Film Reviews C

C.O.G. (R) 85 minutes * * 1/2 David (Jonathan Groff) decides to take some time off after college. The first stop on the list in an apple farm where he and a friend are supposed to work for a few weeks. But when she decides not to, he's left on his own, and it's a bit more difficult than he expected. Most coming-of-age stories tend to focus on the pre-teen age, though this is clearly a COA story, just a little later in life. The characters are interesting, but the story tends to wander away from any points that it starts to make. R for language and sex.

CABAL (NR) 89 minutes * * 1/2 Second of three mysteries featuring Italian detective Aurelio Zen (Rufus Sewell). The mysterious Cabal, a secret criminal organization, may be behind the latest murder that Zen is investigating... that is, if it really exists. Nice work by Sewell.

CABIN BOY (PG-13) 76 minutes BOMB With cheap special effects, humor that is based solely on humiliating Chris Elliott, and a best line of "Purple lightning... that's always a good sign," the only good thing about this movie is that it's short! Still, why make it at all! PG-13 for language.

CABIN FEVER (R) 88 minutes 1/2 Five college kisd rent a cabin in the middle of nowhere... it's the perfect place for something to go wrong. It does, in the form of a guy who shows up out of nowhere with some plague-like disease which they all start catching. Poorly edited, which hurts the flow of the film, but the amateurish writing hurts it even more. R for violence, language, and sex.

CABIN FEVER (2016) (R) 93 minutes * Five 20-something friends decide to spend the weekend in a remote cabin. This time around, it's a strange, flesh-eating disease that will be ruining their vacation. Gross effects, but still too many bad decisions and too much overly dramatic music, both of which manage to make the film feel cheap. R for violence, language, and sex.

CABIN FEVER: PATIENT ZERO (NR) 92 minutes * This third film in the series serves as a sort of prequel. Friends enjoying a cruise to a deserted island for a bachelor party end up discovering a flesh-eating virus instead. Plenty of gross effects, but they are mostly showcased and have little to do with the story. The other problem is that what story there is, seems to be busy answering questions we weren't really asking.

CABIN FEVER 2: SPRING FEVER (R) 79 minutes 1/2 Now the plague has found its way into the water supply, and with the prom right around the corner, it's going to get pretty nasty out there. Plenty of gross special effects, and not a great deal else. A few of the effects are fairly well done, but the rest, and the weak plot and poor acting don't leave this with much hope. R for violence, sex, and language.

THE CABIN IN THE WOODS (R) 90 minutes * 1/2 Five college students go off to a cabin in the woods for the weekend. (Does nobody ever learn?) What they don't know is that they have become part of a rather twisted set-up. I'll leave the larger purpose for you to discover, but getting there has become a bit of a show and a challenge to those behind the scenes as well as our unlucky young participants. The ingenuity that there is in this aspect is completely undermined when so much of hell breaks loose late in the film as the story becomes to elaborate for its own good. R for violence, language and sex.

CABIN 28 (NR) 74 minutes * A family at a resort cabin find themselves the victims of strangers who forece their way into the cabin. Based on an actual incident about which, little is known. Sadly, the imagined story here is less convincing than most slasher horror films.

THE CABLE GUY (PG-13) 92 minutes 1/2 Talk about the ultimate pest... a cable guy who won't go away... or Jim Carrey in general, since he doesn't seem to be going away either! Shallow characters and lots of Carrey's facial gestures get tiresome very quickly. Matthew Broderick looks as though he's sorry he signed on to do this one! PG-13 for language.

CADDYSHACK II (PG) 96 minutes BOMB Jackie Mason does his best to rip-off Rodney Dangerfield in this worthless sequel. Nothing to do with the first film, and after thirty minutes of watching this, you know it isn't going to get any better.

CADILLAC MAN (R) 95 minutes * * 1/2 Robin Williams and Tim Robbins star, with Williams about to lose his job as a car salesman unless he can sell 12 luxury cars within 48 hours. It's an uneven ride, but Williams manages to carry the film well enough that we're not entirely disappointed. The main problem is that it's a one-joke film and that does wear thin after awhile. R for language.

CADILLAC RECORDS (R) 103 minutes * * 1/2 The story of Chess Records of Chicago and it's influence on the music scene of the 1950s and the decades to follow. The legendary sounds of Muddy Waters, Little Walter, Etta James, Chuck Berry, and Howlin' Wolf as well as some of their escapades are followed, though this rarely dips below the surface. The performances are fine, but the story moves along quickly, trying to fill in the gaps with narration, which just doesn't work that well. R for language and sex.

CAESAR MUST DIE (NR) 70 minutes * * * A unique presentation of Shakespeare's "Julius Caesar", with the story acted out by inmates inside a prison. Once they audition for and receive their roles, their parts are played out not on a stage, but in the halls, rooms, and cells throughout the prison as they rehearse their parts. It is this, more than their final performance on a stage, that will change them forever.

CAFE DE FLORE (NR) 114 minutes * * * A romantic look at how the loves and connections we have last from one lifetime into the next, and how other unresolved issues may last as well. Because the ideas are never fully clarified, this allows us to think if the two main stories here as parallel or repititous, depending on our point of view. It's an interesting approach that works well. Very nice work by the cast.

CAFE SOCIETY (PG-13) 92 minutes * * Bobby (Jesse Eisenberg) moves from the Bronx to Hollywood. His uncle is a big movie producer and gives him a small job. The big problem is that Bobby has fallen in love with the girl who is having an affair with his uncle. Eisenberg is quite good here, but for some reason, director Woody Allen felt the need to narrate parts of the film. It's completely unnecessary, as are some of the messy sublots that distract us from the melancholy love story that lies beneath the glamour and success. PG-13 for violence and language.

THE CAGE FIGHTER (NR) 77 minutes * * 1/2 Joe Carman just turned forty. He had promised his family that he was done fighting. Now, he's headed back to the ring... iwth much more on the line this time than ever before. Sometimes it seems like all you can do is what you already know. An interesting look at the life of a career fighter.

CAIRO TIME (PG) 85 minutes * * 1/2 Juliet (Patricia Clarkson) goes to Cairo to meet up with her husband, but he can't get away from work. Her husband's friend Tareq (Alexander Siddig) takes her under his wing, showing her around the city and helping her not think about how many more days it might be until her husband can meet her. She is anxious at first, but that begins to melt away, thanks to Tareq. Clarkson and Siddig seem uncomfortable with each other most of the time, though that is probably intended. It's just that it keeps us from connecting with the film as well. Nice, bittersweet ending. PG for language.

CAKE (R) 97 minutes * * * 1/2 As she works through her own issues with the help of both physical and mental therapy, Claire (Jennifer Aniston) begins to explore the suicide of a fellow support group member. Aniston delivers a wonderful performance here, which is complimented very well by a delightful performance from Adriana Barraza. R for language and sex.

THE CAKE EATERS (R) 82 minutes * * * Director Mary Stuart Masterson's first feature film is a story of families, of life and love, of loss and regret, of opportunities taken, and others that have been missed. When Guy (Jayce Bartok) comes home belatedly for his mother's funeral, the delicate balance within his own family and that of the Kaminski's are both tipped past a place where they can stay comfortable. Truths come to the surface, and feelings must be addressed, no matter the discomfort it will bring. Despite these tensions, it remains a gentle and sweet film, with a melodic soundtrack from songwriter Duncan Sheik. R for language and sex.

CALENDAR GIRL (PG-13) 85 minutes * 1/2 It's 1962 and three young guys set off to meet Marilyn Monroe. A coming of age film that's mostly fluff, though there are a few nice clips of Monroe. Not bad, just not very memorable.

CALENDAR GIRLS (PG-13) 103 minutes * * * In an effort to raise money to buy a comfortable couch for the hospital waiting room in memory of Annie's husband, she and her friends decide to create a calendar with photographs of themselves... in the nude. Charming and amusing story, based on a real incident. Helen Mirren and Julie Walters head the cast, but everyone does a great job. The story is a gem, giving us not only the humor that keeps us smiling, but enough of the serious moments we need to keep it feeling real. PG-13 for language and nudity.

CALENDAR GIRLS (2022) (NR) 83 minutes * * 1/2 Are you ever too old? These women say "NO!", and they prove it! They are part of a dance team for women over the age of 60... Florida's Calendar Girls. This documentary follows the team and some of its members as they train, perform, and enjoy being part of this amazing group of women.

CALIFORNIA DREAMIN' (NR) 146 minutes * * 1/2 Unusual film about a group of Marines who are stranded in a small Romanian town during the Kosovo War. The station master is determined to keep them there, and many of the townspeople want them to stay for a variety of reasons as well. But they have a mission to complete, and Captain Jones (Armand Assante) is growing more frustrated by the hour. Strange mix of drama, comedy, and war movie.

CALIFORNIA SOLO (NR) 90 minutes * * * A DUI citation ends up causing much more difficulty than Lachlan (Robert Carlyle) expected, putting him at risk of being deported to the UK. He really wants to stay in California, but the lawyer fees and other problems are becoming more than he can deal with. This characters study of a musician struggling with his dream gives Carlyle a great opportunity to show us some very nice acting work.

CALIFORNIA TYPEWRITER (NR) 102 minutes * * * A love letter of sorts, not just to typewriters, but to machines that are mechanical rather than digital. The focus is on typewriters, with a lengthy look at their history and those who collect and repair them. It's a fun and interesting glimpse into a previous style of communication and expression that struggles, but continues to maintain a level of relevance. The title of the film comes from the name of a repair shop.

CALIGULA (R) 111 minutes * * Caligula (Malcolm McDowell) was the most ruthless and corrupt of the rulers of Rome, and this film gives us a glimpse into the Roman Empire as Caligula saw fit to run it. There are now several versions of the film, running all the way from a heavily edited 90 minute version all the way to a hardcore 160 minute version, though the extra scenes in that version don't really add anything of substance to the film. Even so, the original theatrical version is not for the faint of heart.

THE CALL (R) 88 minutes * * 1/2 Jordan (Halle Berry) works at a 911 call center. She's very good at her job, but as can sometimes happen, she takes a call one day where the caller becomes a casualty. A few months later, she finds herself in another situation when the caller's life is at risk... perhaps from the same killer. Berry is a pro at delivering intense performances, but the story lets her down with some major logic flaws that undermine its credibility. R for violence and language.

THE CALL (2020) (NR) 92 minutes * * They were just pranks played by local teens on the town's "witch". When she dies, her husband (Tobin Bell) has an offer for four of the troublesome teens. Go upstairs and make a call to the phone that was installed in Edith's (Lin Shaye) grave. If they stay on the line for a full minute, there will be $100,000 for each of them. A good premise, and some scary scenes, but the ending is less effective than it needs to be.

A CALL GIRL (NR) 90 minutes * * 1/2 Raised in a small town, Aleksandra (Nina Ivanisin) longs for the big city life. The balance between being a student and a call girl is difficult, but she needs both the education and the money. When one of her clients dies while shes in the room, everything changes. It's an interesting character study, but the performances just aren't strong enough to take this to the next level.

CALL JANE (R) 115 minutes * * * It's a problem she never thought she'd face. Joy (Elizabeth Banks) will put her life at risk if she lets her pregnancy run full term. Legal abortions are not available, even if the mother's life is at risk. Soon, Joy will be deeply involved with a group that helps women who are in need of assistance. A powerful ending and a strong message, especially in light of how the pendulum swings on this issue. R for language.

CALL ME BY YOUR NAME (R) 129 minutes * * * This summer will be full of memories for young Elio (Timothee Chalamet). Life is going well, and now that his father's new research assistant has arrived, it's even better. Oliver (Armie Hammer) is drawn to Elio, and the attractio is mutual. They share much in common, and the Italian atmosphere is very conducive to romance. Adapted from the novel by Andre Acimen, and winner of numerous awards. R for sex and language.

CALL ME CRAZY: A FIVE FILM (NR) 87 minutes * * * A sequel (of sorts) to "Five", which used five connected stories to deal with issues around breast cancer. The topic here is mental illness, again, with five connected stories exploring various aspects. Emotional, and well-told stories, though one of them isn't quite as well-connected as the others. Solid poerformances throughout by a nice ensemble cast.

CALL ME KUCHU (NR) 85 minutes * * * Homosexuality is illegal in Uganda, punishable by life imprisonment, but a new bill has been proposed that will make it punishable by death. David Kato is risking his life to try and make sure that doesn't happen. Nicely balanced documentary, with screen time given to those on the opposite side of the issue.

CALL ME MRS. MIRACLE (NR) 87 minutes * 1/2 Mrs. Miracle (Doris Roberts) is back in this sequel based on Debbie Macomber's sequel novel. Mrs. Miracle is a bit nosier here, inserting herself more forcefully into lives and situations that she thinks need her help. And Jewel Staite seems a bit whiney and over-reactive.

CALL ME: THE RISE AND FALL OF HEIDI FLEISS (NR) 82 minutes * * The story of Hollywood's infamous madam, presented in a somewhat tabloid style, with very frequent narration. Jamie-Lynn DiScala makes it worth a look, but this is still a one-note script that wastes the talents of the supporting cast. Not really a suprise for a TV movie, just a little disappointing.

THE CALL OF CTHULHU (NR) 45 minutes * * * H. P. Lovecraft's famous horror story is brought to the big screen in a classic form. The filmmakers decided that since the story was written in 1926, it should be done as a silent film. They have captured the essence of the story and kept much of the style of silent filmmaking in the presentation. Nice use of shadows and an exaggerated sense of performance that is quite appropriate. There are too many words to read at times, and some of the scene changes use more modern methods. Still, it's nice to see the story presented in this style. Filmed in Hollywood and in Providence, Rhode Island.

CALL OF THE UNDEAD (NR) 78 minutes BOMB A zombie outbreak in a large city forces a drug cartel to work with the military in order to survive. The dialogue is simply horrible, so much so that it's difficult to even tell if the acting is bad. The effects are a mixed bag, with a few of them adequte, but others being extremely cheao and ineffective.

CALL OF THE WILD (2009) (PG) 83 minutes * * Ryann (Ariel Gade) is spending her vacation with her grandfather (Christopher Lloyd) in Montana. It's definitely not the coolest place to be, until she finds a wolf/dog who needs her help. In the evenings, her grandfather reads her the story of "Call of the Wild". Nice updating of the story, though the acting isn't the greatest. Also released in 3D. Filmed in Montana. PG for violence and language.

CALL OF THE WILD (2020) (PG) 92 minutes * * 1/2 During the time of the Gold Rush, large, strong dogs brought a high price. Buck was one such dog. Stolen from his original owners, Buck finds himself in a new world. While many people are abusive of Buck, he soon meets Perrault (Omar Sy), a much more caring owner, who trains Buck to be a sled dog. Eventually, Buck ends up with John Thornton (Harrison Ford), where he continues to shed his earlier, more pampered past, and relies, along with John, on his more primal nature as he connects with nature on a deep level. Some of the more silly aspects of Buck's behavior seem misplaced, but otherwise, this is a nice version of the classic adventure story by Jack London. PG for violence and language.

CALL SIGN ROMEO (PG-13) 103 minutes * * Chris (Chris Ana) wants nothing more than to fly jets for the Navy. The raod to the Naval Academy runs through the state wrestling championships. Chris' attitude is a problem. His ego is huge, and he rarely thinks of anyone but himself. Stiff dialogue and weak acting in this low-budget "inspirational" film. It does end fairly well, but getting there is not easy. PG-13 for language.

A CALL TO SPY (PG-13) 119 minutes * * * With France beginning to fall to the Germans, England knows that they are next. To improve their odds, they begin to enlist more spies. Due to the urgency of the situation, many of them aren't well trained before they begin their duties. Their dedication to the work more than makes up for it though, and their work will be critical to turning the tide of the war. Nice work by the entire cast. PG-13 for violence and language.

THE CALLER (R) 90 minutes * 1/2 Who could be calling Mary (Rachelle Lafevre) in her new apartment? When the call turns out to be from someone in the past, it seems like a joke. But it's a joke that quickly turns sinister. Standard horror/morality take that offers a little suspense toward the end, but the outcome really isn't a surprise. R for violence, language, and sex.

THE CALLERS: THE ART OF AUCTIONEERING (NR) 86 minutes * * 1/2 Fascinating look at the world of auctions, focusing on the work of the auctioneers, but with quite a bit of history and plenty of calling and bidding action. What's missing is a comparison with high end auctions to show the similarities between both auctioneers and bidders. Filmed in Pennsylvania.

THE CALLING (R) 103 minutes * * * Fort Dundas is a quiet community most of the time. But now it would appear that Detective Micallef (Susan Sarandon) has a serial killer to track down. The story builds slowly and carefully, with new characters introduced throughout. There are just enough twists and turns to keep it interesting, though only moderately suspenseful. Nice work by the cast, who all seem to work well together. R for violence and language.

CALVARY (R) 97 minutes * * * Priests hear all sorts of things during confession. But Father James (Brendan Gleeson) not only hears a particularly upsetting one, but he also receives a threat. The situation quickly escalates, and everything around him seems to be collapsing and turning sour. Gleeson is very good here as a rough-edged priest with a no-nonsense approach to dealing with those in his parish. R for sex, language, and violence.

CAM2CAM (NR) 88 minutes * Allie (Tammin Sursok) hasn't been in Thailand long, but she's already found some friends. The trouble is, these friends are into some strange webcam activities. Overly convoluted mystery that relies on sex and violence to carry the story rather than any real intrigue.

CAMERAMAN: THE LIFE AND WORK OF JACK CARDIFF (NR) 83 minutes * * * Conversations with Cardiff and many of the people who have worked with him over his incredibly extensive career. packed with film clips of his work, both as a cinematorapher and as a director. It's a wonderful homage and tribute to one of the true greats of the industry.

CAMERAPERSON (NR) 98 minutes * * 1/2 Twenty-five years worth of documentary filmmaking by Kirsten Johnson. Glimpsed through various clips from and about the numerous films she has worked on over the years. It's an interesting look at her work, her passion, and her life, through the film footage she shot. Footage that often reveals as much about her as about the subject she was filming.

CAMILLA DICKINSON (NR) 113 minutes * 1/2 Camilla's (Adelaide Clemens) family is far different from that of her friend Luisa (Colby Minifie). But as she deals with difficulties in ehr own family, she finds herself drawn to Luisa's brother Frank (Greg Sulkin). A sweet story, but the dialogue is stiff and uncomfrtable, and the plot is predictable and manipulative. Minifie delivers the most charming performance here, reminding us a little of a young Joan Cusack.

CAMILLE CLAUDEL 1915 (NR) 92 minutes * * * Both the protege and the mistress of Auguste Rodin, Camille (Juliette Binoche) begins to feel presecuted and ignored. Her occassional outbursts and choice to live a life that was more and more secluded eventually result in her being put into an insane asylum by her brother. The madness of others proves to be more than she can cope with, but that might be true for most of us. Providing an added challenge for Binoche, much of this was filmed in a real asylum, with actual patients and nurses as part of the cast. It also provieds a frightening sense of realism to a tragic story.

EL CAMINO: A BREAKING BAD MOVIE (NR) 116 minutes * * * After finally escaping from captivity and torture at the hands of Tod's uncle Jack, Jesse (Aaron Paul) is on the run. If he can get the money together and get to Ed (Robert Forster), he might have a chance. Very nice follow-up to the TV series for fans. For others, the story won't make quite as much sense.

CAMP COLD BROOK (NR) 84 minutes * The paranormal reality show, "Haunt Squad" is about to get cancelled. They have one chance to do a stellar episode to bring up the ratings. They head off to Camp Col Brook, where years earlier, a mass murder took place. For being investigators of the supernatural, they seem to be spooked a little too easily. The completely unsurprising ending means that aside from a few cheap scares, the story is very disappointing and not nearly as scary as it could have been.

CAMP NOWHERE (PG) 92 minutes * Low budget and a poor script help this film about a summer camp gone wrong go nowhere. The talents of Christopher Lloyd are wasted though there are a couple of minutes here and there that show a little life. It's basically a party film for the 10-14 age crowd. PG for language.

CAMP ROCK (NR) 98 minutes * * Typical Disney teen movie about making friends and being true to yourself rather than trying to pretend that you're someone (or something) else. Demi Lotavo stars as Mitchie, a talented young woman who desperately wants to go to a music camp, and doesn't want people to know that her mom is the camp cook. It all works out fine, of course. It's a bit disappointing that with all of the talent out there, Disney chose so many people who couldn't actually play most of the musical instruments used in the film. Also featuring the Jonas Brothers (who CAN play quite well!). Not rated, but suitable for families.

CAMP ROCK 2: THE FINAL JAM (NR) 103 minutes * 1/2 Another summer camp. This time, Mitchie (Demi Lovato) and her friends are back, but there's a new camp across the lake... Camp Star. It's a glitzy, expensive camp that promises to create stars out of the campers. There's more performing and less story than in the first film, which is not necessarily a good thing. It's harmless enough, but not very memorable.

CAMP X-RAY (R) 111 minutes * * 1/2 When Cole (Kristen Stewart) is assigned to Guantanamo, she doesn't really know what to expect. And she is even more surprised to find herself becoming friends with one of the detainees. Although this is clearly focused on the interaction between Cole and Ali (Peyman Moaadi), we need more development of other characters. Without that, and despite some good acting, this is just too difficult to believe as plausible. R for language and nudity.

THE CAMPAIGN (R) 81 minutes * * When Cam Brady (Will Ferrell) says the wrong thing and ruins his chance for re-election, the money moves to support Marty Huggins (Zach Galifianakis) to win. Marty is rather naive though, and some are wondering how he'll do once the mud starts flying. Humorous, and often rude, look at politics and campaign finance. Fans of the leads will enjoy it, while others may not find it as funny. R for sex and language.

CAMPFIRE CHRISTMAS (NR) 83 minutes * * 1/2 Peyton's (Tori Anderson) parents own a popular summer camp. When they decide to retire, they host one last "Christmas in July" celeebration. It's oging to bring many of Peyton's friends back... including Thomas (Corbin Blue). Will their romance from years ago be rekindled? This is a Hallmark film after all...

CAMPFIRE KISS (NR) 84 minutes * * Feeling more than a little disconnected from her son, Dana (Danica McKellar) decides to take him camping. What she didn't expect was to meet Steve (Paul Greene), who is there with his daughter. There are a few bumps along the way, but this is a Hallmark movie after all. Nice work by Ali Skovbye and Dylan Kingwell.

CAN YOU EVER FORGIVE ME? (R) 100 minutes * * 1/2 Freelance writer and biographer, Lee Israel (Melissa McCarthy) has hit a rough spot in her career. She's having difficulty writing and loses her job. When she falls in with Jack Hock (Richard E. Grant), she begins to entertain some ideas that would help makes ends meet, though they are questionable in nature. Her writing skills become a challenging way to forge letters from famous people that are then sold to dealers and collectors. It's nice to see McCarthy in a serious role, but the cynical and sarcastic tone of her humor is still clearly evident in her acting. R for language.

CAN YOU KEEP A SECRET? (NR) 91 minutes * * 1/2 After a really bad day at work, Emma (Alexandra Daddario) gets on her flight where there is a good deal of turbulence. Sure that she is going to die, she shares all of her deepest secrets with a fellow traveller. Later, she learns that he's the CEO of the company she works for. Daddario's performance is fresh and charming, and there are some nice supporting roles here too.

CANAL STREET (PG-13) 95 minutes * 1/2 When his son is arrested for the murder of a white classmate, Jackie (Mykelti Williamson) does everything he can to help. The film makes a pointed effort to make the story all about race, but it's just not a strong case. There's a lot of rhetoric, but the story keeps getting interrupted by commentary, which keeps our emotions at arms length. And then there's the infusion of Christianity, which slowly increases as the film moves along. It doesn't help. PG-13 for language and violence.

CANDLES ON BAY STREET (PG) 84 minutes * * 1/2 Sam (Eion Baily) never expectedd to see Dee Dee (Alicia Silverstone) again. But now she's back in town and some of his old feelings are coming back. His wife Lydia (Annabeth Gish) is trying to be gracious. There's a dark twist and a few tears, and a reminder that not every Hallmark film turns out to be all sunshine.

CANDY (R) 102 minutes * * * Dan (Heath Ledger) and Candy (Abbie Cornish) fall in love, and off the edge. Spinning out of control with an addiction to heroin, this is an almost painfully realistic look at artistic destruction. Ledger and Cornish are both strong here, giving us characters we want to care about, though we struggle with how they just can't seem to get their lives together long enough to make anything work. R for language and sex.

CANDYMAN (R) 94 minutes * * 1/2 Based on Clive Barker's "The Forbidden", this is an interesting exploration of urban mythology and the art of horror storytelling. Great special effects, solid performance by Virginia Madsen, and appropriately eerie music by Philip Glass make this a fine entry in the genre, though the ending is a bit weak.

CANDYMAN (R) 86 minutes * * 1/2 Years have passed, and Cabrini Green has been reshaped and repurposed. Anthony (Yahya Abdul-Mateen II) and his partner live in one of the loft apartments. As he will soon discover, you can remodel all you want, but the Candyman will always be there. Very nice special effects and artwork. An effectively creepy sequel. R for violence and language.

CANDYMAN: FAREWELL TO THE FLESH (R) 90 minutes * * 1/2 As with many sequels, too much time spent on answering question raised by the first film. Nice sets and special effects and a few good scares that wait for the "second beat" to catch you off guard. Nice! But too many shots of Mardi Gras and minor cast members who can't act ruin much of the overall effect, though the ending manages to spook us and make us laugh as well. Again, a nice touch.

CANE RIVER (NR) 102 minutes * * 1/2 Returning home to Louisiana, Peter (Richard Romain) intends to pursue a career in writing. Shortly after arriving, he meets Maria (Tommye Myrick), and they fall in love. Their families don't approve. He is from a wealthy Creole family, while she is from a less-fortunate, darker-skinned family. Though filmed and completed in 1982, the film only received a single screening before the director died. Rescued and restored, it was re-screened at the Smithsonian African American Film Festival in 2018 and released in 2020. The tone of the film is relaxed and gentle, but there is a serious and strong theme here, dealing with the bias and prejudice present between lighter and darker- skinned African Americans.

CANNERY ROW (PG) 117 minutes * * * ½ Cannery Row is a place for lost souls. People tend to drift here, and just slowly continue to do so, never really going anywhere or doing much. The story revolves around Doc (Nick Nolte) an ex-baseball player who has been here for awhile, and Suzy (Debra Winger), a recent resident who may not be the most classy of individuals, but who wants something better. But Doc can’t get beyond his tragic past, and Suzy struggles to decide what she actually wants out of life. Humor and realism mix well in this adaptation of the classic John Steinbeck story.

CANNIBAL (NR) 113 minutes * * * Carlos (Antonio de la Torre) is not who he seems. A tailor for wealthy clients by day, he also kills and eats women. But when he actually falls in love with one, will it be different? Despite the macabre topic, a gentle and tender look at the character of Carlos. The cast and script are rather methodical and simple, painting a picture that is not just clear and direct, but also hauntingly beautiful.

CANNIBAL FARM (NR) 100 minutes 1/2 A family goes on a camping trip, but the property they choose just happens to have a rather sinister history. Scary and gross, but the glaring holes in the story and gaps in logic don't do this any favors. The over-acting doesn't help either.

CANNIBAL HOLOCAUST (NR) 95 minutes * 1/2 A small team goes into the Amazon rainforest to attempt to rescue a documentary film crew that disappeared. They don't find the crew, but they find film footage that disturbingly explains what happened to them. This film is well-known mostly for how violent and grotesque it is. Not for the squeamish.

CANNONBALL RUN II (PG) 103 minutes * 1/2 Not really much of a sequel. It's mostly the same people racing across the country again. In fact, it feels more like a cast party for the first film. It does look like they had fun making it, but at least there was a little bit of a plot in the first film.

CAN'T BUY ME LOVE (PG-13) 90 minutes * * 1/2 Ronald (Patrick Dempsey) decides to overcome his nerdiness by hiring a cheerleader (Amanda Peterson) to be his girlfriend. Of course, he finds out that being "cool" isn't as important as he thought it was. Interestingly enough, she learns the same lesson. No real surprises here, but the cast have a very well-written script to work with and it helps bring out the best in their performances. Nice light entertainment.

CAN'T HARDLY WAIT (PG-13) 94 minutes * 1/2 Jennifer Love Hewitt stars in this story of finding love where you least expect it. Preston (Ethan Embry) has just one chance to have a date with Amanda (Hewitt)... will things work out the way he hopes? The story fails miserably here, letting us down almost all the way through despite having a flair for effective dialogue. The acting isn't bad either, but there's just no depth to these characters. PG-13 for language.

EL CANTANTE (R) 108 minutes * * Marc Anthony and Jennifer Lopez star in this biographical film about Hector Lavoe. Anthony does a great job here, but the film focuses too much on its "interview" with his wife, Puchi, and gives us little reason to like her. A more dramatic presentation and more of how Lavoe and salsa became so popular would have made this a much better film. R for language and sex.

CANTINFLAS (PG) 95 minutes * * * With fame comes many things, and not all of them are necessarily wonderful. This is the story of Mexico's most famous, and best-loved comedic film star, Mario Morena Cantinflas (Oscar Jaenana). Nice bio-pic that also does a good job of covering the production side of filmmaking. PG for language.

THE CANYONS (R) 86 minutes * 1/2 Christian (James Deen) has money to burn and decides he wants to make a movie. But when his girlfriend (Lindsay Lohan) has an affair with his star, he gets upset. Although the acting here is reasonably good, the cast is a collection of very unlikeable characters. Relationships are shallow and manipulative and they tend to just drift through the scenes without connecting to anyone or anything. Intensity increases toward the end of the film, giving it just enough of an edge to make us wish that the rest of the film had been more interesting. R for sex and language.

CAPE FEAR (R) 124 minutes * * * 1/2 Excellent remake of the 1962 classic about the power of revenge and the importance of honesty as a former felon goes after the lawyer who had him convicted. Nick Nolte, Jessica Lange, Robert DeNiro, and the rest of the cast are near perfect. It's also nice to see some of the cast from the original film playing bit parts here. Elmer Bernstein adapts Bernard Hermann's original score to add just the right touch to the creepy atmosphere of the story. R for language and violence.

CAPE OF GOOD HOPE (PG-13) 103 minutes * * 1/2 Gentle, laid-back story of life in Cape Town, South Africa. The relationships, hopes, dreams, and shortcomings of some of the people are interwoven in this easy-going film that will bring a smile to your face. There are definitely some less than pleasant events that happen, but we find ourselves really liking these characters and wanting life to work out well for them. Filmed in Hout Bay, South Africa. PG-13 for language and violence.

CAPE SPIN: AN AMERICAN POWER STRUGGLE (NR) 82 minutes * * Wanting clean energy seems like a no-brainer, but when an offshore wind farm is proposed for Nantucket Sound, the welathy liberals who would normally support most any environmental cause don't want it in their backyard. Both sides of the argument are presented here, and in a fairly balanced manner. There isn't any clear or strong statement at the end of the film, thuogh. It just sort of fades away.

CAPITAL (NR) 180 minutes * * 1/2 The houses on this particular street in London have been rising in value quite dramatically. It's great for the residents. And when they begin to receive postcards that say "We want what you habve", they assume it's a marketing campaign. But it gets more strange and unsettling as the weeks go by. Interesting and mildly suspenseful drama adapted from the book of the same title by John Lanchester.

LE CAPITAL (R) 110 minutes * * * The Phenix Bank of France is under new leadership, and the new man has a desire to achieve a great deal. He will face a great deal of opposition. Banking and finance intrigue with tension that builds very well. There's also deftly satirical commentary here on the banking industry. R for sex and language.

CAPITALISM: A LOVE STORY (R) 122 minutes * * * Director Michael Moore's look at the banking and financial crisis. Typical overstatement of some of the issues and manipulations of some of the info, but as usual, Moore's point is well-made. R for language.

CAPONE (R) 99 minutes * * Notorious gangster Al Capone (Tom Hardy) had spent ten years in prison. At the age of 47, he was released under government supervision. He was not the same man any more. Suffering from dementia, and with few of the friends he'd had earlier in his life, the crimes of his past begin to haunt him. Unfortunately, most of Hardy's performance consists of incogerent mumbling. The film doesn't seem that interested in telling a story, though it does leave us with a vivid picture of a man whose vicious past did indeed catch up with him before he died. R for violence, language, and sex.

CAPOTE (R) 109 minutes * * * 1/2 Truman Capote (Philip Seymour Hoffman) is a successful author, looking for his next story. He stumbles across a newspaper article about a murder and decides to find out more. Befriending one of the accussed killers, the story Truman tells becomes even more powerful than he could have hoped for, taking over his life and affecting him in ways he ever dreamed possible. Hoffman's performance earned him a well-deserved Oscar. Filmed in Manitoba. R for language and violence.

CAPRICA (NR) 89 minutes 89 minutes * 1/2 While the reworked version of "Battlestar Galactica" has seen a great deal of success, don't expect the same of this prequel. Chronicling the creation of the Cylons, we watch as Daniel Graystone (Eric Stoltz) discovers the virtual character that his daughter created before she died. Her technological skills surpassed his own, and the possibilities are intriguing. Except we aren't really intrigued. Stoltz shows no emotion, and the film relies heavily on viewers already having an understanding of what will follow in the future.

CAPSULE (NR) 87 minutes * * 1/2 When the space capsule Guy (Edmund Kingsley) is in malfunctions, help to remedy the situation is less than satisfactory. Contact with the British is spotty, and there is contact with the Americans and the Russians, but both of those seem suspcious and Guy is unsure if either of them can be trusted. But his oxygen is running out and he's going to have to make a decision very soon. Based on fact, though the specifics have never been confirmed. It's a bit dry until the last 20-30 minutes, which are quite suspenseful.

CAPTAIN AMERICA: CIVIL WAR (PG-13) 137 minutes * * * 1/2 The damage that superheroes are causing while fighting villains is getting out of control. Innocent lives are being lost as well. And there's also the question about which came first, superheroes or supervillains... Fantastic cast, and a great collection of characters. Along with amazing effects, it makes for a fun and exciting adventure that we just want to keep watching. This builds well on the previous films and fits nicely with many of the other Marvel superhero films. PG-13 for violence.

CAPTAIN AMERICA: THE FIRST AVENGER (PG-13) 114 minutes * * * Steve Rogers (Chris Evans) just wanted to fight for his country and stop people from being bullies. Well, he's going to get more of a chance than he expected. The story works pretty well, though like the rest of the Marvel Comics-to-screen adaptations, it's not quite what you'll remember from the original comic books. Evans works well, and his transformation from scrawny 98-pound weakling to buff Captain America is very good, and somewhat real, though enhanced by special effects. Don't miss the segment in the credits, which is a little longer, and gives us an even better setup for the Avengers movie. PG-13 for violence.

CAPTAIN AMERICA: THE WINTER SOLDIER (PG-13) 126 minutes * * * An exciting next chapter in the story of Cap, with Hydra infiltrating SHIELD and threatening to destroy the world. The mysterious Winter Soldier (Sebastian Stan) will prove to be a difficult adversary, but with the help of the Black Widow (Scarlett Johansson) and the Falcon (Anthony Mackie), Cap (Chris Evans) will set everything right again. Plenty of action and intrigue, and a story that is actually a little more in keeping with the comic than the first, though it does cover quite a bit of story in a relatively short time, which makes it feel a little rushed. PG-13 for violence.

CAPTAIN CORELLI'S MANDOLIN (R) 120 minutes * * 1/2 The real reason to see this film is for John Hurt's performance, not Nicholas Cage or Penelope Cruz. It's really his story... the story of the people of Cephallonia during the Italian occupation of World War II. Yes, his daughter falls in love with an Italian officer who plays the mandolin, but Cage's character is a shadow, a character who is there to elicit fatherly advice from a man whose daughter is caught between two men and her feelings, just like the island is caught in the middle of the war. In fact, Hurt's character even exclaims that it is "his" island at one point, because he was born there. People who are going to watch this as a romance movie between Cruz and Cage may well be a little disappointed. Filmed in Cephallonia. R for violence and sex.

CAPTAIN FANTASTIC (R) 113 minutes * * * Ben (Viggo Mortensen) has raised his family off the grid in the wilderness of the Pacific Northwest. But when his wife dies, contact with the rest of the world becomes inevitable, and life-changing. Questions about parenting, responsibility, life, and faith all come flooding in at once. Very nice role for Mortensen in a film that is both fun and poignant. R for language and nudity.

CAPTAIN MARVEL (PG-13) 116 minutes * * * The story here takes a few steps back to a time before the creation of the Avengers. It's the beginning of the Captain Marvel story, with Carol Danvers (Brie Larson) becoming an amazingly powerful Kree warrior. She learns how to use her powers and some truths about her own history and the truth of the conflict on her home planet. It's a great story, though a little disappointing for those familiar with the comic as it skips over the explanation of how the mantle of Captain Marvel came to be hers and who held it before her. Still, the end result is another fine entry in the Marvel superhero film universe. PG-13 for violence and language.

CAPTAIN PHILLIPS (PG-13) 128 minutes * * * 1/2 In 2009, the MV Maersk Alabama became the first US cargo ship to be hijacked in 200 years. Making its way through the waters near Somalia, the crew were ready for the possibility, but never really thought they could be boarded and taken over. An intense story, and well-performed by a talented ensemble cast, and nominated for a number of Oscars. PG-13 for violence.

CAPTAIN RON (PG-13) 98 minutes * * Martin an Katharine Harvey inherit a boat and decide to take a cruise. Unfortunately, it's in pretty bad shape and the captain isn't much better. The real comic twist here is that Martin Short plays the straight role and Kurt Russell is the comedian... it doesn't work very well, though there are a few moments here and there. PG-13 for language and nudity.

CAPTAIN SABERTOOTH AND THE TREASURE OF LAMA RAMA (NR) 92 minutes * * The title pretty much says it all. There's a pirate treasure and plenty of adventure for the younger set. It's a little overly silly at times, but otherwise interesting adventure, though it fades at the end.

CAPTAIN UNDERPANTS: THE FIRST EPIC MOVIE (PG) 79 minutes * * * George (voiced by Kevin Hart) and Harold (voiced by Thomas Middleditch) are best friends, and creators of the Captain Underpants comic book. They are about to convince their evil principal that he is none other than Captain Underpants, bringing their creation to life. Not without some issues along the way of course. With all of your favorite characters from the popular series of children's books. A great job of bringing this to the big screen. PG for language.

THE CAPTAINS (NR) 95 minutes * * * A look at the people who have played the role of starship captain in the various incanrations of Star Trek. William Shatner produced this, so he serves as guide and interviewer, which... is what it is. In other words, a little much to stomach at times, but definitely worth it to see these people talking with him about their experiences and thoughts on what playing the role meant to them. No matter which series is your favorite, there are sure to be moments here that you will love. What's missing is a sequence with all of them together in the same room.

CAPTIVATED (NR) 105 minutes * * 1/2 Techno-utopia or virtual prison? Or both? A conservative Christian documentary look at the current culture of media consumption. A few good points about the media are mentioned, but the emphasis is on the importance of cutting down (or out) the video and audio input from technology and the comments and recommendations get more and more conservative as the film progresses.

CAPTIVATED: THE TRIALS OF PAMELA SMART (NR) 96 minutes * * * The year was 1990, and a murder case in a small New England town became the first fully televised court case. It was the beginning of reality TV. Pamela Smart welcomed the opportunity to prove her innocence. She was accused of plotting the murder of her husband with the help of her sons. A fascinating retrospective look at a trial that captivated the country.

THE CAPTIVE (R) 103 minutes * * Cass (Alexia Fast) went missing eight years ago. But is it possible that she's still alive? The story has rather large, gaping holes as pieces are just never really addressed. Ryan Reynolds and Scott Speedman's characters seem to be stuck in a loop for most of the film, repeating their emotions and actions. It's not that the story is a bad idea, but someone tried to be overly creative when a more straightforward approach would have served the story better. R for language and violence.

CAPTIVE (2015) (PG-13) 90 minutes * * Ashley (Kate Mara) has had worse days. Working to beat her drug addiction has been tough. But now she's being held hostage by a desperate man. Based on the real situation, the religious message about the "purpose-driven life" is very strong at the end. There is mention of it earlier in the film, but the characters are the focus earlier in the film until the "theme" swells near the end. PG-13 for violence and language.

CAPTIVE STATE (PG-13) 105 minutes * * It's been almost ten years since the aliens arrived on earth. Their focus is on the largest cities in the world, and the film focuses on Chicago. Not everyone thinks the situation is bad. There are more jobs and less crime, but there are also plenty of reasons to resist the "oversight" these new creatures have established. It's a good story, full of twists and turns, but dealing only with Chicago and not even addressing how outlying areas are being dealt with leaves this wanting. More information on why the aliens chose to pit human against human (or to take advantage of that natural tendency) would have helped. PG-13 for violence, sex, and language.

CAPTIVITY (R) 86 minutes * * Jennifer (Elisha Cuthbert) awakens to find herself trapped, a captive in a room with no way out. She soon discovers that she is not alone, and we soon discover that we already know what's going to happen. The editing is rough in a few spots and rather disjointed. And more suspenseful music might have helped as well. Cuthbert does nice work here, but it isn't enough to keep the film more than mildly interesting. R for violence, language, and sex.

CAPTURING REALITY: THE ART OF DOCUMENTARY (NR) 96 minutes * * * A documentary about... documentaries. Featuring interviews with directors and film clips from numerous documentaries, this provides a fascinating look at documentary filmmaking. Their truth, their art, their power... why did these filmmakers choose these projects and how do they fit into the rest of the filmmaking world. It's a wonderful exploration of the art and the craft of making a film.

THE CAR: ROAD TO REVENGE (NR) 86 minutes * While the 1977 original film "The Car" clearly had a supernatural element, the tone was more mysterious and siniter. In this 2019 sequel, the car merges with the soul of a district attorney and is out to take revenge on those who murdered him. To make it more "interesting", they are all very violent cyberpunks. There's lots of style here, but the story is pretty shallow. Of course, there's still room for another sequel.

CARAMEL (PG) 87 minutes * * 1/2 The lives and loves of five young women in Beirut, Lebanon. Though the story tends to just wander, the acting is good, and the characters feel real. The symbolism of the caramel isn't emphasized much, which is another difficulty with the story development. PG for sex and language.

CARANCHO (NR) 103 minutes * * 1/2 Sosa (Ricardo Darin) is an ambulance chasing lawyer with too many schemes for his own good. When he meets Lujan (Martina Gusman), he thinks he might have found a reason to try and be a better person. As much as she might want that to happen as well, Sosa's past is going to get in the way no matter how hard he tries to change. Lujan's character here seems a bit overly naive, but the ending is quite good.

THE CARD COUNTER (R) 107 minutes * * * Tell (Oscar Isaac) has a dark past as a military interrogator. After getting out of prison, where he took the fall for his superiors, he just wants to play cards. Small stakes are fine as it lets him stay under the radar. Cirk (Tye Sheridan) seeks him out to work a revenge plot on a mutual military contact. Tell wants to teach Cirk a better way to deal with problems in life, but Cirk may not be so each to convince. The energy and intensity are very deep here, despite a performance from Isaac that appears very casual. R for violence, language, and sex.

CARDBOARD BOXER (NR) 86 minutes * * Willie (Thomas Haden Church) is homeless, but he has found a way to make money. Convinced to by two teenagers to fight another homeless man for cash, he receives cash for the humiliation. But it can mean a comfortable bed and a hot shower. It feels wrong, but his options are limited. What changes him even more though, is a new friendship, and the the hope that he feels when he reads the tragic diary of a young girl he has never met. The script either has some holes or perhaps scenes that were trimmed, with the end result being that the story feels disconnected and less powerful than it could have been.

CARE BEARS MOVIE II: A NEW GENERATION (G) 73 minutes * * The Care Bears have to stop Dark Heart from taking over a summer camp. Overly sweet and simple story aimed at the four and under crowd. Most of them will enjoy it, but it can be a bit more difficult to sit through if you're older than that. There's also a better ending a few minutes earlier, but it continues for another several minutes.

CAREER OPPORTUNITIES (PG-13) 79 minutes 1/2 John Hughes' name has been associated with a number of great films. This is not one of them. There is one scene in the film that has some merit. The young stars begin to realize that money won't buy everything, especially hapiness, and that failure in your career or in a particular task doesn't mean your life is worthless. After that momentary lapse into meaningful dialogue, we quickly return to meaningless banter and camera angles designed to highlight certain areas of Jennifer Connelly's body. The film itself is much like Connelly's character, who is a big tease. PG-13 for suggestive language.

CAREFUL WHAT YOU WISH FOR (R) 88 minutes * 1/2 Nick Jonas stars in this story about a young man who gets in way over his head when he has an affair with a rich man's wife. Tired plot and mediocre acting do this in pretty quickly. It tries for a slick finish, but it just rings hollow. R for sex and language.

THE CARER (NR) 84 minutes * * * Sir Michael (Brian Cox) has reached a point in life where he needs constant care. It is not a place he wants to be, but sometimes that is no longer a choice we can make. Dorottya (Coco Konig) has been hired as his new carer. Though he's not sure why, Sir Michael likes her. And it begins to make the difficult days a little less so. Bravura performance by Cox, well-supporting by Konig.

THE CARETAKER (NR) 77 minutes * 1/2 When Mallorie (Meegan Warner) agrees to take care of her grandmother, she has no idea what lies ahead. Sleepwalking, dark spirits, and old family secrets are going to make her life very interesting, Creepy ending, but the shift in tone and style to get there doesn't fit very well.

CARIBBEAN SUMMER (NR) 83 minutes * * 1/2 Making a mistake while on the air leaves Jade (Heather Hemmens) liittle choice but to take a vacation from work to let things settle out a little. She's about to stumble into a very big story... and maybe a little romance as well.

CARJACKED (R) 82 minutes * 1/2 Life has been rough lately for Lorraine (Maria Bello). Tonight, it's going to get worse. She and her son are about to get carjacked by a bank robber (Stephen Dorff). Bello and Dorff do what they can with an unsurprising script and somewhat boring direction. R for language and violence.

CARLITO'S WAY (R) 139 minutes * * Carlito (Al Pacino) has just been released from prison and plans to go straight. The idea is to save up enough money to start a car rental agency in the Bahamas. But trouble seems to have a way of finding Carlito, no matter how hard he tries to avoid it. Not a bad film, but the style is more suited to a television presentation despite Pacino's good performance. R for violence and language.

CARLITO'S WAY: RISE TO POWER (R) 88 minutes * * Prequel to "Carlito's Way", that follows Carlito from his days of stealing cars to his beginnings as part of a powerful trio who sell drugs and start working with the big dealers. This ha even more of that "TV movie" feel to it, but those who enjoy gangster films should still find it enjoyable. Slightly overdrawn characters performed reasonably well by Jay Hernandez, Mario Van Peebles, and Sean Combs among others. R for violence, language, and sex.

CARLOS (NR) 328 minutes * * 1/2 Lengthy French TV movie about the terrorist Carlos (Edgar Ramirez), also known as "The Jackal". Rather than either denigrating or glorifying Carlos, the film paints us a picture of a man who was part of the changing political climate of the times. Actual news footage is included in the film in a number of spots, lending to the realism of the story.

CARMEN (NR) 82 minutes * * * Having taken care of her brother since she was fifteen, when he suddenly dies, she's at a loss. Now nearly fifty years old, her future seems unsure. Through a simple mistake, she finds herself in the priest's confessional, on the "other side", where she is mistaken for the priest. It is then that she findss her voice, and a new sense of meaning and purpose. A charming story.

CARMEN (2022) (R) 110 minutes * * * Searching for a better life, Carmen (Melissa Barrera) is heading north. The border corssing is not easy, with immigration, police, and those who hunt people for sport all trying to stop her. Aidan (Paul Mescal) drops into her life as a protector. The soundtrack and photography are lyrical and mesmerizing. The dialogue mostly stands in opposition to this, though not always. It's a nice balance. R for language, violence, and niduty.

CARMO: HIT THE ROAD (NR) 94 minutes * * 1/2 Carmo (Mariana Loureiro) just wants to get out of the country. When she stumbles across Marco (Fele Martinez). He is trying to deliver a truckload of smuggled goods and make some money. once their paths cross, all bets are off. The performances are good here, but the story has trouble finding the right balance between comedy, drama, action, and suspense. The characters win us over a bit, but not enough.

CARNAGE (R) 75 minutes * * When two boys get in a fight, their parents meet to discuss the situation. Although the meeting begins in a very civilized manner, it's soon clear that the parents may be worse than the children. Adapted from a French play, and a bit tied to that format, which makes many of the discussions/arguments feel rather dry and forced. R for language.

CARNAGE PARK (NR) 77 minutes * * It's bad enough that Joe (James Landry Hebert) and Lenny (Michael Villar) manage to mess up what should have been an easy bank robbery. But the escape plan involves a stretch of desert that is home to a psychotic killer who also happens to be an ex-military sniper. The story actually works well until the scenes in almost total darkness toward the end.

CARNAL INNOCENCE (NR) 93 minutes * * With the pressures of the professional world of music weighing her down, Caroline (Gabrielle Anwar) decides to seclude herself in her old hometown. But a serial killer on the loose threatens to disturb her peace. The cast does better than expected with a very mediocre script and story and a silly ending.

CARNIVORE: WEREWOLF OF LONDON (NR) 84 minutes BOMB Dave (Ben Loyd-Holmes) and Abi (Atlanta Johnson) are trying to get some excitement back into their relationship. Mostly, that will mean going to a cabin and having lots of sex.. But then they get terrorized by someone in a bargain Halloween store werewolf mask. (Oops, I just meant to say "werewolf".) Neither Loyd-Holmes or Johnson can act, and her accent keeps fading in and out for no apparent reason.

CARNOSAUR (R) 79 minutes 1/2 A mad scientist breeds dinosaurs in chicken eggs so they can rule the earth again. A few reasonable effects from John Beuchler, but a pathetic script that make what could have been campy fun, into a real chore to watch.

CAROL (R) 115 minutes * * * There's no love left in Carol's (Cate Blanchett) marriage, and she fears that there is no love left in life. But when she meets Therese (Rooney Mara), while she's shopping at a local department store, everything changes. Their connection is immediate, and its repercussions far reaching. Very nice work by both Blanchett and Mara. Adapted from the book "The Price of Salt" by Patricia Highsmith. R for sex and language.

CAROL CHANNING: LARGER THAN LIFE (PG) 84 minutes * * * At 90 years old, Carol is as vivacious, charming, and entertaining as ever. Hers is a life that has been packed full with both theater and film, and she loves to tell the stories. Whether you know of her or not, it's a wonderful look at part of the history of film and theater, told by an amazing performer who still thrills the crowds. PG for language.

A CAROL CHRISTMAS (NR) 83 minutes * * Tori Spelling fans rejoice! It's a version of "A Christmas Carol" with Tori as Scrooge! Please don't tell me you didn't figure that out from the title of the film... With William Shatner and Gary Coleman as two of the ghosts, you can probably already guess what kind of cheesy humor will be part of the film. It's not bad, but clearly an inexpensive production made to cash in on the holiday.

CAROLINA MOON (NR) 94 minutes * * 1/2 Tory (Gabrielle Casha) has visions. While they can be helpful, her father thinks they are from the devil and punishes her for having them. She's older now (Claire Forlani), and has come back to town to put her past to rest. But her father is still there, and the violence hasn't stopped. Based on the novel by Nora Roberts. Well-played by the cast.

THE CARPENTER'S MIRACLE (NR) 85 minutes * * Josh (Cameron Mathison) leads a simple life, but when his touch and a brief prayer seem to bring a little boy back to life, he's suddenly the center of attention. Poorly written dialogue and a story that frequently repeats the same points. Originally on TV, but people aren;t going to forget that much during a commercial break. It does have a nice ending.

CARPOOL (PG) 86 minutes 1/2 Most of this film takes place inside the van which is taken hostage by Tom Arnold as he mistakenly commits a robbery. Making the film was a mistake too, and unless you really enjoy Tom Arnold, you won't find this funny, or even very interesting. PG for language and violence.

CARRIE (R) 96 minutes * * Yet another reimagining of the classic Stephen King novel. Early on, this spends a little more time with background and motivation for Carrie's behavior. Chloe Grace Moretz does a great job, though there are a few scenes late in the film that are a little more cartoonish and vengeful, which doesn't make it quite as easy to be sympathetic with her character. The ending is more than a little disappointing, and would have been much better had it finished with the rose in the cemetery. R for violence, language, and sex.

CARRIERS (PG-13) 81 minutes * 1/2 Avoid the infected, disinfect what they;ve touched, and remember... the sick are already dead. In fact, most everyone is dead. These four people will soon discover just how difficult it's going to be to try and survive. Nothing much here that we haven;t seen in scores of other disease or zombie films, though it does end well. PG-13 for violence and language.

CARS (G) 108 minutes * * * The story of a rookie who meets a legend, and learns more than he ever thought possible. You've never seen cars with personality like this, but thanks to Pixar, you can now! Great character voices by Owen Wilson, Paul Newman, Cheech Marin, Larry the Cable Guy, Bonnie Hunt, and many more! A great soundtrack by Randy Newman, with an Oscar potential song, "Our Town" by James Taylor. Just remember, there's more to racing than just winning, and a whole lot more to life as well!

CARS 2 (G) 99 minutes * * While Lightning tries to win the first World Grand Prix, Mater finds himself caught up in the middle of an international espionage incident. The story tends to drag a bit, and Mater's character just doesn't suit the lead role very well. The music is less than stellar as well, which means this just doesn't have the energy of the first film.

CARS 3 (G) 94 minutes * * 1/2 Racing is changing, and the cars that run the numbers best are starting to take the lead. It might be time for Lightning to retire. With a story that deals with retirement, changing roles, and the replacing of old with new, it has more relevance for older viewers. There's still some fun stuff for the kids, but the older crows is going to like this more than the younger one.

EL CARTEL: DE LOS SAPOS (R) 101 minutes * * The story of two friends who are drawn into the work of drug trafficking by the promise of fast money. They soon find themselves very rich, but also deeply connected to a Colombian drug cartel. The narration is more than a little heavy in several scenes, and the ending is both sudden and incomplete. R for violence, language, and sex.

