E.T.: THE EXTRA-TERRESTRIAL (PG) 115 minutes * * * * Director Steven Spielberg’s masterpiece of childhood adventure as young Henry Thomas makes contact with a small alien that has been stranded on Earth. John Williams score won an Oscar, as did the sound and visual effects, but what we remember most are the heartwarming moments of contact and communication between the children and a trusting alien. A modern classic that the studios never thought would last more than a couple of weeks at the theaters. Instead, “E.T. phone home" became a well-known quote, and the sales of Reeses Pieces reached new heights.
THE EAGLE (PG-13) 102 minutes * * Marcus (Channing Tatum) wants to restore honor to his family's name. That means finding the eagle that his father allowed the enemy to capture during a battle many years ago. Tatum's two-dimensional performance doesn't help a story that feels rather shallow on its own. Adapted from the book, The Eagle of the ninth, by Rosemary Sutcliff. PG-13 for violence.
EAGLE EYE (PG-13) 111 minutes * * Jarry (Shia LaBeouf) and Rachel (Michelle Monaghan) have been "activated". But by who, and for what? Their mission begins and their every move is tracked to make sure they are coorperating. Logic and feasibility are not really part of the story here, and when we discover what is going on, it's rather silly and reminds us a bit too much of "WarGames". Le Beouf and Monaghan do their best, but the story just doesn't have enough to offer. PG-13 for violence and language.
THE EAGLE HUNTRESS (G) 84 minutes * * * 1/2 The nomadic tribes of the Altai mountain range in Mongolia use golden eagles to hunt for both food and fur that are necessary for their durvival. The birds are only used for seven years before being returned to the wild. Working with them is a skill passed from father to son. Until now. Aisholpan's family supports her becoming the first eagle huntress, but not everyone in their community is feeling good about this change. Not only is she the first girl in the annual competition, she is also the youngest to ever participate. There's quite a bit at stake, but Aisholpan appears to be ready to step up to the challenge. This is one of those films that you won't forget.
EAGLE VS. SHARK (R) 85 minutes * * * A quirky and sweet love story. Lily (Loren Horsley) has a crush on Jarrod (Jemaine Clement). Their awkwardness at relationships is well-matched, though when she meets Jarrod's family, we discover that Jarrod comes by his eccentric behavior honestly. The innocence and charm of Lily and Jarrod shine through the more unusual aspects of the other characters. If you want a love story with characters who are a bit on the unique side, this is the film for you. R for language, violence, and sex.
EARLY MAN (PG) 75 minutes * * 1/2 Dug (voiced by Eddie Redmayne) and the rest of his tribe are getting along just fine hunting rabbits and enjoying life. Dug wants them to try something more ambitious, but they are about to face a very formidable foe. It's the Stone Age meets the Bronze Age. Lots of clever bits in the script, but they tend to fly by very quickly. PG for language and violence.
EARTH (G) 86 minutes * * * The "Planet Earth" documentary television series was so successful that they decided to cut a feature film out, focusing on the stories of polar bears, whales, and elephants. The photography is beautiful and the music is majestic. As the narrator reminds us, "Yes, it's full of harsh realities, but sometimes it's just paradise."
EARTH DAYS (NR) 100 minutes * * * More than just a history of the establishment of Earth Day, this is the story of the environmental movement. From its beginnings as an awareness of a few, to the national attention it began to receive after the release of Rachel Carson's book, "Silent Spring". It is the story of a shift in the political scene, and of an ongoing struggle to care for the planet on which we live.
EARTH FROM SPACE (NR) 113 minutes * * 1/2 A look at our planet through the eyes of satellites that show us how connected to each other the various parts of our planet are, whether human or otherwise. Computer animated graphics highlight the details. Some of the imagery is rather repetitive, though the points are well taken.
EARTH: ONE AMAZING DAY (G) 89 minutes * * * An appreciation of the incredible diversity of life that exists on planet Earth. The focus is on the sun and how it affects life as it rises and sets over the course of a day. Narrated by Robert Redford for the english language version and by Jackie Chan for the mandarin language version. From BBC Earth Films.
EARTH TO ECHO (PG) 83 minutes * * Three young friends go exploring to try and figure out why their cell phones are acting so strangely. They discover an even bigger mystery, and their adventure begins. Cute science fiction adventure film for kids. The ending is very heavy on narrative explanation, which is very boring compared to the rest of the film. PG for violence and language.
EARTH 2100 (NR) 83 minutes * * A look at what might lie ahead for the future of the planet. Population growth, climate change, and the depletion of resources on the planet don't indicate that a particularly positive future lies ahead. The picture that this documentary paints actually isn't as grim as you might expect, though it's also a fairly cursory look, choosing not to go into great detail with most of the ideas.
EARTHQUAKE (PG) 129 minutes * * 1/2 Not really one of the better disaster pics of te 70's, but well-known and worth a look. Charlton Heston, Ava Gardner, and George Kennedy head a stellar cast in this predictable film. Despite being so derivative, the film managed to win an Oscar for sound, a special achievement award for special effects, and citations for the development of “sensesurround". With all the disaster films that are out there these days, it’s worth noting that some of these classics of the 70's set the tone for what we see today. So, buckle that safety belt on your recliner and get set to shake with “Earthquake"!
EARTHSTORM (PG) 87 minutes 1/2 The moon is splitting apart and a demolitions expert is hired to go fix it and save the planet... are we really supposed to take this seriously? I'm sure that NASA would love to have a space shuttle with the kind of maneuverability that this one does. Clearly, not one of the better disaster films out there. PG for violence and language.
EARWIG AND THE WITCH (PG) 79 minutes * * 1/2 Earwig, or Erica Wig, has been an orphan for years. One day, she is finally adopted... by a witch. But Erica has some magic of her own to work. The story ends rather abruptly, but until then is filled with mischevious charm. PG for violence.
THE EAST (PG-13) 111 minutes * * * Eco-Terrorism is on the rise. One particular group, known as "The East" had been involved in some very extreme actions. Sarah (Brit Marling) is recruited by a highly secretive organization to infiltrate the group, but her time undercover is not just difficult, it is life-altering. Very nice work by Marling and the rest of the cast. The twist near the end feels forced and the film resolves very quickly rather than taking the time it needs to deliver a better ending. PG-13 for violence and sex.
EAST SIDE STORY (NR) 84 minutes BOMB, Second feature film from rappers Moe Money and DJ Big Stew. As an underground film, don't expect much from the sound quality or cinematography, and the editing is rough. All of this is supposed to make it feel more real. It ends up being more distracting and frustrating than anything else. Most poorly produced YouTube videos look better and feel more genuine than this. What we have here is a noisy and disprganized mess.
EASTER SUNDAY (PG-13) 90 minutes * * 1/2 Comedian Jo Koy stars as Joe Valencia, whose family is at odds with each other. It just makes their love that much stronger. Can they all show up for Easter Sunday dinner? That remains to be seen. The script incorporates a good deal of Koy's stand-up comedy routine. It's good, but tends to frequently get side-tracked. PG-13 for language.
EASTER UNDER WRAPS (NR) 84 minutes * * 1/2 When sales take a dip at Cavendish Chocolate Company, Erin Cavendish (Fiona Gubelman) goes under cover. She learns a lot about the way the company works, about herself, and about head chocolatier, Bryan Bailey (Brendan Penny). An Easter romance from Hallmark.
THE EASTERN FRONT (NR) 100 minutes 1/2 A small unit of German soldiers struggle to return to their line. They are on the eastern front. None of the plotlines involving the female characters here are remotely believable. The low budget doesn't give this much room, with the photography being the only redeeming aspect of the film. Not that it excels, but at least it isn't as bad as the rest of the film.
EASTERN PROMISES (R) 96 minutes * * 1/2 Anna (Naomi Watts) has discovered something about a baby she helped bring into the world. What she knows is putting her life at risk, but it's making her even more determined that she must see that the truth is told. Nikolai (Viggo Mortensen) is supposed to stop her. But he has a secret of his own. Fairly intense story, but a bit hard to follow at times. It's as if the pieces of the story that might have helped make it more complete were removed. Then again, the extra story might have made it too tedious... R for violence, sex, and language.
EASY A (PG-13) 88 minutes * * 1/ When the rumor mill starts to create problems for Olive (Emma Stone), she decides to use it to her own ends. Stone does a nice job balancing a sarcastic humor with a teen angst morality tale. It's definitely a predictable story, but relatively fun thanks to Stone and a witty script that is well-handled by the cast. Filmed in Ojai, California. PG-13 for sex and language.
EASY DOES IT (NR) 94 minutes 1/2 Always on the lookout for easy money, Jack (Ben Matheny) and Scottie (Matthew Oaul Martinez) also need to pay what they owe to King George (Linda Hamilton). They heard about a treasure, and decide that it's the perfect way to score some easy money. This should be much more fun than it is. There just isn;t much chemistry between the characters, or much humor in the script. The characters are similar to those in a bad live-action children's movie... except this movie isn't for children.
EASY MONEY (R) 90 minutes * * Monty (Rodney Dangerfield) has a chance to inherit a large sum of money. The catch is that he has to turn his life around from the carefree life of debauchery he has been living. Typical performance from Dangerfield in a formula story. R for sex, language, and violence.
EASY MONEY (2010) (R) 120 minutes * * * JW (Joel Kinnaman) longs for a life filled with riches, and the get there, he soon finds himself lured to the dark side of drugs and money laundering. Jorge's (Matias Varela) goal is to score a big enough deal that he can get out of the business, but to do that, he'll have to stay clear of Mrado (Dragomir Mrsic). JW is going to have to be careful as well, because these are dangerous and desperate men. Intense and well-acted. R for violence, language, and sex.
EASY VIRTUE (PG-13) 91 minutes * * Going home to meet John's (Ben Barnes) parents was never supposed to last this long. And to make matters worse, Larita's (Jessica Biel) new mother in law (Kristin Scott Thomas) definitely doesn't approve of her, considering her a woman of easy virtue, and clearly not up to British standards. Adapted from the play by Noel Coward, with wonderful bits of understated humor as well as the more obvious ones. Thomas and Colin Firth are fine here, but Barnes is out of his depth and Biel doesn't fit, even as an out-of-place American. PG-13 for sex.
EAT, DRINK & BE BURIED: A GOURMET DETECTIVE MYSTERY (NR) 84 minutes * * 1/2 An elaborate annual summer event on the estate of a wealthy family ends up being the site of a murder. Henry (Dylan Neal) was overseeing the menu and Maggie (Brooke Burns) was in attendance, so they are first on the scene. They are also experiencing a little tension in their personal relationship. Fourth entry in the series.
EAT, DRINK & BE MARRIED (NR) 81 minutes * * Planning a wedding can be very stressful. It's been so stressful that Jess and Max are calling it off. His brother Charles (Jake Foy) is working hard to patch things up, including enlisting the help of Billie (Jocalyn Hudon). Who knows what will happen with Jess and Max, but Billie and Charles just might turn into something that they weren't expecting.
EAT, PLAY, LOVE (NR) 82 minutes * * Dan (Jason Cermak) owns the dog shelter where Carly (Jen Lilly) works. She's got a crush on him, but now he's going to marry his beautiful, but not very nice, girlfriend. That just might change very soon. The characters are a little overly stereotyped here, but the cast does reasonably well with them anyway.
EAT PRAY LOVE (PG-13) 140 minutes * * 1/2 Julia Roberts stars in the story of a woman who travels around the world to find herself after a divorce. The film starts well, introducing us to Liz (Roberts) and setting up her situation. But after awhile, the story begins to drag a bit. What makes it worse is that soon after it begins to drag, Richard Jenkins and Javier Bardem appear in the story. They deliver fine performances that far outclass Roberts, which revives the film as far as energy level, but shifts the focus away from Roberts. That's not necessarily bad at this point in the film, but it does make for a bit of unevenness. Adapted from the book by Elizabeth Gilbert. PG-13 for language and nudity.
>a name="6721">EATEN BY LIONS (NR) 88 minutes * * Pete (Jack Carroll) and Omar (Antonio Aakeel) have no place to go. Their grandmother just died and their only relative is the father they never knew. The acting is fine, but the story keeps trying to present itself as a comedy when it just isn't really funny.
EATERS (R) 86 minutes * * It was supposed to be a fun road trip, but when one of them goes missing, it turns into a nightmare. Well-developed characters in search of a story... which never gets very far or explains much. There's something to be said about allowing the imagination of the viewer to create something more horrific than you can show on the screen. But we do need a little more than this provides to get us started. R for violence and language.
EBOLA REX (NR) 62 minutes BOMB As the title suggest, a T-Rex infected with the Ebola virus is on the loose. A bunch of neighbors get together to take care of the problem. Filled with ridiculously bad performances and cheap special effects. Those who enjoy cheesy bad movies will have fun with this, but others might want to skip it instead. Featuring Mel Novak, star of many low-budget films.
THE ECHO (R) 93 minutes * * The neighbors next to the apartment Bobby (Jesse Bradford) is renting seem to be having some troubles. Some of the sounds are a bit, well... faded... and it appears that no one actually lives there, despite how real the noises, and the people are to Bobby. There are definitely some creepy moments here, but the resolution is rather obvious and takes far too long to reach. Based on the film "Sigaw". R for violence and language.
ECHO BOOMERS (R) 90 minutes * * 1/2 Dissatisfied with their options after graduating college, these five young adults steal from the rich and trash what they leave behind. But their camaraderie only lasts for so long. The cast works well, with Patrick Schwarzenegger and Hayley Law in the leads along with Michael Shannon. The story isn't quite as strong as it needs to be, tending to oversimplify the reasoning and the individual breakins. R for language and violence.
ECHO IN THE CANYON (PG-13) 80 minutes * * 1/2 Laurel Canyon. It was the heart of a creative musical scene in the 1960s that saw groups like The Beach Boys, The Mamas and the Papas, The Association, The Byrds, and Buffalo Springfield. In celebration of the 50 year anniversary, a concert of folk rock music was put together. This is the story of that concert and the music that inspired it. Jakob Dylan is not the greatest at interviewing others. There's so much information contained in the interview segments that the clips from the anniversary concert aren't really helpful. This is really two different pieces, the concert and the documentary, and keeping them separate would have allowed for a more complete treatment of both. PG-13 for language.
ECHO PARK (R) 85 minutes * * Trapped in their dreams, but going nowhere. Life feels like an echo rather than a reality. The soundtrack is upbeat and positive, which is in contrast with the story. Maybe that offers hope, or maybe it just highlights their struggles. The direction is a little weak, but the depressing tone of the story is a challenging one to present.
ECHOES (NR) 86 minutes * 1/2 Anna's (Kate French) nightmarish visions are getting stronger. She and her boyfriend decide to get away to an isolated house in the desert where she can get some peace... except it just gets worse. The music and sound effects are very suspenseful, but the script really only has a couple of good ideas and doesn't really take them very far.
ECHOES OF WAR (R) 99 minutes * * * After the Civil War, life for many families was even more difficult than before. This is the story of two families. Neighbors who used to help each other, but now are not so close. It comes to a head when Wade (James Badge Dale) returns and refuses to let things continue the way they've been. To be sure, they would have reached that point soon enough as the daughter of one family and the son of the other are in love. This works well as a post-Civil War Romeo and Juliet story. Slowly and steadily drawing us in. R for violence, sex, and language.
THE ECLIPSE (R) 84 minutes * * Still grieving over the loss of his wife, Michael (Cieran Hinds) finds himself drawn to visiting author Lena (Iben Hjejle), who is best known for her ghost stories. Michael has been having some unexplainable visions of his own, and Lena may understand better than anyone else. Less about the supernatural and more about relationships and separation. Hinds is very good here, but the rest of the cast don't quite measure up. Adapted from the story, "Table Manners" in Billy Roche's "Tales from Rainwater Pond". R for language.
ED (PG) 88 minutes 1/2 Aside from the few cute scenes watching Doren Fein (as Liz) play with the ape, this story of a baseball playing monkey is a real waste. Billed as an animal comedy film for kids, this isn't funny, doesn't appeal to kids, and doesn't really have an animal as the star, though the ape mask is fairly well-made.
ED GEIN: THE BUTCHER OF PLAINFIELD (R) 84 minutes * 1/2 Another retelling of the exploits of Ed Gein (Kane Hodder), a violent serial killer from a small town in Wisconsin. The pace of the film is slow and plodding, though there are a few gruesome effects that are done well. Hodder does some good work here too. R for violence.
EDDIE (PG-13) 93 minutes * * Whoopi Goldberg is what makes this film bearable and somewhat entertaining. Her antics as a basketball fan who ends up becoming the coach of the team give us a few moments of fun. The pace sags dramatically after the first 25 minutes though, and it never really recovers.
EDDIE AND THE CRUISERS (PG) 92 minutes * * ½ Eddie Wilson (Michael Pare) may still be alive. He was the leader of a successful rock band that has faded from popularity. And there was a lost album. There are clearly some allusions to other rock groups (like The Doors), but this is mostly just a fun exploration of the characters and the idea, surrounded with some great music. Adapted from the novel by P.F. Kluge. PG for language and violence.
EDDIE AND THE CRUISERS II: EDDIE LIVES (PG-13) 96 minutes * * 1/2 OK, the idea that Eddie didn't really die at the end of the first film and is living in Canada and working as a carpenter is a bit hard to take. If you can get past that, this isn't really a bad film. It's defintitely geared to those who loved the first one, and to those who are of the opinion that Elvis might still be alive... The soundtrack is quite nice and the story is, aside from the initial presumption, relatively good. PG-13 for language and sex.
EDDIE MACON’S RUN (PG) 90 minutes * * * Small-time criminal Eddie (John Schneider) escapes jail and makes a run for the border. Nothing terribly original or exciting, but Kirk Douglas always does a nice job, and Lee Purcell delivers a fine supporting performance.
EDDIE THE EAGLE (PG-13) 101 minutes * * * 1/2 Based on the unusual but true story of Eddie Edwards (Taron Egerton), who made it to the 1988 Calgary Olympics with little training, but lots of heart, and a will that just wouldn't quit. A fun and charming feel-good story. Nice work by Egerton and Hugh Jackman. PG-13 for language and nudity.
EDEN (R) 93 minutes * * 1/2 A personal account of human trafficking. In many ways, this is a rather quiet and low-energy story. Choosing to take that approach actually gives this a different kind of strength that builds throughout the film. That said, there are still a few scenes that seem to be unrealistic and might have been better with a little more energy. Based on the life of Chong Kim. R for violence, sex, and language.
,a name="44906">EDEN LAKE (R) 87 minutes * * A romantic weekend getaway. That's what Steve (Michael Fassbender) and Jenny (Kelly Reilly) have planned. But a group of local hoodlums are going to change all of that. The confrontation excalates quickly, and despite a few of the youth not really being all that bad, their leader is vicious. While the story doesn't really have much depth, Fassbender and Reilly add some intensity with their performances. R for violence, language, and nudity.
EDEN OF THE EAST: PARADISE LOST (NR) 86 minutes * * 1/2 The end of the two-part film that accompanies the television series. There's quite a bit that is summarized toward the end, as though there was a late decision to not have three parts. it does resolve most everything and works well with the first part to compliment the series.
EDEN OF THE EAST: THE KING OF EDEN (NR) 77 minutes * * 1/2 Continuing the anime series "Eden of the East". the action moves from Japan to the United States. Saki is trying to find Takizawa, and while there are those who are trying to help. others are trying to stop her. Nice animation, but this is clearly focused on adding to the story from the series that it assumes you're already familiar with.
THE EDGE (R) 113 minutes * * Anthony Hopkins and Alec Baldwin star in a story of conflict, challenge, and courage. Hopkins plays his character with an annoying coolness that seems a bit out of place when you consider that he suspects Baldwin of trying to kill him. The bear attacks are unrealistic, though they are a consistent line throughout the film. The best part of the film is watching the beautiful scenery of Alberta, Canada where this was filmed. R for violence and language.
EDGE OF DARKNESS (R) 109 minutes * * * When his daughter is killed in front of him, Detective Cravens (Mel Gibson) and everyone else assume that the killers were after him. But what if she was the target? And why might that have been the case? Adapted from the British miniseries, this version tightens the story up a little, though it does lose a little of the detail by doing so. There are a number of nice supporting performancs here too, though Gibson's isn't all that strong. R for violence and language.
THE EDGE OF HEAVEN (NR) 110 minutes * * * Powerful drama that follows a young man as he struggles to do what is right in the aftermath of his own doubts and his father's violent behavior. Nicely written story that shows how our lives intertwine with those of others.
THE EDGE OF LOVE (R) 102 minutes * * * Dylan Thomas (Matthew Rhys) and Vera Phillips (Keira Knightley) were young lovers. Time has passed and Thomas is now married. But when Vera ends up in the same place, their passion is renewed, and Caitlin (Sienna Miller) has to find a way to deal with it. Passionate love story that could have used a bit more of the poetic touch, but still does a fairly good job of capturing the intensity and struggle that surrounded Thomas and his loves. R for sex, language, and violence.
THE EDGE OF SEVENTEEN (R) 99 minutes * * * Hailee Steinfeld stars as Nadine, a teenager whose life has turned from bad to worse. High school was already hard enough, and now her best friend is dating her brother. Well-balanced cast, and a nicely written script. Not only does this cover all of the aspects of teen angst pretty well, but it also includes some nice, sentimental notes, and includes a good dose of humor. R for sex and language.
EDGE OF THE WORLD (NR) 98 minutes * * 1/2 Sent to Borneo by the Queen of England to further the British Empire, Sir James Brooke (Jonathan Rhys Meyers) instead decides to rule the island himself and declare it independent. Intricate and well-told story. The production values are quite good, though the special effects aren't all that strong.
EDGE OF TOMORROW (PG-13) 106 minutes * * * Cage (Tom Cruise) isn't really sure what's happening at first. And then things start repeating. It turns out that he's now able to reset the day's events just like the aliens can. And with the help of Rita (Emily Blunt) who works with Special Forces, the tide of battle just might be changed. The time resets work very well, being written in a way that explains them and then shifts the structure so that we take them for granted. Cruise's performance is fairly standard, but works well in this story, with Blunt adding both strength and humor to the plot. PG-13 for violence and language.
EDGE OF WINTER (R) 84 miunutes * 1/2 Elliot (Joel Kinnaman) just wanted to spend some quality time with his two sons. But everything keeps going wrong. Bad luck, poor choices, it's just not working out the way he hoped it would. The film just keeps spiralling downward, and we find ourselves wondering what the next bad thing will be until the film finally ends. R for language and violence.
EDIE (NR) 98 minutes * * * When her husband dies, Edie (Sheila Hancock) finds that there is really only one question she has... why not? When she was younger, she wanted to climb Mount Suilven in Scotland. Now seems like a good time to make that dream come true. Beautiful scenery in a story about independence and determination. The tone is a little too light early on, but it does settle down.
EDTV (PG-13) 114 minutes * * 1/2 A TV network whose ratings have hit the skids tries a new approach... the life of an ordinary man, broadcast live, 24 hours a day. Matthew McConaughey is the one chosen, but his ordinary life soon becomes quite extraordinary as his popularity with the public grows. The film has a good bit of charm and it's fun to watch for this cast at work. Unfortunately, it never has the energy or depth we've come to expect from a Ron Howard film. Perhaps it lost something in the translation. The idea was already presented in the film Louis 19: Roi de Ondes and few films make the shift to an American approach with much success. PG-13 for language.
EDUCATING RITA (PG) 110 minutes * * * ½ In this Pygmalion-like story, Rita (Julie Walters) decides to improve her life by completing her education with the help of Dr. Bryant (Michael Caine), who has plenty of problems of his own. Heavy with messages that are all very obvious, but the chemistry between Caine and Walters gives this story the strength it needs to be a powerful and memorable film. PG for language and sex.
AN EDUCATION (PG-13) 96 minutes * * * Waiting in the rain for a ride one day, Jenny (Carey Mulligan) meets David (Peter Sarsgaard). A ride turns into a concert and dinner, and then an overnight trip. And while Jenny quickly discovers that David is no saint, he does truly seem to care about her. Of course there is one more thing about David she needs to know. Sometimes the price of an education is very high. A coming-of-age story set in London in the 1960s, adapted from Lynn Barber's memoir. PG-13 for language and sex.
THE EDUCATION OF CHARLIE BANKS (R) 93 minutes * * * Charlie (Jesse Eisenberg) is moving on with his life, headed to college and looking to the future... until his old high school nemesis shows up on campus and wants to hang around. Now, Charlie has to figure out why Mick (Jason Ritter) is really there, and what he's going to do about it. Slightly different angle on the coming of age story with a great performance from Jason Ritter. Eisenberg's whining tone can be annoying, but the story is a good one, and that's what ends up mattering the most. R for language, violence, and sex.
EDWARD SCISSORHANDS (PG-13) 100 minutes * * * * This is an original fairy tale/fable from the mind of director Tim Burton about a rather unique boy... and why it snows in California. Johnny Depp is perfect as Edward and is surrounded with an excellent supporting cast that includes the talents of Winona Ryder, Diane Wiest, Vincent Price, and Alan Arkin. Danny Elfman's music has the perfect combination of spooky and fanciful elements and Stan Winston's special effects work well with Burton's design for the picture. It's a very unique film and not something that everyone will enjoy. Those who do, will probably list it among their favorites. PG-13 for language and violence.
EFFIE GRAY (PG-13) 101 minutes * * 1/2 When art critic John Ruskin (Greg Wise) brings home his young bride (Dakota Fanning), she isn't really sure what to do. Clearly, all he needs is a decoration on his arm and the appearance of normality. She soon discovers that she neede more than that. Realizing what that means and how it must be addressed will be difficult. Fanning does well with the more subtle aspects of her character, and there are a few nice supporting roles here as well. PG-13 for sex.
EGG (NR) 79 minutes * * * Karen (Christina Hendricks) and Tina (Alysia Reiner) have competed with each other for years. It's sort of what their friendship has always been based on. Their current competition involves pregnancy. Karen is having a traditional pregnancy, while Tina is using a surrogate. The discussion is a lively one, with choices, trust, frustration, and so much more in a wonderful mix of emotions. The script is magnificent, with very strong characters, well-performed by the cast. The shift of energy in the epilogue doesn't fit very well, and leaves us with a couple of questions rather than answering them.
EGON & DONCI (NR) 75 minutes 1/2 Egon and Donci live in a nearby solar system, and when they receive a message from Earth, they think it would be a good idea to answer. While the story idea is cute and creative, the dialogue consists almost exclusively of grunts, groans, and nonsensical mutterings. It gets annoying very quickly, and is likely to cause most viewers to fall aslepp, which might not be a bad thing. There is some dazzling and interesting animation, but it's not enough to do much for the film.
EICHMANN (NR) 92 minutes * * * Focusing on the Israeli interrogation of Eichmann (Thomas Kretschmann), this powerful drama shows us a man who even under intense pressure, continued to deny any responsibility for his actions, claiming that he had simply followed the orders of Hitler. he was a transportation officer, and nothing more, assisting in the "evacuation" of the Jews. Eichman constructed a nearly flawless framework of protection. But it only takes one slip. Solid performances keep the intensity going throughout.
EIGHT BELOW (PG) 113 minutes * * 1/2 Suggested by the film "Nankyoku Monogatari" (also known as "Antarctica") this Disney version makes it all a bit nicer, and less realistic. The dogs here are very well-trained and do an excellent job... the people... not so much. Nice soundtrack by Mark Isham. PG for violence.
8-BIT CHRISTMAS (PG) 92 minutes * * 1/2 Jake's (Neil Patrick Harris) daughter wants a phone. Jake says "no", and tells her the story of how he finally managed to get what every kid used to want. A Nintendo. It's a story about Christmas wishes, family, and how sometimes not getting what we want, helps us to see what we already have. Heavily narrated, but it works well. PG for language and violence.
EIGHT CRAZY NIGHTS (PG-13) 70 minutes * Davey Stone is the major holiday humbug. Of course, that will change after 70-year-old Whitey takes him under his wing. This animated modern-day Scrooge story from Adam Sandler is most definitely rude and filled with rather immature humor, but does end up having a positive and somewhat sentimental point to make. The soundtrack is worth a listen, thanks to Sandler's creative song lyrics, but only die-hard fans will want to sit through the rest. PG-13 for language.
EIGHT GIFTS OF HANUKKAH (NR) 84 minutes * * She's finally decided to try a dating app, and in no time at all, she meets someone who she likes. It's now Hanukkah season, and Sarah (Inbar Lavi) is getting Hanukkah presents... and they aren't from him. Overly predictable, but still mildly fun.
8 HEADS IN A DUFFEL BAG (R) 90 minutes * * * Joe Pesci has a delivery to make... and it isn't going to be easy. Especially not when your duffel bag gets picked up by the wrong person. Poor Charlie only wanted to have a nice vacation with his girlfriend and her parents, but finding body parts in your luggage can be a little unnerving. Newcomer Andy Comeau does a great job as Charlie, and Pesci and Kristy Swanson support him well. However, the poor acting by George Hamilton and Dyan Cannon really detracts from the overall effect. This is fun and a little bizarre, but not as polished as it needs to be. R for violence and language.
THE EIGHT HUNDRED (NR) 142 minutes * * * Surrounded by the Japanese Army, eight hundred Chinese soldiers fight for their country, using an old warehouse as their staging ground. An intense war movie with one battle scene after another. Even so, we do connect with many of the Chinese soldiers as they struggle against an enemy that just never stops coming.
EIGHT LEGGED FREAKS (PG-13) 92 minutes * 1/2 You didn't really expect too much from a film with this title, now did you? A week after a toxic barrel of material ends up in a roadside pond, the crickets that breed there are fed to some spiders who end up growing to incredible size and wreak havoc on the neighboring town. The special effects for the spiders are quite nicely done throughout the film, but the story is beyond silly and somehow manages to miss being as much fun as the "Tremors" series. Be sure to listen for Joey Deluxe's version of "Itsy Bitsy SPider" that is sung during the ending credits. PG-13 for violence and language.
EIGHT MEN OUT (PG) 115 minutes * * * Intriguing character studies are the focus of this film about the 1919 world series and the corruption and scandal that surrounded it. Great performances from John Cusack, Charlie Sheen, Perry Lang, and the the rest. Director John Sayles enjoys working a character and it's quite evident in a film like this. PG for language.
8 MILE (R) 106 minutes * * Like so many people, Jimmy (Eminem) is just trying to catch a break, but sometimes its hard to tell who your friends really are. There are some nice performances here from Brittany Murphy and Mekhi Phifer. Eminem does a nice job as well in his acting debut, though its nothing to rave about. Kim Basinger's performance is typically two-dimensional, though much of the film suffers from this problem as well.
8MM (R) 120 minutes * * 1/2 Tom Welles (Nicolas Cage) has been hired to find out if a particular film, found by the widow of a wealthy man, is really a snuff film. Was the girl actually killed? But trying to identify someone in a snuff film involves immersing yourself in the culture that produces films of that nature. The film plods along, much like the investigation, buoyed only by Cage's performance. It's his story - a descent into hell to discover the truth that few want to see and fewer still can do anything about. R for violence, language, and sex.
8 OF DIAMONDS (NR) 87 minutes * Everyone wants the diamond, but no one seems to know for sure where it is. No one trusts anyone else either. And, after about thirty minutes, we begin to stop caring. First time effort by both director Scott Prestin and writer John Pizzo is sorely lacking in skill in both departments. It's difficult to tell for sure because the script is so bad, but it would appear that the actors aren't really doing a bad job, they just don't have much to work with or a director who knows what to do with it. The story idea isn't bad, it's just told in a way that loses our interest rather quickly.
8 SECONDS (PG-13) 93 minutes * * Bio-pic dealing with rodeo star Lane Frost (Luke Perry) and his meteoric ride to the top of the circuit. Cynthia Geary stars as his wife, and the film tries to tug on our emotions, but it tries too hard. Undoubtedly has more appeal to those interested in the rodeo circuit, but even so, there are better films than this to watch on the topic.
8: THE MORMON PROPOSITION (R) 77 minutes * * * This is the story of Proposition 8, a proposition against the right for gay couples to be married in the state of California. It might have gone nowhere, but the funding supplied by the Mormon church, along with thousands of hours of volunteer effort, not only helped it pass, but bring into question how a church can be involved in politics, let alone the politics in a different state, and still maintain their tax-exempt status. Even if you aren't passionate about the issue, this is an interesting look at the political process and how it can be manipulated. R for language.
8 WOMEN (R) 107 minutes * * * One man and eight women. Now that he's been found dead, which of them is the guilty one? It's rare to find a murder mystery as entertaining as this, but it's quite fun. Adapted from Robert Thomas' play, it does get a little talky at times, but with actresses like Catherine Deneuve, Isabelle Huppert, Fanny Ardant, and Emmanuelle Beart, it's still a pleasure. Suspicion passes from woman to woman as more and more details are uncovered, drawing us deeper and deeper into the twisted web that they've all woven a few strands into. R for sexual content.
18 AGAIN (PG) 98 minutes * * * Pleasant, light comedy about body-switching, with the added charm of Georga Burns going a long way toward helping it succeed. Charlie Schlatter does a nice job as well, despite a few inconsistencies. Some nice supporting work from Red Buttons and Bernard Fox as well in this family-style comedy.
EIGHTH GRADE (R) 91 minutes * * * It's almost over. The torturous year of eighth grade. High school is just around the corner. Kayla (Elsie Fisher) is not the most popular girl in school. The place where she does feel secure and confident is online. The disconnect between her online life and reality is reaching a critical point. Great work by Fisher, and a very nice directorial debut for Bo Burnham. For language and sex.
80 FOR BRADY (PG-13) 93 minutes * * * Ever since Tom Brady stepped in for Drew Bledsoe, these four friends have been fans. They never really expected to win the contest, but it happened. It's going to be an adventure they'll never forget. Featuring Jane Fonda, Lily Tomlin, Rita Moreno, and Sally Field, and set at the historic win by the New England Patriots over the Atlanta Falcons. Inspired by a true story. PG-13 for language.
88 MINUTES (R) 103 minutes * * 1/2 College professor and forensic psychiatrist Jack Gramm (Al Pacino) has 88 minutes to discover who is going to kill him and to do something about it. But there are so many possibilities... Pacino is good here, though the story does let us down by not being all that intense. The idea is interesting, to be sure, but we're not surprised by the twists and turns, and the 88 minutes seem to move rather slowly. As he explores the possibilities, and looks at choices he has made in the past, Gramm reminds us of an important question to keep in mind... "Justice and truth... where do they intersect?" R for violence, language, and nudity.
EISENSTEIN IN GUANAJUATO (NR) 103 minutes * ½ Famed Russian filmmaker Sergei Eisenstein (Elmer Back) travelled to Mexico in 1931. His goal was to make a film. But he is struggling with other issues. His homeland wants to put him back under their thumb, and while Hollywood has been supportive, they are now questioning the marketability of his latest idea. The result, which we see here, is an unusual mix of biography, commentary, and artistic sexploitation is heavy with references to Eisenstein’s work and style. That may be expected, but it also severely limits the appeal of the film.
ELAIN STRITCH: SHOOT ME (NR) 78 minutes * * 1/2 A performer, an artist, a comedienne, an eccentric, a no-holds-barred woman, who is quite simply unforgettable. He extensive and impressive career has covered an incredible amount of material and seen her work with an amazing array of several generations of performers. This documentary presents a very honest and open look at the later days of her career.
ELDORADO (NR) 75 minutes * * * Being nice to strangers isn't something that comes naturally to Yvan (Bouli Lanners), especially when he finds them robbing his home. When he decides to help Elie (Fabrice Adde) by giving him a ride, he has no idea where it will lead. Fascinating character study of two men who are drawn together for a brief time, despite their differences, and who may or may not find themselves changed by that experience. Based on a true incident experienced by writer/director/actor Lanners.
ELEANOR'S SECRET (NR) 72 minutes * * * Eleanor has designated her nephew Natanael in her will to receive her extensive and very special library. There is magic her, but to unlock it as well as to keep it safe, Natanael must know how to read, which is something he struggles with. Will he be able to learn in time? Cute and imaginative story about the importance of stories and reading.
ELECTION (R) 100 minutes * In an effort to keep the advances of a student at bay, Mr. McAllister (Matthew Broderick) convinces another student to run for student council president. Everything that can go wrong, does. And we don't really care. These are characters who are hard for us to sympathize with. Broderick is a complainer, Reese Witherspoon is a brat, and the rest of the cast is completely forgettable. The subplots that are meant to involve us in the characters' lives, when the real interesting part of the story is the interaction of the leads and why they are acting this way. Shabby production quality also manages to damage the films' credibility. Aside from a few humorous moments that do manage to capture the emotional trauma of high school life, this has little to offer. R for language.
ELECTORAL DYSFUNCTION (NR) 89 minutes * * It's interesting, to say the least, that the United States uses an electoral system to choose a president, since that is not only a non-democratic system, but when the U.S. pushes for democratic reforms in other countries, the move is toward using the popular vote of all citizens. Ths film focuses on election practices in Indiana, as it has some of the most strict voting laws in the country. So we get to see just how mis-represented the public is in the voting at pretty much every level.
ELECTRA WOMAN AND DYNA GIRL (NR) 79 minutes * * 1/2 Electra Woman (Grace Helbig) and Dyna Girl (Hannah Hart) could use some money, and a little fame would be nice too. It may nto be the best thing for their friendship though. This reboot of the 1976 TV series (that lasted for one season) was initially released as a series of eight 10-minute episodes, but then released on video as a single movie. There are some pacing issues because of that, bt it still manages to be a fun adventure, if a little light on depth.
ELEGY (R) 102 minutes * * * "Time passes when you aren't looking." So says Ben Kingsley's character David Kepesh, a man who is growing old, but having difficulty doing so gracefully. Though he thought he had given up on relationships, he finds himself drawn to one of his students. He will experience life anew, but time will still pass, and death and loss will still come, whether you are ready for them or not. Adapted from the Philip Roth novel, The Dying Animal. R for sex and language.
ELEKTRA (PG-13) 89 minutes * * 1/2 Sent on an assignment to kill a man and his daughter, Elektra (Jennifer Garner) senses that something isn't right and moves to protect them instead. Garner is good here, though that's no surprise with the work she does on "Alias". Kirsten Prout does an admirable job as young Abby Miller as well. Those who follow the comic book character from which this is taken will notice that the character of Elektra is a bit more emotional here, instead of the more distant and cold character we were familiar with. PG-13 for language and violence.
ELEKTRA LUXX (R) 85 minutes * * 1/2 When porn star Elektra Luxx (Carla Gugino) discovers that she's pregnant, she decides that it's time to get out of the business. Her past is going to continue to follow her though, causing various sorts of trouble, though she wasn't completely unprepared for this possibility. Very nice work by Gugino in dual roles (she also plays her twin sister). There are some wonderful scenes here, but they don't always hang together that well as far as the whole film is concerned. It's an uneven film in that respect, but it has a great deal of heart and a good sense of humor. R for sex and language.
ELEMENTAL (PG) 92 minutes * * Ember (voiced by Leah Lewis) has been dreaming of the day she can take over the family business. The one thing standing in her way is her temper. It certainly looks like the shop might be shut down, but Wade (voiced by Mamoudou Athie) just might be able to help. The themes here are a little more mature than they appear at first. The film also starts with plenty of energy, but it fades quite a bit near the end. PG for violence and language.
ELEMENTAL: REIMAGINING WILDFIRE (NR) 83 minutes * * 1/2 Fire is one of the planet's basic elements. It can be highly destructive, but it is also a powerful force for growth and rejuvenation. This documentary takes a look at how and why fires have been so destructive, and what can be done to keep homes and other structures safe. An interesting and informative look at the power and behavior of fire.
ELENA (NR) 99 minutes * * 1/2 As Elena's (Nadezhda Markina) husband nears the end of his life, a sudden change in heart means that the inheritance she had expected to use to support her son will not be available... unless she makes special arrangements. Rather dry, with extended scenes of the camera panning to show us the area and numerous segments with little or no dialogue. It's an overly artistic attempt to represent the lack of communication and understanding that exist between some of the characters which doesn't really work all that well. The ending is perhaps all too true to life, which is less than satisfying and feels incomplete.
ELENA UNDONE (NR) 107 minutes * * An exploration of the meaning of love in the retelling of several real-life incidents about same-sex love. The focus is on one particular story, but the "narrator", who is also part of that story, shares bits and pieces of some other stories. Definitely tending toward a romantic view of love that is a little unrealistic, and the narration is irritating.
THE ELEPHANT IN THE LIVING ROOM (PG) 93 minutes * * * Far more often than you might expect, exotic pets are found to be difficult to keep and they end up being dumped in the wild. No matter which wide of the discussion you find yourself on in regard to the ownership of exotic animals, this is an important film to see. Through the course of the film, we follow two law enforcement officers who specialize in dealing with problems resulting from exotic pets that are no longer being cared for. Some of the stories end well, but others do not. All of them have something to teach us. PG for language and violence.
THE ELEPHANT KING (R) 87 minutes * * 1/2 Oliver (Tate Ellington) travels to Thailand to bring back his brother. Jake (Jonno Roberts) is in trouble and their mother (Ellen Burstyn) wants him home so that she can help him face the music. Jake has no intention of coming home to let his mother control things, and almost manages to pry Oliver from their mother's grasp. Burstyn once again plays a manipulative mother and wife. It's a part she plays well, but which is not pleasant to watch. R for sex, language, and violence.
ELEPHANT KINGDOM (PG) 91 minutes * A group of young orphan elephants become an important part of a rescue team for Rock's (voiced by Cary Elwes) wife, who is captured by an evil human king. The animation is mostly very mediocre, and the film is poorly edited, with the movement between story elements very choppy and disconnected. PG for violence and language.
ELEPHANT TALES (G) 91 minutes * 1/2 Two young elephants lose their parents to hunters one evening. Now they are on their own, looking for another family to be part of. Beautiful South African scenery, but this can be a scary story for the little ones who are watching. It does all turn out OK in the end, but there are plenty of other cute animal films that are better than this.
ELEPHANT WHITE (R) 86 minutes * * 1/2 A killer for hire, Curtie (Djimon Hounsou) soon finds himself working to take down a whole gang that is involved in a prostution and drug ring that resulted in the death of the daughter of the man who hired him. Corruption, double-crosses, and much killing ensue. hounsou's performance gives this a little bit of an edge, but it's mostly what you've seen before. R for violence, language, and sex.
ELEVATOR GAME (NR) 91 minutes * * As the urban legend goes, if you ride an elevator to certain floors in a certain sequence, you can travel to another dimension. An online web series that investigates urban legends is about to explore this one. It just might turn out to be more than they expected. The scene before the opening credits isquite good, and there are a few good scares that happen later in the film. The middle of the film drags quite a bit though, and some of the scenes are very repetitive.
11-11-11 (PG-13) 89 minutes * The date 11-11-11 seems to have significant mysterious potential for Joseph Crone (Timothy Gibbs) and his family. Unfortunately, the film is less than mysterious, instead being quite predictable with only a handful of cheap noise scares and far too many scenes in near total darkness. The ending is less than satisfactory and as disconnected as some of the rest of the film. PG-13 for violence.
11/11/11 (R) 82 minutes 1/2 Low-budget horror about how the devil is going to show up as an 11-year-old on 11/11/11 (not to be confused with 11-11-11). The music is effective, but the story doesn't move well and the photography and editing are just plain bad. R for violence.
11:14 (R) 81 minutes * * One evening, at 11:14pm, the lives of a number of people will intersect in a variety of ways... hmmm... haven't we heard this before? That could be forgiven if the story was well-written, but it's not. There are a few good scenes here and there, thanks to the acting talents of Hilary Swank, but too much of this is a good idea gone very mediocre. R for language, violence, and sex.
ELF (PG) 90 minutes * * 1/2 Buddy (Will Ferrell) thought he was an elf. He was raised by elves at the North Pole, but the time has come for him to learn the truth... and to go and be with his human family. It's a tall order, and one that will need more than a fair share of the Christmas spirit to work. There's far more sentimentality and holiday spirit here than one might expect, and it does get a bit silly in spots, undermining the effect a little. Ferrell seems sincere enough and Zooey Deschanel does a nice job as well. PG for language.
THE ELF (2017) (NR) 88 minutes BOMB As if the night terrors Nick (Gabriel Miller) has from witnessing a murder as a child weren't enough, now he has unwittingly released a cursed elf doll that is going to kill his family. The soundtrack creates some suspense, and the effects aren't too bad, but the acting is horrible and really makes this difficult to watch.
ELF BOWLING: THE MOVIE (PG) 78 minutes 1/2 Santa's brother continues to try to take over Christmas through trickery and deceit, and bowling challenges. Not one of the better decisions of what video games you might want to make into a movie. The dead animation doesn't make the characters appealing either. PG for violence and language.
ELIMINATION GAME (NR) 85 minutes * A new sort of reality TV show. "Turkey Shoot" is a violent show where criminals are chosen to see if they can make it through four levels of various challenges. Pardon from their crimes is supposedly possible if they make it through all four levels, but no one has made it that far yet. How will Rick (Dominic Purcell) fare? Except, halfway through the film, he escapes the course and goes on a mission to clear his name. They try and keep it as part of the TV show, but it doesn't make much sense (to them or us), and the ending is a cheap attempt to answer all of the questions quickly, but not very convincingly.
THE ELITE SQUAD (R) 111 minutes * * 1/2 The slums of Rio De Janeiro are a tough and violent area, and since the pope is planning a visit, the elite squad from the police force are asked to go in and clean up the area. Meanwhile, Nascimento (Wagner Moura) is trying to find a replacement to lead the team because his wife is pregnant and he wants to retire. Tough and gritty film, very rough around the edges, giving it an almost documentary-like feeling at times. R for violence and language.
ELITE SQUAD: THE ENEMY WITHIN (NR) 109 miunutes * * 1/2 Nascimento (Wagner Moura) has not only not retired, but has been promoted. Still in Rio, he finds himself in the center of a serious conflict between politicians and paramilitary groups. The intensity of many of the scenes is undermined by heavy narration, though the story itself is very good.
ELIZABETH (R) 119 minutes * * * Elaborate sets and beautiful costumes are plentiful in this story of the rise of Elizabeth to the throne of England. The intrigue is a bit hard to follow early on, though part of this is due to most Americans lack of familiarity with British history. Later in the film this isn't a problem though, and we find ourselves immersed in the story. It's a bit gratuitously graphic in spots, but overall, it's a wonderful piece about the history behind Elizabeth's coming to power. R for violence and sex.
ELIZABETH BLUE (PG-13) 89 minutes * * * Elizabeth (Anna Schafer) has been in a mental hospital and was recently released. Perhaps she was not quite ready for that change. The hallucinations are still happening, along with the anxiety, but there have been some improvements, and even more importantly, she's aware of the improvements. Mental illness is a rockt road. great work by the cast in a difficult story. PG-13 for sex.
ELIZABETH HARVEST (R) 105 minutes * * * Elizabeth (Abbey Lee) has everything she could want. But the one thing she has been asked not to do, is something she cannot keep herself from doing. There is one room that she is not supposed to enter. Having that choice is what makes her human. What's behind the door shows that there is a bit more to the story. Fascinating, mysterious, and disturbing. This benefits from a repeat viewing, in part because there are several scenes that are not shown in chronological order. R for violence, sex. and language.
ELIZABETH IS MISSING (NR) 87 minutes * * * Expecting to see her best friend Elizabeth (Maggie Steed), Maud (Glenda Jackson) is upset when she doesn't show up. Memories of her past are fresh, though sometimes they are confused with the present. Though suffering from dementia, Maud holds a secret. A secret that is about to come to light. Wonderful work from Jackson, but the ending of the film is a little abrupt.
ELIZABETH: THE GOLDEN AGE (PG-13) 106 minutes * * * Cate Blanchett returns to the role of Elizabeth for director Shekhar Kapur's continuation of the story. The Holy War continues, and the only thing that stands between King Philip II of Spain and victory is England... and Elizabeth. While her ways are a bit unorthodox and the Catholic church continues to try to remove her from the throne, Elizabeth will not be move. Though momentarily blinded by love, it is Elizabeth's passion for life and for freedom that inspire the people to fight. That passion coupled with the rough English seas spell defeat for the Spanish Armada... and the beginning of the golden age of England. The story strays a bit here, though Blanchett carries it all quite well. PG-13 for violence and nudity.
ELIZABETHTOWN (PG-13) 117 minutes * * * Drew Baylor (Orlando Bloom) has just had the worst day of his life, discovering that he has lost almost a billion dollars for the company he works for, only to get a phone call about the death of his father. Somehow, he finds the strength to make the flight home, which is where he meets Claire (Kirsten Dunst). She is almost annoyingly positive in her attitude, but he can't help but be drawn to her. Yes, it's sentimental, though there are definitely bits of comedy worked in to keep it from getting too bad. In fact, the shifts in mood throughout the film are nicely balanced. The story tends to ramble a bit though and the narration isn't really necessary. PG-13 for language.
ELLA BELLA BINGO (NR) 76 minutes * * 1/2 Johnny (voiced by Benjamin Plessala) is the new boy in the neighborhood. That could be a great thing, but when Ella's (voiced by Summer Fontana) best friend Henry (voiced by Jack Fisher) starts spending more time with Johnny, Ella gets jealous. A story about friendship and sharing. A nice family film with a good story and fun characters.
ELLA ENCHANTED (PG-13) 89 minutes * * 1/2 When Ella was a baby, a spell of obedience was cast on her and she has to do what anyone tells her to do. Now that she's a teenager, it's getting to be more than a bit frustrating. Full of puns and witty little bits of dialogue and creative sets and props, this is a wonderfully creative adaptation of Gail Carson Levine's book. The music is delightful as well, with Anne Hathaway doing her own singing. There's so much focus on all the witty bits that we don't get very much story though. And, while Hathaway does a nice job with the musical numbers, her acting offers little depth. PG-13 for language.
ELLE (R) 125 minutes * * * Michele (Isabelle Huppert) runs a videogame company. She's ruthless in her business dealings, but when she is physically assaulted at home, she is reminded that much of life is a balancing act. She wants revenge for the attack, but on her own terms, which becomes something of a game. A complex and unusual character, well-played by Huppert. R for violence, sex, and language.
ELLEN FOSTER (PG) 97 minutes * * * Jena Malone is sheer perfection as she plays Ellen Hammond, a girl who wants more than anythng else to find a home where she can be loved after her mother dies. Malone is captivating and sincere and carries the film well. She is able to show an understanding of her character that many actors never achieve. As with many sentimental dramas, supporting characters are frequently a bit two-dimensional. But the film remains a strong statement for the worth of love over that of blood ties. Bravo, Jena! PG for language and violence.
ELSA AND FRED (PG-13) 93 minutes * * * Fred (Christopher Plummer) isn’t excited about moving into an assisted living apartment. Elsa (Shirley MacLaine) lives next door and decides to take him on as a project. As usual, it’s quite fun to watch MacLaine work, and Plummer works well as her counterpoint. The ending is rather abrupt, which cuts off some of the emotional impact of the story as it nears the end. PG-13 for language.
ELSEWHERE (R) 103 minutes * Jillian (Tania Raymonde) hates her life in this small town. She's always talking about leaving, so few are surprised when she disappears. But her friend Sarah (Anna Kendrick) is worried, especially because of the websites Jillian had been spending time on. Now she needs to find out what happened to her friend. Few of the performances here indicate that anyone took any acting classes, and natural talent is missing as well. The production quality is good, but that's about all that's here. Filmed in Goshen, Indiana. R for language, sex, and violence.
ELSTREE 1976 (NR) 95 minutes * * 1/2 Interviews with several actors who were extras or had small parts in the first Star Wars film. Because of how the film became such a cultural phenomenon, being a part of it turned into a life-changing experience. It's rare that we get a chance to glimpse this side of filmmaking, because most films don't have the reach that can effect a change on the lives of anyone who was part of it.
ELVIRA: MISTRESS OF THE DARK (PG-13) 93 minutes * The plot is, for those of you familiar with Elvira, no more substantial than her costume. It's mostly about how she's trying to get money together for an act she wants to do in Vegas. The jokes refer almost exclusively to her figure and grow boring rather quickly. There are a few spooky effects and the music is mildly entertaining, but one of the better points is the showcasing of her car. Elvira's style of comedy works fairly well when it's limited ot a few remarks before a commercial break on television. But an hour and a half? PG-13 for her costumes and a little bit of suggestive language.
ELVIS (PG-13) 150 minutes * * * Early on, it was a match made in heaven. Colonel Tom Parker (Tom Hanks) and Elvis Presley (Austin Butler) gave the audience exactly what they didn't know they wanted. One of the big questions the film presents is whether or not Parker was responsible for Evlis' death. The truth most likely lies somewhere in the middle. The film shows us a picture of Parker as a man who was a skilled promoter who made a good deal of money for himself by managing Presley. It also paints a picture of Presley as a man who was heavily influenced by a few other people and by the events of the time. He made some choices on his own that were not in his best interest. A very nice mix of historic footage and a stellar performance by Butler. PG-13 for language.
ELVIS & ANNABELLE (PG-13) 87 minutes * * * Annabelle (Blake Lively) is on her way to winning the Miss Texas Rose pageant when tragedy strikes. She ends up on the embalming table of Elvis (Max Minghella), who is running the funeral home while trying to cover for his father, who is having problems that keep him from being very functional. When Annabelle regains consciousness moments before being embalmed, she and Elvis have a rather unusual bond. Definitely a little offbeat, but a gentle and charming story with performances that slowly work their magic on you as the film progresses. PG-13 for language and sex.
ELVIS & NIXON (R) 82 minutes * * * One of the most requested photos from the National Archives is a picture of Elvis Presley and Richard Nixon shaking hands. This is an imagined backstory for the photo. It's a fun look at what might have been. We'll never know how close to the truth it might be, but the tone remains light and playful, which works very well. R for language.
ELYSIUM (R) 102 minutes * * 1/2 The year is 2154 and conditions on Earth have deteriorated dramatically. Those with money have moved to a space station that orbits the planet, where they can live in the way in which they are accustomed. Max (Matt Damon) has a plan to change that, and to bring these two "worlds" together. The special effects tend to overshadow both the acting and the story. Though, to be fair, the story is fairly simple, without much in the way of subplots to add depth. R for violence and language.
EMANCIPATION (NR) 110 minutes * * 1/2 Dominik (Urs Stampfli) has a problem. And it seems that the only way he can really deal with it is to talk to others who have a similar problem. Spousal abuse is a serious problem, and it can happen to either spouse. The script is somewhat stiff, but the cast manage to create characters we can be sympathetic with.
EMANUEL (NR) 72 minutes * * * Emanuel African Methodist Episcopal Church in Charleston, South Carolina faced a crisis that few in the United States have had to deal with. A white supremacist entered their church during a prayer service and killed nine people. This is the story of that event and of what followed. A thoughtful and powerful retelling.
EMBATTLED (R) 113 minutes * * * Jett (Darren Mann) wants to follow in his father's foorsteps, at least in how his father is a champion MMA fighter. His father (Stephen Dorff) is also very abusive, and Brian wants to break that part of the cycle. Very good fight scenes and nice work in general from Dorff. Mann's performance isn't all that strong. R for language, violence, and nudity.
