Film Reviews I-K

I AM (NR) 75 minutes * * 1/2 Director Tom Shadyac tells the story of his severe concussion, and the changes in his life that came afterwards. He began to re-evaluate what effect his work had been having on others as well as himself, and gain a deeper understanding of the connectedness of life. An interesting look at what being in relationship to the world and those around us really means.

I AM BECAUSE WE ARE (NR) 82 minutes * * * Ubuntu is the idea that it is the community which not only sustains us, but creates us, and that each of us is an integral part of that community. When the AIDS epidemic in Malawi, that has left over a million children orphaned, was brought to the attention of Madonna, she reached out to help, and it changed her. This film reaches out to change us as well. The images are often graphic, but the situation in Malawi is dire. It's the second poorest country in the world, so the AIDS epidemic is even more devastating as the toll that hunger and other diseases already take is substatial. Watch and learn and understand that you are, because we are.

I AM BIG BIRD: THE CAROLL SPINNEY STORY (NR) 84 minutes * * * Beautifully assembled retrospective of Spinney's careerm with a focus on the iconic character of Big Bird. A must not only for fans of Sesame Street and The Muppets, but also of puppeteering.

I AM BRUCE LEE (NR) 91 minutes * * * Bio-documentary about the amazing Bruce Lee. His martial arts, his acting, hisphilosophy... it's all here. Packed with interviews with Lee, his wife Linda, and his daughter Shannon, as well as many other actors, martial artists, and others who knew him. Nicely organized in a way that tells the story of his life in a very personal manner.

I AM DAVID (PG) 88 minutes * * 1/2 Adapted from Anne Holm's novel, "North to Freedom", this is the story of a young boy who escapes a prisoner of war camp and journeys north to Denmark, freedom, and a new understanding of life. The film maintains a lyrical and dreamlike quality throughout, due in part to a wonderful soundtrack by Stewart Copeland. Ben Tibber doesn't handle the nuances of his role as well as we need him to though. Some scenes are very well done, but others just don't work very well. The fine work done by Joan Plowright and Jim Caviezel in their scenes helps, but it's not up to them to carry the film. PG for violence.

I AM ELIZABETH SMART (NR) 84 minutes * 1/2 Dramatic retelling of the abduction and torture of Elizabeth Smart (Alana Boden). It took nine months before she was able to escape. With narration and editorial comments by the real Elizabeth Smart, the idea is that we will believe this to be the authoritative version of her story. It tends to make the story more awkward and doesn't really affect our impression of its accuracy.

I AM EVEL KNIEVEL (NR) 91 minutes * * 1/2 The greatest daredevil the world will likely ever see. This is the story of Evel Knievel. With interviews of his family, friends, and those who he influenced, this is a comprhensive look at the life and legend of a man who was always looking for the next challenge. It's important to note that when Evel was jumping his motorcycles, there was virtually no science involved in his planning. These were not bikes made for jumping, with little in the way of shok absorbers or trimmed down weight.

I AM HEATH LEDGER (NR) 88 minutes * * * Living life to its fullest, Heath Ledger loved a challenge, and most anything he tried, he could do well. This is a look at his life and work, not only through the eyes of his friends and family, but through his own documentation of his life through home video and photography. He rarely went anywhere without at least one of his own cameras.

I AM HUMAN (NR) 87 minutes * * * The technology to interface our brains with computer technology is here. At the moment, it is being used to help people who are paralyzed, blind, or who have other conditions that are affected by the brain not working correctly. But we aren't far away from using that same technology to improve and expand the capabilities of a healthy brain. The potential is both fascinating and frightening.

I AM LEGEND (PG-13) 91 minutes * * 1/2 Richard Matheson's influential story is adapted to the big screen once again, with Will Smith as Dr. Robert Neville, one of the extremely few survivors of a plague. His blood holds the secret for the cure, but he's running out of time. Nice work by Smith, who works alone for much of the film. The computer generated effects tend to be distracting at times and keep us from connecting with the film as strongly as we need to for us to really feel his isolation and desperation. PG-13 for violence and language.

I AM LOVE (R) 115 minutes * * The Recchi family is about to change. Not only is the family business being passed down to Eduardo's (Gabriele Ferzetti) son and grandson, bu his wife (Tilda Swinton) is about to have an affair that may have even deeper repercussions. It's a passionate film, but this is more clearly represented in the photography and scenery, and less in the characters themselves, who often seem rather hollow. R for sex.

I AM MICHAEL (NR) 96 minutes * * The true story of Michael Glatze (James Franco). Not just a gay man, but an activist who helped others who were being persecuted. And then, after a close call with death, he begins to think about what comes after. At this point, he becomes a heterosexual Christian minister who works to convert gays to a heterosexual life. The ending lacks the strength of the rest of the film.

I AM NOT A SERIAL KILLER (NR) 100 minutes * * 1/2 Like many boys his age, John (Max Records) is fascinated with serial killers. His family also runs a local funeral home, and there are concerns that John's fascination might lead to something more sinister. He understands this and doesn't disagree with what others seem to be afraid of in his behavior. He's particularly interested in a series of local murders, but knows he's not responsible for them. In fact, there might be a supernatural killer on the loose. An unusual, alien/horror/mystery/thriller.

I AM NOT YOUR NEGRO (PG013( 90 minutes * * * 1/2 Director Raoul Peck brings James Baldwin's unfinished book, "Remember This House" to the screen. It tells the story of Baldwin's experience of and influence by Medgar Evers, Martin Luther King Jr., and Malcolm X. Powerful and thought-provoking words that offer a challenge to those who watch. Who you are and who you are willing to become will determine the nature of that challenge. As Baldwin wisely states, "Not everything that is faced can be changed, but nothing can be changed until it is faced." PG-13 for violence, language, and nudity.

I AM NUMBER FOUR (PG-13) 102 minutes * * 1/2 Trying to blend in, John (Alex Pettyfer) is the fourth of his kind, who is struggling to stay alive. The film starts a bit slowly, and feels a bit like we're watching the pilot for a TV show, though it isn't. The effects are a bit repetitive, and too much of the film is in the dark. Still, it's interesting and reasonably well acted, and by the end, we're wanting to see more. PG-13 for violence and language.

I AM OMEGA (NR) 84 minutes 1/2 As a boy, Renchard (Mark Dacascos) watched his mother die at the hands of a zombie. He has so many hallucinations now, that when he's actually contacted by another human being, he doesn't believe it at first. Dacascos may be a great martial artist, but his acting skills need a great deal of work. For low-budget zombie fans only.

I AM POTENTIAL (NR) 91 minutes * * ½ Born without eyes or the ability to walk, Patrick Henry (Jimmy Bellinger) faced plenty of challenges in his life, including the hopes and dreams of his parents. Love and sacrifice can accomplish a great deal, and thankfully, that was available as well. Nice, inspirational drama.

I AM SAM (PG-13) 125 minutes * * * 1/2 Sam (Sean Penn) is doing the best he can to raise his daughter on his own. As her intelligence level begins to pass his, things begin to get a little more diffifult and the courts decide to intervene and let someone else raise her. Sam seeks legal help, but this will not be an easy fight. It's a heartwarming story, made especially endearing by the absolutely delightful performance of Dakota Fanning as young Lucy Diamond Dawson. Penn does a great job as well, wrapping us up in his character right away and the Beatles' music seems to fit the mood perfectly. A guaranteed tear-jerker, and filled with wonderful gems of parenting wisdom. PG-13 for language.

I AM SOLDIER (NR) 85 minutes * * ½ The story here follows two young men out of a group of two hundred who are trying out for the Special Air Services (SAS). The testing program is far from easy, and they only have two chances to pass. Realistic military drama that draws us in very quickly but ends rather abruptly, leaving several questions unanswered.

I AM THE NIGHT (NR) 297 minutes * * 1/2 The infamous Black Dahlia murder case provides the backdrop for this story about a girl searching for her father, and a journalist trying to find closure. It's a fascinating exploration of one possible scenario for the famous case. Chris Pine and India Eisley carry this well, though it does run a little long.

I AM VENGEANCE (R) 90 minutes * * When he learns that his best friend has been murdered, John Gold (Stu Bennett) is determined to find out who is responsible. As he learns soon enough, they are a very tough crowd, but Gold is a former soldier, now a mercenary, and is not to be taken lightly himself. Some very nice hand-to-hand fight scenes. R for violence, language, and nudity.

I AM VENGEANCE: RETALIATION (R) 79 minutes * 1/2 On their last mission together, Sean Teague (Vinnie Jones) turned on his team. John Gold (Stu Bennett) survived, and now he has the chance to bring Teague in for the crime and clear his own record at the same time. Less impressive fight scenes than the previous film, and most of the characters don't have much depth. R for violence and language.

I AM WRATH (R) 85 minutes * * Standard revenge film with Nicolas Cage as a former black ops/special forces man whose wife is killed. Not the sort of person you want to cross. He and his friend (to try and make it a little more realistic) go after the small fish first and work their way up the list. Lots of guns and blood. No surprises. R for violence and language.

I AM YOURS (NR) 97 minutes * * * Most of Mina’s (Amrita Acharia) relationships don’t last very long. Jesper (Ola Rapace) is different, at least at first. But as their relationship gets more serious, and the idea of being a father to 6-year-old Felix (Prince Singh) sinks in, his mind begins to change and Mina has to face the facts. The photography here is not very good and is sometimes distracting, but Acharai delivers an impressive performance.

I BLAME SOCIETY (NR) 82 minutes * * 1/2 Told by some friends that making a movie involves most of the same skills that are involved with committing a murder, a young filmmaker puts that idea to the test. It's a wicked and twisted dark comedy that works well.

I CAN (PG) 81 minutes * She's an incredible softball player. Katelyn (Danner Brown) also deals with a birth defect that left her with only one complete arm. The story here focuses on God's will and how God works in mysterious ways. The acting and script are very stiff and aften uninspired. There are good, if not very original, parts of the story. But the low budget and extra-strong Christian focus don't help this. PG for language.

I CAN DO BAD ALL BY MYSELF (PG-13) 107 minutes * * 1/2 The kids had been staying with their grandmother, but when she dies, their aunt April Taraji P. Henson) is the one they end up staying with. April doesn't want them, and does not picture herself as a mother. Taking care of them forces her to reexamine her life and priorities, which is a challenge she'd rather not face. Another of Tyler Perry's Madea films, though as with several in the series, Madea only appears briefly for a little comic relief in a story that is both dramatic and thought-provoking. PG-13 for language, sex, and violence.

I CARE A LOT (R) 113 minutes * * * On the surface, it's a perfectly legal arrangement. Marla Grayson (Rosamund Pike) is in the business of caring, and she's making lots of money. Jennifer Peterson (Dianne Wiest) looks like the perfect client. But there's something Marla is missing. A fun and creative script from writer/director J Blakeson. A couple of the subplots aren't really helpful, but it provides an entertaining and wickedly funny story. R for language and violence.

I COULD NEVER BE YOUR WOMAN (PG-13) 94 minutes * * * Fun and light-hearted romance set in the world of television production. Rosie (Michelle Pfeiffer) finds herself falling for a much younger man (Paul Rudd) who has auditioned for a role on the show she writes. Lots of Hollywood insider humor and several nice cameos. Very nice performance from Saoirse Ronan, showing off both her acting and musical talents. PG-13 for sex and language.

I, DANIEL BLAKE (R) 98 minutes * * * To receive his Employment and Support Allowance, Daniel (Dave Johns) discovers that there's a huge amount of red tape to go through. So much that it might just give him another heart attack. He also discovers that his is far from alone in his struggle to get by. Poewrful ending, though it's not really a suprise. R for language.

I DECLARE WAR (NR) 91 minutes * * * It's a game of war, and most of these kids have played many times before. But when one of the decides to change the rules, the game changes far more than anyone thought possible. It's a really interesting look at adolescent friendship and loyalty, with fine acting by a young cast.

I DO (NR) 86 minutes * * 1/2 Luis (Alain Chabat) enjoys being single, but his mother and sisters have other plans for him. Luis decides to come up with his own plan, hiring a young woman to play his girlfriend. You can probably guess what happens next. Predictable but sweet and charming film with good performances.

I DO (2012) (NR) 86 minutes * * Jack (David W. Ross) has been helping raise his niece since his brother died. But now he's about to be deported, back to England. Marrying his best friend, who is a lesbian, seems like a great way around the system... until he falls in love. Not the best acting here, and the script is a bit shallow in a few spots as well.

I DO... UNTIL I DON'T (R) 101 minutes * 1/2 What does it mean to be married? A humorous look at three couples as they struggle with their partners. There's good material here, but too much of it gets lost in the chaos of a script that intertwines the various couples a little too tightly. R for sex and language.

I DON'T KNOW HOW SHE DOES IT (PG-13) 84 minutes * * 1/2 A finance executive, Kate (Sarah Jessica Parker) is also the primary source of income for herslef, her husband, and her two children. It's not easy, but she can manage. Parker is fine here, though this is very similar to her "Sex and the City" role in some ways. What really makes this work are the supporting performances by Olivia Munn and Greg Kinnear. PG-13 for language.

I DREAMED OF AFRICA (PG-13) 110 minutes * A car accident leaes Kuki (Kim Basinger) in the hospital for several weeks where she decides to take her life in a new direction. She gets married and heads to Africa, looking for a fresh start. Kim Basinger's limited acting skills aren't helped along much by this script. The narration is better than the dialogue, but feels pretentious and annoys as much as it helps to clarify. It's unfortunate because there is both strength and peace in this story, but those doing the telling lack the ability to do so effectively. Filmed in South Africa and Kenya. PG-13 for language and violence.

I FEEL PRETTY (PG-13) 105 minutes * * 1/2 Renee (Amy Schumer) doesn't have much self-confidence because she doesn't like the way she looks. A knock on the head has her thinking that she's gorgeous, which gives her all the self-confidence she needs to actually become successful... until another knock on the head takes it all away. The message is a good one, but the story swings around all over the place, hitting the mark, wandering away, and then doing it all over again. It does end well though. PG-13 for sex and language.

I, FRANKENSTEIN (PG-13) 82 minutes * 1/2 A sort of "further adventures of" kind of story, adapted from the graphic novel and with few ties to the original novel. Frankenstein's monster (Aaron Eckhart) finds himself drawn into a battle between demons and angelic gargoyles. Heavily narrated and with very repetitive effects, though they are well done. PG-13 for violence.

I GIVE IT A YEAR (R) 92 minutes * * When Nat (Rose Byrne) and Josh (Rafe Spall) get married, at least one of their friends doesn't expect it to last very long. Cute love story, with nice supporting roles for Anna Faris and Minnie Driver. The occassional bits of crude humor seem a bit out of place with the tone of the rest of the story though. R for sex and language.

I GOT THE HOOK UP (R) 88 minutes * * 1/2 Meandering story of Black and Blue, two guys who find a shipment of cell phones and the trouble they get into. The main reason it's fun to watch is that it doesn't take itself seriously and isn't full of anti-drug or anti-violence messages. It's a little uneven and obviously low budget, but otherwise not too bad.

I GOT THE HOOK UP 2 (NR) 95 minutes 1/2 Black and Blue are back. This time, their restaurant is about to get shut down for health code violations. Fatboy and Spyda are ready to help, with what just happens to be some stolen cell phones. This tries to be both funnier and more serious than the first film and fails on both counts.

I HATE VALENTINE'S DAY (PG-13) 81 minutes * * 1/2 Nia Vardalos teams up with John Corbett again in this romantic comedy about a florist who has figured out how to keep relationships under control. There's a five date limit. Except, she really wants to keep going out with Greg (Corbett) and struggles with what that might mean. Vardalos and Corbett are good here, but it's the supporting cast that really makes this fun to watch. PG-13 for sex.

I (HEART) HUCKABEES (R) 102 minutes * * 1/2 Have you ever thought about hiring some people to follow you around and help you figure out why you are and what you're here for? That's what Albert (Jason Schwartzman) does. But are Bernard (Dustin Hoffman) and Vivian (Lily Tomlin) really going to help, or just make things more complicated? This film is definitely thought-provoking, but is far too wordy at times. There are moments when it nears brilliance, but then it grows self-absorbed and gets muddled... although perhaps that ends up being closer to the truth than the filmmakers even imagined. R for language.

I HOPE THEY SERVE BEER IN HELL (R) 100 minutes 1/2 A bachelor, his horny best friend, and their misogynistic buddy go to a strip club for his bachelor party. Of course, the misogynist finds love, the horny guy gets put in his place, and after getting beat up and thrown in jail, the bachelor manages to get his life together. Based on Tucker Max's novel, the story clearly goes over the edge before it comes back to make it's point. You might say that it's a love story that would appeal to fans of "Jackass". R for sex and language.

THE I INSIDE (R) 87 minutes * * Simon (Ryan Phillippe) wakes up to find himself in the hospital with no memory of how he arrived. Slowly, he begins to piece together what happened, though there are still some pieces of the puzzle that don't seem to fit. The idea, which I won't spoil as it all ties into the ending, is an interesting one, but Phillippe just doesn't have what it takes to push this to the edge. Stephen Rea, playing one of Simon's doctors seems to have more depth to his character. The fault also lies with the script, which only skims the surface of something that could have could have reached much deeper. R for language and violence.

I KILL GIANTS (NR) 98 minutes * * * Reality an be very rough on a 12-year-old. Barbara (Madison Wolfe) doesn't fit in at school or at home. She deals with it by spending much of her time in a fantasty world inhabited by giants and other monsters. A powerful and emotional story about a remarkable young girl and the strength she finds within herself.

I KISSED A VAMPIRE (PG) 87 minutes * 1/2 Silly musical story about a boy who is turning into a vampire. His girlfriend is turning too, but she's falling for another vampire. The film does poke fun at itself a few times, which makes it a little more tolerable, but the dialogue and lyrics are shallow and the sets are awful. PG for language and sex.

I KNOW THAT VOICE (NR) 86 minutes * * * 1/2 Wonderful and comprehensive look at voice acting, providing definition, history, and much more. And let's be clear, it involves more than being able to do an impression. There's a reason that the word "acting" is included. A real treat to see interview clips with so many of the talented people who work in this profession.

I KNOW THIS MUCH IS TRUE (NR) 370 minutes * * * Dominick and Thomas Birdsay (Mark Ruffalo are twins. Thomas suffers from paranoid schizophrenia, and after a particularly violent episode, lands in a maximum security facility. Being there is only going to make life worse for Thomas, so Dominick is trying to get him out. A story about family, connections, identity, truth, and forgiveness.

I KNOW WHAT YOU DID LAST SUMMER (R) 96 minutes * * Sarah Michelle Gellar and Jennifer Love Hewitt star in this modernization of the urban legend of the "man with the hook". Great camera work and a nice soundtrack by John Debney, but what makes this weak is the acting. Gellar and Hewitt are wonderful, but the two guys who play their boyfriends are not very good at all. Still, it's a fun, scary film that makes for a good date movie for its target audience. R for language and violence.

I KNOW WHO KILLED ME (R) 102 minutes * A young girl is kidnapped, tortured, and escapes. But is it really her who escaped? Is she delusional? Lindsay Lohan tries her best here, but the story fails miserably. At first throwing us so many red herrings and then finally revealing its ridiculous truth. But wait, it's not over! We have another 15 minutes of tedious material to get through even after we know what's really going on. Fans of Lohan may enjoy this, but others should steer clear. R for violence, sex, and language.

I LIKE IT LIKE THAT (R) 102 minutes * 1/2 A slice of life in the Bronx. Lysette and Chino don't always get along that well, and once Chino lands in jail, a nice job falls into Lysette's lap, making it possible for her to start on the road to success. The picture seems fairly accurate, but the dialogue, acting and direction don't have the necessary spark to bring this picture to life.

I LOVE MY DAD (R) 91 minutes * * 1/2 Chuck (Patton Oswalt) and his son (James Morosini) haven't been close for awhile. Chuck wants to change that, but Franklin has shut him out. So, Chuck creates a fake social media account and catfishes his son. We know it's not going to go well when it's based on a lie. A nice twist at the end that gives this an unexpected boost. R for sex and language.

I LOVE TROUBLE (PG) 118 minutes * * * Rival reporters in Chicago end up working together to solve a crime... not an original story, but the chemistry between Nick Nolte and Julia Roberts really makes this work. The close-up camerawork on Roberts help accentuate her performance as we get a better look at all those quirky looks she gives. It's a delight to watch, because it really brings her character to life. PG for language and violence.

I LOVE YOU, BETH COOPER (PG-13) 96 minutes * * Denis (Paul Rust) is graduating and has just one last chance to tell the girl of his dreams how he feels... It's another coming-of-age story from director Chris Columbus. Humor, romance, and a few serious moments. It's a formula that works fairly well as far as story, but Rust and Hayden Panettiere lack the chemistry to add any depth to this. The story quickly moves along and just leaves them wondering how it all came to an end so quickly. PG-13 for language, sex, and violence.

I LOVE YOU BOTH (NR) 84 minutes * * 1/2 Krystal (Kristin Archibald) and Donny (Doug Archibald) aren't just twins, they have also never really been apart. Now, they find themselves both dating the same guy. The Archibalds are themselves siblings, as well as co-stars and co-authors of the script. They take on a little too much, but they still manage to deliver a film that is quirky and fun.

I LOVE YOU, MAN (R) 98 minutes * * 1/2 Now that he's getting married, Peter (Paul Rudd) is realizing that something is missing. He's always had plenty of female friends, but who will be his best man? After going on a few "man-dates", he meets Sydney (Jason Segel). But will his new friendship get in the way of his impending marriage? Wonderfully snappy dialogue and several great supporting performances. Segel does a nice job here too, and along with the supporting performances, they make up for Rudd's somewhat annoying character. R for language.

I LOVE YOU PHILLIP MORRIS (R) 89 minutes * * 1/2 Always the con man, Steven (Jim Carrey) has been lying to most everyone about most everything ever since he realized he was gay. An auto accident makes him change his mind about what's important in life, and he when he meets Phillip (Ewan McGregor), he knows what he has to do. Unfortunately, lying has become a habit, and Steven just keeps getting in more and more trouble. Nice work by both Carrey and MacGregor. Based on the book by Steven McVicker, about his life as a con man and escape artist. R for sex and language.

I LOVE YOU TO DEATH (R) 93 minutes * * It's an amazing cast, with Kevin Kline, Tracey Ullman, Joan Plowright, River Phoenix, William Hurt, Keanu Reeves, and Heather Graham, but a great cast does not necessarily make for a great film. Based on a true story, that's hard to believe, we have a man whose wife has discovered that he's having an affair and so she decides to kill him. She can't seem to get the job done, but neither can the film. Perhaps a more slapstick approach might've worked better.

I MELT WITH YOU (R) 118 minutes * * Four 44-year-old men... college classmates who reunite each year... They party hard, and this time, things don't work out so well. The individual performances are good, but there's no chemistry between the actors, and the characters don't actually relate that well to one another either. Aside from the fact that they went to college together, there seems to be little reason for them to get together, as we never really learn why they were or are so close. R for language, violence, and sex.

I MET A GIRL (NR) 103 minutes * * * When Devon (Brenton Thwaites) meets Lucy (Lily Sullivan), she's everything he ever wanted or needed. And then she's gone. He has to find her, but that may be a bit difficult. Devon has schizophrenia, and Lucy may not be real. A story about love, and how far some of us are willing to go to find it. Very nice work by Thwaites.

I NOW PRONOUNCE YOU CHUCK AND LARRY (PG-13) 108 minutes * * 1/2 Larry (Kevin James) just wants to change the beneficiary on his life insurance, and Chuck (Adam Sandler) owes him a favor. It would have worked out just fine if the pension board hadn't decided to investigate. Typical Sandler film with quite a few good points and a few bits of immature humor that spoil it. The soundtrack is a great collection of songs, and as always, Sandler gathers a fine group of talented people to work with him. Cameos by David Spade and Rob Schneider. PG-13 for language and sex.

I ORIGINS (R) 102 minutes * * ½ In an attempt to discover the evolutionary process of the human eye, Ian (Michael Pitt)and Karen (Brit Marling) discover something even more interesting that could prove a theory that they weren’t even thinking about. Wonderful acting, but the script just doesn’t convey the passion and emotion needed to give this a more compelling edge. There is an interesting extrapolation of the theory if you watch the credits. R for sex and language.

I OUGHT TO BE IN PICTURES (PG) 105 minutes * * * ½ Libby (Dinah Manoff) is off to Hollywood to be in the movies, because that is where she thinks she belongs. Her screenwriter/father (Walter Matthau) has no idea that she’s about to show up, and is less than prepared for her… intensity. Another brilliant story from Neil Simon, and it adapts to the screen quite well. Plenty of humor, but it’s also a heartwarming story about growing up and what it means to risk the hurt that comes with caring. PG for nudity.

I REALLY HATE MY EX (R) 82 minutes * ½ The relationship dramas of three friends, which they work out online through a webcast program. The idea is creative and interesting, but it’s difficult to care about these people because we’re introduced to them as their relationships are falling apart, which makes it challenging to have much sympathy for them. It does finish quite nicely, but getting there is not very easy. R for sex and language.

I REALLY HATE MY JOB (NR) 86 minutes * 1/2 These five women may all work in the same restaurant, but they have little else in common. Their personal stories are interesting and performed well, but the script is extremely wordy. We grow tired of the talk fairly quickly, especially when Neve Campbell's character is so negative. It's a story about life, love, and what it all means, but we need more of the style that we see during the last few minutes of the film. Nice finish, but a bit of a difficult time getting there.

I REMEMBER YOU (NR) 102 minutes * * 1/2 The story centers around the missing son of a psychiatrist. As events unfoldm his disappearance not only becomes more puzzling, but may be connected to other events in the community's past. The movement between past and present is not one of the stronger aspects of the film. It's a very good story, and moves to its resolution nicely, with a good mix of mystery and the supernatural. Somehow though, it just loses strength in the middle.

I RIDE (NR) 79 minutes * * The story of the Feyed Brothers Band. It's a slightly different look at biker culture, as these aren't just bikers, but musicians too. Mostly of interest to fans of the biker lifestyle.

I, ROBOT (PG-13) 105 minutes * * * Isaac Asimov's three laws of robotics govern the behavior of robots and have been one of the main foundations of the science fiction genre, both in literature and in film since he wrote the collection of stories on which this film is based in 1950. When robots do not follow these laws, they have either gone bad or have perhaps evolved into something more. This said, there's a very real sense in which this film offers nothing new, particularly to fans of the genre. On the other hand, for those who are not so familiar with it, this works very well as an introduction to the ideas about the behavior of robots. Will Smith's performance is nothing special, but the robots are the focus anyway. The special effects work well despite a bit too much use of slow-motion, and Marco Beltrami's soundtrack compliments the scenery and the action. PG-13 for violence.

I SAW THE DEVIL (NR) 140 minutes * * 1/2 When a psycho killer murders the pregnant wife of a cop, he sets in motion something he didn't expect. The cop becomes just as, or perhaps even more evil, and he has only one thing on his mind. Extremely violent and very intense story.

I SAW THE LIGHT (R) 118 minutes * * * Bio-drama about country-western singer Hank Williams (Tom Hiddleston), one of the most prolific songwriters in American music. Like too many others, his light burned bright and briefly. Very nice work by Hiddleston, and well supported by Elizabeth Olsen. R for language and sex.

I SEE YOU (NR) 73 minutes 1/2 An obsessive, narcisistic video blogger records his new relationship as well as several murders. The acting isn't great, but the hand-held camera is even worse than usual for this sort of film. As far as the script, too much of it just jumps all over the place, like the photography. The story does make a little more sense at the end... if you bother to stick around for it.

I SERVED THE KING OF ENGLAND (R) 109 minutes * * * Learning from those around him, Jan (Ivan Barney & Oldrich Kaiser) wants to be rich. He sees what money does to people and how they act around it. He works for a good part of his life in various roles at an old hotel in Prague. And he learns a great deal about other people and about himself as well. Charming and witty, bringing to mind a bit of the classic films of the 1930s both with its sense of humor as well as the style of filming. R for sex.

I SMILE BACK (R) 81 minutes * * Depressed and on drugs, Laney's (Sarah Silverman) life is falling apart. Can she get to the root of the problem and get her life back? Or will she remain on her self-destructive path? It's a good ide, but the script doesn't take us deep enough into the character, despite Silverman's ability to go there. R for sex and language.

I SPIT ON YOUR GRAVE (R) 104 minutes * 1/2 Remake of the 1978 horror classic of a young woman, alone in the country, raped by several men. She goes on a revengeful rampage. This version has Jennifer (Sarah Butler) a bit less helpless or niave, but the situation is more troublesome as the sheriff is in on the rape. And, of course, the murders are a bit more gruesome. So, it's modernized, but not really improved. R for violence, sex, and language.

I SPIT ON YOUR GRAVE: DEJA VU (NR) 146 minutes * For this fourth film of the original storyline, Jennifer Hills (Camille Keaton) is again the center of the story. Some of the family members of the men she took her vengeance on are wanting a littlerevenge of their own. It's been forty years, and the script has not improved. It also drags on far longr than it needs to.

I SPIT ON YOUR GRAVE 2 (R) 102 minutes * 1/2 Katie (Jemma Dallender) was hoping to update her model portfolio, but that offer for free pictures was too good to be true. Duh. No real connection to the first film, and this one is actually a little more brutal, but the story is no less contrived. R for violene, sex, and language.

I SPY (PG-13) 90 minutes * Alex Scott (Owen Wilson) is a secret agent, though not of the highest caliber. He gets the job done, but there are usually some problems. Now he's been teamed up with Kelly Robinson (Eddie Murphy), a smart-mouthed boxer who is supposed to help him as well as be a cover for the operation. Not only does this bear little resemblance to the flavor of the old TV series of the same name, but Murphy and Wilson truly don't seem to like each other. Their banter is more annoying than funny and begins to get on our nerves after a short time. Filmed in Vancouver, Canada and Budapest, Hungary. PG-13 for language and violence.

I STILL BELIEVE (PG) 112 minutes * * * Jeremy Camp (K.J. Apa) had a dream about succeeding in the music business. As his career in the Christian music industry began to grow, every aspect of his life seemed to be virtually perfect... for awhile. Life is often a path filled with ups and downs, and for Jeremy, it is his faith that gives him the strength to go on. Great music, and a powerful story of faith. PG for violence.

I STILL KNOW WHAT YOU DID LAST SUMMER (R) 95 minutes 1/2 Jennifer Love Hewitt is still trying to get away from the man she and her friends killed the summer before last. Now she's on vacation with some other friends in the Bahamas and the killing is starting again. Can we say NO suspense? How about ridiculous idea for a story? And what about the silly ending that is probably just a dream, but could be a signal for a part three? Hewitt, Brandy, Mekhi Phifer and the rest do a reasonable job walking through a terrible script, but all they're able to do is make the film barely watchable. R for language and violence.

I STILL SEE YOU (PG-13) 93 minutes * * * They call them "Rems". They are the remnants or ghosts that were left after a tragic, apocalyptic event. But rather than fading with the passage of time, they seem to be growing not only in number, but in their ability to interact with what is around them. Veronica (Bella Thorne) finds herself in the middle of a mystery. There are answers, but can she uncover them all in time? Nice script, adapted from the novel, "Break My Heart One Thousand Times" by Daniel Waters. PG-13 for violence and nudity.

I.T. (NR) 92 minutes * * With a successful career and a beautiful wife and daughter, Mike (Pierce Brosnan) has it all. But then his IT consultant begins to stalk him and threaten both his private life and his business. Despite a stale story, the tension is good. Most of the credit for that is thanks to a suspenseful soundtrack by Tim Williiams and some nice work by the cast.

I THINK I LOVE MY WIFE (R) 89 minutes * 1/2 Richard Cooper (Chris Rock) loves his wife, but he's bored. When Nikki (Kerry Washington), an old friend who just happens to be sexy and single, shows up in his life again, it gives him some interesting options to consider. Though the ending has some good things to say about relationships, all of the beauty and art of the film this is adapted from (Chloe in the Afternoon) is gone. There's nothing subtle here, just Chris Rock ranting about his problems. Steve Buscemi has a nice supporting role... it manages to fall into the more subtle category. R for language and sex.

I, TONYA (R) 113 minutes * * * A recounting of the Tonya Harding/Nancy Kerrigan incident that rocked the world of figure skating. Nice work by Margot Robbie as Harding, but Allison Janney's performance as her mother is a knockout. A mostly accurate recounting of events, though it is played to highlight some of the more outlandish aspects in a slightly humorous tone. R for language, violence, and sex.

I TRAPPED THE DEVIL (NR) 80 minutes 1/2 Steve (Scott Poythress) is keeping a secret in his basement. When his brother Matt (A.J. Bowen) and his wife show up over the holidays, they learn that Steve is certain he has trapped none other than the devil himself. There are some creepy moments, but the story is full of holes and not well-acted, both of which make the suspense the story is trying to create far less thrilling than it should be.

I USED TO BE DARKER (NR) 86 minutes * * When Taryn (Deragh Campbell) runs away from home, it doesn’t take long before she finds herself in trouble. She seeks out some relatives for help, but while they try to be helpful, they are having some major problems of their own. Much like the characters here, the film has an aimless, wandering storyline. It’s not inappropriate, as Taryn’s search for purpose and meaning has a free-spirited, casual style, but it makes it a little difficult to connect with the characters or the story.

I USED TO GO HERE (NR) 82 minutes * * Her first book has just been published, but it isn't doing all that well. Invited to speak at her alma mater, Kate (Gillian Jacobs) soon finds herself hanging out with a group of college students, reliving her past. The characters here are likeable, but hold more promise than they end up delivering, though there is a burst of something better at the end. It's just not enough.

I WANT SOMEONE TO EAT CHEESE WITH (NR) 76 minutes * * 1/2 James (Jeff Garlin) is 39 and still living with his mom. That doesn't really bother him, but the fact that he can't find someone to just spend some nice, casual, time together as friends is a little bothersome. And the fact that his acting career doesn't seem to be going anywhere either. Quirky and charming little film with lots of personality, but Garlin takes on too much of this film. Someone else's direction would probably have given this film a bit more strength.

I WANT YOUR MONEY (PG) 89 minutes * * Critical look at President Barack Obama's fiscal plans for the United States. To serve as a point of contrast, the director presents the policies and plans of past president Ronald Reagan. Slanted to the political right, but we don't really hear anything new. The cartoon character segments are funny and do a fairly good job of poking fun at both sides of the political spectrum, but that's the best part of the film. PG for language.

I WILL FOLLOW (NR) 78 minutes * * When Maye's (Salli Richardson-Whitfield) aunt dies, she begins to pack up her things and work through the grieving process. It's taking a little longer than she thought it would. The acting here is good, but the editing is stiff and dry and the script starts and stops. There is sensitivity around the grieving process, but little understanding of how a story needs to flow. The last few moments manage to work well.

I WILL MAKE YOU MINE (NR) 76 minutes * * 1/2 Relationships don't always work out the way we'd like them to. How we deal with those unrealized expectations is an important part of healing so that a search for love will prove to be more fruitful the next time. This story is about three women and their past and present relationships with the same man. Life is a song, but we can't always find the melody.

I WILL SOAR (NR) 106 minutes * * 1/2 A look at the football program at Atlantic Community High School in Delray Beach, Florida. Head coach T.J. Jackson runs a program that is focused on the whole player and on guiding them to success both on and off the filed, and in the long term.

I WISH (PG) 124 minutes * * 1/2 Koichi (Koki Maeda) and his younger brother live with different parents now that their parents are divorced. The new bullet train will connect the two towns, and it might also have some magical properties. The film definitely has some charm with the innocence and belief in magic and hope that the children express and embody. There are quite a few repetitive scenes throught the film that tend to slow the pace down when that isn't helpful to the story, especially when it runs a little long anyway. PG for language.

ICE AGE (PG) 75 minutes * * 1/2 It's the beginning of the Ice Age, but Manfred (the mammoth) is headed the opposite direction from the rest of the migrating dinosaurs. He ends up with a couple of sidekicks and a human baby that needs to be returned to its tribe. Not really sure why they need to be heading in the opposite direction... Manfred could have simply been sidetracked or separated from the herd somehow. Anyway, the characters cover a range of types with Manfred being more serious, Sid being the comic, and Diego having somewhat questionable motives but ending up being a nice guy after all. The violence is handled delicately enough that most younger children won't have a problem with it and it makes for reasonably good family fare.

ICE AGE: COLLISION COURSE (PG) 85 minutes * * 1/2 An asteroid is on its way, and Buck has a plan to stop it. Now, the intrepid heroes... yeah, well... they're going to try to help. At the same time, Manny and Ellie have to dael with Peaches growing up and leaving home. Nice animation and almost non-stop side jokes, whhich do get in the way of the story once in awhile. PG for language.

ICE AGE: CONTINENTAL DRIFT (PG) 79 minutes * * 1/2 When their contnent begins to drift, Manny, Diego, and Sid set off on an adventure, using an iceberg as a ship. The comedy in this entry in the series works a little better, in part because the subplots tend to all work in the direction of the main story. It's a little better than parts two and three, but it does seem to have run its course. PG for language and violence.

ICE AGE: DAWN OF THE DINOSAURS (PG) 87 minutes * 1/2 Manny and Ellie are about to have a baby. Sid feels left out until he finds three eggs that appear to be abandoned. They stumble across another world underneath their own where dinosaurs live. Scrat gets his own little romantic sub-plot here, which may be one of the more interesting bits in the film. It's clearly the most humorous. The story is scattered, and is more scary than the previous films and the series seems to be struggling with how to continue. PG for violence and language.

ICE AGE: THE MELTDOWN (PG) 83 minutes * * As the title suggests, the ice is melting, and our intrepid group must head to the other end of the valley. Quality animation, and some cute songs, though there aren't enough of them. Not quite as much fun as the first, but the younger crowd will still find the antics of the characters fun enough to keep their attention. PG for violence.

ICE CASTLES (2010) (PG) 92 minutes * 1/2 This remake of the emotional and sentimental figure skating film is dripping with just as much emotion and sentimment as the first, but with less acting talent than the original. The skating is very good, but aside from the new renditions of the Oscar winning song, this doesn't really have much to offer. Cameo appearances by Michelle Kwan and Sandra Bezic. PG for language.

ICE DRAGON: LEGEND OF THE BLUE DAISIES (NR) 68 minutes * * No one belives Melody (voiced by Rheal Rees) or Nicholai (voiced by Bill Bray) about the magic of the song until the dragon shows up. Animated musical feature about the magical power of music and belief. It's not a bad story, but the animation and music aren't very strong. The Christian symbolism is obvious, though never stated.

THE ICE HARVEST (R) 84 minutes * * 1/2 Charlie (John Cusack) thought he had the perfect idea for a crime. But the perfect idea probably shouldn't involve a partner, because Vic (Billy Bob Thornton) may have a different idea about how things go after they have the money. Cusack delivers another nice performance, as does Thornton, though the story doesn't really offer much in the way of surprises. Cusack fans will enjoy this, but others probably won't find it all that interesting. R for violence, language, and sex.

THE ICE PIRATES (PG) 92 minutes * * Princess Karina (Mary Crosby) is in need of assistance as her father has gone missing. Who better to help out that a couple of space pirates? Except that they don’t really want to help. The story is very scattered, but there’s plenty of energy and humor, which helps keep us interested. PG for violence, sex. And language.

ICE PRINCESS (G) 94 minutes * * * Science geek Casey Carlyle (Michelle Trachtenberg) just wanted to do a project on ice skating because she thought it would be interesting and she knew a little something about it from skating on the pond in her farm. Little did she know that she had the talent to be a competitive skater. A little bit more than the standard Disney formula story, at least in spots. Deals nicely with relationships, committment, friendship, and dreams though the script does get a bit weak at times. We're still drawn in, mostly by Trachtenberg's performance, and enjoy something we rarely see... a nice family film!

ICE SCULPTURE CHISTMAS (NR) 86 minutes * * 1/2 Callie (Rachel Boston) has always dreaned of being a chef. She and David (David Alpay) meet as children, but he's the son of one of the elite club members. Years later, Callie has become the new dishwasher at a fancy restaurant. David is soon to take over for his father as CEO of an investment firm. They team up to complete in an ice sculpture contest... against her boss. It's an uneasy alliance, but it might just lead to something more. Boston's infectioous charm makes this even more fun.

ICE SHARKS (NR) 86 minutes BOMB The title is pretty much a giveaway that the idea here is silly at best. Poor CGI effects, some of which are shown repeatedly, don't help. The soundtrack by itself almost might be worth listening to, but everything else here is a waste of time.

ICE SOLDIERS (R) 90 minutes * 1/2 Genetically modified Russian super-soldiers from the 1960s are thawed out by accident. Well, OK, nobody thought they'd actually still be alive. But not only are they alive, they are ready to continue their mission. The cast tries hard, but the story just doens't have any depth. R for violence and nudity.

ICEBERG SLIM: PORTRAIT OF A PIMP (R) 85 minutes * * * Interviews with Iceberg Slim, as well as a number of actors, musicians, authors, and others who read and were influenced by his books. Part biography, part critique, and part homage. R for sex, violence, and language.

ICED (NR) 74 minutes BOMB In this second film featuring Penguin League members Flip and Zooey, they point their spaceship in the direction of Earth. As it turns out, they are not the only ones who are headed to Earth, and the others aren't so friendly. Poor animation and a weak script.

ICEMAN (PG) 97 minutes * * When a Neaderthal man is found frozen in a block of ice, scientists are determined to thaw him out and bring him back to life. Of course there are those who have questionable motivations and there may be more to learn from him than any of them expected. The story leaves out some rather large pieces to be able to have time to deal with some of the moral dilemma of the idea. It does wrap up well, but getting there is far from smooth. PG for language.

THE ICEMAN (2012) (R) 100 minutes * * * Richie (Michael Shannon) becomes a hitman not our of a desire to kill, but mostly because of where he happened to be and who he was with at the time. No matter... he's good... very good. But when work is slow in coming, Richie crosses a line, and loyalities are tested and families are put at risk. Based on the life of contract killer, Richard Kuklinski, portrayed quite well by Shannon. R for violence, language, and sex.

ICETASTROPHE (NR) 83 minutes 1/2 An unusual meteor strikes a small town and is turning everything around it to ice. The logic of how the ice spreads is inconsistent at best, and rather ridiculous at worst. Leaves us with a truckload of unanswered questions at the end.

IDA (PG-13) 75 minutes * * * Sometimes unknown bits from our past resurface and have more of an impact on our life than we expect. Such is the case for Anna (Agata Trezbuchowska). It's a dark and moody piece, with sparse dialogue but powerful images. The ending is a little abrupt, though the point is clear. And much like the rest of the film, it doesn't waste time after stating something. PG-13 for sex.

IDEAL HOME (NR) 84 minutes * * 1/2 One of the last things Erasmus (Steve Coogan) and Paul (Paul Rudd) expected was to have Erasmus' ten-year-old grandson show up. He needs to be taken care of now that his dad is in jail. It's not easy, but they soon grow fond of each other, which presents a problem when the boy's father wants him back. Coogan and Rudd play off each other well.

AN IDEAL HUSBAND (PG-13) 93 minutes * At least he would appear to be an ideal husband, but people aren't always what they would seem. Deception leads to more deception and eventually things are exposed. Rupert Everett, Cate Blanchett, and Julianne Moore all flounder thanks to some very inept direction. The sole survivor of this atrocious filming of Oscar Wilde's play is Minnie Drivier, who still manages to bring a bit of charm to her part. The soundtrack brutally stomps its way through the film as well, with no subtlety or nuance, and makes the film difficult to sit through at times. PG-13 for language.

THE IDENTICAL (PG) 98 minutes * * Blake Rayne plays the part of two brothers, twins, who were separated at birth. One of them becomes a famous musician while the other struggles to be able to express his musical talents. The music is quite good, no small credit here to the talents of Rayne, who was an Elvis impersonator before this. It is rather puzzling why Ashley Judd doesn’t appear to age at all, while Ray Liotta, who plays her husband, ages much more naturally. As well, the story is essentially an exploration of what might have happened if Elvis’ twin brother had survived, despite referring to Elvis as a musician in the film. Rayne and the music here definitely make this worth a look. PG for language.

IDENTICALS (R) 96 minutes * * 1/2 Having a better life just got easier thanks to Brand New U. The problem is that once a person moves to that better life, the donor is eliminated. Slater (Lachlan Nieboer) finds himself drawn into the system by circumstance, and he's unwilling to play by all of the rules. This may take more than one viewing as the futuristic sets and lightinghave an almost mind-numbing effect that may make you lose track of the story. R for language, violence, and sex.

IDENTITY (R) 86 minutes * * * It's a dark and stormy night, and some very strange things are happening. I won't give away the twists and turns except to say that they work well. It'a nice group of characters that remind us... a mind is a terrible thing to get twisted. Featuring the talents of John Cusack, Ray Liotta, Amanda Peet, Alfred Molina, Clea Duvall, Jake Busey, and Rebecca DeMornay. R for violence and language.

IDENTITY THIEF (R) 116 minutes * * * When his identity is stolen, Sandy (Jason Bateman) tracks down the person responsible and intends to set things straight. But Diana (Melissa McCarthy) proves to be a bit difficult to handle. As usual, Bateman plays the straight part admirably well, and McCarthy is up to her typically hilarious verbal and physical style of comedy, though the verbal is toned down a little from her normal level. While the story starts out in a realistic manner, it quickly gets more and more unbelievable as it progresses, including the ending, though that does have an appealing and sweet nature that helps us like it. R for sex and language.

THE IDES OF MARCH (R) 95 minutes * * * As the stakes are increased, the games get nastier. That's what Stephen Meyers (Ryan Gosling) is discovering as he works on Mike Morris's (George Clooney) campaign. The dance to stay ahead of the mechanisms that will chew you up is fast and difficult. Is it worth it? A look at the political process with a stellar cast, loaded with former Oscar nominees and winners. Gosling, George Clooney, Philip Seymour Hoffman, Paul Giamatti, and Marisa Tomei. Clooney over-extends himself just a little with co-writing, co-producing, directing, and starring here, but it's still very good. R for language.

IDIOCRACY (R) 79 minutes * Joe Bowers (Luke Wilson) is mister average, which qualifies him for a military experiment in cryogenics. Unfortunately, instead of coming back a year later, it's a few centuries. And now, mister average Joe Bowers (and the prostitute who was the other experimental candidate), are now the most brilliant people on the planet. Insultingly stupid premise that somehow manages to generate a couple of chuckles and snickers, but little else. From the folks who brought you "Beavis and Butthead"... like you couldn't have guessed. R for language.

IDIOTS AND ANGELS (NR) 77 minutes * * 1/2 Our protagonist here is certainly no angel, either by his behavior or his character. But he does sprout wings... and has to figure out how to deal with this unique occurance. Bill Plympton's animation serves as the surreal storytelling medium here, with scenes and images flowing from one to the next. Strange and fascinating.

IDLE HANDS (R) 86 minutes * * The story of a boy and his hand... well, until it gets possessed anyway. Starting out with a good deal of suspense and a good idea, this quickly degenerates as we realize the story was never fully developed. Seth Green steals the film with his portrayal of Mick, a friend-turned-zombie, with a quick wit. Most everyone else is just along for the ride. There are some nice special effects courtesy of Greg Cannom, and though most of the music is by Graeme Revell, The Offspring perform at the Halloween dance. R for violence and language.

IDLEWILD (R) 114 minutes * * Conflicts arise between a piano player and a lead performer in a southern nightclub. Set in the 1920s, this film has some wonderful musical production numbers, and style to spare. And there are some great performances by Andre Benjamin, Terrence Howard, and a few others. But the story feels strangely shallow and lifeless. It has all the right look, but no heart. R for violence, sex, and language.

IF A TREE FALLS (NR) 83 minutes * * 1/2 This is the story of the Earth Liberation Front. Much of the focus here is to question whether the label of "terrorism" is appropriate, especially with the knowledge that no personal injuries or death have ever resulted from actions taken by ELF members (or ALF-Animal Liberation Front members either for that matter).

IF BEALE STREET COULD TALK (R) 113 miunutes * * * Based on the book by James Baldwin, this is the story of Tish (Kiki Layne) and Fonny (Stephan James). A young couple in New York, faced with a pregnancy while trying to porove Fonny innocent of a crime that has him locked up. Great work by the cast in a dramatic story. R for language and sex.

IF GOD IS WILLING AND DA CREEK DON'T RISE (NR) 106 minutes * * * Five years after the flood and hurricane damage from Katrina, director Spike Lee returns. Much of the city has been resettled, but the poor, especially those of color, have not returned as quickly. And when they have, they find that rent has doubled or tripled. The Superbowl win by the New Orleans Saints brings some temporary joy, but the next disaster was just around the corner, and the BP oil spill proved once again that the people of New Orleans continue to suffer from neglect and oppression.

IF I STAY (PG-13) 101 minutes * * * When Mia's (Chloe Grace Moretz) family is in a car crash, Mia ends up at the hospital in a coma. We watch, as she moves out of her body, trying to understand what has happened, and as she faces a choice. Does she move on, or does she stay to live a life dramatically different than anything she could have anticipated? Adapted from the novel by Gayle Forman. Nice work by Moretz and Mirielle Enos, and Joshua Leonard, who play her parents, though the rest of the cast is less impressive. PG-13 for sex.

IF I WANT TO WHISTLE, I WHISTLE (NR) 91 minutes * * There may only be two weeks left for Silviu (George Pistereanu) to serve on his sentence, but he has to act now. His mother is about to take his younger brother away, and even the romantic love that appears to be on the horizon for him will not deter him from preventing her from having what he feels will be a life-altering negative effect on his brother. It's not a happy story, and the love he has for his brother is one of the very few elements of hope in the film. The performances feel quite genuine, which only adds to the depressing tone of the film as a whole.

IF LOOKS COULD KILL (PG-13) 84 minutes * * A student in Paris on a class trip is mistaken for a secret agent in this mild comedy of errors. One would expect a little better from Linda Hunt and Gabrielle Anwar. Richard Grieco stars, but the script offers nothing new or exciting, mostly poking fun at James Bond.

IF LOOKS COULD KILL (2016) (NR) 87 minutes * Faith (Stefanie Estes) has finally managed to become a police officer. She's back in her old hometown and working on the force with her old crush. But he's getting involved with a girl he just rescued. She might be alittle more than he can handle though, since her past appears to show a list of lovers in her past that are all deceased. The story lacks originality, but isn't terrible. The acting is another notch (or two) below that though.

IF LUCY FELL (R) 88 minutes * * * Two people share an apartment and a "death pact" if neither one is married by the time they reach the age of thirty. A film full of amazing and interesting characters, though none particularly realistic. The predictability hurts it, but it's a fun ride if you enjoy interesting characters and good acting.

IF THE DANCER DANCES (NR) 83 minutes * * 1/2 When a legendary choreographer who was also his mentor dies, Stephen Petronio, one fo the world's leading choreographers, decides to have his company perform a piece that was created by his mentor. It will be the first time Petronio's company has ever performed a piece Petronio didn't create. It will challenge them to learn a new style, and it will challenge him to hold true to what his mentor created.

IF THERE BE THORNS (NR) 85 minutes * Not a great entry in the series, but for that matter, the story begins to deteriorate after the first one. To make it even better, there's even the obligatory creepy setup for the next "chapter". Thanks.

