G-FORCE (PG) 82 minutes * * 1/2 They aren't just ordinary guinea pigs, they are part of a specially trained team, capable of far more than you might imagine. When part of their mission doesn't come off as planned, they end up in a pet store and will need to get some help from a few "less-experienced" animals to complete their mission. Nice voice work and animation. The story isn't much to speak of, but this is about the characters, which definitely have quite a bit of personality. Too bad we don't get to see more of the mice... PG for violence and language.
G-LOC (PG-13) 89 minutes * * 1/2 The Earth is becoming unbearably cold. It is not a place where humans can live comfortably anymore. Bran (Stephen Moyer) decides to try and make the trip to Rhea. The planet was colonized some time ago, and while not a perfect place, he feels it must be better than Earth. There's plenty of good story here. There are a handful of issues around editing and logic, but it's interesting, and it keeps us wanting to know more. The low budget presents a few difficulties, especially around sets, props, and costumes, but this still manages to fare pretty well. PG-13 for violence and language.
THE GABBY DOUGLAS STORY (NR) 85 minutes * * 1/2 Inspirational story of the young woman who became the first US gymnast to win both individual and team gold medals in the same olympics. Nice to see actual footage of Douglas' work included in the film.
GABRIEL (NR) 110 minutes * 1/2 The battle for purgatory is about to be won by the dark side. Gabriel (Andy Whitfield) is the last of the seven angels who may be able to stop that from happening. Dark and violent, but also much more atmosphere than substance.
GABRIELLE (R) 98 minutes * * * Gaby (Gabrielle Marion-Rivard) longs for independence, and now that she's in love with Martin (Alexandre Landry), it's only gotten worse. A sweet story, not without some very realistic bitter and sad moments as Gaby deals with the challenges she faces every day in a world that constantly expects more than she is able to deal with. R for sex.
THE GAELIC KING (NR) 84 minutes * 1/2 The war between the Gaels and the Picts seemed to know no end. Even a proposed marriage of royal blood saw only treachery as a result. A low budget sword and sorcery film. The story isn't bad, and a couple of the performances show some promise, but this doesn't have much else to offer and the production values just aren't very good. It does manage to end reasonably well.
THE GALAPAGOS AFFAIR: SATAN CAME TO EDEN (NR) 118 minutes * * * Floreana, one of the Galapagos Islands, was an untamed wilderness. A paradise to some, but a challenge as well. Its remote location would seem to make it an ideal place to escape from the world... but maybe not when other people have the same idea. Conflicts soon arise, and then two people disappear. The film successfully details the lives of those on Floreana at the time, and the mystery of the disappearance, while including natural history and how life is on the island in present day.
GALAXINA (R) 80 minutes * * ½ Galaxina (Dorothy Stratten) and her crew thought they were going to get a vacation, but it looks like they have another mission to complete first. Tongue-in-cheek space adventure that is definitely more for those who enjoy low-budget science fiction. There are definitely elements from 1950’s science fiction films, but also biker films, beach films, and westerns. Also of note for being one of the few films Stratten made. R for violence, sex, and language.
GALAXYQUEST (PG) 96 minutes * * * While at a convention celebrating their television show "Galaxyquest", the cast of the show are contacted by aliens who view them as real space heroes. It's a light-hearted spoof of "Star Trek" that succeeds on almost every level. The cast is terrific, with Tim Allen, Alan Rickman, Sigourney Weaver, and Tony Shaloub doing parodies of the classic characters we know so well. It's also pleasant to see a comedy that doesn't take things to the extreme, but tries to have a story that will keep us interested along the way. Those who don't enjoy "Star Trek" will probably find it a bit silly, but for most of us, it's a treat! PG for violence.
GALLIPOLI (PG) 105 minutes * ½ Two athletes from Australia find themselves in the middle of the Gallipoli campaign during World War I. It was a brutal part of the war. The first half of the film is spent on developing the two main characters, but it feels like a great deal of time was wasted that could have been spent dealing with the war and developing some of the supporting characters a little more. Not one of director Peter Weir’s better efforts. PG for violence, language, and sex.
THE GALLOWS (R) 76 minutes * 1/2 In an attempt to honor those who were killed in an accident during a school plays years before, current students decide to perform the play again. Bad idea. Mostly filmed in a first-person style, with dialogue that barely gives us a break. Annoying at best, and the perspective doesn't really add anything to the story. The budget clearly was not very large as almost all of the action takes place inside a high school theater where an angry spirit takes revenge on some students. R for violence.
GALLOWS ROAD (NR) 100 minutes * 1/2 When Bob's (Ernie Hudson) wife and children are killed in a fire, the men responsible are not punished. The sheriff covers it up since the guilty people happen to be his relatives. But God's justice will set things right. Predictable, family-oriented, religious drama.
GALLOWWALKERS (R) 87 minutes * 1/2 Aman (Wesley Snipes) is living under a curse... everyone he kills, comes back from the dead. Enlisting the help of Fbulos (Riley Smith), he hopes to fight off the undead who are pursuing him and perhaps break the curse. Part western, part horror, and lots of poturing and over-acting. Lots of style, but not much substance, and way too much narration. Filmed in Namibia. R for violence, language and nudity.
GALVESTON (NR) 88 minutes * * 1/2 Roy (Ben Foster) is dying. He's determined to settle the score with a few people first. What he didn't count on was meeting Rocky (Elle Fanning). She's just trying to survive, but more than just a wrinkle in his plans, she's begun to make him wonder about a few things. Great work by Foster and Fanning, but Nic Pizzolatto's script, adapted from his novel, has trimmed a bit too much out of some of the subplots.
THE GAMBLER (R) 106 minutes * * Jim (Mark Wahlberg) is an english professor by day and a high-stakes gambler by night. He's beginning to have trouble with both of those for different reasons. Based on the 1974 film of the same title that featured James Caan, this is a pale imitation. The supporting roles are good, but Wahlberg never really seems to fit in the role all the way. R for language and sex.
THE GAMBLER, THE GIRL, AND THE GUNSLINGER (NR) 86 minutes * * Losing half of his ranch to a slick gambler wasn't exactly what B.J. (James Tupper) had in mind. But now Shea (Dean Cain) is interested in Liz (Allison Hossack) as well. With the ranch about to fall into the hands of some "bad guys", they'd better settle their differences quickly. Never really a serious western, but not really a comedy either, floundering around somewhere between the two. Beautiful British Columbia scenery, but don't expect much from the story or the acting.
THE GAME (R) 122 minutes * * * Michael Douglas is about to experience something very different. His brother, played by Sean Penn, gives him a card to join Consumer Recreation Services, a company that turns your life into a game. The twists and turns are nice, and may fool you for awhile. Ultimately, it's fun to watch, though the extremes are pushed a bit too far. If they had toned them down just a little, this would have been far more powerful. Nice performance from Deborah Kara Unger as Douglas' companion throughout much of the game as it is played. R for language and violence.
GAME CHANGE (NR) 115 minutes * * * Dramatization of John McCain's run for the office of president of the United States in 2008, and in particular, his choice of Sarah Palin as running mate. It was a calculated risk, and it ended up not paying off. Includes a number of clips of actual news footage. Julianne Moore does a great, giving us a well-rounded character who is impressive and yet not really ready for this level of the political arena. And Ed Harris leads a fine supporting cast.
GAME NIGHT (R) 93 minutes * * 1/2 It's just a game night between friends. But when Max's (Jason Bateman) brother shows up, it's going to become a little more intense. With one bizarre twist after another, this will be a game night they never forget. The script is all over the place, with some hilarious scenes, and others that just aren't. Great supporting work by Billy Magnussen and Lamorne Morris. R for language, sex, and violence.
A GAME OF CAT AND MOUSE (NR) 83 minutes * * 1/2 Strange things are happening and the clues appear to point to someone who knows a lot about mystery novels. That would be everyone in the Real Murders Club! As the crimes escalate, it becomes more clear that Aurora (Candace Cameron Bure) may be the target of a killer. Another entry in the Aurora Teagarden mystery series.
GAME OF DEATH (R) 79 minutes * 1/2 Agent Marcus (Wesley Snipes) has a mission. But his intended target isn't going to be so easy to take out, especially when the help Marcus has been counting on decides to play the game a bit differently. Snipes is fairly good here, but the script doesn't really make many demands of anyone, and the ending is rather pointless and anti-climactic. R for violence and language.
THE GAME OF THEIR LIVES (PG) 96 minutes * * * With only two weeks before the 1950 World Cup of soccer, a group of soccer players from New York and St. Louis are assembled to represent the United States. As far as these players are concerned, New York and St. Louis might as well be different worlds. Somehow, they manage to work together and form a team to play the game of their lives. )Or, as the film's video title suggests, the miracle match.) Typical underdog sports film with solid performances and a fine soundtrack from William Ross. Based on the boko by Geoffrey Douglas. PG for language.
THE GAME PLAN (PG) 106 minutes * * 1/2 Formula Disney film with Dwayne "The Rock" Johnson as a self-centered football superstar who finds himself trying to be a father for the first time with a very spirited young daughter. Madison Pettis is adorable, and Disney knows how to work a story like this. No surprises, but it keeps us interested and entertained. PG for language.
GAME, SET, LOVE (NR) 83 minutes * * Doinig a favor for her friend Ashley (Jennifer Khoe), Taylor (Davida Williams) agrees to coach her tennis doubles team, which includes bad boy William (Richard Harman). Not a very convincing story, though the performances are fine.
GAMER (R) 85 minutes * * Death row inmates get to play in a real-life videogame with an opportunity to win their freedom. The catch is that they are controlled by players who pay for the privilege of toying with their lives. It's "The Most Dangerous Game" for videogame junkies, which could be interesting, but there are too many cut-shots. There are also some scenes with "video signal interference" at critial points. And, the story wraps up a little too neatly and quickly at the end. R for violence, language, and sex.
GANDHI (PG) 179 minutes * * * * After Gandhi (Ben Kingsley) initially fights for the rights of people from India who live in South Africa, he finds himself working for India’s independence from the British Empire. His approach to protesting by the use of non-violent behavior seems illogical to many, but has great power and is ultimately more effective. Great work by Kingsley in a film that won eight Oscars, including one for his performance. PG for violence and language.
GANG RELATED (R) 106 minutes * * Two cops end up killing an undercover DEA agent, can they cover their tracks and stick the crime on someone else? Tupac Shakur's acting is uneven as usual, and Jim Belushi acts uncomfortable with his part. There are moments here and there, but too much of a good idea got lost somewhere. Very unrealistic ending, perhaps due to Shakur's death. R for violence and language.
GANGS OF NEW YORK (R) 163 minutes * * As New York began to grow as a young city, it grew up around ganga. Territories and loyalties changed, but the struggles remained. Well-acted, but long-winded and presumptuous, this relies on violence and Scorsese's strength as a director to succeed. Unfortunately, he seems preoccupied with incorporating too much of the surroundings in what is really the story of one man, whose time has passed. As more and more immigrants come ashore in New York's harbor, Bill Cutting's (Daniel Day-Lewis) views make less and less sense. This part of the story isn't absent, but it gets lost in the mess. R for violence.
GANGSTER LAND (NR) 82 minutes * 1/2 Jack McGurn (Sean Faris) was on the rise, as a young boxer with plenty of talent. But this is Chicago in the 1920s, and it doesn't take long before McGurn becomes one of Al Capone's inner circle. Lots of shooting and shouting in what ends up as a fairly shallow story. There are scenes that are good, but there's not much material connecting them.
GANGSTER SQUAD (R) 104 minutes * * * Mickey Cohen (Sean Penn) runs Los Angeles. But that's about to change. Sgt. John O'Mara (Josh Brolin) is an honest cop, but there isn't much he can do until Chief Parker (Nick Nolte) decides that O'Mara is teh one he's been looking for that he'll get the backing he needs. Now the war can begin. Gritty, hardcore, gangster action. The script does a nice job of taking these larger-than-life characters and giving them a personal side that adds a little depth. Adapted from the book by Paul Lieberman. R for violence and language.
GANGSTER'S PARADISE: JERUSALEMA (R) 115 minutes * * * This is Lucky's (Rapulana Seiphemo) story. He's just trying to proect his people, but there are two wars to fight. The first is against the white slumlords who are the oppressors. But there are also the drug dealers who are dragging down so many of the people he knows through addiction. Lucky is no saint, but he has a vision for a better future and is not going to be held back by these forces. This is South Africa, before and after apartheid. It's a powerful story, though pacing does drag a little in the middle. R for violence, language, and sex.
THE GANZFELD HAUNTING (NR) 81 minutes * 1/2 Four college students spend a weekend in an abandoned house doing a psychology experiment. They are testing their ESP skills. But is it them, or is something else in the house? More than a little disconnected and difficult to follow, mostly because the story on top isn't as well-developed as the one underneath.
GARAGE SALE MYSTERY (NR) 83 minutes * * Light, predictable, family friendly mystery from the Hallmark Channel. Jennifer (Lori Loughlin) is a garage sale enthusiast and an amatuer detective who knows how to find a deal and solve a mystery. The story manages to add a little depth through subplots, and some nice supporting performances add to its charm and appeal.
THE GARBAGE PAIL KIDS MOVIE (PG) 94 minutes * Inspired by a series of bubblegum cards, it's a story about how you can't change the world if you lock yourself away from it. Full of lewd, crude references, though you can't expect much more from a film with characters named Valerie Vomit, Foul Phil, and Greaser Greg.
GARBAGE WARRIOR (NR) 86 minutes * * * Architect Michael Reynolds is experimenting with radically sustainable living in the desert area of New Mexico. He does run into some problems with people who can't think outside the box. Reynolds has shown how homes can be constructed that remove the need for electricity, sewer systems, and even wells. Since that affects how much other people can profit on a continuing basis from property they don't own, there are those who don't want him to continue with this experimental housing. Fortunately, there are others who do. Interesting ideas that are likely to make you wonder a bit about the importance of innovative thinking in dealing with the future of our society and our planet.
GARBO THE SPY (NR) 86 minutes * * * The real world of espionage can be very complicated. In WWII, one man managed to work both sides of the war, though his actual allegiance was with the allies. His mis-information was so convincing, that the Germans believed him, most importantly, when he told them that the D-Day invasion was a diversion rather than the main force. His efforts saved countless lives on both sides, and this is his story.
THE GARDEN (NR) 88 minutes * Sam (Adam Taylor Gordon) sees things that others don't. Are they real, or just his imagination? And what do they mean? He and his father go on a road trip to pick up some horses for their ranch, but an accident leaves them at a mysterious farm. A farm that just happens to be the Garden of Eden, and the man who tends it is the devil. Heavy on symbolism, light on story, and Gordon's acting doesn't do much for this.
THE GARDEN (2008) (NR) 76 minutes * * * After the 1992 riots in Los Angeles, one of the ways the community began to heal was to begin a community garden on fourteen acres of blighted land. It's working beautifully until the person who owns the land decides he wants to develop the land. Negotiations begin and compromise is sought after, but the political machine and greed are powerful forces. A powerful portrait of a community in conflict.
GARDEN STATE (R) 96 minutes * * * 1/2 Amazing directing/writing debut from Zach Braff! Andrew (Zach Braff) goes home for his mother's funeral. He finds that he doesn't really get along with his old friends, and his relationship with his father hasn't been good for a long time. He finds himself being drawn to Sam (Natalie Portman), a quirky but charming girl who helps him begin to find his way out of his lithium induced haze. He begins to discover that pieces of his life are just waiting for him to explore, accept, and begin to understand. It's a finely crafted film with a strong script, well-chosen songs, and fine acting. You may notice that the ending seems to be... "off" just a little. For some reason, the studio chose not to go with Zach's original idea, but we should get a chance to see it on the DVD. R for language and sex.
GARDENS OF STONE (R) 107 minutes * * * 1/2 There have been many films about the Vietnam War, one of the most well know being "Apocalypse Now", directed by Francis Ford Coppola. But this film from director Coppola is likely to cover a side to the war you've not seen before. It's the story of the 3rd Infantry, the Old Guard, the "toy soldiers" of Fort Myers, Virginia. They are called "toy soldiers" because they have limited responsibilities. They provide presidential escort, and they bury the dead as they return from the war. The film offers a variety of conflicting opinions about the war and what it means to be in the military during a time of war. And, if the excellent story wasn't enough, there's a stellar cast as well. James Caan, Angelica Huston, James Earl Jones, Dean Stockwell, Mary Stuart Masterson, and D.B. Sweeney. Adapted from the novel by Nicolas Proffit.
GARDENS OF THE NIGHT (R) 102 minutes * * * Abducted as a child, Leslie (Ryan Simpkins/Gillian Jacobs) lives a hard life of prostitution. She's a survivor, but there's a cost. Only Donnie (Jermaine Scooter Smith/Evan Ross), another child abducted by the same men, can be trusted. It's an intense story that some may find difficult to watch, but it's a powerful and emotional film with a different sort of coming-of-age story to tell. Outstanding work by Simpkins as the young Leslie. R for language and sex.
GARFIELD (PG) 73 minutes * It probably seemed like a good idea at the time... a great comic strip character making the move to the big screen... but, oh yeah, we need to have a decent script. What we have instead is a rather pathetic attempt to center a story around the arrival and kidnapping of Odie. And, thanks to the decision to animate Garfield and nothing else, we have the opportunity to see some poor editing as well. PG for cartoonish violence.
GARFIELD: A TALE OF TWO KITTIES (PG) 72 minutes * The animation and editing are only slightly better than the first Garfield film, and the story is a bit worse. Garfield ends up in London where he is mistaken for Prince, a cat who has just inherited a castle. Unless you're a fan of that big ol' orange cat, you might want to skip this. PG for violence and language.
GARRISON (R) 95 minutes * Poor sound quality and amateur acting attempt to give this a video documentary feel. It doesn't work that well. The plot follows what happens to a US soldier after returning from the Middle East. Lots of over-acting makes these caricatures instead of characters and we have difficulty connecting with them because of it. R for language, sex, and violence.
GARRISON KEILLOR: THE MAN ON THE RADIO IN THE RED SHOES (NR) 84 minutes * * * Part biography of Keillor, but also very much a history of the Prairie Home Companion. The program is so much a part of who Keillor is, that the two are difficult to separate. It's an interesting look at the man and the program that is his legacy.
GASHOLE (NR) 98 minutes * * * Every president of the United States, beginning with Richard Nixon, has said that there is too much reliance on foreign energy sources. This documentary also shows that the technology for greater fuel efficiency does exist. So why isn't it being used? And why, with so much understanding by the presidents, representing both major political parties, is ther still so much reliance on foreign oil? This documentary doesn't pull its punches, as the title (not so discretely) alludes to.
GASLAND (NR) 99 minutes * * * Documentary expose detailing the gas well drilling that is poisoning local water and air supplies and emitting more toxic waste than the combined total of all of the automoiles on the road. Another informative look at the evils of corporate greed.
GASLAND PART II (NR) 123 minutes * * * Follwup to the Oscar-nominated documentary. It compliments the first film nicely, going into more detail and providing more examples and information about the negative impacts of fracking. It also shows more of the political side of the situation as residents and activists continue to have difficulty making change happen.
GASOLINE ALLEY (R) 96 minutes * When Jimmy (Devon Sawa) met Star (Irina Antonenko), he thought it might be the start of something good. Instead, he’s being blamed for her murder, so he decides to do some investigating of his own. Flat and lifeless story about crooked cops involved with drugs, prostitution, and murder. Sawa and Luke Wilson seem bored, and Bruce Willis is barely here. R for violence, language, and sex.
THE GATE (PG-13) 83 minutes 1/2 Two kids stumble across a bottomless hole that happens to be one of the many openings or gates into Hell. Of course it takes the right words to open it, which they just happen to chant during a party while the parents are away. Lucky for them, the words to close the gate are on the same recording as the ones to open it! There are a few good special effects toward the end of the film... if you're still watching by then...
GATE II (R) 89 minutes * Inane plot, cardboard characters, mundane dialogue... the only thing this has going for it is Pamela Segall, who reminds us a bit of a young Demi Moore.
THE GATEHOUSE (NR) 98 minutes * * 1/2 Digging for treasure in the ancient forest behind her home is a hobby of Eternity's (Scarlett Rayner). She's about to find something she shouldn't. Clearly aimed at the age 9-15 crowd, though it does get a little intense.
THE GATES (NR) 106 minutes * 1/2 Sentenced to death, serial killer William Colcott (Richard Brake) will be the first to be executed by the electric chair. Perhaps this new form of execution will actually help him stay around. The scientific aspect of the story is not explored all that well, despite being a major part of the story. The cast and the set work together well to set the tone, but the script just doesn't deliver.
THE GATES OF DARKNESS (NR) 18 minutes * The situation is getting worse by the day for Stephen (Randy Shelly). It might have begun when his father left. It will end up taking an exorcism to reveal the truth about the events in Stephen's past. The ending is both too sudden and a little too neat. The story also fails to explore the connection between Stephen and his sister Michelle (Mary Mouser), though it is briefly mentioned.
THE GATES OF HELL (R) 91 minutes * 1/2 The gates of Hell have been opened, and a way must be found to shut them before it's too late. Gruesome makeup effects by Franco Rufini, but the sound quality and dialogue leave quite a bit to be desired. Also known as "City of the Living Dead", and originally in Italian.
THE GATEWAY (NR) 71 minutes * 1/2 Danni's (Danni Smith) new apartment was supposed to be a way to start over and gain some freedom. But it turns out that there's a portal of some sort in her bathroom. Cheap scares and low budget issues are a problem here, especially with sound effects and editing. Still, this manages to have a campy, sort of fun style that is reminiscent of shows like "Tales From the Crypt" and "Tales From the Darkside".
THE GATEWAY (2018) (NR) 85 minutes * * 1/2 They had a wonderful marriage, but when Matt (Myles Pollard) dies, Jane's (Jacqueline McKenzie) work on alternate realities takes on a new urgency. When she finds a way to move between worlds, she discovers a world where Matt is still alive. The problem is that parallel worlds are not identical, and the Matt is this other world is a very different one than the Matt she knew. The story gets more twisted from there, and while there are some potential problems, the story actually works, with a nice double-twist at the end.
THE GATHERING (R) 83 minutes * * Somewhat creepy story with Christina Ricci getting hit by a car on her way to a small town and losing her memory. Near the town, an unusual religious building that was buried long ago has been discovered. Will it help explain the strange visions Cassie (Ricci) has been having? The story clearly has some holes, but does manage to create the right atmosphere. R for violence and language.
GATTACA (PG-13) 103 minutes * * * Vincent (Ethan Hawke) lives in a world where freedom has been taken away and been replaced by a hierarchical structure based on genetic predispositions. Vincent, however, is determined to reach his goal of flying in space. The first thirty minutes here are unbelievably wordy, as we get all the background information that is important to the story. Things begin to settle down after that, and the story begins to involve us. A strong ending helps us feel even better about the film and remind us that we need to dream our dreams. We might just reach them, and our dedication to striving for them will undoubtedly inspire others. PG-13 for language and nudity.
G.B.F. (R) 89 minutes * * Brent (Paul Iacono) wants to be more popular, and decides that the next fad is the gay best friend, and that it's the way to go to achieve his goal. But when and how to come out? When his friend Tanner (Michael J. Willett) is outed by mistake, and gets all of the popularity that Breant was after, even though Tanner doesn't want it. Mildly cute, but surprisingly little energy. R for language.
GEEK CHARMING (NR) 97 minutes * * 1/2 Dylan (Sarah Hyland) is one of the most popular girls in school. Josh (Matt Prokop) wants to win the documentary film contest. Making a film about Dylan seems like a great idea, but it will prove to be more than a little bit of a challenge. Very sweet teen love story that also says quite a bit about popularity. Another of Disney's TV movies aimed at the pre-teen crowd.
GEHENNA: WHERE DEATH LIVES (NR) 102 minutes * 1/2 Resort developers scout a location in Saipan. The place they decide on has a rather unpleasant history. When they start to really explore the site, they discover an underground bunker from World War II. And something is still there. The footage in the tunnels is very repititous, and more time spent on the historical background would have made for a stronger story.
GEMINI (R) 88 minutes * 1/2 More than just boss and assistant, Heather (Zoe Kravitz) and Jill (Lola Kirke) are close friends. But now, Heather is dead and Jill is the prime suspect. An interesting story, but the resolution is frustratingly empty and pointless. R for language and violence.
GEMINI MAN (PG-13) 107 minutes * * * He knows that he's seen better days, but Henry (Will Smith) is still good at his job. But now there's someone trying to kill him that he just can't shake, and he looks looks remarkably like a younger version of himself. Solid action and very nice effects and makeup. The story could have been a little stronger, especially early on. There also isn't a great deal of room for anyone besides Smith, which is unfortunate. There are some potentially good supporting roles here, but they aren't given enough time to develop. PG-13 for violence and language.
GEMMA BOVARY (R) 95 minutes * * * In rural Normandy, France, Martin (Fabrice Luchini) becomes enthralled with the couple who just moved in to the property nearby. Their names and their lives seem to run parallel to those of the characters in Flaubert's literary characters. Often lightly humorous, even with the more serious and tragic turns of the story. Definitely of more interest to those familiar with "Madame Bovary", to whom more of the humor will be entertaining. R for sex and language.
THE GENE GENERATION (R) 84 minutes * 1/2 Genetic enhancements and manipulation are the norm, and so is genetic theft. Michelle (Bai Ling) is a government assassin, killing those who cross the line, but of course even the government may be corrupt. Nice visual effects, but the acting here is mediocre and the story seems to gloss over too many of the details, focusing on a few action sequences and showcasing the effects. Adapted from Pearry Reginald Teo's comic book of the same title, and directed by Teo as well, which is likely part of the problem.
GENERAL COMMANDER (R) 82 minutes 1/2 When a special CIA crime unit in Southeast Asia is shut down, it's leader Jake Alexander (Steven Seagal) gets some funding from a local billionaire to continue the operation they had started. Weak characters and a tired story, perhaps even more tired than Seagal's performance. R for violence and language.
GENERAL EDUCATION (PG-13) 81 minutes * 1/2 Levi (Chris Sheffield) gets a scholarship to the school his dad wants him to go to. Only... Levi didn't graduate... and he's not really interested in that school. There are a few likeable characers here, but many who are less so, and even annoying. When you add that to a tired story, it's not a good mix. PG-13 for sex and language.
THE GENERAL'S DAUGHTER (R) 109 minutes * * 1/2 After a general's daughter is murdered, secrets she has long kept begin to surface. Paul Brenner (John Travolta) is faced with a choice. Does he investigate as an Army man, or as a civilian? It's easy to see where this is headed from the beginning and Travolta has a hard time carrying the weak story by himself. There's little depth to the characters here, even Travolta's for that matter, and their backgrounds only come to light as they are essential to the case. Travolta does what he can, but this will come off quite a bit better on video, or better yet, with those wonderful commercial breaks on TV. R for violence, language, and nudity.
GENERATION IRON (PG-13) 103 minutes * * 1/2 In 1977 we had "Pumping Iron". In 1985, we followed the women in the sport with "Pumping Iron 2". This is the new generation, and while there are some aspects of the sport that have not changed, there are others that have. While exploring these areas of the sport, we also follow Phil Heath and a few others on their way to the title of "Mr. Olympia". Includes brief appearances by Arnold Schwarzenegger, Lou Ferrigno, and narration by Mickey Rourke. PG-13 for language.
GENERATION WAR (NR) 267 minutes * * * Five friends for whom World War II means very different things. They will find themselves dealing with experiences and choices unlike any they have faced before, and it will change them all in ways they never imagined possible. Solid war drama, a bit sentimental at times, but it tries hard to be realistic, and does well more often than not.
GENERATION WEALTH (R) 103 minutes * * 1/2 Glimpses into the lives of the rich. The questions are asked about why they need to have so much and what they have done to aquire it and how they stay so rich. There's a little bit about how the world got to this point, how economics changed in the 1970s, and how the pursuit of wealth changed in other countries besides the United States. More about this aspect would have been a little more intersting. The ending does bring it around to regrets and lessons learned, but the film does get a little lost in the middle. R for sex and language.
GENESIS (NR) 109 minutes * * 1/2 Small colonoes of humanity are all that is left. Most of the planet is toxic. At least one colony is working on the creation of an artificial life form that can help the human race survive. It's a good story, but the pacing stalls in the middle. The ending is chilling, and worth the wait.
THE GENESIS CODE (PG) 133 minutes * 1/2 Kerry (Kelsey Sanders) is finding that her friendship with Blake Logan Bartholomew) is testing her faith. He's having trouble too. Can faith and science get along? And can Kerry and Blake find a way to help each other through these struggles? The main focus is on the absolute truth of the Bible and how to understand the passage of time (ie. the six days of creation). Several very unbelievable characters here that are very clearly included so that the film can make its point. PG for language.
GENGHIS BLUES (NR) 90 minutes * * * 1/2 Fascinating and moving documentary of blues singer Paul Pena and his journey to Tuva. Pena stumbled across a short-wave radio broadcast of Tuvan throat-singers and knew he had to find out more. His journey is not only a physical one, but a musical and spiritual one as well. His interest and his talent are able to bridge a cultural gap that many would not have thought possible.
GENGHIS KHAN: TO THE ENDS OF THE EARTH AND SEA (R) 129 minutes * * * Sweeping saga of Genghis Khan (Takashi Sorimachi), from his childhood to becoming Khan and uniting the Mongol tribes. Gorgeous scenery (in Mongolia), and an epic story, though at times it's fairly obvious that sections of the story are missing. R for violence.
GENIUS (PG-13) 97 minutes * * * 1/ Max Perkins (Colin Firth) was an editor at Scribners during the years that saw them publish works by F. Scott Fitzgerald, Ernest Hemingway, and Thomas Wolfe. Wolfe's work is the focus of the film as Perkins begins to work with him and help him perfect his brilliant work. Wonderful acting by Jude Law, and Firth does a great job of playing the anchor that Wolfe needed, at least for a time. Nice work in the supporting roles of Fitzgerald (Guy Pearce) and Hemingway (Dominic West) too. PG-13 for language.
GENIUS ON HOLD (PG) 85 minutes * * While Walter L. Shaw was a brilliant inventor, corporate greed took his work and left him with next to nothing. Shaw eventually ends up working for the mafia in an attempt to earn a living, creating the black box system that allowed people to make untraceable phone calls. As much as this is a biography of Shaw, it's also about corporatism in the United States and how it seems likely to repeat itself. That mixed focus doesn't work all that well. PG for language.
THE GENTLEMEN (R) 108 minutes * * * Ready to get out of the marijuana business, Michael (Matthew McConaughey) is in the process of finding a buyer. There's plenty of interest, but also lots of double-talk, back-stabbing, and general underhandedness going on. If you enjoy a mobster sort of film with humor and British accents, this will be a treat. It does often move very quickly, so you have to pay close attention, but if you do, it's a fun ride. R for violence, language, and sex.
