L: CHANGE THE WORLD (NR) 124 minutes * * * Part three of the Death Note trilogy. The events here happen mostly at the same time as those in part two, but the difference is that the focus here is on L (Kenichi Matsuyama) rather than on Light Yagami (Tatsuya Fujiwara). Fans of the series won't want to miss this as it fills in some of the blanks in the story. Others should be sure to see these in the right order or events won't make quite as much sense.
L.A. CONFIDENTIAL (R) 133 minutes * * * 1/2 Now that the biggest crime boss in Los Angeles is dead, the police force is trying to present a more positive image of the town and keep the streets safe... or are they? Great story with twists and turns that unfold slowly, leaving unanswered questions around for awhile before giving us the answers. Even the relationships between the characters take time to develop, but we're never bored with this film. Guy Pearce and Russell Crowe are outstanding as the leads here, followed closely by another solid performance from Kevin Spacey. The effective soundtrack music is courtesy of Jerry Goldsmith. Filmed in Los Angeles. R for language and violence.
L.A. STORY (PG-13) 91 minutes * * * Not only is this a story about a relationship that happens to be set in Los Angeles, it's a film about the city itself. California humor abounds, with things like... driving to the house next door, guard dogs on tape, and open season on the freeway. There are also numerous cameo appearances and some other bits of movie humor. Still, there's a serious side. LA is a "place of secret dreams, secret lives..." where people have "taken the desert and made their dreams real." Steve Martin does a wonderful job here, having finally found his niche as a comedian who can make us laugh, and have a sensitivity that makes us smile on a different level. PG-13 for sexual language.
LA LA LAND (PG-13) 120 minutes * * * 1/2 Everyone in Hollywood loves this film, which is no surprise as it is an entertaining look at the movie industry. Clearly offering homage to musicals of the 50s and 60s, this is also its own sort of musical. There's plenty of insider humor here, but the story also tends to sweep you along so you don't mind. The "feel good" tone [pervades most of the film, but the ending is more brave and honest than the rest of the film, which is a pleasant surprise. PG-13 for language.
LABOR DAY (PG-13) 107 minutes * * * When Adele (Kate Winslet) and her son offer Frank (Josh Brolin) a ride, they have no idea what lies ahead. Frank has just escaped from prison, but something in this mother and son who have just helped him, touch a chord deep within him. While there is some tension here, as a whole, the film is gentle, tender, and calm. That balance works mostly due to a sensitive performance from Brolin. The story relies heavily on the son, as the events are told from his perspective. The narration weakens the film, as does a less-than-strong performance from Gattlin Griffith as Henry. PG-13 for violence and sex.
LABOR PAINS (PG-13) 85 minutes * 1/2 When she finds out she's about to lose her job, Thea (Lindsay Lohan) decides to pretend that she's pregnant. It saves her job, but creates far more problems than she anticipated. Too bad that Lohan just isn't that funny here, and we don't feel much sympathy for her since she got into this mess by lying. PG-13 for sex and language.
LABYRINTH (PG) 97 minutes * Left to babysit her little brother Toby (Toby Froud), Sarah (Jennifer Connelly) just wishes that the Goblin King would take him away… and then he does. Filled with unusual muppets, the story reminds us a little of Puff the Magic Dragon, but has an upbeat ending with more appeal. David Bowie plays the part of the Goblin King, and may be the best part of the film. This has a cult following, but the humor is misplaced and spoils what could have been a much more impressive film.
LABYRINTH (2012) (NR) 185 minutes * * 1/2 Alice (Vanessa Kirby) and Alais (Jessica Brown Findlay), two women connected across the ages by thir search for the Holy Grail. The split story works well, pulling us in fairly quickly, though it does drag on a little long. Originally shown on TV in two parts, which accounts for some of the pacing issues as it allows for a two-part story with commercial breaks.
LAD: A YORKSHIRE STORY (NR) 93 minutes * * 1/2 Losing a parent isn't eassy, and when Tom's (Bretten Lord) father dies, he doesn't really know what to do. His brother copes by joining the Army, but Tom isn't old enough to leave home. His mother is dealing with her own grief while trying to keep their house and put food on the table. Sometimes coming of age is more difficult than others.
LADDER 49 (PG-13) 109 minutes * * The story of the Baltimore City Fire Department's Ladder 49 as told in flashback form through the eyes of Jack Morrison as he lies in a pile of rubble after a fall inside a burning building. Joaquin Phoenix does a very nice job here, but we don't get to connect well with the rest of the characters because we keep moving back and forth between past and present, remaining disconnected from both. The effects are quite good and there are a few moments where the comraderie shared by firefighters comes through nicely. PG-13 for language and violence.
LADIES AND GENTLEMEN, THE FABULOUS STAINS (R) 85 minutes * * * Corinne (Diane Lane) rebellious teem, and founder of the all-girl punk rock band, The Stains. Standard rock music bio-drama, but Lane carries it very well. It also doesn't hurt that Laura Dern and Christine Lahti are around to help, as well as cameos by members of the Sex Pistols, The Clash, and The Tubes. R for language, sex, and violence.
LADIES IN LAVENDER (PG-13) 100 minutes * * 1/2 Two elderly sisters find a young man washed up on the beach near their home and nurse him back to health. At first, they have no idea where he is from as he doesn't speak english. But soon, they find that he has become someone very special to them. Nothing particularly remarkable about this film, but it's always a pleasure to watch Judi Dench and Maggie Smith. Filmed in Cornwall, England. PG-13 for language.
THE LADIES MAN (R) 79 minutes * Another of Saturday Night Live's attempts to stretch a funny skit into a full-length feature, with roughly the same results as usual. Leon Phelps (Tim Meadows) is a late night radio talk show host whose rude talk has left him without a job. That, coupled with his desire to have sex with every woman he can, is about to competely ruin him. Will he realize that there's a woman who loves him, will the angry husbands catch him first, will he ever work in radio again? Also featured are the strangely combined talents of Will Ferrell, Billy Dee Williams, and Tiffani Theissen. R for language and nudity.
LADIES OF THE HOUSE (NR) 87 minutes * 1/2 Florence Henderson, Pam Grier, and Donna Mills are the "ladies", who are asked by the local minister to fix up a house that's been left to the church, so it can be sold to support the day care center the church runs. It's a major fixer-upper, and the ladies decide to do it themselves. Of course there's no real sense in them doing this since they don't know anything about home renovation, and they all have quite a bit of money that they could just donate to the church. It's worth a quick look for the cast, but sitting through the whole film may be a bit tedious.
LADRONES (PG-13) 92 minutes * * 1/2 The town of Kilroy, Texas once belonged to a number of Mexican families. The original land grants have been discovered... and stolen. It will now be up to Aleandro Toledo (Fernando Colunga), a legendary Robin Hood-like thief, to retrieve them and bring justice to the community. Acting is not the strong suit here, but it isn't too bad, and the story is fun. PG-13 for violence and language.
THE LADY (R) 127 minutes * * * The political turmoil in Burma serves as the setting for the story of a remarkable woman, Aung San Suu Kyi (Michelle Yeoh) and her husband Michael (David Thewlis), who work tirelessly to move their country toward a system of democracy. It's a position she didn't ask for and doesn't particularly want, but she accepts it gracefully. Great work by Yeoh. R for violence
LADY BIRD (R) 88 minutes * * * 1/2 She just has to find a way out of Sacramento. And the other side of the country would be ideal. It's a story about looking ahead, about planning for and wondering about the future, about gratitude, love, family, and friends, and about growing up. A wonderful script and solid performances by the entire cast. Saoirse Ronan receieved an Oscar nomination for her performance. R for language and sex.
LADY BLOODFIGHT (R) 94 minutes * * 1/2 Not long after arriving in Hong Kong, Jane (Amy Johnston) is the victim of a mugging. Her attempt to fight back is noted by a martial arts teacher who trains her to fight in the Kumite. It's an "invite only" tournament for elite competitors. The plot is messy, and filled with side stories that aren;t very well-developed. But the fight scenes are quite good, and it's rare to see this many talented martial arts women in one film. R for violence and language.
LADY BUDS (NR) 91 minutes * * 1/2 The stories of six women involved at various levels of the cannabis industry. While it is now legal, they started when it wasn't. Now, instead of running from the law, they're competing with big corporations for business. An interesting and informative look at the business side of the cannabis industry.
LADY CHATTERLEY (R) 158 minutes * * * French film based on D.H. Lawrence's book, "Lady Chatterley's Lover" and starring Marina Hands as Constance Chatterley. It's beautifully filmed and the story is gently told, and actually doesn't seem quite as long as it is. Winner of several French film awards (Cesars). Filmed in Corezze and Limousin, France. R for sex.
LADY CHATTERLEY’S LOVER (R) 100 minutes * * ½ After Lady Chatterley’s (Sylvia Kristel) husband suffers an injury that leaves him impotent, she struggles with how to satisfy her own sexual desires. She still loves him, but he has become even more cruel and demanding. Beautiful sets, scenery, and photography. The story is a little uneven and doesn’t always flow very well. R for sex, language, and violence.
THE LADY IN THE CAR WITH GLASSES AND A GUN (NR) 89 minutes * * * Dany (Freya Mavor) takes her boss's car for the weekend to go to the sea, where she's never been. Or has she? It seems that everywhere she stops, people have seen her before... and then there's this body in the trunk of the car. Nicely done, though the story is not something that will appeal to many. Remake of the 1970 film.
THE LADY IN THE VAN (PG-13) 100 minutes * * * 1/2 Alan (Alex Jennings) is a playwright. Not a very successful one, but nonetheless, it's what he does. Miss Shepherd (Maggie Smith) is a homeless person who moves her van to different spots along the street until she finds her way to Alan's home. He doesn't like conflict, so she stays. And eventually, he begins to care for her, almost in spite of himself. Smith's cantankerous charm is delightful, but the way her character balances that of Alan is what gives this story its strength. His prim, proper, and timid approach to life is the opposite of hers. Nice work by Jennings, though playing two sides of his character as different individuals (writing self and living self) is a little awkward and not really necessary. As his character notes late in the film, "I learned there is no such thing as marking time, and that time marks you." So true. PG-13 for violence and language.
LADY IN THE WATER (PG-13) 103 minutes * * * 1/2 Unlike M. Night Shyamalan's earlier films, this is a bedtime story. There are definitely some spooky and scary elements, but the focus is on fantasy, mystery, and magic. Cleveland Heep (Paul Giamatti) manages an apartment building. When a mysterious young woman named Story (Bryce Dallas Howard) shows up one day, he finds himself drawn to her. Understanding who she is and why she has appeared are more difficult than it first appears, but with time, and a little help from some of the other residents, it will all become clear. It's a wonderful story that unfolds very nicely as it moves along, wrapping us up in its magic. It may just make you want to believe too... if you don't already! PG-13 for violence.
LADY MACBETH (R) 85 minutes * * 1/2 Sold into marriage to a man who has little interest in love, Katherine (Florence Pugh) soon finds what she desires with someone who works on their estate. But one transgression soon leads to another, each one more estreme than the last. The story stalls at the end, but getting there is good. Adapted from the book "Lady Macbeth of Mtsensk" by Nikolai Leskov. R for violence, sex, and language.
THE LADY VANISHES (NR) 86 minutes * 1/2 BBC remake of the Alfred Hitchcock classic about a young woman who befriends an older woman on a train. The older woman disappears and no one else can remember seeing her. Few of Hitchcock's films need to be remade as the originals are still so good. This one is about as suxxessful as the 1979 remake, which is to say... not very.
LADYBUGS (PG-13) 85 minutes * 1/2 Rodney Dangerfield's comedy revolves around the one joke of him not getting any respect. Maybe if he had a few more jokes, he might get some respect. The film is the familiar story of someone trapped into coaching a bunch of misfit kids who end up becoming a successful team. Basically harmless fare, rated PG-13 for language.
LADYHAWKE (PG-13) 121 minutes * * 1/2 An adventurous love story. Captain Navarre (Rutger Hauer) is in love with Lady Isabeau (Michelle Pfeiffer), but they are under a curse that makes hime a wolf at night and her a hawk during the day. The death of Bishop (John Wood) will free them, and Gaston (Matthew Broderick) may be able to help. Entertaining, but misfires a few times with inconsistent direction. PG-13 for violence and nudity.
THE LADYKILLERS (2004) (R) 97 minutes 1/2 The idea is to tunnel from the basement of a nearby house into the counting room of a riverboat casino that is located underground. Masquerading as musicians isn't a bad idea, but Tom Hanks' gallant southern gentleman character is well over the top and never really works as part of the story. The film is unevenly paced, full of foul language, and never very funny. It's based on the original film that featured Alec Guinness and Peter Sellers. Fans of the Coen brothers, may enjoy a few bits here and there, but this film lacks the character that has made their other films noteworthy. R for language and violence.
LAGGIES (R) 95 minutes * * * When her boyfriend proposes, Maggie (Keira Knightley) goes into panic mode, watching her life disappear before her eyes. She takes refuge in the home of her younger friend Annika (Chloe Grace Moretz) and soon finds herself attracted to Annika's father (Sam Rockwell), which creates other difficulties. Very nice script by Andrea Siegel, and Moretz and Rockwell both do very nice work here. Knightley's character is awkward, and so is her performance, which is fitting, but less appealing. R for language and sex.
LAID IN AMERICA (NR) 81 minutes 1/2 Jack (Caspar Lee) and Duncan (Olajide Olatunji) just want to have sex before they go back home. But in trying to get a date with whom they just might get lucky, they end up getting kidnapped. There's a chance that it could still work out though. A few cute bits, but not enough to carry a film, and the ending is very weak.
LAID TO REST (R) 83 minutes 1/2 The girl (Bobbi Sue Luther) wakes up iniside a casket with no memory of who or where she is. There are people who try to help her, but she's being pursued by a maniacal serial killer. There's plenty of blood here, and not much in the way of logic. R for violence, language, and sex.
LAKE ALICE (NR) 73 minutes 1/2 Celebrating Christmas together at a cabin in the woods. It sounds like a nice time for mom and dad, their daughter, and her boyfriend. But someone as other ideas for this holiday retreat. There just isn't much to this as far as either story or acting, and the characters lack both appeal and depth.
THE LAKE AT THE BOTTOM OF THE WORLD (NR) 89 minutes * * * The exploration of a lake that lies 3600 feet below the surface of Antarctica. It has the potential to teach a great deal about the past, the future, and life itself.
LAKE FEAR 3 (NR) 76 minutes BOMB After escaping from the cabin, Remington (Joshua Winch) soon realizes that the evil is still following him. Meanhile, two young women seek the help of a less than successful reality show host to find someone who visited the cabin and has since gone missing. Sloppy editing and poor direction don't really help the mangled script.
LAKE FEAR 2: THE SWAMP (NR) 76 minutes BOMB Spring break means that it's time to party, and these friends decide to do a swamp tour because the beach is boring. So is the movie. It's already half over before anything happens, and then people start dropping like flies. The bigger problem is the Satanic twist the story takes near the end, which seems to have nothing to do with anything else that has been happening.
THE LAKE HOUSE (PG) 95 minutes * * Leaving a note for the next resident of the house seemed like an innocent thing to do, but Kate (Sandra Bullock) soons finds herself corresponding with tthe former resident... two years in the past. As with most films that deal with the idea of time travel or some variation of it, the plot gets confusing and illogical if you try to make sense of it. Bullock and Keanu Reeves deliver nice performances, but the story's slow pace and poor logic lose us long before we get to the end. PG for language.
LAKE PLACID (R) 77 minutes * * Although the comic bits that are liberally scattered throughout the film do manage to make this easier to watch, they work against the credibility of the film. OK, not that there was going to be much credibility to begin with, but even as far as suspense, the film has little to offer. The characters are barely sketched for us, with only Oliver Platt and Betty White managing to get ahold of the irony of the film enough to have fun with their roles. At least it's short! R for violence and language.
LAKE PLACID 2 (R) 83 minutes 1/2 At least the first film had some humor. The budget here is so low that the four crocs, and no, more isn't better, look like they aren't even touching the ground. And you know things are bad when they can't even afford to fly a real plane to land on the lake, there's still room for another sequel, but we can hope they decide to leave this alone. R for violence and nudity.
LAKE PLACID 3 (R) 88 minutes 1/2 And, of course, they couldn't leave it alone. Sadie's son decids to hang on to the property for awhile since the real estate market is sluggish and property isn't moving well anyway. Two years later, the two crocs that their son has been feeding are getting rather large. And there seem to be a few others, but we never really get a good idea of how many there are since there seem to be a number of smaller ones in the lake as well. Laughably bad CGI crocodiles, and the script is no better. R for violence.
LAKE PLACID: LEGACY (R) 89 minutes 1/2 The sixth film in the series, but it's not a sequel. In fact, it really isn't connected to the other films at all except in its subject matter. It's also not only very predictable, but features several characters who we very quickly decide aren't going to survive... and they don't. We're not surprised... and not terrinly sorry. R for violence.
LAKE PLACID: THE FINAL CHAPTER (R) 86 minutes 1/2 The solution to solve the problem was to put up a fence around the lake. It sounded like a good idea at the time. (Though not sure how that really makes sense to the rest of us.) But when people end up inside the fence, it creates a problem. Full of more bad CGI effects and a ridiculous script, but you probably figured that out on your own. R for violence, language, and sex.
LAKE PLACID VS. ANACONDA (NR) 86 minutes 1/2 Because they were just kidding when they said "Final Chapter"... and now that giant crocodiles and anacondas are on the loose, we can't wait to find out if the ruthless scientists, the ferocious monsters, or the local townspeople will win the day. Of note only for the casting of Robert Englund and Yancy Butler.
LAKE TAHOE (NR) 76 minutes * * 1/2 After Juan (Diego Catano) crashes a car into a utility pole, he wanders down the street to look for help. Clearly, each of the people he comes into contact with are on their own paths in life, and the help they can offer often doesn't seem like help, at least not at first. But eventually, Juan will find himself back where he needs to be, and able to deal with the situation that led to the accident in the first place. Very laid-back story of a young man's struggle to deal with a reality he doesn't want to face. Editing is rough in spots, and what is likely meant to be artistic in spots is instead distracting.
LAKEVIEW TERRACE (PG-13) 107 minutes * * New homeowners move into a nice suburban home only to find that their neighbor (Samuel L. Jackson) is a bit on the psychotic side. Too bad he's also a police officer. Jackson's two-dimensional character is too easy to hate, and we don't find out until late that there's a reason to feel sorry for him. Jackson's performance is the only positive aspect of this one-note suspense film. PG-13 for language and violence.
LAMBADA (PG-13) 99 minutes * 1/2 Well-intentioned film about a dedicated math teacher who spends his spare time tutoring struggling students and dancing in a club. There just isn't enough talent or money in evidence here to pull this off. It's an amateur production though it does have heart.
LAMBERT & STAMP (R) 113 minutes * * * The formation of the rock band "The Who", was initiated by the partnership of two aspiring filmmakers. It's an interesting look at the formation of the band, though with the focus on Lambert & Stamp, there are some pieces about the band members that are missing. There are moments when these gaps are hinted at, but then the story moves on, leaving us to wonder what the rest of the story really was. R for language and nudity.
LAMBORGHINI: THE MAN BEHIND THE LEGEND (R) 90 minutes * * 1/2 Ferruccio Lamborghini (Frank Grillo) had a dream. A dream of creating the most beautiful (and powerful) car. Enzo Ferrari (Gabriel Byrne) was his idol, until it became clear that Ferrari though Lamborghini should stickt to making tractors. It only made Lamborghini even more determined to reach his goal, no matter the price. And it would be high. A good bio-drama, though not very exciting. R for language.
LANCASTER SKIES (NR) 94 minutes * After surviving the Battle of Britain, Douglas (Jeffrey Mundell) transfers to Bomber Command. Part of his reasoning is that he wants to take revenge for the death of his younger brother. He finds himself in command of the Lancaster bomber crew, who just lost their skipper on their last mission. The balance between what he wants and what they need is a delicate one. The script is incredibly dry and poorly paced. The sets are frequently sparse, and too much of the acting is very stiff.
THE LAND (R) 95 minutes * * * More than anything, Cisco (Jorge Lendeborg Jr.) and his friends want to be recognized for their skateboarding skills. But positive breaks just never seem to come their way. An now, a couple of poor choices are about to send them to a very bad and scary place. Well-written, and solid work by the cast. R for language, violence, and nudity.
LAND (2021) (PG-13) 85 minutes * * * Getting away from it all was the idea. Edee (Robin Wright) is about to learn that not only is it difficult to live in a remote area of the Rocky Mountains, but that your personal problems don't go away with just a change of scenery. Wright's directorial debut is a fine piece of work that is adventurous and sentimental a tthe same time, giving us a deeply personal look at a strong character. PG-13 for language and nudity.
THE LAND BEFORE TIME (G) 71 minutes * * * * With George Lucas, Steven Spielberg, and Don Bluth involved, it would've been hard for this to not work. Filled with beautiful images and adorable characters, it's a film about friendship, courage, and what it means to carry the memory of someone with you. A truly wonderful animated film for the whole family to enjoy.
THE LAND BEFORE TIME XII: THE GREAT DAY OF THE FLIERS (G) 74 minutes * * 1/2 Long-running series, each with its own lesson (or two) for the audience. Here, Petrie struggles with not fitting in, and how to do that while being true to himself. At the same time, Sarah has to deal with what it means to have a new little sister.
THE LAND BEFORE TIME XIII: THE WISDOM OF FRIENDS (G) 72 minutes * * 1/2 Wisdom and friends come in all sorts of shapes and sizes in this entry in the series.
THE LAND BEFORE TIME XIV: JOURNEY OF THE BRAVE (G) 75 minutes * * Littlefoot and his friends go looking for his father, who hasn't returned from a special journey. Bravery, teamwork, and friendship are the themes of the day as these young dinosaurs work to find Littlefoot's father.
LAND HO! (R) 90 minutes * Mitch (Earl Lynn Nelson)and Colin (Paul Eenhoorn) used to be brothers-in-law, and though that is no longer the case, they are still friends. They decide to take a road trip across Ireland. The scenery is beautiful, but the language is unnecessarily crude and vulgar. There are a few moments that are entertinaing, but Steve Coogan's "trip" films are much more entertaining. R for language.
LAND OF MINE (R) 92 minutes * * * The beaches of Denmark still have thousands of mines that need to be cleared after the war. It will become the job of German POWs to complete that task. It was their fellow soldiers who placed them, and they are considered to be expendable, though they are only boys. The plot isn't very involved, but it still manages to be quite intense. R for violence and language.
LAND OF THE DEAD (R) 88 minutes * * There's nothing quite like yet another zombie film from director George Romero. It's pretty much what you'd expect... zombies eating people who turn into more zombies while other zombies get shot, blown up, set on fire, and so forth. The plot is pretty simple. The zombies are getting smarter and even have a leader of sorts. The ending is left open, no surprise there, for another sequel. (Country of the Dead? Planet of the Dead?) And as a little treat for fans of the series, Tom Savini makes an appearance as the Machete Zombie! R for violence, language, and sex.
LAND OF THE LOST (PG-13) 93 minutes 1/2 As a Will Farrell comedy, this might succeed... (if you like Will Farrell comedies), but as a remake of a kids adventure show, it fails miserably. Rude humor is mixed with Farrell's typical performance of a clueless character, this time lost in a world with dinosaurs and time travel. Farrell fans may enjoy this but others should choose something more entertaining to watch. PG-13 for violence and language.
THE LAND THAT TIME FORGOT (2009) (NR) 83 minutes * 1/2 A charter boat cruising through the Caribbean ends up going through a time portal. They find themselves on an island with dinosaurs and the crew of a German U-boat. The CGI effects aren;t very good, but otherwise, it's a reasonable adaptation of the Edgar Rice Burroughs classic adventure story.
LANSKY (R) 113 minutes * * * Receiving a medical diagnosis that doesn't give him much time, and with the federal government investigating him one more time, Meyer Lansky (Harvey Keitel) decides on someone to tell his story (Sam Worthington). The story works well as a look into Lansky's life and dealings. Where it slips a little is in dealing with Stone's (Worthington) character uncovering it. Worthington's performance isn't very strong, but the character isn't well-written either. R for violence and language.
LARA CROFT TOMB RAIDER (PG-13) 91 minutes * * Time was definitely spent in making this film look right. Unfortunately, looks aren't everything. The story doesn't really flow very well, and Lara really has little to deal with in the way of substantial conflict. She always has the right tool up her sleeve (ok, on her belt), and never seems bothered in the least by the villains she comes up against. Sometimes it does a hero good for things to get a little bit tough. It is nice to see Jon Voight playing the part of Richard Croft. Having real life father and daughter play father and daughter on screen is a nice touch. Too bad that this is such a shallow film when it could have been much more substantial. PG-13 for violence.
LARA CROFT TOMB RAIDER: THE CRADLE OF LIFE (PG-13) 108 minutes * * 1/2 Lara (Angelina Jolie) discovers that Pandora's Box is not just a legend, and that one of the most diabolical men on the face of the planet is about to unleash its horrors upon the world. It's a good adventure story with a hefty amount of mythology/legend mixed in, though the action gets more than a bit far-fetched in quite a few places. Not bad, but not really as exciting as the first despite the fact that Jolie seems to have a better handle on the character this time. PG-13 for violence and language.
THE LARAMIE PROJECT ((NR) 91 minutes * * * Not exactly a documentary, though it is based on the words of the residents of Laramie, Wyoming in the wake of the death of Matthew Shepard. It's the story of a town that has to come to grips with a hate crime that has been committed by two of their own. Both powerful and moving, it follows members of the Tectonic Theater Project as they talk to people from the town about what happened and how they feel. While there are ways in which the use of actors takes away from the potential impact of the film, there are ways in which it's impressive as well. Many of them asked to be in the film as the issues around acceptance of homosexuality as a viable lifestyle is an issue that they feel strongly about. And their performances seem to speak for the acting community as a whole, reaching out to support those who are struggling with similar issues and to open the minds of those who need to understand the importance of accepting those who aren't like yourself.
LARGER THAN LIFE (PG) 89 minutes * Nice scenery... OK, that's it for the compliments here...! Bill Murray gives us a very tired performance in a story that is far less inspiring than "Operation Dumbo Drop". Weak and very forgettable. Murray is going to have to stage a comeback soon before he sinks in the mire. (And with an elephant underneath him, he's sinking pretty fast.) PG for language.
LARRY CROWNE (PG-13) 94 minutes * * Working at UMart for years seemed fine to Larry (Tom Hanks). Promotions were elusive, but he didn't mind that much. But now he's getting fired, because he doesn't have a college degree. So he heads back to school, where he discovers an attractive fellow student, and a pretty amazing teacher. Cute story, but the chemistry between Hanks and Julia Roberts is completely lacking. PG-13 for language and sex.
LARRY THE CABLE GUY: HEALTH INSPECTOR (PG-13) 83 minutes * If you've seen Larry the Cable Guy's stand-up comedy routine, you'll pretty much know what to expect. There is a little story here, centered around the idea that someone is poisoning the food at several of the city's top restaurants. Not much, but a little... Filmed in Orlando, Florida. PG-13 for language.
LARS AND THE REAL GIRL (PG-13) 99 minutes * * * 1/2 Ryan Gosling delivers another stellar performance as Lars, a troubled young man who has found a new friend. The doctor tells everyone that the best way to help Lars is to play along. But how long will this delusion last? Humorous and heartbreaking, it's a story about love, loss, and healing. The supporting cast, led by Emily Mortimer, Paul Schneider, Patricia Clarkson, and Kelli Garner do a wonderful job of making this story work, despite how difficult it is at times for us to believe that so many people would play along. Gosling and screenwriter Nancy Oliver were nominated for numerous awards for their work here. PG-13 for language and sex.
LASERHAWK (PG-13) 98 minutes * * Inventive low-budget science fiction film. The story is that Earth was populated years ago as a food source for another life form. But some of those aliens disagree with the idea, and they plan to help the people of planet Earth as they are about to be harvested. PG-13 for language.
LASSIE (PG) 91 minutes * * 1/2 Matt is moving to the country to his mother's old house. It's a good deal different from the city life in Baltimore, and he's having a hard time adjusting to his step-mother after his mother died. Leave it to Lassie, who adopts them while en route to the country. She'll be able to get through to him and help him through this rough time. Adequate family fare, but nothing remarkable.
LAST ACTION HERO (PG-13) 123 minutes * * * A story that is filled with the magic of movies, fiction, and imagination, this is fun to watch. Arnold Schwarzenegger spoofs his own action-hero films a little bit here, as young Danny (Austin O'Brien) longs to meet his idol, Jack Slater (Schwarzenegger). Lots of cameos and a quick pace manage to keep this film moving along and make for an entertaining couple of hours. PG-13 for violence.
THE LAST AIRBENDER (PG) 95 minutes * * 1/2 The fire nation destryoed the air nation as they knew that the Avatar was to be born of their people. But of course he wasn't there at the time of the destruction, and now that he has returned, he must bring peace and balance back to the world. The special effects are impressive, but rather repetitive, and the story itself, which definitely of an epic scale, ends on a disappointing note that requires a sequel to finish it. PG for violence.
THE LAST AMERICAN VIRGIN (R) 92 minutes * ½ A group of friends find themselves moving apart when a love interest for one of them enters the picture. Trite love story made more tolerable by great song choices that fit the story almost perfectly. The acting isn’t bad, but you might want to buy the soundtrack and skip the film. R for language, sex, and violence.
THE LAST BLACK MAN IN SAN FRANCISCO (R) 114 minutes * * * Jimmie (Jimmie Falls) just wants his childhood home back. The problem is that thanks to gentrification, it is now priced at four million dollars. The story is one of a search for home in a world that no longer cares about whether its people have homes. Movement is constant, and where we live is determined by economics and politics, and often may not ever feel like a place where we are loved, supported, and have a sense of personal family history. R for language and nudity.
THE LAST BOOKSHOP OF THE WORLD (NR) 82 minutes * * * Four people from different European cultures embark on a journey to find a location for the world's last bookshop. Along the way, they discuss their dreams for this place and what it means to them, as well as the purpose of literature, and what it means as a part of life. Rich with philosophy, this will take more than one viewing to absorb, but those who love literature and art will likely not mind.
THE LAST BOY SCOUT (R) 102 minutes * * 1/2 Bruce Willis and Damon Wayans team up for this action film. They work well together, but we've seen this so many times before. Extra graphic violence is thrown in to try and cover up the weak spots in the script, but it only works to a point. Wayans manages to come off a little better than Willis, probably because he hasn't made the same film so many times.
THE LAST BRIDESMAID (NR) 84 minutes * * 1/2 As the title suggests, Becca (Rachel Boston) is always the bridesmaid, never the bride. She's also about to take over her parents' insurance business, and there's the jewelry making she does that just might turn into something bigger. She's definitely busy. Her friends and family are all trying to set her up with the right guy, but she may have just found him on her own. Another romance from Hallmark.
LAST CAB TO DARWIN (NR) 119 minutes * * * 1/2 Rex (Michael Caton) has received the news that he only has a few months left. He's determined not to linger, but to go out on his own terms. It means a long trip to Darwin, where there is a particular doctor who can help. Long journeys allow for much thought. Great cast and a wonderful adaptation from the play.
LAST CALL (R) 97 minutes * 1/2 Returning home for his mother's funeral, Mick (Jeremy Oiven) learsns that the famil'y bar is in danger of going under. In town for awhile, he quickly discovers that many things haven't really changed in this old Philly neighborhood where he was raised. He's in a position where he could change it, but is that what what would be the best thing for the neighborhood? It's a great cast, but the script is tired and lifeless. Piven delivers an angry performance, which provides some energy, but not really the kind that this film needs. R for sex and language.
LAST CALL AT THE OASIS (PG-13) 97 minutes * * 1/2 Even though most of our planet is covered with water, fresh water is at a premium. Drought, toxins in the system, issues with regulation and distribution of bottled water, and many more problems are looking like they will only get worse. There's quite a bit of valuable information here, almost too much in fact, though this can serve as an introduction to the topic in general. PG-13 for language.
THE LAST CASTLE (R) 124 minutes * * Some people are natural leaders. No matter what the circumstances, people will follow them. That's the basic idea here, played out in a prison setting with Robert Redford as the man who inspires the others as he views the prison as a castle, albeit one that is built to keep people in instead of keeping people out. Redford and James Gandolfini's characters are drawn too broadly, and neither actor seems to care that much about what they're doing. There are some nice supporting performances, but with the lack of depth from the main characters (the script is at fault as well), this just never really gets very far. R for language and violence.
LAST CHANCE HARVEY (PG-13) 88 minutes * * * Life is full of last chances at the moment, which is depressing in one sense, but at least there is a chance. Harvey (Dustin Hoffman) decides to take one and get to know Kate (Emma Thompson). At the very least, it might take his mind off of the marriage of his daughter, who seems to be slipping away quite quickly. Each moment is an opportunity, and its up to us to decide what to do with it. Hoffman and Thompson are both perfectly awkward here, which may sound bad, but it fits the story. Despite that realism, the story is a bit overly sentimental, but still quite good. PG-13 for language.
LAST CHRISTMAS (PG-13) 98 minutes * * * Most everything Kate (Emilia Clarke) touches lately has been ruined very quickly. Althouguh she did just meet Tom (Henry Golding), and even if he's a little unusual, it seems to be going well. He's going to help her look at life in ways she never did before. Great use of George Michael's songs, and an absolutely delightful performance by Clarke. PG-13 for language and sex.
THE LAST CIRCUS (R) 102 minutes * * 1/2 Javer (Carlos Areces) is following in his father's footsteps, working as a clown. But Sergio (Antonion de la Torre) is the lead clown of the circus, and is a violent and evil man, abusing everyone, including his lovely wife Natalia (Carolina Bang), whom Javier has fallen in love with. Much like his father before him, Javier feels trapped, with only one course of action that seems possible. A tragic and twisted tale. A bit more violent than some will care to see. R for violence, sex, and language.
THE LAST COWBOY (NR) 86 minutes * * Jennie Garth and Lance Henriksen play a father and daughter at odds with each other about how to run, or whether to even keep the ranch that has been in their family for so many years. Stock characters and story, though the cast does a nice job of making them work fairly well.
LAST CUP: ROAD TO THE WORLD SERIES OF BEER PONG (NR) 83 minutes * * The real beer pong championships. The film follows several different teams on their road to the championship, with interviews and clips from the competition. We are also treated to a bit of the history of the game and the competitors. Mildly interesting.
LAST DANCE (R) 99 minutes * * * Although comparisons to "Dead Man Walking" are inevitable, this is a fine film in its own right. Sharon Stone gives us a believable portrait of a woman on death row with little hope of changing the circumstances that will lead to her death. Direction by Bruce Beresford and Mark Isham's music smooth out the rough edges to a film with a powerful message. R for language and violence.
THE LAST DAYS OF BILLY THE KID (NR) 76 minutes BOMB The title explains the plot. The acting is so awkward that the only explaination is that the cast is reading off of cue cards. Poorly written cue cards. Apparently, most of the budget for this was spent on the artwork for the container.
LAST DAYS OF LEFT EYE (NR) 84 minutes * * 1/2 Lisa "Left Eye" Lopes had reached a critical point in her life. She went on a spiritual retreat in Honduras, and began to document her life on film. tweny-six days later, she was dead. An intimate and revealing bio-documentary. While there are ways in which it feels incomplete, which makes sense, as she wasn't the one who finished the film, there's also a sense of the complete about it as well.
THE LAST DAYS ON MARS (R) 92 minutes * * 1/2 An expedition to collect specimens on Mars uncovers something unique and dangerous... even more dangerous than the crew suspects. Plenty of tension and suspense, though the story is a little vague and almost overly scientific. An interesting ending, though not everyone will be pleased with the direction it takes. Adapted from the short story "The Animators" by Sydney J. Bounds. R for violence and language.
THE LAST DRAGON (R) 100 minutes * * * Leroy (Taimak) is working on attaining the final level of martial arts. He feels that he needs assistance with that task and is looking for someone who can help hin get there. While on this quest, he will face challenges and rescue a young woman (Vanity) who is in danger. The story gives us pretty much what we'd expect, but it's well-made, and the light touches of humor make it fun to watch. R for sex, language, and violence.
THE LAST DROP (R) 100 minutes * 1/2 Near the end of World War II, a group of allied soldiers are dropped behind the German lines with the specific goal of retrieving Nazi treasure supposedly held in the area. But they aren't the only ones looking for it. Who will find it first and will it happen before the war ends? Unfortunately, we don't care all that much because we never find ourselves caring about the characters here. It quickly becomes a race to the treasure with gunfire coming from both sides. There's a twist at the end of the film, but we're long past caring by that point. R for violence.
THE LAST DUEL (R) 143 minutes * * * The knight, Sir Jean de Carrouges (Matt Damon) is impulsive and headstrong. He is also dedicated to serving his king. Once friends with Jacques Le Gris (Adam Driver), they are no longer, since Le Gris had an affair with his wife. To settle their dispute, the king agrees to a duel, the last such use of a duel in France. The film goes on at great length detailing the daily lives, exploits, and conflicts of the characters. It gives them great depth, though it also frequently slows down the story. R for violence, sex, and language.
THE LAST ELVIS (NR) 83 minutes * * 1/2 On stage, Carlos Gutierrez is a star. As an Elvis tribute artist, he feels at home. When his dream and reality collide, it changes his life, but his path in many ways remains the same. Nice work by John McInerny, who is a genuine Elvis tribute artist. The film is rather dark and somber, dwelling more on the later years of Elvis, as do most tribute artists.
THE LAST EMPEROR (PG-13) 158 minutes * * * A child emperor who is a prisoner in his own city. A symbol that is now only a symbol but with hope that the power and respect that were once given may again be regained. An epic story with a bit of the overly dramatic TV mini-series feel to it. Still, the photography, costumes, sets, and music are all quite spectacular. There are some scenes that should have been cut or at least shortened and there seems to be a rather unnecessary movement towards more graphic violence later in the film. The impression we're left with is a desire to make this feel "real", but that isn't supported by the majority of the film.
THE LAST EXORCISM (PG-13) 82 minutes * Cotton Marcus (Patrick Fabian) has been a preacher since he was a child. He comes from a long line of charismatic preachers who also perform exorcisms. Cotton is struggling with this though, as he has come to not only doubt that demons exist, but wonder if God does as well. He picks a random request for an exorcism and takes along an assistant and a cameraman to show how people's problems may be real, but that it isn't really about demons. They are in for a surprise. Reality style film with a little better acting than most, which is good, but the dialogue still seems cheap and unreal. The last few minutes are not among the films best. PG-13 for violence and language.
THE LAST EXORCISM PART II (PG-13) 85 minutes * * This picks up where the first film ended and Nell (Ashley Bell) is trying to put her life back together. But while the demon is no linger inside her, it still won't leave the house. Strong, and very creepy ending help make this a little better than the first film, which ended rather poorly. PG-13 for violence and language.
THE LAST FACE (R) 126 minutes * * * Wren (Charlize Theron) is the director of an international aid agency that is currently helping people in Africa. Miguel (Javier Bardem) is a relief aid doctor. Their love for each other and the work they do is strong, but the conditions are a nightmare, and the stress is only increasing. Intense and unflinching story of love in the midst of violent conflict. R for violence, language, and sex.
THE LAST FALL (NR) 90 minutes * * Kyle Bishop (Lance Gross) played in the NFL for three years. But now he's out of the game and out of work. Like so many, he discovers that life after football is far from easy. Low-key, slow-paced drama. Gross delivers a likeable performance, which helps this quite a bit.
THE LAST FIVE YEARS (PG-13) 89 minutes * * * She's an actress. He's a writer. They are in love. But when his career begins to take off, it begins to rip their relationship apart. Beginning on a very forlorn note, being the end of their five years together. Based on the stage musical, this is structured very differently, using an extended flashback to tell the story. The music is wonderful, and both Anna Kendrick and Jeremy Jordan do great work here. Just remember where the film starts... which is the end of the story, and not a particularly uplifting place. PG-13 for sex and language.
LAST FLAG FLYING (R) 118 minutes * * * Thirty years have passed, and now Doc (Steve Carell) is going to bury his son. He asks Sal (Bryan Cranston) and Richard (Laurence Fishburne) to go with him. There are... complications along the way. A well-balanced story with strong, well-acted characters. Adapted from the novel by Darryl Ponsican. R for language.
THE LAST FULL MEASURE (R) 110 minutes * * * 1/2 Airman William H. Pitsenbarger (Jeremy Irvine) was nominated posthumously for the Medal of Honor for his actions, which saved more than sixty lives. He was instead awarded the Air Force Cross. This is the story of the fight to upgrade his award to the Medal of Honor. It is a powerful and emotional story, with very nice work by the cast. R for violence and language.
