MA (R) 93 minutes * 1/2 At first, she was just a nice, middle-aged woman who was sympathetic to some teenagers who wanted to buy some alcohol. Then Sue Ann (Octavia Spencer) invites them over to her house to party. It soon grows more inappropriate and even strange, as it becomes more clear that Sue Ann has something else in mind. Of course Spencer is good, but there are no surprises here, and the story is thin, with little in the way of character development. R for violence, language, and sex.
MA MA (R) 108 minutes * * * 1/2 When Magda (Penelope Cruz) learns that she has breast cancer, her world comes crashing down. As she begins to deal with what it means to her and her family, she becomes more sensitive to the struggles and losses that other people in her life are facing. She has kept herself out of touch with life until now, and for the first time, she understands the beauty of life and how important it is to really live. Living life through adversity is a challenge, but it can also be a beautiful thing. Very nice work by Cruz. R for sex.
MA RAINEY'S BLACK BOTTOM (R) 87 minutes * * * A powerhouse of blues music, Ma Rainey (Viola Davis) heads to the studio for a recording session. She is used to getting her way, which is going to be put to the test on this hot day in Chicago. As she and her white manager and producer battle for control of her music, the band is dealing with its own issues involving a trumpet player (Chadwick Boseman) who wants to make a name for himself. Based on the play by August Wilson. Strong performances. R for language, sex, and violence.
MA VIE EN ROSE (R) 89 minutes * * * Ludovic is a cute little boy... who thinks he was supposed to be a girl. Tender and straightforward story that deals with the idea from both the child's perspetive and the parents'. Golden Globe winner for Best Foreign Film, this is a gem that should not be missed. R for language and subject matter.
MAC AND ME (PG) 97 minutes * * 1/2 Cashing in on the success of "E.T.", is Mac, who makes friends with a boy in a wheelchair who helps him survive an encounter with Los Angeles. Mildly entertaining, but a little obviously commercial with hom much it promotes things like McDonald's and Coca-Cola.
MACBETH (2005) (NR) 86 minutes * * 1/2 James McAvoy stars in this modernization of the Shakespeare play in which Macbeth is a chef at a restaurant. The owner of the restaurant is a famous chef as well, and gets all of the credit for the delicious food though he does none of the work. Part of the "Shakespeare Retold" series from the BBC. Not one of the better entries in the series, but still well worth a look if you want your Shakespeare with a little different flavor.
MACBETH (2010) (NR) 157 minutes * * * Yet another version of the Shakespeare classic, this time featuring Patrick Stewart. Adapted from a stage production that was set in an underground world, a place that is almost without time or any sort of specific location. Because of the ambiguities this presents, an even greater emphasis falls on the script and the actors... and it works well. Stewart and Kate Fleetwood were both nominated for Tony awards for their performances in the stage play, which they recreate for us here.
MACBETH (2015) (R) 107 minutes * * 1/2 A darker and more mysterious adaptation of the classic Shakespeare tale, featuring Michael Fassbender in the lead role. There's lots of great style here, but those less familiar with the story may feel a little lost. R for violence and sex.
MACGRUBER (R) 82 minutes 1/2 Poking fun at McGyver and everything 80's may have seemed like a good idea at one point, but the end product is alternately corny, stupid, and vulgar. It's yet another example of a failed attempt to stretch a Saturday Night Live skit into a full length feature. R for language, sex, and violence.
MACHETE (R) 97 minutes * * 1/2 Machete (Danny Trejo) is hired to kill a senator, but its a set-up. Too bad the men who hired him didn't realize that they hired an ex-Federale, whose name, Machete, is also his preferred method of dealing with trouble. It's great to see Trejo in a bigger role like this. Action and violence with a Robert Rodriguez touch of fun. And the cast... Trejo, Steven Seagal, Michelle Rodriguez, Jeff Fahey, Cheech Marin, Lindsay Lohan, Tom Savini, Don Johnson, Jessica Alba, Robert DeNiro... what fun! And, as with most Rodriguez productions, his hand is in just about every aspect, writing, directing, editing, special effects, performing music... and the list goes on. R for violence, language, and sex.
MACHETE KILLS (R) 97 minutes * * 1/2 Machete (Danny Trejo) is hired to take out an arms dealer who is getting a little too ambitious. Tongue is firmly planted in cheek again, with the same sense of humor as the first film. Plenty of violence, sex, and humor and plenty of fun bit parts including returning roles. Director Robert Rodriguez clearly has fun working on this kind of film. R for violence, language, and sex.
THE MACHINE (R) 85 minutes * * 1/2 The development of an articial intelligence takes a wrong turn once the government becomes involved and military applications are approved. There is some interesting exploration of the blurred line between human and machine. The possibilities are amazing, but the story is surprisingly shallow, despite the philosophical depth of the core idea. Caity Lotz does do a nice job as The Machine. R for violence and language.
MACHINE (2019) (NR) 82 minutes * * 1/2 A look at artificial intelligence in all of its uses and how it is changing what humans do and how they relate to each other and the world around them. Rather than going into a great deal of depth, this is a very broad overview of a number of different forms of AI. It works well as an introduction, but there's much more detailed information about all of these specific sub-topics in the field of AI... online.
THE MACHINE (2023) (R) 106 minutes * 1/2 Years ago, Bert (Bert Kreischer) stole a watch from a Russian while on a class trip to Russia. The Russian's daughter wants it back. Meanwhile, Bert is trying to repair his relationship withhis oldest daughter. If you're familiar with Kreischer's comedy, you'll probably enjoy this. Based on the comedy of Bert Kreischer. R for violence and language.
MACHINE GUN PREACHER (R) 123 minutes * * When he gets out of prison, Sam Childers (Gerard Butler) discovers taht things on the outside have changed. He needs to adapt, but he had no idea how much would change so quickly. He has a new-found passion to do good, but his deep-seated anger still gets in the way sometimes. Part bio, part war story, based on the life of Sam Childers, a former biker turned crusader, and a bit overplayed for the big screen. The tendency here seems to be to go for action and excitement over depth. R for violence, language, and sex.
THE MACHINE WHICH MAKES EVERYTHING DISAPPEAR (NR) 95 minutes * * 1/2 Looking to make a film about her country, director Tinatin Gurchiani interviews children and young adults who live there. As she interviews the people who show up in answer to her ad, she discovers many interesting people that have quite a bit to say about the place they live. Some of the stories delve more deeply into their indiviual lives. A fascinating look, both bitter and sweet, at a handful of people from the eastern European country of Georgia.
THE MACHINIST (R) 96 minutes * * Strange film about a machinist who hasn't slept in a year and whose hallucinations are beginning to beginning to become real. Christian Bale lost around 60 pounds to play this role. We're never too sure where this is going, mostly due to a rather muddled script. This has plenty of atmosphere, due in part to Roque Banos' music as well as the cinematography. Definitely not a film for everyone, but it is rather interesting. R for language, violence, and sex.
MACHUCA (NR) 112 minutes * * * Chile 1973 - Machuca (Ariel Mateluna) is one of a few Chileans from a poor neighborhood near a Catholic school who have been given the privilege of attending the school. He becomes friends with Gonzalo Infante (Matias Quer), but their differences, both economic and political, will make it difficult for their friendship to last, especially in the volatile climate of a country on the brink of revolution. Quite intense, especially late in the film.
MACK AND RITA (PG-13) 89 minutes * * After an... interesting weekend, Mack (Elizabeth Lail) wkes up as an older version of herself (Diane Keaton). She had always considered herself as more of an old soul, but this is not what she expected. Tired story, though the acting is good. Lots of physical comedy by Keaton, which she does well. PG-13 for language.
MAD CITY (PG-13) 110 minutes * * 1/2 Sent out for a fluff story on a local museum, Max Brackett (Dustin Hoffman) finds himself in the middle of a hostage situation. Mild-mannered Sam Baily (John Travolta) reacts badly to being fired from his job and ends up being fodder for the media circus. The film makes its points too quickly and spends little time with subplots that would have kept us more interested. Blythe Danner has almost no part at all and Mia Kirshner switches loyalties so quickly her head spins. Watch quickly for a cameo appearance by director John Landis as a doctor. PG-13 for language and violence.
MAD DOG AND GLORY (R) 93 minutes * * * Mad Dog (Robert DeNiro) is a rather strange cop who ends up saving a mobster's life, only to be repaid by having a Glory (Uma Thurman) delivered to him as a present. All he wants to do now is buy her freedom, but it isn't that simple. A unique and interesting film with wonderful performances by DeNiro and Thurman. Bill Murray is a little miscast as the mobster, but handles it fairly well. R for sex, language, and violence.
MAD FAMILIES (NR) 85 minutes 1/2 Three families arrive at the same campsite on the busy 4th of July weekend to learn that they've all booked the same space. Sharing is not something that any of them are very good at. Sadly, this just isn't as funny as it should be. The message ends up being a nice one, but there's a lot of unnecessary junk in the way.
MAD GOD (NR) 81 minutes * * * A masked assassin journeys deep into an underworld where filth and violence are constant. The assassin carries a map, but with each time he looks at it, more of it disintigrates. He continues to go deeper, and the creatures become more grotesque, and the violence increases. Filmed primarily using stop-motion, this film took writer/director Phil Tippett thirty years to complete. The result is fascinating.
MAD HOT BALLROOM (PG) 101 minutes * * * Fascinating look at the dance program that a number of New York public schools are involved in that teaches these young students not only how to dance, but the challenges of competition, the rewards of trying, and what it means to respect each other and themselves. The film follows one season of competition, focusing on three particular teams. Filmed in New York. PG for language.
MAD LOVE (PG-13) 93 minutes * * 1/2 Casey (Drew Barrymore) is a wild one, and when she drops into Matt's (Chris O'Donnell) life, it really turns things around. She's a danger junkie with no sense of responsibility, he's... a bit more quiet than she's used to. O'Donnell and Barry more don't work well together here. They both need a stronger co-star and a better script to help them get through. Lots of the right look here, but not as much depth as we needed.
MAD MAX: BEYOND THUNDERDOME (PG-13) 102 minutes * * Max (Mel Gibson) is drifting again. Truth be told, he's just that sort of man. It's a bit of a stretch to say that he'd get involved with a bunch of children to help them overthrow a mean ruler, but that's what heppens. Not as exciting as "Road Warrior", and not as good either. If you love the series, it's worth watching, but it's not likely to be your favorite in the series. PG-13 for violence and language.
MAD MAX FURY ROAD (R) 113 minutes * * 1/2 This is not a sequel or a prequel, but a revisioning of the "Mad Max" story. As such, it's interesting that so much of the story isn't really about Max, and that for the most part, it's one long chase scene, with not a great deal of background info. The special effects and production design are quite good, but the sound quality is not, which makes it very puzzling to understand how it won Oscars both sound editing and sound mixing. Fans of the series seem to either love it or hate it. R for violence.
MAD MONEY (PG-13) 93 minutes * * 1/2 Bridget's (Diane Keaton) life style is in danger of changing for the worse. When she takes a job at the Federal Reserve and sees all of that precious money being destroyed, she has an idea. Now she just needs the help of a couple of other people who work there. Fun cast with Keaton's nervous energy offset well by Queen Latifah's calm and Katie Holmes' free spirit. The script plays to their strengths and makes this quite fun to watch, even if it isn't all that original or memorable. PG-13 for sex and language.
MAD TO BE NORMAL (NR) 103 minutes * * * The story of R. D. Laing (David Tennant), a psychiatrist who had many famous patients. Laing used many unorthodox treatments including LSD and metanoia, which is a form of self-healing. Great work by Tennant, and a very nice supporting cast. The ending is a little abrupt.
MADAGASCAR (PG) 79 minutes * * * They're just a few animals from New York's Central Park Zoo, but now they're in Madagascar, getting a little taste of the wild life. A little violent in spots, but packed with hilarious references to other movies. The younger kids seem to enjoy this, though in many ways it's just as much for adults. Features the voices of Ben Stiller, Chris Rock, Jada Pinkett Smith, Cedric the Entertainer, and David Schwimmer.
MADAGASCAR: ESCAPE 2 AFRICA (PG) 80 minutes * * Leaving Madagascar to return to New York, our friends get as far as Africa before the plane crashes. The music is definitely fun, but the story is less than exciting. Our friends discover some of their historical roots while in Africa, altough since that wasn't their purpose in visiting, it seems a bit awkward. And the younger set of those watching don't seem that interested. PG for language.
MADAGASCAR 3: EUROPE'S MOST WANTED (PG) 83 minutes * * 1/2 The crew is still trying to get back home to New York. They hitch a ride on a circus train and end up making new friends, after which, they aren't so sure that going home is what they really want to do. More exciting than part 2, and a little more fun too, with better villains, and humor that is more genuine. PG for violence and language.
MADAME (NR) 87 minutes * * 1/2 Their marriag is slowly sliding downhill. Anne (Toni Collette) and Bob (Harvey Keitel) move to Paris and attempt to connect with the elite class. To avoid the unlucky number thirteen at the dinner party they are hosting, Anne has her maid (Rossy de Palma) pretend to be a Spanish noblewoman. As it turns out, that may have been very unlucky for Anne, and very lucky for Maria.
MADAME BOVARY (R) 112 minutes * * A beautiful, but rahter gentle and quiet version of the story. Bovary (Mia Wasikowska) is less headstrong and spirited, being more on the mild and sometimes timid side, which is not typical. The story does move to a darker mood near the end, but again, the desperation still lacks the deeper intensity that it needs. R for sex.
MADE FOR EACH OTHER (NR) 83 minutes * * 1/2 Looking for the perfect man, Rachel (Alexandra Turshen) ends up making him out of clay. When he comes to life, Clay (Aaron O'Connell) appears to be everything she thought she wanted. But she soon learns that a few rough edges might actually be a better idea.
MADE IN AMERICA (PG-13) 103 minutes * * 1/2 Whoopi Goldberg finally admits to her daughter that her father came from a sperm bank. When they manage to track him down, he's a slick, white, and none-too-thrilled car salesman (Ted Danson). This said, it comes off better than you might think, with Danson and Goldberg working rather well together. It's a combination of comedy and drama with a few doses of sentimentality thrown in and it mixes together with a result that manages to be entertaining too.
MADE IN DAGENHAM (R) 107 minutes * * * In 1968, at the Ford manufacturing plant in Dagenham, England, there were 55,000 men and 187 women. When they decided that equal pay was something worth fighting for, the manufacturing industry would never be the same. The film does a good job of dealing with other factors at work in the struggle and how many effects were unintentional, but the struggle for equality is never easy and often involves many kinds of sacrifice. Great work by Sally Hawkins as Rita O'Grady, who took the lead in the fight for equal pay at the Ford plant. R for language and sex.
MADE IN HEAVEN (PG) 96 minutes * Kelly McGillis and Timothy Hutton meet in heaven and fall in love. Now they have to see if they will meet each other when they are back on earth. Uneven and unusual film that doesn't really seem to know where it's going. Tries it's best to give us some style by alternating between black & white, color, and color-tinted scenes. Cameos by Neil Young, Tom Petty, Ric Ocasek, and many more.
MADE IN ITALY (R) 89 minutes * * * It begins with a desire to sell the house, but as the repairs begin to take place, Jack (Michael Richardson) learns more about the house, his family, and himself than he ever expected. Sometimes a deeper understanding lies just out of sight, but if we give ourselves a chance, it can find us. Wonderful wotk from the cast. R for language.
MADE ME DO IT (NR) 90 minutes * Another masked killer, but this time, Ali (Anna B. Shaffer) and her brother know who he is. Thomas (Kyle Van Vonderen), in a very unconvincing performance, is a serial killer with multiple personalities, including that of "Barbara", the mask he wears when killing. The script creates an overly complex character in Thomas that we spend way too much time trying to understand, especially considering the cheap, last second twist.
MADE OF HONOR (PG-13) 97 minutes * * They've been friends for years, but anything more serious is not something that Tom (Patrick Dempsey) wants to consider. But when Hannah (Michelle Monaghan) leaves for six weeks, he begins to reconsider. Now she's back home, engaged to be married, and asking him, as her best friend, to be her maid of honor. Dempsey still has the charm and Monaghan is quite good here as well. It's a story that we've seen quite a few times already, but a pleasant enough diversion even so. PG-13 for language.
A MADEA CHRISTMAS (PG-13) 94 minutes * * 1/2 Madea (Tyler Perry) accompanies a friend on a surprise visit to her daughter over the holidays. Aside from being a little sentimental with the holiday spirit and all, this is typical Madea fare, with Perry having fun with the wild antics of his character. PG-13 for language.
A MADEA FAMILY FUNERAL (PG-13) 103 minutes * * It's still going to be a family reunion, but the gathering event is now a funeral. With the usual antics that accompany any gathering of this family, there's also the possibility that some family secrets are going to come out and make things much worse. Typical Madea comedy material, btu the serious parts are a little darker than other films in this series. PG-13 for sex and language.
MADEA GOES TO JAIL (PG-13) 96 minutes * * 1/2 Another of Tyler Perry's stage plays about the infamous Madea hits the big screen. This time, Madea finds herself going to jail where she ends up pretty much running everything, not that this is any surprise to those who know her. There are plenty of laughs here, but lots of heavy drama about relationships, life choices, and life on the streets. Fans of Madea will love it, others should find enough to be entertained as well. PG-13 for language, violence, and sex.
MADEA'S BIG HAPPY FAMILY (PG-13) 100 minutes * 1/2 More over-acting in a family that is anything but happy. Shirley's (Loretta Devine) cancer has returned, and she'd like her family to be together to hear the news. But there's lots of arguing when they get together and all of the family secrets are coming out, which means that the relationships are falling apart. That makes it tough to hear the news, and tough to watch this film. PG-13 for language.
MADEA'S FAMILY REUNION (PG-13) 103 minutes * * Tyler Perry's Madea elaborates on the importance of family and relationships in this comedy based on more of his stage act. The flow of the film is more than a little awkward, with lengthy dramatic sections broken up with little comic bits to relieve the tension. We're also rather tired of the message long before we reach the end. Perry's fans will enjoy this, but the stage presentation of his material is more impressive. PG-13 for language.
MADEA'S TOUGH LOVE (PG) 63 minutes * 1/2 Madea's in trouble again. This time she's going to have to put in some hours at a nearby youth center. It's going to be a challenge, but nothing that Madea can't handle. The animation is mediocre, and it just doesn't work as well as the live action, in large part because we miss Tyler Perry's facial expressions that make Madea so much fun to watch. PG for language.
MADEA'S WITNESS PROTECTION (PG-13) 103 minutes * * 1/2 George (Eugene Levy) is in big trouble and ends up in a witness protection program... staying with Madea (Tyler Perry). The problems he had before were just the beginning. Of course it all works out in the end, thanks to Madea's ability to handle everything. Levy and Perry work well together, their different styles of humor serving as fairly good counterpoints. PG-13 for language.
MADELINE (PG) 85 minutes * * * Charming adaptation of Ludwig Bemelmans' book about young Madeline, an orphan who always seems to find herself in a little bit of trouble despite how hard she tries to be good. She has quite a few adventures throughout the course of the film, falling in the river, getting a dog, going to the circus, and saving the boarding house from being sold. It keeps the story moving along nicely and none of the adventures are very scary, so it's quite well suited for the younger crowd. The PG rating is for some violence, though it's no more than is present in many kids TV shows.
MADELINE'S MADELINE (NR) 87 minutes * * A provocative theatre director, Evangeline (Molly Parker) is pushing boundaries with her cast. They are exploring new styles and methods of identifying and creating characters. Madeline (Helena Howard) is really loving the work, but it's also taking over her life in ways she barely understands. Intensely emotional and very theatrical, and filled with impressive performances. The difficulty is that so much of this is mood and emotion that there isn;t much room for story. It's there, but in broad strokes that are more suggestion than clear steps.
MADHOUSE (PG-13) 85 minutes 1/2 How can a film with John Laroquette and Kirstie Alley be so bad? In a word... script. The story here, if you can call it that, is so poorly written that it isn't funny, just stupid. It's a story about what happens when people you know end up staying at your house for awhile. The few funny moments, which mostly revolve around the cat, are undermined by the rest of the film. Alison La Placa, who play's Alley's sister, is the one who comes off the best here, partially because her character has fewer lines or poorly written dialogue. PG-13 for language.
MADISON (PG) 93 minutes * * Boat racing was Madison, Indiana's last chance to bring some money to the town, let alone give a boost to it's morale. It would take everything that everyone had to give to make it work. This film has good intentions, but it just never quite gets there. Jim Caviezel does a nice job, but the story itself is two-dimensional and doesn't give him much to work with. PG for language.
MADNESS IN THE METHOD (NR) 96 minutes 1/2 After battling through his problems with alcohol, Jay (Jason Mewes) is determined to become a better actor. He decides to give method acting a try. Mewes gives directing a try with this film. The acting is better than the directing, but unless you're already a Mewes fan, this isn'g going to have much appeal. Lots of cameo appearances, including one from Kevin Smith, of course.
THE MADNESS OF KING GEORGE (NR) 104 minutes * * * Costumer with a sense of humor here, as King George III (Nigel Hawthorne) becomes mentally ill and is in danger of losing his throne to a son who could well be even more inept than a mentally ill King George III. Wonderful performances in this stage-to-screen adaptation that won an Oscar for Art Direction.
MADONNA: TRUTH OR DARE (R) 115 minutes 1/2 Madonna makes the statement at one point in this "film" that she doesn't care as much about talent as she does about being provocative and political. She does manage to accomplish that. Too many long concert clips for this to be a good documentary, but too much behind the scenes footage for it to be a concert film. For die hard Madonna fans only. R for language and nudity.
MADSO'S WAR (R) 78 minutes * * South Boston is a rough area, and when one crime boss steps out to avoid the heat, the power shift is going to take awhile to settle. Reasonably good gangster film. The leads here aren't all that great, but the supporting roles make up for it pretty well. R for violence, sex, and language.
MADTOWN (R) 108 minutes * * 1/2 Denny (Milo Ventimiglia) has had a difficult life, but his new job at the restaurant is going well. Things even seem to be looking up for his sister, who just got out of prison. Sometimes the bond between siblings is not helpful. Heavy with dialogue and emotion. Strong performances from the ensemble cast. R for violence, language, and sex.
MAESTRO (R) 119 minutes * * * 1/2 Theirs was a different sort of relationship. Conductor and composer Leonard Bernstein (Bradley Cooper) and actress Felicia Montealegre Cohn Bernstein (Casey Mulligan) were not the best match perhaps, though they did care deeply for another. The costumes and make-up here are fantastic, and Cooper delivers an amazing performance, along with a fine job of directing. All this is really missing is more of Bernstein's music and more emphasis on it. The soundtrack is good, but considering that music was arguably the one thing that Bernstein actually loved, moving that music to the forefront would have added an important piece to the story. R for language.
MAFIA (PG-13) 81 minutes BOMB Another in the highly over-populated genre of unfunny parodies, the real shame here is that this was Lloyd Bridges last film. The only remotely humorous parts of the film are the written ones (signs, end credits, etc.) but even these grow tiresome rather quickly. PG-13 for language.
MAFIA (2012) (R) 76 minutes * Renzo (Ving Rhames) doesn't put up with much, and his territory is expanding. But that makes it even more important for Detective Womack (Pam Grier) to stop him. Rhames is fun to watch as he chews up the scenery, but there's not much else here. R for violence, language, and sex.
MAFIA MAMMA (R) 96 minutes * * A visit to Italy to go to her grandfather's funeral and then have a little vacation, quickly utrns into something else for Kristin (Toni Collette). She didn't realize that her grandfather was the head of a mafia family that is now her responsibility. Filled with Collette's physical humor, which is good, but the story is cartoonish and a bit too far over the top. Too many of the cast are trying to be funny and the script just loses focus. R for violence, sex, and language.
MAGGIE (PG-13) 89 minutes * * Maggie (Abigail Breslin) has become infected. Her father (Arnold Schwarzenner) knows this, but wants to everything in his power to postpone the inevitable. A more sensitive look at the effects of the zombie virus. It's an interesting idea, and the fairly high caliber of acting helps it work, but the story doesn't have that far to go because of where it starts. PG-13 for violence and language.
MAGGIE MOORE(S) (R) 93 minutes * * * It's one of the strangest cases Chief Sanders (Jon Hamm) has ever come across. Two women with the same name have been murdered just days apart from each other. There has to be a connection. There are other mysteries here as well, some of which will come to light thanks to the astute observations of Rita (Tina Fey), who happens to be a neighbor to one of the victims. The script, by Paul Bernbaum, does a wonderful job of balancing humor, mystery, and tension. It also gives Hamm and Fey some very nice non-comedic roles to play. R for language, violence, and sex.
MAGGIE'S CHRISTMAS MIRACLE (NR) 83 minutes * * Maggie (Jill Wagner) has good reason to not like Christmas. It's the day her father left. She has also become over-protective of her son, since her own husband left during the Christmas holiday season as well. The new tutor her son has just begun to work with might be just what she and her son both need. But will she recognize it in time?
MAGGIE'S PLAN (R) 93 minutes * * 1/2 Maggie's (Greta Gerwig) plan is to have a baby, but not a husband, since she seems to have trouble with relationships. And then she finds herself rather seriously involved with a married man. It's not clear why Julianne Moore's character needs an accent as it mostly proves to be distracting. And Gerwig's nervous, and excessively talky style (similar to Diane Keaton's) can be frustrating when it tries to deliver more story than character. The ending works nicely if you get there. R for language and sex.
MAGIC & BIRD: A COURTSHIP OF RIVALS (NR) 87 minutes * * 1/2 A pair of athletes like no other. Their ascent to the top of their sport, and their rivalry throughout their careers, would redefine the sport of basketball, and infuse the NBA with a much needed energy that continues to the present day. In some ways, they were complete opposites, and in others so similar. This documentary examines not only their athletic ability, but their personalities and what has happened since they retired from the sport in which they excelled.
MAGIC BEYOND WORDS: THE J.K. ROWLING STORY (NR) 85 minutes * * 1/2 Bio-drama detailing the life of author J. K. Rowling from her days as a struggling teacher and mother, to her success with the Harry Potter series of books and films. More than a bit sensationalized at times, leaning toward the dramatic and romantic over the factual, but does offer a look at how authors often struggle for a long time to get their first big break.
THE MAGIC FLUTE (NR) 118 minutes * * * The death of his father means a late start at the Mozart boarding school for Tim Walker (Jack Wolfe). Attending the school has been his dream, but Tim will be dealing not only with not only the school, but the magical world of Mozart's Magic Flute, and the love of (and for) Sophie (Niamh McCormack). Nice supporting work from Ellie Courtiour.
MAGIC IN THE MOONLIGHT (PG-13) 94 minutes * * * ½ Stanley (Colin Firth) is an astounding magician. He also loves to debunk psychics and mediums and has been asked to do just that for some friends. But Sophie (Emma Stone) is no typical charlatan. Once again, Woody Allen delivers a delightful script and Stone and Firth both turn in charming performances, making this a sweet and fun romantic comedy. PG-13 for language.
MAGIC IN THE WATER (PG) 95 minutes * * 1/2 Magical tale of a lake monster whose home is being polluted. The story isn't bad, but it doesn't go into much detail, which means a number of questions are left unanswered. Sarah Wayne does a great job as Ashley, but the film doesn't have the magic it needs to make it a great film.
MAGIC MAGIC (R) 90 minutes * * Alicia (Juno Temple) hasn't been outside the United States before, and now, the cousin she was with has to leave for a day. That will leave her with strangers, one of whom has a very strange and cruel sense of humor. What no one knew was how close to the edge Alicia already was. An unusual and dark story, with very little to lighten the mood. It's an interesting and much more fragile character than Temple usually plays, and it's something she handles well. Michael Cera is the drawback. His character is supposed to be the catalyst for Alicia, but he plays it with such nonchalance that he seems disinterested in the story. R for language and sex.
MAGIC MIKE (R) 106 minutes * * 1/2 Mike (Channing Tatum) wants to start a furniture business. In the meantime, he does roofing and works at a male strip club. When he meets Adam (Alex Pettyfer), he invites him to join the club. And then he falls far Adam's sister. The script drags in a few spots, and wraps up too neatly and quickly in others, which isn't much of a surprise considering how much it's mostly intent on beefcake over substance. Tatum actually does reasonably well here in spite of that. R for sex and language.
MAGIC MIKE XXL (R) 111 minutes * * It's three years later... Mike (Channing Tatum) and his exotic dancer buddies decide to get together one more time. It seems that the convention held at Myrtle Beach every year is calling out to them. Mostly more of the same, minus the charm of Matthew McConaughey. R for sex and language.
MAGIC MIKE’S LAST DANCE (R) 107 minutes * * 1/2 Bartending in Florida, Mike (Channing Tatum) is basically broke. A chance encounter with Maxandra Mendoza (Salma Hayek) gives him a chance to earn some money… and get back on the stage. It’s work he knows better than most. This entry in the series is a little steamier and sexier than the previous two. Steven Soderbergh, who skipped being involved with the second film, returns as director for this one. R for sex and language.
THE MAGIC OF BELLE ISLE (PG) 105 minutes * * * 1/2 Monte's (Morgan Freeman) nephew sets him up in a house for the summer. The idea is to inspire him to write again. Monte has become rather negative lately, but young Finn (Emma Fuhrmann) who lives next door quickly works her way into his heart. He becomes her mentor, and they both change for the better because of it. Another masterful performance by Freeman, and very nice work by Fuhrmann. Filmed in Greenwood Lake, NY. PG for language.
THE MAGIC OF ORDINARY DAYS (PG) 93 minutes * * Unmarried and pregnant, Livy (Keri Russell) is sent away by her father into an arranged marriage. Ray (Skeet Ulrich) is a nice young man, but it will take Livy awhile to get used to farm life and a daily pace that is slow and steady. A calm and slowly-paced drama.
MAGIC OF THE RAINBOW (NR) 71 minutes * 1/2 Part of the Barbie Fairytopia series, this follows "Mermadia" and tells the story of Elina as she joins with a few other select fairies and learns the flight of spring. Several lengthy segments with no dialogue here that are likely to be boring to the younger set. Not one of the better Barbie films.
MAGIC TRIP: KEN KESEY'S SEARCH FOR A KOOL PLACE (R) 104 minutes * * 1/2 The original film that Ken Kesey made was never finished. With some re-editing, and additional narration, it provides us an interesting look at a trip across the country by young people in the 1960s in search of something different. Part chronicle of the trip, and part tribute to Kesey. R for language and nudity.
MAGICAL CHRISTMAS ORNAMENTS (NR) 86 minutes * * 1/2 She used to love the holidays, but after a relationship ends at Christmas, Marie (Jessica Lowndes) doesn't celebrate it anymore. This year something a little different happens. Her mother is sending her Christmas ornaments from her childhood. The doctor who lives next door just happens to be single, and Marie is finding that her Christmas spirit is starting to return.
A MAGICAL CHRISTMAS VILLAGE (NR) 83 minutes * * Summer's (Alison Sweeney) life is undergoing some changes, not the least of which involves her mother (Marlo Thomas) as a new roommate. There also happens to be a new guy in town (Luke Macfarlane) who seems to be the perfect fit for her life. The "magical" part of the story involves a miniature Christmas village. As her daughter (Maesa Nicholson) moves the figurines around in the village, real life seems to mimic what she puts in motion. Playing up the magical aspect of the story would have been nice. Instead, it's more a part of the background.
THE MAGNIFICENT SEVEN (PG-13) 128 minutes * * * Remake of the classic western. A small town in the west finds itself terrorized by a land-hungry man. The town's residents find an unlikely champion who recruits six others to help him protect the town. An epic battle ensues. More graphically violent than the original, but the highly stylized story and larger than life characters remain. PG-13 for violence and language.
MAGNOLIA (R) 179 minutes * * * 1/2 You'll find yourself assaulted from the opening moments of this film, stunned with images, words, and characters. The film swarms around you and overwhelms you with strange characters, whose lives are out of control, and yet... P.T. Anderson has created a tapestry that is woven together neatly and completely. As writer and director, Anderson has cautioned against viewers trying to get too much meaning out of the film. Bizarre things happen... coincidence happens, and that's life. As an individual, you may get more meaning out of it, but Anderson isn't trying to make a point, only painting a picture. Divided by weather statements into what work as act divisions for a play, we have an introductory act where we meet the characters and find out how unique they are. The second act follows their lives as they seemingly spin out of control with bizarre and coincidental events, and the third act examines how they deal with those events. The epilogue is somewhat out of place. It's as if Anderson felt the need to explain a few more bits, and I'm not sure that was necessary. It's a magnificent film with an outstanding cast, but it's also a film that many will not enjoy because of its unique story and style. R for sex, language, and violence.
MAHALIA (NR) 105 minutes * * 1/2 The story of gospel singer, Mahalia Jackson (Danielle Brooks). Amazingly talented and deeply committed to her faith. Refusing to turn her musical talents to the blues, and instead remaining loyal to gospel music, The nevertheless inspired and continues to inspire generations of both gospel and blues singers. Very nice work by Brooks.
THE MAID (NR) 87 minutes * * * During the seventh month of the Chinese year, the gates of Hell are open and the dead can walk the earth again. Rosa (Alessandra de Rossi) has just started as a maid for a family, and as the seventh month begins, there seems to be a plethora of spirits who are appearing aronud the house. But what are they trying to tell her? Creepy, haunting, and poetic story that is sure to give you quite a few chills at the very least.
THE MAID (2009) (NR) 93 minutes * * * 1/2 After 23 years, Raquel (Catalina Saavedra) is finding it difficult to care for this family of five. But despite how much trouble she's having, she won't give up and she won't ask for help, and Pilar (Claudia Celedon) won't let her go. Instead, she decides to hire some extra help, but Raquel is... uncooperative to say the least. This was a happy home once. Can it be one again? Solid performances in a film that keeps an interesting balance between drama and comedy.
MAID IN MANHATTAN (PG-13) 100 minutes * * 1/2 No real surprises here, but a nicely told story about Marisa (Jennifer Lopez), who works as a hotel maid, being mistaken for someone else and falling in love with a wealthy and handsome man. Lopez has a relaxed and natural style that works with this story. But even more importantly, she has a superb cast to work with. Ralph Fiennes, Bob Hoskins, Natasha Richardson, and Stanley Tucci as well as the rest do a great job, and the result is a picture that is both pleasant and entertaining to watch. Filmed in New York. PG-13 for language.
MAID TO ORDER (PG) 88 minutes * * 1/2 Jessie (Ally Sheedy) is a spoiled rich kid who finds herself in big trouble when her fairy godmother grants the wish of Jessie's father... that he never had a daughter. Now she's a "nobody" and has to find a way to make it on her own. Mildly funny morality play made more fun by most of the cast (Beverly D'Angelo, Dick Shawn, Valerie Perrine, Rainbow Phoenix, etc.) Sheedy is a bit too harsh throughout the film, though that may be the fault of the direction, which seems to have its own difficulties.
MAIDEN (PG) 91 minutes * * * A race around the world. Tracy Edwards was the skipper of the first all female crew to ever enter the Whitbread ROund the World Race. After a quick look at Tracy's background, the film focuses on the race and the particular challenges this crew faced. Through footage of the race and interviews, we get a very good look at many of the hardships they faced. More time on the background of the rest of the crew would have been nice, but for the time spent, this is quite good. PG for language.
THE MAIDEN HEIST (PG-13) 86 minutes * * 1/2 Mildy humorous heist film with three art museum guards taking the pieces of art they have grown attached to before they are moved to another museum. Too far-fetched and silly at times, but the performances of Morgan Freeman, Christopher Walken, and William H. Macy help this out quite a bit and make it worth a look. PG-13 for language, nudity, and violence.
MAIL ORDER BRIDE (NR) 87 minutes * 1/2 She's a con artist, but in trying to get out of the big city game she's been involved with, Diana McQueen (Daphne Zuniga) finds herself in a different con, pretending to be the mail order bride of a nice young man out west. Of course, she's found out and it all works out in the end in this rather simplistic western romance. Zuniga's character is difficult to believe, but nothing much about the film really tries very hard to work that well.
MAIL ORDER WIFE (R) 88 minutes * * 1/2 Strange, funny, and oddly compelling... it's a mockumentary about mail order brides with the filmmaker falling for the bride he sets up for his star. But things don't work out so well there either. Amazingly convincing throughout most of the film, it's only a few spots here and there tha make you wonder a bit. Definitely a unique piece of work. R for sex and language.
MAIN STREET (PG) 89 minutes * * Durham, North Carolina is a small town without a lot going for it at the moment. When a stranger comes to town and rents an old warehouse to store hazardous materials, it raises some questions for the townspeople about what is important and what that means for them and their future. While the cast has a few big names, the script and the acting are a bit stiff and methodical at times. PG for violence and language.
MAINSTREAM (R) 89 minutes * * * It's the age of instant fame. Frankie (Maya Hawke) stumbles across Link (Andrew Garfield) while using her phone to capture people on the street. He's doing one of his street performances. But once you get Link started, he doesn't stop. He becomes an internet sensation, and Frankie and her friend Jake (Nat Wolff) are taken along for the ride. Lots of social commentary here. The story gets a bit lost in the middle as it explores the romantic interest of the three leads, but comes back with a strong finish. Garfield chews up the scenery, but that's the character, and he does it well. R for language and nudity.
MAINTENANCE BY ANY MEANS (NR) 98 minutes BOMB Two guys competing for a maintenance supervisor position at an apartment complex... all they have to do is give the manager some positive evaluation notes from the residents, but none of the rather strange assortment of people who live there seem willing to do it. A nice performance from Chip G, as well as a couple of the supporting cast. We almost see too many of the residents, or maybe it's just that we never stay in their apartments long enough to get to know them. There are definitely some problems with sound and light that remind us of the low budget this film is working with, but the idea is fairly original.
THE MAJESTIC (PG) 147 minutes * * * 1/2 After being blacklisted as a screenwriter, Peter Appleton (Jim Carrey) goes on a long drive. He never expects to be in an accident, let alone one that causes him to lose his memory. It's the perfect chance to start life over again. His appearance in the town, mistaken for that of a local though lost to the war, brings the town back to life. But as his memory returns, he must make a decision. What is it that gives his life meaning? The story is a classic one, and very well told. The difficulties are with Carrey's performance. At times, it's right on the mark, but there are too many moments where he verges on breaking character. Admitedly, it's nice to see him in a dramatic role, but the story would have been even stronger with the lead being played by a lesser-known actor. PG for language.
MAJOR LEAGUE (R) 100 minutes * * * The Cleveland Indians baseball team has been in a slump for the last 34 years. The new owner wants them to finish dead last in the league so she can move the team to Florida and become a socialite. (Not quite sure how that really works...) They'll show her though, they'll win. They just have one little problem to get past... they really can't play ball very well. The cast is wonderful and the characters manage to keep us interested in what would otherwise be a rather boring, formula film. R for language.
MAJOR LEAGUE: BACK TO THE MINORS (PG-13) 96 minutes * * In this third entry, Scott Bakula finds himself coaching a minor league team that has a few old friends and some new, and undisciplined talent. He whips the team into shape and challenges the struggling Minnesota Twins club in what amounts to a modest film that manages to recapture some of the fun from the first film. The story works a little better here, though the acting isn't the greatest and the budget is obviously not that large. Watch for more of Jensen Daggett, the doe-eyed girl who plays Bakula's girlfriend in the film. Filmed in Charleston, South Carolina, and Minneapolis, Minnesota. PG-13 for language.
MAJOR LEAGUE 2 (PG) 100 minutes * * This time around, everyone has "gone pro" and changed themselves... for the worse. Otherwise this is mostly a repeat of the first film with performances that are a little less enthusiastic. Randy Quaid still manages to have some fun and make us smile, so it's not a total loss. PG for language.
MAJOR PAYNE (PG-13) 93 minutes * * Standard comedy from Damon Wayans about a military man without a war, who is taking his job as a trainer of juvenile cadets far too seriously. No surprises from Wayans and only a minimum of scenes to make you smile.
MAKE ME A MATCH (NR) 83 minutes * * 1/2 Vivi (Eva Bourne) works for a dating app company. In trying to improve the app, she works with Raina (Rekha Sharma) and her son (Rushi Kota). Of course, she will find her own match where she least expects it. Very nice supporting cast and some more creative complications to the story that work nicely.
THE MAKEOVER (NR) 95 minutes * * 1/2 Hannah (Julia Stiles) has an image problem. It's why she just lost an election. There is a new opportunity that has presented itself. It might be too difficult to change her own image, but maybe she cna coach someone else. Enter Elliott (David Walton), the local beer vendor. Walton's accent is uneven early on, but he;s got quite a bit of charm and a fun character to work with.
THE MAKING OF A LADY (NR) 86 minutes * * 1/2 Emily (Lydia Wilson) is a practical young woman. When James (Linus Roache) proposes, it is unexpected, but it makes sense for both of them. But when he returns to his regiment in India, she must make her way as a lady, while still learning her way around the propoerty, those who tend it, and his wayward cousin. The story builds nicely, gently weaving a suspenseful thread into it as it progresses. Nice period piece.
MAKING THE BOYS (NR) 90 minutes * * 1/2 The story of the making of both the play and the film, "The Boys in the Band". It was a groundbreaking production, and while many who made it are gone, the influence of their work remains. This works well not only as a history, but as a tribute to the talents, hard work, and dedication of those who were involved in the productions.
MAKING THE GRADE (R) 100 minutes * * Rather than go to school himself, Palmer (Dana Olsen) hires someone to do it for him. But complications arise when Eddie (Judd Nelson) falls in love with the wrong girl, and the scam quickly unravels. The script is well written, but lacks imagination. The characters are just likeable enough to keep us watching. Filmed at Southeastern College in Memphis.
MAKING THE RULES (R) 74 minutes * 1/2 An accident at work forces Abby (Jaime Pressly) to stay home for the summer. It's hot and she's bored. And then an old boyfriend shows up. Pressly tried her best, but the script and direction do nothing to help her out, though somehow it still manages to have a nice ending. R for language.
MALCOLM X (PG-13) 192 minutes * * * Spike Lee's version of the autobiography of Malcolm X pulls no punches, yet does not attempt to paint an all-wonderful picture of the man either. Malcolm's problems as a young man with drugs, stealing, and running with the wrong crowd are all here. What he had in his favor was a good heart, a keen mind, an understanding of the importance of individuals, and a personal charisma that drew others to him. The film does need some trimming. Still, it's a powerful film and the story had been crying out to be made by talented people such as Spike Lee and Denzel Washington. PG-13 for language and violence.
MALEFICENT (PG) 89 minutes * * * No matter how many times you hear a story, remember that there could always be another way to look at it. This is a fun and slightly sinister look at the story of Snow White from another angle. The special effects are magical and fascinating and the production design is simply beautiful. If anything, it feels like its a bit too brief, missing the opportunity to more fully develop some of the subplots. PG for violence.
MALEFICENT: MISTRESS OF EVIL (PG) 111 minutes * * * When Aurora (Elle Fanning) agrees to marry Prince Philip (Harris Dickinson), pledging to unite their kingdoms, there's someone who doesn't want that to happen. It might not be who you think. The story is rather dark and violent in a few spots, even a little more than the first film, and might be a little too much for more sensitive viewers. The special effects are not only very well done, but are actually worth a second viewing if you want to make sure you have a chance to see everything. PG for violence.
MALIBU EXPRESS (R) 99 minutes 1/2 Somehow, the Russians are getting access to computer technology they shouldn't have. It's up to agent Cody Abilene (Darby Hinton) to uncover what's going on. The first in a series of films by writer/director Andy Sidaris that feature Playboy playmates, bodybuilders, and lots of sex. R for sex, violence, and language.
MALIBU'S MOST WANTED (PG-13) 79 minutes * 1/2 B-Rad (Jamie Kennedy) wants to be a rapper, while his dad wants him to be the upperclass young white man he "should" be. So, his dad hires two actors to "scare the black out of him". (Taye Diggs and Anthony Anderson) The story definitely has heart, but suffer from that old comedy skit syndrome that pretty much ruins things when the story goes on for more than a few minutes. PG-13 for violence and language.
MALICE (R) 102 minutes * * 1/2 It takes this murder/suspense/mystery film a while to get going. When it finally does, it's pretty good, with plenty of twists and turns. Good music from Jerry Goldsmith compliments the mood throughout as well. Most of the problem seems to be from poor direction that has the film tripping over itself early on. R for violence, language, and sex.
MALIGNANT (R) 107 minutes * * Madison (Annabelle Wallis) keeps seeing grotesque and violent murders. She's sure they can't be real, but the evidence would suggest otherwise. Somehow, she's connected to them, and to the creature she knows as Gabriel. Who or what is Gabriel? How can she convince anyone of what she is seeing? Why can't she remember what happened before she was adopted? Well-done, if rather grotesque effects, and a very nice soundtrack. The story resolves a little too easily, but getting there is very good. R for violence and language.
MALLRATS (R) 90 minutes 1/2 Two guys with girl problems go hang out at the mall... for the whole film... that's about it. A couple of mildly funny bits in a few spots, but nothing to keep us interested. This is the middle film, between "Clerks" (somewhat better) and "Chasing Amy" (much better).
MALONE (R) 88 minutes * * * Burt Reynolds stars in this well-paced, well-written mystery, adapted from the novel "Shotgun" by William Wingate. Malone is an ex-CIA agent who stumbles across some people who could use his help in a small town. Nice role for Reynolds and solid supporting performances from Lauren Hutton, Cliff Robertson, and Cynthia Gibb.
THE MALTESE HOLIDAY (NR) 79 minutes * * Shea (Ashley Brinkman) is going on a trip to Malta with her best friend... until her friend backs out. Michael (Cody Calafiore) and his brother are also headed to Malta... until his brother can't make the trip. Shea is staying positive and making the best of her situation. Michael is less enthusiastic about it, but they keep bumping into each other. Cute story, but it's not paced very well.
MAMA (PG-13) 96 minutes * 1/2 Victoria (Megan Charpentier) and Lilly (Isabelle Nelisse) lived alone in a cabin in the woods for five years. But they weren't exactly alone or unprotected. Their relatives are taking care of them now, but Mama is still with them... and she's jealous. Nice work by Charpentier and Nelisse, but there seems to be quite a bit of the story that's missing. Some creepy effects help, but this still falls short of what it could have been. PG-13 for violence.
MAMA I WANT TO SING (PG) 88 minutes * * Amara (Ciara) has always had a beautiful voice. When her minister/father dies, her mother takes over the ministry, and becomes more demanding of how her daughter should use her talents. Adapted from the play by Vy Higginsen, the dialogue feels forced and awkward throughout, though the heart of the story is strong. It's just difficult at times to feel it because the film doesn't flow as well as it needs to. PG for language.
THE MAMBO KINGS (R) 97 minutes * * 1/2 Two Cuban musicians head to New York to see if they can make it big on their own. Armand Assante is superb here, but the story has little in the way of energy or interest to keep us watching. There is a nice sequence involving an altered episode of "I Love Lucy" that is fun to watch.
MAMMA MIA! (PG-13) 100 minutes * * * Meryl Streep is marvelous (as usual) in this big screen adaptation of the fun stage musical based on the music of ABBA. Sophie (Amanda Seyfried) is getting married and wants her father to give her away. She doesn't know who he is, but finds her mother's diary, which uncovers three possibilities, so she invites all three. Funny and charming, with a talented cast that also includes Julie Walters, Christine Baranski, Pierce Brosnan, Colin Firth and Stellan Skarsgard. If you enjoy musicals, this is definitely a fun one, and ABBA's music and the colorful costumes just make it better! PG-13 for language and nudity.
MAMMA MIA: HERE WE GO AGAIN (PG-13) 104 minutes * * 1/2 As Sophie (Amanda Seyfried) plans the grand re-opening of the hotel in honor of her mother, we see flashbacks of Donna's (Lily James/Meryl Streep) life as a young woman. The story is a little more dreary this time, though the scenes with Christine Baranski and Julie Walters still light up the screen. It does eventually turn the corner and it finishes with a nice flourish. PG-13 for sex and language.
MAMMOTH (NR) 120 minutes * * Leo (Gael Garcia Bernal) and Ellen (Michelle Williams) lead very busy lives. At the moment, he's in Thailand on a business trip and she's an ER doctor who's been having a really rough week. Their daughter is being raised by the nanny, a woman from the Phillipines who is raising money to take care of her own two children who are still back home. There's plenty of guilt and frustration to go around as stress and tragedy begin to happen in all of their lives. Well-acted, but it's an unusual mix of tense drama and a rather relaxed pace that seems oddly distant at several points in the film.
THE MAN (PG-13) 79 minutes * 1/2 Samuel L. Jackson and Eugene Levy star in this lightweight comedy about a dental supply salesman who reluctantly helps an ATF agent take down an arms dealer. Levy is a little less abrasive than normal here, but that's Jackson's job in this story. Somehow it all works out, of course, and while not always making a great deal of sense, there is a tiny bit of charm toward the end. Levy fans will enjoy this more than Jackon's, but neither are likely to call this a gem. PG-13 for language and violence.
A MAN APART (R) 104 minutes * * Sean Vetter (Vin Diesel) is part of an anti-narcotic squad of the DEA, but when they take out one of Mexico's big drug cartels, it does little more than create a war over who will take over that part of the drug business. When it gets personal, Sean decides to take it to the next level. Standard action fare with the bonus of having Diesel around. He looks the part and manages to show just enough of a sensative side that he remains appealing even when his character seems to blur the lines between good and bad. R for violence and language.
A MAN CALLED OTTO (PG-13) 118 minutes * * * * Otto (Tom Hanks) is not a happy person. His attitude has grown worse since the death of his wife, and he’s finding it difficult to find much of a reason to go on living. When a young couple moves in a few doors down, he thinks nothing of it at first. The interruptions are a minor irritation at first. Then they become more annoying. Finally, they become something else, as Otto begins to change. Sometimes life knocks us down hard. Sometimes, it offers us a chance to get back up again. Wonderful supporting work from Mariana Trevino, and a great script that gives us characters whose hearts and lives are filled with love, in all of its wonderful varieties. PG-13 for language and violence.
A MAN CALLED OVE (PG-13) 112 minutes * * * 1/2 Ove (Rolf Lassgard) has recently been forced to retire. Since things aren't going the way he would like in his neighborhood, and his wife died a few yaers ago, he decides that this is the time to just put an end to it all. But somehow, no matter how hard he tries, life seems to keep getting in the way of his plan. A character and a story that are both full of cantakerous charm. PG-13 for violence and language.
MAN CAMP (NR) 89 minutes * 1/2 Their father was the ultimate man's man. He is gone now, but their tradition of Man Camp continues. This year, Adam (Daniel Cummings), Tim (Scott Kruse), and Kevin (Erik Stocklin) are going to have a different experience at Man Camp. Their is a new man in their mom's life. Will he be able to survive Man Camp? The film never really manages to strike a good balance between dealing with grief and trying to make us laugh.
MAN DOWN (R) 87 minutes * * 1/2 Gabriel Drummer (Shia LeBeouf) is on a mission. He's back from the war, and looking for his son. But the misson is not what it seems, and he keeps seeing moments from the war that just won't let go. We're dropped into the story so quickly, that despite there being some good meshing of Drummer's reality and actual reality, we never get the opportunity to understand him. That makes it difficult to care or be very involved in the story. Instead, we stay at arms length and only feel a little sympathy and miss out on a stronger connection to him. It makes the poignant ending less powerful and less effective. R for violence and language.
THE MAN FROM BEIJING (NR) 182 minutes * * * All but two of the residents of a small community are slaughtered. Most of them were related to Judge Birgitta Roslin (Suzanne Von Borsody), and she's determined to uncover the killer as well as his reason for committing this atrocious crime. The story involves us quickly and deeply, though it does lose some intensity in the middle and tends to meander for awhile.
THE MAN FROM EARTH (NR) 83 minutes * * 1/2 Professor Oldman (David Lee Smith) is moving on again, but before he does, he confides in his colleagues that he is 14,000 years old. From that statement, the film becomes and intense, philosophical exploraiton of what it could mean for that to be true. Very thought provoking, though also very heavy with dialogue.
THE MAN FROM EARTH: HOLOCENE (NR) 95 minutes * * 1/2 Professor John Oldman (David Lee Smith) is not who he appears to be. He's actually 14,000 years old. He hasn;t aged in a long time, though that appears to be changing now. At the same time as he is trying to understand what it might mean that he is beginning to age, some of his students are about to uncover his secret. A little less thought provoking than the first film, and the ending is less definitive than expected given the rest of the film.
THE MAN FROM ELYSIAN FIELDS (R) 101 minutes * * * Well-written and superbly acted morality tale that manages to be memorable despite it's familiar story. Andy Garcia is Byron Tiller, a writer who's struggles have brought him to the point of considering a different sort of lifestyle. It will take its toll on him, and teach him far more than he thought he needed to know. Mick Jagger and James Coburn are both quite good here as well. This is one of those rare films that's aimed more at a male audience that is willing to think about relationships and respsonsibility. A bit obvious at times, but subtle enough at others that the story manages to hold us and weave a little cinematic magic. R for sex and language.