EMBRACE OF THE SERPENT (NR) 121 minutes * * * Karamakate (Nilbio Torres) is a Shaman from the Amazon region of South America. He is also the last of his people. Over the course of 40 years, he works with two different scientists who are searching for a very special plant that is said to have healing powers. It is almost as rare as Karamakate himself. This is a world we will never know. Glimpsed by a few, who counld only recount a piece of the story, viewed through a lens they weren't even aware they were looking through.
EMBRACE OF THE VAMPIRE (NR) 87 minutes * * Charlotte (Sharon Hinnendael) has just started at a new school. But something evil has followed her there. Lots of hints at a back story that we never really do hear all that much about. This is a little steamier than the 1995 version of the film, though that really doesn't have any effect on the story.
EMELIE (NR) 78 minutes * 1/2 With their regular babysitter unavailable, this couple find themselves using someone they aren't familiar with. She definitely has some rather curious ideas about games that are appropriate for children. A long, drawn-out ending that further muddles a story that wasn't all that great to begin with.
THE EMERALD FOREST (R) 113 minutes * * 1/2 He will not give up hope. Bill Markham's (Powers Boothe) son was kidnapped several years ago, but he still looks for him. Perhaps he needs to get a better grasp of why it happened so that he can resolve the situation. The plot is a little obvious, but the scenery is beautiful. R for vuilence and nudity.
EMILY (NR) 80 minutes * 1/2 After just three years of marriage, Emily (Rachael Perrell Fosket) and Nathan (Michael Draper) come to a turning point. Nathan admits that he doesn't believe in God. It's something that's core for Emily, and Nathan just can't be in that space. Low-key, slow-moving, and inconsistent. A little of that is due to the script, but most of it comes from difficulties with direction.
EMILY (2022) (R) 125 minutes * * * Imagining a less rosy and happy version of Emily Bronte's (Emma Mackay) life, this film tells the story of the literary sisters' lives, with a focus on Emily. She struggles to deal with the death of her mother and she lives in a world where the dark and gothic side of life has much more appeal. She is a misfit in proper society, and in her family. The novel she writes that is birthed out of that pain and frustration will be one of the best and most memorable novels ever written. A very well-done version of the life of Emily Bronte. R for sex.
EMILY THE CRIMINAL (R) 92 minutes * * 1/2 Stuck in a low-paying, dead-end job, Emily (Aubrey Plaza) could really use some fast money. An opportunity arises to get into a credit card scam. It's easy money, and wihtout much risk. But it leads to other jobs with bigger risks and higher payouts. It's a downward spiral. Can Emily get out of it? Does she want to? Plaza and Theo Rossi are good here, though the rest of the cast doesn't have much depth. R for language and violence.
EMMA (PG) 118 minutes * * * 1/2 Gwyneth Paltrow is absolutely charming as Emma Woodhouse, a young matchmaker who finally gets in over her head in this classic story. Greta Scacchi and Toni Collette are perfect counterparts to Paltrow, and the looks between them add a character to this that makes it thoroughly entertaining. There are those who critique this in light of its inaccuracies in adapting the book to the screen, but in light of how fun the final product is to watch, I think that can be forgiven. PG for language.
EMMA (2009) (NR) 223 minutes * * 1/2 Lengthy TV movie version of the classic story, starring Romola Garai as the matchmaking Emma. As well as being a bit more drawn out than many versions of the story, Emma is played a bit more brash and carefree than at other times. Dan Fredenburgh's portrayal of Mr. Knightley is a bit less romantic and a little less appealing to Emma as well. It all works out well in the end of course, and the scenery is quite pleasant throughout.
EMMA (2020) (PG) 117 minutes * * * Emma (Anya Taylor-Joy) spends most of her waking hours meddling in the love lives of her friends. How long will it take her to notice Mr. Knightley (Johnny Flynn), who has affections for her? Charming adaptation of the classic novel with a delightful performance by Taylor-Joy. PG for nudity.
EMMANUEL'S GIFT (G) 77 minutes * * * Inspirational film about Emmanuel Ofosu Yeboah, who rode a bike across his native Ghana, changing the perception of people across the world about people with physical challenges. We meet those who inspired him along the way, and many of those who his example has touched. Never one to give up, Emmanuel has accomplished things that many would never have dreamed possibile.
EMMA'S CHANCE (PG) 89 minutes * * 1/2 After making a bad decision late one evening, Emma (Greeg Grammer) finds herself at a horse rescue ranch doing community service. It doesn't take long before she finds herself loving the work and the horses and working hard to help save the place as they struggle with bills. A little better acting than most "girl and her horse" films, but the story follows right along the same lines. PG for language.
EMMA'S WINGS: A BELLA SARA TALE (NR) 74 minutes * The mythical land, North of North, is actually a real place, and it's part of Emma's history. Now that she knows about it, and her connection to it, she must fight to save the land and the beautiful horses that live there. The animation is so stiff and poorly edited that its almost painful to watch. The story may come from a trading card game, but it deserves better animation than this.
THE EMOJI MOVIE (PG) 78 miunutes * * 1/2 All Gene (voiced by T.J. Miller) wants is to be the "meh" he's supposed to be. Maybe getting reprogrammed will fix his malfunction. Incredible voice cast, with Anna Faris, Maya Rudolph, Steven Wright, Jennifer Coolidge, Patrick Stewart, Christina Aguilera, Sofia Vergara, Rachey Ray, Sean Hayes, and more. There's plenty of social media humor here, and, of course, the moral of the story is to be who you are. PG for language.
EMPEROR (PG-13) 101 minutes * * * General Fellers (Matthew Fox) returns to Japan at war's end to help with the details of the rebuilding of Japan and the prosecution of war criminals. Flashbacks detail his experience in Japan during the war, including his relationship with a Japanese woman he hopes to reconnect with. A very personal look at this particular piece of history with a performance by Fox that clearly shows the vulnerability of his character. PG-13 for violence and language.
EMPEROR (2020) (PG-13) 95 minutes * * * When the plantation where he works is taken over by a harshe new owner, Shields (Dayo Okeniyi) realizes that he has to get away. Heading north, he ends up meeting both John Brown and Frederick Douglass. His journey and his struggle will become a well-known piece of the struggle for freedom from slavery. As the film notes at the beginning, it is "based on the legend", meaning that it is a couple of steps removed from the truth. That said, it is a very good story that captures the essence of the history. PG for violence and language.
THE EMPEROR'S CLUB (PG-13) 105 minutes * * * What will your contribution be? What do we learn and what do we teach? Kevin Kline plays the part of a teacher at St. Benedict's where he teaches history and builds character in the lives of his students. It's a great story, and though we've heard it before, the gentle twists and turns here are nicely played by Kline and the rest and accented well by a stirring soundtrack from James Newton Howard. PG-13 for language.
THE EMPEROR'S NEW GROOVE (G) 72 minutes * * * A bratty young emperor gets himself changed into a llama. Eventually, he learns the value of cooperation and what it means to erally care about others. OK, that may not sound all that impressive, but it's actually a pretty cute story and works quite well. David Spade and John Goodman lend their voices to the lead characters and the result is a film for kids that most parents won't mind watching.
EMPIRE (R) 95 minutes * Victor (John Leguizamo) deals drugs. He's not the biggest fish in the lake, but he's pretty high up on the chain. He's decided that it's time to get out of the business and take advantage of an investment opportunity that has fallen into his lap. It's obvious to us that he's being played, but even when he does realize, he hopes to turn it around to his advantage. The film has alot of heart, but relies too heavily on Leguizamo to carry it all by himself. He does his best, but with so little help, this just never gets off the ground. Isabella Rosselini is sadly miscast here as well. Filmed in New York and Miami. R for language, violence, and sex.
EMPIRE OF ASSASSINS (R) 91 minutes * * In seeking out revenge for wrongs done to him many years ago, it will be discovered that his brother is the one whom he is seeking. But was he mislead in seeking revenge? What is the truth that needs to be made clear? Great fight sequences, but an ending that leaves a great deal to be desired. R for violence.
EMPIRE OF LIGHT (R) 110 minutes * * * Life hasn't been easy for Hilary (Olivia Coleman) or Stephen (Michael Ward). She struggles with mental health issues, and he faces daily persecution because of his race. They find each other, and find that they share common ground not only in the movie theater where they both work, but also in the films and music they both share. Written and directed by the talented Sam Mendes. R for sex, language, and violence.
EMPIRE STATE (R) 91 minutes * * Chris (Liam Hemsworth) and Eddie (Michael Angarano) decide that stealing from an armored car depository is a great way to come up with a lot of money, but an NYPD officer (Dwayne Johnson) has other ideas. Johnson seems out of place here, looking like he's about to make a joke in every scene. Although this is based on (or at least inspired by) actual events, the tone tends to fun at the idea, which keeps us from connecting to the story and leaves us wanting more. R for violence and language.
EMPLOYEE OF THE MONTH (R) 92 minutes * David Walsh (Matt Dillon) is having a bad day. He just got fired and now his fiancee is breaking up with him. So what else can go wrong? How about being in a one-note joke of a film? The twist that happens at the end of the film explains it all, but it also undermines a good deal of the story along the way. If you already lasted that long, be sure to go ahead and watch the credits as there's another "surprise" that you'll see there as well. R for language, violence, and nudity.
EMPLOYEE OF THE MONTH (2006) (PG-13) 102 minutes 1/2 Vince is about th complete his 18th straight month as employee of the month. It's a record for the Super Club chain of stores. Zack decides to try and stop him. It doesn't hurt that the pretty new girl that just started working there is supposed to have a thing for employees of the month. It's pretty much as bad as it sounds, with only a couple of chuckles. It takes itself far too seriously and sorely wastes the comedic talents of Andy Dick and Harland Williams. PG-13 for language.
THE EMPTY HOURS (NR) 97 minutes * * 1/2 Sebastian's (Kristyan Ferrer) uncle asks him to manage the motel while he's gone for a couple of weeks. Sebastian thinks nothing of it, and is used to helping out. But then he meets Miranda (Adriana Paz), a regular customer of the motel, and life begins to look a little different. Relaxed and gentle story, with fine, low-key performances.
ENCANTO (PG) 91 minutes * * * In Colombia, the Madrigal family are a special, magical people. Every child in the family is blessed with a special gift that is theirs for life. Everyone except Mirabel (voiced by Staphanie Beatriz), who is now a young woman and still without a special gift. But Mirabel's ordinary self may be just the extraordinary and magical thing that is needed the most when Encanto (the magical place where the Madrigal family lives) is in danger. Nice soundtrack by Germaine Franco. The story has a good message and a nice positive tone, but no real villain to give it a stronger edge. PG for language and violence.
ENCHANTED (PG) 99 minutes * * * 1/2 What would happen if a fairytale became real? Just ask Disney Studios! No one has more experience at making it happen. (Like it or not.) Delightful, silly, and romantic, with an absolutely enchanting (sorry, I had to say it) performance from Amy Adams. Her performance as Giselle makes thisa treat to watch, though it's difficult to find much fault with this at all. Three of the songs were nominated for Oscars and this is sure-fire entertainment for the whole family. PG for violence.
ENCHANTED APRIL (PG) 91 minutes * * * 1/2 Two married women decide that they've had enough of their ordinary, and frequently frustrating lives. The decide to leave their London apartments for a month and rent a castle in Ireland. Two other women join them at the last minute to share in the expense. The place isn't quite what they expect, and yet it is even more. They find that this castle is magical. Not is a superstitious way, but magical in the way that any special place or time can be if we will only let it. An enchanting and beautiful film, full of the drama and humor of life. A real delight to watch and experience. PG for language.
ENCINO MAN (PG) 84 minutes * Weak comedy about a prehistoric man being defrosted and living in Encino. Pauly Shore is the best thing about this film, if that gives you any ideas about whether you'll like it or not...
THE ENCOUNTER (NR) 88 minutes * A group of people end up stranded in a diner on a stormy night. It just so happens that Jesus is the proprietor and he has an offer to make to these "guests". Highly unrealistic dialogue, and very a preachy tone is maintained throughout. it doesn't help that the script is very heavy on dialogue and very light on physical movement by the characters.
ENCOUNTER (2018) (NR) 87 minutes * Initially, they aren't even sure what they've found. And then Will touches it. The idea has some merit, but the story just doesn't work very well. The script leaves the characters wandering and wondering, and the interactions with the government aren't even remotely believable.
THE ENCOUNTER: PARADISE LOST (NR) 102 minutes * 1/2 Seven years after the tsunami in Thailand, six strangers are trapped in a resort as a hurricane approaches. A man arrives claiming to be Jesus (Bruce Marchiano), offering to save them from the darkness in their lives. The script for this sequel to "The Encounter" is not only ovely dramatic, reminding us of the worst in soap operas, but also reveals the back stories of the characters only at the perfect moment for maximum emotional impact, which is a very manipulative tactic and makes the story feel very fake. Toward the end, it turns into an action film, perhaps to make up for all of the preaching that has been going on, and finally leaves us with the stage set for another sequel.
ENCOUNTERS AT THE END OF THE WORLD (G) 98 minutes * * * Director Werner Herzog turns his focus to the South Pole. He reports on the activities of the scientists and researchers who live and work there, and talks with us about what they are discovering about the earth and about the nature of life. Herzog's narration has a quality of personal reflection and musing that make us feel like we're listening to an old friend.
END OF A GUN (R) 84 minutes 1/2 Standard Stephen Seagal, with minimal action, and a less-than-exciting story. The narration doesn't help, but a couple of the supporting cast (Florin Piersic Jr., and Ovidiu Nicolescu) do reasonably well considering the quality of the material they're working with. R for violence, language, and sex.
END OF DAYS (R) 115 minutes * 1/2 This action/thriller stars Arnold Schwarzenegger as Jericho, a man who finds himself protecting a woman who is the key to the "end of days". There's plenty of action, but little in the way of logic as we are immersed in Christian symbolism and literal interpretations from the book of Revelation. There are lots of very impressive special effects courtesy of Stan Winston and a few others, as well as a nice soundtrack from John Debney. The shallow story can't keep us interested though, and we get tired of the special effects after awhile too. Filmed in Los Angeles and New York. R for violence, language, and nudity.
END OF SENTENCE (NR) 90 minutes * * * To honor his wife's last wish, Frank )John Hawkes) will be taking his estranged son (Logan Lerman) to Ireland to scatter her ashes. It's going to be a long trip. As they travel to and through Ireland, the film explores their relationship and their shared grief. Nice work by Hawkes and Lerman.
THE END OF THE AFFAIR (R) 98 minutes * The acting talent of Stephen Rea is completely wasted in this sappy, and overly-dramatic love story. Ralph Fiennes and Julianne Moore spend the majority of the film in bed, leaving their acting talents with little for us to appreciate either. And, as if things weren't bad enough, a huge portion of the film is repeated to show us a different viewpoint. The problem is that there's very little that is different as far as the repeated scenes. Some muttered words here and a few thoughts there, but it makes this tedious to watch to say the least. Filmed in London and Brighton. R for sex.
THE END OF THE LINE (NR) 79 minutes * * * The ocean's fish are disappearing from over-fishing. The evidence is unmistakeable. Fueld by greed, regulations are ignored, and it's catching up with us very quickly. This informative documentary lifts up in particular the examples of blue-fin tuna and cod as examples of the dilemma that confronts us. Narrated by Ted Danson.
END OF THE SPEAR (PG-13) 105 minutes * * * The Waodani are a fierce tribe in the jungles of Ecuador. Establishing contact with them, some Christian missionaries think they've begun the work they'd dreamed of, only to have the Waodani kill their first team. While the ways of peace eventually find their way into the world of the Waodani, it's no small task to change the warrior ways of a people who have known nothing else. Nicely made film that definitely has some appeal, but if you find it interesting, you should really take a look at the documentary "Beyond the Gates" by the same director. PG-13 for violence.
END OF WATCH (R) 102 minutes * * * This is the daily life of two young LAPD officers. Danger is always just around the corner, and choices can make the difference between life and death for them and those they have sworn to protect. Filmed in a sort of documentary style that isn't always convincing as such, but it does give us a sense of embeddedness and an intimacy with the characeters. R for violence and language.
ENDANGERED SPECIES (R) 94 minutes * * * Harriet (JoBeth Williams) is investigating a series of cattle killings when Ruben Castle (Robert Ulrich) comes to town. He has no interest in getting involved with the investigation, but could be interested in pursuing Harriet. Of course, his background as an office on the police force in New York may offer just enough of a different perspective on the case that will help it be solved. Williams does a great job here, and the story works well.p>
ENDANGERED SPECIES (2021) (R) 95 minutes * 1/2 It was supposed to be a dream vacation in Kenya, but Jack Halsey (Philip Winchester) cut some corners. So the family goes on their own safari... and quickly gets into quite a bit of trouble because they do just about everything wrong that you can do. The story is far from great, and the characters aren't all that likeable except for Lauren (Rebecca Romijn). The special effects aren't bad, but they clearly aren't enough to save this film. R for language and violence.
ENDEAVOUR (NR) 102 minutes * * * A young detective constable Morse (Shaun Evans) is enlisted to help solve the mystery of a missing schoolgirl. It will be the first in a long line of mysteries he will solve during his career. It's an interesting look at the character, and fun for fans of the Inspector Morse series to look into the character's past. Nice work by Evans and also by Russell Lewis, who wrote the script.
ENDER’S GAME (PG-13) 105 minutes * * * ½ Adapted from the classic science fiction novel by Orson Scott Card, this is the story of Ender Wiggin (Asa Butterfield) and his training to become the best soldier in the International Military as they endeavor to wipe out the Formics, a race of beings who nearly destroyed the Earth a few years before. The younger members of the cast do a wonderful job, though some of the supporting roles are a little thin. There are also a few story elements that seem to be given less time than needed and this may have suffered from the director’s/producer’s desire to keep the film under two hours. Another 15-20 minutes could have added a great deal of depth to this. Fans of the book are more likely to be a little disappointed, especially since Card’s script was not used. That said, it’s still quite good, and finishes with a powerful ending that sets the stage for the next chapter in the story. PG-13 for violence.
ENDGAME (PG-13) 100 minutes * * 1/2 These are the days of apartheid in South Africa. The talks between the white government and the African National Congress (ANC) don't seem to be getting anywhere. Part of the difficulty seems to be that there are different factions within the ANC that aren't yet coming together. Nelson Mandela (Clarke Peters) may be able to make that happen. Adapted from the book, "The Fall of Apartheid" by Robert Harvey. Despite the passion of the issue, the manner in which this particular version is told is a bit dry. PG-13 for violence and language.
ENDGAME (2015) (NR) 87 minutes * * 1/2 Jose (Rico Rodriguez) loves to play chess, and his grandmother has been teaching him his grandfather's championship secrets. But there are issues at home. Formula story that works well enough thanks to some nice work by Rodriguez.
THE ENDLESS (NR) 107 minutes * * As youth, Aaron (Aaron Moorhead) and Justin (Justin Benson) were part of a UFO death cult. They managed to break away, but finding an old videotape inspires them to revisit the place in an attempt to find closure to a chapter of their lives that feels incomplete. They may find something else. Lots of interesting philosophical ideas here, but mostly toward the end of the film. The story doesn't really set things up very well, and it's easy to give up on this before it finally gets interesting. Part of that trouble is due to Moorhead and Benson taking on the jobs of writer/director/producer/actor/editor/cinematographer.
ENDLESS LOVE (PG-13) 100 minutes * * Jade (Gabriella Wilde) isn't the most popular girl, having isolated herself to pursue her goals. When David (Alex Pettyfer) falls for her, he doesn't think he has a chance. And then it just all falls into place. Also adapted from the Scott Spencer novel, this features slightly better acting than the 1981 film of the same title, the the story is still trite and lifeless. PG-13 for sex and language.
ENDLESS POETRY (NR) 123 minutes * * * 1/2 Writer/director Alejandro Jodorowsky tells the story of his journey as a young poet (played by his son, Adan) in the 1940s. It's an exploration of his inspirations, and the unique and varied friends and experiences that led to the development of one of Chile's greatest poets. Beautiful and unusual, it is visually stunning and an immersive, artistic experience. A brave and powerful film.
THE ENDLESS SUMMER II (PG) 106 minutes * * The sequel to Bruce Brown's 1966 surfing film follows "Wingnut" Weaver and Pat O'Connell around the globe while Bruce narrates. The camerawork is wonderful, but this still feels more like Bruce's home movies than a feature film presentation. It also drags on a bit long with "accidents" that are obviously staged to try and add to the story.
ENDS OF THE EARTH (NR) 83 minutes * * 1/2 The story of the Mission Aviation Fellowship, whose mission it is to spread Christianity to every corner of the world. MAF has been able to accomplish a great deal toward this end because of how much easier the technology of flight allowed for a farther reach than had been possible before. It's a very inspirational story, though it makes opnly passing reference to the several plane crashes and the incident where five people were killed by members of a local tribe in Ecuador.
ENDURING LOVE (R) 95 minutes * * 1/2 After witnessing a tragic ballooning accident, Joe (Daniel Craig) is plagued with guilt. It overpowers even his relationship with Claire (Samantha Morton). Jed (Rhys Ifans) also witnessed the accident and is trying to deal with his own emotions. He becomes obsessed with Joe, who wants nothing more than to be able to forget that it happened. In one sense, it is an interesting story about how accidents can change our lives. It remains a bit too philosophical though and doesn't allow us to connect as well with the characters as we need to if we're to really feel the struggles they are facing. R for language and violence.
ENEMIES: A LOVE STORY (R) 115 minutes * * * Herman Broder (Ron Silver) has a problem. He can't survive on the attentions of just one woman. As the film begins, he is living with Yadwiga (Margaret Sophie Stein) and having an affair with Masha (Lena Olin). He loves them both, and is juggling things fairly well until his wife, who was presumed dead, shows up. Though this sounds like it could be a comedy, it isn't. Broder is used to hiding, but now he may have to face the music. Well-acted and with a nice script that producer/director Paul Mazursky co-wrote, it's an interesting character study. R for language and sex.
ENEMIES CLOSER (R) 79 minutes * Two enemies find that they must work together to avoid the maniacal violence of a drug cartel. Tom Everett Scott, Jean Claude Van Damme, and Orlando Jones would be fine here if the script did a better job of creating some real tension. Instead, there are bits of humor, including an almost laughable character for Van Damme. The action sequences are fine, but lose intensity because of the humor. R for violence, language, and sex.
ENEMIES OF THE STATE (NR) 102 minutes * * 1/2 Matt Dehart (Joel Widman) was an internet hacker who was connected to Wikileaks, and part of the group "Anonymous". When the government goes after him, Matt and his parents claimed asylum in Canada. Docu-drama that tells the story of a triangle of lies and conspiracies that runs many layers deep.
ENEMY (R) 87 minutes * * Watching a movie, Adam (Jake Gyllenhaal) stumbles across his doppelganger as an extra in the film. At first simply curious, he soon becomes obsessed with finding him. That obsession could prove to be his undoing. A moody and introspective story with an unusual ending. Gyllenhall does fairly well, but it's a lot to ask of an actor to carry so much of a film by playing two roles. Adapted from the novel "The Double" by Jose Saramago. R for sex and language.
ENEMY AT THE GATES (R) 124 minutes * * * In times of war, heroes are needed to provide inspiration to those who are fighting for the cause. Vassili Zeitsev becomes one such hero, though he has no desire to be considered one. He was in the right place at the right time, but isn't that what often makes heroes? Now the Germans have sent their best sniper to take him out. The acting is good here, but the accents get in the way. with a mix of American and British actors playing the parts of Russians and Germans, it gets a little muddled. The language is also somewhat stilted, though the strength of the story manages to overcome that in many ways. Sets, costumes, and props also provide an authentic feel to the film, and we feel the tension build as loyalties are tested and as a hero struggles to just be a man. R for violence, sex, and language.
ENEMY LINES (NR) 89 minutes * 1/2 The Germans have a rocket scientist, and that isn't sitting well with the Allies. They send in an elite team of British soldiers under the command of an American. This team will be behind enemy lines in Poland, during the winter. It's not going to be an easy mission. Most of the battle scenes are just not very convincing.
ENEMY OF THE STATE (R) 127 minutes * * The game of politics can be rough, but when Thomas Reynolds (Jon Voigt) has Phil Hammersley (Jason Robards) killed, he's gone a bit too far. The deed was captured on tape as well, and now the hunt is on. Will Smith does a fine job as the "innocent" who is in possession of the tape. There are also a number of other fine supporting performances by Gene Hackman, Jason Lee, Gabriel Byrne, Seth Green, and several others. Unfortunately, the film is just too long. Cutting about ten minutes would also help the pacing which seems to drag at several points. R for violence and language.
THE ENFORCER (R) 84 minutes * * * Unable to really connect with his own daughter, Cuda (Antonio Banderas) befriends a young girl who is about to get caught up in the dark side of Miami. He also gets to know Stray (Mojean Aria), who needs a friend. Cuda is determined to help them both, as a way of making up for somethings that he's done wrong. It will come at a hefty price, but Cuda may finally be willing to pay it. Nice supporting work by Aria. R for violence, language, and sex.
ENGAGING FATHER CHRISTMAS (NR) 84 minutes * * 1/2 On her way back to Vermont, Miranda (Erin Krakow) is looking forward to reconnecting with Ian (Niall Matter). But an old boyfriend is about to complicate her plans. Nicely done sequel to "Finding Father Christmas".
ENGLAND IS MINE (NR) 90 minutes * * Demanding more from himself than he thought he could deliver made Morrissey's (Jack Lowden) early work in music both frustrating and slow to get established. He was both introspective and socially awkward. The ending is unusual, as it makes us leave before we are ready, and before so much of what was yet to come for his music.
THE ENGLISH PATIENT (R) 158 minutes * * * 1/2 Beautifully painted picture that does drag in a few spots, but over-all is a real work of art. The scene changes are poetic, and the story of wartime romance draws you into the film and carries you away. Taken from the novel by Michael Ondaantje, and with wonderful performances by Ralph Fiennes, Juliette Binoche, and many more, this is a must-see for those who enjoy artistic film. Filmed in Italy and Tunisia. R for sex and violence.
THE ENGLISH TEACHER (R) 84 minutes * * * Ms. Linda Sinclair (Julianne Moore) never set out to avoid romantic relationships, but the right one has never come along. One of her formaer students (Michael Angarano) is a phenomenal writer who is struggling and has come back home for awhile. She wants to help him get his play produced at the high school, which he's none too keen on, but her dedication to the project is beginning to cross more than one boundary. Passion takes many forms, and can be difficult to manage. Very smartly written. R for language and sex.
THE ENGLISHMAN WHO WENT UP A HILL BUT CAME DOWN A MOUNTAIN (PG) 92 minutes * * * 1/2 Based on a Welsh legend, this is the story of a mountain called a hill, turned into a mountain. The local "characters" are what make this film come alive as the story is fairly simple. Still, it's one that keeps you smiling the whole way through.
ENOUGH (PG-13) 110 minutes * * He was the nicest guy she'd ever found and things were working out perfectly until she discovered he was having an affair. He thinks its the perfect arrangement, but she wants it to end. He tries to force the issue, and she finally decides she's had enough. Jennifer Lopez does a reasonably good job and the rest of the cast is fine as well. In fact, Tessa Allen's performance as her daughter is quite good. The story is full of holes though. Some of them are minor, but some are far too evident to ignore and it ruins the integrity of the film. PG-13 for violence and language.
ENOUGH SAID (PG-13) 91 minutes * * 1/2 He seems nice enough, and Eva (Julia Louis-Dreyfus) thinks that maybe something good might come of their relationship. But her new friend Marianne (Catherine Keener) has nothing good to say about her ex, and it's making Eva wonder whether she wants to get involved with anyone again. Nice ensemble cast, and Louis-Dreyfus and James Gandolfini work well together. The humor here feels forced and unnecessary and detracts from the story rather than helping it. PG-13 for sex, violence, and language.
ENRON: THE SMARTEST GUYS IN THE ROOM (R) 107 minutes * * * Unflinching look at the collapse of corporate energy giant Enron. Follows the story from the creation of the company all the way through to the finals days when the corporate elite walked out with over a billion dollars while the bulk of the staff got next to nothing. Justice was finally served, but the scales still aren't very balanced. Nice piece of work that will leave you even more frustrated with the corporate world than you were before! Be sure to stick around for Tom Waits' "God's Away on Business" during the credits! R for language.
ENTER NOWHERE (R) 87 minutes * * 1/2 Samantha (Katherine Waterston) stumbles across a shack in the woods as she's looking for help. The young man already there says he's been stranded as well. When Jody (Sara Paxton) shows up, things get even more interesting as they learn more about each other and where they are. But what does it all mean? And how can they find help? Very interesting twists and turns in this inventive morality tale, though the low budget gets in the way a little at times. R for language and violence.
ENTER THE DANGEROUS MIND (NR) 84 minutes * 1/2 Musically talented and socially awkward, Jim's (Jake Hoffman) problems grow worse as the voices in his head grow more insistent and more violent. The music and sound effects are quite good, but acting hovers around the mediocre level.
ENTER THE DOMINION (NR) 92 minutes BOMB Sheldon (Nicholas Gourdine) is finally having some success in his career. But a chance meeting with the ruthless business mogul Jonathan Zander (Dylan Christian) gives Sheldon little choice but to work for Zander. Will he be able to take Zander down? Will he have a movie career after being in such a bad film? Script, direction, sound quality... it's hard to blame the actors too much, but they aren't exactly a bright spot either.
ENTER THE FAT DRAGON (NR) 93 minutes * * 1/2 Fallon Zhu (Donnie Yen) has been having a rough time lately. He's recently been assigned to escort a prisoner to Japan, but the prisoner escapes. As Fallon continues to work the case, he begins to uncover a widespread connection to an evil network. He also has to deal with an exhasperating girlfriend and a recent weight problem. Lots of well-choreographed fight scenes, and some very nice weapon work. Neither of these is a surprise with Donnie Yen in the film. The "fat" aspect of the story doesn't really seem important and could easily have been left out.
ENTER THE VOID (NR) 161 minutes * The dazzling opening credits are just the first sign of what's to come. It's a visually impressive film, but at the same time, it's so intent on immersing the viewer in a visual experience, that it often loses the story.
ENTERTAINING CHRISTMAS (NR) 84 minutes * * 1/2 When Candace (Jodie Sweetin) agrees to take her mom's place to grant a wish for a young girl's homecoming plans for her dad, she has no idea what she's in for. Her mother is an extremely talented cook and craft person. Candace is not. But a little bit of imperfection might be just what is needed. Brendan Fehr co-stars in this holiday film from Hallmark.
ENTERTAINMENT (R) 96 minutes * * 1/2 His career on the skids, the comedian (Gregg Turkington) plays a series of small shows on his way to meet up with his daughter. The desert seems symbolic for both his career and his life. There is life, but its sparse, and must be sought out, and he has little interest left in doing so. It may seem like the story gets more depressing and abstract as it moves along, but it really doesn't. The tone is the same throughout, but it wears us down as it moves along. An unusual piece that is definitely not for everyone. Filmed in Los Angeles and Bakersfield, California. R for language and sex.
THE ENTITLED (R) 85 minutes * * Trapped in a dead end job and with a sick mother, Paul (Kevin Zegers) is tired of trying to study and earn his way into something better. The set-up works quite well, though its overexplained by narration throughout the film. Zegers isn't bad here, but the suspense is really short-circuited by the narration. R for language and violence.
THE ENTITY (R) 111 minutes * * * Carla Moran (Barbara Hershey) is being molested. It’s difficult to do anything about it because even she can’t see who or what is doing the molesting. She ends up going to people who specialize in parapsychology to see if they can help. A spooky soundtrack from Charles Bernstein sets the mood well, and the cast definitely make this worth a look. Based on a true story. R for sex and language.
ENTOURAGE (R) 97 minutes * * * 1/2 Wonderful companion piece to the TV series. Part of the appeal of the story (both here and in the series) is the way Hollywood stereotypes and Hollywood reality are woven together. Not only does it look and feel like an accurate portrayal, but it reminds us of how true that mix is for all of us. Also, it's important to note that while this does tie in to the TV show, it doesn't rely on it for understanding. There are definitely Hollywood in-jokes, but not ones that are just related to the show. And, for those who enjoy them, this film is absolutely packed with cameos from quite a few famous people. R for language and sex.
ENTRANCE (NR) 79 minutes * Suzy (Suziey Block) begins to grow uncomfortable with where she is living, but moving away from there may not really help. Slowly paced slice-of-life film that attempts to be realistic and get us inside the head of the main character. The overly intimate cinematography attempts to give us a personal look at Suzy, but by cutting off our peripheral vision, it creates an intimacy that is overly controlled and ultimately disengaging. It doesn’t help that director Dallas Richard Hallam not only co-produced and co-wrote this, but he also served as cinematographer and editor. It may well be what he wanted to present, but the effectiveness would likely have improved with the expertise of others working in some of those roles.
ENTRAPMENT (PG-13) 107 minutes * * * He's a master thief and she is out to catch him. But how will she be able to do that when he's the best there is? This does take its time to build and the plot twists come along a bit too methodically, but Sean Connery always makes a film worth watching and Catherine Zeta-Jones plays well off of Connery's experienced charm. The ending pushes believability a bit far, but manages to stay just within the limits it needs to for this to be an entertaining film. PG-13 for language and violence.
ENVY (PG-13) 95 minutes * * Tim and Nick have been friends for ages. Tim (Ben Stiller) is the practical one, Nick (Jack Black) is the dreamer. Nick's idea to create a spray that will vaporize dog poop seems like a silly idea to Tim... until it works and Nick becomes incredibly rich. It's lightweight entertainment with a heavy-handed presentation of the moral about appreciating what you have and being honest. PG-13 for language.
EPIC (PG) 94 minutes * * * This is the story of the battle between good and evil on a miniature level. M.K.'s dad has found some clues, but M.K. herself is going to become an intricate part of what happens in the forest during the next cycle. The animation here is wonderful, full of intricate detail and very colorful. The story loses a little energy in the middle, but picks up again well before the end. The leaf men characters here were inspired by William Joyce's book, "The Leaf Men and the Brave Good Bugs". PG for violence and language.
EPIC MOVIE (PG-13) 69 minutes BOMB Yet another parody film, spending most of its time making fun of "The Lion the Witch and the Wardrobe" and "Charlie and the Chocolate Factory", but managing to throw in several others along the way. Sorely missing the talented Anna Faris, though they have someone acting like her. All that does is remind us how bad this really is. PG-13 for sex, language, and violence.
EPIDEMIC (NR) 65 minutes * When Mandi (Gina Destra) finds a hidden room in the basement of her house, she's curious. What she doesn't know is that in exploring it, she releases a deadly pathogen. Headed to a friend's party, it's about to spread. There's plenty of story missing here, though with the very brief length of the film, that's not really a surprise. What is here isn't that bad, but it's just not enough.
EQUAL STANDARD (NR) 96 minutes * * 1/2 A confrontation between two police officers leads to the death of one. Racial tensions were already bad, but this will only make things worse. There's plenty of good material here, but it needs more time. It's well-written and acted, but there seems to be more of the story that we didn't get the opportunity to see.
THE EQUALIZER (R) 127 minutes * * * Robert McCall (Denzel Washington) is not someone you want to get on the wrong side of. And just because he finds himself up against nothing less than the Russian mafia, doesn't mean he'll back down. Washington is good here, but almost too gentle in a few scenes. The intent may be to show humanity, but it tends to come across as weakness. R for violence and language.
THE EQUALIZER 2 (R) 111 minutes * * * He's been flying under the radar for awhile, but that doesn't mean that Robert McCall (Denzel Washington) hasn't been watching out for those in need. It all gets a little more personal though, when his friends Susan (Melissa Leo) is killed. McCall is out to set thigns right, no matter who is responsible. Solid action and suspense, with the violence being a little more extreme than in the first film. It's what was missing from the first film, and it turns this into a very strong sequel. R for violence and language.
THE EQUALIZER 3 (R) 103 minutes * * * Trying to find a place to relax and perhaps settle down, McCall (Denzel Washington) finds himself in a small town in southern Italy. The local crime bosses are getting more brazen and more violent. But they haven't dealt with someone like McCall before. This does leave the door open for another sequel, but it's not essential as this would be a nice place to leave the story, and Washington does seem a little more distant in this entry in the series. R for violence and language.
EQUALS (PG-13) 94 minutes * * In a future society where emotions are no longer expressed or experienced, two people find themselves in a difficult situation. A disease has changed them, and they are falling in love. It is something that their society cannot permit. The story is pretty simple, but unfolds very slowly. The production design is quite good, but it can't make up for a story that just needs a little more complexity to be stronger and more interesting. PG-13 for language and sex.
EQUITY (R) 96 minutes * * A senior investment banker finds herself in the middle of a scandal and has to unweave the tangled web that could end her career. Lacking the subtlety that would have made it more interesting, the story aggressively pushes the image of women in business as a strong norm, while at the same time using flawed and shallow characters. The mix doesn’t work well, inadvertently leaving us wondering if any of this would have happened if the lead characters were not women. A more subtle and balanced story would have been more effective, but then again, so would better acting. R for language.
ERAGON (PG) 97 minutes * * Somewhat disappointing adaptation of Christopher Paolini's novel about a boy who discovers a dragon's egg, and that he is the dragonrider who will save the kingdom from it's evil king. The dragon effects are very good, and Rachel Weisz does a nice job providing it's voice, but the story is two-dimensional and poorly paced. The ending clearly indicates that there are plans for more films, but they will likely be straight to video productions if they are made at all. PG for violence.
ERASED (R) 95 minutes * 1/2 Ben (Aaron Eckhart) and his daughter (Liana Liberato) haven't been close in awhile, but they are on the run together when the CIA decides to erase him. Relying on each other won't be easy, but to survive, they mus find a way to do just that, while trying to understand why this is happening. The story is overly complicated, with twists and turns that don't always make sense, but Eckhart and Liberato do fairly well here, and the pacing is good. R for violence.
ERASER (R) 109 minutes * * 1/2 Multiple writers on this script give us an awkward mix of action, mystery, and comic entertainment that just doesn't wash. The action is fairly steady and the basic idea of someone's identity being erased presents some interesting possibilities. But nothing really interesting happens here... it's the same old story rehashed one more time. It does play a little better on video than the big screen, but it's not one of Arnold Schwarzenegger's better films.
ERASER: REBORN (R) 98 minutes * * A similar plot to the 1986 film “Eraser”, that featured Arnold Schwarzenegger and Vanessa Williams. This time we have Dominic Sherwood and Jacky Lai. The action scenes are good but the script and acting are lacking, especially at the end of the film. R for violence and language.
ERASING DAVID (NR) 76 minutes * * 1/2 David Bond is about to disappear. After receiving a letter about some of his data that was lost, he decides to see if its possible to completely disappear. He hires two detectives, telling them only his name, and gives them thirty days to find him. there are a number of interesting poins here about the information that is gathered on us and by whom. Still, Bond makes quite a few very obvious mistakes if he were really trying to disappear.
ERIC CLAPTON: LIFE IN 12 BARS (NR) 128 minutes * * * An intense and comprehensive look at the life and music of Eric Clapton. The musicians and others who inspired and shaped him, those he played with, and those who were fast friends. Eric was always an artist, and that passion created many amazing songs. It was not always an easy road. The film doesn't shy away from showing the darker side of his life, giving us a complete look at a gifted and talented musician.
ERIK THE VIKING (PG-13) 102 minutes * 1/2 Or, the misadventures of Erik according to the Monty Python school of comedy. Not as sharp-edged as most Python films, though it is interesting to see people like Tim Robbins, Eartha Kitt, and Mickey Rooney in this kind of satire.
ERIN BROCKOVICH (R) 126 minutes * * * Erin (Julia Roberts) hasn't had much luck lately. Begging her way into a job at a law firm as a filing clerk, she stumbles across a case that intrigues her. Pursuing it as only she can do, it becomes a case that will make or break the firm and the lives of hundreds of people in a small town whose water has been contaminated. Roberts does a nice job here and it's wonderful to see Albert Finney at work as well. The focus is on the characters and not the legal/political/environmental issues, but that's nice for a change. Adapted from a true story, liberties have been taken to make it more entertaining, and for the most part, it works pretty well. R for language.
ERNEST AND CELESTINE (PG) 75 minutes * * * 1/2 Bears are supposed to be big and mean, but Celestine doesn't believe it. She befriends Ernest, who may be a little grumpy and reckless, but he's definitely not mean. A very sweet story, adapted from Gabrielle Vincent's book, with beautiful watercolor style animation. PG for violence.
ERNEST GOES TO CAMP (PG) 89 minutes * * 1/2 Typical story of a corporation trying to buy up a campground. Jim Varney's scenes are great, but they aren't the focus of the film, which is too bad. The 6-10 year-old crowd will enjoy this and parents will find it worth a chuckle here and there.
ERNEST GOES TO JAIL (PG) 77 minutes * 1/2 Ernest ends up in jail thanks to a switch planned by an evil lookalike. There are a few chuckles here and there, but it's mostly for young fans of Jim Varney's character. This is the third of the Ernest films and the series has begun to grow tiresome. PG for language.
ERNEST RIDES AGAIN (PG) 90 minutes BOMB Even Ernest fanatics might find this entry a bit tedious as Ernest romps through the countryside, looking for a giant cannon that may lead to the hiding place of the crown jewels of England. Prat falls and prop jokes that all get tiresome very quickly.
ERNEST SAVES CHRISTMAS (PG) 87 minutes * * * * A wonderfully wholesome Christmas message wrapped in a delightfully funny story with that crazy Ernest. By far the best of the Ernest films, with a perfect mix of comedy and drama. PG for language, but not very much.
ERNEST SCARED STUPID (PG) 88 minutes * 1/2 Well, Ernest was pretty stupid before this anyway... this time he faces off with an evil troll. There are a few funny bits thanks to some props and Jim Varney's ability to make an inanimate object appear more intelligent than himself. PG for some gross special effects.
ERRORS OF THE HUMAN BODY (NR) 98 minutes * * Disease research is more often than not a very slow process. It's also a very competitive field, but rivalries can lead to shortcuts... often with disastrous results. The script is unusual, and the intensity shifts frequently. It affects the pacing and our ability to understand just where the story is headed. There are similarities in that sense to David Cronenberg, but this isn't as extreme as most Cronenberg films.
ESCAPE (NR) 77 mminutes * 1/2 When her family is attacked by a band of killers, Signe (Isabel Christine Andreasen) soon finds herself taken hostage as the only survivor. When she does finally manage to escape, the way to safety is more difficult than anything she's encountered. Not a great deal to the story here, but the scenery is nice, and it doesn't drag on too long.
THE ESCAPE (2017) (NR) 97 minutes * * 1/2 It's easy to get lost in the routines of daily life. That is what has happened for Tara (Gemma Arterton). Her husband and children love her very much, but the children are too young to notice, and Mark (Dominic Cooper) is absorbed by his own routines. The need for something different and something more begins to consume her , and so she buys a one-way ticket to Paris. But as she soon discovers, change is more than just walking away. Great work by Arterton, and a script that makes some brave and thoughtful choices in developing her character.
THE ESCAPE ARTIST (NR) 168 minutes * * * Will (David Tennant) is a very talented defense lawyer. When he wins the case against his client, Liam Foyle (Toby Kebbell), gratitude isn;t the first thing on Foyle's mind, because he knows that Will didn't actually believe in his innocence. Now the game is on, with more lives at stake. Great acting and a tense story make this a great choice for both mystery fans and those who enjoy legal dramas.
ESCAPE FIRE: THE FIGHT TO RESCUE AMERICA HEALTHCARE (NR) 96 minutes * * Working off the premise that the United States system of health care is actually a disease management system, statistics show that it isn't even very good at that. To really fix the system, will involve a complete overhaul and a change that results in a something that looks nothing like what is presently happening. It's rather dry, and not really anything new to anyone who has been payng attention to the field of health care since around 1990.
ESCAPE FROM AREA 51 (NR) 73 minutes 1/2 We've always known that the government was keeping aliens at Area 51. Now, one of them has escaped. Sheera (Donna D'Errico) has to rescue Kira (Anouk Samuel) while avoiding Sklarr (Chris Browning). Playful and funny low-budget sci-fi film. The special effects are pretty bad.
ESCAPE FROM L.A. (R) 96 minutes * 1/2 Though much of the same talent is here for the second outing, this film has little of the energy and excitement that made the first one so appealing. There are too many tricks and toys and not enough meat to the story to keep us interested. They also opted to include more humor in this film, and it doesn't work very well. This type of story needs that harder edge to pull us in and make things interesting. R for language and violence.
ESCAPE FROM PLANET EARTH (PG) 82 minutes * * 1/2 Scorch Supernova (voiced by Brendan Fraser) is off on a mission to the Dark Planet... against his brother's advice. In just moments, he finds himself stranded there with only his highly intelligent but not very adventurous brother Gary (voiced by Rob Corddry) to rescue him. Oh, but the way, the Dark Planet? It should be a very familiar sight to you. Plenty of in-jokes here, some for the adults and some for film buffs. PG for language and violence.
ESCAPE FROM PRETORIA (PG-13) 101 minutes * * * Tim Jenkin (Daniel Radcliffe) and Stephen Lee (Daniel Webber) were two young white men in South Africa who were fighting against apartheid. The system of oppression is so engrained in the culture that violence in the struggle against it is a daily and viscious occurance. Tim and Stephen find themselves in prison for their actions. Based on the story of the actual prison escape. Very good tension and character development. PG-13 for violence and language.
ESCAPE FROM TOMORROW (NR) 87 minutes * There's something that lies beneath the surface of Disney World. Jim (Roy Abramsohn) is on vacation with his family, but he's sure that the two French girls he keeps seeing are linked to something more sinister. There's lots of potential here, but the macabre nature of the underside of Disney World is little more than hinted at. Too many problems with the script, acting, and bad matte effects get in the way of what might have been something more fun and interesting. Filmed in both Disney World and Disneyland, and without their knowledge at the time.
ESCAPE PLAN (R) 107 minutes * * 1/2 To make sure that your prison is secure, you hire Ray Breslin (Sylvester Stallone), who will more than likely find a way out. This time, Ray may find it a bit more difficult. The story lays out a bit too neatly, and delivers a "grand twist" barely halfway into the film. Full of close calls and tense moments, the film throws caution to the wind near the end and the events become laughably unrealistic. R for violence and language.
ESCAPE PLAN: THE EXTRACTORS (R) 78 minutes * At least the entries in this series are getting shorter. Breslin (Sylvester Stallone) is hired to rescue a kidnap victim, but that's about all of the plot that is here. Some of the fight scenes aren;t bad, but it's a tough call to say that they're good enough to sit through the rest of the film for them. Most of the cast appear to be less than excited about being here. R for violence and language.
ESCAPE PLAN 2: HADES (R) 86 minutes * It's been awhile since Ray (Sylvester Stallone) managed to escape from a very unique prison. He's running his own security team, but when his protege goes missing, Ray finds himself back in the same situation, with a new system to beat. We're left with the possibility for yet another sequel, which isn't a great idea since this one was so much worse than the first. R for violence and language.
ESCAPE ROOM (R) 82 minutes * 1/2 Four friends decide to sign up for an escape room experience. The guy that runs the place just picked up a cool new prop for the room. A box that contains a demon. Only, it's not a prop. The ending is rather silly, which undercuts what happened earlier in the film. R for violence, language, and sex.
ESCAPE ROOM (2019) (PG-13) 95 minutes * * 1/2 Each of them receive a unique invite to an excape room experience. But this game is life or death. The challenges are intense, and the consequences of failure are permanent, but this still comes off as a sort of "Saw" lite. What we're missing that would have made it better is a more sinister evil lurking "behind the curtain". A sequel is already in the works, which is set up quite nicely. PG-13 for violence and language.
ESCAPE ROOM: TOURNAMENT OF CHAMPIONS (PG-13) 89 minutes * * They've all been through this before. Minos has brought them together to face another series of escape rooms. The puzzles are tricky, but there isn't anything that really stands out here until the very end. It works well to set us up for another sequel, which isn't really a surprise. The production quality and effects are fine, it's just lacking an edge that might have made it more exciting. PG-13 for violence and language.
THE ESCAPIST (NR) 93 minutes * * Serving a life sentence without parole isn't all that difficult for Frank (Brian Cox), until he learns that his daughter is seriously ill. He has to find a way out to see her before its too late. The flashbacks (and flash-forwards) don't help the pacing or continuity of the story, though it does make a little more sense at the end, despite not really finishing the story. Cox does a good job here, and the rest of the cast do reasonably well supporting him.
ESCOBAR: PARADISE LOST (R) 114 minutes * * Exporting a national product and giving money away to the poor help make Pablo Escober (Benicio del Toro) a hero to his people. Of course, since the national product is cocaine, that doesn’t make some other people very happy. For a time, Escobar was the most powerful man in Colombia. But this is actually Nick’s (Josh Hutcherson) story, as he falls in love with Escobar’s niece and begins to work for Escobar. Even as circumstances get worse, Nick seems unable to comprehend the depth of what is happening. We’re also not terribly convinced by Hutcherson’s performance, though del Toto turns in another of his appealing “bad guy" performances. R for violence.
THE ESTATE (R) 93 minutes * * What do you do when your rich aunt (Kathleen Turner) is about to die? Anything you can think of to get your hands on the money! At least that's what these four cousins (Toni Collette, Anna Faris, David Duchovny, and Rosemarie DeWitt) are planning to do. The script is both witty and rude, and though it doesn't really offer any surprises, it does offer its share of laughs. R for language and nudity.
ETERNAL (R) 104 minutes * 1/2 Investigating the disappearance of his wife, Detective Pope (Conrad Pla) discovers that she was the latest victim of a countess who bathes in the blood of her victims to remain young. The film has an uneven mix of exotic, artistic, and earthiness (from Pope's character). That imbalance tends to undercut the effeciveness of the story, though the ending is interesting. R for violence, sex, and language.
ETERNAL SUNSHINE OF THE SPOTLESS MIND (R) 103 minutes * * * * Screenwriter Charlie Kaufman has the incredible talent of being able to create characters that are instantly appealing despite, or perhaps because of, their unusual qualities. This time, we have Joel Barish, a man who has finally found someone to love, only to find that she has erased him from her memory. That's what Lacuna Inc. does... erase memories. Except, there may be a problem with the procedure. It's yet another perfect script from Kaufman that asks us to think about what happens when you start to forget. What do you do when every memory you hold on to slips through your fingers and when everything you love is vanishing from your mind like smoke in the wind? Kate Winslet does an awesome job here and Jim Carrey delivers his most sensitive performance ever. The title comes from a quote by Alexander Pope, "How happy is the blamesless vestal's lot, the world forgetting, the the world forgot. Eternal sunshine of the spotless mind! Each prayer accepted, each wish resigned." If you're a Jim Carrey fan, you'll need to be thinking about "The Truman Show" and "Majestic". R for language.
ETERNALS (PG-13) 148 minutes * * 1/2 Chronologically following "Avengers: Endgame", we learn the story of th Eternals. They have been living on Earth for thousands of years, disguised as humans. With the Deviants now waking and causing trouble, the Eternals must step in to save humanity... again. The first half of the film is very uneven and less interesting. The second half is a much stronger piece with more action and less humor and better character presentation. The ending is a bit awkward, but be sure to keep watching through the credits as there are two more scenes that are important to the story. PG-13 for violence, language, and sex.
ETHEL & ERNEST (NR) 84 minutes * * * Animated feature based on Raymond Briggs' graphic novel about the lives of his parents. A gentle and loving homage to Ethel and Ernest that is filled with charm and love. This is true not only of the story, but of the style of animation and how it flows.
THE ETRUSCAN SMILE (R) 102 minutes * * * 1/2 Rory MacNeil (Brian Cox) needs to see a doctor. Not trusting the one in his local village in Scotland, He travels to the United States to visit his estranged son Ian (JJ Field) and daughter-in-law (Thora Birch), with plans to see a doctor there. What he doesn;t expect is how seeing his grandson will change him. A wondeful cast in an emotional drama about family and tradition. R for language.
EUROPA REPORT (PG-13) 84 minutes * * * Jupiter's moon Europa has shown signs of thermal activity beneath the icy surface. It is determined that a manned mission is critical to explore the situation. Much of the film has a very realistic style and feel to it, though the fact that one mistake after another seem to haunt this crew tends to push that sense of reality as the films moves along. PG-13 for violence.
EUROTRAPPED (R) 100 minutes * 1/2 Charlie (Bobby Kennedy) just graduated, but even more importantly, he's just been cut off by his family. They did give him $5,000, which he decides to use to take a trip to Italy. Life is going to get worse for Charlie before it gets better. The script tries to keep the tone light and fun, but the performances are uneven and work against each other to weaken the story and our interest. R for langauge and sex.
EUROTRIP (R) 84 minutes * Dumped by his girlfried, Scott ends up on a trip to Berlin to try and find Mika, his true love that he met online and accidentally told to "get lost". A few moments of "cute" here, but it's definitely not enough to really make it worth watching. Matt Damon has a cameo as a rock singer and Lucy Lawless has a small part as an S&M mistress... R for sex and language.
EVAN ALMIGHTY (PG) 88 minutes * Evan (Steve Carrell) is starting his new job as a junior congressman tody... but God has another job for him to do first. It involves building an ark. A few sentimental moments, lots of nonsensical ones, and little reason for us to remember either. Carrell can be funny at times, but he's trying too hard here. PG for language and violence.
EVANGELINE (NR) 81 minutes * 1/2 Left for dead in the woods by a group of frat boys, Evangeline's body becomes host for a demonic spirit. Vengeance is about to get very nasty. Lots of wonderfully creepy atmosphere, but the story feels empty and disconnected.
EVANGELION 1.0: YOU ARE (NOT) ALONE (PG-13) 03 minutes * * 1/2 The Eva units are the ultimate in fighting machines, and they are the only hope left of defeating the Angels, mysterious beings from another world. The second Eva was built to be piloted by its creator's son, but father and son are not close. And when human and machine merge to fight, there are side effects. Fortunately for Shinji, Rei is willing to help and share her experience with piloting the first Eva unit, and she will fight by his side whenever she can. This is a reworking of the TV series from the mid 1990s, "Neon Genesis Evangelion". PG-13 for violence and nudity.
EVANGELION 3.33 YOU CAN (NOT) REDO (NR) 91 minutes * * 1/2 When Shinji awakens, fourteen years have gone by. Much has changed, though Shinji has not. Those who were once his allies now seem to be his enemies. Has NERV's mission changed, or was Shinji misled from the start? This is not the end. Good entry in the series, but it won't make much sense if you haven't seen the others.
EVANGELION 2.22: YOU CAN (NOT) ADVANCE (NR) 106 minutes * * 1/2 As the story continues, we learn more about the reason the Angels are attacking, and what it means to be part of NERV. The full power of the Eva's is becoming clear as well. This is clearly a "part two" film, where we learn more of the details and background of the story, but are set up for the more action-filled and hopefully impressive finale.
EVE (NR) 72 minutes 1/2 Two actresses. One role. With her career on a downhill slide, Bex (Rachel Warren) shouldn't be surprised that she doesn't get the role. Not only does that outcome surprise her, but she decides to take out her frustration on Alec (Christine Marzano) who got the role instead of her. The story setup is weak, though the idea does hold some promise. Sadly, the cast and the direction quickly put an end to any hope this might have of being any good.