LAST GIRL STANDING (NR) 88 minutes * 1/2 Canryn (Akasha Villalobos) was the sole survivor of a series of brutal murders at a campground. The trauma that caused has taken a toll on her. It doesn't matter that the killer is dead and can't still be after her. Or can he? Of some interest as a character study and how PTSD can be a horrific experience, but even then, it's not all that convincing.
THE LAST GLADIATORS (R) 89 minutes * * 1/2 If you're going to play hockey, a big part of it is the violent physical contact. Chris "Knuckles" Nilan was one of the most ferocious to ever play the game. He was both tough, and very talented in his role on the ice. There are finesse players and enforcers, and without the enforcers, the finesse players wouldn't be able to score so easily. Enforcers can score as well, and Nilan could hit and score... better than most. This bio-documentary offers us a look at his life both during and after his career in hockey. R for language and violence.
THE LAST GUNSLINGER (NR) 73 minutes BOMB A Confederate soldier returns home to discover what the Union soldiers did to his wife. He decides to go out west after the war to try and start a new life... and get revenge. Stiff performances and poorly written dialogue don't give this much of a chance to get very far.
LAST HOLIDAY (PG-13) 106 minutes * * 1/2 After bumping her head at work, Georgia (Queen Latifah) learns that she has a rare condition that gives her only three weeks to live. She takes her money and begins to spend it and have fun. Not only does she discover what's really important in life, but she manages to teach those around her as well. The plot is far from original, but Latifah makes it fun to watch. PG-13 for language.
THE LAST HOUSE ON THE LEFT (2009) 103 minutes * 1/2 After attacking and killing two girls, the murderers take refuge in the secluded vacation home of the parents of one of the dead girls. This remake of the 1972 suspense film by Wes Craven, has little of the original's creativity, though it has plenty of gruesome effects and some reasonably good performances. R for violence, language and sex.
THE LAST INN (NR) 96 minutes * After an accident on a nearly deserted road, Laura (Emily Hall) starts walking to find help. She comes across a rather strange hotel. It's very old, very dusty, and has more than a few ghosts. Laura has lost her memory, but perhaps with the help of a couple of the other guests, she can put things back together. The dialogue is pretty bad, but the story does have a few good chills. The timeline during the last third of the film really doesn't work well, and the mix of suspense and romance is more like the swing of a pendulum.
LAST KIND WORDS (NR) 84 minutes * * 1/2 Eli (Spencer Daniels) is just exploring the farm. His abusive father doesn't want him to, and the man who owns it has some strange stories to tell about the history of the farm and the role it played in the Civil War. But there's another ghost in the woods on the property as well. The ending is strange and somewhat unsatisfying, yet it also seems very fitting. Not all that scary, but mildly haunting to be sure.
THE LAST KING (R) 93 minutes * * 1/2 An infant king faces a treacherous journey in the company of two warriors who must protect him as they return to place him on the throne. Set in the Middle Ages in Norway, with appropriately beautiful, wild, and rugged scenery. Lots of battle scenes, most of which are in the snow. Not bad, but there's an impressive quality that is somewhat lacking. R for violence and sex.
THE LAST KING OF SCOTLAND (R) 117 minutes * * * Forest Whitaker delivers a frighteningly realistic performance as Ugandan military dictator, Idi Amin. Able to be affable, charming, and brutally violent, Amin rose to power which he then abused even more than those who he replaced. Adapted from the novel by Giles Foden, the film looks at Amin and his reign of terror through the eyes of his Scottish personal physician. At first taken in by Amin's personal charisma, Garrigan (James McAvoy) helps keep Amin safe, until he finally realizes just how wrong everything has gone. Whitaker does chew up the scenery at times, but does a brilliant job with Amin's "lighter" side as well. It's such a large character though, that aside from Garrigan, we pretty much lose the rest of the cast. R for violence, sex, and language.
THE LAST KISS (R) 99 minutes * * 1/2 Michael (Zach Braff) seems to feel the world closing in on him when things begin to take a more serious turn with his girlfriend Jenna (Jacinda Barrett). Marriage, baby, house... is it what he really wants? Or does he want that pretty college girl who is a little younger and more free-spirited. Some of Michael's and Jenna's friends are also having relationship problems. Adapted from the film L'Ultimo Bacio, this is an interesting film about relationships, romance, and committment. While it lacks originality, it does deliver a well-written script, and performances that impress us with the conflict the characters are experiencing. R for sex and language.
LAST KNIGHTS (R) 104 minutes * * When Raiden's (Clive Owen) master is dishonored, he vows revenge. Thwarted in many attempts, he begins to doubt everything, or so it would seem. This finishes well, but there are several times along the way where it where the story stumbles and loses the flow it needs to maintain. R for violence.
THE LAST KUNG FU MONK (R) 89 minutes 1/2 Coming to the United States to care for his nephew, Li Long (Li Zheng) tries to set up a martial arts school only to find himself in trouble with an underground fight club. Li Zhang isn't much of an actor, but then again, most of the cast here is less than stellar. The fight scene choreography is not very interesting either, though the bad camera angles don't help. R for violence and language.
THE LAST LEGION (PG-13) 90 minutes * * * The empire is collapsing and young Romulus (Thomas Sangster) is the last Caesar. Along with his protectors, he flees to a rmote part of the country to find the one remaining group of those who are loyal to Caesar. It will be far from easy. There will be enemies where least expected. But Romulus will discover that challanges are what make you grow stronger. Very nice adventure film with just a few little twists that make it even more fun to watch. Colin Firth, Ben Kingsley, Aishwarya Rai and Sangster are all quite good here, playing their roles with intensity, and at the same time with just a touch of humor to keep the mood a little lighter. PG-13 for violence.
THE LAST LETTER (NR) 94 minutes * 1/2 A terrible secret from Catherine's (Sharon Leal) past is about to rip through her recent marriage, and destroy everything. The suspense builds well, but as it continues, the story grows more and more difficult to believe.
THE LAST LIONS (PG) 87 minutes * * * The story of a lioness. Driven from the territory she shared with her mate, she must learn and conquer a new place, and provide for her three cubs. There will be a heavy price to pay to earn her way in this new place, but she is determined to persevere. Lions are a dwindling species. Are this lioness and her cubs among the last, or will we assure their survival by making the necessary changes to the way we live? Narrated by Jeremy Irons. PG for violence.
LAST LOOKS (R) 102 minutes * * * Charlie (Charlie Hunnam) has retreated to the wilds, reducing his footprint on the planet. He's just been asked to step back into the limelight to investigate a murder. The script, by Howard Michael Gould from his book, is sharp and witty, and Hunnam does a very good job with it. There's a touch of noir as well. It's an interesting and somewhat offbeat mystery. R for language.
LAST LOVE (NR) 110 minutes * * * 1/2 When Matthew's (Michael Caine) wife dies, his reason for living slips away. He begins to drift and disconnect, and being in Paris makes it a little easier, since he never learned the language. And then he meets Pauline (Clemence Poesy). Director Sandra Nettelbeck has done a marvelous job of adapting Francoise Dorner's novel to the screen, both with her sensitive direction and with the script, and Poesy is the perfect fit for Caine's melancholic character.
THE LAST MAN (R) 102 minutes * * The effects of climate change have drastically altered the world. Kurt (Hayden Christensen), a veteran with PTSD, is convinced that the end is coming soon. He constructs a bunker, and begins to shut out everything and everyone. But there are some people who have other ideas. The story sets up well, but gets lost somewhere along the way, and the ending feels very incomplete. R for language, violence, and sex.
THE LAST MAN ON THE MOON (NR) 93 minutes * * * The last human being to set foot on the moon was Gene Cernan. This documentary details not just his journey to that unique landscape, but his personal life and the challenges along the way to becoming an astronaut. The film provides a very nice history of the Apollo missions with a personal touch.
LAST MAN STANDING (R) 96 minutes * 1/2 This film has the look and feel of a gangster film, but it rings hollow. The story goes nowhere as it tells, frequently in irritating voiceovers, of east coast gangster John Smith (Bruce Willis) and his experience in Jericho, Texas. One of the more noticeable faults here is that the guns used in the film weren't heard of in the 20's, which is when this film appears to be taking place. R for violence.
THE LAST MIMZY (PG) 89 minutes * * 1/2 Adapted from the short story "Mimsy Were the Borogoves", this is the story of two children who find some very special toys one day at the beach. Toys that give them special abilities and open the door to another world. The performances here are fine, though it's somewhat difficult to like young Noah (Chris O'Neil) except when he's at the science fair. Emma (Rhiannon Leigh Wryn) on the other hand, is a delight, and seems to really enjoy the magic of the story. The real problem here is that it feels like half of the story is missing. We learn very little about the other world that Emma sees, virtually nothing about the other Mimzys, the government suddenly steps in then almost as quickly seems to step back out... It's unfortunate, because the idea is interesting. We just don't get to see enough of it. PG for language and violence.
LAST MOMENT OF CLARITY (R) 86 minutes * * * It's been three years since Sam (Zach Avery) saw his fiancee die. Watching a movie in a theater, he is surprised to see her on the big screen. At least, it looks very much like her. He's determined to find out the truth. It's going to be much more complicated than he anticipates. Very nice suspense/thriller that unwraps slowly, perhaps a little too slowly early on. It does build well land finishes nicely. Avery's acting is not the strongest, but the rest of the cast does well, especially Carly Chaikin. R for violence, language, and sex.
THE LAST MOUNTAIN (PG) 90 minutes * * * The fight to save Coal Mountain in West Virginia - in danger of being destroyed by mountaintop removal coal mining. A very balanced look at the destructive impact of the coal industry and those who support it. Wind energy is a proven, renewable alternative, but even with the recent support is has been able to achieve, it faces huge obstacles, not the least of which is simply that the money and power are with those who own and invest in coal. PG for language.
THE LAST MOVIE STAR (R) 96 minutes * * * 1/2 Once upon a time, Vic Edwards (Burt Reynolds) was a great movie star. That time has passed. Vic has been invited to receive an award at a film festival, honoring his past work. But this festival is much like the B-films that Vic started his career with. In many ways, that's more appropriate than Vic is willing to admit. There are some very nicely edited shots of Vic interactin with his younger "on screen" self, adding a nice touch of nostalgia to the film. R for sex.
LAST NIGHT (R) 87 minutes * 1/2 A married couple facing temptations that occur as they spend a night apart. Keira Knightley's performance saves this from being completely bad. Rather lifeless performances from the rest of the cast give us cause to be tempted to watch something else. R for language and nudity.
LAST NIGHT IN SOHO (R) 113 minutes * * * Thrilled to get into the London College of Fashion, Ellie (Thomasin McKenzie) is finding it an awkward fit. She decides to stay off campus, where things move a little slower. The fashions of the 1960s have a special appeal for her. Somehow, she's able to travel back to that time. She finds it both fascinating and frightening. Great photography, and a very nice twist near the end! A fun and entertaining modern noir/thriller. R for violence, sex, and language.
THE LAST OF ROBIN HOOD (R) 88 minutes * * 1/2 When Beverly Aadland (Dakota Fanning) caught the eye of Errol Flynn (Kevin Kline), she was only 15 years old. Flynn was to die only two years after they met, but much would happen in those two years. There are good scenes here and there, but the film doesn't hang together very well, becoming a highlight version of the two year relationship they had. Its unfortunate, because it comes across more as though we're just watching the headlines from the tabloids rather than actually getting to know the characters. R for sex and language.
LAST OF THE DOGMEN (PG) 113 minutes * * * Tom Berenger in one of his better roles, plays Lewis Gates, a tracker who discovers a lost tribe of Cheyenne Dogmen while searching for some escaped felons. Though the story is a bit obvious at times, the flow of the film makes this a more pleasant watch than "Dances With Wolves". A heartwarming and beautiful film, telling a rarely heard story about the Cheyenne.
THE LAST OF THE MOHICANS (1992) 106 minutes * * * Based on the 1936 screenplay, this adaptation of the classic story of early America is filled with action and a healthy dose of romance. The theme music is overused to the point of madness, and there are some editing problems in a few spots as well. Daniel Day-Lewis' performance suffers from a too obvious sense of being intimidated by the settings and the story. Still, the story is a strong one, and the scenery is a very important and beautiful part of the story as well. R for violence.
LAST PASSENGER (R) 90 minutes * * It doesn't take long for the passengers on this commuter train in London to realize that something is wrong and that whoever is driving the train has no intention of getting them to their destinations. A little slow to start, though the macabre tone is set early on by the music. The ending tends toward the technical, which undercuts some of the suspense, especially since it reminds us of how unrealistic it is. R for language.
THE LAST PLAY AT SHEA (NR) 91 minutes * * * Documentary look at the last ball game played at Shea Stadium,as well as the last concert. Billy Joel and the Mets. It's a look at a baseball team, the life and career of musical great, Billy Joel, and the history of a stadium that played host to many games and many concerts over the years. And of course, Joel also invites several other musicians to participate in the last concert that happened at Shea Stadium. Nice.
THE LAST RACE (NR) 69 minutes * * Running a stock car race track is not easy work. This is the story of one such track on Long Island in New York. This particular film would have been better if it had been a little longer. We needed to see what happened to the other tracks and hear much more from the fans and the drivers about what the sport and that particular track mean to them.
THE LAST RESORT (R) 69 minutes 1/2 Weird little film with five friends on a wild bachelorette party. Four of them end up in a house that is haunted/possessed by the spirit of people who have indulged in excessive pleasure. At least it doesn't last too long. R for violence, language, and sex.
THE LAST SAMURAI (R) 144 minutes * * * Captain Nathan Algren (Tom Cruise) may have become a drunken man who helps sell guns for a sideshow, but he has done this because he lost his honor and it meant everything to him. When he is put in that position again, he finds that it is more important to him to commit treason in the name of honor than to remain loyal to his country and give up honor. The film does a nice job contrasting traditions of the past with those of more recent times. Doesn't fare quite as well when comparing eastern traditions and those of the west. Ken Watanabe does an excellent job as Katsumoto, and the film is worth watching for his performance alone. R for violence.
LAST SCENE ALIVE (NR) 85 minutes * * 1/2 Inspired by Aurora Teagarden (Candace Cameron Bure), a film is being made in town. After only three days of filming, the lead actress is murdered. Maybe the Real Murders Club can solve the mystery.
LAST SEEN ALIVE (R) 89 minutes * * Their marriage had hit a rough spot and Lisa (Jaimie Alexander) just wanted a break to get a fresh perspective. A quick stop for gas changes all of those plans. Lisa is abducted, and Will (Gerard Butler) is determined to find her. Realism is stretched quite thin, but the soundtrack is very effective in creating the suspense. And of course, it all resolves rather quickly at the end. R for language and violence.
LAST SEEN IN IDAHO (NR) 104 minutes * * After witnessing a murder, Summer (Hallie Shepherd) is in an accident that briefly puts her in a coma. Now, she has no memory of the murder or the accident, but she is having visions of her own murder. What does it all mean? Overly predictable and awkward, but the villains work well to keep us involved in the story.
THE LAST SENTENCE (NR) 122 minutes * * * Torgny Segerstedt (Jesper Christensen) was a Swedish journalist and newspaper publisher who refused to keep quiet about how wrong he believed Hitler to be. His articles became increasingly more dangerous as did his continuation of a love affair. Including footage from the war, this is a very personal and powerful drama based on the life of a flawed, but courageous man.
LAST SENTINEL (NR) 111 minutes * * 1/2 On a world that's now mostly water, these soldiers wait for their relief crew to show up. But what if their relief never shows up? Even well-trained soldiers are likely to find extreme isolation an easy situation to deal with. The film handles the isolation aspect well enough, but leans a little to the supernatural side when it doesn't really need to.
THE LAST SHARKNADO: IT'S ABOUT TIME (NR) 85 minutes 1/2 There's a way to stop all of these sharknado events from ever happening. If Fin (Ian Ziering) can go back in time and stop the first sharknado from happening, everything will be fine. Of course, that isn't going to be easy. The time travel aspect is mostly an excuse to have a variety of different scenes that allow numerous cameo appearances for everyone who ever wanted to be in a film in this series. Everyone from Tori Spelling to Christopher Knight to Marina Sirtis to Dee Snider. There are also a huge number of bad puns and references to other films and songs. If you've enjoyed the rest of the films in the series, it's a fitting end. If not, at least it's the end.
THE LAST SHIFT (R) 86 minutes * * 1/2 Stanley (Richard Jenkins) has spent his life working at a local fast food place. He is going to retire now, from a job he has found fulfliing, to take care of his ailing mother. While training his replacement, Stanley's eyes begin to open. Jevon (Shane Paul McGhie) has at least as much to teach Stanley as Stanley has to teach him. A slice of life. The film brings up a number of conflicting issues without really addressing them very well. In one sense, that is frustrating, but in another, it's very much what happens in real life. R for language.
LAST SHOOT OUT (PG-13) 85 minutes * * A chance encounter has Billy Tyson (Brock Harris) stepping in to rescue Jocelyn (Skylar Witte). Her husband wants her back, but Billy isn't quite ready to allow that to happen. The story is fairly good, but the script and acting are both uneven. PG-13 for violence.
THE LAST SHOT (R) 88 minutes * * 1/2 He's not really a movie producer, and he's not really going to make a movie, but director Steven Schats (Matthew Broderick) doesn't know that it's all a set-up to arrest some mobsters. All he knows is that it's his big chance to direct the script he's been trying to sell for awhile. Filled with movie business humor and a great supporting cast, this is a fun film for those who enjoy the business of making movies. Others may not find it all that funny. R for language and sex.
THE LAST SIN EATER (PG-13) 113 minutes * * 1/2 A group of Welsh immigrants bring with them an old tradition. But when young Cadi (Liana Liberato) looks into the eyes of the sin eater, things begin to change. As she struggles with what has happened and how she might be forgiven, other sins of the community come to light. With a greater awareness of what is wrong, there comes a new opportunity to change and do what is right. And perhaps an opportunity to begin a new tradition. Directed by Michael Landon Jr., this is a story of faith and tradition in the Appalachian mountains. PG-13 for violence and language.
THE LAST SON (R) 93 minutes * * Cursed to be killed by one of his own children, Isaac LeMay (Sam Worthington) sets about hunting them down one by one and killing them before they can kill him. Will his ruthless violence prevail against the curse? Mostly unlikeable characters who slowly kill each other as the film trudges along. R foe violence, sex, and language.
THE LAST SONG (PG) 102 minutes * * * Sent to spend the summer with their father, Ronnie (Miley Cyrus) and her little brother (Bobby Coleman) are in for an interesting time. Ronnie has been really angry at, well, pretty much life in general. But this summer may help her begin to change her attitude, though it's not all going to be sunshine and flowers along the way. Solid performances by the cast, and a story that reminds us of love's fragile nature, yet unending capability to transform and heal. PG for language and violence.
THE LAST STAND (R) 99 minutes * * 1/2 Gabriel Cortez (Eduardo Noriega) is a notorious drug cartel kingpin. Young, arrogant, very bad, and very good at what he does. Using a prison transfer as a chance to escape, he's now on his way to the Mexican border. But he's got to get through small town sheriff Ray Owens (Arnold Schwarzenegger) first. Very action packed, and the villains are very evil, though a bit cartoonish as well. R for violence and language.
THE LAST STARFIGHTER (PG) 97 minutes * * ½ A video gamer discovers that the game he just mastered was actually a test. Now, he’s on his way to another planet to help other Starfighters defend it from attack. Fun and energetic science fiction film, with characters that are more relatable than those in more epic level science fiction adventures. PG for violence, language, and sex.
THE LAST STARSHIP (NR) 105 minutes * Legends and rumors clash in the last remaining city. A starship is returning, and it holds hope for the last natural humans. But they not only have to deal with the genetically enhanced humans who rule, but with the mutant monsters roaming the planet. Poor CGI effects, and the costumes and props look like leftovers from several different films. An overly complicated story with some nice bits, but it tries to cover way too much territory.
THE LAST STATION (R) 106 minutes * * * 1/2 The story of Tolstoy (Christopher Plummer) and his wife (Helen Mirren) in the days after the Tolstoyan movement has begun. She loves him passionately, but is afraid that he will give everything away and that the children will not be provided for later in life. As for Tolstoy, he feels that love is all that is needed and that material possessions are a drain on the spirit. His new young assistant Valentin (James McAvoy) is learning much more than he ever realized was possible, simply by being around the two of them. Excellent work by Plummer and Mirren who play well off each other. Adapted from the novel by Jay Parini. R for sex.
THE LAST STORY (NR) 82 minutes * Trapped in a movie theater, a young couple find that they are part of a horror movie being made by a disgruntled employee. More than a little contrived, and bad acting by everyone except Robert Englund. His campy, yet mildly sinister performance is really the only reason to watch this.
THE LAST SUPPER (R) 88 minutes * * * Dinner and discussion. These five friends have a practice of inviting a guest into their circle. Things take a nasty turn when an unexpected guest turns out to be very racist and is accidentally killed. That gives them an idea. Stellar cast that features Cameron Diaz, Annabeth Gish, and Courtney B. Vance, with cameo parts for Bill Paxton, Ron Perlman, Charles Durning, and Mark Harmon. A fun and thought-provoking dark comedy. R for language, sex, and violence.
THE LAST SURVIVORS (NR) 90 minutes * 1/2 Water is scarce, and Kendal (Haley Lu Richardson) is not only watching out for herself, but also for a friend. There are others who are also in desperate need of water, and they are less kind. Definitely has some logic flaws, but the sets are quite good. The ending doesn't really make much sense, but getting there has some interesting moments.
LAST SURVIVORS (2021) (NR) 94 minutes * * 1/2 Jake (Drew Van Acker) and his dad (Stephen Moyer) have been living on their own since the war, living off the land. They are cautious to the point of paranoia. Jake is about to meet someone who will challenge his worldview. The story isn;t very convincing, but the performances are good, and the ending is very fitting.
THE LAST TIME I SAW MACAO (NR) 79 minutes * An interesting, and assuredly unique approach to making a film. Various scenes of the city of Macao are filmed and then strung together with a loosely structured, mysterious plot. A small number of staged scenes are added to the mix to help the story along. The only "actors" in the film are those used for those few staged scenes, but we never see their faces. The bulk of the story is narrated, and is part travelogue, part memoir, part history, and part mystery. An interesting idea, and students of film may well be intrigued, but even so, it doesn't hold together very well.
LAST VEGAS (PG-13) 101 minutes * * * When Billy (Michael Douglas) finally takes the plunge and proposes to his girlfriend, his three buddies decide that it is time for them to head to Vegas for a bachelor party. They discover rather quickly, that Vegas has changed in the decades since they were last there, as have their friendships. Most of the humor here is of a fairly classy variety, though there are a few rough edges here and there, and the focus of the film is more on how their relationships have changed over the years. They hadn’t really noticed until they started spending an extended amount of time together. Great acting, which is to be expected from a cast like this, and a reasonably good script. PG-13 for sex and language.
THE LAST VERMEER (R) 109 minutes * * * Arrested for selling valuable art to the Nazis, Han Van Meegeren (Guy Pearce) has an astonishing claim to make. His claim is that what he sold the Nazies was actually a forgery of a Vermeer that he had painted himself. Based on the historical incident, this is part history and part legal drama, with a bit of suspense. The tnesion builds well, especially near the end. R for language, violence, and nudity.
THE LAST VICTIM (NR) 105 minutes * * It's one of the most violent crimes (or series of crimes) that Sheriff Hickey (Ron Perlman) has ever had to deal with. The bodies keep piling up. Susan (Ali Larter) is at the center of it all. Several of the characters here are rather inconsistent, which takes away from the story, though it's fairly predictable anyway.
THE LAST WARRIOR (R) 92 minutes * One lone soldier, stranded on a remote island, trying to maintain a radio base during WWII. When the Japanese decide to take the island, he finds himself in a duel to the death. A bit far-fetched at times, but the biggest problems here are not the story, but the acting, the direction, the low budget...
LAST WEEKEND (NR) 92 minutes * * * It's Labor Day weekend, and Celia (Patricia Clarkson) has everything planned out for the family vacation weekend. Appearances are important, especially as they plan to seel the house after this weekend. This weekend will be the final memories they have of this special place. A gentle film, not without some tension between some of the characters, and a fine showcase for Clarkson's acting skills.
THE LAST WHISTLE (PG) 83 minutes * A high school football team with an undefeated season record, and a coach who is looking to move up. But when a player collapses during practice, the coach's reaction doesn't sit well with the player's mother or the town. The script tends to trivialize the whole idea, and the soundtrack doesn't support the film well either. There's no subtlety here, and it just plods along until it's done. PG for violence and language.
THE LAST WILL AND TESTAMENT OF ROSALIND LEIGH (NR) 75 minutes * * Really lengthy opening narration... but wait... it's going to continue through much of the film. Really poor story structure to need that support. Returning to his mother's house to deal with the estate after her death, Leon (Aaron Poole) discovers that the house is far from "empty". Despite the weak story structure and questionable acting, the film does offer plenty of creepy moments thanks to some nice photography, music, and special effects.
THE LAST WINTER (PG) 99 minutes * 1/2 Katie Murray and Marsha Moreau come off reasonably well here, but this is poorly directed and poorly written, undermining the rest of the cast rather effectively. The closing music and the direction of the story toward the end try to draw us in by playing on our emotions, but it's too late by then.
THE LAST WINTER (2006) (NR) 96 minutes * A crew of oil scouts working in the frozen wilds of Alaska discover something more dangerous than they expected. As a winter storm closes in, so does something else. Lots of potential, but too much of the energy here is spent on personal conflicts and arguments instead of more character development. And the special effects are a bit of a let down.
THE LAST WITCH HUNTER (PG-13) 97 minutes * * Kaulder (Vin Diesel) is a witch hunter, and the last of his kind. He must defeat the evil witches of the world before they destroy humanity. Lots of very nice effects, but the story is unfortunately less exciting than it sounds. PG-13 for violence.
THE LAST WITNESS (NR) 90 minutes * * 1/2 Sometimes it takes a willingness to risk everything to uncover a story. Stephen Underwood (Alex Pettyfer) will not give up, and discovers not only the true identity of an Eastern European refugee, but the cover-up of the murder of 22,000 Polish prisoners during World War II... and the British government's willingness to look the other way. Good story, with interesting information, but the telling of the tale is a little dry.
THE LAST WORD (R) 90 minutes * * 1/2 Evan (Wes Bentley) assembles your thoughts and comments into a poem to be read at your funeral. He accepts payment, but takes no credit for his work as the words are attributed to the one who has died. Attending the funeral of his most recent client, Evan finds himself attracted to a relative of the deceased. Meanwhile, another of his clients has managed to figure out his home phone number and is becoming a bit bothersome. Now it's up to Evan to decide what to say about his own life, and what he wants to do with it. Quirky, but interesting drama, with a convincing performance from Bentley. R for language.
THE LAST WORD (2017) 104 minutes * * * Harriet (Shirley MacLaine) is used to getting things her own way. And she wants her obituary to sound just right. So, she decides to have it written while she can still provide some editorial input. Anne (Amanda Seyfried) is the unlucky obituary writer, who is about to discover that no one has anything nice to say about Harriet to include in the obituary. That brings up something else for Harriet... and for Anne as well. MacLaine's sarcastic humor fits beautifully here, and Seyfried provides a good counter-balance for it. R for language.
LAST WORDS (NR) 119 minutes * * * Kal (Kalipha Touray) is one of the last humans left on Earth. Much knowledge has been lost. After the death of his sister, he goes out in search of others. In search of knowledge and understanding. In search of history. He finds Shakespeare (Nick Nolte), who is protecting a collection of film clips. The story tries a little too hard to keep the watching and creation of film at its center, and it works against the overall effect. A more subtle inclusion of the idea would have been better. It does end well.
THE LATE BLOOMER (R) 89 minutes * * * So it turns out that there's a really good reason that Pete (Johnny Simmons) hasn't ever had sex. And now that he's had an operation to correct the problem, things are going to be different. Maybe. Simmons isn't all that great, but there are several supporting roles that add quite a bit of depth and humor to the story. R for sex and language.
LATE BLOOMERS (NR) 82 minutes * * 1/2 Old age can sneak up on you pretty quickly and make you feel irrelevant. Adam (William Hurt) and Mary (Isabella Rossellini) are both dealing with it, but in very different ways, which is putting a strain on their marriage. Cute romance for the older set, though Hurt and Rossellini aren't particularly well-matched.
LATE FOR DINNER (PG) 87 minutes * * * 1/2 What would it be like if, when you woke up the next morning, it was actually 29 years later? What would you say to the people you knew? This is a story about an experiment in cryogenics, but the emphasis is on relationships and romantic drama rather than on the science fiction aspect you might expect. Brian Wimmer and Peter Berg do outstanding work here, giving the film a charm and freshness that many romantic films miss. W.D. Richter also directed "The Adventures of Buckaroo Banzai", an offbeat adventure film. This too has a sense of the offbeat, but in a gentle way. Don't overlook it, or you'll be missing a real gem. PG for language.
LATE PHASES (NR) 90 minutes * * Moving into a retirement community, Ambrose's (Nick Damici) first night is a little rough. His dog and his neighbor are attacked by a werewolf. Ambrose may be blind, but he has some pretty good ideas about how to handle this problem. An interesting and different sort of werewolf film. Too bad the special effects are a little better.
A LATE QUARTET (R) 102 minutes * * 1/2 The members of a well-known string quartet struggle to stay together as different issues face the members. Catherine Keener's character is a bit disconnected here. It's the way the character is written, but the distance keeps the viewer at arms length, which makes us struggle with how to relate to her struggles. R for language and sex.
LATER DAYS (NR) 87 minutes * Mike (David Walton) just wants to do something nice for his wife's birthday. Inviting a bunch of friends seemed like a good idea, but as it turns out, it's not. That's probably something like the idea for this movie, which might have seemed like a good idea early on. It does start and finish well, but the bulk of the film is a mess, filled with people we have a difficult time likiing or relating to.
L'ATTESA (NR) 96 minutes * * * Desperate not to let go of her son, Anna (Juliette Binoche) doesn't tell his fiancee what has happened when she arrives. Instead, she uses the time to get to know the young woman. A beautiful and sensual film, despite the melancholy nature of the story. Another fine performance by Binoche.
THE LAUREATE (R) 96 minutes * * ½ Robert (Tom Hughes) and Nancy (Laura Haddock) inspire each other. Then he meets Laura (Dianna Agron) and his creativity increases. As a result, she moves in with them. A little later, Geoffrey (Fra Fee) moves in as well… and then the situation begins to deteriorate. Despite having literary inspiration at its core, the story gets caught up in the tangle of relationships. It leaves the literary creativity aspect to languish in the background rather than to take center stage as it should. R for sex and language.
LAURENCE ANYWAYS (NR) 163 minutes * * 1/2 As Laurence (Melvil Poupaud) transitions from male to female, those around her make changes as well. It's a highly stylized drama with quite a bit of close camera work, which is used to create a sense of intimacy rather than dialogue. Sometimes it works, sometimes it's a bit overplayed. Artistically inventive and appealing, but too much of the film comes across as a series of music videos that often don't seem to really lead anywhere.
LAVALANTULA (NR) 80 minutes 1/2 A volcano explodes near Los Angeles and giant, fire-breathing spiders are raining down on the city. OK. There are some funny in-jokes for the movie industry. The similarity (of sorts) to the "Sharknado" series is obvious and even hinted at in the film, but this just doesn't work as well. Maybe it's the spiders.
LAVENDER (NR) 88 minutes * * After an automobile accident, Jane (Abbie Cornish) loses her memory. A psychiatrist suggests that she visit her childhood home in an attempt to rekindle old memories. More than just memories, there are ghosts, but also a possibility for something more. Stale story, though the performances and sound effects help a little.
LAW ABIDING CITIZEN (R) 101 minutes * * 1/2 Clyde (Gerard Butler) is assaulted and his wife and daughter are killed. One of the men guilty cuts a deal and will only spend five years behind bars so that the other one involved gets the death sentence. The problem is that it's the one who is guilty who is getting off. Clyde is going to correct that little oversight on his own. Reasonably suspenseful, with a few mild surprises and a rather over-dramatic and hard-to-believe ending. R for violence and language.
LAWLESS (R) 109 minutes * * * Running moonshine was difficult enough before the mob moved in. But the mob had never met anyone like Forrest Bondurant (Tom Hardy). Adapted from Matt Bondurant's book, "The Wettest County in the World", the story has the fast-paced energy it needs to keep our attention, and a nice, gritty feel that helps it seem like it might have actually happened. R for violence, language, and sex.
LAWLESS KINGDOM (R) 114 minutes * * * Complex story, with four uniquely gifted detectives work to defeat some equally talented criminals. It does wrap up nicely, and in the meantime we get to see some superb fight scenes with very nice effects. R for violence.
THE LAWNMOWER MAN (R) 102 minutes * 1/2 There are some interesting effects here, and the idea that our increased reliance on technology has suppressed the mystical and more powerful parts of our mind has some potential. I'm not sure why they paid to use the name of the Stephen King story when it clearly has almost nothing to do with it. Jeff Fahey does a reasonable job in the lead role here, but don't expect too much. R for language, violence, and sex.
THE LAWNMOWER MAN II: BEYOND CYBERSPACE (PG-13) 87 minutes * 1/2 Where the first film had little resemblance to the short story by Stephen King, this has none. Jobe (Matt Frewer) continues with his plans to rule the world from cyberspace in his gold suit(worthy of a nomination for worst costume of the year). There are a few nice special effects here, but not enough to keep up our interest with a muddled plot and little action.
LAWRENCE OF ARABIA (PG) 214 minutes * * * * The ultimate adventure, the ultimate challenge, and the only way to win the war... to cross the uncrossable desert. Stunning photography, excellent acting, and a fabulous soundtrack. One of Peter O'Toole's earliest films, and an amazing portrait of a man with an incredible ego. Definitely a classic film that's not to be missed.
LAWS OF ATTRACTION (PG-13) 85 minutes * * Two of the finest divorce lawyers keep finding themselves on opposite sides of the courtroom... and strangely attracted to each other. Julianne Moore and Pierce Brosnan work well here, but the script is tired and uninventive. We're left with little more than a mediocre TV movie. PG-13 for language.
LAY THE FAVORITE (R) 88 minutes * * 1/2 Dink (Bruce Willis) has never seen a gambling prodigy like Beth (Rebecca Hall) before. But then again, it's called "gambling" for a reason. The story moves freely between drama and comedy, with some suspense in a few spots too. The cast is a rather strange collection of characters, well-cast except for Rebecca Hall. As the lead, she struggles a little, and is the weakest part of the cast, though still likeable. Based on Beth Raymer's book of the same title. R for language and sex.
L4YER CAKE (R) 101 minutes * * XXXX (Daniel Craig) is trying to get out of the drug business, but has one last favor to do... unload a million hits of Ecstasy. The problem is that they were stolen property and the original owner wants them back. Directed by the producer of "Snatch" and "Lock, Stock and Two Smoking Barrels", but not as good as either one of those. This film tries for the more serious approach and just never manages to completely get our attention, becoming instead, just another gangster film only with cockney accents. The performances are fine, but the script is dry and, for the most part, lifeless. R for violence, language, and sex.
THE LAZARUS EFFECT (PG-13) 77 minutes * 1/2 The Lazarus syrum wasn't ready for testing on humans, but an accident leads these researchers to take an unusual risk. It's an exciting possibility, but what about the risks? Cheap ending that goes for an extra scare (and fails) rather than making any sense. PG-13 for violence and language.
THE LAZARUS PROJECT (PG-13) 95 minutes * 1/2 When Ben (Paul Walker) loses his job, he ends up helping his brother with a robbery. It goes down badly, and Ben ends up with a death sentence for his part in the crime. But after he receives his lethal injection, he wakes up to find himself on a psych ward. The story resolves far too quickly at the end, leaving us a bit dissatisfied that there wasn't more to the story than this. Especially since the film keeps hinting that there's so much more. PG-13 for violence and language.
LBJ (R) 93 minutes * * * Bio-drama following Johnson (Woody Harrelson) as he becomes vice-president to Kennedy and then president when Kennedy is assassinated. The story does a good job of explaining the delicate balance of political ideas at the time, and what that meant for the country. It also shows that Johnson was a president who tended to look at a larger picture and a longer game. Nice work by Harrelson, and a fine supporting cast. R for language.
LEA TO THE RESCUE (NR) 94 minutes * * 1/2 Lea's (Maggie Elizabeth Jones) brother has gone missing. She and her mom head off to help, along with the assistance of her brother's new girlfriend, who Lea isn't all that thrilled about. This may be a little intense for some of the younger viewers, but it does (of course) all work out in the end. Part of the American Girl series.
LEAD WITH YOUR HEART (NR) 83 minutes * * Ben (William Baldwin) and Marua (Kari Matchett) have job situations that are gently pulling them apart. A marriage takes work, and these two have some great reasons to put a little work into their marriage instead of letting it slowly fall apart. The script is a little forced, but then again, it's a Hallmark romance, and they always have to work out well.
THE LEAGUE OF EXTRAORDINARY GENTLEMEN (PG-13) 103 minutes * * * It's 1899 and war is threatening the world. Alan Quartermain (Sean Connery) is called upon to save the day. He'll lead a team that includes Captain Nemo, an invisible man, a vampire, Dorian Gray, and Dr. Jekyll/Mr. Hyde. Definitely a different sort of adventure film. A good deal of the story is very inventive, though there are times when some inconsistencies appear. They've done a nice job retaining the comic book stylings that this was adapted from. It's definitely not something that will appeal to everyone, but if you're familiar with the stories these characters come from, it's fun to see them together in an adventure film. PG-13 for violence.
LEAGUE OF GODS (PG-13) 98 minutes * * Based on an ancient Chinese story of the very first tyrant. King Zhou (Tony Ka Fei Leung) is led astray by an evil spirit disguised as one of his concubines. The CGI effects are in a sort of overkill mode, with scene after scene of intense action that tends to overwhem the viewer every few minutes. A second viewing may be in order to help understand it all, but it's only part one of the story. PG-13 for violence.
THE LEAGUE OF SUPERHEROES (NR) 81 minutes BOMB A collection of very short segments (one for each letter of the alphabet) on superheroes and supervillains. It never intends to be serious, but just isn't any good either, growing tedious by the time we get to "C". It's also rather strange that the frame for this is a young girl "reading" the comic book that has all of these characters yet includes so much sex and violence. And then there's the ending.
A LEAGUE OF THEIR OWN (PG) 120 minutes * * * What can you do for entertainment when the war is on and all the baseball players are carrying guns? Watch the women play! Refreshing and different look at baseball, with a terrific script from Lowell Ganz and Babaloo Mandell. Comedy isn't really the emphasis here, but talent is. Geena Davis, Madonna, Lori Petty, Rosie O'Donnell... and the list goes on! Though the story is fiction, it reminds us that there is another part of baseball history we don't hear too much about. Partially filmed in Indiana.
LEAN ON ME (PG-13) 104 minutes * * * A great role for Morgan Freeman, as he portrays high school principal Joe Clark, a man who is determined to whip his school into shape, even when it may take physical force to do so. The script is a bit heavy-handed, but Morgan's performance makes us want to keep watching and Bill Conti's soundtrack adds to the mood. PG-13 for language and violence.
LEAN ON PETE (R) 118 minutes * * 1/2 Life isn't going well for Charlie (Charlie Plummer). He drifts from one problematic situation to another. Each time, just as it looks like things are going well, it turns bad again. But something deep inside won't let him quit. Strong characters, but a story that is more depressing than uplifting, despite frequent hints that it might be more positive. R for language and violence.
LEAP! (PG) 84 minutes * * * Felicie (voiced by Elle Fanning) has big dreams, and there's a chance that with some hard work and a little luck, they just might come true. Not a new story, but the characters have both charm and appeal, and the music is just strong enough to help make this fun to watch and to hold up to repeat viewings. Great facial expression work by the animation team. PG for language.
LEAP OF FAITH (PG-13) 104 minutes * 1/2 Poor attempt to satirize evangelical ministers even fails at the end. It does ask a couple of important questions, but never takes us anywhere. What difference does it make if your real or fake if you get the job done? Can you experience a real miracle and continue not to care? Good questions, but poor handling of the material.
LEAP YEAR (PG) 95 minutes * * 1/2 There is a tradition in Ireland, that once every four years, on that last day in February, it is a woman's prerogative to propose marriage to the man. Anna (Amy Adams) is ready to take the plunge, especially since her boyfriend doesn't seem to be able to get around to popping the question. Of course, things don't work out quite like she has planned. Romantic and funny film, with Adams doing a great job here, though her character overpowers most everything else in the story. The Irish countryside adds a beautiful backdrop, but a little more depth to the rest of the characters would have helped a great deal. PG for language.
LEAP YEAR (NR) 86 minutes * * The life Laura (Monica del Carmen) lives in the day is a direct opposite of her night life. The one is predictable and boring, while the other is risky, sexy, and exciting. Her new relationship with Arturo (Gustavo Sanchez Parra) promises to take it to new and dangerous levels. But is it what she really wants, or is she just marking time? Interesting ending, but getting there is a little tedious at times.