CARTEL LAND (R) 97 minutes * * 1/2 Both sides of the Mexican-American border have problems with the drug cartels that operate in the area. And the citizens on both sides struggle with how much to rust their governments to help them deal with the situation. This documentary takes a look at how some of those citizens have taken steps to deal with the problem on their own. R for violence, language, and sex.

CARTEL 2045 (NR) 102 minutes * 1/2 It's 2045 and the world has changed. Technology has dramatically improved, and a drug cartel in Mexico is using high-tech robots as enforcers. There's lots of gunfire here, and plenty of it seems to be filmed in the dark. The CGI effects for the robots aren't all that great either.

CARTELS (R) 91 minutes * 1/2 Assigned to protect a drug lord, an elite group of DEA agents find themselves in deep trouble when his associates try to kill him. A little fighting, a lot of gunfire, and very little of anything from Steven Seagal. R for violence and langauge.

THE CARTER (NR) 73 minutes * * 1/2 Documentary biography of Lil' Wayne, phenomenal rap artist. Told primarily in his own words, we see that he is constantly working, incredibly prolific, and almost always high. The film makes no judgements, we just watch Lil' Wayne and come to our own conclusions about his life and his talent. For that alone, it's interesting.

CARVER (R) 95 minutes BOMB Yet another story about people going camping and ending up butchered by maniacs who live in the woods. This time around the killers also make films about what they do. Very poor sound quality and sloppy editing. Most of the special effects are cheaply done as well, though there are a few that are graphic enough to keep fans of this genre watching. R for violence, language and sex.

CAS & DYLAN (NR) 87 minutes * * * Cas (Richard Dreyfuss) has received a not-too-positive diagnosis and since he has no other real attachments, he's figured out how to bring it all to a close. And then Dylan (Tatiana Maslany) lands in his life. Nice work by Maslany, and Dreyfuss is, well, Dreyfuss. They balance each other nicely, with a strong and emotional finish.

CASA DE MI PADRE (R) 78 minutes BOMB Will Ferrell's attempt to poke fun at low-budget Mexican westerns, fails miserably on most every count. Even fans of Ferrell's comedy are likely to find this a bit tedious and insensitive. R for violence, language, and sex.

CASA SUSANNA (NR) 96 minutes * * * In the Catskills in upstate New York, lies Casa Susanna. In the 1950s and 1960s, it was a refuge for men who cross-dressed as women. It gave them a place to be honest about who they were and find support in being true to themselves. This documentary uses interviews and historic footage to tell the story of this unique place and many of the people who spent time there, Informative, but also very sensitively told.

CASABLANCA FLATS (NR) 102 minutes * * 1/2 Anas (Anas Basbousi) has a new job teaching at the Cultural Centre in Casablanca. He is teaching his students to use hiphop music to express themselves and push back against oppresive traditions. This frequently feels like a documentary, inviting us into discussions that explain the cultural norms and what it means to push against them.

CASANOVA (2005) (R) 106 minutes * * 1/2 Casanova (Heath Ledger) is in trouble again and has been given an ultimatum... find a wife by the time the upcoming festival begins, or leave town forever. As the time nears, Casanova finds himself in love yet still with a few tricks up his sleeve. But love has a few tricks of its own to play. Clever retelling of the legend that gets a bit too serious at times, yet manages to recover a sense of humor and keep us interested. Nice job by Ledger, who is well-supported by Sienna Miller, Lena Olin, Oliver Platt and the rest. Filmed in Venice. R for sex and language.

CASANOVA (2005-TV) (NR) 170 minutes * * * The tale of Casanova told in his last days as he continues to flirt with a young maid. It's a story filled with danger and adventure, sex and passion, humor and folly, love and heartache. Solid performances from Peter O'Toole who plays the older Casanova, and David Tennant playing the part during the height of his adventurous exploits. Nina Sosanya delivers a stunning supporting performance as well, playing the part of Bellino, one of Casanova's few friends. Despite his various escapades, his love for the unattainable Henriette (Laura Fraser) never fades.

CASANOVA VARIATIONS (NR) 115 minutes * * * Life and art blur in a film that tells the story of Casanova's (John Malkovich) later life through an opera performance that involves the audience and the lines of the actors. The film moves easily between them, all the while exploring the questions Casanova had near the end of his life as noted in his memoirs. Those who enjoy the theatrical arts are likely to find this quite fun, while others may find it a little pretentious.

A CASE OF YOU (R) 87 minutes * * ½ When Sam (Justin Long) falls for the girl (Evan Rachel Wood) at the local coffee shop, he falls hard. After stalking her on facebook for awhile, he’s ready to make his move. The problem is, of course, that he’s created a fake self based on what she likes, and when she falls for him, he can’t really keep up the act. We’ve seen Long play this type of role before, and there’s nothing new here, but Wood is delightful and makes it worth a look, along with cute and fun bits by people like Brendan Fraser, Peter Dinklage, Sam Rockwell, and Vince Vaughan. R for language and sex.

CASE 39 (R) 101 minutes * * 1/2 She's already buried with work, btu there's always one more case. When this one lands on Em's (Renee Zellweger) desk, it's number 39. it seems that these parents are trying to kill their daughter... and she's about to discover why. the story is more than a little ridiculous, with plenty of gaping story holes, but the cast does a nice job of lending it far more credibility than it deserves. R for violence.

CASESE QUIEN PUEDA (NR) 102 minutes * * * Sometimes you find love in the most unexpected places, as these two sisters are about to discover. Light-hearted fun with a great cast and lovely scenery.

CASH (R) 103 minutes * 1/2 A briefcase full of money landing on your car may sound great, but when the thief who stole it sends someone to recover it, things may get a little difficult. Especially since Sam (Chris Hemsworth) and Leslie (Victoria Profeta) have already spent some of the money. Now they have to make up the difference. The story is somewhat interesting, but Sean Bean's rather lifeless performance manages to kill it rather effectively. R for language, violence, and sex.

CASINO (R) 172 minutes * * * Ace (Robert DeNiro) has finally made it big, moving from the streets to being in control of a casino in Las Vegas. But his friend Nicky (Joe Pesci) is along for the ride and thrives on taking longshots. That's not really the way to do business, especially in Vegas. The story builds slowly as we follow these two on their way up and down the ladder of casino success. It's a well-written adaptation of Nicolas Pileggi's book, based on fact, that makes for an interesting, if slightly long, film about power, greed, and relationships. R for language and violence.

CASINO JACK (R) 98 minutes * * One of the best lobbyists Washington D.C. had ever seen, Jack Abramoff (Kevin Spacey) seemed to be able to talk anyone into anything. But his luck does eventually run out, and the whole house comes crashing down, taking with it a number of other people who thought Jack could do no wrong. The direction here us rather weak, seeming to rely on an almost ad lib style of performance from Spacey. There are some great opportunities here for the supporting cast, but the script lets them down, with the possible exception of Barry Pepper. R for language, violence, and nudity.

CASINO JACK AND THE UNITED STATES OF MONEY (R) 116 minutes * * 1/2 A documentary exploration of the political lobbying career of Jack Abramoff, who at one point had most of Washington, D.C. in his back pocket. Democracy can indeed be purchased, and Jack Abramoff proved it, if even for a short time. Interesting and thought provoking, though somewhat repititious at times. R for language.

CASINO ROYALE (2006) (PG-13) * * * Daniel Craig's first film as James Bond is a revisiting of the 1967 film, an early adventure in the series. The emphasis here is on physical stunts rather than exectronic gadgetry and explosive effects. The running stunts at the beginning of the film are fantastic and set the pace for the rest of the film. Craig does a nice job, and dialogue is kept to a minimum, adding to his mystique. A little intensity is lost late in the film, though that's not uncommon for Bond films. The story winds down and a couple of last minute twists are uncovered before we are set up to imagine what the next adventure will be. Nice work, though fans of the series may find a few discrepancies in the storyline. If you take it on its own though, it's an entertaining film with a bit of a new and different look for Bond. PG-13 for violence and language.

CASPER (PG) 93 minutes * * * 1/2 Full of fabulous animation, courtesy of ILM, and wonderful photography work by Dean Cundey, this is a visual delight. The characters are fun and creative, although I'm not sure why Casper has to be the ghost of a dead boy... Still, kids love this and most adults won't find it too hard to sit through either. Lots of cameo appearances from some you might not expect, like Clint Eastwood, Mel Gibson, Rodney Dangerfield...

CASSANDRA'S DREAM (PG-13) 106 minutes * * * Two brothers (Ewan McGregor, Colin Farrell) who are used to their uncle's generosity find the table has turned. It seems that Uncle Howard (Tom Wilkinson) wants them to do him a favor that involves murder. Writer/Director Woody Allen gives us a mystery that is also a character study of these two young men. Accentuated with a haunting Philip Glass soundtrack and finishing with a flair, it's another successful Allen film. PG-13 for sex and violence.

CASSIDY RED (NR) 88 minutes * 1/2 When Cassidy (Abby Eiland) sets her mind to something, there's little that can stop her. At the moment, she's determined to take down the corrupt lawman who killed her lover. The story takes a couple of good turns, but the acting needs some work and the direction is heavy-handed, making this much less fun than it should be.

CAST AWAY (PG-13) 135 minutes * * * It was supposed to be a quick trip for his job with FedEx, but when the plane crashes in the ocean, Chuck (Tom Hanks) finds himself alone on a tiny island, several hundred miles away from anywhere they'll be looking for him. The film deals fairly well with the effects of four years of isolation on a person, but sometimes goes a bit too far. For example, the idea that so many FedEx packages would wash ashore on the same little island while virtually nothing else does is a bit much. There are other things as well, but Hanks manages to keep our interest, which is no easy task with so much of the film resting on his shoulders. Though I don't wish to spoil the end of the film for people, I will say that most people are a bit frustrated with how it ends. I felt it was the perfect ending, but I don't mind it if all the questions aren't answered by the time the credits role as long as the story remains true to itself. PG-13 for language and violence.

CASTAWAY (R) 115 minutes * 1/2 Oliver Reed and Amanda Donohoe star in this adaptation of Lucy Irvine's book. It's a sort of "Blue Lagoon" for adults, but without the innocence. Though trying to be thought provoking at times, it never really succeeds. Dreams and memories are intercut in the story, but we're never all that sure why some of the images are there. Confusing, though providing some beuatiful scenery courtesy of the Seychelles, where it was filmed.

CASTLE IN THE GROUND (NR) 101 minutes * * * Picking up medication for his mother, Henry (Alex Wolff) meets Ana (Imogen Poots). Their friendship grows, but it is not without problems. Ana is a recovering addict, and Henry is grieving. Neither of them is in a good place, and their budding relationship may be less of a support and more of a hindrance. It's not a happy story, but it is well-told and well-acted.

CASTLES IN THE SKY (NR) 88 minutes * * 1/2 It's the beginning of World War II, and the top minds at the Air Ministry are looking for a death rya... or at least something similar that would be able to stop Hitler. Robert Watt (Eddie Izzard) and his friends may not have a death ray, but the development of a radar system that can track incoming aircraft just might be a possibility. A rather brief and succinct story, but still good.

CASUAL SEX? (R) 83 minutes * 1/2 Adapted from the stage play of the same name, this is the story of two very different young women and their search for love. The problem is that there's little in the way of sensitivity here, though I guess that makes it no surprise to see Andrew Dice Clay playing a character. It does wrap up nicely at the end, but there are so many other films about love and sex and why relationships are important that this is definitely one that you should probably skip unless you're a fan of Lea Thompson.

THE CASUAL VACANCY (NR) 173 minutes * * 1/2 An upscale redevelopment of a piece of property is being debated by the parish council in a small British community. When one of the council members dies unexpectedly, the fight to take his seat and have a voice in the decision begins in earnest. Several strong subplots tie together in this story about a community and the people who shape it.

CASUALTIES OF WAR (R) 106 minutes * * There are many kinds of casualties when there is war. Not only are enemies killed, but so are friends and innocent bystanders. And those who live through a war are casualties in other ways. It's a good point, but director Brian DePalma manages to muddle it up so much that we lose the impact. It doesn't help matters that Michael J. Fox is asked to deliver preachy monologues as we experience the war through his eyes as a new recruit in the Vietnam war. Sean Penn, on the other hand, does a fine job, and Ennio Morricone's music captures the mood of the film well. R for violence, language, and sex.

CAT DADDIES (NR) 87 minutes * * 1/2 Men and cats are not, perhaps, the typical pairing. This documentary introduces us to nine men and their cats. The film does a nice job of working to break the stereotypes people have and also show a wide variety of cat owners and cat behavior.

A CAT IN PARIS (PG) 59 minutes * * 1/2 Animated film noir, with Zoe's cat spending evenings with a cat burglar. But something even more sinister is going on... the man who killed Zoe's father has another crime planned. The suspenseful soundtrack adds atmosphere to the film, but the ending is a bit unusual. PG for violence.

THE CAT IN THE HAT (PG) 75 minutes * * As with the adaptation of the Grinch, the sets, props, and costumes, are amazing and capture quite well the feeling of the books. And, as with the first, there is the unnecessary inclusion of adult humor that is far from subtle and that is too often just rude. The subplot of the neighbor who is interested in the children's mother is a boring addition that does little more than annoy us. Thing one and thing two are the best parts of the film. It's at their arrive that mayhem truly erupts and things get interesting. Fans of the Grinch movie may enjoy this, but those who enjoyed the original book will most likely be a bit disappointed. PG for violence and language.

CAT PEOPLE (R) 113 minutes * * * ½ When Irena (Nastassja Kinski) comes of age, she learns a terrible truth about her ancestry as she becomes a black leopard when sexually aroused. An update of the 1942 classic, this works quite well. Great cinematography and effects that compliment the work that Kinski does here. R for sex, violence, and language.

THE CAT THAT CAME BACK (PG) 86 minutes * * It's a wonderful old house, with a rather interesting ghost, and Natalie (Ellen Page) and her dadMichael Ontkean) are looking for a new place to call home. The characters here are a bit lacking in depth, but it still manages to be a fun and lightly spooky adventure, aimed for the most part at those in the early adolescent or pre-teen age group. Also known as Mrs. Ashboro's Cat. PG for language and violence.

CATACOMBS (R) 84 minutes 1/2 Going to visit her sister in Paris was supposed to be fun. But now she's trapped in the catacombs beneath the city and her sister is dead. Not much chance to develop a character when you're spending the whole film running around in the dark. R for violence, language, and nudity.

CATCH A FIRE (PG-13) 93 minutes * * 1/2 Patrick Chamusso (Derek Luke) never planned on being a hero. A foreman at an oil refinery, life was fine for Chamusso until he finds himself in jail, targeted by policeman Nic Vos (Tim Robbins). Luke does an outstanding job in his role, but Robbins seems distracted and unsure of his place in the story. It makes for an uneven story where we tend to ignore Robbins' character as much as we can. PG-13 for violence and language.

CATCH AND RELEASE (PG-13) 106 minutes * * 1/2 Cute and lightweight romance film with Jennifer Garner starring as Gray, a young woman who finds herself slowly but surely falling for Fritz (Timothy Olyphant) even as she is still dealing with the death of her fiancee. She's just beginning to learn about who he really was... and who she is herself. Some of the best bits of the film are from Kevin Smith's character, who seems the most in touch with reality. Friends and family, life and death, pain and healing, catch and release. It's a pleasant enough diversion, but there's not a great deal of depth here. PG-13 for language and sex.

CATCH .44 (R) 86 minutes * * It was supposed to be a double-cross that would net Kara (Nikki Reed), Dawn (Deborah Ann Woll), and Tes (Malin Akerman) a piece of the profits they didn't normally see. But of course it all goes wrong. Part of what goes wrong is that this looks far too much like "Pulp Fiction". The opening scene could have served as a nice homage, but it doesn't stop there. A couple of inspired moments are evident, but most of it is close enough to be immitation, which doesn't come across well. R for violence, language, and sex.

CATCH HELL (NR) 94 minutes * His film career on the skids, Reagan (Ryan Phillippe) is kidnapped and tortured as revenge for the way he mistreated a girl on the set of one of his films. Violent and gross, but not very clever or creative.

CATCH ME IF YOU CAN (PG-13) 136 minutes * * * When young Frank Abagnale (Leonardo DiCaprio) is forced to choose which of his parents to live with when they get divorced, his choice is to go on the run. He's a natural con artist, and his brief career of deception is quite spectacular. He masquerades as a lawyer, a doctor, and a pilot, and soon draws the attention of FBI agent Carl Hanratty (Tom Hanks). While he tries to avoid being caught, it's also obvious that Carl becomes a strong father figure for Frank. It's a fascinating story, based on Frank Abagnale's autobiographical book by the same title and Steven Spielberg has done a nice job bringing it to the screen. DiCaprio fits the part well and Hanks and the rest of the cast do solid work too. PG-13 for language.

CATCH THAT KID (PG) 86 minutes * * Low budget film aimed at preteens with young Maddy (Kristen Stewart) trying to raise money for an operation her dad desperately needs. She and her friends decide to "borrow" the money from the bank her mom set up the security system for. It's no "Spy Kids", though the sense of adventure is in that style. The film has heart and the actors shouldn't be held too much to blame. It's the low budget and inexperienced direction that leaves this on the low side of average. PG for violence.

CATCH THE BULLET (R) 87 minutes * * Marshall Britt MacMaster (Jay Pickett) is a ruthless man. Returning from his latest mission, he discovers that his son has been kidnapped by an angry outlaw. They are now all on their way through dangerous territory. Who will survive? R for violence.

CATCH THE FAIR ONE (NR) 80 minutes * * ½ Determined to find her sister who has gone missing, Kaylee (Kali Reis) gives up a promising career in boxing to do whatever it takes to find her. It’s going to be a long, hard fight. A strong and hard-edged drama with really nice work by Reis.

CATCH-22 (NR) 248 minutes * * * Not wanting to die, Captain John Yossarian (Christopher Abbott) keeps trying to find a way out of the war. His best bet seems to be finding ways to stay in the hospital, but those are only a temporary solution, and every time he stays in the hospital, the number of missions he is supposed to fly keeps increasing. Great work by Abbott in a powerful story full of both tragedy and irony.

THE CATCHER WAS A SPY (R) 89 minutes * * 1/2 Moe Berg (Raul Rudd) was a catcher for the Boston Red Sox during the early years of World War II. Though not a particularly great ballplayer, he was very intelligent, and had a knack for knowing what was about to happen. His intelligence and his ability to speak several languages ended up landing him a job with the Office of Strategic Services. This is the story of the work he did to serve his country during the war. Rudd isn't a great fit here, though he doesn't do a bad job. R for sex, violence, and language.

CATFIGHT (NR) 93 minutes * Veronica (Sandra Oh) and Ashley (Anne Heche) have grown apart since college. So far apart that they can't stand each other, and it keeps getting worse. The fighting is a bit extreme, even cartoonish in its extent, but presented in a very realistic style. There are fun supporting roles here for Ariel KKavoussi and Alicia Silverstone, but otherwise, this just isn't as funny as it was intended to be.

CATFISH (PG-13) 85 minutes * * 1/2 Interesting film about someone who has become infatuated with someone they've met through facebook. What starts out as a story about co-director Ariel Schulman's brother, turns out to be an expose of a rather unsettling "character" on facebook. And a warning to those who might think they know everything about someone they meet online... or that they even really know ANYTHING about them... PG-13 for language.

CATHERINE THE GREAT (NR) 214 minutes * * * 1/2 Catherine's (Helen Mirren) rise to power was through violence. It made it difficult to maintain her power, but there were few who could have handled that power and that challenge as effectively as she did. The film relies heavily on Catherine's relationship with Potemkin (Jason Clarke) and how much he shaped her policies. That relationship would, of course, ultimately prove to lead to her downfall. Solid period drama.

CATHOLICS VS. CONVICTS (NR) 101 minutes * * * It was an intense college football rivalry between Notre Dame and the University of Miami. In 1988, a game voted the best in Notre Dame history would be played between the two teams. It was set up by a tremendous defeat of Notre Dame by Miami in 1985. But Notre Dame wasn't about to let their story end there. This is the story of that rivalry, the game, and the events surrounding it. Part of ESPN's 30 for 30 series.

CATS (PG) 101 minutes * To begin with, this was an unusual stage musical that succeeded mostly because of the phenomenal music. The vocalists for this screen adaptation tend to be mediocre at best. The chorus numbers are a little better than the solos, but there are some truly awful numbers, like Rebel Wilson's. The animation is quite good, and pretty much the only reason to watch any of the film. The attempts at humor are misguided at best, and are virtually all complete failures. For a musical that won seven Tony Awards, it's remarkable that this film adaptation is so bad. PG for language.

CATS & DOGS (PG) 82 minutes * * A formula is on the verge of being developed that will rid humans of their allergic reactions to dogs, thus giving them the advantage over cats. But the cats are on to the plan and will do everything in their power to see that it doesn't happen. Cute story, though the puppetry and computer animations are a bit overdone at times. Most of the under-12 crowd will enjoy it and parents will find it moderately entertaining in spots as well. PG for violence.

CATS & DOGS: THE REVENGE OF KITTY GALORE (PG) 77 minutes * Kitty Galore is out to cause trouble and the cats and dogs are going to have to work together again to stop her. Plenty of bad puns and a plot that isn't that great either. The voice cast is quite impressive, featuring Nick Nolte, Bette Midler, Neil Patrick Harris, Roger Moore, Christina Applegate, and James Marsden just to mention a few. Still, it's not enough to make this more than another annoying talking animal movie. PG for violence and language.

CATS & DOGS 3: PAWS UNITE (PG) 79 minutes * 1/2 The world has changed. Cats and dogs have been working together for a number of years now. Gwen the cat and Roger the dog are one such team. But someone is trying to pit cats and dogs against each other again, so Gwen and Roger need to assemble a team and solve the mystery. Not as exciting or fun as the first film, but less annoying than the second. PG for language.

CATS DON'T DANCE (G) 69 minutes * * 1/2 Bright and fun carton from Warner Brothers with some cute characters and a nice little story about doing your best and not quitting when things get tough. Scott Bakula, Jasmine Guy, and Ashley Peldon provide the main character voices. This lacks what it needs in the musical area though, which is a surprise when you have Randy Newman writing and Natalie Cole singing. Dedicated to "friend and collaborator" Gene Kelly.

CAT'S EYE (PG-13) 93 minutes * * * A horror anthology film, featuring a trio of stories from none other than Stephen King. The middle story is the weakest of the three, which lets this start and end well. Nice soundtrack from Alan Silvestri. PG-13 for violence and sex.

CATWOMAN (PG-13) 98 minutes 1/2 Sexy but incredibly shallow adaptation of the comic boko character to the big screen. Halle Berry does what she can here, but the script gives us a Catwoman who is highly emotional and appears to enjoy sex. Vastly different from the character in the comic who rarely showed much emotion and who used sex and sensuality as a tactic to get the best of her opponents. The origin of the character segment at the beginning is fairly well done. Unfortunately, when we get to the main story, about a cosmetic cream that has damaging effects when not used, we wonder why we're supposed to care. Also, as with the first Spider-man film, there is poor transition between the CGI images and the live footage, and far too much of the CGI in general. PG-13 for violence and sensuality.

CAUGHT (PG-13) 112 minutes * * From the Billy Graham organization comes this overlong and often hard to understand (as in we can't understand the words the people are saying) film. Unrealistically happy ending, though it's not really a surprise. The soundtrack is nice here, but it's cluttered with too many songs.

CAUGHT IN THE CROSSFIRE (R) 79 minutes * * 1/2 While investigating a crime, Briggs (Chris Klein) and Shepherd (Adam Rodriguez) stumble into a nasty mess of gang members and crooked cops. Nice work by Klein, but everyone else seems to just be going through the motions. Interesting ending... not quite what we're expecting. Filmed in Grand Rapids, MI. R for violence and language.

CAUGHT UP (R) 95 minutes * Nothing new here, the typical messages to inspire African-American youth to get an education, stay away from drugs and guns, etc. The biggest problem is that the acting is far too stilted to draw us into the story. The script ends up getting "caught up" in itself too often as well, losing focus and direction. Tony Todd comes off well, and LL Cool J and Snoop Doggy Dogg are here too. R for sex, language, and violence.

CAUTIVA (NR) 108 minutes * * * Cristina (Barbara Lombardo) finds her world collapsing around her when she is suddenly pulled out of school and informed that the people who have raised her are not her parents. Her identity in question, she has to not only discover who she is, but decide what that means for her. Fascinating and somewhat frightening look at part of Argentina's history.

THE CAVE (PG-13) 92 minutes 1/2 It's about a cave. It has monsters. Don't go in. Don't watch. There actually are some fairly good effects, but most of the film is too dark to see them very much. Too many cut shots keep leaving us disappointed that we don't get to see more. The story does use an interesting idea toward the end, but it gets lost in the bad dialogue and, sad to say, even worse acting. PG-13 for violence and language.

CAVE OF FORGOTTEN DREAMS (G) 84 minutes * * * Werner Herzog documents the discovery and exploration of a unique cave in France. It is home to the oldest cave paintings ever found. Few are allowed to enter or document what lies within, as the French government hopes to keep it as well-preserved as possible. Fascinating!

CB4 (R) 80 minutes * Chris Rock bit off a bit more than he can handle by co-writing, co-producing, and starring in this low-budget rap music movie-with-a-moral. The title stands for Cell Block 4, the residence of Rock and his fellow rappers.

CBGB (R) 98 minutes * * * 1/2 Dramatized version of the beginning of CBGB and the explosion of the New York underground music scene. Alan Rickman does a great job here, but even so, it's the wonderful work of the supporting cast that gives this film the sense of depth and character it needs, much like the club and all of the talented artists who played there. R for language, sex, and violence.

CEDAR RAPIDS (R) 83 minutes * 1/2 Tim Lippe (Ed Helms ) has been sent to Cedar Rapids to the insurance conference to represent his company and try to win an award for them. It's the first time he's been on a plane... or in a hotel, or various other things. Somehow, he manages to not only survive, but uncovers a scandal, becomes a bit more worldy, and makes new friends. It's just not that funny... and it's supposed to be. R for sex and language.

CELESTE & JESSE FOREVER (R) 88 minutes * * 1/2 Relationships are difficult to maintain and nurture. Celeste (Rashiad Jones) and Jesse (Adam Samberg) have separated, but they are still best friends. They really need to move on, but don't know how to let go of what's familiar. What's missing here are a couple of strong supporting characters. Without them, Jones and Samberg are forced to deal with the obvious and the subtle, and they miss the mark as much as they hit it. R for language and sex.

THE CELESTINE PROPHECY (PG) 93 minutes 1/2 The prophecy incorporates nine key insights that predict a new awakening of the human spirit and a transformation of humanity into a more deeply spiritual world culture. This film doesn't really do much to encourage those who might be curious about the philosophy or the prophecy. The script is overly explanatory in many sections and awkwardly silent in others, boring us completely. There is some nice photography, but that's not enough to keep us interested. PG for violence.

CELINE THROUGH THE EYES OF THE WORLD (NR) 153 minutes * * * More than just a concert film, this documentary follows Celine around the world on a tour. With her family in tow, she travels the globe, performing, doing interviews, doing promotional bits, vacationing with her family, celebrating her 40th birthday, rehearsing, and being an ambassador of positive energy and good will. Fans, of course, will love this, but it's also just an interesting look at what all goes on during a world tour of a musician.

THE CELL (R) 101 minutes * * A psychotic killer has finally been caught, but his latest victim is still alive... somewhere. He can't tell anyone where she is though, as he's now in a catatonic state that the doctors say is permanent. Enter Catherine Deane (Jennifer Lopez)and a research team who have been working on a way to enter the mind of another person. Can Catherine discover the victim's whereabouts before it's too late? The story gets mired in the mystery and a side story of a little boy that Catherine has been working with instead of playing on what it might mean to enter someone else's mind. It weakens the story and the direction appears rather aimless at times. Lopez and the rest do a reasonably good job, but the film just never grabs us like it needs to. R for violence and language.

CELL (2016) (R) 93 minutes * * A strange noise coming from people's cell phones turns them into something like a zombie. No one knows why. Even after watching the film. Adapted from the novel by Stephen King, but the storyline is choppy and works more like a "best scenes from the story". What's here is good, but we're missing quite a bit of detail, and the ending is far weaker than it should be as a result. R for violence, sex, and language.

THE CELL 2 (R) 82 minutes * Well, let's start with the fact that it's never a good sign when none of the original cast come back for the sequel... Maya (Tessie Santiago) is a psychic investigator who has been asked to work on a case involving a serial killer who almost killed her. She has a special connection to him, which will help the police find him, but puts her at great risk. The last 15-20 minutes aren't too bad, but you may not get that far. R for violence, sex, and language.

CELL 211 (NR) 103 minutes * * * 1/2 Taking a quick tour through the prison where he would start working the next day sounded like a good idea to Juan (Alberto Ammann). When a prison break happens on the cell block with the most violent prisoners, Juan must masquerade as an inmate if he expects to make it out alive. Intense drama with a number of convincing performances.

THE CELLAR (NR) 89 minutes * * 1/2 It turns out that the old house that Keira Woods' (Elisha Cuthbert) family has moved into has some unusual connections, and appears to be responsible for the disappearance of a number of people, including Keira's daughter. Well-done sound effects and scary music. Chilling ending - nicely done!

CELLULAR (PG-13) 88 minutes * * Ryan (Chris Evans) was just minding his own business when his cell phone rings and a woman (Kim Basinger) on the other end tells him she's been kidnapped. Now he can't lose the connection or she might not get help. There are a few moments of some real tension here, but the two-dimensional acting of the leads doesn't help. William H. Macy and Jason Statham are both good here, but it's not enough to carry the film. The "cops gone bad" angle works fine, and in fact even helps us overlook the more unbelievable aspects of the story. PG-13 for violence and language.

THE CELLULOID CLOSET (R) 102 minutes * * * 1/2 Documentary film that uncovers the homosexual presence in films. Interviews with filmmakers and actors, discussion of scripts and attitudes in Hollywood provide a revealing look. If you can keep an open mind, you'll be amazed and intrigued.

CELTIC PRIDE (PG-13) 85 minutes 1/2 Two overzealous Celtic fans take things to the extreme to ensure the victory of their team. Kidnapping the opposition's star player, they get drunk and into lots of trouble and don't know what to do. Neither does the film, which has a ridiculous ending.

THE CEMETARY CLUB (PG-13) 99 minutes * * * 1/2 Getting back into life isn't always easy, especially if you've lost someone you love to death. Esther, Doris, and Lucille help each other along though... at least, most of the time. Ellen Burstyn, Olympia Dukakis, and Diane Ladd are superb. It's a drama of life and death, friendship and love... filled with tragedy and comedy, it is both touching and hilarious.

CEMETERY JUNCTION (R) 91 minutes * * * It's 1973 and Freddie (Christian Cooke) wants more out of life. He appreciates all that his parents have done, he just doesn't want to end up like them. But the town is becoming a trap for him, and so are his friends. In fact, even those who appear to have achieved their dreams have only partially succeeded. Taking a chance like this isn't easy. Nice work by the cast, and a humorous and sensitive script from the writer/director team of Ricky Gervais and Stephen Merchant. R for language and sex.

CEMETERY OF SPLENDOR (NR) 115 minutes * * 1/2 A medical clinic built on the site of a former cemetery seems to be affecting the subconscious of the soldiers who were transferred there. The story follows Jenjira (Jenjira Pongpas), a volunteer caring for the patients, as she learns more about them, and about herself. Gentle and tender film though mystery and the supernatural are elements as well.

CENSOR (NR) 79 minutes * * 1/2 As a film scensor, Enid (Niamh Algar) is used to seeing a good deal of violence on film. Something in one of the videos she watches triggers a memory and sets her on the path to explore the mystery of her sister's disappearance. The deeper she digs, the more connected things appear to become, until she can't tell what's real and what's not. Some very creepy scenes, but a less than satisfactory ending.

CENTER STAGE (PG-13) 110 minutes * * Accepted into the American Ballet Academy's program, Jody (Amanda Schull) quickly finds out how tough competition at the top can be. You have to find your inspiration wherever you can and follow your heart. That means we have a story with no surprises and an idealized view of the way things happen in real life, but that's no surprise either. It runs a little long and there are some editing problems during some of the dance numbers, though the choreography is good. PG-13 for language.

CENTER STAGE: TURN IT UP (PG-13) 91 minutes * 1/2 Yet another ballet dancer who doesn't make it into the academy who discovers her inner passion and explores other dance avenues with the help of a former hockey player. Great dancing, but a poor script and bad acting make us want to skip through to just catch the dance scenes. And let's forget that sappy, happy ending too. PG-13 for language.

CENTIGRADE (NR) 96 minutes * 1/2 Due to the freezing rain and the lateness of the hour, Matt (Vincent Piazza) and Naomi (Genesis Rodriguez) pull of the road and park. Their intent is to be safe. But by the next morning, they are trapped in their vehicle, which is now buried in snow. They frequently disagree on what should be done, but they also neither one have many survival skills.

CENTRAL INTELLIGENCE (PG-13) 100 minutes * * ½ High school was a long time ago, and when Calvin (Kevin Hart) reconnects with Bob (Dwayne Johnson), he knows there will have been some changes. But this is more than he expected. Now, he’s in the middle of a spy story that he never could have thought possible. Fun story, though Johnson overplays his role. That part still works. What doesn’t is the heavy-handed message about bullies that comes late in the film. The idea is already abundantly clear from the story, so the rant near the end is unnecessary. PG-13 for language, nudity, and violence.

THE CENTRAL PARK FIVE (NR) 116 minutes * * * Five teenagers are convicted of the brutal rape and beating of a jogger. These teens weren't responsible, but because of issues the city was facing as a whole, most people were quick to blame and quick to judge. Thirteen years later, the real killer confesses, and the case, and all of the conflict that came with it, are front and center again. Another in the Ken Burns catalogue of powerful documentaries.

CENTRAL STATION (NR) 110 minutes * * * 1/2 Dora (Fernanda Montenegro) is a cynical woman who used to be a teacher. Now she writes letters for people passing through the central station in Rio de Janiero. Josue's mother is killed just outside the station and Dora finds herself trying to help despite her better judgement. As they journey to the country to find his father, they find themselves on an inner journey as well. The splendid acting by Montengro and Vincius de Oliveira will draw you in almost immediately. The two characters fit together despite their differences and you find yourself not wanting this film to end. It's a wonderful piece of work from director Walter Salles.

CENTURION (R) 90 minutes * * 1/2 The edge of the Roman empire is a wild frontier and this small group of men has to fight their way through enemy territory to get back to safety. The violence is more than a little cartoonish in nature, with plenty of blood splatters, though it does end rather well. Based on a 2,000 year old legend. R for violence and language.

CEREMONY (R) 83 minutes * Sam (Michael Angarano) is determined to win Zoe (Uma Thurman) back. But his love for her is not what it needs to be, despite being romantic and sometimes charming. It's also immature and unrealistic. How's that for a dose of realism? Not bad, but it's not what anyone wants to see in a film that tries to be a romantic comedy in most every other way. What we're left with are characters we don't really like, who don't fit together well, so we keep wanting something better to happen and it never does. R for language and sex.

CERTAIN WOMEN (R) 103 minutes * * 1/2 Three women in Montana. Each on their own course, and each working hard to do their best. Life does what it does. A slow and gentle film with good work by Michelle Williams, Kristen Stewart, and Laura Dern. R for language.

CERTIFIED COPY (NR) 100 minutes * * Wordy romantic drama with James Miller (William Shimmel) going to France to promote his latest book and meeting up with a French woman (Juliette Binoche). The passion seems hollow and practiced, without the honesty needed to make it feel more genuine. It's difficult to tell if acting, script or direction are more at fault, but something is definitely missing.

CESAR CHAVEZ (PG-13) 95 minutes * * * Dramatic look at the work Chavez (Michael Pena) did to unionize the farm workers in California. It was a constant struggle to keep the protests non-violent not only from the frustration within, but the antagonizing from outside. Solid and straightforward drama. PG-13 for violence and language.

CHAIN LETTER (R) 78 minutes * Six teenagers (played mostly by 20-somethings) are chosen at random to play a chain letter game. The consequences for breaking the chain are dire, and involve physical chains. (Because they couldn't let that creative metaphor go unused.) Production quality and sound effects are fine, and even the acting isn't bad. The story, on the other hand, just doesn't work very well. R for violence, language, and nudity.

CHAIN OF COMMAND (R) 84 minutes * With his tour of duty over, Webster (Michael Jai White) returns home. But he's only back for a short time before his brother is murdered. He goes after the killer, only to find a drug operation and government conspiracy. White and Steve Austin have apparently slipped into the Steven Seagal syndrome, with the limited physical work and a greater reliance on guns... with a similar effect. R for violence and language.

CHAIN REACTION (R) 100 minutes * * * Technology that will give clean, efficient power to everyone at a very low cost... sounds like something that people will be fighting over. That's just what Keanu Reeves discovers in this interesting action film. A nice script that mixes the moments of unbelievability with solid segments that keep things interesting. Jerry Goldsmith's wonderful soundtrack doesn't hurt either! R for language and violence.

CHAINED (R) 92 minutes * * 1/2 Bob (Vincent D'Onofrio) is a serial killer who picks up girls in his taxi to take home and kill. When he picks up a girl with a young boy, he decides to keep the boy, almost as a pet. After awhile, he begins to teach the boy... but what will that mean? A strange film, with a very claustrophobic feel, which only serves to intensify the suspense. R for violence, language, and sex.

CHAINED FOR LIFE (NR) 90 minutes * * 1/2 A filmmaker is making a movie about inner beauty. The lead actress (Jess Wexler) is having difficulty relating to her disfigured co-star (Adam Pearson). It's an unusual mix of drama and satire that feels a little like an extended "Twilight Zone" episode. The ending tends to fade rather than flourish, but until then, the film is quite memorable and impactful.

THE CHAIR (R) 87 minutes * Danielle (Alana Chisholm) moves into a house with a history. Mordechai Zymytryk mesmerized someone many years ago right at the point of death. Their soul is still in the house, and unfortunately, Danielle is about to set it free. Plenty of unanswered questions and weak acting keep this from delivering the goods. The script tends to go into great detail about something and then gloss over other parts that we really need to understand. R for violence and nudity.

CHALK (PG-13) 80 minutes 1/2 Filmed to imitate a documentary style, this is a film about teaching, teachers, and how difficult yet rewarding it can be to be in the educational profession. The humor is dry and sacrastic, which might be fine except that not only are the characters portraying teachers who can't teach, they are played by actors who can't act. An amateurish production that sadly misses the mark. PG-13 for language.

THE CHALK GARDEN (NR) 106 minutes * * * Deborah Kerr and Hayley Mills star in this story of an unruly teenager who finally finds the governess she can learn something from. Adapted from Enid Bagnold's play, this has incredibly strong characters that are played well by the leads. The leads work well together and the supporting cast rounds things out nicely.

THE CHALLENGE (R) 110 minutes * * ½ What began as a simple errand ends up putting Rick (Scott Glenn) in the middle of a long feud between two brothers who have chosen different paths. Great story with strong action sequences, but the acting is not what it needs to be. R for violence, language, and sex.

THE CHALLENGER (PG-13) 92 minutes * A kid from the Bronx decides to try his luck in the ring and goes all the way. Overly sentimental and not very believable. Released in 2015, three years after the death of Michael Clarke Duncan, whose performance is the best part of the film. Written, directed, produced, edited, and starring Kent Moran, which is most of the problem. PG-13 for violence.

THE CHAMBER (R) 108 minutes * * The idea here is interesting enough...  that groups like the Ku Klux Klan are actually being used by even more powerful white elite groups to do their dirty work. But this never has the passion it needs to take it anywhere. Chris O'Donnell and Gene Hackman just aren't able to take it to the level it needs to reach. Carte Burwell's music works well, but this is definitely a lesser film of a John Grisham novel. R for violence and language.

THE CHAMBERMAID (NR) 87 minutes * * * Her interactions with others are very limited, but Lynn (Vicky Krieps) likes it that way. She does an amazing job of cleaning the rooms, but she has a problem. At first, she just goes through people's things while she's cleaning the room. Then she starts trying on some of their clothes. Of late, she's taken to hiding under their beds. It's a story that is sexy and risky, but also tender ans sweet.

CHAMPION (NR) 113 minutes * * 1/2 The story of Korean lightweight boxing contender Deuk-gu Kim (Oh-seong Yu). Coming from a poor family, boxing was not only a skill he had, but a chance to excel at something. A championship fight at Caesar's Palace in Las Vegas puts him on the main stage, but ends in tragedy. His climb to the top ends just short of his goal, though still noteworthy for his skill and dedication.

CHAMPION (2017) (PG) 111 minutes * * 1/2 Sean's (Andrew Cheney) racing career has been on a steady climb until a tragic accident he's involved in ends up killing another driver. Forgiveness and friendship, along with a good dose of Christian faith will help turn everything around. The Christian message gets progressively stronger as the film continues. PG for language.

A CHAMPION HEART (G) 84 minutes * 1/2 Having just moved to town, Mandy (Mandy Grace) is struggling to make friends. She soon finds herself at a horse rescue center. It's an unsurprising story with very mediocre acting from most of the cast, though Dona Rusch fares a little better than most.

CHAMPIONS (PG) 112 minutes * * * The Olympics are just around the corner, and China would like to show just how skilled they are at Wushu, the national sport. It will take a true champion. That search will soon become a challenge between all of the top martial arts schools, and only the best will be on the national team. Nicely written with consistent performances throughout. PG for violence and language.

CHAMPIONS (2023) (PG-13) 118 minutes * * 1/2 A minor league basketball coach, Marcus (Woody Harrelson) loses his temper once too often and ends up doing ninety days of community service. He will be coaching a basketball team whose members have intellectual disabilities. He will also be learning much more than he ever expected. To coach well, you need to know your team. Really know them. A solid, feel-good sports movie. PG-13 for language.

CHANCES ARE (PG) 103 minutes * * * 1/2 Alex Finch (Robert Downey Jr.) has the distinct impression that he's been here before. And this isn't your typical case of deja vu either. What's more, he's found his wife from this previous life. Now, if he can only figure out a way to tell her what has happened... Downey turns in a fabulous performance, but the rest of the cast isn't far behind. The script flows smoothly and draws us in along with a wonderful soundtrack from Maurice Jarre. The song, "After All", sung by Cher and Peter Cetera, managed to receive nominations for both an Oscar and a Golden Globe, though the equally fine "Forever Young" by Rod Stewart was ignored. The story is well-worn, but feels fresh and entertains us... nice job! The only real problem is that Cybill Shepherd and Ryan O'Neal don't come across as having aged the 23 years that the story asks us to believe they have. Perhaps a bit picky, but more attention to the makeup and costumes could've added what was needed to give this a perfect four. PG for language and sex, but not much of either one.

THE CHANGE-UP (R) 112 minutes * * 1/2 Apparently, filmmakers will never tire of the old body-switching story. This time around, it's Dave (Jason Bateman), who has a stable and pleasant life with a wife and three kids, and his best friend Mitch (Ryan Reynolds), who is single and always partying. They each wish they had the others' life, and presto... there's a movie. The language is more than a little crass and vulgar at times, but there are quite a few laughs and a few serious moments as they each learn their lesson. R for sex and language.

CHANGELAND (R) 80 minutes * * It was supposed to be an anniversary vacation in Thailand, but instead, Brandon (Seth Green) ends up inviting his friend Dan (Breckin Meyer). Brendan contemplates what has gone wrong in his marriage, and Dan thinks about life and friendship. Beautiful scenery in a film that just sort of flows freely as two friends with different things on their mind spend some time together. R for language.

CHANGELING (R) 136 minutes * * * 1/2 Returning home from work, Christine (Angelina Jolie) finds that her son has disappeared. When the police find her son a few months later, she is both thrilled and relieved... except that it isn't really her son. The Los Angeles Police Department of the 1920s is one of the most corrupt in the country, and if you cross them... But Christine is determined to find out what really happened to her son. Based on the actual disappearance of Walter Collins, and with many scenes taken directly from transcripts of the case, this does a fine job of transporting us back to experience the loss and frustration of a mother as she fights against the odds for the answers she needs. Nice work by Jolie! Clint Eastwood directed, co-produced, and wrote the original music as well. R for violence and language.

CHANGING LANES (R) 95 minutes * * 1/2 Gavin (Ben Affleck) is in a hurry and thinking only of himself. Doyle (Samuel) is in much the same state, but when their lives crash together, the resulting conflict creates a need for at least one of them to "change lanes" and rethink the way they approach life. Not only can that be very difficult, it tends to make us even more aware that even on our present course, our lives touch others and have effects that we frequently aren't aware of. At the end of the day, have you done more good than harm? The ending is a little too sweet considering the rest of the story, but it does manage to be both thought provoking and relatively entertaining. Filmed in New York City. R for language.

CHANNELING (NR) 103 minutes * * A group of young people live stream every event in their lives, seeking to gain popularity. But what they are willing to do to increase their ratings begins to push the boundaries of the law. An interesting idea, but the focus moves to the people gambling on the outcome, and becomes less interesting with that move. Staying focused on what people would do and why would have made this a stronger story.

CHAOS (R) 99 minutes * * 1/2 Connors (Jason Statham) was suspended from the police force because of a hostage shooting situation. Now he's back on the force and on the trail of a very clever bank robber. His young partner (Ryan Phillippe) may not have much experience, but he has a few ideas of his own. Nice plot twists, though none are all that surprising for those familiar with films of this genre. Filmed in Vancouver, British Columbia. R for violence and language.

THE CHAOS EXPERIMENT (R) 87 minutes * 1/2 Six people have been locked in a steam room. And the man who put them there has a story for the newspaper. It's about the end of the world... and an experiment. It's an unusual piece, but most of the characters aren't likeable, so we have a difficult time caring about what happens to them, or to Jimmy (Val Kilmer), who is responsible for putting them in the room. R for violence, language, and nudity.

CHAOS THEORY (PG-13) 83 minutes * * 1/2 Frank (Ryan Reynolds) used to believe that everything in life needed to be in order. Efficiency was his friend. Then things started to fall apart. Which do you choose, a life or order or a life of chaos? Is one more "right" than the other? Or does it matter? Philosophy with a sense of humor. Reynolds is good here, but the film lacks much real depth or quality that would make it more than just mildly entertaining. PG-13 for sex and language.

CHAOS WALKING (PG-13) 99 minutes * * When Todd (Tom Jolland) discovers Viola (Daisy Ridley), he isn;t quite sure what to make of her. He hasn;t seen a girl before. The planet they crash landed on is a hostile place, and the women were all killed. The men can now see and hear each other's thoughts due to some strange effect the planet has on them. Todd is about to learn the rest of the story though, and it will open up his life to a new understanding. The acting is quite good, but the script appears to leave out quite a bit of the story, not the least of which is information about the intelligent life on this unusual planet. PG-13 for violence and language.

THE CHAPERONE (PG-13) 100 minutes * * 1/2 Ray (Paul Levesque) is out of prison and trying to reconnect with his family. But his wife has a boyfriend now and his daughter isn't really interested in her ex-con dad. He decides to go on a field trip with her class, but there are some complications with his former associates when a bag of money they want ends up on the bus Ray is on. An interesting mix of humor, action, and drama that manages to work reasonably well. At least, enough to be somewhat entertaining. PG-13 for violence and language.

THE CHAPERONE (2018) (NR) 100 minutes * * 1/2 After achieving some success in Wichita, Louise (Haley Lu Richardson) is convinced that she'd ready to head to New York. Because of her age, she needs a chaperone, so Norma (Elizabeth McGovern) agrees to go, for she has a desire to go to New York as well. They not only have different goals for their visit to the big city, but they carry different pasts. Somehow they must both find a way to moveforward. As the title suggests, the story is more about Norma than Louise, and McGovern does a brilliant job. Richardson is not as strong, but isn't given as much to work with.

CHAPLIN (PG-13) 137 minutes * * * * Robert Downey Jr. gives the performance of his career in this bio-pic of Charlie Chaplin. Not only with Downey's acting, but with camera work presented in the style of the 1920's and 30's, this really feels like we're watching the late, great comedian in scenes we'd missed before. It's a masterpiece that pays homage to the achievements of one of the stage and screen's early and most talented comedians. Bravo! PG-13 for nudity and language.

CHAPPAQUIDDICK (PG-13) 101 minutes * * * With his political star on the rise, Ted Kennedy (Jason Clarke) had set his expectations high. It all came crashing down one dark night, when a passenger in his car was killed when he drove off a bridge. The political and public relations teams managed the information well enough that while Kennedy would never make it all the way to the office of president, he would serve for a long time in the Senate. A solid drama with a fine ensemble cast. PG-13 for language.

CHAPPIE (R) 113 minutes * * * Society is working out how to best use a mechanized police force. There are some clear advantages, but still a few things to work out. And then Chappie is stolen and reprogrammed. Now he can think for himself, which creates a completely different set of issues. An interesting look at artifical intelligence and what it means to be aware. The acting is mostly nediocre, but the special effects here are amazing. R for violence, language, and nudity.

CHAPTER & VERSE (R) 94 minutes * * * Out of prison after ten years, Lance (Daniel Beaty) is having a difficult time of readjusting. He doesn't give up though, and there are things that are going his way, they're just not always easy to see. Excellent ensemble cast and a strong story as well. R for language, violence, and sex.

CHAPTER 27 (R) 77 minutes * * * Fascinating and almost frightening character study of Mark David Chapman, the man who killed John Lennon. Jared Leto does an excellent job here, giving us a look at a man obsessed and living in a world that began to distort and twist in on itself. Adapted from the book by Jack Jones, the film goes into less detail, which is unfortunate. R for language and sex.

CHARIOT (R) 90 minutes * * 1/2 An unusual piece about a young man (Thomas Mann) who visits a doctor to deal with some issues he's having. The doctor (John Malkovich) works for a company that oversees the process of reincarnation. But Harrison (Mann) has complicated matters since he made a connection with his former lover from a previous life (Rosa Salazar). This definitely benefits from a second viewing. R for language and sex.

CHARIOTS OF FIRE (PG) 120 minutes * * * * In the 1924 Olympics, two British athletes find themselves competing with each other to prove things to themselves and each other that they never expected. Winner of four Academy Awards, this is not only a film about athletes, the determination to succeed, and how personal faith shapes what we do, but it is also a beautiful piece of art. PG for language and nudity.

CHARLIE & ME (NR) 89 minutes * * 1/2 Casey (Jordy Benattar) and her grandfather Charlie (Tom Bosley) are very close, so when his health worsens, Casey has decisions to make, and consequences to deal with. Benattar reminds us a little of Hallie Kate Eisenberg, and the film is cute, though very predictable. still, it's a nice film for families to watch, especially if the topic of loss is one that needs to be discussed.

CHARLIE AND THE CHOCOLATE FACTORY (PG) 108 minutes * * * 1/2 Incredibly creative adaptation of the classic Roald Dahl story that focuses a bit more directly on the more macabre aspects of the book. That's what we've come to expect of a Tim Burton film, but it's great to see this story receive a treatment that has this darker feel. Nothing against the classic interpretation with Gene Wilder in the part of Willy Wonka, but it has a more cheerful view in general. It's similar to the difference between the typical versions of the classic Grimm Brothers fairy tales, which are actually quite gruesome and macabre but have been rewritten and turned into so many cute cartoons that we've lost sight of what was there to begin with. Thanks to Tim Burton, we've been reminded that Willy Wonka did not ever really even like children. He loved chocolate. He loved it so much that he had to overcome his distaste (pun intended) for people in general to find an heir who could continue the work of his factory. The amazing musical talents of Danny Elfman accentuate the film as perfectly as ever. And the acting talents of Johnny Depp, Freddie Highmore, and the rest give life to an amazing set of characters that are difficult to forget. PG for violence.

CHARLIE BARTLETT (R) 93 minutes * * * Charlie (Anton Yelchin) has problems at school. He just wants to have friends, and it seems to be working out a little better at his latest school, for now... A coming-of-age film with great performances that give it the edge it needs. Robert Downey Jr. is the principal of the school and Kat Dennings is his daugher, who Yelchin has developed an affection for. Solid supporting work from Hope Davis, Tyler Hilton and Mark Rendell too. Fun, with just a touch of bittersweetness. R for language and nudity.

CHARLIE IS MY DARLING, IRELAND 1965 (NR) 60 minutes * * 1/2 A very early look at the Rolling Stones, including the first profesisonally filmed performances, from a short set of concerts in Ireland. At the time, "Satisfaction" had just hit the number one spot on the charts and the world was just becoming aware of a band that would become far more influential than anyone had suspected they might. Though originally released in 1966, it was not widely available until 2012, when it was shown on television and released on video.

CHARLIE ST. CLOUD (PG-13) 93 minutes * * Charlie (Zac Efron) and Sam (Charlie Tahan) are as close as brothers can be, but when tragedy strikes, Charlie shoudlers the blame by himself. Keeping a promise to a memory is a powerful force. It can be a healthy part of the grieving process, but there's a time to move on as well. Efron seems a bit shallow here, though the rest of the cast perform well enough to cover for him. Still, it does effect the emotional intensity of the film, making this less of a tear-jerker than it could have been. Adapted from Ben Sherwood's novel "The Death and Life of Charlie St. Cloud". PG-13 for language, violence, and sex.

CHARLIE SAYS (R) 104 minutes * * * Three young women. In jail for a horrendous crime. This is the story of Leslie Van Houton (Hannah Murray), Patricia Krenwinkel (Sosie Bacon), and Susan Atkins (Marianne Rendon). Part of the Manson family, they were still under Charlie's spell years later in prison. The film moves back and forth between their time in prison and their time with the family, up to and including thise fateful nights. Sometimes the rest of our lives can be completely altered by the answer we give to one question. A little exploitative at times, but it's a strong retelling of the events that stays focused on the three girls and their experiences. R for violence, sex, and language.

CHARLIE WILSON'S WAR (R) 94 minutes * * 1/2 Charlie Wilson (Tom Hanks) was a politician who collected IOU's... until he had a reason to cash them in. Defeating communism became his cause, and he had the cards to play to win the game. The political game, like so many others has many facets, and it's difficult to win because many of the players move on to something else before the game has really finished. Hanks delivers a standard performance and Philip Seymour Hoffman chews up the scenery as he so often does. Julie Roberts gives us the best performance in the film, as Joanne Herring, a powerful woman who has her own political agenda. Adapted from the book by George Crile. R for sex, violence, and language.