EVE OF DESTRUCTION (R) 96 minutes * 1/2 This twist on the Frankenstein story has a female monster running amok, but for all the slick production values and good music from Philippe Sarde, it just isn't ever really suspenseful. Maybe it's that B-movie script... Gregory Hines really tries to make this work, but it just never gets very far off the ground.
EVE OF DESTRUCTION (2013) (NR) 171 minutes * * The Proteus group is working on a new form of energy that will change the world. Of course, not everyone thinks that it’s a great idea. The script does a nice job of working in a good amount of scientific information, and the eco-terrorist aspect of the plot works well. That said, this is still a TV disaster movie, with all of the standard stereotypes and plot mechanisms that go with it.
EVEN COWGIRLS GET THE BLUES (R) 91 minutes * An incredible cast does an atrocious job in this bizarre film about a girl with a huge thumb that makes her the perfect hitchhiker. By far, this is Uma Thurman's worst film, with it's strange mix of women's rights and cowgirls paraded before us with bad dialogue and horrible direction.
EVEN MONEY (R) 109 minutes * * To achieve your dreams, you usually have to take risks. But they seem to have difficulty in understanding which risks have a better chance of paying out. The story is designed well, tracing the stories of several different characters and how they intertwine. Kim Basinger's poor acting spoils a good deal of the film, and the narration at the end restates the obvious. Everyone wants more, what are you willing to risk? R for language, violence, and sex.
EVEN THE RAIN (NR) 99 minutes * * * While making a film about Christopher Columbus, and a documentary about the making of the film, the crew learns about the plight of the extras that have been working on the film. They are fighting to have enough water for their families to live. Even as the production of the film brings money to the local economy, it doesn't appear to be helping the people who need help. It presents some moral and ethical dilemmas for them to consider, and this documentary does a good job of bringing them to light.
EVENING (PG-13) 112 minutes * * * * Memories... at the end of life. Memories of what was, what might have been, and what it all means to us and to those we leave behind. So much of it doesn't matter in the end. But then again, so much of it does. Vanessa Redgrave adds yet another stellar performance to her resume, but she is only one of many very talented actresses who all deliver wonderful performances here. Toni Collette, Natasha Richardson, Claire Danes, Meryl Streep, Mamie Gummer, Glenn Close... wow! Many of the scene changes from one time frame to the other are sheer magic. Adapted from the book by Susan Minot and filmed in Rhose Island. PG-13 for language and violence.
THE EVENING HOUR (NR) 108 minutes * * 1/2 It's a small mining town in Appalachia, where Cole (Philip Ettinger) has found a way to bring in some extra money. It's a small drug business, but it's enough. Until everything starts to fall apart. Will he be able to make the changes necessary to get it all back on track? The story is a little uneven, but the acting is good in this laid back drama with a few intense bursts.
EVENING STAR (PG-13) * * * The evening star is the first to shine, the brightest, and the longest. This sequel to 1983's "Terms of Endearment" doesn't really have the strength it needs until the final half hour or so. The early scenes are uneven and disconnected, keeping us at arms length from the characters. Marion Ross delivers the best performance in the film, though Jack Nicholson's appearance toward the end helps give this the extra charisma that it needs. PG-13 for language and sex.
AN EVENING WITH BEVERLY LUFF LINN (R) 102 minutes * * * Life has taken a rather strange turn for Lulu (Aubrey Plaza). Her marriage is in turmoil, and a man from her past has just come to town. Extremely offbeat and unusual in just about every way. So, if you like your films a little on the strange side of the dial... this is one of those that sort of defies description. R for language and sex.
EVENT HORIZON (R) 91 minutes * This "Hellraiser"-in-space film never gives us enough of what we need to understand much of anything. The deep space vehicle disappears, goes to a dimension of chaos and pure evil (read: Hell), returns and has some connection to Dr. Weir, who designed it, and now wants to take a ride on it to go there. ? There are some nice special effects, but without more to explain who Dr. Weir is and why he feels a desire to go to Hell on this ship, we're left with nothing to interest us. The cheap noise scares don't help the integrity of the film either. R for violence, language, and nudity.
EVER AFTER (PG-13) 117 minutes * * The "real" Cinderella story, told here in an extended flashback format, stars Drew Barrymore and Dougray Scott, with Anjelica Huston as the evil stepmother. It's an interesting idea, and there are some beautiful costumes and sets, but the British accents don't fit when the story is set in France. Of course, there's always the problem we have with Drew trying to do a serious role... she has a hard time keeping a straight face. Scott is likeable enough and fits the role well, so the film has an unbalanced feel to it that keeps us from being drawn in by the fairytale as we should be. Filmed in France. PG-13 for language.
EVEREST (PG-13) 114 minutes * * * Mostly straightforward account of the May 1996 expeditions to climb Mount Everest. The typical problems of scaling the mountain seem like nothing in the face of an intense storm that seems to come out of nowhere. Big name cast, and impressive scenery, but as is often the case, the hard work and heroism of the sherpas is mostly overlooked. PG-13 for violence.
EVERLY (R) 87 minutes * * Everybody seems to want Everly (Salma Hayek) dead. But she's not going down without a fight. Hayak does what she can with this. It's packed with action and violence, but all within a fairly small amount of physical space, and not really all that much character development. Slick look, but the action begins to grow boring fairly quickly as she dispatches more and more of the people sent to kill her. R for violence, sex, and language.
EVERY BREATH YOU TAKE (R) 103 minutes * * 1/2 A sympathetic ear. Philip (Casey Affleck) is a psychiatrist who shares personal information with a client to gain her trust. At first, it works. But then she commits suicide. When her brother shows up, Philip invites him into his home. It ends up putting his wife and daughter in danger. His career is already at risk. Very good tension, building slowly throughout the film. R for violence, language, and sex.
EVERY CHRISTMAS HAS A STORY (NR) 82 minutes * * 1/2 She hasn't been a fan of Christmas for awhile, buut when Kate (Lori Loughlin) ends up admitting that she doesn't like Christmas while she's on air, her morning show just might get cancelled. She and her producer (who was her boyfriend many years ago) are now headed to Hollyvale, North Dakota to try and repair her image. The town specializes in Christmas, which means that you already know where this story will end up, because it's another holiday romance from Hallmark.
EVERY DAY (R) 86 minutes * * 1/2 Life always has its rough spots, but now that Jeannie's (Helen Hunt) father has come to live with them, its going to be a little more difficult. Just take one day at a time, and remember that life is a journey... easier said than done sometimes. Brian Dennehy is very good here, and the kids have some great lines, but there isn't much chemistry between Hunt and Liev Schreiber. its noticeable enough that it keeps us from staying with the story at times. R for language and sex.
EVERY DAY (2018) (PG-13) 92 minutes * * * Rhiannon (Angourie Rice) has a fantastic day with her boyfriend, but the next day he remembers nothing. She connect with someone else that day who seems to know what she and her boyfriend did. This is the life of "A". A different body every day. But what happens when "A" wants to have a relationship with Rhiannon? A bittersweet love story with very nice work by the cast, well led by Rice. Adapted from the book by David Levithan. PG-13 for language.
EVERY LAST ONE OF THEM (R) 80 minutes * * All Hunter (Paul Sloan) was trying to do was figure out what happened to his daughter. What he finds is a much bigger conspiracy involving water rights. Not much time spent on the details of the story here. Just lots of violence as Hunter takes on Nichols (Jake Weber) and his men, eliminating them one by one. R for violence, language, and nudity.
EVERY LAST SECRET (NR) 89 minutes * * Freeman (Mark Kassen) has some issues, mostly around his inability to control his temper. Penelope (Sophie Turner) is seventeen, and feels something click between herself and Freeman. It's going to get even more complicated as some interesting secrets begin to unravel their budding relationship. An interesting character drama, though it still feels like something is missing from the story.
EVERY LITTLE STEP (PG-13) 90 minutes * * * Fascinating look at the auditions for the revival of the musical, "A Chorus Line" on Broadway. Including clips from the original show, interviews with the creators of the show, and those going through the audition process. If you enjoy musical theater, this is a wonderful glimpse behind the scenes of a remarkable show. PG-13 for language.
EVERY SECRET THING (R) 88 minutes * * * When a child goes missing, Ronnie (Dakota Fanning) and Alice (Danielle Macdonald) are immediately on the list of suspects as they were foung guilty of child abduction several years earlier. But the real story of that earlier case was never uncovered. The story is more than a little obvious, and slightly disappointing, but the performances are quite good. In particular, Macdonald, Fanning, and Brynne Norquist and Eva Grace Kellner, who play their younger selves are able to create and maintain a suspenseful atmosphere with an undercurrent of a more sinister tone. R for language.
EVERY TIME I DIE (NR) 93 minutes * * Somehow, Sam (Drew Fonteiro) is ablt to transfer his consciousness into others when he dies. He didn't know this would happen, but he's now moving from body to body, trying to protect his friends from the person who keeps killing him. An unusual film that misfires despite good intentions. Part of the problem is a lack of connection with the characters. We don't really get to know much about them until late in the film.
EVERYBODY KNOWS (R) 129 minutes * * 1/2 Coming to her sister's wedding in Buenos Aires is a joyous occasion. But then Laura's (Penelope Cruz) daughter is kidnapped. As the days go by and they try to get her back, family secrets begin to come to the surface. The set-up and the last half hour are very good, but the story stalls in the middle. R for language.
EVERYBODY LOVES SOMEBODY (PG-13) 96 minutes * * 1/2 Clara (Karla Souza) creates even more trouble for herself when she convinces a co-worker to pose as her boyfriend at a family wedding. Especially when an old boyfriend shows up and decides he might be interested in pursuing her again. Cute romance with a delightful performance by Souza. Not a great deal of depth or many surprises, but Souza carries it well. PG-13 for sex and language.
EVERYBODY WANTS SOME!! (R) 110 minutes * * * It's 1980, and these college baseball players are learning all about living on their own and being part of a team. As withmost Richard Linklater films, the characters are memorable and feel very real. The situation is important as it helps to shape then, but they grow and change on their own because the actors each bring a piece of themselves to the role. A very character driven film, and a nice addition to Linklater's credits. R for language and sex.
EVERYBODY WINS (R) 94 minutes * 1/2 Strange little film about a private eye and a hooker, but Nick Nolte and Debra Winger are never able to overcome the convoluted story and nearly non-existent direction. The screenplay is by Arthur Miller from his one-act play, "Some Kind of Love Story".
EVERYBODY'S ALL AMERICAN (R) 122 minutes * * * Absorbing tale, adapted from Frank Deford's novel, of an American football hero who married a homecoming queen and their lives after high school. Told from her point of view, it's an excellent study of American culture from the 50s to the 70s. The period detail is well done and both Dennis Quaid and Jessica Lange give solid performances. R for violence and language.
EVERYBODY'S FINE (PG-13) 95 minutes * * * Since his kids won't come home for a holiday dinner, Frank (Robert DeNiro) decides to travel across the country to visit them. What he discovers is that the distance between he and his children is not just geographical. As a young father, Frank was expected to earn the money for the family, not to raise the children, but now he wants more, and it's a little too late. Another fine performance by DeNiro, well-supported by Drew barrymore, Kate Beckinsale, and Sam Rockwell. Based on the Italian film "Stanno Tutti Bene". PG-13 for language.
EVERYDAY (NR) 85 minutes * * Repetitive and rather optimistic look at the daily lives and routines of the wife and children of a man in prison. The performances here are fine, but the tone is more realistic than is helpful to presenting an interesting story.
EVERYDAY BLACK MAN (R) 107 minutes * * 1/2 Moses (Henry Brown) runs a respectable little community grocery store. He could use a partner, and when Malik (Omari Hardwick) comes along, it seems to be a great fit. But Malik isn't who he appears to be, which soon becomes all too clear. Nice acting, here, but the story tends to drag and the film could have used a little trimming to help improve the pace. R for language and violence.
EVERYDAY MIRACLES (NR) 87 minutes * * 1/2 Just trying to live a normal life, Cotton (Erik Smith) ends up working on a small ranch. It doesn't take long for his mother to find him. She hasn;t changed. She's still only interested in exploiting Cotton's gift as a faith healer. The story doesn't answer all of the questions it raises, but still manages to be a fairly good family film with a gentle pace.
EVERYONE'S HERO (G) 84 minutes * * * It's the Yankees and the Cubs in the world series, but someone has stolen Babe Ruth's lucky bat. Yankee Irving knows that he has to get it back to the Babe, or the Yankees will lose. Can he make it from New York to Chicago in time? Great adventure story for the younger ones in the audience, and fun for the older crowd as well. (OK, fans of the Cubs might not be too happy...) This was the last project for both Christopher and Dana Reeve, and is a heartwarming and inspirational tribute to their lives. Everyone has it in themselves to be a hero.
EVERYTHING EVERYTHING (PG-13) 90 minutes * * 1/2 Maddy (Amandla Stenberg) hasn't been outside since she was a baby. She has a severe immuno-deficiency disease. It's always been slightly frustrating, but now that Olly (Nick Robinson) has moved in next door, there's a new sense of urgency about getting out. Very nice work by Stenberg and Robinson. The story isn't all that great, with an unsurprising twist and a little too much teen angst, but the performances are sincere enough to add a little appeal. PG-13 for language and sex.
EVERYTHING EVERYWHERE ALL AT ONCE (R) 133 minutes * * * Evelyn (Michelle Yeoh) is just trying to get the laundromat business to a successful stage. Now she learns that she's supposed to save the multi-verse? It's just too much to ask! The film is a bit of a wild ride, with some wonderful scenes, but also a few that are not quite what they need to be. As a whole, it works well, in large part thanks to Yeoh, and while you may decide you need to watch it again to catch everything, it wraps up nicely if you just stay with it. R for violence, sex, and language.
EVERYTHING I AM (NR) 85 minutes * 1/2 Life isn't going well for Nathaniel (Nathan Wong). Living on the streets, he's just getting more and more depressed. Then he meets Emily (Lauren Johnson). She offers him a place to stay and introduces him to her friends. She's putting her Christian faith into action. A very slow-moving script, without much dialogue. The acting isn't bad, but the ending is abrupt.
EVERYTHING IS ILLUMINATED (PG-13) 102 minutes * * * 1/2 Liev Schreiber makes his directing debut with this wonderfully quirky film about a young man (Elijah Wood) who is trying to find the woman who saved his grandfather from the Nazis in World War II. Jonathan's search gets off to a rough start when he meets his guide and translator (Eugene Hutz), a rather unusual guy who isn't thrilled about being a guide and has some problems with the english language. The film starts on a rather uneven and slightly comic note, but as they all begin to understand, so do we, and the tone becomes more serious. Wood is terrific as usual, and Hutz provides the perfect counterpoint, at first aggravating the situation and then becoming more of a guide than he expected. Schreiber does a wonderful job with both the direction and the screenplay, which he adapted from Jonathan Safran Foer's novel. Most importantly, he allows time for the camera to talk rather than cluttering up every scene with dialogue. Nicely done! PG-13 for language and violence.
EVERYTHING MUST GO (R) 94 minutes * * 1/2 Seems like every major comedian has to try their hand as straight drama at least once. It's interesting to see Will Ferrell in a role that's so serious. The story still has some light touches of humor, but is also quite sensitive as well. It doesn't always work that well, but enough of it manages to that most of Ferrell's fans will find this worth a look and those who don't like his comedy should find this to be an interesting switch. R for language and sex.
EVERYTHING THAT GLITTERS (NR) 80 minutes BOMB On the surface, Carl (Gary Anthony Sturgis) and Victoria (Goldne Brooks) seem to have a perfect life. Beneath that glittery veneer, things are not going so well. Lies and greed are ripping them apart, and their very lives may be at risk. The writing and direction are very weakm which makes the acting look a little worse than it is. Not that it's very good either. The style falls somewhere between soap opera and exploitation film.
EVERYTHING WILL BE FINE (NR) 109 minutes * * * Tomas (James Franco) hits and kills a child while driving around to clear his head after an argument with his girlfriend. Accidents happen, but Tomas is having difficulty with what this means, or should mean, or doesn't mean. A sensitive exploration of the different needs people have for closure around a tragic incident.
THE EVES (NR) 82 minutes 1/2 Spring break turns into a nightmare when this group ends up spending their time at a deserted ranch. As their numbers start dwindling, they need to know... is someone else at the ranch, or is it one of them on a twisted mission? Lots of cheap noise scares, but not much else.
EVE'S BAYOU (R) 104 minutes * * * 1/2 This is the story of a family with roots that run strong and deep. They live in Louisiana bayou country, where tradition and mystery are rich and plentiful. We begin by hearing Eve tell us that the summer she killed her father, she was ten years old. An interesting beginning to a fascinating and intense story. At times it is haunting, dark, and mysterious, yet at some points quite humorous. It is a story of coming of age in the bayou, and what it means to one young girl and her family. Journee Smollett, who plays young Eve, is a talent to watch and the film will definitely be one that you remember for a long time. R for language and violence.
EVIDENCE (NR) 89 minutes 1/2 The only real evidence that Detective Burquez (Radha Mitchell) has to work with is some camera footage taken by the victims just prior to their death. To much of what we see is more of the jerky, reality-style photography that gives us headaches. Not that the story offers anything new... there is a little creativity at the end that warrants the 1/2 star, but its rough getting there.
EVIL DEAD RISE (R) 90 minutes * An earthquake in Los Angeles uncovers an ancient manuscript. Danny (Morgan Davies) manages to unlock it and activates an ancient curse. Lots of bloody effects ensue, as well as a few suspenseful moments. It's an story of demonic possession in an urban setting. R for violence and language.
EVIL DEAD II (R) 80 minutes BOMB Ash (Bruce Campbell) manages to briefly get away from the demons, but that doesn't last long. Campbell's over-the-top "acting" managed to give this, and the rest of the series, cult status, but it's really pretty bad.
EVIL FEED (NR) 85 minutes * The Long Pig is a different sort of Chinese restaurant, where the losers in an underground fight club end up on the menu. But recently it seems, there are some fighters who are looking to change the way things are happening and hoping for some revenge. Lots of gore, but the mix of humor and horror just doesn’t work very well.
THE EVIL IN US (NR) 88 minutes * 1/2 Six friends find themselves part of a human experiment that transforms them into cannibals. This might have worked if it explored the darker side of humanity, but instead, all we have are mindless killers. The effects are good, but the story is a waste.
THE EVIL THAT MEN DO (R) 89 minutes * Holland (Charles Bronson) had retired as an assassin. But when a friend is killed by a ruthless doctor who tortures people, he comes out of retirement to put an end to the doctor’s career. Similar in many ways to the “Death Wish” series for which Bronson is well known, and this actually has a more detailed story. The difference is that since it doesn’t deal with an underdog getting revenge, the emotional appeal of the story is weaker. R for violence, sex, and language.
EVIL UNDER THE SUN (PG) 114 minutes * * * Initially investigating an insurance fraud case involving a fake diamond, Hercule Poirot (Peter Ustinov) soon finds himself at a posh island resort with another murder to solve. Another classic Agatha Christie mystery with a great cast. PG for language and violence.
THE EVIL WITHIN (NR) 95 minutes * 1/2 Dennis (Frederick Koehler) had a dream. But now he feels like he can't tell if he's still in the dream or not. And something in the mirror is telling him to do bad things. The succeeds in being a little creepy, but the almost constant narration is burdensome, and the story tends to repeat itself rather than explain or add anything of substance.
THE EVIL WOODS (R) 76 minutes BOMB Five people go camping. They aren;t all friends, and tend to be rude, vulgar, and constantly complaining. Given this, it takes far too long for the killer to show up. Even though he's nothing more than a man in a winter coat with an axe. At least he doesn't talk. R for language, violence, and nudity.
EVITA (PG) 128 minutes * * * This film is a wonderful example of the incredible power of music to move the viewer. The varied strains of "Don't Cry for Me Argentina" create so many moods and move us through the story as we watch Madonna's portrayal of Eva Duarte Peron. The music has become a bit dated, considering when this first opened as a musical on Broadway, but it's still a powerful story and a pleasure to watch. Madonna gives us a powerful performance, supported well by Antonio Banderas' animated portrayal of Che', who narrates the story as it moves along. PG for language, sex, and violence.
EVOCATEUR: THE MORTON DOWNEY JR. MOVIE (R) 88 minutes * * * Morton Downey Jr. became the king of trash-talking TV and helped open the door for today's reality TV programming. This documentary not only goes behind the show, but behind the man. It reminds us that while those who loved him and those who hated him seemed far apart, they were in the same place in the sense that they bought the act. Unfortunately, the show went from being innovative and engaging, to being a cartoon of itself as Downey Jr.'s ego and temper ran away with everything he tried to do. In essence, he eventually bought his own act, and it destroyed him. Even more fascinating... the show only lasted for two years. R for language and nudity.
EVOLUTION (PG-13) 95 minutes * 1/2 "Ghostbusters" meets "Tremors" in this comic science fiction misfire. This has neither the great cast or the ability to keep a straight face that it needs to succeed. It tries too hard to be funny and more frequently makes us wince. Granted, the special effects are nice and the music works well. It's nice to see Dan Aykroyd in a bit part given the flavor of the film, but you'll be better served by watching one of the other two films rather than this one. PG-13 for language and violence.
THE EX (PG-13) 82 minutes * * Tom (Zach Braff) couldn't have picked a worse time to stand up to his boss. Now he's out of work and soon to be a father. Now he'll have to work for his father-in-law. That might not be too bad, except that an old high school pal of his wife's, who also works there, has it in for him. Braff does a nice job here, but this is little more than fluff. A mildly pleasant diversion, but nothing more. Also starring Amanda Peet, Jason Bateman, and Charles Grodin. PG-13 for nudity and language.
EX MACHINA (R) 102 minutes * * * Caleb (Domhnall Gleeson) is invited to a secluded research facility to test an AI for his boss. It's not a simple test, and the implications have far-reaching possibilities and consequences. The story is not without some twists, though most of them aren't all that surprising. The special effects are fascinating, and Alicia Vikander's performance as Ava goes a long way to making this work. R for language, sex, and violence.
EXAM (NR) 93 minutes * * 1/2 Eight candidates have made it to the final round. There is one last exam. But the paper is blank. The way the story is set up is a rather strange way to get to a very interesting place. And it gets a little too caught up in trying to be clever, but the cast work with it and do a good job of keeping us engaged in the process.
THE EXCEPTION (R) 101 minutes * * 1/2 In the early days of World War II, Kaiser Wilhelm (Christopher Plummer) is in Holland. A German Captain (Jai Courtney) has been tasked with investigating the loyalties of those close to the Kaiser. While doing so, he falls in love with one of the household servants, which makes his job much more difficult. The story leans more to the romance than the history, which makes it a little more appealing, but a little less historically accurate. Adapted from the book by Alan Judd. R for sex. language, and violence.
EXCESS BAGGAGE (PG-13) 96 minutes * 1/2 Arranging her own kidnapping in an effort to see how much her father loves her, Emily (Alicia Silverstone) get more than what she bargained for. The car she hides in is stolen and she is attracted to the car thief who finds himself in a real predicament. The most interesting character is Emily's uncle, played by Chris Walken. Unfortunately, the film suffers from poor direction of a script that just wanders around. A good idea for a film, but poorly executed. PG-13 for language and violence.
EXCESSIVE FORCE (R) 82 minutes *
1/2
Pretty much run of the mill story of a cop accused of
setting up his partners on a murder rap while he
walks away with millions. The difference here is that
writer/co-producer/actor Thomas Ian Griffith has
created a character that is a martial
artist/cop/musician. Interesting, but not enough to
carry the film.
EXCISION (NR) 76 minutes * *
Pauline (AnnaLynn McCord) wants to be a surgeon. She also has some rather strange ideas about how to achieve that goal. The cast is almost as unusual as the story. Traci Lords, John Waters, Malcolm McDowell, Marlee Matlin, and Ray Wise to name a few. That siad, it actually doesn't go quite far enough, and wraps up too quickly at the end.
THE EXECUTIONERS (R) 90 minutes * 1/2
A remote house in the woods near a lake seems like a great place for these four friends to spend a weekend. Until three men take them histage. They finally manage to turn the tables, but now what? The twist is a good idea, but it's not terribly convincing, and the script doesn't seem to know where to go after it happens. R for violence, sex, and language.
EXECUTIVE DECISION (R) 127 minutes * * 1/2
When terrorists hijack a 747 with enough explosives on board to wipe out the entire Eastern seaboard of the United States, it's a good thing to know that Kurt Russell is on board to save the day! A good supporting cast and a nice soundtrack by Jerry Goldsmith help keep this exciting and interesting. A little on the long side, but worth watching. R for language and violence.
EXECUTOR (NR) 88 minutes * *
Orphaned at a young age, Kyle (Markiss McFadden) was raised by a priest who trained him as his personal assassin to deliver God's justice. When one of his hits doesn't go quite as planned, Kyle finds himself taking care of an orphan... and questioning his own prupose in life. The fight scenes are mediocre, but it's a good story overall, with reasonably good performances. There do seem to be a couple of continuity issues near the end.
EXETER (R) 84 minutes * *
An abandoned old home for mentally challenged children is being remodeled. It's the perfect place for a party, right? At least until something goes wrong... The story gets confusing near the end as the explanations, which were about possession at first, begin to suggest maybe that wasn't the case... sort of... The effects are impressively gross. R for violence, language, and nudity.
EXIT PLAN (NR) 84 minutes * * 1/2
The tumor has grown, and Max (Nikolaj Coster-Waldau) checks into a hotel that specializes in "end of life" scenarios. He begins to question what purpose his life has served, what his death might mean, and the difference between what is real and what is imagined. An unusual story, though the wonderings are very relateable.
EXIT TO EDEN (R) 109 minutes * 1/2
Going undercover to break up a diamond smuggling ring was never so kinky. Dan Aykroyd and Rosie O'Donnell go to a fantasy island that specializes in S&M. The mix of sex, comedy, and intrigue doesn't work very well here, making us feel like we're watching at least two movies at once. (Neither one very good.) Based on a novel by Anne Rice.
EXIT WOUNDS (R) 95 minutes * 1/2
He's a tough cop who always seems to be stumbling across trouble. Now, Orin Boyd (Steven Seagal) had been transferred to the 15th precinct, filled with nasty criminals and dirty cops. I'm not sure how this qualifies as "punishment", but anyway... a couple of standard plot twists later, and everything works out for Boyd by the time we reach the end of the film. There are a few nice fight moves, but too often they're done with cut-shots and with too little light for us to see very much. They try to add a little humor with Tom Arnold's character, but that doesn't work too well either. R for violence, language, and nudity.
EXODUS: GODS AND KINGS (PG-13) 143 minutes * *
The often told story of Moses (Christian Bale) being called to lead his people away from the Egyptians to whom they were enslaved, and on a 40-year journey to freedom. The details of this version vary somewhat from other versions, but some may find them more believable. Either way, the downfall has more to do with a lackluster performance by Bale, and a stellar supporting cast that just doesn't fit. PG-13 for violence.
THE EXONERATED (NR) 87 minutes * * *
Originally presented as a play, this is the story of six people who were sentenced to death and later exonerated. Told in their own words, and presented by a wonderfully talented cast, whose presentations immediately involve us in the stories. It's a well-crafted reminder that, while there are people in prison who are guilty, the system is far from perfect, and there are people who are innocent as well. Featuring Brian Dennehy, Danny Glover, Delroy Lindo, Susan Sarandon, Aidan Quinn, and David Brown Jr.
THE EXORCISM OF EMILY ROSE (PG-13) 115 minutes * * 1/2
Emily Rose is dead, but how did she die? Was it epilepsy with psychotic complications that could have been controlled through medication, or was she possessed by a demon or demons? And how much does what a person believe control how they can best be helped? Laura Linney does great work here, showing an intensity as she struggles not only with how to defend her client but as a person who is struggling with her own beliefs and experiences. Filmed in Vancouver.
THE EXORCISM OF MOLLY HARTLEY (NR) 92 minutes * * 1/2
Celebrating her 24th birthday, Molly (Sarah Lind) invites a couple of friends over. But the next morning, her friends are dead and she doesn't remember anything about it. She soon finds herself locked away in a mental institution, along with a discredited priest... who may be her only hope. Spooky soundtrack.
THE EXORCIST: BELIEVER (R) 103 minutes * *
They were just being girls, walking home from school together. Three days later, they turn up on a farm about thirty miles away. The emphasis here seems to be focused on effects rather than story, thouugh there is a nice twist at the end. R for violence and language.
EXORCIST: THE BEGINNING (R) 106 minutes * *
Gory prequel to the classic horror film that shows us Father Merrin's (Stellan Skarsgard) first encounter with the demon Panzuzu. Editing needed some work here, but there are some nice, and expectedly gross, special effects and a nice soundtrack from Trevor Rabin. It's an interesting, though not all that necessary addition to the series. It does end quite nicely though, setting the stage for the first film. R for violence and language.
EXORCIST III (R) 106 minutes * * 1/2 Based on William Peter Blatty's novel, Legion, this is a continuation of the earlier story. The priest from part one has been possessed by the spirit of a killer. There is a good deal of suspense here, with little in the way of gore. The difficulty is that so much of this relies on your having seen the first films, answering questions that were raised there. It makes the film weak in that it doesn't stand alone, but it does make a good companion piece.
EXOTICA (R) 101 minutes 1/2
Amazingly enough, this won as award as Canada's best film of the year... it's a strange little piece that tries to trade on the voyeuristic, but delivers little eroticism or intrigue. Eventually we learn what links our five characters together, but by then, we don't really care anymore. Written, produced, and directed by Atom Egoyan.
EXPECTING A MIRACLE (NR) 87 minutes * 1/2
Pete (Jason Priestley) and Donna (Teri Polo) want a child, but are having trouble. They decide to take a break and go on vacation, but on the way ,their car breaks down and they are stranded in a small Mexican town. It is here that they will learn what is important in life and how to improve their marriage and everything else they might need to know. Overly sentimental and lacking much in the way of depth.
EXPELLED: NO INTELLIGENCE ALLOWED (PG) 97 minutes * * *
Comedian Ben Stein takes a dry and witty approach to the idea that intelligent design is a worthwhile idea to consider. The film does a very nice job of showing how both creationists and Darwinians represent extremes that seem unwilling to consider other points of view. Emphasizing the importance of freedom of speech and freedom of inquiry, Stein argues that we should all examine and encourage others to recognize when the information presented to us is one-sided, and to demand the right to see and understand other viewpoints so we can make and informed choice about our worldview. PG for language.
THE EXPENDABLES (R) 95 minutes * * *
They'll do any job for the right price. This time, they're headed to an island where a general and his army are causing problems. But they soon discover that this is only part of the story, and that once again, after they do their job, they are at risk of being expendable. It's a predictable story, but full of action, and there are a few bits of humor to help lighten the mood. It's definitely a treat for action fans to see Sylvester Stallone, Jason Statham, Jet Li, Dolph Lundgren, Eric Roberts, Mickey Rourke, Steve Austin, and Randy Couture all in a film together. And Bruce Willis and Arnold Schwarzenegger even stop by for a few minutes too! R for violence and language.
THE EXPENDABLES 2 (R) 93 minutes * * *
Sylvester Stallone and his crew successfully retrieve a computer with sensitive info, only to have it taken from them and at the cost of one of the team. Now, they're out to get it back. Stallone, Jason Statham, Bruce Willis, Arnold Schwarzenegger, Jean Claude Van Damme, Chuck Norris, Dolph Lundgren, Jet Li, Randy Couture... it's fun to see them all together and not only with great action scenes, but having fun with the one-liners that poke fun at their previous action films. R for violence.
THE EXPENDABLES 3 (PG-13) 116 minutes * * ½Stonebanks (Mel Gibson) may be the co-founder of the Expendables team, but he’s working to take them down. Barney (Sylvester Stallone) is going to have to get some of the old crew as well as some new blood to stop Stonebanks and set things write. PG-13 for violence and language.
EXPEND4BLES (R) 89 minutes * * 1/2
Together again for another mission, things are going well until it becomes clear that there's a mole within their group. Even when they find out who it is, it will take some creative planning to set things right. Plenty of gunfire, fight scenes, explosions, etc., and most of the screen time here is taken by Jason Statham and Megan Fox.
THE EXPERIMENT (R) 92 minutes * * 1/2
Just laid off and looking for money, Travis (Adrien Brody) signs up for an experiment that will pay $1,000 a day. It's a behavioral experiment about prison life. Twenty-six men will play the roles of prisoners and guards. The situation gets out of control fairly quickly as the guards must mete out punishment that is appropriate or they won't get paid. But what is appropriate? Nice ending, with the camera doing the work rather than relying on a cheap overdubbed narration. Brody and Forest Whitaker both do nice work here, despite the obvious directions the story takes. Graeme Revell's sountrack helps set the mood fairly well too. R for violence, language, and sex.
EXPERIMENTER (PG-13) 93 minutes * *
In 1961, numerous studies were done on unsuspecting people to study how they would respond to authority. Stanley Milgram's (Peter Sarsgaard) experiments were gronudbreaking, though they also caused a great deal of concern with their approach, which many considered to be unethical. Interesting and effective filming style that mixes drama with first person narrative and a documentary approach. It's somewhat distancing, but it works well for this story. PG-13 for violence and language.
EXPIRED (R) 98 minutes * * 1/2
Searching for connection and love, Jack (Ryan Kwanten) begins a relationship with April (Jillian Nguyan). There is still a distance between them, and as Jack's body begins to betray him, he discovers something about himself. A moody and dark film as far as topic, though the scenery is light and colorful. It does benefit from a second viewing. R for violence.
EXPLICIT ILLS (R) 83 minutes * * 1/2
A neighborhood in Philadelphia is portrayed in this mosaic of four stories. At times, they feel rather disconnected, but that's part of the point, and part of reality as well. It's interesting, but we tend to feel a bit like a voyeur in a sense, and don't connect with the stories in a way that draws us in very much. R for language.
EXPLODING SUN (NR) 172 minutes * *
A space mission goes bad, leaving a shuttle headed straight into the sun. The even bigger problem is that the power source for the shuttle will have some rather dramatic effects should it impact with the sun. Typical disaster-film acting and script, which means that there are a few moments of fair quality followed by much longer stretches of over-acting, sensationalism, and unrealistic dialogue.
EXPLORERS (PG) 103 minutes * *
The dreams are strange, but when Ben (Ethan Hawke) finds someone who can help him build what he's been seeing, neither of them can believe it. A spaceship. There's only one thing left to do. Fun film for those who enjoy those older science fiction films and who have a sense of humor. PG for language and violence.
EXPORTING RAYMOND (PG) 83 minutes * * 1/2
"Everybody Loves Raymond" was a huge success as a television show. Could that same format work in Russia? Other television shows have made the transition and seem to work well. But the Russian sense of humor is a bit different, and executive producer and writer Phil Rosenthal is discovering that the way to make a television show in Russia is VERY different than it is in the United States. It's interesting and entertaining to see the process, though the "reality" style of filming is a bit pretentious. PG for language.
EXPOSED (R) 94 minutes * * 1/2
As Detective Galban (Keanu Reeves) investigates the death of his partner, he discovers corruption in the department, and a connection with a mysterious young woman. While the ties between Isabel (Ana de Armas) and the case Galban is investigating, the stories have completely different ideas of where to go, which gives us a rather confusing plot that often feels like two separate films. R for violence, sex, and language.
THE EXPRESS (PG) 123 minutes * * *
He was a natural talent, but Ernie Davis (Rob Brown) needed a break. When Syracuse recruited him for their team, college sports history was about to be made. Adapted from Ernie Davis: The Elmira Express by Robert C. Gallagher, it's the powerful and emotional story of a young man who not only fought to become one of the greatest college football players of all time, but a person who became a wonderful example of honor and integrity. Davis used the opportunities life presented him to further the cause of civil rights, and become an inspiration to those around him. Solid performances all around and a moving soundtrack by Mark Isham. PG for language.
EXTERMINATOR 2 (R) 84 minutes *
When a drug lord in New York starts to get out of control, it's up to "The Exterminator" (Robert Gunty) to stop him. He's a vigilante with a flame-thrower. That also means that this is sort of a one-trick idea, which played itself out in the first film.
EXTINCTION (R) 106 minutes * * 1/2
A post-apocalyptic world that focuses on three survivors: a man and his daughter, and their neighbor. There's no love lost between these neighbors, but certain events may change that. A more presonal story than is typical for the genre. The ending doesn't work very well, but until then, it's an interesting approach that works well. R for violence and language.
EXTORTION (R) 105 minutes * * 1/2
On vacation, a family rents a boat and takes a trip to a small, deserted island. But when they are ready to leave, the engine on the boat won't start. The possibility for rescue is not far away, but comes in the form of someone who wants money for their help, and who doesn't really care whether they live or die. Good intensity, though believability is stretched way beyond reality. R for violence and language.
EXTRA INNINGS (NR) 113 minutes * *
He just wants to play baseball, but young David (Aiden Pierce) Brennan) is dealing with more than he can handle. A Bar Mitzvah, parents who don't seem to understand him, and a brother who suffers from mental illness. As the years go by, he will have choices that he must face. The script is rather dry, and most of the acting is less than inspiring, with the exception of Mara Kassin, who plays David's older sister Vivian.
THE EXTRA MAN (R) 104 minutes * * *
Louis (Paul Dano) is looking for a place to stay and discovers that Henry (Kevin Kline) has a room available. Henry is a little strange though, and Louis soon discovers that his new roommate works as an escort for older women, though he refers to it as being an "extra man". Definitely an unusual piece, as are many of the films that Kline chooses to work on. It's part fairy tale, part comedy, part tragedy, with characters that are unusual, charming, and difficult to forget. Adapted from the boko by Jonathan Ames. R for sex.
EXTRA ORDINARY (R) 90 minutes * * *
After an unfortunate accident, Rose (Maeve Higgins) has given up her supernatural pursuits. Martin (Barry Ward) needs help with his dead wife, which Rose refuses to do. But when a fading rock star tries to use Martin's daughter for a satanic ritual that is supposed to make him successful again, Rose knows that she has to help Martin. Much of the humor here is quite dry. And while you might not expect a film like this to have much in the way of charm, thanks to Higgins' performance, it has exactly that. There are some rough edges, but it's quite fun overall. R for language, sex, and violence.
EXTRACT (R) 88 minutes * 1/2
Joel (Jason Bateman) built the company from the ground up. Now, with the opportunity to sell and make good money on the deal, things start falling apart... on pretty much every front. Cindy (Mila Kunis) is responsible for quite a bit of it, but it's a bit of a surprise that some of this hasn't fallen apart before now. If you're a fan of director Mike Judge's sense of humor, you might like this, though it's not as strong as some of his other work. Others are likely to find it good for a few chuckles... and not much more. R for language and sex.
EXTRACTED (R) 82 minutes * *
Tom (Sasha Roiz) has invented a way to go into people's memories. There are some interesting applications, but the demonstration has to happen before everything is really ready. Now, Tom is trapped inside Anthony's (Dominic Bogart) mind. Definitely a movie to make you think, but the story is still quite rough and unfinished, much like the experiment. R for language and violence.
EXTRACTION (R) 79 minutes * 1/2
Harry (Kellan Lutz) wants to be an agent for the CIA just like his dad. But when his now retired dad is kidnapped, Harry has to put his skills to the test. And the agency won't back him up. One fight or chase scene after another, but not much character development. R for violence, language, and sex.
THE EXTRAORDINARY ADVENTURES OF ADELE BLANC (PG) 94 minutes * * 1/2
Adele (Louise Bourgoin) is searching for a way to cure her sister. There's a professor who should be able to help, but getting him together with the mummy she just stole is proving to be a bit more difficult than expected. Fun, quirky, and somewhat unusual adventure from writer/director Luc Besson. Lighter in tone than most of his work. this doesn't have the same sort of multi-layered story or intense action, though it's still entertaining. PG for violence, language, and sex.
EXTRAORDINARY MEASURES (PG) 102 minutes * *
The story of a father's search of a cure for the debilitating disease that two of his three children suffer from. Harrison Ford is not just eccentric here, but pretty much unlikeable until late in the film. Brendan Fraser, on the other hand, is optimistic and innocent, which should balance out what we see from Ford. Instead, we find it difficult to believe that the two would ever have a conversation. The story still has a little power left at the end, but it could have been much stronger. PG for language.
EXTRAORDINARY MISSION (NR) 116 minutes * * 1/2
Action-packed, and sometimes confusing story of an undercover cop working to take down a drug trafficking operation. Lots of guns, explosions, and car chase scenes, but the story feels empty and less interesting than it should.
EXTRAORDINARY TALES (NR) 69 minutes * * 1/2
Five of Edgar Allen Poe's classic tales are animated and brought to life by the voices of Christopher Lee, Bela Lugosi, Julian Sands, Guillermo del Toro, and Roger Corman. Framed by a conversation between a crow (representing Poe) and Death, giving us a creepy and well staged experience of these tales of horror and suspense. Too bad it wasn't longer, incorporating more of his stories.
EXTREME MEASURES (R) 114 minutes * * 1/2
Overly dramatic presentation of hospital ethics gone bad as Gene Hackman experiments on the homeless to help medical science progress. Sarah Jessica Parker (with very bad make-up) co-stars along with Hugh Grant (looking a little too slick and suave) in this film that starts and finishes well, but plods along far too much in-between. R for violence and language.
EXTREME OPS (PG-13) 89 minutes 1/2
They're extreme athletes, working on a new commercial that will have them skiing down a mountain in from of a real avalanche. The problem is that the mountain they choose, just happens to be the current hideout of a very evil international criminal. Mostly an extreme skiing/snowboarding movie with a little bit of violence added to try and give us more of a story. Two-dimensional at best. The stuntwork is quite good in sopts, but the ending is just too ridiculous. PG-13 for violence, nudity, and language.
EXTREME PREJUDICE (R) 100 minutes * * 1/2
Jack Benteen (Nick Nolte) and Cash Bailey (Powers Boothe) grew up as best friends. Somewheer along the line, things changed. Now Jack is a Texas Ranger and Cash is a multimillionaire drug lord based in Mexico. When Cash starts dealing in Texas, Benteen has to step in. The real problem is the special team the government sends in. Terminating with extreme prejudice seems to be the only way they know how to work. Story seems to play a bit too much for humor toward the end. Also featuring Michael Ironside, Rip Torn, Clancy Brown, and William Forsythe.
EXTREMELY LOUD AND INCREDIBLY CLOSE (PG-13) 123 minutes * * * *
Nine-year-old Oskar (Thomas Horn) is dealing with the death of his father. It's the most difficult thing he's ever done, and it feels like no one understands. Tremendously powerful story that keeps revealing itself slowly throughout the course of the film, much as young Oskar must slowly go through this difficult process. It's a struggle for us to watch him deal with his grief at times, but it reminds us how difficult that process, how much it hurts, and how important it is to have help along the way. Adaptd from the novel by Jonathan Safron Foer. PG-13 for language.
EXTREMITIES (R) 87 minutes * * ½
Attacked and nearly raped, Marjorie (Farrah Fawcett) manages to get away. The police are no help, because with no witnesses, they have only her word that it happened. A week later, he attacks her at her home, but a turn of events put her in charge of the situation. Should she force a confession, or perhaps there’s another way to make her attacker pay. Adapted from the play, which saw a fair amount of success, this film version is a little less powerful and has a lighter tone. Fawcett was nominated for a Golden Globe for her performance.
THE EYE (PG-13) 86 minutes * * 1/2
Sydney (Jessica Alba) receives a cornea transplant after years of being blind. She regains her vision, but something else along with it... the ability to see other things. As she struggles with what that means, we wonder if her returned vision was worth the price. Based on a Hong Kong film, Jian Gui. Some nice effects and Alba does a nice job, but there's little else to keep us interested. PG-13 for violence and language.
EYE FOR AN EYE (R) 97 minutes * *
Sally Field is a vigilante in pursuit of her daughter's rapists. Extreme enough to be compared to the "Death Wish" films, but more far-fetched. It's a shallow story that wastes the talents of Field, Kiefer Sutherland, Ed Harris, and others. Taken from Erika Holzer's novel, this is little more than gratuitous violence in the guise of vengeance.
EYE IN THE SKY (R) 94 minutes * * * 1/2
To strike or not to strike. Surveillance has improved dramatically, but more information does not always mean a more clear path to the decision. Sometimes it makes the cost more clear. Innocnet blood is often shed in war, but when you have time to think about it, and face the decision of when to pull the trigger, what do you do? Very intense and suspenseful. R for violence and language.
EYE OF THE BEAST (NR) 87 minutes 1/2
What's been killing all of the fish in the lake? Could it be a giant squid? James Van der Beek stars in this ridiculous sea-monster movie. Low-budget script and even lower budget effects make this one to avoid.
EYE OF THE BEHOLDER (R) 97 minutes * * *
Strange, but interesting film about a British secret service agent, Lucky Wilson (Ewan McGregor), and his latest case. He's hired to watch a woman who is suspected of having an affair, only to witness her commit a murder. He finds himself inexplicably attracted to her, wanting to protect her. McGregor and Ashley Judd both do nice work here, letting us understand their characters and drawing us into the story. Marc Behm's novel translates to the screen well, and the scene changes flow smoothly and with a style that adds to the suspense and mysterious mood of the film. R for violence, language, and nudity.
EYE OF THE DOLPHIN (PG-13) 97 minutes * 1/2
Alyssa (Carly Schroeder) is too much of a handfull for her grandmother, so she is sent to live with her father, who she barely knows. He's a good man, but very involved in his research on dolphins and the way they communicate. Which of course leads to other lessons about communication. The script is amateurish at best, making it difficult for the cast to put any feeling into their performances. The scenery is attractive, but we need a bit more than that. PG-13 for language.
THE EYE 2 (R) 79 minutes * 1/2
In the first film, it was a cornea transplant that allows (or curses) someone with the ability to see ghosts. This time, it's a suicide attempt that bridges that gap between the world of the living and that of the dead. It just doesn't work quite as well. R for violence.
EYEBORGS (R) 99 minutes * * 1/2
Surveillance robots were supposed to be a good way to help keep us protected. When they take more control than expected, something has to be done. But how can you stop them when they see everything you're doing? Looks silly on the surface, but actually manages to be a pretty good science fiction/conspiracy theory film. R for violence and language.
THE EYES OF MY MOTHER (R) 72 minutes * * *
The dark and twisted mind of a young girl after tragedy and misfortune destroy her idyllic and peaceful life in the country. A very moody piece, using black and white film to set the tone quite well. The presentation and the story are stark and powerful. R for violence and nudity.
THE EYES OF TAMMY FAYE (PG-13) 121 minutes * * *
Based on the documentary of the same title. Beginning with scenes from her childhood, but quickly moving to her years as a young adult and meeting Jim Bakker (Andrew Garfield). Their ministry came along at just the right time to build on what other televangelists were doing and take it to the next level. They were also seen as up and coming competition by other televangelisrs who were not interested in changing their ways. Wonderful work by Jessica Chastain as Tammy Faye. PG-13 for sex.
EYES WIDE SHUT (R) 153 minutes * * *
Dr. Bill Harford (Tom Cruise) thinks he has life pretty well figured out. He loves his wife and trusts her. He wouldn't dream of being unfaithful to her and doesn't even see the opportunities to do so. But it's one thing to be faithful because you choose to, another thing totally if you go through life with your eyes closed. It's a film about the loss of innocence and Cruise does a fine job as he discovers and is consumed by what he finds. Director Stanley Kubrick has created yet another wonderful film, though many find it not to their liking. Hearing a quote from the end of the film may help those who haven't seen it understand what Kubrick was trying to get across. "The reality of one night, let alone that of a whole lifetime, can never be the whole truth. And no dream is just a dream. The important thing is, we're awake now, and hopefully for a long time to come." R for sex and language.
F4 VORTEX (NR) 165 minutes *
Conditions in Berlin, Germany are perfect for a major tornado. But no one believes Jan (Matthias Koeberlin), including his father. Lots of time is spent here getting to know the characters who are going to be caught up in the storm, but most of it is bad, soap opera acting and dialogue, so we become rather impatient for the tornado to make its appearance. And, it's a little disappointing when we do start seeing the tornados. The effects are fine, but nothing that spectacular.
F9: THE FAST SAGA (PG-13) 130 minutes * * 1/2
Past family drama comes back to haunt Dom (Vin Diesel) as he and the rest of the crew face off with his younger brother Jakob (John Cena). Lots of star power here, including most of the regulars in the series. The chase scenes are intenst... and unbelievable, as are all of the stunts. The back story is good, and helps to add depth to the characters and keep the story fresh. PG-13 for violence and language.
THE FABELMANS (PG-13) 144 minutes * * *
Young Sammy Fabelman (Gabriel LaBelle) is dramtically influenced by his viewing of the movie "The Greatest Show on Earth". Even at that young age, he tries to recreate what he saw. His life quickly finds films and filmmaking as its center. It becomes the lens through which he views life. It also proves to be a powerful tool when he learns a particular family secret. Loosely based on director Steven Spielberg's early life and his own exploration of and fascination with films and filmmaking. The film starts strong and very well-paced. but begins to jump around a bit. It feels like there's another 30 minutes of film that we are missing, though it does end nicely. PG-13 for language and violence.
A FABLED HOLIDAY (NR) 83 minutes * * *
Every day in Wunderbrook is magical, and a little bit of magic is just what this group of people could use. Talia (Brook D'Orsay) and Anderson (Ryan Paevey) are the focus here, and the hosts of the Gingerbread Inn have their work cut out for them. A truly magical Christmas story.
THE FABULOUS BAKER BOYS (R) 113 minutes * * *
Beau and Jeff Bridges are the Baker boys, who after 31 years of playing nightclubs together have decided to bring a third person into their act. Not only will Susie (Michelle Pfeiffer) change the act, she will change their lives. It's a moody character study that is well played by three talented actors. Not something that most people will find "entertaining", but a great film for those who really enjoy watching actors work with their characters.
THE FACE OF AN ANGEL (NR) 87 minutes * *
Thomas (Daniel Bruhl) is in Italy to work on a film about a murder case, where an American student is the accused. He meets one of the manby journalists covering the case, and they both become absorbed by the story. This is mostly his story, and it's an effective character study of a man obsessed with a mystery, though the energy fades at the end.
THE FACE OF LOVE (PG-13) 87 minutes * * 1/2
Deeply and passionately in love with her husband, Nikki (Annette Bening) misses him terribly when he dies, but eventually begins to feel that she has moved on. And then she sees someone who looks just like him and it all comes flooding back. The story wraps up rather suddenly, and with a sentimentality that doesn't really fit with the rest of the film. Benning and Ed Harris both do some very nice work here, but the story isn't all that strong after the initial idea is presented. PG-13 for language.
FACE/OFF (R) 130 minutes * * 1/2
Castor Troy (Nicolas Cage) is a violent criminal. Sean Archer (John Travolta) has made it his life's work to bring him in. But just when things seem to have been resolved, Archer must become Troy to get information about a bomb. Troy then becomes Archer and the story gets too complicated to explain here. Kevin Yagher's special effects are nice, and there is some astounding stuntwork near the end of the film, which is typical of director John Woo. The biggest problem here is Woo's inability to handle the transitions from action to drama. He's getting better, but the film still feels choppy and rough in too many spots. R for violence and language.
FACE 2 FACE (NR) 113 minutes * * 1/2
Working to fight off a post-surgical depression, award-winning filmmaker Katherine Brooks decides to check in on fifty of her Facebook friends in person. It will be 11,000 miles of travel, and lots of emotions, some of which will surprise her. A very intimate and revealing biopic. And it makes us wonder what might happen if we went on a similar adventure.
FACES IN THE CROWD (R) 97 minutes * * 1/2
Anna (Milla Jovovich) witnesses a murder, and then is attacked by the killer. She is able to get away, but suffers an injury that results in prosopagnosia. Faces now have almost no meaning for her aa they change each time she looks. But that won't stop the killer from finding her and trying to finish the job. An interesting idea, but not as suspenseful as it needs to be. Perhaps that's because the faces keep changing for us as well, but suspense could have been heightened more effectively with music and photography. Filmed in and around Winnipeg, Manitoba. R for violence and sex.
FACING THE GIANTS (PG) 106 minutes * *
Second feature film from director Alex Kendrick fares a little better thanks to the photography of Bob Scott, who has worked with filming football scenes for several films as well as the series "Friday Night Lights". Kendrick still holds on to too much of the project, directing, editing, writing, producing, scoring, and starring in the film. Essentially a project of the Sherwood Baptist Church of Albany, Georgia, with many of their members as cast and crew. The story outlines the struggles of a football coach whose team can't seem to get it together until they put more faith in God. PG for language.
THE FACTORY (R) 97 minutes * * 1/2
John Cusack is on the trail of a serial killer with his usual methodical approach.. until his daughter goes missing. The acting, photography, editing, and music are well-paced and do a good job of creating the suspense that's needed. The story does have a few holes in it, which become more evident the farther along we get. R for violence, language and sex.
FACTORY GIRL (R) * * *
Edie Sedgwick (Sienna Miller) was a bright star that burned bright and fast, but she was also a spoiled rich girl who fell under the spell of Andy Warhol (Guy Pearce). The attraction was mutual, but it didn't really help either of them. He didn't really know how to be with her, and being with him only made her want to burn brighter. By the time her self-indulgence had turned to self-destruction, Warhol had moved on to other projects that were less dangerous. Miller and Pearce are both quite believable here, though the script and editing let them down a little in a few spots. The interview clips at the end are interesting too. There were so many possibilities for Edie, but she never really had the strength within or the support from without that she needed. R for sex and language.
FACTOTUM (R) 89 minutes * * 1/2
Dark, moody, and depressing film, adapted from Charles Bukowski's book by writer/director Bent Hamer. Matt Dillon delivers a fine performance here in a style that is clearly influenced by film noir of the '40s. The other characters have little meaning here, as the story's focus is on Chinaski (Dillon). They simply drift in and out of the story in a cynical, dreamlike fashion. While that plays to the strength of Dillon's ability to carry a film, it also highlights the self-indulgent aspect of the story as Chinaski is Bukowski's fictional version of himself. R for language and sex.
THE FACULTY (R) 96 minutes * * 1/2
The alien body snatchers are taking over Herrington High School, which is already in pretty bad shape. But even though you've seen the story before, it's fun to watch. Director Robert Rodriguez knows how to get us involved in the story quickly, giving us character names and painting the picture with broad strokes and filling in the details as we go on. Few people know how to do so much with a small budget, but Rodriguez is a master. Having a cast that includes Elijah Wood, Bebe Neuwirth, Piper Laurie, Famke Jansen, and Salma Hayek doesn't hurt either! R for language, violence, and nudity.
FADING GIGOLO (R) 85 minutes * * 1/2
Murray (Woody Allen) is having money trouble. At the suggestion of one of his friends who wants to spice up his own sex life, Murray enlists this friend in a... business venture. Allen, John Turturro, and Vanessa Paradis are all quite good here, in part because their roles are more central to the story and written with more depth. The peripheral characters are almost non-essential, but could have added a great deal if they were better developed. Cute ending. R for sex and language.
FADING OF THE CRIES (R) 86 minutes *
Moving into her Uncle Mike's house after he died seemed like a good idea to Sarah (Hallee Hirsh) and her mom and sister. But they didn't know that Mike had taken something from the Necromancer (Brad Dourif), who cursed the town that offended him and was determined to get the necklace back. Complicated story with mediocre acting, though there are some reasonably good monsters and effects. R for violence.
