HACHIKO: A DOG'S STORY (G) 89 minutes * * * An Akita pup ends up at a train station by mistake. With no one to claim it, Parker (Richard Gere) ends up adopting it. Intensely loyal, the dog is a constant companion for Parker, allowing nothing to get in the way of their inseperable bond. Everyone in the community comes to know Hachiko and appreciate his dedication. Adapted from the Japanese film "Hachiko Monogatari", director Lasse Hallstrom tells the story with great sensitivity, and you are well-advised to keep some tissues nearby while you watch this.
HACKED (NR) 81 minutes * 1/2 Thule is a company dedicated to the advancement of computer technology. The latest system has just been activated, and when a group breaks into the building to steal the technology, the system fights back. It may just take over the world on its own. It's a bit of a leap, and some of what the computer can do, doesn't really make much sense.
HACKER (R) 103 minutes * * Alex (Callan McAuliffe) is a hacker. He is very good at what he does. That also means that it doesn't take him long to get into the deepest and darkest parts of illegal dealing on the web... and gets in way over his head. The twists and turns the story takes are fun, but the non-stop narration is unnecessary and annoying. R for language and violence.
HACKERS (PG-13) 99 minutes * * A group of computer whiz kids get blamed for a crime they didn't commit and must use their skills to uncover the real criminal. It's a good cast, with Fisher Stevens, Lorraine Bracco, Angelina Jolie, and Jonny Lee Miller, but the script lets them down. There's lots of style and flash, but it's a little thin on story.
HACKSAW RIDGE (R) 131 minutes * * * 1/2 During the Battle of Okinawa, there was a location that was strategic to turning the fight. Hacksaw Ridge was a difficult location, and would see a great deal of blood shed. It would also see the heroism of a particular medic. An individual who felt his place was on the front lines of the battle, but not to kill... to heal. An inspirational story, and an extremely violent one as well. Mel Gibson's direction is powerful and intense, almost to the point of overwhelming the viewer. R for violence.
HAIL, CAESAR! (PG-13) 100 minutes * * * 1/2 It's Hollywood in the 1950s, and Eddie Mannix (Josh Brolin) has one of the toughest jobs in town... keeping the stars of Capitol Pictures happy and committed to staying with the company. It's an amazing cast, filled with delightful bit parts by plenty of familiar faces. There's also lots of Hollywood insider humor here, but even for those less familiar with it, there's still plenty of fun. PG-13 for language.
HAILEY DEAN MYSTERY: MURDER WITH LOVE (NR) 84 minutes * * This is the first in a series of films based on characters from the novels by Nancy Grace. Dean (Kellie Martin) was a prosecutor and is now a therapist, but seems to get caught up in solving murders, even when she isn't supposed to. Martin is likeable, which helps with the fairly shallow plot.
HAIRSPRAY (2007) (PG) 106 minutes * * * Fun film version of the musical stage version of the original movie. Nikki Blonski does an amazing job as Tracy, the girl who wants to be a star. The music (by Marc Shaiman) is an expansion on what was created for the stage production, and is amazing, to say the least. The lyrics and tunes are both light and fun, with more than a few potent jabs at society and human behavior. The messages about racial tension are just as important and relevant today as they were in the 1962 of the story or the 1988 of the earlier film version. In whatever form it is needed, fairness doesn't just happen, you have to fight for it. PG for language.
HALE COUNTY THIS MORNING, THIS EVENING (NR) 72 minutes * * 1/2 A rolling commentary on Hale County, Alabama. No plot here to speak of, just a wide variety of images and experiences of the Black community in this area of the United States.
HALF BAKED (R) 77 minutes 1/2 In this misguided attempt to recreate the old Cheech and Chong marijuana films, some of the Saturday Night Live crew get together and act dopey. Kenny goes out for some munchies and ends up in jail, forcing the rest to go sell pot to raise money for bail. Filmed in Toronto. R for language.
HALF BROTHERS (PG-13) 92 minutes * * 1/2 Although he is about to be married, Renato (Luis Gereardo Mendez) has some past issues to deal with. That will lead him to a journey with an unlikely partner... his half brother Asher (Connor Rel Rio). Though they share a father, they have little else in common. They do have much to learn from each other. There's quite a bit of slapstick comedy here, but the turns more sentimental near the end. Somehow, it works, and finishes quite well. PG-13 for violence and language.
HALF-LIFE (NR) 101 minutes * * Pam (Sanoe Lake), her brother, and her friend, are trying to cope with their dysfunctional families. The stories of the two families are frequently entertwined, but at times, they disconnect from each other, shifting the flow of the story. Fascinating, but the ending doesn't have the strength it needs to finish this very well.
HALF NELSON (R) 102 minutes * * * Dan Dunne (Ryan Gosling) is a teacher and a coach, well-liked by his students, and soon to have everything come crashing down around him. He has a drug habit, and when Drey (Shareeka Epps), one of his students discovers his secret, their relationship changes. Dunne wants to teach and inspire these youth, but can't seem to lift himself up long enough to make it really happen. This tension plays out in his relationsship to Drey as he tries to protect her, while he slowly loses respect in her eyes. Fine performances by both Gosling and Epps, though the rest of the cast almost seem like scenery. R for language and sex.
HALF OF A YELLOW SUN (R) 111 minutes * * * The civil war in Nigeria in the 1960s as seen through the lives of two sisters. Their personal choices threaten to keep them apart, but the war brings them together. An intense drama, well-played by a talented ensemble cast. R for violence and sex.
HALF PAST DEAD (PG-13) 93 minutes * * Another predictable Steven Seagal action film. This one has him undercover in the new Alcatraz prison when a group breaks in to get to a prisoner who is about to be executed to find out where he stashed the millions in gold that he stole. Reasonably good action and fair acting. The most pleasant aspct of the film is not having to listen to some political/environmental agenda as has been present in a number of Seagal's films. PG-13 for violence and language.
HALF THE SKY (NR) 226 minutes * * * 1/2 Inspired by the book of the same name, this documentary takes a look at the tragic and often violent ways in which women and girls around the world are oppressed. There are people working to turn the tide. Their stories are both heartbreaking and inspirational.
HALL PASS (R) 92 minutes 1/2 They can't help looking at girls even though theyre married, so their wives give them a hall pass, a week off from marriage. Of course, picking up girls isn't quite as easy as they remember, and the wives benefit from the time off too. Not very funny, and not all that rude either. Mostly just kind of boring. R for language.
HALLELUJAH: LEONARD COHEN, A JOURNEY, A SONG (PG-13) 114 minutes * * * 1/2 Cohen was a poet first, but with some encouragement and a little help, he became a memorable musician, whose songs and their deep meanings resonate with so many. A bio-documentary, homage, and tribute. Very nice and well worth a look, whether you are familiar with Cohen's music or not. PG-13 for language and sex.
HALLOWEED (NR) 99 minutes 1/2 What do you do when your father's a serial killer? Move to another town! (and smoke some weed) But for some reason, the bodies seem to be stacking up in this town too. That must mean that it's time to figure out who's responsible. Not nearly as funny as it should be.
HALLOWEEN (R) 88 minutes * * * 1/2 Escaping from the asylum where he's spent the last fifteen years after murdering his sister, Michael Myers returns home to kill again. The plot is simple, and the focus is on the timing of the scares, which is done quite well. The bits of humor work well, and the soundtrack is deceptively simple yet highly effective. The limited budget is fairly obvious, but this became the film that started something much bigger and became far more influential than anyone ever expected. It's a must see for fans of the horror genre. R for violence, sex, and language.
HALLOWEEN (2007) (R) 104 minutes * * 1/2 Rob Zombie's remake of the 1978 classic starts out well, doing a better job of helping us understand Michael's motivation for killing. It's clearly a more violent version of the story, which we expect from Zombie. There are also some great little cameos and bit parts for people like Dee Wallace, Sybil Danning, Mickey Dolenz, and Udo Kier. Interesting twist on the ending of the original film... and not without merit. R for violence, sex, and language.
HALLOWEEN (2018) (R) 101 minutes * * 1/2 Returning to the original film for its inspiration, this is a direct sequel to that film, though it ignores the idea that Laurie Stode (Jamie Lee Curtis) is Michael's sister. Michael has been in a sanitarium for forty years following the events of the first film, and upon escaping, heads straight for Haddonfield to start killing again. The tone of the film is very similar to that of the first, so it fits nicely as far as that aspect. There are also numerous in-jokes for fans of the series scattered throughout the film. R for violence, language, and nudity.
HALLOWEEN ENDS (R) 106 minutes * * The final film of the "Halloween" trilogy directed by David Gordon Green. The three films follow directly after the original film, ignoring the events in any of the other sequels. This entry follows Corey Cunningham (Rohan Campbell), who accidentally kills the child he is babysitting and finds himself ostrasized by the community. Soon after, he kills someone else and somehow manages to revive Michael. Not a great ending (to the trilogy, or even to the individual film), and the character of Corey being so much of the focus just doesn't fit that well. R for violence, language, and sex.
THE HALLOWEEN FAMILY: MONSTER SHOWDOWN (NR) 71 minutes * 1/2 Who knows more about Halloween monsters than Dracula? He's challenging anyone and everyone to a trivia contest just to prove it. Zombie Dave is determined not to let Dracula win. That means assembling a team of monsters who might be able to beat him. Nice to see such a wide variety of monsters in one film, but it's too bad the animation is of such poor quality.
HALLOWEEN II (R) 88 minutes * * ½ The story of Michael’s (Tyler Mane) continuing struggle to deal with how he feels about his sister picks up right where the first film left us, just from a different camera angle. Nicely done! The story works well, and if you listen to the music, the story really is over at the end of this film. Of course, a successful franchise can’t stop with two films. R for violence, language, and sex.
HALLOWEEN II (2009) (R) 97 minutes * This basically picks up where the first film leaves off, but with a less realistic beginning than the original sequel. It's a year later and people have moved on... but Michael is still on a mission. Too much of this film happens in people's dreams, undercutting the strength of the character. As well, the Dr. Loomis character in these remakes is annoying and arrogant, rather than simply misguided. Director Rob Zombie doesn't seem to know whether to try and be artistic, as with the dream sequences, or simply gross out the viewer. In the end, he succeeds at neither, though the final moments of the film are reasonably good. R for violence, language, and nudity.
HALLOWEEN III: SEASON OF THE WITCH (R) 96 minutes * * ½ Everybody wants the new Silver Shamrock mask for Halloween. But there’s something not quite right about the people behind the product. This is actually not a bad little horror story, but it gets unfair criticism due to a bad marketing campaign. After the end of “Halloween II”, the story of Michael Myers was done, and the thought was to release a new film around Halloween each year, and keep the numbering system, but have it be a new story. The public didn’t agree, and wanted more of Michael Myers, whose story starts up again in “Halloween IV”. In the meantime, this fun and somewhat creepy little film just gets ignored. R for violence, sex, and language.
HALLOWEEN 4: THE RETURN OF MICHAEL MYERS (R) 85 minutes * 1/2 Trying to return to the basics of the first two films in the series, this sequel focuses on the evil that is within Michael. Too bad that the story is still rather predictable, the acting still poor, and the scares are few and far between, though there is some suspense. It's just not enough.
HALLOWEEN 5 (R) 93 minutes * 1/2 Loomis (Donald Pleasance) is reaching his breaking point. He's been after Michael for close to twelve years and still hasn't caught him. (And we're about at our breaking point too after watching these films for that long.) There is a bit more story than the last couple of films, but not enough to make this much of an entry in the series. At the end, we're set up for part six. Surprised?
HALLOWEEN H20: 20 YEARS LATER (R) 80 minutes * * 1/2 Right from the beginning, we know that the makers of this film are a bit more serious about the story than most. Starting with the "Mr. Sandman" song let's us know that this film begins with the plot from the end of part two. Disregard the other sequels, as they have nothing to do with the essence of horror that has been defined by "Halloween". Suspense is sacrificed somewhat as there is a need to stay true to the story, but it is well-written and Jamie Lee Curtis and her mother Janet Leigh give this an authenticity that has been sorely lacking. This is truly the end of the story, and one that fits very well. Be sure to watch for the car from "Psycho" as well as a shot of a shower curtain that appears in a mirror. R for violence and language.
HALLOWEEN KILLS (R) 100 minutes * * 1/2 This part of the story follows the events in the 2018 film, "Halloween", where Michael is trapped in Laurie's (Jamie Lee Curtis) home which is on fire. The fire fighters arrive, and Michael escapes to wreak more havoc. Very nice entry in the series with some excellent narration at the end, though the events at the end of the film still leave us with some questions. R for violence and language.
HALLOWEEN: THE CURSE OF MICHAEL MYERS (R) 82 minutes * 1/2 Michael is still around, killing off his relatives and anyone who happens to take up residence in his old home. The best part of this entry is the skillful use of quiet spooky sounds (like the creaks and groans of an old house) and complete silence, to build tension. It doesn't make up for a poorly written story, but it helps.
HALLOWEEN: RESURRECTION (R) 85 minutes 1/2 Sadly misguided sequel to H2O thaat does start with an interesting premise. The idea is that the person we thought was Michael at the end of the last film was actually someone he had just traded clothes with a few moments earlier. Things quickly deteriorate though, as we follow a group of idiots spending the night in Michael's own house for a live internet broadcast. The idea is too similar to MTV's "Fear" and the style of filming too reminiscent of "The Blair Witch Project". What's worse is that the film ends with a very obvious signal that there will be another in the series. What a shame. R for violence, language, and nudity.
HALO 4: FORWARD UNTO DAWN (NR) 85 minutes * * 1/2 These UNSC cadets are still in training when the attack begins. It's not going to be easy, but they have a job to do. Fans of the game are likely to find this very exciting, but if you aren;t familiar with the game or the series, this doesn't really stand alone very well, though the acting is reasonably good.
HALO NIGHTFALL (NR) 95 minutes * * The time is the 26th century, and it is supposed to be a time of peace. But in the outlying colonies, the Covenant is breaking the treaty. The ONI have their hands full trying to keep everything all in order. Mostly of interest to HALO fans, who will appreciate watching another chapter in the story. That said, it isn't really a great deal of story for the time it takes to tell.
HALO: THE FALL OF REACH (NR) 62 minutes * 1/2 This is the story of Master Chief, from his drafting as a child, through his training and into adulthood. Heavily narrated, which, along with the stiff and lifeless animation, really doesn't do this any favors. Adapted from the book of the same title.
HAMBURGER HILL (R) 106 minutes * * The "Screaming Eagles" Army 101st airborne unit and their part in one of the bloodiest battles of the Vietnam War. The soundtrack by Philip Glass is superb, but the film is disjointed. Rather than a cohesive whole, it's a collection of scenes that never quite tell their story. There's a sense in which that could have been a statement about the war, but it's not crafted well enough to make that point.
HAMILTON (PG-13) 151 minutes * * * This filmed version of the hit Broadway theatrical production starts a little slowly and lags a few times, though there are several bright spots and a very nice finish. Lin Manuel Miranda clearly invests a great deal of himself in the character and in the show in general. The frequently heavy and fast rap dialogue and music can make it a little difficult for some to follow the story. Listening to the soundtrack before you watch this can help with that issue. By the same token, there are numerous inside jokes that will slip by those who are less familiar with the political history of the United States. Fans of the Broadway production will like this more than others. It's interesting that the choice was made to film the theatrical show rather than create a film based on the musical production, which would likely have had a much broader appeal. PG-13 for language.
THE HAMILTONS (R) 81 minutes * ½ When their parents die, the Hamilton siblings do what they have to in order to survive. They are a very unique family, just trying their best to fit in. This finishes much better than it begins, and actually leaves us wanting more at the end because we’ve begun to understand the characters. R for violence, language, and sex.
HAMLET (1990) (PG) 130 minutes * * * 1/2 Director Franco Zefferelli does a beautiful job of painting the picture with the photography, lighting, costumes, colors... It's a masterful remake that focuses on entertaining us, breathing an energy into the production that some versions lack. Mel Gibson, Glenn Close, Alan Bates, and Helena Bonham Carter are all outstanding.
HAMLET (1996) (PG-13) 242 minutes * * * 1/2 Kenneth Branaugh's version is a thorough treatment of the classic with lavish costumes and sets that must be seen to be believed. Branaugh's performance is a bit extreme, but the intensity keeps us involved. Stellar names appear all the way through in roles of various sizes, adding quality and depth to the film. It's a stunning work, and a great addition to Branaugh's already impressive list of Shakespeare adaptations. PG-13 for language, and violence.
HAMLET (2009) (NR) 181 minutes * * * 1/2 It's fascinating to see the Royal Shakespeare Company presenting this version of the classic play, shot on location rather than on stage. Their expertise and familiarity with the material adds a depth and authentiiy not always present in other versions. A stunning performance by David Tennant as Hamlet, though a bit overly-theatrical in a few spots, and wonderful supporting performances by Patrick Stewart and the rest of the cast.
HAMLET 2 (R) 86 minutes * 1/2 The drama department at this Arizona high school is about to be closed, but they may be able to present one last production. Drama teacher Dana Marschz (Steve Coogan) has this brilliant idea for a sequel to Hamlet... OK, maybe not so brilliant. A fun idea that unfortunately misses the mark more often than it hits it. There are several funny moments, but the ending definitely falls flat. R for language and nudity.
THE HAMMER (R) 86 minutes * Former Golden Glove boxer Jerry Ferro (Adam Carolla) had a promising career once upon a time. Now he's turning forty and that's an old memory. An opportunity falls into his lap to train for the upcoming Olympics, but the coach actually has something else in mind. Carolla's off-hand, sarcastic humor undercuts anything serious that this movie might be trying to say, but it doesn't really make us laugh either. R for language.
THE HAMMER (2010) (PG-13) 106 minutes * * * Matt Hamill (Russell Harvard) was born deaf, and while his mother wanted him to get special help, his grandfather wanted his grandson to be mainstreamed and have no special attention. School manages manages to work out just fine, until he gets to college, where academic life is a bit more free-form and Matt's ability to interact with others is sorely lacking. When he finally decides to enroll at RIT, where being deaf is the norm, his world changes. His dream of becoming the first deaf person to win the National Collegiate Wrestling Championship seems like a real possibility. Based on a true story, with footage of the real Matt Hamill during the credits at the end. PG-13 for sex.
HAMMER OF THE GODS (R) 95 minutes * * With Steinar's (Charlie Bewley) father on his deathbed, he is sent to retrieve his eldest brother, who is to become king. It will not be an easy task, but Steinar will do as he has been ordered. Not sure why the decision was made to use modern English without accents, but it doesn't help with the authenticity of the film. There are a few fairly good fight sequences, but gory moments are accentuated a little much. R for violence and language.
HAMMETT (PG) 97 minutes * * * This has the look and feel of 1930's mystery films as we explore the life of Dashiell Hammett and his involvement in a real-life mystery. Though entirely fiction, we are convinced that these events could have led Hammett to his writing career. Director Wim Wenders style of direction draws us in so completely that we are convinced. Frederic Forrest is perfect as Hammett. A great film for mystery buffs.
HAMPTON'S LEGION (NR) 76 minutes BOMB One of the reasons the Confederacy failed was that they did not have the financial resources to equal those of the Union. This is the story of Wade Hampton III's own forces to help further the cause of the confederacy. Apparently, no one had any money to spend on this film either. Horrible acting, though the script offers no help. The lengthy re-enactment scenes with no dialogue don't help either.
HANCOCK (PG-13) 85 minutes * * * Hancock (Will Smith) is definitely not your average superhero. He doesn't really understand who he is or why he's the way he is. And he isn't really thrilled with how people expect him to do things for them, but they're always critical of how he does it. Enter Ray (Jason Bateman), who has some ideas about how to do a Hancock makeover, with some interesting results. Bateman does a great job here, and there's a great plot twist late in the film (which I won't spoil). There are a few story holes, but this is still a fun and different sort of superhero adventure film. PG-13 for violence and language.
THE HAND THAT ROCKS THE CRADLE (R) 107 minutes * * 1/2 Predictable suspense thriller with Rebecca DeMornay as the nanny you shouldn't have hired. Her acting, as well as that of Ernie Hudson, manage to rescue this and keep it fairly interesting, even though we know all to well what's going to happen. R for violence and language.
THE HANDMAIDEN (NR) 133 minutes * * * When Sook-Hee (Tae-ri Kim) is hired as a handmaiden to wealthy Lady Hideko (Min-hee Kim), she has no idea that she has hired a young woman with an agenda. But Sook-Hee's is not the only devious plan of which we are about to learn. A sexy and well-played mystery from South Korea.
THE HANDMAID'S TALE (R) 105 minutes * * * Adapted from Margaret Atwood's novel of a future where fertility is highly prized and those who can conceive must bear children for those who can't. It's an entirely different setting than the world we live in, but by asking us to make that shift, the film is able to move us to a point where we realize how differences don't necessarily make people wrong, they just make us different. We need to allow each other the freedom to be different and retain our own values provided these values benefit not only the individual, but the society as well.
HANDS OF STONE (R) 103 minutes * * * The story of the powerful rise and sudden fall of Roberto Duran (Edgar Ramirez) and his eventual return to the sport. Solid work by the cast, but the script tries to include politics in the story, which is more of a distraction than anything else. R for language and sex.
HANGAR 10 (NR) 85 minutes * Rendlesham Forest is the site of a famous UFO sighting. Now, three friends are investigating on their own. They're about to discover something terrifying. Interesting at first, but this begins to drag terribly as it moves along. The ending revives our interest again, but still leaves plenty of unanswered questions.
THE HANGING GALE (NR) 197 minutes * * 1/2 The Phelan family farm, and perhaps even the family itself, are put at gret risk by the Irish Potato Famine of 1846. This is their story of struggle and survival during that critical and tragic time. Beautiful Irish scenery (County Donegal) in this BBC historical drama.
HANGING UP (PG-13) 92 minutes * * 1/2 Though this is the story of three sisters, the focus is on one. Eve (Meg Ryan) is the middle daughter and has always been the one who held things together at home. Now their father's health is failing and she needs her sisters. There are quite a few comic moments here, but the drama of family dynamics is never just a comedy. In fact, most who watch this expecting a comedy will be rather disappointed. Meg Ryan does a great job, but the film relies too heavily on her. We never really believe these sisters of hers are very reliable, even in a pinch, as far as family matters are concerned. Walter Matthau delivers a nice supporting performance as well, but the film just never packs the punch it needs to impress us. PG-13 for language.
HANGMAN (NR) 80 minutes * Returning home from vacation, a family discovers that their home has been broken into. But that's not half as disturbing as the idea that the burglar is still in the house. Presented as a point of view film, bt there are way too many other camera angles here, and it's just not as scary or suspenseful as it should be.
HANGMAN (2017) (R) 95 minutes * * * Nicely crafted serial killer mystery. Karl Urban fits very well here, and Brittany Snow plays a very strong supporting role. There are a few scenes where the timing is a little too perfect, which contrasts with the rest of the film which seems more realistic. The ending is a bit of a cheap shot, but until then, this is quite good. R for violence and language.
THE HANGOVER (R) 96 minutes * * 1/2 Phil (Bradley Cooper) and his friends are taking their buddy Doug (Justin Bartha) to Las Vegas for a bachelor's party. After a wild and crazy night, they wake up to find their hotel room completely wasted, and they have non memory of what happened. But even worse than that... Doug is gone. Now, while trying to recover from their night of play, they have to find their friend. The story is humorous and Zach Galifianakis is quite funny here, but the rest of the cast seem to be a bit disconnected from the story. R for language, sex, and violence.
THE HANGOVER PART II (R) 97 minutes * * Stu (Ed Helms) is about to get married, and the guys are about to get plastered... again. A bit less funny this time, in part because the blame is squarely placed on Alan (Zach Galifianakis), making him a less sympathetic character. If you liked the first one, you'll probably still like this, but you might like watching the first one again better. R for language, sex, and violence.
THE HANGOVER PART III (R) 95 minutes * * 1/2 Alan (Zach Galifianakis) has gotten out of control lately, and now that his father is gone, his friends decide to stage an intervention. That will mean a road trip, and for these guys, that spells trouble. The humor and bizarre antics are slightly toned down here, though the film still clearly has a few strange moments. The franchise is perhaps growing a little tired, but that doesn't necessarily mean that its over. R for language, violence, and nudity.
HANKY PANKY (PG) 104 minutes * * ½ Michael (Gene Wilder) was just trying to be helpful. Offering to mail a package for a young woman in distress seemed like the right thing to do. But now, she’s dead and everyone thinks he did it. If he could just figure out what’s in the package, maybe he’d have a clue. Great roles for both Wilder and Gilda Radner, though the rest of the cast is a little underdeveloped. This is actually more of a mystery than a comedy, but with Wilder and Radner as the leads, everyone wants to laugh.
HANNA (PG-13) 99 minutes * * * 1/2 If you've seen them, think "The Professional" meets "Run Lola Run". Trained for years by her ex-CIA father, Hanna (Saoirse Ronan) is the perfect assassin. She is on her way to her target, but Marissa (Cate Blanchett) is trying to stop her. There is more to the story than Hanna knows, but she will learn... and have to deal with the knowledge. The film almost holds back a little too much early on to try and increase the impact of the reveal late in the film, but otherwise the script is very good and wraps nicely at the end. Ronan delivers another great performance, as does Blanchett. PG-13 for violence, sex, and language.
HANNAH AND HER SISTERS (PG-13) 101 minutes * * * 1/2 As the title suggests, this is the story of Hannah and her two sisters. Sisters who have relationships with Hannah's husband and ex-husband. It's a complicated and emotional tangle, with a cast that is supurbly up to the challenge of bringing a Woody Allen film to the screen. Michael Caine and Dianne Wiest both won Oscars for their work as did Allen for the screenplay. PG-13 for sex and language.
HANNAH ARENDT (NR) 104 minutes * * 1/2 Rather dry drama centered around Hannah Arendt's (Barbara Sukowa) article about the trial of Adolf Eichman for the New Yorker magazine. Her approach was rather unique in that she saw all participants as individuals, and therefore not only refused to condemn the Germans as a whole, but also found fault with some individual Jewish leaders. The story does pick up some intensity during the second half, and is work a look for Sukowa's unflinching portrayal.
HANNAH MONTANA: THE MOVIE (G) 93 minutes * * 1/2 Back in Tennessee for two weeks to celebrate her grandmother's birthday, Miley Stewart (Miley Cyrus) has to let go of being Hannah if she wants to get to keep her alter ego at all. Keeping the secret is not only becoming more difficult, it's starting to ruin relationships. This character is so much a part of Cyrus, and she does seem to have a great deal of fun with it. Fans of the TV series will enjoy this a great deal, and it's fairly entertaining even if you aren't.
HANNIBAL (R) 127 minutes * * Director Ridley Scott's sequel to "The Silence of the Lambs" takes a turn away from suspense and moves toward horror. Cheap scares and bloody effects, primarily toward the end of the film, help make this a disappointing sequel. Julianne Moore steps into the shoes of Jodie Foster, who wouldn't play the role after she read the script... and Anthony Hopkins returns as Hannibal Lecter. Gary Oldman's portrayal of Mason Verger, who serves as an antagonist to Lecter, is interesting, but his demise is silly to say the least. This is yet another sequel to avoid in the long list of films that Hollywood should have avoided the temptation to make. R for violence and language.
HANNIBAL RISING (R) 113 minutes * * Young Hannibal Lecter's life was marked by violence, though love and hope were not completely missing. Still, it is the nightmares that haunt him. Nightmares of what happened to his little sister. The characters are well-acted here, but the story drags and repeats far too much. Based on the book by Thomas Harris and in some ways telling a part of the story that we never really needed to know. Giving Hannibal a reason to act the way he does manages to weaken his sinister character juat a bit. R for violence and language.
HANSEL & GRETEL (NR) 87 minutes 1/2 When Hansel (Brent Lydic) gets injured in the woods, he and Gretel (Stephanie Greco) discover that a family friend isn't who they thought she was. If you think along the lines of "Hansel & Gretel meet the Texas Chainsaw Massacre", with a tiny budget and not a great deal of talent or imagination, you'll be pretty much on target.
HANSEL & GRETEL: WARRIORS OF WITCHCRAFT (PG-13) 78 minutes * Hansel and Gretel's descendants, Jonah (Booboo Stewart) and Ella (Fivel Stewart) go to a boarding school on the east coast, where they learn that they are really witch slayers. Really low-budget film, with enough repetitive shots that we're pretty sure this really only lasts about 45 minutes. PG-13 for violence.
HANSEL & GRETEL: WITCH HUNTERS (R) 81 minutes * * Yet another H&G movie, the third in a year, but this is by far the best of the three. There's plenty of action, a few fairly good scares, and a sense of humor that's visible a few times as well. Having the skills of Jeremy Renner and Gemma Arterton doesn't hurt either. R for violence, sex, and language.
THE HAPPENING (R) 86 minutes * * What would happen if the plants of the world decided there were too many human beings? That's essentially the plot of this M. Night Shyamalan film. There is a bit of reasonably good suspense during the first half hour or so, but once we understand what's going on, the film becomes silly and boring. The ending is both unsurprising and anti-climactic. R for violence.
HAPPENING (2021) (R) 95 minutes * * * The time is the 1960s. Abortion is illegal in France. Anne (Anamaria Vartolomei) learns that she is pregnant. Having a baby would undermine everything she's been working for. With the way the laws currently stand, finding someone to help is more challenging than she expected. Strong drama with great work by Vartolomei. R for violence and sex.
HAPPILY (R) 91 minutes * * * Tom (Joel McHale) and Janet (Kerry Bishe) have a perfect marriage. Fourteen year later, they still can't keep their hands off each other. Then a strange man shows up at their door with an offer. The couples weekend trip they were planning to take just got a whole more interesting. A quirky and unusual film with several fascinating characters. Writer/director/producer BenDavid Grabinski's feature film directorial debut is one to remember. R for sex, language, and violence.
HAPPILY EVER AFTER (G) 71 minutes * 1/2 This strange continuation of the Snow White story has the queen's brother swearing vengeance on Snow White and Prince Charming for what they've done. The dwarfs are dwarfellas (females) here, which is mildly interesting, but the film is dark and sinister with little to appeal to the younger kids. A few good bits of background animation, but not much else to recommend this one for.
HAPPILY N'EVER AFTER (PG) 77 minutes * * When Munk and Mambo are left in charge of the wizard's scale that keeps the balance between good and evil, you can pretty much count on something going wrong. Cute story with a twist on the original Cinderella and a few other bits from other fairy tales scattered throughout. Wonderful voice work from Sarah Michelle Gellar, Freddie Prinze Jr., Patrick Warburton, Wallace Shawn, Andy Dick, George Carlin, Sigourney Weaver, and more. The music... needed some work. PG for language.
HAPPILY N'EVER AFTER 2 (NR) 69 minutes * Munk and Mambo are meddling with the world of fairy tales again. Snow White grows tired of being a good princess and begins to spread rumors. She sees the error of her ways and becomes good again. Missing much of the humor and creativity of the first film, and production quality in general seems to be a good deal lower.
HAPPINESS (NR) 135 minutes * * * Everybody is looking for it, and it seems all too often to be just out of reach. Writer/director Todd Solondz gives us a collection of characters who are looking for the happiness they think will come through meaningful connection with others. The ways in which they search and explore are sometimes unusual or even disturbing. Solondz often pushes boundaries with his films, and this is no exception.
HAPPINESS IS A FOUR-LETTER WORD (NR) 85 minutes * * 1/2 After finally getting the offer of partner at the firm where she works, Nandi (Mmabotho Montsho) struggles with what is being asked of her and what she really wants. Meanwhile, her two best friends are dealing with some heavy issues of their own. Nice drama with a good bit of well-played angst.
HAPPY (NR) 73 minutes * * 1/2 Half of our happiness level is determined by genetics, and 10% by circumstance. So, what about the other 40%? Well, according to this documentary, that would be the part you need to cultivate. It's different for everyone, of course, but not all that difficult to figure out. It's interesting to have a more scientific look at what makes us happy, though that may not be the approach everyone wants to hear about.
HAPPY ACCIDENTS (R) 107 minutes * * * Interesting and very offbeat love story with Vincent D'Onofrio as a man from 2470 who has fallen in love with a girl who just doesn't understand how this could happen to her. Ruby (Marisa Tomei) has always had trouble with her relationships, but never anything quite this strange. But maybe it's true. Charming and very real despite the occasional moves toward the science fiction piece of the story, with solid performances from both leads. R for language.
HAPPY BIRTHDAY (R) 86 minutes * * A birthday celebration in Mexico takes more than a few turns for the worse. An unusual mix of suspense and humor, but thanks to a well-written script, it works. The cast isn't a strong point though. R for sex, language, and violence.
HAPPY CHRISTMAS (R) 76 minutes * ½ Jenny’s (Anna Kendrick) life is falling apart because of a recent break-up. She moves in with her brother jeff (Joe Swanberg) to try and take the time she needs to get herself together. In the process, she becomes something of an inspiration to Jeff’s wife Kelly (Melanie Lynskey)who is feeling somewhat boxed in by her life. The ending here is a little strange, but Kendrick and Lynskey are at least mildly entertaining to watch. R for language and sex.
HAPPY DEATH DAY (PG-13) 90 minutes * * * It takes Tree (Jessica Roth) a couple of times to realize that it isn't just a nightmare. She's actually reliving the day of her murder over and over. But why? And what can she do to stop it? Really nice mix of horror and humor. A clever and fun script, and nice work by Rothe. PG-13 for violence, sex, and language.
HAPPY DEATH DAY 2U (PG-13) 91 minutes * * * So, apparently the loop wasn't broken when Tree (Jessica Rothe) killed her would be murderer. What it did was move to Carter's roommate Ryan (Phi Vu). That turns out to be a short-lived change though, and it's not long before Tree finds herself at the center of an ever-repeating day once again. It's a good thing, because Rotthe is quite good at dealing with both the suspense and the humor, and carries the film very well. It's a nice sequel, and yo udon't really have to have seen the earlier film first to understand and enjoy this one. PG-13 for violence, language, and sex.
HAPPY END (NR) 86 minutes * 1/2 Lucca (Sinha Gierke) and Valerie (Verena Wustkamp) want what's best for Herma, or at least what she would have wanted. What's best for Lucca and Valerie is another story, and involves trust, risk, and a little help. A sensitive story that struggles with very mechanical photography and editing that keep us at a distance while the acting tries to be more intimate and personal.
HAPPY ENDINGS (R) 127 minutes * * 1/2 The Billy Joel songs "Honesty" and "Just the Way You Are" both summarize the important messages in this film about relationships and honesty. The plot twists around the lives of eight people and their interactions. It's not always pretty and the endings aren't always happy. For the most part, the performances are very good, especially those of Lisa Kudrow and Maggie Gyllenhaal, who sings her own songs. The uneven aspects of the film seem to come more from the script and direction, which both seem to wander a bit at times and lose focus. R for sex and language.
HAPPY FEET (PG) 99 minutes * * * Mumble is a penguin who cannot sing. And singing is very important. But, as Mumble discovers, though we do each have our own song, we also have our own way of sharing it. The film features an amazing soundtrack, with popular music and a beautiful score that make the soundtrack alone worth purchasing. It's a wonderful film for the family, though there are a couple of scenes that may be a bit scary for the youngest ones in the audience. Oscar winner for best animated feature film. PG for violence and language.
HAPPY FEET TWO (PG) 91 minutes * 1/2 The penguins get trapped by the movement of a glacier and heed help from their friends to escape. Rather surprisingly, there's no larger message clearly evident about why the glacier did this, thuogh there are a couple of hints that something more sinister (eg. global warming) is at fault. The story tends to wander around without making much of a point about anything, and has a rather anti-climactic ending. The music is nice, and there are plenty of big name actors in the cast. PG for language and violence.
HAPPY GILMORE (PG-13) 88 minutes 1/2 Way too many boring scenes in this comedy from Adam Sandler. The film is almost entirely set on the golf course and sort of just stops at the end rather than finishing the story. There are the few good minutes of Sandler's brand of humor, but it's hard to say that it's worth sitting through the whole film for them. PG-13 for language.
HAPPY-GO-LUCKY (R) 110 minutes * * * Life may be tough at times, but it's always a little easier if you keep smiling! Sally Hawkins gives a delightful performance as Poppy, a teacher in London who always looks on the brighter side of things. There are those around her who find it a little annoying, but even more annoying may be the fact that it seems to work far more often than not. Cheery and fun, though it does get a little serious in a couple of spots. R for language.
HAPPY HALLOWEEN, SCOOBY-DOO! (NR) 74 minutes * * A toxic leak has created mutant jack-o-lanterns that are taking over the city of Crystal Cove. Can the Mystery Inc. crew save the day again? Guest starring Elvira, Mistress of the Dark.
HAPPY HAPPY (R) 86 minutes * * Kaja's (Agnes Kittelsen) marriage isn't going very well. The new neighbors Elisabeth (Maibritt Saerens) and Sigve (Henrik Rafaelsen) seem to be the perfect couple. As they get to know each other, the tensions taht are already present for Kaja and her husband reach the breaking point. The casual and relaxed performances don't really match the underlying intensity of the story. R for sex.
HAPPY PEOPLE: A YEAR IN THE TAIGA (NR) 89 minutes * * * The Taiga is an almost untouched wilderness. Trappers work areas that are hundreds of square kilometers in size with only a couple of dogs as their companions. It's not an easy life, but there's an appreciation for nature, life, companionship, and much more that comee with the experience, making it indeed a happy one. The photography does a great job of giving us a glimpse into this harsh but happy group of people.
THE HAPPY PRINCE (R) 96 minutes * * * Poet and playwright, Oscar Wilde (Rupert Everett) led a full, if brief life, dying at the age of 46. He found life to be interesting, and love was magnificent. We see scenes from his life as they play through his mind on his deathbed. But lust and adulation are not love, though sometimes they can appear to be. Everett does a great job as Wilde, and he also wrote and directed the film. It's a love letter to a man whose life was all about love. R for sex and language.
HAPPY TEARS (R) 92 minutes * * Returning home to deal with their ailing father (Rip Torn) only accentuates the dysfunctional aspects of their family. Now, Jayne (Parker Posey) and Laura (Demi Moore) have to figure out what exactly the best thing to do with him is... and how to deal with his current "lady friend" (Ellen Barkin). Jayne is the optimist and Laura the pessimist, which plays to the strengths of Posey and Moore. Barkin's role is rather unusual to say the least. It's a strange piece, and not for everyone, though fans of the actors will find it interesting at least. R for language and sex.