THE MAN FROM NOWHERE (R) 115 minutes * * * When Cha Tae-Sik's (Bin Won) friend is killed, he fears for the safety of her daughter. They were both involved in trafficking drugs for an organization that also uses children for organ harvesting. It's a good thing that Tae-Sik used to be a special agent... the story involves us well, and the action is well-choreographed. R for violence, language, and nudity.
THE MAN FROM NOWHERE (2021) (NR) 75 minutes * 1/2 Jake (Seth Bowling) is a vicious and successful lawyer. He's also made some missteps. His father, with whom he is not close, has shared that he doesn't have much time left. He wants to correct that distance if he can, but Jake isn't going to make it easy. The acting and the script are both very stiff and the Christian message of the film is very strong at the end.
THE MAN FROM SNOWY RIVER (PG) 115 minutes * * * 1/2 Legendary Australian western story about a young man who goes to work for a cattleman and falls in love with his daughter. Filled with breathtaking scenery and fantastic footage of wild horses, this is a beautiful film to watch. Kirk Douglas plays a dual role here too, which is fun to watch. Watch out for that chase down the incredibly steep hill on horseback! PG for language.
THE MAN FROM TORONTO (PG-13) 104 minutes * * 1/2 He was just trying to have a nice weekend with his wife. It all goes sideways when Teddy (Kevin Hart) is mistaken for one of the best assassins, "The Man From Toronto" (Woody Harrelson). Hart's abrasive humor is fairly well balanced by Harrelson's no-nonsense performance. PG-13 for violence and language.
THE MAN FROM U.N.C.L.E. (PG-13) 110 minutes * * * Back to the beginning, when Napoleon Solo (Henry Cavill) and Illya Kuryakin (Armie Hammer) meet, they aren't exactly on friendly terms. They are CIA and KGB, but they find themselves partners in an effort to stop a sinister organization that could destroy the world. As with many theatrical films adapted from older television series, this takes a bit more of a humorous approach, but the humor here is quite dry, which works well. PG-13 for violence, language, and nudity.
MAN IN AN ORANGE SHIRT (NR) 117 minutes * * Two love stories and the complications they face. For Michael (Oliver Jackson-Cohen) and Thomas (James McArdle), they live in a time and place where their love is punishable under the law. Michael's grandson Adam (Julian Morris) and Steve (David Gyasi) live in a different time, but the struggles are just as real and as difficult, though the law is more permissive. The two stories tie together well at the end, but the film drags a little too much in the middle.
THE MAN IN THE BASEMENT (NR) 110 minutes * * * Selling their basement room seemed like a good idea, and Fonzic (Francois Cluzet) seemed nice enough. But then they learn that he is a revisionist. The problem is that the sale of the basement was legal. What can they do? The intensity increases well as the story moves along, and the sountrack adds a good measure of suspense.
THE MAN IN THE IRON MASK (PG-13) 124 minutes * * The story is a classic one, but the script they use this time around is just plain awful. The talents of Jeremy Irons, Gerard Depardieu, and Gabriel Byrne flounder as they try to get a handle on how to cope with it. John Malkovich struggles more than usual with his part too, and Leonardo DiCaprio gives a performance that relies far too much on words and not enough on the mannerisms which are his strong point. Moments of comic relief are handled awkwardly, and the film seems to drag on because of the poor dialogue. The black musketeer costumes used by the four leads at the end of the film are perfect, but it's too bad that the rest of the film is so weak. PG-13 for violence and language.
THE MAN IN THE MOON (PG-13) 97 minutes * * 1/2 A young farm girl in the process of growing up, falling in love... a slice of country family. Reese Witherspoon's first feature role is a nice one, though the conflicts here are treated a bit too tenderly to give the film the strength it needs. But for those who want a gentle film about family, this is a good one to catch.
A MAN NAMED PEARL (G) 74 minutes * * * Documentary about Pearl Fryar, a man with a natural talent for topiary work. Taking shrubs and trees that were discarded by a local nursery, Pearl has not only created a beautiful yard, but transformed a community. Nice, gently inspirational film.
MAN OF GOD (NR) 104 minutes * * * He simply continues to teach and to preach, and for that, even his peers persecute him. Saint Necktarios of Aegina, Greece (Aris Servetalis) was truly a humble man, caring for the poor and never lifting himself up or seeking praise. A powerful and true story.
MAN OF STEEL (PG-13) 133 minutes * * Yet another retelling of the origin of Superman (Henry Cavill) and his first confrontation with General Zod (Michael Shannon) from his home planet. Much of the action happens very quickly and is heavily CGI, which is less powerful, impressive, or effective. Except for Cavill, it's a pretty big name cast, and the ending is quite good if you decide to watch the whole thing. PG-13 for violence and langugae.
MAN OF TAI CHI (R) 98 minutes * * 1/2 Donaka Mark (Keanu Reeves) runs a private fight club. When he finds Chen Lin-Hu (Tiger Chen), he knows he has found soemthing unique. Here is someone who uses Tai Chi to fight. The fight choreography is very well done, but the story isn't really interesting or exciting. This is Reeves' directorial debut, and as such, it's nothing to brag about, and not much better than his acting. R for violence.
MAN OF THE HOUSE (1995) (PG) 93 minutes * * 1/2 Jack Sturges (Chevy Chase) just wants to be a part of the family. But Sandy (Farrah Fawcett) already has a man around her house, her son Ben (Jonathan Taylor Thomas). Ben doesn't want things to change anymore, but he finds that Jack is different from his father and the other men his mother has dated. Nothing unique here, but this is a nice little film with good supporting performances by George Wendt and crew. PG for language and violence.
MAN OF THE HOUSE (2005) (PG-13) 97 minutes * * 1/2 When a government witness is killed, the act is witnessed by a group of cheerleaders who then fall under protective custody. That may prove a bit more difficult than Roland Sharp (Tommy Lee Jones) first thought. Formula Disney entertainment that does a fair job of entertaining and staying away from being too crude or vulgar. Vanessa Ferlito is the one to watch here. Her performance as Heather is definitely one that draws your attention without stealing the scene. PG-13 for language and violence.
MAN OF THE YEAR (PG-13) 110 minutes * * * It began with a comment from a studio audience member. The next thing everyone knew, comedy show host Tom Dobbs (Robin Williams) is running for president. What will happen if a comedian is elected as president? Is the election rigged? Will that really matter? Great comedy/satire with Williams' rapid-fire one-liners hitting the mark almost every time. Still, he does seem to play it with a little caution in spots, reminding us that the comedy here is intended to remind us how important free speech is and how lucky we are to be in a democracy, flawed though it may be. Kudos to Williams and the rest for taking on a risky topic and doing pretty well with it. Now, if we could only find the right comedian to elect as president for real... PG-13 for language and violence.
MAN ON A LEDGE (PG-13) 96 minutes * * * There's a little more to this man on the ledge of a building than one might first suspect. It only appears that he's there to jump. The intricate plot reveals itself slowly , and though a few of the close calls are a little much to ask us to accept, they do add to the overall intensity of the film. Nicely written story by Pable Fenjves, his first for the big screen, though he did already have a few TV movie scripts to his credit. PG-13 for violence and language.
MAN ON A WIRE (PG-13) 89 minutes * * * Philippe Petit began to walk wires as a young man. It became his passion. When he saw a picture of the World Trade Center towers in New York, he knew what he had to do, and on August 7, 1974, he walked between the towers. Adapted from the book, "To Reach the Clouds" by Petit, this is the story of his journey to one of the most daring feats ever accomplished. PG-13 for language and nudity.
MAN ON FIRE (R) 139 minutes * * * Creasy (Denzel Washington) is hired by a young businessman in Mexico to be a bodyguard for his daughter. Creasy finds himself becoming friends with the girl despite knowing it probably isn't a good idea. When she ends up being kidnapped, Creasy goes after the perpetrators like a "man on fire". The twist in the story is no real surprise and the ending makes little sense either logically or poetically, but the trip there works fairly well. Dakota Fanning turns in another typically admirable performance, but the rest of the cast does nice work as well. R for language and violence.
MAN ON THE MOON (R) 112 minutes * * * The life story of comedian Andy Kaufman as portrayed by Jim Carrey... who does a superlative job. I will admit up front that I never really cared for Kaufman. And the film does not paint a pretty picture of him either. We see a self-indulgent man who always took jokes too far, had little regard for people's feelings, and who was only interested in comedy and practical jokes that he found funny. We also see a man who lost himself in the many characters he created and who had little sense of who he really was. A man who had almost no one to turn to for support while he fought a losing battle with cancer. The cameo appearances throughout the film are a delight, but this film is more for those who want to see Carrey in a strong, dramatic role. R for language.
THE MAN ON THE TRAIN (NR) 98 minutes * * * Expecting a bank heist in a small town to be a simple job, the thief (Larry Mullen Jr.) finds himself oddly sidetracked by a professor (Donald Sutherland). The pacing drags a little early on, and the unlikely interaction between these two characters is awkward to watch until we begin to understand that they feel awkward as well. Sometimes souls are connected in ways we don't understand, though the connection is undeniable. Poignant and powerful ending with beautiful imagery.
MAN-THING (R) 91 minutes * 1/2 "Whatever knows fear, burns at the touch of Man-Thing". A Seminole legend come to life, he is the embodiment of the spirit of the swamp. A rather mixed bag as far as special effects. The bigger problem is how far away from the comic book this goes, and it isn't in the right direction. R for violence, language, and sex.
MAN TROUBLE (PG-13) 95 minutes * * Ellen Barkin gets a guard dog and its trainer (Jack Nicholson) to help protect her after a break in and some other harassment. But she may have taken on a bit more than she can handle. Barkin and Nicholson have good chemistry on screen, but the script has tried to make the characters here far more complicated than necessary. What really makes it hard to watch though, is the shabby editing. Mistakes happen at a steady pace all the way through. PG-13 for language and sex.
THE MAN WHO INVENTED CHRISTMAS (PG) 98 minutes * * * 1/2 The story of Charles Dickens' (Dan Stevens) creation of the classic Christmas story. The film does a beautiful job ofmixing parts of Dickens' life with the unfolding of the "Christmas Carol" story. Fictional characters often come to life for the writer, and in many cases, they write themselves, with the author simply becoming a scribe as the characters live out their story. A very nice script, which is a fitting tribute to a classic story. PG for language.
THE MAN WHO KILLED DON QUIXOTE (NR) 127 minutes * * * The story of Don Quixote is one that blurs imagination and reality. Toby (Adam Driver) is in the middle of directing a new version of the classic story. In the process, he stumbles across the actors from a previous version of the story that he filmed, and the Don Quixote (Jonathan Pryce) from that earlier film is still playing the part. Toby now struggles to keep his own balance between what is real and what is not. Directed and co-written by Terry Gilliam, an old hand at blurring those lines. The story gets a little off-track in the middle, but the enidng is a beautiful combination of the comic and the tragic. A very fitting way to bring it to a close.
THE MAN WHO KILLED HITLER AND THEN THE BIGFOOT (NR) 92 minutes * * 1/2 Once upon a time, Calvin (Sam Elliott) was an assassin for the United States government. He was good at his job. That was many years ago. Still, his skill is going to be requested for one more job... to take down a bigfoot that is carrying a deadly disease. An unusual piece that gets off to a rough start, but finishes well.
THE MAN WHO KNEW INFINITY (PG-13) 103 minutes * * * Bio-drama about Ramanujan Srinivasa (Dev Patel), the brilliant mathematician from India, and his profound influence on others in the field. Wonderful work from both Jeremy Irons and Patel. PG-13 for language.
THE MAN WHO KNEW TOO LITTLE (PG) 88 minutes 1/2 Wally (Bill Murray) gets a present from his brother for his birthday. It's a new thing in London that involves you in a live theatrical experience. Only Wally gets the first cue wrong and ends up in a real spy adventure. Combining "The Game" with the pink panther series could've been a cute idea, but it doesn't work here. Murray hasn't looked this bad in quite awhile and Joanne Whaley stands around looking lost most of the time. PG for language and violence.
THE MAN WHO LOVED WOMEN (R) 108 minutes * * 1/2 A therapist recounts the story of one of her patients whose impotence was further complicated by his genuine love of women. Blake Edwards’ direction is a little heavy-handed, but Burt Reynolds delivers one of the better major performances of his career.
THE MAN WHO WASN’T THERE (R) 110 minutes * * When Sam (Steve Guttenberg) discovers a mysterious liquid that can make you invisible, he plans to have some fun with it. There are some government agents who want to retrieve it for other purposes. Mostly harmless fluff, with just enough of a cute story make it slightly appealing.
THE MAN WITH ONE RED SHOE (PG) 88 minutes * * 1/2 Good, light entertainment. Tom Hanks is always refreshing to watch, and Lori Singer's performance compliments his quite nicely. Nothing outstanding, but definitely enjoyable. PG for sex and language.
THE MAN WITH THE IRON FISTS (R) 101 minutes * * A blacksmith in a small village must defend his village from the band of rogues who has come to steal a legendary treasure. Director RZA does a reasonably good job of combining the feel of a classic martial arts film with a more modern film, using a few of Quentin Tarrantino's tricks. The early fight scenes aren't all that good, though it does get quite a bit better in the second half. R for violence, sex, and language.
THE MAN WITH THE IRON FISTS 2 (R) 86 minutes * 1/2 It's ten years later and Thaddeus (RZA) returns to try and find balance and peace. Of course what he really finds is another situation where his skills are needed. Nice fight scenes, but the story in-between them is thin and not that interesting. R for violence.
THE MAN WITH TWO BRAINS (R) 87 minutes * * ½ Jumbled story about a brain surgeon who falls in and out of love with brains, some of which are in bodies and some of which aren’t. Packed with strange little bits of humor, many of which are part of the sets and props. It’s Steve Martin at his zaniest, and as such, manages to work well and keep us entertained and laughing. R for sex and language.
THE MAN WITHOUT A FACE (PG-13) 109 minutes * * * Justin McLeod (Mel Gibson) is content to live alone in a large house on the east coast, hiding his disfigured face from the locals who continue to gossip about him. Gibson gives us a fine performance, but his directing debut isn't as strong as it needs to be when the film reaches for our emotions. Adapted from the novel by Isabelle Holland, it's a story about truth and what lies behind the masks we wear. Filmed in Maine. PG-13 for language and subject matter.
MANAGEMENT (R) 90 minutes * * Quirky and charming story about a motel manager who falls for a travelling art saleswoman. Jennifer Aniston's character tends to run a bit hot and cold here, making it a little difficult to understand where she's coming from at times, but Aniston does fairly well with the part. Steve Zahn's humor is toned down just a little, making his character sweet, if a little strange. R for language
MANCATION (R) 98 minutes BOMB When Vince's (Matt Kawczynski) wedding plans don't work out as expected, he and his friends decide to have a fun-filled weekend. Awful script that tries to be meaningful while mixing it with crude humor, stupidity, and people who can't act. Think "The Hangover" without the talent. R for sex and language.
MANCHESTER BY THE SEA (R) 132 minutes * * * 1/2 When his nephew is left in his charge, Lee (Casey Affleck) needs to try and put aside his own issues, which is no easy task. A well-told and absorbing story, with characters and performances that draw us in very quickly. There are a few rough adges at the beginning, but it builds very well as we learn more about Lee and his situation. Affleck won numerous awards, including an Oscar for his performance, and the scrennplay was also an Oscar winner. R for language and sex.
THE MANCHURIAN CANDIDATE (2004) (R) 123 minutes * * Remake of the 1962 political thriller. This time we have Denzel Washington as the man who is trying to uncover the conspiracy that will put Manchurian Global's candidate (Liev Schreiber) in the oval office. Schreiber does a nice job here as does Meryl Streep, playing the part of his mother. The script doesn't leave room for Washington to be much more than a complainer who we aren't all that sympathetic with. Political conspiracy theory stories like this are old material now, unlike when the original was released. We never really understand much about why Manchurian Global wants to control a president. Updating the story and talking about things like "Desert Storm" and terrorism pale in comparison to the preceived threat of communist takeover that was present in the early 1960s. R for violence and language.
THE MANDELA EFFECT (NR) 74 minutes * * It's the name for misremembered facts, and Brendan (Charlie Hofheimer) is becoming obsessed by the idea and what it means for the possibility of alternate realities and reality in general. Theory plays a larger role than story here, so if you enjoy theoretical and philosophical science, this will be an interesting film. If not, you might find yourself with a headache.
MANDELA: LONG WALK TO FREEDOM (PG-13) 135 minutes * * * A detailed and dramatic presentation of Nelson Mandela's life. It's mostly a straightforward bio-drama, with a strong performance by Idris Elba as Mandela. PG-13 for violence, sex, and language.
MANDRAKE (NR) 82 minutes * A murderer with a notorious reputation, “Bloody” Mary (Derbhle Crotty) is out of jail. It’s Cathy’s (Deirdre Mullins) job to rehabilitate her. But maybe the stories are true… Lot’s of creepy atmosphere courtesy of the soundtrack and the photography, but very little substance.
MANDY (NR) 117 minutes * 1/2 Mandy (Andrea Riseborough) and Red (Nicolas Cage) live a nice, quiet life deep in the forest. Everything is peaceful, until a strange cult invades their lives, bringing torturous violence into their gentle space. The symbolism is as thick as the violence, and along with the slow pace and dimly lit settings, this becomes heavier and more oppressive than it needs to be.
MANGLEHORN (PG-13) 93 minutes * * 1/2 Manglehorn (Al Pacino) is stuck. Lost and brooding over a relationship that ended long ago, he's become very eccentric and almost reclusive. Dawn (Holly Hunter) sees something in him, but will it be enough to change his comfortable pattern of behavior? There are inconsistencies in Manglehorn's behavior, but they only manage to make his seem more real. Pacino does wonders here, incorporating those inconsistencies into a complex and realistic character. Hunter's supporting work adds depth to the story and helps explore a side of Manglehorn that we wouldn't see without it. PG-13 for sex and language.
THE MANGLER (R) 102 minutes * *From a Stephen King short story... it's the story of the Blue Ribbon Laundry and the machine from hell! Packing a punch from the start, there is plenty of action, suspense, and blood. Unfortunately, the film is just as far-fetched as the story was, and ends up being more ridiculous than scary.
MANGUS! (NR) 86 minutes 1/2 Mangus (Ryan Boggus) is all set to play Jesus in his high school musical until he's in a car wreck that leaves him paralyzed. Now he has to deal with the school board's rejection, bizarre family members, and plenty of other weird things. To be fair, he had to deal with much of that already. The low-budget, and low-quality are supposed to add to a sort of trashy, cult-classic appeal, but it just doesn't work because the humor tends to misfire, and the characters are lacking in any sort of charm or appeal.
MANHATTAN MURDER MYSTERY (PG) 105 minutes * * 1/2 Woody Allen's reworking of "Double Indemnity" is adequate, but nothing spectacular. Suffers terribly from Diane Keaton and Woody Allen's verbose nonsense, which some people do find engaging. They do play off each other well, and present a somewhat stronger couple than Allen has in the past with Mia Farrow. The story takes a back seat to the characters, as is typical in Allen's films, but in this case, it isn't a bad idea.
MANHATTAN NIGHT (R) 108 minutes * * * Porter Wren (Adrien Brody) is a reporter who knows a good story. But it gets a little murky when he tries to uncover more information about the death of this mysterious woman's husband. A modern film noir piece, in which Brody fits quite well. Very nice film for those who love mysteries. R for sex, violence, and language.
THE MANHATTAN PROJECT (PG-13) 115 minutes * * ½ John Mathewson (John Lithgow) does research on the refining of plutonium. He is doing such a fine job that the government becomes interested. They set him up in a nuclear medicine research facility, but of course, they aren’t really concerned with the medical aspect, they are interested in nuclear weapons. Sound familiar? John’s new girlfriend has a son (Christopher Collet) who decides to expose the organization with the help of his girlfriend (Cynthia Nixon). There are plenty of interesting characters here, but the story doesn’t really let us get to know them. The script and direction keep everything a little shallow, though it still manages to be fairly entertaining. Just a little too unimaginative.
MANHATTAN ROMANCE (NR) 94 minutes * 1/2 Danny (Tom O'Brien) is making a documentary about love and relationships. He is between relationships at the moment, but that may be changing soon enough. Low energy and very heavy on dialogue, and the characters aren;t all that appealing. Perhaps writer, producer, director, actor O'Brien tried to take on a little too much.
MANHUNTER (R) 115 minutes * * * With a strange new serial killer on the loose, FBI agent Will Graham (William Petersen) comes out of retirement to help catch the killer. He decides to meet with convicted serial killer Dr. Hannibal Lecktor (Brian Cox) to help understand what is going on in this new killer’s mind. Working with Lecktor is not an easy or safe thing to do. Adapted from the book “Red Dragon” by Thomas Harris, this is the first in the series of books (and films) to feature the character of Dr. Hannibal Lecktor.
MANIAC (NR) 85 minutes 1/2 Frank (Elijah Wood) is just trying to help an artist friend. But Frank has some issues. Some rather serious issues. It's a creepy idea, and there are a few gross moments, but that isn't really enough to hold this together. The point-of-view camera work doesn't help, and Wood is less than convincing.
MANIAC COP (R) 82 minutes * 1/2 Frank McCrea (Tom Atkins) has a new serial killer to deal with. And this one dresses like a cop. It puts officer against officer as two of them (Laurene Landon and Bruce Campbell) know who the killer is, but no one will believe them. The first of three films that are among Robert Z'Dar's best known, playing the part of the maniac cop. R for violence and language.
MANIAC COP 3: BADGE OF SILENCE (R) 81 minutes * And we thought things were settled at the end of part two. A voodoo priest resurrects Cordell (Robert Z'Dar) and uses him to do his bidding... at least for awhile. R for violence and language.
MANIAC COP 2 (R) 83 minutes * 1/2 Picking up where the first film left off, our intrepid heroes are certain that the maniacl cop (Robert Z'Dar) is still "alive". Indeed he is, and he's teaming up with a more conventional serial killer to make sure even more people die. R for violence, language, and nudity.
MANIFESTO (NR) 94 minutes * * 1/2 Examining the role of artist in society, Cate Blanchett presents and performs the manifestos of numerous artists through the years. A visual and auditory collage of ideas. Blanchett plays thirteen different characters, and does so with ease. It is a series of manifestos, and as such, is packed with ideas and philosophical musings. It's fascinating to watch Blanchett's ability to creat so many characters. But the ideas tend to blur and mix together, leaving us with impressions rather than anything more substantial.
MANK (R) 127 minutes * * * It's 1940, and Orson Welles (Tom Burke) gets a contract like no other. He will have full creative control over his film. For this project, he hires Herman Mankiewicz (Gary Oldman) to write the script. Mank is a struggling alcoholic who writes a story that harshly criticizes Hollywood. It's called "Citizen Kane". Well-written and superbly acted, but there's so much insider Hollywood politics here, most of which is never explained. Fans of old Hollywood will love this. Others, not so much. R for language.
MANNEQUIN (PG) 86 minutes * * * 1/2 Jonathan Switcher (Andrew McCarthy) is one of those people who has a difficult time holding a job. He likes to be artistic and creative, but can't seem to find a job that will let him express his ability. Just as he is putting the finishing touches on a mannequin for a window display, it comes to life. But Jonathan is the only one who can see this. McCarthy and Kim Cattrall work well together and make this much more fun than you might expect. Meshach Taylor's supporting performance adds just the right touches to give the film a little something extra.
MANNEQUIN TWO: ON THE MOVE (PG) 90 minutes BOMB At least the first film had a little bit of charm. The sequel, this time with a medieval spirit trapped in the form of a mannequin, has nothing to offer except a short scene near the end of the film if you manage to last that long.
MANNY (PG-13) 80 minutes * * * Bio-documentary about the life and career of Manny Pacquiao, a boxer who was born and raised in the Philippines. A very well-balanced look, but much like Pacquiao himself, even the info around some of the less scrupulous people he's worked with is presented in a positive tone. It's kind of refreshing to see. PG-13 for violence.
MANNY & LO (R) 84 minutes * * * Manny (Scarlett Johansson) and Lo (Aleksa Palladino)... two orphans on the run. Lo is the older of the two and takes charge of things, including the kidnapping of someone who can take care of the baby she's going to have. But it's Manny who understands what really matters. Johansson is a natural here and Mary Kay Place manages to be both quirky and charming. This is one of those films you don't hear very much about but that you should definitely see. R for language.
MANON OF THE SPRING (PG) 113 minutes * * * * Perfect conclusion to the story begun in "Jean de Florette". It's best to see the two films close together as this builds solidly on the first. Manon discovers the truth about what happened to her father, carefully plotting her revenge, and involving us every step of the way.
THE MANOR (R) 82 minutes 1/2 Recently released from a psychiatric hospital, Amy (Christina Robinson) goes to Anders Manor with her mother. A few other family members are there, as well as some other people. They will all play a part in what the manor has planned for Amy. Creepy music and photography, but mediocre acting and a very disjointed story sink this very quickly. R for violence, language, and sex.
MAN'S BEST FRIEND (R) 83 minutes 1/2 Max is on the loose. He's a genetic crossbred dog who needs his medicine to keep him from becoming a psychotic killer. His ability to camouflage himself is a bit more than we can take, but so is the rest of the film.
MANSOME (PG-13) 79 minutes * * 1/2 Director Morgan Spurlock takes a look at what it means to be a man. How much of it is all about image? And what exactly does that mean? The focus is primarily on facial and body hair and how men deal with it. While it does a good job of dealing with those aspects, most would probably agree that the stereotypical male image involves a little more than hair. (ie. muscles and alcohol consumption perhaps) PG-13 for language.
MANSON: MUSIC FROM AN UNSOUND MIND (NR) 107 minutes * * 1/2 A look at the beginning of Charles Manson's attempts to enter the music scene. As his beliefs began to take shape, he knew that music would be a good way to spread that message. Numerous interviews with people who knew Manson and many who worked with him on some of these musical projects. Along with the narration, the picture becomes more clear. It was a long process, and his failure on the music scene refocused Manson's energy. He became obsessed with the idea of an upcoming race war, which he saw evidence of not only in politics and the push for civil rights, but in the music scene as well. But as things in the world began to spin out of control, Manson's bad luck just continued to increase. The film ends rather abruptly, but does provide a unique look into Manson's life.
MANSON: MY NAME IS EVIL (R) 80 minutes * 1/2 Originally entitled "Leslie, My Name is Evil" as this spends a great deal of time on the attraction one of the jurors feels toward Leslie Van Houten (Kristen Hager) during the Sharon Tate murder trial. She was perhaps the most enigmatic of Manson's inner circle of female followers, though the film doesn't really delve very deeply into her character, choosing to hint rather than attempt to offer any sort of explanation. It's a rather unusual look at the trial, as it ridicules the justice the trial attempted to provide in light of the atrocities of the Vietnam War. The comparison doesn't work very well. R for violence, sex, and language.
MANSON'S LOST GIRLS (NR) 87 minutes * * 1/2 Told from the perspective of Linda Kasabian (Mackenzie Mauzy), this is the story of the last few months of the "Manson family". The story moves along in a way that makes the events seem almost inevitable. The group were contantly on drugs, out of touch with reality, paranoid, and becoming more violent toward the end as they became more susceptible to suggestions Manson made. A made-for-TV movie, but nicely done.
MANUELA & MANUEL (PG-13) 89 minutes * * Manuel (Umberto Busto) is a performer who is being asked to play a very difficult role. A good friend wants him to play the part of a straight man who will be her husband. She's pregnant and feels this is the best answer. It's not going to be easy since her father frequents the club where Manuel works... as Manuela. Nice work by Busto, and there are some good supporting performances too, but the pacing is uneven and the shifts from comedy to drama are awkward at times. PG-13 for sex and language.
MANUFACTURED LANDSCAPES (NR) 83 minutes * * 1/2 Interesting documentary highlighting the photographic work of Edward Burtynsky. His photographs of various ways in which humans have altered the landscape of the planet make for a fascinating study. The industrial revolution brought about many great things, but they did not come without a cost.
THE MANY SAINTS OF NEWARK (R) 114 minutes * * * Take a step back in time. Before Tony Soprano was... Tony Soprano. This is the story of his family and the friends of the family who shaped the young Tony. In particuar, Dicki Moltisanti (Alessandro Nivola), his uncle. It's a different time in Newark, and the balance of power among the crime families is about to change. Very nice companion piece to the TV series, "The Sopranos", but it also stands well on its own. MAO'S LAST DANCER (PG) 111 minutes * * * Based on the autobiography of Li Cunxin, who was chosen from his classmates in a rather poor area of China to ge sent to ballet school. It was an honor to be chosen and an opportunity to show the world how talented his country was and how wonderful their system of government worked. Li works hard and becomes an exceptional dancer, but the toll it takes on him is high, and when he is exposed to the different approach to ballet that happens in the United States, he is faced with a very difficult choice. It's a powerful story, but doesn't always hit the emotional chord that it needs to for us to be more involved with the characters. Perhaps part of the problem is what appears to be a desire to tell as many of the details as possible so that nothing is left out. PG for violence, sex, and language.
MAP OF THE SOUNDS OF TOKYO (R) 99 minutes * * * Despite spending time with his daughter, there was a great deal he never knew about her. When she dies, he continues to struggle to understand, and he blames the man he thought she loved. But we don't choose who we love... or if they will love us. Beautifully filmed, with both story and characters of a highly enigmatic nature. That will definitely be off-putting for many. But that appears to be what is intended... it's not a typical story, and to appreciate it, a suspension of what is usually expected is in order. Even the title gives us a hint of that idea, for how can you map the sounds of a city... R for violence, sex, and language.
MAPS TO THE STARS (R) 106 minutes * * * The chonicle of a Hollywood family, seeking fame and fortune, yet struggling despearately to escape their own past. It's also another unusual piece from director David Cronenberg. The strangeness is only hinted at early on, but it doesn't take long for the film to dive off the edge. Nice work by the ensemble cast, and a fitting ending. R for violence, sex, and language.
MAQUIA: WHEN THE PROMISED FLOWER BLOOMS (NR) 110 minutes * * * A land of immortals is invaded by humans who are desperate for their blood. They are certain that it holds the secret to their immortality. Maquia escapes the carnage, but is now isolated. She finds a human baby who has been orphaned and decides to raise him as her own. Having the baby helps her to hide for awhile, but since he ages and she doesn't, they have to move. As he begins to understand that they are different, she learns that there are other immortals who survived. It's time to move on. A bittersweet story with beautiful animation and a lovely soundtrack.
MARA (R) 96 minutes * 1/2 Mara (Javier Botet) is a sleep demon. She attacks when people have that moment of sleep paralysis that sometimes happen at that moment between sleeping and waking. Kate (olga Kurylenko) is a forensic psychologist who is drawn into the case and finds herself marked by the demon. Will she be able to stop what comes next? Sound effects are quite good, as is the soundtrack, both of which help create several chilling moments. The story itself doesn't have far to go and tends to repeat itself though there is a moment where we learn about the other names the demon has. That makes things a little more interesting. R for violence and language.
MARAUDERS (R) 101 minutes * * * A perfectly executed bank robbery seems to point to the owner of the bank as the person responsible, but as the FBI begins to look into the case, there is not only much more to the story, but much more at stake. Nicely written, and good intensity. Acting by both main and supporting cast is quite good. R for violence, language and nudity.
MARCH OF THE PENGUINS (G) 77 minutes * * * It's the darkest, driest, windiest, coldest continent on earth, and it serves as home to the emperor penguin. There's almost no other life at all, but a National Geographic film crew working with the French Polar Institute filmed a year in the life of these amazing creatures who march 70 miles to their breeding ground each year. Luc Jacquet's direction clearly shows both the beautiful scenery and the brutal weather that these remarkable animals endure. A fascinating and informative film, narrated by Morgan Freeman.
MARCI X (R) 80 minutes 1/2 Marci's (Lisa Kudrow) father owns a record label with a controversial artist who is about to sink his financial empire. She decides to fix things while her father recuperates in the hospital from a heart attack. Like most films that Richard Benjamin directs, there are moments of humor and long sections of tired story. This is far too preachy to be very entertaining and pretty much wastes the talents of not only Kudrow, but Damon Wayans and Christine Baranksi as well. R for language.
MARCUS (NR) 103 minutes * * 1/2 Marcus (Owen Miller) has one last chance to make things right. Not everyone will let him try. If this new version of Marcus is anything, he's patient. Slow-moving and thoughtful story that reveals itself in layers that slowly peel back.
MAREBITO (R) 90 minutes * * 1/2 Creepy little film about a man's search for what drove another man to kill himself. He stumbles across a darker side of this world with creatures he'd never imagined and a young girl who needs blood to survive. Not really scary, but definitely creepy though pacing is a problem at times. R for violence and nudity.
MARFA GIRL (NR) 103 minutes * Life in Marfa, Texas. There are various subplots here, but aside from the location, and the common thread of Adam's (Adam Mediano) presence, there is little to tie them together. Most of the characters seem to care very little about anything, which gets a similar response from us.
MARGARET (R) 147 minutes * * * After she witnesses an accident, Lisa's (Anna Paquin) life will change dramatically. And then she decides to change her story about what she saw happen. Now, everyone including the police are wondering just what she's thinking. The script covers a great deal of territory and ties in literary and operatic themes, but is less a stoey about an event than a coming of age. We're given an intense look at a moment in Lisa's life that will shape her forever. It unfolds and expands, in part on its own, and in part because of who she already is. Also featuring Mark Ruffalo, Jean Reno, Allison Janney, Kieran Culkin, and Matt Damon. R for language and sex.
MARGIN CALL (R) 103 minutes * * 1/2 Times are tough and people are getting laid off from their jobs. Right before Eric (Stanley Tucci) leaves, he gives a file to one of his employees with instructions to follow up on it. It's not good news for the company. The performances here are fine, but the story, especially given its implications, is very dry. There are a few moments when it starts to move to something deeper and more powerful, but then it quickly moves back. Perhaps it was an attempt to stay away from implicating a particular firm in the real world, but whatever the reason, the result leaves the film a bit cold and distant. R for language.
MARGOT AT THE WEDDING (R) 88 minutes * * * Margot (Nicole Kidman) is going to her sister's wedding. But she and Pauline (Jennifer Jason Leigh) haven't been on good terms for years. It's an interesting character study that gives us a glimpse of a dysfunctional family bent on self-destruction. Not a particularly pleasant film to watch, but very well-acted and writer/director Noah Baumbach delivers another fine film. R for language and sex.
MARIE AND BRUCE (R) 84 minutes * * It's a dysfunctional marriage, and Julianne Moore and Matthew Broderick perform their roles well. The problem is that the characters simply aren't very likeable, which means we have a difficult time really caring whether or not thier marriage will work out well or not. The humor is satirical and almost too understated, and the asides to the camera are distractions that don't help much either. Written and directed by Wallace Shawn. R for language and nudity.
MARIE ANTOINETTE (PG-13) 116 minutes * * Relying on a version of history by novelist Antonia Fraser, this screen biography of Marie Antoinette follows her from a short time before becoming the wife of Louis XVI until the French people revolt against the excesses of the monarchy. She's just a young girl who didn't want to be in France to begin with, let alone be married to someone else who was young and inexperienced. The film takes a long time to not really get anywhere, dealing with little more than appearances and letting us feel a little of her frustration and confusion without much understanding of how or why it wasn't resolved. Sets and costumes are wonderful, and Kirsten Dunst does what she can, there's just not much material to work with. PG-13 for language and sex.
MARIE'S STORY (NR) 91 minutes * * * 1/2 Marie Huertin (Ariana Rivoire) was born deaf and blind. Looking for help, her parents were fortunate to find a nin who saw it as her calling to work with Marie. Similar in many ways to the story of Helen Keller and Anne Sullivan. The biggest difference is that in the telling of this story, the focus is more sensory and experiential rather than linguistic and educational. Marvelous work by both Rivoire and Isabelle Carre.
MARILYN HOTCHKISS BALLROOM DANCING & CHARM SCHOOL (PG-13) 100 minutes * * 1/2 Frank (Robert Carrlyle) is still grieving the loss of his wife. But when he comes across a traffic accident, the promise he makes to the dying man will change his life forever. The story is a bit of a reach, and doesn't work that well toward the end, but the performances keep our interest fairly well/ PG-13 for language.
THE MARINE (PG-13) 84 minutes * 1/2 He's a Marine. Discharged for disobeying orders and singlehandedly rescuing prisoners of war, now John Triton (John Cena) finds himself chasing some hard-core criminals who've taken his wife hostage. Plenty of nice stuntwork and explosive effects. The villains are quite vile, but the plot and acting are less than mediocre, and the believability factor is beyond ridiculous. Filmed in Queensland, Australia. PG-13 for violence and language.
THE MARINE 5: BATTLEGROUND (R) 89 minutes * * Jake (Mike Mizanin) is currently working as an EMT, but he finds himself on a battleground between gang members who are engaged in an all out war. There's plenty of action, though most of it is gunfire. The story works a little better here than the previous couple of entries in this series. R for violence and language.
THE MARINE 4: MOVING TARGET (R) 84 minutes * When a whistleblower needs protection, Jake (Mike Mizanin) is hired to protect her. It doesn't take long before the bullets start flying and the intrigue begins. Way more bullets than intrigue, and a very anti-climactic ending. R for violence.
A MARINE STORY (NR) 92 minutes * 1/2 Discharged from the Marine Corps, Alex (Dreya Weber) is back home, and dealing with all of the relationships and issues that she thought she'd never have to deal with again. The story isn't bad, but the acting is mediocre at best. The ending is good, but it sort of comes out of nowhere... like several minutes of film are missing.
THE MARINE 6: CLOSE QUARTERS (R) 80 minutes * Jake (Mike Mizanin) ends up working with Luke (Shawn Michaels), another former marine, to rescue a girl who has been kidnapped. The kidnapping is an attempt to hang a jury, though a group with the resources they have should clearly have been able to find an easier way to accomplish their goal than this. It's just never really convincing. R for violence and language.
THE MARINE 3: HOMEFRONT (R) 83 minutes * 1/2 Sgt. Jake Carter (Mike Mizanin) is home on leave, but doesn't seem to fit in anywhere. That's not really anything new for him, but whenhis sister is kidnapped, he knows what has to be done. The story has no connection to the previous two films, which is neither bad nor good in particular. What is bad is how much of the action is repetitive, though that surely saved some money. Acting is a little better than the others, but that's not really saying a great deal. R for violence and language.
THE MARINE 2 (R) 91 minutes * 1/2 After a rough tour of duty, Joe (Ted DiBiase Jr.) takes a break and spends some time with his wife. But the island resort where they are staying is about to be attacked. No real connection to the first film as far as story, though they are similar in their poor acting and far-fetched stories. R for violence.
MARIUS (NR) 90 minutes * * * Daniel Auteuil's remake of the classic play trilogy by Marcel Pagnol begins with the story of star-crossed lovers. Marius (Raphael Personnaz) love Fanny (Victoire Belezy), but he also has a passion for the sea. She loves him deeply, and is only beginning by the end of the film to understand how much he loves the sea. A great cast that does a very nice job of drawing us into the story.
MARJORIE PRIME (NR) 95 minutes * * * 1/2 To aid in the grief process, there is a service that provides a holographic recreation of someone who has died. As the story beings, Marjorie (Lois Smith) talks with her deceased husband. It helps her daughter Tess (Geena Davis) and son-in-law Jon (Tim Robbin) cope with taking care of her. The service proves to be useful in other ways as the years pass. Though some will undoubtedly find the idea a little creepy, it is shown here as a very effective way to cope with grief at a more relaxed and gentle pace. A fascinating way to end. Based on the play by Jordan Harrison.
THE MARK (NR) 90 minutes * 1/2 New microchip technology ends up being the "mark of the beast" referred to in conservative Christian circles that will herald the end of the world. Good suspense, and moderately good acting help a predictable plot and stale dialogue.
MARK FELT: THE MAN WHO BROUGHT DOWN THE WHITE HOUSE (PG-13) 99 minutes * * * 1/2 By design, the FBI is a separate agency that does not answer to the White House. It is only in that way that it can truly serve as a force of law that keeps the administration of the United States in check. A shift is in the works, and Felt (Liam Neeson) is the one on whom it falls to prevent that shift. Great work by the cast. Pacing and the soundtrack add some nice suspense, even for those who are familiar with the history on which this is based. PG-13 for language.
MARKED FOR DEATH (R) 90 minutes * 1/2 Lots of action and violence, but this is still one of Steven Seagal's lesser films. The story involves Jamaican drug dealers who are out to get him, but their English is rather difficult to understand. There are no surprises as far as the story, and the only good acting is by Basil Wallace as the villain, Screwface. Unless you're a Seagal fan or just can't get enough martial arts/action films, you might want to skip this one.
THE MARKSMAN (R) 90 minutes * Wesley Snipes plays super soldier in this low-budget film from producer Andrew Stevens. It comes across more like a game of paintball than the military espionage film it tries to be, with Snipes giving a deadpan performance as the only person in the film who seems to know what's going on. R for violence and language.
THE MARKSMAN (2021) (PG-13) 101 minutes * * 1/2 Times have been a little rough for Jim (Liam Neeson). An illegal border crossing results in him being responsible for a young Mexican boy. They're headed for Chicago, but some nasty cartel hitmen are on their trail. Good action with Juan Pablo Raba delivering a ruthless performance as the main villain. The ending may be a little overly-sentimental, but it does fit. PG-13 for violence and language.
MARLENE (NR) 87 minutes * * 1/2 It's unusual for Frank (Paul Hassler) to talk to his victims. It's also unusual for Frank to be asked to abduct someone instead of just killing them, but that's his latest assignment. The problem is that Frank falls in love with Marlene (Caroline Hochfelner). He decides against doing the job he's been tasked with, but he isn't the only person who works for his boss. Now, he will have to fight the syndicate to rescue the woman he loves. Some of the action sequences are on the laughable side, but others work quite well. Nice work by Hassler, and a good, if not very surprising twist near the end.
MARLEY (PG-13) 141 minutes * * * An in-depth look at Bob Marley's life and his influence on music, religion, and politics. Extensive interviews with his family, friends, and co-workers over the years show us all the sides of this enigmatic and talented man. PG-13 for language and violence.
MARLEY & ME (PG) 112 minutes * * * John (Owen Wilson) and Jennifer (Jennifer Aniston) Grogan decide that getting a puppy would be a good way to learn about how to care for a child. Well... Marley is definitely a handful. And as he grows up, the Grogan family begins to grow as well. Heart-warming and hilarious, it's the story of a family and their dog, and all of the laughter and tears that go with having a family pet that everyone loves. Wilson and Aniston work well together in this adaptation of the book by John Grogan. PG for language.
MARLEY & ME: THE PUPPY YEARS (PG) 82 minutes * 1/2 Marley enters a puppy competition, with the anticipated results from a puppy who will grow up to be a dog who tends to always find his way into trouble but still remain lovable. The biggest problem is that this feels like one of the "buddies" series of movies about labrador pups. (And we've seen far too many of those.) PG for language.
MARLOWE (R) 102 minutes * * * His career hasn’t been doing so well lately, but Marlowe’s (Liam Neeson) latest case promises to pay well. An heiress (Diane Kruger) is looking for her missing lover. The story going around is that he is dead. Marlowe isn’t so sure that is what has really happened. Great atmosphere! Based on “The Black-Eyed Blonde” by Benjamin Black, who did an admirable job of creating a story that feels very much like Raymond Chandler wrote it. R for language, violence, and sex.
MARMADUKE (PG) 83 minutes * * The classic dog from the newspaper comic created by Brad Anderson and Phil Leeming makes the transition to the big screen. Voiced by Owen Wilson, Marmaduke and his family move from Kansas to California. It takes awhile to make new friends and fit in. Unfortunately, the film lacks what the comic provided... lots of interaction between Marmaduke and the family. There are a few of cute bits, but this quickly becomes yet another talking dog movie, and there are already plenty of those. This had the potential to be a bit more... and missed the mark. PG for language and violence.
MARRIAGE (NR) 230 minutes * * 1/2 They've been married for thirty years. Every day isn't perfect, but that's not really a bad thing. A slice of the lives of Ian (Sean Bean) and Emma (Nicola Walker). A little on the tedious side due to the length, but nice work by the cast.
THE MARRIAGE CHRONICLES (NR) 106 minutes * Three couples dealing with their marital issues during a retreat designed to support them during this process. Watching this feels like sitting through a marriage counselling session, which isn't actually that appealing. By the end of the film, we've learned enough about the couples to know that we really don't like any of them.
MARRIAGE MATERIAL (NR) 89 minutes * 1/2 These three couples are about to immerse themselves in a relationship retreat weekend. But not everyone going on this retreat realized what they were getting into. Bishop Jones (Lavell Crawford) is going to have his work cut out for him. If you enjoy dysfunctional relationships and lots of loud and frustrating conversations, this might be fun for you. There's virtually no flow between the scenes, which all seem to be filmed without a great deal of thought as to how they might tie together. Some of the acting isn't too bad, but the structure of the film undercuts whatever structure might have developed.
MARRIAGE STORY (R) 132 minutes * * * 1/2 It was a good marriage, but it's over now. Divorce doesn't feel good either. Charlie (Adam Driver) and Nicole (Scarlett Johansson) are trying to figure out what's best for both of them and the rest of the family. The script and direction do a marvelous job of covering the variety of emotions, from love to hell and back again. It gives the cast everything they need and they use it well. R for language.
MARRIED BY CHRISTMAS (NR) 85 minutes * * In order to inherit the family business, which is worth quite a bit, Carrie (Jes Macallan) not only has to get married, but she has to do it before her sister,,, and she isn't even dating anyone yet. Nice work by Macallan in an otherwise standard Christmas romance.
MARRIED LIFE (PG-13) 86 minutes * * 1/2 Married life can change. And maybe divorce isn't the only answer if things aren't working out. Harry (Chris Cooper) decides that killing his wife might be the more humane way to deal with the situation. But is he the only one for whom this marriage isn't working? Well-acted, and somewhat unusual story. The narration and the 1940s setting tend to give this morality tale and almost fairytale-like quality. Adapted from John Bingham's book, Five Roundabouts to Heaven. PG-13 for language and sex.
MARRIED TO THE MOB (R) 96 minutes * * 1/2 After the death of her husband, Angela DeMarco (Michelle Pfeiffer) tries to sever ties with the mob, only to discover that the boss would like for them to have a closer relationship. Very entertaining, though there are editing problems and other difficulties that keep this from being a better film. Nice job by the cast, who keep us smiling pretty much the whole way through.
MARROWBONE (R) 104 minutes * * 1/2 To protect each other and remain together, four siblings are telling no outsiders about the death of their mother. It's growing more difficult to keep such a terrible secret, but there's something else even worse. Something far more terrifying is in the house with them. Some genuinely creepy moments, but it all wraps up a little too quickly at the end, without really addressing a couple of lingering questions. R for violence.
MARRY GO ROUND (NR) 83 minutes * * Preparing for her wedding and a move to Paris, Abby (Amanda Schull) discovers that she's actually still married to Luke (Brennan Elliott). For his part, Luke isn;t so sure that he wants to re-sign the divorce papers that weren't filed first time. In addition, a particular piece of information now has Abby wondering about what course of action to pursue.
MARRY ME (PG-13) 105 minutes * * * It's going to be the biggest wedding the world has ever seen. Everyone is talking about Kat Valdez (Jennifer Lopez) and Bastian (Maluma). Until she finds out that he cheated on her... just moments before the wedding is about to begin. Rather than waste the setup, Kat decides to pick a lucky guy from the crowd. Charlie (Owen Wilson) now finds himself catapulted into the spotlight. A very charming and romantic script. PG-13 for language.
MARRY ME FOR CHRISTMAS (NR) 86 minutes * 1/2 Just helping out his boss by going with her to visit her family at Christmas. That's what Adam (Brad James) thought. That is, until he's trapped into proposing to her. His motto "promise them anything and work out the details later" may not work out this time. Formulaic story with reasonably good performances, but nothing memorable.
MARRY ME IN YOSEMITE (NR) 83 minutes * * ½ Her latest assignment is for a photobook featuring the sights of Yosemite. Zoe (Cindy Busby) is excited about the idea, but wants to include a sense of the history of the area in the project. Not just the geological history, but that of the indigenous people of the area. Jack (Tyler Harlow) is willing to help. Filled with magnificent scenery of Yosemite and the surrounding area.
MARRYING FATHER CHRISTMAS (NR) 83 minutes * 1/2 Third in the "Father Christmas" series, Miranda (Erin Krakow) and Ian (Niall Matter) are all set to get married on Christmas day. As the date approaches, they not only have to deal with wedding nerves and the expectations of others, but the possibility of another family relative they weren't expecting. Lots of little subplots running around, and they don't really fit well together.
THE MARRYING MAN (R) 111 minutes * The story here is a fairly typical one for Neil Simon. A man is torn between two loves, inexorably drawn to the one that will cause him more suffering. What isn't typical for Simon, is that the story is overly repetitive and never really comes to life. And then there's Kim Basinger. She does sing her own songs here, but with a voice that carries little emotion and a style that is just boring, though some of that may be the fault of the songs themselves. Her acting skill shows no improvement though, and with two solid strikes against it, the film is a real disappointment.
MARRYING MR. DARCY (NR) 86 minutes * * Once Donovan (Ryan Paevey) asks Elizabeth (Cindy Busby) to marry him, lots of things change. She wants everything to stay simple, and he's not opposed to that, but there are social obligations that he finds more important then she does. Paevey just doesn't seem very invested in his character. Sequel to "Unleashing Mr. Darcy".
MARS ATTACKS (PG-13) 100 minutes * * * The first thing you must keep in mind is just how corny this is going to be. If you liked "Matinee" or "Tremors", then this should be something you'll like. Boasting a huge cast of big name stars, most of whom are only in a few scenes, this is loads of fun to watch. Director Tim Burton has delivered another film that sparkles with talent and Danny Elfman's soundtrack recaptures the spirit of the old science fiction films. PG-13 for violence and language.
MARS NEEDS MOMS (PG) 78 minutes * * 1/2 Milo (voiced by Seth Green), realizes that his mother is important, but so has the supervisor on Mars, where they need her skills to help raise their children. With the help of a couple of rather unlikely friends, he may just be able to save her and get her back home to Earth. The animation continues to get better, with facial expressions improving as well as some of the more subtle movement. There are some pretty intense scenes here, especially for the younger ones in the crowd. PG for violence.
THE MARSH (R) 90 minutes * Claire Holloway (Gabrielle Anwar) just wanted to get away to the country for a break, but finds herself in the middle of her own terrifying dreams. But who are these troubled spirits and why is she here? It's not that hard to figure out, and despite a fair performance by Anwar, the rest of the film is poorly acted and written with little thought about developing characters or creating real suspense. The photography has a polished look about it, but even that seems to simply highlight the other weaknesses of the film. R for violence and language.
THE MARSH KING'S DAUGHTER (R) 101 minutes * * * As a child, Helena (Brooklyn Prince) though the world of her father (Ben Mendelsohn). As an adult, Helena (Daisy Ridley) understands that her father was not a good man, and that he actually kidnapped her mother. Now, he has escaped from prison. The only person who stands a chance of finding him is Helena. Adapted from the book by Karen Dionne, it's a story about who you are and understanding what shaped you. R for violence.
MARSHALL (PG-13) 114 minutes * * * 1/2 The Supreme Court of the United STates... the highest court in the land. Thurgood Marshall (Chadwick Boseman) was the first person of color to serve on this esteemed court, and in doing so, began to chart a new course for that court, and for the country. This is the story of one of his earlier cases, showing not only his strategic skills, but his ability to teach and influence others. A very fine courtroom drama. PG-13 for sex, violence, and language.
MARSHALL'S MIRACLE (NR) 86 minutes * 1/2 Finn (Lucas McHugh Carroll) has trouble with bullies at school. After finding a dog who has similar issues, a bond is formed. Perhaps together they can overcome their problems. Thinly veiled promo for the Humane Society and pet adoption, with an anti-bullying message thrown in for good measure.
THE MARSHES (NR) 84 minutes * Leading a small research team deep into marshland, Pria (Dafna Kronental) finds something unexpected. Something dangerous lives in the marshland, although it doesn't really make much sense. There are a few scenes with moderate suspense, and some gross special effects, but the story never really goes anywhere, and can't seem to decide what direction to go until near the end.
MARSHLAND (NR) 101 minutes * * * For several years, young girls have been murdered in a small town in the south of Spain. The investigations often don't get very far due to a general lack of respect for women by most people in the community. Juan (Javier Gutierrez) and Pedro (Raul Arevalo) are determined to find the killer, but first, they'll need to learn how to work together a little more effectively. Very good mystery/thriller, with some fine work by the leads and an absorbing story.
MARTHA MARCY MAY MARLENE (R) 97 minutes * * 1/2 Martha (Elizabeth Olsen) just can't take it anymore and goes to her sister for support. The trouble is that she can't figure out how to deal with what happened so that she can really move on with her life. The acting is fine here, but the plot is more than a little muddled, and the direction seems aimless at times, as if the director can't figure out how to resolve this either. R for violence, sex, and language.
