D-RAILED (NR) 77 minutes * 1/2 It was supposed to be a fun, mystery excursion on a passenger train, but it became something far more deadly. The film starts and ebds well, but gets lost somewhere in the middle with an unnecessary shift to horror. The monster in the water serves the purpose of making the water more dangerous, but when we learn of the twist in the story, we really have no need of a monster. Keeping the story more realistic would have actually been more mysterious and suspensful and helped the film have a stronger impact.
D-WAR: DRAGON WARS (PG-13) 82 minutes * Based on a Korean legend with dragon-like creatures doing battle and destroying most everything in their path. There's a little more to this, but most of the legend is very poorly told. The dragon-snakes... because they are actually more snake than dragon in most scenes, are well animated, but seem to keep doing many of the same moves over and over... PG-13 for violence.
D2: THE MIGHTY DUCKS (PG) 101 minutes * * The Mighty Ducks are back in a somewhat new form... or is it just the uniforms that are new... Almost a carbon copy of the original film. Fairly entertaining and energetic, with the standard moral about trying hard and playing fair. PG for language.
D3: THE MIGHTY DUCKS (PG) 101 minutes * * Emilio Estevez can't be the coach anymore, now that the kids have moved on to a private school. Somehow the Ducks still have problems and still manage to overcome them and still come off with a movie that is relatively entertaining. It IS getting a bit thin though. PG for violence and language.
DA 5 BLOODS (R) 146 minutes * * * Four African American men from a squadron that served together in Vietnam are returing to complete a mission. Their squadron leader's (Chadwick Boseman) body was never recovered after the war. They intend to do that, and to bring back a shipment of gold that they hid during the war. Featuring Delroy Lindo, Clarke Peters, Norm Lewis, and Isiah Whitlock Jr. in a Spike Lee film. It's a powerful story, but it does derail itself a few times. R for violence and language.
THE DA VINCI CODE (PG-13) 141 minutes * * * A murder, mysterious clues in the artwork of Leonardo Da Vinci, a secret society, and the truth about the holy grail are wonderfully intermingled in this film adapted from the novel by Dan Brown. There has been a great deal of controversy around this film and the story it presents, and little understanding that it is a novel. Of course there are conspiracy theorists who will never let up, but that aside, this is a fascinating story that is interesting to explore. The performances are adequate, though not spectacular, and the suspense is quite good despite a couple of cheap shots early in the film. PG-13 for sex and language.
DAD (PG) 114 minutes * * * 1/2 A subperb drama that explores family relationships and asks us to examine how much we really do depend on each other. Jack Lemmon is outstanding once again, and Ted Danson has some of his best moments as well. There are moments where he struggles with this character though, which weaken the film just enough to allow it to ever so slightly miss the mark.
DADDY DAUGHTER TRIP (NR) 92 minutes * * Desperate to give his daughter a trip she'll never forget, Larry (Rob Schneider) plans a spring break trip. It's a disaster, but only until they meet a couple of travel bloggers by accident. (Literally, an accident.) Filled with Schneider's brand of physical humor. It comes on a little too strong, but it's stilll a cute story.
DADDY DAY CAMP (PG) 85 minutes * Yet another embarrassing film for Cuba Gooding Jr., though he dooes try to make this work. The story is old and boring and one has to wonder why a sequel was even considered when the first film showed so little promise. PG for violence and language.
DADDY DAY CARE (PG) 87 minutes * * Eddie Murphy ends up being a stay-at-home dad who needs to make some money. So, he decides to start up a day care center with the help of another father... with predictable results. This has contractual obligation written all over it, and Murphy doesn't put much energy into it. It's watchable, but Steve Zahn is actually more fun here than anyone else. PG for language and violence.
DADDY, I'M A ZOMBIE (PG) 76 minutes * * Dixie thought life was difficult because she didn't have any friends. Now, she's a zombie, and it hasn't gotten any easier. The story is interesting, but the teen angst tends to get a little convoluted and younger viewers, who this seems to be directed towards, may give up on it. PG for violence and language.
DADDY LONGLEGS (NR) 96 minutes * 1/2 Lenny (Ronald Bronstein) only gets to see his two boys for two weeks a year. How can everything a father is supposed to do and be manage to happen in such a short time? Lenny is frantically trying to do his best. A bit frenetic, and though in many ways that's exactly the point, it's rather difficult to watch.
DADDY'S HOME (NR) 108 minutes 1/2 Ronald (Travis Winfrey) is one step away from everything... a successful career, a wonderful love life, being a great father, and starring in a good film. Overly talky and full of cartoonish, but not very funny characters.
DADDY'S HOME (2015) (PG-13) 91 minutes * * 1/2 Brad Whitaker (Will Ferrell) is just trying to be a good dad to his step-children. It's slowly getting there... until their biological father (Mark Wahlberg) steps back into the picture. Wahlberg works well as a balance to Ferrell. No surprises, and a familiar message, but this manages to keep a good sense of humor and generate enough laughs to make it worth a look. PG-13 for language.
DADDY'S HOME 2 (PG-13) 94 minutes * * Brad (Will Ferrell) and Dusty (Mark Wahlberg) are doing better at co-parenting. But their relationships with their own fathers are another matter. Guess who's coming for the holidays. More of the same as the first film with additional complications from Mel Gibson and John Lithgow. PG-13 for language.
DADDY'S LITTLE GIRLS (PG-13) 96 minutes * * 1/2 Monty (Idris Elba) is just trying to raise his three girls. It's not easy, especially when his ex-wife and her drug-dealing boyfriend decide they want custody. Solid drama with strong performances and a straightforward story from writer/director/producer Tyler Perry. Also starring Gabrielle Union and Louis Gossett Jr. PG-13 for sex, violence, and language.
DAD'S ARMY (NR) 95 minutes * * * At the end of World War II, events are just starting to get exciting for the home guard in this small British town. There's an attractive female journalist who has stopped by to do an article, and the timing is perfect, since they just learned that there's actually a spy in town that they need to find a way to stop. All very tongue-in-cheel, and quite fun.
DAFFODILS (NR) 88 minutes * * 1/2 Rose (Rose McIver) and Eric (George Mason) fall in love. After they get married, they begin to realize that life as a couple isn't as easy as they thought it would be. A love story told through classic New Zealand music. Based on the stage production. The music is good, but the renditions tend to feel more comfortable than inspirations. So does the story. It feels more matter-of-fact than romantic.
DAFFY DUCK'S QUACKBUSTERS (G) 77 minutes * * 1/2 Always the schemeer, Daffy's latest venture is to open a detective agency that specializes in the supernatural. A series of eleven short cartoons featuring Daffy and various sorts of monsters, loosely framed on the "Mythbusters" television series.
DAKOTA (NR) 92 minutes * * When Kate's (Abbie Cornish) husband dies in the war in Afghanistan, she is left with their farm, their daughter, and a volunteer fire department to run on her own. And then her husband's combat dog arrives. Rather than being an added burden, which is what Kate anticipates, Dakota turns out to be a blessing. Patrick Muldoon plays the bad guy/sheriff, out to get Kate's land because she doesn't know how much it's really worth. Muldoon's character is a bit too cartoonish, but otherwise, this is reasonable family fare.
DAKOTA SKYE (R) 86 minutes * * 1/2 She could always tell when someone was lying... until she met Jonah (Ian Nelson). But loving isn't necessarily knowing, it's trusting, and that's something that doesn't come easily to Dakota (Eileen April Boylan). It's a good story, but the mediocre performances bring it down a notch. R for language and sex.
DALIDA (PG) 121 minutes * * A much beloved international singer in the 1950s, Dalida's (Sveva Alviti) story was not a happy one. Despite her immense talent, love always seemed to prove tragic on a grand scale for her. At least three of her lovers were known to have committed suicide, and she eventually did so herself at the age of 54. It brought to a tragic end, a career where she sang in eleven languages and was twice awarded the World Oscar of Recording Success. There's lots of great music, but the approach to the story is a little too much of a tabloid or sensational style, with clips of the more extreme moments of her life sandwiched between performances.
DALILAND (NR) 91 minutes * * * A unique and unusual artist, Salvador Dali (Ben Kingsley) struggles to focus on his own work, preferring to languish in a hedonistic lifestyle. James (Christopher Briney) finds himself immersed in this world, where nothing is quite what it means. Wonderful work by the cast and a very poignant ending.
DALLAS BUYERS CLUB (R) 112 minutes * * * When Ron (Matthew McConaughey) is diagnosed with AIDS, he soon discovers how difficult it is to get some of the medications that can help. So he finds a way around the system, and soon finds himself helping others find a way as well. McConaughey lost 47 pounds to play the lead here, so what you're seeing is real, not computer generated effects. Jared Leto, who apparently remained in character for the entire period of filming, does a stunning job in his supporting role. He and McConaughey both earned Oscars for their work. R for language and sex.
DALTRY CALHOUN (PG-13) 89 minutes * * 1/2 Daltry (Johnny Knoxville) hasn't seen his daughter in years. Circumstances have recently changed, and now he finds himself parenting a young teenager, which is something he doesn't really know much about. A gentle coming-of-age comedy with nice work by the cast. PG-13 for sex and language.
DAMAGE (R) 99 minutes * 1/2 John Brickner (Steve Austin) finds himself out of jail early thanks to the woman whose husband he killed. That may sound like a mistake, but she needs help raising money for an operation for her daughter, and Brickner is a safe bet to win at cage fighting, which is how she thinks she can make some fast money. There are plenty of fight scenes, but Austin seems tired here... and so does the story. R for violence and language.
THE DAMNED (R) 83 minutes * Looking for shelter in a storm after a car wreck, they find a house nearby and ask for help. The old man is reluctant, not because he wants to be inhospitable, but because of what he's keeping in the basement. Drags early on, and eventually picks up the pace, but there's only one way the story can go by then. R for violence and language.
THE DAMNED UNITED (R) 88 minutes * * * When Don Revie (Colm Meaney) leaves the Leeds United soccer team to coach the national football club of England, Brian Clough (Michael Sheen) is chomping at the bit to take his place. His coaching style isn't what they are used to. Adapted from the novel by David Peace, but based on the real coaching experiences of Brian Clough, who we see along with others in footage during the credits. An interesting look at a unique character and a great coach. R for language.
DAMON'S REVENGE (NR) 88 minutes 1/2 Sequel to "Burial Ground Massacre" in which the survivors from the first film are re-terrorized by an escaped convict, a copycat killer, and the title character (Damon-Michael Madsen), who didn't really die in the first film. A couple of creepy moments, but most of the characters are difficult to like.
DAMSEL (R) 111 minutes * * 1/2 In the late 1800's, the western United States was a place filled with opportunity and possibility. It was also a place of struggle and hardship that could sometimes change a person. Samuel Alabaster (Robert Pattinson) was expecting things to be a little easier than they eventually turned out. The film shifts from being his story to being that of the woman he loves, Penelope (Mia Wasikowska), which is interesting, though not very clear why it needed to start with him. R for violence, language, and sex.
DAMSELS IN DISTRESS (PG-13) 97 minutes * * 1/2 Violet (Greta Gerwig) and her friends try to rescue people in distress. The new girl isn;t quite sure about Violet and her friends, but decides to hang out with them anyway. When Violet's boyfriend leaves her for another girl, she has to rely on her friends to get her out of her "tailspin". It's just another day on the Seven Oaks College campus. It's utterly ridiculous, and yet surprisingly charming, thanks in large part to Gerwig's performance. PG-13 for sex and language.
DAN IN REAL LIFE (PG-13) 93 minutes * * * Dan (Steve Carell) is a widower with three daughters. He's just met the perfect woman. She happens to be dating his brother... With both Carell and Dane Cook in this film, you might be expecting a comedy, but plan to be surprised. The film is both easy-going and light-hearted, but definitely spends a good deal of time on the more serious aspects of relationships. Nice work by the entire cast, and nice to see Carell and Cook in less-comedic roles. PG-13 for language.
DANCE FLICK (PG-13) 80 minutes 1/2 No less than ten Wayans family members involved with this production. Primarily poking fun at "Save the Last Dance" and "Step Up", but dropping in jokes at a number of films as well. The problem is that the laughs are few and far between, though there are a few. PG-13 for language and sex.
DANCE WITH ME (PG) 120 minutes * 1/2 Rafael (Chayanne) has come from Cuba to get a job with the man who once loved his mother. He starts as a handyman at the dance studio, but soon begins to dance himself. He befriends Ruby (Vanessa Williams) and they learn a great deal from each other, about dance, life, and love. That all sounds nice, but the characters are a bit too one-dimensional here. There are quite a few nice Latin dance numbers, but the script really does this one in. PG for language.
DANCE OF THE DEAD (R) 79 minutes * It's time for the annual Prom. Getting a date to go with isn't always easy, but surviving this dance may be even more difficult since the dead have come back to terrorize the town. There are a few moments of creativity scattered among the mindlessness, but not too many. R for violence and language.
DANCER AND THE DAME (NR) 87 minutes * * Dancer (Billy Gardell) has cracked quite a few cases in his day, but that was then. He might still be able to solve this one, with the help of a canine cop. Family friendly mystery story with a touch of light humor, but too much narration.
DANCER IN THE DARK (R) 125 minutes * * * Bjork is stunning in this unusual drama with elements of musical theater mixed in. She plays the part of a single mother who is the victim of a hereditary disease that is taking her eyesight. The rest of her world is falling apart as well, with only her interest in musicals as a refuge. It's an uneven production, but it does hit the mark several times. Bjork wrote the music for this and performs several numbers too. R for language and violence.
DANCES WITH WOLVES (PG-13) 175 minutes * * * 1/2 Kevin Costner's directorial debut is a beautiful piece of work. The time is 1863, and America is far from a united nation, fighting between the north and south and with native Americans as well. Lt. John J. Dunbar (Costner) learns firsthand that the Sioux aren't evil or less than human, and in fact have a few things the rest of the country could benefit from learning about. He's forced to choose where to place his loyalties and what values are the most important to him. Not only does he find the wild, untamed west that he went in search of, but he finds the frontiers of his own life, the thoughts and feelings that were beneath the surface. Mary McDonnell, Graham Greene, and Rodney A. Grant offer wonderful supporting performances and this was an Oscar winner in seven categories. Filmed in South Dakota. PG-13 for violence.
DANCING ACROSS BORDERS (NR) 84 minutes * * Sy (pronounced "see") was with a dance troupe in Cambodia when Anne Bass happened to see him perform. She was so impressed with him that she arranged for an audition with the School of American Ballet in New York. His story and his progress as a dancer are not typical, but definitely interesting. And the opportunity to study with some of the best and brightest in the field helps him improve his already impressive skills.
DANCING AT LUGHNASA (PG) 92 minutes * * * Adapted from Brian Friel's stage play about an Irish family in the 1930's, this works quite well on the big screen. It's a slice of their life rather than a comprehensive story, but does a wonderful job of creating the feeling of the period. Five unmarried sisters and their brother, who has just returned from years of missionary work in Africa... it isn't always easy to dance and enjoy life, but it is important to try. Filmed in Ireland. PG for language.
DANCING DREAMS (NR) 88 minutes * * * Forty teenagers with virtually no classical dance experience worked with world-famous dancer/choreographer Pina Bausch over the course of ten months. through her genius and their dedication, the dance piece "Contact Zone" comes together. Although, as might be expected, this doesn't happen without a great deal of struggle and growth by everyone involved.
DANGER CLOSE (R) 108 minutes * * * In 1966, a company of a little over a hundred soldiers approached the Long Tan plantation in Vietnam. They expected to meet some resistance. What they actually met was a large brigade of roughly twenty-five hundred North Vietnamese soldiers. This is the story of that encounter and how it changed the war. R for violence and language.
DANGEROUS (R) 94 minutes * * 1/2 Therapy and medication are helping Dylan (Scott Eastwood) readjust to society. He's on parole, and doing well keeping his sociopathic behaviors under control. Hearing of his brother's death, Dylan suspects foul play. He breaks parole to see if he can find out what really happened. Nice work by Eastwood, but the story is pretty thin and predictable. R for violence and language.
DANGEROUS GROUND (R) 91 minutes * * Ice Cube stars and serves as executive producer for this story of a man returning to South Africa for his father's funeral. The search for his missing little brother leads us into the typical messages about staying away from drugs and the struggle of black Africans and African-Americans for equality. R for violence and language.
DANGEROUS LIAISONS (R) 118 minutes * * 1/2 Glenn Close and John Malkovich star in this classy-looking piece of fluff. Their performances are forced and exaggerated and do nothing to draw us into the story, which is an 18th century soap opera about a manipulative woman. The sets and costumes are beautiful and earned the film Oscars, though why it recieved one for the script is beyond me. The film, "Valmont", is a much better version of the story.
DANGEROUS LIAISONS (2012) (NR) 106 minutes * * * Yet another adaptation of the French novel of love, passion, and deception, this time from a Chinese perspective. The sets are beautiful, and are complimented by the photography, and add nicely to the sensuality of the film.
A DANGEROUS MAN (NR) 88 minutes * * A former special ops agent, Shane (Stephen Seagal) has just been released from prison after six years of serving time for a murder he didn't commit. Trouble has a way of finding him rather quickly though. Reasonably good action, with not only plenty of guns, but a number of fight scenes requiring a little more than Seagal has had to do in awhile.
DANGEROUS MEN (NR) 77 minutes BOMB Writer/producer/director John Rad, who also did the music for this film, spent 26 years on this project. But it's not just that he tried to do too much and those aspects are bad... acting, film editing, sound editing, photography... It's one of those films that some people think is so bad it's fun. So if you're in the mood for something laughably bad, this might be what you want to see. Unfortunately, Rad didn't intend on making a bad film. He was treating this as a serious project.
A DANGEROUS METHOD (R) 93 minutes * * 1/2 When Carl Jung (Michael Fassbender) puts Sigmund Freud's (Viggo Mortensen) psycho-analytic methods into practice, the results are nothing short of amazing. One patient in particular, Sabina Speilrein (Kiera Knightley) becomes a very interesting subject and eventually analyst in her own right. Knightley delivers a fascinating performance that is difficult to look away from. Adapted from the play,"The Talking Cure" by Christopher Hampton, the script does struggle in a few places to get away from that style of presentation. R for sex and language.
DANGEROUS MINDS (R) 93 minutes * * * Although not as gritty as some films about educating underprivileged high school kids, this is a very appealing look at the topic. Michelle Pfeiffer gives one of her best performances and is surrounded by a wonderful supporting cast that fill out the film nicely. It's a solid drama that you won't be sorry you watched. R for language and violence.
DANGEROUS WATERS (NR) 97 minutes * * 1/2 She's not excited about her mom's new boyfriend, but Rose (Odeya Rush) is about to discover just how bad he really is. Derek (Eric Dane) works for some very bad people. But Rise is a fasst learner. The ending of the film hints at something more, but what might happen in a potential sequel is still left to the imagination. It could prove to be interesting though.
A DANGEROUS WOMAN (R) 98 minutes * * Martha (Debra Winger) is a child in an adult's body. She doesn't understand why people lie, why the truth can get you into trouble, and why people won't just leave her alone. This isn't really a pleasant film to watch, but Winger does a wonderful job and David Straithairn has a nice supporting role as well. The awkward ending leaves us wondering where they were headed with this, but we're mostly just happy that its over.
DANGEROUSLY CLOSE (R) 91 minutes * * 1/2 Violence breeds violence as a group of vigilante students wreak havok under the guide of maintaining order. Some of the plot twists offer some intrigue and help hold our interest, but the poor production quality manages to undercut some of that. R for language, violence, and nudity.
DANIEL ISN'T REAL (NR) 94 minutes * * As a child, a traumatic event has Luke (Griffin Robert Faulkner) create an imaginary friend Daniel (Nathan Chandler Reid) to help him cope. After awhile, Daniel is less helpful and Luke locks him away. As a young adult, Luke (Miles Robbins) is struggling with acceptance and decides to call on his old friend for help. Daniel (Patrick Schwarzenegger) has changed over the years, and now has a rather dangerous agenda of his own. The film gets more maniacal as it moves along, but also begins to have some nagging logical flaws that get in the way of the story.
THE DANISH GIRL (R) 113 minutes * * * When Elnar (Eddie Redmayne) poses as a woman for a painting his wife is working on, something inside him is awakened. What begins as a fun little game in private, changes, and he begins to go out in public as a woman. Eventually, Elnar/Lili attempts one of the earliest male to female sex reassignment surgeries. In the process, Gerda's (Alicia Vikander) love for her husband will be put to a severe test. A sensitive portrait and a tender and thoughtful film. R for sex.
DANNY COLLINS (R) 101 minutes * * * 1/2 Life is going well for Danny (Al Pacino), a little empty, but good. And then his manager gives him his birthday present... a letter from John Lennon that wasn't delivered until now. It changes everything. Great job by Pacino, with wonderful supporting work by Annette Bening, Jennifer Garner, Christopher Plummer, Bobby Cannavale, and Giselle Eisenberg. Inspired by the story of singer Steve Tilston. R for language and nudity.
DANNY DECKCHAIR (PG-13) 96 minutes * * * Charming and slightly quirky film about Danny Morgan (Rhys Ifans), who decides to see if he can get his lawn chair to lift him up with the help of some helium filled balloons. Little does he realize the stir he is about to cause, let alone the changes that will happen to him as he embarks on his unusual adventure. Delightful performances offset a story that, although predictable, delivers a romantic story that will definitely make you smile. Filmed in New South Wales, Australia. PG-13 for sex and language.
DANNY SAYS (NR) 100 minutes * * 1/2 Danny Fields was often in the right place at the right time. He had an uncanny ability to hear musicians and know they would be the next "thing" or not. He dropped out of Harvard to spend time with Andy Warhol. From there he moved on to publicize and manage a number of influential bands and singers, being instrumental in the punk music movement. A fascinating look at the history of the music of the 1970s.
DANTE'S PEAK (PG-13) 101 minutes * * 1/2 The team approach to handling the volcano situation is a bit too obviously copied from "Twister". Still, there are some great special effects here, especially at the one hour point. Stretches believability a bit farther than most, but paced well and keeps you involved. Filmed in Idaho. PG-13 for violence and language.
DAPHNE & VELMA (G) 72 minutes * 1/2 When Daphne (Sarah Jeffery) starts at a new school, she gets to meet her internet friend Velma (Sarah Gilman) in person. It's the beginning of what will eventually become Mystery Inc.. The film is a strange mix of fun and inventive material and silly stuff that doesn't really fit. Fans of Scooby and the gang will enjoy the backstory this provides, but Jeffery and Gilman don't really fit this very well.
DAREDEVIL (PG-13) 96 minutes * * 1/2 Very nice intro to the character during the first fifteen minutes or so of the film for those not already familiar with the comic book. Nice choice of villains for Daredevil to deal with this first time out as Michael Charles Duncan plays Kingpin and Colin Farrell does a wonderful job as Bullseye. Jennifer Garner does a great job as Elektra, but I didn't care for what happens toward the end, but I won't spoil it for you. Ben Affleck does a passable job as Daredevil, of course, it isn't a particularly strong character, but it is one that grows on you. If you watch quickly, you'll see both Stan Lee and Frank Miller in cameo parts. PG-13 for language and violence.
DARFUR NOW (PG) 93 minutes * * * Whether you are familiar with the plight of people in Darfur or not, this is a very good documentary to watch. The history and present situation (up to 2007) are included. Rather than dwelling on horrific images as some of the other documentaries on Darfur have chosen to do, the emphasis here is on the possibility of change through action and involvement. There are definitely stark images of the horrors of war. But in relating to the people, in talking with those who have gone to help and returned to tell their stories, we can feel the importance and discover how easy it is to help. PG for violence.
THE DARJEELING LIMITED (R) 87 minutes * * Wes Anderson and Jason Schwartzman bring their rather unusual sense of humor to this story of three brothers who take a spiritual journey across India to see their mother and to recapture the closeness they used to have. Schwartzman co-stars along with Owen Wilson and Adrien Brody as the three brothers. The journey has more than it's share of... unique problems, but the brothers do learn some lessons along the way. R for language.
THE DARK AND THE WICKED (NR) 91 minutes * * Their father lies on his deathbed. Louise (Marin Ireland) and Michael (Michael Abbott Jr.) have been summoned home. As his death grows closer, unsettling things begin to happen. Nice photography that helps create some creepy scenes. The story doesn't provide many details, which adds to the suspense, but it also leaves us without a good resolution to the film.
DARK ANGEL (NR) 123 minutes * * 1/2 After the death of her first husband, Mary Ann Cotton (Joanne Froggatt) learned a valuable lesson... take out a life insurance policy on your family members. That way, after you kill them, you get money. Unless you get caught. Strong performance by Froggatt in a story that is part mystery/thriller and part historical drama.
DARK BLUE (R) 112 minutes * 1/2 No surprises here, just another movie about cops gone bad, cops gone worse, and cops trying to clean up the system. The script is two-dimensional at best, but it's fun to watch Kurt Russell here and it's easy to see that he's having fun too. R for violence and language.
DARK CIRCLES (R) 83 minutes * A young couple moves into a quiet house to raise their new baby. But the house is far from quiet, and the more sleep they lose, the worse the hallucinations become. Or are they hallucinations? No real surprises, not much suspense, and a very unsatisfactory ending. R for violence.
DARK CITY (R) 94 minutes * 1/2 This film is loaded with style, but utterly confusing from the very start. Perhaps that is the intention, to confuse us in the same way the characters are being confused as their identities are switched each day. It just serves to make us uneasy and grope for understanding. As we begin to figure it all out (the aliens trying to understand what makes us human by understanding our memories) we find ourselves not really caring anymore. It is at this point where we are treated to a two minute monologue from Kiefer Sutherland that explains it all just in case we haven't figured it out. It's an anti-climax though, making us feel as though we're missing thirty minutes of film. The ending is nice, but loses the effect it could've had due to the fact that we have little or no sympathy for these characters. Disappointing, though an uncut version on video might be worth a look. R for sex, violence, and language.
DARK CORNERS (NR) 88 minutes * * Karen (Thora Birch) is having nightmares. But are they just nightmares, or are they glimpses into another reality? Birch's performance makes this interesting, but most of the rest of the cast aren't much help. The gimmick of moving back and forth between reality and dream grows tiresome rather quickly and we begin to see the end coming long before it arrives.
DARK CRIMES (R) 91 minutes * * * Tadek (Jim Carrey) just can't get this one particular case out of his mind. Despite the risk to his career, Tadek continues to obsess over it. His continued focus has at last uncovered an intriguing new clue. It' going to involve going down a very dark path, and coming back from that journey will not be an easy task. Nicely twisted ending and solid work by the cast. R for violence, sex, and language.
THE DARK CRYSTAL (PG) 88 minutes * * * The story of a quest to find the missing piece of a crystal that will return order to a world. It’s a magical world, as envisioned by the amazing minds of Jim Henson and Frank Oz. Much like the episodes of the Muppet Shows they both worked on, there are just as many interesting things happening in the background as there are “up front”. The pacing is a little slow here, and the story here is not concerned with being humorous, though there is humor in it. PG for violence and sex.
DARK ENCOUNTER (NR) 93 minutes * * 1/2 Nobody knew what happened to eight-year-old Maisie. A year after her disappearance, they just might find out. Strange things are happening in the nearby woods. It's an unusual mix of suspense and science fiction. It's good, but it falls into a rather unique sub0genre that may leave some viewers a little puzzled.
DARK FEED (R) 80 minutes * Shooting a low-budget horror film in an abandoned psychiatric hospital seemed like a good idea at the time. But something dark and sinister in the depths of this hospital is being fed by their presence. Creepy, but the story devolves into nonsense fairly quickly. R for violence and language.
DARK FLOORS (R) 76 minutes * 1/2 After a power outage traps them briefly in an elevator, six people find themselves of a mysteriously deserted floor in the building. The monsters are definitely creepy, and the special effects are good, but it's a somewhat nonsensical group that isn't really explained. (Zombies, aliens, demons...) It's just not quite enough. R for violence.
A DARK FOE (R) 111 minutes * 1/2 FBI agent Tony Cruz (Oscar Cardenas) has a problem. It's called Nyctophobia, an extreme fear of the dark. It's connected to the kidnapping of his sister when he was a child. Working on another case, he sees the man who kidnapped her. Can he overcome his fear to finally bring his sister's abductor to justice? It's a dark and violent story, and somewhat disturbing as well. Cardenas mostly seems numb during the whole film, which is unfortunate. And his fear of the dark doesn't really figure into the story except at the beginning. R for violence, sex, and language.
DARK FRONTIER (R) 92 minutes * 1/2 Living in the Australian wilderness is harsh and difficult, but when strangers arrive, Nat (Aden Young) has to do whatever he can to protect his children. Desolate, desperate, and dark, which is appropriate, but also slow-moving and not very engaging. The harassment of Nat and his children earn them a few sympathy points, but despite that, we never really feel a connection to them. R for violence and language.
THE DARK HALF (R) 116 minutes * * 1/2 Reasonably good adaptation of Stephen King's novel. The story is about a writer and his "other self" that comes to life. Solid production, though the script has some weaknesses. Part of the problem is the story itself, which leaves the main character with only one course of action, thereby eliminating much of the suspense.
DARK HORSE (PG) 83 minutes * * * The story of Dream Alliance, a racehorse with a rather unlikely beginning. It's also the story of his owners, and the community. It's a working class village that is given hope by a horse that doesn't know he isn't supposed to look so impressive compared to all of the other more expensive and highly bred horses. There's a sweet and gentle country charm to the telling of this wonderful story. PG for language and violence.
THE DARK HORSE (2014) (R) 120 minutes * * * Genesis (Cliff Curtis) is a brilliant chess player. Life has been rough lately, though the medications have been helping. And now, he is finding a purpose... to teach a group of underprivileged youth about chess and life. Very nice leading role for Curtis. R for language.
DARK KINGDOM: THE DRAGON KING (PG-13) 129 minutes * * Also known as "Ring of the Nibelungs", this is the legend that inspired J.R.R. Tolkien's "Lord of the Rings". A young blacksmith slays a dragon and earns the right to a treasure that carries a curse. Virtually invincible after bathing in the dragon's blood, the treachery deceit of those close to him will eventually result in his downfall. reasonably good sword and sorcery film with a very nice performance by Kristanna Loken. PG-13 for violence and sex.
THE DARK KNIGHT (PG-13) 144 minutes * * * Batman (Christian Bale) faces a new horror, the idea that his very existence helps to create more and extreme versions of the evil he has vowed to fight. Heath Ledger's stunning and haunting performance as The Joker is at the heart of the film, though the bank robbery at the beginning doesn't really fit with the chaotic nature of his character. This continues the darker and more sinister second series of films with a more introspective Batman. Nicely done, though definitely a bit on the long side. PG-13 for violence and language.
THE DARK KNIGHT RISES (PG-13) 157 minutes * * * 1/2 The third film in the Christopher Nolan directed trilogy has Batman returning to a city that doesn’t really want him, to face an evil that was thought to be already taken care of. The story works well, with some well-played twists and a very nice ending. It does work much better if you’ve seen the others, but assuming that you have, this is a wonderful ending to the trilogy. Hans Zimmer delivers yet another powerful soundtrack here too. PG-13 for violence and language.
DARK MATTER (R) 80 minutes * * 1/2 Coming to the US to explore his theories about dark matter and the origins of the universe is a dream come true for Liu Xing (Ye Liu). But the professor he is working for wants a team player, not a dreamer. Liu Xing doesn't understand, and his work is harshly criticized. The letters he sends home reveal nothing of this conflict or his disillusionment. But as we see the widening gulf between what he says there and what is really happening, we know that the end result is not likely to be a good one. Liu Xing is a tragic character, but the film moves along so quickly that we have little time to connect with him and become very sympathetic. R for violence, sex, and language.
DARK NIGHT OF THE SCARECROW 2 (NR) 81 minutes 1/2 It's been just over 40 years since the first film's events terrorized this small rural community. The arrival of Christ Rhymer (Amber Wedding) and her son Jeremy (Aiden Shurr) sets things in motion again. Written and directed by J. D. Feigelson, who co-wrote the first film. The script is not great, and the acting is no better. There is a little suspense here and there, but not enough. Watch the first one, but skip this sequel.
A DARK PLACE (NR) 86 minutes * * * Nothing much usually happens in this small town, but when a boy turns up dead, Donald (Andrew Scott) just knows that the story he's hearing from people doesn't add up. He doesn't have many friends in town though, and the questions he's asking are making people nervous. A good story that unwraps slowly and carefully. Believability is a little thin in a few spots, but Donald is a likeable character. The ending won't make everyone happy, but it works well.
DARK PLACES (R) 107 minutes * * * Thirty years after the murder of her mother and her two sisters, Libby (Charlize Theron) finds herself reliving the events. But going back to those dark places in her life may be the only way to find her way out of the prison she’s created for herself. Theron does a fine job here, but the rest of the cast contribute strong performances as well. Adapted from the book by Gillian Flynn. R for violence, language, and sex.
THE DARK RED (NR) 96 minutes * 1/2 Sybil (April Billingsley) had a rough childhood. She's an adult now, and currently in a psychiatric facility. She claims that a mysterious group stole her baby for its unique and powerful blood. Too much of the film early on is an interview between Sybil and a doctor. It drags the story and keeps the energy level too low. The film ends much better than it begins, but the difficulty of getting through the early part is likely to keep most viewers away.
DARK RIVER (NR) 84 minutes * * It's been fifteen years. Alice (Ruth Wilson) returns home after the death of her father to claim the tenant rights that she feels are hers. Her brother has other ideas. Her own memories create a barrier as well. The acting is good, but the story just keeps circling in on itself.
DARK SHADOWS (PG-13) 108 minutes * * 1/2 Modernized version of the classic "soap opera with a vampire". It's really unfortunate that the first part of the film focuses on humor so much. A few light undertones would have been fine, but apparently someone forgot that the original was not funny at all when it first aired. The comedy in the first half of the film tends to undermine the creepy moments, though the second half does get better as it gets darker in tone. Definitely one of director Tim Burton's misfires. PG-13 for violence, sex, and language.
DARK SISTER (NR) 94 minutes 1/2 There's a reason Cassie (Amanda Woodhams) is painting such disturbing images. She keeps seeing visions of murders. Of course, there's a connection between what she's painting and what is happening in real life. If she doesn't figure out what it means soon, it may be too late. The sets and photography are very stylized and do a wonderful job of creating the atmosphere. Sadly, the script and acting just don't give this the substance it needs. It ends up being an attractive, but empty shell of what it could have been.
DARK SKIES (PG-13) 93 minutes * * 1/2 Strange things are happening at the Bennett house. missing food in the refrigerator, a strange sculpture made out of dishes, missing photos, a flock of suicidal birds... and dreams about the sandman. What can it mean? The acting here isn't all that great, but the sound and visual effects and the soundtrack work well to give this a good level of suspense that keep us interested in the story. PG-13 for violence, sex, and language.
A DARK SONG (NR) 96 minutes * * They each come to this with an agenda, but they have not truly shared with each other what they want. Sophia (Catherine Walker) claims that she wants to talk to her dead son, but she also wants something else. Solomon (Steve Oram) is an occultist, but he's never actually handled anything like this before. This wraps up a little too quickly, and with lots of symbolism. Good atmosphere throughout.
DARK SPACE (NR) 86 minutes * * On a vacation trip to Centari Five, six friends find themselves forced to land on an unknown planet. Not only are they stranded, they aren't alone. Really interesting story idea. The repetitive special effects and poor dialogue don't do this any favors, which is unfortunate.
DARK SPELL (NR) 89 minutes * 1/2 Missing the husband who left her, Zhenya (Yana Yenzhayeva) resorts to using a Black Wedding spell. It works, but not in quite the way she expected. He is now obsessed with her, and his obsession goes beyond the grave. The acting isn't great, but the story has some appeal, and there are a few very creepy moments.
DARK STAR: H.R. GIGER'S WORLD (NR) 98 minutes * * * A look into the mysterious and unusually beautiful world of Giger. The film serves as a fascinating introduction to his extensive work and for those who are already familiar, it is a treasure trove of the unique items he created, so many of which were kept in his home.
DARK STORIES (NR) 101 minutes * * * Originally a French TV series that lasted for seven episodes. Five of those episodes are included here, and they are quite good. Some are just scary or creeoy, and some have a little humor mixed into the plot. What's missing is a better wrap-around story, though it does have a nice twist at the end.
DARK STORM (NR) 85 minutes * More powerful than a nuclear bomb, this dark matter device is about to start a chain reaction that will put the whole world at risk. Repetitive effects and a Saturday morning cartoon approach to adventure keep this way too far from believability.
DARK SUMMER (NR) 76 minutes * Daniel (Keir Gilchrist) is on house arrest because he was stalking a girl at school. That would be bad enough, but then she calls him on video while she kills herself and begins to haunt him. A few creepy moments, but the style is very repetitive and quickly grows boring. The acting saves this from being a complete waste of time, but not by much.
DARK TIDE (PG-13) 107 minutes * * Kate (Halle Berry) is about to face her fear again after nine years. A fellow diver was killed by a great white shark and it has somewhat shaken her despite her reknown for being a "shark whisperer". Predictability aside, this takes far too long to get where its going, and the ending is far the the climax it acts like it might lead to. Berry outperforms the rest of the cast, but that's not a surprise either. PG-13 for violence and language.
DARK TOUCH (NR) 88 minutes * Creepy little Niamh (Missy Keating) doesn't understand why the house goes crazy every time she gets upset. Then her parents end up dead. When some nice neighbors decide to help out and take her in, it's doesn't go well for them. For some reason, the story shifts away from telekinese at the end, which doesn't really make much sense. There are creepy moments, but the story just doesn't hold together and is also very repetitive early on.
DARK TOURIST (R) 75 minutes * 1/2 A dark tourist is "one who travels with the intent to visit scenes of a tragedy or disaster". Jim (Michael Cudlitz) is one such traveller, but his fascination is beginning to take an even darker turn. A moody and haunting atmosphere that works well, but the story still manages to drag. And the solitary twist comes late and is no surprise. R for violence, sex, and language.
THE DARK TOWER (PG-13) 88 minutes * * 1/2 The tower holds the universe together and the Man in Black (Matthew McConaughey is working to bring it down. The Gunslinger Roland (Idris Elba) is the only one who can defend it. Jake (Tom Taylor) has a role to play, as do a few others, but they must be willing to do what is necessary. It will not be easy, but the fate of the universe depends on it. Condensing seven books into such a short film is not what fans of the series will want to see happen, but what this does is take the general idea of the series and present a smaller version of it. For what it is, it isn't bad, though the ending is weak. It just would have been nice to have seen this given the chance to take four or five films to tell the story. PG-13 for violence.
A DARK TRUTH (R) 96 minutes * * 1/2 The water that was provided to Ecuador was full of disease and resulted in the death of an entire village. Now, the same company is about to make a deal with South Africa. Jack Begosian (Andy Garcia) is on the case now, and is working to see that the tragedy doesn't happen again. Solid performances, though the issue of water rights isn't really pressed as hard as it could have been in the "dramatic interpretation of true events". R for violence.
THE DARK VALLEY (NR) 110 minutes * * * It's a small, quiet mountani village. No one thinks much about it when Greider (Sam Riley) shows up, claiming to be a photographer from America. But he has an agenda, or rather, a bit of personal justice to settle. Very nice ensemble cast in this vengeance western from Germany.
DARK WAS THE NIGHT (NR) 91 minutes * * A quiet town in the middle of nowhere finds itself dealing with a strange creature of Native American legend. The pace is slow and steady, which not only reinforces the setting, but manages to create some suspense along the way. Performances and production values are mediocre, but the direction gives this a little bit of a lift.
DARK WATER (PG-13) 97 minutes * * Dahlia (Jennifer Connelly) and Ceci (Ariel Gade) move into an apartment during a custody dispute and find a few other problems in the building. Water leaks, tricky elevators, strange voices, and the ghost of a former resident. This remake of a 2002 Japanese film loses a bit of the suspense in the translation, but still has a few good moments. Gade does a very nice job with her sad face through much of the film, but more suspenseful music and sound effects would have helped this quite a bit. As with most, the original is better. PG-13 for language and suspense.
DARK WATERS (PG-13) 122 minutes * * * He was a corporate lawyer, defending big companies from all sorts of legal challenges. As a favor to one of his grandmother's neighbors, Rob Bilott (Mark Ruffalo) starts digging into a land pollution case that he decides has some possible merit. The idea is to get a few answers and close the door on it. That's not what's going to happen. Well-paced legal drama based on a magazine article. PG-13 for violence and language.
DARKER SHADES OF ELISE (R) 101 minutes BOMB Elise (Becca Hirani) wants more out of her relationship. Specifically, she wants more sex. When she meets an exciting and mysterious photographer, he seems to offer just what she needs. Too bad he's more interested in blackmail than in her. Poor acting and a script that's even worse. Sound quality is terrible too. And that doesn't even touch how much this tries to make itself like a similarly titled film and fails miserably at that task. R for sex, violence, and language.
THE DARKEST HOUR (PG-13) 83 minutes * * Aliens are attacking, and they're using our electrical power supply for food and mobility. The idea is interesting, but the story and effects are repetitive. It IS nice to see a film that is willing to sacrifice some of the leading characters along the way, but this lacks the depth it needs to be a more powerful story. PG-13 for violence and language.
DARKEST HOUR (2017) (PG-13) 120 minutes * * 1/2 At a very critical and dark moment in the history of England, Winston Churchill (Gary Oldman) steps into the role of Prime Minister. The choice is simple: attempt to negotiate peace with Hitler, or find a way to keep fighting. The result of that choice will have a dramatic effect on the future. The focus is on Churchill's personal character, taking a look at how he handled the responsibility of the position, and some of the conflicts with those who disagreed with his approach. It's a more frail and human portrait of the man than we often see. It's quite good, but moves too slowly and cautiously, though the finish is a strong one. PG-13 for violence and language.