HAPPY VALLEY (PG-13) 84 minutes * * * It all looks so wonderful from the outside. A perfect community filled with happy people. But underneath that facade lies the truth, a community with extraordinarily high rates of depression, drug use, and suicide. Plenty of statistics here, but it's a very personal and powerful presentation that is both a cry for help and a warning. Nicely done! PG-13 for language.
HAPPYTHANKYOUMOREPLEASE (R) 91 minutes * * * 1/2 Excellent work from writer/director/actor Josh Radnor. The script is wonderful, giving us characters here are full of life, and easy to get to know and care about. They are well portrayed by the cast as well. It's a coming of awareness film for a group of young adults, who are learning that loving is only half of the equation, and is, perhaps, the easier half. R for language.
THE HAPPYTIME MURDERS (R) 78 minutes * * The cast of the old TV series "The Happytime Gang" are being murdered. Phil (voiced by Ryan Tran) is determined to find the killer, especially he's being accused of the crime. His old partner, Detective Connie Edwards (Melissa McCarthy), isn't excited about helping him, but soon realizes that he's telling the truth. The tagline, "No sesame. All street." should give you an idea that this is not your regular muppet show. Loaded with foul language and violence, it's not for everyone, but there's quite a bit of good material here, even though the plot gets a little lost here and there. R for sex, violence, and language.
HARA KIRI: DEATH OF A SAMURAI (NR) 123 minutes * * * Remake of the classic 1962 film “Harakiri", about a samurai who is looking for an honorable place to die. The feudal lord whose residence he requests finds much more to the story when he begins to look into the samurai’s background. Well-done remake that retains a classic mood and style.
THE HARBINGER (PG-13) 109 minutes * 1/2 Moving from town to town is wearing them down, but Daniel (Will Klipstine) doesn't know what else to do. Except that he actually does know... the script is jumbled and changes direction frequently as more details are revealed. There are some creepy ideas here, and good effects and music, but the writing, editing, and direction are not strong enough to create the suspense that is needed. A second viewing helps a little, but it also highlights some of the weaknesses. PG-13 for violence.
HARD CANDY (R) 101 minutes * * * They met in a chat room, and after a few weeks, they decide to meet. But he's in his 30s and she's only 14, and when she agrees to go back to his place... he finds himself in deep trouble. It turns out that she'd planned this all along, and has a vicious desire to punish him for what he was about to do... or already did... Frighteningly good performance from Ellen Page as young Hayley. The script demands quite a bit and she never lets up, delivering a hard-edged performance that moves between innocence and vindictiveness with suprising ease. R for violence and language.
HARD KILL (R) 91 minutes * 1/2 It's an extraordinarily valuable piece of tech. So powerful that it could either save the world or end it. Chalmers (Bruce Willis) has it, and The Pardoner (Sergio Rizzuto) wants it. What we want is a better script and more convincing performances. The story is stale and the cast seems to be aware of that but unsure of what to do about it. R for violence and language.
HARD LUCK (R) 97 minutes * 1/2 Offbeat and unusual film from director Mario Van Peebles, with Wesley Snipes as an ex-con who is trying to turn his life around. But one bad turn leads to another and Lucky (Snipes) soon finds himself with stolen money and on the run from dirty cops with a kidnapped girl in tow. Then there are the "sawtooth killers", a serial killer couple, who are causing their own trouble for people. It's a little too much without time for us to connect with any of the characters. It doesn't help that Snipes seems disinterested in the whole thing either. R for sex, violence, and language.
HARD LUCK LOVE STORY (R) 100 minutes * * 1/2 A small time hhustler, Jesse (Michael Dorman) drifts from town to town, playing pool. He stays a little too long this time. The good thing about that is that he has a chance to catch up with an old friend. The not so good thing is that somebody is rather upset about losing their money to him. The story drifts, much like Jesse, but it has a bit of charm as well. Based on the song "Just Like Old Times" by Todd Snider. It's fun to hear the song played during the credits. R for language and violence.
HARD PROMISES (PG) 89 minutes * * Promises are hard to keep, and Joey (William Peterson) just has to keep wandering. He isn't cheating on his wife with another woman, but the adventure of the open road keeps calling. Too much of this film rests on Peterson's shoulders and too little on Sissy Spacek's. The script gives us characters that are too shallow to sympathize with and so we just never care that much what happens to them. PG for language.
HARD RAIN (R) 93 minutes * * A flood, an armored car with a load of money, what will happen? The tension isn't bad and the flood effects are fairly good as well. But the film ebbs and flows a bit too much, speaking of a less than steady hand behind the directing. The cast, Morgan Freeman, Christian Slater, Randy Quiad, Minnie Driver, and others, make this more credible than it would be with some, but this is still somewhat soggy going. R for language and violence.
HARD TARGET (R) 91 minutes * * 1/2 Combat veterans become targets for human hunters in this story, but Jean Claude Van Damme is on the way to uncover their setup. The real star here is Yancy Butler, as she delivers her lines with an intensity that draws you in. The slow-motion fight scenes are irritating, though most of the action is standard anyway.
HARD TARGET 2 (R) 100 minutes * Wes (Scott Adkins) retired from MMA after tragically killing a friend in a bout. A million dollar purse gets him to rethink that retirement, but it turns out to be a fight for his own life as he has now become the prey of a group of hunters. It all becomes monotonous rather quickly. R for violence and language.
HARD TICKET TO HAWAII (R) 93 minutes * A drug lord's shipment of diamonds is accidentally intercepted by two DEA agents. Donna (Dona Speir) and Taryn (Hope Marie Carlton) have their work cut out for them as they try to stop him from expanding his empire. Second in writer/director Andy Sidaris' series of films featuring Playboy playmates and the first of several featuring Speir. Beautiful scenery from the Hawaiian islands. R for sex, language, and violence.
HARD TO HOLD (PG) 89 minutes * * 1/2 Having fallen in love courtesy of a car accident, James (Rick Springfield) finds that the feelings are not shared by the object of his attention. She also doesn't know, or care, that he's a rock star. His old girlfriend who is still part of the band cares though. Bad dialogue and a tired plot get in the way of some good acting and some great tunes.
HARD TO KILL (R) 93 minutes * * * One of Steven Seagal's better films has him uncovering corrupt politicians and exacting revenge after nearly dying. The story is slick and fast-paced, managing to steer clear of most of the logical flaws that usually haunt action films. Kelly LeBrock, who nurses Seagal back to health in the film, was his wife in real life at the time this film was made.
THE HARD WAY (R) 106 minutes * * 1/2 Nick Lang (Michael J. Fox) wants to research his next acting role to he can play the part more effectively. So he picks New York's toughest cop, John Moss (James Woods) to be his role model. Moss is less than thrilled with the idea. This actually deals less with the comedy and more with drama and action than some other similar films have done, but Fox doesn't handle those aspects very effectively. It's not bad, but the film has little depth and probably won't make your top ten list. R for language and violence.
HARDBALL (PG-13) 101 minutes * * 1/2 Keanu Reeves plays the part of a guy with a gambling problem who ends up coaching kids in the projects to earn some money and a few lessons about life and responsibility. If you haven't already seen this story in one of its many incarnations, this isn't a bad version to catch. PG-13 for language and violence.
HARDBODIES (R) 85 minutes * Three middle-aged men set up house near the beach in southern California expecting that their money will lure young women into their home. When it doesn’t work, they hire Scotty (Grant Cramer) who seems to attract young women like a magnet. It’s a shallow story populated by shallow characters that grows tired very quickly. R for sex, language, and violence.
HARDCORE HENRY (R) 90 minutes * Henry (Andrei Dementiev) has no memory of who he was, but is tasked with saving someone who is apparently his wife. The entire film is shot as a first-person shooter video game, which will likely be annoying to those who aren't gamers. The story gets more and more violence as it goes along, with a tally of over 200 deaths. R for violence, language, and sex.
HARDROCK (R) 76 minutes BOMB A low budget and poor production quality combine with a bad (and far from original) script with results that are not surprising. Some of the acting isn't really that bad, especially when you consider the quality of the production in general.
HARDWARE (R) 90 minutes * * It's a unique, highly artistic vision of the future with a romantic and somewaht suspenseful story. Interesting and well-made, but too slow-moving early on. And the low budget is evident in some areas that really hurt, like direction. Based on the story "SHOK" in the Fleetway Comics series, "2000 AD".
HARLAN: THE THE SHADOW OF JEW SUSS (NR) 97 minutes * * * Director of the anti-semitic propaganda film, Jew Suss, Veit Harlan was the only German artist to be tried for war crimes. This documentary explores his life and art, and his dedication to his work while at the same time questioning whether he understood how what he was making was being used. Extensive interviews with Harlan's family as well as a few clips from interviews with him that were done a number of years earlier. An interesting look at a different side of WWII.
HARLEM NIGHTS (R) 110 minutes * * Only partially successful attempt to make fun of the old gangster films, this manages to waste the talents of comic greats like Eddie Murphy, Richard Pryor, Redd Foxx, and Arsenio Hall. Murphy wrote, directed and served as executive producer, which apparently stretched him a bit too far. The few funny scenes there are, just aren't enough to keep this going. Herbie Hancock's soundtrack is nice. R for language.
HARLEY DAVIDSON AND THE MARLBORO MAN (R) 93 minutes * * This is one of those films that looks great, but falls apart when the actors open their mouths to speak their lines. Mickey Rourke and Don Johnson work well together, but even they seem to notice how bad the dialogue is! The basic story is that the two of them decide to rob a bank to get money to save a bar they like. They end up stealing a shipment of drugs that the bank is selling instead. It's no surprise that there are quite a few holes in the story with the quality of writing here. See it if you like Rourke or Johnson, but not if you're expecting much in the way of entertainment.
HARLOCK: SPACE PIRATE (NR) 104 minutes * * 1/2 Human life is soon to become extinct. There is only one planet left that can support human life and it has been declared a sanctuary. But Harlokc has other ideas. The story is a little convoluted, but there are several very good action sequences, and by the end, our familiarity with the characters has us wanting to watch another adventure with them. Very nice animation.
HARMONIUM (NR) 117 minutes * * * When Yasaka (Tadanobu Asano) shows up at his shop, Toshio (Kanji Furutachi) feels obligated to hire him. There is a dark side to their relationship though. One that will continue to work its way more deeply into Toshio's life. A well-played morality tale.
HARMONY FROM THE HEART (NR) 96 minutes * * * A difficult task lies ahead for Violet (Jessica Lowndes) and her dream of being a music therapist. She has to show that her theories work... on her professor's brother. A couple of other family members are rather skeptical of the idea, including handsome granson Blake (Jesse Metcalfe). Nice singing by Lowndes.
HAROLD & KUMAR ESCAPE FROM GUANTANAMO BAY (R) 102 minutes 1/2 Harold (John Cho) and Kumar (Kal Penn) are suspected of being terrorists when someone on their flight thinks their bong is a bomb. They aren't in prison long, but they are on the run, which may be worse. Not quite as much of a one-note film as H&K Go to White Castle, but that doesn't mean it's any better. R for language and sex.
HAROLD & KUMAR GO TO WHITE CASTLE (R) 82 minutes 1/2 Harold (John Cho) and Kumar (Kal Penn) have a craving for White Castle, but the trip there is going to involve quite a few side trips. Harold and Kumar should have stayed home... so should you. The handful of chuckles aren't worth the rest of the time wasted waiting for more. There are a few good songs on the soundtrack though. R for language and nudity.
HARRIET (PG-13) 119 minutes * * * The story of Harriet Tubman (Cynthia Erivo) from her days in slavery through a remarkable time as one of the most successful "conductors" on the Underground Railroad. Erivo delivers a strong performance of a woman driven by the right to be free and to bring others to that freedom, informed and empoweredby her faith. PG-13 for violence and language.
HARRIET THE SPY (PG) 95 minutes * * 1/2 Taken from the novel by Louise Fitzhugh, Michelle Trachtenberg stars in the story of a young detective. Rosie O'Donnell plays Ole Golly quite well and the film is very entertaining. Still, the story is choppy and weak overall, leaving little desire for much repeat viewing. Trachtenberg is a delight to watch and her performance makes this well worth a look. PG for language.
HARRIET THE SPY: BLOG WARS (NR) 86 minutes * * To win the righ to be the class blogger, Harriet (Jennifer Stone) is going to have to write about something more interesting. Maybe something about teen heartthrob Skander Hill (Wesley Morgan), whose latest movie is being produced by her father. Harriet can't stand Skander, but writing about him is making her popular... even if what she's writing isn't exactly true. Harriet is less likeable here, more demanding and critical of others, though she learns her lesson by the end of the film.
HARRISON BERGERON (NR) 98 miunutes * * * 1/2 In a world where equality is valued above all else, mediocrity is the norm. Harrison (Sean Astin) finds himself far above the average. That could be a problem. Brilliant idea from the mind of Kurt Vonnegut about what it takes to maintain an egalitarian society, and it translates quite nicely to the screen. The budget for this TV movie was fairly modest, but the story is so strong that we almost don't notice. A must see for those who enjoy films that make you think.
THE HARROW (NR) 94 minutes * 1/2 Miller (Tom McKay) is trying to piece together his life and his past. Haunted by the ghost of his lover, it is only when her daughter confronts him that he begins to remember for both of them. Nice, though not unexpected twist near the end, but the energy of the film tapers off too quickly after that.
HARRY AND SON (PG) 112 minutes * * * Harry (Paul Newman) has always enjoyed working, so when his health takes a turn for the worse, it’s very frustrating. Even more so, because his son Howard (Robby Benson), who still lives at home and is very healthy and capable of working, show no interest in doing anything productive. The film follows the two of them as they struggle with this difference and what it means. Newman is quite good, and Ellen Barkin has a very nice supporting role. Benson is not as strong here, but his character is not all that strong by nature. Adapted from the book “A Lost King” by Raymond DeCapite.
HARRY AND THE HENDERSONS (PG) 106 minutes * * * * After colliding (literally) with a bigfoot, the Henderson family carts it home to sell to a museum. But the "monster" isn't dead... which presents a problem. The younger crown will enjoy all of the physical comedy, while the older people in the audience ponder what they would do if they had latched onto a big hairy bundle of money that suddenly came to life. John Lithgow and the rest of the cast are superb, Rick Baker's creature effects are sheer perfection, and the music and message of the film are sure to please as well. A great film for the family, though the language really merits a PG-13 instead of a PG.
HARRY BROWN (R) 93 minutes * 1/2 Harry (Michael Caine) gets fed up with the violence in his neighborhood, especially after a friend is killed. His military background comes in handy as he takes matters into his own hands. It's another solid performance from Caine, which is no surprise, but the story is too reminiscent of the Charles Bronson "Death Wish" series, even down to the lack of depth in virtually all of the supporting characters. R for violence, language, and sex.
HARRY POTTER AND THE CHAMBER OF SECRETS (PG) 152 minutes * * * The chamber of secrets deep within the walls of the school has been opened and a monster is about to be unleashed. No one is safe, but Harry will save the day. The mood here is a bit darker and more scary than the first film, but the performances, sets, props, music, and so forth are very much the same. The younger members of the audience may find it a bit too scary, but the older ones seem to enjoy it as much if not more than the first film. Daniel Radcliffe does a little better as Harry this time, though Emma Watson still steals the show until she gets "frozen" by the monster. PG for violence.
HARRY POTTER AND THE DEATHLY HALLOWS, PART 1 (PG-13) 135 minutes * * * Tensions mount between friends as Harry searches for the Horcruxes in order to destroy them. The journey is becoming more dangerous and there will be casualites along the way as the story nears its conclusion. Another great chapter in the series, with a great cliffhanger ending that sets us up for the final chapter. PG-13 for violence and language.
HARRY POTTER AND THE DEATHLY HALLOWS PART 2 (PG-13) 113 minutes * * * And so it ends. A fitting ending that falls in place with most stories of epic battles between good and evil. A generation of people have followed Harry and his friends and grown up along with them on the big screen. Being a story of magic, friendship and adventure, it should age well and continue to gain new fans over the years. PG-13 for violence.
HARRY POTTER AND THE GOBLET OF FIRE (PG-13) 144 minutes * * * The tri-wizard tournament is the focus of this film, with one student from each of three schools, plus Harry of course, competing for the prize. There are definitely a few weak spots in the story, but they mostly relate to personal relationships and the struggles that adolescents face when dealing with those feelings. Since the emphasis of the film is on the action and the magic, it's no surprise that the relationship angle is a bit weak. The rest of the production quality remains the same as the other films, and this makes a nice addition to the series, despite a rather abrupt ending. PG-13 for violence.
HARRY POTTER AND THE HALF-BLOOD PRINCE (PG) 144 minutes * * * It's time for another year at Hogwarts, and the Dark Lord is desperate to kill Harry, recruiting Draco Malfoy (Tom Felton) to do the deed. Others are there to help as well, but Harry and his friends prove up to the challenge yet again, though there will be the loss of a great friend and mentor. As with the previous entries, several key pieces from the book have been left out, but for those who don't read the book and just follow the film, this is yet another exciting entry in the series. Especially nice work by Jim Broadbent and Evanna Lynch. PG for violence and language.
HARRY POTTER AND THE ORDER OF THE PHOENIX (PG-13) 128 minutes * * * The news that Voldemort is alive is being denied by many and kept secret by the rest. Meanwhile, Dolores Umbridge has been sent by the Ministry to bring order to Hogwarts. Another strong entry in the series, this film version of the fourth book draws us more deeply into the world of Harry and his friends. "We've all got both light and dark inside us. What matters is what we choose to act on." Wise words from Sirius Black. And then there are the words of the prophecy... "Neither can live while the other survives." Hmmm... Excellent soundtrack too! PG-13 for violence.
HARRY POTTER AND THE PRISONER OF AZKABAN (PG) 130 minutes * * * Sirius Black has escaped from Azkaban and is looking for Harry. But what does that mean for Harry and his friends? Although this definitely has the feel of being the middle part of a long story with Harry still only beginning to discover who he is and what that means, it's a very nice entry in the series. It definitely still manages to appeal to both younger and older audiences with the possiblity of being a bit too scary for the younger ones and a bit too juvenile for the older ones. But it's still a fun story with wonderful special effects and a very talented cast. PG for violence.
HARRY POTTER AND THE SORCERER'S STONE (PG) 144 minutes * * * Harry is a very special boy and this is only the beginning of his story. It spans several novels and they've promised us it will span several films as well. Aside from the fact that it's a bestseller that appeals to all ages, it's a great story with memorable characters, and plenty of magic. Bringing it to the big screen is a challenge that was handled quite well for the most part. The cast includes such wonderfully talented veterans as Richard Harris, Maggie Smith, and Robbie Coltrane, the young Daniel Radcliffe as Harry, and the debut performance of Emma Watson, who makes the film worth watching all by herself. The first thirty minutes drag on as we learn background information. It's not that it isn't important, but there must have been a better way that would've taken less time. Fans of the series and author J.K. Rowling all seem to agree that this is a brilliant adaptation, but Harry seems a bit too unimpressed with the events here. Of course, he already knows what happens in the next film... PG for violence and rightfully so. There are scenes toward the end that are definitely not for the little tykes.
HARRY POTTER 20TH ANNIVERSARY: RETURN TO HOGWARTS (NR) 102 minutes * * * 1/2 A look back at the Harry Potter films with extensive interviews with both cast and crew. Packed with behind the scenes information and insights about what happened with the films were made. A real treasure for fans of the series. If you've already seen the films, it will make you want to watch them again. And if you haven't... this is a wonderful look at what they mean to so many and why you should give them a look.
HARSH TIMES (R) 110 minutes * * Jim (Christian Bale) and Mike (Freddy Rodriguez) are buddies from South Central LA. They have dreams of working for the LAPD, and it looks like Mike will make it. But Jim's psychological profile raises some questions. It seems he tends to be more violent than LAPD wants. The federal government is interested though, but can Jim's violent tendencies stay in check long enough for him to get the job? It's not a bad idea, but we never sense much of a bond between these two. It's David Ayer's first time directing, and comes off a bit unsure and uneven. Ayer's script is also far less strong than other scripts he's completed. R for violence and language.
HART'S WAR (R) 116 minutes * * * Honesty and integrity both come to bear in a WWII POW camp when one prisoner is accused of killing another. Adapted from John Katzenbach's novel, this is a fairly intense and well-written war drama, set in Belgium at the end of 1944. Bruce Willis isn't really at his best here, but several strong supporting performances make up for it. The closing narration could have been better, but it's a nice entry in the genre all the same. R for violence and language.
THE HARVEST (NR) 75 minutes * * 1/2 A documentary that follows three child migrant workers in the United States. They are part of a workforce of several hundred thousand children who work 10-14 hour days in 48 states. They dream of opportunites, many of which seem too far out of their reach.
THE HARVEST (2013) (NR) 99 minutes * * She was just trying to make friends, and the boy next door seemed to really be in need of a friend. But what she learns about this family is more than a little disturbing. Nice work by the cast, but the story really only has one surprise, and not much else to offer, which makes for a better short film than a feature length production.
HARVEST LOVE (NR) 83 minutes * 1/2 Needing a bit of a break, Luna (Jen Lilley) takes her son to the family farm. Will (Ryan Peavey) has been taking care of the place. Their initial contact is anything but pleasant. Of course, things change. The romance element here seems a little condensed, with the events that happen to bring them closer together feeling somewhat rushed and incompletem even for a Hallmark movie.
HARVEST MOON (NR) 83 minutes * * Everything has always gone her way, but now that Jenny's (Jessy Schram) family is bankrupt, she's headed off to take a look at the only thing they have left. A pumpkin farm in the country. Schram has plenty of charm, but Jesse Hutch doesn't work opposite her all that well.
#XMAS (NR) 83 minutes * * 1/2 A brand design contest. Jen (Clare Bowen) enters the contest with a fake family on her video... and it's working. People love it, but the truth is going to come out sooner or later. No surprises with the story here, but a charming performance by Bowen makes this fun to watch.
HATCHETT III (R) 77 minutes * 1/2 Beginning where the last film left off, the sheriff's department heads out to clean up the mess left by Victor Crowley (Kane Hodder). Meanwhile, Marybeth (Danielle Harris) still has to figure out how to end the Crowley curse. More violent and gross effects. R fir violence and language.
HATCHETT II (R) 81 minutes * * Marybeth (Danielle Harris) manages to get away from the maniacal killer, Victor Crowley (Kane Hodder), who lurks in the bayou. She's not just going to run away though. She's going to assemble a team to go after Crowley. Plenty of gore and blood for those who enjoy it, and Tony Todd is here along with Hodder. A nice combination. R for violence, sex, and language.
>THE HATCHING (R) 86 minutes 1/2 Monster crocodiles are on the prowl. Played for laughs, this might have worked a little better. It does lean that way a few times, but then it goes back to trying to be more serious, and it just doesn't work. Terrible ending. R for violence, language, and sex.
HATCHING (2022) (NR) 83 minutes * * 1/2 When Tinja (Siiri Solalinna) finds an abandoned egg in the woods near her house, she decides to take it home and keep it warm. What eventually hatches is both fascinating and terrifying. There are clearly aspect of the "twin" part of the story that don't really work, but the film definitely has the necessary "creep factor", and a very chilling ending. Definitely work a look for horror fans.
THE HATE U GIVE (PG-13) 127 minutes * * * 1/2 She never really expected that anything this bad could happen. But then it did. Out with her best friend from childhood, Starr (Amandla Stenberg) witnesses his death at the hands of police. Facing pressure from all directions, Starr must now make some important decisions. Does she say anything? Who does she talk to? What happens next? Adapted from the award-winning bestseller of the same title by Angie Thomas. It's a powerful message played out through the lives of the characters. PG-13 for violence and language.
THE HATEFUL EIGHT (R) 164 minutes * * * During a blizzard in the wilds of Wyoming, a group of people end up in a cabin. None of them like or trust each other very much... if at all. Quentin Tarantino's sense of humor and style are dripping from the screen. But although the performances do a nice job of creating memorable characters, the story elements are a less-than-creative reworking of other Tarantino material. R for violence, sex, and language.
HATESHIP LOVESHIP (R) 99 minutes * * * Johanna (Kristen Wiig) works as a live-in caretaker/housekeeper. Her latest job is to care for a teenager, Sabitha (Hailee Steinfeld), who is a bit more than her grandfather can handle. But Johanna's inexperience in personal relationships makes her a perfect target for adolescent pranks. A sweet and understated performance by Wiig that quickly draws us in. Adapted from the short story by Alice Munro. R for sex and language.
HATFIELDS & MCCOYS (NR) 325 minutes * * 1/2 Lenghty but in-depth retelling of the rivalry between two families in Kentucky and West Virginia. Plenty of big names here, including Kevin Costner, Bill Paxton, Tom Berenger, Jena Malone and Mare Winningham. There is clearly an episodic TV series structure here that occasionally gets in the way of the story, but otherwise quite good.
THE HATRED (R) 89 minutes * 1/2 The hate-filled past of a country home threatens to destroy four young women who have been given permission to stay there for the weekend. This definitely has some good chills and scares, but the story struggles to make sense and seems to be mostly crafted to provide for the scares. The best of these is "That's not me". R for violence.
HATFIELDS & MCCOY'S: BAD BLOOD (PG-13) 77 minutes & 1/2 Overly simplified version of the feud between two families along the borders of Kentucky and West Virginia. Despite being released in theaters, this has all of the look and feel of a low-budget TV production from the 1970s. PG-13 for violence.
THE HATING GAME (R) 98 minutes * * 1/2 When two publishing companies merge, Lucy (Lucy Hale) and Joshua (Austin Stowell) are the assistants to the co-CEOs of the new company. Needless to say, they do not see things in the sama way. A new position has just been announced. Will one of them get it? A fun and playful romantic comedy. R for sex and language.
HAUNT (R) 81 minutes * 1/2 The Asher family move into a new home that just happens to be haunted. With the aid of an old radio, the younger members of the family manage to contact something from the other side. Nice setup, but then it moves too slowly, though there are some creepy moments that work well. The closing narration is unnecessary and actually makes the ending feel cheap. R for violence.
THE HAUNTED (NR) 73 minutes * 1/2 It's her first night on this new job as caregiver to Arthur (Nick Bayly). Emily (Sophie Stevens) is in for a very rough night that gets worse with each passing hour. Something else is in this house, and it doesn't want her there. Some very good suspense, which is accomplished with shadows, music, and some nice work by Stevens. Unfortunately, it runs out of energy too early, leaving us with an unimpressive ending.
THE HAUNTED AIRMAN (R) 67 minutes * 1/2 Recovering from injuries sustained during the war, Jugg Robert Pattinson) finds himself a victim of the psychiatrist, with nowhere to turn for help. There are plenty of spooky and creepy settings, but the story keeps us at arms length, which is particularly disappointing with how short the film is. R for violence.
HAUNTED HONEYMOON (PG) 77 minutes * ½ Larry Abbot (Gene Wilder) and Vickie Pearle (Gilda Radner) are getting married. Larry has some issues around fear, so the best medicine for that is (apparently) to scare it out of him. At least that’s what his relatives decide. And what better place than the old family castle, where Larry has decided to take Vickie? Wilder wrote and directed this as well, but it just doesn’t work as well as some of his other films. Radner does some nice work, and there are scenes that work well, but not enough. And the ending is not what we needed.
A HAUNTED HOUSE (R) 82 minutes BOMB Marlon Wayans wrote and stars in this found footage horror parody. Rude, crude, and pointless, so don't say you weren't warned. R for sex and language.
A HAUNTED HOUSE 2 (R) 80 minutes BOMB Marlon Wayans is back with a different girlfriend and a new house. The same problems are still here though, including a bad script and way too many bits that just aren't funny. R for sex, language, and violence.
THE HAUNTED MANSION (PG) 81 minutes * Beautiful sets and props , but the story drags terribly for the first half hour. As with "Pirates of the Caribbean", there are severl nice images that are adapted directly from the rides at the Disney amusement parks. The special effects, by Rick Baker, are excellent, but the story is very disappointing with a less than interesting performance by Eddie Murphy and a supporting cast that seem unsure of how to be spooky and fun at the same time. PG for violence.
HAUNTED MANSION (2023) (PG-13) 115 minutes * * When she discovers that the mansion she just bought is haunted, Gabbie (Rosario Dawson) hires a few people to help rid the place of its ghosts. It is a rather motley crew that she assembles. A tour guide (LaKeith Stanfield), a priest (Owen Wilson), a psychic (Tiffany Haddish), and a historian (Danny DeVito). The effects and the story are a little better than in the 2003 film, and it has a darker and more frightening mood, but this film also struggles with the balance between horror and comedy. PG-13 for violence.
HAUNTED TRANSYLVANIA: MIGHTY MUMMY MADNESS (NR) 62 minutes 1/2 It's another day in Monster Town, This time, Rags and Tickles are looking for who has the best candy for Halloween. Cute characters, but again, they stand in a line and dance for most of the film and don't even use the same moves, even when the narrator describes what you're supposed to do. The story does have a nice message at the end.
HAUNTED TRANSYLVANIA: PARTY LIKE A WEREWOLF (NR) 58 minutes 1/2 Another entry in this less-than-exciting series. Brains and Woof are trying to figure out why werewolves are so cool, so they ask everyone they know, dancing inbetween conversations.
HAUNTED TRANSYLVANIA: PARTY LIKE FRANKENSTEIN (NR) 58 minutes BOMB Brains and Woof are looking for the best scare in Monster Town. Their search, which involved long segments of dialogue with the main characters walking, is frequently interrupted by dance segments that don't work well because you can't really tell much about the movement of the characters who mostly just stand in a line and do different moves from each other anyway. That might not be so bad if it wasn't clear that children who are watching are supposed to follow along and dance while they are watching. This might have been a cute story without all of the dance breaks.
HAUNTED TRANSYLVANIA 3 (NR) 67 minutes 1/2 A collection of mildly spooky animated Halloween music videos. Only one of the songs has any lyrics and they are all are highly repetitive both in the visuals and in the music, and the animation is mediocre at best. "Hosted" by Dracula and Frankenstein, who provide the only dialogue in the film. The single song that has lyrics is the one that opens the film and then is also played once more during the credits. It works OK as a Halloween soundtrack, but not so much as a film.
THE HAUNTED WORLD OF EL SUPERBEASTO (R) 72 minutes BOMB Based on the Rob Zombie comic, which might be enough to tell you already whether you'll be interested in seeing this. If you like your cartoons to be rude, vulgar, and without much in the way of plot, then this is for you. R for violence, language, and sex.
HAUNTER (NR) 94 minutes * * Stuck in the same day that just keeps repeating, Lisa (Abigail Breslin) can't figure out why no one else notices. It doesn't take too long to figure why its happening, but changing events so that it won't keep happening is going to be much more difficult. An unusual story that mostly works because of Breslin's earnest and sincere performance.
THE HAUNTING (PG-13) 112 minutes * * 1/2 This updated version of the Shirley Jackson classic features a wonderful set, terrific spooky music thanks to Jerry Goldsmith, and quite a few creepy effects with computer animation and light and shadow. Sure, it pulls a few punches to keep the PG-13 rating, but it will give you quite a few chills. Lili Taylor steals the show as far as acting, with the rest of the cast showing little depth or much interest in being in the house to begin with. This is the weakest aspect, but probably won't be quite as noticeable on video. So, sit back, turn off the lights if you dare, and make sure you aren't alone! PG-13 for violence.
A HAUNTING AT THE RECTORY (NR) 86 minutes * Lionel (Tom Bonington) hires a handyman to look after the recory, but Frank (Lee Bane) wants to "help" Lionel's wife as well. Into this less-than-truthful environment, a new wrinkle appears.... strange things start happening. There's an almost overly-staged approach to the story, which moves this very close to the edge of humor without quite getting there... which might have been better.
THE HAUNTING IN CONNECTICUT (PG-13) 95 minutes * * 1/2 They just needed a place to rent for a few months while Matt (Kyle Gallner) went through a series of treatments for his cancer. The house they find has a little bit of history that they find out soon enough. It used to be a funeral home... and some of those who were there in the past are still around. Plenty of creepy chills, though most also use music to try and scare us. Despite this, the focus of the story is logical and sensible, which undercuts a good deal of the suspense. And when the twist comes late in the film, it leaves only one course of action for the characters to take. Filmed in Winnipeg, Manitoba. PG-13 for violence and language.
THE HAUNTING IN CONNECTICUT 2: GHOSTS OF GEORGIA (R) 95 minutes * * 1/2 Members of the Wyrick family have a gift, or a curse... they can see people who have died. They've also just learned that young Heidi (Emily Alyn Lind) has begun to see dead people just like the rest of the family. They had no idea that the house they were moving into was part of the Underground Railroad, and as such, has a good deal of pain and death associated with it. There are some good effects, and lots of noise scares, several of which would have been just as unnerving without the noise. Really nice work by Lind. Not the greates of titles though. R for violence.
A HAUNTING IN SALEM (R) 83 minutes * There's a new sheriff in Salem, and he's moved into a house with a nasty history. Aside from a couple of creepy moments, this never really gets deep enough into the characters or the history of the house to be very interesting. R for violence and language.
THE HAUNTING OF BORLEY RECTORY (NR) 90 minutes 1/2 Borley Rectory was one of the world's most haunted locations before it was badly damaged by fire in 1939. Rather than actualy being the story of the haunting, which might have been really interesting, this is a series of strange experiences and nightmares that Robert (Zach Clifford) has while checking out the site. There are some genuinely creepy moments, but the story makes little sense. The script and acting are poor, and the makeup is worse.
THE HAUNTING OF ELLIE ROSE (NR) 82 minutes * * When Ellie (Lucy Benjamin) returns to her old family home, it's not an empty house that awaits, but one full of memories of the past. Most of them aren't pleasant. It's a somewhat unusual piece as we never really learn why she returned, or what the bulk of her life has been. That makes it more difficult to connect to her character.
THE HAUNTING OF HYTHE HOUSE (NR) 80 minutes * Danny the Destroyer (Luke Stevenson) as he is known online, loves to trash low-budget horror films. He has a large fan base who enjoy his ruthless reviews. But someone has hacked his website. And they don't appreciate the criticism Danny has been dishing out. If Danny isn;t willing to spend a full day at the notoriously haunted Hythe House, the hacker will publish Danny's real name and contact information. Danny is about to become the star of a very real horror film. An interesting idea, but the acting and photography don't do this any favors. And the special effects early on are particularly bad.
THE HAUNTING OF LA LLORONA (NR) 68 minutes 1/2 The story follows Cassandra (Kaylin Zeren) as she deals with a frequently absent husband. She invites a homeless girl in as a roommate, which leads to a possession and a priest, and the birth of a child who can serve as a host... The story is not well constructed, and the make-up effects look like something an inexperienced trick-or-treater might wear. The acting isn't great, but it's one of the better parts of the film.
THE HAUNTING OF M (NR) 98 minutes * * * Marianna (Sheelagh Gilbey) is being haunted by the ghost of a former suitor. Beautiful scenery and sets, and the music does a graet job of creating a creepy atmosphere. The pace is not quick, as the film lets us sit with the strange and unusual things that are happening and let them slowly work their way into our minds.
THE HAUNTING OF MARGAM CASTLE (NR) 75 minutes 1/2 It's one of the most haunted sites in Wales. Daniel (Ashton Spear) and Annie (Amy Quick) have been sent from a university in the United States to do research on the paranormal, in an attempt to generate money for the school. Filmed at Margam Castle (really a large country house rather than a castle) in Wales, which does have reports of supernatural disturbances. That location is the best part of the film. The story doesn't really generate much fear or even interest and the effects just aren't very good.
THE HAUNTING OF MOLLY HARTLEY (PG-13) 81 minutes * 1/2 After her mother nearly kills her during a psychotic episode, Molly (Haley Bennett) wonders about her own sanity. Especially when she starts having headaches and hearing voices. There are a few suspenseful moments and scares here, though most are noise related, and the ending is a bit anticlimactic. PG-13 for violence and language.
THE HAUNTING OF PENDLE HILL (NR) 78 minutes 1/2 Pendle Hill in Lancashire England is a haunted site. Don't enter the woods at night, or stray from the path in the day. The site of many witch hunts, it is not a safe place to be. The story is fine, though not very surprising, but the script is weak, making the film drag. Lowri Watts-Joyce, who is the lead actress, is even less convincing. The ending is a little better, than the rest of the film, but not really enough to make it worth watching.
THE HAUNTING OF SHARON TATE (R) 87 minutes * 1/2 What if Sharon Tate (Hilary Duff) knew that something horrible was about to happen and no one believed her. It's not impossible, but the story here seems to wander between her visions, reality, and other "what if" ideas, with very little to tie them together. And in a late attention grab, the murders are presented in all their graphic glory, which doesn't fit with the more dreamlike quality of the earlier parts of the film. Some of the performances aren't bad, but there's too much strange space for them to get lost in. R for violence and language.
THE HAUNTING OF SORORITY ROW (NR) 88 minutes * * Pledge week is here, but this sorority house is having some difficulty, and the secret the members are keeping is growing more creepy by the minute. Nice ending, but it seems to take far too long to get there and much of the suspense is stretched too thinly.
THE HAUNTING OF WHALEY HOUSE (NR) 86 minutes * 1/2 Six friends and a paranormal investigator take an after hours tour of the most haunted house in America. They can do this since one of them works there and has a set of keys. How convenient. An uneven script, with some fairly good bits, and fun humor, but then it just gets silly and awkward. A few creepy effects, but that's far from enough to do much for the story.
A HAUNTING ON GABRIEL STREET (NR) 67 minutes 1/2 When forty-two people die in a house in Los Angeles, the sister of one of the victims is sure that there is more to the story than she has heard. She and two of her friends head to the house to check it out. They find a little more than they bargained for. The acting and script don't do this any favors, and it also suffers from the usual issues surrounding "found fiitage" films, including inconsistent camera angles and styles. Really inconclusive ending.
HAVA NAGILA (THE MOVIE) (NR) 67 minutes * * 1/2 This history of the well-known song and a bit about the culture, the atmosphere, and the fun that the song represents and encompasses. There are lots of fun film clips and interviews with musicians, comedians and many more offering a multifaceted look at the song and its history and influence.