LEARNING TO DRIVE (R) 83 minutes * * * As Wendy's (Patricia Clarkson) marriage falls apart, she decides to take driving lessons. Her Sikh instructor (Ben Kingsley) has problems of his own, but together, these two troubled souls will find the strength to move forward. The metaphor is a little too easy for us to see, but Clarkson and Kingsley's performances draw us in and we almost forget that as the story unfolds. R for language and sex.
THE LEAST AMONG YOU (PG-13) 92 minutes * * Richard Kelly (Cedric Snaders) has little choice but to serve out his probation as a seminary student. It isn't an easy task, as he will be the first non-white student. And Richard also isn't know for being a follower, which is what he's being told to do. Although this is inspired by a true story, the script and characters are rather shallow, given little more than cursory treatment. A mediocre TV movie that could have been much more powerful.
LEATHERFACE (R) 84 minutes * 1/2 The eighth film in the "Texas Chainsaw Massacre" franchise, this entry in the series provides some extensive background on the title character, going back to his childhood. Unfortunately, the killings are unimaginative, and simplly splash lots of blood around, forgetting that less can be more. Lili Taylor os good here, but the rest of the cast just doesn't have much to offer. R for violence, language, and sex.
LEATHERFACE: TEXAS CHAINSAW MASSACRE III (R) 78 minutes * 1/2 Mercifully short sequel to "Texas Chainsaw Massacre" that at least has the common sense to ignore the existence of part two. Filled with the standard gruesome effects and silly mistakes that people being chased by serial killers in the movies make all the time. Kate Hodge does a reasonably good job, with most of her problems being related to the script. R for violence and language.
LEATHERHEADS (PG-13) 108 minutes * * * It's 1925, and professional football is struggling to stay alive. Dodge (George Clooney) has a plan. Getting a college football star to turn pro just might sell the additional tickets... especially if he's a war hero too! Clooney directs this as well, and gives us a great mix of football, romance, and humor. Nice soundtrack work by Randy Newman. Also starring Renee Zellweger and Jonathan Pryce. PG-13 for language and violence.
LEAVE (NR) 102 minutes * * 1/2 All she wants to do is to understand her origins. What Hunter (Alicia von Rittberg) does know is that she was found in a cemetery, wrapped in a cloth filled with satanic symbols. The answers she seeks lie on a treacherous path, and few are willing of able to help her. Lots of creepy atmosphere and some good suspense, but not much in the way of character development.
LEAVE IT ON THE FLOOR (NR) 101 minutes * * Set in the world of ballroom dance, this musical drama features catchy songs and fun characters, though the acting is uneven, with some performances very good and others leaving more to be desired. The script suffers a fate common to many musicals with meaningful song lyrics, and dialogue that feels forced as it makes its move to the next song.
LEAVE IT TO BEAVER (PG) 83 minutes * * 1/2 This film does a surprisingly good job of capturing the flavor of the original TV series while updating the language used. This accounts for the PG rating, but still gives us enough of the unrealistically clean and "perfect" image the original show presented. The plot is involved enough to keep us watching and the dialogue is catchy and fun. Cameron Finley does a great job as Beaver, but the rest of the cast round things out nicely to. All in all, a good move to the big screen for this old family style TV show. PG for language.
LEAVE NO TRACE (PG) 103 minutes * * * Living off the land in secret is what Tom (Thomasin McKenzie) and her father Will (Ben Foster) have been doing. When they get caught (because they are living on park land), their world is turned upside down. Tom is ready to adapt to the new reality and make the best of it, but Will is not ready, and perhaps not even able, to make that adjustment. A gentle story that reminds us that sometimes our paths grow apart from one another, no matter how close we had been. Very nice work by the cast. PG for violence.
LEAVES OF GRASS (R) 98 minutes * * * Brady (Edward Norton) has this great idea about how to expand his marijuana business. Now if he can just get his twin brother Bill (Edward Norton) to help him make it work... Norton does great work here, in a story that is definitely offbeat and unusual, but with plenty of rural charm and just a touch of philosophy. R for violence and language.
LEAVING LAS VEGAS (R) 108 minutes * * * * This is not a film for those who want to be entertained! However, it is a film for those who are interested in hearing the tragic story of an alcoholic who wants to die and a prostitute who is tired of being friendless. They find the part of love that accepts, but not the part that asks for and helps each person to change for the better. Nicolas Cage and Elisabeth Shue are in top form here, and their performances bring these characters to life instantly. Director Mike Figgis also authored the screenplay, composed and performs on the soundtrack, and appears briefly on screen in a small role. R for sex, violence, and language.
LEFT BEHIND (NR) 97 minutes * 1/2 Adapted from the novel of the same name and based on the book of Revelation in the Bible, this tells the story from the vantage point of an investigative journalist (Kirk Cameron) who is trying to figure out what has happened. It starts well enough, being both interesting and well acted. As the film progresses, the story begins to get sloppy, we have a hard time believing Cameron, and the film seems rushed to its conclusion, which isn't even a conclusion.
LEFT BEHIND (2014) (PG-13) 105 minutes * ½ Remake of the 2000 film based on the book by Jerry Jenkins and Tim LaHaye, the approach here is more that of a big budget disaster film. There just isn’t that much to the story though, and most of what we have this time around is Nicolas Cage trying to safely land a plane where many people including his co-pilot have disappeared and many of the passengers are in panic mode. Fans of the book may like this, but others don’t really need to bother. PG-13 for violence.
LEFT BEHIND: RISE OF THE ANTICHRIST (NR) 112 minutes * * Sequel to the 2014 reboot film. "Left Behind", and telling the rest of the story from the first book in the series. The first rapture has happened, but it would appear that a second one has happened as well. Or is that just a lie? Kevin Sorbo acts and directs. This does have better production values than the rest of the entries in this franchise. Quite a bit of narration though, which is disappointing.
LEFT IN DARKNESS (NR) 84 minutes * She has a choice to make. Heaven or Hell. Will she listen to her guardian angel in the form of a childhood friend, or the "others", who have taken on the appearance of other people in her life who she trusts. Celia (Monica Keena) doesn't have much time to make her decision. It's an interesting story, but Keena is nowhere near strong enough to lead this.
LEFT TO DIE (NR) 85 minutes * 1/2 A vacation in Ecuador turns into something far worse when Sandra (Barbara Hershey) and her friend are detained for having drugs in their luggage. Now they are caught up in a world of bribery, lies, and extortion... and time is running out. Shallow and overly sensationalized script that doesn't give Hershey or Rachel Leigh Cook much to work with.
LEGACY OF LIES (R) 97 minutes * 1/2 Martin Baxter (Scott Adkins) used to be MI6. He's working for them again, trying to untangle a mess that is mostly the fault of the person who wrote the script. The action scenes are moderately good, but too much of this is drama, and Adkins is far better at action than he is at drama. R for violence, language, and sex.
LEGACY PEAK (PG) 89 minutes * 1/2 Trying to gain some favor with his girlfriend Sam's (Kyleigh Bakker) two kids, Jason (Lucas Black) is going to take them on a flight. Of course the plane goes down and it turns into a survival adventure for the three of them. It will still end up working in his favor as the adventure will bring them closer together. The script is stiff and heavy-handed with its Christian message about what it means to be a good father. PG for violence.
LEGAL EAGLES (PG) 110 minutes * * * Tom Logan (Robert Redford) is a District Attorney whose star is rising. Or at least it was. The attorney for the defense (Debra Winger) has a client (Daryl Hannah) who insists that she is innocent, and Logan is beginning to believe it. It’s starting to make life a little more dangerous for him. A well-written script and performances that entertain us while relating a complex story.
LEGALLY BLONDE (PG-13) 92 minutes * * 1/2 Elle's (Reese Witherspoon) boyfriend breaks up with her because he needs to be with someone who is more serious. He'd also prefer someone who is a bit smarter. She'll show him! She'll go to Harvard Law School and be an even better lawyer than he can. It's cute, though there aren't any surprises. Witherspoon's energy carries the film and makes it worth watching. Nice, light entertainment. PG-13 for language.
LEGALLY BLONDE 2: RED WHITE & BLONDE (PG-13) 90 minutes * 1/2 The charm and lightly silly aspects of the first film have become somewhat stupid and even slightly obnoxious this time around. Elle heads to Washington D.C. to try to pass a bill preventing animal testing in connection with cosmetics. Witherspoon does her best, but the script sabotages her at every turn. And, for someone who is supposed to appear cute and pretty, her hair looks terrible up until the last two sequences of the film! PG-13 for language.
LEGEND (PG) 87 minutes * * * The Lord of Darkness (Tim Curry) is about to destroy all of the unicorns and marry the fairy princess (Mia Sara). It will be up to Jack (Tom Cruise) to save the princess and the rest of the world. Nice effects and make-up create a magical world. Tangerine Dream's music adds just the right touch, though there is also a version with a soundtrack by Jerry Goldsmith. It's good, just not quite as mystical in tone.
LEGEND (2015) (R) 125 minutes * * * Tom Hardy portrays both Ronald and Reginald Kray in this version of the gangsters who ruled London's East End in the 1960s. Nice work by Hardy and the editing team. R for violence, language, and sex.
THE LEGEND IS BORN: IP MAN (NR) 98 minutes * * 1/2 The story is a little dry here, but if you enjoy martial arts history, this piece of the story will take you a little farther back, to the creation of the new style and how these new innovations were viewed by the other schools. There are a number of nicely choreographed fight sequences that keep the film moving along, but between them, it tends to drag a little.
THE LEGEND OF AWESOMEST MAXIMUS (NR) 84 minutes 1/2 Awesomest (Will Sasso) gets to go to Greece to try and protect Troy. Of course, Princess Ellen (Sophie Monk) returns with him, which will soon cause trouble. It's National Lampoon's version of the battle of Troy, and not all that good, though there are plenty of sex jokes poured all over the script. Crass, crude, and what you'd expect from National Lampoon at its worst.
THE LEGEND OF BAGGER VANCE (PG-13) 119 minutes * * * Adele (Charlize Theron) is determined to save her property despite the depression, so she schedules a golf tournament with two of the biggest names in the sport. But she needs the local legend to play as well. Randolph Junuh (Matt Damon) is fighting some demons of his own though, and isn't sure that he wants to play anymore. Enter Bagger Vance (Will Smith), a wise and somewhat mystical character who seems to aggravate Junuh more than helping him at times. The story is far from new, but it's told well, and Smith's charm goes a long way to helping us like this. Only you can live your life. Yes, you can walk away, or you can hide. But oh, how sweet to play. PG-13 for language.
THE LEGEND OF BRUCE LEE (PG-13) 180 minutes * Originaly a fifty-episode series, this has been edited down to a three hour length. Too bad they didn't go for 90 minutes... The fight scenes are good, but the two-dimensional acting destroys the rest of the film. Kwok-Kwan Chan (also known as Danny Chan) has the right look and does a reasonable job, though he has the advantage of the fight scenes. Michelle Lang, who plays Linda, has such stellar credits as "Disaster Movie", "Date Movie", and "Vampires Suck", which should give you an idea about what to expect. Thick with Lee's philosophy presented in overly-simplified manner. Fans of Lee will be interested but others should stay away.
THE LEGEND OF DRUNKEN MASTER (R) 96 minutes * * 1/2 Jackie Chan is the master of the drunken boxing style of martial arts. The story is somewhat muddled, moving from a mix-up of packages to saving the cultural history of the country, but the action is superb. Early sequences have Chan fighting in cramped quarters under a train and under a pier. It takes a real pro to make these scenes look so easy. Chan's humor is evident as well, and don't forget those outtakes at the end! R for violence.
THE LEGEND OF 5 MILE CAVE (NR) 85 minutes * 1/2 Sam Barnes (Adam Baldwin) shows up at just the right time. He's able to help around the farm and tell wonderful stories of the wild west to Susan's (Jill Wagner) young son. But his stories and real life are about to collide. Family western/adventure film that works well, though the very end of the film doesn't really fit.
THE LEGEND OF HALLOWAIIAN (PG) 79 minutes 1/2 Three young friends find a hidden cave with a mysterious box. Opening it to look inside and hoping to find a treasure, they instead end up releasing an evil creature. On the Big Island of Hawaii, the legend of Hallowaiian is about to become very real. Bad animation and poor pacing ruin a story that had some good potential. PG for violence.
THE LEGEND OF HALLOWEEN JACK (NR) 76 minutes BOMB Serial killer Jack Cain (William Wolfe Hogan) is released on a legal technicality, but some locals decide to take justice into their own hands. One year later, on Halloween, it would appear that Jack is back, and ready to deliver some justice of his own. The pace is very slow here, and several of the killings happen without much anticipation or suspense.
THE LEGEND OF HEI (NR) 99 minutes * * * When Hei's home is destroyed, he leaves the forest for the world of humans. There are others who can change their appearance like Hei can, but they don't all get along. Hei must decide who his friends will be. A beautifully animated story.
THE LEGEND OF HERCULES (PG-13) 90 minutes * * From his borth to the defeat of his earthly father, this is the story of Hercules (Kellan Lutz). The focus is on his life as a young man, learning who he really is and becoming the hero and the legend. Lots of well-choreographed fight scenes, but not much else. PG-13 for violence.
THE LEGEND OF KUNG FU RABBIT (PG) 84 minutes * 1/2 When a legendary master is about to die, he passes his kung fu skills on to the kind soul who was helping him at the end. Fu (voiced by Jon Heder) is a little on the simple side, but his heart is pure. Much of the animation is styled to appeal to those under the age of 7, but the story and the humor is aimed at a higher age bracket, which tends to leave this lacking an audience. The story also tends to rely on an awareness of martial arts and some of the classic stories, which a younger audience is less likely to have seen or heard. PG for violence and language.
THE LEGEND OF LA LLORONA (R) 95 minutes * * A vacation in Mexico turns into something much more sinister as Carly (Autumn Reeser), Andrew (Antonio Cupo), and their son Danny (Nicolas Madrazo) encounter the frightening ghost of La Llorona who steals children. Very creepy soundtrack and sound effects and some strong supporting roles that make this a fairly good version of the story. R for violence and language.
THE LEGEND OF LONGWOOD (PG) 95 minutes * * When Mickey (Lucy Morton) and her family move to Ireland, it's an extreme change from New York City. But it turns out that there are quite a few things happening in the "peaceful" village they settle in. With the return of the Black Knight, ghosts, wild horses, and plans for commercial land development in the works, there will be plenty of adventure. Except for the bumbling villain(ess) that always seems to be present in stories like this when they are aimed at a slightly younger crowd, it's an interesting story. Acting is mediocre, but the effects are pretty good. PG for violence and language.
THE LEGEND OF SASQUATCH (G) 69 minutes * * Cute and simple story for the under seven crowd, about friendship and family. The puffy computer animation used here is less than spectacular to say the least, but the colors are bright and simple, which is a clue to who the intended audience is here. Not sure why the sasquatch need to fly though... John Rhys-Davies, William Hurt, and Frank Welker are among those voicing characters here.
THE LEGEND OF SORROW CREEK (NR) 71 minutes 1/2 And yet again, people wander off the path into the woods and get into trouble... bad acting and disappointing story development. It does start out fairly well, and some of the music and sound effects are creepy at first. It just never manages to do much with the ideas after that.
THE LEGEND OF TARZAN (PG-13) 102 minutes * * 1/2 Tarzan (Alexander Skarsgard) has become a respected member of the upper classes of London. He is asked to leave that behind to investigate what is going on in his old homeland, the Congo. A corrupt king may be abusing the people in his relentless search for diamonds. Great special effects, but the story takes awhile to get started. Over-laden with flashbacks early on, it eventually settles into a better rhythm, but that hurts the overall impression. PG-13 for violence and language.
LEGEND OF THE FIST: THE RETURN OF CHEN ZHEN (R) 102 minutes * * 1/2 Though he was thought to be dead, it turns out that Chen Zhen (Donnie Yen) is very much alive. Intent of infiltrating the mob to bring them down, Chen Zhen has a difficult path ahead. Martial arts with a touch of film noir, which is interesting and works in some ways, though not others. The ending is rather abrupt and awkward, but still an interesting and different sort of martial arts film. R for violence and language.
THE LEGEND OF THE FIVE (NR) 91 minutes * 1/2 Five students and Dr. Rawston (Beth Champion) find themselves transported to a desert near a forest. In that forest lies something evil. Something intent on destroying the world. These five will need to learn to work togetherand use their newfound abilities to overcome the evil and save the world. There are some nice effects, and the overall story is good, but it keeps leaning toward a "Power Ranger" sort of tone with the humor and the staging, and it doesn't work well.
LEGEND OF THE GUARDIANS: THE OWLS OF GA'HOOLE (PG) 88 minutes * * * Abducted by evil owls and drafted into their military forces, Soren must find a way, with the help of a few friends, to reach the Guardians and save his family and friends. It's a great adventure, though the violence is a bit much for those under the age of eight. Outstanding animation, with remarkable details. You'll almost forget that the owls aren't real... except, of course, that they're talking... Based on the books by Kathryn Lasky. PG for violence.
LEGEND OF THE NAGA PEARLS (NR) 103 minutes * * 1/2 The winged tribe and humans used to co-exist. That time is now long gone, and the once-defeated winged tribe is not only still angry, but they are ready for revenge. Fun adventure, though the amount of humor is a little high in relation to the level of violence. It leaves us with a somewhat mismatched energy level.
THE LEGEND OF WASCO (NR) 79 minutes * Once upon a time, the community of Wasco was terrorized by three clowns. Long gone, they are brought back to life by a carwash clown and his future brother-in-law, who were just having some fun. Too bad the acting and production quality aren't better, but the clowns are definitely creepy. They just needed a better film to be in. Filmed in Bedford, Spencer, Bloomington, and Indianapolis, Indiana and Louisville, Kentucky.
THE LEGEND OF ZORRO (2005) (PG) 124 minutes * * Antonio Banderas returns as Zorro, this time trying to save his marriage as well as fighting for justice and for the safety of the people. The story is reasonably good, but the presence of Anthony Hopkins is sorely missed. The humor works fairly well, and it's nice to see both his wife (Catherine Zeta-Jones) and son getting in on the swordplay a bit. The special effects are uneven, with some sequences quite nice and others rather poor. Filmed in San Luis Potosi, Mexico, and rated PG for violence and language.
THE LEGEND: THE BESSIE COLEMAN STORY (NR) 106 minutes * * 1/2 A bio-documentary about Bessie Coleman. A skilled pilot and an outspoken activist. Narrated, with photos of Bessie and scenes from her life. Informative, if a little dry.
LEGENDARY (PG-13) 99 minutes * * Cal (Devon Graye) has decided to follow in the footsteps of his father and brother and become a wrestler. It's not going to be easy. A nice, smaller role for John Cena, that he does quite well with. Patricia Clarkson also turns in a wonderful performance, but the script and direction aren't very strong and the ending is overly sentimental. PG-13 for nudity and violence.
LEGENDARY ASSASSIN (R) 85 minutes * * A deadly assassin and a police officer become friends, though she doesn't realize he's a killer at first. There really ins't much else to the story, though the fight scenes are very good. The rest of the film has lost of style, just not a great deal of depth. R for violence and sex.
LEGENDS OF OZ: DOROTHY'S RETURN (PG) 82 minutes * 1/2 Dorothy (voiced by Lea Michele) wakes up to find the farm in terrible condition. She wants to help rebuild, but first, she's off to Oz again to help her friends. The Jester (voiced by Martin Short) is causing trouble and her friends need her help. Adapted from the book, "Dorothy of Oz", this is just a somewhat lackluster sequel. Plenty of A-list names in the credits, but it doesn't really help. PG for violence.
LEGENDS OF THE FALL (R) 126 minutes * * * 1/2 Based on a novella that appeared in Esquire magazine, this is the story of a man and his sons, what they have learned, and how they grow. A fabulous performance by Brad Pitt, but he is also surrounded by greatness in the persons of Anthony Hopkins, Julia Ormond, and others. The photography and scenery aren't as impressive as they might have been, but the story and characters will reach into your heart. R for violence.
LEGION (R) 92 minutes * * 1/2 It's December 23rd, and an angel falls to earth. But Michael (Paul Bettany) isn't following the plan that was given to him. He was supposed to lead the slaughter of humanity for God had tired of us. Instead, he decides to protect the one child about to be born that will be the hope of humankind. Interesting look at an apocalyptic Christianity, where events are set in motion because God is "tired of all the bullshit". The battle between Michael and Gabriel (Kevin Durand) is great, though far too short and difficult to see because of how dark the scene is. Filmed in New Mexico. R for violence and language.
THE LEGION (2020) (R) 91 minutes 1/2 During the time of Nero, Rome invades Parthia. It's not going well, and soon, two legions of Roman soldiers face the liklihood of death by cold. The mountains that lie between them and help are full of Parthia patrols. One man (Lee Partridge) is sent to try and get help. There's some nice scenery, but the acting, dialogue, and fight scenes are all really bad. R for violence and language.
THE LEGO BATMAN MOVIE (PG) 97 minutes * * The Joker and every other villain have coordinated an attack on Gotham. Batman certainly has his work cut out for him. Then again, Batman seems to be cooler than ever, so it shouldn't be a problem. He may actually have more trouble dealing with a teenage orphan that he has somehow adopted. Definitely one of the more humorous LEGO superhero movies, but it's also mostly aimed at an older audience. It's rated PG for language and violence, but the tone makes it more in line with a PG-13 rating.
LEGO BATMAN THE MOVIE: DC SUPERHEROES UNITE (NR) 68 minutes * * Lex Luthor and The Joker decide to team up (sort of), and it will take the combined talents of Batman and Superman to defeat them. Nice animation and a great entry in the Lego series of movies.
A LEGO BRICKUMENTARY (G) 89 minutes * * * A fun and fascinating look at the world of Legos. Interviews with designers and fans create a well-rounded look at the company and its products. We also get to see an amazingly wide variety of examples of Lego builds. It's a great introduction to the product that fans will enjoy just as much as newcomers.
LEGO DC BATMAN: FAMILY MATTERS (NR) 75 minutes * 1/2 Batman decides to sell off Wayne Enterprises so he has more time to fight crime. He's not really thinking about what that means to everyone else. In particular, about how it looks like he has little or no confidence in the rest of the Bat family's ability to do their jobs. It's nice to see the whole Bat family in action, but the story tries to go in several directions at once and just gets confused.
LEGO DC COMICS SUPERHEROES: AQUAMAN RAGE OF ATLANTIS (NR) 74 minutes * * 1/2 Aquaman heads off to help the Justice League deal with Lobo. In the meantime, his brother Ocean Master has teamed up with Atrocitus to take over the world. Lots of insider humor in this fun entry in the series.
LEGO DC COMICS SUPERHEROES: JUSTICE LEAGUE GOTHAM CITY BREAKOUT (NR) 76 minutes * * When Batman goes on vacation and leaves Gotham in the hands of Superman and Robin... it doesn't go very well. Fun story that is both a superhero adventure and somewhat of a parody at the same time.
LEGO HERO FACTORY: RISE OF THE ROOKIES (NR) 86 minutes * 1/2 Three cartoon episodes fit together to tell the story of Stormer, a team leader who is tough on rookies, especially Furno. Of course, the rookies are about to come into their own, and Stormer will find himself in need of their skills. For Lego cartoon fans only.
LEGO JUSTICE LEAGUE: ATTACK OF THE LEGION OF DOOM (NR) 74 minutes * * 1/2 The Lego version of the formation of the Legion of Doom, who frequently face off with the Justice League. Very nice animation, but if you aren't already familiar with the Justice League, you'll miss out on the insider humor that's here.
THE LEGO MOVIE (PG) 93 minutes * * 1/2 OK, the tune is catchy, but then again, it's repeated so many times that it's difficult to avoid. Emmet (voiced by Chris Pratt) is just an ordinary guy, or so he thought. As it turns out, he's the only one who can save the LEGO universe. Plenty of bright colors and cheery voices for the younger people in the crowd. Also, quite a bit of humor that will go straight over their heads. Overly long, but the message at the end and the live action/animation mix make for a very nice conclusion to the story. PG for violence and language.
THE LEGO MOVIE 2: THE SECOND PART (PG) 94 minutes * * 1/2 The Duplo's have arrived, and everything isn't so awesome anymore. It's going to be up to Emmet (voiced by Chris Pratt) to save the day. As with the first film, there are lots of jokes that the younger crowd will completely miss. It does build nicely on the first film, both in story and in music. PG for violence and language.
THE LEGO NINJAGO MOVIE (PG) 95 minutes * * The six LEGO ninjas need to find a way to defeat Garmadon as he tries to conquer Ninjago. But Garmadon has a secret that is going to surprise them and change the way they were thinking about him. Starts well, but the pacing drags in the middle. PG for violence and language.
LEGO SCOOBY-DOO! BLOWOUT BEACH BASH (NR) 77 minutes * * The gang is off to Blowout Beach for an amazing party. But when they arrive, ghost pirates have scared everyone away. Once again, the gang has their work cut out for them as they work to uncover who is behind the haunting.
LEGO SCOOBY-DOO! HAUNTED HOLLYWOOD (NR) 72 minutes * * 1/2 Shaggy and Scooby win a trip to Hollywood for the gang. The first stop on the tour is a Hollywood studio that just happens to be haunted. What a surprise. And yes, that is Cassandra Peterson, aka Elvira, doing the voice of Drella Diabolique.
THE LEISURE SEEKER (R) 107 minutes * * * Faced with a life that is running in smaller and smaller circles, John (Donald Sutherland) and Ella (Helen Mirren) decide to go on a trip in their old RV, aptly named, "The Leisure Seeker". John's memory may be fading, but their love is strong. The story is uneven and often feels rushed, as it tries to cover more territory than it really needs to. Mirren and Sutherland do a great job though. R for sex.
LEMON (NR) 79 minutes * 1/2 When Isaac's (Brett Gelman) girlfriend of several years leaves him, he is lost. The rest of his family and friends are of no help in dealing with the situation. Very quirky humor, and most who watch this will either find it hilarious or uninteresting. There are some fine bits of acting, but it doesn't really hold together very well.
THE LEMON TREE (NR) 97 minutes * * 1/2 She just wants to save the lemon trees that have been in her family for so many years. But Salma (Hiam Abbass) faces an uphill battle. The new Israeli Defense Minister has moved in next door, and she is a poor Palistinian widow. He does not trust that she can keep people who might want to do him harm out of her lemon grove, so he wants the trees cut down. It's an interesting and more personal look at the conflict between these two countries, though it gets a little distracted by a couple of the subplots.
LEMON TREE PASSAGE (NR) 77 minutes * 1/2 A local legend in Australia tells of the ghost of a motorcyclist that tells people they need to slow down. (Really scary, right?) It actually turns out to be something much more scary. (Which would be good, because otherwise it's not really very interesting.) There are some very good music and sound effects, but the story wanders all over the place without making much sense. It relies heavily on a few scary images and the sound effects. It's just not enough.
LEMONADE MOUTH (NR) 107 minutes * * 1/2 How did Lemonade Mouth become such an amazing and popular band? This is their story! Disney Studios knows how to do this almost as well as they know animation. Nice choreography and catchy tunes, along with teen charactes who, though over-played a little, clearly have some appeal. It's formula, but it keeps working.
LEN AND COMPANY (NR) 93 minutes * * 1/2 Len (Rhys Ifans) has had enough. Tired of the music industry, he hangs up his producing career and cuts himself off from most everything in the business. But when his son and one of his former pop music creations show up on his doorstep, he realizes that he can't really disconnect from what really was his life and love. And that's OK. Flawed, but likeable characters in this gentle story about taking each day on its own merits.
LENA AND SNOWBALL (PG) 89 minutes * Lena (Melissa Collazo) could really use a friend. When she finds a white lion cub, she knows that Snowball is just what she needs. The bumbling poachers who took the cub in the first place are doing everything they can to get it back. The acting here is far from impressive, but the script doesn't help matters. PG for language and violence.
THE LENA BAKER STORY (PG-13) 102 minutes * * 1/2 Based on the true story of an African-American woman convicted of murdering the man who abused her for years. As she stated so many times in her defense, if she hadn't killed him, he would have killed her. It's a powerful story, but the performances are, rather surprisingly, not all that strong. PG-13 for language, violence, and sex.
LENNON NAKED (NR) 81 minutes * * 1/2 Interesting look at part of the life of John Lennon (Christopher Eccleston) starting shortly before his relationship with Yoko Ono (Naoko Mori). The other Beatles are presented with virtually no depth or detail, and the story is rather depressing and incomplete, which would seem to invalidate the title of the film somewhat.
LENNONYC (NR) 112 minutes * * * When John Lennon came to New York in 1971, he really wanted to get away from the Beatles and all of the hype and publicity that surrounded them. His dream was to begin a new chapter in his life, and stretch his artistic skills in other directions. Interesting and nicely presented look at the man and the artist.
LEO DA VINCI: MISSION MONA LISA (NR) 79 miutes * 1/2 Leo sets off on a treasure hunt to make money for his friend Lisa, whose home has been destroyed by a fire. It's a fun adventure, but the CGI background animation isn't very good. The characters aren't too bad, but it just doesn't match well.
LEONARD PART 6 (PG) 80 minutes * Despite the fact that his personal life is falling apaart, the government is asking Leonard (Bill Cosby) to save the world again. Too bad he couldn't save this mess of a movie. Definitely one of the worst films Cosby ever did.
LEPRECHAUN (R) 87 minutes BOMB Predictably stupid film about a leprechaun who goes on a rampage, killing people for stealing his gold. Never mind the fact that those who currently possess it DIDN'T steal it, they only found it. Mostly notable for the appearance of Jennifer Aniston.
LEPRECHAUN 4: IN SPACE (R) 91 minuutes BOMB Having caught the attention of the beautiful Princess Zarina (Rebecca Carlton), the leprechaun (Warwick Davis) doesn't realize at first that she is only after his gold. That part of the story is fine. The part with the space marines who are trying to capture the princess for some misguided reasons of their own, is the part that is cheap and laughable. And it just keeps getting worse as it goes along. R for language, violence, and sex.
LEPRECHAUN ORIGINS (R) 78 minutes 1/2 No horror humor here. Just a poor imitation of a "Pumpkinhead"-like creature who demands victims until it has been repaid for what was stolen. Four young tourists are the latest intended victims. The soundtrack isn't too bad, but everything else is. R for violence and language.
LEPRECHAUN RETURNS (R) 89 minutes 1/2 It's really hard to kill a leprechaun. Twenty-five years ago, some young people thought they had managed to do just that. Somehow he survivied, and he still wants his gold. It will be up to a new group of people to deal with his troublesome persistence. Lots of gross effects, but not much of a story. R for violence and sex.
LEPRECHAUN 6: BACK 2 THA HOOD (R) 85 minutes * 1/2 It's a dream come true. Emily (Tangi Miller) and her friends are about to find a treasure chest full of gold. They were warned not to keep anything of great value that came into their possession, but it's hard to say "no". It's also hard to get rid of that nasty leprechaun. R for violence, language, and sex.
LEROY AND STITCH (G) 68 minutes * * After being rewarded for their success in catching all of the otehr experiments and finding good homes for them, Lilo, Stitch, Jumba and Pleakley find themselves on another adventure. It seems that Dr. Hamsterviel has escaped from prison and created Leroy, an evil twin of Stitch. Mediocre made-for-TV sequel. Just in case you wanted to know the names of the other 624 experiments (Stitch was 625), they are all listed in the credits.
LESS THAN ZERO (R) 97 minutes * * Adapted from Brett Easton Ellis' novel about wealthy youth who don't care about anything makes for rough going at times. The performances, especially those of Robert Downey Jr. and James Spader, are good, but the script goes for a highly artistic approach to the story that just doesn't work with the overall negative tone that lies underneath. Nice photography throughout, but this is a great example of how some stories should remain artistic and not try to be commercially successful.
THE LESSON (NR) 108 minutes * * 1/2 With fewer and fewer options to come up with the money she needs to keep her house from being repossessed, Nade (Margita Gosheva) resorts to more dramatic measures. Good characters tudy, though it gets off to a rather slow start.
LET FREEDOM SING (NR) 92 minutes * * * Documentary that traces the course of the civil rights movement from its beginnings in the gospel music of churches in the south, through the rebellious and transformative years and music of the 60s , and up to rap and hip-hop music. Interviews with musicians and activists both young and old are here. It's a wonderful and fascinating look at what inspired and continues to inspire the work of civil rights and anti-racism.
LET HER OUT (NR) 84 minutes * 1/2 It's not until Helen (Alanna LeVierge) has an accident that she learns a terrible truth. She had a twin, part of which is inside her.... and she wants out! A few too many cheap noise scares, but there are some rather gruesome effects along the way.
LET HIM GO (R) 108 minutes * * * Their son's accidental death leaves Margaret (Diane Lane) and George (Kevin Costner) grieving. Their daughter-in-law remarries quickly to a less deisrable man who moves his new family away. That means Margaret and George's grandson is now subject to possible abuse, and that doesn't sit with with either of them. They set out to get their grandson back. Great work by Costner and Lane.R for violence.
LET IT RIDE (PG-13) 85 minutes * * * Richard Dreyfuss stars in this story of a gambler who finally hits his lucky streak. The film is full of fun, though strange, characters, played by people like Teri Garr, Jennifer Tilly, and Mary Woronov. The humor is rather off-beat, but the performances are both entertaining and true to the material. PG-13 for language.
LET IT SNOW (R) 82 minutes * Disregarding the warnings, Max (Alex Hafner) and Mia (Ivanna Sakhno) head off to do some snowboarding on Black Ridge. They aren't even halfway down when they get separated. There's also a mysterious snowmobile rider who is trying to make sure they don't survive their trip. The film relies heavily on Sakhno, who does an admirable job with a script that doesn't give her much room or always make much sense. R for violence and language.
LET ME IN (R) 109 minutes * * 1/2 Owen (Kodi Smit-McPhee) may have found a friend in the new girl (Chloe Grace Moretz) next door, but he does notice something seems to be a little different about her. When he discovers that she's a vampire, he's both frightened and intrigued. Remake of the Swedish film, "Let the Right One In", with much of the same pace and mood. The scenes with Moretz and Smit-McPhee work well, but most of the scenes with the adults don't work quite as well as in the original film. R for violence, language, and sex.
LET THE BULLETS FLY (NR) 129 minutes * * 1/2 When a new mayor arrives in this remote Chinese village, no one suspects that he is actually a thief. Well, almost no one. There is one who will be challenging him, and the battle will be fierce. Trickery abound, as does good-natured humor, though there actually isn't a great deal of action here.
LET THE FIRE BURN (NR) 86 minutes * * * In 1985, the Black Liberation organization MOVE had a violent confrontation with the city of Philadelphia. Failing to evict them with water cannons and tear gas, the city chose to use explosives, which started a fire. That fire resulted in the destruction of 61 homes. Impressive documentary presentation of news footage and courtroom video.
LET THE RIGHT ONE IN (R) 110 minutes * * * 1/2 Often bullied by others, Oskar (Kare Hedebrant) befriends a strange little girl. Her friendship turns out to be just what Oskar needs, though their relationship will not be without its difficulties. Beautifully haunting film that mixes the innocence of childhood and the struggles of coming of age with a vampire story. The result is a very unique film. John Ajvide Lindqvist adapted the screenplay from his own novel. Nice work! Winner of numberous international awards. R for violence, language, and nudity.
LET THE WRONG ONE IN (NR) 97 minutes * * 1/2 Matt (Karl Rice) has a problem. His brother (Eoin Duffy) is a vampire. Should he help him or kill him? Light-hearted look at vampires with a fun script and a good cast. Duffy in particular plays this well. The supporting cast isn't particularly strong, but it's still a refreshingly humorous take on the genre.
LET THEM ALL TALK (R) 110 minutes * * * Her next book is due soon, but Alice (Meryl Streep) is being less than forthcoming about where she is in the process of creating that next book. She agrees to take a cruise, along with her friends (Dianne Wiest and Candice Bergen) and her nephew (Lucas Hedges). Strong characters, very well-performed. The story does tend to wander and sometimes falter. R for language.
LET THERE BE DRUMS! (NR) 91 minutes * * * Drumming is a very particular aspect of the music scene. This documentary takes a look and drumming and drummers, interviewing such legends as Ringo Starr, Taylor Hawkins, Stewart Copeland, Mickey Hart, Bill Kreutzmann, Nic Collins, Chad Smith, Sandy Nelson, and many more. "It's really abuot the rhythm of life. That's what drums and drumming are all about." - Mickey Hart.
LET THERE BE LIGHT (NR) 78 minutes * * 1/2 If you want the cleanest form of energy, that would be nuclear fusion. It's not as easy to create as other forms of energy, but there would be a virtually endless supply of material to create energy from. This documentary explores the world of nuclear fusion and interviews some of the people who are working to make it a reality.
LET US PREY (NR) 88 minutes * * It's the first night shift for rookie cop Rachel (Pollyanna McIntosh). It's a small town, but the jail is full. But one of them is not what he seems, and before long, it's not just the jail where things are getting crazy. Artistic, moody, and unusual, though the story tends to get caught up in that and seems to be a little strange just for strangeness' sake. Nice production design.
LETHAL PANTHER (NR) 96 minutes 1/2 Japanese hit woman Ling (Yoko Miyamoto) may have taken on more than she can handle. The problem is less the gangsters from the Philippines and more about CIA agent Betty Lee (Sibelle Hu). Lots of martial arts, guns, and sex. Not much acting talent or direction.
LETHAL WEAPON (R) 111 minutes * * * Roger Murtaugh (Danny Glover) has just turned 50. All he wants is to be able to make it to his retirement in one piece. Martin Riggs (Mel Gibson) is an undercover narcotics agent who tends to be rather unconventional in his behavior. Of course they are assigned to work on a case together, with the obvious difficulties. Riggs is the featured character here, and Gibson plays the part well, but there's also a good mystery here. Not great, but good enough to keep us interested, and the interplay between Gibson and Glover keeps us entertained.
LETHAL WEAPON 2 (R) 108 minutes * * * 1/2 Talk about nasty villains! And there are car chase scenes, gunfire, explosions, fight scenes... everything an action fan could ask for. There is also a great deal of high caliber acting, great photography, and well-timed music. OK, it's a bit hard to believe at times, but that's not really a surprise. It's a story of drug smuggling, money laundering, and murder. Part of what makes this such a good sequel is that it ties the villains from the first film into the story so well. It's a story full of energy that compliments the first film quite well. Mel Gibson and Danny Glover definitely work well together and make this a sequel that you definitely shouldn't miss. R for violence, language, and sex.
LETHAL WEAPON 3 (R) 114 minutes * * 1/2 There's plenty of action in this third outing for our main characters, and it continues all the way through the credits. The car chase scenes are the best, but the intensity is good throughout despite a rather transparent plot. Mel Gibson and Danny Glover really do seem to have fun making these films and Joe Pesci's presence just highlights their fun. R for violence and language.
LETHAL WEAPON 4 (R) 120 minutes * * * This is the most intense film in the series so far, with more action and violence that take Riggs (Mel Gibson) and Murtaugh (Danny Glover) closer to the edge than ever before. Jet Li makes a wonderful villain, merciless and unpredictable, which helps keep the tension at a high level throughout the film. There are the usual extremes that are unbelievable and remind us that it's all in fun, and the chemistry between Gibson, Glover, Joe Pesci, and Rene Russo is evident. Chris Rock doesn't fit in too well, but that appears to be the fault of the script more than anything else. This is definitely a wild ride, so hang on tight and enjoy! R for language and violence.
L’ETOILE DU NORD (PG) 102 minutes * * * ½ When Edoard (Philippe Noiret) introduces Sylvie (Fanny Cottencon) to Nemrod (Gamil Ratib), he has no idea that it will blossom into love. And when Nemrod is murdered, there is suspicion that Edoard might have had something to do with it. Well-crafted story with superb performances.
LET'S BE COPS (R) 98 minutes * * 1/2 Attending a costume party dressed as cops may be where it started, but where it will end is anybody's guess. Sometimes funny, sometimes not, and the same goes for the believability of the story. The ending is much better than expected for this sort of film though. R for language, nudity, and violence.
LET'S BE EVIL (NR) 80 minutes * 1/2 An underground research facility where a group of children are being taught with the assistance of augmented reality glasses. Three new chaperones have just been hired. But something is not right. Toward the end of the film, as the action increases, the light begins to fade. Mysterious? Maybe. Frustrating? Yes. It's too dark to tell what's going on. This was an interesting idea that falls apart too quickly and doesn't end well.
LET'S GO TO PRISON (R) 85 minutes * 1/2 John Lyshitski (Dax Shepard) has just been released from his third time in prison. He's vowed revenge on Judge Biederman, the man who put him behind bars all three times. When it turns out that won't work, he decides to take revenge on Biederman's son... only that doesn't quite work either. There are a few funny moments early on, but this quickly moves from funny to boring. R for language, sex, and violence.