IF YOU BELIEVE (NR) 90 minutes * * 1/2 Susan (Ally Walker) has lost not only her Christmas spirit, but much of her enthusiasm for life. After a knock on the head, her six-year-old self (Hayden Panettiere) shows up to help her learn to love life again. Panettiere is a gem here, packed with energy and talent.

IF YOU COULD SEE WHAT I HEAR (PG) 102 minutes * * * Blindness never stopped Tom Sullivan (Marc Singer) from leading an amazingly full life. In fact, he seems to enjoy life more than most of the people he knows. Great work by Singer in a performance that mixes sensitivity with humor. Very nice supporting work by R.H. Thomson as Sullivan’s best friend too.

IF YOU DON'T, I WILL (NR) 99 minutes * * * Pomme (Emmanuelle Devos) and Pierre (Mathieu Amalric) have been together long enough to take each other, and their relationship, for granted. Life has lost its passion, and they're beginning to drift apart. They need to find a way to make it mean something again. But time apart from each other may teach them something else. Great work by Amalric and Devos as these two characters explore themselves and discover what their relationship means.

IGBY GOES DOWN (R) 95 minutes * * * A different sort of coming of age film. Igby (Kieran Culkin) has a dysfunctional family to say the least, but he's determined to get away from them and make something of himself. Culkin does a fantastic job here, though it doesn't hurt to be surrounded by the talents of Susan Sarandon, Amanda Peet, Claire Danes, and the rest. If you enjoy comedies with a darker edge, this should be on your list. R for sex and language.

IGOR (PG) 79 minutes * * 1/2 There's one Igor who isn't like the others. Not content to just be an assistant who is always asked to "pull the switch", this Igor want to be an evil scientist. When one of his master's experiments goes more wrong than usual, it looks like he might get his chance. But does he have a chance at winning this year's evil science fair? Cute, but there is quite a bit of adult humor here. Not rude, but the younger crowd will miss much of it, and not necessarily be entertained in spite of it. Great cast of voices that includes John Cusack, John Cleese, Steve Buscemi, Sean Hayes, Eddie Izzard, Jay Leno, and Molly Shannon. PG for language and violence.

IL DIVO (NR) 103 minutes * 1/2 Italian Prime Minister Giulio Andreotti (Toni Servillo) continues to be re-elected despite allegations of criminial behavior, or at least strong connections to it. The film does such a good job of presenting Andreotti as indifferent and without emotion that it's difficult to feel much connection to his character. We disconnect from the story. There is an interesting sense of humor that the music and photography display throughout the film as well, as if we're supposed to find the process and/or the events humorous... which they really aren't.

I'LL BE HOME FOR CHRISTMAS (PG) 81 minutes * * Jake (Jonathan Taylor Thomas) finds himself in the middle of a California desert in a santa suit. Now he has to figure out a way to get home in time for Christmas eve dinner so he can get the Porsche his father has promised him. Mixing sentimentality with comedy is a difficult task, and Thomas struggles throughout the film. It does end well, but it's hard not to be reminded of "The Santa Clause" what with JTT and Tim Allen both being from the same TV show and both doing Christmas comedies with sentimental messages. "The Santa Clause" is a far better film than this. PG for language.

I'LL DO ANYTHING (PG-13) 112 minutes * * * Matt (Nick Nolte) is having a hard time getting an acting job. And just when he thinks he has a great part lined up, as well as the perfect woman for a romantic relationship... his daughter turns into a TV star overnight. This is very different work for Nolte, and he still does a good job. Originally filmed as a musical, this still has that musical "feel" to it, upbeat, and with everything slightly over-emphasized.

I’LL FIND YOU (NR) 110 minutes * * * From the first time they met as children, there was something different between Rachel and Robert. As they get older (Adelaide Clemens and Leo Suter), their feelings for one another grow. But she is Jewish and he is Catholic. Neither of them is completely safe once Germany invades Poland. Their love for each other is all that they have to carry them through. Somehow, it will have to be enough. A bit overly romantic and heavily stereotyped, but the cast still manages to make this appealing as a story.

I'LL FOLLOW YOU DOWN (NR) 88 minutes * 1/2 When Gabe (Rufus Sewell) disappears, his wife and son cope as best they can. But Erol's (Haley Joel Osment) grandfather may know what happened, and Erol may be the one to see it through. Still, it's unclear what might happen, because changing one thing could cause many others to change. Performances are fine, but the ending is sudden and leaves far more questions than it answers.

I'LL SEE YOU IN MY DREAMS (PG-13) 97 minutes * * * With the encouragement and support of some friends, Carol (Blythe Danner) discovers that life does indeed go on, and living it is a choice you can make... again. Fantastic ensemble cast, led by a great performance from Danner. The story has a gentle and sincere mix of joy and sadness that creates a realistic depth froght from the start. PG-13 for sex and language.

ILLEGAL (NR) 91 minutes * * * In Belgium illegally, Tania (Anne Coesens) and her son are doing fine until a routine check on the street by police results in Tania being sent to a detention center. Now she's fighting for her life and for the chance to be with her son again. The sense of desperation comes across clearly, but the resolution to the dilemma happens a bit too quickly and we find it hard to believe that it ever works out this well for people who find themselves in this situation.

ILLEGAL (2010) (R) 100 minutes * * 1/2 Five stories about people from Mexico who are struggling with various issues around immigration and citizenship. Some of the stories and scenes are quite powerful, but with nothing to tie them together except the overarching theme, the ones that are weaker make the film far less effective. R for violence and language.

ILLEGAL TENDER (R) 102 minutes * * * Wilson (Manny Perez) never questioned why life was so good. But when his life is suddenly in danger and he finds out that these are the people who killed his father, he begins to question his mother. She's always protected her boys, but things are a little more serious now. It's nice to see a well-written drama with solid performances from a cast without stellar names. R for violence, language and sex.

THE ILLUSIONIST (PG-13) 104 minutes * * * Eisenheim (Edward Norton) is an illusionist, and a very good one. He has studied that art from the time he was a young boy. He also met a girl when he was young that he quickly fell in love with... and he still loves her, despite the fact that she is a duchess and he is the son of a poor carpenter. Then again, love often thrives when the odds are against it. Part suspense, part historical drama, and several parts romance, this does move slowly at times, but ends very nicely. Well-played by Edward Norton and Paul Giamatti, with nice supporting performances by Jessica Biel and Rufus Sewell. Remember... nothing is what is seems... PG-13 for sex and violence.

THE ILLUSIONIST (2010) (PG) 76 minutes * * *The people in London seem to have no use for a magician. But when he is invited to a small Scottish community, he discovers that there are people who do appreciate his talents. He also learns that he is not alone in struggling to be appreciated. Bittersweet, but very fitting ending, and the animation is beautiful. PG for language.

ILO ILO (NR) 97 minutes * * 1/2 Slice of life film about a middle-class family in Singapore. They hire a live-in maid and nanny for their son, who is more than a handful. She struggles both with how to handle him and how to fit in to the life of the family and the culture in general. The story tends to stay on the surface, which keeps us at a distance and somewhat disinterested.

I'M CAROLYN PARKER (NR) 87 minutes * * The last to leave and the first to return to her neighborhood that was destroyed by Hurricane Katrina. Parker is passionate and more than a little stubborn. She is one of many who were and are determined to rebuild the homes and the community they had before the hurricane came through. The film is really uneven in several spots, though it is interesting to follow one person through thier journey in dealing with the aftermath of Hurricane Katrina.

I'M NO DUMMY (NR) 80 minutes * * * 1/2 A history of ventriloquism. The film explores the variety of acts and how they started. Packed with interviews and stories of ventriloquists and their amazing skills. Much more tha just a novelty act, it's an art form that involves a variety of skills. A delightful and entertaining look at this profession.

I'M NOT HERE (NR) 71 minutes * * 1/2 Life is not looking all that great for Steve (J.K. Simmons). He begins to think about different moments throughout his life. Even those memories that are positive are tainted with darkness and disappointment. The choice he ultimately faces is whether to continue or not. Is there enough to make it worth staying, and how much is that? Very nice work by Simmons and the rest of the cast.

I'M NOT THERE (R) 129 minutes * * * Bob Dylan. The name alone seems to embody both musical legend and a multitude of impressions. This film explores a little of both. Through a series of metaphorical stories filled with symbolic imagery, we hear the stories of several different people who each embody pieces of Dylan's persona. definitely a film that will reveal more with repeated viewings. Writer/director Todd Haynes has given us a film that is both portrait and tribute, and very unique. R for language and sex.

I'M REED FISH (PG) 89 minutes * * * Reed (Jay Baruchel) runs a very small radio show and a TV show. Much like his father, Reed is well-loved in the community. But he's still trying to be his father, instead of just being himself. This summer, he's going to find out just who Reed Fish really is. Nice, light drama, written by Reed Fish. Schuyler Fisk performs two songs she also wrote, and "From Where I'm Standing" is particularly good. PG for language.

I'M SO EXCITED (R) 85 minutes * * * Despite the fact that something is wrong with the airplane, the pilots and crew are determined to put their own problems aside and make the trip as pleasant as possible while they work on finding a solution. Part comedy, part romance, part mystery, part drama, and all familiar territory for director Pedro Almodovar. A fun and light-hearted look at relationships with a remarkable collection of characters. R for sex and language.

I'M STILL HERE (R) 104 minutes * 1/2 Joaquin Phoenix announces his retirement from acting to pursue a career in rap music. As a look at the culture of celebrity and the expectations society places on those in that role, it's interesting. Unfortunately, Phoenix's tirades grow tiresome fairly quickly, and it begins to feel more like he and director Casey Affleck are just running cameras to waste film and see if we'll keep watching. The ending is interesting... if you're still there by the time it rolls around. R for sex and language.

IM TOTALLY FINE (NR) 79 minutes * * 1/2 Grieving the loss of her best friend, Vanessa (Jillian Bell) is more than a little surprised to see Jennifer (Natalie Morales) show up. It turns out that it isn't really her best friend, but an alien, who has taken her form and her memories. While more than a little unusual, it definitely helps Vanessa deal with her grief. Heavy on dialogue, but it does have a lot of important material to cover.

I'M YOUR MAN (R) 104 minutes * * * Her latest assignment is not one that Alma (Maren Eggert) is looking forward to. She is to spend three weeks with a humanoid robot (Dan Stevens) who has been designed to be her perfect partner. She doesn't want a partner. Or at least she doesn't think she does. Very nice story, with just the right touches of humor to break the tension. Great work by both Eggert and Stevens. R for sex and language.

IMAGINARY HEROES (R) 105 minutes * * When his older brother commits suicide, Tim (Emile Hirsch) watches his family fall apart. Even as attempts are made to deal with their grief, other issues begin to see the light of day and it just never seems to get any better, though eventually, there is light at the end of the tunnel. Strong performances from Sigourney Weaver, Hirsch, Jeff Daniels and the rest still don't manage to get this very far. The script feels like a mediocre tv show and we just don't find ourselves caring all that much. R for language and sex.

IMAGINE ME & YOU (R) 87 minutes * * At Rachel's (Piper Perabo) wedding ceremony, she notices someone else and feels a strong attraction to them. It's like nothing she's ever felt before. Now she has to decide how she will deal with her feelings of love for her husband and for the girl of her dreams. This is Ol Parker's first film as director, and his fourth as writer. It's definitely not a bad film, but it is lacking the stronger direction, script, and acting that it needs to become a smart, sexy, romantic comedy that we'll remember. R for language and sex.

IMAGINE THAT (PG) 102 minutes * * 1/2 All wrapped up in succeeding in his business, Evan Danielson (Eddie Murphy)'s young daughter is about to teach him how to use his imagination. Fun film with a typically silly and entertaining performance from Murphy. The soundtrack is great here too, filled with newer renditions of a number of classic Beatles songs! PG for language.

THE IMAGINARIUM OF DR. PARNASSUS (PG-13) 115 minutes * * * From the amazing and unusual mind of Terry Gilliam comes a tale of a travelling circus that offers much more than most who are watching could ever imagine. It's a story that is fantastic and bizarre, magical and fascinating. It will either quickly draw you in, or be so strange that it's difficult to follow. As with many of Gilliam's films, the production had more than it's share of difficulties in coming to fruition, but the final product is clearly packed with imagination and wonderful talent. PG-13 for violence and language.

THE IMITATION GAME (PG-13) 110 minutes * * * 1/2 Based on the book, "Alan Turing: The Enigma" by Andrew Hodges, this is the story of Turing (Benedict Cumberbatch), and the work he did to break the enigma code, which included the foundational work for what would later become known as the first computer. A brilliant performance by Cumberbatch that is sensitive to Turing's intellect, personality and sexuality. The movement between time periods seems unnecessary except for the flashbacks to childhood which work well and tell an important piece of the story. PG-13 for language.

THE IMMACULATE ROOM (R) 88 minutes * * It's an easy way to earn five million dollars. All that Michael (Emile Hirsch) and Katherine (Kate Bosworth) have to do is spend fifty days in a room. A room with almost no color, no technology, and only each other to pass the time. If it was easy, why would it be worth so much? There are some good moments, but this wraps a little too quickly and more positively than the direction it was headed. R for nudity.

IMMEDIATE FAMILY (PG-13) 97 minutes * * 1/2 Michael and Linda Spector have been married for 10 years but have been unable to have a child. They decide to try an open adoption where they will meet the mother of the child they will be adopting. The low-key performances of James Woods and Glenn Close don't really help here. It's almost like they don't really care. Mary Stuart Masterson is low-key as well, but manages to carry an intensity beneath the surface that makes it more believable than the others. The film does manage to leave the question in the mind of the viewer, but the points on each side could have been made with a bit more passion. PG-13 for language.

THE IMMIGRANT (R) 110 minutes * * * Ewa (Marion Cotillard) gets off the boat on Ellis Island only to find that she might soon be deported. Her rescue comes by way of Bruno (Joquin Phoenix), who seems nice enough at first, but who knows that there are only so many ways to earn money quickly. In Ewa, he sees possibilities to earn quite a bit of money. Very nice cast, with sets, costumes, and photography that set the stage very well. Somber, but fitting ending. R for sex and language.

IMMIGRANTS: L.A. DOLCE VITA (NR) 73 minutes * 1/2 Animated feature with Russian and Hungarian roomates who are in the US illegally getting into all kinds of trouble as they try to pursue the American dream. The characters here just aren't all that funny and the writing lacks the wit or the depth needed to give this the satirical edge it needs. Featuring the voices of Hank Azaria and Eric McCormack.

IMMIGRATION TANGO (R) 89 minutes * 1/2 Mike (McCaleb Burnett) and Betty (Ashley Wolfe) are going to help out their friends, who are at risk of being deported. but the new marital relationship arrangement is going to be a very difficult dance for all of them. The story isn't bad, but most of the acting here is pretty weak. The few mildy witty bits in the script just aren;t enough to overcome the acting. R for language and sex.

IMMORTAL BELOVED (R) 115 minutes * * * After Beethoven dies, a friend is determined to find the "immortal beloved", referred to by Beethoven in a letter found after his death. Exciting and intriguing early on and with a fine finish, though it does slow dramatically near the mid-point. Gary Oldman is perfect as Beethoven and is one of the most talented and over-looked actors we've seen in awhile. Filmed in Prague.

THE IMMORTAL LIFE OF HENRIETTA LACKS (NR) 90 minutes * * In the early 1950s, medical science was able to do something almost magical. A strain of human cells was discovered that continued to reproduce with no apparent end in sight. The story here is less about Henrietta, and more about the struggles of her children to receive some sort of compensation and a more complete understanding of what happened to their mother. Great work by Oprah Winfrey, which is no surprise, but the rest of the film is surprisingly shallow.

THE IMMORTAL WARS (NR) 89 minutes 1/2 "The Immortal Wars" is a TV show where deviants fight each other to the death. Except, deviants are supposedly at war with humans, not each other. The effects are boring and repetitive, and the fight scenes, which make up the bulk of the film, are very poorly choreographed. Complete with a cliffhanger ending, so apparently we have a sequel to look forward to. Based on Joe Lujan's "The Vanquishers" comic book series.

THE IMMORTAL WARS: RESURGENCE (NR) 108 minutes BOMB The rebels are still trying to put an end to Dominion (Eric Roberts). More and more deviants are joining the cause. The last to join them is the most recent winner of the Immortal Wars, Trikalypse (Jackie Gerhardy). There are fewer fight scenes in this sequel, which means that the film relies more heavily on the non-existent acting skills of the cast.

IMMORTALS (R) 102 minutes * * 1/2 The ancient battle between two factions of the immortals is about to begin again. Humans will be used and cast aside as the battle rages. Visually impressive, but the battle effects are a bit overdone, with excessive gore at times. Sometimes less is more. R for violence and sex.

IMORDECAI (NR) 99 minutes * * 1/2 Things change. Mordecai's Judd Hirsch) world is rattled when he has to get a new cell phone. At the same time. he's also struggling to deal with his wife (Carol Kane), who has recently been diagnosed with dementia. The script, and even the acting are a bit stiff here, though Kane's performance is quite good.

IMPACT (NR) 179 minutes * * When the meteor that hits the moon turns out to be the remnant of a brown dwarf star, the orbit of the moon is dramatically altered, and it's gravitational pull is increased substantially. The effects on earth are severe, and there doesn't seem to be much hope. Typical disaster film with a little bit of science, much emotion, and the occasional good scene or two. The main advantage this may have is that most of us do get a look at the moon a number of times each month. So this one may stay with you a little longer.

IMPERIUM (R) 102 minutes * * 1/2 Nate Foster (Daniel Radcliffe) hasn't been an FBI agent for long, but he's looking for a way to make a difference. Going undercover as a white supremacist could be the ticket to make that happen, but the risk factor is incredibly high. There are so many close calls that it's difficult to believe this could happen. Radcliffe is OK, but there are some very nice supporting cast performances that do more for the film. R for language and violence.

THE IMPOSSIBLE (PG-13) 103 minutes * * * The story of one particular family who was in Thailand when the 2004 tsunami hit. Powerfully dramatic sequences of the storm surge. The story tends to drag a little after that, but Ewan McGregor and Naomi Watts perform well enough to to keep this going and keep us interested. PG-13 for violence and nudity.

IMPOSSIBLE CRIMES (NR) 86 minutes * * * 1/2 These murders aren't making any sense. Lorenzo (Federico Bal) is struggling with how to solve them, especially after a young nun (Sofia Del Tuffo) tries to take responsibility for them. Her involvement bring faith into the equation, and Lorenzo has given up on God. Beautifully crafted story and solid direction give us a film with a wonderful sense of mystery and suspense, along with a light touch of the supernatural. A fine piece of work.

THE IMPOSTER (NR) 97 minutes * * The story of a Christian rock band on its way to the top, while their lead singer is crashing. The acting here is uneven, with some performances fairly good, with other... not so much. Needless narration undermines pieces of the story that would work relatively well without it.

THE IMPOSTER (2012) (R) 93 minutes * * * In 1994, Nicholas Barclay disappeared. He was 13 years old. A little over three years after the disappearance, the family receives a call that Nichaolas has been found in Spain... but it isn't really Nicholas. Unusual documentary about a young man who impersonates someone to get a family and a chance at a better life. And that's only part of the story. Fascinating. R for language.

IMPOSTOR (PG-13) 89 minutes * 1/2 It's the year 2079 and we're at war with an alien race who is infiltrating our ranks with replicants that are living bombs. Is Spencer (Gary Sinise) one of them? He doesn't think so, but it's going to be difficult to prove. Too much of the action here happens in near darkness and with far too many cut shots. The idea is interesting enough, adapted from a Philip K. Dick story, but the story itself seems to get lost in the darkness as well. PG-13 for violence and language.

IMPRACTICAL JOKERS: THE MOVIE (PG-13) 87 minutes * 1/2 Four high school pranksters try to redeem themselves for a disasterous prank. But there are only three tickets to the party. That means a prank challenge to see who has to stay at home. The story starts off a little slow, but the bulk of the film is very much like the television show, with the guys pulling pranks on each other and rating each other to see who wins and who loses. The jokes mostly work, but the story framework really doesn't. PG-13 for language and nudity.

IMPRISONED (R) 101 minutes * * 1/2 It's difficult enough to move on from his past, but Dylan (Juan Pablo Raba) is doing just that. A steady job and a wonderful marriage mean that life is looking good. But the new prison warden (Laurence Fishburne) hasn't forgiven Dylan's past, and wants nothing more than to see him behind bars again. There's some good material here, but it keeps drifting back into more of an exploitation style of film. That style could work too, but drifting between straight drama and exploitation doesn't. Filmed in Puerto Rico. R for violence, sex, and language.

IMPRISONED BY LOVE (NR) 110 minutes 1/2 Tracie's (Reece Odum) husband is very abusive. She feels trapped by her love for him and his shifts in behavior. The topic of the film will resonate very deeply with some viewers, but the acting and the sound quality, along with the script, are very poor.

IMPULSE (R) 88 minutes * The citizens of this small town have no idea that the government is using them as test subjects. All they know is that there was an earthquake and now people are acting on their impulses. All we know is that despite a talented cast that features Tim Matheson, Meg Tilly, and Hume Cronyn, this is both obvious and boring.

IMPULSE (2008) (R) 99 minutes * She just wants to put a little spark back in their relationship, but what Claire (Willa Ford) doesn't realize is that the man who is willing to play along isn't her husband.... he just looks like him. Angus MacFadyen does a nice job here, but the story is difficult to believe, production quality is mediocre, and the ending is entirely unsatisfying. Filmed in Vancouver, British Columbia. R for sex, language, and violence.

IN A BETTER WORLD (R) 108 minutes * * * Vengeance or forgiveness? Elias (Markus Rygaard) is used to being bullied, but when Christian (William Johnk Neilsen) sees it happening, he beats up the bully to set things straight. It escalates when Elias' dad is in a similar situation. He is also a peacable man, but is dealing with atrocities committeed on young women. Fighting injustice is a challenge, especially because the quick answer almost never results in permanent change. great work by Rygaard and Neilsen. R for violence and language.

IN A VALLEY OF VIOLENCE (R) 99 minutes * * * A stranger in the desert finds a small town in his path. But this small town in this desolate valley is a place of violence. He's no stranger to violence himself. Well-balanced cast with a particularly nice role for Taissa Farmiga. Nicely told story. R for violence and language.

IN A WORLD (R) 89 minutes * * ½ Her father is one of the biggest names in the voice-over acting business, while Carol (Lake Bell) has contented herself with mostly doing vocal coaching work. When a prime job goes up for grabs, she decides to go for it and finds herself competing and not only her father, but his star student. Very likeable characters and a fun story, but not if you don’t already understand Hollywood humor. Lots of insider humor here, so those who understand the industry will love this, but those who don’t will struggle with understanding the humor and the sensitivity. R for language.

IN AMERICA (PG-13) 99 minutes * * * Heartwarming and sensitive look at a young Irish family that moves to the United States, settling in New York's Hell's Kitchen. Wonderful performances from Samantha Morton, Paddy Considine, Djimon Hounsou, and young Sarah and Emma Bolger are simply amazing. A film that reminds us the importance of being able to see life through the eyes of a child, where the power of magic and the ability to believe are often able to work wonders. PG-13 for sex, violence, and language.

IN & OUT (PG-13) 85 minutes * * 1/2 Kevin Kline stars as an English teacher who is having a little bit of a problem since a former student has announced to the world that he (Kline) is gay. Of course, he isn't really... or is he? A comedy of ins and outs, this is mostly fluff that is painted in very broad strokes. Joan Cusack does very well with this kind of approach and has two scenes in particular that are wonderful. Fun to watch, but not much meat here. Set in Greenleaf, IN, but filmed in New York state. PG-13 for language.

IN BETWEEN DAYS (NR) 78 minutes * * Aimie (Jiseon Kim) has moved with her mother and is trying to adapt to life in a new country. She quickly latches onto Tran (Taegu Ady Kang), who is also from South Koera but seems to have adjusted better. The cast does a very nice job here, and their lack of acting experience lends a believability to the story. the dialogue tends to drag though, and the intimacy that dorector So Yong Kim wants to create with so many tight shots isn't really helped by that style when the cast doesn't know how to make close-ups be more effective. Awkward and very unsatisfactory ending.

IN BLOOM (NR) 94 minutes * * Somewhat directionless story about two young girls coming of age in former Soviet Georgia. The girls do a good job, but the story focuses so completely on them that surrounding conditions and pressures are often skimmed over, making the story seem more shallow than it is. It's clear that what surrounds them plays a part in their experience, but assuming the audience will understand that is a mistake, and allowing space for us to see it would have strengthened the film.

IN BRUGES (R) 101 minutes * * * Ray (Colin Farrell) and Ken (Brendan Gleeson) are hitmen. After their most recent job, they receive instructions to go to Bruges. The last job didn't go quite as expected, and most of us know what tends to happen if a hitman doesn't do their job well. There is a somewhat dark sense of humor to some of the story, but in many ways this is a fairly straightforward drama about the choices we make in life and how the results are often different from what we might expect. It's difficult to see how our actions affect those on the periphery of our lives. Farrell and Gleeson work well together in what is definitely one of the most unique films about hitmen. R for violence and language.

IN COUNTRY (R) 110 minutes * * * Emily Lloyd plays the part of a small-town country girl struggling to learn more about herself and her father, who died in Vietnam during the war without ever knowing her. Very nice supporting role from Bruce Willis as a reclusive veteran from the war. Adapted from Bobbie Ann Mason's novel, this is a fine character study though it does run on a bit long.

THE IN CROWD (PG-13) 101 minutes * 1/2 Fresh out of rehab, Adrienne finds herself working at a beach club where the young, rich, and "in" people play. The mystery takes awhile to set up, and offers little in the way of surprises. Most of the performances here are earnest enough, but the material and direction lack the strength and subtlety needed to carry a suspenseful film. PG-13 for language and violence.

IN DARKNESS (R) 138 minutes * * * In World War II, a Polish sewer worker discovers Jews who are in the process of trying to escape the ghetto and certain death. At first, he helps them because they have money to give him, but it doesn't take long before he begins to sympathize with their struggle. Based on the life story of Leopold Soha, honored by Israel as "Righteous Among the Nations" and adapted fro the book, "In the Sewers of Lvov" by Robert Marshall. R for violence, sex, and langauge.

IN DREAMS (R) 95 minutes * * Claire (Annette Bening) has dreams... visions... but she has difficulty interpreting them. That's OK, we aren't really surprised by the story anyway. Disappointing too, since the film starts out so well. Some wonderfully spooky underwater scenes as the town is flooded to become a reservoir. As the film progresses, the suspense gives way to explanation and we have a focus on the less imaginative aspects of the story. Elliott Goldenthal's soundtrack is worth a listen, and Bening does a good job, but there's little else to recommend the film. R for language and violence.

IN DUBIOUS BATTLE (R) 117 minutes * * 1/2 The California apple fields in the 1930s were not a great place to work. But standing up to those in charge to try and make change happen, was not an easy task. Mac (James Franco) is a union activist, and he's teaching Jim (Nat Wolff) how to be one as well. Character development isn't all that strong, but the cast do well with what they have, even if it all comes across a little less than convincing. Adapted from the book by John Steinbeck. R for violence and sex.

IN GOOD COMPANY (PG-13) 105 minutes * * * As if it's not bad enough that the job he's had for 20 years is being taken over by someone young enough to be his son, now the guy is dating his daughter! Nicely written and well-acted story about how there are ways in which many of us haven't "grown up" yet... and how some of that comes as we grow older. The ending is rather interesting. It has a more realistic feeling than many may want to see, but it works very well. Excellent work from Topher Grace and nice jobs by Scarlett Johansson and Dennis Quaid as well. PG-13 for language.

IN HER SHOES (PG-13) 126 minutes * * * 1/2 Rose (Toni Collette) is the responsible one, while Maggie (Cameron Diaz) lives carefree and irresponsibly. They are two very different sisters, both beginning to understand just what it is that life means to them... and what they mean to each other. Collette is delightful and Diaz, though a bit more difficult to like, does an admirable job as well. And then there's Shirley MacLaine's sharp-witted character to give us a few smiles as well as add bits of wisdom. Nicely adapted from Jennifer Weiner's novel and well worth a look. PG-13 for language and sex.

IN HER SKIN (R) 103 minutes * * 1/2 It all starts when Rachel (Kate Bell) doesn't come home one evening. Slowly, the details of Carolin's (Ruth Bradley) obsession with Rachel comes to light, as well as the horrifying tale of what happened. Based on actual events, it's a rather chilling story, but except for Bradley's work, the performances aren't very convincing. R for violence, sex, and language.

IN LIKE FLYNN (R) 93 minutes * * * Before he was a film star, Errol Flynn (Thomas Cocquerel) was a daring and adventurous young man in Australia. This is the story of some of his exploits prior to his acting career. Are any of the details of these adventures exaggerated? With someone like Flynn, it's hard to tell. Based on Flynn's book, "Beam Ends". R for violence and sex.

IN LOVE AND WAR (PG-13) 108 minutes * * * Chris O'Donnell does a good job portraying Ernest Hemingway in this story of wartime love and loss. The focus is almost too narrow here, with little attention paid to subplots. Sandra Bullock does a good job through most of the film, but it does look like she struggled in a few spots. Not Richard Attenborough's best directing, but even his worst films are pretty good. PG-13 for language and violence.

IN LOVE WE TRUST (NR) 112 minutes * * * When Mei Zhu (Weiwei Liu) and Xiao Lu (Jia-yi Zhang) learn that their daughter has a cancer that affects the blood, they are heartbroken. The treatment that would offer the most hope would be a blood transfusion from a sibling, but Hehe was their only child, and they have divorced and are now both remarried. As they struggle with the reality of the situation, they discover that none of their options have simple consequences, but perhaps love can help them get through. Gently and sensitively told story with fine performances all around.

IN MERRY MEASURE (NR) 83 minutes * * 1/2 Returning to her old hometown for Christmas, Darcy (Patti Murin) finds herself once again competing with an old rival. This time, things might be a little different as they are asked to work together. Meanwhile, her music career, which has been on hold, jusst might be starting up again. Nice soundtrack.

IN MY DREAMS (NR) 94 minutes * * Natalie (Katharine McPhee) and Nick (Mike Vogel) have both had bad luck with romance lately. But two coins tossed into a fountain with a legend could make all the difference. Seven nights later... Sentimental romance with nice work by the supporting cast that helps give this an extra boost.

IN ORDER OF DISAPPEARANCE (R) 112 minutes * * Nils (Stellan Skarsgard) is a calm, mild-mannered man who runs a snowplow in Norway. When his son is murdered, he feels that he has no choice but to take justice into his own hands. That's going to mean going up against some very powerful and violent men. The desire for justice can find strength deep within your soul, as Nils is about to demonstrate. This all sounds good, but aside from the beautiful scenery, this actually offers little to set it apart from other vengeance films and instead of delivering a depth of story that might have set it apart, it remains shallow. R for violence and language.

IN OUR NATURE (NR) 101 minutes * * 1/2 Seth )Zach Gilford) and Gil (John Slattery) both have the same idea... spending the weekend with their girlfriend at the family cabin in the woods. The problem is that Zach and Gil don't get along. Andie (Jena Malone) and Vicky (Gabrielle Union) push a little to keep them there, because they know that this father and son need to repair their relationship. The ending is less than satisfying, though perhaps a bit more realistic because of that. The bigger problem is that there are a number of times where the dialogue doesn't sound realistic, but rather forced.

IN SEARCH OF DR. SEUSS (NR) 87 minutes * * 1/2 Kathy Najimy stops by to do a biography on Dr. Seuss. The Cat in the Hat (Matt Frewer) gives her a tour and we get treated to the retelling of many of the classic stories with the help of Frewer, Eileen Brennan, Christopher Lloyd, David Paymer, Patrick Stewart, Robin Williams, Billy Crystal, Howie Mandel, and others. A bit disjointed, but a fun look at much of Seuss' work and a bit of his life.

IN SECRET (R) 103 minutes * * Another telling of the tale of Therese Raquin, a sexually repressed young woman in 19th century France, who is forced to marry her weak and undesirable cousin. Jessica Lange badly overplays her part. Elizabeth Olsen does well early on, but fares poorly in her scenes with the overacting Lange. The story gets more dark and tragic as it progresses, and eventually helps balance the performances. R for sex and violence.

IN THE ARMY NOW (PG) 87 minutes * 1/2 Pauly Shore has enlisted in the army to raise money so he can open his own business. He signs up for what he thinks will be easy duty... water purification... ending up on the front line in a desert war. There are a few laughs, but this is a very uneven film. Pauly Shore fans won't be too disappointed, but it's still a far cry from quality entertainment. PG for language.

IN THE BEDROOM (R) 126 minutes * * * Rural Maine... lobster fishing... family... friends... How do you live in a small town when the man who killed your son is out on bail and may not even be convicted? The characters in this film are quite well drawn and we are effectiely dropped into the middle of their lives and plucked back out at the end. The story itself is less than inventive though and almost seems to have been invented to try and pick up the pace of the film. It's too bad because the characters feel so real that it's almost feels intrusive to hear about their struggles. R for violence.

IN THE BLOOD (R) 102 minutes * * When Ava's (Gina Carano) husband goes missing during their vacation, she sets out to find him... and nothing will get in her way. Strong action sequences and chase scenes, though the acting struggles to reach the level of "mediocre". R for violence and language.

IN THE DARK (NR) 220 minutes * * 1/2 Returning to the hometown she hates, DI Helen Weeks (MyAnna Buring) is there to lend support as a friend. Of course, it doesn't take long for her to be drawn into the case. That means finding out who is behind the death of her partner and bringing them to justice. Solid British crime drama.

IN THE EARTH (R) 103 minutes * * It's a routine equipment check, but the journey through the woods to get there is anything but routine. Lots of unusual and interesting visuals, but the story is also very symbolic and unusual. A second viewing isn't necessarily going to help much either. It's just that strange. R for violence and language.

IN THE ELECTRIC MIST (R) 96 minutes * * * Working on a murder case that he's trying to link to a local mobster, Robicheaux (Tommy Lee Jones) stumbles onto another unsolved murder with the help of an alcoholic movie star (Peter Sarsgaard) who is working on a film nearby. Robicheaux receives insightful wisdom from the ghost of a confederate officer. Among the bits of wisdom is a reminder that "the conquest is never quite over... the field never quite ours." Adapted from the novel "In the Electric Mist with Confederate Dead" by James Lee Burke. Nice work by Jones and some good supporting performances make this worth a look. R for violence, language, and sex.

IN THE FADE (R) 101 minutes * * * When Katja's (Diane Kruger) husband and son are killed by a bomb, she is stunned. The authorities are of little help, and the court system is slow and more than a little frustrating. She may have to take matters into her own hands. Great work by Kruger, playing an intense character who is both driven and lost. R for violence and sex.

IN THE FOG (NR) 120 minutes * * 1/2 Western Russia. 1942. Under German occupation, and when Sushenya (Vladimir Svirskiy) is accused of collaboration, he faces a difficult choice. No matter what choice he makes, once made, he will not be able to go back. Fatalistic and rather depressing story, made all the more so by the slow-moving story and the desolate scenery. The mood is oppressive, but so much so that its somewhat difficult to stay with it.

IN THE HEART OF THE SEA (PG-13) 113 minutes * * * Well-doine adventure story, recounting the tale that inspired the novel Moby Dick. Director Ron Howard is a master of cinematic storytelling and delivers an exciting and dramatic story, without the sensational extremes that some feel a need to rely on. Adapted from the book by Nathanial Philbrick. PG-13 for violence.

IN THE HEIGHTS (PG-13) 135 minutes * * * * Like so many others in Washington Heights, Usnavi (Anthony Ramos) ha a dream. He's been running a bodega, but has a chance to return to the Dominican Republic and live his drea,. Things are changing in the Heights... where does Usnavi fit? Adapted from the Broadway musical by Lin-Manuel Miranda. Upbeat music that fits the story very well. And an outstanding performance by Ramos, highlighting the wonderdrul work by a stellar cast. PG-13 for language.

IN THE HIVE (R) 104 minutes * * * Xtra (Jonathan "Lil J" McDaniel) is getting a chance at a better life, but it won't be easy. The Hive is a tough school, and what makes it even more difficult is changing his attitude about what he thinks is possible and how to make it happen. Great story, based on the work done by a school in North Carolina. Very nice work by McDaniel in his acting debut. R for language.

IN THE HOUSE (R) 102 minutes * * * Most of the students in Garmain's (Fabrice Luchini) class are boring and offer few signs of any real talent. There is one this year who shows signs of promise, but Germain is so intrigued that both he and his wife get a bit over-invested in the writing of this unusual student. Inventive and playful story, filled with romance, tragedy, and humor, nicely adapted from the play by Juan Mayorga. R for sex and language.

IN THE KEY OF LOVE (NR) 83 minutes * * 1/2 Maggie (Laura Osnes) left Nashville behind, along with her singing partner. She's doing wedding phtography now, and you can imagine who shows up as part of a wedding party. The sparks just might start flying again. Very nice soundtrack for this Hallmark romance.

IN THE LAND OF BLOOD AND HONEY (R) 122 minutes * * * Gritty, violent, and depressing look at the Bosnian War. Much of the focus is on a young man and woman whose possible future together is now unlikely as they find themselves on opposite sides of the conflict. A bit too intense for some, but writer, director, producer Angelina Jolie fills this with a good deal of soul and emotion, accentuated by Dean Semler's cinematography and Gabriel Yared's haunting score. R for violence, sex, and language.

IN THE LAND OF WOMEN (PG-13) 93 minutes * * 1/2 Carter (Adam Brody) is trying to recover from a break-up, so he decides to take a break and go take care of his grandmother. She could use his help, but so could the attractive woman who lives next door with her cute daughter. If it's not one, it's another, and Carter finds himself torn and crushed, but also inspired and grateful to have spent time with all of these women. Not bad for Jon Kasdan's first effort at directing. It doesn't hurt that the cast includes Olympia Dukakis, Meg Ryan, and Kristen Stewart. PG-13 for sex and language.

IN THE LINE OF FIRE (R) 121 minutes * * * Frank Horrigan (Clint Eastwood) has been with the secret service for years, and was there when Kennedy was shot... which isn't something he likes being reminded of. Mitch Leary (John Malkovich) want to kill the current president AND rub Frank's face in it along the way. No real surprises, but nice intense scenes between Eastwood and Malkovich, aided by Ennio Morricone's soundtrack. R for violence and language.

IN THE LOOP (NR) 96 minutes * 1/2 To war or not to war... the president of the United States and the prime minister of the United Kingdom are thinking about it, but neither one wants to be seen as the instigator of going to war in the Middle East. Simon Foster (Tom Hollander), the British Secretary of State for International Development doesn't want war, but he always seems to say or do the wrong thing. And while he realizes that what he said has been misconstrued, everything he tries to do to fix it, just seems to make it worse. The political maneuverings here are interesting, but none of the characters here are all that interesting or likeable.

IN THE MIX (PG-13) 91 minutes * * Darrell (Usher) is in the right spot at the right time and ends up taking a bullet for Frank (Chazz Palminteri), and working his way into "the family". Despite his lack of experience, he's chosen by mafia princess Polly (Emmanuelle Chriqui) as her bodyguard. They fall in love and he uncovers a plot by another bodyguard to hurt "the family". Watching a couple of episodes of "The Sopranos" would probably be more exciting. There's just not enough strength in this script to keep us that interested. Usher and Chriqui struggle to try and carry the film and Palminteri seems to be wondering why he signed on to do it. PG-13 for language and violence.

IN THE MOUTH OF MADNESS (R) 89 minutes * 1/2 What is reality but the viewpoint of the majority? Sam Neill plays John Trent, a man who goes searching for a horror author who is somewhat of a recluse. Finding him, he finds reality changing, warping, distorting... There are some great moments early in the film and the special effects are good too, but the story falls apart as we go along, leaving us unsatisfied that we have watched anything in particular. Disappointing entry from director John Carpenter.

IN THE NAME OF (NR) 97 minutes * * 1/2 Adam (Andrzej Chyra) is struggling with whether or not his call to the priesthood was influenced by a desire to escape his own sexuality. He soon discovers that running from a problem is no solution, and that he must deal with his feelings honestly and directly. Gentle and sensitive story that has an underlying dramatic tension throughout.

IN THE NAME OF BEN HUR (NR) 85 minutes 1/2 The famous gladiator has retired, but comes across a small band of people trying to stand up against the Romans in their area. Low budget props and costumes along with a mediocre script and acting don't let this get very far.

IN THE NAME OF THE FATHER (R) 128 minutes * * * Wrongfully accused of bombing a pub in England and being part of the IRA, Gerry (Daniel Day-Lewis) and his father are the victims of police brutality. The people in political power are sparing no means to rid themselves of terrorists and others who would thwart them. Intense film, based on fact, with an equally intense performance by Day-Lewis. Adapted from the book "Proved Innocent" and with an excellent soundtrack from Trevor Jones.

IN THE NAME OF THE KING (PG-13) 117 minutes * * 1/2 Based on the Dungeon Siege video game, this sword and sorcery film definitely packs in plenty of action. The special effects are a bit repetetive, and the end of the film is rather abrupt and not very strong. the cast is impressive though, with very nice performances from Jason Statham, Claire Forlani, Leelee Sobieski, John Rhys-Davies, Ron Selmour, Burt Reynolds and Kristanna Loken. They lend the film quite a bit of credibility that helps us overlook the less impressive parts. PG-13 for violence.

IN THE NAME OF THE KING: THE LAST MISSION (R) 82 minutes * The third entry in this series follows an assassin (Dominic Purcell) hired for one last job as he ends up being thrown back into the Middle Ages where he has to help save a kingdom. The costumes and battle scenes in the Middle Ages segments are in some serious need of help, as is the acting throughout. R for violence and language.

IN THE NAME OF THE KING 2 (R) 90 minutes * Micro-budget sequel from director Uwe Boll, so it's no real surprise that the costumes, props, and sets are all pretty bad. Even WITH a budget, most of Boll's films aren't that great. Since this one dropped all of the big name cast the first film had, when they make the third, which seems likely from the ending we have here, you might want to see if your neighbor gets a part. R for violence.

IN THE SHADOW OF THE MOON (PG) 98 minutes * * * The history of the highly successful Apollo space program is presented through the experiences and memories of the men who travelled to the moon and set foot on its surface. It's somewhat disappointing that an interview with Neil Armstrong isn't part of the film, but his reclusive nature seems to lift up the idea that it was not the fact that a particular individual happened to be the first person to take that step, but that human beings reached out to touch and experience a world beyond their own. PG for language and violence.

IN THE TIME OF THE BUTTERFLIES (PG-13) 90 minutes * * 1/2 A brutal dictator, Trujillo (Edward James Olmos) is used to getting things his way. When Minora (Salma Hayek) refuses his advances, she puts her life in danger. She and two of her sisters join the resistance, and they will pay dearly for that choice. PG-13 for violence.

IN THE VALLEY OF ELAH (R) 114 minutes * * * 1/2 When his son goes missing from the military base shortly after returning from Iraq, Hank Deerfield (Tommy Lee Jones) knows that something is wrong. Now, with the help of a young detective (Charlize Theron), he's determined to uncover what happened to his son... and why. War is no picnic, and returning from it to live a "normal" life is not an easy transition. Writer/director Paul Haggis gives us an intense and thought-provoking story that manages to challenge the effectiveness of war and the miliitary while still being patriotic. Excellent work from Jones and a solid performance from Theron as well. R for violence, language, and sex.

IN THEIR SKIN (NR) 92 minutes * * 1/2 Going to their vacation home for a break, the Hughes family discovers that the neighbors are rather overly interested in every single aspect of their lives. They aren't just being friendly, but they are interested in something else. There are moments where this works well in creating suspense, but the story tries to have a realistic resolution, which doesn't fit particularly well with how the rest of the story is structured.

IN THIS CORNER OF THE WORLD (PG-13) 122 minutes * * * Eighteen years old, Suzu (voiced by Laura Post) gets married and moves in with her husband's extended family. They live in Hiroshima, and with the war in progress, food and other supplies are bevoming more difficult to find. Where there is love, one can find a way to go on, no matter what has happened. Tragic and poignant story. PG-13 for violence.

IN TIME (PG-13) 103 minutes * * 1/2 It's been said that "time is money". In this futuristic society, time is not only money, it's the top commodity. Time is earned, bought, sold, and stolen. And we get nervous as any of the characters we're interested in begin to approach critical time limits on the clocks embedded in their arms. Still, the characters need a bit more work here. Too much of the focus of the film is on the chase scenes. Writer, producer, director Andrew Niccol perhaps maintained a bit too much control over the project, though it's still very interesting. PG-13 for violence, sex, and language.

IN VIAGGIOL THE TRAVELS OF POPE FRANCIS (NR) 80 minutes * * 1/2 A chronicle of the travels of Pope Francis from his first nine years as Pope. Director Gianfranco Rosi mixes archival footage with his own to give us a film that is part history and part commentary on the state of the world.

IN YOUR EYES (NR) 102 minutes * * * Dylan (Michael Stahl-David) and Rebecca (Zoe Kazan) share an intense telepathic bond. What's even more unusual is that they don't know each other. It's been there since childhood, but has increased in intensity lately, now that they are older. When they decide to meet, it's kind of cute, and their experiences with this melding are cute and fascinating. Then it becomes frustrating that no one else understands. Kazan and Stahl-David are both very good here, Kazan in particular, as her character is more fragile, requiring a more sensitive touch.

THE INBETWEENERS MOVIE (R) 92 minutes * Four friends who most definitely struggle with their social skills do their best to have an exciting and sex-filled vacation. Based on the British TV series that follows the exploits of these four young friends and their bumbling attempts at having fun. There are a few fun moments here, but not enough. R for sex and language.

THE INCANTATION (NR) 93 minutes 1/2 When a distant uncle dies, Lucy (Sam Valentine) travels to France to visit his castle. She finds that there are mysterious secrets her family has been hiding. A stiff and awkward script, but the acting and direction are no better.

INCARNATE (PG-13) 79 minutes * * Dr. Ember (Aaron Eckhart) has found a way to enter the subconscious mind of those who are possessed. a new case has just been brought to his attention... and he's seen this demon before. In many ways, this is yet another demon possession film, so surprises are not what you'll find, but there is some fairly good suspense along the way. PG-13 for violence and language.

INCENDIARY (R) 90 minutes * * 1/2 It's bad enough that her husband and son were more than likely killed in the bombing of the soccer stadium. Even worse that she was having sex with another man at the time of the bombing. Filled with both grief and guilt, she struggles with what it all means and how to move on. Nice work by Michelle Williams, but the story seems to stall a few times. Adapted from the novel by Chris Cleave. R for sex and language.

INCENDIES (R) 120 minutes * * * 1/2 The contents of their mother's will involve Jeanne Melissa Desormeaux-Poulin) and Simon (Maxim Gaudette) finding the father they thought was already dead, and a brother they never knew they had. Their journey to find them will uncover many truths, including ones about themselves. A haunting and powerful story with skillful direction from Denis Villeneuve. R for violence and language.

INCEPTION (PG-13) 141 minutes * * * 1/2 It's one thing to be able to read another person's mind. Still another to be able to plant an idea there, and to do it so well that they don't even know where the idea originated. Part science fiction, part suspense, and completely absorbing story that will quickly get confusing if you don't pay attention (or watch it more than once). The question is... are you really living right now, or is this just a dream, or a dream within a dream? Excellent work by Leonardo DiCaprio and a quite effective soundtrack from Hans Zimmer. For those who enjoy something a little more thought provoking. PG-13 for violence and language.

INCHON (PG) 104 minutes * * 1/2 The story of General Douglas MacArthur's (Laurence Olivier) invasion of Inchon during the Korean War. With Toshiro Mifune, Ben Gazzara, Richard ROundtree, and David Janssen around, this should have been a more impressive war drama. The story just isn't cohesive, and it just doesn't have what it needs.

INCIDENT IN A GHOSTLAND (NR) 86 minutes * * 1/2 The first night they move into a house they just inherited, a mother and her two daughters are violently assaulted. Beth (Emilia Jones/Crystal Reed) and Vera (Taylor Hickson/Anastasia Phillips) reunite 16 years later after drifting apart. The story delivers a very nice twist, and a strong ending, but it stalls in the middle.

INCITEMENT (NR) 120 minutes * * * A devout Orthodox Jew, Yigal (Yehuda Nahari Halevi) struggles deeply when Israel's Prime Minister Rabin announces peace between Israelis and Palistinians. Already an activist for several years, Yigal begins to move in the direction of extremist. He can see only one way to stop what e sees as a disastrous move by leaders who don't understand God's promise about the land that is rightfully theirs. Often feeling more like a documentary than a work of fiction, the film does a very nice job of showing Yigal's movement toward extremism.

INCONCEIVABLE (R) 99 minutes * * Katie (Nicky Whelan) longs to have a normal life and has moved to a new town with her daughter, hoping to put her past behind her. She becomes friends with Angela (Gina Gershon) who is eager to have a larger family and invites Katie to be a live-in nanny. But jealousy and obsession soon spiral out of control and threaten to destroy everything. This is what happens when you blur the line between employee and friend. Tired story, but the cast gives it some credibility. R for violence, sex, and language.

AN INCONVENIENT SEQUEL: TRUTH TO POWER (PG) 96 minutes * * * Al Gore follows up his award-winning documentary on global warming with disturbing examples of how on-target those earlier predicitons were. It also shows how he has grown the movement, and by doing so, given it an incredible amount of transformative strength. PG for violence.

AN INCONVENIENT TRUTH (PG) 90 minutes * * 1/2 Filmed version of Al Gore's slide show about global warming. As a film, it leaves a bit to be desired as it basically presents the slide show interspersed with some extra footage. As a message every human being needs to hear, it's stunning. The truth is presented, as inconvenient as it may be for us to hear, and the decision to act upon that truth is left to us. Be sure to watch the credits to see a few of the ways that change can happen. PG for language.

THE INCREDIBLE BURT WONDERSTONE (PG-13) 95 minutes * * * Burt (Steve Carrell) and Anton (Steve Buscemi) have been having problems of their own, with their illusions becoming stale and their friendship stressed to the breaking point. Upstart street magician Steve Gray (Jim Carrey) is putting the pressure on, but that may be just what Burt and Anton need. There's a very nice mix of comedy and sentimental drama here, and it's clear that Carrell and Carrey had great fun making this film. What's unfortunate is that Buscemi and Alan Arkin are so much in the background. It would have also been very fitting to have shown advertisements for all of the magicians who have played Vegas over the years during the credits. PG-13 for sex and lkanguage.

THE INCREDIBLE HULK (2008) (PG-13) 105 minutes * * * Edward Norton stars in this version of the often misunderstood green giant known as "The Hulk". Yet another version of the Hulk's origin, it's somewhat puzzling why Marvel Studios would want to do this again. It's never been a large money maker, and despite the stellar cast, this looks to suffer the same financial fate. At the end of the film, we understand the reason though. This version of the story is meant to tie into the recently released "Iron Man" and leads into an upcoming film with the team of superheroes known as "The Avengers". As with "Iron Man", this is actually one of the better adaptations of a Marvel comic to the big screen, with excellent animation and several sequences that clearly bring the comic to mind. The only piece that seemed to be missing in that sense was having Hulk say, "Make Hulk madder, make Hulk stronger!" Watch for the quick cameo of Lou Ferrigno, who also does the voice of Hulk. PG-13 for violence.