HAVANA (R) 141 minutes * * * Robert Redford is a gambler who knows how to play the bluff. The idea is that sometimes you lose with a winning hand so that you can later bluff to win with a losing hand. It can apply to life as well as a card game. Redford is as suave as ever and Lena Olin is wonderful. The film is steeped in politics and history, which may be a bit much for some, but it's a fine film from director Sydney Pollack and deserves a look.
HAVE A NICE DAY (NR) 70 minutes * * Money can cause people to do many things. A bag containing a million yuan in a city in southern China does just that, all in the course of a day. The characters are painted in broad strokes because the story is very basic and doesn't offer much in the way of depth.
HAVEN (R) 95 minutes * * 1/2 When two businessmen escape to the Cayman Islands to avoid federal prosecution, they start a chain of events that has far deeper consequences than they imagined. Bill Paxton, Stephen Dillane, and Orlando Bloom star, but the scenery steals the show in too many spots. This is Frank E. Flowers' first feature film as director, and it's not a bad debut, but this needed stronger direction and possibly a better cast as well. Filmed in the beautiful Cayman Islands. R for language, sex, and violence.
HAVENHURST (NR) 80 minutes * 1/2 A recovering alcoholic gets an apartment in an old building where she finds something sinister going on. The story idea works well, though we don't really get to see enough about the building until near the end of the film. The final scene just doesn't have the poewr it needs to close the film well.
HAVOC (R) 82 minutes * * Allison (Anne Hathaway) and her friends enjoy the "gangsta" life. But it's a game to them, a way to act and sound like something they aren't, something that sounds and feels just dangerous enough to be exciting. When they begin to get involved in the real world of gangs, drugs, sex, and violence, it's much different than they expected... and much more dangerous. Hathaway does some nice work here, and it's more than a little different from her work in "The Princess Diaries". Too much of the "real" gang footage looks glossy instead of gritty though, and the dialogue isn't very good. I do like the ending though... R for sex, language, and violence.
HAWAIIAN: THE LEGEND OF EDDIE AIKAU (NR) 86 minutes * * * Eddie exemplified the spirit, energy, and nature of what it is to be Hawaiian. A big wave surfer and a talented lifeguard, whose life and death are the stuff of legend. The film explores Hawaiian culture and how statehood reshaped it, as well as how Eddie's life lay parallel to that experience.
THE HAWK IS DYING (NR) 101 minutes * * 1/2 The story of a man who has difficulty expressing his feelings, slowly comes to terms with how to express them as he pursues his passion of falconry. Paul Giamatti's performance is quite good here, and makes this well worth a look, as we almost get lost in his character. Unfortunately, the story as a whole is awkward and uneven.
HAYWIRE (R) 87 minutes * * 1/2 She's one of the best black-ops agents in the business, so when Mallory Kane (Gina Carano) is double-crossed, someone is going to pay. There are some very nice action sequences here, but the story tends to jump around quite a bit, which makes it difficult to connect with Kane's character. Supporting roles by Michael Douglas, Antonio Banderas, and Ewan McGregor help the strength of the story, and we want to see more of Kane and her missions. R for violence.
HAZE (NR) 106 minutes * 1/2 When a freshman wants to pledge a fraternity, he not only faces the initiation, but his brother, who doesn't want him to join. There was a death on campus recently, and his brother is now heading up an anti-hazing campaign. The film moves back and forth between fraternity life and hazing rituals, using an approach that is pseudo-documentary in style. The mix doesn't work all that well as there just isn;t enough of a story to carry it through.
HAZLO COMO HOMBRE (R) 96 minutes * * 1/2 Three friends reach a dramatic point in their relationship when one of them annouces that he's gay. His former girlfriend isn't too happy either. The film centers on Raul's (Mauricio Ochmann) attempts to accept his friend and learn how to change his perspective on how everything needs to be. Fun characters in a light story that still has a serious message. R for sex and language.
HAZMAT (NR) 77 minutes 1/2 A scary prank TV show sets up for an episode in a supposedly haunted former chemical plant. Not a bad idea, but it quickly becomes just another slasher film with all of the victims already trapped inside a building. And the effects really aren't very good.
HE SAID SHE SAID (PG-13) 110 minutes * * 1/2 Competing journalists, one for TV, the other for a newspaper, end up being a hot item. Kevin Bacon and Elizabeth Perkins both do nice work here, but the script is mediocre and the direction is awkward. Being co-directed by a male-female team was perhaps not the best of decisions. It does end nicely, but getting there is a bit rough. PG-13 for language and nudity.
HEAD COUNT (NR) 86 minutes * The hisji is a rather unique monster as it can mimic the appearance of others. This group of friends taking a break in the Joshua Tree area are its latest target. The first hour moves very slowly. There are some very good moments of suspense after that, but waiting that long for something interesting and/or exciting is very rough.
THE HEAD HUNTER (NR) 68 minutes * * He's a man with a mission. On his own in a harsh and unforgiving land, everyday he goes on an excursion and he kills. He kills for food, but also to keep his skills sharp as he searches for the monster that killed his daughter. He lives for the day he can add its head to his collection. Fun, though not surprising twist at the end of this short tale.
HEAD IN THE CLOUDS (R) 116 minutes * * Three people, already romantically entwined, find the war with Germany testing their loyalties and their love in ways they never thought possible. Charlize Theron, Stuart Townsend, and Penelope Cruz all do nice work here, but the story never really has the depth it needs to help us care about these characters. Theron, in particular is a delight to watch, but she needs more to work with. R for sex and violence.
HEAD OF STATE (PG-13 88 minutes * 1/2 It's an election that their party can't win, so they choose a candidate who'll put on a good show. They don't bother to tell him that he's not expected to win... and he may just surprise them. As with most of Chris Rock's projects, it's a little bit too much Chris Rock. He directed, co-produced, and co-wrote this as well as starred... and it's a little too much. Unless you're a major fan of Rock, you probably won't even want to bother watching. PG-13 for language and violence.
HEAD OFFICE (PG-13) 86 minutes * An extremely disjointed satire of big business and the stresses that are involved. The acting isn't bad. In fact, the cast has quite a bit of talent and experience. They just don't have much of a script or plot to work with. PG-13 for sex, violence, and language.
HEAD OVER HEELS (PG-13) 83 minutes * * 1/2 To say that Amanda has had bad luck with guys is an understatement. Now she's moved in with four supermodels and she's falling for the guy across the street, who happens to work with them. It's a nice little romantic comedy with some action and mystery mixed in. Monica Potter and Freddie Prinze Jr. make it pleasant to watch, and the script is better than average for films in this genre. PG-13 for language.
HEADHUNTERS (R) 97 minutes * * 1/2 Roger Brown (Aksel Hennie) serves as a headhunter for a company, but what he's doing on the side is scouting out people to steal art from. His latest conquest turns out to be a bit beyond his reach, and it's going to take everything he's got to get out of it alive. A little convoluted and overly complicated with details that draw our attention, but it does manage to work as it goes along. Adapted from the novel, "Headhunters" by Jo Nesbo. R for violence and sex.
THE HEADLESS WOMAN (NR) 85 minutes * * 1/2 She only looked away for a second, but in that second, Veronica (Maria Onetto) hit something with her car. What was it? She's afraid to look, but fears the worst, and now she can think of little else. It's an interesting idea, but doesn't go quite far enough. There is an almost dream-like quality to the film at times, but rather than giving us the feeling that we are there with her in this feeling of disorienting fear, we are kept at arms length and distant from what she feels.
HEAL THE LIVING (NR) 98 minutes * * * Like most people, Simon (Gabin Verdet) never expected it to happen, but a car accident leaves him in a coma, and his parents with a decision they never wanted to make. Now, part of Simon will help others to live. Not a great deal of dialogue, but it isn't really necessary. The story plays like a symphony, with the images serving as the notes, moving us along in a story that is both tragic and beautiful.
HEAR NO EVIL (R) 93 minutes * * 1/2 A two-bit reporter taps into a big story, but finds himself a little out of his league. After he's killed (early in the film), his friends are left to figure everything out. Of course, his friends begin to feel an attraction for one another that adds to the mix of suspense and mystery already present. Graeme Revell gives us a terrific soundtrack too, but the editing is weak, and the resolution to the story is very unsatisfactory. It all results in one of those films you won't be sorry you saw, but probably won't remember after awhile either. R for violence, language, and sex.
HEART (R) 91 minutes 1/2 A down and out fighter gets his chance for a comeback when he fights a young champ. He's supposed to lose, but his manager doesn't tell him that. Low budget attempt to cash in on the success of some other boxing films that fails miserably despite the attempts of the cast.
HEART AND SOUL FOOD (NR) 81 minutes ½ Sibling rivalry pits three sisters against each other for their mother’s approval. Meanwhile, mom has troubles of her own that she is trying to deal with. The characters are overplayed, and the dialogue is horrible. Most of the cast appear to be capable of much better, but the script and direction (by Nakia Hamilton) offer them no support.
HEART AND SOULS (PG-13) 99 minutes * * * 1/2 Robert Downey Jr. gives an outstanding performance as Thomas Riley, a young man followed by four ghosts who don't understand why they're still hanging around. Downey's ability to handle physical comedy is near perfection here, and Marc Shaiman's soundtrack sets the mood for a story of love, second chances, and finding the good that lies within us all.
HEART CONDITION (R) 95 minutes * A prejudiced cop (Bob Hoskins) gets a heart transplant from a black lawyer (Denzel Washington). To make matters worse, he's being haunted by the lawyer, who wants his killer to be brought to justice. The script is a mess, and despite the talents of Hoskins and Washington, this is hard to watch. It drags the whole way through, with only a few minutes here and there that are worth watching.
THE HEART IS DECEITFUL ABOUT ALL THINGS (R) 88 minutes * 1/2 Asia Argento directs, co-writes, and stars as an alcoholic/drug addict who has just been granted custody of her 7-year-old. She's a horrible influence on him, and then dumps him on her parents for three years before taking him back again, just when he was starting to recover from her influence. The cast is amazing, but the film has a wonderfully trashy feeling, but sometimes at the expense of making much sense or creating any empathy for... anyone.
HEART LIKE A WHEEL (PG) 109 minutes * * * Classy bio-drama, telling the story of racing legend Shirley Muldowney (Bonnie Bedelia). She wanted to compete in top fuel drag racing, where women were nothing more than decoration. Her determination not only helped open the door for women to be able to participate, but she raised the bar for everyone because of her skill. A film with a great deal of heart that is well worth a look.
HEART OF A DOG (NR) 71 minutes * * * Artist Laurie Anderson uses this feature-length film, her first in 30 years, to weave a tapestry of life and death. Her dog, Lolabelle, is at the center of her musings, but so are her own life, art, and belief system. Beautiful, and often hypnotic, more than one viewing is likely to bring out different moments and meanings for the viewer.
HEART OF CHAMPIONS (PG-13) 114 minutes * * 1/2 The rowing team of an Ivy league college gets a new coach (Michael Shannon). He knows what it take to make a team. Some of these young men get it, and others are learning. Ego and privilege both rear their ugly heads during the process. Nothing new here, but the cast does a good job. PG-13 for violence, nudity, and language.
THE HEART OF CHRISTMAS (NR) 82 minutes * * When young Dax is diagnosed with leukemia, Austin and Julie's world falls apart. But they are determined to make Christmas a special event for him, since it may be his last. The annoying narration is second only to the shameless promotion of St. Jude's Hospital. Both of which manage to reduce the appeal of this hyper-sentimental holiday film.
HEART OF DIXIE (PG) 90 minutes * * * Based on the novel "Heartbreak Hotel" by Anne Rivers Siddons, this is the story of three girls from an Alabama college sorority in the 1950's and their beginning awareness of the history of the south. What is the real heart of Dixie? Is it the beautiful southern belles and the large plantations, or is it the soul and struggle of the black people? Starring Phoebe Cates, Virginia Madsen, and Ally Sheedy, this appears to be a bit pretentious at first, but that very attitude serves to help make the point of the film.
HEART OF THE COUNTRY (PG) 86 minutes * * 1/2 When her husband is jailed for fraud, Faith (Jana Kramer) goes back to her roots to find her center. Well-rounded characters and a story that doesn't go quite where you expect it to. It's a bit overly-emotional and sentimental in a few spots. More typical of a TV movie, but not too bad. Nice soundtrack. PG for language.
THE HEART OF THE GAME (PG-13) 95 minutes * * * The Roosevelt Roughriders girls' basketball team is the focus of this inspirational documentary. They were a team that never used to win. But when a tax professor decides to take on the coaching job, his style is a perfect fit for the team, which begins to succeed like never before. The film follows the team through several seasons and doesn't shy away from some of the difficulties they faced, though the focus is definitely more on the ways they found to succeed. PG-13 for language.
THE HEART OUTRIGHT (NR) 89 minutes * After a dramatic incident, Stephen (Brad Makarowski) vows never ti return to his own home town. But when his mother dies, he finds himself back where he never wanted to be, dealing with the past, which happens to include an old flame. Adapted from the play by Mark Medoff, but not one of his better efforts. Badly overacted.
THE HEART SPECIALIST (R) 96 minutes * * 1/2 The education of a doctor, who begins as a flirt who doesn't take his job all that seriously. With help, he becomes a better doctor and a caring partner. The shifts between comedy and drama are frequently uneven here. The performances are fine, but the direction and the flow of the film are awkward at times. Writer/director Dennis Cooper is more used to working with TV episodes, which could be part of the problem. R for sex and language.
HEARTBEATS (NR) 98 minutes * 1/2 Marie (Monia Chokri) and Francis (Xavier Dolan) have been friends for quite awhile. But they've both just fallen hard for this very sexy guy they just met... and he seems to be interested in both of them. The editing is very choppy in spots, though in others its very smooth and sexy. It tries a little too hard to be artistic and exotic, and only manages to pull it off in a few spots. Part of the problem is that Dolan tries to do too much by himself (actor, director, writer, producer, editor, costume designer, and visual concept).
HEARTBEEPS (PG) 77 minutes * * ½ When two robots run away to try and start a family, all does not turn out as they would hope. A sweet story of marriage, life, and love that is both touching and sincere. It doesn’t work as well as it should, because it doesn’t take enough time to set the story up well. Everything happens so fast that it’s difficult to connect with the characters and feel what we need to for the story to work.
HEARTBREAK HOTEL (PG-13) 96 minutes * * 1/2 A teenager kidnaps Elvis and takes him home to his divorced mom who's always had a crush on the King. It's a hard to swallow premise, but a fun enough ride through the nostalgic 1950s and 1960s. Filmed in Austin and Taylor, Texas.
THE HEARTBREAK KID (R) 108 minutes * Another dud from the Farrelly brothers. A remake of the 1972 film with Charles Grodin, this time its Ben Stiller who after his recent marriage finds another girl who he's much more attracted to. The story intersperses bits of comedy within a story that tries to be sweet and charming. That might work if the humor wasn't so vulgar and obnoxious. We find it far to difficult to like Eddie (Stiller), so we really don't care if things work out well for him. Adam Sandler seems to be able to make this sort of story work better, then again, he also tends to take himself less seriously. R for sex and language.
HEARTBREAK RIDGE (R) 131 minutes * * * Sketchily based on the Grenada incident where the United States sent in members of the armed forces to rescue Americans being held captive, this film leads up to that climax by detailing the events in one particular Marine Corps recon platoon. This platoon ends up having to go through basic training all over again when Gunnery Sgt. Tom Highway (Clint Eastwood) takes charge. There’s far too much focus on Highway’s personal life here. It does play a part in who he is, but could have been dealt with in much less time. There’s a good mix of humor and drama here, with the idea of keeping the story both somewhat credible and also entertaining. It’s definitely not as grim as many other war films. It’s also interesting to note how the film begins in black and white, slowly fading into color. The point seems to be that war doesn’t change and neither has Highway.
HEARTBREAKER (NR) 94 minutes * * 1/2 He's a professional heartbreaker. Alex's (Romain Duris) latest job is getting a bit complicated. Not only are some of the details of this particular case a little tricky, he just might be falling for the girl. Fun, if predictable story, but the performances are lacking some of the energy they need, and thus fall short of being very convincing.
HEARTBREAKERS (PG-13) 118 minutes * * A mother/daughter con team ends up pushing their luck a bit too far and get themselves into a lot of hot water. The story plays very well, thanks to a nice script, but it does begin to drag toward the end. It's just too long. Sigourney Weaver, Gene Hackman, Jason Lee and Ray Liotta deliver nice performances, though it's Jennifer Love-Hewitt who carries the film. It's by far the best work she's done to this point and is a role she seems to have fun with, being a mix of appearing to be less than bright while actually being very savvy. It's a fun story and will play very well on video. PG-13 for language.
HEARTBURN (R) 105 minutes * * * ½ It’s a little one-sided. Rachel (Meryl Streep) has given up her career as a writer in favor of putting all that energy into having a family. Mark (Jack Nicholson) however, has not only continued his writing, but appears to have given up nothing for their relationship. The imbalance is causing problems, or you might say “heartburn”. Two powerhouse actors here, so it’s no surprise that the acting is fantastic, and with a Nora Ephron script and Mike Nichols direction, there’s not much missing. There are a few scenes that could have been a bit more effective though, and Nicholson is a little more likely to run with a scene that might work better with a little restraint. Nice ending!
A HEARTLAND CHRISTMAS (NR) 89 minutes * * Companion film to the TV series that follows an extended family's life in Alberta, Canada. An avalanche traps some horses that Amy (Amber Marshall) and Ty (Graham Wardle) decide to rescue, which throws everyone else's Christmas plans out of the window.
HEARTS AND BONES (NR) 105 minutes * * * For Dan, (Hugo Weaving) his photography is everything. It puts him in danger, which he continues to do, despite how it affects his relationship with his partner. In addition, one of the photographs that is scheduled to be shown at an upcoming exhibition is very disturbing to a South Sudanese refugee (Andrew Luri) he has recently become friends with. Both men tend to run away from their problems instead of facing them. The price for running away is often quite high. A sensitive and emotional piece.
HEARTS BEAT LOUD (PG-13) 93 minutes * * * Once upon a time, Frank (Nick Offerman) was in a band. He runs a record store now, and dabbles in music on the side with his daughter. When a song they record together actually takes off, Frank's old dreams are revived. Sam (Kiersey Clemons) is about to head off to school, which Frank is struggling to deal with as it would mean the end of their musical career. Very nice soundtrack, with Clemons and Offerman doing their own work. PG-13 for language.
HEARTS DOWN UNDER (NR) 85 minutes * * Inheriting a cafe in Australia is not Caroline's (Cindy Busby) idea of a great thing. She has her own fancy restaurant in New York to run. She just wants to sell this litte cafe, but it's going to take some time. She just might decide to stay... and there is a very handsome chef that works at the cafe... Busby's character isn't very convincing, though it's not her fault. It's the script.
HEARTS IN ATLANTIS (PG-13) 96 minutes * * * 1/2 This film makes a rather nice companion piece to "Stand By Me" as a Stephen King coming of age film. It's not quite as strong, mostly due to the introduction of the somewhat supernatural character of Brautigan (Anthony Hopkins). I saw no reason for Brautigan to be supernatural in the book. A threesome of children, with our main character being parented by a single mother... a wise and somewhat eccentric older man serves as mentor for awhile, aiding in the maturation of our protagonist, and so the story goes... Why muddle it up with the supernatural? Despite this problem, King has created some incredible characters which have been brought to life to show us a vividly painted picture of childhood and the process of growing up. Another gem from a master storyteller! Anton Yelchin and Mika Boorem both do incredible work as the young Bobby and Carol. Filmed in Virginia. PG-13 for language.
HEARTS OF WINTER (NR) 82 minutes * * 1/2 Grant (Victor Webster) thinks everything is fine. His daughter Zoe (Lauren McNamara) knows it isn't. She enters a home makeover contest and wins. Her father isn't really thrilled about the idea, but as the days go by, interior designer Bethany Cain (Jill Wagner) is beginning to grow on him.
HEAT (R) 166 minutes * * * This star-studded cops and robbers story pits Al Pacino and Robert DeNiro against each other with plenty of action and superb performances. The story sputters a few times, losing steam and power, but manages to finish rather well. Director Michael Mann also wrote the script, reworking his earlier TV movie, L.A. Takedown. Also starring Val Kilmer, Jon Voigt, Natalie Portman, Ashley Judd, and many more.
THE HEAT (R) 115 minutes * * * Sent to Boston on an assignemnt that is likely to give her a promotion, FBI agent Ashburn (Sandra Bullock) finds herself working with Officer Mullins (Melissa McCarthy). Cooperation is not going to happen easily. Lots of physical comedy, which is McCarthy's strong suit, but Bullock is no slouch in that department either. They work well together, and the comic bits are interspersed quite well with the drama and the action. The story and their performances make it difficult to look away, and even more difficult not to laugh. R for language and violence.
HEAT: A GLOBAL INVESTIGATION (NR) 113 minutes * * 1/2 An investigative documentary look at climate change and its consequences. One of the main points here is the effect of the larger population on the climate change. Its not that the climate hasn't been through dramatic changes in the past. There is a cycle. But the effect of, and on, the much larger number of humans on the planet is something different. Some of the material included dates the film, but much of the message is still quite clear and important to hear.
HEATHCLIFF: THE MOVIE (G) 78 minutes * * 1/2 Tasked with keeping an eye on his nephews, Heathcliff tells stories of his past adventures. Aimed at the very young crowd, the humor works, but the animation is nothing special.
HEATSTROKE (NR) 89 minutes * * Stumbling across the wrong people in the desert leaves Paul (Stephen Dorff) dead and his daughter and girlfriend to fend for themselves against three arms dealers and the harsh realities of the desert. Well-performed, which helps make up for some of the lack of credibility in the story. Adapted from the book "Leave No Trace" by Hannah West.
HEATWAVE (R) 88 minutes * * * Filled with symbolism and innuendo, this story of a housing development in Australia that hits a few snags is beautifully filmed. The story may be more difficult to appreciate, but is one that benefits from a second viewing. Fine performance by Judy Davis.
HEAVEN (R) 93 minutes * * * 1/2 After he husband's death, Philippa (Cate Blanchett) tries numerous times to convince the police of who is responsible, but they decide to lock her up instead. Filippo (Giovanni Ribisi), who is sderving as her translator, is convinced that her story is true, and helps her to plan her sscape. Beautifully filmed dramatic piece, full of passion and accented with fine performances by both Blanchett and Ribisi. R for sex.
HEAVEN & EARTH (R) 135 minutes * * 1/2 Gloomy picture of the Vietnam war and its effect on one girl in a particular village. Offers us a picture that feels far more realistic than most films in this genre. Tommy Lee Jones does a nice job, but the real star is director Oliver Stone, who proves with this film that he does know how to give us a powerful picture by using a camera and music. R for violence, language, and sex.
HEAVEN HELP US (R) 100 minutes * Coming-of-age drama, with Michael Dunn (Andrew McCarthy) transferring in to St. Basil’s Catholic Boys School at the age of sixteen. He quickly bonds with the less popular crowd as they struggle with the oppressive environment and what to do about girls. There are a few lighter moments here, but this is much more of a drama than a comedy. R for language, violence and nudity.
HEAVEN KNOWS WHAT (R) 93 minutes * * 1/2 Raw, unpolished look at the life of a heroin addict. Harley (Arielle Holmes) lives a life on the edge, loving both Ilya (Caleb Landry Jones) and heroin. They are equally destructive to her, but she only sees the good in both. The script and cinematography are both rough, which doesn't make this easy to watch, but it also drops us right in and doesn't really let go. R for language, violence, and sex.
HEAVEN SENT (NR) 84 minutes * 1/2 Maire (Marley Shelton ( and Billy (Christian Kane) used to have a great marriage. It would take a miracle for that to still be the case. Enter Taylor (Mallory James Mahoney). She's an angel that only Maire and Billy can see, but the task that lies ahead for her is not an easy one. Heavy on the sentiment (and the pro-life view), and a bit too light on character development and story.
HEAVEN'S PRISONERS (R) 128 minutes * 1/2 A lifeless script makes this story of a plane crash, that no one was supposed to see, very hard to watch. The cast has the talent, with the likes of Alec Baldwin, Mary Stuart Masterson, Kelly Lynch, Teri Hatcher, and Eric Roberts, but there's just no energy to the story. Everything just moves along mechanically with no surprises and not much tension. Based on a book by James Lee Burke.
THE HEAVY (R) 96 minutes * 1/2 A hitman discovers that a contract has been put out on him. As he works to take down the person responsible, anyone who gets in the way just might end up dead. Lots of posturing, but not really much in the way of character development. R for violence and language.
HEAVY METAL (R) how many minutes * * * There aren't many times when a magazine is made into a movie, but there aren't many magazines like Heavy Metal! Visually stunning with animation and stories that stretch the imagination. This pushes the limits just like the magazine always did, but if you're ready, it will give you a treat like no other. R for violence, language, and sex.
HEAVYWEIGHTS (PG) 93 minutes * The importance of good self-esteem is the message here, but the way in which we hear it is questionable at best. The problem is, how do you explain to all the overweight kids watching the movie that the humor in the film is centered around "fat jokes"? Jerry Stiller and Anne Meara have really reached the bottom of the barrel. Filmed at Camp Pinnacle in North Carolina.
HECHO EN MEXICO (R) 94 minutes * * * A look at Mexico in the 21st century through the eyes of its musicians, poets, and artists. They talk and perform on issues of culture, history, and politics as well as what their hopes and dreams are for this country that they love. R for language and sex.
HECTOR AND THE SEARCH FOR HAPPINESS (R) 114 minutes * * * 1/2 Hector (Simon Pegg) is a psychiatrist who needs to figure out what makes people happy, himself included. He begins a journey around the world. A journey to discover the variety of ways people achieve happiness and if there is something common in these experiences. The film gets off to a slow start, but builds very nicely, though it closes with some unnecessary narration. Nice work by both Pegg and Rosamund Pike as well as the supporting cast. R for language and nudity.
THE HEDGEHOG (NR) 89 minutes * * * Paloma (Garance Le Guillermic) is a rather unusual 11-year-old girl. She's decided to end her life on her 12th birthday, but in the meantime, she has a film to make. She's eccentric, but also very observant and wise beyond her years. Part coming-of-age story and part social commentary, with a bittersweet ending.
HEDGEHOGS (PG) 90 minutes 1/2 Bobby (voiced by Anthony Padilla) has always been the strongest and smartest hedgehog. But an accident during a fight leaves him with no memory. It just may teach him a little humility. Missing the witty dialogue and appealing characters that so many similar films have, this falls flat very quickly. PG for violence and language.
HEDWIG AND THE ANGRY INCH (R) 87 minutes * * * John Cameron Mitchell's musical about Hedwig, a transgendered, glam-rock star. Originally a stage production, this translates well to film. Mitchell has created a memorable character with very real struggles around the idea and experience of love. This has quickly become a cult classic with its unique mix of stand-up comedy, love story, and a soundtrack that is simply amazing. A companion documentary, "Whether You Like It Or Not: The Story of Hedwig", gives a nice background to the creation of the character and the production. R for sex and language.
HEIDI (NR) 105 minutes * * German language version of the classic story about a little girl who is raised by her grandfather in the mountains of Switzerland. Anuk Steffen is charming as Heidi, which makes this work well enough, though a few too many of the other characters are forgettable.
HEIGHTS (R) 96 minutes * * Glenn Close stars as a famous actress who is thinking about pursuing a relationship with a younger man who lives in the same building as her daughter. Her daughter is about to marry someone who is trying to avoid a previous lover who is trying to interview him for a job he's working on. They are five very different people whose lives are entwined. Adapted by Amy Fox from her play, this is a wonderful character study and well performed by the cast. It does, however, still feel a bit too much like a play and while the characters are very well-developed, they somehow manage to remain rather emotionless. R for language and sex.
HEIST (R) 103 minutes * * * Never do a job without a back-up plan. That's Joe Moore's (Gene Hackman) philosophy and one that has served him well. He's planning the biggest and boldest heist of his life, but he's an old hand at this. Hackman gives us another fine performance here, well supported by Delroy Lindo, Danny DeVito, and the rest, but it's the story that keeps us involved and paying attention. The twists and turns aren't really convoluted, but are just enough to keep us on the edge. R for language and violence.
HEIST (2015) (R) 87 minutes * * Vaughn (Jeffrey Dean Morgan) needs money for his daughter's medical bills, and decides that robbing a casino is a good idea. And not just any casino, but one run by "The Pope" (Robert De Niro). Of course it doesn't work out right, and that's where the suspense comes in. The problem is that it's all done with a wink and a nod, which adds to the fun element, but removes most of the suspense. Morgan's character is a little too likeable here, which also softens this up. R for violence, language, and sex.
HELD (NR) 92 minutes * 1/2 It's a high-tech house, and renting it for a vacation seemed like a fun idea for Emma (Jill Awbrey) and Henry (Bart Johnson). Then they get a mysterious phone call, and the house locks them inside. They must obey the house or face the consequences. The twist isn;t much of a surprise, but there is some good suspense.
HELEN (R) 113 minutes * * 1/2 Clinical depression has caused Helen (Ashley Judd) trouble before, but this time it's back with a vengeance. Her career, her second marriage, and even her ability to parent her daughter are all at risk. Judd does a nice job showig not just mental deterioration, but a fluctuation that is even more disturbing. We don't get much from Goran Visnjic, who plays her husband though. And we get a little too much of Helen's time as a professor and relating (or not) with her students, including one she becomes close to who has her own problems with depression. Some of these scenes, especially early on in the film, are not particularly well edited, and affect the flow and continuity of the film in a negative way. R for language and sex.
HELEN OF TROY (NR) 173 minutes * * Classic story of Helen of Troy (Sienna Guillory) and the epic wars that resulted from the men who sought her affections. This TV version of the story tends to focus on the relationship aspects of the story, rather than the battles, which is what we are more familiar with. The characters are a little overly dramatic, but that's the fault of the script, not the cast.
HELENA FROM THE WEDDING (NR) 86 minutes * * A New Year's party at a cabin with some friends seemed like a great idea. But when it turns out that everyone seems to be having relationship issues, Alex (Lee Tergesen) and Alice (Melanie Lynskey) are wondering if it was such a great idea. They just got married themselves, and are beginning to wonder if that was the right thing to do. The story tends to wander around rather aimlessly, which is no fault of the actors, though the strength of their characters suffers as a result.
HELENO (R) 108 miunutes * * * In the 1940s, Heleno deFreitas (Rodrigo Santoro) became a soccer legend. It's an intense portrait of a passionate soccer player and his rather dramatic fall from grace and fame. Well-acted, and intimate look at both the positive and negative sides of a sports figure who was one of the early stars of the sports world. R for sex and language.
HELI (NR) 100 minutes * 1/2 When Heli's (Armando Espitia) little sister agrees to look after some drugs that her boyfriend found, Helo's life becomes infinitely more complex. His father is dead, his sister is missing, and he needs to find her. At the same time, he needs to keep his wife and baby safe from both the drug cartel and the corrupt police. It's getting more difficult each day. This builds nicely, but doesn't resolve well at all.
HELL & BACK (R) 82 minutes * Two friends try to rescue their buddy who has been taken to Hell. Rude, vulgar, and occasionally funny. The animation is fair, but there's just not enough story or well-crafted humor to get this very far.
HELL BABY (R) 89 minutes BOMB Jack (Rob Corddry) and Vanessa (Leslie Bibb) move into the most haunted house in New Orleans and their unborn baby gets possessed. What to do? How about pick another movie? Unusual mix of horror and comedy that doesn't work well to say the least. R for violence, sex, and language.
HELL FEST (R) 84 minutes * * A group of friends are out to have a fun night at a horror attraction. But one of the actors isn't actually part of the attraction. He's a serial killer using the event as a place to hide... and perhaps add a few more victims to his list. Good effects and suspense in the attraction, especially late in the film. The ending is a bit of a cheap shot, but does set things up for a sequel. Nice supporting work from Bex Taylor-Klaus. R for violence and language.
HELL ON THE BORDER (R) 107 minutes * * 1/2 In 1875, the land west of Arkansas was still savage and dangerous. The job of a U.S. Marshal was challenging. Bass Reeves (David Gyasi) was the first black Deputy Marshal west of the Mississippi. This is his story, and his first assignment, which was to capture or kill one of the most ruthless criminals in the west. Ron Perlman's character provides a few touches of humor that are nice. Unfortunately, we don't really get to know Reeves very well. We learn some facts, but he remains distant. R for violence and language.
HELL OR HIGH WATER (R) 99 minutes * * * Caught in a reverse mortgage that is about to cost them the family ranch, Tanner (Ben Foster) and Toby (Chris Pine) have a plan. They figure that robbing several banks of a small amount will draw less attention and be less of a risk. But this is west Texas, and they don't look to kindly on thieves. Very nice work by the cast and the story mixes action and an overall laid-back style very well. R for violence, language, and sex.
HELL RIDE (R) 76 minutes * * 1/2 Rival biker gangs, revenge, Dennis Hopper... take a 1960s biker flick, add a bit more graphic violence, a little more polish, and this is the result. There's definitely a sense of humor here, which makes it fun, but the story is a bit disjointed early on. Writer/director Larry Bishop also stars here, and it's likely the finished product would have been better if he'd given up one of those roles. R for violence, sex, and language.
HELL TO PAY (NR) 98 minutes * Two brothers on opposite sides of the law fall in love with the same woman. All of the publicity for this film talks about the "ten legendary western stars" who are featured. It's too bad nobody bothered to hire someone who could actually write a script. Definitely not one of the more exciting westerns you'll ever see.
HELLBENDERS (R) 82 minutes * 1/2 A rather unconventional group of exorcists. This crew of all ordained clergy believe in committing just enough sins that in case they can't exorcise the demon, they'll kill themselves and take the demon to hell with them as they die. Their latest job is going to be the most difficult they've ever faced. Darker than "Ghostbusters", but it still tries for comic moments, which just don't work well with the more serious scenes. R for violence, language, and sex.
HELLBOUND: HELLRAISER II (R) 91 minutes * * Wonderfully gruesome special effects in this bloody sequel to "Hellraiser". The story doesn't do much for us though, as our heroine takes a trip to Hell to try and rescue her father. Obstacles surface along the way, and we conclude with a rather cheap ending that nullifies the overall effect.
HELLBOY (PG-13) 114 minutes * * * The Nazis open a portal to another dimension and before the allies can close it, a little baby monster comes through, Fortunately, he learns to work for the side of good rather than evil. His name is... Hellboy! Ron Perlman does a great job here,lending sensitivity to a very unusual character. The story is full of wonderful little bits of humor that never manage to distract us, they simply add to the whimsical nature of the plot. Selma Blair and David Hyde Pierce have some unusual and interesting supporting roles as well. Adapted from the Dark Horse Comic book series, it does try to cover a bit too much territory and wraps up too quickly, but director and writer Guillermo Del Toro has otherwise done a nice job bringing a very interesting comic book "hero" to the big screen. PG-13 for violence and language.
HELLBOY (2019) (R) 109 minutes * 1/2 Or, Hellboy (David Harbour) goes to England. He's still just trying to take care of supernatural threats to the world. In the meantime, he's being drawn into a fight with the Blood Queen, which just might end the world. The acting is fine and the special effects are good, but the script just isn't as witty as it needs to be. R for violence and language.
HELLBOY II: THE GOLDEN ARMY (PG-13) 112 minutes * * Hellboy and friends have to save the world from creatures from a mythical realm who control a golden army. Guillermo Del Toro returns as writer/director, but this doesn't have the same sense of humor that the first film did, and we're missing David Hyde Pierce as well. Ron Perlman and Selma Blair do what they can, but this just doesn't have the energy or sense of fun adventure that it needs. PG-13 for violence and language.
HELLGATE (NR) 89 minutes * 1/2 After an accident kills his wife and son, Jeff (Cary Elwes) begins to see things... people from the shadow world. And they want to come through. A mystical journey to that world to face what happened and let it go is the only way to set things right. The supernatural elements come across as rather dry and matter-of-fact, generating little in the way of fear or excitement.
HELLION (R) 94 minutes * * 1/2 Jacob's (Josh Wiggins) increasingly delinquent behaviou ends up causing Child Protective Services to remove his little brother from the house. It pushes Jacob and his father to take more serious steps in their lives, but taking responsibility isn't going to be easy for either of them. Nice work by all of the younger members of the cast. R for language.
HELLO AGAIN (PG) 93 minutes * * * Shelley Long plays Lucy Chadman, a housewife who chokes to death and is then brought back to life a year later by a spell her sister casts. Corny and slapstick at times, charming at others, it's a fun, light comedy that does a nice job keeping us interested and entertained. Fans of Long will definitely enjoy this.
HELLO, BOOKSTORE (NR) 84 minutes * * 1/2 Small, local bookstores are growing fewer and farther between. In Lenox, Massachusetts is "The Bookstore". It's run by Matt Tannenbaum. Things are going fairly well until the pandemic hits. This is the story of a bookstore, its owner, and the community that deeply loves them both.
HELLO DESTROYER (NR) 109 minutes * * * You never know when a hit is too hard until it's too late. It's a lesson Tyson (Jared Abrahamson) learns when he critically injures another hockey player. He's sorry and he's concerned, but he also has little in the way of a good support system. A frequently quiet and depressing film that does a nice job of taking us into Tyson's mind as he deals with what has happened.
HELLO HERMAN (NR) 83 miunutes * * 1/2 Lax Morales (Norman Reedus) runs a video blogger web show focused on youth and their questions. When Herman Howards (Garrett Backstrom) kills a number of students and teachers at his high school, he asks for his story to be told on the show. Not only does Lax have some choices to make, he has a few demons of his own to deal with. The story does a nice job of not focusing on the sensationalism, but instead, looking at the meaning that lies just below the surface.
HELLO I MUST BE GOING (R) 90 minutes * * 1/2 Amy's (Melanie Lynsky) life is falling apart. Sometimes you have to hit bottom before things turn around. Amy is struggling with just how far down that bottom might be. Nice ensemble cast, but the story almost waits too long to turn the corner. R for language and sex.
HELLO LADIES: THE MOVIE (NR) 79 minutes * * 1/2 When his ex decides to come to Los Angeles, Stuart (Stephen Merchant) fakes a relationship to make her jealous. Although this was made as a supplement to the television series, it stands well on its own. That's mostly due to Stuart's character, who is a wonderfully awkward but likeable person.