FADOS (NR) 87 minutes * * 1/2
Passionate and beautifully photographed exploration of fado. The film moves between more traditional performances of the genre of music and more contemporary explorations. Watching and listening transports us to another place. Mesmerizing!
FAHRENHEIT 11/9 (R) 126 minutes * * 1/2
Documentary filmmaker Michael Moore looks at the election of Donald Trump and American politics in general. No surprises here for those familiar with Moore's precious work. It does tend to drift from one topic to another. They all tie in to the larger political agenda that Moore sets up, but it's still more than a little uneven as it moves along. R for language.
FAHRENHEIT 451 (NR) 99 minutes * 1/2
In a world where it is a crime to own a book, a young fireman (Michael B. Jordan) begins to question if burning books is the right thing to do. This version, compared to the 1966 film of the Ray Bradbury book from which they were both adapted, is clearly the less thought-provoking or interesting. In attempting to update the story, part of the problem may have been to not go the rest of the way. Why not use technology to destroy creative thought? But that's been done before, and Bradbury's whole premise hinged on the destruction of the printed word. That's a point which is clearly no longer the center of this film.
FAHRENHEIT 9/11 (R) 120 minutes * * 1/2
Michael Moore's anti-George Bush film has a little less punch than expected, in part, because we've already heard most of it before. He does uncover a few extra bits of information here and there, but it's too easy to see how he manipulates the presentation of information to make his own point. And, much like Bush, he goes on a bit too long without saying anything different. R for violence and language.
FAHRENHYPE 9/11 (NR) 77 minutes * * 1/2
The documentary reaction to "Fahrenheit 9/11" does present the other side of the issues, but manages to manipulate and misprepresent information as well. Not as much, but while it's being presented as a truthful expose, there are numerous passages lifted out of context, illogical conclusions, and a misunderstanding of a couple of the ideas presented in the first film. For the best effect, see them both, and understand that this is part of what freedom of speech is all about!
FAILURE TO LAUNCH (PG-13) 91 minutes * * *
Tripp (Matthew McConaughey) is in his thirties and still living at home, so his parents hire Paula (Sarah Jessica Parker) to get him interested enough in a woman that he'll leave home. We've seen this story so many times, there's really no point in mentioning anything else about it. What makes this fun are the supporting performances. Zooey Deschanel is a delight, and almost steals the show as Paula's roommate Kit... cynical, quirky, and falling for one of Tripp's friends despite herself. I say she almost steals the show because Kathy Bates and Terry Bradshaw definitely do their share of scene stealing as Tripp's parents. The wild animal scenes are a bit much. Unrealistic and not really essential to the story, though someone must have thought them funny enough to include. PG-13 for language and sex.
FAIR GAME (R) 85 minutes * *
Let's hope that Cindy Crawford remains with the career she already established as a model. Filled with the shallow dialogue that seems to be standard in so many action films, we are given characters we learn little about, and therefore care little about. What makes the film worth watching at all, is the stunt work and the work done by the explosives crew. Great work by these folks, too bad they don't have a story to set it all off for. R for violence, language, and nudity.
FAIR GAME (2010) (PG-13) 101 minutes * * *
The story of Valerie Plame (Naomi Watts), the CIA operative whose identity was exposed by the White House in retaliation for an article by her husband that was critical of the government. The scandal that ensued shook national security quite a bit, and resulted in yet another mark against an administration that was already struggling with public support. It lifted up the importance of understanding that democracy is not a free ride, and that the responsibility for being a decomracy lies with each and every citizen, not with the chosen few who have been elected to represent them. Great work by Watts and Sean Penn, and good intensity throughout. PG-13 for language.
FAIRFIELD ROAD (NR) 87 minutes * *
Things were going great for Noah (Jesse Metcalfe). An engagement and a dream job. Then, in a matter of hours, he learns that his fiancee was cheating on him and that his potential boss can no longer hire him. He finds himself on a much needed break that he wasn't really ready to take.
FAIRY TALE: DRAGON CRY (NR) 78 minutes * *
The island kingdom of Stella is where Natsu and his friends will face their latest challenge. For those familiar with the manga series, this is a fun adventure. The film takes little or no time to introduce characters or explain relationships, and the story moves along very quickly. This makes it a little confusing for those who aren't already familiar with the characters and the general storyline.
FAIRYTALE: A TRUE STORY (PG) 93 minutes * * *
In 1917 some very interesting photos were taken by two young girls. They showed what appeared to be several fairies. The photos were not faked and this is the story of what happened. A beautiful little film, though a bit thin on story as little time is spent with any subplots. Both girls do a fine job and it's fun to see Harvey Keitel and Peter O'Toole as Harry Houdini and Sir Arthur Conan Doyle. But the kudos go to young Elizabeth Earl in her feature film debut as young Frances Griffiths, the cousin who comes to visit and rekindles the belief in fairies that was starting to fade. PG for language.
FAITH LIKE POTATOES (PG) 113 minutes * *
Adapted from the book of the same title, this is the story of a South African farmer of Scottish heritage who has a life transforming experience and begins to put his trust in God. Inspirational story based on the life of Angus Buchan. It runs a bit long, especially with its predicatable story and mediocre performances. PG for language.
FAITHFUL (R) 87 minutes * * *
Chazz Palminteri stars in an adaptation of his play along with Cher and Ryan O'Neal. O'Neal wants his wife dead, but Palminteri hasn't killed a woman before, though he finds out she was ready to kill herself anyway... the characters here are very well-written and full of energy and we find ourselves caught up in the story right away. A delight to watch and really makes you want to see this as a play as well. Wonderful direction from Paul Mazursky.
THE FALCON AND THE SNOWMAN (R) 127 minutes * * * 1/2
Christopher (Timothy Hutton) and Daulton (Sean Penn) have known each other since childhood. They have their differences, but have found something in common. That common feeling has led them to become spies for the Soviet Union. An intense story, based on true events, and well acted by both Hutton and Penn. The story almost doesn't give us time to breathe until it's more than half over. Nice work! R for language and nudity.
THE FALL (R) 111 minutes * * *
It begins as a simple story to pass the time. A tale told by a young man to a little girl. But as Roy (Lee Pace) continues the story, his own pain and depression alter the tone, and Alexandria's (Catinca Untaru) imagination joins in the mix as well. It's a magical tale within a tale, with a delightful performance by Untaru and fascinating costumes. Based on the film "Yo Ho Ho". R for violence.
FALL (2022) (PG-13) 98 minutes * * 1/2
It was just under a year ago that Becky (Grace Caroline Curry) lost her boyfriend in a climbing accident. She's still not really over it, but her best friend Hunter (Virginia Gardner) convinces her to climb an abandoned 2,000 foot tall TV tower. It's a very risky climb, and Hunter is more of a thrill seeker than Becky is really ready for, but she agree to do it anyway. And then the unexpected happens. Very good tension and believability remains fairly strong throughout. PG-13 for violence and language.
FALL OF GRACE (R) 80 minutes BOMB
When Jase's (Joshua Winch) teenage daughter is possessed by a demon, he decides to catch another one and hold it hostage to use as leverage to get his daughter back. That was not a smart move. There are some interesting sound effects, though the dialogue is very poorly recorded. What there is of a plot doesn't make much sense. We keep hoping something will make us care about these characters, but it never does. R for violence and language.
FALL TO GRACE (NR) 83 minutes *
The story here has to do with how gracefully we deal with the valleys and darker moments in life, which have the potential to transform us or destroy us. Not a bad story, but the script and the acting get in the way of the idea, which is unfortunate.
FALLEN (R) 120 minutes * 1/2
John Hobbes (Denzel Washington) is on a murder case that has some bizarre touches to it. Just what will he uncover? The clues here are extremely obvious, even though it takes them forever to fall into place. Donald Sutherland and John Goodman offer nice supporting performances, but even they have to struggle with a script that treats us like we've never seen a mystery before. The ending is completely without surprise and is very disappointing. R for violence and language.
FALLEN (2006) (NR) 82 minutes * * 1/2
Now that Aaron (Paul Wesley) has just turned eighteen, he discovers that he's more than an adult... he's a human/angel hybrid... a nephilim. What's more, he's also The Reedemer, a nephilim who can send fallen angels back to heaven. But there are warrior angels who have a different interpretation of what is supposed to happen. Wesley doesn't do all that well here, but the story is interesting, and the pacing works well. Adapted from the novel by Tom Sniegoski and followed by two sequels.
FALLEN (2016) (PG-13) 86 minutes * * 1/2
Recovering from an accident that caused a fatality for which she was blamed, Luce (Addison Timlin) is now at a reform school. There's another student there. One that she finds herself drawn to. In truth, he is an angel, one of the fallen. That could explain quite a bit about what has been happening and how she is feeling. Adapted from the novel by Lauren Kate. As the first of a series of four novels, this does have a rather incomplete ending, but otherwise it's good. PG-13 violence, sex, and language.
FALLEN STARS (NR) 85 minutes * * 1/2
What to do with his life... that's the question that has been bothering Cooper (Ryan O'Nan). Tending bar is feeling more and more like a dead end. Then Daisy (Michelle Ang) stumbles into his life. It's a story of two lost souls who just may find at least a little bit of each other, and a little more of themselves along the way. Likeable characters, though the acting isn't particularly strong.
FALLEN: THE DESTINY (NR) 77 minutes * * 1/2
This final chapter of the trilogy delivers a pretty good closing to the series as Aaron (Paul Wesley) discovers who his father is and begins a new direction for his life.
THE FALLING (NR) 98 minutes * *
Lydia (Maisie Williams) and Abbie (Florence Pugh) are best friends. But Lydia is so close to the edge, that it only takes one tragic event, and her ability to cope with anything is finished. It affects everyone at the school, with a wave of fainting spells. An unusual and moody piece, with a story that is caught between symbolism and reality. That will be interesting to some, but disconcerting to others.
FALLING DOWN (R) 109 minutes * * 1/2
A man with a violent temper who has been pushed too far, this is Bill Foster (Michael Douglas). He just wants to get home for his daughter's birthday party, but his methods are not what most of us would consider normal. Robert Duvall plays the police officer about to retire, who stumbles onto the case and doesn't really want to get involved. This is the problem with the film... a reluctant hero and a villain with whom we can sympathize too easily. Rather than focusing on the drama of the human struggle, this is presented as a police thriller and given a typical ending that is unworthy of these dynamic characters. R for violence and language.
FALLING FOR FIGARO (NR) 100 minutes * * *
Millie (Danielle Macdonald) has a dream. She wants to be an opera singer. She walks away from a career on the rise because it's unfulfilling, and from her boyfriend who just doesn't understand. (Though he does eventually come around.) Good performances really help this, because the story is a bit of a stretch.
FALLING FROM GRACE (PG-13) 94 minutes * 1/2
Country singer Bud Parks (John Mellencamp) comes home and catches up on what's going on around town. Kay Lenz and Mariel Hemingway have enough experience to work through Mellencamp's poor direction, but the production suffers. There are a few good scenes, but little else. Filmed in Seymour, Indiana, Mellencamp's home town.
FALLING IN LOVE (PG-13) 101 minutes * * *
Or, falling out of love. That's actually what happens to Frank (Robert DeNiro) and Molly (Meryl Streep). They fall out of love with their current partners and then in love with each other. The feel good ending works, but a more tragic one could have perhaps been stronger. Either way, what makes this not only watchable, but pleasantly so, are the performaces of Streep and DeNiro. PG-13 for language and sex.
FALLING IN LOVE AGAIN (NR) 73 minutes * *
Recently divorced, Henry (Terrell Carter) and Tyra (Erica Hubbard) tend to fight while trying to settle issues around finance and their son. But they also soon find that they are dissatisfied with the new options they have. Maybe it's worth trying one more time to mend their broken marriage. Very dialogue heavy, and very argumentative early on.
FALSE FLAG (NR) 75 minutes BOMB
A small town in the midwest. Nothing happening except a couple of estranged brothers unsuccessfully attempting to reconnect with one another. Then the mility (aka eight soldiers and a truck) moves in. The people (aka a crowd of about twenty-five) fight back. An overly wordy script and a story that can't help but stumble over itself. It's an ultra low-budget production, as evidenced by the inability to even pay for enough extras, but the bigger problems are the direction and the script.
FAME (2009) (PG) 114 minutes * 1/2
Lackluster remake of the 1980 film. Students at a performing arts school in New York struggle with pursuing their dreams and improving their skills. The best performances here are from the talented supporting cast, whose parts are fairly small - Bebe Neuwirth, Megan Mullally, Debbie Allen, Kelsey Grammer, and Charles S. Dutton. The main cast don't seem to have much to offer here. PG for sex and language.
THE FAMILY (2011) (NR) 85 minutes 1/2
The members of this particular family are filmmakers. But what starts out as a kinky porno film, turns into a snuff film... and who knows who the next victim will be... There is a little curiosity interest here for horror fans as this has Michael Berryman, Tony Todd, and Kane Hodder in it, but the editing and script are both pretty poor.
THE FAMILY (2013) (R) 105 minutes * * *
The Manzoni family may be in the witness protection program, but they aren't really the ones who need protection. It seems that trouble does follow them, but they are perfectly capable of handling it, much to the chagrin of those who are trying to keep them with a low profile. Great characters, with a number of great supporting roles too. The script gets a little heavy and dry in the middle, but picks up very nicely for the last third of the film. Plenty of humor here, though the tone is often macabre or sarcastic. Nice work by director and co-writer Luc Besson. R for violence, language, and sex.
FAMILY (2018) (R) 81 minutes * * 1/2
With little time for anyone or anything that doesn't relate to her career, Kate (Taylor Schilling) is surprised when her brother asks her for help. And taking care of their daughter Maddie (Bryn Vale) seems like a really bad idea. But perhaps there's a lesson to learn. In fact, the scriptdoes a good job of helping each character learn a few things, which helps make the film much better than it would have been had it simply focused on Kate. It's a nice move, and it works well. R for language and sex.
FAMILY BUSINESS (R) 111 minutes * * *
Vito (Dustin Hoffman) has tried hard to do the best for his son. The problem is that Adam (Matthew Broderick) doesn't want his Dad's best, he just wanted his Dad. Jessie (Sean Connery) has always realized this, but as Vito's father, he felt his hands were tied. Things are about to change, and get very tangled up in the process. These are three great actors from three generations in a story of personal past, present, and future... what it really means to be a member of a family. The performances by the leads are definitely the highlight here, and director Sidney Lumet plays them skillfully off the background of the story. R for language.
FAMILY CAMP (PG) 104 minutes * * ½
Time passes quickly, and Grace (Leigh-Allyn Baker) is concerned about how little time Tommy (Tommy Woodard) is spending with the family. The answer? Church family camp. It’s just about everything Tommy doesn’t want to do. Especially when they have to share a yurt with the Sanders family… who are complete opposites to the Ackermans. A mix of comedy, family, and Christianity. Most of the time it works fairly well, but sometimes it falters. It’s not the best summer camp movie, but it’s not the worst either. PG for violence.
THE FAMILY FANG (R) 100 minutes * * * 1/2
Annie (Nicole Kidman) and Baxter (Jason Bateman) had a rather unusual childhood. With parents who were performance artists, you never knew exactly what lay ahead each day. When, as adults, they learn that their parents have gone missing, they can't help but think it's another performance piece. At turns quite funny, and at others very serious, there's a sense of anticipation throughout the film. We find ourselves wishing for a more stable and supportive life for Annie and Baxter, but even that must be an anticipation rather than a given. Humor tinged with cynicism, and sarcasm with a touch of hope. R for language.
FAMILY GAMES (NR) 68 minutes *
Sloane (Megan Boone) is less than thrilled with her father's plan to remarry. Her plan is to sabotage the upcoming wedding, though she isn't really close to her father. A strangely moody piece that seems more like a rehearsal for a theatrical production than a finished film.
THE FAMILY MAN (PG-13) 120 minutes * * *
Sometimes, the decisions we make head us down a far different path in life than what we initially expect. Such is the case for Jack Campbell (Nicolas Cage). A year-long internship turns into thirteen, and he becomes a fast-track executive on the move rather than a family man. But what if he hadn't gotten on that plane? Not only does Nicolas Cage give then fine performance we expect, but Tea Leoni matches it with a great performance of her own. Nice performances by the kids too. So, despite the overly sentimental message, it's a nice film that most everyone will enjoy, though it does run a bit on the long side. PG-13 for language.
FAMILY OF LIES (NR) 81 minutes 1/2
A mysterious accident claims the lives of their parents and Emily (Christa Allen), Lexi (Mary Alice Risener), and Ethan (Peytom Wich) may be next. The plot keeps stalling with photography that just seems to wander. Not that the characters do much more than that either when the story is this thin.
FAMILY PLAN (PG) 86 minutes * *
Cute, if a little lightweight, comedy with Tori Spelling as a woman on her way to the top in the business world. The only problem is that her boss thinks she has a husband and daughter. She promptly arranges to have one, but it isn't always smooth sailing, though she may find it's closer to what she wants than she thought. Nothing new here, but Spelling does a decent job as does the rest of the cast, and it's decent family entertainment, which is more than you can say for a number of others. PG for language.
FAMILY POSSESSIONS (NR) 108 minutes *
Inheriting her grandmother's house is somewhat of a shock to Rachael (Leah Wiseman). But even more surprising is learning that her grandmother was a witch. And it would seem that something other-worldly is still connected to the house. Effects and photography lack the polish they need, but the dialogue and acting aren't all that great either. There are a few moments that temporarily make us think it will get better... and then it doesn't.
FAMILY SQUARES (R) 91 minutes * * 1/2
When Mabel (June Squibb) dies, her family comes together... sort of... not exactly. They come together over the internet to be with her in her final moments. That doesn't actually go very well, but the next online call to begin dealing with the estate is even worse. Family secrets begin to surface, and it's more than a little messy. The narration isn't necessary. We get everything we need from the characters. R for language.
THE FAMILY STONE (PG-13) 100 minutes * * *
Everett (Dermot Mulroney) is bringing Meredith (Sarah Jessica Parker) home for Christmas to meet his parents (Diane Keaton & Craig T. Nelson). Of course there are a few siblings to meet as well, and much harassment along the way. It's just the way the Stone family is... but it may be a bit much for Meredith to deal with. The acting is wonderful, but with a cast like this, it would be hard not to have that well taken care of. What is lacking a little is originality in the story. Most of the twists and turns here are old news and happen quickly enough that we don't really have time to think enough about them before the next one rolls along. It's all fun and we laugh quite a bit, but it definitely lacks the strength underneath that would have made a more memorable film. Also starring Rachel McAdams, Claire Danes, and Luke Wilson. PG-13 for language.
THE FAMILY THAT PREYS (PG-13) 104 minutes * * *
When you climb to the top by stabbing others in the back, the odds are very good that it will come back around to you later. A wealthy family and a working class family whose matriarchs have been friends for years, find themselves embroiled in controversy and scandal as their children race down a course that can only lead to self-destruction. Kathy Bates and Alfre Woodard lead a fine cast in this powerful and moving drama of family relationships and loyal friendships. PG-13 for language and violence.
A FAMILY THING (PG-13) 104 minutes * * 1/2
After his mother's death, Earl Pilcher (Robert Duvall) finds out about a brother he never knew he had. The only thing is that Earl is white and his brother is black... Meeting his brother will teach Earl much about himself, for even though his life has been in the white community of the rural south, his roots lie elsewhere. Although this suffers from poor direction at times, it manages to get its point across, asking us to take a look at what we've come to take for granted in our lives, and be willing to look at things from a different angle. PG-13 for violence and
language.
THE FAMILY TREE (R) 86 minutes * * *
Their family was already more than a little dysfunctional. But when Bunnie (Hope Davis) suffers a concussion that leaves her with memory loss, things get even more entangled. The cast is wonderful, and the scipt is quite creative, and manages to tell the story while holding nothing sacred. There's a bit too much narration, but its definitely fun watching this tree full of nuts. R for sex, language, and violence.
THE FAN (R) 111 minutes * *
Gil (Robert DeNiro) is a fanatic San Francisco Giants fan. He's also a foul-mouthed failure who only seems to be successful at scaring people. Director Tony Scott has given us a highly stylized film with excellent camera work, but a story that leaves us wanting more. Two-dimensional characters that walk through the scenery just aren't enough to keep us interested. This does look a little better on the small screen, but it's still no prize. R for language and violence.
THE FANATIC (R) 81 minutes * * 1/2
It may be true that a movie star is nothing without fans, but when fans become fanatics... Hunter Dunbar (Devon Sawa) has one such fanatic fan in Moose (John Travolta). It won't take long for things to get out of control. Travolta does well generating sympathy for his character, and earns most of the rating here. The story is unimaginative, though there are a couple of treats for film fans in the script and with the props and set decorations. R for violence and language.
FANNY (NR) 98 minutes * * *
This second part of the “Fanny" trilogy takes up where “Marius" left off. Marius (Raphael Personnaz) has left for a life on the sea, and Fanny (Victoire Belezy) has no choice but to move on. This includes the fact that she has to find someone who will care for her and her soon to be born child. Daniel Auteuil’s adaptation of Marcel Pagnol’s work is quite good.
FANNY HILL: MEMOIRS OF A WOMAN OF PLEASURE (NR) 115 minutes * * *
The life and loves of Fanny Hill (Rebecca Night), an orphan girl who is taken in by a friend and finds herself working as a "woman of pleasure". Adapted from the book by John Cleland, and with a delightful performance by Rebecca Night.
FANTASIA 2000 (G) 69 minutes * * *
Considering the explanation at the beginning of the film about how the original idea for "Fantasia" was to continue to release
collections of new short animated films... why include "The
Sorcerer's Apprentice" again in this version? It wasn't even the best segment of the first film, though it is the most well known. Steve Martin's interlude is rather tacky and definitely sets the wrong mood, and I'm not sure what the point of including it could have been. There are three segments that make the film worth watching. The Gershwin number that begins with a simple line moving across the screen, builds to a wonderful finish that uses Hirshfeld-style drawings and tells a story of life in New York is simply superb. The flamingo yo-yo sequence is both funny and well done and will be the one most of the kids who watch this will remember. And the Firebird Suite that the films closes with is a fabulous note to end on with impressive animation and a fine performance by the Chicago Symphony Orchestra.
FANTASTIC BEASTS AND WHERE TO FIND THEM (PG-13) 124 minutes * * *
Before Harry Potter, Newt Scamander (Eddie Redmayne) wrote of his own adventures in New York City. It was a book that Harry loved to read. A fun adventure in the Harry Potter world that may take more than one viewing, simply because there are so many different creatures that parade across the screen. A very nice companion piece to the Harry Potter series. PG-13 for violence.
FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD (PG-13) 125 minutes * * *
Dumbledore (Jude Law) has an ambitious plan to defeat Grindelwald (Johnny Depp). It will involve enlisting the help of his former student, Newt Scamander (Eddie Redmayne). Even more fascinating and elaborate special effects than the previous film in the series. There's lots of great material in the story, but it's also very clearly the middle section, without an ending, and heavily reliant on familiarity with the first film to be able to understand what is happening. PG-13 for violence.
FANTASTIC BEASTS: THE SECRETS OF DUMBLEDORE (PG-13) 133 minutes * * * 1/2
The Muggles are in danger. Grindelwald (Mads Mikkelsen) is putting together an army to kill them all. Dumbledore (Jude Law) and Newt Scamander (Eddie Redmayne) team up to try and defeat him. Plenty of action and adventure, but also some tender moments as we learn about another chapter in Dumbledore's life. The story feels a little stronger here than in the previous films. PG-13 for violence.
A FANTASTIC FEAR OF EVERYTHING (R) 95 minutes * * 1/2
Jack's (Simon Pegg) research on serial killers (for his latest book) has turned him into a paranoid mess. And now, a film producer is interested in a movie script he's been working on. But is it a real offer, or is someone trying to lure him into a trap? Pegg has found yet another unusual story to be a part of, and he fits well here. R for language.
FANTASTIC FOUR (PG-13) 98 minutes * * 1/2
The classic Marvel comic heroes finally hit the big screen! Vastly superior to the low-budget production made in 1994 that isn't "officially" available for viewing. The special effects here are amazing. The story... well, the story leaves a bit to be desired, spending far too much time on how their powers are acquired and far too little time on fighting the infamous Dr. Doom. Perhaps the inevitable sequel will give us more interaction with villains. PG-13 for violence.
FANTASTIC FOUR (2015) (PG-13) 93 minutes * * 1/2
A reboot of the story with a very nice, though also very lengthy, look at how they met. This cuts down dramatically on the action, which is unfortunate. Interesting because of its new approach, but clearly relying on the next film in the series, which is a risky proposal. {G-13 for violence and language.
FANTASTIC FOUR: RISE OF THE SILVER SURFER (PG) 86 minutes * *
There is plenty of action here, and the special effects are amazing, but the dialogue is over-simplified and tries too hard to have a sense of humor. It's a somewhat strange mix that almost makes it feel like a children's film, but it's not. And once again, the story strays too far from what was in the comics. PG for violence and language.
FANTASTIC LIES (NR) 101 minutes * * 1/2
It was a team party, but it became something horrific. In 2006, Duke University lacrosse team members hired two strippers that they then raped. The University's inaction was both disappointing and unsurprising to many. But what really happened? An investigative documentary that looks at what happened on that night in Durham, North Carolina.
THE FANTASTIC MR. FOX (PG) 78 minutes * * *
Mr. Fox and his family move into a new home despite advice to the contrary. The three meanest farmers all live within sight of the tree where they'll be living. And Mr. Fox finds himself easily tempted by the huge quantities of fowl being raised so close to his new home. Wonderfullly creative stop-motion animation brings Roald Dahl's classic story to life. A visual treat! PG for language.
THE FANTASTICKS (PG) 87 minutes * * *
Although some of the unique atmosphere of this long-running musical isn't captured by this film, it still scores on many points. It's the story of two teenagers whose romance has been manipulated by their fathers. A story of life, love, and remembering. Fun and offbeat, for those who haven't been able to make it to the theater, this is an enjoyable alternative. PG for language.
FANTASY ISLAND (PG-13) 104 minutes * * *
What is your fantasy? This magical island can make your dreams come true. But beware, it might not turn out quite the way you expect. A more sinister and scary version of the 1970s television show, but with a similar approach to the way the individual stories twist and turn. The acing is a little uneven between different casst members, but the stories work well, and this sets up nicely for a possible sequel. PG-13 for violence and language.
FAR AND AWAY (PG-13) 133 minutes * * 1/2
Tom Cruise and Nicole Kidman star in this long and tedious romance film. It isn't their performances that hurt it, but the story is incredibly shallow. It's a real surprise to discover that Ron Howard co-wrote it as he's usually much more aware of how to draw in an audience and tell a story. John Williams' sweeping soundtrack is the real star. So, unless you enjoy predictable, sappy endings, just listen to the soundtrack. Filmed in Ireland, Montana, and Oklahoma. PG-13 for violence and language.
FAR FROM HOME: THE ADVENTURES OF YELLOW DOG (PG) 75 minutes *
Boy and dog get lost story with plot-holes-a-plenty. The scenery is nice, but why would a kid who knows so much about survival (as he exhibits at some points in the movie) not know that it takes green wood to set a signal fire and that he should stay near the shore where he can be seen? Poor direction and worse acting make this one hard to sit through for all but the few who don't know any better.
FAR FROM THE MADDING CROWD (PG-13) 115 miunutes * * 1/2
The story of a strong-willed young woman in Victorian England and her three suitors. The scenery is beautiful, and the script is a more than adequate version of the classic novel. The male leads all deliver rather lifeless performances though, which keeps this from being better. PG-13 for sex and violence.
A FAR OFF PLACE (PG) 104 minutes * * * 1/2
Their parents killed by poachers, Nonnie (Reese Witherspoon) and Harry (Ethan Randall) must cross the treacherous Kalahari desert in search of help. The desert is the real star here, far from lifeless, though usually very quiet. James Horner's music weaves its magic as well, transporting us to this strange and beautiful world. The opening scenes are a bit violent for the younger viewers, but after that, it's a very entertaining film for one and all. PG for violence.
FAR OUT ISN'T FAR ENOUGH: THE TOMI UNGERER STORY (NR) 95 minutes * * 1/2
The life and work of artist, illustrator, and author, Tomi Ungerer, who still defies description to an extent. His work crossed boundaries and sometimes offended, but was also fascinating and original. Because so much of this is an extended interview with Ungerer, it tends to be a little dry at times, but it is packed with examples of his work. His has been an interesting life, and this provides us with a unique look at it.
FAR OUT MAN (R) 81 minutes 1/2
It's home movie time at the Chong house. Tommy wrote and directed this piece, which featurs himself, Rae Dawn, Shelby, and Paris as well as a few other friends of the family. Cheech Marin has a cameo bit as well, but this doesn't even come close to the old Cheech and Chong films. R for language.
FARCE OF THE PENGUINS (R) 73 minutes 1/2
Mockumentary of "March of the Penguins" with Bob Saget writing new dialogue for footage of the penguins making their treks across the Antarctic to feed, mate, and raise their young. If you saw "The Aristocrats", you won't be surprised that this is a Bob Saget project as far as the rude humor. Still, aside from all of the one-liners by an impressive group of Saget's friends, there's just not much here. R for lots of language.
FAREWELL (NR) 107 minutes * * 1/2
A French engineer meets a KGB Colonel, and in the middle of the Cold War, the biggest theft of information is about to occur. It's a well-written, and interesting story, though not particularly intense. There are moments, but the script delivers a little too much information and not enough emotion.
THE FAREWELL (2019) (PG) 93 minutes * * *
When she learns that her grandmother has been diagnosed with terminal cancer, Billi (Awkwafina) is determined to go to China to visit with her. Everyone else is going too. They're all pretending that it's for a wedding, because Nia Nai (Shezhen Zhao) doesn't know the test results yet, even though everyone else in the family does. Nice mix of humor and drama, and a solid ensemble cast, though the story does jump around a little. PG for violence and language.
FAREWELL AMOR (NR) 95 minutes * * *
Separated by the civil war in Angola, Walter (Ntare Gama Mbaho Mwine) has been trying to reunite his family. After 17 years, it has finally happened. But his baby girl is noe a teenager, and his wife is now a very religious person. They are strangers, looking for a way to reconnect. Their shared love of dance may be the key. Told in three chapters, from the perspective of each of the three characters. A sweet and tender story.
FAREWELL MY QUEEN (R) 93 minutes * * * 1/2
The kingdom is in turmoil. Sidonie (Lea Seydoux) is one of Marie Antoinette's (Diane Kruger) ladies in waiting. Her status with the queen seems to be on the rise, but when the king decides to stay and face the rebellion, their fates are sealed. Wonderful period drama that combines the elegance and the despair very well. And because of the almost off-hand way in which the less glamourous parts are shown, it feels very real. Adapted from the novel by Chantel Thomas. R for nudity, violence, and language.
THE FAREWELL PARTY (NR) 87 minutes * * *
It started out as a difficult choice in how to help a friend. Now, this group of retirement home friends are being asked to help others who are ready to make their final exit. Charming and touching, with a fine ensemble cast.
FARGO (R) 94 minutes * * *
Strange mix of comedy and fright that reminds us of "Twin Peaks", "American Gothic", and "Natural Born Killers". Set in Minnesota, this is another Joel and Ethan Coen production with a soundtrack by Carter Burwell that sets just the right creepy tone through the whole film. A very offbeat film that you will either love or not finish watching. Rated R for language and violence.
THE FARTHEST: VOYAGER IN SPACE (PG) 97 minutes * * * 1/2
The story of one of humankind's greatest achievements, the launching of Voyagers 1 & 2. They were sent to explore the outer planets and then travel beyond our solar system to continue to explore for as long as they could. They are currently in interstellar space, travelling more slowly each day, and transmitting data ever more faintly, until they run out of power. A very nice and comprehensive look at the missions of the two spacecraft.
FASHIONABLY YOURS (NR) 84 minutes * *
When Lauren's (Kat Graham) anticipated promotion doesn't come through, she makes plans to move back to Scottsdale to work with her parents. But mover Rob (Kendrick Sampson) might be a good reason to stay right where she is. Good acting, but the story is really thin.
FAST & FURIOUS (PG-13) 98 minutes * 1/2
Though this was the fourth film released in the series, chronologically, it fits before part three. It's nice to see some of the old cast returning here, but the story doesn't have a great deal to offer aside from the reunion factor. There are some nice special effects and fairly good stunt work, but the cars are less falshy and impressive than in the earlier films. PG-13 for violence, sex, and language.
FAST & FURIOUS: HOBBS & SHAW (PG-13) 124 minutes * * *
If yu haven't seen any of the "Fast and Furious" series, don't worry. This bears little resemblance to any of them despite having some of the same characters. It's more like a hybrod of "Terminator" and "The Transporter". The action is extreme, and often far-fetched, but it's fun, in part because of the frequent banter betweem Dwayne Johnson and Jason Statham. Idris Elba does a fine job as the villain, and Vanessa Kirby keeps a nice balance between Johnson and Statham. There are some rather obvious editing problems, but this is fun to watch, which is all that it appears to aim for. Well, that and setting us up for another sequel. PG-13 for violence, language, and sex.
FAST & FURIOUS 6 (PG-13) 121 minutes * * 1/2
Hobbs (Dwayne Johnson) needs help to take down a criminal who uses talented drivers all over the world. Since it will mean pardons all around, Dom (Vin Diesel) and Brian (Paul Walker) are willing to play along. Story is stronger than in most of the previous films, and most of the fight scenes are well choreographed, though the action is rather outlandish and more unbelievable than usual. PG-13 for violence, sex, and language.
FAST & FURIOUS 7 (PG-13) 131 minutes * *
The story is not particularly strong here, and it's unclear how much that might be related to the reworking of the film that was done after Paul Walker's untimely death. More than the other entries of the series, this one is packed with outlandish and ridiculously impossible car stunts. But it also ends quite well, complete with a very nice tribute to Walker. PG-13 for violence and language.
THE FAST AND THE FURIOUS (PG-13) 97 minutes * 1/2
Fast cars, pretty girls, and a little detective work on the side in this story of street racing and hijacked shipments. The script is the real bad guy here, keeping Vin Diesel and everyone else two-dimensional and sounding like they came out of a cheap paperback novel that you throw away when you've finished reading it. Actually, it's adapted from a magazine article by Ken Li, which could be the problem. Stretching an article into a movie script can sometimes stretch a story more than it can handle. PG-13 for violence and language.
THE FAST AND THE FURIOUS: TOKYO DRIFT (PG-13) 97 minutes * 1/2
When Sean (Lucas Black) wrecks his car and gets into trouble with the law again, his mother sends him to live with his father in Tokyo. Sean quickly learns a new style of racing where cars "drift" around turns, and is quickly in trouble again, though of a slightly different kind. Plenty of stant car driving here, with some great work, but the dialogue definitely sub-par and aside from Black, most of the acting leaves a great deal to be desired. There is a nice soundtrack... PG-13 for violence and language.
FAST COLOR (PG-13) 96 minutes * *
Sometimes the only thing you have is family. All the women in Ruth's (Gugu Mbatha-Raw) fmily have super powers. Ruth has been on the run for years because hers are less easily hidden. But she needs help now, and she has nowhere else to turn. The film ends very well, but it's a very long and slow trip to get there. PG-13 for violence and language.
FAST FIVE (PG-13) 121 minutes * * 1/2
Dominic (Vin Diesel) is on his way to prison when Brian (Paul Walker) and some friends stage an escape. They have plans to take down the most powerful man in Rio... and it's going to take a crew. Lots of car crashes and a bit more outlandish action sequences than the earlier films in the series. And you might want to watch into the credits to see the set-up for the next film. PG-13 for violence, sex, and language.
FAST FOOD NATION (R) 106 minutes * * *
When the meat that is being used by a fast food chain is discovered to contain some undesirable material, marketing executive Don Anderson (Greg Kinnear) investigates... and finds out more than he bargained for. Adapted from the book by Eric Schlosser, this is not only a study of the fast food industry, but of a way of life promoted in the United States. Consumerism driven by advertising to make more money for those who already have it, supported by cheap labor and a lack of concern for quality, safety, and the environment. The impact of the film is lessened by it being a drama rather than a documentary, but it's still there if you want to notice. Several interesting smaller roles and cameos by Patricia Arquette, Esai Morales, Kris Kristofferson, Bruce Willis, Ethan Hawke, Avril Lavigne, and a few others. R for language, violence, and sex.
FAST GIRLS (NR) 82 minutes * *
Shania (Lenora Crichlow) is a fast runner. Thanks to a fortuitous turn of events, she has a spot on the national team. She could also have a spot on the relay team, but teamwork isn't really something Shania is used to. Typical sports film with a nice finish that's no surprise. Music and photography help keep this interesting.
FAST TIMES AT RIDGEMONT HIGH (R) 86 minutes * * ½
Although not his first film, this is the one that propelled Sean Penn into the limelight with his performance of Jeff Spicoli, the free-spirited California high school student who values sex, drugs, and rock and roll more than classroom education. Fun and light-hearted look at growing up in California. R for sex, violence, and language.
FAST VENGEANCE (NR) 112 minutes *
When Shen (D.Y. Sao) returns to learn the details of his brother's death, he doesn't getmuch cooperation. That will not stop him from getting vengeance on those who killed his brother. Dull dialogue in a tired story. There are some reasonably good fight scenes, but also a surprisingly bad performance from Bai Ling.
FAST X (PG-13) 132 minutes * *
The crew is back. Again. This time around they have to deal with Dante Reyes (Jason Moma), who wants revenge for the death of his father. (No explanation for why he waited so long...) The explosions, car crashes, and special effects are even more extreme than the previous films, and are also ridiculously unbelievable. To top it off, we are also treated to a glimpse of part eleven. It's fun for the fans, but unlike the early films in the series, it's just too far-fetched. PG-13 for violence and language.
FASTER (R) 94 minutes * 1/2
Driver (Dwayne Johnson) is out of jail now, and he's looking to take down the people responsible for the death of his brother during a heist-gone-bad a few years earlier. With a hired killer and a couple of cops on his tail, it isn't going to be easy. The character of the hired killer seems to be an attempt to interject a bit of interest into an otherwise none-too-thrilling story. The problem is that he is not that mysterious or humorous, though there are elements of both. The mix doesn't work, and proves to be more af a distraction than an enhancement. R for violence and language.
FASTEST (NR) 108 minutes * * 1/2
This documentary about moto grand prix racing primarily follows Valentino Rossi as he heads toward an eighth championship title. Along the way, we get a good dose of the history, personal rivalries, and the excitement of the sport.
FAT ALBERT (PG) 87 minutes * *
Fat Albert and his pals leave their cartoon world for the real world to help a girl who is having trouble making friends. The only problem is, after a little while, they start to fade, even though they find the real world a really nice place to be. There are some cute bits here and there, but the story wears thin way before the time is up. Fat Albert fans will have a little fun with this, but that's about all. PG for language.
FAT GIRLS (R) 80 minutes * * 1/2
An alternative coming of age story. Rodney Miller (Ash Christian) has always felt like a "fat girl", and now he's starting to think that there isn't really anything wrong with that after all. Christian also wrote and directed this, and the low budget is clearly evident, but actually works to the film's advantage in that it adds to the "home movie" approach to the story. R for sex and language.
FAT HEAD (NR) 102 minutes * *
Counterpoint to the documentary "Super Size Me", with director Tom Naughton "proving" that eating fast food can help you lose weight. Both films ignore some facts in order to present their case, and both use medical "experts" to make their point. Proving little more than the idea that facts can be manipulated and well-presented in order to make a point. There are some interesting ideas here, but you'll need to sift through the mess to get to them, just as was needed with "Super Size Me".
FAT MAN AND LITTLE BOY (PG-13) 123 minutes * * * 1/2
The war serves as the context for this story about the ethical conflict involved in harnessing nuclear energy. Several times throughout the film, we are reminded that this is the energy that drives the universe. The struggle for control plays out in the struggle between General Groves (Paul Newman) and Robert Oppenheimer (Dwight Schultz), but is there on a larger scale between the Nazis and the Communists and even between humanity and the universe. Schultz brings Oppenheimer to life for us and is supported well with performances by both John Cusack and Laura Dern. Ennio Morricone's soundtrack and Vilmos Zsigmond's photography add immeasurably to the presentation as well. Not only is this a film about watching the unimaginable take place, it is also a film about peace and life. As Merriman (Cusack) says late in the film, "I hope we choose life, because I realize how beautiful, how glorious, how magical, life can be."
FAT, SICK & NEARLY DEAD (NR) 90 minutes * * 1/2
Joe Cross was facing major health problems. He had tried a juice diet before, but this time, he's going to change his lifestyle as well. A sixty day juice fast, and a tour across the United States will hopefully be just what it takes to get this Australian off to a new start. Though the focus is on health, it's a well-rounded story about what it takes to change your life.
FATAL ATTRACTION (R) 115 minutes * *
Obsessed with the man she had a one-night fling with, Alex (Glenn Close) begins to stalk him. Dan (Michael Douglas) is momentarily flattered, then annoyed, and soon fears for his life and that of his wife and daughter. Masquerading as a mystery/suspense film, this is really little more than a slasher horror film with a bigger budget and a story aimed at an older audience. Maurice Jarre's soundtrack does a great job of adding to the effect.
FATAL BEAUTY (R) 101 minutes * *
Whoopi Goldberg is Rita Rizzoli, narcotics cop, on the trail of the drug, Fatal Beauty. While the action and suspense are fairly good here, the dialogue is both heavy-handed and full of unnecessary foul language. Harold Faltermyer provides another good pop music soundtrack, and Goldberg and Sam Elliott give good performances.
FATAL CONTACT: BIRD FLU IN AMERICA (NR) 83 minutes *
Not sure how much of a plot description you need after reading the title to this film. Despite the scary possibility it presents, the characters here seem pretty emotionless and bored. Cheap ending, but by the time it arrives, we really don't care all that much.
FATAL INSTINCT (PG-13) 86 minutes *
*
Another of the parody comedies, this one actually
does a decent job in poking fun at "Basic Instinct",
"Fatal Attraction", and "Body Heat". If anything, it
pays too much attention to detail and doesn't have
enough light-hearted fun with the idea. The great
cast includes Armand Assante, Kate Nelligan, Sherilyn
Fenn, and Sean Young.
FATAL INSTINCT (2014) (NR) 93 minutes * 1/2
As the evidence mounts against his partner's brother, Detective Decker (Richard Burgi) has little choice but to follow where it leads. The story is good, though the ending is more than a little muddled. The bigger problem is the quality of the action scenes throughout the film. They just aren't very good.
FATALE (R) 99 minutes * *
Derrick's (Michael Ealy) marriage is in a rough spot. Attending a friend's bachelor party, he finds himself having a one night stand. But the woman (Hilary Swank) just happens to be a detective. And she has some plans of her own. What is the truth and what is the con? Ealy and Swank add quite a bit to this tired story, but it's still a tired story. R for violence, sex, and language.
THE FATE OF THE FURIOUS (PG-13) 127 minutes * *
Dom (Vin Diesel) is lured to the "dark side" and his friends have to figure out how to get him back. The story isn't too bad, but it tries a little too hard to tie up loose ends from the previous films. The car chase and explosion scenes are absolutely outrageous and unbelievable, which is exactly what the fans of the series want, though it doesn't really do anything for the story. And if you aren't a fan of the series, it will impress you as being silly rather than exciting. PG-13 for violence and language.
THE FATHER (PG-13) 93 minutes * * * 1/2
Anne (Olivia Coleman) is caring for her aging father (Anthony Hopkins). But things are getting worse. He thinks his daughter has moved in with him when it's actually the other way around. He sees people who aren;t therre, and he doesn't understand what is happening. An Oscar winning performance by Hopkins. Directed by Florian Zeller, based on his play. PG-13 for language.
FATHER FIGURES (R) 105 minutes * * *
It's not until their mother gets re-married that Peter (Ed Helms) and Kyle (Owen Wilson) learn that their father isn't who they thought he was. Now they're on a road trip to meet him... if they can figure out who he is. Much like the plot, the film wanders around quite a bit before coming to a nice finish. Great cast! R for language and sex.
FATHER HOOD (PG-13) 91 minutes * *
Patrick Swayze stars in this mildly entertaining TV movie-style production about a man who impulsively kidnaps his two children from the state's foster care system. Don't expect much and you won't be disappointed.
FATHER OF MY CHILDREN (NR) 103 minutes * * *
Gregoire (Louis-Do de Lencquesaing) is a film producer, but his films aren't making any money and the debts are mounting up. Despite the love and support of his wife and three daughters, the pressure is more than he can cope with. The direction and pacing give this film a very realistic feel. At the same time, there's a distance that we experience from the actual events, so there is little sense of happiness or sadness, just that we've been allowed to see a part of the life of this family. Their lives will continue to go on, and Gregoire's life will continue through them and through his work.
FATHER OF THE BRIDE (PG) 100 minutes * *
Remake of the 1950 classic featuring Steve Martin and Diane Keaton, who just never have the chemistry it takes to bring this off well. There are far too many voice-overs, and too many attempts at comedy that just don't fit well. Kieran Culkin, playing the little brother, comes off better than most everyone. PG for language.
FATHER OF THE BRIDE PART II (PG) 102 minutes * * *
This is one of those few times when a sequel is actually rather good. Even more interestingly, it's a remake of a sequel. (Father's Little Dividend) Steve Martin's daughter has grown up and is making him face his own middle age, with comical results of course. Sure to make you smile, this also shows off young Keiran Culkin better than the first film did and gives us a fine supporting performance from Jane Adams as Dr. Eisenberg. Great work by all!
FATHER STU (R) 118 minutes * * *
Based on the life of Father Stuart Long (Mark Wahlberg). When his career as a boxer is over, Stu heads to California to become an actor. That doesn't work out very well. He falls in love with a devout Catholic, and after a life-threatening accident, he begins to follow a different calling. Nice supporting role for Mel Gibson as Stu's father. R for language.
FATHERHOOD (PG-13) 103 minutes * * *
When his wife dies shortly after childbirth, Matt (Kevin Hart) is left to raise their daughter on his own. Still dealing with grief and with family and friends who want to help, he has to find a way to make it work. Hart's comic bits are very toned down here, which helps the story quite a bit. A strong supporting cast too. PG-13 for language.
FATHERS & DAUGHTERS (R) 110 minutes * * *
After a tragic accident, Jake (Russell Crowe) has a breakdown. When he returns to his life, he has to deal with other members of his family who want to keep his daughter away from him. Twenty-seven years later, his daughter deals with a string of bad relationships that are part of her own way of dealing with what happened. Great work by Amanda Seyfried, supported well by a stellar ensemble cast and newcomer Kylie Rogers. R for sex.
FATHER'S DAY (PG-13) 95 minutes * 1/2
Robin Williams and Billy Crystal star in this story of two men trying to find a boy who has run away. One of them may be the boy's father, but no one seems to know for sure. They keep finding him and losing him throughout the movie. And just as they keep missing the kid, this film keeps missing the mark. The moral here is fairly obvious and Williams and Crystal don't work well together. Based on the film "Les Comperes" (which is undoubtedly better), the best part of this film is an unbilled cameo appearance by Mel Gibson. PG-13 for language.
A FATHER’S FIGHT (NR) 90 minutes BOMB
Bo (Travis Hancock) has almost nothing left. At the end of his rope, he’s going to need to find a reason to continue and a path to something better. Like maybe a better script, better direction, a better acting coach… for the whole cast… The Christian message gets stronger as the film moves along. Not better, just stronger.
FATIMA (PG-13) 109 minutes * * *
When three young shepherds have a vision of the Virgin Mary, they aren't exactly sure what happened. At first, they try to keep it a secret, but that doesn't last long. Some of the townspeople believe and others don't, and those in the government and the heirarchy of the church try to put a stop to it, to no avail. Very nice work by young Stephanie Gil. Based on the actual incident. PG-13 for violence.
FATMAN (R) 93 minutes * * 1/2
Chris (Mel Gibson) is having a rough Christmas season. Kids these days just aren't what they used to be. Take, for instance, Billy (Chance Hurstfield). He's a spoiled rich kid who hires a hitman (Walter Goggins) to kill Santa for giving him a lump of coal. A violent, but also darkly comic story. If you like your holiday fare on the offbeat side, this might be what you're looking for. R for violence and language.
THE FAULT IN OUR STARS (PG-13) 121 minutes * * * 1/2
Have the box of tissues ready for this story of two teenagers with different forms of cancer who fall in love after meeting at a support group. The entire cast does a great job, and while the story does tend toward the sentimental, it also manages to keep moving back to more realistic moments. John Green's very successful novel has been nicely adapted to the screen, and the photography and editing are very effective in creating the intimate atmosphere for the story. PG-13 for sex and language.
FAULTS (NR) 88 minutes * * 1/2
Ansel (Leland Orser) is a professional cult expert. In particular, his specialty is mony control. His skills will be put to the test when a couple ask him to help their daughter, who they believe is a member of a cult. An interesting mix of drama and satire, but it takes a little too long to get its rhythm going.
THE FAVOR (R) 93 minutes *
Amateurish direction and a poor script hang this
story before it has a chance. Elizabeth McGovern is
asked by her friend, Harley Jane Kozak to sleep with
her old high school boyfriend and then tell her what
it was like. Bill Pullman, Brad Pitt, and Ken Wahl
are among the others featured here, but acting talent
can't save a film like this.
THE FAVORITE (PG-13) 104 minutes * 1/2
Always feeling "second best"to his brother, Ben (Luke Benjamin Bernard) puts his frustration into his fighting. When he and his brother are both in a car accident, and Luke (Matthew Fahey) has to fight for his life, Ben begins to see his family in a different light. It seems that everyone has turned to God but Ben, and he begins to wonder. The real Luke wrote the script and stars as his own brother. Though the story has similarities to his real-life experience, it is quite different from what actually happened. The heart of the script is good, but the dialogue is stiff, as are some of the performances. PG-13 for violence.
THE FAVOURITE (R) 114 minutes * * *
Queen Anne (Olivia Colman) rules England, but her health prevents her from doing very much. Lady Sarah (Rachel Weisz) essentially rules in her stead. A new maid by the name of Abigal (Emma Stone) catches the fancy of Sarah. But this is a time when many people are looking for any way possible to advance their station in life. Great work by Colman, Weisz, and Stone, but the story would have been much stronger without the deviations into humorous territory. They distract from the core of the story and the overall effect of the film. R for sex and language.
FEAR (R) 91 minutes * * 1/2
Stylishly directed story of sweet teen (Reese Witherspoon) falling for a psycho kid. Her father (William Peterson) intervenes, but trouble ensues. The story is far too obvious and takes too long to play out. Good acting by Witherspoon and music by Carter Burwell help make this worth watching.
FEAR AND LOATHING IN LAS VEGAS (R) 112 minutes * * 1/2
Johnny Depp and Benicio del Toro star in this adaptation of Hunter Thompson's satirical travelogue/social commentary on the 1960's and 70's. Depp is on assignment to cover the Mint 400 dirtbike race but ends up being more interested in experiencing hallucinations through drug use. There is a good deal of strong social commentary here, especially late in the film, but most will be turned off by the bizarre caricatures and unusual cinematography. Small roles and cameo appearances are scattered throughout the film, two of the more notable being Christina Ricci and Ellen Barkin. R for language and violence.
FEAR DOT COM (R) 93 minutes *
A sadistic killer is somehow using a website to trigger people's fears and overload them with adrenaline... the problem is that this killer doesn't have a physical body. This starts out nicely. Dark and mysterious, with a very spooky little girl that keeps appearing. There are some nice moments of suspense here and there, but the story just doesn't hold together. A nice cast (Stephen Rea, Natascha McElhone, Stephen Dorff, and others) end up being wasted. R for violence and language.
FEAR INC. (R) 88 minutes * * *
Do you want to be really scared? Give Fear Inc. a call. They will take your experience of fear to the next level. The only catch is that once you make the call, you can't cancel the experience. Fun idea, and it actually plays quite well. R for violence and language.
THE FEAR OF DARKNESS (NR) 88 minutes * *
Dr. Faithful (Maeve Dermody) investigates the case of a missing student at the university. His friend may be guilty, but there is no evidence. The story twists and doubles back on itself, though it does explain most of it near the end. Despite some good acting and produciton values, the tangled story makes this less interesting than it could have been.
FEAR OF RAIN (PG-13) 103 minutes * 1/2
Rain (Madison Iseman) has severe schizophrenic episodes. There's medication for it, but she doesn't like to take it because it dulls everything. She is growing more convinced with each passing day that her neighbor has kidnapped a child. No one believes her except Caleb (Israel Broussard). But is Caleb even real? The film gives lots of hints about what will come next, though there are a few false turns. PG-13 for violence and language.
THE FEAR OF 13 (NR) 91 minutes * * 1/2
Nick Yaris shares his story of twenty-one years on death row for a crime he didn't commit. The title is misleading, but Yarris relates his story quite well. Depite the fact that there's little to the film beyond listening to him relate it, the story is interesting and the presentation works.
FEAR PHARM (NR) 76 minutes *
A corn maze is a fun and creepy attraction for Halloween. These four friends will experience more terror than they expect as this particular corn maze has owners who will hunt them down and make sure they never leave. Typical slasher horror, and the story, much like the corn maze, doesn't have very far to go.
FEAR PHARM 2 (NR) 72 minutes *
The farm has been running for 15 years now. Hershel (John Littlefield) has been in charge of the operation since his wife died. All is going well until Melanie (Tiana Tuttle) wakes up. She sets the others free, but they will all still have to find their way out of the maze. More of the same. Lots of bloody effects.
FEAR X (PG-13) 85 minutes * * *
Sometimes terrible things happen. Harry (John Turturro) is convinced that the death of his wife was not random. The visions he is having seem to support this idea. He won't give up until he learns what really happened. The style and tone of the film are very similar to much of David Lynch's work. So, if you enjoy that sort of surreal and unusual approach, you'll like this. PG-13 for violence and language.
FEARLESS (R) 115 minutes * * 1/2
Max (Jeff Bridges) survives an airplane accident and begins to feel that he is invulnerable to harm. As is the case with most of director Peter Weir's films, there is a theme throughout. This time, it's "hands"... reaching, holding, letting go... This aspect is quite good, but some portions of the film are weak and could've used better writing and acting. R for language and violence.
FEARLESS (2006) 100 minutes * * *
Jet Li stars as Huo Yuanjia, the founder of the Jin Wu Sports Federation. His life was dedicated to bringing the various martial arts traditions together to appreciate one another and to focus on discipline rather than violence. As a child, he just wanted to win and he learns how to fight well enough to do so. But as he grows older, he learns that respect and honor are of more value than winning. His vision of uniting the various disciplines of martial arts and creating a federation did more than help the sport, it helped unite the Chinese people. Quality piece of work from director Ronny Yu. R for violence.
FEAST (NR) 80 minutes * * 1/2
Strange group of aliens monsters trap a group of people in a bar one night. Can they make it till morning? Will morning make a difference? Very intense and full of gore, with fairly good performances, though it's hard to tell much as the dialogue is univentive to say the least. The aliens really aren't that elaborate either, but there is the fun bit of the rotating hero role. First-time director John Gulager has fun with this and given some better material to work with, he could give us a pretty scary film. R rated version available, violence, language, and sex.