GEO-DISASTER (NR) 83 minutes BOMB Another gem from Asylum studios. Some weird thing from space travels straight through the earth, setting off earthquakes, tidal waves, and electrical storms. They cause tons of damage and kill lots of people, but we mostly get to see one family where everyone makes it outalive. Bad special effects and worse acting.
GEOGRAPHY CLUB (PG-13) 77 minutes * * Adapted from Brent Hartinger's book, this is a story about teen angst around sexuality and relationships. The club mentioned in the title becomes a sort of impromptu GSA (Gay Straight Alliance). The mood tends to fluctuate between being overly dramatic and lightly humorous, which doesn't always work that well. The real problem is that the high school students clearly look much older than that. PG-13 for sex and language.
GEORGE OF THE JUNGLE (PG) 85 minutes * * 1/2 This film does a wonderful job of capturing the sense of the cartoon. A great deal of this is accomplished through the narrator, who makes the same kind of corny remarks that were made in the cartoon. Brendan Fraser does what he can and is likeable enough, but this is not an easy task. The ape suits are well designed and the music has enough of the old mixed with the new to be interesting as well. The story is what lacks the sparkle, though it is far better than what "The Flintstones" had to work with! PG for language and cartoonish violence.
GEORGIA (R) 104 minutes * * * Fascinating character study of a young woman who desperately wants to be like her older sister, though she hasn't the talent or drive to do so. Mare Winningham, Jennifer Jason Leigh, and Max Perlich all give us strong performances of tragic characters. Not a film to watch if you're depressed, but powerful and impressive. Direction weakens it in a few spots, but solid overall. Leigh and Winningham perform their own songs too!
GEORGIE O'KEEFE (NR) 87 minutes * * * 1/2 Top-notch TV bio-pic that begins with O'Keefe's (Joan Allen) relationship with acclaimed photographer Alfred Stieglitz (Jeremy Irons). We watch how her life influences the amazing artistry of this talented painter. Her life is not perfect, but it is life, and the art that come out of it is stunning. Allen and Irons both do great work here and the ending is powerful. Definitely one of the best TV movies of the year.
GEORGIA RULE (R) 106 minutes * * * Rachel (Lindsay Lohan) is a bit of a wild child, so her mother decides that some time with her grandmother Georgia (Jane Fonda) might be in order. It's a small town, which is very different from what Rachel is used to, and there are a few rules that come along with living in Georgia's house. Families and relationships aren't always the most attractive things. But if you love enough to trust... if you love enough to tell the truth... then it will work out in the end... Georgia rule! Fonda and Lohan both turn in solid performances here, and though the film is clearly about women and intergenerational relationships, Dermot Mulroney delivers a strong supporting performance as well. R for language and sex.
GEORGETOWN (R) 92 minutes * * * Ulrich Mott (Christoph Waltz) has a plan. He courts and marries wealthy widow Elsa Breht (Vanessa Redgrave). It gives him access to a long list of important and well-connected people. His plan is working quite well. But when Elsa dies, her daughter (Annette Benning) suspects foul play. Redgrave delivers a fine performance, while Waltz chews up the scenery. Part of that is his character, but not all of it. R for language and sex.
GEOSTORM (PG-13) 102 minutes * * 1/2 The satellite network that surrounds the planet is designed to protect it, but something is wrong. It has begun to attack the planet instead of protecting it, and a series of climate catastrophies are quickly getting out of control. Part disaster film, part science fiction thriller, wih a little political intrigue tossed in for good measure. Mix in some reasonably good effects and a stellar cast and the result actually isn't too bad. Far-fetched, to be sure, but it also manages to be entertaining. PG-13 for violence.
GEPPETTO (NR) 86 minutes * * * 1/2 Charming musical version of the story of Pinocchio with Drew Carey as Geppetto, and Julia Louis-Dreyfuss as the mischevious blue fairy who brings Pinocchio to life. Stephen Schwartz wrote the music and lyrics that give this version its own unique sparkle. Carey isn't as miscast as you might think at first, and all the children do a wonderful job, singing and dancing their way through the film.
THE GERMAN DOCTOR (PG-13) 88 minutes * * 1/2 They meet by chance on the backroads of Argentina. He seems nice enough, and he's a doctor. So he begins to take care of the medical needs for their children. He also just happens to be Josef Mengele (Alex Brendemuhl), and he's in hiding from those who are working to bring Nazi war criminals to justice. Very slow-moving early on, and then as it nears the end, it feels very rushed. PG-13 for language and nudity.
GERONIMO: AN AMERICAN LEGEND (R) 109 minutes * * * Well-done portrait of the Native American chief, with a fine performance by Wes Studi in the lead role. Gene Hackman and Robert Duvall also star, but this is Studi's show, and he paints a well-rounded picture for us. A man who was more than a chief, more than a warrior, a free spirit who could not be contained or ruled by anyone else. Ry Cooder's music lends the perfect feel to the background as we watch this play out in the Moab, Utah countryside.
GERRYMANDERING (NR) 74 minutes * * * Very informative documentary that will likely leave you rather disappointed in the political process in the United States (if you weren't already). With politicians able to participate in the redistricting process that happens after each census, they are allowed to work to assure that they are re-elected. It's a process that has been in place since voting first began in the United States.
GET A JOB (R) 77 minutes * * 1/2 After college is... work. Will (Miles Teller) and Jillian (Anna Kendrick) are discovering that isn't as easy as they were led to believe. Lighthearted look at the world of work and what it takes to succeed. Not the least of which is that you have to keep working and never give up. Fun characters and a great ensemble cast. R for sex and language.
GET CARTER (R) 98 minutes * 1/2 Jack's (Sylvester Stallone) little brother is dead and he knows it wasn't an accident. Everyone else seems ready to let things go, but Jack wants the truth. It may not be quite so easy to find... or accept. Stallone and the rest of the cast run through the paces here, but the film is hard to watch. Not because we've seen most of this before, though we have, but because the photography is jerky and irritating. There are times when the blur of images is incredible, and the film is almost impossible to watch. That's not a good idea when we're supposed to be seeing the action. Tyler Bates' music makes up for it a little, but I'd suggest skipping the film and just picking up the soundtrack. R for violence and language.
GET CRAZY (R) 85 minutes * A shady promoter (Ed Begley Jr.) plans to put an end to the New Year’s Eve event plans of a small-time operator so that he can further his own career. Simple plot without surprises, and also without much to interest us. There are a few cameo appearances that are fun, but that’s far from enough.
GET GONE (NR) 87 minutes 1/2 They make it their life's work to show how most scary stories or urban legends are just fiction. Going on a retreat in rural Oregon, the team runs into a scary story of their own... and it's real. It's a local family who really doesn't like people trespassing on their land. It's alwyas fun to see Lin Shaye, but the story is tired and unimaginative.
GET HARD (R) 103 minutes * James (Will Ferrell) is facing jail time and doesn't think he'll survive it. So, he hires Darnell (Kevin Hart) to help. Darnell definitely has his work cut out for him. Especially since he's never actually been in prison himself. Typical Ferrell comedy, with a very slightly toned-down performance from Hart. R for language and sex.
GET HIM TO THE GREEK (R) 102 minutes * * 1/2 Sequel (of sorts) to "Forgettig Sarah Marshall" that follows the further misadventures of Aldous Snow (Russell Brand). It's a great idea - a 10 year anniversary concert, but how do you get one of the hardest rockers ever to show up on time? That will be Aaron's (Jonah Hill) job. There are several serious moments sprinkled in among all of the raucous rudeness. Brand delivers a delightful performance once again, continuing to sing even more bizarre songs. R for language, sex, and violence.
GET LOW (PG-13) 96 minutes * * * He's one of the more cantakerous men that you'll ever meet. Felix Bush (Robert Duvall) has become reclusive over the last few years. Hearing about the death of a longtime friend, he decides that its time to make preparations. He wants to get everything ready and have a funeral party... while he's still around to hear the stories that people will tell. But who wants to tell the stories when they're afraid they'll get shot? There is one particular story that Felix wants someone to tell, but he may have to tell it himself. Typically solid performance by Duvall, and a great supporting performance by Lucas Black. Their performances, aided by the style of the script, have you involved almost before you know it. Nicely done! PG-13 for violence.
GET ON THE BUS (R) 116 minutes * * * The "million man march" on DC is the topic here, handled quite well by director Spike Lee. Considering most of the film takes place on the bus, this moves along (no pun intended) quite nicely. It is the most sensitive and straightforward piece of work Lee has completed. Interesting to note that the film was completely funded by 15 black men, among whom are Lee, Reuben Cannon, Wes Snipes, Robert Guillame, and Danny Glover. R for language.
GET ON UP (PG-13) 131 minutes * * * Bio-drama about the life of James Brown (Chadwick Boseman). Actual footage of Brown is mixed in a few times, but it doesn't really add anything and would have fit better if it had run during the credits. The bad is presented along with the good here, giving us a fairly well-rounded look at the life of the musical legend. Nice work by both Boseman and Nelsan Ellis as his friend Bobby Byrd. PG-13 for sex, language, and violence.
GET OUT (R) 100 minutes * * 1/2 When Chris (Daniel Kaluuya) agrees to visit his girlfriend's parents, he assumes there will be a certain level of difficulty because he isn't white like she is. Everything seems fine at first, he's being accepted and treated well. But then it takes a frightening turn, and Chris is stuck in a very real nightmare. Good suspense, and the story manages to continue to reveal extra bits that keep the suspense up longer than you might expect. R for violence, language, and sex.
GET OVER IT (PG-13) 80 minutes * * 1/2 Berke (Ben Foster) has girl problems. His childhood sweetheart has ditched him and he's trying to get over it, but that's easier said than done. Of course, his best friend has this younger sister... Likeable stars, a fun script, and catchy songs make this pleasant enough to watch and the play within a play toward the end is a riot. Yes, we've seen most of this before, but when it's done well, we don't mind too much if we see it again. Nice work from Kirsten Dunst and Foster. Pop star Sisqo doesn't really get much screen time, except during the credits at the end. PG-13 for language.
GET RICH OR DIE TRYIN' (R) 111 minutes * * Marcus (Curtis Jackson) life, told mostly in flashback form, is a story about the struggle to make it on the street. Drugs, gangs, violence... nothing new, and Jackson doesn't really carry the film well as the star. Terrence Howard delivers a typically strong performance in a nice supporting role though. R for language, violence, and sex.
GET SHORTY (R) 97 minutes * * Some people really enjoy director Barry Sonnenfeld's black comedy about a small time Miami hood (Danny DeVito) trying to make it big in show business in Los Angeles. There are lots of in-jokes for those in show business and plenty of cameos from well-known actors, but this plays like a poor copy of a Robert Altman film, with an ending that just falls apart. Mildly fun if you like the movie business, but most will probably be disappointed.
GET SMART (PG-13) 105 minutes * * 1/2 KAOS and Control are at war with one another again, or still. Max (Steve Carell) is finally promoted to be an agent, and with the help of Agent 99 (Anne Hathaway) and a few others, he will do his best... which usually means quite a few problems along the way. Carell does a nice job of recreating the role originated by Don Adams. And the story, while changing bits here and there, also pays homage quite nicely to the old TV series. PG-13 for language, violence, and nudity.
GET THE GRINGO (R) 88 minutes * * After stealing a large sum of money from a very dangerous man, he finds himself in a Mexican prison. It doesn't take too long to learn his way around, but now he has a few more things to get done. Mel Gibson plays this with his typical off-handed sense of humor. More than a little far-fetched, but there are some nice supporting roles and plenty of action. R for violence, language, and sex.
THE GETAWAY (R) 111 minutes * 1/2 Pale remake of the 1972 film (with Steve McQueen). As is typical for Kim Basinger, she plods through the story with little feeling or understanding of her character. She manages to bring out the worst in Alec Baldwin's acting as well. In fact, the only person who does well at all is Michael Madsen. Sometimes the script isn't at fault, but the actors manage to do a bad job anyway.
GETAWAY (2013) 82 minutes * * With his wife a kidnap victim, Brent (Ethan Hawke) must follow the directions of her abductor. In the wrong place at the wrong time, his unlikely passenger (Selena Gomez) is along for the ride. Though Hawke and Gomez are an unlikely pair, their characters work well together. The bigger problem is that the film is so full of car chase scenes, that it is not only repititious in the story, but it's easy to notice that the same shots are used more than once. PG-13 for violence and language.
GETT: THE TRIAL OF VIVIANE AMSALEM (NR) 109 minutes * * * Viviane (Ronit Elkabetz) has found her marriage to be intolerable and she wants a divorce. But in Israel, that is only possible if the husband agrees, and Elisha (Simon Abkerian) does not. Their time in court trying to deal with the situation drags on for several years. Interesting as a courtroom drama, because the court actually has very little power, but the relationship between Viviane and Elisha that we see is played out in that setting. Well-performed by the cast.
GETTING AWAY WITH MURDER (R) 87 minutes 1/2 Ethics professor goes on a murder mission to kill an old neighbor he thinks is a Nazi war criminal. Dan Aykroyd has a knack for being in bad films, and this one is no different. It gets dumber and dumber the more it goes along until we finally reach the merciful end.
GETTING EVEN WITH DAD (PG) 104 minutes * * 1/2 When Ray (Ted Dansen) and his friends steal some coins, the last thing they expect is for Ray's son Timmy (Macauley Culkin) to show up and start causing trouble. This is actually some of the best work that both Culkin and Dansen have done. The script has some real problems, but they aren't as noticeable on the small screen. Fairly entertaining even though it's nothing new to see Culkin "getting even" with adults. PG for language and violence.
GETTING HIGH (R) 91 minutes * 1/2 Faced with potential success for their artistic efforts, Santo (Kirk Acavedo) and Hunter (Isaach De Bankole) must first find a way to deal with reality without being high. The script and supporting cast performances keep undermining a very sound story idea and the more than adequate performances by Acevedo and De Bankole. Stronger direction was needed here, and first-time writer, producer and directer Steven Kessler comes up a little short. R for language, sex, and violence.
GETTING THAT GIRL (NR) 89 minutes * Moving to a new school is rarely something to look forward to. Mandy (Gia Mantegna) is quickly befriended by two of the school's most attractive and mean girls. All of the boys are after her as well, from the athletes to the stoners. The story goes for the more serious approach, but the script and acting just don't have the strength or depth to pull it off.
GETTYSBURG (PG) 242 minutes * * 1/2 Though this is one of the better versions of this epic historical conflict, it could've used some pruning. It is nice to see some of the details and insights into personalities that are emphasized here. And The larger views of the battles are impressive too. But repeated use of battle footage is obvious and unnecessary and would've helped cut this down a little bit. Randy Edelman provides a stirring soundtrack and the most notable performances are by Jeff Daniels and Stephen Lang. PG for violence and language.
GHETTO STORIES (NR) 109 minutes 1/2 Sort of a day in the life of a few people in the ghetto. The story tends to wander around quite a bit and the video and sound quality/editing varies quite a bit from one scene to the next for no apparent reason. Drones on for a long time with little to no point.
GHOST (PG-13) 122 minutes * * * * Sam Wheat (Patrick Swayze) has been murdered. But as a ghost, he decides that things didn't happen the way they were supposed to. He really loves Molly (Demi Moore) and since this was murder, maybe he can stick around and see that the situation is made right. Enter Oda Mae Brown (Whoopi Goldberg), amateur psychic and small-time criminal. Will Sam be able to use her to get in touch with Molly? The story is a wonderful combination of romance, suspense, comedy, mystery, and the supernatural. It is performed in first-class style by three very talented actors. Patrick Swayze has never given a better performance, Whoopi Goldberg is hilarious yet not distracting, and Demi Moore is both sensitive and stunning. Add in the great special effects, masterful make-up, and Maurice Jarre's soundtrack, and you have a perfect film. PG-13 for language and violence.
GHOST ADVENTURES: THE DOCUMENTARY (NR) 88 minutes * 1/2 This documentary became the basis for the series on the Travel Channel, investigating haunted sites. The locations here aren't particularly convincing as far as proving anything supernatural, but they definitely look creepy enough.
THE GHOST AND THE DARKNESS (R) 103 minutes * * * To build a bridge may not sound too difficult, but when the workers are being harassed by a couple of lions, it takes on a different look. The real stars here are Vilmos Zsigmond's photography and Jerry Goldsmith's music. Val Kilmer does a good job too, but the mood is so completely established by the camera and the music, that we are captivated. This isn't as powerful on the small screen, but it's still quite good. R for violence.
GHOST DAD (PG) 78 minutes * 1/2 Elliot Hopper (Bill Cosby) dies in a traffic accident and realizes that he hasn't taught his children as much as he wanted to, so he sticks around in ghost form to accomplish the task. Technically, the film is good, but the characters are stale. As short as it is, it still runs too long. Younger kids may enjoy watching Cosby here, but most will find it a bit tiresome. PG for language.
GHOST FROM THE MACHINE (PG-13) 82 minutes * 1/2 Cody (Sasha Andreev) is trying to build a machine that will serve as a conduit to those who have died... in particular, a way to reach his own parents. The machine works, but his parents aren't the ones coming over. the editing here is very uneven, and the acting is a bit rough as well. The ending is iteresting though and the story idea is a good one, it just doesn't have the strength it needs to make the film work very well. PG-13 for violence and language.
GHOST GOGGLES (NR) 71 minutes 1/2 Nick (Andre Kennedy) discovers a pair of glasses that let him see dead people. Cute idea for a story, but the script is a mess. It's made even worse by the cast, in particular a bunch of adults who want to overplay every line they deliver.
GHOST HOUSE (NR) 95 minutes * * When a couple on vacation in Thailand accidentally disrespect a ghost house, they have no idea of the terrors that await them. Nice effects, and a creepy, if not terribly original story. The ending is no surprise, but there are some nice supporting performances that help keep this both fun and interesting.
GHOST IN THE MACHINE (R) 91 minutes * Karen Allen stars in this low-budget horror film with a paper-thin plot. There are a few special effects that are good, but the small budget is overly obvious in the rest of the film. The idea that a serial killer's dying spirit would seek vengeance by traveling through the computer lines to kill the friends and ruin the credit of a woman he's upset with is ridiculous anyway, but talent could've pulled this up a notch or two if there had been any around.
GHOST IN THE SHELL (PG-13) 98 minutes * * * This is the future. Not only can your body be enhanced by cybernetic parts, but your brain can be transplanted into a fully synthetic body. Major (Scarlett Johansson) is the first. Adapted from the manga, which was previously adapted as an anime feature. This live action version is enough longer that it can take some much needed time to delve into some of the deeper, theoretical and philosophical questions that Major's character present. The story is a little too neatly packaged at the end, but getting there is quite good. A wonderful cast and superb effects. PG-13 for violence and sex.
GHOST MACHINE (R) 90 minutes * A computer simulation game gone wrong. It turns out that if you upload a location to the computer that has a ghost... you just might upload the ghost as well. Cheap ending, though there are a few good effects and a ouple of creepy moments. The weak acting and even weaker script do a great deal of damage here though. R for violence, language, and sex.
GHOST NOTE (NR) 100 minutes * Eugene Burns (Kenny Gardner) was once a well-known blues musician. Now, he's a ghost who enjoys scaring people. This could have been so much better if someone had spent the time to make the characters more appealing. They just aren't well-written, and the cast doesn't do well trying to make something out of nothing.
THE GHOST OF DICKENS' PAST (G) 85 minutes * * * The inspiration for Dickens' "A Christmas Carol" is the topic here. We learn of Dickens own experience with a mysterious young visitor who teaches him the importance of compassion. It's a fascinating idea and plays out very well. The production quality is a bit weak in spots, but this is well worth a look.
GHOST RIDER (PG-13) 103 minutes * * 1/2 Making a bargain with the devil to save his father from death by cancer, Johnny Blaze becomes the Ghost Rider each night, "cursed to ride the earth, collecting on the devil's deels." Adapted from the Marvel comic book series, this does a very nice job of bringing that same approach to the big screen. The characters are broadly drawn and clearly have an old "EC Comics" style of horror and justice. Nicolas Cage may not have been the best choice for Blaze, but he does a reasonably good job. Wes Bentley and Eva Mendes both deliver wonderful supporting performances, as does Sam Elliott, playing the Caretaker to perfection. On the other hand, Peter Fonda's performance as Mephistopheles leaevs a great deal to be desired, being about as threatening and sinister as a baby rabbit. Very nice special effects throughout, and for those who are curious, it's the Melbourne General Cemetary in Australia that has that wonderfully haunting atmosphere. PG-13 for violence.
GHOST RIDER: SPIRIT OF VENGEANCE (PG-13) 88 minutes * * Johnny and the Ghost Rider are called on to stop Roarke (Cieran Hinds) from bringing forth the anti-Christ. This falls victim to the "second film syndrome", with production that is more slick and polished, but a story that relies not only on us having sseen the first film, but on our willingness to see the next one. The film ends with Johhny discovering that the demon is not the only thing within himself. We don't know what, aren;t really surprised, and a bit peeved that we have to wait for the next film to find out. PG-13 for violence and language.
GHOST SHIP (R) 86 minutes * A salvage crew finds an ocean liner that mysteriously disappeared some time ago. They're interested in salvage rights, but the ghosts on the ship are interested in something else. The details of the story are all explained by one of the ghosts after an hour, just in case you haven't figured things out. The real problem is how little sense the last several minutes of the film make in light of some earlier statements by the ghost who runs the show. A few nice effects, but not enough to recommend sitting through the whole film. R for violence, language, and nudity.
GHOST STORIES (NR) 93 minutes * * Professor Goodman (Andy Nyman) has spent his life proving that paranormal events are actually nothing but hoaxes. He has recently been given a file with information on three apparitions. These three particular cases may not be quite so easy to explain away. The intensity increases well for most of the film, though the twist at the end is not quite as strong as it needs to be. Nyman and Jeremy Dyson adapted the script from their play and shared in directing the film.
GHOST STORM (NR) 86 minutes * 1/2 The victims of a mass suicide are using the power of an electrical storm to wreak their vengeance. Very much a B-grade horror film, but there are a few nicely done effects. Unfortunately, we get to see them over and over... and over.
GHOST STORY (R) 108 minutes * * * ½ These four men share a decades-old secret, but the bizarre death of one of their sons causes them to realize that they must address what happened so many years ago. Very effective use of music and lighting. Wonderful to see Fred Astaire, Melvyn, Douglas Fairbanks Jr., and John Houseman working together. Adapted from Peter Straub’s book. R for violence, sex, and language.
A GHOST STORY (2017) (R) 87 minutes * * * Shortly after moving to their new home, C (Casey Affleck) dies. Still feeling a deep connection to M (Rooney Mara), and not yet ready to move on, C returns to their old home, just as M has done. Fascinating and highly symbolic, this offers a look at grief on both sides of the line that we draw between life and death. Nicely written. R for language.
GHOST TEAM (PG-13) 80 minutes * * 1/ An amateur ghost hunter gets a chance to investigate a possible haunted site that no other ghost hunters have seen before. They are about to find something... Good-natured fun about a group of likeable misfits who work well together. It's silly, but actually works well because the characters are appealing and we find ourselves hoping that they will succeed. PG-13 for language.
GHOST TOWN (PG-13) 98 minutes * * * Dr. Pinkus (Ricky Gervais) sees dead people... and he'd really appreciate it if they'd just go away! Clinically dead for just a few minutes, he now has the ability to see them, and they all seem to have favors to ask of him. Humorous film that is also both romantic and tender, though that doesn't happen until later in the film. Frank (Greg Kinnear) is willing to help, but since he's a ghost too, he has a request as well. PG-13 for language.
GHOST TRAP (NR) 75 minutes BOMB Low budget kids adventure film about a haunted house that ends up not being all that scary after all. It also isn't much of an adventure, with a poor script and stiff acting. This won't holds most of the younger crowd's attention, and there is so much to choose from that's so much better.
GHOST WITCH (NR) 94 minutes BOMB Members of an amateur paranormal investigation group check out a haunted house. It doesn't take long before they are in way over their heads. Painfully bland and uninspired acting, and the annoying static bursts are the ultimate cheap and ineffective scare.
GHOST WORLD (R) 106 minutes * * * 1/2 Enid (Thora Birch) and Rebecca (Scarlett Johansson) are best friends in high school, rebels who enjoy harmlessly torturing the people they come into contact with. When they turn their sights on Seymour (Steve Buscemi), something a little different happens. Enid finds herself curiously drawn to him, while Rebecca tires of the prank and of her friends' growing obsession. Adapted from Daniel Clowes' comic book by Clowes and director Terry Zwigoff, this garnered numerous nominations and wins for them and for Birch, Johansson, and Buscemi. Part coming-of-age film, part alternative/punk, with characters that are immediately intriguing and memorable. R for language and sex.
THE GHOST WRITER (PG-13) 124 minutes * * 1/2 Assigned to ghost write the memoirs of the former British Prime Minister, Adam Lang (Pierce Brosnan) is an honor, but it's going to be quite a challenge as well. The transcript is top secret, and even more interestingly, Lang has just been accused of committing war crimes. There are other secrets as well, and the more time he spends working on the book, the more secrets he finds. Ewan MacGregor stars as "The Ghost" in this political thriller. The story is paced well enough to keep us from thinking about most of the logical inconsistencies, but they are there. Adapted from Robert Harris' book, "The Ghost". PG-13 for language and sex.
GHOSTBUSTERS (PG) 98 minutes * * ½ When three friends are kicked out of a university for their somewhat unethical experiments around the study of parapsychology, they decide that they must continue to do the work they were called to do. OK, it looks a little different now that they need to advertise their services. They need a catchy name. And the rest is history. Great special effects, and the humor is fun, but it actually tends to undercut some of the science. It tends to be uneven in that balance, and leans more toward humor, rather than the other direction, which might have resulted in a stronger story. PG for language, violence, and sex.
GHOSTBUSTERS (2016) (PG-13) 106 minutes * * More than just a remake, this is an homage to the original film. The biggest problem with that is that it's far less entertaining if you haven't seen the original, though it's packed with treats for those who have. Part of that includes the cameos by almost all of the original main cast. PG-13 for violence and language.
GHOSTBUSTERS: AFTERLIFE (PG-13) 114 minutes * * * Moving to the middle of nowhere is not the most exciting thing. Or is it? Phoebe (Mckenna Grace) soon learns that her grandfather's house holds secrets beyond imagining. Ghostly secrets, and a legacy that she has the opportunity to carry on. A wonderful script that recaptures the spirit of the first film and builds well on it. Grace carries the early parts of the film very well, giving the other characters some time to grow. While the story does rely heavily on the first film, it's actually a stronger piece of work. PG-13 for violence and language.
GHOSTBUSTERS II (PG) 102 minutes * * The gang is back to fight off the evil slime that is feeding off the negative energy coming from New York City. It's not that this is a bad sequel, just that there isn't much in the way of originality. Fans of the first film will find this relatively entertaining, but you really do need to watch part one first.
GHOSTHUNTERS (NR) 88 minutes * 1/2 When a ghosthunter's wife and daughter die in a house, he wants to free their spirits. But the team he's working with find something much more sinister and dangerous than a couple of lost spirits in the house. Great atmosphere and music, and the acting isn't bad, but the dialogue is poorly written and the story is full of holes, making it difficult to stay interested.
THE GHOSTMAKER (R) 89 minutes * 1/2 The discovery of a mysterious coffin with a device that allows a person to leave their body and experience the world as a ghost, leads a group of young peoplr to do the unthinkable. Their experiments grow more and more bold and risky until they just go too far. A little too much cheap horror and not enough philosophy and real suspense. R for language, sex, and violence.
GHOSTS OF AMITYVILLE (NR) 73 minutes BOMB A young girl (Julie Liv Thomasson) and her father (Jonny Chris) head to a cabin to take a break after the death of her mother. The girl begins to have dreams in which a clown is chasing/haunting her. She has trouble convincing her father, who is eventually killed by the clown... or is he? Is it just another dream? It's difficult to tell what's real and what isn't, or what any of this has to do with Amityville. Just to note, Junie is listed in the credits as the assistant director and script supervisor.
GHOSTS OF BEIRUT (NR) 221 minutes * * * Imad Mughniyeh. The Ghost. One of the most dangerous men to have ever lived. This is the story of the pursuit of this terrorist mastermind who evaded capture for over twenty years. Not only is this based on actual events, but it includes news footage and interviews with numerous people who were connected to the story in real life, which lends it an extra touch of realism. It moves fairly evenly between dramatic scenes and documentary footage to tell the story.
GHOSTS OF CHERNOBYL (NR) 81 minutes * A visit to the exclusion zone of Chernobyl turns into a trip to Hell for these friends. Yet another "found footage" film, though the ending to this one is a little more chilling than most.
GHOSTS OF CHRISTMAS ALWAYS (NR) 86 minutes * * * It turns out that being the ghosts of Christmas past, present, and future is a regular job. When Katharine (Kim Matula) stays behind for a quick look around after they finish a job, she ends up creating a little wrinkle in the pattern of things. Or perhaps it was meant to be that way, leading to the next job. A very creative and clever adaptation of the classic Dickens' story. Charming supporting performances by Lori Tan Chinn and Reginald Vel Johnson.
GHOSTS OF DARKNESS (NR) 80 minutes * 1/2 This particular house has a dark and mysterious past that its current owners would like to dispell. Two paranormal investigators are hired to spend three nights in the house. The one is psychic, while the other bases their approach in science. They don't really get along, but they are both about to discover the same thing. Nice setup, but the film gets repetitive fairly quickly and the ending is a little silly.
GHOSTS OF GIRLFRIENDS PAST (PG-13) 95 minutes * * In case you didn't catch the reference in the title, this is yet another version of "A Christmas Carol", this time with a twist involving romantic relationships. It isn't the spirit of Christmas that Connor (Matthew McConaughey) has lost, but the spirit of love. He's grown more than a bit cynical and this is his last chance to understand why he's become this way and to change his attitude. The ending is somewhat of a mixed bag, wrapping the story up with sentimental elegance, and then acting like it's all been a big joke. Bad choice for a way to end the film. PG-13 for langauge and sex.
GHOSTS OF GOLDFIELD (R) 80 minutes * 1/2 Connections in her past lead Julie (Marnette Patterson) to investigate a haunted hotel with a few of her college friends. The ghosts are still there, and they seem to be able to possess people at times. It's an interesting story, though there are definitely some inconsistencies. The music and sound effects are creepy enough, but the acting leaves quite a bit to be desired. R for violence, sex, and language.
GHOSTS OF MARS (R) 92 minutes * 1/2 Sent to pick up a violent prisoner in a remote town on Mars, an elite group of police finds the town deserted except for a few individuals who have barricaded themselves against the strange murderous tribe of individuals who once lived among them. There are some interesting ideas here, but the story is told using flashbacks and is rather irritating. The ending is corny, but feels right. The best aspect perhaps, is the soundtrack provided by director John Carpenter. It is yet another relatively simple one in its structure, but highly effective in setting the mood. R for violence and language.