LET'S KILL WARD'S WIFE (NR) 80 minutes * 1/2 Ward's (Donald Faison) friends decide to help him out with a problem. At first it's just talk, but then... Not terribly original, but the bigger problem here is the change in tone at the end of the film that undercuts the rest of the film, making us wonder what we've been watching.
LET’S SPEND THE NIGHT TOGETHER (PG) 91 minutes * * ½ Concert film of The Rolling Stones, including performances from their 1981 tour stops in Tempe, Arizona and East Rutherford, New Jersey. It’s a great look at a powerhouse group of musicians.
LETTERS FROM IWO JIMA (R) * * * 1/2 The battle for the island of Iwo Jima as seen through the eyes of the Japanese soldiers who were defending their homeland. While this was filmed as a companion piece to "Flags of Our Fathers", and done almost as an afterthought by director Clint Eastwood, it is clearly the superior of the two films. Stories tend to have a little more poignancy when they are told from the viewpoint of those who didn't "win". Honor, loyalty, dedication, courage... they all take on at least slightly different meanings when winning is out of reach and death is close at hand. The violence is a little excessively graphic, and accounts for the R rating.
LETTER TO GOD (PG) 106 minutes * * 1/2 Emotional story of a young boy with cancer who writes letters to God. These letters end up having a wider effect as they are read by a substitute mail delivery person. It's an interesting way of doing a little more with the story, but comes off a bit too staged, mostly due to mediocre writing and acting. PG for language.
THE LETTERS (PG) 111 minutes * * 1/2 A look at the life of Mother Teresa (Juliet Stevenson) and her work with the poor. The story is framed by a series of letters she wrote to Father Celeste van Exem (Max Von Sydow), her spiritual advisor and friend. It's a rather dry and simple bio-drama, which is, in a way, very appropriate. It's just not all that inspirational. PG for violence.
LETTERS TO JULIET (PG) 99 minutes * * * Travelling to Italy with her fiancee, Sophie (Amanda Seyfried) stumbles across the Secretaries of Juliet, who answer the letters left on the wall in the courtyard in Verona that symbolizes the fictional location of Romeo and Juliet's famous love scene. She finds a letter that is over 50 years old. A letter from a young girl who ran away from love. Now, the woman returns, and with Sophie's help, she will have the opportunity to explain why she ran away, and hope that the flame of passion still has enough of a spark to reignite. Very romantic and sentimental, and nicely done. Filmed in Italy and New York. PG for language.
LEVEL 16 (NR) 98 minutes * 1/2 It's a strange sort of boarding school for girls. The rules are strict, but placement with a good family will be their reward. But something is wrong, and two of the girls are about to discover just how sinister this place actually is. Sets and costumes are good, but the story drags terribly, and we lose interest early on. The ending is also lacking the strength it needs.
LEVEL UP (NR) 67 minutes * 1/2 Three gamers end up releasing a monster from a videogame into the real world. Now they have to use their gaming skills and work together to save the world. If the Cartoon Network had been willing to spend a little more money on this, it could have been quite a bit better. The actors do their best to sell us on the adventure, but the props, sets, and special effects let them down.
THE LEVENGER TAPES (R) 89 minutes * Found footage horror film that uses said footage as part of an investigation. As such, it gives a little more credibility as well as a few breaks from the shaky footage. It still manages to have too many elements of cheap horror films though, in part, because there is too much emphasis on the found footage. R for violence and language.
LEVIATHAN (R) 93 minutes * 1/2 One of many "underwater alien" films that just doesn't really give us the scares we're looking for. This does manage to be a bit better than "Deep Star Six", but that really isn;t much of a claim to make... it's mostly due to having a cast that includes Peter Weller, Lisa Eilbacher, Amanda Pays, and Richard Crenna along with a few others who do their best in a bad situation.
LEVIATHAN (2012) (NR) 83 minutes * * An intimate look at life and work aboard a commercial fishing vessel. As the camera shows, the work is neither easy or glamorous, but rather instead, very harsh and often brutal. There is no dialogue, though we occassionally hear the muffled or distant voices of some of the crew. The camera angles are fascinating, but often completely disorienting, which doesn't really seem to serve the purpose of the film as the crew aren't disoriented or confused.
LEVIATHAN (2014) 136 minutes * * * Fighting to keep his home, Kolya (Aleksey Serebryakov) gets some help from a friend who is a lawyer. The odds seem stacked against them though, with a large number of corrupt officials lurking around every corner. Well-played and well-written, if rather depressing. R for language and sex.
LEVITATED MASS (NR) 87 minutes * * 1/2 The story of Michael Heizer's rather unique piece of art and how it came to be at the Los Angeles County Museum of Art. Interesting to see the process and the final result. More time spent in showing and explaining more of Heizer's art would have been helpful.
LEVITY (R) 95 minutes * * * Over twenty years have passed since the murder, and Jordan (Billy Bob Thornton) is out of prison and seeking reconciliation. Back in his old neighborhood, he drifts, not knowing how or where to start, or if it's even possible. He may not find what he's looking for, but the search is what's important. Sensitive performances from the cast in a poignant story. R for language.
THE LIABILITY (R) 84 minutes * 1/2 Helping out as a driver for his mpm's boyfriend wasn't supposed to be a big deal, just a way to pay for wrecking his car. Now, Adam (Jack O'Connell) is a party to murder, sex trafficking, and much more. Violent, and slightly offbeat, but missing the witty script that would have made the violence, and the plot, more interesting. LIAR LIAR (PG-13) 78 minutes * * 1/2 Fletcher Reed (Jim Carrey) has a problem. Thanks to a wish by his son, he cannot tell a lie for 24 hours. This causes quite a few more problems than you might think, especially since Fletcher has a habit of making promises he has no intention of keeping. This is Carrey's best work so far, with some great physical comedy bits. The fine supporting cast makes this a film that is fun to watch with a message that is obvious, but not overplayed. Don't miss the outtakes at the end! PG-13 for language.
THE LIBERATOR (NR) 112 minutes * * 1/2 The story of the more than 100 battles fought by Simon Bolivar (Edgar Ramirez) against the Spanish Empire in South America. His mission was not to conquer, but to liberate. Impressive early on, but grows stale and a little boring by the end.
THE LIBERTINE (R) 108 minutes * * Adaptation of the play by Stephen Jeffreys about the excessive and rather short life of John Wilmot, the second Earl of Rochester. Johnny Depp plays the role quite well, but the story gets caught among all of the subplots and unimportant scenes. Here was a man prone to excess, who, because of his position, was encouraged to pursue those excesses only to find them causing his early death and furstration and disappointment in life. A more experienced director would have helped a great deal, as would a more experienced screenwriter. (This was the first feature film for both of them. R for sex and language.
LIBERTY HEIGHTS (R) 122 minutes * * * Another of director Barry Levinson's reminiscences of the Baltimore of his youth. This one has a strongly autobiographical tone and, being set in the 1950s, covers many of the dramatic changes that society was dealing with at the time. Levinson's touch manages to combine the serious topics with just the right touches of gentle humor. The edges are softened, but the tale is more palatable. Fine performances all around and the ambiance does a wonderful job of transporting us back to the days of Levinson's youth. R for language.
THE LIBRARIAN: CURSE OF THE JUDAS CHALICE (NR) 90 minutes * * * In this third adventure in the series, Flynn (Noah Wyle) discovers even more secrets hled in the depths of the library, including some of the larger items in the collection. The chalice of the title is the item Flynn must retrieve this time, but it's curse has to do with the legend that those who drink from it are granted eternal life, but at the cost of a continued need to drink blood. Another exciting chapter in the saga of... The Librarian!
THE LIBRARIAN: QUEST FOR THE SPEAR (NR) 104 minutes * * * OK, so being a librarian doesn't sound like an exciting job, but as Flynn Carsen (Noah Wyle), discovers, there's more than meets the eye. Especially when the library where you work happens to have a secret area that houses amazing artifacts like Excalibur, Pandora's box, the Mona Lisa, and the Ark of the Covenant. Also there is part of the Spear of Destiny, and when it's stolen, Flynn must use his vast knowledge and locate the other pieces before the evil Serpent Brotherhood. Aided by his attractive bodyguard Nicole (Sonya Walger), Flynn finds himself on an adventure he won't forget. It's fun, lighthearted entertainment that, while similar in some ways to the Indiana Jones series, manages to be different enough that we still enjoy it. Wyle's nerdy performance works well and Walger does a great job as well. Jane Curtin and Bob Newhart are the other two people who work in the library and have fun with their roles as well, as does Olympia Dukakis, who portrays Flynn's mother.
THE LIBRARIAN: RETURN TO KING SOLOMON'S MINES (NR) 91 minutes * * 1/2 Noah Wyle returns for a second outing as Flynn Carsen, trying to make sure that the map to King Solomon's mines doesn't fall into the wrong hands. A beautiful archaeologist (Gabrielle Anwar) will help him in this endeavor. While the two of them work well together, we are limited to only a few scenes with Bob Newhart, Jane Curtin, and Olympia Dukais, which is disappointing. As with most sequels, this falls a little short of the first, but it's not bad.
LICENCE TO KILL (PG-13) 132 minutes * * * Timothy Dalton's second outing as James Bond has him temporarily leaving the secret service to deal with a drug lord who has killed a fellow agent. The addition of Carey Lowell as an assistant to Bond is a nice touch. The story is elaborate, but manages to work well and the villain is sufficiently evil to keep our hero active. Dalton's Bond is still a little too suave, but at least he doesn't have the smart mouth of Roger Moore.
LICENSE TO WED (PG-13) 84 minutes * 1/2 Sadie (Mandy Moore) and Ben (John Krasinski) bump into each other, and the next thing you know... they're in pre-marital counseling with Father Frank (Robin Williams). it might just make them reconsider what they were planning. There are some sentimental and positive points that the film makes about marriage and communication, but the humor doesn't really fit the story, despite how funny Williams can be. PG-13 for language.
LICORICE PIZZA (R) 126 minutes * * * It's 1973. Alana (Alana Haim) and Gary (Cooper Hoffman) are at the very beginning of their relationship. It's an on-again, off-again sort of thing. A nice coming-of-age film with quirky but likeable characters. R for language and sex.
THE LIE (R) 79 minutes * * Clover (Jess Weixler) has the opportunity to start a fantastic new job. But it goes against her principles as well as Lonnie's (Joshua Leonard). But Lonnie is also trying to figure out what it means that they now have a child and that the jobs they want to do don't provide very well. The story is a bit rough and uneven, but has plenty of heart and a number of good things to say about what it means to move to a different stage of your life, when other things have to be considered than what you were thinking about before. R for language.
LIES WE TELL (NR) 106 minutes * * 1/2 When his boss dies, it's up to Donald Gabriel Byrne) to deal with his mistress. To complicate matters, her ex-husband is a well-known gangster who isn't too happy about the relationship his ex was having. Good performances, but the story is uneven.
LIFE (R) 103 minutes * * Ray (Eddie Murphy) and Claude (Martin Lawrence) stumble into each others lives, and everything goes downhill from there. Arrested for a murder they didn't commit, they find themselves in prison for life. It's the story of a friendship that has its ups and downs, and lasts for life. The montage sequence late in the film that covers a 28 year period is a powerful segment. Otherwise, the film's good moments are scattered throughout with little to hold them together. It does end well, but we still feel that with the talents of these two actors, we should have seen something much better. R for language and violence.
LIFE (2017) (R) 95 minutes * * 1/2 There's a reason that there's no life on Mars. And now, that very specific reason is onboard the International Space Station. The story is a little weak and shallow early on. So, a little later, when the alien starts to grow and become more dangerous, the tension escalates without the room it needs to scare us. The film isn't that long, and spending more time with the characters earlier in the film would have made them, and the story, more interesting and relatable. R for language and violence.
LIFE, ABOVE ALL (PG-13) 101 minutes * * * 1/2 When Chanda's (Khomotso Manyaka) baby sister dies, her world changes dramatically. Her mother gets sick soon after, and when her father shows up, he is both drunk and sick. Chanda understands that the sickness is more than likely AIDS, but that is unspoken because of what it means. Chanda has much to bear, but her spirit is strong. Wonderful work by Manyaka. Her performance gives us a heart-breaking and powerful character who is determined to do what is right, and to honor that precious gift of life. Adapted from the novel, Chanda's Secrets by Allan Stratton. PG-13 for language and sex.
LIFE AFTER TOMORROW (PG-13) 69 minutes * * * Fascinating look at the lives of the girls who played Annie or one of the other orphans in the musical productions of the Broadway show, Annie. The impact of the show on their lives, both at the time and even years later, is both frightening and comical. Performers who are children face different issues than adults. While the film doesn't go into great detail, the issues are raised, and we hear the effects, both good and bad, on the lives of these women. PG-13 for language.
LIFE AND NOTHING MORE (NR) 105 minutes * * With no father at home, Andrew (Andrew Bleechington) struggles to find a role model as he faces adulthood. His mother is tired of parenting, even though she still has to raise Andrew's younger sister. Very wordy script, but despite learning so much about the characters, they still seem distant from us and disconnected from each other.
THE LIFE AQUATIC WITH STEVE ZISSOU (R) 113 minutes * * Strange, offbeat film that follows the adventures of Steve Zissou (Bill Murray) as he attempts to find and kill the newly discovered jaguar shark that killed his friend and partner. The cast is impressive, wtih Angelica Huston, Cate Blanchett, Owen Wilson, Willem Dafoe, and Jeff Goldblum to name a few, but the film just wanders around for almost two hours. There are amusing satirical moments scattered throughout, but we keep waiting for it to go somewhere and it never does. Murray's deadpan performance is good here, but too many of the reat of the cast try to do the same, and it doesn't work very well. R for language. LIFE AS A HOUSE (R) 121 minutes * * * Just after being fired from his job, George (Kevin Kline) collapses outside his former place of employment. Now he finds that he only has a few months to live. With the time he has left, he's going to build his dream house and spend quality time with his son, who is in the midst of rebelling against everything. It's a wonderful script from Mark Andrus, delving into issues of life, death, love, parenting, and exploring them with sensitivity, honesty, and humor. Kline is a bit hard to believe as we begin, but does get better as the film moves along. Hayden Christenson is the real standout here, but Kristin Scott Thomas and Jena Malone both give strong performances as well. R for language and nudity.
LIFE AS WE KNOW IT (PG-13) 111 minutes * * 1/2 Being a parent wasn't something either Holly (Katherine Heigl) or Eric (Josh Duhamel) had planned on yet, let alone with each other. But when their friends die in a tragic accident and name them as the caretakers for their daughter, they are trying to figure out how to make it work. Perdictable story, but Heigl is a bit more charming here than usual, and several of the supporting characters have occassional bits of dialogue that add a bit of fun. Nothing particularly memorable, but a pleasant enough diversion. PG-13 for sex and language.
THE LIFE BEFORE HER EYES (R) 83 minutes * * * Diana (Uma Thurman) is a survivor. Many of the friends she had in high school didn't survive, and Diana feels guilty. We watch events unfold as the story moves back and forth between past and present. Emotions and memories can become tangled, and Diana struggles with what it all means and how she can move forward with her life. Evan Rachel Wood plays the younger Diana and she and Thurman both do great work here. The story, adapted from the novel by Laura Kasischke, does get a little confusing at times, but it's powerful and thought provoking, and worth a second look if needed. R for violence and language.
LIFE BLOOD (R) 80 minutes 1/2 Forty years after meeting the creator of the universe, a lesbian couple reawaken to begin their life as vampires. This tries to have a deeper, more spiritual aspect to the story, but the low-budget sex and gore keep getting in the way. It also might help if there was a script. R for violence, sex, and language.
LIFE DURING WARTIME (R) 89 minutes * * Writer/director Todd Solondz follows some of the same characters that were in his film "Happiness", with this film, which was originally titled "Forgiveness". It's a later time in their lives, and the shine has worn off of ideas and experiences. Relationships are broken, and the choices they made have consequences that they must now work with and through. Heavy with symbolism, and it really helps if you've recently seen the previous film. R for sex and language.
LIFE IN A DAY (PG-13) 92 mminutes * * * 4500 hours of film from 192 different countries all from the same day on this wonderful, incredible planet we call home. It's an amazing look at the variety of life. While you'll undoubtedly think of bits and pieces that should have been included, what is here is quite interesting. PG-13 for violence, language, and sex.
LIFE IN THE DOGHOUSE (NR) 81 minutes * * * Danny & Ron's Rescue has successfully adopted out over 10,000 dogs. This is the story of the work they do and how it all got started. The film also talks about why there are so many dogs that need to be rescued and what can be done to turn things around.
LIFE INSIDE OUT (NR) 98 minutes ½ Shane (Finneas O’Connell) isn’t fitting into the family very well, where he is expected to be involved in sports. When his mom (Maggie Baird) starts reconnecting with her musical past, the two of them end up bonding around music, which neither of them expected. The story has a very manipulative approach, and the pacing is very slow, which undermines most of the sentimentality that could have made this much stronger.
LIFE IS BEAUTIFUL (PG-13) 111 minutes * * * * She (Nicolletta Braschi) falls out of the sky and into his arms, and he falls hopelessly in love. Their romance blossoms, and so does World War II. The humor here may bother some people, but it's tragic humor. Guido (Roberto Benigni) loves his son so much that he wants to protect him from reality. It's a love so strong that it risks everything to exist, to believe that life can still be beautiful even in the midst of horror, if we love. And life IS beautiful... because we survive, we learn, and we tell the story to others. PG-13 for violence and subject matter.
LIFE IS NOT A FAIRYTALE: THE FANTASIA BARRINO STORY (NR) 87 minutes * * 1/2 Barrino stars in this bio-drama about her rise to fame on "American Idol" and the struggles she endured along the way. Nothing all that unique or interesting in the story, but great music along the way.
LIFE ITSELF (R) 117 minutes * * * 1/2 Bio-documentary about film critic Roger Ebert, covering primarily his work as a critic, but showing a few other sides of his life as well. Seeing some of the clips of his work with Gene Siskel really shows so much of who he was. As difficult as it was for them to begin to work together, they clearly became very close. It's a wonderful look at film criticism and a very fitting tribute to the critic and the man. R for sex and language.
A LIFE LESS ORDINARY (R) 97 minutes * * * Two of Gabriel's (yes, the angel) operatives have a task to complete. Unite a couple in a successful marriage or remain on earth. Delroy Lindo and Holly Hunter diligently set about the task, but make it rather hard on themselves when they choose Robert (Ewan MacGregor) and Celine (Cameron Diaz). He's a likeable, though not very clever young man without money. She's a spoiled rich girl with an attitude. Together, they will have something unique, exciting, and not very ordinary. R for language and violence.
LIFE LIKE (R) 92 minutes * * * Living for years on a healthy allowance, James (Drew Van Acker) has now inherited his father's company. It's a struggle to run the company,,, and life at home is difficult because Sophie (Addison Timlin) isn't adjusting to the new lifestyle. Getting a new robot helper might change things for both of them... in ways they never imagined. Very interesting twist near the end. R for language, sex, and violence.
LIFE OF A KING (PG-13) 98 minutes * * 1/2 Based on the life of Eugene Brown (Cuba Gooding Jr.), who turned his life around after serving nearly 20 years in prison for armed robbery. He began a chess program for struggling youth, the Big Chair Chess Club, which continues to grow. The story does a nice job of not being overly sentimental, though there are a few touches of it. The focus is on Brown's character, so many of the supporting roles are far less developed. PG-13 for language.
LIFE OF CRIME (R) 95 minutes * * 1/2 There's nothing like kidnapping someone who nobody wants to pay a ransom for. The twists and turns come slowly, and despite being interesting, really aren't a surprise. John Hawkes and Isla Fisher deliver very good performances, but Jennifer Aniston and Tim Robbins seem uninterested in their roles. Adapted from the Elmore Leonard novel. R for language, sex, and violence.
THE LIFE OF DAVID GALE (R) 123 minutes * * * Convicted murdere David Gale (Kevin Spacey) is about to be executed. He's asked for Bitsey Bloom (Kate Winslet) to conduct three two-hour long interviews with him during his last three days. As the story unfolds, we discover that Gale ws guilty of a brief indiscretion with one of his university students. This led to him losing his wife, his job, and the resurfacing of his alcohol problem. But is he guilty of murder? What part of the story is still lying beneath the surface? Spacey and Winslet both do very nice work here and we are quickly involved in the story. It does get a little sentimental and predictable near the end, despite how strong of a statement is made. R for language, violence, and sex.
LIFE OF PI (PG) 119 minutes * * * * A disaster at sea leaves Pi (Suraj Sharma) fighting for his life. This is the story of that adventure. A story of life, faith, and letting go. Sumptuously filmed by Claudio Miranda, directed by the amazingly talented Ang Lee, and adapted from the novel by Yann Martel. The photography is often so beautiful that you could just turn off the sound and watch it. By the same token, the story is so masterfully told, and so vivid with image and metaphor, that you can just listen, and create your own pictures. This is one of those films that will stay with you for a long time. PG for violence.
LIFE OF THE PARTY (PG-13) 100 minutes * 1/2 Facing a surprise divorce, Deanna (Melissa McCarthy) decides to go back to college to finish her degree. Her daughter, who is going to the same school, is not particularly thrilled about the idea. Filled with the physical comedy that McCarthy is famour for, but Maya Rudolph's supporting role is the best part of the film. PG-13 for sex and language.
LIFE ON THE LINE (R) 89 minutes * * 1/2 The title refers specifically to the above ground power lines that carry electricity to the communities where many of us live. The story is very shallow, which is unfortunate as it does lift up the importance of the job as well as the dangers involved. Where it goes wrong is in getting mired in the relationships of a couple of the linemen and not giving us much about the work they do. Their personal lives should be the subplots with the work being the primary part, not the other way around. R for violence.
LIFE ON THE REEF (NR) 163 minutes * * * The diversity of life on the Great Barrier Reef is explored in this documentary. Filled with beautiful photography, we see both life and death and enderstand what it takes to maintain this level of biodiversity on the world's largest reef system.
LIFE OR SOMETHING LIKE IT (PG-13) 95 minutes * * 1/2 Lanie's (Angelina Jolie) life is virtually perfect until a street prophet predicts her untimely demise. What she thought was the perfect reality begins to flake away, revealing the essence of life that lies beneath. It's a nice idea, but the story is too simple to do the idea justice. We're left with Jolie and Edward Burns giving us likeable performances despite the rather shallow characters they are playing. Nice collection of songs for the soundtrack. PG-13 for language.
LIFE PARTNERS (R) 88 minutes * * Sasha (Leighton Meester) and Paige (Gillian Jacobs) have been friends for a long time. But Paige's new love interest is driving a wedge between them. The script is a little rough and manipulative, though there are a few spots that work well. The characters are likeable, in part due to their flaws, which often feel like our own. R for language and sex.
LIFE SUPPORT (NR) 83 minutes * * * Queen Latifah is Ana, a woman with HIV. She works to educate others and does what she can to help people who are living with a disease that is still very much misunderstood despite how many people are affected. It's a simple and very real story about HIV and AIDS and what it means to be living with the disease. Nice supporting performances by Wendell Pierce and Rachel Nicks.
LIFE WITH MIKEY (PG) 87 minutes * * * Mikey (Michael J. Fox) is a one-time child actor/star who hasn't done much lately. He lives off his old reputation and is considered by most to be washed up. Then he meets Angie (Christina Vidal), a pickpocket with a flair for acting, and Mikey sees opportunity knocking at the door. This is Fox at his most entertaining, and Vidal is a real find. If anything, you'll be sorry that this is over so quickly, because it's so much fun to watch. PG for language.
LIFECHANGER (NR) 80 minutes * 1/2 He's a shape shifter, but there's a twist. When he shifts, he copies another person and they die. He's starting to deteriorate more quickly of late, which means shifting more often. He's also starting to have feelings for someone, which are going to be difficult to pursue considering what is happening to him. Interesting, though it takes a bad twist at the end that doesn't really fit well with the rest of the story. And then there's the mostly pointless narration throughout the film.
THE LIFEGUARD (R) 94 minutes * * 1/2 Life in the city is frustrating, depressing, and unfulfilling. Leigh (Kristen Bell) decides to go back and stay with her parents and sort of start over. It turns out that her old lifeguard job is available. But she won't really understand what she wants out of life until she understands what she's running away from. The young adult angst is a bit forced, which is mostly the fault of the script, though it leads to a little overacting. R for sex and language.
LIFE’S A BREEZE (R) 79 minutes * * * Colm (Pat Shortt) and his mother live together. She’s a hoarder, and he’s a bit of a slob. The rest of his siblings decide to clean house one day, with Colm’s help in getting their mom out of the house for a few hours. What they didn’t realize was that the mattress they threw out had her life savings inside. Now they have to try and find it again. Full of Irish charm and humor, and with a very nice performance by newcomer Kelly Thornton. R for language.
LIFE'S A JUNGLE: AFRICA'S MOST WANTED (G) 97 minutes BOMB The story is pretty simple... a dog ends up in the jungle and helps get the rhinos and alligators to share their water with everyone else. The very long introduction that contains almost no dialogue lets us know what to expect early on. There's very little dialogue in the entire film, and the animation is flat, stiff, and uninspired. Frankly, this would have been tedious to sit through at 70 minutes.
THE LIGHT BETWEEN OCEANS (PG-13) 127 minutes * * * Tom (Michael Fassbender) is looking forward to the isolation of being a lighthouse keeper. And then he meets Isabel (Alicia Vikander). When they rescue an infant from a drifing rowboat, they struggle with what to do, especially since their own attempts at having a child have not been successful. Bittersweet ending is no real surprise, but very nice work by both Fassbender and Vikander. PG-13 for language and sex.
LIGHT FROM LIGHT (NR) 78 minutes * * * Shelia (Marin Ireland) just recently left the paranormal investigation team she had been working with when she gets the call. A widower (Jim Gaffigan) wants someone to check out his house. He thinks his wife might be trying to contact him from the other side. A gentle and slow-moving story about what it means to connect with someone, and what it means to lose that connection. The grieving process is different for everyone and sometimes our process intersects with those of others. Nice work by both Ireland and Gaffigan.
THE LIGHT IN HER EYES (NR) 83 minutes * * * Houda al-Habash is a woman who preaches and teaches in Damascus, Syria. She's been doing this since the 1980s. While not common, it is possible, and Houda is a shining example of how to honor the Muslim faith, respect the culture of the Middle East, become more educated, and follow your dreams. As she wisely points out, it is ignorance that creates extremism, in particular, ignorance about religion.
LIGHT IT UP (R) 92 minutes * * A run-down inner-cty school and a brand new security guard with a chip on his shoulder. Add it up and you've got a problem waiting to happen. Even good kids can do the wrong thing given the right set of conditions. There isn't really much new here, but the performances are good and the characters interesting to watch most of the time. Stale direction and an uninventive story are to blame for the problems here. R for language and violence.
LIGHT OF DAY (PG-13) 101 minutes * * 1/2 Life at home is getting uncomfortable for both Joe (Michael J. Fox) and Patti (Joan Jett), with their mother (Gena Rowlands) attitudes getting more conservative every day. It bothers Patti more, but she and Joe are both going to have to make a choice soon. Will it be staying at home, or touring with the band? Casting Fox and Jett in these roles is... interesting. The script doesn't make things easy for them, but they manage to make it work well enough. Thankfully, the film relies quite a bit on the music, which is very good.
LIGHT OF MY LIFE (R) 115 minutes * * 1/2 The virus wiped out most of the female population. One man (Casey Affleck) and his daughter (Anna Pniowsky) live near civilization, but stay on the edge. It's dangerous to be female, so she masquerades as a boy, but that's getting more difficult as she gets older. There's some good intensity, but the story doesn't move much until near the end. R for violence.
THE LIGHTHOUSE (R) 106 minutes * * * The schedule is for four weeks, which doesn't really seem all that long. But the work is challenging, and the small island is desolate and lonely. The two men struggle to get along. And then a storm threatens to keep them on this rock for days or even weeks longer than they expected. Their sanity and temper begin to shift with the wind. It's a story of intensity that keeps settling back into the mundane, which makes it a little difficult to watch. Willem Dafoe and Robert Pattinson both do good work here, but the photography and sound are what really give this film its strength. R for sex, violence, and language.
THE LIGHTKEEPERS (PG) 93 minutes * * Seth (Richard Dreyfuss) finds a young man washed up on the shore near the lighthouse he tends. The young man has no memory, but is interested in helping with the work at hand. they have a sort of he-man, woman-haters club going, but when two women come out to stay at the cabin nearby for a few weeks, their attitudes begin to change. Dreyfuss is a bit too much like a grouchy leprechaun, though he does soften a bit as the film progresses. Inspired by the story, "The Woman Haters" by Joseph C. Lincoln. Filmed in Cape Cod, Massachusetts. PG for language.
LIGHTNING IN A BOTTLE (NR) 93 minutes 1/2 Preachy film about drinking and driving with Lynda Carter as the person guilty of causing a car crash that leaves two people dead and one in a coma. Low-budget production that tops it off by breaking into song at the end.
LIGHTNING JACK (PG-13) 94 minutes * 1/2 Paul Hogan tries his hand at another version of the wild west. This one has him portraying a little known companion of the Younger brothers who ends up on his own for awhile. His new sidekick is mute and can't shoot a gun. The movie isn't on target either, which pretty much parallels Hogan's career after his only successful film, "Crocodile Dundee". PG-13 for language.
LIGHTS OUT (PG-13) 78 minutes * * All three members of this family have had encounters with "Diana", a spirit who lives in the shadows of their house. But what does "Diana" really want? Strong performances and creepy sound effects help keep this on the scary side. The resolution to the story is too easy and not very suspenseful, but getting there is a fairly good ride. PG-13 for violence and language.
LIGHTYEAR (PG) 94 minutes * * 1/2 Taking a step back, this is the story that inspired the creation of the Buzz Lightyear toy. The real Buzz Lightyear is on a space mission that goes wrong and leaves a large crew stranded on another planet. Years later, he encounters an army of robots who are trying to steal the fuel source that Buzz and his crew need to be able to make it home. It's a good story, but much darker in tone than the Toy Story films. PG for violence.
LIKE A BOSS (R) 81 minutes * * 1/2 They've been friends since middle school. The beauty company they run has a chance to go big, but their vision of success is starting to be challenging to their friendship. Tiffany Haddish and Rose Byrne are great here, but the supporting roles add quite a bit of strength to the film too. R for language and sex.
LIKE A FISH OUT OF WATER (NR) 87 minutes * * * The plan is to steal a very valuable tropical aquarium fish and then sell it back to it's owner. It might work except for all of the double-crosses and idiotic mistakes... Fun and fast-paced French comedy/thriller, this is a delight to watch! Featuring Tcheky Karyo and Monica Bellucci, fans of films like "Fargo" and "Snatch" can add this to their list of favorites.
LIKE CATS AND DOGS (NR) 83 minutes * * Stuck in the same rental space, Laura (Cassidy Gifford) and Spencer (Wyatt Nash) have to find a way to get along with each other. The story is a little forced here, and Nash never seems to feel comfortable in his character, delivering a performance that is very stiff.
LIKE COTTON TWINES (NR) 94 minutes * * Old customs are often difficult to change. In Ghana, Tuigi (Ophelia Klenam Dzidzornu) must pay for her father's mistake by giving up her freedom. Micha (Jay Ellis) is on her side, but his influence is not going to be enough on its own. The message here is a powerful one, but the drana that surround that message isn't written very well.
LIKE CRAZY (PG-13) 87 minutes * * 1/2 Jacob (Anton Yelchin) and Anna (Felicity Jones) fall in love, but they only have a short time before her visa expires. After a return home for the summer, she can come back to Los Angeles on a new visa, but young love inspires her to overstay her visa. When she does go home for a wedding, expecting (though that part never makes sense) to return, she is denied re-entry to the US. Long distance love is complicated and life and love are about choices, consequences, and commitment. Reasonably good acting despite a story that lacks a bit too much in the area of common sense. PG-13 for sex and language.
LIKE CRAZY (2016) (NR) 112 minutes * * * 1/2 Two women escape from a psychiatric facility in Italy and go off on an adventure, because, you know, sometimes you just have to get away for awhile. Great work by both Valeria Bruni Tedeschi and Micaela Ramazzotti in a story about love and loss and not giving up when people call you "crazy".
LIKE DANDELIION DUST (PG-13) 98 minutes * * 1/2 Wendy (Mira Sorvino) never thought she;d see her son again. Molly (Kate Levering) thought the adoption was ancient history. The fathers (Barry Pepper and Cole Hauser) engages in battles of various kinds, while the mothers understand that letting go is the better way to express their love, and in doing so, they both succeed in gaining more than they had before. The acting falls a bit short here, but the script doesn't really give them a great deal to work with. Filmed in Jacksonville, Florida. PG-13 for language.
LIKE FATHER LIKE SON (PG-13) 95 minutes * Fatehr and son who don't understand each other end up switching bodies through the accidental use of a potion. Dudley Moore and Kirk Cameron star in this overused plot idea that offers nothing original. Fans of Moore and/or Cameron might be interested, but probably no one else.
LIKE FATHER LIKE SON (2013) (NR) 117 minutes * * * When Ryota (Masaharu Fukuyama) and Midori (Machiko Ono) find out that their son was switched at birth with the child of another family, they are stunned. The child they've been raising isn't theirs. But is it blood or relationship, nature or nurture? The decision they make will be both difficult and life-changing. The script and the performances do a nice job of slowly and carefully revealing the tender side of the story.
LIKE ME (NR) 79 minutes * * Searching for something about which we only get a handful of clues, Kiya (Addison Timlin) begins to commit unusual crimes and posts them online It's an unusual film, but without Kiya knowing or understanding what she really wants, we're left with the same emptiness she's apparently feeling. It works as catharsis for the character, but doesn't do much for those who are watching.
LIKE MIKE (PG) 94 minutes * * 1/2 Calvin Cambridge (Lil' Bow Wow) finds a pair of sneakers that may have once belonged to Michael Jordan, and now he can play just like him. He gets signed to an NBA team and may be adopted by a nice, wealthy family. But is it what he really wants? This plays more like an after school special, but Lil' Bow Wow does know how to work the camera, which makes it a pleasant experience to watch and the message is nice as well. Solid supporting performances from Morris Chestnut and a couple of others as well. PG for language.
LIKE MIKE 2: STREETBALL (PG) 92 minutes * 1/2 Another kid, another pair of magic sneakers, but this time around we don't have Lil' Bow Wow around. It's a pale imitation of the first film. It's harmless enough, but watching the first one for a second time is probably a better way to be entertained. PG for language.
LIKE SOMEONE IN LOVE (NR) 103 minutes * The main story here is that of a prostitute and a widower, and the connection that quickly develops between them. Initally, their connection is sweet and sincere. But eventually, it begins to turn sour. As it does, the rest of the characters become more irrational until the abrupt ending, which makes little sense. Disappointing, and feels more like two films that were melded together without much success.
LIKE STARS ON EARTH (PG) 155 minutes * * * 1/2 Ishaan's (Darsheel Safary) life is full of wonder and magic ,but he has trouble in school. One very astute teacher spots the problem and a star that was already there, begins to sparkle a little more brightly. Witty and sensitive performance by Aamir Khan as Nikumbh. Would that we all had teachers and mentors who cared so deeply about us, wanting to see us reach our full potential. PG for violence and language.
LIKE SUNDAY, LIKE RAIN (R) 101 minutes * * * Reggie (Julian Shatkin) is a brilliant 12-year-old who really has no friends and a frequently absent mother and stepfather. Enter Eleanor (Leighton Meester), hired as his au pair, and who has issues of her own. Somehow, they each manage to have what the other needs. Frank Whaley's direction does a very nice job of capturing emotions without relying too heavily on language and instead using the camera to slowly uncover that aspect. R for language.
LI'L QUINQUIN (NR) 204 minutes * * 1/2 A bumbling inspector does his best to solve a rather strange murder case. A big break in the case comes from information supplied by Quinquin (Alane Delhaye). A local boy, he is both mischevious and undisciplined, but also has a sensitive side. An unusual piece, but difficult to stop watching once you start.
LILA & EVE (R) 89 minutes * * 1/2 Driven by a desire to avenge the deaths pf their children, Lila (Viola Davis) and Eve (Jennifer Lopez) team up to take matters into their own hands. Davis leads this well, with a low-key intensity that fits her character nicely. Lopez is less effective in her role. R for violence and language.
LILO & STITCH (PG) 78 minutes * * * Stitch is a monster on the run, created by a scientist from another planet, he's now masquerading as a dog... sort of. Lilo lives with her sister and things are getting a little rough. Her sister is having a hard time keeping employment (Stitch isn't helping) and social work may be breaking up the family. Lilo and Stitch both have some growing up to do, but they have each other to help. "Ohana" means family, and family means nobody gets left behind and no one is forgotten. Surprisingly heartwarming and sweet as the film progresses. You'll find yourself drawn to Stitch despite how ornery he is at the beginning. PG for violence.
LILTING (NR) 83 minutes * * * A mother mourning the death of her son, struggles to connect with the man who was his partner. She didn't know her son was gay, and she speaks no English, but together, they begin to understand waht it means to share their love and their memories. A sensitively told story, with fine work by the cast.
LIMBO (R) 127 minutes * * * Alaska is a land of fortune hunters, of fishermen, and of those whose dreams haunt them. Joe Gastineau (David Straithairn) has a past with many troubles, though things seem to be turning around since he met Donna (Mary Elizabeth Marstrantonio). In the untamed Alaskan wilderness, you never know what lies around the corner. Straithairn fits this part perfectly, giving us a portrayal that is suitably tragic with an underlying realism that is haunting. Most people won't like the ending to this, but it's very appropriate and makes this one of director John Sayles stronger films. R for language and violence.
THE LIMEHOUSE GOLEM (NR) 103 minutes * * 1/2 A Victorian murder mystery about Lizzie Cree (Olivia Cooke), on trial for the murder of her husband, who may have actually been the vicim of a notorious serial killer. It starts slowly, and there are problems with the pacing, but the second half of the film is better. The suspense is more steady, and the story finishes quite nicely.
THE LIMEY (R) 90 minutes * * * This is definitely one of the most artistic action/thrillers that you're likely to see. Steven Soderbergh, director of "Erin Brokovich" and "Out of Sight" mixes flashbacks and almost dreamlike sequences with solid action and a story of vengeance. Terence Stamp is perfect as a father, just out of prison, who is investigating the "accidental" death of his daughter. Soderbergh even uses footage from "Poor Cow", an 1967 film starring Stamp, for some of the flashback sequences. Moody music from Cliff Martinez adds just the right touch to this intense and interesting film. R for violence and language.
LIMITLESS (PG-13) 99 minutes * * * What if you could take a drug that would increase everything positive about yourself? It would give you increased perception, confidence, and ability to analyze things around you as well as the ability to act on all of this new information. There are some risks, of course, but Eddie (Bradley Cooper) is confident that he can deal with those. It's an interesting idea, and Cooper plays it slick and suave, which works, though the twists and turns are less exciting than they might have been. PG-13 for language, violence, and sex.
THE LIMITS OF CONTROL (R) 110 minutes * * * Mysterious codewords, matchboxes with clues, and numerous rendevous before his unusual mission is completed. Isaach De Bankole is the Lone Man, on a mission that we wonder about for the course of the film. It's another strange film from Jim Jarmusch. Don't expect it to make a great deal of sense, at least not at first, but if you enjoy your films a little offbeat, this will be a treat. R for language and nudity.
LINCOLN (PG-13) 141 minutes * * * 1/2 Daniel Day-Lewis turns in another absorbing performance as Abraham Lincoln. The focus is on the end of Lincoln's term as president, and his tireless work to get the 13th ammendment passed. The conflict between those who thought the war should end before the discussion was settled, and Lincoln's confidence that the passage of the ammendment was the most essential part of ending the war is the bulk of the film. Sally Field's performance as Mary Todd Lincoln is very balanced, giving us a sense of a real woman, not a two-dimensional shrew or a wallflower. Day-Lewis disappears, as he so often does, into the character, leaving us with the feeling that we've actually been watching Lincoln, and not a performance. PG-13 for violence and language.
THE LINCOLN LAWYER (R) 114 minutes * * * Very nicely crafted story, adapted from the book by Michael Connelly. Mick Haller (Matthew McConaughey) is a defense attorney who will work for just about anyone who can pay him. He's about to grab the biggest case he's ever had. Great supporting cast that adds quite a bit of depth to this, though a little more backstory on Haller would have been nice. R for violence, sex, and language.
LINDA LINDA LINDA (NR) 112 minutes * * * Winning th rick festival contest at their high school in Japan is going to be difficult. They;ve had to replace their lead singer with not much time left to practice... and she doesn't speak Japanese very well at all! This runs a little long and has a few rough spots early in the film, but manages to finish very nicely.