THE FEAST (2021) 89 minutes * * 1/2
A business deal is in the works, and an extravagant meal is prepared to get things started. A young woman (Annes Elwy) arrives to serve as the waitress for the meal. But she is not who she appears to be, and this meal will be their last. Creepy atmosphere and nice production values. The story is a little incomplete though.
FEAST OF LOVE (R) 96 minutes * * 1/2
Bradley Thomas (Greg Kinnear) is a nice guy, but love just doesn't seem to be working out for him. His friend Harry (Morgan Freeman) shares words of wisdom from time to time, but in the end, love and life will do what they will and loss is always part of the story. Love offers much, but it takes much as well. Adapted from Charles Baxter's novel, this is a gentle and quiet story, well-acted, and without presumption that it is trying to tell us anything particularly unique. Filmed in Portland, Oregon. R for sex and language.
FEED THE DEVIL (NR) 92 minutes BOMB
A mysterious, and rather incoherent, Native American myth appears to have come to life. Now, Lydia's (Ardis Barrow) sister is missing. Very poorly written, resulting in a story that fails to be interesting or make much sense.
FEEDBACK (NR) 92 minutes * * 1/2
The Grim Reality is a hit radio program. Bold and uncensored, Jarvis Dolan (Eddie Marson) serves as its host and is well-known. The rating have begun to slide just a little, but his frustration at the idea of having to deal with a co-host to boost ratings for the program take a back seat when two people in masks take over the station. An intense and violent story, well-played by Marson.
FEEL THE NOISE (PG-13) 84 minutes * 1/2
An aspiring young rapper finds his dreams dashed and then reshaped into something more realistic in this rather lifeless story. This unfortunately has both the look and feel of a low budget production. It's too bad for the actors, who try to give this some life, but the script and poor direction never give it much of a chance. PG-13 for sex, violence, and language.
FEELING BUTTERFLIES (NR) 84 minutes * *
Emily's (Kayla Wallace) butterfly business has a real chance of making it big. Garrett (Kevin McGarry) might be able to help. He's also a single dad. McGarry and Wallace neither one seem very relaxed here.
FEELING MINNESOTA (R) 92 minutes *
Really bad attempt to copy "Pulp Fiction", with Keanu Reeves and Dan Aykroyd stumbling through very bad dialogue. Tuesday Weld is probably embarrassed about being in this film, and Courtney Love shows nothing of the power she later exhibits in "The People Vs. Larry Flynt". Another grand example of a terrible script from Hollywood. R for language, violence, and sex.
A FEELING OF HOME (NR) 83 minutes * * 1/2
For the sake of her web show, Abby (Jonna Walsh) pretends that she is from New England, where she is now living. In truth, her roots are in Texas, and she needs to head back there to help out her dad (Robby Benson). Of course, there's her old high school sweetheart (Nathan Parson) who also happens to be around to help as well. She just may find a reason to stay in Texas.
THE FEELS (NR) 84 minutes * *
At their shared bachelorette party, Andi (Constance Wu) is going to end up revealing something to her partner Lu (Angela Trimbur). She's never actually had an orgasm. Most of the dialogue is improv, which does make the scenes feel real, but it also makes many of them feel unnecessarily awkward.
FELICITE (NR) 121 minutes * * 1/2
With her son struggling to recover from a severe car accident, Felicite (Vero Tshanda Beya Mputu) is doing everything she can to raise the money needed to save him. The money she is able to make by singing at a local bar is far less than what is needed. Her dedication and frustration are both clear in this story of a mother's love in a tragic time.
FELIX ET MEIRA (R) 103 minutes * *
As Felix (Martin Dunreuil) grieves the loss of his father, Meira (Hadas Yaron) struggles with her life as a Hasidic Jew, which is becoming more difficult for her to accept. Their friendship brings each of them something they need, but will also soon force Meira to make a choice. Interesting, but despite the slow pace, the story tends to not delve very deeply into the attitudes and beliefs of the characters, focusing instead on surface feelings and reactions. R for sex.
FELT (NR) 78 minutes *
Amy's (Amy Everson) response to past sexual trauma and male aggression is to create male alter egos that seem to give her power over what she feels are her own weaknesses. Their creating may well be her undoing. There are some good ideas here, but the script suffers from a lack of direction until the end. Meanwhile, the actors seem more than a little lost.
THE FEMALE BRAIN (NR) 94 minutes * * 1/2
Julia (Whitney Cummings) is doing research on the differences between the brains of males and females. Her research findings and lecture materials are interspersed with scenes from three couples, as well as examples from her own experience. It's a cute romantic comedy, though the pacing is a little awkward. Cummings wrote the screenplay, directed, and produced as well as played the lead role.
FEMALE FIGHT CLUB (R) 86 minutes * *
Kate (Cortney Palm) owes some people a lot of money and calls on her sister for some help. Becca (Amy Johnston) just might be able to teach her how to fight well enough to win. Or maybe Becca will just fight in her place. Not much to the story, and what there is, we've seen too many times before. The fight scenes are good though, and Johnston is a little better at acting than the majority of others who try to fight and act. R for violence, language, and sex.
FEMME FATALE (R) 110 minutes * *
Double-crossing the thieves she works with to get $10 million in diamonds, she establishes a new identity and might just get away with it except for this annoying photographer who takes her picture and begins to unravel what took her so long to put in place. Director Brian DePalma puts in a very nice plot twist late in the film that feels like his older films. The biggest problems here are that the film does drag on a bit long, and Rebecca Romijn-Stamos does make a better model than she does an actress. Recognize that voice on the phone? It's John Stamos, Rebecca's husband. R for sex, violence, and language.
THE FENCER (NR) 94 minutes * * *
Although he had little choice in what happened, Endel Nelis (Nart Acandi) found himself on the run. He's soon teaching a class of young fencing students, but it doesn't take long for the Soviet Secret Police to find him. Based on actual events, and though this focuses on the students more than the history, it works very well.
FENCES (PG-13) 133 minutes * * * 1/2
August Wilson adapts his own play to the screen. Denzel Washington delivers a fine performance, as do the rest of the cast, but what holds it together is the work Viola Davis does. It's the powerful story of a man stuck in a particular way of seeing the world and his place in it, even while the world and his family move ahead. PG-13 for language.
FENDER BENDER (NR) 86 minutes * ½
Having your first fender bender can be scary on its own. But Hilary (Makenzie Vega) is about to be stalked by the man whose car she just hit. He uses fender benders as a way to find his next victim. Predictable, but definitely has several creepy scenes.
FERAL STATE (R) 80 minutes * *
Deep in the swamps of Florida, Mack Monroe (Ronnie Gene Blevins) raises his "family" of orphans and misfits. He teaches them to steal and to rid the world of drug dealers and meth labs. The more time that goes by, the closer Detective Ellis (AnnaLynne McCord) comes to putting an end to their family activities. The side story about the detective's personal and work life doesn't fit well here. It's poorly written and not as well acted as the rest of the film, making it look and fell like an afterthought. R for language, Violence, and sex.
FERDINAND (PG) 98 minutes * * 1/2
Ferdinand doesn't like to fight, but what other option is there for a bull? Running away from the ranch where he was raised, Ferdinand never expected to find paradise, but he did. But having found it, he may be about to lose the chance to live it. The ending is not as powerful as it should be, and sort of fades away without showing more about some of the characters we met earlier in the story. Be aware that children may have some difficult questions for you while they watch this film. PG for language and violence.
FERN GULLY: THE LAST RAINFOREST (G) 69 minutes * * 1/2
Ecological cartoon with nice music and some great voices (Robin
Williams, Samantha Mathis, Grace Zabriskie, Tim Curry, Cheech & Chong, Christian Slater) but the story isn't very imaginative and the animation is strictly Saturday morning fare.
FEROCIOUS PLANET (NR) 88 minutes * 1/2
A machine that lets people loko back into alternate realities ends up transporting a small group of them into one of those places. Now, if they can just figure out how to get back, and how to survive this hostile world in the meantime. Maybe they could spend some time taking acting lessons...
FERRIS BUELLER’S DAY OFF (PG-13) 97 minutes * * ½
Ferris Bueller (Matthew Broderick) is determined to take what he considers to be a well-deserved day off from school. Another fine piece of work from writer/director John Hughes, but much of it depends on Broderick, and some scenes just don’t work as well. Still, it is an extraordinarily well-known film, and not a bad one for the mid-1980s that features some of the young talent of the time.
FERTILE GROUND (R) 91 minutes * *
After Emily's (Leisha Hailey) miscarriage, she and Nate (Gale Harold) move out to the country, to a house that used to be in his family a long time ago. It was supposed to be a move that would give them some peace and quiet... time to recover from their recent trauma. But there are secrets in this house... dark and terrible secrets that are notgoing to be quiet. The script is more than a little dry, though the music here is wonderfully creepy and is sure to give you at least a couple of chills. R for violence, sex, and language.
FEVER PITCH (PG-13) 96 minutes * *
Ben (Jimmy Fallon) is a big Red Sox fan. So much so that it's always gotten in the way of his past attempts at romantic relationships. Lindsey (Drew Barrymore) has always been so preoccupied with her work that she hasn't been able to have a good romantic relationship either. Can they somehow make this work? Adapted from the book by Nick Hornby, this may appeal to Red Sox fans, but neither Barrymore or Fallon seem all that interested. Fallon appears to be just walking through his part, and Barrymore has nothing to play off of with a co-star is so bland. PG-13 for language.
A FEW BEST MEN (NR) 91 minutes * ½
David (Xavier Samuel) never expected to fall in love. Now, he’s off to Australia to meet her parents and get married. The wedding is going to be… something to remember. Humor is intermittent in the story, and the supporting characters here are much moiré interesting than the leads.
A FEW GOOD MEN (R) 134 minutes * *
* 1/2
Classy military courtroom drama with Jack Nicholson
and Tom Cruise facing off as the death under
suspicious circumstances of a Marine private is
investigated. Aaron Sorkin does a masterful job of
adapting his stage play to the screen. Rob Reiner's
talented direction brings together a fine cast that
also includes Demi Moore, Kevin Bacon, James
Marshall, and Keifer Sutherland. R for violence and
language.
FIDO (R) 86 minutes * * 1/2
In the not-too-distant future, zombies don't really present much of a problem anymore. Thanks to some creative thinking, they can be put to work doing menial labor. Well, except when something happens to their collar... In fact, Timmy's (K'Sun Ray) zombie helps keep the local bullies from picking on him. Just remember... they aren't really human... anymore. If you liked "Shaun of the Dead", you'll find this film fun as well. R for violence.
A FIELD IN ENGLAND (NR) 87 minutes * *
In 17th Century England, a group of men have left their fighting compatriots and are making their way through a field when they are forced to help an alchemist locate a treasure he is certain is buried there. The story is, for the most part, a morality play, with a mix of tragedy and humor as they engage in their misguided quest. The filming style is very experimental, with strobing camera effects, slow-motion, and other unusual bits. Students of film are likely to find it interesting, but others will not be impressed.
FIELD OF DREAMS (PG) 100 minutes * * * *
Based on the book "Shoeless Joe", this is a magical story about a farmer who hears a voice telling him to build a baseball field on his property. It's also about the courage to follow a dream and the faith it takes to believe in that dream. And it's about the importance of our memories and our love for those who are important to us. It's magical Hollywood at its best, and Kevin Costner plays it to perfection. The script is perfect, and the direction manages to capture every nuance of emotion. Definitely a film not to miss!
FIELD OF LOST SHOES (PG-13) 92 minutes * * ½
A group of cadets from the Virginia Military Institute finds themselves drafted into service in the American Civil War, which they did not expect. They will have difficult choices to make as they face a war that will change their lives and their country forever. Fairly standard war drama, focusing on the lives of the cadets and the battle scenes. Nicely done, but nothing outstanding to set it apart from other, similar war dramas. PG-13 for violence.
FIELDER'S CHOICE (NR) 83 minutes * *
Not only has Phillip (Chad Lowe) never thought much about being a father, he wouldn't have time for it anyway. It's all he can do to manage to help out his sister for the weekend by taking care of his nephew. But when she dies in an accident, he finds himself the boy's custodian. Lowe does a nice job here, though this never really gets past the mild tear-jerker, TV movie category.
THE FIELDS (NR) 95 minutes *
A boy and his family are terrorized by an unseen presence that seems to be in the fields near their house. Well, "terrorized" might be overstating it as there isn't really all that much tension here. And most of the action that does happen is very predictable. Cloris Leachman gets to add this to her extremely long list of credits, but there's little else here to interest anyone.
FIERCE CREATURES (PG-13) 87 minutes * *
This sequel to "A Fish Called Wanda" doesn't quite measure up to its predecessor, but it still has its fun moments. Nobody can stumble around words and still keep a scene moving like John Cleese. There are a number of in-jokes for those who saw the first film. PG-13 for language.
A FIERCE GREEN FIRE (NR) 98 minutes * * * 1/2
Very comprehensive look at the environmental movement. Its fascinating to step back, as this film does, and look at the various programs and organizations and see how they were and are connected as part of one large movement to take better care of the planet we live on.
FIERCE PEOPLE (R) 107 minutes * * 1/2
Finn (Anton Yelchin) was supposed to spend the summer with his father, studying a remote and savage tribe of people. Instead, he will be spending the summer with his mother, among a strange and savage "tribe" of rich people near New York City. Finn quickly begins to gain influence and respect among this tribe, but soon finds that trust and loyalty are not won so easily. Excellent cast that also includes Diane Lane, Kristen Stweart, and Donald Sutherland. R for language, sex, and violence.
15 MINUTES (R) 113 minutes * 1/2 An arson investigation turns into a homicide investigation involving two eastern European killers with some rather strange ideas about American justice and the media. It's too long and gets lost quickly somewhere between trying to tell us how much the media influences us and how poorly the justice system works. The characters continue to struggle with telling us their story, which we care little about after the first half hour or so. The filming is choppy and erratic and we find ourselves ready to have this over long before it grants us the pleasure. R for violence and language.
THE 15:17 TO PARIS (PG-13) 87 minutes * * *
As children, Spencer, Alek, and Anthony loved playing war and having mock battles. They're older now, and what was once play has become real. After a lengthy trip through their childhood, we follow them on a trip across Europe as young adults when the terrorist attack unfolds. There are some issues with the flow of the story early on as it hints at what lies ahead. Otherwise, a nice retelling of actual events, featuring the three men to whom it actually happened. PG-13 for violence and language.
THE FIFTH ELEMENT (PG-13) 121 minutes * * * 1/2
Visually stunning science fiction epic with traces of "Stargate", "Star Wars", and "Blade Runner" mixed together. Wonderful special effects too, but its the story that really grabs you, right from the very start. Evil is returning, and the five elements must be united to defeat it. There's a little too much comedy here, especially in Gary Oldman's character, and I wouldn't have cast Bruce Willis (although he does a fine job). Milla Jovovich is absolutely perfect as Leeloo. This is a very impressive film from director/writer Luc Besson. PG-13 for language, violence, and nudity.
THE FIFTH ESTATE (R) 123 minutes * * ½
The story of Wikileaks, from its beginning to the incredible force it became as it uncovered far more truths than anyone suspected. The story spends a good deal of time elaborating on various personal relationships, some of which don’t seem to make a great deal of difference to the story. Very nice work by Benedict Cumberbatch as Julian Assange. Based on the books, “Inside Wikileaks, My Time with Julian Assange at the World’s Most Dangerous Website", and “Wikileaks, Inside Julian Assange’s War on Secrecy". R for language and violence.
THE 5TH QUARTER (PG) 86 minutes * 1/2
Emotional saga of a high school football player who dies in a car crash and how his family and friends cope with the loss. A number of the background songs used are laden with meaningful lyrics, but it's too much, and sometimes grabs more of our attention than it should. the subplots are really thin as well, which doesn't give the story a great deal of room to go anywhere. PG f0r language.
THE 5TH WAVE (PG-13) 106 minutes * * 1/2
When the aliens show up and begin to subjugate the Earth, they do so in a series of "waves". The story is none too original, but the cast does well in spite of that. This could have been much more exciting, but tends more toward a matter-of-fact approach that sometimes struggles to keep us engaged. Adapted from the novel by Rick Yancey. PG-13 for violence and language.
FIFTY/FIFTY (R) 98 minutes *
Robert Hays and Peter Weller are the only things this film has going for it. Pathetic story of two mercenaries who end up working for a small group of "good people" who are trying to get their land back. The chemistry between the leads at least makes a few of the scenes entertaining. R for violence and language.
50/50 (R) 96 minutes * * *
Things were going fine for Adam (Joseph Gordon-Levitt) until the day when he was diagnosed with cancer, and given a 50/50 chance for survival. Nice ensemble cast that also includes Seth Rogen, Anna Kendrick, Bryce Dallas Howard, Anjelica Huston and Matt Frewer. The script is very thoughtfully written and does a great job of moving back and forth between tragic and comic. R for language and sex.
50 FIRST DATES (PG-13) 91 minutes * * 1/2
Henry (Adam Sandler) has problems with commitment in relationships. But now he's fallen for Lucy (Drew Barrymore), a girl who forgets everything from the day before each morning when she wakes up. It's unfortunate that scattered throughout this charming and sensitive love story are the constant reminders that Sandler loves off-color humor. It's especially bad early on though it does tame down a bit as it progresses. Absolutely beautiful scenery courtesy of the north shore of Oahu where most of this was filmed. PG-13 for language.
55 STEPS (PG-13) 109 minutes * * * 1/2
A patients' rights lawyer, Colette Hughes (Hilary Swank) is about to embark on a very long case. Eleanor Riese (Helena Bonham Carter) is fighting for control of her life. While a mental patient, she received drugs that made her condition worse and that were given without her consent. The case has the potential to change the treatment process for tens of thousands of patients, and also the life of Colette Hughes. Powerhouse acting from Swank and Bonham Carter, with great supporting work from Jeffrey Tambor. PG-13 for violence and language.
54 (R) 83 minutes *
Set in 1979, this is the story of Studio 54, the place to go for freedom and fame, glitz and glamour, sex and drugs. Ryan Phillippe stars, though Salma Hayek, Neve Campbell, and Mike Myers do a little better with their roles. The script is incredibly boring and keeps the characters far too shallow for us to care about what happens to them. The other big disappointment here is the lack of music. A film about one of the hottest disco places in the world should have had a better selection of music than we have here. R for language and nudity.
51 (R) 86 minutes * 1/2
Area 51 has just been opened to the public, specifically to some reporters. Of course, they won't actually get to go to the lower levels, or even be told about them. But that's OK, it's all going to change, because today is the day the aliens that are being held in the lower levels manage to escape. Strictly B-grade sci-fi, but the story is fairly interesting and some of the effects aren't all that bad. R for violence.
57 SECONDS (R) 87 minutes * * 1/2
Looking for that big break, Franklin (Josh Hutcherson) sneaks into a presentation by a tech guru (Morgan Freeman). He ends up saving Burrell (Freeman) from a physical attack, and in the process, picks up a ring that has some very unusual properties. It has the ability to reset time to 57 seconds in the past. The story manages the time travel aspect quite well, with some good twists near the end of the film. Special note: If you watch carefully, you'll get to see writer/director Rusty Cundieff in a caneo role as a detective. R for violence and language.
FIFTY SHADES DARKER (R) 112 minutes * *
Ana (Dakota Johnson) and Christian's (Jamie Dornan) relationship moves to a different level where rules and punishment aren't part of the picture. That also means they will both need to deal with his past in an honest and open manner... which is going to be difficult to say the least. In particular, Christian doesn't really know how to function in a world where power and dominance are central to the way it all works. We learn more about the characters in this second film in the series, but it won't make much sense if you haven't seen the first, or aren't willing to see the next, as it leads us right there. R for sex and language.
FIFTY SHADES FREED (R) 104 minutes * * 1/2
They're married now, but Christian (Jamie Dornan) and Anastasia (Dakota Johnson) only seem to be more jealous of each other. And Jack Hyde (Eric Johnson) is becoming more of a problem. This builds well on the earlier films and continues to develop the characters. R for sex and language.
FIFTY SHADES OF BLACK (R) 86 minutes *
You don't get fifty guesses to figure out what this is a parody of. There are several funny bits, but there's also quite a bit of boring material inbetween. Rude and vulgar, which you might expect. R for sex and language.
FIFTY SHADES OF GREY (NR) 122 minutes * *
Filling in for her roommate, Anastasia (Dakota Johnson) meets Christian Grey (Jamie Dornan) to do an interview for the college paper. Her life will never be the same. Not really as steamy as the book, in part because our imagination is almost always more creative and exciting than what we see on screen. BDSM is about the sensual side of power. Even though Grey seems to have a better understanding of that than most, its also evident that he wants something different, but doesn't know how to get there. Philosophically somewhat interesting, but the performances all tend to keep us at arms length, and the characters distant from each other. R for sex and language.
56 UP (NR) 137 minutes * * *
Director Michael Apted's continuing look into the lives of a number of British people. It began when they were seven years old, and has continued every seven years with additional interviews while including older material to see the difference in their lives. Their openness and willingness to talk about virtually anything makes us feel like they are old friends. One of the more interesting aspects to the series is that after the first few films, Apted seemed more willing to allow the "cast" to point out shortcomings in the process. Definitely a unique and worthy series.
50 TO 1 (PG-13) 105 minutes * * 1/2
The odds were long, but Mine That Bird would soon show his motley crew of owners that he was worth the risk. Strong and well-told story, based on the unlikely success of a horse and team that surprised everyone at the Kentucky Derby. Acting here is not the best, but the story, and a fine finish make this worth a look. PG-13 for violence and language.
52 PICK-UP (R) 107 minutes * * ½
Harry (Roy Scheider) is being blackmailed, and he’s not very happy about it. He plays along for a little bit, trying to buy some time, but then decides to be proactive and go after the kidnappers. The story is a little disjointed, but the cast is impressive and the film ends up looking better than in might have. It doesn’t hurt that the story came from an Elmore Leonard novel. Also featuring Ann-Margaret, Vanity, Kelly Preston, and Clarence Williams III.
50 YEARS OF STAR TREK (NR) 84 minutes * * *
Wonderful retrospective of fifty years of Star Trek in all of its various forms, at least on television and in the movie theaters. The focus is on the television show as that is what began the phenomenon. The interview panel members are an interesting choice, and it is rather odd that they never really even mention the books and merchanise. That said, the interviews that are included are a fantastic collection and should prove a treasure trove not just for fans of the series. Anyone who is interested in the history of television or science fiction in general should find quite enough here to keep them interested.
FIGHT CLUB (R) 135 minutes * * 1/2
What does it mean to be a man? What does it take to be a man? Edward Norton's character explores these questions through the course of the film. It's an incredible script, though I'm rarely thrilled with narration. It does end on a rather strange note, but getting there is very interesting. There's also a feeling of self-indulgence here that is a bit thick at times, dimming the strength of the material and of Norton's fine performance. Brad Pitt offers us another somewhat quirky performance, though not as unusual as his character in "Twelve Monkeys". Also of note are well-done and very unique performances by Helena Bonham Carter and Meat Loaf. R for language, violence, and sex.
THE FIGHT MACHINE (NR) 100 minutes * * 1/2
Bare-knuckle fighting is not a legal sport. Paul (Greg Hovanessian) and Tommy (Noah Dalton Danby) come from very different backgrounds, but soon both find themselves in this violent and illegal world. They are also on a collision course. Well-done fight scenes and a story and presentation that have some very fitting rough edges that add to a sense of realism.
FIGHT THE FIGHT (PG-13) 90 minutes * * 1/2
A martial arts challenge between two rival schools will determine the fate of both. Not a terribly original story idea, and nothing all that exciting about the martial arts here. It's not bad, and if you like martial arts, you won't find it a waste of time, but there isn't much that's memorable either. Pg-13 for violence.
THE FIGHT WITHIN (PG-13) 83 minutes * 1/2
Logan (John Major Davis) was raised to be a professional fighter. But as he gets older, he can tell that it just isn't a good fit for him. And then he meets Emma (Lelia Symington). She believes that God has a plan for everyone's life, and sets out to help Logan discover what that is. Script and acting need a lot of work here. PG-13 for violence.
THE FIGHTER (R) 111 minutes * * *
Micky (Mark Wahlberg) is an up-and-coming figher , being trained by his brother Dicky (Christian Bale), who has already has a promising career. But Micky is having a tough time, and all Dicky seems to be thinking about is his own comeback, which few hold out hopes for due to Dicky's inability to control himself. Great supporting work by both Bale and Amy Adams. Bale won an Oscar for his, as did supporting actress Melissa Leo. Wahlberg seems a bit lost at times, though the personalities of the characters do tend to contribute to that. Filmed in Lowell, Massachusetts. R for language, violence, and sex.
FIGHTING (PG-13) 103 minutes * *
Shawn's (Channing Tatum) life isn't really headed anywhere until he meets Harvey (Terrence Howard). Harvey is a scam artist, but he recognizes a good fighter in Shawn, and takes advantage of the situation. Howard does a great job here, and Tatum actually doesn't do too badly either. The story just doesn't have very far to go here, and is complicated by awkward aspects like the gang that follows Harvey around. PG-13 for violence, sex, and language.
FIGHTING BACK (R) 88 minutes * * ½
Owning a small shop in Philadelphia is getting to be more and more difficult. John D’Angelo (Tom Skerritt) has finally had enough, and organizes a group of people to fight back. The problem is that it begins to look more like racial discrimination than supporting local business. Nice work by both Skerritt and Patti LuPone.
THE FIGHTING TEMPTATIONS (PG-13) 119 minutes * 1/2
Darrin (Cuba Gooding Jr.) loses his job and goes back home to his Aunt Sally's funeral where he discovers that his sizeable inheritance hinges on his ability to get the local church choir to win a musical competition. Not an easy task. And it takes a bit too long to happen. The music is great, with treats from The O'Jays and Beyonce Knowles among others, but it just doesn't feel sincere at all. PG-13 for language.
FIGHTING WITH MY FAMILY (PG-13) 104 minutes * * *
Along with her brother Zak (Jack Lowden), Saraya (Florence Pugh) has dreamed of being part of WWE. They wrestle as part of a reasonably successful family venture, but one day, the opportunity they have dreamed of does come. As she becomes "Paige", she wonders if whe'll really have what it takes to make it to the next level. Based on the life of WWE Divas Champion, Paige, it's a fun look at the challenges she faced in trying to make her dream into a reality. Great work by the cast, with a standout performance from Pugh. PG-13 for sex, language, and violence.
FILL THE VOID (PG) 86 minutes * * *
Shira (Hadas Yaron) is about to be married when her older sister dies in childbirth. Now, not only is her wedding postponed, but she may have to marry her brother-in-law. She wants to do the right thing, but the answer isn’t really clear to her. Acting, cinematography, and script all work together to give this film a very intimate and personal feeling, letting us understand what Shira is struggling with despite whether we agree with this cultural set of beliefs or not. Nicely done. PG for language.
FILLY BROWN (R) 96 minutes * * 1/2
Majo (Gina Rodriguez) wants to help her mother, but its going to take money. Her rapping talents (as Filly Brown) are making her a rising star, but the music business isn't quite what she expected, and life just seems to keep getting more complicated. Nice work by Rodriguez, but the script and direction don't take this the extra level that it could have. R for language and violence.
FILM STARS DON'T DIE IN LIVERPOOL (R) 102 minutes * * *
The story of the love affair between Gloria Grahame (Annette Bening) and Peter Turner (Jamie Bell). The film fades from present to past and back again, showing both the intensity and endurance of their love for each other. Wonderful work by both Bening and Bell. R for language and sex.
A FILM UNFINISHED (R) 89 minutes * * * 1/2
An hour-long unfinished documentary/propaganda film from Nazi Germany is discovered among many other films in a concrete bunker in the middle of the forest. It was titled simply, "The Ghetto", and was filmed in the Warsaw ghetto only a couple of months before everyone there was sent off to the concentration camps. It's a powerful piece of work, with commentary by survivors who were there during the filming, diary entries providing narrative, and the trial transcripts of one of the cameramen who was part of the film crew. R for violence and language.
FILTH (R) 92 minutes *
Bruce (James McAvoy) wants his promotion so badly that nothing is off the table. But the lies are compounded by hallucinations from his drug habit, and it's all spiraling out of control. Unfortunately, so does the plot. A strange piece that has little to offer beyond McAvoy's performance, and he's been in better films. R for sex, language, and violence.
FINAL ACCOUNT (PG-13) 91 minutes * * *
Interviews with the last generation of those who were part of the Third Reich. The questions these interviews raise are around issues of authority, national identity, and the willingness to let things continue when you know they are wrong. A provicative look at feelings and opinions after so much time has passed. PG-13 for violence.
FINAL ANALYSIS (R) 121 minutes * *
Richard Gere starts sleeping with a patient's sister and finds himself in a mysterious mess. This film is a bit of a mess as well, though it does get better toward the end. Kim Basinger does a reasonable job, but Gere and Uma Thurman do the majority of the work. R for sex, language, and violence.
FINAL APPROACH (NR) 158 minutes * *
Formula disaster film originally shown on TV about terrorists hijacking a plane headed for Los Angeles. Their plan appears to have covered every possible angle, but a former FBI agent is going to do his best to make sure that their attempt fails. Reasonably good performances and the story flows well, if rather predictably, to it's conclusion.
FINAL ASSIGNMENT (PG) 94 minutes * * ½
On assignment in the USSR, Nicole (Genevieve Bujold) uncovers steroid experiments involving children. It’s something she cannot ignore, but it may be the end of her career if she pursues the story and tries to stop the experiments.
THE FINAL CUT (PG-13) 90 minutes * *
Strange little film with Robin Williams as a "cutter" who edits the stored memories of people's lives down to a memorial film. Not only does he uncover a dramatic secret while editing, he also uncovers a bit of his own past that he needs to track down to be able to understand it. Williams does a nice job here, but the story just sort of splashes out without much direction. PG-13 for language and violence.
FINAL DESTINATION (R) 92 minutes * 1/2
Just before the plane takes off for Paris, Alex has a dream about the plane crashing. He and a few of his friends get off the plane, which crashes moments after take-off. Were they lucky? Or is death still out to get them? An interesting idea that is handled very poorly, with silly horror film effects, poor acting, and a ridiculous ending. Ali Larter is the only standout in a film that could have been much more interesting and suspenseful than it turned out to be. R for language and violence.
THE FINAL DESTINATION (2009) (R) 76 minutes 1/2
Fourth in the series of "people who should have died and have to wait until later" films. Plenty of "in your face" graphic gore to capitalize on the 3-D presentation, and plenty of cliches about not taking life for granted. Unfortunately, even more than the other films so far, there are no suprises and we never really care about the characters. With any luck, this is the final entry... R for violence, language, and sex.
FINAL DESTINATION 2 (R) 84 minutes * 1/2
Beginning not all that long after the end of the first film, we have a new person who is given a vision of a multi-vehicle crash on the interstate. What's more, the people who are rescued by the vision all have ties to the folks from the first film! It actually works fairly well as a story mechanism. Consider yourself WARNED - the special effects are extremely gross. More what you might expect from a horror film rather than a suspense film. Although that being said, the interstate scene in the first few minutes of the film is amazing, doing a wonderful job of combining real stunts with computer animation. Ali Larter returns to help explain things to the new people, and once again delivers the best performance.
FINAL DESTINATION 3 (R) 87 minutes * *
It's a roller coaster accident in an amusement park that a few people survive this time, thanks to the premonition of one girl. The usual, bizarre string of events that begin to balance things starts, and our protagonists must see if they can stop it somehow. Slightly better pacing than the previous films, and more extremely gross effects, along with some nice camera work gives this a slight edge over the previous two in the series. R for violence, language, and nudity.
FINAL DESTINATION 5 (R) 86 minutes 1/2
More of the same, and originally in 3D like part 4. This time, the initial event is the collapse of a suspension bridge. Severl of the later deaths are ridiculously gory. R for violence and language.
FINAL FANTASY: THE SPIRITS WITHIN (PG-13) 98 minutes * *
The extraordinary animation is the highlight here, though the mouths still need a little work. The story is a bit
on the rough side and it feels like we lost a few scenes that might have helped clarify some of the story. The idea
that a planet has a life force of which we are all a part is interesting, but we don't hear enough about the life
force from the meteor and how the alien ghosts are able to kill. This doesn't really follow the game, so there is
potential for a sequel of sorts, but that remains to be seen. PG-13 for violence.
FINAL GIRL (R) 78 minutes * 1/2
Veronica (Abigail Breslin) is trained as an assassin. The local bullies who like to target young blonde women for sport are in for a rude awakening. Highly stylized, and without the sharp wit needed to give it an edge. Instead, it falls rather flat, which is no fault of Breslin's. The soundtrack is nice too, but direction and script are off the mark. R for violence and language.
THE FINAL GIRLS (PG-13) 86 minutes * *
Max (Taissa Farmiga) still isn’t really over the death of her mother. So when she and her friends end up at a special tribute screening of her mother’s last film, they end up inside the movie, facing the killer and each other. Don’t press the logic of this very far or it won’t make much sense. What it does manage to do is make some nice plays on horror films and fans. The fun they had making this is evident, and it keeps the tone light and playful, which helps us not take it too seriously either. And that works reasonably well. PG-13 for violence, sex, and language.
THE FINAL OPTION (R) 120 minutes * * *
The British Special Air Service is well known for their skills in dealing with terrorists. This story deals with an individual from the SAS infiltrating a terrorist group in an effort to stop one of their latest attacks. Solid story and a fine performance from Lewis Collins that serves as a backbone for the film. R for language, sex, and violence.
FINAL PRAYER (R) 89 minutes 1/2
When a small church reports some unique and unusual events, a team is sent to investigate. They are looking to disprove what supposedly happened, but something even more frightening is about to be uncovered. There are some pretty good claustrophobic scares at the end, but explanation about what is happening is very much absent. R for language.
FINAL SCORE (R) 99 minutes * * 1/2
Fairly standard action film, mixing in a little international politics and just a touch of humor. Dave Bautista is good here, but it's unclear why the decision was made to waste the talents of Pierce Brosnan on such a small role. The ruthless villains do a nice job of ramping up the tension. R for violence and language.
THE FINAL SEASON (PG) 113 minutes * * *
Norway High School, a small school in rural Iowa with an amazing baseball team. When a nearby school corporation begins the process to merge Norway into their system, the town is more than a little upset. They will have one more season, with an untested young coach, and a chance to add the 20th state championship trophy to their collection. It's a great story with the only real problems involving the cast. The players are all fine and Powers Boothe does a nice job as the legendary coach Jim Van Scoyoc. Sean Astin delivers only a mediocre performance though, and Rachel Leigh Cook is woefully miscast as the representative of the larger school system who becomes involved with Astin's character. Based on fact, this is a good film for baseball fans, but it could have been even better. PG for language.
THE FINAL TERROR (R) 76 minutes * *
So… don’t go into the woods, don’t have sex, and don’t explore by yourself. I think we’ve heard this before. Despite their skills as rangers, this group of unlucky people find themselves being picked off by a killer. R for language and violence.
THE FINAL WISH (NR) 90 minutes *
It's not a pleasant time, but Aaron (Michael Welch) feels obligated to help his mother after his father's death. All os not as it seems, and Aaron is getting more confused. It might be connected to a strange urn he found among his father's belongings. The script isn't great, but most of the cast make it sound a little better than it is. Melissa Bolona's lifeless performance is the main exception.
FIND HER (NR) 83 minutes * 1/2
Slade (Nick McCallum) is looking for answers. A rancher is dead and his daughter is missing. He wants to find her, but the more information he discovers, the more tangled the it appears to become. The story is a bit heavy-handed and stiff, but the film does deliver a good atmosphere. Writer/director/producer/actor McCallum definitely tooko on a little too much, but this is still worth a look if you enjoy modern film noir.
FIND ME GUILTY (R) 120 minutes * *
Based on the actual trial of Giacomo "Jackie Dee" DiNorscio and the events surrounding it, and using some of the actual transcripts. Director Sidney Lumet is used to this sort of film, but gets caught here in trying to make this too true to the actual events. Vin Diesel does a nice job here, and his charisma along with that of Peter Dinklage are what make this film as good as it is. Far too much of the rest is dry and uninteresting. It makes the story rely even more on Diesel's performance, which has an unusual combination of comic and serious aspects that are a bit hard to watch. More than anything, this just seems to miss whatever mark that Lumet was aiming for. R for language and violence.
FINDERS KEEPERS (NR) 84 minutes *
Another evil doll that a child becomes obsessed with. The plot really isn;t all that clear on the specifics of how so many people keep dying. Knives and scissors just seem to stab people. They don't even fly through the air... they just appear embedded in people. Clearly a low-budget TV production, though deserving of one star for a few mildly creepy moments.
FINDERS KEEPERS (2015) (R) 82 minutes * * 1/2
John Wood managed to convince someone that he should be able to keep his leg after it was amputated. But one day, they grill where he kept it in a storage unit is bought by Shannon Whisnant. And yes, it gets more strange as it goes along. This is the rest of the story. Definitely an unusual topic for a documentary, but it is an interesting story. R for language.
FINDING A FAMILY (NR) 87 minutes * 1/2
With a mother who is bipolar and a life that has been drifting from one foster home to another, Alex (Collin MacKechnie/Jared Abrahamson) decides to terminate her rights and search for a family on his own. Stiff performance from Abrahamson keeps us disconnected from the main character here, and the heavy narration doesn't help either.
FINDING AMANDA (R) 90 minutes * *
Taylor (Matthew Broderick) is on his way to Las Vegas to find his niece Amanda (Brittany Snow), who is apparently a prostitute. He family thinks intervention is in order. But who needs that more? Taylor has a gambling problem and a drinking problem, and his marriage is falling apart. Broderick seems to do littl emore than walk through this, but that's really nothing new. Snow, on the other hand, does a nice job. R for sex and language.
FINDIND DORY (PG) 87 minutes * * *
Dory (voiced by Ellen DeGeneres) has finally remembered where her family is. Of course that ends up being on the other side of the ocean. Marlin and Nemo and a few other friends agree to help, but just because she remembered this particular bit of information doesn’t mean that Dory’s memory has really improved at all. Wonderful animation and a good message, though there is a good deal of tension in some scenes, and children who have a fear of getting lost may find this challenging to watch. PG for violence.
FINDING FATHER CHRISTMAS (NR) 84 minutes * 1/2
When her mother ides on stage during a performance at Christmas, Miranda (Erin Krakow) struggles with how that memory affects the holiday for her. As a child, her father wasn't part of the picture, but she has just found a clue that might help her understand more about that particular part of her past. The story is a little forced, expecially toward the end.
FINDING FORRESTER (PG-13) 131 minutes * * *
Jamal (Rob Brown) has a talent for writing. He's never done much with it, because he just wants to fit in with his friends. But when his path crosses with that of William Forrester (Sean Connery), a recluse who wrote the great American novel and then disappeared, they both find themselves moving in new directions. Much as Forrester's character serves as a mentor for Jamal, Connery seems to have had a similar effect on Rob Brown. The characters are, unfortunately, locked into a
story that almost never moves past the obvious, though there are hints of the depths they could achieve. It's always a delight to watch Connery, and Brown's debut along with a nice supporting role by Anna Paquin definitely make this a worthwhile film. PG-13 for language.
FINDING NEIGHBORS (NR) 92 minutes * * *
Sam (Michael O'Keefe) was a well-known graphic novelist, but his inspiration seems to have disappeared. He begins to connect with his neighbors as he looks around, trying to find connections and new inspiration for writing... and for living. Very nice character development and an easy, conversational approach to the dialogue. Wonderful supporting work by Blake Bashoff.
FINDING NEMO (G) 91 minutes * * *
This gem from Pixar does start out on a rather sad note, but as Marlin (Albert Brooks) searches for his son Nemo, with the help of Dory (Ellen DeGeneris), the quest does a nice job of tastefully mixing humor into the story. My favorite is the "whale talk"... words fail to describe just how funny it is. The story is a delightful mix of humor, educational information about marine life, and family dynamics. Charming and touching, it's a film that most everyone in the family can enjoy.
FINDING NEVERLAND (PG) 96 minutes * * *
J.M. Barrie (Johnny Depp), author of Peter Pan, found his inspiration for that story in his interations with the children of a friend. There are many good performances here, Depp (of course), Kate Winslet, Julie Christie, Radha Mitchell, Dustin Hoffman, and young Freddie Highmore who is also playing opposite Depp in the remake of Charlie and the Chocolate Factory. The pacing in the script is a bit off though. The film starts slowly and ends rather quickly with too many aspects being resolved too easily. Still, the idea is there... reality and fantasy need to walk beside each other, for only then can we experience the magic and beauty of life. PG for language.
FINDING SANTA (NR) 83 minutes * * 1/2
The Christmas parade in this small town is now Grace's (Jodie Sweetin) responsibility, along with running the Christmas store. She loves the store and the parade, but this year, the Santa they've had for years isn't going to be available. His son (Eric Winter) could do it, but it's going to take lots of convincing, and maybe a little Christmas magic.
FINDING STEVE MCQUEEN (R) 89 minutes * * 1/2
President Richard Nixon was said to have been stashing illegal campaign contributions and blackmail money in a bank in California. A crew from Youngstown, Ohio, decided they were going to take it. All thirty million. The story jumps around from past to present and in-between a little much, but it's a good story, and it ends very nicely. R for language.
FINDING VIVIAN MAIER (NR) 82 minutes * * * 1/2
No one had the slightest idea that Vivian was taking so many pictures. Over 100,000 to be exact, and thousands more that were still undeveloped. Discovered by accident by amateur historian John Malouf as he was doing research for a project, she is now recognized as one of the greatest street photographers to ever pick up a camera. Well-rounded biography that recognizes Vivian's strengths and shortcomings. Art and character often get their shape from that which is not always the most pleasant.
FINDING YOU (PG) 115 minutes * * * 1/2
When her auditioned doesn't go as planned, Finley (Rose Reid) goes to Ireland for a year to study abroad. Maybe it will help her find what she needs. On the flight to Ireland, she meets Beckett Rush (Jedidiah Goodacre), teen heartthrob and acting superstar. She is not impressed. But as they keep running into each other... her mind begins to change. A charming, witty, and sentimental script by Jenny B. Jones, based on director Brian Baugh's book, "There You'll Fine Me. Delightful performance by Saoirse-Monica Jackson and another classy performance by Vanessa Redgrave. PG for language.
FINDING YOUR FEET (PG-13) 107 minutes * * * 1/2
About to retire, Sandra (Imelda Staunton) learns that her husband has been having an affair. She ends up staying with her free-spirited sister (Celia Imrie) which is difficult as her own approach to life is more cynical and regimented. Perhaps this change is just what she needs. Marvelous work by both Staunton and Imrie. PG-13 for sex and language.
A FINE MESS (PG) 87 minutes *
Ted Danson and Howie Mandel receive top billing here as the comedy team to watch in this film. The only parts of the film that are consistently funny are the ones that feature the antics of Richard Mulligan and Stuart Margolin. The story involves the “fixing” of a horse race and what happens as people find out about it. The cast appears to have a good time, but it’s less certain that you will.
THE FINEST HOURS (PG-13) 111 minutes * * *
Based on the true story of one of the most daring Coast Guard rescues that ever happened. Exciting, but at the same time, we are continually reminded that these were ordinary men, doing the work they do. It's risky, and often viewed as heroic, but it is also scary, and many times, the rsult is uncertain until the last person is off the boat and on dry land. PG-13 for violence.
FIRE (NR) 123 minutes * * *
Andrey Sokolov (Konstantin Khabenskly) is a team leader for a fire crew. After losing a crew member during a fire, he doesn;t want to take a rookie on the next job, but he doesn't really have a choice. He takes the new kid, who happens to be in love with his daughter (Stasya Niloslavskaya). Very good effects and actual fire footage. Nice intensity and likeable characters help this along.
FIRE AT SEA (NR) 111 minutes * * 1/2
The island of Lampedusa lies just off the coast of Italy and is the first European land that many immigrant refugees from Africa are able to reach. This documentary looks at the lives of those immigrants as well as the residents of the island and how they cope with what happens on such a regular basis. The mix of tragedy and normality is not what you might expect.
FIRE DOWN BELOW (R) 99 minutes * 1/2
Another Steven Seagal film about tragedy striking the environment. Seagal goes in to fix it all for the "little people" by kicking the snot out of the mean people without getting a hair out of place or a scratch on his face. Nothing new, though the songs are good, including the ones Seagal
writes and sings. R for violence and language.
FIRE IN THE MOUNTAINS (NR) 78 minutes * * 1/2
A small community in the Himalayan mountains struggles to balance a need to bring in tourist dollars with the outside influence that can bring to their world. Chandra (Vinamrata Rai) works to save money for medical treatment for her son, while her husband Dharam (Chandan Bisht) thinks the money would be better spent on a shamanic ritual. The two world views are on a collision course. The ending is less satisfactory, but the rest of the film is good.
FIRE IN THE SKY (PG-13) 105 minutes * *
Based on "The Walton Experience", this story of UFO abduction develops rather slowly and has an awkward ending. It does manage to keep us interested, but mostly because we'd like some answers that are never given. An interesting cast that includes D.B.
Sweeney, Kathleen Wilhoite, and James Garner. PG-13 for violence.
THE FIRE NEXT TIME (NR) 82 minutes * * *
Documentary about the struggles of Kalispell and the Flathead Valley area in Montana as they deal with major changes to their way of life. The film does a nice job of presenting both sides of several issues that have residents angry and even hateful towards one another. It's not just about the environment or jobs, it's about a community and a way of life. Is it possible to reach any understanding or common ground? Are there issues affecting your community in the same way? Nice work from director Patrice O'Neill.
FIRE TWISTER (NR) 80 minutes BOMB
A bomb explodes on an oil silo, creating a tornado of fire that is destroying everything in its path. The intrigue the film tries to create around why that happened just never really gets very far. Not that the sub-par special effects, that are repeated quite often, help much either.
FIRE WITH FIRE (PG-13) 103 minutes * 1/2
She's a student at a Catholic school, and he's in a detention camp. They fall in love. Weak dialogue in a disappointingly cliche love story with Craig Sheffer and Virginia Madsen as the star-crossed young couple.
FIRE WITH FIRE (2012) (R) 94 minutes * * 1/2
As a firefighter, Jeremy (Josh Duhamel) is used to danger and risking his life to save others. But testifying in court and being in a witness protection program are new territory. Very predictable story with quite a few gaps in logic, but Duhamel and Rosario Dawson are both very likeable, which gives it some appeal. R for violence, language, and sex.
FIREBALL (R) 93 minutes * 1/2
The first team to score wins, but if no one scores, the win goes to the last man standing. It's the most violent basketball game there is... this is fireball. It's a pretty brutal story and mostly just an excuse for a martial arts brawl without a great deal of talent. R for violence and sex.
FIREBIRDS (PG-13) 80 minutes * * 1/2
Exciting flight sequences, romance, a little danger, a pilot who
thinks he's the best there is... sound a little bit like "Top Gun"? Yup, only this time with Apache helicopters. The film struggles with an unbelievable relationship between Nicholas Cage and Sean Young and rarely has the intensity it needs to keep us really interested. There are some nice flight sequences, but they don't really show off the full capabilities of an Apache. It's a slick production, but feels a little too shallow the whole way through.
FIREBREATHER (NR) 67 minutes * 1/2
He just wants to be a normal kid, but life has a little more than "normal" in store for Duncan (Jesse Head). It's an interesting story, and quite a bit is packed into a relatively short amount of time, though the ending just sort of lays there. The other big problme here is that the animation is choppy, and the mouth movements, especially of the human characters, is poorly done. Fantasy adventure fans will find this interesting, but lacking what it needs to be very memorable.
FIRED UP (PG-13) 84 minutes *
Football camp or cheerleader camp... the choice seems obvious to these two young football jocks. They already know how to play football, and how difficult can cheerleading be? And of course there's no opportunity to be around girls at football camp. As expected, they find that there's more to cheerleading than they expected, and that the competitive spirit is contagious, and they discover a new respect for the cheerleaders. Corny, light-hearted film with just enough sexual teasing to get the PG-13 rating. There are actually a few nice cheer sequences mixed in with the nonsense as well. PG-13 for nudity and language.
FIREFLIES IN THE GARDEN (R) 92 minutes * * *
Returning home to celebrate his mother's graduation from college, Michael (Ryan Reynolds) will join his family in both celebration and grief, as an unexpected accident occurs. Great ensemble cast, and a fabulous performance by Reynolds. Theirs may not be the most functional of families, but even in families that are, relationships can be both strong and fragile. It depends on what you're willing to do and say, and what remains unspoken. R for langauge and sex.
FIREFOX (PG) 130 minutes * * ½
The Soviet Union has been working on the technology that will let a pilot connect their mind to a jet fighter. The British send in Mitchell Gant (Clint Eastwood) to steal the prototype aircraft. The storyline has a few holes, and believability is stretched a little far. The idea is a good one, it just doesn’t quite make the grade. PG for violence and language.
A FIREHOUSE CHRISTMAS (NR) 87 minutes *
Tom's (Marcus Rosner) ex-wife has stepped back into his life, but unlike Jenny (Anna Hutchison), who puts Tom and his daughter before herself, Mary (Anita Brown) can think of no one but herself. Really shallow and over-played characters, with an overly sentimental ending.
FIREHOUSE DOG (PG) 103 minutes * * 1/2
When a dog is rescued from a fire, it seems to be just what Engine 55 and the rest of Dogpatch Company need. What they don't know is that this is Rexxx, canine movie star, who just might be able to help them solve a series of arson cases. Nice work by young Josh Hutcherson here, as he and the dog are pretty much the whole show. It does run a little long, but is otherwise a nice family film. Trivia note: Rexxx was played by four dogs. PG for violence and language.
FIRELIGHT (NR) 95 minutes * * 1/2
The young women in this prison are working to better themselves... at least some of them. Caroline (Q'orlanka Kilcher) learns who those are and aren't, and faces a decision about who she wants to associate with and what direction she wants to move in her life. Fairly standard biographical TV movie with a moral, but a standout supporting performance from DeWanda Wise.
FIREPROOF (PG) 112 minutes 1/2
Another Kendrick brothers film, so heavy with pro-Christian message that the characters often sound more like they are giving sermons than actually talking to one another. Stilted and amateurish dialogue, and most of the performances are bad enough that they make Kirk Cameron look good... and that takes some doing. PG for language.
FIRESTARTER (R) 113 minutes * * *
Andy (David Keith) and Vicky (Heather Locklear) decided that it would be a good way to make some extra money. When the experiment resulted in them having telekinetic powers, the government was interested in keeping tabs on them. When they had a child, the government became even more interested as she had pyrokinetic abilities. But none of them realized just how powerful young Charlie (Drew Barrymore) could become. Adapted quite nicely from the Stephen King novel. R for violence and language.
FIRESTARTER (2022) (R) 90 minutes * *
Charlie (Ryan Kiera Armstrong) has a gift. Some might call it a curse. This adaptation of the Stephen King novel just isn't what it needs to be. The soundtrack is good, but the script never develops the characters very well, acting as though the filmmakers expect you to have already read the book or seen the previous film. Some of the effects are fairly good, but the film wraps up to quickly and without much conviction. R for violence.
FIRESTORM (R) 84 minutes * *
Smokejumpers are that elite group of firefighters who are trained to parachute into wildfire areas to try and keep them under control. This time, their job is made more difficult by an escaping group of inmates who plan to use a forest fire as cover for their escape. Ex-football star Howie Long does quite well here, with some reasonably good support from Scott Glenn, William Forsythe, and Suzy Amis. The story has a good many holes in it that should have been dealt with. Things feel far too
rushed and it makes the film weak. The visual presentation is quite good though, thanks to direction by Dean Semler (a wonderful photography director) in his first outing. Filmed in Castaic, California and Vancouver, Canada. R for violence and language.
FIRETRAIL (NR) 77 minutes BOMB
A Civil War story, focusing on a Confederate captain, sent to the front lines as the Union army sweeps through. The script is dry, and made worse by stiff performances that lack energy and feeling. Many scenes are out of focus, and the photography and set production mostly look like a bad Civil War reenactment group decided to film a rehearsal. Maybe their very first rehearsal.
FIREWALL (PG-13) 102 minutes * * 1/2
While his family is held hostage, Jack (Harrison Ford) is expected to be the inside man on a bank job. There always seems to be one more wrinkle in the plan, and always one more way to solve the problem just before it gets too bad. Despite all of the action, this manages to move rather slowly, and it ends very abruptly. Ford looks tired throughout, but manages to keep us interested in the story enough to keep watching. PG-13 for language and violence.
THE FIRM (R) 151 minutes * * *
Though this gets off to a bit of a slow start, the well-written script recovers fairly quickly. It strays from the book, but the real problem is Jeanne Tripplehorn's weak acting. She fails to convince us that she has played her part (the wife who knows
but acts like she doesn't) well enough to convince the other characters. Holly Hunter, Ed Harris, David Straithairn, and Gene Hackman do great work though, and the soundtrack, composed and performed by Dave Grusin, is a treat. Tom Cruise is adequate in the lead, but this isn't his best film.
FIRST BLOOD (R) 91 minutes * * * ½
Rambo (Sylvester Stallone) was awarded the Congressional Medal of Honor for his service during the Vietnam War. What happened there still haunts him, and thanks to an unfortunate incident, Rambo’s anger has been raised to a level that trigger’s his fight response. And that’s going to be a bad thing for lots of people. The first and best of the Rambo series. R for violence, language, and sex.
FIRST BORN (PG-13) 95 minutes *
Muddled mess of a suspense film with Elisabeth Shue as a woman who essentially has post-partum depression and paranoia. There are a number of red herrings that lead us toward thinking there are supernatural forces at work, but nothing is ever substantiated. John Frizzell delivers a suspenseful soundtrack and Shue does a nice job, but the story fails her, and us, at every turn. PG-13 for violence.
1ST BORN (2019) (NR) 76 minutes *
Kate (Taylor Cole) and Ben (Reza Sixo Safai) are having their first baby. There's a problem though, and it will take some help from their fathers (Tom Berenger and Jay Abdo). That may be too much to ask. This leans heavily into stereotypes and seems unable to decide exactly what sort of comedy it wants to be.
FIRST COW (PG-13) 118 minutes * * 1/2
His skills in making food are needed by many, but Cookie (John Magaro) falls in with a group of trappers who don't really appreciate him. He finds a kindred spirit in King-Lu (Orion Lee), a Chinese immigrant who is also travelling west and looking for a better life. Success is far from easy, and the obstacles sometimes seem insurmountable. Despite the challenges the characters face, the film has a very gentle feel. PG-13 for language.
FIRST DAUGHTER (PG) 99 minutes * * 1/2
Samantha (Katie Holmes) just wants to have a normal life, but it's hard to do that when you're the president's daughter. How do you live your life when the camera never stops following you? Holmes delivers a nice, subtle performance here and the camera work does a great job emphasizing her facial expressions. Part of the reason this works so well is also due to director Forest Whitaker's decision to present this story as a fairy tale about an ordinary little girl who will always be a princess. Nice choice!