THE INCREDIBLES (PG) 108 minutes * * * Amazing animated film from the ever-talented crew of Pixar Studios! Mr. Incredible's heroic exploits have become too costly and are an insurance nightmare as have those of other "supers". They are asked to retire and live normal lives. That works out fine... until the forces of evil get out of control. Great characters and a fun story that does a nice job of keeping both children and adults entertained. It does run a bit long for an animated film, but it's worth it. And, if you're watching the dvd, be sure to catch "Jack-Jack Attack", the animated short film that shows you what happens when the babysitter was watching Jack-Jack - it's hilarious! PG for cartoon violence.

INCREDIBLES 2 (PG) 108 minutes * * * Heroes have earned a bad reputation due to how much damage they cause. (Yes, that's pretty much the plot of the first film too.) That means a change in tactics that puts Elastigirl on a mission by herselfm leaving Mr. Incredible at home and in charge of the kids. It's a recipe for disaster. Very nice sequel with more parenting humor and more of Jack Jack, who still steals most every scene he's in. PG for violence and language.

INCUBUS (R) 89 minutes * * ½ A series of unexplained rapes slowly leads to the discovery of a supernatural secret about one particular family. The story is paced well, and John Cassavetes intense performance helps keep the tension in the film at a good level.

INDECENT PROPOSAL (R) 110 minutes * * Woody Harrelson and Demi Moore are offered a million dollars for her to spend the night with Robert Redford. The deal seems to work at first, but guilt and bitterness soon set in. There's plenty of glitz and glamour to this film, and John Barry's music helps to keep it watchable, but the characters are plastic and shallow, which makes their attempts to wrestle with the moral issues almost laughable. Redford does little more than stand around looking handsome, and though this might be appealing to some, it does nothing for the story.

INDEMNITY (NR) 121 minutes * * * Theo (Jarrid Geduld) suffers from PTSD as a fireman. A failed rescue situration has kept him on the sidelines. Things are going to get worse. People are dying all around him and he's being blamed for it. There's no one he can trust. Can he figure out what's going on before it's too late. Good intensity though the believability is a little thin a few times.

INDEPENDENCE DAY (PG-13) 134 minutes * * * It's always a good idea to be a little leery of something being advertised as an epic before it's been released. This is a good film, but there is too little information about the aliens, an ending that fades away into nothing, and an unconvincing performance by Bill Pullman as the president. The special effects are quite good and David Arnold's soundtrack is nice, but this film has little of the staying power it will need to have much in the way of sequels.

INDEPENDENCE DAY: RESURGENCE (PG-13) 111 minutes * * * It's 20 years later, and they've come back. Long-awaited sequel (yes, 20 years) that successfully delivers what was asked for at the end of the first film. Much like the difference between "Alien" and "Aliens", we see more of the creatures and learn more about them. The story is a little less impressive, though it does manage to set things up for another sequel. (What a surprise...) PG-13 for violence and language.

INDEPENDENCE DAYSASTER (PG-13) 86 minutes ½ Where did they come from? How do we survive? Everyone seems to be struggling with those questions when aliens invade the earth. Only a small town firefighter and an outcast SETI scientist will be able to defeat the alien armada. (Isn’t that how it always works?) Corny and unrealistic on so many levels that you really have to watch this as a comedy to have much fun with it. Too bad it was made as a serious sci-fi/disaster film. PG-13 for violence.

INDIA SWEETS AND SPICES (PG-13) 96 minutes * * 1/2 Sometimes family secrets surface when you least expect it. Alia's (Sophia Ali) summer starts off by discovering a secret that her parents have been keeping from her. Every generation has its own struggles and issues, and every individual has to navigate their way through them. PG-13 for language.

INDIAN HORSE (NR) 95 minutes * * * The residential school system in Canada was designed to destroy the history, and therefore the future, of the indiginous people. This is the story of Saul Indian Horse (Sladen Peltier/Forrest Giidluck/Ajuawak Kapashesit) as he successfully forges his own path despite all of the difficulties he faces. Winner of several film festival awards.

THE INDIAN IN THE CUPBOARD (PG) 90 minutes * * * Litefoot and David Keith are outstanding as the Indian and the cowboy from the cupboard, brought to life by magic, and teaching young Omri important lessons. The rest of the acting here isn't very good, but it's a fine story that overcomes most of the acting weaknesses. Adapted from the novel by Lynn Reid Banks.

INDIAN POINT (NR) 90 minutes * * 1/2 Just 35 miles from downtown New York City is Indian Point, a nuclear power plant. The Nuclear Regulatory Commission and the firm that runs the plant both say it is safe, but there are always risks. Where is the balance and are the benefits worth the risks? This documentary plainly states both sides of the argument. It does lan toward the side of shutting the plant down, because there is a clear lack of willingness on the part of the Nuclear Regulatory Commission and the company running the plant to do anything different from what they are currently doing.

INDIAN SUMMER (PG-13) 94 minutes * * * A fun film aimed at the 20 to 40 age crowd, and geared to bring back all those fond memories of summer camp. A group of former campers return to their beloved camp for a reunion after a long hiatus, and bask in the glow of treasured memories. Warm and humorous, and sure to bring a few tears to the eyes of those who've had similar experiences. Filmed at Camp Tamakwa in Ontario.

INDIANA JONES AND THE DIAL OF DESTINY (PG-13) 143 minutes * * * Indiana Jones (Harrison Ford) returns once again, working to find an ancient artifact that has the potential to change history. The special effects are impressive, and Ford still does well. The near escapes and close calls are a little too extreme though, becoming silly and cartoonish a little more than in the past in part because of how frequently they occur. PG-13 for violence and language.

INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (PG-13) 116 minutes * * * Indy is getting older, but the stories still have a wonderful quality of fantastic adventure that keep us interested and entertained. It's good to see both Harrison Ford and Karen Allen here, and Shia LaBeouf makes a nice addition to the "family". The story does drift a bit more to the science fiction realm than many fans of the series seem to want, but the sense of adventure and fun remains the same, and we walk away humming the theme, with a smile on our face. PG-13 for violence and language.

INDIANA JONES AND THE LAST CRUSADE (PG-13) 119 minutes * * * Indy's dad ends up missing while searching for the holy grail in this entry in the series. The story is a bit lacking, though it's nice to see Sean Connery added to the mix. Harrison Ford's performance seems a bit tired, despite all the excitment going on. Good special effects and chase scenes, but the corny humor is a bit much. It's a sure sign that they knew the story was lacking what it needed.

INDIANA JONES AND THE TEMPLE OF DOOM (PG) 111 minutes * * * ½ Jones (Harrison Ford) finds himself searching in an ancient temple for a powerful stone when he stumbles onto other dangerous things. It’s pretty much what happens when he goes exploring, so he’s not surprised. Fun film full of exciting action with bits of humor for good measure. Excellent entry in the series. PG for violence, language, and sex.

INDIGENOUS (R) 82 minutes * 1/2 Panama is a paradise, and a great place for a vacation. But this group of friends is about to find out how important it is to stay away from areas that the locals say are off limits. The special effects are repotitious and mostly in the dark, though they do manage to be fairly gross. R for violence and language.

INDIGNATION (R) 107 minutes * * * Marcus (Logan Lerman) heads off to college. His father really doesn't want him to leave, but college is better than losing him to the war. Marcus has a great deal of growing up to do, but feels that he's ready to take on the challenge. Emotionally, sexually, spiritually, socially... it's going to be an interesting year. An emotional and poignant ending and a fine performance by Lerman. Adapted from the book by Philip Roth. R for sex and language.

INESCAPABLE (R) 89 minutes * * When his daughter goes missing in Damascus, Adib (Alexander Siddig) is on the next plane there to figure out what happened. What he discovers is an intricate web of deceit and intrigue that will make it much more difficult to rescue his daughter and bring her home. With how convoluted the story becomes, it resolves far to quickly and simply for us to believe. The acting is mediocre, but to be fair, that is clearly in part due to the somewhat shallow nature of the script. R for violence and language.

THE INEVITABLE DEFEAT OF MISTER & PETE (R) 102 minutes * * 1/2 Growing up is difficult enough, but when you have to do it by yourself... The film relies heavily on Skylan Brooks (Mister), which works well part of the time, but feels uneven given the title and the fact that the struggles the boys face are not only similar, but closel tied. The ending is more upbeat than the rest of the film and doesn't really fit. R for language and sex.

INFAMOUS (R) 113 minutes * * 1/2 More than just the story of the murder of a family, Truman Capote's book "In Cold Blood" was a character study of a town, of a family, and of the two men who killed them. It was Capote's final book, and his most difficult to write. This version of the story emphasizes Capote's personal relationship with one of the killers, somewhat to the exclusion of other factors. Toby Jones' portrayal is well-done, but the film lacks a balance between his behavior and the rest of the story. Too many of the scenes seem far more concerned with impressing us with Capote's sexual orientation and mannerisms than with the story he is working on or how it is troubling him. R for language, violence, and sex.

INFAMOUS (2020) (NR) 96 minutes * * 1/2 Trying to save up enough money to leave town, Arielle (Bella Thorne) is making progress too slowly for her own satisfaction. When someone steals the money she has been saving, she grabs her new boyfirend (who is fresh out of jail) and they begin to rob their way across the country. Now she has the fame she always desired, even if it is on the wrong side of the law. Thorne isn;t always very convincing, but it works reasonably well overall.

INFECTED (R) 91 minutes * Michael Madsena nd William Forsythe star in this "zombies in the woods" film. Very slow-paced until late in the film, and poorly written dialogue and story in general. It tries hard to be more realistic, but it just doesn't work. R for violence, language, and nudity.

INFERNAL (NR) 96 minutes 1/2 A young couple welcomes their first child into the world. Quick jump to eight years later at her first birthday party. She's acting strangely, sleep-walking, and exhibiting other strange behaviors. Jerky, hand-held camera style of filming will likely give you an infernal headache.

INFERNO (PG-13) 117 minutes * * 1/2 Following "The Da Vinci Code" and "Angels & Demons", this follows another of Langdon's (Tom Hanks) adventures. This one being overly elaborate and featuring far too many coincidences. Most of the tension here is actually around the chase scenes rather than solving the mystery about when and how the plague might be released and how to stop it. PG-13 for violence and language.

INFERNO SKYSCRAPER ESCAPE (NR) 90 minutes 1/2 Also known as "Crystal Inferno", which is a slightly better title. Unfortunately, the story lacks originality and and the script is mediocre at best. The acting isn't any better, except for Clair Forlani. She does her best, but she can't rescue this all by herself.

INFIDEL (R) 105 minutes * 1/2 Invited to Cairo to speak about the similarities between Muslims and Christians, Doug (Jim Caviezel) finds himself kidnapped and tortured by extremists. Desperate to help get him out of Iran, where he is being held, his wife Liz (Claudia Karvan) travels there to see what she can do. There is good intensity late in the film, but the story is quite thin, which makes it difficult to believe. R for violence and language.

THE INFILTRATOR (R) 120 minutes * * * Based on the life of Robert Mazur (Bryan Cranston), a United States Customs official who has an idea. What if, instead of following the drugs to get to the people at the top, they followed the money? It works quite well. Too well. At the top is Pable Escobar, who is not someone to mess with. Simple, and not all that exciting drama, which is interesting considering the topic. But rather than go for the action, this is a story about people, and it's well worth a look for the quality performances by the ensemble cast. R for violence, language, and sex.

INFINITE (PG-13) 98 minutes * * 1/2 There are those who remember their past lives... everything about their past lives. There are some who treat that as a responsibility, and wish to leave humanity better off for their understanding and experience. And there are others who do not. Evan (Mark Wahlberg) has just learned this. He's also learned that he holds the key to eveerything. And he's being hunted by Bathurst (Chiwetel Ejiofor), who wants to end everything. The film takes an adventurous yet playful approach to the idea, and it works. It does feel like it was trimmed down a little too much though. PG-13 for violence and language.

INFINITE STORM (R) 92 minutes * * 1/2 An experienced climber, Pam (Naomi Watts) ascends Mt. Washington each year. It's a ritual to help deal with grief. A storm is approaching this year. She ignores the forecast, but it soon becomes clear that she won't reach the peak this year. As she descends, she comes across another climber. They must get to the bottom before dark. Meanwhile, the storm is getting worse. R for language and nudity.

INFINITELY POLAR BEAR (R) 82 minutes * * * A great story that builds slowly and actually finishes a little before we're ready to let go. Mark Ruffalo is quite good here, but Zoe Saldana's character is surprisingly weak except for a couple of scenes. R for language.

INFINITUM: SUBJECT UNKNOWN (NR) 83 minutes * * There has to be a way out. Jane (Tori Butler-Hart) is trapped in a parallel world where she keeps reaching a dead end. Events then reset and she has to try again. How many times will it give her a chance to get out? And are there any other people. The idea is intriguing, but the story isn't very well-developed, though it does benefit from a second viewing.

INFINITY POOL (R) 108 minutes * * 1/2 La Tolqa is no ordinary resort island as James Foster (Alexander Skarsgard) and his wife (Cleopatra Coleman) are about to discover. Written and directed by Brandon Cronenberg, son of David Cronenberg. It's a twisted horror, sci-fi, typical of both Brandon and his father. The violence and gross effects set the stage for philosophical questions that have a lasting effect. R for violence, sex, and language.

THE INFORMANT (R) 104 minutes * * 1/2 The company Mark (Matt Damon) has been working for is guilty of price-fixing. Pressured into helping by the FBI, Mark begins to thin and even act like he's more important than he really is. He turns a simple fact-gathering mission into a secret spy career, but it's all built on lies. And it's not going to take long for it to all fall apart. Nice work by Damon and a fun soundtrack give this a little spark. R for language.

INFORMANT (2012) 79 minutes * * 1/2 Brandon Darby's interest in seeing justice done in New Orleans after Hurricane Katrina led to connections with former Black Panthers and the FBI. Events quickly spiraled out of control, and Barndon soon finds himself undercover for the FBI. But its also clear that his remains an anti-authoritarian activist and conspiracy theorist with romanticized views of how he can effect change. So just where does the truth lie? A very balanced documentary that lets us draw our own conclusions about Darby's involvement and the details about what happened.

THE INFORMER (R) 107 minutes * * * Working undercover for the FBI, Pete Koslow (Joel Kinnaman) is in the room when a deal goes bad and a New York City cop is killed. He's now back in prison, initially to do more work for the FBI, but soon caught in a violent and twisted web between the FBI and the police. Both are less concerned with his life than they are with proving their case. The twists and turns are tight and intense. Also featuring Rosamund Pike, Common, and Clive Owen. R for violence and language.

THE INFORMERS (R) 91 minutes * 1/2 Money. Sex. Greed. They may be rich and beautiful, but few of the characters here have much appeal. The performances are good, but the story is so disjointed that there's nothing to sustain them, and we find it difficult to care much about most of them anyway. Adapted from the novel by Bret Easton Ellis. R for sex and language.

INGLOURIOUS BASTERDS (R) 150 minutes * * * Quentin Tarantino's remake of the classic war film about a small group of unusual soldiers who are given the task of striking fear into the hearts of Nazi Germany's military structure by using most any means necessary. Tarantino is in his element here, and lets Brad Pitt chew up the scenery as he goes. Similar in style at times to "Kill Bill", fans of Tarantino's work are bound to have fun with this. R for violence, language, and sex.

INGRID GOES WEST (R) 93 minutes * * * Ingrid (Aubrey Plaza) is a social media stalker. Her latest infatuation takes her to Los Angeles, but she may end up learning something important this time. The direction the story takes is good. It's not really a surprise at first, but the finish is very effective and deeper than expected from what appeared to be an all-to-often-told story. R for language and sex.

THE INHABITANT (NR) 93 minutes * * Is it a curse? Can something that awful be passed down from one generation to the next? Tara (Odessa A'zion) is struggling with mental health issues. She is, after all, a descendent of axe-murderer Lizzie Bordon.

INHABITANTS: INDIGENOUS PERSPECTIVES ON RESTORING OUR WORLD (NR) 75 minutes * * * Indigenous people have lived in a strong relationship with the earth for thousands of years. It was not wilderness that was discovered in the Americas, but nature in relationship with humans. The world has much to learn about how to manage natural resources, and indigenous people have much to teach... if only they are given the chance to do so.

INHERENT VICE (R) 143 minutes * * 1/2 Doc (Joaquin Phoenix) is investigating the disappearance of an old gildfriend. There are clues everywhere, but making sense of them is another matter. Star-studded cast is an unusual mix of comedy and film noir set in 1970. Both the humor and the energy are very low-key, which makes it a little more difficult to stay with. R for sex, language, and violence.

INHERIT THE VIPER (R) 78 minutes * * Life is rough in Appalachia, so several members of Kip's (Josh Hartnett) family sell opiods to make money. But things are about to get much more complicated and violent. Acting, production, and music are all good here, but the story just never really seems to have any energy or direction. R for violence and language.

INHERITANCE (NR) 73 minutes * 1/2 Mara (Jessica Kaye) is returning home to deal with the death of her father. But going home means dealing with the past, and being in the present is proving to be enough of a challenge for her. This tries really hard to capture the story through mood, and it's just not really enough. With a better cast and more competant direction, it might have worked.

INHERITANCE (2020) (NR) 105 minutes * * * When Archer Monroe (Patrick Warburton) dies, he leaves the bulk of his estate to his wife and son, leaving his daughter Lauren (Lily Collins) with only a small portion of his wealth. What he does leave her is a legacy of lies, and a particular secret. What she does with it could save or destroy their family. A very good story, with nice and mischievous little turns. Collins' performance isn't all that strong, but Simon Pegg is quite good here.

THE INHERITANCE (2020) (NR) 84 minutes * * 1/2 When Sasha (Natalia Ryumina) inherits a large estate in Eastern Europe, she travels there with her husband peter (Nick Wittman). There are secrets the house holds. Secrets that Sasha needs to understand. This works well until the end, where we are left with more questions.

AN INHERITANCE TO DIE FOR (NR) 83 minutes * * 1/2 At Lizzie's (Julia Benson) wedding, her Aunt dies from poisoning. As the owner of a successful company, there are plenty of possibilites who all have good motives to have committed the crime. Aurora (Candace Cameron Bure) and her Real Murders Club will have to untangle all of the motives to uncover who the real killer is.

INITIATION (R) 92 minutes * 1/2 Events take a bad turn at a frat party, which isn't that unusual. But when star athlete Wes Scott (Froy Gutierrez) turns up dead a few nights later, no one is sure why. Days later, others who were there start dropping like flies, and Detective Fitzgerald (Yancy Butler) struggles to find the killer and uncover the reason for the attacks. The film takes a long time setting the stage, though the killing spree works well. The ending isn't the greatest, but that's not really a surprise. R for violence, sex, and language.

INK (NR) 102 minutes * * 1/2 The world we see is not the whole picture. There are forces constantly at war to win our souls. John (Chris Kelly) and Emma (Quinn Hunchar) are a father and daughter who are both in danger in an alternate reality where the battle is very real. An interesting idea, though the story and effects tend to be very repetitive and the film begins to lose energy well before the mid-point. Adding other characters whos souls are at risk would have helped give the story more depth.

INKHEART (PG) 94 minutes * * * Adapted from the book by Cornelia Funke, this is the story of Mo Folchart (Brendan Fraser), who has the ability to make the characters he reads aloud come to life. There are consequences though, and Mo has stopped reading out loud. But that won't stop those who want to force him to use his talent to get what they want. The story is full of magic and adventure, and the cast is delightful, having fun with the story and with bringing these characters to life. It's a little scary near the end, but all works out well. PG for violence and language.

INKUBUS (R) 73 minutes * 1/2 An inkubus (Robert Englund) walks into a police station that is ready to be closed (and thus has very few people around) with the head of a murder victim in his hand. He seems more interested in playing tricks on them than in really terrifying them. Englund, and his character both seem rather bored with the story, which tries to be too artistic and philosophical and achieves neither. R for violence, language, and sex.

THE INKWELL (R) 110 minutes * * 1/2 Nice, gently paced, coming of age story, beautifully set in Martha's Vineyard at the beach reserved for blacks, known as "The Inkwell". It's a look at the past of the 1970's, a time of questioning and finding out what mattered. Nothing spectacular here, but a nice film you won't regret watching.

THE IN-LAWS (PG-13) 89 minutes * 1/2 Michael Douglas and Albert Brooks star in this remake of the 1979 film that featured Peter Falk and Alan Arkin. Douglas doesn't fare nearly as well as Falk in the role of a secret CIA agent, though Brooks and Arkin are equally frustrated as they deal with becoming an in-law in their respective situations. There are a few good moments here, but this remake comes off less spontaneous and feels too strained at times. It does wrap up nicely at the end, but by then, we almost don't care anymore. PG-13 for violence and language.

INMATE ZERO (NR) 101 minutes * 1/2 Island prisons are often where the most hardened and violent criminals end up. St. Leonards is one such prison. It's also a place where some extreme medical experiments are taking place. When one of those experiments gets out of hand, it might not just be the island that's at risk. The film focuses on chase and escape, without much real explanation of what happens and why there are multiple ways thta the infection seems to be transmitted.

INNER DEMONS (NR) 80 minutes 1/2 A reailty TV show that deals with addiction intervention. But this particular "episode" may have stumbled onto something else... demonic possession. There is a mildly intresting twist at the end, if you're still watching by then, but it doesn't really make sense with the rest of the film. There's some nice creepy music, but the scares are cheap and unimaginative.

INNERSPACE (PG) 115 minutes * * * Great special effects, sets, and photography and a fun performance from Martin Short start this off well. The story isn't really that exciting or original, but Short and the rest of the cast work hard to keep it entertaining. Short's physical comedy skills were a "must have" to make this film work. It's hard not to make some comparisons to "Fantastic Voyage", but this is the comic take, and it's worth a look.

THE INNKEEPERS (R) 97 minutes * * 1/2 Creepy low-budgte horror, as two employers investigate the haunting of the hotel where they work. The place is about to be closed, but they decide to spend the night, and there are a few more events that are about to unfold. Several creepy moments here, and despite being predictable, it works pretty well. R for violence and language.

INNOCENT (NR) 180 minutes * * * Accused of killing his wife, David Collins (Lee Ingleby) has his conviction overturned after spending seven years in prison. He wants his life back, but most people aren't so fogiving and seem to want him back behind bars. The police are even re-investigating the case, and some interesting information is turning up.

INNOCENT BLOOD (R) 107 minutes * * A French vampire decides to start eating Italian when the mob starts a "war". Some interesting effects and fun bits for fans of the genre. This is also full of cameos from the likes of Tom Savini, Sam Raimi, Dario Argento, Linnea Quigley, and Teri Weigel. Directed by John Landis.

AN INNOCENT MAN (R) 111 minutes * * 1/2 Jimmie Rainwood (Tom Selleck) was living a nice, comfortable, middle-class life until two police officers, whose hands are a little dirty with cocaine money, write down the wrong address and end up shooting him. His story is really secondary to that of Virgil Cane (F. Murray Abraham), a con who runs the inside of the prison, and whose story is told to us through the eyes of Rainwood. Virgil knows that innocence and guilt aren't what matter inside the prison walls (and perhaps outside as well). What matters is learning how to survive. Selleck does reasonably well here, but it's Abraham who delivers the better performance and who keeps us watching. R for violence and language.

INNOCENT VOICES (R) 104 minutes * * * El Salvador - 1980 - the war is in the streets and neighborhoods of the city where Chava (Carlos Padilla) lives. And they are recruiting children to fight once they turn twelve. Chava is eleven, but the fighting is fierce, and some will die in their homes before they can even begin to fight. A bleak film, but that's the point. Pacing is a little off at times, but the story tends to overpower that more often than not. R for violence, and language.

THE INNOCENTS (PG-13) 110 minutes * * * A convent in Poland in 1945 finds itself victim to a brutal assault. Several months later, a doctor is asked to help the nuns deal with the physical results of that assault. The emotional and spiritual effects will take deeper reflection and are much more complex. Well-done character study that quickly absirbs us in the conflicts and difficult decisions that face both the nuns and the young doctor as she works to help them. PG-13 for sex and violence.

THE INNOCENTS (2021) (NR) 112 minutes * * * Four children who share a secret. They have powers that few others do. At first it is a curiosity, a toy, something to play with. As their experimentation with their powers continues, it takes a darker, more sinister tone. And it becomes more difficult to control. An interesting combination of innocence and evil, well-performed by a talented young cast.

INOPERABLE (NR) 81 minutes * 1/2 Amy (Danielle Harris) wakes up in a hospital. It's not normal though, and Amy knows she needs to escape, but can't find a way. And what does it mean that some events seem to keep repeating? There is some good suspense, but the story is a little too obvious about how it gives us false clues. That approach allows us to disconnect and just wait for the final explanation, which turns out to be less exciting or interesting than we had hoped.

INSANITARIUM (R) 84 minutes * 1/2 Jack (Jesse Metcalfe) just wanted to see his sister. OK, maybe getting himself committed to the mental hospital where she's also a patient wasn't such a good idea... especially since the director is doing experiments in an attempt to create super-humans but creates flesh-eating zombies instead. The production quality is fine, but the story just doesn't have any depth. R for violence, sex, and language.

THE INSIDE (NR) 91 minutes 1/2 Found footage from a birthday party gone awry. The film begins with scary statistics about missing people and crime. We follow the person who finds the tape, who for some reason decides to figure out on their own what happened by tracking down the location where the tape was recorded. A tiny bit of creativity here, but also too much cut-shot, in-the-dark nonsense.

INSIDE (2007) (R) 79 minutes * It was bad enough being in an accident and losing her husband. Now, some crazy woman want's Sarah's (Alysson Paradis) baby, and shes killing anyone who gets in the way of her making that happen. Excessively bloody and not very well-developed story. R for violence and language.

INSIDE (2016) (NR) 81 minutes * With her baby's due date just around the corner, Sarah (Rachel Nichols) finds herself trapped in her home with a woman who desperately wants the baby for herself. Desperately enough to kill several people... which just doesn't make any sense. And it's not the only part of the story where sense is missing. Suspenseful? Yes, but with a story this full of holes, it just doesn't hold together.

INSIDE DEEP THROAT (NC-17) 83 minutes * * * It was something new. It was a mainstream film that was talked about... everywhere. There was a plot, a story, and humor, along with the drama and the explicit sex. It became the most profitable film ever made, in part, because of how much it was attacked. This is a documentary about the making of Deep Throat, the effect it had and continues to have on the film idustry, and what it means for society, censorship, and freedom of expression.

INSIDE JOB (PG-13) 105 minutes * * * Oscar winning documentary about the global economic crisis of 2008. The basic lesson the film tries to teach is that deregulation can only improve the economy very briefly, and even more importantly, it only increases the wealth of those who are already wealthy. Regulation is the only way to help those who are at any other place on the economic scale. It's a powerful indictment, but it remains to be seen if change will really happen before total collapse of the system. PG-13 for language.

INSIDE LLEWYN DAVIS (R) 100 minutes * * * It's 1961 and Llewyn (Oscar Isaac) drifts from couch to couch in Greenwich Village, hoping that he can make enough money to get by for a few more days. Wonderfully atmospheric piece, with great music and a superb cast, but the ending is not one that many will find very satisfying or particularly fitting. R for language.

INSIDE MAN (R) 121 minutes * * 1/2 It starts out as a bank robbery. Very well-planned, and very precise... almost too perfect to believe. But there are other items in a bank besides money to be stolen. The events unfold slowly enough that it adds to the feeling of reality, but it almost stalls at times. And it all works out a bit too cleanly, and isn't too hard to figure out, which undermines most of the suspense. So, despite solid performances, this just doesn't have much strength. R for language and violence.

INSIDE MAN: MOST WANTED (R) 101 minutes * * 1/2 Few people attempt to rob the Federal Reserve Bank. When a team makes that move and takes hostages in the process, Dr. Brynn Stewart (Rhea Seehorn) is called in to lead the negotiation efforts along with Remy (Ami Ameen). It's a complicated situation, with shifting power dynamics and someone on the inside, which makes for a good twist in the story. This is a reworking of the 2006 film, "Inside Man", with a better story, but less effective work from the cast. R for violence and language.

INSIDE OUT (PG-13) 89 minutes * * AJ (Paul Levesque) just got out of prison, but his friend Jack (Michael Rapaport) is in over his head, and AJ is getting caught in the middle. Levesque isn't too bad here, and the rest of the cast does reasonably well too, though the script is uneven at best, especially during the first half. Rapaport is a bit annoying, but its the same character he usually plays. PG-13 for violence and language.

INSIDE OUT (2015) (PG) 86 minutes * * * 1/2 Fun and imaginative look at moods and emotions, how they shape us and how aare able to use them as well. Wonderful animation from the Pixar Studios. Although this is PG for language, and that is a fair rating, the content is really aimed more directly at teens and adults, which would mean a PG-13 rating would more accurately reflect the appeal of the film.

INSIDE THE RAIN (NR) 85 minutes * * Recently kicked out of school, Ben (Aaron Fisher) is planning on making a movie to prove his innocence. His parents and his therapist all agree that it's a bad idea. He's found an unlikely supporter for his project in Emma (Ellen Toland), and she might be all he really needs to get his life headed in the right direction. The film has good energy, and a script that has enough rough edges to feel like it's telling a true story. Casting is an issue though, as several people just don't fit the parts well.

THE INSIDER (R) 152 minutes * * 1/2 When a top scientist for a major tobacco company finds out some disturbing information, Lowell (Al Pacino) and his crew are set to get him on "60 Minutes" with the full story. But it isn't going to be that easy... Pacino commands attention throughout the film, but the story drags far too much during the first hour. Too many details and too much background make for a rather dull beginning, though things move along nicely during the second half of the film. Based on the article in Vanity Fair, "The Man Who Knew Too Much". R for language.

INSIDIOUS (PG-13) 95 minutes * * 1/2 Josh (Patrick Wilson) and Renai (Rose Byrne) have moved into a new house, but something else is there. It apparently followed them from their last house. The how and why of this haunting works quite well, and is difficult to describe without giving the story away, so I won't. What I will say is that it's a somewhat unique approach to a haunting, and works very well, including a nice, twisted ending. Very creepy music and visual effects. PG-13 for violence and language.

INSIDIOUS CHAPTER 2 (PG-13) 102 minutes * * 1/2 Continuation of the story from the first film, with more about how the Lambert family is dealing with their haunted past that won't let them go. A few more cheap noise scares here than in the first. There are enough flashbacks in this sequel to help it stand on its own very well, though if you watch it right after the first, the repetition may be a little much. PG-13 for violence and language.

INSIDIOUS CHAPTER 3 (PG-13) 91 minutes * * In some ways, this is the story of Elise (Lin Shaye), the spychic who can speak with the dead, but who also understands the dangers of doing so. For that to be more effective, we need a little more back story early on, which seems to be missing. It's important material as this is a prequel to the first two films. There are plenty (too many) cheap noise scares, but a few creepy shills as well. PG-13 for violence and language.

INSIDIOUS: THE LAST KEY (PG-13) 97 minutes * * The latest haunting takes place at Dr. Rainier's (Lin Shaye) childhood home. It's where it all started, and her memories may be the key. If she can only manage to keep them in check. Plenty of scares, but most of them are triggered by noise. It's an interesting entry in the series, but you raelly need to have seen all of the others for that to be true. PG-13 for violence and language.

INSIDIOUS: THE RED DOOR (PG-13) 103 minutes * * 1/2 This fifth entry in the series follows the events of the second film. Dalton (Ty Simpkins) is now grown, and the family must venture more deeply into "The Further", and uncover things they didn't even know they had buried. It's very disjointed early on, relying heavily on the other films, but it does come together near the end. Patrick Wilson tries his hand at directing this one, and it has plenty of creepy and suspensefull moments along the way. The song "Stay" by Ghost works very well during the closing credits. PG-13 for violence and language.

IN/SIGHT (R) 87 minutes * * Kaitlyn (Natalie Zea) is on duty when an attack victim is brought into the ER. Despite everyone else thinking the girl is dead, Kaitlyn knows she heard the girl speak, and now she has to find out exactly what happened. The story is interesting and has some potential, but the acting, directing, and music are all low-budget, mediocre quality, which doesn't let this become nearly as effective as it should have been. R for violence and language.

INSOMNIA (R) (2002) R 114 minutes * * * In the midst of a new murder investigation, Dorman (Al Pacino) has to worry about covering his own tracks in the accidental shooting of his partner, who was planning on talking to Internal Affairs about one of Dorman's recent cases. Of course the new young detective (Hilary Swank) will eventaully put all of the pieces together, but will it be in time? Pacino and Robin Williams both deliver solid performances and the suspense in a few scenes is quite high. The core of the film is summed up by Maura Tierney's character when she says, "I guess it's about what you thought was right at the time... and what you're willing to live with." R for violence and language.

THE INSPECTION (R) 89 minutes * * 1/2 Life has not been easy for Ellis (Jeremy Pope). Gay and black, and rejected by his mother (Gabrielle Union), he decides to go into the Marine Corps. That will not be an easy road either, but it is a path with more structure. This is the story of Ellis' journey to find himself. Solid work by the cast, but the story doesn't really go very deeply into most of the issues. R for language, sex, and violence.

INSPECTOR GADGET (PG) 70 minutes * * It wasn't a bad idea to start with... though the casting of Matthew Broderick was no help to the project. The cartoonish special effects fit well and remind us that this is geared toward those who watch live-action kids shows. It did deserve a better script than this though. Rupert Everett manages to have fun with his role and give us a character that is fun to watch, playing the evil Claw with gusto. The rest of the film has little to offer until we get to the credits, which have a number of cute bits that are fun to watch. PG for violence.

INSTANT FAMILY (PG-13) 113 minutes * * * Pete (Mark Wahlberg) and Ellie (Rose Byrne) have been thinking about having children. Being foster parents seems like it might be a good option. When they decide they can't separate three siblinigs, they end up with an instant family... and lots of rough days ahead. It's a great cast, and a script that is both witty and heart-warming. And yes, that is Isabela Moner performing the closing song. PG-13 for sex and language.

INSTINCT (R) 118 minutes * * * Ethan Powell (Anthony Hopkins) has lived with the mountain gorillas and, in a sense, become one of them. Accused of murder, he's being examined by psychologists who want to understand his behavior. Hopkins gives another fine performance, though the character is similar to others he's played. He is the teacher, the one who understands far more than those around him, who is always a step or two ahead of the rest. The story uses sensationalism a few too many times to play with the audiences emotions, but otherwise it's a strong film with some interesting things to say. R for violence and language.

THE INSTITUTE (R) 94 minutes * * 1/2 Isabel (Allie Gallerani) checks herself into the Rosewood Institute on the recommendation of her doctor. She soon discovers that it was not a good idea. Creepy atmosphere, and the acting is fine. The story is another matter as it tries some different directions (medical experimentation, mental experimentation, satanic ritual, physical abuse, etc.) and never really seems to figure out what direction it wants to go. The idea may have been to show how diverse the horrific possibilities were, but that doesn't come across well. What actually ends up being the most frightening are the facts presented at the end of the film about the real Rosewood Institute. R for violence and nudity.

INSTRUCTIONS NOT INCLUDED (PG-13) 116 minutes * * * ½ Despite a great deal of work by his father, Valentin (Eugenio Derbez) has never really conquered his fears, especially the one about commitment. Now he has a baby, and no idea what to do with it. He’s about to learn quite a bit more than he ever thought possible. Funny and charming comedy with a powerful and poignant ending. Derbez does a marvelous job of being entertaining while creating a character who we very quickly feel we understand, both in his struggles and in his successes. PG-13 for sex and language.

THE INSULT (R) 109 minutes * * * It starts out as a few words spoken out of frustration. But when Tony (Adel Karam) demands a personal apology and Yasser (Kamel El Basha) refuses, it quickly escalates to a trial, and a big news item for the press. Intesne courtroom drama that does a good job of showing both sides of the situation. R for language and violence.

INSURGENT (PG-13) 108 minutes * * Less than exciting entry in the Divergent series. with most of the action focused on getting Tris (Shailene Woodley) to pass a sim test. It doesn't take much imagination to figure out that she's going to pass it, because that will unlock a message from the founders, which we know has to happen. Most of what this film does is add depth to the characters, so make sure you've seen "Divergent" or this won't make much sense. PG-13 for violence and language.

>a name="8012">THE INTEGRITY OF JOSEPH CHAMBERS (NR) 88 minutes * * In an attempt to demonstrate how resourceful he is, Joseph Chambers (Clayne Crawford) goes off into the woods on his own, planning to bring home a deer. Something much more tragic and troublesome happens instead. Something that will test his integrity and his character.

INTENSIVE CARE (NR) 74 minutes BOMB It seemed like a good idea at the time. A rich, elderly woman should have been a good mark. But they didn't count on her nurse being so much of a problem. Tara Macken is better at stunt work than acting, but the bigger problems here are with the script and the horrible photography. The acting and sound aren't much better. And then there's that extra, and unnecessary scene in the end credits. It's a short film, and it's still not worth the time.

THE INTERN (PG-13) 117 minutes * * * Bne (Robert De Niro) has done the retirement thing, and now he's ready to get back to work. There's a great new program at an internet startup for senior interns, so he decides to give it a shot. Anne Hathaway plays the frazzled owner and director of the company, and they work well in these roles, but are also surrounded by a great supporting cast that includes Rene Russo, JoJo Kushner, Adam Devine, and Christina Scherer. The story gets a little overly sentimental and sweet at the end, but up until then it's quite good. PG-13 for language.

INTERNAL AFFAIRS (R) 111 minutes * * * While investigating what is a fairly clearcut case of substance abuse and brutality by a police officer, Raymond Avilla (Andy Garcia) begins to uncover some interesting bits of information about Officer Peck (Richard Gere). The film moves slowly, but director Mike Figgis loves to work characters and show us every facet possible. Gere and Garcia both do well here and give us an interesting film to watch. Interestingly enough, Figgis co-wrote and performed some of the music used here. Not something that you find a director doing very often. R for violence and language.

THE INTERNATIONAL (R) 111 minutes * 1/2 Organized crime, international money laundering, and illegal arms deals. But as Salinger (Clive Owen) begins to dig deeper, he finds that everyone is involved and that the price of truth may be higher than he thought possible. Nice work by Owen and the rest of the cast, but the conspiracy is so large that it becomes impersonal and almost boring. Mostly notable for a lengthy action sequence shot in the Guggenheim Museum in New York. R for violence and language.

INTERNATIONAL FALLS (NR) 93 minutes * * * For years, Dee (Rachel Harris) has dreamed of being a comedian. When Tim (Rob Huebel) comes to town, she's planning to learn from him. But not only are Tim's days as a successful comedian far behind him, he's ready to quit, and isn't really interested in mentoring someone. Dee and Tim have much to learn from each other. About comedy, about relationships, and about life in general. A simple, but powerful story.

THE INTERNET'S OWN BOY: THE STORY OF AARON SWARTZ (NR) 103 minutes * * 1/2 Bio-documentary about Swartz, who was not only a brilliant computer programmer, but an activist for free internet access to public information. While lifting up Aaron's cause and his innocence, the film also clearly shows how the events played out and how one event led to the next, with the almost inevitable outcome.

THE INTERNSHIP (PG-13) 118 minutes * * 1/2 When they lose their sales jobs, these two friends decide to try to land an internship at Google with the hope of winning a job. Well, OK, they thought it was actually a job to begin with, but this should be easy with all of their sales experiene, right? Vince Vaughn's casual style of comedy offsets nicely with Owen Wilson's more earnest approach. No surprises her, but it manages to keep the humor going all the way to the end. PG-13 for sex and language.

THE INTERPRETER (PG-13) 124 minutes * * * Silvia Broome (Nicole Kidman) is an interpreter at the United Nations who overhears an assassination plot. When a secret service agent (Sean Penn) is assigned to investigate, he uncovers much more than that. So many secrets and so many possibilities. The story plays out nicely, with new directions for us to follow as we go along, and strong performances from both Kidman and Penn. Too much of the film relies on them though, and the supporting cast often doesn't have a great deal to do. James Newton Howard's soundtrack does a great job of adding to the suspense, which builds slowly throughout the film. PG-13 for violence, sex, and language.

INTERROOGATION (R) 81 minutes * * An FBI interrogation specialist doesn;t have much time to figure out where the explsions are going to happen next. But his unique talent for remembering things is helping out quite a bit. A very nice twist at the end, but lots of repetition early on. The acting isn;t the greatest, but the emphasis is on the action... which is a tiny bit better than the acting. R for language and nudity.

THE INTERRUPTERS (NR) 125 minutes * * * Current and former gang members are working to stop the violence in Chicago. Often placing themselves in the middle of verbal andphysical conflicts, they are working to cool tempers and stop the violence before it escalates. It's powerful to watch, and most likely the only way that true change can really happen. Be sure to keep watching through the very end as the epilogue follows through on a few of the stories.

INTERSECTION (R) 94 minutes * 1/2 Taking the theme of the title a bit too far, this film jumps around to show us all the intersection points in Richard Gere's mixed up life. The point of the film is lost somewhere along the way, though there are bits of nice film here and there. Sharon Stone and Richard Gere do not the passionate couple make... even in the scenes where they should have. Ah well, take the road of your choice and catch another movie.

INTERSECTION (NR) 76 minutes * * Haunted by the untimely death of his daughter, Cobb Mills (Hoyt Richards) keeps returning to the town where it happened. This time may be a little different... and that might not be a good thing. Richards' performance just doesn't have the strength it needs, not that the script gives his character much depth.

INTERSTATE 60 (R) 113 minutes * * * On an interstate that doesn't exist, Neil (James Marsden) is going to have the adventure of his life. He'll learn a few lessons along the way as well, and have lots of stories to tell. Fun and imaginative, though trite in some aspects, this benefits from an earnest performance from Marsden and delightful character performances from Gary Oldman, Amy Smart, Christopher Lloyd, and Chris Cooper. Moe often than not, the journey itself is just as (if not more) important than destination.

INTERSTELLAR (PG-13) 164 minutes * * * * The world has changed. The focus of science has changed, and the public wants to know how to survive on Earth more than they want to explore other planets. But what if surviving on Earth isn't really an option? It's an epic story of love that reaches across both time and space. Love which is at the core of our indomitable drive to explore. Stunning visual effects and a very memorable story. PG-13 for violence and language.

THE INTERVENTION (R) 84 minutes * * 1/2 A planned marital intervention ends up being more valuable for those who planned it than for the couple it was planned for. The script is a little rough, btu the end result manages to look reasonably good thanks to a very good ensemble cast. R for language and sex.

INTERVIEW (R) 80 minutes * * * Remake of Theo Van Gogh's 2003 film of the same name. Pierre (Steve Buscemi) has to interview a famous and beautiful actress despite his wishes to do journalism with more substance. The dialogue is heavy and virtually non-stop, making this feel more like a play than a film. The emotional exchanges between Pierre and Katya are rather extreme and more suited to the stage as well. Still, there are interesting turns that the story takes, and as an exercise in acting, this does give both Buscemi and Sienna Miller quite a bit to work with. R for language.

THE INTERVIEW (R) 108 minutes * When the hosts of “Skylark Tonight" manage to score an interview with North Korean dictator Kim Jong-un, they find themselves recruited by the CIA to do some undercover work. The excessive violence doesn’t really fit here, and while a few bits are funny, most rely very heavily on sexual crudeness ,which gets boring very quickly. The film is mostly of note for how upset North Korea was about it, and how it was initially pulled from release. It was released in a more limited number of theaters and ended up doing far better business than it would have otherwise, because the idea of watching a film that was facing censorship appeals to a rather wide demographic. R for language, nudity, and violence.

INTERVIEW WITH A HITMAN (NR) 92 minutes * * Viktor (Luke Goss) is going back to cover his tracks. Not an easy or pleasant task when you're a hitman. Of course, there's one thing he didn't account for. Goss is good here, but too much of the dialogue is mumbled, and some of the camera angles are awkward and don't help the flow of the film.

INTERVIEW WITH THE VAMPIRE (R) 117 minutes * * * 1/2 This isn't the gory/scary horror show that some might want or expect. Instead, it is a very elaborate creation of a new way to look at the legend of the vampire. Beautiful sets and photography throughout and an ending that definitely leaves us wanting more. Tom Cruise does better than one might expect, but the shining light is young Kirsten Dunst. Not perfect in it's adaptation of the novel, but it doesn't step too far out of the lines either. R for violence, nudity, and language.

INTO TEMPTATION (R) 90 minutes * * Confessing that she plans to end her life on her birthday, a call girl leaves the confessional and vanishes before Father Buerlein (Jeremy Sisto) can offer more support or assistance. The factual errors here, not the least of which being how a priest would actually handle a situation like this, are a bit distracting, though the ending is fairly strong. It reminds us that we may never know the effect of our actions... who is watching... or who will remember. Filmed in Minneapolis. R for sex and language.

INTO THE ABYSS (PG-13) 105 minutes * * * Why do people kill, and why is death seen as the appropriate punishment for a crime? What does it mean to be present at the moment of death, or to be responsible for causing the death of another, legally or otherwise? Director Werner Herzog explores these and other questions through the case of a man convicted of killing three people in Texas as he is about to be executed. Another fine piece of sensitive filmmaking from Herzog. PG-13 for language.

INTO THE ASHES (NR) 93 minutes * 1/2 Nick (Luke Grimes) thought he was free and clear. But now, his former partners in crime have tracked him down and they want their share of the money. The story tries to be philosophical to go for a deeper meaning and sacrifices a faster pace to do so, and without much success.

INTO THE BLUE (PG-13) 106 minutes * 1/2 Paul Walker and Jessica Alba star in this tame adventure film with Walker discovering not only a mythical sunken ship, but an airplane with a load of cocaine. Salvage rights, drug dealers, and ethical choices come up next, but the only real treats here are the scenery, including these two young stars. The script gives them little to work with in the way of dialogue and the story itself is pretty thin as well. PG-13 for language and violence.

INTO THE COLD (NR) 85 minutes * * * Sebastian Copeland and Keith Heger set off on a trek to the North Pole. The distance, the terrain, the temperatures... all seemed to conspire against them. It's a journey that few have tried to make, and even fewer have succeeded. Beautiful photography that immerses us in a world that is both wonderful and treacherous.

INTO THE DEEP (R) 82 minutes * 1/2 It seems innocent enough. A little adventure away from things. Jess (Ella-Rae Smith) is ready for it, and Ben (Matthew Daddario) seems nice enough. Of course it doesn't take long for issues and suspicions to arise. The problem is that we don't ever feel much of a connection to, or sympathy for Jess. Her past trauma is a single note that we keep hearing, but it rings shallow. R for sex, violence, and language.

INTO THE DEEP: AMERICA, WHALING, AND THE WORLD (NR) 111 minutes * * * Extensive documentary look at the early days of whaling, when a few brave men would pit themselves against the largest creatures on the planet. They were adventurous times, filled with danger and exploration of a world that was mostly unknown. The tragedy of the Essex, and the story of Herman Melville's Moby Dick are detailed in yet another fine documentary from director Ric Burns.

INTO THE FOREST (R) 97 minutes * * Nell (Ellen Page), Eva (Evan Rachel Wood), and their dad live in a high tech home in a remote location on the west coast. When a power outage leaves 300 million people without power for an extended period of time, survival becomes a challenge. The second half of the film does little aside from manipulating the characters into typical corners while managging to leave some obvious questions unanswered. Adapted from the book by Jean Heglund. R for violence, language, and sex.

INTO THE GRIZZLY MAZE (R) 84 minutes * * The Grizzly Maze is a particularly dangerous area, and aptly named. But right now, a killer grizzly is not in the maze. He's out in the areas where there are people. And he's leaving a bloody trail. Not much depth to the story as the bulk of the film is about the last four people being pursued and attacked by the bear. Great work by Bart the Bear! R for violence, language, and sex.

INTO THE LABYRINTH (NR) 126 minutes * * * All Samantha (Valentina Belle) knows is that she isn't where she was. She is now in a hospital, or at least something like a hospital room. All she remembers is the labyrinth. She doesn't even know her own name. The film is a little disorienting as the story begins. That's clearly the point that writer/director Donato Carrisi is trying to make, but it's a little too convincing. A second viewing of the film does help with catching all of the twists and turns and making sense of how they fit into the story.

INTO THE NIGHT (R) 111 minutes * * Ed (Jeff Goldblum) is having trouble sleeping. His job is boring and his wife is unfaithful. These worries are all about to fade. A mysterious young woman is about to come into his life, and everything is about to get much more exciting. Except for the script. It feels a little too much like it was thrown together last minute with quite a few Hollywood in-jokes and not much substance. It looks better than it should, thanks to a talented cast. R for sex, violence, and language.

INTO THE STORM (NR) 95 minutes * * 1/2 TV movie version of the story of Winston Churchill's (Brendan Gleeson) rise to power and his role in the allied victory in World War II. All in just over an hour and a half! Needless to say, much is left out, and the focus is more on the man than on the events of history. Gleeson delivers a solid performance, but the story has been trimmed and packed in a way that leaves it rather dry.

INTO THE STORM (2014) (PG-13) 84 minutes * A massive storm with lots of tornadoes descends on a small town. It's a storm chasers dream come true. Speaking of "true", this film is so far from that it's ridiculous. Casting people who had any talent at acting was clearly not a priority, which is too bad, because there are a few good effects here, and the soundtrack is very nice. A silly script and bad acting leave this with nowhere to go. PG-13 for violence and language.

INTO THE SUN (R) 96 minutes * Rip-off of "The Hard Way", this has Anthony Michael Hall tagging along with Michael Pare to learn what it's like to be a pilot for a role he's about to play. Slapped together with little in the way of production values, this just never gets off the ground.

INTO THE SUN (2005) (R) 92 minutes * 1/2 As former CIA agent Travis Hunter (Steven Seagal) works to track down the person who just killed the mayor of Tokyo, he discovers a plot by the Yakuza and the Tong to create a huge drug business. Absolutely nothing new here, unless you're talking about Seagal singing several songs in the soundtrack. In fact, more of the action scenes are done with close shots and quick cut-aways, which make me wonder if Seagal is losing his form already. R for violence, language, and nudity.

INTO THE WEST (PG) 93 minutes * * * This tale of Irish gypsy children and their efforts to save a wild horse that has befriended them is a beautiful piece of work. The horse has its own ideas about being rescued, adding to the fun and keeping the children guessing. Gabriel Byrne, Ellen Barkin, Colm Meaney, and Cieran Fitzgerald star in a film with a soundtrack by Patrick Doyle. A wonderful film for the whole family. PG for language.

INTO THE WHITE (R) 97 minutes * * * When their plane is show down over Norway, the three German survivors find themselves in a world of endless white. As soon as they find shelter in a hunting cabin, two British fliers turn up. They also crashed after receiving fire from the German plane. The storm isn't letting up, and they are running our of food and wood. Who is in command and how will they treat the others. Based on an actual incident, this is a powerful and well-played drama. R for language.

INTO THE WILD (R) 143 minutes * * * While opinions vary on what led Chris McCandless to make his journey into the wild, it was one he would not be deterred from. He was ill-equiped to survive in the harsh Alaskan wilderness, though assistance and supplies weren't far from him when he died of starvation. The film adapts Jon Krakaur's version of the story, which has a somewhat sympathetic view of McCandless. The cast all do nice work here, and the natural beauty of the scenery is difficult to ignore. The soundtrack not only features contemplative work by Eddie Vedder, but a nice original song written and performed by Kristen Stewart as well. R for language and nudity.