HELLO MY NAME IS DORIS (R) 86 minutes * * * After attending a self-help seminar, Doris (Sally Field) decides that there's no time like the present to pursue that attractive co-worker who's been giving her some signals. Well, at least she thinks that they're signals. Field's facial expressions are delightful and she is able to quickly create a character who we is both charming and frustrating. Very nice supporting role for Tyle Daly that mirrors much of what the audience is feeling. R for language.
HELLRAISER (R) 91 minutes * 1/2 Demons to some, angels to others, they are experimentors in the further regions of experience. From the mind of Clive Barker comes this extremely gross and violent horror film. Great make-up effects and some nice camera angles that add to the atmosphere. Unfortunately, the acting is almost one-dimensional, and the music is uninventive to say the least. Somehow this managed to spawn a few sequels, probably because Barker himself wanted the story to continue.
HELLRAISER III: HELL ON EARTH (R) 86 minutes * 1/2 Mediocre sequel with good special effects but far too much cardboard acting. The plot revolves around pinhead and his attempt to destroy the box which released/created him, thereby protecting himself. He can't just take it though, someone has to give it to him.
HELLRAISER IV: BLOODLINE (R) 80 minutes * Rather contrived entry in the series that goes into a great amount of background detail to try and answer questions that we had from the first three films. Hollywood should know by now... that doesn't make for an interesting film. At least we get to see Angelique (Valentina Vargas) look normal for a little while in this one.
HELLRAISER: DEADER (R) 85 minutes * 1/2 A bizarre cult in Bucharest that apparently brings the dead back to life is the latest assignment for reporter Amy Klein (Kari Wuhrer). The truth about what they do is even more strange than the rumors. Interesting ending, but a bit muddled early on. R for violence, language, and sex.
HELLRAISER: HELLSEEKER (R) 86 minutes * 1/2 This part of the series follows Trevor (Dean Winters), Kirsty's husband, after an accident leaves him wondering if he's living or dead. Either way, he seems to be in hell. Some good effects and fairly good acting make this a reasonable entry in the series. R for violence, sex, and language.
HELLRAISER: HELLWORLD (R) 91 minutes * 1/2 When their Adam friend dies as a result of his involvement in the Hellworld online game, they should have known better than to keep playing. Lance Henriksen's presence helps this entry in the series a little, but it wraps up a bit too neatly at the end. R for violence, sex, and language.
HELLRAISER: INFERNO (R) 96 minutes * Detective Thorne (Craig Sheffer) finds himself in hell, looking for Pinhead's box that needss to be returned. He's also trying to solve a series of murders, with the only clue being the fingers of a child that are found at the site of each murder. Two stories, neither one of which are all that clear, and we're not all that interested. R for violence, sex, and language.
HELLRAISER: JUDGMENT (NR) 77 minutes * 1/2 Brother detectives Sean (Damon Carney) and David (Randy Wayne) Carter are working a serial killer case. Detective Egerton (Alexandra Harris) has been assigned to assist. But these are no ordinary killings. There are people on the other side who are reaching across to find some people deserving of special punishment. Acting, effects, and music are all very good, but the story gives up on itself about halfway through, going for a cheap and easy ending.
HELLRAISER: REVELATIONS (R) 70 minutes * The puzzle box is found by a couple of young men looking for thrills across the border in Mexico. They get a little more than they bargained for. The ending isn't too bad, though it is a bit abrupt. The worst part is that Doug Bradley is missing, and Pinhead just isn't the same. R for violence, sex, and language.
HELL'S KITTY (NR) 95 minutes BOMB Life just isn't what it used to be since Nick (Nicholas Tana) got his cat. She's a very possessive cat. This is very silly, but there are a few moments that deliver a little horror. Unfortunately, they're vastly overpowered by the moments that don't. Part parody, part musical, and mostly a mess. At least we get to see Michael Berryman, Nina Hartley, Adrienne Barbeau, and Doug Jones.
THE HELP (PG-13) 138 minutes * * * * Skeeter (Emma Stone) wanted to be a writer. She wondered what she could write about. What story could be told that hadn't already been told? Perhaps, life through the eyes of the African-American maids who worked for white people and thier families. This is the 1960s. And not everyone is happy with Skeeter's idea... or willing to work with her at first. The script is humorous and poignant, and the performances are wonderful all around. Numerous members of the cast have been nominated for a variety of awards, though at times, it's difficult to say who's doing better work than anyone else. The narration could have been a drawback, but is handled well, delivering quite a bit of information while maintaining the atmosphere of the story quite nicely. PG-13 for language.
HELP (2021) (NR) 97 minutes * * * Struggling to find a place to fit in, Sarah (Jodie Comer) finds herself at a residential care facility in Liverpool. It seems like a perfect fit. No one was expecting a pandemic. Great work by Comer in an emotional story.
HELVETICA (NR) 79 minutes * * 1/2 No matter where you look, whatever language you see in print as far as signage and advertising, in most cases, the typeface is Helvetica. This documentary follows the development and implementation of Helvetica as well as what came before and after as it relates to Helvetica. Of much more interest to those in graphic arts and related fields, but there are some interesting bits here for the rest of us.
HEMINGWAY AND GELLHORN (NR) 151 minutes * * * The life of Hemingway (Clive Owen) as told through the eyes of Martha Gellhorn (Nicole Kidman). The adventure, the passion, the politics, and the writing, as she was a writer as well. Though a little over-simplified at times, the story delivers the public understanding of Hemingway as a man of extremes. Well-acted by both Own and Kidman.
HENRI (NR) 86 minutes 1/2 Henri (Eli Jeffree Zen) was raised in a monastery in the East, where he learned the ways of peace, but also self-defense. He now lives in the southern United States, where he comes into conflict with some local boys. Tired story, with a performance from Zen that looks and sounds more lazy than gentle, and fight scenes that look overly staged.
HENRY & ME (PG) 58 minutes * * 1/2 About to undergo a procedure to help in his fight against cancer, Jack is rather depressed. While waiting for the procedure to begin, he meets Henry, whotakes him on a magical journey to meet some of the New York Yankee legends. He will learn about life and baseball from some of the greats. PG for language.
HENRY POOLE IS HERE (PG) 95 minutes * * * It would be so much easier for Henry (Luke Wilson) if people would just leave him in peace. He's returned to the neighborhood of his youth to live out the rest of his life. But not only are some of the neighbors more than a little friendly, there's a water stain on the outside of his house that has some folks convinced that its an image of Jesus. Now everyone knows that Henry is here and he's beginning to wonder what that means. The humor of life gently unfolds in this charming film that asks us to ponder the question, "How does the world know you're here... and how will it know when you've gone?" Delightful performances from the cast (Morgan Lily is adorable) make this well worth a look. PG for language.
HENRY: PORTRAIT OF A SERIAL KILLER (NR) 81 minutes * * 1/2 Based on the life of Henry Lee Lucas, a real serial killer, this rather disturbing film gives us a glimpse into the mind of a very dangerous killer. He has no remorse, and simply kills when either the desire, or the need to take care of loose ends arises. He enjoys the killing, but rather than letting it control him, he's very aware that allowing any pattern to exist will provide too many clues for the police. Creepy music, and an ending that may leave you looking over your shoulder.
HENRY V (NR) 135 minutes * * * * Kenneth Branaugh is Henry V in this brilliant adaptation of the classic Shakespearean drama. Branaugh wrote and directed this as well, and his uncanny sense of how to present these stories makes them a joy to watch. The story of Henry V's struggles with the French gives us a fascinating study of character and Branaugh performs it to perfection.
HENRY'S CRIME (R) 96 minutes * * 1/2 Hnery (Keanu Reeeves) is in the wrong place at the wrong time and ends up in jail for a bank robbery. So, maybe since he did the time, he should do the crime after all. Reeves mumbles his way through this, but it manages to work fairly well in contrast with Vera Farmiga's feisty character. She does a great job here, and James Caan has a nice supporting role. Not particularly strong early on, but it ends well, thanks to Farmiga's work and a story that eventually finds it's footing. R for language.
HER (R) 119 minutes * * * * Theodore (Joaquin Phoenix) is a writer, but he doesn't really socialize with others very much, and he's still getting over his failed marriage. His writing has stalled a bit, so he decides to get a new operating system with an artificial intelligence as it might help. Worst case scenario: it will be a fun, new "toy". But Samantha (voiced by Scarlett Johansson) is much more than a toy, and Theodore finds her to be far more understanding and supportive than he ever dreamed possible. The story builds beautifully, and its fascinating to watch their relationship develop and to note the variety of other people's reactions, including our own. It's a thoughtful, and spot on exploration of artificial intelligence and the meaning of relationship, with a remarkably beautiful and poetic script, well-deserving of the Oscar it won. R for language and sex.
HER ALIBI (PG) 90 minutes * * 1/2 Phil Blackwood (Tom Selleck) is a mystery writer who has been in a slump ever since his wife divorced him to marry a literary critic. Now Nina (Paulina Porizkova) has walked into his life. She's an inspiration, a vision from heaven, and his imagination is off and running again. Selleck plays this sort of role well, and the story is just mysterious enough to keep us interested. It's also a pleasure to see William Daniels in a wonderful supporting role as Blackwood's agent. It definitely feels like a made for TV production, but at least it's a good one.
HER PEN PAL (NR) 83 minutes * * 1/2 Her event planning career is doing well. Victoria (Mallory Jansen) is even going to plan the wedding of one of her best friends. The awkward part is that her ex is going to be at the wedding... with his "plus one". It is a destination wedding though, in Paris, where an old friend of Victoria's just happens to live.
>HER SMELL (R) 132 minutes * * * 1/2
A talented punk rocker, Becky Something (Elizabeth Moss) has been on a fast track to the top. As we join the story, that success is taking a frightening toll. Becky is struggling with addiction, and treating everyone around her so badly that they are all beginning to give up on her. It's a mesmerizing and horrible descent, and Moss does a marvelous job portraying it. R for language.
HERBIE FULLY LOADED (G) 94 minutes *
As silly, unrealistic, and thinly plotted as any of the other Herbie films ever was. Michael Keaton, Lindsay Lohan, and Matt Dillon do what they can, but there isn't much to work with here. It was definitely not a wise choice for Disney to recycle this old idea. Rated G because not very many people will want to see it anyway.
HERCULES (PG) 92 minutes ½
Hercules (Lou Ferrigno) battles King Minos (William Berger) and the evil sorceress Adriana (Sybil Danning). Can he save the world and his girlfriend at the same time? Maybe with the help of his own sorceress (Mirella D’Angelo). Acting was never Ferrigno’s strength. PG for violence.
HERCULES (1997) (G) 87 minutes * * * 1/2
Disney takes a step back in the direction of "Aladdin" with this release. It's more fun and action-filled than the last couple of animated features. Of course, there is the usual corruption of the original material... None more evident than the highly ironic use of a song that talks about this story being the "gospel truth". (The gospel coming AFTER the Hercules mythology
and the film being FAR from the truth!) Ah well, it's fun to watch and the animation, though not astounding, is the typical high quality material you'd expect from Disney Studios.
HERCULES (2014) (PG-13) 94 minutes * * 1/2
With his twelve labors done, Hercules (Dwayne Johnson) and a handful of friends fight for whoever is willing to pay them. Their latest venture requires them to train an army, which is not something they are particularly skilled at doing. This tends to skip over much of the classic story, using it as background, which is disappointing, though the battle scenes are well-done. PG-13 for violence, language, and nudity.
HERCULES REBORN (NR) 91 minutes 1/2
After Hercules (John Hennigan) kills his family, he is exiled. But to help a young man whose bride has been kidnapped by an evil king, he will lend his help. Really bad dialogue and not much in the way of story.
HERE (R) 96 minutes * * *
A cartographer working to create a more accurate map of Armenia connects with an art photographer formerly from Armenia. It's almost a slice-of-life film because both characters are so non-descript. A little tedious at times, though the scenery is nice.
HERE AND NOW (R) 86 minutes * * 1/2
It's the diagnosis no one expects to receive. When Vivienne (Sarah Jessica Parker) gets the news that she has a brain tumor, she begins to look at her life and priorities in a different light. It's a gentle and introspective film, which doesn't really give us a very deep look at Vivienne because so much is happening internally for her, but at the same time, it feels very genuine. R for language and sex.
HERE COMES THE BOOM (PG) 101 minutes * *
Lots of school face budget cuts. Not many have a teacher who'll take up the cause and become a mixed martial arts fighter. No surprises here, except perhaps how quickly Kevin James' character goes from being a first-round knockout to winning it all. The fight scenes are very well choreographed for the most part, and though most of the characters are paper thin, James uses his humor and charm to great advantage and makes this work just well enough. PG for violence and language.
HERE COMES THE DEVIL (NR) 98 minutes * 1/2
On a family trip, the kids go off to hike around some nearby caves while mom and dad get frisky. Gone all night, when the kids return... something about them just isn't quite right. There are a few creepy moments here, but mostly thanks to music and sound effects rather than good acting or effective writing.
HERE ON EARTH (PG-13) 93 minutes * *
Leelee Sobieski and Chris Klein play mismatched young lovers in this romantic tear-jerker. The problem is that this story has been done to death by so many talented people over the years, it's getting a bit tired. Aside from Sobieski, there's nothing fresh about this version either. She's a treat to watch as she breezes into a room and it's obvious that she enjoys her work, but it isn't enough to carry a tired story where we already know the outcome. PG-13 for language.
HERE TODAY (PG-13) 113 minutes * * * 1/2
Charlie Burnz (Billy Crystal) has been a comedy writer for a long time. He's past his prime. and struggles with memory lapsesbut still has much to offer. A chance meeting with Emma Payge (Tiffany Haddish) adds an interesting wrinkle to his life. And then the unthinkable happens. Charlie desperatley needs a friend, and Emma is ready to help. Wonderful work by both Crystal and Haddish. PG-13 for language.
HEREAFTER (PG-13) 123 minutes * * 1/2
Death and what comes after are ideas that many people wonder about. The three main characters here are touched by death in different ways, and struggle to deal with what it means to them, and to those they care about. The story is more than a little disjointed, and the ending doesn't feel true to the rest of the film, which makes us wonder what director Clint Eastwood had in mind. PG-13 for violence and language.
HEREDITARY (R) 123 minutes *
Annie's (Toni Collette) mother has a very strong hold on her family. When she dies, there are drastic changes, not just due to grief, but to the fact that she was also mentally ill. information that was once secret is now bubbling to the surface. When a terrible accident results in the death of her daughter (Milly Shapiro), Annie loses most of her own grip on reality, and begins to seek supernatural answers. Despite strong performances, the story is so contrived and symbolic that it loses most of its effect. R for violence, language, and nudity.
THE HERETICS (NR) 84 minutes *
Kidnapped by a religious cult, Gloria (Nina Kiri) is subjected to a ritual, at the conclusion of which, several cult members die. The next morning, she is free. Just prior to the return of the locust moon, she is kidnapped again by one of the remaining cult members. Unknown to Gloria, a demon has been growing inside her, and it's about to take over. There are some good effects, but the story mostly traps itself in a room that is too small for what it tries to do.
HERMAN'S HOUSE (NR) 79 minutes * * *
Herman Wallace spent over 40 years in solitary confinement in a Louisiana prison. This is the story of his 12 year friendship with an artist who asked him to dream, to share with her what his house might look like if he could design it. In some ways, the film is as much about director Angad Singh Bhalla, though that undoubtedly wasn't the original intent.
HERMIA & HELENA (NR) 83 minutes * * *
Hermia and Helena are characters from Shakespeare's "A Midsummer Night's Dream". While this isn't an adaptation of that story, it puts Camilla (Agustina Munoz) and Carmen (Maria Villar) in similar situations in a modern setting. Great characters, with a story that dances around them as they try to move forward with their lives.
HERO (PG-13) 112 minutes * * *
Just what is it that makes a hero? Is it a lifestyle, or a moment of action inspired by selflessness? A wonderful and inspirational story with fine performances by Dustin Hoffman and Geena Davis. This is one of those films that will stay with you.
HERO (2002) (PG-13) 94 minutes * * *
It is the vision of the leader of the kingdom of Qin to unite the seven states into one great land. (That we would come to know as China.) But to accomplish this, much blood will be shed. Nameless (Jet Li) must decide where his loyalties lie and whether this vision of a unified land is one that should be embraced or ended. Plenty of great swordplay and beautiful artistic design throughout. The story does keep us at arms length though, never really working to get us to care about these characters or their dilemma. PG-13 for violence.
THE HERO (2017) (R) 92 minutes * * *
With his career on the decline, Lee Hayden (Sam Elliott) also gets the bad news that pancreatic cancer will be cutting his time short. A lifetime achievement award at a small film festival, and the unexpected interest of a young woman have him looking back on his life. What it was, and is, and might still be. Very nice cast that supports Elliott well. R for language and sex.
HERO DOG: THE JOURNEY HOME (PG) 89 minutes * 1/2
On his way home to his two children, Royce (Steve Byers) ends up stranded in the wilderness. He has the family dog with him, but Royce is blind. Will Chinook (the dog) be able to help Royce before it's too late? OK adventure for the family. Not terribly exciting though. PG for violence.
HERO MODE (PG) 86 minutes * * 1/2
Troy (Chris Carpenter) has always wanted to work in his family's video game business. Now that he finally has the chance, he'll need to learn what it means to be part of a team, as they must create an award-winning game in thirty days or the business might not make it. Nice family film aimed at the preteen crowd. PG for language and violence.
THE HERO OF COLOR CITY (G) 70 minutes * * 1/2
Ben's crayons come to life each night and have various adventures. Yellow has a history of being scared of everything, but that will change after tonight's adventure. Cute and colorful story for the 4 to 6-year-old crowd.
HERO QUEST (NR) 81 minutes * *
The hyenea's have always caused his village difficulties, but young Savva is determined to put a stop to it. An interesting story, though it wraps up too quickly and conveniently at the end. It's also a little intense for the 7 and under crowd. Character animation is good, but the backgrounds could have used more work. The voice cast features some big name talent, including Milla Jovovich, Whoppi Goldberg, Joe Pesci, Sharon Stone, and Jim Cummings.
HERO WANTED (R) 89 minutes * * 1/2
Liam (Cuba Gooding Jr.) was a hero when he saved a young girl's life. It seemed logical to play the role of hero again when he wanted to impress a woman he's attracted to. But his plan goes awry and now there are people who want him dead. Reasonably good acting and production quality, though nothing outstanding. R for sex, violence, and language.
HE'S JUST NOT THAT INTO YOU (PG-13) 120 minutes * * *
Why do so many women continue to look at relationships with such a positive and romantic attitude when men continue, almost without exception, to be both realistic and self-centered? That's the question this film asks, and we see it played out through the various friendships and relationships of a number of characters. Ginnifer Goodwin is the primary focus here, and is charming and cute. But the rest of the ensemble cast does a great job here as well in this fun and romantic film. Based on the book of the same title by Greg Behrednt and Liz Tuccillo. Also starring Scarlett Johansson, Ben Affleck, Jennfier Aniston, Jennifer Connelly, Kevin Connolly and Drew Barrymore. PG-13 for language and sex.
HESBURGH (NR) 104 minutes * * *
Theodore Hesburgh was a man of many talents. A priest, a teacher, civil rights advocate, political influencer, President of the University of Notre Dame, and a person who knew how to bridge the gaps that existed between most people and organizations. This documentary tells his story. The story of a man who was trusted and respected by so many.
HESHER (R) 96 minutes * * *
Coping with the death of his mother is more than a little difficult for young TJ (Devin Brochu). And though Hesher (Joseph Gordon-Levitt) at first seems to be yet another problem, he does care, he just has his own way of dealing with things. Gord-Levitt delivers a performance that is offbeat, offensive, and brilliant. Brochu and Piper Laurie do fine work here as well. It's a film you're unlikely to forget, even if it isn't among your favorites. R for violence, sex, and language.
HEX (R) 89 minutes *
Sarah, (Kayla Adams) isn't really interested in making new friends. Against her better judgement, she begins to hang out with a group of fellow skydivers. When she joins them on a special jump, strange things start happening. The sky-diving scenes are nice, but the story is a mess. It wanders for a long time, moves over to a "Final Destination' idea for a bit, and then actualyl gets interesting in the last ten minutes, but opts for a sentimental ending that doesn't make sense. R for language and nudity.
HEXED (R) 89 minutes *
Arye Gross is a hotel clerk who's always daydreaming. But now those dreams have become a nightmarish reality as a beautiful model is staying in the hotel and causing more trouble than he ever dreamed. A few cute bits, but mostly idiotic and filmed on a shoestring that comes undone rather quickly.
HEY ARNOLD! THE JUNGLE MOVIE (NR) 80 minutes * *
Rather than being a sequel to the previous "Hey Arnold" film, this film continues the story from the cartoon series. Arnold is still looking for his parents, and his whole class is going with him on a trip that just might provide the answer. Nice continuation of the series for fans to enjoy.
HEY ARNOLD: THE MOVIE (PG) 72 minutes * *
A big corporation is going to tear down Arnold's neighborhood and turn it into a mall, but not if Arnold and his friends can put a stop to it. Nothing really to distinguish this from the episodes on TV except the length. Basically harmless stuff, just not that interesting, even to the kids that are watching. PG for violence.
HEY BOO: HARPER LEE AND TO KILL A MOCKINGBIRD (NR) 80 minutes * * *
The story of Harper Lee and the book that sill sells almost a million copies a year. The film not only offers kudos and fond memories, but also provides a well-rounded look at the creation and effect of a powerful and influential novel, and the woman who created it.
HEY GOOD LOOKIN' (R) 74 minutes * * 1/2
1950s Brooklyn provides the setting for Ralph Bakshi's examination of the coming of age experience. Stylistically very similar to other Bakshi projects. R for language, sex, and violence.
HEY THERE, IT'S YOGI BEAR (G) 89 minutes * * * 1/2
It's all the same story as usual with Yogi Bear and the ranger fighting over access to picnic baskets and the park grounds. Boo-Boo, Cindy, and Corn Pone are here as well as a few other familiar faces. A fun trip with familiar characters.
HICKOK (NR) 84 minutes *
Bill Hickok (Luke Hemsworth) finds himself tasked with bringing law and order to a very wild town in the West. The script is less than exciting, and Luke is clearly not the most talented of the three Hemsworth brothers in the acting department. What should have been a fun and exciting western is instead rather dull and dry.
HIDALGO (PG-13) 129 minutes * * *
It's more than just a horse race, it's a time-honored tradition and it's the opportunity for Frank Hopkins to look within himself and discover who he truly is. Hidalgo (his horse) already knows. Nice adventure story with beautiful scenery and a story that mixes both western and middle-eastern ideas. Based on the life of Frank T. Hopkins. PG-13 for violence.
THE HIDDEN (R) 95 minutes * *
Great story idea about a body-switching alien who is being pursued by an LA cop and an FBI agent who is really another alien. The dialogue is weak throughout, which leads to some confusing moments as we try to figure out exactly what's happening. Nice ending though, and fans of science fiction will most likely enjoy this.
HIDDEN (2015) (R) 79 minutes * *
A fallout shelter provides refuge for a family during an unexplained outbreak. The plot only really hits noe note, and delivers one twist. Even with a fairly short film, it just isn't enough. There are some flashbacks that help a little, but we need to see more for this to be interesting. R for violence.
HIDDEN AGENDA (R) 92 minutes * *
Dolph Lundgren stars in a story about an organization that helps people "disappear". When their security is compromised, Lundgren uncovers layer upon layer of double-cross and hidden agenda. Lundgren is pretty good here and the rest of the cast is reasonably good as well. What hurts, no real surprise here, is the script. While some of the misdirections work well, the characters launch into lengthy explanations at times so we don't get too far off track. It gets progressively worse as the film moves along. Then there are those annoying freeze-frames during the action sequences that are even worse than using slow-motion. R for violence and language.
HIDDEN AGENDA (2015) (NR) 88 minutes 1/2
He's good at his job, but Detective Matthews (Hans Hernke) has been able to solve most of his cases while sitting at his desk. This new case not only means getting out in the field, but working with a new young detective (Cameron Bigelow) who has a chip on his shoulder. Matthews is also having issues at home. Most of the acting isn;t very good, but the script is even worse. Both Hernke and Bigelow are given characters who not only aren't likeable, but whose attitudes about their job are unrealistic. The ending is less than satisfactory.
HIDDEN AWAY (NR) 85 minutes *
Alexandra (Emmanuelle Vaugier) runs away from her problem marriage to save herself and her daughter. All is well until her old husband figures out that her “death" didn’t happen and decides to track her down. Predictable and often illogical story, with a lot of B-grade TV movie acting (or over-acting). Even the music seems to be overly dramatic, making it feel almost silly rather than serious.
HIDDEN COLORS (NR) 109 minutes * * *
Tariq Nasheed takes a deep look at the history of people of color. Particular attention is paid to how much of this history is available to be known, despite how UNavailable it is in mainstream education for children and adults of ANY color. The educational system chooses a relatively small portion of information to teach, and often, what it leaves out is just as important as waht it teaches. Thoguht-provoking and very informative documentary.
HIDDEN COLORS 2: THE TRIUMPH OF MELANIN (NR) 151 minutes * * 1/2
A further exploration of the stories from the first film. There is quite a bit of information here, but its less well organized than the first and tends to ramble as it attempts to include more material.
HIDDEN COLORS 3: THE RULES OF RACISM (NR) 142 minutes * * ½
Interesting third part of a series which again tries to cover a wide variety of topics in a rather rambling fashion. The statistics are very informative and it does do a good job of bringing parts of history to the attention of the viewer that they may well not be very aware of. Unfortunately, some of the topics are presented in a style that leaves them open to being discounted as conspiracy theory.
THE HIDDEN FACE (R) 90 minutes * * 1/2
What was supposed to be a fun little prank goes horribly wrong when Belen (Clara Lago) pretends to leave, but ends up trapped within the walls of her apartment. The ending of the film doesn't deliver the power that should have been there, and the very beginning is a bit tedious, but there's some very good suspense in between the two. R for sex and language.
HIDDEN FIGURES (PG) 120 minutes * * * 1/2
When NASA was finding themselves falling behind Russia in the space race in the early 1960s, there was a group of people who were essential in the effort to turn that around. These wimen of color were brilliant, hard-working, dedicated, and without them, it is highly unlikely that the U.S. would have gotten as far, as fast, and been as successful as they were. Solid drama with touches of both humor and frustration, which often go together. PG for language.
HIDDEN GEMS (NR) 84 minutes * * 1/2
It's a very special ring that her grandmother gave her. When Addy (Hunter King) loses it, she enlists the help of Jack (Bean Mirchoff). They've both struggled with romantic relationships in the past, but something just seems right between them. Maybe the ring is more magical than Addy was willing to admit.
HIDDEN IN THE WOODS (NR) 84 minutes * 1/2
Two sisters, raised in secrecy, finally see a qay to escape their abusive father. But it's going to get worse before it gets better. William Forsythe and Michael Biehn are both far too talented to waste their performances in a film like this, but they're also the only parts worth watching.
A HIDDEN LIFE (PG-13) 169 minutes * * * 1/2
When Austria fell to Germany early in World War II, Austrian men were drafted as soldiers. This is the story of Franz Jagerstatter (August Diehl), who refused to fight. A thoughtful and introspective film from writer/director Terrence Malick. It is a beautifully constructed film. There is quite a bit of narration, which isn't something I usually like, but Malick uses it far better than most directors. Not all of us live lives that are well-known by many, yet our lives are still important and memorable. PG-13 for violence.
HIDDEN ORCHARD MYSTERIES: THE CASE OF THE AIR B&B ROBBERY (NR) 85 minutes 1/2
In their work to solve a robbery case in the neighborhood, a couple of junior detectives uncover more secrets than they expected. The appeal here seems to be aimed at the preteen crowd, but there's so much dead time in this poorly written script that it's difficult to see why anyone would be interested.
HIDDEN PEAKS (NR) 100 minutes BOMB
With no memory of how she arrived, Eliza (Tamara Guo) must now fight to survive in a strange world. There are others fighting to survive, and Reapers who are trying to kill them. The plot is bad video game material, and aside from a handful of moderately interesting effects, the rest is just... bad.
HIDE (R) 94 minutes * *
Time in jail has made Billy (Christian Kane) a bit contrite for his part in what happened. but Betty (Rachel Miner) doesn't feel the same way. She's been on the run ever since Billy went to jail, and she wants to get their money and celebrate. Strange film with a style that clearly evokes echoes of "Pulp Fiction", but the tone here is much darker and more sinister. Weird ending too... R for violence, language, and sex.
HIDE AND SEEK (R) 97 minutes * *
Nice performances from Robert DeNiro and Dakota Fanning, but the story really doesn't leave us in suspense all that long. Fanning's makeup is one of the more creepy aspects of the film. Famke Janssen's character doesn't get developed enough either. We can tell there's more too this, but apparently it was cut from the film. John Ottman's soundtrack sets the mood nicely, it's just too bad the film didn't do a better job of living up to it. R for violence and language.
HIDE AND SEEK (2021) (R) 79 minutes * *
Searching for his brother, Noah (Jonathan Rhys-Meyers) finds himself in a strange and dark world. There are clues that he finds, but there are hidden dangers along the path. The story is a littlt too twisted and difficult for its own good, and despite some suspenseful moments, it loses us along the way. R for violence, nudity, and language.
HIDEAWAY (R) 99 minutes * 1/2
Jeff Goldblum stars as a man brought back from death in a car accident who finds himself psychically linked to a killer, also recently back from the dead. The story plods along slowly for almost an house before things finally start to move along. It ends well, but it's rather hard to sit through for most.
HIDING OUT (PG-13) 95 minutes * * 1/2
Jon Cryer is an FBI witness on the run and hiding out in his cousin's high school... as a student. Cryer makes this fun to watch, but if you're looking for a story with depth, you might want to try something else.
HIGH CRIMES (PG-13) 110 minutes * * 1/2
Everything seems to be going well for Claire (Ashley Judd). She might even be looking at a partnership in the law firm she works for. But then she discovers that her husband may not be who he says he is and that the government is accusing him of murder. Although the set-up is done very nicely, this quickly settles into the pattern of most military court films, offering little to differentiate itself. Judd, along with Morgan Freeman, Jim Caviezel, and Amanda Peet, do a fine job with their characters, which keeps it flowing well, but the story just lacks that something extra that would have been nice to see, and that might have given it the edge it's lacking. PG-13 for violence and language.
HIGH EXPECTATIONS (NR) 91 minutes * * 1/2
Always the odd one out, Jack (Taylor Gray) was even cut from the soccer team by his own father. He has confidence issues and anger issues. Miraculously, he gets another chance. He ends up trying out for a team that will be playing the team his father coaches. Does he have what it takes?
HIGH FIDELITY (R) 104 minutes * *
Rob Gordon (John Cusack) has lousy luck with women and proceeds to tell us his story. The characters here are wonderful and brought to life with the amazing talents of Cusack, Lili Taylor, Lisa Bonet, Sara Gilbert, Tim Robbins, Joan Cusack and many more. The story is another matter, being mired in depression and lacking effective direction. Heavily symbolic in many spots, this is a film that fans of Cusack will enjoy much more than those who are looking for entertainment or something humorous. Filmed in Chicago. R for language.
HIGH FLYING ROMANCE (NR) 81 minutes * * 1/2
They knew each other when they were much younger, but things are different now. Gavin (Christopther Russell) is a widower with a daugheter, and Hannah (Jessice Lowndes) isn't looking for anything. A meddling ex-girlfriend (Donna Benedicto) will cause a litte trouble, but love will win the day.
HIGH LIFE (R) 104 minutes * 1/2
It's an experiment gone wrong. A group of criminals agree to be sent into space for a series of experiments on human reproductioin. The film breaks into two stories. That of Dibs (Juliette Binoche) and the experiments, and that of Monte (Robert Pattinson) and his daughter. The first is rough, dark, and angry. The second is tender and inquisitive. The two don't connect well, and the story in the second is stronger and more clear about what it is trying to say. R for sex, violence, and language.
HIGH NOON (NR) 91 minutes * 1/2
Adapted from the Nora Roberts novel, this is the story of Lieutenant Phoebe McNamara (Emilie de Ravin), who is a hostage negotiator by day, and spends the rest of her time raising a daughter and coping with her agoraphobic mother. Predictable and less-than-exciting. The script is simple, without much depth, and the performances are adequate, making this a very forgettable film.
THE HIGH NOTE (PG-13) 106 minutes * * * 1/2
Working with Grace (Tracee Ellis Ross) has been wonderful for Maggie (Dakota Johnson). She's learned a lot, and discoverd that she has a natural talent for producing. Getting a break in the music industry is going to be difficult, and perhaps even more risky than she thought possible. Believability runs a little thin in a few scenes, but it's a very good story, and it leaves us wanting more at the end because we've grown to really like so many of the characters. PG-13 for language.
HIGH ON THE HOG (R) 93 minutes 1/2
When a particularly potent strain of marijuana hits the streets, Agent Dick (Joe Estevez) is on the case. All the clues are pointing to Big Daddy (Sid Haig). The cinematography and ome of the story are similar to 1970's exploitation films. Most of the story seems to be more filler than actual content, doing a great job of creating atmosphere while never managing to move the story along.
HIGH-RISE (R) 114 minutes * 1/2
Set in a high-rise apartment building in London in the mid-1970s. When the power goes out, the whole world seems to spin out of control, with sex and violence leading to the collapse of anything resembling sanity or morality. There's some interesting social commentary, but the story is missing the much needed logic that would give this some structure. R for violence, sex, and language.
HIGH ROAD TO CHINA (PG) 100 minutes * * *
When Eve’s (Bess Armstrong) father goes missing, she hires Patrick (Tom Selleck) to help find him. There are some complicating factors. It’s World War I, Patrick is an alcoholic, and her father was last seen in China. Patrick does know how to fly though, so that might help. Selleck’s casual approach works well, though it’s the combination with Armstrong that really makes it work.
HIGH SCHOOL HIGH (PG-13) 80 minutes *
Jon Lovitz stars in this low-budget comedy/parody that won't elicit more than a few smiles from most viewers. It is, at least, mercifully short. Unless you're a real fan of Lovitz, stay away! PG-13 for language.
HIGH SCHOOL LOVER (NR) 84 minutes * 1/2
Kelley (Paulina Singer) is 17 when she falls in love with Christian (Francois Arnaud). He's almost 10 years older, very rich, and very famous. It only takes Kelley's dad a few minutes to figure out what's going on, but can he stop it before it ruins her life? Good production values, but the story is cheap and unimaginative.
HIGH SCHOOL MUSICAL (G) 96 minutes * *
Choreographer Kenny Ortega directed this Disney TV musical, which has great choreography, and a few nice songs as well, though it could have used more. The story is the real weakness here. The captain of the basketball team and a new girl in town find themselves inexplicably drawn to audition for the high school musical and win the lead roles over the bratty sister/brother combo who usually get the parts. Definitely sub-par for Disney, who usually manage to tug on the heart strings with their stories. The acting is fine, nothing great, but if the story had any depth, it would have been a good deal better.
HIGH SCHOOL MUSICAL 2 (NR) 104 minutes * * 1/2
With the same characters and crew as the first film, it's much the same as the first film in many ways. The soundtrack is bright and lively and the dancing is well-choreographed. The story is a bit better this time, with everyone working or playing at the country club. There's a talent show that Sharpay (Ashley Tisdale) expects to win and everyone else hoping to beat her. The lesson, of course, being that success isn't as important as having friends and being true to who you really are.
HIGH SCHOOL MUSICAL 3: SENIOR YEAR (G) 106 minutes * * 1/2
Troy (Zac Efron) and Gabriella (Vanessa Ann Hudgens) and friends are about to graduate. But there's time for one more musical about what they expect to face and how their friends and families will help them. This entry in the series focuses more on Efron's character, which is a bit disappointing because of how much the other characters have developed, and Hudgens' costumes are horrible. Still, the music is some of the best in the series.
THE HIGH SCHOOLER'S GUIDE TO COLLEGE PARTIES (NR) 88 minutes BOMB
High school senior Shaq (Nate Rubin) is certain that college parties are what it takes to succeed. So he decides to throw one of his own. It's not going to go well. Mostly that would be due to the incredibly boring story and the actors who all appear to be much older than the characters they are playing. Apparently, quite a few people involved with this forgot to read up on how to make a movie.
HIGH SPIRITS (PG-13) 94 minutes * * 1/2
A deteriorating castle in the country, a debt that can't be met, a greedy debt collector, and a group of strange people who are committed to saving the castle. Then there are the ghosts, and when the fake ones are supplemented by real ones, trouble isn't far behind. Set in the beautiful Dromore Castle in Ireland, and featuring the talented Peter O'Toole along with Darryl Hannah, Liam Neeson, Beverly D'Angelo, and Steve Guttenberg, this has all the right look. After a promising beginning though, it flounders and never really does much after that. PG-13 for language.
HIGH STRUNG (PG) 91 minutes * * 1/2
Fairly standard story about a talented dancer at an elite school and her struggles. The spoiled youth are here as well as the talented free spirits from the neighborhood. The music and the final dance number give this a nudge into the slightly better than average category. PG for language.
HIGH TENSION (R) 87 minutes * 1/2
Spending the night at the house of her friend Alex's parents soon turns into a nightmare as a homicidal maniac chooses the place to start a killing spree. Weak script and amateurish acting have us far too bored by the time the somewhat interesting twist comes along on the last few minutes. It also makes us wonder how that second car got there... R for violence and language.
HIGHER GROUND (R) 104 minutes * * 1/2
Always trying to be the best person she can be, Corinne Walker (Vera Walker) struggles with the occassional temptation, especially in regard to some sexual fantasies. Nice work by Farmiga is a very realistic religious drama. Farmiga's sister Taissa plays her as a teenager. Adapted from the book "This Dark World" by Carolyn S. Briggs. R for language and sex.
HIGHER LEARNING (R) 124 minutes * * 1/2
College life at Columbus University, with tensions that center around racial and sexual issues, as presented by director/writer/co-producer John Singleton. Strong characters populate the film, and there is a good deal of truth to the topics dealt with. Omar Epps does a wonderful job as Malik, a young athlete looking for answers and focus in his life. Drags on too long though, stalling out when it begins to concentrate on a group of skin-heads.
HIGHER POWER (R) 89 minutes *
Joe (Ron Eldard) was already beating himself up for his failures as a father. But a power-crazed scientist (Colm Feore) is going to use Joe to harness the power of a gamma ray that is about to destroy the planet. If that doesn't make sense, don't worry, the rest of the movie only gets more confusing as it goes along. There are some nice effects, and the acting isn;t bad, despite how the script doesn;t give any of the characters much depth or personality. R for violence and language.