FIRST DESCENT (PG-13) 106 minutes * * 1/2
If you've ever wondered why people want to snowboard, you should definitely see this film. Part history of the sport and part extreme snowboarding event, with five young snowboarders hitting some of the highest and steepest slopes in Alaska. It's a great look at a sport that can actually be traced back farther than you might expect. This definitely looks better on the big screen, but some of the footage is still pretty incredible even on the small screen. PG-13 for language.
THE FIRST GRADER (PG-13) 99 minutes * * *
The new government in Kenya promises free education, but when an old man who fought for the freedom of Kenya wants to learn to read, his presence among the children causes problems. One of the biggest problems is that he is a reminder of the atrocities that happened under British rule... a past that many would simply like to forget. Based in fact, it's a story that reminds us that to truly learn from the past means not forgetting it, but knowing and teaching the whole story. PG-13 for violence and nudity.
FIRST KID (PG) 97 minutes * *
Sinbad stars in this familiar story of a spoiled brat learning some of the important lessons in life. Moderately good entertainment for the 6-10 age crowd, but aside from a nice performance by young Erin Williby, there isn't much here. PG for language.
FIRST KILL (R) 96 minutes * * 1/2
A Wall Street broker (Hayden Christensen) ends up caught in the middle of a robbery and murder. Bruce Willis ends up wandering through another film and looking better than he should, thanks to a script and direction that keep the intensity and energy of the film well-paced. R for violence and language.
FIRST KNIGHT (PG-13) 128 minutes * * *
Well-balanced film with a story that unfolds at a very nice pace. Guinevere (Julia Ormond) is struggling with the dilemma of how to choose which man she wants to spend her life with, Arthur (Sean Connery) or Lancelot (Richard Gere). Beautiful scenery and a fine soundtrack by Jerry Goldsmith compliment things well, though it does run a little on the long side. PG-13 for violence and language.
FIRST LIGHT (NR) 78 minutes * * 1/2
Eighteen years and nine months is Geoffrey Wellum's (Sam Heughan) answer when asked exactly how old he is. It makes him the youngest spitfire pilot in the Battle of Britain. Based on Wellum's memoirs, its a deeply personal account of what it meant to fly, to fight, and to survive.
FIRST MAN (PG-13) 134 minutes * * *
The first person to set foot on the moon, Neil Armstrong (Ryan Gosling), did so as part of the Apollo space program. Before that came the Gemini and Mercury programs, much research, test missions, accidents, and lives sacrificed. This is the story of Armstrong's missioin, but also what led up to it and the personal cost for many of the astronauts. The mood of the film is often low-key, but there are times when the tension is very high. That low-key mood or tone keeps the story on a very practical level, with nothing heroic in the moment. But when all is finished, the heroism is clear. PG-13 for violence and language.
FIRST PERIOD (NR) 95 minutes *
Cassie’s (Brandon Alexander III) the new girl in school, but breaking into the popular crowd is more difficult than she anticipated. Drag comedy that is occasionally funny, but more often not. Too much of the humor and dialogue is forced and poorly written, leaving the actors little to work with.
FIRST POSITION (NR) 90 minutes * * 1/2
Five young dancers are working to become the best ballet dancers they can be. They will practice for hours and give up many other activities that their peers enjoy, all in pursuit of being the best. They will enter the Youth America Grand Prix competition in the hope of taking their dancing to the next level. This is their story. What's missing is a little more depth for each of the dancers. Five is probably a bit too much to deal with in ninety minutes.
THE FIRST POWER (R) 94 minutes * *
The third power is possession, the second is knowledge of the future, and the first is resurrection. Now you know. This has all the right suspense and a great soundtrack from Stewart Copeland, but little in the way of originality. Suspense in a horror film has to be followed with a scare or some other release of the tension that builds. This one just keeps fading away, lulling us into a state where we aren't interested after awhile. R for violence.
THE FIRST PURGE (R) 90 minutes * 1/2
When the new political party is formed, they have some ideas about how to bring back what was wonderful about this country. (No political commentary here at all.) They are the New Founding Fathers of America, and they propose a period of lawlessness that will not be punished for 12 hours on Staten Island. It is the first purge. A prequel to the series, this does provide a little more in-depth background early on that has been alluded to but not fully explained in the other films. The message is politically very heavy, but the bigger problem is that this ends up not offering anything new or interesting past the first fifteen minutes or so. R for violence, language, and sex.
FIRST REFORMED (R) 109 minutes * * 1/2
Serving a small church in upstate New York, Rev. Toller (Ethan Hawke) is under an especially heavy burden of late. The church is about to celebrate its 250th anniversary, but has been neglected in many ways for years. In addition, a couple at the church are experiencing some deep issues, and Rev. Toller is having a bit of a personal crisis. It's an interesting piece, but what moves so deliberately early on, unravels too quickly at the end. R for violence.
FIRST SNOW (R) 97 minutes * *
Jimmy (Guy Pearce) just had his fortune told fpr kicks. But when the predictions start coming true, he can't help but focus on the one about how long he has to live. The story sets itself up as a morality tale with a twist, but becomes something else along the way. It's not bad, but it does wander a little too much. R for language, violence, and sex.
FIRST SUNDAY (PG-13) 95 minutes * 1/2
Durell (Ice Cube) needs to raise $17,000 if he wants to be able to keep seeing his son. He convinces his friend LeeJohn (Tracy Morgan) to help him rob a church to get the money. Not only is it more trouble than they expected, but we're never convinced. Ice Cube's character is too angry throughout the film and it just isn't as much fun to watch this as it should be. PG-13 for language.
THE FIRST TIME (PG-13) 92 minutes * * *
Dave (Dylan O'Brien) wants a girl he can't have and Aubrey (Britt Robertson) is dating a guy who doesn't appreciate her. And although we already know what's going to happen, this romantic comedy manages to feel both fresh and honest. Jon Kasdan's script does a nice job of creating characters that are both awkward and cute, and Robertson and O'Brien do a nice job of bringing them to life. PG-13 for sex and language.
FIRST WE TAKE BROOKLYN (NR) 86 minutes * *
Mikki (Danny Abeckaser) has always been a tough guy. When he gets out of prison early, he moves to Brooklyn to stay with hs uncle and try to start over. It takes almost no time before he finds himself in trouble with the Russian mob. Trouble it just the beginning, but it's not something Mikki isn't used to. Good characters, but the ending is less than satisfactory.
THE FIRST WIVES CLUB (PG) 98 minutes * * 1/2
You can't help but smile through most of this picture as we watch Goldie Hawn, Bette Midler, and Diane Keaton waltz through their parts. Hawn steals the show, though Midler does have a few good bits here and there. The script and direction are weak, however, stealing much of the power this film could have delivered. Great costumes by Theoni Aldredge and watch for unbilled cameo appearances by Stockard Channing, Rob Reiner,
and Sarah Jessica Parker. PG for language.
FIRSTBORN (PG-13) 97 minutes * *
It turns out that Jake’s (Christopher Collet) mom’s new boyfriend isn’t quite what he claims to be. And Jake is going to have to do something about it. Some good scenes between Collet and Corey Haim, but the rest of the cast isn’t developed very well. The ending chase and fight scene are well-edited, but the fight is poorly choreographed. PG-13 for language and violence.
A FISH CALLED WANDA (PG) 105 minutes * * *
The plot is about a robbery and the changing loyalties that occur afterwards when nobody wants to share. But what it's really all about is getting a couple of the old Monty Python troupe together and having a blast. It's not quite as good as the TV show, but it's grand fun. Kevin Kline fits in perfectly with Michael Palin and John Cleese. And Jamie Lee Curtis holds her own quite well. There are a couple of awkward scenes that don't seem to fit all that well, but Python fans will enjoy it regardless. R for language.
FISH TANK (NR) 115 minutes * * *
Mia (Katie Jarvis) is trying to find her way. Love, security, self-esteem... all are a bit elusive. She's a fighter, but she;s not all that sure where to start. Her mother's new boyfriend presents possibilities, but also problems. Just like everything else. Great work by Jarvis in this edgy coming-of-age story.
THE FISHER KING (R) 134 minutes * * * 1/2
Parry (Robin Williams) used to be a professor of medieval history. But when his wife is killed, Parry retreats into a world of his own creation... a world with castles, Red Knights, and a Holy Grail. Jack (Jeff Bridges) hosts a talk radio show. One day, the comments he makes lead a man to go into a restaurant and kill seven people. Jack and Parry's paths cross, and they find themselves working together as each pursues their own Holy Grail. This is a film filled with imagery and emotion, social commentary and New York City humor. Director Terry Gilliam does a superlative job presenting this picture to us, guiding Williams and Bridges as they search within and around themselves for meaning. R for language, violence, and nudity.
FISHERMAN'S FRIENDS (PG-13) 104 minutes * * *
Sent to a Corninsh village as a prank, to try and sign a group of fisherman to record an album, Danny (Daniel Mays) actually gets them signed. He also learns more than a little about the true meaning of success and friendship. PG-13 for language.
FISHERMAN'S FRIENDS: ONE AND ALL (PG-13) 105 minutes * * *
The success of their first album was a surprise to all of them. The instant fame is not as much fun as they thought it would be. Now they need to go through "media training", and they need to recruit another singer. Meanwhile, Jim (James Purefoy) is resisting pretty much everything the group is trying to do. Great character development, building well on the first film, and a wonderful soundtrack. PG-13 for language.
FISHTALES (PG) 87 minutes * *
Unusual live-action children's film telling the story of a professor (Billy Zane) whose research takes him to the Greek isles. Thanks to his daughter, and a mermaid, he ends up finding love, which is what he really needs. What could have been a charming and lightly romantic film for the preteen crowd, ends up missing the mark due to occassional humor scattered throughout the film that undermines the strength of the story. PG for language.
FISHTALES 4 (NR) 61 minutes *
Fifi and Lily go on a series of five to ten minute adventures with the many residents of Fishtales Reef. Very simple and repetitive animation. The stories are fun for the very young, but the animation is really a drawback.
FIST FIGHT (R) 84 minutes * * 1/2
It's a tough school, but Andy (Charlie Day) finds himself about to have an after school fight... with another teacher. It's definitely going to be a long day. Day and Ice Cube play well off of each other, despite how silly the premise is. That manages to keep us at least somewhat entertained for awhile. R for language and sex.
FIST OF THE WARRIOR (R) 84 minutes * *
When Lee Choe (Ho-Sung Pak) turns down a job for his mobster boss, he doesn't realize that it will cost the life of his girlfriend. As he tracks down the man responsible, his own life is still in danger, and not only from the mob. Nicely photographed, with some wonderfully stylized shots, and some nice action sequences. Script and acting are a bit weak though, and the ending is far from satisfactory. R for violence, language, and sex.
FISTS OF IRON (R) 88 minutes 1/2
Paper-thin plot as Michael Worth attempts to avenge the death of a friend who fought a private "fight for pay" professional. Low budget, poor photography, and little in the way of acting or story. The only item of note is the appearance of Sam Jones, whom we haven't seen in awhile.
FISTS OF LEGEND (NR) 150 minutes * * *
A new TV show pits people who got into fights years before, against MMA fighters and others for prize money (and TV ratings). Deok-Kyu (Jung-min Park) becomes a big winner, but with his new fame come a few other things he's not ready for. In particular, a particular secret from his past will soon come to light. Great fight sequences and interesting and likeable characters.
FIT FOR A PRINCE (NR) 83 minutes * *
An upcoming charity ball needs special dresses for the hosts. Cindy (Natalie Hall) is the head seamstress, with dreams of becoming a fashion designer. She is swept off her feet by the handsome prince (Jonathan Keltz).
THE FITS (NR) 69 minutes * * 1/2
Toni (Royalty Hightower) is used to practicing boxing with her older brother. When she sees the girls dance team practicing, there's just something that feels right about it. But when the girls start having fainting spells and seizures, she begins to wonder if it really is something that she wants to be involved with. Not the best ending, but the first two-thirds are very good.
THE FITZGERALD FAMILY CHRISTMAS (PG-13) 98 minutes * * *
Big Jim (Ed Lauter) is coming home for Christmas. He hasn't seen his children in twenty years. They aren't the most functional of families. What makes this work is that despite their faults, their mistakes, and everything else, these are characters who we find ourselves wanting to like, and who have love at their core, even though they have troubel expressing it. Nice work by writer/director/co-producer/actor Edward Burns. PG-13 for language.
FIVE (NR) 86 minutes * * 1/2
Collection of five short films whose characters are dealing with breast cancer. Directed by Demi Moore, Jennifer Aniston, Penelope Spheeris, Alicia Keys, and Patty Jenkins. The segments do tie together, which is a little bit of a challenge for the different directors. They're all good, though "Mia" and Lili" are the best.
5 BROKEN CAMERAS (NR) 91 minutes * * *
Relating the story of the conflict between Israel and Palestine from 2005 to 2008, using what was recorded on five different cameras during that time. The 6th camera is still filming... It's a very intimate look at the events as director Emad Burnat consistently focuses the events around the effect they have on his youngest son.
5 CENTIMETERS PER SECOND (NR) 60 minutes * * 1/2
Bittersweet story about the innocence of young love and the harsh realities that often prevent it from going further. Beautiful animation and a story that ends all too soon.
5 DAYS OF WAR (R) 101 minutes * *
Georgia is still struggling to remain an independant country, and Russia is doing what they can to reverse that situation. Thomas (Rupert Friend) is a jounralist caught on the middle of a fresh outbreak of violence, along with his cameraman and a girl from Georgia who they are trying to help. The battle scenes are intense, but the film seems more interested in creating atmosphere rather than retelling history. Some of the cast seem very out of place here as well, which makes many of the non-battle scenes rather difficult to believe. R for violence and language.
$5 A DAY (PG-13) 94 minutes * * 1/2
Flynn's (Allessandro Nivola) dad is dying and wants to reconnect with his son. The problem is, his dad (Christopher Walken) is a conman, and not much of a father. He's actually the one who is responsible for Flynn spending time in prison. Nice, heartfelt performances in this bittersweet comedy. PG-13 for sex and language.
FIVE FEET APART (PG-13) 111 minutes * * 1/2
At 17-years-old, Stella (Haley Lu Richardson) is very familiar with the routine she needs to maintain to live with cystic fibrosis. On her latest visit to the hospital for a "tune-up", she meets Will (Cole Sprouse). They fall for each other quickly, but since he has CF as well, along with a particular complication, they are supposed to keep a physical distance between them to help keep each other safe. A tearjerker with nice work by Richardson, Sprouse, and several of the supporting cast. PG-13 for language.
FIVE FINGERS (R) 79 minutes * *
Travelling to Morocco to work with a charity that distributes food to the poor, Martijn (Ryan Phillippe) is kidnapped and tortured by those who believe he has another motive. The story here has no frills, which could be good, but it also lacks depth. We don't ever feel a connection with the characters since Martijn is the only one we really get to know, and we're never sure he's completely innocent. The ending, offering a twist that we aren't really that surprised by, feels empty, despite reasonably good performances throughout. R for violence, language, and sex.
5 FLIGHTS UP (PG-13) 86 minutes * * *
As they consider selling their apartment, Alex (Morgan Freeman) and Ruth (Diane Keaton) are also dealin with the illness of their dog. Memories and choices collide and cascade, giving us a look at their lives and their love for each other and the life they have led together. Nicely done, with quality performances by Keaton and Morgan. PG-13 for language and nudity.
THE FIVE HEARTBEATS (R) 116 minutes * * 1/2
The story of the R & B group, The Dells, and their rise to fame. Things start off well here, but begin to drag after the first hour. Robert Townsend perhaps took on a bit much by serving as director, executive producer, co-writer, and leading actor. It works a little better on video, but it still runs a little long.
(500) DAYS OF SUMMER (PG-13) 91 minutes * * *
He believes in true love. She believes that love is a myth. He wants and needs to know what their relationship is and where it's going. She lives in the moment and labels don't have much meaning to her. A tragic and occasionally funny romance, well-played by both Zooey Deschanel and Joseph Gordon Levitt, and nicely written by Scott Neustadter and Michael H. Weber. PG-13 for language.
500 MPH STORM (NR) 83 minutes BOMB
The Asylum studios set another low mark with this turkey. The horrible, and very repetitive special effects are actually the highlight, with the story making little or no sense, and the acting and script being even worse. Not worth your time to watch, though there is a fun closing shot with the main cast standing as we see part of the city in ruins... the city is clearly a miniature set as the cast look like giants in comparison.
513 DEGREES (R) 101 minutes *
Mike (Avelawance Phillips) is just trying to go straight. But one last job with his brother turns into a nightmarish chain of events that will have dramatic consequences. Lots of posturing, but not much in the way of more genuine emotions that help us connect with these characters. The result is that we tend not to care about them as they get into trouble. The ending is actually fairly good, if you make it that far. R for violence and language.
FIVE MINUTES OF HEAVEN (R) 82 minutes * * 1/2
In 1975, a young member of the UVF (Ulster Volunteer Force) kills young Jimmy Griffin (Gerard Jordan), a Catholic. The younger brother sees this happen, but for some reason, Alistair Little (Mark David) lets him live. Now, much of the conflict between Northern and Southern Ireland has subsided and a TV station is hoping to get Joe Griffin (James Nesbitt) and Alistair (Liam Neeson) to meet and reconcile. It's an interesting story with solid performances by Neeson and Nesbitt. The script is a bit stiff though and tends to drag as we slowly move toward the meeting of the two men. R for language and violence.
FIVE NIGHTS IN MAINE (NR) 76 minutes * * 1/2
When Sherwin's (David Oyelowo) wife dies in a tragic accident, he searches for an answer. He finds himself at his mother-in-law's as she deals with a different set of questions, but a smiliar sense of loss. A quiet and gentle film about the losses we experience and how we cope with them.
THE FIVE OBSTRUCTIONS (NR) 84 minutes * * *
Documentary film director Jorgen Leth is challenged by his friend and fellow filmmaker to remake his short film "The Perfect Human" five times with varios obstructions that create new ways of looking at the idea. It's a fascinating look at the world of filmmaking and at two friends who are willing to explore themselves as well as their craft.
THE FIVE SENSES (R) 101 minutes * * *
An exploration of life and love through the experiences of five characters. There's a heightened awareness of the senses and how they play a part in the way we relate to our world. The five stories weave together less in plot and more in sense of theme. Well-told and well-acted, it's a character study that asks for us to look at ourselves and see where we fit in. Definitely a nice change of pace. R for language and sex.
5,000 BLANKETS (PG-13) 90 minutes * * 1/2
There's not always much of a warning. Cyndi's (Anna Camp) husband suffers a mental breakdown and disappears. Thinking he might be found with those who are homeless, she and her son begin to search for him. What they discover is a need they had not been aware of. They begin to collect blankets to help the homeless. A sensitive story, though a little forced in spots. PG-13 for language.
5 TO 7 (R) 91 minutes * * *
True love does not always fit within the boundaries of conventional experience. For Arielle (Berenice Marlohe) and Brian (Anton Yelchin) that means they are constrained to the time between five and seven in the early evening. A tender and beautiful love story with a European style that at the same time is very much a New York story. R for sex.
THE FIVE YEAR ENGAGEMENT (R) 125 minutes * * 1/2
Tom (Jason Segel) and Violet (Emily Blunt) decide to get married after a year of dating. But when an opportunity to pursue a graduate position becomes available for Violet, they decide to postpone the event and move to Michigan to follow her dream. Tom isn't adjusting too well and their marriage seems to be fading in the distance. The balance between humor and drama is good, but the story loses momentum after about an hour. The Elmo/Cookie Monster scene is absolutely hilarious, but the film would have benefited from being trimmed by around ten minutes. Segel and Blunt have a great supporting cast to work with here as well. R for sex and language.
FIX (R) 87 minutes 1/2
Milo (Tao Ruspoli) is trying to help his brother raise $5,000 in less than a day to pay for a rehab program that will keep him out of jail. The problem is that Leo (Shawn Andrews) is so annoying, we'd rather see him in jail. Reality style photography with poor editing doesn't help us want to keep watching much either. R for language and nudity.
FLAG DAY (R) 103 minutes * * *
The Bond between John (Sean Penn) and his daughter Jennifer (Dylan Penn) was a strong one. It seemed to her that he could do no wrong. In truth, he was a counterfeiter and con man. He couldn't stop looking at everything as an adventure, and all she needed was somethihng stable and predictable. Adapted from the book, The Flim-Flam Man by Jennifer Vogel, on whose life it is based. Another passionate performance by Sean Penn, with great work by Dylan. R for language and violence.
FLAG OF MY FATHER (NR) 88 minutes * 1/2
A father and daughter share a bond of having served in the military. Her brothers don't understand, but circumstances are about to force them to try. The film not only has a heavy Christian message, but ties it very strongly to patriotism. Stiff script that doesn't allow for much depth of character.
FLAGS OF OUR FATHERS (R) 123 minutes * * *
The story of the men who raised the US flag at Iwo Jima, and what lie in store for them afterwards. Called heroes by many, it was a label that made them uncomfortable. Director Clint Eastwood does a great job with the emotional aspects of the film, including the use of the soundtrack he wrote for the film. The pacing does seem awkward in a few spots as the story moves into the post-war personal lives of the main cast. Still, it's a great companion piece to "Letters From Iwo Jima", also directed by Eastwood, both films reminding us that violence doesn't really solve conflicts. R for violence and language.
FLAME AND CITRON (NR) 125 minutes * * *
Flame (Thure Lindhardt) and Cintron (Mads Mikkelsen) are part of the resistance, assassinating Nazis and others who further their cause. As time goes by, it becomes more difficult to tell which side some people are on... including some of those they have known for a long time. Solid acting and nice photography and editing quickly involve us in the story, which could have been a little more focused at times.
THE FLAMINGO KID (PG-13) 96 minutes * * 1/2
Set in the early 1960s, Jeffrey (Matt Dillon) has finished high school and is unsure of what to do next. There are so many possibilities and he just doesn't know. He gets a job for the summer at the Flamingo Beach Club where he meets Phil (Richard Crenna), who is everything Jeffrey thinks he wants to be. Over the course of the summer, that shine will begin to fade, and Jeffrey will be closer to understanding what he wants out of life. One of director Garry Marshall's lesser known films that is definitely worth a look. PG-13 for language.
THE FLASH (PG-13) 134 minutes * * 1/2
Barry Allen (Ezra Millr), also known as "The Flash", is still grieving the death of his mother, for which his father has taken the blame. Barry just wants to fix it all. When he discovers that he can reverse time, he decides to try and go back to change what happened. He's been warned of the dangers of doing this, but chooses to do it anyway. The effects are quite good, and the cast does a solid job. It's also fun to see all of the cameos and smaller parts here. The story is another matter though, as it is heavy-handed and awkwardly interjects humor when it isn't needed. It also manages to keep Allen as a weaker character with so many of the smaller roles being much stronger characters as they quickly grasp the lesson that Allen takes too long to learn. PG-13 for violence, language, and nudity.
FLASH OF GENIUS (PG-13) 113 minutes * *
When Robert Kearns (Greg Kinnear) invented an intermittent wiper for automobiles, all he wants to do is run a small company that will make them. The big automakers have other ideas, especially about how they can deny that Kearns was the one who came up with the idea. Once again, the individual faces the giant corporation, and our spirits are lifted as dedication and sincerity are eventually rewarded. Kinnear does reasonably well here, but the story strikes the same note for so long that we grow tired of it early on. PG-13 for language.
FLASH POINT (R) 85 minutes * *
Donnie Yen plays a cop who tends to dish out a little justice of his own while arresting criminals. Yen does a nice job here, and the fight scenes deliver plenty of action, though the only extended fight scene is near the end of the film, as is fairly standard. the story is pretty thin, but that's no real surprise either. R for violence.
FLASHBACK (R) 105 minutes * * 1/2 Dennis Hopper is a "flashback" to the '60s all by himself. But as his character Huey Walker states in the film, "It takes more than renting a copy of "Easy Rider" from a video store to be a rebel." The costumes, dialogue, and music all contribute to the '60s feel of the film, but it just isn't enough. On the one hand, we're told that we shouldn't forget the '60s, that standing up for the oppressed IS worthwhile, and that nature is beautiful and needs to be preserved. We're also reminded that our consciousness as a society was raised by the events of the '60s because it was a violent and vital time. Conflict can really make you feel alive, and that is a great deal of what the '60s were all about. In the end though, we grow older and less rebellious, leaving vital changes to those who are younger, and who sometimes rebel against the rebellions of those who went before. It does make us wonder, but falls short of making a strong enough comment to stay with us. R for language.
FLASHBACK (2020) (R) 92 minutes * * 1/2
It begins as a chance encounter with someone he knew long ago. Fred (Dylan O[Brien) is now looking into his past, remembering long forgotten incidents and accidents. Slowly, some things begin to fall into place and make more sense. Others are more frightening. This is good, but it is the sort of film that len ds itself to being watched twice to really be able to follow the story well enough to understand everything it has to offer. R for language and sex.
FLASHBACKS OF A FOOL (R) 103 minutes * * *
Once a big movie star, Joe Scott (Daniel Craig) is not so popular anymore. The death of a childhood friend takes him (and us) back to earlier days. Memories flash by, and he wonders what has happened. Dealing with grief and past relationships is a difficult process and he wonders if its worth the effort. Interesting, though somewhat depressing story. Craig does a nice job here, but the mood of the story may make it a bit difficult for some to watch. R for sex and language.
FLASHBURN (NR) 88 minutes * 1/2
There's been an Ebola outbreak, and the attempt to control it has instead made the situation much worse. Wes Nolan (Sean Patrick Flanery) wakes up to find himself in an abandoned warehouse, forced to come up with an antidote that a mysterious person wants to control. The story wraps in on itself and is full of false leads and dead ends. That's interesting for awhile, but ultimately disappointing.
FLASHDANCE (R) 90 minutes * * *
By day, Alex (Jennifer Beals) is a welder, and by night she is an exotic dancer. Her dream is to become a ballerina. A feel-good film about the importance of having a dream and not giving up on it. The acting really isn’t all that great, but the music and dance are energetic and positive. R for sex, language, and violence.
FLASHPOINT (R) 92 minutes *
A jeep. A high-powered rifle. A box with $800,000. That’s what Bobby (Kris Kristofferson) and Ernie (Treat Williams) find buried in the desert. It doesn’t take long before the feds descend, and it appears there might be a connection to the assassination of John F. Kennedy. The plot barely holds together, and what does is clearly due to Kristofferson and Williams.
THE FLAT (NR) 95 minutes * * 1/2
While helping to clean out his grandmother's apartment after her death, Amon Goldfinger discovers her connection to a Nazi propaganda official. And, he also learns that despite the fact that she and her husband were Jewish, they seem to have remained friends during and after the war. He's not sure what it means, though being human often involves us doing things that may not make sense to others, or even to ourselves when we look back.
FLATLINERS (R) 110 minutes * * *
Nelson Wright (Kiefer Sutherland) has an idea. If he succeeds with his experiment, the questions we have about death will be answered. If he fails... well, he'll die. It seems like a fair gamble until he and the other four medical students who decide to help him make it into a game. It's a game with consequences they are only beginning to understand. This is a fascinating story that draws us in quickly and keeps us paying attention throughout the film. Philisohically, the film comes up a bit short and the characters appear satisfied with what they've learned, which is rather hard to believe. But the performances are intense and the photography and music are appropriately moody. Taut and suspenseful, this is a great entry in the genre of films that deal with death and dreams. Also starring Julia Roberts, Kevin Bacon, William Baldwin, and Oliver Platt. Filmed at Loyola University in Chicago. R for language, violence, and sex.
FLATLINERS (2017) (PG-13) 106 minutes * * *
Nicely done remake of the 1990 film. The intensity of the story remains the same, though the tone is definitely not as dark or oppressive as the first film. Nice to have Kiefer Sutherland make a cameo appearance. PG-13 for violence, sex. and language.
FLAWLESS (R) 104 minutes * *
He may be a decorated cop, but he's a man alone, who doesn't know where to turn for help after a debilitating stroke. He has shut himself off from the world and may have to turn to those around him for help. They're more than willing, but they're also gay, and he hates gays. He's also out of options. Robert DeNiro struggles with this role. Some scenes work, but others are poorly directed and just don't work very well. Philip Seymour Hoffman comes off the best, managing to have the mix of emotions in his character that the film fails to capture as a whole. The mix of drama, comedy, and mystery is uneven in the film and despite Hoffman's solid performance, we finish watching this knowing that it should have been much better. R for language and violence.
FLAWLESS (2007) (PG-13) 101 minutes * * *
It's 1960 in London, and not too many women have managerial jobs. Laura Quinn (Demi Moore) is an exception, but she's reached the glass ceiling. She may even be in danger of losing her job at the London Diamond Exchange. Mr. Hobbs (Michael Caine) has a proposition that might prove interesting. Clever and suspenseful heist film, with solid performances from both Caine and Moore. PG-13 for language.
FLED (R) 93 minutes * * *
Graeme Revell's music really helps keep this suspense/thriller moving along nicely. Laurence Fishburne, Stephen Baldwin, and Salma Hayek work well together and the script gives us solid characters. There are the usual extremes that are hard to believe and no real surprises, but this is still a solid film with a well thought out ending. R for language, violence, and nudity.
FLESH AND BLOOD (NR) 179 minutes * * *
Vivien (Francesca Annis) has some news for her three adult children. She has begun a relationship with a man. The children have mixed feelings about this as their father's death was not all that long ago. As it turns out, Mark (Stephen Rea) isn;t the only one they need to be suspicious of. Each of Vivien's children are leading lives filled with lies and secrets that the others aren't aware of, and it's all about to come to a head. Nice mix of drama and suspense.
FLESH AND BONE (R) 118 minutes * *
The past has a strange way of coming back to haunt some people as Meg Ryan finds out in this suspense film. Unfortunately, it's rather weak on suspense. Meg Ryan and Dennis Quaid both do good work, but nothing you wouldn't expect from them. The film plods along to its rather strange and unsatisfying ending. Not sure what went wrong with this film, but it probably won't be a favorite. R for violence and language.
FLESHBURN (R) 87 minutes 1/2
Determined to take revenge on the people who put him in a mental hospital, Calvin (Sonny Landham) kidnaps them and takes them out to the desert to see if they survive. It's a story filled with unlikeable characters, but even worse than that, the story has so many lapses in logic that it just doesn't make much sense.
FLETCH (PG) 97 minutes * * *
A dedicated journalist who tends to always take things to the next level, Fletch (Chevy Chase) is pursuing a new story. It started while he was in disguise as a bum. But now he's involved in something much bigger, more exciting, and actually dangerous. Chase is a natural for this role that combines comedy in with the suspense and drama. Adapted from Gregory McDonald's novel, it's a fun story and a great character for Chase. PG for language and violence.
FLETCH LIVES (PG) 90 minutes * 1/2
Disappointing follow-up to "Fletch" that has Chevy Chase inheriting a southern mansion that is rather run down, to say the least. Throw in murder, religion, bad jokes, and stereotyped southern characters, and there you have it. Oh, and by "bad jokes", I don't mean ones that make you groan or that might be offensive, I mean jokes that just aren't any good. The story idea itself isn't a bad one, but it's been padded with so many useless scenes that it just doesn't work.
FLICKA (2006) (PG) 90 minutes * * 1/2
Alison Lohman stars in this adaptation of the book, My Friend Flicka by Mary O'Hara. Adopting a wild horse as her own, Katy (Lohman) struggles to make her father understand why it's so important to her. Maria Bello delivers an excellent performance as Katy's mother, in contrast to Tim McGraw's stiff and stale performance as her father. Lohman herself is adequate, as are the rest of the cast. The best parts are simply watching the horses run around the beautiful Wyoming scenery. PG for violence.
FLICKA 2 (PG) 91 minutes * * 1/2
City girl ends up in the country on her father's horse ranch where she gets attached to Flicka. Completely predictable, but the pre-teen girl crowd this is aimed at will still like it. Clint Black has a fun supporting role here, but Tammin Sursok, who plays Carrie, struggles with the lead role. PPG for violence.
FLIGHT (R) 132 minutes * * *
When Whip (Denzel Washington) keeps his airplane from crashing, everyone is thrilled and happy and congratulating him as a hero... at first. Then the questions start coming about just how this close call actually happened, and some of Whip's problems start to surface. Nice work by Washington, though his performance is almost too subtle too appreciate unless you really pay attention. It is a bit repititious at times, and trimming it by around fifteen minutes would have reduced the repitition and imporived the pacing. R for language and sex.
THE FLIGHT BEFORE CHRISTMAS (NR) 76 minutes * 1/2
Disappointing Christmas cartoon for kids that follows a young reindeer who wants to find his father, who he is sure is part of Santa's Flying Forces. He pouts and whines through much of the film, accompanied by an annoying flying squirrel who tries to help. It does end well, but getting there is a little tedious.
FLIGHT 93 (PG-13) 87 minutes * * 1/2
Dramatization of the events on United flight #93 that was the only plane on September 11, 2001 that did not reach it's intended target. It's a pretty straightforward telling, typical for a TV version of the story, based on the cell phone calls and statements of family members, flight controllers, and a few others. In one sense, it's very emotional, but that's all story as the performances and dialogue are lacking in depth. PG-13 for violence.
FLIGHT OF FURY (R) 95 minutes *
The bad guys want to use a stolen stealth bomber to drop biological weapons on the United States and Europe. John Sands (Steven Seagal) has to stop them. Lots of war drama, stiff dialogue, and uninspired acting. Not much in the way of martial arts or hand-to-hand combat. This one is for Seagal completists only. R for violence, language, and sex.
FLIGHT OF THE INTRUDER (PG-13) 110 minutes * * *
I suppose you could call this a "Top Gun" without the Hollywood glamour, but it's really more than that. Adapted from Stephen Coonts' novel, it gives us a cross-section of military life toward the end of the Vietnam war. No gritty realism here, but no glossed-over romantic picture either. Consistent performances from Willem Dafoe, Danny Glover, Rosanna Arquette, and Brad Johnson make this a good picture for those who enjoy military drama.
FLIGHT OF THE LIVING DEAD (NR) 91 minutes * 1/2
It's Captain Ray Banyon's (Raymond J. Barry) last flight before retiring. They're headed into a storm, but that's nothing compared to what is about to escape from the cargo hold. Zombies on a plane! That doesn;'t offer much hope for the passengerss, or all that much room for a story. Plenty of gory effects though.
FLIGHT OF THE NAVIGATOR (PG) 86 minutes * * *
David Freeman (Joey Cramer) is the typical neighborhood kid with a dog. Something very abnormal is about to happen to him. He is abducted by aliens and returned eight years later. Of course there will be medical tests, and NASA will get involved, but the best part of the story is Max (voiced by Paul Mall). Max is the drone ship that David returns in, and along with David, they are the heart of this family adventure film that is sure to bring a smile to your face.
FLIGHT OF THE PHOENIX (2004) (PG-13) 106 minutes * 1/2
Remake of the 1965 film about a plane crash in the desert where the survivors decide to make a new plane out of the wreckage of the old. The problem is that virtually none of these characters are likeable. Dennis Quaid is the pilot who has no room for compassion or dreams, Giovanni Ribisi is the arrogant pretender who is not what he seems... we have a spineless site operations manager, and several other works who just can't get along with each other. The result is that we don't really care much if these people get out of the desert. PG-13 for language and violence.
FLIGHT OF THE RED BALLOON (NR) 111 minutes * * *
Gentle, relaxing, dreamlike film, inspired by the 1956 classic, "The Red Balloon", in which there is almost no dialogue. Simon (Simon Iteanu) and his new babysitter share an imaginary world where they are followed by a red balloon. Their calm and peaceful world is in stark contrast to the hectic world of his mother (Juliette Binoche). She seems unable to slow down, except for brief moments, even though she is aware of how important it might be.
FLIGHT 7500 (PG-13) 76 minutes * 1/2
On the long flight fro Los Angeles to Tokyo, a man dies. While not a common occurance, passengers do die sometimes. But what happens next is far from normal. There are lots of questions that the film raises and never answers, and the ending doesn't really hold together very well. PG-13 for violence and language.
FLIGHT WORLD WAR II (NR) 82 minutes * 1/2
An airliner finds itself flying over France in 1940 after flying through a strange storm. The action is very repetitive, and so is the screaming of the passengers. An interesting twist at the end tries to add some intrigue, but the best parts are the music and the dialogue between the captain and the radio operator on the ground.
FLIGHTPLAN (PG-13) 92 minutes * 1/2
Kyle (Jodie Foster) gets on the plane with her daughter, but a few hours later, her daughter is gone. Where did she go? Was she ever there? Do we really care? Foster does a nice job here, which is no surprise, but the script is far too transparent and the flight crew too unrealistic. The music and photography work together well toward the end of the film to help create a suspenseful atmosphere, but it's a little too late by then. PG-13 for language and violence.
FLING (R) 93 minutes * 1/2
Mason (Steve Sandvoss) and Sam (Courtney Ford) have an open relationship. But when she runs into an old boyfriend, and he finds a young girl with a crush on him, their relationships and friendships will be put to the test. The acting is reasonable here, but the script is heavy-handed and overflowing with dialogue, giving the characters no room to "live". Lots of gloss and little appeal. R for sex and language.
FLINT (NR) 85 minutes * * 1/2
Dramatic retelling of the Flint, Michigan water crisis. With Flint's economy struggling, the city chose to switch from Lake Huron and Detroit River water to Flint River water. In addition, they failed to treat this new water source with anything even close to the standards required. The money they saved by switching would come back to haunt them in far more ways than they ever thought possible.
THE FLINTSTONES (PG) 83 minutes * 1/2
This is one of those films that has all the right look, but there isn't anything "inside". Wonderful props and costumes, and the cast, John Goodman, Rick Moranis, Elisabeth Perkins, and Rosie O'Donnell, all fit very well. The story is extremely weak, and kids are bored with it quickly. This mostly ends up being a curiosity item for those who are interested.
THE FLINTSTONES IN VIVA ROCK VEGAS (PG) 83 minutes * 1/2
Ignoring the first film's minimal efforts, this starts at the beginning, before Fred and Barney have met Wilma and Betty and tells the story of their friendship and marriage. The new cast makes little difference and the story is no better than the first. The sets and props remain the feature attractions and we'd still rather just watch the cartoon. PG for violence.
FLIPPED (PG) 85 minutes * * 1/2
The first time Juli (Morgan Lily/Madeline Carroll) saw Bryce (Ryan Ketzner/Callan McAuliffe), she flipped. She just knew that he was going to be her first kiss. He's not too thrilled about the attention. Really heavy with narrative. It does tell the story well, but so much narration keeps us disconnected from the story. An interesting approach, since it's about that "young love" that we're supposed to remember as we're watching. The performances work hard to pull us in, they just have to struggle against the narration. Adapted from the novel by Wendelin Van Draanan. Filmed in Ann Arbor, Michigan. PG for language.
FLIPPER (PG) 91 minutes * * 1/2
Fairly standard animal film in this modernization of the Flipper
story. Elijah Wood and Paul Hogan make this much more entertaining than it otherwise might be. The numerous scenes with no dialogue, although giving us beautiful scenery, don't do much to keep this moving along. Still, this does have a little more "heart" to it than some of the other animal films we've seen.
FLIRTING (NR) 93 minutes * * 1/2
The outcasts from two boarding schools in Australia meet and fall in love in this slightly offbeat film. The acting and the story itself are a little uneven at times, but it's a good film, with one of Nicole Kidman's earlier (and better) performances.
FLIRTING WITH DISASTER (R) 85 minutes * *
Ben Stiller wanders around trying to meet his real parents, meeting all sorts of interesting people along the way. The problem is that the film has little sense of direction, and despite a talented cast, ends up floundering as it meanders through the insanity.
FLIRTING WITH FORTY (PG) 85 minutes * *
Her husband left her for a younger woman, and now she's turning forty. But when Jackie's (Heather Locklear) best friend finally convinces her to take a vacation in Hawaii, she meets this surfing instructor who convinces her to take some risks and start living again. Mildly entertaining TV movie. Locklear has fun with it, but don't expect much depth here. PG for language.
THE FLOOD (NR) 109 minutes * * *
Forced to fight in the military, Waru (Shaka Cook) is separated from his wife and daughter. Fighting for the country is supposed to give First Nation's people more rights, but it doesn't. Jarah (Alexis Lane) is sent to live at a mission, where she is soon separated from her daughter (Simone Landers). The three of them are determined to be reunited, no matter the cost. When things turn even more tragic, they will also turn more violent. A bit difficult to watch at times, in part because of the violence, and in part because it jumps around a little too much.
FLORENCE FOSTER JENKINS (PG-13) 105 minutes * * *
Florence (Maryl Streep) loves music. In particular, she loves the opera. That would be fine, except Florence also thinks she can sing. And she can't. What she does have is money, and her husband uses it to keep Florence happy. Streep is magnificent here, but most of the supporting cast are quite good as well. Hugh Grant is not a great fit, but then again, the role of Florene's husband is a difficult one. As much as he doted on Florence, he also used her money and cheated on her. Sometimes true stories are more unusual than the ones we imagine. PG-13 for language.
THE FLORENCE FOOSTER JENKINS STORY (NR) 93 minutes * * *
Bio-documentary about the "world's worst singer", Florence Foster Jenkins. Nicely done in-depth biography of Jenkins, exploring her personal life as well as her singing career. The film gives us both dramatic and performance reenactments as well as interviews with many music professionals. It also explores potential psychological and physiological reasons that may have helped create Jenkins' unusual career in music.
THE FLORIDA PROJECT (R) 109 minutes * * 1/2
A bit of a wild child, Moonee (Brooklynn Prince) lives in a motel near Disney World with her mom. She and her friends have an exciting life, frequently getting into trouble. This is the story of one summer in the life of Moonee and her friends. Very good until the end, which just doesn't work well. R for language and sex.
FLOW (NR) 77 minutes * * *
Powerful documentary that explores the issue of water supply and control and how it affects various cultures across the planet. Water may soon become the most valuable resource controlled by companies and governments, and life does not happen without it. There are those who are already trying to make sure that everyone has the right to access an adequte water supply to sustain a reasonable quality of life, but the fight continues.
FLOWER (R) 87 minutes * * 1/2
Erica (Zoey Deutch) lives her life out on the edge, not caring what others think. Her home situation has recently changed and she now has a brother. A brother who has some pretty serious issues. She has an idea of how she might be able to help. Deutch does a great job with a character who tends to bounce through life, rarely letting anything get her down for long. That energy rescues Luke (Joey Morgan), and ultimately carries the film. R for sex, language, and violence.
FLOWER AND SNAKE (NR) 112 minutes * * 1/2
A man sells his wife (Aya Sugimoto) to the Yakuza to settle the debt he owes. The Yakuza seem to be focused primarily on sexual torture for the please of their members. There are some strong and serious themes here, but they tend to be overshadowed by the sex. In particular the bondage scenes. The story has been remade a number of times, along with some "sequels".
FLOWER SHOP MYSTERY: DEARLY DEPOTTED (NR) 83 minutes * 1/2
It may be a good thing that Abby (Brooke Shields) is helping out with this particular wedding. Her legal expertise and crime-solving skills may come in handy when someone turns up dead. The dialogue seems a little stiff, but the story isn't bad.
FLOWER SHOP MYSTERY: MUM'S THE WORD (NR) 83 minutes * * 1/2
Abby (Brooke Shields) has just returned to her old home town to open up a flower shop afterdeciding that law is not her chosen profession. That said, she still can't stay away from the law and investigations, especially when someone leaving the scene of a murder da,ages her car. And of course there's also that handsome bartender (Brennan Elliott) who used to be a private investigator. Cute mystery with hints of romance.
FLOWER SHOP MYSTERY: SNIPPED IN THE BUD (NR) 86 minutes * * 1/2
The flower shop is doing well, but an unusual order for black roses soon has Abby (Brooke Shields) in the middle of another murder mystery. Shields fits well here, and the supporting cast add some nice depth to the story.
FLOWERS FOR FANNIE (NR) 96 minutes 1/2
Fannie (Patricia Binkley) suddenly realizes that she has no one to put flowers on her grave when she dies because her family and friends are all gone. While that could lead to a heartfelt search for inner peace and perhaps an thoughtful search for ways to connect with others late in life, what we have instead is an amateurish script that gives us shallow, superficial characters that don't appear to do much at all. Many times, the dialogue is just painful to hear and the acting is very stiff and unnatural by the entire cast. Nice idea gone bad.
FLOWERS IN THE ATTIC (PG-13) 87 minutes * *
Four children kept locked away in the attic of the family mansion by their evil grandmother. Louise Fletcher is perfectly cast as the grandmother, but aside from that and the somber music that does a nice job creating the atmosphere, this doesn't have much to offer.
FLOWERS IN THE ATTIC (2014) (NR) 86 minutes * 1/2
While Ellen Burstyn does a fairly good recreation of the Louise Fletcher role, everything else here is clearly a lesser version of the 1987 film. The script has no sense of pacing or suspense, and is almost laughably bad in a few spots.
THE FLOWERS OF WAR (R) 140 minutes * * *
Posing as a priest, John Miller (Christian Bale) works to save a group of girls in Japanese occupied Nanking. Bale seems unsure of himself here, and probably wasn;t the best choice for the role. The film does do a very nice job of looking at cultural and class differences during a time of war. Adapted from the novel by Yan Geling. R for violence, sex, and language.
FLUBBER (PG) 87 minutes * 1/2
Disappointingly mindless fluff, with a main plot that is almost non-existent. Professor Brainard (Robin Williams) has created flubber. More than flying rubber, it seems to have an intelligence and spirit all it's own. Of course we don't get to hear much about that or about the spirit of weebo, one of his robotic creations. It's too bad, because that track would be far more interesting to pursue. For the most part, Williams is wasted here, though without him the film would be in terrible shape. PG for language and cartoonish violence.
FLUKE (PG) 89 minutes *
Awkwardly paced adaptation of James Herbert's novel about a man
reincarnated as a dog who tries to reconnect with his family. More for adults than kids in some ways, but most adults will be bored with this because of how much it wanders around. And for those who wondered, Fluke is played by Comet, the dog from the Full House TV series.
FLUSHED AWAY (PG) 76 minutes * * *
Roddy had it made as a pampered pet, but when a sewer rat shows up, Roddy finds himself flushed down the toilet and into the sewer. Sid is living it up in Roddy's place and Roddy has to learn how to survive in the sewers of London. Lots of little details including plenty of humor for the adults. The action is almost non-stop, so the younger set are enjoying this as well. The animation is good, though nothing outstanding. Hugh Jackman, Kate Winslett, and Ian McKellan provide some of the voices. PG for violence and language.
/a>FLUX GOURMET (NR) 107 minutes * * 1/2
It's not just about the food, but about the preparation of it and the journey it takes as it passes through our bodies. This performance trio is dedicated to this rather unusual idea. Their plans of how to express it and present it to an audience are beginning to create conflict between them as well as with those around them. Viewers are likely to compare this to some of David Cronenberg's work, but it doesn't push the boundaries as well, though it's interesting. Not for everyone, to be sure.
THE FLY (R) 92 minutes * * *
Filmmaker David Cronenberg takes the classic horror film “The Fly”, and reimagines it. The idea is still there, but the story has been changed somewhat, and mostly for the better. The effects are much more gory than the original, which is not a surprise coming from Cronenberg. They are also of a very high quality, and are one of the strongest aspects of the film. Complimented by the acting skills of both Jeff Goldblum and Geena Davis, this becomes a very nice update to a classic horror film.
FLY AWAY HOME (PG) 103 minutes * * *
Pacing is a little slow in spots, but Anna Paquin, Jeff Daniels, and Dana Delaney make this a joy to watch. Mark Isham's music is inspirational to say the least, but the effect of the gentle music during the opening sequences is what one could only call "unique". The message here is a little different from the standard, "if you love someone, set them free". Instead, it's the idea that when you love someone, you'll make the sacrifices it takes to help them fly. From the autobiography of Bill
Lishman, PG for language.
FLY AWAY WITH ME (NR) 83 minutes * * 1/2
Getting an apartment can be a challenge. When Angie (Natalie Hall) finds what she thinks will be the perfect apartment, there's a catch. No pets allowed. And there's a macaw that apparently lives there. Her handsome neighbor happens to have a dog. Helping each other seems like the logical thing to do. It also might lead to a romance between two people who love animals.
FLY ME TO THE MOON (G) 82 minutes *
Three young houseflies sneak onto Apollo 11 so that they can fly to the moon. Cute at times, but rather slowly paced with too many segments with no dialogue and little action. It's also hard to figure out what the appeal to small children might be here, especially when Buzz Aldrin comes on screen at the end to explain that there weren't any contaminants, like flies, aboard Apollo 11. Thanks for that extra dose of realism. Especially since we were already trying to figure out how a fly from the 1930s was still alive in the 1960s...
FLYBOYS (PG-13) 130 minutes * * *
They were the first fighter pilots, and a new breed of hero. The story of the Lafayette Escadrille and the young men who took to the air to fight a new kind of war. There are plenty of wonderful dogfight sequences in the film, which one would expect. What really keeps us watching though, is James Franco's low-key, yet intense performance as Blaine Rawlings. It draws us into the story and keeps us there, taking us through moments of anxiety, passion, and humor, and helping us understand the men who flew with the Lafayette Escadrille. PG-13 for violence.
FLYING BY (PG-13) 92 minutes * *
After going to his high school class reunion, George (Billy Ray Cyrus) has a chance to make good on an old dream of being in a successful rock band. But what will it cost in terms of priorities and change, and is it worth it? Time does fly by, and many opportunities only come by once. Nice music throughout. The acting is mediocre at best. PG-13 for language.
FLYING MONKEYS (NR) 85 minutes BOMB
Another of the Syfy channel's ridiculous Z-grade horror flicks. This time its a pet monkey who just happens to be part monster. And if you don't kill it with a particular magical sword, they multiply instead of dying. Really bad dialogue, but so is everything else.
THE FLYING SCOTSMAN (PG-13) 98 minutes * * 1/2
Designing and building his bicycle from scrap metal, Graeme Obree took the cycling world by storm, breaking records and winning race after race. Based on a true story, it's a formula sports-bio film that fans of the sport will enjoy and others will find OK. PG-13 for language.
THE FLYING SWORDS OF DRAGON GATE (R) 118 minutes * * 1/2
Another quest for a lost city buried beneath the sands of the desert. There are numerous great fight sequences here, but the story is very shallow in between. The ending doesn't fit all that well either, as if it was tacked on with no thought to the artistic style of the rest of the film. There's plenty of great "look" here, just not much else. R for violence.
FLYPAPER (NR) 79 minutes * * 1/2
Tripp (Patrick Dempsey) finds himself in the middle of a bank robbery. But it's not just one. There are two robberies going on here, and it's going to take awhile to get things sorted out. In the midst of it, he's also trying to protect one of the tellers, who he's romantically interested in. Nice mix of action and comedy in this fast-paced heist film, and there are plenty of twists as well.
FOCUS (R) 99 minutes * * *
Moving from one con to the next has been working very well for Nicky (Will Smith). But someone from his past is back in the picture again... and it's affecting his concentration. A film full of second guesses and misdirection, some of which seems almost too slick, but the light undercurrent of humor helps it work. R for language, sex, and violence.
THE FOG (2005) (PG-13) 96 minutes * 1/2
Spooky fog, creepy priest, unexplained deaths, weird symbols... and too many cheap noise scares! No real improvements over the 1980 version aside from some slightly better special effects. It's a bit of a puzzle why anyone would choose to remake this film in the first place. R for violence and language.
FOLKS! (PG-13) 103 minutes * *
Jon's (Tom Selleck) mom ends up in the hospital and Jon then discovers that his father is senile. Now they have to live with Jon because his dad manages to burn their trailer. Taking care of parents isn't easy... neither is watching this film. Selleck never manages to really sell this story and the production values are definitely a few notches lower than most films. Don Ameche does a nice job here, but otherwise, this just doesn't have much to offer.
FOLLOW ME TO DAISY HILLS (NR) 81 minutes * *
Life has been good in Daisy Hills. Most things don't change much despite the passage of time. Business at the genereal store has been on the decline lately. Duke (Paul Essiembre) has been a little resistant to change, but decides to ask for some help from Blake (Marshall Williams). Jo (Cindy Busby) isnt ready to give up on the story yet either, but working with her ex-boyfriend Blake isn't going to be easy. The cinematography quality of this Hallmark movie is a little lower than usual.
FOLLOW THAT BIRD (G) 83 minutes * 1/2
When Big Bird runs away from the foster home he's been sent to, the rest of the Sesame Street gang has to figure out how to find him and bring him home. Not really much of a story, and there are several references that will be past the level of the children who are watching. It moves slowly and runs a little long, though there are a couple of fun songs.
FOLLOWERS (NR) 80 minutes 1/2
Brooke (Amanda Delaney) and Caleb (Justin Maina) document their lives online. Going on a camping trip, they're about to be part of a documentary about how easy it is to track people down online and kill them. Then they stumble across some other people in the woods. At which point the movie stops making sense.
FOO FIGHTERS BACK AND FORTH (NR) 97 minutes * * *
Very complete and detailed look at the band, from it's formation through 2010. And it's "no holds barred" as well, with frank conversations about everything from the influence of Kurt Cobain to the frequent struggles the band has dealt with in their line-up. Most bands tend to form, struggle with how to get their sound right, and then make it big. The Foo Fighters were big almost before they started, and have managed to grow and succeed in ways that most bands probably wouldn't last through.
FOOD CHAINS (NR) 81 minutes * * 1/2
Fast food, food service, and supermarkets are at the top of the food chain. It is at the top that the real abuse happens and where real change needs to happen. Supermarket chains make more money than most corporations. Because of that, a small change can make a huge difference to those at or near the bottom of the chain. An informative and detailed documentary that shows how interrelated the system is. Not sure that supermarket chain CEOs or board members will be persuaded though.
FOOD, INC. (PG) 91 minutes * * *
A very small number of companies now control the vast majority of the food supplyin the United States. While in some ways this may not be a surprise, especially if you think about other industries, it makes a difference when you consider what it means for the quality of the products that we all consume to stay alive. A small number of companies means more power for each, more control for them, and less for consumers to be able to do about it. PG for language.
FOOD MATTERS (NR) 76 minutes * * *
Documentary promoting the benefits of healthy eating and vitamin supplements and pointing out the dangers of prescription medications. The claim, and there seems to be good information to back it up, is that nutrition-based health care, rather than the current methods used in medical practice offers more promise for a healthy life.
FOOLISH (R) 79 minutes * 1/2
Foolish (Eddie Griffin) wants to make it big, but his job as a stand-up comedian seems to be at a standstill. Griffin does a nice job here, but every time Master P (who wrote the story) step in, the film stalls. We needed to see more of Foolish and less of the foolish story that doesn't go anywhere. Griffin deserves better. R for language and nudity.
FOOL'S GOLD (PG-13) 108 minutes * * *
A treasure hunt film with Matthew McConaughey locating a long lost shipwreck that just happens to be very close to an island owned by a bad guy he owes money to. Not only does he have to figure out how to get the treasure, but how to keep another treasure hunter away and try to win back his wife (Kate Hudson). Fun adventure film that delivers on most counts. No real surprises, but definitely entertaining. Filmed in Queensland, Australia. PG-13 for violence, sex, and language.