THE DARKEST MINDS (PG-13) 98 minutes * * * 1/2 A strange, unexplained disease has killed 98% of the children in the United States. Those who remain, have extraordinary powers. Their powers are seen as a threat, so they are sent to camps where they can be monitored and controlled. Ruby (Lidya Jewett/Amandla Stenberg) manages to find a way out, and she becomes part of the resistance. A well-told story that sets the stage very nicely for a sequel. PG-13 for violence.
DARKMAN (R) 88 minutes * * 1/2 It's an interesting idea, a scientist who is forced to stay in the dark after an accident and becomes a hero. But the villains are two-dimensional and the special effects quickly become more interesting than the story. We do learn quite a bit about Darkman, but heroes need well-developed villains to work against or they just aren't very interesting. There are a couple of direct-to-video sequels, but they're much the same. R for violence and language.
THE DARKNESS (PG-13) 88 minutes * 1/2 The Taylor family has been having some trouble lately. And it's been getting worse ever since they got back from a vacation. A vacation where their son picked up a stone that he should have left alone. There is a little suspense, but it resolves too neatly and quickly, making this look more likely something that should have been an hour long TV show. PG-13 for violence and language.
DARKNESS FALLS (PG-13) 74 minutes 1/2 It had to happen at some point... a horror film about the tooth fairy... Actually, this isn't about "the" tooth fairy, but about a woman who was nice to children and put money under their pillows in exchange for their teeth and who ends up being blamed for something she didn't do, then cursing the town that puts her to death. Filled with far too many cheap noise scares though there are some nice shadow effects and a few rather creepy moments. The story lets us down fairly quickly and simply has us waiting for a good look at the monster. R for violence.
DARKNESS FALLS (2020) (NR) 80 minutes * * * Obsessed with the idea that his wife's death was a murder and not a suicide, Detective Anderson (Shawn Ashmore) will stop at nothing to prove his theory. The killers have executed the perfect crime, and they are still working to keep it that way. Solid suspense with nice work from Ashmore. The pace is a little too quick, which means we skip over a few details, but it makes for a high energy film.
DARKNESS REIGNS (NR) 71 minutes 1/2 Filmmakers make deals all of the time. It's part of the business. But someone working on this film has made a deal woth a demon. The film is primarily the footage that was shot for the behind-the-scenes documentary, showing the haunting and what results. A somewhat interesting idea that starts out OK, but it never delivers on either the fear or the effects.
DARKNESS RISING (NR) 78 minutes * 1/2 Madison (Tara Holt) and two of her friends break into her childhood home. It's been abandoned for years, and it's the place where her mother lost her mind. The story works, if you hold out for the twist at the end, but that's asking a little much. After a couple of good creepy moments early on, the timing is off. There are too many scares that heppen too quickly, so we become numb and they lose their effectiveness.
DARKROOM (R) 71 minutes 1/2 A supposedly idyllic childhood masks abuse that later causes a brother and sister to kidnap and torture people. Their younger brother seems less affected for some reason. Not very creative or interesting as the story doesn't seem to know where to go after presenting us with the basic idea. R for violence and language.
DARLING COMPANION (PG-13) 100 minutes * * 1/2 Joseph (Kevin Kline) never knew that a stray dog could mean so much... until he lost it. Now he's in the doghouse and it's not going to be easy to remedy the situation. It's a great cast, with Kline, Diane Keaton, Dianne Wiest, Richard Jenkins and Sam Shepard, but Kline and Keaton never really convince us that they're a couple. PG-13 for sex and language.
DARROW & DARROW (NR) 83 minutes * * A Hallmark legal drama, with Kimberly Williams Paisley as Claire Darrow, a lawyer and single mom. Light and fun, but the legal aspect is well done, though not terribly surprising.
DARROW & DARROW: BODY OF EVIDENCE (NR) 83 minutes * * 1/2 Claire's (Kimberley Williams-Paisley) latest case is an attempt to overturn a murder conviction. It's not going to be easy, but with some help from Miles (Tom Cavanagh) who is taking a break from prosecuting, and her talented team at the law firm, she just might get it done. Watching this series in order is important, as the characters build from one film to the next and refer to earlier events. It adds nice depth to the supporting cast that won't make much sense if you watch them out of order. This is the third entry in the series.
DARROW & DARROW: IN THE KEY OF MURDER (NR) 82 minutes * * Second film in the series, this story helps begin to develop the characters a little more, but runs a little shallow on the legal aspects of the murder case. The supporting cast is clearly talented enough to handle a story with more substance.
DARWIN'S DARKEST HOUR (NR) 101 minutes * * Told through a series of flashbacks, Darwin (Henry Ian Cusick) retells his discoveries, theories, and explorations with his wife. Not a particularly good approach to the story because she would have already heard all of this more than once. She's trying to help him show the scientific world that he came up with the theory first, but she seems to be much more on top of things than her husband. The other "darkness" in question, that is making life difficult for him is the death of two of his children, which he seems to take harder than his wife. Originally aired in two parts on Nova. Filmed in Nova Scotia.
D.A.R.Y.L. (PG) 96 minutes * * Daryl (Barret Oliver) has lost his memory. Thankfully, and kind family offers to help. Eventually it is discovered that he isn't actually a little boy at all, but is actually a sophisticated robot. At which point, the story becomes much less interesting. Nice work with the soundtrack, which helps keep the film going. PG for language.
A DASH OF LOVE (NR) 83 minutes * * Nikki (Jen Lilley) just landed a job at a prestigious restaurant... as a personal assistant to the owner. It's not exactly what she was hoping for, but it does create some opportunities. One of those opportunities is meeting Paul (Brendan Penny). Cute, food-based Hallmark romance.
DASHCAM (R) 68 minutes BOMB Annie (Annie Hardy) and Stretch (Amar Chadha-Pate) take a wild trip one night. Made even worse by jerky camerawork that is supposed to create suspense, but is mostly just irritating. The more entertaining bit is to watch the "live" comment feed that runs off to the side through most of the film. At least this is mercifually short. R for violence and langauge.
DASHING HOME FOR CHRISTMAS (NR) 90 minutes * * 1/2 The trip home for Christmas is going to be more than a little difficult for Amily (Paniz Zade). Everything seems to be going wrong. The same things are pretty much happening to Simon (Adrian) Spencer) as well, but his attitude is more positive. Eventually, his easy-going, upbeat approach begins to soften Emily's frustration and she begins to enjoy the situation more than she every expected was possible. Great chemistry between Zade and Spencer in this sentimental, romantic, holiday film.
DASHING THROUGH THE SNOW (NR) 83 minutes * * More than a little inconvenient, Ashley (Meghan Ory) finds herself stranded at an airport during the Christmas holiday. Dash Sutherland (Andrew W. Walker) has rented the last car, but offers her a ride. The odds are very good that romance will soon be in the air.
DATE AND SWITCH (R) 87 minutes * 1/2 Michael (Nicholas Braun) and Matty (Hunter Cope) have been friends forever. They haven't been very lucky in love, but make a pact to lose their virginity by the time their senior prom comes around. The situation gets a little more complicated when Matty reveals that he's gay. The story is unfortunately far too thin, especially since its one we're already familiar with. It's not terrible, but it falls far short of what it could have been. R for sex and language.
DATE MOVIE (PG-13) 71 minutes BOMB Really bad comic parody that pokes fun at a string of films like "Meet the Parents", "Meet the Fockers", "Hitch", "The Wedding Planner", and many more. As with most films in this genre, most of the fun that you might have is with naming the other films that are referenced. There are also parodies of individuals here as well, but we're just glad it's fairly short. PG-13 for language.
DATE NIGHT (PG-13) 82 minutes * * * It was just supposed to be another date night, a way to keep their marriage fun and exciting. But when they decide to take another couple's reservation at an exclusive restaurant, they'll find out just how exciting life can get. Steve Carrell and Tina Fey do a wonderful job working together and the story has a great job of balancing humor and action. PG-13 for language, sex, and violence.
DATE WITH LOVE (NR) 83 minutes * * With her career Suffering from a major publicity hit, Alex Allen (Shenae Grimes-Beech) says "yes" to a high school boy's promposal. But once in town, she falls for the teacher. Cute, despite being overly predictable.
DATER'S HANDBOOK (NR) 83 minutes * * The "handbook" is really just one tip: if you aren't finding the right person, maybe you aren't looking for the right person. It's a cute romance, but it actually misses the point in that it still ends up looking bad for people who are reliable and less exciting, and actually are the ones who are more likely to last longer in a relationship. Unfortunately, no one seems to be interested in that story.
DATING AMBER (NR) 90 minutes * * * Eddie (Fionn O'Shea) and Amber (Lola Petticrew) have a problem. They want to fit in with their classmates, but they are both gay, and it just doesn't seem to be working. They decide to pretend to be in a straight relationship with each other. It doesn't work for long. Being who you are is often very difficult. Nicely written story with characters who are easy to care about.
DATING & NEW YORK (PG-13) 88 minutes * * Milo (Jaboukie Young-White) and Wendy (Francesca Reale) think they have it all figured out. They are friends with benefits... and a contract. That way, there's no chance for them to get hurt because everything is learly stated. Right. Cute, but predictable. Nice supporting work from Catherine Cohen. PG-13 for sex and language.
THE DATING GAME KILLER (NR) 86 minutes * * 1/2 Rodney Alcala (Guillermo Diaz) was a vicious killer who preyed on young females. His appearance as a contestant on the game show, "The Dating Game" led to his label as the Dating Game Killer, and reminded people that killers can often seem much more "normal" than expected. Part mystery, part courtroom drama, and the combination works well, though the acting is mediocre.
DATING THE DELANEYS (NR) 83 minutes * * 1/2 Struggling to get back into the dating world now that her ex is getting remarried, Maggie (Rachel Boston) begins to practice with her friend Michael (Paul Campbell). Meanwhile, her daughter (Zoe Christie) is interested in a boy who doesn't seem to return her affections, and her mom (Karen Kruper) is dating again too. Three generations of Delaney women, all looking for love. It's a Hallmark movie, so it will all work out for each of them to find their perfect match.
THE DAUGHTER (NR) 90 minutes * * When Christian (Paul Schneider) returns home for his father's wedding, he expects it to be a nice time of reunion with friends and family. Instead, he uncovers an old family secret that threatens to rip everything apart. Inspired by Henrik Ibsen's "The Wild Duck, and with an ending that won't satisfy most people who watch this.
DAUGHTER (2022) (NR) 96 minutes * * Kidnapped and indoctrinated into a secluded family, "daughter" (Vivien Ngo) has few options that she can see. The ending of the film won't make many viewers happy, but it is very fitting. The soundtrack works well, though it is very repetitive. Much of the script is very repetitive, but that's how indoctrination works. The same information is constantly repeated, eventually becoming a mantra, and drilling its way into your subconscious.
DAUGHTER OF THE WOLF (R) 84 minutes * 1/2 When her son is kidnapped, Claor (Gina Carano) will stop at nothing to get him back. Beautiful scenery and some nice work by the wolves. Too many of the characters here just don't generate any sympathy, and Richard Dreyfuss chews up the scenery as he often does when a director doesn't know how to reign him in. R fof violence and language.
DAVE (PG-13) 106 minutes * * * Dave Kovic (Kevin Kline) does imitations of the president in his spare time to earn a few extra bucks. Asked to double for the president at a particular event, he finds himself playing the role much longer than intended when things get out of hand with the real president. Ivan Reitman's direction keeps this paced well, and makes this a great entertainment piece. Lots of cameo appearances from real politicians, and a solid performance from Kline make this into a fun look at democracy and honesty, with a bit of romance and comedy to round out the story. PG-13 for language.
DAVE CHAPPELLE'S BLOCK PARTY (R) 96 minutes * * 1/2 Part documentary, part concert film, this is the story of Dave Chappelle' Block Party and how he made it happen. Chappelle may ruffle the feathers of a few studio execs, but he knows how to put together a great block party. He knows how to make people laugh, he knows great music, and he isn't afraid to take a risk and be honest. Erykah Badu, Mos Def, Kanye West, The Fugees, Talib Kweli, and more! R for language.
THE DAWN (NR) 85 minutes * * When her father returns home from World War I, he is not the same man. Rose (Teilor Grubbs) doesn't understand, but she knows that something is wrong. When he kills the rest of their family, she ends up in an orphanage. Years later, Rose (Devanny Pinn) is struggling to fight the same demons her father did. The twist at the end is very good, but an extra 15-20 minutes of film would have been more effective than printing it on the screen for us to read.
DAWN OF THE DEAD (2004) (R) 94 minutes * * Remake of the classic horror film with a slight twist... these zombies can raelly move! It adds a nice bit to the film and the rest of the modernization works fairly well. There are a few cameos by actors from the earlier version as well and this moves along quite nicely until the end. The choppy home video style cinematography and cheap conclusion to the story were definitely not the right directoin for this film to take and leave us more than a little disappointed. R for violence, language, and sex.
DAWN OF THE PLANET OF THE APES (PG-13) 122 minutes * * * Caesar leads the apes against a band of humans who survived the virus. Peace seems impossible, or short-lived at best. A great entry in the series, with very impressive special effects and sets. PG-13 for violence and language.
DAWN PATROL (NR) 85 minutes * * * About to be executed, John (Scott Eastwood) tells the story of the revenge he took on his brother's killer and what happened afterwards. An emotional story about prejudice and truth, the mistakes we make, and the consequences that result. Nice work by Eastwood.
THE DAWNSEEKER (NR) 78 minutes 1/2 The sun is dying and life on Earth is at risk. A team of five people is sent to a distant planet to gather a particular mineral that can revive the sun. Their ship also has a Dawnseeker on board. Its sole purpose seems to be to kill humans and it gets loose shortly after they land. (Why you would have something like that on board is never convincingly explained.) The story idea is interesting, but the sets, costumes, props, and effects are poor, though there are momentary glimpses of something better. The same could be said of the acting.
THE DAY (R) 83 minutes * 1/2 Five people trying to survive in a post-apocalyptic world. Is the farmhouse they find a haven or a trap? The editing and effects in some of the more intense action sequences is poorly done, enough so that its distracting. Ashley Bell is quite good here, and easily distances herself from the rest of the actors here as the only one who is really taking it all seriously. R for violence, language and nudity.
THE DAY AFTER TOMORROW (PG-13) 115 minutes * * Global warming has set off a chain of events that is creating extreme weather. So, in a matter of a few days, we'll be in a new ice age... hmmm... since this ignores logic, I don't need to say much about that part of the story. But there is so much wrong with the story... virtually nothing about the third huge storm in Asia, only one brief section about the European storm, and so much of the one in the US that is ignored in favor of telling us about a father and son. That might be the focus of the story, except that there isn't enough of that part either. And why is there the brief secton about all of the tornadoes in California when the rest of the film talks about the storm being centered over New York? Most of the effects are handled quite well and the end result is a fairly typical disaster film with a moral. PG-13 for language and violence.
THE DAY CARL SANDBURG DIED (NR) 82 minutes * * 1/2 Despite having an extremely successful writer and poet, and achieving international fame while he was alive, Sandburg's legacy began to fade rather quickly after his death. This documentary takes a look at his life, his work, and the more recent renaissance his work has seen. It also reminds us that truly great work is timeless and doesn't always conform to our ideas about what success might be.
THE DAY HE ARRIVES (NR) 78 minutes * * * A professor in a film department goes to meet a film critic who lives in another village. This film from South Korea is full of fascinating characters in an unusual story that keeps cycling through the same settings, sometimes even repeating dialogue. It's short enough that you might want to watch it twice, which doesn't hurt as this is all about getting to know these characters.
THE DAY I SAW YOUR HEART (NR) 93 minutes * * * Eli (Michel Blanc) loves his family, but he always seems to say or do the wrong thing. His wife is pregnant, and his grown children don't think that's the greatest news, but then again, neither is his newly diagnosed heart condition. The story focuses on his often tense relationship with his daughter Justine (Melanie Laurent) and her discovery of his condition. It's a sentimental French comedy, with a very beautiful ending.
A DAY IN THE LIFE (NR) 84 minutes * * 1/2 This ambitious project by Kirk "Sticky Fingaz" Jones is a rap musical about a day in the life of some gang members in New York. The immensely talented cast features Jones, Mehki Phifer, Omar Epps, Faizon Love, Michael Rapaport, Bokeem Woodbine, and Clarence Williams III among others. Though there are some moments here where the musical approach feels forced, there are many others that just shine.
A DAY LATE AND A DOLLAR SHORT (NR) 84 minutes * * Vi (Whoopi Goldberg) just got some bad news about her health. It's time to get some things in order. But her family is more than a little dysfunctional and difficult to handle. How will she ever get it settled the way she wants and hopes? Sentimental, emotional, and manipulative story, with good performances by the ensemble cast.
DAY NIGHT DAY NIGHT (NR) 90 minutes * * * Disarmingly simple and straightforward film about a suicide bomber. The film follows "she" (Luisa Williams) as preparations are made and instructions are carried out. As the moment approaches, we find ourselves drawn to her as we try to understand, though we are given little help in making that possible. Fascinating and challenging. Not a film that is easily forgotten.
DAY OF DAYS (PG) 104 minutes * * 1/2 "A message from God", that's what Walter (Tom Skerritt) tells the home aid worker that he has received. He's 91, and is convinced that message was that today is his last day. Slow moving, but thought-provoking as Walter and Marisol (Claudia Zevallos) converse about life, death, and other similar matters. Strong ending, but the slow pace is a bit too slow to sustain the momentum. PG for language.
DAY OF THE DEAD (2007) (R) 81 minutes * 1/2 Remake of George Romero's 1985 horror sequel about a small town under quarantine because of a virus that turns people into flesh-eating zombies. The special effects are good, but the story has grown weaker with this adaptation and the performances can't cover that up. R for violence and language.
DAY OF THE FALCON (R) 128 minutes * * 1/2 A peace treaty between rival kingdoms ends quickly once oil is discovered on the land that lies between them. It will be up to their children to see if peace is still possible, for this is a conflict that will span generations. Though the story is designed as epic in its scope, it doesn't come across as impressive as it should with that in mind. The story is overly simplified and the pace is too slow. The music and scenery make up for a little of what is lacking in other areas. R for violence.
DAY OF THE MUMMY (NR) 76 minutes BOMB When the tomb of a cursed King of Egypt is disturbed, he is going to raise more than a little hell. The point of view cinematography makes too much of this look like a cheap videogame. Not that the dialogue is going to win any awards either.
THE DAY THE EARTH STOOD STILL (PG-13) 98 minnutes * * 1/2 An alien spaceship lands on the earth. Klaatu has come to assess in person whether or not the earth should be cleansed of the parasites that are destroying it... humans. Remake of the 1951 science fiction classic, the story still speaks well to the issues of the 21st century. The special effects are quite good, and Keanu Reeves fits the rather emotionless role of Klaatu quite well, though it's not a particularly interesting character. The story does wrap up rather quickly, which leaves us wanting a little more than get. PG-13 for violence and language.
A DAY TO DIE (R) 102 minutes * ½ When you kill one of Tyrone’s (Leon) men, you have to pay. That’s the situation Conner (Kevin Dillon) finds himself in. Not only does he have to come up with a lot of money in a short amount of time, but he has to navigate around who he can trust and who he can’t. Reasonably good story and the action is gritty, but it leans heavily on gunfire toward the end as well as on unrealistic results. A promising beginning, but a letdown at the end. R for violence, language, and sex.
DAY WATCH (R) 138 minutes * * This adaptation of the second book in a trilogy is just as disjointed as the first film (Night Watch) was. A second viewing helps, but you may not feel inclined to bother. There are some great special effects here, but the story about light versus dark is nothing new. How the forces of light and dark do battle, are seen (or not seen) by others, interact with each other and ordinary people... are all very interesting... just a bit confusing. Nice finish. R for violence and language.
DAY ZERO (R) 90 minutes * * 1/2 The military draft has been reinstated and three friends find themselves thinking about their last thirty days before leaving somewhat differently from each other and somewhat differently than they expected. Elijah Wood is miscast here, though he gives the role his usual quality treatment. Chris Klein delivers a rather nondescript performance. Jon Bernthal plays the third of the friends and does a very nice job with his character James, who has no hesitation about what to do when he first receives his notification. His performance makes this work a look. R for language and violence.
DAYBREAKERS (R) 91 minutes * * The world has changed. Vampires now rule the planet and humans are farmed for their blood. But the supply is running low, and without human blood, or an adequate substitute, they will change into something less civilized. But is creating a synthetic blood supply the only answer, or is there another possibility. An interesting idea, though the story wraps up far too quickly at the end and leaves us with more questions than answers. R for violence and language.
DAYDREAM NATION (R) 93 minutes * * Unusual coming of age story with Kat Dennings telling us about the year that everything happened. There's a certain charm here at tiems, but it's mixed in with a sense of the sinister that is the focus of a subplot. It's a bit unsettling, and leaves us unsure of what to expect. R for sex, language and violence.
DAYLIGHT (PG-13) 108 minutes * * * OK, if you believe that anyone could have survived the explosion in the tunnel at the beginning, I guess the rest of this is feasible... The action is fast-paced and relentless, despite the weaknesses that are sometimes evident in the story. The exhaust fan sequence is particularly notable for edge-of-the-seat tension! Nice fx work and stuntwork throughout the film, and Sylvester Stallone delivers his standard performance as the hero who saves the day. Definitely one of the good action films to see. PG-13 for violence and language.
DAYLIGHT'S END (NR) 101 minutes * * Rourke (Johnny Strong) has been on his own, drifting from one place to another, looking for vengeance and trying to stay alive. The world has become a dangerous place since a plague turned most of humanity into zombie vampires. The creatures are interesting, being the sort of fast zombie, but like vampires, they cannot tolerate the sun. We don't really learn enough about them though, or their mysterious "leader".
DAYS AND CLOUDS (NR) 111 minutes * * 1/2 Portrait of a successful and happy family, whose lives come crashing down around them. Leaving her job to study art history seemed like a good idea at the time, but now that Elsa's (Margherita Buy) husband has lost his job and neither one of them can seem to find work, the clouds are blotting out the few things they do have together. Good performances and an interesting, if not particularly happy, story.
DAYS AND NIGHTS (NR) 86 minutes * * 1/2 Love is not always easy, and among family members it can often be even more frustrating and fragile. Over the Memorial Day weekend, this family will learn much about that love and about themselves. An eclectic group of characters inspired by Anton Checkov's "The Seagull". Strong characters, but the story tends to wander around in the emotions rather than having much direction.
DAYS OF GLORY (R) 119 minutes * * * They were four men who chose to fight with France in World War II. Little did they know about the personal battles they would face with the French, many of whom did not want Muslim soldiers from North Africa to be fighting alongside them. But which is the greater evil, what are you willing to sacrifice to achieve your goal, and what does it mean to serve together in a time of war? Intense and thoughtful production that earned an academy award nomination for best foreign film. R for violence and language.
DAYS OF THE BAGNOLD SUMMER (NR) 81 minutes * * * Daniel (Earl Cave) would like nothing better than to be in a heavy metal band. The only problem is that it isn't where his talents lie. He'd settle for living with his dad in Florida, but his dad has a young wife and a new baby and isn't really interested in having Daniel around. That leaves him with his mom... who has just started dating his history teacher (Rob Brydon). Really nice work by Cave. Adapted from the graphic novel by Joff Winterhart.
DAYS OF THUNDER (PG-13) 104 minutes * Tom Cruise co-wrote this story about auto-racing, but that's nothing to be proud of. His character has no depth and the talents of Robert Duvall and Randy Quaid are utterly wasted. Director Tony Scott is behind the wheel, but this car has no engine. Hans Zimmer's soundtrack is nice, but this is one to stay away from unless you just have to see everything Cruise has done.
DAZED AND CONFUSED (R) 96 minutes * * * It's May 28, 1976 and school is about to be out for the summer! Wonderful slice of adolescent life in the mid-seventies, with colorful characters who leave us wanting to see more. Great work by Jason London, Rory Cochrane, Wiley Wiggins, Christina Hinajosa, Milla Jovavich, Ben Affleck, and Matthew McConaughey. There are a few editing problems, but this has captured the look and feel of the day to the tee! R for language.
D.C. CAB (R) 94 minutes * * ½ When a new cabbie starts working in town with big dreams about how to turn the company around, it takes awhile for the rest of the crew to decide it might work. Kind of like the rest of the cabbies, it takes awhile for the film to decide it’s going to do anything, but when it does, it works fairly well. R for language, violence, and sex.
DC LEAGUE OF SUPER PETS (PG) 95 minutes * * 1/2 Everything has been fine, but now that Superman is spending more time with Lois, Krypto is feeling a little left out. What's even worse is that an evil guinea pig is hatching a plot to take down Superman and Krypto. Krypto needs a super team to save the day. Voices by Dwayne Johnson, Kevin Hart, John Krasinski, Natasha Lyonne, Diego Luna, Keanu Reeves, and Olivia Wilde. PG for violence and language.
DC SUPER HERO GIRLS: HERO OF THE YEAR (NR) 74 minutes * * Each year, the students of Super Hero High compete for the Hero of the Year Award. Dark Opal has a different idea about what needs to happen, and is determined to build a weapon using items collected from various students. A nice adventure for the Super Hero Girls if you already know who they are, and giving us a good introduction to a wide variety of characters if you don't.
THE DEAD (R) 102 minutes * * 1/2 The last group of people are trying to leave, when the plane crashes. Lieutenant Brian Murphy (Rob Freeman) is the only survivor, and the zombies are coming. Sergeant Dembele (Prince David Osei) joins forces with him, but the harsh African desert will present a variety of challenges to surviving the threat of zombies. The story drags a bit, but the ending has a very poetic feeling, and works nicely, despite being a bit unusual for a zombie film. R for violence.
DEAD AGAIN (R) 104 minutes * * * Mike Church (Kenneth Branagh) befriends a woman with amnesia only to discover that they were married in a previous life. Of course, in that previous life he killed her for having an affair... There are a couple of nice plot twists here, and Branagh turns in a good performance as well. The ending lets us down a little, but there are plenty of nice chills along the way. R for violence.
DEAD AGAIN (2021) (NR) 67 minutes * 1/2 It's been a quiet little town for a long time, and PS Cooper (Tony Fadil) is happy with that. He's explaining it all to the new recruit, PC Brody (Eliot Cable) when a new crime is reported. There are zombies in the woods, and they're getting hungry. Things aren;t going to be quiet now! Surprisingly short, which is a little disappointing. For a low-budget zombie film, it isn't bad, but we just needed a little more.
DEAD AGAIN IN TOMBSTONE (R) 96 minutes * 1/2 Guerrero (Danny Trejo) is back from the dead and on a mission. A stolen artifact could open the gates of Hell on Earth. Guerrero means to prevent that from happening. Part of his mission may be to send souls to Hell, but he'll do that on his own terms. Lots of style and atmosphere, but there isn't really much of a story though there are many hints that a deeper and stronger story wanted to be told. R for violence, sex, and language.
DEAD AWAKE (NR) 96 minutes * 1/2 Kate and Beth (Jocelin Donahue) struggle to get along. Beth is having serious trouble sleeping and Kate is doing research on the topic. In particular, on people who die after seeing something during their sleep paralysis episode. There just might be some truth to the legend of the old hag. Plenty of creep factor here, but the pace is surprisingly slow.
DEAD BANG (R) 98 minutes * * 1/2 Somewhat disappointing police-action film from director John Frankenheimer. Strong villains are important for a film like this, and while we have a hint that these might be really bad guys, we end up looking at Don Johnson too often to be sure. One might get the impression that the amount of screen time was a key passage in his contract... It gives the film a rather lopsided feeling as we don't get to hear enough about other characters, including the villains, and why they're doing what they're doing.
DEAD BODY (NR) 77 minutes * 1/2 A group of young people gather at a cabin for the weekend. They aren't all friends to begin with, and then someone suggests that they play the parlor game "Dead Body". It turns violently serious very quickly. Too many of the characters are either unlikeable or so close to it that it's difficult for us to care what happens to any of them.
DEAD BULLET (NR) 88 minutes * * Bill (John T. Woods) is a gambler. When $110 thousand basically falls into his lap, he has to figure out how to cash it in. The problem is that luck has never really been on Bill's side. Plenty of heart, but this still comes up lacking in both script and direction. The acting needs a little help too, but at least it keeps our interest.
DEAD CALM (R) 93 minutes * * Terror on a yacht at sea as a couple pick up a stranger. The plot has huge holes in it, but the performances of Sam Neill, Nicole Kidman, and Billy Zane make up for a great deal with their sincerity. R for sex and violence.
THE DEAD CENTER (NR) 89 minutes * 1/2 Dr. Forrester's (Shane Carruth) approach is a little unconventional, and his supervisor isn't happy. But things are about to get really strange. A mysterious patient with no memory shows up, thoroughy convinced that he has died and returned, carrying something back with him from the other side of the grave. It's a good story, reasonably well-written, and the photography and sound work well to help create a suspenseful atmosphere. The acting and direction are the weak points, leaving this floundering more often than not.
THE DEAD DON'T DIE (R) 99 minutes * * Centerville. A peaceful little town, at least until the zombies start taking over. There are those who know how to deal with it, but the numbers quickly become overwhelming. Police chief Robertson (Bill Murray) and officers Peterson (Adam Driver) and Morrison (Chloe Sevigny) will do their best while they still can. A laod-back Zombie comedy, with a stellar cast that also includes Tilda Swinton, Carol Kane, Rosie Perez, RZA, Danny Glover, Selena Gomez, Steve Buscemi, and Tom Waits. R for violence and language.
DEAD DRAW (NR) 89 minutes * * It was supposed to be an easy 25 million, but the getaway doesn't go as planned. Someone must have told someone else. And now, four one-time friends no longer trust each other. "Dead draw" is the game on one wins. The set-up for the story works, but it doesn't play out well.
DEAD FISH (R) 91 minutes * * Darkly comic story of a hitman (Gary Oldman) on a mission. Despite a fun and charming performance by Oldman, the story keeps mis-firing and losing the humor it needs to work well. R for language, violence, and sex.
DEAD FOR A DOLLAR (R) 101 minutes * * 1/2 They were destined to meet, and to leave only one standing. Max (Christoph Waltz) was the bounty hunter and Joe (Willem Dafoe) the outlaw. They had met before, but this time would be their last. Walter Hill is a talented director and screenwriter, but too much of the story here is posturing and not enough character development. Plenty of potential, and a solid cast, just not enough depth. R for violence, sex, and language.
THE DEAD GIRL (R) 86 minutes * * * A story told in five segments, through the eyes of the person who finds the body, her possible sister, the wife of the killer, the dead girl's mother, and the dead girl herself. The shifting perspective is interesting. Arden (Toni Collette) doesn't realize how much finding the body will change her life. Leah (Rose Byrne) is trying to find closure around her sister who has been missing for so long. Ruth (Mary Beth Hurt) has always had suspicions about what her husband did when he left her alone. The truth may be more frightening than she suspected. Melora (Marcia Gay Harden) just wants to find out more about her daughter's last few weeks and months. And the dead girl herself (Brittany Murphy) is just taking one day at a time, never knowing what is about to happen. Stunning cast that also features Piper Laurie, Giovanni Ribisi, James Franco, Mary Steenburgen, Bruce Davison, and Josh Brolin. Filmed in Los Angeles. R for language, violence, and sex.
DEAD HOOKER IN A TRUNK (NR) 84 minutes 1/2 Four friends find themselves with said title and have to figure out how to dispose of the body before worse things happen. Oops. Too late. Written, directed by, and starring twin sisters Jen and Sylvia Soska, which is probably the most interesting part of the film. If you watch the credits, you'll notice how few people were involved in the production. The result is amateurish photography and bad sound quality among other issues. But the title alone gives this a shot at clut classic status.
DEAD HOUSE (NR) 70 minutes * A scientist and his family are the victims of a violent home invasion. But what these criminals don't know is that the basement of this house holds a virus that will transform them into real monsters. This might have been good as a short film, but stretched out to feature length, it just can't sustain the tension long enough.
DEAD IN TOMBSTONE (R) 93 minutes * ½ The Blackwater gang was going to rob the bank and then leave town. But Red (Anthony Michael Hall) has other plans, and betrays his brother, killing him and taking over the town. Guerrero (Danny Trejo) is furious with his brother and makes a deal with the devil (Mickey Rourke) to kill the entire gang, in return for which he will get his own life back. Very violent western with a supernatural twist, but not particularly well done. R for violence and language.
DEAD LIKE ME: LIFE AFTER DEATH (R) 84 minutes * * 1/2 Some folks don't go straight to the light after they die. Some are like George (Ellen Muth), and spend some time serving as reapers, helping others on their way. Each crew has a boss, and now George's crew is getting a new boss, and he's not as casual and easy-going as their previous one. Continuing the short-lived TV series, with most of the cast reprising their roles. Filled with a wonderfully wry sense of humor that is at times very poignant and at other times quite cynical. It's definitely not for everyone, but if you enjoy your humor a bit on the macabre side, this is for you! R for language, sex, and violence.
DEAD LIST (NR) 79 minutes 1/2 Competition for acting jobs can be very intense, but Cal (Deane Sullivan) May have just found a shortcut. A demonic book of curses has fallen into his lap, and he's going to use it to get that big role. But there's going to be a price to pay. Speaking of lists, you might want to put this on your list of films to avoid.
DEAD MAN DOWN (R) 110 minutes * * * Victor (Colin Farrell) has enough problems with someone out to get his boss, which also means trouble for him. Now, a neighbor who witnessed him killing someone wants him to kill the man who is responsible for her disfigurement. But Victor has other things on his mind. The story is filled with nicely executed twists and turns and strong performances by both Farrell and Noomi Rapace. Nice ensemble work by the rest of the cast too. R for violence, language, and sex.
DEAD MAN ON CAMPUS (R) 90 minutes 1/2 Josh learns a lot his freshman year at college. He takes too many classes, has a party animal for a roommate, gets involved with a girl, and his grades are about as low as they can get. The solution? Find a roommate who'll commit suicide and he can get straight A's. Dumb idea resulting in a pathetic film. Even those who enjoy bathroom humor will get bored with this story. R for language.
DEAD MAN WALKING (R) 115 minutes * * * Absorbing story of Sister Helen Prejean (Susan Sarandon) who became the spiritual advisor to a man convicted of murdering two people and scheduled to receive the death penalty. More than an argument of the death penalty issue, this film gives us strong, real characters who draw us in and let us feel the story on a deeper level. Sean Penn gives us a solid performance in a film you won't forget. Directed, co-produced, and scripted (from Sister Helen Prejean's book) by Tim Robbins. Take a look at the "thanks list" at the end of the film too... lots of actors names!
DEAD MAN'S BOUNTY (R) 91 minutes BOMB Violent and rather strange western. A great deal of stylized imagery, which might work except for the thick eastern European accents of these cowboys. Piotr Uklanski wrote and directed, and managed to get Val Kilmer to sign on, though he plays a corpse who is only in the film for about ten minutes. Maybe this is Uklanski's sense of humor, or maybe he was trying to make a good western... either way, it doesn't work. R for violence and language.
DEAD MAN'S HAND (R) 91 minutes 1/2 Celebrating his recent marriage, Reno (Jack Kilmer) is on a stagecoach that is attacked. Reno manages to kill some of the attackers, including the brother of Bishop (Stephen Dorff), who is now determined to take revenge for the death of his brother. The story is reasonable, though not very original, but the effects and stunt work are very poor. Kilmer, son of Val, delivers a shallow performance, though part of that is undoubtedly due to the paper thin script. R for violence, language, and nudity.
DEAD MEN (NR) 176 minutes * 1/2 Jesse (Ric Maddox) and his father have been working a mine out west. When his father is killed, he sets out to avenge his death and reclaim the mine. His alcoholic brother won't be any help, but a friend of his father's is willing to lend a hand. This takes a long time to tell a short story. Mostly what that does is give us extra time to notice how two-dimensional most of the characters are. And the ending is missing quite a bit.
DEAD NIGHT (NR) 76 minutes 1/2 The story of a mother who slips over the edge and becomes a killer. The life of Casey Pollack (Brea Grant) is revealed from two perspectives: the "actual" series of events, and the findings of the investigative report as presented on a true crime television show. They are two very different stories, though the end result is the same. Nothing like telling the story twice to take up extra time. And neither ending is satisfactory, though there are some gross effects along the way.
DEAD NOON (R) 75 minutes BOMB For no apparent reason, Frank (Robert Bear) gets the chance to take revenge on the town that did him wrong. And since he's already dead, anything goes. Visually almost unwatchable in a few spots, and bad everywhere else. R for violence.
DEAD OF WINTER (R) 98 minutes * * ½ It was supposed to be a screen test, which would mean a new and exciting opportunity. But instead, Katie (Mary Steenburgen) finds herself being a victim in a bigger plot. The story is too predictable, but is quite stylish, with some very nice photography and music. R for violence and language.
DEAD OF WINTER (2014) (NR) 90 minutes * A geocache treasure hunt turns deadly and no one on the trip seems to understand why they are dying off one by one. The ending is quick and not very believable... not that the rest of the film established much credit along those lines either...
DEAD ON ARRIVAL (NR) 93 minutes 1/2 Finding out who did this to him is not going to be easy, especially since Sam (Billy Flynn) only has about 24 hours to live. This remake of the 1949 film noir classic, "D.O.A.", offers very little in the way of suspense or good acting.
DEAD ON CAMPUS (NR) 86 minutes * ½ When Natalie (Katelyn Tarrver) decides to join the sorority her mother was in, she really has no idea what to expect. And when her initiation ends up causing another student to die, it’s even worse. Now she’s in the middle of a dangerous revenge scheme that she wasn’t even aware of. The plot resolves far too quickly and easily, but we’ve given up on it long before then anyway.
DEAD OVER HEELS: AN AURORA TEAGARDEN MYSTERY (NR) 83 minutes * * The unexpected has finally happened. Aurora's (Candace Cameron Bure) boyfriend (Yannick Bisson) is the prime suspect for the most recent murder. The real killer is, of course, someone else, but the story does give us a chance to see Bisson in some fairly good action scenes. Good entry in the series, though a little heavier than usual on the romance angle.
DEAD POETS SOCIETY (PG) 124 minutes * * * 1/2 The society of which the title speaks, is a small group of artistic, romantic, creative young men at a boys' school who feel that they must reach out and take hold of life, for without this effort, life is not worth living. Many years after the formation of the group, John Keating (Robin Williams) returns to his alma mater to teach. As he inspires his students with his style and wisdom, the society, which had lapsed into inactivity, reforms as an outlet for the creative energies that have once again been triggered in the minds of youth. It's a film about how the creative mind works, and it gives us a fantastic dramatic performance from Williams as well as others in the cast. Inspirational and challenging, it's a wonderful film that is well worth your time. PG for language.
THE DEAD POOL (R) 91 minutes * 1/2 Harry Callahan (Clint Eastwood) is back again, but the attitude that comes across the screen is not one of excitement or pleasure at making another film. Instead, the impression we receive is more one of boredom. The plot is relatively transparent and only the subplots provide us with much interest. The car chase scene with the remote control car is very entertaining, but it goes on so long that we're hard-pressed not to notice that different cars were used for different sequences. The ending of the film lets us down as well. Instead of being creative, intelligent, and slightly witty, as Callahan's character has been developed by Eastwood over the previous 17 years, it's simply gratuitous violence.
DEAD PRESIDENTS (R) 114 minutes * 1/2 Not a film about a bank robbery so much as it is about a young black man and the people he knows. The film follows them through the course of their young adulthood and into the Vietnam war. We then return with them to the Bronx as they encounter the difficulties faced by many veterans when they try to re-enter civilian life. The film has some good ideas, but the script manages to trash them all. R for language and violence.
DEAD RECKONING (NR) 87 minutes 1/2 Still struggling with the death of her parents, Tillie (India Eisley) learns that their death wasn't accidental. She meets Niko (K.J. Apa) and falls for him without knowing that his older brother (Scott Adkins) is the one who killed her parents. He has even more murderous plans in store. Loosely inspired by the Boston Marathon killers. A poor script and mediocre acting don't ever let this get very far.
DEAD RINGERS (R) 112 minutes * * Creepy film from director David Cronenberg about twin gynecologists and their twisted way of viewing love and togetherness. The horror here is on a thought-provoking level rather than just gross effects, though there are a few of those as well. The best part though, is the performance by Jeremy Irons of both lead roles. Adapted from the novel by Bari Wood.
THE DEAD ROOM (NR) 75 minutes * * Two scientists and a psychic are investigating a supposedly haunted farmhouse in New Zealand. The beginning is awkward and unimpressive, and the pace is slow. But there are a few good scares and some creepiness once the story really gets moving.
DEAD 7 (NR) 85 minutes 1/2 Zombies in the west are being controlled by a group who is using them to take over one town after another. They will soon find themselves at odds with a group of gunslingers. Loosely modeled after "The Magnificent Seven". Sets, props, costumes, and even the story are a strnge mix of past, present, and future, to the extent that it really doesn't make much sense. The story is by Nick Carter of the Backstreet Boys, who also stars, along with Joey Fatone of *NSYNC.
DEAD SHACK (R) 77 minutes * 1/2 Three teenagers end up in a remote cabin with some rather strange neighbors. They're zombies, with a human relative who makes sure they get enough food. Now that the teens have figured out what is going on, they are fighting for their lives. The humor alternates between mildly funny and annoying, and it makes us wonder if this might have played better as straight up horror without trying to be funny. R for violence and language.
DEAD SILENCE (R) 84 minutes * 1/2 When his wife is killed on the same night he receives a strange package containing a ventriloquist dummy, Jamie (Ryan Kwanten) is determined to find out what's behind it all. He uncovers a strange tale of an old woman whose name is no longer spoken, and of the dolls who were buried with her. There are some nice bits of cinematography here, and some creepy music and sound effects. Most are clearly borrowed from other recent horror films, but they still manage to create a few chills. The "dead silence" bit doesn't work very well as a gimmick though. R for violence and language.
DEAD SNOW (NR) 85 minutes * 1/2 Great opening sequence! And then the rest is pretty much downhill from there. Seven young adults head to a mountain cabin for a winter break. But wait! There are zombie Nazis in the woods! Maybe they want that gold that's in the cabin? There isn't much logic here, just a desire to have Nazi zombies get the best of some unlucky people.