GHOSTS OF MISSISSIPPI (R) 125 minutes * * 1/2 Despite some powerfully written dialogue and a script that keeps us moving along through the story, this doesn't have the passion it needs for us to find ourselves really involved in the story. A bit too much emphasis on details of the legal procedures involved and not enough about the people. James Woods performance is a little bit off here as well. He seems to be presenting us a cartoon character instead of a real person. R for language and violence.
GHOSTS OF WAR (R) 88 minutes * * Their latest orders seem simple enough... to occupy a French Cahteau. The war is almost over. But this place is not what it seems, and they will soon discover things that are far more terrifying than anything they've witnessed so far in their military careers. Lots of very creepy moments, with nice visual and sound effects. When the story reveals a twist near the end, it's less than convincing. It also raises a few extra questions, which the film promptly ends without answering. R for violence, language, and nudity.
GHOUL (NR) 82 minutes 1/2 Three filmmakers go to the Ukraine to make a film about Andre Chikatilo, a violent, cannibalistic serial killer from the 1930s. But his spirit isn't very happy about the idea. Found-footage genre, with lots of cutaway shots so that you rarely see very much that matters. Plenty of noise scares, and very little suspense.
GHOULIES (PG-13) 106 minutes * Ancient demons begin to take control of a young couple that moves into an old mansion. There are a number of good things here. The house, the music, the story idea... and the acting isn't bad. Unfortunately, it just doesn't hold together and despite the potential, the result isn't very good. PG-13 for violence and language.
GHOULIES IV (R) 76 minutes BOMB Hoping to bring her master over from the other side, Alexandra (Stacie Randall) loses the jewel that will make it happen. Fortunately, there's another one. It belongs to Jonathan Graves (Peter Liapis), who has no intention of giving it up. In the meantime, a couple of small demons show up to cause trouble. The ghoulies we know and :"love" barely make an appearance here. R for violence.
GHOULIES III: GHOULIES GO TO COLLEGE (R) 87 minutes 1/2 The little creatures have made their way to the halls of higher learning. Maybe that's why they somehow know how to speak English in this sequel. The usual gross effects and humor with a generous helping of sex jokes. R for sex, violence, and language.
GHOULIES II (PG-13) 81 minutes 1/2 The Ghoulies are back, this time at an amusement park, where they are causing lots of trouble. Despite this, people seem to think they are part of the park's horror attraction, knosn as Satan's Den. No surprises in this low-budget sequel.
G.I. JANE (R) 120 minutes * * * 1/2 Lt. Jordan O'Neil (Demi Moore) is one of several women who are test cases to determine the viability of 100% integration of women in the military. O'Neil may have the hardest track though, as she is in training for the Navy SEALS program. Moore does the best work I've seen her do in years and Trevor Jones' music accentuates it well. Director Ridley Scott's cohesive direction is responsible for the films unrelenting intensity. This is a powerful film with focus and power that aren't seen often enough. R for violence, language, and nudity.
G.I. JOE: RETALIATION (PG-13) 97 minutes * * 1/2 The Joe's are still trying to track down and capture the last two Cobra agents still at large. But Cobra still has a few tricks left that are going to make it difficult. This is one of those rare sequels that recognizes and corrects the shortcomings of the first film. In this case, it was acting and character development. Both have improved here and we still have great, high-tech hardware and plenty of action and adventure. It still gets a little cartoonish, but it's a little better than the first film. PG-13 for violence and language.
G.I. JOE: THE RISE OF COBRA (PG-13) 109 minutes * * Plenty of high-tech action here, though acting seems to take a back seat. The sequences get more and more cartoonish as the film progresses, leaving reality far behind. We never really get to know the characters very well, and the bits we do hear are presented in a sort of mission briefing style that doesn't lend itself to connecting with the characters. Nice soundtrack by Alan Silvestri. PG-13 for violence and language.
GIA (R) 116 minutes * * * Stunning performance by Angelina Jolie of the life of supermodel Gia Marie Carangi. At times this seems to go for all the dirt in Gia's life, but then again, there's always the sense that she never was polished, but remained a diamond in the rough. The conclusion is no surprise, but is handled with sensitivity. Mercedes Ruehl also gives a nice supporting performance as Gia's mother. R for sex, language, and violence.
THE GIANT KING (PG) 95 minutes * * After a huge robot battle, Zork and Pinky find that their fates are connected.... literally. But they don't know why and they don't remember what happened. Maybe Ram will know. Overly complex backstory, and an equally involved moral to the story. It's likely to decrease the interest for most of the younger crowd. PG for violence and language.
GIANT LITTLE ONES (R) 87 minutes * * 1/2 Friends since they were little, Franky (Josh Wiggins) and Ballas (Darren Mann) are also both very popular. But after an incident one night, a rumor about Franky begins. Rumors quickly mix with the real story, and truth begins to change. A coming-of-age film with good work by the cast and some very good scenes, but it stays a little too much on the surface, shying away from the depth that could have made it a stronger film. R for sex and language.
THE GIANT MECHANICAL MAN (PG-13) 83 minutes * * * Tim (Chris Messina) is a part-time street performer and Janice (Jenna Fischer) works at the zoo in town. Their paths begin to cross and they find that there is an attraction that might develop into something deeper. The awkwardness and timidity of these two very likeable characters makes the story feel all the more genuine. PG-13 for sex and language.
THE GIANT OF THUNDER MOUNTAIN (PG) 97 minutes * * 1/2 Overlooked film starring adorable little Noley Thornton. Solid family entertainment, if a bit predictable, with gorgeous scenery. Bart the bear is here, as are Jack Elam, and Richard Kiel, who co-wrote the screenplay. If you can find this one, it's a nice little film that you'll be glad you watched. PG for minor violence.
GIDEON'S DAUGHTER (NR) 104 minutes * * * Dreamlike look at part of the life of a public relations genius whose daughter is planning on cutting him out of her life. Meanwhile, he finds himself falling for a woman who is grieving the loss of her young son. This has almost fairytale-like qualities with on-screen narration by Robert Lindsay's character Sneath, a role he also played in director Stephen Poliakoff's film "Friends and Crocodiles", released earlier the same year. Bill Nighy, Miranda Richardson, Emily Blunt, and Lindsay all deliver excellent performances.
THE GIFT (R) 193 minutes * * * 1/2 As a present to celebrate his retirement, Gregoire's (Pierre Mondy) fellow employees hire a call girl. Gregoire doesn't realize that she's been hired and decides to pursue thie attractive women who has shown interest in him. To impress her, he pretends to be someone more important than he is... which causes some problems. Charming and extremely well-written love story. "The Gift" is a direct translation of the French title of the film, though an english version has been retitled, "Bankers Also Have Souls", which is a poor choice.
THE GIFT (R) (2000) 107 minutes * * 1/2 Annie (Cate Blanchett) has a gift. She can see the future. But sometimes gifts like this can be a curse. They can put people in danger. Blanchett, Giovanni Ribisi, Katie Holmes, Greg Kinnear, Hilary Swank, and Keanu Reeves all do nice work here. But the story wanders and drags on too long, almost without point at times. Sam Raimi's direction has some brilliant moments, but also has far too many that remind us of low budget productions and amatuerish scripts. It's a nice little suspense film that benefits from some great performances which manage to overcome a weak script and some inconsistent direction. R for violence, language, and nudity.
THE GIFT (2015) (R) 103 minutes * * ½ Moving to a new town, Simon (Jason Bateman) meets an old classmate from high school. But this particular person has an agenda… and it’s not pretty. Playing on the idea that for many of us, once doubt is cast, feelings will never be the same, this suspense/thriller takes this a few extra steps. Much of the suspense is actually fairly standard, but the idea as a whole, and the ending, work well. R for language.
GIFTED (PG-13) 93 minutes * * * Frank (Chris Evans) is raising his niece (Mckenna Grace) because it's what his sister wanted. She's a very gifted child, but with Frank as her guide, she is able to live a somewhat normal life. Her grandmother (Lindsay Duncan) has other ideas about how she should be raised, and takes him to court. There's more story here than we get to see, and a little too much of it is either just missing, or only alluded to. Another 15 minutes of film could have helped this quite a bit. Very nice twist at the end. PG-13 for language.
GIFTED HANDS: THE BEN CARSON STORY (NR) 89 minutes * * 1/2 TV bio-pic about the extremely talented surgeon, Ben Carson. Cuba Gooding Jr. does a nice job here, which is refreshing considering some of the other... less than inspiring films he's been in since winning his Oscar. That said, the production values are somewhat limited here, and the story is a bit formulaic. It's reasonably good for a TV movie, but disappointing that such an inspirational story didn't receive better treatment.
GIGANTE (NR) 85 minutes * * * Gentle and calm... for the most part, Jara (Horacio Camandule) is a security guard who has a crush on a night shift cleaning crew member. His shyness is going to make it a little difficult to talk to her, but it just might be worth the risk. Charming and sweet film that won a number of international film awards.
GIGANTIC (R) 95 minutes * * 1/2 Brian (Paul Dano) has always wanted a baby. Now that his adoption of a Chinese infant is about to come through, he finally meets Happy (Zooey Deschanel). She seems to be the perfect girl, but what will she think about the adoption? Bittersweet romance with quirky, but appealing performances by Deschanel and the supporting cast, which includes Ed Asner, John Goodman, and Jane Alexander. Dano seems bored and at a loss for words most of the time, but that tends to be the character he always plays. R for language, sex, and violence.
GIGI & NATE (PG-13) 107 minutes * * 1/2 A bout of meningitis leaves Nate (Charlie Rowe) a quadriplegic. An opportunity arises for him to have a service animal that can help with basic day-to-day tasks. A capuchin monkey. Gigi and Nate will face another battle as there are those who disagree with the idea of training a wild animal to do this work. This starts very well, and builds nicely, but wraps up too quickly and a little too easily, which weakens the story. PG-13 for language.
GIGLI (R) 117 minutes 1/2 Ben Affleck and Jennifer Lopez star as two mob contractors who are supposed to keep an eye on each other while doing a their job. Affleck makes a lousy mobster. The more he talks, the worse he sounds. And Lopez is definitely an eyeful, but that's really all she's supposed to do here... which is pretty pathetic. The best scene in the film is with Al Pacino. It looks like Affleck and Lopez are taking acting lessons from him... which they should have... R for language and sex.
GIMME SHELTER (PG-13) 96 minutes * * 1/2 Apple (Vanessa Hudgens) has had a rough life. After years of foster homes and not being able to work things out with her mother, she finds her father. He is willing to help, but only on his terms. The story tends to either over-sensationalize or over-sentimentalize, but Hudgens does a very nice job in spite of it. PG-13 for violence and language.
GIMME THE LOOT (NR) 72 minutes * It's all about "tagging the apple", ie. getting graffiti on the apple sign that pops out of the stands when the Mets hit a home run. The trouble is that it will cost money that Malcolm (Ty Hickson) and Sophia (Tashiana Washington) don't have. The story tends to wander all over the place and we lose interest because there isn't enough character development.
GINGER & ROSA (PG-13) 84 minutes * * 1/2 Ginger (Elle Fanning) and Rosa (Alice Englert) are best friends, as were their mothers. As they reach an age where being concerned about the Cuban Missile Crisis isn;t enough, they begin to move apart as they make different choices about what to do. In part because the girls' stories move apart, the story tends to become disconnected too. The performances are strong though, and the story does reconnect well at the end. PG-13 for sex and language.
GINGER SNAPS (NR) 108 minutes * 1/2 Ginger is 16, and enjoys, along with her 15 year old sister Brigitte, the darker side of life, including staging and photographing death scenes. They've made a pact with each other about dying together. Then, in October, on the night Ginger has her first period, which also happens to be the night of a full moon, a werewolf bites her. The changes in her body are now happening in even more extreme ways. As Brigitte tries to find help before the next full moon, Ginger grows more uncontrollable. As much a coming of age film as it is horror film, it scores points for it's title and for atmosphere. And it managed to create enough interest to generate a couple of sequels.
GINGER SNAPS BACK: THE BEGINNING (R) 91 minutes * Strange choice to do a prequel that is set in the 19th century but involves the same sisters. Even taken separately from the others, this just isn't that interesting except for it's suggestions of a connection to the wendigo legends of the Native Americans. Watch the first two, but skip this one. R for violence and language.
GINGER SNAPS: UNLEASHED (R) 90 minutes * * Fairly good sequel that follows Ginger's sister as she deal with the change she inflicted on herself to try and help Ginger in the first film. What makes the film most interesting though, is the character Ghost, played by young Tatiana Maslany who looks even younger than she is. It's a fascinating character, often talking in the third person and immersed in a world of comic books and living in a reality that is twisted and revealed to us in stages. R for violence and language.
GINGERBREAD MIRACLE (NR) 83 minutes * * 1/2 Legend has it that if the owner of Casillas Panaderia bakes you a gingerbread cookie and you make a wish on it, that wish will come true. The bakery is being sold, and Maya (Merritt Patterson) is in charge of the sale. Timing can be everything, and it's going to make a difference as to whose wishes will come true. Nicely written multi-layered story.
A GINGERBREAD ROMANCE (NR) 83 minutes * * 1/2 A life-size gingerbread house competition. Taylor (Tia Mowry-Hardrict) needs a baker to team up with if she wants to have a shot at winning. She and Adam (Duane Henry) didn't exactly get off to a good start, but things are about to change... after a few more rough spots. Mowry-Hardrict and Henry make a cute couple, but the story is a bit stale.
GINGERCLOWN (R) 79 minutes * When he's dared to go into the creepy old amusement park in the middle of the night, Sam (Ashley Lloyd) decides to do it. He wants to be accepted by the jocks, and to impress Jenny (Erin Hayes), who follows him into the park. Nice setting, and a great, creepy idea, but the monsters are far from scary, and aren't very well made. R for language and violence.
THE GIRL (NR) 90 minutes * * * What began as the simple hiring of the next attractive young blonde for another Hitchcock film, became an obsession. For Tippi Hedren (Sienna Miller), it was a new and challenging career with plenty of potential rewards. For Hitch (Toby Jones), it was an obsession with the young womanwho continually rejected his advances. Great work by both Miller and Jones. The story plays this with a tabloid press angle, but the acting keeps it a few notches above that.
THE GIRL (PG-13) 87 minutes * * * Ashley (Abbie Cornish) is trying to get her son back, but that's going to take money. Thanks to the not-so-great influence of her father, she decides to help people cross the Mexican border into Texas. But it isn't as easy as she thought, and she feels more responsible than she expected. Especially for Rosa (Maritza Santiago Hernandez). Nice work by Cornish here, though the story has a couple of logical/practical flaws that undermine its credibility. PG-13 for violence and language.
A GIRL & A GUN (NR) 73 minutes * * 1/2 Nicely done documentary look at women and their guns. Marketing, sales, movies, personal stories, and much more. Very well-rounded presentation though it doesn't go very deeply into most of the topics, choosing instead to try to address virtually every aspect of the subject on at least a surface level.
GIRL ASLEEP (NR) 74 minutes * * 1/2 14, almost 15, Greta's (Bethany Whitmore) world is about to change. But what will it change into? And why does it have to? Offbeat and highly symbolic, this is frequently silly and fun, but also sometimes just a little too strange.
GIRL FIGHT 87 minutes * * When Haley )Jodelle Ferland) wants to be part of the "in" crowd, she has no idea what's in store for her. The bickering turns violent, and she ends up in the hospital. Based on a true story about how extreme bullying sometimes gets. It's also a TV movie, with the standard, slightly sensationalized aspects to make a point about a particular issue.
GIRL FLU (NR) 91 minutes * * * Bird (Jade Pettyjohn) is twelve. She's very mature for her age, but that doesn't mean that having her first period will be easy. Especially when her mother is of absolutely no help whatsoever. In fact, she creates more problems, and Bird soon realizes that she's going to have to deal with this mostly on her own. Great work by Pettyjohn in this coming-of-age story.
THE GIRL FROM MONACO (R) 99 minutes * * * Bertrand (Fabrice Luchini) is a talented defense attorney. Audrey (Louise Bourgoin) is a vivacious, sexy TV weather girl. Bertrand is overwhelmed by her and decides she is just what he needs to spice up his life. But is it? And could she even be interested? Funny, sexy French comedy/ R for sex and language.
THE GIRL FROM MONDAY (R) 78 minutes * * * A look at a future controlled by Triple M, the Multi-Media Monopoly. Jack (Bill Sage), our protagonist, is in, but not of, this world. He works for Triple M, but is also working to undermine them. Multi-layered, philosophical, satirical drama from writer/director Hal Hartley. This has a little less depth in some ways than most of Hartley's films, but it's still quite good. R for language and sex.
GIRL IN PROGRESS (PG-13) 90 minutes * * 1/2 As you might suspect from the title, it's a coming-of-age story. Anseidad's (Cierra Ramirez) mother (Eva Mendes) isn't ready for, and isn't noticing that her daughter is growing up. But its going to happen anyway, and perhaps a little more quickly than either of them anticipate as she learns a few key lessons. Ramirez and Mendes aren't all that strong here, but work well together, which is enough to give this a little appeal. PG for language and sex.
THE GIRL IN THE BOOK (NR) 84 minutes * * 1/2 Alice (Emily Van Camp/Ana Mulvoy-Ten) is a book editor. Her career is going well until the latest project comes along. Years earlier, as a teenager, she had an affair with the author. It wasn't all roses, and now she's having to deal with it again. It's a good story idea, but depth of character and passion are somewhat lacking.
GIRL IN THE BOX (NR) 87 minutes * * 1/2 Kept in a coffin-sized box that her kidnappers stored under their bed, Colleen Stan (Addison Timlin) spent seven years of her life. Even when she wasn't in the box, her life was not her own. An intense drama based on the actual incident.
THE GIRL IN THE CAFE ((NR) 93 minutes * * 1/2 She was just a girl who happened to be in the cafe where he was taking a break from work. But when he starts talking to her, something happens. He finds himself falling in love with her, and risking more then he thought possible. Too much of the story wraps around the actual politics of the G8 conference in Iceland. It's an important issue and could still be used to make a point, but we lose too much of the characters with so much emphasis on the politics. Nice performances by both Bill Nighy and Kelly Macdonald.
THE GIRL IN THE CRAWLSPACE (NR) 73 minutes BOMB After escaping the crawlspace where she'd been kept captive, Jill (Erin R. Ryan) is seeing a therapist. But the therapist has problems of her own. The story here is a poorly written mess, and most of the acting is pretty bad as well.
THE GIRL IN THE PARK (R) 107 minutes * * 1/2 Julia's (Sigourney Weaver) daughter is kidnapped. Years later, a young woman in trouble stumbles into her life. A mixture of compassion and still unresolved grief cause her to reach out, but her mixed up motives will need to be straightened out if she really wants to help. The performances here are fine, but the story just never really touches our emotions very deeply. R for language.
THE GIRL IN THE PHOTOGRAPHS (R) 93 minutes * * 1/2 Colleen (Claudia Lee) is a check-out girl in a small town. Life is normal and boring. But then she starts finding photographs of young women who appear to be dead. Why is she finding the? Who is sending them? And most importantly, how can she get it to stop? The story builds slowly and isn't as strong as it needs to be, ehich affects the performances as well. R for violence, sex, and language.
THE GIRL IN THE SPIDER'S WEB (R) 110 minutes * * * Another entry in the "Millenium" series, though not really a sequel to any of the other films. This entry has Lisbeth Salander) (Claire Foy) working with Michael Blomkvist (Sverrir Gudnason) to save the world from being destroyed while she also deals with personal demons from her past. It doesn't really connect to other entries in the series as far as story, which is a little disappointing, but it does stand on its own very well. R for violence, language, and sex.
GIRL, INTERRUPTED (R) 123 minutes * * * Adapted from Susanna Kaysen's autobiographical book of the same title, this is the story of her experience in a mental hospital in the 1960s. A girl whose life was interrupted by what was diagnosed as borderline personality disorder. Perhaps it was that, perhaps it was not, it was definitely a time when she had to come to grips with who she was and what she wanted to do with her life. Something that her friends at the hospital, both patients and staff, taught her better than anyone else ever had. Winona Ryder, also an executive producer for the film, portrays Susanna in a way that captures her uncertainty, frustrations, and charms and brings them to life instantly. We feel we've known this girl and are thrown into the hospital with her. Angelina Jolie plays both a counterpoint and a friend, as Lisa pushes Susanna (and everyone else) to their breaking points. When she finally pushes back, she not only realizes that she has what it takes to survive, but that Lisa is begging to be pushed to that point as well. Jolie and Ryder are excellent, but that's not to overlook the quality performances all around. Each resident at the hospital is clearly presented and we miss them all when the movie comes to its conclusion. R for language and violence.
A GIRL LIKE GRACE (NR) 90 minutes * 1/2 Grace's (Ryan Destiny) mother is not really interested in being a parent. Looking for a more positive role model, Grace looks to her best friend and her best friend's sister. Good performances, but the script and direction are less than effective, with scene changes that are too abrupt, and with attempts at artistic styling that just don't work well.
A GIRL LIKE HER (NR) 84 minutes * * Jessica (Lexi Ainsworth) attempts suicide as a result of the bullying she's experienced in high school. With the help of a hidden camera, she had been working to prove that the bullying was real. Presented as a documentary, and it works fairly well for awhile, but then it begins to move toward an overly sensational and unrealistic ending, reminding us that it was fiction after all.
GIRL MODEL (NR) 76 minutes * * 1/2 A look at the harsh reality of what young female models must endure. We see the industry through the eyes of a former model turned talent scout as well as a new young model. Many of these young girls are sent to other countries and quickly find themselves owing more money than they are earning. Interest in their beauty often fades quickly and they are dropped in favor of the next in line. A bit dry, but it helps paint the picture with a negative tone.
GIRL MOST LIKELY (PG-13) 95 minutes * 1/2 Imogen (Kristen Wiig) was a rising star... for a moment. Now, everything is falling apart. After a failed faked suicide attempt, she ends up back with her mother and brother... which may be the worst thing yet. There are a few funny moments here, but this drags far more than it should, due in part to characters that just aren't all that easy to like. PG-13 for sex and language.
THE GIRL NEXT DOOR (2004) (R) 102 minutes * * A gorgeous girl moves in next door to Matthew (Emile Hirsch). He hasn't experienced much in life yet, but that's about to change... Danielle (Elisha Cuthbert) is a porn star who is trying to get a fresh start. She's going to learn that it's not so easy, and he's going to learn... a lot. Cute coming of age film that actually manages to be both sexy and sweet though the story wanders off track too much in the middle. R for language and nudity.
THE GIRL NEXT DOOR (2007) (R) 87 minutes * * 1/2 Disturbing and frightening fictionalized account of the torture and death of a young girl at the hands of a midwestern housewife and her children. Based on the novel by Jack Ketchum, the bulk of the film deals with the actual torture and the boy next door who tries to understand what is going on and why and who eventually tries to put a stop to it. The film is bookended by his adult musings and memory and isn't particularly effective, though it does help provide some distance from the horrific images in the body of the film. R for sex, violence, and language.
GIRL ON THE THIRD FLOOR (NR) 90 minutes * 1/2 The renovation of a old home is often a difficult task, as one repair uncovers another that is also needed. Don (C.M. Punk) not only uncovers additional repairs, but a strange room in the attic, and something seems to be living in the walls of the entire house. Some houses are better left alone. There are some gross effects, and a few good, creepy moments, but the story doesn't make much sense until the end, and it seems rather rushed at that point.
THE GIRL ON THE TRAIN (NR) 99 minutes * * 1/2 Jeanne (Emilie Dequenne) is a disillusioned young woman, who falls for a smooth-talking wrestler. His plans for them take a turn for the worse when he's arrested, and in an attempt to get the attention she craves and is now missing, Jeanne claims to be the victim of an anti-Semitic attack. It's an interesting slice of life, but Jeanne's character is as uninteresting to us as to the other characters, and her attempt to grab attention fails to get much of ours. The supporting performances are good, but not enough to give the film the strength it needs.
THE GIRL ON THE TRAIN (2013) (R) 74 minutes * * 1/2 Danny (Henry Ian Cusick) makes documentaries. One day, he meets a girl on a train. A chance encounter. Or, it could be something more. Reality or fiction. Is one more interesting than the other? Or better? Stuffed full of philosophical musings, which is some great material, but the film is short enough that it tends to get in the way of the story. R for language and violence.
THE GIRL ON THE TRAIN (2016) (R) 106 minutes * * 1/2 Rachel's (Emily Blunt) life has crashed, but she doesn't know how to deal with that fact. She continues to ride the train to a job she doesn't have. And one day, she sees something. Now, she finds herself in the middle of a missing person case, but the police don't believe what she has to say. The timeline of the story is overly convoluted in an attempt to create extra mystery and suspense that we don't really need. The acting and music create a very appropriately moody atmosphere. R for violence, sex, and language.
GIRL POSITIVE (NR) 86 minutes * * Rachel (Andrea Bowen) never thought that something like this could happen to her. As it turns out, not only is her former boyfriend an IV drug user, but it seems that he was also HIV positive... and now she is too. Packed with information and morality lessons, this feels quite a bit like an afterschool special, despite the reasonably good performances by some of the cast.
GIRL RISING (PG-13) 100 minutes * * * This documentary follows the lives of several girls from around the world. Girls who are struggling to get an education, who are working to better themselves, their countries, and the world as a whole. Their stories are inspirational and powerful and the statistics that are noted at different points in the film remind us just how difficult the challenge is for them. PG-13 for language and violence.
GIRL 6 (R) 103 minutes * * Girl 6 (Theresa Randle) is an actress wanna-be who just can't make it. She turns to phone sex as a way to make money and gets hooked. She's an interesting character who feels real, but to whom nothing ever really happens. Spike Lee manages to gather an impressive cast that includes Isaiah Washington, Naomi Campbell, Quentin Tarantino, John Turturo, Ron Silver, and Madonna, but he doesn't do much of anything with them.
A GIRL WALKS HOME ALONE AT NIGHT (NR) 96 minutes * * In a town in Iran that barely shows signs of life, a solitary vampire walks the streets. Nice work creating the atmosphere, but too much of the action is subtle and drawn out and it just doesn't sustain the film as a whole. More character development is needed to add strength to the impressive photography and lighting.
THE GIRL WHO KICKED THE HORNET'S NEST (R) 142 minutes * * * Third and final chapter in Stieg Larsson's trilogy. Thanks to the work of Blomkvist (Michael Nyqvist) and Lisbeth (Noomi Rapace), the net is tightening around "The Section". This also means thetSection members are taking action to protect their interests, which is going to make life more than a little difficult for Mikael and Lisbeth. Very nice resolution to the series. R for violence, sex, and language.
THE GIRL WHO LEAPT THROUGH TIME (NR) 94 minutes * * 1/2 When Makoto learns that she can travel through time, her world brightens and becomes an amazing place with all sorts of opportunities. But eventually, she realizes that her actions have consequences, and that she can only make those travels a certain number of times.
THE GIRL WHO PLAYED WITH FIRE (R) 120 minutes * * * Part two of Stieg Larsson's trilogy finds Lisbeth (Noomi Rapace) accused of multiple murders. Mikael (Michael Nyqvist) has to figure out how to keep the police off her trail so that she can help him figure out who's really responsible for them and how they tie in to a sex-trafficking ring that they're trying to bring down. Another great story, though it does seem to rely a little on us already knowing who the main characters are. R for violence, sex, and language.
THE GIRL WHO WASN'T MISSING (NR) 65 minutes * Echo (Kai Lanette) finds herself with few options, and none of them good after being gang raped and then kicked out of her home by her father. The absence of very much dialogue in the film draws attention to the photography and editing, both of which are bad.
THE GIRL WITH ALL THE GIFTS (R) 106 minutes * * 1/2 One young test subject has much more potential than the rest. Her blood could hold the cure. When the base where she (and others) are being held is overrun, the lead research scientist and her teacher, along with a small military team, try to make their way to safety. It's a very different sort of zombie film, with a strong emphasis early on around the scientific approach to understanding and dealing with the condition. Mike Carey adapts his novel to the big screen. The ending is unrealistically positive given the rest of the film, but otherwise, this is a very good entry in the genre. Great work by Sennia Nanua as Melanie. R for violence and language.
THE GIRL WITH THE DRAGON TATTOO (R) 146 minutes * * * Harriet has been missing for forty years. What happened to her? Mikael Blomkvist (Michael Nyqvist) has been hired to find out. But he only has six months before the courts have their way with him on another case. He'll be aided in his search by Lisbeth (Noomi Rapace), a rather unusual hacker/researcher. The deeper they look, the more tangled the web seems to become. It's a great story, though some of the subplots go into more depth than is necessary. Nyqvist seems a bit too casual at times as well. R for violence, sex, and language.
THE GIRL WITH THE DRAGON TATTOO (2011) (R) 153 minutes * * * Director David Fincher remakes the first part of Stieg Larsson's trilogy for audiences in the United States. The story is still just as good, and what Daniel Craig doesn't deliver, Rooney Mara more than makes up for. I'd still recommend the original over this, but they're close. R for violence, sex, and language.
GIRL WITH THE PEARL EARRING (PG-13) 95 minutes * * * 1/ She is just a poor girl, lucky to get a job as a servant. But the house she finds herself in is that of the artist Vermeer, and she finds herself intrigued by his painting. He, in turn, finds her innocence and appreciation of his work refreshing and energizing. Appreciation soon becomes affection though, and problems aren't far behind. It's a fascinating idea, adapted from Tracy Chevalier's novel that takes us into an imagined scenario inspired by a real painting. It does wander a bit though, and doesn't give us as much depth as it could have. Scarlett Johansson and Colin Firth are both particularly good here, immersing themselves in their roles and in the culture of Holland in 1665. PG-13 for sex.
THE GIRL WITHOUT HANDS (NR) 73 minutes * * * Using beautiful watercolor-style animation, the story is told of a man who traded away more than he realized for what he thought he wanted. The daughter he trades away becomes a princess, and yet her life is also beset by misfortunes. Based on the tale by the Brothers Grimm. The story is fascinating, but the animation is truly beautiful.
GIRLFRIEND (NR) 92 minutes * * * Evan (Evan Sneider) wants a girlfriend. Life is a bit more difficult than it is for some, as Evan has Down's Syndrome. He's found someone he likes, but she has troubles of her own. Sensitive and well-told, though a few of the subplots are a little distracting. They do fit, but transitions are rough and the purpose is not always evident until later.
THE GIRLFRIEND EXPERIENCE (R) 75 minutes * * 1/2 Chelsea (Sasha Grey) is a girlfriend for hire, also known as an escort. She'd like to become a little more upscale with her clientele, but it's a tough business, and she has more of the girl-next-door look. To make matters worse, her boyfriend is beginning to have a little difficulty with their open relationship. There's a very strong reality-film feeling here, though the meandering story may put some viewers off. R for sex and language.