LINDA RONSTADT: THE SOUND OF MY VOICE (PG-13) 90 minutes * * * The story of Linda Ronstadt, one of the most versatile singers to every perform. Her family was very musical, and it seemed that each family member especially enjoyed a different genre of music, making for a varied experience and deep appreciation for all forms and styles of music. At the age of 18, she headed to Los Angeles, where it took no time at all for her to start getting noticed, and for her career to become legendary. A wonderful look at a storied career. PG-13 for language.
LINE OF DESCENT (NR) 104 minutes * * Sibling rivalry intensifies in a crime family in India when the father leaves his whole estate to the eldest brother. The eldest wants to leave the business, but the middle brother wants to expand into arms deals. At the same time they are dealing with these competing goals, the law is slowly tightening its grip on their business. Editing and direction are not terribyl strong. The acting is good, but the story doesn't flow well or end well, which means that the energy is inconsistent and it's easy to lose interest.
LINE OF DUTY (R) 95 minutes * 1/2 Four friends, two on each side of the law are about to clash. Be aware that the ending is actually part of the way into the credits. It redeems the film a little, though getting there is full of no surprises. The performances aren't bad, but the story just doesn't have much life to it. R for violence, language, and sex.
LINE OF DUTY (2019) (R) 93 minutes * * 1/2 It's been a rough day for officer Frank Penny (Aaron Eckhart), but it's going to get worse. He just killed a kidnapperwho knew where the victim was. Everything he's doing is on camera, thanks to the efforts of independant web news correspondent Ava Brooks (Courtney Eaton). Believability isn't the strong point here, but the action is intense, and Eaton holds her own quite well in a story that is designed to make her character feel out of place. R for violence.
LINES OF WELLINGTON (NR) 148 minutes * * 1/2 Sprawling epic of the Napoleonic Wars of 1810. Bits and pieces of various characters here, some a little more interesting than others, but all a part of the larger picture of war. The numerous subplots make for a less powerful story, though there are moments that are quite good.
LINEWATCH (R) 86 minutes * * 1/2 Nice work from Cuba Gooding Jr. in this story about working for the U.S. Border Patrol. Michael (Gooding) has been on the job for a number of years, but the world of gangs and drugs that he left is about to come into conflict with his work. Illegal immigrants aren't the only things that move across the border. The story isn't that original, but it's written well, keeps our attention, and Gooding makes it work. R for violence and language.
LINK (R) 100 minutes * * Jane (Elisabeth Shue) has come to work with Dr. Phillip (Terence Stamp), who is doing primate research. Link is the orangutan who serves as a butler. At 45 years old, Link has developed a mind of his own, and when he feels threatened, he takes action. The story is not very inventive, but Shue and Stamp give this some credibility.
LINOLEUM (NR) 95 minutes * * 1/2 Cameron (Jim Gaffigan) has always wanted to be an astronaut. When a satellite crashes in his backyard, he decides to use the parts to build a rocketship to travel into space. The film has a frequently dream-like quality, which fits the story well, as Cameron begins to wonder what is real and what is not. The ending is quite powerful, though getting there is a little strange and sometimes difficult.
LION (PG-13) 113 minutes * * * 1/2 Lost on the streets of Calcutta, a five-year-old boy somehow manages to survive and soon finds himself adopted by a family from Australia. Now 30 years old, he is determined to find his borth family and understand what has become a missing chapter in his life. Based on a true story, Dev Patel delivers a powerful performance. The emotional strength of the story carries all the way through to the end. PG-13 for sex.
THE LION KING (G) 82 minutes * * * 1/2 Wonderful music and some great characters here, but it's a violent tale of jungle life. The animation style (lots of bright colors and simply drawn animals) would make you think it's for the littlest children, but the violence will scare them. Not among Disney's best material, though it has been one of their most popular.
THE LION KING (2019) (PG) 108 minutes * * 1/2 Remake of the hit Disney cartton with realistic animation. The story, of a young lion who leaves his family after his father is killed, but returns years later to reclaim the kingdom that is rightfully his, is mostly the same. The animation is remarkable, but in being so life-like, it makes the darker segments even more so. This is particularly true of Scar's alliance with the hyenas, which is stronger in this version anyway and feels more sinister. As far as the music, the results are somewhat mixed. "Spirit", the new song from Beyonce is very good, as are some of the reworked versions of the originals. Others don't work quite as well. PG for violence.
LIONESS: THE NICOLA ADAMS STORY (NR) 93 minutes * * * The inspiring story of Nicola Adams and her rise to the top of her sport. The film explores the difficult path that faces women in the sport of boxing. Very charismatic and positive when talking about the sport and the challenges she has faced, Nicola is also very guarded about her personal life, choosing to keep it private and separate from the rest.
LIONHEART (R) 101 minutes * * 1/2 Jean Claude Van Damme deserts the foreign legion in favor of street fighting and gets into the usual number of fights in this martial arts film. More money apparently went into this production than many of Van Damme's other films, but the script wan't one of the things money was spent on.
LION'S DEN (NR) 106 minutes * * 1/2 Circumstances would seem to indicate that Julia (Martina Gusman) is responsible for the death of her lover. Pregnant and in prison, she struggles with how to raise her child under these conditions. But trusting anyone on the outside, even her mother, seems to prove only how everyone wants to betray her. She trusts no one, but will fiercely defend her child and her right to be his mother. It's an emotional story, but the intensity tends to fluctuate dramatically and loses our interest at times.
LIONS FOR LAMBS (R) 84 minutes * * 1/2 The plot here involves a new plan for how to win the war in Afghanistan, focusing on two particular groups of people... the ones who are trying to fight the war, and those who have the ability to create change. The script is very wordy and heavy with political philosophy, making it a bit difficult to watch. The points are good, but this tends to shy away from making even stronger statements about political inaction. Robert Redford, Meryl Streep, and Tom Cruise are all good here, but the script seems to tie them down, making their performances seem somewhat restrained. R for violence and language.
LISA (PG-13) 91 minutes * * Two 14-year-old girls who like to play detective end up latching onto a real murderer who begins to try and track down this mysterious "woman" who is calling him. It's an interesting film, with good music and photography, but it lacks the strength of story it needs as it nears the end.
LISTEN TO ME (PG-13) 105 minutes * * 1/2 Kenmont College... a college that lives to win in debate, "the scariest, most fascinating sport on the planet". Except someone forgot to tell the person who wrote the script... Story is packed so tightly together that we have no time to digest it and nothing to hold on to. The fact that the soundtrack has nothing memorable doesn't help either. This film was crying out for a good theme song! Jami Gertz and Kirk Cameron both do nice work here, and it's good to see Quinn Cummings in her first feature film role since "The Goodbye Girl", but actors can only do so much when the script doesn't give them the room they need to really portray their characters. PG-13 for language.
LISTEN UP PHILIP (NR) 105 minutes * 1/2 Philip (Jason Schwartzman) just can't seem to get that second novel together. The narration is overbearing, but that's not really the biggest problem here. The humor is very sarcastic and negative in tone. That doesn't mean it isn't funny, but the heavy quality will be difficult for most to enjoy. The ending is poignant... if you can make it through the rest to get there.
LISTENING (NR) 94 minutes * * It's an exciting and interesting project. The ability for one mind to read another with the aid of computer technology. There are some hurdles to clear, but if it works, the implications are astounding. They are also frightening, and life-altering. Unfortunately, the story doesn't go into much detail, and stumbles on where to go after painting the broad strokes of the idea.
LITERALLY, RIGHT BEFORE AARON (NR) 98 minutes * * Right before she gets married to Aaron (Ryan Hansen), Allison (Cobie Smulders) was Adam's (Justin Long) girlfriend. She's invoted him to the wedding... and he accepts. What he hasn't accepted yet is what this all really means. This tries to be both tender and funny, and it manages to be a little of both, but it also gets a little tedious along the way.
LITTLE (PG-13) 103 minutes * * 1/2 A successful business woman, Jordan (Regina Hall) is not the nicest of people. That self-serving, mean approach to life ends up getting her cursed... and turning her into a much younger version of herself. Learning the elssons she needs to is going to be tough, because she still has the same attitude, and now she's "little". Really nice work by Marsai Martin as the younger Jordan. PG-13 for language.
LITTLE ACCIDENTS (NR) 94 minutes * * 1/2 The tragic accident at the coal mine is still under investigation when a high school boy goes missing. The web of lies and secrets grows more tangled by the day. Really nice work by Boyd Holbrook as the miner who survived the accident. The script doesn't always do justice to the complexity of the characters and the ending is less than satisfactory, leaving a little too much for us to fill in for ourselves.
LITTLE ASHES (R) 104 minutes * * * Friendships offer unique insights into the lives of people, and it's especially interesting to see how friendships affected the lives of those who become famous. This is the story of the University days of Salvador Dali (Robert Pattinson), Luis Bunuel (Matthew McNulty, and Federico Garcia Lorca (Javier Beltran). Pattinson's performance, or perhaps it's simply Dali's eccentricities, detract from the story a little. Still, it's an interesting story, and well-presented. Beautiful Spanish countryside throughout as well. R for sex and language.
LITTLE ATHENS (R) 101 minutes * * They're young, reckless, and going nowhere. Slice-of-life approach that wanders through the lives of a number of young people in a small town. The film never really goes anywhere, and stops with no real resolution or purpose despite some very nice performances. Interesting characters, but without much direction, they seem distracted, lost, and desperately in need of some help. This is director Tom Zuber's second film, but the only improvement seems to be better film and sound quality. R for sex, language, and violence.
THE LITTLE BEDROOM (NR) 88 minutes * * 1/2 Edmond (Michel Bouquet) is finally forced to admit that he needs help after a bad fall makes it painfully clear. As Rose (Florence Loiret Caille) offers assistance, she begins to realize how much she needs someone to talk to. Gentle story about two fragile people who are able to help one another.
LITTLE BIG LEAGUE (PG) 112 minutes * * 1/2 "I don't care how young you may be, I trust you." So says Thomas Haywood to his grandson... and a lot of trust it takes to believe that young Billy will be able to teach the Minnesota Twins the lesson they need to learn. Filled with wonderful supporting performances, but Luke Edwards just can't carry this film as the lead. The subtleties we need to see are just not there, leaving the film rather flat. PG for language.
A LITTLE BIT OF HEAVEN (PG-13) 101 minutes * * * 1/2 Marley (Kate Hudson) is the embodiment of "free spirit". Fun-loving, carefree, charming (if slightly irreverent), and about to discover that she has cancer. With a well-balanced story that is delicate and powerful, you'll laugh, and you'll cry. Nice work by the cast, but special kudos to Lucy Punch for an outstanding supporting performance. PG-13 for sex and language.
LITTLE BLACK BOOK (PG-13) 100 minutes * * 1/2 Fun romantic comedy with Brittany Murphy starring as Stacy Holt, a young woman who decides to look through her boyfriend's address list. Her life quickly turns into something that very much resembles the tabloid TV show she works for, especially when it backfires. Until we get tot he end, there's little more than fluff here, but it's still fun to watch. She's well supported by by Holly Hunter and Kathy Bates among others, allowing her to keep things light and airy and leave us with a smile on our face almost the whole way through. PG-13 for language.
LITTLE BOY (PG-13) 98 minutes * * * 1/2 A beautiful and powerful story about the love a young boy has for his father. Pepper (Jakob Salvati) desperately want the war to end so his father can come home. His love is so strong, that he reaches out in faith to accomplish what no one thought possible. Salvati's charm and the story work together to draw us in to this heart-warming film. PG-13 for language and violence.
LITTLE BOY BLUE (R) 97 minutes * * 1/2 Rather twisted story of a young man trying to hold on to the few pieces of his life that mean something while waiting for a chance to start over. Nice acting work by the entire ensemble, though the abuses portrayed may be a bit intense at times for some to watch. R for sex, violence, and language.
A LITTLE CHAOS (R) 107 minutes * * 1/2 Sabine (Kate Winslet) is a landscape designer, building a garden for King Louis XIV (Alan Rickman), when she meets and falls in love with Andre (Matthias Schoenaerts), the landscape artist who serves the court. Rickman is a little more sensitive and subtle in this role, with the focus on Winslet and her struggle with love, friendship, and gardening. Directed and co-written by Rickman. R for sex.
LITTLE CHILDREN (R) 131 minutes * * * Sarah Pierce (Kate Winslet) doesn't quite fit with the other young married women in town, and finds herself attracted to a man who many of her friends find attractive as well. The fact that he's married doesn't seem to make a difference. Meanwhile, Sarah isn't the only person who doesn't fit in. Ronnie (Jackie Earle Haley) is a convicted sex offender, and Larry (Noah Emmerich) is a cop who is trying to make up for some mistakes he's made. The characters definitely seem real here, and some of the performances are quite good, but how these individual stories fit together seems to evade us. Tom Perrotta's novel from which this was adapted may have addressed this aspect more clearly, but what we have here is some narration to fill in the gaps with an almost humorous tone. It helps us understand the tone of the film, but still doesn't fill the gaps. R for sex and language.
A LITTLE CHRISTMAS CHARM (NR) 83 minutes * * 1/2 Working at her friend's vintage store, Holly (Ashley Greene) finds a unique charm bracelet. Determined to find the owner by Christmas, she ends up working with reporter Greg (Brendan Penny). But he's struggling to meet a deadline, and doesn't trust that the bracelet's owner can be found that quickly. A little Christmas charm might be inorder. Nice supporting cast.
A LITTLE DAYTIME DRAMA (NR) 83 minutes * * 1/2 The TV show she writes for is headed for cancellation unless Maggie (Jen Lilley) can get Darin (Ryan Paevey) to agree to return to the show. They have a bit of a history that may make that a little difficult. He's really not sure if he wants to go through all of this again. Nice chemistry between Lilley and Paevey.
LITTLE DEAD ROTTING HOOD (NR) 85 minutes * 1/2 A small town finds itself at the center of a showdown between a monster wolf creature, and the descendant of Little Red Riding Hood. The idea is creative and interesting, but the script is plain and unimaginative and the CGI effects are disappointing.
THE LITTLE DEATH (PG-13) 91 minutes * * 1/2 Five couples explore various methods of spicing things up in the bedroom. Fun and frank, with the real message being about how sexy and intimate it can be to simply be honest and open with your partner. It's a little contrived, but the ending is the most puzzling as it toes together only some of the stories. PG-13 for language and sex.
LITTLE DIXIE (R) 102 minutes * * 1/2 Without the help of the cartel, the Governor (Eric Dane) wouldn't have been elected to office. He's turned on the cartel though, and Doc (Frank Grillo) is caught in the middle. The cartel has Doc's daughter, and the price to get her back is high. Nice work from Grillo. R for violence, language, and sex.
THE LITTLE ENGINE THAT COULD (G) 76 minutes * * 1/2 A fun new version of the classic story with lots of bright and colorful animated. Featuring the voice talents of Whoopi Goldberg, Jamie Lee Curtis, Corbin Blue, and Patrick Warburton. Nice animation and a wonderfully positive story for the younger crowd.
LITTLE FISH (R) 109 minutes * * * Tracey (Cate Blanchett) is a former addict who is trying to work her way out of the problems of her life. But no matter how hard she struggles, she finds a setback around every corner. Her potential new love interest is a drug dealer, her old boyfriend is back and isn't any better, involving her brother, who has bad luck all his own, in a drug deal. They are little fish in a big pond, but aren't we all? Why is it that some of us make it and others don't? Blanchett's wonderful performance is no surprise, but there are several nice supporting performances as well and they more than compensate for some weaknesses in the script. R for language and sex.
LITTLE FOCKERS (PG-13) 92 minutes * * Jack Byrnes (Robert DeNiro) is ready to pass on the responsibility of caretacking the family, and is considering Greg (Ben Stiller) for the role of "god-focker". Third in the series, and the humor is continuing to grow more tired with each new entry. For Focker-fans only. PG-13 for language and sex.
LITTLE FOOT (NR) 70 minutes * The greatest showman in space, Barclay Blunderboar, has plans for an amazing, magical sideshow. The only problem is that he's not planning on paying any of the performers. He's just going to hold them captive and force them to perform. It's up to Little Foot and his friends Murray, Zoey, and Flip, to save the day. Cute, with a wide variety of characters, but the animation is both repetitive and poorly done.
LITTLE FOOT 2 (NR) 65 minutes 1/2 It's the middle of summer, but Murray is thinking about Christmas. Frankenstein is back, and wants to put an end to Christmas. Can Little Foot stop Frankenstein and save Christmas? Fewer characters and less interesting than the first film.
LITTLE GIANTS (PG) 100 minutes * * Yet another kids movie about losers who eventually win. It's watchable, but there's nothing you and your kids haven't seen dozens of times already. Rick Moranis and Ed O'Neill add nothing to the film. The only performance of note is by Shauna Waldron. The team's cheer, "Giants, Giants, help us God!" applies to the film as well.
A LITTLE HELP (R) 102 minutes * * 1/2 Her marriage has been getting a little rough lately. Now, just when it looks like it might take a turn for the better, Laura's (Jenna Fischer) husband dies. Trying to hold everything together isn't easy, and she could use a little help... in more ways than one. Funny and touching, and not afraid to show the rough edges of life, family, and relationships. Nice ensemble cast. R for language and sex.
THE LITTLE HOURS (R) 85 minutes * * Taking refuge at a convent seems like a good idea to Massetto (Dave Franco). He's sure that his master won't look for him there. What he doesn't know is just how unusual this particular group of nuns happen to be. Really unusual mix of humor, drama, and suspense. It tends to misfire quite a bit, but there are several good scenes too. R for sex and language.
LITTLE INDIAN BIG CITY (PG) 87 minutes * 1/2 You probably won't hear much about this since "Jungle 2 Jungle" was so much more successful. If you can see the subtitled version of this rather than the dubbed version, it's a little better. The boy is quite good here as he explores "civilization" for the first time and the film does have a good finish.
LITTLE JOE (NR) 101 minutes * * * Working at a facility responsible for developing new plant species, Alice (Emily Beecham) and Chris (Ben Whishaw) may have created a monster. "Little Joe" is a sterile plant that needs extra attention and affection. But if the plant is sterile, is it possible that it can figure out a way to make humans part of its reproductive process? A surreal horror film. Creepy.
LITTLE MAN (2005) (NR) 108 minutes * * * Amazingly personal documentary by director Nicole Conn. She and her partner have a second child whose chances of survival are very slim due to his extremely premature birth. Conn invites us to explore the difficult questions of life and death that they face as well as giving us a chance to get to know their "Little Man", Nicholas. It's rare to see a documentary that is so honest and challenging at the same time.
LITTLE MAN (2006) (PG-13) 90 minutes 1/2 After stealing a huge diamond, Calvin (Marlon Wayans) stashes it in a purse to avoid detection. Now he has to masquerade as a baby to try and get it back from the couple who has it. Momentarily sentimental, but mostly stupid. The special effects work that puts Marlon's head on a couple of different, smaller bodies is done nicely, but the film isn't really worth watching just for that. PG-13 for language and violence.
LITTLE MAN TATE (PG) 95 minutes * * * What do you do when your child is a genius and you aren't? Do you provide as many opportunities as you can for their education by sending them off to a special school, or keep them at home and treat them as though they were normal? There are many options and many good reasons for each choice. The deciding factor is how the parent's love for the child will be expressed. This is Jodie Foster's first film as a director. And much like little Fred Tate (played to perfection by Adam Hann-Byrd), whose story we see when he is eight years old, Foster began her feature film career when she was eight. The identification she feels with Fred comes through in how she directs this film. The characters could use a little more depth, but it's still a powerful piece of work from a first-time director. PG for language.
LITTLE MANHATTAN (PG) 87 minutes * * * Gabe (Josh Hutcherson) is ten years old and he's never felt like this before. He's known Rosemary (Charlie Ray) his whole life, but now there's something different. A sick feeling in the pit of his stomach, and an inability to say what he wants to, or even do what he wants when she's around. Could it be.... love? Charming look at first love with excellent performances by both Hutcherson and Ray. It's rather heavy on narration, though there are severeal sequences that allow the camera to talk as well. It's a romance story for the whole family... and those aren't easy to find. PG for language.
THE LITTLE MATCH MAKERS (NR) 101 minutes 1/2 Two kids decide their parents should be together and set about making that happen. Writer/producer/editor/director Agustin Castaneda, who also plays the part of the father, clearly takes on way too much here, giving us a script that is both simple and dull, and a cast that seems to have little direction aside from the words of the script.
LITTLE MEN (PG) 79 minutes * * A budding friendship is put to the test when the parents of two boys fight over a business lease. The story could have gone a number of different directions with this premise, but settles on a quiet and unassuming one that, while well-acted, doesn't really go anywhere. It's a slice of life, and in a sense a bit of a coming-of-age story, but not very strong. PG for language.
THE LITTLE MERMAID (G) 77 minutes * * * 1/2 Based on the Hans Christian Andersen fairy tale, this musical Disney version definitely takes a more lively approach. Upbeat music by Alan Mencken and Howard Ashman sets the tone and cute and funny little sea creatures are included to ensure the sales of an infinite number of movie related merchandise. It's relatively short and moves along quickly, which means that the kids' attention doesn't have much time to stray. The only real drawback is that the animation is not what Disney studios could have delivered.
THE LITTLE MERMAID (2018) (PG) 83 minutes * * 1/2 Inspired by the Hans Christian Andersen fairy tale, this is the story of Elle (Loreto Peralta). Her health issues lead her uncle to take her to a carnival in search of a magical healing elixer. Once there, they find what just might be a real mermaid, which fascinates Elle. She just can't explain why she is so drawn to this young woman who might really be a mermaid. Most of the cast is good, but Armoando Gutierrez performance as Locke definitely comes up lacking the sinister strength it needs. PG for violence.
THE LITTLE MERMAID (2023) (PG) 126 minutes * * * 1/2 A live-action remake of the Disney animated feature film, with Halle Bailey as Ariel. The majority of the changes from the animated version fall into two categories, both of which make a great deal of sense as the film is adjusted from being fully animated to being mostly live-action. The first is correcting some of the situations that made less sense before, that now are a little more logical with the more realistic look that us here. The second group follows some of that logic, which is that the colors used are more muted and natural, as they typically are, instead of being cartoonishly bright. It is still a Disney verion of a Hans Christian Andersen fairytale, with most of the same alterations to the story. Not only are the colors more muted, but the tone is darker than the animated version, and the ending is stronger and more emotional. PG for violence.
THE LITTLE MERMAID: ARIEL'S BEGINNING (G) 71 minutes * * 1/2 Another Disney straight-to-video sequel with much the same result. The animation is adequate, but the music is lacking the power and polish present in most theatrical releases. It is nice to see more of Ariel's sisters as we hear more about an earlier part of the story when their father didn't allow music to be heard in the kingdom as it reminded him of the death of his wife. Ariel's fans will enjoy this, but don't worry about buying the soundtrack.
LITTLE MISS SUNSHINE (R) 97 minutes * * 1/2 Dad (Greg Kinnear) isn't having any luck selling his motivational success program, Uncle Frank (Steve Carell) is home from the clinic after trying to kill himself over a failed love affair, Grandpa (Alan Arkin) has been evicted from the retirement home, older brother Dwayne (Paul Dano) has taken a vow of silence, and mom (Toni Collette) is trying to hold everything together. Olive (Abilgail Breslin) just wants to win the Little Miss Sunshine beauty contest, and she knows she has a chance. But can her dysfunctional family get her there in time? Will Grandpa's coaching really help? And what's so important about this contest anyway? The humor here is a bit uneven, with some wonderful bits, and others that just seem to fizzle. Collette seems to do a better job than the rest, but it may be because she doesn't really have any funny bits to worry about. Carell does some nice work as well, but it's the serious scenes, not the funny ones, that stand out. R for language.
LITTLE NEMO: ADVENTURES IN SLUMBERLAND (G) 80 minutes * * * The adventures of a little boy in the land of sleep. The animation is beautiful, especially the excellent use of different colors to highlight moods. There are some nice songs by Melissa Manchester here as well, but it's not a film that most children are likely to watch over and over. Icarus has the best lines, though you have to listen carefully to catch them as most of them are mumbled.
LITTLE NICKY (PG-13) 83 minutes * 1/2 Satan (Harvey Keitel) is going to fade away to nothing if Little Nicky (Adam Sandler) can't get his two brothers to come back to hell. That's the story. Sandler has his moments here, and the cast is impressive, with a huge list of comedians and others who contribute. But all we really end up with a a few funny scenes that are poorly strung together. A far cry from what Sandler is capable of though his fans will still enjoy it. PG-13 for language and violence.
LITTLE PINK HOUSE (NR) 95 minutes * * There are a number of films where corporations want to take over land, and people fight back to save their property. But instead of having silly villains, this story is based on an actual case that made it all the way to the Supreme Court of the United States. Susette Kelo (Catherine Keener) finds herself becoming the leader of the neighborhood as they fight to save their homes. There are a couple of emotional scenes, but for the most part, the film refrains from getting very emotional, which is unfortunate.
ThE LITTLE PRINCE (PG) 98 minutes * * * There once was a little girl (voiced by Mackenzie Foy) who had to grow up very quickly. When they move to their new house, she meets their neighbor, The Aviator (voiced by Jeff Bridges). He tells her stories of an amazing, magical world where anything is possible. It is the world of The Little Prince (voiced by Riley Osborne). It doesn't make much sense to do an English language version of the film and leave the songs in French. Otherwise, a beautiful retelling of a classic story. PG for language and violence.
A LITTLE PRINCESS (G) 91 minutes * * * 1/2 Though not completely true to Frances Hodgson Burnett's novel, this is a charming adaptation. Left at a boarding school while her father goes off to war, Sara (masterfully played by Liesel Matthews) has to adapt to the cruel ways of the headmistress. Even in the midst of her own hardships, she sees the needs of others and reaches out to help them. Patrick Doyle's music tops off a fine film for both young and old.
THE LITTLE RASCALS (PG) 76 minutes * 1/2 If you love cute kids... you may still find this a bit hard to watch. The kids are adorable, but most of them aren't very good actors. That may sound a bit harsh, but there are plenty of cute kids out there who do commercials and TV shows that they could've used here, but for some odd reason, they chose not to. Otherwise, this does have some of the spirit and look of the old TV show, but little of the sparkle that made it so much fun to watch. PG for language.
THE LITTLE RASCALS SAVE THE DAY (PG) 92 minutes * 1/2 The gang tries to raise money to save Grandma Larson's bekery... with predictable results. It's been 20 years since the last film, and the appeal of these characters is fading. Of course, a more interesting story might help, but even that is debatable with some of the dated stereotypes in the characters. PG for language.
LITTLE RED WAGON (PG) 100 minutes * * 1/2 In the wake of Hurricane Charley, young Zach (Chandler Canterbury) sees a way to help. He begins collecting supplies for those who were hit hard by the storm. A nice story early on, but later in the film, the focus turns toward the mechanics of his walk, and not enough about the purpose of it, which was to raise money for and awareness of homeless children. PG for language.
LITTLE RICHARD: I AM EVERYTHING (NR) 97 minutes * * 1/2 A history of Little Richard and his influence on rock and roll music. Packed with interviews with his contemporaries and music industry superstars as well as lots of clips of performances by and interviews with the legend himself. Despite his talent and his influence, it was a difficult path, and it got worse late in his life.
LITTLE SAVAGES (NR) 95 minutes * * An adventure for the younger crowd. Albie (Noah Lomax) and Tiffany (Katherine McNamara) are spending the summer with their aunt. But the real fun isn't at her house, but going on the treasure hunt that has the whole town searching. Corny, but harmless enough.
A LITTLE SEX (R) 88 minutes * * ½ A marriage takes several things to succeed. Among those are honesty and fidelity. This is the story of a man who struggled with both of those. Although billed as a comedy, there’s actually quite of bit of serious material here. R for sex.
LITTLE SHOP OF HORRORS (PG-13) 87 minutes * * * ½ Based on the 1960 classic horror/comedy film, this Is an updated and musical version, and very well done. Steve Martin, Rick Moranis, John Candy, and Jim Belushi all lend their considerable comedic talents, and this leans toward inviting the audience to participate with its musical sense of humor. Directed by Frank Oz, it’s campy fun and not to be missed. PG-13 for violence and language.
LITTLE SPARROWS (NR) 85 minutes * * 1/2 Three young women who face questions of life and death, growth and change, as they learn of the recurrance of their mother's breast cancer and what that means. Pacing and editing are both a little rough here, and the script is heavy with emotion and cathartic drama. There are times when it works well, but the movement to the lighter moments, which are clearly needed, don't work well, and the film struggles with how to not collapse under the weight of its depressing story at times.
THE LITTLE STRANGER (R) 104 minutes * * 1/2 The Ayres family has lived at Hundreds Hall for more than two hundred years. Recently, the family and the mansion have been in decline. As Dr. Faraday (Domhnall Gleeson) begins to treat one of the family, things in the house take on a more ominous tone, and Faraday is drawn in more closely to the unusual happenings. The story very slowly becomes more strange and sinister, but refrains from answering any questions, which leaves us a little puzzled at the end. R for violence.
THE LITTLE THINGS (R) 123 minutes * * * 1/2 He was just supposed to gather a little evidence for a case, but Deputy Sheriff Joe Deacon (Denzel Washington) rarely does just what he's supposed to do. He quickly finds himself wrapped up in a series of murders in his old stomping ground. Deacon always manages to notice the little things. Sometimes that;s all it takes to figure out the truth of a situation. R for violence, language, and nudity.
THE LITTLE VAMPIRE (PG) 88 minutes * * Tony (Jonathan Lipnicki) and his family have moved to Scotland and Tony keeps having these strange dreams about vampires. But these aren't ordinary dreams, and Tony soon finds himself helping some real vampires who are trying to free themselves from a centuries old curse. Adapted from the "Little Vampire" books, this is a fun story and Lipnicki does a great job in the lead role. The story has been rather stripped down, which is unfortunate, but it's still a cute vampire film that shouldn't be too scary for most kids. PG for violence.
LITTLE VOICE (R) 97 minutes * * * She doesn't talk much, but LV (Jane Horrocks) sure can sing. The problem is that she's stayed inside so long, no one knows if she can really show off this talent. She's more than just a little on the shy side. Horrocks is terrific as she recreates her role from the play, and Michael Caine won a Golden Globe award for his performance. Ewan MacGregor's timid character adds some nice variety as well. It's a quirky little film in some ways, but there's an undeniable charm here that wins us over quickly. R for language.
LITTLE WHITE LIES (NR) 150 minutes * * * A group of friends gather each summer at the vacaion home of one of their group. The extended time together brings underlying tensions to the surface as little lies are often exposed or magnified. Great work by the cast despite the rather tired story idea. The soundtrack is quite good too.
LITTLE WOMEN (1994) (PG) 113 minutes * * * Winona Ryder does an outstanding job with the character of Jo March here, but her co-stars do their part as well. Kirsten Dunst, Susan Sarandon, Gabriel Byrne, and Claire Danes are all wonderful. The story is a bit too wonderful to take at times, and you might find the feminism present a little out of place, but overall, it's a nice package.
LITTLE WOMEN (2017) (NR) 173 minutes * * * 1/2 Fine adaptation of Louisa May Alcott's classoc book, detailing the lives and loves of four sisters. Anchored by great performances from Emily Watson as Marmee, and Maya Hawke as the strong-willed Jo.
LITTLE WOMEN (2018) (PG-13) 108 minutes * * 1/2 Nice updating of the classic novel by Louisa May Alcott. Jo (Sarah Davenport) and Amy (Elise Jones) get the bulk of the story emphasis, focusing on their conflicts. Jo is the most strong-willed of the characters, but Davenport overplays the role and is virtually relentless in her portrayal of the character. A little subtlety would have been nice. PG-13 for language.
LITTLE WOMEN (PG) 130 minutes * * * 1/2 Masterfully directed by Greta Gerwig, this version of the classic story also features superb performances by Saoirse Ronin, Florence Pugh, Chris Cooper, and Meryl Streep. There are a few rough spots early on that are mostly related to the way the story moves from present to past and back again. It builds nicely after that rough start though, and finishes as one of the better versions of the story that you'll ever see. PG for language.
LITTLE WOODS (R) 97 minutes * * 1/2 Skirting the law is something Ollie (Tessa Thompson) has been good at. But the law is beginning to catch on, so she stops. Her sister Deb (Lily Janes) is another sort of problem. When things go bad for Deb again, Ollie knows what she has to do to get the money. Writer/director Nia DaCosta has given us two characters that we not only likem but that we keep hoping things will work out better for, despite what probably lies ahead. R for language.
LITVINENKO (NR) 184 minutes * * 1/2 As soon as he gets sick, Alexander Litvinenko (David Tennant) is certain that it's no accident. Proving that he was poisoned will not be easy. He doesn't have much time to explain what happened and who might be responsible. The ramifications go far beyond him though, and it will take years to get very much in the way of results or answers. Solid drama, though it slows down quite a bit in the middle.
LIVE BY NIGHT (R) 122 minutes * * 1/2 Gangsters from Boston try to set up shop in Florida, facing down the competition. Writer/director/actor Ben Affleck should have picked another person for the lead as he convinces no one but himself that he fits here. The script and direction, on the other hand, are both quite good, though there is a bit too much narration. Adapted from the book by Dennis Lehane. R for violence, language, and sex.
LIVE FLESH (R) 96 minutes * * * Victor's (Liberto Rabal) life gets off to a rocky start, but things take a really nasty turn when he ends up in jail. Determined to take revenge on those who put him there, he soon discovers something else abuot himself. Passionate characters whose lives are more tightly entwined than they realize, this is a beautifully filmed character study from director Pedro Almodovar, adapted from Ruth Rendell's novel. A treat not to be missed. R for sex and violence.
LIVE FREE OR DIE (R) 87 minutes * * 1/2 Rugged (Aaron Stanford) is a local legend, though not in the good sense. But if the truth were known, there's a very different story. He's always running some sort of small scam, trying to make hismelf look more impressive than he is, and now that an old friend has come back to town, he has even bigger plans. Unusual characters and an interesting story make this indie flick well worth a look. R for language.
LIVE FREE OR DIE HARD (PG-13) 124 minutes * * 1/2 An article entitled "A Farewell to Arms" by John Carlin provided the basis for this entry in the "Die Hard" series. Someone is planning a three stage strike against the US, tangling the transportation system, disrupting the economic system, and shutting down the utilities. The end result will immobilize the country. There is plenty of action, right from the start, and Bruce Willis has fun with how much more difficult it is to be so active when he's not getting any younger. The stunts, and the story, get more unbelievable as they go along, but hold up fairly well until late in the film. PG-13 for violence and language.
THE LIVES OF OTHERS (R) 132 minutes * * * Winner of the Best Foreign Language Film Oscar, this film follows East Germany's Minister of Culture (Ulrich Muhe) as he begins to investigate a playwright and his actress companion. They appear to be loyal, but something doesn't seem right. Perhaps not believing what you see says something about yourself. It's a fascinating character study, though we still needed to see more about Muhe's character. The ending is quite good, but could have been even more powerful. Excellent first feature film from writer/director Florian Henckel von Donnersmarck. R for sex and language.
LIVIN' LARGE (R) 91 minutes 1/2 A black kid from the "projects" gets his chance to make it big on TV only to find himself "turning white" in the process. Herbie Hancock's music is nice, but that's about it. R for language.
LIVING (PG-13) 97 minutes * * * 1/2 The diagnosis was not expected, but when Williams (Bill Nighy) learns that he only has a few months to live, he decides that he will take some time off work to enjoy life a little before he has to go. Being a very proper and well-respected individual, he doesn't really quite know how to go about doing that. Based on "Ikiru" by Akira Kurosawa, a powerful and poignant story of life, death, and legacy. PG-13 for language.
LIVING & DYING (R) 87 minutes * Thieves have their plans foiled when some other people show up on the scene. Taking the robbers and several others hostage, the deadly game begins. Everyone isn't who they appear to be though, but the story is not told well, so we don't really care. Arnold Vosloo delivers a good performance, but everyone else is two-dimensional at best. R for violence and language.
THE LIVING DAYLIGHTS (PG) 127 minutes * * * James Bond (Timothy Dalton) has to travel the world to stop an arms dealer from starting another world war. Fairly typical Bond film with lots of beautiful locations, plenty of action, and lovely ladies. Dalton's Bond is clearly stronger than Roger Moore's. Slick, but with a harder edge and a more refined sense of humor.
LIVING IN EMERGENCY (NR) 90 minutes * * * Profiles of four of the doctors who serve MSF (Medecins Sans Frontieres - Doctors Without Borders). To say that the work is challenging is an understatement. Conditions are more often terrible than not, and patients may not have ever seen a doctor before in their lifetime. Decisinos frequently have to be made very quickly because so many others are waiting and resources are so scarce. These are powerful stories, and this documentary offers an amazing look into the lives and work of these doctors and an organization that does so much, though there remains much more to be done.
LIVING IN OBLIVION (R) 89 minutes * * * 1/2 Masterful and unique look at the production of a low-budget film. Steve Buscemi is the director, on a set where almost nothing seems to go the way it's supposed to. Surreal and satirucal, this will definitely have more appeal to those with an interest in film or theater production. Writer/director Tom DiCillo has given us a film that is both entertaining and revealing, and a delight to watch. R for language and nudity.
LIVING IS EASY WITH EYES CLOSED (NR) 105 minutes * * * A different sort of road trip film, as an English teacher in Spain picks up two young hitchhikers on his way to meet John Lennon. A gentle and sweet film that touches on coming of age themes as well as the power of music and the wisdom that often comes with age.
LIVING OUT LOUD (R) 95 minutes * * * Holly Hunter and Danny DeVito play two people who have both had it a bit rough of late. But it isn't going to be love at first sight for them. Friendship maybe, but that may be it. Life can be tough, and the best way to make it is to just grab ahold and live it. As Queen Latifah says in the film, "You take the good with the bad." The film has an incredibly real feeling as it takes a rather depressing story and overlays it with a light and pleasant touch of hope. Filmed in Los Angeles and New York City. R for language and nudity.
LIVING PROOF (NR) 88 minutes * * * Plenty of big name acting talent in this TV movie about the development of the breast cancer drug Herceptin. Adapted from the book "Her-2" by Robert Bezell. The performances are both emotional, and fairly typical for this sort of medical drama. Starring Harry Connick Jr., Bernadette Peters, Regina King, Angie Harmon, Tammy Blanchard, Amanda Bynes, Amy Madigan, and Swoosie Kurtz among others.
THE LIVING WAKE (PG-13) 88 minutes * * * He may be about to die, but K. Roth Binew (Mike O'Connell) has a few things left to do before he leaves this world. To say he's eccentric would be an understatement. Mills Joaquin (Jesse Eisenberg) dutifully drives him around and takes notes for a biography to be published after his demise. It's a very dark comedy, but quite poignant as well, with an ending where your reaction may be just as surprising as the events. Interesting thoughts about both life and death. Filmed in Southern Maine. PG-13 for sex.
LIVING WILL (R) 96 minutes BOMB It was difficult to tolerate Belcher (Ryan Dunn) when he was alive. Now that he's back from the dead, it's worse. Will (Gerard Haitz) is just trying to move on, but Belcher wants to spend more time with his buddy, and it's causing problems. There's a moral about friendship here, but the characters are so unlikable that it gets lost. R for language and sex.
LIYANA (NR) 72 minutes * * * Group storytelling by children at an orphanage in Swaziland results in the creation of Liyana. She is a reflection of their collective lives. A character full of pain and loss, yet also filled with hope. A beautiful story from a remarkable group of children. The film does a very nice job of mixing the animated story segments with documentary footage about the children and the creative process.
LIZ AND DICK (NR) 88 minutes * * 1/2 Touted as a comeback film for Lindsay Lohan, her performance here is moderately good. Grant Bowler does a very nice job as Richard Burton, and the script does a reasonably good job of presenting well-rounded characters and covering a great deal of the intertwined lives of these two, especially considering the fairly brief length of the film.
LIZZIE (R) 100 minutes * * 1/2 When the new maid (Kristen Stewart) begins work, Lizzie (Chloe Sevigny) has a new friend. It's something she desperately needs in a household with an abusive (on just about every level) father, aand a mother and sister who are so ineffectual that they barely appear in the film. While this doesn't completely stay with the historical facts of the case, it's also not outside the realm of possibility. Well-acted and beautifully filmed, the rather manipulative and overly sexual approach to the story are the biggest problems. R for violence, sex, and language.
LIZZIE BORDEN TOOK AN AX (NR) 85 minutes * * The infamous case of the young woman accused of murdering her parents. Similar to the 1975 TV movie with Elizabeth Montgomery, the focus here is on the trial. The performances are good, though some scenes and images, especially those of the actual murder are very repetitive. The soundtrack is the most unusual piece here, with a mix of country rock music that just doesn't fit the mood or style of the film at all.
