Film Reviews N-P

N-SECURE (R) 100 minutes * 1/2 David Washington (Cordell Moore) is a bit of a control freak, and it's more than Robin (Essence Atkins) can deal with. The problem is that when their relationship blows up, it has repercussions on the lives of their friends as well. Lots of bad acting in the supporting and smaller roles, which really hurts the film. Not that the leads are all that good either, but the supporting performances make them look better than they are. R for language, sex, and violence.

NACHO LIBRE (PG) 1/2 Silly, and somewhat boring parody of the Mexican wrestling film genre. Ignacio (Jack Black) has been raised by monks at an orphanagebut finds himself inexplicably drawn to wrestling. Pursuing his dream, he becomes a wrestler, though not very good at actually winning. PG for violence.

NADINE (PG) 80 minutes * * All Nadine (Kim Basinger) wanted to do was get back some photos she wishes she hadn't had taken. Instead, she finds herself in the middle of a murder and a land deal gone bad. Her husband (Jeff Bridges) is trying to help, but she really just wants him to go away too. Bridges does a nice job here, but we never really believe Basinger. The combination gives us a mediocre and rather forgettable film, though fans of the two leads might find it interesting at some level.

NAILBITER (R) 76 minutes * 1/2 With a killer tornado bearing down on them, Alice (Emily Boresow) and her three daughters ditch the car and break into the storm cellar of a nearby house. But now they are trapped. And they're not alone. Some good suspense and reasonably good effects, but it isn't enough to get past the predictable plot and bad ending. R for violence and language.

NAILS (NR) 82 minutes * * After a severe accident, Dana (Shauna Macdonald) faces a long recovery in the hospital. It might not be so bad if the ghost in the room would leave her alone. The suspense builds well, with additional details slowly being revealed. Very creepy, but there are still a few missing pieces to the story.

THE NAKED BROTHERS BAND: THE MOVIE (NR) 76 minutes * * Even fans of the Nickelodeon television show this springs from may find it more than a little tedious at times. There are a few cute bits, and there's no denying that young Nat Wolff is extremely talented. Unfortunately, most of the rest of the people here aren't. More than 30 minutes at a time of this is a little difficult to justify, especially when the music is interrupted by bad acting.

THE NAKED BROTHERS BAND: POLAR BEARS (NR) 67 minutes * * The Wolff brothers and their friends raise money for the polar bears who are losing their homes from global warming and help their friends who are still recovering from the effects of Hurricane Katrina. For Naked Brothers Band fans only.

THE NAKED CAGE (R) 93 minutes 1/2 A women's prison exploitation film, so the story is stale, thin, and not worth hearing. The production values are a little better than most films in this sub-genre, but that only helps a little. R for sex.

THE NAKED GUN (PG-13) 81 minutes 1/2 As with most films in this genre, it's better when seen with a bunch of friends late at night when you aren't really watching the TV anymore anyway... PG-13 for language and sex.

THE NAKED GUN 2 1/2: THE SMELL OF FEAR (PG-13) 80 minutes BOMB Those who enjoyed the first one might like this, but all evidence of quality and talent is missing from this film.

NAKED GUN 33 1/3: THE FINAL INSULT (PG-13) 75 minutes * Filled with cameo appearances, especially at the "Academy Awards" ceremony. More of the same as far as comedy, lampooning numerous contemporary films with minimal success. The funniest material appears during the credits.

NAKED LUNCH (R) 112 minutes * Bizarre art trash film from director David Cronenberg about a writer's downhill slide into drug abuse and depression. A message from the Interzone is delivered to Bill (Peter Weller) by a talking bug's butt, telling him to kill his wife. But it's just a hallucination as he's addicted to a powdered insecticide. The film almost tries to make a point toward the end, but lapses into insanity again. Adapted from the William Burroughs novel. R for sex, violence, and language.

NAKED SINGULARITY (R) 87 minutes * * 1/2 Every day it seems that the hill gets steeper and more difficult to climb. Casi (John Boyega) is a public defender, and he's tired of how the system never seems to be working to really help anyone. He finally sees a chance to turn things in the right direction when Lea (Olivia Cooke) presents him with an idea, albeit a little on the wrong side of the law. The story is a little quirky with the scientific definition of a singularity in the mix, but the performances are strong, and the main characters are appealing. R for violence and sex.

THE NAMESAKE (PG-13) 113 minutes * * * What's in a name? Gogol (Kal Penn) finds that the name he has been given means far more than he imagined, both to his parents and to himself. The story follows him as he struggles to grow away from his family while staying close, valuing his traditional upbringing while becoming more modern, and as he gains a more clear sense of who he is and what that really means. Nice work by Penn. PG-13 for sex and language.

THE NAN MOVIE (NR) 91 minutes * * Things didn;t turn out like Nan (Catherine Tate) expected. Losing her romantic interest to her younger sisterdrove a wedge between them. Now her sister is dying, and Nan is going to visit with her grandson Jamie (Mathew Horne). The trip is eventful, to say the least. If you're familiar with the "Nan" character, it's more of the same. If you aren't, it's fairly typical British humor, with a good mix of both spoken and physical humor.

NANCY (NR) 90 minutes * * 1/2 She's not a happy person, but she isn't really sure why that's the way she feels. Nancy (Andrea Riseborough) doesn't really seem to connect with anyone, but she becomes intrigued by a missing person case that makes her think that she might be the person in question. A story about a lost soul, looking for connection, reminding us that our connections to others are often more fragile than we'd like to admit. Wonderfully melancholy performance from Riseborough.

NANCY DREW (PG) 93 minutes * * 1/2 Nancy is going with her dad on an extended business trip to California. The house they are staying in has a mystery that needs to be solved... even though Nancy has promised she won't do any sleuthing while they are on this trip. Trying to fit in at the school is a bit difficult, and makes Nancy really want to focus on the mystery at hand. Emma Roberts does a very nice job here. Primarily for the 8-12 crowd, but others in the family should enjoy it as well.

NANCY DREW AND THE HIDDEN STAIRCASE (PG) 85 minutes * * 1/2 Nancy (Sophia Lillis) and her dad have moved to a small town, where she is struggling to adjust. She manages to get into more than a little trouble very quickly, but she also uncovers a sinister plot. While this is definitely aimed at the younger crowd, there are also some relatively intense sequences, and the updating from the classic story works very well. Very nice supporting cast that helps give some extra depth to the story. PG for violence and language.

NANKING (R) 86 minutes * * * Taken from the diaries, journals, letters and notes of the people of Nanking who lived through the horrors of World War II and the years just preceeding it. Several survivors are interviewed as well, and their accounts will tear at your heart. R for violence.

NANNY (R) 92 minutes * * Moving from Senegal to New York City, Aisha (Anna Diop) takes a job as a nanny. The family she is working for seems to be just perfect, but there;s something that lies beneath that "glossy: surface. Something sinister. Drama, horror, and suspense mingle here, without every getting too deep into any particular genre. Some of the story is a little unclear, and the ending happens rather suddenly. R for language and nudity.

THE NANNY DIARIES (PG-13) 101 minutes * * 1/2 After graduation, Annie (Scarlett Johansson) begins a journey of self-discovery, stumbling into a career as a nanny. She learns much about life and about herself. We learn too much of it through narration rather than through just watching it happen. Johansson gives a heartfelt performance, and Laura Linney's shrill one off-sets it quite well. They are two talented actesses, and that's what makes this worth watching. Based on the novel by Emma McLaughlin and Nicola Kraus. Filmed in New York. PG-13 for language.

THE NANNY EXPRESS (NR) 87 minutes * 1/2 Kate (Vanessa Marcil) gets a job as a nanny. These two kids have already run through quite a few nannies already, but Kate is a little different, somehow managing to take everything they throw at her in stride. Of course she's going to fall in love with their dad, which will be difficult to deal with since she's trying to balance this job with that of taking care of her dying father. The story is mildly cute in a few spots, but a bit depressing in several others, making it somewhat less of a light romance than it should have been.

NANNY MCPHEE (PG) 92 minutes * * * After their mother dies, the Brown children work their way through seventeen nannies before Nanny McPhee (Emma Thompson) arrives. But as she explains to them, "There is something you must understand about the way I work. When you need me but do not want me, I must stay. When you want me but no longer need me, I must go. It's sad really, but there it is." Delightful fairytale about family, love, good wishes, and dreams that can come true. Emma Thompson adapted the script from the Nurse Matilda books and does a wonderful job as Nanny McPhee, doing the work that needs to be done. PG for cartoonish violence.

NANNY MCPHEE RETURNS (PG) 97 minutes * * 1/2 Two city cousins come to stay with their relatives in the country. But the country cousins are about to lost their farm. It will take all of Nanny McPhee's magic to help them get along and save the farm. Not as much fun as the first, with characters that are less subtle and not as interesting. PG for language.

NAPOLEON DYNAMITE (PG) 92 minutes * * Coming of age film about misfit Napoleon Dynamite (Jon Heder). There are some funny bits here and there, but this is too slow paced and keeps losing our interest. Tina Majorino adds a few bright spots to the film as Napoleon's shy friend Deb, but it's not enough to give this the strength it needs. PG for language.

NAQOYQATSI (PG) 82 minutes * * * Third in the qatsi trilogy, this is closer in tone to the first film. The images are of science and humanity, technology and the world we live in, slowly moving toward images of destruction and making it feel almost inevitable. The title means "a life of killing each other, war as a way of life, civilized violence", and the images and music present a powerful statement. PG for violence and nudity.

NARC (R) 99 minutes * * Jason Patric stars as Nick Tellis, a former undercover narcotics officer, who gets a second chance by helping with the investigation of the death of another undercover narcotics officer. The story is the same tired one we've heard before about cops gone bad, but the performances of Patric and Ray Liotta give it some credibility. It definitely betrays its low budget origins, but at times that actually lends itself to a more realistic feeling to the film. R for violence and language.

NARCO CULTURA (R) 99 minutes * * 1/2 Juarez is not only the most dangerous and violent city in Mexico, but also in the world. It is under siege by the most powerful drug cartel in the world. This documentary sheds light not only on the work that is done by police and CSI teams, but the music and social culture that have evolved and which promote the destructive lifestyle. Interesting, but it never really comes together very well. R for violence, language, and nudity.

NARCO HITMAN (NR) 85 minutes * 1/2 A hitman for a powerful drug cartel, Carson (David S. Hogan) has decided to take down his employers. It's a complex process, and the film does not do a great job of telling the story in a way that makes sense. Jumping between past and present mixes with twists in the plot and changing loyalties as well as presenting a few logistical challenges. There's a decent story in here, but it just doesn't make it out, getting lost in the process of direction and editing.

NARROW MARGIN (R) 93 minutes * * * This remake of a 1952 film stars Gene Hackman and Anne Archer with Hackman protecting murder witness Archer as they travel by train through the Canadian Rockies. Plenty of tense and eventful scenes with some great stuntwork. Editing is a little sloppy in spots, but Bruce Broughton's music does a great job of keeping our mood right where it needs to be for every segment of the film.

NARUTO SHIPPUDEN THE MOVIE: BLOOD PRISON (NR) 97 minutes * * 1/2 Accused of a crime he didn't commit, Naruto is sent to Houzuki Castle, a rather formidable prison. Rather violent chapter in the saga, but the story also does a very nice job of allowing for more emotional depth than other films in the series.

NARUTO THE MOVIE 2: LEGEND OF THE STONE OF GELEL (NR) 92 minutes * * 1/2 Attacked by a mysterious knight while returning a lost ferret, Naruto and friends find themselves caught in a struggle between those who want to use the powerful Stone of Gele to create a utopia without war and those who want to hide it so it won't be misused. Reasonably good adventure story that fans of the series should enjoy and just might intrigue others enough to get them to watch episodes of the series. Not rated, but the violence is typical of the series and the language is very brief.

NASTY BABY (R) 94 minutes * * Three close friends try to figure out the lpgistics of having a baby. While that clearly comes with a full set of issues, they find themselves on the other side of the spectrum when they end up taking a life. Despite what they go through, these characters still seem like strangers at the end. R for sex, violence, and language.

THE NASTY GIRL (PG-13) 92 minutes * * * 1/2 A young Bavarian girl enters an essay contest and the research she embarks upon (about her home town during World War II) leads her to dig deeper and deeper into the truth, which most people want to leave buried. Director Michael Verhoeven presents a visually stunning film that mixes theatrical backdrops and actual location work in this adaptation of a true story. PG-13 for language and violence.

NATALEE HOLLOWAY (NR) 86 minutes * * One of several films recounting the disappearance and probably murder of Natalee Holloway. A little toward the sensational side, which is not unusual for a TV movie, but otherwise a fairly accurate account of what was told to the public in news reports at the time. Adapted from the book "Loving Natalee" by Beth Holloway-Twitty.

NATE AND HAYES (PG) 97 minutes * * 1/2 An adventure of the swashbuckling sort, and though the props, set, and costumes are less than top notch, the story clearly makes up for it with plenty of excitement and energy. Filmed in Fiji and New Zealand, and well worth a look if you’re in the mood for a light adventure film.

NATIONAL CHAMPIONS (R) 111 minutes * * * The championship game starts in just three days. Star quarterback LeMarcus James (Stephan James) and his best friend, tight end Emmett Sunday (Alexander Ludwig), organize a players' strike to get fair compensation for student athletes. Lots of people were making millions, while the student athletes made next to nothing. It was time for something to change. Great work by the cast. Be aware that this is not a sports drama where you will see game footage. It's about all of the drama behind the scenes. R for language.

NATIONAL LAMPOON'S EUROPEAN VACATION (PG-13) 90 minutes * 1/2 Capitalizing on the success of the first "Vacation" film, this one tries to do it all again, and just doesn't get there. There are a few chuckles along the way, but watching the first one again is a better option. PG-13 for sex, violence, and language.

NATIONAL LAMPOON'S GOLDDIGGERS (PG-13) 81 minutes BOMB Cal and Len grew up in an orphanage together and became best friends. They have an idea... marry a couple of rich old women and inherit their fortunes. Of course, the women they choose have an idea of their own... marry a couple of young fools, insure them, and then kill them. It's definitely one of the most boring comedies you'll ever watch... Don't say you weren't warned. PG-13 for language and violence.

NATIONAL LAMPOON'S LOADED WEAPON 1 (PG-13) 76 minutes * 1/2 Mercifully short parody of several films including the Lethal Weapon series. Notable only for the number of cameo appearances, this is like most other films of it's genre... better when viewed when you're low on sleep and with lots of friends who are in the same condition.

NATIONAL LAMPOON'S SENIOR TRIP (R) 84 minutes BOMB Ten kids in detention write a letter to the president and get invited to Washington. Tommy Chong is their bus driver. A few amusing characters, but a story that goes nowhere and would barely have made a funny skit for "Saturday Night Live".

The first of the Griswold family’s wild adventures, which takes them across the country to Wally World. Chevy Chase leads the hilarity, though there are just as many misfires as there are hits. R for sex, language, and violence.

NATIONAL LAMPOON'S VAN WILDER (R) 88 minutes * 1/2 Van (Ryan Reynolds) has been in college for seven years and his father has decided it's long enough. Now Van is faced with paying for things himself, or perhaps finally moving on. This is yet another of those films with the strange mix of a very sound message (about growing up and taking responsibility) and a style of presentation that is crude and vulgar and very deserving of its "R" rating. R for language and sex.

NATIONAL SECURITY (PG-13) 83 minutes * Hank (Steve Zahn) just watched his partner get killer during a robbery and through a series of events ends up as a security guard. His path crosses taht of Earl Montgomery (Martin Lawrence), police academy reject, and the rest is history. Zahn does fairly well here, but Lawrence lets the one-liners fly no matter the circumstance. Part of the problem here is the old one of not knowing how to balance comedy and drama. There is some very nice stuntwork here, but the script just does such a poor job of telling us the story that we almost don't notice. PG-13 for violence and language.

NATIONAL TREASURE (PG) 121 minutes * * * Generations of his family have spent their lives looking for the treasure. Hot on the trail, Ben (Nicolas Cage) reaches a dead end of sorts and the man who was helping him decides to cross him and try something extreme. Ben sees no option but to go for it himself, despite the increased risks. Fun adventure film with plenty of comic relief as well and a great soundtrack by Trevor Rabin. Cage almost has too much fun with this! PG for violence and language.

NATIONAL TREASURE: BOOK OF SECRETS (PG) 117 minutes * * * They say that there is a book that is kept by the presidents of the United States, passed from one to the next, full of national secrets. A book that must never be seen by anyone else for fear of how it could change the perception of history, and thus the future. Ben (Nicolas Cage) needs to see if there is information in the book that will clear his family's name from being implicated in the assassination of Abraham Lincoln. It's another fun adventure film with bits of humor scattered throughout. Part history, part conspiracy theory, and lots of fun. PG for violence.

THE NATIONAL TREE (NR) 87 minutes * 1/2 The tree that Cory (Andrew McCarthy) planted for his son Rock (Evan Williams) has been chosen to take to Washington D.C. to be the national Christmas tree. Not only does that mean uprooting it and taking it across the country, but that Cory and Rock will have to spend all that time together on the way. Williams never really gets a good grasp of how to play his role, which almost becomes a completely different character from one scene to the next at times. McCarthy just seems to wonder how he ended up signing on to this project.

THE NATIVITY (NR) 117 minutes * * 1/2 Straightforward, dramatic version of the Biblical story of the birth of Jesus, focusing on Mary and Joseph's meeting, courting, and dealing with the news of her pregnancy. A few historical inaccuracies, but not bad, and it manages to avoid the sensationalism that is often included.

THE NATIVITY STORY (PG) 94 minutes * * * Retelling of the biblical story of the birth of Jesus, beginning with King Herod ordering the death of all the infants in the area and then flashing back to one year before. The script elaborates on the story in a few spots, but most will find this a faithful presentation. It's a beautiful production, and a nice religious film for the holidays. PG for violence.

NATTY KNOCKS (NR) 92 minutes * 1/2 Everyone knows the legend of "Natty Knocks". But this Halloween eve, Britt (Charlotte Fountain-Jardim) and the kids she's babysitting are going to be running from a serial killer. (Shades of Halloween - the movie.) Pacing and intensity work well in the first half, but fade later in the film. The supernatural element that surfaces late in the film is just silly.

THE NATURAL (PG) 133 minutes * * * ½ Adapted from the novel by Bernard Malmud, this is the fantastical story of baseball phenom, Roy Hobbs (Robert Redford). His talent is miraculous, and the team he joins will now have a chance to win it all. Wonderful work by Redford, but also some very nice supporting work by Glenn Close (who received an Oscar nomination) and Robert Duvall. PG for violence and sex.

NATURAL BORN KILLERS (R) 112 minutes * * 1/2 Another Oliver Stone "beat-you-over-the-head-with-an-idea" film, portraying Mickey and Mallory, fictional serial killers who become media stars. Part of what Stone is after is to tap into the macabre part in all of us that continues to watch a story, real or unreal, when it deals with people being killed. The major weakness here is the same as with most of Stone's films, that is, his inability (or unwillingness) to let the camera and music tell the story once in awhile. If you can get past that, it is a fascinating piece of work, though most people will find it rather unsettling to watch.

NATURAL SELECTION (R) 85 minutes * * 1/2 Its only when her husband has a heart attack that Linda (Rachael Harris) learns that his sexual abstinence only went so far. It turns out that he was donating sperm to a fertility clinic. Now she's on her way to track down his son. The story is a little unusual and perhaps even illogical, but Harris' heartfelt performance, supported by solid work from Matt O'Leary, gives this a charm that manages to work. R for sex and language.

NATURE CALLS (R) 75 minutes * A scouting trip goes haywire when overly competitive brothers (Patton Oswalt and Johnny Knoxville) take it to the next level. And that would be a level down, not up. Good for a few snickers here and there, but be aware that the R rating is mostly for all of the foul language that is spoken in front of and by the younger actors in the film, though there's a little sex as well.

NATURE'S GRAVE (R) 85 minutes 1/2 Peter (James Caviezal) and Carla (Claudia Karvan) are taking a camping trip with friends. She doesn't really want to be here, and when things start going wrong, it seems to justify her desire to leave. On the one hand, this trip is supposed to help their marriage, but we don't really see anything to save. Both characters, and they are the only two in the film, are unpleasant, and seem to do little but yell at each other. R for language, violence, and sex.

NAVY SEALS (R) 107 minutes * * Action/thriller that pits the Navy's elite team against some Middle Eastern terrorists. Charlie Sheen, Michael Biehn, Joanne Whalley-Kilmer, and Bill Paxton aren't bad at all, but the story is full of holes that really weaken the overall effect.

NAVY SEALS: THEIR UNTOLD STORY (NR) 114 minutes * * 1/2 Tracing the history of the SEALs, back to their origins as the U.S. Navy frogmen, this documentary takes a look at their missions over the years. So many times, the SEALs were critical to the success of missions in Korea, Vietnam, Iraq, Afghanistan, and more.

NAVY SEALS VS. ZOMBIES (NR) 94 minutes * * A SEAL team gets called in to rescue the vice-president of the United States, but they have no idea what they'll be up against. Despite the B-grade title, this manages to present the story in a scientific and serious tone that works better than you might expect. It wraps up too quickly and easily, but is definitely a noteworthy entry in the sub-genre of zombie films.

NAZIS AT THE CENTER OF THE EARTH (R) 86 minutes * I'll bet you didn't realize that when the Third Reich retreated during World War II, it was to a hidden continent at the center of the Earth. They have just been waiting for the right time to rise again and take over the world. A ridiculous premise, but the cast act with sincerity, and manage to make us almost forget how silly it all is. R for violence and language.

NE ZHA: BIRTH OF THE DEMON CHILD (NR) 103 minutes * * * Ne Zha can't help being a bad boy. It's part of his nature. Eventually though, something has to be done. He is taken on as a pupil by his protector, and though his community fears him, Ne Zha is trained to be the one who will save them. Very nice animation, including some impressive detail work.

NEARLYWEDS (NR) 83 minutes * * 1/2 Three recently wed friends discover that their weddings aren't legal due to a paperwork mix-up. Now they have to decide if they really want to be married given what they've learned in the last few weeks. Predictable, but cute, and well-played by the cast, who do a nice job of keeping it light and fun.

NEBRASKA (R) 110 minutes * * * When his father thinks he's won a million dollars and is determined to go to Nebraska to pick it up, it's easier to just take him there than to keep arguing about it. The drive from Montana to Nebraska will give them some time to reconnect and work on their father/son relationship. The script is an unusual mix of sweet sentimentality and tongue-in-cheek humor, but its difficult to be sure which direction its trying to go. Well-deserved Oscar nomination for Bruce Dern in a very fine performance. R for language.

THE NECESSARY DEATH OF CHARLIE COUNTRYMAN (R) 99 minutes * * * When Charlie's (Shia LaBeouf) mom dies, he promises her that he'll go to Bucharest. On the flight there, the man in the seat next to him dies. Now he needs to get a message and a gift to the man's daughter. It won't be nearly as easy as it sounds. Nice work by LaBeouf, though his character stretches the limits of believability more than once. Evan Rachel Wood is wonderful as well, and has a slightly more believable role. The extreme bits wouldn't be so troublesome, except that there is just no sense to them and they aren't really necessary to make the story work well. R for violence, language, and sex.

NECESSARY ROUGHNESS (PG-13) 104 minutes * * The Texas State Armadillos have to train a new football team. It's a bizarre cast of characters they use, and they have to play "iron man" football, but you know they'll win. It's a "losers who make good" story for adults. It does have it's moments, though not so many that you'll be too impressed. The low budget hurts this more than anything else. PG-13 for language.

NEED FOR SPEED (PG-13) 123 minutes * * 1/2 Plenty of great racing sequences and several spectacular crashes help this formula plot, based on the video game. Aaron Paul's performance isn't that strong, but thanks to some nice supporting work by Imogen Poots, Scott Mescudi, Rami Malek, and Michael Keaton, this still manages to be entertaining. PG-13 for violence, nudity, and language.

NEEDFUL THINGS (R) 117 minutes * * Following faithfully in the steps of most adaptations of Stephen King books to the big screen, this is a pale shadow of the original material. This one relies heavily on your having read the book before you see the film. Yet, the ending is totally reworked, losing all of its mysterious and sinister aspects. Nice production quality, but it's all empty inside. R for violence and language.

NEEDLE (R) 84 minutes * 1/2 Ben (Michael Dorman) receives an unusual box from his father's estate. It's rather mysterious, and just might be (aka clearly is) related to the recent deaths of his friends. Someone might be using the box to kill... but who is it and just how does it work? The storyline is repetitive, but the music does a nice job of creating a creepy atmosphere, and the acting, while not great, is a step above most low-budget horror films. R for violence and language.

NEFARIOUS (R) 94 minutes * * * It's one of the strangest cases he's ever seen. Evaluating a serial killer on the day of his execution, psychiatrist Dr. Martin (Jordan Belfi) hears an unusual confession. Edward Brady (Sean Patrick Flanery) claims to be a demon. He also claims that Dr. Martin is about to kill three people. A very dialogue-heavy script, with a very intense performance by Flanery. R for violence.

THE NEGOTIATOR (R) 135 minutes * * Samuel L. Jackson and Kevin Spacey star in this suspense/thriller about cops gone bad. Danny Roman's (Jackson) partner uncovers information about some dirty cops and then turns up dead. Roman is framed for the murder and has to prove his innocence. The idea of a negotiator calling in another negotiator is interesting and Jackson and Spacey play their parts very well. The film takes a long time to set the stage though, and could've been better served by cutting several scenes from the first hour. Actors like Jackson and Spacey don't need all the extra time to draw us in and most of the supporting characters here are of little importance the way the story is played. R for violence and language.

NEIGHBOR (R) 85 minutes * She's definitely not the kind of neighbor you want to have around. Of course, if you do, you probably won't be around very long anyway. One of the biggest problems here is that the killings are without any real motivation or pattern. That might be scary except that "the girl" (Ameria Olivo) has such a flippant attitude that she's not really frightening. There are plenty of gross effects for fans of the genre though. R for violence and language.

THE NEIGHBOR (2018) (R) 92 minutes * * When a new couple moves in next door, Mike (William Fichtner) is intrigued, especially by the attractive young woman. When it seems that her husband is abusing her, he wonders what he should do. Instead of the suspense/thriller that a story like this would usually be, it's more of a thoughtful drama that keeps hinting of something more suspenseful and sinister. R for language, sex, and violence.

NEIGHBORS (R) 91 minutes 1/2 With a new baby, Mac (Seth Rogen) and Kelly (Rose Byrne) are getting used to how different (read: less exciting) life is. And then a college fraternity moves in next door. Their fight to keep the noise and distractions to a minimum is not a pretty one. In fact, it's mostly an excuse for rude, crude humor and a waste of what talent there is, which isn't much. R for language and sex.

<“a name="50402">NEIGHBORS 2: SORORITY RISING (R) 86 minutes * * Mac (Seth Rogen) and Kelly (Rose Byrne) have a new problem. A sorority that is at least as bad as the fraternity that was their previous problem has just moved in next door. An unnecessary sequel, but earnest performances give this a little more life than it probably deserves. R for sex and language.

NEIL YOUNG: JOURNEYS (PG) 82 minutes * * 1/2 On the roadtrip from Omemee, Ontario to Toronto, Neil Young told stories from his life to filmmaker and fan, Jonathan Demme. Part biopic, part retrospective, and part concert film as we are treated to numerous performance clips from the concert in Toronto. Fans of Neil Young will enjoy this, others probably won't find it all that interesting. PG for language.

NEITHER CONFIRM NOR DENY (NR) 91 minutes * * 1/2 Tensions between Russia and the United States were running high. Then the US finds a submarine that belongs to the Russians. The press learns of the discovery before the government decides what to do with the sub... or how they want to talk about it. An interesting look at Cold War activities.

NEITHER HEAVEN NOR EARTH (NR) 101 minutes * * * The Wakhan Valley in Afghanistan is an area that is usually quiet. There are tensions between the two sides, but nothing that causes any real problems. It's not a bad place to be assigned for duty. Except men from both sides now seem to be disappearing with no explanation. Fascinating, if somewhat illogical, mix of war and the supernatural.

NEKROTRONIC (R) 90 minutes * * 1/2 Demons and necromancers have been fighting each other for thousands of years. Their battles have continued to change with the times. Now, those battles are taking place in the digital realm. One day Howard (Ben O'Toole) is cleaning out sewers and toilets. The next, he discovers he has another destiny fighting demins. The rubber-suited monsters aren't that great, but the story is fun and the cast works well together. The budget is low, but the mix of comedy and adventure works well. R for violence and language.

NELL (PG-13) 108 minutes * * * * A backwoods girl who has been raised in isolation comes under the scrutiny of a small town doctor and a university research scientist when her mother dies. Jodie Foster gives an astounding performance in this story about solitude, friendship, love, and the need to be in relationship to other people. From the play Ideoglossia, this is a beautiful piece of work that also stars Liam Neeson and Natasha Richardson. Filmed in North Carolina. Rated PG-13 for nudity and language.

NEMESIS (R) 92 minutes * Cyborg terrorists are planning to take over the world, replacing humans once and for all. Alex (Olivier Gruner) is still just human enough to be assigned to stop them. There are some good story ideas here, but they get a little muddled. The acting is mostly bad except for some nice supporting work by Merle Kennedy. Also, if most cyborgs are as bad at hitting a target as they are in this film, there's no need for humanity to worry. R for violence.

NEMESIS 2: NEBULA (R) 80 minutes 1/2 The Cyborg Wars are over and what's left of humanity has been enslaved. Scientists develop a new DNA strain that could turn things around, but a baby must be saved. It will involve time travel and sacrifice as well as some poorly narrated explanations. Lots of footage of bodybuilder Sue Price running around the desert. She doesn; talk much, but then again, the script keeps words to a minimum for the whole cast. R for violence.

THE NEON DEMON (R) 112 minutes * * * Jesse (Elle Fanning) has just moved to Los Angeles, in the hopes of being a model. Unlike thousands of other hopefuls, she is just what they want, and every other aspiring model (and some already in the business) hates her for it. Very artistic and image laden film, with as much (if not more) emphasis on the way it looks as compared to the plot. Fascinating, beautiful, creepy, and strange... all at once. In many ways, the story is really about Ruby (Jena Malone), whose job it is to create beauty out of the ordinary. What is left for her to do when natural beauty presents itself? Or must she reshape that as well? R for violence, sex, and language.

NEOWOLF (R) 84 minutes BOMB This rock band has a secret to their success, And these two young lovers are about to come face to face with it. There are a few good camera shots, but everything else about this doesn't just reek of low-budget, but low talent and low skill in just about every department. R for violence, sex, and language.

NERDLAND (NR) 79 minutes * * These two friends both dream of making it big in Hollywood. Time is slipping away, and they may only have one more shot at their dream. Fairly likeable characters, and we sort of want to see more, except we'd also like a little bit more of a story.

NERUDA (R) 102 minutes * * 1/2 In the alte 1940s, Pablo Neruda (Luis Gnecco) became a fugitive in his own country. His communist beliefs were not to be tolerated. But as a world-renowned poet, his voice could not be silenced, and persecution only made his voice louder and more powerful. Very heavily narrated, which does work to emphasize the poetic nature of the story. The problem is that it's too heavy on style and too light on substance, tending to lessen the serious nature of the attempt to silence him. R for sex and language.

NERVE (PG-13) 89 minutes * * ½ It’s a new online game where you accept dares, complete them, get followers, with a chance to win it all. Vee (Emma Roberts) is more of a watcher, but eventually decides that this would be a good opportunity to get out of her shell and change her image. It turns out to be a fun game, but it’s also very easy to get in over your head. The idea works reasonably well, though the characters are shallow and difficult to like. PG-13 for sex and language.

NESSIE & ME (NR) ½ A beautiful piece of property next to a lake has just been inherited by its new owners and is now facing possible acquisition by a nasty man who wants to develop it into a resort. But there’s a monster in the lake, and a boy who wants to protect it. The acting is just as bad as the writing, and even the younger crowd this is directed toward is unlikely to find it appealing.

THE NEST (NR) 294 minutes * * * Dan (Martin Compston) and Emily (Sophie Rundle) are desperate to have a baby. When Emily hits 18-year-old Kaya (Mirren Mack) with her car, a plan begins to take shape. It is not without problems. As the story progresses, so do the problems, the secrets, and the lies. Solid drama with a fine ensemble cast.

THE NEST (2020) (R) 103 minutes * * * Rory (Jude Law) is comfortable taking risks. The problem is that the last few he's taken haven't turned out so well. His wife (Carrie Coon) has put up with that for years, but she's about to readh her breaking point. A dysfunctional family that grows even more so as the film progresses. It's good drama, but the story may be a little difficult for some to take. R for language and sex.

THE NET (PG-13) 111 minutes * * Angela Bennett (Sandra Bullock) has a computer disc that some people want very badly. In fact, they erase her identity as they attempt to retrieve it. The suspense here is short-circuited by overly long sequences that drain the intensity and place too much emphasis on Bullock's acting. She can't carry this all by herself when the story is made to be so boring. It's not a bad film, but trimming five to ten minutes off would have helped tighten it up.

THE NET 2.0 (R) 89 minutes * 1/2 When Hope (Nikki Deloach) takes a job in Istanbul, it sounnds like an amazing opportunity. But when she arrives, she discovers that her identity has been stolen and she has been accused of murder. Not really a sequel to the first film, though the story is somewhat similar. Very mediocre script and acting. R for violence.

NEVER BACK DOWN (PG-13) 106 minutes * * Moving to Orlando wasn't Jake's (Sean Faris) idea, but his little brother is a tennis star, so that's where they go. Making friends in a new place isn't Jake's strong suit, (neither is acting Faris' strong suit), but he finds a fight club, which seems like a good place to start. Good fight scenes, but the story and the acting are very shallow. PG-13 for language, sex, and violence.

NEVER BACK DOWN: NO SURRENDER (R) 92 minutes * * Case (director Michael Jai White) is on the road to a comeback, working on his own skills while training other fighters. Nothing like repeating the same formula you've used before.... good fight scenes and a story that just isn;t that interesting. R for language and sex.

NEVER BACK DOWN 2: THE BEATDOWN (R) 99 minutes * * Director Michael Jai White plays a former MMA fighter who decides to train four guys for an amateur cage fight. Each has their own reason for fighting, and the way Case (White) trains them, they will each learn what they need to know. The fight scenes are reasonably good. The material in-between... not so much. R for violence, language, and sex.

NEVER BEEN KISSED (PG-13) 100 minutes * * 1/2 Drew Barrymore is Josie Geller, assigned to undercover work for the newspaper that involves her going back to high school, which was not the most pleasant of experiences the first time around. Barrymore is wonderful here, having the chance to sink her teeth into a well-developed role. Leelee Sobieski shines here as well, playing the girl who first befriends Josie as she goes back to school. It's a predictable story, but the cast wins us over and makes this fun to watch. PG-13 for language.

NEVER CRY WOLF (PG) 101 minutes * * * ½ Sent to the Arctic to study wolves and the negative impact they have on the environment, Tyler (Charles Martin Smith) is ready to tackle this important job. The problem is, not only does he discover the exact opposite, the government didn’t really even expect him to last in the job, let alone be able to prove the opposite of what they wanted to believe. Beautiful scenery and photography. Adapted from the book by Farley Mowat. PG for sex, violence, and language.

NEVER DIE ALONE (R) 82 minutes * * 1/2 "King" David (DMX) gets out of prison and sets up a new business selling heroin. It goes quite well for awhile and then things begin to take a turn for the worse. Paul (David Arquette) is a writer, immersing himself in the culture of the streets to get a better feeling for the story he's writing. When he ends up lending King a helping hand, he finds himself in possession of a record of King's activities. Something that some other people would gladly kill him for. Based on the Donald Goines' book and also featuring a very nice performance from Michael Ealy. R for language, violence, and sex.

NEVER GOIN' BACK (R) 82 minutes * * Wanting to surprise her friend Jessie (Camila Morrone) for her 17th birthday, Angela (Maia Mitchell) takes their rent money and books a weekend at the beach. From then on, it seems that everything that can go wrong... does. Mitchell and Morrone work well together, though the story has a few glaring holes. R for sex and language.

NEVER GROW OLD (R) 95 minutes * * 1/2 It's a peaceful litte town in the Old West. Ot's so peaceful that Patrick (Emile Hirsch), the town's undertaker, struggles to make ends meet. When Dutch Albert (John Cusack) comes to town, all of that changes. People are dropping like flies, and Patrick is a very busy man, with one death after another. Before long, his own family is at risk, and Patrick faces an important choice. Nice work by both Hirsch and Cusack, though they are both playing characters that are a little bigger than the story gives them a chance to be. R for violence, language, and sex.

NEVER HEARD (NR) 86 minutes * 1/2 With his father in jail, Jalen (Romeo Miller) is headed down the wrong road. Meanwhile, his father is working on finding a path to God that might open a door to being back in his son's life. The script is stiff and predictable, and the editing is choppy. The cast tries, but they just can't get past these problems.

NEVER LEAVE ALIVE (NR) 88 minutes 1/2 A big game hunter who is more famous for being drunk than anything else is stranded on an island after a shipwreck. He and one other survivor must make it to the other side of the island where ther's a boat. They also have to avoid a former KGB agent and his killer squad. The action scenes are adequte, but the story is really thin. Not that the acting would have been any better with a good script, but this clearly is neither a good script or a good story.

NEVER LET GO (R) 87 minutes * * What begins as a mother looking for her missing child soon turns into something much more. That happens throughout the film as more and more details are revealed. That means the story starts out unclear and sort of begins to make more sense, but as it does, the action sequences become less believable. The soundtrack adds nicely to the suspense. R for violence and language.

NEVER LET ME GO (R) 97 minutes * * * 1/2 It seems like a typical orphanage at first, but yet there is something else... something they are taught, once they are old enough to understand. They are raised to be organ donors. Their lives will be comfortable and pleasant, though usually very brief, especially in comparison to those whose lives they help prolong. Can the cycle be broken? Is there any chance? It's a powerful story about what it means to live and to love, adapted from the novel by Kazuo Ishiguro. R for sex.

NEVER RARELY SOMETIMES ALWAYS (PG-13) 96 minutes * * 1/2 Autumn (Sidney Flanigan) is pregnant, but doesn't want the baby. She's only seventeen, and just doesn't think it's a good idea. But her options in rural Pennsylvania are almost non-existent. Her best friend and cousin Skylar (Talia Ryder) is willing to help, and so the girls head off to New York. It's going to be a challenging few days. PG-13 for language.

NEVER SAY NEVER AGAIN (PG) 128 minutes * * ½ Although not actually part of the “official” James Bond series licensed by Cubby Broccoli, this is of note for bringing Sean Connery back to the role of the famous secret agent. The other unfortunate aspect of this is that, due to the terms of a lawsuit, this was required to be a remake of “Thunderball”. The earlier film is definitely the better of the two, but it’s still nice to see Connery in action again. PG for sex and violence.

NEVER TALK TO STRANGERS (R) 81 minutes * Psychologist meets and falls for a surveillance consultant... and now someone is sending her dead flowers and killing her cat. No surprises here, though Rebecca DeMornay and Antonio Banderas are pleasant enough to watch. The story is just so much rehashed thriller with no creativity.

NEVER TOO LATE (NR) 94 minutes * * * They were "The Chain Breakers", (James Cromwell, Dennis Waterman, Jack Thompson, and Roy Billing), a group of four soliders who escapted a notorious Vietnamese POW camp. They now find themselves in a retirement home, from which they are desperate to escape. They also each have an unrealized goal, and likely not much time to achieve them. Lots of charm with a touch of the bittersweet.

THE NEVERENDING STORY (PG) 91 minutes * * * Trying to avoid the bullies who have been harassing him, Bastian (Barret Oliver) finds himself in a bookshop where the proprietor suggests a particular, magical book. Bastian soon finds himself drawn into a fantasy world where he is just the hero that is needed. Amazingly imaginative story, though perhaps a little intense for those under eight. PG for violence.

THE NEVERENDING STORY II: THE NEXT CHAPTER (PG) 88 minutes * * It's a really thin story this time around as we follow Bastian on another adventure in Fantasia. Even the small ones in the audience didn't seem too impressed by this. It does wrap up nicely, but the kids may not sit still long enough to get there.

NEVERLAKE (NR) 88 minutes * 1/2 Jenny (Daisy Keeping) is looking forward to the trip to Italy to see her father. It's been awhile, but it's not just that things have changed between them, or that he's acting strangely. There are the mysterious children living in a nearby building, and the lake, which is home to a spirit that needs her help. the overly artistic approach to the story undermines most of the suspense, and the movement is so slow that anything that might be surprising is noticed well before it happens.

NEVERLAND (NR) 168 minutes * * 1/2 Very detailed and visually impressive version of how Peter Pan and Neverland began. Unfortunately, its just not as much fun as some of the other Peter Pan origin stories that have come to stage and screen. Special effects seem to take precedence over story, and that's clearly a mistake that makes this feel even longer than it is.

NEVERWAS (PG-13) 100 minutes * * * When Zach (Aaron Eckhart) goes to work at the psychiatric institute where his father spent a good deal of time, he discovers more than he expected. His father wrote a children's book about a magical land, a land that one of the current residents of the institute seems to know a great deal about. Is Neverwas real? Zach can't believe that it's possible, but life has taught him to be a bit cynical. The film does a wonderful job of balancing both the magical and the real as Zach learns about his father and in the process, about himself. Ian McKellan and Brittany Murphy are standouts in an amazing cast that also includes William Hurt, Nick Nolte, Alan Cumming, and Jessica Lange. PG-13 for language.

THE NEW DAUGHTER (PG-13) 102 minutes * 1/2 Moving to rural South Carolina seemed like a great way to get away from things and start over. But John (Kevin Costner) and his two children just happened to move into a house that has an Indian burial ground nearby. And it doesn't take long before strange things start to happen. Costner looks and acts uncomfortable through the whole film. Not tense or scared, but like he wishes he was doing something else. Despite Costner's presence, this only saw limited theatrical release in the US before being released on video. PG-13 for violence and language.

THE NEW GUY (PG-13) 81 minutes * * 1/2 Dizzy (D.J. Qualls) is a loser. No, really... the ultimate loser. He ends up getting expelled from school and sent to prison. Luther (Eddie Griffin) takes him under his wing and teaches him self-confidence which Dizzy then uses to become the most popular kid in school. Of course, your past never really leaves, and Dizzy must come to terms with that and decide who his real friends are. Wonderfully fun look at friendship and the high school scene with a top-notch performance from Qualls. Eliza Dushku plays the popular cheerleader who falls for him, and who is hiding something of her own past as well. Filled with great cameos and hilarious parodies of numerous films. Not slapstick, but nicely worked into the story. PG-13 for language.

NEW IN TOWN (PG) 91 minutes * * 1/2 Always a hard worker, Lucy (Renee Zellweger) is ready to volunteer to go and administrate the changes needed at the old plant. She's a pro, but New Ulm, Minnesota is more than a little different from Miami. Of course things don't exactly go as planned, but there is this guy (Harry Connick Jr.) Zellweger and Connick are charming and the story does have some fun humor. You've seen it before, but it works as a brief diversion. PG for language.

NEW JACK CITY (R) 96 minutes * * 1/2 Violent, but moralistic look at the beginnings and problems of the "crack" industry. The solution proposed at the end of the film will only create other problems, but... From the Van Peebles school of filmmaking, with lots of pop video style material and strong moral messages. R for violence and language.

A NEW LIFE (PG-13) 100 minutes * * Alan Alda wrote, directed, and stars in this moderately entertaining look at a couple who divorces and begin to reestablish their own lives. Ann-Margret, Hal Linden, and Veronica Hamel co-star.

NEW LIFE (2016) (PG) 84 minutes * * Ben (Jonathan Patrick Moore) and Ava (Erin Bethea) have been together since they were seven years old. Sometimes the sea of life gets a little rough, but they have learned to weather it together. The acting is just slightly above mediocre, but the story works well. PG for language.

THE NEW MUTANTS (PG-13) 87 minutes * * * Dani Moonstar (Blu Hunt) wakes to find herself in what appears to be a medical facility. She soon learns that it is a place for others like her. Others who have powers they don't understand or can't control. But something isn't right. Nicely done introduction to the New Mutants, a splinter team of the X-Men, featuring Rahne Sinclair (Maisie Williams), Illyana Rasputin (Anya Taylor-Joy), Sam Guthrie (Charlie Heaton), and Roberto da Costa (Henry Zaga). Being an introduction, the story revolves around the personal stories of the characters, though their powers do receive some attention. It's a nice start to what should be at least a trilogy. PG-13 for violence and language.

THE NEW WORLD (PG-13) 132 minutes * * * 1/2 Virginia 1607, ships arrive on the shores of a land far across the ocean. Interactions between the natives and the new arrivals are cautious at first, then friendly, then tragic. Slow-moving and beautifully photographed, using an approach that is somewhat abstract. There are ways in which this story of how one world of existence was affected by that of another is almost hinted at rather than boldly stated, perhaps finding even more of the truth in the telling. Some of the almost operatic quality will definitely be lost on the small screen.

NEW WORLDS (NR) 221 minutes * * 1/2 The late 1800s were a time of change and unrest both in western Europe and in the colonies on the other side of the Atlantic. This mini-series provides an interesting look at this period of history. Because of its length, the story is tied to a few main characters. This helps keep us engaged in the story, though it also means that many historical details are skipped or slighted. The result is a production that is historically a bit shaky, but very good dramatically.

NEW YEAR'S EVE (PG-13) 110 minutes * * * This is one of those films that stars "everybody", at least, everyone who could get to New York for a few days of filming. And new "names" keep showing up almost all the way until the end. The story does a nice job of mixing drama, humor, and romance, though it pulls back a little bit at the end on what could have been a much more emotional ending. PG-13 for sex and language.

A NEW YEAR'S RESOLUTION (NR) 83 minutes * * 1/2 Kelly (Aimee Teegarden) has a habit of saying "no" to social events. She makes a New Year's resolution to say "yes" to social events for a month. That's going to be a real challenge for her. Tom (Michael Rady) is intrigued by her resolution. His fascination just might turn into something more.

NEW YORK I LOVE YOU (R) 93 minutes * * * Wonderful anthology film with eleven different stories of life and love in New York. The cast is amazing and the stories present an interesting variety of characters and moods. The segments are fairly brief and the film wanders between them as though walking down the street. Glimpses of lives, quick looks at people and at pieces of New York. Featuring Bradley Cooper, Ethan Hawke, Christina Ricci, Orlando Bloom, Robin Wright Penn, James Caan, John Hurt, Chris Cooper, Julie Christie, Cloris Leachman and Natalie Portman, who also directs one of the segments. R for language and sex.

NEW YORK MINUTE (PG) 86 minutes * * 1/2 Jane (Ashley Olsen) is the organized one and she's supposed to give a speech on which her college scholarship depends. Roxy (Mary-Kate Olsen) is skipping school to catch the filming of a music video where she hopes to be able to get someone to listen to her demo. If you've followed Mary-Kate and Ashley's video film career, you'll find that this is a nice transitino to the big screen. It's similar, yet moves them to the next logical step in their careers. PG for language.