DEAD SNOW 2: RED VS. DEAD (R) 96 minutes * * The Nazi zombies are not giving up, despite having reclaimed their treasure at the end of the first movie. It's a good thing that Martin (Vegar Hoel) is able to make friends with some zombie enthusiasts who have some very helpful ideas about how to deal with these undead things. This sequel takes a much more humorous approach to the story. There are clearly still some gaps in logic, but this is definitely more fun than the first film. R for violence and language.
DEAD STILL (NR) 85 minutes * 1/2 When a wedding photographer inherits an old camera, he has no idea what it was specifically used for in the past... until the people he takes pictures of with it start dying. Lots of creepy moments, mostly created with music and sound effects. There just isn't all that much story to last very long.
DEAD STILL (2020) (NR) 270 minutes * * * Photography of the dead has grown into a good business. Brock Blennerhasset (Michael Smiley) is likely the best at the job in all of Ireland. He's now facing some troubles though, because some of his photos have been linked to some murders. A very nice mix of period drama, mystery, and macabre humor. The very end is a little unusual, but it's a nice long ride getting there.
DEAD STORY (NR) 78 minutes * It looked like the perfect house, but Anne (Kelsey Deanne) quickly discovers that something else is in the house. Her husband (Chase Austin Mosely) doesn't believe her, because things only seem to happen when she's alone. Nice sound effects and soundtrack - very creepy. And there are some good visual effects too, but the story doesn't really develop well or explain much of anything.
DEAD TONE (R) 95 minutes 1/2 It's not just that prank phone calls aren't nice, you just might be dialing a psychotic killer who decides to do something about it. Unimaginative slasher flick tries to pull a couple of twists at the end, but they're easy to see coming, and by then, we don't really care. R for violence, language, and sex.
DEAD TRIGGER (R) 87 minutes 1/2 Another zombie virus. This time around, the government creates a video game that helps them recruit a team of assassins. What doesn't make sense is that if they are that good, why do they take so many shots at the zombies that don't kill them? Based on a video game. Now there's a surprise. R for violence.
DEAD WATER (R) 86 minutes 1/2 John (Casper Van Dien) offers a yachting vacation to his best friend David (Griff Furst) and Davi's wife (Brianne Davis). But when they're left dead in the water, relationship tensions and a modern day pirate make things more difficult. Unimaginative script and mostly unlikeable characters. R for language, violence, and sex.
DEAD WITHIN (NR) 79 minutes * After six months of isolation, a couple who have protected themselves well from the situation outside are running out of resources. Now, paranoia is starting to set in, which might be even more dangerous that what is out there. The acting here is fine, but script and direction are uneven and confusing. Part of that appears to be intentional, but it isn't helpful to the overall atmosphere of the film.
DEAD WOOD (R) 83 minutes * 1/2 Four friends on a camping trip in the woods. But these are not good woods... they are dead woods... This definitely falls in the low budget category with the team of David Bryant, Sebastian Smith, and Richard Stiles serving as writer, director, producer, cinematographer and editor. Smith also worked on some of the sound and Stiles did some of the special effects. You get the idea. There are a few elements here that don't make sense, but a few genuinely creepy moments as well. R for violence and language.
THE DEAD ZONE (R) 100 minutes * * * ½ Johnny Smith (Christopher Walken) has just discovered that he has a unique ability. He now has to cope not only with the years he just lost while in a coma, but with the idea that his primary purpose in life is to end that of another. Walken does a great job here, but this is also adapted from one of Stephen King’s more subtle early novels that begins to spend more time exploring feelings than in creating scary moments. There is an understanding that what goes on around us every day has the potential to be even more frightening than something supernatural. R for violence and sex.
DEADFALL (R) 89 minutes * * 1/2 Once the heist goes bad, Addison (Eric Bana) and Liza (Olivia Wilde) are on the run, but not together. The well-woven story follows them as they try to make things work, though the outcome is not unpredictable. Nice work by the cast, though some of the characters are drawn rather broadly and are more stereotype than character. The emotional pull at the end is a nice touch, but not as strong as it could have been. R for violence, language, and sex.
DEADHOUSE DARK (NR) 89 minutes * ½ Six short horror films featuring unrelated creepy episodes. Nothing really stands our here, and with nothing to connect them, it just feels awkward. Originally these were shown as separate episodes of a short series, but these six episodes have been packaged together and treated as a film. Not a particularly good idea.
DEADLOCK (R) 93 minutes * 1/2 Mack (Patrick Muldoon) never figured that he'd be the one called on to save the day. But that's exactly what happens. Ron Whitlock (Bruce Willis) is angry about what happened to his sons during a drug bust gone bad. He takes a power plant hostage to get an apology and hopefully some justice. A better script is what he should have asked for. Lots of violence that seems to be here just to help ensure the R rating. R for violence and language.
DEADLY FRIEND (R) 94 minutes * * ½ One of Wes Craven’s lesser known films, though that’s not necessarily a bad thing. When his friend is killed by her abusive father, Paul (Matthew Labyorteaux) has an idea. What if he implants some robotic chips into her brain? Maybe then, Samantha (Kristy Swanson) will be OK. Not a great story idea (adapted from the short novel “Friend” by Diana Hentsall), but there are some decent chills and thrills.
DEADLY GAMES (R) 97 minutes * * * The tables are about to turn as the masked killer who has been terrorizing this small town has let a victim slip through his fingers. The “almost” victim is determined to discover who the killer is, and sets out to do just that rather than sitting off to the side and letting others try to figure it out. Less of a slasher horror film and more of a detective story, with strong characters.
DEADLY IMPACT (R) 93 minutes * * A few years ago, officer Tom Armstrong (Sean Patrick Flannery) has an encounter with "The Lion" (Joe Pantoliano) that results in the death of his wife. The Lion has surfaced again, and the FBI wants Armstrong on the case. Pantoliano does an absolutely wonderful job as the villain here, and Alexander Vesha has done an equally wonderful job of creating a villain that adds a great deal of depth and power to the story. Unfortunately there are also quite a few really bad performances and the low budget of the film is rather evident in a number of sequences as well, undermining the quality of the film in general. R for violence and language.
DEADLY INFERNO (NR) 79 minutes 1/2 An office building is the site of a deadly fire. Several people who were trapped inside work to escape with the help of firefighters. Gaping logic holes in the story and effects that are poorly executed and shown repeatedly don't do this any favors.
DEADMAN STANDING (R) 89 minutes * 1/2 Hyde Park has been the site of rising tensions. A certain group of Texas cattlemen are terrorizing the town and attempting to take it over. Mike McCluskie (Luke Arnold) is a tired lawman who just wants peace, but finds himself in the middle of the fight. Too many characters here just don't have any depth, and seem more like animated background material than important parts of the story. R for violence and language.
DEADPOOL (R) 101 minutes * * * The ultimate wise-cracking, super-powered, non-hero gets his own movie! The origin story of Deadpool. A bit on the rude, crude, and unconventional style, but that's who Deadpool is. Nice work capturing the essence of the character, and some well-done cameos and bit parts. R for violence, language, and sex.
DEADPOOL 2 (R) 123 minutes * * * When Deadpool's (Ryan Reynolds) girlfriend is killed, he feels responsible and becomes very depressed. The X-Men decide to be nice and help out, bringing him onto the team as a trainee. That doesn't work out too well, but he does find a young mutant who needs some help, and maybe in helping someone else, he can help himself. That's not going to be easy though, as Cable (Josh Brolin) is coming to get him. Nicely done sequel. There's still plenty of rudeness and crudeness, which is just who Deadpool is. But there's also a little more action in this sequel, and don't forget to keep watching through the credits for some extra material. R for violence, language, and sex.
DEADSTREAM (NR) 85 minutes 1/2 One night in "Death Manor". Internet personality Shawn Ruddy (Joseph Winter) is known for his extreme videos where he faces his fears. He geets more than he bargained for with this particular stunt, and we get to see the found footage of an internet personality who disappeared. There are a few creepy moments of suspense, but the dialogue, the acting, and the effects are all of very poor quality.
DEADTECTIVES (NR) 86 minutes * 1/2 Their show about the paranormal needs better ratings... and fast. So this motley crew heads to Mexico to visit their most haunted house. It's going to be a wild time. Starting out as a comedy, the story leans a bit too far into paranormal investigation, and then it keep wavering between the two. There are moments when this works, but the script just isn't witty enough, and most of the cast seem unsure of what to do with their characters.
DEADTIME STORIES (R) 79 minutes BOMB Three twisted versions of old fairytales, none of which are told very well, leaving us disappointed that we wasted our time on something that could have been a fun and creative film.
DEADWOOD: THE MOVIE (NR) 106 minutes * * This continuation of the television series begins about ten years later, with the residents of Deadwood about to celebrate South Dakota's statehood. That event will bring Senator Hurst (Gerald McRaney) to town, looking to acquire more land. There are a few people that plan isn't going to sit well with. Fans of the series will enjoy this, but it doesn't work well as a stand-alone or as a way to introduce people to the series.
THE DEAL (R) 104 minutes * 1/2 A major fuel crisis is underway and Tom's (Christian Slater) firm is working to broker a deal between a Russian oil cartel and a client of his company. All is not as it seems. Tom and his new associate Abbey (Selma Blair) have uncovered some secrets that could create a world of problems for a lot of people... including themselves. The plot is a bit too vague early on and then becomes far too obvious. Blair and Slater do what they can, but it just doesn't work very well. R for language and violence.
DEAL (2008) (PG-13) 82 minutes * 1/2 He's fresh out of college and with a natural talent for poker. With a little work, Alex (Bret Harrison) could be great, and that's where Tommy (Burt Reynolds) comes in. They're soon on the way to an $8 million championship. Performances are very low energy here, and the relationship between Tommy and Alex is more one of two people using each other rather than an actual mentoring relationship. PG-13 for language and sex.
THE DEAL (2008) (R) 95 minutes * * * Moments away from ending his life, Charlie's (William H. Macy) nephew shows up at his door with a script. It's a wonderful, artistic piece, but it gets Charlie thinking about how hw could make an action film... making movies can be a crazy business at times. Macy and Meg Ryan are great here, and there's plenty of insider Hollywood humor as well. Adapted from Peter Lefcourt's novel. Filmed in Cape Town, South Africa. R for sex and language.
DEAL OF THE CENTURY (PG) 93 minutes * ½ A rather unusual film for William Friedkin to direct, this has an unusual mix of comedy, social commentary, religion, and love. The frame it all hangs on is the sale of military weapons to revolutionaries in South America. It doesn’t work all that well though, because the script is all over the place and ends without much of anything to make it feel complete.
DEALIN' WITH IDIOTS (NR) 80 minutes 1/2 Youth sports can be very competitive. In particular, the parents can be unrealistically intense. Max (Jeff Garlin) decides to get to know these people a little better, so he can understand the team his son is playing with more completely. The characters are fun, but the way the story is structured, it works more like a comedy monologue with guests. While that's good for a few laughs, it tends to fall apart as a story, and when you reach the end, especially here, it seems that the title had it right... it's pretty idiotic.
DEAN (PG-13) 88 minutes * 1/2 Dean's (Demetri Martin) father wants to sell the family home. It's his way of dealing with the loss of Dean's mother. With a few quirks of his own, Dean is falling in love, despite trying to stop his father from moving on. The mix of humor just doesn't work all that well. The script often seems forced, and the discomfort of the characters is clear, though they don't have enough charm or charisma for us to care about them or give them the benefit of the doubt. It seems little like a self-therapy project for Martin, who serves as writer, director, and co-producer as well as playing the lead role. PG-13 for language
DEAR DICTATOR (NR) 86 minutes * * 1/2 When Tatiana (Odeya Rush) wrote to the dictator (Michael Caine) of a small island country, she was just being rebellious. She had no idea that he'd end up in her house when his country is over-thrown. A light-hearted, yet often serious look at rebellion and acceptance. Nice work by both Rush and Caine.
DEAR DUMB DIARY (PG) 83 minutes * * * Jaime's (Emily Alyn Lind) famous struggles with middle school hit the big screen. Adapted from the series of novels by Jim Benton, Jamie shares her struggles and victories with a good deal of both charm and music. There are a number of cute songs here, and Lind does a great job singing as well as acting. Nice supporting work by Mary-Charles Jones too. PG for language.
DEAR ELEANOR (PG-13) 85 minutes * * * Two girls go on a cross-country trip to see Eleanor Roosevelt. The trip is based on dreams, hopes, and misunderstandings, but it will be an educational adventure they will never forget. Nice work by the ensemble cast in this somewhat quirky and sentimental story. PG-13 for language.
DEAR EVAN HANSEN (PG-13) 129 minutes * * * 1/2 Evan (Ben Platt) has trouble being around people. He has severe social anxiety disorder. When a letter he wrote to himself as part of a therapy exercise ends up in the hands of a classmate who commits suicide, everyone thinks that Evan was the intended recipient, not the writer. It's the first step in a journey for Evan. A journey of growth, of becoming, of acceptance, of honesty. Adapted from the Tony award winning musical. A very nice adaptation and marvelous work by Platt. PG-13 for language.
DEAR GOD (PG) 108 minutes * * Moderately entertaining comic twist version of the "Miracle on 34th Street" idea. Greg Kinnear stars, but can't really handle this by himself. Tim Conway and Hector Elizondo have supporting roles, but the story relies on Kinnear to heavily. Cameos by Tony Danza, Elvira, and Erin Moran. PG for language.
DEAR JOHN (PG-13) 102 minutes * * * Nicholas Sparks novel about young lovers separated by war makes it to the big screen. Amanda Seyfried does a wonderful job here and Channing Tatum actually manages to do pretty well too, perhaps inspired by his co-star and by a fine supporting performance from Richard Jenkins. Time does pass, and the choices we make lead to other courses of action, and other possibilities. Lasse Hallstrom's direction does a nice job of combining the romantic and realistic elements of the story into something quite beautiful. PG-13 for sex, language, and violence.
DEAR LEMON LIMA (PG-13) 84 minutes * * 1/2 Having a crush on Philip (Shayne Top) is only the beginning of Ness's (Savannah Wiltfong) problems. He's only willing to be around her when it suits him, and those moments are decreasing in number. She may have found some new friends though. Quirky and bittersweet coming of age story. PG-13 for language.
DEAR MR. GACY (R) 98 minutes * * * Creepy story about a young man named Jason (Jesse Moss) who decides to a term paper for his freshman criminology class on John Wayne Gacy. He writes to Gacy, in hopes of getting the chance to talk to him in person. He's got it all figured out. It shouldn't be hard to stay ahead of someone who is in prison, right? But in wanting to get inside the mind of a serial killer, he finds that the reverse can happen all too easily. And that's a dangerous position to be in. Adapted from the book by Jason Moss, that details his experience and converstaions with Gacy. Abolutely chilling postscript to the film. Nice work by William Forsythe. Definitely creepy. R for sex, language, and violence.
DEAR SECRET SANTA (NR) 85 minutes * 1/2 Jenny (Tatiana Ali) head's back home to take care of her father. He's not thrilled about it, but she's a no-nonsense woman, so when she starts getting notes from a secret Santa, she's a little puzzled. The story leans heavily toward supernatural sentimentality to make its point, and the dialogue is forced and awkward, leaving us with less than the desired effect.
DEAR WHITE PEOPLE (R) 105 minutes * 1/2 Four black students at an Ivy League college deal with recism and prejudice. Writer/director Justin Simien tries to keep a lightly humorous tone here while dealing with a serious topic, and it just doesn't work very well. A more talented cast might have helped, but maybe not... R for sex and language.
DEAR ZOEY (R) 88 minutes * * * The death of Tess' (Sadie Sink) little sister is overshadowed by the events of 9-11. Tess and her family still have some very personal grieving to do. Though she's been living with her mother, it's not really helping Zoey. She needds space. She decides to hear to her father's (Leo Rossi) place. He's a bit of a slacker, but with a good heart. Nice supporting work by Vivien Lyra Blair in a story about love, loss, grief, and what comes after. R for language.
DEATH AL DENTE: A GOURMET DETECTIVE MYSTERY (NR) 86 minutes * * 1/2 Finding a new chef for a fancy restaurant was supposed to be an easy job for Henry (Dylan Neal). Of course, it doesn't take long for the bodies to start dropping, which means another case for Henry and Maggie (Brooke Burns) to solve. Third entry in the series.
DEATH ALLEY (NR) 97 minutes 1/2 Robbing two banks at once seemed like a great way to become famous bank robbers. But the Dalton gang was going to find out just how lofty of a goal that was. Emmett (Josh Outzon) would be the only one to survive. Though the story doesn't quite stop there. The bigger problem is how much of the story is missing and/or inaccurate. The retelling of the history of the Dalton gang deserves to be told well, and this is not the film that accomplished that feat.
THE DEATH AND LIFE OF JOHN F. DONOVAN (R) 117 minutes * * * 1/2 He never expected a return letter, but that's exactly what happens when young Rupert (Jacob Trembley) writes John F. Donovan (Kit Harrington). The correspondence continues for some time, and it will change both of them. Years later, an interviewer captures Rupert's reminiscences about the letters and their effect. The cast also features Natalie Portman, Kathy Bates, Susan Sarandon, and Thandie Newton. Co-writer and director Xavier Dolon gives us a film that is both sensitive and powerful. R for language and sex.
DEATH AND THE MAIDEN (R) 99 minutes * * * Very faithful adaptation of the stage play about a woman who has been tortured getting the chance to exact her revenge. Sigourney Weaver and Ben Kingsley are both great here. Stuart Wilson starts out a little weak , but by the end, he's doing a great job as well. An intriguing piece of work that will stay with you for quite awhile.
DEATH AT A FUNERAL (R) 82 minutes * * 1/2 A comedy of errors as a family comes together for a funeral and finds out more about each other (and the deceased) than they thought possible. It's slapstick with a rather macabre sense of humor, but keeps us entertained and doesn't drag on too long either. Nothing outstanding, but definitely good for more than a few laughs. R for nudity and language.
DEATH AT A FUNERAL (2010) (R) 89 minutes * 1/2 It's a little puzzling why anyone would think it's a good idea to remake a film that's only three years old. That said, this doesn't manage to improve on the original. It's mildly entertaining to see Chris Rock and Martin Lawrence playing the roles of the brothers, but Tracy Morgan ruins every scene he's in with his obnoxious complaining and Danny Glover's talents are completely wasted. R for language and sex.
DEATH BECOMES HER (PG-13) 98 minutes * * * Madeline Ashton (Meryl Streep) is obsessed with looking young. Helen Sharp (Goldie Hawn) is her arch enemy, looking young with ease. It's a satirical farce with awesome special effects that won an Oscar as the two women carry things to the extreme. Hawn and Streep both do excellent work here, and you'll probably find yourself watching this one more than once, just because it's so much fun.
DEATH BEFORE DISHONOR (R) 92 minutes * * A Marine security detail finds itself restricted by protocols that result in a hostage situation. When that happens, Gunnery Sergeant Burns (Fred Dryer) becomes a one-man force of destruction to turn things around. Overtly patriotic film with weak dialogue and stuntwork that is a little too splashy. R for language and violence.
DEATH COMES TO PEMBERLEY (NR) 173 minutes * * * An annual ball is interrupted by a murder. The characters are likely to be familiar to fans of Jane Austen since the story is an homage, of sorts, to her novel "Pride and Prejudice". it does stretch on a bit long, but fans of the genre will still enjoy the performances even if the energy in the story lags a little.
DEATH FIGHTER (NR) 85 minutes * 1/2 After Turner's (Matt Mullins) partner is killed during a bad deal, he decides to stay in Thailand to get revenge. Too bad he didn't take a few acting lessons along the way. Nice to see Don "The Dragon" Wilson here as he does a little better in that department. Lots of fighting, not all that much story.
DEATH HOUSE (R) 83 minutes 1/2 It's the name for the ultimate prison. With a design inspired by Dante's Inferno, there are nine levels to this facility. While two agents receive a special tour, there is a power outage. Despite precautions, the inmates are released. The only way out for everyone is down... to where the five dark stars of evil are held. They might not even be human. Lots of symbolism and gross effects, but the story is a complete mess, and despite a lengthy (and boring) scene that tries to explain everything, it's often very confusing. The cast features some great horror regulars like Tony Todd, Kane Hodder, Dee Wallace, and Michael Berryman, but it's just not enough. R for violence, language, and sex.
DEATH HUNTER: WEREWOLVES VS. VAMPIRES (R) 88 minutes 1/2 John (Sam McConkey) and his wife are on a honeymoon camping trip when he gets bitten by a werewolf and she ends up in a vampire's lair. Poorly paced and at times feeling like it's pieces of different movies that weren't completed. Some of the effects are OK, but many are really cheap and quite a few are endlessly repeated. We also get to hear the characters talk a great deal while they explain pieces of the story rather than actually doing much in the way of acting. R for violence and nudity.
DEATH IN LOVE (R) 94 minutes 1/2 Jacqueline Bisset stars as a woman who owes her life to the Nazi doctor she had an affair with while she was imprisoned in a concentration camp during World War II. She has carried the guilt of that relationship all of her life and it plays out in unusual and twisted ways in the lives of her sons. Strange and sometimes depressing film with a story that is almost as disconnected as it's character's personalities. R for violence, sex, and language.
DEATH ISLAND: PARANORMAL RETRIBUTION (NR) 74 minutes 1/2 Garden Island, Michigan. Home to the largest Native American burial ground in the midwest. 3,500 graves of the Ojibe tribe are on the island, and there are stories that say their spirits are not at rest. A film crew goes to investigate, and this is the story of what they found. Nice set-up, but this ultimately ends up going nowhere.
DEATH LINK (NR) 84 minutes * * Bullyinh in the age of social media. When a prank video goes too far, some mysterious "murder videos" begin to surface. Friends and family are dropping like flies, but who is the killer? A good deal of misdirection, but not enough character development or appeal. A little preachy about the evils of social media. It's just not very convincing.
DEATH NOTE (NR) 110 minutes * * * Frustrated by what he sees as a lack of justice, Light Yagami (Tatsuya Fujiwara) struggles with what he should do. The law degree he is pursuing seems worthless. But then he finds the Death Note, dropped by Ryuuk, a reaper. When a name is written in the book, the person dies. Light may have found a way to bring justice to those who deserve it. It's vigilante justice though, and L (Kenichi Matsuyama), the mysterious detective on the case, considers Kira (the name given to the killer that Light has become), to be dangers to society and sets out to bring him to justice. Fascinating story and great work by Fujiwara and Matsuyama.
DEATH NOTE R: RELIGHT, VISIONS OF A GOD (NR) 128 minutes * * 1/2 A retelling of the death note story from the perspective of Shinigami Ryuk. This works better as a companion piece to the other films, providing a different perspective on some of the points in the story. Although, if you've seen the others, it's a bit repititious in several sequences.
DEATH NOTE: THE LAST NAME (NR) 135 minutes * * * The story continues... L is still trying to find out who Kira is. Light, in an effort to prove his innocence, or maybe to throw L off the track, is working with L to uncover the identity of Kira. But another reaper has dropped a Death Note into the hands of someone who is a great fan of Kira. Just as good as the first, but it's helpful to watch them in order. Followed by "L, Change the World".
DEATH OF A PRESIDENT (R) 94 minutes * * 1/2 Interesting.... while George W. Bush is still in office, there's a documentary-style film about his assassination. However, as interesting as that may be, the film itself is rather dry and "factual", with little to surprise or interest us. It's almost so realistic and believable that it's boring in spots. In one sense, that means it is well-made, but it tries so hard, and in many ways succeeds, at having no political agenda. That's the one part, and far too crucial area, where the film's believability falls short. R for violence.
DEATH OF A VLOGGER (NR) 87 minutes * * A vlogger experiences a haunting that is live streamed. It goes viral, but he's a bit unnerved by the experience. As he and a couple of friends investigate, things get even more strange. The film does a nice job of moving back and forth between whether the events are genuine or part of a hoax. The ending is less impressive than the rest.
THE DEATH OF DICK LONG (R) 97 minutes * * 1/2 They were just having some fun like usual, but now their friend Dick is dead. Zeke (Michael Abbott Jr.) and Earl (Andre Hyland) don't feel like they can tell anyone about what happened. It's a small town though, so it's not going to take too long before the facts come out and everyone knows anyway. If you enjoy films that are a little on the unusual side, this might be one to take a look at. R for language and sex.
THE DEATH OF STALIN (R) 100 minutes * * Stalin (Adrian McLoughlin) has ruled the Soviet Union for almost 30 years. When he suddenly dies, the Council of Ministers must decide who among them should step up and take his place. Played as part history and part comedy, this mostly struggles with the comedy, some of which works well, while other parts do not. Steve Buscemi, Jeffrey Talbor, and Jason Isaacs just don't fit well here. The lack of balance in the script is partly to blame, but the direction is no better. R for language, violence, and sex.
THE DEATH OF SUPERMAN (PG-13) 77 minutes * * Superman (voiced by Jerry O'Connell) finally meets his match at the hands of Doomsday. Unfortunately, for such an important and climactic battle, the story is remarkably shallow and is mostly just a show of physical force. There are several other characters here, but their parts are all small, making this not one of the better animated features for the DC universe of characters. PG-13 for violence.
DEATH ON THE NILE (PG-13) 120 minutes * * * Kenneth Branagh presents another in his series of Agatha Christie adaptations. This time, the death is on a river cruise on the Nile. Beautiful setting and a wonderful cast that includes Gal Gadot, Annette Bening, and Russell Brand. The story has been trimmed down and updated, which is alright, and still manages to work well. The subplot about Poirot growing a moustache to hide a scar doesn't work well at all if you understand that hair doesn't grow on scar tissue. Scar tissue has no follicles. PG-13 for violence and sex.
DEATH PROOF (R) 110 minutes * * 1/2 He's a stunt man with a passion for killing and a sense of invincibility. But these women have had enough. Quentin Tarantino's attempt to recreate the style of 1970s car chase/exploitation films works well. What doesn't work is how the film is split into two almost separate stories that don't fit together or complement each other. It takes away some of the strength of the ending. It does look like the cast had fun making it though. Kurt Russell, Rose McGowan, Rosario Dawson, Zoe Bell, and Tarantino as well. R for violence, sex, and language.
DEATH RACE (2008) (R) 105 minutes * * Convicted of a murder he didn't commit, Jensen Ames (Jason Statham) is sent to Terminal Island, a privately run prison with a televised race where survivors win a chance at freedom. Based on the film "Death Race 2000", this version is a bit more high-tech and a bit more ruthless. Typical performance from Statham that most action fans will find fitting. R for violence and language.
DEATH RACE 2 (R) 93 minutes * * The new TV entertainment craze is watching people fight to the death. The prisoners of Terminal Island have decided to start throwing some of the fights... and the market share is dropping. Then someone gets the brilliant idea of creating a car race around the island, that the TV prodicuers have more control over. Prequel to "Death Race 2000", which works nicely as such in that you could see them in either order and still make sense of the story. Filmed in Cape Town, South Africa. R for violence, sex, and language.
DEATH RACE 3: INFERNO (R) 99 minutes * * Another day, another race. If Frankenstein (Luke Goss) wins, he’s a free man, but with so much at stake, the race organizers have a few tricks as well. There’s more emphasis on relationships this time, trying to give this a more personal touch, though it doesn’t really make much of a difference in the story, and isn’t really why most people are going to be interested in watching this either. It does end with a twist that sets things up quite nicely for the next film. R for violence, language, and sex.
DEATH RACE 4: BEYOND ANARCHY (R) 106 minutes * * It's been declared illegal, but the Death Race continues. The law is hot on their tail, but the bigger issue is that almost no one ever bets against Frankenstein. Which means that some very powerful people aren't making the money they want to. It's a good entry in the series, though the ending is no surprise if you've seen any of the others. Then again, a deep and meaningful story isn't really part of the agenda here. R for violence, language, and sex.
DEATH RACE 2050 (R) 89 minutes 1/2 This remake of "Death Race 2000" just doesn't really work well at all. Most of the action sequences look and feel more like something out of a Power Rangers television episode. The tone of the film supports that in the sense that this is more comic than the original. There was satire in the original, but it was more subtle and twisted. R for violence, language, and sex.
DEATH RANCH (NR) 74 minutes * On the run from the police, three African American siblings hide out on an old, abandoned ranch in Tennessee. But this is the 1970s, and the ranch is on land that the Ku Klux Klan uses. Extremely graphic violence, and a style meant to imitate 1970s exploitation cinema, including heavily stereotyped characters. Charlie Steeds serves as the writer/producer/director/editor/cinematographer.
DEATH RINK (NR) 71 minutes 1/2 It's another day at Roller King roller rink. Most of the workers are staying late and hanging out for awhile as they clean the place. Meanwhile, those who venture out to the parking lot for one reason or another ,one at a time of course, meet a grisly end. And then the killer decides to come inside. The fight scenes are very poorly done, and the dialogue keeps the pace far too slow.
DEATH ROW (NR) 87 minutes * Isla de la Roca Penitentiary. It's home to some of the most violent criminals. There was once a massacre here that left most of the inmates and guards dead. It is now a haunted site that is being investigated by a documentary film crew. Unknown to them, some violent bank robbers are also on the island. Will any of them survive the supernatural forces that are present? The sudden ending doesn't make much sense.
DEATH SENTENCE (R) 100 minutes * 1/2 Nick's (Kevin Bacon) son is killed in a gang initiation, evidence against the killer is slim, and the rest of the gang is just as guilty in many ways. Nick decides to take things into his own hands, but soon discovers that being a vigilante isn't easy, especially when the ones you're going after know that you're coming. This sounds remarkably similar to "Death Wish" which shouldn't come as a surprise when you find out that it's adapted from a novel by John Garfield, who also wrote the novel... "Death Wish", which was adapted into the film, and which spawned several sequels. R for violence and language.
DEATH TO SMOOCHY (R) 102 minutes * * 1/2 Not a show for the kids, but for those who hate Barney... no, seriously... Rainbow Randolph (Robin Williams) is the host of the number one kids show until he's arrested for solicitation of money and his show is taken off the air. Smoochy (Edward Norton) takes his place, but Rainbow has gone off the deep end and is trying to kill Smoochy. Williams and Norton are what make this work as well as it does. The story definitely has a sense of macabre humor that makes it no surprise to see Danny DeVito as the director. He loves working on this kind of film, and it shows. It's definitely different and interesting, though it most certainly isn't what most people will want to watch. R for language and violence.
DEATH VALLEY (NR) 91 minutes * Trapped in a secure bunker, bioengineer Chloe (Kristen Kaster) needs help. A mercenary team arrives to help her, but they are completely unprepared for what they are about to find. Staged very much like a video game, but poorly written and with sloppy direction. The make-up effects are well done, but it’s not enough to save this.
DEATH WARRANT (R) 85 minutes * Jean Claude Van Damme stars as a Royal Canadian Mountie who goes undercover in a prison to discover who is killing inmates. Gaping holes in the story do this in pretty quickly. Not that this should really surprise you... R for violence and language.
DEATH WARRIOR (R) 87 minutes ½ Reinerio (Hector Echavarria) was only going to have two more fights before retiring. But then he gets kidnapped and forced into a series of fights to the death. Now he has to earn the right to retire all over again. This is all about the fight scenes, but unfortunately, they aren’t all that great, and there aren’t enough of them. R for violence, sex, and language.
DEATH WISH (2018) (R) 100 minutes * * 1/2 He was used to saving lives. As a talented surgeon, Dr. Paul Kersey (Bruce Willis) was good at his job. But when his wife and daughter are attacked, leaving his wife dead and his daughter in a coma, all bets are off. An update of the 1974 film that starred Charles Bronson. Well-done, with a solid ensemble cast. R for violence and language.
DEATH WISH II (R) 86 minutes * * ½ Paul Kersey’s (Charles Bronson) daughter and housekeeper have been murdered, and we already know how he’s going to react to that if we watched the first film. Bronson’s gruff style makes this work well, but there are no surprises and there was more depth in the first film. R for violence, sex, and language.
DEATH WISH 3 (R) 85 minutes * * 1/2
Back in New York to visit a friend, Kersey (Charles Bronson) ends up falling into his old habits as a vigilante when his friend is killed. Better than the second film, but the story is already getting a little tired. R for violence, language, and sex.
DEATH WISH 4: THE CRACKDOWN (R) 96 minutes * 1/2
Drugs are the situation around which the revenge centers this time. Typical violence and shallow characters. There are a few plot twists that help a little, but this series reached a dead end before this film began.
DEATH WISH V: THE FACE OF DEATH (R) 92 minutes 1/2
Mediocre special effects, no surprises, cardboard characters, cheap dialogue... and we still have room for a sequel? Come on, Charles Bronson must have a death wish if he thinks this can keep up any longer.
THE DEATHS OF IAN STONE (R) 82 minutes * * 1/2
Ian (Mike Vogel) keeps dying and waking up in another life. Who are these strange creatures who are pursuing him, and why do they keep killing him? Interesting and creepy little film with some very nice special effects. The low budget is evident in more than a few spots, but fans of horror and suspense will find this worth a look. R for violence and language.
DEATHSTALKER (R) 78 minutes * *
Deathstalker (Richard Hill) has been tasked with reuniting the three powers of creation before an evil magician can used them for more nefarious purposes. Reasonably good sword and sorcery film, with bits of humor that help us have fun with the story and the characters. Considering the budget, the effects are quite good. R for violence, sex, and language.
DEATHSTROKE: KNIGHTS & DRAGONS (NR) 85 minutes * *
Slade Wilson (voiced by Michael Chiklis) is a mercenary, and quite good at his job. Someone from H.I.V.E. has kidnapped his son. That's a move they're going to regret. This is an introductory (and very violent) story for the Deathstroke character. There's a good bit of action, but also lots of talking to explain what's happening and why. Those explanations tend to ruin the pace of the film and make it feel like someone keeps pausing the story.
DEATHTRAP (PG) 115 minutes * * * ½
A once successful playwright, Sydney (Michael Caine) discovers a brilliant young writer (Christopher Reeve) in one of his writing seminars. It occurs to him that killing this young writer and stealing his work could be just what he needs to propel him back into the limelight. Things don’t go as planned. Adapted from the Broadway play, this adapts to the screen quite well. Photography and lighting do a great job of creating an effective mood. The ending is less of a surprise than it could be, but it still works. PG for violence, sex, and language.
THE DEBACLE (NR) 91 minutes 1/2
When Vaughn (Christopher Koenig) loses his job, he is more than a little concerned. He and his friend Larry (Ryan NiWood) bump into a stranger, and find themselves transported to 1870 in the old west. They both have something to leaarn. Low-budget Christian film. The cast isn't terrible, but the script is.
D.E.B.S. ((PG-13) 87 minutes * *
They're an elite special force, recruited after scoring well on particular questions on the SAT that reveal their potential. Lightweight satire aimed at "Charlie's Angels", this doesn't have much substance, but does manage to get us to chuckle a few times. Sara Foster, Devon Aoki, Meagan Good, and Jill Ritchie are the D.E.B.S. with Jordana Brewster playing the villain. PG-13 for language and sexuality.
THE DEBT (R) 107 minutes * * *
It's always a pleasure to watch Helen Mirren, and she once again delivers a wonderful performance with both strength and vulnerability. As a retired Mossad agent, Rachel (Mirren) had thought the past was done, but when a piece of it resurfaces, she is the one who must set it right. Based on the film "Ha-Hov", this espionage/thriller is another fine film to add to Mirren's list of accomplishments. R for violence and language.
THE DEBT COLLECTOR (NR) 93 minutes * 1/2
French (Scott Adkins) needs a way to make some extra cash so he can keep his martial arts studio open. A friend of his has a connection, and in no time at all, French is working as a debt collector. It's a little more than he bargained for. Paper-thin story that barely holds together from one fight scene to the next, most of which are no more than mediocre.
DEBT COLLECTORS (NR) 94 minutes * 1/2
French (Scott Adkins) was trying to have a less violent career, but it just wasn't working out. Sue (Louis Mandylor) shows up with a few more debts for them to collect for their old boss. In the meantime, a nasty drug kingpin wants payback for the death of his brother that French and Sue are responsible for. It's going to be a violent few days. Much as in the first film, the fight scenes are mediocre at best.
THE DEBT OF LIES (NR) 92 minutes * * 1/2
In Barnaby's (Neil Dudgeon) latest case, it would appear likely that the murderer is a former police officer. It will take some creative thinking to uncover exactly what happened, but with a little help, Barnaby will complete the investigation.
A DECADE AT THE BRICKYARD: 2003 10 YEARS RUNNING, BRICKYARD 400 (NR) 72 minutes * * 1/2
The story of the first ten years of NASCAR racing at the Indianapolis Brickyard 400. Several interviews, but most of the story is told through narrated footage of the races. A nice overview for the uninitiated, and a fun look back for fans.
DECEIVED (PG-13) 105 minutes * *
Considering the title of the film, it's interesting that we never doubt John Heard's guilt throughout the film. In fact, there's only the slightest hint that his character has any redeeming qualities at all. Heard and Goldie Hawn give us solid performances, but the story is too much formula and not enough surprise. PG-13 for violence.
DECEMBER BOYS (PG-13) 100 minutes * * *
They are the December boys, four orphans who were all born in the month of December. The chance to spend a few weeks in a small fishing village seems like a gift from heaven. They will swim, fish, have adventures, cause a bit of trouble, and come to understand family in ways they never dreamed. Adapted from Michael Noonan's heartwarming novel, this is the story of four boys and a friendship that carries them through life. Filmed in Australia. PG-13 for sex and nudity.
A DECEMBER BRIDE (NR) 84 minutes * 1/2
Going to her cousin's wedding should have been fun, but when it's her ex-fiancee who's marrying her cousin... But now, a last-minute date has her pretending that her own engagement is in the wings. Predictable Hallmark romance with minimal supporting performances.
DECEPTION (R) 95 minutes * *
After accidentally picking up the wrong phone while out to lunch with a new acquaintance, Jonathan (Ewan McGregor) finds himself part of a sex club that promotes casual sex. It seems harmless enough until he meets someone who he had seen before. And until he discovers that his new friend seems to be hiding something. McGregor, Hugh Jackman, and Michelle Williams are all fine here, but the story is unimaginative. The cast keep us interested, but we need more. R for sex, violence, and language.
DECEPTIVE PRACTICE: THE MYSTERIES AND MENTORS OF RICKY JAY (NR) 85 minutes * * 1/2
Ricky Jay has been doing magic shows since he was four years old. His specialty is working with playing cards. He talks here about the profession of magic and about his mentors. Some of the most fascinating moments are the glimpses of his extensive collections of older magic literature, and his reminiscences about magicians he knew during his childhood.
DECISION (NR) 86 minutes *
When Jackson (Mike Rosenbaum) starts skipping school, his mother decides that it might be time for him to move in with his grandfather for awhile. Poor script with lots of dead space. There's also plenty of amateur acting as well, with stiff performances and awkward looks. The heavy-handed Christian message comes through loud and clear, if you stick around to listen.
DECK THE HALLS (PG) 89 minutes * 1/2
Looking for a way to be noticed, to be the best, to be original and to do something "monumental", Buddy (Danny DeVito) decides to light up his new house for the holidays. But Buddy's quest for greatness doesn't sit too well with his neighbor, Dr. Steve Finch (Matthew Broderick), who happens to be known in town for his holiday spirit. The feud begins, and of course the Christmas spirit wins out in the end. Kristin Chenoweth does do a very nice job singing "O Holy Night", but the sentimental ending can't really salvage a film that began to bore us after the first thirty minutes. PG for language and violence.
DECLINE OF AN EMPIRE (R) 103 minutes * *
Follows the ride of Constantine (Jack Goddard/Edward Fox) and his conflict with Maxentius (Julien Valion). The result is a war between the eastern and western parts of the Roman Empire, which result in its collapse. It is also the search for Constantine's mysterious and saintly friend, Katherine (Zoe Michael/Nicole Keniheart), who Maxentius was holding prisoner. Slow-moving and overly dramatic, with some less than convincing performances. R for violence and language.
DECODING ANNIE PARKER (R) 95 minutes * * 1/2
Annie Parker (Samantha Morton) is not the only person in her family to be diagnosed with breast cancer. And the research will eventually show that there is a genetic marker that does show the tendency, which means that something can be done to stop it. Very nice work by Morton, and some of the supporting cast as well. The script is uneven as far as dialogue, though the overall story and the emotional impact are handled very well. R for language and sex.
DECOMMISSIONED (R) 76 minutes * *
When the president decides to decommission the CIA, they plot to kill him to protect their agency. Former agent John Niles (Johnny Messner) is being set up to take the fall for the plot, but he doesn't plan on letting that happen. A fair amount of action and intrigue, though nothing surprising or outstanding. R for violence, language, and sex.
DECONSTRUCTING HARRY (R) 96 minutes * * *
Woody Allen plays a writer who uses his own life experiences as
source material, much like Allen himself. Well-written and more
appealing than many Allen features. The cast also includes Billy
Crystal, Robin Williams, Kirstie Alley, Richard Benjamin, Demi Moore, Tobey Maguire, and MANY more!
THE DECOY (NR) 97 minutes *
Deputy Cooper (Justin Kreinbrink) has to escort his friend to be hung for his part in killing Cooper's in-laws. But what part did he really play, and do we really care? Not even two-dimensional acting from Kreinbrink, who also wrote and directed the film. The reason for giving it a full star is that for being filmed in 16 days, the sets and props are nicely done and the costumes aren't that bad either. Filmed in Arizona.
THE DECOY BRIDE (PG) 84 minutes * * *
Lara (Alice Eve) just wants a nice, quiet wedding. But being a famous actress means that's not likely to happen. To throw the paparazzi off the trail, they decide to hire a decoy bride, with predictable results. Cute, though not very original, and the script is well-written. Kelly MacDonald does a nice job here, and the beautiful scenery of Scotland and the Islae of Man don't hurt any either. PG for language.
DEEP BLOOD (NR) 93 minutes * 1/2
Friends since childhood, these four young men are going to come face to face with an ancient evil that is terrorizing a beach community. It's a killer shark, and it won't be easy to stop. The ancient evil aspect is down-played in favor of the relationships between the boys, their girlfriends, and one boy's father. The soundtrack also has much more of a romantic tone than a suspenseful one.