CHARLIE'S ANGELS (PG-13) 90 minutes * * 1/2 From the opening moments of this film, it's clear that the idea here was to have fun and not to be a theatrical version of the old TV show. There isn't much to the story, but there's just enough tease and action to keep just about everyone watching. There are editing problems in a few spots with the slow-motion action and the humor is a bit too strong in a couple of segments. But for the most part, this is a fun film that manages to remake and parody the old series at the same time. Drew Barrymore, Cameron Diaz, and Lucy Liu... are you ready for part two? PG-13 for language and violence.

CHARLIE'S ANGELS (2019) 108 minutes * * 1/2 A somewhat more serious reworking of the classic TV show. When the technology she helped create is at risk of becoming a weapon, Elena (Naomi Scott) knows that she has to do something. What she didn't expect was that Charlie's Angels would get involved. The action is good, though a bit hard to believe at times. Kristen Stewart and Ella Balinski both have scenes that are quite good and others that clearly aren't, and most of the humor doesn't work well. Still, Scott does a good job, and there are plenty of twists and turns and cameo appearances that make this a fun film for fans of the old TV series. PG-13 for violence and language.

CHARLIE'S ANGELS: FULL THROTTLE (PG-13) 98 minutes * 1/2 The angels are back with more of everything. A bit too much more in fact. Too many sex jokes that just don't fit, more extreme stunt work that involves special effects and looks a bit ridiculous at times, more cameos... most of which are just silly. Eric Bogosian, Carrie Fisher, Pink, Mary-Kate and Ashley Olsen, and Jaclyn Smith are just a few of those who appear. Perhaps part three will pay a bit more attention to creating something a bit more substantial... I know... I'm not asking for "Citizen Kane", but it wouldn't take much to give this some depth and make it even more exciting. PG-13 for language and violence.

CHARLIE'S FARM (NR) 89 minutes 1/2 Four friends take a camping trip and go looking for a farm with some haunted background. It's all fun until... There are a few reasonably good effects, though they aren't particularly easy to see with the poor lighting and mediocre editing. And too much of the story is unimaginative and and overused slasher horror material that we've seen before.

CHARLOTTE'S WEB (2006) (G) 87 minutes * * * Live-action version of the classis children's tale by E.B. White about friendship, starring Dakota Fanning as young Fern. Sheo rescues a runt piglet whose friendship with a spider teaches us all about friendship and sacrifice. Fanning is very good here, but the voices of Charlotte (Julia Roberts) and Wilbur (Dominic Scott Kay) are perfect. The cast of voices that speak for the animals is all top-notch, including Steve Buscemi, John Cleese, Oprah Winfrey, Cedric the Entertainer, Robert Redford, Kathy Bates, and Reba McEntire. Complimented with music by Danny Elfman, it's a great film for the family.

CHARM CITY KINGS (R) 117 minutes * * * Mouse (Jahi Di'Allo Winston) is twelve. He dreams of being part of th Midnight Clique, a local dirt bike gang. He gets his chance when Blax (Meek Mill) lets him help with things at his shop. Blax' life is full of violence, and Mouse faces a choice. Things are spiraling out of control for Mouse, giving him fewer options and worse choices. Marvelous work by Winston. R for language and violence.

CHARMING CHRISTMAS (NR) 83 minutes * * 1/2 Meredith (Julie Benz) has a great sense for business, but her personal life has grown rather cold, and no season brings that more to light than Christmas. But when she agrees to play Mrs. Claus to the store's new Santa (David Sutcliffe), her attitude begins to shift. Cute holiday romance.

CHARMING THE HEARTS OF MEN (NR) 102 minutes * * 1/2 It's the early 1960s and when Grace Gordon (Anna Friel) returbs home, she learns that her financial resources are almost non-existent, and that conditions for women and people of color are far from ideal. She does know a congressman (Kelsey Grammer), and he just might be able to make some change happen. Despite handling some very large social issues involving civil rights, the story doesn't really delve very deeply into them. The performances are fine, It's the script and direction that come up short.

THE CHASE (PG-13) 81 minutes 1/2 This film is off balance from the very beginning, never letting us know if we're supposed to laugh or be in suspense, with the final result being just plain irritating. The actual car chase sequences are poor even by TV movie standards, so unless you're a big fan of Charlie Sheen or Kristy Swanson, this will be a waste of time.

CHASERS (R) 98 minutes * Lightweight story about two Navy cops assigned to escort a prisoner from one location to another. Instead of the usual troublemaker, they get beautiful young Erika Eleniak, who's even more trouble. Played far too seriously to be any fun, this just ends up being boring. R for language and sex.

CHASING AMY (R) 110 minutes * * * Bearing little resemblance in quality to its two predecessors ("Clerks" and "Mallrats"), this film tells the story of Holden and Banky as they have become successful comic book artists and Holden falls in love with another comic artist, Alyssa, who isn't what she seems. While some may not be thrilled with how Alyssa's character is handled, I found the story to be very well-written and was particularly impressed with Joey Lauren Adams' portrayal of Alyssa. There is some great dialogue in this film and one can only hope that the trend will continue in the next effort from this group of filmmakers. R for language.

CHASING ICE (PG-13) 71 minutes * * * James Balog's extreme ice survey was a new kind of experiment. It was a multi-year photographic chronicle of glacier movement. Not an easy task, as nature and equipment didn't always cooperate. What he discovered confirms that the glaciers are shrinking beyond the normal ebb and flow that can be seen each year. The photography is stunning, and the evidence is clear, that whatever the cause, the ice is melting. PG-13 for language.

CHASING LIBERTY (PG-13) 103 minutes * * 1/2 She's the president's daughter, which entitles her to quite a few privileges, but freedom isn't one of them. She's eighteen years old, and just wants to get away from things. She thinks she's finally out from under the constant surveillance, but in reality, her new companion is a young secret service agent who works for her father. It's a cute story, nicely played and not overly cluttered with subplots. Mandy Moore does a nice job here as well. PG-13 for language and nudity.

CHASING MADOFF (NR) 89 minutes * * 1/2 Bernie Madoff's ponzi scheme had already drawn the attention of a number of people. They were trying to figure out just how he was making so much money. But even when they had a good idea of what was happening, the SEC and the press kept looking the other way and ignoring all of the signs until the stock market began to fall apart. Interesting at times, a little less so when the facts and figures start hitting us.

CHASING MAVERICKS (PG) 111 minutes * * * He's always heard the legends about the Mavericks surf break, but when he finds out that its real, Jay (Jonny Weston) just has to surf them. Filled with great surfing footage, this also has a well-written story that is based on the life of surfer Jay Moriarity. Weston does a nice job portraying the naturally talented and passionate surfer. PG for violence.

CHASING SHADOWS (NR) 172 minutes * * * DS Stone (Reece Shearsmith) is a brilliant detective, but he doesn't work well with others. That's going to have to change if he wants to catch the killer's he's after this time. Though originally shown on TV as a four-part mini-series, there are two distinct stories, as if it were the beginning of a longer series. The characters take awhile to catch on, but by the end, we definitely want to see more.

CHASING THE BLUES (NR) 72 minutes * * 1/2 It's a very rare record album. It's also cursed. Two rival record collectors are both planning on getting their hands on it. Offbeat, but fun comedy with a little bit of horror in the mix.

CHASING THE DRAGON (NR) 120 minutes * * * Ho (Donnie Yen) is on his way to becoming a major drug lord in Hong Kong. The competition is fierce, but he is ruthless. He also does not reach the top alone. A very violent, but well-written story.

CHASING WATERFALLS (NR) 83 minutes * * The assignment is to photograph a number of waterfalls for the magazine she works for. One of the falls in particular is difficult to find and legendary in the local community. The handsome tour guide just might know where it is. The chemistry between Cindy Busby and Christopher Russell is inconsistent. The scenery is quite beautiful, but the story needs some work.

CHATEAU CHRISTMAS (NR) 83 minutes * * 1/2 When the venue for Margot's (Merritt Patterson) concert has to cancel, she heads home for Christmas. Who does she find there but Jackson (Luke Macfarlane), who has been asked to direct the local Christmas concert at the Chateau. All signs point to another happy romance from Hallmark.

CHATTAHOOCHEE (R) 103 minutes * 1/2 A Korean war veteran wrongfully ends up in a mental institution and ends up fighting for the inmates' rights. It's based on fact, but sorely wastes the talents of those involved. With Gary Oldman, Frances McDormand, Dennis Hopper, and the others involved here, we should've had a much stronger picture. R for violence and language.

CHATTANOOGA CHOO CHOO (PG) 98 minutes 1/2 To get the money from his father-in-law's will, Bert (George Kennedy) has to restore an old train and complete a run from Chattanooga to New York. There are many difficulties and hijinks, mostly on the train, and mostly we don't care. The outtakes at the end are more fun than the rest of the film.

CHAVELA (NR) 90 minutes * * * The life and career of Chavela Vegas, an extraordinary singer from Costa Rica. The film contains a great deal of previously unseen interview footage, painting a picture of a woman who was both influential and mysterious.

CHEAP THRILLS (NR) 84 minutes * 1/2 Craig (Pat Healy) thought his day wouldn't get any worse. Hanging out with an old friend to drown his sorrows actually manages to create some possibilities for making some money. Colin (David Koechner) seems willing to throw lots of money around. At first, the challenges are fairly innocent, but soon, Craig and his friend find the stakes growing more violent and abusive. It's interesting as a sort of morality play, though the twist ending that usually follows in a story like that is missing here, which changes the effect of the end.

CHEAPER BY THE DOZEN (PG) 92 minutes * * This bears little resemblance to the original, but there are some cute bits, mostly by the children. Hilary Duff and Piper Perabo are very out-of-place here, and the film makes the all too familiar mistake of trying to be very funny and very serious. Steve Martin and Bonnie Hunt have definitely done better, but this won't look too bad on video. PG for language.

CHEAPER BY THE DOZEN 2 (PG) 89 minutes * * Tom (Steve Martin) and Kate (Bonnie Hunt) decide to take one more vacation at the lake with the kids. Their old rivalry with the Murtaugh family surfaces once again. But some of the younger members of the two families would like to put those rivalries aside and be friends. Reasonably good sequel that keeps things a little more light-hearted than the first. PG for language.

THE CHEATING PACT (NR) 88 minutes * 1/2 Meredith (Laura Wiggins) agrees to take the college entrance exam for three other students. But a low score on one of them costs her more than she expected. Now that she's dead, the deed is exposed and the three of them are suspects. Overacting by most of the cast makes this almost laughable, but it isn't supposed to be funny.

CHECK INN TO CHRISTMAS (NR) 83 minutes * * 1/2 Julia (Rachel Boston) heads home for Christmas only to be reminded of a long-standing feud between the Mason and Crawley families. The difference this time is that a bigger commercial company wants to buy both family inns and modernize everything. Can they put their family feud aside long enough to help each other and save both inns?

THE CHECK IS IN THE MAIL (R) 80 minutes BOMB Annoyed with all of the issues in his fast-paced life, Richard (Brian Dennehy) decides to go off the grid. But doing that presents him with another series of problems he wasn't really ready for. Maybe this sounded better on paper, but it sure doesn't come through on film.

CHECK POINT (NR) 94 minutes * When a former marine discovers a plan for an invasion on American soil, he tries to let people know. No one believes him. But then events start happening that would seem to indicate he might have been telling the truth. Now it's up to a handful of people to stop this sleeper cell from starting an invasion. The cast do what they can, but the story is poorly written and direction is lacking.

CHECKMATE (NR) 90 minutes * Is it an elaborate bank heist, or only a part of something bigger? It mostly feels like two different films. The one with Danny Glover and Vinnie Jones seems sparse and overly abstract. The other, which is the bulk of the film, is full of violent language, but empty of passion and energy.

CHEECH AND CHONG'S HEY WATCH THIS (R) 79 minutes * 1/2 Cheech and Chong's "Light Up America" tour that reunited Tommy with his old partner after serving his time for possession of marijuana. There are several of the old skits here as well as a good bit of new material. It's nice to see them back together again, but some of the magic seems to be gone as well. R for language.

A CHEERFUL CHRISTMAS (NR) 83 minutes * * 1/2 Lauren (Erica Deutschman) and her best friend run a Christmas coaching business, helping people prepare for and celebrate the holiday season. Their latest client (Chad Connell) doesn;t have much Christmas spirit. That will be a challenge, but Lauren is persistent, and this is a Hallmark movie.

CHEETAH (G) 81 minutes * * * 1/2 Live action Disney film covering the life and times of a cheetah. Definitely aimed at the younger crowd, but the beautiful scenery and well-written story are sure to keep the attention of the adults as well. Just remember, "though we are far apart, our spirits share the same earth and the same sky."

THE CHEETAH GIRLS: ONE WORLD (NR) 87 minutes * * 1/2 Song-filled (twelve to be exact) Cheetah girls story with Chanel, Dorinda, and Aqua (no Galleria) off to Bollywood to make a movie, though the going is a bit rough at first. The bright colors and musical numbers of Bollywood are a great match for the Cheetah Girls, and the music is fun and catchy as well. not rated, but very family friendly.

THE CHEETAH GIRLS 2 (G) 100 minutes * * The Cheetah Girls get an opportunity to perform at an international music festival in Barcelona, Spain. They learn lessons about friendship and sing songs. Fans of the Cheetah Girls will be happy. Others will be bored. It's pretty much what you would expect from a Disney TV movie. The production quality is fine, but the girls overcompensate and exaggerate their actions and dialogue to try and appeal to the younger set.

CHEF (R) 104 minutes * * * Losing his job at the restaraunt is tragic for chef Carl Casper (Jon Favreau), but its also an opportunity. He takes his cuisine on the road with a food truck, and lets his love of preparing food take him where it will. A great cast, especially young Emjay Anthony, make this a pleasure to watch. And kudos to the multi-talented Favreau who wrote, produced, directed and acted. Nice work! R for language.

CHELY WRIGHT: WISH ME AWAY (NR) 94 minutes * * * Country music singer, Chely Wright, makes the decision to let the world know that she is a lesbian. Her career will be put at risk, but the good she can do for others and for herself by loving honestly,far outweigh what a successful career can offer. A wonderfully honest and sincere portrait of a remarkable and talented woman.

CHEMICAL PEEL (R) 94 minutes * 1/2 A fun bachelorette party goes horribly wrong when a cloud of deadly chemicals settles in the valley where they are staying. A little different than many horror films as it has all of the gross effects and a few other elements you'd expect out of a slasher film, but it's really more of a post-apocalyptic story. Strange ending. R for violence, language, and sex.

CHERI (R) 86 minutes * * 1/2 He was the son of a friend, and neither of them expected love, for in her business, that was something that just didn't happen too often. Adapted from the novels "Cheri" and "The Last of Cheri" by Colette, this is the story of a courtesan and the love she never expected to find. Well-written, with a nice combination of the romantic and the risque, though Michelle Pfeiffer's performance is a bit uneven. the supporting performances are quite good though and Alexandre Desplat's soundtrack adds a great deal to the atmosphere. R for sex and language.

CHERNOBYL (NR) 306 minutes * * * No one even thought it was possible. And then, in 1986, the Chernobyl nuclear power plant suffered an explosion that ruptured the nuclear reactor core and destroyed the building in which it was housed. The film tells the story fromt a short time before the explosion through the court case that ultimately placed the blame for the accident. Well-done drana, though clearly told from an American perspective.

CHERNOBYL DREAMS (R) 81 minutes 1/2 Six people take an extreme tour with their guide. The city they will be visiting is the one next to Chernobyl. It's all fun and games until the van won't start when they're ready to leave. That's when they discover that they aren't alone. The ending, even given the rest of the film, is ridiculous. R for violence and language.

CHERRY BLOSSOMS (NR) 119 minutes * * * 1/2 Rudi (Elmar Wepper) and Trudi (Hannelore Elsner) travel to Berlin because she learns that he may not have a great deal of time left. But he is not the first to go. He decides to go to Japan, to see the mountain Trudi had always wanted to see, as a way of honoring her memory, and meets a young street performer. As they spend time together, Yu (Aya Irizuki) and Rudi both learn that our time in life is precious and not to be wasted. Cherry blossoms are only here for a few days... and then they are gone. Much like us. Beautiful and touching film.

CHERRY CRUSH (R) 85 minutes * 1/2 Budding young photographer Jordan (Jonathan Tucker) falls for one of his models and gets wrapped up in a murder scenario. There's plenty of style here, especially with the photography, but the story is shallow and lifeless. The narration appears to be an attempt to set this in a film noir style, but the photography is too much like a fashion magazine for that to work well. Uneven at best. R for sex and language.

THE CHESHIRE MURDERS (NR) 116 minutes * * 1/2 This documentary takes a look behind the home invasion and triple murder in Cheshire, Connecticut in 2007. It becomes clear very quickly that as with many cases, mistakes were made during the investigation, and the best choices for how to proceed were not always the ones that were made. The result was that lives were lost and there's a very real possibility that was an outcome that could have been prevented.

CHEVALIER (NR) 101 minutes * * 1/2 With the beautiful Aegean Sea as the setting, six men on a fishing trip decide to compete with each other. This will be a fishing trip that is less about fishing, and more about just being a competitive male. The judging of the competitions is more than a little subjective, and rivalries are difficult to avoid. Quite funny, but very much played with a straight face.

CHI-RAQ (R) 119 minutes * * * 1/2 Lysistrata, the classic Greek play by Aristophanes, gets a very modern remake. Set in Chicago, where violence has reached an all-time high, an unuusal approach to change is happening. Director and co-writer Spike Lee manages to take a powerful and interesting play and infuse it with a fresh perspective, reminding us that history can, and sometimes does, repeat itself. And that we should take heed of the lesson. The touches of humor that are sprinkled throughout the script are beautifully timed and well-delivered by a great cast. The verse and musical approach is a little forced at times, and in general will make it difficult for some viewers to appreciate. R for sex, language, and violence.

CHICAGO (PG-13) 107 minutes * * * 1/2 Very stylish musical production for the screen, adapted from the stage production and from an earlier film (in 1927). There's a little bit of everything here, romance, murder, comedy, music... all centered around the world of jazz in the heart of Chicago. It's about a young girl dreaming of stardom and discovering what it can take to make that dream become a reality. It's about how life is like show business and how show business is a mirror of life. The three leads all do incredible work here, singing and dancing without the aid of doubles. Catherine Zeta-Jones is most impressive, but Renee Zellweger and Richard Gere are quite good as well. For those who enjoy musicals, this is definitely a must-see. PG-13 for language and sex.

THE CHICAGO 8 (NR) 85 minutes * * 1/2 Charged with conspiracy to incite a riot, these eight young menwere ready to risk everything to stand up against a war they felt was immoral. There's not much subtlety here, either in the story, or the acting, both of which go a bit overboard and become almost humorous, which is clearly not the intent.

CHICAGO 10 (R) 93 minutes * * 1/2 Mix of animation and archival footage tells the story of the eight anti-war activists who were arrested at the 1968 Democratic National Convention. The animation is nicely done, but it's a somewhat "dry" retelling, missing some of the energy and passion by being too brief at times and by presenting the judge in an almost humorous manner. R for language and sex.

EL CHICANO (R) 103 minutes * * El Chicano is a legendary figure, who sets things right and keeps the peace. An avenging angel. Diego (Raul Castillo) is a good cop, but as he works to bring down a particularly violent cartel, he discovers not only his brother's connection to it, but that the law alone, may not be enough to break the cartel. There are some good moments, but most of the characters here are painted with very broad strokes, and aside from Diego, don't have much depth. R for violence and language.

CHICK FIGHT (R) 91 minutes * * When just about everything in her life seems to be going in the wrong direction, Anna (Malin Akerman) is introduced to an underground fight club that her mother started. She never would have thought it possible, but it's just what she needs. A lighter and more raucous look at self-improvement and self-confidence. Very nice supporting role for Dulce Sloan. R for language, sex, and violence.

CHICK MAGNET (R) 81 minutes BOMB It's every guy's dream... a shirt that will make every woman want to have sex with them. Phil's (Jeff Venables) buddies are definitely taking advantage of it. Phil just wants to figure out how to get his wife back. Writer, director, actor Ryan Williams seems to think this is more fun than the rest of us. And it's a far cry from sexy as well. R for sex and language.

CHICKEN LITTLE (G) 74 minutes * * 1/2 Yes, it's Chicken Little, and yes, the sky is falling. It's because there are aliens. There are a few cute bits here and there, and the little orange alien is adorable. The humor improves as the movie progresses, building on earlier jokes, but it's still a pretty thin story. Most impressive is the list of people who lend their voices to the characters: Zach Braff, Joan Cusack, Steve Zahn, Wallace Shawn, Patrick Stewart, Adam West, and Don Knotts among others.

CHICKEN RUN (G) 78 minutes * * * "No chicken escapes from Tweedy's farm," or so the saying goes. But that doesn't stop them from trying! The creators of the award-winning "Wallace and Gromit" claymation short films bring their talents to the big screen with a story of chickens who want to escape from their chicken farm. It's a cute film with some great animation. The only real problem is the British accents used by the characters which does make it a bit difficult for younger children to understand.

CHICKEN WITH PLUMS (PG-13) 86 minutes * * * With his favorite violin broken, Nasser-Ali (Mathieu Amalric) sees no point in living and resigns himself to death. Whimsical and a little silly, but with a sort of fairy-tale charm. It's a bit over-narrated, though the ending avoids that trap and becomes beautifully poignant and tragic. PG-13 for violence and sex.

CHICO & RITA (NR) 89 minutes * * * A love story celebrating the music and culture of Cuba. Chico and Rita are talented and very much in love. Still, it never quite seems to work out the way they want it to. Wonderful soundtrack and very well-done animation. 2012 Academy Award Nominee.

CHILD 44 (R) 131 minutes * * * There is no murder in paradise. So, despite the evidence that points to the murder of a child, it is ruled an accident. Those who say otherwise are declared traitors. But when more children have similar "accidents", perhaps a new definition of paradise is in order. Well-crafted story with plenty of tension as the plot progresses. R for violence, language, and sex.

THE CHILD IN TIME (NR) 88 minutes * * In a split second, his life is changed forever. Stephen's (Benedict Cumberbatch) daughter disappoears while they are shopping. Life goes on, but it is not the same with guilt and doubt continuing to haunt him. There are major subplots in the story that tend to take over, which isn't helpful, but the cast play their characters well, despite the misdirected emphasis.

CHILD OF GOD (R) 96 minutes * * * Lester's (Scott Haze) world is slowly falling apart. He has no way to make a living, so once his parents are both gone, so is his home. He heads for the hills, stealing what he needs, and slowly sinking into depravity. Remarkable performance by Haze. R for sex, language, and violence.

CHILD OF SATAN (PG-13) 94 minutes BOMB Allison's (Kacey Clarke) new baby is not what he seems. She begins to have vivid dreams, hallucinations, and learns of unexplained killings. They are all connected to her son. The film begins well, setting us up for what lies ahead, and then it just drags. Photography, editing, and effects are all very weak, and with pacing that drags, this falls apart very quickly. PG-13 for violence and language.

THE CHILD REMAINS (NR) 106 minutes * * 1/2 On a brief vacation, Rae (Suzanne Clement) and Liam (Allan Hawco) stop at a remote country inn. But this particular place was formerly a maternity home, and is still haunted by the ghosts of mothers and babies who met their end within its walls. Not an unfamiliar storyline if you've read or watched many ghost stories, but there are plenty of spooky and creepy moments here, and a distinctly 1970s feel.

THE CHILDHOOD OF A LEADER (NR) 115 minutes * * 1/2 The most terrible and terrifying leader the world has ever seen were once children. They lived and learned, and then became something much more frightening than expected. This is the story of one such (unnamed) leader in post-WWI France. The concluding chapter is a bit more of a leap, mostly because no time is spent on the rather large number of years between the last two "chapters" of the film. It makes it a little difficult to understand exactly why things twisted the way they did.

CHILDHOOD'S END (NR) 241 minutes * * * When the aliens invade Earth, it's not exactly what people were expecting. They bring peace and justice. That sounds great, but it's not quite that simple. Not only a fine adaptation of the Arthur C. Clarke novel, but updated very nicely.

THE CHILDREN (R) 82 minutes * * It was supposed to be a pleasant Christmas holiday. That was before a strange virus started affecting the children, turning them into something much more violent and dangerous than anyone thought possible. The virus aspect isn't very convincing, but the music adds plenty of suspense, and the twist at the end works well. R for violence and language.

THE CHILDREN ACT (R) 100 minutes * * 1/2 Fiona Maye (Emma Thompson) is a High Court judge, and she is used to making challenging decisions. But as her marriage begins to collapse, a particulr case begins to take on a very special meaning for her. The reason for this eludes her, but it is undeniable. The script is less direct than it should be, and seems to be missing material that would have given this story much more depth. Thompson's performances are always worth watching, but this particular film needs more than just a strong performance. R for sex.

CHILDREN OF A LESSER GOD (R) 114 minutes * * * * Sarah Norman (Marlee Matlin) is working at the school as a custodian. James Leeds (William Hurt) is the new teacher. He soon falls in love with her, but there will be a challenge for their relationship in that she is deaf and he is not. Adapted from the award-winning play, there is a stronger emphasis on love in the film, whereas the play focused on communication. Either way, it’s a powerful story and very well-written. Matlin won an Oscar for her performance.

THE CHILDREN OF HUANG SHI (R) 100 minutes * * * 1/2 When journalist George Hogg (Jonathan Rhys Meyers) travelled to China during their war with Japan in the late 1930s, he had no idea what was about to happen. He soon finds himself working with a group of orphans, and along with a few other dedicated workers, leading them to safetly that lies hundreds of miles away. His selfless devotion is inspirational, and is still honored by many to this day. Powerful and dramatic story that is likely to stay with you for some time. R for violence.

CHILDREN OF MEN (R) 96 minutes * * 1/2 It's the not too distant future and the world has descended into near total chaos. The last child was born over 18 years ago and the world is losing hope. Julian (Julianne Moore) has found something that might change things, if she can just convince Theo (Clive Owen) to help. It's an interesting idea, but either the script neglected to develop the story full enough, or it was hacked up during editing. The story doesn't shy away from sacrificing its main characters to support the plot, but we haven't connected with them enough for us to care. R for violence, language, and nudity.

CHILDREN OF THE CORN (R) 90 minutes * * * One of Stephen King’s more chilling short stories is adapted to the screen quite well here. It is unfortunate that it would end up spawning so many sequels, none of which ever come close to the creepy atmosphere that this first film is able to achieve. Watch this one and skip the rest. R for violence and language.

CHILDREN OF THE CORN (2009) (NR) 87 minutes 1/2 After numerous sequels, someone decided that it would be a good idea to remake the first film... not really a good idea... The couple who stumble across this mysterious town are very unlikeable, though we do end up having a little sympathy for him just because of how shrill she is. But the plot holes are still there, along with bad acting, though the story itself remains a little creepy.

CHILDREN OF THE CORN (2020) (R) 87 minutes * 1/2 This is the third feature-length adaptation of the Stephen King short story. This version takes a little more time to set things up, and does a better job of showing the differences between the children who supported the shift of power and those who didn't. The ending is very creepy, but also laughable. Much of the film is actually a good interpretation of the story, but the ending spoils it. R for violence.

CHILDREN OF THE CORN II: THE FINAL SACRIFICE (R) 90 minutes BOMB A writer for the World Enquirer stumbles onto the story (of the first film) and begins to investigate... and the killings continue. Attempting to expand on and explain the rather simple story of the first film just doesn't work well at all. The kids don't have the same spooky "look" that they did in the first film, and the pathetic acting makes this utterly intolerable.

CHILDREN OF THE CORN: GENESIS (R) 75 minutes 1/2 Yet another chapter in the unending series spawned by a Stephen King short story. This time, a couple who find themselves stranded, look for help at a nearby house. Of course, the people who live there are connected to the cult that worships "he who walks behind the rows". Really dumb ending. But that probably won't stop someone from making another film in this series. R for violence, language, and sex.

CHILDREN OF THE CORN: RUNAWAY (NR) 79 minutes * * Ruth (Marci Miller) thought she could get away from her past. But now that circumstances have caused her to pause in her years' long run, it's all catching up to her very quickly. You just can't get away from the Children of the Corn, no matter how far or how long you run. Very bloody, and mildly creepy.

CHILDREN OF THE NIGHT (NR) 97 minutes * * 1/2 Sent to investigate an orphanage where children are suffering from a mysterious disease, a journalist discovers a group of vampire children. Staying for awhile to learn more about them, she discovers that they are indeed in danger. There is a group of men who know exactly what these children are, and they want to destroy them. It's an interesting story, but the pace of the story drags quite a bit in the middle. Also known as "Limbo", which is the name of the orphanage.

CHILDREN OF THE SEA (NR) 105 minutes * * * 1/2 Ruka (voiced by Mana Ashida) has always felt a deep connection to the sea. This summer, she will meet two very special boys who are children of the sea. She will learn about the intricate connection between all life, and her own part in the world and the universe. Beautifully animated, with a lyrical soundtrack.

CHILDREN WHO CHASE LOST VOICES FROM DEEP BELOW (NR) 114 minutes * * * It turns out that Agartha is real, and Asuna (voiced by Hilary Haag) will journey there with an unlikely partner as they both search for a way to bring back something they lost. This animated feature offers a beautiful look at what it means to love and to cope with the loss that sometimes comes when we do. Well-written story, though the topic does not offer the same appeal that many animated features do.

THE CHILD'S EYE (R) 94 minutes * 1/2 They were just trying to gt back home, when this group of friends discover that the airport is closed and the hotel they just left is now closed as well. The hotel they end up at is rather questionable and they soon discover that it is more than a little haunted. There are some cheap, in-your-face 3-D effects here, but the bigger problem his how little sense this makes until it's all explained in a couple of segments late in the film. R for violence.

CHILD'S PLAY (R) 84 minutes * 1/2 Typically gory horror film with a few decent chills and some good effects that never rises past the silly idea of an evil spirit taking over the body of a doll. The macabre humor helps, but it can only do so much. R for violence.

CHILD'S PLAY (2019) (R) 84 minutes * An updated verison of the horror film about a possessed doll. This time around, it isn't possessed, but instead has had its programming safety filters removed by a disgruntled employee. The results are pretty much the same though, with a psychotic doll going on a murderous rampage. Removing the supernatural element results in a film that just isn't as frightening, though the level of violence is about the same. R for violence and language.

CHILD'S PLAY 2 (R) 78 minutes 1/2 Nothin' to ruin your day like a doll that won't die! Pretty pointless sequel with the only memorable sequence being the finale in the doll factory with loads of gooey gore. R for language, violence, and lots of smashed, melted, bloody, exploding doll parts.

CHILD'S PLAY 3 (R) 84 minutes 1/2 Eight years after the ending of part 2... the Chucky doll that was blown to shreds at the end of that film somehow managed to retain quite a bit of blood. And when a few drops fall into a vat of plastic... Chucky's back! There are a few bits of music here that are alright, but little else to give this any merit. R for language and violence.

CHILD'S POSE (NR) 109 minutes * * 1/2 Cornelia (Luminita Gheorgehiu) is a well-established and wealthy architect. When her son's careless and reckless behavior results in an accident that kills a young boy, she spares no effort in protecting him from what might lie ahead. he seems bent on refusing her help, which only serves to increase her dedication as she fears he doesn't understand what could happen. Gheorghiu does a wodnerful job that earned her a Best Actress nomination at the European Film Awards, but the use of handheld cameras, undoubtedly used to make us feel that the film is more "real" tend to remind us that there are people with cameras between us and the actors instead.

CHILL FACTOR (R) 97 minutes * 1/2 A military chemical weapons experiment goes wrong and one man takes the fall. Now he's out of prison and planning to steal the stuff and seel it to the highest bidder. There is some nice stuntwork here, especially the chase sequences, but the film throws believability out the window far too often. It's also a bit too obvious how much fun Cuba Gooding Jr. and Skeet Ulrich are having. It's nice to have fun when you're making a film, but when it makes you break character, it isn't a good thing. R for violence and language.

CHILLICOTHE (R) 93 minutes * * 1/2 A group of friends in their twenties wrestle with what it means to be growing older, to have meaningful relationships, and to live life. The script is thought-provoking, if a bit wordy, and the performances are both raw and very real. Much of the film is based on the personal experiences of the director and his friends and though the production's low budget is evident in many ways, it is also this very aspect that gives the film the edge it needs to work. Filmed primarily in Tulsa, Oklahoma and Anderson, Indiana. R for language.

CHIMPANZEE (G) 72 minutes * * * From Disney Nature films, this is the story of the life of a young chimpanzee. Beautifully photographed, though that's not really a surprise. What's remarkable is the turn of events in the life of this young chimpanzee and how he and those around him adapt to what happens. Fascinating to have a record of it on film, even if the story undoubtedly embellishes events a bit.

CHINA CRY (PG-13) 102 minutes * * * The life story of a young Chinese girl as she finds God while struggling with oppression in China. Involving story that will keep your attention as we see the result of Mao's influence in the days after his rise to power. PG-13 for violence.

CHINA SALESMAN (NR) 106 minutes * 1/2 A Chinese IT engineer (Dong-xue Li) ends up being the key to winning a contract that will let his company control the mineral resources of Africa. There is a conspiracy that he will need to uncover, and he will have to get past Kabbah (Mike Tyson). A small role for Steven Seagal here, though he features prominently in the advertising. This is based on the actual historical incident, spiced up a little for Seagal and Tyson to have some action scenes. That doesn't really do anything for the story though, which remains rather dry.

CHINESE PUZZLE (R) 111 minutes * * * When Wendy (Kelly Reilly) packs up and takes the kids to New York, Xavier (Romain Duris) decides to go too. That's not going to work out quite as he'd expected. Fun characters that are well-played by a great cast, reminding us that sometimes life parallels art, and sometimes art parallels life. And then again, maybe life IS art. R for sex and language.

CHINESE ZODIAC (PG-13) 100 minutes * 1/2 Asian Hawk's (Jackie Chan) latest challenge? To find the twelve original bronze heads of the Chinese Zodiac. This starts out as a good idea, but rather than giving us an exciting adventure packed with dangerous situations and close calls, we have a story that never takes itself seriously, and aside from some nice stuntwork, which is always on display during a Jackie Chan film, this just doesn't deliver. PG-13 for violence and nudity.

THE CHIPMUNK ADVENTURE (G) 72 minutes * The soundtrack is good, but the animation is cheap, Saturday morning TV quality, and unless you're a fan of the Chipmunks, the voices are likely to drive youup the wall.

CHIPS (R) 98 minutes * Another 1970s television show makes the jump to the big screen. The stuntwork is quite good, and the story has plenty of twists and turns and is interesting. Unfortunately, the comedy is not only vulgar, but excessive. It undercuts the strength of the story, which is unfortunate. R for sex, language, and violence.

CHLOE (2009) (R) 90 minutes * * Suspicious of her husband's loyalty, Catherine (Julianne Moore) hires Chloe (Amanda Seyfried) to seduce him. Not only is the logic in that idea flawed, but the story is painfully predictable and often rather awkward in its presentation. Moore and Seyfried do their best, as does Liam Neeson, but with director Atom Egoyan emphasizing sensuality more than story, this doesn't really get very far. Based on the film, "Nathalie". R for sex and language.

CHLOE AND THEO (PG-13) 74 minutes * * 1/2 Theo (Theo Ikummaq) leaves his home in Nunavut with a message for the elders of the South about the environment because of the effects he is noticing. Chloe (Dakota Johnson) is drawn to his innocence and sense of purpose and decides to help. There's a certain charm here, but it's also a really strong global warming message that feels almost like an extended commercial. It doesn't help that the problems that the two of them face seem to resolve a little too quickly. PG-13 for violence.

CHOCOLAT (PG-13) 115 minutes * * * 1/2 A small French village, where things haven't changed for ages, is about to experience a breath of fresh air. A young woman and her daughter take up residence and open a chocolate shop, and the village will never be the same again. It's a charming and fascinating fable with Juliette Binoche, Judi Dench, Lena Olin, Alfred Molina, and Johhny Depp and directed with care by Lasse Hallstrom, this is a delight to watch. It's a story of acceptance, love, passion, sensuality, life... chocolat! PG-13 for sex.

CHOCOLATE (R) 82 minutes * * 1/2 Zen (JeeJa Yanin) is determined to help her mother, who desperately needs money to pay for her medical treatments. When a friend who watches out for her discovers that Zen's mom is actually owed a great deal of money, the two of them set out to collect on the debts. Great Muay Thai action scenes. Yanin may be small, but she is quite talented and makes the fight scenes work well. R for violence and sex.

CHOCOLATE CITY (R) 87 minutes * 1/2 Michael (Robert Ri'chard) just wanted to earn some extra money to help out his mom. Amateur night at a strip club quickly turns into a lucrative job, though not without some risks. That will include the disapproval of his mother if she finds out what he's doing. The cast does what they can, but the characters are shallow and the story is barely there. R for nudity, language, and violence.

THE CHOICE (PG-13) 104 minutes * * * 1/2 The direction of our lives is determined by the choices we make. When Gabby (Teresa Palmer) and Travis (Benjamin Walker) meet, it's not the most happy occurance. But the choices they make after that meeting, begin to chart a course that will put them on a particular path. Filled with all of the exasperation and charm that a great love story should have. A great cast, well led by Walker and Palmer, and with a great supporting role for Maggie Grace. Adapted from the book by Nicholas Sparks. PG-13 for sex and language.

CHOICE OF ARMS (NR) 111 minutes * * * 1/2 Two men, both with troubled times in their past, find themselves bound to clash, no matter how hard they try to avoid it. The story is very complex, but Gerard Depardieu and Yves Montand both do an excellent job of portraying very multi-faceted characters. Catherine Deneuve adds to the mix, and holds her own quite well, despite the focus of the story being on the clashes between the two men. A bit of a surprise that this wasn't nominated for any awards.

CHOKE (R) 87 minutes * * 1/2 Adapted from the novel by Chuck Palahniuk, this is the story of Victor (Sam Rockwell), a sex addict who has perfected the art of choking. It helps pay his mother's medical bills because the people who "save" him feel responsible and give him money. The scheme is growing old though, and Victor needs to figure out who he really is and where his life is going. It's an interesting story, though the narration is more than a little heavy going throughout the film. Rockwell's performance is a bit reckless, but it seems to work, especially since Angelica Huston is around to add a dash of class. R for sex and language.

CHOKEHOLD (NR) 89 minuutes 1/2 When her father is killed by the Russian Mob, Zoey (Melissa Croden) is determined to get revenge. The quickest route to that revenge will be through the underground fighting network, which is not an easy path. Most of the fight choreography is not that good. That's a problem for a film that relies so heavily on fight scenes.

CHOP & STEELE (NR) 76 minutes * * 1/2 Joe Pickett and Nick Prueher are pranksters. They always have been. It's something they've turned into an art form. And then they got sued. That actually ended up being a good thing, but that didn't happen right away. They still do their "found footage" festival as well as a show on YouTube. It's an interesting look at a very particular form of humor.

CHOP SHOP (NR) 81 minutes * * * Ale (Alejandro Polanco) helps out at a body shop and is saving up to start his own business. Life is hard and dreams don't come easily, but it doesn't mean that you give up. Slice of street life film from writer/director Ramin Bahrani. Earnest and sincere performances add to the documentary feeling of the film. Filmed in Queens.

CHOPPER (R) 87 minutes * * Based on the book "From the Inside" by Mark "Chopper" Read (Eric Bana). It's the story of a violent criminal whose ruthless nature made him a legend in the criminal world. Bana does a good job, but the story really only has one note to hit. R for violence, language, and sex.

A CHORUS LINE (PG-13) 113 minutes * * * Adaptation of the long-running and award-winning Broadway musical. It manages to capture most aspects of the stage production quite well. The major flaw is with Michael Douglas' performance. Not only is his performance just not what it needs to be, but the style in which his scenes are filmed doesn't fit with the rest of the film. The scenes with the individual dancers are the best, but then again, those were dramatically, the strongest parts of the stage production as well. PG-13 for language.

CHRISTIE'S REVENGE (NR) 92 minutes * 1/2 Christie (Danielle Kind) is still upset over the suicide of her father. She blames her uncle, and has a rather elaborate plan to punish him. Formula TV movie suspense/thriller with reasonably good performances. No surprises here and a poor ending that undercuts what strength the film had.

CHRISTINE (R) 101 minutes * * ½ She’s the perfect car for Arnie (Keith Gordon), in more ways than he could ever know. It’s almost like she chose him. As he begins to work on restoring the car, something strange begins to happen to both of them. One of Stephen King’s more humorous stories, but don’t think that means you won’t get scared. It’s what he likes to do... get you to let your guard down and then scare you when you least expect it. R for language and violence.

CHRISTINE (2016) (R) 115 minutes * * * The story of Christine Chubbuck (Rebecca Hall), a TV reporter in the 1970s who struggled with depression while working to advance her career. The way she finally ends up dealing with the pressure and frustration can only be described as tragic. Very nice work by Hall in a difficult and disturbing role. R for violence and language.

CHRISTMAS ANGEL (PG) 87 minutes * * 1/2 he was just the man next door. Ashley (Kari Hawker) never knew that he had the resources to help so many people. And she never thought she'd be helping him with his philanthropic work. It's making her feel a little differently about Christmas. Definitely on the sentimental side, but a nice holiday film with a reminder about the importance of doing what we can to help others. PG for language.

CHRISTMAS AT CARTWRIGHT'S (NR) 86 minutes * * 1/2 Nicky (Alicia Witt) is looking for a job. Something temporary at Christmas shouldn't be difficult to find. But the magic of Christmas has much more in store for her than she could ever expect. Sentimental and sweet Christmas film for the family.

CHRISTMAS AT GRAND VALLEY (NR) 84 minutes * * 1/2 Needing a break from the hectic pace of Chicago, Kelly (Dania McKellar) heads home to Grand Valley. Sadly, the lodge, which serves as the heart of the community, may have to close. Then again, sometimes things have a way of working out, especially in Hallmark movies. Nice chemistry between McKellar and Brennan Elliott.

CHRISTMAS AT THE GOLDEN DRAGON (NR) 83 minutes * * A Chinese restaurant in the Midwest United States announces that it's closing just before Christmas. This Hallmark feature follows the lives of several of the regular clientele of the restaurant as they cope with the news. They rediscover what is importnat to them, especially in relationship to the holiday season. Most of the stories either don't go deep enough, or go deep too quickly. And we don't really need the narration at the end.

CHRISTMAS AT THE HOLLY HOTEL (NR) 83 minutes 1/2 Returning home for Christmas, Kathy (Jesi Jensen) finds herself saving Christmas and the town, as well as starting a relationship with the officer who pulled her over for speeding when she drove into town. The script is awful, which makes the actors look even worse, though much of that is also on them. Poor sound quality and direction as well.

CHRISTMAS AT THE PALACE (NR) 83 minutes * * 1/2 The Christmas holiday is very important to his kingdom, but King Alexander (Andrew Cooper) is personally far from enthusiastic about it. When he hires Katie (Marritt Patterson) to help his daughter with her skating, he's going to get an infusion of the holiday spirit, and perhaps a little romance as well. Cooper's appropriately dry performance is set off well against some lighter supporting performances.

CHRISTMAS AT THE PLAZA (NR) 83 minutes * 1/2 When she's hired to do a Christmas display at the Plaza Hotel, Jessica (Elizabeth Henstridge) is struggling with exactly what to do. She settles on a history of the tree toppers the hotel has used over the years. There's a mystery to solve, because one is missing. There's also some romance and a bit of a mix-up. The story opts to go for the current romance instead of the one from the past, which would have made a better story.

CHRISTMAS BEDTIME STORIES (NR) 83 minutes * 1/2 It feels like moving on is the right thing to do, though it's still difficult. Danielle (Erin Cahill) accepts Pierce's (Steve Lund) proposal, but her daughter still wants to hear bedtime stories about her dad. The ending is a little difficult to believe, especially considering how realistic the rest of the film is.

CHRISTMAS BLOODY CHRISTMAS (NR) 83 minutes 1/2 It seemed like a great idea. A robotic, pre-programmed Santa that would be able to reduce the number of degenerate Santa's that are sometimes found in department stores. The problem is that when something goes wrong with the programming, this robotic Santa becomes a killing machine. Merry Christmas! Even as short as this film is, the pace really drags.

CHRISTMAS BREAK-IN (NR) 81 minutes * 1/2 When Izzy's (Cameron Seely) parents forget to pick her up at school on the last day before Christmas break, it'a a problem. Then, as they attempt to get her, they get stuck in the snowstorm. If that's not bad enough, some bumbling criminals break into the school. Izzy has to save the day. Not very creative, but it's harmless family fare.

THE CHRISTMAS BUNNY (PG) 96 minutes * * 1/2 Julia (Sophie Bolen) is in a new foster home. She's still not talking, but when she finds a rabbit that needs help, and eccentric old lady who is willing to work with her on it, she just might be on the road to healing from her traumatic past. Nice, gruff performance by Florence Henderson, though the script doesn't really offer much in the way of character development for anyone here. PG for language.

CHRISTMAS BY STARLIGHT (NR) 83 minutes * * 1/2 With her parents' restaurant about to be closed, Annie (Kimberley Sustad) is determined to save it. That's going to involve working with William (Paul Campbell). And that won't be easy for either of them. Nice script with plenty of quirky charm and humor.

THE CHRISTMAS CANDLE (PG) 96 minutes * * 1/2 The legend is that once every twenty-five years, an angel visits this small village in England and touches one candle in the candlemaker's shop. Whoever lights that candle will be granted a miracle on Christmas Eve. Sentimental holiday film adapted from the book by Max Lucado. The ending is nice, but Sandra Boyle needs to keep recording and performing music and not acting. PG for language.

CHRISTMAS CAPER (PG) 87 minutes * * 1/2 Running back to her old hometown after a robbery goes bad, Kate (Shannen Doherty) can't decide which is worse, going to jail for the crime or playing Christmas host for the neighborhood in the absence of her sister. Doherty is quite charming here, in this fun holiday story. Great job by young Natasha Calis as Kate's niece Annie too! PG for language.

THE CHRISTMAS CARD (NR) 82 minutes * * 1/2 Drawn to find the person who shent a lovely Christmas card while he was stationed in Afghanistan, Cody (John Newton) finds himself falling in love with her. Romantic and sentimental holiday TV movie. Chemistry between the romantic leads is a little lacking, but the story still gets through to draw us in.

A CHRISTMAS CAROL (1999) (NR) 93 minutes * * * 1/2 Grand retelling of the classic story with Patrick Stewart as Ebenezer Scrooge. Solid special effects, though the ghost of Christmas yet to come could have used some costume help. Stewart carries the film admirably and makes it well worth a look.

A CHRISTMAS CAROL (2009) (PG) 90 minutes * * 1/2 Disney's extravagant 3-D version does offer some stunning visual effects, but there are still sequences and some characters that have a rather lifeless expression. Body proportions are a bit off for others as well. The story is... well, it's classic, and though this version does make a few subtle changes, it's still quite good. The best part is the variety of voices that Jim Carrey uses to voice several of the characters here. PG for violence.

CHRISTMAS CEO (NR) 83 minutes * * Chris Winnacker's (Marisol Nichols) little toy company has the chance to merge with a much bigger toy company with her as the CEO. The catch is that she has to get her old partner to sign off on the paperwork. Joe (Paul Greene) is willing to do that on one condition. That one condition just may change everything. This does resolve a little too quickly at the end.

THE CHRISTMAS CHOIR (NR) 83 minutes * * 1/2 An uptight accountant finds the Christmas spirit and the ability to re-establish a positive relationship with his father after deciding to put together a choir of homeless men. He also ends up with the girl. Standard, sentimental holiday fare, which is a bit disappointing as this is based on a true story. A bit less emphasis on Jason Gedrick's character and more on the men in the choir might have helped.

CHRISTMAS CLASS REUNION (NR) 83 minutes * * 1/2 As class president, it has fallen to Elle (Aimee Teegarden) to plan the class reunion. Old friends, old issues... Complicating things is that Elle's job is about to go up in flames. Then again, her class was known for having lots of bad luck. Of course, it will all work out in the end.

THE CHRISTMAS CLAUSE (NR) 86 minutes * * 1/2 Sophie (Lea Thompson) is stressed out. As a working mother of three, she'd just like to have a break. She wishes she could be single and successful like one of her friends... and Santa is listening. The lesson, of course, is to appreciate what you have and learn how to slow down a little. Standard, sentimental Christmas fare.

THE CHRISTMAS CLUB (NR) 83 minutes * * When Gertrude's (Gabrielle Rose) Christmas money blows away in the wind, two kind strangers find that between them, they have just enough to replace it for her. They also find that their paths keep crossing. Perhaps this Christmas season has something special in store for Olivia (Elizabeth Mitchell) and Ed (Cameron Mathison).

CHRISTMAS COMES HOME TO CANAAN (NR) 86 minutes * * Emotional story as a man falls in love with the physical therapist who is caring for his son. Part romance, part holiday story, with a slow, rural pace to the story. There are a few moments of tension, but nothing very intense.

CHRISTMAS COMES TWICE (NR) 83 minutes * * 1/2 Sometimes we wonder what might have happened. Cheryl (Tamera Moury-Housley) wonders what might have happened if she had oursued a relationship instead of her current job, which now seems less fulfilling than she had hoped. Taking a ride on a Christmas carousel at a local holiday carnival, she is transported five years back in time. Can she change her future? What might that mean?

CHRISTMAS CONNECTION (NR) 83 minutes * * 1/2 Never one to really celebrate a traditional Christmas, Sydney (Brooke Burns) prefers to travel. On her last flight before taking off for the holiday, she is responsible for an unaccompanied minor. Her life will never be the same. Another holiday romance, also starring Tom Everett Scott.

A CHRISTMAS COOKIE CATASTROPHE (NR) 83 minutes * * 1/2 Taking over her grandmother's cookie business as CEO has not been easy from the start. She's been changing too many things too quickly. When the secret cookie recipe goes missing, Annie (Rachel Boston) really has only one place to start looking... the competition. That would be Sam Hobbs (Victor Webster). The missing recipe might just lead to a different sort of change. One that is more romantic in nature.

THE CHRISTMAS COTTAGE (PG) 96 minutes * * 1/2 This is the story behind Thomas Kinkade's painting, "The Christmas Cottage", and the begining of his artistic career. Very sentimental and overly narrated, fans of Kinkade's work will be far more interested in this than anyone else. It's an interesting cast, as few would ever expect to find Peter O'Toole and Chris Elliott in the same film. Also starring Marcia Gay Harden, Geoffrey Lewis, Richard Moll, Charlotte, Rae, and Edward Asner. PG for language.

THE CHRISTMAS COTTAGE (2017) 83 minutes * * 1/2 Helping organize her best friend's Christmas wedding, Lacey (Merritt Patterson) ends up spending quite a bit of time with her best friend's brother. The one she used to date. There's a leggend about the Christmas cottage they are using for the wedding. It's about to be fulfilled again by Lacey and Ean (Steve Lund).

CHRISTMAS CRIME STORY (NR) 93 minutes 1/2 A robbery on Christmas eve goes wrong, and is only the beginning of trouble for several characters. The story moves back and forth, which gets tedious very quickly, and then very frustrating at the end when it twists around again to try and make a point. Aside from a couple of good scenes and some very nice renditions of Christmas carols in minor keys, this doesn't have much to offer.

THE CHRISTMAS CURE (NR) 85 minutes * * 1/2 Her holiday trip home is complicated by a couple of things this year. Vanessa (Brooke Nevin) is up for a major promotion at the hospital where she works. Her father is about to announce his retirement from the family medical practice, which he'd be happy for her to take over, and Vanessa's old flame is still in town and still single. What should she do?

CHRISTMAS DO OVER (PG) 87 minutes 1/2 Kevin (Jay Mohr) keeps living Christmas Day over and over. Instead of learning what he needs to, he basically just keeps being more of a jerk each time around. Of course, he does eventually learn his lesson, but we've given up caring long before then. PG for language.

THE CHRISTMAS DOCTOR (NR) 83 minutes * * Dr. Zooey (Holly Robinson Pete) prefers the life of a travelling doctor. What she isn;t expecting is how "at home" she'll feel in the small town she's just been assigned to for the holidays. The story is a little less convincing than most Hallmark movies and feels a little too staged.

CHRISTMAS EVE (PG) 91 minutes * * * Intertwining stories of a number of people trapped in elevators on Christmas Eve in New York. Here are some very strong pieces and characters here, but clearly some room for improvement. The story feels a little manipulative with the elevator aspect, and the finish isn’t as strong as it needs to be. It’s easy to see early on that the stories are going to connect, so we expect that to be more effective than what the final result turns out to be. PG for violence and language.

CHRISTMAS EVERLASTING (NR) 88 minutes * * Everything is going well for Lucy (Tatyana Alo). But when her older sister dies, she not only finds herself on the way back to her old hometown, but needing to stay there over the holidays and reconnect with old friends. Her fast track to success has just taken a detour. Some of the performances are a little stiff, especially early on.

A CHRISTMAS FAMILY SECRET (NR) 86 minutes BOMB To succeed in her career as a lawyer, Joan has sacrificed everything, including her family. When she comes home to surprise her family, she gets a surprise of her own. The cast try, but the script and direction, both by Nakia Hamilton, are just bad, and the photography is no better.

CHRISTMAS FOR KEEPS (NR) 83 minutes * * 1/2 The death of their teacher moves a group of young adults to gather in his memory. Their conflicting schedules won't make it easy, but Avery (Christa B. Allen) makes a convincing argument that is hard for the rest of them to ignore. Spending this time together will bring back some old memories though, and not all of them are pleasant.

A CHRISTMAS GIFT FROM BOB (NR) 87 minutes * * James (Luke Treadaway) recounts a story where he was in danger of losing his cat Bob to an animal welfare officer. It was a difficult time, but he and Bob came through it together. A nice story, but not as sentimental or inspirational as the first film.

CHRISTMAS HOMECOMING (NR) 84 minutes * * 1/2 Amanda (Julie Benz) lost her husband a couple of years ago, but still isn't ready to move on. Jim (Michael Shanks) is recuperating from a war injury and needs a place to stay. The apartment space Amanda has available looks like a good fit. And it will be a way for the two of them to help each other begin to move on with their lives. Benz plays this particularly well, and Shanks compliments her performance nicely. The supporting roles aren't all that strong here, but the story still works well.