NEWS OF THE WORLD (PG-13) 114 minutes * * * Captain Kidd (Tom Hanks) travels from town to town, reading the news to those who will pay. His path crosses that of Johanna (Helena Zengel), a young girl who was taken by the Kiowa but now has lost not only her birth parents, but her Kiowa family as well. Kidd agrees to take her to her only known relatives. The journey will be difficult, and may last longer than either of them anticipated. Adapted from the book by Paulette Jiles, it's a story full of both danger and compassion. PG-13 for violence and language.

NEWSIES (PG) 116 minutes * * * 1/2 Musical story of the newsboy strike of 1899. Outstanding choreography and solid direction from Kenny Ortega and great music from Alan Mencken. Of course there are spots where the story isn't too logical, but that's fairly typical for musicals. If you enjoy a show with alot of dance and like to watch talented young performers, you won't be disappointed. PG for language.

THE NEWTON BOYS (PG-13) 117 minutes * * 1/2 1919, the days when the streets of towns were deserted at night, and the only alarms banks had were the neighbors who might wake up and holler for help. It was in this environment that the Newton boys pulled off the most successful series of bank robberies in history. Not that they didn't get caught in the end, but they lived to ripe old ages. The film has a rather laid-back style, which is somewhat awkward when we're watching the more active scenes. Matthew McConaghey, Ethan Hawke, Skeet Ulrich, and the rest, all seem comfortable here, but the film lacks the energy it needs in some spots. Don't miss those segments with the real Newton boys during the credits! PG-13 for language and violence.

NEXT (PG-13) 87 minutes * * * (Cris (Nicolas Cage) is just another one of many Las Vegas magicians... but there's one small difference. Cris can see the future. Only two minutes ahead, but it comes in handy. The FBI thinks it would come in really handy for a case they're working on. But Cris doesn't want to be a government experiment. Adapted, and quite different in some ways, from Philip K. Dick's novel, "The Golden Man". There are definitely some problems here as far as the story. We never learn much about the villains, and we never get to explore why Cris is able to see farther into the future when Liz (Jessica Biel) is around. But the rest of the story work well enough, and Cage's performance shows us a man who has fun with his talent, while at the same time feeling frustrated at how others don't understand the problems it can cause. As wonderful as it seems, seeing the future isn't what you might expect. "Here's the thing about the future... every time you look at it, it changes... because you looked at it. And that changes everything else." PG-13 for violence and language.

NEXT AVENGERS: HEROES OF TOMORROW (PG) 74 minutes * * 1/2 The children of the orginal Avengers continue the fight aqainst evil that their parents fought years earlier. When they accidentally activate the Iron Avengers, triggering the return of Ultron, they're going to have to learn quickly, as well as get a little help from some friends. Nice story, though Ultron is defeated a bit too easily. PG for violence and language.

THE NEXT BEST THING (PG-13) 103 minutes * * * Real-life best friends Madonna and Rupert Everett star in a story about two people who can't seem to win at love and decide to settle for the next best thing... each other. Everett and Madonna both do great work here, giving consistent and solid performances. Everett gives the film a touch of humor, but the film is for more drama than comedy, much like life itself. No matter who it is that makes up your family, it takes work to keep it going. PG-13 for language.

NEXT DAY AIR (R) 80 minutes * 1/2 A mis-delivered package of drugs creates confusion and trouble. the mix of comedy and drama doesn't really work very well here. The performances are reasonably good, but seem hesitant at times, perhaps unsure of whether they are supposed to be funny or serious. Starring Donald Faison, Mike Epps, and Mos Def. R for language, violence, and sex.

NEXT EXIT (NR) 101 minutes * * 1/2 Rose (Katie Parker) and Teddy (Rahul Kohli) have been on different paths, but now it is one path that they share. They are travelling to take part in research about the afterlife. Neither one of them feel that they have much of a reason to live, so why not help with this research. While the world is debating the ethics of the experiment, Rose and Teddy may be finding a reason not to participate after all. Well-done, but the story doesn't really risk much either.

NEXT FRIDAY (R) 91 minutes * 1/2 Debo is getting out of jail and so Craig is leaving town to live with his Uncle Earl to avoid the beating he's sure to get. Of course, Earl's family and neighborhood have their own problems. It's just another crazy Friday, whether it's your neighborhood or someone else's. A few funny bits here and there, but nothing much to speak of. And way below the caliber of material that these guys should be putting out. R for language.

THE NEXT HIT (R) 104 minutes 1/2 In an attempt to increase lagging sales, a record company has the brilliant idea of killing off it's recording artists. After all, sales increase after musicians die, right? Dumb idea compounded by poor sound quality and editing, with a script that seems to foster bad acting, though it's not clear that a better script would have helped all that much. R for language and violence.

THE NEXT KARATE KID (PG) 103 minutes * * Miyagi (Pat Morita) has his hands full this time. He's taking care of the granddaughter of a friend, and she has a major attitude problem. Of course, she also knows a little karate, which is all the edge Miyagi needs. His new student has a lot to learn... will he be able to teach her in time? Have we seen this all before? Actually, it's not too bad, but relies more heavily on the philosophy behind karate and less on action until late in the film. PG for language and violence.

NEXT OF KIN (R) 104 minutes * * Patrick Swayze is the big draw here. It's a story of the mafia and hillbillies coming into conflict with familiy loyalties at stake. Justice mixed with revenge is the order of the day. The ending is rather awkward, but the story had some problems anyway. R for violence and language.

NEXT STOP, CHRISTMAS (NR) 84 minutes * * * It's just the way it's working out, but Angie (Lindsy Fonseca) is fine with spending Christmas by herself. But it would seem that the Christmas spirits have something else in mind as her commuter train deops her off at her old home town... ten years in the past. She won't be able to come home to the present until she makes the "right" correction to her past. A little extra magic, courtesy of Christopher Lloyd in a nice supporting role.

THE NEXT THREE DAYS (PG-13) 125 minutes * * * An accusation of murder places Lara Brennan (Elizabeth Banks) in jail. Her husband knows she's innocent, but can't find any evidence that will help, so he decides that he'll have to get her out of jail in a more direct manner. There's plenty of suspense here, at least later in the film, but believability is sacrificed and the story suffers for it. Russell Crowe can, and does, carry the film, as this is mostly about his character's attempt to protect his definition of family. What's missing is more of an exploration of consequences and of what else family might look like. PG-13 for violence, language, and sex.

>a name="52720">A NICE GIRL LIKE YOU (R) 91 minutes * * 1/2 More than a little uptight and inexperienced, Lucy (Lucy Hale) has just lost her boyfriend. She decides to create an adventurous and sexy to-do list to broaden her experiences. She discovers that being experienced is less important than sharing experiences. Hale does a nice job of balancing cute, sweet, and sexy. R for sex and language.

THE NICE GUYS (R) 106 minutes * * * The death of a porn star, a missing girl, and two detectives with very different styles are both on the case. at turns both hilarious and suspenseful and with a script that is witty, yet could have used some tightening up. Really nice supporting role for Angourie Rice. Russell Crowe and Ryan Gosling play well off each other. R for violence, sex, and language.

NICK & NORA'S INFINITE PLAYLIST (PG-13) 84 minutes * * 1/2 Nick (Michael Cera) is still hung up on his old flame Tris, who has quickly moved on. His friends want him to move on as well, and there is this girl... Norah (Kat Dennings) like Nick, but can she get him to see that he needs to stop thinking about Tris? Adapted from the novel by Rachel Cohn and David Levithan, this teenage romance is cute and funny. It reminds us that the easiest way to miss out on life and love is if you forget that it's all about jsut being yourself. PG-13 for language and sex.

NICK OF TIME (R) 83 minutes * * John Badham's flair for action and a talented cast (Johnny Depp, Christopher Walken, Marsha Mason) give this a little spark. Unfortunately, the idea that someone would kidnap your child and use them as a hostage to get you to commit a murder for them, just doesn't work. When we forget what the basic premise is, we can feel some of the tension, but we keep being reminded and return to thinking how foolish it all is.

NICKY DEUCE (NR) 66 minutes * * When his parents are sent on a trip, Nicky (Noah Munck) ends up staying with the grandmother he never knew he had. That also means his uncle, who is part of the mob, will be around. And it doesn't take Nicky long to adapt to this new life. Based on the book "Nicky Deuce, Welcome to the Family" by Steven Schirripa and Charles Fleming. It's a cute story about family and fitting in aimed at the pre-teen crowd.

NIGHT AND THE CITY (R) 100 minutes * * Harry Fabian (Robert DeNiro) is a two-bit lawyer who decides that it's time to bring back ringside fighting the way it used to be, with more excitement and less glitter. Trouble is, Harry's luck has never been very good. The film tries to recapture the sense of the 1950's and does a good job as far as the look and the sound. The acting, however, doesn't come off nearly as well. DeNiro delivers one of the worst performances of his career, with a stumbling, awkward performance that makes us shudder. Jessica Lange does a good job, but she is a single star in a sea of darkness. It's an uneven film that is only a shadow of what it might have been. R for language and violence.

NIGHT ANGEL (R) 82 minutes 1/2 Wasted film interpretation of the myth of Lilith, cohort of Satan, following her antics as she tries to take over a fashion magazine. R for violence and nudity.

NIGHT AT THE EAGLE INN (NR) 67 minutes * * 1/2 Fraternal twins, Sarah (Amelia Dudley) and Spencer (Taylor Turner) are investigating the disappearance of their father the night they were born. They are spending the night at the Eagle Inn, where he was last seen. Creepy, low-budget film that works well thanks to some very effective sound effects and a solid soundtrack. The idea isn't a new one, but it still works well.

NIGHT AT THE MUSEUM (PG) 104 minutes * * * Larry Daley (Ben Stiller) was just trying to get a job to show how he actually could be a responsible adult and a better father. Little did he know that being the night watchman at the Museum of Natural History would involve an ancient curse and museum exhibits that come to life each night. Fun and magical film that does a nice job of entertaining all ages. Stiller does a nice job here, and it's great to see Dick Van Dyke and Mickey Rooney here too. Adapted from the book by Milan Trenc, this film is a great reminder that history CAN come alive, just visit a museum near you! PG for violence and language.

NIGHT AT THE MUSEUM: BATTLE OF THE SMITHSONIAN (PG) 100 minutes * * 1/2 The Museum of Natural History is going high tech, so most of the exhibits are being packed up and shipped to the basement of the Smithsonian. Once the tablet that brings the exhibits to life is in a different place, Kahmunrah, brother of Ahkmenrah, is alive and wants to take over the world. It's another fun adventure, though a bit non-sensical in parts, there's still a good mix of excitement, danger, romance, and comedy. PG for violence and language.

NIGHT AT THE MUSEUM: SECRET OF THE TOMB (PG) 92 minutes * * More of the same, to the extent that this really feels like just an extra chapter for the previous film. Lots of in-jokes, and much of the content relies heavily on the previous films. Fun for fans of the series, but others will miss much of the humor. PG for violence and language.

A NIGHT AT THE ROXBURY (PG-13) 77 minutes * 1/2 The Butabi brothers want to run their own nightclub, but they have a bit of trouble getting into their "favorite" club... ever. Chris Kataan has some talent, but his sidekick is more like a lead weight than a straight man. The only other real highlight here is some reasonably good dance music. As with most Saturday Night Live skits-turned-movies, this would've been served better had it stayed a skit. PG-13 for language.

THE NIGHT BEFORE (R) 96 minutes * 1/2 They may be older now, but these three friends remember how to party, and when they three tickets to the magical, elusive, super party fall into their hands... Somewhat strange combination of a sentimental Christmas story and a drug-fueled, rude and crude comedy. It doesn't work all that well, since the bulk of the message is that things change as e grow up and that we need to just accept that. R for language and sex.

NIGHT CATCHES US (R) 85 minutes * * 1/2 Marcus (Anthony Mackie) is home again, but most everyone he once knew no longer trust him. Many of them suspect that he had something to do with the death of a fellow member of the Black Panther movement so many years ago. Well-acted film, but the story tends to drift at times, trying to fill in little details here and there, but not in an organized manner. Filmed in Philadelphia. R for sex, language, and violence.

THE NIGHT CLERK (R) 86 minutes * * Bart (Tye Sheridan) is a night clerk at a hotel. He watches people in an attempt to help deal with his own interactions with people. Bart has Asperger's Syndrome, but deals with it well. His life is a delicate balancing act though, which is turned upside down when his voeuristic habits leave him as a suspect in a murder case. Sheridan and Ana de Armas are good here, but the rest of the supporting cast isn't very strong. The ending is also less than satisfactory. R for language, sex, and violence.

THE NIGHT CREW (NR) 89 minutes * * Four bounty hunters grab a Chinese woman. But the men they took her from are working for a powerful cartel boss, who wants her dead. As it turns out, she may well be worth far more than these bounty hunters ever suspected. But they are going to have to figure out how to stay alive if they hope to collect… or even make it through the night. Interesting twist at the end.

NIGHT CROSSING (PG) 105 minutes * * ½ Escaping Communist East Germany in the late 1970s was an arduous task, and difficult enough for a single individual. Two families decide to try and make that trip across the border by balloon. This runs a little long and could have used some trimming in the middle, but otherwise is a good drama with some light suspense.

NIGHT DRIVE (NR) 75 minutes * * 1/2 He's been a ride share driver for a little while now. His next passenger is going to be a rather unusual one. Russell (AJ Dowen) isn't quite sure what to think of her. She seems nice, but she's a killer... really. A wicked little twist at the end, which is a nice way to finish this dark thriller.

NIGHT FALLS ON MANHATTAN (R) 109 minutes * * 1/2 A drug dealer kills three police officers and puts one in the hospital, but was he allowed the right to defend himself? First half of the movie deals with the court case and gets a bit tedious. Makes for an uneven film as the second half takes shape. Interesting, but many won't want to sit through the first half to get to the second. Andy Garcia does a good job, but Richard Dreyfuss doesn't have much to work with as far as script. R for violence and language.

THE NIGHT HOUSE (R) 101 minutes * * 1/2 It's an unexpected shock, but Beth's (Rebecca Hall) husband's suicide uncovers some disturbing facts. Is it all in Beth's head, or is something more sinister going on? It takes this film a little while to get going, but when it does, it's quite creepy and dark, with plenty of chills and suspense. Very nice work by Hall. R for violence and language.

NIGHT HUNTER (R) 93 minutes * * * They want the same thing, but their tactics are different. Marshall (Henry Cavill) is following the letter of the law. Cooper (Ben Kingsley) uses a vigilante approach. They both want to stop people who abuse young girls. To solve this latest case, they're going to need to work together. Very nice twist late in the film, with solid suspense and a strong finish which manage to lift this a little above similar films. R for violence, language, and sex.

A NIGHT IN HEAVEN (R) 78 minutes * Faye (Lesley Anne Warren) protests, but ends up at a strip club with friends, where she sees one of her students performing. They end up having an affair and her life falls apart, but maybe a night in “heaven” was worth it. It certainly isn’t worth the time it takes to watch. Shallow characters and a sleazy plot. R for sex.

A NIGHT IN OLD MEXICO (NR) 98 minutes * * Red (Robert Duvall) wants a night out. A night of fun and celebration, flying in the face of the fact that he just lost his ranch. There is some fun, and a chance to get to know his estranged grandson. There's also a bag full of money and some not very nice people who want it back. Duvall pretty much runs away with this, which isn't difficult. The script is fine, but no one else's actin is even close.

A NIGHT IN THE LIFE OF JIMMY REARDON (R) 90 minutes * * 1/2 Less the story of a high school senior who can't get the girl he wants and more the story of that same boy and his relationship with his father. Director William Richert wrote the book (Aren't You Even Going to Kiss Me Goodbye) and adapted the screenplay for this rather wordy project, with far too many voice-overs that we really don't need. River Phoenix does a nice job using the camera to highlight what he is saying and doing rather than allowing the camera to shape him. A nice soundtrack from Bill Conti sets the mood, but the ending to the film is rather unsatisfactory.

THE NIGHT LISTENER (R) 77 minutes * * * Late night radio talk show host Gabriel Noone (Robin Williams) begins to feel an attachment to one of his young fans as his own personal life is hitting a rough spot. But is this person who they say they are? The more he tries to discover, the more questions he has. Low-key performance from Williams that works nicely in this slightly suspenseful story. Based on a novel by Armistead Maupin, and also starring Toni Collette, Sanda Oh, and Rory McCulkin. It's a short film, but the story will stay with you for awhile. R for language.

NIGHT MOVES (R) 108 minutes * * Blowing up a dam sounds like a great way to make a statement about water usage. But the plans don't go quite as expected. The ending is strange, though the tone of the film is unusual throughout. Passive and casual with almost no intensity from either Dakota Fanning or Jesse Eisenberg. R for language and nudity.

NIGHT OF SOMETHING STRANGE (NR) 92 minutes 1/2 It's yet another zombie viirus about to infect the world. This time, it's spreading as an STD. Throw in a little cannibalism and lots of gooey, gross effects. and there you go. Mildly original idea, but we don't really care, because even a good idea needs more than just the idea.

NIGHT OF THE ANIMATED DEAD (R) 62 minutes * * Taking a trip to the cemetery to visit the grave of their father, Barbara (voiced by Katharine Isabelle) and Johnny (voiced by Jimmi Simpson) have no idea of what is about to happen. A nearby farmhouse will provide temporary shelter. A remake of the original "Night of the Living Dead", and well-done as far as the story and the pacing. The animation is mediocre though, which is disappointing. R for violence.

NIGHT OF THE DEMONS 2 (R) 93 minutes * What better place for a party than an actual haunted mansion? These Catholic schoolgirls are in for a surprise when they taunt Angela's little sister. Angela (Amelia Kinkade) is the one who haunts the mansion, and the only one who might be able to stop her is Sister Gloria (Jennifer Rhodes). It helps if you've seen the first one, but it's not essential. R for violence, sex, and language.

NIGHT OF THE LIVING DEAD (1990) (R) 85 minutes * * 1/2 This remake of the original, though written by George Romero, who directed the first, doesn't carry the same impact. It's in color this time and relies too much on the grotesque and not enough on the ideas within the story. Tom Savini's direction emphasizes these effects as one might expect with his expertise in the field of special effects. The social commentary is still there, but the original is still more impressive. R for violence, language, and general grotesqueness.

NIGHT OF THE LIVING DEAD REANIMATED (NR) 95 minutes * * This is the original George Romero classic horror film, retold and presented in a variety of animation styles, including claymation, CGI, puppetry, and acrylics just to name a few. The soundtrack includes material from the original film. It's interesting as a work of art, though the constant fluctuation of animation styles is somewhat distracting at best, and definitely has a negative effect on the pacing of the film as well as the intensity of the story.

NIGHT OF THE LIVING DEAD: RESURRECTION (R) 84 minutes * Fairly slow-paced zombie film with the standard plot focusing on a particular family dealing with survival in a world that has turned into zombies. If you manage to last until the end, there's a bit there that helps give the story some meaning, but this is mostly for those who just can't get enough of a zombie fix from better films. R for violence and language.

NIGHT OF THE LIVING DEB (NR) 80 minutes * 1/2 After a night of drunken sex with a stranger, Deb (Maria Thayer) wakes up to a zombie apocalypse. What will she and her new friend do? This works remarkably well, but only because it's willing to poke fun at itself along the way.

NIGHT OF THE RUNNING MAN (R) 89 minutes * * This adaptation of Lee Wells' novel is interesting, but rather predictable. Scott Glenn, Andrew McCarthy, Wayne Newton, and John Glover make up the talented cast, but this probably won't be a film you remember for long.

NIGHT OF THE SICARIO (R) 81 minutes * * Soon to testify against the leader of a Columbian drug cartel, a woman and her husband and daughter are in the witness protection program. The cartel's sicarios (hitmen) don't like that idea. An assisted living facility becomes a hideout, and Taylor (Natasha Henstridge) will help as much as she can. Believability is not a strong suit here. R for violence.

NIGHT OF THE TOMMYKNOCKERS (NR) 84 minutes * Dirk (Richard Grieco) and his crew are all ready to pull another bank job. The town they choose seems to be deserted. As it turns out, the residents are just hiding. Hiding from the tommyknockers. Creatures that were unintentionally released by miners who were using explosives to look for gold. That sounds like it could be a good story. Sadly, there is not much of a script, and the effects are cheeao and ineffective.

THE NIGHT OF THE WHITE PANTS (R) 83 minutes * * * Max (Tom Wilkinson) used to be a wealthy man. Now he is losing his house. But that's just the beginning of all the craziness in his life. He's about to spend the evening with his daughter's boyfriend (Nick Stahl)... well, he was her boyfriend until she found out that he was selling drugs to her brother... it's difficult to understand someone else unless you've had the same experience. Max may finally be on the right track to understanding his family and to reconnecting with them as well. Wilkinson and Stahl work well together and the story is an interesting combination of the unusual, the awkward, and the endearing. R for language.

NIGHT OF THE WILD (NR) 86 minutes 1/2 A meteorite crashing to Earth makes all of the dogs in this small town go crazy and start killing people. No one seems to notice the glowing green rocksin the area... ever. Which is more than a little ridiculous. It's also quite interesting how someone can be attacked by dogs, be bleeding all over, and then get up and get away with virtually no blood visible. It happens more than once. Nice sound effects, but that's about it from this cheap Asylum picture for the SyFy channel.

NIGHT OF THE ZOMBIES (R) 98 minutes 1/2 A reporter (Margie Newton), her cameraman, and four commandos with an endless supply of ammunition and no acting skills face off with zombies in Papua New Guinea. Originally titles "Virus" and also released as "Hell of the Living Dead", it makes no difference what the title is, this just isn't worth your time unless you're a zombie film completist.

NIGHT SCHOOL (PG-13) 111 minutes * * 1/2 Saying "no" to the standardized testing system felt like the right thing for Teddy (Kevin Hart) to do. After a few unfortunate turns, he ends up in night school to get his GED. Without it, he'll have no job and no fiancee. No surprise that the humor is on the rude and crude side with Hart involved. The film does have several nice supporting roles and a good message, it's just a little diluted by Hart's brand of humor. PG-13 for language, sex, and violence.

NIGHT SHIFT (R) 101 minutes * * It only takes one great idea to change your life for the better. That also works in the other direction. For some reason, the idea of opening a brothel in a morgue sounds like the former. Mostly because of the cast, which includes Henry Winkler, Michael Keaton, and Shelley Long, this manages to be fairly entertaining, especially toward the end. Light-hearted and fun, but quality was clearly not a priority. R for sex, violence, and language.

THE NIGHT SITTER (NR) 85 minutes * 1/2 Posing as a babysitter, Amber (Elyse Dufair) has her eyes on a bigger prize. This family has quite a bit of money. It's going well until one of the kids unleashes three witches. The story flirts with some comic elements, but going more in that direction would probably have been a better idea.

NIGHT TRAIN TO LISBON (R) 102 minutes * * * A mysterious young woman about to jump off a bridge and the small book of philosophy in her pocket send Raimund (Jeremy Irons) on a journey to Lisbon to self-discovery. Wonderful characters and a story that is rich with history. Adapted from Pascal Mercier's book of the same title. R for violence and sex.

NIGHT WALK (R) 96 minutes * 1/2 Frank (Sean Stone) never expects to fall for Sarah (Sarah Alami). The story is overly complicated, with an accidental murder, a corrupt judge, prisons in two countries, and bad acting. It moves slowly, though the production values are good. R for language and violence.

NIGHT WARNING (R) 89 minutes 1/2 After his parents died, Billy (Jimmy McNichol) went to live with his aunt. Billy is old enough now to start his own life, but his aunt is determined not to let him go. Cheap sets and over-played characters do a great job of ruining this.

NIGHT WATCH (R) 108 minutes * * There are those who watch the night and those who watch the day, to make sure the balance is kept in place. But one will come who makes a choice, and that choice will upset the balance... Sounds impressive, but the film has the feel of a disjointed music video and is not that easy to follow. There are some nice effects, but one wonders if Sergei Lukyanenko's novel was as difficult to read as this is to watch. And although the end of the film does make a bit more sense, it leaves us wondering if there is supposed to be a sequel... though not all that excited about seeing it. R for violence and language.

NIGHT WATCHER (R) 90 minutes 1/2 As more and more people die in the town, people begin to realize that these aren't suicides. Of course it helps that these tapes keep arriving in the mail that show they are being stalked by a killer. Boring, poorly written, with cheap production values as well. The cast, though not all that talented, give this a good try, but they don't have anything to work with. R for violence, language, and nudity.

THE NIGHT WE NEVER MET (R) 94 minutes * 1/2 Kevin Anderson, Matthew Broderick, and Annabella Sciorra (all strangers at the beginning of the film) share an apartment with the typical complications. Part of the problem here is that the characters don't start interacting with each other quickly enough. Good actors can have a really rough time when the script and director don't give them a chance to work.

NIGHT WILL FALL (NR) 73 minutes * * * Every once in awhile, someone finds a piece of film that was forgotten. This is one such piece. A documentary by Alfred Hitchcock and Sidney Bernstein that was never finished. It details the conditions of German concentration camps at the end of World War II. Restored and supplemented with interviews and newsreel footage, it provides a remarkable historic account of the camps and the conditions that existed.

NIGHT WOLF (R) 83 minutes * When Sarah (Isabella Clathorpe) goes to visit her family in the county, she discovers there's more trouble than she was aware of. Big, hairy trouble. Our trouble is that we never really get to see all that much of the werewolves and the story doesn't really take much time to figure out either. R for violence and language.

NIGHT ZERO (NR) 75 minutes BOMB A bunch of friends who can't seem to do much but argue with each other discover that life actually could get worse. It seems that aliens have chosen this particular night to invade. And to make matters worse, the military is using chemical warfare to fight them. The chemicals they are using are having the unfortunate effect of turning people into zombies. Yeah. Horrible script and acting. Not that the idea has much merit anyway.

NIGHTBLADE (NR) 83 minutes 1/2 The story, about a series of murders and the investigation that follows, isn't bad. What ruins this is the poor production quality. Sets, sound, photography, acting... all are just not anywhere near what they need to be to get this out of the basement. Jim O'Rear and Scott Tepperman served as co-writers, producers, directors, stunts and casting, with O'Rear also responsible for music and editing.

NIGHTBREED (R) 96 minutes * * * Boone is having dreams about monsters. His doctor tells him that the monsters are personifications of his sins. The place called Midian that Boone dreams of is a fabrication created to house his sins. The only thing is, as Boone and many others soon find out, Midian is real... and so are the monsters! This adaptation of Clive Barker's novel, "Cabal" is filled with fascinating characters and an incredible amount of story. This isn't a horror film that will make you scream or shock you with gross special effects, though there are some wonderful effects. And what this WILL do, is stay with you long after you've finished watching it. You'll wonder what else could happen... and if Midian is real. R for violence, language, and nudity.

NIGHTCRAWLER (R) 114 minutes * * While looking for work, Louis (Jake Gyllenhaal) stumbles onto the path of crime journalism. At first curious, he soon becomes obsessed. Gyllenhaal's intensity is a little strange and doesn't really fit with the rest of the film, except perhaps with the brief performance of Bill Paxton. The story also tends to ignore logic and reason in favor of continuing to maintain the unusual tone. R for violence and language.

NIGHTINGALE (NR) 78 minutes * * Peter's (David Oyelowo) world is coming apart. The course of the film follows its slow disintigration. Oyelowo is quite good here, but the script drops us into his world so quickly and deeply, that we struggle to get an understanding before we understand why we need to. Subtlety and nuance are not part of the structure, and could have actually pulled us in more deeply and effectively.

THE NIGHTINGALE (2018) (R) 132 minutes * * * A pretty young woman with a beautiful voice, Clare (Aisling Franciosi) is a victim of Australian colonization. When her contract is up, her master refuses to let her go. When he kills her husband and baby and leaves her for dead, she only sees one option. With the help of a young aboriginal man, she sets out to take revenge. Powerful performances by the cast, Stunning scenery from Tasmania, Australia, and a very nice mix of Irish and Australian music in the soundtrack. R for violence, language, and sex.

NIGHTLIGHTS (NR) 91 minutes * * 1/2 With the passing of their mother, Erin (Shawna Waldron) becomes the primary caregiver for her severely autistic twin brother. It means that her life and her dreams have been put on hold. But is there any space at all for her to do something for herself? A very good story, told with sensitivity and a great deal of heart. There are rough edges here with production, script and acting that hurt the strength of the film, but there's also quite a bit here to like.

NIGHTMARE (R) 92 minutes * ½ Troubled with nightmares, a mental patient escapes and begins a killing spree. It’s interesting to see the series of murders unfold from the viewpoint of the killer, who is struggling with nightmares, and seemingly unable to control his actions. Unfortunately, aside from that mildly interesting idea, this doesn’t have much to offer. R for sex, violence, and language.

THE NIGHTMARE (2015) (NR) 87 minutes * * Documentary that looks at the nightmare experiences of several people. It deals not only with the descriptions and feelings they have, but also with some of the science around dreams. It's interesting, and there are some creepy reenactments, but it doesn't really answer many questions, and tends to be rather dry and slow in the middle.

NIGHTMARE ALLEY (R) 141 minutes * * * 1/2 It begins as curiosity. Then it becomes clear that Stanton Carlisle (Bradley Cooper) has a talent for the grift. He also doesn't know when to stop. Falling in love with Molly (Rooney Mara) only complicates matters, which are already getting worse. Dr. Ritter (Cate Blanchett) is determined to expose Carlisle and stop him and the rest of the group. Writer/director Guillermo del Toto creates another world of the unusual with this dark and twisted tale. The stellar cast which also features Toni Collette, Willem Dafoe, Richard Jenkins, and Ron Perlman does a wonderful job, and the film has a remarkable production design that is both haunting and fascinating. R for violence, sex, and language.

THE NIGHTMARE BEFORE CHRISTMAS (PG) 71 minutes * * * The creative mind of Tim Burton spins us a story about Jack Skellington, the Pumpkin King, and his wish to be a part of the Christmas season instead of Halloween. Part fantasy, part parable, with fascinating characters that come to life through stop-motion animation. Danny Elfman's score is amazing as well, making the soundtrack alone worth buying. Creative, unique, and tremendously enjoyable.

NIGHTMARE CINEMA (R) 115 minutes * * There's nothing quite like going to a movie theater, seeing yourself up on the big screen, and then watching your worst nightmare come true. That's what happens to five people in this horror anthology. The five stories are good, but the connecting material is inconsistent and doesn't work well. Something more simple and brief would have been a better choice. R for violence, language, and sex.

NIGHTMARE NURSE (NR) 81 minutes 1/2 After a car crash, Lance (Steven Good) needs a nurse at home while his girlfriend is at work. At first, Chloe (Lindsay Hartley) seems great, but it soon becomes clear that she's not who she appears to be. The twist is no surprise, as it isn't timed well and most of the acting is pretty poor. An unusually happy (and unconvincing) ending for a suspense/thriller.

A NIGHTMARE ON ELM STREET (R) 88 minutes * * * Inventive horror film that introduces us to Freddy Kruger (Robert Englund), who is not someone you want to meet in your dreams! False scares and cheap shots are kept to a minimum, with a story that is both scary and fun. The ending is disappointing, but getting there is quite a ride. R for sex, violence, and language.

A NIGHTMARE ON ELM STREET (2010) (R) 90 minutes * * 1/2 This remake of the classic 1984 horror film gives us a darker version of the story with less humor. Though it's true that the humor in the original was a bit macabre, at least it was there. For those who are very familiar with the story already, the tone here manages to create some chills despite the familiarity. R for violence and language.

A NIGHTMARE ON ELM STREET PART 2 (R) 83 minutes * * 1/2 Gross effects are slightly atronger than the first film, but the scares are a little less effective. The story works on giving us a little more explanation into how Freddy (Robert Englund) works, which is good, but also has a negative impact on the pacing of the story. Not bad for a sequel though. R for sex, violence, and language.

A NIGHTMARE ON ELM STREET 3: DREAM WARRIORS (R) 92 minutes * * * Nice opening quote from Edgar Allan Poe - "Sleep. Those little slices of death. How I loathe them." Nancy Thompson (Heather Langenkamp) is the expert on how to handle Freddy, but her acting this time around is less than stellar. The rest of the cast manage to make up for it though. Freddy is out to get the grandchildren of his first victims, and Nancy is going to have to teach them how to cooperate in their dreams if they have a hope of succeeding. Another fine entry in the series.

A NIGHTMARE ON ELM STREET 4: THE DREAM MASTER (R) 87 minutes * * * Kristen Parker, the last of the children of Freddy's killers finally bites the dust here, but she manages to pass her powers along to another girl who is able to control her dreams. Alice, along with her friends Dan and Debbie, forms the new triangle of power. The story here is by far the best of the sequels, but the acting is not what it needs to be. Some great special effects from Dream Quest, Kevin Yagher, and John Buechler are here too. A very solid entry in the series.

A NIGHTMARE ON ELM STREET 5: THE DREAM CHILD (R) 84 minutes * * The "dream child" of the title is the unborn baby of Lisa Wilcox, our heroine from Part 4. It is through the dreams of this unborn child that Freddy is now entering the world of reality. It's an interesting idea and it ends well too. The big surprise is that the special effects are very poor. Filmed in dim light whenever possible, they look cheap and ruin much of the intesity the film tries to deliver.

NIGHTMARE SHARK (NR) 85 minutes 1/2 As the title suggests, a group of people are haunted by nightmares about a shark. They have all survived actual shark attacks, and are wondering if the shark they dream about is the same one. The doctor they go to for help has some strange ideas about experimenting on them. Lots of repetitive effects and soundtrack pieces. What's worse is that the story gets less cohesive and makes less sense as it moves along.

NIGHTMARE WEDDING (NR) 86 minutes BOMB Sandy's (Nicole Posener) wedding plans hit a bump when she discovers that her fiance's best man is her former lover. A stale plot that is badly over-acted and poorly produced.

NIGHTMARES (R) 95 minutes * * * Anthology of four, shorter films, based on urban legends. Terror in Topanga is a very nice retelling of the “killer in the back seat” story. The Bishop of Battle features a fine performance from Emilio Estevez. The Benediction has a great ending and some very good effects. Night of the Rat is the least successful of the four, but isn’t bad. Nice music throughout all four segments. R for violence and language.

NIGHTS IN RODANTHE (PG-13) 94 minutes * * * Adrienne (Diane Lane) is filling in for her friend by watching her beachfront bed and breakfast. There's only one guest. Dr. Paul Flanner (Richard Gere), who is hoping to see his estranged son. As a hurricane shakes the world around them, Adrienne and Paul find a love that both inspires and changes them. Lane and Gere do nice work here, though it's likely that this will appeal mostly to those who think Harlequin romance novels are how love really works. PG-13 for sex and language.

NIGHTWORLD (NR) 90 minutes * * Brett (Jason London) has seen quite a bit in his years working for the LAPD. Now retired, he's in Bulgaria, where he decides to take a job as a security guard at an old apartment building. But all is not quite as it seems with this building, or this job. Definitely creepy, but it remains a little too vague, even when some of the questions are being answered near the end.

THE NILE HILTON INCIDENT (NR) 107 minutes * * 1/2 When a singer turns up dead in a hotel room, an investigation quicjly begins. But despite there being a witness, it seems that every attempt to discover the killer meets a dead end. Lots of loose ends in the story, some of which wrap up a little too neatly right at the end.

NIM'S ISLAND (PG) 90 minutes * * * Nim (Abigail Breslin) and her father live on an island they found during a long voyage after her mother is swallowed by a whale. When her father disappears during a short research trip, Nim is left to fend for herself. Danger is just around the corner, but so is a friend. They will have much to learn from each other, but that will just make the adventure even more exciting. Fun film for the whole family with great performances by Breslin, Jodie Foster, and Gerard Butler. Adapted from the novel by Wendy Orr. PG for violence and language.

NINA (NR) 85 minutes * * * Bio-drama about jazz legend Nina Simone (Zoe Saldana). The film focuses on her later career, after her initial success and through some of the more difficult years with addiction and anger issues. She was an extraordinarily talented musician, but was also a highly volatile, manic-depressive alcoholic. Great work by Saldana, though the makeup is not well done.

9 (PG-13) 72 minutes * * 1/2 Technology has advanced to a point where everything ends up being destroyed. Almost all that is left are the 9. They witnessed the end, and if they can survive, and learn from what happened, they will be able to begin again. An unusual film, filled with symbolism and metaphor, but there clearly are bits of the story we are missing. Though quite dark in its mood in a few spots, the overall message is one of hope. As one of the characters notes, "The world is ours now. It's what we make of it." PG-13 for violence.

NINE (PG-13) 108 minutes * * * 1/2 The great film director Guido Contini (Daniel Day-Lewis) is about to begin shooting his latest masterpiece... but he has no script. In fact, he doesn't even have much of an idea, and is struggling with how to deal with this absence of creativity. His last couple of endeavors haven;t been so good either, and the more he tries to hold on to his past success, the more it all seems to slip through his grasp. Sometimes, it's only when it's all stipped away that you can tell who you really are. An absolutely stunning cast, with wonderful production numbers. Director Rob Marshall gives us a musical with a touch of Fellini that is sure to win quite a few awards. The cast also features Marion Cotillard, Nicole Kidman, Penelope Cruz, Judi Dench, Kate Hudson, Fergie, and the inimitable Sophia Loren. PG-13 for language and sex.

9 1/2 WEEKS (R) 108 minutes * * Adapted from the novel by Elizabeth McNeill, this is the story of an affair. Steamy and intense, at least for the first half. As the affair goes on, they begin to learn more about each other, which starts to complicate the impersonal nature that was making it all exciting earlier on. Kim Basinger and Mickey Rourke are good here, but if you want a similar story that works much better, try "Body Heat". R for sex, violence, and language.

9 BULLETS (NR) 90 minutes * * Gypsy (Lena Headey) is not really the motherly type. When her former lover kills the family next door, the young boy they missed ends up in her care, along with the computer that has some critical information on it. Some good tension, despite the story not being all that strong. The ending stretches the believability a little too far.

NINE DAYS (R) 112 minutes * * * It's an unusual job, but Will (Winston Duke) is the one who interviews souls that are looking to be born. They are new, and must pass the test, which can last up to nine days. Will has been doing this job for awhile, but discovers that he still has much to learn when Emma (Zazie Beetz) begins her interview. Edson Oda's feature film directorial debut is a deep and powerful film, and worth a second look. R for language.

NINE DEAD (R) 84 minutes * * Nine people have been kidnapped. But why? Every ten minutes, one of them will die until they figure out the answer to that question. It's an interesting idea, and a bit more straightforward than the "Saw" series. Melissa Joan Hart is definitely miscast here, but the rest of the cast does reasonably well. R for violence and language.

NINE DEATHS OF THE NINJA (R) 89 minutes 1/2 When a busload of children are taken hostage in the Philippines, a small team of specially skilled individuals will be needed to come to their rescue. Most of the fight scenes are worth a look, but the story is just not well organized.

9/11 (R) 82 minutes * 1/2 Yet another drama about the events that happened on September 11, 2001. This story focuses on what happens to a small group of people who are trapped in an elevator in the north tower of the World Trade Center complex when it is attacked. The limited scope of the story doesn't help, and this grows tiresome fairly quickly. R for language.

911: IN PLANE SIGHT (NR) 70 minutes * * 1/2 Quite simply, some of the most compelling and convincing information in support of the idea that the full story of what happened on September 11, 2001 was not and has not yet been told. In particular, the depth of information presented about the "crash site" at the Pentagon raises a number of questions that have never been addressed by the official stories.

9 FULL MOONS (NR) 97 minutes * * They're made for each other, but never quite fit together. It's love. It's awkward. Both Frankie (Amy Seimetz) and Lev (Bret Roberts) are unwilling to deal with issues from their past. Instead, they use alcohol, marijuana, and sex to avoid them, with the result being an inability to truly connect with one another. An interesting character study, but the performances are a little detached.

THE NINE KITTENS OF CHRISTMAS (NR) 83 minutes * * 1/2 When a batch of kittens is left at the fire station, Zachary (Brendan Routh) agrees to find homes for them. Marilee (Kimberley Susad) volunteers to help. The two of them used to date each other, but hit a rough patch and decided to move on. Maybe finding homes for the kittens will bring them back together. Can you say "Hallmark"?

NINE LIVES (R) 108 minutes * * * The lives of nine women are explored in this powerful drama. Nine short films, each exploring a few moments in each woman's life, yet telling us so much about them. Some of the stories are connected more directly than others, but there's a sense in which they are all connected and we are connected to all of them as well. Nice work from all involved! R for language and sex.

NINE LIVES (2016) (PG) 81 minutes * * Tom Brand (Kevin Spacey) is a bit of a jerk. But now, thanks to a strange turn of events, he’s trapped inside the body of the cat he just bought for his daughter… and he hates cats. The only way out of this mess is for him to learn to be a good dad… by being a good cat. Predictable and silly, but the tone remains light, making this a good-natured film that works well as a fun film for the family. PG for language and violence.

NINE MONTHS (PG-13) 96 minutes * * 1/2 Sam (Hugh Grant) may be a child psychologist, but he doesn't want a child of his own... The real stars here are Tom Arnold and Joan Cusack, who work very well together and liven things up every time they're on screen. Grant and Julianne Moore are less likeable and their scenes together tend to drag. Adapted from the French film "Neuf Mois", by writer/director Chris Columbus.

THE NINES (R) 93 minutes * * * 1/2 He's an actor, suffering a bit of a breakdown, who now finds himself under house arrest. He's a writer, he's a videogame designer... he's a nine. But what is a nine? Fascinating exploration of humanity and divinity with intriguing performances. The ending is "the best of all possibilities", and slowly works its way through the film until it's just there. Definitely a film that will keep you thinking for awhile after watching it. R for langauge and sex.

1981 (NR) 97 minutes * * 1/2 Starting at a new school may make some things easier for Ricardo (Jean-Carl Boucher), but its surprising how many things will stay the same. French-Canadian filmmaker Ricardo Trogi recalls his struggles as an eleven year old and gives us a look at how he dealt with life. Not a bad story, though nothing all that remarkable either, and we don't need the narration.

1982 (R) 85 minutes * * An old boyfriend puts Tim (Hill Harper) and Shenae's (Sharon Leal) marriage at risk, as well as her life and the life of her daughter. It will be much easier than she expected to slip back into her addictive behavior. R for language, violence, and sex.

1911 REVOLUTION (R) 116 minutes * * 1/2 The 1911 uprising against the Qing Dynasty. The film covers a great deal of history, often with the somewhat annoying use of lengthy text in very small print. It's interesting to see Jackie Chan in a more straight-forward historical drama. He does a fine job, but the story is the real star here, despite typical tendencies to simplify motives and events at times. R for violence.

1917 (R) 110 minutes * * * 1/2 Two battalions are about to attack what they believe to be a retreating German line. But it is a strategic withdrawal, and 1600 men are likely to die if Blake (Dean-Charles Chapman) and Schofield (George MacKay) don't get there in time. A powerful story with magnificent (and Oscar winning) cinematography and an impressive (and Oscar nominated) soundtrack. R for violence and language.

1969 (R) 91 minutes * * * * Playwright Ernest Thompson makes his directorial debut with this wonderful period piece about the end of the 1960's. The incredibly talented cast features Robert Downey Jr., Kiefer Sutherland, Bruce Dern, Winona Ryder, and many more, who give us a glimpse into a year filled with struggles and with friends. Thompson packs a great deal of material into the script in an expert manner, and the songs are well chosen to highlight the atmosphere. R for language.

THE 19TH WIFE (NR) 85 minutes * * Overly dramatic performances and rather uneven editing remind us of too many mediocre TV movies and soap operas. The suspense in the story is quite clearly timed for commercial breaks rather than when it might be helpful to the story. Adapted from David Ebershoff's novel about a woman in a fundamental religious sect who is accused of killing another of the many wives of her husband.

90 FEET FROM HOME (NR) 123 minutes * * 1/2 He had a chance to be a great baseball player, but Scott (Chase Pollock/Adam Hampton) has an abusive stepfather. The violence at home shapes who he is, and it causes problems that result in him losing his baseball career. He has become much like the father who abused him. A couple of loose story ends here, and nothing outstanding in the performances. Still, the story manages to create characters we either like or sympathize with.

99 HOMES (R) 108 minutes * * 1/2 Dennis (Andrew Garfield) just lost his job and now he's been evicted from his home. The real estate broker who oversees the eviction is ruthless. But maybe working for him is a way to get on the other side of this mess. Convoluted story takes a long time to get where its going, especially when its pretty clear where that will be. R for language and violence.

97 MINUTES (NR) 88 minutes * A hijacked plane, low on fuel, witha nuclear bomb on board. What to do... Perhaps someone should have been looking for a more original script? Alec Baldwin loooks bored, and Jonathan Rhys Meyers switches loyalties too many times, though at least his performance is a little more convincing.

96 MINUTES (R) 85 minutes * * 1/2 Sometimes lives intersect in tragic moments. Innocence and anger, promise and frustration. This story explores a crossroad between four lives that will never be the same. Nice performances, but somehow we still don't feel we know these characters at the end of the film. They are drawn so broadly and quickly that there just isn't enough there. R for violence and language.

NINJA ASSASSIN (R) 91 minutes * * 1/2 Raizo (Rain) has trained a a ninja since he was young. Leaving the clan that has been his family, he is now in the process of serving up justice for the brutal murders they have committed over the years. The fight scenes are beautifully choreographed with scenery and cinematography that add an extra level of artistry. R for violence and language.

THE NINJA: IMMOVABLE HEART (NR) 96 minutes BOMB Danny Glover is the marquee name here, but his scenes look very much like they were shot (with the exception of one) in a room by himself over the course of about 15 minutes. The fight scenes are choreographed so poorly that they aren't even funny, just sad. And the script is full of cliches, which may have been included to add humor, but just don't. It doesn't help that writer/director/producer Rob Baard also stars in the film when he clearly lacks the ability to do any of those jobs.

NINJA III: THE DOMINATION (R) 88 minutes * 1/2 An innocent aerobics instructor (Lucinda Dickey) finds herself possessed by the spirit of an evil ninja who wants revenge on those who killed him. It's not a great premise, and the acting is pretty poor, with the focus on the fight scenes, as you might expect. Unfortunately, those scenes aren't that good either.

NINJA'S CREED (PG-13) 82 minutes 1/2 There is only one heir left to the throne for this kingdom in the Himalayas. One soldier is sent to protect her. Boring stretches with no dialogue and not much action, and an ending that just suddenly interrupts the film. Of note as the last film for Pat Morita. PG-13 for violence.

9TH COMPANY (R) 129 minutes * * * A group of young men are on their way to the Russian front of the war in Afghanistan in 1988. It is not a place they want to be, and it is not a war that they particularly understand or agree with, but they are soldiers, and they will do their job the best they can. At times, it is more clear what is won when war is happening, and the cost, though high, can be seen as being worth what is won. At other times, such as this story, the price is too high, and the outcome too unclear and the risk is more difficult to justify. The script tends to keep us at a distance at times, and runs a little long without connecting us more closely to the characters. R for violence, language, and sex.