DEEP BLUE SEA (R) 98 minutes *
Aquatica is a marine research facility that is experimenting with sharks for the purpose of curing Alzheimer's disease. But they're doing genetic manipulation, and you know what happens when they start doing that, especially when a big tropical storm is on the way. The mechanical sharks and computer generated images aren't very convincing, but neither is the story or the acting. R for violence and language.
THE DEEP BLUE SEA (2011) (R) 94 minutes * *
Despite the story being about passion (the love affair between the wife of a judge and an air force pilot), its methodical and slow. The focus is on the tragedy rather than the romance as Hester (Rachel Weisz) wrestles with her love for a man who doesn't need her and her affection for the man who does. Weisz does a nice job here, and it is an interesting period piece, but also somewhat unsatisfying. R for sex.
DEEP BLUE SEA 3 (R) 93 minutes *
Her research on the effects of climate change are going well, but Emma (Tania Raymonde) is about to come face to face with three genetically enhanced bull sharks. It's not going to go well. Most of the shark scenes are typical for this sort of film, and not very believable. The same can be said for the acting. There are the usual noise scares, but there is also some very good underwater footage that is nice to see. R for violence and language.
DEEP BLUE SEA 2 (R) 91 minutes 1/2
Let's keep a bunch of bull sharks in a pen and feed them something to make them smarter. That should make them really happy and content about being captive test subjects. Or maybe it's a recipe for disaster, which the script, special effects, and acting make even worse. Oh, and don't forget that we need to keep our options open for there to be a third film in the series. R for violence and language.
DEEP COVER (R) 103 minutes * * 1/2
Russell Stevens (Larry Fishburne) leaves Cleveland to go deep under cover in LA, working for the DEA. It's a tough game to play, because you have to watch people die and even supply drugs to be able to work your way in deep enough to get the "big fish". What's even worse is that the game can turn without warning. Stylized and a bit unbelievable at times, but the point is well-made. Once the game begins, it can't stop if you're playing for keeps. R for violence and language.
THE DEEP END OF THE OCEAN (PG-13) 105 minutes * *
Beth (Michelle Pfeiffer) goes to her high school reunion with her three kids in tow. But after turning her back for a few minutes, one of them is missing. Nine years go by before the boy shows up on their front step to mow the lawn. Silly and contrived story with lots of sentimentality, but not much sensibility. Pfeiffer, Treat Williams, and the rest of the cast are fine, but the story is pathetic. It won't come off too bad on video, but films like this don't look good on the big screen. PG-13 for language.
THE DEEP HOUSE (NR) 77 minutes *
Ben (James Jagger) and Tina (Camille Rowe) enjoy checking out haunted locations and documenting their finds on social media. The go to explore an underwater house in a lake in France and get more than they bargained for. There are a few creepy moments, but way too much of this is foootage in the dark. It makes it nearly impossible to tell what's going on, and there isn't much in the way of explanation.
DEEP IMPACT (PG-13) 113 minutes * * *
Struggling TV journalist Jenny Lerner (Tea Leoni) stumbles onto the story of a lifetime, but it isn't quite what she thinks. The world is about to be destroyed by a asteroid the size of Manhattan. Star-studded disaster flick for the 90's that features Morgan Freeman as the president, Robert Duvall as captain of the spaceship sent to destroy the asteroid, and Elijah Wood as the boy who discovered it. The first 15 minutes or so of the film does leave us feeling a little lost as the scenes are scattered among the characters, but it comes
together soon enough and draws us in relatively well. The pacing is steady enough to keep us involved, without getting too sentimental or trying to convey some important message. The special effects are of a fairly good quality, though not the best. The result is a picture that is interesting and sometimes exciting to watch, which is more than many other have to offer. PG-13 for violence and language.
DEEP IN THE HEART (PG-13) 108 minutes * *
Alcoholism nearly destroyed him, but Richard Wallrath (Jon Gries) found the faith and the strength to carry on. His guidance is personified in "the bearded man", played by Val Kilmer. The performances are sincere, and help this along, but the script is trite and shallow, giving the characters little room to show us who they really are. PG-13 for language and violence.
DEEP IN THE VALLEY (R) 88 minutes BOMB
The Diamond Jim Porn Booth is not what it seems. It doesn't just play those wonderful porn films that Carl (Brendan Hines) and Lester (Chris Pratt) are looking forward to, it actually transports them into a fantasy world where all of their dreams can come true. Plenty of tease and not much else. R for sex and language.
DEEP MURDER (NR) 81 minutes BOMB
A strange assortment of characters who all seem to be part of a bad pornographic movie. Suddenly, it becomes a bad murder/mystery too! It's designed to be bad, and to make fun of pornographic films. It does both, but it's just so bad that it isn't funny, and we find it difficult to wait for the ending to come. Even five minutes less would have helped a little.
DEEP RISING (R) 101 minutes * 1/2
A cruise ship is about to be taken over, the wealth of its passengers to be stolen, and the ship sunk to claim the insurance money. Unless the monster from the depths of these south China seas kills everyone first. There are a few good effects here, but the creature is too quick to be believable. Famke Jannsen is interesting to watch. She has much of the same screen presence as Sandra Bullock, but she needs to land a better role than this for us to tell for sure. R for violence and language.
DEEP STAR SIX (R) 95 minutes 1/2
Less than thrilling rip-off of "Alien" that gives us 65 minutes of no action. Excuse me. There are a couple of bumps to the ship by the monster, but I really don't think that qualifies as action. What's that? It was time for character development? Then how come we didn't learn anything about them? It's mildly entertaining to watch Miguel Ferrer, but it's as if he's the only one who realizes how bad this all is and decided to just ham it up and have a little fun. Director Sean Cunningham gave us "The Last House on the Left" and the first "Friday the 13th", films that managed to show imagination and an understanding of what scares people. The only thing scary here is that you might be paying to watch it.
DEEP WATER (PG) 89 minutes * * *
It was supposed to be an exciting adventure. A race around the world on yachts. Men braving the forces of nature. No one else on board. Just the water... and time. Many did not even expect Donald Crowhurst to finish. He was the last to start. Within a few weeks, he was fourth out of only four left from the original nine. But the prospect of nine months alone, and the challenges of the sea, soon lead Crowhurst to make a decision that will have dramatic results. It's a fascinating story and Crowhurst is not the only one who finds the course more life-altering than expected. PG for language.
DEEP WATER (NR) (2016) 208 minutes * * *
When Tori (Yael Stone) and Nick (Noah Taylor) are assigned to investigate a brutal murder, the deeper they dig, the more they find that has been covered up. Someone has been killing for a long time, and stopping it is going to be a challenge. Solid mystery/thriller from Australia.
DEEP WEB (NR) 84 minutes * * 1/2
The Silk Road. It's a plae on the dark web where illegal drugs are bought and sold at an unprecedented level. This is the story of the search for the Dread Porate Roberts, who ran the site. The title is a bit misleading since this actually only deals with this particular corner of the dark web, but they do explore that corner very well.
THE DEEPER YOU DIG (NR) 93 minutes *
It was an accident, but rather than reporting it, Kurt (John Adams) decides to cover it up. Echo (Zelda Adams) is now haunting him. Echo's mother (Toby Poser) is not giving up on finding her daughter. Using both detectives and psychics (including her own abilities), she is determined. This story begins as a nice suspense/thriller, but sadly takes an unimaginative turn to a horror/possession story that just doesn't work.
DEEPWATER HORIZON (PG-13) 98 minutes * * *
In 2010, the offshore drilling rig Deepwater Horizon exploded, resulting in the worst oil spill in US history up to that point in time. This is the story of what became shockingly clear in the weeks and months that followed. Worn out equipment and corporate greed are a dangerous mix that can only lead to tragedy. PG-13 for violence.
DEFENDING SANTA (NR) 90 minutes * *
Checking out an accident, Sheriff Hanson (Dean Cain) discovers a man in a red suit, passed out in the snow. He turns out to be none other than Kris Kringle, but no one believes him. Cute holiday fare for the family.
DEFENDING YOUR LIFE (PG) 108 minutes * * 1/2
Albert Brooks' whining performance detracts a bit from this rather interesting film. It follows his character after death as he's being judged. Presents some interesting ideas for the open-minded and there are several well-done scenes, but Brooks does get on one's nerves after awhile.
DEFENDOR (R) 94 minutes * * 1/2
Arthur (Woody Harrelson) has some problems, including that he thinks he's a superhero. But there's a reason for his actions, though no one seems to understand. And when he stumbles into a truly evil and criminal scheme, he gets burned both by the bad guys and by the system. Harrelson delivers a remarkable performance, well supported by both Kat Dennings and Sandra Oh. The story strays at times and loses focus, but it's still worth a look if you're interested in something a little different. R for violence, language, and sex.
DEFENSELESS (R) 100 minutes * * 1/2
Barbara Hershey delivers a fine performance here as an attorney who gets a bit too involved with a client who is murdered and finds herself being suspected of the crime. Interesting and well-written, though technical problems hurt this in several spots. R for violence and nudity.
DEFIANCE (R) 123 minutes * * *
Four brothers trying to help each other during World War II find themselves taking care of a whole community that survives in the most unlikely conditions. Creating a haven for refugees in the woods, they survive hunting parties, the winter weather, and even fighting from within. Intense at times, and we are swept along through the story by a powerful score from James Newton Howard with the talented Joshua Bell on violin. Filmed in Lithuania. R for violence and language.
DEFINING MOMENTS (NR) 84 minutes * * *
Life is a series of moments. Moments that give us opportunities and moments that shape and define us. Featuring Burt Reynolds, Tanny Blanchard, Graham Greene, Polly Shannon, and Shaun Roberts. The stories weave and merge as they move along. Very nice work by writer/director Stephen Wallis.
DEFINITELY MAYBE (PG-13) 107 minutes * * *
With a divorce right around the corner and his young daughter Maya (Abigail Breslin) asking questions, Will (Ryan Reynolds) decides to explain it all to her. He tells her a story, and in doing so, he learns a few things about himself, his past relationships, and his rather perceptive daughter. Breslin is delightful, but even more importantly, she helps Reynolds deliver a sincere performance that makes this a sweet and charming film. Filmed in New York. PG-13 for sex and language.
THE DEFLOWERING OF EVA VAN END (NR) 88 minutes * * 1/2
Unusual piece about the effect that an excahnge student has on his host family, or rather, the changes they allow themselves to make once he enters their lives. Director Michiel Ten Horn is clearly enamored with the work of film director Wes Anderson as this looks and feels much like a Wes Anderson film. Not for everyone, but those who enjoy characters that are more on the quirky side will probably like this.
DEFYING THE NAZIS: SHARPS' WAR (NR) 79 minutes * * *
Informative recounting of the work of Waitstill and Martha Sharp as they helped transport people out of danger and away from Nazi Germany. Told through interviews, dramatic journal readings, and news footage. Together, they paint a very vivid picture.
DEJA VU (PG-13) 118 minutes * * *
A ferry explodes, killing hundreds... a young woman is murdered and left on the river bank... they are connected, but how? ATF agent Doug Carlin (Denzel Washington) may be able to discover the connection thanks to an amazing new computer program that opens a window into the past. But is this just a computer program? Well-paced and interesting story with fine performances from Washington and a few others. Still, the ending waxes sentimental and doesn't fit with explanations given earlier in the film. It's a problem common to films dealing with time travel, giving us a disappointing finish to an otherwise fine film. PG-13 for violence and language.
DELETE (NR) 169 minutes * * 1/2
When a nuclear missile accident is barely averted, the investigation uncovers something very unusual… the incident was created by an artificial intelligence. It has become an entity with an agenda, and that incident was only the beginning. A modernized and extended version of “WarGames", that works quite well in many ways. The acting is more than a little mediocre, but the story and effects are fairly good.
DELGO (PG) 83 minutes * *
Though only a teenager, Delgo (voiced by Freddie Prinze Jr.) finds himself responsible for uniting the Lockni who rule the earth, and the Nohri who rule the sky. They must cooperate if they are to survive, but it won't be an easy task. Part of what they must learn is that "we cannot change the past, but we can choose what we learn from it." Nicely animated, and featuring a stellar cast of voices that includes Anne Bancroft, Malcolm McDowell, Chris Kattan, Eric Idle, Val Kilmer, Burt Reynolds, Jennifer Love Hewitt, Louis Gossett Jr., Kelly Ripa, and more. PG for violence.
DELICATESSEN (R) 95 minutes * *
The tenants of this particular apartment building have the good fortune of having a delicatessen located on the ground floor. Though if they aren't careful, they may end up on the menu. Surreal dark comedy with a cast of unusual characters. It succeeds in part, but the absurdity of the story tends to become an end in itself which takes the film in rather pointless directions. R for violence.
DELIRIOUS (PG) 93 minutes * *
After a knock on the head, a soap opera writer finds himself inside his own story. Nice idea, but the cast deserves a better script and a steadier hand at the helm. John Candy, Emma Sams, Mariel Hemingway, Jerry Orbach, Raymond Burr, and Robert Wagner do what they can, but this flounders more than it should.
DELIRIUM (NR) 78 minutes 1/2
Emily (Taylor Pigeon) is back, but something else came with her. There are plenty of creepy sound effects and the camera work adds to that suspense during a few scenes as well. But the transitions between past and present are confusing, and made even more difficult to follow due to poor acting and a script that gives us nothing but two-dimensional characters. Writer/director Jared Back also served as co-producer, editor and colorist.
DELIRIUM (2018) 81 minutes 1/2
It's a simple dare between friends. Walk up onto the porch of an old haunted house. He didn't have to go in, but he does. And he doesn't come back. They decide to go in to find him. That's a mistake. There are a few moments that are a little creepy, but there's far too much "shaky camera in the dark". We also never get to know most of the characters, though the ghosts are somewhat interesting.
DELIVER BY CHRISTMAS (NR) 83 minutes * *
New to Town, Josh (Eion Bailey) meets Molly (Alvina August) while tree shopping. They keep bumping into each other after that. Molly is more interested in a mysterious client at her bakery. One she has never been able to meet. It just so happens that Josh is that mysterious client. That's no surprise, and it's also a little too obvious.
DELIVER US (NR) 99 minutes * *
The prophecy states that a woman will give birth to twin boys who are the Messiah and the Anti-Christ. When a nun in a remote convent claims immaculate conception, the Vatican sends a team to check it out. Father Fox (Lee Roy Kunz) and Cardinal Russo (Alexander Siddig) will do their best to prevent the end of the world. Wonderful soundtrack, but the story comes up a little short on depth and detail.
DELIVER US FROM EVA (R) 101 minutes * * 1/2
Three guys get married to three beautiful sisters, but the fourth sister can't stop meddling in their daily lives. They guys decide to set the fourth sister up with a friend. Of course it backfires and we can see it a mile away. LL Cool J and Gabrielle Union play the mis-matched couple quite well and the ending does a nice job of being both funny and tender. R for language and sex.
DELIVER US FROM EVIL (NR) 99 minutes * * *
Bold documentary that details the many sexual abuse cases involving Father Oliver O'Grady and the extent to which the Catholic church has covered up and/or ignored virtually everything about it. It's somewhat frightening, not only that a religious institution could prove itself to be this callous and uncaring, but that O'Grady, as presented here, seems to still not think that what he has done is so terrible that some people might not be able to forgive him. Sometimes saying sorry just isn't enough. It's powerful material and may be too much for some people to watch.
DELIVER US FROM EVIL (2014) (R) 111 minutes * * *
These are no ordinary crimes that the city of New York is facing. Something dark, sinister, and much more evil is at work. Officer Sarchie (Eric Bana) is going to need the help of a priest (Edgar Ramirez). Bana and Ramirez are both very good here, and the story does a good job of mixing police thriller with demonic possession, though it does wrap up a little too neatly at the end. Creepy sound effects. R for violence and language.
DELIVERANCE (R) 109 minutes * * * 1/2
James Dickey adapted his own novel to bring this chilling tale of a canoe trip that turns into a nightmare for four businessmen to the screen. This was the first film for both Ned Beatty and Ronny Cox, and they both deliver strong performances as do Jon Voigt, Burt Reynolds, and the rest.
DELIVERY MAN (PG-13) 100 minutes * * 1/2
Adapted from the French film, "Starbuck", about a man whose donations to the local sperm bank result in 533 children. Many of them are interested in knowing who their biological father is. Vince Vaughn does a fairly good job, but the supporting roles are what really carry the film. The ending here is a little more sentimental than the French film, but otherwise, its very similar. PG-13 for sex, violence, and language.
DE-LOVELY (PG-13) 119 minutes * * *
The story of Cole Porter's life is played out for Cole himself to review. It's a wonderfully theatrical style of presentation that works quite well, with a solid performance by Kevin Kline as Porter. Several new adaptations of Porter songs are included in the soundtrack. They feature the talents of Elvis Costello, Alanis Morisette, Natalie Cole, Sheryl Crow, Diana Krall and many more. Nice make-up job on Kline as well. PG-13 for language.
DELTA FARCE (PG-13) 85 minutes * 1/2
With Bill Engvall, Larry the Cable Guy, and D.J. Qualls, you can already sort of imagine where this story will go. They're deployed to Iraq, but end up in Mexico where they manage to inadvertantly become heroes to some villagers. PG-13 for language and violence.
THE DELTA FORCE (R) 125 minutes * * *
An eleite military team, the Delta Force are sent in to deal with a terrorist plane hijacking. As the situation develops, they find themselves fighting on two fronts in a mission that has grown more complex. Well-written story that draws us in quickly and keeps us involved. Chuck Norris and Lee Marvin work well together and carry the film together. R for violence and language.
DELTA FORCE 2 (R) 105 minutes * 1/2
Chuck Norris and his crew head to Latin America to fight a drug lord in this rather boring sequel. There are a few good action sequences, but little else to distinguish this. R for violence.
THE DEMENTED (R) 89 minutes 1/2
It was supposed to be a fun weekend trip for six college friends. But a terrorist attack on the United States starts turning people and animals into zombies. The film is mostly just the six of them, getting picked off as they run from the zombies. With virtually no back story or subplots, it just doesn't have far to go. R for violence and language.
DEMENTIA 13 (NR) 81 minutes * *
Everyone in this twisted family has a secret. And you may not want to know the details. Remake of the classic Francis Ford Coppola suspense/thriller. Much like Coppola's film, where this succeeds is story, music, and atmosphere. Where it comes up short is in the acting department.
THE DEMOLISHER (NR) 81 minutes * 1/2
When Bruce's (Ry Barrett) wife is attacked and permanently disabled by gang members, he turns toward vigilantism. But his anger and frustration and deteriorating mental health quickly twist it into violence that needs little or no justification. The story here never managers to really go anywhere. There are some moments of suspense, but the story stumbles around, trying to decide whether to be a vigilante film, a mystery, or perhaps even horror. It ends up just being disappointing.
DEMOLITION (R) 97 minutes * * 1/2
When Davis' (Jake Gyllenhaal) wife dies in a car accident, he struggles with how to go on. Everyone deals with grief a little differently. Davis chooses to demolish the old and move onwith little delay. The story loses focus in the middle, hesitating and first, and then just stalling. R for language, sex, and violence.
DEMOLITION MAN (R) 110 minutes * * 1/2
In the society of tomorrow, Simon Phoenix (Wesley Snipes) is more than the San Angeles police can deal with. So, they defrost John Spartan (Sylvester Stallone) to take care of the situation... and ger a little more than they expected. Lots of interesting props and sets, but the story isn't very well thought out and Phoenix isn't as malicious as we need him to be.
DEMON HOLE (NR) 74 minutes 1/2
A fracking crew working on sacred Native American ground has released a demon. The six teenagers who are there doing some community service are in for some serious trouble. (Actually, I'd think the spirits would want to do something about the fracking crew rather than some teenagers.) Creepy in a few spots, but the script is not written well, and the acting isn't any better. The music and photography help create some atmosphere, but that's about all we get. Samhain plays the demon, which adds a little bit of a draw for a few people, but it's just not enough.
DEMON HUNTER (NR) 75 minutes *
Jake (Sean Patrick Flanery) is more than a demon hunter, he's part demon himself. His latest case has him paired with a young nun as they work to stop a particularly powerful demon from populating the world with his offspring. The characters here are fun to watch, but the cheap B-movie dialogue doesn't help much.
DEMON HUNTER (2016) (NR) 80 minutes 1/2
During the investigation of a homicide, Taryn Barker (Niamh Hogan) is arrested. But it turns out that Detective Beckett (Alan Talbot) is going to need her help with this case. The mediocre effects are actually one of the better things about this film, though the idea isn't bad. The acting is poor, and the fight scenes are awful, with rapid-fire cut-shots that show nothing and leave us dizzy.
DEMON KNIGHT (R) 86 minutes * * *
Good action and effects in this "Tales from the Crypt" film about the struggle between good and evil. In keeping with the spirit of the series, though more graphic, as one might expect. The character bits are well-done, being over-played by just the right amount to give us the EC comics feel.
A DEMON WITHIN (NR) 88 minutes 1/2
When Julia (Charlene Amoia) and Charlotte (Patricia Ashley) move into their new home, they're excited. What they didn't know about was that two people recently died there and that the local priest is convinced that it was due to demonic possession. Very poorly written, and the pacing and editing are stiff and lifeless.
DEMONIC (R) 80 minutes * *
The Livingston House was the site of several murders that might have had a connection to demonic possession. Years later, a team of ghost hunters attempt to talk to the ghosts of those who were killed. One of them is keeping a dark secret, and this seance is about to go horribly wrong. There are some really good scares and effects, but the story tries to be more clever than it needs to be. R for violence and language.
DEMONIC (2021) (R) 100 minutes * * 1/2
Carly (Carly Pope) hasn't been close to her mother for years. Her mother (Nathalie Boltt) is now in a come and it's not clear why that happened. Carly agrees toa new procedure that allows her to talk with her mother in a simulated environment. She will be able to ask some important questions. But does she really want to hear the answers? There's a lot of good material here, and some nice effects, but it doesn't all fit together very well. R for language and violence.
THE DEMONOLOGIST (NR) 96 minutes * 1/2
A series of murders leads Detective Damien Seryph (Brian Krause) to a group that is trying to raise the King Demons of Hell. The deeper he digs, the more he finds connections in his life that have all led him to this point. He's the only one who can stop what is about to happen, because he is "The Demonologist". The sets and props are good, as are some of the special effects. Krause's dull performance really saps the energy from the film.
DEMONS (R) 86 minutes * ½
A strange invitation to attend a movie in a theater that just reopened quickly turns into something more sinister. The film is about some young people who find a tomb, and a mask that turns the ones who wear it into demons. Real life begins to parallel the film, and the theater suddenly has no exits. Gross and well-done effects, and there are parts of the film that work well.
DEMOTED (R) 90 minutes * 1/2
Michael Vartan and Sean Astin play two jerks who find out what life is like on the "other side" when they are demoted from sales to secretarial. Of course they learn their lesson and work to turn their company around. There are a few good bits, but it's mostly the interplay between Vartan and Astin that saves this from being completely worthless. R for sex and language.
THE DEMPSEY SISTERS (NR) 88 minutes * 1/2
The trials and tribukations of three sisters who find their best selves when singing. The characters are very likeable and well-performed, but the script struggles to create depth or believability. It's also a shame that with this being a movie where music is so important, the sound and editing are very poorly executed.
THE DEN (R) 73 minutes BOMB
While studying the habits of webcam users, Elizabeth (Melanie Papaloa) thinks she may have just witnessed a murder. The mix of webcam, phone cam, found footage, and third person footage often doesn't make much sense. The final shot is the only one that's really interesting. Rf or violence, sex, and language.
DEN OF THIEVES (R) 142 minutes * * *
Every 48 minutes, a bank is robbed in Los Angeles. Big Nick (Gerard Butler) runs one of the toughest law enforcement crews in the LA County Sheriff's Department. They've come up against one of the most violent bank robbing crews ever. These theives are deeply connected, and they have a plan to rob the Federal Reserve Bank. It just might work. Well-done heist film. The human interest scenes for Big Nick aren't really necessary, and removing them would have tightened up the film a little. R for violence, language, and sex.
DENIAL (PG-13) 106 minutes * * *
When historian Deborah Lipstadt (Rachel Weisz) is sued by David Irving (Timothy Spall), she finds herself duty bound to prove the historical accuracy of the holocaust. But Irving is not an easy person to challenge. An intense and emotional story with strong performances all around. PG-13 for language.
DENNIS THE MENACE (PG) 91 minutes *
* 1/2
Rather than presenting us a big screen version of the
character, we have a toned down "Home Alone", with
Mason Gamble a little less obnoxious than Macauley
Culkin. We needed to see more of Joey (Kellen
Hathaway) and Margaret to balance the film and we
didn't need to have the villainous Switchblade Sam
(Christopher Lloyd) at all. Written by John Hughes,
who also wrote the "Home Alone" films. Surprised?
A DENNIS THE MENACE CHRISTMAS (G) 80 minutes * *
Somewhat strange mix of a more typical Dennis the Menace story about the trouble he gets into with his parents, Mr. Wilson, and a school bully and another version of "A Christmas Carol". Maxwell Perry Cotton does a nice job as Dennis, though the real treat is watching Robert Wagner and Louise Fletcher as the Wilsons.
THE DEPARTED (R) 145 minutes * * *
Cop or criminal? It makes little difference when the gun is pointed at you. Despite both being on the Massachusetts State Police force, Leonardo DiCaprio and Matt Damon find themselves on different sides of the law as they go undercover for different organizations. Loyalties are tested along with skills as they each try to uncover the other in this police thriller from director Martin Scorsese. It's a very good film, but Damon's performance is less than what we need and Mark Wahlberg (who could have handled that role more effectively) has a small supporting role that doesn't matter much until the very end. DiCaprio does a very nice job here, and the film is definitely worth a look as another fine Scorsese film. R for violence, language and sex.
DEPARTURES (PG-13) 126 minutes * * * 1/2
The ad looks promising. Short hours, good pay, no ewxperience necessary, working with departures. It seems it was a misprint, though the people he will be working with have, in fact, departed... just not on the journey he was expecting. Daigo (Masahiro Motoki) discovers that not only is there honor in this profession, but that is seems to be his destiny. It's not a job that many would want to do, but the peace it brings to those who live, makes it a job with deep meaning. A wonderful story that allows for some touches of humor to lighten the mood at times. Academy Award winner for Best Foreign Language Film, and numerous other international awards. PG-13 for language.
THE DEPORTED (PG-13) 78 minutes 1/2
Crooked INS agents decide to dump Gianni (Nicholas Turturro) on the other side of the border. Noe, the out of work actor is going to have to work harder than ever to get back home. Not particularly funny, despite how hard Turturro tries. It's not all his fault though, as the script seems to struggle with whether to try and make a point or go for the laugh. PG-13 for language.
THE DEPRAVED (NR) 89 minutes *
Exploring the underground tunnels in Berlin is perhaps not the smartest thing to do... even with a guide. There are definitely some creepy moments, but the story and effects start repeating before long, and that means that we also begin to lose interest soon after.
DERAILED (R) 101 minutes * *
A chance encounter, an act of kindness, and somehow it turns into something more than either of them expected or anticipated. But then the world comes crashing down and it doesn't make any sense... or does it? There are a couple of nice twists here, but for the most part, it's really not that imaginative. Clive Owen does a nice job here, but has to carry a bit too much of a story that needed a bit more work. R for language and violence.
DERBY DOGS (PG) 84 minutes *
Derby racing is a tradition in Ben's (Edward Hall) family, but his mother doesn't want him to enter the big race. Of course, he will, and it will all work out fine. Simple and unimaginative script, and very mediocre acting. Plays more like an episode for a television show that lasts too long. Filmed in Nelson, New Zealand. PG for language.
DES (NR) 139 minutes * * *
When human remains are discovered in a blocked drain in London, Dennis Nilsen (David Tennant) is arrested. Soon, they discover that there are many more victims, and that Nilsen is a cold-blooded killer. The film does a nice job of showing the story behind the investigations into the murder. And, of course, Tennant plays the part well.
THE DESCENDANTS (R) 109 minutes * * * 1/2
Touching and sensitive story of a father (George Clooney) reconnecting with his daughters after his wife is in a tragic accident. Set against the beautiful backdrop of the Hawaiian landscape, of which Clooney's character owns a pristine and sizeable piece. The film is a bit heavy on narration, though the acting is quite good. Shailene Woodley won several awards for her portrayal of the older daughter, Alex. R for language and sex.
DESCENDANTS (2015) (NR) 110 minutes * * 1/2
The son of Beast and Belle offers the teenage children of Maleficent, Cruella De Vil, Jafar, and the Evil Queen, a chance to come over to the good side. A fun idea, though the acting is not all that great, and the story is a little too simple. The sets are beautiful, and the music is catchy, and Kristin Chenoweth and Kathy Najimy both do well. It's kind of a mixed bag that manages to land on the plus side thanks to the positive message and fun characters.
DESCENDANTS 2 (NR) 109 minutes * *
Mal (Dove Cameron) is struggling with how perfect everything is and how much it's demanding from her. She decides to run away to the Isle of the Lost, but things have changed since she left. Uma (China Anne McClain) is in charge, and she has some nefarious plans. Fun music and choreography. The story is a little stronger in this sequel, but it relies heavily on the first film.
DESCENDANTS 3 (NR) 104 minutes * *
It's VK (Villains' Kids) Day! That means four more young people from the Isle of the Lost will get to come to Auradon Prep and get the chance to better themselves. That all sounds great, but there are still some people on both sides (good and evil) who aren't too thrilled about the arrangement. A little more emotional and darker in tone than the first two films in the series, but there is some nice character development here.
DESCENDENTS (NR) 64 minutes * *
This is a bit more creative than the typical zombie film, at least as far as the story is concerned. It's a virus, but there are some children that are immune, and the zombies don't really bother attacking them either. It's still rather difficult to survive though, and the story is told from the point of view of young Camille (Camille Lynch) as she tries to find others like herself.
THE DESCENT (R) 94 minutes 1/2
Trapped in an unmapped cave, a group of adventurous young women discover more than they bargained for. Fairly good claustrophobic atmosphere throughout the film, but a completely senseless ending. As you might expect from a film about people being trapped in a cave with weird creatures, most of the action is in the dark and happening very quickly, making it easier to get by with less expensive special effects. You get what you pay for. R for violence and language.
DESCENT (2007) (R) 94 minutes 1/2
After being raped, Maya (Rosario Dawson) begins to explore a darker side of herself. This tries to be sexy, but the writers forgot that acting is an important part of making a film. Dawson does a nice job here, but everyone else needs to go back for acting lessons. R for language and sex.
THE DESCENT PART 2 (R) 90 minutes 1/2
One of the girls missing from a recent caving trip appears on a road on the other side of town. The key to finding her friends lies below an old mine shaft... a cave system that may lead straight to hell. Mostly more of the same as the first film, though this one does feel a little more claustrophobic. It's also a little more difficult to believe that creatures that hunt by sound wouldn't hear these noisy people moving around in the caves. R for violence and language.
DESECRATED (NR) 78 minutes 1/2
Several friends decide to spend a weekend at a remote cabin in the woods... never a good idea. This time, it's the caretaker, who is an ex-marine. It's time for a killing spree. No explanation necessary. Less than satisfactory ending, but then again, the premise isn't all that satisfactory either.
DESERT DANCER (PG-13) 98 minutes * * *
Afshin (Reece Ritchie) loves to dane. Starting a dance group is a dream. Living in Iran, where dancing is forbidden, will make that not only difficult, but very dangerous. The story starts slowly, and takes awhile to draw us in, but it does get there, and the ending is quite strong. Beautiful and powerful interpretive dance moves. PG-13 for violence.
DESERT FURY (NR) 91 miunutes BOMB
Captured by Iraqi forces during the Persian Gulf War, two friends and the rest of their unit manage to get away. Now they are on the run, but the desert can be brutal all on its own. It's not the story's fault that the acting is so bad and that they look and sound like they're reading lines off of note cards.
DESERT ONE (NR) 105 minutes * * *
An in-depth look at the Desert One mission to free the hostages that were taken as part of the 1979 Iranian Revolution. Using news footage, animation, and extensive interviews with members of Delta Force, hostage, and many others who were part of the situation, we are given a well-rounded look at the mission and the outcome. The successes and failures are detailed, and we are reminded that the hostages did come home, but not without lives lost in the rescue mission.
THE DESERT PRINCESS AND THE PIRATES: ADVENTURES IN ALABASTA (PG-13) 87 minutes * * 1/2
This is the eighth entry in the One Piece series of movies. The kingdom of Alabasta needs saving, and the Straw Hat Pirates have to get across the desert and past Crocodile and his gang before they can do that. Good entry in the series, with a somewhat emotional ending. PG-13 for violence and sex.
DESIERTO (R) 82 minutes * * 1/2
On their way to cross the border to be in the United States, a group of people from Mexico have to abandon their vehicle and finish the journey on foot. That would be difficult enough due to the heat and lack of water, but a gun-toting vigilante is going to make it even more difficult. The ending won't be a favorite, but is actually the most poignant, and perhaps the most honest moment of the film. R for violence and language.
EL DESIERTO (NR) 98 minutes * 1/2
Three people, in a world that has drastically changed. Yes, we're talking about a post-apocalyptic world where zombies roam the wilds. But the focus here is less on the zombies and more on these three suriviors and how their self-awareness and relationships are changing because of the situation they are in. With a better script, it might have worked. Instead, it begins to get tedious about halfway through.
DESIREE (NR) 83 minutes * *
Eric (Joseph Morgan) wakes up in jail, unsure of what has recently happened. He apparently overdosed on an experimental drug after setting fire to the lab where it was made. All he knows is that he needs to find Desiree (Nicole Badaan) but he doesn't know who she is. The sequence of events is jumbled and difficult to follow. Eventually, things become clear, which is the idea of the story, but it wasn;t necessarily the best approach to communicate the idea. Nice soundtrack.
DESOLATION (NR) 74 minuutes *
Going into the woods to scatter her husband's ashes, Abby (Jaimi Paige) brings along her son and her best friend. But there's someone else in the woods. Someone who is slowly getting closer. Some good suspense early on, but it doesn't take long for the story to stumble, and the ending falls falt.
DESOLATION (2017) (NR) 86 minutes * 1/2
Katie's (Dominik Garcia-Lorido) life has been on edge for some time. Jay (Brock Kelly) could be a stabilizng force, but when he needs to leave for a few days and she's left alone in his apartment... or maybe she's not alone. There's some great tension when the "cat and mouse" part starts, but the set-up isn't very strong and we're just not convinced.
DESPERADO (R) 99 minutes * * *
Antonio Banderas is El Mariachi, a man with a mission to accomplish in Mexico. This big budget version of director Robert Rodriguez' earlier film "El Mariachi" is fun and has plenty of action. However, it does come up lacking in creativity and energy. If you can find "El Mariachi" somewhere and watch it, you'll see what I mean. R for violence and language.
THE DESPERATE HOUR (PG-13) 79 minutes * * ½
Amy (Naomi Watts) knows that there is a problem with how her son is coping (or not) with the death of his father. But to her, it doesn’t seem to be anything outside of normal. While out on a morning jog to help deal with her own grief, she learns of a shooting that has happened at her son’s school. An intense drama with Watts carrying most of the film and doing a fine job of it. PG-13 for language.
DESPERATE HOURS (R) 101 minutes * *
A brilliant criminal escapes from prison with the aid of his
beautiful attorney. He holes up in a house for a few hours, waiting for his girlfriend to contact him. Of course, caring for her is his fatal flaw. Mickey Rourke does a nice job as Michael Bosworth, but Michael Cimino's direction gives us little of the intensity we need in a story of this nature. The 1955 film version of this story is much better. Anthony Hopkins, Mimi
Rogers, and Kelly Lynch are also featured.
DESPERATE MEASURES (R) 96 minutes * * 1/2
The measures are desperate indeed, when FBI agent Frank Conner (Andy Garcia) feels he has to bargain with killer Peter McCabe (Michael Keaton) to get bone marrow for his son. The film is paced fairly well, with action and suspense keeping the tension high throughout. Young Joseph Cross gives the best performance as Frank's son Matt. Garcia and Keaton both do alright, but it's a mystery as to why Keaton was cast here, he handles the role with a bit more humor than it should have. It's an exciting ride, but the ending is less than satisfying. R for violence and language.
DESPERATE RIDERS (PG-13) 88 minutes * 1/2
Not someone you want to face in a shootout, Kansas Red (Drew Waters) has decided to help young Billy (Sam Ashby) rescue his mother from a notorious outlaw. The script is simple and very dry, though there are a couple of moments of humor. The pacing is slow and the action surprisingly sparse. PG-13 for violence.
DESPERATE ROMANTICS (NR) 335 minutes * * *
Rossetti (Aidan Turner), Millais (Samuel Barnett), and Hunt (Rafe Spall). They are the pre-Raphaelite Brotherhood. In search of that elusive thing called "success" in the art world, as it begins to become possible, jealousy and frustration begin to take hold. The music does a wonderful job of capturing the playful modd of the film. Excellent supporting work by Jennie Jacques.
DESPERATELY SEEKING SUSAN (PG-13) 100 minutes * * *
Roberta (Rosanna Arquette) has been looking for something more exciting in her life. When an accident leaves her with amnesia, and she is mistaken for Susan (Madonna), she's about to get much more than she bargained for. Great work by both Arquette and Madonna. The script mixes romance and suspense very well, though the direction struggles is a couple of spots. PG-13 for sex.
DESPERATION (R) 130 minutes * *
A writer, a family, a couple, and a hitchhiker... they wouldn't appear to have anything in common. They are all now in jail in Desperation, Nevada. It's not a place you want to be... in or out of jail. Director Mick Garis has worked with Stephen King's material before, and it shows. The suspense is good, though like many King stories it wander around for awhile, but often finds a deeper meaning. The ending is a bit of a let-down though. R for violence.
DESPICABLE ME (PG) 87 minutes * * *
The great pyramids have just been stolen. But Gru is not to be outdone... he is planning to steal... the moon! Meanwhile, Margo, Edith, and Agnes are three orphans who are looking for a home. And they just might fit into Gru's plan to become the most ruthless villain the world has ever known... not really. Delightfully humorous villains, adorable children, a hilarious story... and then there are those minions, who are likely to have their own sequel. "It's so fluffy!" is a classic line (don't worry, you'll understand once you see the film), and the story is a great deal of fun all the way through. PG for violence and language.
DESPICABLE ME 2(PG) 87 minutes * * 1/2
Gru (voiced by Steve Carell) continues his new career as a good guy and finds himself recruited to help deal with a new criminal mastermind. There are some cute and funny bits here, but as a whole, this is clearly not as cute, funny, or entertaining as the first film. This slight drop in quality and appeal isn't a surprise as it happens with many sequels. What is a surprise is that this one gets a nomination Oscar for best animated feature where the first one didn't... PG for language and violence.
DESPICABLE ME 3 (PG) 82 minutes * * 1/2
So, it turns out that Gru has a twin brother... who knew? He's a good guy, but he wants to give being bad a try, so he comes to Gru for help. Meanwhile, Gru has settled into becoming a good parent. But maybe... It's good, light fun, but only if you've seen at least one of the previous films. PG for violence and language.
DESTINATION FORKS (NR) 83 minutes * *
Forks, Washington is the setting for the Twilight novels by Stephanie Meter. It has become a favorite destination for fans of the novels and the films, the more dedicated of hwom are called "twihards". This is the story of the town and its residents, and what has happened since they've become famous. The film is split into three segments, of which this is the first, and most interesting. The second is a look at the fans, which tends to run on a bit long, and the third is simply footage from around the area, mostly the woods and streams, and again which goes on a bit too long.
DESTINATION: PLANET NEGRO (NR) 96 minutes * 1/2
It's 1939, and a group of African-Americans decide that the only way to deal with racism and oppression is to leave... the planet. But instead of Mars, they end up back on Earth... sometime around 2013. A simple and rather obvious message, but there are a few moments when the satire manages to work.
DESTINATION WEDDING (NR) 84 minutes * * 1/2
Ellie (Alexa PenaVega) has done lots of planning for her sister's wedding in Mexico. Things have recently taken a bad turn for her sister, and it's looking like the wedding may not happen. But Ellie's ex, Greg (Jeremy Guilbaut) is the best man, and this is a Hallmark movie after all. No need to let wedding plans go to waste.
DESTINATION WEDDING (2018) (R) 82 minutes * * *
Two people in an airport. They don't get along. They also find out that they are not only going to the same city, but the same event... the wedding of Frank's (Keanu Reeves) brother, who also happens to be Lindsay's (Winona Ryder) ex. A delightfully cynical script, heavy on dialogue, but with a good bit of charm. R for language and sex.
DESTINY TURNS ON THE RADIO (R) 98 minutes * *
Dylan McDermott escapes from jail and heads to Vegas to get his girl and his money. But Destiny, as in Johnny Destiny (Quentin Tarantino) has something else in mind. Offbeat, to say the least, but the story is little more than an outline, and loses most of us along the way. It's interesting, but we can't get enough of a handle on anything to decide whether we really like it or not.
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DETACHMENT (NR) 93 minutes * * * Being a substitute teacher isn't particularly easy, but when Henry (Adrien Brody) starts working at his latest school, he finds that it's the dumping ground for the worst students in the system, and that the school is about to be closed. There are still some great teachers here, and some students with a great deal of potential. His decision to help a young prostitute stay off the streets is not going to be seen by everyone as a great decision, despite his intentions. The cast is wonderful, with Brody delivering another superlative performance, but also fantastic work by both Sami Gayle, and Betty Kaye. The ending is powerful and impressive, making clear the meaning of Henry's life and the title of the film.
DETECTIVE KNIGHT: INDEPENDENCE (R) 89 minutes 1/2 This third, and hopefully final, entry in the series has Knight's (Bruce Willis) daughter working as an EMT along with her somewhat unhinged boyfriend. Events go from bad to worse, with both the story and the production. Poor effects and editing make this the worst entry in the series. R for violence, language, and sex.