HIGHLANDER (R) 110 minutes * * *
Connor McLeod (Christopher Lambert) has one final opponent to face. Only one may remain to claim the prize. It's a great story, and the stuff of legend, with beautiful scenery, and well-done special effects and photography. R for violence, sex, and language.
HIGHLANDER ENDGAME (R) 82 minutes * 1/2
The end approaches as Connor and Duncan must face Jacob Kell, who has grown stronger and stronger and now feels that it's time to destroy them. CHristopher Lambert seems to be tired of the role and Adrian Paul is not what you could call a great actor. Much of the film is cartoonish, especially the "quickening" scenes, and that will disappoint fans and confuse newcomers. Fans will also know the only way this can end long before they see it despite how the storyline jumps back and forth through time, trying to confuse us. On the positive side, perhaps this is actually the final entry in the series. R for violence, language, and sex.
HIGHLANDER: THE FINAL DIMENSION (PG-13) 89 minutes * 1/2
Too many flashbacks and an introduction that lasts about 30 minutes really hurt this films effectiveness. There's some nice scenery here, but the story is poorly told and not well directed. This third in the series is the most inept, and only of interest to die-hard fans.
HIGHLANDER II: THE QUICKENING (R) 84 minutes * *
There are a number of great special effects, but there are others that come across very poorly. It's an uneven film in other aspects too, with the best part simply being that we get to see the characters again. Otherwise, it's thoroughly disappointing.
HIGHWAY (R) 73 minutes BOMB
Two potheads in search of a secret field of marijuana. The catch is that its just off Hillbilly Highway in Kentucky. So, they leave Atlanta and head north in hopes of finding the elusive treasure. Bad acting, almost non-existent budget, and not particularly funny. R for language and sex.
A HIJACKING (R) 99 minutes * * *
A cargo ship on its way to Mumbai is hijacked by Somali pirates. They want millions in exchange for releasing the ship, but the parent company isn't willing to pay. A grittier and darker story than "Captain Phillips", but that adds to the intensity quite well. The script and performances are uneven though, with some that are quite good, while others are less convincing. R for language.
HILARY AND JACKIE (R) 119 minutes * * *
Emily Watson and Rachel Griffiths star in a story about two sisters, both extremely talented musicians, and the different paths their lives took. Watson and Griffiths both do outstanding work here and we are quickly drawn into their rivalry. It's a moving portrait of siblings who love each other deeply, yet remain rivals throughout their lives in one way or another. The soundtrack is quite good as well, featuring music from a recording by the real Jacqueline du Pre. R for language and sex.
HILLBILLY ELEGY (R) 111 minutes * * * 1/2
Things are looking great for J.D. (Owen Asztalos/Gabriel Basso), with the liklihood of a bright future. And then the call comes. He's needed back home to deal with his mother. Her behavior and coping skills threaten once again to bring everything down. The film moves smoothly between past and present as J.D. reflects on his life and looks to the future. Where we come from shapes us. We can learn from it or let it weigh us down. A fine cast with wonderful work by Glenn Close and strong direction from Ron Howard. R for language and violence.
THE HILLS HAVE EYES (2006) (R) 103 minutes * 1/2
Based on the 1977 film by Wes Craven, this modernization opts for increased gore and an extra fifteen or so minutes. We didn't really need the extra time and we're sorely missing the presence of Michael Berryman. The modernization of the story works fairly well, but there are far too many cheap noise scares and silly mistakes that the family makes. R for violence and language.
THE HILLS HAVE EYES PART II (R) 87 minutes *
One by one, they die again. This time around, the cannibal family gets to feast on a group of bikers who took the wrong road to their destination. There are a couple of mildly interesting moments, but they are overshadowed by the lack of logic. R for violence and language.
THE HILLS HAVE EYES II (R) 85 minutes 1/2
Nobody has been to the hills for awhile, but when some surveillance equipment is installed, the people who did it disappear. It seems that someone was already watching... This is NOT a remake of "The Hills Have Eyes, Part II", which is good, because that was a bad movie. This one is just a bad sequel to a remake of the first movie. More gory, but less interesting. R for violence, language, and nudity.
THE HILLS RUN RED (R) 76 minutes * 1/2
Once upon a time, a mysterious horror film disappears, along with its director. When some young film buffs go looking to see what they can find, they discover the killer from the film... and he's real. It's an interesting idea, with a couple of twists late in the film, and a few fun bits for horror film fans. Really bad ending though. R for violence, sex, and language.
HILMA (NR) 112 minutes * * * 1/2
With a deep interest in scince, Hilma (Tora Hallstrom/Lena Olin) finds herself in the world of art because of her natural talent. The death of her younger sister and explorations of spiritualism helped shaper her into an abstract artist. One of the first in that field, in fact, and eventually she would be recognized as one of the founders of Modernism. Hallstrom is the daughter of director Lasse Hallstrom and actress Lena Olin. A fine piece of work from all.
HIM (NR) 136 minutes * * *
Struggling with parents who have divorced and begun new families, failing grades, and a variety of other intense feelings, Him (Fionn Whitehead) is having a difficult time. To complicate the situation even further, Him also has telekinetic abilities. Abilitites which are more heightened when he is upset. Interesting story, and while the supernatural element is central, there is strong focus on the emotional and psychological aspects of the characters.
HIM (2016) (PG-13) 76 minutes BOMB
The paranormal investigation of a haunted warehouse uncovers more than expected when an evil clown makes an appearance. Really bad sound quality, though the dialogue and acting aren't really worth hearing... or seeing. Originally titled, "The Devil's Warehouse", which is a much better title. PG-13 for violence.
HIMALAYA (NR) 104 minutes * * *
Every year, they travel through the Himalaya mountains to trade their salt for grain. The leadership of their village is in question now as the chief's heir has met with an accident and his grandson is only a boy. Breathtaking scenery provides an astounding backdrop for this story of a power struggle, a coming of age, and the lessons learned from life and death. Filmed in Nepal and nominated for an Oscar as best foreign film, this is an inspiring film that gives us a glimpse into another world.
HINDENBURG: THE LAST FLIGHT (NR) 187 minutes * 1/2
Very drawn-out and slowly-paced story which mostly serves to attract attention to the bad script and very mediocre acting. Less a disaster film and more of a light drama that should have been much shorter.
HIPSTERS (NR) 128 minutes * * * 1/2
When Mels (Anton Shagin) takes part in a raid on a hipster club, he's in for a surprise. He falls in love with Polza (Oksana Akinshina) and begins to hang out with the rest of the hipsters who are her friends. But, as with most styles, change lies just around the corner and Mels and Polza will be faced with what that means to their relationship, their friendships, and their future. The photography, editing and music do a wonderful job of transporting us to a very unique time and place.
HIRED GUN (NR) 93 minutes * * *
They've played on so many songs, so many major hits, and often without credit. They are the hired guns, the touring and session musicians wh make the music we love to hear. This is the story a quite a few of them. Great stories, amazing guitar licks and drum riffs, and wonderful video clips. It's an exciting and informative look at another side of the music industry. If you're a fan, you'll be wishing this lasted much longer because the stories are so interesting. If you aren't a fan, you just might become one.
HIS WAY (NR) 84 minutes * * 1/2
One of Hollywood's most prolific producers, Jerry Weintraub holds a great dael of power in the film insustry. Now he tells his own story. There's no other story quite like it, but then again, there's no one quite like him. If you love Hollywood and show business, the stories here are a delightful look at what goes on behind the scenes.
THE HISTORY BOYS (R) 107 minutes * * 1/2
They are a talented and intelligent group of young men in England. Bright, shining examples of their school who hope to go on to Oxford or Cambridge. But there are other temptations and possibilities along the way. Adapted by Alan Bennett from his play. The story does wander a bit, but only slightly hints at its stage origins. R for language and sex.
HISTORY OF THE EAGLES (NR) 182 minutes * * *
Extensive look at the history of the band and their recordings and performances. Packed with interviews and performance clips and most importantly, not backing away from the conflicts that the band went through. The personal stories, and the wililngness to include so many that show a less than perfect side of the group, really makes this a must not only for Eagles fans, but for fans or rock music in general.
HISTORY OF THE WORLD IN TWO HOURS (NR) 87 minutes * * 1/2
Actually, less than two hours, since this was originally presented on TV in two hours including commercials. Covering 13.7 billion years in 87 minutes is no small feat, but they manage to get it done. Beautiful photography interspersed with animated sequences and interviews with several different scientists and historians.
A HISTORY OF VIOLENCE (R) 92 minutes * *
Tom Stall (Viggo Mortensen) was nobody to speak of in a small town until a couple of thugs show up and threaten to kill a waitress in a diner. Suddenly, Tom becomes the hero of the town when he kills them before they can do the same to anyone else. But is this something he's done before? Although there are some nice action sequences here, and the story is reasonably good, Mortensen's dry performance is less than appealing. Ed Harris does a nice job with his supporting role, but William Hurt is burdened with lines that give his character no depth whatsoever. Adapted from the graphic novel. R for violence, language, and sex.
HIT AND RUN (R) 93 minutes * * 1/2
Annie (Kristen Bell) needs to get to Los Angeles, and Charlie (Dax Shepard) decides that it's only right to help her, since they are in a serious relationship. But Annie doesn't know that Charlie isn't really Charlie, and that he's putting quite a bit at risk by leaving town. The balance between action, comedy, and drama works well. There aren't many surprises in the story, but there are some nice cameos and bit parts that make this fun to watch. R for language, sex, and violence.
THE HIT LIST (R) 85 minutes * * 1/2
Allan (Cole Hauser) is having a rough time. After getting passed over for a promotion and finding out that his wife is having an affair with his best friend, he meets Jonas (Cuba Gooding Jr.) in the local bar. Jonas is a hit man. Allan finds that hard to believe, but plays along when Jonas asks for five names of people Allan would like to have him take care of. Now he has to figure out how to stop Jonas. Gooding does nice work here, but be forewarned that the action gets rather brutal toward the end. R for violence and language.
HIT THE ROAD (NR) 92 minutes * * 1/2
A trip through the Iranian countryside. A mother, a father, their two sons, and their sick dog. The purpose of the trip is hidden for much of the film, adding a sense of mystery and tension to a film that is often charming and lightly humorous.
HITCH (PG-13) 114 minutes * * *
He is the date doctor - able to get even the most hopeless guy a chance to get into a romantic relationship with the girl of his dreams. He does great work, but when it comes to his own relationships... Definitely a predictable film, but Will Smith's incredibly likeable performance does a wonderful job of keeping us entertained and Eva Mendes plays very well opposite him. It does run a bit long, but most of the way it's quite fun. PG-13 for language.
HITCHCOCK (PG-13) 92 minutes * * *
Well-rounded treatment of Hitchcock (Anthony Hopkins) and his life and work. The focus is on the production of the film "Psycho", and does deal with Hitch's obsessive relationship with Janet Leigh (Scarlett Johannson). But especially compared to "The Girl" which was released only two months earlier, this is a more sensitive presentation. In particular, it delves into Hitch's unique relationship with his wife Alma (Helen Mirren) as supportive of and deeply involved not only in his work, but in making the perfect film. PG-13 for violence and sex.
HITCHED FOR THE HOLIDAYS (NR) 86 minutes * * 1/2
It's a case of presumed identity. Rob (Joey Lawrence) and Julie (Emily Hampshire) are presumed to be each other's significant other by their respective families. They agree that playing the part would be the easiest way to deal with it, at least for now. Since this is a Hallmark movie, what happens next is no real surprise.
THE HITCHER (R) 91 minutes 1/2
A hitchhiker barely escapes with his life and then finds himself being stalked by the killer who gave him a lift and who is looking for someone to frame for the murders he's committed. There are so many flaws in the story that it just doesn't work. The talents of a decent cast are completely wasted with the only bits worth watching being a few chase scenes. R for violence and language.
THE HITCHER (2007) (R) 78 minutes * 1/2
There are some intense moments in this story of a hitchhiker who pursues a young couple. Unfortunately, the film drags terribly inbetween those moments. The acting here is better than in the 1986 film from which this is adapted, and the budget appears to be a bit larger, but the overall effect is still the same. It's a suspenseful short story that just doesn't make the stretch into a feature length film. R for violence and language.
THE HITCHHIKER'S GUIDE TO THE GALAXY (PG) 102 minutes * * *
Douglas Adams' satirical look at life, the universe, and lots of other things. The film manages to retain much of the feel of the book despite some major changes to the material that Adams himself (as screenwriter) chose to change. Part of that feel is that. much like your appreciation of the book increases with a second reading, your appreciation of the film will most likely increase with a second viewing. There are so many little bits that it's difficult to catch them all and pay attention to the story at the same time. Sam Rockwell, Mos Def, and Zooey Deschanel all do wonderful work here and the special effects work well. It's definitely an unusual piece, as was the book, but well worth a look if you enjoy science fiction. PG for language and violence.
HITLER'S CHILDREN (NR) 81 minutes * * 1/2
Interviews with the descendants of some of Hitler's high-ranking officials lead to an interesting glimpse into the history of World War II and the years that followed. It also allows us to see what it means to live in the constant shadow of what their ancesters created and how these individuals have coped with that legacy.
THE HITMAN (R) 89 minutes *
You know you're in bad shape when the title to the film isn't accurate. Chuck Norris isn't a hitman, he's a cop who goes undercover as a strongarm in a gang. He's eventually able to set up two rival gang leaders to take a fall. There's far too little action of the type we used to see from Norris. It's all guns and a few punches, and another poor directing job thanks to his brother Aaron. Aaron's direction has little sense of rhythm or pacing and has the look of isolated scenes that are awkwardly pasted together.
HITMAN (2007) (R) 89 minutes * * 1/2
Based on the videogame, this is the story of Agent 47 (Timothy Olyphant), raised to kill, he's one of many who work for "The Organization". He's the best, but someone is out to get him. His job is to find out who that is and stop them before they stop him. This has all of the right look, but the story gets a bit tangled as it tries to explain what's going on. R for violence, language, and sex.
HITMAN AGENT 47 (R) 91 minutes * * 1/2
Based on the video game, which should give you an idea of how this is going to look. As far as the story goes, it works nicely as it reveals extra bits along the way, adding to the plot and the depth of the characters. There's lots of shooting, but also a good bit of hand-to-hand combat which mixes things up well. R for violence and language.
THE HITMAN DIARIES: CHARLIE VALENTINE (R) 93 minutes * *
Just one more job... but that always seems to be the one that goes wrong. And the motto Charlie (Raymond J. Barry) had always followed was to move away quickly and not look back. Choosing not to follow that will create problems that Charlie hasn't had before. Barry does a nice job here, but the film offers little in the way of anything memorable and quickly becomes just another gangster film. R for violence, sex, and language.
THE HITMAN'S BODYGUARD (R) 111 minutes * * * 1/2
Bryce (Ryan Reynolds) used to be one of the world's best bodyguards. One very bad case later, his reputation is gone. Somehow, he lands a contract to protect Darius (Samuel L. Jackson), who is set to testify in an important case. Darius is a hitman, and doesn't really think Bryce can do much to help, but they are going to have to work together. That's going to be difficult. Reynolds fits his role beautifully, and Jackson's style is a near perfect blend of violence and humor, similar to what he delivered in "Pulp Fiction". The action and dialogue are virtually non-stop, with each scene or sequence seeming to wrap up before delivering just a little more. R for violence and language.
THE HITMAN'S WIFE'S BODYGUARD (R) 92 minutes * * 1/2
Now playing bodyguard to his friend's wife, Michael Bryce (Ryan Reynolds) is in the thick of it again. This time around, he has lost his license and is facing off with the power hungry Aristotle Papdopolous (Antonio Banderas). Een more slapstick than the first film, which is sort of fun, but also sort of tedious. The film also features Salma Hayek, Samuel L. Jackson, Morgan Freeman, and Frank Grillo. R for violence, language, and sex.
THE HOARDER (NR) 83 minutes *
A storage facility becomes a death maze for several people who find themselves trapped there after hours. A few moments of suspense, mostly due to music, and what could have been a much more interesting story if there was a purpose that was more clear behind the hoarding.
THE HOAX (R) 111 minutes * * 1/2
A rather low-key performance from Richard Gere as Clifford Irving, the author who tried to sell a biography of Howard Hughes which he had no permission to write, based on interviews with Hughes that never happened. Despite the somewhat interesting idea, the film struggles to hold our attention. Gere's is not the only performance that is less than inspiring. R for language.
THE HOBBIT: AN UNEXPECTED JOURNEY (PG-13) 159 minutes * * * 1/2
The first of a trilogy of films that will cover the classic adventure story by J.R.R. Tolkien. As such, it’s a great beginning, with magnificent special effects. It does tend to draw the story out and works to cover many of the details that weren’t in earlier versions, and that perhaps didn’t need to be, depending on how much of a fan of the series you consider yourself. PG-13 for violence.
THE HOBBIT: BATTLE OF THE FIVE ARMIES (PG-13) 131 minutes * * *
This final chapter of an elaborate trilogy based on the Tolkien novel heavily relies on the previous two films. It is well-crafted, and as you might expect from the title, there are numerous, and very impressive battle scenes. A must, if you've seen the first two, but the first "chapter" of this is still the most fun. PG-13 for violence.
THE HOBBIT: THE DESOLATION OF SMAUG (PG-13) 151 minutes * * *
Part two of this extended adaptation of the classic fantasy novel suffers from the same fate that most "part 2's" deal with... you need to have seen the first one and you'll be left hanging at the end. Aside from that, the special effects are stunning, and the story is exciting. PG-13 for violence.
HOBO WITH A SHOTGUN (NR) 82 minutes *
Rutger Hauer plays the part of a hobo who gets off the train in a town that is overrun by crime. He tries to help, but soon discovers that being nice won't work as well as a gun. Of course, it quickly turns into a war. Bloody, low-budget, exploitation film. Of interest to Hauer fans perhaps, and his performance is the only bright spot in the film.
HOCUS POCUS (PG) 92 minutes * * *
Lightly spooky Halloween tricks and treats, courtesy of Bette Midler, Kathy Nijimy, and Sarah Jessica Parker. The story moves along quickly, with some nice special effects along the way. Fun and lighthearted, with a great performance from Thora Birch as the first victim the witches try their spells on after 300 years. Special note: For some strange reason, this was released in July. Go figure!
HODGE AND THE LOST EASTER EGG (NR) 72 minutes BOMB
Hidge, who is the Easter Bunny's brother, is the only other one who knows the secret location of the magic Easter egg. Hodge agrees to show his friend the egg, but when they get there, the egg is gone. It would appear that the creatures from Halloween are causing trouble, and they're trying to get the Christmas crew on their side. The story actually isn't that bad, but the animation is very poor, and some of the dialogue seems aimed at an audience that is a little bit older and who clearly won't be interested in this. From the same writer behind "Pets" and "Pets 2" and who writes roughly two film scripts every month.
HOFFA (R) 131 minutes * * *
Jack Nicholson delivers a riveting performance as James R. Hoffa, teamster labor union organizer. The supporting cast does a fine job of rounding the scenes out, but it is Nicholson who captivates us. The film moves back and forth through time with flashbacks, and though this can be irritating in some films, it is executed very smoothly here, thanks to a well-written script by award winner David Mamet. Though the portrait may be a bit too clean and wholesome to be believed completely, what we do see is a man who was getting a fantastic amount of loyalty from the "working man". A man with charisma, a growing following, and an increasing influence over the working white population at the same time in history that Martin Luther King Jr. and Malcolm X were reaching out to blacks. The conflict was that the federal government was trying to reach those people as well, though with a slightly different message. More of that conflict should have been evident in the film. R for language, violence, and nudity.
HOLD ME TIGHT (NR) 91 minutes * * 1/2
Early one morning, Clarisse (Vicky Krieps) leaves her family and heads to a resort. Whether this actually happened, or when, is never really clear. The film is an exploration of Clarisse. Her character slowly becomes more visible. This is not a linear story, and not always to be taken literaly either. A second, viewing helps.
HOLD YOUR BREATH (R) 74 minutes BOMB
When a group of friends drive by a cemetery, one of them makes the mistake of not holding his breath. Now, an evil spirit is using him to accomplish its sinister desires. Really bad ending, especially as it makes little sense with what supposedly happened moments before. R for violence, sex, and language.
THE HOLE (PG-13) 87 minutes * *
Dane (Chris Massoglia) and Lucas (nathan Gamble) discover a hole in the basement of their new home. Along with the cute girl next door (Haley Bennett), they begin to explore just what it might be. Joe Dante directs, which fits well with the horr adventure for the 13-16 crowd, though it might be a little too scary for some (which is also typical of Dante). PG-13 for violence and language.
THE HOLE IN THE GROUND (R) 85 minutes * 1/2
Sometimes it only takes one thing. Sarah (Seana Kerslake) and her son are trying to start over. An unusual encounter with a neighbor begins to make Sarah wonder about everything... including the giant sinkhole in the nearby forest. Kind of creepy, but the story doesn't really resolve well. R for violence.
HOLES (PG) 111 minutes * * *
Stanley's (Shia LaBeouf) luck appears to be no better than that of the other men in his family. He's now at Camp Greenlake for Boys, where each day they must dig a hole "to build character". There's much more to this magical and delightful story of friendship, justice, and family, but I don't want to spoil it for you. Adapted by Louis Sachar from his bestselling novel for youth, this is a great film for the 8-14 age group. Nice performances by all of the kids and by Patricia Arquette as Kissin' Kate, whose legend is what started it all in the first place. PG for violence.
THE HOLIDAY (PG-13) 130 minutes * * *
They're both dealing with bad relationships, they both want to just get away. They meet online and decide to exchange homes for two weeks over the holidays. Cameron Diaz and Kate Winslet star in this romantic comedy that is definitely a little lacking on depth, but still fun to watch. Winslet in particular has some very charming moments, and it's nice to see Eli Wallach in a strong supporting role too. Everything works out well in the end, though getting there is a little forced and awkward in spots toward the end. PG-13 for language and sex.
HOLIDAY ENGAGEMENT (NR) 91 minutes * * 1/2
Hillary (Bonnie Somerville) is supposed to bring her fiancee to Thanksgiving family dinner. The only problem is that she just got dumped. At the encouragement of her best friend, she hires a fiancee for the weekend. Of course we know what's going to happen, but it's still a cute romantic comedy, with Jordan Bridges playing the part of the fiancee-for-hire.
HOLIDAY FOR HEROES (NR) 83 minutes * * 1/2
It starts with a Christmas care package to her brother. Soon, letters are exchanged between Audrey (Melissa Claire Egan) and Matt (Marc Blucas), and then they meet. Complete with a super-sentimental holiday ending from Hallmark.
HOLIDAY HEARTS (NR) 83 minutes * * 1/2
When their mutual friend has an unfortunate accident during the holiday season, Peyton (Ashley Williams) and Ben (Paul Campbell) pitch in to take care of his daughter and help her celebrate Christmas. Of course, Peyton and Ben just might still have some feelings for each other... It's a Hallmark movie after all.
HOLIDAY HERITAGE (NR) 83 minutes * *
Home for the holidays, Ella (Lyndie Greenwood) discover that things have grown much worse between her mother (Holly Robinson Peete) and grandmother (Darlene Cooke). The person who is in the best position to help her mend the rift between them is her old boyfriend (Brookos Darnell). The conflict lasts a little longer than in most Hallmark films, but of course it still works out. It's a little less convincing though.
HOLIDAY IN HANDCUFFS (NR) 89 minutes * * 1/2
Trudie (Melissa Joan Hart) is headed home for the holidays. Her parents are expecting her to bring a boyfriend, so she... kidnaps the guy who just walked into the restaurant. Light-hearted look at families and the holidays with typical performances from Hart and Mario Lopez. Not rated, but essentially a PG for language.
THE HOLIDAY SITTER (NR) 83 minutes * * 1/2
Sam (Jonathan Bennett) was looking forward to a Christmas by herself in Hawaii. Instead, he's now going to be helping his sister as she plans to adopt a baby. She needs someone to watch the other two kids. Sam isn't a great sitter, but next-door-neighbor Jason (George Krissa) is quite good at it. He's also single.
A HOLIDAY SPECTACULAR (NR) 833 minutes * * 1/2
To ease her grandaughter's jittery nerves about her upcoming audition, Margret (Ann-Margret) tells her (and us) the story of her own audition for the Rockettes in New York City. The story also serves as a nice introduction to the Rockettes and the Christmas show they perform each year.
HOLIDAY SWITCH (NR) 87 minutes * 1/2
Paula (Nicole Eggert) is thinking that life is rough and wonders what it would have been like if she'd married the other guy she dated in high school. Her wish is granted, and she gets a chance to see what it would have been like and learns to appreciate what she has had. Yawn. And to make it worse, Eggert and the rest of the cast manage to over-act most of the roles here.
HOLIDAYS (NR) 98 minutes * 1/2
The focus in this anthology of short horror films is on the various holidays. The interpretation is dark and twisted, and the result is somewhat of a mixed bag, which is no surprise. The macabre mood does carry thoughout the film quite well though.
HOLLA (R) 79 minutes 1/2
The star of a popular sitcom and her friends go to a remote cabin to spend the weekend. they start being killed off one by one. Is one of them the killer, or is it someone else? Maybe a bored audience member? R for violence and language.
THE HOLLARS (PG-13) 82 minutes * * * 1/2
When John Hollar (John Krasinski) learns that his mother is seriously ill, he returns home. That will mean he has to deal with his rather unusual brother, and with his difficulty in making that lasting committment to his girlfriend. Krasinski directs another gem here, thanks in no small part to a fine script by Jim Strouse. Very nice mix of humor and drama. PG-13 for language.
HOLLER (R) 85 minutes * * *
Collecting pop cans and scrap metal is nothing new to Ruth (Jessica Barden) and her brother Blaze (Gus Halper). It's how they stay alive. But they need more, especially if Ruth is going to get to a college and a chance at something better. A job at the scrapyard is going to bring some opportunities, but it isn't exactly above board, and there are some serious risks. Filled with rough-edged characters that feel very real. R for language.
HOLLIDAYSBURG (NR) 83 minutes * * 1/2
It's Thanksgiving break, and with a few months of college behind them, these five friends will discover that some things change more than others. The performances here are good, but the story feels disconnected, with some scenes quite good, but lacking connection to the next. Editing and script are both to blame, but it also may well be the fault of the time constraints placed on this as part of the TV series, "The Chair", for which it was filmed.
THE HOLLOW CHILD (NR) 86 minutes * *
As a foster kid, Samantha (Jessica McLeod) already struggles with not feeling accepted. When her foster sister comes back from being lost in the woods, Samantha knows that something is wrong, but no one will believe her. There's lots of potential here, but it just never develops. Every time the story starts to get close to being really creepy or scary, or explaining something, it manages to shift the focus or energy and lose momentum.
HOLLOW CREEK (NR) 113 minutes * *
A trip to a remote cabin is designed to help Blake (Steve Daron) get started on his new horror novel. But in a bizarre twist of fate, Blake will become the focus of a real-life horror story involving kidnapping and murder. Drags quite a bit in the middle, but picks up again late in the film.
HOLLOW IN THE LAND (NR) 94 minutes * * 1/2
Alison's (Dianna Agron) family has been in plenty of trouble over the years. her father is in prison for murder, and now her brother is a suspect in another. She thinks he might be innocent, but first she has to find him. Good suspense/thriller.
HOLLOW MAN (R) 105 minutes * 1/2
Disappointing film that serves as little more than a showcase for some wonderful special effects. The problem is that the story is dull and boring. Kevin Bacon and Elisabeth Shue are wasted as we follow their experiments, which focus on the attempts to reverse the process of becoming invisible. The effects are a delight to watch, but the film relies too heavily on them and fails to entertain or even be all that interesting after awhile. R for language, violence, and nudity.
HOLLOW MAN 2 (R) 88 minutes *
In a continuation of the boring and dull story from the first film... with less talented actors, this relies even more heavily on the special effects, but there's nothing new here. Christian Slater has what amounts to little more than a bit part, especially if you only count when his face is visible. And then there's the cheap ending that leaves room for another sequel... let's hope not! R for violence, language, and sex.
THE HOLLOW ONE (NR) 87 minutes *
When Rachel (Kate Alden) and Anna's (Chelsea Farthing) mother is killed in an accident, their father sends them away. When they return after a couple of years, their father is missing, as is most of the surrounding community. Something dark and sinister is going on, and they need to learn what it is before they fall victim to it as well.
THE HOLLOW POINT (R) 92 minutes * * 1/2
Sheriff Wallace (Patrick Wilson) has just stumbled into a drug deal gone bad that is much bigger than he ever thought possible. A dark and violent story, well-played by the cast. The flow of the story is rough in a few spots, and the editing seems to indicate that some scenes may have been trimmed that might have helped smooth that out. R for violence and language.
HOLLOW POINT (2019) (NR) 81 minutes * 1/2
Nolan (Dilan Jay) wants justice for the death of his wife and daughter. Trying to do that on his own just gets him into trouble. But then he meets Hank (Luke Goss). Hank is part of a vigilante team. The story idea isn't a bad one, but this is poorly written and directed. There are a few good fight scenes, but it's just not enough.
HOLLOWS GROVE (R) 76 minutes * 1/2
The Spirit and Paranormal Investigation Team (SPIT) - a ghost hunting reality show team gets into more than they bargained for at an abandoned orphanage. Much like many of the ghost hunting reality shows, there's not very much really going on except conversation about what they hope to see and stories they've heard. The ending is unusual, but also doesn't make a lot of sense. R for violence, language, and sex.
HOLLY (R) 110 minutes * * 1/2
The message here is clear and powerful, but the story tends to drag and lose energy. Too much time is spent following Patrick's (Ron Livingston) work with Freddie (Chris Penn) to traffic stolen artifacts. This also detracts from Patrick's being such a nice guy and wanting to save Holly from being a child prostitute. Livingston and Penn do a fairly good job acting here, but much of the supporting cast deliver performances that are stiff and awkward. R for sex and language.
THE HOLLY (2022) (NR) 100 minutes * * *
It's a neighborhood in Northeast Denver. Known for violence, Terrance Roberts decides to do what he can to change that. He's making progress, but then there's a shooting... and Terrence gets arrested. Documentary director Julian Rubinstein decides to see if he can uncover the truth.
HOLLY & IVY (NR) 84 minutes * * *
Melody (Janel Parrish) moves to a small town to begin her career as a librarian. But there's a hiring freeze, so when she arrives, there is no job. The house she's moving into needs lots of work and she has no income. A local contractor (Jeremy Jordan) is willing to help. Of course there might be some romance in story as well. But there is also a complication in that her neighbor who needs help takiing care of her children due to health concerns. This Hallmark holiday film is a little more serious than most, but handles it well.
HOLLYWOOD CHAOS (NR) 76 minutes 1/2
Having famous friends can be fun. But should you use them as fodder for your reporting career? Poor editing and a script that keeps stumbling over itself with dialogue that is below the level of most soap operas manage to make that a moot question. There might be some acting talent here, but it isn't easy to tell whe so many of the technical aspects are so weak.
HOLLYWOOD DREAMS (R) 98 minutes * *
Margie (Tanna Frederick) wants to be a star. She quickly finds herself caught in a world where everyone is dreaming of happiness and success, which always seem to be just out of reach. Henry Jaglom fans will appreciate the style, and Hollyoowd insiders will appreciate much of the humor, but most others are likely to find this a bit silly and unrealistic. Frederick intentionally overacts her part to an extreme degree, adding to the effect. R for language and sex.
HOLLYWOOD ENDING (PG-13) 108 minutes * * 1/2
Val Waxman (Woody Allen) used to be a great film director. Now his career is on the rocks, but he may get one last chance. His ex-wife thinks he'd be the perfect director for her husband's new film. The problem is, Val has a history of rather strange problems that seem to develop when he starts working on a picture. It's fairly standard Allen comedy with the major difference being a very nice performance from Tia Leoni, whose no-nonsense character tends to cut Allen's whining short. It's a welcome change, but the film still could have used some trimming as it drags in a few spots. PG-13 for language.
HOLLYWOOD HARRY (PG-13) 95 minutes *
A washed-up detective learns to respect himself with the help of a niece who attaches herself to him. The dialogue isn't too bad, but the production quality is almost non-existent, and the ending just sort of sudden;y happens. PG-13 for language.
HOLLYWOOD HOMICIDE (PG-13) 110 minutes * *
People are killing each other in the hip-hop music business in Los Angeles, so it's time for a little "Dragnet" style police work to uncover the guilty parties, along with a few dirty cops along the way. This gets a bit silly in spots and there are far too many subplots, though it does manage to end fairly well with a nice chase scene toward the very end of the film. Harrison Ford and Josh Hartnett never quite work together like they need to, and the talents of numerous other people are pretty much wasted as well. This is definitely one of those that will look a little better on video. PG-13 for violence, language, and sex.
HOLLYWOOD OUT-TAKES (PG) 82 minutes * * * 1/2
If you enjoy watching those out-takes at the end of a movie, or any of the numerous specials that have collected them, this is a treasure chest! This collection of bloopers is from the golden days of cinema and features lots of bloopers from classic film stars. Great fun!
HOLLYWOOD SINGING AND DANCING: A MUSICAL HISTORY (NR) 106 minutes * * * 1/2
Decade by decade history of the musical film. Throughout the years, musical film has been an uplifting and fun gift from Hollywood to the rest of the world. There have been transitions and changes, but the heart remains the same, a desire to entertain, and to leave us singing, humming, and tapping our feet to the wonderful tunes and remembering the stories they told.
HOLLYWOODLAND (R) 119 minutes * * *
George Reeves (Ben Affleck) found stardom in the role of Superman, but when he tried to move outside of that role, he met only failure. His death from a gunshot wound was a surprise to many, but was it suicide, or could it have been murder? Adrien Brody delivers another fine performance as the private investigator who explores the possibilities, though the rest of the cast is a little lacking. The film noir atmosphere works well, and Brody works comfortably within that style, keeping us waiting for the next bit of information that may lead to the answer of what happened. R for language, violence, and sex.
HOLMES & WATSON (PG-13) 85 minutes 1/2
The great detective is done in not by his nemesis Moriarty, but by Will Ferrell. Typically crude and classless humor from Ferrell and John C. Reilly. Their fans will love it, but everyone else should avoid this at all cost. The musical number near the end of the film is not only the best part, but pretty much the only part that actually displays much of anything resembling talent from either Ferrell or Reilly. PG-13 for sex, violence, and language.
A HOLOGRAM FOR THE KING (R) 92 minutes * * 1/2
Sales have not been going well, so Alan (Tom Hanks) takes a big risk. He heads to Saudi Arabia to close a big deal. But protocols and procedures are a little different in this land and Alan is a little out of his depth. The story takes awhile to get where it's going, but it ends quite well. Adapted from the novel by Dave Eggers. R for sex and language.
HOLY HELL (NR) 87 minutes BOMB
The story of a priest who believes in peace and love yet finds himself turning to violence as his parishioners are attacked. Lots of violence and gross effects, mostly in very poor taste, and none of which are of good quality.
THE HOLY INNOCENTS (PG) 108 minutes * * *
A story of servitude in 1960s Spain, recounted by several different individuals, and related as one story. It’s well-told, but somewhat depressing. Adapted from the book by Miguel Delibes.
HOLY LANDS (NR) 92 minutes * * *
Leaving everything behind, Harry (James Caan) moves to the Holy Land and becomes a pig farmer. It puts him at odds with the community, in particular with Moshe (Tom Hollander). Harry also struggles with how to relate to his own family, butwe see this through their eyes as well as Harry's. A story of connections that persist, even in the face of separation. Well-written, and very nice work by the cast.
HOLY MAN (PG) 109 minutes *
The mix of spirituality and comedy doesn't work very well here as Eddie Murphy begins to have an effect on the life of Jeff Goldblum. At first glance, Murphy appears to be an eccentric guy who just likes to be nice to people. Maybe he's something a little more, but the point is that by the end of the film, we don't care. Goldblum's character is too hard to sympathize with and Murphy's comedy doesn't fit very well. Filmed in Florida. PG for language.
HOLY MATRIMONY (PG-13) 89 minutes * * 1/2
Joseph Gordon-Levitt steals the show in this story of a 12-year-old Hutterite who ends up married to Patricia Arquette. She's on the run from a robbery, and he has a few things to teach her about the meaning of marriage and commitment. More for the family than one might think at first glance, this chooses comedy to make its point. Nothing outstanding, but Gordon-Levitt makes it worth watching.
HOLY MOTORS (NR) 111 minutes * * *
Every aspect of Oscar's (Denis Lavant) life is yet another role to play. An unusual piece, as little we are watching is what it seems to be. Not only Lavant, but the rest of the characters and even more are playing one of many roles at any given point in the story. Which of course makes you wonder... who is watching?
HOLY ROLLERS (R) 86 minutes * 1/2
A naive, young, Hasidic Jew (Jesse Eisenberg) gets caught up in the drug business in Brooklyn. Eisenberg plays this a bit too innocently for too long, making it a little difficult to believe after awhile. it is interesting to see him and his sister Hallie Kate Eisenberg in a feature film together for the first time. This is based on a real incident, but it definitely feels like this is a watered-down version of the story. R for language and sex.
HOLY ROLLERS: THE TRUE STORY OF CARD COUNTING CHRISTIANS (NR) 87 minutes * * 1/2
The title pretty much says it all. These people don't really like casinos, so they are out to take the money and use it for their churches. Because they've learned how to count cards, they don't consider it gambling. Of course, from the casino's point of view, if you're playing the game, they win. Even with counting cards, there is a certain amount of risk, and the odds will catch up with you.
HOME (PG) 84 minutes * * 1/2
The Boov take over Earth, but Oh (voiced by Jim Parsons) just wants to make friends. He manages to befriend Tip (voiced by Rihanna), a girl who is trying to find her mom, who has been relocated by the Boov. Cute overall, but the story drags quite a bit in the middle. PG for violence and language.
HOME (2020) (NR) 92 minutes * * *
Recently released form prison, Marvin (Jake McLaughlin) finds that many things haven't changed... including his troubled past. A very nice feature film writing and directorial debut from Franka Potente, with a very strong performance by McLaughlin.