INTO THE WILD GREEN YONDER (NR) 87 minutes * * The green age is about to begin... unless everything gets destroyed before then. It's up to Fry and the rest of the Futurama crew to save the universe... again. A bit less exciting than the other Futurama films, and not quite as funny. Still, fans of the series should enjoy this, and the story does have some thoughtful humor.

INTO THE WOODS (PG) 117 minutes * * * 1/2 A star-studded cast in a big screen adaptation of the Tony Award winning Broadway musical. Stephen Sondheim's music, this time in collaboration with James Lapine, often takes various melodies that are introduced separately, and then weaves them together. This style is a perfect fit for a story that takes a number of fairy tales and weaves them together to tell a story about wishes and reality, childhood and growing up, holding on and letting go. Wonderfully theatrical performance by Meryl Streep in yet another Oscar nominated performance. The film does lose a little of the humor of the stage production and becomes a little darker. It's still quite entertaining, but it does change the style just a little. PG for violence.

INTOLERABLE CRUELTY (PG-13) 95 minutes * * * Coen brothers film about a lawyer who has devised an "iron clad" prenuptual agreement only to fall in love with a woman who has figured out a way around it. George Clooney and Catherine Zeta-Jones do a great job of keeping this light and playful which makes it fun to watch. Nice supporting work from Geoffrey Rush and Billy Bob Thornton. PG-13 for language.

THE INTOUCHABLES (R) 108 minutes * * * 1/2 After a paragliding accident leaves Philippe (Francois Cluzet) paralyzed from the neck down, he needs an assistant to take care of his daily needs. He decides to hire Driss (Omar Sy), who is perhaps, not the most likely candidate. Sincere and sweet drama with just the right touches of humor. The story tends to move a little slowly at the beginning, and a bit too quickly near the end. Great work by both Cluzet and Sy. R for language.

INTRIGO: DEATH OF AN AUTHOR (R) 102 minutes * * * He has translated severl of the works of Germund Rein, but now, David (Benno Furmann) has been given a chance to translate a new book. There is much mystery about this new book's appearance, given the reclusive nature of its author, who some have presumed dead, but David has an idea. Well-written story by Hakan Nesser, and nicely adapted by Daniel Alfredson. It wraps tightly in on itself as it twists and turns. R for language and sex.

INTRODUCING THE DWIGHTS (R) 101 minutes * * 1/2 Tim Dwight (Khan Chittenden) is torn between his loving mother (Brenda Blethyn), his brother Mark (Richard Wilson), and his new girlfriend Jill (Emma Booth). He's not the only one struggling with the way life is changing... and the way it needs to change. Humorous yet sensitive coming of age film with fine performances by the cast and a script with some wit, though it does stray into rather vague subplots a few times. R for sex and language.

THE INTERUDER (PG-13) 96 minutes * 1/2 A new home. Scott (Michael Ealy) and Annie (Meagan Good) buy a beautiful home from Charlie (Dennis Quaid). The only problem is that Charlie keeps showing up after the sale is complete. Quaid plays the character well, with a mix of sincerity and something more sinister. That said, the story doesn't really offer any surprises. PG-13 for violence, sex, and language.

INTRUDERS (R) 91 minutes * * * Juan (Izan Corchero) has nightmares. To help deal with them, he writes a story. Mia (Ella Purnell) finds a story hidden in the hollow of a tree. It's a story about "hollow face", a monster who needs to find a face to steal. But the story isn't finished... and neither is hollow face. More than just a horror/suspense film, this also offers an explanation of how folklore and legends come alive. Several good, creepy chills scattered throughout. R for violence, sex, and language.

INVADERS FROM MARS (PG) 96 minutes * * 1/2 Fun remake of the 1953 classic science fiction/horror film. David (Hunter Carson) sees a Martian ship land not too far from his house, but has no luck convincing anyone until the Martians have already started taking over the town and the military base. Very good mix of science fiction, horror, and humor, with a very nice role for Karen Black as the school nurse. Very good special effects too. PG for violence and language.

THE INVASION (PG-13) 92 minutes * * 1/2 Fourth film version of Jack Finney's novel, "Invasion of the Body Snatchers", starring Nicole Kidman and Daniel Craig. An alien epidemic is affecting the population of the world and it won't be long before everything will be devoid of emotion. This version tries to be more scientific and believable, and while it succeeds relatively well at that, it falls short of being very much fun to watch. PG-13 for violence.

INVASION OF THE POD PEOPLE (NR) 80 minutes BOMB Horrible sound quality and editing, accompanied by pathetic acting. Don't be fooled by the slick picture on the package, this is B-movie shlock, and it's less fun than the old B-movie films of the 50's.

INVASION U.S.A. (R) 104 minutes * 1/2 They have run into each other before. Last time, Hunter (Chuck Norris) followed prders and took Rostov (Richard Lynch) alive. Now, Rostov is back and planning on taking over the country through terrorism. This time Hunter is not going to be so forgiving. There's not really much to the story, but the bigger problem is the repeated attempts to inject humor into the story. R for violence and language.

INVENTING THE CHRISTMAS PRINCE (NR) 83 minutes * * 1/2 Shelby (Tamera Mowry-Housley) has told her daughter many stories. One of Grace's (Isabel Birch) favorites is about the Christmas Prince. Grace is convinced that her mom's boss is the Christmas Prince. He might just be a Christmas Prince after all. A sweet and charming story, full of Christmas magic.

THE INVENTION OF LYING (PG-13) 94 minutes * * It's a world where everyone tells the truth about everything... until Mark (Ricky Gervais) one day stumbles across something new... a lie... and the world will never be the same! Quirkly and thought-provoking comedy, co-written by Gervais. It's definitely a bit on the talky side, but asks important questions about what truth is, and what it really means for you and the way you live and relate to others. Jennifer Garner's supporting performance is less than stellar, but the ending is cute. PG-13 for language.

INVESTIGATION 13 (NR) 84 minutes * * It's an urban legend. When you enter the Black Grove Asylum, you never leave. The Mole Man lives within the walls of the asylum and prevents anyone who enters from ever being able to leave. A group of students get permission to enter the asylum and to establish scientific evidence of the existence (or not) of the Mole Man. And then one of their own team disappears... The film mixes in the history of the person who became the Mole Man, told with still animation. It's good information, but the style doesn't work very well. The bigger question is why a couple of rooms have regular lighting, and they search the halls with tiny, hand-held flashlights. The music and sound effects are the best part of the film.

INVICTUS (PG-13) 126 minutes * * * When Mandela (Morgan Freeman) took office, the divisions created by Aparteid were still fresh in everyone's minds. Electing a new leader and removing a written policy are only part of what needed to be changed. Mandela knew that something was needed to truly unite the country, and saw in the upcoming World Cup, and in South Africa's rugby team, a way to bring the people together. Transforming an almost all white rugby team, whose colors had come to symbolize Aparteid for so many, into a symbol of change wouldn't be easy, but if could be powerful. A testament to the power of sport, if a bit simplistic on some levels, with another fine performance from Freeman. Adapted from the book, Playing the Enemy by John Carlin. PG-13 for violence and language.

INVINCIBLE (PG) 99 minutes * * * The job situation keeps looking worse and then his wife leaves. Things aren't looking good for Vince (Mark Wahlberg), and the hometown Philadelphia Eagles are struggling too. The new coach has decided to shake things up a bit and have open tryouts, and Vince's friends convince him to go. The rest is football history, and the story of how we look for inspiration in times of struggle. There's nothing new about the struggle of the underdog, but Wahlberg's heartfelt performance goes a long way to give this the extra appeal it needs to stand out. PG for language and violence.

THE INVISIBLE (PG-13) 105 minutes * * Things were just fine, and suddenly Nick (Justin Chatwin) finds that no one can see him. Well, there are a few people who can see him, but they seem to be dead. Eventually Nick figures out what to do about his dilemma, and the twist is somewhat interesting, but Chatwin's performance is far from strong enough to carry the film. If you haven't seen many suspense films you might like this, but seasoned viewers will find it less than memorable. PG-13 for violence and language.

THE INVISIBLE MAN (2020) (R) 114 minutes * * * 1/2 Finally able to get away from her abusive husband, Cecilia (Elisabeth Moss) still fears leaving the house for what he might do to her. Then she receives news about her husband's death. It sounds too good to be true. It doesn't take long before she is convinced that his death was faked, and that he is now stalking her, even though no one can see him. Very intense and suspenseful story, with some very nice twists. Great work by the cast! R for violence and language.

AN INVISIBLE SIGN (PG-13) 91 minutes * 1/2 Mona's (Jessica Alba) life revolves around her father and numbers. When he has a stroke, her life changes because he is never quite the same. And now, it seems that her obsession with numbers isn't providing the comfort she expects and needs. This tries to present a realistic picture, but strays quite far into the realm of what doesn't make sense. It does eventually come around to make some very heartwarming points, but a little too late. PG-13 for language.

THE INVISIBLE WAR (NR) 95 minutes * * 1/2 Investigative documentary about the extent to which rape occurs and is covered up within the United States military. Several individuals recount their stories as well as their work to deal with the consequences both personally and with their military careers.

THE INVISIBLE WOMAN (R) 104 minutes * * 1/2 Toward the end of Charles Dickens' (Ralph Fiennes) life, he has an affair. Nelly (Felicity Jones) inspired him and understood his creative and artistic expressions better than most. A rather slow-moving period piece, but also another fine performance from the talented and versatile Felicity Jones. R for sex.

THE INVITATION (PG-13) 100 minutes * * 1/2 Unsure of any family connections she might have after the death of her mother, Evie (Nathalie Emmanuel) takes a DNA test and learns of a cousin in England. Invited to a wedding, she hopes to find more connections. What she actually finds are disturbing family secrets, and a horrific new life she is expected to live as part of this family. Great atmosphere, but the story definitely feels incomplete. PG-13 for violence, language, and sex.

INVITATION TO A MURDER (PG-13) 90 minutes * * * Invitations are received, and several people make the trip to a mansion on a small island. They don't know why they are there, but that will soon become clear. Nicely written story with a few nods to Agatha Christie. Mischa Barton plays the role of Miranda Green, the amateur sleuth who uncovers the secrets and solves the mystery. Nicely done. PG-13 for violence.

THE INVITED (NR) 88 minutes * The old house seems like a great fit for Jack (Victor Browne) and Michelle (Megan Ward) with a baby on the way. Too bad that there are malevolent spirits already in residence. There are some nice effects and suspenseful music, but the story doesn't flow well and the acting needs a lot of work.

THE INVOKING (NR) 80 minutes 1/2 Samantha (Trin Miller) brings her three friends along with her to explore the house she just inherited. There's a history to this house, and pieces from her own history are about to make themselves known. Poor pacing and acting actually hurt this less than the story, which just can't hold our interest.

THE INVOKING: PARANORMAL DIMENSIONS (NR) 71 minutes 1/2 Bearing some slight resemblance to "The Invoking 2", but none to parts 1 or 4, this is a collection of nine unrelated short films about supernatural events of various types. They vary in quality a little, but not by much, as they are all pretty bad.

THE INVOKING 2 (NR) 74 minutes * 1/2 Bearing no resemblance to "The Invoking", this is an interesting collection of five short horror films. (Unless you count the very short one at the end, which would make six.) They are all reasonably good, though not very original, with "Insane" and "Do Not Disturb" standing out as the best of the group. There's no connecting material, which isn't a bad thing. It's mostly puzzling why the decision was made to use a sequel title for a film that clearly isn't a sequel.

I.O.U.S.A. (PG) 81 mminutes * * * Realistic, and rather grim look at the fiscal situation of the United States. You can't keep spending and borrowing forever, though the government seems to be even worse at that then most of the citizens. The forecast is that unless there's a fairly dramatic turnaround before 2040, the United States may be owned by another country, probably China or Japan... if not both. PG for language.

IP MAN (R) 103 minutes * * * Fo Shan is famous for its martial arts clubs. Master Ip (Donnie Yen) is the best in the city, but before he can start a club, war intervenes and he and his family are without a home is a city that has almost completely been destroyed. That does not diminish his desire to teach, his ability to fight, or his honor. The style, which often involves very little movement, is fascinating to watch. R for violence.

IP MAN 4: THE FINALE (NR) 102 minutes * * * Ip Man (Donnie Yen) travels to San Francisco to check on a school for his rebellious son. Getting the recommendation he needs for his son to be accepted will be difficult. Much of that difficulty stems from his student Bruce Lee (Danny Kwok-Kwan Chan) who has upset some people in the area with his style of fighting and willingness to teach anyone who wants to learn. The story gets even more complex, which is a little much, but there are some very nice fight scenes. It's a very fitting end to the series.

IP MAN: KUNG FU MASTER (NR) 82 minutes * * 1/2 For some time, Ip Man (Yu-Hang To) was a police captain in Foshan. As the Japanese army invades the region, Ip Man finds himself the target of a brutal gangster. Very nice fight scenes. A little darker in tone than the other Ip Man films.

IP MAN: THE FINAL FIGHT (PG-13) 98 minutes * * * A few simple challenges soon escalate in a way that gives Ip Man (Anthony Wong Chau Sang) little choice but to engage in one last fight. Very nice fight sequences that are nicely integrated into the story. The story is presented as more of a biography than an action film, with more intimate details about Ip Man’s personal life than some of the other films in the series. PG-13 for violence.

IP MAN 3 (PG-13) 102 minutes * * * The school that Master Ip's (Donnie Yen) son goes to happens to be on a piece of property that a land developer wants. A vicious gang is working with the developer. It will be up to Master Ip to set things right. Good subplots help round out the story, and the fighting style, which involves minimal movement with maximum force, works quite well. At the same time this story is going on, Cheung Tin-Chi (Jin Zhang) wants to make a name for himself as he starts a new school. That will mean challenging Ip Man. PG-13 for violence and language.

IP MAN 2 (R) 104 minutes * * * A young martial arts master begins to teach a class. At first, he finds himself in conflict with the other local teachers and the styles that are being taught. He eventually faces off with a western boxer who has defeated several other martial arts champions. He is from England, and his brute strength and violent style will prove to be a challenge. Nice bit at the end, that I won't mention the details of, and some wonderful fight scenes throughout. R for violence.

I.Q. (PG) 92 minutes * * Ed (Tim Robbins) falls in love with the ever-attractive and effervescent Catherine (Meg Ryan). Of course, she's engaged, but maybe her uncle Albert will be able to help. Why? Well, he's Albert Einstein, which makes him the most intelligent assistance available. It's a film that's strong on charm, but low on substance, requiring performances that these highly talented actors are able to do in their sleep. It would have been nice to see more depth.

IRA & ABBY (R) 100 minutes * * 1/2 Ira (Chris Messina) has never had much luck with relationships, but when he runs into Abby (Jennifer Westfeldt), everything seems to work. It's too good to be true. But what is it that makes a relationship work anyway? The story does quite well at finding a middle ground between romance and realism, reminding us that relationships involve work and dedication as well as a little bit of luck. Westfeldt wrote this as well, and seems very comfortable with it, while Messina tends too often to come across as an imitation of Woody Allen and/or Matthew Broderick. R for language and sex.

THE IRAN JOB (NR) 93 minutes * * * Kevin Sheppard just wants to play basketball. When de doesn't make the NBA draft, he becomes a journeyman, playing basketball in a number of different countries. Playing in Iran presents some unique challenges, but he also sees a country on the brink of change, home to an exciting, friendly, and hopeful people. Interesting documentary that shows a different side of a country than we usually see.

THE IRISHMAN (R) 199 minutes * * * The life of Jimmy Hoffa (Al Pacino) as seen through the eyes of mob hitman Frank Sheeran (Robert DeNiro). This has the right "look", and the cast is quite good, but that's no surprise from director Martin Scosese, who can direct a film like this in his sleep. Clearly portraying Hoffa as a man who refused to accept the changes that were happening, which left little room for anything else to happen but for him to disappear. This is also at least an hour too long, with numerous scenes that add nothing to the story or the character development. It's good, but it's not one of Scorsese's better films. R for language and violence.

IRON EAGLE (PG-13) 114 minutes * * 1/2 When his father is shot down over enemy territory, Doug (Jason Gedrick) enlists the help of Chappy (Louis Gossett Jr.) to rescue him. Far-fetched to say the least, but mostly fun as well, though the flight sequences tend to run a little long. PG-13 for violence and language.

THE IRON GIANT (PG) 80 minutes * * * A boy goes out to investigate what he believes to be Martians who have invaded the planet and discovers that there is a giant robot who is very willing to become his friend. The animation offers nothing spectacular, but is consistent throughout the production and the story is so interesting that you'll almost forget that you're watching a cartoon. Ted Hughes' book about being what you choose to be, caring about others, and accepting those who are different from ourselves adapts well to the screen and makes for a nice film for all ages. PG for violence.

IRON JAWED ANGELS (NR) 118 minutes * * * The story of the women's suffrage movement and the critical role played by young activists Alice Paul (Hilary Swank) and Lucy Burns (Frances O'Connor). While the story is clearly slanted in favor of the suffrage movement, the brilliant performance of Swank would have swayed us in that direction anyway. O'Connor and the rest of the cast do an admirable job as well, but they are clearly carried along by Swank's performance.

THE IRON LADY (PG-13) 99 minutes * * * 1/2 Oscar-winning performance by Meryl Streep. This history of Margaret Thatcher's career is told mostly through flashback, incorporating some actual footage of the "Iron Lady" in action. It's not a particularly flattering portrait, emphasizing her determination and stubbornness, though at the same time noting the immense pressure of the position and the challenging time in history during which she held office. PG-13 for violence and nudity.

IRON MAN (PG-13) 117 minutes * * * Tony Stark (Robert Downey Jr.) is an inventor, a millionaire, and someone who finds little time to think of anyone other than himself. When he is captured in Afghanistan and forced to recreate his "ultimate weapon", he begins to wonder if some of his past decisions were correct. It's a different story from the comic books, updating to "present day", some of which works well, while other aspects are questionable. This is one of those films where you need to stay through the credits or you'll miss a critical piece of information that ties this to upcoming films. Great animation and excellent work from Downey Jr. PG-13 for violence and language.

IRON MAN 2 (PG-13) 117 minutes * * 1/2 The more that Tony Stark (Robert Downey Jr.) uses the Iron Man suit, the more it's killing him. Not only is the government pushing for him to turn the suit over, there's someone who just might have figured out how to defeat him. The story isn't quite as strong here as the first film, though it does build on that foundation. Once again, be sure to stay until after the credits for another clue about an upcoming film. PG-13 for violence and language.

IRON MAN 3 (PG-13) 120 minutes * * * When the Mandarin takes aim at Stark and his corporation, its time to rebuild, rework, and get some revenge. Nice entry in the series that builds well on the others. There's more of Stark as a person here, yet there's also more action, though it runs a little more to the cartoonish extreme. Ty Simpkins is a nice addition to the cast as Stark's young friend, Harley. PG-13 for violence and language.

IRON MAN HULK: HEROES UNITED (PG) 68 minutes * 1/2 Iron Man and Hulk have to team up when they find themselves in the middle of a Hydra experiment gone wrong. What the story lacks in creativity is highlighted by repeated use of the same animated sequences. Die-hard Marvel fans will be interested, but this is not one of the better animated features. PG for violence and language.

IRON MAN: RISE OF TECHNOVORE (PG-13) 84 minutes * * A techno-terrorist frames Iron Man, who then has to clear his name while working to understand the new tech that is being used. If course he has an eye toward using it himself, but S.H.I.E.L.D. is right behind him. Good story. Mediocre animation. PG-13 for violence.

IRON MASK (PG-13) 114 minutes * * * An epic adventure, spanning Europe, Russia, and China. With a dragon, a witch, and much more, it is a tale that combines martial arts and sword and sorcery with elements of steampunk design. Featuring Jackie Chan, Jason Flemyng, and Arnold Schwarzenegger. A fun and exciting film! PG-13 for violence and language.

THE IRON ORCHARD (R) 107 minutes * * The risks could be phenomenal, but the payoff was worth it if yu struck oil. The Texas oil fields were a place of both success and failure as well as intense competition. Jim McNeely (Lane Garrison) didn't start with much, but he is determined. It's a good story, but feels incomplete. It flows well and builds well, but just fades at the end. R for language and sex.

IRON WILL (PG) 105 minutes * * * Formula adventure film as a young man enters a 500 mile sled-dog race in an effort to save his mother's farm. Kevin Spacey has a nice supporting role as a journalist, but the power of the film lies in its pacing, which manages to involve us rather well. Filmed in Montana, Maine, and Minnesota.

IRON WOLF (NR) 86 minutes BOMB A secret, super soldier Nazi experiment has survived for 65 years, locked in a room. It's a werewolf, and it will only attack people who are not German. (How convenient!) Now, it has been released, and it seems that everyone is in danger. Production quality and direction are very poor and end up making the script and acting look better than they actually are. The special effects are so bad that it's difficult to even laugh at them. Not that he was the only one to take on multiple roles, but Jens Nier is listed as co-writer, co-director, co-producer, co-editor, production manager, stunt coordinator, and the werewolf.

IRONCLAD (R) 114 minutes * * 1/2 The days after King John (Paul Giamatti) was forced to sign the Magna Carta and limit the powers of the monarchy. It was not a happy time, and the battle between the church and the monarchy was far from over. Giamatti screams and grandstands to emphasize his frustration over losing his grip on the monarchy, though its more annoying than convincing. The other performances are fine, in part because of Giamatti's excess. Extremely bloody and violent, which is also more annoying that convincing. R for violence and nudity.

IRONWEED (R) 139 minutes * * * Adapted from William Kennedy's novel, this is a rather depressing story of a man who is finally trying to deal with the way decisions he made years ago have played out in his life. The acting is definitely first-rate, but the script seems to keep us at arms length for much of the film, almost denying us the in-depth look we need to have to appreciate the struggles these characters are experiencing. Jack Nicholson and Meryl Streep are skilled enough that as the film pulls together towards the end, it all seems worth it.

IRRATIONAL MAN (R) 91 minutes * * 1/2 Abe (Joaquin Phoenix) is a philosophy professor who has been struggling to find meaning in his own life. He may have just found that reason to live, but it's coming as a bit of a surprise to him. The ending is somewhat inevitablem and Woody Allen's script is less philosophical than it should have been. Phoenix isn't really a great fit here, but Emma Stone does some great work. R for language and sex.

IRRECONCILABLE DIFFERENCES (PG) 110 minutes * * * 1/2 Trying to make a point with her selfish parents, Casey (Drew Barrymore) sues them for emancipation. It takes them awhile, but they eventually see the error of their ways. No real surprises here, but the cast works together quite well. The ending doesn't have quite the poignancy it needed, but otherwise, this is a great, and often overlooked film.

IRRESISTIBLE (R) 97 minutes * * * A witty and satirical look at politics and the election process. Steve Carell stars as Gary Zimmer, a Democratic strategist who is impressed with what he hears from a small community in Wisconsin. Soon, he is campaigning for Jack Hastings (Chris Cooper). The situation moves to the next level when Faith Brewster (Rose Byrne) shows up to champion the other side. The script is quite good, with so many clever bits that you'll probably want to watch it again. R for language.

THE IRRESISTIBLE BLUEBERRY FARM (NR) 84 minutes * * When Ellen (Alison Sweeney) travels to Maine to deliver a letter as requested by her recently deceased grandmother, she's in for a surprise. And we're not just talking about the very obvious agenda that her grandmother clearly had in mind. This will be a change of pace for Ellen and her big city life, and it just may surprise her to find that it's a better fit than she expected.

IS ANYBODY THERE? (PG-13) 90 minutes * * 1/2 Raised in a home for the elderly that his parents run, ten-year-old Edward (Bill Milner) has found a new friend in Clarence (Michael Caine). Frustrated that he needs to be in this place, Clarence finds in Edward, a willing student who can learn some of the magic tricks that he used to do. It's always a pleasure to watch Caine, though the sentimental story is likely to sound very familiar. PG-13 for language.

IS IT WRONG TO TRY TO PICK UP GIRLS IN A DUNGEON: ARROW OF THE ORION (NR) 78 minutes * * 1/2 There are monsters in this world. To defeat them, adventurers must partner with gods. Artemis is in search of a special adventurer to defeat a unique and dangerous threat. She chooses Bell, who is already partnered with Hestia, who is now very jealous. Hestia is a little annoying early on, but that doesn't last too long, after which, this settles into a nice adventure.

ISABELLE (R) 77 minutes * It felt like a normal pregnancy until very near the end. There's a complication, and Larissa (Amanda Crew) briefly flatlines. The baby dies, and Larissa recovers... sort of. There are lots of plot complications involving more death, possession, suicide, a priest, neighbors, communication with the "other side" and more. It's way too much for a short film like this to deal with, though it does manage to create a creepy atmosphere.

ISABELLE DANCES INT THE SPOTLIGHT (NR) 96 minutes * * 1/2 Isabelle (Erin Pitt) is struggling with her level of confidence. She loves to dance, but can't stop thinking about what she does wrong. How can she turn the corner and just enjoy dancing? A big opportunity is coming up, and it's going to take some fast learning and support from a couple of key people to help her along the way. Nothing outstanding, but a nice entry in the American Girl series of films.

ISHTAR (PG-13) 104 minutes 1/2 A pair of down and out songwriters who don't sing very well, and don't really write songs that well either, go to Morocco to sing. Full of bad dialogue that Dustin Hoffman and Warren Beatty laugh at to try and get us to laugh as well. We don't. Widely regarded as one of the biggest budget turkeys of all time.

THE ISLAND (PG-13) 130 minutes * * * It's a utopian life where there are no questions, no need to worry, and your prize may be a trip to The Island, a utopia of utopias! But all is not as it seems. While on the one hand, this has some great action sequences that you'd expect to see in a Michael Bay production, the story is sometimes sacrificed in favor of having visual moments that are almost operatic and somewhat distracting. Ewan MacGregor and Scarlet Johannson both do nice work here in a story about the ability to question, the opportunity to dream... the right to live. PG-13 for violence and language.

THE ISLAND OF DR. MOREAU (PG-13) 90 minutes * * 1/2 Intense opening credits sequence! Most of this is the same old classic story with fine new special effects to add to the horror of the story. Fairuza Balk is perfect, and Marlon Brando makes a great Dr. Moreau. Val Kilmer plays his role a bit over the top, making it almost comical in a few scenes. This could have been better, but it's a strange story and hard to translate to film. Director John Frankenheimer has done a reasonably good job with a difficult piece of work. PG-13 for violence.

THE ISLAND PRESIDENT (PG) 96 minutes * * 1/2 Only three feet of water separate the 1200 islands of the Maldives from disappearing into the ocean. People have lived there for thousands of years, but global warming is destroying their homes. This is the story of a president's rise to power, and his attempt to save his country from disaster. A very personal look at the effects of global warming and how difficult it is to make progress on any issue on the world stage. PG for violence and language.

ISLE OF DOGS (PG-13) 92 minutes * * 1/2 Once upon a time, dogs were expelled from the island of Japan. It was not without reason, but it might be time to reconsider what that means. The animation is a stop-motion style, and does a very nice job of conveying the story. Wes Anderson's offbeat sense of humor is clearly evident, but the story, much like the animation, often feels stiff and without emotion. PG-13 for violence.

ISLE OF THE DEAD (NR) 84 minutes BOMB A team of Navy SEALS are sent to an island to rescue another team that went missing. What befell the first team is about to happen to this second team. There are zombies on this particular island, and a "mad scientist" who is doing research on zombies and humans alike. Another low-budget gem from The Asylum.

ISN'T IT ROMANTIC (PG-13) 83 minutes * * * She's been cynical about love for years. But after a knock on the head, Natalie (Rebel Wilson) finds herself in a life that seems far too much like a romantic comedy where everything works out perfectly. Could it be true? Cute story, and nice work by Wilson, with some great supporting work by Adam Devine. PG-13 for language and sex.

ISOLATION (R) 90 minutes * 1/2 Creighton (Luke Mably) and Lydia (Tricia Helfer) are taking a vacation on a tiny island in the Bahamas when they fall victim to pirates who plan to kill them and steal their identities. Of course, there are actually much easier ways to steal people's identities... Shallow characters and a story with far too many rough edges. R for violence and language.

IT (R) 124 minutes * * * Very nice adaptation of the Stephen King novel, with some great chills scattered throughout. This does a little better job of presenting a core concept of the novel, which is that we aren't all frightened by the same things. What's still missing is a better understanding of Pennywise the clown as messenger and harbinger of "It", wrapping the terror up inside what is supposed to be a friendly and fun package. It's not an easy idea to present, and the book struggles with it as well. Slightly better than the 1990 film, but to be clear, this is only the first half of the story. R for violence and language.

IT AIN'T OVER (PG) 94 minutes * * * 1/2 Although famous for many things, Yogi Berra is frequently overlooked by many, though his accomplishments in the sport of Major League Baseball is simply unmatched. This is the story of his life. Filled with interviews with several of his family members, baseball insiders, and clips of Yogi himself. Even if you aren;t a baseball fan, you'll find this to be an interesting and informative look at an immensely talented player. PG for language.

IT CAME FROM HOLLYWOOD (PG) 77 minutes * * * Hosted by Dan Aukroyd, John Candy, Gilda Radner, Cheech Marin, and Tommy Chong, this is a fun look back at some of the most ridiculous, low-budget films ever made. A treat for film buffs, and just plain fun to watch!

IT CHAPTER TWO (R) 165 minuutes * * 1/2 The second half of the story. Twenty-seven years have passed and Pennywise (Bill Skarsgard) is causing trouble again. That means that "The Losers" have to come back home to stop him. This film, or second part of the film if you prefer, falls into the same trap the books does, focusing on Pennywise instead of on the fears of "the losers" as individuals. The cast does a good job, and there are some scary moments. The CGI effects are a mixed bag, with some very effective and others not. This does pair well with the first film and togther, they are a good adaptation of the book, though definitely a bit long. R for violence, language, and sex.

IT COMES AT NIGHT (R) 88 minutes * * As a plague threatens to destroy the world, one family has found a way to keep their isolated home safe... until another family comes looking for help. No surprises here, except to see how effectively suspense is created with a story that doesn't give in to the temptation of a cheap scare. R for violence and language.

IT COULD HAPPEN TO YOU (PG) 98 minutes * * 1/2 Charlie is a good cop, and when he makes a promise, he sticks by it, including a promise to split the winnings of a lottery ticket with a waitress. Nicolas Cage and Bridget Fonda are both fine here, playing this in rather laid-back fashion, but Rosie Perez is all the way at the other end with an performance that is energetic to the point of being irritating. (Similar to her performance in "White Men Can't Jump") It throws the balance of the film off and makes it a chore to watch at times.

IT FELT LIKE LOVE (NR) 78 minutes * For being Lila's (Gina Piersanti) story, as she wants to become more sexually experienced, she doesn't have much more screen time than anyone else here. Her character needs more development. The pacing is terribly slow, mostly as a result of long stretches with little or no dialogue that don't really do anything for the story. Piersanti looks like she has more potential than we really get to see here.

IT FOLLOWS (R) 96 minutes * 1/2 "It" isn;t very fast, but it is extremely persistent. You can pass it off to another person, but there are consequences. A genuinely creepy idea, and there are a few moments that work very well. Unfortunately, the story fails to deliver the intensity or sustained suspense that the idea offers except for those few moments. R for violence, sex, and language.

IT HAD TO BE YOU (R) 78 minutes * * 1/2 Sonia (Cristin Milioti) has always looked forward to marriage. But when her boyfriend proposes, she's caught off guard and wonders if she's really ready, or even if it's what she really wants. Cute and energetic performance from Milioti that carries the film nicely. R for sex and language.

IT KNOWS (NR) 71 minutes 1/2 Claire (Carmen Patterson/Lauren Lasseigne) just can't get away from her horrifyling past. That's about it for the plot. Lassogne isn't too bad here, and there are a few moments when the mood is set well, but otherwise, this has nothing to offer that you and your neighbors couldn't put together with a little effort.

IT LIVES INSIDE (NR) 87 minutes BOMB His trouble with sleepwalking is the least of his worries. When he reads from a mysterious book found in the attic, he will be possessed and his world will fall apart. The film didn't even have to go that far to fall apart. Writer and co-director Jeff Hall gives us a very shallow story, relying on a little bit of atmosphere, mostly created by the music.

IT MIGHT GET LOUD (PG) 92 minutes * * * Jimmy Page, The Edge, and Jack White... three amazing guitarists with very different approaches to their craft. With historic footage, interviews, collaborative guitar riffs, and philosophical discussions about music, this is a treat to watch. Of course it would have been great to see even more footage of them playing together, but what's here is quite nice. PG for language.

IT STAINS THE SANDS RED (NR) 89 minutes * * Stranded in the desert, Molly (Brittany Allen) must find a way to survive. That also means staying out of reach of the single zombie that is relentlessly following her. Not the greatest ending, though it does make sense. The important part is that getting there works very well. Allen carries the film well, and this make a nice addition to the genre.

IT TAKES TWO (PG) 97 minutes * * 1/2 Mary Kate and Ashley Olsen are look-alikes who trade places to get adults they love to fall in love with each other. No real surprises here, but the twins make it watchable and Steve Guttenberg does a nice job as well. This is one of those films for the kids that most adults won't mind watching. Filmed in Toronto and New York.

IT WAITS (NR) 84 minutes 1/2 It lives deep within a national park. It has been released by some careless explorers. When it kills her boyfriend, Ranger Danielle St. Claire (Cerina Vincent) is determined to find it and stop it. Vincent is never convincing in her role, though the script doesn't do a good job of convincing us of much of anything either.

IT WAS ALWAYS YOU (NR) 86 minutes * * 1/2 It just made sense to Elizabeth (Erin Krakow) to get married to George (Giles Panton). They have similar interests and everything about both of their lives is very stable. When David (Tyler Hynes) comes back to town for their wedding (George is his brother), it throws a wrench into the mix. Love isn's something you plan, but sometimes it does take awhile to come into view.

IT WATCHES (NR) 75 minutes * Helping out a friend, Andre (Ivan Djurovic) takes on a house-sitting job in the hills near Los Angeles. What he soon learns is that someting isn't quite right about this house. Another film where the main character makes far too many poor decisions and far too many things go wrong for us to believe any of what we see happening. Even as short as this is, we're ready for it to be over sooner.

THE ITALIAN (PG-13) 97 minutes * * * Vanya (Kolya Spiridonov) is a six-year-old orphan who is quite possibly going to be adopted by a nice Italian family. But Vanya doesn't want to be adopted. He wants to find his mother, and he'll risk anything to reach that goal. Captivating performance by young Spiridonov that helps us overlook the film's technical flaws. Most of those flaws also manage to lend a sense of realism to the film. Winner of several European film awards. PG-13 for violence, sex, and language.

THE ITALIAN JOB (PG-13) 105 minutes * 1/2 Remake of the 1969 film with Donald Sutherland, Charlize Theron, Edward Norton, Seth Grenn, and... ummm... oh yeah, Mark Wahlberg, who turns in yet another two-dimensional performance. The pacing is awkward through most of the film, with lengthy quiet scenes. The heist's are well done, but the twists need to be better and the story needs to be more tightly structured. PG-13 for violence.

ITHACA (PG) 84 minutes * * * Homer (Alex Neustaedter) wants to be a messenger. He's fast and enthusiastic. The first message he delivers is a difficult initiation. World War II has far-reaching effects, and telegrams received back home don't usually bring good news. A gentle, yet powerful coming-of-age story adapted from "The Human Comedy" by William Saroyen and directed by Meg Ryan. PG for language.

IT'S A DISASTER (R) 83 minutes * * * It's just a couples brunch. Once everyone has arrived and the conversation gets going, it's pretty clear that the tone is going to be a little different than normal. And that's before they learn why the power just went out. The story has a wonderful mix of drama and humor with just the right hint of the macabre, Very fitting for an end-of-the-world film. Good work by the ensemble cast, and America Ferrera is priceless! R for language.

IT'S ABOUT YOU (NR) 73 minutes * * 1/2 Part tour video and part bio-documentary about John Mellancamp. It's also about the process and history of the musical styles that have shaped Mellancamp as a writer and performer.

IT'S ALL ABOUT LOVE (R) 99 minutes * Truly unusual film about a young couple about to sign divorce papers and deciding instead that the love they share might be worth trying to hold onto. That doesn't sound so unusual, but the slightly futuristic world in which the story is set, combined with an almost dream-like quality are definitely unusual. While this manages to keep us watching, we're also continually puzzled by the directions the film takes. Joaquin Phoenix and Claire Danes both give this their best effort, but I'm not sure that having the script in hand would give you any more certainty on what is happening. Interesting for curiosity's sake and for fans of Phoenix and Danes, but unlikely to be appealing to most tastes. R for violence and language.

IT'S BEGINNING TO LOOK A LOT LIKE CHRISTMAS (NR) 82 minutes * * A Christmas contest between several small towns once again has East and West Riverton in hot competition. Their respective mayors have been competing with each other since childhood. This year just might be a little different. Starring Tricia Helfer and Eric Mabius.

IT’S CHRISTMAS, CAROL (NR) 86 minutes * * ½ A successful publisher, Carol (Emmanuelle Vaugier) is also more than a little ruthless and heartless. It’s a good thing that Christmas is coming up. Carol is going to get a few visits from some very special Christmas spirits who hope to change her heart. Nice to see Carrie Fisher featured in this Hallmark twist on the classic Dickens’ story.

IT'S COMPLICATED (R) 114 minutes * * 1/2 The house is quiet now that the last of the children have grown and moved away, and Jane (Meryl Streep) has been divorced from her husband (Alec Baldwin) for ten years. Just as a romance is showing signs of possibility with Adam (Steve Martin), who is working on some home improvements for her, she has something else to think about... Jake (Baldwin) is showing signs of interest in getting back together, despite his remarriage to another woman. Nice work by Streep and Baldwin, though Martin seems a bit out of place here. And the supporting performances of Rita Wilson and John Krasinski definitely add some sparkle to the story. R for sex and language.

IT'S IN THE BLOOD (NR) 77 minutes * 1/2 Stranded in the wild, Russell (Lance Henrickson) and his son must come to terms with their past in order to survive. The story is both dark and confusing, relying heavily on symbolism to convey the message and memories of the characters. If you get lost at all, it only gets worse as the symbolism increses toward the end. Co-written, co-produced, edited and directed by Scooter Downey...

IT'S KIND OF A FUNNY STORY (PG-13) 95 minutes * * * Perhaps it would be better to get help by checking in to the psych ward of the local hospital than to commit suicide. That's what Craig (Keir Gilchrist) decides. And thus begins a journey of self-discovery that he never anticipated, or thought possible to complete. The narration actually works quite well here, woven into a rather atypical coming-of-age story, adapted from the novel by Ned Vizzini. A great ending, and a nively adapted script by Anna Boden and Ryan Flick. PG-13 for language and sex.

ITTEFAQ (NR) 101 minutes * * * 1/2 Two murders and two suspects. But whose story is actually relating the facts? Vikram (Sidharth Malhotra) or Maya (Sonakshi Sinha)? Nicely constructed thriller with pplenty of suspense and creative twists. This is one that will keep you on the edge of your seat. The title translates as "coincidence", but is it really? Or is it designed to look that way?

IVAN THE INCREDIBLE (PG) 78 minutes * 1/2 Ivan gets bullied at school and he's still trying to figure out just what it is that he's good at. Life gets even worse when his father decides to be a coach and help Ivan along. Thanks to a local witch, everything will turn out well in the end. The moral of the story here is a bit muddled, in part because the story seems to be trying to teach both parents and children different lessons at the same time, and the signals aren't always very clear. The animation quality varies throughout the film, with some being very good, and some not very good at all. PG for language.

I'VE LOVED YOU SO LONG (PG-13) 113 minutes * * 1/2 Released from prison, Juliette (Kristin Scott Thomas) is staying at her sister's (Elsa Zylberstein) house and trying to find her way again. No one else in the family is very supportive though, and even her sister struggles to understand. Strong and heartfelt performances, though it does tend to belabor the point more than once. PG-13 for language.

IVERSON (NR) 87 minutes * * * Despite having a very rough beginning, Allen Iverson always went all in. Hard-working and dedicated to sports, but with the ghosts of the violence and challenges of the neighborhood where he was raised always nearby. And then the bowling alley incident happpened. Despite camera footage showing that he did not take part in the fight, his was the only well-known name connected to it in any way. It was a major setback, but it didn't stop him. He achieved greatness, but always had to deal with those who didn't understand him and who always expected the worst. A basketball player who was one of the greatest there ever was, and who could have been even more if he'd had the chance.

IZZIE'S WAY HOME (NR) 74 minutes * 1/2 An aquarium fish finds herself in the ocean, which is both exciting and scary. She'll need to face her fears and trust her new friends. The story concept is fine, though not very original. It's the animation and the dialogue that really needed more work. They both lack the quality that they need for this to be better than the low side of average.

IZZY GETS THE FUCK ACROSS TOWN (NR) 83 minutes * * * Still struggling to deal with losing her boyfriend some time ago, Izzy (Mackenzie Davis) is determined to make it to the other side of town where his engagement party is happening. Of course she wasn't invited, everything seems to be collaborating to stop her, and it isn't the only thing wrong in her life, but it's the one thing she's determined to do something about. Great supporting characters, and Davis has a bittersweet appeal that works well here.

J. EDGAR (R) 131 minutes * * * His desire to make the United States a safe place became an obsession that twisted in on itself. Leonardo DiCaprio shows us the progression of Hoover's passion, as it moves from pride and protection to a position of mistrust, blackmail, and denial, all in an effort to create what increasingly only he views as a safe place. Despite what will undoubtedly be seen as a critical portrayal of the man, there is still a sensitivity in the script, and in DiCaprio's portrayal, reminding us that if nothing else, his original intents were sincere and good. R for langauge.

J. L. FAMILY RANCH (NR) 83 minutes * 1/2 Their ranch is running on hard times, but John (Jon Voight) is stubborn, and he won't sell the ranch or change his approach to running it. There's about to be an additional problem as Tap (James Caan) is alleging that the ranch is rightfully his. Stellar cast, but not much is demamnded of them in a story full of very strong stereotypes.

J. L. FAMILY RANCH: THE WEDDING GIFT (NR) 84 minutes * * Life is going well at the ranch. Henry (Dylan Walsh) proposes to Rebecca (Teri Polo) and a beautiful wedding is in the near future. An unexpected guest is about to change all of that though. At least for a little while. The characters are a little stronger here, but there are also some subplots that don't make much sense if you didn't see the first film.

THE J TEAM (NR) 80 minutes * * 1/2 JoJo's (JoJo Siaw) day started off just fine. And then she found out that her dance coach was retiring... and that her replacement hates pretty much everything JoJo stands for. She decides to start her own dance team, determined to show that believing in yourself and showing your sparkle is the only way to be. Lots of dance and lots of JoJo's trademark high energy work.

JAB HARRY MET SEJAL (NR) 132 minutes * * * When Sejal (Anushka Sharma) loses her engagement ring on a tour that Harry (Shah Rukh Khan) was leading, she forces him to help her find it. Harry struggles to understand the importance, and Sejal is frustrated with his lack of understanding, but needs his help. Along the way, something changes for both of them. Sweet, and very romantic story.

JACK (PG-13) 105 minutes * * Jack (Robin Williams) has a condition that will cause his body to mature at an abnormal rate. While this has its share of humorous aspects, there is a serious side as well, reminding us that we should enjoy life while we have it. Williams does his typical good job, but the script leaves a lot to be desired. Not only early on, when the film seems very jerky, but at the end of the film when we need to have some meaningful moments, we come up lacking. PG-13 for language.

JACK & DIANE (R) 101 minutes * * When Diane (Juno Temple) meets Jack (Riley Keough), she knows it's something special. As far as Jack, she's immediately drawn to Diane's innocence and playful spirit. Temple is a delight and continues to showcase her versatility as an actress. Keough, for her part, does a nice job with a role that calls for a mixture of love and uncertainty. What doesn't work well is the "love is a monster" idea. Repeatedly drawing on the monster images tends to refocus the film each time it happens and draw us away from a thoughtful and sincere story of romance and mistrust. Written, directed, and edited by Bradley Rust Gray. R for sex, violence, and language.

JACK AND JILL (PG) 86 minutes * 1/2 Adam Sandler plays twins as his annoying sister comes to stay for the holidays, or perhaps a bit longer. First she causes trouble, then it turns out that she actually can be helpful. Filled with Sandler's brand of humor, so fans will be happy, but anything of quality is limited to a few of Al Pacino's scenes, and not even all of those. PG for language.

JACK AND JILL: THE HILLS OF HELL (NR) 78 minutes BOMB Searching for her missing daughter, Jo (Stephanie Lodge) is about to learn the terrible truth behind the legend of Jack and Jill. It's no fairytale. The script and acting are both pretty bad. This is a sequel to "The Legend of Jack and Jill", but it doesn't really matter which order you watch them in... or if you watch either one of them. You won't be missing much.

JACK AND THE CUCKOO CLOCK HEART (PG) 84 minutes * * 1/2 Jack must never touch the hands of his heart, never lose his timper, and most importantly... never fall in love. Of course that pretty much tells you what's going to happen during the rest of the film. A fairytale with a touch of the macabre, bringing to mind some of Tim Burton's films, though this lacks the edge that Burton's films tend to have. It is very creative, and an impressive directorial debut from Mathias Malzieu, who also adapted the screenplay from his own novel and provides the voice of Jack for the French version of the film. PG for violence and language.

THE JACK BULL (R) 116 minutes * * * Myrl Redding (John Cusack) was just trying to take his horses in to town for sale. But in the days before Wyoming's statehood, all kinds of things can happen, especially when you've already locked horns with the biggest landowner in the territory. Cusack does a nice job here. There are aspects that make this much like other westerns, yet there are bits that keep it fresh and exciting to watch. John Badham has always done a fine job directing action films, but the dramatic sequences work well too. R for violence and language.

JACK FROST (PG) 95 minutes * * * Charlie Frost (Joseph Cross) is a popular kid at school and a delight to his parents, but when his musician/father dies in a car accident on the way home for Christmas, Charlie turns inward. Jack (Michael Keaton) gets a second chance to spend some time with his son the next year though, thanks to a harmonica and a little bit of magic. The special effects are nice, but it's the fact that the film makes you care about these characters that makes it work. A strong script, solid performances, and clear direction all add up to a holiday film that most everyone will appreciate and enjoy. PG for some rather out-of-place sex jokes.

JACK GOES BOATING (R) 85 minutes * * * Not one to date very much, Jack (Philip Seymour Hoffman) has finally found someone he likes who seems to be interested. There are some things he's going to need to learn... like how to swim, how to cook... Charming and sweet story, though not without it's rough spots. These aren;t perfect characters, and relationships rarely move straight ahead without any problems. Robert Glaudini adapted his play to the screen quite nicely, and Hoffman does a nice job directing and taking on the lead role. R for language and sex.

JACK GOES HOME (R) 99 minutes * * 1/2 Jack's (Rory Culkin) father is killed in a car crash. Returning home to take care of his mother and deal with details from the wreck, Jack begins to learn things he didn't realize he didn't know. This takes a dark and twisted turn toward the end, which only partially makes sense, but Culkin's performance is quite good. R for violence, sex, and language.

THE JACK IN THE BOX: AWAKENING (NR) 91 minutes * 1/2 The Jack in the box has been opened again. This time by Olga Marsdale (Nicola Wright), whose health is failing. In exchange for regainiing her health, the demon inside the box wants six innocent lives. Creepy but repetitive. Nice set and sound effects, but the acting definitely needs some improvement.

JACK REACHER (PG-13) 126 minutes * * * Based on the Lee Child book, "One Shot", this is a nice action thriller, though fairly predictable. As with many films in this genre, there's an attempt to try and be more realistic, which tends to work early on, but as the story moves along, events become less and less realistic and more and more sensational to keep the audience's interest. PG-13 for violence and lnaguage.

JACK REACHER: NEVER GO BACK (PG-13) 114 minutes * * * Tom Cruise doesn't seem to be all that interested in the film, with much of his acting looking like he's just going through the motions. The supporting cast do some very nice work here though, and make the film more interesting to watch. With a slight twist at the end, which helps this finish well, the only issue is that it runs just a little long. PG-13 for violence and language.

JACK RYAN: SHADOW RECRUIT (PG-13) 99 minutes * * * A Russion plot against the United States is uncovered by young CIA agent Rack Ryan (Chris Pine). Lots of action, and plenty of close calls and last minute saves... a few too many perhaps. Still, the suspense is well-designed and Pine does a nice job, especially as it plays against Kevin Costner's cool, dry performance. Pine is the fourth actor to play the character in just five films, following Alec Baldwin, Harrison Ford, and Ben Affleck, as Hollywood continues to try and find a way to bring Tom Clancy's series to the big screen. PG-13 for violence and language.

JACK THE BEAR (PG-13) 95 minutes * * * It's 1972, and Jack Leary and his dad have just moved to a new town. Making new friends isn't hard for Jack though, because his dad hosts a late night horror show on TV. Even though Jack knows that the monsters in the movies aren't real, he's finding out that life has plenty of monsters that can be just as scary. Robert J. Steinmiller is wonderful as Jack, giving us the humor, the anger, the fear, and the sensitivity in a balance that make this character come alive. It's a film that manages to keep a good balance between entertainment and being thought-provoking as well, with a humorous and touching performance from Danny DeVito as Jack's father. PG-13 for language.

JACK THE GIANT KILLER (NR) 83 minutes 1/2 Jack's (Jamie Atkins) father left him a couple of beans... Jack goes up the beanstalk, but when the creatures from above start to come down, he has to figure out what to do. Bad CGI effects and a stale script end up taking a somewhat interesting twist on the fairytale down the wrong road.

JACK THE GIANT SLAYER (PG-13) 106 minutes * * * It turns out that the story Jack (Nicholas Hoult) heard as a child was true. And now, the beanstalk once again reaches into the land of the giants. Can the princess be rescued and the beanstalk cut down before the giants descend and create havoc again? Nice, multi-layered story that works quite well as a sort of fairytale within a fairytale. Several moments are clearly focused on the in-your-face 3D effects, but otherwise, this is quite good. PG-13 for violence and language.

JACK THE REAPER (R) 82 minutes * Ten students on an extra credit trip to a railroad museum as they try to make up for an assignment that they failed to complete. Way too much time is spent introducing each character at the beginning. We need to know them, but it needs to happen much more quickly. The story keeps trying to be suspenseful and creepy, but it just never quite gets there. The cast tries their best, but the script and direction both fail. R for violence and lnaguage.

THE JACKAL (R) 119 minutes * * * This modernized version of the film "Day of the Jackal" lays its story out very methodically, as we slowly find traces of the mysterious Jackal on his murderous mission to kill the director of the FBI. It's nice to see Sidney Poitier in a role with some meat to it, but Bruce Willis and Richard Gere both seem miscast. Gere handles it a little better, but Willis seems to give us the same character we've seen so many times before. The real standout is Diane Venora, who gives us a wonderful performance as Major Valentina Koslova. Despite the problems, it's a fun ride that most fans of the spy genre will find worth watching. R for violence and language.

JACKALS (NR) 80 minutes * 1/2 Becoming part of a violent and unusual cult, Justin (Ben Sullivan) has found a new place to belong. His family hires a deprogrammer to bring him back. But there's a problem. Not only is breaking the mental conditioning proving to be more difficult than expected, it seems that the cult isn't ready to let Justin go. Dark and sinister, but unsurprising.