THE NINTH DAY (NR) 90 minutes * * * Father Henri Kremer (Ulrich Mattes) has been released from the prison camp at Dachau for nine days. Nine days in which he will be faced with many opportunities, challenges, and decisions. Adapted from the book "Pfarrerblock 25487" by Jean Bernard, on whom the character of Kremer is based. It's a powerful film with noteworthy performances by both Mattes and August Diehl. Director Volker Schlondorff gives us a story that is full of tension between despair and hope, faith and doubt, choices that are sometimes made in more extreme circumstances than most of us can imagine.

THE NINTH GATE (R) 127 minutes * * 1/2 There is a book that was written by Satan himself, the reading of which can conjure him. Three copies are known to exist, but are any of them authentic? It's an interesting idea, but we soon tire of the search and long for the climactic scenes we know will come at the end. Johnny Depp gives an appropriately creepy performance, but the film is far too long to sustain the suspense. Adapted from the book El Club Dumas and rated R for violence and sex.

THE 9TH LIFE OF LOUIS DRAX (R) 104 minutes * * * Louis (Aiden Longworth) is a very accident prone boy. He also miraculously survives each accident, no matter its severity. There's something very mysterious about Louis. Interesting mix of fantasy and mystery, carried off quite well by the cast. Adapted from the novel by Liz Jensen. R for language.

THE NINTH PASSENGER (R) 73 minutes 1/2 Although it wasn't what most of them intended, they're taking a little nighttime joyride on a yacht. When the power goes out and they start drifting, they also realize that someone else is on the boat. The music and photography do a good job of creating tension, but the dialogue is very weak, and the ending is extremely abrupt. R for language and violence.

NITRAM (NR) 107 minutes * * * Nitram (Caleb Landry Jones) has always been on the edge. Self-control and fitting in with others isn't part of who he is. Wreckless and carefree, his life takes a couple of bad turns with the deaht of a friend and the death of his father. Nothing is going right for him. The signs are all there, and few people even try to do anything to help him. A powerful and understated ending.

NITRO CIRCUS: THE MOVIE (PG-13) 85 minutes * * 1/2 Extreme stunts and other dangerous sports stunts, just like the TV show. Though there are some similarities to "Jackass", the stunts here are actually designed to succeed, and are often much more thrilling as more of them are actually sports stunts instead of pranks. PG-13 for violence and language.

NIXON (R) 181 minutes * * * As is typical of Oliver Stone movies, this film does drive its point into the ground a little bit too much. Still, if the portrait of Nixon as a child is close to accurate, the picture of the man is probably close as well. The big disappointment here is that there are so many well-known actors who are seen in roles that are important, but are on screen for a very short time. Anthony Hopkins does well as Nixon, but the real standout is Joan Allen as Pat Nixon. Settle in and relive a little history through the eyes of Oliver Stone as he takes a look at Richard Nixon. R for violence and language.

NO (R) 113 minutes * * To unseat Pinochet from his dictatorship in Chile would take a brilliant strategy, excellent timing, and a bit of luck. The campaign found all of those qualities in Rene Saavedra (Gael Garcia Bernal). Historial drama that tends to run a bit on the dry side as it follows the back and forth of the work to get rid of Pinochet. Bernal is good, but the script doesn't have a great deal of energy. R for language.

NO BEAST SO FIERCE (NR) 80 minutes * * His son has grown up while he was locked up. It's been twenty years, and when Charlie (Bailey Chase) gets out, he finds that his son is missing and in trouble. Finding him won't be easy, and each step Charlie takes seems to create more trouble than the one before. The story here twists in on itself a little too much.

NO COUNTRY FOR OLD MEN (R) 117 minutes * * * 1/2 Llewelyn Moss (Josh Brolin) has a feeling that someone might be coming after the two million dollars. What he doesn't know is that Anton Chigurh (Javier Bardem) isn't like most people. It may not be the "old days", but the west is still wild. Intense story adapted from Cormac McCarthy's novel with subtle, strong performances from Bardem, Brolin, and Tommy Lee Jones. Another fine piece of work from the brothers Coen. Filmed in New Mexico. R for violence and language.

NO END IN SIGHT (NR) 99 minutes * * 1/2 Straightforward documentary that traces the history of the war in Iraq. Beginning with information on how the stage was set, both in Iraq and within the United States government, and how mistakes were made with regard to the ways in which war should be waged if success is to be expected. The film does a reasonably good job of steering away from opinion and simply uncovering the details of the events. The criticism that is offered is focused more on the management of the war than on the reasons for its beginning.

NO ERES TU SOY YO (PG-13) 96 minutes * * 1/2 Javier (Eugenio Derbez) is a romantic, which makes life more than a little difficult when his marriage falls apart. Perhaps there is another love waiting to be discovered. Fun, light, romantic comedy, though not particularly memorable on any front. PG-13 for sex and language.

NO ESCAPE (R) 113 minutes * Ray Liotta escapes a maximum security prison in the year 2022 and finds himself in a jungle with other inmates. Can they survive and create a workable society? Who cares? This asks the question, "can the uncivilized become so when left to the wild?" Unfortunately, the story is rather boring and trite, with performances that are lifeless, at best.

NO ESCAPE (2015) (R) 98 minutes * * 1/2 Just as they start to settle into their new home in Southeast Asia, Jack (Owen Wilson) and Annie (Lake Bell) find themselves in the middle of a country in turmoil. Now, protecting their children and getting out alive are all that matter. The acting is intense, but with too many difficult to believe close calls. And there isn't much chemistry between Wilson and Bell to give the film any depth on the romantic side of things. R for violence and language.

NO FUTURE (NR) 85 minutes * * It's difficult to deal with the loss of a friend. It's perhaps even a little more difficult for Will (Charlie Heaton) since he is a recovering addict and his friend died from an overdose. In addition, his friend's mother (Catherine Keener) is reaching out in her own grief and finds Will to be the comfort she needs. It's not healthy, and it's putting Will at an even greater risk. The ending is no surprise, but still feels a little incomplete.

NO GOD NO MASTER (PG-13) 90 minutes * * 1/2 A series of package bombs are being sent to prominent people in New York. The investigation into their origin will uncover a sinister plot against the country. Though it sounds straight from the headlines of the 2010's, this is based on actual events from the 1920's. The acting and dialogue are rather stiff throughout the film, which detracts from the underlying message. Acts of terror have always been committed. It is the awareness of the general public that creates the environment the terrorists wish to achieve, and that means that our insatiable need to know and the media's willingness to feed it are our worst enemies. PG-13 for violence.

NO GOOD DEED (PG-13) 81 minutes * 1/2 A woman and her two children are terrorized by an escaped inmate. Reasonably good acting here, but there are too many predictable bad decisions. The one good twist isn't enough to help this get anywhere. PG-13 for violence and language.

NO GOOD HEROES (NR) 88 minutes * * They have lived peacefully in the caverns near a small town for 28 years. But now, this small group of aliens find themselves fighting for their lives. An interesting alien invasion story that manages to be both low-key and intense. The ending is a litte weak, but getting there is good.

NO GREATER LOVE (PG) 104 minutes 1/2 Christian drama about a woman who leaves her family due to depression, how they family copes, and what they do when she comes back into their lives. The characters have almost no depth, and the dialogue and acting remind us of a reayy bad soap opera. It also seems that when in doubt, most of the characters resort to screaming or crying. Sorry people, that isn't acting. PG for language.

NO HARD FEELINGS (R) 98 minutes * * Looking for a way to save the house her parents left her, Maddie (Jennifer Lawrence) is desperate. There's a deal lwhere she can get a free car, which would help her keep a job. She just recently lost a job because her car was repossessed. All she has to do is "date" a socially awkward 19-year-old. The lessons they both learn are no surprise, but there are some cute bits along the way. R for sex and language.

NO HOLDS BARRED (PG-13) 89 minutes 1/2 This Hulk Hogan vehicle has virtually nothing to recommend it. Fake fight scenes that are worse than normal, a plot that is almost non-existent, and acting that... well, it isn't. This is only for diehard fans of Hogan.

NO HOME MOVIE (NR) 117 minutes * * 1/2 Director Chantal Akerman filmed her mother and their interactions, mostly in her mother's apartment in Brussels. Near enough to the end of her mother's life (she dies before the film was released), it captures the slow decline and deterioration of her health. A fascinating and very personal look at their relationship. Not entertaining in the usual sense, but interesting, and pushing the boundaries of cinema verite. This also ended up being Akerman's final film as she took her own life shortly after the death of her mother and the completion of this film.

NO IMPACT MAN (NR) 88 minutes * * * Colin Beavan is what some people might consider and eco-extremist. Having done a great deal of study and written quite a bit about how people can reduce their impact on the environment, he decides to try to live for a year without making any negative impact on the environment. He expects his wife and daughter to comply as well, which could be a bit more difficult. Interesting, informative, and somewhat humorous at times as well.

NO MAN OF GOD (NR) 96 minutes * * 1/2 It wasn't the job he really wanted, and he wasn't quite sure what to expect, but Bill Hagmaier (Elijah Wood) finds himself meeting with serial killer Ted Bundy (Luke Kirby). The task is to try and uncover how a serial killer thinks, to try and prevent others from killing, or at least from killing so many. The bulk of the film is the interview sessions, which are mostly dry, though Kirby does have some good dialogue. Wood isn't a particularly good fit here, though his acting skills cover up a little of that.

NO MANCHES FRIDA (PG-13) 109 minutes * * 1/2 When Zaqui (Omar Chaparro) gets out of prison, he discovers that the money from the robbery he did was hidden under what is now a school. So, he gets a job as a substitute teacher, while he digs a tunnel under the school at night to get the money. Cute story, though not all that original. The performances by Chaparro and Martha Higareda give us characters that are likeable and fun to watch, which makes this worth a look. PG-13 for sex and language.

NO MAN'S LAND (PG-13) 111 minutes * * 1/2 Jackson (Jake Allyn) has a promising career in baseball. He loves his family's ranch, and when he goes out one night to help his father and brother with a border patrol situation, things go badly. Jackson heads to Mexico to atone for what he has done, but that won't be easy. Despite the length of the film, the story is surprisingly shallow. PG-13 for violence and language.

NO MAN'S LAND: THE RISE OF REEKER (R) 84 minutes * 1/2 After his execution, the Death Valley Drifter comes back. His job is to collect the souls of those who should be dead but refuse to die. The logic of that part of the story is a little shaky, but lots of gross effects and a few noise scares help cover part of that up. Prequel to "Reeker". R for violence and language.

NO MERCY (R) 105 minutes * * ½ When his partner dies, Eddie (Richard Gere) is determined to make sure the people who did it are held responsible. That means a trip down to New Orleans and getting involved in a plot that just isn’t as convincing as it needs to be. Gere and Kim Basinger are the stars here, with lots of screen time, which overshadows some nice work by Jeroen Krabbe. Richard Pearce’s direction hints at some great ideas and plot twists, but never delivers.

NO ONE LIVES (R) 80 minutes * * A couple travelling across the country. A group of criminals who routinely kidnap and rob people on the road. But this particular couple has a secret, and these killers are in for a surprise. The story seems to be missing a couple of pieces, but it still manages to be interesting and create some good tension. R for violence, language, and sex.

NO PLACE (NR) 76 minutes 1/2 A small-time hustler, Mac (Benjamin Madrid) is always on the hunt for his next "job". One of his sources (Forba Shepherd) gives him some information about a larger and riskier proposition. It's a low-key and low-budget film that leans toward noir, but never quite gets there. Photography and direction are lacking, not that the script is all that great either.

NO PLACE ON EARTH (PG-13) 79 minutes * * * Fascinating look at the discovery of a previously unknown chapter of WWII. Cave explorer Chris Nicola was exploring caves in the Ukraine when he discovers evidence that people lived there at some time in the past. Slowly, the story comes to light as he begins to unravel the history. He manages to find some of the survivors, and we hear their stories of living underground for over a year and a half. PG-13 for violence.

NO REGRETS (NR) 83 minutes * * 1/2 Nina (Monica Calhoun) has been putting off her boyfriend's proposals. Just when she's decided that it might be time to accept, Quincy (Brian White) walks into her life. Simple, but nice, romantic story with a few touches of comedy, mostly from Loretta Devine's character.

NO RESERVATIONS (PG) 100 minutes * * 1/2 It's hard enough to be a great chef in New York. But when Kate (Catherine Zeta-Jones ends up taking care of her niece, and her boss brings in another chef to help (Aaron Eckhart), Kate is faced with a few more challenges than she anticipated. Based on "Bella Martha", with Zeta-Jones giving a rather passionless performance, though Echkart does a nice job compensating for it and Abigail Breslin delivering another fine performance in her young career. PG for language.

NO RETREAT NO SURRENDER (PG) 80 minutes BOMB When Jason's (Kurt McKinney) dad gets beaten up, Jason begins to train so he can put a stop to things like that. His trainer is none other than the ghost of Bruce Lee. That's probably about all that needs to be said. The fight scenes aren't as bad as the story or the acting, but they aren't good either. PG for violence and language.

NO SAINTS FOR SINNERS (NR) 78 minutes * 1/2 When a drug deal goes bad, Mickey (Rick Crawford) tries to run, but his past quickly follows, and it all just seems to get worse. The story is interesting, but the performances just aren't very convincing.

NO SMALL AFFAIR (R) 105 minutes * * Paper-thin plot as a young photographer falls in love with the girl in a photo he takes. Directing and editing are both sloppy, but Jon Cryer and Demi Moore are both good enough that it still manages to work.

NO SOLICITORS (NR) 93 minutes 1/2 A doctor's family assists him in acquiring unwilling donors for various organs. The victims are kept in the basement until the need for a particular organ arises, and the leftovers are served for family dinner. If only they had paid attention to the "no solicitors" sign. It's not like they weren't warned, right? Lots of overacting, much of which is the dialogue, none of which is very good, or scary, or funny.

NO STRINGS ATTACHED (R) 101 minutes * * 1/2 When Adam (Ashton Kutcher) discovers his girlfriend in bed with his dad, he needs someone to talk to. He's known Emma (Natalie Portman) for years, and she's a good friends. Can the give each other some mental and physical support without letting their emotions getting involved, or will this end up being a bad idea? Kutcher doesn't have a great deal of depth here, but Portman and the supporting cast do a very nice job of making the story work well despite its predictability. It doesn't hurt that director Ivan Reitman has a very good track record with romantic comedies. Worth a look, even if you don't care for Kutcher. R for sex and language.

NO SUBTITLES NECESSARY: LASZLO & VILMOS (NR) 84 minutes * * * Laszlo Kovacs and Vilmos Zsigmond were the cinematographers for dozens and dozens of films in a Hollywood that was just beginning to experiment with new styles and ideas. Their work has continued to shape a great deal of the film industry that has followed them. Interviews with friends and film legends are interspersed with clips of their astounding work. A must for film buffs.

NO SUCH THING (R) 98 minutes * * * When Beatrice (Sarah Polley) sets off to find clues about the disappearance of her fiancee, she never expects to find that the monster that people have mentioned is real. Then she begins to get to know him. As with most Hal Hartley films, this is filled with metaphor and philosophical dialogue/monologue. It's part biting satire of media and popularity, and part lyrical fairytale. Can we live without fear? Can we live without monsters? Something to ponder. R for violence and language.

NO SUDDEN MOVE (R) 113 minutes * * * Curt (Don Cheadle), Ronald (Benicio Del Toro), and Charley (Kieran Culkin) know of each other, but now they will be working together. The job is only partially revealed to them, but as time passes, they begin to figure out more. Additional players keep getting added to the story, and some are "removed". It's a tangled story, but also fascinating. The atmosphere is quite good, as are the sets, costumes and music. The cast includes a few other familiar faces. Overall, it's a fun story, but you might need to watch it twice to catch everything. R for language and violence.

NO SURRENDER (NR) 107 minutes * 1/2 When the son of a British military governor in Egypt is arrested, his immediate release is demanded. But General Youssef al-Mastito (Amir Karara) isn't ready to do that. His only other option is to not surrender in the battle that's about to begin. The plot is overly complicated with information and sub-plots that are unnecessary distractions. It makes this feel much longer than it is.

NO TIME TO DIE (PG-13) 157 minutes * * * 1/2 Daniel Craig's fifth and final film in the role of James Bond begins with him enjoying a more relaxed life in the company of Madeleine (Lea Seydoux). Of course that won't last for long. Felix (Jeffrey Wright) needs help, so Bond enters the game once again. There's more at stake than ever before, with some very dangerous bio-tech that threatens the safety of the world. This time, it may be more than even James Bond can handle. A fine entry in the series that brings in a bit of romance and sentimentality as well as the usual extreme action. A great soundtrack as usual, and a sweet performance by young Lisa-Dorah Sonnet as Medeleine's daughter Mathilde. PG-13 for violence and language.

NO VACANCY (R) 77 minutes 1/2 Breaking down with two flat tires in the desert isn't good, but finding a place just down the road is wonderful. Especially when everybody there seems super happy to help. (Actually, TWO flat tires is highly suspicious, and so is finding help so easily.) The story is so unimaginative and the characters so uninteresting that we don't really care what happens to them. The sudden ending makes little sense, but the only thing we've really been watching here is the set and photography anyway. R for violence sex, and language.

NO WAY JOSE (R) 95 minutes * 1/2 Jose (Adam Goldberg) is about to turn 40, and nothing in his life is settled. The humor is both cynical and negative, making it somewhat difficult to like most of the characters. Cynical humor can work, but there needs to be a counterpoint for it to really be effective. Much of the problem is clearly because Goldberg not only wrote, directed, and starred, but also edited the film and wrote and performed music... R for language.

NO WAY OUT (R) 110 minutes * * * When a politician's mistress turns up dead, it's up to Lt. Cmdr. Tom Farrell (Kevin Costner) to find the killer. The problem is, Farrell was having an affair with her too. Intense pacing and plenty of action keep us involved right up until the end... which is a bit disappointing and seems to drift away from the direction we'd been going all along. Based on the novel "The Big Clock" by Kenneth Fearing.

NO WAY OUT BUT ONE (NR) 85 minutes * * 1/2 The story of Holly Collins' desperate attempt to provide for the safety of her children that was denied by the courts. The courageous work done by Collins shows just how determined she was and the course of the documentary shows us all sides of the story, though not without a little bias.

NOAH (PG-13) 132 minutes * * If you're looking for a traditional version of the story of Noah, this isn't it. It's more like a supernatural adventure story baed on the story of Noah. In its own way, it offers answers to some of the questions that the story has always raised, but in doing so, it manages to raise others as it strays so far from the classic story. It does beg the question of why one would revise a story this much and expect it to be well-received. It's also rather frustrating that Russell Crowe seems to think that being dramatic involves lots of whispered lines. PG-13 for violence.

NOBEL SON (R) 107 minutes * * * Eli Michaelson (Alan Rickman) wins the Nobel prize for chemistry. But it wasn't really his idea, and the son of the man he stole it from, kidnaps Michaelson's son to get revenge. But that's only the beginning. Plenty of twists and turns, and it's definitely interesting to watch the puzzle fall into place as the film ends, though it does happen a bit too neatly. Rickman does a great job playing a man you love to hate, which is an interesting approach... having the initial victim being someone we don't really like. R for violence, language, and sex.

NOBLE THINGS (R) 95 minutes * * Returning home to Texas, Jimmy Wayne (Brett Moses) struggles with the sacrifices that his father and brother have made for him, and how it hasn't worked out as well as any of them planned. It's a story of brotherly love, but also of unfulfilled promise and of guilt. The dialogue is rather stiff and much of the acting lacks the polish needed to make the film flow more smoothly. And the sentimental ending doesn't really help either. R for violence and language.

NOBODY (R) 87 miunutes * * * Hutch (Bob Odenkirk) likes to keep a low profile. He also doesn't like to see people get harassed. Helping a stranger on a bus leads to a vicious drug lord being upset. The drug lord vows vengeance. But he doesn't know Hutch. A hard action film with plenty of guns and fists, but it also has a dry sense of humor. R for violence and language.

NOBODY ELSE BUT YOU (NR) 98 minutes * * * 1/2 Rousseau (Jean-Paul Rouve) is looking for inspiration for his next novel. What he discovers in this small town in rural France is a local celebrity, dead from an apparent suicide. He suspects that there might be more to the story, and perhaps for his story, and begins to explore the possibilities. Wonderful mix of mystery, suspense, and playful charm that keeps us interested and entertained. Great performances by a cast who keep the story as the focus without drawing attention to themselves.

NOBODY WALKS (R) 78 minutes * * 1/2 Temptation, attraction, sex, love, passion... what are the limits and to whom or what are you committed? When Martine (Olivia Thirlby) comes to stay and work on her film project, it upsets the balance, but not just because Peter (John Krasinski) is attracted to her. The script and direction leave this a little disjointed, which Thirlby and Krasinski's performances can only do so much to help. The photography is very nice, but it still lacks the sincerity it needs to feel more genuine. R for sex and language.

NOBODY'S BABY (R) 108 minutes * * * Offbeat story with Skeet Ulrich delivering a very nice performance as an orphan who finds himself looking after another orphan. This does a nice job of mixing the humor of a couple of characters who never seem to be able to get things to go their way, with the sentimentality of the need for family and love. Gary Oldman co-produced and co-stars as Ulrich's friend, along with supporting roles by Mary Steenburgen, Radha Mitchell, and Anna Gunn. An overlooked film that is definitely worth a look. R for language, violence, and nudity.

NOBODY'S FOOL (R) 106 minutes * * * 1/2 A slice of the life of Donald "Sully" Sullivan (Paul Newman). One could say that he's a real character in this small northeastern town... but he's been around the block a few times. Enough to know how to handle most anything that comes his way. Richard Russo's book comes alive on the screen and Newman fits the part so well that it's sometimes hard to tell where Sully ends and Newman begins. A nicely paced and absorbing story that keeps you watching. Filmed in Poughkeepsie, Fishkill, and Hudson, New York. R for language and brief nudity.

NOBODY'S FOOL (2018) (R) 103 minutes * * 1/2 Just released from prison, Tanya (Tiffany Haddish) is going to be staying with her sister Danica (Tika Sumpter) for awhile. Danica has some relationship problems, and Tanya is going to help... in her own way. Haddish is over the top here. She's fun to watch, but detracts from the story, and Sumpter isn't strong enough to take it back. This would also have benefitted from a little trimming to tighten up the pacing. R for sex and language.

NOBODY'S PERFECT (PG-13) 86 minutes * 1/2 Extremely predictable film that does manage to be a little fun to watch toward the end. It's about a guy who's too shy to talk to the girl he's interested in, so he disguises himself as a girl and ends up being her roommate. Chad Lowe stars as Steven/Stephanie, but don't expect too much. PG-13 for sexual language.

NOCEBO (NR) 92 minutes * * Nocebo refers to the idea that a patient who continues to think negative thoughts will help generate a negative outcome. It's what is happening to Christine (Eva Green). When her path crosses that of Diana (Chai Fonacier), her life only gets worse. The cast does a good job, with the exception of Mark Strong, whose performance is a bit wooden. The effects are frequently creepy, but are a little too grotesque for the story, which leans more toward suspense than horror. It's just an awkward fit. Nice wotk by young Billie Gadsdon.

NOCTURAMA (NR) 128 minutes * * 1/2 A group of young malcontents in France plan a bomb attack in Paris. Aside from them being unhappy in general though, we never really learn what would motivate them enough to take such decisive and violent action. The story of what happens plays out well, but there's no sense of understanding behind it. The youth seem more apathetic than angry, making their actions a poor fit for their frustration. That can happen, but not without us understanding the characters better than we do.

NOCTURNA (NR) 80 minutes * * * It's not just that the world seems different at night, it actually IS different. It's a world of mystery and adventure, protected by guardian cats. It's also in danger, and Tim will need to work with the Cat Shepherd in order to figure out what's wrong and help to set it right. Very creative story, that is aimed at the 7-12 age group.

NOCTURNA (2015) (NR) 92 minutes * * 1/2 Roy (Danny Agha) just made detective, and he's one of the good ones. But he's stumbled onto a dark side of a particularly unusual parish in Louisiana. Agha's acting needs work, but the rest of the cast are better. The dialogue could use some work as well, but the story is interesting and leaves us wanting more.

NOCTURNAL ANIMALS (R) 106 minutes * * * A story within a story. The frame is a manuscript that Susan (Amy Adams) receives from her ex-husband, asking for her opinion. The story within the manuscript is the other, and it plays on all of Susan's darkest fears. The two stories also have parallels, but they are more interesting on their own, making the parallels one of the weaker aspects of the story structure. R for violence, nudity, and language.

NOCTURNE (NR) 84 minutes * 1/2 A seance at a party reveals more than anyone expects, and also opens the door to something from the dark side. Creepy in some parts, but the story wavers, and doesn't stay creepy or scary for very long, lapsing into far more stale segments than interesting ones.

A NOCTURNE: NIGHT OF THE VAMPIRE (NR) 67 minutes 1/2 Z and X are a vampire couple, and they are not the only ones who prowl the night in search of victims. The idea that these different creatures might help each other is interesting, and the relationship between Z and X is mysterious and somewhat appealing. Unfortunately the film tries too hard to be artistic and comes off as rather pretentious. It doesn't help that there apparently wasn't enough money for decent quality sound or lighting, and a lack of awareness of how to more effectively use shadows.

NOEL NEXT DOOR (NR) 83 minutes * * 1/2 Noelle (Natalie Hall) is a single mom, trying to do her best. The neighbor next door (Corey Sevier) is both a grouch and a scrooge. To be fair, he does have some legitimate issues, but he's letting them get the better of him instead of putting any effort into actually dealing with them. Noelle might be just who he needs in his life to turn that corner. Another nice supporting performance from Joanna Douglas.

NOMAD (R) 103 minutes * * 18th entury Kazakhstan is the setting for this story of a divided country that must unite to survive. Lots of emphasis here on the viual aspects of the film, with plenty of battle scenes and nice photography. Character development is fairly low on the list of priorities though, and aside from a little detail with a couple of the main characters, we know and care little about virtually everyone in the film. R for violence.

NOMADLAND (R) 103 minutes * * * Fern (Frances McDormand) lives in a one-company rural town in Nevada. When the plant closes, she becomes a modern day nomad, drifting from one town to the next. There are simple pleasures to enjoy, but it is not an easy life. Some have the nomadic life thrust upon them, but some choose it. Much life the nomadic style of life, the film drifts, though McDormand provides a strong core for it to center around. R for nudity.

NOMADS (R) 91 minutes * * Nomads are those who move from one place to another. They need not be human, and might even be of a more sinister nature. They might even masquerade as a group of street punks. The story is unusual, and has an even more strange ending. It's not bad, but clearly not something that most will be interested in watching. R for sex and violence.

THE NOMADS (2019) (NR) 95 minutes * * 1/2 When the Philadelphia school system is faced with a massive budget deficit, schools and teachers are hit hard. One teacher (Tika Sumpter), shifted to another school, has an idea. Starting a rugby team might be just what these students need. Despite the financial hardships, they invest themselves in the sport, and with some good guidance, it pays off.

NON-STOP (PG-13) 100 minutes * * 1/2 Marks (Liam Neeson) is an air marshal who finds himself in a tricky situation. He's on a flight and getting text messages from a potential terrorist who is apparently on the flight with him. There's good tension and suspense with lots of suspects and suspicion moving from one person to another quite effectively. The last few minutes are completely ridiculous though, with too much that would even be difficult to accept in a James Bond film. PG-13 for violence, language, and sex.

NOPE (R) 124 minutes * * 1/2 OJ (Daniel Kaluuya) and Emerald (Keke Palmer) run a small business that's a sort of tourist trap. They just discovered something that could bring in some real money. It appears that there is a cloud in the sky that is not moving. It just might be more than a cloud. Something alien. It also might be a bit more dangerous than they thought. A slow start and some aimless wandering, though there are some clues mixed in as to what lies ahead. It's a bit of a strange piece, but the ending works. R for language and violence.

NORA'S WILL (NR) 86 minutes * * 1/2 Jewish burial customs will mean that Joe's (Fernando Lujan) wife Nora won't be buried for four days. Someone must wait with the body. As he waits, Jose begins to remember when they were younger, and their love for one another was more evident than in the past few years. Bittersweet story about a love that has changed with time. There are a few moments of comedy here, but just enough to lighten the mood a little.

NORBIT (PG-13) 100 minutes * Norbit (Eddie Murphy) has always been a bit of a loser. But he's not the only one who has bad luck with relationships. This is nowhere bear as entertaining as Tyler Perry's "Madea" films, in part because of the script, but even the characters are less appealing here. This clearly has the look of a contractual obligation for both Murphy amd Thandie Newton. Not a film you'll mind missing. PG-13 for lots of foul language.

NORM OF THE NORTH (PG) 86 minutes * * Norm finds himself in the unique position of being able to save the arctic. But it's going to be a little tricky, because Mr. Greene has plans to use Norm to accomplish the exact opposite. the characters here just lack some of the much needed charm that would make them more appealing. The lemmings have a few moments, but it isn't enough, and seems a little too much like those crazy yellow minions. PG for language and violence.

NORM OF THE NORTH: FAMILY VACATION (NR) 93 minutes * Norm loves his family, but that love is preventing him from doing his job as the king. His duties as a monarch are also preventing him from spending as much time with his family as he would like to. When his crown is stolen, Norm sets out to find it. His family tags along, thinking that it's a vacation. The message is pretty clear. The balance between work and family is an important one, though that message is one that is more for parents and other adults than it is for children.

NORM OF THE NORTH: KEYS TO THE KINGDOM (PG) 84 minutes * Norm is off to New York to receive a key to the city. It's a great honor, but while he's gone, not only does he manage to get into trouble, which is typical, but a bottled-water company is trying to turns lots of the arctic into water they can sell. The animation is mediocre, and the story is broken into two pieces, with the first being more interesting than the last. PG for violence.

NORM OF THE NORTH: KING SIZED ADVENTURE (NR) 85 minutes * Norm gives his word that he will officiate at a wedding and also that he will retrieve a stolen artifact. It's a lesson in integrity that works out in the end, but not without some complications along the way. Weak supporting characters and an overly simple story don't give this much depth, and those who are older than four will notice.

THE NORMAL HEART (NR) 128 minutes * * * Intense and personal story about the beginning of the AIDS epidemic in New York. Larry Kramer adapted the screenplay from his play, which explains how dialogue-heavy the script is, though it is also very powerful and emotional. Nice work by both Matt Bomer and Mark Ruffalo. Bomer won a Golden Globe for his work.

NORMAN (R) 111 minutes * * * Norman (Richard Gere) is always trying to make connections for and with well known people to try and turn nothing into something. But making those connections isn't easy. Until he meets Micha (Lior Ashkenazi). When they meet, Micha is struggling, but his star is on the rise. Sometimes life takes unpredictable turns, and sometimes that happens more than once. A great cast in a well-written film with a powerful ending. R for language.

NORMAN MAILER THE AMERICAN (NR) 84 minutes * * 1/2 The good and the bad of author and social critic Norman Mailer are explored in this bio-documentary. It's clear from this (and other) looks at his life that Mailer was passionate, abusive, brilliant, and a near-perfect embodiment of the 1960s.

NORTH (PG) 82 minutes * Elijah Wood stars as the title character who wins the right to choose his own parents but can't find the "perfect" folks anywhere in the world. Thick morality mires the script, but no more than the annoying stereotyped characters North meets along the way. Notable for a wonderful collection of actors who gives brief and mediocre performances.

NORTH COUNTRY (R) 121 minutes * * Charlize Theron is good here, but the story (about women's rights to work without fear of mistreatment by men) is far from strong. The more dramatic sequences are all offset by artistic photographic moments that leave us wondering why. Even the closing court scene, which does manage to have some power despite being a bit overplayed, is followed by an ending sequence that hardly fits the film at all. Nice supporting work from Frances McDormand. R for language, violence, and sex.

NORTH FACE (NR) 116 minutes * * * The north face of the Eiger is one of the less forgiving climbs. German pride and the upcoming olympic games added an extra incentive to take the risks, but bad weather and a concern for fellow climbers would keep Andreas (Florian Lukas) and Toni (Benno Furmann) from reaching the summit. Their next challenge was to survive making the descent. A powerful story and awe-inspiring scenery help us feel the intensity and struggle that these courageous men faced.

NORTH SHORE (PG) 91 minutes * * An Arizona boy goes to Hawaii and quickly loses everything except his surfboard... which breaks the second time he goes out. He begins working for and living with Chandler (Gregory Harrison) who shapes boards and has an approach to surfing that is both scientific and spiritual. Nice to see several pro surfers in the film (Laird Hamilton, Gerry Lopez, Mark Occoluppo, and Alex Rogers), but not much aside from scenery and surfing to see here.

THE NORTH WATER (NR) 284 minutes * * * A former Army surgeon with a few issues, Patrick Sumner (Jack O'Connell) signs on as a ship's doctor to a whaling ship headed to the Arctic. It's a rough crew, but none may be more rough than Henry Drax (Colin Farrell). It's a long story, but well told, and it delivers very strong characters. Many of them none too pleasant.

NORTHERN BORDERS (NR) 102 minutes * * * 1/2 Life is getting rough at home, so Austin (Seamus Davey-Fitzpatrick) is sent to live with his grandparents for awhile. They are more than a little eccentric, but that doesn't mean that Austin can't learn quite a bit from them. Bruce Dern and Genvieve Bujold are wonderfully cantankerous and charming. Adapted from the book by Howard Frank Mosher.

NORTHERN LIGHTS (NR) 91 minutes * * Nate (Eddie Cibrian) goes to Alaska to get away from the big city crime scene that got his partner killed. Instead, he finds himself dealing with a 15-year-old homicide that may be connected to the one that just happened. Cibrian's performance is a bit lackluster, but the supporting performances have just enough to keep this a little more interesting. Part of the problem, of course, is the cliche-ridden script.

THE NORTHMAN (R) 129 minutes * * * It is not just his father that Prince Amleth (Alexander Skarsgard) loses, but also his mother and a kingdom. He makes his way north, leaving bodies strewn behind him. It's a violent and bloody quest, but the Northman will not stop until vengeance has been carried out. Also featuring Nicole Kidman, Claes Bang, Ethan Hawke, and Anya Taylor-Joy. R for violence and sex.

NORTHMEN: A VIKING SAGA (R) 92 minutes * * 1/2 After a deadly storm, a group of Vikings find themselves in enemy territory. It will be a long and treacherous journey, especially when the king of this land sends his most dangerous mercenaries out to kill them. Lots of sword fighting and hand-to-hand combat scenes, bt not all that much character development. R for violence.

NORTHPOLE (G) 83 minutes * * 1/2 Powered by the magic of holiday cheer, the North Pole is now in danger. It seems that people are too busy to be happy and enjoy the holiday season. At least until near the end of the movie. Cuty holiday film for the family.

NORTHPOLE: OPEN FOR CHRISTMAS (NR) 86 minutes * * Clementine (Bailee Madison) has a new mission... instilling a little Christmas spirit back in MacKenzie's (Lori Laughlin) life. She's about to sell off her family's old resort when it could really function better as a source for the magic of Christmas. Sugary sweet sequel, but not quite as good as the first.

NORWEGIAN NINJA (NR) 76 minutes ½ During the Cold War, Commander Arne Treholt (Mads Ousdal) and his Ninja Force played a large part in keeping Norway safe. Presented as a true story, but often rather silly and far-fetched. It actually does have some basis if fact, but how much is unclear because of the humorous tone the film sets. The camerawork is annoying and very poor quality, and takes this low-budget spy comedy down an extra notch or two.

NORWEGIAN WOOD (NR) 122 minutes * * * A look back at life in the 1960's as Toru (Kenichi Matsuyama) recalls his romantic relationships and the death of his best friend. The visual imagery is often stunning to the point of momentarily overpowering the story before settling back to a level that works. Adapted from the novel by Haruki Murakami.

NOSTALGIA (R) 108 minutes * * * For many of us, approaching the end of life means doing an inventory of our possessions and our accomplishments and determining how to distribute, dispose of, or otherwise pass them on. The characters in this film are all dealing with this issue in some form or another. It's not what you would call an upbeat film, and it even has an unfortunate twist about halfway through. It is a thoughtful piece, about a difficult subject that most people choose to avoid. R for language.

NOSTALGIA FOR THE LIGHT (NR) 88 minutes * * * On the mountains in the Atacama Desert in Chile, astronomers study the stars to learn about our past. At the foot of these same mountains, archaeologists study human remains, which are well-preserved due to the last of moisture, also to learn about our past. Two stories, intertwined and beautifully told by talented director Patricio Guzman.

NOT ANOTHER TEEN MOVIE (R) 82 minutes 1/2 But it IS... full of tastless humor, stereotypes, and parodies of other movies. It fails miserably as far as its intended audience because many of the films it parodies are ten to fifteen years old and haven't been seen by today's teens. There are a few cute cameo appearances (by people from those films), but we should've seen more. The soundtrack is definitely worth a listen, but don't waste your time on the film. R for sex, violence, and language.

NOT CINDERELLA’S TYPE (NR) 95 minutes * * In this modern twist on the classic fairytale, Indy (Paris Warner) lives in the attic at her Aunt and Uncle’s house. The handsome “prince” is a boy at school who Indy really isn’t interested in… at least not at first. Good story, though a little staged, and the acting doesn’t help as it’s frequently very stiff.

NOT COOL (NR) 86 minutes 1/2 It's Thanksgiving break and Tori (Cherami Leigh) is back home... where she doesn't want to be. At least some of her former classmates are home as well. There's a cute story at the heart of this, but it's been buried with cheap sex and loads of foul language, both of which just get tiresome after awhile.

NOT EASILY BROKEN (PG-13) 96 minutes * * 1/2 Adapted from the book by T.D. Jakes, this is the story of a marriage that is being put to the test. Clarice (Taraji P. Henson) is recovering from a car accident and Dave (Morris Chestnut) is beginning to wonder why she is pushing him away... and if he should look elsewhere for what he needs in a relationship. What is it that makes a marriage work, and how can you stay true to the vows that were made? PG-13 for language.

NOT FADE AWAY (R) 105 minutes * * * While some bands are destined for succes, there are many others that don't make it. This is the story of one of those that didn't. Doug (John Magaro) and Joe (Brahm Vaccarella) may be the ones with the initial idea, but it's clearly an ensemble story and performance, with a cast of well-rounded and likeable characters and a great soundtrack. We want to see them succeed, and in telling the story, they do. R for language and sex.

NOT FOR SALE (NR) 81 minutes * * 1/2 Slavery is still a problem in the 21st century, especially in connection with children and young women, and in connection with the sex trade. There's plenty of information here that is likely to be a surprise to many people. More interviews with individuals who have been victims of the process would have made this a stronger film. There are clips, but going into more depth on two or three stories throughout the course of the film would have added a great deal.

NOT FORGOTTEN (R) 88 minutes * * When his daughter is kidnapped, Jack Bishop's (Simon Baker) search for her will lead him right back to what he has been trying to put behind him. Some things cannot be forgotten... or forgiven. Chilling ending with a nice job by Chloe Grace Moretz, but Baker doesn't seem to fit very well here. His performance is two-dimensional and he seems disconnected from the story at times. R for violence, sex, and language.

NOT SAFE FOR WORK (NR) 68 minutes * * 1/2 Tom (Max Minghella) is a paralegal with grand dreams. He's also about to get fired. And that's only the beginning of a very bad day for Tom. It just so happens that a killer is on the loose in the building. Good intensity, and a very fitting ending, though it may not be the most appealing. The biggest problem is that this could have used a little more depth. Clearly, adding a few more minutes of film would have helped, and it's not like this was running too long.

NOT WITHOUT MY DAUGHTER (PG-13) 111 minutes * * 1/2 Sally Field gives an emotional performance as a woman who goes with her Iranian husband back to his homeland. When he decides to stay, she finds out that she has no right to take her child out of the country. It's definitely a one-sided story and most of the characters aside from Field's are rather one-dimensional. Since she is able to leave the country, why not leave the country and then hire someone to get the daughter out?

NOT YOUR ROMEO & JULIET (NR) 64 minutes * Two student romance columnists clash as they each try to grab a scholarship. The cast tries hard to make this work, and there are a few good moments. Unfortunately, director Matthew Kistenmacher is very heavy-handed in his approach, and Sean Gaffney's script is very stiff. One bright spot is the supporting performance of Diandra Sallee Cahall as Micki's best friend Kate.

THE NOTE (NR) 86 minutes * * A note that falls into the hands of a journalist after a place crash leads her to believe that she should deliver it to the person it was written to. Featuring bad acting by most of the cast, and a script that makes it even worse as it drips with sentimental emotion and predictability. Almost as bad as a soap opera, which is likely the reason that Genie Francis was asked to take the lead role. Adapted from the novel by Angela Hunt.

THE NOTE II: TAKING A CHANCE ON LOVE (NR) 87 minutes * Torn between the love she feels for her once estranged daughter and for her new romantic partner, Peyton (Genie Francis) gets advice from one of her readers who disagrees with Peyton's views on love and relationships. More of what was in the first film with an even less creative storyline. More tiresome than anything else.

THE NOTE 3: NOTES FROM THE HEART HEALER (NR) 85 minutes * 1/2 A desperate young mother leaves her baby on Peyton's (Genie Francis) doorstep. It will force her to deal with some of her own issues while she tries to find and help the mother. This starts well, but quickly gets very sentimental and manipulative.

THE NOTEBOOK (PG-13) 118 minutes * * * Love story with James Garner and Gena Rowlands struggling as she loses her memory of all their years together. He reads her the story of their lives, which we see acted out by Ryan Gosling and Rachel McAdams. These flashback sequences are nicely done, but its the segments with Garner and Rowlands that keep us watching. The story itself is overly romantic and sentimental during the flashbacks, but perfectly romantic and sentimental in the present day sequences. PG-13 for sexuality.

NOTES ON A SCANDAL (R) 88 minutes * * * Two women, each with their own secrets, begin a friendship. But what will happen when they each learn what the other is hiding? Powerhouse performances from Judi Dench and Cate Blanchett make this somewhat mediocre thriller worth watching. It's a one-note twist that we've seen before, but it's just great to watch these two at work! R for language and sex.

NOTES ON AN APPEARANCE (NR) 56 minutes * A rather pretentious, artistic piece that barely runs long enough to be considered a feature film. There are many beautifully artistic moments here, but the "story" that serves as a frame is scant and without interest to the characters or to us.

NOTHING BUT THE TRUTH (R) 101 minutes * * After writing an article that reveals the identity of a CIA agent, Rachel (Kate Beckinsale) is asked to reveal her source. She refuses. Writer/director Rod Lurie presents an interesting dilemma, especially once you learn who the source of Rachel's information is, but most of the story tends to drag because there just isn't that much to tell. R for language, sex, and violence.

NOTHING BUT TROUBLE (PG-13) 88 minutes 1/2 Nothing but a waste of time... Chevy Chase, John Candy, Dan Ackroyd... plenty of talent here, but things just never get rolling. There are some wonderful costumes and props, but the story got lost somewhere along the way... sort of like the characters do in the rather strange town of Valkenvania.

NOTHING IN COMMON (PG) 117 minutes * * * David Basner (Tom Hanks) is a childish, immature, wealthy and talented advertising executive whose parents decide to separate. David feels a need to try and reunite them, or at least to help them face reality more effectively. In dealing with this situation, he must also face the truth about some of his own relationships. Although the first half of the film heavily leans toward the comic side, the last half is more serious, and Hanks does a very nice job making that adjustment. In fact, the entire cast does great work here. This was Jackie Gleason’s final film. PG for language.

NOTHING LEFT TO FEAR (R) 96 minutes * * Leaving the big city behind, Pastor Dan (James Tupper) and his family find themselves in a small town where things are not what they seem. Plenty of great spooky and creepy images and effects, but the story is consistently vague about what it all might mean, preferring to go for the atmosphere of horror rather then something more concrete. R for violence and language.

NOTHING LIKE THE HOLIDAYS (PG-13) 94 minutes * * 1/2 The Rodriguez family have gathered for Christmas. It's not going to be a pretty sight, but they are family. Nothing all that surprising or interesting here, but the ensemble cast works well together. Featuring John Leguizamo, Alfred Molina, Elizabeth Pena, and Debra Messing. PG-13 for language.

NOTHING TO LOSE (R) 94 minutes * * 1/2 Nick (Tim Robbins) is having a bad day. So when "T" (Martin Lawrence) tries to rob him, Nick has nothing to lose by taking a risk. This film has a rather good mix of comedy and drama although the transitions are a bit choppy at times. Excellent camera work during the dramatic sequences is what helps gives those segments the strength they need. There is a nice twist fairly late in the film, but otherwise the story doesn't have much in the way of anything interesting. Robbins and Lawrence keep it afloat better than most. R for language and violence.

NOTORIOUS (R) 114 minutes * * * The story of Biggie Smalls (Jamal Woolard) and the battle of the east and west coast rappers. Pieces of the lives of Tupac, Puff Daddy, Lil' Kim, and Faith Evans, among others, are included here. The story is clearly a little one-sided, but the acting is quite good, and we find ourselves drawn in to this tale of talent and conflict. R for language and sex.

THE NOTORIOUS BETTIE PAGE (R) 85 minutes * * 1/2 Gretchen Mol stars as Bettie Page, whose upbringing in a conservative religious family didn't stop her from becoming a famous pin-up model. When a senate investigation into pornography targeted some of her photos as examples, she became even more famous. Mol does an excellent job here, but the story just seems to wander through her life in a somewhat disinterested fashion without much in the way of supporting roles, almost as if no one really knew her. While that may or may not be true, it doesn't help us to connect with her character. R for sex and language.

NOTTING HILL (PG-13) 118 minutes * * * William Thacker (Hugh Grant) is minding his own business, working in his little travel book shop in England, when who should walk in but major American film star Anna Scott (Julia Roberts). Something clicks and they find themselves bumping into each other and falling in love despite their different life styles. Hugh Grant has outdone himself here, giving a fine performance in a well-written part. But what really makes the film a treat are the supporting characters. Thacker's family and friends are both funny and sincere, providing the heart of the film as they support this newfound love. PG-13 for language.

NOVA REX: AIN'T EASY BEING CHEESY (NR) 66 minutes * * Nova Rex was a 1980's glam band that might have actually made it to the big time except that their timing was off. They started a little late, and the 1990's grunge music scene came along and put an end to the popularity of most glam groups. An interesting documentry look at their history and their reunion.

A NOVEL ROMANCE (NR) 83 minutes * * 1/2 The first book was a success, but Liam (Dylan Bruce) is stuck now. An even bigger problem is that his publisher wants to reveal his identity, which has been kept secret. He's also falling for someone he just recently met (Amy Acker). Someone who doesn't know him as an author, and who also happens to not like his latest book. Very nice supporting work by Camille Mitchell.

NOVEMBER (R) 69 minutes * * Courteney Cox stars in this psychological drama about a photographer who is trying to piece together the events surrounding the death of her boyfriend during a robbery. The story is told repeatedly from slightly different vantage points, but if you're paying attention, the clues are there and the outcome is no surprise. Cox does a nice job here, but the material is rather thin. R for violence and language.

NOVEMBER CHRISTMAS (G) 92 minutes * * 1/2 Young Vanessa (Emily Alyn Lind) is fighting cancer. Family, friends, and most of the town help make sure she gets to celebrate Christmas. This does have a happy ending, but it's still a major tear-jerker. Great work by Sam Elliott, Karen Allen, John Corbett, and Sarah Paulsen to support Lind.