THE MARTIAN (PG-13) 133 minutes * * * 1/2 In the wrong place when the storm hits, Mark Watney (Matt Damon) is presumed dead. The rest of the team just manage to get into the ship and head for home. But Mark is still alive. And now he must survive on Mars until the next ship arrives. Very nice special effects and great work by the cast, capped with great work by Damon. The humor in the script has just the right touch of irony and sarcasm, which is the type of humor that would be essential to surviving in circumstances like these. PG-13 for language and nudity.
MARTIAN CHILD (PG) 99 minutes * * Ever felt like you just didn't fit in? David (John Cusack) knows what that feels like, so when he decides to adopt Dennis (Bobby Coleman), he's drawn to this strange little boy who thinks he's from Mars. Whether Dennis really is from Mars, or whether he's just trying to make sense of his life, he and David have a great deal to learn from each other. Coleman does a great job here, and the scenes between John and Joan Cusack are both a delight and a rarity to see. Somehow this doesn't seem to have the emotional strength needed to really involve us in the story. Adapted from David Gerrold's novel. PG for language.
MARTIAN LAND (NR) 82 minutes * Most of humanity now lives on Mars, in cities underneath domes. But a violent sandstorm destroys one city and is on track to hit another. What can be done to stop it? It's actually a good story idea, but the script and acting are both pretty bad.
MARTYRS (R) 93 minutes * * After escaping from the sadistic family who tortured her, Lucie (Mylene Jampanoi) returns with a friend to make sure they are punished. Neither girl understands the full extent of what was going on in the house, or what it will take to put an end to it. Unusual and a bit unpleasant at times. R for violence and sex.
MARTYRS LANE (NR) 93 minutes * * * The vicarage is a place full of life and energy during the day. At night, it transforms into something more sinister. Leah (Kiera Thompson) is only 10, but this is her home. She meets another little girl. One who only shows up at night. One who is hiding a mysterious secret. A story that is both haunting and tender, with marvelous work by Thompson.
THE MARVELS (PG-13) 93 minutes * * * As if saving the universe isn't difficult enough, Carol Danvers, aka Captain Marvel (Brie Larson) is now dealing with her powers being mixed up with those of S.A.B.E.R. astronaut, Captain Rambeau (Teyonah Parris) and a new, young superhero, Kamela Khan (Iman Vellani), who is also a fan of Captain Marvel, and who is calling herself Ms. Marvel (if that's OK with Carol. The story has lots of energy, though not always a good place to put it. Vellani is wonderful here. She burst into the Marvel Cinematic Universe with the role of Ms. Marvel in a TV mini-series, and now brings it to the big screen, with plenty of charm, humor, energy, and sincerity. This is well worth a look for her performance alone. PG-13 for violence and language.
MARVIN'S ROOM (PG-13) 95 minutes * * * 1/2 Wonderful adaptation by Scott McPherson of his play which met with so much success on stage. Diane Keaton, Meryl Streep, and Leonardo DiCaprio are all superb, but it is the script which has the real strength. The story is so serious and depressing, yet filled with humor. An incredible piece of work that is not to be missed. The closing song by Carly Simon, "Two Little Sisters" is sung by Simon and Meryl Streep. PG-13 for language.
MARWENCOL (NR) 81 minutes * * * After a vicious attack outside a bar, Mark's memories are wiped out except for occassional still images. As part of his self-directed therapy, he creates a miniature world where fantasy stories, fueled by a mixture of memory and imagination, take place. Images from this world are eentually exhibited at an art show. It's a fascinating look inside a private world that we don't usually get to see. Director Jeff Malmberg is deserving of Mark's trust and has told his story with sensitivity and care.
MARY (R) 78 minutes * * David (Gary Oldman) and Sarah (Emily Mortimer) have wanted to start a charter boat business for some time. They find a boat that needs a good deal of work, with an interesting figurehead. But when she hits the open sea... The talented cast of the film gives it a huge boost. The story, however, is unsurprising and relies mostly on noise scares despite having some well-done effects. R for violence and language.
MARY AND MARTHA (NR) 92 minutes * * * Mary's (Hilary Swank) son is having trouble at school, so she decides that six months in South Africa would be a great home schooling program. Martha's (Brenda Blethyn) son has been accepted as a teacher at a school in South Africa. Tragedy brings them together, and together, they just might be able to accomplish something that they never expected to. Powerful story, with nice work by both Swank and Blethyn.
MARY & MAX (NR) 85 minutes * * * A little girl in Australia picks a name out of a phone book and writes to a man in the United States to ask where babies come from in America. It's a scary question for Max, as he isn't very good at dealing with people. But he tries, and as they are both lonely people, a long-distance friendship begins. Wonderful animation highlights this sweet and tragic story of two friends, and all that can happen when you reach out to someone. As the quote at the end of the film notes, "God gave us relatives... thank God we can choose our friends!" (Ethel Mumford)
MARY AND THE WITCH'S FLOWER (PG) 98 minutes * * * An energetic and spirited girl, Mary finds herself on an adventure she never dreamed of when she is granted magical powers by a special flower. A charming and fun film adapted from the book, "The Little Broomstick" by Mary Stewart. PG for violence.
MARY 4 MAYOR (NR) 91 minutes * * Mary (Cameron Protzman) is fed up with her father. Once he became mayor, she sort of lost him as a father. On top of that, the town seems to be withering away instead of improving like he promised. So, Mary decides to run for mayor. Along the way, she learns some tough lessons... and so does her father. It's a good, if predictable, story, but most of the acting just isn't that strong.
MARY QUEEN OF SCOTS (R) 117 minutes * * * Mary Stuart (Saoirse Ronan) is queen of France at the age of 16 and a widow at the age of 18. Rather than remarrying, she returns to Scotland to reclaim her throne. That puts her in direct conflict with her cousin Elizabeth (Margot Robbie), who rules both England and Scotland. Only one of them can be queen. A very powerful scene near the end of the film between two incredible women, and played by two outstanding actresses. R for sex, violence, and language.
MARY SHELLEY (PG-13) 113 minutes * * 1/2 It's love at first sight when Mary (Elle Fanning) meets Shelley (Douglas Booth). Their affair begins, but all does not go well. The difficulties that each of them struggle with spawn great literature, but on a personal level, their lives are torn apart. The story builds well and finishes quite nicely, but stumbles early on, unsure of exactly how it wants to tell the story. PG-13 for sex.
MASK (R) 93 minutes * * * Life is full of both good and bad, giving us the choice and the challenge, to make of it what we will. Rusty (Cher) and Rocky (Eric Stolz) are a very different sort of mother and son, but they are just that... a mother and a son. PG-13 for violence and language.
THE MASK (1994) (PG-13) 92 minutes * * 1/2 Full of amazing special effects, but the story begins to slow down a bit too much after an hour. Based on the Dark Horse comic book character, the story revolves around a mystical mask that changes the wearer by accentuating their basic nature and deep desires. Jim Carrey's performance skills are very much at home here. PG-13 for language and cartoonish violence.
THE MASK OF ZORRO (PG-13) 130 minutes * * 1/2 Anthony Hopkins and Antonio Banderas star in this new version of the old classic. As those familiar with the legend are aware, the mask does change owners, but there will always be a Zorro when there is a need. Hopkins plays this well, but Banderas' part has a bit too much comic relief in it considering the direction of the story. It makes for a rather uneven feel to the film at times and paints the characters in a bit more cartoonish fashion than one might have expected. The swordplay is very well-done though, and the horseback stuntwork is excellent. PG-13 for language and violence.
MASQUE OF THE RED DEATH (1989) (R) 80 minutes * * 1/2 The misty quality of film and the abundance of greys and browns really helps to set the mood. There is some very good photography here, but there are also some shots that are quite pathetic. The same can be said of the editing and acting. It makes for an uneven production, but many Roger Corman produced films fall in that category. They're done on a low budget and rarely succeed on all fronts. There are enough good spots in this one to warrant some praise and make it worth your time if you enjoy watching classic horror stories on the screen.
MASQUERADE (R) 89 minutes * 1/2 Poor Olivia (Meg Tilly)... everyone is out to kill her for her money. Too bad somebody didn't kill the script. Almost cartoonish, and never really believable or suspenseful, with an absolutely horrible closing line. John Barry's music is nice, but you almost can't hear it.
MASQUERADE (2021) (NR) 77 minutes * 1/2 Casey's (Alyvia Alyn Lind) parents are coming home from a party. But while they were gone and Xasey was at home with the babysitter, art thieves broke in. Casey is trying to stay away from them, but they are growing more desperate and violent as time passes. There are some segments here that appear to be out of order. The very end explains part of the story, but we have mostly lost interest by then.
MASS (PG-13) 108 minutes * * 1/2 Two families dealing with grief following a tragic incident. Their perspectives are different because of what happened to their children. They have agreed to have a conversation. A very dialogue heavy film. The awkward tone early in the film is very fitting. What's more unusual, and less likely, is that a meeting like this would happen without a mediator or facilitator, especially in a church setting. PG-13 for language.
THE MASTER (R) 131 minutes * * * Freddie (Joaquin Phoenix) just seems to drift through life until he meets "The Master". In many ways, it's not so much that he really believes what is being said as that he finds it fascinating and somewhat humorous. Even so, he is slowly drawn in by the master's artful work. Great acting by both Phoenix and Philip Seymour Hoffman. R for sex and language.
MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD (PG-13) 129 minutes * * 1/2 Jack Aubrey (Russell Crowe), commander of the Surprise, has been given the order to capture or stop the Acheron. It's a daunting task as the Acheron is a tough ship. It's a story of war, friends, and the choices that must sometimes be made. It is perhaps a bit too realistic in that it's hard to distinguish who's who in the final battle. As well, a bit too much of the film relies on Crowe's character, which though well played, just isn't enough to give this the extra strength it needs. PG-13 for violence.
A MASTER BUILDER (NR) 124 minutes * * 1/2 Based on Henrik Ibsen's play. "The Master Builder", adapted by Wallace Shawn, who also stars. This is well-acted and nicely written, but it fails to take advantage of the medium of film, which could have added a great deal of visual depth to the story, instead of confining itself to a stage-like presentation.
MASTER GARDENER (R) 106 minutes * * * Tending to the magnificent Gracewood Gardens, Narvel Roth (Joel Edgerton) is an expert horticulturist. His employer (Sigourney Weaver) is a demanding and fickle wedding. She reaches out to support a great--niece in need, but soon kicks both Maya (Quintessa Swindell) and Narvel off the property. In deciding to stay together, they will begin to deal with their pasts, which have many things in common, not the least of which is how broken they both are. Can they find a way to share that brokenness in a way that will support each other? Very well-developed characters and a wonderfully quiet yet intense performance by Edgerton. R for language and sex.
MASTER HAROLD AND THE BOYS (PG-13) 79 minutes * * The story of a young white boy (Freddie Highmore) in South Africa, raised by a racist father, but taught by a gentle and loving black man (Ving Rhames). Hally (Highmore) struggles with what these conflicting messages mean and how he plans to act. Based on Athol Fugard's play, which is powerful, but doesn't translate well to the screen, being very talky and mostly a dialogue between Highmore and Rhames. PG-13 for sex and language.
THE MASTER OF DISGUISE (PG) 72 minutes BOMB Pistachio (Dana Carvey) is a member of a family whose duty is to protect the world from evil by mastering the art of disguise. At it's best, this is a misguided project that can't seem to decide whether to go for the younger crowd or the adults. An example of this is the cameo appearances that actually tell you who the person is... just in case you don't know. Lots of material during and after the credits, much of it cut from the film, but none of it worth sticking aruond for. PG for language.
MASTER Z: THE IP MAN LEGACY (NR) 103 minutes * * 1/2 After being defeated by Ip Man, Cheung Tin Chi (Jin Zhang) tries to stay out of trouble and not draw attention to himself. Getting into a fight with Tso Sai Kit (Kevin Cheng) isn't the way to do that. Especially once his sister Tso Ngan Kwan (Michelle Yeoh) gets involved. Some great fight scenes here, including a very nice one featuring Yeoh.
MASTERMINDS (PG-13) 100 minutes * * Expelled student Oswald Paxton (Vincent Kartheiser) just happens to be on campus when the new security chief (Patrick Stewart) decides to take the school hostage. Will the ex-British secret agent and his dozens of well-trained men succeed, or will they be defeated by young Kartheiser... Too hard-edged and dark for the kids, but far too hokey for the adults. This ends up being a curiosity with a few good scenes. PG-13 for language and violence.
MASTERMINDS (2016) (PG-13) 87 minutes * * One of the biggest bank robberies in the United States was planned by an armored car guard. This is the story of that robbery. Based on a true story. Kristin Wiig does a great job here, but Zach Galifianakis misses the mark. There are a few scenes that are good, but it's a difficult balance to maintain as the humor that is here needs to be unintentional, and Galifianakis just isn't there. PG-13 for language and violence.
THE MATADOR (R) 93 minutes * * 1/2 Danny (Greg Kinnear) is working on a business deal, Julian (Pierce Brosnan) just finished a job. They meet in a hotel bar, and an extremely unlikely friendship begins... especially since Julian is a hit man. Unusual role for Brosnan, but the story is interesting, offbeat, and charming in its own way. There are a few scenes that seem a bit gratuitous and pointless, and stronger material in their place would have helped this film tremendously. Richard Shepard tends to direct his own scripts and the weaknesses that can result are evident here, though its still definitely worth a look. R for language, violence, and sex.
THE MATADOR (2008) (NR) 73 minutes * * * Several seasons in the life of David Fandila, a young matador, as he tries to achieve what few have... 100 bullfights in a single season. Brutal and violent, but with a history and an art as well. And though the number of those who decry it as savage and senseless grows, so does its popularity. An interesting documentary, even for those who don't like bullfighting.
MATCH (R) 89 minutes * * * Tobi (Patrick Stewart) is a ballet instructor who has agreed to do an interview. But as the questions keep coming, it's clear that this interview isn't for publication, and has an agenda that is becoming more clear every minute. Very dialogue heavy, as is often the case with a play that has been adapted to the screen. That part actually works well, giving the cast a chance to dig deeply into these characters. R for language.
MATCH POINT (R) 122 minutes * * * Chris Wilton (Jonathan Rhys Meyers) is a poor Irish boy, taking in London and looking to move up in the world. Teaching tennis to the upper class serves not only as a way to earn a bit of money, but helps him make the right connections as well. Still, no matter who we know or what we become, there's always a bit of who we were that's left. It's an interesting character study from director Woody Allen. Nothing really whimsical or humorous in this story, just a solid drama, well-directed and nicely performed. R for sex.
THE MATCHBREAKER (PG) 91 minutes * * Ethan (Wesley Elder) has found a new job. He's so picky about who his new girlfriend could be, that finding reasons for other people to break up just comes naturally to him. Parents are now hiring him to break up the romances of their children that they don't approve of. Of course, he may be learning something unexpected about relationships as he does this work. Fun story, but the edge is missing both in the script and in most of the performances. PG for language.
MATCHING HEARTS (NR) 83 minutes * * 1/2 An entrepreneur who believes that staying single is the best road to success, Daniel (Ryan Paevey) recently met Julia (Taylor Cole). She works for a matchmaking company and is single herself. It's a Hallmark film, so it's easy to tell where this story is going.
MATCHMAKER (R) 93 minutes * 1/2 Marcie (Janeane Garofalo) goes to Ireland to find the Irish ancestors of the Senator she works for to secure the Irish vote. She arrives in time for matchmaking week and... you can imagine the rest. Garofalo is far from convincing here and aside from some of the smaller Irish characters, nobody is much fun to watch. The story has far too much politics and far too little charm to make it entertaining and leaves us not caring much about the end. R for language.
MATCHMAKER MYSTERIES: A FATAL ROMANCE (NR) 83 minutes * * 1/2 When a romance novelist is killed, there is no shortage of suspects, including an old boyfriend of Angie's (Danica McKellar). She;s going to have to do some digging to find the evidence that will convince Detective Cooper (Victor Webster) that he isn't the killer. Second entry in the series.
MATCHMAKER MYSTERIES: A KILLER ENGAGEMENT (NR) 86 minutes * * 1/2 Angie Dove (Danica McKellar) is very skilled at reading people. It comes in very handy with her work as a professional matchmaker. Those skills also come in handy as she gets involved in a murder case. Detective Cooper (Victor Webster) can't seem to convince her to stay out of the way. That might actually be a good thing. Webster and McKellar work well together. Some of the supporting performances are a little weak.
MATCHMAKER MYSTERIES: THE ART OF THE KILL (NR) 83 minutes * * 1/2 In this third entry in the series, Angie (Danica McKellar) uses her skills of observation to help uncover the truth about a murder at the art museum. She's almost always just a step ahead of Detective Carter (Victor Webster). Meanwhile, her father (Bruce Boxleitner) is working on a case involving several thefts of smaller items from offices at the museum. There might be a connection.
MATCHSTICK MEN (PG-13) 111 minutes * * * Roy (Nicolas Cage) is a con artist. He's also obsessive/compulsive. While preparing for his latest con with his partner, he discovers that he has a daughter. He also forgets one of the most basic, and most important rules of being a con artist. Cage is amazing... as usual. His performance is intense and fun to watch, if a bit overplayed in a few spots. It's a different sort of film for director Ridley Scott, but he does a nice job with this character study, keeping it entertaining at the same time has its moments of suspense and despair. Alison Lohman holds her own quite well with Cage. It speaks well of everyone involved. PG-13 for language and violence.
MATERIAL GIRLS (PG) 92 minutes * * Hilary and Haylie Duff star as the Marchetta sisters, who have a hard time adjusting the their new reality when the company they inherit goes bust. Not only do they have to learn how to get along without their millions, they need to figure out how to clear their father's name. Duff fluff to say the least, but harmless enough and reasonably fun most of the time. PG for language.
MATILDA (PG) 91 minutes * * * Mara Wilson is outstanding in this adaptation of Roald Dahl's modern fairytale. It's a little extreme in some spots for very young viewers (thus the PG rating), but has wonderful lessons to teach and does so in a very entertaining story. Also starring Danny DeVito and Rhea Perlman.
MATINEE (PG) 95 minutes * * 1/2 Lawrence Woolsey (John Goodman) is a producer of low budget horror films, a master showman, and who believes that surviving the scare is what makes life worth living. Set during the Cuban missile crisis, this reminds us of the three-dimensional experience that was unique to films of the 1950s. It also has a lesson to teach us about doing the best you can with what you get. Simon Fenton and Lisa Jakob are the youthful recipients of Woolsey's greatest words of wisdom... "grownups are making it up as they go along, just like you are, kid". How true. PG for language.
MATRIARCH (R) 89 minutes * 1/2 Stranded in the country after a car accident, Rachel (Charlie Blackwood) and her husband Matt (Scott Vickers) soon find help at a nearby farm. The family who lives there seem nice, but it doesn't take long to understand that their interest isn't in helping Rachel and Matt, but in taking Rachel's unborn child. They have no intention of letting the young couple who have wandered into their trap get away. There's a nice little twist at the end, though the lengthy piece of narration is unnecessary. R for violence, nudity, and language.
THE MATRIX (R) 129 minutes * * * Stunning special effects and absolutely mesmerizing photography! A computer generated dreamworld where people live out their lives as human batteries. There are a few who have awakened, and they are searching for the one who has the strength of mind and will to break free and change the system. Keanu Reeves comes up a little short here, and there are a few story holes. But the effects draw us in quickly and the idea is interesting enough to keep us watching. Good supporting roles help as well, but the real reason you'll want to see this is for the amazing special effects! Filmed in Australia. R for violence and language.
THE MATRIX RELOADED (R) 127 minutes * * 1/2 Heavily relying on the first film, the story continues here with the sentinels drilling their way down to Zion. While Morphius and many other believe that Neo is their savior, there are many who don't. There are, as in the first film, some amazing special effects scenes, but the story is terribly thin here. Fans of the first film will undoubtedly enjoy this, but, as the ending demonstrates, this is really only half a film. R for violence and language.
THE MATRIX: RESURRECTIONS (R) 137 minutes * * * Good computer programs never die, they just get hidden. Neo (Keanu Reeves) finds himself back in the thick of it again, trying to figure out what's real and what isn't. while saving the world, or at least part of it, once more. Nice effects, good fight scenes, and a script that pulls in lots of familiar characters along with a few new ones. R for violence and language.
THE MATRIX: REVOLUTIONS (R) 120 minutes * * * Following the typical pattern of trilogies, this third entry is more exciting and interesting than the second, picking up the pace of the action and resolving many of the unanswered questions. The end is near and Neo (Keanu Reeves) must fulfill his purpose, for everything that has a beginning, has an end. It's a bit too formulaic at the end and it's too bad that someone felt the need to leave the story open for another sequel down the road. Kudos to Jada Pinkett Smith for a very strong supporting performance as an ace pilot! R for violence and language.
MATTHEW 18 (R) 98 minutes 1/2 Michelle (Jennifer Jayleen Martinez) wants to get away from the family and has the perfect opportunity with a full scholarship to the University of Minnesota. She even has a place to stay as her family is part owner of a house in the area. But something is not quite right about the house. There are several creepy moments, but the ending doesn't make much sense, and the dialogue feels awkward and unnatural through most of the film. R for language and violence.
MATT'S CHANCE (NR) 92 minutes * * When Matt (Edward Furlong) discovers his fiancee in bed with another man, he begins a journey of discovery. It's somewhat surreal and darkly comic. Furlong's casual style of acting works well here. The story does lose focus a few times, which is probably the result of writer/producer/director Nicholas Gyeney taking on a little too much.
MAUDIE (PG-13) 110 minutes * * * Maud's (Sally Hawkins) arthritis is severe, causing her pain and affecting her ability to walk. People have come to view her as incapable and unintelligent. Dissatisfied with the way her family is treating her, she sets out to improve her life. Finding work as a live-in maid for Everett (Ethan Hawke) sounds like it might be a good opportunity. He is a hard and simple man, but she doesn't see many options making themselves available. They make it work, and though not ideal, it's what they have. Magnificent work by Hawkins. PG-13 for violence and sex.
THE MAURITANIAN (R) 124 minutes * * * Many people were held at Guantanamo after the 9/11 attacks. Mohamedou Slahi (Tahar Rahim) was one of them. Though he wasn't charged with a crime, he was believed to be one of the key recruiters for the attacks. This is the story of his efforts to be set free. Defense attorney Nancy Hollander (Jodie Foster) and her associate Teri Duncan (Shailene Woodley) do their best to help Mohamedou. Rahim does a great job here, but many of the rest of the cast are less convincing.R for violence and language.
MAVERICK (PG) 123 minutes * * * 1/2 Broadly painted satire of the American west (even more than the TV show was), starring Mel Gibson, James Garner, and Jodie Foster. They work very well together and keep us entertained throughout the film. The best surprise of al though, is Graham Greene's show stealing performance satirizing his own previous work as an Indian character actor. It's a show full of laughs and action, with a little romance thrown in for good measure. You'll be glad you saw it! PG for language.
MAX (PG) 104 miunutes * * 1/2 When Justin's (Josh Wiggins) brother is killed in Afghanistan, his military dog needs someone to take care of him. And it looks like he's adopted Justin. The second half of the film veers off into a mystery that seems far less genuine than the early part of the film. PG for violence and language.
MAX CLOUD (NR) 84 minutes * 1/2 Intergalactics space hero Max Cloud (Scott Adkins) has a problem. His ship has crashed on a prison planet. Sarah (Isabelle Allen) has a different problem. Somehow, she is now inside the Max Cloud videogame. A bit more violent than those silly 1980s and 1990s Saturday morning space shows, but definitely in the same style. For what this is, it's not bad. The sets, costumes, and effects all set the stage well. The script lacks the wit it needs, and the acting is overly silly. In the end, it's just not as much fun as it should be.
MAX DUGAN RETURNS (PG) 94 minutes * * * ½ Nora (Marsha Mason) has been doing alright. Life isn’t easy as a single mother, but she’s making it work. And then her father (Jason Robards) comes back into her life. Neil Simon’s script is a perfect fit for Mason, though they divorced the year this was released. Robards and Donald Sutherland also deliver great performances here. PG for language.
MAX KEEBLE'S BIG MOVE (PG) 80 minutes * * Max (Alex D. Linz) and his friends are the most picked on kids in school. When he learns that his family is moving, he decides that it's the perfect time to turn the tables. His pranks work perfectly and revenge is achieved, but what's that? The family isn't going to move after all? Cute and entertaining, it's a nice little film that most everyone in the should enjoy, though there's nothing outstanding enough to give it a higher rating. PG for language.
MAX PAYNE (PG-13) 92 minutes * 1/2 Despite their suspicions of each other, Max (Mark Wahlberg) and Mona (Mila Kunis) find themselves working together to figure out who killed her sister and his family. The story is intense, and doesn't let up much, but also somehow manages to be rather devoid of emotion. Based on the video game, which explains part of why the story is more than a little sketchy in spots. Nice work by Kunis. PG-13 for violence.
MAX RELOAD AND THE NETHER BLASTERS (NR) 93 minutes * 1/2 Max (Tom Plumley) considers himself to be the best gamer ever. When he discovers a "lost copy" of the Nether Dungeon, and plays the game, he unleashes an ancient evil that was hiding inside the game. He and his friends have a lot of work to do, because the game is now spreading online very quickly. This starts out well, but falls apart rather quickly, losing both energy and direction as it moves along.
MAX STEEL (PG-13) 86 minutes * * 1/2 Max (Ben Winchell) and Steel (voiced by Josh Brener) must learn to work together to reach their potential. It's not going to be easy. Nice science fiction/adventure film aimed at the pre-teen crowd, though at least mildly entertaining for all ages. Max's character is a little difficult to like until the film is more than half over, which is a little long to ask us to continue to give him the benefit of the doubt. The animation is good, and the supporting roles are very strong, both of which help. It also sets up nicely for a sequel. PG-13 for violence.
MAX 2: WHITE HOUSE HERO (PG) 80 minutes * * 1/2 Max is back, working for the president's family and helping to uncover a plot to undermine the peace talks. Cute and relatively harmless adventure film for kids. PG for violence.
MAXIMUM CONVICTION (R) 95 minutes * * When a prisoner with classified intel is brought into a maximum security facility, it won;t take long for there to be a problem. It's a good thing that Steven Seagal and Steve Austin are on the case. As far as action, there's a fairly good mix of guns and fists here, but the story just isn't all that exciting or original. R for violence and language.
MAXIMUM RIDE (PG-13) 82 minutes * A disappointing adaptation of the first book in the series by James Patterson. The mediocre special effects, poor editing, and a very weak script manage to show us just enough so that we tell this should have been a much more exciting and interesting film. PG-13 for violence.
MAXIMUM RISK (R) 94 minutes * * Another instance of two characters played by Jean Claude Van Damme, but this time at least the one is out of the picture quickly. Natasha Henstridge is the one to watch here. It's too bad they don't give her a larger role that she could try and do something with. Things don't really get interesting until the last twenty minutes of the film, so unless you're a nut for Van Damme, this won't be your cup of tea. R for violence, language, and nudity.
MAY ALLAH BLESS FRANCE (NR) 93 minutes * * 1/2 All Regis (Marc Zinga) wants to do is create and share his music. Getting to that point puts him in debt to some unsavory characters. Eventually, love and faith persevere, but not without some struggle. There's less energy to the story than the topic and the music would suggest. It makes the filma a little less effective than it could have been.
MAY IN THE SUMMER (R) 94 minutes * * 1/2 May (Cherien Dabis) has a successful career and is about to be married, but all is not as well as she'd like it to be. trying to balance her family of origin with the life that lies ahead is not going to be easy. Dabis' script (she also directed) has some great sequences of sharp and witty dialogue, but others are far less strong. Bill Pullman is very miscast here, though the biggest problem is that Dabis just tried to do a little too much. R for language.
MAYA THE BEE MOVIE (G) 82 minutes * * 1/2 Maya (voiced by Coco Jack Gillies) comes out of her cell a little early, and no one has time for her. All she wants is to find out what her place is and to be the best bee possible. Fun story with very cute animation. Fun for the family.
MAYA THE BEE: THE HONEY GAMES (NR) 78 minutes * * 1/2 Maya just wants to help. This time, her enthusiasm will end up landing her on a team of misfits competing at the Honey Games. It's all about friendship and teamwork. Cute sequel.
MAYBE I DO (PG-13) 89 minutes * 1/2 They are at that point in their relationship where it's either going to get real serious or get over. So, Michelle (Emma Roberts) and Allen (Luke Bracey) decide to invite their parents to meet each other. As it turns out, they already know each other. A little more intimately than Michelle or Allen might have expected. First-time director Michael Jacobs based this on his play. The cast is stellar, also featuring Susan Sarandon, Diane Keaton, William H. Macy, and Richard Gere. On the surface, it's a comedy, but just a little deeper, it's a very serious message about not having sex. PG-13 for sex and language.
MAYBERRY MAN (NR) 88 minutes * * Expecting to walk away from a speeding ticket with just a fine, movie star Chris Stone (Brett Varvel) is surprised when he is instead sentenced to spend a week in a small town that is having a festival celebrating The Andy Griffith Show. As it turns out, his estranged father once had a small role on the show and played a big part in the town's annual celebration. Soome nice bits for fans of the old television show, but the acting isn't that great here, and some of the editing needs work.
MAYDAY (R) 74 minutes BOMB An airplane takes off, but shortly after the trip is underway, passengers begin to disappear. The acting is so bad that our entertainment soon begins to rely on deciding who should disappear next rather than being interested in why it's happening. Michael Pare looks very much like he wishes that he could disappear, but he's the star attraction. Dialogue, direction, effects... this is just bad on all fronts. R for language.
MAYDAY (2021) (NR) 94 minutes * * * 1/2 Anna's (Grace Van Patten) life as a waitress is fairly miserable. Told to go turn on the power that has shut off during a storm, her attempt to do so blows the main fuse. But an old baking oven still seems to be on. She crawls inside and is transported to a strange new place, sort of like Alice in Wonderland. This new world is one of constant war. The other young women she finds there have but one purpose. Siren-like, they use a distress call to lure male soldiers to their death. The film has a dream-like quality throughout as it examines gender roles and dynamics and their effect on young women. Great ending!
MAYHEM (NR) 84 minutes * * A strange new virus sweeps through an office complex. It causes people to lose their inhibitions and act on their worst impulses. There is some interesting social commentary, and good work by the case, but this is very heavily, and unnecessarly, narrated.
MAYOR CUPCAKE (PG) 82 minutes * 1/2 It started out as a joke, but now, Mary (Lea Thomspon) actually is the mayor. And she's discovering just how corrupt the old administration was. It's not going to be easy to turn this town around, but she's going to try. Cute, but not much substance here. Filmed in Bridgeville and Dewey Beach, Deleware. PG for language.
MAZE (NR) 90 minutes * * 1/2 In 1983, the HM Prison Maze was considered an escape-proof prison. But then, 38 IRA members staged a daring escape. The film personalizes the story a little, but also stays with a more dramatized and less adventurous tone. It does presume a fair amount of familiarity with the Irish conflict, as that provides the setting for the escape ane the way the inmate cooperate and conflict with one another.
THE MAZE RUNNER (PG-13) 106 minutes * * 1/2 One at a time, they wake up in the box and are delivered to the grove. While they have figured out that it is at the center of a maze, they don’t know what lies beyond or why they are there. In fact, the only thing they seem to know is their own name. Adapted from the dystopian novel by James Dashner, which has been very popular with teens. It’s an interesting and exciting story, but sets up a little too neatly for the continuation of the idea to be carried out with multiple sequels. PG-13 for violence.
THE MAZE RUNNER: THE DEATH CURE (PG-13) 138 minutes * * * In the series finale, Thomas (Dylan O'Brien) and his friends are racing to find a cure for a deadly virus, and their enemies may hold the only hope. It's a good finale, with plenty of energy and tension and explosions. A fitting end to the series, though perhaps a little long. PG-13 for violence and language.
THE MAZE RUNNER: THE SCORCH TRIALS (PG-13) 124 minutes * * 1/2 They're out of the maze, but now they have a new challenge in front of them. The landscape is perhaps more deceiving, with obstacles that are less visible. It's a nice follow-up to the first film, but relies heavily on familiarity with the characters and the story. Nice special effects. PG-13 for violence and language.
M.C. ESCHER: JOURNEY TO INFINITY (NR) 81 minutes * * * Using diaries, letters, and notes, this is the story of Escher, told in his own words. Narrated by Stephen Fry, we are treated to a look at his life and work, the effect it has had, and the continuing influence it has.
MCBAIN (R) 99 minutes * Unbelievable and rather boring action/adventure film with Christopher Walken as a Vietnam veteran who reassembles the remaining members of his unit to take up the cause of their old platoon leader who was recently killed in Columbia. The presence of Walken, Michael Ironside, and Maria Conchita Alonso are the only reasons to give this a look.
MCFARLAND USA (PG) 125 minutes * * * A coach who has messed up one too many times finds himself at a Hispanic school that has seen better days. What they do have is a cross country team. They just didn't realize it. Solid sports film with a very nice ensemble cast. PG for violence and language.
MCHALE'S NAVY (PG) 103 minutes * 1/2 Based on the old TV show, this film takes things on to the next generation. There are a few cute bits here and there, but the mix of humor and drama is rather awkward at times. It does manage to end fairly well and it's a nice touch to have Ernest Borgnine around. This could have used some trimming though, to keep us better entertained. Filmed in Mexico. Rated PG for violence and language.
MCKENNA SHOOTS FOR THE STARS (NR) 79 minutes * * 1/2 McKenna (Jade Pettyjohn) wants nothing more than to keep excelling in gymnastics with a goal of making the Olympic team in a few years. But pushing herself too hard to achieve those goals backfires in more ways than one. Nice addition to the American Girl series.
ME AGAIN (NR) 89 minutes * * 1/2 Rich (David A.R. White) has been the minister of a small church for several years. Life has not turned out the way he had expected, and it's gotten worse lately. So, he prays to have a different life... and it works. A little too well. He is now jumping from one life to another, without a chance to do more than... learn why he should have appreciated what he had. As Big Earl (Bruce McGill) states in the film, "What you feel is a choice. Happiness is a decision that you make." This twist on the story of the prodigal son has a few good bits, but it's a tired idea, and White's acting skills struggle to carry it very far.
ME AND EARL AND THE DYING GIRL (PG-13) 100 minutes * * * When one of Greg's (Thomas Mann) classmates is diagnosed with leukemia, his parents decide that he should step up and be a friend to her. At first, Greg is far from excited, or even interested in the idea. But then... Adapted from the book by Jesse Andrews, it's a story full of teen angst, mixed with healthy doses of friendship and reality, and just a little bit of love and laughter. PG-13 for sex and language.
ME AND ORSON WELLES (PG-13) 102 minutes * * * It's 1937, and when Richard (Zac Efron) bumps into Orson Welles (Christian McKay), it will change his life. Well-written story with a near perfect performance from McKay, though Efron is far less convincing in his role. A stronger actor was needed for the role to do a better job of balancing against McKay's performance. PG-13 for sex and language.
ME AND YOU AND EVERYONE WE KNOW (R) 86 minutes * * * * Writer/director/actress Miranda July has created a thought-provoking, humorous, and very original piece of work. On the one hand, it's the story about a recently separated shoe salesman, who finds himself the object of affection of a rather eccentric performance artist. That's only the surface, though. For what lies beneath that is the idea of how we struggle to connect with each other in meaningful ways in a society that is becoming increasingly more digital and distant. The characters stumble and bumble their way through encounters. Sometimes inappropriate, sometimes to no effect, but they continue to try, because that is what makes us who and what we are. Of course, having a sense of humor and a great deal of patience can help! R for sex and language.
ME BEFORE YOU (PG-13) 107 minutes * * * Will's (Sam Claflin) recent accident means he is now a quadriplegic. His attitude, understandably, is not the greatest. Enter Lou (Emilia Clarke). Positive, perky, and recently unemployed, she is hired by Will's mother, to help out and be a friend. It's not going to be an easy job. Clarke is perfectly charming as she moves from frustration to love. The ending is a tearjerker, which is no surprise, though the specifics won't be to everyone's liking. PG-13 for language.
ME, MYSELF & IRENE (R) 105 minutes * 1/2 If "Dumb & Dumber" and "There's Something About Mary" are your cup of tea, then you'll probably like this. Charlie (Jim Carrey) has been a nice guy for too long and develops a split personality so that he can handle his anger and frustration. Carrey's talents are evident, as are those of Renee Zellweger, but the script is corny and trite. The songs are well-chosen, but subtlety seems unheard of here, with the songs blasting away rather than gently reaching out from the background. And then there's the pointless narration... R for language.
ME MYSELF I (R) 104 minutes * * * Pamela Drury (Rachel Griffiths) is struggling with her life. It seems unbalanced. She has a successful career, but her love life is going nowhere. What if she hadn't said "No" to Robert all those years ago? What if she had a chance to see what it would be like? Though the idea of exploring alternate realities isn't new, it's handled here with a skill that reminds us that we're watching a character be introspective, analyzing herself in attempt to be a more complete person. Griffiths does her character proud, and the film is both warm-hearted and refreshing. R for nudity and language.
MEAD (NR) 98 minutes 1/2 MEAD (voiced by Patton Oswalt) is a spaceship with a defense system that primarily uses projected illusions. There's not a lot of story here, and frequently not much dialogue. Most of the film is animated, and while the animation is adequate, the script wanders all over the place. The story has an unusual mix of appeal that seems mostly aimed at the early teen crowd, except for the sexual references. By the way, MEAD stands for Mobile Extrasensory Autonomous Deceptor.
MEADOWLAND (R) 88 minutes * * Sarah (Olivia Wilde) and Phil (Luke Wilson) lose their son when they stop at a gas station. It's a terroble loss, from which they struggle to recover. They drift, as does the story. Part of the problem here is that the loss happens so early in the film (in the first few minutes), that we haven't had time to really connect with the characters. So, as they lose their way and struggle to cope, we are less concerned or sympathetic than we might have been. R for language and sex.
MEAN CREEK (R) 87 minutes George was the school bully, and Sam (Rory Culkin) wishes he could do something about it. His brother Rocky (Trevor Morgan) comes up with a plan for a way to get back at George, but when things go wrong, they and their friends learn a lesson they'll never forget. It's a haunting and tragic story. And even though you just know (even if you didn't know the plot), that something is going to go horribly wrong, the performances by this talented ensemble draw you in and don't let go. Tomandandy provides the moody soundtrack, which helps set the mood quite well. R for language.
MEAN DREAMS (R) 99 minutes * * Casey (Sophie Nelisse) and Jonas (Josh Wiggins) neither one have a great life at home. But things are about to reach a breaking point. Not much depth to the characters here, which doesn't leave them room to do anything but the obviouds. The cast do a good job despite the limitations of the story. R for violence and language.
MEAN GIRLS (PG-13) 92 minutes * * Cady was home schooled in Africa for years, but now she's going to high school and trying to fit in and make friends. But girls can be MEAN! This coming of age story runs a bit on the harsh side, trying to be sarcastic. Rather than making us laugh, it often just makes us wonder why. Lindsay Lohan does a nice job, but it's a story in major need of a re-write. PG-13 for language.
MEAN GIRLS 2 (PG-13) 92 minutes * 1/2 Jo (Meaghan Martin) is at another new school, but its just like the rest. Mandi (Maiara Walsh) and Abby (Jennifer Stone) are arch enemies, at least as far as Mandi is concerned. When Abby pays Jo to be her friend, life gets complicated, at least until someone decides to do the right thing. Low-budget teen angst, more in need of a re-write than the first film. PG-13 for language.
THE MEANEST MAN IN TEXAS (NR) 104 minutes * * 1/2 Clyde Thompson (Mateus Ward) wasn't a bad kid. In the wrong place at the wrong time, he ends up in prison on death row. Prison life hardens him, and he kills more. The death sentences are eventually commuted to life, but the fact that there is no hope for freedom, combined with his extended time in solitary confinement, leave him a broken man. He is also softened somewhat by the love of a young woman. An inspirational story with a sincere performance by Ward.
MEANWHILE (NR) 56 minutes * * * 1/2 Joseph (D.J. Mendel) can fix just about anything... as long as it's someone else who is having trouble. The script is light and moves along quickly, but still has the existential depth that director Hal Hartley's films are known for. Fascinating characters, and Mendel does a wonderful job of inhabiting his character and speaking to us directly at the same time.
THE MEASURE OF A MAN (NR) 89 minutes * * 1/2 Out of work, Thierry (Vincent Lindon) struggles with the often demeaning process of trying to find work. As the situation changes, he begins to understand something he had taken for granted before. Lindon does a fine job here, expressing the subtle changes in his character with a finesse that adds a wonderful amount of depth.
MEASURE OF REVENGE (NR) 86 minutes * * 1/2 When her son's death is ruled to be accidental, Lillian Cooper (Melissa Leo) knows that can't be right. She decides to take matters into her own hands and deliver the justice that has been denied. Leo delivers a brilliant performance in a very mediocre film. The idea of Leo's character being a stage actress and how that both helps and haunts her quest for justice is good, but the script and direction aren't strong enough. Still, Leo's performance makes it worth a look.
THE MECHANIC (2011) (R) 83 minutes * * 1/2 This reworking of the Charles Bronson film, features Jason Statham as a company hitman who is assigned the task of killing his mentor. Something about the job doesn't feel right, but it may take some time to figure out exactly what he needs to do about it. Statham is great at this sort of role, and the supporting ast do good work as well. The story is still fairly predictable, and takes its time, with more of an emphasis on characters than on action. R for violence, language, and sex.
MECHANIC: RESURRECTION (R) 93 minutes * 1/2 Jason Statham returns as Arthur Bishop in this star-studded sequel. There's lots of action, but not much energy or emotion behind it. Except for a couple of scenes, it's just too dry and not very interesting. R for violence and language.
THE MEDALLION (PG-13) 83 minutes * 1/2 Jackie Chan is at it again, but with a little less action in this outing. There's this medallion, which has tremendous power... but the important part is that aside from a couple of scenes, Jackie doesn't do nearly as much with martial arts in this film. The comic bits don't work too well either and when he and Clair Forlani end up with super powers at the end, we are definitely ready to stop watching. PG-13 for violence.
THE MEDDLER (PG-13) 99 minutes * * * After her husband dies, Marnie (Susan Sarandon) moves out to Los Angeles where her daughter is living. The problem is that she doesn't know how to live her own life and not meddle in her daughter's. Sometimes people love you so much that they just can't stay out of the way... and sometimes they need to. Great work by Sarandon. PG-13 for language.
MEDICINE MAN (PG-13) 101 minutes * * * Dr. Robert Campbell (Sean Connery) has discovered the cure for cancer. It lies deep in the Amazon rain forest where he's spent the last six years. He stumbled across the cure, but he lost it just as quickly. Dr. Rae Crane (Lorraine Bracco) is sent in to help, and now it's a race against the clock to rediscover the cure. Connery's charm goes a long way to making this an enjoyable film. He almost always manages to create a strong on-screen chemistry with his co-stars. It's disappointing that so many interesting subplots are relegated to a few brief comments though. It really would have strengthened the film to include more information. PG-13 for nudity.
MEDIUM RAW: NIGHT OF THE WOLF (NR) 108 minutes * 1/2 The Red Riding Hood murders seem to have started up again. Johnny (Andrew Cymek) won't give up until he finds the man who killed his sister. But catching him won't be the end. The story isn't bad, but it does get a bit overly fascinated with some supporting characters as well as with just being violent for no reason. It doesn't help that Cymek is also the writer and director.
MEE-SHEE (PG) 99 minutes * * Large creatures live in the lake and mean adults want to catch them and take them away. How can young Mac convince anyone to help him? Reasonable family-friendly film, but the script doesn't give us much to be excited about, and the acting is less than convincing. PG for violence and language.
MEEK'S CUTOFF (PG) 93 minutes * * 1/2 In the mid-1800's, the Oregon Trail was not so well travelled. And the mountain man this small group of settlers hired to get them across the mountains has instead gotten them lost. Somewhat interesting as a character study, but there's not much movement in the story aside from exploring motives and emotions. PG for violence and language.
MEET BILL (R) 89 minutes * * 1/2 Life isn't going very well for Bill (Aaron Eckhart). His job is meaningless and he's just found out that his wife (Elizabeth Banks) is seeing someone else. They just started a mentoring program at work, and while he doesn't want to do it, the boy (Logan Lerman) he's supposed to work with does seem to have some good ideas. Fun and different sort of comedy from first time writer and co-director Melisa Wallack. R for language.
MEET CUTE (NR) 79 minutes * 1/2 Sheila (Kaley Cuoco) wants to get it right. She keeps travelling back 24 hours in time to correct her relationship with Gary (Pete Davidson), but it's just not working. Charming performances, but the time travel aspect doesn't work that well.
MEET DAVE (PG) 86 minutes * * 1/2 Traveling to Earth is search of a missing device that is designed to retrieve water to save his own planet, "Dave" is a spaceship that looks like a human being. There are, of course, some difficulties in trying to remain unnoticed by the inhabitants of Earth. Part Eddie Murphy comedy, with lots of physical comedy that he is quite good at, and part kids adventure film. Fairly entertaining on both counts, though nothing that extraordinary. PG for language.
MEET JOE BLACK (PG-13) 174 minutes * * * Suggested by the play, "Death Takes a Holiday", this is the story of death personified, accompanying Bill Parish (Anthony Hopkins) for awhile before taking him. Brad Pitt does a fair job with a character that is definitely hard to get a handle on and Hopkins delivers another of his typically stellar performances. What really gives the film its spark though, is Claire Forlani, who plays Parrish's daughter. She and Joe discover love of a depth and strength neither had realized existed. It's a dark fantasy romance about life and death. Not to everyone's tastes, and it could've used some trimming, but it's an interesting piece that will be hard to forget. PG-13 for language.
MEET ME AT CHRISTMAS (NR) 82 minutes * * 1/2 When the wedding planner quits, Joan (Catherine Bell) and Beau (Mark Deklin) step up to fill in and get things done. It doesn't take long for the two of them to discover that they have a past connection. It didn't end well then, but maybe it could be different this time. While the story is very predictable, it does manage a twist or two, along with a couple of good supporting roles.
MEET MONICA VELOUR (R) 94 minutes * * 1/2 Tobe (Dustin Ingram) always had a crush on porn star Monica Velour (Kim Cattrall). When she makes a rare appearance at a strip club in Indiana, he just has to see her. It's not going to be what he expects. Cattrall does a pretty good job as a porn star whose career peaked a few years earlier, and the film has an awkward sort of charm that manages to carry it most of the way. R for sex and language.
MEET THE APPLEGATES (R) 84 minutes * Although the opening to this film is mildly promising, things rapidly deteriorate as giant insects try to protect their home by destroying a nuclear facility. (They're disguised as humans.) This effort to try and poke fun at the old 1950s horror films fails by being too corny and too far out for its intended audience. R for language and sex.
MEET THE BLACKS (R) 89 minutes BOMB The Blacks move from Chicago to Los Angeles for a better life, because Chicago has become so violent. But it's Purge night. (Which means that you need to know something about that movie or this doesn't make any sense.) Carl (Mike Epps) just doesn't seem to understand what's going on. Not exactly a parody of "The Purge", and not really very funny. R for language, sex, and violence.
MEET THE BROWNS (PG-13) 95 minutes * * 1/2 Hoping to come into some money, Brenda (Angela Bassett) takes her family to her father's funeral. But the family she has never met is a bit more than she bargained for, in more ways than one. Adapted from Tyler Perry's stage play, with a well-balanced mix of comedy and drama that Perry so often manages. Good performances all around. PG-13 for language and violence.
MEET THE DEEDLES (PG) 90 minutes 1/2 Sent to camp by their father in an effort to make them "men", the Deedles get in an accident and end up being mistaken for park ranger recruits. Of course, they end up saving Yellowstone and Old Faithful from the treacherous plans of Dennis Hopper and his assistant, Robert Englund, but who really cares? Inane, inept "surfer dudes in Yellowstone" film that won't keep many entertained for more than a few minutes. PG for language and violence.
MEET THE FEEBLES (NR) 91 minutes * 1/2 It's a variety hour the likes of which you've never seen. Gritty, vulgar, and depraved, these are puppets that might remind you of some other, better-know, and much nicer ones. The story and the film are more than a little twisted, but also creative, so it depends on whether you enjoy your satire on the dark side, because that's where this film resides.
MEET THE FOCKERS (PG-13) 110 minutes * * This sequel to "Meet the Parents" has the two families getting together and getting to know each other. If you liked the first one, you'll probably like this one as well, as it's full of similar humor. Barbra Streisand seems to be having fun here, and Dustin Hoffman has a few good moments as well. Ben Stiller, on the other hand, seems overwhelmed by being in the presence of so much talent, despite how much it's being wasted. PG-13 for language.
MEET THE PARENTS (PG-13) 104 minutes * * Some fathers are rather hard to impress, but Pam's (Teri Polo) is just about impossible. Ben Stiller fills the film with pratfalls, but it's nothing new. Robert DeNiro is not a comedian and appears uncomfortable through much of the film, while Blythe Danner gets lost in the scenery, which is a shame. Stiller's dramatic scenes aren't bad, but they're never given much of a chance by a story that relies on humor instead of drama. The two can mix quite well, but you have to know how to write. PG-13 for language.
MEET THE ROBINSONS (G) 87 minutes * * 1/2 Adapted from the book "A Day With Wilbur Robinson" by William Joyce, this fun adventure film for kids shows just how important it is to make the right choices and keep moving forward. Lewis' inventions are always getting him in trouble, but he keeps trying. And when a mysterious stranger whisks him away into the future, he'll find out how impotant it is to keep trying. Top-notch animation, which you'd expect from Disney, though the songs are a bit weak until the final credits.
MEET THE SPARTANS (PG-13) 65 minutes BOMB Boring satire of "300" with even more boring extra footage and outtakes included during the credits. Definitely among the worst of the genre. PG-13 for language, violence, and sex.
MEET WALLY SPARKS (R) 100 minutes 1/2 Typical Rodney Dangerfield movie... simple script, cheaply filmed, and not all that interesting. The cameo appearances are fun to watch for, but that's about it. Definitely needed to be cut 5-10 minutes shorter. R for language.
MEETING EVIL (R) 85 minutes * * John (Luke Wilson) is just a nice guy who happens to be having a streak of bad luck. That luck has just turned very bad when he meets Richie (Samuel L. Jackson). Jackson is wonderfully evil here, but the only twist in the story comes late, and is easy to see coming. Nothing much to see here aside from Jackson's sinister performance. R for violence and language.
THE MEG (PG-13) 103 minutes * 1/2 Heading back to the depths of the ocean is exactly what Jonas Taylor (Jason Statham) didn't want to do. But he's dealt with a shark of this size before. It's a 70-foot-long megalodon... and it's not happy. If you've seen any other shark movies, there are no surprises here, but the cast does lend this a little more credibility than we're used to. PG-13 for violence and language.
MEG 2: THE TRENCH (PG-13) 106 minutes * 1/2 Exploring a deep sea trench, a research team discovers a mining operation that is dumping radioactive waste. There are also more megalodons, and other prehistoric creatures they will have to deal with. The story is on the ridiculously unbelievable side, though the characters take it all in stride, and it's well-paced. PG-13 for violence and language.
MEGA PIRANHA (R) 88 minutes BOMB Well, it does look like Tiffany has a regular gig for awhile... cheap horror movies starting with the word "mega". The cheesy quality of the scripts is pretty much a given, but if they could at least come up with some better actors, it would help a great deal. Paul Logan makes Tiffany and Barry Williams look like they deserve Oscars. The ending doesn't make much sense here either, and that's whether you're thinking about the possibility of a sequel of not. R for violence, nudity, and language.
MEGA SHARK VS. CROCOSAURUS (R) 84 minutes BOMB Oh no, there are problems with a giant croc and a huge shark. Maybe we can get them to attack each other. And why don't we use some of the same film footage over and over too... that will make it even more interesting. R for language.
MEGA SHARK VS. GIANT OCTOPUS (R) 85 minutes 1/2 Giant ocean monsters are on the loose! It's not that the lead actors are that good here, but the supporting cast makes them look quite a bit better. Not fun like the Godzilla films because these monsters have no personality. R for language.
MEGA SHARK VS. KOLOSSES (NR) 85 minutes BOMB Same bad CGI effects as the rest of this mostly laughable series. This time around it isn;t just a mega shark, but a doomsday robot that are endangering the planet. Yawn.
MEGA SHARK VS. MECHA SHARK (NR) 82 minutes 1/2 Another Megalodon appears, and it will put the mecha shark (ie. submersible that looks like a shark) to the test. Very repetitious, and the love interest (between people, just to be clear) aspect doesn't really help.
MEGAFAULT (PG-13) 87 minutes 1/2 The detonations at a mining facility in West Virginia set off a reaction that just might reach all the way to the Pacific Coast. Seismologist Amy Lane (Brittany Murphy) will do her best to save the day. Poor special effects and an unconvincing story make it a tough go for the cast, but Eriq LaSalle and Bruce Davison manage to do alright. PG-13 for violence.