HOME AGAIN (NR) 96 minutes * *
The story follows three people from England, Canada, and the United States who have been deported to Jamaica. Despite having all left Jamaica as very young children, they all seem to have little trouble getting acclimated. The film does present a really negative image in all three cases. It would have been nice to see a little light in at least one of them. In particular the images of Jamaica are of a dark, less-than-desirable place that seem to be overly stereotyped in a negative manner. Mediocre performances.
HOME AGAIN (2017) (PG-13) 93 minutes * * *
It makes sense at the time, but now that Alice (Reese Witherspoon) has all three of these young men under her roof, she's having second thoughts. Lots of "Los Angeles humor", and the cast work well together and seem to have fun doing it, which carries across the screen. PG-13 for sex.
HOME ALONE (PG) 98 minutes * * 1/2
What happens when young Kevin (Macauley Culkin) is left behind when his family leaves on their Christmas vacation? Quite a bit... Culkin was perfectly cast here and definitely knows how to work the camera. The script is a bit too sentimental in some spots, and a bit too slapstick in others, but this not only managed to spawn a couple of sequels, but a few copycats, and not only launched Macauley's career, but opened the door for his brother Kieran, who plays his little brother in the film, as well. PG for language and violence.
HOME ALONE 2: LOST IN NEW YORK (PG) 116 minutes * * 1/2
This is almost identical to the first film in every respect. It's not bad, but there aren't any surprises. The idea seems to have been that the first one did so well, why should they mess with changing it? PG for violence.
HOME ALONE 3 (PG) 97 minutes * *
Alex is home alone with the chicken pox and a remote control car. Of course, this particular one has a computer chip that some very mean (and not so bright) villains would like to retrieve. The usual pratfalls pervade the film, most of them not all that funny. What make the film work as well as it does? The performance of young Alex D. Linz is more genuine than Macauley Culkin's, and the way in which he is left at home is far more believable. The rest of the film stretches the limits as one might expect, but having these two aspects grounded serves to strengthen the film a great deal. Filmed in Evanston, Skokie, and Chicago, Illinois. PG for language and cartoonish violence.
HOME ALONE: THE HOLIDAY HEIST (NR) 87 minutes * *
Finn (Christian Martyn) and his family move to Maine, but the creepy old house they move into happen to have a treasure that some people are after. So, when Finn and his sister are left alone for the evening… the rest of the story works like the rest in the series. No better or worse than the rest of the series, and works well for family entertainment.
HOME BY CHRISTMAS (NR) 88 minutes * 1/2
Life is really kicking Julie Bedford (Linda Hamilton) while she's down. Her husband has an affair and divorces her, then she gets mugged and ends up homeless. After swallowing her pride, she discovers that there are people around who have it just as bad, if not worse than she does. And then it works out fine in the end. Hamilton is better than this, but the script and direction don't giver her or the rest of the cast a chance.
HOME BY SPRING (NR) 83 minutes * *
Loretta (Poppy Drayton) is ambitious, and that means heading to Los Angeles for a unique opportunity. Another opportunity just fell into her lap, but it involves her pretending to be her boss. What should she do? Of course the truth will find its way out eventually, and it's not going to be a very good situation. At least not at first.
HOME FOR CHRISTMAS DAY (NR) 83 minutes * *
Life is about to change for Jane McKendrick (Catherine Bell). Her daughter (Matreya Fedor) is in her last semester of high school with her plans all mapped out until she meets a young military man. Perhaps its time for Jane to start spending more time with Jackson (Victor Webster). Fedor's performance isn't very convincing, but the rest of the cast does reasonably well.
HOME FOR THE HOLIDAYS (PG-13) 99 minutes * * * 1/2
Claudia Larson (Holly Hunter) is returning home for the holidays... to an extremely dysfunctional family. Hilarious look at a wild bunch of characters who are all played to the hilt by veterans Anne Bancroft, Geraldine Chaplin, and Charles Durning. The entertaining script is courtesy of W.D. Richter, and the precise, near perfect direction
comes from none other than Jodie Foster.
HOME FRIES (PG-13) 91 minutes 1/2
Angus (Jake Busey) and Dorian (Luke Wilson) scare their step-father to death because he's had an affair. What they don't count on is Dorian falling in love with the girl their step-father got pregnant (Drew Barrymore). Strange, and rather dumb idea, that goes nowhere. With the talents involved, it's a surprise this isn't better, but the story itself is at fault here, written with little to interest us or make us care about the characters. PG-13 for language and violence.
HOME INVASION (NR) 90 minutes * 1/2
During a home invasion burglary, Nicole (Lisa Sheridan) kills one of the intruders. Now, his girlfriend (Haylie Duff) wants revenge. Overly sensationalized, and no real surprises as far as how the story plays out.
HOME INVASION (2016) (NR) 86 minutes * *
A dark and rainy ngiht, and Chloe (Natasha Henstridge) and her son find their home invaded by some high caliber criminals. Their lives are in danger, and their only hope is the people on the other end of their home security system. Some good suspense thanks to the acting and the soundtrack. The story has several issues that undermine believability. PG-13 for violence.
A HOME OF OUR OWN (PG) 101 minutes * * * 1/2
Absorbing story of a family poor in money, but rich in the things that really count. Kathy Bates plays Francis Lacey, a single mother of six children, who moves from Los Angeles to Idaho to begin a new life. It won't be easy, but as she says in the film, "You work with what you get. You try to make it better."
HOME OF THE BRAVE (2006) (R) 98 minutes * *
After serving time during the War in Iraq, three people return home, discovering how much their experience has changed them. Not a new story, and the depth of the story is questionable as well. Definitely heavy on the sentimental aspects, though the performances by Samuel L. Jackson, Jessica Biel, and Brian Presley are sincere enough. Nice quote from Machiavelli at the end, "Wars begin where you will, but they do not end where you please." R for violence and language.
HOME ON THE RANGE (PG) 69 minutes * * *
The farm is up for sale and it's up to the animals to save it! OK, so there's not much to the story... there are still several cute songs and fun characters. Featuring the vocal talents of Roseanne Barr, Jennifer Tilly, Steve Buscemi, Randy Quaid, Judi Dench, and Cuba Gooding Jr. and rated PG for some cartoonish violence.
HOME RUN (PG-13) 106 minutes * 1/2
Ballplayer (Scott Elrod) gets in trouble with alcohol and ends up coaching his nephew's team and dealing with personal issues from his past. Over-simplified characters all around, and the film has a moralistic tone that may not sit well with some. PG-13 for language.
HOME SWEET HELL (R) 93 minutes * *
Appearances are of the utmost importance to Mona (Katherine Heigl), and when she discovers that Don (Patrick Wilson) is having an affair, she stops at nothing to preserve her "perfect" home. Heigl and Wilson work well together here, balancing each other's characters and tongue-in-cheek humor quite nicely. The story gets a little overly serious, losing touch with the humor that works so well in a few scenes. R for violence, language, and sex.
A HOMECOMING FOR THE HOLIDAYS (NR) 83 minutes * * 1/2
Country singr Charlotte Quinn (Laura Osnes) is looking forward to spending Christmas with her family. Being so well-know creates a few headaches and complications, but it also creates some opportunities. There just might also be a chance for some romance in this holiday film from Hallmark.
HOMEFRONT (R) 95 minutes * * 1/2
Just looking for some peae and quiet, a former DEA agent finds more than he bargained for in this "quiet" town. Originally developed by Sylvester Stallone as a Rambo project, this works well as another action film for Jason Statham. The story does have a few rough edges, which might be from the adaptation to a non-Rambo storyline. R for violence, language, and sex.
HOMELESS TO HARVARD (NR) 90 minutes * * * 1/2
Amazing performance from Thora Birch (though that's not really a surprise) as Liz Murray, a young woman who overcame the difficulties her home life presented her with and achieved what few would have thought possible. Birch's performance earned a well-deserved Emmy nomination. The story is a bit sentimental, but it's difficult to present a story like this without that aspect being present. Not rated, but essential a PG sort of film with strong references to drug use and abuse.
THE HOMESMAN (R) 111 minutes * * *
Pioneer life is far from easy. Driven mad from the hardship, three women find themselves in the company of Mary Bee Cuddy (Hilary Swank), who will be taking them back east to their families for care and support. Knowing the difficulty of the work, she hires Briggs (Tommy Lee Jones) to help her. Great work by both Swank and Jones. There are several other big names in the cast, though all in very small parts. The scenery is very complimentary to the story, being desolate and unforgiving. (Actually filmed in New Mexico rather than Nebraska, where the story takes place.) The ending if very fitting, though perhaps a little unusual and not necessarily what the audience might hope for. R for violence and sex.
HOMETOWN HOLIDAY (NR) 82 minutes * *
Krista (Sarah Tryoer) has had a few less-than-successful relationships. She's vowed that she will do better the next time. An internet singing sensation who happens to live in her town might be the one she's looking for. It is the holiday season after all. (Even though it's not a Hallmark movie.
HOMEWARD BOUND: THE INCREDIBLE JOURNEY (G) 79 minutes * *
Scenery that is somewhat less than spectacular and annoying human voices for the animals, ruin this remake of the classic Disney film "The Incredible Journey". Watch the original and don't bother with this sappy, lightweight remake. Filmed in Oregon.
HOMICIDE (R) 97 minutes * * 1/2
Investigating a "simple" murder of an area shopkeeper, Detective Robert Gold (Joe Mantegna) uncovers a network of Jews still involved in fighting the Nazis. His own Jewish heritage resurfaces, bringing with it many questions. The ending is a bit puzzling, but writer/director David Mamet has given us some interesting things to think about.
HONEST THIEF (PG-13) 90 minutes * * *
Tom Dolan (Liam Neeson) has found the love of his life (Kate Walsh). It makes him want to be an honest man. After an initial struggle to get anyone at the FBI to believe him, he now finds himself dealing with a couple of agents who want to double-cross him for their own gain. There are some sequences that are far from believable, but for the most part, the tension is good and the characters work well. PG-13 for violence and language.
HONESTY WEEKEND (NR) 88 minutes * 1/2
John (Evan Watkins) and Ada (Natalie Ceballos) are having some marital difficulties. Their therapist suggests a weekend of total honesty, since the lack of that has been one of their more problematic issues. What's going to make this more challenging is that this is the weekend they are going to be spending with a group of friends. Unfortunately, the script is neither witty or profound, or even all that interesting. There are a few moments, mostly near the end, but they aren't enough, and most of the performances are less than inspired.
HONEY (PG-13) 89 minutes * *
Honey Daniels (Jessica Alba) teaches dance at the center while she waits for a break into the big time. When it comes, she'll have to learn how to balance it with her experience of the real world and decide what's most important to her. Nothing new in the story here, and the editing is more than a bit rough in spots, but the dance moves are nicely done and Alba carries what there is of the film quite well. Young Zachary Williams does a nice job too. PG-13 for language.
HONEY GIRLS (PG) 88 minutes * 1/2
It's a contest put on by Fancy G (Ashanti) to find the next big pop star. The contestants decide that they are better as a group. Fancy G doesn't like groups. Most everyone here has trouble convincing us that they really deserve a music contract, as either a single or a part of a group. They also aren;t very convincing as actors. PG for language.
HONEY I BLEW UP THE KID (PG) 85 minutes * * 1/2
Mediocre sequel with a not-so-clever story and a large baby. The special effects are nice, but not that outstanding. It's mostly Rick Moranis' absent-minded scientist and family man, that carries this along and keeps us watching, though it does get a bit old toward the end. PG for language.
HONEY, I SHRUNK THE KIDS (PG) 89 minutes * * 1/2
Wonderful special effects and large doses of humor help this familiar story of people being shrunk to miniature size. The script is definitely a little weak here, but Rick Moranis manages to make it fun most of the time.
HONEY: RISE UP AND DANCE (PG-13) 95 minutes * 1/2
Skyler (Teyana Taylor) hopes her dance moves will get her a spot on the crew she's trying out for, despite everyone else having formal training. Of course she'll work hard and find someone to help. The dance moves are nice, but the tired script and mediocre acting (at best), just aren't enough to give this what it needs. PG-13 for language.
HONEY 2 (PG-13) 102 minutes * *
Once Maria (Kat Graham) gets out of juvenile detention, she starts setting up a new dance crew. As with the first film, which this has little to do with, the dancing is very good and the rest of the film falls short of most everything. The story does get a little better in the second half of the film, though the acting stays pretty much the same throughout. PG-13 for sex and language.
HONEY 3: DARE TO DANCE (PG-13) 93 minutes * 1/2
Melea (Cassie Ventura) doesn't have enough freedom at the school, so she rents her own place to put on a dance program based on "Romeo and Juliet". There are some very nice dance sequences, but what little there is of story here just isn't enough to hold the film together. PG-13 for sex.
HONEYDEW (NR) 105 minutes * 1/2
Sam (Sawyer Spielberg) and Rylie (Malin Barr) find themselves in a predicament after accepting the hospitality of an older woman and her son late one night in a remote area. Plenty of creepy atmosphere and some gross effects, but the story implies far more than it actually tells. A little of that can work wonders. This much is just disappointing.
HONEYDRIPPER (PG-13) 121 minutes * * *
It's 1950, and juke joints are starting to draw more business than live music, even in the deep south where blues is king. Tyrone (Danny Glover) has an idea about how to draw business back to the Honeydripper, but when events don't go as he originally planned, it will take some creative thinking, and a little bit of luck to make it happen. Gentle, quiet film with solid performances and a very nice soundtrack by Mason Daring/ PG-13 for violence and language.
HONEYLAND (NR) 88 minutes * * *
Hatidze Muratova sells the honey from her bees to make money which helps her care for her ailing mother. She is careful with what she takes, keeping most of the hives in their natural, wild state. When a nomadic family moves into the area, they aren't concerned with sustainability, they just want to take. Hatidze must do what she can to save the bees and keep the balance that needs to be in place. Filmed in Macedonia, this is part documentary and part drama. The filmmakers capture both lifestyles and the conflict between them quite well.
HONEYMOON (R) 84 minutes * ½
When Paul (Harry Treadaway) and Bea (Rose Leslie) go on their honeymoon, it’s supposed to be a quiet retreat in the woods. But something strange happens to Bea one night, and everything changes. The idea is interesting, but the story tends to repeat itself and just never really gets anywhere. R for violence, sex, and language.
HONEYMOON IN VEGAS (PG-13) 91 minutes * * 1/2
Jack Singer (Nicolas Cage) makes a promise to his dying mother that he will never get married. He promptly falls in love and wonders what he's going to do about it. Once he decides to pop the question, the problems begin. Cage does a fine job handling a role that is both comic and serious, as does co-star James Caan. Sarah Jessica Parker struggles a bit here, but I suspect that the script is more to blame than she is. The story is really about how the two men are playing a game to see who wins the girl, so she is the weakest character by design. Parker manages to keep it interesting, but there are still some problems with the role the way it is written. PG-13 for language.
THE HONEYMOON PHASE (NR) 86 minutes * 1/2
Tom (Jim Schubin) and Eve (Chloe Carroll) are participating in an experiment for couples. They will lspend a month in research facility housing with all of their needs met. Having just recently been married, it's like a free honeymoon with a $50,000 bonus at the end. But it's not going to be quite that easy. A couple of not-very-surprising twists, and this feels like a good-looking but weak copy of a story we've seen many times before.
THE HONEYMOONERS (PG) 85 minutes * 1/2
Unusual remake/update of the TV show that stars Cedric the Entertainer, Mike Epps, Gabrielle Union, and Regina Hall. Those who loved the show probably won't care for this, but its harmless enough on its own. Its also not all that interesting or particularly funny either. It's too bad, and it's definitely not the fault of the actors, who do what they can with a rather miserable script. Filmed in Ireland and New York. PG for language.
HONK FOR JESUS. SAVE YOUR SOUL (R) 97 minutes * 1/2
When their mega-church is hit with a major scandal, Pastor Lee-Curtis Childs (Sterling K. Brown) and his wife Trinitie (Regina Hall) must find a way to recover. A satirical look at big-budget megachurches. There are a few good bits here, but the script tends to be very repetitive, which makes the film feel a good deal longer than it is. R for language and sex.
HONKYTONK MAN (PG) 120 minutes * * *
Red (Clint Eastwood) has just received the offer of a lifetime, to audition at the Grand Old Opry. Despite his declining health, Red sets out to take his chance. It’s the middle of the depression, and Oklahoma has nothing to offer. Those are also the reasons that Whit (Kyle Eastwood) goes with his uncle to see if he can find some success of his own. A touching story, adapted from the book by Clancy Carlile, that gives us a more talkative performance from the elder Eastwood than we usually see. PG for sex and violence.
THE HONOR LIST (PG-13) 98 minutes * * 1/2
These four girls have been friends for a long time. When one of them dies unexpectedly, the other three set out to complete the bucket list that Honor (Arden Cho) created. There's nothing like friendship to elicit laughter, tears, love, and memories to last a lifetime. Great work by Meghan Rienks, Sasha Pieterse, and Karrueche Tran. PG-13 for sex and language.
HONOR STUDENT (NR) 88 minutes * 1/2
A newly successful author finds himself in big trouble when a former student accuses him of stealing her idea. And she has already killed a teacher before... A little far-fetched until it gets to the end. Then it just becomes completely ridiculous.
HONOR UP (R) 81 minutes *
Heavily narrated story about the loyalty a drug lord's lieutenant feels toward his boss. It's all about honor, but honor and bullets don't always add up. Surprisingly lifeless, but much of that has to do with the endless and unnecessary narration. R for violence, language, and sex.
HOOD RAT (R) 83 minutes * 1/2
An evil slumlord is sentenced to live in his own building for thirty days. It doesn't improve his attitude, and kicking out the squatter in the basement, along with his brother, is the least of his troubles. It turns out that the rats are friends of this squatter, and their going to make sure that justice is done. R for violence and language.
HOODLUM (R) 120 minutes * *
This story of Ellsworth "Bumpy" Johnson and his role in the gangland of 1930'2 New York takes awhile to get going. Laurence Fishburne does alright with his role, but Tim Roth overplays Dutch Schultz and Andy Garcia is too suave in his portrayal of Lucky Luciano. As this also features Cicely Tyson, Vanessa Williams, and Clarence Williams III, it's mostly a showcase for actors whose roles depend on what we already know of them, rather than on a good script. R for language and violence.
HOODWINKED (PG) 74 minutes * * 1/2
Cute idea, to tell the other side of the Little Red Riding Hood story as the investigation of the incident and to hear the various perspectives of the story from different characters. Too much money went to lining up the cast of voices, which, although very stellar, can only do so much with a story that is missing the energy it needs to carry it to the next level of excitement and success. Patrick Warburton, Anne Hathaway, Glenn Close, Jim Belushi, Anthony Anderson, Andy Dick, Xzibit, and many more. PG for violence.
HOODWINKED TOO: HOOD VS. EVIL (PG) 76 minutes * *
Red is on a training assignment, but there's still plenty of action in her absence. Th problems are beginning to get out of hand though, and they decide that they need her to come back. Packed with puns, inside jokes, and loads of stellar voice actors, but the script isn't really very creative at all and seems more intent on delivering one-liners than telling us a story. PG for language.
HOOK (PG) 134 minutes * * * 1/2
This is a continuation of J.M. Barrie's "Peter Pan" with Robin Williams giving another great performance as Peter. He has grown up and forgotten everything about his early life, but Captain Hook hasn't forgotten. The film does begin a little slowly, but picks up the pace after the first half hour. It's a typical Steven Spielberg film, filled with special effects, great music (John Williams), and beautiful photography (Dean Cundey). Amber Scott is perfect as Peter's daughter Maggie, singing her way into our hearts with "When You're Alone". It is we in the audience who are the real stars of this film though. "Thank you for believing," Peter Pan says late in the film. You're welcome, Peter. Those of us who do believe, know that it is believing that makes the magic of films and stories work their wonders in our hearts and in our lives.
HOOKED UP (NR) 77 minutes BOMB
Two friends take a trip to Barcelona in the hopes of finding a couple of hot girls to have sex with. But when they get back to where these particular girls life, they are confronted with an angry ghost who wants to kill them. Annoying, jerky, handheld point-of-view photography that doesn't help a bad story and talentless actors.
HOOP DREAMS (PG-13) 165 minutes * * *
Fascinating and honest look at the lives of two high school boys who love basketball. William Gates and Arthur Agee are very different, but their stories weave together to tell a tale that is well worth listening to. Slightly over-long, but a strong film with an important message. PG-13 for language.
THE HOOPING LIFE (NR) 63 minutes * * 1/2
Hula hoops have been around for a long time. What used to be a game for children in the 1950s and 1960s has gone back to its roots and expanded into the arts. A very extensive look at the art and the sport of "hooping".
HOOSIERS (PG) 111 minutes * * * ½
Based on the 1954 Milan Indiana High School championship basketball season. It’s a story about giving your best, no matter where your talent lies. Well-written, this is another of those emotional sports stories that will sweep you along and carry you to a grand finale. That said, the romantic relationship between Gene Hackman and Barbara Hershey is not terribly convincing, and the editing is rough. Jerry Goldsmith’s soundtrack compliments the story well though, and this ends up being a sports movie that should not be missed.
HOOT (PG) 87 minutes * * 1/2
Roy (Logan Lerman) is the new kid in town, and in no time at all, he finds himself in the middle of a struggle to stop a pancake house from building on land that will destroy the homes of the burrowing owls that are native to the area. Typical story of youth facing off against a corporation that doesn't care. The difference is that this is adapted from a very well-written novel by Carl Hiaason and translates well to the screen. Songs by Jimmy Buffett, including "Good Guys Win", which serves as a theme song for Roy. Buffett also co-produced and plays one of Roy's teachers. PG for language and violence.
HOP (PG) 86 minutes * * 1/2
It's time for E.B. (voiced by Russell Brand) to take on the mantle of the Easter Bunny... except that he just wants to play the drums. There might be someone else who could do it. The trouble is that he's human, and not a particularly responsible person at the moment. Great animation and nice music, but aside from E.B., the characters just aren't very appealing and the humor isn't all that strong. PG for language.
HOPE BRIDGE (NR) 82 minutes * 1/2
Jackson (Booboo Stewart) is dealing with his father's suicide, but not very well. Mandatory counseling after a fight at school may be just what is needed. Mediocre acting and a very shallow script really hurt a potentially good story idea.
HOPE FLOATS (PG-13) 109 minutes * *
This is a classic case of poor direction. Sandra Bullock does an admirable job as a young woman who finds out that her best friend is having an affair with her husband. She returns home to gather her thoughts and finds that a new romance is waiting for her. No real surprises in the script, just a gentle telling of a familiar tale. Bullock, Gena Rowlands, Harry Connick Jr. and young Mae Whitman make it worth a look, but the scene changes, among other things, make it really hard to sit through in a few spots. I do like the ending though, and a good ending sometimes makes up for quite a bit. Filmed in Smithville, Texas. PG-13 for language.
HOPE GAP (PG-13) 96 minutes * * 1/2
Twenty-nine years of marriage. Grace (Annette Bening) and Edward (Bill Nighy) have been slowly growing apart. Edward finally decides that he's done. He shares the information with their adult son first, and then with Grace. But while he has found a new partner, Grace is left to pick up the pieces and try to figure out how to go on. The poetry provides a very nice end to the film, and perhaps should have been a stronger thread through the rest of the story. PG-13 for language.
HOPE RANCH (NR) 77 minutes BOMB
With financial struggles hitting hard, Rebecca (Marisa Brown) may have to sell the family ranch. Her daughter Grace (Grace Van Dien) is still grieving the loss of her father, which is what the ranch represents to her. She has also lost her religious faith. The script here is horrible, making it difficult to tell much about the performances. Direction is very weak as well. There are several films with almost the exact same story that are so much better than this one.
HOPE SPRINGS (PG-13) 95 minutes * * *
Kay (Meryl Streep) knows that something is wrong with her marriage, but can she get Arnold (Tommy Lee Jones) to admit it and to go for a week of marriage counseling with her? She's going to try, and he's going to be in for a few surprises. Great work by Streep and Jones as well as the rest of the cast, and though there aren't really any surprises as far as the story, it's fun to watch and manages a nice balance between humor and drama. PG-13 for language and sex.
HOPE'S LEGACY (NR) 99 minutes * 1/2
Inheriting her grandmother's horse ranch is a bittersweet thing. It's also enough of a challenge on its own. Add to that a decision to compete in three horse events and getting married to her boyfriend, and it's a little overwhelming. The script is a little underwhelming, as is the performance of Taylor Lyons in the lead role.
HORIZON LINE (PG-13) 92 minutes * 1/2
On their way to a tropical island for a destination wedding, Sara (Allison Williams) and Jackson (Alexander Dreymon) have to deal with a pilot who dies mid-flight. It was definitely a good move not to make the entire film about survival after a plane crash, but the action sequences are a bit difficult to believe, and the character's backstories don't have much depth. These are both things that make it difficult to stay engaged with the story. PG-13 for language, violence, and nudity.
HORNS (R) 114 minutes * * 1/2
It's not just that Ig (Daniel Radcliffe) has horns that have sprouted overnight, though that is clearly a problem. But it also seems that everyone he meets feels compelled to tell him their deepest darkest secrets. Maybe he can use that to figure out who killed his girlfriend. This runs a little long and loses strength near the end. Adapted from the novel by Joe Hill. R for sex, violence, and language.
HORRIBLE BOSSES (R) 91 minutes * *
So, there is something you can do if you have a truly horrible boss... though this is not a recommended course of action, and these three friends are going to have just about everything go wrong that can when they decide that their bosses need to die. Funny moments are scattered throughout the film, but the attitudes of the characters, and the acting in general, is relaxed and casual, which doesn't work well for the story. It comes off as a very unpolished film, though it was likely a great deal of fun to make. R for sex and language.
HORRIBLE BOSSES 2 (R) 108 minutes * * 1/2
Our intrepid trio decides to become their own bosses, which they are clearly not very good at being. This does rely heavily on the first film to set up the story, but it's also a little more fun to watch as they continue to stumble through every bad idea about how to run a business. R for sex and language.
A HORRIBLE WAY TO DIE (R) 85 minutes * *
Sarah's (Amy Seimetz) former boyfriend was a serial killer. He's been convicted and she's trying to start her life over... and then he escapes. Despite the choppy and rather irritating editing, the story does manage to have a rather haunting quality at times, with music that is simple, yet effective. R for violence, language and sex.
HORRID HENRY: THE MOVIE (PG) 81 minutes * *
Henry (Theo Stevenson) is always causing trouble. But now that his school is about to close, Henry finds himself trying to save it. Very cartoonish and primarily for the 6-10 crowd who will find it silly, but fun. Adapted from the book by Francesca Simon. PG for language.
HORROR NOIRE: A HISTORY OF BLACK HORROR (NR) 82 minutes * * *
Using horror films as a lens, this documentary examins the characters people of color have played in film and how it has changed (and not) over the years. Frames of reference and interpretation are part of the picture as a number of black actors, directors, and writers talk about the genre and how they have been represented in the film industry.
THE HORSE BOY (NR) 90 minutes * * 1/2
Rowan Isaacson is autistic. His parents notice that he has a rather unique attraction to horses that seems to have a calming effect. This documentary is a chronicle of their journey to Mongolia, where horseback riding originated, and where shaman still practice healing rituals. It's interesting, but it;s also a therapy that's a bit out of reach for most families.
HORSE CAMP (PG) 103 minutes * *
Kathy's (Jordan Trovillian) social skills aren't the best. Her parents have lots of ideas about how to address that, but aren't all that thrilled wien she decides to try horse camp. Of course, she;ll do a great job with the horses, make new friends, and have everything turn out jsut peachy-keen. The lengthy scenes with no dialogue tend to have a negative effect on the pacing and highlight the inexperience of the production team. PG for language.
HORSE CAMP: A TREASURE TAIL (NR) 81 minutes 1/2
Camp Director Lisa (Rachel Sowers) and trainer Stacy (Kristen Ryda) are ready for this year's horse camp. They will have to deal with new management in the form of Ms. Marsh (Janet Caine), who doesn't like horses or children. A very stiff script, with next to nothing as far as creativity. The acting and editing aren't much better. The story focuses more on the adult relationships and issues than on the campers. That doesn't mean the film would have been any better, but it might have at least had some appeal for the preteen crowd it appears to be targeting.
THE HORSE DANCER (G) 110 minutes 1/2
A spoiled gymnast (Sophie Bolen) finds herself cut from Olympic consideration and spending her summer at a horse ranch. Of course the ranch is in financial trouble and she uses her gymnastics skills with the horses to do equestrian vaulting, which is sort of "horse dancing", because the title "The Equestrian Vaulter" would not create much interest. Drippig with sentimentality, but even worse, the equestrian vaulting is only featured in one scene near the end of the film. It's quite good, but it makes no sense as Sam was only days before having trouble executing the moves that she performs flawlessly all of a sudden. The script is tired and uninspired, the performances wooden, and even the horses look bored.
A HORSE FOR SUMMER (PG) 92 minutes * 1/2
Summer (Mandalynn Carlson) ends up at her uncle's ranch for awhile when her mother gets sent to jail. They are a wonderfully Christian family, but there are problems beneath the surface. Of course it will all work out well in the end. Too bad that doesn't include lessons on acting and script writing. PG for language.
A HORSE STORY (NR) 93 minutes 1/2
Just what every girl wants... a talking horse. Or not. Just because girls often like horses, doesn't mean that putting the two together makes a great movie. Especially when you have a script this bad. Simple and stiff script that would make even good actors look bad.
A HORSE TALE (G) 82 minutes * *
An accountant is hired to help a family save their ranch and a special horse. Sentimental, transparent script that doesn't offer much in the way of character development. The inexperience of most of the supporting cast is clearly evident and doesn't do this any favors either. It is family friendly, just not very memorable.
THE HORSE WHISPERER (PG-13) 161 minutes * * *
A traumatic opening pulls us into this story very quickly, though it takes a long, slow course afterwards. A horse riding accident leaves young Grace (Scarlett Johanson) without the use of her legs. Her horse somehow managed to survive, but is virtually unapproachable. Horse expert Tom Booker (Robert Redford) enters the scene and works his wonders of understanding and healing. The story and pacing suit Redford perfectly as we come to understand that physical healing is only part of what must take place after a traumatic event. Inner healing takes time, patience, tenderness, understanding, respect, and love. Johanson does a fine job here too, but the supporting actors can't be overlooked either. Diane Wiest, Chris Cooper, and Kristin Scott Thomas all add to the mix and give this film a well-rounded feeling. The ending is more upbeat than that of the book, though it's still not the most cheery of closings. PG-13 for violence and language.
HORSEHEAD (NR) 91 minutes * 1/2
Haunted by recurring nightmares, Jessica (Lilly-Fleur Pointeaux) has spent years studying them to try to understand what they mean. Returning home after the death of her grandmother, the dreams grow more unusual. She decides to try lucid dreaming as a way to sort out the mystery. The story is overly complicated by heavy symbolism, much of which doesn't really add much to the story.
HORSEMEN (R) 84 minutes * * 1/2
These murders seem to be more intensely violent than any Detective Breslin (Dennis Quaid) has seen before. Even more frightening is that there seems to be a connection to him. It's an interesting and slightly creepy story with good performances, but resolves too quickly throughout. R for violence and language.
THE HORSES OF MCBRIDE (NR) 87 minutes * * 1/2
Two horses get stranded in a snow pit. Some people want to rescue them while others think its more humane to put them down. It's a family film, so you can probably figure out what happens. Horses, snow, and a community that comes together... all make for a nice family drama, though a little too sweet and sentimental for some.
HORTON HEARS A WHO (G) 80 minutes * *
Horton the elephant hears a voice on a speck, but no one will believe him until it's almost too late. Cute children's story about how size doesn't matter. "A person's a person, no matter how small." Stretched out into a feature-length film, it does tend to be a bit violent at times as those who don't believe Horton try to stop him from telling anyone. The shorter cartoon from 1970 does a better job of capturing the story well.
HOSPITALITE (NR) 92 minutes * *
When Kagawa (Kanji Furutachi) just shows up at his shop one day, Mikio (Kenji Yamauchi) is nice and offers him a place to stay. After all, Kagawa is the son of the person who helped finance Mikio's printing business. But Kagawa's friends, family, and ways of doing business quickly lead to a number of changes for Mikio and his family, not all of which are appreciated. Lightly humorous, though there's also a dramatic tension beneath the surface. The balance between the two doesn't really work all that well.
THE HOST (R) 115 minutes *
Usually the effect of dumping formaldehyde into a river is that the fish and other creatures die. Not here. Instead, they turn into a mutant monster fish that runs (sort of) on two legs. But the story is confused. Are we supposed to be more frightened of the creature or of the virus it is supposed to carry? Why is it killing only some of the people it catches? Are there more than one of them? How did it get big so fast? Lots of questions, and not really much information. Just lots of scenes of people running from a weird fish-monster. R for violence and language.
THE HOST (PG-13) 115 minutes * * * 1/2
Earth has become a peaceful and nearly perfect place. But few humans remain. Most of what was once the human race have become hosts for another species. Melanie (Saiorse Ronin) is one of the few humans who is able to resist. She is a host for one of these alien invaders, but she's still able to be present. It's unusual, and so is the alien inside her, who begins to wonder itself if this is the right course of action. It's a beautiful and life-affirming story, well-adapted to the big screen by director Andrew Niccol who adapted the screenplay from Stephanie Meyer's novel. PG-13 for sex and violence.
HOST (2020) (NR) 55 minutes *
Since they aren't allowed to visit with each other in person because of the quarantine, six friends hire a medium to do a seance using Zoom. The concentration usually required for a seance is difficult to maintain, but it quickly appears that they have indeed made a connection with something. A few scary or creepy moments here, but most of them are difficult to see. At least this is really short, so you don't have to spend too much time with it.
HOSTAGE (R) 108 minutes * * 1/2
He used to be a hostage negotiator, but after a scenario goes bad, he transfers to a low crime area where things are supposed to be quiet. But when a couple of young punks do a carjacking that turns into a kidnapping, Jeff Talley (Bruce Willis) finds himself involved again. It's intense and well-played, though there aren't really any surprises. Basically a mediocre film that Willis' performance gives a slight edge to. Adapted from the novel by Robert Crais. R for language and violence.
HOSTAGE X (NR) 76 minutes 1/2
With no memory of who he is, Hostage X (Jason London) has no idea why he is being held hostage. Interestingly enough, he is able to get his hands on a cell phone and be in contact with the CIA for lengthy conversations.
HOSTEL (R) 90 minutes 1/2
Josh and Paxton go hostel-hopping across Europe in a quest for sex. They find themselves in the company of a psycho surgeon wannabe. The worst part is that he's only one of the psycho killers that torture and kill people once they've paid a fee. Little more than a low-budget gorefest, to say this lacks creativity is an understatement. Most of the effects have been done as well or better in other films, and the performances are typical of a low-budget film that was completed in a year. R for language, violence, and sex.
HOSTEL 2 (R) 90 minutes 1/2
After tracking down and killing the only survivor from the first film, the hostel is back in business. The pacing of the film is uneven at best, as is the editing. It starts slow, ends quickly, some scenes are handled well, or at least adequately, while others are very weak and poorly edited and acted. The twist at the end catches our attention a little bit, but you may not want to stick around that long. R for violence, language, and sex.
HOSTEL PART III (R) 84 minutes BOMB
Little more than an excuse to film more torture scenes, this sequel is even less "exotic", happening as it does in Las Vegas. R for violence, sex, and language.
HOSTILE TERRITORY (R) 89 minutes * * 1/2
Life is difficult during and after the Civil War, especially with no parents. As it turns out, their father isn't actually dead, but it's going to be hard for him to find them now that they have relocated to the West. It's even more challenging as living in the West is full of danger. R for violence.
HOSTILES (R) 127 minutes * * *
Notorious for his violent and merciless treatment of Native Americans, Captain Blocker (Christian Bale) has now been ordered to escort Chief Yellow Hawk (Wes Studi) and his family across dangerous territory to their new home. It goes against his feels, but above all else, he is a soldier, and he will follow his orders. A very introspective performance by Bale that works quite well. R for violence and language.
THE HOT CHICK (PG-13) 97 minutes *
Attractive, but spoiled Jessica (Rachel McAdams) changes bodies with crude and disgusting Clive (Rob Schneider). Not only have we heard this all before, we have to put up with Schneider's antics as a pampered female through almost the whole film. McAdams may be new, but the few segments we get to see of her as a crude guy aren't too bad. Anna Faris, playing the part of Jessica's friend April manages to come off better than anyone else. PG-13 for language.
HOT COFFEE (NR) 83 minutes * * *
You've heard of that case where the woman had super hot coffee from McDonald's spilled on her, right? There's also a great chance that you don't know the whole story. (Just a hint: she wasn't driving and the car wasn't moving.) It's an interesting look at how the public's perception of how the legal system works (or doesn't) has been distorted and manipulated by the media and the legal and political worlds. Protecting businesses from frivoulous lawsuits is the hype, but the facts don't support that idea, and it removes the ability for a jury to determine appropriate punishment for negligent action. Well worth a look!
HOT DOG: THE MOVIE (R) 92 minutes * ½
The setting is the mountains of California where there are ski championships happening. It doesn’t really matter exactly where, because it’s more about the antics that are going on than the skiing or the location. There is some nice stunt work, but that’s not really enough to make a film work. R for sex and language.
HOT FUZZ (R) 115 minutes * * 1/2
Transferred out to the countryside because he's doing so well that he makes his fellow offiers look bad, Nicholas Angel (Simon Pegg) may have stumbled across the biggest murder case ever. Pegg's comic style fits well here, but the story drags on too long. Nice supporting work by Nick Frost as his well-meaning partner. R for violence and language.
HOT MOVES (R) 78 minutes BOMB
Hormones get the better of four high school boys who are determined to lose their virginity before the beginning of their senior year. Their inexperience frequently gets in the way of their conquests. No surprises here, except maybe that there are some very nice cars to appreciate. R for sex and violence.
HOT PURSUIT (PG-13) 89 minutes * 1/2
After missing the plane, Dan (John Cusack) spends his entire break chasing after his girlfriend and her family. The bits between Cusack and Robert Loggia are good, and the music (by Rareview) is also good. Everything else is little more than a jumbled mess that isn't very interesting. Definitely one of Cusack's lesser films. Filmed in Victoria, British Columbia.