NOVEMBER CRIMINALS (PG-13) 78 minutes * * Addison (Ansel Elgort) just can't stay complacent when his friend is killed. He has to find out what happened and why. It's difficult to believe this story, and Elgort is less than convincing. Chloe Grace Moretz isn't bad, but her character doesn't develop all that much either. Catherine Keener and David Straithairn make this worth a look though. PG-13 for sex, violence, and language.

THE NOVEMBER MAN (R) 103 minutes * * * 1/2 Devereaux (Pierce Brosnan) used to work for the CIA. His latest mission is to deal with a former student, and it's more than a little personal. Adapted from Bill Granger's book, "There Are No Spies, this is a complex and thoroughly absorbing spy thriller. The story is intense, and also more realistic than most films in the genre. R for violence, language and sex.

THE NOVICE (R) 93 minutes * * ½ Not many novices make it to varsity in their first year on the rowing team. That’s the goal that Alex (Isabelle Fuhrman) has set for herself. Another novice is reaching for that very same goal. Alex’s obsessive nature works as both a help and a hindrance. Interesting ending. Strong performance by Fuhrman. R for language and sex.

NOW AND THEN (PG-13) 97 minutes * * * 1/2 The stories of the lives of four women, remembering their childhood times together. The summer which they remember with the most affection is the one during which they began to grow apart from each other. Gaby Hoffman is the most outstanding of the young girls, but Thora Birch and Christina Ricci are always a delight to watch as well. Set in Shelby, IN, but filmed in Savannah, Georgia. PG-13 for language.

NOW IS GOOD (PG-13) 100 minutes * * * Tessa (Dakota Fanning) is dying of leukemia, but before she goes, she has a few things she'd like to do. Fanning turns in a performance that is both fragile yet intense, which takes this a notch above the standard medical drama. Adapted from the book "Before I Die" by Jenny Downham. PG-13 for sex and language.

NOW YOU SEE ME (PG-13) 114 minutes * * * Four skilled magicians find themselves working together after a strange summons. Now, they not only thrill audiences with their illusions, but work as modern day Robin Hoods, stealing from the rich and giving to their audiences. But with the FBI and Interpol on their tail, how much longer can they pull it off? Very nice special effects and an interesting story, but a less-than-satisfying ending. The twist is fine, though not really a surprise, but it answers too many questions far too quickly and easily. PG-13 for language and sex.

NOW YOU SEE ME 2 (PG-13) 121 minutes * * * It's the return of The Four Horsemen, and an even more ambitious series of magical illusions. As well as putting the crew together for another adventure, the story also gives some background that we didn't get the chance to see in the first film. That said, if you didn't see the first one, there are elements of the story in this sequel that will not make much sense. Visually, it's not quite as impressive as the first, but still very good for a sequel. PG-13 for violence and language.

NOWHERE BOY (R) 88 minutes * * * Young John Lennon (Aaron Johnson), was raised by his aunt, but clearly had the wild streak that also created problems for his mother. Fun backstory drama, leading us right up to when the band that John formed changed its name to the one we're all more familiar with. Johnson does a great job here, and the focus is on him and his relationship with his aunt and his mother. Two women who did the best they could, and while John's home life was not what some might call ideal, it still offered a love and support that he would never forget. R for language and sex.

THE NOWHERE INN (NR) 86 minutes * * 1/2 Concert performances can be very different. For many artists, the persona you see on stage is not who they really are, though it may contain parts of who they are. As St. Vincent (Annie Clark) works on a documentary about her life and music, the lines begin to blur. The film gets more and more unusual as it progresses. Definitely a strange piece of work, with Clark playing herself. A great soundtrack, and an additional viewing does help.

NOWHERE TO RUN (R) 91 minutes * * 1/2 Jean Claude Van Damme is an escaped convict who helps out widow Rosanna Arquette and her two kids as they are "fighting" a big corporation. Boring story, and Van Damme is never going to be nominated for an acting award, but Arquette and the two kids (Kieran Culkin, and Tiffany Taubman) make it worth a look.

NUMB (NR) 84 minutes * 1/2 Two couples form an uneasy alliance in pursuit of gold that is buried in a wintery wilderness. Trust and cooperation are both in short supply. Thin story that stretches believability way too far and gives us an ending that is no surprise. There are also pacing problems that keep the second half of the film dragging along.

#1 CHEERLEADER CAMP (NR) 91 minutes 1/2 It's a dream job for Michael (Jay Gillespie)... working the maintenance crew at a summer cheerleading camp. He's guaranteed to get an eyeful. But he may not get much more than that. Lots of teaase and a fair amount of nudity, but not much in the way of story or acting, which isn't really a surprise.

THE NUMBER ONE GIRL (R) 80 minutes 1/2 Hollywood martial arts star is invited by long-time friend to be a judge for a beauty contest. The top four girls are supposed to be "hands-off", but when he ignores the rule, trouble ensues. The real trouble here is a horrible script and mediocre action sequences. Vinnie Jones and Pat Morita have a few moments where you can see that they actually have some talent, but the script gives them so little to work with that even that is hard to see. R for violence, language, and sex.

THE NUMBER 23 (R) 93 minutes * * * It was just an old book in a used bookstore, but it was a story of obsession... and it sounded like his own life. Walter Sparrow (Jim Carrey) finds himself drawn into a world where the number "23" is everywhere. The more he tries to unravel the mystery, the more he becomes controlled by it. Carrey does a wonderful job here, spinning and falling through the story, taking us with him through his mad obsession. While this is an unlikely candidate for an Oscar nod, it clearly shows that Carrey does have what it takes to deliver strong, dramatic performances and to do it more than once. R for violence, language, and sex.

THE NUMBERS STATION (R) 84 minutes * * 1/2 Sent to protect a code operator at a remote station, Emerson Kent (John Cusack) knows that it's just a way to keep him on the payroll but out of the way. Until the unexpected happens. It's an interesting idea, though how Kent could have lasted so long in this career with his unwillingness to kill is a bit of a mystery. We need to see more motivation than the one brief scene where we see him struggle with it. Cusack delivers a strong performance and the sets and photography do a nice job of creating an atmosphere that works well for the story. R for violence and language.

THE NUN (NR) 108 minutes * * * It's not that Suzanne (Pauline Etienne) doesn't love the church, but she is still surprised when her parents send her to a convent. It quickly becomes clear that this is not a choice that she can make, though she struggles as best as she can in a world where the pressures and punishments are very harsh. Slow-moving, but a very absorbing story with an unusual ending.

THE NUN (2018) (R) 91 minutes * 1/2 When a young nun is doscovered dead by a local villager, the Vatican sends a team to investigate. But this is no ordinary abbey. It was made to keep something in... something that is very close to finding a way out. Good suspense, and a creepy atmosphere, but they struggle to try and make up for a story that just doesn't get very far past the plot summary. R for violence.

THE NUN II (R) 103 minutes * * 1/2 The demon nun is back to continue terrorizing people. Sister Irene (Taissa Farmiga) will once again face her in a battle of wills. The story from the first film is more fully explained here, and there's an even more creeoy atmosphere, which builds nicely on the first film. Also, don't miss the little teaser that is part of the way through the credits! R for violence.

NUNS ON THE RUN (PG-13) 90 minutes * * 1/2 Eric Idle and Robbie Coltrane star as two bungling henchmen who try to do a job on their own and end up hiding in a convent disguised as nuns. The story works pretty well early on, but loses momentum. The low-budget doesn't help much either. Still, there are some good laughs along the way. PG-13 for language and nudity.

NURSE BETTY (R) 105 minutes * * * When Betty (Renee Zellweger) wintesses her husband's murder, something snaps. Reality and imagination blur together and she begins to live as if the characters in her favorite soap opera are real. Zellweger's performance carries the film well, innocent, desperate, romantic, dramatic, and humorous. It's a story about who we are, who we want to be, the dreams we hold close, and the faith we need to have in ourselves. This is one of those often over-looked films with loads of charm that is sure to bring a smile to your face. Chris Rock's performance is a bit strong, but Morgan Freeman manages to keep him in line pretty well. R for violence and language.

THE NURSERY (NR) 83 minutes * It was just supposed to be a normal babysitting job. (Aren't they all?) The night grows strange and dangerous quickly, and Ranae (Madeline Conway) discovers a dark secret about this house. Too much of this is actually in the dark, but the soundtrack does give us a few creepy moments. Too bad they didn't choose to end this just a minute earlier. It would have been more effective.

THE NUT JOB (PG) 80 minutes * 1/2 It's all about getting enough food for the winter. Surly (voiced by Will Arnett) has a plan, but some of the other animals in the park have their own ideas. The biggest problem is that most of the characters here just aren;t all that likeable. Even Surly, who eventually turns out to have a little appeal, is very selfish and rude early on. PG for language.

THE NUT JOB 2: NUTTY BY NATURE (PG) 81 minutes * * Everybody is living off the nuts in the nut shop... until it explodes. Surly still wants everything to be easy, but the mayor wants to turn the park where they all used to live into an amusement park. If that happens, there won't be food for anyone. It helps to have seen the first film, but it's not essential. PG for violence and language.

THE NUTCRACKER (G) 86 minutes * * New York City Ballet version of the classic piece "featuring" Macauley Culkin. Beautiful sets and costumes as one might expect, but the dancing early on is of rather mediocre quality. Special dance numbers later in the film fare much better. Not really of much interest to those who don't enjoy the ballet.

NUTS (R) 117 minutes * * * Somewhat lengthy adaptation of Tom Topor's play with a strong performance by Barbra Streisand. The intensity of some of the dialogue helps quite a bit, as do the supporting performances of Richard Dreyfuss and the rest of the cast. Nice photography throughout, especially in some of the sequences with Streisand and Dreyfuss.

THE NUTTY PROFESSOR (PG-13) 90 minutes * * Fantastic special effects work by Rick Baker in this remake of the Jerry Lewis comedy. The idea of going from fat to fit rather than strange to suave works a little better and Eddie Murphy does alright. There just isn't much to make this film really stand out. It's pleasant enough and is good for a few laughs, but don't expect it to be on your list of favorites.

THE NUTTY PROFESSOR (2008) (PG) 71 minutes * * Animated version of the story with Drake Bell providing the voice for Harold, grandson of Professor Julius Kelp (Jerry Lewis). Drinking a special potion his grandfather created makes Harold supercool, but there may be some side effects. OK cartoon version for the kids, but adults will probably want to skip this one. PG for language.

NUTTY PROFESSOR II: THE KLUMPS (PG-13) 99 minutes * The most memorable sequence from the first film, around the dinner table, is stretched into a long sequence at the beginning of this film, and the film goes downhill rapidly from that point. Little more than a collection of jokes about sex and bodily functions, this is a terrible waste of Eddie Murphy's talents. There are some cute outtakes at the end, so I recommedn watching the first five minutes and skipping to the end. You won't miss much in between. PG-13 for language.

NW (NR) 87 minutes * * 1/2 Friends since childhood, Leah (Phoebe Fox) and Natalie (Nikki Amuka-Bird) have drifted apart somewhat, each believing that their differences are responsible for the separation. In truth, their bond has never broken, and they need each other as much as they ever have. Good performances, but the story wanders, trying to cover everything the novel did, and coming up a little short in the end. Adapted from the book by Zadie Smith.

NYMPHOMANIAC (NR) 222 minutes * * * Seligman (Stellan Skarsgard) finds Joe (Charlotte Gainsbourg) in the street. She's injured, but doesn't want to go to the hospital. She does let him take her in and give her some tea. And she begins to tell him her story. He listens, and reassures her that she need not see herself in such a negative light. Not for the faint-hearted. The ending is interesting, and may make you want to rewatch this despite its length.

O (R) 89 minutes * * * Things aren't going the way that Hugo wants them to. He's not being appreciated. But he has a talent for manipulating people... his peers in particular... and so the game begins. This is a fascinating modernization of the story of Othello. Liberties are taken here and there, but except for the times that style is emphasized over content, it works well. R for violence, sex, and language.

O BROTHER, WHERE ART THOU? (PG-13) 103 minutes * * * Everett, Pete, and Delmar... three convicts on the run and the adventures that ensue. One of the more fun adventures involves them recording a song to earn a few buck that becomes a hit while they're too busy running to even notice. Only Joel and Ethan Coen could have come up with a version of Homer's "The Odyssey" that's set in the rural south with a bluegrass music soundtrack. It's most definitely unique. Those who enjoy the work of the Coen brothers will find it a treat. Those who don't will probably find it a bit too strange to enjoy. PG-13 for language.

THE OATH (R) 90 minutes * * 1/2 It's as American as Thanksgiving and signing a patriotic oath. But Chris (Ike Barinholtz) has an issue with signing the oath. As the deadline passes, and he deals with his family, and their thoughts on the matter, everything begins to fall apart. It's political satire with a hard edge, though its effectiveness is very uneven. Barinholtz does well, though also serving as writer, director, and producer may have stretched him a little thin. Nice work by Tiffant Haddish. R for language and violence.

THE OBAMA EFFECT (PG-13) 81 minutes * * After his heart attack, John (Charles S. Dutton) immerses himself in Barack Obama's presidential campaign, working to make a change. He's ignoring a few other things that he should probably be paying attention to. Writer/director/actor Dutton over-emphasizes the sincerity here and his performance seems almost cartoonish and difficult to believe because of it. PG-13 for sex and language.

THE OBITUARY OF TUNDE JOHNSON (NR) 99 minutes * * 1/2 Part of a wealthy family, Tunde Johnson (Steven Silver) never thought it would happen to him. But it does. Pulled over by police, he is shot and killed. Then he wakes up. And it happens all over agin. The details begin to change as he learns more about himself and those around him. But what must he learn before it will stop? Nice work by Silver, but ultimately, the story is a bit of a letdown.

THE OBJECT OF MY AFFECTION (R) 107 minutes * * 1/2 Dumped by his lover, George (Paul Rudd) moves in with Nina (Jennifer Aniston). When she gets pregnant with her boyfriend, she decides that George would make a better father, but he isn't really interested. She's starting to fall in love with him, despite his sexual preference and things are getting complicated. The characters are likeable here, though events are still rather predictable. Aniston is fairly good here as well, though Rudd is the one with the best performance. The story needed some tightening up, which would have helped us feel like things were headed somewhere instead of wandering around before getting to the point we already knew was going to be made anyway. R for language and subject matter.

OBLIVION (PG-13) 118 minutes * * * 1/2 Humanity has been relocated to Saturn's moon, Titan, while work is done to retrieve Earth's water supply and transport it there to terraform Titan. Jack Harper (Tom Cruise) is part of a small crew that is overseeing the progress of the water retrieval as there are still a few roving bands of aliens trying to prevent it. But all is not as it appears. Nicely done, with a story that is quite involved and elaborate, but very easy to follow. Adapted from the graphic novel. PG-13 for violence, language, and sex.

OBLIVION ISLAND: HARUKA AND THE MAGIC MIRROR (NR) 93 minutes * * * There are little fox-like creatures who collect the forgotten things from the world of humans. Haruka (voiced by Christina Marie Cabanos) stumbles into their world and wants to learn more about them. The story is interesting, but likely to prove a little deep for smaller children, being aimed more at the nine and over crowd. The animation is beautiful on its own, and compliments the story nicely.

OBSERVE AND REPORT (R) 82 minutes 1/2 Ronnie (Seth Rogen) is a mall security cop who has to deal with a flasher who is disrupting business at the mall. His ineptness in dealing with the situation results in the involvement of the local authorities as well. The humor here, if you can even call it that, is very negative, violent, and mean-spirited. Anna Faris' performance saves this from the worst rating, but just barely. Filmed at the Winrock Mall in Albuquerque, New Mexico. R for language, violence, and nudity.

OBSESSED (PG-13) 100 minutes * * The new temp at Derek's (Idris Elba) office has her sights set on none other than Derek himself. It doesn't matter to her that he's married, though her grasp on reality is a little shaky at best. Things are clearly going to get worse for Derek before they get better. The performances here are reasonably good, but the story is tired and we're ready for it to end long before it does. PG-13 for sex, violence, and language.

OBSESSIONS (NR) 84 minutes BOMB A pop star (Olga Safari) has an accident that instantly spreads over the social networks, creating much speculation. An interview is scheduled in an attempt to clear up the rumors, but the interviewer is an obsessed fan. Who can you trust? The story idea isn't that bad, but it's very poorly executed. The sound quality is very poor, not that the acting or the script are any better. The ending is also very abrupt, yet offers the possibility of a sequel. We can only hope that it won't happen.

OBVIOUS CHILD (R) 80 minutes * * Brash and unfiltered, Donna's (Jenny Slate) stand-up routine is much like her life, until one particular careless and carefree night turns into something else. Definitely some rough edges to the script and the performances, but there's a sincerity here, and a sweet ending that help make it a little more appealing. R for language and sex.

OCCUPATION: RAINFALL (R) 122 minutes * * 1/2 The alien invaders struck hard and fast, and Earth fell. There are still large areas where there is resistance, and two years after the initial attack, survivors in Sydney, Australia are doing their best to repel the invaders. There just might be a way for them to succeed. Good effects, music, and production quality. The comic bits don't work well and seem out of place. This is part one, so the ending is a little incomplete. R for language.

OCEAN BOY (NR) 102 minutes * * 1/2 Bosch (Luke Hemsworth) believes that there is magic in the surf. Rockit (Rasmus King) wants to believe it too. Their latest outing could be the magic that Rockit has been waiting for. Bosch sees it a little differently, as his drug business just went up in smoke. Rockit is going to have to make this work on his own. Coming of age story with nice work by King.

OCEAN WAVES (PG-13) 70 minutes * * 1/2 Looking back after a year at college, a young man recalls what loving a particular girl meant to him at the time, and what it means now. A gentle and quiet film, adapted from Saeko Himuro's novel. PG-13 for language.

OCEANS (G) 79 minutes * * * As you might expect from a Disney Nature film, the photography is exceptionally beautiful. Though Pierce Brosnan provides narration, the film really doesn't tell a story. Instead, it wanders through the various oceans on the planet, showing the tremendous diversity of life and interactions between numerous life forms. The interaction between the diver and the great white shark at the end of the film is particularly amazing to watch.

OCEAN'S EIGHT (PG-13) 104 minutes * * * It definitely runs in the family. So, when Debbie Ocean (Sandra Bullock) gets out of prison, she's already worked out what her next job will be. All she has to do is recruit the right crew so she can pull off the biggest heist ever. Great cast, featuring Cate Blanchett, Anne Hathaway, Helena Bonham-Carter, Mindy Kaling, and Rihanna, but with cameos and bit parts for a number of other well-known actresses. The story is very good, though not overly clever, and the soundtrack is fun and playful. This compliments the original trilogy of films very nicely.PG-13 for language.

OCEAN'S 11 (2001) PG-13) 110 minutes * * * Remake of the classic heist film from 1960 about a plan to rob several Las Vegas casinos. The story has been updated quite well and the cast is a treat to watch as they try to work together to accomplish the unthinkable. I wouldn't say this is better than the original, but it's a classy and well-made update. PG-13 for language.

OCEANS RISING (NR) 84 minutes BOMB A scientist's predictions about floods that will destroy the earth seem ridiculous. But when they start coming true, he finds himself on a boat full of survivors trying to save what's left of the world. The character's prediction is far less ridiculous than the film.

OCEAN'S THIRTEEN (PG-13) 116 minutes * * 1/2 When Reuben (Elliott Gould) gets double-crossed on a casino property deal, the crew goes back into action to settle the score for their friend. It's one slick move after another with plenty of twists and turns to keep us interested. The biggest complaint here is that we don't get to see enough of the whole team. What we do see is nice, and the story works well, leaving us more pleased than we were with "twelve". PG-13 for language and violence.

OCEAN'S TWELVE (PG-13) 119 minutes * * Benedict (Andy Garcia) wants his money back and the eleven have to become twelve to get it done. The only trouble is, Benedict isn't the only one who's after "Ocean's 11". Although this sequel has glimmers of energy every once in awhile, it relies heavily on the first film and just never manages to carry it's own weight. Annoying photography in a few spots as well, and the ending seems very misplaced. PG-13 for language and violence.

OCTOBER BABY (PG-13) 102 minutes * * 1/2 It isn't until she's in college that Hannah (Rachel Hendrix) learns that she was adopted. Even more disturbing for her is that she is also the survivor of an attempted abortion. It's a story of discovery, heartbreak, forgiveness, and beginning again, all with plenty of tears along the way. Though not a TV movie, it has much of the same quality of both story and acting. PG-13 for language.

OCTOBER GALE (NR) 86 minutes * * When a mysterious man washes up on the shore near her remote cottage, Helen (Patricia Clarkson) just wants to help. But someone is out to finish the job they started, and a storm has cut off any possibility for outside help. Clarkson does a wonderful job, though there are some flaws to the story. Slow-paced for a thriller, though it does set the tone weel early on.

OCTOBER KISS (NR) 83 minutes * * 1/2 About to start her new job as a nanny, Poppy (Ashley Williams) has no idea what she's in for. To make it worse, she usually has trouble committing... to anything. She's decided that this is something she will stay with though, and who knows? Something just might work out between her and the father of these children...

OCTOBER SKY (PG) 101 minutes * * * 1/2 It's 1957 and the Russians have launched Sputnik. The cold war is heating up and four industrious young boys from West Virginia begin experimenting with model rocketry. What starts as a hobby soon becomes an obsession, but the demands of a mining town can sometimes get in the way of dreams. Jake Gyllenhaal does a wonderful job as Homer Hickam, creating a picture of a dreamer who won't give up. This is a well-structured film that will keep your interest throughout and perhaps remind you that there are dreams worth dreaming and that with dedication and hard work, you can make them come true. PG for language and violence.

OCTOPUSSY (PG) 127 minutes * * * ½ Bond (Roger Moore) is about to uncover not only a jewel-smuggling operation, but a nuclear attack. Octopussy (Maud Adams) though the smuggling would be a cover-up for the nuclear attack, but she didn’t count on Bond’s amazing abilities. One of Moore’s better films as the talented secret agent. PG for sex, violence, and language.

OCULUS (R) 99 minutes * * 1/2 When Tim (Brenton Thwaites) is released from the mental hospital, Kaylie Karen Gillan) does everything she can to prove that he wasn't to blame for what happened. It's not going to be easy, because whatever this thing is, it's both powerful and deceptive. The story is interesting in that it continually works to both prove and disprove, which is a delicate balance. There are wonderfully creppy moments, though they, and the story, tend to get a little repetitive after awhile. R for violence and language.

THE ODD COUPLE II (PG-13) 91 minutes * * 1/2 Felix (Jack Lemmon) and Oscar (Walter Matthau) haven't seen each other for years... and they like it like that! But they're about to have a reunion thanks to their children who are about to get married... to each other! Lemmon and Matthau have worked together on so many projects that have all capitalized on these same basic characters that there isn't much of a difference here. They work well together, and we find their conflicts and frustrations amusing. In the end, it is the two actors who make this work, rather than the script, which is far below what one would expect from Neil Simon. PG-13 for language and violence.

ODD JOBS (PG-13) 84 minutes * Getting a job is difficult for these friends. Especially when their idea of work doesn't really involve much work. They eventually decide to start a moving company, because, how hard can it be to move things? Of course, nothing goes right. Lots of slapstick humor and sex jokes. Not much substance. PG-13 for language.

THE ODD LIFE OF TIMOTHY GREEN (PG) 100 minutes * * * 1/2 They've been trying to have a child of their own for quite some time. With a little magic, they're about to have their dream come true, though Timothy isn't quite what they were expecting. Charming and touching fairy-tale sort of story, but the characters are vivid and despite the magical aspects of the story, they seem very real. Nicely written, and likely to cerat the need for you to have a few tissues handy. PG for language.

ODD MAN RUSH (NR) 80 minutes * 1/2 Because of an injury, one of Harvard's rising stars of hockey. Bobby Sanders (Jack Mulhern) is going to have to take the long way to try and get into the pros. For now, he's going to be playing in the minor leagues in Sweden. What's here is good, but the ending feels very incomplete.

ODD THOMAS (PG-13) 90 minutes * * * 1/2 Odd Thomas (Anton Yelchin) sees dead people. He's used to that, but when a stranger shows up in town, he's seeing things that are more sinister. Director Stephen Sommers' script is a sharp and clever adaptaton of the Dean Koontz book, and works very well. The twists and turns are nicely timed to keep the pace moving along. The biggest problem here is that some of the effects, though quite well done, are very repetitive. PG-13 for language and violence.

THE ODD WAY HOME (NR) 95 minutes * * * Maya (Rumer Willis) is escaping an abusive relationship. Duncan (Chris Marquette) ends up going along for the ride. His autism is at times frustrating for her, but at other times very refreshing. Their journey is both "away" and "to", but "to where" isn't yet something they know. It looks like they'll work on finding it together. And, as Duncan says in the film, "Feel no shame for what you are, is what I always say." Nice work by both Willis and Marquette.

ODDBALL (PG) 88 minutes * * 1/2 The last hope for this historic fairy penguin sanctuary comes down to a rather unusual chicken farmer and his difficult to train dog. With a little help from his granddaughter, played by the talented Coco Jack Gillies, he might just be able to make it happen. Nice family adventure film, based on a true story. PG for language.

ODDBALLS (R) 75 minutes 1/2 Should it be a summer camp site or a shopping mall. Those are the options. Should you watch it, or skip it. Those are also a couple of options. One of Foster Brooks last films.

THE ODDS (R) 90 minutes * 1/2 When Desson's (Tyler Johnston) friend Barry (Calum Worthy) dies, Desson can't believe that it's suicide. Gambling problems aside, it just doesn't make sense... or does it? The script never really develops these characters very well, leaving us with little more than two-dimensional figures that we have a difficult time caring about. It's also not particularly helpful that the leads all have more experience working for television rather than theatrical film. R for language and violence.

OF BOYS AND MEN (PG-13) 83 minutes * * Life sometimes throws us a curve. The celebration is about to begin for Terrell (Vince Green), but when tragedy strikes, his celebration takes a back seat, as do a number of other family events. The idea is that love and family will hold them all together, thoughthat doesn't mean its always easy. Dialogue is a bit stiff at times as it tries to stay focused on that point. PG-13 for language.

OF FATHERS AND SONS (NR) 96 minutes * * * An intimate look at life in an Islamic Caliphate. Talal Derki is a native of the area and returns with his camera, giving us a look at the life of a radical Islamist family. The film is both a love letter and a eulogy to Derki's homeland. A land that has forever changed.

OF GIRLS AND HORSES (NR) 80 minutes * Sent to intern at a farm, Alex (Ceci Chuh) is more than a little frustrated, but eventually connects with both the horses and the riding instructor. And then there's Kathy (Alissa Wilms). Oversimplified characters and a weak finish don't help a film that started out looking like a family-oriented story but veers in a decidedly different direction.

OF MIND AND MUSIC (PG-13) 92 minutes * * 1/2 A doctor whose mother dies with Alzheimer's heads to New Orleans to celebrate her memory through the music they both loved. While there, he meets a singer who is suffering from the disease and he works to help her as she faces a similar decline. The performances create some very rich characters, but we don't get to see and hear enough of their histories to give the film the depth it needs. PG-13 for violence.

OF TWO MINDS (NR) 87 minutes * * * An in depth look at bipolar disorder and how it affects people. Includes extensive interviews with many people who have been diagnosed with it as well as their loved ones, though the focus is on four particular individuals.

OFF BEAT (PG) 88 minutes * * Joe Gower (Judge Reinhold) doesn't have much of a life until a friend asks him to take his place at the policeman's charity dance. That's right, he's going to pose as a police officer. He also falls in love and ends up doing actual police work. None of which is very believable or all that funny. It's a great cast though, with Meg Tilly, Joe Mantegna, Fred Gwynne, Harvey Keitel, Pen Jillette and many more.

OFF THE MAP (PG-13) 107 minutes * * * There was a time when Bo was young that her father was always depressed. It wasn't too long after that when a young man from the IRS came to audit her family and ended up staying. The desert of New Mexico can have that effect on you sometimes... It's a gentle story of one particular summer that slowly works its way into your heart. Valentina DeAngelis does a very nice job as Bo, and Joan Allen and Sam Elliott do great work here as well. The film has a very natural "feel" to it, relaxing us as we learn along with Bo, some of the important lessons of life, love, and loss. PG-13 for language and nudity.

OFF THE MENU (NR) 93 minutes * * 1/2 Joel (Santino Fontana) is training for the Iron Man, loves health food, and tends not to think about others. That means he doesn't really care about the Mexican fast-food chain that he is heir to. But, time to do what he wants is running out, and his CEO sister just sent him on an assignment for the restaurant. Joel is about to discover his food roots, and a little something extra. Formula story with a little boose of sincerity from Dania Ramirez's performance.

OFF THE RAILS (R) 89 minutes * * * When Anna dies, she leaves rail tickets for her three best friends and her daughter for a trip across Europe. It recreates a trip that they took many years ago as young women. Time has passed and many things have changed. It will be difficult, but for Maddie to get a real sense of her mother and the trip that she took with her friends, they need to pull it together and recapture the spirit of their youth. With Jenny Seagrove, Sally Phillips, Elizabeth Dormer-Phillips, and Kelly Preston in her final role. R for language.

OFF WHITE LIES (NR) 86 minutes * * 1/2 When Libi (Elya Inbar) is sent to live with her dad in Israel, she soon learns that her father is adept at telling little lies. It's become a way of life for him, but as they build on each other, Libi can't deal with the pressure. The story never gets very far into the characaters, leaving us wanting to know more and wondering why we don't.

THE OFFERING (NR) 92 minutes * * When Jamie (Elizabeth Rice) learns that her sister has died, she heads to Singapore, where it happened. But this was no ordinary death, and Jamie soon finds that there are other deaths linked to her sister's. Now she must uncover those links and discover what they mean. Lots of creepy moments, but an ending that wraps up too neatly.

OFFICE CHRISTMAS PARTY (R) 100 minutes * * 1/2 Clay's (T.J. Miller) sister is about the shut down the branch he's in charge of. So, he throws the Christmas party to end all Christmas parties. The intent is actually not a bad idea, because he's trying to win over a client with quite a bit of money. The result, however, is a party that gets out of hand far too quickly, and destroys pretty much everything in sight. Wonderful cast, but the extremes of the party are a bit much. R for sex and language.

OFFICE UPRISING (NR) 81 minutes * 1/2 There's a problem with the new drink that has been delivered to Desmond's ((Brenton Thwaites) place of work... it turns people into zombies! A fun idea that just never quite gets the traction it needs. Some nice supporting work by Jane Levy and Karan Soni.

AN OFFICER AND A GENTLEMAN (R) 120 minutes * * * Training to be an officer in the Navy is not easy, and Zack Mayo (Richard Gere) is discovering just how difficult it is. Gunnery Sergeant Foley (Louis Gossett Jr.) proves to be a challenging task master, and Zack also has a new girlfriend (Debra Winger) that needs to fit into the picture somehow. The story drags just a little, but works very well overall. R for sex, language, and violence.

OFFICER DOWNE (R) 86 minutes * 1/2 Officer Downe (Kim Coates) of the LAPD is dedicated to fighting crime. Nothing will stop him from doing his job... including death. Adapted from the graphic novel, this is a violent and action-packed crime thriller, with a touch of humor. Unfortunately, the story is almost non-existent, left in the dust with action sequences almost allowing no time for anyone to breathe. R for violence, sex, and language.

OFFICIAL COMPETITION (R) 110 minutes * * * 1/2 Nearing the end of his life, Humberto (Jose Luis Gomez) wonders what to do with his vast fortune that will serve as his legacy. He decides to produce a film. A film starring the world's greatest actors, Felix Rivero (Antonio Banderas) and Ivan Torres (Oscar Martinez). It will be directed by the talented but unusual Lola Cuevas (Penelope Cruz). The film is edgy and full of dark humor and commentary on the film industry, though the story does get a little lost. Still, a very strong ending. R for language and nudity.

OFFICIAL SECRETS (R) 106 minutes * * * Someone wanted to push the United Nations Security Council into sanctioning an invasion of Iraq in 2003. The NSA was involved, but their operation was leaked to the press. This is the story of that event and the fallout from it. Very nice cast in an instense drama. R for language.

THE OFFICIAL STORY (NR) 113 minutes * * * The story of Alicia Marnet de Ibanez (Norma Aleandro) and her search for the mother of her adopted daughter now that the dictatorship of Argentina has finally collapsed. It's a strong story, but very slow-moving early on and with a somewhat depressing atmosphere throughout. Strong performances by the cast.

OFFSEASON (NR) 80 minutes * 1/2 Marie (Jocelin Donahue) is compelled to travel to a small island after receiving a letter. The island has just been shut down due to seasonal bad weather. She and George (Joe Swanberg) manage to get to the island, but will they ever be able to leave? Plenty of creep factor, but the story is sloppy.

OFFSIDE (PG) 90 minutes * * 1/2 In Iran, only the men are allowed inside the stadium to watch the soccer games. It doesn't stop women from trying, but if they are caught, they risk both prison and disgrace. But sometimes risks are worth taking, and national pride can often erase differences, at least for awhile. It's an interesting character study, but the story remains just distance enough that we don't connect well until the very end. PG for language and violence.

OH GOD! YOU DEVIL (PG) 93 minutes * * George Burns did such a great job playing God in the first two films, this time around he gets to play both God AND the devil. At stake is the soul of a young rock musician who want to be a star. Burns is as good as ever, but Ted Wass is mediocre at best. The story ends well, but is not the most appealing or interesting until then.

OH LUCY! (NR) 91 minutes * * * When Setsuko (Shinobu Terajima) decides to help out her niece and take the rest of her English classes, a whole new world opens up for her. Change often doesn't happen without some pain and discomfort, and life doesn't always work out the way we expect it to. Great work by the cast.

O'HORTEN (PG-13) 86 minutes * * 1/2 With retirement just ahead, Odd Horton (Baard Owe) is beginning to realize just how much is still uncertain. The strange events that are happening to him this evening are forcing him to rethink just about everything. Gentle and a bit unusual at the same time. PG-13 for nudity.

OKKO'S INN (PG) 90 minutes * * 1/2 A tragic car accident leaves Okko without her parents. She goes to live with her grandmother, who is a gentle and peaceful woman who runs an inn. Okko will learn much from this experience, and from the guidance of some friendly ghosts that only she can see.

OLD (PG-13) 101 minutes * * 1/2 Only a select few guests are offered the opportunity to take an excursion to this very isolated beach that is part of a restricted nature preserve. It's a very unique beach, where time passes much more quickly than anywhere else. The aging process here seems to be somewhat selective in how it affects people, but the idea is there. It's a sort of over-extended Twilight Zone episode. The ending wraps things up a little too neatly, but again, the idea has merit. PG-13 for violence nudity, and language.

OLD DOGS (PG) 84 minutes * * Dan's (Robin Williams) not really good with kids. Now, not only does he find out that he has two children he didn't know about, but he has to take care of them for two weeks. His buddy Charlie (John Travolta) probably isn't going to be much help. Not much substance here, but there are a few laughs, and fans of Williams and Travolta shouldn't be too disaapointed. PG for violence and language.

AN OLD FASHIONED THANKSGIVING (NR) 87 minutes * * 1/2 There's a rift between her mother and grandmother that Tilly (Tatiana Maslany) doesn't understand. What she knows is that her family is struggling to make ends meet and that her grandmother could help. Reconciliation and help are just around the corner. TV movie adaptation of a Louisa May Alcott short story.

OLD GOATS (NR) 92 minutes * 1/2 Newly retired, Dave (David Vander Wal) is struggling with what that means. His friend Bob (Bob Burkholder) is publishing a memoir, and Britt (Britton Crosley) decides to take up online dating. Three senior friends and their amusing exploits. The acting by the leads is fine, though nothing extraordinary. The supporting roles are really bad, and the script is heavy with dialogue to the point of being unwieldy. The charm of the three leads tends to be overshadowed by the weaker elements of the film.

OLD GRINGO (R) 115 minutes * * * 1/2 Jane Fonda, Gregory Peck, and Jimmy Smits deliver excellent performances in this story of a young Mexican general, an older American writer, and the woman who knew them both. Based on Carlos Fuentes' novel, this is a fine study of three strong characters. Set in 1913, during Pancho Villa's revolution, their chance encounter will change the way they look at life.

OLD HENRY (NR) 94 minutes * * 1/2 He just wants to live a quiet life on his farm with his son. Henry (Tim Blake Nelson) chooses to help a man who has a satchel filled with cash. That assistance starts a series of events from which there is no turning back. Nice twists near the end as we learn that Old Henry isn't who he says he is, and some fine work by Nelson in this western.

OLD JOY (NR) 71 minutes * * 1/2 Kurt (Will Oldham) and Mark (Daniel London) plan a camping trip to a semi-hidden paradise known as Bagby Hot Springs, deep in the Cascade mountains of Oregon. Adapted from a short story by Jonathan Raymond, this is a quiet, gentle film about two men, coming to terms with becoming adults, remembering their more radical younger days, and understanding what it means to have and to be a friend. It's a very relaxing film, with a quiet beauty that is not easy to find in a film. Not-rated, but essentially PG-13 for language and nudity.

OLD MAN (NR) 93 minutes * * 1/2 Lost in the wilderness, Joe (Marc Senter) comes upon a cabin. Once inside, he quickly learns that the old man (Stephen Lang) who lives there is rather unusual. The film is both dark and ethereal, with a great performance by Lang. It's a strange piece though, and definitely not for everyone.

THE OLD MAN & THE GUN (PG-13) 87 minutes * * 1/2 Forrest Tucker (Robert Redford) loved to rob banks. He was also quite good at it, and was such a gentleman in his approach, that the public didn't even seem to mind too much when he did it. Though he did get caught from time to time, he also managed to escape from jail an astounding sixteen times, including once from San Quentin. It's the true story of a man who just couldn't stop himself. Redford is convincing and charmingm with Sissy Spacek and Casey Affleck delivering solid supporting performances. PG-13 for language.

OLD SCHOOL (R) 86 minutes * 1/2 Mitch (Luke Wilson) is recovering from a broken relationship, Frank (Will Farrell) is having trouble with his new wife, and Beanie (Vince Vaughan) just wants to help his friends. The result is that a new fraternity starts in Mitch's house with numerous, somewhat funny happenings resulting. This is another of those films that has trouble with the balance between comedy and drama, drifting more toward drama as the film moves along. The soundtrack is worth a listen though - great collection of songs!

OLD STONE (NR) 78 minutes * * 1/2 Lao Shi (Gang Chen) is a nice guy. When he accidentally runs into a motorcyclist, he takes the injured man to the hospital. As it turns out, he should have either made a bunch of phone calls and filled out a pile of paperwork first, or hit him hard enough to kill him. The bills for his care and rehabilitation are building up, and Lao Shi is responsible for paying them. Desperation can lead to unusual actions.

THE OLD WAY (R) 92 minutes * * * Colton Briggs (Nicolas Cage) was a ruthless killer. He left that life behind when he married Ruth (Kerry Knuppe). The mercy he showed a young boy years ago is about to return in the form of vengeance. His own daughter (Ryan Kiera Armstrong) won’t make that same mistake. Wonderful performance from Armstrong. R for violence.

OLDBOY (R) 99 minutes * * * Kidnapped and kept in solitary confinement for twenty years, Joe (Josh Brolin) is now free and on a mission to find out who did this to him and why. But is he really free? The plot unfolds rather slowly and deliberately, which is equally frustrating and suspenseful. Great supporting work by Elizabeth Olsen and nice cinematography by Sean Bobbitt. R for violence, sex, and language.

OLIVE KITTERIDGE (NR) 225 minutes * * * Olive (Frances McDormand) isn't the most positive or pleasant person to be around, but she doesn't know how to be any different. Her no-nonsense approach to life isn't for everyone, but it works well for her. Henry (Richard Jenkins) is very much her opposite, but staying together just seems to work for them. The story spans the course of 25 years, as they live and work in their small New England town. Great work by McDormand, with nice supporting work by Jenkins.

OLIVER & COMPANY (G) 72 minutes * * * Not one of Disney's better efforts, this animal version of "Oliver Twist" suffers from mediocre animation throughout. The cast of voices is wonderful, with Bette Midler, Billy Joel, Cheech Marin, and Dom Deluise among others, but the songs are weak, with "Savoir Faire" being the only one that's very memorable.

OLIVER TWIST (2005) (PG-13) 125 minutes * * 1/2 Faithful adaptation of the classic Dickens' novel with Ben Kingsley doing a nice job as Fagin. Sets and photography do a nice job of creating the atmosphere though Barney Clark's performance as Oliver leaves a bit to be desired. Nice soundtrack by Rachel Portman. PG-13 for violence and language.

OLYMPIC DREAMS (PG-13) 80 minutes * * 1/2 Penelope (Alexi Pappas) is at loose ends after her early competition at the Olympics. When she meets Ezra (Nick Kroll), something "clicks"... at least for her. It's a frequently awkward friendship/romance that neither of them know exactly what to do with. Pappas and Kroll co-wrote this, and she actually is a track and field athlete. Along with the fact that the film was shot in the Olympic village during the 2018 Olympics and features numerous athletes is small roles throughout the film, her experience as an athlete lends this a unique authenticity. There's something of an awkward charm here, though sometimes it's a little too awkward. PG-13 for language.

OLYMPUS HAS FALLEN (R) 110 minutes * * * The White House is under attack by terrorists. Full of elaborate and completely unrealistic close calls that are often almost laughable. More violent than "White House Down", and slightly less realistic. What helps here is the cast, who are more convincing than you might expect and manage to give this a slight edge. R for violence and language.

OMAR (NR) 96 minutes * * * Omar (Adam Bakri) agrees to work as an informant for the Israeli military after he is caught and linked to an Israeili soldier's death. It's a dangerous line to walk, with no one to trust. Performances by the cast are quite good, though the story is unevenly paced and lacks the flow that could draw us in more deeply.

THE OMEGA CODE (PG-13) 93 minutes * The Omega code (aka. the Bible code) is based on the theory that there is a secret code that has predicted all major events that have occured since the Bible was written and will do so until the end of time... which is, of course, almost upon us. Despite whether you believe this, what is hard to dispute is how absolutely atrocious the script is for this film. Casper Van Dien does nothing to help, and Michael York and Michael Ironside both look like they wish they were doing something else. Based on Hal Lindsey's interpretations of the scriptures and rated PG-13 for violence.

OMEGA SYNDROME (R) 92 minutes 1/2 White supremacists kidnap the daughter of a former soldier. He and his buddies go after them. Looks like it was put together over a weekend for about $100. They used 26 stunt people for this, but I'm not sure why.

THE OMEN (2006) (R) 106 minutes * * The 1976 classic horror film is given another turn in this remake, but it doesn't even come close to the original. Not only are there far too many cheap noise scares when creepy chills would have been more effective, but the acting is far from top quality. To even think of comparing Liev Schreiber to Gregory Peck is ludicrous, and while Julia Stiles is usually quite good, she seems puzzled by her character in this film. Mia Farrow is appropriately creepy and Marco Beltrami's soundtrack fits well, but it just isn't enough to lift this out of mediocrity. R for violence and language.

OMEN 4: THE AWAKENING (NR) 94 minutes * In which we learn that Damien had a daughter, Delia (Asia Vseira), who might be even worse than her dad. She's adoped by a loving couple who have no idea what they're in for. Especially when Delia starts plotting for her adoptive father to become president so he can support all of her evil agenda. Vieira is certainly creepy, but it's not really enough.

ON A CLEAR DAY (PG-13) 95 minutes * * 1/2 After being laid off from his job, Frank (Peter Mullan) decides to challenge himself, and tackle a few personal demons along the way, by swimming the English channel. His friends are willing to help, but know that this is something that Frank will still have to deal with on his own. It's an interesting story, but never really goes deep enough into the character to bring us all the way in, though it does finish fairly well. PG-13 for language.

ON CHESIL BEACH (R) 105 minutes * * 1/2 It's 1962, and what is considered to be acceptable in relationships is changing. Florence (Saoirse Ronan) and Edward (Billy Howle) are trying to adjust, but struggle with discomfort around these changing ideas. A critical moment is approaching for them. The editing and flow of the story are awkward and unhelpful early on, though the film does begin to work more smoothly and get some strength later on. R for sex.

ON DEADLY GROUND (R) 97 minutes * * This Steven Seagal film is very strong on environmental ethics, but not so strong on quality performances or special effects. Aside from a few explosions and a handful of martial arts sequences, not much money was spent on this one. In fact, the production quality tends to get worse as the film goes along. It's too bad, because the message is a good one and tends to get lost as we lose interest in the film. R for language and violence.

ON FIRE (PG-13) 75 minutes * 1/2 The story is pretty straightforward, or at least it starts out that way. A family living in a trailer home in the woods gets caught in the path of a growing fire. The first few complications to the story make sense, and the effects work well. As the film moves along, and especially in the last fifteen minutes or so, it gets less believable, almost to the point of just being silly. PG-13 for violence and language.

ON GOLDEN POND (PG) 102 minutes * * * * Norman (Henry Fonda) and Ethel (Katharine Hepburn) are back at their summer cottage. This year, their daughter Chelsea (Jane Fonda) will be stopping by to drop off her fiance's son for a couple of weeks while they go on a vacation. An Oscar winner for both Fonda and Hepburn, this is a delightful and memorable look at life and love. PG for language.

ON OUR WAY (NR) 81 minutes * * 1/2 All Henry (Michael Neeson) has ever wanted to do was make movies. As his dream begins to come true, two things happen. First, the darker side of his life begins to surface. Second, he finds a muse that he falls in love with. Which of them will hold more sway over the rest of his life? It's a great story with a powerful ending. The acting needs work here though. It's not bad, but it just doesn't have everything it needs to give the story the depth and strength it needs early on.

ON THE BASIS OF SEX (PG-13) 116 minutes * * * Ruth Bader Ginsburg (Felicity Jones) found quite a bit of history was standing in her way. She was the right person at the right time to challenge and change a great deal of the gender based inequalities that were legally supported in the United States. This is the story of her early years, and the work she did that put her on the path to becoming a Supreme Court justice. Very nice work by the cast. PG-13 for language.

ON THE BORDER (R) 100 minutes * * A few years ago, Jake (Casper Van Dien) was a bank robber. Now, he works as a security guard in a bank. When he meets Kristen (Camilla Overbye Roos) he has no idea what lies ahead. It will be a road full of violent twists and turns, though none of them really suprise us, except maybe the last one. R for violence, sex, and language.

ON THE COME UP (PG-13) 110 minutes * * * It’s not going to be an easy road for Bri (Jamila Gray). Her father was a great rapper, and Bri wants to be even better. Some very well done rap battles, and the acting is very good, especially from Gray. The story starts well and builds nicely, but the ending comes up just a little short.

ON THE JOB (NR) 115 minutes * * * Based on the corrupt system in the Filipino government and prison system that used inmates as assassins to keep the military regime in power. The story focuses on two particular inmates and one honest police officer who was working to bring down the whole system. Very violent, but well-played and with a good balance between drama and action.