THE LIZZIE MCGUIRE MOVIE (PG) 88 minutes * * 1/2 Lizzie's (Hilary Duff) 8th grade class takes a trip to Rome where she discovers that she looks a great deal like a certain Italian pop star. The move from small screen to large works well. Duff does a nice job with this character and has fun as well. Full of catchy tunes, many of which Duff sings, it's a nice story about friendship and loyalty that's pleasant enough for the whole family. PG for language.
LOADED (R) 95 minutes * 1/2 It started out as fun, but Tristan (Jesse Metcalfe) doesn't know when to stop, and he keeps digging the same whole only deeper. The performances are reasonably good, but the characters have no depth and the story just never seems to go anywhere. It looks good, but it takes more than set and costumes to make a film. R for language, violence, and sex.
THE LOBSTER (R) 110 minutes * * Being single is not an option in this particular world of the future. If you are single, you are sent to The Hotel, where you have 45 days to find a partner. Those who don't, are turned into animals and sent into The Woods. Not just a strange premise, but it also plays out in a very unusual way. A few will find this fascinating and intriguing, but it is not an easy film to watch, and the ending doesn't help. R for sex and violence.
LOCAL COLOR (R) 104 minutes * * An artist looks back on his earlier days, sharing his memories of a mentor with us. Unnecessary narration and a very mediocre performance by Trevor Morgan undercut most of the emotional power this film might have had. The rest of the cast does a good job, but it's just not enough. R for language.
LOCAL HERO (PG) 107 minutes * * * ½ Sent to a small village in Scotland, Mac (Peter Reigert) is supposed to buy up all of the property, which will become part of an oil refinery. But that plan doesn’t go quite as expected when he starts getting to know the people there. Not an unfamiliar storyline, and a little depressing because it feels a little more realistic than many versions. The acting is quite good, and we find ourselves drawn in very quickly. PG for language and sex.
LOCH NESS (PG) 98 minutes * * * Over the years, many people have travelled to Loch Ness to catch a glimpse of the monster. Unlike most, Dr. Dempsey (Ted Danson) isn't going of his own volition. It's the only option he has left. He will be attempting to prove that the monster does not exist. But proving that the monster doesn't exist is not something that sits very well with the locals, who rely on the legend for the income that tourists bring. A fun story for the family with a charming performance by young Kirsty Graham. PG for violence and language.
LOCH NESS TERROR (R) 87 minutes 1/2 When he was a young boy, James (Brian Krause) saw the monster from the lake. Now he's back to see if he can track it down. But the locals don't want any part of it. The ones who believe are too scared, and the rest don't want outside interference with their local ways. Unfortunately, when we do see the monsters, they are lumbering and awkward, and not all that difficult to outwit. At least this doesn't end with one more egg that's about to hatch! R for violence.
LOCK UP (R) 104 minutes * With only a short time left on his sentence, Frank Leone (Sylvester Stallone) gets transferred to a prison run by his old enemy Drumgoole (Donald Sutherland). Simplistic and shallow film with little to offer. John Amos and Sonny Landham have small roles and Bill Conti provides the soundtrack. R for violence and language.
LOCKDOWN (2021) (NR) 82 minutes BOMB Covid 19 is killing people left and right. Rex (Kevin Nash) is convinced that killing off the homeless population would drastically slow the speed at which the virus is travelling. When he learns of Rex's plan, Hap must save his sister, who is currently one of the homeless people in the city. Very poorly written and paced, and the acting isn't much better.
LOCKDOWN (2022) (R) 81 minutes 1/2 Three hardened criminals take over a police station, demanding a huge ransom. At least the criminals here have a little character depth. The rest of the cast are very shallow. The script and the acting are less than desirable and Michael Pare seems uninterested in the whole thing. Very sudden ending. R for violence, language, and sex.
LOCKE (R) 80 minutes * * 1/2 An absorbing story, despite taking place entirely from the inside of a car as Ivan (Tom Hardy) drives to the hospital to be at the hospital when his child is born. Hardy is actually the only character we ever see, with the rest being voices on the phone, as Ivan tries to save what seems to be slipping away. Nice work by Hardy and writer/director Steven Knight. R for langauge.
LOCKED DOWN (R) 94 minutes * A good cop ends up in prison thanks to a corrupt system. It isn't any better on the inside, where he finds himself forced into a cage fighting scam. Stereotypical and shallow characters and fight scenes that are mediocre. R for violence, sex, and language.
LOCKED DOWN (2021) (R) 114 minutes * * The pandemic is raging and their relationship is on the rocks. Despite this, Linda (Anne Hathaway) and Paxton (Chiwetel Ejiofor) have a plan. A plan to steal a diamond. The film takes a long time to set up. Far too olong, even with the talents of Hathaway and Ejiofor. The heist itself is good, and so is the end of the film, but getting there is more difficult than it should be. R for language.
LOCKED IN (R) 84 minutes * 1/2 Maggie (Mena Suvari) works for an indoor storage facility. Just after she learns that a co-worker is involved in something illegal, the situation escalates. Now she's trying to keep herself and her daughter safe in a situation that seems to just keep getting worse. Mediocre performances, but the bigger problem is the dull script. R for violence and language.
LOCKED UP (NR) 83 minutes 1/2 When Mallory (Kelly McCart) fights back when bullied, she ends up in a correctional institute. Life is a little different in Southeast Asia. She quickly realizes that she's going to have to learn how to fight back even more than she just did. Poor acting, stiff dialogue, and mostly poor fight scenes. The ending is rather sudden and incomplete, not that we were wanting this to last any longer.
LOCKOUT (PG-13) 91 minutes * * 1/2 Security has been breached on the orbital maximum security prison, and the president's daughter, who was there to do a story, has been taken hostage. Though he still proclaims his innocnece, Snow (Guy Pearce) is offered the chance to redeem himself and earn a pardon by rescuing her. Nothing outstanding, but a reasonably good action film based on an idea by Luc Besson. PG-13 for violence, sex, and language.
THE LOCKSMITH (NR) 88 minutes * 1/2 Out early on good behavior, Miller (Ryan Phillippe) is trying to start fresh. Doing that is never easy. It's even more difficult when the dirty cop who put him in jail is still around. The story is stale, and despite fine performances by Phillippe, Kate Bosworth, and Ving Rhames, there's not much life to this.
THE LODGE (R) 102 minutes * 1/2 Grace (Riley Keough) isn't off to a good start with her fiance's two children. Most of the issues are no surprise, and they begin to work through them. Spending a few days together in a remote cabin helps. Or, at least it helps until a few strange things start happening. A good beginning, but this takes the wrong track at the end and becomes far less creepy and suspenseful than it could have been. Nice soundtrack that does a good job of creating an appropriate mood for the film. R for violence, language, and nudity.
THE LODGER (R) 92 minutes * 1/2 A serial killer is imitating Jack the Ripper. Could he be the new tenant in the guesthouse? This remake of the 1944 mystery/suspense film suffers mostly from the inexperience of first-time director David Ondaatje. The cast (Alfred Molina, Hope Davis, Rachel Leigh Cook, and Philip Baker Hall among others) has the talent, but this feels more like we're watching a rehearsal than the final product. The story has plenty of red herrings, which makes it interesting, but watch the original and skip this remake. R for violence, language, and nudity.
THE LOFT (R) 98 minutes * 1/2 Five friends share a loft for those times when discretion is important. But when a dead girl turns up there, who is responsible and what do they do about it? Nice twists and turns, but its difficult to feel much sympathy for any of these guys. Interesting that this film has been made twice before in the Netherlands and Belgium with different casts and directors, but the same writer. R for sex, language, and violence.
LOGAN (R) 131 minutes * * * 1/2 Much has transpired since we last saw Logan (Hugh Jackman). He is now taking care of Professor X (Patrick Stewart) with the help of Caliban (Stephen Merchant). Most of the other X-Men are long gone, and the Professor may not have much longer to live either. Their sanctuary is about to be invaded as their paths cross with that of a young mutant. Familiarity with the X-Men series is helpful, though this does a failry good job of standing on its own. Daphne Keen does a remarkable job as young Laura/X23, who is part of a group of new mutants whose powers were created on purpose. That creates a different set of issues than the original mutants, who had to deal with powers that were part of a natural mutation process. These young mutants have had a potentially normal life taken away from them. And they aren't very happy about that. Packed with action and great special effects. R for violence, language, and nudity.
LOGAN LUCKY (PG-13) 115 minutes * * * Jimmy (Channing Tatum) and Clyde (Adam Driver) have an idea. It just may be the perfect heist. It's also going to take some planning, because the Logan family has not been known for having events turn out the way they expect. Even when they take extra time to plan. A complex heist film that works very well, though we do wonder how it could have possibly worked so well. Nice supporting and cameo roles in a great cast. PG-13 for language.
LOGGERHEADS (PG-13) 91 minutes * * 1/2 Mark (Kip Pardue) has an interest in protecting Loggerhead turtles, and journeys to the Carolina coast to lend a hand. The feelings Grace (Bonnie Hunt) has had about needing to contact the son she put up for adoption have been intensifying lately. Elizabeth (Tess Harper) is also feeling a hole in her life with the absence of her adopted son. Three separate stories, yet connected. Well-acted, gentle story that quietly weaves its way. Nothing outstanding, but good drama, worth watching. PG-13 for language.
LOL (NR) 78 minutes BOMB The idea is to see how technology has affected the way men deal with relationships. Unfortunately, as this is a very low-budget film, technology is sorely lacking. So are a good script and anyone who can act. There is a mildly interesting subplot about filming people making noises with their mouths, but it's not worth the torture of watching the rest of this mind-numbing film to see.
LOL (2012) (PG-13) 92 minutes * * 1/2 Lola (Miley Cyrus) is growing up. her mom (Demi Moore) isn't so sure about it, but then again, she's got relationship problems of her own. When Lola breaks up with her boyfriend, it seems the world is over. But then she starts to get close to one of her long-time friends. Nice work by Demi Moore in this coming-of-age drama that reminds us all that when it comes to love, you need to be yourself. PG-13 for sex and language.
LOLA VERSUS (R) 82 minutes * * When Lola (Greta Gerwig) gets dumped just a few weeks before her wedding, she embarks on a journey of self-discovery... not without a few stumbles along the way. Cute, theough not all that deep, despite the characters tendencies to try to be. Zoe Lister-Jones is the one to watch here, as she clearly has the best lines in the film. R for language and sex.
LONDON (R) 87 minutes * * 1/2 London (Jessica Biel) is leaving town and her friends are throwing her a big party. Her ex-boyfriend Syd (Chris Evans) crashes the party in a desperate attempt to win her back. He's only beginning to understand why his life is falling apart without her. Strong characters here, but the film is very talky, and were it not so short, we'd be ready to leave early anyway. Fairly good work by both Biel and Evans, with Jason Statham supporting, but the peripheral characters almost seem pointless. R for sex, language, and violence.
LONDON BOULEVARD (R) 93 minutes * * 1/2 Hired to protect an actress who tends to avoid the public, Mitchel (Colin Farrell) finds himself falling in love with her. That might not turn out too badly except that Mitchel's old gang wants him to come back and start working for them. Now they have the leverage they need. Tries a bit too hard to be an artsy gangster movie without really going too far in either direction. Writtern, produced, and directed by William Monahan. Adapted from the book by Ken Bruen. R for violence, language, and nudity.
LONDON FIELDS (R) 101 minutes * * 1/2 She knows that her death is coming. Which of the three men in her life will be the murderer? Samson Young (Billy Bob Thornton) is there to write it all down, for what will likely be his best book ever. Amber Heard is quite good here as the mysterious femme fatale. This gets lots of points for the film noir style and Heard's performance, but the other characters just don't have much depth. R for sex, language, and violence.
LONDON HAS FALLEN (R) 92 minutes * * 1/2 With several world leaders in London, it's the perfect time for an attack. Mike Banning (Gerard Butler) is going to have plenty to keep him busy protecting the president (Aaron Eckhart) and catching the people responsible. Over the top action, with one unbelievable sequence after another. The script isn't as witty or exciting as it needs to be though, and far too much of this is easy to predict. Fans of "Olympus Has Fallen" will enjoy it as it is much the same material. R for violence and language.
LONDON HEIST (R) 93 minutes * * 1/2 Determined to uncover not only who killed his father, but what happened to the money from the heist, Jack Cregan (Craig Fairbrass) begins to see what he can learn. There are those who would rather he didn't, but Cregan is not going to give up. Most of the twists to the story aren't really surprising, but they work well. R for violence, language, and sex.
LONDON MITCHELL'S CHRISTMAS (NR) 96 minutes 1/2 London (Aaron D. Spears) is a bit of a jerk. He treats women like trash, doesn't see his kids much, and has no use for his ex-wife. He's also not as young as he used to be. He is also about to receive a diagnosis of prostate cance, which is going to change the way he looks at a number of things. The direction and script are both problematic here. The pacing is terrible, with too much of the dialogue taking awkward pauses, apparently to allow for effect before the next line is spoken. It doesn't appear to be an acting problem, though some of the supporting cast is pretty bad.
LONDON RIVER (NR) * * Two parents in search of their missing children. In the aftermath of the 2005 terrorist attacks in London, Elizabeth (Brenda Blethyn) and Ousmane (Sotigui Kouyate) hope to find their children alive. Though their frame of reference is different, their search is the same, and more deeply connected than they first understand. The ending is not as strong as the rest of the film, and feels somewhat incomplete.
LONDON ROAD (NR) 86 minutes * * The death of five prostitutes means that the residents of a particular neighborhood are left to wonder if someone among them is the guilty party, and what they need to do next. Presented as a musical, but using the actual words from interviews and statements from the residents in the actual neighborhood at the time of the murders. It's a brilliant piece of writing, but so much so that the actual story gets a little lost. Based on the stage musical.
LONDON SPY (NR) 278 minutes * * 1/2 Danny (Ben Whishaw) is used to casual relationships. Something is a little different about Alex (Edward Holcroft). What Danny soon realizes is that Alex was a spy for the Secret Intelligence Service, and Danny is way out of his depth. Nice espionage story, though it drags on far too long, which makes the very good ending a little bit of a struggle to get to.
LONDON TOWN (R) 89 minutes * * 1/2 The world seemed to be falling down around Shay (Daniel Huttlestone). He's 14 and living in London in the 1970s. It's difficult for any number of reasons, but when he hears The Clash, his world changes and it all begins to make sense. Fun coming-of-age film with some nice supporting performances. R for sex and language.
THE LONE RANGER (PG-13) 140 minutes * Yet another fine, old classic, transformed into mostly garbage for the big screen. The humor, which is heavier in the early parts of the film is far more often than not both distracting and out of place. There are a few moments where the story and the acting look like they might take a turn for the better, but it only lasts for a moment. Johnny Depp seems to have settled into one performance that he offers slight variations of for each new film he works on, and it doesn't really work here. PG-13 for violence and language.
LONE SURVIVOR (R) 112 minutes * * * From Marcus Luttrell's (Mark Wahlberg) book, the story of his team's effort to take out Taliban leader Ahmed Shah (Yousef Azami). Intense firefight sequences and an emotional finish that includes a dedication to the members of the team Luttrell served with. R for violence and language.
LONE WOLF (NR) 100 minutes * * Information has come to light that will require the Minister of Justice (Hugo Weaving) to review a large amount of video surveillance footage. Winnie (Tilda Cobham-Hervey) and Conrad (Josh McConville) are environmental activists who are planning to disrupt the G20. What they don't seem to be aware of is just how much of their activity is being recorded. This wraps up nicely, but the varying film quality, while lending weight to the authenticity of the film, is often difficult to watch.
LONE WOLF MCQUADE (PG) 104 minutes * * * McQuade (Chuck Norris) is a Texas Ranger on a collision course with a drug lord. Unlike many of Norris’ previous films to this point, the emphasis is on character development rather than fight scenes. Norris still struggles, but given the stronger storyline, he does reasonably well. PG for violence, language, and sex.
THE LONELY GUY (R) 94 minutes * * ½ Larry (Steve Martin) has never had great luck with the opposite sex, and it’s just gotten worse. Cute story about how difficult relationships can be for some people. Martin’s humor isn’t always a great fit here, but Charles Grodin’s performance is quite good, and Neil Simon’s adaptation of the book by Bruce Jay Friedman, “The Lonely Guy’s Book of Life” is excellent. R for sex and language.
LONELY HEARTS (R) 102 minutes * * Fictional account of the "Lonely Hearts killers", a couple who selected their victims through personal ads. The story deal quite a bit with how Ray (Jared Leto) and Martha (Salma Hayek) get caught in each other's traps and end up working together. Their relationship is, in turn, their downfall, as it twists and warps the way they relate to others, including their victims. The film noir style is an effective way to present the story, but feels a bit forced at times. Hayak seems uncomfortable with her character as well, and not all that convincing. R for violence, sex, and language.
THE LONELY LADY (R) 89 minutes * * Jerilee (Pia Zadora) is a struggling young screenwriter who allows herself to be exploited, hoping that it will lead to success. There are some similarities to the story of Marilyn Monroe, at least on the surface, though Zadora’s character tends to flaunt her sexuality more. R for sex, violence, and language.
A LONELY PLACE TO DIE (R) 95 minutes * * * Climbing and hiking in the Scottish Highlands, a group of friends discover a young girl who was kidnapped. Helping her seemed like a wonderful idea, but now the people who kidnapped her are after all of them. The story grows more and more brutal as it moves along, so be forewarned. R for language and violence.
LONELY STREET (R) 87 minutes * 1/2 Boring mystery/commedy, heavy on narration and light on entertainment. What's missing is the right balance between humor and mystery. Instead, we get a story that swings back and forth between the two. Adapted from the book by Steve Brewer. R for language and violence.
LONESOME (NR) 63 minutes * * * Looking for love in the big city isn't easy. Guy's (Zach McLain) roommate suggests that they go to the beach to meet some real people. It's there that Guy meets Roxie (Amber DeRuyter). Filmed in black and white with a few color highlights, and with long stretches of no dialogue, this evokes some of the feeling of silent cinema. A little bit classic, and a little bit modern. A very nice mix of both.
LONESOME DOVE CHURCH (NR) 84 minutes * 1/2 After preaching on the more sensitive subject of slavery, John (Tom Berenger) finds himself looking for a new church. He also needs to reconcile with his son. The little town of Grapevine, Texas might just be the place for both. An unusual mix of religious drama and western action that just never really works all that well.
LONESOME JIM (R) 88 minutes * * 1/2 Jim (Casey Affleck) sees himself as a failure in many ways, and decides to move back home at the age of thirty. While helping with the mundane activities of his family, he finds a little romance he didn't expect. Even then, he struggles, because after so many disappointments, thinking positively doesn't come very easily. Offbeat character study with nice performances by Affleck and Liv Tyler. Affleck's character is difficult to like, but we still find ourselves sympathizing with him at some level. Filmed in Goshen, Cromwell, and Ligonier, Indiana. R for sex and language.
THE LONESOME TRAIL (NR) 113 minutes BOMB A small town in the West, A new preacher (Peter Wray) comes to town with some big ideas that clash with a local land baron. Horrible script and acting that doesn't help. Even in the first few moments, we get a clue of what is coming, with background shots that are porrly done matte paintings, and and poorly disguised as such. It's a very long way around the barn to what ends up being the Christian story of the prodigal son.
THE LONG DUMB ROAD (R) 87 minutes * * Heading to Los Angeles to go to art school, Nat (Tony Revolori) meets Richard (Jason Mantzoukas). The trip turns into a strange series of adventures that Nat will never forget. The story tends to run in circles and loses energy quickly, despite and earnest performance by Revolori. R for language and sex.
THE LONG KISS GOODNIGHT (R) 111 minutes * * * 1/2 Unnerving, to say the least, that one could lose their memory. But what if you discovered that you'd been something totally different before the memory loss... like an assassin! Geena Davis does an outstanding job of making this believable. The story is laid out well and makes this a nailbiter almost all the way through! Great stunt work (much of it done by Davis) makes this a real treat to watch. One of the few films I'd like to see a sequel to. R for language and violence.
THE LONG SHOT (NR) 92 minutes 1/2 Typically overly emotional and over-acted Hallmark TV movie. The script completely ruins potentially good performances from Marsha Mason and Julie Benz. Most of the supporting roles seem to be played by actors with very little in the way of acting talent, though again, the dialogue, along with the awkward pauses do a wonderful job of ruining pretty much anything good that might have been there. Nice horses though...
LONG SHOT (2019) (R) 116 minutes * * 1/2 Could she possibly be the next president? Could he maybe be her boyfriend? They are both liong shots, but just maybe... Charlize Theron is Secretary of State, Charlotte Field, and Seth Rogen is Fred Flagsky, a journalirt turned speechwriter. It's a wild and raucous story that still manages to have moments of sincerity, romance, and political commentary, though it is also very predictable. R for sex and language.
THE LONG SONG (NR) 167 minutes * * * The days of slavery in Jamaica have come to an end. July (Tamara Lawrence) is a young woman now. Her mistress Caroline (Hayley Atwell) doesn't know how to manage her property or relate well to the former slaves. Her new husband seems to be more sympathetic, but it soon becomes clear that he is only a little better. Freedom does not come easily, and the transition to a world without slavery can take generations to accomplish, for history casts a long shadow. It is the story of July, but also the story of all who were once slaves in Jamaica.
THE LONG WALK HOME (PG) 92 minutes * * * Whoopi Goldberg and Sissy Spacek star in this version of the Alabama bus boycott, narrated by Mary Steenburgen. The film pulls its punches and paints a picture that's nicer than what happened, but it still gets the point across, and may be easier for some people to watch. Filmed in Alabama.
A LONG WAY DOWN (R) 91 minutes * * * Four people who've decided to end it all on the same night... in the same place. When it doesn't quite work out, they form a friendship of sorts. They also make a pact not to do anything like this again until at least Valentine's Day. Making that promise may mean more to them than they realize. It's an unusual, but likeable collection of characters, though the script shies away from taking the risk that the characters do, which is unfortunate. R for language.
A LONG WAY FROM HOME (NR) 77 minutes * * 1/2 Retiring in the south of France with his wife was what Joseph (James Fox) had always dreamed of. But he soon grows bored, and as his wife's mental state begins to deteriorate, he finds himself less content and longing for his younger days. Fox and Brenda Fricker lends this much more credibility than the script would indicate.
LONG WAY NORTH (PG) 77 minutes * * * The story of a young girl who defies her parents to go on an adventure in search of her grandfather. He has not yet returned from his trip to chart a new route to the North Pole. The use of a more two-dimensional style of animation and a watercolor design gives this a simple beauty that fits the story quite well. The use of reflections and shadows adds depth in a very subtle but effective way. PG for language.
LONG WEEKEND (R) 86 minutes * * 1/2 Having had the worst few weeks of his life, Burt (Finn Wittrock) meets an unusual and amazing girl (Zoe Chao). She's not who she appears to be, and she can only be around for a little bit. Sentimental romance that works primarily due to the chemistry between Wittrock and Chao. R for language.
THE LONGEST RIDE (PG-13) 122 minutes * * * She almost doesn't go, but once Sofia (Britt Robertson) gets to her first rodeo, she see Luke (Scott Eastwood)... and that's all it takes. Parallel to this story, runs the story of Ira (Jack Huston) and Ruth (Oona Chaplin). The parallel structure works, drawing us into two love stories, with characters we quickly grow to care about. PG-13 for sex and violence.
THE LONGEST WEEK (PG-13) 81 minutes * * 1/2 Conrad (Jason Bateman) has always had it easy. But that's all about to change. No money, no place to stay, and desperately in love... all at once. Bateman does a nice job here, but the dialogue often just doesn't have the sharp edges or wit that are needed. Olivia Wilde's character needs to be a little stronger, and the heavy narration tends to weaken the structure of the film rather than helping it. PG-13 for sex.
THE LONGEST WEEKEND (NR) 75 minutes * * 1/2 Lou (Mia Artemis), Avery (Elly Hiraani Clapin), and Rio (Adam Golledge) are not close as siblings. They are all now back in the same house. To add some extra tension, their abusive father wants to reconnect with them. The cast does a nice job though the script seems a bit stuck and doesn't develop the characters as deeply as it could.
THE LONGEST YARD (2005) (PG-13) 107 minutes * * 1/2 This remake of the 1974 comedy about a football game between prison inmates and their guards is definitely better than the soccer version of 2001 (Mean Machine), but still doesn't quite have the strength of the original. Sandler isn't much of a leader here, and the rest of the crew get in line a bit too quickly, though in some ways, they're never really that badly behaved. There are moments, but this is definitely one of Sandler's more mediocre projects. PG-13 for language and violence.
LONGFORD (NR) 92 minutes * * * Lord Longford (Jim Broadbent) believed in forgiveness and in the goodness of others. It's what motived him to visit people who were in prison as a way to live out his faith. When Myra Hindley (Samantha Morton) asked for him to visit, there was no hesitation. The fact that she had been convicted of one of the most heinous crimes didn't matter to him, though it would eventually have far more of an impact on his life than he ever thought possible. Broadbent delivers a bravura performance in this interesting look at two very different people, and how their lives affect each other.
THE LONGSHOTS (PG) 89 minutes * * 1/2 Keke Palmer stars as Jasmine Plummer, the first female quarterback in Pop Warner football history. Though her uncle doesn't really want to, he ends up watching Jasmine in the afternoons to help out. That's when he discovers her talent. Teaching her what he knows, she quickly becomes better than anyone expected, and earns the starting position on the team. Based on Plummer's true story and also starring Ice Cube. PG for language.
THE LOOK (NR) 96 minutes * * 1/2 Interesting and unusual look at Charlotte Rampling as a performer, and artist, and a woman. Part of what makes this interesting is that the interviews with her friends and colleagues are with Rampling herself, so what we have are intimate conversations, which are sometimes as revealing to her as they are to us.
LOOK AWAY (NR) 100 minutes * * She's never really had friends, but Maria (India Eisley) discovers another part of herself in the mirror. It's an evil twin, and it wants to trade places with her. After a particularly humiliating experience, Marie is ready to do just that. Her mirror twin has no inhibitions, and a strong desire to do everything Marie wouldn't dare to try. The script is tired, with a less than satisfactory ending, but the acting is good. It manages to give the film a little more depth than the script can manage.
LOOK BOTH WAYS (PG-13) 93 minutes * * * Creative and imaginative film that explores the effects of a train accident on various people. At the center of the story are Meryl (Justine Clarke), who was a witness, and Nick (William McInnes) who is a photographer on the scene shortly after. They wonder about their different reactions and about the reactions of others. Should they feel differently than they do? Why do accidents like these happen? It's a wonderfully artistic exploration of philosophical questions. You can look both way and accidents will still happen. The "good" news is that, as the lyrics in the closing song remind us, we should never worry, because there's always someone who is suffering more than we are. PG-13 for sex, violence, and language.
THE LOOK OF LOVE (NR) 97 minutes * * 1/2 Paul Raymond (Steve Coogan) goes from running a strip-tease show to producing love theatre, a magazine, and owning numerous properties, and eventually becoming the richest man in Britain. The tone is very light early on, which is partially the script and partially Coogan's style. It makes it a little difficult to take the film seriously, but there is definitely a shift, and the last third of the film is quite strong and somewhat bittersweet.
LOOK, UP IN THE SKY! THE AMAZING STORY OF SUPERMAN (NR) 108 minutes * * * 1/2 Not just for fans of Superman, this in-depth documentary is packed with just about everything you could ever want to know about the man of steel. From his comic book origins to his return to the big screen in 2006, we're treated to a detailed and thorough examination of all things Superman. And it's not limited to the well-known material, though that is present as well. There are screen tests for people who didn't get the role, interviews with numerous stars from film, television, and the world of comics, clips from a TV parody that was never aired, and much more. It's an excellent look at a cultural icon and why it still holds so much power after so many years. Narrated by Kevin Spacey.
LOOK WHO'S TALKING (PG-13) 90 minutes * * * Kirstie Alley and John Travolta work together quite nicely here, and it's evident that they had fun while making this film. The babies that play the part of Mikey as her grows up (there are four of them) are wonderful as well. And we can't forget Bruce Willis, who provides the voice of Mikey. It works better when they don't try to get the words in sync with the movements of the babies mouth, but the lines keep us laughing just the same. The humor is frequently sexual in nature, thus the PG-13 rating.
LOOK WHO'S TALKING NOW (PG-13) 91 minutes * * Mostly harmless fluff aimed at those who don't mind watching an hour and a half of dogs talking to each other. John Travolta and Kirstie Alley look like they wish they hadn't signed their contracts, but it manages to be mildly amusing for the most part. PG-13 for language.
LOOK WHO'S TALKING TOO (PG-13) 75 minutes 1/2 Virtually worthless sequel with only a couple of cute lines and a few cute looks from the kids. They add a baby girl to the story this time, but it doesn't do much. At least it's not too long!
THE LOOKALIKE (NR) 97 minutes * * 1/2 Sadie's (Gillian Jacobs) death has complicated Spinks' (John Savage) life, or more accurately his drug deal. Now he has to find a replacement. It sets a series of characters in motion as the story runs its course. There are a few too many distractions and the attempts to mislead us are far too obvious. Heavy narration at the beginning helps to set the story up, but isn't really necessary.
LOOKER (PG) 90 minutes * * ½ Complex plot involving cosmetic surgery that improves models whose images are eventually used for commercials rather than the models themselves. It plays out slowly, and is interesting, but the suspense is in the chase scenes rather than in the plot. Not a surprising area for writer/director Michael Crichton to be exploring. PG for sex, violence, and language.
LOOKING FOR COMEDY IN THE MUSLIM WORLD (PG-13) 94 minutes * Less-than-funny effort from Albert Brooks, which has him travelling to India (because there are Muslims there too) to see what makes them laugh. More self-indulgent than usual, and relying on far too many inside jokes, this is unlikely to appeal to anyone outside of a few of Brooks' hardcore fans. Maybe he should have tried to look for comedy in a script... PG-13 for language.
LOOKING GLASS (R) 101 minutes * 1/2 A very slow start and some logic problems don't help this, though it does get a little better as more details become evident. Photography and music are the best aspects of this film as they do a nice job of setting the mood. Unfortunately, the story and the acting don't deliver as well. R for sex, violence, and language.
THE LOOKOUT (R) 94 minutes * * 1/2 Chris (Joseph Gordon-Levitt) had everything going for him. After a tragic accident, it's all he can do to keep a job and earn enough to live on his own. But his job at the bank looks like a promising opportunity to someone else. Someone who is more than willing to use Chris to get what they want. Nice, sensitive portrayal by Gordon-Levitt in this dramatic look at the changes and challenges life sometimes brings. R for language, violence, and sex.
LOOKS LIKE CHRISTMAS (NR) 83 minutes * * "Christmas" Carol (Anne Heche) lives up to her nickname. Terry (Dylan Neal) is new in town, and hoping to be a single dad who is more involved with his daughter. Carol and Terry end up challenging each other a few times, but they just might be able to find a middle ground. This resolves a little too quickly, and there isn;t much chemistry between Heche and Neal.
LOOKS THAT KILL (NR) 87 minutes * * * 1/2 Max (Brandon Flynn) was born with a killer face. Really. People who see it die. It prevents him from connecting with anyone. Until one day... Alex (Julia Goldani Telles) has her own health issue. Emotions that are more intense make her heart grow. An unusual love story that does a wonderful job of being both funny and poignant.
LOONEY TUNES BACK IN ACTION (PG) 84 minutes * 1/2 It's not just the Looney Tunes that are back in action... but numerous other Warner Brothers actors and actresses as well. The problem is that despite a good deal of enthusiasm from Brendan Fraser, Jenna Elfman, and a few others, the story just doesn't add up to much. PG for violence.
LOONEY TOONS HALL OF FAME (G) 85 minutes * * * 1/2 Good variety of classic Warner Brothers cartoons, twelve in all. It's always fun to see collections of the old ones like this, even though the first one (Curtain Razor) isn't all that great.
LOONEY TUNES: RABBITS RUN (NR) 72 minutes * * 1/2 Lola Bunny has been working on creating a special perfume. When she's given the blossum of a flower that only blooms once every two hundred years, she finally has her special ingredient. If she can only find a way to get it to Paris while everyone is chasing her.
LOOPER (R) 111 minutes * * * In a future, where time travel is illegal, organized crime has sent people back who act as assassins. At least until they decide to "close the loop" and send back your future self for you to kill. Writer/director Rian Johnson does a nice job here with a time travel story, which is not as easy task as they often have logical flaws that are all too evident. What is a little unclear is why there was a decision to use prosthetic makeup on Joseph Gordon-Levitt. It's well done, but an unusual choice. R for violence, language, and sex.
LOOSE CANNONS (R) 90 minutes * * Two Washington D.C. cops are on the trail of a home movie made by Hitler... OK, not a great idea for a film to begin with. Too much of the humor here is tacky and in poor taste. Gene Hackman's presence gives the film a little bit of class, but only a little. R for language.
LOOSE CHANGE 9/11 (NR) 95 minutes * * * Comprehensive and thorough examination of the facts surrounding the events of September 11, 2001. It's an amazing array of information, and makes it difficult to imagine that so many different pieces that point to the idea that the whole story hasn't been told couldn't have some truth to them. The focus here is, for the most part, one of presenting pieces of information and asking us to think about what it might mean and why it hasn't been explained by official reports. Conspiracy theorists will ove this, but others should find it interesting as well.
THE LORAX (PG) 78 minutes * * Sort of a pop/rock version of the classic Dr. Seuss story with lots of bright colors and music. The animation is great, but stretching the story to add material about a boy trying to win the love of a girl by learning about the story of the Lorax and what it means doesn't really add much. PG for language.
LORD OF DARKNESS (R) 86 minutes * 1/2 The Scottish legend of Sawney Bean and his family of cannibals. In this particular version of the story, a journalist makes the mistake of writing some articles that bring a little bit too much attention to the situation, triggering retaliation by the Bean Clan. Gross, to be sure, but no real surprises. R for violence, language, and sex.
LORD OF ILLUSIONS (R) 104 minutes * * The death of a magician during a performance leads Harry (Scott Bakula) to believe that something out of the ordinary is going on. He's right, and we aren't surprised. The story is a bit too obvious and doesn't give us many scares except cheap noise effects. Simon Boswell's music is effective, but this is a pale shadow of what it should have been, coming from Clive Barker.
LORD OF THE FLIES (1990) (R) 86 minutes * * * Director's don't usually edit their own films, but Harry Hook has done quite nicely with this production. It's a retelling of the William Golding classic on the nature of humanity. A perspective that says, no matter how much we want to believe and hope for the best, it is violence and greed that will win in the end. Philippe Sarde's soundtrack fits the moods perfectly, and the cinematography is excellent. Hook chose to end the film without using much of Golding's closing words and the film loses something in the translation. It remains artistic, but feels empty, which is disappointing when the rest of the material is so strong.
LORD OF THE RINGS: THE FELLOWSHIP OF THE RING (PG-13) 169 minutes * * * 1/2 No expense was spared on this faithful big screen adaptation of the classic fantasy by J. R.R. Tolkien. It does run a bit long, and I would have trimmed a bit of the quest and opted for a few more minutes of Gollum. The story has been changed in a few spots, but most fans of Tolkien's story have agreed that the changes are reasonable and are anxiously awaiting the release of part two. It is a film about a quest, and being only the first part, it does leave us hanging at the end, much as the first book. It does look to be one of the few times that waiting has made it worthwhile. Hard to believe that it's from the same director who gave us "Bad Taste." Ah well, I believe he has more than made up for it with this. Filmed in New Zealand. PG-13 for violence and some rather scary and suspenseful sequences.
LORD OF THE RINGS: THE RETURN OF THE KING (PG-13) 192 minutes * * * Sets, costumes, and props all maintain the standards set by the first two films. The battle scenes are longer and more intense and more secrets are uncovered as the quest comes to an end. Unfortunately, this "chapter" drags terribly in a few spots and, by leaving out a good deal of the ending in the book, gives us a closing scene that makes little sense. Fans will be impressed and most likely appreciate this one the most as it completes the story, but it's really the least powerful and interesting of the three. PG-13 for violence.
LORD OF THE RINGS: THE TWO TOWERS (PG-13) 171 minutes * * * 1/2 Sets, costumes, special effects... all of these maintain a standard equal to or slightly better than in part one. Though some three part stories tend to lag a bit toward the middle, getting asborbed in detail, Tolkien's tale continues to offer us plenty of adventure along with some of the necessary details. The result is as entertaining as it is spectacular. The battle for Helm's Deep is over, the battle for Middle Earth is about to begin... and all our hope lies with two little hobbits. Filmed in New Zealand. PG-13 for violence.
LORD OF WAR (R) 116 minutes * * 1/2 Yuri Orlov (Nicolas Cage) is an arms dealer. His business begins to expand as he learns more. By the time he begins to wonder about the moral implications of his work, it's too late. He doesn't feel that there is anything else he can do very well. It's Cage's personal charisma and acting talents that hold this together. The script is far from subtle about the position it takes on the subject and supporting performances from Ethan Hawke and Jared Leto seem little more than cardboard characters with stilted dialogue. R for violence, language and sex.
LORD SAVE US FROM YOUR FOLLOWERS (PG-13) 99 minutes * * * Documentary about religion that does a nice job of lightly poking fun at both liberal and conservative traditions. Director Dan Merchant attempts to promote dialogue between those who have differing opinions and beliefs and shows how that dialogue can not only break down barriers, but allow both sides the opportunity to grow. PG-13 for language.
LORDS OF CHAOS (R) 111 minutes * * 1/2 A rebel at heart, Euronymous (Rory Culkin) decides to start the Norwegian Black Metal band, Mayhem. the tactics the band uses to get their fan base to grow are questionable at best. Violent and vulgar, they are also responsible for burning a number of churches in Norway. A large following begins to develop, but the band disolves after the suicide of one member and the murder of another. It's the unfortunate story of the early years of the real band Mayhem, which eventually re-formed, though never again reached the extreme levels that it did in its early years. Great wiork by Culkin. R for violence, sex, and language.
THE LORDS OF DISCIPLINE (R) 101 minutes * * 1/2 When a black cadet is accepted into the Carolina Military Institute for the first time, the reaction both racist and violent. Will (David Keith) is committed to helping resolve the situation, but the situation is getting more dangerous by the minute. R for nudity.
LORDS OF DOGTOWN (PG-13) 103 minutes * * 1975... there are those who surf, there are whose who skateboard, and there is the Zephyr team. Their unconventional style changed the world of skateboarding. This fictionalized account pales in comparison to the documentary "Dogtown and Z-Boys" which I highly recommend if this subject is of interest to you. The younger actors do a fairly good job in this film, but the script is very weak. PG-13 for language.
LORDS OF LONDON (R) 90 minutes * * Tony (Glen Murphy) is being haunted by his father's past. A ruthless and brutal gangster, Tony must deal with issues he has avoided, or he will find himself without hope. Told through layered flashbacks, which are at first a little confusing, but eventually more effective. R for language and violence.
THE LORDS OF SALEM (R) 94 minutes * 1/2 When an unusual record is delivered to the radio station to the attention of Heidi (Sheri Moon Zombie), the crew decides to play it to get people's reaction. It definitely has a strange effect on some of them. Does it have anything to do with the haunted apartment in Heidi's building? There are plenty of creepy images and the music is quite haunting. Unfortunately, the story methodically, and rather clumsily reveals each connecting piece of the mystery, taking away most of the suspense. R for violence, sex, and language.
LORE (NR) 100 minutes * * 1/2 At the end of World War II, Lore's (Saskia Rosendahl) parents are arrested and she is left to care for her four brothers and sisters. Now, as well as learning how to survive, they are also faced with the idea that what their parents taught them might not have been the whole truth. The images here are quite powerful, but also feel forced and manipulative as well as somewhat disconnected from the story.
THE LORETTA CLAIBORNE STORY (PG) 90 minutes * * * Inspirational true story of Claiborne's amazing achievements both as a person and as an athlete. A tribute to what those who are mentally and physically challenged can achieve. Kimberly Elise does a magnificent job in the title role and is supported well by the rest of the cast, especially Camryn Manheim. A great film for the whole family. PG for language.
LORNA DOONE (2000) (NR) 142 minutes * * * Wonderful adaptation of the classic story from BBC television. Featuring John Ridd, this version sprawls across the landscape and the screen as it tells the story of quarreling families, revenge, love, and loss. Well-performed and beautifully photographed, this is a wonderful presentation that sweeps us into the story and keeps us there until the very end.
LORNA'S SILENCE (R) 98 minutes * * 1/2 Lorna (Arta Dobroshi) is willing to do just about anything to get heer Belgian citizenship. The plan is for her to marry a junkie to get hers and then divorce him and marry a rich Russian, who is also interested in Bengian citizenship. There are other twists and turns as well, with the focus on Lorna and how she copes with them. The story is not particularly appealing, though we do find ourselves sympathizing with her struggle, at least to a degree. R for sex and language.