DETECTIVE KNIGHT: REDEMPTION (R) 90 minutes * 1/2 Knight (Bruce Willis) is in jail, thanks to his vigilante actions. After a jailbreak that the "Christmas bomber" engineers, Knight is asked to help and is given free reign to deal with the bomber and his followers, who are killing innocent people. Will Knight's freedom last, or is he just being used for the short term? Second entry in the Detective Knight series. R for violence and language.
DETECTIVE KNIGHT: ROGUE (R) 100 minutes * 1/2 When his partner is critically wounded during a robbery shootout, Detective Knight (Bruce Willis) is determined to bring the thief to justice. The problem is that the thief has ties to Winna (Michael Eklund), and Winna has dirt on everyone... including Knight. Not a great film for Willis, and the story gives us too much background on some characters and not enough on others. There are two sequels though, so maybe some of that missing information will begin to be revealed. R for language and violence.
DETENTION (R) 95 minutes * 1/2 Dolph Lundgren is a teacher who is fed up with the lack of dedication in his students and is ready to quit. The principal asks him to supervise the students in detention on his last day. It just happens to be the day that a group of murderous villains is going to use the school as a base of operations for their latest heist. The characters here are interesting, and the balance of action and humor is heavy on action and light on humor and works well. What doesn't work is that the villains can't seem to hit anything they aim at, though they seem to have an unending supply of ammunition. The low budget is the big enemy here with most of the money spent on explosive effects, most of which don't do much for the story. Filmed in Hamilton, Ontario. R for violence and language.
DETENTION (2011) 80 minutes 1/2 A killer is on the loose and stalking the students in detention at Grizzly Lake High School. Not much logic to the story here. There are a few mildly creepy effects, but they tend to be repeated... and therefore become less creepy. R for violence, sex, and language.
THE DETONATOR (R) 93 minutes * 1/2 Wesley Snipes stars in this convoluted and surprisingly uninteresting action film. He's supposed to prevent the sale of a nuclear weapon, but when his cover is blown, he is switched to the mission of protecting the woman who has stolen the money that was going to be used to buy the weapon. Snipes seems bored and so are we despite a few explosive effects here and there. R for violence, language and nudity.
DETOUR (R) 93 minutes * * Harper (Tye Sheridan) thinks his stepfather may have something to do with his mom being in a coma. One night while he's out drinking with friends, one of them offers to permanently rid Harper of his stepfather. It sounds like a good idea. The film has a strong finish, but getting there is more than a little rough and inconsistent. R for violence, sex, and language.
DETROIT (R) 135 minutes * * * A portrait of an ugly and violent moment in United States history. A police raid that began with questionable motivation starts a riot in a city that was already a powderkeg of tension. Events quickly escalate, and as police investigate a possible sniper, things get out of hand and people die. Sadly, not only was this not the first such riot, it would not be the last. Intense. R for violence and language.
DETROIT ROCK CITY (R) 89 minutes * * It's 1978 and Hawk (Edward Furlong) and his friends are going to the Kiss concert in Detroit. Unless they get into some trouble before then... and on the way... and when they get there... The music selections do a wonderful job of recreating the late 70's, though there aren't really that many Kiss songs used. The problem is that the script is uneven. At times it captures the mood of the period quite well, but then it turns to utter nonsense a few lines later. The appeal lies with the cast, who manage to grow on you as the film progresses. R for language and nudity.
DETROPIA (NR) 83 minutes * * 1/2 In 1930, Detroit was the fastest growing city in the world. In 2010, it is the fastest shrinking city. It's an interesting look at a metropolis in decline, struggling to find hope, and attempting to rebuild. The fate of Detroit as a city is yet to be determined, but the journey has, and continues to be an interesting one.
DEUCE BIGALOW: EUROPEAN GIGOLO (R) 78 minutes 1/2 Deuce goes to Europe to get away from some trouble, only to end up in more trouble with his friend TJ as someone is killing all the gigolos in Europe. There are some good song on the soundtrack, but that's the best part by far. R for language and sex.
DEUCE BIGALOW: MALE GIGOLO (R) 82 minutes 1/2 The two biggest problems with this film are that Rob Schneider is not a leading actor, and that it was a really dumb idea for a film like this to try and have something important to say instead of just relaxing and having fun. There are a few moments that are fun, but Schneider has to try too hard to make everything work. It's a valiant, but failed effort. And yes, Oded Fehr, who plays Antoine is the actor who did such a fine job in "The Mummy". R for language and nudity.
DEUCES WILD (R) 91 minutes * Leon's brother dies from an overdose of drugs that Marko sold him. Leon vows to keep his block drug free, but when Marko gets out of jail, that may be a little harder than he thought. Weak fight sequences make this look like a bad high school production and the unimaginative script never manages to take us anywhere. Poor direction is to blame as well. R for violence and language.
THE DEVIL AND DANIEL JOHNSTON (PG-13) 106 minutes * * * Fascinating biography of Daniel Johnston, a manic-depressive musician and artist. The film deals with Johnson's struggles as a musician, as an artist, and as a human being. Part genius, part child, and undiscovered by many, there's an honesty and depth to his material that has been the reason it continues to have a following. Art isn't always "pretty", and this is a wonderful look at how it has taken shape in one man's life. PG-13 for language.
THE DEVIL AND FATHER AMORTH (NR) 68 minutes * 1/2 Director William Friedkin revisits some of the sites and events around the book "The Exorcist". which he translated into film. He also is given permission to film an exorcism by none other than Father Amorth, the Vatican's chief exorcist. Mildly interesting, but this seems more like an afterthought than an actual film.
THE DEVIL CAME HOME (NR) 89 minutes * 1/2 Tim's (Greg Hobbs) family is used to his episodes of PTSD. Lately, those episodes have turned into something else. Something more frightening. Something evil. A good story, but a very dialogue heavy script that isn't written very well. It also gives us an ending that is both sudden and unsatisfactory.
THE DEVIL CAME ON HORSEBACK (NR) 83 minutes * * * Brian Steidle was given a job by the United States Marine Corps that was simply to monitor a cease-fire agreement. What he witnessed and photographed was a tragedy of human rights and a nation in the process of committing genocide against the people of Darfur. Passionate retelling of events that tries to deal simply with the facts, but can't help but bring emotion into the picture at times, simply becuase the issue is such a crisis. The title refers to the janjaweed and how they arrive to destroy village after village.
THE DEVIL HAS A NAME (R) 91 minutes * * 1/2 Gigi (Kate Bosworth) wants to make a deal. She's ruthless and she plays hardball. But she's come up against Fred Stern (David Strathairn), and he doesn't give up easily. A good twist, and of the sort that has been shown to happen in the corporate world, so it adds a sense of reality to the film. R for language, sex, and violence.
DEVIL IN A BLUE DRESS (R) 97 minutes * * Adapted from Walter Mosley's novel, this film has all the looks, but not enough of the substance we need. Costumes, sets, props... all the detail is there, but the narration and acting seem to keep us at arms length the whole way through.
DEVIL IN THE DARK (NR) 78 minutes * 1/2 Clint (Dan Payne) and Adam (Robin Dunne) have grown apart, and this hunting trip is supposed to mend some of that. The thing in the woods has some other ideas about what or who is going to be hunted on this particular trip. Vague story never really explains much and only offers a few interesting or suspenseful moments.
THE DEVIL IN WHITE (NR) 112 minutes * "White" is the new drug. Archie (Jeremy Koerner) is the smooth-talking cult leader with a plan. If "white" is acquired by a pharmaceutical company, it will lose its street value, and Archie can't have that. The story isn't bad, but the script is poorly written and te acting is stiff. Koerner's performance works relatively well in a sort of creepy way, though much of his dialogue is annoyingly difficult to hear. And the pacing drags far too much in the middle.
THE DEVIL INSIDE (R) 76 minutes * 1/2 Reality-style film with a daughter visiting the Vatican's school of exorcism to investigate what happened to her mother several years earlier when she killed three people during an exorcism. there are a few good effects, but the story is a let-down unless you want to follow up with the website that's listed at the end of the film. Not everyone wants to spend hours and hours exploring a film, especially when it wasn't that good to begin with. R for violence and language.
THE DEVIL LIVES HERE (NR) 74 minutes * * Once every nine months, a curse from the days of slavery has been kept safe by a caretaker. But now, the caretaker is dead, and a group of teens are about to set a very evil and powerful spirit free. Some very good suspense and creepy moments accomplished with story, sound effects, and music.
DEVIL MAY CALL (R) 77 minutes 1/2 It turns out that the repeat caller at the crisis hotline is actually a serial killer. When he learns that his favorite operator is going to be leaving, it gets bad for everyone. Repetitiou and unsurprising at every turn. R for violence.
THE DEVIL WEARS PRADA (PG-13) 105 minutes * * * Andrea (Anne Hathaway) takes a job as an assistant for fashion magazine legend Miranda Priestly (Meryl Streep)... who is also a major pain to work for. She catches on quickly to what needs to be done to please her boss, but is succeeding at this job worth the price? Streep delivers another delightful performance, but it's also great fun to watch Emily Blunt and Stanley Tucci in their supporting roles. Hathaway is fine, but it's really the others who make this an enjoyable film. PG-13 for sex.
THE DEVIL YOU KNOW (R) 112 minutes * * * Turning your life around isn’t easy, as Marcus (Omar Epps) can attest. It’s what he’s trying to do. He’s made some progress, but there’s a comfort in not changing things… even when there’s danger in not making the changes that you want and need to. And the temptation to return always hides just beneath the surface. Good story and a great cast, also featuring Vaughn W. Hebron, Michael Beach, Theo Rossi, and Michael Ealy. R for language and violence.
THE DEVIL'S ADVOCATE (R) 136 minutes * * 1/2 Kevin Lomax (Keanu Reeves) is the best prosecutor that anyone in this small Florida town has ever seen. So, it's no surprise when a big firm from New York takes interest. But things aren't what they seem to be, and Kevin finds out some interesting things about his talent, his freedom, and much more. The story gets corny and weak toward the end, but it's fairly entertaining along the way. Al Pacino gives his typical fine performance and Reeves is better than normal. The best work is by Charlize Theron as Kevin's wife Mary Ann. R for language, violence, and sex.
THE DEVIL'S BACKBONE (R) 104 minutes * * * 1/2 Haunting story of a young orphan boy who arrives at a makeshift orphanage during the final days of the Spanish Civil War only to discover that there are far more disturbing stories and secrets than he would have ever dreamed possible. He will share a mysterious and dangerous adventure with his new friends, facing fears both human and otherworldly. It's a fascinating story that is sure to stay with you long after watching it. R for violence and sex.
THE DEVIL'S CANDY (NR) 75 minutes * Moving into a dream home in Texas feels like the right thing. And there's a great space for his studio too. But his art is going to take a twisted turn once the evil in the house possesses him. For some reason, the son of the people who recently dies in the house is still around, and he seems to be possessed as well. There is plenty of evil imagery and lots of heavy metal music, but the story just doesn't develop.
THE DEVIL'S CHAIR (NR) 86 minutes * 1/2 A group of psychology students and their professor visit the scene of a horrific crime with the clinically insane murderer in tow. Maybe he isn't really insane, and maybe the truth is even more horrific then any of them can imagine. Heavily narrated and lengthy intro, which is somewhat bothersome, but the story is uneven and the acting is poor as well. There are some reasonably suspenseful sequences, but not enough to make this noteworthy.
DEVIL'S DEAL (R) 96 minutes 1/2 It's time for the devil to collect the souls that are due, and nothing will get in his way. OK. Aside from a few scenes that do manage to create a rather sinister and suspenseful mood, what's the point? Lousy acting and incredibly stiff dialogue only highlight that more time was probably spent on coming up with the artwork for the ad than in writing the script. R for violence and nudity.
DEVIL'S DIARY (NR) 87 minutes * 1/2 When Dominque (Alexz Johnson) plays a prank on her friend in the graveyard, finding a strange book isn't part of the plan. What's worse, her friend is now obsessed with the book, and things she writes in it are coming true. But there's a price, and there are others who are after the book, especially when they find out what it can do. Overacted by most of the cast, and bad sound effects editing take this down a few notches, but Johnson's performance is pretty good.
THE DEVIL'S DOLLS (NR) 81 minutes * * During the pursuit of a serial killer, an ancient curse is set in motion. Now there's a new series of murders, and Matt (Christopher Wiehl) is going to need some supernatural help to save his daughter. A less than satisfyling ending, but getting there is pretty good.
DEVIL'S DOMAIN (NR) 88 minutes * A teen with both relationship troubles and an eating disorder, Lisa (Madi Vodane) finds herself the victim of a vicious cyberbullying attack. So, she makes a deal with the devil to get back at those involved. It sets up nicely, but once the demonic element enters the story, it just doesn't work well and becomes silly and not at all effective.
THE DEVIL'S DOUBLE (R) 195 minutes * * * A childhood friend of Uday Hussein (Dominic Cooper) bears a striking resemblance to him... and Uday wants a double because things have been getting a bit more dangerous lately. Paints a vile enough portrait of Uday to make Saddam look like a saint. It's definitely not for the squeamish. Nice work by Cooper as Uday/Latif. Based on the life of Latif Yahim. R for violence, sex, and language.
DEVIL'S DUE (R) 84 minutes * 1/2 Samantha (Allison Miller) and Zach (Zach Gilford) just got married. They take a honeymoon trip to Santa Domingo, where their last night involves a strange palm reader and a mysterious party. The film is mostly "found footage", and there are a few effects that are well-done and rather creepy. Still, too much of this is hype that just never delivers. R for language.
THE DEVIL'S FOREST (NR) 85 minutes * 1/2 The Hoia Baciu forest in Romania is a mysterious and perhaps haunted area. It is said that many people enter this forest and never leave. A young researcher and her film crew working on a documentary interview the locals, go into the forest, and disappear. This is the unfinished footage. Some of the "found footage" here works better than in many films in this genre as it looks less edited.
DEVIL'S GATE (NR) 87 minutes * * Looking for a missing woman in Devil's Gate, North Dakota, FBI agent Daria Francis (Amanda Schull) wants to question the woman's husband. The local law wants him left alone, but things are clearly not right. It takes this a little while to get going, as it starts out to be more of a murder mystery with leanings toward horror before it moves to more of a science ficiton/horror story. It settles into that quite nicely, though the story remains a little vague.
THE DEVIL'S HAND (PG-13) 82 minutes * * Six girls born on June 6th. On their 18th birthday, only one of them will survive. It will put their faith and their lives at risk, but Mary (Alycia Debnam-Carey) is determined to discover the truth behind the superstitions. She may be surprised. There really isn;t much strength to the twist, and the script in general is weak, but the performances are just strong enough to maintain a moderate level of interest. PG-13 for violence and nudity.
THE DEVIL’S IN THE DETAILS (R) 98 minutes * Now that his tour of duty is over, Thomas Conrad (Joel Mathews) is looking forward to a break. It’s not going to happen. Poor editing really dismantles the story, to the point that we almost lose track of the pieces. And the ending leaves as much unsolved as it doesn’t, which might mean that someone else lost track of a few pieces. R for violence and language.
DEVIL'S KNOT (NR) 103 minutes * * 1/2 Dramatic retelling of the murders of the "West Memphis three" and the trial of three older boys that followed. It's a little strange to see this come out so long after not only the incident itself, but three superb documentaries. "Paradise Lost" and the two sequels are not only much more interesting, but also far more comprehensive and disturbing as they follow the case.
THE DEVIL'S MERCY (R) 87 minutes * Looking for a new place to live, the Winters family moves into a nice upstairs apartment. But the landlord and his niece, who live downstairs, are not who they appear to be. The film rapidly becomes focused on creating a creepy mood with music and photography, neglecting the story, which quickly becomes muddled and undermines most of the mood. R for violence.
THE DEVIL'S OWN (R) 107 minutes * * * Frankie (Brad Pitt) is one of the IRA's best men, and now he's in Tom O'Meara's (Harrison Ford) house, trying to work a deal to buy some stinger missiles to take back home. Tom is a New York police officer of Irish descent... will he help Frankie? Fairly realistic feel to most of the film, helped along by James Horner's great soundtrack and some wonderful supporting performances. This is definitely an exciting picture that will keep your interest till the end. R for violence and language.
DEVIL'S PASS (R) 93 minutes * 1/2 Taking a film crew to retrace the path of skiers who mysteriously died in the mountains of Russia in 1959 seemed like a good idea. The biggest problem is that the story keeps shifting between mountain climbing adventure, to time-travelling science fiction, to alien/zombie/yeti monster film. It becomes nonsense fairly quickly though there are a few suspenseful moments. R for violence and sex.
DEVIL'S PEAK (NR) 93 mminutes * * * It's a difficult decision that Jacob (Hopper Penn) faces. Does he do what his father (Billy Bob Thornton) asks, or does he try to leave it all behind and go somewhere else with his girlfriend? The problem is that his father is a very powerful man who controls the area with a meth business that works both sides of the law. The story winds more tightly as it moves along to its inevitable conclusion.
THE DEVIL'S REJECTS (R) 104 minutes * It's 1978 and a police raid on a farmhouse reveals the record of 75 brutal murders committed by one family. The family is known as "The Devil's Rejects". This sequel to "House of 1,000 Corpses" benefits slightly from the work of some talented character actors like Leslie Easterbrook and Mary Woronov as well as the curiosity value of having some people like Ginger Lynn Allen and P.J. Soles around. It does appear that Rob Zombie has learned a little bit about how to make a better film, but only a little bit. R for violence, language, and sex.
THE DEVIL'S ROCK (NR) 79 minutes * 1/2 On the eve of D-Day, two commandos set out to destroy a German outpost on an island. But this is no ordinary outpost. The German forces here were trying to harness the powers of Hell to serve their cause. The story reveals the direction it is headed in far too quickly and then drags on to an unsurprising conclusion.
THE DEVIL'S TOMB (R) 85 minutes 1/2 A missing scientist as an archaeological site causes a military unit to be brought in for a search and rescue mission. They will soon discover that there is an ancient evil here that is going to prove more than a little difficult to get past. Most of the effects here are all about how gross they can be and have little or nothing to do with adding to the story. And the story needs all the help it can get, being so weak and disjointed that it fails miserably despite efforts by a talented cast. Though Cuba Gooding Jr.'s talents are somewhat in question with the last few roles he's played. R for violence, language, and nudity.
DEVIL'S TOWER (NR) 79 minutes * Sarah (Roxanne Pallett) has just moved in to her new apartment... in a rather creepy building. Sid (Jason Mewes) and his friend break into her apartment, but then his friend goes missing. Now, Sid and Sarah are trying to figure out what's going on, and it's going to get really strange really fast. Not a bad idea, but it just spins out of control after about 45 minutes and seems to lose interest in making any sense.
THE DEVIL'S VIOLINIST (R) 116 minutes * * * Dramatized look at the life and career of Niccolo Paganini (David Garrett). His extraordinary skills and tormented life led many to believe that he had made a deal with the devil, which this tale takes as truth. Garrett does a very nice job here. A truly gifted musician whose modest acting skills fit the role very well. R for sex.
THE DEVIL'S WELL (NR) 86 minutes * 1/2 Investigating a paranormal site, the husband and wife team of Bryan (Bryan Manley Davis) and Karla Marks (Anne-Marie Mueschke) get into something much worse than they expected. And now, Karla is gone. This is the story of the investigation into her disappearance that followed. The paranormal investigation aspect is handed well. The satanic cult part... not so much.
DEVIL'S WORKSHOP (R) 82 minutes * 1/2 His acting career needs... something. To get an edge on his next audition, Clayton (Timothy Granaderos) spends a weekend with a demonologist (Radha Mitchell). It's not going to be as he thought. Not as creepy as it should be. R for violence, language, and sex.
DEVOTION (PG-13) 130 minutes * * * 1/2 Perhaps an unlikely pair, Jesse (Jonathan Majors and Tom (Glen Powell) are flying together for the Navy post WWII. Things are quiet... until a conflict in Korea starts heating up. A powerful story of a friendship forged between two men. Pilots in the US Nacy. An unlikely pair perhaps, but life has its own way of working things out. PG-13 for language and violence.
THE DEVOTION OF SUSPECT X (NR) 104 minutes * * * 1/2 Sometimes things are not what they seem, and sometimes the most obvious answer is not the right one. Tang (Kai Wang) and his old classmate Shi Hong (Luyi Zhang) engage in a battle of intellect in an unusual situation with a unique motive that is not obvious. Well-done mystery with very strong performances by Wang and Zhang.
DHEEPAN (R) 109 minutes * * * A freedom fighter in Sri Lanka, Dheepan (Jesuthasan Antonythasan) leaves as the war seems to be ending. On his own, there would be little hope, so he pairs himself with a woma and a young girl who are also fleeing. As a "family", they have a real chance, though there options are still limited. And continuing the charade comes with its own challenges. Great work by the cast. R for language and sex.
DIABLO (R) 77 minutes * 1/2 When his wife is kidnapped, Jackson (Scott Eastwood) sets off into the wilderness to track down the man who did it. The story takes a rather strange twist and never really recovers, despite good performances from the cast. Less than satisfactory ending. R for violence and language.
THE DIABOLICAL (NR) 82 minutes * * 1/2 Something isn't right in their house, but who are these spirits and what do they want? The approach is more scientific, and actually a little interesting, making this a little different than the usual haunted house story. The cast does a good job, and although there are still some unanswered questions, this is worth a look.
DIABOLIQUE (R) 103 minutes * * 1/2 Adapted from the French film "Les Diabolique", this is weaker than the original, but still a reasonably good film. Guy (Chazz Palminteri) is emotionally abusive to his young wife Mia (Isabelle Adjani). His affair with Nicole (Sharon Stone) is also characterized by abuse. Mia and Nicole decide to retaliate. Sounds simple, but there's more to this than meets the eye. Unfortunately, the twists and turns are so broadly drawn that there isn't much suspense. It's mildly fun, but you've probably seen it before. R for language, sex, and violence.
DIANA (PG-13) 108 minutes * ½ Focusing on the last couple of years of Diana’s (Naomi Watts) life and primarily on her affair with Dr. Hasnat Khan (Naveen Andrews), the character development never really gets very far. The story also highlights how Diana constantly struggled with the press and the paparazzi. The story takes for granted that the viewer already knows a great deal about Diana, which will rapidly date the film for future viewers, and the shallow character development and overblown romanticism are way beneath Watts’ skills. PG-13 for language.
DIANA VREELAND: THE EYE HAS TO TRAVEL (PG-13) 82 minutes * * 1/2 For 50 years, she was the "Empress of Fashion", guiding the fashion world, and influencing art, photography, and culture. A dynamic and powerful woman, this documentary gives us a glimpse of her life and her passion. PG-13 for nudity.
DIARY OF A CANNIBAL (R) 78 minutes BOMB It was love at first sight, then they stopped in the desert, went into an old warehouse, and only one of them came out. Based on a true case of consensual cannibalism. The idea is somewhat gruesome and disgusting, but there are long sections of the film with little or no dialogue and unusual musical choices for the soundtrack. Director Ulli Lommel is not known for working with large budgets or on films of high quality. This is no exception. R for violence.
DIARY OF A CHAMBERMAID (NR) 91 minutes * * A new position in the country threatens to tame Celestine's (Lea Seydoux) angry and resentful demeanor. Her experiences have left her cynical, but there are others who feel the same, though their lives have been different. Her life seems to be filled with people who are suffering from repressed feelings. (Or maybe that's the author of the novel from which this is adapted.) Third filming of the story, and not the best.
DIARY OF A MAD BLACK WOMAN (PG-13) 111 minutes * * 1/2 After eighteen years of marriage, Helen's (Kimberly Elise) husband literally kicks her out of the house... on their anniversary. After finding her inner strength and moving on, she's confronted with a choice she never thought she'd have. Crowd-pleasing story that unfortunately sacrifices the truth of the characters to please the audience. This is mostly the fault of Tyler Perry, who, while very talented, has over-extended himself here. Not only has he written, co-produced, and co-written the music, but he performs three roles. Kimberly Elise does a nice job here, and Cicely Tyson is still amazing to watch. PG-13 for language.
THE DIARY OF A TEENAGE GIRL (R) 92 minutes * * 1/2 A teenage girl growing up in 1970s San Francisco recounts her sexual experiences, primarily those involving her mother's boyfriend. Not much depth to any of the characters aside from Minnie (Bel Powley). Adapted from the novel by Phoebe Gloeckner. R for sex and language.
DIARY OF A TIRED BLACK MAN (R) 102 minutes * * James (Jimmy Jean-Louis) would love to find a wonderful black woman to be in a romantic relationship with. But all he can find are women with the "angry black woman syndrome". An exploration of relationships through both drama and interviews. The mix of fiction and fact works reasonably well, but writer, producer, director, editor Tim Alexander also shot and scored the film. Perhaps involving some others would have been a better idea. R for language.
DIARY OF A WIMPY KID (PG) 87 minutes * * About to start middle school, Greg (Zachary Gordon) wants to be the most populat kid in school. It's not going to be easy, especially considering who some of his friends already are... and then there are all those other things that are about to go wrong. Plenty of wonderful middle school humor in this adaptation of Jeff Kinney's coming-of-age book. PG for violence and language.
DIARY OF A WIMPY KID: DOG DAYS (PG) 88 minutes * * 1/2 This is going to be the best summer ever, especially if Greg (Zachary Gordon) gets to spend time with Holly (Peyton List). Of course it's not going to be quite that easy. It never is for Greg and his family and friends. Another fun entry in the series. PG for language.
DIARY OF A WIMPY KID: RODRICK RULES (PG) 93 minutes * * 1/2 The further adventures of Greg (Zachary Gordon), his two brothers, and his friends at school. Sometimes, brothers aren't so bad after all... but only sometimes. Cute, and does a very nice job of building on the first film while not relying on it too heavily. PG for language.
DIARY OF A WIMPY KID: THE LONG HAUL (PG) 84 minutes * * 1/2 Jason Drucker takes over the role of Greg Heffley in this entry in the series, as the Heffley's head to the grandparents' house with lots of misadventures along the way. During the course of the trip, Greg learns that spending time with family may not be a bad thing after all. Filled with fun, middle school humor. PG for language.
THE DIARY OF ANNE FRANK (2009) (NR) 99 minutes * * * Powerful BBC version of the story of a young girl and her family, who went into hiding during World War II. Solid performances throughout. This is the edited down version of the 150 minute version that was originally broadcast.
DIARY OF THE DEAD (R) 87 minutes * * 1/2 George Romero's "dead" series continues with this video documentary style look at the zombie crisis. As with the other entries in the series (the originals, NOT the remakes), Romero's social commentary is very evident and quite powerful. The focus here is on mass media and the human reaction to crisis. Powerful ending! R for violence and language.
DICK (PG-13) 91 minutes * * * It's a lighthearted look at the Watergate affair with Dan Hedaya as Nixon and Kirsten Dunst and Michelle Williams as a couple of high school girls who stumble onto the nation's biggest secret. Those who lived through this part of history will undoubtedly find it more entertaining than those who didn't. And it does get a bit goofy at times. Still, the costumes, props, and soundtrack do a great job of putting you back in the 1970's, a time when the American public was just beginning to open their eyes to what was going on in the political arena. PG-13 for language.
DICK JOHNSON IS DEAD (PG-13) 86 minutes * * * Having already lost her mother to Alzheimer's several years earlier. Kirsten Johnson is determined to do something different with her father, who has just begun to have symptoms of Alzheimer's. When Kirsten proposes the idea of doing a film about his death, where they "kill" him over and over, he thinks it's a great idea. As a psychiatrist, he understands the value in recording the process and capturing the good moments while they still can. An homage, a celebration, and an exploration of the grieving process. PG-13 for langugage.
DICK TRACY (1990)(PG) 103 minutes * * * 1/2 Stylized make-up, lots of bright colors for the sets and props, and even the dialogue, all come together to create this visual comic strip. Danny Elfman and Stephen Sondheim collaborated on the soundtrack, which is perfect for the mood of the film. The story is predictable, but the idea here wasn't really about creating an original story, it was about bringing this colerful character to the big screen. Just sit back and enjoy the ride as this takes you back to the days of the old comic strip. PG for Madonna's costumes.
A DICKENS OF A HOLIDAY! (NR) 84 minutes * * * Dickens, Ohio has a tradition of putting on a performance of "A Christmas Carol". That tradition is in jeopardy when the person who normally plays the part of Scrooge gets sick. Maybe Jake (Kristoffer Polaha) can come home and play the role. He is not really a good fit, but perhaps Cassie (Brooke D'Orsay) can get him there. Great work by the cast, and a nice twist in the story.
DICKIE ROBERTS: FORMER CHILD STAR (PG-13) 92 minutes * * 1/2 Dickie (David Spade) desperately wants to make a comeback. His days of being a childhood star are long gone, but making a comeback is no easy task. Reasonably good mix of comedy and serious message, this has some great comments to make about appreciating what you have, the importance of friends, and the understanding that what you want isn't always what you need. Full of great songs, including the delightful "Child Stars on Your Television" at the end. This also does a very nice job of including a large number of former child stars in supporting and cameo roles. PG-13 for language.
THE DICTATOR (R) 89 minutes * 1/2 Sasha Baron Cohen plays the part of an evil dictator as only he can. Everything is almost as extreme as usual, including the wasting of the talented Ben Kingsley as a ridiculous side-kick. Despite plenty of offensive humor, this does seem a bit toned down from Cohen's typical material. R for sex, violence, and language.
DID YOU HEAR ABOUT THE MORGANS? (PG-13) 100 minutes * * The Morgans are in the middle of a separation when they stumble into witnessing a murder. Now they are in the witness protection program and staying in the very small community of Ray, Wyoming. It's a far cry from the New York they are both used to. No surprises here, and the chemistry between Sarah Jessica Parker and Hugh Grant is, for the most part, quite absent. Yes, they are thinking about divorce, but we aren't sure why they would ever have wanted to be married. Fortunately, they do a reasonably good job of acting. PG-13 for language and violence.
DID YOU WONDER WHO FIRED THE GUN? (NR) 86 minutes * * * Travis Wilkerson, the great-grandson of the man who killed Bill Spann in 1946, explores the incident and the events around it. Weaving in scenes from "To Kill a Mockingbird" with images from his own family history, we have an intimate look at the community and how Spann was murdered with no one paying for the crime. A dark and haunting film that clearly shows the depth and breadth of violent racism that allowed and supported the murder of Bill Spann.
DIE (NR) 90 minutes * 1/2 Six people play a game in which their fate is determined by the roll of a single die. It starts well, with some solid suspense, but begins to unravel the farther along it goes.
DIE ANOTHER DAY (PG-13) 127 minutes * * 1/2 Pierce Brosnan and Halle Berry star in this James Bond adventure. Outrageous stunts as usual, and a fairly interesting story involving double agents, though it's not that difficult to figure out. Perhaps something a bit more complicated would have served better. The music is one of the better aspects of the film with Madonna singing the title song and getting a bit part in the film as well. John Cleese and Judi Dench return as Q and M, but we don't get to see much of them. PG-13 for violence.
DIE HARD (R) 127 minutes * * * 1/2 John McClane (Bruce Willis) is a New York City cop on his Christmas vacation. He wasn't really counting on getting locked into a building with a dozen trigger-happy robbers who have enough firepower to level several city blocks. Willis' style of humor is a perfect match for the intense action and fast pace of this film. It manages to break the tension without breaking the mood which allows our interest to remain steady. And what a great bunch of villains! The better the villain is played, the more impressive the hero can become. Of course it's a bit far-fetched at times, but the action is almost non-stop, with car chases, machine guns, explosions, helicopters, and acrobatics in elevator shafts. A great action film that's not to be missed, providing high-energy entertainment that won't be easily forgotten.
DIE HARD II: DIE HARDER (R) 116 minutes * * * 1/2 Based on Walter Wager's novel, 58 Minutes, this is a great, action-packed sequel! John McClane (Bruce Willis) is waiting for his wife to arrive at the airport when he learns of a terrorist plot. That's his cue to step into action and save the day. Exciting and energetic, with well-played villains and great effects. R for language and violence.
DIE HARD: WITH A VENGEANCE (R) 120 minutes * * * Jeremy Irons is a psychotic bomber who is out to get McClane (Bruce Willis). Though the inclusion of Samuel L. Jackson is annoying (for being yet another black/white action team) the way Jackson is worked into the story is at least one of the more inventive ways we've seen it done. Believability is not a high priority here, but action seems to take on a new meaning! A solid entry in the series that is not to be missed!
DIE IN A GUNFIGHT (R) 90 minutes * * A violent and twisted, but also darkly comic, version of Romeo and Juliet. Ben Gibbon (Diego Boneta) and Mary Rathcart (Alexandra Daddario) are the children of feuding fathers. But Ben and Mary like each other... quite a bit. The narration keeps the story at a distance, and supplies a less than satisfactory ending. R for violence and language.
DIFRET (NR) 96 minutes * * * Hirut (Tizita Hageree) is abducted, raped, and soon to be married. She is a 14-year-old Ethiopian girl. When she manages to kill her kidnapper and run away, she solves one problem, but creates another. Now, her fate lies in the hands of a young lawyer. Powerful and emotional story, based on an all too common experience in some cultures that are struggling to change. Nice work by the cast.
DIG (R) 86 minutes * Poorly written story, with far too many holes that someone tried to fill with bad direction and one-dimensional characters. Thomas Jane and Emile Hirsch may not be the greatest actors in Hollywood, but they deserved better than this. The production crew did well, but it's just not enough to hold this together. R for language, violence, and sex.
DIGGING FOR FIRE (R) 79 minutes * * House-sitting for a client, Lee (Rosemarie DeWitt) and her husband find a bone and a gun in the yard. They have different ideas about what to do about this discovery. This will teach them a good deal about themselves and about each other. The story wanders more than it should, and perhaps more than it intends to. R for language and nudity.
DIGGING TO CHINA (PG) 95 minutes * * * Harriet (Evan Rachel Wood) has a home life that's far from ideal, and she keeps trying to figure out a way to leave. When she meets Ricky (Kevin Bacon), she may have finally found the friend she needs to help her cope. Were it not for Wood's performance, this might end up being just another film about a child forming a friendship with a mentally challenged adult. Wood gives her character a heart and leaves us wanting more. Tim Hutton does a nice job with the direction here, especially since this is his first effort. Still, it lacks some of the polish it needs, and too many of the characters are lacking the depth they need to flesh out the film. PG for language.
DIGGSTOWN (R) 93 minutes * * A couple of con artists stage a fight in a small town between an aging boxer and ten younger men. Things get a little out of hand, as can be expected. The script holds nothing new for us, but James Woods and Lou Gossett Jr. make it watchable.
DIGIMON ADVENTURE TRI: REUNION (NR) 84 minutes * * The Digidestined are together again, ready to save the world. But they are older now, and they have changed. Will they still be able to work together? Relies heavily on previous stories and leaves us with an unfinished ending... because they already planned a few of these. Fans of the series probably won't mind, but there really isn't much character development despite the amount of time that has passed for the characters since they were last seen together.
DIGIMON: THE MOVIE (PG) 81 minutes * * 1/2 Unlike Pokemon, Digimon can digevolve and increase their power. They also don't have that annoying habit of repeating their name over and over. The story here is essentially two "episodes", with the first being about a digital monster that's trying to take over the internet. It isn't destroyed, but it's progress is stopped and the second part of the story picks up at that point. Fairly good introduction to the characters, with plenty of lively animation and music. And there will undoubtedly be a sequel, for "Digimon never die, they just get reconfigured." PG for violence.
THE DILEMMA (PG-13) 108 minutes * * 1/2 Friends and business partners for years, Ronny (Vince Vaughn) just caught Nick's (Kevin James) wife cheating on him. He knows he needs to tell Nick, but when is the best time? James' usual physical comedy is toned down a bit here, as the dilemma, and the focus of the film, is on Vaughn. That hurts the entertainment aspect of the film a little, as James' humor probably would have helped a bit. What we do get to see is some of the best work Winona Ryder has done in quite awhile. Unfortunately, what we have are bits and pieces, that don't all fit together well, despite how well some of them work on their own. PG-13 for sex and language.
DIM SUM: A LITTLE BIT OF HEART (PG) 80 minutes * * * Having received the news from a fortune teller that this is her last year, Mrs. Tam (Kim Chew) wants to pay her respects to her ancestors, and to see that her children are all married... there's one who still isn't. Tradition clashes with the modern world in this sensitive story with some light comic touches. PG for violence and language.
DIMLAND (NR) 74 minutes * * 1/2 City life is dull and sufficating, so Brynn (Martha Brown) and Laika (Odinaka Malachi Ezeokoli) head to a cottage in the mountains that belongs to her family. Once they have settled in, they begin to feel that they may not actually be alone. When a mysterious character from Brynn's past shows up, she will be faced with a choice. A film that is both unusual and peaceful at the same time. Worth a second viewing.
DINER (R) 106 minutes * * * It’s Baltimore, 1959, and this group of college-age friends is realizing that the time for being an adult has arrived. Great cast, with Mickey Rourke, Steve Guttenberg, Tim Daly, Paul Reiser, Daniel Stern, and Kevin Bacon among others. Effectively combines slice-of-life with life philosophy. R for language.
THE DINNER (R) 114 minutes * * Paul (Steve Coogan) and Stan (Richard Gere) are brthers. The dinner they are having is supposed to be about dealing with the crime that their sons have committed. The problem is that eveything seems to be getting in the way of that discussion, including lots of history between Paul and Stan that has never been dealt with. The script is heavy with dialogue, and doesn't really resolve well. While that may mirror life, it leaves us wondering why we watched this because we struggle to like either one of them enough to have spent this time with them. R for violence and language.
DINNER FOR SCHMUCKS (PG-13) 109 minutes * * 1/2 Tim (Paul Rudd) has a shot at a great promotion, but first there's a test to pass. The boss throws a dinner party once a month and the people he invotes are to bring a guest with them. The most idiotic guest wins, as does the employee who brought them. Tim isn't going to do it, but then he runs into Barry (Steve Carell)... literally. But Barry isn't just coming to dinner, he's becoming a part of Tim's life. Definitely more sweet and charming than the description suggests, but the story spends a bit too much time on some of the supporting characters and Rudd struggles with how to keep his character likeable, which isn't necessarily the point of the film. Inspired by the French film, "Le Diner de Cons". PG-13 for language and sex.
DINOCROC VS. SUPERGATOR (NR) 83 minutes BOMB Two genetically mutated creatures escpe from their enclosure and start eating everyone. Low budget story and CGI monsters that don't always look like they're walking on the ground. And, of course, actors who were apparently local people who'd never been in front of a camera.
DINOSAUR (PG) 75 minutes * * * The visual effects are astounding, making it easy to believe that this is real... until the dinosaurs start talking. The story is pretty simple, revolving around the search for food and a valley that will provide sanctuary. Events do get a bit on the violent side, making this a little questionable for those under age six or so. Voices for the dinosaurs are provided by D.B. Sweeney, Alfre Woodard, Joan Plowright, Della Reese, and Ossie Davis among others. It's definitely a visual treat. PG for violence.
DINOSAUR APOCALYPSE (NR) 104 minutes * * * Recent discoveries shed a new light on what may have happened on the day the asteroid impact put an end to the era of dinosaurs. This documentary follows some of these recent revelations and explains the process of discovery that has led to new conclusions and the implications it has for our understanding of what may have happened.
DINOSAUR HOTEL (NR) 76 minutes BOMB It's a new game show with a big cash prize for the winner. But Sienna (Chrissie Wunna) doesn't find out the details until it's too late. (Apparently, no one ever does.) There is only one winner per game. Survive twenty-four hours in a hotel with hungry dinosaurs. Horrible CGI effects, but the acting is even worse.
DINOSAUR ISLAND (NR) 75 minutes * * 1/2 After the plane he's on flies into a storm, Lucas (Darius Williams) wakes up to find himself on an island filled with dinosaurs... and a girl from many years ago. It takes this a little bit to get its footing, but it ends up being a nice adventure for the kids. The dialogue is a bit overwhelming at times, but that may be less of an issue for the younger set.
DINOSAUR 13 (PG) 97 minutes * * * It was only the thirteenth Tyrannosaurus Rex skeleton ever found. None of the others were even halfway complete. But soon after the discovery of the Black Hills Institute's team, they found themselves in a battle with the United States government, other museums, and many others, all of whom wanted a piece of the discovery and the money it would mean. A fascinating story that mixes science and legal drama. PG for language.
DINOSAUR TRAIN: ADVENTURE ISLAND (G) 80 minutes * * 1/2 Thurston has created Adventure Island, an amusement park with robot dinosaurs. They are powered by steam, and no time travel is needed to get there. That makes it a safe and fun way to play and learn. Sometimes there's just no substitute for the real thing. Fun songs!
DINOTASIA (NR) 78 minutes * * 1/2 A look at the Mesozoic era through the eyes of the dinosaurs. Narrated by Werner Herzog, this tries to create stories of the dinosaur's lives while showing them in their daily lives. Many sequences are without narration, and much of the interaction seems overly contrived.
DIRT MUSIC (NR) 99 minutes * * 1/2 Georgie (Kelly Macdonald) hasn't loved Jim (David Wonham) for awhile. She's drifting, but not really going anywhere, until Lu (Garrett Hedlund) comes along. They are drawn together, but Jim isn't willingto let that continue. Lu is willing and ready to step away because of issues in his past, but Georgie won't let go. A passionate love triangle, set in the Australian wilderness.
DIRT: THE MOVIE (NR) 77 minutes * * 1/2 It's a movie about dirt... really. That brown stuff (or mostly brown stuff) that seems to be most everywhere. Highly informative documentary with a few cute animations and a number of interesting projects involving dirt. Narrated by Jamie Lee Curtis.
DIRTY (R) 93 minutes * 1/2 Cuba Gooding Jr. and Clifton Collins Jr. star in this gritty police drama about two tough cops on the mean streets of Los Angeles. The dirty deals and set-ups are a bit confusing at times, and it's a little hard to sympathize much with either of them, which keeps us from connecting very much with the story. R for violence and language.