MEGALODON (PG-13) 79 minutes 1/2 The longest and deepest drilling oil rig breaks through a layer of rock that releases a cache of prehistoric creatures. Some of them aren;t all that big, but others... The shark effects are far from impressive, and the ending is more than a little anticlimactic. PG-13 for violence.
MEGAMIND (PG) 86 minutes * * 1/2 Rivals since birth, Megamind (voiced by Will Ferrell) and Metroman (voiced by Brad Pitt) are relentless. But when Metroman appears to be defeated, Megamind discovers that being a villain without a hero is sort of meaningless. But where to find a hero... and how to control them once they're in place, is going to be more difficult than he expected. Not terribly entertaining for the younger set as Ferrell's character pretty much is the whole film, and none of the characters are really all that appealing for kids. PG for language and violence.
MEGAN (NR) 89 minutes * Living with her sister in a remote cabin, Megan (Sadie Katz) is a bit on the strange side. When a hiker (Randdy Wayne) shows up in need of some help, Megan enjoys the opportunity to torture him. It’s in revenge for the raping of her sister, even though he had nothing to do with that. Both the acting and the photography here are just… bad. Not that the story has much depth either.
MEGAN LEAVEY (PG-13) 109 minutes * * * After some initial difficulties, Megan (Kate Mara) ends up with a combat dog assignment in the Marines. Rex becomes an excellent member of the corps and saves many lives including Megan's. PTSD affects them both, but they are determined to find a way through, and to do that together. Well-rounded story, with most of the sentimentality left for the ending, where it fits best. PG-13 for violence and language.
MEGAPYTHON VS. GATOROID (NR) 88 minutes 1/2 Dr. Riley (Debbie Gibson) has released some snakes into the wild, and they have grown. She wants to let nature take it's course. But Terry (Tiffany) is the game warden, and she has a different idea. She wants bigger alligators to kill these huge pythons. OK, with Gibson and Tiffany facing off, we'd expect this to be a little more fun than it is. The CGI effects are bad, the dialogue is completely corny, and the acting is terrible. The title led us to expect this before we began, but it's also incredibly boring after about ten minutes. There is a kind of funny public service announcement at the end, but you may have fallen asleep by then.
MEGIDDO (PG-13) 96 minutes * 1/2 Just in case you missed "The Omega Code", the first thirty minutes of this film are spent retelling the early life of Stone Alexander and his rise to power. The story then continues with the world union and Stone's brother, who opposes it, finishing with a battle for the world and revealing Stone's true nature. The animation is amateurish, and the battle scenes are violent enough that they could have earned an R rating. The actors do what they can with a script that has no depth and little unerstanding of how to keep an audience interested. PG-13 for violence.
MELANCHOLIA (R) 124 minutes * * 1/2 Melancholia is a planet that has been hidden by the sun and is now on a trajectory that will bring it very close to earth. Perhaps so close that we will not survive. Melancholia also describes the mood of Justine (Kirsten Dunst), newly married, but unsure of what the future holds. Claire (Charlotte Gainsbourg) on the other hand, has a very different reaction, and though less fatalistic, just as melancholic. Not a particularly "happy" film, but an interesting look at these characters. R for sex and language.
MELINDA AND MELINDA (PG-13) 96 minutes * * * Are the things that happen to us intrinsically comic or tragic? Or does it depend on what we bring to it and how we interpret it? The story plays out as two writers are given a scenario that they each take in different directions. The transitions are uneven at times, but the material within the segments is very good. It's a typically talky Woody Allen film with a very nice performance from Radha Mitchell as Melinda. PG-13 for language.
MEMENTO (R) 110 minutes * * * Leonard (Guy Pearce) has been in an accident that leaves him with no short term memory. His life is a system of notes and snapshots... constant reminders of what he has done and tips on what he should do next. It's making it more than a little difficult to track down the guy who raped and murdered his wife. This is the second film directed and written by Christopher Nolan, this one from a short story by Jonathan Nolan. Scenes are repeated and presented in a jumbled order in an effort to simulate Leonard's pattern of thought and his experience. It works fairly well and has a hypnotic effect at times. Direction was a bit weak though, and a more experienced hand could have given the story the extra strength needed to move this to the next level. R for violence and language.
MEMOIRS OF A GEISHA (PG-13) 137 minutes * * * 1/2 Another time, another place, another world... beautiful adaptation of the novel by Arthur Golden. Not only is it beautiful in the visual sense, but the acting and music are stunning as well. John Williams' soundtrack is complimented by the artistry of Yo-Yo Ma and Itkhak Perlman. The performances of Ziyi Zhang, Ken Watanabe, and Michelle Yeoh deliver strong performances, but newcomer Suzuka Ohgo is a delight to watch as young Chiyo, giving a memorable performance of her own. The story does wander a bit, but this is still a stunning piece of filmmaking. PG-13 for sex.
MEMOIRS OF AN INVISIBLE MAN (PG-13) 95 minutes * * The life of an invisible man just isn't as much fun as you might think. Nick Halloway (Chevy Chase) is being chased by government agents who think they know a good thing when they see it... or maybe it's that they know how to exploit a good thing they can't see. Chase gives his typical bumbling comedy performance, but receives little support. And John Carpenter is not used to directing comedy. The special effects are nice, but the final result is a memoir that just isn't very memorable. PG-13 for language.
MEMORIAL DAY (R) 104 minutes * * 1/2 Kyle (Jonathan Bennett) is a "collector", picking up souvenirs of various moments from his deployment in Iraq. This is the story of why he collects, as did his grandfather when he served in WWII. The flashback scenes, with John Cromwell playing the younger version of his father's character work well, but the acting in the present day scenes, especially at the hospital, seem stiff and awkward. Very classy finish to a film that reminds us what Memorial Day is all about. R for violence.
MEMORIES OF ME (PG-13) 100 minutes * * 1/2 Billy Crystal, who co-wrote the script, plays the part of a heart surgeon who, after suffering a heart attack, determines to reestablish a relationship with his father. The mix of comedy and drama is a bit awkward at times, though the heart of the film is definitely in the right place.
MEMORY (R) 107 minutes * * * Part of his latest assignment doesn't sit well with Alex (Liam Neeson). The first part of the hit is fine, but the second part is a 13-year-old girl. That's crossing the line, and Alex decides to turn the tables. His employer won't be an easy mark. Guy Pearce plays the part of an FBI agent who does his best to help, for reasons of his own, but the clock is ticking. Well-paced, and familiar territory for Neeson. R for violence and language.
THE MEMORY KEEPER'S DAUGHTER (NR) 88 minutes * * 1/2 They are twins, one born with Down's Syndrome and one without. Dr. Henry (Dermot Mulroney) decides to keep the birth of the second child secret from his wife and asks a nurse to take the baby to a home nearby that is known to care for those who are more like her. Instead, she raises the child as her own, and Dr. Henry is haunted by the choice he made for the rest of his life. Sentimental and cliche-ridden TV movie, though not without a few moments of good drama.
MEMORY OF THE DEAD (NR) 87 minutes * * When Alicia (Lola Berthet) invites her husband's friends over after his death, they expect to share memories and celebrate his life. But Alicia plans to work a spell that will bring him back, and the lives of his friends are the key. Pretty gross, though not particularly scary. Interesting twist ending if you last that long.
MEMPHIS BELLE (PG-13) 101 minutes * * 1/2 Great characters, but weak special effects in this WWII film about the bomber Memphis Belle and her crew. There's just too much use of stock footage and models that just don't look real. PG-13 for violence and language.
MEN (R) 95 minutes * * 1/2 Following the death of her husband, Harper (Jessie Bickley) travels to the English countryside to get a fresh perspective on things. Instead, she is pursued and "haunted" by a variety of men. Well-acted, but strange piece, and a second viewing isn't likely to help. R for violence, nudity and language.
MEN AT LUNCH (NR) 65 minutes * * * An iconic photograph. Eleven workers, sitting on an iron beam over 800 feet above the sidewalk, casually eating lunch. It's a story of immigrants, of family, of willingness to take the risk of making something better. It is a story of the spirit of New York. A fascinating look at a well-known photograph and its still unknown history.
MEN AT WORK (PG-13) 97 minutes * Emilio Estevez and Charlie Sheen are garbage collectors who find a dead body one day while they're working. It's a mystery/comedy film that's never all that funny or mysterious. Estevez wrote and directed the film, and his lack of experience in these areas shows.
MEN GO TO BATTLE (NR) 93 minutes * * 1/2 It's the beginning of the Civil War, and it has been all that these two brothers can do to just hold on to the family farm. But when Henry (Timothy Morton) leaves to join the fight, Francis (David Maloney) is left to tend it on his own. Slice-of-life, but we finish this feeling like we still don't know all that much about these two brothers, and we should know quite a bit.
MEN IN BLACK (PG-13) 90 minutes * * * Based on the comic book of the same title, this has that tongue-in-cheek flavor of a live-action cartoon. The story is very well-written, but doesn't spend much time in developing the characters though. Tommy Lee Jones, Will Smith, and Linda Fiorentino needed to see more screen time to make this a little more appealing. Danny Elfman has provided another great soundtrack and Rick Baker's special effects are fantastic as usual. PG-13 for violence and language.
MEN IN BLACK II (PG-13) 81 minutes * * * With the world facing a rather extreme crisis and Jay (Will Smith) needing a more experienced partner, Kay (Tommy Lee Jones) is called back from "retirement" to help. He's dealt with these particular aliens before, and it will take some expert handling to save the world this time. The story is well-paced and works in bits of humor all along the way as we learn more about who these aliens are and what they're after. Great special effects (many courtesy of the incredibly talented Rick Baker) and a fun soundtrack from Danny Elfman give this just what it needs to make it a very nice sequel. PG-13 for violence.
MEN IN BLACK 3 (PG-13) 98 minutes * * * Boris the Animal (Jemaine Clement) has escaped from Lunarmax Prison. He's after K (Tommy Lee Jones), who shot off his arm and put him in prison so many years ago. Now, J (Will Smith) has to go back in time to follow Boris and try to set things right. Nicely written script that not only gives us a fun sci-fi adventure, but fills in some missing pieces from the first two films. It's not necessary to have seen the others first, but it will be more fun if you do as there are a few extra little in-jokes for those who've already seen the first two. PG-13 fo violence and language.
MEN OF HONOR (R) 123 minutes * * * Carl (Cuba Gooding Jr.) wants to be a Navy diver. There are few people in the world with the drive and determination it takes to complete the training. Carl plans on being one of them. The man who trains him will be tough, to say the least, but they find themselves bringing out the best in each other, pushing each other to the point of breaking in an attempt to be the best. It's a wonderful character study of two men who are bound to each other by the way they challenge each other. The story does drag a bit as we near the end, trying to milk the drama a bit too much, but it's still a fine film with great performances from Gooding and Robert DeNiro. R for language.
THE MEN WHO STARE AT GOATS (R) 88 minutes * * Few people are aware that there was a unit of psychic soldiers funded by the government. Bob (Ewan MacGregor) has a chance to learn about them and to go on a secret mission as one of them is reactivated. But is this really a part of the military strategy? Or is Lyn (George Clooney) just crazy? The film wanders quite a bit, sometimes forgetting that the central conflict is between Lyn and Larry (Kevin Spacey) and that it's about the need to believe in something, which would be true of the rest of the military as well. As Lyn reminds us, "Now, more than ever, we need the Jedi." R for violence and language.
MEN, WOMEN & CHILDREN (R) 115 minutes * * * A slice of life film about how the internet has impacted their lives. As often happens with films that contain multiple stories that are almost self-contained, some of them are powerful while others are less so. The powerful ones flow well, with more seamless transitions and strong character development, while others tend to manipulate feelings and be more simplistic with their style of presentation. It is interesting to see Adam Sandler in a smaller role and in a film that is not one of his own projects. R for sex and language.
MENACE II SOCIETY (R) 90 minutes * * A poor script and weak acting do their damage to this story of black youth in Los Angeles. Too many obvious short cuts in the production are evident as well, though the camera work is of a noticeably high quality.
THE MENU (R) 100 minutes * * 1/2 It's a very unique opportunity. A very exclusive restaurant. The meal is $1250 a head. Tyler (Nicholas Hoult) is thrilled to have the opportunity, while his date Margot (Anya Taylor-Joy) is less excitesd. A dark and twisted satire. It gets a little too far into the bizarre, but still manages to be a little playful while also being macabre. R for violence and language.
MERCENARIES (R) 90 minutes * Marlow (Andy Fucilla) is ex-British military, and gets a contract to go into the Balkans and rescue an American diplomat. Plenty of gunfire, but surprisingly little in the way of action. The story doesn't appear to be very well thought out in some places, and the ending just sort of wanders into place. R for violence and language.
MERCENARIES (2014) (NR) 86 minutes * 1/2 With the president's daughter kidnapped and being held in a women's prison, it's going to take a skilled team of undercover women to get her out. Zoe Bell and Kristanna Loken are fairly good here, but Brigitte Nielsen is a blustering villain that isn't as believable as her sidekick. The CGI blood splatters are just awful, and the story isn't really much better.
THE MERCENARY (NR) 87 minutes * Left for dead during a mercenary mission in South America, Maxx (Dominiquie Vandenberg) manages to survive. He changes his ways to begin leading a life based on peace rather than violence, but that doesn't last long. Vendenberg is not a strong enough actor to make this work very well.
MERCENARY: ABSOLUTION (R) 90 minutes 1/2 A mob boss with political ties and a girl on the run... doesn't that sound exciting? Sadly, it's more exciting than Steven Seagal's inability to carry an action film at this point in his career. R for violence and language.
MERCENARY FOR JUSTICE (R) 89 minutes * 1/2 Steven Seagal agrees to free the son of a drug lord in exchange for the lives of two people he loves. A fair amount of action, hut Seagal is beginning to show signs of age. The story here is tired as well, with the attempts to have a dramatic story not working very well at all. Then again, Seagal isn't known for being in films with an emphasis on drama. R for violence and language.
THE MERCHANT OF VENICE (2004) (R) 125 minutes * * * Lavish adaptation of the Shakespearean drama dealing with conflicts over religion, loyalty, debts, and love. Wonderfully played by Al Paciono, Jeremy Irons, and Joseph Fiennes as well as the rest of the cast. This is a very classic presentation of the play, with only an occasional rewording from the original and with the beautifully fitting music of Jocelyn Pook added to the presentation. R for nudity.
MERCHANTS OF DOUBT (PG-13) 91 minutes * * * Fascinating, and frankly disgusting, look at how so many industries and companies lie to the public so they can keep making excessive amounts of money. It's a fun and natural fit to mix in the sleight of hand magic tricks into the film as "examples" of what happens. Those who already believe, will do so more completely after seeing this, those who don't, will kepp on doubting and denying. PG-13 for language.
MERCURY PLAINS (R) 98 minutes * * With little or no direction in his life, Mitch (Scott Eastwood) finds himself in Mexico and in trouble. Recruited by a man known only as "The Captain" (Nick Chinlund), he finds a purpose as they fight against the drug cartels. But the methods they use are questionable, and Mitch begins to wonder if returning to the US would be the better course of action. Eastwood's role is strong and silent, suggesting obvious comparisons to his father. The ending just sort of wanders off, with the strong, silent approach not really helping. R for violence and language.
MERCURY RISING (R) 105 minutes * * Bruce Willis plays his standard role as a renegade officer in this story of a top secret government code that is deciphered by an autistic child (Miko Hughes). FBI agent Art Jeffries (Willis) is now protecting the kid while everyone is out to get them. The action sequences are predictable and weak, though there is one bright spot late in the film. It's due to Kim Dickens, who plays Stacey, a girl who ends up watching Simon (Hughes) for a while and ends up being a potential romantic interest for Willis. She does a very nice job with a minimal role and leaves you wanting to know more about how things work out between them. R for violence and language.
THE MERCY (NR) 96 minutes * * * Donald Crowhurst (Colin Firth) loved a challenge. Sailing around the globe sounded like a perfect opportunity. It would also be a great way to test the navigational tool he had created. Not only did preparations for the trip not quite go as expected, but it was also much more overwhelming than he had anticipated. Firth does an excellent job here, and the story focuses on relationships and expectations rather than the specifics of sailing. It helps us understand the man much better, giving us a well-rounded picture, and making the ending that much more tragic.
MERCY FOR ANGELS (NR) 89 minutes BOMB A girl runs away from home only to get involved in the sordid world of sex trafficking. Her mother, who also happens to be a detective, sets out to rescue her. Bad dialogue and worse acting, with photography and editing that are clearly from the bottom shelf of the bargain basement.
MERCY ROAD (R) 81 minutes * The film starts in the middle of the action. Tom (Luke Bracey) is on the run. We slowly learn about what has put him in this situation. Tom's daughter is missing. She's not with Tom, and it doesn't appear that he did anything to her... but someone did. and Tom is determined to protect her if he possibly can. There's some potential here, but the ending is more than a little disappointing. R for language.
THE MERGER (NR) 98 minutes * * 1/2 With his career in professional football over, Troy Carrington (Damian Callinan) heads home. There are those at home who don't really want him around. There are others who want him to coach the local team. This isn't bad, but the characters are not really developed very well.
THE MERMAID (R) 89 minutes * * Shan (Yun Lin) has a simple task. Kill the man who is planning a development project hat could kill off her family and friends. It's not going to be so easy though, now that she's fallen in love with him. Cute and funny early on, but it turns rather intense and violent toward the end. R for violence.
THE MERMAID CHAIR (NR) 87 minutes * * 1/2 Jessie (Kim Basinger) goes back home to take care of her mother, whose mental condition has deteriorated. Memories from the past begin to unravel and long lost secrets begin to come to the surface. Love finally becomes possible for her, though the man she finds herself drawn to has issues of his own that he must come to terms with. Adapted from the novel by Sue Monk Kidd. Basinger does reasonably well here, with a story that is a little less demanding and a bit more gentle in nature.
MERMAID DOWN (NR) 93 minutes * * 1/2 A brutal old fisherman plans out how to catch and keep a mermaid, which includes chopping her tail off. But rather than ending up as a sideshow curiosity, she finds herself in a psychiatric facility where no one believes what she is. Very good story, though it does get a little off track at one point. The suspense is quite good as well, and although the effects are not the focus of the film, what we see is well done.
THE MERMAID: LAKE OF THE DEAD (NR) 83 minutes * Marina's (Viktoriya Agalakova) fear of the water is going to be a problem. An evil mermaid has fallen in love with her boyfriend. Marina will have to fight for her love without becoming a mermaid herself. Creepy atmosphere, but most of the scares are noise related, and the story seems to get a little confused. It leaves us more confused than frightened.
MERMAIDS (PG-13) 105 minutes * * * Mrs. Flax (Cher) is one of those women who doesn't fit into any particular decade... or town. She's raising two daughters by herself and doing the best she can. Charlotte (Winona Ryder) is 15 and going through LOTS of changes, and Kate (Christina Ricci) is a 9-year-old swimming fanatic. The performances by all three are a treat, and Bob Hoskins gives a nice supporting performance as well. A mother and her daughters growing and learning, combining the best of child and adult, becoming mermaids. Three women, different ages, but three women nonetheless. Women who are learning, loving, and growing. Women who will be more than mother and daughters and sisters... they will be friends. PG-13 for language.
THE MERMAID'S CURSE (NR) 86 minutes BOMB Lured by the song of the siren, Jake (Tom Hendryk) is ensnared by her song. The story is a mess, not just with poorly written dialogue, but it's poorly organized and inconsistent. The photography and sepcial effects offer little to help the suspense, often being laughably bad.
MERMAID'S SONG (NR) 86 minutes * * Charlotte's (Katelyn Mager) family are entertainers in Oklahoma in the 1930s. Times are tough, and her father makes a deal with a rather unsavory character. The family also harbors a dark secret. Charlotte's mother was a mermaid, and her choice to live on land came with a hefty price. A price that has not yet been paid. It's a dark twist on the classic story by Hans Christian Anderson. Very effective mood and tone, but also very rough around the edges.
A MERMAID'S TALE (G) 90 minutes * * Mermaids and fishermen don't usually get along, but when Art's (Barry Bostwick) granddaughter befriends a mermaid, everyone is going to look at things a little differently. The script is not great, and it doesn't leave the actors much room. There is some charm to the story, and the ending has a romantic and emptional appeal, so it manages to finish a little better than it begins.
MERRY CHRISTMAS, DRAKE & JOSH (NR) 88 minutes * * Somewhat tired holiday film from Drake Bell and Josh Peck, using the success of their TV show to make another movie. There are a few good sequences between the two of them, but the rest of the cast offers little to speak of and the story isn't that great either, though it does manage to come together a little bit at the end. For die-hard fans of the series and characters.
MERRY EX-MAS (NR) 87 minutes * * Blizzards can create all sorts of problems, as Jessie (Dean Cain) is about to learn. Mildly cute, but overly complicated holiday romantic comedy.
A MERRY FRIGGIN' CHRISTMAS (PG-13) 74 minutes * 1/2 Boyd (Joel McHale) does everything he can to be a better father than his was, but spending Christmas with the whol family is going to make that really difficult. The mix of comedy and sentimental story is uneven and frequently doesn't work well. More importantly, Boyd is the only one with much depth to his character, doesn't give him much to relate to. PG-13 for language.
THE MERRY GENTLEMEN (R) 89 minutes * * * Kate (Kelly Macdonald) is running from a bad relationship. Insecure and lonely, but sweet and innocent as well. Frank (Michael Keaton) is a hitman. His motives are difficult to discern, sut she has touched something in him that he thought was gone. An interesting story, with Keaton doing a nice job of balancing the subtleties of his character. The music, bu Jon Sadoff, and Ed Shearmur has a wonderful mix of sinister suspense and romantic drama. The ending probably won't please everyone, but it works. R for violence and language.
MESKADA (R) 86 minutes * 1/2 A murder investigation runs afoul of a cityplanning for a new business coming to town. No one will cooperate with the investigation because they don't want the town to look bad. The performances are uneven, with some quite good, but the script never real gets anywhere and the ending is both weak and disappointing. R for violence and sex.
MESRINE: KILLER INSTINCT (R) 108 minutes * * * Part one of a two-part story, based on the life of Jacques Mesrine, a ruthless killer. In the 1960s and 1970s, Mesrine's (Vincent Cassel) criminal activities included bank robberies, kidnappings, and prison breaks. Nothing seemed to be able to stop him, and his arrogance continued to grow with each passing year. Viscious performance by Cassel. R for violence, sex, and language.
MESRINE: PUBLIC ENEMY NO. 1 (R) 128 minutes * * * Part two... after his third prison break, Mesrine (Vincent Cassel) continues his violent criminal career until he is once again caught. But Mesrine is not a man to stay behind prison bars for very long. What works against him is that he has finally achieved the status of "Public Enemy No. 1", which means that it's only a matter of time before he is taken down. Cassel's strong performance continues here, and the two films together are an impressive story of a violent criminal who just wouldn't stop. R for violence, sex, and language.
MESSAGE IN A BOTTLE (PG-13) 125 minutes * * 1/2 Jogging along the shore, Theresa (Robin Wright Penn) finds a bottle with a message in it. It's heartfelt and romantic and inspires her to track down the writer. She finds that they are both hurting from broken relationships. Broken in different ways, but it provides a touchstone that gives them an opportunity to reach out and care for one another. It's a relaxing film, with a romance that slowly builds. Things slow down a bit too much in the middle of the film, with the characters becoming so relaxed they almost become uninteresting. It manages to pick back up toward the end, but the damage is already done. Die-hard romantics will still find it to be a tearjerker, but trimming would've helped. PG-13 for language.
THE MESSENGER (R) 107 minutes * * * With only three months to go, Staff Sergeant Will Montgomery (Ben Foster) is injured. Reassigned to casualty notification duty, which is far from easy. Captain Tony Stone (Woody Harrelson) is teaching him the job, but seems rather cold and uncaring, though the truth is that he is bitter. Will learns the rules, but chooses to ignore them and become attached to a widow he notifies. Solid drama dealing with a little-seen side of war. R for language and sex.
MESSENGER OF DEATH (R) 94 minutes * Yet another violent Charles Bronson film, this one has him investigating a murder case involving two sects of Mormons who are having conflicts. Even Bronson fans may find this one less than interesting. R for violence and language.
THE MESSENGER: THE STORY OF JOAN OF ARC (R) 143 minutes * * 1/2 Joan (Milla Jovovich) looks to God for a reason for the atrocities that beset her people and sees a sign that leads her to believe she has been called to a higher purpose. France desperately needs someone who believes they have been called to a higher purpose. This version of the story plays with the idea of doubt. Not only those who doubt Joan, but her own doubts. The idea that, perhaps, she misinterpreted the sign. Or maybe it wasn't a sign at all. Interesting ideas, but the film drags on a bit too long in some sequences and is needlessly excessive with violence. There are some very nice supporting roles here though, and if you're willing to look at the story from a slightly different angle, you'll find this worth watching. R for violence and language.
THE MESSENGERS (PG-13) 85 minutes * If you've been around children much, it wouldn't surprise you to think that they might be more aware of messages that might come from other "worlds". But do you listen to them if they tell you? Would you listen if they told you not to watch this movie? There are some creepy effects and good suspense sequences here, but there are also lots of cheap noise scares that ruin the real suspense the film might have had. The story never really uses the messenger idea much either, making us wonder why that was ultimately chosen as the title for the film. PG-13 for violence and language.
MESSENGERS 2: THE SCARECROW (R) 90 minutes 1/2 The crops are dying, the crows are eating what remains, and there isn't enough water to take care of them if he could. What Jon (Norman Reedus) does find, is a rather creepy old scarecrow in the barn behind a wall he didn't realize was there. Using even less of the "messenger" idea than the first film, the only real connection here is the farm. Make blood sacrifices and you'll have a good crop. With a really dumb ending that leaves plenty of questions unanswered, the only real message here is "stay away". R for violence, sex, and language.
METAL: A HEADBANGER'S JOURNEY (R) 95 minutes * * * Director Sam Dunn's exploration of heavy metal music. Dunn was a headbanger in his teen years, and this is the story not only of how it shaped him, but an investigation into the genre and what it means to the history of music. Dunn's degree in anthropology and his continuing love of heavy metal is an intriguing mix, and along with numerous in-depth and fascinating interviews, proide an insight into the genre that we've not seen before. Very nicely done, and a great documentary for anyone who appreciates music of any kind. R for language, violence, and sex.
METALLICA: THROUGH THE NEVER (R) 85 minutes * 1/2 Concert video with interlaced story about a young man running an errand for the band. The "story", such as it is, often doesn't make much sense. that leaves the concert footage, which by itself is good, and should keep Metallica fans happy, though wanting more. R for violence and language.
METALSTORM: THE DESTRUCTION OF JARED-SYN (PG) 78 minutes * * * An evil warlord must be stopped before he becomes ruler of a desert planet in the action-packed science fiction adventure. The writing isn’t all that great, but somehow the excitement and energy make up for most of it..
METEOR APOCALYPSE (NR) 84 minutes 1/2 A meteor is headed to Earth, so several countries cooperate and launch missiles at it. Now, lots of smaller meteors are going to hit the planet. The cast doesn't have much to work with here, despite the fact that there's much more drama than there is action. Photography is horrible, and the special effects are very low-budget.
METEOR STORM (NR) 84 minutes * 1/2 A heavy meteor shower turns deadly when the meteorites start hitting the ground. And of course, there are more that will be coming in the next few hours... oh, and now there's an asteroid... Pretty standard TV disaster flick.
METRO (R) 113 minutes * 1/2 Uneven action film with some scenes leaving you on the edge of your seat, while others will have you wanting to leave the room. Very weak ending and not too many surprises, but the chase scenes are well-done and are very intense. Eddie Murphy continues to struggle in his attempt to find successful films that last for more than a couple of weeks at the box office. R for violence and language.
METROPOLIS (NR) 87 minutes * * * * The 1984 version of this classic 1926 silent film is a real treat to watch. With color-tinting and a soundtrack by Giorgio Moroder, you will quickly be caught up in the story. It’s a world of the future, where a young man from the upper classes abandons his life of ease to help workers unite together and revolt against mechanized society. Though this cut quite a bit of footage from the original, it makes the film a little less tedious than it was with the extra footage.
THE MEXICAN (R) 116 minutes * * The legend of the cursed pistol, and how much trouble Jerry (Brad Pitt) has holding onto it, could have been more entertaining. James Gandolfini fares the best here, as one of several other people who are trying to get their hands on this unique gun. The film is extrememly uneven, moving from realism to surrealism and occasionally mixing in humor and romance at the most inopportune times. The opening scene really sets the tone. Brad Pitt and Julia Roberts opening argument scene plays like a bad high school drama class project. Badly directed and horribly scripted, this somehow manages to end well. (Not sure who gets the credit for that!) R for violence and language.
MEXICO BARBARO (NR) 99 minutes * * 1/2 A horror anthology from Mexico featuring eight unusual stories. Terrifying, yet often told with a dark sense of humor. A very nice collection of scary and creepy stories that is definitely worth a look if you enjoy horror.
M.F.A. (NR) 90 minutes * * 1/2 When Noelle (Francesca Eastwood) is sexually assaulted at a party, she reaches out for support, but there is none to be found. She decides to take matters into her own hands and confront the attacker, but that doesn't go quite as she expected. But she may have found a way to help others as well as herself. Nice work by Eastwood, though the story doesn't really take any chances.
MIA AND THE WHITE LION (PG) 96 minutes * * 1/2 She wasn;t at all excited about the move, but Mia (Daniah De Villers) and her family leave London for a ranch in Africa. Feeling displaced and unwanted, Mia connects with a white lion cub. The cub's presence helps briing in money for the ranch, but of course, as he gets older, his relationship with Mia has to change. He is a wild animal, and freedom is what is best. Their journey to that freedom is something very special. PG for violence and language.
MIA MADRE (R) 103 minutes * * * Margherita's (Margherita Buy) mother is dying. She's also struggling with the film she is currently directing. Her mind is full of questions to which there seem to be no answers. A very personal and sincere presentation of the issues this character faces, highlighted quite well by the soundtrack. R for language.
MIAMI BLUES (R) 93 minutes * * 1/2 Although the story's focus is on Junior (Alec Baldwin) and how he comes to Miami to continue his stealing and killing, it's really Pepper's story. Pepper (Jennifer Jason Leigh) is the one who is feeling the blues, but we don't really get to hear much of her story except in how it relates to Junior. And Junior is more concerned with continuing his destructive course and avoiding Sgt. Mahoney (Fred Ward) than in anything else. R for violence, sex, and language.
MIAMI VICE (R) 124 minutes * * 1/2 Director Michael Mann wrote the script for this somewhat more gritty adaptation of the 1980s TV show. Colin Farrell is Sonny Crockett and Jamie Foxx is Rico Tubbs and they play the roles quite well, going undercover in the criminal world of Miami, Florida. The film does a nice job of keeping our interest for the first 45 minutes or so, but then the pace begins to shift awkwardly, with too many scenes that just don't go anywhere. The ending is well-played and almost worth the wait, but cutting this down by 10-15 minutes would have worked wonders. R for violence, language, and sex.
MICHAEL (PG) 100 minutes * * * A reporter and a photographer in search of a story... a woman who claims to have an angel living with her... a film with a great deal of charm and appeal... John Travolta is wonderful as Michael, who is not exactly what you might expect from an angel. Jean Stapleton does a superb job in her small part as well. The biggest problem the film has is William Hurt's lifeless performance. He seems to just walk through the entire film without energy or purpose. It really detracts from the effect of the film. The small screen helps lessen this negative effect and most people are really won over by Travolta's charm. PG for language.
MICHAEL CLAYTON (R) 114 minutes * * * Michael Clayton (George Clooney) is a "fixer", handling the problems that arise for a New York law firm by whatever means best fit the situation. He's very good at his job, but still wishes it wasn't something he had to do. His frustration is heightened and his loyalty questioned when the firm deals with a case that causes one of their own to become a whistle-blower. It's not a situation that can be fixed as easily as most, and Clayton finds himself faced with a decision that has far more impact than he first thought possible. The story is very good here, as are the performances, though nothing is really outstanding and the Oscar nominations and awards this film received are not particularly deserved. R for language and violence.
MICHAEL COLLINS (R) 126 minutes * * * Not a story that many Americans are familiar with... the Irish fighting to get Britain out of their country. The plot does wander around a bit much, but Liam Neeson, Stephen Rea, and Aidan Quinn give it the strength it needs to keep us interested. Neeson really seems to have a way of finding roles that are tailor-made for him. R for violence and language.
MICHAEL JACKSON'S THIS IS IT (PG) 105 minutes * * * Michael Jackson's untimely death happened while he was preparing for an amazing and triumphant return to the stage. This documentary includes footage that was being shot for a video that would accompany the video release of the concert. The rehearsals and interviews are mixed with other footage from Michael's life for a look back at the work and life and the magic that was Michael Jackson. The consumate professional, we get a look at the extent of his knowledge of music, dance, timing, effects, and what he wants and needs to create what he wants to present on the stage. We also see how much respect he has for the talents and skills of others. A very fitting tribute to a life that brought so much to the world... the one and only King of Pop. PG for language.
MICKEY AND THE BEAR (R) 87 minutes * * * Mickey (Camila Morrone) has her hands full. Her father (James Badge Dale) is an addict and is unwilling and frequently unable to take care of himself. He has moments, but Mickey is the one who holds things together. Very nice work by Annabelle Attanasio in her feature film debut as both writer and director. R for language and sex.
MICKEY BLUE EYES (PG-13) 96 minutes * 1/2 Michael (Hugh Grant) wants to marry Gina (Jeanne Tripplehorn), but she has a secret. Her dad is in the mafia. But he's a really nice guy. In fact, James Caan turns in the best performance here, having a good grasp on how to keep the role light and charming. Grant and Tripplehorn never seem comfortable together and it is the supporting characters of Caan and the rest of the mafia family and friends who supply the interest here. Filmed in New York. PG-13 for language and violence.
MICKI & MAUDE (PG-13) 113 minutes * * 1/2 Rob (Dudley Moore) has two wives (Amy Irving, Ann Reinking) who don't know about each other. It's been tricky enough to keep that a secret, but now they are both pregnant. Predictable, but funny, with a fine supporting performance by Richard Mulligan.
MICMACS (R) 96 minutes * * * Tired of the danger that is posed by people who make and used weapons, Bazil (Dany Boon) plots his revenge. He has a rather eclectic bunch of friends who are willing to help him. Humorous French heist film, though not exactly a heist in the usual sense, which is part of the fun, along with the unusual characters. It's a story of revenge and justice, pitting two arms dealers against each other and then exposing them for what they are. R for sex and violence.
MICROBE AND GASOLINE (R) 100 minutes * * 1/2 A road trip like no other. These two young friends decide to travel across France in a homemade car, learning about freedom, trust, friendship, and themselves along the way. The ending lacks the finesse that the story deserves, choosing instead to wander away without any real sort of resolution. It's perhaps more true to life, but so much of the rest of the film wasn't. R for sex.
MID-AUGUST LUNCH (NR) 72 minutes * * 1/2 Living with his 93-year-old mother is difficult enough, and the bills are piling up. The building manager has an idea that might help. If Gianni (Gianni Di Gregorio) will let his mother stay over for a couple of days, he'll forgive the condominium debts. But when he brings over his aunt as well, and another friend brings his mother over... it's a bit much for Gianni to handle. A bit slow to start, interest and humor both pick up as the film moves along.
MIDDLE MEN (R) 104 minutes * * * They were just two guys with a great idea about how to deliver pornography to those who wanted to see it. As their business grows (at an exponential rate), they need the help of someone else, who has an even better idea... they can be middle men, and reduce their involvement and risk, while continuing to collect a huge profit. Great cast! The script is a bit heavy with narration, though there are times when it's almost an on-screen aside from Luke Wilson, which makes it work a little better. R for sex, language, and violence.
MIDDLE OF NOWHERE (R) 89 minutes * * * Life is being a little rough on Grace (Eva Amurri). Her mother (real-life mom Susan Sarandon) has ruined her credit and her little sister is in serious need of therapy. Grace soon finds herself helping Dorian (Anton Yelchin) sell drugs to earn some money. But Dorian quickly develops a crush on Grace, and that's the last thing she needs to worry about right now. Dorian doesn't really need the money, but he does need to figure out who he is and what he wants to do with his life. They're both in the middle of nowhere, but its still somewhere... as soon as they decide what direction to go. R for sex and language.
MIDDLE OF NOWHERE (2012) (R) 99 minutes * * 1/2 When Ruby's (Emayatzy Corinealdi) husband is sent to prison for eight years, she tries to be loyal and supportive. But without him around, her life begins to shift, and she's not sure where it's headed. Intense, but slow moving story with a very good ending. R for language.
MIDDLE SCHOOL: THE WORST YEARS OF MY LIFE (PG) 85 minutes * * 1/2 Rafe (Griffin Gluck) has been transferred to another school. Life can be difficult enough when you're in middle school. Having to deal with a new school, new friends, new teachers, and new enemies is only going to make it worse. Pretty basic story, but fun little bits throughout that tend to remind us all of what the experience is like, whether it was fifty yers ago or two days ago. PG for language.
MIDNIGHT BAYOU (NR) 87 minutes * * Declan (Jerry O'Connell) falls in love with an old New Orleans mansion and buys it a few years later when it comes on the market. Of course, it's haunted, but he has no idea of his deep connection to the ghost, and to the history of this mansion. Nicely told supernatural mystery story, adapted from the novel by Nora Roberts. It does wrap up a little too neatly and quickly at the end, but unfolds nicely until then.
MIDNIGHT IN PARIS (PG-13) 87 minutes * * * 1/2 Gil (Owen Wilson) is in Paris with his girlfriend. OK, it's with her parents and because of her father's business, but still. Gil is just wishing it were the 1920s, and that he and Inez (Rachel McAdams) could live in that wonderfully romantic time. She's not so sure, but she would like to know where their relationship stands. Delightful script from Woody Allen, another of his best works. Wilson just isn't a good fit here. There are moments when it doesn't matter, and Allen's direction succeeds anyway, but there are too many when it doesn't. PG-13 for sex and language.
MIDNIGHT IN THE GARDEN OF GOOD AND EVIL (R) 149 minutes * * 1/2 The opulent home of Jim Williams (Kevin Spacey), a collector of fine art and antiquities, and the location for one of Savannah's most high-class Christmas parties. John Kelso (John Cusack) has been given the assignment of writing an article for Town and Country magazine about it. The night after the party, a young man is killed and John decides to stick around to see what happens . It's an interesting story, but Clint Eastwood's direction slows things down to an annoyingly boring pace and make the film overly long. As well, the voodoo element (which is actually a major part of the story), is barely present until the end of the film. R for language and violence.
MIDNIGHT IN THE SWITCHGRASS (R) 93 minutes * * * The bodies have been piling up. Byron (Emile Hirsch) has been on the case for some time, with only the smallest of leads turning up. FBI agents Rebecca (Megan Fox) and Karl (Bruce Willis) are running a sting operation that just might help Byron out. The story unfolds slowly and carefully, and thanks to the work of the cast, our interest is held and the story works well, despite being far from original. R for violence and language.
A MIDNIGHT KISS (NR) 81 minutes * * It's been a family-run party planning business, but Mia (Adelaide Kane) and Jake (Jason Cermak) are taking over from their parents. When an accident sidelines Jake, David (Carlos PenaVega) steps in to help. PenaVega does well here, but Kane seems overly stiff and disconnected.
THE MIDNIGHT MAN (NR) 100 minutes * * * 1/2 Grady (Will Kemp) is a hitman with a rare genetic disorder that prevents him from feeling any pain. Except, something has just changed all of that... at least for awhile. Still, he has a job to do, and he can't let a little pain get in the way. So, he kidnaps an EMT to keep him healthy while he completes his job. Fun assassin film with a witty script that has some great twists, and a fantastic cast.. This is one of those gems that tends to slip under the radar. Don't miss this!
MIDNIGHT MASQUERADE (NR) 82 minutes * * Inheriting a candy company is great news for Elyse (Autumn Reeser). A legal issue brings her into contact with Rob (Christopher Russell). They bump into each other again at a masquerade ball. How many times will it take before the spark becomes a flame? Some nice, Cinderella-type moments mixed into the story.
THE MIDNIGHT MEAT TRAIN (R) 96 minutes * * ½ Always looking for that more macabre story on the darker side of human nature, Leon (Bradley Cooper) is desperately in search of that big break. He’s going to get a little more than he expects when he starts tracking down a killer who targets late-night commuters. A mostly overlooked horror/thriller that also features Vinnie Jones, Leslie Bibb, and Brooke Shields. A couple of early, smaller twists foreshadow what is to come in this Twilight Zone-esque story. R for violence, sex, and language.
MIDNIGHT RUN (R) 122 minutes * * * Jack (Robert DeNiro) is a bounty hunter for a bail bondsman in Los Angeles. He used to be a police officer in Chicago, but when the department was corrupted by a drug lord, honest Jack found himself out of a job. His current assignment is to bring in an accountant (Charles Grodin) who stole several million dollars. The problem is... he's a nice guy and the money was given to charity. The banter between DeNiro and Grodin is delightful. Through it, we become familiar with the characters and their struggles, and begin to understand. With the exception of Yaphet Kotto, the supporting characters are the most troublesome part of the film as they are inconsistent. While not the focus of the film, supporting characters can add a great deal, or they can take the edge off, which is what happens here. R for language.
THE MIDNIGHT SKY (PG-13) 110 minutes * * * 1/2 The disaster is sudden and widespread. It doesn't really matter what caused it, only if anyone can get away. Augustine (George Clooney) decides to stay as his health is not the best anyway. The arctic station where he works is likely to be safe for at least a little while longer than most any other place. It will also give him a chance to warn the crew of the Aether that they should not return home, but instead to the planet they recently explored. The story is delicately balanced between hope and despair with Clooney and young Caoilian Springall as the characters that embody those characteristics. Less an adventure, and more of a tender story of the future. PG-13 for violence and language.
MIDNIGHT SPECIAL (PG-13) 107 minutes * * * A boy and his father are on the run. But this is no ordinary boy. And as those in pursuit get closer, everything begins to escalate to the next level. Good story, but a little unusual with the way it mixes science fiction and drama which might put some viewer off.. PG-13 for violence.
MIDNIGHT STALLION (NR) 88 minutes * A wild and free-spirited horse is entered into a race to help save a family's property. The acting is stiff throughout, and relies on Kris Kristofferson to carry the story, which he's never been all that good at doing. The ending is all sweetness and flowers, which actually doesn't make a great deal of sense with what happens just a few minutes before we get there.
MIDNIGHT SUN (PG-13) 86 minutes * * * Suffering from a rare skin disease, Katie (Bella Thorne) cannot be exposed to sunlight without risking her life. Though her mother died when she was young, she ahs an amazing father, a wonderful best friend, and true love is just a moment away. Tear-jerker teen romance that hits just about all of the right buttons. PG-13 for language and sex.
MIDNIGHTERS (NR) 91 minutes * * A brief glance away from the road is all it takes. An accident leaves Lindsey (Alex Essoe) and Jeff (Dylan McTee) with a choice. What we quickly learn is that their lives were sitting on a pinpoint, and any choice was probably going to create enough stress to make everything collapse. As we watch, they slowly descend further and further into a pit of lies, deception, and no good options for a way out. Plenty of twists and turns as this moves along, but they begin to be somewhat predictable.
MIDNIGHT'S CHILDREN (NR) 137 minutes * * * The story of two boys switched at birth. One from a rich family, the other from a poor one. Combines historical drama with a sende of magic and wonder as the boys grow older, face their destinies, and cross paths. Despite its length, this feels a little rushed toward the end. Adapted from Salman Rushdie's book, and he serves as narrator for the film.
MID90S (R) 78 minutes * * * His home life is far from ideal, but Frankie (Sunny Suljic) is somehow managing to survive. Then he meets some boys at the local skate shop. He quickly connects with them and it seems like a wonderful change. It soon becomes clear that these friendships and what they mean to him aren't any better than what he had... just different. Great ensemble cast in this coming-of-age film set in the 1990s in Los Angeles. R for language, sex, and violence.
MIDSOMMAR (R) 143 minutes * * 1/2 One of Christian's (Jack Reynor) friends is from Sweden, and invites Christian and two other friends to a relaxing, fun, summer festival. Dani (Florence Pugh) and Christian have been struggling and so she comes along, in the hope of improving their marriage. When the festivities actually begin, it starts to get really strange. At first, it's just a little unusual, and Dani and the others excuse it as a culture they are unfamiliar with. But then it becomes more violent, dangerous, and difficult to explain away. Sweden's Midsommar festival has drawn attention before as a topic for film, though this is a more lengthy treatment than most. R for violence, sex, and language.
A MIDSUMMER NIGHT'S DREAM (1999) (PG-13) 111 minutes * * * 1/2 Wonderful new adaptation of the Shakespearean classic. Stanley Tucci is the perfect Robin Goodfellow, but the entire cast is amazing. Rupert Everett, Calista Flockhart, Kevin Kline, Michelle Pfeiffer... truly an ensemble cast that has captured the playful feeling of this story. The play within a play toward the end is sheer perfection. This is by far the best version that has seen film so far. It's a fun and lively adaptation that is a treat to watch. Filmed in Italy. PG-13 for subject matter.
A MIDSUMMER NIGHT'S DREAM (2005) (NR) 85 minutes * * * The classic Shakespearean comedy about love, with Dean Lennox Kelly as the mischevious Puck, who helps Oberon (Lennie James) make a fool of his love, Titania (Sharon Small). Their meddling also stirs up romance, comedy, and quite a bit of frustration between Hermia and Theo, who are about to be engaged, though they don't really love one another. Part of the "Shakespeare Retold" series from the BBC.
A MIDSUMMER NIGHT’S SEX COMEDY (PG) 84 minutes * * * Ingmar Bergman’s “Smiles of a Summer Night” provided the inspiration for this Woody Allen film about a weekend party that explores the relationships of three couples. Light fun that manages to make a few serious points along the way. PG for sex and language.
MIDWAY (PG-13) 129 minutes * * * The story of the battle that turned the tide of World War II. The American and Japanese naval fleets had already clashed at Pearl Harbor and Tokyo, but the Battle of Midway would prove to be a strategic one that would make the difference. The script does a nice job of showing the profound effect that a few individuals can and do have during a war. The focus here is on the action, with a limited amount of personal drama to add just enough depth to some of the characters. Featuring Patrick Wilson, Woody Harrelson, Dennis Quaid, and Aaron Eckhart.Pg-13 for violence and language.
THE MIDWIFE (NR) 114 minutes * * * 1/2 Claire (Catherine Frot) had enough going on in her life. It is then, of course, that her father's mistress shows up. She is Claire's opposite in just about every way, but Beatrice (Catherine Deneuve) also needs help. And Claire soon realizes that she needs help of her own as well. Wonderful acting, and a fine script by director Martin Provost.
A MIDWIFE'S TALE (NR) 85 minutes * * * A look at the life of Martha Ballard, a midwife in Maine, shortly after the American Revolution. Nicely crafted docu-drama that provides a fascinating look at this period of United States history through the eyes of a woman who lived it, and one of the few written records from that perspective.
MIDWINTER OF THE SPIRIT (NR) 133 minutes * * 1/2 When a mysterious murder happens near Merrily Watkins' (Anna Maxwell Martin) parish, the police ask for her help. That would be because she also happens to be an exorcist, which might be just what is needed. Her character seems a bit overly unsure and out of place to handle that, but otherwise, this is a nice mystery/thriller with some occult touches. Adapted from the novel by Phil Rickman.
THE MIGHTY (PG-13) 100 minutes * * * * Rodman Philbrick's novel, "Freak the Mighty" makes the transition to screen beautifully. Kevin (Kieran Culkin) and Max (Elden Henson) were destined to be friends. Outcasts for different reasons, they find that together, they have more than either could have hoped for. Culkin and Henson are outstanding, and the rest of the cast, which includes Sharon Stone, Gillian Anderson, Gena Rowlands, Harry Dean Stanton, and Meatloaf, make the story come to life. It will charm you and inspire you, and treat you to a look at the power and magic that true friendship can bring. PG-13 for violence and language.
MIGHTY APHRODITE (R) 91 minutes * * * 1/2 More upbeat than most Woody Allen films have been in awhile (and aless self-analytical), this is the story of a man tracking down the biological mother of his adopted son. Of course, when he finds out that she's a hooker and a pornographic film actress it adds a few wrinkles to his plans. Mira Sorvino is perfect as Linda Ash, and the rest of the stellar cast does an outstanding job as well.
THE MIGHTY DUCKS (PG) 100 minutes * * It's "The Bad News Bears" on ice. A group of misfit kids and a coach who hates kids, hates hockey, and wouldn't be here if the court hadn't ordered him to do it as community service. The film does have a few moments of something fresh and new, thanks to Joshua Jackson, who plays the part of Charlie Conway. He has a good feel for the camera and gives the film the energy it needs to stay watchable. It's too bad that these films about the importance of being accepted whether we win or lose always have the underdog win in the end. It sort of defeats the purpose of the moral. PG for language.
MIGHTY FINE (R) 75 minutes * * 1/2 Moving the family to New Orleans was supposed to be ab exciting new chapter in their lives. But it doesn't get started off well. Joe's (Chazz Palminteri) temper and ability to deal with reality get worse as the weeks go by. Bittersweet ending to a drama with plenty of dark undertones. And it's that inner darkness that weighs too heavily on Palminteri's performance, making this not a very pleasant experience to watch, though he does a nice job. R for language and nudity.
A MIGHTY HEART (R) 104 minutes * * 1/2 Straightforward account of the kidnapping and murder of Daniel Pearl, based on the book by his wife Mariane. Emotions are somewhat restrained thoughout the film, though the performances are strong enough to keep our interest. Angelina Jolie's accent seems to fluctuate, but otherwise her performance is fine. R for language.
MIGHTY JOE YOUNG (PG) 106 minutes * * Modernized version of the old classic. Unfortunately, the old classic didn't have that much depth. The best things this version has to offer are the quality puppetry work from Rick Baker and his crew and the performance of Charlize Theron. James Horner's music adds a little bit in a few spots too, but the big problem is that the story is just incredibly weak. PG for language and violence.
THE MIGHTY MACS (G) 94 minutes * * At an all-girls Catholic school which is in danger of being sold, a new coach ispires, pushes, and does whatever it takes to teach these girls to believe in themselves and in possibilities. Fairly standard underdog sports film. G for the whold family.
MIGHTY MORPHIN POWER RANGERS: THE MOVIE (PG) 88 minutes * * 1/2 Feature film debut of those lovable rangers. Filled with action and villains that are easy to dislike, but aren't all that scary. Good morals served up in large, easy to swallow doses abound as well. This is sure to be a hit with fans of the TV show, but it stand fairly well on its own too. PG for violence.
MIGHTY OAK (PG-13) 98 minutes * * Vaughn (Levi Dylan) can be a little difficult to manage, but he's got the talent to make it worthwhile. His sister Gina (Janel Parrish) is used to dealing with him. A tragic accident changes everything, but a young guitar player she meets a few years later seems like he could be her brother reincarnated. The acting isn't bad, but the script is really weak. The music falls in that same mediocre category, with a few brighter moments. For a film with music as its foundation, that's just not enough. PG-13 for language.
A MIGHTY WIND (PG-13) 86 minutes * * Folk music promoter Irving Steinbloom dies, and a memorial concert is quickly put together with groups that he used to represent... The Folksmen, The Main Street Singers, and Mitch and Mickey. This satire of folk music and music performance in general, this is much more on target than "Best in Show", another satire from the same team. Catherine O'Hara, Eugene Levy, Michael McKean, and Parker Posey are delightful to watch here, though the story begins to lose steam as it moves along. Just in case you're wondering, the actors are singing the songs themselves. PG-13 for language.
MIKE AND DAVE NEED WEDDING DATES (R) 94 minutes * 1/2 Rude and crude story with a "sweet" turn at the end. Not that we didn't see that five minutes into the film. It's funny in spots, but far below the talent level of almost all of the cast. R for sex and language.
MILDRED PIERCE (NR) 326 minutes * * * Discouraged with how her marriage is not working, Mildred (Kate Winslet) starts over. She discovers that she has a talent for running restaurants. Her oldest daughter has a talent for manipulating people. Solid performances all around, with a standout job done by Evan Rachel Wood. Lengthy but absorbing adaptation from the novel by James M. Cain.
MILE 22 (R) 87 minutes * * * Silva (Mark Wahlberg) has a package to deliver. Said package is an Indonesian police officer with some very important information. There are plenty of epople who don't want this to happen though, so Silva and his team have their work cut out for them. Lots of intense action, and a story that twists and turns back in on itself. R for violence and language.
MILES AHEAD (R) 94 minutes * * 1/2 A mostly imagined look at a period of time in the life of Miles Davis (Don Cheadle), when he was not producing music and was battling an addiction to drugs. Little is actually known about Davis' life during this time, but this is an entertaining, if overly imaginative, explanation. Strong finish, but a bit chaotic in the middle. Great soundtrack! R for language, sex, and violence.
