closely, you'll see Sam Elliott make a brief appearance too. Newman and Redford work well together, making this a thoroughly entertaining film.

THE BUTCHER (R) 80 minutes * College students out to have fun over the weekend take a shortcut and find themselves stranded after an accident. How about that old farmhouse nearby? Maybe someone there can help. Or maybe a family of crazy killers lives there. Not much here that is either scary or surprising. R for violence, language, and nudity.

BUTCHER BOYS (R) 83 minutes 1/2 These boys run the underbelly of the city. They deal with all things dark and sinister, and rule by ruthless violence. Sometimes macabre, sometimes rather pointless and overly gruesome. The latter wins out as the film has a very nonsensical ending. R for violence, language, and sex.

THE BUTCHER POSSESSIONS (NR) 67 minutes 1/2 Chris (Damien E. Lipp) loved to film rituals that are designed to summon spirits. But after taking some friends to a remote location and filming one of these rituals, he and his friends disappear. Filmed as a documentary that uses "found foorage" of the ritual that Chris and his friends performed. Too muc of the "real" footage is jerky, poorly lit, and out of focus. Less of this and more of the post event interviews would have been much better. It is, at least, mercifully short.

THE BUTCHER, THE CHEF, AND THE SWORDSMAN (PG-13) 89 minutes * * A special blade made from the swords of five martial arts masters is now wielded by one bent on revenge. It will take patience and skill to complete this mission. The story is a little difficult to follow, with a few too many side trips, but the comedy and action blend well. PG-13 for violence, language, and nudity.

THE BUTCHERING (NR) 107 minutes * Ten years ago, Tommy Miller went on a killing spree. Now, on the anniversary of those killings, it's happening again. There are a few good, tense moments, but there's far too much dull material between those moments. The story does have a little more energy at the end, but it's far too late to make much of a difference.

THE BUTCHER'S WIFE (PG-13) 100 minutes * * 1/2 A romantic clairvoyant marries a buther from New York and discovers that her talents have misled her. Romantic and whimsical at times, but just never quite grabs us. It does boast one of the most unique roles that Demi Moore will probably ever play. PG-13 for language.

THE BUTLER (PG-13) 125 minutes * * * Forest Whitaker does some very nice work here as a butler at the White House who served eight different presidents during his tenure. The amount of history that covers is astounding, but it also means that many of the years in the story move by very quickly, and we're distracted by the big-name cameo appearances that flit by when the focus should be on Cecil (Whitaker). Much of the history is presented through actual news clips, and would have been better served by allowing supporting characters to talk about the events which would have helped us feel more connection to more of the characters in the film. PG-13 for violence and language.

BUTLERS IN LOVE (NR) 83 minutes * * 1/2 Emma (Stacey Farber) has spent years of her life with one goal in mind. She wants to be a butler. Henry (Corey Cott) is a legacy butler, but wants nothing less than to be a butler. Farber's character doesn't ever rea;;y fit the story well, but her charm does wonders for making the story more appealing.

BUTTER (R) 83 minutes * * Silly and not very subtle take on prejudice and bias. Laura (Jennifer Garner) is determined to win the butter sculpting contest at the Iowa State Fair and continue the tradition that her husband began. But she's up against a talented little girl (Yara Shahidi) whose adoptive parents believe she has a chance to succeed. Very nice supporting performances by Olivia Wilde and Rob Corddry. R for Language and sex.

BUTTER (2020) (PG-13) 107 minutes * * * Struggling with his weight, Butter (Alex Kersting) is just tired of it all. He decides that he's going to eat himself to death, live, on the internet. The idea is a hit, and Butter is instantly popular. Now, he faces a dilemma. The story gets a little strong with the anti-bullying message for a few minutes near the end, but does have a strong finish. PG-13 for language.

THE BUTTERFLY EFFECT (R) 107 minutes * * Evan (Ashton Kutcher) has blackouts. Of course, his father was in a psychiatric hospital, tried to kill Evan during a visit and was killed by hospital staff. There's more, but the important part is that Evan has learned how to go back in time and change the way things happened. Each time he tries, the results seem to be worse. It's an interesting idea, but the end result is flat and lifeless. Kutcher does an adequate job here, but despite the changes, his character seems to remain constant, which isn't consistent with the idea. Amy Smart, on the other hand, does a very nice job with several different performances as her character changes depending on what Evan has changed in the past. R for language, violence, and subject matter.

THE BUTTERFLY EFFECT 2 (R) 81 minutes * Nick (Eric Lively) has these headaches. And after he's in an accident, and looks at a picture, he travels back in time to when the picture was taken and can change the events. But it gets worse each time he does it. Kind of like when you make a sequel to a movie that wasn't that good the first time. There are some nice effects, and it's hard to fault the cast when it's clearly the script and direction that are to blame. R for violence, sex, and language.