ON THE LINE (R) 95 minutes * * * Shock jock Elvis (Mel Gibson) gives everyone a difficult time. It doesn't matter if they are an in-studio guest or a caller. The tables are about to turn on him with the latest caller though. This particular caller has had enough of Elvis, and people's lives are now at stake. Can Elvis talk his way out of this? A tight script with good tension, and a solid cast, give this film a little extra strength. You might even want to watch this one a second time. R for language and violence.

ON THE ROAD (R) 133 minutes * * * The story of Jack Kerouac's road trip across the United States. Sam Riley does a great job as Sal, though it's puzzling why the characters needed to be renamed. Though his companions tend to be fairly shallow, Sal has a depth that makes one wonder why he continues to be with them. Perhaps true of Kerouac in real life. The film very much captures the free-flowing spirit of the book, though that can make it a little difficult to watch as "story" is not something terribly important to the script. R for sex and language.

ON THE ROCKS (R) 90 minutes * * Laura (Rashida Jones) is afraid that her husband might be having an affair. When she shares this information with her father (Bill Murray), he's very supportive... and also rather cynical. Full of Murray's typically dry humor, which is fun to watch. Jones' character just never flows all that well and seems overly tense. There also isn't much chemistry between her and Marlon Wayans, even when things are going well for them. R for language.

ON THE 12TH DATE OF CHRISTMAS (NR) 86 minutes * * 1/2 To get the account, they must design a scavenger hunt that pleases the client. That might actually be the easy part. Aiden (Tyler Hynes) has to work with Jennifer (Mallory Jansen), and he isn't very excited about it. Still, there might be something else that could happen if they start working together. Very nice work by both Hynes and Jansen, and good chemistry between them, which makes this fun to watch.

ON WINGS OF EAGLES (PG-13) 88 minutes * * 1/2 The story of Eric Liddell's (Joseph Fiennes) later years. After winning a gold medal in the 1924 Olympics, he returns to the country of his birth, China. But a war with the Japanese has ravaged the country, and Liddell will find himself in prison for several years. Too much narration, but good work from Fiennes. PG-13 for violence.

ONCE (R) 84 minutes * * * He (Glen Hansard) plays music in the street to earn a little extra. During the day, he plays the songs people want to hear, but at night, he plays a bit of his own material. When she (Marketa Irglova) hears the music, she is drawn to him. They find themselves working together and falling for each other, though sometimes love and music don't work exactly the way we expect. It's a bittersweet story about a guy and a girl and how music brings them together for awhile. A wonderful piece of work with excellent music and fine performances all around. R for language.

ONCE AROUND (R) 110 minutes * * * Renata (Holly Hunter) is bouncing back from a broken relationship, right into the arms of super salesman Sam Sharp (Richard Dreyfuss). Except that Sam can't quite sell a few of her family members on his good intentions. It's a wonderfully acted film, with a cast who grab your attention from the first minute and don't let go until the end.

ONCE BITTEN (PG-13) 88 minutes * A vampire needs the blood of a virgin to retain her beauty. Not one of Jim Carrey's better films, with a tired script and not as much humor as you might expect. PG-13 for sex, language, and violence.

ONCE FALLEN (R) 84 minutes * 1/2 There are several big-name actors here, but the photography and editing are really poor and give this a low-budget look and feel that it just can't get away from. The script, written by director, producer, actor Ash Adams, is lifeless and very scattered, though the cast do well to make it look as good as it does. R for violence, language, and sex.

ONCE UPON A CHRISTMAS MIRACLE (NR) 83 minutes * * When Chris (Brett Dalton) decides to donate part of his liver to Heather (Aimee Teegarden), they neither one expect what comes next. Based on a true story of an organ transplant that led to love between the donor and the recipent.

ONCE UPON A CRIME (PG) 89 minutes * Wonderful cast, wasted in an unfunny comedy/mystery about a missing dachshund. The mystery isn't bad, but the comic elements are dumb and distracting and waste the talents of this cast. Eugene Levy is credited with directing, but the film seems to have little in the way of direction, as scenes that have little to do with anything interrupt us throughout.

ONCE UPON A FOREST (G) 65 minutes * * 1/2 Environmental awareness cartoon for the kids as the effects of chemical waste are felt in the forest. Cute characters, but with the musical talents of Michael Crawford, Ben Vereen, and James Horner, this should've been a bit better. The kids will probably enjoy it, but it's doubtful they'll sit through it more than once.

ONCE UPON A MATTRESS (2005) (PG) 86 minutes * * 1/2 Disney's adaptation of the Broadway production uses the same writing team that created the 1964 TV movie and moves Carol Burnett from the role of princess to that of queen. (Burnett was also the princess in a 1972 TV movie version as well.) It's a fun story, the music is good, and Tracey Ullman plays the role of the princess with flair. Zooey Deschanel does a nice job as well, and Burnett and Tommy Smothers (as the king) have fun here as well. The story has undergone a little updating here and there which wasn't really necessary, but seems to be something that Disney just can't stop themselves from doing. Fun for the kids, but the PG rating is definitely in order for some of the topics addressed.

ONCE UPON A PRINCE (NR) 83 minutes * * 1/2 He was just a helpful stranger, but after another couple of interactions, Susannah (Megan Park) discovers that Nate (Jonathan Keltz) is actually the prince (and soon to be king) of Cambria. There are some things in the way of their budding romance, not the least of which is the Queen Mother. It's a good thing for Susannah that this is a Hallmark movie.

ONCE UPON A TIME AT CHRISTMAS (R) 94 minutes * Santa (Simon Phillips) and Mrs. Clause (Sayla de Goede) go on a murder spree in a small town. The police are a little too slow on figuring out what is happening, but even worse, we're never given much reason to care about any of the victims. It leaves us with just another mindless slasher film that lacks creativity. R for violence and language.

ONCE UPON A TIME IN BROOKLYN (R) 112 minutes * When Bobby Baldano (William DeMao) gets out of prison, some of the family has changed. What makes it even more difficult is that loyalties have changed and he's not sure who to trust. The script feels choppy and shallow, with many of the scenes very short and disconnected. The narration attempts to patch some of that, but it doesn't really do a very good job. R for violence, sex, and language.

ONCE UPON A TIME... IN HOLLYWOOD (R) 157 minutes * * 1/2 As the title suggests, this is a story of Hollywood. But it's actually kind of two stories, or at least two very different halves of a whole, which is not unusual for director Quentin Tarrantino. The acting is great, and Brad Pitt even earned an Oscar for his performance. But the script, direction, and editing are a mess. Tarrantino just seems to think the story of Charles Manson and his interaction with some of Hollywood's stars is interesting enough to play with the story and change it around without really taking it in any specific direction. There are moments of brilliance... but there's quite a bit of dullness too. R for language, violence, and sex.

ONCE UPON A TIME IN MEXICO (R) 96 minutes * * * El Mariachi is back! Although by virtue of having Antonio Banderas as El Mariachi this is a sequel to Desperado, there are ways in which it brings the original El Mariachi to mind as well. Sometimes the inventiveness and energy that results from working with a very small budget can really help a film. The story is obviously one that director Robert Rodriguez has fun with, and the cast appears to enjoy themselves as well. Johnny Depp is a delight, Salma Hayek is sexy yet fun, and Mickey Rourke, Cheech Marin, Willem Dafoe, Ruben Blades and the rest, seem to have stepped right out of a legend onto the screen. The violence is a bit much in spots, as if Rodriguez gets a little overzealous while telling us the story. Still, it's fun, and that's what we expect from a film like this. Budding directors take note: there are incredibly few directors who can direct, produce, edit, photograph, and score their own films and make it work. Rodriguez is one of them! R for violence and language.

ONCE UPON A TIME IN VENICE (NR) 90 minutes * * Steve Ford (Bruce Willis) is a detective in Venice, California. He also spends a lot of time surfing and skateboarding. It is Venice after all. But now, he has to find the people who took his dog. That was a mistake they are going to regret. The ending is a little strange, but it's mostly fun getting there.

ONCE UPON A TIME IN VIETNAM (R) 104 minutes * * * Dao (Dustin Nguyen) fights an evil criminal who is threatening the town he has been charged to protect. In doing so, his past becomes a problem and threatens the safety of the town as well. Very nice action sequences, with some stellar stunt work and well-done effects. R for violence and sex.

ONCE UPON A WARRIOR (PG-13) 128 minutes * * * A handsome, self-assured swordsman and a beautiful, yet mysterious gypsy girl he's in love with join forces with Moksha, a young girl with unusual powrs, to save her homeland from an evil queen. The story tends to wander aronud a little, getting lost in the musical numbers at times. Still, it's a fun and adventurous Bollywood production, just not particularly memorable. PG-13 for violoence.

ONCE UPON A WEDDING (PG) 88 minutes * * A Caribbean island where the wealthy live on one side and the poor live on the other. Of course, when the rich daughter of El Comandante (Esai Morales) falls for one of the poor islanders, everything will change. That includes the fact that El Comandante's right hand man has a plan to take over the island. The plays very much like a movie for children, but there are no younger characters in the film to keep them interested. Instead, what we have is a film that is great for families to watch, but that few will find that appealing. Nothing harmful or poorly done, just not very interesting or all that funny. PG for language.

ONCE WERE BROTHERS: ROBBIE ROBERTSON AND THE BAND (R) 98 minutes * * * 1/2 A comprehensive history of Robbie Robertson and The Band. From their early days to the times of musical experimentation with Bob Dylan, and from the dark days of drug addiction and alcoholism, to a connection with David Geffen. It's a look at the amazing and the tragic, and how it shaped their music. Culminating with "The Last Waltz", a musical collaboration directed by Martin Scorsese, which was supposed to be the end of a chapter in their musical career as a group, but instead became the end of the book. R for language.

ONDINE (PG-13) 95 minutes * * * When Syracuse (Colin Farrell) finds a young woman in his fishing net, he's not quite sure what to do. It doesn't take his daughter (Alison Barry) long to figure out that she's a selkie. Syracuse doesn't think this could be true, but if it is, her magical powers just might prove to be the help he's been looking for. It's a light fantasy film that reminds us that sometimes there's magic, and sometimes we just aren't looking for it. PG-13 for violence, sex, and language.

THE ONE (PG-13) 81 minutes * * 1/2 Interesting premise... that there are multiple parallel universes and that by killing yourself in another universe, the energy is distributed among your other selves. Of course, somebody has to get greedy and try to become all-powerful... The special effects are top-notch, and there's plenty of action and great martial arts fight scenes, choreographed by Cory Yuen. The ending is somewhat disappointing though and as short as this is, there was plenty of time to follow up on a few things. Jet Li does some nice work here as do Delroy Lindo and Jason Statham, who play the multiverse police out to apprehend the villain. Filmed in Los Angeles. PG-13 for violence and language.

1 A MINUTE (NR) 87 minutes * * * Powerful and emotional documentary about breast cancer. Interviews with numerous entertainment industry survivors and family members that detial the process and the emotions involved in diagnosis and treatment.

THE ONE AND ONLY IVAN (PG) 87 minutes * * 1/2 Iven (voiced by Sam Rockwell) is the headline attraction for a small circus. Business isn't doing so well, so Mack (Bryan Cranston) tries something new. In the meantime, Ivan is working on a plan to escape. Based on the real Ivan's story and adapted from the book by Katherine Applegate. PG for violence and language.

1BR (NR) 85 minutes * * Sarah (Nicole Brydon Bloom) moves to Los Angeles and gets a new apartment. It seems like a nice community, but with each passing moment, she realizes just how wrong that first impression was. Very nice twist ending, but getting there is a little tedious.

ONE CHRISTMAS EVE (NR) 86 minutes * * One unfortunate incident after another. Nell (Anne Heche) just wanted this to be a nice Christmas for her kids since it's the first one without their dad. The cast try hard, but the story is more than a little far-fetched, and even Heche doesn't seem to accept what is happening.

ONE DAY (PG-13) 101 minutes * * * Emma (Anne Hathaway) and Dexter (Jim Sturgess) spent a night together right after their college graduation. While they continue to be friends, their paths through life are very different. The film focuses on where they are on the anniversaries of that first night. It's a bittersweet romance about a love that is more than friendship, but not without imperfections. And as Emma says in the film, "Whatever happens tomorrow, we've had today." PG-13 for sex, language, and violence.

ONE DAY AS A LION (R) 81 minutes * * 1/2 Jackie (Scott Caan) works for some nasty people. The problem is that he botches a job, and now all sorts of unintended things are happening. Sometimes, life throws people together just when they need to be. Nice script by Caan, full of colorful characters and dark humor. The ending does leave us with a few questions. R for language and violence.

ONE DAY ON EARTH (NR) 98 minutes * * 1/2 Recorded on October 10, 2010 and compiled from over 3,000 hours of film that was submitted from all over the world. This documentary gives us a look at what happens in a day on our planet. Similar to the documentary "Life in a Day", but the focus here is more on people and their stories, though the breadth of what is covered is not all that different.

ONE DAY YOU'LL UNDERSTAND (NR) 88 minutes * * 1/2 Uncovering the history of his family and what happened during World War II is both troubling and obsessive for Victor (Hippolyte Girardot). He can't seem to stop himself, but uncovering the tragedy and the lies help him to understand his family and himself in ways he never anticipated. Despite this, we seem to feel a distance from Victor that keeps us from connecting with the story at times. A little more depth and emotion would have helped this quite a bit.

ONE DIRECTION: THIS IS US (PG) 102 minutes * * 1/2 Part history and part tour video, this is a look at the band, One Direction, with lots of interview and performance clips. There are also quite a few interview segments with fans of the band, so there's a balance between different viewpoints of who they are and why they've been so successful. PG for language.

ONE EIGHT SEVEN (R) 115 minutes * * Samuel L. Jackson and John Heard star in this mix of "Dangerous Minds" and "The Substitute". Teacher Trevor Garfield (Jackson) has already been stabbed in the back (literally) by a student, and as he takes on a temporary position, at a different school, it doesn't take long before he reaches his limit. There is some powerful story here, but it's weakened by dialogue that too often sounds idiotic. Watch either of the films already mentioned and leave this one unless you're a real fan of Jackson's work. R for language, violence, and nudity.

ONE EYED GIRL (NR) 100 minutes * * 1/2 After one of his patients dies, Travis (Mark Leonard Winter) has trouble getting on with his life. He finds himself dealing with a drug problem and then drawn into a cult. It's a cult whose darker purpose isn't evident at first. Before long, Travis will have a difficult choice to make.

ONE FINE DAY (PG) 102 minutes * * * Michelle Pfeiffer and George Clooney star in this story of two divorced (and extremely busy) people bump into each other and discover  that they may have finally found what they were looking for. Mae Whitman is adorable as Pfeiffer's daughter, Maggie, and this is some of Pfeiffer's best work in quite awhile. James Newton Howard provides the soundtrack for this romantic story that is sure to be one you'll like. PG for language.

ONE FOR THE MONEY (PG-13) 85 minutes * * 1/2 The first of Janet Evanovich's successful Stephanie Plum novels comes to the big screen. The mix of humor, drama, and action, works fairly well thatnks to her original material. Katherine Heigl doesn't quite fit though, acting a bit childish at times, and while the character is supposed to be a bit naive, this seems a bit oversimplified. Still, not a terrible first effort. PG-13 for violence, language, and nudity.

ONE GOOD COP (R) 100 minutes * * * Artie Lewis (Michael Keaton) is a good cop. When his partner dies in the line of duty, Artie finds out that he's the legal guardian for his partner's three children. Although a good deal of the story seems to have been cut out, we still get a great performance from Keaton. We see the tough cop who can definitely handle the action, a sensitive husband who cares about his wife and her feelings, and a man who is learning what it means to be responsible for children and who is struggling to see if that is something he really wants. All things considered, this is a good film that is hurt by a script with some weaknesses and a director who apparently couldn't compensate for the problems created by the script. R for violence.

ONE HOUR PHOTO (R) 89 minutes * * Quiet and unassuming, Sy (Robin Williams) is the photo guy at the local SavMart. He goes home to his pet hamster and eats his lunch at work by himself. He dreams of having a family, a dream he's becoming a little obsessed with, especially since he just got fired from his job. Williams is fascinating to watch, as usual, but the story just isn't big enough for his character. And it feels a little mundane to blame Sy's behaviour on childhood abuse. The soundtrack is quite nice, with an approach that is both melodic, yet rather creepy, and the films does have a nice, stylish ending, though it's a bit much for a film that's been so simple up until that point. R for language and nudity.

100 BLOODY ACRES (NR) 88 minutes * * The Morgan brothers (Damon Harriman, Angus Sampson) run a fertilizer business in a remote area of Australia. The business is starting to do quite well. The secret ingredient they are using in their new blend makes all the difference, but it's difficult to get more bodies without raising suspicion. Tongue-in-cheek humor, much like other films in this sub-genre.

100 DEGREES BELOW ZERO (NR) 85 minutes BOMB A mega-snowstorm threatens to destroy the world. But just to be clear, the bad acting and laughable script might get there first.

180 DEGREES SOUTH (PG) 82 minutes * * * A spur of the moment trip by young adventurers Yvon Chouinard and Doug Tomkins for 10,000 miles south to Patagonia. They are still there, and Jeff Johnson decides to retrace the steps of his heroes. Along the way, we watch his struggles with the forces of nature and learn about the importance of living more simply. Amazing scenery, and important life lessons make for an interesting and powerful film. PG for language.

101 DALMATIONS (G) 95 minutes * * 1/2 The live action approach actually works very well in this Disney remake of the classic cartoon. Glenn Close is the perfect Cruella De Vil, and most of the other actors do an adequate job. Things really drag during the second half of the film, despite Michael Kamen's soundtrack and John Hughes' screenplay. Like so many other recent movies, this seems to have been made purely to capture the box office for a few weeks with no interest in making a quality film, worthy of being compared to its predecessor.

100 STREETS (NR) 88 minutes * * * 1/2 A gang member trying to go straight, a former rugby star trying to save his marriage, and a cab driver suffering from depression. Three people who appear to have nothing in common, except that they live in the same area of London. Nicely written script, packed with character development. These are very complex characters, and we feel like we've known them well, and for a long time, when we reach the end of the film.

127 HOURS (R) 89 minutes * * * It's difficult to carry so much of a film on your own, but James Franco does an admirable job in this story of a solo hiking trip that goes drastically wrong. Based on the real-life experience of Aron Ralston, who still goes on hikes, but now always tells someone where he's going. R for language and violence.

102 DALMATIANS (G) 94 minutes * 1/2 Basically this is the same story as the first film with less detail and a feeling that it was put together in a hurry. The closing minutes make you wonder how Glenn Close could have sunk so low as she is dipped in batter, made into a cake, and squirted with icing by dalmatian puppies. The really young members of the audience are mildly entertained, but that's mostly due to watching the puppies.

100 YARDS (NR) 109 minutes * * Searching for his missing mother leads Rich Porter (Steven Brewis) away from a promising career in the NFL. Then life throws him a curve. (I know, I'm mixing sports.) He survives, and rebuilds his life, not without the help of friends and a few others, and learns a few lessons along the way. The Christian message stays in the background most of the time, but is clear. It's a low-energy story, to the point that it can be difficult to feel much interest in the characters.

THE 100-YEAR-OLD MAN WHO CLIMBED OUT THE WINDOW AND DISAPPEARED (R) 105 minutes * * 1/2 Allan (Robert Gustafsson) isn't too thrilled about being stuck in a nursing home. So, on his 100th birthday, he leaves. This is the story of the unusal adventure that followed. Quirky and often even moving over into the realm of strange, but not without a good deal of charm along the way. R for language and violence.

THE ONE I LOVE (R) 89 minutes * 1/2 Trying to figure out just what is missing from their relationship, Ethan (Mark Duplass) and Sophie (Elisabeth Moss) discover duplicates of themselves in their guest cottage. More importantly, these duplicates are more exciting and understanding. Duplass always seems to be cast in films that are very talky and analytical, which is tough to pull off well. There's a potentially interesting twist as it nears its end, but the story has really progressed too far by then for it to work well. R for language and sex.

THE ONE I WROTE FOR YOU (PG) 106 minutes * * Spurning fame and fortune once before, Ben (Cheyenne Jackson) finds himself with another chance when a reality TV show comes to town. What will he do this time around? Mediocre acting all around, but the soundtrack is very nice. PG for language.

ONE IN THE CHAMBER (R) 86 minutes * * Carver (Cuba Gooding Jr.) is playing both sides against the middle, which isn't going to work for much longer. Plenty of action, though it's heavier on gunplay rather than physical fighting. The idea is interesting, especially the way the loyalties and code of honor play out. Still, the script lets us down early on, painting in strokes that are too broad, though it does get a little better at the end. R for violence, language, and sex.

ONE LAST HARVEST (R) 90 minutes * * * London's diamond district. The underground vaults pf the Hatton Garden Safe Deposit Company hold one of the largest collections of precious gems in the world. Can these five burglars pull off the biggest heist in British history? Well-done heist film with a nice mix of suspense, drama, and humor. R for language.

ONE LAST THING (NR) 87 minutes * * Dylan (Wendell Pierce) has been separated from his daughter for most of her life. Now, he has a chance to reconnect with her. That won't come without some pain, and he's not sure about what that will mean for both of them. Sentimental drama with good work by Pierce and Jurnee Smollett-Bell.

ONE LIFE (NR) 79 minutes * * * From BBC Earth films, this is a look at life across this planet. Living means eating, which is covered in depth with a look at how various life forms sustain themselves. But there's also a look at how parenting figures into the picture. Beautiful scenery and photography as you might expect.

ONE MISSED CALL (PG-13) 83 minutes * 1/2 The phone rings... it's a call from a friend... the moment before they die... sometime in the near future. Based on the Japanese film which was also adapted as a brief Japanese television series. As with many US adaptations, the scares are less subtle and the music just isn't as creepy as the original version. There are a few good scares here, but the Japanese version has quite a few more. PG-13 for violence.

ONE MOMENT (NR) 108 minutes * * * Joe (Danny Aiello) is getting older, and becoming more difficult to handle. His children are trying, but they have their own lives to deal with. A masterful performance by Aiello in his final feature film. Writer/director Deirdre O'Connor delivers a fine script, filled with humor and drama, and Aiello brings it to life.

ONE MORE TIME (NR) 91 minutes * * * A long time ago, Paul (Christopher Walken) was a successful singer. Those days are gone, but Paul wants to try again. Meanwhile, Jude (Amber Heard) has to come back home and face her own personal demons that surround her musical career and life, including her father. Really nice work by Heard, who also performs her own songs.

ONE NIGHT IN BANGKOK (R) 103 minutes * * 1/2 Kai (Mark Dacascos) is on a mission. He hopes to complete it in one night, but he needs a driver. She has no idea of his plans. The action sequences are well-done, as are some very artistically filmed scenes. They don't flow together well though. R for violence, language, and sex.

ONE NIGHT IN MIAMI (R) 108 minutes * * * A "what if" story that puts Malcolm X (Kingsley Ben-Adit), Cassius Clay (Eli Goree), Jim Brown (Aldis Hodge), and Sam Cooke (Leslie Odom Jr.) together in Miami. They talk about their struggles, their influence, and their responsibility to themselves and to the civil rights movement. Strong performances, but the script isn't always as sharp as it needs to be. R for language.

ONE NIGHT STAND (NR) 71 minutes * * 1/2 Fun and fast-paced look at the Broadway fundraiser that throws a group of actors, dorectors, writers, and composers together to put on four 15-minute musicals in 24 hours. Watching the creative process from blank page to final product is interesting to say the least. Those who understand theatre will find this more fun than others, but it's worth a look for anyone to appreciate how the creative process works.

ONE NIGHT WITH THE KING (PG) 115 minutes * * 1/2 Adapted from the novel Hadassah by Tommy Tenney and Mark Andrew Olsen, this is the story of Esther, also known as Hadassah, and how she was able to influence a king and to rescue her people from certain death. Fairly elaborate production with very nice sets, costumes, and props. Luke Goss does a nice job as King Xerxes, and Tiny Lister has a nice supporting role as well. Tiffany Dupont is less than memorable as Esther, though not as disappointing as Peter O'Toole's two minutes on screen. Script and editing both needed some work here as the film drags in several spots. PG for violence and sensuality.

ONE OCTOBER: A NIGHTMARE IN LAS VEGAS (NR) 93 minutes * * 1/2 A documentary about the tragic shooting in Las Vegas on October 1, 2017. Director Charlie Mann interviews survivors, witnesses, and others. He paints a picture not only of what happened, but to ask the difficult questions that still have no answers.

ONE OF US (NR) 85 minutes * * Following a lead about a girl who has gone missing, Melanie (Christa B. Allen) goes undercover at a commune in the mountains. She puts herself at serious risk from a very manipulative and charismatic leader. Fairly good acting, but the story is less than convincing.

ONE OF THESE DAYS (NR) 116 minutes * * 1/2 You can win a free truck. Every year at a dealership in a small town in Texas, there's a contest. The last person to remove their hand from a truck will win it. It's an endurance test, but it's also entertainment... until tragedy strikes. It's an interesting story, but the ending is strange, and it will likely be one that most people aren't very happy with.

ONE PIECE: STAMPEDE (NR) 96 minutes * * 1/2 It's a pirate expo, complete with a treasure hunt. A very fast-paced story with lots of action and explosions, but not much in the way of character development. It's fun for fans of the series, but others are likely to have a difficult time following the story.

ONE ROYAL HOLIDAY (NR) 86 minutes * * They were just a storm-stranded mother and son to whom Anna (Laura Osnes) was offering assistance. As it turns out, they just happen to be the Queen and Crown Prince of Galwick. Experiencing a small-town Christmas might be just what they need. Very sentimental ending, but getting there is a little too dry and predictable.

ONE SHOT (NR) 93 minutes * A skilled sniper from the World Defense Force is trapped behind enemy lines. Think "American Sniper" and "Starship Troopers", but with a really low budget and a poorly written script. The music isn't too bad and there are a few times when it looks like it might get a little creative, but then...

1,000 DAYS IN SPACE (NR) 97 minutes * * * To prepare for exploration and the possible colonization of one of Jupiter's moons, four astronauts will spend one thousand days on a space station orbiting the earth. But something happens on earth while they are gone. How they deal with what that means will change them. Well-done psychological drama, set in space.

ONE TRUE LOVES (PG-13) 95 minutes * * ½ Emma (Phillipa Soo)had the perfect life with Jesse (Luke Bracey). Then there was an accident. A few years later, she has adjusted to a new life and is now engaged to Sam (Simu Liu). And then Jesse shows up. Who does she choose when she loves them both? PG-13 for sex and language.

ONE TRUE THING (R) 123 minutes * * * Elly (Renee Zellweger) and her mother (Meryl Streep) were never close, but Elly's father (William Hurt) has asked her to come home and care for her mother, who is undergoing cancer therapy. Solid performances from all three actors help make this story of family a powerful one that rings true. A bit of a tearjerker in spots, but not enough to draw us away from the points the film tries to make about the "one true thing" that makes life worth living. Filmed in Maplewood and Morristown, New Jersey. R for language.

ONE WAY (R) 90 minutes * * 1/2 Things aren't looking good for Freddy (Colson Baker). He's on the run from some very dangerous people, with a bag of drugs, a bag of money, and a bullet in his gut. The film is basically one extended chase scene, but it moves very slowly, as other characters take their place in the story. Believability is sacrificed because of that, but the points the story makes are good ones, and the ending works well. R for language and violence.

ONE WEEK (NR) 90 minutes * * * Upon learning that he has stage four cancer, Ben (Joshua Jackson) decides to take a motorcycle trip across Canada. It's a quest to find meaning now that time is running short. Very heavy on dialogue, though much of it does provide interesting depth to the character. Beautiful scenery in this contemplative piece that may not end where you want it to, but that may give you pause to think about why.

ONE WEEK AND A DAY (NR) 94 minutes * * 1/2 When his son dies, Eyal (Shai Avivi) isn't really interested in the formal mourning process that everyone else is engaged in. When the week is over, he's supposed to go back to life as usual. Eyal still has some grieving to do, and the son of a neighbor and a little girl at the hospice where his son died are going to help him on that journey.

THE ONES BELOW (R) 82 minutes * 1/2 The new couple moving in downstairs seem so nice. And they are expecting a baby as well. Then Kate (Clemence Poesy) starts noticing something strange about them. And it gets worse when they lose their baby after an accident. Not nearly as creepy as it needs to be for the way it resolves to have the desired effect. R for language and sex.

THE ONES YOU DIDN'T BURN (NR) 67 minutes * 1/2 Returning home to deal with their father's estate, Nathan (Nathan Wallace) and Mirra (Jenna Rose Sander) plan to sell the property. A cryptic message from their father leads them to reconsider that idea. The story is interesting, though not well-developed. There's a good soundtrack as well, but the low budget really hurts the production.

ONG-BAK (PG-13) 101 minutes * * Just before the festival of Ong-Bak, which happens only once every 24 years, vandals remove the head of the town's statue of Ong-Bak. Tony Jaa goes off to retrieve it. He's learned the art of Muay Thai, but has also been instructed not to use it because it is so dangerous. Jaa does fairly well here, but the claims that he's the next Bruce Lee or Jackie Chan might be a bit premature. The film's editing is not helpful to the overall effect, repeating and slowing down many of the action sequences to let us see them over and over is not necessary... or all that interesting. PG-13 for violence.

ONG BAK 2 (R) 89 minutes * * 1/2 Tien (Tony Jaa) is given the chance to become a Pha Peek Krut pirate because of his tremendous bravery. It's a great honor for one so young, and he trains well and becomes one of the best. But there is a truth he does not yet know that will soon become clear to him. Jaa co-directs this sequel and the story seems to cut loose a little more with better fight scenes than the first. R for violence.

ONG BAK 3 (R) 92 minutes * * His body brutally beaten, Tien (Tony Jaa) has to go through a lengthy healing process. The external process of healing is outward example of what must happen within as well. Good fight scenes, but the dramatic pauses for effect really don't help. Jaa wrote, produced, and directed this sequel, and the story isn't as interesting as the previous films. R for violence.

THE ONION MOVIE (NR) 76 minutes * A collection of short skits and bits presented as a news program. Much like everything else Onion, there are some hilarious bits, while others aren't funny at all. Some segments are sharply satirical, and others are trashy or offensive. Fans of the Onion will like this better than most, but there's just not much here to like.

ONLY GOD FORGIVES (R) 85 minutes * 1/2 Life was already complicated for Julian (Ryan Gosling), and now that he's expected to take revenge for his brother's death, it's going to get worse. The story and photography paint a very stylized and graphically violent story of revenge. It also comes across as very pretentious, and ultimately not satisfying or exciting. R for violence, sex, and language.

THE ONLY LIVING BOY IN NEW YORK (R) 82 minutes * * 1/2 Struggling with his own relationship, Thomas (Callum Turner) finds himself drawn to the woman his father is having an affair with. The story wraps in on itself as Thomas tries to work out his feelings. It ends quite nicely, but we could do without the narration, which mostly states what isn't difficult to understand. R for language.

ONLY LOVERS LEFT ALIVE (R) 116 minutes * * * A dark, hipster sort of vampire film. Tilda Swinton and Tom Hiddleston are wonderfully cast as the moody, centuries-old lovers. It's an interesting entry in the vampire genre. Don't expect a great deal of action or special effects. This is a more stylish and subtle kind of story, and quite nicely done. R for langauge, and nudity.

ONLY THE ANIMALS (NR) 113 minutes * * When Evelyn Ducat (Valeria Bruni Tedeschi) disappears, the police have no clue as to where to look for her. Slowly, they begin to put the pieces together, uncovering several people who were connected to her, each with their own secrets. Parts of the story are told from their different perspectives, but the story, adapted from Colin Niel's novel, seems a bit overly contrived.

ONLY THE BRAVE (PG-13) 126 minutes * * * Becoming certified as hotshots is not easy. They are the elite among firefighters. The best of the best. The Granite Mountain Hotshots are about to face a ferocious fire, and hope to save a town. Their town. Great cast, though there were a few too many of the crew who we don't really get a chance to know. PG-13 for violence, sex, and language.

ONLY THE LONELY (PG-13) 100 minutes * * Sentimental romance story of a 38-year-old bachelor who lives at home with his mother. Ally Sheedy does an admirable job as the love interest, but we never really believe John Candy as the bachelor. The relationship between them is too tense and puts a stress on the film that never leaves.

ONLY WHEN I DANCE (NR) 77 minutes * * 1/2 Rather dry documentary that follows two teens from Rio de Janeiro as they try to pursue their dreams of professional dancing careers. The film doesn't do much to really involve us in the lives of these talented young people.

ONLY YESTERDAY (PG) 114 minutes * * * Taeko (voiced by Miki Imai) lives and works in Tokyo, but needs a break from city life. So, she travels to the rural home of some relatives, where she's about to reconnect with what is truly important to her. Beautiful animation and a gentle and thoughtful story. PG for language.

ONLY YOU (PG) 104 minutes * 1/2 Faith (Marisa Tomei) is about to be married... but she thinks she may really be in love with another man. She hasn't met him yet, but she knows his name. The dialogue is absolutely horrible and Tomei and Robert Downey Jr. struggle with it valiantly, but to no avail. The more interesting part of the story actually centers around Faith's sister-in-law who accompanies her on her trip to Italy in search of the mystery man of her destiny. PG for language.

ONLY YOU (2018) (NR) 115 minutes * * It began with a shared cab ride. They decide to stay in touch. They fall in love. The problems begin when Elena (Laia Costa) and Jake's ((Josh O'Connor) friends all start having babies. That's not working out for Jake and Elena. Very nice work by Castro, though the story takes a long time before it starts to get any real depth.

ONWARD (PG) 93 minutes * * * They've always thought it would be great to see their dad again. Ian (voiced by Tom Holland) and Barley (voiced by Chris Pratt) finally have a chance to make that happen. It's going to take a little magic, but they just might be able to pull it off. A nice story and solid animation, but it tends to maintain a fairly steady energy level rather than building to any sort of crescendo. PG for violence.

OPEN HOUSE (R) 84 minutes * 1/2 An unwanted guest stays over after an open house. Now he's holding Alice (Rachel Blanchard) in the basement and plans on taking the house as his own. A deadpan performance from Brian Geraghty and Tricia Helfer's attempts at being psychotic look more like she disconnects from her character than anything else. Andrew Paquin's directorial debut is less than stellar to say the least. R for violence, sex, and language.

OPEN RANGE (R) 133 minutes * * * Just a couple of cattlemen driving a small herd across open range... it's a story that evolves slowly, like most of Kevin Costner's work. It's a good story, one of conflict, love, and the old west's struggles to adapt to newer ways. Adapted from the book "Open Range Men" by Lauren Paine and co-starring Robert Duvall, it's a solid piece that offers entertainment and quality acting. The biggest problems are the length and Costner himself. Duvall does a great job, but Costner once again does little more than amiably walk through his role. It does manage to work fairly well in this story, but it's still the same old character he's played before. R for violence and language.

THE OPEN ROAD (PG-13) 83 minutes * * 1/2 With his mom refusing to sign for the surgery she needs until she sees her ex-husband, Carlton (Justin Timberlake) has his job cut out for him. His dad (Jeff Bridges) is not the most cooperative person. The trip home is going to be a long one, but it will allow for plenty of time to think. And maybe some time for a father and son to figure out how to talk to each other again. Nice performances, especially the supporting role of Kata Mara, but the story is a bit tired. PG-13 for language.

OPEN SEASON (PG) 78 minutes * * Boog had a nice life until Elliot came along. Now he's out in the wilderness... and hunting season is starting. Amusing in spots, but Elliot is too annoying and we have a hard time liking Boog that much, though we sympathize with how upset he gets with Elliot. Voices by Martin Lawrence, Ashton Kutcher, Debra Messing, and Gary Sinise. PG for language and violence.

OPEN SEASON 2 (PG) 68 minutes 1/2 Elliot is getting nervous about marrying Giselle and Mr. Weenie is "found" by his family and needs rescuing. The characters are still annoying, still throwing rabbits (which isn't funny anymore), and now voiced by a secondary, lesser-talented cast. Not really much to recommend this. PG for language.

OPEN SEASON 3 (PG) 70 minutes * Boog was looking forward to the annual "guy's trip", but no one else is able to go with him. He decides that maybe he should join the circus to have some new friends. Relatively harmless story, but not all that interesting either. PG for language.

OPEN 24 HOURS (NR) 100 minutes * 1/2 After getting out of prison, Mary )Vanessa Grasse) needs a job. She finds employment at a 240hour gas station. She's still hallucinating after the trauma of setting her boyfriend on fire. She had a good reason for doing it. He was a serial killer. He also just might still be after her. There's some good suspense here, amongst all of the gore and the gaping holes in the story.

OPEN WATER (R) 78 minutes 1/2 The poor sound quality and just plain bad cinematography at the beginning of this film do a nice job of setting you up with what to expect... nothing. Not very suspenseful despite the fact that the idea itself is interesting and could have been handled much more effectively. And, if you manage to sit through the whole film, you'll definitely be disappointed by the ending. R for violence, sex and language.

OPEN WATER 2: ADRIFT (R) 88 minutes BOMB More of the same as the first. What's worse is that the characters are even less appealing and appear to be even less intelligent. And this time, the ending is not only disappointing, but it doesn't seem to make sense. Then again, what made sense about making this film, which, by the way, isn't a sequel, just another story about people dying out in the ocean. R for R for violence, sex, and language.

OPEN WATER 3: CAGE DIVE (R) 73 minutes 1/2 If you've seen either of the previous films, you know what's coming. The only thing different... fair warning... these people fight more and more with each other as the film progresses. You may find yourself cheering for the shark. R for language and violence.

OPEN WOUND: THE UBER MOVIE (NR) 93 minutes 1/2 On their way to a party, a couple's conversation turns a dark and twisted corner. Pretentious, noir-style story with a couple who talk a lot and enjoy a little bondage and torture with their sex.

OPERATION AVALANCHE (R) 91 minutes * * So, what about that moon landing after all? There are some fun effects here, but much of the fascination of the idea will be lost on those who aren't familiar with the conspiracy theory about the moon landing being faked. The story almost becomes overly enamored with the trick it's trying to pull on those of is who are watching. R for language.

OPERATION CHRISTMAS (NR) 83 minutes * * It's taken a good deal of effort for Olivia (Tricia Helfer) to be willing to try a relationship again. But when Scott (Marc Blucas) gets deployed right before Christmas, she's determined to keep the holiday a special time for everyone. A sentimental mix of Christmas and romance, focused on those who serve in the military.

OPERATION CONDOR (PG-13) 86 minutes * 1/2 Although not one of Jackie Chan's better films, this is still fun to watch. The story drags a bit too much as we follow everyone around as they try to find the long lost gold of the Third Reich. The martial arts and stuntwork are average for a Chan film, which puts them a few notches above most others. PG-13 for violence.

OPERATION DUMBO DROP (PG) 104 minutes * * 1/2 Ray Liotta is a new captain who finds himself, in the middle of the Vietnam War, struggling to replace a sacred elephant for a strategic village. A rather strange topic for a Disney film, but the characters are somewhat entertaining. Filmed in Thailand.

OPERATION DUNKIRK (NR) 92 minutes 1/2 A small group of British soldiers find themselves on a dangerous mission. They must escort someone who has an algorithm that could change the course of the war. Acting lessons might have helped too, but then again, the sets, props, costumes, and dialogue are all in serious need of assistance too.

OPERATION FINALE (PG-13) 118 minutes * * * In the time following the end of WWII, the world sought to find justice for those responsible for the terrible tragedies. Hitler, Himmler, and Goering all committed suicide, but Eichman remained at large. He was also quite possibly more responsible than the others for much of what happened. This is the story of the search to find him and punish him for what he did. Straightforward drama with nice work by the cast. PG-13 for violence and language.

OPERATION FORTUNE: RUSE DE GUERRE (R) 106 minutes * * 1/2 The latest mission for Agent Fortune (Jason Statham) and his crew will involve the retrieval of a high tech weapon that could destroy the world's economy while making a few people very wealthy. With director Guy Ritchie at the helm, you can expect lots of action, plenty of twists and turns, and some humor along the way. Some of the story, mostly the part about a movie star (Josh Hartnett) helping out, seem a little weak. Statham's performance is good in some scenes, but not so much in others. It's a good action film, but it feels a little rushed. R for language and violence.

OPERATION SEAWOLF (NR) 92 minutes * World War II is coming to a close. Things aren;t going well for the German U-Boats. Captain Kessler (Dolph Lundgren) has been given a special mission. He is to take a fleet of U-Boats to attack the United States. It's a desperate move. It's also a very thin plot. The cast does what it can, but there's not much for them to work with.

OPERATION ROGUE (R) 86 minutes * 1/2 It's bad enough that a terrorist organizaton has the material to construct a chemical weapon. But when the group leader's son is killed when the Marines try to stop them, they take a general's daughter hostage. Lots of gunfore and not much story. R for violence and language.

THE OPERATIVE (NR) 111 minutes * * 1/2 It's a dangerous job. Recruited by the Mossad, Rachel (Diane Kruger) is working undercover in Iran. Complicating matters, she gets involved romantically with her subject. (Cas Anvar). It's making life difficult for her handler (Martin Freeman). The ending will not make most people very happy.

OPERATOR (NR) 84 minutes * * A 911 operator and her police officer ex-husband are caught in the middle of an unfoldiung event. Their daughter is in danger, but the has hacked dispatch and is pulling the strings. There are some minor logic flaws, but the suspense works well. It does get a little less believable near the end. Mischa Barton isn't all that strong here, but the rest of the cast does well.

OPHELIA (PG-13) 100 minutes * * * Shakespeare's classic story of Hamlet, but this time told from the perspective of Ophelia (Daisy Ridley), a young woman who falls for Hamlet. Sure that he loves her too, she seeks a way to make the impossible a reality. In the meantime, Hamelt is slowly losing his sanity, and Ophelia isn't far behind. Beautifully photographed. PG-13 for violence and sex.

OPIUM: DIARY OF A MADWOMAN (NR) 105 minutes * * 1/2 Dark, moody, and surrealistic look at a doctor (Ulrich Thomsen) and patient (Kirsti Stubo) at a mental hospital. Both tortured souls, he finds her fascinating, and she realizes that his interest provides her with some hope. Mesmerizing and almost serene at times, but depressing at others as we can tell early on that their unusual love story will never be able to go very far.

OPPENHEIMER (R) 174 minutes * * * 1/2 Cillian Murphy stars as J. Robert Oppenheimer, the man responsible for the creation of the atomic bomb. It as a dangerous race, to discover and control such a destructive force. Seen as the ultimate power, if it could be controlled, it would mean power without having to use it, or so some thouguht. This does run a little long, but it's difficult to not want this to be just a little longer to include bits of the story we miss. In particular, what happened to some of the main characters like Strauss (Robert Downey Jr.). R for sex and language.

OPPORTUNITY KNOCKS (PG-13) 97 minutes * * Dana Carvey stars as a street-wise, fast-talking con man from the south side of Chicago. He stumbles onto the perfect con, but falls in love at the same time. Things start falling apart when he decides to be honest, but it all works out in the end. What a surprise. Carvey's talents are evident, but they aren't put to very good use here.

THE OPPOSITE OF SEX (R) 100 minutes * * * 1/2 Cynical comedy with a hard edge it not to everyone's tastes, but Don Roos has delivered an amazing script with fascinating characters. Christina Ricci and Lisa Kudrow are perfect here. Bitter towards life, but for different reasons, they frame the story as it moves along, slapping us in the face more than a few times. We laugh at some of the extremes, but there's a truth here that cuts through the bitterness. Roos has a talent for writing strong parts for female characters (Boys on the Side) and displays it again here. Ricci and Kudrow both grow in these parts, showing us talents we hadn't seen before. Bravo! Filmed in California. R for language and sex.

OPPOSITE SEX (R) 81 minutes * * Arye Gross and Courteney Cox star in this comedy of the struggles of two people from different backgrounds in a budding relationship. The passion and romance are a bit strained here, but the comic bits make it fun to watch. R for sex and language.

ORANGE COUNTY (PG-13) 77 minutes * * It takes Shaun (Colin Hanks) awhile to decide what he wants to do with his life. When he finally does, nothing seems to go quite the way he's expected. Not really the slapstick comedy you might think, but this suffers from that age-old struggle to balance comedy and drama, never quite achieving what it needs. Hanks is a bit too earnest to be believable and despite the heart of the film, which seems to be in the right place, the energy doesn't seem to get us past the first twenty minutes. PG-13 for language.

THE ORANGES (R) 82 minutes * * 1/2 When Nina (Leighton Meester) comes home for the holidays, David (Hugh Laurie) notices just how much she's grown up in the last few years. There are some vague similarities here to "American Beauty", though the script here is awkward and tense as if it's trying to keep too many different people happy. It ends well, but getting there feels rushed and incomplete. R for language.

ORC WARS (NR) 91 minutes 1/2 John (Rusty Joiner) was buying a ranch in the middle of nowherefor the express purpose of getting away from it all. But then his property is invaded by orcs, elves, and dragons. It must be time to step up and be a hero. Plenty of heart, but cheap special effects and stiff dialogue don't do this any favors.

THE ORDER (R) 98 minutes * * 1/2 Alex (Heath Ledger) is a priest of the Carolingian order, an order that values knowledge above all else. When his mentor dies under rather mysterious circumstances, Alex must discover what happened. What he discovers is that sin-eaters are still around and that it was the Catholic church that hid the truth. But why? And what does it mean, now that he knows? Religious suspense rather than horror is the story here, and it's a story that dares to make you think a little. It's definitely interesting, but its supernatural tone keeps it just unreal enough that it loses an element of fear and some of our attention as well. R for violence.

THE ORDER OF MYTHS (NR) 76 minutes * * 1/2 The oldest celebration of Mardi Gras in the United States is in Mobile, Alabama, and the separation between white people and people of color is still strong enough that there are actually two celebrations. In 2007, for the first time, the kings and queens from the two celebrations cross those lines, breaking ground for new possibilities. Tradition has value, but truly respecting the traditions of others involves understanding relationship.

ORDINARY LOVE (R) 86 minutes * * * The diagnosis comes as a surprise, but Joan (Lesley Manville) and Tom (Liam Neeson) have a good marriage. That will help them as they deal with her breat cancer. A powerful and memorable film that takes us through each step of the process. The pain, the strustration, the anger, the love, the humor, and so much more. Very nice work by the cast in a film that has a very honest and unembellished approach to the story. R for sex.

AN ORDINARY MAN (R) 85 minutes * * The general (Ben Kingsley) has been in hiding for years, though he refuses to stay completely hidden. He is a war criminal. There are those who approve of what he did, which only serves to give him reason to think there wasn't anything wrong with what he did. It would seem that he almost treats it as a game, leaving him with little connection to reality. Except for his new maid. Kingsley delivers another strong performance, but the story fails to effectively show us the contrast between reality and the fiction he has created. The ending does have more strength than the rest of the film, but it comes too late. R for language, nudity, and violence.

ORDINARY WORLD (NR) 82 minutes * * 1/2 The rock star glare has faded, but Perry (Billie Joe Armstrong) is wondering if he missed something. Nice, light drama about a rocker having a mid-life crisis, trying to figure out what is (and was) important. Not all that original or surprising, but sincere and with some nice supporting performances and touches of humor throughout.