A CHRISTMAS HORROR STORY (NR) 95 minutes * 1/2 Or rather, several... it's really an anthology film, but the stories are wrapped together rather than told separately. The results of that stylistic move are mixed, and as with most anthology films, some segments are better than others.

THE CHRISTMAS HOUSE (NR) 85 minutes * * 1/2 In an effort to work through some tough times, the Mitchell family (Treat Williams and Sharon Lawrence) decide to bring back an old tradition of creating a Christmas house. A nice mix of holiday, romance, and drama.

THE CHRISTMAS HOUSE 2: DECK THOSE HALLS (NR) 86 minutes * * 1/2 After last year's visit to the Christmas House, Mike (Robert Buckley) isn't so sure about doing it again. But there is a trophy at stake. A fun rivalry between the two brothers thanks to a clever script and a great cast.

CHRISTMAS IN BIG SKY COUNTRY (NR) 82 minutes * * Logan (Olivier Renaud) has been reassigned from sales to PR at the oil company. Becca's (Rebecca Dalton) brother-in-law is on the rig when there's an incident. Becca and Logan work together to try and get him home safely and in time for Christmas. Logan is learning that this new job isn't exactly what he expected. The characters here are a little two-dimensional.

CHRISTMAS IN CANAAN (NR) 89 minutes * * 1/2 Sometimes we learn more from our mistakes than we ever expect possible. That's what DJ (Zak Ludwig, Jacob Blair) and Rodney (Jaishon Fisher, Matt Ward) discover after they get in a fight. DJ's dad (Billy Ray Cyrus) decides they should spend more time together as their punishment. Of course they end uup becoming the best of friends. With their friendship crossing the lines of race, peer pressure will not make this easy at times. Reasonably good performances though the story is a bit contrived at times.

CHRISTMAS IN COMPTON (PG-13) 90 minutes * 1/2 Lightweight fluff about a son trying to prove his worth to his father. It's harmless enough, just not all that interesting. PG-13 for language.

CHRISTMAS IN CONWAY (NR) 96 minutes * * Duncan Mayor (Andy Garcia) is upset that his wife is dying and that he needs help to care for her. It mostly comes across as being grumpy, but this is a Hallmark movie, so eventually he begins to understand and accept the situation so that it works out better for him in the end.

CHRISTMAS IN EVERGREEN (NR) 83 minutes * * In an effort to get her boyfriend to propose, Allie (Ashley Williams) makes a wish on a special snowglobe. It might not turn out exactly as she imagined, but isn't that sometimes the way with wishes? The script and performances here are a little dry, but it's a good story.

CHRISTMAS IN EVERGREEN: BELLS ARE RINGING (NR) 83 minutes * * 1/2 Another entry in Hallmark's "Christmas in Evergreen" series. Hannah (Rukiya Bernard) is juggling lots of responsibilities. It may be a little too much, especially when she begins to question the direction of her relationship with Elliot (Antonio Cayonne). Very nice work by Bernard.

CHRISTMAS IN EVERGREEN: LETTERS TO SANTA (NR) 83 minutes * * Having avoided visiting her hometown for years, Lisa (Jill Wagner) finally decides to make the trip. Her design skills are needed, and love just might be in store as well. It's all part of the holiday magic of Evergreen. A nice entry in the series.

CHRISTMAS IN HARMONY (NR) 83 minutes * * 1/2 Harmony (Ashleigh Murray) has no intention of singing in the Holiday Chorus. It doesn't help that her ex-boyfriend is directing the group. It also doesn't help that her professional singing career never got off the ground, so she turned to supporting others who sing. the outcome may just be a little different this holiday season.

CHRISTMAS IN HOMESTEAD (NR) 84 minutes * * 1/2 He's not very thrilled about this movie being filmed in town, but Matt (Michael Rady) doesn't have much choice. The star of the film, Jessica (Taylor Cole) actually seems pretty nice thouhg, and his daughter is a big fan of hers. When Jessica falls for Matt, Christmas in Homestead is going to change for the better, and it will be something new for both Matt and Jessica.

CHRISTMAS IN LOVE (NR) 84 minutes * * About to take over as CEO, Nick (Daniel Lissing) has to visit a small bakery to be able to understand the success of the company he will be in charge of. Nick has plenty of ideas for improvement, but doesn't understand the small-town side of the business. Ellie (Brook D'Orsay) is trying to explain things to him, but it's difficult work.

CHRISTMAS IN MAPLE HILLS (NR) 82 minutes * * 1/2 A race against time for Valerie (Emily Alatalo) to learn more about the deed to the family ranch. It turns out that it may belong to someone else. Walker (Marcus Rosner) is helping Valerie's dad with a few things and ends up sticking around. Romance might be in the air...

CHRISTMAS IN MY HEART (NR) 83 minutes * * The Christmas concert is approaching, and Sean's (Luke Macfarlane) daughter needs a tutor for her violin lessons. Beth (Heather Hemmens) is a talented violinist who is back in town. The story is quite good. The music, in particular Macfarlane's singing, is not nearly as strong as it needs to be. That's a problem considering ow central the music is to this particular story.

CHRISTMAS IN PARADISE (PG) 84 minutes * * 1/2 Worried about their father (Kelsey Grammer), who has disappeared, Joanna (Elizabeth Hurley) and her sisters go in search of him. As it turns out, he has gone on vacation, and is relaxing on a tropical island. There was a reason he left without telling anyone, and they will not only need to uncover that reason, but deal with what it means to their family. Billy Ray Cyrus provides some musical entertainment. It's a predictable story, but a nice cast. PG for language.

CHRISTMAS IN PARIS (NR) 89 minutes 1/2 Working to help her boss close a big deal, Robin (Rebecca Dalton) gets into much more than she anticipated. The French playboy who is on the other side of the deal (Karl E. Landler) has enough money to have whatever he wants. That would appear to include Robin. What he doesn't have is a good relationship with his father. The script is a mess, with huge mood swings and frequent changes in the direction of the story. It feels very heavy-handed, and the characters struggle to even be two-dimensional.

CHRISTMAS IN ROCKWELL (NR) 82 minutes * 1/2 She just wanted a quiet little Christmas in her old hometown. Somehow the news gets out and spoils that possibility for Alyssa (Trish Stratus). The story works fairly well, but the cast is uneven, with some of them (eg. Sheila McCarthy, Seamus Patterson) doing well, while others (eg. Stratus, Ray Lewis) not so much.

CHRISTMAS IN THE CLOUDS (PG) 92 minutes * * 1/2 Its the holidays and romance and mistaken identity are only a couple of the things going on at this ski resort. Filmed in Utah, this is a pleasant and slightly different holiday film. Pacing is a little slow, but if you need a break from the holiday rush, set down, relax, and give this a look. Written, directed and co-produced by Kate Montgomery. PG for language.

CHRISTMAS IN THE HEARTLAND (NR) 108 minutes * 1/2 Kara (Sierra McCormick) and Jessie (Brighton Sharbino) neither one want to spend the holidays with relatives they don't know. So they decide to switch places and at least make it more interesting. Tired script, overworked idea, and lackluster performances, but the soundtrack is good.

CHRISTMAS IN THE PINES (NR) 88 minutes * * 1/2 Ariel (Jillian Murray) and Mark (Dean Geyer) both bought a cottage. The same one. After they arrive, they learn that the owner has stipulated that the first one to leave the property forfeits the right to own it. Each of them will try to outlast and outwit the other. And Christmas approaches.

CHRISTMAS IN THE ROCKIES (NR) 86 minutes * * Her options are looking bleak. Katie (Kimberley-Sue Murray) gives up a job opportunity to help her father (Mike Shara). His business is about to go under, and a lumberjack competition appears to be the best way to earn enough money to save it. It's a little unclear why Shara and Murray who are only about a year apart in their actual ages are playing the roles of a father and daughter.

CHRISTMAS IN THE SMOKIES (NR) 87 minutes * * 1/2 As the holiday season approaches, Shelby (Sarah Lancaster) is faced with a dilemma. Her family's berry farm is in danger of being sold for redevelopment. The only hope may be a Christmas concert headlined by her old boyfriend (Alan Powell). Can she let go of the past to save the farm? Is there still a spark there that might become a flame again?

CHRISTMAS IN THE WILDS (NR) 85 minutes * * 1/2 This follow-up to "Romance in the Wilds" has Buck (Victor Zinck Jr.) and Jessica (Kaitlyn Leeb) ready to celebrate Thanksgiving with his family until an emergency call comes through. A few weeks later, as Christmas day approaches, a storm grounds his plane. They decide to try and meet halfway at a cabin, arriving by jeep and snowmobile. It's going to be a dangerous trip for both of them.

CHRISTMAS IN TOYLAND (NR) 83 minutes * * 1/2 Sales numbers are dropping in all of their stores except one. Corporate sends Charlie (Vanessa Lengies) to try and learn what they are doing differently and if it can be replicated. Hundreds of jobs are at risk. The store manager (Jesse Hutch) is rather unconventional. If they can find a way to work together, they just might be able to save the company.

CHRISTMAS IN VIENNA (NR) 83 minutes * * Travelling to Vienna to perform with her violin, Jess (Sarah Drew) is feeling less than inspired. And then she meets Mark (Brennan Elliott). It's a nice showcase of Vienna during the holiday season, but Drew and Elliott seem to be a little too distant from each other.

CHRISTMAS IN WOLF CREEK (NR) 82 minutes * * Their relationship has grown rocky, but Austin (Tim Rozon) and Samantha (Nola Martin) have to work together to find a missing reindeer. Meanwhile, the town's Christmas festivities are at risk not just from the missing reindeer, but from Terry's (Ish Morris) insistence on turning a profit.

CHRISTMAS IS YOU (NR) 84 minutes * * 1/2 Tyler (Matthew MacCaull) and Emma (Becca Tobin) both want to help out their community. But Emma is also being asked to get Tyler to sign a contract. It's not making it any easier that they used to date each other. How will it all work out? Well, it's a Hallmark movie...

CHRISTMAS JARS (NR) 92 minutes * * Looking for a story that will give her career a boost, Hope (Jeni Ross) settles on finding out the truth behind a secret. After her apartment was broken into, a jar full of money appeared at her door. Now she's determined to find out who is behind this act of selfless generosity. Revealing that secret just might ruin the tradition. Holiday tearjerker based on the book by Jason Wright.

CHRISTMAS JOY (NR) 84 minutes * * 1/2 When Joy's (Danielle Panabaker) Auny takes a bad fall, Joy rushes to help. That means juggling her potential promotion while she helps out with the Christmas Cookie Crawl. Maybe Ben (Matt Long) can help. Nice holiday romance from Hallmark.

A CHRISTMAS KISS (NR) 82 minutes * * 1/2 A kiss from a mysterious stranger in an elevator is a moment of true spontaneity for Wendy (Laura Breckenridge). But will she ever see this wonderful stranger again? Cute holiday romance. Not much depth, but nice, light entertainment.

CHRISTMAS LAND (NR) 83 minutes * * 1/2 When Jules (Nikki Deloach) inherits her grandmother's Christmas Land, she just wants to sell it. Then she falls in love with the place... and with Tucker (Luke Macfarlane). The problem is that she already signed the paperwork for the sale. Can she possibly get out of the deal?

CHRISTMAS LIST (NR) 83 minutes * * It's going to be the perfect Christmas. Isobel (Alicia Witt) has it all planned out. Her boyfriend (Peter Benson) gets delayed though, and she meets Jamie (Gabriel Hogan). Her plans for the perfect Christmas have changed a little bit. The story is a bit thin, and the supporting cast aren't able to do much with their characters.

A CHRISTMAS LOVE STORY (NR) 86 minutes * * Katherine (Kristin Chenoweth) needs to write a song for a Christmas production. A chance meeting with a boy with an amazing voice not only fills a hole in the choir she was directing, but soon has her meeting the boy's father (Scott Wolf). The story gets a little more complex, but lots of things magically fall into place. It's Hallmark, and a great cast, but a less-than-convincing story.

CHRISTMAS LUCKY CHARM (NR) 83 minutes * * She's a Christmas lucky charm. Every time Jessica (Sugenja Sri) dates someone, they get married by the next Christmas... to someone else. It's a cute story idea, and Sri does a nice job, but this just doesn't have the spark it needs to make it more memorable.

CHRISTMAS MADE TO ORDER (NR) 83 minutes * * 1/2 With his whole family showing up at his place for Christmas, Steven (Jonathan Bennett) needs some help. Christmas is not his thing. So he hires Gretchen (Alexa PenaVega), and his Christmas decoration problems are instantly solved. Charming performance by PenaVega, and some good supporting roles keep this entertiaining, though Bennett's character seems a bit two-dimensional.

A CHRISTMAS MELODY (NR) 83 minutes * * 1/2 Moving to a new town is tough, and doing it right before Christmas is even worse. It's a good thing that Kristin (Lacey Chabert) and Emily (Fina Strazza) have some good friends, family, and Santa on their side. Cute holiday fare for the family.

A CHRISTMAS MIRACLE FOR DAISY (NR) 84 minutes * * When her parents tragically died, Daisy (Rubi Tupper) was adopted by Conner (Nick Bateman). All she wants for Christmas is a mom. Since Conner just hired his old girlfriend to work her interior design magic on his house, maybe some other Christmas magic can happen as well. Tired story, and the cast tries, but it just doesn't work all that well.

CHRISTMAS MIX (NR) 89 minutes * * 1/2 A controversial big city radio talk show host lands himself in hot water with corporate and finds himself reassigned to nowhere Colorado. No real surprises in this sentimental holiday film, but the charming performances by Haylee Duff and Tilky Jones make it work pretty well.

CHRISTMAS NEXT DOOR (NR) 83 minutes * * When he experienced a proposal refusal on Christmas, Eric (Jesse Metcalfe) quit celebrating the holiday. With his sister on a trip overseas, he finds himself watching his niece and nephew for the holidays. His neighbor April (Fiona Gubelmann) is a big fan of Christmas, and very willing to help out with some holiday decorations and plans to keep the kids happy for the holidays. The film wraps up very quickly at the end, and ti feels like they ran out of time to finish the story in a way that would have been a little more convincing.

THE CHRISTMAS NOTE (NR) 84 mminutes * * Moving back to her old hometown as the holidays are approaching is going to be difficult. But Gretchen (Jamie-Lynn Sigler) is about to uncover an old family secret, and a couple of Christmas miracles are about to happen that will make it all much easier. Adapted from the novel by Donna VanLiere.

CHRISTMAS ON 5TH AVENUE (NR) 88 minutes * * 1/2 Hired to decorate a penthouse in New York City for Christmas, Eva (Kathryn Davis) discovers that the resident is still living there. Even worse, Lucas (Olivier Renaud) is a bit of a Scrooge. Eva definitely has her work cut out for her this time. It's a holiday romance that neither of them are expecting.

CHRISTMAS ON HONEYSUCKLE LANE (PG) 84 minutes * * 1/2 Returning home to spend one more Christmas with her siblings, Emma's (Alicia Witt) mind is more on the recent death of her parents. They will be selling the house, but before that happens, Emma learns a secret about her mother. That secret will be the key to Emma's Christmas. PG for language.

CHRISTMAS ON MARS (NR) 80 minutes * * The colonization of Mars is underway, but things aren't going smoothly. A mysterious alien appears, but the team working on repairs can't figure out what it wants. The Flaming Lips took seven years to make this bizarre, psychedelic, magical, unusual, science fiction film. They provide the soundtrack as well as perform several of the roles. Fans of the Flaming Lips are likely to enjoy this more than others, but those who like their films on the extremely unusual side should take a look too.

CHRISTMAS ON MY MIND (NR) 83 minutes * * 1/2 Waking up with a wedding dress in her arms, Lucy (Ashley Greene) assumes that she's on the way to her wedding with Zach (Andrew W. Walker). But she and Zach broke up. Two years ago. Lucy doesn't remember that part. Or anything about her current fiance either. A love story from Hallmark, with amnesia.

CHRISTMAS ON THE SLOPES (NR) 81 minutes * * Trying to get away from a recent restaurant failure, Sophia (Soma Chhaya) finds herself working "undercover" in another kitchen for another chef (Olivier Renaud). It's just what she needs, both for culinary inspiration and for a little romance. The deception part of the story doesn't really work very well.

CHRISTMAS ON THE SQUARE (NR) 97 minutes * * 1/2 After inheriting the town, Regina (Christine Baranski) decides she's going to sell it. Who cares if Christmas is just around the corner? No one seems to be able to convince her to support the town instead of letting it be turned into a mall. Fun performances and characters in this musical. Music and lyrics by Dolly Parton, and choreography and direction by Debbie Allen.

THE CHRISTMAS ORNAMENT (NR) 83 minutes * * 1/2 Having lost her husband shortly after Christmas, Kathy (Kellie Martin) is in no mood for the holiday this year, which includes any sort of decorating. But friends and circumstances are conspiring against her as she learns the importance of moving ahead without forgetting the wonderful relationship she had. Sentimental holiday TV movie.

THE CHRISTMAS PROMISE (NR) 83 minutes * * 1/2 Everything was going according to plan. Nicole (Torrey DeVitto) and her fiancee were remodelling a beautiful house and their business was going well. A tragic accident leaves Nicole on her own. A year later, she is selling the business and the house as well, once the remodelling is finished. She's still dealing with her grief. The carpenter who is working on the house just might be what she needs to turn the corner and start a new chapter in her life.

A CHRISTMAS PROPOSAL (PG) 83 minutes * * Rick (David O'Donnell) needs to persuade the locals of his former home town that the new real estate development planned by his father-in-law to be, is the best thing for the community. The locals have a few other ideas, including how to get Rick to dump his fiancee and get back together with his old high school girlfriend. Add the sentimental holiday setting, and don't forget a couple of tissues. PG for language.

A CHRISTMAS RECIPE FOR ROMANCE (NR) 86 minutes * * Winning the cooking contest is the only way to save the Inn. The problem is that Abby (Madeline Leon) burns most of what she touches. Jason (Sebastian Sacco) is a talented chef who happens to be in town, and he might be able to help. He does have some personal issues to work through though. The story is a little uneven and takes awhile to find its footing.

THE CHRISTMAS RING (NR) 83 minutes * * 1/2 Her last few writing assignments have been less than fulfilling. Kendra (Nazneen Contractor) decides to pursue the story of a ring she finds. Chasing the story is even more meaningful than she expected. Convincing her boss that the gossip surrounding the grandson of the ring's owner isn't the story that needs to be told is going to be difficult. There will be some complications. but romance is definitely in the air.

THE CHRISTMAS SECRET (NR) 83 minutes * * A magical family heirloom gives Christine (Bethany Joy Lenz) the good fortune that her life has been sorely lacking. Sentimental holiday romance. A little overly packed with perfect moments near the end.

CHRISTMAS SHE WROTE (NR) 83 minutes * * Christmas is approaching and Kayleigh (Danica McKellar) finds out from her new boss that she no longer has a job. So, she heads to her sister's house to spend Christmas together and to help in the bakery. There may be a few surprises in store for Kayleigh. No surprises for us though, and some rather stiff performances by Dylan Neal and Dan Payne.

THE CHRISTMAS SHOES (NR) 93 minutes * * 1/2 Holiday tear-jerker inspired by the Newsboys' song and the book by Donne Vanliere. Rob Lowe's hard heart is touched with the meaning of Christmas and the importance of family when his path crosses that of a boy buying shoes for his dying mother for Christmas. Sentimental story and very predictable, but it still manages to bring a tear or two at the least. Not rated, but suitable for family viewing.

A CHRISTMAS STORY (PG) 90 minutes * * ½ All Ralphie (Peter Billingsley) wants for Christmas is a Red Ryder BB gun. But this isn’t just any Christmas, and Ralphie’s family is not quite the normal family. Adapted from Jean Shepherd’s book “In God We Trust, All Others Pay Cash”, a delightful, comedic romp through Shepherd’s childhood. A fun look at Christmas in the 1940s, though clearly more fun for those who had a similar childhood experience growing up. PG for violence, sex, and language.

A CHRISTMAS STORY CHRISTMAS (PG) 95 minutes * * The death of his father brings Ralphie (Peter Billingsley) back home for Christmas. He's trying to live up to his father's ability to always make sure that Christmas is amazing. It's a little more difficult than he remembers. The acting is fine and the production values are good. The problem is that not only does this cover much of the same material as the earlier films, the tone is slightly darker because of the impending funeral. It just takes a little of the brightness out of the story. PG for language.

A CHRISTMAS STORY 2 (PG) 82 minutes * * 1/2 Almost thirty years after the original, which has become holiday viewing tradition for many people, this sequel manages to capture much of the spirit of the first film. Some of the "cute-factor" is missing, and the film has too much narration, but it ends nicely and though not the classic it appends, it's still a fun look at the holidays. PG for language.

THE CHRISTMAS SWITCH (NR) 86 minutes * * 1/2 Sam (Cedric Smith) just wants to be the department store Santa one more time, but his health is failing. What if he could borrow the body of a younger man? In particular, that of a younger man (Brian Krause) who could stand to learn a Christmas lesson. Nice role for Krause in this sentimental Christmas story.

A CHRISTMAS TALE (NR) 142 minutes * * * Tired of the trouble he constantly causes the family, Elizabeth (Anne Consigny) pays off the debt of her brother Henri (Mathieu Amalric), but on the condition that she never see him again. When their mother is diagnosed with cancer, it is Henri who is compatible for the transplant, and Elizabeth, who has harbored so much hatred, who must come to terms with it. Well-acted French drama set during the holidays.

A CHRISTMAS TO REMEMBER (NR) 83 minutes * * Jennifer (Mira Sorvino) needs a break. On her way to that break, she gets an even bigger one when she is involved in an accident and gets amnesia. Super sentimental and predictable Christmas story with an exaggerated performance by Sorvino.

A CHRISTMAS TOGETHER WITH YOU (NR) 83 minutes * * 1/2 When one of her best customers, who is also a really good friend, is in search of a long lost love, Megan (Laura Vandervoort) decides to help. On their journey, she meets Steve (Niall Matter). It's sure to be a romantic Christmas, though there will be some work to be done first.

A CHRISTMAS TOO MANY (PG-13) 93 minutes 1/2 Grandma (Ruta Lee) has invited the family home for Christmas, in part to share in the excitement that she is likely to add another film to her already long list. The trouble is, this may be one Christmas too many for this incredibly disfunctional family. A sad waste of Lee's talent as well as Mickey Rooney. The rest of the cast don't show any real signs of talent... PG-13 for language and violence.

CHRISTMAS TOWN (NR) 78 minutes * 1/2 Visiting her father a week before Christmas, Liz (Nicole de Boer) is a bit disgusted to discover that he's so happy. She's extremely pessimistic about the holiday season, and most of the residents here are annoyingly positive. The result is that the film is more of a caricature, and we notice how weak most of the performances are.

THE CHRISTMAS TRAIN (NR) 98 minutes * * * On his way across the country on a train, Tom Langdon (Dermot Mulroney) is trying to get some inspiration for a story. It would seem that there are many stories on this train. Stories of love and loss, of memories and possibilities, and of so much more. Mulroney and Kimberly Williams Paisley work well together in this romantic story of second chances and a special journey on a Christmas train.

A CHRISTMAS TREE GROWS IN COLORADO (NR) 83 minutes * * Working to promote her small town in the hope of bringing in more money, Erin (Rochelle Aytes) has found the perfect tree for the town square. The problem is that the owner of the tree is a firefighter who works for the town and who is dealing with budget cuts that affect his work. Of course, he'll eventually give in, and might even find himself part of a romantic relationship with Erin. The story is a bit thin, and there's not much chemistry between Aytes and Mark Taylor.

THE CHRISTMAS TRUCE (NR) 89 minutes * * A brief truce is called between two platoons on opposite sides during the Battle of the Bulge. During that truce, a love story begins. What remains to be seen is whether or not it has the strength to survive the rest of the war. The story gets a bit overly romantic and unbelievable near the end, stretching what had worked well until that point.

CHRISTMAS VACATION (PG-13) 98 minutes * * Clark and Ellen Griswold are celebrating Christmas, and everything is going wrong... as usual. Although this is much better than "European Vacation", this falls short of the fun of the first vacation film. It's too much a series of one-liners that are poorly strung together. You'll definitely laugh alot, but a series of jokes needs something to hold it together if we're to call it a good film. The religious aspects of the holiday are carefully avoided when it comes to the humor, which was a wise choice, and most people will find this entertaining despite it's failure to really give us much of a story.

CHRISTMAS WALTZ (NR) 83 minutes * * 1/2 After scheduling some dance lessons for her upcoming wedding, Avery (Lacey Chabert) ends up calling the wedding off. She decides to keep the lessons, with handsome teacher Roman (Will Kemp). It might turn out to be a wonderful Christmas after all. No surprises here, but Chabert and Kemp pull it off.

CHRISTMAS WEDDING PLANNER (PG) 84 minutes * 1/2 Kelsey (Jocelyn Hudon) is planning her first wedding. It's not going particularly well, though she did meet this handsome private investigator... OK performances, but the story is more than a little shallow. Mindless holiday entertainment.

CHRISTMAS WITH A PRINCE: BECOMING ROYAL (NR) 91 minutes * * 1/2 Everything is going well, and Tasha (Kaitlyn Leeb) is on her way to a marriage to Prince Alexander (Nick Hounslow). And then Princess Miranda (Stasia Caz) gets upset. She thinks that the prince should marry her, so she blackmails him. Caz plays the evil part very well, and there are a couple of nice supporting performances here, especially those of Melinda Shankar and Jack Foley.

CHRISTMAS WITH HOLLY (NR) 91 minutes * * 1/2 Holly (Josie Gallina) hasn't spoken since her mom died. With things not going well, her uncle Mark (Sean Faris) decides to move back in with his brothers for a bit. Meanwhile, Maggie (Eloise Mumford) has just moved to town to start a toy store. She and Mark may just have something, and Holly just might approve. The appeal of the film hinges on how adorable Gallina is, and it works pretty well.

CHRISTMAS WITH THE ANDERSONS (NR) 83 minutes * 1/2 Ever since things started working well for the Andersons, they've been living beyond their means. But right before Christmas, Mike (George Stults) loses his job, and the new business Caroline (Christy Carlson Romano) started is... not doing business. Recapturing the spirit of the season is not going to be easy. It does all work out well, and we really never doubt that, but even so, the transition is hardly believable.

CHRISTMAS WITH THE CAMPBELLS (NR) 85 minutes * After getting dumped by her boyfriend, Jesse (Brittany Snow) decides to accept the Christmas invitation from his family anyway. Why not? Shawn (Alex Moffat) won't actually be there, and as it turns out, his cousin David (Justin Long) will be dropping in for a visit. The humor here is dry, and filled with sexual references. Some of it works.

CHRISTMAS WITH THE KNIGHTLYS (NR) 85 minutes * * 1/2 It was supposed to be a simple Christmas, but Georgia (Celeste Desjardins) has just stumbled into something much bigger than she could imagine. Chase (Joe Scarpellino) is a rich bad boy, but a fake relationship with Georgia soon reforms Chase and ends up changing everything around them.

CHRISTMAS WITH THE KRANKS (PG) 93 minutes * 1/2 Adapted from John Grisham's novel about a family who decides that "Skipping Christmas" is the way to go when their daughter is going to be off doing work for the Peace Corp but then have to change their plans when she decides to return home for the holiday. Too much of this sounds like problems the Griswold family had in National Lampoon's Christmas Vacation... and that wasn't much fun either. Tim Allen and Jamie Lee Curtis both look like they wish they hadn't signed on to this project. Maybe you should skip watching this like most of the rest of the crowd did when it was in the theaters. PG for language.

CHRISTOPHER COLUMBUS: THE DISCOVERY (PG-13) 116 minutes * * This version of the explorer's exploits seems to have some lapses in the story. There are moments of intentional comedy as well, be they appropriate or not. Tom Selleck, Marlon Brando, and Rachel Ward star, but this needed more help than a few big names could provide. Mario Puzo wrote the story and co-wrote the screenplay, but one wonders what he was trying to say.

CHRISTOPHER ROBIN (PG) 99 minutes * * * 1/2 Christopher Robin (Ewan McGregor) has grown up. He's mostly forgotten about his childhood friends, with whom he spent so many hours in the hundred acre woods. They haven't forgotten about him though. In fact, Pooh misses him just enough that a journey seems to be in order. Thus begins a new adventure for the two of them, in which Pooh is very much himself, and Christopher Robin learns to be. A charming an magical adventure, and a very fitting adventure for a silly old bear that holds a special place in the hearts of many of us. PG for violence.

CHRONIC (R) 89 minutes * * 1/2 David (Tim Roth) works with terminally ill patients as an in-home nurse. While he often develops close relationships with his patients, his personal life is far less attached to anyone or anything, and he suffers from depression. That's not a good combination. Nice work by Roth in a film that is very heavy on character development. Just be aware that the tone and ending are not light or uplifting. R for nudity and language.

CHRONICALLY METROPOLITAN (NR) 81 minutes * * 1/2 When Fenton (Shiloh Fernandez) walked away a year ago, he left many things unresolved. Now he's back. And it hasn't gotten any better. Well-drawn characters who are appealing because of their flaws. They are each in the process of accepting those flaws and finding ways to move forward, which invites us to do the same.

CHRONICLE (PG-13) 84 minutes * * 1/2 After stumbling upon something mysterious, three high school friends discover they have abilities they did not have before. Learning how to use them will be a challenge that some will deal with better than others. It's a great story idea, and the story develops well, though there are a few ideas that are still unanswered at the end of the film. The special effects are good, though the acting needs work. It's most likely an attempt to help this feel realistic as it's another in the "found footage", "reality-style" genre, but better acting would still improve the overall effect. PG-13 for violence, language, and sex.

CHRONICLE OF A SERIAL KILLER (NR) 97 minutes * They're on the trail of a new serial killer. Detectives Smith (Dominique Swain) and Bosley (Steve Stanulis) are trying to get answers to their questions. The acting here is a little stiff, but that's more the fault of the script and direction. There's just not much depth here, despite having a story that is at least mildly interesting.

THE CHRONICLE MYSTERIES: RECOVERED (NR) 84 minutes * * 1/2 Her podcast is doing well, and this next series of episodes promises to be even more interesting and will hopefully increase her audiece. Alex (Alison Sweeney) is going to investigate a cold case involving the disappearance of an old friend. Solid story and a good supporting cast help this Hallmark mystery stand out.

THE CHRONICLE MYSTERIES: THE WRONG MAN (NR) 84 minutes * * 1/2 A body is found in the woods. The assumption is that the husband was the killer. Though acquitted, he is still seen by most as guilty. Can Alex (Alison Sweeney) uncover the truth and find the real killer? Nice entry in this Hallmark mystery series.

THE CHRONICLE MYSTERIES: VINES THAT BIND (NR) 84 minutes * * 1/2 Alex (Alison Sweeney) and her team investigate the death of the owner of a vineyard. There's plenty of suspicion to go around, but Alex will uncover the truth.

THE CHRONICLES OF NARNIA: PRINCE CASPIAN (PG) 138 minutes * * * 1/2 As the story continues, Peter, Susan, Edward and Lucy find themselves back in Narnia, but a great deal has changed. Several hundred years have passed, Prince Caspian is a fugitive, and evil is on the brink of taking over the realm. Stunning special effects... again. This part of the larger story is a bit more violent, but serves its purpose well and sets us up for the next chapter. Powerful ending! "The Call" by Regina Spektor is a song well worth an academy award nomination. PG for violence.

THE CHRONICLES OF NARNIA: THE LION, THE WITCH, AND THE WARDROBE (PG) 132 minutes * * * 1/2 Big budget theatrical adaptation of the C.S. Lewis classic story about three orphans who never thought that a simple game of hide and seek in the big old house where they are staying would lead to the discovery of a door that leads to a land called Narnia. While this is truly and excellent adaptation with magnificent special effects and very good performances, it's definitely not for most children under ten. The first half of the film is paced very slowly and the battle scenes that come later and quite violent. It could almost be rated PG-13 instead of PG for the violence. The integration of computer generated animation with live action is virtually seamless here. Nice job!

THE CHRONICLES OF NARNIA: THE VOYAGE OF THE DAWN TREADER (PG) 105 minutes * * * 1/2 Lucy and Edmund return to Narnia, along with the unlikely companionship of their cousin Eustace. The stunning visual effects that made the first two films so successful are here again as well. The story does rely rather heavily on the earlier episodes, but there are moments of explanation here and there, often focused on helping Eusatace understand what is going on. Wonderful ending! PG for violence.

THE CHRONICLES OF RIDDICK (PG-13) 109 minutes * * Riddick (Vin Diesel) is a Furion, perhaps the last of his kind, and he may also be the only hope against the Necromongers, who are about to conquer yet another planetary system. It's an interesting story, but there are too many holes that leave us wondering why certain things are happening. Diesel is perfect for the part though, and makes it entertaining to watch. PG-13 for violence.

CHRYSALIS (PG-13) 80 minutes * Adapted from a short story by Ray Bradbury, this is the story of the human race adapting to change. When a scientist doing research becomes sick and a chrysalis forms around him, the others aren't sure what it means or what to do. We're also not sure why this is a feature film instead of a 30 minute episode on any of the numerous creepy TV anthology series it would have been more appropriate for. The pacing drags terribly, and the dialogue is stilted and awkward at best. PG-13 for violence.

CHRYSTAL (R) 103 minutes * * 1/2 Returning home after sixteen years in prison, Joe (Billy Bob Thornton) discovers that the car wreck he was involved in left scars that run more deeply than he expected. Despite his willingness to try, forgiveness may not be possible. The performances are fairly good here, but the story wanders at times, and we wonder where we're going. It does end nicely if you can stay with it. Filmed in Eureka Springs, Arkansas. R for sex, language, and violence.

CHUCK (R) 93 minutes * * 1/2 The inspiration for the film "Rocky" came from the life of Chuck Wepner (Liev Schreiber). Once upon a time, Wepner worked his way up the heavyweight ranks to fight none other than Muhammad Ali. This is his story. Nice work by the cast, and Schreiber does a very nice job leading them. R for language, sex, and violence.

CHUCK & BUCK (R) 94 minutes * 1/2 Chuck (Chris Weitz) and Buck (Mike White) were best friends as children. Now they are adults, and very different from each other. Most importantly, what's different is that Chuck has a life, and Buck is obsessed with Chuck. It's painfully awkward, which is part of the point of the story, but doesn't make it easy to watch. White manages to emphasize Buck's innocence, which makes this far less creepy than it could have been, though it still sometimes hints at that. R for sex and language.

C.H.U.D. (R) 83 minutes * 1/2 Nasty creatures are apparently living in the sewers of New York. Daniel Stern's sense of humor gives his character a bit of life in an otherwise mediocre script. R for violence.

CHURCHILL (PG) 100 minutes * * * June 1944. Liberating France is proving to be a difficult task. As plans are developed, Churchill (Brian Cox) finds himself on the edges instead of the center. His methods are seen as outmoded, and his health is in decline. The D-Day plans did not work as hoped for, and though the foothold they established did prove to turn the tide of the war, as Churchill was afraid, the cost was terribly high. That cost is softened a little here as the emphasis is on Churchill coming to terms with his loss of control of the military forces of England. Great work by the cast. PG for violence and language.

CHURCHILL'S SECRET (NR) 99 minutes * * 1/2 Health issues don't usually follow the timetables we'd prefer. In the summer of 1953, Winiston Churchill (Michael Gambon) suffered a relatively serious stroke, which is kept secret from all but those closest to him. Although based on the novel, "The Churchill Secret - KBO" by Jonathan Smith, this feels very real, thanks in no small part to a very nice performance by Gambon.

CICADA (NR) 94 minutes * * 1/2 Writer/director/producer/actor Matthew Fifer plays himself in the story of his life with Sheldon D. Brown. Though they play the characters Ben and Sam (respectively), they are pleying themselves as their relationship grew and changed. The film has a strong improvisational feeling that is sometimes very effective and other times very awkward.

THE CIDER HOUSE RULES (PG-13) 121 minutes * * * Raised in an orphanage and never adopted, Homer (Tobey Maguire) becomes interested in medicine. He learns by helping Dr. Larch (Michael Caine), who runs the orphanage with the assistance of two nurses. Eventually, he decides that it's time to see more of the world. Leaving friends and all he has known, he begins to experience the world beyond the corner of Maine he has known. Maguire and Caine do nice work here, as do a few other featured actors. But the real gems here are the performances by the other orphan children. Director Lasse Hallstrom has done numerous films that have included children in natural settings and with little in the way of dialogue. His style of direction makes us feel that what we are watching is very real. The scenes in the orphanage are wonderful and give this film the depth and strength it needs to draw us in. PG-13 for language.

CINCO DE MAYO: LA BATALLA (R) 119 minutes * * * 1/2 Powerful retelling of the battle and the events leading up to it. The freedom and the future of Mexico depended on the outcome. The enemy was formidable, but their passion and will proved more than adequate to the task. Solid war drama with fine performances by the cast. R for violence and language.

CINDERELLA (G) 74 minutes * * * * The timeless fairytale of a poor girl with big dreams and a chance for them to all come true. The comic extras and timeless music add wonders to the story and give it a charm and a heart all its own. One of the handful of truly classic Disney films.

CINDERELLA (2012) (PG) 78 minutes * * 1/2 Very nice animation in this western version of the classic story. This particular Cinderella is a bit more liberated as well, as she goes to rescue a kidnapped duchess, find the tooth she lost at the ball, and claim the heart of the prince. Not exactly a story that will appeal to small children, though that is more typically the audience for the Cinderella story. PG for violence and language.

CINDERELLA (2015) (PG) 99 minutes * * * Beautiful sets and costumes in this adaptation of the Cinderella story. It's a fairly straightforward and dramatic telling until Helena Bonham Carter show up as the fairy godmother. Her characterization is more humorous than we first expect, and more of the film after that point takes a lighter tone. It's an awkward shift, and while either tone would have worked well, the inconsistency is unfortunate. PG for violence.

CINDERELLA (2021) (PG) 106 minutes * * * ½ Cleverly updated version of the classic fairy tale, featuring contemporary pop and rock music. Ella (Camila Cabello) dreams of running a fashion store, which her step-mother will not allow (of course). All bets are off though, when she catches the eye of Prince Robert (Nicholas Galitzine). This version adds some extra social commentary and features a delightful performance by Cabello. It also features some wonderful supporting performances by Idina Menzel, Pierce Brosnan, and Minnie Driver. As well as new music written for the film, the soundtrack also includes music by Janet Jackson, Queen, Ed Sheeran, and Gloria Estefan. PG for language.

CINDERELLA AND THE SECRET PRINCE (PG) 78 minutes 1/2 This variation on the classic Cinderella story has the prince turned into a mouse by an evil witch. Cinderella and her mouse friends have to rescue him before it's too late. The CGI animation is bad and the story is poorly paced. There are so many Cinderella stories out there, and this is not one of the better ones. PG for violence.

A CINDERELLA CHRISTMAS (NR) 87 minutes * * Angie (Emma Rigby) takes care of her uncle's business, gets treated badly by her cousins, and attends a Christmas masquerade ball where she meets the man of her dreams. Despite it being a masquerade ball, he manages to track her down so that it all works out nicely. Not that we ever had any doubt that it would work out any other way.

CINDERELLA MAN (PG-13) 138 minutes * * * 1/2 James Braddock (Russell Crowe) was a good fighter, but when the depression hits, spending money to watch a fight becomes a luxury that fewer people can afford. And, after a rather brutal loss, Braddock finds himself without a way to put food on the table. Like so many people during the depression, the Braddocks hang on and hope for the best. Then a last minute chance as a fill-in fighter turns up. It's a one-shot fight, but it turns into the beginning of a comeback for a man everyone thought was through... a cinderella man. Nice performances from Crowe, Renee Zellweger, and Paul Giamatti, and another fine directing job by Ron Howard. It does drag a bit early on, but builds nicely later in the film. PG-13 for violence and language.

A CINDERELLA STORY (PG) 83 minutes * * Modern Cinderella story with Hilary Duff starring as Sam, a girl who works in a diner and lives in her step-mother's attic. It's a pleasant enough retelling, but doesn't require much from any of the cast, playing more like an afternoon TV show than a feature film. Hilary does sing a couple of the songs... PG for violence and language.

A CINDERELLA STORY: CHRISTMAS WISH (PG) 83 minutes * * 1/2 Kat (Laura Marano) has a dream. She wants to be a singer/songwriter. She's really good, but her evil step-mother and step-sisters are all about putting roadblocks in her way. A modernized, holiday version of the classic fairytale. It's cute, and it works well, thanks to a good cast and a nice soundtrack. PG for language.

A CINDERELLA STORY: IF THE SHOE FITS (PG) 88 minutes * A famous pop star is holding auditions for a Cinderella musical. Tessa (Sofia Carson) is the real-life "Cinderella" who hopes to get the starring role. It might help if the music was better. Carson's voice doesn't match the production style, and most of the music just isn't that well-written. Jennifer Tilly's over-the-top performance as the wicked step-mother is at least mildly entertaining. PG for language.

A CINDERELLA STORY: ONCE UPON A SONG (PG) 81 minutes * * Katie (Lucy Hale) works for the dean of the school, who is also her stepmother. She's a pretty and talented girl, but her stepmother only has eyes for herself, her talentless daughter, and the record producer whose son is going to start attending the school. A sort of Cinderella/Cyrnao de Bergerac mesh, for the pre-teen crowd. Nice singing by Hale. PG for language.

A CINDERELLA STORY: STARSTRUCK (PG) 96 minutes * 1/2 This time, "Cinderella" is Finley Tremaine (Bailee Madison), a farm girl who wants to audition for a part in a movie. The story shows little in the way of creativity, and feels like it was thrown together in a matter of minutes. Madison does make it worth a look. PG for language.

CINDERELLA III: A TWIST IN TIME (G) 65 minutes * * 1/2 Cinderella's evil stepmother gets her hadns on the magic wand and takes events back in time to make sure one of her daughters ends up with the prince instead of Cinderella. Of course, the mice and a few other friends help set things straight and it all turns out right in the end. Nothing spectacular, but there are some nice songs, including "I Still Believe" by Hayden Panettiere.

CINEMA PARADISO (NR) 120 minutes * * * * When Toto hears the news that Alfredo has died, it brings back a flood of memories about the movie projectionist who was like a father to him, the man who taught him so much about life and the love for film that they shared. Winner of an Oscar for Best Foreign Language Film, this is a delight to watch and well-deserving of it's award.

CINEMA VERITE (NR) 88 minutes * * 1/2 If you ever wondered when all of those reality shows began, here's the story. An HBO documentary on the Loud family became far more interesting than anyone anticipated and grew in length, even as it was being filmed. Stick around through the end to see the original family and hear more details about what happened to each of them in the years that followed.

THE CIRCLE (PG-13) 102 minutes * * 1/2 Mae (Emma Watson) has just landed a job at The Circle (think Facebook on steroids). It's everything she's hoped for. She's about to learn about a hidden agenda the company has, but only after she's been sucked into the very depths of that agenda. Plenty of social commentary here, but the ending plays it safe and fades away with a whimper. PG-13 for sex and language.

CIRCLE OF FRIENDS (PG-13) 97 minutes * * Minnie Driver's performance is worth watching here, and the film starts out well. But once Benny (Driver) gets to college, falls in love, and starts having problems, the film bogs down and we're ready to watch something else. It all works out well in the end, but that's no real surprise. Soap-opera fluff that in only notable due to Driver's acting.

CIRCLE OF PAIN (R) 86 minutes 1/2 A former MMA fighter decides to try and get back into the game, which is more challenging than he expected. Dean Cain's performance is the highlight of the acting here, which is good for him, but not for the rest of the film. Badly choreographed fight scenes that don't even come close to looking realistic. R for sex, violence, and language.

CIRCUMSTANCE (R) 103 minutes * 1/2 The story of an Iranian family with two teenage children who are rebelling in different ways. It's an emotional film, and there's quite a bit of very nice work allowing the camera to relay those emotions to the audience. The story is more of a muddle though, and the emotions and moods seem to take over the film fairly quickly leaving us to wonder what the story really is all about. R for sex and language.

CIRCUS KANE (NR) 86 minutes * 1/2 Balthazar Kane (Tim Abell) has a fun idea. He invites a group of circus/horror fans to a very special house of horrors that he has created. If anyone can make it out, they will win a grand prize of $250,000. Of course, they just might die in the process. This overplays it's hand quite badly, but there are a few good moments if you can put up with the rest.

CIRQUE DU FREAK: THE VAMPIRE'S ASSISTANT (PG-13) 99 minutes * * * After visiting the cirque, Darren (Chris Massoglia) is so fascinated by a bizarre spider that he saw, that he sneaks back in to steal it. But problems ensue, and he has to make a deal to save his friend's life. Now he's half vampire, and part of the Cirque du Freak. An interesting and different look at the world of vampires and those around them. The story works to appeal to both fans of vampires as well as a slightly younger crowd that also enjoy scary stories. Adapted from the series of books by Darren Shan. PG-13 for violence and language.

CIRQUE DU SOLEIL: WORLDS AWAY (PG) 81 minutes * * When a young woman finds herself first drawn to and then separated from an aerialist, they travel through different worlds in an attempt to find each other. It's an interesting concept, but not entirely realized. Instead, we see excepts of seven Las Vegas Cirque du Soleil shows, very loosely tied together, and barely wrapped up at the end. The performances by the various Cirque artists are amazing, but as a movie, this is lacking quite a bit. Excerpts from the following shows are included: Mystere, O, Ka, Zumanity, Viva Elvis, Beatles Love, and Cris Angel Believe. PG for sex.

CITADEL (R) 80 minutes * 1/2 After feral children attack and nearly kill his wife, Tommy (Aneurin Barnard) is left with their child and a severe case of agoraphobia. He’s going to have to get past it, because the feral children are coming for him next. Wraps up nicely, but getting there is a little tedious. The feral children seem more appropriate to a horror film, but the story is more interested in suspense and drama. Filmed in Glasgow and Dublin. R for violence and language.

CITIZEN GANGSTER (NR) 99 minutes * * * Honest work wasn't raising enough money to pay the bills, so Eddie (Scott Speedman) turned to crime. Once he's caught, he learns how to be an even better criminal. Based on real events, writer/director Nathan Morlando's script draws us in quickly, delivering an ending that is bittersweet. Nice work by Speedman and the rest of the cast.

CITIZEN K (NR) 124 minutes * * * 1/2 Bio-documentary about Mikhail Khodorkovsky. As the Soviet Union collapsed, and Russia turned toward capitalism and democracy, Khodorkovsky was one of the few who saw the potential for personal gain. The documentary follows the country's move toward democracy and then dictatorship. It chronicles this in particular through the personal and idealogical conflicts between Khodorkovsky and Putin. Nicely done!

CITIZEN SOLDIER (R) 96 minutes * * * Members of the Oklahoma Army National Guard's 45th Infantry Brigade Combat Team find themselves on the front lines in Afghanistan after a very brief training period. National Guard memers are not usually deployed to international war zones, but this team found itself in that position. This is a look at what they experienced. Actual footage as well as extensive reenactment sequences staged by the actual Guard members and narrated by them as well. R for language.

CITY BY THE SEA (R) 104 minutes * * * Vincent (Robert DeNiro) has always been a good cop, devoting himself to doing the best job that he can. His family life hasn't worked out quite as well though, and now his son is in big trouble. Vince wants to help out, but it's not easy trying to step back into his son's life. New York can be a tough town, but it's often that very toughness that builds strength and creates character. DeNiro once again does an amazing job creating his character and is given the space to give it a depth that doesn't rely on dialogue. The entire cast does a fine job here with the possible exceptopm of James Franco who tends to overplay his part as Vincent's son. Adapted from a magazine article, "Mark of a Murderer". R for lanaguage and violence.

CITY HALL (R) 104 minutes * * Al Pacino still has the energy and charisma, although the script lets him down a little in this film. It's a story that just seems to take forever to unravel. Not very memorable as far as story either, despite the big name cast that includes Danny Aiello, Martin Landau, and John Cusack. R for language and violence.

CITY HEAT (PG) 93 minutes * * Once, they were partners. Now, despite not liking each other, they need to work together to solve a case. Clint Eastwood and Burt Reynolds do their best, but the supporting cast do better. The film's biggest trouble is deciding whether or not to be a comedy or a serious police film. It's never really either one. PG for violence and language.

CITY ISLAND (PG-13) 100 minutes * * * City Island is part of the Bronx, and Vince (Andy Garcia) has lived there his whole life. That's no secret. What is a secret is what he really wants to do, which is act. Interestingly enough, there are quite a few secrets this family is keeping from each other. When Vince brings home the son he just met, without telling anyone including Tony (Steven Strait) who he is or why he's there, the whole family situation begins to unravel. Great ensemble cast work in a humorous and somewhat poignant story. PG-13 for language.

CITY OF ANGELS (PG-13) 107 minutes * * * Adapted from Wim Wenders masterpiece, "Wings of Desire", this is the story of an angel who wonders what it would be like to be human. Nicolas Cage plays Seth, who is finding himself attracted to Dr. Maggie Rice (Meg Ryan) as she struggles with the life and death issues faced by surgeons. It's an interesting story, but much is lost in the translation. The sense of the surreal that is present in the original German production has given way to sentiment in an effort to increase the popularity of the film for American audiences. This weakens the film as a whole and makes it little more than a love story with fantasy/religious overtones. The best parts of the film are the children, who have some very insightful dialogue, and the photography itself, directed by John Seale. Filmed in Los Angeles, San Francisco, and South Lake Tahoe. PG-13 for language, violence, and nudity.

CITY OF EMBER (PG) 90 minutes * * * They've lived in an underground city for over 200 years. No contact with the world above. The generator that gives the city of Ember its power is breaking down, and there was a plan for how they should return to the surface, but few even know that plan ever existed. Exciting and well-paced adventure story adapted from the book by Jeanne Duprau. Wonderful performance by Saoirse Ronan, but why Bill Murray was cast here is a puzzle. Nice soundtrack by Andrew Lockington too! PG for violence.

CITY OF JOY (PG-13) 131 minutes * * * After losing a child in the ER, a young doctor (Patrick Swayze) goes to India to try and find enlightenment. He soon becomes involved in a free clinic and finds himself in a situation where he must run, be a spectator, or make a commitment. The film starts off awkwardly and takes awhile to build, but does manage to move in the right direction. The supporting cast really help the film, giving it the depth and sincerity that are lacking at times in both Swayze's performance and in the script.

CITY OF LIES (R) 104 minutes * * * Investigating a case of an undercover cop killing with another cop, Detective Russell Poole (Johnny Depp) finds himself drawn into the investigations of the murders of Biggie Smalls and Tupac Shakur. The more he learns, the more he finds people who are hiding things... all the way to the top. Solid police drama and Depp's performance is mostly very low-key. R for language and violence.

CITY OF LIFE AND DEATH (R) 130 minutes * * * 1/2 When the Japanese conquered Nanking, it only took three days. The devastation was enormous, and the battle to maintain a hold on the city reached far into the country surrounding the city. Civilians were not excluded from the conflict, and women in particular were used by the conquering army and then tossed aside as trash. Violent, graphic, and powerful film. R for violence and sex.

THE CITY OF YOUR FINAL DESTINATION (PG-13) 113 minutes * * * Travelling to Uruguay is the only option left for Omar (Omar Metwally) to get permission to write a biography that he has received a grant to complete. Not everyone in the family is interested or particularly supportive of the idea. An interesting character study of a family, adapted by Ruth Prawer Jhabvala from the novel by Peter Cameron and directed in typically grand fashion by James Ivory. PG-13 for sex.

CITY SLICKERS (PG-13) 110 minutes * * * Mitch (Billy Crystal), Phil (Daniel Stern), and Ed (Bruno Kirby) are going through mid-life crisis. Each of them hopes that this little excursion will help in their attempt to find themselves. What makes this film so successful is the script. While it could have been just another comedy or an overly emotional search for identity, it is instead, a delightful mix of comedy and drama. Some of the minor characters here are rather useless, but the leads are played well and we feel like we've known them for years. It's a fine comedy about finding one's self and that ever-elusive "meaning" of life. PG-13 for language.

CITY SLICKERS: THE LEGEND OF CURLY'S GOLD (PG-13) 110 minutes * * 1/2 This time around, Mitch (Billy Crystal) and Phil (Daniel Stern) are going back to the wild west in search of buried treasure. And, although Jon Lovitz tagging along as Mitch's brother does add a few laughs, this is mostly a weak copy of the original. The biggest problem is Crystal himself. His attention seems to be elsewhere during the whole film, leaving us to wonder if he thought he had something better to do. PG-13 for language.

A CIVIL ACTION (PG-13) 110 minutes * 1/2 This is a study in how civil action cases take shape. Can we say... boring? We already know that lawyers like to settle out of court. What we need to feel is the emotion that drew John Travolta's character to cross the line and actually care about his client. Script and direction problems here have us watching shallow characters whose actions are two-dimensional. Despite the presence of such stalwart actors as Robert Duvall, John Lithgow, William H. Macy, and Dan Hedaya, this is not a film you'll find interesting or exciting. PG-13 for language.

CJ7 (PG) 84 minutes * 1/2 A poor construction worker gives his son a toy he finds in the garbage. It turns out to be an magical alien dog creature that will teach both father and son many lessons. A strange children's film that will have limited appeal to most children, despite the cute alien creature. PG for language.

CLAIRE IN MOTION (NR) 79 minutes * * When Claire's (Betsy Brandt) husband goes on a hiking trip and never returns, she is lost. With no clear closure, she remains a person in motion who is going nowhere. The idea is a strong one, but the direction and performances miss the mark by allowing the larger story to control the narrative rather than the more personal and intimate aspects of her movement through the events and emotions. That does come through, but not nearly enough.

CLANCY (NR) 112 minutes * 1/2 Clancy (Christina Fougnie) just wants her mom to get some help. Running away rather than being sent to Child Protective Services seems to make sense at the time. When a kind-hearted homeless man ends up helping her out, neither of them realize the bigger picture they are both part of. Lots of "dead time" and stiff acting don't help a script that is heavy with Christian moral lessons.