GIRLFRIENDSHIP (NR) 85 minutes * * 1/2 It was supposed to be a fun vacation with her friends. Instead, Samara (Tamara Mowry-Housley) finds heself of a self-improvement retreat. It's not what any of them expected, but it might be just what they need. And there is this handsome doctor... This new way of looking at life and improving life might have a more positive effect then any of them expected.
GIRLHOOD (NR) 111 minutes * * 1/2 Marieme (Karidja Toure) is frustrated with the male-dominated and abusive life she is in and decides to drop out of school and into a small group of friends. While different in some ways, it also turns out to be much the same, and she discovers that the real choice she faces is an internal one. The very realistic photographic style and dialogue frequently make this feel more like a documentary than a drama.
GIRLS AGAINST BOYS (R) 89 minutes * 1/2 Shae (Danielle Panabaker) and Lulu (Nicole LaLiberte) have had some bad experiences with boys... and they are going to do something about it. Not very inventive or suprising, and actually moves very slowly early on. Panabaker is good here, but clearly not enough to carry the film or give it much in the way of depth. R fro violence, sex, and language.
GIRLS GONE DEAD (R) 93 minutes 1/2 Six former high school cheerleaders are now on their first college spring break. Too bad there's a crazy killer with a hammer and axe who is after them. Teen sex/slasher film with an overly long explanation at the end that we really don't care about. R for violence, sex, and language.
GIRLS OF THE SUN (NR) 105 minutes * * * After escaping from their captors, a group of women fight as a unit to end the abusive regime that is currently in control. Their methods and strategies are not like those of the men, but sometimes that's what is need. Bahar (Golshifteh Farahani) is their leader, and Mathilde (Emmanuelle Bercot) a journalist who is traveling with them to tell their story. A powerful story, though the movement between past and present is not very helpful.
GIRLS TRIP (R) 119 minutes * * * Ryan (Regina Hall) and her three best friends have drifted apart over the last few years. The publicity tour for her new book will be a great opportunity to get them all together. Not tht it won't be without some problems. Stellar supporting work by Tiffany Hadish in this fun, "girl's night out" story. R for sex and language.
GIVE ME LIBERTY (NR) 107 minutes * * 1/2 He was just trying to be nice, but it's not only turned around on him, it keeps getting worse. Vic (Chris Galust) drives a medical transport, and he's now transporting a group of elderly people to a funeral, which is not part of his job. The story takes its time to get to the point and loses some of us along the way, but it does wrap up very nicely.
GIVE MY REGARDS TO BROAD STREET (PG) 103 minutes * 1/2 Paul (Paul McCartney) is about to record his new album, but the master tapes have gone missing. Silly story, and it jumps around quite a bit. The loose ends tie up at the end, though a little too conveniently. Mostly, this is just a fun, musical treat for those who enjoy McCartney and Ringo Star. “I Love You (Silly Love Song)” and “Eleanor Rigby” are two of the best musical segments. PG for violence and language.
GIVE UP TOMORROW (NR) 94 minutes * * 1/2 When two girls go missing and are later found dead, the search for the guilty parties begins. But in this case, political interests and organized crime mean that innocent people are framed, prosecuted, and convicted. It will put the judicial system of the Philippines to the test. A detailed examination of the case and how it has played out over the years. Not always all that exciting, but does a good job of not taking sides.
THE GIVER (PG-13) 88 minutes * * Lois Lowry's powerful story about the meaning and responsibility of free will makes it to the big screen. As the characters will discover, the possibility of perfection can't happen without the risk of failure, and life and love can't happen without death and loss. The book uses a great deal of symbolism, and the film uses narration to explain quite a bit of it, tending to over-simplify in the process. The passion and energy are watered down as well, leaving us with a slightly disappointing adaptation. PG-13 for violence.
GLADIATOR (1992) (R) 97 minutes * * Predictable story of blackmail, revenge, and love, set in the world of amateur boxing. James Marshall's one expression performance manages to fit fairly well. With people like Robert Loggia, John Heard, and Brian Dennehy around, this should have been better though.
GLADIATOR (2000) (R) 148 minutes * * * 1/2 In some ways he's just a simple soldier, but the men who serve under him both respect and admire him. And he has been chosen by Caesar to return the glory that was once Rome. Caesar's son won't accept that and wages his own war against Maximus, leaving him without a family and sold into slavery to Proximo, who teaches him to be a gladiator. It's an epic story that director Ridley Scott presents with a sense of darkness that isn't overwhelming, but is constantly felt. Russell Crowe is impressive to watch and though the topic may not appeal to everyone, most will probably agree that it's a fine piece of work. R for violence.
GLASS (PG-13) 123 minutes * * * David Dunn (Bruce Willis) is a security guard with super powers. He's trying to take down a very dangerous man (James McAvoy) who has some very special powers of his own. McAvoy does some marvelous work with his multiple personalities, but the film starts slowly and without much direction. There are clearly ties to the world of comic books, but the story keeps those in the background and on a more theoretical level. A more direct approach would have been more effective. And, while the ending is good, it could have been a little stronger. PG-13 for language and violence.
GLASS: A PORTRAIT OF PHILIP IN TWELVE PARTS (NR) 116 minutes * * 1/2 The title pretty clearly states the topic here. Philip Glass' amazing and unique musical talent is described and explored, both through interviews with Glass and those who have worked with him, and with his family and friends. At times the emphasis is very much on music theory and expression, and at others very personal and emotional.
THE GLASS CASTLE (PG-13) 119 minutes * * * Jeanette (Brie Larson) grew up in a rather unconventional family. Always on the move, with an artist for a mother and a dreamer for a father, their life was far from easy. Finding her freedom from that family feels more like trying to get away, and not only will if be difficult, it may take a lifetime. A great cast in this adaptation of Jeannette Walls autobiography. PG-13 for language.
GLASS CHIN (NR) 85 minutes * * Bud (Corey Stoll) used to be a champ. but things are different now. He's walked into a trap where the choices are pretty clear... and not very good. Very nice work by Stoll. The supporting performances are uneven, but mostly because they aren't wriiten with much depth.
THE GLASS HOUSE (PG-13) 101 minutes * * Ruby (Leelee Sobieski) comes home late one night expecting to have to sneak by her parents. Instead, she finds that her parents were killed in a car wreck. Now she and her brother will be living with the family next door. The problem is that these family friends have a different agenda on their minds... and it involves the $4 million trust fund that belongs to Ruby and her brother. Sobieski and the rest of the cast perform this heavy-handed script well enough to make it worth catching on video, but the story is unimaginative at best. PG-13 for language and violence.
GLASS HOUSE: THE GOOD MOTHER (R) 90 minutes * * Abby and Ethan find themselves adopted by a couple who seem to be caring adults who have recently lost their own child. But all is not what it seems, and Abby and Ethan soon find themselves trapped in a house that is far more frightening than comforting. Despite the completely predictable storyline and two-dimensional performances by most of the cast, young Jordan Hinson is a treat to watch in the role of Abby. She helps us forget how bad the rest of the film is in many scenes, keeping up the intensity far more capably than those around her. R for violence and language.
THE GLASS SHIELD (PG-13) 103 minutes * 1/2 J.J. Johnson (Michael Boatman) is the lone black officer in the L.A. Sheriff's Department... yup, that's it for the plot. Which means this gets very tedious after about... twenty minutes. The acting is fine, but veterans Bernie Casey, Michael Ironside, and the younger and quite talented Ice Cube and Lori Petty can only do so much with a script that belongs on the floor of a bird cage.
GLASTONBURY IN FLASHBACK (NR) 86 minutes * * 1/2 A look at one of the most classic and iconic music festivals in England. Glastonbury has been a music festival for decades, bringing together great music and those who love it, every year. It shows no signs of stopping. This is a look at what it was like in the 1990s, giving us a glimpse of both on and off-stage happenings.
GLEE: THE 3D CONCERT MOVIE (PG) 74 minutes * * * It's Glee on stage, with some backstage interviews and Glee fan comments and interviews as well. In particular, the fans talk about how Glee has helped them feel accepted and supported. As one fan says in the film, "It's like a playlist of my life." And even if you aren't particularly interested in the TV show, the music is quite good all on its own. PG for language.
GLENGARRY GLEN ROSS (R) 97 minutes * * * Glengarry refers to a neighborhood of potential real estate investors. It is up to the Al Pacino, Jack Lemmon, and Alec Baldwin to use their salesmanship techniques to create deals that will stun their competition, which includes each other. Though it's evident from watching this that it would be a more powerful presentation on the stage (where it was first produced, it's still a strong film. The R rating is for the foul language which runs pretty much non-stop through the whole film.
THE GLIMMER MAN (R) 88 minutes * * * Intense story that is very well thought out, with good teamwork by Steven Seagal and Keenan Ivory Wayans. Not much comedy here, and that really seems to help this move along nicely. The biggest problem are the action sequences. Very bad camera work makes them blurry and hard to follow, making me think that they didn't want to do much work in this area. Interesting to note that, though the soundtrack is done by Trevor Rabin, three of the songs included are co-written by Seagal! R for language and violence.
A GLIMPSE INSIDE THE MIND OF CHARLES SWAN III (R) 79 minutes * * 1/2 When his "one true love" dumps him, Charles (Charlie Sheen) can't get over it. His memories and fantasies become a full-time preoccupation. What will it take to snap him out of it? At times, the film is a little overly self-conscious, but there's also a bit of charm here, and several very nice supporting roles from Jason Schwartzman, Bill Murray, and Patricia Arquette in particular. R for langauge and nudity.
GLITTER (PG-13) 99 minutes * * Mariah Carey is a very talented singer. An actress she is not. The story is the same tired one about a girl with loads of talent who manages to find someone who will promote her. They fall in love, then split up, and she ends up succeeding. Lots of other versions of this story are much better, but if you enjoy Carey's singing, you'll want to pick up the soundtrack as there are some very nice songs. PG-13 for language.
GLOBAL MELTDOWN (NR) 83 minutes BOMB The planet is falling apart, but a small group of survivors hope to find a safe place to live. The disaster makes no sense in its scope, the special effects give the word "cheap" a new meaning, and the dialogue is so bad that it's difficult to tell whether there's a problem with the acting or not.
GLORIA (R) 104 minutes 1/2 The idea of remaking a film isn't intrinsically bad, however, films like this make one wonder. The script is full of holes, unfeeling dialogue, and is just plain boring. Sharon Stone is incapacitated by it and gives a lifeless performance that makes us cringe. This is most definitely one of, if not THE, worst film from director Sidney Lumet. R for violence, language, and nudity.
GLORIA (2013) 105 minutes * * 1/2 Gloria (Paulina Garcia) decides to give romance another chance. Rodolfo (Sergio Hernandez) seems to be just what she wants and needs. But love isn;t easy, and Gloria will need to decide exactly what it is that she's looking for. The story is a little repetitive, but Garcia carries the film very well. R for sex and language.
GLORIA (2014) (R) 120 minutes * * * Initially, this bio-drama about Mexican pop star Gloria Trevi paints her manager Sergio (Marco Perez) in such a negative light that we can't help but think it's a biased view. As the story progresses, it becomes clear that his methods were more than a little questionable, and that she just wasn't able to admit it until almost too late. Great work by Sofia Espinosa, showcasing the raw sexuality and musical savvy that rocketed Trevi to fame and helped her recover after it almost all slipped away. A triumphant finish! R for sex and language.
GLORIA BELL (R) 96 minutes * * 1/2 In her 50's, Gloria (Julianne Moore) is the proud mother of two grown children. She is also looking for that special someone, mostly by going to dance clubs. She meets Arnold (John Turturro) there, but does she really want something new, or is she still wanting to mend what is broken? It's a more difficult choice than she expected. The character isn't particularly well-written, but Moore manages to add a little depth to it. R for sex and language.
GLORIOUS (NR) 75 minutes * * Wes (Ryan Kwanten) isn't really dealing with the breakup very well. Wandering and wondering, he eventually finds himself at a rest stop in the middle of nowhere. Once in the restroom, the door somehow locks, and he isn't alone. It's an interesting idea, and plays better than you might expect until the end.
GLORIOUS 39 (R) 120 minutes * * * It's 1939 and no one in England thought that war would really happen. It was a glorious time. It's also the nickname of Anne Keyes (Romola Garai), a young actress. Her family has been storing some documents for the government, or at least that's the story she's been told. But some of these documents are rather puzzling to Anne, and her exploration of what they might mean is doing more than ruffling a few feathers. It's an interesting story, though it focuses more on the family dynamics than the politics. Including a bit more of the political intrigue would have added a bit of depth and strength to the story. R for violence, language, and sex.
GLORY (R) 114 minutes * * * Matthew Broderick, Denzel Washington, and Morgan Freeman star in this story of the first unit of African-American soldiers who fought during the Civil War. The last 15 minutes of this film are sheer brilliance and are well worth the wait, but there are several sequences during the second half of the film that really drag. The part seems to be a bit beyond Broderick, which hurts, because the story is told primarily from his perspective. R for violence.
GLORY (NR) 98 minutes * * 1/2 When Tzanko (Stefan Denolyubov) finds a bag full of cash on the railroad tracks, he takes the honest approach and reports it. For his honesty, he's rewarded with a press conference and a new watch. But now his old watch is missing, and all he wants is to have it back, along with his old, quiet, and simple life. A bit of a morality play, though it takes awhile to balance out.
GLORY ROAD (PG) 109 minutes * * * Coach Don Haskins (Josh Lucas) moves up to Division 1 college basketball fresh off the courts of a girls' high school basketball team. To turn the team around, he makes the decision to recruit and start black players. In west Texas in 1965, it causes more than a little discomfort. The story is a bit thin early on, apparently in an attempt to spend more time on material later in the film. The film actually loses a bit of its strength as a result, though it does have a nice finish. Lucas does a nice job here and the film is a solid entry in the sports film genre. PG for language and violence.
GLOW: THE STORY OF THE GORGEOUS LADIES OF WRESTLING (NR) 73 minutes * * * It began in 1986, but despite its popularity, in 1990, it was off the air. This is the story of an unlikely group of women who were more successful than they ever dreamed possible. It was campy and fun, and an important piece of history for both television and the sport of wrestling. It was not all flowers and smiles, but few who were part of it would trade the experience for anything. They were (and are) part of a very special club. A great, in-depth look at the history of the show, including the first GLOW reunion.
GMO OMG (NR) 81 minutes * * * Nicely done documentary that is far more than just a complaint about the need to label GMO foods. It's an international examination of the processes used, and the ethics of how we produce food. The question we keep hearing, which seems very reasonable, is "why aren't we erring on the side of caution?" Of course, that also begs the question about why we allow any company (Monsanto in this instance) to control so much. There's also a very personal touch as director Jeremy Seifert talks with his children about some of his concerns and teaches them about how food is produced.
GNOME ALONE (R) 89 minutes 1/2 A witch betrays a leprechaun who then seeks vengeance on her. To protect herself, she summons a gnome. He is passed on from one witch to another, bound to protect each new master who calls. Now, if Zoe (Kerry Knuppe) can only figure out how to pass him along to someone else. Could have been an interesting idea, but there isn't much creativity here. R for violence, sex, and language.
GNOMEO & JULIET (G) 77 minutes * * 1/2 It's the classic story... lawn gnome version, with neighboring red and blue lawn gnomes feuding and falling in love. Packed with Shakespearean references and lawn gnome humor. That also means that a good deal of the film actually has rather limited appeal to the younger crowd that a "G" rating would suggest. If nothing else, it's worth watching to hear the voice cast, which includes an amazing variety of talent. Michael Caine, Maggie Smith, Emily Blunt, Patrick Stewart, Jason Statham, Ozzy Osbourne, Hulk Hogan, and Dolly Parton to name a few.
GO (R) 99 minutes * * All she was trying to do was make a few extra dollars to pay her rent. Now Ronny (Sarah Polley) is in the middle of a drug deal gone bad. This is a pop version of Trainspotting with a bit of Pulp Fiction thrown in for good measure. Despite the likeable cast, it rings too much of the films that inspired it and offers too little in the way of originality. R for language, violence, and nudity.
GO FISH (PG) 71 minutes * 1/2 A parrot fish learns about the damage oil spills or leaks cab cause in the ocean. He lives in a beautiful coral reef that is in danger from this strange black material and he needs to find out how to stop it. Cute story about oil pollution for the age 4-7 crowd, though it could have used a couple of catchy songs to help keep up interest. It also develops a rather negative tone late in the film. PG for language.
GO FOR IT! (PG-13) 86 minutes * Talent alone isn't enough, and Carmen (Aimee Garcia) is going to need to find what it takes within herself to pursue her dream of dancing. Unfortunately, the subplots, which could have done a nice job of rounding out the story, end up taking over the film, leaving Carmen's story almost in the background. There also isn't really that much dancing here... PG-13 for sex, language, and violence.
GO FOR SISTERS (NR) 120 minutes * * 1/2 Bernice (LisaGay Hamilton) is desperate to find her son, who is missing and quite possibly in danger. She convinces an old friend (Yolanda Ross), who is on parole, and a cop (Edward James Olmos)who has seen better days, to help her. Nice work by the leads, and as you might expect, the story is as much or more about the journey as it is about what they are trying to accomplish.
THE GO-GETTER (R) 89 minutes * * 1/2 He just wants to find his brother to let him know that their mother has died. Mercer (Lou Taylor Pucci) impulsively steals a car and begins his journey. The car's owner is an eclectic young woman (Zooey Deschanel), who doesn't seem to mind, and Mercer finds himself becoming interested. But does her really even know what he wants? Introspective film with great supporting performances by Deschanel and Jena Malone, though Pucci struggles a bit with a character that seems to be a bit too lost. R for language and sex.
b>GOAL! (PG-13) 113 minutes * * * Santiago (Kuno Becker) has a dream. He wants to play soccer for a world class team. It's not going to be easy, and there will be reasons to let go. This is another fine, inspirational sports film, with a stand-out performance by Becker, but well-supported by the rest of the cast. The script gets a little side-tracked in spots with details of lesser story elements which tends to make the story move a little slowly at times. In general, it builds and finishes well, lifting up the importance of dedication to your goals. PG-13 for sex and language.
GOAL II: LIVING THE DREAM (PG-13) 105 minutes * * Santiago (Kuno Becker) gets a chance to be a star, as Real Madrid wants him to move to their team. It means moving away from his girlfriend, but will give him an opportunity to connect with the mother he hasn't seen for most of his life. The subplots tend to take over the story here, though the performances are still fairly good. PG-13 for language and sex.
GOAT (R) 98 minutes * * Having just suffered a very violent personal assault, Brad's (Ben Schnetzer) world has been shaken. The idea of having a group of friends who will have his back is more than a little appealing, so he decides to join his brother's fraternity. But the initialtion process may be even worse than the assault he just experienced. R for violence, sex, and language.
GOBOTS: BATTLE OF THE ROCK LORDS (G) 72 minutes * * 1/2 The GoBots work together with the Rock Lords for control of the ultimate weapon, which the Renegades are trying to take. Great music, and a fun story. Fans of the GoBots and Transformers series will enjoy this, and the animation is fairly good as well.
GOD BLESS AMERICA (R) 99 minutes * * 1/2 Frank (Joel Murray) has had enough. There are just too many stupid people in the world, and he's going to deal with it by taking them out of the picture... permanently. When Roxy (Tara Lynne Barr) finds out, she likes the idea and wants to help. At first Frank thinks she's a little young to be helping. Then again, at least she shares his viewpoint. With a sarcastic and cynical sense of humor that is typical of director Bobcat Goldthwait, their plan plays out. There's some great social/cultural criticism here, but it can be difficult to get past the humor to see it. R for violence, language, and sex.
GOD BLESS OZZY OSBOURNE (NR) 91 minutes * * * The good, the bad, and every other extreme of Ozzy, including his more recent sobriety. Nicely done documentary-bio with loads of interviews with Ozzy, his family, and a number of musicians who have known and worked with him over the years.
THE GOD COMMITTEE (NR) 93 minutes * * * A hospital receives a heart for a transplant. There are three viable candidates for receiving the heart. The organ transplant committee must decide which of the people in question gets the heart. A tense drama with a fine ensemble cast, featuring Julia Stiles and Kelsey Grammer.
GOD HELP THE GIRL (NR) 105 minutes * * * Eve (Emily Browning) is working through some problems. Songwriting is her tool of choice. James (Olly Alexander) and Cassie (Hannah Murray) are musicians as well. The three of them "fit" together, and the summer becomes a magical, beautiful time. Fleeting and fragile as that time may be, it is an important piece of who they are. The music is rather haunting at times, with lyrics that run very deep, and which bear hearing more than once.
GOD IS A BULLET (18+) 113 minutes * * * On a mission to find and rescue his daughter and avenge the death of his wife, Detective Hightower (Nikolaj Coster-Waldau) infiltrates the satanic cult responsible for the crimes. He has some help from one of the few people who has ever managed to escape the cult, Case (Maika Monroe). Very nice work by the leads in this powerful story, based on actual events.
GOD OF VAMPIRES (NR) 104 minutes * When hitman Frank Ng (Dharma Lim) gets his latest assignment, he's in for a surprise. He's up against a powerful vampire. Rather then killing him outright, the vampire decides to make him suffer by killing everyone Frank cares about, knows, or even comes into contact with. An interesting idea, but the really low budget means that too much of this is filmed in the dark. There are some gory effects that we get to see a little bit of, but the acting and dialogue aren't very good either.
GOD OF WAR (NR) 125 minutes * * * During the 16th century, the Chinese coast is victim to numerous Japanese pirates. General Qi (Wenzhuo Zhao) is the only one who seems to be able to effectively strategize against them, but it comes at a personal cost. Packed with battle scenes, including some very well done one-on-one fight scenes with various weapons.
GOD ON TRIAL (NR) 84 minutes * * * A group of World War II prisoners in Auschwitz argue the nature and motives of a god who would allow dedicated and committed followers to suffer such atrocities. Framed with scenes from Auschwitz as it looks today, the film is both powerful and moving.
GODDESS OF LOVE (NR) 88 minutes * 1/2 A beautiful but unstable exotic dancer, Venus (Alexis Kendra) has found a new man. After a brief but exciting courtship, his energy and interest seem to fade a little. That brings out the worst in Venus as she becomes more paranoid and depressed due to the lack of attention and passion. Shallow characters and story with mediocre performances. The end is interesting if you can make it that far.
THE GODFATHER III (R) 154 minutes * * * Michael Corleone (Al Pacino) has decided to go into more legitimate forms of business. Some of his friends aren't too sure about the idea though. The old neighborhood isn't being run too well and some of these new partners don't seem to be very legitimate. The story plays out slowly, with Pacino and Andy Garcia giving wonderful performances. The supporting performances are rather shallow though, especially those of Sofia Coppola and Talia Shire. Still, Pacino and Garcia carry things well and this works fairly well for a sequel. It really does rely on your having seen the other films though. R for violence and language.
GODS AND GENERALS (PG-13) 214 minutes * It's hard to believe that this prequel to "Gettysburg" is actually shorter. The big problem here is the script, which is very stiff and awkward. Characters tend to say next to nothing for awhile and then someone does a while speech that tries to catch us up on what's going on. It's surprising that there's that much difference as Ronald Maxwell wrote and directed both films. The battle scenes are quite well-done, but the focus appears to be on some individual characters and their commitment to family and state (only for the South), and the larger issues of country, economy, and slavery are barely addressed at all. Civil War buffs will appreciate the attention to detail, but much like "Gettysburg", this would have benefited a good deal from some trimming. PG-13 for violence and language.
GODS AND MONSTERS (R) 98 minutes * * * A retired film director (Ian McKellan) has a stroke which causes images from the past to flood his mind from time to time. Reliving these moments, and in bits from the present, we see that some people have revered him as a god, while others consider him a monster. But aren't we all a little bit god and a little bit monster? McKellan and Brendan Fraser are amazing here, and complimented well by Lynn Redgrave and Lolita Davidovich. Carter Burwell's music captures the feel of the other side of Hollywood and transports us there. It's a fascinating film that will definitely stay with you. Based on the novel, "Father of Frankenstein". R for language and nudity.
GOD'S COUNTRY (R) 99 minutes * * 1/2 Sandra (Thandiwe Newton) is a college professor who lives in a house far away from town. When a couple of hunters start parking on her property, she asks them to stop. It's the beginning of a disagreement that is only going to escalate. It's also not the only thing that is pushing Sandra to the edge. Great work by Newton as usual. R for language.
GOD'S COUNTRY SONG (NR) 100 minutes * 1/2 His star is on the rise, but things turn quickly for Noah (Justin Gaston). He learns that he has a son, but doesn't really know how to deal with that information. He tries to keep his career going, but everything is slipping through his fingers. When he finally reaches the bottom, he turns to God and begins to rebuild his life. The cast isn't very strong, and the story is an old one. Nice soundtrack.
THE GODS MUST BE CRAZY (PG) 100 minutes * * * The bushmen of the Kalahari are a gentle people who live in complete isolation from the rest of civilization, including a city that is just 600 miles away. Xi (N!xau) is one of the bushmen, and has an encounter with the “civilized” world that leads to rather humorous results.
THE GODS MUST BE CRAZY II (PG) 95 minutes * * * Great companion film to the first, this follows nine people in the Kalihari desert and shows how their paths intersect. N!xau's children get to experience even more of civilization than he did in the first film, with equally comic results.
GOD'S NOT DEAD (PG) 111 minutes * 1/2 A college philosophy professor is challenged by a student who refuses to deny the existence of God. Aside from the poorly written script and the paper-thin performances, the film never addresses the idea that college and university professors often ask students to step outside their comfort zone to consider ideas which are in opposition to their current understanding. This would be especially true in the study of philosophy. The film instead, immediately turns this into an attack on Josh's (Shane Harper) faith and keeps striking this single note over and over. Most who identify as conservative Christians will enjoy this because the logic and beliefs presented here are what they support. Most who don't identify that way will like it much less if at all, because they don't support that logic or belief. PG for violence.
GODS OF EGYPT (PG-13) 117 minutes * * * When the Gods lived among humans, life was very different. Horus (Nicolaj Coster-Waldau) and Set (Gerard Butler) are at odds with one another. Horus and a human hero called Bek (Brenton Thwaites), unite to fight Set, and return the kinigdom to the glory that has been lost since Set has taken control. Great soundtrack and special effects. It's a little disappointing that the cast doesn't reflect the ethnicity of Egypt better, but otherwise this is a nicely done adventure. PG-13 for violence and sex.
GOD'S POCKET (R) 83 minutes * * 1/2 People don't really ever leave God's Pocket, which means that everyone knows everyone, and pretty much every thing. When Leon (Caleb Landry Jones) dies, even those who saw what happened aren't going to say anything, because there's little point. But his mother is sure that the story isn't right, and pressures Mickey (Philip Seymour Hoffman) to find out what happened. We want the world to be a better place for these characters, but there's no light for them while they live in this place. The ending is unusual, especially because a better one just happened a minute earlier. R for violence, language, and sex.
GOD'S SLAVE (NR) 86 minutes * * * No love is lost between Admed (Mohammed Alkhaldi) and David (Vando Villamikl). They are at the far opposite ideological ends from each other. Still, their lives are entwined, and we watch as they move closer and closer. Well-played drama, and winner of several film festival awards.
GODSEND (PG-13) 98 minutes * Paul and Jessie's son Adam is killed in a car accident. While still in shock, they are approached by Dr. Wells, who offers the opportunity for them to clone their son. Everything is fine until Adam reaches the age at which he died "before". The script for this fil is incerdibly weak and asks us to by sympathetic to characters we never feel we get to know. There are a few creepy and suspenseful moments thanks to some creative photography and music, but there are plenty of loopholes that leave us wanting the closing credits to come more quickly. PG-13 for language and violence.
GODSPEED (NR) 90 minutes * * Charlie (Joseph McKelheer) is a preacher/healer, but not as saintly as some might think. One night, he goes out to spend some time with a prostitute and while he's gone, his wife and child are killed. Having isolated himself after the tragedy, he's rather surprised when a young girl, Sarah (Courtney Halverson) shows up asking for his help. She soon professes her love for Charlie, but she also has a secret. The script and acting both need a good deal of improvement, but the idea is interesting and keeps our attention. Filmed in Anchorage and Wasilla, Alaska.
A GODWINK CHRISTMAS (NR) 83 minutes * * 1/2 Paula (Kimberley Sustad) and her fiance are a very busy power couple. When it works out for Paula to take a brief vacation, she realized that it was a relationship of convenience rather than love. And the guy she just met while on vacation may be the one she can really love. A little bit of holiday magic from Hallmark.
A GODWINK CHRISTMAS: MEANT FOR LOVE (NR) 83 minutes * * 1/2 Alice (Cindy Busby) and Jack (Benjamin Hollingsworth) keep crossing paths. She doesn't think she's ready for a new relationship, and he doesn't think he has time to spare for one. The godwinks just keep coming, and they're going to make sure that Alice and Jack stay together.
A GODWINK CHRISTMAS: MIRACLE OF LOVE (NR) 83 minutes * * A community service project introduces Eric (Alberto Frezza) and Joy (Katherine Barrell) to each other... and the Godwinks begin. The chemistry between the leads isn't very strong here, but the story works well.
A GODWINK CHRISTMAS: SECOND CHANCE, FIRST LOVE (NR) 83 minutes * * 1/2 Pat (Sam Page) and his two sons aren't thrilled about moving from Hawaii to Boise, Idaho. They don't really have much choice about it though. Interestingly enough, his old high school sweetheart (Brooke D'Orsay) is still in town. Maybe this move won't be so bad after all.
GODZILLA (PG-13) 130 minutes * * What a big budget bore! The opening credits are nice and some of the effects are well-done, but others aren't. When we finally get to see this new rendition of the classic monster, it looks like some mutant iguana/T-Rex, with moves that seem to copy the "Jurassic Park" films. The story moves from mild entertainment to total stupidity as our heroes are trapped in a taxi in the monsters mouth but somehow manage to drive away. And as if that weren't bad enough, we have to see the egg hatching at the end. You'd think that if they were going to spend this much money on a project, they'd have a better story to work with. PG-13 for violence and language.
GODZILLA (2014) (PG-13) 116 minutes * * Not a particularly fast-paced or action-filled movie. There is some interesting history and technical information, but not really enough to keep our attention. When the action starts increasing, late in the film, its unclear why the military is shooting at Godzilla when their commanders know that he's their only hope of defeating the other monsters. The last 30 minutes are really good, but it's not that easy to get there. PG-13 for violence.
GODZILLA: CITY ON THE EDGE OF BATTLE (NR) 94 minutes * * 1/2 In part two of the animated trilogy, the battle to defeat Godzilla continues. The most likely method appears to be reactivating Mechagodzilla. But what if the only way to defeat a monster iis to become one? That is what Haruo must decide. Much more cohesive story than the first entry of the trilogy.