MILES FROM NOWHERE (NR) 87 minutes * * 1/2 When Cam's (Andrew Lawrence) best friend dies in a car accident, he feels responsible. Though they were both fast runners, Cam had chosen football over track. Now he wants to pursue John's goal of a four minute mile as a way to honor his friend. Overly sentimental in spots, and a bit over-acted as well, but it does tend to keep us involved and reaching for that box of tissues.
MILIITARY WIVES (PG-13) 107 minutes * * * With their husbands off on another military deployment, their wives are looking for something to keep their minds occupied. When they settle on the idea of a choir, directing them proves to be a challenge. Kate (Kristin Scott Thomas) and Lisa (Sharon Horgan) have different styles and priorities. It will come together soon enough. Thomas seems more than a little uncomfortable in her role. PG-13 for language.
MILK (R) 122 minutes * * * 1/2 His visibility as an openly gay political candidate opened the door that so many had tried to keep closed. Once people began to realize that everyone know at least one of "those people", the tide began to turn. Sean Penn delivers an Oscar winning performance as Harvey Milk that is definitely not to be missed. Dustin Lance Black's powerful script also won an Oscar. R for language, sex, and violence.
MILK MONEY (PG-13) 103 minutes * 1/2 When three curious boys decide to pool their money to hire a girl so they can study her anatomy, they get a little more than they bargain for. They get Melanie Griffith, who is on the run from her boss and his cohorts. Lots of subplots here to try and keep things interesting, but much of the acting is weak and we don't really care about the kids. PG-13 for language and nudity.
THE MILL & THE CROSS (NR) 90 minutes * * 1/2 The painting, "The Way to Calvary" by Peter Bruegel the Elder is brought to life in this rather unusual film. Pieces of the painting slowly transition to tell background stories and then fade back into the painting as Bruegel (Rutger Hauer) draws, walks, and talks to us and another character about what he was trying to show with his work. Not as powerful as it could have been, but interesting.
MILLENNIUM (PG-13) 101 minutes * * 1/2 John Varley adapted his short story "Air Raid" to give us this interesting story about time travellers from the future who "rescue" people about to die in plane crashes. The film goes over the same scenes too often as it tries to explain what's going on and Kris Kristofferson's rather laid-back performance doesn't work very well with the intensity of the story, but it's still intriguing.
MILLION DOLLAR ARM (PG) 116 minutes * * * Being a sports agent is highly competitive, and JB (John Hamm) is struggling against some tough competition. He has an interesting idea about how to change that, but it's risky. Based on a true story, this starts and ends very well, but moves slowly and very predictably during the middle. Nice supporting work by Bill Paxton and Alan Arkin. PG for language.
MILLION DOLLAR BABY (PG-13) 128 minutes * * * 1/2 She's a woman with heart and a talent for boxing. She may be a bit old for the sport, but she's willing to work. Hilary Swank is simply amazing here, not that Clint Eastwood and Morgan Freeman are any less amazing, just that Swank is so ready to push herself to go places she hasn't been when she takes on a character. The narration was bothersome, but when you reach the end, the reason for it is clear and adds a great deal to the power of the film. Swank and Freeman picked up Oscars for their performances and it also earned Oscars for best picture and for Eastwood's direction. Adapted from stories from Rope Burns by F.X. Toole. PG-13 for violence and language.
A MILLION LITTLE PIECES (R) 107 minutes * * * James (Aaron Taylor-Johnson) is in serious trouble. His addictions are killing him. His brother takes him to a treatment facility. It's one of the best, which also menas that it's tough. A powerful story of addiction and recovery. Solid acting, but the photography is awkward and not always very effective in presenting the story. R for language and sex.
A MILLION WAYS TO DIE IN THE WEST (R) 110 minutes * 1/2 Seth McFarlane manages to lampoon just about everything connected to western films here, and his fans will have fun with that. Despite the presence of quite a few A-list cast members, McFarlane is still very present, but then again, he wrote, produced, and directed this as well as having the lead role. It's just a little too much, and the mildly entertaining finish takes too long (and too many bad jokes) to arrive. R for sex, language, and violence.
MILLIONS (PG) 94 minutes * * 1/2 Young Danny is playing in a field near the train tracks, when a bag full of money seems to him to fall out of the sky. Convinced it's from God, Danny, who often talks to the saints, begins to give the money away to people in need. His brother is less convinced that this is a good idea. As they begin to explore the ethical issues surrounding their newly discovered wealth, they learn much more than they anticipated. It's a charming idea, but suffers from numerous impracticalities along the way. While some can be forgiven, there are too many to allow the film the strength it needs to keep us believing. While in many ways it's aimed at the younger crowd, the real appeal here may well be for the grandparents of the younger crowd. PG for language.
MILLTOWN PRIDE (NR) 131 minutes * * Will (Thomas Sneed) just wants to play ball, and when that means leaving home and playing for a team on the "wrong side of the tracks", he's determined to go. Living among people his father disapproves of teaches him a great deal. And when evangelist Billy Sunday coms to town, he learns even more. Very heavy-handed message film, and the dialogue is stiff in many places. This also runs way too long, and could easily have been trimmed by around thirty minutes and been better for it.
MILTON'S SECRET (PG) 85 minutes * * Milton (Williams Ainscough) is a pretty normal kid, even if it doesn't feel like it to him right now. There are some family problems, and the situation with the school bully is getting a little worse. A dose of his grandfather's (Donald Sutherland) wisdom may be just what Milton and his parents need. Sutherland's performance is the best part of the film, but clearly isn't enough to lift this above mediocrity. PG for violence and language.
MIMIC (R) 99 minutes * * 1/2 A deadly new cockroach is bred to kill other cockroaches that are spreading a lethal disease. The new ones are supposed to die out in six months... of course they mutate and turn into monsters instead. As silly as that all sounds, a decent script has turned Donald Wollheim's short story into a fairly scary little film. Rob Bottin designed the human-size creatures and Mira Sorvino leads a capable cast in their search through New York's subways to rid the city of the pest she helped create. R for violence and language.
MIMIC 3: SENTINEL (R) 73 minutes * Marvin's (Karl Geary) health issues keep him mostly confined to his room. He photgraphs what goes on in the neighborhood from his window, so he notices when a couple of people go missing. The garbageman is acting suspiciously, but is he one of the Judas Breed mutations? Nice to see Lance Henrikson make an appearance here, but it doesn't help the story. R for violence and language.
MIMIC 2 (R) 78 minutes * 1/2 One of the creatures survived the first film (like that's a surprise), and is on a rampage. It also knows how to mimic people, and it's stalking a biology teacher. Not quite as interesting or creative as the first, and the effects aren't quite as good either. R for violence and language.
MINARI (PG-13) 112 minutes * * * Life in California hasn't been bad, but Jacob Yi (Steven Yuen) wants more for his family. He wants to start a farm and grow food to sell. So, the family moves to rural Arkansas, where the land is rich. Starting over is rarely easy, but in some places it's more difficult than others. A gentle film about family and the rough road that sometimes must be travelled. PG-13 for language.
MIND BLOWN (NR) 84 miunutes * 1/2 The title is also the code name for a group of telekinetics who have been brought together for a purpose. They think it's for the good of humanity, but it doesn't take long to realize that the militry has other plans. This starts out OK, but all too quickly turns into a silly, low-budget, superhero wannabe film.
MINDGAMERS (R) 93 minutes * * It begins as research to see if two minds can be linked. Soon, it becomes possible to link many minds. A brilliant group of students have now figured out how to take it to the next level. Their goal is a positive one, but there are those watching the project who have other ideas in mind. Nice production design and artistic direction. The story stays a little too cerebral for most of the film, keeping us distant from the characters. R for violence, language, and sex.
MINDHUNTERS (R) 100 minutes * * 1/2 A handful of FBI profilers are completing their training on a remote island. But when one of their team is killed, they begin to wonder if this training is what they thought it was. Perhaps their trainer is going too far, or perhaps one of them isn't a profiler, but a serial killer. Unimaginative story that follows a plan a bit too obviously and then explains itself too often as well. Don't be fooled by the fact that Christian Slater and Val Kilmer are listed in the cast. They're neither one in the movie for very long at all. R for violence, language, and sex.
THE MIND'S EYE (NR) 84 minutes * 1/2 A mad doctor is collecting people with psychokinetic abilities to siphon their powers for his own evil purposes. Most everything about this screams low budget, but it also manages to be fun to watch. The story, and even the mood to an extent, clearly bear some resemblance to the film "Scanners".
MINE (NR) 78 minutes * * 1/2 Documentary film about the animal rescue efforts after Hurricane Katrina. Not only do we hear about the tragedy of the pets that were left behind, but the struggle of owners who wanted to be reunited with their pets. Not only was it tremendously difficult to even begin to locate them at times, but substantial legal difficulties were often adding to the problem.
MINE (2016) (NR) 103 minutes * * * Mike (Armie Hammer) and his partner fail their misson to assassinate one of the enemybecause he hesitates. Mike has a lot going on in his head right now. To make matters worse, his partner is now dead and Mike has stepped on a mine in the middle of the desert. He's going to have plenty of time to think about why he hesitated and what that means while he's waiting for help to arrive. Well-designed and well-written story that doesn't let go of us as we follow Mike's mental and spiritual journey. Fine ending that makes wonderful use of photography and music.
MINE 9 (NR) 74 minutes * * 1/2 It's not an easy job, and there are many things that can go wrong. For these nine miners, two miles into the mine, a methane explosion will leave them with only one hour of precious oxygen. The story is very simple and short. The brief interviews with the real coal miners during the credits are ay least as interesting as the rest of the film.
MINGLE ALL THE WAY (NR) 83 minutes * * 1/2 As the creator of an app for single people who need a plus one for an event without romance as part of the equation, Molly (Jen Lilly) finds herself using the app to entice an investor. Her experience with using her own app might not end up being as platonic as she thought it would be.
THE MINIATURIST (NR) 146 minutes * * 1/2 Moving to Amsterdam with her husband, Petronella (Anya Taylor-Joy) is excited to start a new chapter in her life. Her husband gives her a beautiful dollhouse, and she hires a miniaturist to furnish it. But the pieces that are created seem to know in advance what will happen, and Petronella is increasingly concerned, especially when events grow more dark and tragic. The emphasis of the story is not really sinister, focusing on the daily lives and challenges the characters face, with the dollhouse more of an unusual curiosity than a paranormal element.
MINIMATA (R) 103 minutes * * * His career appears to be winding down. W. Eugene Smith (Johnny Depp) has photographed many things over the years, and captured many powerful images. His latest challenge involves travelling back to Japan to capture the horrors caused by mercury poisoning in the coastal communities there. Based on a powerful, true story, this does a very nice job of relaying the power that photographs can have, including the numerous images of tragedies that are included in the closing credits. Depp's performance is a little uneven, but otherwise good. R for language.
THE MINION (R) 91 minutes 1/2 When a key is discovered under the streets of New York by an archaeologist, Lucas (Dolph Lundgren) must get it into the hands of the Knights Templar before The Minion, a body-hopping demon, can get it. Low budget special effects along with a poorly written story are what really ruin this film. Too many parts of the story make no sense and the effects are laughable at best. The half star is for the earnest performances of Lundgren and Francoise Robertson. R for violence.
MINIONS (PG) 82 minutes * * 1/2 A prequel to "Despicable Me", with three of the Minions, Kevin, Bob, and Stuart, searching for an evil boss. Because what good are Minions without an evil boss? Plenty of Minion fun, but it's also more repetitive than it should be. PG for violence and language.
MINIONS: THE RISE OF GRU (PG) 81 minutes * * 1/2 Young Gru has a dream. He wants to be the best supervillain ever. The Viciious Six have a vacancy in their membership, but they consider Gru to be a bit too young to be taken seriously. It's true that he has his minions, but he wants that spot on the Vicious Six. It would be amazing. A fun sequel with a great soundtrack, but it does seem to be a little stale. The voice cast is amazing, featuring Steve Carell, Alan Arkin, Taraji P. Henson, Michelle Yeoh, Julie Andrews, Russell Brand, and so many more. PG for violence and language.
MINORITY REPORT (PG-13) 136 minutes * * * Adapted from a short story by Philip K. Dick, this is the story of the world of 2054. The crime of murder has all but been erased from Washington D.C., thanks to the efforts of a program that uses three precognitives to see the crimes beforehand so that intervention can take place. The system may have a flaw though, and John Anderton (Tom Cruise) appears to be caught in the middle. Very nice plot twists late in the film, but it does take a bit long to get there. Director Steven Spielberg once again gives us a science fiction film with a message, but the message seems to overpower the intrigue, which weakens the overall effect of the film a bit. Very nice performance by Samantha Morton as Agatha, one of the "precogs". PG-13 for language and violence.
THE MINUS MAN (R) 108 minutes * * 1/2 Adapted from Lew McCreary's novel, this is the strange and offbeat story of a serial killer. Vann (Owen Wilson) is a likeable guy with a very calm presence, and a very methodical approach to killing. Creepy, but almost too subtle at times. We want to forget that he's a killer, which is perhaps, part of what makes Vann so scary... he knows that about us too. R for language.
THE MINUTE YOU WAKE UP DEAD (R) 87 minutes * * * A stockbroker in a small town, Russ (Cole Hauser) convinces several people to make a specific investment. It doesn't go well. It now appears that someone is unhappy enough that they may be out to make him pay. A fun suspense/thriller with twists and turns that just keep coming. A nice supporting role for Morgan Freeman, and featuring Jaimie Alexander. Do you do bad things because you're a sinner, or are you a sinner because you do bad things? R for violence and language.
MINUTEMEN (NR) 89 minutes * * Three high school misfits discover time travel and use it to reset events so that other misfits aren't embarrased or ridiculed by their classmates. One action leads to another, and they discover there are ramifications to their actions. Life happens, and it's really our attitudes that matter and our friends that help us get through it all. Typical Disney TV fare. Not rated, but suitable for families.
MINUTES TO MIDNIGHT (NR) 88 minutes * They just wanted to celebrate New Year's Eve. Several friends head to a remote ski lodge to spend the weekend. The storm coming is isn't going to be the only trouble they will face. One by one they disappear, falling victim to an unusual trio of killers. The twist at the end doesn't really make much sense. Maybe is sounded better on paper.
MIRACLE (PG) 128 minutes * * * Kurt Russell stars as hockey coach Herb Brooks, who led the 1980 U.S. hockey team to olympic gold. Russell is good here, but it's the standard sports story that really keeps us involved. A group of individuals who are all quite good at what they do who learn to play as a team and overcome the odds to win the championship. No real surprises and nothing outstanding, just a nice, solid film with a well-done, feel good ending. PG for language and violence.
MIRACLE AT MANCHESTER (NR) 80 minutes * 1/2 The warning signs come quickly, and so does the diagnosis. Brycon (Kory Getman) has brain cancer. In another part of the same town, Ed (Daniel Roebuck) has his own health issues, which are interfering with his mission to help veterans. Based on a true story, but the continuity isn't very good. The script is poorly written, and acting is sorely lacking as well. It does get better toward the end, but this is an inspirational, feel-good story, that could have been even more powerful with a stronger start.
MIRACLE AT ST. ANNA (R) 151 minutes * * * WHen a World War II veteran shoots a stranger at the post office, no one can understand why. The story grows more intriguing when a valuable statue head is found in his apartment. What's the story? Well, forty years earlier, in a country ravaged by the war, there were four soldiers who were separated from the rest of their company... well-acted adaptation of the book by James McBride. The flow of the story is a bit uneven at times, but we do eventually find ourselves drawn in, and it finishes nicely. R for violence, language, and sex.
THE MIRACLE CLUB (PG-13) 84 minutes * * 1/2 Their's is a rough community just outside Dublin. Ballyger holds on to its own. Lily (Maggie Smith) and Dolly (Kathy Bates), along with a couple of friends, want their miracle from Lourdes. Sometimes the miracle we go in search of, isn't the miracle we really need. An impressive cast, and they work well, but the story lacks the focus it needs to be stronger. PG-13 for language.
MIRACLE DOGS TOO (NR) 82 minutes * * When Zack (Dustin Hunter Evans) moves into his new house, the last thing he expects to find is a couple of dogs. And these are very special dogs. Cute family film with puppies, children, and bumbling criminals.
A MIRACLE ON CHRISTMAS LAKE (NR) 107 minutes * * When his best friend dies on Christmas eve, Bobby (Kristian Jackson) is done with Christmas. When a development project threatens to destroy the lake where he and his friend used to play hockey in the winter, Bobby knows he has to do something. It may just be some Christmas magic that can help things go the way he's hoping for. Sentimental holiday film, but the pacing drags, and the script and performances just aren't as strong as they need to be.
MIRACLE ON 34TH STREET (NR) 96 minutes * * * * One of my holiday favorites, this is a golden oldie. Santa (the real one) is working in Macy’s and because of his efforts to make young Natalie Wood believe, he ends up going to trial. With the perfect touches of humor, and plenty of sentiment, this is a perfect film for the holidays. Winner of three Oscars, this is a charming film that is sure to entertain. Even if you’ve seen it before, watch it again! It's good any time of the year.
MIRACLE ON 34TH STREET (1994)(PG) 106 minutes * * * Which is more important, truth or belief? Mara Wilson stars as young Susan Walker in this remake, and her performance makes the film a delight to watch. It does run a bit long, perhaps those scenes without Wilson should have been cut... Not quite the magical film the first one was, but still worth watching.
THE MIRACLE SEASON (PG) 95 minutes * * * After winning the championship, the star player of a high school girl's volleyball team dies in a tragic accident. As the next season begins, no one seems to have the will to play anymore. Can they find the spark they need? Despite that rather startling beginning to the film, it's a fairly standard sports film with Helen Hunt starring as the coach. Based on a true story, with quite a bit of footage of the real Caroline Found at the end of the film. PG for language.
MIRAI (PG) 93 minutes * * * 1/2 When your four years old like Kun, the arrival of a baby in the house is a very big deal. This little boy discovers that the little sister he was so excited to have, is actually a lot more trouble than he expected. When he discovers a magical garden, he is able to meet her when she's older, and his parents when they are younger, learning a great deal about family and responsibility. A very cute story with wonderful animation. PG for violence.
MIRAL (R) 103 minutes * * * The story of Miral (Freida Pinto, a Palistinial girl who falls in love with a man fighting for Palistinian liberation, which she believes in. But political and religious views are often full of subtle differences that sometimes take awhile to become evident. Miral finds herself in the middle of things she's less certain of, but must work through. It's a powerful story that does a good job of leading us through some of the conflict that exists between two particular cultures. Based on the novel by Rula Jebreal. R for violence and sex.
THE MIRROR HAS TWO FACES (PG-13) 123 minutes * * * Two people drawn together by their need for companionship, find that intimacy is part of the picture whether they want it to be or not. Barbra Streisand and Jeff Bridges both do fine work here, but Lauren Bacall is fabulous! Great music by Marvin Hamlisch, costumes by Theoni Aldredge, and a very romantic story that will charm you. Directed and co-produced by Streisand, and much more appealing than some of her other work. PG-13 for language.
MIRROR MIRROR (PG) 99 minutes * * 1/2 This adaptation of the Snow White tale has tongue firmly planted in cheek, with plenty of sarcasm and in-jokes as the main sources of humor. There are definitely some hilarious moments, but it's a bit much at times and often detracts from the story and the performances. PG for violence and language.
MIRRORMASK (PG) 98 minutes * * 1/2 Helena (Stephanie Leonidas) suddenly finds herself in a strange world where everyone wears a mask and where darkness is in the process of destroying everything in sight. Valentine (Jason Barry) will serve as her guide, but she must find the answers and the mysterious mirrormask to discover how to save the white queen and her world. Meanwhile, in the world she has left behind, Helena's evil twin is trying to prevent her from coming back and her mother is in surgery, fighting for her life. Neil Gaiman's story comes to life, but we get so caught up in the visual presentation, that we get lost as well. It makes for an interesting experience, but not necessarily a great film. PG for violence.
MIRRORS (R) 107 minutes * * 1/2 With his marriage in pieces, Ben (Kiefer Sutherland) takes a job as a night watchman of a burned out department store. But there's more than meets the eye as he quickly discovers. There is something in the mirrors of this old building, and a secret he needs to uncover if he hopes to keep his family safe. Moderately creepy in spots, with an interesting twist ending, though some of the details don't quite make sense. Sutherland's typically intense performance carries the film well. Adapted from the Korean film, "Into the Mirror". R for violence, language, and nudity.
MIRRORS 2 (R) 83 minutes * * A new building is opening, but it apparently salvaged one mirror from the old building in the first film. Max (Nick Stahl) is the new security guard who is having strange visions. The mirror effects are just as creepy here, but Stahl's performance isn't as strong as Sutherland's, and the story, which is basically the same as the first, is not as exciting this time around. R for violence, language, and nudity.
MISBEHAVIOUR (NR) 100 minutes * * * As she works to get into university and succeed in the male dominated world, Sally Alexander (Keira Knightley) runs into some members of the rapidly growing women's liberation movement. Her path then crosses with the 1970 Miss World beauty pageant, hosted by Bob Hope (Greg Kinnear). The world will never be the same. Though the liberation of women and the struggle against patriarchy will continue, the protest during the 1970 Miss World competition brought an awareness of the struggle to the world like never before. Based onthe actual incident with some very nice follow-up information at the end of the film.
MISCHIEF NIGHT (NR) 84 minutes * 1/2 It's a night for pranks, but sometimes something more serious happens. It can be frightening, but if you can't see, like Emily (Noell Coet), it can be terrifying. The story is very predictable, and it stops very quickly at the end, almost mid-thought. There are a few moments with some reasonably good suspense, but it's still a far cry from "Wait Until Dark".
MISCONDUCT (R) 102 minutes * * * A legal case against a pharmaceutical company grows into something much larger than expected for a young lawyer who is quickly out of his depth. Stellar cast, and the story is wonderfully suspenseful, thanks in no small part to a moody soundtrack. Lots of very nice twists and turns to the story, though it does work out a little too neatly in the end. R for violence, language, and sex.
THE MISEDUCATION OF CAMERON POST (NR) 87 minutes * * 1/2 Cameron (Chloe Grace Moretz) has been raised by her guardians since the death of her parents. But when she is caught making out with her girlfriend, she's sent to a gay conversion therapy center. Nice work by the cast, but the story resolves a little too quickly and easily, choosing to opt out of what could have been a much more powerful ending.
LES MISERABLES (PG-13) 129 minutes * * Stiff direction that leaves little room for creativity makes this new version of the classic story rather lifeless. Liam Neeson's portrayal of Jean Valjean is adequate, but Geoffrey Rush's Javert is hollow. And then there's Uma Thurman, who, as Fantine, seems so near death so quickly, that there seems to be little point in including her in the story. The atmosphere is appropriately murky, but there seems to be little to bring us out of the depths, which is an important part of the reason behind the story. Filmed in Czechoslovakia and Paris. PG-13 for language and violence.
LES MISERABLES (PG-13) (2012) 150 minutes * * 1/2 Star-studded adaptation of the Broadway musical version of the story that has some wonderful successes and some terrible failures. On the success side, Anne Hathaway's performance as Fantine is clearly Oscar-worthy... both very powerful and haunting. Samantha Barks also delivers a wonderful performance as Eponine. Helena Bonham Carter and Sacha Baron Cohen provide the comic relief, with Cohen only going very slightly overboard. Sets, costumes, and photography all paint the picture of the time and the struggle quite well. And then there are Russell Crowe as Javert and Hugh Jackman as Jean Valjean. Both are sadly miscast, though Jackman manages to come off a little better, perhaps because Crowe is so bad. When adapting a successful Broadway musical to the screen, the most important thing to remember is that the music is the star. Nothing else. That means, if you're going to use live mics (not a good choice for film anyway), you'd better have some absolutely stunning vocalists as your leads. And more attention should have been paid to the matching of the vocal qualities of the cast, which are, quite frankly, all over the map. It makes for a very mixed bag, which is very impressive at some points in the film, and very underwhelming at others. PG-13 for sex and violence.
MISERY (R) 104 minutes * * * A different kind of horror story from the imagination of Stephen King. A story where the horror lies with the idea that a person who likes what an author writes, could actually value the product over the person. It's a story about our sometimes insatiable desire to "feed" ourselves what we want, regardless of the harm it may do to others. Paul Sheldon (James Caan) feels it is time to put his main character, Misery Chastain, out of his life. But Annie Wilkes (Kathy Bates) won't let Misery die. Misery loves company. And Misery is loved by Annie, who will inflict misery upon Sheldon if he doesn't cooperate. Less gory than the book and with a fine cast who do an admirable job with a fine script under the near-perfect direction of Rob Reiner. The result is one of the better adaptations of a Stephen King novel. R for violence and language.
THE MISFITS (R) 88 minutes * * 1/2 Frequently stealing from the rich, Richard Pace (Pierce Brosnan) finds himself agreeing to work with a group of thieves who have high aspirations of what they might be able to steal. There's plenty of good material here, but the story could have used a little more detail and a little less humor. This could have been a classy heist film and instead we have something that is less convincing and less entertaining. R for language.
MISS ARIZONA (NR) 88 minutes * * 1/2 Life was going well for Rose (Johanna Braddy), or at least it looked like it. But her husband is disinterested and her son is now "too old for hugs". Asked to help out and teach a life skills class at a women's shelter, she pulls out her old Miss Arizona speech. It's completely inadequate. She's about to learn what she could really do to help. A story that shifts between raucous and sweet, and manages to do it better than most.
MISS BALA (PG-13) 99 minutes * * 1/2 When Gloria (Gina Rodriguez) witnesses a gang killing, she ends up with two options: help them or die. But it doesn't take long for the DEA to grab her and give her basically the same option. That's going to make suriving a rather difficult task. Rodriguez does a nice job, though this isn't quite as good as the Spanish language film of the same title on which it's based. PG-13 for violence, sex, and language.
MISS CHRISTMAS (NR) 84 minutes * * She's the official "tree finder" for a very special celebration that happens in Chicago each year. When the tree that Holly (Brooke D'Orsay) pocked gets severely damaged, she has to find a new one. Getting the perfect tree is not an easy task, and it will be even more difficult this year. Perhaps she's going to have to find a different approach than she usually takes.
MISS CONCEPTION (R) 100 minutes * * 1/2 Georgina (Heather Graham) wants to have a baby. The clock is ticking and her boyfriend just doesn't understand how important it is to her. Her friends come up with a plan... or several plans... but nothing is working out like anyone expects. There are a few charming moments and a few little laughs here and there, but the script shows little imagination or creativity, which doesn't give the actors too many places to go with their performances. R for language and sex.
MISS CONGENIALITY (PG-13) 105 minutes * * * When a killer threatens to strike at a beauty pageant, Agent Grace Hart (Sandra Bullock) is not really the most likely person to go undercover as a contestant. To say that she's a little rough around the edges is an understatement, but she's going to do her best. Bullock is fun to watch and the film plays well to her strengths as a comedic actress. The pratfalls, the sarcasm... and mix in the tenderness and sincerity that Bullock is also able to deliver and you have a great piece of entertainment. PG-13 for language.
MISS CONGENIALITY 2: ARMED & FABULOUS (PG-13) 107 minutes * * 1/2 After the beauty pageant, Agent Hart (Sandra Bullock) can't be a field agent anymore, but she does a nice job being the new face of the FBI. At least, until a couple of her friends are kidnapped. Then, with the help of Agent Sam Fuller, wonderfully played by Regina King, she lands right in the middle of the action again. Not quite as much fun as the first, but as far as sequels go, this isn't really that bad. PG-13 for language and violence.
MISS FISHER (NR) 95 minutes * * 1/2 Mixing mystery and adventure is what Phryne Fisher (Essie Davis) always seems to do. Emeralds, curses, and murder are the list for today, and Miss Fisher will soon have it all sorted out. It helps if you've seen some of the TV show episodes so you have more familiarity with the characters, but it's not essential. This is a stand-alone film, and the first to serve as a supplement to the series.
MISS HOKUSAI (PG-13) 86 minutes * * * 1/2 Katsushika Hokusai was a masterful Japanese artist. His daughter, O-Ei is learning from him and is quite good, but her father's paintings have a power and magic that she has yet to perfect. A beautifully told tale. PG-13 for sex.
MISS JULIE (PG-13) 1126 minutes * * * Passionate adaptation of the August Strindberg play. Jessica Chastain, Colin Farrell, and Samantha Morton dig into these rich characters and bring them to life quite nicely. They are characters of extremes, and the style is definitely one that is more likely to appeal to those who love theater at least as much as they enjoy movies. Written and directed by Liv Ullmann. PG-13 for sex and language.
MISS JUNETEENTH (NR) 93 minutes * * 1/2 Once upon a time, Turquoise Jones (Nicole Beharie) was crowned "Miss Juneteenth". It is now her daughter's turn to participate in the competition. But Kai (Alexis Chikaeze) is more rebellious than her mother, and less interested in conforming to a set of standards. Children don't always fit the mold their parents want them to.
MISS MARCH (R) 85 minutes 1/2 Tucker (Trevor Moore) and Eugene (Zach Cregger) have been friends since childhood. Ever since they saw their first copy of Playboy, Tucker hasn't been able to stop thinking about sex. It's not as important to Eugene. Fast-forward to a few years after high school. Eugene is coming out of a four-year coma. And he discovers that a few things have changed... like how his old girlfriend is the centerfold in the March issue of Playboy... Not much depth, or much sense of humor either. R for sex and language.
MISS MEADOWS (NR) 85 minutes * * 1/2 Miss Meadows (Katie Holmes) has a certain way of doing everything. It's all very neat and tidy, and proper. Including how she takes care of... problems. An unusual and quirky story, but with charm and humor, though a little over the top. The music sets and maintains the tone very well, and Holmes fits the character nicely.
MISS PEREGRINE'S HOME FOR PECULIAR CHILDREN (PG-13) 121 minutes * * * 1/2 Jake (Asa Butterfield) has come upon a mystery. It involves people with rather peculiar talents and knows few boundaries, including time. Fascinating and exciting adventure, tinged with danger and perfectly suited to the directorial talents of Tim Burton. Slightly macabre, but with a sense of humor and a deeper meaning that slowly reveals itself. PG-13 for violence.
MISS PETTIGREW LIVES FOR A DAY (PG-13) 87 minutes * * * Miss Pettigrew (Frances McDormand) has a little trouble with keeping a job. She manages to snag one last chance, but she has no idea what she's gotten herself into. Delysia (Amy Adams) is a flirtatious young socialite, whose life is a whirlwind of men and money, which has become a rather tangled web. Miss Pettigrew surprises herself by finding both skills and wisdom she never knew she had, and helping Delysia untangle herself. Sweet and romantic film with wonderful performances from both McDormand and Adams. PG-13 for language and sex.
MISS POTTER (PG) 88 minutes * * * Renee Zellweger gives a delightful performance as the eccentric young author, Beatrix Potter. Quaint, cute, and charming, but it is her artistic and storytelling skills that work their way into the hearts and minds of millions of children. The worst part of this film is that it's over so quickly. Focusing mostly on the beginning of her career, with glimpses into her childhood, we wish we had the chance to see even more. Nice supporting performances from Ewan McGregor and Emily Watson. PG for language.
MISS SLOANE (R) 127 minutes * * * 1/2 Political lobbying is an elaborate and complicated game. And few are better at playing it than Elizabeth Sloane (Jessica Chastain). But as she takes on bigger clients, it's not just the rewards that get bigger, but the risks do too. Everyone has a weak spot, and Elizabeth's is about to become very clear. Stellar cast, well-led by Chastain, and the twist near the end works very well. R for language and sex.
MISS STEVENS (NR) 82 minutes * * Three of Miss Stevens (Lily Rabe) students go on a weekend trip to a drama competition. She may be their chaperone, but she will be growing up just as much as they do on this trip. The story and characters are stale, though there are moments when they start to break through, mostly due to some fine work by Timothee Chalamet.
MISS WILLOUGHBY AND THE HAUNTED BOOKSHOP (PG) 91 minutes * * A university professor by day and an investigator on the side, Miss Willoughby (Nathalie Cox) loves a challenge. The latest involves a supposed ghost and a missing person. It quickly gets more complex, but she's sure to figure it out, especilly with the help of her guardian and friend, Robert (Kelsey Grammer). Lightweight mystery/suspense that struggles with a script that doesn't always give us the depth or clever bits it needs. The cast makes up for some of that, but not enough. PG for violence and language.
MISS YOU ALREADY (PG-13) 107 minutes * * * Jess (Drew Barrymore) and Milly (Toni Collette) have been friends "forever". But while Jess looks to celebrate a long-awaited pregnancy, Milly faces an aggressive breast cancer. A celebration of friendship and the joys and heartaches it can bring. PG-13 for sex and language.
MISSING (PG) 118 minutes * * ½ Charles (John Shea) is a journalist, who is goes missing while in Chile in 1973. His wife and father begin to search for him, and appreciate the help of the government, though it soon becomes clear that they aren’t really helping, and clearly have their own agenda. Not the best work from either Sissy Spacek or Jack Lemmon, but it is an interesting story, and based on a true story. PG for language and violence.
THE MISSING (2003) (R) 130 minutes * * * When her daughter is kidnapped by indians, Maggie (Cate Blanchett) has no choice but to rely on her estranged father for help. Still, her pain and her pride manage to get in the way at almost every turn. Adapted from Thomas Eidson's book, "The Last Ride", this never seems to fully develop the characters despite it's length. Blanchett's delivers a strong performance and ehr character comes the closest to developing well enough, but we learn comparatively little about the rest of her family. Jenna Boyd does a nice job here as the younger daughter, boosting the energy level of the film at times. Filmed in New Mexico. R for violence.
MISSING (2023) (PG-13) 104 minutes * * ½ Her mother may be a little overprotective, but the tables are turned when she goes on a trip and doesn’t return. Now her daughter (Storm Reid) does everything she can to try and find out what happened to her mother. Tightly wound story, though the ending really undercuts the rest of the film. This is a sequel to the film, “Searching” from 2018. PG-13 for violence and language.
MISSING IN ACTION (R) 97 minutes * Chuck Norris puts together a team to go rescue the remaining soldiers from the POW camp he escaped from. Of course, he never misses his mark, can't seem to keep a shirt on, and beats the enemies without all that much help. Surprise, surprise. R for sex, violence, and language.
MISSING IN AMERICA (PG-13) 99 minutes * * * Jak Neeley (Danny Glover) isn't interested in seeing anyone, least of all an old war buddy who is dying and wants Jake to take care of his daughter. Of course she works her way into Jake's heart and reminds him that living means reaching out to others. It also means remembering, which is something else that Jake would rather not do. A small, quiet sort of film with nice understated performances from Glover, David Strathairn, Linda Hamilton, and Ron Perlman. PG-13 for violence and language.
THE MISSING LINK (PG) 86 minutes * * For years, he has searched for the sasquatch. But what Sir Lionel Frost (voiced by Hugh Jackman) didn't know was that Mr. Link (voiced by Zach Galifianakis) has been looking for him. Frost is famous, and Link wants help finding his cousins, the Yeti. And so, the adventure begins. The story doesn't have much appeal for the younger crowd. They'll like Mr. Link, but the storyline is more suited to those who would enjoy a more adult adventure story. PG for violence and language.
THE MISSING LYNX (PG) 95 minutes * 1/2 An eccentric and wealthy individual is collecting two of every animal. Felix the Lynx is a rather clumsy and unlucky character, but its up to him to save the day. The animation isn't bad here, but the characters lack appeal, and even most of the younger viewers this might appeal to will likely find it rather boring. PG for language and violence.
THE MISSING PICTURE (NR) 91 minutes * * 1/2 The story of the abusive and violent Khymer Rouge is told through the use of clay figures and archival footage. Director Rithy Panh spent part of his childhood in the Khymer Rouge rehabilitation camps before escaping to Thailand and then France. The style creates a powerful mix of childlike innocence and adult understanding.
THE MISSION (PG) 121 minutes * * * After building a mission in the South American wilderness, Gabriel (Jeremy Irons) not only begins to covert some natives, but a slave trader (Robert De Niro) as well. But now, Spain has made a deal with Portugal, and everything they have worked for is in danger. Beautiful scenery, though the photography is surprisingly poor in a few scenes. This also might have benefited from just a little trimming. R for violence, sex, and language.
LA MISSION (2009) (R) 111 minutes * * 1/2 Life is good for Che (Benjamin Bratt), but it's turned upside down when he learns that his son is gay. He can only see it as a negative reflection of his own masculinity and his ability to be a parent. It's a reasonably good story, though heavy on stereotypes and clearly sets out with a point to make to the audience. Bratt's brother Peter wrote and directed while Benjamin co-produced. Filmed in San Francisco. R for language, sex, and violence.
MISSION IMPOSSIBLE (PG-13) 105 minutes * * * Ethan Hunt (Tom Cruise) must enlist the help of other disavowed agents to discover who is causing trouble within the agency. Lots of exciting chase scenes and plenty of tension as this old TV show hits the big screen. The impressively talented cast also includes Vanessa Redgrave, Jean Reno, and Emmanuelle Beart. Are you ready for the sequel? PG-13 for language and violence.
MISSION IMPOSSIBLE 2 (PG-13) 119 minutes * * Far less believable action sequences and a story that beats you over the head with simple points and stretches too many of the exciting parts by using slow motion and/or computerized effects. What an exciting plot too, an agent from within has gone bad and is causing trouble... didn't that just happen in the first film? Tom Cruise turns in a nice performance, but lets give him something more to work with next time! Filmed in Australia, Utah, and California. PG-13 for language and violence.
MISSION IMPOSSIBLE 3 (PG-13) 119 minutes * * 1/2 Ethan (Tom Cruise) is about to retire with his wife, but there's one more mission to go on. As the mission progresses, things get more complicated, especially when his wife is kidnapped. The action sequences get more far-fetched as the film progresses, but it's clearly more inventive and more realistic than the second film. Very nice "evil" performance by Philip Seymour Hoffman. A well-played villain can do wonders for a film. PG-13 for language and violence.
MISSION IMPOSSIBLE: DEAD RECKONING PART ONE (PG-13) 156 minutes * * * Another impossible mission for Ethan Hunt (Tom Cruise) and the reast of the team. First, they must reunite the two pieces of an interlocking key. Then they must discover what it unlocks. Packed with unbelievable stunts, car chases, and plenty of close calls. Exciting, far-fetched, and well-paced fun. It does run a little long for being the first part of a longer story. PG-13 for violence and language.
MISSION IMPOSSIBLE: FALLOUT (PG-13) 140 minutes * * * The fallout from an earlier mission means that Ethan (Tom Cruise) and the IMF crew have a mess to clean up. Full of the double-crosses, close calls, and exciting action we've come to expect from the series. There are some fairly strong connections to earlier films, but the script does a nice job of filling in enough details in case you haven't seen them yet. Nice work by the cast, and a great soundtrack. PG-13 for violence and language.
MISSION IMPOSSIBLE: GHOST PROTOCOL (PG-13) 126 minutes * * * With the organization implicated in a politically motivated bombing, Ethan (Tom Cruise) and his team have to go rogue to protect it and themselves. As usual, the action gets more unbelievable as the film progresses, but the story is tighter here, and it pays off with a film that does a better job of keeping our interest and delivers a better ending than the previous two entries in the series. PG-13 for violence.
MISSION IMPOSSIBLE: ROGUE NATION (PG-13) 125 minutes * * * The Impossible Mission Force and the Syndicate face off in this intense entry in the series. The stakes feel higher here, though there is comic relief as well, and perhaps a little too much of that. The cast works well together, and Joe Kraemer's soundtrack is quite good. Tom Cruise, who controls the franchise now, has found a formula that seems to work well, so expect more of the same. PG-13 for violence and nudity.
MISSION OF HONOR (NR) 102 minutes * * The RAF's 303 squadron was a little unconventional, but critical to the success of the Allies. Many of their pilots were Polish, and veterans of the battles where Germany invaded Poland. The story dwells on the struggles these pilots had as they tried to fit in and be accepted by the primarily British RAF flyers. Even so, the film somehow manages to remain rather shallow as far as character development. It's unfortunate, because it's an important piece of history, though not as pleasant to hear about.
MISSION TO MARS (PG) 105 minutes * * 1/2 The first manned mission to land on Mars finds something a little strange, which quickly kills all but one of them. A recovery team is on the way, but what will they find? The acting here is quite good, with Gary Sinise, Tim Robbins, and Don Cheadle being quite convincing. The effects are nice too, but the film is less impressive or inspiring than one might expect and the ending tries to wrap things up too neatly, raising more questions than it raised in the first place. Filmed in Vancouver, British Columbia. PG for language and violence.
THE MISSIONARY (R) 82 minutes * ½ Back from several years in the field as a missionary, Reverend Fortesque (Michael Palin) has been given a new mission: to reach out to the prostitutes of London with the Christian message. Lady Ames (Maggie Smith) is the financial benefactor, but she has a condition that Reverend Fortesque is expected to meet. Not as funny as it should be, with much of the humor being very understated.
MISSISSIPPI BURNING (R) 123 minutes * * * Gene Hackman and Willem Dafoe star in this dramatization of one of the major civil rights events of the 1960s. The ending is far less dramatic than it needs to be, highlighting the weak script, but the performances and the story itself have enough strength to make this worth watching. R for violence and language.
MISSISSIPPI GRIND (R) 105 minutes * * Gerry (Ben Mendelsohn) is a gambler who doesn't know when to quit. When he meets Curtis (Ryan Reynolds), his luck seems to change. Curtis is happy to play along for awhile. But Curtis knows when to quit. The story wanders quite a bit, and while we get a good feel for Gerry's character, we never really understand much about Curtis. R for language.
MISSISSIPPI MASALA (R) 112 minutes * * 1/2 This film begins in Kampala, Uganda in 1972. Adi Amin is removing all non-Africans from the country in an effort to keep Africa black. We follow the struggles of one family from India as they leave and then move to 1990 where their struggles continue in the United States. The story moves along slowly, but it is interesting to watch the problem of racial prejudice played out from this angle. R for sex and language.
THE MIST (R) 118 minutes * 1/2 The mist rolls across the lake and covers the town... but this is no ordinary mist... there are... monsters in the mist! Too many of the monsters here are little more than rubber toys, though the tension of the characters is handled fairly well. Unfortunately this is yet another of Stephen King's stories that works better in print than on screen. Filmed in Shreveport, Louisiana. R for violence and language.
MIST: THE TALE OF A SHEEPDOG PUPPY (NR) 75 minutes * The title basically says it all. Based on the story by David Kennard. Smaller children may find this cute, and at least we don't have to see the annoying animation that makes the "lips" of the animals move while they're talking. But the dialogue is poorly written and sometimes even seems as though it was written to deal with what the animals would be doing rather than getting the animals to do what was needed to tell the story.
MISTER AMERICA (R) 86 minutes 1/2 Tim Heidecker (best known for "Tim and Eric Awesome Show") decides, after successfully representing himself in a murder case, to run for district attorney. The problem is that he won the case on a technicality, and people really don't like him. It plays like a documentary, though the comic aspect is usually pretty clear. Even fans of Heidecker may find this to be a little tedious after awhile. R for language.
MISTER SCROOGE TO SEE YOU (NR) 113 minutes * A year after his first ghostly visits, Scrooge (David Ruprecht) is revisted. Marley has work for him to do in the future, teaching important lessons to someone as greedy and mean as Scrooge ever was. Terribly over-acted and not really consistent with the original story, especially toward the end.
THE MISTLETOE PROMISE (NR) 86 minutes * * 1/2 Elise (Jaime King) and Nick (Luke Macfarlane) share something in common... they neither one are fans of Christmas. This year, they are both in situations that need some assistance... maybe from each other. Their cooperation may turn into something a bit more romantic than they initially intended or expected.
THE MISTLETOE SECRET (NR) 83 minutes * * 1/2 Checking out Midway for a series of Christmas articles for a travel website, Alex (Tyler Haynes) falls for a local girl (Kellie Pickler). The catch is that Alex is the ghostwriter for the well-known Sterling Masters (Christopher Russell), and Aria (Pickler) doesn't know that yet. Romantic and predictable, but a very nice cast.
MISTRESS AMERICA (R) 82 minutes * * 1/2 Tracy (Lola Kirke) is lonely at college, so she takes a break to spend some time with her soon-to-be stepsister. Brooke (Greta Gerwig) is... unusual to say the least. Very wordy and intense script that Gerwig does a good job with (since most of the dialogue is hers), but it just wears us down after awhile. it makes the film seem longer than it is, though it does end well. R for language.
THE MISTRESS OF SPICES (PG-13) 87 minutes * * 1/2 Leaving her native land to fulfill her destiny as a mistress of spices, Tilo (Aishwarya Rai) is responsible for understanding and using the magical powers of the spices to help those who come to her shop. Not leaving the shop and not touching people are two of the rules that she's not supposed to break, but when she sees Doug (Dylan McDermott), that's going to change. McDermott is a bit too ethereal here, and the balance between what is magical and what is real never seems to be quite what it needs to be. Adapted from the novel by Chitra Banerjee Divakaruni, it's an interesting idea for a romantic fantasy film that just misses the mark. PG-13 for violence and sex.
THE MITCHELLS VS. THE MACHINES (PG) 101 minutes * * * All Katie (voiced by Abbi Jacobson) wants to do is go away to college. She's all ready for her flight... and then her dad (voiced by Danny McBride) decides to make it a cross-country driving trip. If that wasn't bad enough, the machine apocalypse has just begun. Really nice story with a good mix of humor and sentimentality. PG for violence and language.
MIX UP IN THE MEDITERRANEAN (NR) 84 minutes * * Josh and Julian (Jeremy Jordan) are both chefs, though Josh works at a diner in Alaska and Julian is about to compete in an elite chef competition. But when Julian wrenches his back, Josh decides to fill in for him. The twin-swap idea is old and tired, though the cast does their best to make it work.
MIXED NUTS (PG-13) 91 minutes 1/2 Comedy of errors about the staff of a suicide helpline and their misadventures one Christmas Eve. This is one of those sad examples of a film with an incredible amount of talent that just never gets used. Steve Martin, Madeline Kahn, Robert Klein, Rob Reiner, Juliette Lewis... this just never gives them what they need to make it come alive.
MK ULTRA (NR) 95 minutes * * There was a time, not so terribly long ago, when the Central Intelligence Agency of the United States experimented on people without their consent. Mind control, drugs, physical abuse... the list goes on... The film follows Ford Strauss (Anson Mount) and his work at a mental hospital in Mississippi as he wrestles with what he should of shouldn't be involved with. There's good material here, but the story keeps circling back on itself and isn't as suspensseful or as powerful as it needs to be, though the soundtrack does well in setting the mood.
MLK/FBI (NR) 103 minutes * * * Each year, new government documents are declassified and made available to the general public. One of the recent group of documents involves the FBI's investigation of Dr. Martin Luther King Jr.. This documentary takes a look at what was uncovered about the extent, intent, and content of the FBI's surveillance of King. A record of the audiotape surveillance is scheduled for release in 2027, and will bring even more material to light.
MO' BETTER BLUES (R) 124 minutes * * * A Spike Lee film about a jazz musician, played by Denzel Washington, who tends to cut himself off from other people. Washington does a nice job here and the film is filled with little vignettes that are very well done. The story is a bit uneven at times and rushes to a conclusion, and Lee still doesn't put much depth into the female characters. Still, it's worth watching for Washington if nothing else. R for language, violence, and sex.
MO' MONEY (R) 86 minutes * 1/2 Love for a woman can motivate you to do all kinds of things... get a job, steal... Damon Wayans' performance saves this from the gutter, but the script is all over the place with little focus, though there are a few good ideas. Wayans' fans may like this, but it's doubtful that anyone else will.
MOANA (PG) 96 minutes * * * 1/2 When Moana (voiced by Auli'i Cravalho) learns that the lack of fish around her island is the fault of the demigod Maui (voiced by Duane Johnson), she is determined to make him set things right. Fun adventure that hits almost all the right notes as Disney so often does. Very nice animation work on facial expressions. And a very fun and energetic soundtrack, with amazing work by both Cravalho and Johnson. PG for violence.
MOB TOWN (R) 86 minutes * * When Vito Genovese (Robert Davi) gets out from a short stint in prison, he finds his territory in disarray. He decides to set up a meeting. A big meeting. It will set things straight about who runs the mafia in the United States. One state trooper (David Arquette) follows up on a hunch, and is finally able to bring the impending meeting to the attention of those above him. It is the beginning of the end for the mafia. The tone of the film is too light for the subject, though there are some scenes where the intensity does show through. R for language and violence.
MOBILE HOMES (NR) 100 minutes * * Moving from one motel to another, and sometimes breaking into a home while people are away, Ali's (Imogen Poots) life is that of a drifter. Her son and her alcoholic boyfriend are the only steady parts of her life. But then she finds herself in a mobile home community. It changes the way she thinks about living and what a future might look like for awhile. The ending doesn't work very well, and getting thre is uneven, with some very good scenes, and others that are less convincing.
MOBIUS (R) 104 minutes * * 1/2 A spy thriller starring Jean Dujardin as an FSB officer who falls in love with his agent as they work on a particularly delicate case. Slick, multi-layered, and full of twists and turns, some of which can be a little tricky to follow. R for sex and language.
MOBSTERS (R) 99 minutes * * Christian Slater, Patrick Dempsey, Richard Grieco, and Chris Penn star in this look at the gangster scene. It's all been done much better many other times. The only reason you might want to watch this one will be for the actors, who struggle with a bad script and amateur direction.
MOBY DICK (2010) 181 minutes * * * Another of the numerous, and mostly very good filmed versions of the classic story by Herman Melville. Some of the supporting roles are quite well performed here. This particular version paints a slightly more sympathetic version of Captain Ahab than most.
THE MOD SQUAD (R) 89 minutes * * The old 60's TV show gets a 90's makeover. Claire Danes, Giovanni Ribisi, and Omar Epps team up as the three kids who are headed for nowhere, but get a second chance as undercover cops. The acting here is fine, but the story lets them down with awkward pacing and little in the way of complexity. The TV show "21 Jump Street" covered this territory in a much better fashion. R for violence and language.
MODERN LOVE (R) 101 minutes * * * Robby Benson and Karla DeVito star in a story about love, marriage, birth, and death. Benson does a very nice job here, both acting and directing, offering us some powerful sequences and a film that is pleasant to watch overall. Benson and DeVito's real-life daughter, Lyric, plays Chloe and the film was made in South Carolina while Benson was teaching a class there on filmmaking. R for language.
THE MODERNS (R) 120 minutes * * * 1/2 A portrait of Paris in the 1920's, with an intriguing story and fabulous acting by a very diverse and talented cast. John Lone's character is of particular note, but Keith Carradine, Genevieve Bujold, Wallace Shawn, Linda Fiorentino, and Geraldine Chaplin all lend a hand in this interesting film. Filmed in Montreal.
MODIGLIANI (R) 120 minutes * * * Compelling biographical film about the talented artist, Modigliani. Andy Garcia does an admirable job, though the film falls short in doing justice with the supporting roles, giving a reasonable amount of time to a two-dimensional portrait of Picasso, and barely naming Modigliani's other contemporaries. Allowing Garcia more time to show us the artistic temperment of Modigliani and the tragic end of his career would have been a better direction to go. R for language.
MOFFIE (NR) 100 minutes * * 1/2 South Africa's minority white government is fighting to defend their Apartheid regime. All boys who have reached the age of 16 are required to serve for two years. Being black is not the only "bad thing" that these soldiers must deal with. Nicholas (Kai Luke Brummer) is gay, and that is something that he must hide if he wants to survive these two years. It will be a difficult coming of age experience for Nicholas.
MOGUL MOWGLI (NR) 85 minutes * * 1/2 Zed (Riz Ahmed) is a rising star in the world of rap music. Suddenly, his upcoming tour and his career slip through his fingers as a disease makes it impossible for him to continue. What do you do when your dream disappears? Nice work by Ahmed, but this ends a little too soon.
MOJAVE (R) 89 minutes * * Tom (Garrett Hedlund) has had days like this before. Depressed and suicidal, he crosses paths with someone very like himself, but even darker in nature. Unfortunately, the film tries a little too hard to be symbolic and deep instead of focusing on the characters and allowing them to tell the story they need to tell. R for language and violence.
MOJAVE DIAMONDS (R) 96 minutes * 1/2 Deep in debt, Roy (Donald Cerrone) agrees to haul a load of diamonds for the people he owes money to. It starts out well, but then the load of diamonds is stolen. If they don't get it back and make the delivery, his family will pay the price. Featuring MMA stars Cowboy Cerrone, Chael Sonnen, and Quintan "Rampage" Jackson. Plenty of action, but very little substance or character development. R for violence, language, and sex.
MOJIN: THE LOST LEGEND (NR) 114 minutes * * * Mojin are tomb raiders, and these three have given up that vocation and relocated to New York to enjoy a more quiet life. But when they begin to have some financial difficulties, they decide to go back to China and take up their old ways again to make some money... and solve a murder. A fun adventure with very nice effects. The humor is a bit heavy, but the characters are quite entertaining.