CLANDESTINE CHILDHOOD (NR) 106 minutes * * * Returning to Argentina after several years, Juan (Teo Gutierrez Moreno) and his family must use fake I.D.'s as they are being hunted by the military for their earlier political and guerilla activities. Solid drama with some very nice work by young Moreno.

CLARA (NR) 101 minutes * * * Searching for a planet where life might possibly exist has been Isaac's (Patrick J. Adams) life goal. He's reached a point where he has to go outside normal channels to continue his research. Clara (Troian Bellisario) is an artist who is ready to help and with whom Isaac begins to connect. A film that mixes both science and imagination to weave a tale of loss and discovery.

CLARA'S ULTIMATE CHRISTMAS (NR) 74 minutes 1/2 Life has been great for Clara (Kearstin Moore). But when her dad has a last-minute trip that may keep him away from home for Christmas, and on top of that her dog runs away, the holiday is starting to look less than amazing. Awkward camera work and a heavy-handed script make this difficult to watch. The acting is less than wonderful as well.

CLASH (NR) 94 minutes * * * Vietnamese martial arts film starring Veronica Ngo as a young woman who finds herself trapped into service to a ruthless man who is holding her daughter hostage. She assembles a team to help her complete the mission she has been assigned, but can she trust them with her daughter's life on the line? Intense fight scenes, and a suitably evil bad guy make this a reasonably good entry in the genre.

CLASH OF THE TITANS (2010) (PG-13) 95 minutes * * Perseus (Sam Worthington) is the son of Zeus (Liam Neeson), though he doesn't yet know it. He will soon be challenging his father and uncle Hades (Ralph Fiennes) as they attempt to manipulate humanity for their own purposes. The scenery is nice, but the dialogue leaves a great deal to be desire, and Worthington gives a very uninspiring performance. It's an adequte remake of the 1981 film, with some good moments here and there, but even the special effects are inconsistent. PG-13 for violence and language.

CLASS (R) 94 minutes * * ½ Skip (Rob Lowe) is a young “man of the world”. His new roommate (Andrew McCarthy) still has a lot to learn. So, Skip sets him up for a weekend of “education” where Jonathan meets a very special woman… and Skip doesn’t know who it is… yet. What could have been a crude and vulgar comedy actually has the class the title suggests. A well-written script and good work by both Lowe and McCarthy. R for sex.

THE CLASS (2008) (PG-13) 127 minutes * * 1/2 Interesting pseudo-documentary with real-life teacher and writer Francois Begaudeau playing the part of a French teacher, working with a tough group of Parisian youth. He's a dedicated teacher, but this will be a difficult year. It's an interesting protrait of a classroom, with quite a bit to say about teaching, learning, and the future of the educational system. PG-13 for language.

CLASS ACT (PG-13) 94 minutes * * Kid 'n Play switch identities when they transfer to a new school. The usual problems ensue. This is a bit more interesting than the "House Party" films this duo did, but the production values are still pretty poor.

CLASS ACTION (R) 104 minutes * * * There are a few lawyers who actually try to find out the truth, and to fight for those who are typically abused by big business and the legal system. This particular case is going to be a bit rough though. The prosecution is being led by Jed's (Gene Hackman) daughter Maggie (Mary Elizabeth Mastrantonio) who is an equally capable daughter. And, of course, they get along about as well as the typical cat and dog. The film is more about their relationship than the case as they approach each other like lawyers rather than as father and daughter. They analyze, cross-examine, and manipulate, but rarely feel. It's a great character study, but does fall a bit short on the courtroom drama aspect. R for language.

CLASS ACTION PARK (NR) 88 minutes * * * A look at the legend that was Action Park in Vernon, New Jersey. Conceived by Gene Mulvihil as a place where people could control things themselves and make their own decisions. It was the 1980s, and freedom was a big deal. The problem was that common sense didn't come into play very much. The film covers both the fun and the tragedy, letting us see behind the scenes a little bit at what can happen when the "fun" is unrestricted for too long. If you want even more information about this park, check out the book, "Action Park" by Andy Mulvihil, Gene's son, who is featured in the film.

CLASS OF 1984 (R) 94 minutes * * ½ When a new teacher (Perry King) arrives at school, it doesn’t take long for there to be a confrontation between him and Stegman (Timothy Van Patten), a powerful student, who has no intention of letting the new teacher even think he has any control. Very effective lower-budget exploitation style film. R for language, sex, and violence.

CLASS OF 1999 (R) 92 minutes * 1/2 Sequel to the "Class of 1984" that should have been titled "Attack of the Robo-Teachers" which gives you an idea of both the plot and the quality you can expect. The film has a promising beginning, but quickly degenerates as the film continues. R for language and violence.

CLASS RANK (NR) 97 minutes * * * Disatisfied with the way the Board of Education works, Bernard (Sklyer Gisondo) keeps trying to get them to change. Veronice (Olivia Holt) wants to abolish the class ranking system (since she's number 2). Perhaps Veronica can get Bernard elected to the Board so he can change things. A sweet story of young love, filled with fun and quirky characters. A very nice script by Benjamin August. Holt and Gisondo perform the final song during the credits. Very nice!

CLASS TRIP (NR) 93 minutes * * * Creepy little French film about a boy who sometimes dreams and sometimes imagines that terrible things are happening. While on a skiing trip with his class, some bad things do begin to happen. It's definitely an unusual film, and well directed by Claude Miller to create and maintain the haunting atmosphere. The acting and photography compliment the story as well, combining our sense of the ordinary and the eerie.

CLEAN (NR) 89 minutes * * * He basically just wants to be left alone. Clean (Adrien Brody) has a troubled past that torments him enough as is. Of course, the difficulties don’t go away, and eventually he will have no other choice but to deal with them head on. A gritty and violent story of redemption with a very moody atmosphere. Nice work by Brody.

CLEAN AND SOBER (R) 119 minutes * * * 1/2 An excellent performance from Michael Keaton highlights this film about a man struggling with alcoholism. Keaton's performance, though highly dramatic, does include bits of comedy to lighten the mood in a few spots. And there are wonderful supporting performances from M. Emmett Walsh, Morgan Freeman, and Kathy Baker. It's fascinating to watch Keaton develop this character, and we want it to continue, to find out what happens next. But much like life, we can only go from moment to moment, day to day, planning for the future, but never knowing what will happen just around the corner.

CLEAN SLATE (PG-13) 100 minutes 1/2 Every time M.L. Pogue (Dana Carvey) goes to sleep, he loses his memory. Too bad that doesn't happen after you see this movie! It isn't that the idea is bad, but the script is written so poorly that even Carvey can't find a way out. Unless you're a Carvey fan, this is one to stay clear of. PG-13 for language.

CLEANER (R) 85 minutes * * * Tom (Samuel L. Jackson) runs a cleaning service. They specialize in cleaning crime scenes. His latest job has raised a few questions that he's having difficulty answering. Streamlined story that moves quickly and keeps things simple while managing to throw more than a few curves along the way. Nicely acted and well told. Also starring Ed Harris, Eva Mendez and Luis Guzman. R for violence and language.

CLEANFLIX (NR) 89 minutes * * * Cleanflix was a company that edited R-rated films into "clean" versions that would be less offensive. Based in Utah, with strong support from the Mormons there, it quickly came into conflict with Hollywood. Film directors were ready to sue for their creative rights, and there were two other questions that no one seemed ready to answer. Why wouldn't Hollywood provide trimmed versions to the public when they did so for airlines, and why do people feel a need to watch R-rated films at all, if they find them offensive? It's a fascinating look at the business and also about the repression of sexual expression in particular.

THE CLEANING LADY (NR) 87 minutes * 1/2 She knows that the affair she's having isn't a good situation, but she can;t seem to get out of it. She makes friends with Shelly (Rachel Alig), a shy girl who does the cleaning. Shelly is scarred both inside and out, but she's someone for Alice (Alexis Kendra) to talk to. Soon, Alice is going to with that she'd never met Shelly. Alig is good here, with a quiet and yet intense presence that masks her pain and anger. The ending is less than it should be though.

THE CLEANSING HOUR (NR) 86 minutes * Max (Ryan Guzman) and Drew (Kyle Gallner) run a website that streams exorcisms. They are actually staged, but the latest episode they are filming takes a new twist when the girl who is the subject turns out to be truly possessed. (Like we didn't see that coming.) Plenty of moments that are likely to startle you, but too many of them are in the dark. This starts quite well, but stalls in the middle, with a story that runs out of ideas and repeats itself for awhile. When it does start moving again, it's for a finish that is lacking in creativity or imagination.

CLEAR AND PRESENT DANGER (PG-13) 136 minutes * * * 1/2 Jack Ryan (Harrison Ford) is back and this time he's really got his hands full. More suspenseful than the earlier films in this series, this film is well-paced and sure to keep you guessing the whole way through. Ford does seem a little weak in spots, almost like he's tired of the role, but otherwise it's a great film. Nice suspenseful soundtrack by James Horner too! PG-13 for language and violence.

CLEAR HISTORY (NR) 97 minutes * Walking away from the company he worked for sounded like a good idea at the time. Ten years later, it turns out that he could have been a billionaire if he'd stayed, and now his old boss is moving in next door. Fun little bits by Michael Keaton, Liev Schreiber, Kate Hudson, and a few other funny moments, but most of the humor here is cynical and angery, which tends to have a rather limited appeal.

A CLEAR SHOT (NR) 86 minutes * It's not going to be an easy situation to deal with. Not only is Gomez (Mario Van Peebles) dealing with a hostage situation involving around forty people, but the lines of authority are blurred. On both sides. Based on an actual incident, the story works reasonably well. The budget is very low, and it's quite obvious in the acting, sets, sound quality, and the acting... and yes, I said "acting" twice.

THE CLEARING (NR) 80 minutes * The story boxes itself into a corner fairly quickly, with fast-running zombies surrounding Tom's (Liam McIntyre) camper. It then compounds the problem by having his daughter (Aundrea Smith) somehow able to survive outside the camper. There is some good pacing and music that help create suspense, but it just isn't enough.

CLEAVER FAMILY REUNION (NR) 88 minutes * James (Trae Ireland) has disassociated from his family, but his grandmother's 80th birthday is drawing him back. All of the old conflicts are still there, much to his disappointment. Mediocre acting, but the uninteresting script is the larger problem.

CLEMENCY (R) 106 minutes * * * The last execution did not go well. Bernadine (Alfre Woodard) has a job to do as warden of the prison, and it has begun to wear on her, especially after this last execution. Another man is set to die, and questions and feelings that she has been able to push away in the past are now more troublesome. A very strong performance from Woodard. R for violence and language.

CLERKS (R) 89 minutes * * * Astounding piece of work in black and white from first-time director Kevin Smith. Filmed for about $27,000 and out classing many more expensive films. It's a slice of the New Jersey life of two buddies that work in a convenience store and a video store that are next to each other. Hilarious and offbeat, yet undeniably real. A must see!

CLERKS III (R) 95 minutes * 1/2 After a close call with a heart attack, Randall (Jeff Anderson) decides that he should make a movie about his life. He enlists the help of Dante (Brian O'Halloran), Jay (Jason Mewes), and Silent Bob (Kevin Smith) to make a film that tells the story of his epic life. The serious turn near the end doesn't work well, but the story is pretty much over by then anyway. R for language and sex.

CLERKS II (R) 92 minutes * * Proving once again that more money doesn't always mean a better movie... two other losers end up losing their jobs and finding new employment in the fast food industry. Most of the highlights here involve Jay and Silent Bob, who have supporting roles, and Elias (Trevor Fehrman) a fellow worker/loser. Kevin Smith fans will enjoy this, but also recognize that it's not his best work. R for language.

CLEVELAND ABDUCTION (NR) 86 minutes * * 1/2 The film begins with the kidnapping and abuse of Michelle Knight (Taryn Manning), the first of Ariel Castro's (Raymond Cruz) three victims. Eleven years go by before the captivity and torture end. Michelle is the focus of the film, being there the longest and being in the unique position of being a source of strength for the rest of the victims while waiting and hoping for the chance to escape. Manning carries the film well, but the story stays a little too simple and shallow.

CLICK (PG-13) 101 minutes * * * What if you had a remote control that could control everything? No, really.... EVERYTHING! William (Adam Sandler) has been given just such a remote. The problem is that it becomes really easy to start abusing it, skipping those moments here and there that seem unimportant or annoying. But maybe those moments are important too. It's typical Sandler material with a powerful and emotional story sprinkled with some crude humor in a few spots. Excellent editing and make-up work! PG-13 for language and sex.

CLICK BAIT (NR) 72 minutes * Presented as a snuff film where the killers do a sort of "catch and release" for entertainment. Very intense early on, but then it settles down and doesn't have that same intensity again until near the end of the film. The photography is inconsistent, which doesn't help the integrity of the film.

THE CLIENT (R) 116 minutes * * * Young Mark (Brad Renfro) happens to overhear information about a murder and now he needs a lawyer... one he can really trust. Enter Reggie Love (Susan Sarandon) who is willing to fight for Mark and go up against Tommy Lee Jones and others who are trying to use Mark for their own ends. It's a little hard to believe this at times, but for the most part it's quite interesting. From the novel by John Grisham, a solid, suspenseful film. R for violence and language.

THE CLIENT LIST (NR) 87 minutes * * With her family's financial situation looking worse as each day passes, Sam (Jennifer Love Hewitt) takes a job as a massage therapist. It's not the kind of "massage" she first thought it was, but her situation feels desperate enough that she does it anyway. It all goes well at first, but things get out of control before she realizes, and it all comes crashing down. Hewitt is fairly good here, though the poduction quality is standard TV movie fare.

CLIENT 9: THE RISE AND FALL OF ELIOT SPITZER (R) 115 minutes * * 1/2 Attorney General of New York state, and then its Governor, Eliot Spitzer was a rising star on the political scene, and one whom many thought was on his way to becoming president. And then it all came crashing down. Was he set up? Or was it just a mistake that he should have known better than to make? Quite a bit of interview footage with Spitzer is included in this look at his political life. R for sex and language.

CLIFFHANGER (R) 105 minutes * * 1/2 Tragedy strikes when a rescue team member and his girlfriend are being rescued from a mountain peak at the beginning of the film. It sets the stage as the same rescue team member is involved with rescuing some individuals who turn out to be ruthless, but not-so-bright criminals. Cardboard characters are the weakness here, with Trevor Jones' music and the beautiful scenery doing what they can to make up for it. Filmed in Italy and Colorado. R for violence and language.

CLIFFORD (PG) 83 minutes 1/2 Martin Short plays an annoying child in this moralistic and barely watchable comedy. It sat on the shelf for three years while Orion studios went through bankruptcy hearings and was, unfortunately, released when the studio went into production again.

CLIFFORD THE BIG RED DOG (PG) 89 minutes * * * Clifford is a very unique dog. Not only is he red, but he is huge! (And he's still a puppy!) A very nice story about Clifford's beginnings and first big adventure where a company is trying to take him away from Emily (Darby Camp). Impressive special effects and fun supporting performances from Jack Whitehall as Emily's uncle Casey, and John Cleese as the mysterious Bridwell, in a nod to Clifford's creator, Norman Bridwell. PG for language and violence.

CLIMATES (NR) 96 minutes * * * Isa (Nuri Blige Ceylan) and Bahar's (Ebru Ceylan) relationship has fallen apart. They go their separate ways, but Isa soon finds that he is not who he wants to be without Bahar. Beautifully filmed with the amazing scenery of Turkey as a backdrop. Both the performances and the story are subtle, quiet, and very realistic, aided in part by the fact that Nuri and Ebru are married in real life. Relationships have seasons and climates all their own, and Ceylan does a wonderful job of giving us a glimpse of how that can play out. Not rated, contains sex and language.

CLIMAX (R) 96 minutes 1/2 A three-day dance rehearsal turns into a party from hell when a group of dancers rehearsing in a school building drink sangria laced with LSD. It's basically a free-for-all, drug-fueled, dancy party. There isn't really much of a plot, just camera shots of the party, which are mildly interesting artistically, but get tiresome quickly. R for violence, sex, and language.

THE CLIMB (R) 93 minutes * * 1/2 Mike (Michael Angelo Covino) and Kyle (Kyle Marvin) have been friends forever. There have been rough spots to be sure, but they always work it out. Covino is writer/producer/director and actor here, with the writing being the best part and the acting being the worst. The ending works very well, but getting there is not always very easy. R for language and sex.

THE CLIQUE (PG) 83 minutes * * Being the new girl at school is rough enough, but the harder Claire (Ellen Marlow) tries, the less she seems to fit in. And it doesn't help that she's living with her mom in the guest house of the most popular girl in school. In some cases, that might have provided a way in to the popular circle, but she and Massie (Elizabeth McLaughlin) didn't hit it off well from the start. Adapted from the novel by Lisi Harrison. PG for language.

CLOCKERS (R) 123 minutes * * A Brooklyn murder, a confession, a closed case. But one cop thinks there's more to it. Another look at life through the eyes of Spike Lee, that does have it's good points. It's an incredibly good story, but the script is wordy beyond belief. Not until the end do we get a chance to give our ears a rest and Lee gives the camera a chance to finish the story without dialogue. Adapted from Richard Price's book, of which they must not have cut anything!

CLOCKSTOPPERS (PG) 89 minutes * * 1/2 Dr. Earl Dopler (French Stewart) has come up with a way to "stop" time by shifting the wearer of a special watch shift into hyper time. The watch is now in the hands of young Zak Gibbs (Jesse Bradford), and it's up to him to find a way to help Dr. Dopler and his father, who is now in danger as well. It's a fun science fiction/adventure and definitely has the feel of a Disney channel TV movie (though it isn't), with the scares and thrills of a slightly tamer variety and yet able to maintain fairly high production values. It's a pleasant enough film and is something the whole family can enjoy. PG for violence.

A CLOCKWORK ORANGE (R) 137 minutes * * * * The mind of director Stanley Kubrick is a strange and wonderful thing. And when you see his interpretation of Anthony Burgess’ novel of the near future, you'll know what I mean. It's a satire of extremes that have gone unchecked and the effect they have on society. Starring Malcolm McDowell in a memorable performance, this is not to everyone's tastes. But if you're in the mood to see one of Kubrick's unique films, this is definitely one of his best. R for sex, violence, and language.

CLONED: THE RECREATOR CHRONICLES (NR) 87 minutes * * Three friends on a camping trip stumble into a cloning experiment. Now, their duplicates are out to kill them. Not a very convincing story, with performances that are less than mediocre. There are some interesting ideas, but they aren't developed well.

CLOSE-UP (NR) 96 minutes * * * Hossain Sabzian is a huge fan of film director Mohson Makhmalbaf and impersonates him to gain the confidence of a wealthy family and let them think they would be part of a film. using the real people involved in the incident, this film combines a reenactment, interviews, and footage from the trial. It is a fascinating story, and presented in a unique manner with the inclusion of the actual epople involved.

CLOSED CIRCUIT (R) 92 minutes * * 1/2 What can the cameras tell us about the people we suspect of terrorism? Perhaps they tell us more about ourselves. Multi-layered conspiracy theory plot with lots of twists, turns, and furtive glances. It actually manages to strike a fairly realistic tone, which is perhaps the most unsettling aspect. R for language and violence.

CLOSED FOR STORM (NR) 76 minutes * * * Jazzland, or Six Flags New Orleans as it became only a couple of years after opening, was a fun and exciting amusement park. Financial struggles were a problem early on. New Orleans was not a particularly strong market for the park. And then Hurricane Katrina rolled in. Recovery seemed, and still seems unlikely. The park sits abandoned, and slowly deteriorating. This is the story of a park that opened in 2000, only to be "Closed for Storm" a brief five years later in 2005. The film covers most of the story, though there is no mention of the movies that have been made using the park and adding to its unique story.

CLOSER (R) 99 minutes * * * A story of love and lovers, the lies they tell and how it tears them apart. Talky script adapted by Patrick Marber from his play. This is the sort of film that actors love because the characters are the focus and are explored so thoroughly. The difficulty is that the script gets so invloved in the characters, the flow to the story itself is far from smooth. Great acting by Natalie Portman, Jude Law, and Clive Owen, and Julia Roberts isn't bad here either. R for language and sex.

CLOSER TO THE MOON (NR) 100 minutes * * 1/2 What better way to stage a robbery than to convince everyone that it's just part of a movie being made... Wonderful cast, and an interesting story, based on fact. Pacing is a little rough in spots, but still interesting.

CLOSET MONSTER (NR) 87 minutes * * 1/2 Oscar (Jack Fulton/Connor Jessup) is incredibly talented, creative, and artistic. There are also pieces of his childhood that haunt him still, making life and success at anything more than a little difficult. A rather unusual and offbeat coming-of-age story with some very nice work by Jessup as the older Oscar.

CLOSING THE RING (R) 112 minutes * * * When young Jimmy (Martin McCann) finds a wedding ring buried in an Irish hillside, he has no idea how much it will mean to Ethel Ann (Shirley MacLaine). It's a film about promises, and the importance of making them, even when you know they can't be kept. A beautiful story about love and memory. The movement between past and present is a bit frustrating at times, though late in the film it begins to work a bit more effectively and be less distracting. Nice work by the cast! R for sex and violence.

THE CLOTH (NR) 83 minutes * Jason (Kyler Willett) has no use for God or faith, but he has potential. Because of that potential, he is recruited by a secret organization that needs to train new warriors to fight against the demons that are gathering in strength and number. This plays out as more of an action/adventure story than a demonic/horror one. Most of the film struggles with its low budget, though there are a few good visual effects, and some good sound editing and effects. Just don't expect much from the actors or the script.

CLOUD ATLAS (R) 163 minutes * * * Wat we do ripples through time. Adapted from David Mitchell's novel, the story follows the course of one soul that moves from killer to hero over the course of many lifetimes. A little hard to follow early on, but it does build well and wraps up very nicely. Repeated viewings will not only help in following the story, but also let you focus on particular characters as they recur in different storylines. R for violence, language, and sex.

CLOUD 9 (R) 88 minutes BOMB Billy Cole (Burt Reynolds) has this brilliant idea... how about taking some strippers and teaching them how to play volleyball for a tournament? How about coming up with a better excuse to see some attracive girls in bikinis? Reynolds even looks bored with this, and it's definitely a slap in the face to those who play volleyball. More than a little puzzling as to why Gabrielle Reece would agree to be in it. R for language and nudity.

CLOUDBURST (NR) 90 minutes * * 1/2 Stella (Olympia Dukakis) and Dot (Brenda Fricker) have been in love for years, but when a minor accident has Dot's granddaughter all set to move her into a nursing home, Stella decides that it's time for them to move to Canada and get married. It's going to be a bumpy ride. Great work by Fricker. Dukakis is good as well, though the rude, crotchety part is a little easier to play, and is intense enough at times that some are likely to be put off by it.

CLOUDS OF SILS MARIA (R) 120 minutes * * * Later in her career, Maria (Juliette Binoche) has the opportunity to star in a revival of the play that launched her career. This time she will play the older woman, and it begins to unnerve her when she realizes that her life has run parallel to that of the two characters, which are, in fact, opposite ends of one character. Binoche is stunning, and Kristen Stewart's supporting work is quite good as well. They are complimented nicely by Chloe Grace Moretz in a delightfully decadent role. There is an interesting movement in the last moments of the story that have an almost surrealistic tone. R for language and nudity.

CLOUDY WITH A CHANCE OF MEATBALLS (PG) 81 minutes * 1/2 Flint is an inventor who is determined to invent something fantastic. He's been working since childhood, inventing lots of things... that don't work, or at least don't work out as planned. He's finally figured it out now though. He has a machine that can turn water into food. Unfortunately, that may backfire as well. Good animation and a nice song during the closing credits, but Flint just isn't that likeable of a character, so we find ourselves a bit bored with the story. Even the younger people in the crowd seem uninterested until the food starts falling from the sky. The voice work features Anna Faris, James Caan, Benjamin Bratt, Al Roker, and Neil Patrick Harris. PG for language and violence.

CLOUDY WITH A CHANCE OF MEATBALLS 2 (PG) 85 minutes * * 1/2 While Flint thinks he's got a grand opportunity to work for his idol, Chester is more concerned with his own evil plan. What will it take for Flint to realize who his friends really are? Cute story, and a better sequel than anticipated from a somewhat dead-end story. And while Flint is still a little slow to catch on to things, he's a bit more likeable here than in the first film. PG for language.

CLOUDY WITH A CHANCE OF SUNSHINE (NR) 89 minutes * 1/2 Ben (Kevin Resnick) is raising his daughter on his own, after the death of his wife. Everything seems fine, though he is suffering from writer's block. Then he meets Sunshine (Sarah Navratil). The script is really weak and is clearly the one thing that writer/director/producer,actor Kevin Resnick should have let someone else handle.

THE CLOVEHITCH KILLER (NR) 106 minutes * * 1/2 They were the perfect family. But when one small incident begins to make people talk, cracks begin to appear in the facade. Tyler (Charlie Plummer) begins to wonder... and to explore. What he finds will prove to be unsettling at the least. The backtracking near the end is momentarily unsettling and could have been handled more effectively as far as the pacing of the story.

CLOVERFIELD (R) 74 minutes * * 1/2 If you ever wanted to see what a Godzilla film would look like if they used hand-held cameras, then this is for you. Although there was a great deal of hype about how watching this film might make you sick to your stomach, I didn't have any problem, aside from finding it more than a little silly. The creatures are interesting, but the story is very incomplete and the humans don't exhibit much intelligence. What was that? An earthquake? Let's go up on the roof to see if we can tell what's happening! R for violence and language.

THE CLOVERFIELD PARADOX (PG-13) 96 minutes * 1/2 Not exactly a prequel to Cloverfield, though the experiments performed on the Cloverfield Station in this film are what set the stage for the unusual encounters in both "Cloverfield" and "10 Cloverfield Lane". One particular experiment leaves the team in an alternate universe and opens up rifts through which attacks begin to happen on Earth. Nice production quality, but the story just doesn't work all that well. Part of that might be due to the fact that this was not originally conceived as part of the Cloverfield series, but was instead "made to fit". PG-13 for violence and language.

CLOWN (R) 95 minutes * * Putting on a clown suit for his son's birthday, Kent (Andy Powers) discovers that removing it after the party has become impossible. There's a little backstory here about the demonic history of clowns, which is only covered briefly. That's probably a good thing, because it actually scares us more that Kent can't get the suit off and that it seems to be feeding off of him. R for violence and language.

CLOWN MOTEL (NR) 92 minutes BOMB Ghost hunters in search of something real and a bachelorette party both find themselves at the truly hainted Clown Motel. There's even a sizeable cemtery behind the motel. Filmed at the actual Clown Motel in Tonopah, Nevada, though the even more notable bit of trivia is that this is the first film in which Ari Lehman (the first Jason Vorhees) and Tony Moran (who portrayed portrayed Michael Myers) appear together. That bit of trivia is far more interesting than the film.

CLOWNTERGEIST (NR) 75 minutes 1/2 An evil clown is causing all sorts of trouble in Emma's (Brittany Belland) home town. There are definitely some creepy moments, but the story gets really confused on what a ghost or poltergeist is capable of, versus a human being. The film not only doesn't answer those questions, it doesn't even acknowledge them. Most of the cast is OK, but it's clear that the budget wasn't spent on them or on the script.

CLOWNTOWN (NR) 82 minutes ½ On their way to a concert, a group of friends end up in a deserted town in Southern Ohio where a bunch of killer clowns are trying to get them. Not much of a plot, and typically bad acting. The effects are poorly done here, although the photography is actually fairly good. Director, producer, editor, camera operator, and visual effects is apparently a little much for Tom Nagel to deal with all by himself, and with several family members in the cast, well, that should give you an idea of what to expect.

THE CLUB (NR) 95 minutes * * Four priests living in voluntary isolation as penance for their behavior. But their peaceful retreat is about to be shattered. A somewwhat strange piece. While far from subtle about critiquing organized religion, it tends to stay on one note for a long time. Performances are good, but a broader approach to the story could have made this even more powerful.

CLUB PARADISE (PG-13) 73 minutes * Retiring to a small Caribbean island, Jack Moniker (Robin Williams) makes friends with Ernest Reed (Jimmy Cliff), who owns a run down club. Together, they renovate the place and a variety of customers and incidents keep things lively. The cast may have had fun, but it’s not really entertaining for us, aside from watching Williams, who can turn just about anything into a funny sketch.

CLUE (PG) 83 minutes * * 1/2 The classic board murder/mystery game makes it to the big screen. Tim Curry does a nice job of carrying the film, and the humor that is here is a little different, but works well for the story. There are a few loopholes that begin to appear late in the film as explanations start happening. Much of that is likely due to a gimmick that the producers decided to use. The theatrical version of the film had three different endings, and audiences in different locations had no idea which one they would get to see. The video versions of the film have all three endings included, so you can watch them all and decide which one you like the best.

CLUE (2011) (NR) 104 minutes * * Six teenagers witness a murder. Or at least that’s what they think they saw. Now they must solve the puzzle, find the treasure, and save their friend and her father. The character development that does happen here seems to be mostly filler, and secondary to the solving of the puzzle. The flow is a little uneven, though that’s likely due to the fact that this was originally produced as five, half-hour episodes, and has been condense to a little over an hour and a half movie. Using the terminology from the classic board game, brings it to mind, but to be clear, this is not related to the theatrical film from 1985. It’s too bad this didn’t continue, because it might have been a fun series to last for a year or two. Instead, we have a movie that leaves us wishing we had a little more.

CLUELESS (PG-13) 92 minutes * 1/2 Mostly brainless and slightly annoying modernization of Jane Austen's Emma... with valley girls Alicia Silverstone and Stacey Dash playing the leads. No surprise that this spun into a TV show... we love to watch other people make mistakes so we can laugh at them instead of ourselves.

C'MON C'MON (R) 103 minutes * * * 1/2 Johnny (Joaquin Phoenix) is used to maintaining an emotional distance between himself and others. Something has come up, and his sister (Gaby Hoffmann) needs him to watch her son (Woody Norman) for awhile. Johnny ends up taking Jesse on a trip where they both end up learning a great deal. It's a coming of age for both Jesse and Johnny, and a look at how young people feel about the future. Well done! R for language.

COACH CARTER (PG-13) 131 minutes * * * Inspirational story of coach Ken Carter (Samuel L. Jackson) who took on the unenviable task of turning around the boy's basketball team of his old high school. Not only do they have a losing record, but they cut classes and don't come to practice. Inspired by the life of Ken Carter, this fictionalized account definitely ranks among the better films of its kind with a very strong performance from Jackson. PG-13 for language and violence.

COAL MINER'S DAUGHTER (PG) 125 minutes * * * 1/2 One of the best biographical films ever made, this tells the story of country singer Loretta Lynn. Sissy Spacek did her own singing for this role and won an Oscar for her portrayal of the legendary singer. It's a rags to riches story that is told with passion and will not be a film you soon forget.

THE COBBLER (PG-13) 93 minutes * * * Max (Adam Sandler) is a simple cobbler. But the old stitching machine in the basement is rather unique. It avails him of the opportunity to be whoever he wants. Of course, that's not as easy as it first appears. A magical story that also has a touch of romane, intrigue, and suspense. PG-13 for violence, language, and nudity.

COBRA (R) 82 minutes * * * A new criminal organization is at work, killing innocent people. It will be up to Lieutenant Cobretti (Sylvester Stallone) to save the day. Adapted from Paula Gosling's novel, "Fair Game", the film plays to Stallone's strengths and works well, despite being more than a little predictable. R for violence, language, and sex.

COBWEB (R) 83 minutes * 1/2 Bullied at school and plagued by nightmares and day scares, Peter (Woody Norman) is finally locked in the basement by his parents. Peter is convinced that something is in the walls of the house. He might be right, but is there anything he can do about it? Very creepy sound effects, though most of the visual effects are too dark to be able to see much of them R for violence and language.

COCAINE BEAR (R) 90 minutes * 1/2 It's pretty much what it sounds like from the title. A bear gets into some cocaine and starts killing people, especially if they get in its way as it tries to get more cocaine. The effects are a mixed bag, but so is the script, moving unevenly between drama, horror, and comedy. Featuring Keri Russell and a very small role for Ray Liotta. It's perhaps worth a look just so you can say you've seen it. Perhaps. R for violence and language.

COCAINE COWBOYS (R) 116 minutes * * * Traces the history of Miami, Florida as it became the cocaine capital of the US and was eventually able to regain control and become a vibrant center for tourism and popular culture. Extensive interviews with several people involved on both sides of the cocaine trade in the 1970s and 80s. Fascinating, and somewhat frightening at time as well. R for violence and language.

COCAINE GODMOTHER (NR) 98 minutes * * A fearsome presence, Griselda Blanco (Catherine Zeta-Jones) began her career early, learning to take matters into her own hands and not putting up with people who got in her way. But when you get to the top through violence, it will come back for you later. Nothing stellar, but an adequate recounting of her life.

COCKTAIL (R) 99 minutes * * 1/2 What does being a true friend really involve? What does loving someone really mean? What defines success, and just what can it be allowed to cost? These are some of the topics explored in this film about a pair of bartenders who hope to become multi-millionaires. Tom Cruise, Bryan Brown, and Elisabeth Shue all do great work here, but the story itself begins to grow tedious as the film progresses. It's far from being a bad film, but some fine-tuning of the story would've gone a long way toward helping it.

COCO (PG) 96 minutes * * * 1/2 Miguel (voiced by Anthony Gonzalez) loves music, but his family has forbidden him from playing. So, on the Day of the Dead, he enters the land of the dead to search for the truth of his family's musical history. Beautifully written story with a well-balanced mix of sentimental drama, comedy, adventure, and music. Featuring delightful voice work by Gonzalez and more of Pixar's stunning animation. PG for language.

COCO BEFORE CHANEL (PG-13) 106 minutes * * * Adapted from Edmonde Charles-Roux's book, this is the story of Coco Chanel. Audrey Tautou is wonderful here, doing a beautiful job of portraying the duality of Chanel. Earthy yet elegant, artistic yet simple, realistic yet romantic, her designs would change the world of fashion, and change the fashion of the world. PG-13 for sex.

COCO CHANEL (PG) 137 minutes * * * The story of Coco Chanel, from her meager beginnings through her early days as a struggling hat maker to her ultimate success as a fashion designer. Solid TV movie biography with a great performance by Shirley MacLaine. PG for sex and language.

COCO CHANEL & IGOR STRAVINSKY (R) 108 minutes * * * The parallels between the work of Coco Chanel (Anna Mouglalis) and Igor Stravinsky (Mads Mikkelsen) lie in their radical and revolutionary ideas. The two were drawn together the instant they met, and their relationship was also not that of typical friends or lovers. It's a beautiful film, with gorgeous scenery, classy costumes, and Stravinsky's beautiful music. There isn't a great deal of dialogue here, but quite a bit of story revealed by the camera. Nice work! R for sex.

COCOON (PG-13) 111 minutes * * * A group of senior citizens find themselves mysteriously energized after swimming in a particular pool. It soon becomes clear that the alien cocoons in the pool have turned it into a fountain of youth. The story is good, but tries to introduce a few too many characters. Along with the Academy Award for visual effects, Don Ameche won for his supporting performance. PG-13 for language, sex, and violence.

COCOON: THE RETURN (PG) 111 minutes * 1/2 Overly long, sloppy, and boring sequel that really shouldn't have been made. There are a few good special effects and we get to see some clips from the first film during the credits...

CODA (NR) 94 minutes * * * A great pianist, Henry, (Patrick Stewart) now finds himself dealing with stage fright. Assistance comes in the unlikely form of a music critic (Katie Holmes) who wants to do an in-depth article about him. Nice work by both Holmes and Stewart, and the film also has a nice supporting role for Giancarlo Esposito as Henry's agent.

CODA (2021) (PG-13) 106 minutes * * * 1/2 Ruby (Emelia Jones) has never really thought of her life as that difficult or restrictive. As a child of deaf adults (CODA), she usually serves as interpreter for them. That's just how it's always been. A new opportunity has arisen though, and Ruby and her family have some choices they will have to make. Oscar winner for best picture, screenplay, and supporting actor for Troy Kotsur. Also featuring the talented Marlee Matlin. PG-13 for sex and language.

CODE 8 (NR) 85 minutes * * 1/2 Connor (Robbie Amell) just wants to help his mom (Kari Matchett). She's sick, and the operation will cost quite a bit of money. Connor knows that means he's going to have to do some work on the wrong side of the law. There's clearly quite a bit of back story that we are missing. Things like an explanation of power levels, when and how the mutations began, how they are being studied or experimented on, just to name a few. There are moments when we get very brief glimpses, but it's too much information that is missing. It's unfortunate, because what is here is good. It's just a little too simple and too brief, and the film is short enough that even another ten minutes could have made quite a bit of difference.

CODE 46 (R) 89 minutes * Dreary and emotionless look at a world where cloning has resulted in rules and regulations about who can have children and remain part of the perfect society. Of course, you have the option to live "outside" without the priviliges but with your freedom to love and create life with the person of your choice... Numbingly dull performances by Tim Robbins and Samantha Morton though it's likely that it's intended to add to the effect of the story. The result is that we just never connect with the film. R for sex.

CODE NAME BANSHEE (NR) 88 minutes * 1/2 She's been trained well. Banshee (Jaime King) is a lethal assassin. Caleb (Antonio Banderas) is the one who trained her. The price on his head has recently increased, and Banshee knows that she needs to go and help. The story isn;tbad, though it doesn't really offer any surprises or twists. The pacing is what hurts this the most, with too many dry spells and then quickly moving to fast-paced action with jerky camera work.

CODE NAME: THE CLEANER (PG-13) 81 minutes * * After a knock on the head, Jake (Cedric the Entertainer) has no idea who he is, or why the FBI agent who was in bed with him is dead. So much to find out, and so little time, since there seem to be a number of people who are interested in killing him. Could he be a secret agent? Lightweight entertainment, but reasonably fun, with a fair amount of chuckles and a plot that is short and simple. this probably won't be on your list of favorite films, but it's worth a bargain rental fee. PG-13 for language and sex.

CODE OF HONOR (R) 104 minutes * 1/2 Sikes (Steven Seagal) is on a mission. Bent on revenge for the death of his wife and son, he is taking down every gang he can find. He's working his way to the top of the list, but will he get there before the law stops him? Cheap bait and switch move late in the film, and a less-than-exciting performance by Craig Sheffer don't help. Not that Seagal is all that great here either. R for violence, sex, and language.

THE COED AND THE ZOMBIE STONER (NR) 88 minutes BOMB Little more than an excuse to show mindless college boys chasing naked college girls. Even so, that could have provided the opportunity for social commentary. Instead, it's just exploitative garbage.

COFFEE AND CIGARETTES (R) 93 minutes * * * Writer/director Jim Jarmusch serves up a delightfully ecclectic collection of short stories that are loosely connected by the use of coffee and cigarettes. Three of the stories were previously released as short films. Featuring an amazing array of actors, comedians, and musicians mostly playing themselves, (Roberto Begnini, Steven Wright, Iggy Pop, Tom Waits, Cate Blanchett and Bill Murray to name a few) this is an interesting study in how many of our lives resonate around two simple activities that many of us share. My favorite is "Cousins", but "Delirium", "Somewhere in California", and ""Champagne" are close behind. R for language.

COFFEE TOWN (NR) 85 minutes * * Change isn't always a good thing. At least that's what Will (Glenn Howerton) is trying to convince the owners of the local coffee shop. He uses the place as his office, and they want to turn it into a bar, which just won't work for him. Early in the film, the story is a little repetitive and poorly paced. It improves as it moves along though, and the narration, which is also a little annoying at the beginning, begins to work more seamlessly into the dialogue.

COHERENCE (NR) 86 minutes * * In the hours just before a comet passes, a group of people discover that there may be another reality right next to their own. Since this is "obviously" triggered by the proximity of the comet, what will happen when it passes? Can they choose which reality to be part of? Will there only be one that survives? Lots of questions and quantum physics musings that tend to bog the story down.

COLD BLOOD (NR) 85 minutes * * It's a remote location, but Henry (Jean Reno) likes it that way. He's a hit man, and isolation is protection. When an injured woman shows up near his home, he is suspicious, but decides to help her. He may end up regretting it. This wraps up too quickly, and far too easily, though we were already not that involved with the characters, who are barely more than two-dimensional.

COLD BLOODED (NR) 83 minutes * * 1/2 Caught in the middle of the aftermath of a heist, Frances (Zoie Palmer) finds herself in a dangerous position, where choices are critical. Nice crime thriller, though the script is a little weak.

THE COLD BLUE (NR) 71 minutes * * * Nine members of the Eighth Air Force in World War II are interviewed about their experiences during the war. The focus is on the B-17 missions, which were some of the most dangerous ever flown. This documentary includes some footage shot by William Wyler and his team for a documentary on the Memphis Belle.

COLD CALL (NR) 176 minutes * * * The victim of a cold call scam, June (Sally Lindsay) ends up connecting with Des (Daniel Ryan), who has been trying to uncover the very scam June fell victim to. If they team up, they just might be able to catch the perpetrator. Nice suspensse and good work all around by the cast.

COLD COMES THE NIGHT (R) 79 minutes * * Chloe (Alice Eve) and her daughter are kidnapped by Topo (Bryan Cranston) to help him retrieve money that has ended up in the hands of a cop gone bad. Not that Topo is innocent, but he does have difficulty seeing things. Chloe and her daughter can help with that part of his plan at least. Cranston’s performance is low-energy, but full of intensity, and Eve works well to balance his performance. The ending works well too, opting not to go for the cheap shot, but instead, for a more logical ending that adds a certain amount of realism to the story. R for violence and language.

COLD CREEK MANOR (R) 112 minutes * 1/2 Very disappointing effort from director Mike Figgis. Leaving their small place in the city for a large estate in the country, the Tilson's expect to leave stress behind. Instead, they discover that the previous owners had a few problems that they're still working through. Not particularly suspenseful because things take so long to happen and because every move is hinted at before it happens. R for violence and language.

A COLD DAY IN HELL (PG-13) 94 minutes BOMB The Christopher Forbes show... writer, director, composer, cinematographer, editor, producer, and actor... low budget in the worst sense, with bad acting, a weak script, repetitve music, poor editing... and somehow they were able to get Michael Madsen to sign on to this project. PG-13 for violence.

A COLD, HARD TRUTH (NR) 101 minutes * * 1/2 Something doesn't seem clear about his cousin's suicide, so Stewart (Dorian Missick) puts his journalistic skills to use and begins to dig for more information. It quickly becomes clear that there is a tangled mess. Thankfully, the script is not tangled, though it is a little on the wordy side. Nice work by the cast.

COLD IN JULY (R) 106 minutes * * After killing an intruder, a man and his family are being stalked by his father, who just got out of prison. The twist in the story comes early, when mistaken identities are revealed, and it doesn;t really have a great deal to offer after that. Despite a couple of intense sequences, the story tends to plod along to its inevitable conclusion. Adapted from the book by Joe R. Lansdale. R for violence, language, and sex.

THE COLD LIGHT OF DAY (PG-13) 84 minutes * 1/2 Low-budget spy thriller, with reasonable production values, but really bad acting. The script is a mish-mash of other spy stories and offers little depth for the characters. Don't be fooled by the tease of Bruce Willis being in this... he has less than 10 minutes of screen time. PG-13 for language and sex.

COLD MOON (NR) 82 minutes * It's a quiet little town in the South. But suddenly, Margaret Larkin (Sara Catherine Bellamy) is attacked and killed by a mysterious being. Quite a few other strange things are happening too. Adapted from the book "Cold Moon Over Babylon" by Michael McDowell, who wrote "Beetlejuice" and adapted "The Nightmare Before Christmas". This has plenty of creepy moments, but too many of them don't make all that much sense.

COLD MOUNTAIN (R) 147 minutes * * * Jude Law does a very nice job in this Civil War story that shifts back and forth between time before the war and his experiences in the war. In fact, one of the films biggest problems results from these shifts, which come far too quickly early on in the film. It's somewhat disorienting, though the story manages to take hold after awhile. The other problem here is with Renee Zellweger's performance. Much like Marisa Tomei in "My Cousin Vinny", Zellweger clearly steals ever single scene she's in. It's a wonderful performance, but it so overshadows not only those around her but the story itself. The story also seems to have "vignette syndrome", where too many scenes appear to have little connection to the rest of the film. Several supporting roles seem to be featured in this manner. They are all nicely done, but the flow between them is missing. Adapted from the book by Charles Frazier. R for violence, language, and sex.

COLD PREY (NR) 93 minutes * Five friends take refuge in an abandoned ski lodge when one of them gets hurt. But someone else is already there... and not too happy about the company. Another entry in the neverending "teens stalked by a killer" genre. Once you've seen two or three of these, there isn't much in the way of new material.

COLD PURSUIT (R) 110 minutes * * * When his son is killed by a ruthless drug dealer, Nels (Liam Neeson) is determined to make him pay for the deed. Full of dark humor, the story is entertaining, but the humor gets in the way of the pacing a few times. It's nothing new from Neeson, but some of the supporting roles are well-played. The scenery is beautiful too, but it's not Denver, or even Colorado, though that's where the story is set. It's mostly filmed in British Columbia, Canada. R for violence and language.

COLD SKIN (NR) 99 minutes * * * It's a very lonely job. A young man (David Oakes) arrives at a remote island near Antarctica where, for a year, he will observe and record the weather. He will be alone, except for the lighthouse keeper... and the creatures who hide in the dark. A fascinating story that grows more intense as it moves along. The ending is rather sudden, but this is a story that will stay with you for awhile.

COLD SOLDIERS (NR) 99 miunutes BOMB The setting is a mental hospital for elite military personel who have cracked under the pressure they experienced. But are there missions that are still going on? Acting and photography are really bad. Not that the script has anything to offer either.

COLD SOULS (PG-13) 97 minutes * * * Paul Giamatti (plying himself) is struggling with preparation for a role in a play. It's draining his emotions and his soul. So, how about putting that soul in storage? It's an interesting and thought-provoking story, that doesn't mind sprinkling in a few bits of humor here and there. Sophie Barthes' script is very wordy, but Giamatti does a good job with it, creating and expanding the character, and himself in the process. PG-13 for nudity and language.

COLD STORAGE (R) 91 minutes 1/2 Clive (Nick Searcy) keeps mostly to himself in the mountains of Tennessee. But one day, he comes across the body of a beautiful young woman who died in a car wreck... and he takes her home to be his girlfriend. The story is actually somewhat tragic, though there is also a sort of macabre humor. The tension between those two approaches doesn't work very well, and the terrible special effects don't help. R for violence and language.

COLD SWEAT (NR) 74 minutes * When Roman's (Facundo Espinosa) girlfriend goes missing, his friend Ali (Marina Glezer) offers to help. Now, all three of them are trapped in a house with two old men who enjoy torturing people. Too much time is spent on setting up how the torturing is being planned and executed without getting us connected with the characters. It's ddifficult to care about them or understand why any of this is happening.

COLD TURKEY (NR) 79 minutes * 1/2 It's Thanksgiving, and the family is getting together. Not getting along, just getting together. The comedy here quickly gives way to more depressing drama as these people really have difficulty being civil to one another. Some scenes are well-acted, but many are rather lifeless, despite the spirited dialogue.

COLD WAR (R) 81 minutes * * * Wikter (Tomasz Kot) is the musical director for a talented group of performers. There is now pressure for them to move away from their purely folk music to that of a more political nature. This is Poland in the 1950s. To complicate matters, Wiktor has fallen for one of the new students, Zula (Joanna Kuling). He attempts to persuade her to leave with him for France. Beautifully filmed. The story does tend to be brief, and doesn't elaborate or go into very much detail, seeming to trust that fewer words will be enough to convey the story. R for sex and language.

COLD WAR 2 (NR) 105 minutes * * * Sean Lau (Aaron Kwok) is now the Police Commissioner after pulling off a successful rescue mission (in the first film). Criminal mastermind Joe Lee (Eddie Peng) has arranged for Lau's wife and child to be kidnapped to secure his own release. Lau is going to need help to deal with this, but it's going to come at a price. Intense police thriller. It's not essential to have seen the first film, but it does help fill in a little of the story.

COLDWOOD (NR) 69 minutes 1/2 Ashley (Carly Jones) needs to get away for a little bit to deal with some things. So she goes to Alaska to work with her uncle. He's a con artist, specializing in getting rid of ghosts and demons, which he doesn't actually believe in. Awkward pacing and a poor script undercut almost all of the suspense.

COLETTE (R) 105 minutes * * 1/2 A successful writer, Willy (Dominic West) has hit a rough patch. His wife Colette (Keira Knightley) has some writing talent of her own, and so Willy puts her to work. But as her success increases, she's getting a little frustrated that he's taking all of the credit. The story focuses heavily on detail early on and then rushes to the end, leaving with a poorly paced story that seems to have left out too much. Even worse, we are given a few sentences to read at the end that are a weak attempt to bring closure to a film that just needed more time. R for sex.

COLLABORATOR (NR) 78 minutes * * 1/2 Robert's (Martin Donovan) writing career has stalled, but when he goes to visit his mother, an interaction with an old school mate who still lives across the street turns into something rather dramatic. The story is a little dry, but also mixes stage and screen styles, which is very interesting. Very nice work by Donovan, who also wrote and directed this.

COLLATERAL (R) 113 minutes * * * Max (Jamie Foxx) has been driving a cab for 12 years without any real trouble. Now, he finds himself driving a hit man (Tom Cruise) around for the night while he kills the people on his list. Despite the parts of the story where logic seems to disappear, and there are a few, this still manages to keep our interest. It's mostly due to nice performances by both Foxx and Cruise, but James Newton howard's score definitely adds to the tension as it builds throughout the film. R for violence and language.

COLLATERAL BEAUTY (PG-13) 93 minutes * * * * Howard (Will Smith) has "stepped away from life" since the tragic death of his daughter. His friends make a desperate attempt to help, after trying everything else they could think of. They hire actors to portray love, time, and death, to whom he has written letters. The result is stunning. It is a beautiful script. Poignant, humorous, and everything else it needs to be. The seasoned cast are a delight to watch as they play off each other and begin to understand themselves in relation to the three abstractions of love, time, and death. The lessons we yearn for others to learn are often the ones that we have yet to fully understand ourselves. PG-13 for language.

COLLATERAL DAMAGE (R) 103 minutes * * Gordon's (Arnold Schwarzenegger) wife and son are killed in a terrorosit attack and justice is all tied up in red tape by the government. Gordon decides to head to Columbia to work some justice of his own. Standard action flick for Arnold, filled with the usual amount of nonsense and violence. The film leans toward creating a little sympathy for the terrorists, but doesn't stay there for long. It's unfortunate, as that might have lent this some sorely needed credibility. R for violence and language.

THE COLLECTION (R) 73 minutes * * A serial killer who kills lots of people with each elaborately staged setup, but chooses one victim to add to his collection. Often, they are eventually killed as well, but only after much torture. Clearly influenced by the "Saw" series of horror films, which makes this a little predictable if you've seen them, but the intensity and suspense here are still good. R for violence, language, and nudity.

THE COLLECTIVE (NR) 85 minutes * He didn't find being a lawyer very fulfilling, so now Sam (Lucas Till) is going to work for "The Collective". They are a group of assassins who serve as judge, jury, and executioner. The story is unsurprising, though not all that bad. What doesn't work here are the sets, photography, special effects, stunt work, and more. We do have Don Johnson and Tyrses Gibson leading the cast, but it's not enough.

THE COLLECTOR (R) 85 minutes 1/2 Breaking into the house he's been casing for months should have been easy, but he wasn't counting on "The Collector" showing up as well. Ridiculous plot that barely makes any sense and leaves quite a few questions unanswered, not the least of which is, "Who is this freak and why does he do this?" The effects are nicely done, but we need a story that makes a little more sense to keep us involved and to scare us rather than bore us. R for violence, nudity, and language.

COLLEGE (R) 86 minutes 1/2 College... it's all about parties, sex, alcohol, and total freedom... at least that's what these three high school seniors think. There's plenty of what they expect, and a little more that they don't. Too bad the film is pretty much what we expect... not much talent and too few laughs. R for sex and language.

COLLEGE ROAD TRIP (G) 77 minutes * * Daddy's little girl (Raven-Symone) is growing up. Unfortunately, she isn't going to the college her father wants her to. So, dad (Martin Lawrence) is going to make sure she stays safe no matter where she goes. It's harmless enough, but also not very memorable. Interesting that Disney would be interested in releasing a National Lampoon film, but it's watered down enough that it works.

COLLIDE (PG-13) 91 minutes * * Trying to pull a fast one on the drug smugglers he was working for has Casey (Nicholas Hoult) on the run. The story has some nice twists and turns, though nothing very complex or surprising, and the acting is mostly mediocre. As the title suggests, it is packed with car chase sequences and a few rather spectacular crashes. PG-13 for violence, sex, and language.

COLLISION (R) 96 minutes * * 1/2 Taylor's (Jaime Alexander) plan to murder her husband goes bad, leaving them stranded in the desert with more than one dangerous companion. Witht he story trying to create a few surprises for us, it gets a little convoluted early on, and then wraps up a little too neatly. At least a couple of the twists along the way actually do work fairly well.

COLLISION: CHRISTOPHER HITCHENS VS. DOUGLAS WILSON (NR) 86 minutes * * * An athiest, or anti-theist, as he describes himself, and an evangelical theologian and pastordebate the idea, "Is Christianity good for the world?" It's a fascinating discussion with excellent points made by both sides. It's also wonderful to watch two people who both know their material as well as that of the other, are passionate about their point of view, can debate so well and so effectively, and with such good humor. It's clear that they respect each other despite having oppossing viewpoints.

COLOMBIANA (PG-13) 101 minutes * * * When Catalaya (Zoe Saldana) was a young girl, she witnessed the murder of her parents. She vowed revenge on the killers and now she's in a position to do something about it. The problem is that in training to be able to make it happen, becoming an assassin has become a way of life. Luc Besson delivers another exciting action script, and Saldana does a nice job being both sexy and dramatically intense. PG-13 for violence, sex, and language.

COLONIA (R) 106 minutes * * 1/2 Lena (Emma Watson) will do anything to find her boyfriend. He's been abducted by the secret police and taken to a hideaway in the south of Chile. To find him leads Lena to join the cult that runs the property... a cult from which no one has escaped. Based on a true story. Watson seems a bit miscast, despite a good performance. R for language and violence.