GODZILLA: KING OF THE MONSTERS (PG-13) 121 minutes * * 1/2 In this sequel to 2014's "Godzilla", the Monarch agency is trying to keep the government and military away as those groups are only interested in killing all of the monsters. Monarch wants to study and control them. But all of this meddling by humans is going to set up a fight between Godzilla and King Ghidorah with Mothra and Rodan getting into the fight as well. Good sequel with quality effects and some additional depth to the story. PG-13 for violence and language.
GODZILLA 1985 (PG) 87 minutes BOMB Godzilla has returned. After a brief attempt by the Japanese authorities to cover up the news, they admit that the monster is back and that the world must come together to stop the destruction. The idea is (apparently) to create the same sort of effects as were used in the old Godzilla films. More modern and polished effects might have helped this, but only a little. The story just isn’t convincing or even fun, being rather boring instead, and giving us little reason to care about any of the characters. PG for violence.
GODZILLA: PLANET OF THE MONSTERS (NR) 83 minutes * * Monsters from the depths of Earth took over the planet 20,000 years ago. There are now a group of refugees trying to recolonize the planet. The first entry in an animated trilogy which, rather than possibly standing on its own, introduces numerous story rlrmrnts without much explanation. That makes it disjointed and sometimes a little confusing. The animation is quite good, and there's just enough appeal generated to create some interest in watching the next part.
GODZILLA: THE PLANET EATER (NR) 84 minutes * * Ghidorah makes an appearance to do battle with Godzilla in this final entry in the animated trilogy. The animation is still the highlight here. The story is not quite as strong as in the second part, and the ending is less than satisfactory.
GODZILLA 2000 (PG) 93 minutes * * Make no mistake, this isn't a sequel to the overblown modern version that came out in 1998. No, this is a Godzilla film that fits right in with all of those old ones we've always had fun watching. The story involved a strange rock that may be a spaceship and will present yet another challenge to Godzilla. The big rubber-suited Godzilla has been refined a little, but not much and the special effects are pretty much the same too. True, that means it really isn't a great film, but it's a fun one to watch if you enjoyed the old ones and don't mind a somewhat silly story about a big lizard that still manages to be beloved by the people of Japan despite how he rips up half of the countryside. PG for violence.
GODZILLA VS. KONG (PG-13) 105 minutes * * 1/2 The search is on for Kong's new home, perhaps where he first lived. It's a world at the core of the Earth. Godzilla may have something to say about Kong getting to this place. There are also some other complications to the trip (or trap), some of which don't really fit all that well linto the story. The special effects are very good, and the acting isn't bad either. It's the story that islacking energy and direction. PG-13 for violence and language.
GOEMON (NR) 123 minutes * * * Leaving his clan after their leader is killed, Goemon (Yosuke Eguchi) turns his skills toward helping the poor. But vengeance will soon lead him in another direction. Beautiful artistic direction and costumes, and wonderful photography. The story does take awhile to unfold, but is quite epic in nature as it does so. Some of the action is a bit cartoonish, but otherwise, this is quite nice. Based on a Japanese folktale.
GOING CLEAR: SCIENTOLOGY & THE PRISON OF BELIEF (NR) 119 minutes * * * Though it's plain that this docmentary was made by people who have an issue with Scientology, the result of their findings, even if biased, seem to uncover some rather disturbing information. History shows that any system of belief that doesn't allow for adherents to raise questions is standing on shaky ground. The system should be able to provide answers to questions, not shut down those who raise them. In particular, this makes a strong case against the current leadership of Scientology and the way the organization is being run.
GOING IN STYLE (PG-13) 91 minutes * * * Just because you've manages to put money away for retirement doesn't mean that the world of finance won't turn upside down on you. And when these three old friends discover that a particular bank has robbed them of their money, they decide to return the favor. Wonderful characters that are well-played by a veteran cast. It's no surprise with talent like Michael Caine, Morgan Freeman, and Alan Arkin at the top of the bill. Director Zach Braff hasn't been aroubd as long, but does have some practice at directing quality films, and does a wonderful job here as well. The supporting cast contributes quite a bit to make the story work and add more than a few extra moments of humor and sentimentality too. PG-13 for language.
GOING POSTAL (NR) 172 minutes * * * There's about to be a new postmaster. It's not that he really wants the job, but the alternative is far worse. And that's saying quite a bit, since the postal service on Discworld is really in need of some modernization. Nice, if a bit lengthy, adaptation of Terry Pratchett's novel.
GOING THE DISTANCE (R) 98 minutes * * * Relationships don't come easy for Garrett (Justin Long). He has committment issues. But when he meets Erin (Drew Barrymore), it just feels so natural. They are best friends and soon it becomes much more. Too bad that she'll be headed back to San Francisco in a few weeks. Can they actually make a bi-coastal relationship work? Barrymore and Long both do well here, but it's the supporting cast of Christina Applegate, Jim Gaffigan, Charlie Day, and Jason Sudeikis who really make this work. Loads of laughs, and a great soundtrack as well. R for sex and language.
GOING TO AMERICA (NR) 89 minutes * 1/2 Fumnanya (Eddie Griffin) and Andy (Josh Meyers) escape a psych ward intent on making a movie about rescuing a princess. It's not going to be as easy as they thought it might be. Griffin does OK here, but his character is a difficult combination of sweet, sincere, naive, and silly. It takes awhile for the story to get some traction, and it still slips in some scenes.
GOLD (NR) 98 minutes 1/2 The story here involves a group of Germans who are looking for gold in British Columbia in 1898, during the height of the Klondike Gold Rush. Unfortunately, the story really drags, making this far less than the thrilling, exciting, adventure about the days of gold prospecting in the west that it should be. Writer/director Thomas Arslan missed the mark here, though the lifeless acting by the cast certainly doesn’t help.
GOLD (2016) 113 minutes * * 1/2 Matthew McConaughey's character here moves awkwardly between a man who is passionate about mining and finding that elusive treasure that lies hidden in the ground, and a con man who is always trying to stay one step ahead of trouble. In truth, he is both. We aren't really given a strong enough script to really see that though, instead, we have McConaughey delivering a mostly strong, but very disconnected performance. R for language and sex.
GOLD (2022) (R) 91 minutes * * 1/2 It's unimaginable. The largest gold nugget ever found. These two men (Zac Efron and Anthony Hayes) have to trust each other. That much gold doesn't make trust easy. A gritty and dark story that does get a bit tedious, and which also has a rather abrupt, if somewhat satisfying ending. R for language and violence.
GOLD DIGGER (NR) 320 minutes * * 1/2 When Julia (Julia Ormond) falls in love with Benjamin (Ben Barnes), she's thrilled to have found love agin, later in life. Their age difference is unsettling to her children and her ex-husband, and eventually, she begins to feel that something isn't right. But what is it exactly? Solid drama with a great ensemble cast.
THE GOLD RETRIEVERS (NR) 85 minutes * * A new shopping center is in the near future for this small town, but there are those who don't want it. Can they find the buried treasure that will save the town? Fairly typical adventure for the younger crowd, with a well-worn story idea that doesn't offer much in the way of excitement. The bumbling bad guys aren't that entertaining either.
GOLDDIGGERS: THE SECRET OF BEAR MOUNTAIN (PG) 89 minutes * * Moving to the country from L.A., Beth (Christina Ricci) befriends Jodi (Anna Chlumsky), a misfit who has a treasure map and a flair for adventure. The film deals well with the girls' friendship, but falls flat as an adventure. Aimed at 7-12 year old girls, most of whom will find it fairly entertaining.
THE GOLDEN CANE WARRIOR (NR) 105 minutes * * * When Cempaka (Christine Hakim) is about to die, she chooses one of her four students to receive the golden cane and its awesome power. But it is not who her students expect. Many challenges lie ahead for the student who now weilds it, and who must show the others that Cempaka did choose the right person. Not a lot of special effects here, but plenty of great fight scenes and stuntwork.
THE GOLDEN CHILD (PG-13) 89 minutes * * * Chandler (Eddie Murphy) is a funny man. He likes to make jokes and rude comments that help relieve the tension he feels when he’s around other people. But when he learns that he is the “chosen one” whose duty it is to search for the “golden child”, he sees no reason to joke about the responsibility. The film has wonderful production values, and though it starts slow, it builds well, to a very nice finish. Murphy’s approach to the character is a little brash and doesn’t really fit all that well, but the rest of the film makes up for it. PG-13 for violence, language, and sex.
THE GOLDEN COMPASS (PG-13) 103 minutes * * * Part one of an adventure trilogy about a world parallel to our own based on the books by Philip Pullman. A world where people's spirits walk along side them and where there is a magical and powerful golden compass that Lyra (Dakota Blue Richards) must guard with her life. Nicely paced adventure though the battle scenes are perhaps a bit brief. The stellar cast also includes Nicole Kidman, Daniel Craig, Sam Elliott, Christopher Lee, and Derek Jacobi. PG-13 for violence.
GOLDEN DOOR (PG-13) 114 minutes * * * In the early 1900s, Salvatore Mancuso (Vincenzo Amato) decides to take his family to the United States in search of a better life. It is a perilous journey and the promised land is not as accepting as he had hoped. Still, there is hope, and there are friends and possibilities that lie ahead. This definitely tries to present a more realistic view, keeping the romance to a minimum, and the story is better for that, if a bit less pleasing to watch. Fine performances by all. PG-13 for nudity.
GOLDEN EXITS (R) 90 minutes * * Nick (Adam Horovitz) has a job to do. The new assistant he's hired (Emily Browning) has him sidetracked, and there are lots of questions, including why so little work is getting done. Dialogue heavy New York film about relationships. That could make this sound like a Woody Allen film, which this is not. The pacing and editing are bland and dry. The acting is fine, and it's a great cast, it just feels lifeless. R for language and sex.
GOLDEN GATE (R) 87 minutes * * Matt Dillon is miscast as an FBI agent in the McCarthy era, Joan Chen seems to be playing a "Twin Peaks" role, and the rest of the cast seem to wander around without direction for much of the film. It still manages to have a "noirish" appeal that keeps us interested, but the dialogue is hard to get past sometimes. Several interesting characters that, unfortunately, couldn't find the film they were looking for.
GOLDEN SHOES (NR) 84 minutes * 1/2 With so many things in his life falling apart, Christian (Christian Koza) only has soccer. He hasn't been very good at it, but his new shoes seem to have a magic all their own. Koza's performance is... less than exciting, which doesn't help the energy level of the film. Of course, the script doesn't have a great deal to offer either.
GOLDEN WINTER (NR) 85 minutes 1/2 A litter of homeless golden retriever puppies and a boy manage to stop a bank robbery and save Christmas in the process. The cuteness of the puppies can only help so much when the script and acting are this bad. Then again, you could just go online and find some cute puppy videos to watch and save yourself the trouble of watching this.
GOLDENEYE (PG-13) 126 minutes * * * Pierce Brosnan's debut as James Bond gives us the most exciting Bond we've had in awhile. In fact, not since Sean Connery have we had a Bond who can get dirty and still stay sexy. It's essential when you have a series like this that relies more on the screen charisma of its lead than on inventiveness of its stories. A solid entry in the ongoing Bond series.
THE GOLDFINCH (R) 142 minutes * * * Young Theo Decker's (Oakes Fegley) life is fundamentally changed when his mother is killed in a bombing incident at the Metropolicatn Museum of Art. In the ensuing confusion, he steals "The Goldfinch", a painting he had just become fascinated with. Years later, Theo (Ansel Elgort) is dealin in antiques, but the painting is still at the center of his life. The action sequences are a little weak, but they are only a small part of the story. Great work by the cast. Based on the novel by Donna Tartt. R for language and violence.
GOLDIE (NR) 85 minutes * * She dreams of being a dancer, but Goldie (Slick Woods) has a more pressing problem at the moment. She has to keep her two younger sisters safe. Woods does well here, but most of the rest of the cast don't have much to offer. It's not a happy story, but it is an important one. The direction also struggles a little, opting for style instead of substance a little too often.
GOLDMEMBER (PG-13) 88 minutes * * Mike Myers' third outing as the infamous Austin Powers manages to be a bit more entertaining than the first two. The biggest reason for the success here is the film's ability to poke fun at itself and keep the tone a bit lighter than before. Most of the regular crew is here, and there are an amazing number of cameo appearances throughout the film. Britney Spears, Quincy Jones, Tom Cruise, Gwyneth Paltrow, Kevin Spacey, Danny DeVito, Nathan Lane, John Travolta, and the Osbournes, just to name a few. The only problem is that many of the jokes do rely on your having seen the first two films. PG-13 for language.
GOLDSTONE (R) 105 minutes * * 1/2 The law works a little differently in Goldstone. Detective Swan (Aaron Pedersen) is looking for a missing girl. Every step he takes seems to uncover another tangled mess. He needs the local officer (Alex Russell) to help, but that assistance is not going to come easily. It's a mystery/suspense sort of story, but the style and pacing is relaxed and casual. R for language and violence.
GOLF IN THE KINGDOM (PG) 82 minutes * * 1/2 Deeply philosophical golf movie. A 24 hour detour to play on the legendary links of Burningbush will introduce Michael (Mason Gamble) not only to golf pro Shivas Irons (David O'Hara), but to a new way of looking at golf and life. There are a number of wonderful and mysterious moments, but the pacing is awkward and hesitant throughout. Adapted from the novel by Michael Murphy. PG for language.
GOMORRA (NR) 127 minutes * * * Based on Robert Saviano's daring expose of the ruthless Italian mafia in Naples, known as the Camorra. The film intertwines five stories, all of them gritty, violent, and powerfully told. The acting is uneven, which may add a little to the realism, but detracts sometimes from the power of the story. (Realistic does not always equal powerful!)
GONE (NR) 84 minutes * Amy (Molly Parker) is about to lose custody of her daughter. But in an instant when she happens to look the other diretion, her daughter is gone. Now she's on the hunt for the kidnapper. More than a little far-fetched and formulaic, and with a very shallow script.
GONE (2012) (PG-13) 90 minutes * * When Jill's (Amanda Seyfried) sister disappears, she's convinced that its the same person who abducted her a while before. Jill's been trying to find him, but the police don't even believe the story of her abduction because some of the details are a little sketchy. No real surprises, but this still manages to work reasonably well thanks to Seyfried's intense performance. PG-13 for violence, sex, and language.
GONE ARE THE DAYS (R) 95 minutes * * * A long time ago, Taylon Flynn (Lance Henrikson) was a well-known outlaw. Those days are gone, but he's determined to pull one last job. Getting ready for that, he learns about the life his daughter is living. Can he somehow manage to save her and himself? Great work by Henrikson. R for violence, language, and nudity.
GONE BABY GONE (R) 109 minutes * * * Stellar performance from Casey Affleck under the direction of his brother Ben in this film about the kidnapping of a little girl. Patrick Kenzie (Affleck) and his partner Angie (Michelle Monaghan) are private investigators who are hired by the family to help with the case. Adapted from Dennis Lehane's novel, this kidnapping is more than what it would first appear to be. R for language and violence.
GONE FISHIN' (PG) 90 minutes * Danny Glover and Joe Pesci star in this film that manages to succeed in wasting an incredible amount of talent. The corny pratfall humor didn't elicit many laughs from the crowd I saw it with and I imagine that Glover and Pesci wish they'd been fishing instead of making this movie! PG for language.
GONE GIRL (R) 145 minutes * * 1/2 When his wife goes missing, it doesn't take long before the suspicion turns toward Nick (Ben Affleck). But wait... it takes a strong story to do a "reveal" so early on and still maintani interest and intrigue for the rest of the film. The script does a nice job of adapting the novel in that sense. Still, it does run a little long, and while Rosamund Pike does a nice job, Affleck seems to just walk through his role. Some of the supporting roles are fairly good and the soundtrack is nice, but this has a glossy, big budget look and feel that don't really help the story. R for violence, sex, and language.
GONE IN SIXTY SECONDS (PG-13) 112 minutes * * 1/2 Based on the 1974 film, this new version boasts a fabulous cast and thrilling stuntwork, but the story is still rather thin. Nicolas Cage, Angelina Jolie, Robert Duvall, Giovanni Ribisi, Delroy Lindo, Grace Zabriskie... the cast is impressive. But we need more of the background behind the characters they're playing. It almost feels as if this is a sequel instead of a remake and that we're supposed to be experiencing the further adventures of Memphis (Cage) and his cohorts. The ending is surprisingly sentimental for an action film and just doesn't fit very well. Filmed in California. PG-13 for violence and language.
GONE IN THE NIGHT (R) 86 minutes * * A brief vacation sounded like a good idea. When Kath (Winona Ryder) and her boyfriend arrive at the cabin, another couple is already there. They decie to share the cabin for the night. But in the morning, Kath's boyfriend has disappeared... along with the girl from the other couple. Kath starts looking for answers, but she may not like what she finds. The acting is fine, but the story doesn't seem to know where it's going and most of the characters aren't easy to like or sympathize with. R for language and violence.
GONJIAM: HAUNTED ASYLUM (NR) 91 minutes * * An internet horror series recruits teams to investigate haunted places. This time, the destination is an abandoned psychiatric hospital, Gonjiam. The bad camera angles do nothing to increase the fear level. The sets are quite good, though the poor lighting doesn't help, and it takes a little over an hour before the story really gets interesting. The ending isn't bad though, if you can make it past the earlier parts. There was an actual Gonjiam Psychiatric Hospital that was reported to be haunted, but just in case you were thinking of investigating on your own, it was demolished in 2018.
GONZO: THE LIFE AND WORK OF DR. HUNTER S. THOMPSON (R) 117 minutes * * * Extensive and thorough biographical documentary on the life of journalist Thompson. Uses film clips of interviews with Thompson as well as excerpts from his writings and conversations with his friends and family. We see both the man who was an exceptional writer, and the tortured soul, the witty critic and the rude and sometimes frustrating man, the man who chose when it would end, and the friends and family who understood, but didn't agree. R for language and nudity.
GOOBY (PG) 95 minutes * * Willy (Matthew Knight) moves to a new house. Everything was fine at the old house. He knew how to keep the monsters at bay. Now he needs help, and his old friend Gooby comes to the rescue. Of course, there's a bit of a problem, since Gooby is now six feet tall and a bit more difficult to manage. Sort of cute... and sort of creepy... PG for language.
GOOD (R) 90 minutes * 1/2 A novel that John Halder (Viggo Mortensen) has just written has come to the attention of those in power. They like what they read and his career begins to spiral upward. But this is pre-World War II Germany, and by the time Halder realizes what is happening to the words he has written as well as to his life and those he loves, it will be too late to change anything. He will forever be haunted by the choices he has made. It's a powerful and interesting story, adapted from the play by C.P. Taylor, but Mortensen is a bad fit, and the film constantly feels awkward because of it. R for language.
THE GOOD BOSS (NR) 117 minutes * * *
It's an award winning company, and they are in the running for yet another award. Blanco (Javier Bardem) is a good boss. At least for the most part. As the committee who will decide plans to visit, and as Blanco sets about making sure everything looks just right, things start going wrong. Disgruntled employees, marital affairs, failed negotiations, strong arm tactics, bribes... Suddenly, it appears that Blanco may not be such a good boss after all. Great work by the cast!
GOOD BOY! (PG) 82 minutes * *
Boy finds dog from outer space that can talk to him. It's planning to report back to the home planet about progress dogs have made in taking over the planet. They'll have to go back home if they've failed. This adaptation of Zeke Richardson's book, "Dogs From Outer Space" drags in the middle, but manages to be charming enough that the younger folks it's aimed at may not notice. Featuring the voice talents of Matthew Broderick, Vanessa Redgrave, Carl Reiner, Brittany Murphy, Cheech Marin and others, it reminds us that "It's not where you are, it's who you're with." PG for language.
GOOD BOYS (R) 84 minutes * 1/2
Ditching school, three young friends are about to get in all kinds of trouble as they try to make it to an infamous party. The R rating here is well-deserved as there is an almost non-stop flood of foul language. The story is all about the desire to be popular while trying to stay true to yourself. It's not an easy task, especially when you're young. The characters are drawn large, and the humor is aimed at adults. It makes for a rather awkward film, though it does have its moments. R for sex and language.
GOOD BURGER (PG) 91 minutes *
Nickelodeon's latest film is full of lessons on being fair, telling the truth, etc. Most everything here is slightly below mediocre in quality, with a main character whose mannerisms and speech patterns are slightly more than irritating. The unnamed short film at the beginning using action figures and dolls was more entertaining to watch. PG for language.
GOOD BYE LENIN! (R) 117 minutes * * * 1/2
Alex's (Daniel Bruhl) mother collapses in the street with a heart attack and goes into a coma. When she awakens eight months later, the socialist east German country she has known and loved has undergone dramatic changes. The Berlin wall is gone and capitalism is running rampant. To protect her from what could be a fatal second heart attack, Alex stages a miniature world in which nothing has changed, but it doesn't take long to realize that he can't keep this up forever. Excellent story on many different levels with fine performances. Winner of numerous German and European film awards, it's a story about coming of age, about family, and about the changes that happen around us and how we deal with and relate to them. R for language and sex.
A GOOD DAY TO DIE HARD (R) 92 minutes * 1/2
In an effort to help his son (Jai Courtney), McClane (Bruce Willis) discovers that he's a fairly competant CIA agent, though he could use some assistance on his latest job. The action is really far-fetched here, and Willis seems uninvested except for the occasional wisecrack, most of which fall flat. R for violence and language.
GOOD DEEDS (PG-13) 104 minutes * * 1/2
Low-key drama from director Tyler Perry about what happens when a businessman (Perry) begins to care about a woman (Thandie Newton) on the cleaning crew in his office building. The humor here is very gentle and Perry is almost too low-key. PG-13 for language and violence.
THE GOOD DINOSAUR (PG) 86 minutes * * *
Arlo (voiced by Jack McGraw and Raymond Ochoa) is the runt of the litter, but he won't give up. When he gets lost one day, the strange little creature who has been stealing food from Arlo's family, ends up protecting him. And so it continues. Spot (voiced by Jack Bright) and Arlo are connected. They are family. There are some pretty intense scenes, but there are wonderful messages about family and overcoming fear, and recognizing the beauty in life. The nature animation sequences are stunning. PG for violence.
THE GOOD DOCTOR (R) 98 minutes * *
A new young doctor gets attached to a patient and begins to make sure she will stay in the hospital. An interesting idea that just doesn't go anywhere, though there are a few moments, especially early on, where we think it might. There's little in the way of suspense, an anti-climactic ending, and a less-than-impressive performance by Orlando Bloom. R for sex.
GOOD FOR NOTHING (R) 87 minutes * * 1/2
Isabella (Inge Rademeyer) leaves England to go to the "romantic" wild west of America. Not even tweny-four hours after arriving, she's kidnapped by a man who says little and kills most people he meets. They're being chased by the law, but it doesn't look like that's going to be much help to Isabella. Co-produced by the two leads, which is, I suppose, one way to get a lead role. Not the best acting here, but the beautiful scenery is courtesy of New Zealand. R for violence and language.
THE GOOD GERMAN (R) 102 minutes * *
Jake Geismer (George Clooney) is on the trail of a story in post-war Berlin. The story he finds is more twisted and deceptive than he expected, but he pursues it until he discovers what lies beneath. Steven Soderbergh chose to aim for style over content here, going for the look of '40s film noir, but at perhaps too large of a cost. Cate Blanchett plays it well, but Clooney seems to just walk through this like a bull in a china shop. Film noir creates characters that are larger than life, whose look can send chills down your spine, whose words are measured and even predictable at times. What we have here is more of a war film, set in the 1940s, and shot in black and white. R for violence and sex.
THE GOOD GIRL (R) 87 minutes * *
Justine (Jennifer Aniston) lives in a small town, just outside of nowhere and has a dead end job at the local Savmart. Her husband is no great catch either, so when a new young and somewhat mysterious guy starts working at the store, she sees an opportunity. Will she take it? And if she does, what will it mean? It's a tragic story with a great deal of heart, but Justine's husband isn't a bad guy, and Holden is a bit too strange for us to feel the way we should about how events work out in the end. Script is the major weakness here, though better direction would have helped a little bit too. R for language and sex.
THE GOOD GUY (R) 88 minutes * *
Tommy (Scott Porter) seems likeable enough at first, and Beth (Alexis Bledel) thinks so too. But by the time she realizes that he's got an angle on her as well as his business life, it's a little too late. His plan to hire someone he can control backfires and he doesn't deal with the consequences well. The characters are just a little too slick here, without a great deal of depth. The story isn't bad, but suffers from being directed by the writer (Julio DePietro). R for language and sex.
GOOD HAIR (PG-13) 93 minutes * * *
Chris Rock takes a look at what it means to have good hair, and how much work it takes to keep it. The focus is primarily on African-American women, but Rock manages to cover just about every aspect of hair and hair care that you could think of. And while it's a serious exploration of the topic, he does a great job of infusing humor into the conversations with ease. It's a fun and informative look at the topic. PG-13 for language and nudity.
THE GOOD HOUSE (R) 98 minutes * * *
The top realtor in the area, Hildy Good (Sigourney Weaver) has it all. She also has a drinking problem. Her family intervenes and Hildy gets on the right path. It's too easy to stray though, and she soon starts drinking again. And this time, it's not going to be so easy for her to brush it off. R for sex and languaga.
THE GOOD HUMOR MAN (R) 110 minutes * * 1/2
Life is chill. Friends, fun, and smoking weed are what it's all about. Then Jay (Nathan Stevens) meets Wendy (Cameron Richardson). She's one of the rich kids, but he's sure that something can work out. But when one of Jay's (Nathan Stevens) friends is accused of killing one of Wendy's friends, life isn't so "chill" anymore. Writer Tenney Fairchild tells the story well, though it does go on a bit long. R for language and sex.
GOOD INTENTIONS (PG-13) 80 minutes * 1/2
Etta (Elaine Hendrix) is tired of her husband (Luke Perry) always wasting their money on invention projects that never pay off. She decides to take matters into her own hands... but that's when things get really out of hand. Mildly funny story with performances that are rather laid-back and not all that strong. It's harmless enough, just not terribly interesting. PG-13 for sex and language.
GOOD KIDS (R) 81 minutes * * 1/2
They've been friends for years, but they've also always been on the outside. The summer between high school and college is a chance to become something new. The change comes surprisingly easy, but it's going to put a strain on their friendship. Not really a great story, but likeable characters and strong performances by the main cast make this work a little better than expected. R for sex and language.
GOOD KILL (R) 98 minutes * * 1/2
As a drone pilot, Major Egan (Ethan Hawke) has an exemplary career, but he aches to get back in the air. There's more at risk, more of a thrill, and more of a sense of connection to what is actually happening in a war. That's not to say that there aren't questions about the morality of war and decisions that are made and the effect they have. But as a drone pilot, Egan struggles with the casual and impersonal approach. Hawke does a nice job showing the stress and moral dilemma his character faces. The script tends to hit just a handful of issues over and over rather than going deeper, which is unfortunate. R for violence, language, and sex.
THE GOOD LIAR (R) 105 minutes * * *
Ever the con man, Roy Courtnay (Ian McKellan) loves to play the game. His latest mark is Betty McLeish (Helen Mirren), and she's turning out to be a bit more of a challenge than he's used to. Perhaps, even more than he can handle. It's a delight to watch two such talented actors as Mirren and McKellan work, though the story does stall a couple of times. R for violence, language, and nudity.
THE GOOD LIE (PG-13) 103 minutes * * *
Powerful story that follows a particular group of Sudanese refugees as they relocate to Kansas City in the United States. The story does a good job of dealing with the realities they face not only in finding a job, but in just dealing with the realities of everyday life in a country they are completely unfamiliar with. PG-13 for violence and language.
THE GOOD LORD BIRD (NR) 315 minutes * * *
Based on the novel by James McBride, this is the story of John Brown (Ethan Hawke) and his work to free the slaves in the United States. The story is told from the perspective of Onion (Joshua Caleb Johnson), a fictional character. The mix of fact and fiction adds an interesting touch to the historical events. It's also styled with a bit of humor, much of which works well, though not all of it.
GOOD LUCK CHUCK (R) 93 minutes *
Charlie (Dane Cook) is a good luck charm for women. Once they have sex with him, they'll meet the person they are going to marry. But Chuck wants to find the right girl too. How can he break the curse? Jessica Alba is cute and clutzy here, but the script is far from creative or charming and Cook really doesn't bring anything interesting to the film. It's not a bad experience to watch, but there just isn't anything here. R for language and sex.
A GOOD MAN (R) 102 minutes *
Steven Seagal continues to rely on minimal movement to display his once impressive martial arts skills. It suits his now bulky frame, and this is also another of his films with fewer and shorter fight scenes, so it works, but just isn’t as interesting. The fight scenes with Victor Webster are a little more exciting because of his skill, but the most fun here is watching Tzi Ma play one of the primary villains. R for violence, language, and sex.
A GOOD MAN IN AFRICA (R) 91 minutes BOMB
One would think that a film directed by Bruce Beresford and featuring Sean Connery, Joanne Whalley-Kilmer, John Lithgow, Louis Gossett Jr., and Diana Rigg would be a pretty good film. Not so with this piece of trash. Colin Friels plays a British diplomat who is a jerk, to say the least. The film also presents Africans with very negative stereotypes. This might work if played as a parody, but it's played straightforwardly, and not very well.
A GOOD MARRIAGE (R) 97 minutes * * ½
One day when Bob (Anthony LaPaglia) is away from the house, Darcy (Joan Allen) discovers a terrible secret that he’s been hiding. After twenty-five years of marriage, she is rather surprised, and is struggling with how to deal with this new information about her husband’s “hobby". Adapted from a short story by Stephen King, who also adapted this for the screen. Very nice work by Allen helps give this film a little extra strength. R for violence, sex, and language.
GOOD MORNING CHRISTMAS! (NR) 85 minutes * * *
The Bright & Merry morning show is rated number one. The co-hosts don't always get along, and that's about to get even worse. Their show is having a contest for the nost Bright & Merry Christmas festivities. But Brian (Mark Blucas) is leaving the show, and Melissa (Alison Sweeney) is not very happy about that. They will now be spending a week in Mistletoe, finishing with their last show together. It's the first time that the two of them have spent this much time together. As Stan Roman (Jay Brazeau) reminds them (and us), "Sometimes when you change the way you look at things, the things you look at... change." Great chemistry between Blucas and Sweeney.
GOOD MORNING, VIETNAM (R) 118 minutes * * *
Airman Adrian Cronauer (Robin Williams) has been brought in to spice up the Army's radio program. And he does just that. Williams delivers an endless supply of one-liners that may seem a bit out of place when the topic is the Vietnam War, but it's just to soften us up a bit. The powerful photographic montage that accompanies Louis Armstrong's "What a Wonderful World" will simply knock you over. A film that is both entertaining and very moving, and one that gives us a look at yet another aspect of the Vietnam War. Filmed in Thailand and rated R for language.