LOSER (PG-13) 92 minutes * * Paul (Jason Biggs) doesn't fit in too well. He's a nice guy, but the college scene is a bit beyond what he's ever seen before. Dora (Mena Suvari) may be able to help him, but she's in love with someone else. Suvari is the best part of the film as we get to see her character move from innocence to worldliness, from young girl to young woman. There are some nice scenes, but there's also a good deal of fluff without substance. It's mildly entertaining, but could have been much better.
THE LOSERS (PG-13) 90 minutes * * * They were a special ops unit, but the CIA decided to take them out. Too bad they didn't succeed. Now, "The Losers" are coming after them. Jason Patric's villainous performance is a bit too comical for the tone of the film, and the ending is a bit anti-climactic. Otherwise, this is wonderfully packed with action and clearly has the look and feel of the comic book from which it was taken. PG-13 for violence, sex, and language.
LOSING ISAIAH (R) 99 minutes * * Jessica Lange plays the part of a social worker, who adopts a baby that has, literally, been thrown in the trash. When the mother (Halle Berry) gets her life together and wants the baby back, a court battle ensues. A wonderful cast gets lost in all the stereotyped characters as we are swept through the story in dramatic TV-movie style. It isn't bad, but it should've been much better.
THE LOST (NR) 114 minutes * * The story of Ray Pye (Marc Senter), already well on his way to being a psychotic killer before we meet him, though we never get a sense of why, which is one of the most troublesome pieces here. Senter gives us a good deal of maniacal behavior, but there isn't a great deal of grounding for it. Adapted from Jack Ketchum's novel, based on a true story.
LOST AFTER DARK (NR) 81 minutes 1/2 A group of high school kids (who all appear to be in their mid/late 20s) steal a school bus to go have a night of fun. Logic aside, the bus breaks down and they end up at a creepy old (almost) deserted house where they are stalked by a killer. This tries to be a throwback to the 1980s slasher/horror genre, but it's a miss.
LOST & FOUND (PG-13) 94 minutes * 1/2 Dylan (David Spade) sees the girl of his dreams moving into another apartment in his complex. So he steals her dog to have a chance to talk to her more. OK, nobody ever said this was going to be a brilliant film... Spade has his moments here and Sophie Marceau looks nice, but the material they have here just doesn't have what it takes to keep us interested. Spade co-wrote it, but it just doesn't work very well. Part of the problem is that Spade needs a foil to work his comedy and this film doesn't provide that character. PG-13 for language and nudity.
LOST ANGELS: SKID ROW IS MY HOME (NR) 73 minutes * * * Skid Row in Los Angeles conjurs up images of violence and fear. There is violence here, but there is also tragedy and hope. Full of people who have mental issues, health concerns, and other problems, Skid Row is a collection of people who are surviving, and looking for life to be better. And when given the opportunities, many of them can and do make a better life for themselves. The stories here are personal, intimate, and powerful, offering us a close-up look at some of the lost angels of Skid Row.
LOST BAYOU (NR) 84 minutes * * * Gal (Teri Wyble) comes home as she's been asked to do. She finds something she wasn't expecting. She and her father (Dane Rhodes) don't get along all that well. Part of that is her addiction talking, and part of it is her struggle to understand her father as a healer. The healing is a talent that she shares with him but hides from everyone. The slow and easy pace of the film fits the story nicely.
THE LOST BLADESMAN (NR) 105 minutes * * 1/2 A historical drama, with some embellishments, about Guan Yu (Donnie Yen), whose efforts led to the collapse of the Han Dynasty and the beginning of Shu Han of the 3 Kingdoms. Lots of swordplay, but the story tries to be less sensational except for the scenes where Guan Yu is particularly determined to achieve his intent and finds that force appears to be the only way to do that.
THE LOST BOYS (R) 92 minutes * * * * Amazing and energetic vampire film featuring a gang of young male vampires. Michael Chapman's cinematography is hypnotic, Thomas Newman's soundtrack captures the spirit perfectly, and the cast is superb. Corey Feldman, Corey Haim, Kiefer Sutherland, Jami Gertz, Barnard Hughes, Dianne Wiest, Edward Hermann, Jason Patric... Greg Cannom lends his talents for the special effects makeup, and we have a gutsy story that doesn't opt for the cheap ending! A must-see for horror fans, and a must-own for vampire fans!
LOST BOYS: THE THIRST (R) 77 minutes * * DJ X (Seb Castang) is an alpha vampire who is offering a drug to those who want to come and party. It's his blood, and he's creating an amry of vampires out of the unsuspecting who are looking for a good time. Edgar Frog (Corey Feldman) has been having it a little rough lately, but he's always up for a good fight with a vampire. He'll have to find his own team though, as Alan (Jamison Newlander) opts out of the fray. The story here is better than in "Lost Boys: The Tribe", but the energy is still a bit low. R for violence, sex, and language.
LOST BOYS: THE TRIBE (R) 90 minutes * Glossy sequel that's filled with action, but empty and somewhat pointless. A surfer and his sister move to town and end up hanging out with the vampire crew. Corey Feldman is the only one back from the original, which is rarely a good sign. Everyone else must have realized that this wasn't a good idea. There are a couple of earnest, but ultimately failed performances, but even vampire fans are likely to be a bit disappointed with this sequel. R for violence, language, and sex.
THE LOST CITY (R) 139 minutes * * 1/2 Andy Garcia pays homage to the Cuba that was, with this story of a night club owner and his struggles as Fidel Castro and Che Guevera move to take the country from Fulgencio Batista. No matter what the political structure of a country, there are those who are happy and those who are not. Fico (Garcia) finds the strength he needs to deal with the changes by holding on to his love of music. It's a good film and it's interesting to see a positive vision of pre-Castro Cuba, but Garcia choosing to direct himself was probably not the best choice. He plays the part well, but there are bits that seem disjointed and others that seem to lose intensity. R for violence.
THE LOST CITY OF CECIL B. DEMILLE (NR) 84 minutes * * *
A documentary filmmaker became fascinated with the story from Cecil B. DeMille's autobiography about the burial of the set from the silent version of "The Ten Commandments". He first heard it from a friend, but the seed was planted. This is the story of a magnificent film, a legendary director, and the years of struggle and frustration as a dedicated crew work to uncover a piece of film history like no other.
THE LOST CITY OF Z (PG-13) 132 minutes * * *
There have always been stories of mysterious cities lost in the depths of the jungle. In the 1920s, Col. Percival Fawcett (Charlie Hunnam) was searching for one such city in the Amazon when he disappeared. Very nice production work, immersing us in the environment and in the story. The story eventually raises more questions than it answers, but as this is based on the life and expeditions of the real explorer, uncertainty about the outcome is the truth of the story. Adapted from the book by David Grann. PG-13 for violence, language, and nudity.
THE LOST DAUGHTER (R) 116 minutes * * *
She had planned a relaxing vacation by the sea. What Leda (Olivia Coleman) had not anticipated was other people interrupting her serenity. They seem rude to her, but a particular interaction opens the door to memories that Leda had buried. Not just an unpleasant reminder, these resurfacing memories threaten to unravel Leda's world. It's a dark and brooding piece, though there are moments that hint at lighter possibilities. Feature film writing and directorial debut from Maggie Gyllenhaal. Nice work! R for sex and language.
THE LOST HUSBAND (PG-13) 106 minutes * * 1/2
Although not really close to her aunt, Libby (Leslie Bibb) packs up a few things and her two children and moves to the goat farm in Texas. Losing her husband was tough, but moving on is not easy either. Having James (Josh Duhamel) around will help, escpecially as she uncover a couple of family secrets. Mostly slow-paced and heavily focused on developing Libby's character. PG-13 for language.
LOST ILLUSIONS (NR) 146 minutes * * * 1/2
With dreams of becoming a famous and respected writer, Lucien (Benjamin Voison) heads to Paris. It is much more difficult than he expected, and he soon learns that the critical, sensational press will pay more. It is also easily influenced and bribes hold a good deal of power. It's a story of a young man, and how he comes to realize that his dreams are merely that, and how true that might be for anyone who doesn't appreciate how precarious the balance is between desire and reality. A wonderful adaptation of Honore de Balzac's novel "Illusions Perdues".
LOST IN AMERICA (R) 90 minutes * *
It seemed like a good idea at the time. David (Albert Brooks) and Linda (Julie Hagerty) quit their jobs so they can drive around the United States in their Winnebago. Brooks also thought it was a good idea to write and direct this as well as star in it. Perhaps not. Fans of his humor will enjoy this more than others, but it's still a bit rough around the edges and not always as funny as intended. R for language and violence.
LOST IN AUSTEN (NR) 182 minutes * * * 1/2
Amanda (Jemima Rooper) loves Jane Austen's books, but when Elizabeth Bennet (Gemma Arterton) steps into her apartment through a hidden door in the bathroom, she's at a loss for words. When she steps through the door in the other direction, she finds herself in the world of the characters she loves... but she can't get the door to open again. Now she's in the story of "Pride and Prejudice", and things aren't going the way they're supposed to now that she's there instead of Elizabeth. Rooper is delightful and does a wonderful job of entertaining those who enjoy Austen's work as well as those who are looking for a light fantasy/romantic comedy. Don't overlook this little gem!
LOST IN HONG KONG (NR) 107 minutes * * 1/2
Xu Lai gave up his dreams as real life began to take its toll. But when he has a chance to reconnect with his old flame, he decides to take a chance on his dreams again. Doing so ends up putting a sequence of events into motion tht will remind him of what he really values in life.
LOST IN PARIS (NR) 80 minutes * * *
Fiona's (Fiona Gordon) aunt, who lives in Paris, needs help. Fiona has always wanted to visit Paris, so this seems like a golden opportunity. But things aren;t going so well. Her aunt isn't where she's supposed to be, she falls into the Seine and loses her passport, and the only person who is willing to help is... more of an annoyance than a help. To his credit, Dom (Dominique Abel) is persistent about offering to help. Gordon and Abel are married in real life, and their brand of physical comedy is a delightful combination of charming and outrageous.
LOST IN SPACE (PG-13) 120 minutes * * 1/2
The Robinson family takes to the big screen in this big-budget special effects extravaganza. Sent on a mission to begin colonization of a distant planet, they find themselves lost after having to initiate their hyperdrive to avoid crashing into the sun. The special effects are definitely of the highest quality, not only of the visual variety, but sound effects too. The characters, however, are disappointingly two-dimensional. We find ourselves not connecting with the Robinsons, and therefore, not caring much about what happens to them. We also find ourselves being more amused by Gary Oldman's portrayal of the evil Dr. Smith than feeling him to be a real threat. Far from the blockbuster some thought it might be, it's still an entertaining visual effects feast for those who are interested. PG-13 for violence and language.
LOST IN THE SUN (NR) 90 minutes * *
When John's (Josh Duhamel) path crosses that of Louis (Josh Wiggins), they both see an opportunity, but they are looking in different directions. The story struggles to convince us, in part because it keeps too many secrets, waiting for the right moment to reveal them. We already know what they are, but the characters are still in the dark. The result is a pace that drags, despite some good work by the cast.
LOST IN TRANSLATION (R) 96 minutes * * *
The best way I can describe the story here is that it's romantic, but not a romance... it's a story about love, but not a love story. Bill Murray stars as Bob Harris, an American film star in Japan to shoot some commercials and advertisements. Scarlett Johansson is Charlotte, a young woman whose photographer husband tends to leave her alone despite the fact that they've only been married for two years. It's a quiet, gentle story that tends to works it's magic even after you've finished watching. Johansson and Murray are both wonderful here, and director Sofia Coppola has done a nice job of giving us a different sort of story... which isn't an easy task. R for language and nudity.
LOST IN YONKERS (PG) 110 minutes * * * 1/2
Mercedes Ruehl shines as Bella, the youngest daughter of an old German woman in Yonkers, whose grandsons have come to stay while their father tries to find a way to pay their debts. Neil Simon's story is full of memorable characters, and we find ourselves quickly drawn into the story. The two boys lose their fear and learn what it means to have "moxie", and Bella loses things too, but losing some things and gaining others... that's part of what growing up is all about. PG for language.
THE LOST KING (PG-13) 104 minutes * * *
The location of the remains of King Richard III has been unknown for hundreds of years. Philippa (Sally Hawkins) is at a point in her life where taking a risk might be just what she needs to do. Maybe this is a mystery she can solve. Based on the true story, with very nice work by Hawkins. PG-13 for language.
THE LOST MEDALLION: THE ADVENTURES OF BILLY STONE (PG) 94 minutes * *
Following in his father’s footsteps, Billy (Billy Unger) is searching for an ancient medallion with mystical powers. When he discovers it, it also becomes clear that others were looking for it as well and will use any means they can to steal it. In many ways this is a nice adventure film for the 6 to 10-year-old crowd. The younger actors in the film do a much better job than their elders, most of whom come off rather cartoonish. The framing of the story is as a tale told to a group of foster children, which is not only somewhat forced, but also allows for a very strong Christian “moral to the story" at the end of the film. PG for violence.
THE LOST PATROL (NR) 104 minutes * 1/2
An explosion causes a group of soldiers to scatter. Three of them are now lost, and the Germans are approaching. Afraid they will be seen as deserters, they are desperate to get back to their line. The story is told through the eyes of one of these three, who narrates the film. The narration really isn't helpful.
LOST RIVER (R) 90 minutes * *
Once upon a time, there was a dying town. Nearby, under water, there lay a town already dead. Filled with mysterious characters and a mother and her son who just want to live in their home undisturbed. A strange piece with unusual camera angles and creepy music that help set the tone. R for violence, language, and sex.
THE LOST ROOM (NR) 248 minutes * * 1/2
A strange key is now in the possession of Detective Joe Miller (Peter Krause). It opens any door and turns it into a portal to a unique motel room. If you put anything in the room that was not originally there, when you close and then open the door... it's gone. Objects that were initially in the room have special powers, and many of them have been removed. Joe's daughter disappeared because of the room, and he's desperately trying to figure out how to get her back. The ending is less convincing than the rest, but it's a fun and imaginative trip getting there.
LOST SOULS (R) 93 minutes * 1/2
There are those who believe that evil exists and there are those who don't. Peter Kelson (Ben Chaplin) has counted himself among those who don't, but he's about to learn otherwise. There are some nice chills scattered throughout the film. Most of these are accomplished through careful direction of our attention, but there are also a number of cheap noise scares as well. Winona Ryder definitely looks the part, but the script too quickly becomes trite and boring and there's little she can do to add life to it. And to top things off, the ending is weak to say the least. R for violence and language.
LOST STALLIONS: THE JOURNEY HOME (NR) 79 minutes 1/2
Troubled teen heads to a ranch with his mother to deal with the death of his father. Amateurish acting and editing along with an incredibly simplistic script. This is the sort of film that gives "family films" a bad name.
LOST TRANSMISSIONS (NR) 98 minutes * * 1/2
A big name music producer, Theo (Simon Pegg) has stopped taking his medication. It's for schizophrenia. Once his friends realize what has happened, they try to help. It's not going to be easy, because Theo doesn't think he needs any help. A melancholoy film that show to some extent how difficult it can be to deal with mental illness.
THE LOST TREE (NR) 86 minutes * 1/2
When Noah's (Thomas Ian Nicholas) wife dies in a tragic accident, it upends his life. Leaving city life behind, he moves into a remote cabin. But strange things start happening, and they seem to be connected to an old tree not too far from the house. Good story (until the end), with some nice suspense, but the acting and photography aren't very convincing.
THE LOST VALENTINE (NR) 87 minutes * * *
A promising reporter, Susan (Jennifer Love Hewitt) is assigned a Valentine's Day story that she thinks is rather silly and sentimental. It ends up having much more relevance to her life than she ever thought possible. Charming performance by Betty White.
THE LOST WORLD: JURASSIC PARK (PG-13) 122 minutes * * 1/2
There are plenty of great close-up shots of dinosaurs in this sequel, which is nice to see. What also would have been nice is if this would have had the excitement of the book. The story is sadly lacking and very uninteresting, so we have to rely on watching a fascinating mix of animatronic and computer animated dinosaurs romp through the scenery chasing actors who are looking for a better script. The special effects are setting a new standard, but this is still disappointing as a sequel. Filmed in part in Kauai, Hawaii. PG-13 for violence and language.
A LOT LIKE LOVE (PG-13) 100 minutes * * 1/2
On his way from Los Angeles to New York, Oliver (Ashton Kutcher) bumps into Emily (Amanda Peet), a rather free spirit, to say the least. It's like lightning when they connect, but they soon part, only to find themselves meeting again over the next few years. It always seems to be the same... brief, but intense connections... amazing memories... a lot like love. Peet out performs Kutcher every step of the way, though this isn't really a surprise. PG-13 for sex and language.
A LOT OF NOTHING (NR) 100 minutes * * 1/2
After hearing about another young black man being killed by a cop, Vanessa (Cleopatra Coleman) has had it. Then she realizes that the police officer in question lives next door. At first, she just wants to have a conversation with him. This quickly escapates into a desire for justice. Her husband (Shamier Anderson) is caught between understanding what his wife wants are raelizing that she;s gone too far this time.
LOTTERY TICKET (PG-13) 94 minutes * *
It's a $370 million dollar winning lottery ticket, and no one knows that Kevin (Bow Wow) has it except his grandmother, his best friend... and now the whole neighborhood. They soon find that having a lot of money doesn't necessarily make life easier. And that's before they even get a chance to cash it in. Tired story, though the performances are energetic enough to give this a little life. PG-13 for language, violence, and sex.
LOUDER THAN A BOMB (NR) 99 minutes * * * 1/2
The world's largest youth poetry slam happens every year in Chicago. This documentary follows four competitors as they prepare to present their work for their peers and the judges. Not only does this offer great insight into the competition and the work of the performers, but the poetry is just amazing.
LOUDER THAN BOMBS (R) 98 minutes * * *
Three years after her death, photographer Isabelle Reed's (Isabelle Huppert) work is being celebrated with an exhibition. When her eldest son returns home for the exhibition, he discovers that his father and younger brother are still stuck, and haven't come to terms with her death. But neither has he. Strong performances anchor a story that struggles to deal with the emotions and feelings that its characters have. R for language, sex, and violence.
LOUDER THAN WORDS (PG-13) 82 minutes * * 1/2
When their daughter dies unexpectedly, John (David Duchovny) and Brenda (Hope Davis) are faced with the different ways they go through the grieving process. Their three older children have their own issues and concerns. Duchovny plays this a little too casual early on, and just as we're starting to connect with him and the rest of the family, the film is over. Another 10-15 minutes would have been good, and given us a better look at the new hospital that was built as a result of ther work to help other families who have to deal with similar circumstances. We do get to see a few pictures of the real hospital during the credits, but seeing the characters design and work with some of the concepts would have added some depth that is lacking. PG-13 for language.
LOVE ACTUALLY (R) 130 minutes * * * 1/2
Love actually is all around us, you just have to look for it. Sometimes beautiful, sometimes terrible, but always there. Thus the stage is set for several little vignettes that show love in its various forms working its way in the lives of different people. The stories build well and begin to weave together quite nicely with vivid characterizations by a talented cast. Alan Rickman, Colin Firth, Emma Thompson, Hugh Grant, Leira Knightley, Liam Neeson and the rest all do admirable work in a film that is sure to leave you with a smile on your face. R for language and sex.
LOVE AFFAIR (1994) (PG-13) 102
minutes * * 1/2
This remake of the 1939 classic stars Annette Bening
and Warren Beatty, the former doing a fine job, the
later walking through his part with little emotion or
understanding. The best scenes of the film feature
Katharine Hepburn as Beatty's aunt, still full of
fire and screen presence. Ennio Morricone lays down a
nice soundtrack, but you're better off with the
original here.
LOVE AFTER LOVE (NR) 88 minutes * *
We all deal with grief in different ways. All too often, we also critique those we love when they don't grieve the same way we do. That's what Nicholas (Chris ODowd), Chris (James Adomian), and their mother (Andie MacDowell) are going through. MacDowell is good here, but the story plods along without much spark.
LOVE, AGAIN (NR) 83 minutes * * 1/2
Their marriage has become stale and boring. Chloe (Teri Polo) and David (Paul Johansson) are just about ready to split up. And then their daughter comes home with a surprise announcement. As they help the happy young couple, they begin to rediscover what they had lost. Cute romance with beautiful scenery.
LOVE AGAIN (2023) (PG-13) 96 minutes * * 1/2
Two years after the tragic, unexpected death of her boyfriend, Mira (Priyanka Chopra Jones) is still grieving and staying with her parents instead of in her apartment with her sister. As a coping mechanism, she starts sending texts to his phone number. That number has been reassigned though, and Rob (Sam Heughan) has been going through a heartbreak of his own. They each find the conversation helpful. The story makes use of several Celine Dion songs and features her in her first film role. PG-13 for sex and language.
LOVE ALASKA (PG) 87 minutes * 1/2
Maggie (Sarah Podemski) is back in Love, Alaska to take over the operation of the medical clinic. Finn (Victor Zinck Jr.) is ready to leave town, but decides to stay for just a few more weeks. They used to be best friends, but much time has passed and they have both changed. There just might be a chance though, if they can just stay out of their own way. The idea that a town would focus on relationships because of its name is fun, but there's almost no chemistry between Podemski and Zinck.
LOVE AND A .45 (R) 98 minutes * * 1/2
A small-time thief, Watty (Gil Bellows) has just stumbled into a life of larger crime. He's heading to Mexico with his wife (Renee Zellweger). Who knows if they'll get there. The story isn't great, but Zellweger's charming and energetic performance does wonders for the film. R for violence, language, and sex.
LOVE AND BASKETBALL (PG-13) 118 minutes * *
That new little kid in the neighborhood can really play ball... and she's a girl! Monica (Sanaa Lathan) and Quincy (Omar Epps) grow up next door to each other. They both love basketball and sometimes each other. This isn't a bad film, but it goes on far too long and loses momentum on several occasions. Epps and Lathan have to stretch a bit too much to play teenagers, though they both deliver nice performances. PG-13 for language.
LOVE & FRIENDSHIP (PG 90 minutes * 1/2
Lady Susan (Kate Beckinsale) goes to stay with her in-;aws for awhile. She intends to accomplish not only the discovery of a suitor for her daughter, but perhaps one for herself. The acting is a little unusual. Everything is prim and proper (and the costumes are beautiful) with an underlying humor that the characters seem to be unaware of. That sense of humor is fitting for an adaptation of a Jane Austen novella, but while the script does not betray that hidden humor, their performances do. The result of that inconsistency is that the story is weaker than it should be. PG for language.
LOVE AND HONOR (PG-13) 119 minutes * * *
Shinnojo (Takuya Kimura) dreams of a better life, one where he can teach children how to be warriors. But fate has other plans in store for him. Nicely told story with gentle touches of humor and sentimentality that add to the depth of the characters. Nice work by talented writer/director Yoji Yamada. PG-13 for violence.
LOVE AND HONOR (2013) (PG-13) 91 minutes * 1/2
When Dalton (Austin Stowell) gets a "Dear John" letter, he decides to go AWOL to win her back. Mickey (Liam Hemsworth) tags along for moral support and ends up falling for Candace (Teresa Palmer) who he meets along the way. This feels a lot like a Nichaolas Sparks story, but it isn't. And if it was, the characters and story might have had a little more depth than what we have here. At least a little. PG-13 for sex, language, and violence.
LOVE & MERCY (PG-13) 115 minutes * * *
Brian Wilson (Paul Dano/John Cusack), the creative energy behind the Beach Boys, was plagued with self-doubt, and numerous other psychological and physical issues. As with many artists, these troubles were channeled into a magnificent creative output. This is the story of those years and of the love that helped ground him many years later. The movement back and forth between Dano and Cusack takes some getting used to, but the story and performances are compelling enough to carry it through. PG-13 for language.
LOVE AND MONSTERS (PG-13) 103 minutes * * * 1/2
Life was going well for Joel (Dylan O'Brien) until the world went to the monsters. Literally. Most people live underground now, but even that isn't always safe. He's managed to stay in touch with his girlfriend (Jessica Henwick), who is 85 miles away from him. Despite his tendency to freeze in the face of danger, Joel finally decides that he has to go see her. Really nice effects in this fun and exciting adventure film. Nice work by young Ariana Greenblatt as Minnow. PG-13 for violence and language.
LOVE AND OTHER DISASTERS (R) 87 minutes * * 1/2
Jacks (Brittany Murphy) is constantly trying to fix up her roommate Peter (Matthew Rhys), who has fallen in love with someone he hasn't actually met. Of course, her own love life is in need of help as well, but it's usually easier to see what others need, rather than youself. Snappy dialogue, thuogh a bit contrived at times. Still, the cast makes it fun to watch, and the ending is cute as well. R for language and sex.
LOVE AND OTHER DRUGS (R) 108 minutes * * 1/2
He's shallow and cocky. She's flamboyant and carefree. They're drawn to each other for some strange reason, but will need to get past what's on the surface if they're going to make this relationship work. It's not going to be easy. jake Gyllenhaal and Anne Hathaway are both good here, though the story isn't overly romantic at times, and a bit too distant at others. Finding the middle ground seems to be a struggle, and it keeps us from connecting to the story as well as we need to. R for sex and language.
LOVE AND SUNSHINE (NR) 83 minutes * * 1/2
Ally (Danica McKellar) has been using the military service dog she's been fostering as a way to get over a breakup. When Jake (Mark Deklin) returns to take his dog, lots of things get complicated. Timing can be everything. McKellar and Deklin work well together, and Peter Benson does a nice job supporting them.
LOVE AT FIRST BARK (NR) 83 minutes * * 1/2
Feeling ready for the next step in her life, Julia (Jana Kramer) adopts a dog. King is wonder, but his trainer is cute and single. When Julia ends up needing his help designing a room for a dog, the sparks begin to fly. Formula story, but it's cute and the cast is appealing, so it works.
LOVE AT FIRST DANCE (NR) 83 minutes * * 1/2
Her latest student is Eric Gunderson (Niall Matter). He's currently engaged, but he's also having doubts. Hope's (Becca Tobin) dance lessons are starting to open up opportunities and feelings that neither one of them expected.
LOVE AT FIRST GLANCE (NR) 81 minutes * *
Mary (Amy Smart) thought she was going to get a proposal, but instead, she got dumped. He wanted someone more exciting and spontaneous. So, she decides to be spontaneous, and look for the owner of a cell phone that was left on the subway. It turns out that he's very adventurous. Filled with trite definitions of what love is, but Smart carries the film well.
LOVE AT LARGE (R) 93 minutes * * 1/2
On one level, this is a story about two detectives who keep stumbling over each other as they work with a case involving mistaken identities. But on another level, it's a story about love as seen from different viewpoints with the mystery as a background for this exploration of meaning. Interesting and different, with a wonderful cast that includes Tom Berenger, Elizabeth Perkins, Anne Archer, Annette O'Toole, and Kate Capshaw. R for language and nudity.
LOVE AT SEA (NR) 83 minutes * *
Expecting a proposal frm her boyfriend, Olivia (Alexa PenaVega) instead finds herself out of a job. That does free up her time to help out as the event planner for a cruise. Brand new cruise director Tony (Carlos PenaVega) has a different way of doing things. It's not starting off well. This is mostly a very lengthy commercial for Royal Caribbean cruises, but Carlos and Alexa are a cute couple and play off each other well.
LOVE AT THE SHORE (NR) 83 minutes * *
Wuth a deadline rapidly approaching, Jenna (Amanda Righetti) is going to be using this vacation as a working retreat. Having her kids along is going to make it rough, but her neighbor is even worse. Or maybe he's exactly what she needs. Sentimental Hallmark romance.
LOVE AT THE THANKSGIVING DAY PARADE (NR) 83 minutes * * *
Emily (Autumn Reeser) has just been given a new assignment at work: explain everything about the Thanksgiving Day parade to Henry (Antonio Cupo). He's trying to figure out how to save the city money, and the parade looks like a prime candidate to be cut. It's obvious that they're going to end up together, but the script does a nice job of slowly bringing their divergent viewpoints together. Cute and charming, with some very nice work by Reeser.
LOVE BEATS RHYMES (R) 100 minutes * * 1/2
In her world of rap battles, Coco (Azealia Banks) is a star. But a record contract seems to be out of reach. Enrolling in a poetry class, she hopes to please her mother and impress the teacher. Instead, she learns much more than she expected. Tired story, but great poetry and good performances make it work. R for language and sex.
LOVE BEGINS (NR) 87 minutes * *
While Ellen (Julie Mond) and Cassie (Abigail Mavity) try to maintain the family farm on their own, a turn of events will change their lives. Clark's (Wes Brown) life changes as well. He needs a place to work off his debt, and the Barlow farm seems like just the right place. Nice family drama adapted from the series of Janette Oke books.
LOVE BY THE 10TH DATE (NR) 84 minutes * * 1/2
The dating lives of four friends who all work at the same magazine. The story touches on a number of different issues as these women explore their relationships and learn more about what they want and need. Mixes comedy into the story nicely, and the cast does a great job.
LOVE CHRONICLES: SECRETS REVEALED (NR) 75 minutes * * 1/2
What is love? A call-in radio show provides a format for us to hear about a number of different relationship stories that attempt to answer that question. Sequel (of sorts) to the 2003 film, "Love Chronicles". The stories themselves are the usual mix of quality that we typically see from anthology style films, but the radio show idea works well as a way to present them.
LOVE CLASSIFIED (NR) 83 minutes * * 1/2
It's been a few years. Author Emelia (Melora Hardin) is in town for a book signing. Her old hometown to be specific. Her adult children, who still live there are rather surprised by the unannounced visit, and not particularly happy about it. It's one of severl interwoven stories here about different kinds of love and different ways to find it.
LOVE COMES LATELY (NR) 79 minutes * * 1/2
Adapted from short stories by Isaac Bashevis Singer, this is the story of Max (Otto Tausig), told through his writings and his daydreams. They come to life in front of us and we join him on his trip down memory lane. Gently told and with a sense of humor, we see the life Max has led, the women he has loved, and the lessons he has learned.
LOVE CRIME (NR) 103 minutes * * 1/2
There are those who would claim that Christine (Kristin Scott Thomas) has no heart. She uses everyone around her, with little or no regard for their feelings or opinions. Her latest victim is a talented co-executive at the firm. Encouraged by compliments, talks of partnership, and hints of affection, Isabelle (Ludivine Sagnier) does everything Christine asks, until she goes too far. The role seems to get the best of Sagnier at times, though at others, she does quite well.
LOVE CRIMES (R) 77 minutes 1/2
Mercifully short and quite bad murder mystery with Sean Young as a DA in Georgia who gets a bit too involved in her cases. Incredibly slow-paced, and a bit incoherent as well. Sean Young and Patrick Bergin sing the songs here and Bergin took the Polaroids himself (like we care). There is a slightly longer version on video that is a shade better.
LOVE DON'T COST A THING (PG-13) 97 minutes * *
Alvin (Nick Cannon) does a favor for Paris (Christina Milian) in exchange for her pretending to be his girlfriend for two weeks so he can become part of the popular crowd. Based on the screenplay for "Can't Buy Me Love", this definitely doesn't cover any new territory, but it isn't without it's charm, thanks to some nice work by Cannon and Milian as well as some fun supporting performances. PG-13 for language.
LOVE, FALL & ORDER (NR) 83 minutes * * 1/2
The annual Fall Fest on her dad's farm is at risk of not being able to happen. As it turns out, an old deed shows that part of the land doesn't belong to him. Claire (Erin Cahill) will be her dad's lawyer, and will be facing Trevor (Patrick Harris). The competition just might bring them a little closer. Romance is kept to a minimum, though it makes a strong showing at the end.
LOVE FINDS A HOME (NR) 87 minutes * * 1/2
Belinda's (Sarah Jones) friend Annie (Haylie Duff) comes to visit. After arriving, there appears to be a complication with her pregnancy. Annie's mother-in-law comes to help, but her midwife practices conflict with Belinda's medical education. Of course, they both learn a few things and grow from the experience. Eighth in the series of Janette Oke novel-into-movie series.
LOVE FINDS YOU IN CHARM (NR) 88 minutes * *
Emma (Danielle Chuchran) has been struggling with the Amish way of life. She travels to her cousin's farm to help during the busy tourist season and to take some time to sort things out. She meets Kelly (Tiffany Dupont) at the library, a young woman who is going through many of the same things, though she is an Englisher. Nice adaptation of the novel, "Love Finds You in Charm, Ohio" by Annalisa Daughety.
LOVE FINDS YOU IN SUGARCREEK (NR) 90 minutes * * 1/2
When Joe (Tom Everett Scott) shows up in town, Rachel's (Sarah Lancaster) first instinct is to protect her aunts who want nothing more than to help a stranger in need. Joe may not be a stranger for long. The supporting roles are somewhat mixed, with a few that are quite good, but others that are clearly not. The first in a likely series based on the popular "Love Finds You" series of books.
LOVE FINDS YOU IN VALENTINE (NR) 88 minutes * *
Inheriting a ranch in Nebraska, Kennedy (Michaela McManus) leaves her comfortable California digs to find out more about her family and herself. Sentimental romance with a touch of intrigue.
LOVE, FOR REAL (NR) 81 minutes * * 1/2
Looking for a new way to promote her brand, Hayley (Chloe Bridges) agrees to appear on a reality dating show with her best friend (Taiana Tully). She clearly doesn't want to win, but a relationship with the show runner might be a possibility. Cute romance with a predictable plot.
THE LOVE GURU (PG-13) 81 minutes 1/2
Mike Myers stars as Guru Pitka, the number two self-help guru. To become number one, he has to help a hockey star overcome his issues and be the best player in the league again. Even Myers fans seem to be tiring of his self-indulgent style of humor now, with this film doing very poorly in movie theaters. Too bad Jessica Alba decided to be in this, though she's pretty much the only one worth watching. PG-13 for language.
LOVE HAPPENS (PG-13) 104 minutes * * *
Happiness is a state of mind, and it takes practice. His self-help seminar and book on how to deal with grief are becoming very successful, and it even looks like there might be a woman in Burke's (Aaron Eckhart) life again. But does he really understand the message he presents? Plenty of great material in the script about life, love, loss, and grief, and the ending has a great balance of emotional drama and humor. The chemistry between Eckhart and Jennifer Aniston is lacking, but the story, and a fine supporting performance from Dan Fogler, tend to make up for it. PG-13 for language.
LOVE IN DESIGN (NR) 84 minutes * *
The network has decided to make a little change to her home design show. Hannah (Danica McKellar) is headed to her small hometown to renovate a historic manor. She'll need to work with the local architect... who just happens to be her old boyfriend. The supporting cast are a little too far in the background here. Seeing and hearing more from them would have helped give this story a little more depth.
LOVE IN GLACIER NATIONAL PARK (NR) 83 minutes * * 1/2
Heather (Ashley Newbrough) has designed a new avalanche forecasting system. Chris (Stephen Huszar) prefers the old school method of forecasting. Nice supporting work from Tegan Moss and Devon Alexander. Filmed in beautiful British Columbia.
LOVE IN HARMONY VALLEY (NR) 87 minutes * *
It's difficult, but it's time for Emma (Amber Marshall) to reconnect with her best friend Tracey (Nina Kiri). That also means reconnecting with Tracey's brother Will (Eric Hicks). It's not going to be easy, but since Will has a business proposal for the town that needs some help, there might just be some assistance that Emma can provide. Hicks isn't very good here, but the rest of the cast is fine.
LOVE IN STORE (NR) 82 minutes * * 1/2
It's her dream job, but Terrie (Alexandra Breckinridge) has just one problem. David (Robert Buckley) feels the same way. Sharon (Jackee Harry) is retiring, and one of them will be replacing her... or maybe both of them? Competition turns into attraction as they work together and against each other. Nice chemistry between the leads in this film from the Hallmark Channel.
LOVE IN THE FORECAST (NR) 82 minutes * * 1/2
Taking some time off from dating, Leah (Cindy Busby) is taking the time to focus on her career. Her new neighbor seems to be able to predict the weather better than ;eah, despite the fact that she has a good deal of scientific equipment and works for a TV station, forecasting the weather. I'll bet you can predict what's going to happen in this Hallmark romance.
LOVE IN THE LIMELIGHT (NR) 83 minutes * * 1/2
At first, she was just another fan. But when Nick (Carlos Pena Vega) responded to her letter, a friendship began. One day, as Nick's career was reaching the bottom, and Summer's (Alexa Pena Vega) was on the rocks, something clicked into place. Based on the real-life love story of Willie Aames and Winnie Hung, who serve as co-writers for the film. Very nice supporting performance by Ivonne Coll as Grandma Rivera.
LOVE IN THE SUN (NR) 82 minutes * *
Alana's (Emeraude Toubia) dating app is about to go big. When she decides to take a quick break and go visit her father, she has no idea what's in store. Her dating app helped her find a match for herself, but an olf flame she reconnects with might just be a better one.
LOVE IN THE TIME OF CHOLERA (R) 129 minutes * * 1/2
Florentino (Javier Bardem) has seen the girl of his dreams, and while she feels love for him as well, their desire will not be satisfied. Florentino refuses to give up, and though he immerses himself in other affairs, he continues to desire Fermina (Giovanna Mezzogiorno) more than anyone. For her part, Fermina can't ever forget Florentino, for no other man has loved her as much. Gabriel Garcia Marquez's story of undying love works beautifully on the big screen with strong direction from Mike Newell and passionate performances by Bardem, Mezzogiorno and the rest of the cast. R for sex and language.
LOVE IN WINTERLAND (NR) 83 minutes * *
To promote the hotel brand she works for, Ally (Italia Ricci) agrees to be on the "Happily Ever After" reality TV show. She never expected to be chosen as the finalist. She will now be going on five dates in a week with Tanner (Jack Turner) in her home town... where her old boyfriend (Chad Michael Murray) just happens to be.
LOVE IN WOLF CREEK (NR) 83 minutes * * 1/2
For Samantha (Nola Martin), it's all about the wolves. Austin (Tim Rozon) wants to help, but Samantha doesn't leave much room for anyone else. They might be able to work together, but there are a few things they'll need to deal with first, including deadlines and a poacher.
LOVE IS ALL YOU NEED (R) 107 minutes * * *
Ida (Trine Dyrholm) is in Italy for her daughter's wedding, and to get some distance from her husband, who has cheated on her. While there, she meets Philip (Pierce Brosnan), who is struggling to get over the death of his wife. And... you know the rest. Brosnan and Dyrholm work well together and quickly create characters that aer likeable, despite, and perhaps even because of, their flaws. Beautiful location photography in Sorrento, Italy and Copenhagen, Denmark. R for sex and language.
LOVE IS STRANGE (R) 88 minutes * * *
When George (Alfred Molina) gets married to Ben (John Lithgow), he loses his job, which means that they lose their apartment. To be able to stay in the city means living apart, which they haven’t done in a long time. Tender and thoughtful story that deals very well with the issues and conflicts that they face as they struggle to live and love and be who they are. Nice work by the ensemble cast. R for language.
LOVE JONES (R) 102 minutes * * 1/2
Larenz Tate and Nia Long are two people who are just "kickin' it". There's no love in their relationship... or is there? The film has a nice flow to it and the characters are drawn and played well by the cast. The soundtrack has a nice blues feel to it thanks to Darryl Jones. Love is what it is. It doesn't always make sense, that's why it's love. R for sex and language.
THE LOVE LETTER (PG-13) 82 minutes * *
A letter is discovered in a small town and soon stirs up a commotion. It's a love letter, but no one knows who wrote it or to whom it was sent. Everyone imagines it was written for them and has ideas about who might have written it. The power of imagined love is a wondrous thing. What could it inspire you to do? When it's true love, it inspires others and has a life of its own. Nice romantic idea, but Kate Capshaw seems to be the only one in the film who isn't flippant in her attitude. It's as if the cast themselves don't believe in love or romance and think the film is silly. Or perhaps the director is the guilty party. Either way, it undermines the effect of the film. PG-13 for language.
LOVE, LIGHTS, HANUKKAH! (NR) 83 minutes * * 1/2
It's no surprise that the holiday season is a busy one for Christina (Mia Kirshner) and her restaurant. She has also just found out from a DNA test that she is Jewisg... and as it turns out, that her biological mother live just about ten miles away. It's all about family, Hanukkah, and Christmas, courtesy of Hallmark.
LOVE LOCKS (NR) 94 minutes * *
Once upon a time, Lindsey (Rebecca Romijn) and Jack (Jerry O'Connell) were in love. It didn't work out back then, but it just might end differently this time. After all, it is Paris... and this is a Hallmark movie.