THE COLONY (NR) 86 minutes * 1/2 Clilmate change has decimated the world's population, leaving only a few colonies with populations in the hundreds. While they live mostly in isolation, they are aware of each other, and when one goes silent, they want to know why. Instead of focusing on more realistic dangers, this heads down the zombie path, which is unfortunate as its already been overdone, and done better.

THE COLONY (2021) (R) 97 minutes * * 1/2 Earth had become nearly uninhabitable. Those who had the means to do so, left. They are now sending missions back to Eartch to see if it is possible to return. What they find upon their return is nothing like what they left a couple of generations ago. Interesting, but this also feels like much of the story is missing. There are plenty of hints, but not much explanation. R for violence.

COLOR ME OBSESSED (NR) 116 minutes * * 1/2 When The Replacements first formed as a group, they were called The Impediments. Both names are fitting. Their career as a group only lasted twelve years, but their influence remains. Told from the viewpoint of fans and a few who worked with them, It's an interesting look at how much influence and importance can be achieved by a group that was never commercially successful as defined by the music industry.

COLOR MY WORLD, WITH LOVE (NR) 85 minutes * * 1/2 It's a big step. Emma (Erica Durance) really does wish the best for her daughter Kendall (Lily D. Moore), but when Kendall falls in love, it all changes. Emma is very supportive of her daughter, but Kendall and her fiance both have Down Syndrome. They both feel that their love for each other is strong enough to survive. They'll need to figure out a way to convince Emma.

THE COLOR OF MONEY (R) 116 minutes * * * ½ “Fast Eddie” Felson (Paul Newman) was a legendary pool player. At the moment, he is a liquor salesman. When he meets Vincent Lauria (Tom Cruise), he sees potential, and a little bit of himself. He decides to stake Vincent, and see how far they can go. The film feels a little rushed early on, but then begins to settle into a good pace. An Oscar winner for Newman, with solid direction from Martin Scorsese.

COLOR OF NIGHT (R) 118 minutes * 1/2 Bruce Willis is surprisingly good here as a shrink who ends up playing detective to save his own skin. What ruins the film is a predictable and poorly written script that makes the film almost unwatchable at times. Nothing of substance in those scenes added to the video version either, just a couple more skin shots. R for language, violence, and sex.

THE COLOR OF OLIVES (NR) 94 minutes * * 1/2 The Amer family refused to leave their home when the West Bank Wall is built, so the wall is built around them. Now their lives are shaped by the wall, and often controlled by those who staff the gate. A documentary look at life under challenging circumstances.

COLOR OUT OF SPACE (NR) 107 minutes * * When a meteorite lands in the front yard of their farm, strange things start happening. Nathan (Nicolas Cage) doesn't seem to be affected as much as the rest of the family, but his wife Theresa (Joely Richardson) is distracted, and their youngest son is hearing a voice from the well. And those are only the bare beginnings of the strangeness. The script is adapted from an H.P. Lovecraft story that explores the human reaction to the sudden and grotesquely abnormal twisting of reality. Cage delivers another of his wild and extreme performances that doesn't really fit well with the rest of the film.

THE COLOR PURPLE (PG-13) 149 minutes * * * * A stellar performance by Whoopie Goldberg as Celie highlights this story of a young black woman as she struggles through many forms of violence and persecution. Although the story is structured in a way that tends to manipulate our emotions a little more than it needs to, Goldberg's performance is still quite impressive. The film earned eleven Oscar nominations, though it won nothing, but Goldberg did win a Golden Globe for her performance and Steven Spielberg won the Director's Guild award for his work. PG-13 for violence, sex, and language.

THE COLOR WHEEL (NR) 78 minutes 1/2 Annoying and obnoxious siblings take a road trip, picking on one another the entire way. Eventually, they discover that they are well-suited to be siblings as no one else wants to be around them. Annoying and tedious for those of us watching, because we don't want to be around them either.

COLORFUL (NR) 122 minutes * * * Sometimes when we reach the other side, we are not deemed ready to continue on. This is the story of one such soul, who is sent back to finish living out the physical life of a boy who attempted suicide. But he has to learn why so that he is ready to move on. Powerful story with animation that does a nice job of framing and expressing the story and its moods.

COLORS (R) 116 minutes * * 1/2 Sean Penn and Robert Duvall are street cops in Los Angeles in this film directed by Dennis Hopper. They are outnumbered by gang members roughly 280 to 1. The story deals with the questions that arise which seem to have no answers when life on the streets smacks you in the face every day. Choices have to be made and there is a realization that you play your part and do what you can, but you won't be able to solve all the problems. The theatrical version had some awkward scenes which are less so in the video as Hopper was able to restore footage that the studio felt made the picture too long.

THE COLORS OF THE MOUNTAIN (NR) 89 minutes * * * Life is fairly simple for Manuel (Hernan Ocampo), and his favorite things are playing soccer with his friends and drawing. He doesn't really understand why his parents are avoiding both the military and the rebels. But when his brand new soccer ball strays into a minefield, the world is going to begin to take on new meanings for Manuel as well as his friends. An interesting look at life in the Columbian mountains from the viewpoint of a child.

COLOSSAL (R) 105 minutes * * * A free spirit who likes to live her life with no attachments and little thought, Gloria (Anne Hathaway) has returned home. A monster that appeared 25 years ago in Seoul, South Korea has also returned. There might be a connection. Definitely one of the most unusual monster film you'll ever see. It's a multi-layered story that works well, though the movement from comedy to drama is not always well-timed. R for language.

COLOSSAL YOUTH (NR) 90 minutes * Things are looking up for Ryder (Troy Osterberg). It's senior year, his parents bought him a car, and the girl he's always had a crush on just moved back to his school. When it all begins to collapse, he realizes who has been there all along for him. Good story, though it lacks originality. The bigger problem is the lackluster performances by most of the cast.

COLUMBUS (NR) 102 minutes * * * Trapped or free. Different perspectives mean all the difference between the way Jin (John Cho) and Casey (Haley Lu Richardson) see their circumstances. The story is one of architecture, but also structure and connection. The architectural structures of Columbus, Indiana serve as a wonderful background to the story. A beautifully filmed, multi-layered story that will not only benefit from repeat viewings, but resonate with you on different levels depending on what losses or connections you might be going through in your own life.

COLUMBUS CIRCLE (PG-13) 82 minutes * * * When one of her neighbors is murdered, agoraphobic Abigail (Selma Blair) is drawn into the investigation and out of her protective isolation. But all is not as it seems, and the twists and turns become a little confusing at the end because there are so many of them. Blair is very good here, and the suspense builds well despite the ending. PG-13 for violence and language.

COMA (NR) 157 minutes * * 1/2 A new medical student discovers that there are an inordinate number of comas occuring at her hospital and decides to investigate. What she uncovers is both fascinating and horrifying. Filmed before in 1978, this 2012 TV movie version reminds us that longers isn't necessarily better, though there is some good tension toward the end.

COMA (2019) (NR) 107 minutes * * 1/2 There's been an accident. Viktor (Rinal Mukhametov) is left in a coma. As he wakes to the world of coma, he learns that there are others. They are all living in the world of coma, a place made up of piecemeal memories where the laws of physics don't apply. Staying safe in this world will be a challenge, as will finding a way out. Very impressive effects, though they are a bit repetitive. A second viewing will definitely help.

COMBAT OBSCURA (NR) 68 minutes * * 1/2 Deployed in Afghanistan as Combat Camera, Miles Lagoze was to shoot and edit film footage for the purposees of recruitment and historical record. The footage that Lagoze and other Combat Camera operatives shot has been edited here to show what everyday life looked and felt like for these soldiers. In particular, it is able to show some of the inconsistencies and contradictions that happened during the deployment in Afghanistan. Some of the footage is quite intense, and it ends rather abruptly.

COME AND FIND ME (R) 107 minutes * * One day, David's (Aaron Paul) girlfriend goes missing. In his search for her, he begins to unravel a mysterious and violent set of circumstances. While he's trying to solve it, we keep getting flashbacks from their past times together... which aren't really helpful. There are a couple near the end that work well from an artistic perspective, but mostly they are annoying and impede the progress of the story. R for language and violence.

COME DANCE AT MY WEDDING (NR) 83 minutes * * About to get married, Cyd (Brooke Nevin) knows that the extra money from selling her dance studio would come in handy. The problem is that her estranged father (John Schneider) is the co-owner. As they re-establish contact, old memories surface, but so do new opportunities. Typically sentimental TV movie fare.

COME OUT FIGHTING (NR) 82 minutes 1/2 When their commanding officer goes missing, a group of soldiers goes behind enemy lines to rescue him. There are a few well-known actors here (Kellan Lutz, Dolph Lundgren, Michael Jai White, Tyrese Gibson), but the script and effects are really poor, undermining the performances.

COME PLAY (PG-13) 93 minutes * * Oliver (Azhy Robertson) struggles to make friends. He's autistic, and it makes it difficult to communicate and connect with others. Larry wants to be his friend, but Larry is not someone that you should really want to have as a friend. Larry is from another place. A frightening place. Several creepy moments, but lots of effects in the dark, where we have difficulty being able to know what's happening. The ending is unusually gentle and upbeat for a horror film. PG-13 for violence and language.

COME TO DADDY (R) 91 minutes * * 1/2 Life has been a little rough for Norval (Elijah Wood). His father hasn;t been part of his life for awhile, so Norval is a little surprised to receive a note from him. Their visit does not go well though, and things are getting more strange by the minute. If anything though, they don't get quite strange enough. Taking the story a little farther down the offbeat path would likely have helped. R for violence, language, and sex.

COME TRUE (NR) 102 minutes * * * Unwilling to stay at home, Sarah (Julia Sarah Stone) lives her life as a runaway. For a place to sleep, she takes part in a sleep study. This is no ordinary sleep study. Then again, Sarah's dreams aren't quite like anything they've come across before. The film accurately represents a dreamy quality with both the soundtrack and the photography. It also gives us some creepy and strange moments, mosre of which happen later in the film, along with a twist. Very nice work by Stone.

COME UNDONE (NR) 122 minutes * * The story of a passionate love affair between two people who are already married to others. Domenico's (Pierfrancesco Favino) wife is growing suspicious, though Anna's (Alba Rohrwacher) husband doesn't suspect anything despite his wife's recent changes in behavior. The performances are fine here, but the script never really says much, instead choosing to just wander around the lives of the characters and eventually come to an end... sort of.

COME WHAT MAY (R) 107 minutes * * * Leaving their homes in the south of France ahead of the German invasion, the residents of this small town take a German boy with them. He and his father had left Germany because they disagreed with Hitler. For now, this father and son must travel different paths to get to freedom, but they will continue to hope and to work on finding one another as soon as they can. R for violence.

THE COMEBACKS (PG-13) 80 minutes BOMB Lambeau Fields (David Koechner) is the worst coach ever. And now he's coaching the worst team ever. Pokes fun at quite a few different sports films and does manage to not dwell on any one film too long. Still... this is about as dumb as they come. PG-13 for language and violence.

COMET (R) 88 minutes * * 1/2 A chance encounter leads to a romance. The next six yers are what we see polayed out for us. They are filled with ups and downs, passion and struggle. Justin Long and Emmy Rossum work well together and the script has some great scenes, though the connection between those scenes often isn't all that clear. R for language.

COMIN’ AT YA! (R) 89 minutes * * ½ Two evil brothers kidnap a woman during her wedding and her fiancé comes after them with guns blazing. Simple plot, but the hook here is that this was one of the early 1980s 3-D films. It’s an old spaghetti western, but with everything coming off the screen and into your lap (or your face). It actually works fairly well, if you’re watching it in 3-D. If not, it loses quite a bit of the fun.

COMING HOME (PG-13) 105 minutes * * * During the Cultural Revolution in China, many families were separated. After years of being in prison for his political crimes, Lu (Daoming Chen) is released and returns home. But his wife no longer recognizes him. Tender and heartbreaking story of a love that while damaged, never gives up hope. PG-13 for violence.

COMING HOME IN THE DARK (NR) 85 minutes * * 1/2 On a brief holiday with his family, Hoaggie (Erik Thomson) crosses paths with two men. They have an issue with something they hold Hoaggie responsible for. And they want justice, or maybe just revenge. Hoaggie claims innocence, but as his wife Jill (Mariama McDowell) points out, "There is a difference between doing something and letting something happen. They live on the same page though." Violent but powerful story, with a poignant ending. Adapted from the short story by Owen Marshall.

COMING THROUGH THE RYE (PG-13) 91 minutes * * * 1/2 Obsessed with the book, "Catcher in the Rye", Jamie (Alex Wolff) has written a play based on it. He wants to have Salinger's blessing, but the reclusive author is more than a little difficult to track down. Skipping out on school, and with some help from an unexpected friend, he begins a monumental personal journey. Very nice work by Wolff, and Stefania LaVie Owen. Inspired by actual events. PG-13 for sex and language.

COMING TO AMERICA (R) 110 minutes * * 1/2 Eddie Murphy stars in the story of an African prince who decides to find his bride-to-be in America. The comedy here is on a little lighter note than is typical for Murphy, but it works fairly well with the story. A nice change of pace from his usual style. Nice special effects make-up by Rick Baker.

COMING 2 AMERICA (PG-13) 102 minutes * * 1/2 Discovering that he has a son he didn't know about, Prince Akeem (Eddie Murphy) heads back to America to establish a relationship with the young man who will be his heir. Various humorous complications ensue. Not a bad sequel, and an amazing cast that includes Arsenio Hall, Shari Headley, Tracy Morgan, Wesley Snipes, James Earl Jones, John Amos, Morgan Freeman, and Bella Murphy (daughter of Eddie). PG-13 for sex and language.

THE COMMAND (PG-13) 111 minutes * * 1/2 When a torpedo explodes on board a Russian submarine, disaster follows. There are many who survive the explosion, but governmental bureaucracy gets in the way of rescue efforts. The focus of the film is giving a balanced look at the struggle of the men on the submarine and those on the surface who were trying to help. It's a difficult balance, but well-handled. PG-13 for violence and language.

COMMAND AND CONTROL (PG) 90 minutes * * * Everything just doesn't work perfectly all of the time. When you're maintaining a weapon of mass destruction, perfection becomes even more critical, and mistake much more dangerous. In 1980, an accident at a Titan II missile complex in Damascus, Arkansas threatened to cause a nuclear disaster in the heart of the United States. A detailed, minute-by-minute account of the events by those who were on duty at the time of the event. Informative and frightening. PG for language.

COMMANDO (R) 87 minutes * * Kidnapping John Matrix's (Arnold Schwarzenegger) daughter was not a good idea. Matrix was a Black Ops Commando, and he is going to get his daughter back. At least this doesn't take itself too seriously. On the other hand, there's nothing here we haven't seen a bunch of times before. R for violence and language.

COMME UN CHEF (PG-13) 81 minutes * * * Jacky (Michael Youn) is an excellent chef, but no one seems to appreciate him. Alexandre Lagarde (Jean Reno) s chef for one of the best restaurants, but is having a few problems of his own. An energetic and charming performance by Youn, and it plays well opposite Reno's more serious character. PG-13 for language.

THE COMMITMENTS (R) 113 minutes * * The music is good, but it takes a long time for this story of working-class Irish getting together to form a band. The characters are engaging enough, but they have so many troubles, it's surprising that anything works out at all. This does get quite a bit better with repeated viewings.

A COMMON MAN (PG-13) 82 minutes * * 1/2 Five bombs have been placed around Colombo, Sri Lanka. Unless four terrorists are released from prison, the bombs will be detonated. Based on the film "A Wednesday", this features a very nice performance by Ben Kingsley. The twist that comes late in the film is interesting, but it is dealt with rather quickly and the final scene is less than satisfying. PG-13 for violence and language.

COMMUNION (R) 97 minutes * 1/2 Portrayal of one-time skeptic, Whitley Strieber (Christopher Walken), and his contact with extra-terrestrial beings. Walken does a nice job, but the translation from book to screen doesn't work too well, leaving us with too many awkward moments. Believability collapses after about 20 minutes and we still have a long way to go before we get to the end.

THE COMMUTER (PG-13) 99 minutes * * * If you weere asked to do just one small thing... and so it begins. Michael (Liam Neeson) finds himself trapped on a train, with a limited amount of time to solve a dilemma. Great intensity, and it's a plot mechanism that Neeson is very familiar with. There's a spot near the end that is outrageously unrealistic, but aside from that, the story works quite well, quickly drawing us in by engaging us in the deduction process. PG-13 for violence and language.

COMPADRES (R) 97 minutes * * Framed by a crime lord, Garza (Omar Chaparro) wants revenge. He goes in search of "The Accountant", who successfully stole a large sum of money from the same crime lord. But what seems like an easy plan, turns out to be far more difficult. The film starts out serious and violent, and slowly becomes more humorous, which seems strange and just really doesn't fit well because of how it started. And then, just when we're getting used to the humor, it shifts back the other direction. R for violence and language.

COMPANY BUSINESS (PG-13) 95 minutes * * 1/2 An old CIA agent comes out of retirement to do a job, but finds out it's a little more than he bargained for. The film constantly makes us feel that important footage was cut out and the ending is awkward as well. Gene Hackman gives his standard performance, but the film never rises above mediocrity. PG-13 for language and violence.

THE COMPANY MEN (R) 96 minutes * * Financial times are tough and GTX is laying people off. Bobby (Ben Afflekc) isn't taking it too well. Neither are Phil (Chris Cooper) or Gene (Tommy Lee Jones), but at least they still have their jobs... for now. Despite ending on a more positive note, it's a pretty depressing story, and a bit too close to home for most people. Cooper delivers the best performance, but the characters tend to be fairly one-note for much of the film. R for language andnudity.

COMPANY OF HEROES (R) 95 minutes * * 1/2 The Battle of the Bulge leaves a contingent of Allied soldiers behind enemy lines. When they learn that Hitler's comments about a new super-weapon may be fact instead of fiction, they decide to take advantage of their position to try and destroy it. Based on the video game. R for very graphic violence, language, and nudity.

THE COMPANY YOU KEEP (R) 116 minutes * * * 1/2 The Weather Underground was responsible for some of the most dramatic anti-Vietnam War protesting that ever happened. Now, one of the members who had been in hiding for 30 years, is exposed and on the run thanks to circumstances that include an overzealous young reporter (Shia LaBeouf). Lem Dobbs has done a masterful job adapting Neil Gordon's book to the big screen, and the cast reads like a who's who of Hollywood, with Robert Redford, Julie Christie, Susan Sarandon, Chris Cooper, Nick Nolte, Terrence Howard, Stanley Tucci, Richard Jenkins, Anna Kendrick, Brendan Gleeson, and Sam Elliott. R for language.

A COMPASSIONATE SPY (NR) 99 minutes * * 1/2 Todd Hall was a young scientist working on the Manhattan Project. He also shared many of the secrets about the project with the Soviets. Because of the potential outcome of the project, he felt there was no other option. This is his story, told through interviiews with Hall, his family, friends, and associates. A little dry, but very informative.

COMPLETE UNKNOWN (R) 86 minutes * * * When Tom's (Michael Shannon) friend shows up to a dinner party with his date (Rachel Weisz), Tom is sure he knows her. She denies it to his face, but following her when she excuses herself early, he learns that his suspicions were correct. She has adopted a new identity and begun a new life. It's something Tom would love to do, but Alice can't seem to stop what has become a pattern of shifting identities. The characters are strong and well-acted, and we leave this wanting to know what lies ahead for these characters. R for language.

COMPLIANCE (R) 87 minutes * * When a call comes in at the fast food place where Becky (Dreama Walker) works, the officer on the line tells her supervisor that Becky stole money. He begins to give instructions over the phone about what needs to be done. Guilt is often presumed once an accusation has been made, but to let it go this far seems extreme. The really scary part is that it's based on an actual incident. Script and performances are likely to make you squirm a little with how realistic if feels. R for language and sex.

COMPUTER CHESS (NR) 87 minutes * A weekend tournament for computer chess programmers.... that's the premise for this comedy that's made to look like a documentary set in the 1960s. For the most part, the humor here is so incredibly dry that its missed. Some of the subplots here tend to distract from, rather than enhance, the main story.

CON-AIR (R) 107 minutes * * * What happens when you put a bunch of society's worst criminals on the same airplane? You hope that Nicolas Cage can stop them! John Malkovich and Steve Buscemi are outstanding as two of the many villains that populate the film, and John Cusack turns in another fine performance as well. The tension builds well throughout the film, finishing off with a flurry of action in the last half hour that displays some amazing stuntwork. Great music by Mark Mancina and Trevor Rabin help keep us on the edge of our seat till the very end. R for violence and language.

CON ARTIST (NR) 79 minutes * * Mark Kostabi became a highly successful business artist. He then began to hire others to do the art that he would then sign as his own, serving more as a manager than as the artist. Doing this cost him his credibility within the art community, and now he's trying to get it back and become a great artist again. Mildly interesting documentary, but it's difficult for this to be more than that because the Kostabi we see here, doesn't elicit much sympathy.

THE CON IS ON (R) 89 minutes * * After a run of extraordinarily bad luck, Peter (Tim Roth) and Harry (Uma Thurman) have a huge gambling debt that needs to get paid off very soon. And so, they set out to steal a very expensive jewel. The cast is promising, including Stephen Fry, Maggie Q, Alice Eve, Crispin Glover, Parker Posey, and Sofia Vergara. But it struggles to do much more than tease us with what might have been. R for language, sex, and violence.

CON MAN (NR) 95 minutes * * Ambitious, aggressive, persuasive, and clever. Barry Minkow (Justin Baldoni/Barry Minkow) was all of these. He wanted everything, and he wanted it yesterday. He even managed to get most of it before it all came crashing down. Having Minkow play himself during part of the film is more of a curiosity than anything else.

CONAN THE BARBARIAN (R) 121 minutes * * * When an evil sorcerer destroys an entire tribe, he makes the mistake of leaving one boy alive. That boy will become… Conan the Barbarian, and he will have his revenge. The classic Robert E. Howard story comes to life thanks to the masterful direction of John Milius. Arnold Schwarzenegger is Conan, and not only fits the part, but did a good job of learning sword-fighting under the tutelage of Kiyosho Yamasaki. There is a little bit of humor here, which Schwarzenegger loves to add, but which doesn’t really fit. R for violence and sex

CONAN THE BARBARIAN (2011) (R) 104 minutes * * * More violent than the previous versions, this one attempts to stay more true to the books of Robert E. Howard, and does a fairly good job of it. Beginning with Conan's birth, it moves quickly through his coming of age and on to his quest for revenge against those who killed his father and destroyed his village. Jason Momoa fits the part well and is complimented nicely by Rachel Nichols as his love interest. R for violence and sex.

CONAN THE DESTROYER (PG) 108 minutes * * * Conan must protect a princess and get a magical crystal. Various adventures happen along the way. That’s kind of what happens to Conan quite a bit… various adventures as he sets out to perform a task. The acting here is not as good as the first film, but it manages to be more entertaining, and more relaxed, and has a more substantial story. PG for violence and sex.

LE CONCERT (PG-13) 112 minutes * * * Andrey Filipov (Aleksey Guskov) is finally going to get the opportunity he has dreamed of for so long. Conducting a performance of Tchaikovsky will make up for a disaster that happened thirty years earlier. But there's also something else he wants to accomplish, and it's going to be a bit difficult. The mix of comedy and drama is rough here, and there's an intensity and rapid pace at times that makes this a bit tiring to watch. The ending does a very nice job of bringing the film to a powerful close. PG-13 for language and sex.

CONCH BAY (NR) 63 minutes * * Ray is adopted by a dolphin family and is raised in the ocean. (No explanation about how he cab apparently breath under water.) He becomes a hero in Conch Bay, having adventures with his friends in the ocean and daeling with the antics of Greg the shark. Animation is not the best, but the characters are likeable and the music isn't bad.

CONCH BAY 5: RESCUING RAY (NR) 63 minutes * * Upset that Ray has been captured by humans, his friends set out to rescue him. But Ray is going with the humans because he wants to learn more about being human. One of the less complete parts of the series.

CONCH BAY 4: DOLPHIN BOY (NR) 63 minutes * * Ray rescues a girl. She doesn't understand why she looks so much like him but can't live in the water like he does. (It's OK, the rest of us have been wondering that too.) She wants him to live on the land and be the boy he is, but Ray doesn't wamt to leave his home and his friends. A cliffhanger ending as Ray is captured by humans. Stay tuned for part five.

CONCH BAY 2 (NR) 73 minutes * 1/2 When one of his friends is kidnapped, Ray must go to their rescue. Very similar to the first film, but with a little too much repetition. The music and the bright colors help.

CONCH BAY 3 (NR) 73 minutes * * Ray is trying to figure out who and what he is. It's clear to him that he isn't a dolphin, but what is he and who are his real parents? Meanwhile, the crabs are planning a takeover, and Ray has to figure out a way to stop them. The ending is not very good, but otherwise the story is one of the better ones of the series.

CONCUSSION (R) 92 minutes * 1/2 A concussion leaves Abby (Robin Weigert) without the ability to cope with her life unless she assumes a new role... that of Eleanor, who is more of a free spirit. The story lacks energy and direction. The performances are more than adequate, but without a place to go, we're left wondering why we're watching. R for sex and language.

CONCUSSION (PG-13) 118 minutes * * * The story of Dr. Bennett Omalu's (Will Smith) discovery of CTE, a brain traum due to concussions often sustained while playing football. As the proof began to mount, so did the refusal of the NFL to acknowledge that there was a serious risk. Solid, sports related drama, with a fine ensemble cast. Needless to say, even though the NFL did finally admit there was a problem, they also weren't too thrilled about this movie either. PG-13 for violence and language.

THE CONDEMNED (R) 107 minutes * Death row inmates are purchased by a television producer who has questionable ethics and who ships them to an island where they will fight to the death with the prize of freedom going to the winner. Webcasting the event will make him millions... unless someone stops him. Plenty of violence and muscle-bound fighters, but none of them really draw any sympathy from us. Scott Wiper collaborated on the story and the screenplay and directs the film, which could be part of the problem. R for violence and language.

THE CONDEMNED 2 (R) 84 minutes * Another tournament with people betting on the outcome of individual fights to the death. Plenty of guns, fights, and explosions. Not much in the way of acting or character development. R for violence and language.

CONDORITO: THE MOVIE (PG) 81 minutes * * Condorito's planet is under attack, and he must defeat the aliens and save the world. Familiarity with the comic series helps, though there are plenty of bright colors that will appeal to the younger crowd. There is quite a bit of adult humor that isn't really appropriate for them. PG for language and violence.

THE CONDUIT (NR) 101 minutes 1/2 Eddie (Wes Martinez) has had it rough lately. He heads back to his old hometown, hoping to find a way to start over. He meets Amy (Monica Engesser) in therapy, and they hit it off. But something isn't quite right about Amy. The story is interesting, but the script is stiff, and Martinez struggles to be convincing.

CONEHEADS (PG) 82 minutes * 1/2 What a surprise! It's the same old bits from "Saturday Night Live" thrown together in a story that has no entertainment value! The skits were hilarious, the movie is not. For diehard coneheads only!

CONFESS, FLETCH (R) 95 minutes * * * Serial murders and an art theft. It's just another regular day for Fletch (Jon Hamm). Fun mystery with a somewhat understated performance by Hamm. It works nicely in contrast to the rest of the characters. Hopefully we'll get to see a few more entries in this series so we can get a better idea of how Hamm will continue to develop the character. R for language and sex.

THE CONFESSION (NR) 86 minutes * 1/2 Laura Bennett (Sherry Stringfield) has terminal cancer. She's cutting her husband out of her will because of his gambling addiction, but she'd love to reconnect with the daughter she gave up for adoption so many years ago. But Katie (Katie Leclerc) will have to find her way through a web of deception if she wants to reunite with her mother. Overstated performances and a script that tends to sensationalize almost everything make this difficult to watch. Adapted from the book by Beverly Lewis and clearly ends with a set-up for a sequel.

CONFESSION (2022) (NR) 78 minutes * * 1/2 About to close up for the night, Father Peter (Colm Meaney) is surprised by Victor (Stephen Moyer). Victor is desperate and wounded. As they spend time together, they learn that they have some things in common. Some rather surprising things. A dialogue-heavy character drama.

CONFESSION OF MURDER (NR) 116 minutes * * 1/2 A serial killer in South Korea confesses after the statute of limitations has expired. But why? Is he really the killer? The detective on the original case begins to investigate again, which gets even more interesting when a call comes in from someone else who challenges the confessed killer. Nice suspense and plot twists, but the story loses quite a bit of energy as it nears the end.

CONFESSIONS OF A DANGEROUS MIND (R) 106 minutes * * * 1/2 Based on Chuck Baris' memoirs that focus on his involvement with the CIA as an undercover assassin. First-time director George Clooney does a great job setting the stage for this with sets, costumes, and props that take us back in time as well as some nice photography and scene change work. In a sense, this is a commentary on the connection between the world of G-men and gangsters and the world of entertainment. Is it true? Maybe. Maybe not. It could just be another of Baris' strange ideas, or it could be close to the truth. It could be the justification of a twisted mind to the way the entertainment world began to treat him. Any way you look at it, the story is well told and interesting to watch with some great performances from Sam Rockwell and Drew Barrymore. Keep your eyes open for cameos by Brad Pitt and Matt Damon. R for language, violence, and sex.

CONFESSIONS OF A PIT FIGHTER (R) 95 minutes * Eddie (Hector Echavarria) has spent the last seven years in prison. He wants to do the right thing when he gets out, but his brother is killed in a pit fight of the same sort that sent him to prison. He knows that justice for his brother will only happen if he delivers it. We know that he needs more acting lessons. Some of the fight scenes are fairly good, but nothing all that exciting. R for violence, language, and sex.

CONFESSIONS OF A PRODIGAL SON (NR) 83 minutes * Sean (Nathan Clarkson) leaves home for college with a rebellious attitude. He's searching for answers to questions he doesn't even know, finds others who are doing the same, gets off track, and eventually finds his way back. Simplistic script and two-dimensional acting sink this pretty quickly.

CONFESSIONS OF A SHOPAHOLIC (PG) 99 minutes * * Rebecca (Isla Fisher) likes to buy things. But now that she's lost her job, the bills are piling up and she needs to find a job... fast! Somehow she manages to get a job writing for Successful Saving magazine... right... Fisher does reasonably well here, but the story requires more charisma than she can muster. It's still cute, but little more than fluff, and an actress who could work with physical comedy more effectively would have made this a stronger film. PG for language.

CONFESSIONS OF A SUPERHERO (R) 92 minutes * * 1/2 There are many who dream of making it big in Hollywood. There are many who dream of becoming a superhero. And there are those who dress as superheroes and have their pictures taken on Hollywood Boulevard. They are street performers, and while it has its rewards, it is not an easy life. Ridicule and disrespect are common. The film allows us a glimpse inside the world of four of these individuals. Interesting. R for language.

CONFESSIONS OF A TEENAGE DRAMA QUEEN (PG) 83 minutes * * Showcase for actress Lindsay Lohan works well in that regard but the story is fluff about dreaming big, being honest, and true friendship. Nothing harmful, but not very interesting or different either. The preteen crowd gets this message every day from a variety of TV shows, so Lohan is the real draw here. She does sing her own songs. Adapted from the book by Diane Sheldon. PG for language.

CONFESSIONS OF AN AMERICAN GIRL (R) 83 minutes * * * Yet another stunning performance from Jena Malone, who also co-produced this film. She plays Rena, a depressed young girl who sees no point in life and whose only positive feelings seem to be about her father, who is in prison. The annual prison picnic, which they attend for the first time in three years, stresses the already fractured family beyond the breaking point, which is, perhaps, what it needed most. There's too much narration early on, though the ending bit is quite nice. The lessons here are important ones for the characters and for us. Good intentions often aren't enough, our memories sometimes distort to fit what we need, and the strength we need to survive is already within us... we just have to find it. R for sex and language.

CONFETTI (R) 95 minutes * * 1/2 With a multi-million dollar dream home at stake, which prospective couple can come up with the most original idea for their wedding? Poking fun at reality television, this film also manages to give us some fun characters along the way. It's interesting to note that the film was mostly improvised, and works quite well. But the story clearly could have benefited from the use of a script. R for nudity and language.

CONFIDENCE (R) 92 minutes * * * After running a successful con, Jake and his crew discover that they've upset someone who intends to get his money back. They convince him to help set up another con that he'll benefit from. But who can you trust when there are so many con artists around? Nicely written and well acted by a cast that includes Dustin Hoffman, Edward Burns, Rachel Weisz, and Andy Garcia. The narration detracts from the overall effect at times, but it's still quite good. R for violence and language.

CONFIRMATION (PG-13) 97 minutes * * * It's Walt's (Clive Owen) weekend to have Anthony (Jaeden Lieberher). They aren't really close, but that's about to change. Great work by young Lieberher, and a nice, and very different sort of role for Owen. PG-13 for language.

CONFIRMATION (2016) (NR) 107 minutes * * 1/2 When Clarence Thomas (Wendell Pierce) was nominated to the Supreme Court, there was one major bump in the road. An accusation of sexual harassment by Anita Hill (Kerry Washington) threatened to derail his nomination to the highest court in the land. Straight-forward drama. The cast is impressive, and the story gets more frustrating as it goes along. It becomes clear that the truth is not always something that will come to light in a court.

CONGO (R) 97 minutes * * Here is what happens when Hollywood tries to milk success out of everything an author writes. Most of Michael Crichton's books make great films. Congo is an exception, but then, the book wasn't that good either. Extremely uneven in both acting and production quality, we get the feeling that production was rushed far too much on this film. Filmed in Tanzania, Kenya, Costa Rica, and Los Angeles. R for violence and language.

THE CONGRESS (NR) 112 minutes * * * Robin Wright plays herself as the film studio offers her the chance to be scanned and have that scan become the property of the studio. But that will be a choice that is final. She will not be able to act again. It's about letting yourself grow old and enjoying the change of perspective that so often comes with that, and about celebrating the dreams and energy of youth. Our lives are both memory and hallucination. The film has a powerful ending, but the transition to animation is a shift that is difficult and the adjustment takes awhile. Using more life-like 3D animation would have been more effective and made the shift seem even more realistic and immediate.

THE CONGRESSMAN (R) 94 minutes * * 1/2 After a really bad day at work, Congressman Winship (Treat Williams) heads out to a remote island in his district that is having a problem. These folks won't take "no" for an answer, and they have a story he needs to hear. Nice local charm, and a story with a good balance of relaxed humor and drama. R for language and sex.

THE CONJURING (R) 106 minutes * * * Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) - a demonologist and a gifted clairvoyant. This is the story of their most terrifying case. Plenty of pretty strong chills and scares throughout. The story, based on the actual case, is presented in a way that mixes the paranormal with science and technology very effectively, adding strength to the scares. There are a few loose ends along the way, but the effect is still scarier than most films in the genre. R for violence.

THE CONJURING: THE DEVIL MADE ME DO IT (R) 105 minutes * * * Instead of the exorcism sending the demon back to Hell, it simply leaves the little boy and takes Arne (Ruairi O'Connor) instead. This may be the most difficult case they ever deal with. (Though that tends to be said about almost all of their cases.) This is one of a very small number of film franchises that maintains its intensity from one film to the next. R for violence.

THE CONJURING 2 (R) 128 minutes * * * Lorraine (Vera Farmiga) and Er Warren (Patrick Wilson) are called in to deal with an evil spirit that has infested a house in northern London. It's troubling to the people living there now, but did it couse the previous resident to kill his entire family? Just as creepy and scary as the first. R for violence.

CONNECTED (PG) 78 minutes * * 1/2 Director Tiffany Shlain explores what it means to be connected to others in the 21st century. In this documentary she explores the personal and the universal, because what we feel and experience as individuals has a great deal of relevance for others. An interesting "snapshot" of life in the early 21st century that could become even more so in a few years. PG for language and nudity.

THE CONNECTION (R) 130 minutes * * * 1/2 A ruthless battle for the top position in the drug trade is going on. The winner will control the flow of drugs from Turkey to Madrid. Pierre Michel (Jean Dujardin) is a magistrate who is trying to do everything in his power to stop the fight and bring those responsible for the drugs to justice. But the dirt he uncovers goes all the way to the top, and figuring out how to bring it all down is far from easy. An intense and well-played police drama. R for violence and language.

THE CONQUEROR (NR) 128 minutes * * Director Vladimir Bortko also adapted the script for this rather lifeless adventure film. Some of the battle scenes do show a little energy, as well as some overly grtuitous violence. Based on the classoc novel "Tars Bulba" by Nikolai Gogol.

CONSECRATION (R) 85 minutes * * 1/2 Suicide or murder? Grace (Jena Malone) does not believe that her brother, a priest, would have committed suicide. Proof that it was murder will not be easy to gather from the convent where he allegedly fell to his death. In truth, the answer involves a dark secret that Grace has yet to uncover. Another fine performance by Malone. R for violence and language.

CONSENTING ADULTS (R) 95 minutes * * The Parker family meets the Otis family. The Otis family wants to partner swap. Murder and insurance scams ensue... like that's a surprise. This is a really pathetic, trashy story that is barely rescued at all thanks to the acting talents of Kevin Kline, Kevin Spacey, and a few others. R for violence and sex.

CONSINSUAL (R) 94 minutes 1/2 When does "no" mean "no"? Poorly written and badly acted loo at who has control or power in a relationship and what happens when that isn't shared well. The shallow and manipulative script gets the better of the film despite the slick look. R for sex and language.

CONSPIRACY (2008) (R) 87 minutes * Thinly veiled slam on Halliburton's connection to war and the government. It's still just a vengeance film with a pudgy Val Kilmer taking revenge for a friend of his that was killed by the company's gunmen. Even Kilmer's fans are likely to be disappointed in this. R for violence and language.

CONSPIRACY THEORY (R) 126 minutes * * * 1/2 Jerry (Mel Gibson) may be a little more paranoid than the normal individual, but he may be on to something. Excellent story with twists and turns that are placed with care and skill and keep us glued to the screen. Great camera work and a wonderful soundtrack by Carter Burwell round things out to make this a superb suspense film. Gibson and Julia Roberts work well together, convincing us with ease that events such as these could easily occur. Don't miss this classy piece of work from director Richard Donner! R for language and violence.

THE CONSPIRATOR (PG-13) 114 minutes * * 1/2 In the wake of the assassination of Abraham Lincoln, both passion and political ambition are running high. As the conspirators are rounded up, the woman who ran the boarding house where the plans were made finds herself on trail. Her attorney will be Frederick Aiken (James McAvoy), a Captain from the Union army, despite his reluctance to serve in that role. After a strong start, this slows down for quite a long time, though it does end well. The stellar cast also includes Robin Wright, Kevin Kline, Evan Rachel Wood, Tom Wilkinson, Justin Long, Colm Meaney and Alexis Bledel. Filmed in Savannah, GA. PG-13 for violence.

THE CONSTANT GARDENER (R) 120 minutes * * * It was Tessa's (Rachel Weisz) fire and passion that first attracted Justiin (Ralph Fiennes) to her. Little did they realize the trouble that it would later cause. As he investigates the events surrounding her death, it appears that there was a conspiracy in place. Strong performances from both leads in this adaptation of the John LeCarre novel. R for violence, language, and nudity.

CONSTANTINE (R) 114 minutes * John Constantine (Keanu Reeves) is a spiritual warrior who can see both angels and demons. Beings that live among us, that others do not see for who they are. The idea is interesting, but the script is often muddled, moving from action to description with direction that seems to hesitate and then surge forward. There's also the difficulty of understanding a film where much of the dialogue is spoken in very soft tones yet the sound effects in the action sequences practically blast you through the back wall. Rachel Weisz, playing the part of a cop who begins to work with Constantine, does what she can, Reeves... no, it's the same old Reeves... not much there. A disappointing adaptation of the comic book to the big screen. R for violence.

CONSTANTINE CITY OF DEMONS: THE MOVIE (R) 88 minutes * * 1/2 Chas' daughter Trish (voiced by Laura Bailey) has been in a coma for ten years. Constantine (voiced by Matt Ryan) is going to do what he can to bring her back. It will take the help of a few friends, namely, The Nightmare Nurse, The Queen of Angels, and Mictlantecuhtli. There's plenty of story packed into this, and while it helps to already be familiar with the characters, the story moved along in a way that means you don't have to. R for violence and sex.

CONSTELLATION (PG-13) 91 minutes * * * As the family of Carmel Boxer (Gabrielle Union) gathers for her funeral, they begin to remember. Some of them memories are sweet, but others are not. Still, family is family, right? Perhaps. It may also be important to let go. Love the people you love, and the ones who love you. We are each part of a constellation, but how brightly we shine is up to us. Very nice ensemble work from a cast featuring Hill Harper, Billy Dee Williams, Rae Dawn Chong, Clarence Williams III, and Zoe Saldana among others. PG-13 for language.

CONSUMED (NR) 91 minutes * 1/2 Sophie (Zoe Lister-Jones) doesn't think much about her son's rash until it doesn't respond to treatment. The deeper she digs, the more Clonestra's name keeps turning up. They are an agricultural company that produces GMO seeds and plants. The story strays into far too many subplots and undermines the effectiveness it might have had by weakening the integrity of the characters as they become distracted by too many things.

CONTACT (PG) 140 minutes * * * Taken from Carl Sagan's novel, this is an excellent look at the possibility of life on other planets and how we might first hear from them. Jodie Foster plays Dr. Ellie Arroway, who has been fascinated with stars and planets since childhood and is the first to hear the signal being broadcast from Vega. She gives us an outstanding performance as usual, and is supported well by the rest of the cast. The news broadcasts are a shortcoming here, as they will only serve to date the film with their use of real people from the field of TV news. There is also an awkward segment early in the film where we jump back into the past for an explanation. Otherwise, this is a fine piece of work that should make you wonder, because "if it's just us, it [sure] seems like an awful waste of space!" PG for language.

CONTAGION (PG-13) 102 minutes * * * It's deadly, killing within a matter of days. Where did it come from, and how can it be stopped? On top of everything else, the outbreak begins on Thanksgiving weekend, allowing it to spred more quickly not only because of people's travel plans, but also because the reporting mechanism in the United States is slower on a holiday weekend. Nice job showing the detailed and quality work that the Center for Disease Control and the World Health Organization are involved in, though the process is maddeningly slow when people are dying. The intensity of the story does fade quite a bit during the last 15 minutes of the film, and it just sort of stalls at the end. PG-13 for violence and language.

CONTAINMENT (NR) 70 minutes * * It was just another morning as usual, until these neighbors discover that they’ve been sealed inside their apartments. They’re a creative bunch though, and soon discover how to cooperate and try to figure out how to get out while also trying to understand why this has happened. The reason remains mysteriously undefined, even as it begins to clarify a few points as the film progresses.

THE CONTENDER (R) 120 minutes * * * The country has been without a vice-president for several weeks and the position needs to be filled. Even when the president makes his choice, they are only a contender who must be approved. Will they survive the scrutiny or will the opposition succeed? Politics can be a rough game. The story moves along well and the performances are solid throughout. The outcome isn't all that surprising, but Jeff Bridges does manage to give us a fine closing speech that is inspiring and patriotic. Joan Allen, William Petersen, Gary Oldman, Sam Elliott, and Christian Slater also star. Filmed in Virginia. R for language.

CONTRABAND (R) 105 minutes * * Chris (Mark Wahlberg) thought he'd left his life of crime behind, but now that his brother-in-law is in trouble with some pretty rough characters, he's back in the game. A few too many close calls that stretch believability a bit too far,l but there is plenty of action. R for violence and language.

THE CONTRACT (R) 90 minutes * * Carden (Morgan Freeman) is a dangerous man. When he's taken into custody, his team begins their work to get him back. A planned accident manages to set him free, but before he can be rescued, Ray (John Cusack) finds him. The deadly game begins. There are some nice twists, though believability is a bit of a stretch. R for violence.

CONTRACT KILLERS (R) 80 minutes * 1/2 A retired CIA assassin (Frida Farrell) finds herself framed for the death of her husband. With the agency denying her help, she has only one option... and they aren't going to like her when she's mad. Not a bad idea, but the script doesn't do this any favors, and the acting is uneven, with some scenes fairly good and others very weak. R for language and violence.

CONTRACT KILLERS (2014) (NR) 92 minutes BOMB The biggest drawback to being a hitman is never knowing when the tables are going to turn. And as this hitman is about to find out, when you're one of the best at your job, the person they send after you just might be even better. It sounds much more interesting than it is, mostly because of how cheaply this was made and how poorly acted. The fight choreography is really bad.

CONTRACT TO KILL (R) 88 minutes * * Terrorists are planning an attack on the United States, and Harmon (Steven Seagal) has to stop them. Working with an FBI agent and a drone pilot, he tries to pit drug smugglers against the terrorists in an attempt to bring them both down. There's some nice, close contact fighting, but Seagal's acting remains stiff and dry. R for violence, language, and sex.

CONTRACTED (NR) 79 minutes 1/2 Just in case you needed another reason not to have random sex... you can watch Samantha (Najarra Townsend) discover that what she has is no ordinary STD. Really dumb ending that leaves us with even more questions than we had a few minutes before. There are a few interesting effects, and there was clearly some potential for a more interesting story, but it just never develops.

THE CONTRACTOR (R) 93 minutes * 1/2 James Dial (Wesley Snipes) is a hit man who gets double-crossed by his boss. He seems to care about as much as we do. What's worse is that his lifeless, emotionless performance reminds us of Steven Seagal's films. Eliza Bennett does a nice job as a young girl who helps him out and begins to grow fond of him. R for violence and language.

THE CONTRACTOR (2022) (R) 98 minutes * * The bills are piling up and Sgt. James Harper (Chris Pine) has just been discharged. That means no income and no insurance. E hires on to a private contracting firm, but the ethics they employ are somewhat questionable. When a mission goes bad, Harper finds himself fighting for his life with no one he can trust. Good action, but the story is standard fare and delivers a weak ending. R for violence and language.

CONTROL (R) 96 minutes * Lee Ray Oliver (Ray Liotta) is given a second chance. Sentenced to die by lethal injection, if he is willing to take part in a medical experiment that involves behavior modifying drugs, he becomes virtually harmless... or does he... do we care... no... Cardboard performances not only from Liotta, which isn't that much of a surprise, but even from Willem Dafoe and Stephen Rea. Michelle Rodriguez does fairly well here, but then again, her role isn't that big. Poor script and poor direction take most of the energy and excitement away. R for violence and language.

CONTROL (2007) (R) 110 minutes * * * Ian Curtis (Sam Riley) never dreamed that singing in a band with some friends would lead to a career. the British band Joy Division was an almost overnight success, but Curtis wasn't ready for the demands of rock star life, and the toll it would take would prove fatal. Adapted from the book "Touching From a Distance" by Deborah Curtis, with a Sincere and thoughtful portrayal by Riley. R for language and sex.

THE CONVENIENT GROOM (NR) 83 minutes * * Kate (Vanessa Marcil) hosts a show about dating and relationships. She's about to announce her own engagement when her fiancee bails, Her childhood friend Lucas (David Sutcliffe) steps in to save the day. It's actually the chance he'd been hoping for, but she doesn't know that yet. Of course, with this being a Hallmark romance movie, it will all work out in the end.

THE CONVENT (NR) 109 minutes * 1/2 With the unique ability to communicate with the dead, Mon (Jannine Parawie Weigel) teams up with the spirit of a boy who died several years ago. Together, they will work to solve a murder mystery from many years ago, before it was a convent. There are a few good effects, but lots of narration and a very slow pace that tends to undermine most of the suspense. Also known as "Senior".

CONVENTIONEERS (NR) 95 minutes * * Interesting mockumentary about a delegate to the Republican National Convention who runs into an old classmate while there. They reminisce, and explore their feelings for each other, while at the same time struggling with their opposing political viewpoints. She is there as a liberal activist. The believability of the emotional connection between the leads is less than convincing, but the film does a nice job exploring the extremes of both the republican and Democratic parties. As the closing credits note, several of the film staff and crew were arrested during filming courtesy of the NYPD.

CONVERGENCE (NR) 95 minutes * * Detective Ben Walls (Clayne Crawford) is investigating an explosion when another one happens. Waking up in a hospital, he soon discovers that it is less a hospital and more of a place that lies in-between life and death. He still has a chance to stop the bomber, but there are others in this place that want to stop him. After a slow, confusing, and not very interesting beginning, this eventually gets our attention and ends much better than it begins.

CONVERSATIONS WITH GOD (PG) 104 minutes * * * Neale Walsch (Henry Czerny) faces a series of crises that leave him injured, homeless, and destitute. It is only then that he hears the voice. What he hears makes sense, and as he follows the teachings and guidance that the voice offer, his life begins to turn around. Sensitive and inspirational adaptation of Walsch's books that are based on his own life. It's an uplifting and spiritual film that promotes no particular religion, but does promote spiritual well-being. PG for language and violence.

CONVICTION (R) 100 minutes * * 1/2 When her brother is convicted of a murder she knows he didn't commit, Betty Ann Waters (Hilary Swank) gets a law degree and works to get him out of jail. Based on a real incident, the script is rather shallow at times, and vastly over-simplifies the process Waters had to go through. Swank and Sam Rockwell are fairly good, but the material lets them down. R for language and violence.

CONVICTION: THE CASE OF STEPHEN LAWRENCE (NR) 138 minutes * * * An unsolved murder of a young black man. The police force accused of attacking Stephen and killing him was never prosecuted. DCI Clive Driscoll (Steve Coogan) is certain that he can solve the case and see that justice is finally done. A strong legal drama with good performances all around.

COOK COUNTY (NR) 92 minutes * * 1/2 When he comes home after two and a half years of being locked up, Sonny (Xander Berkeley) discovers that his brother has turned the house into a drug den. Sonny's clean now, but there's no changing his brother. What he hopes to do is at least get his niece out of the house. Depressing story, but well acted.

COOK OFF! (R) 95 minutes * 1/2 The Van Rookle Farms cooking championship will determine the winner of a million dollar prize. Competition will be fierce... and not without some humor. This parody of cooking competitions features a number of cameos and bit parts for comedians, but the laughs are inconsistent and sporadic.

THE COOK, THE THIEF, HIS WIFE, & HER LOVER (NR) 120 minutes * * 1/2 Unusual, strange, hypnotic, and intriguing, while also being frequently repulsive and grotesque. It's an interesting mix of sensations and feelings that definitely makes this a film that won't be of interest to the mainstream moviegoer. If you can stay with it, you'll find that it's a morality tale about greed, and tells the story with overwhelming power, and with virtually seamless transitions between scenes and moods.

COOKIE (R) 90 minutes * * Peter Falk plays the part of a small-time mobster who finally gets out of prison only to have to deal with a daughter who is learning the business a bit too quickly for his liking. Fun performances from Falk, Dianne Weist, Emily Lloyd, Brenda Vaccaro, and the rest, help to brighten up a picture that doesn't really have a lot going for it. R for language.

COOKING WITH LOVE (NR) 84 minutes * * 1/2 When an accident sidelines a children's cooking show, Kelly (Ali Liebert) ends up with a talented but abrasive replacement (Brett Dalton). Their visions for the show are very different, but perhaps they can meet in the middle. They just might find each other as well as a way to make the show a success.

THE COOKOUT (PG-13) 82 minutes 1/2 Todd Andersen (Storm P) is the #1 draft choice fo the NBA. Now he has lots of money, new friends, and all of the problems that go with it. He's also having a hard time getting his family to appreciate his new lifestyle. Yet another moralistic story about the importance of family and friends, not told nearly as well as many others. PG-13 for language.

COOL AS ICE (PG) 86 minutes * Vanilla Ice didn't see all that much success as a rap star. To feature him in a film, was not, perhaps, the best of ideas. It's basically a few rap numbers strung together with about one short paragraph of story.

COOL RUNNINGS (PG) 94 minutes * * Although this isn't a high quality piece of work, it really is a fun movie to watch and has an appeal to all age groups. A Jamaican bobsled team on its way to the Olympics provides us with plenty of laughs as well as a decent moral. Based on the true story of the 1988 Jamaican bobsled team. PG for language.

COOL WORLD (PG-13) 96 minutes * * Live action/cartoon mix from director Ralph Bakshi about a female "doodle" who wants to become real by having sex with a "noid" (human). The weak story is helped along here by Gabriel Byrne's performance. Kim Basinger... nah, she does a better job acting as a cartoon. It's an interesting idea, but it just never comes together.

THE COOLER (R) 98 minutes * * Bernie (William H. Macy) is a natural cooler. All he has to do is be near someone and their luck turns bad. Shelly (Alec Baldwin) uses him to help keep his casino running in the black. But Bernie's luck, and his cooling effect, seem to be changing. Baldwin is miscast here, though Macy more than makes up for it. The real problem is that the story betrays its offbeat nature in favor of an overly sentimental ending. Macy fans will enjoy this more than the rest of the crowd. R for language, violence, and sex.

COOTIES (R) 85 minutes * Azombie virus (of sorts) that spreads among children. OK... and the humor is a good idea, because the approach isn't very scientific or technical. But what this is missing is a better balance between the humor and the horror. Instead, it just keeps missing the mark. R for violence and language.

COP AND A HALF (PG) 88 minutes * * Young Devon witnesses a murder, and in exchange for the information he provides, he wants to be a cop. But keeping this youngster occupied for a few hours as a pretend police officer turns into much more than the simple task it should have been. Burt Reynolds stars in this lightweight comedy that is well-suited to video release.

COP AND A HALF: NEW RECRUIT (PG) 92 minutes * * Karina (Lulu Wilson) loves to play detective, and she's actually quite good at it. Detective Simmons (Lou Diamond Phillips) is working on a particularly puzzling case, and her help might be just what he needs. Of course, not only is that idea a little frustrating to accept, but it's not going to happen without some rather unique difficulties along the way. Cute adventure film for the 6-10 age crowd. PG for violence and language.

COP CAR (R) 84 minutes * * Sheriff Kretzer (Kevin Bacon) is definitely not an upstanding law enforement officer. But he's a little concerned when his car is stolen by a couple of kids for a joy ride. There''s something in the trunk that he hadn't disposed of yet. And he needs to take care of that. Soon. The story leaves a few questions unanswered, but the tension is maintained well, especially for a story that tends to stay on one note. R for language and violence.