ORGAZMO (NC-17) 92 minutes BOMB From the twisted minds of Trey Parker and Matt Stone... the story of a young Morman (Trey Parker) who is lured by the money that will pay for his marriage to do the unthinkable... star in pornographic films. There are plenty of in-jokes for fans of Parker and Stone. Crude and vulgar, but it's rated NC-17, so that shouldn't be unexpected.

ORIGINAL GANGSTAS (R) 95 minutes * Fred Williamson stars in this film about original gang members from years ago who come back to kick some sense into the current gang. Typical film about empowering the residents to take back their community is mostly of interest for its cast. Pam Grier, Paul Winfield, Isabel Sanford, and Jim Brown among others are fun to watch. Filmed in East Chicago and Gary, Indiana, which happens to be Fred Williamson's home town.

THE ORIGINAL KINGS OF COMEDY (R) 113 minutes * 1/2 Steve Harvey, D.L. Hughley, Cedric the Entertainer, and Bernie Mac do live stand-up comedy for almost two hours. If you love their material, you'll enjoy this, but it's not a great movie. Few live recordings work well and when you have an irritating stage camera that keeps running back and forth on its track, it's somewhat distracting. There are a few "backstage" moments and the best comic sequences come from Harvey, which is probably why he works well as the headliner. R for language.

ORIGINAL SIN (R) 111 minutes * An arranged marriage, based on a lie, leads to one deception after another. The pacing is terrible, and by the time we get to the potentially interesting twists and turns during the last thirty minutes, we no longer care. Angelina Jolie is almost too aloof, and Antonio Banderas is never really convincing as a distraught husband. Weak direction makes the uneven script even worse, and the length of the film just adds to the problem. Based on the book, Waltz Into Darkness, and rated R for sex and violence.

THE ORNITHOLOGIST (NR) 114 minutes * 1/2 Looking for rare black storks, Fernando (Paul Hamy) finds himself sweot away by the rapids. Once rescued, he begins travelling through a strange and mysterious forest as he tries to find his way back to where he once was. Lots of beautiful scenery, as you might expect from a film where the story has a focus on nature. It's heavy with religious symbolism, both literal and figurative. The spirituality here is a journey that follows paths that are often unclear and ever-shifting. That will undoubtedly resonate with some, but if it doesn't, the film makes no effort to pause, either for us or for Fernando. That approach leaves us with a quest that is more of a harsh taskmaster that will not allow for anything except a relentless forward movement, which seems to contradict the foundation of the story.

ORPHAN (R) 116 minutes * 1/2 At first, Esther (Isabelle Fuhrman) seems like the perfect child for the Coleman's to adopt, but then they get to know her... and she gets to know them. She's cold-hearted and manipulative, though when the twist happens near the end and we learn why, believability has so completely disappeared that we don't even care. There are a number of creepy bits early on, but too many cheap noise scares ruin most of the effect. Adorable Aryana Engineer steals every scene she's in, and is one of the few things that keeps us watching. R for violence and language.

ORPHAN: FIRST KILL (R) 92 minutes * 1/2 Prequel to "Orphan", but still featuring Isabelle Fuhrman as Esther. Escaping a psychiatric facility in Estonia, she makes her way to the US by impersonating the missing child of a very wealthy family. There's a nice twist, but it also doesn't work as well as it could have. It's an interesting choice to have Fuhrman reprise the role with it being a prequel to a thirteen year old film. It stretches the believability a little too far. R for violence, language, and sex.

THE ORPHANAGE (R) 97 minutes * * * Laura (Belen Rueda) and her husband return to the orphange where Laura spent her childhood with the intention of reopening it as a home for children who have physical disabilities. The building still has some other "guests" staying there though. The film moves a bit slowly at first, but is wonderfully creepy during the second half and finishes with an almost magical ending that is far from sinister. Nice work! R for violence.

THE ORPHANAGE (2013) (NR) 88 minutes 1/2 A boy sent to an orphanage finds himself subjected to horrific experiences. And that's about it for the plot. The details throughout the film are confusing and only make sense thanks to a narrated ending. Once we hear it, it's not a bad idea, but the poor acting and sound quality, let alone the mediocre (at best) production quality, pretty much ruin it. And just to be clear, there isn't much suspense here, let alone any real horror.

OSCAR (PG) 104 minutes * * * The dialogue is great in this comedy that features Sylvester Stallone in a rather uncharacteristic role. He does a nice job here and has an excellent supporting cast. The music has a snappy, upbeat rhythm that fits and the cast keep straight faces during the whole show, which makes it even funnier. Don't overlook this just because you can't imagine Stallone in a comedy, it really is worth watching! PG for language.

THE OSIRIS CHILD (NR) 93 minutes * * Colonizing planets can be a dangerous business. That's even more true when the military loses control of a biological weapon. Now, two men on opposite sides of a conflict are on a rescue mission to save the one man's daughter. The ending is interesting, but the chemistry between characters just isn't very convincing.

OSLO 31, AUGUST (NR) 86 minutes * * 1/2 Recovering from a drug habit isn't easy. Anders (Anders Danielson Lie) is discovering just how difficult as he tries to reconnect with old friends, most of whom are still using. The story is very sincere, and the acting is good, but it's a very depressing look at life that has become nearly hopeless.

OSMOSIS JONES (PG) 88 minutes * * * Clever and creative story of Osmosis Jones, a white blood cell in the body of Frank (Bill Murray). Frank is not a person who takes particularly good care of himself, and as we see through the animated experience of what goes on inside him, there can be some problems. Accomplishing an amazing feat, the film manages to be educational, entertaining, dramatic, and hilarious. Featuring appropriately gross performances from Murray and Chris Elliott, it's a film that kids will love and parents should manage to find entertaining as well. PG for language.

OSS 117: CAIRO, NEST OF SPIES (NR) 89 minutes * * 1/2 A combination of James Bond and Inspector Clousseau, Hubert Bonisseur de La Bath (Jean Dujardin) is a secret agent who seems to stumble into the right place at the right time. The film does a nice job of recapturing the feel of older spy films, bringing back to the big screen a fun character last seen in 1970.

OTELLO (PG) 118 minutes * * * Franco Zeffirelli's adaptation of the Verdi opera based on Shakespeare's play. Sets, costumes, and the productions design are wonderful, and the musical arrangements are very good as well. The main cast quite good, with special praise for Justino Diaz in the role of Iago. Supporting cast is less effective.

THE OTHER BOLEYN GIRL (NR) 89 minutes * * 1/2 BBC adaptation of the Philippa Gregory novel about Mary and Anne Boleyn and their relationship with King Henry VIII. Straightforward drama with few frills, and not a great deal of passion, though the performances are more than adequate.

THE OTHER BOLEYN GIRL (PG-13) 112 minutes * * * Natalie Portman and Scarlett Johansson star as Anne and Mary Boleyn, both of whom King Henry VIII is interested in courting as mistress. Adapted from Philippa Gregory's novel, which focuses on the story mostly from the perspective of the Boleyn family. Nice period film, though Eric Bana's portrayal of Henry is less than convincing. PG-13 for sex and violence.

THE OTHER DREAM TEAM (NR) 86 minutes * * * In 1992, the U.S. Olympic basketball team was called the "dream team", and the phrase and the team were known world wide. There was another team at that Olympics who championed a different dream. The Lithuanian baskteball team came from a country that had been struggling for freedom and recognition, and in 1992, they hoped that the Olympics would give them some of the recognition they had been looking for. Great mix of basketball, Olympics, and world history, which is no easy task.

THE OTHER END OF THE LINE (PG-13) 101 minutes * * 1/2 She's just a voice on the phone, but she seems to really care. He's just a customer, but he seems to be so nice. What would happen if they met? The story is a bit uneven at times, but the romance is sweet and Jesse Metcalfe and Shriya give this just enough charm to make it work. It's a nice, gentle romantic film. PG-13 for sex and language.

THE OTHER FELLOW (NR) 80 minutes * * 1/2 James Bond is a well-known fictitious character. Across the world, it is a name that people recognize. Ian Fleming, author of the early Bond novels, actually took the name from a real person. It's a name that many real people have, and this is the story of some of those people. It's the story of the things they have experienced, both positive and negative, as they share this famous (or infamous) name.

THE OTHER GUYS (PG-13) 108 minutes * * 1/2 Definitely one of Will Ferrell's funnier films, playing off of Mark Wahlberg as they are partners on the police force. They are the "other guys", who never get the interesting assignments. But that's about to change. Wahlberg comes off a bit too angry at times, though it was probably his attempt to keep from laughing at Ferrell. PG-13 for language and sex.

THE OTHER LAMB (NR) 93 minutes * * 1/2 Born and raised into a small cult, Selah (Raffey Cassidy) has known nothing but the leadership of The Shepherd (Michiel Huisman). As the time approaches for her next step as part of this community, she begins to question his authority and her own purpose. The ending is even more unusual than the rest of the film, which has an almost dream-like quality.

THE OTHER MAN (R) 84 minutes * 1/2 Suspicious that his wife is having an affair, Peter (Liam Neeson) decides to track down the other man in her life (Antonio Banderas). Neeson's character is undecided about how to do this and with what to say when he actaully confronts his rival. On the one hand, we have a little sympathy for Peter, but when the twist is revealed late in the film, we find ourselves wondering what the big deal was. R for language and sex.

THE OTHER ME (NR) 96 minutes * * ½ There’s something wrong with Irakli’s (Jim Strugess) eyes. The diagnosis he receives doesn’t really help because it’s frightening to him as he sees what he sees. It isn’t exactly blindness, but more of a transition to seeing the essence of things. An unusual and interesting story, but be aware that this one might take a couple of viewings to catch everything.

OTHER PEOPLE'S MONEY (R) 98 minutes * 1/2 Larry Garfield (Danny DeVito) is a Wall Street businessman who takes over companies, disolves them, and sells the pieces for a profit. We have the usual fight from those who love the company, those who are willing to sell out even though you thought they wouldn't, and the last minute save by someone who can pull the right strings. It's a tired script that does a great injustice to a fine cast. Gregory Peck, Piper Laurie, Dean Jones, and DeVito deserve better than this. R for language.

THE OTHER SIDE OF HOPE (NR) 96 minutes * * * A former traveling salesman, Wikstrom (Sakari Kuosmanen) does a little gambling and makes enough to buy a restaurant. The staff who come with the restaurant are a bit unconventional. Khaled (Sherwan Haji) ends up being part of that staff as he looks for asylum. Writer/director Aki Kaurismaki is well known for his mix of the real and the absurd, and this film is a great example of that style. Winner of several international film awards.

THE OTHER SIDE OF THE DOOR (R) 91 minutes * * A mother, distraught after the loss of her son, finds out about a mystic ritual through which she can contact him one last time. But when she ignores a specific rule, the worlds of the living and dead are no longer in balance. Creepy special effects. Good acting, but the story is really very simple and doesn't work well at this length without a stronger development of subplots. R for violence.

THE OTHER SISTER (PG-13) 126 minutes * * * 1/2 Carla (Juliette Lewis) is sent away to a special school for eight years. Her problems are just too much for her parent to deal with while raising two other daughters. Now she is returning home, but she wants to be on her own. While this is primarily Carla's story, it's nice to see that the film presents a well-rounded picture of the whole family. This is a wonderful example of solid acting by an ensemble. It's a heartwarming picture that reminds us how important it is to love and to let go. PG-13 for language.

THE OTHER SON (PG-13) 101 minutes * * 1/2 Going to enlist in the military, a young man discovers through the results of his blood test that his parents cannot be his biological parents. Not only is it discovered that he and another boy were switched at birth, but they are on different sides of the border, one being Palistinian, and the other Israeli. Cross-border and cross-cultural differences add to the difficulty for both young men to understand who they are and what it means for their future. Tends to stay with surface emotions and not go very deeply. PG-13 for violence and language.

THE OTHER WOMAN (NR) 87 minutes * * Derek's (Ted Whittall) new intern Nicole (Lisa Marie Caruk) is intent on marrying her new boss. But his wife Jill (Josie Bissett) isn't going to give up without a fight. Jason Priestley directs this TV movie adaptation of Joy Fielding's novel that feels much like a standard soap opera. Not a great deal of depth to the characters here, and the acting is mediocre at best.

THE OTHER WOMAN (2009) (R) 94 minutes * * * Natalie Portman is "the other woman" here, splitting up the marriage of another lawyer in the firm where she works. The romance is great, but she's having trouble getting along with his son, and when her days old infant dies, her attitude and ability to cope become brittle and a breakdown seems inevitable. It's no real surprise that Portman is great here. The supporting cast varies, mostly in direct relationship to the script, which has difficulty maintaining the intensity it needs to at times. R for sex and language.

THE OTHER WOMAN (2014) (PG-13) 104 minutes * * When Carly (Cameron Diaz) finds out her boyfriend has a wife, she instantly dumps him. His wife isn';t done though. She wants to find out more, and they actually end up bonding a little. Then they find out that there's another woman. Leslie Mann's performance is a little over-the-top, but part of the time that works. PG-13 for sex and language.

THE OTHER ZOEY (PG-13) 86 minutes * * 1/2 Ziey (Josephine Langford) doesn't believe in love, though she does believe in her compatability algorithm. That's all fine until soccer star Zack (Drew Starkey) gets amnesia and mistakes her for his girlfriend, whose name also happens to be Zoey. Nice work by the leas and the supporting cast in a fun, romantic story. PG-13 for language.

THE OTHERS (PG-13) 100 minutes * * 1/2 Welcome to a somewhat spooky house where the current inhabitants discover that they aren't alone... the previous occupants are still around. Reasonably good use of music, light, shadows, etc. which give us the right ambiance, but it still manages to drag a bit. The ending is nice as well, but there are too many hints along the way that manage to spoil things. Nicole Kidman is in her element here, and Alakina Mann delivers a superb debut performance as her daughter Anne. Filmed in Spain. PG-13 for language and suspense.

OTIS (NR) 98 minutes * 1/2 Otis (Bostin Christopher) is a serial killer. He likes to toy with his victims. Sort of like this film toys with us. At first, we think this is a straightforward horror film, though it soon becomes apparent that it's more of a satire. Unfortunately, the story drifts back to horror and then to satire again. Satire would have been the better choice as it would have been a treat to see a film that satirized horror rather than becoming a parody. This one misses the mark on any scale, though Christopher manages a performance that we remember.

OTTO FRANK, FATHER OF ANNE (NR) 78 minutes * * 1/2 When Otto survived the war, his mission became the diary of his daughter and keeping her memory alive. Helping her message inspire and educate others became his passion, sometimes in ways that confused and even upset others. Nice to see the more complete picture with interviews from others who knew him and understood, but now feel free after his death to tell their own parts of the story.

OTTOLENGHI AND THE CAKES OF VERSAILLES (NR) 73 minutes * * * Chef Yotam has set a goal for himself. He wants to create a cake that will evoke the art and spirit of Versailles. Realizing that this is too large a task for one chef, he enlists others in the project. Set at the Metropolitan Museum of Art in New York, which wanted to include the cakes as part of a special exhibit on Versailles. The film does a marvelous job of mixing dessert preparation with the history of Versailles and a look behind the scenes of The Met.

THE OTTOMAN LIEUTENANT (R) 104 minutes * * 1/2 Wanting nothng more than to help, Lillie (Hera Hilmar) is inspired to use her medical skills to aid those in need in the Ottoman Empire. But was is about to begin, which means that this will be a very dangerous choice. Still, there is not only the noble, humanitarian calling, but this officer who was her escort to the hospital to whom she finds herself drawn. Good mix of romance, drama, and war, though it clearly leans toward the romantic. R for violence.

OUIJA (PG-13) 83 minutes * * When Laine (Olivia Cooke) and her friends sit down with a ouija board one night, she just wants to talk to her recently deceased friend. What they never really expected with to actually reach over to the other side. Some good chills and effects, but the answers all come a little too easily. PG-13 for violence.

OUIJA DEATH TRAP (NR) 70 minutes BOMB Two years ago, a seance in ShadowView Manor went horribly wrong. Raven (Raven Reed) decides to bring three friends to spend some time after hours investigating the supernatural elements of the place where she now works. Lots of jerky, hand-held camera work, and most of the "scares" here are far from frightening. The resolution is ridiculous. Much of the acting was improvised, but it's doubtful that a script would have made it any better. Producer/director Todd Sheets aldo did the editing, sets, and photography.

OUIJA 4 (NR) 84 minutes * Not really a sequel to any other Ouija films, though the attempt was made to market it that way by changing the title. The original english title was "Are You Here?". With their business about to fail, these friends are given the chance to complete and release an online version of a ouija board game. Of course it doesn't go well.

OUIJA HOUSE (NR) 93 minutes 1/2 Laurie (Carly Schroeder) and her friends are headed to a mysterious house for a research project on witchcraft. Her mom (Dee Wallace) doesn't want her to go, because as a young girl (Tara Reid), she had a rather terrifying experience there. It's not a stretch from the title to understand that the house itself is a ouija board. There are a few cheap noise scares, but not much else.

OUIJA: ORIGIN OF EVIL (PG-13) 91 minutes * * 1/2 Alice (Elizabeth Reaser) and her two daughters earn a little money helping people hear from their relatives who have passed away. But when her youngest daughter Doris (Lulu Wilson) really begins to talk to the dead, things take a darker turn. This leans more toward the creepy side of things than it does the scary side, and manages to do it fairly well. Be sure to watch through to the very end of the credits. PG-13 for violence.

THE OUIJA POSSESSION (NR) 89 minutes BOMB Some teens find a ouija board and use it to talk to one of their dead relatives. The only problem is that once summoned, the spirit doesn't want to leave. The script and acting are not only pretty bad, but very repetitive. And to make things even worse, the pace begins to drag toward the end.

THE OUIJA RESURRECTION (NR) 83 minutes 1/2 A promo party for the film "The Ouija Experiment" turns into a night of terror. Good, scary music, and creepy cover art for the video release, but otherwise, this is clearly bargain basement material. Also known as "The Ouija Experiment 2: Theatre of Death", which is actually a better title.

OUIJA SEANCE: THE FINAL GAME (NR) 78 minutes 1/2 A nice little house out in the country. Well, not exactly. Sarah (Katharina Sporrer) inherited the place and decides to spend a weekend there with some friends before selling it. They find a ouija board in the attic and use it, releasing an evil spirit. Creepy soundtrack, but the story just doesn't seem to go anywhere.

OUIJA SHARK (NR) 63 minutes BOMB When Jill (Steph Goodwin) finds a ouija board at the beach, she decides to share it with her friends. They end up summoning the spirit of an angry shark that then terrorizes Jill and her friends. Bad script and bad acting. Even among the sub-genre of shark movies, most of which aren;t very good, this one is near the bottom.

OUIJA SUMMONING (NR) 86 minutes * 1/2 Sara (Tara Shayne) and her friends decide to try a Ouija board one night while camping. The spirit they manage to contact is... not a very nice one. There are some nice chills here, though mostly expected and accentuated with music or noise. Not much tension at the end of the film, but we're ready for it to be over by then anyway.

OUR ALMOST COMPLETELY TRUE LOVE STORY (R) 90 minutes * * * It might be easier to get a role in a movie than to find love in Hollywood. Especially if you're a bit older. Mariette (Mariette Hartley) is trying to do both. Hartley and Jerry Sroka, who are married in real life, co-wrote this script that is loosely based on their courtship and marriage. Featuring a delightful cast that includes Tess Harper, Morgan Fairchild, Bernie Kopell, and Peter MacNicol. R for language.

OUR BRAND IS CRISIS (R) 102 minutes * * * Jane (Sandra Bullock) is a political consultant. One of the best. She's been out of the game for a little while, but she's been asked to step back into the arena. And it will mean facing off with an old foe. The humor here does help keep this entertaining, but it also undercuts some of the power of the message the film hopes to deliver. Great cast that also includes Billy Bob Thornton, Anthony Mackie, and Zoe Kazan. R for language and sex.

OUR FAMILY WEDDING (PG-13) 99 minutes * * The families of this engaged couple haven't met yet... but that's about to change. Actually getting along with each other is going to take awhile. There are plenty of fun little bits of comedy here, but some of the characters here try a little too hard to be funny. There are a couple of nice supporting performances here from Regina King and Anjelah Johnson. America Ferrera does a nice job, but the film is far too much for her to deal with on her own, and by the time we get to the end, it just sort of wanders around and then stops. PG-13 for language.

OUR FATHERS (R) 126 minutes * * 1/2 Based on the book by David France, this takes a look at the sexual molestation scandal that rocked the Catholic church. The responsibility reached farther and affected more people than anyone thought possible when it started. Standard dramatic performances, with an emphasis on the legal issues and the church's ability to keep the details hidden for so long. Also starring Christopher Plummer, Brian Dennehy, and Daniel Baldwin. Filmed in Toronto, Ontario. R for language.

OUR HOUSE (NR) 179 minutes * * * What would you do if you came home one day to find strangers moving into your house? That's what happens to Fi Lawson (Tuppence Middleton). When she tries to reach her husband to help straighten things out, she finds that he has disappeared. Plenty of twists and turns to keep things interesting right up to the last moments of the film.

OUR IDIOT BROTHER (R) 87 minutes * * Simply put, Ned (Paul Rudd) is an idiot. Who else would sell marijuana to a police office in uniform? But that's only the beginning of Ned's problems. His three sisters (Elizabeth Banks, Zooey Deschanel, and Emily Mortimer) all love him dearly, but have a difficult time tolerating his idealism, which often seems to translate into being irresponsible. It's a great cast, and a cute ending, but there isn't much substance here, and not really that many laughs. R for sex and language.

OUR ITALIAN CHRISTMAS MEMORIES (NR) 83 minutes * * 1/2 Christmas is going to be a little different this year. Vincent Collucia (Beau Bridges) is struggling with the early stages of dementia. His grandchildren are trying to recreate their grandmother's special pasta sauce as a way to trigger a family holiday memory which they can all share. Nice work by Bridges.

OUR KIND OF TRAITOR (R) 102 minutes * * ½ When a Russian oligarch decides to defect, Perry (Ewan McGregor) and Gail (Naomie Harris) find themselves right in the middle of a difficult situation. They are stuck between the Russian mafia, whose new leader wants Dima (Stellan Skarsgard) dead, and the British Secret Service, who aren’t showing signs that they are very trustworthy. A good, but not terribly exciting spy thriller, based on the book by John LeCarre. R for violence, language, and sex.

OUR LITTLE SISTER (PG) 123 minutes * * * When these three sisters welcome their younger half-sister into their home, they have no idea how it will change them. She is the daughter of the woman their father had an affair with. But time changes people, and sometimes those changes are in ways you don't expect. Gentle and tender film with fine work by the leads. Adapted from the graphic novel "Unimachi Diary". PG for language.

OUT COLD (PG-13) 85 minutes BOMB Small time Bull Mountain ski resort is being sold to a major (as in Lee Majors) developer. The local ski bums don't want that to happen. And with the way they act, who would want to hang around anyway... and that includes the audience... Jason London is a far cry from being a superlative actor, but he deserves better than this. PG-13 for language and nudity.

OUT FOR JUSTICE (R) 87 minutes * * 1/2 Two kids from the same neighborhood in New York. One grows up to become a police officer, who is a little bit of a renegade and is able to do things his own way without much interference from his supervisor. The other one is on drugs, deals drugs, and is now killing people just because he's in the mood. We never learn much about Richie (William Forsythe), but he's the bad guy who's going to get it in the end so it doesn't matter, right? Wrong! Without a well-developed villain, a hero is nothing. Stephen Seagal does show some improvement here as an actor, but he's still stuck in the same genre. R for violence and language.

OUT OF AFRICA (PG) 151 minutes * * * 1/2 A love story larger than life, plays out on a plantation in Kenya. Everything here is a little larger (or longer) than it needs to be. Some of it is quite impressive, and Meryl Streep and Robert Redford both work well in roles that are large and memorable in design. It does start slowly, but finishes well. Some trimming early on would have helped, but this still managed to walk away with seven Academy Awards, including best picture and best director. PG for sex, violence, and language.

OUT OF BOUNDS (R) 89 minutes * * * Daryl Cage (Anthony Michael Hall) goes to Los Angeles to get away from his parents, who are rapidly on their way to a divorce. His brother in LA has offered him a place to stay. Picking up his luggage at the airport, he ends up with the wrong bag. He doesn’t find out until the next morning when he also discovers the bodies of his brother and sister-in-law. Full of action, intense scenes, and good plot twists. This is an often overlooked film that is well-worth watching. Nice supporting work from Jenny Wright and a strong villain performance from Jeff Kober.

OUT OF DEATH (R) 93 minutes * * Out on a hike, Shannon (Jaime King) witnesses a drug deal gone bad. She's on the run, but not just from the dirty cops. She doesn't trust anyone, including retired cop Jack Harris (Bruce Willis). It's a complicated mess. The villains work well, but Willis' performance is pretty lifeless, and saps most of the energy the film might have had. R for language and violence.

OUT OF SIGHT (R) 116 minutes * * George Clooney and Jennifer Lopez are on different sides of the law, but sometimes the chemistry between two people doesn't know those boundaries. This adaptation of Elmore Leonard's novel is acted well (watch for bit parts by Michael Keaton, Samuel L. Jackson, and Nancy Allen) but the photography is annoying. There are a couple of nice sequences, but someone was trying for a film noir style that just didn't happen. It won't be quite as noticeable on video, but it still takes a toll on the overall effect. R for violence and language.

OUT OF THE BLUE (NR) 99 minutes * * * On November 13, 1990, something in the mind of David Gray (Matthew Sunderland) snapped. He killed thirteen people before the police were able to finally stop him. Adapted from the book Aramoana, by Bill O'Brien, the film tells a story of violence and terror in a poetic and gentle way that is both effective and haunting. Writer/director Robert Sarkies weaves and interesting and thoughtful tale of one man and the effect his actions have on a community.

OUT OF THE FURNACE (R) 109 minutes * * * Life takes a turn for the worse when Russell (Christian Bale) is involved In a traffic accident. But his younger brother finds it even more difficult when his tour of duty in the military is over. It’s a nasty, downward spiral, and it seems to be up to Russell to set things right… if he can. A violent, but powerful story. Superb cast, and great to see so many wonderful actors in supporting roles. Forest Whitaker, Sam Shepard, Zoe Saldana, Willem Dafoe… great work in smaller roles that add so much depth to the story. R for violence and language.

OUT OF THE INFERNO (PG-13) 103 minutes * * * It's a hot day, and when one of the new high rise towers has a fire, it is fortunate that these two brothers are around. The one is a fireman, and the other has been working on the fire protection system for the building. That expertise will come in handy. A little heavy-handed on the setup, but overall this is a nicely done disaster genre piece. PG-13 for violence.

OUT OF THE WILD (NR) 88 minutes * * * Henry (John Diehl) keeps trying to drink his problems away. During one of his somewhat sober spells, he ends up working at a dude ranch. When a troubled mustang shows up, it doesn't take long to see the parallels between the two of them. Very nice work by Diehl.

OUT OF TIME (PG-13) 103 minutes * * Matt Whitlock (Denzel Washington) is having an affair, involved in a double homicide, an insurance fraud, has tampered with evidence, and even more may be going wrong. The story does a nice job of intensifying as it progresses, but it borders on getting too convoluted at times. Everything pulls together at the end, but it seems to happen a bit too easily and too quickly... like most TV movies... PG-13 for violence and language.

THE OUT-OF-TOWNERS (PG-13) 86 minutes * * Their last child leaves for school and now Nancy and Henry have to figure out what to do with their lives. Goldie Hawn and Steve Martin work well together and the script isn't too bad. Still, this suffers from being a remake and just doesn't quite have the spark of the original. Fans of Hawn and Martin probably won't be disappointed, but better direction might have given this the extra energy it seems to be lacking. PG-13 for language.

OUT TO SEA (PG-13) 101 minutes * * 1/2 Yet another odd couple/grumpy old men outing with Jack Lemmon and Walter Matthau on a cruise ship flirting with women. This has its moments, but is mostly fluff and hard to distinguish from so many similar outings. It's nice to see Donald O'Connor and Gloria De Haven, but their parts are too small to show off their true talent. PG-13 for language.

OUTBACK (R) 82 minutes * Lisa (Lauren Lofberg) and Wade's (Taylor Wiese) relationship is in rocky territory. They decide to take an adventurous vacation in Australia. Their GPS puts them on the wrong road, and a couple of bad decisions later, they are lost, alone, and completely unprepared for the rigors of the Australian Outback. The acting isn;t the greatest, but the bigger problem is that it's difficult to like these characters or have much sympathy for them. R for language.

OUTBREAK (R) 121 minutes * * 1/2 It's a killer virus from the jungles of Africa... and it's on the loose! Reasonably good entry in the disaster genre, but the main cast are less interesting than the supporting cast. James Newton Howard's soundtrack helps keep the tension high when it needs to be there. Perhaps a little long, but most people will find this an exciting film that they'll remember for quite awhile. R for violence and language.

OUTCAST (NR) 92 minutes * * A travelling warrior decides to help the son and daughter of a Chinese Emperor a they try to defeat their evil brother and regain control of the kingdom. Not one of Nicolas Cage's better roles, and Hayden Christensen has never been all that good, though he does handle the sword-fighting scenes well.

THE OUTCASTS (PG-13) 84 minutes * * The nerds at this high school plan a takeover that succeeds beyond their wildest dreams. In fact, they have now become the unbearable "in-crowd" they so recently despised. Tired script, but the characters are fun. PG-13 for language.

THE OUTFIT (R) 100 minutes * * * Leonard (Mark Rylance) is a cutter, what some might refer to as a tailor. The mob has been using his shop to take money drops. But there's a rat, and things begin to go bad very quickly. Leonard is going to have to play things very carefully if he wants to survive the night. Clever script, and a wonderful performance by Rylance make this a treat to watch. R for violence and language.

OUTING RILEY (NR) 84 minutes * * 1/2 It's time for Bobby Riley (Pete Jones) to let his Irish Catholic family know that he's gay. But how will he tell them and will they believe him? Low-key comedy/drama with entertaining performances, though the comments made directly to the camera tend to distract from the flow of the story.

OUTLAW (NR) 96 minutes * 1/2 A unlikely group of people who have in common a feeling that the law has let them down or betrayed them decide to form a vigilante group. Most of them aren't all that committed to it at first, though the idea does have its appeal for them. The story doesn't seem to have much focus until late, and we've lost most of our interest by then despite the reasonably good performances by the cast.

OUTLAWS (R) 89 minutes * 1/2 Paddo (Ryan Corr) has been taking care of the motorcycle club while Knuck (Matt Nable) has been in jail. He's brought some legitimacy to the club. But Knuck doesn't care about that, and when he gets out, things are going to change. The weak link is Paddo's brother, but Paddo just can't give up on him. Not very much story here. Just the idea that there's a fight to get to the top, but getting there means a constant risk of death. R for violence, sex, and language.

OUTLAWS AND ANGELS (R) 114 minutes * * They are a rough and dangerous band of outlaws. On the run, they find a house with a family that seems like a good place to stop. A place where they can control the ouctome. That may have been a mistake. Brutally violent look at the possibilities of good and evil that lie within each of us. Ultimately, this is less effective than it could have been. The movement from good to evil (or vice versa) comes across as an inconsistency rather than a motivated change in character. It leaves us with an ending that is cynical, and not very convincing. R for violence, sex, and language.

OUTPOST (R) 85 minutes * * When a group of mercenaries stumble across an old World War II bunker, they wonder if they might have found a stash of Nazi gold or treasure. Instead, they discover creepy, undead Nazi soldiers who start killing them off, one by one. The weak acting is offset fairly well by some nice camera and effects work. R for violence and language.

THE OUTPOST (2020) (R) 115 minutes * * * 1/2 In 2006, in order to stop weapons traffic and Taliban fighters from Pakistan, outposts were established byt the United States military. One such outpost was PRT Kamdesh. Surrounded by mountains, the soldiers assigned there were not expected to live. This is one of the more intense and realistic war films you'll find, which means there should be an extra caution above the "R" rating for violence and language. Based on the book by Jake Tapper.

OUTRAGE (R) 86 minutes * * * Documentary about politicians who are gay and why they keep their sexuality hidden while in office, and why they support so much anti-gay legislation. As Shakespeare wrote in Hamlet, "the lady (or in this case the politician) doth protest too much". It's clearly a double standard, and not an easy life to live, but that's hardly an excuse for supporting legislation that denies so much to so many. There are those who are working to change the system, but it's a long and slow process. R for language.

OUTRAGE (2010) (R) 105 minutes * 1/2 It's a constant struggle to control the Japanese underworld. The names of the players change, but whether the money is from drugs, gambling, or even the stock market, the game remains the same. The scenes here feel very artificial, with little emotion or connection until late in the film. By then, the double crosses make little difference to us, and we pretty much expect no one to trust each other. R for violence, language, and sex.

OUTRAGE BEYOND (R) 108 minutes * * ½ A crackdown on organized crime in Japan begins to bring longstanding conflicts between the Sanno and the Hanabishi to the surface. The film moves very quickly, and the conflicts are a little difficult to separate early on, though they become more clear as the film progresses. Much of the acting is little more than posturing though, and we don’t get much of a sense of who most of the characters really are. The ending is no surprise, but somehow also doesn’t really bring an end to the story. R for violence, language, and sex.

OUTRAGEOUS ANIMATION (NR) 84 minutes * 1/2 Huge collection of animated short films, but many of these just aren't that good, or are just rude. Among the best included here are, "Haploid Affair", "Flush", "Spaghetti", "Rondino", and "Jac Mac & Rad Boy". There are other, better collections than this.

OUTRAGEOUS FORTUNE (R) 96 minutes * * * ½ Lauren (Shelley Long) and Sandy (Bette Midler) are just about as opposite as any two people can be. Lauren is an aspiring actress, constantly working on improving her skills and becoming a better person. Sandy might be described as crass and vulgar, but she doesn’t really care what other people think of her. When they both end up in an acting workshop together, they find that it is only the first of many things that they share. Long and Midler work well playing off each other, but the rest of the cast is quite good too. Under the skilled direction of Arthur Hiller, the mix of comedy and drama make this a very entertaining film. R for violence, language, and sex.

OUTSIDE BET (NR) 94 minutes * * A group of friends decide to take a risk and invest in a racehorse. It's a risky venture with the way the economy is headed, but sometimes you just have to go for the long shot. A fun collection of characters that we want to see more of, but the story here isn't really very strong, leaving us a little disappointed.

THE OUTSIDER (NR) 115 minutes * * 1/2 after the war, Nick (Jared Leto) finds himself in Japan. In his attempt to fit in an become accepted, he makes connections with the Yakuza, and finds both brotherhood and structure. It feels good. Even so, his struggle is constant. His determination is constant as well. A slow and steady Yakuza drama that builds intensity nicely.

THE OUTSIDERS (PG) 87 minutes * * ½ Stellar cast in a story about the conflicts between two gangs and what that means to those for whom gang membership is family. It’s not a new story, though S.E. Hinton did a nice job writing the book, it doesn’t make the transition to film all that well. The cast features C. Thomas Howell, Matt Dillon, Ralph Macchio, Patrick Swayze, Rob Lowe, Emilio Estevez, Tom Cruise and Diane Lane. It’s not bad, but it should have been much better. PG for sex, violence, and language.

OVER HER DEAD BODY (PG-13) 89 minutes * 1/2 Kate (Eva Langoria Parker) and Henry (Paul Rudd) have their wedding plans interrupted by an accident. Henry slowly accepts that life must move on and begins to have a romantic interest in Ashley (Lake Bell), a psychic his sister asked him to see in an attempt to help him move on with his life. But Kate hasn't exactly moved on either, and she's not very happy about Henry's interest in Kate. It's a cute story, but there's almost no chemistry between the leads. This is writer/director Jeff Lowell's first feature film and the direction should have been left to someone else. PG-13 for language and sex.

OVER THE HEDGE (PG) 75 minutes * * * 1/2 Absolutely delightful animated feature about the adventures of a group of wild animals who find themselves surrounded by surburbia and being helped by a raccoon who has another agenda they aren't aware of until it's almost too late. A stellar cast of voices, but what really makes this succeed are a story that just never seems at a lack for comic lines that keep you rolling, and animation that takes extra care in creating facial expressions that are virtually perfect in their ability to play on your emotions. Hammy, in particular, will keep you laughing long after the film is over. Featuring the voices of Gary Shandling, Steve Carell, Bruce Willis, Wanda Sykes, William Shatner, Nick Nolte, Thomas Hayden Church, and many more. PG for language.

OVER THE MOON (PG) 86 minutes * * * 1/2 Fei Fei (voiced by Cathy Ang) is determined to get to the moon and prove that the moon goddess her mother used to tell stories about is real. The animation is simply beautiful and the characters are cute and charming. It's a sweet story about loss and letting go. Great soundtrack! PG for violence.

OVER THE MOON IN LOVE (NR) 83 minutes * * 1/2 Brooklyn (Jessica Lowndes) has always had a knack for knowing when two people should be together. Now she has a chance to make it big, but that means setting up one of her clients with the guy that Brooklyn herself has liked since she was ten years old. And she knows that it's not a good match. Lowndes also wrote the script for this romantic film.

OVER THE TOP (PG) 89 minutes * A trucker tries to reconnect with his son by winning an arm-wrestling championship. Yeah. Sylvester Stallone shows off his muscles, but the script has nothing to show off. PG for violence and language.

OVERBOARD (PG) 109 minutes * * * 1/2 Spoiled rich girl falls overbaord, gets amnesia, and ends up with a poor handyman who has lost his wife. It's always fun to watch Goldie Hawn and this is yet another of those films that you just can't help have fun watching. There's a bit much foul language for a PG film, but the light tone of humor and the message about the importance of love and family over money help soften it a bit.

OVERBOARD (PG-13) 106 minutes * * A remake with a twist. This time, a spoiled, wealthy playboy (Eugenio Derbez) falls overboard and loses his memory, only to have the carpet cleaner (Anna Faris) that he was rude to take her revenge by claiming they are married. It's cute, and there are some nice supporting roles, but the chemistry between Faris and Derbez just isn't there. PG-13 for language and nudity.

OVERCOMER (PG) 113 miunutes * * 1/2 Life is going well for John Harrison (Alex Kendrick). His basketball team is on track to win everything next season. But when the local factory shuts down, almost all of his players end up moving out of town. He finds himself coaching one troubled young girl in track and field. Kendrick's acting continues to be stiff and awkward, but the supporting roles work fairly well, and the production quality is good. It's heavy on the Christian message, which is standard for a Kendrick brothers film. PG for violence.

OVERDRIVE (PG-13) 88 minutes * * * Two brothers who are talented drivers and car thieves find themselves in big trouble when they cross a local crime boss. Plenty of beautiful scenery, bit the countryside and the cars. The driving isn't as extreme as it could have been, but it's good. The characters are actually what make this work so well, with just a touch of charm, and a hint of mischief. PG-13 for violence, sex, and language.

OVEREXPOSED (R) 79 minutes 1/2 Someone is stalking the soap opera stars. Low-budget suspense film that actually does manage to give us a nice story move, but it's comes so late in the film that most people have already given up on it. The closing scene comes across more humorous than I'm sure it was intended as the cast all seem to want to say something profound, but nobody wrote it, so they just play a mediocre song instead. Produced by Roger Corman and featuring David Naughton and Karen Black.

OVERLORD (R) 103 minutes * * Shot down behind enemy lines, Boyce (Jovan Adepo) and a handful of other soldiers find themselves in a small village, where strange experiments are going on. They also still have a mission to complete. Sort of a war/horror film, but it doesn't really get that far into the horror, though we keep thinking that it might. R for violence, language, and sex.

THE OVERNIGHT (R) 74 minutes * Alex (Adam Scott) and Emily (Taylor Schilling) just moved to Los Angeles. They'd like to make some new friends. But a play date for their son turns into something much more... and a little more quickly than they anticipated. Mildly funny early on, but less so as it moves along, with the comdey becoming more forced and uncomfortable before finally becoming boring. R for sex and language.

THE OVERNIGHTERS (PG-13) 99 minutes * * 1/2 When the oil industry experiences a boom, out of work men from all across the country come to North Dakota to find work. In most cases, there is no work for them, because their skill set doesn't match what is being required for the jobs that are open, leaving them without money or a place to stay. A local minister becomes their advocate and supporter, but its thankless work and far from easy. For all of that struggle and the risks that are taken, the real risk has been lying underneath the whole time. A rather depressing documentary, especially with the turn it takes at the end of the film. PG-13 for language.

OVERRIDE (NR) 91 minutes * 1/2 Ria (Jess Impiazzi) has the same routine every day, but with a different partner each time. She is an A.I., and is playing a part on a television show. But that suddenly changes one day. Ria has been hacked, and she holds her current partner hostage. He happens to be the son of the vice-president, and it would appear that the timing of the hack is no accident. Surprisingly, the story is lacking in creativity and energy. It gets a little too caught up in the kidnapping part of the story and barely touches on other aspects os the story that are actually more interesting.

AN OVERSIMPLIFICATION OF HER BEAUTY (NR) 84 minutes * * * An explanation of a relationship. The experimental film style will be less than appealing to some, but it does offer a unique combination of 1st, 2nd, and 3rd person viewpoints. The use of narration, interview, and remembrance, along with live action and animation is mixed within the presentation of two films that have been melded together. That aspect is a little difficult to follow, but it's still an intriguing piece.

OVERWHELM THE SKY (NR) 166 minutes * * * 1/2 Loosely adapted from the gothic novel, "Edgar Huntly, or Memoirs of a Sleepwalker". This is the story of a man (Alexander Hero) who moves to San Francisco to marry Thea, the daughter of his best friend Neil. By the time Edgar gets there, Neil is dead. Obsessed and depressed, Edgar keeps visiting the site of his friend's death. He keeps asking questions, but each answer raises more questions. Beautifully filmed. The low budget actually works in the film's favor, heightening the experimental neo-noir style of the film.

THE OWNERS (NR) 90 minutes * 1/2 It was supposed to be an easy job, and Mary (Maisie Williams) wasn't even supposed to be there. The house was empty, but they can't get in the safe. And then the owners come home. They are not the sweet, elderly couple they appear to be. The acting isn't bad, but the story is predictable and more than a little ridiculous.

OXFORD BLUES (PG-13) 94 minutes * * 1/2 Nick De Angelo (Rob Lowe) knows what he wants, and when he sees her, he's off to Oxford to enroll, join the rowing team, and get the girl. Predictable and the direction is weak, but Lowe and Ally Sheedy do reasonably well, and the touches of British humor work.

THE OXFORD MURDERS (R) 100 minutes * * * At Oxford University, a series of murders seem to have something mathematical in common. Can Professor Seldom (John Hurt) and a grad student (Elijah Wood) figure out what the connection is before more people die? Several nice twists and turns here, though the script does get a bit wordy at times, and may be a bit more interesting to those who are mathematically inclined. R for language, sex, and violence.

OYATE (NR) 89 minutes * * * The protests that happened during the Dakota Access Pipeline project served as a catlyst. Indigenous people have been able to use that event to begin a call to action, a call for people to wake up and fully understand what is happening to the planet and those who live on it. This documentary serves as a history lesson and a call to action.

OZ THE GREAT AND POWERFUL (PG) 124 minutes * * * This is the story of how Oz (James Franco) came to be the mighty and amazing wizard of the land and works as a prequel to "The Wizard of Oz". Some scenes are quite good, but others, especially early on, just don't have much energy or creativity. The last 30 minutes are quite good, but perhaps it's because we've grown accustomed to Franco's quirky performance by then. Be warned.. the flying monkeys are still pretty scary! Mila Kunis and Rachel Weisz have a great deal of fun with their characters and the song, "Almost Home" that Mariah Carey sings at the end is a wonderful piece. PG for violence and language.

PACIFIC HEIGHTS (R) 96 minutes * * If you decide to fix up an old house and rent part of it out while you live in the rest, you'd better be careful who you rent to. They might be scheming to take the house away from you. Michael Keaton does a wonderful job as the sinister James Danforth, but the film moves along too slowly, removing most of the suspense. Events are staged too carefully, with props obviously shown to us before they are used and music swelling to a crescendo with each potentially suspenseful scene. We're never able to really let go and have fun with this because we're always being reminded that we should already know what's going to happen. R for violence, language, and nudity.

PACIFIC RIM (PG-13) 122 minutes * * * Giant monsters from beneath the sea, known as Kaiju, begin to terrorize the planet. Humans create giant robotic monsters of their own (Jaegers) to defeat them. A fun story with plenty of energy and tension. Nice effects and a great soundtrack by Ramin Djawadi. PG-13 for violence and language.

PACIFIC RIM: UPRISING (PG-13) 101 minutes * * * The Kaiju threat has returned. It's a good thing that a few people were preparing for that eventuality. Jake (John Boyega) is begrudgingly following in his father's footsteps, with help from his sister Mako (Rinko Kikuchi). But the real star is Amara (Cailee Spaeny), who built her own Jaeger at the age of 15. Her character adds quite a bit to the story, which advances nicely from the first film. PG-13 for violence and language.

THE PACIFIER (PG) 90 minutes * * Lt. Wolf's (Vin Diesel) new assignment is to protect the children of a scientist who has been killed. His secret formula may be in the safe deposit box his wife is going to open, but it may still be in the house. It's cute, formula Disney entertainment with Diesel doing a nice job of making it look fun and easy. PG for violence and language.

THE PACKAGE (R) 103 minutes * * 1/2 Political thriller starring Gene Hackman as Sergeant John Gallagher, a man caught in the middle of a conspiracy. The tension builds well through much of the film, but as things progress, it somehow manages to get rather boring and even tedious at times. Nice cast of supporting characters that includes Joanna Cassidy, Tommy Lee Jones, and Pam Grier.

THE PACKAGE (2013) (R) 91 minutes * 1/2 Tommy (Steve Austin) has carried plenty of packages before. It's what he does. But this particular package seems to be drawing a great deal of attention. There's plenty of action here, but somehow the story still moves along rather slowly. The action is timed well enough to keep us watching, but just barely. R for violence.

THE PACT (R) 85 minutes * 1/2 Nichole (Agnes Bruckner) is back at home for her mother's funeral, and dealing with the ghosts of her past... that are becoming all too real. The film makes very good use of silence to build suspense. It's too bad that the story doesn't use those suspenseful moments to move in any particular direction. The main "reveal" has the same problem, with a very nice setup, and then... nothing. R for violence and language.

THE PACT II (NR) 91 minutes * Annie (Caity Lotz) learns more about her past, which may explain some of the horrific visions she's having. This definitely has some scary moments, often highlighted with good sound effects. The problem is that the story isn't very convincing or interesting, leaving us with a somewhat disconnected sequence of creepy moments. And, of course, it also leaves the door open for part 3. Thanks.

PADDINGTON (PG) 88 minutes * * * Searching for a home, a young bear from Peru travels to London. The Brown family are willing to help, but it's going to be a little more trouble than they anticipated. Wonderful animation helps create a whimsical and magical adaptation to the big screen of the classic children's story. PG for language.

PADDINGTON 2 (PG) 97 minutes * * * Paddington finds the perfect gift for Aunt Lucy's birthday, but before he can buy it, someone steals it. The result is another adventure for Paddington. Of course, since he always finds the best in people, it will all work out well in the end. PG for language.