JACKASS FOREVER (R) 86 minutes BOMB What else is there to say... it's more hijinks from the Jackass crew. Still going after all these years. Many of the stunts here are re-staged versions of stunts fro earlier Jackass films. R for nudity, violence, and language.

JACKASS: NUMBER TWO (R) 83 minutes BOMB Johnny Knoxville and friends return to remind us how stupid they are. They needn't have worried. We still remember the first film. Some of the fake bits and safety precautions are a little more visible here. Maybe that will help make sure that people don't imitate these stunts. Then again... R for language, violence, and nudity.

JACKASS: THE MOVIE (R) 76 minutes BOMB Johnny Knoxville and friends bring their idiotic stunt show to the big screen. I will admit that I laughed a few times, but it's hard not to laugh a little at people who do such stupid stuff. The warnings about not trying this stuff at home are very much warranted. Many people fail to realize how much training it takes to learn how to fall repeatedly without getting hurt and to be able to vomit at will so that things don't remain in your stomach. Not that this serves as an excuse to film stupid stunts like these... R for language and violence.

JACKASS 3 (R) 85 minutes BOMB More of the same... in 3D... which doesn't make it any better. There does seem to be a bit more vomiting throughout this film, so if you have a weak stomach... or maybe it's a sign that the Jackass crew is having difficulty stomaching their stunts. We can only hope. R for language, violence and nudity.

JACKASS 3.5 (R) 78 minutes BOMB At least its not in 3D this time. Unfortunately, they've discovered the wonders of slow-motion photography. More of the same idiotic stunts. R for sex, violence, and language.

JACKBOOTS ON WHITEHALL (NR) 84 minutes * An alternative history of World War II told with animated dolls. Bits of humor are mixed in with the more serious wartime topics as London is captured by the Nazis and England must figure out how to respond. This is one of those strange films that doesn't really seem to have much of a target audience.

THE JACKET (R) 96 minutes * * * 1/2 Jack (Adrian Brody) was a good man. But ending up in the wrong place at the wrong time leaves him almost dead, with partial amnesia, and shuttled away to a mental institution. While undergoing an experimental behavior modifaction treatment, Jack finds himself in another time, and perhaps able to help himself and a few others along the way. It's a fascinating story, with a performance from Brody that just won't let you go. There's definitely a sense of the macabre and unusual, and you may never be sure about... OK, I won't give that part away, but whether you're sure or not doesn't really matter. It will haunt you, but in a way that is more thought provoking than anything else. Very nice soundtrack from Brian Eno that compliments the mood of the film, and a wonderful screenplay by Massy Tadjedin from a story by Tom Bleecker and Marc Rocco. Filmed in Scotland and Canada. R for language, violence and sex.

JACKIE (R) 93 minutes * * * John F. Kennedy may not have been in the White House very long, but he and Jackie had a profound effect on the United States and on the White House itself. This story focuses on Jackie's experience, her work on the interior of the house, and what happened after John's assassination. Natalie Portman's performance is inconsistent between the black and white and color sequences, with the black and white ones being near perfect. She did received both Oscar and Golden Globe nominations for her work. The supporting performances are good all around, but the script is less impressive, though it does end very well. R for violence and language.

JACKIE & RYAN (PG-13) 86 minutes * * 1/2 Ryan (Ben Barnes) is a drifter. He's also a musician who is looking for both success and a better life. Jackie (Katherine Heigl) is a struggling single mother who is at risk of losing custody of her daughter. Together, that may not sound like much, but they just might do better than anyone expects. Gentle and easy-going flow to the story that slowly takes ahold of you. The ending is positive, without giving us all of the answers, which is not always easy to accomplish. PG-13 for language.

JACKIE BROWN (R) 150 minutes * * This has the flavor of those old black exploitation films of the late 60s and early 70s, but it also makes us think the director (Quentin Tarrantino) thinks better of himself than he should. It's a bit overly pretentious, though it does begin to pick up the pace after 90 minutes. Cutting 15-30 minutes out of the first part of the film would've done wonders. Pam Grier and Samuel L. Jackson are great, but the rest of the cast are rather two-dimensional and we walk away from this film wondering what Tarrantino was thinking when he made it. R for violence, language, and sex.

JACKIE CHAN'S FIRST STRIKE (PG-13) 77 minutes * 1/2 Fairly typical Jackie Chan film with lots of action and Chan's special brand of humor. The plot gets a bit tangled and hard to follow in a few spots, but Chan's films are more about his special talent of being able to use virtually any object at hand to defend himself and disable his attackers. Not his best work, but still fun to watch if you enjoy martial arts. PG-13 for violence and language.

JACKIE ROBINSON: MY STORY (NR) 64 minutes * 1/2 Combination of archival footage and narration delivered by an actor portraying Robinson. Informative but very dry bio-documentary. The old film clips are interesting, but its too bad there isn't more, or at least more in the way of reenacted scenes from Robinson's life.

JACOB (NR) 85 minutes * The house on the edge of town is supposed to be haunted... or is Jacob still living there? This is the story, or rather two stories, because one is about Jacob as a child and the other is about him as a man. The script is surprisingly flat and emotionless considering the idea of the story. Then again, Larry Wade Carroll served as writer, director, co-producer, actor, casting, production design, set decoration, set dresser, set construction, and location manager... it's somewhat of a surprise that the final product even looks as good as it does with one person doing so much.

JACOB'S LADDER (R) 108 minutes * * * 1/2 Tim Robbins stars in this psychological thriller that deals with the subject of death. It takes an intense look at what we call life, what memories are or might be, and what reality is and isn't. It's a film you need to pay close attention to and one that will stay with you long after you've stopped watching. The film's closing moments are packed with powerful images that emphasize the message of the film. R for violence, language, and sex.

JACOB'S LADDER (2019) (R) 84 minutes * 1/2 A reworking of the 190 film of the same title. This time, Jacob (Michael Ealy) struggles to figure out what's real and what' not when his brother returns home from war. Ealy is good, but the story has changed enough that his character just isn't as strong. It's also a shorter film, not that being longer would have helped, but the previous film made very effective use of that extra time. R for language, violence, and sex.

JADE (R) 90 minutes * * Better than most of Joe Esterhas' scripts, this gives us a little more tension by focusing on fewer characters for our suspicions. The cheap ending destroys much of the effect though, and this ends up being a film that lacks the punch it needs. It definitely has the look and sound of director William Friedkin, but not the heart. David Caruso, Linda Fiorentino, Chazz Palminteri, Michael Biehn, and Richard Crenna are all here, but nothing effective results.

JAFFA (NR) 102 minutes * * * Tragic relationship between a Jewish girl and the Arab mechanic employed by her father. He ends up accidentally killing her brother, but not before getting her pregnant. He doesn't know that though, and neither do her parents. Nine years later, he's out of prison, she's moved on with her life, but the truth comes out. Despite it's soap-opera plot, the acting is very good and the characters clearly have appeal. The flow of the film is a bit uneven, but the emotion of the story tends to move us past that.

JAGGED EDGE (R) 110 minutes * * * 1/2 On top of losing the wife he loved, Jack (Jeff Bridges) is now being accused of her murder. Hiring Teddy (Glenn Close) is an unusual move, as she hasn't handled a criminal case in years. The chemistry between the two of them could complicate the case even more. Nicely crafted story by Joe Ezsterhas with a great sonudtrack by John Barry. R for sex, violence, and language.

JAILBAIT (NR) 86 minutes BOMB Anna (Sara Malakul Lane) is the victim of sexual abuse, but when she accidentally kills her abuser, she ends up in prison. Now she has to fight and have sex to survive on the inside. Completely unrealistic exploitation flick with... no you can't even call it bad acting, it's bad pretending to be acting.

JAKE SQUARED (R) 98 minutes * * * Jake (Elias Koteas) decides to make a movie about love. But since this is about his own particular experiences with love, it will be a little complicated. In fact, it will be a muddled mess of memories and musings, but that's what so many of us actually have. Putting it all together and making sense of it is the tricky part, and Jake is going to give it a try. Writer/director Howard Goldberg takes on a little too much at once. The interplay between some of the different characters in Jake's life is good, but doesn't always work as well as it needs to, though there are some great moments. Koteas does a nice job playing three of the versions of himself that we see. Some of the dialogue between those different selves is almost profound, but then it seems to shy away from that intensity. R for language.

JAKE'S ROAD (NR) 80 minutes 1/2 His memories are slowly returning. There was a fun weekend with friends where something went horribly wrong. A beautiful, wooded setting that is somehow hiding the identity of the killer. Despite trying hard to be clever and creative, the script ends up being rather weak, and the acting is even less impressive.

JAKOB THE LIAR (PG-13) 115 minutes * * * It's World War II, and everyone in the Jewish ghetto where Jakob lives thinks he has a radio. It started as a misunderstanding, but now it gives them hope to "hear" the news about the approach of the allies. Filled with wonderful characters, this is a film about hope and about family. Families of blood, families made up of those we care for, families of faith, and the risks we will take for them. Robin Williams, Alan Arkin, Armin Meuller-Stahl, and Liev Schreiber and many others do fine character work here, but special mention goes to Hannah Taylor-Gordon for her outstanding performance as young Lina, who gives Jakob the best reason to keep hoping. PG-13 for violence.

JAKOB'S WIFE (NR) 94 minutes * 1/2 Anne (Barbara Crampton) has been a loyal and obendient wife to local paster Jakob (Larry Fessenden) for many years. When an old boyfriend of hers shows up, it sparks something. But something else is going on in this town. Something to do with rats, a missing child, and a strange creature known as "The Master". Very nice soundtrack.

JAMAICA INN (NR) 173 minutes * * * When Mary's (Jessica Brown Findlay) mother dies, she has nowhere to go except an aunt and uncle she's doesn't know that well. It doesn't take long for her to learn what her uncle does for a living, which puts her life at great risk. A dark and brooding story, though it does end on a somewhat lighter note. From the novel by Daphne DuMaurier.

JAMES AND THE GIANT PEACH (PG) 73 minutes * * A grasshopper, ladybug, spider, centipede, earthworm, and glowworm are companions for James in his travels inside a giant peach on its way to New York. From Roald Dahl's book for children, this is a little offbeat and the music by Randy Edelman isn't as good as it should have been. The animation is entertaining and kids will enjoy that aspect, but it probably won't be listed among their favorites.

JAMES VS. HIS FUTURE SELF (NR) 91 minutes * * James (Jonas Charnick) is having a difficult time believing that this is real. He's always thought that time travel would be amazing. And he's had plenty of ideas about how it actually works. He has now met his future self. But Jimmy (Daniel Stern) has come back in time to convince James that he shouls not attempt to travel in time. The story is very good, but the acting and direction lack the strength they need to make this more compelling.

JAMES WHITE (R) 84 minutes * * James White (Christopher Abbott) struggles to take care of himself. With his mother's condition getting worse, he has to step up his game... and that's not going to be easy. The story happens so quickly that it's difficult to feel much sympathy for James because we're only just beginning to know him at the end. R for sex and language.

JAMESY BOY (NR) 104 minutes * * Jamesy (Spencer Lofranco) has been on the wrong side of the law for awhile. His view of life doesn't really match up with most other people, but its the way he sees things. The performances here are fairly good, but they tend to be overly stylized. The story is told while moving back and forth in time, which interrupts the flow of the story, though much of the information is important. It does end quite nicely.

JAMIE MARKS IS DEAD (NR) 97 minutes * * 1/2 When Jamie (Noah Silver) is found by the river, one of his classmates becomes fascinated with the death. Now, Jamie is haunting both Adam (Cameron Monaghan) and Gracie (Morgan Saylor), the girl who found him. Very moody and somewhat depressing story. It finishes very nicely, but is very muddled and confusing early on. Forgiveness is essential to moving on, but the subplot about Adam's mother doesn't really work well, despite illustrating that point. The story needed to tell us more about Gracie, who seems to be a little left out despite being rather central to the story.

THE JANE AUSTEN BOOK CLUB (PG-13) 103 minutes * * * 1/2 What starts as a book club to pass the time and perhaps gain a couple of friends becomes much more. In exploring and discussing six Jane Austen books, they discover things about themselves and each other that draw them closer together while sometimes threatening to drive them apart. Writer/director Robin Swicord does an admirable job of adapting Karen Joy Fowler's novel to the screen. The cast works very well together, delivering an ensemble performance that truly works so well together that it's difficult to talk about one of them without talking about another. PG-13 for language and sex.

JANE EYRE (2011) (PG-13) 114 minutes * * * Another of the numerous adaptations of the Charlotte Bronte classic to the big screen. This one features Mia Wasikowska in the lead, doing very nice work as the quite and shy orphan who becomes a governess and slowly begins to come out of her shell as she experiences life and love. Quite beautiful and sensitive version of the story. PG-13 for nudity and violence.

JANE GOT A GUN (R) 91 minutes * * When her husband shows up wounded, Jane (Natalie Portman) makes a choice. A gang is out to kill him, so she asks her former lover for help. There's plenty of style and all the right look, but the story is surprisingly devoid of passion and energy. It does pick up a little toward the end, but by then it's too late. R for violence and language.

JANE'S JOURNEY (NR) 107 minutes * * * Jane Goodall spent 45 years studying chimpanzees in Africa. This comprehensive bio-pic explores everything from her early days in Gombe, to working the lecture circuit around the world. Hers has been a lifetime of studying chimpanzees and of promoting conservation and peace. She is an amazing woman, who knows that there is still more to do, and she continues to work, because it does make a difference.

THE JANKY PROMOTERS (R) 81 minutes * I'll avoid the obvious statement about the film (considering the title), but this is pretty much what you'd expect from the team of Ice Cube and Mike Epps. They're music promoters who don't really know what they're doing. Russell (Ice Cube) is all about business, though he doesn't really have the influence he thinks he does or the skills he really needs to do the job. Jellyroll (Epps) is more free-wheeling, and tends to get himself into trouble by too often failing to follow through on his word. Fans of the two may enjoy this to a point, but it does get tiresome. R for language and sex.

THE JANUARY MAN (R) 94 minutes * * 1/2 This is actually a rather engaging murder mystery. Someone decided that it needed a dose of comedy and nearly ruined the whole film with it. The performances still manage to come off well thanks to the talents of Kevin Kline, Susan Sarandon, Mary Elizabeth Mastrantonio, and the rest, but this was sorely in need of a better script and stronger direction. R for language.

JARHEAD (R) 114 minutes * * 1/2 The life of a young man in the U.S. Marines is followed through basic training and into his brief experience in Iraq. The emphasis here is on personal experience and feelings, making it an interesting piece, though there's too much narration. Jake Gyllenhaal and Peter Sarsgaard both deliver nice performances, but the atmosphere is equally as important here, nicely created through Roger Deakins' photography and Thomas Newman's soundtrack. The story doesn't really take us as deeply as it needs to though, tending to shy away from most things that could be controversial or more emotional. R for violence, language, and sex.

JARHEAD: LAW OF RETURN (R) 99 minutes * * 1/2 Shot dow over Syria, Major Jackson (Devon Sawa) is quickly captured. He's the son of a United States senator, but also an Israeli citizen, which means a cooperative rescue effort with very little time for extraction. Continuing in the tradition of the rest of the films in this series, the action is intense. R for violence, language, and sex.

JARHEAD 2: FIELD OF FIRE (R) 99 minutes * * 1/2 A re-supply mission turns into something much more dramatic and dangerous than first expected. Very tense, with lots of gunfire, but also very uneven in believability. R for violence and language.

JARHEAD 3: THE SIEGE (R) 86 minutes * *1/2 When a U.S. embassy in the Middle East is under siege, it's up to a small band of Marines to protect the ambassador and his staff and keep the information that is stored there safe. Intense battle scenes, and nice work by Sasha Jackson. R for violence and language.

JASON BOURNE (PG-13) 114 minutes * * * Matt Damon returns for another entry in the series. Packed with chase scenes, both on foot and in vehicles, and almost all of which are highly unrealistic, but also quite fun to watch, though not quite as spectacular as some other spy film series. Bourne continues to uncover more about his own past while finding additional reasons not to trust anyone who works for the agency. PG-13 for violence and language.

JASON GOES TO HELL: THE FINAL FRIDAY (R) 84 minutes BOMB This time around, Jason goes body-hopping as well as body-hacking, in a series entry that has almost no connection with any of the others. At least nineteen murders, but nothing new.

JASON X (R) 87 minutes * 1/2 Lookout! It's Jason in space! At least this entry in the infamous and legendary Friday the 13th series has more of a sense of humor than most. Jason and the young woman who put him in cryostasis are found by a group of young research students who promptly thaw them out, letting Jason begin another killing spree. It's really no more far-fethced than normal, but the bits of humor help make it more tolerable. Anyone ready for part 11? R for violence, nudity, and language.

JASON'S LYRIC (R) 113 minutes * Jada Pinkett stars in this rather slow-moving story of drugs and violence. There's a love story here too, though the film drags on too long and suffers from poorly written dialogue that prevents us from connecting very well with the characters. Pinkett and the rest of the cast do what they can, but the material just isn't there. R for violence and language.

JAVA HEAT (R) 98 minutes * 1/2 A violent and dangerous jewel thief (Mickey Rourke) is being tracked by an Indonesian detective and a former US Marine. Not very convincingly though. Neither one of them seem to be able to see the clues. There are a few moments with a little intrigue, but Kellan Lutz is weak at best in a role that is already very two-dimensional. R for violence, language, and sex.

JAWBONE (R) 88 minutes * * 1/2 Once upon a time, many years ago, Jimmy McCabe (Johnny Harris) was a boxing champ. That was when he was a boy. Now he's a man. A man who is down on his luck. With no other options, he goes back to his old lub to see if his former trainer and the owner will give him some help. Dark and gritty character driven boxing film. R for language and violence.

JAWBREAKER (R) 81 minutes * A birthday prank gone awry gets Liz choked to death on a jawbreaker. But her friends are the coolest girls in school and life must go on... The film has the edge it needs in a few spots early on, but quickly degenerates as it tries to tie up loose ends of the mystery. The problem is that we don't really care about the mystery. We do want to learn more about these characters, but that isn't what we get. R for language.

JAWS: THE REVENGE (PG-13) 93 minutes 1/2 The child of Jaws is mad about the death of it's parents and wants to exact revenge on the Brody family. If that doesn't sound dumb enough, the shark actually attacks a plane this time... Even Jaws fans are likely to be disappointed here. Except for a couple of shark attack scenes, there's not much here at all.

JAWS 3-D (PG) 95 minutes * Lackluster story until very late in the film, by which time we’ve pretty much given up on it. The cast tries, but the script seems intent on trying to be far more complicated than it should be. The 3-D effects are very good, but it’s just not enough to hold the film together. PG for violence, language, and sex.

JAY AND SILENT BOB REBOOT (R) 96 minutes * * 1/2 As the "reboot" in the title suggests, you take the original movie and tweak it just enough to make people pay to see it again. Jay (Jason Mewes) and Silent Bob (Kevin Smith) are on their way to Hollywood to stop production on a film and get their names back. Lots of film industry in-jokes, mostly relating to earlier Jay and Silent Bob films. If you're a fan, this is a real treat. If not, you might want to skip it because it just won't be all that much fun. R for sex and language.

JAY AND SILENT BOB STRIKE BACK (R) 93 minutes * Despite the low rating, I really do enjoy Jay and Silent Bob as characters. I don't think they really needed their own film. They work much better as supporting characters. In fact, some people have commented about how much foul language is in the film (which is, by the way, the reason for the R rating). Well, Jay has always had a pretty foul mouth. But when he's only on screen for a couple of minutes every once in awhile, it's not quite as evident. The film is really little more than a collection of cameos from people who've been in other Kevin Smith films along with a few special guests. They manage to work in a few parodies and in-jokes for those familiar with the film industry, but not much in the way of substance. It's definitely more on a par with "Mallrats" than with the rest of Kevin Smith's inventive and humorous films.

JAYNE MANSFIELD'S CAR (R) 117 minutes * * 1/2 Two different families, conencted by a woman who is now gone. Will they be able to honor her memory together or will the pain of the past prevent it from happening? The script is somewhat disjointed, skipping through scenes which are finely crafted, but just don't fit together well. The cast is quite talented, and deliver some great performances, but the lack of connection to a broader story that ties it all together keeps us at a distance. R for language and sex.

JEAN DE FLORETTE (PG) 122 minutes * * * Yves Montand and Gerard Depardieu star in this French film about a farmer who lies and cheats his way into acquiring a neighboring piece of land. The performances give this film life. It's a story that manages to feel real and yet has a very real sense of being a fable. Followed by "Manon of the Spring".

JEDI JUNKIES (NR) 70 minutes * * Much like "trekkies" or "trekkers", "jedi junkies" are fans of that wonderful series of "Star Wars" films and all of the merchandising that came with them. This documentary also takes a quick look at why people are fans, what they collect, and what it means to connect with others who share your interests. Those are actually some of the less interesting parts, while watching the fan film clips and listening to some of the "junkies" are the more interesting moments. It also doesn't really havemuch to say about the conventions, which could have provided some interesting footage.

JEEPERS CREEPERS (R) 85 minutes * A brother and sister on their way home from college see somebody dumping what looks like bodies down a drainpipe. They investigate. They are stupid. Very low budget special effects that look anything but real and far too much time early on with the brother and sister talking in the car. We get loads of personal background that we don't need and not enough about what's going on with the bodies. R for violence and language.

JEEPERS CREEPERS: REBORN (R) 83 minutes * 1/2 Attending the Horror Hound festival with her boyfriend, Laine (Sydney Craven) can sense that something is wrong. In fact, it's been 23 years since his last appearance, and it's time for the Creeper to return. Nice effects, but the story hasn't really improved since the last entry in the series. Of course, this one leaves room for yet another sequel. R for violence and language.

JEEPERS CREEPERS 3 (NR) 84 minutes * * Another 23 years have passed, and it's time for the monster to feed again. This doesn't really focus on trying to explain anything, which is pretty much what we expect at this point in the series. The focus is on the creeper, and how it seems that nothing will stop him when it's time for him to do his "work". Pacing is better in this entry in the series, and so are the production values.

JEEPERS CREEPERS II (R) 97 minutes * The creeper is back. The special effects are much better here than in the first film, despite how dark the film is in virtually every scene. One of the biggest problems here is that we still don't really learn that much about the creeper. Still, it ends nicely, with a set-up for a sequel, but in a rather different manner than you might expect. R for violence and language.

JEFF WHO LIVES AT HOME (R) 77 minutes * * 1/2 Jeff (Jason Segel) is fascinated by the movie "Signs" and believes that everything is part of a larger picture. When someone mistakenly calls his phone and asks for "Kevin", he knows that there's a deeper meaning... he just has to find out what it is. Quirky comedy, but with some very deep and meaningful moments, and well-played by Segel. R for language.

JEFFERSON IN PARIS (PG-13) 136 minutes * * 1/2 Sprawling and long-winded tale of Thomas Jefferson's life and loves while in Paris in the 1780s. This definitely has the look, but just lasts too long. A Merchant and Ivory production, but not one of their best. Nick Nolte does better than expected, but Thandie Newton and Greta Scacchi are the real stars here.

THE JEFFREY DAHMER FILES (NR) 74 minutes * * 1/2 Interviews with those involved in the case of Jeffrey Dahmer as well as friends and neighbors and a few dramatic reenactments, all of which tell the story of his murderous career. It's fascinating, though it does rely rather heavily on interviews with one neighbor and the lead detective on the case. Including a more diverse set of experiences and viewponts could have added a great deal to the film.

JEKYLL AND HYDE TOGETHER AGAIN (R) * * ½ The transformation here is not from a doctor into a monster, but from a shy doctor into a party animal. It’s a humorous take on the classic horror tale, and it works reasonably well. Nice supporting work by Krista Errickson. R for language, violence, and sex.

JELLYFISH (NR) 74 minutes * * * While this is the story of three different women whose lives intersect, it focuses on Batia (Sarah Adler), as she finds a young girl who doesn't speak, but seems to have been abandoned. As she deals with that situation, and the other stories weave their way in and out, we find ourselves wondering how it is that we connect with one another. Where is it that our destiny will take us? The feeling of the film is both lyrical and almost like a fairytale.

JEM AND THE HOLOGRAMS (PG) 110 minutes * * Jennica (Aubrey Peeples) and her sisters were just having some fun, but when their video goes big, they become stars overnight. But what will that mean for them? This drags far too much and most of the story and the acting just aren't all that interesting or exciting. The story finishes with a much stronger and more emotional energy than the rest of the film. An extra scene in the credits leaves room for a sequel, but don't be surprised if that doesn't happen. PG for language.

JENNIFER EIGHT (R) 121 minutes * * 1/2 Andy Garcia and Uma Thurman star in this film that has good tension throughout. A good deal is done with an emphasis on light and dark, creating suspense in the older, and still effective style. The editing is a bit choppy in spots, which speaks of some last minutes cutting. It hurts the overall effect, but the ending makes up for most of it.

JENNIFER'S BODY (R) 97 minutes * * 1/2 Needy (Amanda Seyfried) and Jennifer (Megan Fox) are best friends. They are an unlikely pair, but after a fire at a local bar kills seceral people, they're even more different. Acting, and a script that manages to incorporate a few creative bits, help to elevate this occult horror film over the typical film of the genre. It doesn't hurt to have a good soundtrack like this too! R for sex, violence, and language.

JENNY'S WEDDING (PG-13) 91 minutes * * * Coming out sometimes happens in stages. When Jenny (Katherine Heigl) tells her parents, it takes some adjustment in their thinking. But at least they are the only ones in the family that know... for now. What Jenny discovers though, is that once she has begun the process, it's difficult to stop. It feels better to just open up, whether other people like it or not. There are the typical stereotypes here, but there's also some very good material here that is both sensitive and meaningful. PG-13 for language.

THE JERKY BOYS (R) 76 minutes BOMB Two lazy bums who get their thrills making prank phone calls end up causing trouble for some New York gangsters. Of course they get caught... who cares? The most interesting aspects of the film are seeing a very cleaned up Ozzy Osbourne as a band manager, and that the film has Tony Danza and Emilio Estevez as executive producers.

JERRY AND MARGE GO LARGE (PG-13) 91 minutes * * 1/2 Jerry (Bryan Cranston) just retired. He's not really sure what he'll do until his math skills inspire him to take a look at the lottery. His system to beat it works, and it doesn't take long for Marge (Annette Bening) ti figure out what he;s doing. They decide to share the info with some of their family and a few friends. But when someone else also figures out the flaw in the system, it puts Jerry's plan in jeopardy. A fun story, based on an actual case. PG-13 for language.

JERRY MAGUIRE (R) 133 minutes * * * This does run a little long, but it's a great story of how important it is to believe in yourself and then to have others believe in you. Tom Cruise does a great job here, but his supporting cast is terrific, especially little Ray Lipnicki. Their scene together on the couch is perfect! Incredibly well-written by writer/director Cameron Crowe and immensely entertaining, this is sure to be a favorite for many people. R for language and sex.

JERSEY BOYS (R) 127 minutes * * * 1/2 The story of Frankie Valli (John Lloyd Young) and the Four Seasons. The focus is on their early days, their connections to the mob, and the internal conflicts and struggles of the group. This adaptatio of the Broadway musical isn't quite as strong as it was on stage, but is still impressive, in no small part due to Young's great work in the lead role, which he also won a Tony for on Broadway. R for language.

JERSEY GIRL (PG-13) 97 minutes * * 1/2 Ollie (Ben Affleck) had led the "perfect" life, but when his wife dies during childbirth, he discovers that the pressures of his job and those of being a single parent are more than he can handle. It's no real surprise that the weakest part of this film are the scenes that ask for Affleck to show sensitive emotions. That's never really been his strong point. Liv Tyler on the other hand does a nice job with her supporting role and young Raquel Castro is wonderful as little Gertie. There are cameo bits for Matt Damon and Jason Lee, reminding us that this is a Kevin Smith project. Not his best, but not bad either. PG-13 for language.

JERUSALEM COUNTDOWN (PG-13) 79 minutes * Yet another low-budget terrorist film, with nuclear weapons about to be detonated in the US by evil Arabs. A few action scenes show some small amount of skill, but the acting isn't very good and the script is worse. Cheap, cliffhanger ending. PG-13 for violence.

JESS + MOSS (NR) 80 minutes * * 1/2 Coming of age story about two second cousins who only have each other as family. The story doesn't go into much depth, so there is a sense in which we never feel we know these two, yet at the same time, the unusual style makes them oddly appealing and we do find them interesting.

JESSABELLE (PG-13) 84 minutes * 1/2 Recovering from a car accident that killed her boyfriend and her unborn child, Jessie (Sarah Snook) is staying with her estranged father. But something is wrong in the house, and Jessie is about to learn more than she bargained for. Lots of creepiness, along with some cheap noise scares and some lapses in logic. PG-13 for violence.

JESSE JAMES: LAWMAN (NR) 71 minutes * Jesse (Andrew Galligan) recounts his interaction with the Dalton gang and his work with a sheriff to uncover an attempt to take over a town sitting on a gold mine. Told through flashbacks, there isn't really much action here, and the story itself isn;t really all that exciting either.

JESSE STONE: BENEFIT OF THE DOUBT (NR) 87 minutes * * 1/2 When his replacement is killed, Jess (Tom Selleck) is asked to return to his old position as chief of police and to help find the killer. Nice entry in the series, though it does rely heavily on the earlier films, with many references that won't make much sense if you haven't seen at least a couple of them.

JESSE STONE: INNOCENTS LOST (NR) 87 minutes * * * Jesse (Tom Selleck) may be retired, but that won't stop him from investigating the murder of a young friend. Fresh script with witty and intelligent dialogue, though the story does rely a bit on us having seen the earlier films. Otherwise, a fine entry in the series.

JESSE STONE: LOST IN PARADISE (NR) 86 minutes * * 1/2 Life is a little rough for Jesse (Tom Selleck), and he's finding a little too much comfort with alcohol. Maybe this new case will be able to pull him out of his slump. A nie entry in the series, though it's definitely a little darker in tone, and relies heavily on the content of earlier films.

JESSE STONE: THIN ICE (NR) 84 minutes * * Jesse Stone (Tom Selleck) is having difficulties. His involvement in a shoot-out have internal affairs and the town council breathing down his neck. At the same time, a missing baby case resurfaces. Selleck doesn't seem to be all that interested in what's going on here. The story isn't bad, the the lack of energy doesn't help the film keep our interest.

JESUS CAMP (PG-13) 81 minutes * * * Very interesting look at an evangelical Christian summer camp program, the adults who lead the program, and the children who attend. No matter where you fall on the theological or philosophical spectrum, this is an important film for you to see. The filmmakers have done a wonderful job of presenting a well-balanced view that offers support and criticism, but mostly focuses on information. PG-13 for language.

JESUS CHRIST SUPERSTAR (2000) (NR) 107 minutes * * * Fresh and exciting new version of the musical. Stylish sets and talented new faces give this production an energy that that's evident through the entire film. The music is as powerful as ever and its nice to see that care was taken to keep that intact while making this new film.

JESUS OF MONTREAL (R) 119 minutes * * * A young actor is asked to update the local production of the Passion play. He does so, finding a small, talented group of fellow actors with vision and commitment. But this new production is a bit more than the sponsoring church expected, pushing the boundaries of faith beyond what they consider appropriate. The crowds may love it, but the church can't let it continue. The story is powerful and the cast presents it well. For those who love theater, and for those who are willing to stretch their own boundaries, this will be a film you don't forget. Filmed in Montreal, Quebec. R for language and sex.

THE JESUS ROLLS (R) 76 minutes * 1/2 Fresh out of jail, Jesus (John Turturro) loses no time getting into trouble along with his friends Petey (Bobby Cannavale) and Marie (Audrey Tautou). Although the character of Jesus is from the film "The Big Lebowski", the Coen brothers had nothing to do with this film. The story is adapted from the French film "Going Places", and has some good comic moments, but just never really has the spark that "The Big Lebowski" did. R for sex and language.

JESUS' SON (R) 104 minutes * * * Fascinating character study of a young man on a quest for love and self-understanding. Billy Crudup stars as FH, experiencing whatever life lays in his path. Offbeat at times, but never wavering from its course, this will undoubtedly remain a film for Crudup and the rest of the cast to be proud of. Samantha Morton and Jack Black have nice supporting roles here, and we also see Dennis Hopper, Holly Hunter, and Denis Leary. Still, it's Crudup's relaxed performance that carries the film through to it's conclusion. Alison Maclean's gentle direction gives this a nice touch and the soundtrack sets the mood nicely too. R for Sex and language.

Ma name="6284">THE JETSONS AND WWE: ROBO-WRESTLEMANIA (NR) 79 minutes * * 1/2 George finds Big Show frozen in ice and thaws him out. Despite being happy to learn that there is still WWE in the future, Big Show isn't too happy that all of the wrestlers are now robots. He takes over everything, and the Jetsons have to get real wrestlers from the past to help set things right. The balance is pretty good, so fans of either should be happy with the result.

JETSONS: THE MOVIE (G) 75 minutes * * 1/2 Though the Jetson family finally made it to the feature film arena, the result is a bit disappointing. The plot revolves around getting along with other species and ecology in general, topics that are positive enough and present a good message, but it rings hollow. The animation is uneven, with some of the brightly colored scenes featuring beautiful backgrounds, while others just look cheap. This uneven quality runs through other parts of the film as well, story, dialogue, music... Younger children may be entertained, but they surely won't understand why mom or dad have such fond memories of this cartoon from their own childhood.

THE JEWEL OF THE NILE (PG) 108 minutes * * 1/2 Sequel to "Romancing the Stone" with our heroic couple (Michael Douglas and Kathleen Turner) off on another exciting adventure. Fits very well with the first film without relying on it too much. Douglas and Turner not only work well together, but seem comfortable working in an adventurous story. PG for violence and language.

THE JEWISH CARDINAL (NR) 99 minutes * * * The true story of Jean-Marie Lustiger (Laurent Lucas), who had hoped to become a priest in Jerusalem. Instead, the pope makes him bishop of Orleans, which is his old home town... where he was raised as a Jew. As he continues to rise through the heirarchy of the Catholic church, his Jewish heritage will provide him with challenges and strength throughout his life. Very nice work by Lucas.

JEXI (R) 79 minutes * * * Phil (Adam Devine) loves his phone more than anything. His brand new phone is a little different than what he's been used to though. It has an A.I. system named Jexi (voiced by Rose Byrne), who has some ideas about how to improve Phil's life. Foul, but very witty script byt the writing/directing team of Jon Lucas and Scott Moore. It gives us a reminder of how easy it is to connect to life through our phones (and other electronic resources) and how important it is to relate to people without them. R for sex and language.

J.F.K. (R) 183 minutes * * This follows the Oliver Stone model for filmmaking, which involves taking an extra long time to beat you over the head with one idea. That aside, the performances are solid throughout the film. There are an abundance of cameo appearances and Kevin Costner's Louisiana accent is a bit off, but the characters are interesting and easy to watch. This really should have been a 3-part TV miniseries, but Stone prefers the big screen. That meant that he had to cut some footage and put in a couple of very long and boring monologues to explain what would have been covered. R for violence and language.

JFK: THE SMOKING GUN (NR) 81 minutes * * * Investigative documentary that follows the work of Australian detective Colin McLaren as he does a cold case analysis of the Kennedy assassination. A convincing presentation of facts and conclusions that have been presented before, but were largely ignored. Nicely done, though it will undoubtedly not convince conspiracy theorists.

JIG (NR) 94 minutes * * 1/2 Competitive Irish dance - the 40th World Championships. The film follows several dancers as they strive to be number one. Ends nicely, but this focuses more on the back story, which means we don't get to see as much of the competition.

JIGSAW (R) 85 minutes * * Is it possible? The bodies that are turning up are showing signs of the work of a particularly gruesome killer. But that can't be. Jigsaw (Tobin Bell) died ten years ago. (But you can't keep a horror franchise down for long.) It's not really much of a surprise to see how the series will continue, but the unfortunate part is that it seems we may have less of the escape room pattern that made the other entries in the "Saw" series interesting. R for violence and language.

A JIHAD FOR LOVE (NR) 77 minutes * * 1/2 Homosexuality is a sin for those who are Muslim. There are those who disagree with the beliefs and opinions of the majority, and who struggle with what it means to be who they are and to honor their faith tradition that means so much to them. Thoughtful and compassionate documentary.

JIMI: ALL IS BY MY SIDE (R) 111 minutes * * * The most amazing part about this bio-drama is that it only covers a year of Hendrix's life. In that critical year, he went from playing back-up and doing session work, to captivating the crowd at the Monterey Pop Festival of 1967. Andre Benjamin does a great job bringing Hendrix to life. R for language and sex.

JIMMY CARTER: MAN FROM PLAINS (PG) 119 minutes * * * Former president of the United States, Jimmy Carter's tour to promote his book, "Palestine: Peace Not Apartheid" is the focus of this documentary. Carter's presidency and bits of biography are included as well, but the provocative title of the book raises many questions, even from those who have been supporters of Carter for years. Watch the film and draw your own conclusions. At the very least, it is fascinating to watch a man who remains so calm and so dedicated to the cause of world peace. PG for language.

JIMMY HOLLYWOOD (R) 105 minutes * * * An out of work actor and his "mental" friend turn vigilante. It's the first role he actually does a good job with, but he becomes obsessed with it. What was a fun little "bit" turns into a career as a Hollywood mobster/film producer with his sidekick cinematographer. Joe Pesci and Christian Slater work well together, though the film does start off a little slowly.

JIMMY NEUTRON: BOY GENIUS (G) 78 minutes * * 1/2 Jimmy is a genius, but his search for extra-terrestrials has led an alien species to the planet. They've kidnapped all the adults and it's up to Jimmy and his friends to save the day. Feature-length cartoon from Nickelodeon that's cute, and fun for parents as well as the kids with a great collection of songs for the soundtrack to to it off.

JIMMY P. (NR) 113 minutes * * 1/2 Jimmy's (Benicio Del Toro) headaches and vision problems lead him to being admitted to a veteran's psychiatric hospital. The specialist who ends up working with him becomes as much a friend as a doctor as they work together to try and track down the problem. Nice work by Del Toro, though the ending feels somewhat incomplete. Perhaps that is simply a result of creating a character that we still want to know more about even though the credits are rolling.

JINDABYNE (R) 118 minutes * * * Stewart Kane (Gabriel Byrne) and his buddies just wanted a quiet fishing trip in the hills near Jindabyne. When they discover a young woman who has been murdered, they decide to finish their fishing before bothering to report their discovery. The repercussions of their somewhat callous behavior affect all four men as well as their families. Can they rebuild what has been damaged? What will it take? Sensitive story adapted from the short story, "So Much Water So Close To Home" by Raymond Carver. R for language and nudity.

JINGLE ALL THE WAY (PG) 81 minutes * * 1/2 Remember the craze over the Power Rangers, or Cabbage Patch dolls, or...? That's what this is all about, as Arnold Schwarzenegger plays the part of a father who simply MUST get a particular toy for his son for Christmas. Lighthearted fun with a cute, feel-good ending that's really no surprise. Filmed in the Twin cities area with much of the action taking place in the Mall of America. PG for language and violence.

JINGLE ALL THE WAY 2 (PG) 88 minutes * 1/2 Eighteen years after the first film, we have Larry the Cable Guy in what is essentially the same story. He need to find a talking Harrison bear for his daughter for Christmas, and there are none to be found. The ending is sentimental holiday fluff, and it certainly doesn't make up for the bad jokes and bumbling comedy that we have to put up with for the rest of the film. PG for language.

JINGLE BELL PRINCESS (NR) 84 minutes * * Stepping off her private jet to investigate a jingling noise, Princess Amelia (Merritt Patterson) soon finds herself stranded in the small town of Tucker, Maine. With planes grounded and phone lines down, she will be staying with the Cutler family. She won't be treated like a princess, but she hasn't told them who she is. The ending is a little abrupt.

JINGLE BELL ROCKS (NR) 89 minutes * * * People enjoy and collect all sorts of music. This documentary follows a few people who have a particular passion for Christmas music. It also provides a history of Christmas music and popular culture. A treat for those who love all that holiday music, and who may have kept a few of those old Christmas records, especially some of the more unusual ones.

JIRO DREAMS OF SUSHI (PG) 80 minutes * * * Jiro Ono's sushi bar only has ten seats, and it's situated in a Tokyo subway station. However, his mastery of sushi knows no equal, and customers come from across the world and pay handsomely to eat there. This documentary takes a look at Jiro's art and craft, as well as the man behind the sushi. PG for language.

JIU JITSU (R) 98 minutes * Somehow connected to a comet that returns each six years, a group of jiu-jitsu warriors face off against an alien. Though Jake (Alain Moussi) has lost his memory, he is the lead fighter this time around. The story is a jumbled mess that frequently doesn't make much sense. There's plenty of fighting action, though much of it isn't all that good. R for violence.

JO JO DANCER, YOUR LIFE IS CALLING (R) 89 minutes * * * Fictional biography of Richard Pryor, though much of it is true... or at least close. The emphasis is on what can be learned from life rather then dwelling on the past and the effects it can have. Not many people choose to make their own life story into a film, but it's a tribute to Pryor's life and what he wanted to be able to tell others. R for language and sex.

JOAN JETT: BAD REPUTATION (R) 89 minutes * * * 1/2 They were something that the music industry hadn;t seen before. An all-girl rock band. It was not an easy road to break into a male-dominated industry, and in fact, it took a move to the British and Japanese music scenes to really get things rolling. There were more ups and downs to come, but Joan was not the tupe to give up. An in-depth look at a true rock and roll legend. An inspiration to so many and whose influence is difficult to measure and still working its magic. R for language and nudity.

JOAN OF ARC (NR) 180 minutes * * * Leelee Sobieski heads an all-star cast in this production of the story of the legendary Joan of Arc. The film charges ahead, much as Joan did, and slows down only in a couple of spots. Sobieski does an outstanding job and truly does seem to inspire the rest of the cast, which includes Peter Strauss, Peter O'Toole, Jacqueline Bissett, Powers Boothe, Olympia Dukakis, and Shirley MacLaine. It's a lavish production that is both inspiring and classy.

JOAN RIVERS: A PIECE OF WORK (R) 83 minutes * * * Legendary comedian Joan Rivers... rude, crude, and so much more. Take a look behind the jokes, and behind the plastic surgery, to see the history and the talent. Filled with great clips from her early work as well as numerous bits from her more recent appearances. Joan Rivers just won't stop, and after winning top honors on the TV show, "Celebrity Apprentice", she has found yet another wave to ride. R for language.

JOBS (PG-13) 120 minutes * * 1/2 Steve Jobs (Ashton Kutcher) and Apple computers. This portrayal paints Jobs as anything but a people person, though with a vision and dedication to that vision that were unparalleled. Kutcher's performance is flat and uninteresting, though the supporting roles are nicely done and give this the depth that it needs. Reasonably good bio-pic. PG-13 for language.

JOCKEY (R) 91 minutes * * 1/2 He's been at this for years, but Jackson's (Clifton Collins Jr.) career is reaching its end. He really wants to end his career with a win. But life is about to throw him a curve. Nice work by Collins, though the story doesn't explore his character as deeply as it needs to. R for language.

JOCKS (R) 88 minutes * ½ Their school hasn’t won a championship in any sport in years. Their only chance this year is the tennis team, with an unlikely group of degenerates as the potential heroes of the school. The acting is , rather surprisingly, not all that bad. And the dialogue is a half-step above most similar films in this genre. The ending lets us down a little, but the film never asks us to expect all that much.

JODOROWSKY'S DUNE (PG-13) 88 minutes * * 1/2 Alejandro Jodorowsky had an amazing and beautiful vision of a powerful science fiction novel. This is the story of the journey of a magnificent film that was never made. Even so, the work that happened in preparation for this project managed to influence many other films were made in the years that followed. Sets, costumes, even portions of scenes found their way into other films over the years. Of more interest to science fiction fans and students of film. PG-13 for violence and sex.

JOE (R) 112 minutes * * * He wasn't looking to be a role model, and few would have picked him for that role, but Joe (Nicolas Cage) just happens to be in the right place at the right time for Gary (Tye Sheridan). Sheridan's performance is uneven, and Cage struggles to create the depth of character that Joe really needs. But these characters are all trapped to some degree by their circumstances, either with no way out, or unable to see how to get there. Dark and depressing story, adapted from the novel by Larry Brown. R for violence, language, and sex.

JOE AND JOE (NR) 77 minutes BOMB Joe (David Wysocki) and Joe (Sean Patrick Brennan) don't have much going on in their lives. A lawn-mowing business that is failing, and fishing, which rarely results in a catch. Now they have a chance to find a treasure that could change their world. Something clearly needs to change as neither the script or the performances even remotely resemble any sort of "treasure".

JOE BELL (R) 87 minutes * * 1/2 Travelling across the country to speak to people about the effects of bullying, Joe Bell (Mark Wahlberg) is slowly learning the full extent of why his son committed suicide. The film has some very intense scenes. It also shows that while there is plenty of blame to go around, feeling guilty does no good unless it moves people to truly change. The story does jump around quite a bit, most of which doesn't help the overall effect. A heartbreaking finish, and based on the real story. R for language.

JOE DIRT 2: BEAUTIFUL LOSER (NR) 105 minutes 1/2 Tired, mostly unfunny, and overly long sequel, with David Spade reprising his role from the first film, which was fourteen years ago. No clue on why we needed a sequel, and Spade seems bored with the character and perhaps wondering about that question as well.

JOE MADDISON'S WAR (NR) 84 minutes * * 1/2 Joe (Kevin Whately) though he was done with war, having served his time in WWI. But they need people to defend the home front, and Joe finds himself in the service once again. It turns out he has quite a bit to offer, though there are still issues to deal with that he needs to face more directly this time around.

JOE SOMEBODY (PG) 94 minutes * * 1/2 Joe (Tim Allen) works for a pharmaceutical company. He's just a nobody until an employee embarrasses him in the parking lot and he decides that it's time to take a stand. Now he's getting invited to parties, getting promoted, acquiring new friends... he's SOMEBODY. But is he really any different? Nice supporting role for Jim Belushi and several very nicely developed subplots, though the main story is pretty thin. Nice work from young Hayden Panettiere as well, as Joe's rather wise daughter. It's less a comedy and more a family film about the importance of believing in yourself. PG for language.

JOE THE KING (R) 96 minutes * * * 1/2 It's not an easy life for Joe (Noah Fleiss). His alcoholic father is only mildly abusive to him, but owes money to a number of people in town, who are getting tired of it. He works as the janitor at Joe's school, which is a constant point of ridicule for Joe. His mother can't stand up to her husband, but rarely offers Joe the caring presence he craves. There doesn't seem to be any way out of so many negative factors, and so many opportunities to fail at life. It's a depressing, but powerful piece, with a stunning performance by Fleiss. R for language and violence.

JOE VERSUS THE VOLCANO (PG) 96 minutes * * * 1/2 Joe Banks (Tom Hanks) has a boring job with poor conditions, lousy wages, and little chance for improvement. His work place is like a prison, or perhaps a volcano, throwing a cloud of dust into the sky. Joe always feels sick, but doesn't know why. He's given the chance to give meaning to his life by sacrificing himself for others, but isn't sure he wants to do that. He's struggling to find himself and what gives life meaning. Those struggles are mirrored by the three characters that Meg Ryan plays throughout the film. Dede and her insecurities, the arrogant, impatient, and self-centered Angelica, and Patricia, who is both sincere and mature. Life is a journey, and sometimes it's a volcano. This is a film you'll either love and find great depth of meaning in, or one that just won't interest you. Filled with metaphors, the entertainment value here is in the light-hearted approach the film uses to get you to examine your own life.

JOE'S APARTMENT (PG-13) 75 minutes * * 1/2 Here's one that nobody ever thinks I'd like! OK, call me crazy, but I actually found the singing cockroaches in Joe's apartment rather fun! Creative and fast-paced, this definitely isn't for everyone, but most who enjoy "Saturday Night Live" will find this rather fun. PG-13 for language.

JOHN ADAMS (NR) 474 minutes * * * Paul Giamatti stars as the inimitable John Adams, second president of the United States of America. Solid, historical drama that follows the life of Adams from his early days in colonial politics through the years after his presidency. Giamatti is wonderful here, but the supporting cast deliver fine performances as well, and the script does a nice job of telling Adams' story as well as that of his compatriots.

JOHN AND THE HOLE (R) 97 minutes * * 1/2 John (Charlie Shotwell) is a very disturbed 13-year-old. It seems that no one really knows quite how distrubed he is. He finds an old bunker in the woods near his home and decides to drug his parents and sister and stash them in the bunker. What does it feel like to be an adult? To be in charge of things. That's what John is trying to figure out. The ending is strange, even for a film with this story. R for language.

JOHN CARTER (PG-13) 123 minutes * * 1/2 The tale of John Carter as told to his nephew Edgar Rice Burroughs. This Disney production seems a bit overly influenced by the recent success of the "Pirates of the Caribbean" series, co-opting some of the same style. The effects, settings, and costumes are all wonderful, though the cast is not as strong as it could be. It's also not the best starting point to begin the story, but it does work as an adventure/romance, and perhaps if only one Carter film is made, this isn't a bad choice. Adapted from Burroughs' "A Princess of Mars". PG-13 for violence.

JOHN DIES AT THE END (R) 93 minutes * * 1/2 The newest drug has a strange effect on people. After their "trip", they sometimes return no longer human. What can be done to stop the "invasion"? The script is creative, almost to a fault, as the story keeps revealing new ideas at almost every turn. Definitely a film you have to pay attention to (or watch twice), and worth a look for its creativity, but the performances are a little lacking. R for violence and language.

JOHN DOE: VIGILANTE (R) 88 minutes * * 1/2 As you might expect from the title, this revolves around an ordinary man taking justice into his own hands. The story does a nice job of bringing up a number of interesting points about the vigilante mindset and what vigilante justice means in a larger sense. The plot twists are interesting, though not all that surprising. Choosing a less sensational ending could have explored those issues more effectively. R for violence and language.

JOHN HENRY (R) 89 minutes * 1/2 Part of a gang when he was younger, John (Rich Morrow/Terry Crews) wants nothing to do with it now. But when a couple of immigrant youth on the run from that very same gang cross his path, he knows what he has to do. Slow-paced drama. Crews is fine, but there really isn't much depth to the story. R for violence and language.

JOHN Q (PG-13) 110 minutes * * 1/2 Highly unrealistic premise puts John Archibald at the end of his rope and having to take drastic measures to ensure good health care for his son. Definitely a TV movie script that Denzel Washington manages to pump some life into. The characters in the emergency room add a little flavor as well, but the plot is far too thin and unbeliavable for this to get much credit. PG-13 for violence and language.

JOHN TUCKER MUST DIE (PG-13) 86 minutes * * Three girls all find themselves dating the same guy. He may be the hottest one in the school, but they aren't willing to share. They decide to use the new girl in school to take revenge on John Tucker. Light-hearted look at relationships with nice performances from Brittany Snow, Arielle Kebbel, and Sophia Bush. Very predictable, but that's not really a surprise either.