MOLIERE (PG-13) 111 minutes * * * 1/2 Imaginative exploration of the few weeks when French playwright Jean-Baptiste Poquelin, also known as Moliere, went missing. Moliere was well-known for his comic talents, but as with many comedians today, did he long to be more respected as a dramatic talent? Or did he already understand that within comedy there IS tragedy, and within tragedy, comedy. What remains is for us to see it and for brilliant artists like Moliere to show us the way. Featuring a delightful performance from Romain Duris as Moliere as well as an excellent supporting cast and a wonderful script. PG-13 for sex and language.
MOLL FLANDERS (PG-13) 118 minutes * * * The story of Moll Flanders, starring Robin Wright, and filmed in Ireland. It is a wonderful and interesting story, based on a character from a Daniel Defoe novel, though Wright falls a bit short in carrying off the lead role. The supporting cast does well though, especially young Aisling Corcoran. Mark Mancina's music sweeps us along through a powerful story which seems to surpass the actors at times as far as its raw power.
MOLLY MOON AND THE INCREDIBLE BOOK OF HYPNOTISM (PG) 92 minutes * * * When Molly (Raffey Cassidy) discovers a book about hypnotism, she is finally able to escape from the horrible orphanage. She is even able to achieve success beyond her wildest dreams. But others are aware of her secret and are trying to get the book from her. Fun adventure for the 6-12 crowd, with a wonderful ensemble cast and great music. Based on the book by Georgia Byng. PG for language.
MOLLY'S GAME (R) 137 minutes * * * 1/2 Molly (Jessica Chastain) was very good at many things, but what she was most well-known for was the high-stakes poker game she ran. This is the story of how that venture started... and how it all came crashing down. Heavily narrated, but also very well-done, packing an intense amount of story into what could easily have been a much longer film. Great ensemble cast. R for language and violence.
MOM AND DAD (R) 79 minutes * Watch out kids! Your parents are trying to kill you! For no apparent reason, parents begin trying to kill their children. The film hints at a couple of possibilites for why this is happening, but there's nothing definitive, which is both frightening and frustrating. There also appear to be lapses in logic, because it would appear that it is ONLY a parent/child issue, but there also seem to be some unexplained exceptions. R for violence, language, and sex.
MOM AND DAD SAVE THE WORLD (PG) 79 minutes 1/2Jon Lovitz falls in love with a suburban housewife and spirits her away to his planet so she can be his bride. This might have been funny as a five-minute skit, but at this length (which is fairly short for a movie) it's boring and humorless.
THE MOMENT (NR) 90 minutes * * When the man Lee (Jennifer Jason Leigh) is having an affair with disappeaers, she falls apart. Slowly, she begins to put the pieces together. It's more than a little confusing as we see events through her eyes, and her perspective is distorted. It's a difficult element of the story to present, but the way it plays out here is less than helpful.
MOMENTUM (NR) 89 minutes * * * Alexis' (Olga Kurylenko) old partner wants her help on one more job. Of course there's a little more to it than just that. Sharp dialogue and an interesting mix pf action and witty banter between Alexis and Mr. Washington (James Purefoy). The action sequences are intense, and sometimes the humor is almost too much, though the tone manages to work. Kurylenko carries this well and at the end, we're ready for part two.
MOMMA'S MAN (NR) 95 minutes * * With a little time to spare, though not by his own choice, Mikey (Matt Boren) is spending some time with his parents. Visiting with them sparks childhood memories, and he finds that he has a chance to recapture what he missed the first time around. But what does that really mean? The acting here leaves much to be desired, but the material and the ideas about childhood and adulthood, clearly have an interesting story to tell.
MOMMY (R) 134 minutes * * * Die (Anne Dorval) has had it rough, and now that her son is back at home, it's only going to get more difficult. He is aggressive and violent, and it brings those qualities out in her as well. Kyla (Suzanne Clement) from across the street seems to have a calming effect on Steve (Antoine-Olivier Pilon), but every step forward seems to be followed by one that moves them backward. Powerful performances in a story of hope, despite all signs to the contrary. R for language and violence.
MOMMY WOULD NEVER HURT YOU (NR) 84 minutes * Riley (Kristen Vaganos) can't stand being at home, so she runs away. Three years later, she comes back to reconnect with her mother and younger sister. Her mother's rules and her sister's health are clues to what has been happening, but Riley doesn't seem to get it. That's the biggest problem here. It's just not believable that someone who ran away because of her mother's oppressive rules would have come back and stayed once it became clear that her mother had only become worse. The cast tries hard, but the story lets them down.
MOM'S DAY AWAY (NR) 82 minutes * * Laura (Bonnie Somerville) is feeling like her dreams have slipped away. It's Mother's Day weekend, and her friend insists on pampering her for the holiday. The grass is always greener on the other side... until you realize that it isn't. Sentimental but cute story.
MOM'S NIGHT OUT (PG) 91 minutes * 1/2 It was just supposed to be a simple mother's night out. That means the father's will be watching the kids. Wait. That means that just about anything that can go wrong, is going to go wrong. The comic bits here are quite funny, but the story keeps turning serious to make its point, which is also heavily Christian. Those shifts undermine both the humor and the pacing of the film. PG for violence.
MONA LISA SMILE (PG-13) 111 minutes * * She thought it was a grand opportunity to teach young women, but what Katherine Watson (Julia Roberts) discovers is that it's little more than a finishing school. This remains a surface story throughout, never really delving into the issues of education, women's rights, hypocrisy, or anything else. Kirsten Dunst's character is so extreme that she appears cartoonish, and it is only Maggie Gyllenhall's performance that stands out and makes this worth watching at all. PG-13 for language.
MONDAY (R) 112 minutes * * 1/2 Living in Greece, Mickey (Sebastian Stan) and Chloe (Denise Gough) meet one weekend at a party. It turns into a passionate relationship. Is that passion enoug to sustain them? Can their relationship last for more than a "weekend"? Every relationship has a "Monday". This is the story of Chloe and Mickey's relationship and their "Monday". The film ends in a rather strange place, but getting there is very good. R for sex and language.
MONEY AND MEDICINE (NR) 83 minutes * * 1/2 A look at medical practice in the United States, in particular, care that is not necessary and/or is overpriced. The film does a nice job of stating the issues and then delving into a couple of particular diagnoses and procedures to explore what happens in more detail.
MONEY FOR NOTHING (R) 97 minutes * 1/2 Based on the true story of a man who finds a million dollars that has fallen out of an armored car. Mediocre direction and poor acting by all but John Cusack really hurt this film. Cusack is a good actor, but he can't do this all by himself.
MONEY MONSTER (R) 92 minutes * * * Lee Gates (George Clooney) gives financial advice on a popular TV show. But when some of his advice doesn't work out so well, a disgruntled investor takes the studio hostage to get his own message out to the people. The story is predictable, except maybe for the ending, which is more realistic than cinematic, and thus less thrilling. Clooney and Julia Roberts are right on the mark though, making the rest of this very entertaining. It really needed a better title though. R for language, sex, and violence.
THE MONEY PIT (PG) 85 minutes 1/2 Tom Hanks and Shelley Long star in this stinker about a couple trying to fix up a house that isn't worth it. Script and direction are both pretty bad here, with jokes that fall flat for most of the film. Failing with the comedic aspect, the film takes a serious turn at the end... which is not well done and too late. PG for sex and violence.
MONEY PLANE (NR) 80 minutes * 1/2 It seems that there's always one last job. Jack Reese (Aaron Copeland) and his crew are about to attempt one of their most difficult jobs... robbing a flying casino. The setting adds some fun to an old story of heists and double-crosses.
MONEY TALKS (R) 91 minutes * * Chris Tucker overplays his role as usual, but this still has a few good moments. In particular, the last fifteen are very entertaining as we watch the Los Angeles coliseum turn into a battlefield as the different groups who are after the diamonds all meet. Charlie Sheen isn't very strong here, but there isn't a great deal for his character to work with. The most interesting character is Tucker's friend Aaron, played by Michael Wright. Too bad we don't get to see more of him. The film struggles to maintain a balance between comedy, action, and drama, and is not entirely up to the job. R for language and violence.
MONEY TRAIN (R) 104 minutes * * 1/2 John (Wesley Snipes) and Charlie (Woody Harrelson) are security police for the subway system. But Charlie just can't take the way things are going in his life anymore, so he decides to rob the subway train that carries the city payroll. Though this does deliver plenty of action, and Marc Mancina's music helps keep the atmosphere intense, there aren't really any surprises. It's a thrilling ride, but the characters have little depth. It's too bad, because Snipes and Harrelson work well together, they just needed a better script. R for violence and language.
MONEYBALL (PG-13) 127 minutes * * * 1/2 Billy Beane (Brad Pitt) is the general manager for the Oakland A's. After almost winning the playoffs, their team is gutted byt the other professional teams who have the money to lure away their best players. He needs to rebuild the team, but on a budget. So he hires a young analyst (Jonah Hill) who has a rather unconventional, and refreshingly honest way of looking at how to build a team. Really nice look at a side of baseball we rarely get to see. Adapted from the book "Moneyball: The Art of Winning an Unfair Game" by Michael Lewis. PG-13 for language.
MONGOL (R) 116 minutes * * * 1/2 The story of Temudjin, a young Mongolian who chooses his own way. It is not a way without difficulty, but his spirit is strong and his honor is steadfast. He eventually became a greater Kahn and a better warrior than his father ever dreamed possible. He was the great, Genghis Kahn. Beautifully photographed and well-scripted, showing the early years of a powerful and honorable leader. A different view of Genghis Khan than most are used to hearing, but is based on "The Secret History of the Mongols", a centuries-old Mongolian text that tells the tale from another perspective. R for violence.
MONKEY KING: HERO IS BACK (PG) 82 minutes * * Animated telling of part of the legend of the Monkey King. He has been imprisoned for 500 years, but a child manages to release him. Now, the Monkey King can help defeat the monsters th at are threatening the village the boy calls home. But the Monkey King is often selfish, at least at the beginning of each tale, and must find a way to move or be moved to a point of understanding or compassion before he begins to work for good. Much of the humor, and the basic story are aimed at 5-10 year-olds, but the extended and rather violent fight scenes are clearly for an older audience. PG for violence and language.
THE MONKEY KING 2 (NR) 112 minutes * * * The Monkey King must guide a monk across a wasteland in order to find a special set of sacred scriptures. Many evil forces will try to stop them as they make their journey. Nice entry in the Monkey King series with some very nice special effects.
MONKEY KINGDOM (G) 76 minutes * * 1/2 An exploration of the monkeys who claim ancient temple ruins in South Asia as their home. There are some cute and interesting scenes, but some of the sequences, like the interaction with human civilization at one point, seem overly manipulated to create a specific result. Not one of Disney Nature's more exciting presentations.
MONKEY SHINES (R) 113 minutes 1/2 Incredibly long and rather boring story of a monkey who is supposed to be helping and instead becomes a terror. Based on the novel by Michael Stewart, this relies far too heavily on cheap noise scares and not enough genuine suspense. Tom Savini provides the special effects.
MONKEY TROUBLE (PG) 93 minutes * * 1/2 Predictable animal film with the ever-talented Thora Birch in charge of a monkey who picks pockets for a living. Birch and the monkey are what make the movie work as well as it does.
MONKEY UP (PG) 79 minutes * * Monty is looking for bigger things. Doing commercials just isn't enough for this monkey, who sees himself as a star who is destined for the top. But when he ends up at a little girl's house, he may have found the best role of all. Mediocre talking animal film for the younger set. Not without a little sentimental charm, but only a little. PG for language.
MONKEYBONE (PG-13) 86 minutes * 1/2 The story is about a cartoonist who ends up in a coma. The wild and crazy character he created is intent on taking over his body, but we know that can't last forever. We've come to expect quite a bit from the mind of Tim Burton. The set and characters are worthy of Burton's imagination, but the script is sloppy, and the film as a whole is weak and wanders aimlessly. Brendan Fraser does a nice job here, but he always seems to do a good job even when the film falls apart all around him. PG-13 for language and violence.
THE MONKEY'S PAW (NR) 86 minutes * * The classic horror story about the trouble you can get yourself into when you have three wishes. It stretches a little thin, but it's still a good rendition of the story with a nice performance by Stephen Lang.
MONOLITH (NR) 79 minutes 1/2 It's a fantastic new vehicle with lots of amenities. But when it traps Sandra (Katrina Bowden) outside and her son inside, the consequences are dire. They might be a little less so if our protagonist had a couple of functioning brain cells. Plot holes and inconsistencies sink this early on, and it never gets any better.
MONSIEUR LAZHAR (PG-13) 90 minutes * * * Bachir Lazhar (Mohamed Fellag) is the new teacher for a class whose teacher committed suicide in the classroom. Just as the class is going through grief and learning from the process, so Bachir has secrets and grief of his own. Nothing helps you learn like being a teacher. Told with sensitivity and well-acted by all, with an especially strong performance by young Sophie Nelisse. PG-13 for language.
>b>MONSIGNOR (R) 118 minutes * * ½ Flaherty (Christopher Reeve) is pretty much everything you really shouldn’t have as a priest. He’s ambitious, involved in numerous questionable financial deals, and involved in an affair with a nun. Reeve’s performance makes the character even less believable, though the sets, costumes, and music definitely make this worth a look. R for sex.
MONSOON (NR) 81 minutes * * 1/2 Having left Ho Chi Minh City as a young child, Kit (Henry Golding) doesn't remember much about it. The war had just ended and it was a good time to leave. Thirty years later, he returns. Reconnecting with a cousin, and meeting a student and an American clothing designer, Kit rediscovers the land of his birth. A slow and gentle film, with plenty of scenery throughout the cities and countryside of Vietnam. A sort of love letter to the land he had left behind but is reclaiming.
MONSTER (R) 103 minutes * * * Raised on dreams that never materialized, she could never really see a way to achieve what she hoped for and reality became more and more harsh until anger began to take control. This is a bit heavy with narration, though some of it (especially at the beginning) does help. Charlize Theron gives an amazing performance that is so real it's almost hard to watch at times. Christina Ricci's performance is strong as well, but it's Theron who carries this and who leaves her character imprinted in our memories. Despite a somewhat shaky start, it's a powerful film that is well worth watching. R for language, violence, and sex.
MONSTER (2008) (NR) 80 minutes BOMB A perfect example of how its now possible for anyone with a camera to make a movie and sell it. Bad all the way around. If you really want to see a monster movie set in Japan after an earthquake that features almost no footage of a monster aside from some swinging tentacles, go ahead. But don't say you weren't warned.
THE MONSTER (2016) (R) 85 minutes * * 1/2 When their car breaks down on a deserted road, Lizzy (Ella Ballentine and her mom (Zoe Kazan) find themselves facing a monster. Impressive work by Ballentine that anchors the film quite well. Good suspense, though we're not really surprised with the way the story progresses. The effects aren't bad, but with Ballentine's performance being so good, we don't really notice. The flashbacks are a little annoying, but they do provide some good background information. R for language and violence.
MONSTER BRAWL (NR) 86 minutes * 1/2 Who's the most powerful monster? There's only one way to find out... put 'em in the ring and let 'em fight it out. Eight monsters will fight in the first ever monster brawl. The Mummy, Lady Vampire, Zombie man, Frankenstein, Cyclops, Werewolf, Witch Bitch, and Swamp Gut. Fun idea, but it just drags on too long as we watch each bout to see who moves to the next round.
A MONSTER CALLS (PG-13) 101 minutes * * * When Conor's (Lewis MacDougall) mom gets sick, it's very difficult to deal with. The only help he finds is that which is offered by a tree monster near his home. But even with that help, it will still be one of themost challenging circumstances he will ever have to deal with. A beautiful and tender story, adapted by Patrick Ness from his novel. PG-13 for violence.
MONSTER CAMP (NR) 78 minutes * * 1/2 This isn't your usual sort of camp. It's for those who want to live out their fantasies and participate in what is known as LARPing. (Live Action Role Play) This documentary explores the planning, execution, and the lives of those who love to spend time with this interesting hobby. Funny and informative look at another sort of world.
MONSTER FAMILY (PG) 89 minutes * * The Wishbone family has been going through some rough times. Emma (voiced by Emily Watson) and her mom plan a night out for the family, but a witch's curse turns them all into monsters. There's an ibvious lesson here, and the story drifts away from being interesting for the younger audience it aims to attract more than once. PG for language.
MONSTER HIGH: BOO YORK BOO YORK (NR) 69 minutes * * 1/2 Cleo takes the gang to BYC (that's Boo York City). Her dad has dreams of power that are connected to a display at the museum. Meanwhile, Catty is trying to find her musical inspiration and BYC is in danger from a comet that will hit the city at midnight. The various plotlines work together nicely, and the music in this entry in the series is better than most.
MONSTER HIGH: ELECTRIFIED (NR) 67 minuutes * * An abandoned power station looks like an ideal place for Clawdeen's new salon. But Moanica has other ideas. Fans of the series will enjoy this, but the story is rather thin.
MONSTER HIGH: FRIGHTS, CAMERA, ACTION (NR) 73 minutes * * Draculaura is heir to the vampire throne... or is she? There are a few tests before she can claim her legacy. Mostly of interest to fans of the series.
MONSTER HIGH: GHOULS RULE (NR) 71 minutes * * 1/2 Feature-length cartoon tie-in to the TV series. The characters are fun, and the message is good as well... be yourself, be unique, be a monster. OK, maybe not the last part, but you get the idea.
MONSTER HIGH: GREAT SCARIER REEF (NR) 70 minutes * * Whila at a party at the school, Lagoona and some of her friends travel through a vortex to the Gret Scarier Reef. Lagoona has been struggling with her stage fright, and now it's front and center and must be faced if she and her friends are to survive this adventure.
MONSTER HIGH: HAUNTED (NR) 74 minutes * * 1/2 Somebody is haunting Draculora. Her friends are going to have to figure out who it is and how to stop them. But to accomplish that, they are first going to have to learn the importance of not spreading rumors. Nice entry in the series.
MONSTER HIGH: THE MOVIE (NR) 88 minutes * * 1/2 A live-action, musical version of the animated television show. The story centers around Clawdeen (Miia Marris) who is thrilled to get into Monster High. The problem is that she is half human, and humans are not accepted at the school. The truth of her background is about to surface, which will put Clawdeen at risk. Very nice! The film does a great job of introducing numerous characters and giving good background information on them if you aren't already familiar with them. It's done in a way that still works even if you already are familiar with them, and it sets up nicely for a sequel.
MONSTER HOUSE (PG) 83 minutes * * Most neighborhoods have a scary house, but this house is a little different... and a little too scary for those under eight years old. The facial animation is rather lifeless here, which doesn't help us get involved in the story. And while it ends nicely, getting there is definitely a little strange. Perhaps there was more to the story that was edited out of the final film. PG for violence.
MONSTER HUNTER (PG-13) 93 minutes * * 1/2 Based on the videogame, Lt. Artemis (Milla Jovovich) and her team find themselves in a strange new world that is inhabited by extremely dangerous creatures. She does find a local friend (Tony Jaa), whose help along the way is invaluable. This feels very much like a videogame, with new monsters showing up on a regular basis and new weapons and help arriving just when they are needed. Well-paced, with exciting music and nice effects. The story is a little thin, but that's not all that surprising. PG-13 for violence.
MONSTER-IN-LAW (PG-13) 96 minutes * * Charlie (Jennifer Lopez) finds more than she bargains for when she begins to pursue a romantic relationship with Kevin (Michael Vartan). Namely, Kevin's very possessive, neurotic mother (Jane Fonda). This is Fonda's first film in 15 years, and while her acting skills haven't diminished, one wonders why she chose this piece of fluff as a comeback piece. Lopez and Vartan neither one have what it takes to carry a film, and the jokes are all tired ones that have been overused. Wanda Sykes has a few bits that garner some chuckles, but this doesn't have much else to offer. PG-13 for language.
MONSTER ISLAND (NR) 86 minutes * A deep sea mining expedition stumbles across a gigantic sea monster. Now that it has been disturbed, it's on the move. Soon, it becomes clear that it is not alone. It is actually only one of many. The monster effects aren't bad, but the story should have been left at the bottom of the ocean, and the acting isn't much better.
THE MONSTER SQUAD (PG-13) 76 minutes * Every hundred years, the balance between good and evil is tested. Dracula returns and wakes up a few of his monstrous friends to see if they can take over the world. Low budget film with bad costumes and a corny ending. The story seems to be aimed at pre-teens, but there's plenty of foul language here, so it makes you wonder...
MONSTER TRUCKS (PG_ 98 minutes * * 1/2 An oil fracking company ends up releasing an oil-eating creature that befriends a young man working at the local junkyard. Fun adventure film for the family. A couple of the chase scenes get a little intense, but otherwise this tends to stay not too scary, violent, silly, or romantic, though there is a little bit of all of those. PG for violence.
MONSTER X (NR) 67 minutes 1/2 The local theater is running a horror film festival. But it would appear that the monsters aren't just up on the screen. Fun idea, but a poorly written script and bad acting don't let this get very far. The format is also not played well. We see pieces of the films that are being shown at the festival, and most of the overarching story, but it's sort of a butchered anthology format that just doesn't work.
MONSTERLAND (NR) 98 minutes * Now that the monster apocalypse has happened, there's no place to hide. But there might still be time to enjoy a movie, or so thinks one of the last survivors. A collection of numerous short films, some showing signs of creativity and humor, but many... not so much.
MONSTERS (R) 91 minutes * 1/2 Six years ago, NASA discovered the possibility of alien life. While retrieving samples, there was an accident. Now, half of Mexico is under quarantine, and containment of the "creatures" continues to prove difficult. OK, the giant walking octopus aliens need some work. The bulk of the story focuses on a journalistic photographer who ends up escorting the daughter of his boss through the quarantined zone back to the United States. Too much about the monsters is left unexplained, though the ending is fascinating. It's just a bit tedious getting there. R for language and violence.
MONSTERS AND MEN (R) 90 minutes * * 1/2 A black man is killed by a police officer. The story of the killing is told from three different perspectives. A black police officer, the young black man who caught the act on film, and a young black basketball player who is convinced that something has to change. The film makes some strong statements, but still pulls back from the even stronger points it could have made. Much of that is simply that trying to do justice to three perspectives in the relatively short running time of this film just isn't an easy task. R for language.
MONSTER'S BALL (R) 107 minutes * * 1/2 A monster's ball is the name for the special privileges granted to an inmate on the last night before they are executed. The real story here though is about a man and a woman whose lives are undergoing a great deal of change. Hank (Billy Bob Thornton) and Leticia (Halle Berry) are different in so many ways, but events in their lives are drawing them together and showing them the way to make it through. Thornton and Berry both do nice work here, but the story does feel a bit forced at times, showing a bit of heavy-handedness from the writer. Still, it is an interesting film and managed to earn Berry both an Oscar and an Actor (Screen Actor's Guild). R for sex, violence, and language.
MONSTERS IN THE WOODS (NR) 82 minutes BOMB Filmed as a documentary about some amateur filmmakers on a horror film shoot in the wilderness. Soon, it becomes a real-life horror experience... still filmed by amateurs though. Unimaginative and boring.
MONSTERS, INC. (G) 84 minutes * * * Another superlative animation job from Pixar studios! The story is about the monsters in our closets, the life they live on the other side, and how scared they are of children. There's plenty of cute stuff here and it wraps up well, but the story wanders a bit in the middle and doesn't have the sharp wit that characterized "Toy Story", and "A Bug's Life".
MONSTERS OF WAR (NR) 79 minutes BOMB A major earthquake releases a variety of monsters that had previously been trapped underground. Mei (Chelsea Greenwood) and her two children work with a group of strangers to try and survive. Bad CGI effects aren't really a surprise here, but the script and the acting are far worse. Nice artwork for the poster...
MONSTERS UNIVERSITY (G) 94 minutes * * 1/2 Before Mike and Sulley were scary, they had to go to school. Which school? Why Monsters University of course! The animation is quite good and it's a cute story, but there's not as much energy or creativity as in "Monsters, Inc.".
MONSTERS VS. ALIENS (PG) 85 minutes * * For years, the government has been keeping monsters in a safe place, away from prying eyes. But now that aliens have invaded the planet, the monsters may be our only hope. An interesting idea, but too much of the story focuses on Susan and how she copes with turning into Ginormica. Great cast of voices, featuring Reese Witherspoon, Seth Rogen, Hugh Laurie, Kiefer Sutherland, Stephen Colbert, and others, but the story just doesn't hold up. PG for language.
MONSTERVILLE: CABINET OF SOULS (PG) 81 minutes * * 1/ When a carnival stops in town, these young friends think its wonderful... until people they know start disappearing. A little scary and spooky, mixed with some humor and a touch of teen angst. Nicely adapted from R.L. Stine's book. PG for violence and language.
MONSTROUS (PG-13) 85 minutes * * It turns out that an abusive ex-husband is the least of Laura's (Christina Ricci) problems. The house that she and her son have moved into has a not very pleasant history. Laura and her son Cody (Santino Barnard) each have some different "monsters" to deal with. There's only one real twist here, and once it's done, the film comes to a bittersweet ending. PG-13 for violence.
MONTANA SKY (NR) 94 minutes * 1/2 Willa (Ashley Williams) though that she would inherit the ranch when her father died. Instead, it's a three way split between Willa and the two sisters she's never met. And they all have to live on the ranch for a year or they only get $100 each, instead of their third of a $24 million dollar ranch. The real trouble starts almost right away, as some of the animals begin to turn up dead. Who is trying to scare them away, and can they stick together long enough to figure it out? Adapted from the novel by Nora Roberts, the story begins well, but resolves far too quickly. Most of the characters don't have a great deal of depth either, being drawn with broad strokes and little subtlety.
MONTANA STORY (R) 111 minutes * * * Erin (Haley Lu Richardson) hasn't been home in awhile. Her brother Cal (Owen Teague) hasn't been home much either. Their father is now in a coma, so they come back. Back to the ranch, where a difficult past rises up to meet them. Slow, gentle, and just a little sad, though not without a promise of something a little brighter. R for language.
MONTE CARLO (PG) 104 minutes * * At first, Grace (Selena Gomez) can't believe that anyone would mistake her for Rich, snobby Cordelai Scott. But if she and her friends can get a free vacation out of it, why not? Silly at times, and mildly annoying at others, but basically harmless fluff. PG for language.
A MONTH OF SUNDAYS (PG-13) 106 minutes * * * 1/2 Sales haven;t been going well for Frank (Anthony LaPaglia). Truth be told, not much as been going well for him. Then he gets a call from his mother. Except that his mother is dead. OK, so she's not really his mother, but the resemblance of her voice to that of his mother's is uncanny, and it begins to open something up for him. The story moves along slowly, but despite being somewhat quirky, there's a strong sense of reality. Before long, we find these characters charming, and we're hoping the story will go on for longer than it does, though the ending is very good. PG-13 for language.
MONTY PYTHON’S THE MEANING OF LIFE (R) 85 minutes * The crew from Monty Python takes a stab at answering the ultimate question… with mixed results. As with most of their feature-film length material, there are some gems, but also quite a bit of material that just missed the mark. R for sex, violence, and language.
MONUMENTAL: IN SEARCH OF AMERICA'S NATIONAL TREASURE (PG) 78 minutes * * A look at the colonization and formation of the United States by Kirk Cameron. This documentary paints a wonderfully enthusiastic and positive picture that glosses over the negatives. As an example, virtually all of the mistreatment of First Nation People is blamed on the conquistadors and businessmen while the religious pilgrims are lifted up as the positive core of who founded the country. In fact, the Doctrine of Discovery is what empowered the pilgrims to go to this "new" land and conquer it in the name of their god. Look it up. As with most one-sided documentaries, only a few "experts" are featured. PG for language.
THE MONUMENTS MEN (PG-13) 111 minutes * * * Hitler had amassed a huge collection of art as his forces had spread across Europe. Now that the tide was turning, his orders were to destroy it all. One U.S. platoon was tasked with the recovery of as much art as it could discover before that happened. This is their story. Great cast, and beautiful art, sets, and props. The story is actually a little on the dry side, and another subplot like that with Matt Damon and Cate Blanchett would have added some extra depth and interest. PG-13 for violence.
MOOG (NR) 66 minutes * * 1/2 Fascinating, though brief, documentary about Robert Moog and the creation of electronic music. Moog's explorations into the idea of electronic music as well as the various ways in which they were put into use are discussed. As a film, this is a little rough around the edges, but the topic is both unique and interesting.
MOON (R) 89 minutes * * * It's a three year position, running a mining operation on the dark side of the moon. The job itself isn't all that difficult as most of the operation is automated. But the loneliness can mess with your mind. That's why the company has... oops, don't want to spoil that part! Great twist and thought-provoking without dwelling on the idea too long. Definitely an interesting story and Sam Rockwell does a great job here in a fairly demanding role. R for language and nudity.
MOON MAN (NR) 92 minutes * * 1/2 When the man in the moon grows bored, he decides to come to Earth to explore, but his absence of the moon means that children all over the world are missing him and having trouble getting to sleep. Cute, but quirky and a bit unusual. Even though this is based on a children's book, the humor tends to be rather adult in nature.
MOON OVER PARADOR (PG-13) 101 minutes * * * Richard Dreyfuss is Jack Noah, an actor hired to play the part of a dictator. When the real dictator dies, Noah is supposed to take over for just a few days until the new dictator can take over. But he's doing such a good job... Quite comical, and with plenty of Hollywood in-jokes, this is a treat for film buffs. It also features excellent supporting performances by Raul Julia and Sonia Braga. Kudos to Paul Mazursky, who directed and co-wrote a film that was vvery obviously fun to make as well as fun to watch.
MOONAGE DAYDREAM )PG-13) 128 minutes * * * An exploration of David Bowie's artistic journey. Packed with interviews, video excerpts, concert clips, and more, this gives us a wonderful look at Bowie's art and philosophy throughout his life and career. Approved by Bowie's estate and a must see not only for fans of Bowie's music, but for anyone who appreciates musical and cinematic art. PG-13 for nudity and language.
MOONDANCE ALEXANDER (G) 90 minutes * * 1/2 Moondance (Kay Panabaker) is a bit of a social misfit, but feels very much at home around animals. When she becomes attached to a neighbor's horse, it doesn't take much before she finds herself learning to ride, and discovering what friendship really means. Typical "girl and her horse" film for the 6-12 age crowd. The simplistic script is part of the weakness here, but it's not bad. Filmed in Alberta, Canada.
MOONFALL (PG-13) 121 minutes * * * When the moon slips out of orbit, life on Earth as we know it is in big trouble. It’s time for Brian Harper (Patrick Wilson) and Jocinda Fowler (Halle Berry) to save the planet. KC Houseman (John Bradley) has some interesting theories about why this unusual event has happened. And he just might be right. Plenty of action, which is no surprise from writer/director Roland Emmerich. Great effects and good pacing too. Believability is very low, even with the unusual theory that is involved. Not that any of the characters worry about it much. PG-13 for violence and language.
MOONLIGHT (R) 106 minutes * * * Growing up is far from easy for Chiron (Ashton Sanders). His crack-addicted mother is of little help, and most of the guidance he gets is from the neighborhood drug dealer. Neglected and bullied, surviving seems to be the best that he can hope for. Very strong performances throughout. An Oscar winner for best picture, screenplay and supporting actor. R for sex, violence, and language.
MOONLIGHT & MISTLETOE (NR) 83 minutes * 1/2 The town of Santaville has been run for years by Nick (Tom Arnold), and his daughter Holly (Candace Cameron Bure) left as soon as she could, as she had grown tired of every day being Christmas a long time ago. Now the town is struggling to survive, and she has decided to come back to help her dad. Fans of Tom Arnold may want to see this, but the characters are shallow and the dialogue and the story are overly-simplified and just not very interesting.
MOONLIGHT IN VERMONT (NR) 83 minutes * * 1/2 Life is going well for Fiona (Lacey Chabert). And then her boyfriend dumps her. Now, she's off to Vermont to take a short vacation and clear her head. When her ex shows up with a new girlfriend, she has to comoe up with a plan. Pf course it will involve a little Hallmark romantic magic.
MOONLIGHT MILE (PG-13) 111 minutes * * * Joe (Jake Gyllenhaal) fiancee is dead and her parents have taken him in for awhile. We all deal with grief a bit differently, and this film delicately and sensitively shows us three characters who have all lost someone very dear to them. Dustin Hoffman and Susan Sarandon both deliver nice performances here, but the story is the strength here, gently moving us along with the characters as they grow and change as the days and weeks go by. PG-13 for language.
MOONRISE KINGDOM (PG-13) 87 minutes * * * The island isn't all that large, but a scout has gone missing from Camp Ivanhoe, and everyone is out looking for him. What becomes clear very soon is that Sam (Jared Gilman) and Suzy (Kara Hayward) have decided to run away. To make matters worse, a hurricane is approaching the island. Filled with director Wes Anderson's quirky and off-beat sense of humor, but also with a tenderness that helps give this rather unusual coming of age story a charm all its own. PG-13 for sex.
THE MOONSTONE (NR) 212 minutes * * * A precious yellow diamond was taken from India. A curse was placed on it, and years later, it is stolen again. This time, apparently by someone in the household. A delightful adaptation of the classic British mystery story by Wilkie Collins.
MOONSTRUCK (PG) 98 minutes * * * * What a cast! Cher, Nicolas Cage, Vincent Gardenia, Danny Aiello, and Olympia Dukakis... in a romantic and entertaining film about the moon, New York, the opera, families, love, and... the moon. The dialogue and characterizations may be difficult for some to deal with, but they are drawn broadly for emphasis, similar in style to an August Strindberg play. Cher, Olympia Dukakis and writer John Patrick Shanley all won Oscars for their work on this delightful film. A real treat!
MOONTRAP: TARGET EARTH (NR) 80 minutes BOMB When a mysterious spaceship is discovered, the right to explore the ship and its contents is being contested. Super small cast, which makes almost no sense to the plot, but clearly was a way to save money on this micro-budget film. The script is pretty minimal too, which isn't necessarily bad, but it leaves far to much to our imagination and interpretation. There's barely enough real material here for a 30-minute TV episode.
THE MOORING (R) 86 minutes * 1/2 A group of girls on a summer camp experience designed to help them disconnect from their dependence on technology. They will soon wish they'd made a different choice, as they find themselves the target of a couple who are determined to torture and kill them. Familiar setting and outcome, though the acting is a little better than many films in this genre. R for violence.
MORBIUS (PG-13) 93 minutes * * * Michael (Jared Leto) has an extremely rare blood disease. He spends his life, and his fortune, looking for a cure. What he finds is not a cure, but something that is both wonderful and frightening. It's a possibility... and a curse. Very nice introduction to a lesser known character in the Marvel Universe. Leto does a great jjob, with strong support from both Adria Arjona and Matt Smith. PG-13 for violence and language.
MORE BEAUTIFUL FOR HAVING BEEN BROKEN (NR) 107 minutes * Suspended from her job with the FBI, McKenzie (Zoe Ventoura) takes some time off in a small town she spent time in as a child. She meets a young boy with special needs and befriends him and his family, with whom she ends up having a somewhat complicated connection. The beginning of the film has quite a bit of needless narration, which is only the first of many problems with the script. Bruce Davison and French Stewart manage to survive this, but most of the cast stumble through, heavily relying on the charm of young Freddie (Cale Ferrin). Direction is also a weak spot, with beautiful images of nature that don't really fit the story.
MORE OF ME (NR) 85 minutes * * 1/2 There's just so much to do! If only there were more of her to go around. Molly Shannon gets her wish, and there are now three more of her, but no one can see the real her now. Great fun for Shannon as she gets to play four roles. It's cute, fairly mindless entertainment, and Shannon does fairly well here without trying to be particularly funny, except as the situation dictates.
MORE THAN THE RAINBOW (NR) 78 minutes * * 1/2 Documentary look at the life and work of photographer Matt Weber. But this is also a look at street photography, in particular in New York. For being a film about photography, it is surprisingly verbal, but it does contain some wonderful pictures of numerous aspects of New York City.
MORGAN (R) 85 minutes * * 1/2 Lee (Kate Mara) has been sent to check on Morgan (Anya Taylor-Joy). Morgan is an artifically created humaoid life form. Lee was sent to make an assessment after Morgan attacked one of her caretakers. But the problem is that Morgan was never designed to be a normal human. Her purpose was something different than that. The story unfolds nicely and we are drawn in, much like Morgan's caretakers, forgetting that this is a machine. Nice work by director Luke Scott (son of Ridley) in his feature film debut. R for violence and language.
MORIAH'S LIGHTHOUSE (NR) 83 minutes * * Travelling to a small French town by the sea, Ben (Luke Macfarlane) has big plans. Moriah (Rachelle Lefevre) is a local artisan who has always wanted to restore the local lighthouse. Though their plans for the landmark are different, they may be able to find common ground. That will mean that Ben needs to let go and trust, instead of leaving as he normally does when facing conflict.
MORNING (R) 89 minutes * * * After their only child dies, Mark (Leland Orser) and Alice (Jeanne Triplehorn) are deep in their grief. Along with everything else, their love for each other is slipping away. Finding the morning that lies just around the corner isn;t always easy. Really nice work by Tripplehorn in a film that her co-star Orser also wrote and directed. R for sex.
THE MORNING AFTER (R) 100 minutes * * Alex (Jane Fonda) is used to the blackouts, and not remembering what happened the night before. But this time is a little different. The person beside her is dead. Is it possible that she killed someone? Her usual support (Jeff Bridges), who is also an alcoholic, doesn’t seem to be all that sympathetic. Fonda is less than effective in some of the more dramatic scenes here, though the soundtrack manages to cover some of that up for her. R for violence, language, and sex.
MORNING GLORY (PG-13) 103 minutes * * * 1/2 "Daybreak" is a morning show that is about to end. In fact, there isn't much on this once wonderful network that isn't struggling. Becky (Rachel McAdams) has just been fired from her job at a rival station, and lands the job of producing "Daybreak". To make matters worse, her decision to move a former newsman into the co-host slot, may have been one of the worst decisions ever made. Then again... McAdams does a great job of leading a fine ensemble cast here. Aline Brosh McKenna's script is smart and lightly sassy, and the editing makes for some very nice scene transitions that move the film along nicely. PG-13 for sex and language.
MORNING LIGHT (PG) 91 minutes * * 1/2 This is the story of Disney's Morning Light team that raced in the Transpac Yacht Race. Choosing the team, training them, and then the race itself. It's pretty straight-forward, but there is a certain level of excitement that we still feel for this young team. PG for language.
MORNING SHOW MYSTERIES: A MURDER IN MIND (NR) 84 minutes * * 1/2 When a friend of hers is accused of murder, Bille (Holly Robinson Peete) uses her sleuthing skills to uncover the real killer. Third in the series.
MORNING SHOW MYSTERIES: COUNTDOWN TO MURDER (NR) 85 minutes * * 1/2 Multiple murders have Detective Jackson (Rick Fox) scrambling to solve the case before more people turn up dead. In the meantime, his budding romance with Billie (Holly Robinson Peete) continues to grow. Fourth in the series.
MORNING SHOW MYSTERIES: DEATH BY DESIGN (NR) 83 minutes * * 1/2 One of Billie's (Holly Robinson Peete) best friend's twin sister is strangled, and it would seem that quite a few people had reason to commit the crime. It's going to take some work for Billie and Ian (Rick Fox) to ofigure out who did it.
MORNING SHOW MYSTERIES: MORTAL MISHAPS (NR) 84 minutes * * 1/2 Working as the chef for the cooking segments on a morning show, Billie (Holly Robinson Peete) also has a knack for solving murders. In this first entry in the Hallmark mystery series, after she shows a finished cake, someone eats a piece of it and dies. Billie didn't kill them, but who did? The story involves us quickly and introduces us to a solid supporting cast.
MORNING SHOW MYSTERIES: MURDER EVER AFTER (NR) 83 minutes * * When human remains are found in the basement of one of Billie's (Holly Robinson Peete) friend's father's house, there are a couple of questions that arise. First, they have to figure out who the victim was. Then they can begin to uncover who is responsible. Rick Fox is absent from this entry in the series, replaced by Colin Lawrence, but with no explanation. Lawrence plays his part with less humor, and the budding romance between Billie and Ian just disappears.
MORNING SHOW MYSTERIES: MURDER ON THE MENU (NR) 83 minutes * * 1/2 A high profile guest on her segment of the morning show has a problem. They just discovered a body in the trunk of his car. Billie (Holly Robinson Peete) will get to the bottom of it with the help of her detective friend Ian (Rick Fox). This second entry in the series builds well on the first as it develops the characters in this mystery series from Hallmark.
MORRIS FROM AMERICA (R) 86 minutes * * Morris (Markees Christmas) is in Germany because of his dad's job. He's finding it difficult, but there is this girl... He wants to be older and be able to impress his peers, but it's tough. The tone is set well, and it works, but the story is stuck on too few points, keeping it shallow and simple and not allowing the characters to develop enough to be very interesting. R for sex and language.
MORTAL (R) 98 minutes * * * Trying to learn more about his Norwegian ancestry, Eric (Nat Wolff) travels to Norway. Things don't go as planned, and Eric is soon using powers he doesn't really understand, and people are dying. The only person he trusts is Christine (Iben Akerlie), a young psychologist who he meets at the police station. The two of them will have to try to stay away from those who are pursuing them while uncovering what is happening to Eric. A rather strange place to end the film unless a sequel is planned. R for violence.
MORTAL ENGINES (PG-13) 119 minutes * * * The world has changed. Cities now roll on wheels, and the strong consume the weak. London is one of the most vicious predators, but there may be a way to stop it. Hester Shaw (Hera Hilmar) holds the key. Based on the book by Philip Reeve, it's an exciting adventure as well as a stark reminder of the responsibility that comes with power. In the wrong hands, that power can be extraordinarily destructive. The ending loses energy a little too quickly, but getting there is a great ride. PG-13 for violence.
THE MORTAL INSTRUMENTS: CITY OF BONES (PG-13) 123 minutes * * * Clary (Lily Collins) is puzzled by things that have been happening to her, but when she learns that she comes from a line of half-angel warriors, some of it begins to make more sense. Now she must join with other Shadowhunters to fight a battle she never suspected was being fought. Lots of great special effects, but far too many of them happen in the dark. The story is very complex and involved, but well-told and keeps us engaged. Adapted from the book by Cassandra Clare. PG-13 for violence.
MORTAL KOMBAT (PG-13) 91 minutes * * Relying a bit too much on an understanding of the characters from the video game, this martial arts film comes up a little short. Adapted from a book based on the game, it runs the characters through their paces as they face and attempt to defeat evil before it takes over the world. Great music and special effects throughout, but the story drags a bit at the beginning. PG-13 for violence and language.
MORTAL KOMBAT (2021) (R) 99 minutes * * 1/2 This time, the fate of the entire universe is at stake as Cole Young (Lewis Tan) searches for the bravest and best to fight the enemies of Outworld. Nice special effects, and filled with bloody fight scenes. It's a good set of characters for the fights too, though it helps to have some familiarity with the franchise. R for violence and language.
MORTAL KOMBAT: ANNIHILATION (PG-13) * 1/2 The portal has reopened and the battle must continue... OK... the story seems like it could have easily been addressed by adding another 15 minutes to the first film. The fight sequences are well-done for the most part, but our characters seem more like plastic toys, with James Remar turning in a very stiff performance as Rayden. The emphasis on teamwork is more suited to the Power Rangers and we find ourselves wondering why they bothered making this sequel at all. Filmed in England, Jordan, and Thailand. PG-13 for violence.
MORTAL KOMBAT LEGENDS: SCORPION'S REVENGE (R) 77 miinutes * * 1/2 A standalone animated film, this follows the Mortal Kombat character Scorpion as he dies along with the rest of his family during an attack by another clan. In the other realm, he is given a chance to fight to save his family. The story develops Scorpion's character quite nicely. It is an extremely violent story, which fits with the rest of the franchise. R for violence and language.
MORTAL THOUGHTS (R) 98 minutes * * * Cynthia Kellogg (Demi Moore) is working with the police to help solve a murder case. But as the pieces begin to fall into place, Detective John Woods (Harvey Kietel) isn't sure that they're the right pieces. Although the ending short-changes us, the bulk of the film is intriguing and entertaining, with solid performances and some very nice twists. R for language and violence.
MORTDECAI (R) 97 minutes * 1/2 Charlie Mortdecai (Johnny Depp) is an art dealer who has recently discovered one of the most sought-after paintings in history. Now, if he can only keep it away from all of the other art collectors, criminals, and secret service people who are after it... and him. Tongue firmly in cheek, which Depp loves to play. In fact, most of the casr clearly have much more fun with this than we do. Adapted from the novel "Don't Point That Thing At Me" by Kyril Bonfiglioli. R for language and sex.
THE MORTICIAN (R) 81 minutes * * 1/2 Solitary mortician finds himself drawn into the family troubles of his new porter. Life was already dangerous in this part of town, but now, it's even more so. Memorably timid and sensitive performance by Method Man as the mortician. R for violence, language, and sex.
MORTUARY (R) 91 minutes * When Christie’s (Mary Beth McDonough) father died, everyone assumed it was an accidental drowning. Everyone except Christie. As she begins to learn more about what happened, it leads back to the mortuary, and the father and son who run the business. Slow-moving and not very interesting.
THE MORTUARY COLLECTION (NR) 107 minutes * * 1/2 Sam (Caitlin Custer) is looking for a job. Something unconventional is fine. She stops in the local mortuary where she meets Montgomery Dark (Clancy Brown). Unsure of her ability to handle the work, he tells her a few stories about unusual cases he's come across over the years, none of which disuade her from the work. A nice anthology of creepy and grotesque tales with a good wrap-around story.
MORVERN CALLAR (R) 90 minutes * * 1/2 Morvern's (Samantha Morton) boyfriend kills himself, but leaves her a copy of his new novel with a note telling her to be brave and to send the novel to be published. Morten does nice work here, though her character and motivations are frequently peculiar and dofficult to understand. Adapted from the novel of the same title by Alan Warner. R for sex and language.
MOSLEY (PG) 91 minutes * * * Mosley (voiced by Kirby Atkins) is a thoriphant. A sort of half-horse, half-elephant that can talk. They are being used by humans to do hard labor. According to legend, there is another tribe of thoriphants who walk upright and who have hands. One day, Mosley reaches his breaking point. No longer willing to be abused, he risks everything to leave and search for this other tribe. A very nice story with a powerful message and a strong soundtrack. PG for violence and language.
MOSQUITA Y MARI (NR) 81 minutes * * 1/2 Yolanda (Finessa Pineda) is an "A" student and her parents are proud of her and her goal to get to college. Mari (Venecia Troncoso) is the new girl at school and lives across the street from Yolanda. Mari is not the best of influences on "Mosquita", as she calls Yolanda, and that influence is increasing. The script has a very genuine feel to it, though the intensity and focus tend to drift. Nice work by the two leads.
MOSSVILLE: WHEN GREAT TREES FALL (NR) 72 minutes * * * Nearby petrochemical plants are polluting the community and buying up more property. It is slowly displacing a black community that has been on this land for generations. One man refuses to leave. The film works on two levels in that it is not only the story of one man's struggles, but also the systemic uprooting and disrespect for people and communitites of color.
THE MOST COLORFUL TIME OF THE YEAR (NR) 83 minutes * * Ryan (Christopher Russell) is not a Christmas sort of person. In addition, he's colorblind, which he doesn't seem to realize. Michele (Katrina Bowden) might be able to help with the colorblind issue, as well as with his chronic singleness. She might even be able to help him actually enjoy Christmas along the way. The performances are fine, with a nice supporting performance by Joanna Dougles. The story is a little less convincing.
THE MOST DANGEROUS GAME (NR) 93 minutes 1/2 Shipwrecked on a remote island, three men discover that someone lives there. Baron Von Wolf (Casper Van Dien) uses the island not only as his residence, but as his own personal hunting ground to hunt the most dangerous animal on the planet... humans! Adapted from Richard Connell's short story, which has been transpated to film numerous times. This particular adaptation is very heavy with dialogue, much of which is spoken by Van Dien using a very poor German accent.
THE MOST DANGEROUS MAN IN AMERICA: DANIEL ELLSBERG AND THE PENTAGON PAPERS (NR) 90 minutes * * 1/2 The story of Daniel Ellsberg and the release of "The Pentagon Papers". More than just a political case, it was one of the most important cases about free speech and freedom of the press. Political intrigue, conspiracy, and much more. A real-life suspense story that forever changed the government and the media in the United States.
MOST LIKELY TO DIE (NR) 78 minutes * Friends gather the night before their ten year high school reunion only to be killed off one by one. We barely get to know them before they start dropping, and none of them are very likeable, so it doesn't make much difference.
THE MOST RELUCTANT CONVERT (NR) 72 minutes * * At an early age, C.S. Lewis (Max McLean/Nicholas Ralph/Eddie Ray Martin) was a confirmed athiest. Later in life, that changed. This is the story of his life, focusing on what shaped his philosophy and theology. The constant narration is a disappointment, as it rarely gives any of the actors a chance to portray their characters.
MOST VALUABLE PLAYERS (NR) 93 minutes * * * In Pennsylvania, there's a rather unique happening. It's a theatre awards program for high school theatre that is televised and has become a major event for the area each year. It's not only about the accolades of your peers and the judges either... scholarship money is at stake. When they first created this event, no one realized just how big it would become. Awareness of the Freddy Awards is spreading throughout the country. Nice look at a fun and exciting event.
A MOST VIOLENT YEAR (R) 120 minutes * * * Protecting his family and their business, Abel (Oscar Isaac) uses a soft, yet firm approach. It isn't terribly convincing, especially when others around him are more at ease with a stronger style. It may be more realistic, but it's also not very interesting. The performances are strong, though mostly low-key with moments of intensity and energy. R for language and violence.
MOST WANTED (R) 92 minutes * 1/2 Keenen Ivory Wayans is about to be executed for killing an officer when he is "rescued" by a covert group of anti-terrorists and drafted into their service. Of course, things aren't what they seem and he's set up to take the fall for another killing. There are holes through this story all the way through the film. It's like we're missing around 20 minutes of the film. Unfortunately, the direction is so bad and the pacing so poor, that the added film would have been too tedious to sit through. A major waste of the supporting talents of Jon Voigt, Paul Sorvino, Robert Culp, and Eric Roberts. R for language and violence.
MOST WANTED (2020) (R) 121 minutes * * * He's got a hunch. Victor Malarek (Josh Hartnett) is wondering why the recent drug bust in Thailand just doesn't seem right. And so he digs for more details. Lots of twists and turns in a nicely written, complex story. Based on an actual case. Nice work all around by the cast. R for language and violence.
A MOST WANTED MAN (R) 116 minutes * * 1/2 Adapted from one of John LeCarre's less popular novels, this spy thriller is a little slow and dry, though it does come across as more realistic than many others in the genre. Good performances aside, there are only a few particular plot twists that keep the story moving along. R for language.
THE MOST WONDERFUL TIME OF THE YEAR (NR) 86 minutes * * 1/2 Jennifer (Brooke Burns) has trouble with Christmas. It's just not her favorite time of the year. But when her uncle (Henry Winkler) brings a guest to dinner, things are going to change. Sentimental holiday TV movie with little to offer in the way of creativity or surprise, but tugs on our heart in the right places. Not rated, but suitable for families.
MOSTLY GHOSTLY: HAVE YOU MET MY GHOULFRIEND? (PG) 85 minutes * * Another entry in the series of films based on the works of R. L. Stine, with Ryan Ochoa playing the character of Max Doyle this time. Corny, silly, and filled with over-the-top acting by the cast, which is to be expected, and it works OK for what it is.
MOSTLY GHOSTLY: ONE NIGHT IN DOOM HOUSE (PG) 81 minutes * 1/2 Trying to help his ghost friends find their parents, Max (Corey Fogelmanis) ends up making things worse, at least for awhile. Not too much energy to this story, which really seems more like an overly long teaser for the next film in the series. PG for violence and language.
MOSTLY GHOSTLY: WHO LET THE GHOSTS OUT? (PG) 94 minutes * * From the mind of R.L. Stine comes this spooky story that may be a bit too intense for the younger members of the audience. It also tends to drag on a bit long as it tells the story of Max Doyle (Sterling Beaumon) and the ghosts in his house that only he can see. Max has to figure out who these ghosts are and why they are haunting his house. Most of the age 7-10 crowd will find it fun, if a bit scary at times. PG for violence and language.
MOSTLY MARTHA (PG) 103 minutes * * * Martha (Martina Gedeck) is a chef, one of the best in fact, but she has little time for anything else. Her life is dramatically changed when her sister is killed in a car accident and she has to take care of her niece Lina (Maxime Foerste). Among other things, an additional chef is hired, and Martha can't figure out what his agenda is. It's a whole new world that opens up as she slowly recognizes the important change that needs to take place in her approach to life, though it's also, quite simply, the same attitude she's had toward being a chef. Subtle and sincere, it's a film that slowly works its way into your heart, aided by very nice performances from Gedeck, Foerste, and Sergio Castellito among others. PG for language.