COP OUT (R) 101 minutes 1/2 Their tactics are a bit un-orthodox, but they usually manage to get the job done. It's going to be a little bit harder this time, since they just got suspended from the police force. Another in the endless "buddy cop" films, and another of the many mis-fires. The story never really settles on whether to be a comedy or an action film, and succeeds at neither. Bruce Willis seems tired and disgusted throughout the film, and Tracy Morgan's character is nothing short of completely annoying. To be fair, Jason Lee, Kevin Pollack, and a few others here aren't much better. R for violence and language.

COPENHAGEN (NR) 93 minutes * * * Fascinating exploration of the wartime meeting of two brilliant physicists, Niels Bohr and Werner Heisenberg. Friends before the war, they found themselves on opposite sides. The actual content of their meeting remains a mystery, but Michael Frayn's Tony award-winning play, adapted here to the screen, does a wonderful job of exploring the possibilities. It's definitely more than a bit wordy, but the ideas and the fine acting by Stephen Rea and Daniel Craig compensate fairly well.

COPLAND (R) 97 minutes * * A town full of cops, a crime that has been covered up, an honest sheriff... No real surprises here, except to see Stallone looking and acting more like he did in the first Rocky movie. It takes his character a little while to figure things out and decide what to do, but he gets there eventually. Lots of big names here, Robert DeNiro, Harvey Kietel, Ray Liotta, Michael Rapaport... but the story is fairly shallow and moves along at an annoyingly slow pace. This is more a curiosity item than anything else. R for violence and language.

COPPER BILL (NR) 83 minutes * 1/2 Somewhere on the ranch, eighty million dollars is buried. Nobody seems to know exactly where it is, but everyone is ready to kill for it. Jessup (Thom Hallum) is determined to find it so he can pay off a debt. If he can't pay off that debt soon, trying won't matter. The story tends to go in circles without really getting anywhere. Sets, costumes, and even the music are good enough to set the stage well, but the story and the acting just don't deliver.

COPPERHEAD (PG-13) 115 minutes * * 1/2 During the Civil War, those people in the northern United States who opposed the war were known as "Copperheads". The film follows the members of one family who are not all in agreement about whether or not to support the war. Despite being set in upstate New York, it has more of a western prairie dramatic style, which also means that its sentimenal and overly dramatic when it doesn't need to be. PG-13 for violence.

COPS AND ROBBERS (R) 88 minutes * * A hostage/heist film with a twist. The bank robber and the negotiator are brothers. That definitely adds a different sort of wrinkle to the story, but there are even more as the film nears the end. Unfortunately, the energy level is suprisingly low throughout the film. It's not bad, but it isn't very exciting. R for language and violence.

COPS & ROBBERSONS (PG) 88 minutes * 1/2 Norman Robberson (Chevy Chase) is about to have his dream come true. He's always been a fan of the police shows on TV, and now his house is going to be used to stake out a suspicious neighbor. There are a few cute bits here and there, but Chase is really hard to take and Jack Palance and Dianne Wiest have to work with a one-joke script.

COPSHOP (R) 103 minutes * * 1/2 Thinking he has a brililant plan to avoid his assassin, Teddy (Frank Grillo) gets himself arrested so he can be under police protection. He wasn't counting on dirty cops and more than one assassin. The story is a maze of surprise turns and dead ends. The characters are all a little extreme, though Valerie (Alexis Louder) is quite good. R for violence and language.

COPYCAT (R) 117 minutes * * 1/2 Sigourney Weaver and Holly Hunter never seem comfortable in this story of a serial killer. Hunter and Dermot Mulroney enlist Weaver's help and we do get an interesting look inside a serial killer's mind, but it's not nearly as scary as "The Silence of the Lambs", or even as intense as  "Seven". Too much of the suspense is ruined by obvious hints that leave us waiting for a surprise we never get.

COPYING BEETHOVEN (PG-13) 101 minutes * * * Interesting and entertaining fictional account of the last year or so of Beethoven's life, focusing on his interactions with a young copyist who has musical ambitions of her own. Diane Kruger does a fine job as Anna, the copyist, but it is Ed Harris who steals the show simply because we forget that it is a role. Harris has become a fine actor over the last few years, overlooked by many of his peers and by the Oscars because he disappears inside his characters rather than wearing them with an "Ed Harris" persona. There are historical inaccuracies here, though the spirit of musical creativity and brilliance are clearly evident. All things considered, a very nice piece of filmmaking. PG-13 for sexuality.

CORALINE (PG) 95 minutes * * 1/2 None too thrilled about her family's latest move, Coraline is left on her own to explore the old house. Behind a small door, she discovers another world, where everything seems to be just the way she wants it to be... though she soon discovers that all is not as good as she thought. Its an unusual film, especially because it is a quite spooky and even sinister story, which is likely to haunt the memories of those who watch it. Pre-teens and young teens are more likely to enjoy this, though the simplicity of the story may put them off a bit. Adapted from the graphic novel by Neil Gaiman. PG for violence.

CORAZON MARCHITO (NR) 105 minutes * * 1/2 They are best friends. He's helping her look for work, and she's helping him look for love, but there's somthing that they both seem to be overlooking... Fun romantic comedy from writer/director Eduardo Lucatero with nice work by both Ana Serradilla and Mauricio Ochmann.

CORBIN NASH (NR) 91 minutes * Nash (Dean Jagger) was looking for the person who killed his parents, but in the process ends up getting killed as well. Lucky for him that he manages to come back as a supernatural demon killer. The rest of the film doesn't make much sense either, with vampires, cage fights, and a script that can't decide whether humor of horror is the mood of the moment. It ends up being mostly a mess, with only a couple of small bright spots.

THE CORE (PG-13) 126 minutes * * Oh no, the core of the earth has stopped spinning and the world is going to end unles our heroic team can jump start it with some nuclear explosions and a machine that can bore it's way to the center of the earth. Wait, did I just say "bore"? The best part of the film is the chemistry between the crew that is on the ship, Delroy Lindo, Hilary Swank, Stanley Tucci, Aaron Eckhart, and Tcheky Karyo. The whole disaster part of the film is pretty silly and just goes on far too long. PG-13 for violence.

CORIOLANUS (R) 118 minutes * * 1/2 Modernization of Shakespeare's "The Tragedy of Coriolanus". Though not a particularly likeable character, Coriolanus (Ralph Fiennes) is a warrior and not a gentleman, though there is a sense of honor in his actions. Some may find the Shakespearean dialogue a bit difficult to follow, but the modernization of the setting works well, and the stellar cast play their roles quite well - Gerard Butler, Brian Cox, Jessica Chastain, and Vanessa Redgrave to name a few. R for violence.

CORKY ROMANO (PG-13) 80 minutes 1/2 Corky (Chris Kattan) infiltrates the FBI to try and help his criminal family. This had the potential to be funny, but the script never manages to capitalize on humor, undermining itself with serious moments that we never care about. The outtakes would've been funnier. PG-13 for language.

CORMAN'S WORLD (R) 85 minutes * * * Roger Corman has directed literally hundreds of films, and made them all for so little money, that he's always made a profit. His influence in the industry has been tremendous, but recognition for his accomplishments has been less forthcoming. A biography, history of filmmaking and the film industry, and an homage to one of the most creative and prolific directors ever born. R for violence, nudity, and language.

CORNER OFFICE (PG-13) 98 minutes * * * Orson (Jon Hamm) is enjoying his new job. As he works to fit in and learn about his co-workers and the space they use, he comes across a corner office. It appears to be unused, though he finds it to be very comfortable. He can't understand why no one is using it. When he asks, no one will even acknowledge that there is such a room in the building. Great work by Hamm. The film is heavily narrated, but it works well for this sort of story, keeping us inside Orson's head as he struggles with what this all means. Adatped from the booko, "The Room" by Joonas Karlsson. PG-13 for language.

CORPO CELESTE (NR) 95 minutes * 1/2 Marta (Yle Vianello) was born in Italy, but has been in Switzerland for the last ten years with her mother. Now her family is back in Italy, and her friends and education are cenetered around the church. It's time for her to choose her own path. The film wanders around, much like Marta, and her coming-of-age journey and the film don't really have an ending. It's going to be a longer process for Marta. Vianello does well here, but the supporting roles are often not as strong as they need to be.

CORPORATE AFFAIRS (R) 78 minutes BOMB Cheap sets, lousy dialogue, poor acting by most of the cast, and canned music... And all that on top of a crude story about a guy trying to take advantage of his former lover when she inadvertently gives a CEO a heart attack during sex.

CORPORATE ANIMALS (R) 81 minutes * Sometimes companies go on team building retreats. Lucy (Demi Moore) has such a retreat planned for her workers. She even pushes them to take the more advanced cave route. And then they get stuck. It's an unusual mix of satirical humor and suspenseful drama that just doesn't work very well. The story keeps hinting at either something more humorous or more frightening and never delivers on either one. R for language, sex, and violence.

CORPSE BRIDE (PG) 73 minutes * * 1/2 Comparisons to Tim Burton's earlier "The Nightmare Before Christmas" are inevitable, and this just doesn't hold up quite as well. Most of the animation is very similar, in that it's excellent with occassional moments that lapse in quality. Creativity is what's in less abundance here. Fewer characters and more repitition of comments in a story that just doesn't involve us that much. It's still interesting, just not a film that lends itself to repeat viewings like Nightmare does. PG for language and violence.

THE CORPSE OF ANNA FRITZ (NR) 69 minutes * * Pau (Albert Carbo) works at a hospital, and when a famous actress turns up dead, he invites his friends to see her in the morgue. First, they decide to take a picture. Then, what happens next is a surprise to all of them. The ending is a bit over the top, but until then, it's good.

CORRINA CORRINA (PG) 110 minutes * * * Little Molly Singer (Tina Majorino) misses her mother and her dad isn't really dealing too well with his wife's death either. Enter the new maid/babysitter Corrina Washington (Whoopi Goldberg), who has everything under control. Majorino is adorable and Goldberg is terrific as usual. This is great stuff even though it's fairly predictable. A good mix of drama and comedy although the transitions between are a little rough a few times. PG for language.

THE CORRUPTED (R) 97 minutes * * Liam (Sam Claflin) has lost a great deal. He's out of prison now, and working to set things right. But Liam's path is through Clifford Cullen (Timothy Spall), a violent and corrupt crime boss who has connections at every level in London. Lots of twists and turns and corruption, and a less than satisfying ending. R for violence and language.

THE CORRUPTOR (R) 102 minutes * A violent young gang is trying to take over Chinatown and things are getting out of control. Lt. Chen (Chow Yun-Fat) is on the case with his new sidekick Daniel Wallace (Mark Wahlberg). The story isn't too bad, involving the FBI and Internal Affairs, and a few false leads. The problem is the editing, photography, and sound. All speak of a low budget and work done by people with little experience and it really makes the film hard to watch. There are a couple of supporting roles that have some nice potential, but by that point, it's a little late. R for violence, language, and nudity.

CORSAGE (NR) 108 minutes * * * The average life expectancy of her subjects is 40 years. When Empress Elisabeth of Austria (Vicky Krieps) reaches that age herself, she is no longer seen as a beautiful woman, but rather as an old one. She struggles with the expectations of her position, her desires, and what it means to be getting older. A year in the life of a tragic character, fictionalized from actual events. Strong work by Krieps.

COSMIC SIN (R) 86 minutes * 1/2 It's 2524, and colonization of Mars has already happened and failed. Mining is taking place on other celetial bodies. Contact has been made with an alien civilization, and seven soldiers are about to execute a preemptive strike. What's here isn't all that bad, but we seem to be missing several parts of the story. R for language and violence.

COSMOPOLIS (R) 99 minutes * * * Another of director David Cronenberg's unusual pieces, this one involves a cross-town drive in Manhattan as Eric (Robert Pattinson) goes to get a haircut. Conducting business and meeting with friends and others along the way, we are slowly wrapped up in his constantly twisting and changing world. As with most of Cronenberg's films, the script is esoteric and cerebral, and packed with philosophy and metaphor. Repeated viewings are likely to help. Adapted from the novel by Dan DeLillo. R for sex, violence, and language.

COSMOS (NR) 99 minutes * * * ½ Writer/director Andrzej Zulawski’s final film, which was also his first in 15 years, is a bizarre and delightfully strange trip. Witold (Jonathan Genet) and Fuchs (Johan Libereau) are set to spend some time at a family guesthouse for a short break. How much of the madness that follows is real or imagined, truth or fancy, actual or symbolic is left for us to decide. Likely one of the most unusual films you’ll ever see, with a style that dares to mix the extreme with the subtle. Beautifully photographed and with performances that endeavor to carry us to the same edge that the characters are living. Not for everyone, but worth a second trip for those who are intrigued.

COSMOS (2019) (NR) 127 minutes * * * There are always people listening. Searching for intelligent life from another planet has been happening for quite some time. This is the story of three amateur astronomers who discover what might actually be a confirmed signal from another planet. In many ways, a quiet and simple film, but there's an energy to this story that many people will be able to identify with. It's about the hard work of those who may not have much, and who may have hardships to overcome, but who persevere and achieve the unthinkable because of their passion and dedication.

COTTAGE COUNTRY (NR) 88 minutes * 1/2 Todd (Tyler Labine) is going to his family's country cottage for the week. It's supposed to be a quiet, relaxing week with his girlfriend. When his strange brother shows up with his own girlfriend, it gets a little dicey. But Todd is... less than assertive, pretty much avoiding confrontation at all costs. Or, at least that's usually the case. A few good moments here, but this is really missing the witty edge that would have made it more entertaining.

THE COTTON CLUB (R) 121 minutes * * 1/2 The story is about the club itself, but told through the eyes of people who frequented it. Lots of well-developed characters, but the story comes up lacking direction and focus. Some good music, but the dancing still needed some work. R for violence and language.

THE COUCH TRIP (R) 95 minutes * * * 1/2 Three great comedians with very different styles of comedy as we follow the story of John William Burns Jr. "a pathological misfit with delusions of grandeur". After managing to be in the right place at the right time, Burns impersonates his own doctor and takes a temporary job as a replacement for a well-known Los Angeles psychiatrist. With Dan Aykroyd's quick wit and boisterous style, Walter Matthau's cynicism, and Charles Grodin's deadpan approach, the film manages to be full of humor at every turn. There are also some thought provoking comments about sanity and insanity, and there's even a little bit of a love story. Aykroyd's films don't always have the strength they need to succeed, but the script and Michael Ritchie's direction give this the support it needs. It's an entertaining piece of work that many people aren't familiar with.

THE COUGAR CLUB (R) 95 minutes 1/2 With life after college looking boring and work at the law firm offering few opportunities for earning big money, Spence (Jason Jurman) and Hogan (Warren Kole) decide to turn their love of older women into a business. Faye Dunaway and Carrie Fisher have sunk to a new low by playing roles in this vapid comedy. Poorly written and poorly directed, though not a bad idea for a story. R for sex and language.

COUGARS, INC. (R) 79 minutes * * She was just a woman in a bar that he shouldn't have been in, and he was just being nice because she'd had a bad day. But their one night stand turned into a business that puts Sam (Kyle Gallner) and his friends at risk of getting kicked out of school. Interesting idea, but the story feels like quite a few pieces are missing, and there isn't much connection to most of the characters here. Sarah Hyland does do a nice job in her supporting role. R for sex and language.

COULD THIS BE LOVE (NR) 78 minutes * Terrance (Steven Sutton) is struggoing with being a defense lawyer when he isn't sure about the innocence of a cliet. His path crosses Sandra's ((Drew Sidora) as she is struggling with several issues of her own. Lots of little subplots here that aren't developed and distract from the main story, which also doesn't develop very well. Cinematography and editing are pretty poor as well.

THE COUNSELOR (R) 134 minutes * * ½ A lawyer finds himself in deep trouble over a drug deal that could ruin, his career, upcoming marriage, and pretty much everything else. The story is very cultured and philosophical, but also a little overly complicated. The cast does a very nice job and work together well, keeping us interested, though some aspects of the story resolve while others seem to have been forgotten, or cut from an already overly long film. R for violence, sex, and language.

COUNT DRACULA (NR) 149 minutes * * 1/2 Jonathan Harker (Bosco Hogan) travels to meet Count Dracula (Louis Jourdan) to deal with matters of property as Dracula prepares to move to England. But as Harker learns of the Count's true nature, he aligns himself with Abraham van Helsing (Frank Finlay) who is determined to destroy Dracula. Adapted from the novel by Bram Stoker, this BBC adaptation remains very true to the book.

THE COUNT OF MONTE CRISTO (2001) (PG-13) 128 minutes * * * The classic story of honor, betrayal, greed, justice, and love as Edmond Dantes is betrayed and imprisoned, later gaining the opportunity to take revenge on those who caused him his hardship and reclaim the love of his life. This is a very nice adaptation of the story, with fine performances and beautiful scenery. Filmed in Ireland and Malta, this is a very nice, new version of the old story, well worth a look. PG-13 for violence.

COUNTDOWN (R) 84 minutes * 1/2 When a child's life is at risk, Ray (Nic Nemeth) knows he has to do what is right, even if it's against his orders. The acting isn't terrible, but the script is poor, and the story is hardly original. The WWE even managed to get in some footage of a wrestling bout into the mix to save on some filming costs for the movie. R for violence and language.

COUNTDOWN (2019) (PG-13) 82 minutes * * It's the latest craze. This new app for your phone tells you exactly how long you have left to live. And it works. Quinn (Elizabeth Lail) and her little sister Jordan (Talitha Bateman) have both installed it and now quinn has to figure out how to stop it. The basic part of the story really isn't very interesting or exciting, but there are a couple of nice chills and a few supporting roles that mix in a little humor. PG-13 for violence and language.

COUNTDOWN TO ZERO (PG) 85 minutes * * 1/2 The race to have the biggest and best has perhaps reached it's ultimate height in the nuclear arms race. This documentary traces that race from it's beginnings to its current state, and wonders if we will ever be able to stop, or if one day, as many fear, the countdown to launch will actually happen. PG for language and violence.

COUNTER CLOCKWISE (NR) 90 minutes * 1/2 Ethan (Michael Kopelow) is working on a teleportation device when he accidentally invents a time machine that puts him six minths into the future. The low budget is obvious and keeps this from being as effective as it could. In particular, the acting and the sound quality and effects are poor. But the story is good, and there's an energy to it that keeps us involved and entertained.

THE COUNTERFEITERS (R) 91 minutes * * * During World War II, the largest counterfeiting operation that ever existed was being undertaken by the Germans. Using the talents of some of the men in the concentration camps, the plan was to counterfeit enough money to undermine the British economy. It's also the story of what some were willing to risk or to give up in order to stay alive in the face of extreme conditions. R for violence, sex, and language.

COUNTERPUNCH (R) 96 minutes * * A young boxer gets a second chance after being locked up. Although Alvaro Orlando's performance is rather lackluster, most of the supporting performances add enough to the film to keep us interested. R for language, violence, and sex.

COUNTING (NR) 109 minutes * * 1/2 Shot in various locations, though much of it is in New York and Moscow. This documentary gives us glimpses of life around 2012-2014. The images are a mix of personal and industrial, biological and architectural. Full of patterns, yet also random, the effect would likely have been stronger by either limiting or expanding the locations used.

COUNTING BULLETS (NR) 72 minutes 1/2 Lieutenant Lowe (Michael Estridge) is aching to go after Geronimo. Instead, he gets assigned to find a couple of nuns that need to be escorted back to safety. They soon find themselves under attack and outnumbered. Weak acting and an even less impressive script, though the story itself is fine.

COUNTRY AT HEART (NR) 81 minutes * * 1/2 Not having much luck breaking into the country music scene, Shayna (Jessy Schram) heads back home for a break. Grady (Niall Matter) is in town for the country music festival and could use a hit song to reignite his career. They may both find a little more than they expected.

THE COUNTRY BEARS (G) 80 minutes * * The Disney crew was really fishing for ideas when they decided that this would be a good project to turn into a film. It was an especially bad idea to recycle the old "mean people tearing down a building we love" story. Kids under the age of seven seem to find this somewhat interesting, but even they didn't seem all that excited by it after awhile. It's basically harmless stuff at least and the bears heads work well, though there isn't much effort to make the bodies look realistic. There are a few interesting cameos from people like Elton John, Bonnie Raitt, and Queen Latifah.

A COUNTRY CHRISTMAS (PG) 87 minutes * * 1/2 When a law is passed that bans people from believing in Santa, the magic power that Santa has always had, begins to fade. That leaves him stuck in Arizona and depending on Miley (Caitlin Carmichael) and her brother to save the day. Not to worry... they have a plan. You'll probably need a few tissues when you watch this. Great Santa voice by Abraham Benrubi! PG for language.

A COUNTRY CHRISTMAS STORY (NR) 85 minutes * * Grace (Desiree Ross) discovers a deep and passionate love of music. Her mother is less than supportive because Grace's absent father is a musician. A emotionally charged story, but not very well-written. The music is good though, and some Dolly Parton charm helps quite a bit.

A COUNTRY DOCTOR (NR) 99 minutes * * * 1/2 Jean-Pierre (Francois Cluzet) is a country doctor who has had his practice for years. More than just a doctor, he truly cares for the entire community in more ways than most people realize. His own recent diagnosis is not good though, so his doctor has prescribed some assistance to help Jean-Pierre lighten the load. That help arrives in the form of Nathalie (Marianne Denicourt). She is a new doctor, and her approach is definitely different than his. They have much to learn from one another. Nicely written and great work by the leads.

COUNTRY ROADS CHRISTMAS (NR) 84 minutes * * After losing a hot new talent to a competitor, Skye (Lanie McAuley) finds herself out of a job. Ryan (Bo Yokely) has a job for her, but managing her estranged father isn't very appealing to her. Working to resolve their past conflicts won't be easy, but it is possible. A little too much narration, and the story gets a little "stuck" a few times.

A COUNTRY ROMANCE (NR) 81 minutes * * 1/2 Taking over briefly for her father at his vineyard, Sara (Alix Angelis) begins to appreciate the farm and wonder if her life in the city is what she really wants. The helpful neighbor (Jonathan Bennett) is giving her pause as well. Perhaps she should stay here. Marvelous supporting work by young Violet Tinnirello.

COUNTRY STRONG (PG-13) 112 minutes * * 1/2 Kelly Canter (Gwyneth Paltrow) used to be a big name in country music, but her star isn't shining as brightly these days. Can Beau's (Garrett Hedlund) songs give her the edge she needs? Paltrow does a good job here, and the end of the film is strong, but the supporting performances, including that of Hedlund, are rather weak. Nice soundtrack, but asking Paltrow to carry this film, when her character isn't written that way, is a bit much. PG-13 for language and sex.

THE COUNTRY TEACHER (NR) 111 minutes * * * Leaving his job at a nice school in Prague, the teacher (Pavel Liska) takes a quiet job in the country at a small school. His past will soon catch up to him though, even here, and prove no less difficult to deal with. Gentle and peaceful film, despite the emotional topic that lies at it's heart.

A COUNTRY WEDDING (NR) 83 minutes * * 1/2 Headed back home to sell his parents' house, Bradley (Jesse Metcalfe) is also about to get married. He's a big superstar now, but a childhood friend he reconnects with while dealing with the estate makes him remember what's really important to him. Sentimental and unsurprising, but the cast does well.

COUNTY LINE (NR) 85 minutes * * 1/2 Friends for years, Clint (Jeff Fahey) and Alden (Tom Wopat) have been sheriffs in neighboring counties. Alden didn't get re-elected, but that won't stop him from going after the people who shot his friend. Nicely done mystery with a small-town Southern edge.

COUP DE TORCHON (NR) 127 minutes * * * 1/2 He's never really amounted to much, but Lucien (Philippe Noiret) is about to change that. All at once. He's been known to look the other way when crimes occur, and to be rather lax with his investigations. The village where he is the law is about to face an avenging angel who will change the town forever. This moves a little slowly, but is very well-acted and extremely thought-provoking.

COUPE DE VILLE (PG-13) 93 minutes * * * Three brothers who can't stand each other are supposed to deliver a 1954 Cadillac as a birthday present to their mother. Can they make it all the way from Florida to Michigan? An entertaining script and likeable performances from Arye Gross, Daniel Stern, and Patrick Dempsey make this an entertaining ride.

COUPLES RETREAT (PG-13) 109 minutes * * 1/2 Jason (Jason Bateman) and Cynthia (Kristen Bell) are having trouble in their relationship. They can get a group discount rate on a couples therapy retreat if their friends come along. Fun look at relationships with quite a bit of good advice mixed in with plenty of laughs. Vince Vaughan and Jon Favreau co-wrote and co-star in Peter Billingsley's debut as a feature film director. PG-13 for language and sex.

COURAGE (NR) 89 minutes * It's supposed to be a simple family outing, designed to help Robert (Jason Priestley) and his wife and daughter to get closer. But a storm leaves them stranded on an island, with Robert badly injured. Too bad they didn't take acting lessons before they left. Even the bear gets off easy here, with a number of repeated sequences.

COURAGE UNDER FIRE (R) 111 minutes * * 1/2 What starts out as a standard investigation of character soon turns into much more when the pieces don't fit. Denzel Washington and Meg Ryan don't seem to give this film the strength it needs to really impress us. There are some nice supporting performances though, by Lou Diamond Phillips, Bronson Pinchot, and Scott Glenn in particular. The scene repetition (to give us the different perspectives) drags on a bit much, but is somewhat of a necessity to help us understand the story fully. R for language and violence.

COURAGEOUS (PG-13) 121 minutes * * 1/2 This Kendrick Brothers production follows four sheriff's deputies, two of them in particular, as they do their jobs and spend time with their families. Through tragedy, they learn the importance of being fathers and make a renewed committment to their families. The conservative Christian message hits hard in the second half of the film. The Kendrick brothers have done some very nice work improving the production value of their films, and the acting and scripts are getting better as well, though they remain a little stiff and overly staged at times. PG-13 for violence.

THE COURAGEOUS HEART OF IRENE SENDLER (NR) 94 minutes * * 1/2 Irene (Anna Paquin) loved children. A social worker in Poland during World War II, she saw what was happening and used her connections to rescue almost 2500 Jewish children. This is her story. Paquin does a nice job, though the story doesn't really go into much depth.

THE COURIER (R) 86 minutes * * 1/2 He (Jeffrey Dean Morgan) is a courier. He finds people who can't be found and dlivers packages without asking questions. His latest job is going to be a little more intense than usual. The story is full of twists and turns and uncertainty about who can be trusted, all of which adds to the suspense. The ending is fitting, though not necessarily satisfying. Great work by Morgan. R for violence and language.

THE COURIER (2019) (R) 96 minutes * * 1/2 She's just doing her job, delivering a package. When that package turns out to be a bomb, and she realizes that she's a target too, the courier (Olga Kurylenko) decides to turn the tables. Nice action, though believability doesn't really fit this at all. The music and the pacing of the story keep our attention. The action is a bit on the violent side, but there are touches of humor to lighten the mood as well. R for violence and language.

THE COURIER (2020) (PG-13) 105 minutes * * * Tensions are growing between Russia and the United States. The Cold War threatens to involve virtually every country. At the request of the CIA through agent Emily Donovan (Rachel Brosnahan), MI6 agent Dickie Franks (Angus Wright) recruits a salesman to be a secret agent. No one would ever expect Greville Wynne (Benedict Cumberbatch) of being a spy, but he faces a tall task. Based on the historic case. A solid drama that slowly builds in intensity. PG-13 for violence, language, and nudity.

THE COVE (PG-13) 87 minutes * * 1/2 Ric O'Barry, former trainer of the dolphins on the television show "Flipper", is now an activist for saving dolphins. One of the most horrific events to occur each year is the slaughter of thousands of dolphins in a cove near Taiji, Japan. Some are captured and shipped out to perform in shows, while the rest are used for meat, despite the high levels of mercury that make it toxic for human consumption. While there is some focus on the intelligence of dolphins, too much time is spent on watching O'Barry and a few others as they try to use various methods to get photos and information. More footage that shows the intelligence of dolphins might have made this even more powerful. PG-13 for violence.

THE COVENANT (PG-13) 92 minutes * * 1/2 They are the sons of Ipswich, inheritors of an ancient power. But each time it's used, it takes a little bit of them away. Interesting and well-told story with solidly produced special effects. It's definitely predictable and too obviously sets the stage for a sequel, but still fun for those who enjoy witchcraft and "light" horror films. Effective soundtrack by Tomandandy. Filmed in Quebec.

THE COVENANT (2023) (R) 116 minutes * * * The latest interpreter for their unit is Ahmed (Dar Salim). He's not only a great interpreter, he will risk his life to save his sergeant (Jake Gyllenhaal) in the middle of the war in Afghanistan. Sergeant Kinley just might need to return the favor. Director Guy Ritchie delivers a taut war thriller. R for violence and language.

COW (NR) 92 minutes * * 1/2 The story of a cow. To be particular, a dairy cow. The camera follows her daily life, up close, and with a mix of the comfortable and less comfortable moments she faces throughout her life. There's not much here in the way of dialogue except for some incidental conversation from some of the farmers.

COW BELLES (G) 89 minutes * * Typical Disney TV material about two spoiled girls who have to learn about the realities of life when their father leaves on a vacation and they have to work in the family dairy. Harmless fare for the under 12 set. The big draw here is supposed to be the singing sister act Aly and AJ, who play the lead roles. Let's just say that acting is not their greatest skill.

THE COWBOY WAY (PG-13) 102 minutes * * 1/2 Sonny (Kiefer Sutherland) and Pepper (Woody Harrelson) are two rodeo buddies who head to New York in search of a friend. They find a bit more than they bargained for, with plenty of action and a few laughs along the way. The chemistry between the leads never really gels very well, though the story is somewhat entertaining.

LES COWBOYS (R) 101 minutes * * * At a country and western gathering in the east of France, Alain's (Francois Damiens) daughter goes missing. He is desperate to find her, but the clues are scare and not all that helpful. The search will reshape his family. Not an ending that many will like, but it's very fitting. R for violence.

COWBOYS (2020) (NR) 79 minutes * * * Troy (Steve Zahn) has had difficulty connecting with his trans son. But Joe (Sasha Knight) still feels closer to his dad than he does to his mom, who simply won't accept Joe for who he is. Troy and Joe head off into the Montana wilderness, but trouble follows not far behind. Very nice work by the cast in a story that is both tragic and hopeful.

COWBOYS: A DOCUMENTARY PORTRAIT (NR) 76 minutes * * * An in-depth look at the life of the cowboy in the American West. The struggles and the rewards of a life lived on a working ranch. Cattle farming here is not with a fenced-in pasture and a barn where the cattle come in for the night. These are ranches with hundreds of thousands, or even millions of acres of land. Interviews and narration from cowboys and some of their family members provide a well-rounded picture of the life of the cowboy.

COWBOYS & ALIENS (PG-13) 131 minutes * * * When a stranger wanders into town, the residents of Absolution don't like it much. But this stranger (Daniel Craig) is going to be the least of their problems. It turns out that there are aliens nearby who are about to try to take over the planet. Fun melding of the science fiction and western genres that works quite well. It's definitely a little different, but director Jon Favreau knows that keeping it fun is a high priority and manages to achieve that. Stellar cast, including Harrison Ford, Sam Rockwell, Adam Beach, Paul Dano, Keith Carradine, and Clancy Brown. PG-13 for violence, nudity, and language.

COWGIRLS 'N ANGELS: DAKOTA'S SUMMER (PG) 87 minutes * * 1/2 This second entry in the "Cowgirls 'n Angels" series focuses on Dakota's (Haley Ramm) search to find out more about her adoption and her birth parents. A little overly "sweet", but otherwise good. PG for language.

A COWGIRL'S SONG (PG) 90 minutes * * 1/2 With her dad in jail, Hailey's (Savannah Lee May) mother sends her to live with her grandmother (Cheryl Ladd). They are a musical family, and that might be a way to raise money to help with the legal bills. A few twists and turns along the way, but the story is alright and the characters are likeable. PG for language.

COYOTE CREEK CHRISTMAS (NR) 83 minutes * * Disappointed that her parents have scaled back the typically extravagant holiday celebration at their inn, Paige (Janel Parrish) takes over and plans big. What she doesn't know yet is that her parents plan to sell the inn. Dylan (Ryan Peavey) is a potential buyer who happens to be in town to check the place out. Peavey seems a bit distant and disconnected here.

COYOTE LAKE (NR) 90 minutes * * Ot's a small bed and breakfast that Ester (Camila Mendes) and her mom run, close to the US/Mexico border. A couple of their most recent guests are creating a problem. But Ester and her mother can deal with most anything that comes their way. They are not new to this game. Nothing surprising from the story, but the direction and pacing are good, and the cast is fairly convincing as well.

COYOTE UGLY (PG-13) 95 minutes * * * Violet (Piper Perabo) leaves her little home town of Port Amboy, New Jersey in an effort to make it big as a songwriter in New York. Success doesn't come easily, and Violet finds herself struggling to find enough to eat. The film is far less sexual than it's advertised. The emphasis is actually on Violet's innocence and while her eyes are opened to the harsh realities of the "real" world, it's still a rather idealized version of reality. Perabo carries the film well, giving us a wonderful mix of innocence with an underlying sexuality that makes her character nearly perfect for this sort of story. There's also a nice supporting role for John Goodman as her father. And it's nice to see a story that mixes romance, drama, comedy, and a bit of action with such ease. PG-13 for language.

A COZY CHRISTMAS INN (NR) 83 minutes * * 1/2 Erika (Jody Sweetin) has her work cut out for her. She needs to finalize a sale for her boss, who wants to acquire an inn in Garland, Alaska. The problem is that her ex-boyfriend owns it. His dad wants him to consider selling so that he can take over the family business... which just might be one of the most important jobs of the season.

CRACKING THE CODES: THE SYSTEM OF RACIAL INEQUITY (NR) 72 minutes * * 1/2 An analysis of racism as a system that is deeply ingrained in human behavior. As such, being able to step back to view the system as a whole is essential to understanding it and changing it. Filled with numerous experiences and stories that are insightful, heartbreaking, inspiring, and all very important to hear and explore to understand what they mean for us.

CRACKS (R) 93 minutes * * 1/2 When Fiamma (Maria Valverde) arrives at the boarding school, her aristocratic manner interrupts the pattern of established order. Miss G (Eva Green) tries to smooth things over, but despite her former status as a student, which helps her relate to the girls, she has other issues that get in the way. Di (Juno Temple) is the strong one, and though she clashes with Fiamma, she learns more than most from the experience. Temple's strong performance is the highlight here. Adapted from the novel by Sheila Kohler. R for sex and language.

CRADLE 2 THE GRAVE (R) 96 minutes * * 1/2 Jet Li, DMX, and Anthony Anderson star in this action-packed story about a small group of friends who plan a heist that gets a bit more complicated than originally intended. Plot takes a back seat to the stuntwork here, but the stuntwork is pretty impressive. Gabrielle Union's performance is worth noting as well. Still, this is mostly about having the right "look". It's something director Andrej Bartkowiak continues to struggle with as he was the director of photography for so many films prior to taking on the main directing duties of any projects. Corey Yuen choreographed the martial arts sequences. R for violence and language.

THE CRAFT (R) 96 minutes * * 1/2 Fun low budget film about teenage girls experimenting with witchcraft. Nobody in Hollywood thought this would go anywhere, but it managed to take the number one position at the box office for its first week! Spooky and moody enough to give you a few chills, its a story about acceptance and peer pressure. Fairuza Balk stands out in the cast as particularly eerie. R for language and violence.

THE CRAFT: LEGACY (PG-13) 86 minutes * * 1/2 Not looking forward to her first day at a new school, an embarrassing situation during class makes things even worse for Lily (Cailee Spaeny). Three new friends manage to make it a little better. They have been looking for a fourth, and Lily appears to be a perfect fit for their coven. Lily, along with Frankie (Gideon Adlon), Tabby (Lovie Simone), and Lourdes (Zoey Luna) are going to really change some things at their school and in their town. The story stalls in the second half, trying to decide just how scary or supernatural it wants to be, but it does have a very nice finish. PG-13 for sex and language.

THE CRAIGSLIST KILLER (NR) 86 minutes * * TV drama about the killer who used the internet to find his victims. The explanation of his reasons for becoming a killer are less than satisfactory, though based on the real case. The film focuses mostly on his relationship with his fiancee and how she had no idea what was going on.

CRANBERRY CHRISTMAS (NR) 83 minutes * * 1/2 Cranberry Lane was co-founded by Dawn (Nikki Deloach) and Gabe (Bnejamin Ayres). They are now amicably separated. The wrinkle is that a TV show host wants to highlight Cranberry Lane and its founders. Can Dawn and Gabe put on enough of a good front to pass the extra scrutiny? Will it lead to something more? Can you say Hallmark?

CRANFORD (NR) 286 minutes * * 1/2 The comings and goings of the residents of Cranford. Adapted from three of Elizabeth Gaskell's novels and featuring delightful performances from Judi Dench and Imelda Staunton among others.

CRANK (R) 81 minutes * 1/2 Chev Chelios (Jason Statham) is a hitman. Unfortunately, someone is a little upset with the last job he pulled and gives him a drug that will kill him if his heart rate drops too low. That means pretty much non-stop action, much of which is very good. The problem is that we lose too much of the story and never have a chance to get involved. Statham plays his part well, but most everything else is just so much scenery for him to chew up. The exception is Dwight Yoakam, whose sense of humor adds a bit of fun to his supporting role as Chelios' doctor/friend. R for language, violence, and sex.

CRANK: HIGH VOLTAGE (R) 85 minutes * Plenty of action here, but this sequel has little else to offer. The funny bits from the first film are mostly repeated here, Dwight Yoakam's part is smaller, and the action is even more cartoonish. In fact, Chelios (Jason Statham) is almost facing the exact same problem, it's just that this time his heart was replaced and the battery is running low on the replacement. How uncreative can you get? R for violence, language, and sex.

CRASH (NC-17) 96 minutes * * The films of David Cronenberg continue to get more disturbing and bizarre the older he gets. James Spader plays James Ballard (J.B. Ballard wrote the book this is taken from), a man who is obsessed with sex and soon becomes equally as fascinated with car wrecks. Holly Hunter and Rosanna Arquette are part of a club of sorts, who stage famous car crashes and get high on the adrenaline rush that such participation creates. Bizarre, but memorable film that is intriguing in some spots, but almost unwatchable in others. Cronenberg wrote, produced, and directed this strange piece. NC-17 for sex, language, and violence.

CRASH (2005) (R) 108 minutes * * * 1/2 Why is it that we "crash" into each other to feel our humanity rather than reaching out more intentionally? This film explores not only this question, but the ethics and morality of how we come into contact with one another. Does the good we do outweigh the bad? Why do we make negative comments about one another when we are so often looking for people to make positive comments about us? The cast is an amazing ensemble of talent that continues to impress us throughout the film, though some of the characters don't get much screen time. Don Cheadle's character is the focal point, but is less the lead role and more a point around which other pieces tend to move. Scene changes and bits of the story swirl around you, sometimes raising in intensity, much like Los Angeles itself. It's not a film you can walk away from and expect to understand when you come back. If you enjoy films that make you think, this is definitely one you'll find interesting. R for language, violence, and sex.

CRASH PAD (R) 88 minutes * * 1/2 Stensland (Domhnail Gleeson) thought he'd found the perfect woman (Christina Applegate). It turns out that he was just a way for her to get back at her husband (Thomas Haden Church). Tired story, but the cast makes it work. In particular, Gleeson's over-the-top and very physical performance, and Church's dry humor give this quite a few funny moments. R for sex and language.

THE CRASH REEL (NR) 106 minutes * * 1/2 Snowboarder Kevin Pearce had a career on the rise. He was on track to be on the Olympic team and had taken first place away from Shaun White in more than one competition. And then a horrific accident leaves him with severe brain trauma. All he wants to do is snowboard again. But this is the sort of accident where full recovery is not an option, which makes the risks for Kevin even greater. Passion for sport and the competitive spirit tend to reach beyond reality.

CRAVE (NR) 108 minutes * * 1/2 Alden (Josh Lawson) has seen too much. The bad has outweighed the good, and the fantasty world he has created is much more comfortable than reality. Finding a way out of this unique place is going to be difficult, if not impossible. An unusual piece that is very good technically (effects, photography, etc.), though a little overly graphic. The acting, except for Ron Perlman and Edward Furlong, is far from strong, and weakens the film as a whole.

CRAWL (R) 83 minutes * 1/2 As the hurricane approaches, Haley (Kaya Scodelario) discovers that her father is injured and trapped in the basement of the house. There are also alligators prowling the area, and as the waters rise, so does the number of alligators. The special effects are quite good, but the story is stale, shifting between alligator attacks and past family traumas. R for violence and language.

CRAWL OR DIE (NR) 89 minutes ½ Sent to retrieve and protect the last uninfected fertile woman, an elite security force must avoid the monsters while navigating a claustrophobic tunnel system. Full of dark shots and close-ups, both of which set the tone well, but don’t create a very exciting story. And the extended claustrophobic sequence is anxiety producing for those with that fear, but otherwise doesn’t do much to move the story along.

CRAWLSPACE (R) 76 minutes * The son of a twisted Nazi doctor, Karl Gunther (Klaus Kinski) has some warped ideas of his own. He has remodeled the apartment building he runs to include hidden passages and secret rooms equipped with torture devices that he uses on the women who stay there. Pino Donaggio’s soundtrack isn’t bad, and Kinski does what he can, but the script is bad and the direction poor.

CRAWLSPACE (2012) (NR) 83 minutes * * When something goes wrong at this underground military compound, a special forces unit are sent in to find out what happened and regain control. But its worse than they expected. With so much of the actio taking place in the ventilation shafts, its more than a little disorienting. That may well have been the intent, but rather than heightening suspense, its just confusing. The ending is much better than the rest of the film... if you can make it there.

CRAZED (NR) 96 minutes * Ronan (Michael McCarthy) is a cop on the dark side. Recent events have taken him over the edge and his brand of vigilante vengeance seems to know no bounds. The look is part graphic novel and part film noir, and works well. The script is another matter, and is just plain bad. It doesn’t help that Michael co-wrote this along with his brother Kevin, who also directs the film and is listed with seven other credits not including the fact that the brothers co-produced the film. What could have been an interesting idea ends up just being disappointing.

THE CRAZIES (R) 93 minutes * 1/2 A mysterious disease that turns people crazy... and also sort of like zombies... The music, cinematography, and even a bit of the acting, manage to supply the film with a decent amount of intensity and suspense. Unfortunately, the story has so many holes and inconsistencies, that it soon becomes ridiculous. R for violence and language.

CRAZY/BEAUTIFUL (PG-13) 95 minutes * * 1/2 Nicole Oakley (Kirsten Dunst) is a rich girl who is throwing her life away, Carlos Nunez (Jay Hernandez) is from the other side of town and is working hard to make the best of every opportunity that is available. They meet, fall in love, it almost ruins him, but ends up saving her. (Yawn) Dunst does a reasonably good job here, which is more than I expected, but she and Hernandez are never really able to give this story enough energy or enough of a unique flavor to give it much appeal. PG-13 for language and sex.

CRAZY EIGHTS (R) 78 minutes * * Nice suspense maintained throughout this story of six friends who begin to remember their shared past once they follow the clues, unearth an old trunk, and dsicover the secret that lies within. Though the story itself is rather predictable, the acting and editing keep us interested. Creepy moments are scattered throughout the film as well. Dina Meyer, Traci Lords, Frank Whaley, and Gabrielle Anwar. R for violence and language.

CRAZY FIST (NR) 94 minutes * * Something is wrong, and there's only one way to find out what's going on. After a mysterious death, Shang Hai challenges Mai Wen (Collin Chou) to a fight. But Mai Wen is not the killer. Can he find out who really is? The ending clearly leaves room for a sequel. Good fight scenes, but a few more of them would have been better.

CRAZY HEART (R) 106 minutes * * * Bad Blake's (Jeff Bridges) career has seen better days. Once a headliner, now he's playing at bars and bowling alleys. His protege Tommy Sweet (Colin Farrell) is willing to help, but Bad needs to turn some other aspects of his life around too. It's not going to be easy, but if he can find the motivation, there's still a possibility. Adapted from the novel by Thomas Cobb and featuring wonderful supporting performances from Farrell and Maggie Gyllenhaal, and an Oscar winning performance by Jeff Bridges. Kudos to Bridges and Farrell for singing their own songs as well! R for language and sex.

CRAZY KIND OF LOVE (R) 86 minutes * * ½ When Henry’s (Graham Rogers) dad leaves, his mom has a nervous breakdown, leaving Henry to fend for himself and take care of her. His own new-found love offers support in some ways, but it also offers challenges he’s not used to. Coming-of-age story for Henry and his brother, and in a sense, his mother. Nice ensemble cast work in this adaptation of April Stevens’ novel, “Angel Angel". R for sex and language.

CRAZY LOVE (PG-13) 89 minutes * * 1/2 Sometimes love makes us do crazy things. Maybe not as crazy as what the Pugach's have gone through... When they were younger, Burt was frustrated and angry and Linda was not willing to do what he asked. If he couldn't have her, no one would. Years later, he finds he still loves her and she agrees, despite what he did to her. Crazy? Strange? Interesting, to be sure. PG-13 for language.

CRAZY ON THE OUTSIDE (PG-13) 94 minutes * * Recently released from prison, Tommy (Tim Allen) is quickly beginning to wonder if that was a good idea. His sister (Sigourney Weaver) can't ever seem to tell the truth about much of anything, and the friend he took the rap for (Ray Liotta) seems determined to get him involved in another shady deal. Tim Allen's directorial debut isn't really all that great and clearly would have benefited from someone else with a bit more experience in the director's chair. The story, and the actors seem to just wander a bit every now and then, and so do we. PG-13 for sex and language.

CRAZY PEOPLE (R) 87 minutes * * 1/2 Dudley Moore stars as an advertising executive who is extrememly stressed out. He devises a set of ads that are completely honest, which lands him in a mental institution. But the ads are a success, so maybe being crazy isn't so bad... Moore does well here and the "honest ad" campaign is a treat, but most of the film is formula material that you've seen before. R for language.

CRAZY RICH ASIANS (PG-13) 114 minutes * * * Rachel (Constance Wu) is about to meet her boyfriend's family. What she learns, very shortly before they meet, is that they have a good deal of money. They aren't just rich... they're crazy rish. It's a story of family and old traditions, evolving and adapting, even as some members of the family struggle against it. Adapted from the book by Kevin Kwan. PG-13 for language.

CRAZY STUPID LOVE (PG-13) 112 minutes * * * Cal's (Steve Carell) wife wants a divorce. He's trying to move on with his life, but he really doesn't want to, he just wants her back. Meanwhile, his son is falling for the babysitter, but she has eyes for Cal. And then there's the guy his wife is dating... Love is crazy and stupid, and the people we love aren't always the ones who love us. While Carell is the star, the supporting roles here are all quite strong, and most of the time, they have room to fit into the picture, though Carell does eclipse them some of the time. PG-13 for sex and language.

CRAZYSEXYCOOL: THE TLC STORY (NR) 104 minutes * * 1/2 Fairly standard music industry bio-drama about the mega-group, TLC. The ending is very good, with a chance to see the real T-Boz and Chilli as well as videos and photos from their earlier days. Fans of the group and music in general will appreciate this. Others, not so much.

CREATED EQUAL (NR) 87 minutes * * Sister Batista (Edy Ganem) wants to be a priest. She takes her case to a law firm, where a young lawyer who could really use a high profile, pro-bono case decides he might actually be able to win. But there are some very powerful people who don't want them to win. Earnest performances lend some strength to a story that is improbable at best.

CREATION (PG-13) 98 minutes * * 1/2 Darwin's (Paul Bettany) discoveries and his writing of "The Original of Species" are presented in this bio-pic that focuses on his early life. Bettany does a nice job showing us a young man who is struggling to understand his discoveries in light of his life experience as a husband and father as well as his faith. It's rather dry going after awhile though. Adapted from Randal Keynes' book, Annie's Box. PG-13 for language.

CREATION STORIES (NR) 101 minutes * * ½They were just a tiny record label. Creation Records was barely able to stay afloat. No one else in the business thought much about them. Alan McGee (Ewen Bremner) on the other hand, never gave up. And one day, Creation Records changed the game. The story is told in brief, energetic bursts, loosely strung together with a narrative that focuses on every wild thing that happened along the way. Success led McGee to become disillusioned with the business. He really just wanted the music, not everything else that ended up coming with it.

CREATIVE CONTROL (R) 93 minutes * * In a world where virtual reality is starting to become the norm, David (Benjamin Dickinson) begins a virtual affair with a co-worker who is also his best friend's girlfriend. Reality and imagination blur for the characters, and unfortunately a little for us as well. Dickinson is also the writer and director here, which doesn't help. R for sex and language.

CREATOR (R) 108 minutes * * 1/2 In trying to clone his wife Dr. Wolper (Peter O'Toole) learns some valuable lessons about living in the present. The story is a little muddled, but O'Toole's charm and charisma manage to cover up quite a bit of that, making this much more watchable than it probably should be.

THE CREATOR (PG-13) 123 minutes * * * 1/2 Artificial intelligence went too far. There was a war that began, and it hasn't stopped. AI has fashioned an ultimat weapon... in the form of a child. Joshua (John David Washington) must determine the correct course of action. The child has the power to end the war, but also to end human life. Joshua's mission is to find "The Creator" (of AI), known as Nirmata, and kill them. This definitely benefits from a second viewing. PG-13 for violence and language.

CREATURE (R) 88 minutes * Six people are on an outing in the wilds of Louisiana when they encounter a local legendary monster. Surprisingly, the acting isn't really all that bad, but the story is a jumbled mess of swamp monster, slasher, and hillbilly horror. Not to say that someone else might not be able to combine these sub-genres more effectively, but it wasn't done well here. R for violence, sex, and language.

CREED (PG-13) 127 minutes * * * When Apollo Creed's son Adonis (Michael B. Jordan) decides to leave his job and become a fighter, he knows whose help he needs. But it's not going to be easy to convince Rocky Balboa (Sylvester Stallone) to become his trainer. Great work by Stallone in the trainer/mentor role. The story doesn't offer much outside of what we expect, and runs a little thin more than once. Still, Rocky is a strong character, and seeing him at this point in his life only adds to it. PG-13 for violence and sex.

CREED III (PG-13) 109 minutes * * 1/2 Adonis Creed's (Michael B. Jordan) life has been going well. It catches him off guard when his old friend Damian (Jonathan Majors) shows up after getting out of prison. He wants a shot at a title. Creed can help make it happen. But that;s not all that Damian is after. This is Jordan's directorial debut. It's not bad, but it's not the best entry in the series. PG-13 for violence and language.

CREED II (PG-13) 123 minutes * * * 1/2 Adonis Creed (Michael B. Jordan) has always wanted justice for his father. He gets his chance when Victor Drago (Florian Munteanu) challenges him. But fighting with his emotions results in a devastating loss. Now, he has to decide what comes next. (Cue the "Rocky" theme music.) Great cast, including a surprise cameo appearance. It's a well-written story with a classy ending and very well-choreographed fight scenes. The violence does push the PG-13 rating a little far. PG-13 for violence, language, and sex.

CREEP (R) 75 minutes 1/2 Answering a Craigslist ad, Aaron (Patrick Brice) finds himself in a small, remote town. Josef (Mark Duplass) wants a video to represent who he is to his as yet unborn son. The idea is that as the video shoot progresses, we discover some disturbing things about Josef. Instead, with only two characters in the film, who are doing a great deal of improvising as far as dialogue, this grows tiresome rather than creepy, and very quickly. R for violence and language.

CREEP 2 (NR) 76 minutes * 1/2 Like the first film, this is primarily a film with two characters, though they are a little more appealing this time. A videographer agrees to do a project with a man claiming to be a serial killer. The set-up works better than it sounds.

CREEPING CRAWLING (NR) 110 minutes 1/2 Collection of three short films about things that creep and crawl. The story ideas have some interest, but bad production values and poor acting don't do much to help this.

CREEPSHOW (R) 120 minutes * * * One of the best anthology horror films you’ll ever find. That’s mostly due to Stephen King’s skill at handling a short story that grabs you at the start and doesn’t waste too much time getting to the point. The connecting material is quite good as well, and does a great job of capturing the spirit of the old horror comics that used sensational covers and catch-phrases to grab attention. A wonderful balance of horror and comedy that is sure to entertain. R for violence and language.

CREEPSHOW 2 (R) 86 minutes * * 1/2 The team of Stephen King and George Romero is back to its old tricks again with three new stories, all written by King. "The Raft" is one of King's favorites, but we know so little about the characters that the consequences they face seem a little harsh. "Old Chief Wood'nhead" moves a little slowly, but presents us with some great characters and is definitely fun to watch. "The Hitchhiker" has seveal good points, among them the appearance of King as a truckdriver, but is a bit far-fetched. All things considered, it's not quite as good as the first, but still an enjoyable experience for fans of light horror.

CREMAINS (NR) 106 minutes BOMB A mortician in a crematorium is forced by mysterious, unseen captors to share four gruesome tales from his experiences at work. The pacing and photography are pretty bad, not that the acting has much to offer either. The idea wasn't bad, but there's not much creativity here, and no nudget to give it any help.

THE CRESCENT (NR) 96 minutes * 1/2 When Beth (Danika Vandersteen) loses her husband, she takes her son to their beach house to heal from her grief. But something else is waiting at the beach house. Too much of the film relies on Lowen (Woodrow Graves), who is just too young and inexperienced to carry that much of the story. Although, to be fair, there really isn't much story here. There's plenty of mood and style, but the depth that is needed just isn't there.

THE CREW (PG-13) 82 minutes * 1/2 Richard Dreyfuss, Burt Reynolds, Dan Hedaya and Seymour Cassel star as four old guys who were "wiseguys" in their young days. They still find themselves together after all these years, though things have changed with the passage of time. When they decide to stage a fake hit to try and get people to leave their apartment building so it will be less crowded, everything seems to go wrong. The characters are likeable, but the comedy is too thick for this story. I guess somebody didn't think this would work as a light drama. Nice soundtrack! PG-13 for language and violence.