JOHN WICK (R) 95 minutes * * 1/2 Wick (Keanu Reeves) had stepped away from his career as a hit man. But when his dog his departed wife gave him is killed during a violent break-in, he goes back to his old ways. No matter who is involved or who tries to stop him, Wick will not be stopped. Very violent, with non-stop flying bullets, and a typically expressionless performance by Reeves. What's most unfortunate is that an exciting and creative piece of the story remains on the fringes. The Continental, where Wick has been living, is a hotel for contract killers and others with similar business deals. Exploring more about who stays there and their interactions would have been more interesting than what we have here. R for violence and language.

JOHN WICK: CHAPTER 4 (R) 159 minutes * * 1/2 He just wants to sever ties with the High Table. That's not an easy task, but John Wick (Keanu Reeves) thinks he has found a way to make that happen. There's a provision in the rules for a duel. If he can win, he can finally be free. Even more far-fetched than the previous entries in the series, and longer as well. There's plenty of action, but too much of it is overly staged. The acting is good, but this clearly needed more editing. R for violence and language.

JOHN WICK: CHAPTER 3 - Parabellum (R) 122 minutes * * Since John (Keanu Reeves) killed a fellow assassin, he's on the run. No one is supposed to help him, though there are still those who will risk the disapproval of the High Table to do so. There's a good deal of information about the High Table and The Continental here, which is nice, and really helps with understanding the film, and the previous two "chapters". Where this film struggles are with the fight scenes, which are a key part of the film. They just aren't well choreographed and look too much like they were staged, rather than flowing more smoothly. R for violence and language.

JOHN WICK CHAPTER 2 (R) 115 minutes * * 1/2 John (Keanu Reeves) tried to leave the business, but it cost him a marker.... which has just been called in. So much for a quiet life. Much the same as the first film, though we do get a little more information about The Continental, the hotel where John and others in the same line of work live. Reeves' emotionless and expressionless acting fits relatively well for this role, but the other, more colorful, characters at the hotel would be far more interesting to follow. R for violence, language, and nudity.

JOHNNY (NR) 79 minutes * A young boy with leukemia believes that he has a mission to accomplish before he dies. He thinks it might be to get his doctor to believe in God, and for the doctor's wife to get past the death of her son. Overly talky, overly weepy story with a script that has no idae how to be subtle. And the acting is almost one-dimensional.

JOHNNY & CLYDE (NR) 91 minutes BOMB Not so subtle play on the "Bonnie and Clyde" idea, with far less talent or skill on both sides of the camera. Cheal effects, non-existent acting, poor direction... and the list goes on. There are a couple of nice cars and flashy costumes, but that's not enough. There's also a small part of Bai Ling, and a rather lifeless performance from Megan Fox, but those are the highlights.

JOHNNY BE GOOD (PG-13) 81 minutes * 1/2 Talented cast that includes Anthony Michael Hall, Robert Downey Jr., and Uma Thurman, wasted on a piece of fluff about the corruption involved in drafting high school athletes for college.

JOHNNY CARSON: KING OF LATE NIGHT (NR) 112 minutes * * * Wonderful bio-documentary of Caron, detailing his life and his 30-year career on television. Filled with commentary from those he worked with, many of whose careers began with their appearance on Caron's show. It's not all glamour and smiles though, as a few of the more difficult times are shared as well. All-in-all, a wonderful tribute to Carson, whose influence over late-night television is unlikely to ever be topped.

JOHNNY DANGEROUSLY (PG-13) 86 minutes * Forced to turn to a life of crime, Johnny (Michael Keaton) struggles with going against his kind nature. The humor is silly and not convincing. The film has a big name cast, but is poorly written and directed. Definitely not one of Keaton's better films. PG-13 for sex and violence.

JOHNNY ENGLISH REBORN (PG) 95 minutes * 1/2 Once a great MI7 agent, Johnny English (Rowan Atkinson) was involved in a major failure. His services are needed once again, but it's going to be a little different this time... well, sort of. Atkinson fans will be happy to see him return in this role, and others should be at least moderately entertained. It's definitely a bit more elaborate than the first film, but not really any better. PG for violence and language.

JOHNNY ENGLISH STRIKES AGAIN (PG) 84 minutes * * 1/2 He's back. Rowan Atkinson retuns as the bumbling secret agent on yet another mission. The story works well, and if you're not already familiar with the character, that's OK. It's ever so slightly toned down from previous films in the series, which seems to work very well, giving us all of the humor without being quite as ridiculous. PG for violnce, language, and nudity.

JOHNNY FRANK GARRETT'S LAST WORD (NR) 91 minutes * 1/2 Just before being executed for a murder he denies committing, Johnny (Devin Bonnee) writes a letter. In it, he puts a curse on everyone who had anything to do with his conviction. And then they start dying. Most of the film focuses on one particular juror, and in doing so leaves quite a few questions unanswered. Based on the actual case, which did involve a number of mysterious deaths.

JOHNNY GRUESOME (NR) 84 minutes * 1/2 He definitely wasn't the model student, but Johnny (Anthony De La Torre) also wasn't a bad kid. A bit on the rebellious side, he's struggling to deal with life. But when a couple of his friends end up killing hin, Johnny's not going to take that lightly. He's coming back. Adapted from Gregory Lamberson's award-winning novel. Some of the effects are good, some aren't, which is descriptive of the script and acting as well.

JOHNNY HANDSOME (R) 89 minutes * * 1/2 Johnny (Mickey Rourke) is far from handsome and has had little in the way of good fortune. The latest bit of bad luck is the death of his only real friend, Mikey (Scott Wilson), killed by fellow thieves in a heist where Johhny is the only one to take the fall. After a fight in the prison where Johnny is almost killed, he has one good piece of luck, a doctor who wants to give him a new chance, a new life, a new face. Ry Cooder's haunting southern music fits the mood of this story, but the villains are overdrawn to the point of being ridiculous. Perhaps they mirror Johnny's distorted view of the world or the distortion of his face, but it doesn't work very well. It's a dark and moody morality play that ends the only way it can. R for sex, violence, and language.

JOHNNY KAPAHALA: BACK ON BOARD (NR) 91 minutes * * 1/2 Johnny (Brandon Baker) is going to Hawaii for his grandfather's wedding. Hawaii may be a tropica paradise, but Johhny is more at home on his snowboard in the mountains of Vermont. But he's about to discover a new sport... dirtboarding! Reasonably good Disney TV movie, with some beautiful New Zealand (yes, not Hawaii) scenery and some great dirtbaording sequences.

JOHNNY MNEMONIC (R) 92 minutes * * 1/2 Full of cyber-techno effects that are interesting to watch, this story of a courier who carries information in his brain loses us somewhere along the way. We're expected to grasp too much information ourselves and are never allowed to enjoy a story or feel who the characters are. It results in a disconnected and wordy film that leaves us disappointed and confused.

JOHNNY STRANGE: BORN TO FLY (NR) 72 minutes * * * Johnny was always a risk-taker. His parents were both climbers, but Johnny took it to the next level. He was the youngest ever to summit Everest, and the youngest to summit the seven highest peaks. He also loved to fly. Base-jumping using a flight suit was one of his favorite things to do. This is his story.

JOHNSON FAMILY DINNER (NR) 68 minutes BOMB Not to be confused with "Johnson Family Vacation", this is a Christian drama about a family and their struggles, highlighted during the times they share meals. Poorly written and badly acted with virtually nothing to recommend it for viewing. Not rated, though basically a G to PG for the topics covered.

JOHNSON FAMILY VACATION (PG-13) 92 minutes * 1/2 Nate (Cedric the Entertainer) and his family make their way across the country to the family reunion with just about everything going wrong along the way. Once they finally arrive, they try to win the coveted family of the year competition. It's a poorly written film that's little more than an excuse to get some very talented individuals together. The problem is, without good material, their talents are wasted. Vanessa Williams, Solange Knowles, and Bow Wow deserve better. PG-13 for language.

JOJO RABBIT (PG-13) 103 minutes * * * 1/2 All he wants is to be the best Hitler youth ever, though he doesn't really have any desire to kill anyone. Life is going to get much more confusing when he discovers that his mother is hiding a young Jewish girl in their attic. She doesn't really seem to be all that bad. On the one hand, this is a satire of World War II, and on the other, it's a sweet and sensitive story of a scared little boy wh desperately needs to find love and a sense of purpose. The quote at the end from Rainer Maria Rilke sums it up nicely, "Let everything happen to you. Beauty and terror. Just keep going. No feeling is final." PG-13 for violence and language.

JOKER (R) 116 minutes * * * 1/2 The slow and intense transformation of a man who moves from being slightly out of touch with reality to one who begins to find satisfaction and a sense of belonging in the shocking and the violent. He finds that it is the only way in which he is accepted. There are connections to the Batman story, but they are few, with the focus being on how Arthur Fleck (Joaquin Phoenix) becomes the memorable villain who is the antithesis of Batman is so many ways. It's a remarkable performance by Phoenix, complimanted by a wonderfully moody soundtrack by Hildur Guonadottir, and a fine script. R for violence, language, and sex.

THE JOKESTERS (NR) 74 minutes 1/2 Four friends who run a prank site on the web, prank one of their own on his honeymoon. But things go wrong, and what was intended as a "Cabin in the Woods" style prank turns into a real horror event. This takes way too long to get where it's going. And by the time it does get there, we don't care that much. Not a bad idea, but much like the prank... poorly executed.

JOLLY GOOD CHRISTMAS (NR) 83 minutes * * 1/2 Still getting used to all things London, David (Will Kemp) also needs to find a perfect gift for his girlfriend. She also happens to be the boss' daughter. When he settles on a gift card, a personal shopper he meets suggests that it might not be the best choice. Anji (Reshma Shetty) will end up helping him... and not just with finding the perfect gift.

JONAH: A VEGGIETALES MOVIE (G) 78 minutes * * 1/2 Nice songs highlight a creative production that tells the story of Jonah and emphasizes compassion and mercy as the lessons of the day. Cute bits of humor are sprinkled generously throughout the film. I do think it's a little creepy that these talking vegetables hold things with what appear to be invisible hands...

JONAH HEX (PG-13) 73 minutes * * The man who killed Jonah's (Josh Brolin) family and disfigured his face is putting together a weapon with which to attack the north. Jonah isn't about to let that happen. The story isn't the best here as it tries to mix the above-mentioned plot along with a history of the conflict between Jonah and Quentin Turnbull (John Malkovich). Still, it's a reasonably good adaptation of the character from the DC comic book series that ran for a few years. PG-13 for violence and sex.

JONAS BROTHERS: THE 3D CONCERT EXPERIENCE (G) 82 minutes * * Performance footage from several different Jonas Brothers concerts, also including performances from Demi Lovato and Taylor Swift. There's a little background and behind the scenes material here, but not much. And there's clearly no need for this to have been in 3D as it really adds little to the experience.

THE JONESES (R) 92 minutes * * It's one thing to try and "keep up with the Joneses", but another thing altogether if they actually work for a company that is trying to sell as many products to as many people as possible. These Joneses aren't really a family, they're a sales team. But the pressure is getting to Steve (David Duchovny) and Kate (Demi Moore) who have different ideas on how this should all work. For some reason, this comes across as more of a drama, though it was probably an attempt at a dark comedy. Lightening the tone in general would have been more helpful and made the film much more enjoyable. R for language and sex.

JOSH (AGAINST THE GRAIN) (NR) 97 minutes * * ½ When Fatima’s (Aamina Sheikh) nanny disappears, she struggles with the lack of information people are willing to supply. And she’s also unwilling to stand by and do nothing. Although this is a story specifically about Pakistan and the conditions and political structure that are frustrating to some, it is also a story about the youth of any country. Youth who are constantly pushing back at the way they experience life, and by constantly pushing, they do, in most cases, slowly bring about change. There are some scenes that feel overly staged, and the message is never in doubt.

JOSH AND S.A.M. (PG-13) 92 minutes * 1/2 Josh convinces his brother that he's a Strategically Altered Mutant. They steal a car and take a road trip, picking up a hitchhiker along the way. The performances are fair, but the script is horrible, even if you forego the somewhat ridiculous plot.

JOSHUA (R) 102 minutes * * 1/2 Joshua's (Jacob Kogan) mom is having a baby. Joshua isn't really sure he likes that. Since Abby (Vera Farmiga) had post-partum depression after giving birth to Joshua, Brad (Sam Rockwell) doesn't notice Joshua's unusual behavior at first. He's definitely a creepy kid though, and as the film draws to a close, even his most faithful supporters are realizing just how disturbed young Joshua really is. Good performances, but the story is strictly B-movie material. R for sex, violence, and language.

JOSHY (R) 89 minutes * * When Johsy's (Thomas Middleditch) engagement ends tragically, his friends decide that the bachelor party should still happen. The idea is that it will get his mind off of what just happened. That's not really working. Especially since nothing at the party is exactly going as planned. Gallows humor is often part of the grieving process, but the mix here is unusual. It doesn't always work, mostly because we don't ever really get to know these characters well enough to appreciate their sense of humor or their relationships with one another. R for language and sex.

JOSIE (NR) 82 minutes * * Hank's (Dylan McDermott) life has been kind of boring. And then Josie (Sophie Turner) moves in next door. A high school student, living on her own, she fascinates Hank on several levels. It doesn't look good to the neighbors though, and Hank doesn't seem to be able to deal with it appropriately. The twist isn't really all that surprising, and doesn't really take the story in a different direction than it was already headed.

JOSIE AND THE PUSSYCATS (PG-13) 93 minutes * * * Josie and the Pussycats have a new record deal, but the record company is putting subliminal messages in their music. Will they figure out what's going on before the record company achieves their goal? From the first moments of the film, we are bombarded with product ads, not too subliminal, but the tone is kept light. We're supposed to have fun here, and we do. The music is quality pop material that is mostly performed by the actresses themselves, and the humor is kept on the comic book level. The film plays well to Rachel Leigh Cook's strength, which is her face, but she is well-supported by Tara Reid, Rosario Dawson, and the rest of the cast. PG-13 for language.

A JOURNAL FOR JORDAN (PG-13) 125 minutes * * * It wasn't the way that Charles (Michael B. Jordan) and Dana (Chante Adams) envisioned their relationship to work out, but Charles was in the military. When he was deployed to Iraq, he had to go. He takes a journal along and writes entries to his unborn son. The son he will never get to see grow up. The film moves back and forth between the time that Charles and Dana are able to spend together and the time she spends with her son after Charles is gone. This starts a little rough, but the ending is powerful and emotional. PG-13 for sex and language.

THE JOURNEY (PG-13) 89 minutes * * 1/2 An imagined look at the historic meeting between Martin McGuiness (Colm Meaney) and Ian Paisley (Timothy Spall). Not just opposites, but enemies in a bloody feud that had lasted for decades. Now, they have decided to attempt to negotiate peace. An interesting possibility, and well-crafted. PG-13 for violence and language.

JOURNEY BACK TO CHRISTMAS (NR) 83 minutes * 1/2 Her day has been going fine. But when she has a car accident in a snowstorm and ends up spending the night is a shed that she stumbles across, everything is different the next morning. It seems she has woken up in the future. It' also seems that logic and any semblabce of sense disappears. Lots of details about someone from the 1940s showing up in 2016 just don't work here, and in most cases, the writers don't even appear to try to make things work. It's clearly all about sentimentality.

JOURNEY FROM THE FALL (R) 127 minutes * * * While wars may mark a date on the calendar as their end, the lives of many continue to be affected long afterwards. Long (Long Nguyen) is separated from his family and struggles to fine a way to see them again while they are struggling to reach the freedom that has been promised by the west. It will be a difficult journey for them all, and their lives and their country will not be the same again. A powerful film with fine, heartfelt performances by all. Intense at times, yet ultimately both gentle and sincere, bringing together legend and history in the face of war and its aftermath. R for violence.

JOURNEY FROM ZANSKAR (NR) * * 1/2 Two monks journey with a small number of children from isolated Zanskar to provide them with the cultural education they have no other way to learn. The traditional Buddhist way of life in this region is in danger of disappearing, so education is even more important, despite the great dangers in attaining it. Interesting cultural documentary.

JOURNEY OF MY HEART (NR) 83 minutes * * Following advice to do some "in person" research, Abby (Rhiannon Fish) travels to the wilds of Alaska. She spends time with an indigenous family who offer her a better understanding of nature and of herself. She also meets Eric (Darien Martin), who might be just the person she's been searching for. Beautiful scenery.

THE JOURNEY OF NATTY GANN (PG) 97 minutes * * * Meredith Salenger plays the part of Natty, a young girl who runs away from home in the 1930s. She's on a quest to find her father, who left home to find work and is 2,000 miles away. Solid family drama. PG for violence and language.

JOURNEY TO THE CENTER OF THE EARTH (2008) (PG) 86 minutes * * 1/2 When his brother goes missing Professor Anderson (Brendan Fraser) goes looking for him. Along for the ride is his nephew Sean (Jush Hutcherson) and their guide (Anita Briem). Fraser's typical light syle of humor gives this adventure a slightly different twist, with mixed results. Hutcherson's sizeable role in the story and the lighter tone make this more of an adventure for the younger set. Released to theaters in 3D. PG for violence.

JOURNEY TO THE CHRISTMAS STAR (G) 74 minutes * * 1/2 Time is about to run out. If the Christmas Star isn't returned to the kingdom soon, the curse will become permanent. Sonja (Vilde Zeiner) is only fourteen, but her kind heart and her courage just may be enough to accomplish the task. Fun children's holiday adventure from Norway.

JOURNEY TO THE WEST: CONQUERING THE DEMONS (PG-13) 106 minutes * * 1/2 Learning to fight demons also involves learning about suffering, hardship, and love. They are all part of a larger quest on which our intrepid hero is about to embark. There's quite a bit of comedy here, and most of it fits well into the story. The humor is typical for a Stephen Chow film, but tends to be a little less abrasive than his other films. The ending explains more of the story, just in case you were having trouble following, which is likely, but it also loses the energy and humor of the rest of the film. PG-13 for violence and sex.

JOURNEY TO THE WEST: THE DEMONS STRIKE BACK (PG-13) 101 minutes * * 1/2 The journey continues, with more battles and more fun along the way. Stephen Chow is still co-authoring the script, but the direction has been turned over to the extremely talented Tsui Hark. The first half of the film is less cohesive than the second, making it a little more difficult to follow the story early on. This is not quite as noticeable if you watch the two films back to back. PG-13 for violence and language.

JOURNEY 2: THE MYSTERIOUS ISLAND (PG) 86 minutes * * 1/2 Sean (Josh Hutcherson) finds a message that he thinks is from his grandfather... "The island is real". Now he intends to visit the mysterious island that Jules Verne wrote about. But getting there is only the beginning of the adventure. Fast-paced adventure aimed at the pre-teen crowd, though entertaining for the rest of the family. The effects are a little too "in-your-face 3D", as this was originally presented in, but otherwise fun. PG for violence and language.

JOURNEY'S END (R) 101 minutes * * * It's 1918, and there's little movement on the front lines of the war. Morale among the soldiers is not the best, as different companies of soldiers rotate who is on the front line, knowing that at some point, the fighting will begin and people will die. Straight-forward war drama. R for language and violence.

JOY (PG-13) 117 minutes * * * This is the story of Joy (Jennifer Lawrence), and her family. She lives in a house with her two daughters and her grandmother. Her mother lives there as well, in a room she never leaves. Her ex-husband lives in the basement, and now her father is sharing the basement space as well. Joy is about to put it all on the line, and take the biggest risk she ever has. Great story about how family can help or harm, and what it means to trust in yourself. An impressive ensemble cast, well led by Lawrence. PG-13 for language.

JOY & HOPE (NR) 86 minutes 1/2 Two Sisters Ranch in upstate New York. Home to Joy (Alex Kermes) and Hope (Ashley Brinkman) McGregor. The mood around the ranch has been a bit somber since the death of their mother. Author Ethan Dulane (Andrew Rogers) has been sent here to get over his writer's block. Romance just might be in the air. Poor sound quality, a stale story, and less than wonderful acting.

THE JOY LUCK CLUB (R) 134 minutes * * Although compared to films like "Fried Green Tomatoes" and "Beaches" by some, the slow-moving, chapter by chapter method of telling us the story only works to defeat the strength of the film's message. This does end well, but it's a long time to ask us to watch when there are so many other films that tell a similar story in a more effective fashion. R for language and sex.

JOY RIDE (R) 94 minutes * 1/2 A prank gone wrong... Lewis (Paul Walker) pretends to be a girl while talking on a CB radio, enticing a trucker, who decides to play a game of his own... one of a bit more serious and violent nature. All of the standard story twists are present in this rather unimaginative tale, but it is saved from the bottom of the barrel by the sincere performances of Walker, Steve Zahn, and Leelee Sobieski. R for violence, language, and nudity.

JOY RIDE (2023) (R) 88 minutes * * Best friends since childhood, Audrey (Ashley Park) and Lolo (Sherry Cola) are very different from each other. Audrey is now in China on a business trip, but it will give her a chance to fine and connect with her birth mother. Meeting up with two other friends, these four are about to have an interesting adventure. Plenty of laughs along the way, but also a serious message about knowing who you are and where you come from. R for sex and language.

JOY RIDE 2: DEAD AHEAD (NR) 87 minutes BOMB With no star power to rescue this, we're left with a simple set of lessons. So let's see... don't travel on deserted roads, don't forget to change your oil, don't break into people's homes, don't steal cars, and don't bother watching this film. Got it?

JOY RIDE 3: ROAD KILL (R) 92 minutes 1/2 Lots of style, but there's no substance. There are so many logic flaws that hoping for any sense is pointless. Plenty of "graphic" violence, but it usually happens off-screen or is poorly lit, which does save on the budget for special effects. R for violence and sex.

JOYEAUX NOEL (PG-13) 108 minutes * * * Well-told story of Christmas Eve, 1914, when in several spots along the western front of the war, the troops who were fighting, decided to call a truce for the evening. This is a fictional account (though the truce did indeed happen) of one particular spot along the front, with Scottish, French, and German troops putting down their weapons and recognizing what is common among them. Being able to declare a truce for even those few short hours changed their lives. Powerful film with an excellent message. PG-13 for violence and nudity.

JOYFUL NOISE (PG-13) 113 minutes * * * Vi Rose (Queen Latifah) is directing tyhe choir now. She's a bit strict, especially with her daughter. That would be the daughter who's fallen for the grandson of the previous choir director, whose wife (Dolly Parton) wanted the job. It all works out fine, and it's great fun to see Queen Latifah and Dolly Parton working together, and it's no surprise that the music is quite good.

JOYRIDE (NR) 90 minutes * * * Joy (Olivia Coleman) has no intention of keeping her baby. She has nothing to give a baby. Mully (Charlie Reid) is just looking for a way out, but ends up stealing the taxi that joy and her baby are in. Their lives will never be the same again. Great work by Coleman and Reid, and a great script by ailbhe Keogan.

JT LEROY (R) 103 minutes * * 1/2 JT LeRoy is the pen name pf a successful author. Laura (Laura Dern) has had fun creating the persona, but she wants to put some life into and make it bigger. Her sister-in-law Savannah (Kristen Stewart) is an obvious choice, but she's a little reluctant to play the part. Laura is determined to make it work. But as so often happens with deception, it grows more difficult to sustain as time passes. Nice work by Dern and Stewart, but there's a whole subplot with Jim Sturgess' character that gets lost. R for language and sex.

JUDAS AND THE BLACK MESSIAH (R) 121 minutes * * * Trapped into being an informant for the FBI, Bill O'Neal (LaKeith Stanfield) works his way into the upper levels of the Black Panther party, working alongside Fred Hampton (Daniel Kaluuya). The longer he's involved, the more he struggles with the ethical issues around what he's doing. The story gets sidetracked a few times, but the performances are strong and the ending is powerful. R for violence and language.

THE JUDGE (R) 135 minutes * * * * Hank Palmer (Robert Downey Jr.) heads home for his mother's funeral. He's not really thrilled about going back, but it is expected. Shortly after getting there, his father is involved in a hit-and-run accident, and being a respected judge isn't going to keep him out of jail. Hanks is willing to be his father's defense attorney, but old issues between them are going to need to be dealt with. Downey Jr. is brilliant, and well-supported by a fantastic ensemble cast. R for langauge.

JUDGE DREDD (R) 88 minutes * * Comic book characters hit the big screen again in this story of the perfect lawman and the perfect criminal, genetically fathered by the same man. Sylvester Stallone and Armand Assante (an unlikely pair) duel it out in this action-packed film with a paper-thin story and two-dimensional acting.

JUDGEMENT NIGHT (R) 106 minutes * * Four guys take a wrong turn and end up in the bad part of Chicago, witnesses to a murder and being hounded by the killers. Music, photography, and lighting set the mood very well, but too many other flaws to make this all that interesting. A few engaging performances from Denis Leary, Cuba Gooding Jr., and Emilio Estevez.

JUDY (PG-13) 111 minutes * * * 1/2 Struggling financially, Judy Garland (Renee Zellweger) needs to make money or she might lose custody of Lorna and Joe. The only serious option left is London. Over the years, Judy has become unreliable and difficult to work with. A powerful and talented entertainer, she was pushed and mistraeted by so many people over the years that eventually, she just had nothing left to give. The film follows the last few years of her career, with brief looks at earlier parts of her life. It's a graet performance by Zellwegerm who earned an Oscar for her work, and she is well-supported by the rest of the cast. Based on the play, "End of the Rainbow". PG-13 for language.

JUDY MOODY AND THE NOT BUMMER SUMMER (PG) 85 minutes * * 1/2 It was supposed to be a great summer until two of her best friends make other plans. Having her aunt (Heather Graham) around could prove to be interesting though. Reasonable fare for the twelve and under crowd. PG for language.

JUICE (R) 91 minutes * * The story of four young black boys whose lives revolve around drugs and violence. Some choose to participate, others are trying to break free of what they know will only end up hurting them. It's a slow-moving film, which wouldn't be so bad, except the acting can't withstand the extra emphasis. It's a decent story though, which is more than can be said for a number of films that have been done on this topic. R for language and violence.

JULIA (PG-13) 90 minutes * * * 1/2 A documentary following the life and career of Julia Child. Featuring footage from her cooking show as well as interview segments from past and present with Julia, her colleagues, and friends. Her first television appearance was expected to be a forgettable segment. Instead, it changed television. It also changed the way people, especially in the United States, thought about food and cooking. A delightful bio-documentary. PG-13 for language.

JULIE & JULIA (PG-13) 119 minutes * * * 1/2 Julie Powell (Amy Adams) has decided to cook her way through Julia Childs' cookbook. It won't be easy, but she'll learn about more than just food by the time she's done. Adapted from Powell's book about her own journey through the cookbook, and featuring stellar performances from Adams and from Meryl Streep. Streep is extraordinary and delightful as Julia Child, and the story flows nicely between the stories of the two women. As well as being a story about cooking, this is also a love story about food, and about a cook who changed the world. PG-13 for language.

JULIET, NAKED (R) 92 minutes * * * Duncan (Chris O'Dowd) is Tucker Crowe's (Ethan Hawke) biggest fan, and knows more about Crowe's music than anyone. Annie (Rose Byrne) is really tired of hearing about it. But when she critoques a lost recording that shows up in the mail, Tucker sends her a message. She becomes intrigued, and certain that it can't really be Tucker who she is corresponding with. What happens next will change all three of them. Clever script, adapted from the book by Nick Hornby. R for language.

JULIETA (R) 92 minutes * * * 1/2 When Julieta's (Emma Suarez) husband dies, she and her daughter deal with their grief differently, and they begin to drift apart. Antia (Priscilla Delgado/Bianca Peres) leaves home when she is 18. Years later, and out of nowhere, Julieta learns that Antia might be nearby. It becomes clear that they both still have much to deal with. Well-played and sometimes intense drama about love and loss, relationships and family. R for sex.

THE JULIUS HOUSE: AN AURORA TEAGARDEN MYSTERY (NR) 83 minutes * * 1/2 Aurora (Candace Cameron Bure) buys a house with a history. Bure's acting gives these mysteries a certain charm as her character constantly manages to both help and irritate the local police. Nice entry in the series with a little extra romance in the story.

JUMANJI (PG) 98 minutes * * * Jumanji is a board game unlike any other. It's the game kids have always wanted to play, because what happens on the board happens in real life. (It's a little more complicated than that, but we don't want to give too much away!) Exciting special effects and plenty of action are sparked by great performances from Robin Williams, Bebe Neuwirth, and Kirstin Dunst. The computer generated special effects don't always blend well with the scenery, but the animation within each of them is some of the best material available. PG for language and violence.

JUMANJI: THE NEXT LEVEL (PG-13) 114 minutes * * 1/2 The gang is back inside the game, and once again, things have changed just a little bit. Still, they have been here before and they know how it works, and so do we. That's part of the problem. There just isn't really enough that's new. Kevin Hart and Dwayne Johnson are both toned down a little, but there is still a good amount of energy and excitement, and most of the humor works well. It just runs a bit long to be so similar to what we've seen before. PG-13 for violence and language.

JUMANJI: WELCOME TO THE JUNGLE (PG-13) 111 minutes * * * As part of their detention, these four students need to clean out an old room in the basement of the school. That's where they find a Jumanji video game and soon find themselves transported to another world, inside the game. They must complete the adventure if they want to escape. Great characters, and the film ties in nicely with the first one, though it's not essential to have seen it to thoroughly understand and enjoy this one. Lots of action, great visual effects, and plenty of humor make this a fun ride. PG-13 for violence and language.

JUMBO (NR) 74 minutes * The annual spelling bee is about to begin. It's between a nice, friendly elephant and a mean frog. But now, thanks to some cheating by that mean frog, Jumbo is forgetting how to spell anything. Not a great story, though the youngest ones in the crowd are more used to a simple film that teaches spelling while it's telling a story. The animation is also mediocre.

JUMBO 2 (NR) 69 minutes 1/2 Mr. Hollis and Bert are determined to win back the hearts of the community. Since Jumbo won the spelling bee last year, everyone pays attention to him. Writer Christopher Maitland turns out a script for one of these feature-length animated projects almost every two weeks. They are all about the same quality... which isn't very good. The animation is even worse.

JUMP IN! (G) 83 minutes * * 1/2 No one hits the sentimenal chord as consistently as Disney, and they do it again with this film. Of course the characters are a little too "perfect", but they show us how we'd like to be and how we'd like others to be as well. Izzy (Corbin Bleu) is a young man who is following in his father's footsteps as a boxer. His neighbor Mary (Keke Palmer) is on a jump rope team. When Izzy ends up helping them, he discovers something new about himself. What will it mean to his father and to his friends? Nice story, aimed at the 6-12 year old crowd.

JUMPER (PG-13) 84 minutes * 1/2 Adapted from Steven Gould's book, this is the story of David (Hayden Christensen) who discovers that he can teleport. It's pretty cool, until he discovers that there are people who want to kill him. Nice work on the visual effects here, but Christensen's wooden performance makes it difficult to watch. The ending is both incomplete and unsatisfactory as well, leaving us disappointed that such an interesting idea was brought to the screen so poorly. PG-13 for violence, language, and sex.

JUMPIN’ JACK FLASH (R) 101 minutes * * * Terri Doolittle (Whoopi Goldberg) is not what you would call an ordinary person. Her job at the bank is a rather boring one, transferring money to and from accounts and such. But one day, she gets a message from someone called “Jumpin’ Jack Flash”, and soon she finds herself involved in a British Intelligence operation. As she helps Jack, who is stranded in Russia, she encounters other secret agents, not all of whom are helpful. It’s a spy film with a great sense of humor. Goldberg has a fine supporting cast, and wonderful direction from Penny Marshall in her feature film directorial debut.

JUMPING THE BROOM (PG-13) 109 minutes * * 1/2 Jason (Laz Alonso) and Sabrina (Paula Patton) are going to get married. But only if their families can survive the interaction. The story is mostly fluff, but there are some nice supporting roles here, including one by Mike Epps. PG-13 for sex.

JUNEBUG (R) 103 minutes * * 1/2 Madeleine (Embeth Davidtz) travels to rural North Carolina to convince a rather eccentric painter to sign with her art gallery. He happens to live not too far from her in-laws, a rather unusual group of people. There are choices that lie ahead, choices that may put family and work at odds. Interesting mix of comedy and drama with a very nice performance by Amy Adams. R for sex and language.

JUNGLE (R) 110 minutes * * * These three friends are about to discover just how difficult life in the jungle can be. They are searching for an Indian village deep in the Bolivian jungle. What they find is themselves, as only a life-threatening adventure can provide. Based on a true story. Nice work by Daniel Radcliffe. R for language.

THE JUNGLE BOOK (1994) (PG) 105 minutes * * * Fairly good and slightly overlong live-action version of the classic Rudyard Kipling story. Jason Scott Lee plays Mowgli with a bit too much humor at times, but the target audience here seems to be between the Disney cartoon and the 1942 adventure film.

THE JUNGLE BOOK (2016) (PG) 96 minutes * * * 1/2 The classic story gets a fresh update in this combination live action/animation production. It's a story filled with not only fun and excitement, but danger and darkness. Specifically, as a new version of the Disney take on the story, this is a darker and more sinister approach, though there are a few lighter moments. An Oscar winner for visual effects. Featuring a stellar voice cast that includes Bill Murray, Idris Elba, Ben Kingsley, Scarlett Johansson, and Christopher Walken. PG for violence.

THE JUNGLE BOOK 2 (G) 65 minutes * * 1/2 Animated sequel to the Disney classic that picks up shortly after the end of the first. The idea is pretty simple. Mowgli is having a hard time adjusting to life in the village and is missing his friends in the jungle. Voiced by Haley Joel Osment, Mae Whitman, and John Goodman among others, the characters are "played" well. Still, the story has little to offer and the songs are nowhere near as memorable as the ones for the original. All that said, it's reasonably entertaining fluff that most kids will enjoy watching at least a couple of times if they've seen the first one.

THE JUNGLE BUNCH (NR) 93 minutes 1/2 A mixed group of animals who set about righting wrongs and generally doing good. When things don't go so well, the group is disbanded. A new leader is now ready to start things up again. This is the third companion film to the television series. The animation isn't bad, but the story is a bit on the violent side for something that looks to appeal to a fairly young audience.

JUNGLE CRUISE (PG-13) 117 minutes * * 1/2 Based on the Jungle Cruise ride at Disneyland, a riverboat, captained by the inimitable Frank Wolff (Dwayne Johnson) journeys deep into the jungle to uncover a secret. The journey is full of peril, and jokes. Johnson and Emily Blunt do what they can, but the story is tired. There are some great effects, but this just doesn't deliver the excitement that it needs to. PG-13 for violence.

JUNGLE FEVER (R) 127 minutes * * 1/2 Director Spike Lee takes a look at interracial relationships with a budding romance between Wesley Snipes and Annabella Sciorra. It's a balanced film as far as looking at both the Italian and African-American sides of the picture, but the drug subplot doesn't fit well in the mix and makes things awkward at the end of the film. Great music from Stevie Wonder and Terance Blanchard sets the mood well.

JUNGLE 2 JUNGLE (PG) 99 minutes * * 1/2 A rather toned-down performance from Tim Allen in this story of a man who discovers he has a son who is a little less than civilized... or so he thinks. The world is full of jungles, which one do you call home? Martin Short gives a supporting performance that is his best work in years, but the film is still only a notch above mediocre. Good video material, but not much more. PG for language.

JUNGLELAND (R) 86 minutes * * * It's the chance of a lifetime. Walter (Jack O'Connell) has been fighting small-time and for small money. It's really all that his brother (Charlie Hunnma) has been able to set up for him. There's a chance at a big fight, all the way across the country. They just have to do Pepper (Jonathan Majors) a favor and take Sky (Jessica Barden) with them. That's not going to make it an easy trip. Sometimes dreams come with a hefty price tag. Very nice work from O'Connell and Hunnam. R for language, sex, and violence/

JUNIOR (PG-13) 105 minutes * * * Don't ask me how, but this far-fetched story of a man becoming pregnant actually works. It's especially surprising when you know that the man in question is Arnold Schwarzenegger. Along with Danny DeVito and Emma Thompson, he makes this fun to watch. James Newton Howard supplies a delightful soundtrack and director Ivan Reitman mixes it all together with his skillful hand. A real treat to watch. PG-13 for language.

JUNIOR HIGH SPY (NR) 80 minutes 1/2 Ricky's (Christopher Fazio) dad is an FBI agent, and Ricky wants to be just like him. When his dad is kidnapped, it will be up to Ricky to save the day. Poor script and acting, and frankly, not very exciting for what is supposed to be a kid's adventure film.

JUNIPER (NR) 91 minutes * * * a troubled teen, Sam (George Ferrier) finds himself tasked with watching and caring for his grandmother (Charlotte Rampling). She's not always the most pleasant person to be around. They sort of deserve each other. They also might just learn a little from each other. A story about life, deaeth, and coming of age.

JUNKYARD DOGS (NR) 84 minutes BOMB Yet another in the long line of talking dog/bumbling criminal genre. This one features the very over-acted performances of Patrick Muldoon and Denise Richards. Even the younger crowd this is aimed at will likely be disappointed.

JUNO (PG-13) 92 minutes * * * * Juno (Ellen Page) and Paulie (Michael Cera) didn't think much about what they were doing at the time, but now she's pregnant, and having to make decisions she hasn't prepared for. Her parents (J.K. Simmons and Allison Janney) are very supportive and she soon makes plans to give the baby to a young couple(Jason Bateman and Jennifer Garner) who have been trying to have a child with no success. The entire cast is superb. Page is charming, funny, passionate, and sincere. Extremely well-written with a wonderful soundtrack as well. It's a coming-of-age story that reminds all of us about the importance of understanding that our decisions, however small they appear at the time, may have a far greater effect than we ever imagined. PG-13 for language and sex.

JU-ON: THE GRUDGE (R) 92 minutes * * * Creepy little story about some spirits who aren't quite ready to rest. Although this starts a bit slow, once the suspense starts, it doesn't let up very much. The story does shift around and remains a bit confusing even at the end, but that somehow doesn't detract from the fact that there are numerous scenes that will give you the chills. This is part three of a four part series. R for violence.

JUPITER ASCENDING (PG-13) 118 minutes * * * Jupiter (Mila Kunis) has no idea who she really is, but that's because, like most people on Earth, she has no idea that there are many worlds with many other life forms. But her identity and destiny are about to become very clear, briging adventure and responsibility into her life in a very powerful way. Visually stunning, with an interesting, though overly complex story by Andy and Lana Wachowski, who also shared the directing duties. PG-13 for violence, language, and nudity.

JURASSIC BARK (NR) 68 minutes BOMB With the fate of the galaxy haning in the balance, the Star Paws team must find a way to defeat Marlon Butterpaws. The story isn't all that bad, but the animation is awful. Far too much of the time, the characters are stationary, with only their lips moving, and even that isn't done well. It makes this almost unwatchable.

JURASSIC CITY (NR) 87 minutes 1/2 A city is overtaken by dinosaurs and really bad CGI effects. What's even worse is that when we find out the real reason (for the dinosaurs being on the loose, not the bad CGI) near the end of the film, it's surprisingly stupid.

THE JURASSIC DEAD (NR) 75 minutes BOMB A bizarre scientist has discovered a formula that reanimates dead things. It apparently works as both an injectible liquid and a gas. A ridiculously inept militia team and a few college friends try to save the day. Bad special effects, but it's difficult to tell whether the acting is worse than the script or the other way around. There are some attempts at humor, but they fall flat.

JURASSIC PARK (PG-13) 120 minutes * * * 1/2 Dinosaurs are being cloned from DNA that has been recovered from preserved mosquitos of prehistoric times. Put on an island to study, the inevitable happens when humans and their greed are stirred into the mix. Stan Winston, Phil Tippit, and Industrial Light and Magic are the real stars here, giving us dinosaurs that are real enough to scare us like we've always dreamed about. The only real downfall of the film is that the human characters are not very well fleshed out. We are drawn into the film by our fascination and fear, but don't have characters to tie us into the story when we get there. Still, it's one of the all-time most popular adventure films, and yet another success story for Steven Spielberg. PG-13 for violence.

JURASSIC PARK III (PG-13) 84 minutes * * 1/2 If you decide to go parasailing next to an island with dinosaurs on it... anyway, Dr. Grant and friends are on the island now, trying to rescue a couple of people. The story is little better than we had in "Lost World", and the effects have improved, but only a little bit. What's nice is that instead of going on for two hours like the first sequel, this one has the intelligence to stop much sooner. PG-13 for violence and language.

JURASSIC PLANET: THE MIGHT KINGDOM (NR) 58 minutes * Oki is a cave boy who has been separated from his family. While running from Snarl and Tyrone, he meets Kona. With Kona's help, Oki makes friends and finds his way home. Basic lessons about family, friendship, bullying and more, are pretty clear. The animation is very bad though.

JURASSIC PREDATOR (NR) 68 minutes BOMB After DNA research leads to the creation (or recreation) of a Tyrannosaurus Rex, it ends up escaping from the lab. Hawkins (Lee Bane) and his team are sent to stop it. Low-budget, laughable story that comes up lacking in just about every department. The moments when it doesn't take itself seriously are the only ones that work at all. By the way, there's actually very little footage of the T-Rex.

JURASSIC SHARK (NR) 65 minutes BOMB Thanks to the deep drilling of an oil company, a megalodon is released into a lake. ((Interesting that the characters in the film continually refer to being on an island, when it's pretty clear that they are on the shore of a river.) College students and art thieves must team-up to defeat the might beast. Most shark movies are very low-budget and of poor quality, but some of them are still fun to watch. Not this one.

JURASSIC WORLD (PG-13) 116 minutes * * * There's a bit more action than in the previous parts of this series, but there's also less mystery and majesty. The closing shot should have lasted longer, the motorcycle ride with the raptors should have been longer as well. The villains are more than a little shallow, and the crowd scenes definitely look like local extras who don't know how to act. What makes the film worth watching, and it is, are the amazing special effects and sound effects. Even on a home video system, this is quite impressive. PG-13 for violence.

JURASSIC WORLD: DOMINION (PG-13) 136 minutes * * * The dinosaurs have their own place to live now, and most of them appear to be content. Of course, there are some people who just can't leave well enough alone. They even want to study Maisie (Isabella Sermon) who's been living with Owen (Chris Pratt) and Claire (Bryce Dallas Howard). Lots of dinosaurs, chase scenes, and unbelievable close calls, all of which is no surprise, and exactly what fans of the series clamor for. It's also all very well done. PG-13 for violence and language.

JURASSIC WORLD: FALLEN KINGDOM (PG-13) 119 minutes * * * The volcano on the island has become active again, threatening all life on the island. Rescuing the dinosaurs will be a difficult undertaking, made even more so by some people who are ready to help but who have far less honorable intentions. The story isn't really all that great, but the animation is stellar (again), and young Maisie (Isabella Sermon) is quite good. Her character actually ends up being one of the brighter spopts in the story. PG-13 for violence.

THE JUROR (R) 114 minutes * * * Though this runs a little long, the pace is fairly good and should keep most people interested. Demi Moore and Alec Baldwin make a good team and James Newton Howard's music helps draw us in as well. The fact that Baldwin is stalking Moore as a threat to sway her vote on the jury isn't a new storyline, but it's worth a look for the performances. R for language, violence, and nudity.

JURY DUTY (PG-13) 82 minutes * Pauly Shore decides that the best way to have a place to stay would be to get jury duty and be sequestered in a hotel. Even Pauly Shore fans will find it difficult to speak very highly of this film... and there aren't too many fans.

JUST ADD ROMANCE (NR) 83 minutes * * 1/2 A famous cooking show is offering a competition, with the prize to the winner being a restaurant of their own. Carly (Meghann Fahy) and Jason (Luke Macfarlane) were in culinary school together, and now they find themselves competing with one another to make their dream come true. They're also falling in love.

JUST ANOTHER DREAM (NR) 88 minutes * After an injury as a child, Anna (Kayden Bryce) has dreams that come true. She's in the mental hospital now, but the dreams are still happening. No one believes her. The acting is stiff and awkward, and the script and direction aren't much better. The ending really makes no sense with the rest of the film as Anna goes from having premonitons to being able to go back in time.

JUST BEFORE I GO (R) 86 minutes * * 1/2 Ted (Seann William Scott) is ready to check out of life. Well, almost... he does have a couple of things to deal with first. But settling some old scores turns into something he wasn't expecting. There are a few funny moments here, but for the most part, this is a drama about memories, relationships, and what it means to love. Scott struggles a little with the dramatic tone. R for sex and language.

JUST CAUSE (R) 98 minutes * * * Paul Armstrong (Sean Connery) is a teacher of law who is asked to come out of his classroom and practice what he teaches. Bobby Earl will be his client, a young man who confessed to murder, but only after he was severely beaten by police. Our suspicions are moved back and forth as various accusations are made and we wait on the edge of our seats for the additional and revealing information that is sure to come. R for language and violence.

JUST DESSERTS (NR) 86 minutes * * 1/2 The Poloni family bakery is struggling to survive. Marco (Costas Mandylor) helps out, and definitely has a way with making some delicious desserts. Grace (Lauren Holly) is a well-respected chef in the city, who is known for her desserts. Despite not getting along at first, they decide to team up to enter the Golden Whisk Dessert Competition. Of course, desserts won't be all that's cooking here. Cute story. Not a great deal of depth, but predictable fun.

JUST FRIENDS (PG-13) 88 minutes * * 1/2 Chris (Ryan Reynolds) and Jamie (Amy Smart) - they're best friends forever! Of course, he wanted there to be a little more to it than that. When he comes back to town after ten years, he finds that not very much has changed except for him. But has he really changed? The supporting performances are what really make this film fun... Julie Hagerty as Chris' somewhat spacey mother, Chris Marquette as his younger brother, and Anna Faris, who must've had loads of fun playing Samantha James, a completely wild and crazy rock star. She and Chris Klein both sing their own songs as well. The story is fairly sentimental at the end, but it still manages to be fairly fun in enough spots to make it worth a look. PG-13 for language.

JUST GETTING STARTED (PG-13) 87 minutes * * 1/2 There were, or maybe are still, on opposite sides of the law, but it appears that Duke (Morgan Freeman) and Leo (Tommy Lee Jones) will have to put their disagreements aside for the moment. It's light-hearted fun with just a touch of suspense. Also featuring Rene Russo, Glenne Headly, and Jane Seymour. PG-13 for language and violence.

JUST GO WITH IT (PG-13) 110 minutes * * * Hilarious! Jennifer Aniston is wonderful her - natural and funny, and balancing well with Adam Sandler's style of humor. In fact, Sandler is a bit more subtle here, giving her room to play with her character. It gives the film a more relaxed feeling and it carries across to the audience. Nice supporting work by Bailee Madison in a film that is sure to leave you with a smile. PG-13 for language and nudity.

JUST IN TIME FOR CHRISTMAS (NR) 95 minutes * * 1/2 The dream job or the dream man. That's the choice Lindsay (Eloise Mumford) has to make. A glimpse into the future, courtesy of a little magic, may help her make that decision. Sentimental Hallmark Christmas film with a great cast.

JUST LIKE A WOMAN (R) 84 minutes * * 1/2 Marilyn's (Sienna Miller) marriage isn't in very good shape, and the same day she loses her job, it gets worse when she catches her husband with another woman. Her friend Mona (Golshifteh Farahani) has a reason to look for something different as well, and they soon find themselves on the same path, at least for awhile. Character-driven drama with nice work by both Miller and Farahani. R for language and sex.

JUST LIKE HEAVEN (PG-13) 90 minutes * * * Adapted from the novel, "If Only It Were True", this is the story of Dr. Elizabeth Masterson (Reese Witherspoon), who finds herself displaced from her apartment and only visible to one man (Mark Ruffalo). David (Ruffalo) is having trouble with women in general, so to have one around that no one else can see just adds to his misery. Until he begins to fall for her, of course. Sentimental and romantic, but some nice bits of humor along the way and another charming performance from Witherspoon that manages to win us over in spite of the story. PG-13 for language and nudity.

JUST MARRIED (PG-13) 90 minutes * * Poor boy and rich girl fall in love and get married. Everything is fine until they get married and one bad thing happens after another. It's just pop fluff, but Brittany Murphy is delightful to watch Her performance far outdoes that of Ashton Kutchner, but the script is what really hurts the most. PG-13 for language.

JUST MERCY (PG-13) 130 minutes * * * 1/2 When Bryan Stevenson (Michael B. Jordan) graduated from Harvard Law School, he could have had most any job he wanted. He chose to go to Alabama to defend wrongly convicted people. One of his earliest cases was that of Walter McMillian (Jamie Foxx). A clear example of a victim of a systemically racist system, the case proved to be only the beginning of Stevenson's work. Strong drama with a wonderful ensemble cast. PG-13 for language.

JUST MY LUCK (PG-13) 98 minutes * * 1/2 Ashley Albright (Lindsay Lohan) seems to have everything go her way. But when she kisses a stranger at a masquerade dance, her luck changes... dramatically. Jake Hardin (Chris Pine) has the worst luck of just about anyone, until he kisses this girl at a masquerade dance. Just what is luck anyway? Perhaps its more an issue of perspective than anything else... Cute film, very well played by both Lohan and Pine. Nothing all that new here, but Lohan does a great job with the physical comedy aspects and it makes the film fun to watch. PG-13 for language.

JUST ONE KISS (NR) 83 minutes * * Mia (Krysta Rodriguez) and Tony (Santino Fontana) have both had it rough in the relationship department. Their matchmaking mothers have an idea, despite Mia and Tony's apparent unlikely match.

JUST ONE MORE KISS (PG-13) 101 minutes * 1/2 Abby (Faleena Hopkins) and Max (Patrick Zeller) had a love like no other. When he dies, she is lost without him. Somehow, Max manages to return to her as a ghost. It gives her a chance to grieve at her own pace, but that may also make it more difficult to let go. Directorial debut of writer/director/actress Hopkins. The acting and the script in particular, are mostly mediocre and occasionally not very good.

JUST ONE OF THE GUYS (PG-13) 96 minutes * 1/2 Convinced that sexism is why her article for the local paper was passed over, Terry (Joyce Hyser) goes undercover, as a boy. Of course, that comes with another set of problems. Predictable story with some awkward transitions between drama and humor. PG-13 for sex and language.

JUST SWIPE (NR) 82 minutes * * 1/2 Dating has never been a wonderful experience for Jessica (Jodie Sweetin). The pandemic lockdown hasn;t made it any easier for her... until she meets Brandon (David Lipper). Something makes her decide to give him a chance. Cute, light, relationship comedy.

JUST THE WAY YOU ARE (PG) 91 minutes * * 1/2 Due to an illness when she was younger, Susan (Kristy McNichol) gets a cast put on her leg to make it look like she has a skiing related injury. Maybe people won't dismiss her as quickly. It's a predictable story, but still manages to work well, though McNichol does seem to be a bit young for the role.

JUST THE WAY YOU ARE (2015) (NR) 84 minutes * 1/2 Her successful matchmaking business makes Jenny (Candace Cameron Bure) feel good about everything except her own marriage. She decides that she and her husband need to start over. They start with a "blind date". Bure and Ty Olson are good here, but the story is lifeless.

JUST VISITING (PG-13) 83 minutes * 1/2 Rather silly piece of fluff about a Count, played by Jean Reno, who gets transported into the future along with his trusty servant. They are, of course, confused. They manage to stumble across one of the count's descendents who helps them out and everything works out nicely despite how many times believability is entirely thrown out the window. It's as if they couldn't make up their mind whether to play this to the kids or the adults. Christina Applegate does a nice job here, playing two characters, but Reno, Malcolm McDowell and Tara Reid are capable of much better than this film is able to show. PG-13 for language.