DIRTY DANCING (PG-13) 96 minutes * * * Frances (Jennifer Grey) thought it would just be another summer like any other. Then she meets this dance instructor (Patrick Swayze) and everything changes. Sensual exploration of young sexuality that is also both artistic and tasteful. Kenny Ortega's choreography is mesmerizing, and Swayze and Grey work very well together, making this a classic and passionate love story.
DIRTY DANCING (2017) (NR) 129 minutes 1/2 Poor TV movie remake of a fan favorite film. Not only does this frequently feel like a bad soap opera, but toward the end, it gets overly sentimental about Baby's (Abigail Breslin) parents. Breslin is definitely a better actress than Jennifer Grey, but Grey has all of the dancing skills that are needed for a role like this. Also, for lasting an extra thirty minutes longer than the original, this has nothing to show for it.
DIRTY DANCING: HAVANA NIGHTS (PG-13) 82 minutes 1/2 Innocent young girl goes to Havana with her family and discovers the sensuality of Cuban dancing, falling for a local boy and entering a dance contest. Trite and overly simplified story that feels like it was generated by a third-rate computer program. Some of the dancing near the end is adequate and we do get to see Patrick Swayze briefly as a dance instructor, but this is pretty much a cheap and belated effort to cash in on the success of the original film. PG-13 for language and sex.
DIRTY GIRL (R) 83 minutes * * * 1/2 Danielle (Juno Temple) is a dirty girl. But when she gets out of line one time too many, she finds herself in the "Challenger" class, and even more of an outcast from the rest of the school. Her new class partner is Clarke (Jeremy Dozier), who has lots of issues of his own, but they can (and will) learn quite a bit from each other. Brilliant coming-of-age story that manages to move quite well between tongue-in-cheek humor and sensitive drama. Temple is a delight, and moves easily between the various moods and depths of character needed. It's also difficult to believe that this is Dozier's debut, as he does an excellent job as the outcast who begins to find himself inspite of everything. The cast also features the wonderful talents of William H. Macy, Milla Jovovich, Mary Steenbergen, Dwight Yoakum, and Tim McGraw. R for sex and language.
DIRTY GRANDPA (R) 95 minutes * 1/2 When Jason's (Zac Efron) grandmother dies, he offers to help out his grandfather. But his grandfather has some interesting plans, and they're going to make it difficult for Jason to get back in time for his wedding. Really nice ending and overall message, but the level of crude and vulgar humor along the way is more than a little high. R for sex and language.
DIRTY LAUNDRY (PG-13) 107 minutes * * 1/2 Sheldon (Rockmond Dunbar) is going home. His traditional, Southern family might not be ready for how he's changed. He's not interested in keeping secrets anymore, and now that things are out in the open, maybe all of that dirty laundry can finally get cleaned. A slice of family life with a side dish of humor. Also starring Loretta Devine, Jenifer Lewis, and writer/director Maurice Jamal. PG-13 for language and sex.
DIRTY LOVE (R) 86 minutes BOMB Jenny McCarthy fans might enjoy this, but even some of them might find it a stretch to enjoy. McCarthy penned this herself, creating a character that whines, screams, and pouts her way through a story about losing love and then finding it again. Annoying, boring, and a waste of time. R for language and sex.
DIRTY ROTTEN SCOUNDRELS (PG) 109 minutes * * * Steve Martin plays a two-bit American con artist to Michael Caine's high-rolling European version. Martin wants to learn and Caine is willing to teach him just so he'll go away. (And also because it's a bit embarrassing to have someone THAT bad in the same profession.) One day the student decides that it's time to challenge the teacher... It's easy to draw some comparisons with Caine's earlier film "Sleuth", which also featured a challenge between masters of their game. And while this is played for laughs instead of drama and while I would not choose to compare Steve Martin with Sir Laurence Olivier, this story is fun to watch and gives us fine performances from both leading men.
A DIRTY SHAME (R) 79 minutes 1/2 Accidental concussions turn people into sex addicts. Do I really need to say anything else? The only reason this even gets half a star is that Tracey Ullman is such a talented individual, that even in a film like this, she can have some moments where her talent shines through despite the terrible script and poor excuse for a story. Go watch an old episode of the Tracey Ullman Show and you'll be far more entertained. R for sex and language.
DIRTY WARS (NR) 83 minutes * * 1/2 An expose of America's covert wars, which seem to be continually expanding. That is if you want to believe the latest conspiracy theories. For those of you who don't, this does still ask some interesting questions at the end that are worth pondering.
DIRTY WORK (PG-13) 76 minutes 1/2 Bob Saget (of America's Funniest Home Videos) directs his first feature film here... with very limited success. Pathetic acting cripples the weak story of two guys who go into business pranking people. It backfires, they get into trouble, but everything works out in the end. The sole highlight of the film is Traylor Howard, who plays the girlfriend of the star. There are also a number of cameo appearances and bit parts played by comedians like Chris Farley, Adam Sandler, Chevy Chase and a few others. Mindless and not very entertaining.
THE DISAPPEARANCE OF ALICE CREED (R) 92 minutes * * 1/2 The plan is to kidnap Alice (Gemma Arterton) and get two million dollars in ransom money. Vic (Eddie Marsan) and Danny (Martin Compston) have it all worked out. But they don't actually have the same plan. There are some nice twists here, though the story does lose some energy midway through, waiting until a good deal later before it picks up again. R for violence, language, and sex.
THE DISAPPEARANCE OF ELEANOR RIGBY - HER (R) 100 minutes * * 1/2 Conor (James McAvoy) and Eleanor (Jessica Chastain) are apart. The death of their young child is alluded to, though never really talked about. They are struggling to hold on to what they once had, or at least try to work it into something new, because they still love each other. But something has changed. Love does that sometimes. One of three films, this one is told from her perspective. R for language.
THE DISAPPEARANCE OF ELEANOR RIGBY - HIM (R) 100 minutes * * 1/2 Conor (James McAvoy) and Eleanor (Jessica Chastain) are apart. The death of their young child is alluded to, though never really talked about. They are struggling to hold on to what they once had, or at least try to work it into something new, because they still love each other. But something has changed. Love does that sometimes. One of three films, this one is told from his perspective. The ending is a little more direct here, and the supporting performances are a little stronger, giving this a little edge over "her" version. R for language.
THE DISAPPEARANCE OF ELEANOR RIGBY - THEM (R) 100 minutes * * 1/2 Conor (James McAvoy) and Eleanor (Jessica Chastain) are apart. The death of their young child is alluded to, though never really talked about. They are struggling to hold on to what they once had, or at least try to work it into something new, because they still love each other. But something has changed. Love does that sometimes. One of three films, this is a combined edit that was released a little later than the first two. Because of the way it is structured, it does fill in the gaps in the story a little better. Perhaps a little less intense and less impressive, though that may not be the case if you view this before the others. R for langauge.
THE DISAPPEARANCE OF TOBY BLANCHARD (NR) 76 minutes * * Trapped in their apartments due to the pandemic, two friends try to track down another friend who is missing. At least Wes (Joe Ahorn) and Luke (Grant Harvey) have something to do now that might make the isolation a little easier to bear. But remember, people you don't know on the internet may not be people you want to trust.
THE DISAPPEARING GAME (NR) 82 minutes * * The disappearance of Ro's (Candace Cameron Bure) nephew and his roommate quickly involves the rest of the Real Murders Club as they work to uncover a kidnapping scheme. There's also a murder, and a handsome new neighbor (Niall Matter) for Ro to meet as well.
THE DISAPPOINTMENTS ROOM (R) 77 minutes * 1/2 When David (Mel Raido) and Dana (Kate Beckinsale) buy their new home in a sleepy small town, they have no idea what is in the attic. A previous owner kept his disfigured child in the room as she was a disappointment. Not only was she kept in the attic, she was not treated well, which could explain why her spirit is still there, and not at all happy. Script and direction never manage to move this story anywhere. Suspenseful music helps a little, but it just isn;t enough. R for violence, sex, and language.
THE DISASTER ARTIST (R) 98 minutes * * * The story behind the making of a terrible movie. I wouldn't normally recommend seeing a really bad movie, but this one will make a much stronger impression if you've seen "The Room" before you watch it. While this is not a documentary, and more of a fictionalized drama about what happened, it often feels like a re-enactment of actual events. The side-by-side scenes at the end of the film are wonderful and show what a remarkable job they did of capturing and recreating the scenes from the original film. R for language and sex.
DISASTER MOVIE (PG-13) 76 minutes BOMB From the team behind the "Scary Movie" series as well as other treasures like "Meet the Spartans" and "Date Movie". Pointless story of a group of teens that find themselves facing a variety of disasters. The parodies are nearly endless and run the gamut from "High School Musical" and "Alvin and the Chipmunks" to "Juno", "Enchanted", and "Sex and the City". Even fans of this sub-genre of comedy films may find this one a bit tiresome. PG-13 for language and nudity.
DISCLOSURE (R) 124 minutes * * * Tom Sanders (Michael Douglas) is on his way up... in line for promotion to a vice-presidency in the corporation. That is, until a woman from his past steps into the picture, and into the position. The story that unfolds is intriguing, keeping us involved and interested with its pacing. Ennio Morricone's music adds to the tension, but the characters are still somewhat difficult to empathize with. They are stiff and empty chess pieces that are moved around (albeit brilliantly) by the story. R for sex and language.
DISCLOSURE (NR) 103 minutes * * * 1/2 A documentary that explores the representation of transgender people in the media, in particular in film and television. Not only are these images and representations important for educating the public, but for transgender people looking for support and to see others like themselves. Most of us like to see something of ourselves in what we watch. Interviews with a number of people who work in various parts of the entertainment industry really help give this a depth and power that is important.
DISCONNECT (R) 112 minutes * * 1/2 A sex cam model, a couple who have their credit and online ID stolen, and a boy caught up in sexting. Three stories about people who have trouble connecting with others and who find at least some level of solace online. Their stories are somewhat tragic, though a bit manipulative at the very end. Nice ensemble cast that do a very good job connecting us with these characters. R for sex, language, and violence.
DISFIGURED (NR) 92 minutes * * * When Darcy Staci Lawrence) shows up at a "fat acceptance group", the members give her the cold shoulder. Darcy sees herself as fat, but she's anorexic and doesn't fit their image of who should be part of the group. Lydia (Deidra Edwards) reaches out to Darcy anyway, and they become friends. Struggling with issues that are both similar and completely different, they choose to work through those differences to offer each other the support they so desperately need. It's a powerful and very realistic film, with plenty for the viewer to think about. Refreshing to see an independent film with a small budget that is smart and thoughtful, and manages to entertain us as well.
DISGRACE (R) 108 minutes * * * Professor David Lurie (John Malkovich) has an affair with one of his college students. It's soon discovered and he leaves the university in disgrace, to go and live with his daughter. His disgrace is multiplied when they are attacked. She seems ready to accept what has happened and move on, but David struggles with how to answer the questions these events have raised in his mind. Not a particularly pleasant story, but a solid performance from Malkovich. Adapted from the novel by J. M. Coetzee. R for sex, violence, and language.
THE DISH & THE SPOON (R) 88 minutes * * * A rather unlikely pair, Rose (Greta Gerwig) and this boy (Olly Alexander) drift together as she is recovering from learning that her husband had an affair. The boy seems to have no one and no place to go, but they both feel a need to help one another. Despite that desire, it's not a good fit, at least not for very long. Charming at times, but also bittersweet and almost painful as they struggle with their lives. R for language.
DISOBEDIENCE (R) 110 minutes * * When Ronit (Rachel Weisz) returns for her father's funeral, she is coming back to an Orthodox Jewish community that shunned her. Once there, the passion reignites between Ronit and Esti (Rachel McAdams). It threatens to cause a great deal of trouble. The film spends most of its time focusing on the relationship between the two women and not enough on how Dovid (Alessandro Nivola) fits into the picture since he was part of their youthful trio as well as being Esti's husband. R for sex.
DISORDER (NR) 95 minutes * * 1/2 The title is perhaps unintentionally appropriate as there are lots of questions and several character backgrounds that are just missing. Somehow, the suspense manages to be good, and the story focuses on Vincent's (Matthias Schoenaerts) suspicion that something is about to happen. The camera is unnecessarily shaky in a few spots, which is annoying.
DISORGANIZED CRIME (R) 98 minutes 1/2 An amazing waste of talent that follows a group of untalented criminals whose leader has managed to get himself arrested before their big bank heist even starts. R for language.
THE DISTINGUISHED GENTLEMAN (R) 106 minutes * * A small-time con artist, Thomas Jefferson Johnson (Eddie Murphy) decides to move into the big leagues by using his name to get the votes of the now deceased Jeff Johnson, a popular congressman. Of course, he quickly realizes that there are already many con artists in Washington and now he's trying to make the country a better place by ousting them from their offices. Needless to say, the character's change of heart is a bit hard to swallow. Yes, politics is more than a con-game. But moviemaking is more than throwing a handful of good ideas up on the screen without much direction or focus. R for language.
DISTORTED (R) 82 minutes * * After having a number of strange nightmares, Lauren (Christina Ricci) and her husband decide to move. It's a new high-tech muilding with lots of security, so everything should be fine now. Instead, she is convinced that the tenants are part of an experiment run by the people who own the building. Is she just still dealing with grief, or is something more sinister going on? Overly complicated conspiracy thriller that looks better than it should thanks to having Ricci and John Cusack in the cast. R for violence.
DISTRICT B13 (R) 80 minutes * * Plenty of acton in this film scripted by the talented Luc Besson. In particular, there are a number of elaborate chase scenes on foot. A criminal whose sister is being held by a gang and a police officer have to cooperate to defuse a bomb and rescue the girl. The story has some holes, though that may have been a result of editing. The film feels like an adrenaline rush, but sacrifices what makes sense along the way. R for violence and language.
DISTRICT 9 (R) 105 minutes * * 1/2 After their ship comes to a stop over Johannesburg, South Africa, and we discover that the Prawn need help, they are evacuated to a place that soon becomes a slum. Problems are beginning to get out of control and the government decides they need to move the Prawn to a new location... all 1.8 million of them. But there's more going on in District 9 than people are aware of. The story is presented in a pseudo-documentary style, the social commentary of the story is interesting. Unfortunately, it often gets lost as we follow stories of individual characters too deeply. The animation is quite well-done, but does tend to be overly graphic and violent, splashing the screen repeatedly, when less would be just as effective. R for violence and language.
DISTRICT 13: ULTIMATUM (R) 90 minutes * * Damien (Cyril Raffaelli) and Leito(David Belle) are back, but the situation has changed. Damien finds himself set up and then in prison thanks to a corrupt elite squad of police. But with the help of Leito and a few of his friends (that Damien was originally out to put in prison), it will all get straightened out. Great stunt work, but not a great deal of substance to the story. R for violence and language.
DISTURBIA (PG-13) 99 minutes * * 1/2 House arrest isn't all that bad, until Kale's (Shia LaBeouf) mom cuts the cord on his TV. Literally. There's nothing left to do except watch the neighbors. That could prove to be very interesting. Especially since one of them might be a serial killer. No real surprises here, but solid performances from LaBeouf and the rest of the cast manage to make this a reasonably good suspense film with some appeal to adults as well as teens. PG-13 for violence and language.
DISTURBING BEHAVIOR (R) 78 minutes * 1/2 Two actors in search of a script... Katie Holmes and James Marsden do what they can with this "Stepford children" movie. The idea is nothing new, and as their friends become perfect little robots one by one, we only wonder how long it will take them to get out of town. Holmes in particular does a good job here, growing into the responsibility of her role as the film progresses, thanks to costume and make-up as well as her acting. The ending, as one might expect, ruins the film and only serves to highlight that Marsden and Holmes gave appealing and earnest performances in a film that had next to nothing in terms of script or budget. R for language and violence.
DISTURBING THE PEACE (R) 82 minutes * Things have been quiet in this little town for awhile. Marshall Dillon (Guy Pearce) has been enjoying that peace since the death of his partner. When an outlaw biker gang decides to rob the local bank, he has a problem on his hands. It's a well-planned heist, and this biker gang is no stranger to violence. Devon Sawa plays the bad guy quite well, though there really isn't much of a plot, and the pursuit on horseback really doesn't fit the film. It seems more silly than exciting. R for violence and language.
DIVA (R) 118 minutes * * * ½ Loving opera as he does, Jules (Frederic Andrei) has managed to record an opera he recently attended. There are hitmen out looking for him now, without realizing that the tape Jules has is not actually the one they are interested in. Beautiful and artistically styled film with wonderful photography. R for violence and sex.
THE DIVE FROM CLAUSEN'S PIER (NR) 88 minutes * * Although Carrie (Michelle Trachtenberg) was expected to marry Mike (Will Estes), she was actually about to break it off. Then he's involved in an accident that leaves him quadriplegic. Now she needs to figure out what to do, and who she really wants to be with. Despite the attempt by the script to invite us to look at the idea of how love can change us, the characters are rather suprisingly shallow. Adapted from the novel by Ann Packer.
DIVERGENT (PG-13) 132 minutes * * The world has been organized and ordered to help make everything and everyone work better. But Tris (Shailene Woodley) doesn't fit. Not in the group to which she was born, and not in the one she feels most drawn to. She is "divergent", which means that her existence threatens the system. From the novel by Veronica Roth, aimed at teens, and full of all the angst around coming-of-age, acceptance, and finding your place in the world you could ask for. The soundtrack is nice, but the story is really very simple, moves very slowly, and doesn't go that deep. PG-13 for violence.
THE DIVINE ORDER (NR) 93 minutes * * * Change does not come quickly to this small village in Switzerland, but it is coming. It's almost time for the vote on the right for women to vote, and one particular woman has been campaigning for that right. It's a bit of a surprise to her, as she didn't really think of herself as an activist, and it's an uphill battle, but it just feels like the right thing to be doing. Nicely done story of women's suffrage, with history, drama, and humor.
DIVINE SECRETS OF THE YA-YA SISTERHOOD (PG-13) 111 minutes * * * 1/2 Callie Khouri has done a magnificent job of bringing these characters to the screen. Her screenplay has captured the essence of the book and brought us a quartet of women and the club they formed as children that has remained a lifelong bond between them. Their lives are enriched by each other and the struggles they face, they face together. Sandra Bullock is perfectly cast as Siddalee, daughter of Vivian, and as stubborn as her mother. The sisterhood has their work cut out, but they will prevail, with a good sense of humor intact as well. There is a little awkwardness with some scene changes as we move back and forth in time, but the characters are so strong that we are carried along despite the rough spots. There isn't a bad performance in the lot. PG-13 for language.
THE DIVING BELL AND THE BUTTERFLY (PG-13) 103 minutes * * * 1/2 Jean-Dominic Bauby (Mathieu Amalric) had the perfect life. When a stroke left him paralyzed, his only comfort was his ability to fantasize. It's a beautiful, sensitive and emotional film, showing us life through Bauby's eyes and through his memories. Based on the autobiography of the same title, which also inspired a documentary short film. PG-13 for sex and language.
DIVING IN (PG-13) 87 minutes * Disappointing and rather boring film set in the world of swimming. A kid who is scared of heights wants to be an olympic diver and manages to overcome his fear. Nothing original here and the music is absolutely awful. Indiana residents might be interested as swimmers from Anderson, Arsenal Tech, Carmel, Northwest, and Pike High Schools were used in the film. PG-13 for language and nudity.
DIVISION 19 (NR) 89 minutes * 1/2 Prison has become a commercial venture in a different way. The public now has a chance to say what prisoners do, including who they fight. But when one of them escapes, it changes the game dramatically. The other part of the story, which is introduced at the beginning, is that of the society in general, where there is no privacy. That part of the story seems to drop away very quickly, which is unfortunate. The characters are surprisingly shallow, and that keeps us from engaging with the story.
DIVISION III: FOOTBALL'S FINEST (R) 94 minutes BOMB After their coach dies, a former pee-wee coach takes over this Division III team. The problem is, he's a jerk. That's also the problem with the film in general. The story does turn a corner about halway through to try and make Coach Vice (Andy Dick) a tiny bit sympathetic, but it's too little and far too late. Dick is capable of some fine comedic work, but rarely as a lead character as he just comes off as too nasty. R for sex and language.
THE DIVORCE PARTY (NR) 89 minutes * * 1/2 Recently divorced, Nate (Thomas Cocquere) is trying to come to grips with what has just happened. Moving on from his marriage is going to be very difficult, but perhaps a big divorce party could help him move on. Nothing unusual here, but the cast works well together and gives this just a touch of charm.
DIXIELAND (NR) 93 minutes * * Kermit's (Chris Zylka) luck has never been all that great. Out of prison, he just sort of drifts in the neighborhood until one thing leads to the next. The documentary interview scenes are interesting, as they paint in the background picture, but there is an awkwardness to them as well. They lend a reality to the story that seems out of place.
DJANGO (PG-13) 112 minutes * * * Jazz guitarist Django Reinhardt (Reda Kateb) played a very distinctive form of jazz. He also found himself on the run as the Nazis began to take over France. Wonderful music, and a very fitting tribute to a talented musician. PG-13 for language.
DJANGO UNCHAINED (R) 162 minutes * * * Django (Jamie Foxx) is going to rescue his wife from an evil plantation owner. That's never in question. What is still to be determined is how many people are going to die if they get in his way. The entire cast is amazing, but the other standout performance here is that of Samuel L. Jackson. Writer/director Quentin Tarrantino delivers another tongue-in-cheek, violent story, this one being a southern western. (as different from "south" western) Still, it could stand some trimming, which Tarrantino tends not to do once he gets started telling a story. R for violence, language, and sex.
DJINN (NR) 79 minutes * 1/2 An ancient djinn is still looking for her missing child, as is a young mother who recently lost her own. There are some wonderfully creepy effects here, but they are repeated far too much. The logic at the end is a little awkward, which takes away some of the power of the story.
THE DJINN (R) 76 minutes * 1/2 His greatest wish is to have a voice. When Dylan (Ezra Dewey) and his dad (Rob Brownstein) move into a new house, Dylan finds a book. It's a book that might help his wish be granted. But the granting of a wish by a Djinn can come at a heavy price, and often with an unintended twist. Creepy, but very repetitive. Good work by Dewey. R for violence.
D.O.A. (R) 93 minutes * * * 1/2 Remake of the film noir classic starring Dennis Quaid and Meg Ryan, that just oozes style. Filled with noir style camera angles and utilizing both color and black and white photography, it's an entertaining mystery to watch even if you do guess whodunit. This also poses the question, by forgetting how to appreciate life, do we die? Interesting... Filmed in Austin, Texas.
DOA: DEAD OR ALIVE (PG-13) 80 minutes * Corey Yuen's must have directed this in his sleep. Based on a video game, fighters accept a challenge to go to an island and fight for the chance to be the ultimate fighter, only to find that the person in charge has other ideas about how to use their skills. Devon Aoki and Jaime Pressly are worth noting, and there are a few good fight sequences, but nothing outstanding or surprising in the least. PG-13 for violence and nudity.
DO OR DIE (R) 95 minutes 1/2 Donna (Dona Speir) and Nicole (Roberta Vasquez) do their best to survive six different teams of assassins hired by a Japanese crime lord (Pat Morita). Sixth entry in the series of L.E.T.H.A.L. ladies film series from writer/director Andy Sidaris. R for sex, language, and violence.
DO THE RIGHT THING (R) 113 minutes * * 1/2 Director Spike Lee takes a look at civil rights and violence in a New York neighborhood on a hot summer day. This definitely has some interesting and powerful things to say, but the message gets in the way of the story at times. It feels like a rough cut of what could have been a much stronger film. R for language and sex.
DOC HOLLIDAY'S REVENGE (PG-13) 78 minutes 1/2 Bad dialogue and two-dimensional characters are enough to ruin this retelling of the events in Tombstone back in the lawless days of the western United States. But apparently, someone thought that we also needed to hear Tom Berenger narrating this from the perspective of a judge, whose opinion offers nothing to the story. PG-13 for violence.
DOC HOLLYWOOD (PG-13) 100 minutes * * * Michael J. Fox is a big city doctor who finds himself doing some community service in a small town, and learning a few things in the process. Fox makes this easy to watch and the cast is full of familiar faces. A nice film that most everyone will enjoy. PG-13 for nudity and language.
THE DOCTOR (PG-13) 118 minutes * * * 1/2 A sarcastic and insensitive doctor finds that the world looks much different when you're the patient. William Hurt does an outstanding job as his character struggles to learn to live again. Adapted from the book "A Taste of My Own Medicine", and also featuring Christine Lahti, Mandy Patinkin, and Elizabeth Perkins. It's an impressive film that overcomes predictability with solid performances.
DOCTOR DETROIT (R) 95 minutes * * * A quiet and shy college professor becomes the king of the streets in this rather silly story. There are good points to be made about the hero that lies within us all, and the script is well-written. Dan Aykroyd's performance is a little over the top, but that's what he's good at doing.
DOCTOR SLEEP (R) 146 minutes * * * As a child, Dan Torrance (Ewan McGregor) had some very bad experiences at a haunted hotel. He also learned that he had a very special gift called "The Shining". Years have passed, and he must now teach a young girl how to use her powers and help protect her from "The True Knot", a cult that uses children with "The Shining" to keep themselves immortal. A delightfully creepy and sinister sequel to "The Shining". Some of the reenacted scenes from the first film are less effective, but the cast is very strong otherwise, with special recognition for Kyliegh Curran and Rebecca Ferguson. R for violence, language, and nudity.
DOCTOR STRANGE (PG-13) 105 minutes * * * 1/2 Doctor Strange (Benedict Cumberbatch) was never one of Marvel's mega-stars, but this film goes a long way to raising interest and appeal. Cumberbatch is a great fit for the role, and the story does a nice job of explaining background, delivering adventure and intrigue, and including a little humor as well. That humor wasn't present in the comic, but works well here, in large part due to Cumberbatch's mostly dry delivery. The special effects are amazing, and were nominated for an Oscar (that they should have won). PG-13 for violence.
DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS (PG-13) 117 minutes * * * Learning that there is some truth to his theory about a multiverse, Doctor Strange (Benedict Cumberbatch) finds himself dealing with numerous threats to the stability of everything, including both the Scarlet Witch (Elizabeth Olsen) and himself. Lots of great effects and nice cameo appearances. The conflict ultimately resolves too easily though, and is a bit of a let-down. PG-13 for violence and language.
DOCTOR WHO: REVOLUTION OF THE DALEKS (NR) 74 minutes * * 1/2 While the Doctor (Jodie Whittaker) is locked away in a prison, an evil plan is taking shape. It involves a Dalek (of course). Can the Doctor's friends defeat the Dalek? Can the Doctor escape prison to come and help? A feature-length episode of the series.
DOCTORS OF THE DARK SIDE (NR) 71 minutes * * 1/2 This documentary explores the involvement of people in the medical professions in the torture of individuals identified as terrorists or insurgents. People in the medical profession are supposedly under an oath to "first, do no harm", but the logic here is that in doing this harm, other harm will be prevented... or will it? Some rather graphic descriptions and pictures, though most, if not all, have already been available through various news media sources.
THE DO-DECA-PENTATHLON (R) 75 minutes * 1/2 3 days, 25 events, 2 brothers, 1 champion… as kids, it was a fun challenge… years later, the grudge is still there. There’s a certain amount of charm and truth here, but also quite a bit of acting and dialogue that just doesn’t have the strength it needs to make this a better film. And, though we know that the point is the relationship between the brothers, it would have been fun to see a few more of the events, both when they were young and as they are older. R for language.
DODGEBALL: A TRUE UNDERDOG STORY (PG-13) 87 minutes 1/2 LaFleur's (Vince Vaughn) gym is about to be taken over by the neighboring high-tech gym run by White Goodman (Ben Stiller). The winner of a dodgeball game will take all. Vaughn and Christine Taylor somehow manage to come off reasonably well here, but the sexist, violent humor grows old and boring very quickly. PG-13 for language, violence, and sex.
THE DOG (NR) 99 minutes * * 1/2 The story behind the film "Dog Day Afternoon". John Wojtowicz robbed a bank to pay for his lover's sex change operation. But that's only part of the story. Interviews with John, his "wives", his mother, lawys, and others over the years. He lived a life that was, for the most part, honest and unapologetic, as well as a little different from most.
DOG (2022) (PG-13) 97 minutes * * * U.S. Army Ranger Jackson Briggs (Channing Tatum) wants nothing more than to go on another mission. He has a traumatic brain injury though, and clearance to go back to active duty is not coming. What he does get is a mission to bring a military working dog from Washington state to Arizona to attend her handler's funeral. She's not an easy dog to handle, having some issues of her own. Nice work by Tatum. PG-13 for language.
DOG DAYS (PG) 108 minutes * * People and their dogs. In particular, people in Los Angeles, California. Too many of the people here just don't have much appeal. And because of that, we wish the dogs had more screen time. It does end on a nice, sentimental note. PG for language.
DOG EAT DOG (NR) 89 minutes * 1/2 These three have been in and out of prison all of their lives. But it's always about one more job. This time, it doesn't even feel right from the start. The story keeps hinting at humor, but isntead keeps turning toward seious moments. It creates an awkward tension that interrupts the flow. The acting is quite good, and a few scenes are very good, but there's not enough cohesion to the story to hold the film together.
DOG JACK (PG-13) 108 minutes * * 1/2 Jed (Benjamin Gardner) is a 14-year-old slace who escapes to join the Union Army with his dog, Jack. Inspired by the real-life dog mascot of the Pennsylvania 102nd. This is a good historical family film, though the dialogue is a bit dry and boring at times. And despite how wonderful Louis Gossett Jr.'s voice is, there's a bit too much narration. Just let the camera and the actors tell us the story. PG-13 for violence.
THE DOG LOVER'S GUIDE TO DATING (NR) 82 minutes * * 1/2 Sometimes we're not looking in the right place. Simon (Corey Sevier) thinks he's found the perfect match., but he's having trouble with her dog. Then he stumbles across Alex (Rebecca Dalton). She's a dog trainer who might be able to help him. And something more just might develop if they can figure out how to trust each other and let go of the past.
A DOG NAMED CHRISTMAS (PG) 93 minutes * * 1/2 No dog for this family. Until Christmas that is. This is the story of a very special dog and the family he came to call his own. Have the tissues nearby. Adapted from the book by Greg Kincaid.
A DOG NAMED DUKE (NR) 83 minutes * * Steven Weber stars as a homeless veteran who leaves his dying dog with a veterinarian, as he can't bear to be present for what are sure to be the dog's final moments. Of course they nurse him back to health and everything turns out wonderful in the end. Sentimental, emotional, and more than a little over-stated, though the script somehow also manages to be remarkably shallow.
A DOG OF FLANDERS (1999) (PG) 96 minutes * * Remake of the classic story of a young boy who dreams of being an artist, but as an orphan, faces innumerable odds against achieving his goal. It's a great story, but the younger actors struggle with the material and the pace is jerky. It looks like pieces were cut out in an attempt to speed the story along rather than letting it flow naturally. Filmed in Belgium. PG for violence.
THE DOG WHO SAVED CHRISTMAS (PG) 82 minutes * * The first of several films about Zeus, a loveable yellow labrador who alternately causes trouble and saves his family. Complete with bulmbling criminals. nothing all that exciting, but harmless family fare. PG for language.
THE DOG WHO SAVED EASTER (PG) 83 minutes * 1/2 When Zeus' family goes on a cruise, he ends up at a doggy day care, with predictable results. Standard story with bumblinb criminals and talking animals. It's mildly entertaining for the younger set, and mostly not for the rest of us. PG for language.
THE DOG WHO SAVED SUMMER (PG) 84 minutes * * When Zeus ruins a party, he gets sent to obedience school, but it's not really working out. Zeus is still trying though, and when he finds his own teacher on the side, it just might all work out fine. Mildly fun family entertainment. PG for language.
DOG YEARS (NR) 80 minutes * * Two brothers in a strange land. Elliott (Brent Willis) and Ben (Warren Sroka) are both in Japan for different reasons. They aren't close, but circumstances are pushing them together. Heavy on dialogue, which is somewhat tedious, but the characters are appealing.
DOGFIGHT (R) 92 minutes * * * A challenge to bring the ugliest date to a party by a group of marines on their way to Vietnam finds Lili Taylor in the company of River Phoenix. Wonderful character study with heartfelt performances and an awesome script. A good deal of thought went into the songs chosen for the soundtrack as well.
DOGMA (R) 122 minutes * * Jay and Silent Bob are back! This time they are prophets coming to the aid of Bethany (Linda Fiorentino) as she attempts to prevent two angels from reentering heaven (Matt Damon and Ben Affleck). Director Kevin Smith pokes fun at his Catholic background and stretches things a bit too far for some, but it's all in the name of fun... and perhaps making you think just a bit. The cast is wonderful, also featuring Jason Lee, Chris Rock, Salma Hayek, Alan Rickman, and several others. It does get a bit pretentious at times though, and it looks like Smith didn't think things through very well in a few spots. Otherwise, it's a fun romp with Jay and Silent Bob through the world of religious beliefs. R for violence and language.
A DOG'S JOURNEY (PG) 102 minutes * * * A continuation of the story begun in "A Dog's Purpose". Bailey (voiced by Josh Gad) becomes Molly, but still understands that it is her duty to protect CJ (Kathryn Prescitt). As CJ gets older, it gets a little more difficult, but Bailey/Molly/etc. is not one to give up just because things are difficult. Just as much of a tear-jerker as the first film. PG for language.
A DOG'S PURPOSE (R) 94 minutes * * * The story of a dog and its various lives and the humans along the way. Throughout each life, the dog searches for meaning and purpose. And as it turns out, a dog's purpose actually works pretty well as a purpose for people. Lots of narration, although that's better than the other option, which would be a talking dog. Cute story, though it does presume reincarnation as the way things work... at least for dogs. R for language and violence.
A DOG'S WAY HOME (PG) 90 minutes * * 1/2 Bella tried to be a good dog, and in many ways she was. But as a pit bukll, she risks being in trouble just for who she is, especially when a neighbor decides to be difficult. When she's given a temporary home 400 miles away, Bella knows only one thing. She has to go home. A heart-warming story of a long journey that simply must be made. Some of the animation is quite good, but there are other segments that clearly still needed some work. PG for violence and language.
DOGTOOTH (NR) 90 minutes * A strange and twisted family, where the father is the only person allowed off the property and words don't always mean what you'd think. The children are growing older now, and they are beginnning to ask new questions and make it more difficult for their father to continue his unusual control. Rather surrealistic at times, and nonsensical at others. Somehow this managed to snag an Oscar nomination, probably just because it is so unusual. Not a good enough reason to win though.
DOLITTLE (PG) 90 minutes * * Dolittle (Robert Downey Jr.) is asked to come out of his self-imposed isolation to aid the Queen (Jessie Buckley), who may be dying. There are lots of complications and an adventure ensues. There's an impressive cast, both in person and in voice, featuring Antonia Banderas, Michael Sheen, Emma Thompson, Rami Malek, Octavia Spencer, and many more. The script tries too hard to be clever and quickly loses any strength it had at the beginining. It's partially and adventure film for the younger crowd, though they are likely to miss most of the humor. PG for violence and language.
DOLLFACE (NR) 90 minutes BOMB Students researching a series of earlier killings return to the site and discover that the killing isn't over. Fans of slasher horror will find nothing new here, with a storyline that moves awkwardly between humor and horror while offering the same old scares.
DOLLY PARTON'S CHRISTMAS OF MANY COLORS, CIRCLE OF LOVE (NR) 84 minutes * * 1/2 Dolly's (Alyvia Alyn Lind) father goes to work in the mines to earn money to buy his wife the wedding ring she's always wanted. Meanwhile, a blizzard puts the rest of the family at serious risk. Lind's charm carries the film well, though the story isn't as strong as the previous film.
DOLLY PARTON'S COAT OF MANY COLORS (NR) 84 minutes * * * 1/2 A story full of charm, wit, pain, struggle, and blessings. It's Dolly's story, and one you aren't likely to forget. In no small part, that is thanks to the outstanding, and award-winning performance of young Alyvia Alyn Lind. The entire cast is good, but Lind is a natural at carrying a scene while at the same time not taking over when the story needs to focus on others. Well done!
DOLLY PARTON'S MOUNTAIN MAGIC CHRISTMAS (NR) 85 minutes * * 1/2 Dolly and her crew are working on a television special, hoping to bring some of the mountain magic she's always felt in Dollywood and the surrounding area of Tennessee. It's a story about the magic of Christmas as well, filled with the music of Dolly Parton and a few friends. Filmed in and around Dollywood.
DOLORES CLAIBORNE (R) 127 minutes * * * Kathy Bates does an outstanding job as a woman accused of killing her employer and friend. When her daughter returns and they begin to talk, we slowly discover the real story of their estrangement, and what part Dolores' husband and her employer have played in her life over the years. Incredible characters (thanks to Stephen King), well-portrayed by all. Danny Elfman's music works well to move us through the story and the scenery (in Nova Scotia) is striking.
DOLPHIN TALE (PG) 108 minutes * * * Depressed because his cousin is going off to the military, Sawyer's (Nathn Gamble) attitude begins to change when he comes across an injured dolphin. It's difficult to open up to caring, because it means you risk being hurt, but Winter (the dolphin) is teaching him how important that is. An inspirational and heart-warming story, though there are a couple of bits like the remote control helicopter that just don't fit well. PG for violence.
DOLPHIN TALE 2 (PG) 96 minutes * * The continuing saga of the dolphin, Winter, and her home at the Clearwater Marine Hospital. The story is less passionate and interesting than the first, and most of the cast seems to be less interested in the outcome as well. Fans of the first will undoubtedly still want to see it, but watching the first one a second time is more worth the time. PG for violence.
DOMESTIC DISTURBANCE (PG-13) 81 minutes * 1/2 Frank's (John Travolta) ex-wife is about to get married to one of the nicest guys in town. Of course, he hasn't been around all that long and there could be a dark side that no one but Frank and his son are able to see... There are a few scenes with reasonably good suspense, and Vince Vaughn is definitely creepy, but it's pretty much the same old story as Vaughn continues to have a harder time looking innocent as his past begins to resurface. And the ending is simply ridiculous. PG-13 for violence and language.
THE DOMICILE (NR) 81 minutes 1/2 In trying to recapture his former success as a playwright, Russell (Steve Richard Harris) reconnects with a former lover. But it turns out that his dead wife isn't too happy about that idea. The story isn't a bad idea, but the script and direction here are awful. Not that the acting is all that great, but the cast has almost nothing to work with.
DOMINION: PREQUEL TO THE EXORCIST (R) 112 minutes * 1/2 Somewhere between "Exorcist: The Beginning" and "The Exorcist", comes this part of the story. He witnesses the atrocities of World War II and abandons the priesthood, but later finds he must recommit himself to his faith to fight the evil that will continue to be his nemesis for years to come. Unfortunately, this falls prey to the same problem that plagues so many other sequels that feel a need to explain the backstory... it's boring. There is some nice atmospheric music from Trevor Rabin and Angelo Badalamenti, but that's about it. R for violence.
DOMINION: THE LAST STAR WARRIOR (NR) 77 minutes * A UFO investigator finds himself talking to yet another person warning of an impending alien invasion. But this particular person happens to be telling the truth. Casey (Barry Lynch) is about to be part of the biggest story of his life. Lots of style and mood, but not really much story, and the acting is... less than impressive.
DOMINO (R) 119 minutes * * 1/2 A portion of the life story of Domino Harvey, a model turned bounty hunter. Definitely an unusual story, and Keira Knightley does a reasonably good job in the lead role. In fact, the acting is reasonably good all around, it's director Tony Scott's choice of film style that undercuts the film. Choosing a sort of grunge music video style that uses lots of short cuts, strange angles, and often jerky camera shots, it doesn't really seem to serve a purpose. The narration is a bit much as well. Still, we do get a glimpse of the bounty hunter life as she and the others get involved in a job that goes wrong. The real Domino died shortly before the film was released. R for violence, language, and sex.
DOMINO: BATTLE OF THE BONES (R) 106 minutes 1/2 It's a domino tournament. The story here is mostly about the relationship between Gerald (Lou Beatty Jr.) and his grandson (Nathan Dana). There are a few other characters here, but most of them try to be funny and just aren't. Maybe this sounded like a better idea before they started filming. R for language.
DON JON (R) 84 minutes * * Don (Joseph Godron-Levitt) spends a great deal of time watching pornography. So much so that it has shaped his view of what to expect in a relationship. When he decides that he should make a change, it proves to be more difficult than he expected. Gordon-Levitt does some very nice work here, as does Scarlett Johansson, though her performance, along with several others here, is almost cartoonish. The characters tend to be very thinly drawn, but highly emotional. In a way, this is a move to show us how Don sees them, but the effect is less than satisfying because we know there is more to them even if he can't see it. R for sex and language.
DON JUAN DEMARCO (PG-13) 92 minutes * * * Marlon Brando and Johnny Depp, a therapist and his patient. Brando wants to retire and Depp thinks he's the world's greatest lover. A charming story that captures us from the beginning, thanks to strong performances from Brando and Depp. What is sacred? What is the spirit made for? What is worth dying for? What is worth living for? These are the four questions of life. The answer? Watch the movie!
DON MCKAY (R) 87 minutes * * 1/2 When Don (Thomas Haden Church) gets a call from his old girlfriend, he goes to visit her. She says she's dying, but as he stays around and begins to hear more, it's not adding up. Being around his old town is creating a bit of a stir as well, because people are being reminded of some events they'd rather not remember. Nice work by Church is a somewhat offbeat story that sometimes seems to throw us a curve with no real purpose. R for language and violence.
DON QUIXOTE: THE INGENIOUS GENTLEMAN OF LA MANCHA (NR) 77 minutes * * * To right the wrongs of the world, a country gentleman takes up his sword, climbs onto his horse, and heads off to begin his adventure. A student production, this film was the result of a class taught at the USC School of Cinematic Arts. Ten students directed segments of the film and served as crew on segments directed by the others. James Franco co-taught the course. It's a very nice version of the classic story and well worth a look if you get the chance.