HOT PURSUIT (2015) (PG-13) 83 minutes * * *
Cooper (Reese Witherspoon) likes her job (and her life) to go by the book. Not only is that not working very well, but now she finds herself on the run with a rather difficult sidekick. Daniella (Sofia Vergara) is a federal witness in a mob case, and is more than a handful to manage. It's a fun and entertaining ride with Witherspoon clearly having quite a bit of fun with the character. PG-13 for sex, violence, and language.
HOT ROD (PG-13) 83 minutes BOMB
Andy Samberg is "Hot" Rod Kimble, a wanna-be stunt man who probably wouldn't even make it as a regular on "Jackass"... which is pretty sad. Poorly written and barely acted, even by the few people in the film we would expect far better from. PG-13 for language and violence.
HOT SEAT (R) 93 minutes * *
With a bomb under his chair, Orlando (Kevin Dillon) is being forced to hack into a system for a mysterious, unknown person. The story isn't bad, and even has a couple of nice twists. Some of the supporting roles though, are not only quite thin, but also poorly acted. Mel Gibson is fine, and Shannon Doherty isn't bad, but they are the exceptions. R for language and violence.
HOT SHOTS (PG-13) 79 minutes 1/2
Parody of "Top Gun" that offers plenty of silly one-liners, most of which aren't all that funny. There are fans of this genre of film who find this hilarious, but things like this work far better as 5-10 minute skits rather than as feature films.
HOT SHOTS PART DEUX (PG-13) 83 minutes 1/2
Why make a sequel to a film like "Hot Shots"? The only reason this gets any credit at all is for a few props that are nicely done. Films like this take no talent to put together and offer so little in entertainment value, but somehow they still make enough money that studios keep making them. PG-13 for language.
THE HOT SPOT (R) 124 minutes * 1/2
The sleepy, somewhat seedy little town of Landers, Texas, finds a stranger in its midst. He's a drifter by the name of Harry Madox. Harry begins to work, wins the hearts of two very different women, and robs the local bank. This runs way too long, but the real problem is Don Johnson. He's not a great actor to begin with, but this part just doesn't fit. He's never able to convince us of the subtleties we need to notice in a character of this type. Virginia Madsen, Jennifer Connelly, and Charles Martin Smith do nice work, but we get bored with this pretty quickly. R for sex and violence.
HOT SUMMER NIGHTS (R) 103 minutes * *
He hasn;t had an exciting or really even interesting life up to this point. The summer of 1991 is going to change all of that. Daniel (Timothee Chalamet) is about to get into drug dealing in a big way, party like there's no tomorrow, fall in love for the first time, and learn a lot about life and what he really wants out of it. It's a dark and violent coming-of-age story. R for language, sex, and violence.
HOT TO TROT (PG) 80 minutes 1/2
Fred Chaney (Bob Goldthwait) inherits half of the family business when his mother dies. With the help of Don, the talking horse, he makes lots of money and then loses it, and Don wins a race for him to get it all back. In a word... boring. I do enjoy Goldthwait, but it's rather painful to watch him wallow in a senseless script that has no direction. The few cute bits of humor are muddled with an overabundance of crude and rather pointless jokes. Goldthwait fans will definitely be disappointed.
HOT TUB TIME MACHINE (R) 92 minutes * 1/2
Nothing like some good old male bonding. Three long-time buddies decide to spend a weekend at the old ski lodge from their youth. Time hasn't treated the place well, but the hot tub out back is working just fine. In fact, it will take them back in ways they never imagined. Definitely some fun moments poking fun at the 1980s, but Rob Corddry's character is incredibly and relentlessly annoying. It pretty much takes most of the fun out of the film. Filmed in Vancouver and Fernie, British Columbia. R for language, sex and violence.
HOT TUB TIME MACHINE 2 (R) 92 minutes *
Time machines can be tricky, and when Lou (Rob Corddry) uses it to try and fix some problems he has, they end up in the future instead of the past. The humor is more of the same, but less funny the second time around. The clips during the credits are more fun than the rest of the film. R for sex, language, and violence.
HOTEL ARTEMIS (R) 86 minutes * * *
It's a rather unique facility. A hospital for criminals, who pay a membershipi fee for treatment and discretion. The nurse (Jodie Foster) has some rules, but they are for everyone's safety. The riots in the city are moving in the direction of the hospital, and not only is a very important client on the way in, someone already in the building is on a very special mission. A fun trip on the dark side of the future, with solid supporting work from Dave Bautista, Sterling K. Brown, and Sofia Boutella. R for violence, language, and sex.
HOTEL FOR DOGS (PG) 94 minutes * * 1/2
Emma Roberts and Jake T. Austin play a brother snd sister who are having trouble taking care of the dog that their new foster parents don't know about. When they discover an abandoned hotel with a couple of other dogs, they have a new mission. Along with a few friends, they begin to rescue every homeless dog they can find. Adapted from the book by Lois Duncan, it's a nice film for the whole family. PG for language.
HOTEL MUMBAI (R) 116 minutes * * *
In 2008, a group of terrorists laod siege to Mumbai, India. Numerous locations were attacked, including Htoel Mumbai, which is the focus of this film. The police force was not equipped to deal with the threat, so it fell to the hotel staff and other individuals to try and keep people safe. A powerful retelling of a tragic, historical event. R for violence and language.
HOTEL OF THE DAMNED (NR) 81 minutes 1/2
Recently released from prison, Nicky (Louis Mandylor) just wants to reconnect with his daughter. But she has changed. And now, after a car accident, Nicky finds himself in an abandoned hotel with his best friend, and his daughter and her boyfriend. This hitel is not exactly empty though. With characters that we find difficult to like, the story becomes boring rather quickly, and never really recovers.
HOTEL RWANDA (PG-13) 116 minutes * * *
Powerful film about the war in Rwanda between the Tutsis and the Hutus, focusing on Paul Rusesabagina, a hotel manager (and Hutu) who risked his life to save as many Tutsi refugees as he could. Wonderful performances by Don Cheadle and Sophie Okonedo, but the script does shy away in some spots from making even stronger statements. The focus remains with the characters rather than the political situation in which they find themselves. Still, this is an important film to see even if it does make the message a little more palatable than it needed to. PG-13 for violence.
HOTEL TRANSYLVANIA (PG) 83 minutes * * *
It's Mavis Dracula's 118th birthday. Her father has kept her safe in the castle for all of these years, but all she wants is to go see the world. And now there's a human inside the castle walls. Great animation and a fun story with a cute romantic side. Not only are there lots of fun little character bits, but the voice cast for this film is amazing. Featuring the vocal talents of Adam Sandler, Andy Samberg, Selena Gomez, Kevin James, Fran Drescher, David Spade, Ceelo Green, Steve Buscemi, Molly Shannon, and Jon Lovitz. PG for language.
HOTEL TRANSYLVANIA 2 (PG) 80 minutes * * 1/2
Dracula's grandson doesn't seem to be showing his monster side yet. If that doesn't change soon, he and his mom may have to leave the hotel, and dad doesn't really want that to happen. Mildly cute story. Amazingly stellar voice cast. PG for violence and language.
HOTEL TRANSYLVANIA 3: SUMMER VACATION (PG) 87 minutes * * *
The gang decides to take a cruise vacation. Little do they know that Van Helsing's granddaughter is the ship captain, and is planning to finally defeat Dracula. Of course, with this group, nothing ever turns out quite like you expect it to. Fun story with a fantastic voice cast and vary nice animation that includes lots of fun little details that you might not catch the first time around. PG for violence and language.
HOTEL TRANSYLVANIA 4: TRANSFORMANIA (PG) 78 minutes * * 1/2
Drac is about to retire and leave the hotel to Mavis and her boyfriend, but then he changes his mind. Johnny thinks it's because he's human and not a monster. So... he finds a way to turn into a monster, but now everyone else is human. The lesson is, of course, to be happy with who you are, and to accept others as they are. The story tends to be very repetitive and drags more than it should. PG for violence, language, and nudity.
THE HOTTEST STATE (R) 112 minutes * * *
Ethan Hawke's novel about the struggles of a young actor does suffer a bit from Hawke's over-involvement in the project. He wrote the screenplay, directs, and acts in the film as well. It is well-written, and is a story in which the narration works well... not a small achievement by itself. Mark Webber delivers a sincere and earnest performance as William, in whom we see glimpses of Hawke. But there are a few rough spots here as well, that perhaps the involvement of another director might have been able to work with in a way that would have strengthened the film. Richard Linklater's films, "Before Sunset" and "Before Sunrise" that Hawke starred in, are both somewhat obvious influences as well. R for sex and language.
HOUDINI (NR) 146 minutes * * *
More than just a story about Houdini's (Adrien Brody) journey in the world of illusion, this bio-drama takes a look at the psychology of the man to explain a little about why he became the master escape artist and illusionist. From his early interest to his work with the U.S. and British governments, and his interest in and frustration with spiritualism, this covers quite a bit of ground. Nice work by Brody.
HOUNDDOG (R) 92 minutes * * *
Lewellen (Dakota Fanning) has had a rough life, and though she's still not that old, it's going to get worse before it gets better. The music of Elvis Presley provides her an escape, but she takes most of her troubles in stride, assuming that few have it much different from herself. An intense and powerful performance from Fanning, highlighted by a performance of the title song late in the film. Allowing herself to reach inside and allow the pain and sorrow she feels to shape the song, we hear the same words, but a different, and far more powerful tune. R for sex and language.
THE HOURS (PG-13) 110 minutes * * *
The opening credits sequence does a wonderful job of setting the stage for a story that will span generations and pulse with life. Phillip Glass' music was a superb choice for the soundtrack! Extremely well-adapted script from the book by Michael Cunningham, this is the story of Virginia Woolf, the character of Mrs. Dalloway that she created, and the similarities between that character and two other women in two other times. The stories intertwine, weaving a tale that is both fascinating and sad, for we see taht perhaps WOolf was less creating characters than recognizing a truth that keeps repeating itself in life. Perhaps the most powerful stories come to us through those who recognize those patterns and stories that resonate within us and repeat like ripples in the water through time itself. Nicole Kidman does a marvelous job as Woolf, and Meryl Streep adds yet another strong performance to her list. It's a great cast all around, but the story is so strong that some of those with smaller parts (Ed Harris, Claire Danes, Jeff Daniels) seem to appear so briefly that we almost don't have the chance to appreciate them. Though there's even a way in which that supports the story too. PG-13 for language.
HOURS (2013) (PG-13) 93 minutes * 1/2
Nolan (Paul Walker) is struggling to keep his daughter safe while Hurricane Katrina rages on. Walker has a tough time carrying so much of a one-note story. The moments of tension feel very manufactured and predictable, making this one of his less interesting films to watch. PG-13 for violence.
HOUSE (R) 89 minutes * * 1/2
Roger (William Katt) didn't really want to return to the old house, where his son apparently disappeared, but it seems that he's inherited the place. Something else is already in residence though, and doesn't want to leave. Nice suspense, and some light touches of humor make this a worthy entry in the haunted house sub-genre of horror films. R for violence and language.
HOUSE (2008) (R) 84 minutes 1/2
Lost in the country, they find themselves at an old inn. Now they will endure a night that forces them to look at their own past, while demanding them to make a sacrifice as well. Lots of over-acting here and a script that alternates between the obvious and the ridiculous. Adapted from Ted Dekker's novel, which may explain a good deal of the simplistic nature of the story. R for violence.
THE HOUSE (2017) (R) 80 minutes * 1/2
When the town decides not to pay for their daughter's scholarship, Scott (Will Ferrell) and Kate (Amy Poehler) have an idea. Why not start a casino in their neighbor's house? More than a little ridiculous, but with a sentimental ending. (Although it can be difficult to be too sentimental with that much foul language. R for language, violence, and nudity.
THE HOUSE ACROSS THE STREET (NR) 90 minutes 1/2
When Amy (Jessica Sonneborn) moves to this quiet neighborhood, it seems like the perfect place to live. And then these strange things start happening at the house across the street. Not very believable or suspenseful, with lackluster performances and a shallow script.
HOUSE ARREST (PG) 104 minutes 1/2
Locking your parents in the basement to help them work out their marital problems is the premise here... does that tell you enough? This is notable mostly because it wastes the considerable talents of Jamie Lee Curtis, Jennifer Love Hewitt, Ray Walston, and Wallace Shawn.
HOUSE AT THE END OF THE STREET (PG-13) 94 minutes * *
Elissa (Jennifer Lawrence) and her mom move into a very affordable home at the edge of a state forest. Part of the reason it's so affordable is because of the double murder that happened in the house next door. And it turns out that the house isn't vacant as most of the townspeople had thought. The story drags in a number of places and what suspense there might have been, quickly vanishes despite the efforts of the cast. Pacing is very important to keep suspense at the appropriate levels, and it just doesn't happen much here. PG-13 for violence and language.
THE HOUSE AT THE END OF TIME (NR) 96 minutes * * 1/2
Thirty years after a tragedy involving one of his sons, Dulce (Ruddy Rodriguez) returns to try to understand what happened and why. Wonderfully creepy atmosphere. The story gets a little too concerned about trying to answer all of the questions toward the end, but its a very suspenseful trip getting there.
THE HOUSE BUNNY (PG-13) 91 minutes * *
At the age of 27, Shelley (Anna Faris) is kicked out of the Playboy mansion. She's too old. With nowhere to go, she finds herself at a sorority house that is in need of a house mother, and a drastic makeover. These losers need a dose of Shelley's sex appeal, and her positive attitude. Standard material, but Faris makes it worth watching. PG-13 for language and sex.
THE HOUSE I LIVE IN (NR) 107 minutes * * *
Informative and very personal look at the war on drugs and the lives it touches. Director Eugene Jarecki begins and ends with the ways in which the lives of he and the women who spent many years caring for him as a child have been affected. Soundtrack includes some very powerful music that fits nicely with the topic.
HOUSE MONSTER (NR) 68 minutes * 1/2
Jen (Jennifer Hill) is isolating at home because of the pandemic. She lives alone anyway, but now her only connection to the outside world is through social media. But something else is in the house. Or is it all in her head? Without the ability to check with anyone else, how will she know for sure? Interesting, and not bad for the incredibly low-budget.
THE HOUSE NEXT DOOR: MEET THE BLACKS 2 (R) 93 minutes 1/2
Moving back to his childhood home was supposed to be about safety and security. (Just like the last move.) Now Cark (Mike Epps) has to deal with a pimp living next door... or is it a vampire (Katt Williams)? Slightly more fun and funny than the first film, but not by much. R for language and sex.
HOUSE OF BODIES (NR) 76 minutes *
A series of copycat murders has Detective Starks (Terrence Howard) talking with the serial killer (Peter Fonda) whose work is being copied. And now, Bishop's old house seems to be the site of even more trouble. Aside from a couple of brief sequences, the script is surprisingly lifeless, and the ending if very anticlimactic. At least the soundtrack has a little life.
HOUSE OF D (PG-13) 93 minutes * * 1/2
This directorial debut of David Duchovny is part coming-of-age film, part nostalgic look at the Greenwich Village of the early 1970s. Trying to deal with his relationships with his own wife and son, Tom (Duchovny) tells us the story of his adolescence. Anton Yelchin does a very nice job as the young Tom, but we spend so much time in this flashback, that we almost forget where the film is headed. It's not a bad first effort as a director from Duchovny, but it is more than a bit sentimental and lacks the more subtle touches that would make it a stronger film. PG-13 for language.
HOUSE OF DEMONS (R) 87 minutes 1/2
It was once home to a murderous cult. These four friends decide that spending the night here would be a good way to reconnect with each other. Maybe not. The film gets overly caught up in trying to present a possessed/drug induced "look", but the result actually looks more like a bad horror film from the 1970s. R for violence, language, and sex.
HOUSE OF EVIL (NR) 83 minutes 1/2
A couple moves into an old house in the country. It's haunted. Creepy music, bad dialogue, worse acting, and a story that has less imagination than these comments.
HOUSE OF FLYING DAGGERS (PG-13) 113 minutes * * *
Jin (Takeshi Kanishiro) and Leo (Andy Lau) are part of an assassination plot that has them follow the beautiful Mei (Ziyi Zhang) back to the leader of the House of the Flying Daggers. Loyalties and love will make this journey a difficult one, but it is the path that lies before them. The cinematography is visually stunning, and the visual effects that are used during the battle scenes are nicely done as well. A very nice companion piece to director Yimou Zhang's "Hero". PG-13 for vioelnce and sex.
HOUSE OF GUCCI (R) 151 minutes * * *
When Patrizie (Lady Gaga) first meets Mauritzio (Adam Driver), she knows exactly what she wants. It takes some wheeling and dealing, some manipulation, and a lot of finesse... which is not her strong suit. Patrizia will always be an outsider, never truly a part of the Gucci family. Mauritzio will also learn that there is a limit to what he can have. Great work by the cast. R for language, sex, and violence.
HOUSE OF MANSON (NR) 92 minutes * 1/2
The story of Charles Manson's (Ryan Kiser) early years and the days leading up to the murders for which he became infamous. The plot wanders through Charlie's memories and other related scenes in a rather disjointed retelling of the events. Not one of the better films on the topic.
HOUSE OF 1,000 CORPSES (R) 85 minutes BOMB
Clearly, there was a reason that Universal chose not to release this film. Rob Zombie bought it back and managed to convince a smaller studio to release it. Unfortunately. It's little more than a very bad remake of "The Texas Chainsaw Massacre" without the creativity. The ending is... stupid and there are several spots in the film that just don't make any sense, like the flesh-eating zombies in the well that eat a corpse and one live person, then disappear, leaving the other person alone... My guess is that there was quite a bit more footage that might have explained some of these senseless segments. Not that I really want to see it... R for violence and language.
HOUSE OF PURGATORY (NR) 71 minutes 1/2
Have you heard about the haunted house attraction where you get paid for each floor you make it through? These four teenagers (who all clearly appear to be in their mid-20s) manage to find the attraction and are determined to make it through all of the floors. The idea isn't bad, and the music works, though it's somewhat reminiscent of the "Halloween" soundtrack. The acting and directing manage to hurt this at almost every turn, though there is a brief glimmer of something more as we get close to the end of the film.
HOUSE OF SADDAM (NR) 225 minutes * * 1/2
Quality television production that chronicles Saddam Hussein's rise to power in Iraq and his downfall. Yigal Naor does a great job portraying the Iraqi leader. The story covers a great deal of territory, which may be the biggest problem. The production quality is already quite good, and tightening up the story a little could have strengthened it a bit.
HOUSE OF SALEM (NR) 98 minutes BOMB
They thought they were kidnapping a boy for a ransom. They soon discover that something more sinister is in play. Something they are completely unprepared for. It's called "acting". Nonsense story with lots of failed attempts to create a suspenseful atmosphere.
HOUSE OF SAND AND FOG (R) 123 minutes * * *
Kathy (Jennifer Connelly) is alone in the house her father left to her and her brother and is working at putting pieces back together and finding meaning in her life. When the county repossesses and quickly auctions off her home for back taxes she doesn't owe, she doesn't know what to do. The new owner (Ben Kingsley) is selfishly refusing to return the house, but then again, he's only pursuing a piece of the American dream for himself and his family as they work to create a new life that is better than the one they left in Iran. Each refuses to give any ground until it's too late. Other people get involved and events begin to spin out of control. Kathy and Behrani find themselves both on a path to destruction that they can't seem to change. Strong performances from both Connelly and Kingsley, but the plot is a little too simplififed and one sided. There needed to be a better balance, showing us that both characters are focusing too much on themselves. That would help us see more clearly that when we do the same, our own "house" is as equally apt to wash away and/or disappear. R for language, violence, and sex.
HOUSE OF THE DEAD (R) 86 minutes BOMB
Welcome to the rave... just remember that they don't call it the "island of death" for nothing! Based on the video game (which should give you a clue) and including clips from the video game which are annoying to say the least. Cheap special effects, unsympathetic characters, and a weak ending don't help either. R for violence and language.
HOUSE OF THE DEAD II (R) 91 minutes 1/2
This may not be directed by Uwe Boll (as the first one was), but I'm not really sure that would have made it any worse. A zombie virus has contaminated a campus, and a military team is trying to get a blood sample from the first person who contracted it. We don't really care. R for violence, language, and sex.
THE HOUSE OF THE DEVIL (R) 89 minutes * *
It's a babysitting job, but instead of children, Samantha (Jocelin Donohue) is asked to keep an eye on elderly woman. She's offered quite a bit of money for the job, so she agrees. But it's unlikely that she'll get to spend it as this is the night of a full lunar eclipse, and this house will be the site of a satanic ritual that plans to use her as a sacrifice. The film does a nice job of recreating the look and feel of a 1970s horror/suspense film, which adds a level of creepiness to the film, but most of the suspense is gone after the first thirty minutes. R for violence.
HOUSE OF THE LONG SHADOWS (PG) 94 minutes * * * ½
When a writer is challenged to stay in a creepy old mansion and turn out a novel in 24 hours, you can bet there are going to be some strange things happening. The real reason to watch this is less for the story, and more for who is here. Four classic horror film actors, together on screen for the first time. It is magic for fans of the genre to see Vincent Price, Christopher Lee, Peter Cushing, and John Carradine together. The script does have a number of bits that relate to the earlier works of these four, and to horror films in general. Those who aren’t fans of the genre won’t be that interested, but those who are shouldn’t miss this film.
HOUSE OF THE RISING SUN (R) 85 minutes * 1/2
Ray (Dave Bautista) used to be a cop. Now he works security for a couple of brothers who run a gambling/prostitution business. His latest assignment is to uncover who killed one of the bosses' suns during a robbery gone bad. Lifeless performance from wrestler/actor Bautista, and a disappointing ending to the film as well. Adapted from the novel by Chuck Hustmyre. Filmed in Grand Rapids, MI. R for violence, sex, and language.
THE HOUSE OF THE SPIRITS (R) 129 minutes * * * 1/2
Clara (Meryl Streep) would almost appear to be of another world, ethereal, psychic, blessed, and cursed. This is her story, and that of those whose lives entwined with hers. A picture where the imagery is deep and rich, and the characters have lives that seem to extend beyond and beneath the screen. A good deal of territory is covered here, roughly 50 years, but we're so absorbed by it all that time just flies by.
HOUSE OF THE WITCH (NR) 84 minutes * 1/2
It was just supposed to be a Halloween prank, but now these teens are trapped in a house that won't let them leave. There's a creepy old house like this in every town, but the only one that matters is the one you can't get out of! There are some pretty creepy chills here, but the story as a whole just isn't very strong.
THE HOUSE OF TOMORROW (NR) 82 minutes * *
Living in a dome house that is based on ideas from R. Buckminster Fuller, Sebastian (Asa Butterfield) has led a very sheltered life. Through a happy set of circumstances, he is about to find a way to grow up anyway. A somewhat unusual coming-of-age story that has some great ideas, but never develops any of them very well.
HOUSE OF VERSACE (NR) 85 minutes * * *
The designs of Gianni Versace (Enrico Colantoni) were all the rage. But when he was murdered in 1997, it fell to his sister Donatella (Gina Gershon) to take the company and the designs to the next level. Their vision was not the same. While this TV biopic does cover the darker side of Donatella's life during this time, it also manages to present a strong and clear picture of her love of and passion for fashion, art, and the house that she and her brother started together. Great work by Gershon.
THE HOUSE OF VIOLENT DESIRE (NR) 116 minutes *
Black Rock Manor is the site of this modern gothic thriller. There's lots of style, and plenty of steamy, kinky sex thrown in. But that's where the story goes wrong. There's so much style, with the sex and violence at a level that is almost cartoonish. The dialogue comes in lengthy segments that are more narration than anything else. The result is a film with very little substance.
HOUSE OF WAX (2005) (R) 107 minutes * 1/2
Boring remake of the classic horror film that for some reason seems to think that a longer version is required. It's not. Some of the special effects are nice. Especially when Paris Hilton gets a steel shaft through the head. Otherwise, this is for diehard horror fans, who will still wish they'd just watched the old version one more time. R for violence and sex.
THE HOUSE OF YES (R) 85 minutes * * *
Marty (Josh Hamilton) brings his fiancee (Tori Spelling) home to meet his family. But, Marty's family is a bit "different". It's a darkly satirical film that is highlighted by Parker Posey's performance as Marty's twin sister, Jackie-O. Her insanity is all the more frightening as she seems at times to be perfectly normal. Her character makes the film well worth watching, though the rest of the cast does a fine job too. Adapted from Wendy MacLeod's play, the film does tend to keep us at arms length at times, but the overall effect is still powerful. R for language.
HOUSE ON HAUNTED HILL (R) 87 minutes * * 1/2
This bears little more than passing resemblance to the 1958 classic with Vincent Price, which was loads of fun. There are some nice special effects here and some good camera angles. The music is also sufficiently spooky, but the script... It ruins the pacing in several spots, taking away the suspense, and gives Chris Kataan very little to work with for his character. Geoffrey Rush takes on the Price role, but with a nagging wife, played by Famke Jansen, we aren't really that interested in how things turn out. And whose idea was it to make the "house" a sanitarium? R for violence and language.
HOUSE ON WILLOW STREET (NR) 83 minutes * 1/2
It was supposed to be an easy plan. Kidnap, collect, done. But there's something about the girl they didn't know, and they may be in much more danger than they realized. Nice effects, although the snake tongues are a little overdone. The soundtrack is very good too, but the moments that are supposed to be surprising or full of suspense... just aren't.
HOUSE PARTY (R) 97 minutes *
Low-budget film featuring rappers Kid 'n Play and capitalizing on the house dancing fad of the moment. Nearly non-existent story and not much house dancing, though I'm not sure that more dancing would've really added that much to the film anyway.
HOUSE PARTY (2023) (R) 95 minutes BOMB
Two house cleaners decide to have a party at the home of LeBron James. Not much of a story here, which was most of the problem with the previous film. This is a reboot rather than a remake, taking the same idea and trying to put a fresh spin on it. Featuring Jacob Latimore and Tosin Cole. R for language, sex, and violence.
HOUSE PARTY 2 (R) 90 minutes *
Kid and Play head to college, still partying and being irresponsible. Moralistic film about the value of staying in school that has little appeal to those who aren't fans of Kid and Play.
HOUSE PARTY 3 (R) 89 minutes *
Kid 'n Play are back for another go round. Good music, but not much story. Kid 'n Play take a back seat to a new character named Immature, which says enough all by itself.
HOUSE SHARK (NR) 109 minutes BOMB
No one seems to have heard of it before, but Frank (Trey Harrison) is convinced that a shark is in his house. Somehow, he manages to find a couple of people who can help rid him of this dangerous pest. This tries really hard to be so ridiculously bad that it's funyy. But it's not funny. Writer/director Ron Bon also does just about everything else for this really bad film. Or maybe no one else wanted their name attached to it...
THE HOUSE THAT JACK BUILT (R) 147 minutes * * *
Five incidents over the course of twelve years. The story of a serial killer as he tells it himself. These are only a few examples of his work, but they hold special significance for him. It is the story of a man in search of love and recognition. The more he tries, the more it eludes him. Soon, he becomes more reckles and risky in his attempts to achieve that which he desires. Violent, twisted, and surreal, and a very unusual and memorable mix of art and horror. R for violence, language, and nudity.
THE HOUSE THAT NEVER DIES: REAWAKENING (NR) 93 minutes * * 1/2
Once again, the house at 91 Chaoyangmennei Street offers up supernatual activities. There are some very nice effects, and a very creepy atmosphere, but not all that much suspense. The story has a slow and steady pace as it explains the nature of the haunting and puts the troubled spirit to rest. At least for the moment.
HOUSE II: THE SECOND STORY (PG-13) 93 minutes * 1/2
The house has a new owner and the demons and zombies are raising all kinds of havoc as they search for a crystal skull. Strange mix of comedy, horror, and adventure that never really succeeds in any of those categories. There are some good make-up effects and the ending isn't too bad.
THE HOUSE WITH A CLOCK IN ITS WALLS (PG) 99 minutes * * *
The clock in question is a rather important one. It has the power to bring about the end of everything. Young Lewis (Owen Vaccaro) is now living with his uncle (Jack Black) and is trying to help. There are many distractions though, especially for a young boy like Lewis. Fun adventure film with plenty of creepiness and some great work by Cate Blanchett and Jack Black. PG for violence and language.
HOUSEBOUND (NR) 109 minutes * 1/2
Kylie (Morgana O'Reilly) is on home detention. But the home she is returning to is not full of happy memories for her. And there are things that are living in the walls... There are some inventive elements to the story, but the mixture of horror and comedy is awkward and ineffective.
HOUSEGUEST (PG) 105 minutes * 1/2
Chased by debt collecting hoods, Kevin (Sinbad) masquerades as the friend of a rich man and invites himself into another kind of life. This runs way too long and Phil Hartman and Sinbad
don't really play off each other that well. For Sinbad fans only.
THE HOUSES OCTOBER BUILT (NR) 88 minutes *
"Reality" film about five friends and their search for a truly scary haunted house attraction. It also includes supposed found footage from an underground haunt site. This could have been a fun film, and clearly, the people making it seemed to be having some fun. It just doesn't translate well into the plot for the rest of us. There are a handful of scary moments, but a completely unsatisfying ending.
THE HOUSES OCTOBER BUILT 2 (NR) 96 minutes * * 1/2
Due to their fame from their near tragic experience last year, these five friends have an opportunity. This time, they will get paid to visit haunted attractions and rate them. But as they begin to see evidence of Blue Skeleton again, they're wondering if it's worth the risk. This works a little better than the first film, and you really don't miss anything by just starting with this one.
HOUSESITTER (PG) 97 minutes * * 1/2
Newton Davis (Steve Martin) is just you r average kind of guy. A bit impulsive and romantic sometimes, but nothing too extreme. Then one day Gwen (Goldie Hawn) waltzes into his life. What's a guy to do? Hawn outshines Martin here, but that's by design. It does make things a bit unbalanced, but it's still fun to watch. It isn't their best work, but it's a fun look at what can happen when we lie, when we dream, and when the two get mixed together. PG for language.
HOW ABOUT YOU (NR) 85 minutes * * *
The residential home that Kate (Orla Brady) runs for older people is in danger of closing. To make matters worse, she needs to leave for a week to go and care for her mother, who is recovering from a stroke. All but four of the residents can be moved to other homes, but these last four are the most troublesome. Does her younger sister even stand a chance with these four residents? It's an absolutely charming film, in a delightfully cantankerous sort of way. Vanessa Redgrave, Imelsa Staunton, Brenda Fricker, and Joss Ackland are wonderful here, and Hayley Atwell shines among them as well. Adapted from the short story by Maeve Binchy.
HOW DO YOU KNOW (PG-13) 117 minutes * * *
What is it that tells you when a relationship is the right one? In the midst of her own personal crisis and trying to figure out the director for her life, Lisa (Reese Witherspoon) is torn between her baseball-star "boyfriend" Matty (Owen Wilson), and George (Paul Rudd), who is struggling with his own personal crisis. it's an awkward triangle of people who all have plenty of issues, but will Lisa end up with either one of them? Nicely cast, and Witherspoon does a great job here, and there's a nice supporting role for Jack Nicholson as well. PG-13 for sex and language.
HOW HIGH (R) 87 minutes BOMB
Method Man and Redman star in a film about two potheads who end up in college, trying to find a better lab to grow their stuff. They are aided in their endeavors by a dead friend whose ashes fertilize their prize plant. Need I say more? R for language.
HIGH HIGH 2 (NR) 84 minutes BOMB
After finding a mysterious weed bible, two stoners manage to grow some amazing weed. When it's stolen, they search all over Atlanta for it. Not related to the first film except in subject matter.
HOW I ENDED THIS SUMMER (NR) 126 minutes * * *
All Pavel (Grigoriy Dobrygin) had to do was deliver the message to Sergei (Sergei Puskepalis). But he's so intimidated by the older, and more experienced man, that letting someone else deliver the bad news sounds like a better idea. Of course, delaying the inevitable only makes matters worse. The harsh, and yet beautiful environment of the arctic circle is the setting for this character study and story of trust and betrayal.
HOW I LIVE NOW (R) 98 minutes * * *
Sent to England to live with relatives she barely knows, Daisy (Saoirse Ronin) assumes that its just one more bad thing in a list that began with her mother's death during childbirth. But when war breaks out, the stbility she had just begun to find is shattered. Perhaps within this crisis, she can find what it takes not just to survive, but to truly live. Ronin adds yet another strong performance to her substantial list of credits. Harley Bird also delivers an impressive performance as young Piper. R for violence, language, and sex.
HOW SARAH GOT HER WINGS (NR) 84 minutes * *
When Sarah (Lindsey Gort) dies, it turns out that her name isn't on the list. So, she is sent back to figure out what she still needs to do to make her name appear on it. Romantic holiday fare that works fairly well.
HOW SHE MOVE (PG-13) 84 minutes * * 1/2
Michelle (Tre Armstrong) is back in her old neighborhood. Not a great deal has changed, and her mother doesn't like the company she keeps, but Michelle is following her heart. Though the story offers nothing new, there are several nice step competitions through the course of the film. PG-13 for language.
HOW STELLA GOT HER GROOVE BACK (R) 119 minutes * 1/2
Stella's life is busy and boring, so she goes to Jamaica on the spur of the moment and has an affair with a Jamaican guy who's half her age. Angela Bassett does a fine job in the lead role here, but the one-note script gets old after the first hour. We don't get to see enough of the scenery and we needed to hear much more about Winston (Taye Diggs) and Delilah (Whoopi Goldberg) to give us a little variety. R for language and nudity.
HOW THE GARCIA GIRLS SPENT THEIR SUMMER (R) 125 minutes * 1/2
Writer/director Georgina Riedel's rambling, slice-of-life about three generations of Mexican American women. The film is in dire need of a great deal of editing, though there are quite a few good points, and the last half hour is pretty good. Getting there is tedious because too much of the film appears to be poorly acted rather than creating the realistic feeling that was undoubtedly the intention. R for sex and language.
HOW THE GRINCH STOLE CHRISTMAS (PG) 97 minutes * * 1/2 Not that you would expect anything less from Rick Baker, but the special effects makeup is amazing. Jim Carrey really does become the Grinch as far as that goes. He does get a bit out of hand as the film progresses though, becoming a bit too zany for the character. More of a goofy Grinch than a mean one. It's also puzzling why we need to have Christine Baranski playing Martha May Whovier as someone who has the hots for the Grinch. There are also some questionable references to some past activities in Whoville that are unnecessary. The spirit of the story remains intact though, and that is what we leave with, the classic story from Dr. Seuss, played out by real people. PG for language.
HOW TO BE (NR) 77 minutes *
Art (Robert Pattinson) is having an existential breakdown. After reading a self-help book, he gets the bright idea to have the author come to London and help him pull his life together. It doesn't work particularly well, and neither does the film. Without much of a reason to like Art, we don't really care if he learns how to be.
HOW TO BE A LATIN LOVER (PG-13) 109 minutes * * 1/2
Maximo (Eugenio Derbez) was a master of seduction and landed himself a fabulously wealthy wife. But after 25 years of marriage, she dumps him. Now, he's going to have to stay at his sister's place... and learn a few more practical lessons that he's missed over the years. A fun role for Derbez, and he plays it well. The rest of the cast is less interesting. PG-13 for language and nudity.
HOW TO BE A PLAYER (R) 89 minutes *
Though Bill Bellamy does a reasonably good job here, the stale plot and lack of support from the rest of the cast really kill this. A true player doesn't just learn to adapt, they learn how to pick good films to work on so they will have a long career. This is definitely not a film that will help those who took part in its making. R for sex and language.
HOW TO BE A SERIAL KILLER (R) 88 minutes * *
Mike (Dameon Clarke) wants to pass on his skills and passion for being a serial killer. He decides on Bart (Matthew Gray Gubler), a somewhat disgruntled video store clerk as his protege. The satirical humor is very uneven, with some very sharp bits, but others that just don't go over at all. R for violence and language.
HOW TO BE SINGLE (R) 104 minutes * *
A group of single friends in New York try to not be single. Most of the focus is on Alice (Dakota Johnson), Robin (Rebel Wilson), and Meg (Leslie Mann), with Wilson providing the bulk of the humor in her usual, crude style. This doesn't hold together well, though there are a few good scenes. R for sex and language.
HOW TO BUILD A GIRL (R) 100 minutes * * *
Johanna (Beanie Feldstein) is trying to find her way. Popularity has eluded her for quite some time. Then, in a sudden turn of events, she learns that she can be an acid-tongued music critic and be both successful and popular... but at what cost? A charming and brash coming-of-age story with a delightful performance by Feldstein. Adapted from the novel by Caitlin Moran. R for sex and language.
HOW TO DEAL (PG-13) 95 minutes * 1/2
What does it mean to love, and how do you deal with all of the bad stuff that life hands you? Mandy Moore and Trent Ford are fairly good here, but the story, adapted from two novels by Sarah Dessen, is stiff and two-dimensional and offers answers that don't feel real at all. If you want to tell a story that has characters struggling with how to deal with life's troubles, you need to see them really struggling, not getting sugar-coated answers as soon as things start to get slightly rough. PG-13 for language.
HOW TO EAT FRIED WORMS (PG) 79 minutes * * 1/2
On his first day in a new school, Billy (Luke Benward) finds himself in trouble with the school bully, and taking a dare to eat ten worms. Will he do it? Not a great deal of depth to the story here, but it's still fun and most pre-teens will find it entertaining. Adapted from Thomas Rockwell's book and rated PG for language.
HOW TO LOSE A GUY IN 10 DAYS (PG-13) 110 minutes * * *
She's supposed to drive a guy away... he's supposed to get her to go with him to a fancy event in... 10 days. Kate Hudson and Matthew McConaughey are terrific here as they play off each other in this comedy of dating do's and don'ts. It's a strong production all around with a witty script, a nice supporting cast and a well-picked collection of songs. Much like her mother though, it's Kate who really lights up the screen. Based on the book of the same title and rated PG-13 for language.
HOW TO LOSE FRIENDS & ALIENATE PEOPLE (R) 102 minutes * * 1/2
Lots of people want to be part of the "in" crowd. But Sidney (Simon Pegg) is going the extra mile to get there. He writes about movie stars and socialites, but he isn't very flattering. When he gets an offer to work at the top magazine of the entertainment world, he can't believe his luck. Then again, he may not have the job very long. Adapted from the book by Toby Young, it's a fun look at the way we look at famous people and what that all means. Typically fast-paced and witty humor from Pegg. R for language and nudity.