JUST WRIGHT (PG) 96 minutes * * 1/2 Physical therapist Leslie Wright (Queen Latifah) meets the star player (Common) from her favorite basketball team, but it's her roommate that he falls in love with. But when an injury puts him on the sidelines, Morgan (Paula Patton) has no more use for him. As Leslie helps him recuperate, he finds himself falling for her. No real surprises here as far as the story, but Queen Latifah and Common work well together here and manage to make this a nice, quiet little love story. PG for language and sex.

JUSTICE FOR NATALEE HOLLOWAY (NR) 86 minutes * * Sequel to the TV movie "Natalee Holloway", this fills in a few more details of the famous missing person case and continues the story by including the second murder that Joran Van der Sloot (Stephen Amell) confessed to five years later. Leans toward tabloid sensationalism, but not too far.

JUSTICE LEAGUE (PG-13) 109 minutes * * * After several films focused on individual characters, they are brought together here as the Justice League begins to form. The story does a nice job of bringing them together, though it almost takes too long for a film of this length. There's a nice sense of humor in the script, and a great sense of adventure. The villain is great, which is important in a superhero film, but his demise does come a little too easily. Not a bad beginning, and hopefully the follow-up will build on this one. PG-13 for violence.

JUSTICE LEAGUE (Zack Snyder's) (R) 234 minutes * * This is director Zack Snyder's version of the 2017 Justice League film. He's removed everything that Joss Whedon did and added a large number of special effects as well as numerous scenes that weren't included in that version. This one will have it's fans, but it's overly long and much of the added footage really doesn't add much to the film. The special effects are quite good, but creating a film that's twice as long as the original just isn't really worth it. Whedon's script told an exciting and energetic story. Snyder's version, with a screenplay by Chris Terrio (who co-wrote the first one with Whedon), is a darker and more slowly paced film. R for violence and language.

JUSTICE LEAGUE: CRISIS ON TWO EARTHS (PG-13) 72 minutes * * 1/2 There are a multitude of parallel worlds, and on one of them, a device has been created that could destry everything. Lex Luthor (a good version) comes to Earth (the one we know) to seek the help of the Justice League in defeating their evil counterparts on his world. Standard animated action/adventure from the Warner Brothers animation team.

JUSTICE LEAGUE DARK (R) 73 minutes * * 1/2 The Justice League Dark are a group of supernatural heroes who fight the more unusual or supernatural threats that the Justice League doesn't usually deal with. Their organization is less formal than JL's, but no less effective. Much like the JL, their membership varies from one adventure to another. In this particular adventure, they are John Constantine, Zatanna, and Deadman. Batman has come to them for help in dealing with a supernatural problem that he, Wonder Woman, and Superman have encountered and need some assistance with. R for violence.

JUSTICE LEAGUE DARK: APOKOLIPS WAR (R) 87 minutes * * 1/2 After attacking Darkseid, many members of the Justice League did not survive. Most who remain have lost their will to fight. But the war is not over. This sequel to "Justice League Dark" clearly lives up to the "Dark" part of the name. It also features some very nice voice casting that includes Rosario Dawson, Tony Todd, Taissa Farmiga, and many more. R for violence, language, and sex.

JUSTICE LEAGUE: DOOM (PG-13) 75 minutes * * 1/2 The Justice League has a new foe... The Legion of Doom. Working together as a team, the Legion of Doom might be able to defeat the Justice League. Can they figure out how to stop them from destroying most of the Earth and becoming its new rulers? Standard superhero animation feature. PG-13 for violence.

JUSTICE LEAGUE: GODS AND MONSTERS (PG-13) 73 minutes * * A different look at Superman, Batman, and Wonder Woman. In this alternate universe, they have been framed for multiple murders, and the government wants them out of the picture. An interesting revisioning of the characters, but the story doesn't quite lie up to the idea. PG-13 for violence and nudity.

JUSTICE LEAGUE: THE FLASHPOINT PARADOX (PG-13) 78 minutes * * 1/2 The Flash finds himself in a world where Aquaman and Wonder Woman are fighting each other and Bruce Wayne's father is the Batman instead of Bruce. He has to figure out what Thawne changed in the past and set it right. If the animation style was more realistic, this might have earned an R rating for its violence, and it's harder-edged story.

JUSTICE LEAGUE: THRONE OF ATLANTIS (PG-13) 67 minutes * * 1/2 This animated adventure takes us to the beginning of the formation of the Justice League and introduces the character of Aquaman. It works well as an introductory piece for Aquaman, showing a little darker side of the character, but it also does presume some level of knowledge of the other characters. PG-13 for violence.

JUSTICE LEAGUE VS. TEEN TITANS ({G-13) 76 minutes * * 1/2 Batman's son Damian is sent to the Teen Titans to learn discipline, respect, and teamwork. With what the Teen Titans are about to face, he'll have the perfect chance to learn all of that and more. Quite a bit of background on Raven's character as both the Teen Titans and the Justice League face off with her father. Nice story to add character development for Raven and Damian. PG-13 for violence.

JUSTICE LEAGUE WAR (PG-13) 76 minutes * * A story about the founding of the Justice League as some of the world’s heroes come together to stop aliens from conquering the earth. The story is very simply and not very interesting, though the animation and music are fairly good. Quite a bit of violence and violent language, which cause this to get a PG-13, though the simplicity of the story leans the interest level more to a slightly younger crowd.

THE JUSTICE OF BUNNY KING (NR) 98 minutes * * * Life has not been going well for Bunny (Essie Davis). No income and no place to live means no visits with her children without supervision. One thing leads to another, and soon, Bunny is facing a situation with a tactical police team and a possible kidnapping charge. Great work by Davis and a nice supporting role for Thomasic McKenzie.

JUSTIN BIEBER: NEVER SAY NEVER (G) 100 minutes * * 1/2 It's Justin Bieber's back story. A fairly standard bio-pic with lots of concert and rehearsal footage, but also quite a bit of home video footage of Bieber's early musical work. Bieber fans will be happy, and others won't care, which is what makes this no more than average.

JUSTIN BIEBER'S BELIEVE (PG) 85 minutes * * 1/2 Partially a record of the "Believe" tour, but also a look at Bieber's fans and how he deal with them and with the pressures of success. Definitely a treat for his fans, and who else will be watching? PG for language.

JUVENILE DELINQUENTS (R) 116 minutes * * They've been in juvenile detention before, but now they are out, and causing trouble again. This time, the trouble is more serious, and while the incident draws them closer as a group, their individual circumstances also pull them apart. Script and direction aren't very convincing.

K-9 (PG-13) 96 minutes * * Jim Belushi's one-liners keep this film moving along well and give us the laughs we need, but this story about a cop and his canine partner is in desperate need of a really bad villain or two to make the story more interesting.

K-9 ADVENTURES: LEGEND OF THE LOST GOLD (NR) 83 minutes * * Cute kids adventure with a treasure (as you might expect from the title), bumbling criminals, and dogs. This is a sequel to "Scoot & Kassie's Christmas Adventure" which was originally titled "K-9 Adventures: A Christmas Tale".

K-19: THE WIDOWMAKER (PG-13) 128 minutes * * 1/2 The time is 1961 and everyone is sure that nuclear war will happen soon, but no one wants to be the one to start it. In the race to create more and better weapons, the Soviet Union puts a submarine out on a mission... a mission that will put the world at risk. The story is interesting, though similar to ones we've heard before. The performances are a bit too stiff though, and Harrison Ford and Liam Neeson dominate the screen, giving us little time to hear enough about the other characters. Their performances are good, although the Russian accents are a bit uneven at times. PG-13 for language, violence, and nudity.

K-PAX (PG-13) 114 minutes * * Prot (Kevin Spacey) is a most unusual patient. A man who claims he's from the planet K-Pax, he presents a challenge for Dr. Mark Powell (Jeff Bridges). Will he be able to unravel the mental twists and turns that led Prot to this place or is he really from another planet? Spacey and Bridges do some very nice work here, but the structure of the story undermines their work. It moves from the mystical and magical to the medical and then, almost as an apology, back to the mystical again. It just doesn't work very well, though Spacey utters quotable insights on life in almost every scene. Adapted from Gene Brewer's novel and rated PG-13 for language.

KABLUEY (PG) 81 minutes * Salman (Scott Prendergast) has trouble finding work, so he's available to take care of his nephews, but that may not be such a good idea. His latest job is as a mascot for a failing company, which seems to resemble pretty much everything in his life. There are some good ideas here, and the film tries to be witty and clever, but quite clearly misses the mark. Prendergast also wrote and directed this, and might benefit from rethinking a desire to wear so many hats. PG-13 for sex and language.

KAENA THE PROPHECY (PG-13) 83 minutes * * With her people at risk of dying, Kaena (voiced by Cecile De France or Kirsten Dunst) goes against the high priest's orders to see if she can uncover the problem. The animation is hypnotically fluid, which serves the mood well, but is a bit distracting at times. PG-13 for sex and violence.

KAJILLIONAIRE (R) 99 minutes * * 1/2 Running scams is what Old Dolio (Evan Rachel Wood) knows. She has helped her parents (Debra Winger and Richard Jenkins) for years as they con and scavenge their way through life. Then they meet someone who has an idea for a heist. Her parents not only like the idea, they invite the newcomer into an even bigger plan. Old Dolio's life has now taken an unexpected turn. Great work by Wood in this unusual piece. R for sex and language.

KALEIDOSCOPE (NR) 97 minutes * * 1/2 It's difficult for Carl (Toby Jones) to be around women. In the first place, he's been in prisonfor awhile. Now that he's out, he's going to try to move on. But there were also some issues he was having with his mother. Good tension and suspense, which is as much a credit to Jones' performance as it is to the script and direction.

KALINKA (NR) 78 minutes * * 1/2 It would take nearly 30 years to bring his daughter's killer to justice, but Andre Bamberski (Daniel Auteuil) would not give up. Straightforward and rather brief legal drama. Auteuil's performance gives it a little extra strength and appeal.

KANDAHAR (R) 113 minutes * * 1/2 Failing the mission he was assigned is the least of Tom Harris' (Gerard Butler) problems. His identity was exposed, and now he's on the run. Finding a way to get to Kandahar is his best chance... and that's only 50/50. War/espionage film with a nice touch at the end, but it runs a little long. R for violence and language.

KANGAROO JACK (PG-13) 83 minutes * Charlie and Louis are supposed to deliver some money for Charlie's mobster step-father. The problem is that Louis put the money in a jacket that he put on a kangaroo that is now hopping through the outback in Australia. If you don't think that's bad enough, try watching Jerry O'Connell and Anthony Anderson as they play these ridiculous characters. The only good part of this is the animation effects on the kangaroo, which are quite nice. What was producer Jerry Bruckheimer thinking? Filmed in Australia. PG-13 for violence and language.

KANSAS (R) 107 minutes * * * 1/2 Doyle Kennedy (Matt Dillon) is a juvenile delinquent whose most recent birthday means that his next mistake will be treated more seriously by the authorities. Wade Corey (Andrew McCarthy), on the other had, is a likeable, easygoing, and pleasant young man who has run across misfortune on his way from Los Angeles across the country to his best friend's wedding. Part of his misfortune just happens to be named Doyle Kennedy. It's an interesting and well-written story of two very unlikely companions. Leslie Hope's supporting role is strong as well, and Pino Donaggio's soundtrack sets the mood quite effectively.

KARATE DOG (PG) 81 minutes 1/2 This is a another great example of how talented actors can end up in bad films... and not make the film any better. Jon Voight and Pat Morita star, and Chevy Chase and Nicolette Sheridan provide voices for the dogs. A talking dog pairs up with a computer geek to solve a murder. Of course, something about that description should provide a clue as to what to expect. Too bad the studio didn't pick up on that clue and pass on this film. PG for violence.

THE KARATE KID (PG) 126 minutes * * * 1/2 The first (and definitely best) of the series, this is one of those films that just keep tugging at you till you give in. Ralph Macchio learns karate (and self-confidence) from the Japanese handyman in his apartment house after being harassed by bullies. From John Avildsen, the director of the first "Rocky" film, this one spawned three sequels and an animated TV series.

THE KARATE KID (2010) (PG) 134 minutes * * * The move from Detroit to Beijing is tough on young Dre Parker (Jaden Smith), and it doesn't take long for him to run into bullies who are going to make it even more difficult. Of course, there also happens to be a quirky old man who might be of some help. This remake is interesting, and definitely shows off the acting skills of young Smith, but the updating of the story doesn't work all that well in spots, and the fight scenes are more violent, which isn't really a positive shift. PG for violence and language.

THE KARATE KID PART II (PG) 108 minutes * * Or, the further adventures of Daniel (Ralph Macchio) and Miyagi (Pat Morita). Taking up right where the first film left off, we follow the two as they continue to work together. The lessons are about forgiveness and putting principles before passion. Director John Avildsen doesn’t really try very hard with this one, letting the characters play out issues from the first film and focus more on making sure the film has humor despite the story giving plenty of room for more dramatic character development.

KAREN CRIES ON THE BUS (NR) 94 minutes * * Unhappy with her marriage, Karen (Angel Carrizosa) leaves. But with no source of income and no job skills, she has to rely on brand new friends to help get her started. Though some of the supporting roles here aren't very good, Carrizosa carries the film very well as she struggles with how to start over on her own.

KARLA (R) 100 minutes * * Paul Bernardo (Misha Collins) and Kate Homolka (Laura Prepon) had a twisted relationship that quickly began to ensnare others. Paul's charisma made it easy to seduce victims, but it also led to a false sens of security, and his eventual downfall. The story is told from Karla's persepective, though it is not as harsh on either of them as might be expected. R for violence, sex, and language.

KARMA (NR) 82 minutes * 1/2 It's just a short-term job, serving eviction notices for his father-in-law. One of the first few notices he delivers has an unexpected consequence. He now has a karma demon who won't leave him alone. The karma demon idea isn't bad, but the story stumbles near the end and gives us something that is not complete.

KARMA: THE PRICE OF VENGEANCE (NR) 76 minutes BOMB It isn't just that the dialogue and acting are among the worst you'll ever see, but the photography and direction are bad too. A group of people find themselves chained and in a room. They have no idea why they are there, but soon discover that they are supposed to confess their secret sin. What you do is going to come back to you someday, though you may wonder what you did to deserve having to sit through this.

KATE AND LEOPOLD (PG-13) 112 minutes * * 1/2 Stuart (Liev Schreiber) has found a hole in the fabric of time. The only problem is that he's been followed home and now his ex-girlfriend is falling for the guy. Hugh Jackman is terrific here as Leopold. Not really satisfied with the way things were in his own time, not really fitting into the future either, but recognizing the importance of love, he charms Kate (Meg Ryan) in a way no other man ever could. Ryan is good, as she always is in this sort of role. The story is predictable, but Jackman provides plenty of sincere charm and that is what makes it worth a look. PG-13 for language.

KATI WITH AN I (NR) 84 minutes * * 1/2 A close-up look at the days leading up to Kati Genthner's high school graduation. The graduation isn't the only change that Kati is about to face, as her family will be moving after graduation and her boyfriend has a decision to make as well. Coming-of-age documentary that only occasisonally feels a little staged.

KATY PERRY: PART OF ME (PG) 89 minutes * * * This is the story of Katy Perry's 2011 concert tour. It was filled with challenges, triumphs, and heartbreaks. Perry is a different sort of "star", as evidenced by her willingness to let us see some very personal, and not so positive moments during the tour. That's part of who she is, and she likes to keep her image grounded in reality. PG for language.

KATYN (NR) 118 minutes * * * During World War II, the Katyn Forest was the site of the murder of thousands of Polish citizens, from civilians to military officers. It's an unflinching look at a disturbing time in the history of the world. While we tend not to feel much connection with most of the characters here, the treachery and tragedy are overwhelming.

KAZAAM (PG) 88 minutes * Shaquille O'Neal's first venture as a film star is far from successful. A story that is too involved for the really young ones to follow and too much silliness for the 6-12 crowd. Plenty of good morals slapping us in the face every few minutes and a really weak ending make us overlook that O'Neal's performance isn't really all that bad.

KEANE (R) 90 minutes * * * It was tragic and devastating. When William (Damian Lewis) loses his daughter, his world collapses. Then he meets Lynn (Amy Ryan) and her daughter Kira (Abigail Breslin). New options appear, but they are not all good ones. An intense portrait of a man on the edge. Dealing with his pain and grief in ways that are not healthy, but still holding out hope. R for sex and language.

THE KEEP (R) 106 minutes * * * There is good evidence that the Nazis explored the possibility of using the supernatural to aid in their quest for world domination. But what if they not only released a demon they couldn’t control, but the expert they needed to turn to for help was Jewish? The film is almost dreamlike in both quality and tone, with music by Tangerine Dream. Ian McKellan and Scott Glenn deliver haunting performances. Based on the novel by F. Paul Wilson. R for violence, sex, and language.

KEEP QUIET (NR) 93 minutes * * 1/2 What happens when the vice-president of a far-right extremist party in Hungary finds out that he has Jewish ancestry and a relative who survived Auschwitz? Is he sincere in expressing a desire to change and embrace Judaism, or does he simply have nowhere else to turn for acceptance? A fascinating documentary that lets us look at one man's challenging past and present.

KEEP THE CHANGE (NR) 90 minutes * * * Based on the award-winning short film of the same title, this film explores the romantic connection between two New Yorkers who meet in an autism support group. A beautiful and gentle love story, with charming and brave performances by both Samantha Elisofon and Brandon Polansky.

KEEP THE LIGHTS ON (NR) 98 minutes * * 1/2 Erik's (Thure Lindhardt) new boyfriend seems perfect, except that he has a bad drug habit that is starting to ruip them apart. Whenever Erik tries to help, it only seems to drive Paul (Zachary Booth) farther away. A solid drama with quality performances. The photography and sound are a little inconsistent. This may have been an editorial choice that was made for effect, but whether that is the case or not, the film is not helped by it and it undercuts the effect of several scenes.

KEEP WATCHING (R) 85 minutes * 1/2 A family is trapped in their home and are forced to play a game for their lives. Meanwhile, their every action is being streamed live to viewers who just can't stop watching. Very slow start. Not sure why no one thinks about breaking, covering or re-aiming the cameras. There is some good suspense late in the film, but it's a little too late and too much of the story just doesn't add up. R for violence and language.

THE KEEPER (R) 88 minutes * * Hired as a bodyguard for a friend's daughter, Roland (Steven Seagal) is going to have his work cut out for him. An old enemy of her father's has already tried to kidnap her once and almost succeeded. But that was before Seagal was protecting her. Seagal smiles more in this film than in all of his others combined, but it still doesn't really help his wooden performance. Of course, the fight scenes are good, which is why most people will be interested in watching anyway. R for violence, language and sex.

THE KEEPER (2018) (NR) 113 minutes * * * 1/2 Bert (David Kross) is a German prisoner of war at a camp near Manchester, England. When the manager of a local soccer team notices how well he plays, he decides to arrange for Bert to play for his team. The manager's daughter (Freya Mavor) develops a liking for him as well, though neither situation (on or off the field) sits well with very many people. Despite that, Bert becomes something even greater. He becomes a symbol of perseverance and of reconciliation. An inspirational true story with very nice work by the cast.

THE KEEPING HOURS (PG-13) 90 minutes * * 1/2 When their son dies, Mark (Lee Pace) and Elizabeth (Carrie Coon) get a divorce. Mark rents out their house, but tenants don't seem to stay very long. It might be because their son's spirit never left the house. Although that sounds like the setup for a horror film, that's not really where this film goes. It's a story of love and forgiveness, and how to move through grief. It's not bad, though it is a little misleading at first. PG-13 for sex and language.

KEEPING MUM (R) 99 minutes * * 1/2 Reverend Walter Goodfellow (Rowan Atkinson) is desperately trying to write the sermon that everyone will find inspirational AND fun, but he's so wrapped up in it that he's not noticing a few things at home. His wife (Kristin Scott Thomas) is having an affair with her golf instructor (Patrick Swayze), his daughter (Tamsin Egerton) is hanging out with some questionable boys, and the new maid (Maggie Smith) has a rather interesting way of handling the household problems. Light comedy with delightful performances from Atkinson and Smith, and a fun twist that comes late in the film. R for language and sex.

THE KEEPING ROOM (R) 88 minutes * * 1/2 As the Civil War came to a close, it was not uncommon for soldiers to leave the ranks and exhibit less than honorable behavior. These three women will need to rely on each other and stay strong as they face two such soldiers. Despite the tension, the pace is slow and even. The story itself seems to be lacking context and connection, but the actors perform it well. R for violence and sex.

KEEPING THE FAITH (PG-13) 123 minutes * * 1/2 Three childhood friends, inseperable until one of them moves away, find themselves together again. The two boys have become a priest and a rabbi, while she is a corporate wonder girl. They're both in love with her of course, but how will she deal with it? There's some great dialogue here and Jenna Elfman is wonderful. Edward Norton, who also directed and co-produced this, does a nice job as well. Ben Stiller is not as good here, coming off less than sincere and straining our tolerance of a slightly overlong film that we're already pretty sure we know the end of after we see the first few minutes. PG-13 for language.

KEEPING TRACK (R) 101 minutes * ½ Witnesses to a murder, Daniel (Michael Sarrazin) and Mickey (Margot Kidder) know that they can’t trust the police, which means they can only trust each other. The banter between these two characters is the only thing that keeps the film moving. There is a fairly good twist, but by the time it arrives, most of the audience has lost interest. Sarrazin and Kidder are the only reason to watch this.

KEEPING UP WITH THE JONESES (PG-13) 98 minutes * * 1/2 Karen (Isla Fisher) and Jeff (Zach Galifianakis) have some new neighbors... who are apparently spies. There are some fun bits here, and a little bit of good adventure. But too much of the humor relies on Galifianakis and the action is not as impressive as it needs to be. PG-13 for sex, violence, and language.

KEEPING UP WITH THE STEINS (PG-13) 83 minutes * Benjamin Fiedler's (Daryl Sabara) Bar Mitzvah is approaching and his father wants it to be the best one that anyone has ever had. Benjamin isn't so sure about all the fuss. There's particularly good reason for that concern when we have a hard time really caring about this character. Sabara doesn't seem to know what to do with this role, though that may also be the fault of director Scott Marshall. Despite the fact that this is not his first feature and despite the presence of a fair amount of acting talent (including his father Garry Marshall), the whole film seems to wander amiably through the lives of the Fiedler family without really going anywhere. PG-13 for language and niduty.

KEITH (PG-13) 92 minutes * * * There's just something about Keith (Jesse McCartney). Natalie (Elisabeth Harnois) is one of the most popular girls in school. That's part of why Keith is drawn to her. It's a challenge. But he never really expects to win her over. Pop singer McCartney does a nice job here, as does Harnois. We see the twist coming, but have already been drawn into the story and care enough about the characters to keep watching. PG-13 for sex and language.

KELLY AND CAL (R) 106 minutes * * 1/2 Kelly (Juliette Lewis) is going through post-partum depressionand connects with a flirtatious younger neighbor. She tries to keep it at a more neutral level, but Cal (Jonny Weston) just seems to say and do so much that makes sense to her that it progresses to another level. Gentle and sensitive story, with great work by Lewis. R for sex and language.

THE KENNEDYS (NR) 327 minutes * * 1/2 Covering everything from the early days of Joe Kennedy and his wife Rose to the assassination of Bobby, this is a lengthy and comprehensive drama of the Kennedy family. The focus is on Jack's time as president, and the story highlights both the great and not-so-great moments. Greg Kinnear and Katie Holmes play the parts of Jack and Jackie, with some scenes working quite well and others falling a bit short of what we might hope to see.

THE KENNEDYS: AFTER CAMELOT (NR) 181 minutes * * 1/2 Picking up where the previous film left off, this is basically a bio-drama about Jackie (Katie Holmes) after Bobby's death. It's good drama, and the pacing is better thanks to it being a good deal shorter. That said, we're missing an important piece about the death of Aristotle Onassis (Alexander Siddig) since it was after his death that she returned to the Kennedy family and continued as an integral part of the family. She had stepped away from that during her marriage to Onassis, and that dynamic is barely evident here.

KEY OF LIFE (NR) 123 minutes * * * 1/2 After an attempt to take his life fails, Sakurai (Masato Sakai) decides to start over as someone else. But the identity he steals is that of a hitman who has lost his memory due to a concussion. Kondo (Teruyuki Kagawa) is trying to rediscover who he is, and Kanae (Hirosue Ryoko) is helping. She's desperate to get married, but she may change her mind about Kondo when she learns what he really does for a living. The mood of the story remains light, which keeps it fun, though it's clear that there is a deeper core around a search for identity and meaning that concerns all of the characters. Very nice ensemble cast.

KHODORKOVSKY (NR) 114 minutes * * * He was once the head of Yukos, Russia's largest oil company. Arrested on charges of tax evasion and fraud, this documentary uncovers the story of the real man, and the threat that he and his ideas posed to the Russian government. A must-see for those interested in historical information about Russia under Putin's rule.

KICK-ASS (R) 111 minutes * * * Why is it that we don't see any super-heroes in real life? Mostly because the opposite of the title of this film is what would happen to them. Such is pretty much the fate of Dave (Aaron Johnson). But Big Daddy (Nicolas Cage) and Hit Girl (Chloe Grace Moretz) have been at this for a little longer. The story has an interesting mix of teen angst and gritty action. And it definitely doesn't hold back on the action. In fact, it's quite a violent story, and with a fairly realistic tone throughout. Of course, the real gem here is Moretz. Her character and performance remind us a little of Natalie Portman in "The Professional", though that film was even more realistic. The ending leaves room for more, and Moretz's performance pretty much guarantees more for her as well. R for violence and language.

KICK-ASS 2 (R) 97 minutes * * * Aaron Taylor-Johnson and Chloe Grace Moretz are back as Kick-Ass and Hit Girl. Life as a superhero is not easy, and with Big Daddy gone, Hit Girl is struggling with how to continue. The script does a great job of building on the first film while creating a story that stands on its own. Packed with hard-core action and a sense of humor, it also gives us a deeper look inside the characters we already love. R for violence, language, and nudity.

KICKBOXER (R) 92 minutes * * Well-choreographed fight scenes are the highlight in the Jean Claude Van Damme action film. What there is of the story revolves around him going after the fighter who killed his brother.

KICKBOXER RETALIATION (R) 106 minutes * * Sloan (Alain Moussi) was determined not to go back to Thailand. But Moore (Christopher Lambert) has other ideas and arranges for him to be brought back by force. He's going to have to fight a monstrous powerhouse to earn his freedom. Featuring supporting roles for Jean-Claude Van Damme and Mike Tyson, this is packed with fight scenes. It's a little thin on plot, but that's not really a surprise. R for violence.

KICKBOXER VENGEANCE (NR) 85 minutes * 1/2 Challenging the Muay Thai fighter who killer his brother, Kurt (Alain Moussi) is going to have his work cut out for him. Even when trained by his brother's mentor, this is not going to be an easy fight. There are some nice fight scenes, but not much of interest between them.

KICKIN' IT OLD SKOOL (PG-13) 104 minutes * A tragic accident during a school talent show leaves Justin (Jamie Kennedy) in a coma for twenty years. Now he's awake, and ready to reunite his old teammates for another challenge. Kennedy tries very hard to make this work, but the plot is just so bad and the dialogue doesn't help. It's an old story about growing up and the challenges faced along the way. And it's been told much better, many... many times before. PG-13 for sex and language.

KICKING & SCREAMING (PG) 89 minutes 1/2 Phil (Will Ferrell) takes over the coaching of his son's soccer team, mostly because he wants to beat the team his own father is coaching. If you like those silly comedies with young kids playing sports... oh wait, most of those actually focus on the kids... this one focuses on Ferrell, and is thus, mostly a waste of time. PG for language and violence.

KICKS (R) 81 minutes * * 1/2 Air Jordans are a prize possession. When Brandon (Jahking Guillory) finally gets his hands on a pair, it isn't long before they are stolen. Getting them back is going to be a challenge, but one he must accept. Nice work by Guillory. R for violence, language, and sex.

THE KID (PG) 104 minutes * * * 1/2 Russ (Bruce Willis) is an image consultant. He does great work, but his image could use some adjusting as well. When stress causes his inner child to materialize, Russ isn't quite sure how to cope with it. His childhood was something he tried to forget, but maybe that's part of the problem. Willis does an admirable job here, letting us get to know Russ inside and out. It's the most complete role we've seen him play, and it's a pleasure to watch. Spencer Breslin makes a great "little Russ", but we musn't forget Lily Tomlin, whose dry wit adds just the perfect touch. Delightful and charming, this is a great family film. PG for language.

THE KID (2019) (R) 93 minutes * * 1/2 A story of Pat Garrett (Ethan Hawke) and Billy the Kid (Dane DeHaan) as seen through the eyes of young Rio (Jake Schur). Jake and his sister are in need of help and first turn to Billy, and eventually to Pat. Nice western with a good story that doesn't try to be too large, despite having some famous characters. R for violence and language.

THE KID DETECTIVE (R) 95 minutes * * Years ago, Abe Applebaum (Adam Brody) was a brilliant young man who solved mysteries. He's not so well=respected anymore, but that's about to change. He's just been asked to take on a murder case. It's going to be tough. Sort of like this film. It wanders back and forth between being a teen mystery and a serious suspense film, occasionally tosing in some humor for good measure. There's a nice twist, and then a strange ending. R for language, nudity, and violence.

A KID IN KING ARTHUR'S COURT (PG) 87 minutes * 1/2 Dumped into Camelot after Guinevere is gone and the kingdom is falling apart, young Calvin Fuller must use his knowledge of the future (our present) he has come from to save the day. Nice ending, but it's a real chore getting there as we wade through the poor acting of Thomas Ian Nicholas and bad special effects. Paloma Baeza's performance as Princess Katherine is the best part of this. Filmed in Hungary and England.

A KID LIKE JAKE (R) 83 minutes * * Greg (Jim Parsons) and Alex (Claire Danes) are trying to find just the right school for their son Jake (Leo James Davis). as it turns out, they have a good chance of getting Jake into an amazing school with a scholarship... if they are willing to recognize and support that Jake doesn't identify as a boy. A very dialogue-heavy film, but it keeps hitting the same few notes over and over. It also chooses not to deal with other angles and relationships of the characters more directly, leaving them much more shallow and less interesting. R for language.

THE KID WHO WOULD BE KING (PG) 115 minutes * * * He may be a bit of an unlikely hero, but Alex (Louis Ashbourne Serkis) is chosen by Excalibur, and that's really all that matters. The quest that he and his compatriots embark on is honorable, and they will find a way to overcome the odds. It's a fun adventure for the younger crowd, with a little bit of social commentary. The costumes and special effects are an interesting mix of good and silly. It keeps the tone light, but not too light, and fits well with the story. PG for violence and language.

THE KID WITH A BIKE (PG-13) 84 minutes * * 1/2 Cyril (Thomas Doret) is living in a group home when his father movies on without him. Cyril refuses to believe that his father would do that, and it os only through the kindness of a stranger that he is finally able to accept what has happened. Very realistic in some ways, but the editing is uneven and the ending very abrupt. PG-13 for language.

KIDNAP (R) 88 minutes * * When Karla's (Halle Berry) son is kidnapped, she will do everything in her power to get him back. The film delivers on intensity, but believability is an entirely different matter. It just stretches too far, bordering on the humorous. Berry throws herself into the performance, showing us a sincere portrait of a woman in despair. R for violence.

KIDNAP CAPITAL (NR) 89 minutes * * Central American immigrants who cross into the United States illegally are often kidnapped and held for ransom. This is the story of a "drop house" in Phoenix, Arizona, where several victims are held for awhile. Pacing is slow until very late in the film, and the ending doesn't seem to have a point to make and feels very incomplete. A better approach might have been to give a better ida of the scope of the problem by showing more drop houses and how quickly the locations change.

KIDNAPPING MR. HEINEKEN (R) 89 minutes * * Despite meticulous planning, mistakes were still made, and chance was not in their favor. Based on the actual kidnapping of the beer tycoon. A great deal of time is spent on the details of the kidnapping, but emotional connections and depth of character tend to be glossed over, leaving us feeling disconnected from the story. R for language.

KIDS (NR) 86 minutes * 1/2 Slice of life film about New York teens and their sexual lives. The issue of AIDS comes up instantly as a one time encounter with Telly infects Jennie. The film ends rather strangely, giving it no more direction or focus than it had throughout. The flow of the film is awkward, as some scenes come off naturally, while others appear very staged. Still, it's a very absorbing, if slightly disturbing film.

THE KIDS ARE ALL RIGHT (R) 102 minutes * * 1/2 Nic (Annette Bening) and Jules (Julianne Moore) are worried about their kids. Joni (Mia Wasikowska) and Laser (Josh Hutcherson) are half-siblings, and when Joni turns eighteen, she finds out who the sperm donor for their mothers was and makes contact with him. Needless to say, their moms aren't too thrilled about it. Bening and Moore never seem to get all of the way into their roles here, instead getting lost somewhere while exploring what it is that their characters are feeling, which mostly seems to be confusion. R for sex and language.

KIDS IN AMERICA (PG-13) 91 minutes * It's all about free speech and the right to challenge authority. There's an interesting supporting cast here with Elizabeth Perkins, Rosanna Arquette, and George Wendt. The problem is that the script is far from interesting or well-written. What's really strange is that the filmmaker's include interviews at the end of the film with the real youth who's stories are fictionalized in the film. Here's the real story! Make a documentary with them and it might have been a strong piece of work with something to say instead of just another poor attempt at high school comedy with a message. PG-13 for language.

KIDS IN THE HALL: BRAIN CANDY (R) 85 minutes BOMB Moralistic comedy that drags on forever as the characters work with a drug that will fight depression. Yes, we need the "lows" so we can better appreciate the "highs". I guess that's why we need horrible films like this once in awhile too.

KIKI, LOVE TO LOVE (NR) 99 minutes * * 1/2 The place is Madrid. Five stories. Five couples who are working on improving their sexual experiences and are willing to explore the possibilities. Plenty of humor in this sexy and fun lolk at relationships, attractions and inhibitions.

KILL ANOTHER DAY (R) 73 minutes * An illness. An epidemic. And now a world full of zombies. David (David Michael Moote) finds himself leading a group of survivors in search of a young girl who just may be the only hope they have. The film is shot in first person POV style, which gives us an incomplete and shaky look at most everything. It undoubtedly looked good in the short film from which this was adapted. But in a longer feature, it just doesn't hold up. R for violence and language.

KILL BILL VOL. 1 (R) 102 minutes * * * Moving back to the style of "Pulp Fiction" was a good decision by director Quentin Tarantino. Based on Tarantino's novel, it's the story of a woman who survives a brutal attack and sets about taking revenge on those who attacked her, her fellow members of the "Deadly Viper Assassination Squad". As you might expect, there's plenty of violence, but the film is not only photographed in a style that brings Japanese anime to mind, it even includes anime clips in a few spots. It's an effective style of photography for a film like this. The music is highly effective as well, but the star is, of course, Uma Thurman. Her performance is vicious and amazing. Volume 2 will take us even further into the story and remind us of the importance of the quote that we hear toward the end of the film. Sonny Chiba says, "Revenge is never a straight line, it is a forest. It's easy to get lost and forget where you came in." This film focuses on the beginning of the quote as the bride (Thurman) begins her quest for revenge. R for language and violence.

KILL BILL VOL. 2 (R) 124 minutes * * * Just in case you didn't see the first film, there's a 15 minutes intro that will explain just about everything. In fact, that's the biggest fault of the film, it over-explains quite a bit. It greatly reduces how much fun it is to watch, though the story is still quite interesting and Thurman delivers yet another high caliber performance. R for violence and language.

KILL COMMAND (NR) 97 minutes * 1/2 An elite Marine unit is sent to an island for another drill. It's purpose is to test the artificial intelligence that has been left there. But the AI has improved itself more rapidly than expected. And even the tech-enhanced member of their team seems unable to deal with the situation. A less than effective ending, and getting there seems to be pretty much the same fight sequences over and over.

KILL 'EM ALL (R) 92 miunutes * Just in case you might not have thought that Jean Claude Van Damme is no longer in top condition, the story involves him fighting after being injured and therefore he has a reason not to be as good as he should be. Of course, he may not be in graet condition anymore, but he's still in much better shape than Steven Seagal. Cutting back and forth between the interview and the action scenes really undermines the flow of energy in the film. There's a nice twist at the end, but it's too little too late. R for violence and language.

KILL FOR ME (R) 89 minutes * Two young women who both have histories of abuse, decide to take care of their problems by killing each other's abusers. Of course, they are neither one sharing their full stories with one another. The script keeps trying to throw us curves, but they are all both obvious and uninspired. R for violence, language, and sex.

KILL LIST (NR) 88 minutes * A hitman takes on a job that promises a big payoff, but only after he's killed three targets. The story is told in different segments or chapters, which are a little disconnected, but the bigger problem is the script itself. It was partially written by the cast and lacks direction or focus much of the time, leaving us with a number of characters that are simply uninteresting.

KILL ME DEADLY (NR) 94 minutes * * 1/2 When his client is murdered and a valuable diamond is stolen, Charlie Nickels (Dean Lemont) will have to do some fancy detective work to figure out "who done it". In black and white, with all of the film noir style you could want. The difference is that this has been not just dipped, but thoroughly soaked in comedy. Definitely more fun if you're familiar with film noir. It's also a little over-played and goes on a little long, but worth a look if you have the sense of humor for it.

KILL ME THREE TIMES (R) 84 minutes * * When he messes up an assignment, Charlie (Simon Pegg) finds himself in a tangled mess of blackmail, revenge, and murder. Unfortunately, it's a little tangled for us as well. Not without a sense of humor, and Pegg's excellent sense of timing, both of which help. R for violence, language, and sex.

KILL OR BE KILLED (NR) 100 minutes * * 1/2 An outlaw gang races across the badlands to get the hidden loot from an earlier robbery. The trouble is that they have a price on their heads... and they aren't the only people out looking for some easy money. Gets a little strange toward the end.

KILL ORDER (NR) 71 minutes * 1/2 The strange dreams that David (Chris Mark) has been having are about a hidden part of his life. He was a test subject and was taught how to tap into otherworldly energies. Now, he's on the ryun and out to get those who turned him into a deadly weapon. An interesting idea, but the script lacks energy despite the inclusion of a few good fight scenes.

KILL SWITCH (R) 93 minutes * 1/2 Steven Seagal plays a detective, with a very bad Louisiana accent, who travels to Memphis to track down serial killers. There are a few fairly good fight scenes, but the editing and Seagal's trademark style of making it all look so easy tend to bore us rather quickly. R for violence, language, and nudity.

KILL SWITCH (2017) (R) 88 minutes * 1/2 When an experiment for a new source for unlimited energy goes wrong, Will (Dan Stevens) is sent in to shut it down. Mostly told in first person, this is based on the short film "What's in the Box?", which some think was tied to the video game "Half-Life". This certainly has a video game "feel" to it, including gaps in the story. The effects are nice, are there are some moments when the story pulls us in, but it struggles to keep our attention for more than a few minutes at a time. R for language and violence.

THE KILL TEAM (R) 83 minutes * * Commands on the front line often change, and soldiers don't always agree with the decisions made by the commanding officer. Briggman (Nat Wolff) wants to impress the new sergeant (Alexander Skarsgard). But he soon begins to wonder whether something unethical is going on and how to address it. Whet's here is good, but it feels like a very abridged version that glosses over too many important parts of the story. R for language and violence.

KILL THE IRISHMAN (R) 96 minutes * * * Danny Greene (Ray Stevenson) took over the longshoreman's union that had been run by the mob. Danny is pretty clear on how to deal with the mob, but he may have a bit more trouble in dealing with the Cleveland police and an old friend from the neighborhood where he grew up. His options seem to be rapidly disappearing. Solid acting and an engaging story that recounts the story of the real Danny Greene. Based on the book, "To Kill the Irishman" by Rick Porrello. R for violence, language, and sex.

KILL THE MESSENGER (R) 105 minutes * * 1/2 Gary Webb (Jeremy Renner) thought he'd found the story of a lifetime... the CIA's involvement in the Nicaraguan drug cartel. But suddenly, his sources deny what they had earlier told him, and his career is on the line. Nice work by Renner, and a solid supporting cast. The story tends to play it a little too safely, steering clear of any more extreme conspiracy theory ideas. It does add to the realistic tone, but it also makes it less exciting. R for language.

KILL YOUR DARLINGS (R 95 minutes * * * The college days of Allen Ginsberg (Daniel Radcliffe), William Burroughs (Ben Foster), and Jack Kerouac (Jack Huston). It was a time of rebellious creativity, and a no-holds-barred pushback against the educational institution and what was perceived as higher education. Strong performances here do a nice job of making this piece of history feel quite real. R for sex, language, and violence.

KILL YOUR FRIENDS (NR) 98 minutes * * Satirical look at the music industrry, with the focus being on Britpop, though it applies to the whole industry. Much of the satire is subtle, and knowing something about the way the music business works is helpful to understanding the humor. Add to that the focus on Stelfox (Nicholas Hoult), who is not a likeable character, and this can be a little difficult to get through. The ending is quite good, if you can get there.

KILL ZONE 2 (NR) 116 minutes * * An undercover cop discovers an organ trafficking ring and works to put an end to it. Mostly and excuse for lots of hand-to-hand martial arts fighting sequences. Nicely done, and while Tony Jaa is featured, he's not the only one we get to see a good deal of in the fight scenes. Most everyone is adept at using any object at hand as a weapon or as protection, which makes the fight scenes much more interesting.

KILLBILLIES (NR) 81 minutes * Some city girls take a trip to the country to spend some time with nature. They find something less pleasant in two defirmed and depraved country killers. Surviving this experience won't be easy. Gross effects and some good, suspenseful music help a little. The song at the end is an unusual choice given the rest of the film.

KILLBIRD (NR) 81 minutes * * On a birding trip, Taylor's (Elysia Rotaru) car breaks down. Looking for help, she stumbles across Riad's (Stephen Lobo) place. Riad is more than a little paranoid, and he assumes that Taylor is an agent from the government. The first half of the film is slow, and though there are a few twists and turns in the story, the pace doesn't pick up until the second half of the film, which may be too late for most.

KILLER ELITE (R) 110 minutes * * * Danny (Jason Statham) wanted out, but when one of his friends ends up in trouble, Danny finds himself willing to do what it takes to help. The war may be over, but now, two teams of killers are pitted against one another to exact the justice that didn't happen during the war. Adapted from the book, "The Feather Men" by Ranulph Fiennes, which claims to be non-fiction, but was denied by the British government. R for violence, language, and sex.

KILLER HOLIDAY (R) 84 minutes * A Spring Break road trip through the California desert leads this group of friends to an abandoned amusement park, and a serial killer. Of course. There are a few creepy moments, but poor acting and a script that doesn't really go anywhere manage to leave the film just as stranded as the characters. R for violence, language, and sex.

THE KILLER INSIDE ME (R) 105 minutes * * A sheriff's deputy (Casey Affleck) has revenge in mind, but as more and more people die, his motive becomes less clear. The supporting cast do a fairly good job of helping Affleck her, though he doesn't do particularly well. It's a strange character, with the misdirection for the audience creating a weakness in the structure of the story. Also starring Kate Hudson, Jessica Alba, Ned Beatty, and Elias Koteas. R for violence and sex.

KILLER JOE (R) 98 minutes * * 1/2 What better way to pay off your debt than to kill your evil mother and collect on the insurance? That's what Chris (Emile Hirsch) decides. But he hasn't really thought everying through. "killer" Joe (Matthew McConaughey) doesn't really care about that. He has a job to do and a payment to collect. McConaughey does a wonderful job of being both laid-back, yet intense. There's an underlying dark humor here, but the violence is so intense at times, that it's difficult to tell when we're supposed to be having fun and when we're just laughing to relieve the tension. Tracy Letts adapted his own play for the screen, and director William Friedkin adds yet another unusual film to his resume. R for violence, sex, and language.

KILLER UNICORN (PG-13) 71 minutes BOMB A killer in a unicorn mask is terrorizing the gay club scene. Nice costumes and makeup, but there's not much plot here, though it's doubtful that a better story would have made much difference to the cast as they don't seem to have much acting ability. PG-13 for sex, violence, and language.

KILLERMAN (R) 106 minutes * * Laundering money is big business in New York City. When Skunk (Emory Cohen) and Moe (Liam Hemsworth) have to sit on some cash a little longer than normal, they decide to do a quick drug deal to make a little extra. But the deal goes bad, and now Moe has a bunch of money and drugs in his possession with no memory of what happened. A few twists and turns in the plot, but not many. The story is more violent than cretive, so after the initial setup, it just doesn't work all that well. R for violence, language, and sex.

KILLERS (PG-13) 93 minutes * * 1/2 Jen (Katherine Heigl) is on vacation in France with her parents because her boyfriend recently dumped her. And then she meets Spencer (Ashton Kutcher). He seems too good to be true. And she soon finds out why. Tom Selleck and Catherine O'Hara are wonderful as the over-protective parents, and Kutcher does a good job as well. Heigl's performance seems to fluctuate depending on the scene, and the chemistry between the leads is lacking at several points. PG-13 for violence, language, and sex.

KILLERS (2014) (NR) 134 minutes * * * A sadistic serial killer in Tokyo and a vigilante in Jakarta are both uploading videos of their work on the internet. Who has the greater claim to fame, and what would happen if the two of them ever met? A grim and violent character study that maintains its intensity very well.

KILLERS ANONYMOUS (R) 90 minutes * * 1/2 Most everyone could use a support group. Killers are no different. When an assassinaton attempt on a senator goes wrong, they begin to wonder whether one of their group is responsible or if it might be someone else. And then a new person starts coming to their group sessions. It's a pretty tight net to begin with, but it slowly gets tighter as the film moves along. R for violence, language, and sex.

THE KILLING FIELDS (R) 138 minutes * * * * During the civil war in Cambodia that happened under the leadership of Pol Pot, an American journalist (Sam Waterston) is working closely with a Cambodian journalist (Haing Ngor) to make sure the story is told. But things are getting worse and they need to leave. That will be much easier for one of them. A violent, but powerful film that is very emotionally intense. It's a film that will not be easy for some to watch. Winner of three Oscars and nominated for four others. R for violence and language.

KILLING FOR LOVE (NR) 122 minutes * * * In 1985, Derek and Nancy Haysom were murdered in their home. Their daughter Elizabeth and her boyfriend Jens Soering were convicted of the crime. As the years have passed, new evidence has appeared, as has a clear pattern of a poorly handled case that may have resulted in the wrong verdict. It's a compelling presentation of a case that clearly calls for another look at what happened.

THE KILLING GAME (NR) 82 minutes * * 1/2 Seven years have passed since the death of her daughter, but now Eve (Laura Prepon) has reason to believe that finding her killer is still possible. The twists in the story are very good, though not all that difficult to anticipate. The cast does a nice job too, but the pacing, which tends to pause for commercial breaks, cuts into the suspense.

KILLING GROUND (NR) 85 minutes * * A camping trip turns into a nightmare when a couple crosses paths with two of the locals who already killed some previous campers. Some intense drama, but no surprises, and the ending is rather abrupt.

KILLING GUNTHER (R) 86 minutes * 1/2 A world-reknowned assassin, Gunther (Arnold Schwarzenegger) has made other assassins rather disgruntled. A motley group of them decide to kill him, which is not going to be easy. The "reveal" at the end, and the ensuing explanation, take far too long. This has some fun moments, but it would work better as a series of skits rather than a full-length film. R for violence, language, and sex.

THE KILLING HOUSE (NR) 77 minutes * 1/2 They don't know how they got there, and they can't get away. The three of them are trapped in a house where the only way out is to kill each other... over and over again. It's an interesting idea, but tries a little too hard to be clever, and the script comes up a little on the weak side.

KILLING JOAN (NR) 99 minutes * Joan (Jamie Bernadette) is a hired gun for the mob, and she isn't happy when she gets crossed. Instead of a straight-forward revenge story, this takes a supernatural turn as Joan essentially returns from the dead and uses some unexplained supernatural power to exact her revenge. The dialogue is awkward, and the fight scenes are poorly choreographed.

KILLING KENNEDY (NR) 87 minutes * * 1/2 Straightforward dramatic presentation of the book by Bill O’Reilly and Martin Dugard. What’s nice about this version is that it avoids conspiracy theories and yet addresses some of the points that frequently send people off in those directions. The performances are all adequate, though none really outstanding. There are clips of historic footage a number of times throughout the film, some of which enhance the mood or effect, but a few times are more distracting, or just not necessary.

KILLING LINCOLN (NR) 95 minutes * * * 1/2 Adapted from the book by Bill O'Reilly and Martin Dugard, this documentary with dramatic reenactments tells the story of the assassination of Abraham Lincoln. Tom Hanks' narration highlights the discrepancies that have surfaced in the different accounts of what happened. It also adds some nice detail that isn't always included in accounts of what happened. And, the comments near the end about how the effect of the assassination actually made life worse for those in the south bring to light how the results of our actions may differ from what we intend.

THE KILLING MACHINE (R) 81 minutes * * 1/2 One of the best hitmen in the business, formerly working for the KGB and now working for the Russian mob, Eddie (Dolph Lundgren) discovers that there's now a contract out on him. A few years ago, he made a choice... and now he's facing the consequences. Fans of Lundgren will be happy to see him directing and acting here, and he manages to do fairly well at both. R for violence, language, and sex.

THE KILLING OF A SACRED DEER (R) 117 minutes * * * When Martin's (Barry Keoghan) father dies on the operating table, a strange bond is formed between him and the surgeon. Dr. Murphy (Colin Farrell) is sympathetic, but it soon becomes clear that Martin is becoming obsessed with him. It's not just Keoghan's performance that is creepy here, but the photography and sound effects are as well. An unusual piece with an almost surreal ending. R for violence, sex, and language.

KILLING REAGAN (NR) 98 minutes * * 1/2 An adaptation of the book by Bill O'Reilly and Martin Dugard, detailing the assassination attempt on then President Ronald Reagan (Tim Matheson). There's a nice balance here between the details about Hinckley (Kyle S. More) and his life and Reagan and the power dynamics within the White House. The portraits of Nancy Reagan and Alexander Haig are none too flattering.

THE KILLING ROOM (R) 86 minutes * * There are two angles to the story as it unfolds. The one is that of a prospective employee who learns that she just might be working for a rather questionable CIA program that was thought to have been suspended years ago. The other is that of the four test subjects who are trapped in a room and facing death. Despite that rather interesting set-up, the story doesn't go anywhere, choosing instead to keep going over the same ideas, quickly getting boring. The actors do what they can, but the story just doesn't give them any room to work. R for violence and language.

KILLING SEASON (R) 81 minutes * 1/2 Two veterans of the Serbian War play out their differences in a remote, wooded area. Robert DeNiro does well here, though it's rare for him not to deliver a good performance. John Travolta struggles with the accent called for by his character, and it just never really works. With some adjustment, the same conflict could exist for the characters without requiring the eastern European accent... or just have a different actor play the part... R for violence and language.