CREW 2 CREW (R) 92 minutes * 1/2 Also known as "Five Hours South", this is the story is the story of a young man struggling with how to follow his dreams. Despite the importance of break dancing to the film, and the lead character in particular, we see mostly very repetitive routines, and not all that much. The editing and script are both a bit rough and the film doesn't flow well despite the earnest efforts of some of the cast. R for language, sex, and violence.

CRIMES AND MISDEMEANORS (PG) 101 minutes * * * 1/2 Two parallel stories are presented here. A doctor who has been having an affair for years begins to have problems as the two parts of his lifee threaten to interact with each other. Another man who has been faithful to his wife for years despite their incompatibility decides that he wants to have an affair. The two stories weave together slowly, steadily, and suddenly everything is crystal clear in the last few minutes of the film. Writer/director Woody Allen strays from his more typical approach of emphasizing the characters to a much stronger emphasis on the story with this film. To be sure, the characters are strong, and we can debate as to whether one, or both, of them are portrayals of Allen himself. But the crafting of the story is stronger than in most Allen films. It feels a little less like a characters wanderings, and more like a story that Allen wanted to tell. PG for language.

CRIMES OF FASHION (NR) 89 minutes * * 1/2 Brooke (Kaley Cuoco) is just trying to make it through fashion school. Now she's supposed to take over her grandfather's business... as a mob boss. Of course the plot is a bit ridiculous, but Cuoco's charm manages to take what is mostly mindless entertainment and make it at least mildly cute and funny.

CRIMES OF THE FUTURE (R) 101 minutes * * 1/2 Humanity is evolving, biologically changing. Some look forward to these changes while others are more suspicious and cautious. Tenser (Viggo Mortensen) and his partner Caprice (Lea Seydoux) are performance artists, who turn the removal of these mutations into a show. But it's beginning to get out of hand. Another unusual, futuristic piece from writer/director David Cronenberg. As with all of Cronenberg's films, the sets and props are both fascinating and disturbing. R for violence, nudity, and language.

CRIMES OF THE HEART (PG-13) 102 miunutes * * * * Three sisters, all very different, are drawn together by the youngest sister's attempt to murder her husband. Sissy Spacek does a fantatic job as Babe, the youngest of the sisters. She is also the one who identifies most with their mother, who committed suicide. Babe freely admits that she tried to kill her husband, but claims it was because of his cruelty towards her. Jessica Lange turns in her best performance since "Tootsie" as Lenny McGrath. She is the sister who went away to become famous but never made it. Maggie (Diane Keaton) is the sister who holds them all together, though we quickly grow to understand that she has problems of her own. Slow-moving early on, the story begins to move along well a little later, aided in that effort by a fine soundtrack from Georges Delarue. Well-adapted from the stage play, this is able to add a depth to the story with photography and scenery that the play wasn't able to have. PG-13 for language and nudity.

CRIMINAL (R) 105 minutes * * * When Bill Pope (Ryan Reynolds) is killed before his mission is completed, a risky procedure is authorized. His memories will be transferred into Jerico Stewart (Kevin Costner), a criminal with a rather unique personality. The story works well, with a nice balance of suspense and drama, though it does get a little overly sentimental at the end. Nothing really stands out from the cast, but this is a group who rarely deliver anything less than quality work. R for violence and language.

CRIMINAL ACTIVITIES (NR) 90 minutes * * 1/2 A sure-fire investment opportunity goes bad, and then it gets worse. Borrowing money from the mob is not a good idea. Full of fun characters and plot twists-a-plenty. But the story starts off rough, and never manages to have the charm that similar films have managed. Of course it all falls into place at the end, but we aren't surprised or all that interested by then.

CRIMINAL JUSTICE (NR) 274 minutes * * * Dramatic television mini-series that follows a young man who is accused of murder through the British criminal justice system. Ben Coulter) (Ben Whishaw) finds himself unable to support his claims of innocence and surrounded by people who seem to know nothing about justice. The experience of being accused, arrested, imprisoned, and tried, will change him as a person. Fascinating story with a great ensemble cast.

CRIMINAL LAW (R) 110 minutes * * * Ben Chase (Gary Oldman) is a defense attorney who used to be a prosecutor. In his most recent case, his successfully defended Martin Thiel (Kevin Bacon), who he sincerely believed to be innocent... until a few things come up that change his mind. The only problem is that Thiel is now a free man. There is wonderful imagery throughout the film that accentuates the struggle which Chase is going through. Scenes move from darkness to light, from shadow to sunlight, and from beautiful facades to the dark secrets held behind their walls. Complementing the photography and lighting is an extremely different and quite effective soundtrack from Jerry Goldsmith. The biggest drawback is Joe Don Baker, who is less than believable and whose performance manages to ruin several scenes. R for violence and sex.

CRIMSON PEAK (R) 111 minutes * * * Marrying a mysterious stranger seems both romantic and somewhat exotic, but Edith (Mia Wasikoska) will soon learn just how strange her new relationship is, as well as the house he lives in. The costumes and sets bring to mind a dark version of "Alice in Wonderland". The cast do a wonderful job of helping to create a wonderfully creepy and sombre atmosphere. R for violence, sex, and language.

CRIMSON TIDE (R) 110 minutes * * 1/2 Gene Hackman is the captain who asks no questions and makes no exceptions, while Denzel Washington is the lieutenant who believes in interpretation and making sure that orders are correct. Will this mean a conflict? The strong script gives this film most of its power, creating two characters who are bigger than the plot. The formula story is unworthy of characters like these, but it still lends itself to some exciting moments.

THE CRIMSON WING (G) 75 minutes * * * DisneyNature films exploration of the life of flamingos. Beautifully filmed, and a fascinating look at the unusual life of these very unique birds. Focuses on a year in the life of some flamingo chicks as they learn to walk, to fly, and to live the life of a flamingo.

CRISIS (R) 113 minutes * * * The opiod crisis is a far-reaching problem. Three different stories intersect. A professor doing research for a drug company discovers unsettling results, a mother who is a recovering addict learns of her sons involvement with drugs, and a drug trafficker tries to increase his cross-border business. Well-written, slowly weaving the three stories together and building the tension as it does. Great work by the cast. R for violence and language.

CRISS CROSS (R) 98 minutes * * Very slow-paced film about a mother and her son in Florida after the Vietnam war. Goldie Hawn fans will enjoy her performance, but David Arnott is too stiff as the son and the story is just too uninteresting. Adapted from Scott Sommer's novella and with music from Trevor Jones. R for language and nudity.

CRITICAL CONDITION (R) 93 minutes * * * Some people never seem to have any luck. Kevin Lanahan (Richard Pryor) is one of those people. He has tried and tried to get money for different projects he wants to start, but no one is interested. (It might have something to do with the nature of the projects.) When he finally does get some money, it comes from the wrong people, and he is the one who ends up in trouble. Sent to the mental ward of a hospital, his opportunity to escape comes during a power failure, allowing him to impersonate a doctor. Most of the film is filled with typical humor from Pryor, but there is a solid moral here: Anything is possible if you try hard enough and believe in yourself. It’s a well-written story with a nice blend of comedy and drama, and one of Pryor’s better films. R for language, sex, and violence.

CRITICAL THINKING (NR) 114 minutes * * 1/2 Inner city schools are rarely able to offer the same opportunities for students because of the lack of funding. Lack of support at home is also often a problem in these areas. Despite the odds, there are success stories, and the Miami Jackson High School Chess Team will find a way to win the U.S. National Chess Championship. John Leguizamo isn't very strong here as the teacher/coach who guides and supports them along the way. There are a few strong scenes in the film, but overall, it just isn;t as inspiring as most films in this sub-genre.

CRITTERS (PG-13) 80 minutes * * 1/2 These alines may be little, but that doesn't mean that they aren't going to cause plenty of trouble. It's a good thing that help is on the way. The story does a nice job of capturing the style of an old 1950s science fiction film while improving the effects. PG-13 for violence, language, and sex.

CRITTERS ATTACK! (R) 86 minutes * 1/2 The critters are back, attacking a small town for no apparent reason. That lack of reason also seems to be the case for the film in general. There's nothing new in the story, and we once again have hints about the large scale work the bounty hunters do to keep planets safe, but it's just not enough. And while it's always fun to see Dee Wallace, she's not terribly convincing as a critter-killing bounty hunter. R for violence.

CRITTERS 2 (PG-13) 82 minutes * * 1/2 The bouty hunters return to deal with the critters who have once again gone out of control. Forget the critters! Following the adventures of these bounty hunters would make for another decent film or two.

CROCODILE (R) 91 minutes BOMB Spring break. A time for fun and releaxation with friends. These college pals are in for something a little more on the dark side. It's a giant killer crocodile! Few of the characters have any redeeming qualities, and the animation of the crocodile is bad... even for B-movie standards. R for violence, language, and nudity.

CROCODILE DUNDEE (PG-13) 84 minutes * * “Crocodile” Dundee (Paul Hogan) takes a lady journalist (Linda Kozlowski) on an adventure into the back country to where he battled the crocodile that gave him his nickname. There are a lot of cute bits here, but for a very similar and slightly better film, take a look at “Continental Divide”.

CROCODILE DUNDEE IN LOS ANGELES (PG) 90 minutes * * Mick's family needs to move to Los Angeles to help out with Sue's father's newspaper. The senior editor just might have been murdered, and we know that Mick will end up stumbling across the solution to the mystery in his own inimitable way. Bringing Mick's friend and his son into the story are good moves that help to keep things interesting. It's not a great sequel, but it isn't bad and it manages to have a cute ending. PG for violence and language.

CROCODILE DUNDEE 2 (PG) 107 minutes * 1/2 More adventure and less love story than in the first film, but this change doesn't really work very well. Dundee (Paul Hogan) and Susan (Linda Koslowski) act like a bored married couple who don't know what to do when they're together. Part of Dundee's charm is spoiled as well when we discover that he's actually very wealthy. The drab feeling of the story and scenery is offset to a small degree by fine supporting villainous performances from Hechtor Ubarry and Juan Fernandez.

THE CROCODILE HUNTER: COLLISION COURSE (PG) 86 minutes * * 1/2 This is basically an extended version of Steve Irwin's classic "Crocodile Hunter" TV show with a bit of ridiculous plot thrown in about a piece of a spy satellite that gets swallowed by a crocodile and causes some rather inept agents to chase after Steve and Terri as they go about their "usual" business. If you enjoy watching the TV show, you'll at least find this mildly entertaining, but the TV show is definitely more interesting. PG for violence and language.

CROCZILLA (PG-13) 86 minutes 1/2 A very large crocodile that a young boy thinks of as a pet is sold by his grandfather. They think its going to a zoo, but its actually on its way to a restaurant. Of course, as you might expect from the title, it escapes and goes on a rampage through the city. Thankfully its not actually Godzilla-sized. Some of the slapstick humor seems to be aimed at entertaining the younger crowd, but the more dramatic sections and violence are clearly more for the adults. PG-13 for language and violence.

CRONOS (R) 87 minutes * * 1/2 An interesting twist on vampirism, with an alchemist creating an unusual device that grants its holder an extended life, but at a price. Missing for years, it's discovered in an antique shop, and it's new owner is just beginning to discover its power when he also learns that others are looking for the device. Unique and interesting feature film debut of writer/director Guillermo del Toro. R for violence, language, and nudity.

THE CROODS (PG) 90 minutes * * * 1/2 The Crood family motto is "never not be afraid". It seems to work for everyone except Eep (voiced by Emma Stone). Her curiosity and desire to change is troublesome to her father, but it could be important to their survival as their world is about to change forever. Nicely detailed animation work that adds to the depth of the picture nicely. Very positive messages in the story, and characters that are so much fun, you might have difficulty picking a favorite. PG for violence.

THE CROODS: A NEW AGE (PG) 88 minutes * * * Eep (voiced by Emma Stone) and Guy (voiced by Ryan Reynolds) are starting to get more romantic, and Grug (voiced by Nicolas Cage) is still trying to find a better home for his family. That's when they meet the Bettermans, who may be more evolved, but aren't really any better than the Croods. The script is high-energy, fact-paced, and witty, though the story drags a little in the second half. It also seems to be missing a song or two in that part of the story. Still, a very good sequel, which is rare enough. PG for violence and language.

CROOK (NR) 89 minutes * 1/2 The interconnected lives of a drug lord, a cop, and drug dealer, and a prostitute. Plenty of twists and turns that are a little confusing at first, but quickly even out and become very predictable. There's plenty of posturing by characters that are mostly very shallow. It doesn't help much that writer/director/producer Adrian Langley also served as cinematographer, editor, and sundtrack composer.

CROOKED ARROWS (PG-13) 100 minutes * * 1/2 The Sunaquot call lacrosse "The Creator's Game", and it has been part of their tradition for ages. Joe (Brandon Routh) has left much of his Native American history behind and is working on plans to help develop a casino that will use part of his tribe's land that they don't really want to give up for that purpose. At the same time, Joe will end up coaching the local lacrosse team as they face off with their arch rivals. It's the convergence of two overused plotlines, neither of which is actually essential to the point of the story, which still manages to survive fairly well. PG-13 for language.

CROOKED HOUSE (PG-13) 110 minutes * * * Wonderful updated version of the Agatha Christie classic. In a house full of family members who don't like each other, who is guilty of murder? Everyone seems to have a motive and every alibi is questionable. The music sets the stage well, and unusual camera angles accentuate the strange atmosphere. It's quite good. PG-13 for sex.

THE CROOKED MAN (NR) 85 minutes * 1/2 A simple little song, but if you sing it, you die. When a girl at a slumber party sings it, her death is blamed on one of her friends. Olivia (Isabella Day/Angelique Rivera) leaves town, but when she returns years later, the killings start again. It appears that the crooked man isn't done. The last third of the film feels very rushed, and the story does have a few holes. Still, there are som nice effects, both sound and visual.

CROOKLYN (PG-13) 109 minutes * * 1/2 A slice of life in Brooklyn... noisy, sometimes dirty, hard for a kid to survive in. Zelda Harris does an outstanding job as young Troy, facing the issues of adolescence in a tough neighborhood. Another of Spike Lee's more serious films, this is one that will probably stick with you for awhile.

THE CROPSEY INCIDENT (NR) 84 minutes BOMB A series of murders gets a group of social activists to head deep into the woods to uncover the truth. But they never come back. "Found footage" film that not only has way too much obvious editing to remotely be considered "found", but clearly should have remained "lost". At some point, it becomes so bad that it's laughable. And then it gets worse.

CROSS (R) 102 minutes * 1/2 At times adventurous, and at other times a bit ridiculous. Way too much back story that we have to keep waiting for explanations for, and it slows down the whole film every few minutes. Adapted from a comic book, and it clearly does have that look. R for violence and language.

CROSS MY HEART (NR) 105 minutes * * * * A gem from the French cinema about friendship, loyalty, life, and death. It's the story of a young boy whose mother dies. Not wanting to be taken to the orphanage, he and his friends work to figure out a way around it all. The kids here are incredible, giving seasoned performances that draw us into the film immediately, and keeping us enthralled well past the finish.

CROSS WARS (R) 95 minutes 1/2 Low-budget action film with most of the money apparently spent on the cast. Lots of gunfire and bad special effects. There are a few moments of humor to help lighten the mood, but this is far less appealing or entertaining than it should be. R for violence.

THE CROSSBREED (NR) 83 minutes 1/2 Very convoluted story about demonic possession/impregnation. There's lots of great atmosphere and ambiance here, but it rings hollow with a very tired and stiff script and poor acting.

CROSSBREED (2019) (NR) 78 minutes * Inside a research facility orbiting the earth is an alien bio-weapon. A team has been sent to retrieve it. They are a rather undisciplined group. The special effects aren't too bad, but the dialogue is weak and the fight scenes are terrible.

CROSSING OVER (R) 107 minutes * * 1/2 Several intertwined stories about people who are trying to become legal citizens of the United States. Not all of these stories have happy endings, but some do. Harrison Ford delivers a nice, low-key performance that serves as one of the ties between some stories. Ray Liotta's character, on the other hand, is not likeable and not very well performed. In fact, removing this thread from the picture would have made it stronger. R for language, violence, and nudity.

CROSSOVER (PG-13) 91 minutes * * Playing streetball and learning about life. Those are the topics in this story about Noah (Wesley Jonathan) and Tech (Anthony Mackie). The story could clearly have used some improvement, but the performances are more than adequate and the basketball sequences are nice. Nothing great here, but not a total time-waster either. PG-13 for sex and violence.

CROSSROADS (PG-13) 90 minutes * * Lucy (Britney Spears) is graduating high school, but she's always been such a good girl and a good student that she feels like she's missed out on things. When the opportunity arises to travel across the country with some friends, she jumps at the chance. A coming of age film that manages to retain most of the innocence of its leads, this isn't too bad as a first film for Spears. She's no great actress, but there are plenty who are worse. Nice pop music soundtrack that's made to market. Spears fans probably won't be disappointed, but others probably won't be overly impressed. PG-13 for language.

CROSSROADS: A STORY OF FORGIVENESS (NR) 92 minutes * * 1/2 It was a day like any other for Bruce Murakami (Dean Cain). But his wife and daughter will not return from the errands they went to run. That leaves Bruce to deal with his grief, his two boys, one of whom he isn't very close to, and what justice looks like for the reckless young driver who caused the tragic accident. An emotional story with some very nice supporting performances.

CROSSWORD MYSTERIES: A PUZZLE TO DIE FOR (NR) 84 minutes * * The skills of a newspaper crossword puzzle editor (Lacey Chabert) come in handy when the puzzles seem to be offering clues to a murder. Detective Logan (Brennan Elliott) is a little biased against her at first, but is soon persuaded to let Tess help. The story feels a little forced, but Chabert and Elliott work well together.

CROSSWORD MYSTERIES: ABRACADAVER (NR) 84 minutes * * 1/2 In the right place at the right time, Tess Harper (Lacey Chabert) is witness to the death of a magician on stage. Could it be murder? Along with her detective friend Logan (Brennan Elliott), Tess will uncover the secrets and bring the killer to justice.

CROSSWORD MYSTERIES: PROPOSING MURDER (NR) 82 minutes * * One of Tess's (Lacey Chabert) friends turns up dead, just before he was going to propose to his girlfriend. Tess is determined to unravel the mystery and of course, it's one that Logan (Brennan Elliott) is investigating. Harmless enough, but the story isn't very strong.

CROSSWORD MYSTERIES: RIDDLE ME DEAD (NR) 84 minutes * * After Tess (Lacey Chabert) has a guest appearance on a game show, the host of the show ends up dead. It's true that he wasn't well-liked, which means there are plenty of suspects. The photography is a little below the typical quality of the rest of this series. Otherwise, it's not bad.

CROSSWORD MYSTERIES: TERMINAL DESCENT (NR) 83 minutes * * 1/2 After volunteering to be challenged by a computer that specializes in crossword puzzles, Tess (Lacey Chabert) finds herself working to solve the murder of the CEO of the company that created the program. Chabert and Brennan Elliott continue to work well together and the script fits well.

CROUCHING TIGER, HIDDEN DRAGON (PG-13) 115 minutes * * * 1/2 Beautiful production values highlight this story of a warrior who is ready to give up huis quest for vengeance and a young girl who wants nothing to do with the married life that has been planned for her. Chow Yun Fat, Michelle Yeoh, and Zhang Ziyi carry the story well and the martial arts are simpy amazing. It's nice to see women getting equal time in the fight sequences. Gone are the silly smacking and cracking noises, but they are replaced with equally silly, though more artistic, flying sequences. Still, the story and the production quality elevate this at least to the level of "Enter the Dragon" if not a step beyond. PG-13 for violence.

THE CROW (R) 93 minutes * * 1/2 Based on the comic book of the same title, this is the story of a man who comes back from the grave to avenge the death of his fiancee. Brandon Lee's last film is slightly better than average, with a number of effectively macabre images throughout. Despite the atmosphere, the direction is aimless and the script sounds too much like a comic book when it doesn't need to. R for sex, violence, and language.

THE CROW: CITY OF ANGELS (R) 79 minutes * Strange camera angels and dim lighting establish an appropriately spooky mood here, but the script is far too weak to keep us interested. Graeme Revell's music is nice, but our new star (and this film) are but a pale shadow of the first film. R for violence and language.

THE CROW: WICKED PRAYER (R) 96 minutes * * Jimmy Cuervo (Edward Furlong) and his girlfriend are killed by a satanic cult, but when he is resurrected as The Crow, he finds himself not only an agent of vengeance and justice, but in a battle with forces of evil far greater than he imagined. The script isn't all that great, but the cast goes a long way to make up for it with Furlong, Tara Reid, David Boreanaz, and Dennis Hopper. Filmed in and around Salt Lake City, Utah. R for violence and language.

CROWN HEIGHTS (R) 94 minutes * * * Convicted of a murder he didn't commit, Colin's (Lakeith Stanfield) life seems to be rapidly slipping away. Based on the actual case, this has good intensity early on, but soon settles into more of a legal drama. It works, because the intensity from the earlier parts of the film carry continue to be referenced and stay fresh throughout the film. R for language, sex, and violence.

CROWN VIC (R) 106 minutes * * 1/2 It's his first night in a patrol car, and Nick Holland (Luke Kleintank) really isn't ready for what he's about to see. His partner is jaded, cynical, and rough, but then again, Ray Mandel (Thomas Jane) has been doing this job for awhile. Much of the night doesn't seem too difficult, but these are the streets of Los Angeles, and it can get extremely rough very quickly. The story moves a little slowly is several sections, but appears to be attempting to imitate what might happen on a real shift in a patrol car. The extremes do seem to be a little stereotyped, but the final scene makes the point of the film quite clearly. R for violence, language, and nudity.

CROWNING JULES (NR) 76 minutes * 1/2 Jules (Jacqueline Labadie) has a twin sister (Elizabeth Labadie) who is "perfect". They are travelling together to a beauty pageant that Madison is in so that Jules can get to an interview at Harvard. But this is going to be more of an adventure than either one of them is anticipating. Silly, but perhaps of some interest to the 6-10 crowd.

CROWSNEST (R) 81 minutes * Five friends on a road trip run into cannibals travelling the backroads in their RV. Of course somehow everything is captured on the video camera one of them has. There’s definitely some gore, for people who enjoy that in their horror films. But the story is tired and boring, and the photography, as in most “found footage" films is irritating. R for violence, language, and nudity.

CRSHD (NR) 78 minutes * * The only way to get into the crush party is to have someone submit a crush on you. Izzy (Isabelle Barbier) is desperate to go. She just can;t finish her freshman year in college and still be a virgin. Sweet and somewhat edgy, but the story also tends to start a lot of subplots that don't really go anywhere.

THE CRUCIFIXION (R) 86 minutes * * Nicole (Sophie Cookson) is desperate for an exciting story to write. And then she learns of a priest who is accused of murder. It was part of an exorcism that went wrong. As she digs for the truth, it seems likely that the demon may still be present. Based on the Tanacu exircism case. The acting is very stiff toward the beginning, though it does get better as the film moves along, and the exorcism scenes are all well done. R for violence and sex.

CRUDE: THE REAL PRICE OF OIL (NR) 101 minutes * * 1/2 The story of the "Amazon Chernobyl" lawsuit, where the residents of the rainforest in Ecuador charged Texaco (which became Chevron) with polluting and poisoning the river and forest, putting their lives, homes, and civilization at risk. The fight isn't over, but the journey is inspirational.

CRUEL HEARTS (NR) 85 minutes * * 1/2 It starts with a confession. He (Alev Aydin) admits to Burt (Patrick Day) that he's had an affair with Burt's wife. From there, the story quickly begins to twist and turn. A very good beginning, though it does lose a little bit of steam before the extra twist at the end.

CRUEL INTENTIONS (R) 94 minutes * * 1/2 Suggested by the novel Dangerous Liasons, this explores the idea with a younger cast. Kathryn gives her stepbrother the challenge of taking the virginity of a girl unlikely to cooperate. The strategizing seems a bit much, but the cast is talented and makes the film very watchable. Ryan Phillippe comes off the best here, but Reese Witherspoon and Sarah Michelle Gellar are good as well. R for sex and language.

CRUEL PETER (NR) 90 minutes * * Sometimes "justice" takes a long time. Peter (Aran Bevan) is a very cruel child. Torturing animals, children, and servants, he has no regard for what any of them feel. One day the tables are turned, and when he wakes up, he has been buried alive in the local cemetery. But Peter has found a way to be cruel from the other side. Some very good creepy moments, though some are a little too dark to tell what's happening. The story also tends to stray into subplots that are less helpful to the main story.

CRUEL SUMMER (NR) 73 minutes * * 1/2 Camping is a peaceful experience for Danny (Richard Pawulski). Danny is autistic, but he is looking forward to this time by himself and he is prepared. Unfortunately, there are a few angry teenagers who have some other ideas about what Danny is going to experience. The brevity of the film diesn't give us enough time to really get to know Danny and connect more with a character we need to be more sympathetic toward.

CRUEL WORLD (R) 85 minutes BOMB After getting rejected by a potential girlfriend love onscreen, Philip (Edward Furlong) is out for revenge. He's producing his own television show now, and the losers are all going to die. Since the girl he's actually angry with dies fairly early in the film, the rest of this doesn't really make much sense. Boring and cheaply done effects. R for violence, sex, and language.

CRUELLA (PG-13) 125 minutes * * * Taking a step back in time, this is the story of Cruella's (Emma Stone) early days. Always interested in fashion, but always on the edge of what was acceptable, that is what defined her taste. Often branded a troublemaker, Cruella frequently felt that she was torn in two directions. Eventually, as we know the story, her more vicious and evil side would win. Though only rated PG-13, this is a much darker story than Disney usually releases. There is humor, to be sure, but it's a more disturbing look at the motivations behind Cruella's embrace of her darker side. Great work by the cast and some very nice visual effects and animation. It is a little heavy on the narrationi. PG-13 for violence.

CRUMB (R) 119 minutes * * * 1/2 Biographical documentary about Robert Crumb, the underground comic artist and creator of Fritz the Cat. Interviews with Crumb's family and friends give us an in-depth look at a character who is even more unique than the characters he creates. An incredible film that will have you wondering how Crumb survived his upbringing and was able to succeed.

THE CRUSH (R) 85 minutes * * "The Amy Fisher Story" meets "The Hand That Rocks the Cradle" with Alicia Silverstone starring as the 14-year-old with a crush on her next-door neighbor that turns into an obsession.

CRUSH (2013) PG-13) 89 minutes * * A knee injury sidelines Scott (Lucas Till) from the soccer field. He's focused so much on healing from his injury that he doesn't notice Jules (Sarah Bolger) except as a friend. Bess (Crystal Reed) also has a crush on Scott, but who is stalking him and making threats? Predictable, but the cast do their best with a script that just isn't that interesting. PG-13 for violence, sex, and language.

THE CRY (R) 74 minutes * The legend of La Llarona, or "The Weeping", has been around for over 500 years. This spirit longs to make others suffer the loss of their children just as she did. There are way too many cut shots, which interrupts the suspense rather than helping it, and the ending is far less creepy than it should be. It's not a bad idea, but definitely a bad script. It also doesn't make sense to set this in New York. Our protagonist is all upset and concerned about ten children who have recently gone missing. Ummm.... just so you know, in 2010 (just a random year not too far from when this was made), 6544 children went missing in New York City. This should have been set in a much smaller city, where the impact would have made more sense. R for violence and language.

CRY BABY (PG-13) 80 minutes * * A wonderful cast makes this corny Romeo and Juliet story fun to watch, though it's rather rough around the edges. Keep in mind that it's a John Waters' film and you'll understand what I mean. Johnny Depp, Amy Locane, Ricki Lake, Iggy Pop, Traci Lords, Patricia Hearst, and Willem Dafoe among others are just having fun playing these unique characters for the big screen.

CRY FROM THE MOUNTAIN (PG) 101 minutes * 1/2 A father and son kayaking trip in the Alaskan wilderness. It sounds wonderful, but the purpose is to provide a space for the father to tell his son about his impending divorce from the boy's mother. There's an accident, a rescue, and some preaching about God. Miraculously, everything works out well in the end, which is far from believable, but makes for a wholesome story. The best part of the film is the natural scenery, which is beautiful.

CRY MACHO (PG-13) 98 minutes * * 1/2 His days as a rodeo star are long gone, but Mike Milo's (Clint Eastwood) latest job may be even more difficult. He's been sent by Howard Polk (Dwight Yoakam) to retrieve the son he left in Mexico. The boy is a handful, so the trip back is not going to be easy. Less impressive than most Eastwood films, and without as much depth, but still worth a look. PG-13 for language.

CRY WOLF (PG-13) 84 minutes * 1/2 It starts as a game, spreading a rumor that a serial killer is on the loose, but these friends at a prep school begin to take the joke a little too far. Definitely a low-budget thriller, but rather shy on the thrills, too often pulling its punches and giving hints about what is to come. PG-13 for violence and language.

THE CRYING GAME (R) 108 minutes * * 1/2 Having relationships with others, caring about them... it can be a game we play, or it can be more than that. What do we do with the hurt we feel? These are the issues that Fergus (Stephen Rea) must deal with as he portrays a man who is trapped by his politics and his love. When the plot twist comes (can't tell you now, can I?) the script and direction aren't able to adequately convey Fergus' torment. Rea does a fine job, but it feels more like he's beaten into submission rather than coming to an understanding of what's going on inside himself. Interesting, but somewhat ineffective film, though its plot twist seems to make it a bit more appealing to the general public for its shock value. R for sex, language, and violence.

CRYPTID (NR) 110 minutes * It must be a bear. That's what the townsfolk agree must be responsible for the attacks. Something about that idea just doesn't sit right with journalist Max Frome (Nicholas Baroudi). He is confident that he has found the story that could save his career... if he can live long enough to tell it. Most of the creature effects aren't very good, and they are mostly in the dark.

CRYPTO (R) 100 minutes * 1/2 He's good at his job, perhaps a little too good. When martin (Beau Knapp) uncovers something questionable at the bank where he works, he brings it to light... and ends up being demoted. He soon finds other problems, because the connections are so vast and tangled. Despite the presence of Kurt Russell, though in a relatively small role, the cast just doesn't have the strength to pull this one off. R for violence, language, and sex.

CRYSTAL FAIRY & THE MAGIC CACTUS AND 2012 (NR) 96 minutes * 1/2 The San Pedro cactus is supposed to have amazing hallucinogenic properties. Jamie (Michael Cera) and his three friends set off in search of it, accompanied by Crystal Fairy (Gaby Hoffman), who they just met the night before. It's going to be an unusual adventure. Hoffman is very good here, but Cera is annoying and shallow and the inexperience of the Silva brothers (only one of whom had been in a film before this) is both unfortunate and distracting.

CSNY/DEJA VU (R) 93 minutes * * * Crosby, Stills, Nash, and Young toured the United States during the Vietnam war, using their music to protest what the government was doing. It's almost forty years later, and they're on the road again. It's a different war, and they are a few years older, but the message is the same. Plenty of great CSNY music and more than a few doses of their political views. R for language and violence.

CTHULHU (R) 93 minutes 1/2 Butchered attempt to modernize H.P. Lovecraft's classic, "The Shadow Over Innsmouth". The photography is nice in a few spots, but that's about the best that can be said for this. First effort from both the director and the writer, and you know it's probably not a good sign when the lead actor is credited as writing additional dialogue for the film. R for language, sex, and violence.

CUB (NR) 81 minutes * * 1/2 Deep in the woods in France, just across the border from Belgium, a group of young scouts and their leaders set up camp. But someone else is already there. Someone who doesn't really appreciate the company. Strange mix of horror, drama, and humor, with an ending that definitely leaves some questions unanswered.

THE CUBAN (NR) 107 minutes * * * As Mina (Ana Golja) begins working in a nursing home, one of the patient she begins working with is Luis (Louis Gossett Jr.). He isn't very responsive until she begins to sing. Music is the key for Luis, and slowly, he begins to to life again, at least for awhile. Memories and the mind are beautiful, but often very fragile. Perhaps they are even more beautiful because of that fragility. A beautiful story with nice work from both Golja and Gossett.

CUBAN FURY (R) 93 minutes * * 1/2 He was a champion salsa dancer as a boy, but bullying made Bruce (Nick Frost) give it up. Now he wants to impress his boss, who he's more than a little attracted to, and who happens to enjoy salsa dancing. Fun and light-hearted comedy with great work by Frost. R for language and sex.

CUCUY: THE BOOGEYMAN (NR) 93 minutes * * Children are disappearing. Sofia (Jearnest Corchado) thinks it might be the creepy guy who just moved into the neighborhood. (Nothing creepy about Sofia spying on everyone with a telescope from her room though.) But maybe it isn't him. Maybe it's the boogeyman. Maybe the stories are real. Nice effects and a good, creepy story that leaves room for a sequel.

CUJO (R) 89 minutes * * ½ As with the book by Stephen King from which this is adapted, the bulk of the story is “rabid dog traps people in car”. Not terribly exciting by itself, though King somehow manages to make it work well. There is a lack of character development, but Dee Wallace does a fine job of presenting a strong character that holds the film together. R for violence and language.

CULT OF CHUCKY (R) 87 minutes * * Chucky is back to torment Nica (Fiona Dourif). He also plans to take revenge on a few other people who have crossed his path during the last few years. The seventh film in the series, and one of the creepier entries, though it won't make much sense if you haven't seen several of the others. R for violence, language, and sex.

CUMBIA CALLERA (NR) 89 minutes * Neto (Oliver Cantu Lozano) is a young filmmaker who becomes obsessed with Cori (Fernanda Garcia Castenada), filming her every move, though mostly without her knowledge. There's not much story here, but instead a collage of visual story with musical accompaniment. There are a few moments when that works, but for the most part, the lack of substance is disheartening and the shallow ending only highlights the need for something more that should have been here.

THE CUP (PG) 96 minutes * * * Years ago, Damien's (Stephen Curry) father died in a horse racing accident. When tragedy strikes his family again, he has an important and difficult decision to make. The Melbourne Cup is one of horse racing's most prestigious trophies, which doesn't make his choice any easier. An emotional and well-written story, based on actual events, and the performances match it well. PG for language.

CUPCAKES (NR) 85 minutes * 1/2 Disappointed by their country's entry in the UniverSong competition, a few friends record a song that ends up being selected for the following year's competition. Very dialogue heavy, with voice-over narration clouding the story too. This needed to be much more uplifting, fun, and exciting than what we see.

CUPID (NR) 83 minutes * * Eve (Joely Fisher) loves to work, which leaves very little time for love. Now, Cupid (Jamie Kennedy) has come to visit, and explains that if she doesn't help a couple find love, her own chance to find it will really be over. Light, romantic comedy, typical of a Hallmark TV movie. Cute, but forgettable.

CUPID & CATE (NR) 98 minutes * * 1/2 Invited to another family gathering, Cate (Mary-Louise Parker) is trying to find another reason to not attend. There is one good thing about going this time... she meets Harry (Peter Gallagher). He's much more interesting and exciting than her current boyfriend, though she's still resistant to connecting with him in any way at first. Adapted from the book "Cupid and Diana" by Christina Bartolomeo.

CUPID'S CHRISTMAS (NR) 81 minutes 1/2 Trying to save the old train depot in the town of Holly, Katie (Marla Moore) is calling in a lot of favors. She's also reconnecting with her old boyfriend Luke (Joe Kurak). Meanwhile, Santa is looking for his missing reindeer. Weak acting and a weaker script don't do this any favors.

CURANDERO (R) 92 minutes * * 1/2 Magdalena (Gizhet Galatea) needs help with her investigation into some rather sadistic murders. She hires a curandero. But he's in this a little over his head, and it keeps getting worse. Even so, he's determined to try and help. Interesting story, though the pacing of the story is far from even, and the effects are somewhat of a mixed bag. R for violence and language.

THE CURE (PG-13) 95 minutes * * * Joe Mazzello and Brad Renfro play two young boys, both outcasts, who become friends. The title refers to Mazzello's battle with AIDS, which plays a key role in the story. Annabella Sciorra and Diana Scarwid play the mothers of the boys, one supportive and one alcoholic. This plays like a TV movie as far as its flow and the topic, but it touches the heart when it needs to and Mazzello and Renfro both do great work. Filmed in Minnesota.

A CURE FOR WELLNESS (R) 140 minutes * * * Lockhart (Dane DeHaan) is a rising star in his company. He does take extra risks though. He really thinks nothing of it when he is sent to bring back the company's CEO from a treatment center in the Swiss Alps. But this spa is not what it seems, and Lockhart is finding it rather difficult to leave... or even be sure of why he is there. Fascinating story, and the ending is unusual, leaving us at a point where we want to know a little more. R for violence, sex, and language.

THE CURED (R) 89 minutes * * 1/2 They used to be zombies. Most of them have now been cured. But two major problems remain. What is to be done with the 25% who aren't cured, and how to reintegrate those who have. Oh, and just to note... they remember what they did. It's an interesting twist for the zombie genre, with a more personal and intimate look at what happens to family and friends as well as dealing with the idea of what effects a possible cure might mean. R for violence and language.

THE CURIOUS CASE OF BENJAMIN BUTTON (PG-13) 159 minutes * * * Born as a baby, yet also as an old man, Benjamin slowly gets younger as the years go by. Raised in a home for the elderly, he learns many of life's great lessons at a young age. Adapted from one of F. Scott Fitzgerald's more unique stories, it's a fable about life and the magic that living it brings, and a reminder, that "when it comes to the end, you have to let go." Wonderful performances by Brad Pitt and the rest of the cast. PG-13 for language and sex.

CURIOUS GEORGE (G) 78 minutes * * * Nice cartoon for the very young set, with lots of bright colors and a typical story about Curious George getting into a little trouble, having an adventure, and then having everything work out alright in the end. The real gem hear is the soundtrack, with some great songs by Jack Johnson that have a gentle, lyrical feeling to them.

CURIOUS GEORGE: GO WEST, GO WILD (G) 81 minutes * * 1/2 George and Ted head off to the country for a quiet and relaxing weekend. The train ride is surpisingly uneventful, but Cousin Ginny's farm will be anything but that. It takes no time at all for all of her animals to get loose. Nice family film aimed at the preschool crowd with lots of bright colors and simple animation.

CURLY SUE (PG) 96 minutes * * * Bill Dancer (Jim Belushi) and Curly Sue (Alisan Porter) are getting along just fine with their lives. That is, until their little con games that usually provide dinner and a few dollars end up having more of an effect than they expect. Director/screenwriter John Hughes has created a couple of wonderful characters here. They live and breathe, laugh and cry, and we feel that we know them when the film is over. Alisan Porter is not only adorable, she's a fine young actress, and her performance goes a long way to helping the film succeed. PG for language.

THE CURRENT (NR) 80 minutes * 1/2 Living in Chicago is perfect as far as Jake (B. Bradenton Harper) is concerned. His parents are troubled by the violence of the city and decide to move the family to a campground facility ir rural Minnesota. The adjustment will be difficult. There are some good bits here, but there are also lots of stiff and awkward ones too.

THE CURRENT WAR (PG-13) 102 minutes * * * Electricity. It was a new and amazing thing. It was also about to change the world. Thomas Edison (Benedict Cumberbatch) and George Westinghouse (Michael Shannon) were two of the top competitors. Vying for recognition at the World's Fair, and the opportunity to begin to power cities across the country, they were also at odds about whether direct current or alternating current was the best option. Nikola Tesla (Nicholas Hoult) was there as well, but with less financial support. Well-played drama, though a little dry. PG-13 for violence and language.

THE CURSE (R) 84 minutes BOMB Meteorite lands on a farm and begins to poison the water, driving the area inhabitants crazy. They interpret it as a curse or judgement from God. Interesting mix of music that uses bluegrass to create suspense. Featuring the one-dimensional acting of Wil Wheaton and John Schneider. Laughably bad.

THE CURSE OF BUCKOUT ROAD (NR) 88 minutes * 1/2 Three young adults set out to disprove the urban legends surrounding Buckout Road, the most haunted road in America. Instead, they find themselves experiencing all of the horrific legends that they've heard. And the power each of these legends carries seems to be increasing as the moments tick by. A mix of supernatural and dreams that twists and turns, perhaps a little too much for its own good.

CURSE OF CHUCKY (R) 92 minutes * * 1/2 Nobody seems to know why the Chucky doll shows up at Nica (Fiona Dourif) and her mother's house. But it doesn't take long until people start dying again. A fairly creative entry in the series that ties into the other films well, and sets us up for another sequel... of course. R for violence and language.

THE CURSE OF HALLOWEEN JACK (NR) 78 minutes BOMB Sequel to "The Legend of Halloween Jack", with the members of the cult of the Lords of Samhain resurrecting Halloween Jack to wreak havoc on the town of Dunwich... again. Just as poorly paced as the first film, though there is a bit more back story here... if you're really interested.

THE CURSE OF HUMPTY DUMPTY (NR) 91 minutes 1/2 Wendy (Nicole Wright) is starting to suffer from dementia. Her daughters take her back to the old family home outside the city. She finds a doll at a shop nearby, and insists of having it, claiming that it was hers before. Proximity to Humpty (the doll) seems to bring back some of her memories. Bad memories. Humpty is more than just a doll. Creepy doll, but the story just isn't very good.

THE CURSE OF LA LLORONA (R) 87 minutes * * A dedicated social worker, Anna (Linda Cardellini) is struggling to balance worklife with caring for her two children after the death of her husband. When a case arises with possible abuse involved, she doesn't heed the warning the mother of the affected children gives her. Her own children and put at risk because she didn't listen or even begin to understand the power of the curse that will change their lives. Good suspense and some nice effects. R for violence.

THE CURSE OF ROBERT THE DOLL (NR) 72 minutes * Working at the local museum should be an easy and quiet way to earn some extra money. But perhaps not, if what she suspects about this strange doll known as Robert are really true. The dialogue is pretty bad, and most of the effects are less than effective. A very creepy idea, but it just doesn't deliver the scares or suspense that it should.

CURSE OF THE GOLDEN FLOWER (R) 110 minutes * * * Chow Yun Fat and Gong Li star in the story of Emperor Ping and his Empress Phoenix. Theirs was a political marriage and filled with deception and mistrust. Even now, he is working to bring about her end, and she is plotting against him as well. Zhang Yimou's classy direction lends this film a majestic beauty, and the story is both epic and heartbreaking. Based on historical fact, though admitedly taking some liberties, it's a magnificent film and well worth watching. R for violence.

THE CURSE OF THE JADE SCORPION (PG-13) 99 minutes * * * C.W. Briggs (Woody Allen) is an insurance investigator who likes to do things the old fashioned way. But Fitzgerald (Helen Hunt) is the new efficiency expert, and she's making him a little nervous. The acting is delightful and the script just sparkles. Allen's performance may get on the nerves a little, with the whining, but the story more than makes up for it. Not the best of Allen's films, but a treat to watch all the same.

CURSE OF THE MAYANS (NR) 85 minutes 1/2 An archaeologist (Steve Wilcox) leads an expedition with cave divers to explore Mayan history. They find something much more powerful and dangerous than they had expected. The film is half finished before they get to the actual site, which is more than a little disappointing. The editing at that point, when we might expect to have some suspense, is very choppy, and removes what sense there might have been to the story and making it necessary for some narration at the end to offer an explanation. (Though we've already given up on it by then.)

CURSE OF THE NUN (NR) 77 minutes 1/2 Moving into a new place wasn't supposed to be this difficult. Anna (Lacy Hartselle) is having a little problem with Sister Catherine (Rae Hunt), who doesn't want her to leave. Some creepy moments, but they're repeated too much, and the plot is jumbled and repetitious as well.

CURSE OF THE SCARECROW (NR) 81 minutes BOMB After spending years in therapy, June (Kate Loster) is finally getting closer to coping with the death of her parents. Her brother still thinks that the scarecrow is to blame, and June is about to learn the truth for herself. The pacing here is horrible, but the acting and script aren't much better. As if that wasn't enough, the ending just doesn't make any sense.

CURSE OF THE WITCH'S DOLL (NR) 96 minutes 1/2 Living in the old manor house was supposed to be a refuge for Adeline (Helen Crevel) and her daughter. But when her daughter disappears, Adeline is convinced that the doll her daughter found is cursed. The twist comes early, and until then, the story is interesting. Afterwards, it moves surprisingly slowly. There's also an epilogue of sorts, dividing the film into three "chapters", none of which are very complete.

CURSE OF THE ZODIAC (R) 79 minutes BOMB The title refers to the "Zodiac killer", who terrorized northern California with a series of murders that were never solved. Heavily narrated by the killer (voiced by Jack Quinn), with lots of canned music and bad acting, which makes this a less-than-thrilling version of the story. R for violence and language.

CURSED (PG-13) 92 minutes * * Teenagers are victims of the werewolf curse after being scratched and bitten by one on Mulholland Drive. The authorities don't believe them. There haven't even been any wolves seen in the Los Angeles area for decades. They're on their own as they figure out what they have to do to stop the curse. A hot young cast (Christina Ricci, Joshua Jackson, Jesse Einsenberg, and Judy Greer) can't help this tired story. Not sure what Wes Craven was thinking when he agreed to direct this, though his understanding of the genre and the acting skills of the cast do manage to help a little. PG-13 for violence, and language.

THE CURSED (R) 105 minutes * * * When Seamus Laurent (Alistair Petrie) executes the members of a Roma clan in order to rid his land of them, he soon discovers himself to be the victim of a curse. A curse that will affect not only his family, but the entire town. A sinister presence in the nearby woods taking vengeance for the death of the clan. The story has an "old world" tone as it is set in 19th century France, but the effects are more modern and explicit. The sense of mystery at the end of the film is very effective. R for violence and nudity.

CURVATURE (NR) 84 minutes * A time travel mystery/thriller with Lyndsy Fonseca starring as Helen, an engineer who travels back in time to prevent herself from killing someone. Good production values, and the acting is fine, but the story just doesn't have any energy.

CURVE (R) 78 minutes * 1/2 Mallory (JUlianne Hough) shouldn't have gone off the main road. And she shouldn't have poicked up that hitchhiker. Now, she's trapped in an upside down vehicle with no help in sight. The acting is fine, but the plot is obvious, and plods along with little excitement and no surprises. R for violence, language, and sex.

CUSTER'S LAST STAND (NR) 112 minutes * * * Documentary look at Custer's life and military history. He was a very contradictory character, with a life full of amazing successes and astounding disasters. The film does a nice job of showing how the interpretations of Custer's life and the myths that surround him have changed over time as our understanding not only of history itself, but of the meaning of the events that came after have shifted, and continue to shift. Nicely done.

CUT BANK (R) 88 minutes * * 1/2 A small town in Montana where life is usually slow and quiet. When Dwayne (Liam Hemsworth) catches the murder of a postal employee on video, all of that is going to change. Nicely crafted story, and good work by the cast except for Hemsworth, who seems a little stiff and uncomfortable. R for violence and language.

CUT OFF (NR) 128 minutes * * * Paul Herzfeld (Moritz Bleibtreu) has seen strange things before in his work as a coroner. His latest case is the worst. During an autopsy, he finds a small capsule inside the head of the corpse. Inside the capsule is a small piece of paper with a phone number and his daughter's name. A graphic forensic thriller, based on the book by Sebastian Fitzek and Michael Tsokos. The script does a nice job of keeping up the tension and shifting suspicion to different characters, though the ending could have been a little stronger.

CUT THROAT CITY (R) 114 minutes * 1/2 Hurricane Katrina left many people in an extraordinarily bad situation with few options. These four friends decide that robbing a casino is a way out of their situation. The job goes bad, of course, and life gets even more complicated for them. The cast is impressive, but the story just isn't interesting or believable. R for violence, language, and sex.

CUTIE AND THE BOXER (R) 77 minutes * * 1/2 They met when she was 19 and he was 41, and they;ve been together ever since. They are both artists, but despite the popularity of his avant garde style, it doesn't seem to sell very well. The photography is quite good and does a nice job of highlighting the art and the artistry. It's too bad the script has so little focus, choosing instead to just wander through their lives. it does provide us with a slice of their lives, but its never very clear what that's supposed to mean to us. R for nudity.

CUTIES (NR) 92 minutes * * * Amy (Fathia Youssouf) wants desperately to fit in. At home, her mother is struggling to accept that her husband has taken a new wife. Amy is rebelling against the cultural and religious norms of her family, in part because of what her mother is facing. But fitting in at school is even more difficult. Amy longs for the friends and family she sees there, abd finally manages to join the Cuties, a dance group where she feels accepted. The price to stay there is high, and Amy has a choice to make. Very well-done coming-of-age film with great work by the cast. The final dance scene in the film is a controversial one (in the story), but serves to push Amy's choice as one she can no longer put off. That final dance scene has also been controversial for some viewers, but is actually quite accurately portrayed for dance competitions for that age group.

CUTTHROAT ISLAND (PG-13) 118 minutes * * * Morgan Adams (Geena Davis) leads the crew of her father's ship in their search for pieces of a map and pirate treasure. Matthew Modine and Frank Langella co-star in this action-packed pirate film with more sea-faring action than we've seen in quite awhile. Wonderful stuntwork, with Davis doing almost all of her own. Exciting, fun, and not to be missed. Filmed in Malta and Thailand.

THE CUTTING EDGE (PG) 98 minutes * * * Very entertaining story of an Olympic hopeful hockey player (D.B. Sweeney) who turns to figure skating, and the debutante with an attitude problem who is his skating partner. Sweeney and Moira Kelly are both in great form here and the story involves us quickly, despite its familiarity. Director Paul Glaser has given us a film that stands up well to repeated watching and brings a smile to our face every time.

THE CUTTING EDGE: FIRE AND ICE (NR) 86 minutes * 1/2 She's out of practice as far as competition goes, and he's a speed skater with an ego that's bigger than the world. And of course, realism goes straight out the door and they perfect a competitive skating program in a matter of weeks, even when they're having difficulty getting along and only seem to spend three or four hours a day on the ice. Francia Raisa reprises her role from "The Cutting Edge 3", but it's no better.

THE CUTTING EDGE: GOING FOR THE GOLD (PG-13) 96 minutes * 1/2 An Olympic hopeful figure skater is forced to consider pair skating... with a hockey player... sound vaguely familiar? Not a sequel, but another story. It's not terrible, but the acting is definitely less than polished and the script is tired at best. Aside from a couple of emotional moments near the end, this doesn't manage to connect with the audience very well. PG-13 for language and nudity.

THE CUTTING EDGE 3: CHASING THE DREAM (PG-13) 89 minutes * 1/2 The hockey player is the girl this time. And, in case you're keeping track, we've also moved from theatrical premiere, to video premiere, to TV movie... next up, amateur home movie. This does barely tie itself the second film by having Christy Romano show up as a skating coach. How many times do we need to see this story? PG-13 for sex and language.

CYBER WARS (PG-13) 98 minutes * * In the future, our identities are all part of a huge cyberlink. There are ways around this of course, but tracking those who have stolen identities is what Dash (Genevieve O'Reilly) does. Though this doesn't have the dark and classic quality of "Blade Runner" or the slick action sequences of "The Matrix", it is an interesting science fiction film. O'Reilly and Luoyong Wang aren't particularly strong here, which doesn't help the film, but the story moves well enough that we don't mind. Clearly a low-budget sci-fi film, but one that is worth a look. PG-13 for for language and violence.

CYBORG (R) 81 minutes * 1/2 Post WWIII film with Jean Claude Van Damme out to save the world. Lots of blood, but not much evidence of talent here. Fans of low budget films will find a few things of interest, but most will probably want to stay away.

CYBORG 3: THE RECYCLER (R) 81 minutes 1/2 Not only are humans and cyborgs no longer getting along, but humans are actually hunting cyborgs for their parts. Cash (Khrystyne Haje) is being hunted as well, but she has more at stake. She's pregnant. A little more uneven than the previous films as it tries (and fails) to have a sense of humor.R for violence and nudity.

CYBORG 2: GLASS SHADOW (R) 96 minutes * 1/2 There are two companies that are fighting for control over cyborg produciton. Cash (Angelina Jolie) has been built by one company in the hope of having her infiltrate the other company and detonate herself. Nice sets and props, especially considering the low budget. Jlie and Elias Koteas definitely add some good energy into the mix.

CYBORG X (NR) 88 minutes 1/2 When X Corp loses control of their cyborgs, all of humanity is in danger. One of the small pods of survivors who have been in hiding has decided that it's time to fight back. Lots of gory violence and sone very scary looking cyborgs, but not much of a story, and most of the acting is very weak.

CYMBELINE (R) 93 mintes * * 1/2 One of Shakespeare's less familiar romances, modernized here into a setting of bikers, cops, and drugs. Retaining the original language is always a challenge as it demands more intentional viewing. Given that, this is a moderately successful adaptation. The cast does a nice job, but the direction comes up a little short of the mark. R for violence.

CYNTHIA (NR) 88 minutes * Robin (Scout Taylor-Compton) is desperate to have a baby. After hundreds of injections and lots of attempts, she finally gets pregnant. Normally, that would be cause for celebrations, but it's not just a baby that Robin gives birth to. There's something else. Fun supporting performances from Sid Haig and Robert LaSardo.

CYRANO (PG-13) 115 minutes * * * 1/2 The classic tale of Cyrano de Bergerac gets a musical treatment, based on the stage musical. Convinced that Roxanne (Haley Bennett) wouldn't love him because of his stature, Cyrano (Peter Dinklage) courts her through Christian (Kelvin Harrison Jr.). She falls for Christian's appearance, and for Cyrano's words. Complicated by Christian's love for Roxanne, a different sort of love triangle develops. Wonderful soundtrack with some very powerful music. PG-13 for violence and language.

CYRUS (R) 86 minutes * * Cyrus (Jonah Hill) lives at home with his mother (Marisa Tomei). That's not a problem until she gets interested in John (John C. Reilly). John has struggled with intimate relationships since his divorce. Now that he has found someone, her son is proving to be a bit of a challenge. Funny at times, but most of the humor here is understated, with both Hill and O'Reilly playing this very straight-faced and dry. The ending definitely has some charm, but that's not what the film seems to be leading up to. R for language and sex.

CYRUS: MIND OF A SERIAL KILLER (NR) 82 minutes * 1/2 Presented as an investigative report into the life of a serial killer. As such, this is remarkably predictable and frequently slow-paced. It relies heavily on the idea of cannibalism to horrify the viewer, and while the acting isn't bad, the script really ruins much of the effect. The quotes from historic serial killers at the end of the film is the most frightening part of the film.