FOOL'S PARADISE (R) 93 minutes * * *
NO one knows what's wrong with him, but Latte Pronto (Charlie Day) is on his own. His path crosses that of publicist Lenny (Ken Jeong) who is looking for a star to represent. Despite not talking, Latte makes it to the top of Hollywood... and then crashes to the bottom. Lenny is with him for the ride, and for the lesson it teaches both of them. Another delightful script from Charlie Day. R for language and sex.
FOOLS RUSH IN (PG-13) 105 minutes * * 1/2
Matthew Perry and Salma Hayek star in this light romance about love and compromise. Story does a good job of hitting the essentials of what makes a marriage work, and Perry and Hayek work well together. Doesn't really pull us in all the way until the very end. Light fluff, but pleasant enough to watch. PG-13 for language.
THE FOOT FIST WAY (R) 80 minutes BOMB
Low-budget misfire by writer, director, actor, producer Jody Hill (almost never a good sign when you're doing that much). Almost all of the performances are flat and humorless, which is apparently supposed to be funny. It's sadly depressing instead. R for language and sex.
FOOTLOOSE (R) 103 minutes * * *
It’s unthinkable to Ren (Kevin Bacon) that a town could be so harsh and restrictive, but that’s exactly what he’s experiencing in the town he just moved to. Rock music and dancing are not allowed. Ren is going to change that, but it’s not going to be easy. Freedom and a youthful spirit are the focus here, and Bacon leads the cast in this fun, upbeat, and positive film. R for language, violence, and sex.
FOOTLOOSE (2011) (PG-13) 104 minutes * 1/2
Remake of the 1984 hit movie about a teenager moving to a town where rock music and dancing are frowned upon by the adults. Acting skills were apparently not an emphasis when they cast this film. Miles Teller does a nice job as Willard, but you should still watch the original rather than this remake. PG-13 for sex and language.
FOOTNOTE (PG) 102 minutes * * 1/2
Eliezer (Shlomo Bar-Aba) has done research in a particular field of Talmudic studies for his entire life with little recognition. His son is also a scholar in the field, and there's a bit of confusion as to who is really supposed to receive the recognition this year. We struggle to like either one of these characters as the film focuses on their rivalry to an extent that reveals the worst in each of them. A touch of humor might have made them each more human, but it's not here. PG for language and nudity.
FOR A GOOD TIME, CALL... (R) 84 minutes * * 1/2
In college they were frenemies. Now Lauren (Lauren Miller) and Katie (Ari Graynor) are now roommates in New York. They're neither one thrilled about the idea of sharing space, but they might have just figured out how to make lots of money by starting a phone sex business. Lighthearted fun with Miller and Graynor working very well together. R for sex and language.
FOR A LOST SOLDIER (NR) 88 minutes * * 1/2
As Jeroen (Jeroen Krabbe) works on the choreography for a dance evoking the spirit of liberation, he's reminded of the liberation of the Netherlands during WWII, and of his relationship with a soldier all those many years ago. Sensitively handed by director Roeland Kerbosch.
FOR A WOMAN (NR) 109 minutes * * *
As Anne (Sylvie Testud) looks through photos and notes from her parents' past, we watch their relationship unfold on the screen. Of particular interest to Anne is a mysterious uncle that her family seems strangely silent about. A tense, post World War II French drama, with a fine ensemble cast.
FOR BETTER OR FOR WORSE (NR) 84 minutes * 1/2
She's been running a successful wedding planning business for awhile now. But Marco (Antonio Cupo) is a divorce lawyer who has just started his own business right next door to hers. What can Wendy (Lisa Whelchel) do? Very shallow script and two-dimensional characters, with no chemistry between Whelchel and Cupo make this lean toward the "worse" side rather than the "better" one.
FOR COLORED GIRLS (R) 128 minutes * * *
Tyler Perry's adaptation of the stage play features an absolutely amazing cast. And though it definitely betrays its stage roots a few times, with monologues that are a bit lengthy, they are powerful messages of self-discovery or social commentary that are quite effective. To leave them out or substantially change them would be to risk them becoming much less important. With Kimberly Elise, Janet Jackson, Loretta Devine, Thandie Newton, Anika Noni Rose, Kerry Washington, Phylicia Rashad, Whoopi Goldberg, and Macy Gray! R for violence, sex, and language.
FOR ELLEN (NR) 91 minutes * *
Joby (Paul Dano) travels to meet his daughter as he feels compelled to sign over custody in person. Once there, he begins to wonder if that's the right course of action. His ex-wife is no angel, but can he do any better? Not the happiest of films you'll ever see, but Dano's performance and the scenery fit the story nicely.
FOR GREATER GLORY: THE TRUE STORY OF CRISTIADA (R) 136 minutes * * *
When the Mexican government decided that the church was an enemy of the state and began to elimiate what they saw as a threat to their power, the people rose up to fight this religious oppression. It became known as the Cristeros War. An unusual mix of brutal reality and romanticized version of the history, but does keep us interested. Andy Garcia does a nice job here, though the story is really more of the featured player here. R for violence.
FOR KEEPS (PG-13) 95 minutes * *
A high school senior with a great future in journalism finds out that she's pregnant. Comic approach to a serious topic doesn't really work during the first half of the film, though things do get more serious toward the end.
FOR LOVE & HONOR (NR) 85 minutes * * 1/2
Tom Brennan's (James Denton) approach to running this military academy is both traditional and strict. That isn't exactly the way it's been running lately, and it's also clear that to really work, it needs to be somewhere inbetween what's happening now and what Tom would like to happen. Very nice supporting work by Rebecca Liddiard.
FOR LOVE OF LIBERTY: THE STORY OF AMERICA'S BLACK PATRIOTS (NR) 226 minutes * * *
The history of African American military involvement. This is the story of the sacrifices that were made and the freedoms that were fought for, despite the fact that these liberties were often not experienced by those who were fighting. An informative and in-depth look at a part of history that is often missed.
FOR LOVE OF THE GAME (PG-13) 130 minutes * * *
As one might expect from a movie starring Kevin Costner, this is a bit long. For most of the film we don't really mind this length, as the story of baseball pitcher Billy Chapel slowly unfolds. Costner fits into this character nicely, complemented well by the supporting performances of Kelly Preston, John C. Reilly, and Jena Malone. It's the story of a baseball legend who fights back after an injury, but whose time in the game may finally be at an end. It's hard when you've played for so long to make the decision to leave the game. Nice direction from Sam Raimi, though the ending doesn't seem to hit exactly the right note. PG-13 for language.
FOR LOVE OR MONEY (PG) 89 minutes * 1/2
Doug (Michael J. Fox) is a concierge at the Bradbury Hotel, looking to own his own establishment. His troubles start when he finds himself falling in love with wealthy Anthony Higgins' mistress. There are a few nice character bits that are fun to watch, but too much of this film is high gloss with no bite. We don't care what happens to these people because we never feel we know them. And then there's that really cheesy ending!
FOR MY FATHER (NR) 92 minutes * * *
It's been planned for some time, but when Tarek (Shredi Jabarin) goes to the market to set off the bomb strapped to his chest, it doesn't work. There's a little Jewish electronic repair shop nearby, so he takes the trigger there to get repaired. Then he sees this cute girl across the street. He decides to stick around and talk with her. Now, there are people he knows who would be among those he is supposed to kill... and he's not so sure about what to do anymore. Powerful and tragic story.
FOR ONE MORE DAY (NR) 88 minutes * *
Chick (Michael Imperioli) is at the end of his rope when his mother (Ellen Burstyn), who has been dead for nine years, shows up to spend one more day with him. It's a comfort and she still has a few things to teach him if he's willing to learn. Imperioli's performance is very stiff, though the script is so emotionally loaded, it does tend to overpwer the performers. Nice work by Burstyn. Be sure to grab a box of tissues.
FOR RICHER OR POORER (PG-13) 110 minutes * *
After ten years of marriage, Brad (Tim Allen) and Caroline (Kirstie Alley) are calling it quits. They might have to wait until the IRS gets through with them though... and who knows what effect hiding out on an Amish farm will have on them. Pleasant enough and lightly humorous, but this is another of those made-for-video films that just doesn't have much substance. The moral is that marriages take work, which should tell you how things will work out in the end. PG-13 for language.
FOR THE BOYS (R) 138 minutes * *
Bette Midler makes the soundtrack of this film worth listening to, but don't expect as much from the film. The story shifts its focus from biography to patriotism to anti-war and doesn't seem to know where it stands. The old age makeup on Midler and James Caan is terrible, and they both struggle with how to act old as their characters age later in the film. The sentimental ending wraps things up nicely, but the standout performance is by Christopher Rydell as Midler's son. R for language and violence.
FOR THE EMPEROR (NR) 100 minutes * * 1/2
Once a baseball player, Lee Hwan (Min-ki Lee) now fixes baseball games for the man he owes money to. A violent story of bad choices and double-crosses.
FOR THE GLORY (NR) 100 minutes *
Kurt Kuykendall (Jason Burkey) has a great life and everything is pointing to a bright future. At least it looks that way on the surface. But when he gets cut from the college basketball team, the troubles at home begin to loom large. His faith in God will pull him through though, and everything will work out grand in the end. Shallow, over-simplified characters, and a story that drags enough to make this feel like it lasts for three hours. Very stiff acting by the cast as well.
FOR THE LOVE OF GRACE (NR) 87 minutes * *
Steve (Mark Consuelos) is still getting over the death of his wife, but when he rescues Grace (Chandra West) from a fire, they begin a friendship. As for Grace, she had been so focused on her work that she had no time for a relationship. But the fire forces her to re-examine what's important in her life. Lifeless performance from Consuelos, not that the story has much energy either.
FOR THE LOVE OF MONEY (R) 96 minutes * *
The bills are piling up, she's raising a daughter by herself, and experiencing harassment at work. Gigi (Keri Hilson) has reached the end of her rope. Now she's heading for trouble herself on a much bigger scape. That said, she does know how to hand;e things better than most people do. R for language, sex, and violence.
FOR THE LOVE OF SPOCK (NR) 104 minutes * * *
Directed by Leonard Nimoy's son, Adam, this documentary takes and in-depth look at the man and the iconic character that was (and still is) beloved by so many. Lots of interview clips with colleagues, friends, and family, giving a very well-rounded look at a fascinating character and the man who lived and breathed that role for so many years.
FOR YOUR CONSIDERATION (PG-13) 81 minutes 1/2
Writer/director Christopher Guest turns his cynical, satirical eye on the film industry. Far less fun than "Spinal Tap" or "A Mighty Wind", this is more along the lines of "Best in Show" with far more misses than hits as far as the comedy goes. The idea is about a very mediocre bunch of actors working on a film where someone hears a rumor that an Oscar nomination might be coming their way. The stir it creates and the fallout from it are the story. Not particularly humorous at all until the very end... if you want to try to last that long for a few chuckles. PG-13 for language.
FORBIDDEN EMPIRE (NR) 107 minutes * * 1/2
Mapping areas of Transylvania that have never been explored means dangerous and fantastic creatures and adventures lie ahead. The story is a bit on the complex side, and tends to wander around, adding characters and subplots, though it does manage to tie most everything together by the end. The specieal effects are quite good, with sort of a medieval steampunk look.
FORBIDDEN KINGDOM (PG-13) 97 minutes * * *
A fan of martial arts films, Jason (Michael Angarano) discovers that it is his responsibility to return a magical staff to the monkey king and restore him to his rightful place. A very nice story by John Fusco. It's a coming of age film that is equal parts adventure, legend, love, and humor. And, of course, it's fun to see Jackie Chan and Jet Li working together as well. PG-13 for violence.
THE FORCE (NR) 89 minutes * * 1/2
The Oakland Police Department was monitored by the federal government for over a decade for misconduct and civil rights issues. In 2014, they hire Chief Sean Whent to try and turn the corner. But not only is it difficult to get past a negative image, but the Black Lives Matter movement is growing in strength and looking at OPD as a place that needs to change, perhaps a little more than most.
FORCE MAJEURE (R) 118 minutes * * *
When a controlled avalanche happens at a ski resort, this family has some new issues to deal with. It's not that they didn't realize that it was controlled, but the fact that Tomas (Johannes Kuhnke) ran to safety rather than doing something to protect his family that has everyone feeling differently, including Tomas. Interesting exploration into family dynamics, and the pressures of expectations. Nice work by the cast. R for language and nudity.
FORCE OF EXECUTION (R) 95 minutes * *
Steven Seagal plays a mafia kingpin who starta a war between his young protege (Bren Foster) who botched a hit, and Ice Man (Ving Rhames), who are both interested in unseating Douglas (Seagal) from his position. Seagal continues his minimalist style of martial arts, while Foster does the more athletic bits. Nothing new here. R for violence, sex, and language.
FORCE OF NATURE (R) 87 minutes *
Some violent criminals plan to steal a collection of priceless art during a hurricane. (Which is not a bright idea in the first place.) Add to it that Officer Cardillo (Emile Hirsch) has been assigned to remove the last few people from the apartment building where the art is located. Mel Gibson is the aging cop who helps out once the shooting starts, and Kate Bosworth plays his daughter, who just happens to be a doctor, which is very convenient as the film progresses. The story is a mess and completely lacks logic. Somehow, at least the main cast give this some appeal and make it look better than it has any right to. R for violence and language.
FORCE OF NATURE: THE DAVID SUZUKI MOVIE (NR) 89 minutes * * 1/2
Weaving bits from Suzuki's last lecture series with interviews and historical footage, we are given an in-depth look at the man and his mission. Though in some ways a rather unassuming individual, Suzuki is also a visionary, an activist, a scientist, and so much more.
FORCED TO KILL (R) 86 minutes *
More well-known for his stuntwork, Corey Michael Eubanks stars here in a film he write the script for. Johnny (Eubanks) is a fighter, and he's good at it. So, the local sheriff (Michael Ironside) forces Johnny to participate in illegal fights that he arranges. The plot is pretty thin, but Eubanks' lack of acting talent is what really causes problems. At least you can have fun watching all of the car crashes. Also starring Rance Howard, Clint Howard, and former Playboy playmate Kari Whitman.
FORCED VENGEANCE (R) 86 minutes * * *
Josh (Chuck Norris) is a security guard at a casino. It’s not a job that calls for much aggressive behavior, but when some of his friends are threatened by a Hong Kong mob, Josh shows that he knows how to deal with it. One of Norris’ better films as far as how the martial arts works into the story. R for violence, sex, and language.
FORCES OF NATURE (PG-13) 100 minutes * * 1/2
On the way to his wedding, Ben Holmes (Ben Affleck) finds himself stranded in another city and spending time with a rather unlikely female companion. Sometimes the forces of nature reroute our lives for us. Affleck doesn't really perform that well here, but Sandra Bullock pulls out the stops with an energetic and charming performance. The character of Sarah gives her a chance to be a little different. Reckless and carefree, but with a depth that we are allowed to glimpse as well. Nice direction and photography help to make this a film that is definitely worth a look.
FORD V FERRARI (PG-13) 147 minutes * * *
He's had his share of problems, but Ken Miles (Christian Bale) is an amazing driver. Carroll Shelby (Matt Damon) is quite good at designing cars. The Ford Motor Company is trying to stay relevant in the automotive market. To do that means more than just selling lots of cars. Perhaps challenging Ferrari at the 24 Hours of Le Mans could do just that. But to win that race, Ford will have to think about cars in a way they never have before. Plenty of great racing footage, but for as long as this runs, some of the main characters still don't feel very well-defined. PG-13 for language and violence.
THE FOREIGNER (R) 104 minutes * * 1/2
When his daughter is killed, Quan (Jackie Chan) wants justice. But the road to that justice lies behind corrupt officials and other obstacles. Good thriller, though Pierce Brosnan's character comes off a little strong, especially with how subdued chan's is. Action seequences are good, but nothing out of the ordinary. R for violence, language, and sex.
THE FOREST (PG-13) 87 minutes * * 1/2
Sara (Natalie Dormer) knows that her sister Jess is in trouble. She went into the Aikogahara Forest, which is where people in Japan often go to die. Everyone she talks to thinks that Jess is dead, but Sara is sure that she isn't. Several very creepy sequences, and a very good twist at the end. PG-13 for violence, but this is also quite intense in general.
THE FOREST OF THE LOST SOULS (NR) 69 minutes * * *
Many countries have a place where more suicides happen than elsewhere. On Portugal, it is the Forest of the Lost Souls. On this particular morning, two people who have come to the forest end up meeting each other. A strange and moody piece, as you might expect from even just the title, but it does have a positive tone too. Beautifully filmed in black and white.
FOREVER IN MY HEART (NR) 83 minutes * *
Doing an internship in Ireland, Jenna (Merritt Patterson) falls in love with Charlie (Jack Turner). But things change, and Jenna ends up back in the states, and with a proposal from Dave (Blake Berris). When she finds herself back in Ireland, that proposal seems less sure, and Jenna has a choice to make. The plot is a bit this here, with a script that is less creative or romantic than it should be.
FOREVER LULU (R) 82 minutes BOMB
One of the two worst films I ever saw in a theater. Deborah Harry, who has one line of dialogue in the whole film, is the star attraction here. It's supposed to be a parody of "Desperately Seeking Susan", but Anna Schygulla can't act, and the script wanders without focus, making this feel like it lasts for hours.
FOREVER MY GIRL (PG) 101 minutes * * 1/2
Liam (Alex Roe) didn't just walk away from Josie (Jessica Rothe), he left her at the alter. Now a famous country music star, he's back in town. There's a lot to catch up on, and it isn't all going to be pretty. Ultra-romantic tearjerker, but it manages to hit almost all of the right notes along the way. Adapted from the book by Heidi McLaughlin. PG for language.
THE FOREVER PURGE (R) 95 minutes * * 1/2
It was bound to happen. One night a year of the purge is just not enough for some people. One particular band of men go against the law and begin their own purge that they have no intention of stopping. No surprise that htis is heavy on social commentary. Of particular interest is the interaction between Juan (Tenoch Huerta) and Dylan (Josh Lucas). R for violence and language.
FOREVER YOUNG (PG) 98 minutes * *
1/2
Danny McCormick (Mel Gibson) undergoes cryogenic
sleep in 1939 to help his friend test the equipment
and to avoid dealing with the fact that his
girlfriend is in a coma. Romantic soap opera with a
touch of science fiction that relies heavily on the
chemistry between Gibson and young Elijah Wood, who
helps McCormick in his quest. Both actors have done
better work, but they make this watchable and even a
bit charming at times.
THE FORGER (2012) (PG-13) 88 minutes * *
Joshua (Josh Hutcherson) finds himself deeply involved in the world of art forgery when he moves to a new community and starts making new friends. Hutcherson isn’t very good here, though the rest of the cast does a nice job. The story has more than its fair share of illogical moments, and misses a more poignant ending by spoiling it with narration. PG-13 for violence.
THE FORGER (2014) (R) 89 minutes * *
Ray (John Travolta) only has ten months to serve, but he just wants out. He can do that, but the price is one more job... and it won't be easy. The ending moves a little too quickly, and skips over material that would have made a stronger finish with more detail, suspense, and emotion. R for language, and violence.
FORGET ME NOT (R) 100 minutes *
Sandy (Carly Schroeder) has no idea why her friends are disappearing. And until she remembers a childhood game, and a friend who she betrayed, it's not going to stop. Predictable and maddeningly slow to resolve the mystery, but the dead things are pretty creepy. R for violence, sex, and language.
FORGET PARIS (PG-13) 93 minutes * * * *
Marriage can't always be like the courtship and the honeymoon. It's about communication and sticking it out through the rough spots. It's about forgetting Paris... and not forgetting Paris. Billy Crystal (director/writer/actor) is right on target for the entire film, and Debra Winger gives us one of her absolute best performances. Hilarious, charming, romantic, poignant, and so much more. A wonderful film.
FORGETTING SARAH MARSHALL (R) 107 minutes * * *
Getting over his ex-girlfriend is difficult enough, but when Peter (Jason Segel) begins his relaxing vacation in Hawaii, Sarah (Kristen Bell) is there as well... along with her new boyfriend (Russell Brand). There is an attractive hotel employee (Mila Kunis) that might take his mind off Sarah, but the island seems to be getting smaller by the hour... The story is familiar territory, but what makes this fun and offbeat comedy film well worth a look are the supporting performances of Brand and Kunis. Great soundtrack too! Filmed on Oahu. R for sex and violence.
FORGETTING THE GIRL (NR) 81 minutes * * 1/2
Forgetting isn't easy, and finding a replacement often is not the best option, as Kevin (Christopher Denham) is learning. Heavily narrated, much of which is overkill, and doesn't really add to the suspense. The ending is quite good, and has some very nice cinematography. There's a lot of style here, whiuch is why it would have been nice to pull back on the narraton and let the camera and dialogue tell more of the story.
THE FORGIVEN (R) 115 minutes * * *
Apartheid is over and Nelson Mandela has been elected president. Bishop Desmon Tutu (Forest Whitaker) has been tasked with running the Truth and Reconciliation Commission, where the people who committed horrific racist crimes could be forgiven. This film centers around Tutu's interactions with Piet Blomfeld (Eric Bana), one of the more vicious supporters of apartheid. It is a story of truth, reconciliation, and new beginnings. A powerful and emotional story. R for violence and language.
THE FORGIVEN (2021) (R) 117 minutes * * *
On their way to a party for the rich in a remote area of Morocco, David (Ralph Fiennes) and Jo (Jessica Chastain) hit and kill a local boy with their car. Atonement is expected. The pace is slow and so is the story, but it is fitting, as lessons are not usually learned quickly. A well-told story. R for language, sex, and violence.
THE FORGIVENESS OF BLOOD (NR) 104 minutes * * *
Despite the modernization of many aspects of life, parts of the culture of Albania have not changed. When Nik's (Tristan Halilaj) father stabs another man over a land dispute, a blood feud begins. The ramifications ripple through the family life of Nik and his siblings. Strong story that is part cultural history and part coming-of-age.
FORGIVING THE FRANKLINS (R) 98 minutes * * 1/2
Frank Franklin (Robertson Dean) is a lawyer. His wife Betty (Teresa Willis) is the perfect housewife. Their son Brian (Vince Pavia) is on the high school football team, and his sister Caroline (Aviva) is a cheerleader. They go to church every week, say grace before meals, and live a wonderfully "normal" life. A car accident leaves Caroline injured and the others in a coma. A mysterious coma which alters their perspective on life in a rather dramatic fashion. An interesting and unusual look at small town USA and what it means to be "normal" or to challenge that idea. R for sex and language.
THE FORGOTTEN (PG-13) 87 minutes * *
It's been a bit over 14 months since Telly's (Julianne Moore) son died in a plane crash... or did he? The twists and turns in this mediocre suspense film start after the first half hour and the suspense builds nicely. The problem is that when the answers start coming, they're less than satisfactory. The simplistic approach to how we remember someone after they die turns into a one-note story about mother-son love that just doesn't ring true, even within the context of the film. PG-13 for language and violence.
FORGOTTEN (2022) (NR) 105 minutes * *
Many years ago, a man (Tom Sizemore) kills his wife and decides to keep the two children he kidnapped in the basement of a home in the woods. The area is said to be haunted. A girl who is trying to get away from her abusive boyfriend is about to uncover the horror of what happened. Low budget thriller that works better than it should. Nice soundtrack, and some good pacing, though the story sort of falls apart at the end. It jumps around a little too much early on, though it's part of how the twist is set up.
FORKS OVER KNIVES (PG) 93 minutes * * 1/2
Pretty straight-forward look at the benefits of a diet that is plant-based rather than meat-based. Also talks about the detrimental effects of sugar and fat. Focuses primarily on the work of Dr. T. Colin Campbell and Dr. Cldwell Esselstyn. Would have benefited from a deeper look at how the government and industry shape the way the general public sees food. It's here, but nothing that hasn't already been said many times before. PG for language.
FORMOSA BETRAYED (R) 97 minutes * *
FBI agent Jake Kelly (James Van Der Beek) travels to Taiwan to investigate the murder of a Taiwanese-American professor. The investigation is supposed to be a cooperative one, but Agent Kelly soon uncovers a complex situation that is more than he can untangle alone, and there's little help to be found. The uneven time stream of the film tries to over-complicate the story, while the story itself over-simplifies the political situation between Taiwan, China, and the United States. Van Der Beek gets lost somewhere in the middle. R for violence.
FORMULA 51 (R) 86 minutes * *
There's a great new drug available for the masses, better than any other illicit drug, it's sure to make millions. Elmo (Samuel L. Jackson) is having a bit of difficulty arranging a deal to sell the formula for it though. The idea isn't bad, but the film tries to to use the style of "Pulp Fiction" and "Snatch". It misses both, not having the well-crafted touches of "Pulp Fiction" and lacking the humor that was present in "Snatch". R for violence, language, and nudity.
FORREST GUMP (PG-13) 134 minutes * * * *
Forrest Gump is a symbol of America in all her beauty, in all she strives to be, and in how she struggles along the way. Put the past in perspective and move ahead. Outstanding performances by Tom Hanks and Gary Sinise and a fine soundtrack from Alan Silvestri. This rapidly became the most quoted film of the year and will remain a favorite of many people for years to come. PG-13 for violence and language.
THE FORSAKEN (R) 87 minutes * *
Driving a car acrss the country for a delivery, Sean ends up meeting Nick, a guy who has been bitten by a vampire and who is hunting down the source of his "virus". It's an interesting variation of the vampire story with a reasonably good finish as well. A bit too much of the film is dark, making it hard to see what's going on, and the music is a bit overpowering. For those who love their vampire films, this is a nice little film that makes an interesting addition to the genre. R for violence, language, and nudity.
FORSAKEN (2015) (R) 85 minutes * * 1/2
When John Henry (Kiefer Sutherland) returns to his childhood home, he finds that the town is being taken over by an evil and violent man. John Henry wants nothing to do with it, but he is slowly beging drawn into the conflict, and the final confrontation is inevitable. Fairly standard western story, but told well, and the closing narration wraps it up very nicely. Wonderful supporting work by Michael Wincott. R for violence and language.
FORT BLISS (NR) 111 minutes * * 1/2
When Maggie Swann (Michelle Monaghan) comes back from her tour of duty, her young son is all she can think about. But he doesn't remember her and wants nothing to do with her. Nice work by Monaghan, but the story tends to just swing back and forth between her commitment to the military and her desire to reconnect with her son. She's always thinking and caring about where she isn't and who she isn't with or isn't helping, and the resolution at the end is too quick and easy.
FORTRESS (R) 90 minutes * 1/2
Pathetic special effects and a very weak script do major damage to this story of a future society where couples may only have one child. Christopher Lambert and Loryn Locklin star, but act as though they were prisoners to a contract they'd rather not have signed. R for violence, language, and nudity.
FORTRESS (2021) (R) 94 minutes *
Relaxing at a sort of retreat center for retired agents, life has been quiet for Robert (Bruce Willis). That's about to change. Some very nasty people, led by Balzary (Chad Michael Murray) are about to come after him. Meanwhile, Robert's son (Jesse Metcalfe) has tracked his father down to ask for some financial assistance. The characters here are paper thin and very over-acted. Plenty of unbelievable gunfights here too. R for violence and language.
FORTRESS: SNIPER'S EYE (R) 92 minutes 1/2
Just a couple of weeks after the events at the end of the first film, retired Agent Michaels (Bruce Willis) and his son Paul (Jesse Metcalfe) are spending more time together. But when Paul's wife is kidnapped, will need to work even more closely togather to be able to rescue her. Not as good as the first film, which wasn't all that good either. R for violence and language.
40 DAYS AND 40 NIGHTS (R) 91 minutes * * 1/2
To get past his lingering infatuation with his ex-girlfriend (who is now engaged), Matt (Josh Hartnett) has decided to give up sex for lent. OK, the idea isn't an original one, but the direction and the acting, by Hartnett in particular, manage to keep this just a shade above what you might expect. Shannyn Sossaman could be one to watch... she works well with Hartman and it will probably get her a chance at a few other scripts. R for language and sex.
40 DAYS AND NIGHTS (NR) 83 minutes BOMB
Storms are covering the planet with water, and the scientific preservation of life on Earth is at risk. Huge gaps in logic and science that may even be worse than the ridiculous CGI effects.
48 HRS. (R) 92 minutes * * *
Jack Cates (Nick Nolte) has a killer to track down. He realizes that he needs some help, and it turns out that Reggie (Eddie Murphy) may be his best bet. Not that Jack is going to enjoy working with Reggie, or even find it anything but annoying… at least at first. Nolte and Murphy work well together, in part, thanks to a well-written script from the talented writer/director Walter Hill. High energy and fast-paced police thriller with a great balance of action and comedy. R for language, violence, and sex.
45 YEARS (R) 91 minutes * * *
Kate (Charlotte Rampling) and Geoff (Tom Courtenay) are getting ready for their 45th wedding anniversary when news about the possible recovery of the body of a long-ago love arrives. This single piece of news threatens to destroy their relationship. A slow and steady drama with strong performances from the leads. R for language and sex.
44 INCH CHEST (R) 85 minutes * *
Colin's (Ray Winstone) wife has had an affair and he wants revenge on the man she was with. Colin's friends help him out by kidnapping the man and holding him hostage. But now Colin is struggling with what he really needs to do... and what really happened. Slightly unusual piece that is part character study and part mystery. Nice work by Winstone, as well as John Hurt, Ian McShane, and Tom Wilkinson. It's definitely on the wordy side though, and feels more like a play than a film, and gets a bit tedious at times. R for language and violence.
49 PULSES (NR) 81 minutes * * *
A recounting of the shooting incident that left 49 people dead and numerous others injured at the Pulse nightclub in Orlando, Florida in 2016. Interviews with the survivors and first responders paint the picture while director Charlie Minn tries to uncover a motive and to understand why it took so long to bring the shooting to an end. The film inclludes a very nice section paying tribute to each of the victims individually.
THE 41-YEAR-OLD VIRGIN WHO KNOCKED UP SARAH MARSHALL AND FELT SUPERBAD ABOUT IT (R) 74 minutes BOMB
Satirical combination of the movies mentioned in the title, along with a few others. Most of the actors attempt to at least vaguely resemble the original stars. Apparently that's supposed to make this funnier, or at least help clarify some of the jokes. Unfortunately, someone forgot to write any. R for sex and language.
47 METERS DOWN (PG-13) 84 minutes * *
It's not just that they are at the bottom of the ocean, but the sharks are circling, and they are running out of air. The story isn't terribly convincing, but the acting makes up for some of that, and the suspense in the second half of the film works well enough to keep us watching. PG-13 for violence and language.
47 METERS DOWN: UNCAGED (PG-13) 82 minutes *
It sounds like a fun little adventure. An ancient underwater city, and they're just going into the first room. Of course that's not what happens, and there are also some ancient sharks prowling the ruins. Horrible script, with acting that isn't much better. The effects are reasonable though, and there are a few scares along the way... unless you've already seen a few shark movies. In that case, this doesn't have much to offer. PG-13 for violence.
47 RONIN (PG-13) 109 minutes * * 1/2
Ronin are those samurai who have failed their masters and are then on their own, often engaging in battle for wages. But these ronin only failed because of en evil shogun. Perhaps they can regain some of their lost honor as they search for both vengeance and justice. Theirs is the story of Japan. Not bad, but the versions of this film from 1941 and 1994 are both better. PG-3 for violence.
42 (PG-13) 121 minutes * * * 1/2
When Jackie Robinson (Chadwick Boseman) started to play for the Brooklyn Dodgers, it was a groundbreaking and dangerous move for the club, but one that their owner felt it was time to make, as long as he could find the right player. The script does a wonderful job of recounting history in an easy to hear way that makes the story exciting and interesting and the cast is a great ensemble that paints the picture very well. Nice work! PG-13 for language.
THE 40-YEAR-OLD VIRGIN (R) 112 minutes * *
Forty years old and still a virgin, Andy Stitzer's (Steve Carell) friends are doing everything they can to help him once they find out. Of course true love prevails, but we would have enjoyed that more if it hadn't taken so long to get there. Some cute bits are scattered through the film, but Carell isn't all that funny and the jokes grow tired rather quickly. More could have been done with the scenes where he was beginning to relate to Trish's kids and a bit less with his buddies would have been nice. R for sex and language.
FOUND (NR) 95 minutes * *
Marty (Gavin Brown) is a fairly typical 12-year-old boy. He likes comic books and hooror and finding out about other people's secrets. And then he finds a human head in his brother's closet. It turns out that his brother is a serial killer... who knew? Script and acting lets us down a little, but the idea is interesting and the ending is pretty twisted. Filmed in Indiana.
FOUND MEMORIES (NR) 92 minutes * * *
When a young photographer arrives in her village, Madalena's (Sonia Guedes) spirit is revived. She brings a new energy and vitality that the community hasn't seen in a long time. With that vitality comes risk, and a reminder that to celebrate life is to appreciate the past, to accept death, and to do your part. Nicely done.
THE FOUNDER (PG-13) 109 minutes * * *
As a salesman, Ray Kroc (Michael Keaton) wasn't doing all that well. And then he stumbles across two brothers who have a great idea. Not a flattering portrait of Kroc as a person, but as a businessman, he was persistent to the point of ruthlessness... and he created an empire that seems to know no end. Straightforward bio-drama, with few sub-plots and just enough depth to keep the story going. PG-13 for language.
THE FOUNTAIN (PG-13) 91 minutes * * 1/2
Visually stunning film with three parallel stories with an overarching theme of love and death. Definitely a little difficult to follow, and director Darren Aronofsky even seems to get lost in the visual effects a few times. It's clearly a film that benefits from repeat viewings with more of the layered meanings becoming more clear as you see things again. Hugh Jackman and Rachel Weisz both perform well, it's just difficult to catch all of the subtleties in the story the first time around. PG-13 for violence, sex, and language.
FOUR (R) 70 minutes * *
Four people searching for connection that holds a deeper meaning, for they are already connected in some ways. Good performances all around, but the editing and direction are a little rough, and the script isn't able to give this the depth that it needs to be a stronger film. R for sex and language.
FOUR BOXES (R) 82 minutes ½
It’s the name of a website that used to belong to a young woman who was an exhibitionist. The cameras are still running, and the new resident seems to be planning a massive terrorist attack. Trevor and Rob can’t decide if they should do something or just keep watching. Despite the somewhat interesting premise, this very quickly begins to drag and take unreasonable turns. By the time the double twist ending arrives, we’re too far past the point of caring about the characters or the story to find it interesting. R for language, and sex.
FOUR BROTHERS (R) 104 minutes * * 1/2
The color of their skin doesn't matter. What matters is that they are four brothers... foster kids who were adopted by and raised under the kind and caring guidance of a woman who has been killed. Though they had gone their separate ways, they are together again, determined to find out who is responsible and to make sure that justice is served. Tensions build and the plot twists and turns just enough to keep us interested though it does run out of steam as we near the end. A nice performance from Terrence Howard, as is typical. R for violence, language, and nudity.
FOUR CHRISTMASES (PG-13) 80 minutes * * *
Brad (Vince Vaughn) and Kate (Reese Witherspoon) have it all figured out. They make their excuses and spend the holidays having fun on their own, without the rest of the family. But when the flights are all grounded, they have to spend a bit of Christmas with all four parts of their families. Funny and charming holiday film that doesn't really try to be anything else. Plemty of star power here too, with supporting performances by Robert Duvall, Sissy Spacek, Jon Voight, Mary Steenburgen, Jon Favreau, Dwight Yoakum and Tim McGraw. PG-13 for language.
4 DAYS IN FRANCE (NR) 139 minutes * * 1/2
For no apparent reason, Pierre (Pascal Cervo) gets up early one morning, leaving his lover, and just takes off. He has no destination in mind, but uses the Grinder app on his phone to find people to meet. Paul soon begins to track him using the same app. If you're familiar with French cinema, you may note references to other films as well as to well-known gay people in French history. Mostly, it's a road-trip film that wanders through the French countryside and small towns.
THE FOUR-FACED LIAR (NR) 84 minutes * * * 1/2
Five friends in New York City. Friendship, love, romance, and passion... they aren't always found exactly where you might expect. Nicely adapted by Marja Lewis Ryan (who also stars) from her play. It's rich in emotion and sincerity, and though not always comfortable, it reminds us that life isn't always as neat as we might like it to be.
THE FOUR FEATHERS (PG-13) 124 minutes * * *
Jack (Wes Bentley) and Harry (Heath Ledger) are friends who are in love with the same girl. But when the country goes to war and Harry chooses not to fight, he is labeled a coward. It's a label he eventually proves wrong, but at a great cost. This is a very good adaptation of the classic story by A.E.W. Mason, though it does drag a bit in spots. It's no fault of the actors, just some fine tuning that was missing from the script and editing aspects. Filmed in Morocco and the United Kingdom. PG-13 for violence.
4:44 LAST DAY ON EARTH (R) 78 minutes * 1/2
The world is coming to an end. Everyone knows it and nothing can be done to stop it. How would you spend your last days? This is not a disaster film, but rather, a look at two people and how they choose to spend the time that they have left. An interesting idea, but even knowing that the emphasis isn't on the end, but on the realizaton of it, this is less thought-provoking than it should be. R for sex and language.
FOUR GOOD DAYS (R) 97 minutes * * *
Molly (Mila Kunis) is home again, asking for a place to stay while she gets clean. Her mother (Glenn Close) drives her to rehab instead. It's the 15th trip. After three days, she will need a place to stay for four more before she can start a new program to keep her clean. Wonderful work by both Kunis and Close as a mother and daughter struggling though a relationship that has seen tough times, and plenty of trust issues, but there is still love. R for language and sex.
400 HOURS (NR) 88 minutes * *
Four astronauts on a 400 day experiment. They are in an underground bunker designed to simulate a lengthy space mission. But then the experiment takes an unusual turn. Good character work, but the overall direction of the story is less than satisfactory and seems to want to go in more than one direction.
FOUR KIDS AND IT (PG) 106 minutes * * *
David (Matthew Goode) and Alice (Paula Patton) are trying to blend their families. Going on holiday in Cornwall is supposed to help. What happens is that their four children find a Psammead (voiced by Michael Caine). It can grant them one wish per day, but there are consequences. A fun children's adventure, based on the book, "Four Children and It" by Jacqueline Wilson. PG for language and violence.
FOUR LIONS (R) 90 minutes * * 1/2
Four British Muslims who have chosen the path of Jihad. Only one of them really understands the full meaning, but that doesn't make the others any less dangerous. There are bits of humor scattered throughout the film, which is rather strange at times, given the serious direction of the story. It's this unusual balance, which sometimes falters a little, that makes the humor and the story a little more tragic as the film reaches its conclusion. R for language.
4 MINUTES (NR) 108 minutes *
Some might not think that Terrence (Jason Sylvain) is smart for staying in the same house with his ex-wife. He's doing it for the sake of his son. But when his best friend convinces him to go to a speed-dating event, it gets much worse. The story really drags and often seems like nothing more than a video tour of Atlanta, Georgia. The ending has some merit, but it's difficult to get there.
4 MONTHS 3 WEEKS AND 2 DAYS (NR) 106 minutes * * *
While set in Romania in 1987, a time and place where abortion was illegal, the story could still apply to many places today. Feeling trapped and without many options, Gabita (Laura Vasiliu) gets her friend Otilia (Anamaria Marinca) to help her deal with her problem. The film has an almost frighteningly realistic feeling to it. Very nice work from writer/director Cristian Mungiu. Filmed in Romania.
FOUR SEASONS (NR) 85 minutes * *
Xavier (Keith Robinsons) decides that he's going to date one girl each season and that focusing on each one for three months will allow him to decide which one to marry. OK, the logic isn't the most brilliant, but no one in the story seems to mind. Unfortunately, this is repititious and the moral to the story is evident early on. Much like Xavier, the film is well-intentioned, but just never really goes very far.
FOUR SEASONS LODGE (NR) 94 minutes * * 1/2
For one month each year, a group of World War II concentration camp survivors gather for music, dancing, and catching up on what has happened with old friends. It may be raining more this year, but that won't dampen their spirits. This documentary not only presents this celebration of friends who were drawn together by tragedy, but also lets us see their struggle as they are getting to a point in life where it is more diffcult for some of them to travel.
4/20 MASSACRE (NR) 82 minutes *
Five friends go camping in the woods... which, of course, doesn't bode well for them when they're in a movie. On the bright side, it's 4/20 weekend, which means that celebrating with some weed is in order. On the not so bright side, they're about to stumble upon the stash of some very violent marijuana farmers. Lots of time spent on developing the characters, but virtually no time spent on understanding the people protecting the hidden pot farm.
THE FOUR WARRIORS (PG-13) 90 minutes * ½
Four crusaders help the residents of a village whose children and men have been abducted. Nice scenery and photography, and the story isn’t bad. The script and acting fall a little short, but there’s some good energy here. The swordplay leaves a lot to be desired, that really detracts from a film with a title like this, where the hope would be for a stronger presentation of that aspect. PG-13 for violence.
4 WEDDINGS AND A FUNERAL (R) 113
minutes * * *
Hugh Grant is Charles, a man whose friends all seem
to be getting married. But when his path crosses that
of Carrie (Andie McDowell), something begins to
happen. Plenty of charm and quite a few interesting
characters throughout, make this an entertaining
film. The plot is a bit thin in spots, but Grant and
McDowell carry it through well enough.
4CLOSED (NR) 88 minutes * *
When the Turner family moves into a foreclosed home that they purchased, they discover that the previous resident doesn't want to leave. And he's willing to go to extremes to keep them from getting it. Marlee Matlin's performance lends this film far more credibility than it deserves.
4GOT10 (NR) 80 minutes * 1/2
Waking up in the desert, surrounded by bodies, money, and drugs, Brian (Johnny Messner) is struggling to remember what happened. We're trying to figure out why the script is so mundane. There are some clever ideas, but mediocre production values and slow-motion photography keep reminding us that someone didn't know what they were doing.
14 LOVE LETTERS (NR) 83 minutes * * 1/2
Struggling to keep the piece of the farm she has left, Kallie (Vanessa Sears) has another mystery to solve. Someone is leaving love letters in her mailbox. They are copies of historic love letters, but there is a common thread.
1492: CONQUEST OF PARADISE (PG-13)
144 minutes * * * 1/2
Lavish and beautiful sets combine with a soundtrack
by Vangelis to set the dramatic and adventurous mood
of this film. Director and co-producer Ridley Scott
has chosen to dwell less on the events leading up to
the voyage, giving more time to the latter parts of
the life of Christopher Columbus. We get a chance to
see the older Columbus, the man who didn't succeed
like he had expected. The man who, in fact, played a
large part in destroying his own dream by recreating
the world of war and greed that he thought he had
left behind. As he says in the film, "Paradise and
Hell.. both can be very earthly. We carry them with
us wherever we go." The film does drag a bit in spots
and slow-motion is used to frequently to try and
convey a point, but it's still a powerful film that's
well worth watching. PG-13 for violence.
1408 (PG-13) 98 minutes * * *
Room 1408 at the Dolphin Hotel is haunted. But Mike Enslin (John Cusack) doesn't believe in ghosts... yet. He does respect a well-told story though, and having a hotel manager try to convince you not to stay in a particular room is a nice touch. Very nice special effects and some great chills in this creepy little piece, adapted from a Stephen King story. The ending is a bit different, but it works nicely. Many kudos to Cusack as so much of the film relies so heavily on him to work. Nice job! PG-13 for violence and language.
4TH & GOAL (NR) 89 minutes * * 1/2
The story of six young men, as they work toward their dream of playinng professional football. Filmed over the course of six years, it's an interesting look at the often less glamourous side of the sport. So many dream of the posisbility, so few attain it, and even fewer manage to reach the constantly elusive super stardom.
FOURTH GRADE (NR) 79 minutes * * 1/2
Nothing like this has happened before. A brick of marijuana has been found... in a fourth grade classroom. Who's the guilty child? Which of the parents will admit that their child might be the guilty one? Featuring William Baldwin, Teri Polo, and Mena Suvari in a satirical comedy that asks some challenging questions. The tone is a little serious at times, but the story resolves well.
THE FOURTH KIND (PG-13) 92 minutes * 1/2
Retelling/re-enactment of alien abduction cases in Nome, Alaska in 2000. The film mixes sci-fi drama with "historic interview footage", sometimes effectively, sometimes not. The fact that it doesn't always work that well is, perhaps, even more important than the fact that the "true stories" portrayed here are all created for the film. The studio created a couple of websites that seemed at first glance to support the film as documentary, but they were quickly discovered to be hoaxes. PG-13 for violence and sex.
THE FOURTH PROTOCOL (R) 115 minutes * *
Slow-moving espionage thriller that leaves us a little less than thrilled. It's not that it isn't interesting, but the slow pace really hurts. Frederick Forsyth adapted from his own novel with some assistance and additional material... which might be part of the problem. Featuring Michael Caine, Ned Beatty, Joanna Cassidy, and Pierce Brosnan.
THE FOURTH WAR (R) 89 minutes * *
Two war heroes, one American, the other Russian, play out their own private war on the Czech border. Based on the novel by Stephen Peters, this gives us some interesting characters and they are performed well. John Frankenheimer's direction is far from what it needs to be though, and it looks like the studio didn't want to spend very much money on making this. The result is a low-budget cold war thriller that just doesn't thrill us. R for violence and language.
THE FOX AND THE CHILD (G) 86 minutes * * 1/2
A young girl comes across a fox in the woods. This experience is the beginning of a fascination with not only the fox, but with nature as it lives and breathes in the woods near her home. Her efforts to tame the wild fox teach her a valuable lesson. Beautiful scenery.
THE FOX AND THE HOUND (G) 82 minutes * * * *
A wonderful story about friendship, change, and the meaning of committment. Delightful entertainment from Disney for the younger crowd that most adults won't mind watching with them. Mickey Rooney, Kurt Russell, Sandy Duncan, and Pearl Bailey (among others) provide the voices.
THE FOX AND THE HOUND 2 (G) 62 minutes * 1/2
Todd and Copper are back, this time with Copper getting a chance to become a singing star. Todd doesn't understand why, and their friendship is at risk because of it. Mediocre animation and a boring story make this one the kids might want to skip.
FOXCATCHER (R) 122 minutes * * 1/2
The story of the wrestling champion Schultz brothers as they join "Team Foxcatcher" funded by John du Pont (Steve Carell). Mark (Channing Tatum) and du Pont are drawn to each other, in part by a need they both feel, to find something that is missing in their families. By working together, it appears that they might fill this need, but it soon becomes evident that this won't happen for either of them. A true story with a tragic ending. Tatum and Carrell just don't fit well here, though they both do what they can with a mediocre script. R for violence.
FOXTROT SIX (NR) 106 minutes * *
The world has changed, and Indonesia has emerged as a world power due to its high level of food production. Their new political leadership is corrupt, and it will be up to Angga (Oka Antara) to save the day. It's a science fiction action film, and a valiant attempt. The acting is good, but frequently stumbles due to a script that too often opts for cheesy lines. The bigger problem is a messy story that keeps creating plot holes and then shifts to something else. Lots of flash, but not very much substance.
FRACTURE (R) 109 minutes * *
It looks like an open and shut case, but Willy (Ryan Gosling) is so intersted in his move to another better job, that he isn't paying attention. If he doesn't start thinking fast, he may lose the case as well as the new job. There's always some small, overlooked item or a crucial fact that can make or break a case. One small piece that will split apart the lies and uncover the truth. But how do you find it? And can Willy find it in time? Gosling and Anthony Hopkins both deliver adequate performances here, but script and direction let them down. It's not terrible, but clearly not up to what we can expect from either of them. R for language and violence.
FRACTURED (NR) 88 minutes *
When Dylan (Callum Blue) wakes up, the first thing he learns is that he's been in a coma. Now if he could just remember who he is... Bits and pieces start coming together, but the picture isn't pretty, and the nightmares he's having are worse. The film is actually a little too close to the title, with poor pacing and a story that just isn't that well developed, giving us a film that is broken despite a hint that it could have been much more.
FRAGMENTS (R) 92 minutes * * *
It's difficult to know how events will efect your life, or how you will respond to tragedy. When a man walks into a diner and starts shooting, no one has any idea how their lives will change or that being a victim can mean so many things. Wonderful ensemble cast in a story that reminds us that "endings are beginnings, and moments, like pieces, fit together again." R for violence, sex, and language.
FRAILTY (R) 92 minutes * * 1/2
Bill Paxton stars as a man who has had a vision of the end of the world. It's a vision that leads him to commit one murder after another and to train his two sons to assist him as they pursue their work of killing demons. It's a painful story of a childhood lived in fear and ruled by a man whose sense of reality is permanently skewed. Paxton's performance is less than convincing, but Matthew McConaughey and Powers Boothe both turn in fine performances. There is suspense here, but there's also a great deal of drama between the two boys and their father. R for violence and language.
FRAMED (NR) 82 minutes * * 1/2
The National Gallery in London has a water leak. To protect the paintings, they are shipped to the Welsh countryside, where they were stored duing the war for protection. Quentin Lester (Trevor Eve) isn't sorry, because now he can spend all the time he wants to with the paintings and away from people. Or so he thought. Charming film, with a a touch of humor and a little intrigue as well.
FRAMED FOR MURDER: A FIXER UPPER MYSTERY (NR) 83 minutes * 1/2
Adapted from the book series by Kate Carlisle, this fiollows the home restoration and renovation career of Shannon Hughes (Jewel Kilcher). Her ability to spot details helps with the amateur sleuthing she does on the side. The details are not convincing and clues fall into place too easily. Kilcher isn't bad here, but the supporting cast doesn't give her much help.
FRAMING JOHN DELOREAN (NR) 105 minutes * * *
The first film to chronicle the enigmatic John DeLorean. Not only does this mix documentary footage with dramatic reenactment, but it also includes commentary from the actors as they prepare for their scenes. That additional element provides an interesting depth that isn't always available in a docu-drama. It's also a very good fit for udnerstanding DeLorean as a person. His rise and fall was unusual, and seeing it unfold from various perspectives helps us understand it much better.
FRANCES (R) 134 minutes * * * ½
Frances Farmer (Jessica Lange) was a talented actress, whose life too a tragic turn far too early. Jessica Lange delivers a bravura performance here, one of the finest of her career. It earned her nominations as best actress both for Golden Globes and the Oscars. One of the better bio-dramas you’ll find. R for sex, language, and violence.
FRANCES HA (R) 82 minutes * * 1/2
Frances (Greta Gerwig) is quirky, fun-loving and vibrant. But she's also fragile, and desperately seeking a sense of belonging. That said, whenever someone gets too close, she cuts them off. Gerwig is wonderful here, giving us a character that is charming, but who also has a certain darkness that always seems to lie just aronud the corner. R for language.
FRANK (R) 89 minutes * * *
Jon (Domhnall Gleeson) is trying to find his place in the world. His musical talent is... questionable, but Frank (Michael Fassbender) sees something in him. Then again, Frank wears a giant fake head that he never takes off. Offbeat and unusual story, like the characters, but it just goes to show that popularity and success aren't the same for everyone, nor should they be. A much more tender story than it first appears to be. R for language and sex.
FRANK & AVA (NR) 107 minutes * 1/2
As Frank Sinatra (Rico Simonini) was working his way to the top, he also started having a relationship with Ava Gardner (Emily Elixia Low). Rather than a real attempt to present the drama of their relationship, this is more of a tabloid-style, exploitation film. Simonini also co-produced this amd wrote the script, none of which is impressive. Most of the time, it just feels sleazy.
FRANK AND JESSE (R) 102 minutes * *
Yet another sympathetic retelling of the James' brothers story, with Rob Lowe and Bill Paxton as the leads. The slant this one takes is to emphasize how Pinkerton made a bad situation even worse. The acting saves this from being unbearable, and those interested in country music may enjoy seeing Randy Travis play the part of Cole Younger.
FRANK & LOLA (NR) 84 minutes * * 1/2
Frank (Michael Shannon) and Lola (Imogen Poots) are a match made... not in heaven. And as they discover more about each other, their story and their love begin to grow apart despite their efforts to the contrary. Good character study, though the outcome is pretty obvious early on. This is writer/director Matthew Ross's first feature film, and it shows promise, but doesn't quite have the strength it needs.
FRANK AND PENELOPE (R) 110 minutes * * *
When Frank (Billy Budinich) finds out his wife is cheating on him, he leaves. He wanders into a strip club where he finds Penelope (Caylee Cowan). She seems to need rescuing, so he does. On the road, they make a stop in a strange little town where things are not what they seem. An energetic and wild ride of a film, with a fun cast and an interesting story. R for violence, sex, and language.
FRANK SERPICO (NR) 95 minutes * * *
Frank Serpico dedicated his life to uncovering the corruption that existed in the police force on which he served. Sadly, the corruption still exists, though the shape it takes has changed. Interview clips with Serpico as well as those who knew him and scenes from the movie starring Al Pacino gives us a picture of a man who was much but remained defined by his pursuit of justice.
FRANKENFISH (R) 80 minutes 1/2
In the bayous in Louisiana, the fish can get really big. These particular genetically modified monsters are on the rampage, eating careless people, or those who are simply annoying. There is a little humor here, perhaps unintentional, but it does help the film. R for violence, language, and sex.
FRANKENHOOD (R) 88 minutes * 1/2
Motown (DeRay Davis) and Darius (Jasper Redd) may have finally found a way to win the streetball tournament. It involves a reanimated corpse. They just have to teach him how to play basketball. Harmless enough, but the appeal is really more for a younger crowd, which the R rating doesn't work for. R for language and sex.
FRANKENHOOKER (R) 80 minutes *
Jeffrey Franken (James Lorinz) has dreams of being a doctor. He may have been kicked out of medical school, and currently working for the electric company, but an opportunity has arisen. The tragic, accidental death of his fiancee gives him the opportunity to take the next step in his experiments. If he can just assemble enough other parts, he could bring Elizabeth (Patty Mullen) back to life. Funny twist at the end helps make up for the poor (though sometimes gross) special effects. R for violence, sex, and language.
FRANKENSTEIN (1994)(R) 118 minutes * * 1/2
The camera work is energetic and the sets are sheer perfection, with the exception of Dr. Frankenstein's home. The overall effect though, is too strong, overpowering the characters rather than serving them. It finishes well, but Robert DeNiro (as the monster) is more DeNiro and less monster than we need. And John Cleese and Aidan Quinn are miscast in their supporting roles. Director Kenneth Brannagh proves here that he needs to get back to some Shakespeare and let others handle remaking classic horror.
FRANKENSTEIN (2007) (NR) 90 minutes * * 1/2
An updated retelling of the classic monster story, with Dr. Victoria Frankenstein doing advanced stem cell research, when she begins to explore something more complex. A somewhat different and initially more scientific approach to the idea, but the issues are still the same. Nice work creating a sinister and creepy atmosphere.
FRANKENSTEIN (2015) (R) 85 minutes * * 1/2
When something goes wrong with the experiment, Dr. Frankenstein (Danny Huston) makes the difficult decision to terminate. But that's not going to be as easily accomplished as he expected. A little too much narration, though the way this story is presented, at least some narration is essential. An interesting version of the classic story. R for violence, language, and sex.
FRANKENSTEIN RUINS HALLOWEEN (NR) 74 minutes * 1/2
Halloween is Frankenstein's favorite holiday, but Dracula is the one who gets to take the weekend off. Frankenstein is the one who is leftin charge... and that's a problem. Especially when he flies the ship too close to the Black Hole of Halloween. There is some good animation here, but the lip movement is really bad.