THE GOOD MOTHER (R) 99 minutes * * 1/2
Adapted from Sue Miller's novel, Diane Keaton stars in a story about a woman who jeopardizes the custody situation with her child when she chooses to explore her sexuality. Keaton's performance is somewhat uninspiring, but the direction of the film keeps us at arms length for too long. R for language and sex.
THE GOOD NEIGHBOR (R) 101 minutes * * *
Based on the 2011 film. Travelling to Latvia for a writing job, David (Luke Kleintank) quickly befriends his neighbor Robert (Jonathan Rhys-Meyers). On their way home one evening, David hits and kills a cyclist. Robert convinces him to drive away and say nothing. Solid suspense/thriller with some very nice work by Rhys-Meyers. R for language.
THE GOOD NIGHT (R) 85 minutes * * 1/2
Gary (Martin Freeman) used to be a star. Now he writes jingles for commercials and has daydreams about a beautiful woman (Penelope Cruz). Life doesn't always work out like we'd suspect, but Gary finds that trying to avoid it is not the bext choice he could make. Written and directed by Jake Paltrow, whose sister Gwyneth is also in the film, the story tends to falter in a few spots, and the ending is the typical sentimental type you'd expect from a film like this. Not bad for a first feature film and first script, but not great either. R for sex and language.
GOOD NIGHT, AND GOOD LUCK (PG) 88 minutes * * *
Newsman Edward R. Murrow (David Strathairn) clashes head-on with conservative senator Joseph McCarthy in this look at a pivotal moment in the history of free speech. While in some ways this barely skims the surface of what happened, it also manages to present Murrow in a way that feels very real. He realized the potential for television as well as the direction it was heading and did what he could to help people see both. Excellent performance by Strathairn that earned him and Oscar nomination. PG for language.
GOOD OL' FREDA (PG) 84 minutes * * * 1/2
Oh, the stories she can tell.... Freda Kelly was secretary for The Beatles and Brien Epstein for eleven years. She ran the fan club, and talked with the boys and their parents on a daily basis. She was a talented secretary, a young woman with a great deal of integrity, and she become a friend and sister to the fab four as well as being a fan of their music herself. This is her story, which has never been told before. A reminiscing, an homage, a heartfelt love letter, and not to be missed by anyone who enjoys the music of The Beatles! PG for language.
A GOOD OLD FASHIONED ORGY (NR) 93 minutes * 1/2
The news has just arrived that Eric's (Jason Sudeikis) father is selling his summer home. Since that's where Eric and all of his friends hang out all year, they decide to throw a special party. But planning an orgy isn't as easy as they thought it would be. Not without some moments of humor, but not all that funny either.
GOOD PEOPLE (R) 83 minutes * *
When Tom (James Franco) and Anna (Kate Hudson) discover that their tenant is dead, they also discover a bag full of cash. They decide to keep it. Which is going to cause some problems, especially when they can't seem to keep from spending it. Franco and Hudson seem bored with the story, as are we, though most of the various villains in the film deliver good performances. R for violence and language.
THE GOOD SHEPHERD (R) 159 minutes * * 1/2
The early days of the CIA were far from easy. Edward Wilson (Matt Damon) believed in it so much that everything else came second. But in an agency with so many secrets, is there anyone you can trust? The plot does have its fair share of twists and turns, though they tend to come along slowly enough that there aren't any surprises. the biggest surprise is why they cast Damon in this role. Not only does he not look old enough for the part, but his acting is lacking the heart or strength we need to see here. There are a couple of scenes where we almost see what lies beneath, and then it disappears again. Director Robert DeNiro seems unable to pull the performance out of him that was needed to make this a stronger film. R for violence, sex, and language.
THE GOOD SON (R) 79 minutes * 1/2
Mark (Elijah Wood) is left with his uncle while his dad closes a business deal. He soon discovers that his cousin Henry (Macauley Culkin) is not just mischievious, but is truly evil. Wood is worth a look here, but Culkin offers us nothing new and the film as a whole, is trite, poorly acted, and not very well-written. Filmed in Massachusetts, Minnesota, and Las Vegas.
THE GOOD THE BAD AND THE UGLY (R) 161 minutes * * * *
The best Clint Eastwood western there is, with the possible exception of "High Plains Drifter". The three title characters search for a Confederate treasure chest while we listen to Ennio Morricone's classic soundtrack. Eastwood's "silent gunslinger" character is the ultimate western "hero".
THE GOOD THE BAD THE WEIRD (R) 131 minutes * * *
It seems that there is this treasure map that several people are interested in. At the moment, Yoon Tae-Goo (Song Kang-ho) has it, and Park Chang-Yi (Lee Byung-hun) and Park Do-Won (Jung Woo-Sung) are two cold-blooded gunmen who are after not only the map, but each other as well. It's a South Korean western with obvious homage to the classic Clint Eastwood film, and more than a little humor infused as well. Fun, though it starts a little slowly. R for violence.
GOOD THEIF (NR) 94 minutes *
Danny (Peter Donahue) is a small-time thief and hustler. His girlfriend Penny (Melanie Mahanna) convinces him that the new pawn shop would be a good place to rob. But the owner doesn't take kindly to having his collectible baseball cards stolen. The acting isn;t great here, but the script (and the story for that matter) don't give the cast much to work with.
THE GOOD THINGS DEVILS DO (NR) 78 minutes BOMB
Melvin (David Rucker III) loves the macabre and has dreams of creating a museum with that as the focus. His latest acquisition is Masquerade, a dead vampire. Of course, she manages to return, and there are other complications with Melvin's inept wife and daughter, a rival gangster and his daughter, and a couple of trick-or-treaters. The script is a mess and the acting is no better. The idea was likely for this to be a campy gorefest. Instead, it's just tedious.
GOOD TIME (R) 98 minutes * *
Connie (Robert Pattinson) just wants to make life better for Nick (Bennie Safdie) and himself, but everything he does seems to make it worse. Now, Nick is in prison, and Connie has to figure out how to fix it. Bleak but sincere story with good performances, but the cinematography and editing are rough and uneven. R for language, violence, and sex.
GOOD WILL HUNTING (R) 122 minutes * * *
A young math genius is discovered in the halls of an Ivy league school. It surprises some that he is not a student, but janitorial help. He's from the rough side of the tracks, but Sean Maguire (Robin Williams) may be able to provide the necessary help. Some of the story falls together a little too quickly here, but co-writers/actors Matt Damon and Ben Affleck have done a good job with a story of hope, love, and unrealized potential. It's a feel-good film that most everyone will enjoy. Filmed in Ontario and Massachusetts. R for language.
THE GOOD WITCH (NR) 87 minutes * 1/2
The creepy old house in town finally has a new resident. Is Cassie Nightingale (Catherine Bell) the mysterious grey lady, or just a witch? Moderately cute film up until the ending, which just sort of... stops, though the story had already run out of steam about fifteen minutes earlier.
THE GOOD WITCH'S CHARM (NR) 83 minutes * * 1/2
With a new baby, an unexpected visit from her foster mother, and her job as mayor, Cassie (Catherine Bell) has her hands full. It's going to take some special "charm" to keep things in order. A few more magical moments in this entry in the series, and a nice example of how these stories are designed to help bring out the magical in the everyday.
THE GOOD WITCH'S FAMILY (NR) 83 minutes * *
Having been in town for awhile now, Cassie (Catherine Bell) gets talked into running for mayor. Dealing with that would be enough, but a cousin she was unaware of until recently is visiting. Abigail (Sarah Power) has a flair for magic and a knack for causing trouble. Cassie is going to have her work cut out for her. The script is a little lifeless, with less humor and fun than the previous entries in the series.
THE GOOD WITCH'S GARDEN (NR) 86 minutes * * 1/2
Cassie (Catherine Bell) is turning Grey House into a bed & breakfast. But her first lodger is a mysterious man who claims to be a relative. Of course, her magic and charm will uncover the truth soon enough. This second entry in the series works a little better than the first, spending a little more time on character development and a little less on atmosphere.
THE GOOD WITCH'S GIFT (NR) 83 minutes * *
Cassie (Catherine Bell) and Jake (Chris Potter) decide to get married on Christmas Eve. It's only six days away, which will present some difficulties, but nothing that won't somehow work out well. Second chances and new beginnings about as Cassie works her magic.
A GOOD WOMAN (PG) 86 minutes * *
Adaptation of Lady Windermere's Fan by Oscar Wilde with Scarlett Johansson as Meg Windermere and Helen Hunt as Mrs. Erlynne. Hunt seems a bit out of place here, and Johansson underplays her role as well. Photography and sets are all very nice, but the acting feels forced from all but Tom Wilkinson. Poor direction appears to be the culprit as Johansson and Hunt have both done much better in other films. Filmed in Rome and on the Amalfi Coast. PG for language and sensuality.
A GOOD YEAR (PG-13) 117 minutes * * * 1/2
When Max's (Russell Crowe) uncle dies, he inherits the vineyard and the chateau where he spents so much time as a young boy. He has no intention of staying there as his life is in London in the fast lane. But some of his recent tactics in stock trading have left him in hot water and he is forced to spend some time away. When he decides to spend it in Provence at the chateau, checking out the estate, he finds an attraction he hadn't anticipated. Adapted from Peter Mayle's book that was based on a story idea from director Ridley Scott, the story unfolds at just the right pace, introducing new characters or subplots as it moves along, but allowing us to feel the struggle Max is facing. Provence or London, London or Provence... which would you choose? Crowe is a bit of a miscast here as we never quite believe his sensitive side. Kevin Costner, Matthew McConaughey, or Josh Lucas would have been a better fit. PG-13 for sex and language.
GOODBYE CHRISTOPHER ROBIN (PG) 101 minutes * * *
In many ways, an attempt to deal with his experience of fighting in World War I, A.A. Milne (Domhnail Gleeson) creates the world of Winnie the Pooh. It's based on his son, and the stuffed animals that he loves to play with. When the stories gain popularity, it is his son who becomes famous, which is not what any of them expected or wanted to happen. It will, in fact, be something that haunts both father and son for the rest of their lives. An interesting look at the story behind the stories that so many of us are familiar with. PG for violence and language.
GOODBYE CRUEL WORLD (R) 79 minutes ½
Dissatisfied and disappointed with his job delivering the news, mostly because of how depressing it so often is, Rodney (Dick Shawn) decides to commit suicide. But he’s going to make a film to explain things before he goes. Depressing film that almost makes a point before it doesn’t.
THE GOODBYE GIRL (NR) 102 minutes * * 1/2
TV movie remake of the 1977 film written by Neil Simon. Paula (Patricia Heaton) has trouble with relationships and finds it far easier to say "goodbye". Elliot (Jeff Daniels) is different than the other men she's been with. It may not make it easier, but it's clear that this time, it will be worth the effort to stay in the relationship. Daniels makes this worth a look, though Heaton's performance is a bit less convincing.
GOODBYE SOLO (R) 88 minutes * * * 1/2
A Senegalese cab driver, Solo (Souleymane Sy Savane) has a dream for his future, and tries to see only the best in whatever happens in life. William (Red West), on the other hand, doesn't see much reason to live. When their paths cross, an unlikely bond is formed, and they learn more from this connection than either could have anticipated. Nicely written and well-acted character study that has a powerful and emotional story to tell. R for language.
GOODBYE TO ALL THAT (NR) 82 minutes * 1/2
After his marriage falls apart, Otto (Paul Schneider) starts having sex again... with lots of different women. He's also trying to be a good father to his daughter. The ending is gentle and sensitive, though that isn't really evident in most of the rest of the film.
GOODBYE TO LANGUAGE (NR) 68 minutes * 1/2
Human contact is enhanced by language, but language void of context and continuity has no meaning. A collection of ideas and images. Somewhat interesting philosophically, but cinematically disconnected and a little pretentious.
GOODFELLAS (R) 139 minutes * * 1/2
Based on Nicholas Pileggi's book "Wiseguy", this is the story of
Henry Hill (Ray Liotta), a gangster and all-around "goodfella". The mix of gangster violence and humor is awkward and the narration further serves to distance us from the film. There are some nice performances throughout the film, but there are numerous other gangster films that are far superior to this one.
GOODLAND (NR) 82 minutes * * 1/2
It's a quiet, rural community, so when a drifter turns up dead, it creates a bit of a stir. The circumstances also don't make sense. Neither does the appearance of a photographer on the very same day the body is discovered. A very nice mystery. The acting could have been a little better, but the dialogue is just as much at fault. And, if you prefer neat and tidy endings, this is not the film for you.
GOODNIGHT FOR JUSTICE (NR) 87 minutes * *
Classic sort of western story, with Luke Perry as John Goodnight, a man who survived an ambush as a boy and who is now a judge, determined to bring the men who killed his family to justice. Perry isn't very believeable here, though that isn't really a surprise. Notable as the feature-length directing debut of Jason Priestley, but having a stronger person in the lead role would have helped a great deal.
GOODNIGHT FOR JUSTICE: QUEEN OF HEARTS (NR) 86 minutes * * 1/2
Goodnight (Luke Perry) runs into Lucy Truffaut (Katharine Isabelle), a first-class swindler. Nice play between the two characters as Goodnight is so laid back yet very savvy.
GOODNIGHT MOMMY (R) 97 minutes * * 1/2
An unusual film that drops us into the middle, with twins whose mother has had facial surgery and their doubts about it still being their mother. There are some suspenseful moments, but nothing in the way of story to sustain them. The tension that builds is mostly from frustration that we aren't understanding enough to know what might lie around the corner. R for vuiolence and nudity.
THE GOODS: LIVE HARD SELL HARD (R) 83 minutes *
If anyone can sell cars, it's Don Ready (Jeremy Piven). Hired by a failing dealership to move enough cars so the owner can stay in business, Don has to use every trick in his book to make it work. The film has a great soundtrack, but a rather sleazy and predictable story... kind of like the stereotypical used car salesman... R for sex and language.
A GOOFY MOVIE (G) 72 minutes * * 1/2
The importance of communication in a family are the focus of this father/son film featuring Goofy and his son. The animation is reasonably good and the songs are pleasant enough too. It's not anything of special note, coming from Disney studios, but it
holds up nicely on the small screen.
GOON (R) 85 minutes * *
After Doug (Seann William Scott) gets involved in an off ice fight at a hockey game, he gets a tryout for the team. Skating doesn't come easily, but he's a natural at both fighting and team spirit. Nice work by Scott and Liev Schreiber. The ending is a little awkward as the film just fades off without any real conclusion. Filmed in Manitoba. R for violence, language, and sex.
GOON, LAST OF THE ENFORCERS (R) 95 minutes * 1/2
Goon (Seann William Scott) has been the league's best enforcer. But a recent series of injuries is making retirement look like a good option. Can he get past the injuries and contribute to the team? And what about the new enforcer waiting impatiently in the wings? Filled with perhaps even more vulgar humor and violence than the first film. R for language, sex, and violence.
THE GOONIES (PG) 108 minutes * * * 1/2
The Walsh brothers have decided that they just can't allow a golf course to replace their neighborhood. But coming up with enough money to save it is not going to be easy... unless they can find the pirate treasure that lies buried somewhere beneath the town. Very fun adventure film for the family. Great characters and a wonderful story by Steven Spielberg. Chris Columbus crafted the screenplay and Richard Donner directed. Very nice work by a great team! PG for violence, language, and sex.
GOOSEBUMPS (PG) 95 minutes * * 1/2
Zach (Dylan Minnette) and his mom just moved to a new town. That would be hard enough, but their next door neighbor is really strange. Well, his daughter seems normal... In fact, he's author R.L. Stine (Jack Black), and he keeps all of the books he's written locked up to keep everyone safe. Because if something were to happen and any of them were opened... Fun film for fans of the books, but those unfamiliar with them are likely to be somewhat lost. PG for violence and language.
GOOSEBUMPS 2: HAUNTED HALLOWEEN (PG) 83 minutes * * 1/2
Slappy's back, and looking for a family. He ftries unsuccessfully to befriend some humans. When that doesn't work, he brings a store full of costumes and props to life to fill in as his family. A fun adventure for R.L. Stine fans. You don't have to see the previous film to get this, but there are a handful of jokes that won't be quite as funny if you haven't. PG for violence and language.
GORDON FAMILY TREE (NR) 100 minutes * 1/2
Monty (Ryan Schwartzman) has a successful career and is on his way up, but it just doesn't seem fulfilling. So he quits his job and takes a trip, discovering what is really important to him along the way. The photography and editing are not smooth, and work to keep us distant from the characters. The story also isn't helped by large sections with virtually no dialogue that just stretch the film out for no apparent reason.
GORDON LIGHTFOOT: IF YOU COULD READ MY MIND (NR) 86 minutes * * *
A look at the life and work of Canadian singer/songwriter Gordon Lightfoot. The film explores his early days singing in the church choir as well as more recent work and performances. Filled with memories shared by numerous musicians as well as interviews with Lightfoot, it's a wonderful retrospective of a talented and beloved musician.
GORDY (G) 86 minutes *
A talking pig goes big business and uses his influence to save his family from the slaughterhouse. Boring one-note film with little talent except from the musicians... not the ones who are trying to act, the ones who are playing on the soundtrack.
GORILLAS IN THE MIST (PG-13) 125 minutes * * * 1/2
Many of us had followed the career of Dian Fossey over the years as she worked with the mountain gorillas of Rwanda and the Congo. The slaughter, by poachers, of a particular silverback gorilla she had been working with increased interest by the general public and Fossey's murder in 1985 served to involve even more people in her cause. The film focuses not on Fossey's murder, but on life, the lives of Fossey and the mountain gorillas that she worked with and the diversity of life that is inherent to the earth. It's very much in the spirit of Fossey's work, and I think she would've been pleased.
GORKY PARK (R) 122 minutes * * * ½
The investigation of a triple homicide uncovers a political conspiracy at the highest levels. James Horner’s soundtrack does an excellent job of creating and maintaining an atmosphere of suspense. The cast is remarkable with William Hurt, Lee Marvin, Brian Dennehy, and Joanna Pakula just to name a few. Adapted from the book by Martin Cruz Smith. R for violence, sex, and language.
GOSHEN (NR) 80 minutes * * *
The Tarahumara live deep within the Copper Canyons of Mexico. They are an indigenous tribe that have been able to maintain their culture with little disturbance due to the difficult nature of their location. They are a running tribe, with endurance capabilities that are astounding. Drought and famine are a threat, and this documentary looks at their life and culture and what is being done to help them preserve it.
GOSNELL: THE TRIAL OF AMERICA'S BIGGEST SERIAL KILLER (PG-13) 90 minutes * *
The story of Gosnell (Earl Billings), a doctor who provided abortion services. The film does a good job of showing how delicate the case was if a conviction was going to be obtained. The subtitle of the film shows some bias, but it's also clear from the story that having no bias would be virtually impossible with this topic. PG-13 for language.
GOSPEL HILL (NR) 93 minutes * *
Much of this film is yet another story of people without power trying to stop a corporation from developing (aka destroying) land that they are trying to protect. "Gospel Hill" refers to the property in question. What's unusual here is that the rest of the story is about a civil rights leader whose son is struggling with living up to his father's example and the expectations of those who knew him. The later is interesting and there are some good dramatic moments. It feels like we have two films here though, and the connection between them is weak.
THE GOSPEL OF JOHN (PG-13) 174 minutes * *
With so much narration, this comes across far more like a Sunday school lesson than a film. Henry Ian Cusick does a nice job as Jesus, though he is yet another in a long line of "white American" Jesus presentations that fall short of being historically accurate. Adapted from the Good News Bible translation, this was an ambitious project to say the least. Unfortunately, much of the point of the gospel of John seems to be missed. It's a more spiritual and mystical version of the story of Jesus, and what is needed to bring it to the screen isn't narration that explains a story we may not understand, but a different style that will help us feel the sense of wonder, magic, and awe that this gospel tries to show us. PG-13 for violence.
GOT THE FACTS ON MILK? (PG) 84 minutes * * 1/2
Straight-forward documentary that explains why milk and milk products are not healthy for humans. Presents the research from a variety of angles and occassionally with a sense of humor. If you didn't know already, this could be eye-opening, but even those who know most of this may find some interesting bits of info that they weren't aware of. Very comprehensive. PG for language.
GOTCHA (PG-13) 97 minutes * * 1/2
It’s a targeting game, and Jonathan (Anthony Edwards) is doing extremely well. Deciding to go on vacation, he meets up with a mysterious woman (Linda Fiorentino), and the games becomes something much more real. It’s a good story, and Edwards and Fiorentino both do well, but there aren’t many surprises. PG-13 for sex and language.
GOTHIKA (R) 94 minutes * *
Woodward Penitentiary, where Dr. Miranda Grey (Halle Berry) will find herself making a rather abrupt change from doctor to patient without remembering how it happens. And the part of the night that she can't remember includes the death of her husband... Science meets supernatural as the doctor tries to understand a world that relies on visions and ghosts rather than on scientific proof. There are a couple of nice chills, but the story relies heavily on Berry's character and doesn't develop the subplots very well. R for violence, language, and nudity.
GOTTA CATCH SANTA CLAUS (NR) 60 minutes * * 1/2
Trevor is going to prove that Santa exists by catching him so that everyone can see that the magic is real. But Trevor isn't the only one trying to catch Santa. Cute story with some fun songs, but very mediocre animation. Adapted from the comic book by Trevor Taylor.
GOTTI (R) 102 minutes * 1/2
Told primarily in flashbacks, this is the story of John Gotti (John Travolta) and his oldest son (Spencer Rocco Lofranco). The script and direction are both weak, and give this a "bad TV movie" look and feel. Travolta does a fair job, especially considering what he has to work with. R for violence and language.
THE GOURMET DETECTIVE (NR) 82 minutes * * 1/2
A master of the culinary arts, Henry (Dylan Neal) is also very observant and has a keen analytical mind. It all comes into play when someone is sabotaging two of the best restaurants in town. He's working with Maggie (Brooke Burns), the lead detective on the case. They don't get along very well, which is part of the fun in this culinary mystery.
THE GOURMET DETECTIVE: A HEALTHY PLACE TO DIE (NR) 83 minutes * * 1/2
A speaking engagement for Henry (Dylan Neal) at a luxury resirt quickly becomes another murder investigation. It's a good thing he invited Maggie (Brooke Burns) along for the weekend. They are beginning to feel a little more comfortable working as a team.
THE GOURMET DETECTIVE: ROUX THE DAY (NR) 84 minutes * * 1/2
A priceless chef's book surfaces after disappearing for years and Henry (Dylan Neal) is asked to authenticate it and buy it. Then the bodies start showing up. Maggie (Brooke Burns) and her team tackle another tough case.
GOYA'S GHOSTS (R) 103 minutes * * *
Stellan Skarsgard stars as renowned Spanish painter Francisco Goya, who finds himself pulled first one direction and then another as politics and religion struggle to reach power over one another. Brother Lorenzo (Javier Bardem) also finds himself caught in this struggle, and while they are both wounded by the shifting loyalties and changes in power, none is more tragically a victim than Ines (Natalie Portman), daughter of a wealthy merchant and muse to Goya. Nice performances by the leads, though the story is a bit shallow, with many of the supporting performances little more than set decoration. R for sex and violence.
GRACE (R) 80 minutes 1/2
Little Grace is a miracle baby. Everyone thought she was going to be stillborn. But even though she's alive, there's still something very wrong. Apparently she;s a zombie, though that idea is never explained well. Despite the film's relatively short length, it drags on far too long, and after the first fifteen minutes, we feel virtually no connection to these characters. Filmed in Moose Jaw, Saskatchewan. R for violence, sex, and language.
THE GRACE CARD (PG-13) 97 minutes * *
Seventeen years ago, Mac (Michael Joiner) and Sara (Joy Parmer Moore) lost their son to an accident. Mac is still angry. It's going to take some grace for him to get past it. Painfully stiff dialogue, though it does get a little better late in the film. Still tends to be rather heavy-handed with its message though. PG-13 for violence.
GRACE IS GONE (PG-13) 80 minutes * * 1/2
Stan (John Cusack) works and raises two daughters while his wife is fighting the war in Iraq. He knew it was dangerous, but never dreamed that news would come that she was gone. Now he's supposed to tell his daughters, and he has no idea how. Touching film with a sensitive and sincere performance by Cusack. The rest of the cast is a bit of a mix with some performances good and others somewhat shallow. Cusack carries the film, but he deserved better support. PG-13 for language.
GRACE OF MONACO (NR) 95 minutes * * *
The focus here is primarily on the political life of Grace (Nicole Kidman), though it begins with her struggle to answer Alfred Hitchcock's request for her to return to Hollywood to be in "Marnie". But Grace is dealing with a country and a marriage under a great deal of stress. Monaco is facing a potential invasioin from France, and Grace is not only royalty, she is outspoken, strong-willed, and determined to protect her family. The script could have been a little stronger, but the performances are quite good.
GRACE STIRS UP SUCCESS (NR) 98 minutes * * 1/2
Grace (Olivia Rodrigo) decides to start up a baking business to earn money for a new bike. her friends have other ideas, but Grace won't be deterred. She's also going to have to make some adjustments to her plans. Nice entry in the American Girl series.
GRACE: THE POSSESSION (R) 83 minutes *
The title pretty much tells the story here. Grace (Alexia Fast) gets possessed and the course of the film is her struggle with it. The first person camera angle gets old very quickly and really doesn't help tell the story. R for sex and language.
GRACE UNPLUGGED (PG) 96 minutes * *
Grace (AJ Michalka) is tired of being her father's musical sidekick and heads out on her own. Of course, once she does, she discovers that she wasn't quite ready for what would happen. Not a great deal of depth to these characters, and the story falls neatly into the stereotyped negative roles of godless entertainment industry people who just want to use others to make money. PG for language.
GRACIE (PG-13) 89 minutes * * 1/2
In her family, soccer is all-important. It's also a sport for males. Of course, she's actually better than most of the boys around. Based in part on Elizabeth Shue's life, this is a fairly standard sports film with a focus on support for female athletes. Filmed in New Jersey and at the school Shue attended there. PG-13 for language and violence.
GRADUATION (NR) 84 minutes * 1/2
All they wanted to do was help their friend get some money to pay for his mother's surgery. Of course, robbing the bank might not have been such a great idea. Everything works out a bit too neatly, even when there are a few rough spots. Not much depth to the characters here, and what there is seems pretty contrived.
GRADUATION (2016) (R) 125 minutes * * *
He has always wanted the best for his daughter, but now, Romeo (Adrian Titieni) is faced with a dilemma. His daughter was attacked, and it has understandably upset her. In the midst of her final exams, the effect could have a lasting impact on her future. But what can or should he do to help? The story wanders around, but feels very real as it slowly shows us more and more sides to the story and how complicated the dilemma is for Romeo. R for language.
A GRAIN OF TRUTH (NR) 92 minutes * * 1/2
An organic bakery seems like a good idea, and a way to have an appeal that stays current with the times. But not everyone thinks so. It will be up to Barnaby (Neil Dudgeon) to figure out who is upset enough with the idea to let it lead to murder.
GRAN TORINO (R) 111 minutes * * *
Walt Kowalski (Clint Eastwood) is not a particularly friendly man. His frustration and negativity only increase when the boy next door tries to steal his classic Gran Torino. He understands that Thao (Bee Vang) is feeling pressure from a local gang, but why should he help? Ignoring Walt's racist behavior, Thao's family reaches out to Walt, who struggles with what that means, and what he should do. Fine performances all around, and the film does make it's point, but the unrelenting use of racial and ethnic slurs may be difficult for some to hear through so much of the film. R for violence and language.
GRAN TURISMO (PG-13) 126 minutes * * *
It's a risky idea. Team Nissan organizes an event that promises the winners of the video game tournament Gran Turismo the chance to become a real race car driver. Jann (Archie Madekwe) quickly learns what transfers well from the gane to the real world of auto racing... and what doesn't. Will that knowledge be enough? Very nice racing footage and effects. More depth on how the video game competition went would have been nice, as well as a little more villainy from other race car drivers, and maybe some comraderie there as well. PG-13 for violence and language.
THE GRAND (R) 96 minutes * 1/2
Six players, one table, ten million dollars, winner take all. Poker tournament film that was mostly improvised. There are a few moments here and there that are funny, but there's little to hold this together and the ending is very anti-climactic. It is fun to see several real stars of the poker playing world in bit parts and cameos. Filmed in Las Vegas. R for language.
THE GRAND BUDAPEST HOTEL (R) 94 minutes * * * 1/2
It was a stunning hotel that never existed, but this is the story of the talented concierge and hard-working bellboy who served the guests so well. Fun script with humor that is both sarcastic and subtle, typical of Wes Anderson's work, and able to strike that delicate balance that is needed for an unusual story. There's intrigue and drama here as well, with an amazing cast, including Tony Revolori in his first theatrical film role as "Zero". R for language, sex, and violence.
GRAND CANYON (R) 130 minutes * * * 1/2
Much of the strength of what director Lawrence Kasdan wants to say with this film is stated with the camera and emphasized by the music. It's almost an intrusion into the power of the film to have the characters speak. But the more they speak, the more we realize how intricately interwoven they really are. Each action has a result that affects the others. As Claire (Mary McConnell) says, "A connection has been made, and you have to follow up on it." Maybe it's just chance when we meet someone, but maybe not. Do we risk getting to know someone, or do we just let them disappear from our lives forever? Good and bad are so closely intertwined in our lives. We are constantly living on the edge... the edge of the good and the bad, the edge of the canyon. R for language and violence.
GRAND ISLE (NR) 94 minutes 1/2
Desperately in need of money to help his sick child, Buddy (Luke Benward) is offered the chance to make money by killing Walter's (Nicolas Cage) wife. After about ten minutes, the script loses what little energy it had. Derivative and shallow, it wastes the talents of the entire cast.
GRAND PIANO (R) 78 minutes * *
It's been five years since Tom (Elijah Wood) has been on stage. Now, he finds himself not only battling his stage fright that led to a crisis moment that has kept him from performing until now, but an unseen threat that is even more dangerous. There's good suspense here, created with the music, and Wood's performance, but believability is stretched more than a little, especially considering the film's relatively short length. R for language.
THE GRAND SEDUCTION (PG-13) 109 minutes * * 1/2
With their village about to be a thing of the past, the citizens of this small community in Newfoundland need to convince a doctor to move to their village. That could lead to a new factory, jobs, and new vitality for them all. But it isn't going to be easy. Cute story, and nice work by the whole cast. And yes, it was filmed in Newfoundland. PG-13 for language.
THE GRAND SON (NR) 83 minutes * 1/2
Having become accustomed to the lifestyle of the very wealthy, Tod (Rhys Wakefield) has to figure out what to do when his careless and cavalier behavior threatens to bring it all down. Not only is it difficult to like any of the characters here, but they are all played with a sense of detachment. The intent is likely for them to appear aloof, but it misfires.