THE PADRE (R) 90 minutes * * 1/2 Being on the run has been normal of late. Padre (Tim Roth) is having difficulty staying more than two steps ahead of Nemes (Nick Nolte), and now he has to deal with Lona (Valeria Emiliani), a young girl who is trying to get to Minnesota to find her sister. The noose is getting tighter. R for language and violence.

UN PADRE NO TAN PADRE (PG-13) 92 minutes * * 1/2 When an 85-year-old moves in with his son, it's not going to be pretty. It's a community home, and Don Servando (Hector Bonilla) prefers life to be a bit (actually a lot) more traditional. Nice mix of comedy in drama. PG-13 for language and nudity.

PAGE EIGHT (NR) 98 minutes * * * 1/2 Sometimes in the espionage business, a surprising piece of inforrmation comes along. The particular piece of info that comes Johnny's (Bill Nighy) way could completely take apart the British government... if it can be substantiated. Now he has to decide what to do with it. Great work by Nighy, and a strong ensemble cast led by Rachel Weisz and Alice Krige. With its rather unique blend of politics and espionage, this subtle, yet intense spy thriller is quite good.

PAGE ONE: INSIDE THE NEW YORK TIMES (R) 89 minutes * * 1/2 Journalism is changing, and many newspapers are closing up shop or filing for bankruptcy. This is the story of the New York Times today, and how they are dealing with the new technology in ways they hope will keep them at the forefront of news media. What's a little disappointing is that we don't hear much discussion about what the future might look like. It's more like the Times is doing a great job of playing catch-up and keeping its head above water. R for language.

THE PAGE TURNER (NR) 78 minutes * * 1/2 Melanie (Deborah Francois) gives up playing the piano after a bad experience involving a judge at the music conservatory where she auditions. When she's a little older, the opportunity arises for her to become a page turner for the woman who treated her so badly. It's a classy and chic production, but there are no real surprises here, and most of the characters are rather difficult to like.

PAGEANT (NR) 92 minutes * * * The Miss Gay America competition recognizes the best female impersonator using a number of different criteria. This documentary follows several competitors as they get ready for the different categories in this final competition. Nice work following the different people and their reactions and progress as the competition moves along.

THE PAGEMASTER (G) 68 minutes * * 1/2 The story of a boy lost in a storm who finds refuge in the library and becomes intrigued by the world of books. Nice idea that is rather interesting for a movie to promote, but the mix of live action and animation is less than it should be. Great character voices help keep things interesting along the way, thanks to Christopher Lloyd, Whoopi Goldberg, Patrick Stewart, Leonard Nimoy, and Frank Welker.

PAIN AND GAIN (R) 122 minutes * * 1/2 Daniel Lugo (Mark Wahlberg) is tired of not having what he feels is his due. He decides to set up a mark and take him for everything he has. But when Kershaw (Tony Shalhoub) identifies him during the kidnapping, events start spinning out of control. The script is written with tongue firmly planted in cheek, and Wahlberg and the rest of the cast play it with a straight face, which helps make it work fairly well. Hard to believe that it's based on actual events, but there you go. R for violence, sex, and language.

PAIN AND GLORY (R) 109 minutes * * * 1/2 Director Pedro Almodovar creates a remarkable character in Salvador Mallo (Antonio Banderas). It is a character with whom he shares some similarities as Mallo is a film director who is near the end of his career. Mallo looks back at his life and recalls key moments full of power and emotions. Almodovar treats this character with a tenderness and affection despite, or perhaps because of his imperfections and struggles. In a way, Almodovar is sharing with us the means to forgive ourselves for our own past while at the same time remembering how wonderful it was. It's a piece that is introspective, yet not heavy or uncomfortable to watch. R for nudity and language.

PAINKILLERS (NR) 100 minutes * 1/2 This particular group of soldiers are the first to return from a rather unique mission. But they are only just beginning to remember what happened. The government is not being very helpful in clairying anything either. Pacing is a huge problem here. Every time the action picks up or the story starts to get interesting, we have another very wordy scene that slows everything down.

PAINLESS (NR) 78 minutes * * 1/2 Unable to feel pain, Henry (Joey Klein) seeks a cure for his condition. It's a strong story, and there's some very nice work by the cast, but the pacing is very awkward, makng this feel much longer than it is.

PAINT (PG-13) 89 minutes * * 1/2 His painting show is the biggest hit that Vermont's public television station has ever had. Carl Nargle (Owen Wilson) is very good, but he gets a little careless, and now there;s a younger painter who just might replace him. Although definitely not a biography of Bob Ross, the film is clearly inspired by Ross and his gentle approach to teaching and creating art. Part tribute, part satire, and better than you might expect. PG-13 for sex and language.

THE PAINTED VEIL (PG-13) 120 minutes * * * Adaptation of the W. Somerset Maugham novel, filmed before in 1934 and 1957 (as The Seventh Sin). While Naomi Watts is no Greta Garbo, she still does a fairly good job. This version manages to holds its own against the 1934 version quite well, thanks to a fine performance from Edward Norton and more extensive location footage shot in China. It's a classic story of love, infidelity, and justice, with a solid, if slightly sentimental ending. PG-13 for sex and violence.

PAINTED WOMAN (NR) 104 minutes * Julie (Stef Dawson) has a chance to escape from the man who has been taking care of her. His care has come at a high cost, and so will her freedom. Slow and plodding story and acting. Directed, produced, edited, and co-written by James Cotten, and adapted from the book, "The Mustanger and the Lady" which was the film's original title.

THE PALE DOOR (NR) 92 minutes * 1/2 The train robbery doesn't go as planned, leaving a group of cowboys hiding out in a ghost town that is home to a coven of witches. The atmosphere is both suspenseful and creepy, and some of the effects are good. The story is another matter, wandering and stalling, and very poorly paced.

PALE RIDER (R) 112 minutes * 1/2 Not one of Clint Eastwood's better films, with a tired story of a town at risk of losing land to a mining company. Eastwood is the preacher/gunslinger who helps them. Not all that much action, and the story moves along very slowly. R for sex, violence, and language.

PALINDROMES (NR) 97 minutes * * * Aviva wants to have babies... lots of babies. But her first attempt to begin is cut short by her parents. She runs away to find freedom, love, and possibilities. While she does find these things, she also discovers that she can't be something she isn't. It's a fascinating look at innocence, love, and motherhood through the mind of director Todd Solondz. While it is a story of adolescent sexuality, it is also a sensitive story of a young girls search for love - both to give and to receive. In a strikingly unique move, he chose to have the role of Aviva played by eight different actors who vary not only in age, but in race, sex, and size. It reminds us that we aren't always who we appear to be on the outside, but we are still who we are. And it challenges us to keep rethinking the way we are looking at this character. Not rated due to sexual subject matter.

THE PALLBEARER (PG-13) 94 minutes * * 1/2 Strange little film about a guy who has horrible luck with women. That is, until the mother of a high school classmate he doesn't remember reaches out to him for comfort when her son dies. This is a mix between Woody Allen and Neil Simon as far as the story and most of its appeal is based on the earnestness of David Schwimmer's performance in the lead role.

PALM SPRINGS (R) 84 minutes * * * Nyles (Andy Samberg) is stuck. He doesn't seem to mind too much, and then he starts to connect with Sarah (Cristin Milioti). Now she's stuck too. Can they get out of this time loop? Do they want to? A clever script that doesn't dwell on the science, but focuses on the relationships. Nice work by Milioti and Samberg, with some great support from J.K. Simmons. R for sex, language, and violence.

PALMETTO (R) 109 minutes * * Harry (Woody Harrelson) is an honest reporter who landed in jail after being framed. Now he's out on the streets in need of money and right smack in the middle of another situation that doesn't look too promising. Harrelson does a good job here, but the plot gets too complicated, especially towards the end, taking twists and turns that muddle the story and have us wanting this to just explain itself and be over. Elisabeth Shue struggles with the overtly flirtatious role she has and Gina Gershon is sidelined in a fairly small role. Some bad directing and editing decisions result in this being a mediocre suspense film, though worth watching for Harrelson. R for violence, language, and sex.

PALO ALTO (R) 94 minutes * 1/2 April's (Emma Roberts) innocence, and her slow changes and gentle explorations run somewhat parallel to her friend Teddy's (Jack Kilmer) experiences with drugs and violence. They both have friends who are much more wild, violent, and sexually experienced. They are drawn to each other, but for some reason don't seem able to connect very well. There's potential here, as these two explore who they are and how they want to express themselves, but it all gets lost at the end. R for sex and language.

PAN (PG) 103 minutes * * * "Sometimes to truly understand how things end, we must first know how they begin." This sets the tone for this beautifully written prequel to the Peter Pan stories, detailing the origin of Peter Pan. It does try to cover just about every possible point, which leaves those who are familiar with the character and his many adventures with little in the way of surprises, though its still fun to watch. PG for violence and language.

PANAMA (R) 92 minutes 1/2 The United States is about to invade Panama. Becker (Cole Hauser) is in the middle of an arms deal and is about to be caught up in the middle of a war. Paper-thin script with too much narration, and far too little acting or character development. R for violence, sex, and language.

PANDEMIC (NR) 167 minutes * * By the time the first human victim is discovered, the second is already on an airplane to Los Angeles, California. It takes no time at all for the disease to spread through the city and to other areas of the world. The film focuses on the effects in Los Angeles, so the reponse of the rest of the world is pretty much left to our imagination. There's also a bit of a disconnect between the medical/scientific and human drama aspects of the film, with the later berging on the ridiculous. Like so many disaster films, the attempt to create personal drama undermines the integrity of the story. It also doesn't help that Tiffani Thiessen gives a very dry and emotionless performance.

PANDEMIC (2016) (NR) 88 minutes BOMB As the pandemic conties to spread, Lauren (Rachel Nichols) travels from New York to Los Angeles to try to save her husband and daughter. We learn very little about the pandemic, and common sense seems to be something no one has. Some of the acting might not be too bad, but it's difficult to tell with the horrible dialogue and the annoying first-person shhoter style of photography.

PANDORUM (R) 101 minutes * * 1/2 In a future where the population of Earth has grown so large that the battle for resources leads to a war that decimates the population, the residents of a spaceship discover that they are the only living members of the human race. But they are about to discover something else that's on board the ship with them. Grim and pessimistic look at the future, and the story seems almost as canned as the characters are on board the ship. The effects make up for some of it, and Dennis Quaid and Ben Foster do what they can to make it exciting. R for violence and language.

PANIC (R) 93 minutes * * * Interesting and rather quirky little film about a hitman who is questioning his line of work. Going to a therapist is making it more confusing since he's started flirting with a girl he met in the waiting room, and since his latest target is supposed to be his therapist. Great acting by the entire cast. It's a film that one might expect to see William Macy in, but Donald Sutehrland, Neve Campbell, Tracey Ullman, and John Ritter do nice work as well. For those who like their comedy on the darker side, this is definitely a treat. R for language and violence.

PANIC ROOM (R) 108 minutes * * 1/2 This wastes little time in getting us into the panic room itself, a small hidden security room inside the house that Meg (Jodi Foster) has just purchased. The only problem is that the people who've broken in are after something in that room. Foster is convincing, but that's no surprise, and Howard Shore delivers a nice soundtrack. The difficulty lies with the story itself. As we near the end, there's little the story can do to keep us interested. Much as Meg and her daughter are trapped in a small room, we find ourselves trapped in a small story with only one way out. It's definitely worth a look for Foster's performance, but not for much else. R for violence and language.

PAN'S LABYRINTH (R) 113 minutes * * * 1/2 Spain 1944. The civil war is officially over, but there are still those who are resisting the new fascist regime. The young stepdaughter (Ivana Baquero) of a particularly vile fascist, finds that the fairytale worlds she has read about may be more real than she had imagined possible. Writer/director/producer Guillermo del Toro has skillfully woven a magical fantasy tale and a violent war story together into a fascinating experience that is part truth, part metaphor and a visual masterpiece. The violence is a bit extreme in a couple of scenes, though it does clearly establish how evil Ofelia's stepfather is. R for violence and language.

PANTHER (R) 120 minutes * * * One of the best Van Peebles productions. This film takes us through the earliest days of the Black Panther Party for Self-Defense. Perhaps a bit more tame than the actual events, but this is very watchable, thanks to fine performances from a cast loaded with talent.

PANTS ON FIRE (NR) 85 minutes * * Jack (Bradley Steven Perry) has trouble with lots of things, but lying isn't one of them. That comes very naturally. But now, his lies are becoming real, and making his life more than a little difficult. Tween fare from Disney that is both harmless and not all that memorable.

PAPA: HEMINGWAY IN CUBA (R) 104 minutes * * * 1/2 The chance to meet his idol turns into something much more for Ed Myers (Giovanni Ribisi). Hemingway (Adrian Sparks) becomes more than an inspiration, turning into a very real and intense friend and mentor. All aruond them, the Cuban Revolution was beginning, churning up emotions, conflict, and so much more. This is the first US film to be shot in Cuba in more than 50 years, and it uses many of the actual locations in Cuba that were central to Hemingway's life, including his old home. R for language, sex, and violence.

PAPARAZZI (PG-13) 81 minutes * 1/2 Bo Laramie's (Cole Hauser) latest film is a big hit and he's now a popular figure. So popular that the paparazzi are taking pictures of his every move. It's a bit more than he's used to, and when push comes to shove and there's an accident that injures his wife and son, Laramie responds with violence. How far will it escalate? Hauser's two-dimensional acting doesn't help this film much, but Tom Sizemore does a nice job as the most irritating of the paparazzi. PG-13 for violence and language.

THE PAPER (R) 107 minutes * * * 1/2 A day in the life of a tabloid newspaper is full of ups and downs, murder and mayhem, and much more. The story here is woven together on so many levels it's like a Steven Sondheim musical. Elements that might appear at times to be incongruous actually end up resulting in a perfect fit. It makes this both intense and fun to watch, and gives us a feel for what it might really be like to do this for a living. R for language and violence.

PAPER CLIPS (G) 79 minutes * * * Powerful documentary that chronicles the work done by the students and faculty of Whitwell Middle School in Tennessee on a holocaust project. The film does a nice job of covering the details and outcome of the project, though more time talking to the youth involved could have made this film even more effective. There seems to be a focus on how much the adults who were working on the project learned and that they were surprised by how much they were affected by the project. That's important, but seems to be stressed a bit too much until the end of the film.

PAPER HEART (PG-13) 85 minutes * * 1/2 Life sure isn't a fairy tale, but what does that say about love? Comedian/musician Charlyne Yi takes a trip across the country interviewing friends and strangers about love and relationships. These interviews are the best part of the film. What's not so great is the staged romance between Michael Cera and Yi. Cera knows how to play awkward. Yi simply is awkward. The film does have some cute things to say about love, but those are in the interviews as well. PG-13 for language.

PAPER PLANES (NR) 92 minutes * * 1/2 The World Junior Paper Plane Championships become not only the way for a boy to be creative and have fun, but to understand both friendship and competition. Ed Oxenbould is very good here, creating a character that is both charming and sensitive. And the rest of the cast fill out the story very nicely. A very good film for the whole family.

PAPER SOLDIERS (R) 84 minutes * Shawn's (Kevin Hart) life of crime may not last very long. He's rather incompetant, and seems equally skilled at finding others to help him. A few chuckles here and there, but Hart is more annoying than funny, and everyone else in the film seems to feel the same way. R for language, violence, and sex.

PAPER TIGER (NR) 90 minutes * * 1/2 Always an outsider, life has grown more difficult for Edward (Alan Trong) since his father died. He's not coping well, and his mother's health is much worse than she's admitting. She's a proud woman, and doesn't want to ask for help, but Edward may be about to go over the edge as he tries to handle everything.

THE PAPER TIGERS (PG-13) 107 minutes * * 1/2 Hing (Ron Yuan), Danny (Alain Uy), and Jim (Mykel Shannon Jenkins) have been friends since childhood. They excelled at kung fu back then. Now, they are middle-aged and out of shape. When they learn that their old master has been murdered, they have only one course of action. Very good fight scenes, but the story leans more toward the sentimental and sometimes comical, which doesn't fit with the villain we see. It's just uneven. PG-13 for language and violence.

PAPER TOWNS (PG-13) 103 minutes * * * Quentin (Nat Wolff) has a very bad crush on Margo (Cara Delevingne), so when she disappears, he and his friends go looking for her. The clues she left behind are a challenge, but Quentin is determined to figure them out. He will need to pay attention to what is close, and remember that we each have our own story to tell. Very likeable characters and a story that strikes a good balance between realism and fantasy. PG-13 for language and sex.

THE PAPERBOY (R) 102 minutes * * The simple version of the story is that a reporter goes back to his hometown to investigate a case. What we actually see is much more convoluted and confusing. The film tries to be brutally realistic with its violence and sex as far as how it is part of the story, but despite those efforts, it still comes across as being overly sensational because of the cinematography. The narration actually helps clarify what's going on, which doesn't speak well for the film as it means so many other aspects aren't working well.

PAPI CHULO (R) 95 minutes * * * When Sean's (Matt Bomer) partner leaves, he's not sure what to do. He just can't seem to move on, even though it's been a few months. He finds himself talking to Ernesto (Alejandro Patino), a migrant worker who speaks almost no english. A sweet story about coping with loss. Great work by both Bomer and Patino. R for language.

PAPILLON (R) 126 minutes * * * Adapted from the books by Henri Charriere, this remake of the 1973 film stars Charlie Hunnam as Papillon. A safecracker from Paris, he is framed for murder and sent to Devil's Island, a prison well-known for being a harsh and inescapable place. Even the slightest chance to escape comes at a high cost, so Papillon befriends Dega (Rami Malek), a counterfeiter who needs the protection that Papillon can provide. A little darker in tone than the earlier film, and a very strong version of the story. R for violence, language, and sex.

PAPRIKA (R) 86 minutes * * 1/2 Unusual images throughout this tale of a machine that allows people to enter into your dreams as well as record them. In the wrong hands, it could spell big trouble. Paprika is a young therapist, who joinces forces with a detective to discover who has the machine and how to get it back. Amazing images, but the understanding the story might take a second watching if you want to catch everything. R for violence and sex.

PARA ELISA (NR) 70 minutes * 1/2 Ana (Ona Casamiquela) just wanted to make some money for a post-graduation trip. But the babysitting ad she answers turns out to be for someone her own age. Someone who isn't quite... "right". And now she finds herself trapped in a house where she has become a plaything. The setup os nice, but this takes a short path that doesn't leave the story anywhere to go.

PARADISE (PG-13) 108 minutes * * * Willard (Elijah Wood) has to go stay with his mother's best friend for a few weeks one summer. His mother is dealing with her ninth month of pregnancy and the fact that her husband probably won't be coming home. Things are so great where Willard's staying either, but maybe things will change. This is a quiet film, relaxed and gentle in many ways, but dealing with the hurting and healing that occur in relationships. Touching and memorable, the performances carry the film, in particular, a very strong performance from Don Johnson. We feel like we know these characters before the end of the story, and that's part of what a film like this is all about. PG-13 for language and nudity.

PARADISE (2013) (PG-13) 82 minutes * * When she survives a plane crash, Lamb (Julianne Hough) decides that being grateful to God and her faith isn't the way she wants to go. Instead, she takes the insurance settlement money and heads to Sin City (Las Vegas). It's even worse than she expects, but she does find a couple of kind souls (Russell Brand, Octavia Spencer) who are willing to befriend her. Sweet story, but it shies away from getting very deep, preferring to be only lightly sentimental. PG-13 for sex and language.

PARADISE CITY (R) 83 minutes * * 1/2 It may look like paradise, but there's plenty of crime in Hawaii. Ryan (Blake Jenner) is trying to figure out who killed his father (Bruce Willis). There are some good twists and turns in the story, but it still feels a bit mechanical. The beautiful scenery does help keep our attention. R for violence and language.

PARADISE: FAITH (NR) 110 minutes * * 1/2 Second in a trilogy of films by director Ulrich Seidl. Anna Maria (Maria Hofstatter) devotes herself to her faith and to trying to convert others. When her husband returns after years of absence, his belief system is not the same and she has to work through what that means for her and for their marriage. The faith in which she has put so much trust doesn't seem to have the answers for what she is going through. Gets a bit tedious as the script begins to repeat itself to show how stuck Anna Maria is in her process.

PARADISE HIGHWAY (R) 110 minutes * * * It was just one more job and then her brother would be out of jail and things would be different. When Sally (Juliette Binoche) finds out that the package she is to deliver is actually a young girl, the game changes. The story doesn't really offer anything new, and doesnt have much energy. What makes it work so well is the cast, Binoche is no stranger to great performances, and young Hala Finley is impressive. Add in Morgan Freeman, Frank Grillo, and Cameron Monaghan, and this works quite well. R for language and violence.

PARADISE HILLS (NR) 89 minutes * * * She has no idea how it happened. Uma ((Emma Roberts) wakes up to find herself in a reform school like no other. What do you do when others want you to be someone you aren't. The moral of the story isn't very subtle here, and Roberts isn't very strong, but the rest of the cast does quite well. Very nice ending!

PARADISE: HOPE (NR) 88 minutes * * 1/2 Final piece of the trilogy from director Ulrich Seidl, with Melanie (Melanie Lenz) being sent to a diet camp by her mother. She quickly develops a crush on the camp's doctor, who returns her affections to a point. The ending is unusual, both for the film and for the trilogy, but Seidl seems more interested in exploration rather than conclusion. All three films explore a search for love and a positive sense of self, with varying degrees of the characters being able to find what they hope for.

PARADISE LOST: THE CHILD MURDERS OF ROBIN HOOD HILLS (NR) 146 minutes * * Straightforward accounting of the trial and prosecution of three young men for the horrific murder of three young boys. Interesting in some ways, but rather dry. Even more interesting in light of the fact that several years after the film was released, the young men were proven innocent through DNA testing.

PARADISE LOST 2: REVELATIONS (NR) 129 minutes * * The continuing saga of the West Memphis Three. More new evidence is presented and we follow Damien Echols' appeal process. Builds a great deal on the first film.

PARADISE LOST 3: PURGATORY (NR) 118 minutes * * * The end of the legal process which explains how the defense moves to entering an Alford plea that sets the West Memphis Three free, but prevents the case from going back to court where they might have been proven innocent. There are some other interesting developments with others involved in the case as well, making this the most interesting of the three films.

PARADISE: LOVE (NR) 116 minutes * * Teresa (Margarete Tiesel) wants to be loved and appreciated, and this handsome young man seems to fulfill that, but it quickly becomes clear that as far as he's concerned, it's just a job. Very slowly paced story, especially considering how obvious the point is. Teresa never really has a great deal of depth as a character, which prevents us from caring much about her, or understanding why it takes her so long to understand what's happening.

PARADISE NOW (PG-13) 87 minutes * * * Said and Khaled have been chosen for the highest honor of self-sacrifice to further the cause of their people and their faith. When events don't proceed exactly as planned, they both find themselves with more time to explore just what this sacrifice can mean. Thought-provoking look at the motivations that surround the idea of suicide missions. Golden Globe winner for best foriegn film and an Academy award nominee in the same category. PG-13 for language.

PARALLEL MOTHERS (R) 117 minutes * * * Janis (Penelope Cruz) and Ana (Milena Smit) form a bond when they give birth on the same day. But there is another bond they have that will not become apparent right away. Writer/director Pedro Almodovar Gives us a story about family and relationshop. The bonds that are at once both tenuous and remarkably strong. The story is not a new one, but Almodovar puts his own twist on it and the cast is quite good. R for sex.

PARANOIA (PG-13) 101 minutes * * 1/2 The competitive world of big business has two old rivals (Harrison Ford, Gary Oldman) constantly scheming against each other. Adam (Liam Hemsworth) is looking to get in good with his boos, finds himself caught in their fight. The characters are engaging, and the story is interesting, but this still moves much more slowly than it should, losing energy as it dwells on details that aren't helpful. PG-13 for sex, violence, and language.

PARANOID PARK (R) 78 minutes 1/2 Paranoid Park is a skateboard park where Alex is making new friends. An accident while with one of these new friends results in the death of a security guard. Alex struggles with what to say or if he should say anything at all. There are plenty of fresh faces here, which adds to the realism of the film, but the acting suffers and the script lacks the strength needed to compensate for it. Filmed in Portland, OR. R for language and sex.

PARANORMAL ABDUCTION (NR) 77 minutes 1/2 Trying to recover from a recent assault, Rebekah (Heather McComb) is fearful and anxious. But investigating what happened isn;t really putting her at ease. More confusing than interesting, and not really "paranormal" in the typical sense.

PARANORMAL ACTIVITY (R) 85 minutes * Home movie/reality style film about a couple who has some strange things going on in their home. They set up a camera and record what happens. There isn't really much to this until the final moment of the film, and even that is mostly a cheap noise scare. Not nearly as inventive as "The Blair Witch Project", but that didn't stop this from making a ton of money at the box office. R for language.

PARANORMAL ACTIVITY 2 (R) 93 minutes * There's a little more plot this time, with a family coming home to a trashed house. Nothing has been taken, but they don't feel safe, so they install security cameras, which let us see what happens. A little more violent than the first film, and the extra action fills the gaps, but adds to the less believable aspects of the story. R for language and violence.

' PARANORMAL ACTIVITY 3 (R) 89 minutes * * The strange goings on in the house seem to be related to young Kristi's friend Toby.. but she's the only one who can see Toby. Not only is the story here more interesting than in the first two entries in the series, but the style of filming is moving away from shaky, hand held cameras and giving us fewer headaches in the process. R for violence, language, and sex.

PARANORMAL ACTIVITY 4 (R) 92 minutes * 1/2 With very obvious similarities to part three, the creepy little kid from across the street comes over to stay for a few days and his imaginary friend (ie. poltergeist) comes along. The ending makes no sense, but perhaps there will be another entry in the series that tries to explain it... not that we really need it. R for language and violence.

PARANORMAL ACTIVITY: THE GHOST DIMENSION (R) 92 minutes * 1/2 Another unrelated entry in the series, this one is about a family that disovers their video camera can see the evil spirits that are in their house and posing a dangerous risk to their daughter. Lots of noise scares, and while there are some good visual effects, they are very repetitive. R for language and violence.

PARANORMAL ACTIVITY: THE MARKED ONES (R)95 minutes * 1/2 Based on "Paranormal Activity", but for the most part completely unrelated. Jesse (Andrew Jacobs) starts experiencing odd happenings after his neighbor dies. The more he investigates, the more unusual things get. The last 20 minutes are pretty creepy, but getting there is less than exciting. R for langauge, violence, and nudity.

THE PARANORMAL DIARIES: CLOPHILL (NR) 90 minutes * 1/2 The ruins of a church at Clophill, Bedfordshire have been used for satanic rituals. Now, a team of supernatural investigators is going to explore the site to see if there is anything remaining that would provide a clue to what has happened there over the years. The style is that of a reality show, but set in a way that is a fictional recreation of the events that occured when a research team went to explore the site. Unfortunately, it quickly gets stuck in the typical found footage formula.

PARANORMAL ENTITY (NR) 87 minutes * SOmething else is in the house. Is it their recently deceased father? It doesn't seem to be very happy. Global Asylum isn't a company that's known for making particularly great films, though this isn't really any worse than the "Paranormal Activity" films that it obviously imitates.

PARANORMAL HIGHWAY (NR) 92 minutes BOMB The Key West Debate Team apparently hits something with their bus on the way to the competition. Video footage was recovered that reveals some of what happened over the six hours that folllowed the "collision". Found footage is mixed with documentary style footage, interviews, and other examples of poor acting and a really bad script. The ending is just as inconclusive and uninteresting as the rest of the film.

PARANORMAL MOVIE (NR) 84 minutes BOMB Kevin Farley, the younger and less talented brother of Chris Farley stars in this inept and boring parody of the "Paranormal Activity" films. So cheap that they didn't even bother to get it a rating.

PARANORMAL WHACKTIVITY (R) 87 minutes BOMB Yong newlyweds have difficulty becoming intimate due to the demon in their house. Not really much of a satire, spoof, or even a comedy. Just painful. R for sex and language.

PARANORMAN (PG) 85 minutes * * 1/2 Norman isn't like other kids... he sees all of the dead things... including his grandmother, who's still in the living room. To make matters worse, he discovers that he's the only one who can do anything about the curse that has been placed on the town. This might be a bit too scary for some, but there is a good moral to the story, and the animation is quite good. PG for language and violence.

PARASITE (R) 80 minutes * * Creating a parasite seemed like a good idea at the time. Especially one that just keeps growing. But then the government finds out, and then it attaches itself to Paul (Robert Glaudini). Campy fun, though the effects and dialogue can make this a little hard to sit through. Originally in 3-D.

PARASITE (2019) (R) 127 minutes * * * 1/2 A family of con artists wotk their way into various positions in the home of a wealthy family. Circumstances don't go quite as planned, despite looking like it's all going to go according to plan early on. The film does a remarkable job of being clever, funny, and dramatic. The ending is less convincing, but getting there is a very nice ride. R for language, violence, and sex.

PARASYTE PART 1 (NR) 103 minutes * * 1/2 A parasite species begins to take over the human population. The one that tries to infect Shinichi (Shota Sometani) fails its attempt at a complete takeover of his body. The other parasites are out to destroy humanity, but Shinich has a chance to stop them. The parasite that lives in him isn't going to be too happy about it though.

PARASYTE PART 2 (NR) 112 minutes * * * The parasites have now gained access to political leadership, which will make it easier to eliminate the human population. Shinichi has come to a similar conclusion about what must happen to the parasites. This second part of the story manages to be both a little more intense and philosophical than the first part and that gives it just a little more strength.

THE PARENT TRAP (PG) 123 minutes * * * * Quite simply, this is one of the best remakes I've ever seen. The cast itself is sheer perfection. Not only are Dennis Quaid and Natasha Richardson fun to watch, but Lindsay Lohan is a great find as young Haley/Annie. Even the supporting cast, with a special commendation to Lisa Ann Walter for her performance as Chessy. It's a fun film, that the family will enjoy and the story has only been tweaked here and there to update things from the original. Disney films have been all over the board in the last few years, but this one is right on the mark. Don't miss it! PG for language.

PARENTAL GUIDANCE (PG) 98 minutes * * * Looking after their grandkids for a few days may prove more difficult than Artie (Billy Crystal) and Diane (Bette Midler) first thought. Things have changed a little since they were parents... or have they? Very nice script by Lisa Addario and Joe Syracuse that gives us a nice mix of drama, humor, and some bittersweet moments too. Great ensemble cast, and the end credits give us a fun look at the cast and crew, with family photos of everyone. PG for language.

PARENTHOOD (PG-13) 119 minutes * * * * Ron Howard's golden touch makes this film about families and parenting and perfect combination of entertainment and wisdom. The script is delightful with the ability to take us from laughter to tears and back again. The interactions between members of different generations reminds us of how much we can learn from others if we will only listen. The cast is exceptional and thanks to their collective experience, we find ourselves quickly drawn into the story. This is definitely a film that should not be missed! PG-13 for language.

PARIAH (R) 82 minutes * * * Finding a way to tell her parents isn't easy, so Alike "Lee" (Adepero Aduye) is just avoiding dealing with being a lesbian at home. They're about to find out anyway, and life is going to get difficult for Lee. Oduye does a wonderful job here, as we follow her character on an inspirational journey of self-discovery, full of pitfalls, and struggles. R for sex and language.

PARIS (R) 123 minutes * * * These are the stories of Paris. A dancer, waiting for a heart transplant and learning to appreciate every moment of life, his social worker sister who is learning how to move on with her life, a college professor who is discovering the importance of taking risks and enjoying what life has to offer. It's romance, it's fashion, it's exciting... it's Paris! Great performances, though the stories are a bit disjointed at times. R for language and sex.

PARIS CAN WAIT (PG) 89 minutes * * 1/2 Married for years to a successful husband who love her but doesn't pay much attention to her, Anne (Diane Lane) finds herself on a trip with one of his associates. It's supposed to just be a few hours, but turns into a couple of days. Lane does a nice job, though the ending of the film twists in a way that isn't really authentic to the rest of the film. PG for language.

PARIS, JE T'AIME (R) 113 minutes * * * * Fascinating collection of short films or scenes, artfully woven together to paint a picture of the many faces of Paris, and of love. With an amazing array of fabulous talent (both in front of and behind the camera), and many moments of absolute brilliance, this is a gem to treasure. It's likely that you'll find some scenes more to your liking than others, but they all fit together to describe Paris. If you haven't already fallen in love with the city, you will by the end of the film! R for language.

A PARIS PROPOSAL (NR) 83 minutes * * 1/2 It's a big account. Anna (Alexa PenaVega) and Sebastian (Nicholas Bishop) need to really make the sale with their pith. That manages to include keeping up the pretense that they are married. Who knows? By the end of this trip to Paris, they just might be.

PARIS 36 (PG-13) 115 minutes * * * 1/2 Accused of murder, Pigoil (Gerard Jugnot) begins his confession. It's a story of a wife who has left him for another and how this began a series of terrible events in his life. Absorbing story with strong performances and characters. Nora Amezeder won a couple of different awards for her performance as Douce. PG-13 for sex, violence, and language.

PARK (R) 81 minutes * * * A collection of rather quirky characters find their way to a hillside park in Los Angeles. A young woman who wants to end it all and a nerd hopes to get lucky with his co-worker who is actually there to meet someone else. There is also a suspicious wife and her best friend, and four co-workers who are just there to "have lunch". An interesting and unusual little film with plenty of truisms about relationships and love. R for sex and language.

PARKED (NR) 87 minutes * * * Fred (Colm Meaney) is homeless and living out of his car. His path crosses that of Cathal (Colin Morgan), and they become friends of a sort, though he remains focused on trying to either get a job or welfare benefits, neither of which are happening. It's a dark and depressing story, but there are moments of laughter and a more gentle nature, Nice work by Meaney.

PARKER (R) 113 minutes * * * Parker (Jason Statham) sets up a heist, and it works. But his partners want more and turn on him. That's OK. He has a plan to get things running his way again, and they're going to be sorry. Solid action flick though Jennifer Lopez's character is a little out of place here. Adapted from the book "Flashfire" by Richard Stark. R for violence, langugae and sex.

PARKER'S ANCHOR (NR) 104 minutes * * 1/2 High on Krystal's (Jennica Schwartzman) list of life goals is having a child. When she finds out that natural birth is not going to be an option, not only are her hopes dashed, but her husband leaves. Now, her best friend is pregnant, and Krystal needs to find a way to move on. The script is a little heavy-handed, but otherwise, it's a solid drama.

PARKLAND (PG-13) 86 minutes * * * Taking its name from the hospital where Kennedy was taken after being shot, this is the story of his assassination and the three days that followed. Very nicely done, with several sequences feeling very much more loke a documentary rather than a drama. Intense and realistic, and also respectful and sombre throughout. PG-13 for violence and language.

PARKLAND: INSIDE BUILDING 12 (NR) 118 minuntes * * * It started out as a normal day at school. And then the shots started. Seventeen students and staff were killed and numerous others were wounded. Highlighting the efforts to save and protect as many as possible, this documentary recreates the scene through interviews with survivors and first responders.

PARTICLE FEVER (NR) 97 minutes * * 1/2 This documentary follows the preparation and launch of the Large Hadron Collider as scientists hope to unlock the secrets of the universe and prove the existence of the Higgs-boson, also referred to as the "God particle".

PARTNERS (R) 90 minutes * * ½ To solve a series of murders that have happened in the gay community, Benson (Ryan O’Neal) is assigned to go undercover with a new partner. That would be Kerwin (John Hurt), a gay clerk who works for the police department. The story focuses on the mystery, and John Hurt plays his part with sensitivity and understanding, which keeps the humor to a minimum. It’s a little rough around the edges, but not bad.

PARTS PER BILLION (R) 94 minutes * * Three couples face life during a biological disaster. It forces them to look at their lives and what it means to live and to love. The presentation of scenes in a non-chronological order is less than helpful in understanding the story. And, the ending is awkward since some of the story is finished and some is not... unless it was finished early on... R for language and sex.

THE PARTS YOU LOSE (NR) 89 minutes * * * Wesley (Danny Murphy) doesn't have many friends. He's bullied at school and his father shows little support. When he finds an injured stranger on the way home from school one day, he helps him. That stranger may turn out to be a very dangerous man, but he's helping Wesley learn how to stand up for himself. Each of us have within, elements of both good and bad. The opportunity to fail, and the possibility to be redeemed. Filmed in Winnipeg, Manitoba.

THE PARTY (R) 66 minutes * * It's a party to celebrate Janet's (Kristin Scott Thomas) promotion. As it turns out, everyone has some serious news to share. Heavy on dialoguend very well-acted, but there isn't really much of a story as we sort of wander around the crowd for awhile and then stop. R for language.

THE PARTY ANIMAL (R) 70 minutes * 1/2 Pondo (Matthew Causey) knows that he has a problem with women. And it's more than just not wanting to be around him. God has actually decided that Pondo won't get what he wants. But Pondo is about to figure out a way around that. A way to become a real party animal. It works better than you might think.

PARTY BUS TO HELL (NR) 71 minutes BOMB A party bus to the Burning Man festival breaks down in the desert. They also just happen to be in the middle of a bunch of Satan worshipers. Thus the title. Lots of bloody and gross effects, and plenty of nudity. What isn't here is much of a story or any acting.

PASSED AWAY (PG-13) 93 minutes * * 1/2 Johnny Scanlan (Bob Hoskins) had never really considered his family to be all that strange. In fact, he never really thought that much about it at all until his father died. But now he has to plan the wake for his father and deal with the relatives as they arrive, and he begins to notice just how strange they are. It's the observations of a misunderstood outsider, a mysterious young woman, that teach Johnny a lesson he should have known all along. Although the cast assembled here is extremely impressive, the film doesn't work as well as it should. What we have is a collection of some great short scenes that don't flow together, as if a good bit of material was removed to keep the film close to the 90 minute mark. Hoskins' character is the only one we connect with at all, and that's unfortunate, because more depth with the other characters might have made this a great film. PG for language.

PASSENGER 57 (R) 81 minutes * * 1/2 Formula action/suspense film aboard an airplane with Wesley Snipes as the hero. It's good to watch as far as Snipes, but if you've seen one of these, you've pretty much seen them all. The villains are fairly good here, but are (of course) outwitted in the end.

PASSENGERS (PG-13) 84 minutes * * 1/2 Counseling airline passengers after a crash, Claire (Anne Hathaway) discovers that the airline might be hiding something. She also discovers that she is hiding something too. The film has a powerful and emotional ending, but getting there definitely has a few rough spots. Not the least of these is that the story works better on an emotional level than it does a logical one. Perhaps part of our purpose in life is to help each other find our way. PG-13 for violence and sex.

PASSENGERS (2016) (PG-13) 108 minutes * * 1/2 On a 120-year-long voyage to a new planet, Jim Preston (Chris Pratt) wakes up 90 years too soon... and alone. It's an interesting premise that plays out well until near the end of the film. At that point, crises have built to a point where the decision is made to have some ridiculously implausible things happen so that we can have a happy ending. But until then, it's a great trip. PG-13 for sex and violence.

PASSION (R) 93 minutes * 1/2 Christine (Rachel McAdams) runs a successful advertising agency, and Isabelle (Noomi Rapace) is a rising star. They are soon working against each other and it escalates rather quickly. The script and supporting cast are weak to say the least, and that makes it difficult for McAdams and Rapace to be very convincing. The intrigue improves toward the end, but then the story just dances off the edge. Rather disappointing adaptation of the film, Crime d'Amour, and suprising to see such poor work from director Brian DePalma. R for sex, language, and violence.

PASSION FISH (R) 127 minutes * * * A soap opera actress is involved in a taxi accident in New York and is crippled. As she recuperates at home, she chews up home care nurses by the dozens, until she finds just the right one. A girl who has been through detoxification herself, so she can help Mary Alice with her own. Mary McDonnell gives an inspirational performance in this film from director John Sayles. A film with memorable characters whose challenges are inspirational and whose humor is real. R for language.

THE PASSION OF THE CHRIST (R) 119 minutes * * 1/2 Director Mel Gibson does get some points for style here, but as with "Braveheart", we have too many scenes with slow-motion and/or extremely graphic violence that really isn't necessary to carry the point. The flashbacks also seem to happen at rather inopportune times and can be confusing if you don't already know the story. Speaking of the story, it definitely strays from the scriptural version in a few spots. Interesting bits have been added, most of them harmless enough, but they don't really add anything important either. Jim Caviezel does a wonderful job, but it's Gibson's over-involvement in the project and lack of understanding about how to use the camera to help tell the story that do this the most damage. R for violence.

PASSION PLAY (R) 87 minutes * * Nate (Mickey Rourke) isn't even sure what he's looking for when he stumbles across Lily (Megan Fox) in a sideshow. Not only is she beautiful, but she's also very unique. Nate is in love with her, but Happy (Bill Murray) wants her too, and he's not used to not getting what he wants. Strange story with a bittersweet ending. The real difficulty here is that neither Rourke nor Murray really fit well. And there's also the problem that this is would be more fitting as an hour long episode of "The Twilight Zone" than stretched out to feature film length. R for language, sex, and violence.

PASSIONE (NR) 88 minutes * * Director John Turturro looks at the music of Naples, Italy and how it has shaped and woven the faabric of the city. The photography is sometimes overly staged to bring out the sensuality in the music, making those moments come across more as music video excerpts instead of footage of the city, which could have been more to the point. It would be really interesting to see a series of films that looked at the musical heritage and influence in a number of cities across the world.

PASSIONE D'AMORE (NR) 115 minutes * * * In a twist on the story of "Beauty and the Beast", handsome Giorgio (Bernard Girardeau) is transferred away from his lover to a small garrison. There, he becomes the object of passion for the commander's cousin, Fosca. He tolerates her attentions out of pity, for he finds her to be very ugly. She is aware of this, but persists in following her passion, to which he soon finds himself becoming more willing. Hauntingly beautiful.

THE PAST (PG-13) 128 minutes * * * Ahmed (Ali Mosaffa) returns to the family he deserted to find that his wife has moved on. And that is only the beginning of the complicated relationships. Well-acted by a strong ensemble cast. PG-13 for language.

PAST LIVES (PG-13) 99 minutes * * 1/2 As children, Na Young (Greta Lee) and Hae Sung (Teo Yoo) were friends with a deep bond. She moved to Canada with her family, and then to New York, where she changed her name to Nora and became a successful playwright. He stayed in Korea and was successful as well, though he always felt that something was missing. After twelve years of being apart, they find each other, but their lives continue along on separate tracks for another twelve years, until he finally is able to come to New York. The story takes a long time to make its point, but it gives us a strong connection to the characters and it does finish very well. PG-13 for language.

PASTOR SHEPHERD (NR) 90 minutes * Once upon a time, he was a salesman who promoted a service to freeze-dry your pet. Then he felt the call to become a cyber-evangelist. This just goes on too long. It's great material for a comedy sketch, even a series of them. But stretching it into a full-length film just doesn't work because the style of satire becomes tiresome after awhile.

PASTORELA (R) 79 minutes * * When the old priest dies, Chucho (Joaquin Cosio) ends up losing his role in the community's traditional Christmas play (also called Pastorela). The new priest doesn't care about tradition as much as he does about the contest for the best play and establishing his own authority. But Chucho has some other ideas, especially since there's quite a bit at stake. Strange ending. OK, strange film in spots, with moments of horror, though much of the film is more of a light comedy. R for language, sex, and violence.

PATCH ADAMS (PG-13) 110 minutes * * * 1/2 Absorbing, if a bit overly sentimental, story of real-life doctor Hunter "Patch" Adams. Robin Williams plays the lead with his usual gusto, though the real Patch was supposedly even more outrageous. It's a tear-jerker in several spots, but if this doesn't grab ahold of you and work its way into your heart... And I have to repeat the line from the preview that sums up the film: "You treat a disease, you win, you lose. You treat a patient, I guarantee you win, no matter what the outcome." Bravo! Filmed in San Francisco, CA and Ashville & Chapel Hill, NC. PG-13 for language and nudity.

PATCHWORK (NR) 85 minutes * 1/2 What happened? That's what these three young women want to know. They all seem to be in one body, and they weren't before. Someone has chopped them up and sewn the pieces together. Nice balance between horror and comedy, but the story doesn't really know where to go after an interesting start. And the chapter breaks are unnecessary.

PATEMA INVERTED (NR) 96 minutes * * * Two different worlds, inverted from each other, end up connected through two young people. Their struggle to understand why their worlds are different and how they might be able to connect (or re-connect) them will teach them a great deal. Fascinating story and quality animation.

PATERNO (NR) 100 minutes * * * The most winning coach in the history of college football, Joe Paterno (Al Pacino) is facing the risk of losing his legacy. When one of his coaches is accused of having sex with children, it becomes clear very quickly that there were multiple instances of this abuse. While Paterno did fulfill the letter of the law by reporting what he had been told, did he have a moral obligation to do more than just pass the information along? Well-anchored by Pacino's performance.

PATERSON (R) 113 minutes * * * There's a pattern to Paterson's (Adam Driver) life in Paterson, New Jersey. It's comforting in its predictable similarity each day. And there is poetry in its movement. The film has an almost dream-like quality that reminds us of the rhythmic poetry in everyday life. R for language.

PATHFINDER (PG) 83 minutes * * * Magical and inspiring folklore from Lapland. Beautiful Norwegian scenery and a story that wraps you up in history and tradition. The PG rating is for the violence, which is definitely part of the story as it emphasizes the importance of the direction the boy takes in the efforts to mislead those who would do his friends harm.

PATHFINDER (2007) (R) 99 minutes * Inspired by the 1987 film of the same title, this takes that beautiful legend and uses it to pit Native Americans against Vikings. There's plenty of action, not much dialogue, poor lighting, and drab colors. Nonsensical and in poor taste, but the actors give it a good try. R for violence.

PATHOLOGY (R) 89 minutes * Medical students studying pathology begin to play a game. Can you figure out how your classmate killed the victim? It begins to get out of hand and too many people are dying for others not to find out. Emotionless performances are the real killer in this boring "thriller". R for violence, sex, and language.

PATIENT ZERO (R) 82 minutes * * 1/2 A superstrain exists of rabies that turns the infected into violent predators. A group is working to find patient zero, and they have the help of Morgan (Matt Smith), who is able to communicate with the infected. But finding patient zero may not actually give them what they hope for. Not exactly a zombie film, but similar in many ways. This isn't a big budget production, but the script, acting, and direction come together nicely. R for violence, language, and sex.

PATRICK (NR) 88 minutes * * 1/2 Sarah (Beattie Edmondson) didn't expect to inherit anything from her grandmother, least of all her annoying and tremendously spoiled pug dog. Edmondson's performance is a little rough early on, but does get better as the film progresses. The story tries to find that space that appeals to both children and adults and misses it more than once.

THE PATRIOT (R) 85 minutes ½ An overly preachy anti-Vietnam War film with poor acting and awful fight scenes. The ending almost makes it worthwhile, but there are so many other great films on the same topic that this one really is one you might want to skip.