THE MOTEL LIFE (R) 81 minutes * * 1/2 Two brothers who have always been close find themselves on the run after a tragic hit and run accident. A gentle and sad story. Despite their circumstances, they continue to have hope. And in spite of their poor choices and bad luck, we hold out hope for them as well. Nice work by both Emile Hirsch and Stephen Dorff. Adapted from the novel by Willy Vlautin. R for sex, language, and violence.
THE MOTH DIARIES (R) 78 minutes * 1/2 Not only is the new girl at the boarding school a little on the creepy side, she's come between Rebecca (Sarah Bolger) and her best friend Lucy (Sarah Gadon). Something is horribly wrong, but no one will believe her that Ernessa (Lily Cole) is to blame. Strange ending that still leaves quite a bit unanswered, which is more than a little frustrating as the film tends to raise quite a few questions along the way. Adapted from the novel by Rachel Klein. R for violence, sex, and language.
MOTHER (PG-13) 100 minutes * * 1/2 Debbie Reynolds does a lot to make this film endearing and charming. Still, Albert Brooks manages to whine his usual excessive amount throughout the film. The last 20 minutes or so are fairly good, but getting there is a real chore. This is definitely geared toward those women who've had an adult child come home to live with them. PG-13 for language.
MOTHER (2009) (R) 124 minutes * * 1/2 Yoon Do-Joon (Bin Won) isn't very bright, and when he's accused of murder, it isn't really clear what happened. He has trouble remembering things, though he was in the area at the time of the murder. His mother loves him dearly and is going to do everything she can to prove her son's innocence and discover who the killer is. The idea is interesting and the story itself works well, but the performances are stiff and unnatural with the exception of Hye-ja Kim (Mother) who is unusually passionate, which doesn't fit well with the other characters. R for language, sex, and violence.
MOTHER! (2017) (R) 116 minutes * * Living in a wonderful world, their happy existence is interrupted by guests. These guests wear out their welcome very quickly, as their presence and their actions upset the status quo. One of director Darren Aronofsky's more unusual films. The ending is very haunting, but getting there is a little difficult. R for violence, sex, and language.
MOTHER AND CHILD (R) 120 minutes * * * A mother and the daughter she gave up for adoption thirty-five years earlier. A daughter who still struggles with her feelings about being adopted, as does her mother with the decision she made so many years ago. Another story runs alongside this one, which is that of a young couple who are seeking to adopt. The family relationships we see all seem shallow and transient, but there is a core of pain, grief, and regret that slowly emerges. the cast does a nice job with a difficult subject, though the script struggles early on with how to involve us while maintaining a neutrality on the issue. R for sex and language.
MOTHER KRAMPUS (R) 87 minutes * Frau Perchta (Tara MacGowran) is a witch who takes one child each night of the twelve days of Christmas. This particular community is determined to get their children back, but the price to do so will be heavy. Poorly constructed story that just doesn't always make much sense. It also manages to undercut much of the suspense, leaving us far more disappointed than scared. R for violence and language.
MOTHER LODE (PG) 99 minutes * * ½ While searching for a missing friend, two colleagues come across an old man who is searching for a lost cave of gold that he is willing to do anything to protect. Beautiful scenery, and reasonably good acting, but the story plods along more than it should.
MOTHER OF ALL LIES (NR) 88 minutes * When Sara (Francesca Eastwood) discovers that her borth mother actually did try to contact her, she wants to find her and make that connection. As it turns out, her mom is about to get out of prison, and her old "friends" haven't changed. In connecting with her, Sara has managed to turn her life into a nightmare. Predictable, and the deeper aspects of the characters are glossed over in favor of sensationalism.
MOTHER OF GEORGE (R) 102 minutes * * 1/2 Adenike (Danai Gurira) and Ayodele (Isaach de Bankole) discover that they are having difficulty having a child. Cultere and tradition clash with the modern world as they work to find a way to deal with the situation. The performances are very good, but the photography uses an often awkward style of framing and unusual angles that don't work very well and tend to be distracting. R for sex and language.
MOTHER OF MINE (NR) 99 minutes * * * On the one hand this is the tale of a young boy from Finland who is sent to Sweden during World War II. It's also the story of the man who struggles with the death of his father, separation from his mother, and understanding how it has shaped who he is. Winner of eleven awards, this Finnish film is a powerful story of motherhood and the meaning of family.
MOTHER OF TEARS: THE THIRD MOTHER (R) 94 minutes 1/2 Third in the series following "Suspiria" and "Inferno", though being made almost thirty years later, the stylistic differences are quite large. There is suspense in some parts of the film, but much of the film is just a gore-fest. Some nice work by Asia Argento helps at times, but she can't rescue this by herself. R for violence, language, and sex.
MOTHERHOOD (PG-13) 85 minutes * 1/2 Portrait of a mother (Uma Thurman) who is about to face yet another difficult day. She has two wonderful children and a devoted husband, though sometimes the kids are a little difficult and it seems like her husband doesn't love her anymore. It's just another day in the frantic life of being a mother. The problem is that we aren't drawn in by Thurman's performance or her character. The story keeps us at a distance and we wonder how the story will work out, but aren't all that interested. PG-13 for language.
MOTHERING SUNDAY (R) 101 minutes * * 1/2 World War I is recent history, but there is still recovery happening from those traumatic events. Jane (Odessa Young) is a maid to a well-to-do family. She loves Paul (Josh O'Connor), but he is soon to leave and be wed to another. Beautifully filmed, but very slow and the story grows depressing as it moves along, though it does end on a more positive note. R for sex and language.
MOTHERLESS BROOKLYN (R) 137 minutes * * * 1/2 Life has been rough and lonely for Lionel (Edward Norton) for a long time. When his boss and lifelong friend is killed, he is determined to find out who is responsible. But the more he investigates, the more tangled the story becomes. Set in New York in the 1950s, it's a very nice noir film with a great performance by Norton, who also wrote and directed the film. There are several nice supporting roles here too. Adapted from the book by Jonathan Lethem. R for language and violence.
MOTHERLY (NR) 77 minutes * * A mother and daughter living in a farmhouse with little else around. Kate (Lora Burke) and her daughter Beth (Tessa Kozma) are hiding a terrible secret, and it may be even more terrible than they thought. This tries hard to give us a couple of twists, but they aren’t very convincing, making it a little too easy to see exactly where this is going.
MOTHER'S BOYS (R) 92 minutes * * After being away for three years, Judith (Jamie Lee Curtis) decides to return home. There's another woman in the picture now, but she has plans for someone who's trying to take her boys away from her... Cheap noise scares offer the only real suspense in the film and Curtis isn't convincing. Luke Edwards fares best as the oldest son as his family loyalties are torn in two directions.
MOTHER'S DAY (PG-13) 110 minutes * * * 1/2 Superb cast in a stry (or rather several) about mothers and the important part they have in our lives. Director Garry Marshall was a master of the multiple story film, and this (which was his final film) is another gem. Full of personal moments, humor, tears, and joy. A wonderful note on which to end an amazing career. PG-13 for language and sex.
THE MOTHMAN CURSE (NR) 79 minutes 1/2 Low-budget, black-and-white horror film about the legendary "Mothman", a mysterious humanoid creature with wings. Rachel (Rachel Dale) and Katy (Katy Vans) work at a museum where they share creepy stories and eventually encounter said mothman. The jerky and out-of-focus photography doesn't help.
THE MOTHMAN PROPHECIES (PG-13) 113 minutes * * Two years after the death of his wife, John Klein (Richard Gere) finds himself being inexplicably drawn to a small town where people have been seeing something strange. He puts his investigative reporting skills to works and begins to uncover the story. Definitely an interesting film that does a nice job of keeping our attention, but leaves us rather unsatisfied with the resolution or even the motivation. The story seems to deal more with the reaction to experiencing the supernatural rather than with the interaction itself. PG-13 for violence and language.
MOTORBOAT (NR) 70 minutes BOMB The reports start rolling in. First, it's a couple of fishermen, and then it seems like anyone who goes near the water ends up dea, victim of a haunted motorboat. The acting is far from great, though it's not as bad as the production quality in general. A boat that is obviously a top, props that are clearly made of plastic or styrofoam... and the list goes on. It's a good thing that the boat's horn blasts every few minutes as it might help keep you awake.
THE MOTORCYCLE DIARIES (R) 118 minutes * * * Wonderful and unusual sort of real-life adventure film that chronicles the cross-country travels of a young Ernesto "Che" Guevara and his friend Alberto Granada. Their journey, and their discovery of the heart and spirit of Latin America is inspirational. Though they begin on a dilapidated old motorcycle, the point quickly becomes evident that it's not the destination, but the journey itself that will teach these young men some of the most important lessons they'll ever learn. R for language.
MOTORWAY (R) 85 minutes * 1/2 Loaded with car chases, though most are shown through tight shots that, while lending an intimate perspective, don't really show us much of what is happening. Most of what we see is precision driving, which is well-handled by the stunt crew. What we don't see is much in the way of character development, which seems to have been forgotten. R for violence.
MOULIN ROUGE (PG-13) 119 minutes * Definitely a unique piece of work from director Baz Luhrmann. It bears virtually no resemblance to the 1950's film of the same title, though it is set in the same location and does include the character of Toulouse-Lautrec. The dialogue frequently borrows from the lyrics of The Beatles, Elton John, Madonna, etc., and characters are constantly breaking into song. The story is about a poet who falls in love with a courtesan whose affections are being courted by a duke. The poet then writes a musical about the whole thing which is performed for the duke, which is when he begins to figure out what is going on. The film misfires on just about every level except music, though it remarkably manages to deliver an ending which isn't too bad. PG-13 for language and sex.
THE MOUNTAIN (NR) 103 minutes * * 1/2 Drifting, Andy (Tye Sheridan) finds himself working for Dr. Fiennes (Jeff Goldblum). Fiennes specializes in performing lobotomies, though their effectiveness as a treatment is beginning to be questioned. The film is full of symbolism and disconnected moments. It creates a rather unique atmosphere that fits well with a story that is somewhat bleak.
THE MOUNTAIN BETWEEN US (PG-13) 105 minutes * * * In a rush to get to Denver, Ben (Idris Elba) and Alex (Kate Winslet) each have their own reasons that they feel are important enough to warrant chartering a private plane. But when it crashes, they must find a way to survive... and still get to their destination. The set-up is less than convincing, but after that, it works well. Nice work by both Elba and Winslet. PG-13 for sex, violence, and language.
MOUNTAIN DEVIL (NR) 83 minutes * Home movie style, pseudo-documentary with re-enactments that follows the account of a particular bigfoot encounter. Most of the accounts are very similar and none offer conclusive proof.
MOUNTAINS MAY DEPART (NR) 123 minutes * * 1/2 Three segments of the life of a family, focusing on Tao (Tao Zhao) The story begins with her relationship with two friends, one of whom she marries. They eventually part ways and she and her son become estranged as well. At a later point in his life, he begins to search for her. The segments are not well-connected, though they are each good in and of themselves.
MOUNTAINTOP MOTEL MASSACRE (R) 91 minutes BOMB A motel on a mountain where the proprietor is intent on killing everyone who stops by. That's about it for the plot. Gross effects, when you can see them, which isn't very often. Lackluster acting and direction.
THE MOURNING (NR) 99 minutes * * 1/2 Aaron (Michael Rene Walton) has been gone for 20 years. He was listed as MIA in Desert Storm, but he's not speaking, and doesn't seem to have aged a day since he left. It's an interesting story that does a good job with creating a mysterious suspense that doesn't weigh the story down. But the dialogue and performances fail to give this the edge it needs to be better, and the ending seems to be missing something.
MOUSE HUNT (PG) 93 minutes * 1/2 Calling this a "Home Alone for Mice" is being nice. After their father's death, Ernie and Lars inherit a house with a mouse that would make Macauley Culkin smile. Nathan Lane needs to stay on Broadway if this is all that Hollywood is willing to give him. This is really geared toward the young adolescent crowd, but even they will probably find it no more than mildly amusing. PG for language and cartoonish violence.
LA MOUSTACHE (NR) 83 minutes * * * It's only a moustache, but when Marc (Vincent Lindon) decides to shave it off one morning, he discovers that no one seems to notice. Did he really shave it off? Did he only imagine he had one? Excellent performance from Lindon that perfectly rides the edge between light humor and mystery/suspense. It's a unique and interesting film, adapted from the novel by Emmanuel Carrere.
MOVIE 43 (R) 90 minutes * * 1/2 Bizarre and hilarious collection of short videos and commercials all from different directors. The frame for the shorts isn't that great, but the shorts are a riot, though the humor here is intense, frequently crossing into vulgar and crude territory. As with many films that have a collection of stories, there are some bright spots and some dull ones. One of the brightest is simply the cast, which is stellar to say the least. Dennis Quaid, Greg Kinnear, Common, Will Sasso, Hugh Jackman, Kate Winslet, Liev Schreiber, Naomi Watts, Anna Faris, Kieran Culkin, Emma Stone, Richard Gere, Kate Bosworth, Uma Thurman, Kristen Bell, and many more. R for sex, language, and violence.
MOVING (R) 86 minutes * * 1/2 Richard Pryor gets fired from one job, but ends up in a dream job... of course it requires moving... Fairly typical of Pryor as far as there being moments of brilliant humor surrounded by large segments of far less interesting material. There are some nice cameo appearances, but this definitely shows its low budget when it comes to the editing.
MOVING MCALLISTER (PG-13) 87 minutes * * 1/2 Rick (Ben Gourley) is willing to do just about anything to get in good with his boss (Rutger Hauer). His chance comes when McAllister (Hauer) asks him to move his niece Michelle (Mila Kunis) from Florida to California. There's nothing like a little time on the road to get close to someone... or to get totally frustrated with them... or maybe both? Cute film and Gourley and Kunis work well together. The ending is no surprise, but we don't mind. PG-13 for language.
MOVING MIDWAY (NR) 92 minutes * * * Director Godfrey Cheshire filmed the process of moving his ancestral home, "Midway", from it's original location to a new site, away from the busy roads and development that were encroaching. In the process, he uncovers the history of this old plantation home, new relatives and friends, and a deeper appreciation for his own history and the rich and varied landscape of the south.
MOVING ON (R) 81 minutes * * * They've been friends for decades. At the funeral of another of their friends, Claire (Jane Fonda) and Evelyn (Lily Tomlin) discuss an incident that happened years earlier. Claire has never been able to move past it. Perhaps with a little help she will finally be able to. It's a delight to watch these two actresses work together in this funny and poignant story about letting go of what's holding us back. R for language.
MOVING VIOLATIONS (PG-13) 84 minutes * Hijinks and hilarity in a remedial driver's education class. Starts slowly, and then gets funny... a little. Though most of that is from John Murray (Bill's brother) with the rest of the cast just following along.
MOZART AND THE WHALE (PG-13) * * 1/2 Josh Hartnett and Radha Mitchell both deliver fine performances in this story of two people with Asperger's Syndrome who find that love is not only possible, but perhaps just what they need. Perhaps a bit on the idealistic side as far as the story, but the performances are quite good, by the supporting cast as well. PG-13 for sex and language.
MOZART'S SISTER (NR) 117 minutes * * * Nice period drama, following the life of Nannerl Mozart. The focus is on her teen years, the time when her father was promoting the musical genius of his young son Wolfgang, who was just a few yaers younger than Nanerl. Solid ensemble cast, led by the often moody and introspective performance of Marie Feret as Nannerl.
MR. AND MRS. BRIDGE (PG-13) 122 minutes * * * America in the 1930s and 40s, a country where styles and morals are beginning to change. Paul Newman and Joanne Woodward are sheer perfection as the leading characters here and are supported well by Austin Pendleton, Kyra Sedgewick and the rest. The story is a bit depressing at times, but it's a unique slice of life film, with vivid characters that bring a piece of the past to life. PG-13 for language.
MR. & MRS. SMITH (PG-13) 112 minutes * * They're both hired killers, who end up meeting and deciding to get married, all the while never knowing what the other really does... until there's a conflict of interests at work. Lightweight fun, with some very nice stuntwork and photography that does a good job of highlighting it most of the time. Far from believable, but it doesn't really try that hard to get you to believe it. Definitely runs a little long, though a bit more background would have been nice. There's almost no screentime for supporting roles, which adds to the weakness of the story. Vince Vaughn manages to get a few minutes, but a little more would have been nice. PG-13 for violence and language.
MR. BASEBALL (PG-13) 104 minutes * * Tom Selleck is a down and out big league baseball player who is traded to a Japanese team. Though his character really enjoys baseball and wants to play, Selleck seems bored with the role and ready to go take a break. PG-13 for nudity and language.
MR. BEAN'S HOLIDAY (G) 79 minutes * * Mr. Bean (Rowan Atkinson) wins a trip to France and has many misadventures along the way. Fans of Mr. Bean will probably enjoy this, but there's definitely nothing new or very creative here, especially with the trimming that was done to turn this into a G-rated film. Harmless enough, but not that funny or interesting.
MR. BROOKS (R) 110 minutes * * * There's something a bit unusal about Mr. Brooks. He's a serial killer who sees himself as a man with an addiction. For awhile, he's been able to keep things under control, but it's started again. And now, there's someone who knows what he's doing. Interesting thriller with Kevin Costner's fairly typical laid-back performance fitting quite nicely with a character who is quiet and methodical despite the thrill he gets from killing. Some nice twists and turns, but nothing extreme. The focus is more on Brooks' own understanding of why he does what he does and how and why he might stop. R for sex, violence, and language.
MR. CHURCH (PG-13) 98 minutes * * * 1/2 Henry Church (Eddie Murphy) is a cook. He's helping out Marie (Natascha McElhone) and Charlie (Natalie Coughlin/Britt Robertson). It's all being paid for by Marie's former lover. Charlie doesn't understand and doesn't want him to be there. Then again, she doesn't really understand that her mother is dying. Very nice role for Murphy in a tender and gentle story about a man who loved to cook, and so much more. PG-13 for language.
MR. DEEDS (PG-13) 89 minutes * 1/2 Comic modernization of the 1936 classic, "Mr. Deeds Goes to Town" does have its moments of both humor and charm, but it bears little resemblance to the original. Adam Sandler tries to give us something similar in tone to "The Wedding Singer", but misses the mark. There are some fun cameos by other comics and friends of Sandler, and the collection of songs for the soundtrack is a nice one. Still, it's a rather unimaginative effort. PG-13 for language.
MR. DESTINY (PG-13) 105 minutes * * * Predictable but entertaining look at how changing one event in our past could affect our present, and whether or not that's a good idea. Jim Belushi and Linda Hamilton lend enough charm and Michael Caine gives a solid supporting performance that make this worth watching. Jon Lovitz, Rene Russo, Courteney Cox, and Kathy Ireland are also featured.
MR. HOLLAND'S OPUS (PG) 136 minutes * * 1/2 Classic story of a teacher who isn't initially interested in teaching, but begins to love it so much that he neglects his own family. Richard Dreyfuss does an excellent job here, but the film's strength really comes from the great supporting work done by so many others. The minor characters are what ruin the film, thanks to the director's inclusion of locals in the film and their inability to stay in character. It breaks the intensity in too many scenes and spoils the effect. PG for language.
MR. HOLMES (PG) 100 minutes * * * 1/2 Holmes (Ian McKellan) has retired. At the moment, he's struggling to remember the details of his last case, and why the image of a particular woman seems ever present. He is also keenly aware that the early signs of dementia have begun. McKellan is, of course, remarkable in a role that is a perfect fit. And Milo Parker is a delight, and does a wonderful job of being an excellent partner to McKellan. Adapted from the book, "A Slight Trick of the Mind" by Mitch Cullin. PG for violence.
MR. JONES (R) 110 minutes * * 1/2 Richard Gere stars as a manic/depressive who has a romantic relationship with his therapist (Lena Olin) who has troubles of her own. "The Prince of Tides" this isn't, but Gere delivers a strong performance that helps cover up many of the films weaknesses. Too much of the film feels "empty", due to a two-dimensional script and mediocre direction.
MR. MAGOO (PG) 83 minutes * Leslie Nielsen brings that lovable, nearsighted old cartoon character to life in this film. Nielsen does quite well with the role, but the story lets him down as it weaves in a theft of a jewel for which Magoo is suspected. This live-action Magoo is a bit too aware of what goes on around him to give us the same sense of humor as we enjoyed in the cartoon. And the supporting performances are the typically overplayed sort we find in most pratfall comedies, cheapening the effect of the story even further. Maybe Nielsen will get another chance with a sequel that will have a better story. PG for cartoonish violence.
MR. MAGORIUM'S WONDER EMPORIUM (G) 88 minutes * * * Mr. Magorium (Dustin Hoffman) is thinking of leaving the magical toy store he has owned for the last 113 years. But what will happen to it? Can someone else run it? It's a story that is both magical and serious, with a fun and somewhat atypical performance from Hoffman and with Natalie Portman reminding us of a young Julie Andrews. Remember, "you're life is an occassion, rise to it!" Face tomorrow with determination, joy, and bravery.
MR. MALCOLM'S LIST (PG) 110 minutes * * 1/2 Being a very particular sort of person, Mr. Malcolm (Sope Dirisu) has a list of qualifications that a young woman must meet for him to show interest. This bothers Julia (Zawe Ashton) and so she arranges with a friend to meet the qualifications of Mr. Malcolm's list while having a list of her own that he does not meet. PG for language.
MR. MIRACLE (NR) 86 minutes * * An inexperienced guardian angel needs to help a young college student get back on her path before Christmas. His inexperience with life tends to get in the way. It's also a slightly strange mix of annoying and charming for us to watch.
MR. MOM (PG) 92 minutes * * * Laid off from work, Jack (Michael Keaton) finds that it actually makes more sense financially for his wife, Caroline (Teri Garr) to work, while he stays home to take care of the kids. Except that he doesn’t really know how to do that. Nice balance of humor and drama, both of which convey important messages about making a marriage work and raising children. PG for sex, violence, and language.
MR. NANNY (PG) 79 minutes * 1/2 Reasonable children's fare with cartoonish violence as Hulk Hogan becomes the babysitter for a couple of rich brats. Harmless enough, but not very interesting either.
MR. NICE (NR) 116 minutes * * 1/2 Though his early life was nondescript, by the time he left Oxford University, Howard Marks (Rhys Ifans) had established a growing business around marijuana. It became so large that most of the marjuana smoked in the Western World during the 70s and 80s was due to his business. Ifans is superb as the charistmatic and clever Marks. The story does wander quite a bit in the first half before settling down.
MR. NICE GUY (PG-13) 80 minutes 1/2 Jackie Chan stars as a nice guy in this low-budget reworking of one of his foreign-released films. Incredibly irritating camera work right from the start, but the bad acting quickly gains the upper hand. The only real entertainment value here is in laughing at how bad this is. Chan fans won't be deterred, but most others will not be interested. PG-13 for violence.
MR. NOBODY (R) 127 minutes * * * * Nemo (Jared Leto) is the oldest mortal in a time when mortality is a thing of the past. Recounting his life story to a reporter, it's clear that his has been a life filled with possibilities. The story tends to fold in on itself, mixing dreams and memories, and allowing past, present and future to mingle together as one. The cinematography and visual effects add to the mesmerizing aspects of the story, sweeping us along in the effect. Leto's work here is simply brilliant, as he plays numerous versions and incarnations of his character. Though clearly not for everyone, this is the sort of film that may overwhelm with the first viewing, but is well worth a second look... or a third. R for sex, language, and violence.
MR. PAYBACK (PG-13) 22 minutes * * 1/2One of a couple of interactive short films that were released to theaters in an attempt to try something different. The film is shown on laser disk and gives the audience the opportunity (through remote controls) to choose the next sequence of events. Mildly entertaining story with poor acting by all but Christopher Lloyd effectively makes this look like a high school film class project.
MR. PEABODY & SHERMAN (PG) 83 minutes * * 1/2 Sherman's (voiced by Max Charles) latest adventure is going to school, and Mr. Peabody (voiced by Ty Burrell) finds his parenting skills quickly called into question. The story works well, tying history lessons and characters into the plot as it goes along. Plenty of A-list voices for the characters too. PG for violence and language.
MR. PIG (NR) 92 minutes * * * Ambrose (Danny Glover) doesn't have much time left. He wants his pig to be taken care of and treated humanely, but that's going to prove to be more difficult that he ever expected. Very nice work by Danny Glover.
MR. POPPER'S PENGUINS (PG) 88 minutes * * 1/2 Popper (Jim Carrey) always wanted to be closer to his father. Now he has six penguins that were left to him in his father's will. Getting rid of them isn't an option now that his kids think they're wonderful, but taking care of them is more than a little difficult. Modernized version of the children's novel by Richard and Florence Atwater works fairly well, and the under 12 crowd will enjoy it, but parents will likely be a bit bored. PG for language.
MR. RIGHT (NR) 78 minutes * 1/2 Lisa (Erica Tazel) has sworn off dating and declared that there is no such thing as a "Mr. Right". Michael (Columbus Short) works for a dating service. There aren't supposed to be any personal attachments with clients. But just maybe... Slow-moving and predictable, though the leads aren't too bad.
MR. RIGHT (2015) (R) 88 minutes * * * 1/2 Martha (Anna Kendrick) has had lots of trouble finding the right guy. And then she meets Francis (Sam Rockwell). He's perfect. There are a few little things here and there that seem a little strange, but they don't seem to matter. And he's finding that despite knowing that he shouldn't be in a relationship with his current job as a hitman, he can't stop thinking about her. The chemistry between Rockwell and Kendrick is delightful. The characters are drawn in a very casual and relaxed manner, making the story all that much more entertaining as it keeps contradicting that tone. Great ending too! R for violence and language.
MR. SATURDAY NIGHT (R) 113 minutes * * * Billy Crystal stars in the story of a comedian who has risen to the top by walking on other people. It's the tragic story of a man who never knew how to get what he really wanted or needed out of life. A man who took every bad break and made it worse. David Paymer and Mary Mara both have excellent supporting roles. R for language.
MR. SIX (PG-13) 131 minutes * * 1/2 When his son gets in trouble with the son of a very wealthy man, Mr. Six (Xiaogang Feng) relies on his traditional beliefs and methods to deal with the situation. Both young men are going to learn much from the process. Slow-paced Chinese drama. It's good, but it keeps hinting at something more dramatic or with more action that just never materializes. PG-13 for language and sex.
MR. 3000 (PG-13) 97 minutes * 1/2 Bernie Mac is Stan Ross, one of baseball's heavy hitters. After getting his 3000th hit, he abruptly retires, only to find out a few years later that he's really three hits short of 3000. Determined to redeem himself, he not only has to get three more hits, he has to adjust his attitude. Bernie Mac fans may enjoy this, but few others will. His typically abrasive humor has been toned down a bit, but the negative tone is still there. PG-13 for language.
MR. TROOP MOM (G) 80 minutes * 1/2 Eddie (George Lopez) ends up filling in for the regular troop mom at a week long summer camp. It's going to be a long week. Lots of games and challenges, not the least of which is working on his relationship with his daughter. Filled with Lopez's brash but good-natured humor, and the typical camp behavior you'd find in a G-rated film. Harmless, but not very interesting or entertaining.
MR. TURNER (R) 146 minutes * * * The story here is of the last twenty-five years in the life of an extraordinarily talented artist. But Turner (Timothy Spall) is, like many great talents, a rather complex and sometimes contradictory individual. Following his life is actually not a particularly pleasant experience, but the story does feel very real and Spall does a wonderful job of stepping into the character and giving us a well-rounded look at the life of the man. R for sex.
MR. UNTOUCHABLE (R) 89 minutes * * 1/2 During the 1970s and 1980s, the drug business in New York was run by Nicky Barnes. Nicky and his council not only controlled the drugs in New York, but were able to remain in business and gain an immense amount of power that made them appear to be untouchable. When the empire finally came crashing down, Nicky turned on his former colleagues and testified against them. Numerous interviews with Barnes and those who knew him during his reign as a drug kingpin. R for language, violence, and sex.
MR. WHAT (NR) 86 minutes 1/2 Mattiesko (Alan Maki), who usually just goes by the nickname "Mr. What", has been wrongfully imprisoned for years. After finally being released, he learns how difficult it is to start over, even when you've been found innocent. Alan and Shaun Maki along with the rest of their family put this film together. It suffers from the usual probelms around script and acting that low-budget religious dramas usually have. The message is good, but the delivery is weak.
MR. WOODCOCK (PG-13) 80 minutes 1/2 Little loser Johnny (Seann William Scott) grows up to be a successful author of a self-help bestseller. When he returns home to celebrate, he discovers that his mother is going to marry the coach who made his younger life a living hell. We don't really care. Billy Bob Thornton plays yet another really unlikeable character, and it's no fun to watch. The real disappointment is watching the talented Susan Sarandon waste her talents on a film like this. PG-13 for language and sex.
MR. WRONG (PG-13) 89 minutes * The story starts out fairly normal here, but begins to get strange and remind us of "War of the Roses" more than anything else. The script gives little hint at the direction it's going and doesn't have the strength to keep us interested for long. Ellen DeGeneres is a wonderful stand-up comedian, but an actress she isn't. PG-13 for language and nudity.
MRS. DOUBTFIRE (PG-13) 119 minutes * * * 1/2 Daniel Hillard (Robin Williams) will do anything to be able to see his children after his wife decides they need to separate. So he does. He becomes Mrs. Doubtfire, a housekeeper who will also keep an eye on the kids. Not only hilarious, but sensitive and very well-acted. The kids are great and Sally Field does a fine job. Of course, Williams is the one who really makes it work, but that's no real surprise. PG-13 for language.
MRS. HARRIS (NR) 92 minutes * * 1/2 Curiously lifeless retelling of the murder of Herman Tarnower (Ben Kingsley), the Scarsdale diet doctor. Annette Bening plays the part of Jean Harris, who fell in love with the doctor, but became obsessive and frustrated that he didn't seem to return her devotion. Kingsley's performance definitely seems distant and detached, but so much so that one wonders why Harris would ever stick around. The somewhat stiff performances seem more the result of the script than anything else, but Bening still manages to keep our interest for most of the film.
MRS. HARRIS GOES TO PARIS (PG) 111 minutes * * * Mrs. Harris (Lesley Manville) has a dream. It's about a beautiful dress she saw. She wants one like it, but it's very expensive. She gathers the necessary funds and travels to Paris to purchase the dress. The world of fashion will never be the same. Charming performance from Manville in a story that is at turns heart-breaking and heartwarming. Rated PG for language.
MRS. HENDERSON PRESENTS (R) 98 minutes * * 1/2 Jusi Dench is Laura Henderson, a recent widow and new owner of a theater in London. It may be wartime, but that's no reason not to provide entertainment for those who are looking for it! And when the standard approach to theater seems to falter, she decides that perhaps nudity might draw a few more people into the theater. Dench and Bob Hoskins are both fun to watch here, but the film is a bit uneven. Setting the story in wartime London and dealing with that aspect in a very serious manner doesn't leave room for the comedy to go very far. There's a tension between the two that can be felt and is never dealt with effectively. R for nudity and language.
MRS. LOWRY & SON (NR) 86 minutes * * * As artist and somewhat tortured soul, Lowry (Timothy Spall) devoted his life to his work and to his mother (Vanessa Redgrave), who never believed in her son's talents. Redgrave adds another powerful performance to her resume. Spall is quite good here as well, playing the part of a man torn by his sincere love for his mother and how to deal with her complete lack of appreciation for his work.
MRS. MIRACLE (NR) 91 minutes * 1/2 Another single parent with children who terrorize nannies/housekeepers until the perfect (aka magical) one shows up. Mrs. Merkle (Miracle) (Doris Roberts) is the one with the magic here, getting the boys to behave and playing matchmaker for their dad as well. Roberts isn't bad here, but the rest of the cast show little sparkle, or even life. Adapted from the book by Debbie Macomber.
A MRS. MIRACLE CHRISTMAS (NR) 83 minutes * * 1/2 Life is looking a little less than happy for the McCullough family. The holidays are adding some extra pressure. Some assistance might be in order. Enter Mrs. Merkel, also known as "Mrs. Miracle" (Caroline Rhea). A delightful supporting performance from Paula Shaw. The "Miracle" role is a bit toned down from the previous films, when it was played by Doris Roberts, but it still works.
MRS. SOFFEL (PG-13) 109 minutes * * 1/2 Warden Soffel (Edward Herrmann) is not the most exciting person. His wife (Diane Keaton) becomes attracted to one of the prisoners (Mel Gibson) and helps him and his brother escape and accompanies them into the wilderness. Based on a true story, this is very slow-moving, though it remains interesting thanks to some great work by both Keaton and Gibson. These are well-developed characters because the story takes the time needed for us to get to know them.
MRS. WILSON (NR) 163 minutes * * * When her husband dies, Alison Wilson (Ruth Wilson) slowly begins to uncover a past that he kept hidden from her. A past that is both fascinating and troubling. The more she searches for the truth, the more falsehood she uncovers. Based on the life of the real Alexander Wilson, this is a compelling historical bio-drama with great work by the cast.
MRS. WINTERBOURNE (PG-13) 100 minutes * * From the novel "I Married a Dead Man", this is a story of mistaken identity and true love. Shirley MacLaine and Brendan Fraser make this fun to watch in a few spots, but Ricki Lake needs to go back to her talk show. You won't be sorry that you watched this, but you won't remember it for long either.
MS. MATCHED (NR) 83 minutes * * A wedding planner (Alexa PenaVega) who loves to plan fancy and extravagant weddings meets her match in an author (Shawn Roberts) who promotes the more frugal and practical approach.
MS. PURPLE (NR) 83 minutes * * 1/2 Kasie (Tiffany Chu) and her brother aren't all that close, but when she needs help taking care of their father, he agrees to help. Life has been rough for both of them, and with their father's health deteriorating, it's not going to get any better. Old hurts and patterns of behavior return, and Kasie is left with few options. The film doesn't flow very well early on, but it does finish very nicely.
MUCH ADO ABOUT CHRISTMAS (NR) 84 minutes * * 1/2 The first time Claude (Torrance Coombs) and Haley (Susie Abromeit) see each other, it's love. Still, she must be cautious because of who she is. She chooses to hide her identity, which is eventually revealed, risking their relationship because of her deception. A holiday reworking of Shaespeare's "Much Ado About Nothing". Charming performance by Abromeit.
MUCH ADO ABOUT NOTHING (PG-13) 107 minutes * * * 1/2 Director/actor Kenneth Branaugh brings another Shakespearean classic to the screen in grand fashion. From the opening scene on, this is a delight to watch. Comedy, romance, mystery, and suspense... a wonderful story and a very well-made film. Filmed in Italy.
MUCH ADO ABOUT NOTHING (2005) (NR) 89 minutes * * * Delightful modernization of the classic Shakespeare comedy! Beatrice (Sarah Parish) finds herself in the unpleasant position of having to co-anchor her show with the man she used to have a relationship with. Everyone else loves Benedick (Damian Lewis), and Beatrice does too... if she'll only realize that he really has changed. Wonderful performances and an excellent retelling of the story! One of the better entries in the "Shakespeare Retold" series from the BBC.
MUCH ADO ABOUT NOTHING (2012) PG-13) 105 minutes * * * Writer/director/co-producer Joss Whedon (who also did the music for the film) offers an interesting and fresh take on the Shakespeare classic. The setting and costumes are modern, but the film is in black and white, and the dialogue is almost unaltered from the original. It works well, but then again, its classic material with wonderful bits of humor throughout. PG-13 for sex.
MUD (PG-13) 127 minutes * * * When Ellis (Tye Sheridan) and Neckbone (Jacob Lofland) are off exploring one morning, they discover Mud (Matthew McConaughey), who is on the run. They decide to help him, but not everything goes as planned. This is only Sheridan's second feature film, and he does a great job, carrying much of the film. The script has a few weaknesses, but Sheridan's performance takes it in stride. PG-13 for violence and language.
MUDBOUND (R) 128 minutes * * * Mississippi. Post World War II. Two men return to work on a farm. Adjusting to life after the war is a challenge, and racial tensions have not lessened in their absence, though as brothers in arms, their experience has taught them things the people back home have not yet learned. The story just tries to cover too much territory and ends up glossing over too many points, but the performances are very good. R for violence, language, and nudity.
MUGABE AND THE WHITE AFRICAN (NR) 92 minutes * * * Mike Campbell is a farmer. The government of the country where he lives is buying up farmland and running off the owners. But not all of the farms, just those who are white. This is Zimbabwe, and Mugabe is a violent and dictatorial ruler who wants the whites out of his country by any means possible. Campbell's struggle to maintain his home will not be easy as Mugabe's reach is long and his methods are harsh.
MUHAMMAD ALI'S GREATEST FIGHT (NR) 94 minutes * * When Ali refuse to go to Vietnam to fight in a war he felt made no sense, his status as a major sports figure meant that the battle with the government would be told far and wide. It would still be a fight, and the outcome would not be a sure thing. Solid courtroom drama, and the historic clips with Ali are well integrated into the film. The supporting roles of the legal clearks are somewhat forced and mostly mediocre in quality, but this is still an interesting film for the story it has to tell.
MULAN (G) 80 minutes * * * Adapted from Robert D. San Souci's version of the Chinese legend, this is a beautiful film, though not quite as impressive as "Pocahontas" as far as artistic presentation. The story is a bit uneven as well, trying to achieve that precarious balance between drama and comedy and only succeeding part of the time. It's also a bit above the heads of most children, though they will enjoy the Mushu the dragon, well-voiced by Eddie Murphy. Jerry Goldsmith's music makes the soundtrack worth a listen, but this won't be much of a repeat viewing film for the kids.
MULAN (2020) (PG-13) 105 minutes * * * Each family must choose one male to support the military's efforts. Mulan (Yifei Liu) has no brothers though, and to save her father, she masquerades as a young man to take his place. Her skill and determination make her one of the best warriors ever. Will it be enough to defeat the enemy? If you're looking for a live action remake of the Disney cartoon, this is not it. It is, instead, a retelling of the legend, beautifully filmed and with a fine cast. It is an adventure, and rated PG-13 for violence.
MULAN II (G) 73 minutes 1 1/2 Mulan and Shang are planning on getting married but must first complete a mission. Conflicts arise and Mushu's meddling first hinders and then helps them get together. Far less interesting or entertaining than its predecessor though there are a couple of nice songs.
THE MULE (R) 109 minutes * * * Drug cartels are always looking for people to run errands. Especially people who don't look suspicious. Earl (Clint Eastwood) is 90, and doesn't look suspicious at all. At first, it's just one quick job to earn a little extra money. Then it turns into a regular route. But then Agent Bates (Bradley Cooper) starts working on the case, and an innocent looking old man begins to look very suspicious indeed. R for language and sex.
MULHOLLAND DR. (R) 143 minutes * * * A dark and moody film with a haunting atmosphere. Just the sort of suspense film you'd expect from director David Lynch. Fans of the Twin Peaks TV series will find the moods and style here to be familiar ones, but the story is fresh and interesting. Those who haven't seen Lynch's work before are in for a treat. This is a delight to watch. Some of the actors here show their lack of experience, but the style overwhelms and impresses us, more than compensating for it in most instances. R for sex, language, and violence.
MULHOLLAND FALLS (R) 102 minutes * 1/2 A transparent plot and a lifeless script really hurt this story of conflict between the Los Angeles Police Department and the United States Government. The cast is full of big names... Nick Nolte, Melanie Griffith, Treat Williams, John Malkovich... but they all seem lifeless and uninteresting. It ends up being just another gangster film, lost among many that are much better.
THE MULLIGAN (NR) 104 minutes * * 1/2 His life is going well and work is a huge part of that. Paul (Eric Close) suddenly finds that everything is falling apart. There are hints about what he could do to fix it, but it isn't until he starts talking to the "old pro" (Pat Boone) that he really begins to understand what needs to change and how he can get there. The Christian message that is hinted at during the first half, gets very strong in the second half of the film.
MULLIGANS (NR) 87 minutes * 1/2 It's only after Tyler (Derek Baynham) brings his friend home from college that he discovers that Chase (Charlie David) is gay. Not really a big deal as far as this family is concerned... until Tyler's dad gets involved with Chase. Two dimensional acting and a script that is rather simple make this difficult to connect with.
MULTIPLE SARCASMS (R) 94 minutes * * * 1/2 Perhaps the best way for Gabriel (Timothy Hutton) to figure out why he's feeling this way will be for him to write a play about his life. It sounds like a good idea, but it's not going to be easy, and the price he'll have to pay may be higher than he imagined. Hutton is supported very well by a great ensemble cast that includes Mira Sorvino, Dana Delaney, Stockard Channing and Mario Van Peebles. The witty, sarcastic, and thought-provoking script was co-written by director Brooks Branch and Linda Morris. R for sex and language.
MULTIPLICITY (PG-13) 112 minutes * * * Michael Keaton is the key word here. Playing four characters that are all on screen at the same time definitely keeps things entertaining. The story is relatively predictable, but still fun to watch, with a fine cast that work well together. Laszlo Kovacs' work with the camera crew combined with Richard Edlund's special effects present the four Keaton's very effectively and with such ease that we'll undoubtedly see more of this type of work.
MUMFORD (R) 106 minutes * * * Doc Mumford has a great practice, treating half the town, but he isn't really a therapist. Still, he knows how to listen and how to make people feel positive about themselves, and to grant them the right to have a second chance which so few of us are willing to give ourselves. Loren Dean does a nice job with the lead role here and Jason Lee is wonderful as Skip Skiperton. But it's Lawrence Kasdan's script and direction that move this along so well and pull us into the story. There are so many wonderful little bits all along the way that you want to keep watching for more. Filmed in Sonoma and Napa counties, California. R for language.
THE MUMMY (PG-13) 117 minutes * * * The legend of the mummy rises once again in this special effects extravaganza. Brandan Fraser and Rachel Weisz are on the trail, but the descendants of Pharoah's bodyguards will try to prevent them from raising the creature. The effects are superb, but there is far too much comedy here. It takes the edge off of the adventure, suspense, and horror of the story, which were doing such a good job keeping us entertained. Despite that distraction, it's still a wild enough ride that few will be disappointed. Just remember to watch out for those scarabs! PG-13 for violence and language.
THE MUMMY (2017) 100 minutes * * * This mummy was an Egyptian princess, but now she's rather evil and problematic for alot of people. The story manages to give us not just one of Universal Studios' monsters, but a second as well. The idea is that they are trying (again) to create a universe of the monsters they hold license to. The problem is that they don't seem to have a unifying direction. The story here isn't bad, but whether it develops into something more remains to be seen. In the meantime, Tom Cruise runs around here doing what he usually does. PG-13 for violence, language, and nudity.
THE MUMMY REBIRTH (NR) 76 minutes BOMB Searching for treasure, Dr. Dragich (Deanna Grace Congo) and Noah (Carter) end up waking a mummy that could destroy the world. There are others who are searching for the treasure, when what they all should have been looking for was a better script, a better director, and anyone who wasn;t going to the Halloween discount store to buy the special effects and props.
MUMMY REBORN (NR) 77 minutes BOMB It was just a wooden box, but these teens (who all appear to be in their mid-to-late 20s) have stolen a mummy and its amulet. And when they remove the amulet, because it's way more interesting than a dusty old mummy, bad things start happening. The film tries to be funny, but its inconsistent, and the script, acting, costumes, and props are so bad that it just never looks better than a bad student project. It also manages to get worse as it goes along.
THE MUMMY RETURNS (PG-13) 122 minutes * * 1/2 What a showcase for special effects! Plenty of action in this sequel, but we've sacrificed the characters to get it. Brendan Fraser, Rachel Weisz, and Oded Fehr are still here, but they tend to step out of the way for the effects. As far as story... oh, you wanted a story? The scorpion king's tomb is disturbed and he's pretty mad about it. The bits of explanation we get are just that... "bits", that are crammed in between special effects. Still, the time does fly by and the only effect that doesn't come across well is the scorpion king himself toward the end of the film. PG-13 for violence and language.
THE MUMMY: TOMB OF THE DRAGON EMPEROR (PG-13) 101 minutes * * This third entry in the series has a different writing team and a different director, and some of the spark is gone as well. The O'Connell's have retired, but their son Alex is an archaeologist. He's just made one of the greatest, and most dangerous discoveries of all time. And he's going to need his parents' help... Plenty of action here, but the film suffers from having extended battle scenes and not enough plot. PG-13 for violence and language.
MUNE: GUARDIAN OF THE MOON (PG) 79 minutes * * 1/2 When the sun is stolen, its guardian, along with the guardian of the moon, set out to get it back and set things right. If they are not in balance with each other, all will be lost. A little dark and scary for the younger members of the audience, especially near the end. It does all work out, and is a well-told and beautifully animated story. PG for violence and language.
MUNICH (R) 146 minutes * * * After the kidnapping and murder of the Israeli athletes at the Olympic games in Munich, those who were responsible for the terrorist plot were tacked down and assassinated by the Mossad. True espionage is dirty, dangerous, and frustrating work. Once begun, it never ends. Retaliation leads to more retaliation, and the cost continues to rise while the reasons retreat further into the background. The film draws us in quickly, and we find ourselves easily able to sympathize with these men who are avenging the death of their fellow countrymen. The puzzling bit here is that director Steven Spielberg, by inserting flashbacks of the kidnapping throughout the film, he seems to be wanting to remind us why the Mossad is doing this work. I think he's missed the point of the story. What does revenge and retaliation accomplish when those you kill are simply replaced by others and when nothing you do seems to make you feel any safer, but instead has almost the exact opposite effect? Nice work by Eric Bana. Adapted from the book Vengeance by George Jonas. Filmed in Malta and Hungary.
THE MUNSTERS (PG-13) 104 minutes BOMB Another look at a classic through the eyes of Rob Zombie. If you're a fan of Zombie's other films, you'll probably like this. If you are not, then this is a film for you to skip. It bears little resemblance to the TV show aside from a little of the same sort of cheesy humor. The problem is that the humor in the old TV show had some charm. This film does not. PG for violence, sex, and langauge.
MUNYURANGABO (NR) 97 minutes * * * Ngabo (Jeff Rutagengwa) wants justice for the death of his father. Sangwa (Eric Ndorunkundiye) wants to visit the family he left. Two friends on a journey. But they are also Hutu and Tutsi, and there are those who say that they should not be friends. Toward the end of the film, the poem, "Liberation is a Journey" is read to us as the audience. It's a powerful and beautiful poem that not only captures the essence of the film, but the struggles, hopes, fears, and dreams of Rwanda. Those few moments alone are worth watching, though they are even more powerful for having scene the film that comes before them.
THE MUPPET CHRISTMAS CAROL (G) 81 minutes * * * 1/2 Great choice of a story for the muppets to adapt. It's a solid adaptation of the original with enough muppet one-liners to make us laugh but still not lose the message of the story. Gonzo plays the part of Charles Dickens and narrates for us, but you'll see just about every other muppet made in this film too. The music is the weakest part here, with some songs quite well done, but others falling short of the mark. And those ghostly muppets may frighten a few of the youngest viewers as well.
MUPPET TREASURE ISLAND (G) 92 minutes * 1/2 They manage to work in just about every muppet you've ever seen into this story, which is sort of fun to watch. However, the boy is a really bad actor and can't sing the songs. Definitely the worst of the muppet films, though it does include an appropriate quote... "It could be worse, we could be stuck in the audience."
THE MUPPETS (PG) 97 minutes * * The Muppets haven't done a show in years, and their old studio is about to be demolished. But there's one particular fan who's going to do everything he can to make sure that doesn't happen. The story is actually a bit depressing as it constantly refers to everyone forgetting about the muppets. In many ways, it's a tribute to the old fans of the muppets. There are lots of fun cameo appearances as well as the Oscar winning song, "Man or Muppet". PG for language.
MUPPETS FROM SPACE (G) 81 minutes * * 1/2 Gonzo discovers that he is really an alien. As he begins to establish contact with his relatives, the government gets suspicious. Parodies of bits from numerous films are scattered throughout, but there isn't much energy here. There isn't much music and Gonzo just can't carry the film that well as the lead character. Cameo appearances by several well-known actors help keep us interested, but the kids watching this seemed restless and somewhat bored.
MUPPETS MOST WANTED (PG) 99 minutes * 1/2 The Muppets have a world tour manager. Of course, his whole plan is to get rid of Kermit and plan a robbery that the performance will serve as a distraction and cover for. It takes most of them awhile to figure it out, despite Animal's awareness that things just aren't right with this new manager. A few fun cameo bits by A-list actors, but otherwise a lackluster production. PG for violence.
THE MUPPETS TAKE MANHATTAN (G) 91 minutes * * It’s another muppet movie! Lots of cameos by humans that don’t really add anything to the story. There are some fun songs here, but not very much to the story.
MURDER AT 1600 (R) 103 minutes * * * 1/2 Harlan Regis (Wesley Snipes) is a Washington D.C. homicide cop, but this time the murder has taken place at the White House. Of course he finds that a number of things are being covered up by the secret service, but who is being protected and why? A number of tense chase scenes and quality performances fill this very well-written mystery. Our suspicions are moved slowly and carefully until the answer finally falls into place. Snipes, Diane Lane, Dennis Miller, and Daniel Benzali are all to be applauded for their performances. Great soundtrack by Christopher Young too! R for violence and sex.
MURDER AT YELLOWSTONE CITY (NR) 122 minutes * * * Yellowstone City was once an exciting place. When a local prospector strikes gold, it looks like it might be that way again. And then he turns up dead. The sheriff (Gabriel Byrne) is sure he knows the guilty party. a drifter who was once a slave. When another person is killed, the preacher (Thomas Jane) is not so sure that the sheriff is right. A strong story with well-developed characters, and great intensity near the end.
MURDER BURY WIN (NR) 89 minutes * * 1/2 They love to play games. These three friends have come up with a new game called "Murder Bury Win", and they just know it's a hit. Apparently the public doesn't think so, but there is someone else who does. A very clever story with a nice twist. The acting is a little too campy and doesn't do the story justice. The pacing also drags a little in the second half.
MURDER BY NUMBERS (R) 116 minutes * * 1/2 A couple of high school kids who are just a little bit socially twisted, decide to commit a murder... the perfect murder. The problem is, the woman investigating is pretty close to perfect herself. As is typical for Sandra Bullock, she is able to create a character that is easy to feel comfortable with and that we care about. The editing is a little weak early in the film, but improves as the film progresses. Much like the title though, the film is a bit methodical and predictable, as though it was made by following along in the book of "how to make a murder/mystery movie". R for violence and language.
MURDER IN BIG HORN (NR) 152 minutes * * * Young Native American women are being killed in Big Horn County in Montana. The local authorities are not helping the situation. Their unwillingness to di ant serious investigating helps to ignite a movement that brings attention to the thousands of missing and murdered native people all across the country. Straight-forward, informative documentary.
MURDER IN THE FIRST (R) 117 minutes * * * A wonderful performance by Kevin Bacon as Henri Young, who is sent to Alcatraz for stealing five dollars. It is under the influence of the prison that he turns into a murderer who spends so much time in solitary that he can barely tolerate the presence of other people. The supporting performances are a little too sketchy, but it's nice to see Bacon in a role that lets him show his talents a little more.
MURDER OF A CAT (NR) 96 minutes * 1/2 When Clinton's (Fran Kranz) cat is killed, he is determined to find out who is responsible. The script isn't bad, but Kranz just doesn't seem to be able to deliver. Balancing on that line between comedy and drama is tricky, and despite some great potential, this misses the mark.
MURDER ON THE HOME FRONT (NR) 93 minutes * * 1/2 It's London in 1940, and the war is in full swing, with bombs dropping all over. A perfect time to commit a crime and have it go unnoticed... maybe. Jazzy, upbeat, British murder mystery that is fast-paced and fun to watch. Patrick Kennedy and Tamzin Merchant work well together and create characters we want to know even more by the end of the film.
MURDER ON THE ORIENT EXPRESS (PG-13) 107 minutes * * * Classic Agatha Christie mystery with Hercule Poirot (Kenneth Branagh) working to uncover the truth about a murder on a train. Branagh is not the best Poirot we've seen over the years, but he's not bad, and the supporting cast is packed with talent. PG-13 for violence.
MURDER SHE BAKED: A DEADLY RECIPE (NR) 83 minutes * * She may be looking for the perfect chocolate cupcake recipe, but Hannah (Alison Sweeney) is also going to solve the murder of the sheriff. Another entry in the series adapted from Joanna Fluke's novels.
MURDER SHE BAKED: A PEACH COBBLER MYSTERY (NR) 84 minutes * * Hannah's (Alison Sweeney) bakery might be getting some competition... until she finds the baker dead. Now, everyone thinks she killed her competition. Light-hearted and fun mystery, adapted from the book by Joanne Fluke. Third in the series.
MURDER SHE BAKED: A PLUM PUDDING MYSTERY (NR) 83 minutes * * Hannah (Allison Sweeney) hasn't pursued a romantic relationship for quite awhile. Now, not only does she find herself between two suitors, but trying to solve another murder mystery. What mixes better with murder and the holidays but a little baking... courtesy of Hallmark.