GRANDMA (R) 75 minutes * * *
The last thing Elle (Lily Tomlin) expects after a rough day is for her granddaughter to show up. And to make it worse, Sage (Julia Garner) is there because she needs money for an abortion. Tomlin is a delight, taking a rough and frustrated character and making her into someone you can't help but like, despite her cynical approach to life. The rest of the cast are also quite good, though Tomlin does pretty much walk away with every scene she's in. R for language.
GRANDMA'S BOY (R) 89 minutes 1/2
A 35-year-old- video game tester who lives with his grandmother and her two roommates is the focus of this rather unfunny film. Sex jokes abound, along with a weak story that partially revolves around his trying to have a romantic relationship with his new boss. At least it doesn't last too long. R for language and nudity.
THE GRANDMASTER (PG-13) 127 minutes * * * 1/2
This is the story of Ip Man's (Tony Chiu Wai Leung) connection to the Gong family, the life and love that he left behind in China, and how that shaped the road that lay ahead for him in Hong Kong. The opening fight sequence is very well choreographed, and sets the stage for most of the action that follows. There are lots of hand-to-hand fight scenes, with photography that not only lets us see the details of what happens, but highlights the artistry of the movements. And even the non-fight sequences are photographed quite beautifully. PG-13 for violence and language.
GRANDVIEW U.S.A. (R) 93 minutes * *
Tim Pearson (C. Thomas Howell) has big dreams, and they don't include the scholarship to the boring school he has received. What they do involve is getting away from Grandview. That may be even harder than he expected. Typical 1980s teen angst film with a feel-good ending.
GRANT (NR) 247 minutes * * *
A docu-drama on the life of Ulysses S. Grant. The film focuses on the Civil War and the years that followed. Grant's own words are used throughout the film to give a very personal tone to the presentation. Well-rounded and very thorough look at the personal life and military career of Grant.
GRAVE ENCOUNTERS (NR) 87 minutes *
Oh my, what a surprise! Lost footage has been discovered from an episode of a paranormal reality TV show. It shows the host of the show and the crew as they get locked in a former mental hospital and never return. There are a couple of creepy moments, but it's pretty much like the rest of the "lost footage" sub-genre of horror films.
GRAVE ENCOUNTERS 2 (NR) 94 minutes 1/2
Alex (Richard Harmon) is fascinated with the "found footage" film, "Grave Encounters". A film student himself, he values realism, but doesn't believe the film to be real. So, of course, he and his friends go and visit the hospital from the first film, only to discover that it's not hype, but is actually a genuinely haunted site. Considering that they are familiar with the first film, and are film students, they seem woefully unprepared for what happens. The ending has a twist that isn't bad, but it's a lot to ask us to wait that long for that little.
THE GRAVEDANCERS (R) 92 minutes * 1/2
When three friends meet to mourn the loss of another of their group, they end up in the cemetery late at night and dance on a few of the graves. Bad idea. The effects are alternately spooky and silly, and the story is not without its own humorous touches. Well cast, but the humor tends to undermine the horror too effectively. R for violence and language.
GRAVEYARD SHIFT (R) 83 minutes *
This begins well, but quickly deteriorates once we see the slimy
giant sewer bat. From then on it's just a matter of time and gross effects until it's beaten. It's a mediocre adaptation of one of Stephen King's lesser short stories, so I suppose we shouldn't expect much.
GRAVITY (PG-13) 84 minutes * * 1/2
When an astronaut (George Clooney) and a medical engineer (Sandra Bullock) are the only survivors of an accident in space, they will have to work together to survive, with only a small window of time to make it happen. Very nice work by Bullock despite some major logical flaws in the story, and too many last second saves, making it feel more like an action thriller than a drama in space. An Oscar winner for director Alfonso Cuaron, and also for cinematography, editing, original score, sound editing, sound mixing, and visual effects. PG-13 for violence and language.
GRAVY (NR) 94 minutes * 1/2
Three rather unusual people take over a Mexican cantina on All Hallow's Eve for their annual feast. Over-the-top macabre comedy that does have its moments, but is also very inconsistent in almost every area. The script just isn't as sharp as it needs to be to give this the edge that would make it not only stronger, but more fun.
GRAY MATTER (NR) 79 minutes 1/2
So it would seem that we've been mistaken. The "Grays", aliens usually depicted with gray skin and large eyes, are actually here to protect us. When a meteorite with another kind of alien inside lands on earth, it's time for the Grays to step in and get to work. Not much dialogue here, and the action is very repetitive. Poorly choreographed fight scenes don't help either. It's an interesting idea, but very poorly presented.
GREASE (PG) 110 minutes * * *
Incredibly fun musical that stands up well to repeated viewings. John Travolta and Olivia Newton-John romp through the 50's singing and dancing through a modernized Romeo and Juliet story. Great music, fun costumes, and just look at those old cars! Don't forget... "grease is the word!"
GREASE II (PG) 109 minutes * ½
There’s a new group that’s the “in” gang now. Michael (Maxwell Caulfield) desperately wants to be part of it, but his image doesn’t fit. Can he change and be accepted by them? Not a great story and everything is at least a full step below the first film, including the music. Adrian Zmed does deliver a nice supporting performance. PG for sex and language.
THE GREAT ALASKAN RACE (PG) 82 minutes * *
In 1925, the children of Nome, Alaska were in the grip of a deadly epidemic. The medicine they needed was 700 miles away. When the possibility of using an airplane to deliver the medicine fails, it falls to teams of mushers to get the much needed medicine to its destination. The film begins with a lengthy introduction and then tends to focus a little more on the doctor's (Treat Williams) treatment of the children than on the dogs and their mushers, making the story a little less interesting than it should be. PG for language and violence.
GREAT BALLS OF FIRE (PG-13) 103 minutes * 1/2
Dennis Quaid plays the talented Jerry Lee Lewis with Winona Ryder as his cousin/wife Myra. The concert scenes are very good, and Quaid and Ryder do some nice work here, but the film is poorly edited and looks awkward too much of the time. PG-13 for language.
THE GREAT BEAUTY (NR) 132 minutes * * * 1/2
Jep (Tony Servillo) has just turned 65. He's finally grown tired of the pretentious facade that everyone and everything seems to have. Behind that facade is beauty, if only one can look deeply and closely enough to see it. The photography and artistic direction are simply gorgous, and the film is, more often than not, a stunning piece of artistry that tends to overwhelm the story.
THE GREAT BUCK HOWARD (PG) 85 minutes * * 1/2
Buck Howard (John Malkovich) used to be a great illusionist. He's trying to make a comeback, but even with the help of his new assistant Troy (Colin Hanks), it's not going to be easy. Troy's father (played by Colin's real-life dad, Tom Hanks) doesn't really approve, but hopes that the experience will be a brief one. Mediocre story made a little better by Malkovich's heartfelt performance. PG for language.
THE GREAT BUSTER: A CELEBRATION (NR) 98 minutes * * * 1/2
The life of the immensely talented Buster Keaton. From his beginnings as part of the family vaudville act, "The Three Keatons", and his work with Fatty Arbuckle, to his work in feature films. The work he did for MGM nearly destroyed his career, but Keaton was a survivor. Filled with film clips from his many amazing films, and interviews with several talented comedic filmmakers. It's a grand celebration of an amazing comedian.
THE GREAT DEBATERS (PG-13) 113 minutes * * *
The debate team of Wiley College in the 1930s... an amazing team of well-spoken young African Americans at a time when people of color were not often allowed to speak out in mixed-race company. It's an inspirational story based on the true story of the debate team that surprised everyone except their coach, the great Melvin B. Tolson, played by director Denzel Washington. James Newton Howard's subdued but strong soundtrack compliments the moods of the film very well. PG-13 for language and violence.
THE GREAT DIVIDE (NR) 76 minutes *
A sort of couples-night-gone-bad, with just about every cliche in the book. Lots of dysfunctional relationships, a missing sex tape, a couple about to give birth, and every other relationship issue/conflict you can think of. They just keep on coming as the film rolls along, with little regard to how they don't really flow well as a story. The cast tries, but the script just jams little scenes together, giving them no chance to create any depth for their characters. Adapted from the play, which received very mixed reviews.
GREAT EXPECTATIONS (1998) (R) 106 minutes * * 1/2
Modernization of the Charles Dickens' classic starring Ethan Hawke as Finn Bell, a poor orphan boy in a fishing community with a talent for art. Robert DeNiro is his mysterious benefactor, though Bell doesn't realize that until it's too late. It's uneven at times, as far as the script, but the sets and acting are very good. The love story between Finn and Estella (Gwyneth Paltrow) is good, but perhaps takes a bit more of the screen time than it should and may be part of why the story progresses so awkwardly at some points. R for language and sex.
GREAT EXPECTATIONS (2011) (NR) 171 minutes * * * 1/2
What do you dream for your future? What stands in your way, and what might afford you more than you thought possible? TV mini-series version of the Dickens' classic about the value of love and hope, and how quickly our fortunes can turn. Wonderful performances throughout, though the stand-out is Gillian Anderson's haunting and mysterious characterization of Miss Havisham.
GREAT EXPECTATIONS (2012) 122 minutes * * *
Another dark and brooding version of the Dickens' classic, with Helena Bonham-Carter creating a wonderful version of Miss Haversham, though it's not all that different from some of her other character performances. Jeremy Irvine is not the strongest Pip, but the rest of the cast do a nice job in bringing this classic to the screen again. PG-13 for violence.
THE GREAT FIGHT (R) 70 minutes * 1/2
Juan (Michael Rivera) has anger issues, or at least that's what most of his teachers think. Channeling his anger into skilled fighting and using his abilites as an autistic savant, Juan will become a more espressive person and be able to work more effectively with those around him. Some of the acting isn't too bad, but most of it is very rough. The script struggles with this as well, and the ending is very abrupt and unsatisfying. R for language.
THE GREAT FIRE (NR) 179 minutes * * 1/2
London 1666. Tensions are growing around control of the throne, the royal coffers are far from full, and a city built mostly of wood is about to go up in flames. In many ways this is less about the fire and more about Tomas (Andrew Buchan) and Hannah (Polly Dartford) Farriner, whose bakery was where the fire started, and their relationships with other people in the community. Overly long, but not without some excitement.
THE GREAT FLOOD (NR) 75 minutes * * *
In 1927, the Mississippi River breached 145 levees, flooding over 27,000 square miles of land. This is the story of the devastation, and the lasting impact that resulted. Using original footage, with all of its imperfections from deterioration only adds to the power of the images. Great soundtrack by Bill Frisell.
THE GREAT GATSBY (PG-13) 130 minutes * * * 1/2
Remake of the classic, glitzy love story, as envisioned by director Baz Luhrman. Beuatifully filmed, and very artistically designed, with a slick and classy look that earned Oscars for both costumes and production design. What is a little disappointing, especially considering Luhrman's experience, is that music doesn't figure more prominently. PG-13 for violence, sex, and language.
THE GREAT GHOST RESCUE (NR) 84 minutes * * 1/2
Forced to leave their haunting grounds, the Craggyfords discover that many other ghosts have the same problem. They simply must find a new place to haunt, for themselves and their new friends. A light-hearted mystery/suspense film for the 7-12 crowd that parents will find entertaining as well. The special effects aren't all that exciting, but work well enough for what is needed here.
THE GREAT GILLY HOPKINS (PG) 92 minutes * * *
Gilly (Sophie Nelisse) is in a new foster home... again. All she wants in life is for her mom to come and get her. And, of course, all she really needs is what she already has. Wonderful work by Kathy Bates in a very nice adaptation of the children's book by Katherine Paterson. PG for language.
THE GREAT HYPNOTIST (NR) 94 minutes I I 1/2
The great hypnotist of the title is Xu Ruining (Zheng Xu), who uses hypnotherapy with many of his patients. Most of the story revolves around Ren Xiaoyan (Karen Mok), one of his more challenging cases. Nice move for the story toward the end, though it feels a little manipulative and not really the surprise that it tries to be.
THE GREAT MOUSE DETECTIVE (G) 71 minutes * * * ½
The setting is London in 1897. Mr. Faversham (voiced by Alan Young) is a toymaker mouse and is presenting his daughter Olivia (voiced by Susanne Pollatschek) with one of his latest creations. A knock at the door soon results in the kidnapping of Mr. Faversham, and Olivia knows of only one person who can help. Basil of Baker Street (voiced by Barry Ingham), who is known as the “Great Mouse Detective”. He lives at 221 ½ Baker Street, right below a rather famous human detective. It’s a charming story, adapted from the book by Eve Titus, and is a fine piece of work from the Disney Studios, though it was never a big hit.
THE GREAT OUTDOORS (PG) 86 minutes * * 1/2
Not one of John Candy's better films, though his telling of the story of "The Bald-Headed Killer Bear of Claire County" is delightful. Weak performances from most of the cast, a script that doesn't give us many good jokes and direction that seems to be "off". The PG rating should be PG-13 for excessive foul language.
THE GREAT RAID (R) 124 minutes * * *
As US troops advance on the Japanese in the Phillippines, the prisoners of war that the Japanese have taken are being killed rather than allowing them to be freed. This is the story of a rescue attempt at a particular prisoner of war camp, and of the lives of those involved. A nice, strong WWII film with skillful performances by Joseph Fiennes, Benjamin Bratt, James Franco and several others. Some footage of the real soldiers is included during the credits. Filmed in Queensland, Australia and Shanghai, China. R for violence and language.
THE GREAT TRAIN ROBBERY (NR) 184 minutes * * *
In 1963, the biggest robbery in the history of England occured. Millions in cash was stolen as the Royal Mail train was hijacked. The story is told in two parts. First, through the eyes of the thieves as it is planned and executed, then through the eyes of Scotland Yard as it is investigated. Well-told and involving, though it does run a little long and the novelty of the two parts is less effective because it isn't really the same moments of the whole story from different perspectives as much as it is the earlier and later parts of a story.
THE GREAT WALL (PG-13) 91 minutes * * 1/2
The Great Wall of China is a magnificent piece of architecture with a rich history. There are many stories, and many legends. This is one of the legends. William (Matt Damon) and his partner left Europe in seach of black powder. They expected to need their best bargaining skills as they dealt with the Chinese for the treasured substance. What they did not expect was that they would need their best warrior skills to help defend the Great Wall from thousands pf ferocious green monsters. Good effects, though very repetitive, and the story isn't really very involved, focus more on the action and hardly bothering to develop the characters. PG-13 for violence.
THE GREAT WAR (R) 105 minutes *
The war is about to end, but even at the last moments, soldiers push ahead to achieve objectives and gain territory. The story focuses on a platoon sent to rescue another platoon of black soldiers who are trapped behind enemy lines. Most of the dialogue is very poorly written and the battle scenes are very weak. There's also not much depth to the characters here. R for violence.
GREAT WHITE (PG) 86 minutes ½
Low-budget shark film with poor photography and bad effects. The shark terrorizes a new resort area and a couple of experts come in to address the problem when the local mayor fails to do anything. Also known as “The Last Shark”. PG for violence.
GREAT WHITE (NR) 85 minutes *
Flying a charter plane to a beautiful atoll turns into something very frightening for Charlie (Aaron Jakubenko) and his passengers. A shark attacks the plane and strands them a long way from the shore and they must figure out how to stay alive until help arrives. The story is weak and unimaginative, but the acting isn't that bad.
THE GREAT WHITE HYPE (R) 85 minutes 1/2
Here's a film that hype didn't help... a story about getting interest back into boxing by hyping a black/white fight. Reminds us of what has happened to so many films... it's not the sport that matters, just the marketing. Hmmm...
GREATER (PG) 124 minutes * * *
Brandon Burlsworth (Christopher Severio) had a dream. His determination and spirit were undeniable. This is the story of a young man who was quite possibly the greatest walk-on in the history of college football. Very nice ensemble cast and a story that covers his life in depth and in a very balanced manner. PG for language.
THE GREATEST EARS IN TOWN: THE ARIF MARDIN STORY (NR) 97 minutes * * *
Producing over 50 records that went gold or platinum, Mardin is a producing legend. He also wrote a number of hits for various singers, and his influence on musicians and the world of music will continue to be felt for a long time. Bio-docuemntary with lots of footage of Arif at work as well as interviews with many other music legends. A wonderful look at the life's work of an amazing music producer and manager.
THE GREATEST GAME EVER PLAYED (PG) 116 minutes * * * 1/2
Even those who don't enjoy golf should find this film worth watching. The story of a young man who manages to stand tall despite the odds that are stacked against him. Gold may have begun as a sport for the rich, but there was no reason that it needed to remain that way. Shia LaBeouf does an excellent job here, but young Josh Flitter is outstanding as his 10-year-old caddy who knows the game and the ways to keep Francis (LaBeouf) focused on the game. It's a powerful and inspirational story, which is something the Disney Studios know how to present well. PG for language.
THE GREATEST MOVIE EVER SOLD (PG-13) 83 minutes * * 1/2
Morgan Spurlock turns his sights on the movie industry itself, and explores how product placement in the movies affects production, both positively and negatively. His attempt to get his documentary completely funded by products succeeds, which at the very least shows how much companies are willing to pay to be advertised in the movies, especially since he doesn't even land any of the major corporate sponsors you're likely to think of. PG-13 for language and sex.
THE GREATEST SHOWMAN (PG) 97 minutes * * 1/2
Barnum (Hugh Jackman) had a vision. But don't expect this to be an in-depth or even particularly accurate description of Barnum's life. It skims along, for a quick little trip that offers plenty of feel-good moments and a summary of his life and the entertainment industry he shaped. The music is a better match for Jackman's voice than "Les Miserables" was. That siad, with the exception of "Never Enough", the songs tend to be lightweight, fun pieces without much depth... kind of like the story. It hits the high points, but then moves quickly on to the next, rarely giving us time to think about what was really meant. PG for language and violence.
GREED (R) 100 minutes * * 1/2
Ruthless, rude, and greedy. Sir Richard McCreadie (Jamie Blakley/Steve Coogan) is also incredibly wealthy. Taught well by his mother (Shirley Henderson), he has a head for numbers and a killer instinct. He also lives in another world. The world of the super wealthy. A biting satire of the rich, focusing on the fashion industry. There are a number of good moments in the film, but the story doesn't hang together very well. R for language.
GREEDY (PG-13) 108 minutes * *
Joe (Kirk Douglas) is a mean, but rich, old man whose relatives are waiting for him to die. His nephew Danny (Michael J. Fox) has been retained by the family to convince the old man not
to give everything to his new, sexy, young companion. Nancy Travis gives a nice supporting performance, but everything else about this is too cartoonish to be very appealing.
GREEDY LYING BASTARDS (PG-13) 85 minutes * * 1/2
A look at the topic of climate change and the issues surrounding it. It works well as an introductory look at the topic, and does offer some specific steps at the end on ways to take action if you're interested or concerned. PG-13 for language.
GREEN BOOK (PG-13) 123 minutes * * * 1/2
Tony Lip (Viggo Mortensen) got his name from his ability to talk people into almost anything. That doesn't mean that he won't use his fists if he needs to. When the club where he works as a bouncer temporarily shuts down, he takes on a job as a driver for Dr. Don Shirley (Mahershala Ali). Dr. Shirley is like no one Tony has met before. But this down-to-earth Italian-American and this classically trained African-American pianist are about to go on tour together, through the deep south in the 1960s. Beginning on the path with honesty and integrity, somewhere along the way, they manage to find friendship. A wonderful story with magnificent performances by both Mortensen and Ali and fine supporting work by the rest of the cast. PG-13 for language, violence, and sex.
GREEN CARD (PG-13) 103 minutes * * * 1/2
Charming love story of a slightly different variety as Andie McDowell weds Gerard Depardieu in name only, so that he can remain in the United States. Bebe Neuwirth has a wonderful supporting role here, but it's Peter Wier's direction that is really the star. He plays with the image and meaning of the word "green" throughout the film. Green card, gardens, growing relationships, parks, plants... it definitely gives you something to think about. The ending might not be what you'd expect, but this is another great film from a superb director.
GREEN GHOST AND THE MASTERS OF THE STONE (PG-13) 75 minutes * *
Charlie (Charlie Clark) is about to find out that those dreams he's been having aren't just dreams. And his Nana (Renee Victor) is a very special person. Clark puts quite a bit of his own life into the script. Some of that works well. The fight scenes are very good, and the story is fun, but it keeps getting side-tracked. PG-13 for violence and language.
THE GREEN HORNET (PG-13) 111 minutes *
Less than faithful retelling of the origin of Green Hornet and Kato. There are some funny bits here and there, though the TV series didn't really use humor very much at all. Seth Rogen talks far too much here, and makes the Green Horney more of a jerk than a hero. PG-13 for violence and language.
THE GREEN INFERNO (R) 96 minutes * *
When a group of student activists travel to the Amazon, saving the rainforest becomes secondary to staying alive when they are captured by a cannibalistic tribe. A little too obsessively focused on shocking us with overly violent and gross special effects. R for violence, sex, and language.
GREEN IS GOLD (R) 81 minutes * *
When Mason's (Jimmy Baxter) dad is sent to prison, he has to go live with his brother. But his brother grows and sells marijuana, and that is about to create some other problems for Mason. The acting is not very strong, but the story is good, and moves well in spite of the cast. R for language and sex.
THE GREEN KNIGHT (R) 124 minutes * * 1/2
As the story begins, Gawain (Dev Patel) has little ambition. Often speaking before he thinks, he finds himself taking up the challenge to face the Green Knight. He forgets the full meaning of the challenge though, and must set off a year later to face the Green Knight again. Visually, this is very impressive, though this particular interpretation of the legend isn't particularly strong. It doesn't leave Patel much to work with. We're not seeing the roguish charm that could have made this a better film. R for violence and sex.
GREEN LANTERN (PG-13) 105 minutes * * 1/2
The story here covers quite a bit of ground. From the death of Abin Sur and the selection of Hal Jordan (Ryan Reynolds) as his replaceent, to the escape of Parallax and the beginning of the turning of Sinestro from the power of will to the power of fear. It's a fairly good adaptation of the comic, though the story is a bit overly simplified in spots. Nice effects, and this should generate enough interest for at least one sequel. PG-13 for violence.
GREEN LANTERN: FIRST FLIGHT (PG-13) 75 minutes * * 1/2
Animated feature that tells the story of the Hal Jordan as he becomes a Green Lantern and how Sinestro betrays the corp. It's a good story, and it's faithful to the comic book series, but the animation is only mediocre. A bit of a disappointment for fans, who would undoubtedly love to see a live-action version. PG-13 for violence.
THE GREEN MILE (R) 175 minutes * * * 1/2
The title refers to the stretch of floor on death row at a particular prison. It's a somewhat laid back story of events that took place a long time ago. A story of inmates and assumptions, and miracles in unlikely places. Tom Hanks, David Morse, James Cromwell, and Gary Sinise are the more recognizable names that are evident in this superb ensemble cast. The script, by director Frank Darabont, does a wonderful job of translating the film to the screen. It's a bit long and the pacing gets off from time to time, like an old truck on a dirt road, but it still keeps moving. Stephen King's serial novel that this is adapted from does the same thing, straying from time to time, but coming back to the main story and moving ahead. Darabont has shown with this and "The Shawshank Redemption" that he can handle adaptations of King's work. Something that few have done well. Filmed in Nashville, Tennessee and Blowing Rock, North Carolina. R for language and violence.
THE GREEN PRINCE (PG-13) 96 minutes * *
The son of a Hamas leader became a spy for the Israelis. This is an accounting of that relationship and how it played out for him and those he worked for. It's a rough mix of interviews, historical footage, and staged scenes. It's an interesting piece as far as history, but not particularly good as a film. PG-13 for violence.
GREEN ROOM (R) 88 minutes * * 1/2
It was just suppsed to be another gig. But as they are leaving, the band members witness a murder. Now they are stuck waiting, trapped in the green room (dressing room) in a neo-nazi, skinheadd bar. A dark and gritty story with nice work by the cast. R for violence and language.
GREEN STREET HOOLIGANS (R) 103 minutes * * 1/2
Matt Buckner (Elijah Wood) finds himself caught up in the often violent world of London's football fans. They take their games very seriously, and street brawls are part of the way they show their team spirit. Matt is shocked at first, then finds himself drawn to the loyalty and sense of belonging the group provides, but he soon discovers that the dangers outweigh the benefits. Wood does a fine job here, but still seems more out of place than he should be. It's an intesne film that doesn't let up, but also doesn't go very far. R for violence and language.
GREEN STREET HOOLIGANS 2 (NR) 86 minutes * *
The fight at the end of the first film had deadly consequences. Members of both the GSE and Millwall are in the same prison, where their rivalry continues. In prison or on the street, nothing will stop their fervor. Lots of football, lots of fighting. Darker and more violent than the first film, which feels like a natural direction given the direction of the story in the first film.
GREEN STREET HOOLIGANS: UNDERGROUND (R) 91 minutes * 1/2
Danny (Scott Adkins) left Green Street behind, but the death of his younger brother brings him back to find the killer. There's even less street brawling in this third entry in the series. Instead, Adkins is given time to show off his martial arts skills in a more staged setting. The trouble is that those are the only scenes that Adkins does well as he's much better at fighting than acting. A little of the heart and spirit of the story is lost in favor of more exhibition fighting. R for violence, language, and sex.
THE GREEN WAVE (NR) 80 minutes * * *
A look at teh Green Revolution in Iran, when individuals told the world what was happening during the 2009 elections in Iran. The story is told through a mix of actual footage of events and animated sequences, which lends an interesting feel to the presentation. The images and events are poewrful, and whether they are live or animated seems to make little difference as to the strength of what they tell us.
GREEN ZONE (R) 105 minutes * * *
After three missions searching for weapons of mass destruction in Iraq, Chief Warrant Officer Roy Miller (Matt Damon) is concerned that something is wrong with the intelligence reports that are listing these sites. He quickly gets enmeshed in a conflict between two different factions of the CIA, working on resolving the conflict in Iraq in very different ways. Inspired by the book, "Imperial Life in the Emerald City" by Rajiv Chandrasekaran, it's a story of conspiracy theory. Damon does pretty well here, though it's difficult to convince us that if there really was a conspiracy going on in the manner described here, that those who might uncover it wouldn't be dealt with more directly and more severely. R for violence and language.
GREENBERG (R) 103 minutes * * 1/2
Roger (Ben Stiller) relocates from New York to Los Angeles while he tries to sort out his life. He's staying at his brother's house, keeping an eye on things, but mostly an eye on his brother's assistant (Greta Gerwig). This is actually a good role for Stiller, though he tends to want to go for the laugh a little more than he should. The humor here is more subtle and introspective, which isn't what Stiller is as comfortable with, but there are times when it works well. R for sex and language.
GREENFINGERS (R) 87 minutes * * *
Delightful and slightly offbeat comedy about a criminal who gets a second chance. When Colin is moved to an experimental low security facility to finish out the remainder of his sentence, he meets an older inmate who introduces him to gardening. He'd never considered it before, but finds he has a natural talent for it. With a new look on life, he also finds much more than he'd dreamed was possible. This is a real treat that will definitely make you smile. R for language.
THE GREENING OF WHITNEY BROWN (PG) 83 minutes * * 1/2
A spoiled, rich brat, Whitney (Sammi Hanratty) gets a nightmare surprise when her father loses his job. The family has to move out to the country to a rundown farm that belongs to her grandfather. With all of her privileges gone, Whitney has quite a bit to learn about what is really important. Cute family filme. PG for language.
GREENLAND (PG-13) 114 minutes * * 1/2
When a comet that is supposed to fly close by the Earth ends up on a track to impact it instead, that makes the end of the world a certainty. John Garrity (Gerard Butler) and his family have been selected to travel to a safe bunker. But that process doesn't quite happen as expected. The film begins and ends well, but loses energy in the middle as it follows various subplots, many of which don't really help the main story. PG-13 for violence and language.
GREETINGS FROM TIM BUCKLEY (NR) 98 minutes * * 1/2
Though their lives ran an eerily parallel track, Tim Buckley and his father, Jeff, were never all that close. The story gives us a look at the days leading up to the 1991 Jeff Buckley tribute concert where Tim performed. The film has a somewhat uneven style, moving from slice-of-life to bio-drama, to concert film, never really settling in any one spot. It still manages to have a bittersweet appeal, perhaps because of the similarities of father and son.
GREMLIN (NR) 87 minutes * 1/2
A mysterious box with a nasty little gremlin inside. The catch is that you need to give it to someone you love before the timer runs out. It's an old story, but it works fairly well, though the inability of the family to figure out what is going on is a little difficult to believe. CGI effects are less than spectacular, but the bigger problem is how often we see the same ones releated.
GREMLINS (G) 98 minutes * * ½
It was just a strange little pet, but when it isn’t handled properly, the situation gets horribly out of control very quickly. The creatures are quite good, thanks to Chris Walas’ talents. The biggest problem the film has is maintaining a balance between comedy and horror. The story veers from cute and funny to extremely bloody horror. Those shifts aren’t handled well, because the shifts are so extreme. This was one of a handful of films that were responsibly for the creation of the PG-13 rating. PG for violence, language, and sex.
GREMLINS II (PG-13) 101 minutes * * 1/2
The special effects are the star in this sequel, with a total of 72 people operating the gremlins and Rick Baker designing the effects. Filled with in-jokes for film buffs, the only thing this is lacking is a story, although the acting isn't much better. PG-13 for language and violence.
GRETA (R) 94 minutes * * 1/2
Her kindness and honesty may seem a little out of place in the big city, but it's just who Frances (Chloe Grace Moretz) is. And so, she returns the handbag to Greta (Isabelle Huppert) in person. They soon become fast friends, but that is because Greta is not as sweet and innocent as she appears. Lots of mildly suspenseful moments, none of which are surprising. It's fun watching Huppert and Moretz, which makes up for some of the lack of originality in the story. R for violence.
GRETA THUNBERG: A YEAR TO CHANGE THE WORLD (NR) 165 minutes * * *
A looko at the work of Greta Thunberg as she takes a year away from school to travel the world. Learning from scientists and environmentalists, listening to people from the fossil fuel and renewable energy fields, she hopes to understand how interconnected it all is and how to make effective change happen that can possibly save the planet.
GRETEL & HANSEL (PG-13) 82 minutes * *
Gretel (Sophia Lillis) and her little brother go into the woods in search of work and a way to live a better life. What they find is a mysterious house with a witch (Alice Krige). They seem unable to leave, and the witch has plans for them. A dark and moody piece. The script is uneven, with frequent segments that are heavy with imagery, but then shifting to an emphasis on the story. It just isn't paced well, though it often does succeed at being unsettling and rather creepy. PG-13 for violence.