DON VERDEEN (PG-13) 92 minutes * 1/2 Don (Sam Rockwell) is a Biblical archaeologist. Well, at least that's what he calls himself. Of late, he's been more of a con artist, but he seems to be unsure of exactly how that happened. There's some good satirical humor here, but the script tends to hang on to each bit just a little too long. PG-13 for language and violence.
DONKEY PUNCH (R) 92 minutes * A fun weekend for these girlfriends turns tragic when they decide to hook up with some cute guys who take them to their yacht. Drugs, alcohol, and a dangerous bit of behavior result in a death. And that's only the beginning of their unfortunate weekend. The problem is that these characters are so two-dimensional and unlikeable, we find it difficult to have sympathy for any of them. R for sex, violence, and language.
DONNIE BRASCO (R) 122 minutes * * 1/2 Johnny Depp is FBI special agent Joseph Pistone, who goes undercover in the mafia and gets a few surprises. The story wanders around a bit too much, making this feel uneven as we move from intense scenes to segments that don't seem to have much importance. Al Pacino and Michael Madsen give fine performances, but the real star here is Anne Heche, in the supporting role of Pistone's wife Maggie. R for language and violence.
DONNYBROOK (R) 96 minutes * * 1/2 Life doesn't offer many options for Jarhead Earl (Jamie Bell). The best one for now seems to be making it to Donnybrook. It's a bare-knuckle cage fight where the winner takes one hundred thuosand dollars. But even the journey there is fraught with challenges and violence. All of the characters here exist in a world where there are few options and most of the choices result in violence and/or pain. R for violence, sex, and language.
DON'T BE A MENACE TO SOUTH CENTRAL WHILE DRINKING YOUR JUICE IN THE HOOD (R) 84 minutes 1/2 Parody of all the hood movies that have been made, and typical of the genre, it's only funny on a sporadic basis. Stringing two-minute skits together doesn't make a movie. Fans of the Wayans family might be interested, but that's about it.
DON'T BE AFRAID OF THE DARK (R) 96 mminutes * * 1/2 Actually, you should be afraid of the dark if this movie is right. Sally (Bailee Madison) goes to live with her dad in the old house that he and his girlfriend are restoring. It doesn't take Sally long to discover that something is living in the basement. Something very evil. Madison is good here, but the realy star is the evil atmosphere and the creatures that inhabit the basement. The creatures and the house itself tend to overshadow the rest of the cast which serves to weaken the film. R for violence.
DON'T BE NICE (NR) 94 minutes * * * The Bowery Slam Poetry Team. Five young adults who are headed to the National Championships. Their coaches, Lauren Whitehead and Jon Sands are going to push them and push hard. Poetry that is honest, hard-hitting, and memorable... that's what they need. It must come from and express who they are, with all of the complications, heartbreak, and triumph that may or may not be felt.
DON’T BREATHE (R) 83 minutes * ½ Alex’s (Dylan Minnette) dad works for a home security company. He and his friends have been using that information as a way to break into homes and steal things. Usually, they do that when no one is at home. Changing that pattern may prove to be fatal. There is some good tension here, despite some overly obvious foreshadowing. The bigger problem is the resolution of the story as a whole, which feels rather incomplete. R for violence, language, and sex.
DON'T BREATHE 2 (R) 90 minutes * * 1/2 It's been eight years since the home invasion in the first film. Norman Nordstrom (Stephen Lang) lives in seclusion with his granddaughter Phoenix (Madelyn Grace). But the past is about to become present, along with a few twists. Seeing the first film helps a little, but this actually works well without it. Good suspense, and good effects as well. R for violence and language.
DON'T COME BACK FROM THE MOON (NR) 77 minutes * * 1/2 In this small town in California, life itself seems to have abandoned the residents. Over the years, fathers in the community have established a pattern of leaving. While the reason they leave is up to interpretation, the effect on their children is clear. The topic is somewhat depressing, but it's handled in a gentle and matter-of-fact style that softens that tone a little.
DON'T FORGET I LOVE YOU (NR) 84 minutes * * 1/2 Taylor's (Emilie Ullerup) life is ... very much planned and organized. For her 30th birthday, her deceased mother left a time capsule with memories and a series of six challenges. Her new neighbot Josh (Clayton James) and his daughter Chloe (Daphne Hoskins) just might be able to help.
DON'T GET CAUGHT (NR) 70 minutes BOMB Dre (E-40) and Icy (Brian Hooks) think they've hit the jackpot. A huge stash of weed and nothing but a backwoods farmer to stand in their way. But this hillbilly has friends, and Dre and Icy better not get caught. Lots of wasted time with scenes and exterior shots that have nothing to do with the story. Danell "D-Shot" Stevens was director, co-producer, writer, and actor. Watch an old Cheech and Chong movie instead.
DON'T GO (NR) 89 minutes * * Grief is a powerful emotion. Ben (Stephen Dorff) is grieving the recent loss of his daughter. A recurring dream seems to have a message for him. Might there be a way to bring her back? The dream makes it seem not only possible, but important. This moves along rather slowly, and the twist near the end is not entirely convincing though the mood is set well.
DON'T GO BREAKING MY HEART (NR) 82 minutes * * 1/2 Being nice and supporting his sister, Ben (Ryan Paevey) goes with her to a "breakup boot camp" to help people get over bad and broken relationships. Of course, when he meets Miranda (Italia Ricci) who runs the camp, he finds himself falling in love again.
DON'T KILL IT (NR) 80 minutes * The title comes from how this particular demon works. Whoever kills the current host becomes the next host. There's some interesting back story here, but we only get a few snippets of it. What we do get are lots of low-budget special effects that are repeated as nauseum, and a story that focuses on how to try and stop the killing and bodyjumping without understanding why it keeps happening.
DON'T KNOCK TWICE (R) 91 minutes * 1/2 Chloe (Lucy Boynton) had no idea that knocking on the door of an abandoned house was such a bad idea. But now, the spirit of a witch who steals children has been released by that simple act, and Chloe can't figure out how to get rid of her. The story is a little disjointed, adn the acting is mediocre at best, but the music and photography do manage to add a ltitle to the suspense. R for violence and language.
DON'T LET GO (R) 98 minutes * * * Jack (David Oyelowo) and his niece (Storm Reid) are very close. They are so close that when Ashley and her parents are killed, she's still calling her Uncle Jack on the phone. At first, Jack thinks it's just his grief playing out in an unusual way. But he soon comes to believe that there's a reason she is calling and that perhaps he can somehow help her. Or what if she can help him as he tries to solve the case? Very intense, with some fine work by the cast, led well by Oyelowo and Reid. The script is tight and well-paced and like the title, it doesn't let us go. R for violence and language.
DON'T LET HER IN (NR) 59 minutes * 1/2 They just wanted to bring in some extra money. But Amber (Kelly Curran) and Ben (Cole Pendery) are about to regret opening their door to Serena (Lorin Doctor). One of the biggest problems here is the length of the film. Another twenty minutes of story, developing the mysterious stranger character and maybe the addition of another character who is trying to stop Serena, would have added so much to the depth of the story.
DON'T LET THE DEVIL IN (NR) 87 minutes BOMB John (Marc Slanger) and his wife are sent to a small town to oversee a new casino devemopment project. They are clearly not wanted, but what's happening is even more sinister then they could ever have anticipated. Script and acting are terrible. The photography actually shows a glimmer of talent, but only briefly. We hold out hope for about thirty minutes, but then it really starts to drag.
DON'T LET THEM IN (NR) 79 minutes * Jenna (Michelle Luther) and Karl (Aidan O'Neill) are social workers. At the end of a long day, Jenna wants to make one more stop. Karl reluctantly agrees to come along. The man they stop to see at first seems eccentric, and then paranoid. Then the attacks begin. Even at the end of the film, it seems like a few parts are missing. Karl's character frequently interjects comments that seem like they're supposed to be funny. They aren't. And they don't fit well with the rest of the film.
DON'T LOOK UP (R) 79 minutes * When a filmmaker decides to make a film about an old gypsy curse, his choice for location is the actual village where the curse began. Maybe that wasn't such a good idea. There are a few spooky scenes, but the ending is dull and unimaginative. R for violence.
DON'T LOOK UP (2021) (R) 130 minutes * * * She can't believe it, but the statistics aren't lying. Kate (Jennifer Lawrence) has just discovered a comet that is on a collision course with Earth. reaction to the news is... mixed. Kate and Dr. Mindy (Leonardo DiCaprio) tell all the right people, but too many of them just aren't taking it seriously. Equal parts farce, satire, and drama, though the farce gets a little too strong. Also featuring Meryl Streep, Cate Blanchett, Tyler Perry, and Jonah Hill. R for language and sex.
DON'T MOVE (NR) 116 minutes * * * Timoteo (Sergio Castellitto) and Italia (Penelope Cruz) are an unlikely couple to say the least. But their attraction is strong, and provides both of them with something they seem not to be able to find elsewhere. All of the bits and pieces, various memories and bits of memories are running through his mind as he waits to find out the prognosis of his daughter who was in an accident. Excellent performances from the leads, though the flow of the story is a bit uneven. Not rated, but rather intense sexuality and violence in some spots.
DON'T SAY A WORD (R) 109 minutes * * * Though the actual premise here is a bit unusual, the manner in which it is played works very well. The idea is that a psychiatrist's daughter will be kidnapped to give him the incentive to retrieve the location of a jewel from the mind of a young girl who is mentally traumatized. The plot has some nice twists and turns along the way and Michael Douglas and Brittany Murphy both do a very good job. It's not a particularly unique story, but the script, acting, and direction keep it suspenseful and interesting. R for language and violence.
DON'T STOP BELIEVIN': EVERYMAN'S JOURNEY (R) 101 minutes * * * Looking for a replacement lead singer, the rock band Journey found Arnel Pineda on YouTube. This is his story, from obscurity in the Phillippines to rock music stardom. It just goes to prove that it actually is possible. R for language.
DON'T TALK TO IRENE (NR) 77 minutes * * * Irene (Michelle McLeod) wants to be a cheerleader. She may not fit the image, but she has plenty of desire, and Geena Davis is on her side. Cute story with a great cast, including some funny and insightful bits from Geena Davis.
DON'T TELL A SOUL (R) 79 minutes * * Money is scarce, but Matt (Fionn Whitehead) has an idea. His little brother Joey (Jack Dylan Grazer) goes along with it, though he doesn't have much choice in the matter. Needless to say, it doesn't go well. A couple of fairly good twists, but too mcuh of the story is very shallow. R for language and violence.
DON'T TELL MOM THE BABYSITTER'S DEAD (PG-13) 101 minutes * 1/2 Christina Applegate's first major motion picture is an unfunny comedy about a babysitter dying and leaving the kids to fend for themselves. Those interested in trivia might notice the song by Spinal Tap in the soundtrack.
DON'T THINK TWICE (R) 86 minutes * * 1/2 An improv comedy group faces the impending closure of their primary venue. At the same time, one of them has a successful audition for a TV show. They're friends, but reality is beginning to sink in and success is beginning to feel a little different than some of them expected. Nice collection of characters and the story is presented in a way that makes this sometimes feel a little like a documentary. R for language.
DON'T WORRY DARLING (R) 116 minutes * * It seems like the perfect life. A wonderful community where everyone is happy. The men all work together, the women are all friends, and their families all socialize together. Everything is under control. But what is controlling it... and what if you dare to ask that question? Alice (Florence Pugh) witnesses a plane crash as well as the suicide of a friend. Now she's being told that she didn't see either of those things, but she knows she did. A strange piece, with a less than satisfying ending. R for sex, violence, and language.
DON'T WORRY, HE WON'T GET FAR ON FOOT (R) 110 minutes * * * Drifting through life and not caring much about anything, John Callahan (Joaquin Phoenix) gets a rude awakening when he's in a car accident that leaves him paralyzed. He now has several choices to make, including whether or not to face his alcoholism. Though sensitively told, it is also similar in tone to Callahan's cartoons in that it is not afraid to be more than a little brash and rude. Some really nice supporting work from Jonah Hill. R for language and sex.
DOOGAL (G) 69 minutes * * Doogal and his friends must find three diamonds before Zeebad does. Otherwise his other friends may remain frozen inside a carousel forever. OK fare for the 5-7 age crowd, with lots of bright colors and bouncy characters. Adults may fall asleep here though. Despite the vocal talents of Chevy Chase, Whoopi Goldberg, Ian McKellan, Judi Dench, Jon Stewart, Jimmy Fallon, and William H. Macy, this manages to be less than might be expected.
DOOM (R) 96 minutes * 1/2 The Rock leads a team of mercenary marines in a fight against mutant monsters in this big-screen adaptation of the video game. It's pretty much what you'd figure, lots of guns and shooting, chasing monsters down hallways and having them appear behind people when least expected. The special effects are fairly good, the acting is... well... less than fair. For all the back story that so many video games have, they just don't usually make good movies. Fans of The Rock won't be too disappointed, but otherwise, you might want to pick something with a bit more substance. R for violence and language.
DOOM: ANNIHILATION (R) 94 minutes 1/2 A scientific base on Phobos (one of the moons of Mars) has sent out a distress call. A ship is sent to respond. The scientists on board are excited. The UAC Marines on board are not. The demons who have taken over the base are looking for a way to increase their dominion. Lots of shooting, and not much in the way of a story. It's kind of like the movie "Doom", only with more guns and monsters and worse acting. Based on the videogame "Doom". R for violence and language.
DOOMSDAY (R) 105 minutes * * The reaper virus has resurfaced, but at the same time, it's discovered that there are people who survived the first outbreak. Eden Sinclair (Rhona Mitra) leads a team to find the cure, but who can she really trust? End of the world/zombie film without a great deal of originality, but Mitra makes it worth a look. Fans of the genre should find this a reasonable entry, but nothing outstanding. R for violence, language, and sex.
DOOMSDAY DEVICE (NR) 81 minutes 1/2 A couple of mid-level FBI agents stumble onto the theft of something much more serious than they thought possible. It's a mystical doomsday device, and in the wrong hands, it could destroy the world. Repetitive CGI effects and mediocre fight scenes don't help an unimaginative story.
DOOMSDAY GUN (NR) 105 minutes * * A munitions expert, Dr. Gerald Bukk (Frank Langella) has devoted his life to building bigger and better guns. After getting double-crossed by the United States, he's ready to build his biggest gun yet... and sell it to the highest bidder. That just might be Saddam Hussein. An impressive cast, but the production quality takes this down a notch or two.
THE DOOR IN THE FLOOR (R) 108 minutes * * Strange story of a children's book author (Jeff Bridges) who also paints nudes and his wife (Kim Basinger) as they cope with the death of their two sons. It not only breaks apart their marriage but spins both of them into separate struggles from which they don't appear to be able to work through. Much of the story is played off of a young intern who works for Ted (Bridges) while becoming Marion's (Basinger) lover. There are a few moments of wonderfully played drama, but much of it doesn't seem to know what direction its going. R for sex and language.
DOOR MOUSE (NR) 96 minutes * * * When girls start disappearing from the club where she works, Mouse (Hayley Law) wants to find out what is happening and what she can do to stop it. The questions she's asking are dangerous, and the path she's taking is a risky one. Tough, gutsy, neo-noir, with great work by Law, and great characters overall.
THE DOORMAN (R) 93 minutes * After serving on a mission that went wrong, Ali (Ruby Rose) is taking some time off. She starts working in a hotel where some of her extended family live. It's being remodeled, but there's an overlap between a couple of the tenants leaving and some very bad people who want something very valuable that they believe is in the walls of one of the rooms in the building. The story is sloppy, and too many things happen too easily. There are a couple of good fight scenes, and it's always fun to see Jean Reno, but it's just not enough. R for violence and language.
THE DOORS (R) 135 minutes * * 1/2 Director Oliver Stone's chronicle of the life and times of the rock group, The Doors, and their lead singer, Jim Morrison. The first part of the film is a bit uneven, though it fits with the style of filming that Stone uses. It's the latter part of the film, which comes off more polished, that is actually less satisfying. The Doors were born out of the 1960's drug culture. Characterized by a brazen attitude, a defiance of authority, and a freedom from structure, the band was shaped by that culture and by its fans. Stone claims to present an accurate historical picture, but we see a romanticized version. It does deal with Morrison's involvement in drugs, alcohol, sex, witchcraft and so on. But it paints a picture of an talented young poet and musician who was abused by the media and misunderstood by his friends and associates that we just never buy as very accurate. These are two pieces of the whole picture to be sure, but far from the whole truth. R for sex, nudity, language, and violence.
DOPE (R) 98 minutes * * * If Malcolm (Shameik Moore) can survive this last year of high school, he might just be able to make something of himself. Or maybe he’ll just find himself… and that would be OK too. Nice story, though it veers off into silliness more than once. Still, the message is a good one, and the story wraps well. The cast work together and are led nicely by Moore, who delivers a likeable performance of an awkward teen who feels real despite or perhaps because of the humorous tone of the story. R for language, sex, and violence.
DORA AND THE LOST CITY OF GOLD (PG) 95 minutes * * 1/2 Dora's (Isabela Merced) parents are off on an adventure, exploring a Lost City of Gold. Dora is left to explore the city where some of her relatives live. There's plenty to explore in that city, but it won't take long before it becomes clear that Dora needs to go rescue her parents. Mostly live action feature, aimed at fans of the Dora the Explorer series. It works well in that regard, but for others it gets a little overly silly. PG for violence and language.
DORIAN GRAY (2009) (R) 102 minutes * * The classic horror story about the man who sold his soul to remain young while his portrait ages. Of course, the price is higher than he espects, and tragedy is just around the corner. Colin Firth's performance adds a little bit of class here, but the rest of the performances fall short of being all that interesting, especially that of Ben Barnes as Dorian Gray. He seems to be doing little more than reading lines most of the time. R for sex and violence.
DOSTANA (NR) 137 minutes * * * Getting a great apartment is never easy. Sameer (Abhishek Bachchan) and Kunal (John Abraham) decide to pretend they are a gay couple to get what looks like a fantastic apartment. Now they have to figure out how to tell their roommate Neha (Priyanka Chopra) that they aren't. Since they have both fallen in love with her, it's going to be a little tricky. The script does well keeping the tone light, and there's plenty of catchy music which all works to keep this fun and entertaining.
THE DOUBLE (PG-13) 94 minutes * * 1/2 A senator is murdered and a former CIA agent will be working with a young FBI agent to try and solve the case. Topher Grace doesn't quite seem to fit here, though he doesn't do a bad job. There are a few twists and turns, but nothing out of the ordinary. The suspense isn't sustained throughout the film though, starting with a fair amount of intensity and then hesitating and just slowly unfolding during the second half. PG-13 for violence and language.
THE DOUBLE (2013) (R) 86 minutes * 1/2 Simon (Jesse Eisenberg) is having trouble getting ahead. But then again, Simon seems to have trouble with most everything. And then James shows up. He looks just like Simon, but acts completely the opposite. The mood is more often tinged with surrealism, and the few moments when it does lapse into a sort of realism, it actually becomes less understandable. Unfortunately, the story becomes overly self-conscious about the symbolism used throughout, which makes it less effective.Based on the Fyodor Dostoyevsky story, "The Double". R for language.
DOUBLE DRAGON (PG-13) 88 minutes * 1/2 Somewhere between the Power Rangers and Mortal Kombat... but falling short in both effects and story. It's 2007 in New Angeles and two brothers are fighting an evil billionaire for the pieces to a mystical medallion. Play the game, skip the movie.
DOUBLE EXPOSURE (R) 92 minutes * * ½ They’re just dreams, right? But when a photographer’s dreams of murder seem to be actually happening, he has to wonder if he is actually the killer and just doesn’t know it. Convincingly confusing, but perhaps almost too good at what it tries to do as we eventually just wait for the resolution to the story.
DOUBLE HOLIDAY (NR) 83 minutes * * 1/2 Rivals at work, Rebecca (Carly Pope) and Chris (Kristoffer Polaha) have just both been assigned to plan the office Christmas party, which is also serving asn an opportunity to land an account. Working together might have som unintended results.
THE DOUBLE HOUR (NR) 87 minutes * * 1/2 She's just a chambermaid, using a speed-dating service to find love. But there's something more to Sonia (Kseniya Rappoport) than meets the eye, as Guido (Filippo Timi) soon discovers. Interesting twists and turns in the story, but some are telegraphed, lessening the effect and making it almost too easy to tell what's coming. Nice ending though.
DOUBLE IMPACT (R) 104 minutes * * 1/2 Jean-Claude Van Damme plays twins in this action film. The story works pretty well here, though Van Damme's acting is still pretty much the same as in the rest of his films. R for violence and language.
DOUBLE JEOPARDY (R) 100 minutes * * 1/2 All seems perfect with the world. Libby's husband just bought her a sailboat and they take it out for a romantic cruise. But then he turns up missing and she's covered in blood... Convicted of his murder, she suspects that something else is going on and discovers that she can't be convicted for the same murder twice. It's a formula story, but Ashley Judd and Tommy Lee Jones make it easy to watch. Nothing outstanding, but it will look really nice on video. R for violence and language.
DOUBLE TAKE (PG-13) 84 minutes * * 1/2 Daryl (Orlando Jones) is just doing his job until he suddenly finds himself in the middle of a bad bank deal involving money laundering, Mexico, the CIA, FBI, and Freddy Tiffany (Eddie Griffin). The action and intrigue aren't too bad here, but you have to get past Griffin's rather abrasive comedy. Too much is made of Jones and Griffin and not enough of the story. The result gives us a comedy/action film that doesn't really stand out from the rest. PG-13 for language and violence.
DOUBLE TAKE (2009) (NR) 75 minutes * * Interesting piece of work, though the plot, if you can call it that, is rather strange. Retelling the Cuban/American/Russian political situation of the 1960s, but also incorporating the career of Alfred Hitchcock, with clips from his films, and his protrayal by a look-alike. At times, when it is reminding us of how powerful and manipulative the media can be, it is quite good. Then it seems to fall off course, and lose its way.
DOUBLE TEAM (R) 88 minutes * 1/2 Jean Claude Van Damme is back again, with another very mediocre film. This time out he's teamed up with Dennis Rodman, who can't act his way out of a wet paper bag. Too many of the players in this story of spies and double agents are hard to figure out and we quickly move to a point where we don't really care. Fight scenes are kept to a minimum and we are simply treated to a variety of explosions instead. R for violence and language.
DOUBLETIME (NR) 80 minutes * * Jump rope and double dutch had been separate sports for quite some time, but at this particular competition at the Apollo Theatre in New York, they are about to meet. Much of the focus in this documentary is on the youngest competitors and there's a little too much about the history and preparation, and not enough about the actual competition. Trimming a couple of minutes off of the history and prep and adding around ten minutes of competition would have made this a stronger presentation.
DOUBT (PG-13) 99 minutes * * * John Patrick Shanely adapts his own play to the big screen. Set in the 1960s, it's the story of a strong-willed nun who suspects that the local priest has abused a young black boy. His denial of the accusation means little to her as she begins to question not only Father Flynn (Philip Seymour Hoffman), but the Catholic church. It's a powerful drama that may well leave you with questions and doubts of your own. Winner of multiple awards, and a fine production with Meryl Streep's performance one of many great aspects of the film. PG-13 for language.
DOUBTING THOMAS (NR) 76 minutes * * Jen (Sarah Butler) and Tom (Will McFadden) are having a baby. But when the baby is born and is black, with Jen and Tom both white, there are questions. It's especially troubling since they share a good friend who just happens to be a black male. Heavy with dialogue, which just slows down the pace and doesn't really let us see how the characters are feeling, despite hearing them talk about it. The script also seems to dwell on a few issues and not really address several others.
DOUGH (NR) 91 minutes * * 1/2 Nat's (Jonathan Pryce) business has been struggling, and a local shyster is trying to buy him out. When he hires a local Muslim boy, sales start increasing dramatically. It might be the additional ingredient that has found it's way into the dough. Fun mix of comedy and drama that helps breath a little life into a tired story.
DOUGH BOYS (NR) 91 minutes * Four friends whose loyalty and street savvy will be put to the test as they get in over their heads. The characters here have almost no depth, and the dialogue is stiff and unrealistic. The acting by the leads isn't bad compared to the rest of the film, but most of the supporting roles are pretty poor, and the production quality is clearly very low-budget.
DOUG'S 1ST MOVIE (G) 70 minutes * * 1/2 Doug and his friends find and make friends with the monster from Lucky Duck Lake. Now they have to let people know the truth about the pollution in the lake. Very family oriented cartoon that is well-suited for the "under 8" crowd. Nothing spectacular as far as animation, but a wholesome story.
DOWN AND OUT IN BEVERLY HILLS (R) 100 minutes * * Life has been going quite well for Dave (Richard Drefuss) and Barbara (Bette Midler). And then, for no good reason they can see, a homeless man (Nick Nolte) tries to drown himself in their swimming pool. Making the decision to help him is going to change their lives. The mix of comedy, drama, and social commentary is not terribly convincing, though there are moments that work well. Adapted from the play by Rene Fauchois. R for sex and language.
DOWN IN THE DELTA (PG-13) 112 minutes * * * Things haven't been going to well for Loretta (Alfre Woodard), and the idea of going down to Mississippi to spend time with some relatives has as many drawbacks as it does benefits, but she goes anyway. It's a film about family and about history, about finding out who you are and who you want to be. Woodard gives a nice performance, as do Al Freeman Jr. and Esther Rolle. It runs a bit long, but the cast is appealing enough that we want to keep watching. Filmed in Toronto, Canada. PG-13 for language and violence.
DOWN IN THE FLOOD: BOB DYLAN, THE BAND, AND THE BASEMENT TAPES (NR) 113 minutes * * 1/2 The story of Dylan, his backup band, originally known as "The Hawks", and the infamous Woodstock recording of "The Basement Tapes". A fascinating look at the history of this unique musical collaboration.
DOWN PERISCOPE (PG-13) 87 minutes * * It may be the age of nuclear submarines, but Lt. Commander Dodge (Kelsey Grammer) is about to take a diesel submarine into war games. Full of great comic bits by several of the supporting cast, but there really isn't much substance to the film. Lightweight fun with just enough language thrown in to get the PG-13 rating.
DOWN THE SHORE (R) 90 minutes * * Bailey (James Gandolfini) has always loved Mary (Famke Janssen), though she eventually married his friend Wiley (Joseph Pope). When Jacques (Edoardo Costa) turns up to let Bailey know that his sister Susan (Maria Dizzia) died shortly after she married Jacques, the friendships of Bailey, Mary, and Wiley reach a tipping point. An intense story, with dark undertones, and a nice, quiet, sensitive performance by Gandolfini. R for language.
DOWN TO EARTH (PG-13) 81 minutes * 1/2 Sadly rehashed version of "Heaven Can Wait" has Chris Rock as a man taken before his time. Having his character be a stand up comedian who has to temporarily use the body of an older white man and still try to do his old routine in the clubs is in poor taste and requires little of Rock. Why bother with the story if you just want to hear his routine? The ending is cute, but Rock's fans deserve better than this. PG-13 for language.
DOWN TO YOU (PG-13) 86 minutes * * Cute little film about that special first love, with Freddie Prinze Jr. and Julia Stiles. Their performances make this easy to watch, but there isn't much substance. I don't usually care for narration in films like this, but it works well here and the editing is nicely done as well. PG-13 for language.
DOWN WITH LOVE (PG-13) 94 minutes * * She's written a book about how women need to stop loving so they can be as successful as men. He's the "ladies man, man's man, man about town" and when they meet... Campy, romantic fun, though it's definitely a bit contrived most of the time. Set in the 1960s, this does a good job of creating that atmosphere except for the sexual undertones that get a bit stronger than necessary. The script is sharp and witty though and the sets, costumes, and props really help set the mood. Ewan MacGregor and Reneee Zellweger do their own singing here too. PG-13 for language.
DOWNHILL (R) 80 minutes * 1/2 A skiing vacation in the Alps turns sour when an avalanche happens. Pete (Will Ferrell) runs to protect himself and his phone. Billie's (Julia Louis-Dreyfuss) first reaction is to protect their children. She is rather traumatized by the experience, but Pete acts like it was nothing. Too much of the story is played for laughs while the overall sense of the story is clearly not funny at all. The mix doesn't work well, though it's not the first time Ferrell has been in a film where that mix doesn't work. R for language and sex.
DOWNLOADING NANCY (NR) 93 minutes * * 1/2 When his wife leaves, Albert (Rufus Sewell) has to deal with how poorly their marriage was working. Abused as a child, Nancy (Maria Bello) only understands love through pain. He prefers a more platonic relationship, but she has found someone else who meets her needs. Unsettling and haunting story that is intense throughout and tragic in it's conclusion. Filmed in Regina, Saskatchewan.
DOWNSIZING (R) 129 minutes * * * The planet's resources are dwindling, and now there's a new procedure available. It will shrink people to around 5" tall. What that means for the planet is that your impact on the environment is minimal, and what it means for your bank account is that your money will buy a lot more. It's not without problems, and Paul (Matt Damon) is struggling with what life in this new world means. It's a reminder to those of us watching, that no act or gesture is too small to have meaning. R for language and nudity.
DOWNTON ABBEY (PG) 117 minutes * * * The Crowley family are preparing for the King and Queen, who have announced that they will be spending the night at Downton Abbey. The staff of the estate are more than a little flustered and on edge. This comes in part from the fact that the event is not happening quite as expected, and their responsibilities are changing, but that's often the case at Downton Abbey. They will adjust, and it will all work out. A wonderful companion piece to the television series, but it also stands quite well on its own. PG for language.
DOWNTON ABBEY: A NEW ERA (PG) 121 minutes * * * When the dowager countess (Maggie Smith) inherits a villa, the Crawley family heads to the south of France to see if they can uncover why this fortuitous turn of events occured. Plenty of light-hearted drama, but a sombre ending. This follow-up to the first feature film is definitely a treat for the fans, though it relies a bit heavily on the series as well as the first film. PG for language.
DOWNTOWN (R) 92 minutes * * 1/2 Everything has been working well for Detective Dennis Curren (Forest Whitaker) until he stops an important businessman one day. It was a man who didn't appreciate being stopped and now Curren is working downtown instead of at the rich suburb station. Some people think he won't be able to make it, but they're in for a surprise. The story is quite good and there are some great performances in supporting roles. If anything, the story is actually overly ambitious in how much ground it covers. The car chase scenes are a little weak, but the villains are quite nasty, which is essential if we're to have a story for our heroes to work with.
DR. DOLITTLE (PG-13) 78 minutes * * Mercifully short and non-musical version of the Hugh Lofting stories that stars Eddie Murphy as the man who has a rather unique ability. It's a moderately entertaining film with a message that reminds us to "be who you are". The best parts of the film are the voices of the various animals, provided by a variety of actors and comedians and actors that include Ellen DeGeneris, Cybil Shepherd, Chris Rock, Gary Shandling, Gilbert Gottfried, Albert Brooks, and Julie Kavner. PG-13 for language.
DR. DOLITTLE 2 (PG) 81 minutes * * Dolittle is called upon to save a forest. Can he convince a circus bear to live in the woods and be a father, thus putting an endangered species in the forest so the federal government can protect the land? He IS the doctor! Moderately cute sequel. Mostly fluff, but it's fun to watch. PG for language.
DR. DOLITTLE 3 (PG) 90 minutes * * Another fluff sequel, this one straight to video and without Eddie Murphy. His daughter Maya (Kyla Pratt) is the star here, but her ability to communicate with animals like her father is creating problems at school, so her mother sends her off to a ranch for the summer. Of course the ranch is in financial trouble and Maya's ability to talk to the animals will prove essential in saving it. Mildly cute and fun. PG for language.
DR. DOLITTLE: MILLION DOLLAR MUTTS (PG) 82 minutes * 1/2 Maya (Kyla Pratt) is off to veterinary schol, but finds herself discouraged by the amount of time it will take before she can actually start helping animals, But the shortcut she decides to take puts her on a talk show where she isn't sure she's doing what will best help her animal friends either. There's really only one note for the story to hit here, and that happens fairly early on. PG for language.
DR. DOLITTLE: TAIL TO THE CHIEF (PG) 83 minutes * 1/2 Maya (Kyla Pratt) has to help the president with some animal trouble, and in the process shows that she is a responsible person who knows how to deal with her own problems. Dripping with morality and positive value statements, and almost all of the performances are rather stiff. Children under 10 may find this cute, but not many others. PG for language.
DR. GIGGLES (R) 92 minutes BOMB Lunatic doctor's son escapes from an asylum and returns home to begin a killing spree. Cheap film with transparent story, horrible acting, and little else.
DR. JEKYLL AND MR. HYDE (NR) 88 minutes * * A talented doctor (Dougray Scott) finds a way to split his nature into good and bad in an effort to expell what is bad. Having lost control, he tries desperately to find a cure. A good portion of the film focuses on the legal aspect as Jekyll feels that the death penalty is his only option. It's an interesting way to modernize the story and still allow for the sinister twist at the end that we know is coming.
DR. JEKYLL AND MS. HYDE (PG-13) 86 minutes * * This verson of the classic story has TV show "Wings" star Tim Daly transforming into Sean Young.... it's lightweight fun, that is mercifully short. The special effects are fine, but you can't help but think that this could've been handled in even less time. A rather mindless film to watch, so make sure you have coupons to sort, a jigsaw puzzle to do, or junk mail to go through while you watch it. PG-13 for language.
DR. T & THE WOMEN (R) 116 minutes * Dr. Travis (Richard Gere) loves his wife too much and she's having a mental breakdown due to this excessive love... In his frustration with how to deal with this situation, he finds comfort in the arms of a new golf instructor. Far from being the typical Robert Altman film, this seems little more than a venue to play Richard Gere off of several female characters. Most Altman films are characterized by a freshness and depth of character that are missing here. The cast of females is impressive, but they're given little to do and that's a real shame. Helen Hunt, Shelley Long, Farah Fawcett, Laura Dern, Kate Hudson, and Liv Tyler. The ending does add some interest, but most people will have a hard time waiting to get there. R for language and nudity.
DRACANO (NR) 89 minutes BOMB Professor Simon Lowell (Corin Nemec) is trying to find a way to control volcanic eruptions and to harness their power. That technology just might come in handy since a bunch of volcanoes are about to erupt and release the dragons that have been hibernating inside waiting to take over the world. Silly special effects, bad dialogue and even worse acting.
DRACULA (NR) 273 minutes * * Jonathan Harker (John Heffernan) pays a visit to the mysterious Count Dracula (Claes Bang) at his estate in Transylvania. The story does jump around a little, which makes continuity an issue. Particularly jarring is the shift in the last ninety minutes to a future that doesn't fit with the rest of the film. The pacing also manages to drag in some spots despite having very good intensity in others. The story is not all that true to the source material, but it does still manage to create the mood quite well. Bang does a nice job, as does dolly Wells, playing the part of Sister Agatha Van Helsing.
DRACULA: DEAD AND LOVING IT (PG-13) 85 minutes * Slow going though this parody of Dracula films starring Leslie Nielsen. Mel Brooks stretches himself way too thin once again, by directing, producing, acting, and co-authoring the screenplay. He used to be able to handle working on so many different aspects of a film, but a box-office hit hasn't come his way in a long time.
DRACULA REBORN (NR) 86 minutes * ½ Dracula comes to town, looking to buy a building. Now, there are bodies turning up and people having strange dreams. An adaptation of the Bram Stoker novel in a modern setting, but dry and cut-rate, with mediocre to poor special effects and acting, and a script that clearly does not do justice to the novel.
DRACULA III: LEGACY (R) 87 minutes * * Father Uffizi (Jason Scott Lee) is infected with the vampire virus and needs to find a cure. Chasing Dracula (Rutger Hauer), Uffizi and Luke (Jason London) find themselves in Eastern Europe, where the Count has set himself up with a constant food supply. Hauer's presence helps this a little, but London does not. R for violence, sex, and language.
DRACULA 3D (NR) 100 minutes * 1/2 Dario Argento's version of Dracula is not the most impressive on record, with bad CGI effects and a leading man (Thomas Kretschmann) who takes far too long to create much of a Dracula to be interesting. The film does do a nice job of capturing a 1970s style with both the music and the dialogue, and the 3D effects are not overly annoying, which is often a problem.
DRACULA II: ASCENSION (R) 82 minutes * 1/2 $30 million. That's what is being offered for the body of Dracula. A group of young medical students discovered the body, but a vampire killer (Jason Scott Lee) is looking to put the Count to rest. Permanently. A sequel to Wes Craven's "Dracula 2000", with an unsatisfying ending that leaves us set up for part three. R for violence.
DRACULA 2000 (R) 93 minutes * 1/2 A group of rather idiotic and greedy young people who work for Abraham VanHelsing (Christopher Plummer) break into a vault and release Dracula from his sealed crypt. There are some nice touches here and there, though most of the effects are noticeably low-budget. The worst comes toward the end, as the "true" identity of Dracula is revealed. R for violence, language, and nudity.
DRACULA UNTOLD (PG-13) 85 minutes * * * When the Turks threaten his kingdom, Prince Vlad (Luke Evans) must either concede to their demands or fight back. But to fight back and succeed means to become a monster. This is the story of the beginning of the man who would become known as Dracula. A somewhat more historical take on the story, though it is still a vampire horror film. Very nice effects and a solid performance by Evans. Filmed in Northern Ireland. PG-13 for violence and sex.
DRAFT DAY (R) 103 minutes * * * It's draft day in the NFL, and Sonny (Kevin Costner) needs to do something spectacular for the Cleveland Browns. Otherwise, his job as general manager may be done. He's got a few tricks in mind, but he also knows that it can get rather slippery as the clock keeps ticking, and he's going to have to bring his own best game if he expects to come out of this still standing. Nice work by Costner, though Jennifer Garner doesn't fare as well as his love interest, and in many ways really doesn't need to be there for the story to work well. Several nice supporting roles for the rest of the cast. R for language.
DRAG ME TO HELL (PG-13) 94 minutes * 1/2 Refusing to extend the mortgage for a gypsy woman results in Chris being cursed with a Lamia that will be coming for her soul in just three days. It's a morality tale, and there is some nice photography, using shadows to create suspense. Too bad they ruin most of that by using cheap noise scares in other segments and having scenes that are so far-fetched that they are laughable. PG-13 for violence and language.
DRAGGED ACROSS CONCRETE (R) 150 minutes * * * Brett (Mel Gibson) and Anthony (Vince Vaughn) are good cops. A bit extreme in their tactics, which gets them into some trouble on their latest bust. The story moves slowly, but draws us in carefully, making it seem not quite as long as it is. Very nice work by the cast and writer/director S. Craig Zahler. R for violence, language, and sex.
DRAGNET (PG-13) 110 minutes * 1/2 Overlong and comic treatment of the classic television series. Tom Hanks and Dan Aykroyd try hard, but the script, which Aykroyd co-wrote, just isn't that funny. Perhaps as a short skit it might have worked...
DRAGON (R) 94 minutes * * * Tang Long (Donnie Yen) just wants to start over and live a quiet life. The problem is that because of some of his past dealings, he's being purseud by both a detective and his old master. The concept of honor does allow for new beginnings, but not before old debts are paid. While the emphasis here is on the story, there are also some great hand-to-hand martial arts fight scenes. R for violence.
DRAGON BLADE (R) 101 minutes * * 1/2 China's Silk Road was the site of many conflicts as people struggled to control the trade that happened along it. As is typical for a Jackie Chan film, there is humor, though it drifts away in favor of the more serious aspects of the story as the film moves along. There are some nice large-scale battle scenes here as well as quite a few individual fights with swordplay. R for violence.
DRAGON FURY (NR) 86 minutes BOMB Deep in the mountains, near an area exposed to heavy radiation, a unique creature exists. Vanessa (Nicola Wright) is leading a team to retrieve it... hopefully alive. They would have done better if they'd gone searching for acting lessons... and a better CGI team.
DRAGON HUNTERS (PG) 73 minutes * Lian is a dragun hunter, but he hasn't been making much money lately. But now a kingdom is in need of his services... to defeat the world gobbler. The characters are wonderful, but the story is more than a little on the dark and sinister side for the younger crowd, and with so much crude language and negative attitude, the appeal is rather limited. When you add in the very anti-climactic ending, you don't have much left. PG for violence and language.
DRAGON NEST: WARRIOR'S DAWN (NR) 83 minutes * * The elf and human kingdoms must join forces if they have any hope of vanquishing the black dragon. Our group of heroes is a mixed bunch, some with serious talent and skills, while others are more humorous in their approach to the quest they are all on. The animation is also rather mixed in quality. There are lots of battle scenes with very impressive music, but as a whole, this just never really comes together the way it needs to. DRAGON: THE BRUCE LEE STORY (PG-13) 115 minutes * * 1/2 Jason Scott Lee stars as the legendary Bruce Lee in this reasonably good bio-pic that emphasizes not the way in which he died, but the way in which the man lived. Dedicated to his art, but a man with a great sense of humor and a well-rounded life outside the world of martial arts. PG-13 for violence.
DRAGONBALL EVOLUTION (PG) 73 minutes * * 1/2 Piccolo (James Marsters) has returned and Goku (Justin Chatwin) must find the seven dragonballs before the eclipse in order to save the world. In print and animated, it's fun to see this turn into a live action film. Fast-paced and focused on action, with simple, but effective special effects. A brief but fun adventure for fans of the series. PG for violence and language.
DRAGONBALL SUPER: BROLY (PG) 96 minutes * * Broly is a Saiyan warrior, and one of the most challenging foes that Goku and Vegeta have ever faced. The story isn't very deep because most of the film is simply one fight sequence after another. PG for violence and language.
DRAGONBALL Z: RESURRECTION F (NR) 90 minutes * * Lord Frieza is brought back to life, and it will take everything Goku and his friends have to defeat the power-crazed maniac. Fans of the series will enjoy this but others are likely to be lost unless they've seen, or at least read, enough of the series to be very familiar with the characters already.