MURIEL'S WEDDING (R) 100 minutes * * * Muriel (Toni Collette) is a plain girl, and not all that bright. So she leaves her home town in the hopes of getting away from her dysfunctional family. Her friends turn out to be not so friendly and... well, I won't give the rest away. Wonderful performances by Collette and Rachel Griffiths and great new arrangements of the music of ABBA give this a quality that will stay with you for a long time.
MURPHY'S LAW (R) 97 minutes * * 1/2 Framed for a murder he didn't commit, Jack Murphy (Charles Bronson) not only has to find a way to bring the real killer to justice and clear his own name, but he has to do it while handcuffed to the car thief he had just brought in to the station. Mostly typical Bronson action, but the script is slightly above normal.
MURPHY'S ROMANCE (PG-13) 105 minutes * * * A somewhat eccentric, middle-aged widower (James Garner) falls in love with a divorced horse trainer (Sally Field) trying to make it on her own with her son. Well-made, slow-paced, relaxing story of an unlikely romance, and what it means to really care about someone. PG-13 for sex, violence, and language.
MUSCLE SHOALS (PG) 104 minutes * * 1/2 Artistic inspiration is a strange and wonderful thing. This is the story of one scuh place where that musical magic happened... FAME Studios in Muscle Shoals, Alabama. A must-see for music history buffs. PG for language and nudity.
THE MUSE (PG-13) 92 minutes * * Stephen (Albert Brooks) is a writer who's scripts "lack energy". He's not sure what to do about it until a friend recomends a muse. But is she really a muse, or just someone who understands how exciting life can be and that the excitement can be infectious and inspirational. Andie McDowell's lifeless performance really hurts the film, making us wonder if she rehearsed at all. Brooks is a little less irritating than usual, but the film falls far short of what it might have been with better direction and a script that dealth with its loose ends a bit better. PG-13 for language and nudity.
MUSE: UNDER REVIEW (NR) 106 minutes * * 1/2 The group Muse is presented here, with information about their formation and growth, with extensive discussions of their recordings. The focus is on the music itself, with less information on the band, except as it relates to the music. We do learn about the band, but the almost non-biographical approach is rather interesting. Quite a bit of performance footage is included, so we are able to see that aspect of the band too.
MUSEUM HOURS (NR) 99 minutes * * * Johann (Bobby Sommer) has always found working at the art museum to be a peaceful and calming job. His conversations with Anne (Mary Margaret O'Hara), a visitor he meets one day, inspire a fresh, creative look at the museum and the world around it, for both of them. An unusual piece, that frequently has a very documentary-like style. In part, this is because the photography frequently focuses on "real-life" moments rather than the characters. This style, and the tone of the script in general manage to create a film that feels and looks like a Breugal painting come to life. Nicely done.
MUSEUM TOWN (NR) 71 minutes * * * North Adams, Massachusetts was a town on the rise. And then the primary employer of the area left town. The entire town was devastated. But someone had an idea. It would mean thinking outside the box. North Adams is now home to the world's largest museum of contemporary art. This is the story of the museum and of the town it calls home.
MUSIC (PG-13) 99 minutes * * * 1/2 Zu (Kate Hudson) isn't very close to her grandmother (Mary Kay Place) or her half-sister Music (Maddie Ziegler). But suddenly, she finds herself Music's sole guardian and caretaker. It's not something she feels ready for, as Music is autistic. Sometimes life throws you a curve. With the help of some friends, adapting to a new normal just might work. Imaginative musical numbers with a stunning number of costumes highlight the story and help us learn about the way Music sees life. Ziegler's performance is amazing and is well supported by both Hudson and Leslie Odom Jr.. Writer/producer/direcotr and actor Sia does a wonderful job of weaving music and drama into a powerful story of love. PG-13 for violence and language.
MUSIC AND LYRICS (PG-13) 98 minutes * * Alex Fletcher (Hugh Grant) is pretty much a musical has-been. But if he can write a song that Cora Korman (Haley Bennett) likes, he just might show that he has a little life left in the music business. The only problem is that he can't seem to find the right lyrics. The young woman who has come over to take care of his plants just might be able to help out with that. Lightweight fun, with Grant and Drew Barrymore playing off each other quite well. They are what make the film entertaining, as the script is too predictable and shallow to offer much. Barrymore, Grant, and Bennett all perform their own songs and the video for "Pop Goes My Heart" is a treat all by itself. PG-13 for langauge and sex.
THE MUSIC NEVER STOPPED (PG) 100 minutes * * * The brain tumor Gabriel (Lou Taylor Pucci) had, destroyed the part of his brain that affects his ability to remember and to communicate. He does remember the music though, and it offers a possible way to reach through. Pucci does a very nice job here, and the supporting cast do well too. In particular, J. K. Simmons, as he struggles to reconnect with his son, desperate not to miss the only chance he may have left. Adapted from Oliver Sacks' essay, "The Last Hippie". PG for language.
MUSIC OF THE HEART (PG) 119 minutes * * * Wes Craven doesn't usually direct films like this and it shows a little bit early on as far as the way the story flows. But if you can stick with it for the first 30 minutes or so, you'll enjoy the rest. It's the story of a violin teacher and her students in an area of Harlem. Heartwarming and inspirational, with a nice performance by Meryl Streep. If you enjoy this, be sure to see the documentary it's based on, "Small Wonders". PG for language.
MUSIC WITHIN (R) 98 minutes * * * Richard Pimentel (Ron Livingston) is a naturally gifted public speaker, but when he auditions for Dr. Padrow, he is told that he needs more life experience because his speaking lacks the heart and passion it needs. Pimentel enlists in the military, goes to Vietnam, and after being wounded, becomes an advocate for veterans and a world-renowned public speaker. An amazing amount of story is very well packed into this film, with bits of humor to help us manage the tragedy and frustration at what Pimentel and his friends have to deal with. R for language and sex.
THE MUSKETEER (PG-13) 98 minutes * * Pop entertainment version of the classic story with a bit of humor thrown in for good measure. Some fight sequences (choreographed by Xin Xin Xeong) are quite good, but many are filmed in dim lighting or are just too far-fetched to make any sense at all. Tim Roth and Stephen Rea are wonderfully evil in their roles, but this script is well beneath their talents. PG-13 for violence.
MUST LOVE DOGS (PG-13) 94 minutes * * * Sarh (Diane Lane) and Jake (John Cusack) are both single people who have pretty much given up on relationships. They also both have friends and relatives who won't let them quit. On-line matchmaking services bring them together and they discover that there's still a chance that they just might find someone. As well as a delightful supporting cast that includes Dermot Mulroney, Elizabeth Perkins, Stockard Channing, and Christopher Plummer, this is filled with dialogue that sparkles with humor and feels very natural. It's a familiar story, but it still works. PG-13 for language.
MUSTANG (PG-13) 92 minutes * * * An innocent game at the beach is the end of innocence for these five girls. They are orphans, and their guardians, who are very conservative, quickly begin to marry the girls off so there won't be any trouble. The girls are far from satisfied with this fate, but their options are few and difficult. Well performed, though the story doesn't really go very far. PG-13 for language and sex.
THE MUSTANG (2019) (R) 92 minutes * * 1/2 A hardenend and violent criminal, Roman (Matthias Schoenaerts) gets a chance he never asked for. The prison where he is incarcerated participates in a program where inmates work with wild mustangs to get them ready for auction. Roman's horse is as unpredictable as he is, but also just as determined. Learning to work together is what the program is all about. R for language and violence.
MUTANT CHRONICLES (R) 100 minutes * * A battle to save planet Earth. The future looks grim, with four corporations ruling the planet, which is about to completely run out of resources. And if that wasn't bad enough, now there are mutants from the underworld that have been released and are destroying everything in their path. Dark and violent, with some good effects when you can see them. There's not much depth to the story though, and Thomas Jane's performance is far from exciting or interesting. R for violence and language.
MUTANTS (R) 86 minutes * 1/2 A doctor and her boyfriend try to hide out during a zombie apocalypse, but of course it turns out that he has already been infected. Nice effects, but the story just keeps hitting one note and doesn't give much background. R for violence.
MUZZLE (NR) 95 minutes * * 1/2 When Jake's (Aaron Eckhart) K-9 partner is killed in the line of duty, he is determined to make the killer pay. It's not going to be easy. The subplots are a big tangled and the ending is rather abrupt, but it somehow seems to work a little better than it should. That's mostly due to Eckhart and our sympathy for the dog.
MVP (NR) 108 minutes * * * Will (Mo McRae) is trying to deal with the idea that his career in the NFL is over. After getting wasted one night, he is brought home by Zephyr (Nate Boyer). Zephyr is a veteran, struggling to find his own place in the world outside of the military. Leaning on each other just might help them both. Written, produced, and directed by Boyer, and quite well done. The message is a little heavy-handed, but it's still very good.
MY ADVENTURES WITH SANTA (PG) 87 minutes * The holiday season has become a bit stressful in the Nolan Home. It's also stressful at the North Pole, and Christmas spirit is at an all-time low in both places. A magical snowglobe is about to transport the Nolans to the North Pole, where they just might rediscover their Christmas spirit, which will help Santa too. The script and acting are not strong points here. PG for language.
MY ALL AMERICAN (PG) 111 minutes * * * The story of Freddie Steinmark (Finn Wittrock), who played for the University of Texas Longhorns football team. He was one of the greatest, and the mark he left on the sport was strong and deep, despite his time with them being cut short. Solid sports drama. PG for violence, language, and nudity.
MY AMITYVILLE HORROR (NR) 87 minutes * * 1/2 The story of the original event through the eyes of the man whose childhood was so deeply affected by living through it. In that sense, it's interesting, but it doesn't really answer the questions you might expect, and if you're cynical at all about the story being real, this documentary will not convince you otherwise.
MY ART (NR) 82 minutes * * 1/2 On a break for the summer, Ellie (Laurie Simmons) shifts from being the teacher to being the artist. Her journey on this new path begins at a retreat in upstate New York. In some ways, she is going back to her roots, and in others, she is forging ahead in a new direction. Either way, she is looking at what her life means and how she can use that to inform her art. Writer/director/artist Simmons does a nice job of presenting her character. It is more than a little pretentious part of the time, and it is also filled with film references that require a rather extensive awareness of cinematic history to catch the majority of them.
MY BABY'S DADDY (PG-13) 79 minutes * Lonnie, Dom, and G have been friends since birth... and now they're going to be fathers themselves. That means they're going to have to be a little more mature than they're used to. It's about priorities, and about 79 minutes too long. Eddie Griffin, Anthony Anderson, and Michael Imperioli play the three friends and Griffin's name is all over the project, which may be part of the problem as well. PG-13 for language.
MY BABYSITTER'S A VAMPIRE (NR) 79 minutes * * Ethan (Matthew Knight) isn't allowed to babysit his little sister, but it turns out that Sarah (Vanessa Morgan) is more than just a babysitter... she's a vampire. Lightweight, TV sit-com humor, including some fun parodies of "Twilight". It works as well as it does because it doesn't try to be deep, complicated, or highly artistic. A short-lived TV series followed.
MY BEAUTIFUL LAUNDRETTE (R) 94 minutes * * 1/2 Two young men take over the operation of a laundrette in Britain. Not something that first comes to mind when thinking of a story, but these are well-crafted characters. The story doesn't really branch out far enough though, staying a bit too single-mindedly on its topic.
MY BEST FRIEND (PG-13) 91 minutes * * * 1/2 Who is your best friend? Francois (Danny Auteuil) thought he had quite a few friends, and that among them must surely be a best friend. But when his business partner Catherine (Julie Gayet) challenges him to prove it, the task is more difficult than he thought. Auteuil is wonderful in this charming film that easily makes us smile as well as ponder the question for ourselves. Nice supporting work from Dany Boon as well. PG-13 for language.
MY BEST FRIEND (2016) (NR) 97 minutes * 1/2 Another "girl and her horse" drama, with young Kristen (Alexis Rosinsky) forced to leave the city for the country. Leaving old friends and making new ones is made a little easier by a horse that she can have conversations with. Low-budget, amateur production with a story that tends to drag. Part of the problem is likely due to director Paul Della Pelle also serving as writer, producer, and editor.
MY BEST FRIEND'S BOUQUET (NR) 84 minutes * * 1/2 Josie (Chaley Rose) firmly believes that the person who catches the wedding bouquet will be the next to marry. Having caught the bouquest herself, when she starts dating someone else who was at the wedding, she thinks he must be the one. But she might be missing someone who she's already close to. Really nice work by Rose.
MY BEST FRIEND'S GIRL (R) 95 minutes * * Tank (Dane Cook) is the jerk guys hire to get their girls to come running back. But when Tank gets hired by his roommate, it doesn't turn out the way either of them expects. Alexis (Kate Hudson) actually falls for Tank and doesn't want to go back to Dustin (Jason Biggs). Cook does a great job here and Hudson is charming and fiery, which works well. Biggs tries to draw too much attention to himself and the script draws these characters so broadly that they lose much of the appeal they might have otherwise had. R for language and sex.
MY BEST FRIEND'S WEDDING (PG-13) 101 minutes * * 1/2 Julia Roberts and Dermot Mulroney star in a story of longtime best friends, lost loves, and the risks involved in doing the right thing. The real star of the show is Roberts' friend George, played by Rupert Everett, who does a fabulous job with his supporting role. Too much of the film is interrupted with comic sequences that don't have anything to do with the story, although most audiences find them appealing. The integrity of the story is damaged though, and we never feel as much a part of this film as we need to for the ending to have the impact it should. PG-13 for language.
MY BIG FAT GREEK WEDDING (PG) 91 minutes * * Toula has a hard time fitting into the mold of what her Greek family expects of her, especially her father, who expects her to just be happy finding a Greek husband and having lots of children. She finally does fall in love, but he's not Greek and the family has to decide what they're going to do. There are a few moments where this film does exhibit some charm, but the story is too often muddled and drags us along through rather tiresome ideas about a late bloomer coming of age. PG for language.
MY BIG FAT GREEK WEDDING 2 (PG-13) 90 minutes * * * While Toula (Nia Vardalos) and Ian (John Corbett) are in the midst of dealing with their soon-to-be-empty nest, the rest of the family is shocked to discover that their mother and father aren't actually married. More charm and more fun than the first, though Corbett does look a little lost more than once. PG-13 for language.
MY BIG FAT GREEK WEDDING 3 (PG-13) 85 minutes * * 1/2 When the head of their family dies, Toula (Nia Vardalos) takes the family to Greece to meet up with his childhood friends. As it is often said, "it's the journey, not the destimation". The story and the characters are fun, though the meeting of their father's friends is less of a climax to the story then first expected. That's a big part of the "journey versus destination" aspect of the film. While Vardalos has written all three entries in the series, this is the first one she has directed. PG-13 for language and nudity.
MY BLOODY VALENTINE (2009) (R) 95 minutes * * This remake of the 1981 slasher horror film is pretty much the same film as far as bloody effects and ridiculous story. Add in some 3D special effects, and that's about it. The soundtrack is a bit more energetic than the original, but this is for die-hard slasher fans only. It wasn't really a good film the first time around... and this isn't really much, if any, better. R for violence, sex, and language.
MY BLUE HEAVEN (PG-13) 93 minutes * * Vinnie (Steve Martin) has decided to become an informant and go into the witness protection program. He's a bit harder to handle than Barney (Rick Moranis) had expected. Martin's characterization is wonderful, but with the supporting talents that are here, you'd expect this to be better than it is. Carol Kane, Joan Cusack, Daniel Stern, and William Hickey do their best, but the script is tired and dry through too much of the film and only seems to come to life thanks to Martin.
MY BLUEBERRY NIGHTS (PG-13) 87 minutes * * 1/2 Laidback, blues sort of story about a young woman's journey across the country and within herself. Nice performance from singer/actress Norah Jones. The story tends to drift a bit too much, losing us at times, though usually catching us again a bit farther down the road. An interesting film, though it probably won't be one of your favorites. PG-13 for violence.
MY BOSS'S DAUGHTER (PG-13) 80 minutes 1/2 Tom (Ashton Kutcher) thought he was going to get a date, but instead, he ends up housesitting for his boss. And, of course, as the night continues, things get worse... and more stupid. There are a couple of brief funny moments here and a very earnest performance from Kutcher, but this is otherwise a waste of time. PG-13 for language.
MY BOY JACK (NR) 92 minutes * * * War is never easy, but Rudyard Kipling (David Haig) really wants his son to do his duty and serve his country proudly. Haig adapts his stage play to the small screen quite successfully here, with a powerful story that is part war story and part family drama. Daniel Radcliffe plays young John Kipling, caught up in the excitement of trying to please his father. Filmed in counties Laois and Kildare in Ireland.
David Haig adapts his play from stage to the small screen MY BOYFRIEND'S BACK (PG-13) 81 minutes * * Cartoonish story about a boy who comes back from the dead to take his girlfriend to the prom. The corny dialogue makes this mildly fun to watch, but the acting, directing, and production quality in general are sorely lacking. PG-13 for language and violence.
MY BROTHER IS AN ONLY CHILD (R) 95 minutes * * 1/2 Two brothers (Elio Germano & Riccardo Scamarcio) who are often at odds with each other, growing up in Italy in the 1960s and 1970s. Competing for love, for acceptance by others, and for how they feel the country should be run, they remain close, though often frustrated by each other. Writer/director Daniele Luchetti won the David di Donatello award for his screenplay, a wonderful, slice of Italian life during this period of history. R for language and sex.
MY CHAUFFER (R) 96 minutes * * When Casey (Deborah Foreman) hires on as a new driver for a limousine service, it upsets the balance of things. That suits her just fine. An unusual film, featuring a cast that includes Penn & Teller, Howard Hessemann, and Sam Jones. Lots of sex and even more foul language, but a fun story and some great music.
MY CHRISTMAS FAMILY TREE (NR) 83 minutes * * 1/2 The results from a DNA test lead Vanessa (Aimee Teegarden) to a new family, just in time for the holidays. There might be a wrinkle to the story, but this is a Hallmark film, so it will all work out in the end, with a little romance in the mix as well.
MY COUSIN RACHEL (PG-13) 101 minutes * * * Philip (Sam Claflin) is certain that his cousin's wife Rachel (Rachel Weisz) was responsible for his death, and he sets out to prove it and bring her to justice. But her charms soon get the best of him and he finds himself on a different course. Moody and mysterious, and a worthy adaptation of the Daphen du Maurier novel. PG-13 for sex and language.
MY COUSIN VINNY (R) 114 minutes * * 1/2 Vincent Gambini (Joe Pesci) has been a lawyer for six weeks. It took him six years to pass the bar exams. Now he has to defend his cousin, who has been charged with murder in Alabama. There's little here in the way of story, but the dialogue is wonderful. Pesci and Marisa Tomei work very well together, and her outrageous and witty portrayal of Mona Lisa Vito is worth a look on its own. There are some great scenes here, just not enough to make a film. R for language.
MY DATE WITH DREW (PG) 88 minutes * * 1/2 With only $1,100 and a borrowed camera, Brian Herzlinger decides to try to get a date with Drew Barrymore, who he's had a crush on ever since he saw her in E.T. - but is it really possible? Reality-style film that works in large part due to Herzlinger's appeal as an "ordinary guy". It's difficult not to like this, since the whole idea is about taking the risk to see your dream come true, using the limited means that most of us are very familiar with. PG for language.
MY DEMON LOVER (PG-13) 83 minutes * * It isn't the full moon that makes Kaz (Scott Valentine) turn into a demon, but whenever he starts thinking about sex... Cute and mostly harmless look at the difference between love and lust with some nice make-up effects from John Caglione Jr. and Carl Fullerton.
MY DOG SKIP (PG) 91 minutes * * * Predictable tale of a young boy and his dog, growing up together, making friends and having the usual misadventures. The acting is good and the story, taken from Willie Morris' book, is entertaining, but the pacing is off and the makeup is rather poor. What makes this worth a look are the performances of Frankie Muniz as Willie Morris and Caitlin Wachs as Rivers Applewhite. Talented young actors like these are always a treat to watch. PG for violence and language.
MY DOG TULIP (NR) 79 minutes * * 1/2 J. R. Ackerley's account of life with his pet dog, an Alsatian, that is both intensely loyal, and quite entertaining. In particular, the story focuses on his attempts to find her a mate. Based on a novel, though very autobiographical in nature.
MY ENTIRE HIGH SCHOOL SINKING INTO THE SEA (PG-13) 72 minutes * * 1/2 High school life can be rough, but these three friends who work on the school paper are about to experience something catastrophic. Fun combination of a coming-of-age story, with a teen angst angle, and a disaster epic. It's animated, because it just works better that way. PG-13 for violence and sex.
MY FAKE FIANCEE (NR) 86 minutes * * Strangers at first, Jennifer (Melissa Joan Hart) and Vince (Joseph Lawrence) decide to fake an engagement in order to get all of the presents. The results are predictable, but Hart in particular keeps the mood light and cute. It's not particularly memorable, but a pleasant enough diversion.
MY FAMILY (R) 121 minutes * * This is the story of three generations of the Mexican-American Sanchez family in Los Angeles. Though it is fairly interesting at times, there are minor technical errors throughout and the acting is strictly TV movie caliber. The last half hour makes the film a little more endearing, but it will mostly be of interest to fans of Jimmy Smits, who plays the part of... Jimmy! R for language.
MY FATHER AND THE MAN IN BLACK (NR) 85 minutes * * * Director Jonathan Holiff explores the life of his father, manager of the music legend Johnny Cash. He began to do the project as a way to learn more about his father, but discovers a great deal about himself in the process as well as a great deal about the man in black. Nicely done.
MY FATHER MY LORD (NR) 70 minutes * * Tragic story of Abraham (Assi Dayan) and Esther (Sharon Hacohen) and their young son Menahem (Ilan Griff). Abraham is a Rabbi, and dedicated to the study and teaching of the Jewish faith. Esther understands and respects this, though it's difficult to raise their son, who is beginning to ask questions that she struggles to answer well. A short vacation near the Dead Sea is planned to give them a chance to be together as a family, but Abraham's dedication to his faith is about to have a tragic outcome.
MY FATHER THE HERO (PG) 86 minutes * * 1/2 Andre (Gerard Depardieu) takes his daughter on vacation to Nassau. Having not spent time with her for several years, the behavior of a 14-year-old girl is rather mystifying to him. And he can't figure out why everyone on the island seems to be avoiding him... There isn't a lot of substance to the plot here, but it's still entertaining and good for a few laughs. PG for language.
MY FAVORITE FIVE (NR) 88 minutes * * 1/2 Hailey's )Rochelle Aytes) top five qualities have never been found in one man before. The only problem is that the man who has them all, isn't interested in her... yet. Standard romantic story with reasonably good acting.
MY FAVORITE MARTIAN (PG) 98 minutes * * 1/2 Christopher Lloyd stars in this revisitation of the old TV series. The story is fairly inventive and ties in well to its predecessor. It errs mostly in how over-the-top Lloyd's performance is, making the film too slapstick. The special effects are solid though, and it's easy to watch, thanks to the performances of Lloyd, Jeff Daniels, and Daryl Hannah. Watch for a sequel to follow soon! PG for language.
MY FAVORITE WEDDING (NR) 83 minutes * * 1/2 Her best friend is in full wedding crisis mode. Tess (Maggie Lawson) ends up working with the best man (Oaul Greene) quite a bit to try and save the day. Nice work from the supporting cast.
MY FAVORITE YEAR (PG) 89 minutes * * * ½ An aging, alcoholic film star (Peter O’Toole) is slated to be the featured guest on a variety show. When things don’t go as planned, and some people want to throw him off the show, Benjy Stone (Mark Linn-Baker) does everything he can to save his long-time idol. Very well-written, and O’Toole and Linn-Baker work very well together.
MY FELLOW AMERICANS (PG-13) 96 minutes * * 1/2 Jack Lemmon and James Garner star as two former presidents uncovering a plot of deception in the government. A good dose of "grumpy old man" humor here, but the pace drags too much and the only thing that keeps this going at all is the chemistry between the leads. Surprising waste of talent. PG-13 for language.
MY FIRST MISTER (R) 109 minutes * * * Leelee Sobieski and Albert Brooks star in this interesting look at two very different people. Jennifer (Sobieski) is a seventeen-year-old who is into tattoos, graveyards, and the gothic scene. Randall (Brooks) is a middle-aged salesman who is more than a little uptight about life. But when they meet, something clicks and they begin to open up to each other, providing the connection to another human being that each so desperately needs though they have both refused to admit it. Humorous and heartbreaking, it's not an unfamiliar story, but Sobieski and Brooks do a wonderful job of bringing it to life and making it personal. Director Christine Lahti does an amazing job of tempering Brooks' typically whining performance and made it much more thought provoking and entertaining. Working with Sobieski undoubtedly helped as she is truly a gifted actress and likely to bring out the best in whoever she works with. R for language.
MY FRIEND DAHMER (R) 102 minutes * * * The story of Dahmer's (Ross Lynch) awkward high school years. With a tendency to do the unusual and be the outsider, Dahmer struggled with relationships. This was only increased by having a mentally unstable mother and an ineffectual father. The film does a very nice job of presenting the idea that it was no single thing that made Dahmer do what he did. He didn't "snap" and become a killer overnight. It was instead, a slow drift, and in many ways that makes it even more frightening. R for violence, language, and sex.
MY GAL SUNDAY (NR) 79 minutes * 1/2 A newlywed private investigator couple find themselves rescuing their parents who have been taken hostage. Lightweight TV mystery with very mediocre performances. Forgettable fare, but harmless enough.
MY GIANT (PG) 98 minutes * 1/2 A small-time acting agent finds himself in Romania, losing his best (only) client, and having to start at the bottom. He stumbles onto a giant, and may have found a new beginning. But we really don't care, because he is an unlikable sort of guy who always puts himself first, though Billy Crystal has a hard time playing that sort of character. The morals here are good, but the film would have been better served by going more directly for the juvenile audience it keeps leaning toward. A formula film, with little to offer, even to fans of Crystal. Filmed in New York, Las Vegas, Los Angeles, and Prague, Czechoslovakia. PG for language.
MY GIRL (PG) 99 minutes * * * Vada (Anna Chlumsky) is 11 years old, growing up in a funeral parlor with a senile guardian and her father. Her only real friend is a neighborhood boy (Macauley Culkin) who doesn't have any friends either. Dealing with relationships and death wasn't easy for a kid in 1972, but then, it's never easy growing up. Chlumsky is fantastic here, and Culkin manages to turn in one of his better performances as the shy kid next door. The poor editing job muddles the effectiveness of a few scenes, but thanks to the actors and some well-chosen music, we aren't too distracted.
MY GIRL 2 (PG) 94 minutes * 1/2 Vada (Anna Chlumsky) has to do a report for school on a famous person whom she doesn't know very well. She chooses her mother, and goes off to Los Angeles to see what she can find out from people who knew her mother. While the idea is sentimental enough, and the movie does have a heart, it also has a very bad script. Chlumsky has her moments, but the supporting cast is shallow and it is only her own talents that make this bearable to watch. PG for language.
MY GOLDEN DAYS (R) 121 minutes * * 1/2 While preparing to leave Tajikistan, Paul Dedalus (Mathieu Amalric) looks back at important moments during his adolescent years. Some of the flashbacks are more interesting than others, but since they do make up the bulk of the film, the back and forth really isn;t necessary. R for sex and language.
MY GROWN-UP CHRISTMAS LIST (NR) 83 minutes * * ½ It’s a chance meeting, but each year, Taylor (Kayla Wallace) and Luke (Kevin McGarry) end up seeing each other in their old hometown. It’s a return to family for both of them, but when Luke has to go to Eastern Europe to train soldiers, the fact that it’s a promotion doesn’t really matter. Their pattern of meeting each other every year is going to be much more difficult. Can they still make it work? Can you say Hallmark?
MY GUARDIAN ANGEL (NR) 99 minutes * 1/2 When Hannah's (Holly Jacobson) twin sister dies, her parents become even more abusive. but Hannah's sister wants to make sure tht she didn't die in vain. She wants to protect her twin. It's a good story, with just enough creepy elements to edge it into the horror genre, but the dialogue is very poorly written.
MY HAPPY ENDING (R) 83 minutes * * 1/2 She never expected this, but then, who does? The diagnosis is colon cancer, and Julia (Andie MacDowell) is adjusting to the diagnosis and to the treatment process. Julia will explore what is truly important to her with the help of three other cancer patients as she struggles to find her own happy ending. R for language.
MY HEART CAN'T BEAT UNLESS YOU TELL IT TO (NR) 86 minutes * * 1/2 It's difficult to care for Thomas (Owen Campbell), but that's what his brother Dwight (Patrick Fugit) and sister Jessie (Ingrid Sophie Schram) are determined to do. The blood they give him keeps him alive, but it's getting more difficult to find people who won't be missed. A very different and interesting way to look at the story of a vampire. It doesn't give us any origin or back story though, which tends to weaken the film as a whole.
MY HERO ACADEMIA: TWO HEROES (PG-13) 91 minutes * * 1/2 As usual, All Might is following where trouble leads, and Deku is right beside him. Deku will play a more important role though, as will the rest of the younger heroes who aren't officially allowed to fight villains yet. The truth is, if they don't fight, the world may come to an end. Nicely done, with plenty of action and explosions, but a good story that keeps our attention. PG-13 for violence.
MY HEROES HAVE ALWAYS BEEN COWBOYS (PG) 101 minutes * * 1/2 Scott Glenn plays a rodeo cowboy who has come home to care for his aging father. But life in the old home town has changed, even though many of the faces are still the same. There's a pleasant feel to the film, but it tends to wander around a bit too much. It's a nice enough cast though, including Kate Capshaw, Tess Harper, Mickey Rooney, and Gary Busey.
MY KID COULD PAINT THAT (PG-13) 80 minutes * * 1/2 When Marla Olmstead began to paint, no one had a clue what would happen. Almost overnight, she became a sensation. But is she really that talented? Are the paintings really hers? Is she truly a child prodigy, or "just a little girl painting in her house"? Interesting documentary that his quite a few interesting things to say about Olmstead and her family as well as the world of art. Could your kid paint like this? PG-13 for language.
MY KING (NR) 119 minutes * * * Tony (Emmanuelle Bercot) and Georgio (Vincent Cassel) were a passionate couple, but their relationship was not without its share of difficulties. How much "bad" is it OK to take with the "good"? We each have our limits, but these two are still struggling to discover what those limits are. Cassel and Bercot are both very good here, but the flashbacks are not helpful to moving the story along.
MY LAI (NR) 82 minutes * * * The story of one of the worst wartime atrocities. Interviews with the soldiers who were there as well as the Vietnamese survivors give us a fairly clear picture of what happened. What no one ever expected was how far-reaching the ramifications of the incident would become.
MY LEFT FOOT (R) 100 minutes * * * * The life story of Christy Brown (Daniel Day-Lewis), an artist with cerebral palsy. Day-Lewis and Brenda Fricker both won Oscars for their performances in this powerful film. It's a story that goes beyond seeking your sympathy for someone who doesn't have the advantages most of us do. It's the portrayal of an artist, with all the heart and heartache that come with that territory. R for language.
MY LIFE (PG-13) 113 minutes * * * 1/2 After receiving a fatal cancer diagnosis, Bob (Michael Keaton) sets about making a video to leave his yet unborn child so that he will be able to know his father. Lots of dynamic power here and Keaton plays it all so well. Not so much a tear-jerker as it is dramatic and thought-provoking. PG-13 for language.
MY LIFE AS A DOG (Not Rated) 101 minutes * * * A young Swedish boy is shipped off to live with some relatives in this slice of childhood film set in the 1950's. Director Lasse Hallstrom gives us a film full of the delights, charms, drama, and heartbreak of being a child. Definitely a foreign film not to be missed.
MY LIFE AS A ZUCCHINI (PG-13) 61 minutes * * * After his mother dies in an accident, Courgette ends up in a foster home. It's not an easy life, but he soon makes friends, learns about life, and falls in love. Nominated for both an Oscar and a Golden Globe award, this is a fine piece of animation, though the story is a little dark. The PG-13 rating is for language, but also for the topic in general.
MY LIFE IN RUINS (PG-13) 90 minutes * * * Georgia (Nia Vardalos) is a tour guide to Pangloss Tours. She likes to make her tours educational, but the tourists tend to prefer a more entertaining approach. Part of Georgia's problem is that she needs to feel loved. But when it's right in front of her, she finds it easier to look for obstacles than for magic. Light romantic comedy with beautiful Greek scenery in the background. PG-13 for language and sex.
MY LITTLE PONY: EQUESTRIA GIRLS (G) 71 minutes * * 1/2 Twilight has been crowned princess and granted wings, but it's proving difficult to get used to. When her crown is stolen, Twilight must travel through a magic portal to retrieve it and set things right. Nice supplement to the TV series with some very cute songs.
MY LITTLE PONY: EQUESTRIA GIRLS FRIENDSHIP GAMES (NR) 70 minutes * * The Friendship Games are bringing out the worst in the two schools, and it's up to the girls to figure out what's going on and set the magic right. This would have worked better as a 30-40 minute story as it just keeps going over the same ideas after awhile. There just isn't enough material for the length its been stretched to.
MY LITTLE PONY: EQUESTRIA GIRLS LEGEND OF EVERFREE (NR) 70 minutes * * The girls head to summer camp. They all have very different ides of what the perfect camping experience will look like, but the strange things that are about to happen are going to make this camping experience one they will never forget. It also means that their plans are going to have to change. There's some nice music, but the story isn't as exciting as it needs to be.
MY LITTLE PONY: THE MOVIE (G) 84 minutes * * ½ An evil witch creates a strange purple ooze called Smooze that is designed to ruin the Spring Festival the ponies are planning. Can they stop it in time to save the festival? Aimed at the five and under age crowd. Adults will likely grow tired of the excessively overplayed theme song.
MY LITTLE PONY: THE MOVIE (2017) (PG) 91 minutes * * 1/2 Equestria is at risk, and only the power of friendship can save it. Twilight and the rest of the ponies will have to give it their all to prove just hoe much friendship can accomplish. But first, they will need to deal with some trouble, because the Storm King is up to his old tricks again. PG for violence.
MY LITTLE PRINCESS (NR) 100 minutes * * * Though raised by her grandmother, Violetta (Anamaria Vartolomei) idolizes her mother and craves her attention. Her mother (Isabelle Huppert) is primarily interested in what will further her career as an artist. If that means objectifying and exploiting her daughter, that's just part of the price that must be paid for success. This is a bit of an autobiographical piece for writer/director Eva Ionesco, who experienced much of the same when she was 12 years old, the same age as the talented Vartolomei. The flow of the story is a little uneven, but otherwise this is quite good.
MY LITTLE SISTER (NR) 75 minutes 1/2 Next time you're camping in the woods, and some stranger tells you it isn't safe, you might want to heed their advice. Otherwise, "little sister" just might rip your face off. Lots of mood and not much dialogue, which makes this feel much longer than it is. That's not a good thing.
MY DONKEY, MY LOVER & I In love with a married man, Antoinette (Laure Calamy) decides to crash his family's vacation, which is a hiking trip. She's not really ready for a trip of this sort, and is also unprepared for how to handle a donkey. She will soon learn that the destination is far less important than the journey to get there. Plenty of charm, though the story does move a little too quickly.
MY MANY SONS (NR) 93 minutes * * 1/2 Don Meyer (Judge Reinhold) was a no-nonsense NCAA basketball coach. His style was questioned by some, but he had his reasons. He didn't want praise, but to see his boys become successful at life. Rather dry bio-drama, told for the most part, through the eyes of his son, who played basketball and was treated more as a part of the team than as a part of Don's family.
MY NAME IS BRUCE (R) 81 minutes BOMB The Chinese god of bean curd is pretty upset and the local residents decide that Bruce Cambell can help. Yes, they know he's an actor, but he's had all this experience fighting monsters, right? Dumb idea that one of the lowest points in an actor's career... making a film that's a parody of yourself. Fans of Campbell (yes, I know you're out there) will enjoy watching him have fun with this, but mugging for the camera doesn't make for a good film. R for language and violence.
MY NAME IS JERRY (NR) 95 minutes * * With his life on the verge of being over, Jerry (Doug Jones) not only opts to change and reviatlize himself, but in doing so has a positive effect on others around him. Though this does have a few moments that show some life, Jones doesn't really do very well in carrying this. Katlyn Carlson and Allison Scagliotti both do well here, but the cast features quite a few students from Ball State University, Jones' alma mater and producer of the film, and the lack of experience and quality are too evident. The ending helps a little.
MY NAME IS KHAN (PG-13) 151 minutes * * * 1/2 Rizwan Khan (Shahrukh Khan) has fallen in love with Mandira (Kajol), a beuatiful and caring young Indian woman. After the events of September 11, 2001, Khan doesn't understand why people are thinking that everyone who is a Muslim is a terrorist. When Mandira makes a comment about telling the president, Khan takes her literally as he has Asperger's Syndome. It makes perfect sense to him that this would be the appropriate course of action. there are good people and bad people, and Khan is not a terrorist. It's a touching story that is full of energy and music, and with a powerful and emotional message that is important for all of us to hear. PG-13 for violence, sex, and language.
MY NAME IS LOPEZ (NR) 96 minutes * * * 1/2 Spending his early years in a poor community in Texas, no one was more surprised at his eventual success than Trini Lopez himself. Told mostly by Trini himself, we are invited to follow his journey to the top of the charts. It's a fun trip with lots of interesting stories and information about Trini's life and career.
MY NAME IS MODESTY (R) 72 minutes * * 1/2 When casino owner Henri Louche (Valentin Teodosiu) is murdered, Modesty Blaise (Alexandra Staden) is determined to get revenge. Louche was like a father to her, and Modesty has been well-trained. Staden and the rest of the cast do well here, but the script lets them down. It tells two stories. One is that of Modesty's past and how it has shaped her present and how it will shape her future. That story works well. The story that is thin and poorly told is that of Louche's killer and how Modesty gets the upper hand. The film is short, and perhaps another 15-20 minutes would have helped. Or perhaps it just needed a better story to serve as the frame for telling the story of Modesty's past. R for violence.
MY OLD LADY (PG-13) 103 minutes * * * When Mathias (Kevin Kline) inherits an apartment in Paris, it seems almost too good to be true. And then it is. There happens to be a resident in the apartment. And she has no intention of leaving. Quirky and charming, with another delightful performance from Maggie Smith. The stage roots are fairly evident, but it's such a wonderful story that we don't mind too much. it does move a little slowly early on, but builds nicely. PG-13 for language and sex.
MY ONE & ONLY (NR) 82 minutes * * 1/2 A realist at heart, Stephanie (Pascale Hutton) never considered being part of the reality show, "The One". But now she is, and the goal of the show is to find her the perfect partner and jumpstart a romantic relationship in just two weeks. As it turns out, there's another man at the ranch that she finds a little more appealing...
MY OWN LOVE SONG (PG-13) 93 minutes * * * 1/2 Jane (Renee Zellweger) and Joey (Forest Whitaker) met inthe hospital. They have become a rather unlikely pair, but their freindship has a life of its own. She immerses herself in negativity most of the time, though the accident that left her in a wheelchair took away more than her ability to walk. For his part, Joey sees angels, because that's what still helps him cope. Despite their differences and disagreements, they rely on each other. While the story centers on Jane and Joey, their encounters with Bille (Madeline Zima) and Caldwell (Nick Nolte) play a large role as well. They are remarkable and fascinating characters, though the story doesn't have much focus early on. PG-13 for language.
MY PERESTROIKA (NR) 85 minutes * * * A look at the lives of five classmates who reached adulthood as the USSR broke apart. Perestroika means "restructuring", and this is a unique and very personal look at the history of the former Soviet Union. We see not only the good, but the "not as good as expected", as a country struggles to deal with what a more democratic and capitalistic structure will mean for them.
MY PERFECT ROMANCE (NR) 88 minutes * * 1/2 It's more than just a dating app. Vivian (Kimberly-Sue Murray) has to get the program and it's special algorithm ready for an early launch thanks to CEO Wes Robinson (Christopher Russell), who needs something to turn his company around. As part of the publicity for the launch, they agree to use the app themselves. That's predictably going to end up only one way. Nice supporting work by Lauren Holly.
MY PRINCE EDWARD (NR) 89 minutes * * * It's a dilemma. Fong (Stephy Tang) wants to get married to her boyfriend, but she learns that the sham marriage she yook part in a number of years ago is still in effect. Her boyfriend is livid because she never told him about it, but the whole ordeal is also raising a number of questions for Fong. The story captures both the frustration and the humor of the situatioin, with a fine performance by Tang.
MY QUEEN KARO (NR) 93 minutes * * 1/2 Karo (Anna Franziska Jaeger) and her mother and father, Raven (Matthias Schoenaerts) leave Belgium to be able to have more freedom. She loves them both, but when they move into a communal setting where free love is practiced, Karo is confused. Her father in particular seems completely absorbed by the ideas of free love and revolutionizing the world. For her part, Karo is beginning to realize that most things in life aren't free... a lesson her father has avoided learning, despite seeing the costs. Wonderful work by young Jaeger, though the story doesn't always maintain much intensity or focus.
MY SALINGER YEAR (R) 96 minutes * * * 1/2 What was intended as a brief trip to New York City turns into much more for Joanna (Margaret Qualley). She gets a job working for the literary agency that represents JD Salinger. It's a perfect job for an aspiring writer. Her boss Margaret (Sigourney Weaver) does seem a bit cold and distant at first. As Joanna treads the fine line between fangirl and employee, she is also learning more than she ever thought possible... about writing, relationships, and shr id growing up. A charming and witty script with stellar work by Qualley and Weaver. Based on the book of the same title by Joanna Rakoff. R for language.
MY SECRET VALENTINE (NR) 83 minutes * * Chloe (Lacey Chabert) heads home to hear some news from her dad. It turns out that he's planning to retire and sell the family business. Chloe isn't so sure, especially when she meets the potential buyer (Andrew W. Walker). Of course, once they really get to know each other, her mind begins to change. The "secret valentine" part of the story is not the strongest.
MY SISTER'S KEEPER (PG-13) 103 minutes * * * Anna's (Abigail Breslin) birth was engineered to provide parts for her sister Kate (Sofia Vassilieva), who has leukemia. The film moves back and forth through the lives of Kate and Anna, their brother, and their parents, as they live with what is happening and what it means. Filled with beautiful and touching scenes, and most are likely to need more than one tissue to get through this as it reminds us to appreciate what we have while we have it. PG-13 for language and sex.
MY SISTER’S WEDDING (NR) 76 minutes * * When Sharon’s (K.D. Aubert) sister shows up just a little before the bachelorette party, Sharon discovers that her fiancée is the man who dumped her sister after a one night stand. And that’s not the only secret about to be uncovered. The acting is fine here, but the script shows little imagination and not much in the way of character development.
MY SON MY SON WHAT HAVE YE DONE (R) 88 minutes * * * When Brad (Michael Shannon) becomes fascinated by a murder case, he begins to lose touch with reality, eventually killing his own mother. This is an unusual piece, with very nice work by Shannon. Director and co-writer Werner Herzog paints a portrait of a man becoming insane in such a clear manner that he seems to be the only real character. The rest are shadows. It's a fascinating approach, which will be more appreciated by those who are familiar with and enjoy Herzog's style. R for language.
MY SOUL TO TAKE (R) 99 minutes * * The Ripper was a notorious killer. On the night he died, seven children were born. Each year, they mark the day, but this year is going to be special. Not the ending you might expect here, though in making that move, it's sort of a disappointment. A few creepy moments here and there, but not enough to really scare us. R for violence and language.
MY SOUTHERN FAMILY CHRISTMAS (NR) 83 minutes * * 1/2 Tasked with doing another Christmas story for work, Campbell (Jaicy Elliot) is struggling with the idea of using her own family as the subject. Estranged from part of her family, it would give her an opportunity to meet her father and a few other members from that side of the family, filling in a void that has been there for years.
MY STEPMOTHER IS AN ALIEN (PG-13) 103 minutes * * Dr. Mills (Dan Ackroyd) is a dedicated scientist who is searching for extraterrestrial intelligence. When he finds one who decides to visit, he promptly marries her (Kim Basinger). Although Ackroyd and Basinger are both pretty bad here, I suppose part of it can be blamed on the script. However, Alyson Hannigan, in her first film, does a terrific job despite the script. Hmmm... perhaps Bill Murray and Kelly LeBrock, or John Ritter and Daryl Hannah... a different leading couple could have made this a much better film. PG-13 for language and sex.
MY SUMMER PRINCE (NR) 85 minutes * * Managing public relations crises is what Deidre (Lauren Holly) does. Her assistant Mandy (Taylor Cole) would like to have more responsibility in her own position in the company. She's about to get her chance. Standarl royal romance.
MY SUPER EX-GIRLFRIEND (PG-13) 90 minutes * * 1/2 Matt (Luke Wilson) just wanted to find a girl to go out with. OK, maybe a little more if things worked out well. What he didn't bargain for was a girl with super powers. Silly and fun film that never tries to be anything but that. Wilson and Uma Thurman have fun with the lead roles here and Anna Faris is a delight in her supporting role as well. With so many superhero films out there, it's refreshing to see one that doesn't try to be so serious. PG-13 for language and nudity.
MY TRIP TO AL-QAEDA (NR) 86 minutes * * * Based on the play by Lawrence Wright, this is an exploration of the cultural differences between countries and what led to the violent clash between the Islamic culture of the Middle East and the United States. Wright was researching his book, "The Looming Tower: Al-Qaeda and the Road to 9/11" and decided to write and present a play about the process and his insights.
MY TRUE FAIRYTALE (NR) 82 minutes * * Many people dream of being a superhero. Angie (Emma Kennedy) is no different. Involved in a terrible car accident, she might have a chance to have her dream come true. It may not be in exactly the way she expected, but it just might happen. The recap of events at the end does help clarify things, but it's annoying that we needed it.
MY TUTOR (R) 93 minutes * * When Bobby (Matt Lattanzi) fails French during his senior year in high school, his father hires a tutor. She’s very attractive, and Bobby is suddenly interested in studying… his tutor. The script is better than you might expect from the topic, and the acting isn’t bad, but the sets and music need some work. R for sex.
MY WEEK WITH MARILYN (R) 92 minutes * * * 1/2 Colin Clark (eddie Redmayne) met Marilyn Monroe (Michelle Williams) in 1956 while she was making a film with Laurence Olivier (Kenneth Branagh). This is the story of the time they spent together. Williams and Branagh are wonderful here, and the script does an amazing job of presenting Marilyn in what's probably one of the most complete pictures we'll ever see. Despite this being Colin's story, there are many ways in which he is more of a supporting character. It works though, and in part thanks to a wonderful supporting cast. R for language and nudity.
MY ZOE (R) 97 minutes * * 1/2 Struggling through a bad marriage and a rough divorce, Isabelle (Julie Delpy) is devastated when her daughter dies in a tragic accident. In her grief, she will not let go. The film is a little rough early on, but moves along well. R for language.
MYSTERIES OF LISBON (NR) 263 minutes * * 1/2 The interconnected lives and journeys of a countess, a businessman, and an orphan through the years. The multiple identities of several of the characters and the movement back and forth in time can get a little confusing unless you stay focused, and this runs a bit long to make that easy. The sets and costumes are gorgeous though, so even if you're a little confused, it's not unpleasant.
MYSTERY, ALASKA (R) 115 minutes * * 1/2 Mystery, Alaska is a small town with a Saturday hockey game that has gone on for years. It's a tradition. It's a cornerstone of life for this small community. And now the New York Rangers are going to come and play them. A film like this needs strong secondary characters, which we don't really have here. Russell Crowe does a nice job in the lead role, but there isn't much support. It's nice that the game itself isn't drawn out too long, but the film does get a bit tiresome as we slowly learn about some of the people and watch as things fall into place for the game to happen. Filmed in Alberta, Canada. R for language.
MYSTERY DATE (PG-13) 94 minutes * * Tom McHugh (Ethan Hawke) is home from college for the summer. He can't help but notice his beautiful next door neighbor Geena Matthews (Teri Polo), but he doesn't have the courage to ask her out on a date. Tom's older brother is willing to help. False identities, alibis, stolen property, accidental murders, undercover cops... it just gets deeper and deeper as it goes along. Hawke and Polo deserve better than this poorly directed film can offer, though they make it watchable which speaks well of their talent. PG-13 for violence and language.
MYSTERY IN ST TROPEZ (NR) 85 minutes * * 1/2 When a friend of Claude Tranchant's (Benoit Poelvoorde) wife is nearly killed in a suspicious accident, the police must investigate. Unfortunately, the only person available to do the job is Jean Boulin (Christian Clavier). This could be a problem. The comparisons to Peter Sellers' Inspector Clouseau are obvious, but Clavier does a nice job of making this hiw own.
MYSTERY MEN (PG-13) 112 minutes * 1/2 What happens when a super hero runs out of villains to fight? That's the plight facing Captain Amazing (Greg Kinnear). Will the part-time heroes of the city be able to help when things get out of hand? William H. Macy, Janeane Garafalo, Ben Stiller, Paul Reubens, Wes Studi, Geoffrey Rush, and Claire Forlani comprise the rest of the fine cast, but even a great cast can stumble when the direction is mediocre and the script is weak. The photography is irritating too, with far too many rough edges that make this hard to watch at times. We're all heroes in our own way, but we needed a more polished production to convince us. This just wasn't it. PG-13 for language and violence.
THE MYSTERY OF EDWIN DROOD (2012)(NR) 117 minutes * * * BBC television version of Charles Dickens' mysterious, unfinished work. Very much a historical costume drama, which the BBC does quite well, but this also clearly has the brooding and sinistr qualities that are needed for this strange story.
THE MYSTERY OF HAPPINESS (NR) 90 minutes * * 1/2 Santiago (Guillermo Francella) is completely baffled when his business partner and friend disappears. He's not even sure what has happened until Eugenio's (Fabian Arenillas) wife Laura (Ines Estevez) asks for help in finding him. And so their search begins... Charming, but a little tedious in getting to the place where we already know its headed.
MYSTERY 101 (NR) 84 minutes * * 1/2 Amy Winslow (Jill Wagner) teaches crime fiction at a college. Travis Burke (Kristoffer Polaha) is a detective. When their paths first cross, the feelings between them are a little frosty. They soon learn that they can help each other... and that they may like each other just a little bit too. Nice chemistry between Wagner and Polaha.
MYSTERY 101: PLAYING DEAD (NR) 83 minutes * * 1/2 Professor Amy Winslow (Jill Wagner) is helping out with a local play when one of the stars has a couple of very close calls. Is someone trying to kill her? Is it connected to the recent robberies in town? Amy will work with Detective Burke (Kristoffer Polaha to uncover the truth.
MYSTERY 101: WORDS CAN KILL (NR) 84 minutes * * 1/2 Someone is killing people who are connected to a college book festival. When Amy's (Jill Wagner) father is arrested by Travis (Kristoffer Polaha), she knows it can't be true. But can she prove it?
MYSTERY ROAD (NR) 115 minutes * * 1/2 Slow-moving murder mystery set in the Australian outback. The twists and details come slowly and methodically. It's a good story, but a bit too laid-back to involve us. Instead, we just assume that the clues will eventually come and the mystery will be solved, without caring too much abut it. Filmed in Queensland.
MYSTIC RIVER (R) 133 minutes * * 1/2 Three boys whose lives have drifted apart despite living in the same town... Now as they are older, the death of one of their daughters draws them together. It's a tragic story, that is well played by both Sean Penn and Kevin Bacon, but they deliver the only believable performances in the film. Clint Eastwood's style of direction is a bit too laid back for this story and it allows us to disconnect from the film too easily. The overly repetitve music doesn't help. R for language and violence.
MYTHICA: A QUEST FOR HEROES (NR) 88 minutes * * In which Marek (Melanie Stone) learns of her powers and goes on her first mission. The effects are OK, but the story works well, despite not being all that original. It also begins the series quite well, doing a nice job of establishing the main characters in our band of heroes and how they relate to one another.
MYTHICA: THE DARKSPORE (NR) 104 minutes * * Szorlok (Matthew Mercer) is trying to assemble the four shards of the Darkspore. Marek (Melanie Stone) and her friends must stop that from happening. This follows "Mythica: A Quest for Heroes" and is followed by "Mythica: The Necromancer".
MYTHICA: THE IRON CROWN (NR) 93 minutes * * Another new director takes the helm in this fourth entry in the series, with Marek (Melanie Stone) trying to deliver the last piece of the Darkspore to the gods so that Szorlok (Matthew Mercer) can't complete his evil scheme. A bit more romance and adventure and fewer comic touches than were evident in part three.
MYTHICA: THE NECROMANCER (NR) 92 minutes * 1/2 The third entry in the series has a new director, and tries to add a little humor. Not only is that not necessary, it doesn't work all that well. Thane (Adam Johnson) is taken prisoner, leaving Marek (Melanie Stone) and the rest needing to figure out a way to rescue him. The bigger problem here is that there is really only about 20 minutes of story.