THE GREY (R) 110 minutes * * 1/2
Surviving a plane crash in the wilds of Alaska is no easy task. Staying warm, finding food, and avoiding the wolves, all while trying to get to a plae where rescue might be possible is going to take everything Ottway (Liam Neeson) can manage. Neeson is wonderful as usual, but the rest of the cast are hit and miss, with some fairly good performances and others that are clearly lacking. Adapted from the short story :Shost Walkers" by Ian Mackenzie Jeffers. R for violence and language.
GREY GARDENS (NR) 100 minutes * * *
Drew Barrymore and Jessica Lange star as Edie and Edith Bouvier Beale, daughter and mother, once very rich, now sadly clinging to a life that has long since faded away. The film drifts back and forth between past and present, adding to the feeling that reality is slipping away. Nice work by both Barrymore and Lange in this remake and dramatization of the 1975 documentary.
GREY LADY (R) 103 minutes * *
Investigating the death of his partner, Doyle (Eric Dane) finds himself in Nantucket, and uncovering much more than he thought possible. The murders seem overly violent and almost nonsensical until some extra information is uncovered fairly late in the film. The pacing of the film improves dramatically at that point. If the earlier murders had been more mysterious instead of rough and rushed, the earlier pacing would have been more convincing. R for violence and language.
GREYFRIARS BOBBY (PG) 101 minutes * * 1/2
Remake of the 1961 film, telling the story of a dog who is so loyal to his owner, that when the man dies, the dog continues to guard the grave, just as he did the man. The townspeople eventually grow to respect and treasure the dog and his loyalty, though there are a few who intially try to keep the dog from his chosen duty. PG for violence.
GREYHOUND (PG-13) 82 minutes * * *
Captain Krause (Tom Hanks) has never led a convoy through the "Black Pit", an area of the Atlantic Ocean that is out of range for air support. Pursued by a German wolf pack of submarines, he will face some intense challenges. Hanks does well here, but there are also many fine supporting roles. Adapted from the novel, "The Good Shepherd" by CS Forester. PG-13 for violence and language.
GREYSTOKE: THE LEGEND OF TARZAN (PG) 125 minutes * * * 1/2
The story of Tarzan (Christopher Lambert), from his birth to his return to civilization. The scenery and costumes are beautiful, and the photography highlights them well. Rick Baker outdioes himself with the special effects for the apes. Marvelous work. A magnificent retelling of the classic story. PG for vioence and sex.
THE GRIDDLE HOUSE (NR) 84 minutes * * 1/2
Looking for his birth mother, Jack (Alex Shaffer) finds himself at The Griddle House, a diner that she is supposed to frequent. The regulars there are an eclectic bunch, and Jack may discover far more than he expected. A sentimental and sweet story of self discovery.
GRIDIRON GANG (PG-13) 119 minutes * * 1/2
Dramatized version of the 1993 documentary (same title) about the inmates of a juvenile correction facility and Sean Porter, a corrections officer who found a way to help them believe in themselves and work together as a team. They have plenty of energy and attitude, but without some focus and some re-education, they'll never make it. Dwayne "The Rock" Johnson does a nice job here, but its the supporting cast playing the inmates who sell us on this. Clips from the documentary are shown during the credits. PG-13 for violence and language.
GRIDLOCK'D (R) 83 minutes *
Tupac Shakur's final film was never really finished. Although he and Tim Roth turn in fine performances, the film is very shaky and obviously disconnected. As it stands, an extremely wordy film that just sort of wanders around during the last 30 minutes. It's too bad, because Shakur and Roth's performances have energy and power that might have made this a good film. R for language and violence.
GRIDLOCKED (R) 110 minutes * *
Brody (Cody Hackman) has to do a ride along with police as part of his probation, and David (Dominic Purcell) is the lucky person he gets to be with. When a team of mercenaries attacks the facility, it turns into a very real and intense situation they neither one expected. Too bad we expected it. Predictable and filled with bad guys who can't manage to hit a target. A few fisticuffs, but mostly lots of guns. R for language and violence.
THE GRIFTERS (R) 106 minutes * * 1/2
Anjelica Huston and John Cusack are a mother and son who are both con artists, or grifters. Lily is into the work on a large scale, working for the mob and altering the odds at horse tracks. Roy is more small-time, but has done quite well over the years. Roy's girlfriend is about to complicate matters though as she finds out about Roy and his mother. She's a grifter too, and we disciver that the ultimate sting is one that's done to another con. The film feels like it's trying to pull us back into the 1940s, but we never quite make it. These are 1940s characters living in 1990. We know that won't work, but they haven't figured it out yet. The performances are good, Elmer Bernstein's music helps set the mood, and the photography does a good job of painting the picture, but the final product plods along too slowly and we lose interest. R for nudity, violence, and language.
GRIGRIS (NR) 97 minutes * * 1/2
Grigris (Souleymane Deme) loves to dance, but he doesn't make much money at it. That's OK, until his step-father gets really sick. He can't afford the medical care needed and dancing dreams will have to be put aside for more risky ventures with higher pay. Mimi (Anais Monory) is in a similar place, which draws them together, but it looks like that will mostly mean twice the trouble. Nice work by Deme, but the story just begins to fade as the dilemma seems to be so overwhelming that a resolution doesn't appear to be available.
GRILLED (R) 78 minutes * *
Mediocre comedy with Ray Romano and Kevin James co-starring as meat salesmen who have been given one last chance by their boss to make a sale. Their day seems to go from bad to worse as they stumble across some mobsters in the middle of trying to kill each other. Neither Romano or James seems that interested here, and neither are we. There are a few funny bits here and there, but an episode of "Everybody Loves Raymon" or "King of Queens" has more laughs and takes even less time to see. R for language and violence.
THE GRINCH (PG) 78 minutes * * 1/2
The story is a heart-warming classic. This version updates the dialogue a little, which is good. And this isn't a bad film, but the short film is still better. The version draws the story out a little too long and dilutes the impact. The voice acting is also a little less impressive. PG for language.
GRIND (PG-13) 99 minutes 1/2
Four friends hit the road in search of a sponsor for their skateboard team. They should have been looking for a script and a director... or perhaps a job that didn't call for acting skills. There are some great skateboarding stunts, and several cameos by comedians who all look like they wish they hadn't agreed to do them. Even skateboard fanatics probably won't care about this film. PG-13 for language.
GRINGA (NR) 97 minutes * * 1/2
When her mom dies suddenly, Marge (Jess Gabor) is at a loss. In an attempt to start over, she goes to Mexico to meet her father (Steve Zahn) who left when she was only two years old. Maybe they can both find the family they are looking for. It may not be an easy process. Very nice work by Gabor.
GRINGO (R) 104 minutes * *
Richard (Joel Edgerton) and Elaine (Charlize Theron) are not above some very questionable business dealings. Harold (David Oyelowo) plans to pull one over on them, but it's not quite going as he planned. Good moments, and a great cast, but the story and pacing are all over the map, undermining this every time it starts to gain traction. R for language, violence, and sex.
THE GROCER'S SON (NR) 92 minutes * * *
Antoine (Nicolas Cazale) had already left home to start his own life, but when his father's illnes keeps him from making his local grocery stops, Antoine agrees to help. He's not that good at it, but he begins to learn not only how to run the grocery van, but the importance of community, family, and much more. Low-key French film that slowly works it's own sort of gentle magic.
GROSS ANATOMY (PG-13) 105 minutes * * 1/2 Matthew Modine, Daphne Zuniga, and Christine Lahti star in this story of first-year medical student and the various challenges they face. The performances are good here, but the script doesn't give them much to work with and the direction is uninspired to say the least.
GROSSE POINTE BLANK (R) 103 minutes * * *
Martin Blank (John Cusack) is going home for his 10-year high school reunion. But what do you tell your friends when your job is being a hit man, especially when your current contract happens to be on the father of your high school sweetheart with whom you just might be falling for again? Cusack and Minnie Driver work well together here and the script is very entertaining. What seems to give Cusack the incentive to give
this his best effort is that he co-wrote and co-produced. R for violence and language.
GROUND ZERO (NR) 82 minutes 1/2
A clean-up crew dealing with some bodies at a warehouse discover one that isn't exactly dead. Poorly written script, and the acting is perhaps even worse. The script does try to give some depth to the characters, but it fails to give the depth that the story itself needs. Written, produced, and directed by Channing Lowe, who also did the cinematography and editing. For zombie film completists only.
GROUNDHOG DAY (PG) 97 minutes * * 1/2
Phil Conners (Bill Murray) is on his way to Punxatawney, PA for a look at Phil the groundhog. The problem is that he hates Punxatawney, hates Groundhog Day, and isn't that thrilled about being a weatherman anymore either. But now he's stuck... not just in Punxatawney, but in Groundhog Day as well. Every morning he gets to do it all again, until... This is a nice, light-hearted look at life, performed well by Murray. The low production quality gets in the way of this being any better, but
it's still fairly entertaining. PG for language.
GROUNDSWELL (NR) 83 minutes * * 1/2
The stress and the lack of appreciationhave finally proved to be too much, so Emma (Lacey Chabert) heads to Hawaii to take a break. She meets a handsome surfing instructor (of course), who helps her deal with some of her personal issues, though he has a few of his own. Maybe they can help each other...
GROW HOUSE (R) 85 minutes 1/2
Pat (DeRay Davis) and Darius (Lol Duval) decide to cash in on the medical marijuana boom and start their own grow house. Of course, it would help if they knew how to do more than use it. This tries really hard to be funny, but it just never gets there. R for language.
GROWING THE BIG ONE (NR) 87 minutes * *
A successful radio talk-show host, Emma (Shannen Doherty) learns that her grandfather has died. She is now the owner of a farm, and minus her favorite city job. Maybe she can win the pumpkin growing contest. Perhaps a little love is in the air as well.
GROWING UP SMITH (PG-13) 98 minutes * * *
Life wasn't easy growing up as a young boy from India, living in the United States. Traditions clash with daily life, and friendships are formed that will face the tests of time and distance. A heartwarming and sometimes humorous story about growing up. PG-13 for language.
GROWN-UPS (PG-13) 96 minutes * 1/2
The old championship basketball team is reunited after thirty years at the funeral of their beloved coach. Whether they have really grown up after all of these years is another matter entirely. Fairly typical Adam Sandler project, with bits of wisdom in among all of the humor. The difference here is that the jokes tend to last through the entire film, growing old rather quickly, and the "moral of the story" is presented in a manner that even has the characters wonder why it's being stated so obviously. Filmed in Essex, Massachusetts. PG-13 for language, sex, and violence.
GROWN-UPS 2 (PG-13) 94 minutes *
Lenny (Asam Sandler) has moved back to his old hometown, only to discover that far too little has changed for the better. More of the same as the first film, with fewer bits of wisdom and more stupidity. PG-13 for language and nudity.
GROWTH (NR) 86 minutes 1/2
Cuttyhunk Island is a scientific research site. But when something goes wrong, Jamie (Mircea Monroe) leaves the island. Now, she's returning to sell the family estate. But the experiments, and their bizarre "effects" may still be around. Sounds like a promising possibility, but lots of repetitive effects and a really bad ending manage to pretty well ruin this.
THE GRUDGE (PG-13) 88 minutes * *
This is one of those rare instances when a director actually remakes their own film for a different audience. In this case, director Takashi Shimizu adapts his Japanese film Ju-On: The Grudge for the American market. It's most successful toward the end, where the suspense does manage to increase enough to give us some chills. Too many of the earlier scenes that were genuinely creepy in Ju-On happen so quickly here that they just don't have the same effect. And we really miss that spooky creaking sound that was so much a part of Ju-On. Shimizu does use a few of the same cast members from Ju-On, but in this version we also have Sarah Michelle Geller, Jason Behr, and a few others in an attempt to make it more appealing to American audiences. There may be more appeal because the faces are familiar, but Ju-On is definitely a better film than this adapted version. It's also interesting to note that this was part three of the Ju-On series. PG-13 for violence.
THE GRUDGE (2020) (R) 87 minutes * 1/2
Some houses should just be left alone. Not really a remake or a sequel, but more of a reboot. The idea if how the house becomes haunted and how it affects those who enter is still there, and it refers to the original story in an effort to explain what is happening. The script and pacing are neither one very good. There are a few chills, but it's just not enough. Watch the first one again, or better yet, watch Ju-On. R for violence and language.
THE GRUDGE 2 (PG-13) 99 minutes * 1/2
Sequel to "The Grudge" and remake of part four in the Ju-On series. Now the sister is affected by the evil spirits from the house. The story is all over the place here, trying to be a prequel and a sequel and ending up just being confusing. There are definitely more chills and scares than in "The Grudge", but with so little continuity, and the line between reality and dream blurred, we're puzzled even more often than we're scared. PG-13 for violence.
THE GRUDGE 3 (R) 87 minutes *
Much better continuity in this third outing, but we're a little bored with the story at this point. Very few creepy moments here, unless you haven't seen the other films, which would then mean that it's unlikely you'll understand much of the story. Leaves room for another film, not that this will surprise anyone. R for violence and language.
GRUDGE MATCH (PG-13) 107 minutes * * *
Rival boxers are basically tricked out of retirement for one more bout to take advantage of their long-standing rivalry. It's great to see Sylvester Stallone and Robert DeNiro together, but as is so common, it's Alan Arkin who steals every scene he's in. The humor is balanced well within this drama, keeping the story just light enough, though the pace slows during the middle of the film before picking up again. PG-13 for violence, sex, and language.
GRUMPIER OLD MEN (PG-13) 94 minutes * * *
This is one of those rare cases when the sequel is actually a little better than the first film. Jack Lemmon and Walter Matthau are as grumpy as ever and this time the focus is on another new girl in town... Sophia Loren. Ann-Margret is still around, but she's been through this all before. It's great fun to watch, though as predictable as can be expected. And don't miss that batch of outtakes at the end! PG-13 for language.
GRUMPY OLD MEN (PG-13) 96 minutes * * *
Walter Matthau and Jack Lemmon... lifelong neighbors and enemies. And now Ann-Margret has just moved in across the street to liven things up! Hilarious film with the only real drawback (or highlight to some folks) being Burgess Meredith's offensive performance as Lemmon's father. Great performances from three "old pros", sure to keep you laughing almost the whole way through. PG-13 for language.
THE GUARD (R) 87 minutes * *
When a murder turns out to be connected to a huge drug deal, Sgt. Boyle (Brendan Gleeson) has some interesting ideas on how to handle the situation. Unusual mix of comedy, drama, and action, with a fairly typical result. Some scenes work well, and others just don't. Nice work by Gleeson, but it isn't enough to get this a higher mark. R for language, violence, and sex.
THE GUARDIAN (R) 89 minutes * 1/2
Director William Friedkin's first horror film since The Exorcist
leaves much to be desired... like a story. The music and special
effects aren't bad, but when you start out with a nanny who feeds the baby to a tree, you've already sunk pretty low. R for violence and sex.
THE GUARDIAN (2006) (PG-13) 132 minutes * * *
Ben (Kevin Costner) has been on the front line of the Coast Guard rescue unit for years, and he wouldn't want it any other way. But when the rest of the crew he's with die in an accident, he's asked to take on the position of instructor. In some ways, it's an even more difficult task. "Save the ones you can... let go of the rest". Not an easy task, and yet it's what has to be done. Costner fits this part quite well, and Ashton Kutcher does some nice work as the cocky young swim star who has lots of potential, and lots to learn. Fine suspenseful soundtrack from Trevor Rabin, along with a powerful, Oscar-worthy song by Bryan Adams, "Never Let Go". PG-13 for language and violence.
GUARDIANS (NR) 82 minutes * * 1/2
Through human experimentation, the Russian organization "Patriot" created superhumans. Their services are now required to deal with a powerful and evil scientist. Very nice concept, obviously borrowing a little from the "X-Men", but taking the idea in a different direction. The villain works well, which helps the heroes look better too. And, as any good superhero movie should do, it leaves the door open for a sequel.
THE GUARDIANS (2017) (R) 130 minutes * * *
Life is hard on the Paridier farm. The Great War has begun, and the men have left the farm to fight. The work is building up, and Hortense (Nathalie Baye) hires Francine (Iris Bry) to help. A quiet and gentle film with characters that are deep and rich. R for violence and sex.
GUARDIANS OF THE GALAXY (PG-13) 114 minutes * * ½
A motley, misfit group of criminals from various planets find themselves working together to stop a villain who is planning to conquer the universe. Wonderful characters, who definitely generate a fair share of appeal. The difficulty lies more with the story, which has a sometimes strange mix of humor and science fiction that works part of the time, but not all of the time. Great soundtrack! PG-13 for violence and language.
GUARDIANS OF THE GALAXY VOL. 2 (PG-13) 128 minutes * * *
It's time to save the universe again. The Guardians deal with the difficult task of trying to keep themselves together as a team. At the same time, they need to figure out how to deal with the person who has just shown up claiming not only to be Quill's (Chris Pratt) father, but also a god. A stronger story than the first film, which does a nice job of asking deeper questions and strengthening the characters. And, of course, there's baby Groot. Great cast, and a very fun sequel. PG-13 for violence and language.
GUARDIANS OF THE GALAXY VOL. 3 (PG-13) 140 minutes * * *
As the Guardians try to save Rocket, who is seriously injured, they first have to deal with Adam Warlock (Will Poulter). But Warlock is only the beginning. The High Evolutionary (Chukwudi Iwuji) is far more dangerous, with the capability to destroy entire civilizations. A solid sequel, with less comedy, but a little more energy. There's a darker side to the story here, and it plays well. PG-13 for violence and language.
GUARDIANS OF TIME (PG) 96 minutes * 1/2
These young cousins are about to discover an exciting new world. A world where they have powers over time. A world where they have a mission. Aimed at the younger crowd, but there's a lot of dialogue, which tends to complicate the story. There are also loose ends, some of which are probably left for an intended sequel, which may or may not surface. PG for violence.
GUARDING TESS (PG-13) 91 minutes * * *
Tess Carlyle (Shirley MacLaine) is the wife of a past president, and is used to being in charge. Doug Chesnic (Nicolas Cage) is assigned to be her bodyguard, a job which he can't seem to get out of no matter how hard he tries. The chemistry between these two carries the film well, as we see how much they care about each other throughout the film. Their mother-son style banter has just the right balance to keep us where we need to be to care about them. Other aspects of the film aren't as strong, but kudos to MacLaine and Cage.
GUERNICA (R) 104 minutes * * * 1/2
Henry (James D'Arcy) has grown cynical, and his writing has begun to reflect it. But what will happen to the quiet little town of Guernica is about to change that. It was the end of the Spanish Civil War and the beginning of a much longer conflict. This is war through the eyes of those who were there to write about it. Great war drama on a conflict that is less well known than most. R for violence, nudity, and language.
GUEROS (NR) 105 minutes * * *
When he begins to cause too much trouble for his mother, Tomas (Sebastian Aguirre) is sent to live with his brother. But his brother has problems of his own. It won't be easy, but they will both have an opportunity to learn from this.
GUESS WHO (PG-13) 101 minutes * * 1/2
Modernizatio of "Guess Who's Coming to Dinner" with Ashton Kutcher coming to visit his prospective father-in-law, Bernie Mac. Despite the film's inability to come close to the quality of the original, Mac actually comes across fairly well, being far less abrasive than most of his other work. It does end nicely, though it's never all that funny or particularly sentimental either. PG-13 for language.
GUESS WHO’S COMING TO CHRISTMAS (NR) 83 minutes * *
Dax (Drew Lachey) needs to do something to boost his image. But spending a week with a fan in a small town is not going to be very easy. Predictable but cute holiday romance that makes for fun, light, holiday entertainment.
THE GUEST (R) 96 minutes * * 1/2
When David (Dan Stevens) shows up at the door of the Peterson family, he claims to have been a friend of their son, who was killed in action. Still dealing with their grief, they welcome him into their home and offer to help him as he reintegrates into civilian life. Stevens does a nice job combining charm and creepiness, aided by some nice camera work and effective music. Still, the "surprise" ending isn't much of a surprise if you've seen many suspense thrillers. R for violence, language, and sex.
GUEST ARTIST (NR) 71 minutes * * *
Kenneth Waters (Thomas Macias) is about to meet his idol (Jeff Bridges). As it turns out, Joseph Harris (Daniels) has had better days. A marvelous script, detailing an encounter between two unlikely characters who each discover parts of themselves in the other.
GUEST HOUSE (R) 81 minutes 1/2
Sarah (Aimee Teegarden) and Blake (Mike Castle) have found the perfect home. Well, almost perfect. As it turns out, the guest house has a resident (Pauly Shore) who doesn't plan on leaving. Sadly, this is the same sort of movie that Shore would have made 30 years ago. And it wasn't funny then. R for sex and language.
GUIDANCE (NR) 76 minutes *
A former child star becomes a high school guidance counselor despite his ongoing abuse of drugs and alcohol. Tries to be both funny and sentimental, and never quite gets there. The acting isn't bad, and there are some nice supporting performances, but the script and direction are pretty bad.
A GUIDE TO RECOGNIZING YOUR SAINTS (R) 95 minutes * * 1/2
Powerfully personal story of growing up in Queens, written and directed by Dito Montiel. Most of the performances are quite good here, with Robert Downey Jr. doing admirably well as Dito and Shia LaBeouf delivering a wonderful performance as young Dito. Dianne Wiest and Chazz Palminteri do nice work as well. The problems arise with the editing. The film cuts back and forth between present day and the past too early and too often, confusing the story and making it more difficult to connect with the characters. Still, many of the scenes are extremely powerful and the film does end well. Filmed in Astoria, Queens. R for violence, language, and sex.
THE GUILT TRIP (PG-13) 92 minutes * *
His quiet road trip turns into something else entirely when Andy (Seth Rogen) finds his mother (Barbra Streisand) is going to accompany him. It's a cute story with an nice closing that reminds us of the importance of mothers in general, whether we remember to acknowledge them or not. Rogen and Streisand make an unlikely pair, but are talented enough to make it work reasonably well. PG-13 for language.
THE GUILTY (NR) 133 minutes * * *
Five years after Callum (Daniel Runacres-Grundstrom) was abducted, his body was discovered. Unravelling the mystery of what happened during that time is going to take quite a bit of work. Nice work with the script moving suspicion around to various characters.
GUILTY AS SIN (R) 105 minutes * * 1/2
Rebecca DeMornay doesn't like to lose a case, but Don Johnson may prove to be more than she can handle in this suspense/thriller. It's hard to believe that Sidney Lumet's
direction could be the reason this film isn't very suspenseful, so the script will take most of the blame. We also just never feel any chemistry between DeMornay and Johnson. It's like they're performing all alone.
GUILTY PLEASURES (NR) 85 minutes * * 1/2
Harlequin novels have a reputation of being cheap and silly. This documentary takes a look at the writers, the readers, and why these books are so important to them. Upon closer examination of some of these poeple, we discover what these books, and a philosophy that promotes romance does for them. While Harelquin readers may enjoy some parts of this, it's really directed more at those of us who know someone who reads them.
GUINEVERE (R) 105 minutes * * *
Harper (Sarah Polley) has virtually no confidence in herself, and it doesn't help that her family is an affluent little group of overachievers. She has no idea what to do with her life until she is spotted by Connie (Stephen Rea). He's a photographer with an eye for beauty and potential, and he will take Harper on a journey she never thought possible. Both Rea and Polley do nice work here, despite the fact that the story really doesn't explore her coming of age to the depth it could. Gina Gershon has a nice supporting role as a former lover of Connie's and a mentor of sorts for Harper. Those who choose to dwell on the age difference in the relationship here are missing the point of the film. We learn many things in life, and we have different teachers along the way, but the direction we take is our own. Filmed in Los Angeles and San Francisco. R for language and sex.
GULLIVER'S TRAVELS (PG) 80 minutes * *
The classic story with a Jack Black twist. There are a few funny bits here and there, especially if you enjoy Black's sense of humor. But they tend to be stretched out until they aren't funny anymore. It definitely feels like the script was never really finished and that Black is ad-libbing at times, and not all that well. PG for language and violence.
GULLY (R) 81 minutes * * 1/2
Jesse (Kelvin Harrison Jr.), Calvin (Jacob Latimore), and Nicky (Charlie Plummer) have all had extremely rough childhoods. They decide on a whim to let their rage spill over into their current behavior. Video games may have been an outlet for awhile, but the thrill of actual violence is much stronger for them. Consequences loom around the corner, and at some point, they will catch up. The story jumps around a little too much, but does finish strong. R for violence, sex, and language.
THE GUN IN BETTY LOU'S HANDBAG (PG-13) 85 minutes * *
Betty Lou Perkins (Penelope Ann Miller) is a bored librarian in a small town. So, she decides to add some spice to her life by confessing to a murder. Of course she never expected things to get so far out of hand... It's a cute idea, but the poorly written script really kills it before it has a chance to get anywhere.
GUN SHY (R) 85 minutes * 1/2
The last thing Turk (Antonio Banderas) expects to have to deal with while he's on vacation is his wife being kidnapped. It just doesn't seem like a cool thing to do to a rock star. The film tries to maintain a lighthearted and fun tone, but it just keeps missing the mark. Banderas isn't bad here, but the supporting cast is very weak, as is the direction. R for language and sex.
GUNFIGHT AT RIO BRAVO (NR) 74 minutes * 1/2
Blind Chapel is a small town in East Texas. When a Marshall brings a notorious criminal to the local jail for the night, it puts the entire town at risk. The local gunslinger (Alexander Nevsky) may be their only real hope. Well-known for his bodybuilding, Nevsky has done a great deak if acting in Russia. The story is nothing special, but the acting is reasonablt good. The European accents from many of the cast can be a little distracting, but otherwise, this is a fair western. Based on historical events.
GUNG HO (PG-13) 107 minutes * *
When Asian Motors buys an American car manufacturing plant, they expect the workers to shift the way they do work. That creates some friction that will take negotiation and compromise to resolve. Heavy with stereotypes and not really as funny as it tries to be. PG-13 for language.
THE GUNMAN (R) 109 minutes * * *
A sniper (Sean Penn) finds himself on the other end of the scope when he returns to the Congo several years after a successful mission. Interesting story with a nice mix of intrigue and romance. There are even some good twists along the way, though the ending is a little overly convenient. It's also unfortunate that we don't get to see more of Idris Elba's character, who is much more of a presence late in the film. R for violence, language, and sex.
GUNMEN (R) 86 minutes * 1/2
For being an action film, this plods along far too slowly. Christopher Lambert and Mario Van Peebles are a far cry from having the charisma that has made other black/white teams work so well. Too much of this is predictable and needlessly violent, and it makes the film hard to sit through in many spots. Also featuring Denis Leary, Kadeem Hardison, and Patrick Stewart.
GUNPOWDER (NR) 172 minutes * * *
King James I (Derek Riddell) is on the throne of England, and those who are Catholic are determined to fight against him and the persecutions they are experiencing. Guy Fawkes (Tom Cullen) has plans to attack the House of Lords and to kill the king. This is the story of that failed effort. Solid historical drama.
GUNS (R) 93 minutes *
DEA agent Donna Hamilton (Dona Speir) is about to do battle with the "Jack of Diamonds" (Erik Estrada). He's smuggling guns and needs the L.E.T.H.A.L. ladies out of the way. Donna has other plans. Fifth entry in the series by writer/director Andy Sidaris that feature a number of Playboy playmates. Filmed in Molokai, Hawaii. R for sex, language, and violence.
GUNS AKIMBO (R) 90 minutes * * 1/2
Miles (Daniel Radcliffe) has no idea how he became part of Skizm's game, but he is. That means he has to fight Nix (Samara Weaving) to the death. And she's really good at fighting. (It's not going to be a good day for Miles.) This is a wild ride of a film, but the comic aspects tend to undermine the intensity of the story. R for violence, language, and nudity.
GUNS FOR HIRE (R) 77 minutes * *
Beatle (Michele Hicks) is a rather unconventional person. She does automobile towing, but also proclaims herself to be an assassin. Athena (Ever Carradine) wants to die. She'll [ay Beatle with her life insurance, but it's going to take a little while for the policy change to take effect. Meanwhile... The humor here is a llittle too dry for the right effect. The twist at the end is cute and works nicely with the story. R for sex, violence, and language.
GUTSHOT STRAIGHT (R) 85 minutes *
Jack (George Eads) is having some financial difficulty and ends up in a high stakes gambling situation where he could make quite a bit. But there’s more at stake than he realizes. Plodding and dull for the most part, with only a few glimpses of something interesting in the plot. R for sex, language, and violence.
GUY AND MADELINE ON A PARK BENCH (NR) 80 minutes * 1/2
Guy and Madeline used to be in a relationship, but that's a thing of the past. We see how it happened and follow them as they deal with their feelings. The film has some promise, but isn't quite the art film it wants to be, and it's definitely not the musical it tries to be. There's something about the characters that makes us want to keep watching, which says a little something for the script, or at least the direction it takes. And this is in spite of the very annoying camera work, which tends to rely very heavily on lots of close-ups. It's got quite a bit of heart, but that isn't enough to really make it a good film.
A GUY THING (PG-13) 97 minutes * 1/2
There's nothing quite like waking up after your bachelor party with a girl in your bed... one that you don't know but who does happen to be related to your fiancee! Of course what Paul (Jason Lee) soon realizes is that he's rapidly falling in love with Becky (Julia Stiles) and has to break off his engagement so he can marry the right girl. Julia Stiles does a nice job here, but it's Lee's relaxed style and charm that will really determine whether you like this or not. PG-13 for language.
GWEN (NR) 81 minutes * * 1/2
In the absence of her husband, a woman raises her two daughters in the isolated hill country of Wales. Life is difficult enough in these harsh times, but with her mother suffering from a strange illness and others wanting their land, Gwen (Eleanor Worthington-Cox) doesn't have many options. Nice work by Worthington-Cox in a dark and moody piece.
GYM TEACHER: THE MOVIE (NR) 93 minutes *
After humiliating himself during a gymnastics competition years before, Coach Stewie (Christopher Meloni) has been working as a gym teacher at a small school. Suddenly, an opportunity presents itself. Is it possible that Dave Stewie could be names "Coach of the Year"? Silly and pointless, with mediocre performances and a bad script.
THE GYMNAST (NR) 93 minutes * 1/2
Mildly erotic story of a woman whose life is re-energized by a focus on the gymnastic skills she had left behind. the idea isn't particularly bad, but the film is written, directed and edited by Ned Farr, who should have given one of those jobs to someone else. The acting is less than inspired as well, though the athletic abilites of the actors is never in question.
GYPSY 83 (R) 90 minutes * * *
Gypsy (Sara Rue) loves Stevie Nicks. She and her friend Clive (Birkett Turton) neither one fit in at school or with other people their age in general, but they don't seem to mind that much. Together, they plan a road trip to New York City. Along the way, they will learn much about themselves. As it is so many times, it's about the journey, not the destination. Very nice story, and great work by Rue and Turton. R for sex and language.