LOVE, LUDLOW (R) 84 minutes * * * *
Myra (Alicia Goranson) is a no-nonsense woman, who has an eccentric brother, Ludlow (Brendan Sexton III) she takes care of. But now, there's this guy at the office, Reggie (David Eigenberg), who wants to go out with her. He's shy, and sort of backward, and Ludlow isn't going to make it easy for her... or for Reggie. David Paterson adapted this quite nicely from his own play, "Fingerpainting in a Murphybed". The characters are delightfully, charmingly quirky, and performed to perfection by the cast. Goranson is amazing to watch. Her face is incredibly expressive and director Adrienne Weiss along with photography director Rubin O'Malley both work to get the most out of the power, the moods, and the feelings she conveys so well with just a look. A real gem. R for language.
LOVE ME (PG-13) 94 minutes *
Desperate to feel the kind of love where you see fireworks when you kiss, Sylvia (Lindsey Shaw) falls for Lucas (Jamie Johnston) as soon as she sees him. But when he turns out to be the primary suspect in the death of his previous girlfriend… despite not being a particularly original idea, the plot isn’t what ruins this, it’s the terrible dialogue from a poorly written script. The supporting characters are also very shallow, forcing the story to rely on the main characters, who just don’t have the words to make this very interesting. PG-13 for violence, language, and sex.
LOVE ME (2013) (NR) 86 minutes * *
A matchmaking trip turns into more than Cemal (Ushan Cakir) bargained for when he meets Sasha (Viktoria Spesivtseva). The languge barrier presents some issues for them, but the cultural differences and the secrets they are both keeping are even more troublesome. Builds well, but then drifts away, though that's not totally inappropriate as a metaphor for their relationship. It just doesn't help us stay interested in the story.
LOVE ME IF YOU DARE (R) 89 minutes * * *
Julien and Sophie find themselves drawn together as small children and begin a game of dares. It's a game that grows and changes with them, and becomes larger than life itself. And despite how it often hurts, they continue to play, leading up to a final choice that they must make together. It's an amazing and beautiful love story that draws us in, much as the characters are drawn to the game. Tender and heartbreaking at the same time, it's a story you won't soon forget. R for language and sex.
LOVE ME TRUE (NR) 83 minutes *
Eric (Andrew Gude) has issues. Not the least of which is that the reincarnation of Dostoevsky (William McGovern) is in his apartment and causing all sorts of trouble. There are many ways in which the story is cute, if a little rough. But the printed comments on the screen work like narration, and are not only unnecessary, but serve to interrupt the flow even more than narration would have.
LOVE N' DANCING (PG-13) 85 minutes * *
A former swing dancing champ (Tom Malloy) has a falling out with his partner (Nicola Royston), decides to teach, falls for one of his students (Amy Smart) and decides to get back in the competition. He's deaf, which adds a couple of wrinkles to the story, but the writers can't seem to decide whether to focus on that or the dancing. The dialogue is weak and the plot is far from interesting, which sort of gives you a clue where the focus needed to go. There are a couple of fun supporting bits from Caroline Rhea and Rachel Dratch. PG-13 for language and sex.
LOVE OBJECT (R) 87 minutes * *
Kenneth's (Desmond Harrington) social skills aren't the best, but when he discovers the wonders of a life-like sex doll named Nikki, he begins to come out of his shell. But Nikki has a few things on her mind as well. She's rather jealous, and Kenneth just might be in for more than he bargained. Clearly situated in the creepy and unusual category, but also not without a sense of humor. The film does tend to drag as there really isn't enough material here to stretch this long. R for violence, sex, and language.
LOVE, OF COURSE (NR) 84 minutes * *
Amy (Kelly Rutherford) is having a difficult time letting go of her daughter as she heads off to college. Before she knows it, she's not only helping out with the local harvest festival, but falling in love with one of her daughter's professors (Cameron Mathison). Really thin story, with lots of pieces fitting together very easily and very quickly, and not very convincingly.
LOVE ON HARBOR ISLAND (NR) 80 minutes * * 1/2
Lily (Morgan Kohan) needs to find out what inspires her and let it show through in her work as an interior designer. That's easier said than done when she's not really sure what her passion really is. It might have something to do with the rescue dog pilot (Marcus Rosner) she recently met.
LOVE ON ICE (NR) 83 minutes * * 1/2
It's been eight years since Emily James (Julie Berman) walked away from competitive skating. Her protege (Ana Golja) is on her own way to the top, and has just hired a new coach (Andrew W. Walker). Romance just might be in the air for Emily, but what about a comeback on skaters? Great work by the cast, though Walker seems a little distant some of the time.
LOVE ON ICELAND (NR) 83 minutes * * 1/2
Needing something that can serve as both a break and as new possibilities for work, Chloe (Kaitlin Doubleday) gets her old college travel buddies together for a trip to Iceland. And then her ex shows up. It will all work out, and we get to see beautiful scenery as well.
LOVE ON SAFARI (NR) 84 minutes * * 1/2
Kira (Lacey Chabert) went to South Africa as a child to visit her uncle. Since then, she has little time for adventure or excitement. But her uncle is now gone, and has left her his estate in South Africa. She may just have to rediscover her sense of adventure. Gorgeous scenery in a typical romance from the Hallmark Channel.
LOVE ON THE MENU (NR) 84 minutes * *
He's a great chef, but Hank's (Kavan Smith) restaurant is having financial troubles. Enter Maggie (Autumn Reeser). She works for a frozen food company and wants to create a line of gourmet frozen foods. They need to work together, which is going to be difficult at first. The characters are a little shallow and there isn't much chemistry between Smith and Reeser though the story is cute.
LOVE ON THE SIDELINES (NR) 83 minutes * *
Laurel (Emily Kinney) needs a job, and her new roommate has an idea. But being a personal assistant to a football player isn;t going to be easy. Especially when she knows nothing about football. Cute romantic comedy from the Hallmark Channel.
LOVE ON THE SLOPES (NR) 84 minutes * * 1/2
Alex (Katrina Bowden) stumbles into a great idea for a writing assignment. The problem is that it involves her participating in several extreme sports. Alex is not only a little scared of extreme sports, but she's also not exactly what you would call coordinated. The beginning is a little weak, but this builds nicely and finishes well.
LOVE POSSIBLY (NR) 79 minutes * *
Like many men Alex (Steve Hodgetts) is a bit on the socially awkward side. His view of romance is shaped by romantic movies and that doesn't help his situation. Presented as a documentary, with a crew following Alex around as he tries to find love. Funny, awkward, charming, and romantic. Perhaps a little too awkward though, as it gets tiresome well before the end of the film. Very nice work by Anna Danshina.
LOVE POTION No. 9 (PG-13) 96 minutes * * 1/2
Light-hearted look at love, taking the hit song and turning into the story of two social misfits who end up experimenting with the love potion and falling for each other. No real surprises as far as the story goes, but it's a delight to watch Sandra Bullock in one of her earliest feature films. The soundtrack is a treat as well, giving us a variety of music that's all very well-suited to the story. PG-13 for language.
THE LOVE PUNCH (PG-13) 88 minutes * *
When their retirement money is stolen, Kate (Emma Thompson) and Richard (Pierce Brosnan) know they have to work together to get it back... even though they are now divorced. It's a cute story, but Brosnan and Thompson only work well together in a few scenes.The rest of the time there's just no chemistry or energy between them, which leaves us somewhat disinterested too. PG-13 for sex and language.
LOVE RANCH (R) 113 minutes * * *
Just outside Reno, Nevada is a place called the Love Ranch. It's a brothel owned by Grace (Helen Mirren) and Charlie (Joe Pesci). She runs the business and Charlie thinks he does. When Grace is diagnosed with cancer, she decides not to tell him, especially since he's just invested in a prize fighter who he has big plans for. He gets more than he bargained for, and so does Grace, as they discover that the lies they've been telling each other are all about to come unraveled. Mirren is golden here, though that's not a surprise. Pesci is a bit uneven, but the rest of the supporting cast do nice work in this film about love, dreams, and reality. R for sex, violence, and language.
LOVE, ROMANCE & CHOCOLATE (NR) 83 minutes * 1/2
In Bruges, and hoping to visit the palace, Emma (Lacey Chabert) finds that the only way to do that is to enter a chocolatier competition. As she works with Luc (Will Kemp), something else happens. The script is a bit overly obvious, even for a Hallmark romance, and the cast struggles to make it convincing.
LOVE ROSIE (R) 97 minutes * * *
Alex (Sam Claflin) and Rosie (Lily Collins) were childhood friends. But when the possibility of romance rears its head, friendship prevails. The rest of their lives are spent just missing that perfect moment with each other. A charming performance by Collins, but the rest of the cast does very nice supporting work. R for language and sex.
LOVE, SIMON (PG-13) 105 minutes * * *
It's reaching a critical point. Simon (Nick Robinson) has been keeping a secret. He dances around it for a long time, and when the news finally comes out, it isn't pretty. Most importantly though, Simon will finally be able to live his truth. Nice work by the cast, and a great mix of comedy and drama. PG-13 for language.
A LOVE SONG FOR BOBBY LONG (R) 116 minutes * * *
When Pursy (Scarlett Johansson) learns of her mother's death and travels to New Orleans, she expects to have the time to herself. Instead, she finds two of her mother's friends living in the house, a former literature professor and his protege, who are dealing with "demons" of their own. Her life quickly becomes entwined with theirs as the story unfolds. It's a story that is both tragic and hauntingly beautiful. Johansson and John Travolta both do solid work here, but they are also supported well by Gabriel Macht and the rest of the cast. Broken dreams, misspent years, regrets, mix together with hope and love to give us a bittersweet story that quietly and gently takes hold of us. Filmed in New Orleans and Gretna, Louisiana. R for language.
LOVE SPREADS (NR) 93 minutes * *
Glass Heart had a fantastic first album. The second one isn't coming along so well. Kelly (Alia Shawkat) is the driving force of the band, but she has writer's block. Alice (Tara Lee) has some songs ready, but Kelly isn;t interested. How can the group get past this? They only have five weeks. Most of the dialogue here was improvised, and it tends to make the pace drag, though it does add a bit of realism to the tone of the film.
LOVE STINKS (R) 89 minutes * 1/2
Seth (French Stewart) and Chelsea (Bridgette Wilson) are about to get married. But Larry (Bill Bellamy) is going to do his best to keep his best friend from making that mistake, because love stinks. There are a few cute moments here, but Wilson and Stewart have to try too hard to make this work. It's a valiant effort, but the strain is obvious and experienced direction and a better script would've worked wonders. R for language and sex.
LOVE STORY (PG) 99 minutes * * *
Boy meets girl on a New England college campus. Ali McGraw and Ryan O'Neal. Tinged with tragedy and filled with romance, this is a modern classic that swept away the hearts of millions. With an Oscar-winning soundtrack to listen to along the way, sit back and enjoy a great "love story".
LOVE STRIKES TWICE (NR) 83 minutes * * 1/2
Maggie (Katie Findlay) and Josh (Wyatt Nash) are having some ieeues with their marriage. Her career is taking off, but it's stressing the relationship. Wishing for a "do-over", Maggie gets just what she asked for. Will she make different choices this time around? A nice, witty script, and Findlay works well with it.
LOVE STRUCK CAFE (NR) 83 minutes * *
She's always wanted to be an architect, and now Megan (Sarah Jane Morris) has her chance. The firm where she works in public relations will give her a shot if she helps them with another project. It involves convincing someone in her old hometown to sell their property. Of course, being home brings up quite a few things, including old relationships. Lots of things happen, none of which are surprising, especially in a Hallmark film.
LOVE, TAKE TWO (NR) 83 minutes * * 1/2
Lily's (Heather Hemmens) wedding reality TV show is doing very well. When one of the latest contestants end up being her old boyfriend, it threatens to change everything. It would appear that there are still a few sparks left, and Lily is going to have to decide what to do about that.
LOVE TAKES FLIGHT (NR) 83 minutes * * 1/2
Walter (Tom Thon) bumps into Quinn (Skylar Olivia Flanagan) and her mom (Nikke Deloach) at the grocery store. Next up is a tea party. As it turns out, Walter's son is the new pilot who Quinn's mom just hired. Despite the obvious plot, the story hits all of the right notes, due in no small part to a talented cast.
LOVE TAKES WING (NR) 87 minutes * * 1/2
Two young female doctors find themselves in a town which is in the midst of an outbreak of illness. Many of the townspeople are ready to blame the orphanage for their problems, which we know can't be the truth. Formula story from Janette Oke series of books, though there are a few bigger names in the cast this time. Lou Diamond Phillips directs and acts, and the film also features Haylie Duff, Patrick Duffy, and Cloris Leachman, with Erin Cottrell reprising her role as Missy Tyler in a few scenes.
LOVE THE COOPERS (PG-13) 103 minutes * * *
Once each year at Christmas, the Cooper family gather to celebrate. This year, some surprising news and unexpected guests are going to make it a more wild ride than usual. A wonderful cast and quite a few truly great scenes. The story does tend to be moer than a little obvious and definitely tends toward the sentimental. PG-13 for language and sex.
LOVE THE ONE YOU'RE WITH (NR) 150 minutes * *
Three sisters work to pursue their dreams and balance it with their love lives. The character development is very strong here, but the script is also very dialogue heavy, manipulative, and repetitive. The effect is to drag out the drama in a way that would work better on the stage than it does on film.
LOVE TO THE RESCUE (NR) 84 minutes * * 1/2
Adopting a dog can be a challenge, but it's going to be even more difficult for single mom Kate (Nikki Deloach) and single dad Eric (Michael Rady). Their children both want the same dog, and somehow they have to figure out how to make this work. (We have a sneaking suspicion that it's going to involve a romantic relationship between Kate and Eric.)
LOVE UNDER THE OLIVE TREE (NR) 81 minutes * * 1/2
They are two rival olive oil companies. The Cabella's and the Brendini's have been feuding for years. The feud has moved to their grandchildren, and now there's a land dispute. Nicole (Tori Anderson) and Jake (Benjamin Hollingsworth) may find another way out of the situation.
LOVE UNDER THE RAINBOW (NR) 80 minutes * * 1/2
Lucy (Jody Sweetin) has just never found the right person to be her life partner. Her parents did set the bar very high, but the new goy in town (David Haydn Jones) just may be the one she's been looking for.
LOVE UNLEASHED (NR) 82 minutes * *
Hailey (Jen Lilley) runs a puppy party business. At one of her parties, she meets handsome, single Ryan (Christopher Russell), whose daughter really wants a puppy. There are some complications, but it's a Hallmark film, so romance is never too far away. Lilley and Russell are fine here, but some of the supporting roles are very still.
LOVE! VALOUR! COMPASSION! (R) 111 minutes * * * 1/2
Eight gay men who gather frequently at the house of a friend continue to learn (and teach us) about life, love, and what it really means to be a friend. Terrance McNally wrote the screenplay for this from his play, and is evidence of his great talent. The characters are vibrant and authentic, due to the script and superb acting from all. This is a fine study in relationships with an interesting performance by John Glover as twins. R for language and nudity.
THE LOVE WE MAKE (NR) 90 minutes * * *
On September 11, 2001, Paul McCartney was at the airport in New York, ready to leave for England. This is the story of what happened in the days and weeks that followed, and of the Concert for New York that McCartney helped put together. Absolutely wonderful to see so many wonderfully talented musicians and other performers together.
LOVE, WEDDINGS & OTHER DISASTERS (PG-13) 92 minutes *
Several different love stories here in a muddled mess that includes some very nice drama as well as some silly and even rude material. Featuring Maggie Grace, Jeremy Irons, Diane Keaton, Jesse McCartney, and more. There are some cute moments, though most of them are late in the film and you may have already given up before they arrive. PG-13 for sex and language.
LOVE WILL KEEP US TOGETHER (NR) 85 minutes * *
Tao (Reagan Gomez-Preston) and Bren (Cynthia Kaye McWilliams) have been planning their double wedding since they were in the 7th grade. Now that it's right around the corner, the road is getting a little rough. Cute comedy with good acting, though the script is clearly light-weight, with more a TV sit-com style.
THE LOVE WITCH (NR) 118 minutes * 1/2
Elaine (Samantha Robinson) is a witch who is a little obsessed with having men be in love with her. The visual style of the film is reminiscent of the 1970s, giving the film a tone of satire, especially in regard to how the script deals with sex and sexuality. The pacing also drags until we get to the much anticipated end, which should have happened about thirty minutes earlier.
THE LOVEBIRDS (R) 81 minutes * * *
Their relationship has hit a rough spot, though all their friends think that everything is going well. In the midst of dealing with this, they find themselves witness to a murder... and then several more murders. They're afraid they're going to look guilty if they say anythiny. What to do? Issa Rae and Kumail Nanjiani play off each other very well. The humor is dry, sarcastic, and very well-written. R for sex, language, and violence.
LOVECRAFT: FEAR OF THE UNKNOWN (NR) 86 minutes * * *
Wonderful documentary that explores the life, writings, and bizarre world of H. P. Lovecraft and the effect it has had on others in the genre. Extensive interviews with numerous authors and filmmakers including Peter Straub, Ramsey Campbell, Neil Gaiman, John Carpenter, Stuart Gordon, Guillermo Del Toro, and Caitlin Kiernan. Fascinating!
THE LOVED ONES (R) 79 minutes * 1/2
Brent (Xavier Samuel) will soon discover that turning down Lola's (Robin McLeavy) invitation to the prom was a mistake. One that will cost him more than he could have imagined. Mostly just another torture horror film, but there are a couple of more artistic moments in the story and the photography. R for violence, sex, and language.
LOVELACE (R) 87 minutes * * *
Biopic about the woman who broke new ground in the X-rated film industry. It is also the portrait of a victim, in a world that was beginning to really struggle with what women's liberation could mean. Amanda Seyfried does a very nice job here with a challenging lead role. R for sex, language, and violence.
THE LOVELY BONES (PG-13) 122 minutes * * 1/2
Susie Salmon (Saiorse Ronan) was murdered when she was twelve. No one (but us) knows who did it. But Susie isn't stopping there. Even from the other side, she keeps an eye on her family and does what she can to try and help people catch the man who cut her life short. Ronan does a great job here, and her narration is both haunting and sweet, though there is too much of it. There are plenty of wonderfu lvisuals throughout the film, especially of the other world where Susie finds herself, but the film tends to rely on imagery and mood to the exclusion of story at times. The end result is that the film tends to feel a little empty as we near the end. PG-13 for violence and language.
LOVELY MOLLY (R) 95 minutes *
Molly (Gretchen Lodge) just got married, and they've moved into the house she grew up in. But they aren't alone. Despite quite a few creepy moments, the story is very thin, with little explanation about what's going on. There are a few lines that can be drawn here and there, but also quite a few pieces of the story seem to be intentionally left for us to figrue out on our own. The problem is, by the time we realize we have to fill in some of those blanks, we don't really care. R for violence, sex, and language.
THE LOVER (R) 98 minutes * *
A young girl (Jane March)in Saigon is initiated into
maturity as she becomes the lover of a Chinese man
(Tony Leung). Passionate, slow-paced, and mildly
interesting, though the narration frequently intrudes
on the mood. The final fifteen minutes are really the
best part of the film.
LOVERBOY (PG-13) 95 minutes 1/2
Pizza delivery guy Patrick Dempsey delivers a little more than pizza to the women in this town. However, the film doesn't manage to deliver much in the way of comedy and does nothing more than tease about the sex. This manages to waste the talents of Dempsey, Kate Jackson, Carrie Fisher, Barbara Carrera, and Kirstie Alley, just to name a few. PG-13 for language.
THE LOVERS (R) 102 minutes * *
Designed to be a sweeping romance across time and space. It's a little lopsided though, with not as much time with the story in the present, which means we don't connect with it very well. And Josh Hartnett doesn't fit very well in the story from the past. There are a few nice moments, and the soundtrack provides a rich and emotional background. The script and acting just don't maintain the romance very well. R for violence and language.
THE LOVERS (2017) (R) 92 minutes * * 1/2
Mary (Debra Winger) and Michael (Tracy Letts) are both having affairs, and in both cases, those relationships are moving to a more serious stage. At the last second, something changes, and it would seem that their marriage just might survive after all. Relationships work when you work on them. Where you decide to put that effort is your choice. Winger and Letts both do a good job here though the script and direction let them down a little. R for sex and language.
LOVE'S CHRISTMAS JOURNEY (NR) 166 minutes * *
After tragedy strikes her family, Ellie (Natalie Hall) goes to stay with her brother over the Christmas season. Although another in the series of adaptations of Janette Oke novels, this one is exceptionally long, and for no apparent reason. As none of them are all that fast-paced, the extra length doesn't do much to help this one.
LOVE'S EVERLASTING COURAGE (NR) 82 minutes * *
Life is rough for Clark (Wes Brown) and Ellen (Julie Mond), but when scarlett fever strikes, it gets even worse. But love at its best is courageous, and Clark and his daughter Missy (Morgan Lily) must move on, despite the pain. Though this is inspired by the Janette Oke books, the depth of character is somewhat less. Those who enjoy the series will probably still find this adequate, but perhaps not their favorite entry in the series.
LOVE'S LABOUR'S LOST (PG) 90 minutes * * * 1/2
Kenneth Branagh's adaptation of Shakespeare's comic look at passion and intellect. With a setting moved to the 1930's and a musical flair, this is able to entertain us and still retain the satirical bite that Shakespeare must have intended. Passion and intellect aren't always so easy to separate, and life's events direct our courses in ways we may never have imagined. The performances by Branagh, Alicia Silverstone, Nathan Lane, Natascha McElhone, and the rest of the cast are delightful. And the musical approach, though perhaps old-fashioned, works very well. PG for language.
LOVE'S SECOND CHANCE (NR) 88 minutes * *
A small-town vintage dress shop is inherited by Rose (Gabrielle Christian) from her grandmother. At first she wants to sell it and get back to her life in New York. But coming home to deal with the unexpected inheritance and all that goes with it, has allowed her to spend some time with her old crush Cole (Cody Ray Thompson). Maybe she won's sell the place after all.
LOVE'S UNFOLDING DREAM (NR) 85 minutes * * 1/2
Sixth film in the Janette Oke series, this "episode" follows Missie's (Erin Cottrell) daughter Belinda (Scout Taylor-Compton) as she struggles with her desire to become a doctor, and the reality of a society that will make that a difficult career to pursue. Similar to other entries in the series.
LOVE'S UNENDING LEGACY (NR) 82 minutes * * 1/2
Fifth in a series of films adapting Janette Oke's books about the life of a family during the pioneer times of the American West. This particular chapter is about Missie (Erin Cottrell) working through her grief over her husband's death, adopting a young orphan girl, and finding love again. As with the other films in the series, there's the same sort of moral approach to the story as with the "Little House on the Prairie" books and television show. The difference is that Wilder's stories are quite a bit better and the translation to film worked better with them as well. Fans of Oke's books will probably enjoy these, but others may find them a bit tedious.
LOVESICK (PG) 91 minutes * * *
Dr. Saul Benjamin (Dudley Moore) never expected to fall in love with a patient (Elizabeth McGovern). But what he expected even less was to be visited by the advice-giving spirit of Sigmund Freud (Alec Guinness). Great cast in a fun romantic comedy.
LOVESICK (2014) (NR) 81 minutes * * *
Charlie's (Matt LeBlanc) been in love many times. He has finally given up. And then he meets Molly (Ali Larter). Of course, that also means that he's going to go crazy again. Fun romantic comedy with very nice work by both LeBlanc and Larter, who compliment each other quite well.
LOVESONG (NR) 78 minutes * *
The business trips that Sarah's (Riley Keough) husband has been taking seem to last forever. A spur of the moment road trip she decides to take with a friend (Jena Malone) shapes an intimacy that she desperately needs, and doesn't want to let go of. Time and circumstances mean that life will move on, but a few years later, there's another opportunity. Recapturing the past is not an easy task. The story deals well with the emotional sides of the relationship, but only touches on how their situations shape how they can be with each other. And most of that actually comes in the last few minutes of the film.
LOVING (PG-13) 116 minutes * * *
Richard (Joel Edgerton) and Mildred (Ruth Negga) simply loved each other. But the marriage of people from different races was not recognized or allowed in Virginia. The story is a powerful one and well known as a landmark case that helped break the anti-miscegenation laws that were still in effect in so much of the United States at that time. Despite being the story of such a passionate cause, it is told here with a gentle style that focuses on the quiet nature of both Richard and Mildred. They just wanted to be left alone and allowed to love each other. They had no real desire to make theirs a case for everyone, but that path soon became the only one to take. PG-13 for language.
LOVING HIGHSMITH (NR) 85 minutes * * 1/2
In-fepth bio-documentary of the talented Patricia Highsmith. The film explores her life through readings of her novels and diaries, clips from film adaptations of her works, and interviews with her and those who knew her. Highly informative, but a little dry.
LOVING LEAH (NR) 96 minutes * * 1/2
When his brother dies, Jake (Adam Kaufman) is expected to marry Leah (Lauren Ambrose) to carry on his brother's name as they hadn't had any children yet. It's an old Jewish tradition, and there is a way around it, but Jake's even less sure about that. To honor the tradition won't be easy as Jake hasn't really spent much time or effort on his spiritual life in quite some time. Perhaps its time, and maybe Leah can help. Pretty much what you'd expect from a TV movie love story.
LOVING PABLO (R) 117 minutes * *
This is, in part, the story of the rise of Pablo Escobar (Javier Bardem), a man of the streets who rose to power through drug money, and a ruthless, violent approach to keeping order among those below him. Despite his tactics, there were many who adored him. Among them was Virginia Vallejo (Penelope Cruz), though it doesn't take too long before she begins to realize what he does and what it means. The film shifts between Pablo's story and hers, which doesn't work well because they are very different stories, yet are presented in a way that tries to tell a single, fluid story. The sporadic narration doesn't help. R for violence, sex, and language.
THE LOVING STORY (NR) 74 minutes * * *
Mildred and Richard Loving were in love. It was when they married that the problems began, because at the time, interracial marriage was illegal in 24 states, including Virginia, where they lived. Much of the story is told through archival footage, but there are also more recent interviews with people who knew them and the struggles they went through.
LOVING VINCENT (PG-13) 88 minutes * * *
Magnificent retelling of the life of Vincent Van Gogh. The conversational style of dialogue relates a story that draws us in very quickly. The hand-painted animation captures the mood, and Van Gogh's style beautifully. It's also a bit of a mystery story as it explores what might have happened at the end of Van Gogh's life. PG-13 for language, violence, and sex.
LOW DOWN (R) 109 minutes * * *
Based on the memoir by Amy-Jo Albany, this is the story of her father, a jazz pianist in the 1960s and 70s. Told from her perspective, it is not always a happy story, but there is hope, and above all, there is jazz. Great work by the cast. R for language and sex.
LOW DOWN DIRTY CRIMINALS (NR) 82 minutes * 1/2
Just looking for an easier life, and maybe not having to work for a pizza place. Freddy (James Rolleston) and Marvin (Samuel Austin) don't have their sights set all that high. Still, it's going to get quite a bit worse before it gets better. This keeps trying to be funny, and most of the time it just doesn't get there. Heavily narrated.
A LOW DOWN DIRTY SHAME (R) 94
minutes * *
Over-played action film with too much comedy as
Keenan Ivory Wayans goes undercover to recover some
missing drug money for the DEA. The action is paced
relatively well, but the corny ending undermines most
of the effect the film might have had. What a shame.
(Sorry, I couldn't resist.)
LOW TIDE (R) 82 minutes * * 1/2
They were friends, but these local boys who always get into trouble are about to head in another direction. The discovery of a real treasure outs them at each other's throats, destroying the fragile trust they had put in each other. The story moves a little slowly, but has good intensity. R for language and violence.
LOWER LEARNING (R) 93 minutes BOMB
Low test scores, lazy and irresponsible teachers, and a few other problems mean that this is an elementary school that needs to close. Vice-principal Willoman (Jason Biggs) knows that getting rid of the corrupt principal will solve the problem, but can he make it happen? Maybe he should just get a part in a different film... Rude, foul, and boring are not a good combination. R for language.
LOWNDES COUNTY AND THE ROAD TO BLACK POWER (NR) 87 minutes * * *
In Lowndes County ,Alabama, the decision was made to take a stand and work to get the poitical power that would change the landscape. This documentary follows the process as it unfolds and as change happens in the state of Alabama, with power beginning to really shift.
LOWRIDERS (PG-13) 94 minutes * * *
Danny (Gabriel Chavarria) is a street artist whose priorities often clash with those of his father, who is obsessed with lowriders. Danny's brother is often on the wrong side of the law, but Danny relates to a great deal of what he talks about. At the same time, Danny's new girlfriend can open doors to the art world that he had only been able to dream of before. Where does he fit, and which path will he take? The story is familiar, but the performances are not only good, but sincere, which draws us in and keeps us there. PG-13 for language and violence.
LUCA (PG) 85 minutes * * *
Luca (voiced by Jacob Tremblay) dreams of the surface world. He meets Alberto (voiced by Jack Dylan Grazer) who happens to be a sea monster just like he is. Alberto is much more experienced in the ways of the surface world. Sort of. When they're not in the water, they become human. Having a little fun like this is OK, but they want more than just a little fun. In particular, they want a Vespa. A fun, animated feature about growing up and celebrating who you are. Really nice soundtrack, with energy, suspense, and playfulness. PG for language and violence.
LUCAS (PG-13) 96 minutes * * * *
A powerful and tragic story of young love. Writer/director David Seltzer does a marvelous job capturing the atmosphere and feelings of high school and of youthful romantic love, not just with the script, but also with the photography and music. And the cast is right there. This is one of Corey Haim's earliest films, and he shines. PG for language and nudity.
LUCE (R) 106 minutes * *
He's an excellent student from a troubled background. :uce (Kelvin Harrison Jr.) is on a rocket to the top. But a slight misstep and a little suspicion can quickly bring it all down. The line between success and failure is very thin, and assumptions and suspicions are easily confused with facts and guilt. While this hints at many things, it ultimately chooses not to deliver. There is some good suspense along the way, though a little too much of it is obvious and not very convincing in the long run. It's a great cast, and they make this look a little better than it is. R for language and sex.
LUCKY (NR) 100 minutes * * 1/2
When Lucky (Sihle Dlamini) leaves his Zulu village for the city, life becomes rather difficult. He's only 10 years old, and the only person who seems willing to help is an old Indian woman who is rather stern. Though many of the scenes here are very good, the flow between them is very rough and keeps the story from moving along well. Expanded from an award-winning short film the director made six years earlier.
LUCKY (2017) (NR) 83 minutes * * *
Getting older means facing some deeper questions than Lucky (Harry Dean Stanton) expected. He's an athiest, and most of his friends have different ideas about what the end of life means. A remarkable performance from Stanton, and some nice supporting work by David Lynch, Ed Begley Jr., James Darren, and Tom Skerritt.
LUCKY (2020) (NR) 77 minutes * *
One night after another, May (Brea Grant) is being stalked by a man. He frequently breaks into her home. No one seems to be able to help, adn some don't even believe her. It's complicated by the fact that producinng evidence of what is heppening is proving to be difficult. It's a metaphor, which is fairly easy to see early on, though a bit unclear because the metaphor is for us to understand as the viewer. May is simply trapped in a loop that will never end.
LUCKY DAY (R) 94 minutes * * 1/2
Red (Luke Bracey) has been waiting for this day. He's out of prison and ready to get back to living with his wife (Nina Dobrev) and daughter (Ella Ryan Quinn). Luc (Crispin Glover) has other ideas about what should be happening, like getting revenge for the death of his brother. The film is very stylized, with an unusual sense of humor that is both dark and warped. It can be a little difficult to stay engaged with the story, but it all becomes clear at the end. R for violence, language, and sex.
LUCKY IN LOVE (NR) 83 minutes * *
Everything she wanted just happened in one day. A promotion, a new apartment, and a date with an exciting new guy. But Mira (Jessica Szohr) soon finds that it's not so easy to do it all on your own. She's going to have to learn how to lead and how to be part of a team. Mostly fluff, but Szohr does lend a bit of charm to it.
THE LUCKY MAN (R) 89 minutes * * 1/2
A small-time hustler, Johnny Jones (Jesse James) and his wife go from one church to another, collecting the offering and then moving on. When it becomes clear that Johnny actually can heal people, it proves to be both a blessing and a curse. James does a good job here, but the story just doesn't develop deeply enough or give him strong enough supporting characters to take this to the next level. R for sex and language.
#LUCKY NUMBER (NR) 75 minutes * *
Bret’s (Tom Pelphrey) new phone has the number of his basketball hero. That comes with a few perks, though it also means he’s going to learn some things about his hero. Of course, the truth will eventually come to light, and the consequences won’t be pretty, because they never are when lies come to light. Supporting cast gives this a much needed boost as the story is tired and the main cast struggle to keep our interest.
LUCKY NUMBER SLEVIN (R) 105 minutes * * *
Nicely twisted gangster film with Josh Hartnett at the center as Slevin, a man mistaken for someone else... someone who owes a great deal of money to some people who aren't very nice. But mistaken identities are only the beginning in this tale of greed, revenge, and justice. Morgan Freeman and Ben Kingsley are former friends who now run rival organizations, and who get more than they bargain for when Mr. Goodkat (Bruce Willis) comes to town. Lucy Liu and Stanley Tucci are also featured in this well-crafted story. R for violence and language.
LUCKY NUMBERS (R) 99 minutes * 1/2
Russ (John Travolta) has had a run of bad luck and now it's time for things to change. Rigging the state lottery sounds like a good idea. The only problem is that his luck hasn't changed yet. I'm sure this sounded like a better idea when it was on paper. The script just beats the idea to death and Travolta seems bored with the whole idea from the start. There are a couple of scenes with Lisa Kudrow and Tim Roth where the talent manages to rise above the script, but not enough to give the film the strength it needs. R for language and violence.
THE LUCKY ONE (PG-13) 97 minutes * * 1/2
When Logan (Zac Efron) comes back from serving in the Marines, he wants to find the girl whose picture he feels was a sort of lucky charm for him. Finding her turns out to be fairly easy, but telling her why he was looking for her proves to be a lot more difficult. As with most of Nicholas Sparks' stories, it's excessively romantic. Efron has the right look here, and plays it well, which helps make it work as well as it does. PG-13 for sex and violence.
THE LUCKY ONES (R) 105 minutes * * *
Three lucky people. Two are on leave and one has finished his tour of duty. Their chance encounter with one another will lead to friendships that will help them through the tough times, and their shared moments will remind them that they are indeed, lucky people. Tim Robbins, Rachel McAdams, and Michael Pena all do nice work here. The script is more than a little predictable at times, but the sentimant works well. R for language and sex.
LUCKY THEM (R) 91 minutes * * 1/2
Ellie's (Toni Collette) latest journalist assignment involves tracking down her elusive former boyfriend, who many people think is dead. He was a famous, and very talented musician, and the world wants to know for sure what happened. Searching for him, Ellie will learn a good deal about herself and what she's really looking for. Colette does a nice job, though her character is a little strong early on. R for language and sex.
LUCKY YOU (PG-13) 119 minutes * 1/2
Huck Cheever (Eric Bana) has the skills needed to be a great poker player. He's a natural. But he also has quite a few personal problems that get in the way. It's not a bad story idea, but the slow, plodding pace makes is difficult to stay interested, and the lack of chemistry between Bana and Drew Barrymore doesn't really help. Robert Duvall has a nice supporting role as Cheever's father here, and we find ourselves waiting for those scenes more than anything else. PG-13 for language.
LUCY (R) 83 minutes * * * 1/2
A simple delivery job turns into something much more dramatic when Lucy (Scarlett Johansson) is turned into a drug mule. When the bag of drugs begins to leak its contents inside her, it begins to unlock the capabilities of her mind, slowly turning her into a super-human, bent on taking revenge on those who are responsible. Nice work by Johansson, though the story itself is as much a featured player as she is. Not really a surprise from a Luc Besson film, as we watch yet another high energy thriller from a master of the genre. Great effects too! R for violence and sex.
THE LULLABY (NR) 83 minutes * 1/2
As a first-time mother, Chloe (Reine Swart) is having difficulty. Her depression and paranoia are getting worse than should be the case, even considering normal post-partum depression. As we soon learn, it's not just Chloe and the baby who are in danger. The intensity is good in several scenes, thanks to some nice sound effects and sound editing, and some of the photography is well- done. Unfortunately, the story doesn't hold together very well.
THE LUNCHBOX (PG) 98 minutes * * *
The lunchbox delivery system for office members in Mumbai usually works quite well. But suddenly, Saajan (Irrfan Khan), who is about to retire, gets the wrong lunchbox. A correspondence begins as the woman who made it realizes that her husband didn't get the meal she prepared and sends a note with the next one. Bittersweet story well played by a talented cast. PG for language.
LUPIN III: THE FIRST (NR) 88 minutes * * *
Lupin III's (voiced by Kan'ichi Kurita) latest adventure involves learning the secrets contained within the Bresson Diary, which is part of his family's history. Nicely done story with lots of adventure and action and a little bit of humor. It's easy enough to follow for those unfamiliar with the character, and exciting enough for those who already do. Very nice animation.
THE LURE (NR) 89 minutes * * 1/2
Two mermaid sisters find themselves working at a cabaret in Warsaw. They are enjoying this new life, but they are looking for different things. One wants love. The other is just hungry. An unusual mix of fantasy, musical, and horro, with a touch of comedy tossed in for good measure. Definitely not for everyone.
LUST, CAUTION (R) 151 minutes * * *
A young group of revolutionaries try to gain access to a powerful political figure in order to attempt an assassination. Spanning the course of decades, as opportunities come and go and relationships with for and against them, director Ang Lee sweeps us through an epic story of love and loyalty, lust and caution. Presented with Lee's usual style and class, and featuring performances from Tony Leeung, Joan Chen, and Tang Wei. Adapted from a story by Eileen Chang. R for sex and violence.
LUST OF THE VAMPIRE GIRLS (PG-13) 74 minutes BOMB
His girlfriend has gone missing. As he searches, he discovers that she has been kidnapped by a Nazi doctor and his group of sexy vampire girls. Lots of hissing (it's PG-13, OK?) and bad acting to go along with a poorly written script.
LUTHER (PG-13) 114 minutes * * *
Joseph Fiennes portrays Martin Luther, a man who began to doubt the way the Catholic church was "running the business" of salvation. It's an interesting portrait that portrays Luther as part gentle monk, part intellectual theologian, and part tormented soul... a person who was understood by only a few and misunderstood and misrepresented by many. It's a strong presentation, but more than a bit dry. PG-13 for violence and language.
LUV (R) 87 minutes * * 1/2
Vincent (Common) gets our of jail early, and has a plan for how he's going to start over. But getting away from everything in his old life that could drag him down proves to be more difficult than he expected. He also wants to take of his young nephew, Woody (Michael Rainey Jr.), but while he does have some solid wisdom to impart, his methods aren't perhaps the best way to teach Woody. Nice work by Common, though the script is uneven, so the story loses strength in spots. R for violence and language.
LUX AETERNA (NR) 49 minutes * 1/2
A brief and somewhat strange piece with Beatrice Dalle and Charlotte Gainsbourg talking about witches. Witches are the topic of the film they are working on. They also talk about filmmkaing and how difficult it can be, which we obsrve as it happens all around them. An interesting film for those who enjoy filmmaking, but probably a bit too self-indulgent for those who aren't.
LYING AND STEALING (R) 98 minutes * * *
Working to pay off his deceased father's debt, Ivan (Theo James) steals art. The stakes are getting higher with each theft. And then he meets Elyse (Emily Ratajkowski). She runs much the same game. Would working together be a good idea? Well-told story with a couple of nice twists and a good cast. R for language, sex, and violence.
LYLE (NR) 60 minutes * *
Leah (Gaby Hpffmann) is excited to be moving into a new apartment. It is a bit of stress as she has also just recently learned that she is pregnant. But when her young daughter Lyle tragically dies, Leah, in her grief, begins to wonder if something else is going on... something more sinister... Very much in the vein of "Rosemary's Baby", but less complete, despite nice work by Hoffmann.
LYLE, LYLE, CROCODILE (PG) 100 minutes * * *
Looking for something unique to give him an edge for his audition, Hector (Javier Bardem) stumbles across a singing crocodile. Lyle isn;t quite ready for the stage though. That might change after he befriends Josh (Winslow Fegley), a boy who has moved to the city with his parents and is struggling to find a way to fit in. A cute and fun adaptation of the children's book by Bernard Waber. Impressive animation and a nice soundtrack. PG for violence.
LYMELIFE (R) 89 minutes * * * 1/2
The Bartlett and Bragg families of Long Island in the 1970s. Two families that are both struggling under various pressures, and each with children who are coming of age. The American dream can be difficult to hold on to. It's a combination slice-of-life, coming-of-age, drama and comedy that is most definitely fun to watch. Well-written by brothers Derick and Steven Martini, and also Derick's first time as a director. Great acting by Rory and Kieran Culkin as well as Emma Roberts, Alec Baldwin, Jill Hennessy, Timothy Hutton, and Cynthia Nixon. R for language, sex, and violence.