HOW TO MAKE AN AMERICAN QUILT (PG-13) 109 minutes * * *
A quilt is made up of bits and pieces, as are our lives. Finn (Winona Ryder) is learning about more and more of her own background through the lives of her female relatives. A stellar cast (Anne Bancroft, Ellen Burstyn, Maya Angelou, Kate Capshaw, Alfre Woodard) play background to Ryder, but the script works against Ryder even though the story is hers. The bits of reminiscing are handled with a jerky ineptness that speaks of a poor script and poor direction and make the film hard to follow. Still, there are some wonderful moments that are worth catching. PG-13 for language and sexual topics.
HOW TO SURVIVE A PLAGUE (NR) 104 minutes * * *
As people became aware of AIDS and what it meant, there were people who began to stand up and fight. They fought for fair treatment, for public education, for research and funds, and for legal rights. This is the story of their work and of its effect. Good, balanced presentation that shows the pros and cons, and the conflicts within and between some of the different groups that were working to fight AIDS.
HOW TO TALK TO GIRLS AT PARTIES (R) 96 minutes * * 1/2
In their effort to crash a punk party, Enn (Alex Sharp) and his friends instead find themselves mixing it up with a rather strange group of people who just happen to be from another planet. He falls for Zan (Elle Fanning), which leads to complications. Adapted from a short story by Neil Gaiman. It's a strange, but fun trip, and it ends quite well. R for language and sex.
HOW TO TRAIN YOUR DRAGON (PG) 89 minutes * * *
Hiccup (Jay Baruchel) is a young Viking whose village is constantly being attacked by dragons. Every young Viking dreams of the day when they will be trained in how to fight them. Well, almost every Viking. Hiccup ends up making friends with a Night Fury, one of the most dangerous dragons around. Then again, maybe the village can learn from this new possibility. Delightful story with wonderfully detailed animation. Adapted from the novel by Cressida Cowell and featuring the voices of Baruchel, Gerard Butler, America Ferrera, Craig Ferguson, and many more. PG for violence and language.
HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD (PG) 93 minutes * * *
Grimmel is a dragon killer, and he's set his sights on Hiccup and his friends. So, they head off to find the Hidden World. It's a place where they can all be safe. Grimmel has a trick up his sleeve though. He has a female night fury that Toothless has instantly fallen for. The animation in this series continues to be quite good, and the story fits very nicely into the series. PG for violence and language.
HOW TO TRAIN YOUR DRAGON 2 (PG) 92 minutes * * *
A hidden cave with hundreds of dragons no one new about is about to become the most contested discovery in the world. The story here stands nicely on its own, though having seen the first will help with an understanding of the symbolism that is throughout the film. It's a very nice sequel, with wonderfully detailed animation and incredibly smooth character movement. PG for violence and language.
HOW WILLIAM SHATNER CHANGED THE WORLD (NR) 89 minutes * 1/2
Or actually, how the technology and imagination used in Star Trek changed the world... semi-serious documetary about the changes in science, technology, and space exploration that have happened since Star Trek first aired on TV. There is some exploration of the later shows, but most of the focus here is on the original, with Shatner's bias toward the different series clearly evident. And, of course, Shatner's humor gets a bit thick at times.
HOWARD LOVECRAFT AND THE FROZEN KINGDOM (PG) 80 minutes *
A sort of bio-cartoon about Howard Lovecraft. The animation is very basic, which is a strange mix with the story, which is really not for children. It's very slow-paced and simple early on (to the point of boredom), and then the horror kicks in. It becomes more interesting at that point, but much less appropriate for children. PG for violence.
HOWARD LOVECRAFT AND THE UNDERSEA KINGDOM (NR) 76 minutes *
Howard's story continues as he has to protect his father's journal from evil forces at work. The same simple animation and awkward mix of a dark story trying to appeal to the very young that we saw in the first film.
HOWARD STERN: PRIVATE PARTS (R) 104 minutes * * 1/2
Good biographical film about the life of radio shock jock Stern, with
Stern himself doing quite well in the lead role. This isn't for everyone, but even those who might not think they'd like it, may find themselves drawn in. It's part of Stern's appeal. As they inform you at one point in the film, those who don't like Howard Stern actually listen to his programs longer than those who like him. Don't miss the bits at the end of the film during the credits! R for language and nudity.
HOWARD THE DUCK (PG) 102 minutes * ½
Howard (voiced by Chip Lien) is a duck. More specifically, a duck from another planet. He’s been sent here to stop an invasion, He enlists the help of a couple of humans. The special effects are quite good, thanks to the work of George Lucas’ crew. But this film was never likely to appeal to a broad audience as the comic book on which it is based was never all that popular. Once the Dark Overlord appears in the story, it does a little better as far as story appeal, but the character of Howard continues to struggle with a general lack of appeal for most of the audience.
HOWARDS END (PG) 139 minutes * * * 1/2
Margaret (Emma Thompson) is the chatterbox with a heart of gold. Helen (Helena Bonham Carter) is the impetuous one. These two sisters and their brother Tibby, find their lives increasingly involved with those of another family whose ideals are very different from their own. One family wishes to posses, the other to give. One wishes to work and achieve, the other to relax. The conflict of ideals and lifestyles plays out through the course of the film, complete with beautiful scenery, sets, and costumes. It's a gentle and relaxing film, with a few moments of comic relief, provided by one particular character. It balances things nicely, and balance is what this story is really all about. PG for language.
HOWARDS END (2018) (NR) 211 minutes * * 1/2
The intertwined lives of three families of different class divisions in England in the early part of the 20th century. The story centers on two sisters, (Hayley Atwell and Philippa Coulthard) from a middle-class family. The one becomes deeply connected to a wealthy family, the other to a family that struggles financially. It strains their relationship even while they are actually neither one really fitting in with the families they hope to.
HOWL (NR) 88 minutes * *
When a commuter train breaks down in the woods between stations, it appears that they hit a deer. But then again, it might be something else that is causing the problem. And the dangers from the outside aren't the only ones they'll have to face. The story has some good ideas, but just doesn't take them far enough.
THE HOWLING II (R) 83 minutes * 1/2
The idea for this sequel was apparently to add more gross effects and a few more sex scenes. The dialogue is terrible and too much of this looks like a cheap horror film from the 1960s. R for language, nudity, and violence.
THE HOWLING 3 (PG-13) 95 minutes *
Evidence of werewolves has appeared in Russia. Might they also be in Australia where lots of other strange creatures are? Sketchy story with some interesting effects, in part as these werewolves are marsupial in nature. But some of the other effects are very cheaply done, and almost laughably bad. Imogen Annesley's somewhat exotic appeal helps this a little. PG-13 for violence, language, and sex.
HOWLING 5: REBIRTH (R) 93 minutes *
Based on the books Howling 1-3, which is perhaps an attempt to distinguish this from part four. Not that the films in this series have all that much to do with each other anyway. The motto here seems to be... don't go exploring in the castle. Disappointingly few glimpses of any werewolves this time. R for violence and language.
HOWLING 6: THE FREAKS (R) 97 minutes *
A stranger stops in a weird little town just before the carnival arrives. Difficult to tell which is more strange between the town and the carnival. R for violence.
THE HOWLING: NEW MOON RISING (R) 90 minutes BOMB
Part seven of the "series", and this one does reference some of the previous films, or should we say steals footage from the previous films, as it includes several rather lengthy clips from some of the earlier films in the series. There's also plenty of bad acting to go around, both by the locals and the "professionals". Lots of bad one-liner jokes and quite a few scenes that look like someone was just wandering around with a camera, shooting nothing in particular. R for langauge and violence.
THE HOWLING REBORN (R) 89 minutes * *
Will (Landon Liboiron) hasn't had much luck with girls in the past. That's about to change, but Will is changing too. Turns out he survived a werewolf attack before being born, and that counts... now he's going to be one too! The werewolf wrestling match at the end is a bit much. Earns points for making the story a little more interesting than many entries in the series. Based on the book "Howling II" by Gary Brandner. R for violence and sex.
HUDSON HAWK (R) 93 minutes 1/2
This will probably stay on the books as the worst film Bruce Willis ever made... and he cowrote it. It's a very unentertaining action film about a cat burglar who is stealing artwork. Plenty of doublecrosses and wisecracks from Willis, but little to keep us interested.
THE HUDSUCKER PROXY (PG) 106 minutes * * * 1/2
At the pinnacle of his success, Hud jumps out the window. Now the board must appoint a proxy if they are to maintain control of the corporation... enter Tim Robbins. Joel and Ethan Coen at work with their creative talents find a story that is well-suited for them here. They play it to the extremes, and somewhat similar to "Joe vs. the Volcano" as far as the amount of symbolism and overplayed acting. Not really a mainstream film, but for those who like things a little offbeat, this is a real treat.
HUGH HEFNER: PLAYBOY, ACTIVIST, AND REBEL (R) 121 minutes * * *
Part biography, and part history of the magazine and the industry that Hefner created. It's fascinating to hear about Hef's involvement in the struggle for freedom of speech and expression, civil rights, women's rights, the anti-war movement, and so much more. As Dr. Ruth comments at one point, it's really too bad that Hef let his personal life be so public as it had a very negative effect on how seriously many people perceived him. R for sex.
HUGO (PG) 120 minutes * * * 1/2
Hugo (Asa Butterfield) is the son of a clockmaker. But when his father dies, Hugo finds himself living inside the clock at the train station with his uncle. Even more importantly, he'sll have to continue working all by himself on fixing the automaton his father found. It's such an interesting creation, but who made it, and what will it do once he has it working again? Beautiful film that is a tribute to both movie-making and magic, which go hand in hand, and both can help you find within yourself, what it is that you need to dream. Nominated for 11 Oscars and winner of 5. Adapted from the book by Brian Selznick. PG for violence.
HULK (PG-13) 133 minutes * 1/2
Decidedly not one of the better comic book to big screen adaptations. The computer generated animation is well done in all but one sequence, but the story leaves a great deal to be desired. Not only do we once again have a needlessly rewritten story of a character's origin, but this one appears to be done with the sole purpose in mind of creating a role for Nick Nolte as Bruce Banner's father. As well, if you're going to have your main character in an action film only speak two words in the entire film (toward the end), you might consider making the film just a little shorter... say, around 30-40 minutes! PG-13 for violence.
THE HUM (NR) 67 minutes 1/2
George (Greg Thimpson) is having a problem. There's this noise in the background that just won't go away. No one else seems to hear it, and it's starting to drive him crazy. The acting isn't great, but the bigger problems are script and direction. The pacing of the story and the awkwardness of its energy manage to ruin most of the idea. Written, directed, produced, edited. and filmed by F.C. Rabbath.
HUMAN CAPITAL (NR) 107 minutes * * *
It's a tangled web that Dino (Fabrizio Bentivoglio) weaves as he uses his daughter's relationship with the far wealthier Giovanni Bernaschi's (Fabrizio Gifuni) son. But greed and manipulation exact a high price in the long run. Nicely done drama with a touch of thriller.
HUMAN CAPITAL (2019) 92 minutes * * 1/2
Desirous of the wealth that has never come his way, Drew (Liev Schreiber) sees an opportunity. His daughter's boyfriend is from a very wealthy family. He quickly befriends the boy's father, Quint (Peter Sarsgaard) and makes an investment he can't afford. Nicely adapted from the Italian film, though it suffers from the same problem of moving back and forth between the past and present a little too much. The effect is somehow a little more jarring in this version.
THE HUMAN CENTIPEDE (FIRST SEQUENCE) (R) 90 minutes * 1/2
Mad doctor who used to be a specialist in separating conjoined twins has changed directions and wants to join things together. The three dogs he joined together, mouth to anus, have died, so he wants to work with a human trio. Acting is pretty bad, though that's not really a surprise. Definitely a twisted film, and the first of a trilogy, which makes the ending a little interesting. R for violence, nudity, and language.
THE HUMAN CENTIPEDE II (FULL SEQUENCE) (NR) 85 minutes * 1/2
A strange man who is fascinated with the first movie thinks he can make an even longer human centipede and sets about to kidnap twelve people to do just that, including the "survivor" from the first film. The blunt force trauma he uses to subdue his victims seems a bit much, though it isn't why his experiment doesn't work. And we still have part three to look forward to.
THE HUMAN CENTIPEDE 3: (FINAL SEQUENCE) (NR) 99 minutes BOMB
A demented prison warden, Bill Boss (Dieter Laser), who is familiar with the first two "human centipede" movies, decides that it would be a great way to punish inmates. This time it will be a 500 person creature. Really? And we had to wait four years for this? Laser's "acting" consists of nothing more than screaming vulgarities throughout the film. Even if you liked the first two, you'll likely find this a bit of a disappointment.
THE HUMAN RACE (NR) 85 minutes * *
A group of people find themselves transported to an unfamilair location. They are now part of a race, and subject to a specific set of rules. One of the most importnat of these is that if they choose not to race, they die. Interesting premise. The ending is a bit strange, and the low budget creates a few difficulties, but it's worth a look for being a little more creative than some.
THE HUMAN RESOURCES MANAGER (NR) 98 minutes * * *
He never realized that his job could be so difficult. When one of the workers at the bakery in Jerusalem is killed in a suicide bombing, it's his responsibility to take her back to Romania for burial. There will be a number of complications along the way, but as the days go by, he is more and more certain that this is the right thing to do. Nice work.
THE HUMAN SHIELD (R) 88 minutes 1/2
Michael Dudikoff gets an Iraqi officer angry enough that five years later, the officer kidnaps Dudikoff's brother to get him back in Iraq so he can take revenge. Wasn't there an easier way to do this? Horrible script and non-existent direction leave Dudikoff floundering.
THE HUMANITY BUREAU (R) 90 minutes * * 1/2
The year is 2030, and the world's economy is not doing well. Noah (Nicolas Cage) works for "The Humanity Bureau", an agency that "relocates" people who aren't able to contribute to society. Lately, he's beginning to wonder if he's doing the right thing. The ending is interesting, though not particularly satisfying. R for violence.
HUMANITY FROM SPACE (PG) 114 minutes * * 1/2
Exploring the effect that humanity has had on the planet. Since humans first appeared, this documentary uses images from space to illustrate what has happened. It also takes a look at what lies ahead and what needs to be changed if we expect to continute to live on this planet.
HUMANITY'S END (R) 81 minutes 1/2
A six and a half minute narrated introduction sets the stage by recounting an alternate history that directs us to a point in the near future where humans are about to become extinct. The production and set designs aren't bad, but the CGI is very poorly done, and the acting is even worse. R for language and violence.
THE HUMANS (R) 104 minutes * *
It's time to celebrate Thanksgiving. Three generations of the family gather in Brigid's (Beanie Feldstein) apartment. It's not the best of times. An unusual piece, with an ending that is both fitting and strange. R for sex and language.
THE HUMBLING (R) 103 minutes * * *
Simon (Al Pacino) is slowly losing his mind. As he begins to have more serious doubts about his skills as an actor, he begins to retreat into fantasy. When the line between fantasy and reality begin to blur, he is aware of it, but helpless to stop it from slipping away. Pacino is... Pacino. Simply one of the best. The supporting cast and roles don't always hold up very well here, but it's still worth it to watch Pacino at work. Adapted from the book by Philip Roth. R for sex, language, and violence.
HUMBOLDT COUNTY (R) 93 minutes * * * *
His life was all planned out, but something just wasn't right. As some of the pieces begin to fall apart, a chance encounter sets Peter (Jeremy Strong) on a path of not only self-discovery, but a discovery of life. Witty and thoughtful first film from the writer/director team of Darren Grodsky and Danny Jacobs. The cast is a delightful mix of sincere, though slightly quirky characters. An excellent job by all! And yes, if you were wondering, Fairuza Balk does perform the song at the jazz club! Nice work! R for language and nudity.
THE HUMMINGBIRD PROJECT (R) 105 minutes * * 1/2
The New York Stock Exchange is built on speed. Milliseconds translate into millions... or more. Vincent (Jesse Eisenberg) and Anton (Alexander Skarsgard) think they have a way to improve the speed. But instead of working with their employer, they decide to go out on their own. It's a dangerous move. Well-developed characters, with strong performances from Eisenberg and Skarsgard give this a good edge, but the story struggles to be convincing in the details. R for language.
HUMOR ME (NR) 88 minutes * * 1/2
Nate (Jemaine Clement) is having difficulty writing. As if that struggle wasn't bad enough, his wife decides to leave and take their son with her. He decides to move in with his dad... who cracks a joke every few minutes and has no sympathy for what his son is going through. It's good material, but a little too often it seems like a collection of scenes or comic bits rather than a continuous story.
HUMPDAY (R) 92 minutes * 1/2
Two friends decide to participate in an art film project that will take their friendship to a new and different level. But can they do it? Can two heterosexual men have sex with each other on camera? Would that be art? Would we care? Another tedious reality-style film displaying little in the way of acting talent or direction, though the story does offer possibilities, just not the way it's handled here. R for sex and language.
THE HUNCHBACK OF NOTRE DAME (G) 84 minutes * * *
Slow moving Disney film that doesn't have much appeal for the kids. It's far too wordy and doesn't have enough excitement to interest them. On the positive side, that does mean that they probably won't be very scared by the evil characters, but its because they won't care. Alan Mencken and Steven Schwartz do have a couple of good songs here, but nothing as powerful or memorable as they've given us for other Disney cartoons.
THE HUNDRED FOOT JOURNEY (PG) 115 minutes * * 1/2
When the Kadam family leaves India for France, they expect to continue their family business. But opening up a restaurant across the street from Madame Mallory's is not going to be easy. The story is subdued and tends to keep us at a distance. The romance and passion of both the food and the setting are missing, and with that energy not here, the film settles on one note to play despite the efforts of the talented cast. PG for violence and language.
THE HUNGER (R) 94 minutes * * * ½
A more artistic look at the vampire legend, with Catherine Denueve frustrated and disappointed with the mortality of her lovers. The style is both New Wave and romantic, which is a comfortable fit for not only Denueve, but David Bowie and Susan Sarandon. Great make-up effects by Dick Smith and Carl Fullerton. Director Tony Scott’s first feature film. R for sex, language, and violence.
HUNGER (2008) (NR) 87 minutes * 1/2
In 1981, Irish Republican Army members who were in prison began a hunger strike. This is the story of that protest, and the limits to which one can push their body. There's a powerful story here, but it's somewhat lost in the presentation. Pacing is particularly bad in the middle of the film.
THE HUNGER GAMES (PG-13) 133 minutes * * 1/2
Adapted from Suzanne Collins popular novel, with a clear nod to Shirley Jackson's "The Lottery", this predictable story features Jennifer Lawrence in a very likeable role as one of those chosen to take the challenge and risk her life to be the last survivor. There are a few lapses in the story, and the ending is less than satisfactory, but there are sequels in the works, so perhaps that will be remedied. Nice soundtrack by James Newton Howard. Filmed in North Carolina. PG-13 for violence.
THE HUNGER GAMES: CATCHING FIRE (PG-13) 131 minutes * * 1/2
Follow-up to the first film has our lucky winners/survivors getting a little too popular with the general public, so an anniversary competition is planned to get rid of most of those who have won over the last 25 years. Relies heavily on the first film, but does work well to develop the characters more fully. And, of course, it sets us up for parts three and four... PG-13 for violence and language.
THE HUNGER GAMES: MOCKINGJAY PART 1 (PG-13) 106 minutes * * 1/2
The reluctant hero Katniss, now becomes the frustrated and broken hero. Although this is clearly part of a series, it clearly makes almost no sense if you haven't seen the earlier films, and even then, only adds a minimal amount of depth to the characters. And, as you might expect from the title, this is only the first part of this section of the story, leaving us with a cliffhanger ending. It matters very little once both parts are on video, but was clearly frustrating during theatrical release. PG-13 for violence and language.
THE HUNGER GAMES: MOCKINGJAY PART 2 (PG-13) 125 minutes * * *
The final entry in the series delivers a fine finish and is the best part of the story. It's definitely predictable, but fits the characters well, and is unlikely to disappoint those who've enjoyed the previous films. Woody Harrelson's role in the series is one of the brighter spots. PG-13 for violence.
HUNGRY DOG BLUES (NR) 73 minutes * *
Money is missing. Their father is in jail. Charlie (Jason Abrams) and his brother kidnap the lead witness to try and get their father released. It's a tangled mess that is going to get worse before it gets better. The story is a little too tangled, and the performances are a little less than what they need to be.
HUNGRY HEARTS (NR) 106 minutes * * 1/2
Obsessed with purifying her son's body, Mina (Alba Rohrwacher) is under-nourishing him. Jude (Adam Driver) doesn't know what to do. There are cultural differences between them, and their relationship doesn't have the depth or length of time that might have led to a better understanding. The story moves toward a rather inevitable ending, and pulls us along even as we try to understand.
HUNK (PG) 98 minutes * * 1/2
Computer nerd sells his soul to become a hunk. The moral is fairly obvious, but the film is fun, taking a few twists at the end and having fun along the way. PG for sex and violence.
THE HUNT (R) 111 minutes * * *
Lukas (Mads Mikkelsen) works at a nursery school and the kids love him, especially Klara. When she gives him a note and a kiss on the mouth, he gently corrects her and suggest that the note is bettergiven to someone else. She doesn't take the rejection well, and all it takes is one accusation for Lukas' life to start unravelling. A powerful story with great work by Mikkelsen. R for sex, violence, and language.
THE HUNT (2020) (R) 85 minutes * 1/2
A dozen people from various locations learn that they are part of a hunt organized by a group of elitists. The film wastes no time getting into the action, but also loses steaam very quickly. Too many of the "hunted" group are killed off too rapidly, leaving us with the philosophy behind the hunt and a little bit of cat and mouse between Athen and (Hilary Swank) and Crystal (Betty Gilpin). For the most part, this slower part of the film just gives us more time to see all of the holes in the story. R for violence and language.
HUNT CLUB (NR) 86 minutes * 1/2
What does it take to be a man? Carter (Casper Van Dien) is taking his son (Will Peltz) on a special hunting trip. There's a group of hunters who regularly hunt women they have captured. They're about to be in for a surprise as a couple of their quarry (Mena Suvari and Maya Stojan) are about to turn the tables. The acting gives this a little bit of an edge, but the story is stale.
THE HUNT FOR RED OCTOBER (PG) 136 minutes * * *
Tom Clancy's best-seller comes to the big screen, telling the story of a Russian submarine captain who just might be planning to defect to the United States. Full of twists and turns, though none really all that surprising, our interest is kept through strong performances and suspenseful music. Sean Connery, Alec Baldwin, Scott Glenn, James Earl Jones, Sam Neill, Tim Curry, and Peter Firth lead the cast of this adventure under the sea.
HUNT FOR THE WILDERPEOPLE (PG-13) 96 minutes * * 1/2
Ricky (Julian Dennison) is a foster kid who has a new home in rural New Zealand. His new foster parents are trying their best, but Ricky has some... "rough edges". And now, he's on the run in the bush. An interesting mix of humor, adventure, and drama in a story about an unconventional family with plenty of charm. PG-13 for violence and language.
HUNT TO KILL (R) 95 minutes * 1/2
It's been four years since Jim Rhodes (Steve Austin) lost his partner during a drug bust gone bad. His daughter has been shoplifting again, and he stops in a tthe sheriff's office to take care of things, but now it's a hostage situation. More than a little far-fetched, but Austin does fairly well as the unstoppable father-seeking-vengeance. R for violence and language.
THE HUNTED (R) 105 minutes * *
Christopher Lambert is chased by ninja assassins in this typical mid-budget martial arts film. A nice soundtrack by Kodo, but you've seen this all before... several times.
THE HUNTED (2003) (R) 87 minutes * 1/2
Aaron Hallam (Benicio Del Toro) was trained to kill for the government. Now he's crossed the line and it's up to LT (Tommy Lee Jones) as the man who trained him, to bring him in. Del Toro and Jones give us strong performances, but the story falters, dropping the idea of government conspiracy, which would have been more interesting, in favor of pitting the teacher who hasn't killed against the student who has become a killing machine. R for violence and language.
HUNTED (2020) (NR) 84 minutes *
Eve (Lucie Debay) is on the run. It didn't start that way. She thought he was nice when they met, but things went bad quickly. The bulk of the film is an extended chase scene through the woods. Somehow, it just doesn't ever really connect with us or convince us.
THE HUNTER (R) 96 minutes * * *
Martin David (Willem Dafoe) is on a mission in the wilds of Tasmania, Australia. He's been hired to track down the Tasmanian Tiger. It may be the last one. The locals don't like outsiders, and really don't care why he's there. Dafoe carries this well, especially as the story moves along, losing options for him to pursue along the way. Adapted from the novel, "The Hunter" by Julia Leigh. R for language and violence.
HUNTER (2015) (NR) 81 minutes BOMB
Starring and co-written by Ron Becks, this low-budget cop thriller is equally bad on all fronts. Well, OK, the box art for the video release actually isn't too bad.
HUNTER HUNTER (NR) 90 minutes * 1/2
Life as a fur trapper has its dangers. One of those dangers is a wolf. This particular wolf was gone for awhile, but has returned. And it's hungry. There's some good suspense, but the story doesn't seem to know which way it wants to go, leaving us with an ending that is far less than satisfying.
HUNTER KILLER (R) 112 minutes * * *
Intense story about an attempt by a Russian general to sieze power. He must contend with an unconventional submarine captain (Gerard Butler) and a clever plan to bring his attempted coup to a quick end. The villains' performances are a little too campy, but otherwise, the cast does a nice job. There are plenty of close calls and thrilling action, most of which stays relatively believable. Great soundtrack by Trevor Morris. Adapted from the book "Firing Point" by George Wallace and Don Keith. R for violence and language.
THE HUNTERS (R) 108 minutes *
The old fort in the woods is far from abandoned. It's used by a small group of hunters, whose prey are the humans who unwittingly enter "their" woods. Never very believable, the film struggles with a desire to be several other movies, without committing to being anything in particular. R for violence, language, and sex.
THE HUNTERS (2013) (PG) 83 minutes * *
A family of archaeologists work together to find artifacts from classic fairy tales. Nice little adventure story with the possibility for sequels or a TV series, though Robbie Amell and Keenan Tracey just don't deliver very strong performances as the brothers. The rest of the cast is fine, but since these are really key roles, they should be much stronger. PG for violence.
HUNTERS (NR) 93 minutes 1/2
As the protector of a group of people not yet infected by the virus that has devasted the world, John Wrecker (Phil Burke) must fight off the mutants that the virus has created. The script isn't great, but what's worse is the dead time with no dialogue and a repetitive soundtrack. There is a little narration, but that only adds to the problem. The first person shooter footage that begins later in the film doesn't help.
HUNTER'S CREED (NR) 78 minutes *
Dave (Wesley Truman Daniel) has always thought it would be fun to do a hunting show. After his wife dies, his church friends convince him to do the show with them. But Dave is feeling the presence of something supernatural in the woods. The story introduces the presence of the divine, but not in a convincing way. Duane Chapmen (Dog the Bounty Hunter) makes an appearance in an attempt to legitimize the story. It's a fun bit for his fans, but it really doesn't do anything for the film.
THE HUNTER'S PRAYER (R) 84 minutes * * 1/2
Lucas (Sam Worthington) was supposed to kill Ella (Odeya Rush). He just can't bring himself to do it because she reminds him too much of his daughter. But by not killing her, he has just put a target on his own back, and someone is still going to try to kill her. Their only hope is to work together to bring the people who already killed her parents to justice. Really nice work by Rush in this film adapted from the book by Kevin Wignall. R for violenbce and language.
HUNTING EMMA (NR) 98 minutes * *
When Emma's (Leandie du Randt) car breaks down, she knows she has a problem. When she witnesses a cop getting killed, she understands that she has a much bigger problem. But these six bad guys have no idea what's in store for them. Emma is a very resourceful and determined young woman. Du Randt's gutsy and sincere performance makes this work as well as it does.
THE HUNTING PARTY (R) 94 minutes * * *
Just how quickly do you think someone might be able to capture a war criminal if they were really looking for them? Simon (Richard Gere) and Duck (Terrence Howard) are about to find out. Simon may have lost his job after flaking out on screen, but he still knows how to track down a story. Gere and Howard work well together and Jesse Eisenberg provides a bit of comic relief in spots, though the film is far from comic in nature. The film somehow manages to keep a rather strange balance between drama, suspense, and comedy, Thanks in no small part to writer/director Richard Shepard's gonzo journalistic style. Filmed in Bosnia/Herzegovina and Croatia. R for violence and language.
THE HUNTRESS: RUNE OF THE DEAD (NR) 106 minutes * * 1/2
Looking to provide for his family, Joar (Peter Morlin) goes on a Viking raid. While he's gone, his daughter Runa (Moa Enqvist Stefansdotter) takes over most of her father's family duties and becomes very skilled with the bow. When her father returns, something else does as well, and now, noe of them are safe. The film doesn't dwell on the supernatural, or even the adventurous parts of the story. They are simply part of the larger picture, and as natural as any other part.
THE HUNTSMAN: WINTER'S WAR (PG-13) 105 minutes * * *
Two sisters, Ravenna (Charlize Theron) and Freya (Emily Blunt). Once, they were close, but as they began to rule their separate kingdoms, their paths grew apart. The bulk of the story is focused on the Huntsman's (Chris Hemsworth) search for the missing mirror, thought to be powerless after Ravenna's defeat. Liam Neeson's narration fits well, and the story makes a nice addition to the folklore. Of course the top notch production values and impressive cast don't hurt either. PG-13 for violence and sex.
HURLYBURLY (R) 123 minutes * * * 1/2
Stunning adaptation of David Rabe's play, done by the playwright himself. Set in Hollywood, it's the story of four men who live life in the fast lane. But as things begin to spin out of control, it's Eddie who we begin to focus on for he is the one dealing with the soul searching questions. "I don't know what pertains to me and what doesn't", he says. Sean Penn, Kevin Spacey, Chazz Palminteri, Garry Shandling, Anna Paquin, Meg Ryan, and Robin Wright Penn comprise the main cast. They do an amazing job of bringing this story to life. Actors love to play characters they can sink their teeth into, and this film is full of them. If you enjoy powerful dramas, don't miss this film! R for language.
THE HURRICANE (R) 138 minutes * * *
Wrongly accused of and convicted for a multiple murder, Rubin "Hurricane" Carter publishes his life story. It ends up in the hands of a young man who is inspired by what he reads and is determined to help. It's an inspirational story and Denzel Washington does a wonderful job as Carter. There have definitely been some liberties taken with the story, but that's not abnormal. It's still a solid story and well acted. It's a story we've heard many times before though, so what makes it more interesting are the little touches, like the use of Bob Dylan's song about Carter and a very nice supporting role by Clancy Brown as a prison guard. R for violence, language, and nudity.
THE HURRICANE HEIST (PG-13) 94 minutes *
With a huge hurricane ready to hit town, A group of people decide that it's an ideal time to steal money from the U.S. Treasury. The heist itself is overly complicated, but the real problem is the ridiculous close calls that manage to make the film far more laughable than believable. Maggie Grace and Toby Kebbell come off better than the rest of the cast, but not by much. PG-13 for violence and language.
HURRICANE SEASON (PG-13) 99 minutes * * 1/2
Emotional high school basketball story about a New Orleans team that fought through post-Katrina trouble to create a new team. The story mixes in plenty of Katrina clean-up and other related drama, most of which doesn't really tie in all that well, though it does give the film a fairly strong emotional edge. PG-13 for language.
HURT (R) 92 minutes * 1/2
With her husband recently deceased, Helen (Melora Walters) and her two children move in with her brother-in-law. It's not the most ideal of situations, but it's about to get worse. The troubled young girl they have taken in has a few personal issues shoe's going to be working out very soon... on them. Mediocre performances and script and an ending that works out just a little too neatly. R for violence and language.
THE HURT LOCKER (R) 121 minutes * * *
The last 40 days of Bravo Company in Iraq. They are a bomb disposal unit whose primary responsiblity is finding and disarming IEDs. Sergeant James (Jeremy Renner) has just been assigned to the unit and his style is a little different than the rest of the team is used to. James takes risks that the others don't feel comfortable with, but he does his job extremely well. Director Kathryn Bigalow does a wonderful job of helping us feel that we are part of the imbedded camera crew, following this company around as they do their incredibly dangerous work. Powerful and unsettling. R for violence and language.
HUSBANDS AND WIVES (R) 105 minutes 1/2
By far the worst film Woody Allen has ever made. The cast is a stellar one, as is typical for Allen's films, but he and Mia Farrow BOTH whine their way through this one. One wonders just how parallel to their home life this is, since the story is straight out of the tabloids as far as his affair and the dissolution of their marriage. On top of which, we have photography which was undoubtedly meant to create a feeling with
its visual style, but ends up making us feel sick to our stomach. (Unless that's what Allen intended...)
HUSH (PG-13) 92 minutes * 1/2
Gwyneth Paltrow finds herself the victim of Jessica Lange's motherly manipulations in this weak entry in the suspense genre. Lange is far from her best here, and Paltrow looks anorexic in several scenes. Complete with a cheap ending that puts this in the sub-genre of low-budget suspense, this is one to stay away from. Debi Mazar is wasted in a supporting role here, as is Hal Holbrook. Filmed in Virginia. PG-13 for language, violence, and nudity.
HUSH LITTLE BABY (NR) 87 minutes * 1/2
A year after the death of her young daughter, Jamie (Victoria Pratt) has a new baby girl. While there are plenty of stressful things going on in her life, Jamie is pretty sure that this little baby has it out for her. There are a few fairly creepy moments late in the film, but it's likely that you'll have already stopped watching before you get to them.
HUSH MONEY (R) 86 minutes * 1/2
Doug (Joshua Ray) needs money, and he needs it now. But the kidnapping that he just pulled off is not going well, and the deadline for paying the money he owes is approaching fast. The acting is mostly B-grade, but the story is actually good, though the pacing is a little slow. R for violence and language.
THE HUSTLE (R) 90 minutes *
Masquerading as replacement ministers, Freddy (Al Shearer) and Junior (Charles Q. Murphy) try to hustle the congregation to make the money they need to pay off a debt. Of course they learn a few lessons along the way. Most of the humor is rather forced, and we soon find ourselves wishing this was at least ten minutes shorter. R for language.
THE HUSTLE (PG-13) 89 minutes * *
She knows how to play a good hustle, but when Penny (Rebel Wilson) meets Josephine (Anne Hathaway), she may have met her match. The decision they face now is whether to play against each other or team up. Unfortunately, the script relies more on Wilson's pratfalls than on being witty and creative, which wastes the talents of both women. It does manage a few good moments, but not enough. We also see just enough of the supporting cast to know that they could have added a great deal to the film had they been given a better script. PG-13 for sex and language.
HUSTLE & FLOW (R) 111 minutes * * 1/2
D Jay (Terrence Howard) has never been able to get very far. He runs a couple of girls, sells a few drugs and has a dream about making some music. Sometimes dreams become reality... and sometimes they remain dreams. Howard and Taryn Manning both do some very nice work here, but seem trapped by a script that doesn't seem to know where to go, and goes on a bit too long. R for language and violence and language.
HUSTLE DOWN (NR) 94 minutes * 1/2
When Cully (Tom Sizemore) steals a car from his boss, he's in big trouble. This just happens to be a money car, stuffed with cash. Cully now has a bounty hunter (Paul Sidhu) on his tail, and rival gang members who want the car and Cully. Crystal (Bai Ling) is involved as well, though the reasons aren't clear at first. Interesting characters but a lackluster story.
HUSTLERS (R) 103 minutes * *
They worked at a dance club. Although some might not approve, these girls weren't doing anything illegal... at first. But when the 2008 financial crisis hits, it affects their income and they come up with a plan. They decide to put one over on their Wall Street clients. Eventually, it comes back on them though. This is the story of what happened and how it came to light in a New York Magazine article. The story tends to gloss over many of the details that would have made the characters stronger and more memorable. R for sex and language.
THE HYBRID (NR) 90 minutes * * 1/2
A group of mercenaries are hired to retrieve some specimens of human/alien hybrids from a remote underground laboratory. The specimens aren't likely to cooperate, and neither is the militia who control the building above the lab. The ending just sort of drifts away, but getting there is an interesting and mostly effective trip.
THE HYBRIDS FAMILY (NR) 88 minutes *
Silly, lightweight "horror" film about a brother and sister whose parents are a witch and a vampire. It makes them "hybrods", but they just want to have some freedom to be "normal" teenagers. It's a cute story, but the not-very-bright bad guys and weak script don't help this very much.
HYDE PARK ON HUDSON (R) 90 minutes * * 1/2
The story of Franklin Delano Roosevelt's (Bill Murray) friendship with his cousin Daisy (Laura Linney) while he was president. It started as a distraction to keep his mind off of his health concerns, but turned into something else. The story tends to drift casually into other aspects of Roosevelt's personal and presidential issues, but without much direction. It does finish well, but is mostly of note for Murray's nice work in the lead role. R for sex.
HYDRA (NR) 91 minutes 1/2
Four people are about to be hunted on a remote island. The people who have paid for the opporunity to hunt them are about to discover that there is something else on the island. Something that wants to kill them all. Awful dialogue, poor acting, and very mediocre CGI effects. SOme of the scenery is nice...
HYENA ROAD (R) 115 minutes * * *
Canadian forces in Kandahar, Afghanistan are working to build a road that runs deep into Taliban territory. Meanwhile, a mysterious and powerful tribal elder has returned to the area. He could prove to be an important ally if a personal conflict he has doesn't get in the way. Powerful story with a strong finish. The film as a whole has a nice balance between battle scenes, war-time drama, and moments of humor that serve to break the tension. Written, produced, directed by, and starring Paul Gross. Well done! R for violence, language, and sex.
HYPOTHERMIA (NR) 79 minutes * 1/2
A quiet family outing with some ice fishing is interrupted, first by a noisy father and son team, and then by something horrific that is under the ice. Nice setup, but the monster is a huge letdown, looking far to much like a low-budget version of the Creature from the Black Lagoon.
HYSTERIA (R) 91 minutes * * 1/2
Once upon a time (ie. around 1880), medical science was improving, but having a difficult time figuring out what was wrong with women. Mortimer (Hugh Dancy) is ahead of his time, and along with a friend, ends up inventing a cure for women who have been diagnosed with hysteria. It will eventually become known as a vibrator. Based on a true story, and if you stick around through the credits, you'll get to see diagrams of the various models through history. R for sex and language.