DRAGONFLY (PG-13) 98 minutes * * Joe's (Kevin Costner) wife dies and he has always believed that death is the end of life. It seems that he might have been mistaken. Perhaps there is something else and his wife is trying to reach him... or is it only that he imagines it? The story here loses much of its strength as it wavers between the supernatural and the scientific, between hope and cynicism. John Debney's music does a nice job of setting the mood throughout the film. By the time we get to the end, the story is a little bit on the sentimental side and tries too hard to wrap things up in a nice package for us to answer all of our questions. Some questions are better left unanswered. Filmed in Los Angeles, Chicago, and Kauai. PG-13 for language.
DRAGONHEART (PG-13) 96 minutes * * 1/2 The story here is a bit dreary and long-winded, with far too much dialogue to keep the pace as exciting as it should be. Dennis Quaid and Drago (whose appearance was even modeled after that of Sean Connery, who provides the voice) are entertaining. The special effects for Drago are amazing, especially when Drago swims just beneath the surface of the lake. But this lacks the epic feeling of other sword and sorcery films and leaves us with a few moments of entertainment rather than a whole story we will remember. PG-13 for language and violence.
DRAGONHEART 3: THE SORCERER'S CURSE (PG-13) 92 minutes * * 1/2 Looking for gold, Gareth (Julian Morris) finds a dragon instead. And in his quest to become a knight, he learns far more than he ever thought possible. Nice effects and entertaining characters, though we don't really have much time to see them develop. PG-13 for violence.
DRAGONHEART VENGEANCE (PG-13) 92 minutes * 1/2 Siveth is an ice breathing dragon who was banished from the kingdom for not protecting her king. But young Lukas (Jack Kane) forms a bond with Siveth, and along with Darius (Joseph Millson), a sword for hire, he may be able to have the vengeance he desires fro the slaughter of his family. This has a few good moments, but too often remains in the low-budget sword and sorcery realm. The effects aren't bad, but they aren't very impressive either. PG-13 for violence.
THE DRAGONPHOENIX CHRONICLES: INDOMITABLE (NR) 121 minutes * An enslaved warrior escapes his captors and begins the long and treacherous journey home. Low budget sword and sorcery adventure. Too many sequences with no dialogue and little in the way of action. All that does is allow us more time to notie the production values, or lack thereof. The ending isn't too bad if you can make it that far.
DREAM A LITTLE DREAM (PG-13) 108 minutes * 1/2 Coleman Ettinger (Jason Robards) loves to experiment with reality. He feels that dreams offer us clues to the possibility of eternal existence. His wife Gena (Piper Laurie), tolerates what she feels are eccentric ideas because she is devoted to her husband. Thanks to a bicycle accident (don't even ask) Coleman and Gena find themselves switched with two much younger people. The film is very poorly edited and the already tired story is sabotaged with a sappy ending that makes us wonder why they even bothered.
DREAM HORSE (PG) 107 minutes * * * It shouldn't have worked. Jan Vokes (Toni Collette) knew very little about horse racing, though she did know something about breeding. So, after she buys a brood mare and convinces some neighbors to invest... Sometimes magic happens. and that's exactly what happens with Dream Alliance, a championship race horse owned by a group of neighbors and friends. Based on the actual events. PG for language.
DREAM HOUSE (PG-13) 85 minutes * * 1/2 Will (Daniel Craig) quits his job to be able to spend more time with his family. But it turns out that the new house they just bought has a rather sordid history. As Will struggles to unciver and understand what it means, he gets a little more than he bargained for. Nice ending with well-maintained suspense. It doesn't hurt to have talented co-stars like Naomi Watts and Rachel Weisz around either. PG-13 for violence, sex, and language.
DREAM/KILLER (NR) 107 minutes * * * Arrested and convicted of a murder, Ryan Ferguson was caught by surprise at the description of events by his friend, Chuck Erickson. That testimony not only placed him at the scene, but accused him of being primarily responsible for the murder. This documentary explores the judicial system and how easily it can be abused at the expense of an innocent person.
THE DREAM TEAM (PG-13) 107 minutes * * Michael Keaton, Christopher Lloyd, Peter Boyle, and Stephen Furst are four mental hospital patients who get separated from their doctor while on a field trip, only to discover that there are some pretty crazy people who live on the outside. Lightweight and mildly entertaining thanks to the cast, but they really deserved a better script than this.
DREAMBUILDERS (NR) 77 minutes * * 1/2 Minna (voiced by Emilie Kroyer Koppel) is more than a little frustrated with her new stepsister and stepmother. Things were perfect before they arrived. Then she discovers the world of the dreambuilders, and that she has the power to create and manipulate the dreams of others. Very good animation. The story is a little intense, but has a very good message and a good mix of humor that doesn't run away with the story.
DREAMCATCHER (R) 136 minutes * * * Nicely adapted screenplay (by William Goldman and director Laurence Kasdan) of Stephen King's rather creepy alien body-snatcher story. It's a great story, but much like the book, it takes awhile to figure out what's going on. By the time you do figure it out (about halfway through for most people), there aren't any surprises left. There are some nice effects, and James Newton Howard gives us a very different soundtrack that is quite effective in creating the mood. Filmed in British Columbia. R for violence and language.
DREAMER (PG-13) 99 minutes * * * One bad break after anothr for Ben Crane (Kurt Russell), but he's a great horseman, and Sonador is a great race horse. When racing is in your blood, it's what you do. Great family film with all the magic of dreaming and the hard work it takes to help make them come true. Sentimental and predictable to be sure, but still nicely done with yet another strong performance from Dakota Fanning. Also starring Kris Kristofferson, Elisabeth Shue, David Morse, and Oded Fehr. PG-13 for language and violence.
DREAMGIRLS (PG-13) 121 minutes * * * Film adaptation of the Broadway musical about the difficulties encountered by three African-American female singers trying to succeed in the music business. Despite their phenomenal talents, it will take dedication, sacrifice, and more than a little luck. Good performances throughout, though the best by far is from newcomer Jennifer Hudson. The real star is the soundtrack, including new material not in the Broadway version, but very well-suited to the show. PG-13 for language and sex.
DREAMKATCHER (R) 77 minutes * To try and keep his bad dreams away, Josh (Finlay Wojtak-Hissong) steals a dreamcatcher. But this is a special one, and it will end up releasing an evil spirit that is going to make things much worse for Josh and Gail (Radha Mitchell). There are a couple of creepy moments and some good sound effects, but the stry lacks both creativity and originality. Mitchell comes across better than anyone else here, but there's just not enough material for her to do much with. R for violence and language.
DREAMLAND (PG-13) 85 minutes * * * While Audrey (Agnes Bruckner) dreams of leaving the trailer park she calls home, she also feels like she is needed there. Her father is trapped in the past and used alcohol to sooth his sense of loss. Her best friend Calista (Kelli Garner) has dreams of being Miss America, despite how unattainable that is for her. Mookie's (Justin Long) arrival throws things just enough out of balance that Audrey realizes that she must make a choice. It's a gentle, quiet film, with a slow and easy pace, fine performances by the cast, and a script by Tom Willett that creates characters we care about. That's no small task. PG-13 for language and sex.
DREAMLAND (2019) (R) 94 minutes * * * Eugene (Finn Cole) would love to find the outlaw Allison Wells (Margot Robbie) so he can collect the reaward and help his family. When he does find her, another possibility arises. One that had never occured to him before. Perhaps he could go to Mexico with her and live the life he has dreamed about. A well-told story with a very nice script by Nicolaas Zwart and fine performances by the cast. R for violence, language, and sex.
THE DREAMLIFE OF ANGELS (R) 113 minutes * * * 1/2 Two women with almost nothing in common meet at a clothing factory and end up sharing living quarters. It's an incredible character study as we watch them interact. And it's also tragic, as hope and despair meet and mingle in this dramatic French film. Elodie Bouchez and Natacha Regnier shared a best actress award for their performances.
DREAMS OF A LIFE (NR) 88 minutes * * * Joyce Vincent was found in her apartment with the television on and Christmas presents lying nearby. She had been dead for three years. This is her story, told through interviews with some of the people who knew her as well as with some reenactment footage. Only a few seconds of film give us a brief look at the real woman, and the interviews and information from the police investigation try to fill in more of the picture. A bit depressing, but the film does the best it can to honor her memory when so little was known about her.
DREAMSCAPE (PG-13) 96 minutes * * ½ Dream sharing and manipulation are becoming more commonplace, and Alex (Dennis Quaid) is very good at it. But as he begins to work for the government on a project, he begins to wonder if there are others doing the same work. The story isn’t as complete as it need to be, despite having a promising start. PG-13 for violence, sex, and language.
DREDD (R) 91 minutes * * 1/2 Judge. Jury. Executioner. They help maintain order in a world that has come undone. Dredd (Karl Urban) is one such judge, and he's just been assigned a very special rookie (Olivia Thirlby) to assess. But the job they've just taken on has them trapped inside a building and being hunted by a ruthless gang. This version is much more dirty and gritty than the 1995 version, and it also works better. R for violence, language, and sex.
DRESSED TO KILL (NR) 92 minutes * * 1/2 The assumption is that the parish chairwoman is dead because of her bias against the upcoming drag show and those participating in it. All is not what it seems, and Barnaby (Neil Dudgeon) will have to find the truth.
THE DRESSER (PG) 117 minutes * * * * Art mimics life as a Shakespearean theatre troupe performs King Lear during the London Blitz. The world is collapsing around them, but Sir (Albert Finney), as the head of the troupe, has determined that the performance will go on. His dresser (Tom Courtenay) is devoted to him, despite, or perhaps even more because of, his deteriorating condition. Their lives and interactions mirror those of Lear and the Fool in the play. A tour de force for both Finney and Courtenay, earning them both Oscar nominations along with ones for picture, director, and script.
THE DRESSER (2015) (NR) 104 minutes * * 1/2 The story of an actor nearing the end of his career, and the personal assistant who has worked for him for many years. Based on a very successful play, which was adapted in 1983 into an award winning film. Despite the stellar team of Ian McKellan, Anthony Hopkins, and Emily Watson, this version is less sympathetic and sincere, though it does finish better than it begins.
THE DRESSMAKER (R) 114 minutes * * * Once upon a time, Tilly (Kate Winslet) was accused of murdering a boy. Run out of town at the time, it is now many years later, and she has returned. She has some plans on how to deal with her accusers. An unusual mix of humor and drama here, with many of the scenes working very well. The less successful aspect is how the scenes don't fit together all that well. It gets a little better as it goes along, but then wraps up too quickly. R for language and violence.
THE DRIFTLESS AREA (R) 91 minutes * * * A gentle, though very eclectic story. There are some hints about the direction the story will take before it eventually reveals itself, but the timing works. Still, the philosophical elements that are presented here needed more time to be expanded on, and in the absence of a few more minutes of story, you may want to watch this a second time to let it sink in a bit more deeply. R for language and violence.
DRILLBIT TAYLOR (PG-13) 106 minutes * * All Wade and Ryan wanted was to not be picked on at school. They hire a bodyguard (Owen Wilson) who is... not what he seems. Somehow he still manages to help the boys learn some valuable lessons about life, friends, and growing up. Passable coming of age film with comic bits throughout. The story doesn't have much to offer, but the performances are fairly good. PG-13 for language and nudity.
DRINKING BUDDIES (R) 87 minutes * * 1/2 Co-workers at a brewery find that their friendly relationship may run deeper than they suspected when they spend a weekend together with their significant others. Writer/director Joe Swanberg's script has an ad-lib style that lends a sense of realism to these characters, and Olivia Wilde in particular seems very comfortable with it. R for language.
DRIVE (R) 95 minutes * * 1/2 Low-key action film, with Ryan Gosling as a getaway driver who helps out a neighbor and lands in a heap of trouble. Gosling does a nice job of being almost unnervingly steady and quiet. R for violence, language, and nudity.
DRIVE ANGRY (R) 96 minutes * 1/2 The people who just killed Milton's (Nicolas Cage) daughter and kidnapped his granddaughter, are about to regret it. He's coming back from hell to get revenge and rescue his granddaughter. The violence is cartoonish and plays far too much to the 3D that his was originally released in. The characters are overplayed to a great extent, but Cage and William Fichtner have fun with it. There are moments when this is quite fun, but at other times its rather tiring. R for violence, sex, and language.
DRIVE ME CRAZY (PG-13) 86 minutes * * The big 100 year celebration for their high school is just around the corner, but Nicole (Melissa Joan Hart) and Chase (Adrian Grenier) are both having relationship problems. They decide to hook up for the dance and get back at their former partners. Of course, what begins as retaliation soon becomes a lesson in the give and take of relationships. The film relies heavily on Hart, but she has an easy-going style that is pleasant enough. Keri Lynn Pratt is the one to watch though. Her small part as Dee Vine, is quite impressive. Filmed in Utah. PG-13 for language.
DRIVE MY CAR (NR) 177 minutes * * * Yusuke Kafuku (Hidetoshi Nishijima) has felt rather lost since the death of his wife. He accepts an offer to direct a production of Uncle Vanya at a theater festival. The festival staff assign him a chauffer (Toko Miura). The rehearsals for the play grow tense and frustrating, but with the unexpected help of his chauffer, Yusuke begins to deal with his past so that he can move on. A slow-moving film but thoughtful film.
DRIVE THRU (R) 79 minutes 1/2 Well, if you ever wanted to know what would happen if you cross a slasher film with killer clowns and a ouija board... here you go. Mildy funny in a few scenes, and mildly scary a couple of times. Mostly though, this is a well-intentioned miss-fire. R for violence, language, and sex.
DRIVEN (PG-13) 108 minutes * * Jimmy Bly (Kip Pardue) is the hottest new driver on the Grand Prix circuit, but he's already starting to show signs of cracking under the stress. Enter Joe Tanto (Sylvester Stallone), an old pro who is brought in to be a mentor. You see, winning isn't just coming in first in a race, it's an attitude that you have about life. There are some nice racing sequences and some great music for the soundtrack. The accidents are a bit too spectacular and the computer generated effects almost comical at times. Some of that won't look so bad when this is on video, but the two-dimensional characters still won't look better. Ten minutes worth of trimming and this would've looked alot better. PG-13 for violence and language.
DRIVEN (2018) (R) 108 minutes * * Jim Hoffman (Jason Sudeikis) has worked himself into a bit of a corner. If he agrees to help the FBI, he might be able to stay out of jail. As it turns out, Jim's new neighbor is John DeLorean (Lee Pace), and DeLorean is looking for large sums of money that he needs to keep his company going. Investors are hard to find, but there might be another way to raise cash quickly. DeLorean might be open to something a little less conventional if it helps him acquire the financing he's looking for. The script and direction, along with Sudeikis' performance are less convincing in the first half of the film, where it keeps looking like it wants to be a comedy. The story settles down in the second half with better pacing and a steady mood, giving us a nice finish. R for language and sex.
DRIVEN TO KILL (R) 94 minutes * He's just trying to write a novel, but his gangland past has come back to haunt him and now he has to go after those who attacked his daughter. Typical Stephen Seagal film with plenty of two-dimensional characters and one-sided fight scenes. R for violence, language, and sex.
THE DRIVER (NR) 179 minutes * * Working as a taxi driver has its limitations, so Vince (David Morrissey) takes on a special driving job to earn some extra money. But when his conscience gets in the way of his new job, things don't go very well. Originally presented as a mini-series, this is overly long, and the ending is anti-climactic. Trimming 20-30 minutes would have tightened up the pacing and given this a little more energy.
THE DRIVER (2019) (R) 95 minutes * There was a time when "The Driver" (Mark Dacascos) was a hitman. Now, he's defending his family against the undead. The compound is safe for the moment, but it will not last. He wonders if anything will. Dacascos isn't great here, but to be fair, the script is horrible. Dacascos' daughter Noelani plays his daughter in the film and deals with the same issue. R for violence and language.
DRIVEWAYS (NR) 78 minutes * * * Cody (Lucas Jaye) has to go help his mom clean out his aunt's house since she died. He had hoped it would only be a couple of days, but the days soon turn into weeks. The old man (Brian Dennehy) next door soon becomes a friend, and having someone to talk to Del as well. Nice work as always from Dennehy, and a very nice job by Jaye, in a gentle and thoughtful film.
DRIVING LESSONS (PG-13) 93 minutes * * * Coming-of-age story featuring Rupert Grint as Ben, a boy struggling to break away from a domineering and over-protective mother and not be like his own father, who seems to be so docile and accepting. Dame Evie (Julie Walters) is just what he needs... an outspoken, eccentric, who knows the importance of living life to its fullest. The quirkier aspects of the story remind us of "Harold and Maude", but this is more low-key and gentle. Nice work by both Grint and Walters. PG-13 for language and sex.
DRIVING MISS DAISY (PG) 95 minutes * * * * This is a story of independence, aging, the South, class differences, and the unbreakable bond of friendship. Jessica Tandy is sheer perfection as Miss Daisy, and Morgan Freeman brings to the screen the role he played so well on Broadway. Dan Aykroyd delivers one of his best performances as well. Adapted for the screen by Alfred Uhry from his play, this filmed version fills out the story quite nicely, giving us some extra material to add depth to the characters.
DRONE (NR) 86 minutes * * 1/2 Neil (Sean Bean) is a contractor for the CIA. When one of the drones kills a target, there are civilians who are killed. Sometimes that happens. It's an unfortunate part of war. But this particular time, those civilians happen to be the family members of a man who makes it his mission to find out who pulled the trigger and to make them pay for what they did. The story presents some interesting questions, but doesn't really go very far with them. The cast does a good job of creating characters on both sides of the issue that we find easy to relate to though.
THE DRONE (R) 80 minutes 1/2 After moving into their new home, Chris (John Brotherton) finds a drone in the trash. Rachel (Alex Essoe) isn't thrilled, but decides that she'll tolerate it. That is, until it starts operating on its own. It would appear that it has been possessed by the spirit of its previous owner... who just happened to be a serial killer. The premise is just never remotely convincing and the film takes itself too seriously. R for violence, language, and sex.
DRONE WARS (NR) 80 minutes BOMB Horrible visual effects, almost all of which we find ourselves subjected to more than once. Unfortunately, they aren't all that much worse than the script and the acting. And it doesn't take much thought to realize that there never seems to be much of a reason for the story except that you start out on the losing side of a video game of sorts.
DRONES (NR) 75 minutes * * One push of a button and a terrorist is dead. But what about the people around them? The children and the elderly? What if the terrorist is misidentified? But disobeying orders and not pushing that button can have life-altering consequences. More than a little difficult to believe, but the intensity at the end of the film works well.
THE DROP (R) 101 minutes * * * Bob (Tom Hardy) is a simple and straight-forward kind of guy. But when the bar he works at is robbed, life starts getting complicated and everything seems to be part of something bigger. Excellent work by Hardy in this adaptation of Dennis Lehane's short story, "Animal Rescue". R for violence and language.
DROP DEAD FRED (PG-13) 96 minutes * * 1/2 Phoebe Cates gets revisited by her childhood imaginary friend as things get a bit stressed in her life. Those who had imaginary friends will find this much more entertaining than those who didn't. And we should have heard a rendition of "Puff the Magic Dragon" in the soundtrack. Somebody slipped up on that one.
DROP DEAD SEXY (R) 80 minutes * * It seemed like a good idea at the time. Who would care if they dug up a corpse to take a necklace. But when the necklace isn't there, they have a problem... what to do with the body... Slightly convoluted story that is fun at times, but Jason Lee never seems to take any of it seriously. Crispin Glover handles the balance of comedy and drama more effectively, with a performance that is more sincere, and thus more humorous when it needs to be. R for sex, language, and violence.
DROP ZONE (R) 97 minutes * * * Stretching believability as do most action/thrillers, this one features Wesley Snipes as he learns parachuting skills to help solve the case he's working on. Yancy Butler is his teacher, doing an outstanding job of teaching him the ups and downs of the trade. Packed with action and plenty of stuntwork, as is typical of a film directed by John Badham, this is worth a look despite the somewhat weak plot. R for violence and language.
THE DROWNING (NR) 95 minutes * * 1/2 When Danny (Avan Jogla) was eleven, he committed a murder. He's out of prison now, and his path once again crosses that of Tom Seymour (Josh Charles), the psychiatrist who worked with him during as a child. How much is Tom responsible for what happened to Danny, and what actually did happen? Chilling ending, but the story is one that mostly asks questions and hints at possibilities without ever giving specifics.
DROWNING MONA (PG-13) 90 minutes * * 1/2 Set in Verplanck, NY, where the Yugo automobile was tested, which explains why everyone in the cast is driving one, and perhaps why the story is a little unusual. When Mona (Bette Midler) drives her son's Yugo off a cliff, quite a few people feel guilty... because no one's really sad that she's gone. Plenty of fun characters to watch here, but the mystery and its solution become a bit burdensome as the film goes along. PG-13 for language, violence, and sex.
THE DROWNSMAN (NR) 82 minutes * Madison (Michelle Mylett) has hydrophobia, the fear of water. It stems from a near drowning experience, but there may be a little more to it than that. When her friends try to stage an intervention to help her deal with her fear, that "something extra" begins to rear its ugly head. Creepy, but overly repetitive, and with an ending that is just nonsense.
DRUGSTORE COWBOY (R) 98 minutes * * 1/2 Matt Dillon and Kelly Lynch star in the story of a group of drug addicts, led by Dillon, who rob drugstores to support their drug habits. It's moody and intriguing, and doesn't use the usual approach to this topic, instead choosing to just show us who these people really are. "Most people don't know how they're going to feel from one minute to the next. All the drug addict has to do is read the labels." (Dillon)
DRUMLINE (PG-13) 112 minutes * 1/2 It's Atlanta A & T marching band training and a brand new crop of freshmen have just arrived. Devon (Nick Cannon) is extrememly talented, but his attitude is covering up a weakness that will soon be uncovered. Acting, direction, and script are all in need of some help here, but the music is solid and the last fifteen minutes of the film feature a very nice drumline challenge. PG-13 for language.
THE DRUMMER (NR) 109 minutes * * * In trouble with both his gangster father and another businessman, Sid (Jaycee Chan) runs away to the mountains where he finds a grou pf Zen drummers. Sid loves to play drums, so he thinks its a great idea. But learning to play these drums is more challenging than he expects, though he will learn about life and about himself in the process. A bit uneven at times, with perhaps a bit too much emphasis on the gangster aspect, but still quite good.
DRUNK STONED BRILLIANT DEAD: THE STORY OF THE NATIONAL LAMPOON (NR) 92 minutes * * Rather dry history of the magazine and its various projects. It's interesting to hear some of the stories, but there isn't much continuity to the way this is laid out. It just sort of skips through, and we're left feeling that quite a bit of the story wasn't told.
THE DRY (R) 113 minutes * * 1/2 Extended droughts affect more than just the plants. The entire community struggles. Agent Aaron Falk (Eric Bana) returns home for the funeral of his friend and his friend's family. Luke apparently killed his wife and child before taking his own life. But something doesn't seem right to Agent Falk. He agrees to investigate, but his presence brings back bad memories of another tragic incident years before. Could they be connected? Not the most satisfying of endings, but getting there is a suspenseful trip. Very nice soundtrack,R for violence and language.
A DRY WHITE SEASON (R) 104 minutes * * * 1/2 It's like a dance. You go forward and backward, but to make progress, you have to keep dancing. Benjamin (Donald Sutherland) finds himself learning in this process. Learning just how oppresive the white people have been to the people of South Africa. The story itself is dry at times, but it's an image that fits, especially in a culture that is used to looking at the larger picture. Sutherland and Marlon Brando are particularly worth watching here, but it's a quality production on every level.
DUAL (R) 90 minutes * * 1/2 Choosing to have a clone of herself made was not an easy choice, but Sarah (Karen Gillan) is dying. When her condition inexplicably improves, she learns that the only way to "decommission" the clone is by fighting a duel to the death. A very interesting story, but there are clearly some holes, and the cast isn't very strong. R for violence, sex, and language.
DUANE HOPWOOD (R) 79 minutes * * Duane's (David Schwimmer) luck has always run on the bad side, but his latest run-in with the law has more serious consequences than he realized. Schwimmer's character isn't particularly likeable, and despite a feeling that it would be nice if life worked out better for him, we're not that concerned if it doesn't. R for language.
DUCH: MASTER OF THE FORGES OF HELL (NR) 101 minutes * * 1/2 The Khymer Rouge regime caused the death of nearly two million people. “Duch" is the first leader to face an international criminal court for the crimes he committed against his fellow citizens. This is mostly a lengthy interview with Duch, but it is intercut with historical footage and a few bits of commentary. As such, it’s a little dry, though very informative.
THE DUCHESS (PG-13) 103 minutes * * * Keira Knightley stars as Georgiana, Duches of Devonshire, whose marriage became... a bit of a scandal. As she seemed unable to bear her husband a male heir, he began to explore other relationships. Georgiana had s suitor of her own as well, but that was not acceptable. Nice period piece with solid performances, though the story does tend to be a bit superficial in its treatment of the characters. PG-13 for sex.
DUCK BUTTER (NR) 88 minutes * * 1/2 Naima (Alia Shawkat) and Sergio (Laia Costa) feel that relationships are more often dishonest than not. They decide to spend a full twenty-four hours together, being both intimate and honest. It's a task that is far more difficult than they expect.Costa is marvelous here. Shawkat has a number of great scenes, but is inconsistent. Part of that is her character's unwillingness to really commit to the idea, but when the character backs off, it comes across more as Shawkat stepping out of character.
DUCK TALES: THE MOVIE-TREASURE OF THE LOST LAMP (G) 69 minutes * * 1/2 Moderately entertaining cartoon that kids will probably enjoy but not necessarily want to watch repeatedly. Typical Saturday morning fare rather than anything all that elaborate. It does provide a chance for Donald Duck's family to get some big screen time, which they don't seem to get much of anymore.
DUDE, WHERE'S MY CAR? (PG-13) 78 minutes 1/2 Two guys who live in a perpetual state of stupor, try to remember what happened the night before so they can find their car. Among other things, it will end up involving a briefcase full of money and a continuum transfunctioner. Uh huh... and what else would you expect from a movie with a title like this? PG-13 for language.
DUDE, WHERE'S MY DOG? (PG) 77 minutes BOMB Ray (Alexander G. Eckert) and his dog Harry always manage to get into some sort of trouble. That has moved from mischevious to problematic as Harry manages to ingest an experimental solution that makes him invisible. Now, everyone is looking for him and not everyone wants to treat him well. Rated PG for language, which might be important, because no one over the age of six is going to be interested in this.
DUDLEY DO-RIGHT (PG) 70 minutes * * Made by the same team that gave us "George of the Jungle", and in much the same vein. The story is fairly creative and gives Dudley a chance to be the bad guy for a little bit as he attempts to enveil Snidley's evil plot. Brendan Fraser does a great job with this kind of character and Alfred Molina does a good job too. The production values and direction are a bit sloppy, but most kids won't notice that too much, and that's who this is intended for. PG for violence.
DUE DATE (R) 90 minutes * * 1/2 Trying to make it to the birth of his child, Peter (Robert Downey Jr.) ends up hitching a ride with Ethan (Zach Galifianakis). It's going to be a long trip. Galifianakis deftly handles a delicate balance between irritating and endearing. There isn't really much for Downey Jr. to do here as most of the focus is really on Galifianakis. It works fairly well most of the time. R for language and sex.
THE DUEL (R) 106 minutes * * * Kingston (Liam Hemsworth) is a Texas Ranger who has been assigned to investigate some deaths of a suspicious nature in the town of Helena. The primary suspect just happens to be the man who killed his father in a duel twenty-two years earlier. Nice work by both Hemsworth and Woody Harrelson. R for violence and language.
THE DUELIST (R) 104 minutes * * * Yakovlev (Pyotr Fyodorov) earns a great deal of money by being a surrogate for others in their duels. He's talented, fearless, and ruthless. He has also created a very powerful enemy. Engaging story that is both dark and exciting, with a touch of romance. R for violence and sex.
DUETS (R) 107 minutes * * 1/2 It's a film of vignettes which slowly tie together as unlikely couples are united on their way to a national karaoke contest. This isn't really about the contest though, it's about people. The karaoke singing serves as an interesting venue to play the issues of life, love, friendship, and family. This has the feel of a Robert Altman film, but it's Bruce Paltrow at the helm. Gwyneth Paltrow's performance is shaky early in the film and her father being the director may be partly to blame. What really hurts though, is the script. Too many cliches and stilted dialogue that are hard for the characters to work through. Still, it's an interesting film and I found myself smiling a good deal of the time while watching it. R for language and violence.
THE DUFF (PG-13) 96 minutes * * 1/2 Bianca (Mae Whitman) finds out by accident that she's a DUFF (Designated Ugly Fat Friend). But she's about to fix that. Whitman is amazing, and Robbie Amell delives a solid supporting performance. Outside of these two characters, the film comes up a little lacking. Sharper dialogue and better development of other characters could have taken this to another level. PG-13 for language.
THE DUKE (R) 91 minutes * * * Based on the incident in 1961, where the portrait of the Duke of Ellington was stolen (or perhaps just borrowed) from the National Gallery in London. Another delightful performance by Jim Broadbent, well-supported by the immensely talented Helen Mirren. R for language and sex.
THE DUKE OF BURGUNDY (NR) 101 minutes * * For those who aren't familiar, the title refers to a rather unique butterfly. Evelyn (Chiara D'Anna) is studying butterflies and moths with her teacher, Cynthia (Sidse Babett Knudsen). They are also involved with each other sexually, in a BDSM relationship. The film uses an almost ethereal visual style, which is quite beautiful. The dialogue lacks that finesse though, and the transition between scenes with and without dialogue is harsh and unpleasant.
THE DUKES OF HAZZARD (PG-13) 99 minutes * Let me just say from the start that the one star that this film does manage to get is for the stuntwork. Seann William Scott either never saw an episode of the original TV show, or just didn't get it. Johnny Knoxville is a little better, though he plays the role a bit too much like a simpleton. Thankfully, Jessica Simpson, who couldn't act her way out of a wet paper bag, has very few lines and not really that much screen time. Most everyone seems to be wandering around wondering why they signed on to do this film, including the narrator, who seems bored to death with the lines he's reading. PG-13 for language and violence.
DUMA (PG) 95 minutes * * 1/2 Boy raises orphaned cheetah cub that must eventually be released to the wild. Typical coming of age story with beautiful nature photography. As Xan (the boy) says, "I was taking Duma home, but he took me somewhere too." Adapted from the book, "How It Was With Dooms". PG for violence.
DUMB AND DUMBER (PG-13) 101 minutes 1/2 Has there ever been a more appropriately titled film? Jim Carrey and Jeff Daniels star in a film that's only funny when you're with a bunch of friends and you've all had no sleep for two days. There are some great songs on the soundtrack, but the film is not worth wasting time on.
DUMB AND DUMBER TO (PG-13) 102 minutes 1/2 Harry and Lloyd (Carrey and Daniels) are back again, to try their hand at a sequel, since the other one was so bad. It isn't really any better. Harry needs a kidney transplant and they have to find the daughter he never knew he had. PG-13 for language.
DUMB AND DUMBERER (PG-13) 79 minutes 1/2 Just when you thought things couldn't get any dumber... there are a few chuckles here and there, though they are also usually accompanied by groans. Basically, this is only of interest to fans of the first film, but even those will still prefer the first film where they have the opportunity to enjoy Jim Carrey's facial expressions. PG-13 for language.
DUMB MONEY (R) 96 minutes * * 1/2 The stock market is not an investment risk for the faint of heart. Not if you want to really make money. It's definitely risky to "play" with people who are willing to risk so much. Once in awhile though, a small investor can win big. This is the story of one that did. It's a standard underdog story, but we really needed stronger characters and/or a more thorough explanation of how it all happened. Instead, we have a script that mostly hits the highlights and relies on our willingness to always take the side of the underdog. R for language and sex.
DUMBO (PG) 104 minutes * * * When Holt (Colin Farrell) returns home, his old job at the circus is gone. His new job is not what he wants, but there may be a hidden gem in it after all. This updated version of the Disney cartoon classic is a mix of live-action and animation that works quite well. With Tim Burton's direction, it's a little darker in tone than the originalm but the story did need some updates. At it's core though, it is still the story of those considered to be misfits who can achieve the impossible. PG for violence and language.
DUMBSTRUCK (NR) 81 minutes * * * Ventriloquism is the topic here, with conventions, museums, competitions, and the lives and careers of those who pursue this interest. The film follows five particular ventriloquists who are at different points in their careers and lives. Terry Fator, Dan Horn, Kim Yeager, Wilma Swartz, and Dylan Burdette. interesting, though a bit more about the art and technique would have made this even more interesting.
DUNE (PG-13) 132 minutes * * 1/2 This first attempt to bring Frank Herbert's science fiction masterpiece to the big screen was a mixed success. The special effects are very good, but the film drags early on as it attempts to be faithful to the book. Instead of impressing with the immensity of the story, it overwhelms and confuses (unless you've already read the book). A big part of the problem results from trying to cover so much material so quickly. It would have been interesting to have seen this as a 3-hour project. PG-13 for violence and sex.
DUNE (2021) (PG-13) 141 minutes * * * The story begins with Paul Atreides (Timothee Chalamet) as he learns more about his birthright and the meaning of his dreams. He will be the guardian of the most valuable element in the galaxy. His parents (Rebecca Ferguson and Oscar Isaac) have trained him well, but he still has tests to pass. Very nice first part of the epic stoy by Frank Herbert. Great effects and a very strong performance by Chalomet. Perhaps even more importantly, this version feels less rushed than the previous one. PG-13 for violence.
DUNGEON GIRL (R) 77 minutes * Heavily narrated story of 17-year-old Schatzi Melnic (Wendi Jean Linn), kidnapped and confined, though not otherwise abused. The story is both haunting and disturbing, but the excessive use of narration makes this feel more like an art film. Unfortunately, the low budget results in photography and editing that don't support that approach to the story either. Filmed in Big Bear and Los Angeles, California. R for violence and sex.
DUNGEONS & DRAGONS (PG-13) 101 minutes * * The role-playing game becomes a film, but with less than the hoped for results. The special effects are top-notch, but there is almost no story. Perhaps the intent was for us to already know the game in depth... It's also too bad that more time wasn't spent on these characters. They are very interesting, but we don't get to see much in the way of background or motivation. The comedy is misplaced as well. An adventure story like this has little need for more than a few touches of more subtle humor. Filmed in the Czech Republic. PG-13 for violence.
DUNGEONS & DRAGONS: HONOR AMONG THIEVES (PG-13) 126 minutes * * * They are a band of thieves, but they have a code they live by. They also have a particular mission. They are in search of a relic. One that has a special power. The quest will not be an easy one for Edgin (Chris Pine) and Holga (Michelle Rodriguez) Packed with great effects and fight scenes. The comic relief is a little strong, but it does fit the story well. PG-13 for violence and language.
DUNGEONS & DRAGONS: WRATH OF THE DRAGON GOD (NR) 100 minutes * * The black orb has been stolen and it must be retrieved before it is used to summon the powerful, yet still sleeping, black dragon, for the black dragon could destroy the entire kingdom. Based on the role-playing game. The CGI effects here are more elaborate than the talent behind them can manage, which is a little disappointing. It’s a good story though, with interesting characters and plenty of action. It would have helped a little if Berek’s (Mark Dymond) character was a little stronger to carry the film more effectively.
DUNKIRK (NR) 174 minutes * * 1/2 Historical documentary with dramatically reenacted sequences mixed with footage from the war and narration. It's an informative film, but the transitions between the historical footage and the dramatic sequences is rarely a smooth one.
DUNKIRK (2017) (PG-13) 99 minutes * * * With nowhere left to go, the British, French, and Belgian troops have retreated to Dunkirk. They hope they can be evacuated before the Germans arrive. Although the focus is on the evacuation, there are still battle sequences as the German forces were working to prevent the Allied troops from being able to retreat and regroup. It's a good mix of action and personal drama. Nice work by the ensemble cast. PG-13 for violence and language.
DUNSTON CHECKS IN (PG) 83 minutes * 1/2 Dunston is an orangutan who has been trained as a thief, but prefers his new friends (children) to his master, thus causing trouble for everyone. Mildly entertaining fluff, mostly thanks to the antics of the orangutan. Otherwise, it's a real waste of the talents of Faye Dunaway, Paul Reubens, and young Eric Lloyd.
THE DUNWICH HORROR (R) 84 minutes 1/2 A baby and a monster are born to a single mother. Ten years later, a portal to the "other side" has apparently been opened. Some seek to close it while others fight to keep it open. As with most Lovecraft stories, the bizarre becomes the every day, and explanation is traded for effect. A few of the effects work well, but too many are poorly produced CGI effects. It's fun to see Dean Stockwell here when he was in an earlier version of the film as another character. R for nudity and violence.
DUPLEX (PG-13) 82 minutes * 1/2 Alex (Ben Stiller) and Nancy (Drew Barrymore) have just bought a beautiful, historic duplex for a very reasonable price... because it comes with a "sweet" little old lady who is driving them crazy! Everything that can go wrong does, but we've seen it all before. There are a few chuckles, but we expect more from the mind of Danny DeVito. PG-13 for language.
DUPLICITY (PG-13) 120 minutes * * 1/2 Corporate spies who decide that hooking up and pulling one over on their bosses will let them retire in style. The sequence of events is a bit difficult to follow at times, but Clive Owen and Julia Roberts are having enough fun here that we enjoy watching, even when we aren't sure where we are in the story. Wonderfully metropolitan soundtrack from James Newton Howard. PG-13 for language.
DURESS (NR) 73 minutes * * 1/2 A sadistic serial killer blackmails an accomplice to help him on his killing spree. The story sets up nicely to trap us as well, with a chilling and very effective ending. Nice acting all around, but especially good work by young Ariel Winter.
THE DUST FACTORY (PG) 95 minutes * * 1/2 Ryan (Ryan Kelley) is struggling to deal with his father's death and with life in general. With a little magical help, he just might find a way for it all to make a little more sense. Great work by young Hayden Panattiere. Plenty of symbolism and deep questions, but it's clearly aimed at the young teen crowd. PG for violence.
DUTCH (PG-13) 102 minutes * * Doyle Standish (Ethan Randall) is the ultimate in spoiled rich kids. But Dutch (Ed O'Neill) is going to change all that during Christmas vacation. John Hughes wrote the script for this, but it has a disjointed feeling to it. There are a number of great scenes, but they just don't flow well. This could have been a great film about the importance of keeping in touch with your inner child, but it falls short of that mark due to poor direction. PG-13 for language.
DWEGONS AND LEPRECHAUNS (PG) 91 minutes * 1/2 The Fitzgeralds have been friends with the Dwegons for a long time. Pete (voiced by John DeMita) didn't know anything about them, but he just inherited the property where they live. The animation is stiff, with poor mouth movement, but what really doesn't work is that the story just isn't very appealing. PG for language.
DWELLING (NR) 84 minutes * * Desperate to make contact with the other side, a young couple intentionally moves into a haunted house. But the painted black mirror they are using to reach the other side is home to something that has very evil intentions. Good production values, and the story works well. The acting is stiff and without much feeling though.
DYING BREED (R) 89 minutes * 1/2 While looking for the elusive and likely extinct Tasmanian Tiger, a zoologist and her friends end up finding the "Pieman". Another of Tasmania's legends, he was an escaped convict, turned cannibal, whose progeny are said to live in the forests of Western Tasmania. Some good suspense, but also some standard horror sequences and a less than surprising ending. R for violence, language, and sex.
THE DYING GAUL (R) 92 minutes * * 1/2 Robert (Peter Sarsgaard) has written a brilliant screenplay that Jeffrey (Campbell Scott) wants to produce. The catch is that he wants the lovers in the story to be heterosexual instead of gay as that will sell better. It has nothing to do with his own personal interests, since he finds Robert rather attractive. So does his wife Elaine (Patricia Clarkson). Robert is rapidly drawn into a twisted world of lies and betrayal. Despite strong characters, first-time director Craig Lucas struggles with presenting them effectively on the screen. The performances are all very good, but this reads better than it plays on the screen. R for sex and language.
DYING OF THE LIGHT (R) 87 minutes * * * A recent diagnosis leaves Evan Lake (Nicolas Cage) with only a short time to do anything. He embarks on a mission of personal vengeance. Mostly a one-man show, which Cage handles well, and the few scenes with supporting work add depth to his character. The very nice soundtrack and strong production quality help a not-too-original script work better than expected. R for violence and language.
DYING YOUNG (R) 107 minutes * * * Campbell Scott is very convincing as Victor, a young man with leukemia who just wants to be able to live life, enjoy things outside his rich father's home, and feel that special kind of love. Julia Roberts has her moments here, but her performance is uneven. Director Joel Schumacher works the camera well to express moods and ideas to the audience and the film does a fine job of being the tearjerker one might expect from a film with this title. R for language and sex.
DYLAN & ZOEY (NR) 79 minutes * * 1/2 They haven't seen each other for awhile. It's a little awkward, but they're going to try and reconcile their differences and restore their friendship. Heavy on the dialogue, but there's plenty of great material here in a conversation that frequently moves to very serious and sometimes uncomfortable topics. Featuring Blake SScott Lewis and Claudia Doumit.
DYLAN DOG: DEAD OF NIGHT (PG-13) 101 minutes * * 1/2 Dylan (Brandon Routh) used to keep the peace between all of the various undead in New Orleans. Now he has a murder to investigate and none of them are all that excited about helping him solve it. Done in a film noir style with plenty of macabre humor. Definitely a different kind of horror film. Routh definitely wasn't the best choice for the lead role here. Any number of other names come to mind, but it's still kind of fun to watch. Filmed in New Orleans. PG-13 for violence and language.
THE DYNAMITER (NR) 71 minutes * * Robbie (William Ruffin) has to fend for himself now that his mother is gone. It's nothing new really, but he's getting tired of it. A very rough-edged coming-of-age film. The performances are sincere, but also unpolished enough that they aren't always easy to watch. It's a struggle to keep the balance between realism and watchability, and this is just a bit over on the realistic side.
DYSFUNCTIONAL FRIENDS (NR) 108 minutes * * They used to be friends in college, but have lost touch as the years have passed. Now they are together for the funeral of one of their group. It's a nice ensemble cast, featuring Stacey Dash, Wesley Jonathan, Persia White, and Terrell Owens among others, but the script doesn't really offer anything exciting or interesting.