THE BUTTERFLY EFFECT 3: REVELATIONS (R) 81 minutes * * Unrelated to either of the first two films except by subject. Sam (Chris Carmack) can time travel, and he uses this ability to help the police solve crimes, working as a "psychic". When he decides that he's going to solve a mystery involving his old girlfriend, he enters a dangerous realm. Something like that is too close to his own timstream and there are some serious risks. Good acting and suspense make up for a story that isn't as exciting or interesting as it might sound. R for violence, sex, and language.

THE BUTTERFLY TATTOO (NR) 98 minutes 1/2 This adaptation of Philip Pullman's novel struggles from the very beginning. The scenes don't flow well, and many are just simply awkward, with poor acting and stilted dialogue. It doesn't help that Chris (Duncan Stuart) isn't all that likeable. His impuslive tendencies make us wonder why any of the other characters would be interested in talking with him. The ending is actually quite good, but slogging through the first nineety-five minutes to get to the last three is a bit of a chore.

BUTTONS (PG) 82 minutes * * 1/2 A magical Christmas tale about two orphan girls who wish for a home and a family for Christmas. This should have been a little better when you consider that it features an all-star (and magical in it's own way) cast that includes Angela Lansbury, Dick Van Dyke, Robert Redford, Kate Winslet, John de Lancie, Ioan Gruffud, and Jane Seymour. PG for language.

BUY THE TICKET, TAKE THE RIDE (NR) 76 minutes * * * Documentary film covering the career of the legendary Hunter S. Thompson. The film does a very thorough job of showing how Thompson's work was an integral part of the 1960s. His style of writing, which became known as "gonzo journalism", bridged a gap between fiction and non-fiction and continues to inspire and influence people. Interviews with Johnny Depp, Sean Penn, John Cusack, Gary Busey, Tom Wolfe and many others are included.

BUZZARD (NR) 95 minutes * 1/2 Marty (Joshua Burge) is a big time slacker, always looking for wasy ways to cheat other people and the system. But a couple of slip-ups make him think he's about to get caught. Paranoid and on the run, his life seems to be spinning out of control. A really strange ending, but until then, this is a clever, low-budget drama.

BY THE GUN (R) 107 minutes * 1/2 Nick (Ben Barnes) idolizes the mafia and that style of life. Getting in is difficult, but even worse, Nick has no idea how quickly favor can shift, or what happens when loyalties come into conflict. Lots of style, but not much depth. It leaves us with mostly cliche, which is perhaps fitting as a description of Nick. R for violence, sex, and language.

BY THE PEOPLE: THE ELECTION OF BARACK OBAMA (NR) 110 minutes * * * Straight-forward accounting of the political career of Obama shortly before his decision to run for the office of President and up through his election. Of more interest to those who follow politics than those who don't, but it does a nice job of covering the various aspects of what is involved in the process.

BY THE SEA (R) 118 minutes * * 1/2 The last film that Brad Pitt and Angelina Jolie made as a couple is, ironically enough, about a couple on vacation and working to mend their relationship. The slow pace and European flavor to the story are likely to put some people off, but this is well played and well designed. R for sex and language.

BY THE SWORD (R) 87 minutes * * 1/2 This film suffers from some problems with direction and story continuity, but the talents of Eric Roberts, F. Murray Abraham, and Mia Sara make it worth watching. It's a story of vengeance and respect, and the education of a teacher. Set in the world of fencing, with music by Bill Conti.

BYE BYE LOVE (PG-13) 101 minutes * * * Paul Reiser, Mathew Modine, and Randy Quaid are divorced fathers who are  doing the best they can to continue being good fathers to their children. Funny and charming, this is a good "men's movie" that is fun to watch, but manages to make a few good statements along the way. As the title would suggest, this also has a good collection of songs that follow the theme as well.

THE BYE BYE MAN (PG-13) 93 minutes * * 1/2 "Don't say it. Don't think it." Once you do, he has you. Similar in nature to the urban legends of both "Bloody Mary" amd "Slender Man", this evil figure seems to appear with even less effort. The suspense and horror are pretty good here, but the back story is very thin. A sequel may fix that, but without that, we're just missing too much information. PG-13 for violence, sex, and language.

THE BYGONE (NR) 101 minutes * * * His family's ranch isn't doing well, but Kip (Graham Phillips) is doing his best. He helps Wamiya (Sydney Schafer) out of a tough spot, but there are people looking for her who aren't nice, and they are persistent. It's a look at the darker side of the modern American West. An impressive feature film debut from the writing/directing team of Graham and Parker Phillips.

BYZANTIUM (R) 114 minutes * * * When Clara (Gemma Arterton) and Eleanor (Saoirse Ronan) decide to spend some time in a quiet little town on the coast, it isn't long before residents their begin to understand what is happening. Nice atmosphere throughout the film. Haunting and beautiful, with just a touch of the sinister. Ronan and Arterton are both good here, though the direction and the script tend to puch their characters to extremes. Eleanor is a little too hesitant and naive and Clare is too aggressive and careless. R for violence, sex, and language.