KILLING THEM SOFTLY (R) 91 minutes * * 1/2 It sounded like the perfect plan. A robbery where someone else is guaranteed to take the fall. The only problem is that the people who are higher up in the organization aren’t surprised at all, and don’t fall for the twist. Too many of the scenes here just don’t tie together as effectively as they need to, instead feeling like little vignettes on a related story. Brad Pitt once again plays the quiet, but very tough bad guy role, which he does quite nicely. Adapted from the book, Cogan’s Trade by George V. Higgins. R for violence, sex, and language.

KILLS ON WHEELS (NR) 99 minutes * * * Two teenage oys with physical mobility challenges end up befriending an ex-con. He has mobility issues as well, and enlists their help as he continues in his line of work as a hitman. An unlikely friendship forms, despite their different approaches to their situations. Great characters!

KILLSHOT (R) 86 minutes * * A couple (Diane Lane and Thomas Jane)in the witness protection program are targeted by a hitman (Mickey Rourke) and a young hotshot (Joseph Gordon-Levitt) trying to prove himself. Gordon-Levitt's character is annoying to the point that we wonder how he lasts for so long. Adapted from the book by Elmore Leonard, and mostly of interest for Rourke's performance. R for violence, language, and nudity.

KIMJONGILIA: THE FLOWER OF KIM JONG IL (NR) 71 minutes * * 1/2 These are the stories of people who left North Korea between 1992-2006. Mostly interviews, with interspersed artistic performances and North Korean propaganda film clips. It does, of course, present a very negative image of North Korea as a repessive and violent society, but the world has had little else available with which to paint a picture.

KIN (PG-13) 96 minutes * * 1/2 Picking up scrap in an abandoned building, Eli (Myles Truitt) finds something very strange. Before he can do much with it, his brother comes home from prison. That makes life move from bad to worse, because not only are Eli and his brother are being chased by a seriously violent gang, but also by some rather upset alien soldiers. Although this is based on a short film (Bag Man), it still feels like it's missing a few pieces to the story. It's very interesting, and the characters are appealing, but it strys into a couple of unnecessary side stories that don't help, while skipping some details that could have added some depth and clarity to the story. PG-13 for violence and language.

A KIND OF MURDER (R) 91 minutes * * 1/2 Walter (Patrick Wilson) becomes fascinated with an unsolved murder case. Without knowing it, that fascination draws him close enough to the killer that his own life begins to become a bit of a mystery... and begins to make him look like a potential suspect. Wonderful 1950s film noir style for the film, which is adapted from Patricia Highsmith's book, "The Blunderer". R for language and violence.

THE KIND WORDS (NR) 114 minutes * * * When the mother of three siblings dies, they discover that she had kept a secret from them. At first, they just suspect. but as the evidence mounts, they realize that they must take a trip to discover the truth. A gentle and sensitive film that reminds us that it is important to ask the questions, even when it's possible that we may not get the answers we were looking for.

KINDERGARTEN COP (PG-13) 104 minutes * * 1/2 This film does a surprisingly good job of mixing the genres of police thriller, comedy, and romance. Arnold Schwarzenegger plays a cop who goes undercover as a kindergarten teacher to find a missing kid. One of the most important things to know about the film is that it is NOT for kids. The PG-13 rating is well deserved due to abundant violence and foul language. It's a fairly good film, just not as light and funny as you might be led to believe.

KINDERGARTEN COP 2 (PG-13) 96 minutes * 1/2 Not a sequel, just a similar story. This time, it's an FBI agent (Dolph Lundgren) who goes undercover as a kindergarten teacher to recover a missing flash drive. The supporting performances here just aren't as good as those in the first film, leaving it a few steps behind. PG-13 for violence.

THE KINDERGARTEN TEACHER (NR) 116 minutes * * 1/2 A kindergarten teacher discovers a child poet prodigy among her students. It brings out a desire to protect and nurture his creative talents, but also her own creative energies and selfish desires. The mixture proves to be an unhealthy one.

A KINDHEARTED CHRISTMAS (NR) 85 minutes * * 1/2 Since losing her husband, Jamie (Jennie Garth) struggles with the holidays, which were his favorite time of the year. She gets inspired to give an anonymous donation, which ends up triggering a trend of gift giving in the entire community.

THE KINDRED (R) 95 minutes * * After a doctor dies, her son discovers the strange experiments she was working on at home. Great special effects and some fairly good acting, but the story degenerates rapidly and the creatures look too much like those from some other films that were created several years before.

KINDRED (2020) (NR) 97 minutes * * 1/2 She didn't really want a child, but Charlotte (Tamara Lawrance) is pregnant. Her boyfriend (Edward Holcroft) was excited, and now that he is dead, Charlotte feels that she must have the baby for his sake. Ben's family is helping, but to Charlotte, it feels like they are taking over her life. Sets, photography, music, and even the acting, dp a marvelous job of creating the atmosphere. Unfortunately, the ending feels soemwhat empty and lacking.

THE KINDRED (2021) (NR) 91 minutes * * 1/2 When Helen's (April Pearson) father commits suicide, she wants to understand why. It's going to be a complicated process because she has amnesia. As the pieces of her memory slowly return, she also finds herself being haunted... by the ghosts of the children her father killed. Haunting and creepy, with a nice twist near the end.

THE KING (R) 99 minutes * * 1/2 Making his way to Corpus Christi, Texas after being discharged from the Navy, Elvis (Gael Garcia Bernal) hopes to connect with the father he's never known. Unfortunately, his father has another life and a family and isn't interested. Elvis has other ideas about how to be part of this family, and about how to teach his father an important lesson. Odd and somewhat disturbing film in large part because Bernal's performance creates a character who feels real despite how little we still understand him even at the end of the film. Filmed in Texas. R for sex, violence, and language.

THE KING AND I (1999) (G) 82 minutes * 1/2 Buy the soundtrack - skip the film. Whose idea was it to make this into a cartoon for children anyway? It isn't a kids story and most of them will find it very boring, despite the introduction of a couple of characters who have nothing to do with the story. Uneven animation as well, though some spots are well drawn.

THE KING AND QUEEN OF MOONLIGHT BAY (NR) 86 minutes * * Alison (Kristen Bell) decides to go and spend the summer before she leaves for college with her father (Tim Matheson). She hasn't seen him since she was six, and he's done a great job of shutting out the world around him, so it's not going to be an easy summer. Extremely sentimental ending, typical of a Hallmark TV movie, and one that we can see coming almost before the movie starts.

KING ARTHUR (PG-13) 116 minutes * * 1/2 This interesting, alternative version of the story of King Arthur is presented as the story of the real man behind the legend. It's an interesting idea to have Arthur and his friends fighting the Saxons to earn their freedom from the Romans, forming an unlikely alliance with Merlin and his band of followers who dislike the Saxons even more than they dislike Arthur. It works as well as it does, mostly due to Clive Owen in particular and Keira Knightley to a lesser degree. It slows down in too many spots and despite the beautiful Irish scenery, we find ourselves wishing it would move along and tell us something exciting. PG-13 for violence.

KING ARTHUR AND THE KNIGHTS OF THE ROUND TABLE (NR) 84 minutes * * 1500 years have gone by since King Arthur (Byron Gibson) sent Morgana (Sara Malakul Lane) and Mordred into space. They have returned, and are attempting to retrieve Excalibur, but Mordred isn't all that excited about working with Morgana anymore. It's a likeable cast that have good chemistry. The stunts and special effects are a mixed bag, as is the story. It's interesting and fun, but needs some pretty serious work to be stronger.

KING ARTHUR: LEGEND OF THE SWORD (PG-13) 119 minutes * * According to this version of the legend, Arthur (Charlie Hunnam) didn't know his true heritage, though he did have strange dreams that made him wonder about it. Once the opportunity to remove the sword from the stone happens, and he does indeed remove it, he begins to understand who he is and what it could mean. This version is a little light on battle scenes, and the ones we do see are a little too much CGI effects. It's just not as energetic as you might expect from the story. PG-13 for violence and language.

KING CHARLES III (NR) 88 minutes * * The Queen is dead and Charles (Tim Pigott-Smith) is now the King. When the Prime Minister proposes a law to restrict the free press, Charles will not sign... and it throws the country into crisis. It's an interesting look into a possible future. The difficulty is that the asides from Charles to the camera weaken the drama as they constantly remind us that this is only a story.

KING COBRA (NR) 89 minutes * 1/2 When a gay porn producer finds a hot new star, he's willing to do anything to keep him under and exclusive contract. Overly sensational and ultimately very shallow characters, which is less the fault of the actors and mostly due to a dull script and poor direction.

KING JACK (NR) 77 minutes * * * Jack (Charlie Plummer) has never been a popular kid, but a particularly violent bully has made life even worse of late. And now, due to some unforeseen circumstances, his younger cousin is staying with him. Great work by Plummer in this rough-edged coming of age story.

KING KNIGHT (NR) 74 minutes * * A new age coven of witches is about to learn some interesting news concerning their leader. It turns out that he was actually his school's prom king! Horrors! Part social commentary and part low-key comedy. The cast works, but the script just isn't as sharp as it needs to be.

KING KONG (2005) (PG-13) 178 minutes * * Remake of the 1933 classic that keeps getting longer each time around. (105 minutes in 1933, 135 minutes in 1976) The added footage does nothing to improve the film. Transitions between live action and CGI effects are not handled well, though the effects themselves are good. The dinosaur bit, which has never made much sense in the scope of the story, is expanded here to a ridiculous level. Naomi Watts does do a nice job as Ann Darrow and Adrien Brody also turns in a strong performance as Jack Driscoll. And the last 15-20 minutes are very nicely done... if you manage to last that long. Filmed in New Zealand. PG-13 for violence and language.

KING OF CALIFORNIA (PG-13) 87 minutes * * * Charlie (Michael Douglas) is back home again after a stay in a mental institution. Miranda (Evan Rachel Wood) has grown up taking care of her father and is familiar with his odd ways of thinking and acting. But when he decides that there is Spanish treasure buried underneath the local Costco, it may just be a bit too much. Then again, what's wrong with having a dream? It just might come true. Both Wood and Douglas deliver fine performances here, but they seem somewhat disconnected from each other. The story itself manages to carry them both along and finishes with more than a little class, giving us an ending that is both tragic and yet sentimental. Nice work! PG-13 for language.

KING OF DEVIL'S ISLAND (NR) 110 minutes * * * The Bastoy Reform School in Norway is a harsh environment. When Erling (Benjamin Helstad) arrives as the new boy, he quickly establishes himself as a rebel and an inspiration to the other boys and a thorn in the side of Bestyreren (Stellan Skarsgard). Solid performances all around in a story that is both compelling and haunting.

THE KING OF KONG: A FISTFUL OF QUARTERS (PG-13) 81 minutes * * 1/2 The game is Donkey Kong. The object... to have the highest score. Billy Mitchell has been the reigning champ for years, but there's a challenger on the scene. Can Steve Wiebe break the record? An interesting look at the continued interest in one of the older video games that is still being played. The film focuses almost exclusively on the contest between Mitchell and Wiebe, which is not played side by side and thus both the challenge and the film are a bit less interesting than they could have been. PG-13 for language.

THE KING OF NORTH SUDAN (NR) 94 minutes * * 1/2 Hearing that his daughter dreamed of becoming a princess, Jeremiah Heaton sets out to find some unclaimed land where he can become the king. It's a complicated process, but he is determined to make it work. An interesting and well-ruonded look at a man with a dream, and the drive to do what he can to bring it to realization.

THE KING OF STATEN ISLAND (R) 132 minutes * * * 1/2 Life has just been rolling along for Scott (Pete Davidson). Living with his mom and smoking weed and hanging out with his friends. It's a carefree life that he sees no reason to change. Then his mom starts dating someone. Suddenly, Scott's world changes. He has to not only grow up, but also deal with his grief over his father's death that he has put off for so long. Great work by Davidson, who also co-wrote the script. It's a fine ensemble cast, full of characters that are very well-drawn. R for language, sex, and violence.

KING OF THE AVENUE (R) 78 minutes 1/2 Taz (Simon Rex) wants to be king of the avenue, just like his dad was. And De'Sha (Ving Rhames) has a deal for him. It's an interesting idea, but the low budget and needless narration running throughout, take a heavy toll on the final product. The script is awkward as well, with some appropriately sinister moments, while others are quite laughably bad. Filmed in Puerto Rico. R for violence, language, and sex.

KING OF THIEVES (R) 104 minutes * * Stealing was what they knew. Retired from their lives of crime, they decide to pull just one more job. Things don't go quite as expected, and stubbornness and greed threaten to bring it all down. Based on a true story. It's a wonderful cast, featuring Michael Caine, Jim Broadbent, and Ray Winstone, but it lacks the tension or excitement that is usually present in heist films. It just sort of slowly rolls along. R for language.

KING OF THORN (NR) 105 minutes * * * Put into cryogenic sleep to await a cure for a virus that is afflicting the entire planet, this group that is the promise of the future, awakens to find a world that is in even worse condition than when they went to sleep. An epic story, filled with adventure and intrigue, and very nicely animated.

KING OF TRIADS (R) 93 minutes * * 1/2 Any Lok (Siu-Fai Cheung) is dead. A new head of the family is quickly chosen, but the power struggles will ripple through the organization for some time. Nice to see a couple of really strong female fighter characters here, and there's lots of sword and knife fighting, which makes this a slightly different sort of martial arts film. R for violence.

KING RALPH (PG) 93 minutes * * A small-time Las Vegas entertainer finds out that he's heir to the British throne. No, really, it isn't quite as bad as it sounds, though it relies very heavily on John Goodman, who manages to carry it fairly well. Peter O'Toole has a nice part here too. PG for language.

KING RICHARD (PG-13) 137 minutes * * * Against the odds, Richard Williams (Will Smith) and his wife Oracene (Aunjanue Ellis) have a dream for their daughters. Two of them are going to be tennis stars, Venus and Serena. Richard's methods were unorthodox, but the girls were so talented that his ruthless pursuit of perfection paid off. He refued to give up, and eventually, they were able to prove to everyone just how good they were. Very nice biographical sports drama. PG-13 for violence and language.

KING SOLOMON'S MINES (PG-13) 97 minutes * * 1/2 Another version of the adventure story by H. Rider Haggard, this one features Richard Chamberlain as Allan Quartermain as he searches for treasure while facing danger. Bits of comedy are mixed in with the adventure, keeing the tone light and fun. It's entertaining, but some of the other versions are a little closer to the book. PG-13 for violence and language.

KING TWEETY (NR) 78 minutes * * ½ Who knew that Tweety had royal blood? It turns out that he actually does. When the Queen of a little known island disappears, Tweety is next in line for the throne. Sylvester and Granny are enjoying the benefits too… while they last. There is a nefarious plot to get rid of Tweety, and for once, Sylvester isn’t responsible! In fact, it will be up to Sylvester to use all of his tricks to save Tweety this time around!

THE KINGDOM (R) 104 minutes * * * When some United States citizens are killed in the bombing of a facility in Saudi Arabia, the FBI sends in a team to investige. However, the politics of the situation ties their hands as to what they can do to uncover who committed the crime. The Saudis must not be perceived to not have control or to be able to solve their own problems. But as the world's largest exporter of oil they also have to maintain good relations with the number one consumer... the United States. It's a delicate balance, and the film does a fairly good job of showing that, though it does have to simplify things a bit as well. Powerful ending that may cause you to think about your own reaction to the situation. Danny Elfman's soundtrack is very different from his usual style and fits quite well. R for violence and language.

KINGDOM COME (PG) 90 minutes * * 1/2 Bud Slocumb was a mean and surly man. When he dies, his family gathers to lay him to rest. Of course, when families gather, there can be tension and conflict, and when grief is involved, emotions can run a bit high. The acting is solid here, and the cast is impressive, with LL Cool J, Viveca Fox, Whoopi Goldberg, and Toni Braxton just to name a few. The difficulty the film has is in knowing how to effectively deal with the emotions that arise in a situation like this. Not to say that it has to be serious all the time, but the humor that we see here, seems nervous and inappropriate and undermines other scenes that could have been even more effective. PG for language.

KINGDOM COME (2014) (NR) 94 minutes * 1/2 Several people wake up in an abandoned building with no idea how they got there. It turns out to be a sort of purgatory where they have to stay until they deal with what they've done wrong in their life. The corny ending isn't really a surprise. There are some nice effects, but this drags on far too long with what we know is going to happen by the time it reaches the end.

KINGDOM OF BLOOD (R) 102 minutes * * The Divine Constabulary are the only ones who can rescue the emperpr, but they are no longer together, and one of their own may not be able to be trusted. Will the be able to re-form as a group and return to their better days? Magical, mystical powers combine with martial arts in thi adventure about loyalty and betrayal. Less exciting than it should be, with too much time spent on the parts of the story that explain the details and not enough on the more interesting aspects. It does pick up a little toward the end. R for violence.

KINGDOM OF GLADIATORS (NR) 78 minutes BOMB To rule a kingdom, a pact is made with a demon. Years later, the demon returns to collect the price that was agreed upon. Sort of. There are some gladiators who fight to defend the kingdom. Sort of. The script is terrrible and the acting isn;t any better.

KINGDOM OF HEAVEN (R) 136 minutes * * * During the crusdaes of the 12th century, a young knight, Balian (Orlando Bloom) finds the courage to fight unbelievable odds to save his people. Solid battle scenes and a strong ending really help this somewhat overlong film. Bloom does nice work here as well. Don't expect to see much of Liam Neeson as his character is only in the early part of the film. Ridley Scott gives us a number of sewwping visual sequences that add to the epic feeling of the film, but this still could have used some fine tuning to give it some strength. R for violence.

KINGDOM OF THE DINOSAURS (NR) 67 minutes BOMB A group of people hide out in a bunker to survive World War III only to face a world full of dinosaurs. They are also faced with a bad script and cheap CGI effects, but their acting isn't much better. Writer/director Scott Jeffrey also takes on a number of other roles in the creation of this film, none of them all that well.

KINGPIN (PG-13) 109 minutes BOMB Tasteless jokes combined with an uneven mix of comedy and drama make this film about a washed-up bowler (Woody Harrelson) coaching an Amish "boy" (Randy Quaid) to be the next champion a real bore. Harrelson has a way of either hitting or completely missing the mark. This is a miss.

KINGS (R) 83 minutes * * Los Angeles 1991. The city is struggling with racial violence and injustice. It is just a few weeks before the verdict will be announced for the Rodney King trial. This is the story of one foster family living in LA in the midst of this turbulent time. A number of good scenes here, but this just doesn't hold together well. R for violence, sex, and language.

THE KING'S CHOICE (NR) 125 minutes * * * In 1940, the King of Norway was given an ultimatum by the encroaching German army... surrender or die. An interesting piece of World War II history that doesn't receive as much attention as others. It's a reminder that there were many complex attempts at negotiations that happened and that many countries were trying various ways to resist, prevent, or avoid hostile takeover by the Germans.

THE KING'S DAUGHTER (PG) 86 minutes * * * The quest for immortality has challenged many. King Louis XIV (Pierce Brosnan) is no exception. He has captured a mermaid and intends to steal her lifefirce to achieve his goal. That goal will become even more of a challenge when his illegitimate daughter (Kaya Scodelario) discovers his plan. She is an unconventional princess. An exciting adventure with a love story as well. Adapted from the book, "The Moon and the Sun" by Vonda N. McIntyre. PG for violence.

THE KING'S MAN (R) 122 minutes * * * As England, Germany, and Russia move closer and closer to war, a group of undercover, self-governed spies emerges. They will become the Kingsman Agency. This is the story of how it all began. Fun historical adventure with lots of action, bloody violence, and extreme moments. Featuring Ralph Fiennes, Gemma Arterton, Djimon Hounsou, and Rhys Ifans. R for violence, language, and sex.

KINGS OF PASTRY (NR) 83 minutes * 1/2 Not particularly exciting look at the Meilleurs Ouvriers de France, the ultimate French competition for pastry chefs. Interesting in spots, especially toward the end, but the film, much like some of the failed projects in the film, doesn't hold together well.

KINGS OF SOUTH BEACH (NR) 89 minutes * * 1/2 Chris (Jason Gedrick) likes the way his new employee thinks, and Andy (Donnie Walhberg) seems like the sort of muscle the club needs. Chris has been trying to avoid both the mafia and the financial troubles he's been having. Of course, Andy has some secrets of his own. Solid drama on a modest budget with reasonably good performances all around.

THE KINGS OF SUMMER (R) 90 minutes * * A summer spent in the woods... it sounds like a great idea, but it's not as easy as it looks. These three friends are going to discover just how difficult when they intentionally cut themselves off and try to make it on their own. The story is a bit uneven, with some very nice moments, and others were the depth and sincerity just aren't there. R for language.

THE KING'S SPEECH (R) 112 minutes * * * 1/2 When the Duke of York (Colin Firth) is asked to give the closing speech at the Empire Exhibition in Wembley, it's evident that he has some difficulty with public speaking. The aid of a specialist is enlisted. But Lionel Logue (Geoffrey Rush) isn't the typical specialist. And the friendship between these two very different men will last long after Bertie (Firth) gives a much more important speech. Wonderful performances by both Firth and Rush as well as Helena Bonham-Carter. Winner of four Oscars, including best picture and director. R for language.

KINGSGLAIVE: FINAL FANTASY XV (PG-13) 107 minutes * * 1/2 The Kingdom of Lucis is fighting for its life against the Niflheim empire. At risk is the loss of the sacred crystal, which is the heart of their kingdom's magical power. Packed with battle scenes and very realistic animation. And mostly for fans of the series. PG-13 for violence.

KINGSLAYER (NR) 94 minutes * 1/2 Before becominig king, Richard the Lionheart (Stuart Brennan) faced an ambush in the woods where he learned many lessons. The script is somewhat lifeless, and the actors often seem overly constricted by it. The film does end well, but the pace is slow and it takes too long to get there.

KINGSMAN: THE GOLDEN CIRCLE (R) 135 minutes * * * 1/2 It's difficult to believe that this is only the second film in the series. The characters are so well-developed that it feels like we've already seen several films with them. One of the elements that makes this series work so well is the willingness to dispose of major characters. It helps to raise the tension, and we enjoy the characters more while we have them. The story is intricate, yet easy to follow. An excellent spy/thriller that does a great job of keeing the tone light and lively. R for violence, language, and sex.

KINGSMAN: THE SECRET SERVICE (R) 122 minutes * * * 1/2 Delightful script by Jane Goldman and Matthew Vaughn, adapted from the comic by Mark Millar and Dave Gibbons. It successfully combines elements of James Bond, Spy Kids, and a few other espionage films into something new and fun. Energetic and outlandish, but in an adventurous style that skillfully walks the line between serious and humorous. R for violence, language, and sex.

KINK (NR) 75 minutes * * 1/2 Kink.com is a BDSM website that offers a little something different. Part of what those who aren't familiar with BDSM might find interesting is the strict set of rules and consensual participation that govern their practices. Safety is a primary concern, because without that protection, the participants would not be free to enjoy themselves in ways that they otherwise can't. Definitely not for everyone, and explicit in a very matter-of-fact way.

KINSEY (R) 113 minutes * * * Professor Alfred Kinsey (Liam Neeson) did groundbreaking research on sexual behavior and attitudes in the 1940s and 1950s. No one had dared to do this kind of work before, and the world would not be the same afterwards, because we now understood that our sexual behavior was not so different from what our friends and neighbors were doing, it was just that none of us were talking about it. Hard to believe that it happened in the rather conservative state of Indiana. Very nice work by both Neeson and Laura Linney as well as some nice though fairly brief performances from several others. R for sex and language.

KINYARWANDA (NR) 95 minutes * * * Three stories of Rwanda focusing on love, faith, and purpose. They are powerful stories that feel very real, though the narration guides and editorializes more than we really need. Filmed in Kigali, Rwanda.

A KISMET CHRISTMAS (NR) 93 minutes * * 1/2 Doing a promotion for her book, Sarah (Sarah Ramos) ends up in her old home town. As a child, she had a major crush on Travis (Carlo Marks). The magic kismet coookies didn't appear to work before, but maybe they'll work this time around. Especially since Travis is single again. Adapted from the book, "The First Love Cookiee Club" by Lori Wilde.

A KISS BEFORE CHRISTMAS (NR) 83 minutes * * 1/2 A brief conversation with a Santa results in Ethan (James Denton) making a wish. The next morning he wakes up, and his wish has been granted. He only has until Christmas to figure out what he needs to fix. Otherwise, he'll be stuck in this new reality, and it's not as good as he thought it would be. No surprises in the story, but the cast does a nice job.

A KISS BEFORE DYING (R) 88 minutes * * 1/2 Matt Dillon has trouble handling the lead in this story of a young man who works his way to the top of a company by killing off the family of the daughter he plans to marry. Not as thrilling or suspenseful as it needs to be, and the references to Hitchcock only make that more evident. Sean Young doesn't fare any better as twin sisters (one dies very early). Watch the 1956 version if you want to see a better interpretation of Ira Levin's novel. R for sex, language, and violence.

KISS KISS BANG BANG (R) 98 minutes * * * Adapted from the novel "Bodies Are Where You Find Them", this is a very interesting piece of modern film noir that effectively infuses a bit of humor into the story. The narration here is interesting. I don't usually like it much, though it definitely fits fairly well in films of this genre. Robert Downey Jr. is in his element here, turning in another amazing performance, supported well by relative newcomer Michelle Monaghan. If you enjoy films like "Pulp Fiction" and "Snatch" but would like something that's toned down just a little, this is the film for you! R for language, violence, and nudity.

KISS ME GOODBYE (PG) 98 minutes * * * 1/2 It's been three years since her husband died, and Kay (Sally Field) is ready to move on. But moving back into her old house might not have been such a good idea. It turns out that Jolly (James Caan) is still there (in spirit), and he's not too excited about the new man (Jeff Bridges) in her life. Delightful story with performances that are bith funny and sincere. PG for language.

KISS OF DEATH (R) 96 minutes * *Maudlin attempt at 40's film noir as an ex-con ends up back in the mob and then gives information to the D.A. David Caruso does a good job here, and Nicholas Cage is fun to watch, although his part is a bit overplayed. It's the mediocre script that gives this film the real "kiss of death". It's just uninspiring.

KISS OF THE DAMNED (R) 90 minutes * * The beautiful woman Paulo (Milo Ventimiglia) meets at the video store is actually a vampire. At first, he doesn't believe her... and then he doesn't care. Djuna (Josephine de la Baume) loves Paulo, but when her sister Mimi (Roxane Mesquida) shows up, events take a turn for the worse. Mimi is a vampire too, but more than a little unstable and dangerous. The dialogue just isn't very good here, awkwardly and overly dramatic, as if trying to create the gothic effect without the aid of the actors, sets, costumes, and music. R for violence, sex, and language.

KISS OF THE DRAGON (R) 93 minutes * * Liu Jian (Jet Li) drops in to help the French police with a sting operation and finds himself right in the middle of a dirty operation. Of course, since he's the best, it really won't be that much of a problem... Nice action scenes, though sometimes things happen a bit too quickly for us to really appreciate. The dialogue is a bit awkward at times, but it's still a reasonably good entry in the martial arts genre. R for violence and language.

KISS THE BRIDE (R) 92 minutes * * They've drifted apart in the years since high school, but when Matt (Philipp Karner) shows up for Ryan's (James O'Shea) wedding, their old attraction for one another is rekindled. Tori Spelling does some nice work here, bringing a light bit of comedy to a story that is otherwise a bit painful to watch. R for sex and language.

KISS THE GIRLS (R) 109 minutes * * 1/2 Girls are disappearing from the Research Triangle area of North Carolina. Forensic psychologist Alex Cross (Morgan Freeman) is on the scene and the crime will soon be solved. It's a well-told story, with Freeman and Ashley Judd working well together. Unfortunately, there's nothing much different about how things all wrap up so nicely (and quickly) at the end. Taken from James Patterson's novel, this is somewhat suspenseful, but lacks the strength it could've had with stronger performances and more creative direction. R for language and violence.

KISSING A FOOL (R) 90 minutes * * Max (David Schwimmer) and Jay (Jason Lee) have been friends since childhood, but the one thing you shouldn't ask your friend to do is test the fidelity of the girl you are about to marry. Schwimmer comes off well here, but Lee is his typical camera-aware self and it makes the film awkward in several spots. The real stand-out is Judy Greer, who plays a cousin of Max's fiancee. The framework of having the story told through flashbacks isn't handled very well either. R for language.

KIT KITTREDGE: AN AMERICAN GIRL (G) 96 minutes * * * More than anything, Kit (Abigail Breslin) wants to be a newspaper reporter. But it's hard to get something printed in the paper, especially when you're only ten years old. Based on the American Girl doll collection and series of books that followed, it's part mystery, part adventure, and part historical drama. A great film for families, with another stellar performance from Breslin.

THE KITCHEN (R) 97 minutes * * 1/2 When their husbands end up in jail, these three women take over the business for themselves. It's the 1970s in Hell's Kitchen, and times are changing. Their style is a little different, but they are definitely getting the work done. But when ther husbands get out of jail earlier than expected, it's not going to go very smoothly. Great cast, though Melissa McCarthy isn't a great fit. Tiffany Haddish and Elizabeth Moss are wonderful. Adapted from the comic book series. R for violence, language, and sex.

KITE (R) 84 minutes * * ½ Based on the anime story, this follows Sawa (India Eisley) as she tracks down her father’s killer to exact revenge. Eisley carries this very well, despite how muddled and dull the script ends up being. The twist, which comes late in the film would have been more effective earlier, as it would have allowed the story to develop more fully. R for excessive violence and some sex.

THE KITE RUNNER (PG-13) 122 minutes * * * As children, they were friends, but it was an unequal friendship and it soon changed. Little did they know how long it would affect both of them and the secret that it held. Life may take many turns and hold many secrets, but there are pieces that we hold close to our hearts no matter what happens. And sometimes we have the opportunity to make up for the mistakes we have made. A truly beautiful film. PG-13 for violence.

KITES (NR) 114 minutes * * * 1/2 Success keeps eluding Jay (Hrithik Roshan), but perhaps his definition needs to be adjusted. One day, it all seems to fall into place. A beautiful girls falls in love with him. She's the daughter of one of the richest men in Las Vegas. But when Jay's soon-to-be brother-in-law gets engaged to the woman that Jay really loves, life gets a little more complicated. It's a high-intensity romantic tragedy with a little Bollywood flair.

KLAUS (PG) 90 minutes * * * This is the story of how it all began. Jesper (voiced by Jason Schwartzman) has been sent to a very remote island where he is expected to accomplish the impossible. It is here that he meets Kaus (voiced by J.K. Simmons), a toymaker. Together, they just might start a tradition. Very nice story, though it does feel a little rushed at the end. A great holiday film for the family. PG for language.

KLONDIKE (NR) 282 minutes * * * Two friends set out for the Klondike to find their future and the riches that the land holds. Greed, bad weather, disease, and much more, make it a treacherous journey and a lifestyle that doesn't work for everyone. This lengthy drama does allow for plenty of character development, but also lets the story drag more than necessary. It does end well though, with a mix of tragedy, drama, and hope. Adapted from the book "Gold Diggers" by Charlotte Gray.

KLOWN FOREVER (R) 95 minutes * * Frank (Frank Hvam) and Casper (Casper Christensen) have been friends for years. When Casper decides to move from Denmark to Los Angeles to pursue a career in film, Frank joins him in an effort to remain close to his friend. Being in close proximity to each other may prove to be more difficult than helpful. R for for sex and language.

KNIGHT AND DAY (PG-13) 104 minutes * * 1/2 Roy (Tom Cruise) is a rogue secret agent... or is he? He and another agent were protecting an inventor, when the other agent double-crossed him... or did he? June (Cameron Diaz) gets caught up in the adventure, but despite the danger she;s now in, she may be safer staying with Roy than not. Plety of action, though much of it is quite far-fetched. Diaz does a great job of helping to keep the tone light, which helps make this a bit more fun than it might have been otherwise. PG-13 for language and violence.

A KNIGHT IN CAMELOT (NR) 87 minutes * * Disney variation on Mark Twain's "A Connecticut Yankee in King Arthur's Court", with Whoopi Goldberg as an inventor who travels back in time to the days of King Arthur. Lightweight comedy, but reasonably good family fare.

KNIGHT MOVES (R) 105 minutes * * * Chess expert Christopher Lambert is suspected of being a murderer while at a meet. He has to decipher clues to discover the real killer. This works better than it sounds like it might, with the suspense building rather well. Nice job by young Katherine Isobel as Erica Sanderson.

KNIGHT OF CUPS (R) 111 minutes * * * 1/2 Surreal piece of work from writer/director Terrence Malick. It's less a story and more a visual experience. What there is of a story centers around Rick (Christian Bale) as he reflects and imagines his life and how it is connected to other people and things. He is a prince who has lost his way, but continues to sleepwalk through life, trusting that at some point, he will wake and resume his journey. R for sex and language.

KNIGHTS OF BADASSDOM (R) 81 minutes * * 1/2 Live action role play gets a little more real than expected when some friends use a spell that calls up something far more powerful and dangerous than they thought possible. Sill, but fun, and the special effects are a nice mix of quality and laughably low budget that works because of the story. R for violence, language, and sex.

KNIGHTS OF BLOODSTEEL (NR) 174 minutes * 1/2 Dragon Eye (Mark Gibbon) is growing desperate. His supply of bloodsteel is diminishing, and he needs to find the crucible. Only a handful of people stand against him. They are the Knights of Bloodsteel. The limited budget is the downfall here, with repititious effects and unimpressive fight sequences undermining what could have been a fun, if not particularly original adventure.

KNIGHTS OF THE DAMNED (NR) 80 minutes BOMB As if it wasn't difficult enough to be only a handful of knights sent by the king to slay a dragon, our heroic knights must also face an incresing horde of zombies, and a really bad script. The costumes and props look like they were leftovers from some other B-film.

KNIGHTS OF THE ZODIAC (PG-13) 103 minutes * 1/2 The goddess Athena has been reincarnated into the body of a young girl. While her powers are developing, she will need a protector (Mackenya), and he will need to be trained. There's a lot of story here, and it's covered reasonably well. Pacing is an issue in several spots, especially near the end where everything just starts to stall. This also might have worked a little better if the violence had been toned down a little and the target audience age lowered a little. PG-13 for violence.

A KNIGHT'S TALE (PG-13) 128 minutes * 1/2 A strange mix of old english and things more modern as we have all the trappings of knight's and jousting along with songs like "We Will Rock You" by Queen. (Complete with the characters singing along.) But this is no comedy. It's an adventure that features heartthrob Heath Ledger in some streamlined armor that has symbols strangely resembling the Nike swoosh... The tone throughout remains light, which helps, but it's little more than silly when you get to the end. Filmed in Czechoslovakia. PG-13 for violence and language.

KNIVES OUT (PG-13) 125 minutes * * * Harlan Thrombey's (Christopher Plummer) family doesn't really like him that much. They also don't really like each other. So, when Harlan ends up dead, there are plenty of suspects. An impressive cast that also features Daniel Craig, Jamie Lee Curtis, Chris Evans, Michael Shannon, Don Johnson, and Toni Collette. The script is well-crafted, entertaining, and intriguing, with multiple twists. PG-13 for violence, language, and sex.

KNOCK AT THE CABIN (R) 93 minutes * * They say that theirs is the most important job in the world. Sacrifices must be made, wih the fate of the world hanging in the balance. Great production values, and nice work by young Kristen Cui, but this isn;t one of director M. Night Shyamalin's better films as the story really has one note it just keeps hitting over and over. R for violence and language.

KNOCK KNOCK (NR) 85 minutes 1/2 Who's there? Another low-budget slasher flick. Poor script, cheap effects, and annoying camera work and editing in a number of spots. There are some nice sound effects here, which just barely makes this worth a look. R for violence, language, and nudity.

KNOCK KNOCK (2015) (R) 96 minutes * 1/2 A quiet weekend at home working on a project turns into something much more dangerous when two attractive young women show up at Evan's (Keanu Reeves) door. Silly suspense/thriller with Reeves looking like he can't figure out how he ended up in a film like this. R for violence, sex, and language.

KNOCK OFF (R) 83 minutes BOMB With a cast that includes Paul Sorvino, Rob Schneider, Lela Rochon, as well as Jean Claude Van Damme, you'd expect there to be a little more quality to this picture. Unfortunately, it must have been financed by robbing a three-year-old's piggy bank. I don't think I've ever seen worse camera work, and the sound and special effects are barely a half-step above that. The story idea (involving imitation products and a sting operation) isn't a bad one, but the script and direction do everything they can to undermine it. R for violence and language.

KNOCKAROUND GUYS (R) 87 minutes * * 1/2 Matty Demeret (Barry Pepper) is ready to move up in the mob, but his dad doesn't think he's ready. His dad gives him a job to see how things turn out, and it doesn't exactly go as planned. There are a fwe bits of dark humor here, but this is primarily a gangster genre film, with the younger guys trying to show their mettle to the older crew. Vin Diesel and Barry Pepper are the standouts here, but Seth Green, John Malkovich, and Dennis Hopper are fine as well. There was a lengthy delay before this hit the big screen, but it's a reasonably good entry for the genre. R for violence and language.

KNOCKED UP (R) 124 minutes * * 1/2 Never really lucky at love, much less anything else, Ben Stone (Seth Rogen) never expected his one night stand to turn into something he'd need to be responsible for raising. Rogen's casual performance and rather unlikely leading character give this just enough of a sense of reality and sincerity that we are intrigued. The R rating is for the language, which there is quite a bit of, but there's also a larger than expected dose of charm.

THE KNOT (NR) 84 minutes * * It's a good thing that weddings aren't always this difficult. A fun look at weddings and wedding preparation. The humor tends to be on the vulgar side, but the sentiment is clear and strong throughout.

KNOWING (PG-13) 116 minutes * * * Lucinda hears voices. The numbers she scribbles on the piece of paper that goes into the time capsule are a message. When Caleb opens the envelope with Lucinda's message fifty years later, it doesn't take his astrophysicist father very long to figure out the pattern in the numbers. It's a fascinating apocalyptic story, with amazing special effects, especially at the end of the film. Nicolas Cage's performance is a bit uneven, passionate at times, yet at others almost oddly distant. Filmed in Melbourne, Australia. PG-13 for violence and language.

KNUCKLEHEAD (PG-13) 94 minutes * 1/2 Walter (Paul White aka The Big Show) has been at the orphanage his whole life. Eddie (Mark Feuerstein) is in desperate need of money. His idea is to turn Walter into a fighter. Walter is a more of a gentle big guy, but he knows that the kids at the orphanage are counting on him. This would have worked a little better as a comedy for younger childen if it wasn't a PG-13 (for language and violence). Not that it would have been great (by any stretch), but the target audience might have found it a bit more interesting than the 13+ group its forced to appeal to.

KNUCKLEHEAD (2015) (NR) 73 miunutes * * 1/2 Langston (Gbenga Akinnagbe) just wants to be independent. His brother used to protect him, but now that he's gone, their abusive mother is making life too difficult for him to continue. He's sure the celebrity doctor whose articles he's been reading can help. But Langston's mental issues loom large, and aren't getting any better. Very nice work by Akinnagbe.

KNUT AND HIS FRIENDS (NR) 84 minutes * * 1/2 Follows the famous young orphan polar bear as well as a couple of wild polar bear cubs and a couple of other orphaned bear cubs through a season in the wild. The narration by "the wind" is a bit contrived, but otherwise, this is a reasonably good nature film with plenty of cute bear cub antics to watch.

KON TIKI (PG-13) 89 minutes * * 1/2 Dramatic presentation of Thor Heyerdahl's (Pal Sverre Hagen) explorational journey to Polynesia. Some of the more suspenseful moments are a bit overly staged, but Heyerdahl's dedication to proving his point comes across well. PG-13 for violence.

KONG: SKULL ISLAND (PG-13) 108 minutes * * 1/2 An expedition to the mysterious Skull Island not only finds Kong, but an island full of monstrous creatures that Kong has kept in check for some time. The military escort to the expedition is, of course, convinced that they need to kill Kong. In the process, they wake up a few other giant creatures. John C. Reilly's character adds just the right bit of humor to the story, but the stubbornness of Samuel L. Jackson's character is a little strong. This is also one of those films where you need to watch through the credits as there is a little more story all the way at the end. PG-13 for violence and language.

KORENGAL (R) 81 minutes * * This follows the film, "Restrepo", telling more of the sotry of the troops who spent their time fighting in this valley. "Restrepo" was about the establishment of the post, and how being there affected those who served there. This film takes an even deeper look at how their experiences changed them. Focusing on fewer people might have helped make this stronger, but what we have here is a combination of interviews and footage from an embedded perspective. It touches on everyone's experience to at least some degree. R for language and nudity.

KOYAANISQATSI (NR) 87 minutes * * * * Mesmerizing film that uses the Hopi Indian word meaning "life out of balance as its frame. Absolutely stunning on the big screen, but still very interesting on video. Time-lapse photography is used through much of the film, which really emphasizes the balance found in nature and the lack thereof in much of human creation.

KRAMPUS (PG-13) 92 minutes * * 1/2 When Max's (Emjay Anthony) dysfunctional extended family shows up for Christmas, he's really frustrated. He wishes it could be like it used to, but since he knows it can't, then why bother with Christmas at all? But losing his Christmas spirit unleashes the dark side of Christmas... Krampus. Decent script and nice work by the cast make this a fairly creepy holiday horror film. PG-13 for violence and language.

KRAMPUS: THE CHRISTMAS DEVIL (NR) 73 minutes 1/2 Krampus is out to punish some naughty children this Christmas. But one of those naughty children who got away from him many years ago is out to stop him. Poorly written dialogue made worse by wooden performances. Of course, your clue is that Jason Hull is writer, director, producer, editor, and cinematographer. Never a good idea.

KRAMPUS 2: THE DEVIL RETURNS (NR) 72 minutes BOMB Poor editing and a barebones script undermine this from the start. And then there's the acting. By the way, if you don't have subtitles playing with this, you'll never know what Krampus is saying. He's not speaking in another language, the sound quality is just so bad tht you can't hear what's being said. Writer/director/producer/editor/cinematographer Jason Hull even gets an acting credit in this pathetic sequel.

THE KREUTZER SONATA (R) 97 minutes * 1/2 Jealousy over an imagined affair drives Edgar (Danny Huston) over the edge. The filming here is a sort of "reality TV" style, with lots of narration that tends to get in the way of us connecting or sympathizing with Edgar. Adapted from Leo Tolstoy's novella, but not as strong of a character study as it needs to be. R for sex, language, and violence.

KRIPPENDORF'S TRIBE (PG-13) 90 minutes * * 1/2 Professor James Krippendorf (Richard Dreyfuss) has had a rough time lately. A long, tiring trip to Africa in search of a missing tribe, his wife's death... and now it's time for his presentation, which he has not prepared for at all. Now, with a few offhand comments he made, he's trapped himself into presenting the discovery of the century. Thoroughly predictable, but still quite fun, this is a nice, lightweight film that will keep a smile on your face the whole way through. Jenna Elfman comes off a bit too strong, but the story moves along at a fast enough pace that you're just swept right along to the end. PG-13 for language.

KRISTIN’S CHRISTMAS PAST (NR) 83 minutes * ½ Kristin (Shiri Appleby) gets a chance to revisit her past and fix some of the broken relationships and issues she left in her wake. Appleby’s energy helps here, but the script is lacking creativity and really isn’t as sentimental as it needs to be until the very end.

KRONK'S NEW GROOVE (G) 68 minutes * * Kronk is the head chef of his own diner, but trouble begins when he finds out that his father is coming. He wants to make sure everything is just right, which is when it all starts going wrong. Direct to video sequel of "The Emperor's New Groove" that isn't quite as good, but is still fairly fun for the kids.

KRULL (PG) 117 minutes * * * ½ The legend states that a black fortress will come from the sky and that aliens will come to destroy their planet (Krull). When this happens, a girl of Krull will become queen, the aliens will be defeated, and her son will rule the galaxy. An epic science fiction/adventure film that often gets overlooked, though it is quite good. The special effects are very well done, and James Horner’s soundtrack fits the film beautifully. PG for violence.

KRUSH GROOVE (R) 89 minutes * * 1/2 The title refers to the record label, and up-and-coming company featuring some very talented musicians that is struggling financially. The film is based on the early days of Def Jam Recordings, and while the script and the acting aren't all that great, the music is quite good, featuring work by Run-D.M.C., The Fat Boys, Kurtis Blow, and New Edition. R for violence and language.

KRYSTAL (R) 89 minutes * * 1/2 Taylor (Nick Robinson) has two problems with his heart. The one is a medical condition, but the other may be even more serious. He's fallen in love with Krystal (Rosario Dawson). She's an alcoholic, former stripper, with a son and a jealous ex, but Taylor doesn't care. This tries a little too hard to be offbeat, and some of the subplots just don't work very well. Robinson and Dawson are both good, with the problems being more of a lack of direction and a script that just isn't quite strong enough. R for language and sex.

KUBO AND THE TWO STRINGS (PG) 93 minutes * * * Kubo (voiced by Art Parkinson) is a young storyteller in his village. His stories hold some truth as well as fantasy, as do many wonderful stories. Kubo must find a special suit of armor that his father wore in order to defeat a monster that threatens to destroy him. This starts out fairly light in tone, but gets quite dark and violent as it moves along. It's a beautiful story, but more for the 8+ crowd who will have a better udnerstanding and appreciation of the darker elements of the story. PG for violence.

KUFFS (PG-13) 98 minutes * 1/2 George Kuffs (Christian Slater) decides to take his brother's place as a Patrol Special Officer and bring his brother's killer to justice. Early on, the film does well, creating suspense and interest and giving us a couple of very nice scenes. But then the comic bits start creeping in. It's as if the writers lost interest in the story and decided to just start cracking jokes. Unfortunately, they finished the script and it was filmed. The villains are played well, but we are never really sold on Slater's character, mostly because we don't know whether to take him seriously or not. PG-13 for violence and language.

KULL THE CONQUEROR (PG-13) 91 minutes * Kevin Sorbo brings Kull to the big screen, but this production has little of the quality or class that made the Conan films so much fun. Instead, this leans much more toward the TV productions of Hercules and Xena. Corny dialogue and rock music during the fight scenes are in direct opposition to the theme music and many of the outdoor settings. Karina Lombard adds a touch of class, but it isn't enough to pull this one out of the muck. PG-13 for violence, language, and sex.

KUMARE (NR) 81 miunutes * * * Vikram Gandhi wondered what it might be like to be a guru. he had studied with some, and decided he'd become one. But the more he pretends to be a guru, and the more time he spends with his group of followers, the more he finds himself questioning his own identity and spirituality. He never intended the charade to last for a long time, but he also never imagined that it would be so difficult to tell the truth. While many are likely to find this sacriligious, by crossing that line, there is a great deal that Gandhi's experiment can teach us.

KUNDO, AGE OF THE RAMPANT (NR) 134 minutes * * * An epic story about the illegitimate son of a nobleman who has designs on ultimate control. A local group who fight for justice will have to plan very carefully to defeat him and put things right. Jo-Yoon (Dongwan Kang) plays a great villain here, which goes a long way to keeping this interesting. It does run a little long, even for the "epic" design of the story.

  KUNDUN (PG-13) 129 minutes * * * 1/2 "You are to love all things, care for all things, have compassion for all things." These are the early words of instruction to the young boy who will become the 14th Dalai Lama. This is the story of the search to find him and his life as the Dalai Lama up until his flight to India from the Chinese. Told in a quiet and compassionate manner that is very befitting the topic, the film gently works its way into your senses and will not be a story that you soon forget. Director Martin Scorsese has delivered another masterpiece, with beautiful photography by Roger Deakins and a stirring soundtrack from Philip Glass. PG-13 for violence.

KUNG FU DOG (NR) 97 minutes 1/2 Trapper has stolen a sacred talisman, and it's up to Hoffen and Velvet to retrieve it. Is Hoffen really ready for such a mission? The CGI animation is not well done, and the story lacks both creativity and humor. The opening and closing segments of the film are nothing more than lengthy clips from other films with some of the same characters. They pad the length of the film by a couple of minutes when what was really needed was about ten minutes of trimming.

KUNG FU DUNK (NR) 96 minutes * 1/2 Unusual mix of martial arts, basketball, humor, and soap opera drama. The last of these feels very much out of place and awkward, almost unintentionally adding to the humor.

KUNG FU HUSTLE (R) 94 minutes * * Uneven martial arts/comedy film that starts out with some very funny material and eventually finds itself being rather serious. The story involves the "notorious" Axe gang, and a mean landlady and her husband who both have extraordinary powers. For fans of Stephen Chow only. R for violence.

KUNG FU KILLER (NR) 94 minutes * * 1/2 Hahou (Donnie Yen) has a chance to earn his freedom by helping the police track down a killer who is taking out martial arts experts. But Hahou has even more at stake than his freedom. It's always fun to watch Donnie Yen at work as he is definitely one of the more skilled martial artists working in film. The fight scenes have a very interesting and balanced mix using hands, feet, and weapons.

KUNG FU MASTER (NR) 94 minutes * * After spurning an offer to join an elite group of kung fu masters, a talented martial artist finds himself defending his people from a later attack by the very same group. Not much in the way of plot or dialogue here, but plenty of fight scenes, many of which are very reminiscent of the old martial arts films of the 1970s.

KUNG FU PANDA (PG) 83 minutes * * * Po (voiced by Jack Black) has a dream. He wants to be a kung fu fighter. Unfortunately, he tends to be a bit lazy. Accidentally chosen to be the hero of the community, Po must learn quickly if he is to defeat Tai Lung. Slick animation and fun characters make this an entertaining film, though a little scary in spots for the youngest folks in the crowd. Dustin Hoffman, Angelina Jolie, Seth Rogen, Lucy Liu, and Jackie Chan provide other character voices in the film. PG for violence.

KUNG FU PANDA 2 (PG) 78 minutes * * * An evil peacock has returned to take control of the city. Po and the Furious Five will have their work cut out for them. At the same time, Po will also learn the truth about his past and what it means for his future. nicely animated and with a very good story, which eludes most sequels. It also helps that all of the main cast voices are still here. PG for violence.

KUNG FU PANDA 3 (PG) 83 minutes * * 1/2 Kai (voiced by J.K. Simmons) has escaped the spirit realm where he was trapped, and is growing in power. Only someone who has mastered Chi can possibly best him. Po (voiced by Jack Black) is up for the job, but needs to reconnect with his "pandaness" to truly master his Chi. Relies heavily on the previous two films, but if you've seen them, this is a nice additional chapter to the story. PG for violence and language.

KUNG FU YOGA (NR) 93 minutes * * Having researched the history of Magadha for several years, Jack (Jackie Chan) now has the chance to go with another professor to see if they can locate a missing treasure. Of course, it's going to be difficult and rather exciting. It's a good adventure film, but be prepared for a little extra silliness as this story doesn't take itself very seriously, making it a little more comedy than adventure.

KUNG POW: ENTER THE FIST (PG-13) 71 minutes * Steve Oedekerk takes the film "Tiger and Crane Fists", does his own dialogue track (redubbing the voices of all the characters), and edits himself into the movie. Definitely for fans of the Mystery Science Theater approach to movie watching. The only real talent here is in the editing of the film. PG-13 for violence.

KURT VONNEGUT: UNSTUCK IN TIME (NR) 123 minutes * * * 1/2 In depth bio-documentary about Vonnegut with exhaustive interviews with various family members and with the man himself. A very descriptive, yet entertaining look at the life and career of a literary giant. It's also the story of the making of the documentary and the friendship between Vonnegut and director Robert Weide.

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