THE FRANKENSTEIN THEORY (NR) 84 minutes *
A documentary film crew travels to the Arctic. The idea is to prove that the Frankenstein story is not fiction. It's an interesting premise, but this quickly becomes just another found footage film with jerky and poorly lit photography and lots of action that we never really get to see.
FRANKENSTEIN UNBOUND (R) 82 minutes * * 1/2
A time traveller finds himself in 1816, meeting up with Lord Byron (Jason Patric), Mary Shelley (Bridget Fonda), and Baron Frankenstein (Raul Julia). The monster is about to become a reality. Definitely a "B" movie, but a great cast and lots of fun to watch. The cast also features John Hurt and Roger Corman directs. R for violence.
FRANKENWEENIE (PG) 80 minutes * * *
When tragedy strikes, and Victor loses his dog Sparky, it seems that all is lost. But wait, the science fair is just around the corner, and thanks to what he's learning about electricity in science class, he has an idea for an amazing project. It's no surprise that this is from Tim Burton, and its a fun twist on the Frankenstein story. Great animation, though the humor here may be a bit too dark for some of the younger crowd. PG for violence.
FRANKIE (PG-13) 95 minutes * *
Sintra, Portugal provides the beautiful backdrop for this story of a family vacation. It's a gathering of three generations, and there is important news they will be dealing with. A gentle, but serious drama, with a storyline and performances that welcome us along on their vacation and on dealing with the news. PG-13 for language and sex.
FRANKIE & ALICE (R) 96 minutes * *
The title here refers to Halle Berry's character and the name of the most dominant and difficult of her personalities to control. The story tends to skim along at a fairly rapid pace, barely touching on Frankie's early life, diagnosis, and treatment, focusing instead on her discussions with a therapist while she tries to deal with most of it on her own. Mostly of interest for Berry's performance, which is good, but could have been much better with better direction and a better script. R for sex and language.
FRANKIE & JOHNNY (R) 112 minutes * * *
Michelle Pfeiffer delivers a winning performance as a waitress who finds herself falling in love despite her attempts to prevent it from happening. Al Pacino is great too, but Pfeiffer is the one who really draws us in. Adapted from Terrance McNally's play, this is a slice of New York life filled with romance and reality. R for sex and language.
FRANTIC (R) 116 minutes * *
Somewhat predictable thriller with Harrison Ford being drawn into the underworld of Paris when his wife disappears shortly after they arrive in Paris. Harrison Ford does a nice job here, but the story just doesn't have the edge it needs to keep us all the way in.
FRANTZ (PG-13) 110 minutes * * *
Anna (Paula Beer) is still actively mourning the death of her fiance many months after the end of World War I. When a mysterious young Frenchman show up in Germany at her fiance's grave, she is compelled to laern the reason for his visit. The film moves from black and white to color several times, which is effective, and the story is well-told, if a little obvious. PG-13 for violence.
FRAT PACK (R) 88 minutes * 1/2
When his mom gets engaged, Elliot (Richard Alan Reid) goes with her to North Dakota to meet the rest of the family. They are an unusual family, especially when compared to Elliot's more reserved personality. The bulk of the film centers around a trip to a fraternity party, not that it really makes much sense to do that. R for sex and language.
FRATERNITY VACATION (R) 91 minutes * * 1/2
A nerd wanting to pledge a fraternity offers a weekend vacation at a fancy property to two of his potential frat brothers. They're so appreciative that they try to help him not be a nerd. Okay, so the story is nothing great, but this works better than you might expect, thanks in large part to a strong performance from Tom Robbins. R for sex.
FREAK SHOW (NR) 87 minutes * * 1/2
He's moved to a new school before, but this time it's an ultra-conservative school and Billy Bloom's (Alex Lawther) flamboyant style is extremely out of place. A great cast, and Lawther does a fine job, but much of the story is bland. Costumes and make-up help a litte, but not enough.
FREAKED (PG-13) 76 minutes * *
Ricky (Alex Winter) is a bit of a prima donna. That's all about to change when he ends up at a backwoods freak show. Over-the-top weirdness has made this a cult hit, with lots of fun bits in the dialogue, props, and sex. It's corny and fun, and definitely unusual. PG-13 for language and sex.
FREAKONOMICS: THE MOVIE (PG-13) 89 minutes * * 1/2
The book from which the movie is taken, uses statistical analysis to disprove a variety of claims that have been made. The movie is basically a series of short films that does the same thing. It's a visual presentation, so it will appeal to a different learning style. The ideas are interesting, but the films are a bit disconnected from each other. Statistical analysis isn't really a very cohesive plot mechanism. PG-13 for violence, sex, and language... yes, really.
FREAKS (R) 101 minutes * * 1/2
Chloe (Lexy Kolker) hasn''t been outside before. There's a reason for that, but Chloe doesn't know what it is or what it really means. Her father (Emile Hirsch) has kept her hidden inside, protected from what might happen. But one day, she gets out. Very nice work by young Kolker. The story has rather clear parallels to "Firestarter", with the early part of the story being a bit more mysterious. R for violence and language.
FREAKY (R) 96 minutes * *
The stories have circulated for years. It seems that the Blissfield Butcher is real, and Millie (Kathryn Newton) has just body-swapped with him (Vince Vaughn). She also quickly discovers that after 24 hours, the swap will be permanent. Nice work by Newton and Vaughn in a story that adds a little horror to the typical body-swap idea, and a little humor to the horror. The film also does a nice job paying homage to several horror classics. R for violence, sex, and language.
FREAKY DEAKY (R) 90 minutes * * 1/2
Reassigned from the bomb squad to the sex crimes unit, Chris (Billy Burke) finds that things are even more explosive than in his last position. Set in 1974, this adaptation of the Elmore Leonard novel is a fun and entertaining flashback murder mystery. R for language and sex.
FREAKY FRIDAY (2003) (PG) 90 minutes * * *
Remake of the old Disney comedy about a mother and daughter who switch bodies until they learn their lesson. This is more than just a remake though, it's a modernization that feels like it's been scripted to fit Jamie Lee Curtis and Lindsay Lohan. They work very well together and do a great job of making this a very entertaining film to watch. The soundtrack is fun as well, with great songs that will keep your foot moving and a smile on your face. PG for language.
FRED CLAUS (PG) 108 minutes * * 1/2
Fred (Vince Vaughn) hasn't gotten along well with his brother for a long time. Nicholas (Paul Giamatti) always seemed to do everything well, care about others, and receive more positive attention from their parents. Fred's in trouble now, and Nick is the only one he can turn to. It means he'll have to go to the North Pole and help make toys. Not something that Fred is really looking forward to. Cute story, though there aren't really any surprises except for the "Siblings Anonymous" group, which is hilarious. It's difficult to keep a good balance between humor and sentimentality, and this does miss the mark a few times. Still, earnest and likeable performances from Vaughn, Giamatti, Rachel Weisz and Kathy Bates help this work fairly well. PG for language and violence.
FRED: THE MOVIE (NR) 80 minutes BOMB
Definitely one of the more irritating characters in the world of entertainment. Right up there with Pat. Kudos to young Lucas Cruikshank for finding a way to make money from being annoying at such a young age, but hopefully he'll decide to make something less irritating and more entertaining next time.
FRED 2: NIGHT OF THE LIVING FRED (NR) 80 minutes * 1/2
Life isn't looking all that wonderful for Fred. The new teacher just might be a vampire. And to make it worse, he lives next door and is dating Fred's mom. Hard to believe that this isn't as irritating as the first movie, but its true.
FRED 3: CAMP FRED (NR) 76 minutes * 1/2
Fred is looking forward to summer and the chance to attend the best summer camp ever. Summer does arrive, but Fred ends up at Camp Iwannapeepee... which is more like the worst camp ever. Then again, who knows what might happen at the camp challenge where Fred and his new friends will face off with the camp he wanted to go to. No real surprises, but the point is clear and Fred's quirkly sweetness is evident.
FREDDIE AS F.R.07 (PG) 87 minutes * * 1/2
British cartoon about a French prince who's been turned into a frog by his evil aunt. Now he's a secret agent. A bit scary for the younger crowd, but there's some really beautiful animation here. Lots of complex colors and interesting movement. The story is a bit weak, but if you want to see something different in animation, here it is.
FREDDY GOT FINGERED (R) 82 minutes BOMB
Gordon (Tom Green) is having trouble growing up... and we're having trouble finding much that's very funny in this crude and inane attempt at comedy. Self-indulgent trash from the mind of Tom Green. R for language and vulgar humor.
FREDDY VS. JASON (R) 90 minutes *
Fans of the "Nightmare on Elm Street" and "Friday the 13th" horror films waited a long time to see this. I hope some of them liked it. Freddy is tired of being forgotten, so he uses Jason to commit a few murders on Elm Street so that people will begin to remember and to dream once again. Of course there's no explanation of how Freddy could have reached Jason to begin with, but the idea is that Jason gets out of hand and Freddy has to deal with him. Unfortunately, it's all the same old scares and the battle between the two "stars" doesn't happen until the last half hour. It's no surprise that they're both still going to be around for a potential sequel, which leaves it up to the viewer to determine whether either one of them won this fight. R for violence, language, and nudity.
FREDDY'S DEAD: THE FINAL NIGHTMARE (R) 84 minutes 1/2
The end of Freddy Kreuger... at last. Even Robert Englund seems tired of the character in this film. This is really only of interest to those who feel they have to see the whole series. The last 10 minutes were originally shown in "Freddy Vision", also known as 3-D.
FREE BIRDS (PG) 84 minutes * *
Reggie (voiced by Owen Wilson) understands what happens on Thanksgiving, but none of his friends believe him. He thinks his luck may have changed when he is chosen as the pardoned turkey. But then he meets Jake (voiced by Woody Harrelson), and he soon finds himself on a secret mission to alter the course of history by travelling back in time to the very first Thanksgiving. There are some fun sequences here, but the chemistry between characters is thin and too much of the story just doesn't work all that well and the younger set this is directed at lose interest. PG for language and violence.
FREE FIRE (R) 86 minutes * *
Two gangs meet in a warehouse to do a gun deal. It doesn't go as planned. The high point of the film comes a little too soon, leaving us with a little too much time for everything to wind down. The cast is impressive, but the material doesn't give them very far to go. R for violence, language, and sex.
FREE GUY (PG-13) 101 minutes * * *
It's a day just like every other day for Guy (Ryan Reynolds). But then it's not. He realizes that things could actually change from their normal routine... and then they do. Guy is an NPC (non-player character) in a videogame, but he has become aware... and that's something very new. The film balances humor, social commentary, and romance using gaming and character creation character interaction as the frame. It mostly works well, though there are some distractions along the way. Very nice effects, and this is the sort of story that Reynolds feels very comfortable being part of. PG-13 for violence and language.
FREE MEN (NR) 94 minutes * * *
Younes (Tahar Rahim) is used to working on the other side of the law. It's difficult in German occupied Paris, and when he's arrested, his only way out is to agree to spy on the Mosque. Once there, he is soon inspired to do work that is even more dangerous. Captivating story, and an intense performance from Rahim keep us involved in this French drama about World War II.
FREE RIDE (R) 84 minutes 1/2
Looking for a joy ride, these teens end up stealing a car that has mob money in it. The mob is none too happy that their money is gone, but the teens decide to play it tough and try to keep the money. This just never manages to be very exciting or funny, and one of those really needed to happen.
FREE RIDE (2013) (NR) 82 minutes * * 1/2
Making a better life for your children. That's a mother's job. Or, at least that's how Christina (Anna Paquin) sees it. The trouble is that the only way she seems to be able to provide a better life is by being involved with the drug trade. The story runs its inevitable course, which is not all that interesting, despite the talented performance that Paquin delivers.
FREE SOLO (PG-13) 97 minutes * * * 1/2
Alex Honnold loves to climb. He's preparing for his latest challenge, to climb the 3,200 foot El Capitan in Yosemite National Park. Unlike most who climb it, Alex is planning to do it without a rope. This documentary is both a biography of Alex and an exploration of free solo climbing. Winner of an Oscar for Best Documentary Feature. PG-13 for language.
FREE STATE OF JONES (R) 133 minutes * * *
When Newton (Matthew McConaughey) decides to desert the Confederate Army, he does so because he doesn't agree with either side. He's quitting the war, not just an army. But when he discovers corruption in the local government, the idea of fighting for what you believe in takes on a new meeting, and Newton finds that he has a cause that makes a difference. More than a little romanticized, but McConaughey's appeal carries this nicely. R for violence.
FREE STYLE (PG) 91 minutes * *
Cale's (Corbin Bleu) dream is to make it to the pro circuit of motocross racing. His best friend wants to make it to, but he has other options and Cale doesn't. Bleu does a fair job here, but the subplots overly complicate what should have been a simple story. PG for language.
FREE THE NIPPLE (NR) 76 minutes * * 1/2
A movie that asks why there's a double-standard about baring your chest in public. There are some states that support that freedom, but most don't. A group of young women in New York City, where it's legal for women to be topless wherever men are allowed to, push the idea. And they discover that police will arrest women who go topless, even though they don't have the right to do so. Provocative documentary.
FREE WILLY (PG) 107 minutes * * 1/2
Great scenery in this wildlife/kids movie. The story is an old one, but the cast does a pretty good job of making it feel somewhat fresh. This one also managed to spawn more than its fair share of sequels, more due to overbearing marketing than anything else. PG for language.
FREE WILLY 2: THE ADVENTURE HOME (PG) 93 minutes * *
Formula sequel with familiar tugs on the heart. Beautiful scenery, and some nice music, "Childhood" by Michael Jackson and "Forever Young" sung by The Pretenders add particular spice to Basil Poledouris' soundtrack. Still, it's mostly the same old "boy and his whale" story that is pleasant enough, but not very memorable.
FREE WILLY 3: THE RESCUE (PG) 82 minutes * 1/2
If you haven't got the point of this series by now, you're the one who needs rescuing! Same ideas rehashed by much of the same cast in a similar story that leaves us wishing they wouldn't rescue Willy. But have no fear, now that Willy has had a baby, we're sure to have part four coming along soon. PG for violence.
FREE WILLY: ESCAPE FROM PIRATES COVE (PG) 84 minutes * *
A killer whale has become stranded in the small cove near the small and rather dilapidated old amusement park that Kirra's (Bindi Irwin) grandfather owns. This "sequel" rally has no relation to the others and is basically just a retelling of the same idea as the first, though more than a little less impressive in its structure. In other words, clearly made for video release. Irwin does a nice job in her first feature film role, but otherwise, this doesn't have much to offer. PG for violence.
FREEDOM (R) 88 minutes * *
The story of a family of slaves who escape from a Virginia plantation and make their way north using the underground railroad. It is also the story of their connection to John Newton, who wrote the hymn, "Amazing Grace". Not particularly well-written, often feeling forced and overly sentimental.
FREEDOM FIGHTERS: THE RAY (NR) 71 minutes * * 1/2
The Ray was a hero from an alternate universe. Transported to our world, he passes his power to an unsuspecting human. Ray Terrill (voiced by Russell Tovey) now has a new responsibility. He must train to become a superhero, and return to Earth X to fight the Axis forces who won World War II in their alternate universe. Works very well as an introduction to the character.
FREEDOM RIDERS (NR) 112 minutes * * *
Documentary history of the Freedom Riders, those people who rsiked their lives to see where segregation was still happening. They actually were not aware, at least as the rides began, that they would literally be risking their lives, or that their actions would leave such an indelible mark on history. Loaded with interviews and film footage from the 1960s.
FREEDOM WRITERS (PG-13) 117 minutes * * *
An idealistic young teacher, Erin Gruwell (Hilary Swank) moves to an inner city school where she feels she is needed. She doesn't seem to be able to get through to the students in her class until she asks them to write a journal. What she reads in the journals surprises her, and she finds herself caring more deeply than she thought possible. It's exactly what these students need... someone who truly cares and wants to understand who they are and what they are going through. Similar stories have been done before, but this is well-done in it's own right. It's an inspirational film with solid performances, adapted from the book, "Freedom Writer's Diary". PG-13 for language and violence.
FREEDOMLAND (R) 109 minutes * * *
Based on the book of the same title, this follows the course of events as Brenda Martin (Julianne Moore) reports that her car has been stolen and that her son is still in the back seat. Racial tensions run high because of her initial description of the carjacker and the location of the crime. Feelings are at the boiling point, but Detective Lorenzo Coucil (Samuel L. Jackson) keeps pushing. There's something Brenda isn't saying, and he knows it has to be the key to the whole case. Excellent story with great performances by everyone except Moore. She does a good job, but there are times when her performance is hard to believe. It's a difficult role, and she just misses the mark a bit. R for language and violence.
FREEHELD (PG-13) 97 minutes * * 1/2
Detective Hester (Julianne Moore) and her partner are in a legally registered relationship. But actually being able to get pension benefits is another matter. The cast does fine, but the script isn't all that strong. In particular, the early part of the film, which should help us connect with Hester and relate to her, hasn't accomplished that before the medical situation becomes the center of attention. A few more minutes of a more effective script could have drawn us farther into her experience and helped create more sympathy. PG-13 for language and sex.
FREEJACK (R) 103 minutes * 1/2
Driving in the 1991 Grand Prix, Alex (Emilio Estevez) is transported to 2009 an instant before his death so his body can be given to someone else. Preposterous scenario with an atrocious script and heavy-handed direction. Manages to waste the talents of Anthony Hopkins, Rene Russo, Mick Jagger, and several others.
FREELANCERS (R) 93 minutes * 1/2
Malo's (50 Cent) father was a police officer, and he wants to honor his father by being a great cop. But his father's old partner was, and still is, part of a group of bad cops, who quickly recruit Malo. There are some fair supporting roles, but 50 Cent doesn't carry this very well, though the script doesn't really help him very much. R for sex, violence, and language.
FREEZER (R) 80 minutes *
Waking up to find himself locked inside a meat freezer, Robert (Dylan McDermott) is trying to survive as well as convince his captors that he’s not the man they’re looking for. There are a few tense moments, but the twist isn’t much of a surprise, and by the time it arrives, we’re well past waiting for it. All of the performances here are pretty flat and lifeless. R for language and violence.
THE FRENCH CONNECTION (R) 104 minutes * * * *
One of William Friedkin's early films, this action-packed story of heroin being smuggled into New York City earned him an Oscar for best direction. It also earned four other Oscars and is famous for having one of the best car chase scenes ever filmed. This holds up very well against most action films that are much newer, which speaks well of Friedkin's sense of timing and suspense.
THE FRENCH DISPATCH (R) 103 minutes * * 1/2
A small, American newspaper publisher in France. Publication will now cease due to the unexpected death of its editor. There will be one final issue, featuring the re-publication of three articles. These three stories are played out for out viewing pleasure. Fans of Wes Anderson will love this. Others may not enjoy the heavy narration and abstract structure of the film. R for sex and language.
FRENCH EXIT (R) 106 minutes * * *
The money is gone. Frances (Michelle Pfeiffer) isn't even sure how it happened. She and her son Malcolm (Lucas Hedges) head to Paris, to stay in the unused apartment of a friend. Their story is an unusual one, for they are an unusual pair, but they do love each other. Some may find the ending less than satisfactory, but it fits the characters well. R for language.
FRENCH KISS (PG-13) 105 minutes * * * 1/2
Curl up on a couch with a cup of cocoa and the one you love and enjoy Meg Ryan and Kevin Kline in this romantic film that entertains and makes you feel good inside at the same time. Ryan and Kline work very well together and Lawrence Kasden's direction highlights the story in all the right places. James Newton Howard's soundtrack adds the finishing touches. PG-13 for language.
THE FRENCH LIEUTENANT’S WOMAN (R) 115 minutes * * *
While filming the story of a man who falls in love with one woman while being engaged to another, Anna (Meryl Streep) and Mike (Jeremy Irons) experience the same basic story in their own personal lives. The story is a little confusing at first with Streep and Irons playing the two roles, but it settles into a good rhythm fairly quickly. Adapted from the novel by John Fowles.
FREQUENCY (PG-13) 112 minutes * * *
Thanks to some major sunspot activity, John (Jim Caviezel) is about to talk to his father (Dennis Quaid) using his dad's old short wave radio... even though his father died 30 years ago. But through their interactions, they change their history, and it puts other people at risk. The story is quite interesting and works well, showing us how John is remembering both what was and what is now as different events change the timestream. Still, they don't dwell on it long enough to get confusing, keeping the story moving along and supporting it with good acting. There are a couple of unnecessary scenes at the very end, but otherwise it's quite nice. PG-13 for language and violence.
FRESH (R) 108 minutes * * *
Sean Nelson stars as Fresh, a "little G" in the hood who knows what he
wants... he wants to be "the man". This is great slice-of-life
material, though a bit strong for some people to take. Nelson is convincing and draws us into his world of drugs and violence where he is both criminal and hero, victim and survivor. It ends a bit awkwardly, but remains a powerful film. Filmed in the Tribeca area of New York.
FRESH HORSES (PG-13) 98 minutes * * 1/2
Matt Larkin (Andrew McCarthy) has lived a good, safe life. He's never taken many risks, although he's had his share of dreams. One day, at the urging of a friend, he goes to a house out in the country and ends up meeting Jewel (Molly Ringwald). He's drawn both by her vulnerability and by a certain toughness that lies within. It isn't logical and it won't be easy, but since when is love logical or easy? The direction is a bit weak at times and the script falters in a few spots as well, but McCarthy and Ringwald do some nice work here as well.
THE FRESHMAN (PG) 99 minutes * *
Starting his first year at film school, Clark Kellogg (Matthew Broderick) gets his belongings stolen and in a rather bizarre set of circumstances ends up befriending a rather unique individual who had a proposal for him to consider. Offbeat and a bit off target, though the performances by Broderick and Marlon Brando help quite a bit.
FRIDA (R) 116 minutes * * *
Biographical film about Frida Kahlo, the Mexican painter who not only painted from her heart, but showed us her pain as well. A life filled with pain from a tragic traffic accident when she was young, and with the struggles of a stormy relationship with fellow artist Diego Rivera. Artistic lives are often shaped by tragedy, and despite Frida's attempts to create something normal, she never succeeds, but the art she created touches our heart. Salma Hayek's performance is amazing and Alfred Molina, Geoffrey Rush, and Valeria Golino deliver strong performances as well. There are cameos by Antonio Banderas, Ashley Judd, Edward Norton, and composer Elliot Goldenthal. The dialogue is a little weak at times, but this still does a nice job of bringing an important life story to the screen. R for language and sex.
FRIDAY (R) 86 minutes * 1/2
It's a Friday and there's nothing to do, so let's sit on the porch, watch the neighbors, and cause a little trouble. Slice of black life that gives us the same message as always... don't use drugs or guns. Of course, if this film had lasted much longer, I might have been tempted to try at least one or the other...
FRIDAY AFTER NEXT (R) 80 minutes *
Craig and Day Day are working security at a small shopping center to earn a few dollars for the rent money they just lost to a Santa Claus thief. Not much besides that to the plot, and Ice Cube definitely looks like he's tired of making this series. At least it isn't very long... R for language.
FRIDAY NIGHT LIGHTS (PG-13) 111 minutes * * 1/2
High school football in Texas... hard-hitting and unforgiving, but character building and rewarding as well. Billy Bob Thornton portrays coach Gary Gaines of the Permian Panthers as they give their heart and hard-work to have a championship season. Based on H. G. Bissinger's book, this is a fairly standard sports film that chronicles the efforts of a team as it strives to win a championship against the odds. Nicely photographed and well-acted, but the story is still pretty much the same. PG-13 for violence and language.
FRIDAY THE 13th (2009) (R) 100 minutes * * 1/2
Retelling/modernization of the 1980 classic slasher horror film. Nicely done, keeping the spirit of the first film without being a shot-for-shot remake (which usually doesn't work anyway). Those who find themselves anywhere near the camp at Crystal Lake are in for some trouble. R for violence, sex, and language.
FRIDAY THE 13TH PART 5: A NEW BEGINNING (R) 88 minutes 1/2
Not one of the better entries in the series as Tommy (John Shepherd) wonders if Jason is responsible for the recent batch of murders happening in his neighborhood and how that could be possible if Jason is really dead. Of course, he isn't dead, and he'll be back again. R for violence, language, and nudity.
FRIDAY THE 13TH PART VI: JASON LIVES (R) 83 minutes *
After his trip to the asylum, Tommy (Thom Matthews) attempts to wreak revenge on the rotting corpse of Jason. While exhuming the body, a freak lightning bolt reanimates Jason, who once again begins to kill. Borrowing from both the Frankenstein and Dracula mythologies, this also is one of the more humorous entries in the series. It’s no surprise that it ends with Jason’s “death”, because we already know that it won’t be permanent.
FRIDAY THE 13TH PART VII: THE NEW BLOOD (R) 85 minutes 1/2
Starting with almost five minutes of footage from the earlier films, this doesn't manage to get off on the right foot from the start. (Hey, I have an idea. How about 85 minutes of clips from the films in this series and calling it "Friday the 13th: The pieces"!) Jason's fight this time is with a girl with telekinetic powers who caused the death of her own father at Crystal Lake. The two most interesting aspects here are the lack of graphic violence until the last fifteen minutes or so, and the face of Jason. No longer is it the face of a deformed human, but that of a monster who looks like he's been drowned, buried, and undergone various amounts of decay... except for his eyes...
FRIDAY THE 13TH PART VIII (R) 97 minutes *
Jason does Manhattan in this entry in the series. The screenpaly attempts to tie up some of the loose ends of the story from the last few films and only manages to succeed in a minor way. Definitely not one of the better entries in the series.
FRIDAY THE 13TH: THE FINAL CHAPTER (R) 88 minutes *
Jason rises from the dead and begins yet another rampage. Clearly moving from the category of psychopathic killer to that of a full-fledged monster, this entry in the series was far from the last. It’s also not one of the better ones. It’s very predictable and still functions a little too much on the premise that people who have sex are going to die. R for violence, sex, and language.
FRIED GREEN TOMATOES (PG-13) 126 minutes * * * 1/2
Adapted from Fannie Flagg's book, "Fried Green Tomatoes at the Whistle Stop Cafe", this is the story of young Idgie Threadgoode. She was a stubborn and contrary child who grew up in the south during the depression. It's a wonderful story of friendship, relationships, memories, and growing old. Kathy Bates, Jessica Tandy, and Mary Stuart Masterson lead the ensemble cast in a film you don't want to miss. PG-13 for language.
FRIEND REQUEST (R) 87 minutes * *
Laura (Alycia Debnam-Carey) was trying to be nice, so she accepted a friend request from Marina (Liesl Ahklers). When it starts to get a little creepy, she decides to unfriend her. That's when everything falls apart. There are some good, creepy moments, though the steady pace removes some of the strength. And the few cheap noice scares just don't work that well. The ending is good, but definitely not a surprise. R for violence and language.
FRIENDS AND STRANGERS (NR) 81 minutes * *
Or, random happenings and conversations. A couple of Australian millenials deal with their respective romantic break-ups by drifting through life to avoid dealing with reality. It's definitely an unusual piece, and not a film most people will enjoy.
FRIENDS WITH BENEFITS (R) 103 minutes * * *
Another in the sub-genre of romantic comedies where two people try not to be in a relationship but end up there anyway. Fun supporting roles for Woody Harrelson, Patricia Clarkson, Richard Jenkins, and Jenna Elfman, that probably do more for the film than Justin Timberlake and Mila Kunis do. They're a somewhat unlikely pair, though it works well thanks to the rest of the cast. R for violence, sex, and language.
FRIENDS WITH KIDS (R) 103 minutes * * 1/2
Since having kids often seems to have a negative effect on the romance in a relationship, Julie (Jennifer Westfeldt) and Jason (Adam Scott) decide to have a child together, not because they are in love, but because they both would like to have a child. It's a great cast and a fun script, right up until the very end, which is marred by being both crude and abrupt. It undercuts the strong mix of romantic reality that's been in the rest of the film, and leaves us very unsatisfied. R for sex and language.
FRIENDS WITH MONEY (R) 84 minutes * * 1/2
Olivia's (Jennifer Aniston) friends are all married and doing well financially. OK, so some of them are having a little trouble with their marriages... But they all think Olivia needs to do a better job of handling life at her age. Quitting a well-paying job and becoming a maid and still hung up on a brief affair with a married man is just not what they envision for their friend. Perhaps things will turn out alright for Olivia, perhaps they won't. Maybe they should wonder why they are trying to fix her life instead of their own... Interesting, introspective piece, though it does tend to shy away from any real depth for the characters. Nice performances from Aniston, Joan Cusack, Frances McDormand, and Catherine Keener, who would have all benefited from a script that let them take their characters a bit farther. R for language and sex.
FRIENDSGIVING (R) 92 minutes * *
Abby (Kat Dennings) just wanted to have Thanksgiving dinner with her sister Molly (Malin Akerman). And no one else. Now, it seems like everyone they know is coming over. How can this work? The answer is that it doesn't always work. The script does have some clever moments, as well as some that are funny, crude, emotional, and sentimental. It doesn't ever really stay in one place for very long. R for sex and language.
THE FRIENDSHIP GAME (NR) 82 minutes *
Several friends discover an unusual object that holds the key to putting your friendship to the test. You must share your deepest, darkest secret. If you don't, the results are lethal. There are some good effects, but they are repeated too often, and the story just doesn't go anywhere.
FRIGHT NIGHT (R) 102 minutes * * *
Watching old horror movies is one of Charley's (William Ragsdale) favorite things to do. But it seems that there may be a real-life version of a horror movie who has moved in next door. But how can Charley get anyone to believe that a vampire is now living in their neighborhood? Wonderful blend of humor and horror. R for violence, sex, and language.
FRIGHT NIGHT (2011) (R) 98 minutes * *
Remake of the 1985 horror classic in which a boy suspects that the new neighbor that just moved in is a vampire, but no one will believe him. Colin Farrell is good here, but Susan Sarandon was much more effective as the vampire in the original. A good deal of that has to do with the sexual tension that was there in the first film. That still could have been there with Farrell, but it wasn't. It also allowed for more humor in the first film, which is missing here. R for violence, language, and sex.
FRIGHT NIGHT 2: NEW BLOOD (R) 96 minutes * *
Follow-up to the 2011 remake offers another of Charley's (Will Payne) adventures with vampires. This is not a remake of the earlier sequel, but a reasonably good, stand-alone film with Charley in Romania on a student exchange program. R for violence, sex, and language.
THE FRIGHTENERS (R) 105 minutes * * *
Frank Bannister (Michael J. Fox) can see spirits and uses it to his advantage to make a little money on the side. But lately he's been seeing the soul collector... who doesn't want to be seen. Rather a strange little film, especially adding in Danny Elfman's soundtrack, that comes off like a mix of "Ghostbusters" and "Flatliners". More of either style would have helped. Instead, we go right between and have a mix of comedy and suspense that throws us off balance a few times. Still, it's pretty good and definitely worth a look for those who enjoy
lightly spooky films. R for language and violence.
THE FRINGE DWELLERS (PG) 96 minutes * * *
A slice of the life of an affluent aboriginal family in Australia. The struggle not only with moving from the fringe into the mainstream of society, but with why that seems important. Does a nice job of shedding light on a number of prejudices and biases. Beautiful Australian scenery.
FROM ABOVE (PG) 107 minutes * * *
The love story of William (Danny Glover) and Venus (Chelsea Ricketts) is told through lengthy flashbacks as he mourns her loss. It's a magical, beautiful, and romantic story about life and love. Well-told and well-actied by the whole ensemble, though it lingers on some points a little too long. PG for language.
FROM BLACK (NR) 97 minutes * *
She has always felt responsible for the disappearance of her son. Cora (Anna Camp) has also blamed her drug addiction for what happened. Now, with the help of Abel (John Ales), she has a chance to go back and find out what really happened. A chance to see her son again. But at what cost? Great soundtrack, though the story gets a little confusing.
FROM DUSK TILL DAWN (R) 99 minutes * * 1/2
Violent film with loads of bikers, vampires, and special effects. Director Robert Rodriguez showed more creativity in "El Mariachi", and Quentin Tarantino has fared better as well. George Clooney and Juliette Lewis fare the best, but it's fun to watch Cheech Marin and Tom Savini in the supporting cast. With the touches of "Natural Born Killers" and "Pulp Fiction" you find here, this is what could be called an alternative horror film.
FROM FRIEND TO FIANCE (NR) 77 minutes * * 1/2
Ted (Ryan Paevey) and Jess (Jocelyn Hudon) have been friends since childhood. Now she's planning his wedding... to someone else. It's not going to be easy, especially since she's actually still in love with him. Events are going to get worse (ie. awkward) before they get better. Really cute and charming performance from Hudon.
FROM HELL (R) 115 minutes * * *
The Hughes brothers directed this absorbing foray into the depths of the dark side of London when Jack the Ripper was terrorizing the locals. The atmosphere is perfectly mysterious and dark and Johnny Depp plays the inspector quite well. The fact that his clues for the case seem to mostly come from visions while he's on opium seem both far-fetched and inaccurate. Noticing details that others had missed or coming up with ideas that others hadn't thought of would have been a better approach. Still, the story is interesting and convincing as fact, though it is based on a graphic novel. R for violence and sex.
FROM HELL TO THE WILD WEST (NR) 74 minutes 1/2
On the American frontier, people go missing on a regular basis. It's a prime location for a psychotic killer. Perhaps even a place for Jack the ripper to continue his "work". The scenes in the wild west look very fake, and the acting and editing are very poor. The idea is mildly intresting, but this drags so much that we just want it to be over. Writer/director Rene Perez also served as producer, cinematographer, and editor.
#FROM JENNIFER (NR) 78 minutes BOMB
Jennifer (Danielle Taddei) just lost her acting job to an acting classmate who has a bubbly and energetic internet presence. So, she tries to create one of her own that is just as exciting and popular. It doesn't go very well. Neither does the film. Especially since there is so much point-of-view filming, and most of it doesn't look accurate for where the camera is supposed to be.
FROM JUSTIN TO KELLY (PG) 77 minutes 1/2
Frankie and Annette they are not! Despite efforts to make this spring break, musical love story into something entertaining, it remains full of shallow characters doing a bad job of dancing. Justin Guarini and Kelly Clarkson do a nice job singing, but that's probably why they won on "American Idol". The production looks very much like it was thrown together (which it was) to capitalize on Justin and Kelly's momentary name recognition before it fades away. PG for language.
FROM MEXICO WITH LOVE (PG-13) 92 minutes * * 1/2
Laredo, Texas is just a few miles from the Mexican border. Hector (Kuno Becker) works on a ranch, but needs to make more money. What he knows how to do best is fight. Even that may be taken away after he gets in a fight with the son of the ranch's owner. Reasonably good drama, but not particularly memorable. PG-13 for violence and language.
FROM PARIS WITH LOVE (R) 88 minutes * * *
Reece (Jonathan Rhys Meyers) really wants to get the promotion that would let him become a secret agent. An assignment comes his way that just might make it happen... if he can just survive being around Charlie Wax (John Travolta) long enough. Wax's method are a bit unorthodox and flamboyant, but they seem to work. He's latest job is to shut down a drug operation, and Reece is going to learn quite a bit over the next few days. Travolta in particular seems to have had a great deal of fun with this Luc Besson story that pays homage to "Pulp Fiction" a least a couple of times. There's plenty of action here, with humor throughout and just a touch of romance. Nice work! R for violence and language.
FROM PRADA TO NADA (PG-13) 101 minutes * * 1/2
When their father dies unexpectedly, these sisters are left with nothing. No more fancy house or shopping sprees... they're moving to east L.A. to live with their aunt. There's lots of fluff in this modernization of "Sense and Sensibility", but a nice, serious performance by Camilla Belle at the center that gives it a focal point. PG-13 for language and sex.
FROM THE DARK (NR) 87 minutes * 1/2
A wrong turn leaves this couple stranded in the country, with a creature that can't stand light on the prowl. A strange sort of vampire story, with creatures that are more like animals despite their human appearance. Unfortunately, they're actually very easy to stop, as any extended exposure to light turns them to dust. That tends to undermine how scary they are.
FROM THE HIP (PG) 108 minutes * * * ½
“Stormy” Weathers (Judd Nelson) has been interested in law since a very young age. Now that’s he’s actually a lawyer, he’s determined to get to the top. Even if that means using some unconventional tactics. Nelson is very good here, and so is Elizabeth Perkins. This is a very under-rated comedy with fun story and a great cast. PG for language.
FROM THE LAND OF THE MOON (R) 116 minutes * * * 1/2
A free-sporoted and passionate young woman, Gabrielle (Marion Cotillard) seems to her parents to be almost "mad". She is given a choice, and takes that of marrying a man for whom she has no love. She finds love when she least expects it, at a spa where she is undergoing treatment for kidney stones. In finding that love, she finds much more than she realizes. Beautifully filmed and directed, this adaptation of the novel by Milena Agus is a wonderful showcase for the acting talents of Cotillard. R for sex.
FROM THE ROUGH (PG) 92 minutes * * *
When Tennessee State University finally does decide to start a golf program, they don't really give it much support. But to Coach Starks (Taraji P. Henson), an opportunity is all that is needed. Based on the life of the real Coach Starks and her experiences at TSU, this gets some solid support from a fine ensemble cast. PG for language.
FROM UP ON POPPY HILL (PG) 89 minutes * * *
With the 1964 Tokyo Olympics just around the corner, preparations must be made. When that appears to include the demolition of their clubhouse, a group of teens have to decide what they can do to save it. Very touching story with beautiful animation and lovely music. PG for language.
FRONT OF THE CLASS (PG) 96 minutes * * 1/2
Inspirational drama, telling the story of Brad Cohen (James Wolk) as he follows his dream to become a teacher. Having Tourette's Syndrome makes achieving that dream a challenge, but Brad refuses to give up. It's a heart-warming story with Wolk doing a great job. There are also several nice supporting roles from the youngest members of the cast.
THE FRONT RUNNER (R) 105 minutes * * 1/2
Everything looks great. Gary Hart (Hugh Jackman) is on his way to becoming the president of the United States. But when he invites the press to follow his daily life in an attempt to be more approachable and open, photos of a compromising nature appear. A fairly dry recounting of the events of Hart's campaign and what happened when the photos appeared. R for language.
FRONTERA (PG-13) 97 minutes * * *
Crossing the border between Mexico and the United States is dangerous. When some teens shoot at Miguel (Michael Pena) and his companion, the wife of the rancher who owns the land ends up getting killed. Communication difficulties and prejudice will make it very difficult to uncover the truth, despite how simple it is. Gritty and unflinching, though there are some soft edges, and the ending is much more gentle than the rest of the film.
FRONTIER(S) (NR) 100 minutes * 1/2
They're on the run, but these thieves are going to stumble into something much worse than they dreamed possible. As it turns out, the inn where they decide to take refuge is run by violent neo-nazis. Lots of gruesome effects, but many of them are in the dark.
FRONTRUNNERS (NR) 78 minutes * * 1/2
Stuyvesant High School in New York City is one of the most competitive high schools in the United States. This documentary follows the student council election process for one year. Campaign strategies, debates, popularity, and much more are all a part of the process. It's an interesting look at how some of the brightest young people are competing to lead, and getting ready for the future.
FROST/NIXON (R) 116 minutes * * *
David Frost's (Michael Sheen) interview show had just been cancelled in the United States. He was working in Australia when Nixon resigned the presidency and he had this idea about doing an interview. As sponsor after sponsor fell through, Frost had to rely on a few friends and emptying his own bank account to pay for an interview that would become one of the best known and important political interviews of all time. Frank Langella's performance of Nixon is one of the best of his career. Peter Morgan adapted his play to the big screen with very nice results, making this political drama well worth watching. R for language.
FROZEN (R) 88 minutes *
Three friends out skiing for the weekend. Just one last trip down the hill. But when the lift operator shuts down the lift for the weekend, they're going to get awfully cold. Three people in one small location for this long gets tiresome rather quickly. Especially when they can't act that well. Filmed in Utah. R for language and violence.
FROZEN (2013) (PG) 93 minutes * * * 1/2
The story is an adaptation of Hans Christian Andersen's "Snow Queen", with the usual Disney flair for making some adjustments. They tend to work well, and the music is outstanding, with each song a little better than the one before it. Several of the songs are Oscar worthy, and "Let it Go" lands on top, with both a nomination and a win. The animation is quite good as well, which helped the film to earn its Oscar for Best Animated Feature. What's missing though is a stronger finish, both to the story, and definitely as far as the music, both of which tend to just drop off as the film ends. Wonderful vocal work by Kristen Bell and Idina Menzel. PG for violence and language.
THE FROZEN GROUND (R) 100 minutes * * *
When a serial killer's latest intended victim gets away, his carefully manufactured system slowly begins to unravel. Based on actual events, the story has a great deal of suspense toward the end. The pace and tension are more uneven early in the film, and it doesn't draw us in quite as quickly as similar films. R for violence, sex, and language.
FROZEN IN LOVE (NR) 83 minutes * * 1/2
His hockey career has hit a rough spot. Her bookstore isn't doing well. Adam (Niall Matter) and Mary (Rachel Leigh Cook) are going to work together to change their images and get more support for a fresh start. Nice chemistry between the leads.
FROZEN RIVER (R) 93 minutes * * *
An uneasy alliance between Ray (Melissa Leo), a woman whose husband has left her and who is now running out of money, and Lila (Misty Upham), a young Mohawk woman who is smuggling people across the border to make money for her own reasons. The river crossing is only one of the dangers they are risking, but they both feel that there's no other choice available. Great acting by both Leo and Upham, who deliver performances that quickly draw us in to the frustrations and sense of hopelessness that their characters are feeling. R for language.
FROZEN II (PG) 91 minutes * * * 1/2
Elsa (voiced by Idina Menzel) is hearing a mysterious voice. In addition, it has become clear that something in Arendelle is out of balance. She sets out with Anna (voiced by Kristen Bell) and her other friends to find the source of her power and to put things right. Another marveouls, animated musical from Disney, though this does rely heavily on the first film. The detail animation work is particularly impressive. Idina Menzel and Kristen Bell again deliver amazing vocal performances. PG for violence.
THE FRUIT HUNTERS (NR) 91 minutes * * 1/2
Adapted frm the book of the same name, this documentary makes you wish you could taste what you're watching. (And I'm not an afficionado of fruit!) Filled with facs about fruits and those who grow them and those who search long and hard to find some of the more elusive and tasty ones. Both beautiful and informative.
FRUITVALE STATION (R) 80 minutes * * 1/2
Oscar (Michael B. Jordan) had his share of problems, but he was working on it and making progress. All of that ended on New Year's Eve in 2008, when a fight broke out on the Bay Area Rapid Transit train, and the transit officers responded. Based on the actual incident. Very nice work by Jordan, with the only real problem here being that some of the subplots seem more like needless filler material when what we want to see is more of Oscar's life. R for violence and language.
THE FUGITIVE (PG-13) 124 minutes * * * 1/2
Dr. Richard Kimble (Harrison Ford) has been accused of murdering his wife, is found guilty, sentenced to die, and is on his way to prison when there is an accident. Now he's free and on the run... trying to find the one-armed man he believes is responsible for the murder. Great suspense, though the ending is lacking a little bit of the power it needed. There are some differences here from the old TV series, but the heart is there, and it makes for a great ride. PG-13 for violence and language.
FULL COUNT (R) 86 minutes * *
Five young men during their last summer at home before college. They have been known as the "dream team", but all is not right and good in this small town. The story seems to have more than it's share of loose ends, and looks like a project that was put together without a great deal of time, money, or effort. The acting is still reasonably good, but you don't feel like you've watched anything when it's over. R for language.
FULL COUNT (2019) (NR) 107 minutes * 1/2
His chance at a place in the big leagues is beginning to look very real for Milton (John Paul Kakos). But when his father suddenyl dies, he's compelled to head back home to the town he hoped to escape. Once there, the bad news just keeps coming. The appearance of a mysterious man will end up turning his life around and setting everything right again. The story seems very rushed early on, and then begins to drag. Good production values, but mediocre acting.
FULL FATHOM FIVE (PG) 76 minutes BOMB
Not only is this film incredibly predictable, but the performances are wooden and the dialogue sounds as if it's being read by people who just learned how to speak English. The special effects are obviously cheap and the stock footage used from older films is clearly recognizable. The grainy film quality doesn't help matters much. What little there is of a story is about the days before the United States is planning to invade Panama. Some people from Panama steal a Russian submarine which is then taken over by Cubans who manage to mess things up and get blown up by the Americans. There are a couple of minutes worth of good music in the film, but after they've been played over and over for an hour, they no longer sound very interesting. Don't say I didn't warn you!
FULL METAL JACKET (R) 112 minutes * * * 1/2
Based on the novel "The Short-Timers" by Gustav Hasford, this follows a group of young men through their training and out onto the field of battle. The "phony tough and the crazy brave" find themselves changed as they encounter the intensity of war. Impressive sets and a more straightforward script than director Stanley Kubrick often uses make this a memorable entry in the war film genre.
THE FULL MONTY (R) 86 minutes * * *
It's 25 years after the steel industry was supposed to make Sheffield into the city of the future. It's hard to find a job, and a few of the neighborhood guys are looking into starting a male dance revue. Charming and funny, and guaranteed to make you smile! Wonderful acting and characters that you will remember for quite awhile. This is a fresh new film, the likes of which are hard to find. R for nudity and language.
FULL OUT (NR) 90 minutes * *
Ariana Berlin (Ana Golja) had a promising career as a gymnast ahead of her, until s tragic accident crushed her hopes. But she was determined to do exactly what everyone told her was out of reach. Although based on a true story, this seems a little overly predictable and simplistic in its presentation. The ending is more emotional, but also more polished and effective.
FULLMETAL ALCHEMIST: THE CONQUEROR OF SHAMBALLA (PG-13) 101 minutes * * 1/2
Elric, the fullmetal alchemist, has entered an alternate reality on the other side of a mystical gate. He befriends people who resemble those on his side of the gate, and learns that there are those who want to breach the gate and conquer his own world. Stopping them will be a challenge because his powers of alchemy aren't working on this side. Primarily for fans of the anime and manga series. PG-13 for violence and nudity.
FULLMETAL ALCHEMIST: THE SACRED STAR OF MILOS (NR) 107 minutes * * 1/2
The Elric brothers run into an alchemist with abilities they've never seen before. Attempting to apprehend him leads them to a rebellion that is just beginning, and a beautiful young alchemist who is trying to harness the power of the Philosopher's Stone. Good entry in the series.
FUN SIZE (PG-13) 80 minutes * *
Wren (Victoria Justice) is supposed to watch her brother, but when he gets lost among all of the trick-or-treaters on Halloween, its up to her and her friends to find him before Wren's mother finds out that he's missing. Predictable, but cute in spots. Supporting performances are very uneven here, with some quite good while others are rather boring. PG-13 for language.
FUN WITH DICK AND JANE (PG-13) 84 minutes * 1/2
Based on the 1977 film, which wasn't really all that good either, this follows the lives of Dick and Jane as Dick gets promoted to vice-president of a company to be the scapegoat for the company's failure. Jane already quit her job, so they turn to a life of crime to support their upper-class lifestyle. Jim Carrey returns to his patented slapstick sort of physical humor here, and it doesn't do much for the film. PG-13 for language and violence.
FUNGUS THE BOOGEYMAN (PG) 150 minutes * *
Raymond Briggs' book comes to life in this TV adaptation of his book. It's a fun story of a world underneath that of our own, where ogre-like boogeymen live in a way that is disgusting to us, but normal to them. Unfortunately, the animation is not particularly good and the story drags on far too long. Briggs' book also may have been the inspiration for the "Shrek" films, though there is no official connection. PG for language.
FUNHOUSE (NR) 99 minutes * 1/2
It's a new reality show. Featuring eight celebrities, this online reality show works much like other reality shows that slowly eliminate contenstants. The main difference here being that they are truly eliminated. There is some interesting social commentary here, but the story is lopsided in favor of violence it would have gotten much farther by emphasizing the other aspects of the story.
FUNNY ABOUT LOVE (PG-13) 98 minutes * * 1/2
Duffy (Gene Wilder) finds himself falling in love... again. But he doesn't really want to, or does he? That's the funny thing about love. Well, OK, that's ONE of the funny things about love. Duffy and his wife are having trouble with conceiving a child. He ends up getting involved with a younger woman and things start getting all tied up in knots. Wilder is very good here, but the material lacks originality. It's entertaining, but not something that will stick with you for long. PG-13 for language.
FUNNY FARM (PG-13) 100 minutes 1/2
Chevy Chase heads to the country, and discovers that it isn't as peaceful as he'd thought. Disappointingly unfunny, rather uninteresting, and far down on the list of Chase's films to watch.
FUNNY GAMES (R) 148 minutes * *
Naomi Watts and Tim Roth are held captive in their home by a couple of preppy, but psychotic young men. It's creepy at times, but these killers are almost too nonchalant. There's also a "rewind" segment at the end and a couple of times when the killers make comments to the camera that break the tension and ruin much of the potential effect of the film. R for violence and language.
FUNNY MONEY (R) 93 minutes *
He picks up the wrong briefcase and it's full of money. Now the bad guys and the cops are after him, and his friends and relatives aren't helping matters either. Silly and forgettable adaptation of the play by Ray Cooney. Not particularly well adapted to the screen. Chase does fairly well here, and Kevin Sussman if fairly good too. The rest of the cast seem to be wondering how they ended up doing this. R for language.
FUNNY PEOPLE (R) 140 minutes * *
Diagnosed with a rare form of leukemia, George (Adam Sandler) tells no one except Ira (Seth Rogen), a struggling comedian he hires to write some jokes for him. Ira becomes not only a writer, but a friend and caretaker as well. The biggest difficulty here is that when well-known comedians play dramatic parts, the audience is always waiting for the punch line. When you add to that Sandler's characteristic smirk and the cast that features a number of other comedians as well, we have difficulty with the story, which does drop in bits of humor throughout. There are some very good moments here, but not enough to sustain a film that runs over two hours. R for language and sex.
FUNNY THING ABOUT LOVE (PG) 89 minutes * *
Heading back home for the holidyas, Samantha (Summer Bellessa) is surprised to find her old boyfriend has been invited to the gathering. Especially since she brought her new boyfriend along. It's pretty clear that the family approves more of the first boyfriend than of this new one. But has that relationship already run its course? Samantha must decide what it is that she really wants. PG for language.
FUR (R) 116 minutes * * *
Interesting pseudo-biographical film about photographer Diane Arbus and her unusual journey to becoming a photographer. Adapted from the biography by Patricia Bosworth, the film chooses to dwell on one particular unusual person whom Diane befriends. Through this friendship we see her artistic temperment and skills begin to blossom as she sees the unique beauty that lies within, and finds ways for the camera to show that beauty to others. It may not have been the best approach to the story, or the most effective, but it does work, thanks to fine performances by both Nicole Kidman and Robert Downey Jr. and to some quality camera work by Bill Pope. R for sex and language.
FURLOUGH (R) 79 minutes * * 1/2
Granted a 36-hour pass to see her dying mother, inmate Joan Anderson (Melissa Leo) is proving to be more than a handful for rookie corrections officer Stevens (Tessa Thompson). Cute story, well-carried by Leo with very nice support from Thompson. R for language.
FURNACE (NR) 81 minutes * 1/2
Blackgate prison harbors a dark secret. For centuries, the land it is built on has seen many die, and most of them from causes that defy explanation. There are some good effects here, and some chilling moments, but the story and effects are also repititious, which lessens their effect as the film moves along.
THE FURNACE (2020) (NR) 113 minutes * * *
Hanif (Ahmed Malek) needs help to survive the outback. He falls in with a man who has stolen gold he is moving to a friend who can melt it in a furnace and make it easier to sell. It's a dangerous alliance, but Hanif has few options at the moment. A story about a lesser known part of Australian history. Fine work by Makek.
FURRY VENGEANCE (PG) 84 minutes *
Dan (Brendan Fraser) is spending a year onsite in a new housing development. The family isn't all that thrilled about it, but the local wildlife are even more concerned. And they're going to let Dan know just how they feel. More than a little corny, but clearly the type of role that Brendan Fraser seems to get typecast into playing. A few funnny bits aimed mostly at the under-8 age group are about all this has going for it. PG for cartoonish violence and language.
FURY (R) 126 minutes * * * 1/2
In the heart of Germany, late in the second World War, there is still resistance to the Allied forces that are moving in. Not all of the Germans are ready to give up. And their tanks are better than those of the Allies. A gritty and violent war film, but it does a very good job of capturing the difficult choices, frustration, and comraderie of those who served in this capacity. R for violence and language.
THE FUTURE (R) 85 minutes * * 1/2
Sophie (Miranda July) and Jason (Hamish Linklater) are about to adopt a cat. What will it mean to be responsible for the life of another? And what should they do until that burden of responsibility occurs? Quirky, philosophical, and charming at times, but also seems to enjoy being unusual without much purpose as well. R for sex.
THE FUTURE (2013) (R) 95 minutes * *
When Bianca's (Manueal Martelli) parents are killed in a car accident, she is left to care for her brother. Two of his friends from the gym have an idea about how they cal all make some money, which would help make life easier. Although this is clearly Bianca's story, we never really get to the point of understanding who she is. Her brother seems to struggle with this as well. While the story is lacking in the depth it needs to help us understand more, artistically it is an interesting piece. R for sex.
THE FUTURE OF FOOD (NR) 86 minutes * * *
If you've ever wondered why organic food might be important, what's wrong with using pesticides, or what it means for foods to be genetically modified, this is the documentary you need to see. Hard-hitting and well-documented, the information presented here may well change the way you think about the food you buy and what it means to exercise your democratic right to have a say in the way corporations operate and how much control they have over your life. Especially frightening to see how many people in high level positions in the US government are directly connected to Monsanto... Not rated, but suitable for all ages.
THE FUTURE OF WORK AND DEATH (NR) 89 minutes * * *
Technology continues to advance by leaps rather than steps. The future of humanity has moved from unimaginable to whatever can be imagined. A thought-provoking and fascinating look at what lies ahead for how we live, work, and relate to each other and the world around us.
FUTURE WORLD (R) 83 minutes * 1/2
In the wake of tremendous technological developments, especially in the area of artificial intelligence, war is inevitable. As it turns out, the synthetics actually wanted to live more than the humans, who seemed bent on self-destruction. A ruthless warlord (James Franco) has captured the last synthetic. To him, she is nothing more than a toy and a weapon. Ash (Suki Waterhouse) plans to be much more than that. Some of the sub-plots here really only serve to clutter a story that could have been stronger without them. Instead, this quickly becomes just another post-apocalyptic wasteland story, with an over-played performance by Franco. Waterhouse manages to do well, but that's about it. R for violence, sex, and language.
F/X (R) 101 minutes * *
Hired to fake a mob killing that will help the witness protection program work better, Rollie (Bryan Brown) finds himself drawn into something much more dangerous than he anticipated. While it's nice to have some of the effects explained, it tends to drag the pace of the story, which already struggles with having too few interesting aspects. R for violence and language.
F/X 2 (PG-13) 101 minutes * * *
Although this relies heavily on your having seen the first film, it's a nice treat for those who have. Bryan Brown and Brian Dennehy are together again, battling bad cops, mobsters, and other assorted villains in this action-packed sequel. The special effects are first-rate, although they don't explain them as much as they did in the first film. PG-13 for violence and nudity.