THE PATRIOT (2000) (R) 156 minutes * * * 1/2 It isn't always easy to remain a pacifist when your home is destroyed, your children and friends are being killed, and those who are responsible ignore your pleas for reason and mercy. Intense and even a bit disturbing at times, the film doesn't hesitate to talk about revenge, patriotism, freedom, hatred, and more in the same breath. It's a bit overly graphic at times, in the same vein as "Braveheart", but what moves this a notch ahead is how well balanced the acting is throughtout. This is much more of an ensemble cast film that features Mel Gibson, rather than being a one man presentation. Nice job! Filmed in South Carolina. R for violence.

PATRIOT: A NATION AT WAR (NR) 97 minutes 1/2 There was a time when Stacy (Alex Sturman) was a stellar CIA agent. When a mission goes bad and a list of Russian agents goes missing, it's presumed that Stacy has it and is part of a shadow group. It's not a bad plot, but the dialogue is terrible, and the acting is very weak. The sound quality is also annoying because it fluctuates throughout the film. Also known as "Eye For an Eye">

PATRIOT GAMES (R) 111 minutes * * * 1/2 An American tourist happens to be passing by as an assassination attempt is made on a member of the British royal family. He intervenes and saves the potential victim, killing one of the attackers in the process. But Jack Ryan (Harrison Ford) is no ordinary tourist. He's a former CIA employee, and when things begin to get more dangerous, he starts working for them again in an attempt to save his family and himself from an angry renegade IRA member who is the brother of the man he killed. The story is well-paced and James Horner's music, great photography, and the special effects all add to the mix. And don't forget Thora Birch, who turns in a wonderful performance as Ryan's daughter. Even the slight twist at the end is a crowd pleaser in this film! R for violence and language.

PATRIOT'S DAY (R) 125 minutes * * * Retelling of the Boston Marathon bombing, and the events that followed, leading up to the apprehension of the perpetrators. Mark Wahlberg is a great fit here. The film does a great job of illustrating how Boston is the type of city that pulls together during a time of crisis, and does it better than most. Be sure ot watch through the credits for interviews with a number of the people who were at the marathon when the bombings took place. R for violence and language.

PATTERNS OF ATTRACTION (NR) 75 minutes 1/2 Shane (Trae Ireland) has a pattern of not making a committment in his relationships, except perhaps to make sure that his own needs are being met. Apparently, he's not aware that acting lessons should be on the list. Then again, that applies to most of the cast. Terrible scene changes and poor camera work as well.

PATTI CAKES (R) 103 minutes * * * Patti (Danielle Macdonald) wants to be a rapper. While she has a couple of people who support her in this dream, there are clearly a number of hurdles that lie in her path. Great work by Macdonald. R for language and nudity.

PATTI SMITH: DREAM OF LIFE (NR) 106 minutes * * * For eleven years, Steven Sebring followed Smith with his camera. Performances, interviews, and pieces of her life are melded together to form a portrait. Singer, songwriter, and poet, this is a complex and beautiful look at the life and artistry of Patti Smith.

PAUL (R) 92 minutes * * * Graham (Simon Pegg) and Clive (Nick Frost) have travelled all the way from England to go to their very first Comic Con. As they leave the convention to go and explore nearby Area 51, they find a real alien, and he needs their help. Fun characters and a story that manages to effectively poke fun at and pay homage to a number of classic science fiction films. A great cast, though if you aren't a fan of sc-fi, you may be a bit lost here. R for language.

PAUL BLART: MALL COP (PG) 97 minutes * * 1/2 No one takes their job as seriously as Paul Blart (Kevin James). He's a mall cop who is dedicated to the work. When a crew comes in to take hostages and try to collect a ransom, Blart is the man on the inside... though his ability to really help is not quite equaled by his ability to make mistakes. James does a great job with the physical comedy here, and we can help laughing at (and with) him as he bumbles his way through the film. Great stunt work too! PG for language and violence.

PAUL BLART: MALL COP 2 (PG) 89 minutes * * Blart (Kevin James) is on his way to Vegas for a convention. Of course he manages to stumble into an art theft in progress. Lots of the physical comedy James is known for, some of which is funny, some of which is not. PG for violence.

PAUL MCCARTNEY REALLY IS DEAD (NR) 96 minutes * 1/2 Claiming to be based on tapes that contained the last will and ttstament of George Harrison, recorded shortly after the incident whenHarrison was attacked. Interesting at first, especially if you haven't heard much about this particular conspiracy theory, but as the film progresses, the clues begin to grow more ridiculous rather than more convincing.

PAUL MCCARTNEY: THE SPACE WITHIN US (NR) 114 minutes * * * Concert film concert film of McCartney's 2005 tour including various interviews and backstage sequences. There are ways of looking at this that make it seem perhaps a little overly flattering of McCartney, then again, there aren't all that many people who've had the amount of influence over the music industry that he's had for the past 40 years or so.

PAULIE (PG) 84 minutes * * 1/2 Paulie is a parrot who can talk. More than that, he knows how to really communicate. But he finds that talking only gets him into trouble most of the time, separating him from the little girl he loves, and landing him in a research institute. The story is told in a series of flashbacks featuring the talents of Gena Rowlands, Buddy Hackett, and Cheech Marin. Tony Shaloub is his Russian friend who sees things through to the end, and Trini Alvarado is featured as well. It's a gentle film with a few bits of humor and excitement that has a flavor of the charm that makes films like "Princess Caraboo" so appealing. PG for language.

PAVAROTTI (PG-13) 109 minutes * * 1/2 Marvelous look at the life and work of Luciano Pavarotti. From his beginning as the son of a tenor who sang in church, to his becoming one of the greatest tenors to ever sing a note of music. Director Ron Howard has assembled an incredible array of historical footage and interview segments that tell Pavarotti's story and how his music grew in its influence over the years. PG-13 for language and violence.

PAW PATROL: THE MIGHTY MOVIE (PG) 79 minutes * * 1/2 It's a wonce in a lifetime event. A meteor is about to crash in Adenture City. When it does, the pups end up with super powers. Now they will be known as the Mighty Pups! Managing the extra responsibilities that come with these new powers will take some work. Nice entry in the series. PG for violence.

PAW PATROL: THE MOVIE (G) 77 minutes * * 1/2 Adventure City has a new mayor, and he doesn't like dogs. Chase (voiced by Iain Armitage) is also having trouble feeling like he's really a part of a valuable team. At least they do have a new headquarters building in downtown Adventure City. Nice adventure for those already familiar with the characters, and a good intrroducton for those who aren't.

PAWN (R) 78 minutes * 1/2 It was supposed to be a quick "in and out" job. As it just so happens, the diner is actually a front for the mob, and not everyone is who they appear to be. The story is overly complicated early on, and then it resolves too quickly and neatly. An interesting idea, but not very well written. R for violence and language.

PAWN SACRIFICE (PG-13) 108 minutes * * * As Bobby Fischer's (Tobey Maguire) career in chess reached its highest level, so did his paranoia. That it was also the height of the Cold War and that his primary opponent was Russian, and that the world saw their competition as another way to determine who's country was better all just added to the mix. Fischer had an aggressive and arrogant style to his game that was both unique and unnerving. In many ways though, his brilliance was also his downfall. Nice work by Maguire, with a solid supporting cast. PG-13 for language and sex.

PAWN SHOP CHRONICLES (R) 105 minutes * * Three different stories, woven together through their connection to a pawn shop. Quirky and bizarre, though the appeal that generates manages to dissipate rather quickly. The cast is impressive, so it's worth a look for that at least. R for violence, sex, and language.

PAWS OF FURY: THE LEGEND OF HANK (PG) 82 minutes * * 1/2 He just wants to be a samurai. The only problem (well, the biggest problem) is that Hank (voiced by Michael Cera) is a dog. Jimbo (voiced by Samuel L. Jackson) might be able to help. Loose adaptation of "The Seven Samurai" with fun animation and a light-hearted script. PG for violence and language.

PAWS P.I. (PG) 83 minutes * 1/2 Things aren't going well for Connor (Eddie Mills). After the loss of his wife, his private investigation business is struggling. Thankfully, his son and their pets have a few ideas that might help. Cute anmal adventure for the younger crowd. The script is a little stiff and simple, as is the adult acting, but the animals and the younger actors do reasonably well. PG for language.

PAY BACK (R) 82 minutes * * Out of prison, Zhang Jin is looking for those responsible for putting him there. But can he make them pay without slipping back into his old life? Modestly instersting mobster film from China. R for violence, sex, and language.

PAY IT FORWARD (PG-13) 115 minutes * * * What does the world mean to you? What does the world expect of you? The assignment is to come up with an idea that will change the world, and young Trevor McKinney (Haley Joel Osment) may have ddiscovered something that could do it. Trouble is, change rarely happens overnight, but then again, sometimes we have an effect on others that we aren't even aware of. Helen Hunt and Kevin Spacey are wonderful as Trevor's mother and teacher, and the film weaves together well. Filmed in Las Vegas. PG-13 for language and violence.

PAY THE GHOST (NR) 89 minutes * * Haunted by the abduction of his son, Mike (Nicolas Cage) never stops thinking about him or searching for him. On the one year anniversary of that horrible night, he just may have a chance that he never expected to have. The story is an interesting mix of dram and supernatural, with the supernatural elements quite well done, though also very predictable. For those who watch through the credits, there are a few extra bits for you. Nice, creepy music throughout. Adapted from the novella by Tim Lebbon.

PAYBACK (R) 97 minutes * * Porter (Mel Gibson) is a man who knows exactly how much his life is worth... $70,000. That's how much his partner double-crossed him for. Now he has to get his money back, which will involve quite a bit of manipulating. Gibson does alright here, but could really use a partner. The film just isn't all that exciting. Considering it was released almost a year after originally scheduled, this may be the reason. R for violence and language.

PAYBACK (2012) (NR) 82 minutes * * 1/2 Author Margaret Atwood explores the meaning of "debt", in the multitude of ways it can by understood. Be it personal, institutional, societal, or otherwise, we see the effect is has on all parties concerned. We also have Atwood's vision for what path we might want to examine and consider taking to resolve issues of debt in our own lives.

PAYBACK (2021) (NR) 85 minutes * * Things have been going well for Mike (Matt Levett). His career is on the rise and his wife is about to have a baby. But the mob actually controls the firm he works at, and they get nervous when people rise too quickly. Set up to take a fall, when Mike gets out of prison, he's determined to pay back those who set him up. There's some good material here, but the script is a little dry and the direction a bit uninspired. The performances aren't bad and there's some nice photography.

PAYCHECK (PG-13) 114 minutes * * Yet another Philip K. Dick story makes its way to the big screen. This one is about a man who does work for a company after which they erase his memory. It comes in handy for stealing creative ideas from others and then not able to trace where they came from. Until they figure out how to send him into the future to see what's going to happen. The course of the film is devoted to Michael (Ben Affleck) trying to figure out what happened from a handful of clues he left himself. That part of the film works fairly well. It's the science fiction aspect that is full of holes that aren't addressed very well. It ends up playing things a bit too much "by the numbers". PG-13 for violence and language.

PCU (PG-13) 77 minutes 1/2 It's pre-frosh weekend at Port Chester University. OK, that's the setting... This is what you get when you combine "Animal House" and "House Party", but decide you aren't going to spend much money on the project. The result is a film that sorely lacks the personality of the films it copies.

PEACE BY CHOCOLATE (NR) 93 minutes * * 1/2 Tareq (Ayham Abou Ammar) wants to go to medical school. He also wants to bring the rest of the family from Syria to Canada. That's going to take some work. Especially since his father (Hatem Ali) is determined to start up the family chocolate business again. Can culture and tradition find a balance? Based on a true story.

PEACE IN THE VALLEY (NR) 85 minutes * * Shots are fired inside a store. Her husband is one who helps get people to safety and tries to stop the shooter. Ashley (Brit Shaw) must now cope with the loss and continue to raise her son, who is not dealing with the loss very well. Help is offered from several directions, but nothing is making any difference. The acting is a little weak here, but the story and the script are sincere and raw.

PEACE, LOVE, & MISUNDERSTANDING (R) 87 minutes * * * In desperate need of a place to get away from her husband as she sorts through a divorce, Diane (Catherine Keener) takes her two children and heads to her mother's place. Mom (Jane Fonda) is still living the hippie lifestyle she was many years ago, which will make for some interesting situations. Fonda is wonderful here, and Keener plays "uptight" almost too well. Elizabeth Olsen is both charming and sensitive here as well. The script, and the rest of the performances are a little uneven, giving us some wonderful moments, and then some that are very mediocre. R for language and sex.

PEACEFUL WARRIOR (PG-13) 115 minutes * * 1/2 Adapted from the autobiography of Dan Millman, "Way of the Peaceful Warrior", this story follows Dan, played by Scott Mechlowicz, from his days as a risky, rude, and fairly talented gymnast, to his discovery of something else within. It will take an encounter with an unusual and mysterious mentor (Nick Nolte), and a life-altering accident, but Dan will find that there is something more than he was expecting... or even dreaming was possible. Despite all of this, the film remains rather lifeless at times, and our attention wanders. Not bad, but nothing to rave about either. PG-13 for sex and language.

THE PEACEMAKER (R) 119 minutes * * * Nuclear weapons have been stolen and are on their way to the middle east. Can they be stopped in time to avert a worldwide disaster? Thanks to Hans Zimmer's intense soundtrack, this film involves you right from the start. As with most adventure/suspense films, there are aspects of the story that are stretched a bit too far, but the pacing is good. George Clooney and Nicole Kidman work well together, so even though we've seen this all before, it's still fun to watch. Filmed in New York, Slovakia, and Macedonia. R for violence and language.

PEACOCK (PG-13) 85 minutes * * * John's (Cillian Murphy) dual identity life is going along just fine until a train derails and one of the cars ends up in his backyard. The extra attention that becomes focused on him begins to unravel the fragile world that he and his alter ego have created. An unusual and very skillful performance by Murphy in a film that gently explores this unique character. PG-13 for violence and language.

THE PEANUT BUTTER FALCON (PG-13) 91 minutes * * * He's always wanted to be a wrestler, but Zak (Zack Gottsagen) is in a state home because he has Down's Syndrome and no family. He won't give up on his dream though, so he runs away. A bittersweet story about dreams and family. Nice work by Gottsagen and a fine supporting cast that includes Shia LaBeouf, Dakota Johnson, Bruce Dern, and Thomas Haden Church. PG-13 for violence and language.

THE PEANUTS MOVIE (G) 77 minutes * * 1/2 Bits of classic Peanuts cartoon stories are woven into a story about Charlie Brown working his hardest to impress the love of his life, the little red-haired girl. Fans of the old shows will be less impressed, but it's a nice way to introduce younger fans to the characters with animation that is more modern.

PEARL (R) 96 minutes * * Prequel to the film "X", this tells us the rest of Pearl's (Mia Goth) story. She's desperate to leave the farm and get away from her parents. She wants to be a star, thinking that it might be her ticket out. But things don't exactly go the way she plans for them to. Goth has a very nice monologue late in the film. R for violence and sex.

PEARL HARBOR (PG-13) 172 minutes * * * Big-budget action film version of the attack on Pearl Harbor from Michael Bay and Jerry Bruckheimer. Dramatic license is taken in several spots, but we expected that. What's a little disappointing is to have an extra 45 minutes of film at the end that really don't have a good point to make. The tide of the war didn't really change with a rather ineffectual bombing run on Tokyo that we made after the attack on Pearl. It changed with a different sort of bombing that we did a little bit later. Anyway, the cast does a very good job and the story does give us a nice mix of romance and war with sequences that allow Bay and Bruckheimer to exercise their action film expertise. PG-13 for violence and language.

THE PEBBLE AND THE PENGUIN (G) 68 minutes 1/2 Among the worst of feature-length cartoons you can subject yourself to, as we follow a penguin who is trying to rescue his girl and give her a rock. Boring, with poor animation, way too much narration, and only one good song by Barry Manilow. Stay away!

PEDRO (NR) 90 minutes * * 1/2 Pedro Zamora (Alex Loynaz), star of MTV's "The Real World: San Francisco", who lived his battle with HIV in front of the cameras and became an example of what it means to be sincere, real, and to love, no matter what the odds. Powerful and emotional story, but the acting lets us down a little bit.

PEE-WEE'S BIG ADVENTURE 88 minutes * When his bike is stolen, Pee-wee (Paul Reubens) sets out to retrieve it. That proves to be rather difficult and results in said "adventure". With a better cast, this might have become a midnight classic. It does have a good deal of popularity among fans of director Tim Burton's work, but it sadly misses most of the marks it aims for. PG for language.

PEELERS (NR) 91 minutes * Blue Jean (Wren Walker) was all set to get out of the business. But her last night is becoming into a nightmare, with infected customers turning into mindless killers. The explanation is interesting, but far too little time is spent on it, leaving us with a super thin plot and shallow characters we have a difficult time caring about.

PEEP WORLD (R) 76 minutes * * Nathan (Ben Schwartz) writes a novel with characters that strongly resemble his family. Now they all hate him. of course, they're all so dysfunctional that it was too much of a temptation not to write about them. There are a few funny moments here and there, but the story is sort of all over the map. The resolution comes very quickly and without much humor. R for language and sex.

PEEPLES (PG-13) 87 minutes * * Every time Wade (Craig Robinson) tries to propose to Grace (Kerry Washington), something seems to get in the way. He decides to crash her family gathering and propose to her there. Not one of his better ideas. There are some cute moments, but the crude humor tends to give this a rough edge that doesn't fit very well. PG-13 for sex and language.

PEGASUS: PONY WITH A BROKEN WING (G) 83 minutes 1/2 With their ranch about to be lost, it's perfect timing for Sydney Killian (Eliza Jarrett) to find a magical horse that needs help. If she can help it get better, perhaps its magic could set everything right. The wing effects on the horse are very poor, and the dialogue is almost as bad. This may be rated "G", but few people in most families are going to want to sit through this.

PEGGY SUE GOT MARRIED (PG-13) 103 minutes * * At her high school reunion, Peggy Sue (Kathleen Turner) faints. When she is “revived”, it’s 1960, and she’s back in school. An overly sentimental story that doesn’t work very well, though Turner tries very hard. The script is far from clever, and the supporting cast doesn’t help. John Barry’s music is good, but it’s not enough to get this above the low side of mediocre.

PELE: BIRTH OF A LEGEND (PG) 102 minutes * * * A bio-drama about the soccer legend, from his childhood days of playing in the neighborhood to the 1958 World Cup. Nicely done, with lots of soccer playing scenes and not very much heavy drama. PG for language.

THE PELICAN BRIEF (PG-13) 135 minutes * * Two supreme court justices have just been murdered, and law student Darby Shaw (Julia Roberts) has an idea as to who might have done it. It's a far-fetched idea, but since everyone who reads here idea keeps turning up dead, it must be on track! The story here is really hard to swallow, and mediocre performances from Roberts and Denzel Washington don't help. It drags on far too long, though the ending plays well. Adapted from John Grisham's best-seller and rated PG-13 for violence and language.

PENANCE LANE (NR) 82 minutes * Recently released from prison, Crimson (Tyler Mane) gets a job working on a run-down house. He has an ulterior motive, but he's unprepared for what lies deep within this house. Once we learn what's going on, it isn't all that impressive, and the effects are less gory than you might expect. The only reason to stick around is to watch Mane.

PENELOPE (PG) 80 minutes * * 1/2 Modern fairytale about a curse that can only be broken by the faithful love of one of her own kind. Penelope's looks drive virtually everyone away from her, so breaking the curse may be rather difficult. But remember, "it's not the power of the curse, it's the power you give the curse." Not without charm, but misses the mark as far as being sentimental, which would have made it better. PG for language.

PENGUINS OF MADAGASCAR (PG) 81 minutes * * 1/2 The penguins get their own feature-length story. After a quick flashback to their origin, they are off on an adventure, where they discover that Dave has a plan to get back at them for being so popular. Creative dialogue and colorful animation make this a nice addition to the Madagascar series. PG for violence and language.

PENNY DREADFUL (R) 90 minutes * * After seeing both of her parents die in a car accident, Penny (Rachel Miner) has a phobia of cars. So she goes on a trip with her therapist and ends up trapped in a car with a psychotic hitchhiker. Aside from some major flaws with that idea in the first place... this does score points for an inventive title, some reasonably good suspense on a very modest budget, and an ending with a sense of humor. R for violence, sex, and language.

PENUMBRA (NR) 83 minutes * 1/2 In Buenos Aires for only a short while, Marga (Cristina Bbrondo) hopes to find a new tenant for the apartment her family owns. The people who show up have a rather unusual use in mind. It's difficult to have much sympathy for her predicament though, as she is such an unlikeable character.

PEOPLE LIKE US (PG-13) 108 minutes * * * After his father's death, Sam (Chris Pine) discovers that there was a bit more to his father than he realized. He's supposed to deliver a rather large sum of money to the nephew he never knew he had. He goes to meet them, but doesn't share the secret at first. Pine seems rather uninvested through most of the film, though everyone else does nice work here, especially Elizabeth Banks and Michael Hall D'Addario. And the ending is quite good! PG-13 for language and sex.

PEOPLE PLACES THINGS (R) 83 minutes * * * Being single isn't something Will (Jemaine Clement) thought he'd be daeling with. But now he finds himself juggling that along with parenting his twin daughters, teaching his students, starting to date, and dealing with his ex. Slow to start, but the dialogue has a quirky charm that begins to draw us in after awhile. Excellent supporting work by Jessica Williams. R for language and sex.

THE PEOPLE UNDER THE STAIRS (R) 98 minutes * * Fun, satirical horror film from Wes Craven. No cheap scares here! Just remember, it isn't always the people UNDER the stairs that you should be scared of...

THE PEOPLE VS. FRITZ BAUER (R) 99 minutes * * 1/2 Bauer (Burghart Klaussner) is a German Jew who is trying to bring Adolf Eichman (Michael Schenk) to justice. What is making it much more difficult than he expected is the frustrating fact that far too many of his fellow Germans just want to forget about what happened. He finds himself going to the Israeli secret service and committing treason as he does his best to make sure that Germany's history is both honest and complete. It's a powerful story, but the emotions tend to be a little subdued. R for sex.

THE PEOPLE VS. GEORGE LUCAS (NR) 88 minutes * * 1/2 George Lucas created an empire and changed at least one generation quite dramatically by creating a story that became and integral part of their lives. But when he re-edited the first film, the reaction in opposition was huge, and made everyone ask the question... "just whose Star Wars is it anyway?" An interesting and fun exploration of culture and creative license.

THE PEOPLE VS. LARRY FLYNT (R) 125 minutes * * * 1/2 Director Milos Forman and the scriptwriters have given us a well-balanced picture of a very controversial figure. This is the best work Woody Harrelson has done in years and Courtney Love has established herself as an actress with a great deal of talent. This isn't a film that will appeal to everyone, but it does ask some important questions and does so in a surprisingly non-judgmental fashion. R for language and sex.

PEPPERMINT (R) 95 minutes * * * When her husband and daughter are gunned down at the order of a ruthless drug lord, Riley North (Jennifer Garner) expects the killers to be punsihed. When the legal system fails to deliver justice, Riley takes matters into her own hands... and proves that she can be just as ruthless. Nice work by Garner, but also by the rest of the cast, giving the story some essential depth. The action is mostly predictable, but well-paced, and few will be disappointed with the ending. R for violence and language.

PERCENTAGE (NR) 81 minutes * 1/2 A couple of small-time hustlers get just big enough to draw unwanted attention from several directions. Cuba Gooding Jr. does a nice job here, but then again, it might be because he just looks good in comparison to the rest of the cast. Cam'ron's acting is lifeless and dry, and the supporting actors are all over the map, with a few fairly good performances, but many that are not.

PERCY JACKSON & THE OLYMPIANS: THE LIGHTNING THIEF (PG) 112 minutes * * * Lightning has been stolen, and Zeus (Sean Bean) has given an ultimatum. It must be returneed within fourteen days or he will go to war with Poseidon (Kevin McKidd) as he thinks it is Poseidon's son who has stolen it. But Percy (Logan Lerman) doesn't know where the lightning is, or that he is even the son of Poseidon. His life is about to change. Fun adventure that does a nice job of looking at mythology through a modern lens. Nice supporting work by Steve Coogan, Rosario Dawson, Uma Thurman , and Pierce Brosnan. Adapted from the novel by Rick Riordan. PG for violence.

PERCY JACKSON: SEA OF MONSTERS (PG) 98 minutes * * The story builds nicely on the first film, but that means that if you haven't seen it, not everything here will make sense. The special effects are very good, but the humorous bits in the script just aren't that funny. The even bigger problem here though is that the film relies heavily on Logan Lerman to carry it, and he's just not up to the task. PG for violence and language.

PERCY VS. GOLIATH (PG-13) 93 minutes * * * Just farming his crops and using the seeds from the healthy plants to make the next crop better. When Monsanto discovers some of their own product in Percy's (Christopher Walken) field, they start their corporate machine rolling. It's going to be a long road. And Monsanto oushes very hard. The story of one "small" person taking on a "giant" corporation. PG-13 for language.

THE PEREZ FAMILY (R) 109 minutes * * 1/2 Marisa Tomei is Dorita Evita Perez, a girl who wants to become a U.S. citizen but needs a family or person to sponsor her. We're reminded of the old adages, "You'll find love where you least expect it", and "If you love someone set them free". I kept expecting people to break into song all the way through this... maybe it would have been better that way... fans of Tomei won't be disappointed, but others might find it less appealing. R for language.

PERFECT ADDICTION )R) 90 minutes * * Sienna (Kiama Madeira) trains fighters. She's good at what she does. Then she falls for a fighter she's training... and he decides to have a fling with her sister. As revenge, she decides to train another fighter to beat him. It's a good story, but the script is weak, and while Madeira does well, the rest of the cast doesn't bring much to this. R for sex and language.

THE PERFECT BRIDE (NR) 83 minutes * * 1/2 The Bridal Boot Camp fitness classes that Molly (Pascale Hutton) runs are a big success. She's even learning more about relationships for herself as she teaches others. And then she meets Nick (Kavan Smith)... who is engaged... at least for the moment.

THE PERFECT BRIDE: WEDDING BELLS (NR) 83 minutes * * 1/2 Molly (Pascale Hutton) and Nick (Kavan Smith) both have successful careers and have reached that point where getting married is the next logical step. But just as things start moving in that direction, they both have to deal with some major possibilities that just might postpone their plans for a wedding.

THE PERFECT CATCH (NR) 83 minutes * * 1/2 When her old high school boyfriend comes back to town, it brings up a few issues. One of those issues is that Jessica (Nikki Deloach) is dealing with being a single parent and running a small business that is struggling. Chase (Andrew W. Walker) is dealing with a baseball career that is on the rocks. They might not only be able to understand each other a little better, but help each other out.

A PERFECT DAY (NR) 90 minutes * * Sentimental film based on the novel by Richard Paul Evans. Robert Harlan (Rob Lowe) loses his job and finishes the book he'd been working on in his spare time. It becomes a best seller and he becomes a jerk. He sees the error of his ways, thanks to some intervention by the mysterious Michael (Christopher Lloyd). Mediocre performances by the supporting cast make Lowe work harder than he should have to on this trite story.

A PERFECT DAY (2015) (R) 98 minutes * * * The war may be over, but the conflict is still going on. A group of aid workers is trying to extract a body from a well so that the locals can have access to a clean water supply. It turns out to be much more difficult than expected. A great example of the dark humor born out of frustration and the horrors of war. Well-written and well performed by a talented cast. R for language and sex.

A PERFECT ENDING (NR) 106 minutes * Rebecca (Barbara Niven) and her husband don't have the best relationship. When a friend suggests that she meet with an escort, she thinks the idea is ridiculous. Then she meets Paris (Jessica Clark). It takes awhile for her to really open up, but she does keep going back. She's finding what she needs. What she can't get anywhere else. Beautifully photographed, but the story is shallow and not very well-written, going over the same points again and again. Lots of style, but not much substance.

THE PERFECT FAMILY (PG-13) 80 minutes * * 1/2 Eileen Cleary (Kathleen Turner) has been nominated for Catholic woman of the year. But now she has to pass the in-home visit. It doesn't help that she's up against her childhood rival, not that her family is going to be very helpful either. Very mis-marketed as a comedy, while this does have a few humorous moments, it's really a drama about the choices we make in life and what it means to be true to those choices and to ourselves. PG-13 for language and sex.

THE PERFECT GAME (PG) 112 minutes * * * 1/2 Cesar (Clifton Collins Jr.) was working for the Cardinals baseball organization, but when management changed, there was no place for him. Like it or not, he finds himself back in Mexico and coaching a very determined bunch of boys with dreams. He doesn't really even care that much at first, but it doesn't take long for him to understand just how much this means. Editing in footage from the real Mexican little league team that surprised everyone, this is definitely an inspirational and heartwarming film. PG for language.

A PERFECT GETAWAY (R) 103 minutes * * 1/2 On their honeymoon in Hawaii, Cliff (Steve Zahn) and Cydney (Milla Jovovich) manage to offend a couple of hitchhikers. Could they be the murderous couple that was mentioned in the news? Or is it the new trail companions that they stumble across the next day? Take note of the title and you may have the answer! The extended black and white retrospective sequences are a bit unnecessary. Still, the story does a nice job of creating doubt and shifting sympathies. Filmed in Puerto Rico, Jamaica, and Kauai, Hawaii. R for violence and language.

THE PERFECT GUY (PG-13) 96 minutes * * 1/2 He seemed like the perfect guy, especially after all of the losers she'd been with before. But Carter (Michael Ealy) has a dark and dangerous side, and when Leah (Sanaa Lathan) finally sees it, there may not be a way out. Ealy is quite effective as the bad guy here. PG-13 for violence, sex, and language.

THE PERFECT HOLIDAY (PG) 92 minutes * * * When young Emily (Khail Bryant) asks the department store Santa (Morris Chestnut) to find a man to give her mother a compliment, she has no idea what she has set in motion. Charming holiday film with a wonderful cast and a story that is sure to please. Queen Latifah and Terrence Howard have small, and quite funny bit parts as Mrs. Christmas and Bah Humbug. PG for language.

THE PERFECT HOST (R) 90 minutes * * 1/2 Warwick (David Hyde Pierce) has no idea who he's letting into his house when he opens the door. Then again, John (Clayne Crawford) is in for a few surprises as well. Pierce moves from dramatic to campy to sinister with so much ease that it's a little bit scary no matter what the plot is. Reasonably good "creepy factor". R for language violence, and sex.

THE PERFECT HUSBAND (NR) 82 minutes 1/2 Nicola (Bret Roberts) and Viola (Gabriella Wright) have hit a rough sppot in their marriage. A weekend retreat at his parents' cabin seems to be in order. But it turns out that Nicola has some very specific ideas about what has gone wrong and how to fix it. Sadly, what they both need are acting lessons and a better cinematographer and writer.

A PERFECT MAN (R) 90 minutes * * 1/2 James (Liev Schreiber) has a beautiful wife and a successful career, but he also has an affair. Sometimes we don't realize what we have until it's gone. The ending is interesting, but too much of the early part of the film is dry, and though it does set the stage for what happens later, it's just not interesting. The complete lack of chemistry between Schreiber and Jeanne Tripplehorn doesn't help. R for language and sex.

THE PERFECT MAN (PG) 97 minutes * * 1/2 Holly's (Hilary Duff) mom keeps herself and her girls on the move. Every time a relationship breaks up, she packs up and moves. But Holly is tired of it all and wants to find a place to stay. The only problem is that she may have learned how to leave better than she's learned how to stay. The cast does a nice job here, but the script never really gets anywhere although there are a couple of light comic relief bits for the supporting characters. PG for language.

THE PERFECT MATCH (R) 90 minutes * * Charlie (Terrence Jenkins) doesn't like long-term relationships. His friends keep trying to set him up to no avail. And then he meets Eva (Cassie Ventura). Tired story made tolerable by a talented cast. R for sex and language.

A PERFECT MURDER (R) 103 minutes * 1/2 Based on the play, "Dial M for Murder", this comes off as little more than a slick, but trashy remake. The twists and turns in the story are obvious and annoying, and the modernization serves only to add to some of the story holes we already knew were coming. Michael Douglas and Gwyneth Paltrow look good together, but they're cold, plastic people about whom we care very little. James Newton Howard's soundtrack is worth a listen, but the film is very disappointing. R for violence and language.

PERFECT NUMBER (NR) 114 minutes * * * With the help of her neighbor, Hwa-Sun (Yo-Won Lee) gets away with killing her husband. But there is one particular detective that is still not convinced if her innocence. Very nice twist late int he film, though the story does drag out a little long at the end.

THE PERFECT PAIRING (NR) 82 minutes * She’s a food and wine critic who shows no mercy. On her way to the next event, Cristina (Nazneen Contractor) slips on the ice, hits her head, and gets temporary amnesia. Of course she just happens to be taken care of by the single dad whose winery she recently trashed in a review. The chemistry between the leads just isn’t very strong.

A PERFECT PLAN (NR) 83 minutes * * It doesn't take the four of them very long to figure out that someone wants to put their collective criminal skills to work. First, they must pass a test. Then, they will complete the task. There are nice twists and turns to the story, though nothing very surprising. The characters are likeable, but the script is low energy except for a few scenes.

THE PERFECT SCORE (PG-13) 87 minutes * 1/2 Matt and Kyle have a plan to steal the SAT scores. Of course they're going to need some help... There's not a great deal of depth to the material, and the characters are a bit too nice. Scarlett Johansson and Erika Christensen's experience and talent show, but the end result is still forgettable for the most part. PG-13 for language.

THE PERFECT STORM (PG-13) 122 minutes * * 1/2 Billy's luck hasn't been very good lately, so he decides to take a crew out one more time to a fishing spot a bit farther out... right where the perfect storm is brewing. It's a stellar cast, with George Clooney, Mark Wahlberg, John C. Reilly, Diane Lane, Karen Allen, Mary Elizabeth Mastrantonio, and others. The effects are too evident though, and the story too ridiculous at times to believe. There's also the matter of the secondary plot about the small yacht that seems to serve little or no purpose. Far from perfect, the film has a hard time coming close to delivering what it needs to keep us interested to the end. PG-13 for violence and language.

PERFECT STRANGER (R) 102 minutes * * 1/2 When Rowena's (Halle Berry) friend turns up dead, she has a hunch about who did it. Putting her investigative reporter skills to work, she begins to move herself closer to Harrison Hill (Bruce Willis). But sometimes there are more things buried than should be uncovered. There are a few nice twists here, though they aren't that unpredictable, and the story does make some interesting comments on how people may be connected online and not connected in life. That said, it's still the performances of the leads (Berry, Willis, and Giovanni Ribisi) who keep this film on the positive side of average. R for violence, language, and sex.

THE PERFECT WEAPON (R) 80 minutes * * Jeff Speakman's first starring role has him taking on the Korean mob after they kill his martial arts mentor. Speakman's character is interesting and there are some nice supporting roles here, but the story is weak and poorly directed.

THE PERFECT WITNESS (R) 94 minutes * * * Mickey (Wes Bentley) is a struggling filmmaker who happens to catch a murder on tape. Rather than going to the police, he decides to contact the killer and make a documentary. Now an accessory, he finds himself continually drawn more deeply into the disturbing life of a serial killer. Though the story is similar to "Mr. Brooks", this is missing the gloss and instead has an intensity that Brooks doesn't. James (Mark Borkowski) moves with disturbing ease between sadistic killer and family man. But even all in his world is not as he thinks. Very nice thriller! Filmed in Philadelphia. R for violence, nudity, and language.

A PERFECT WORLD (PG-13) 133 minutes * * * A wonderful performance from young T.J. Lowther as a boy who is kidnapped by two escaped convicts. But Butch Haynes (Kevin Costner) ends up being more of a father to the boy than a kidnapper. The difficult part here is believing Costner's character, who is just too nice, too perfect, too idealized for the rest of the story to have any credibility. It leads to several awkward moments when the parable and the reality are forced to meet and just don't mix very well. R for violence and language.

PERFUME: THE STORY OF A MURDER (R) 138 minutes * * * 1/2 Born into the squalor of the fish market, Grenouille (Ben Whishaw) survives despite the odds, and discovers that he has a gift. He's able to distinguish smells far better than most. His attraction to the pleasures of scent drives him to find the perfect scent, and that leads him to darker pursuits. The narration works effectively here, because this is told in the style of a fairytale, though one that is of a more sinister nature. Even the title points to the dual nature of the story, adapted from the novel by Patrick Suskind. Some trimming might have helped with the pacing of the story in a few spots, but it's a fascinating story with unusual characters that will stay with you for awhile. R for sex and violence.

THE PERKS OF BEING A WALLFLOWER (PG-13) 99 minutes * * * 1/2 Wonderful coming of age story though a little uneven early on where it feels like a little material may have been cut. Nice work by Logan Lerman, but more of the story actually hinges on the performances of Emma Watson and Ezra Miller who are both clearly up to the task. Except for the early bit noted above, the script is quite good and the soundtrack fits beautifully. PG-13 for language and sex.

PERMANENT (NR) 98 minutes BOMB Several people decide that it's time for them to change their lives and get away from the mob and its influence. It's not going to be easy because there are strong reasons why they are where they are. B-grade exploitation pic with poor sound and editing that make it look even worse. Packed with sub-plots, most of which aren't well developed.

PERMANENT (2017) (PG-13) 87 minutes * * Aurelie (Kira McLean) wants a permanent so she'll fit in at her new school. Her parents (Patricia Arquette and Rainn Wilson) both struggle with their own self-images and self-acceptance. The story goes to all the right places, but just doesn't have the clever or witty edge that it needs. PG-13 for language.

PERNICIOUS (NR) 90 minutes 1/2 Three young women are in Thailand on a mission to help children. (After a little partying of course.) Somehow, they end up being manipulated by the tortured spirit of a child who wants nothing more than to torture people as revenge for what happened to her. The photography is not very good, and the three friends do little more than yell at each other and prive how little intelligence or common sense they have. There are a couple of mildly creepy moments, but they are far from enough to make this very interesting.

PERSECUTED (PG-13) 86 minutes * 1/2 John Luther (James Remar) didn't realize how tangled politics and religion had become. But when he refuss to back a senator who is pushing for religious reform, he finds himself framed for murder. Remar does well here, but he's pretty much alone in a field of cardboard characters. PG-13 for violence.

PERSEPOLIS (PG-13) 89 minutes * * * Animated story of a young Iranian girl, growing up during the revolution. After the revolution, she discovers that the new Iran is no better than the old, just different. Beautifully told story, co-written and co-directed by Marj Satrapi, on whose life the film is based. PG-13 for vioelnce and language.

THE PERSIAN VERSION (R) 101 minutes * * * As the film starts, we meet young Leila (Layla Mohammadi), the only daughter of a large family from Iran. We soon come to realize that this is as much the story of her mother (Niousha Noor) as it is that of Leila. It's the story of empowered women, who are determined to do what needs to be done. R for language.

PERSON TO PERSON (NR) 81 minutes * * 1/2 A collage of New Yorkers in various stages of relationships. Bits and pieces of this are good, but the story doesn't offer us anything to continue those bits. Instead, it often chooses the moment when we want to know more, to wander off in another direction. It's an interesting study of characters, but without much in the way of depth.

THE PERSONAL HISTORY OF DAVID COPPERFIELD (PG) 116 minutes * * * A modernized adaptation of the classic book by Charles Dickens, with Dev Patel as the charming and disarming title character. The film starts off on a rough edge, but manages some very good scenes after that and builds to a very strong finish. If you enjoy classic stories with a fresh takem this might be just what you're looking for. PG for violence.

PERSONAL SHOPPER (R) 101 minutes * * 1/2 Maureen (Kristen Stewart) is a personal shopper for a very wealthy young woman. In Paris for now, she doesn't want to leave until she contacts her brother who died there. The story drifts between her shopping duties, a mysterious person who is texting her, and a general sense of the mystical. Through it all, her journey is ultimately that of a grieving sister who is struggling to move on. Unfortunately, that message isn't always very clear. R for language, sex, and violence.

PERSUASION (2007) (NR) 92 minutes * * 1/2 British television production of the Jane Austen classic starring Sally Hawkins as Anne Elliot. While there's nothing particularly outstanding about this production, Hawkins is charming and the sets and costumes are well done. A nice adaptation of one of Austen's less often adapted stories.

THE PERVERT'S GUIDE TO IDEOLOGY (NR) 127 minutes * 1/2 Sequel to "The Pervert's Guide to Cinema" that teams up Slavoj Zizek and Sophie Fiennes as they take a look at how movies shape and are shaped by our ideology. Its interesting to see Zizek speaking from the sets of various films, but this is otherwise, very dry and very long. As with any artistic critique, the person critiquing can find what supports their theory and ignore what doesn't. This is especially easy to do when your subject is so far-reaching.

THE PEST (PG-13) 81 minutes BOMB Comic version of "The Naked Prey" with John Leguizamo as the victim. This is very much in the style of Jim Carrey's humor, but not as good. Cheaply made and not worth your time. PG-13 for language and nudity.

PET FOOLED (NR) 68 minutes * * 1/2 Only a very few companies control the entire pet food industry. This documentary explains the pet food industry and uncovers the problems and what lies behind the picture we see on the product, whether that's in the grocery or the pet food store. It's also a reminder that both cats and dogs are carnivores... and carnivores need meat, not meat by products or vegetables.

PET GRAVEYARD (NR) 97 minutes * In an effort to connect with their loved ones who have died, three young people allow themselves to die for a few minutes. It's called "brinking". It works, but the grim reaper isn;t too excited about being cheated out of claiming their souls. The reaper's pet cat aspect doesn't really make much sense, and the story is repetitive and not very scary or creepy.

PET SEMATARY (R) 100 minutes * * 1/2 Fast-paced Stephen King story that starts out relatively well on the big screen. Suspense is built well by both music and camera angles and there is a sense of urgency and emotion in Mary Lambert's direction that fits well with the story. As with the book, the film goes just a little too far at the end, showing us what would have been more effective if left unseen or undescribed. The biggest improvement over the book is the stronger presentation of the character of Victor Pascow, who comes across a bit less negative and a bit more concerned about the fate of the Creed family.

PET SEMATARY (2019) (R) 97 minutes * * Their new home is a beautiful place in the country. Nothing like their home in Boston. This one even has a cemetery for pets. A place where you bury things and the come back. Far better production quality than the 1989 version of the film, with a stronger cast as well. But the fact remains that this is not one of Stephen King's better stories. This film manages to bring out most of the best of that story, making good use of both unsettling music and suspenseful silence. Unfortunately, the ending goes way too far over the edge. R for violence and language.

PET SEMATARY: BLOODLINES (R) 81 minutes * * The story here is set fifty years prior to the events of the Stephen King book, or any of the films. It features a young Jud (Jackson White) as he first learns of the powerful effects of the ancient burial ground and it's magical and sinister powers. This works nicely as a prequel, with some fairy good suspense and gross effects. R for violence and language.

PET SEMATARY II (R) 97 minutes * 1/2 Though returning to the site of the original story, this bears little resemblance to its predecessor. Technically, the film is adequate, but the story is so bad that it's hard to sit through. Edward Furlong and Clancy Brown make a valiant effort, but this is best left to gather dust on the shelf. Filmed in Georgia. R for violence and language.

PETALS ON THE WIND (NR) 85 minutes * Continuing the story of "Flowers in the Attic", the children are no longer in the attic, but they still can't act. Ellen Burstyn does a reasonably good job, but the script is no better than the rest of the cast.

PETE SMALLS IS DEAD (NR) 90 minutes * 1/2 K.C. (Peter Dinklage) owes ten thousand dollars to some people. A friend has promised to give him the money if K.C. will go with him to Los Angeles for the funeral of their friend Pete Smalls. The plot tends to wander around quite a bit, and while some of the characters are interesting, their interactions with each other aren't.

PETER PAN (2003) (PG) 101 minutes * * * Delightfully magical version of the classic story that does a very nice job of going back to the original material for it's inspiration. The ending does feel a bit rushed, as though a few bits might have been cut out, but Tink's mischievous antics make up for it. Jason Isaacs does a wonderful job as Mr. Darling/Captain Hook, and James Newton Howard's music adds the finishing touch. PG for violence.

PETER RABBIT (PG) 84 minutes * * * Peter and his friends finally have full access to the garden and the house now that Mr. McGregor is gone. But wait. It turns out that McGregor has a nephew. And he might be even worse than his uncle was. Wonderful animation. The humor here is definitely more adult that the classic story, but it's quite entertaining. PG for language.

PETER RABBIT 2 (PG) 83 minutes * * The dynamics have changed a bit since the last film. Bea (Rose Byrne) and Thomas (Domhnall Gleeson) are married naow, and Peter and his rabbit family live with them on the farm. it doesn't take long for that to be a rather boring arrangement as far as Peter is concerned. So, he heads to the city, where he will, of course, get into lots of trouble. Very nice animation, but the story is very negatice in tone for the bulk of the film. PG for language and violence.

PETER'S FRIENDS (NR) 98 minutes * * This British version of "The Big Chill" struggles with a story that flies all over the place, though the characters are interesting and performed well. Kenneth Branagh and Emma Thompson are just two of these talented actors who needed a stronger script to help them breath more life into characters we have a hard time getting to know.

PETE'S CHRISTMAS (NR) 83 minutes * * * It's bad enough being the middle child with an athletic older brother and a super-smart younger one. Now Pete (Zachary Gordon) gets nothing for Christmas, and that's just the start of his bad day... and then it starts all over again. How can he get it to stop? Cute holiday story with a nice mix of humor and sentimentality.

PETE'S DRAGON (PG) 95 minutes * * 1/ Updated version of the 1977 Disney film. The beginning is dark, with several sequences that are more scary than the original film. The ending is the tearful happy sort of ending that expect, once you get a sense of where the story is heading. This evokes stronger emotions than the first film, in large part because the animation of the dragon was a silly cartoon in the first film, and here we have very impressive CGI visual effects that make it seem much more real. PG for violence and language.

PETUNIA (NR) 106 minutes * * 1/2 The Petunia family is more than a little dysfunctional, and that includes more than just the immediate family. The characters here are almost all very interesting and most of them are also quite well performed. The story is another matter, tending to collapse on itself and restart in ways that don't always make much sense.

PHANTASM II (R) 92 minutes * 1/2 This sequel managed to spend more money without doing much more except adding a few more graphic effects. There are a few moments of "greatness" here, but there are some terribly boring spots as well.

THE PHANTOM (PG) 94 minutes * * * Comic strip character Kit Walker aka The Phantom comes to the big screen in this fun adventure film starring Billy Zane. This plays very well on video where the less-than-perfect special effects aren't quite so noticeable. An evil power will be unleashed unless The Phantom can stop three magical skulls from being reunited! 1940's style adventure that reminds us that fun doesn't have to be ultra-realistic or violent. PG for violence and language.

THE PHANTOM (2009) (NR) 84 minutes * * This pilot for a failed TV series gives us a somewhat updated version of the story of Kit Walker (Ryan Carnes), as the latest in the family line who discovers that he is destined to become a hero. The story is mildy interesting, but lacks polish, and clearly looks like the resulting series would have been less than impressive.

PHANTOM (2013) (R) 94 minutes * * 1/2 There's now a Russian submarine that has been equipped with a sonar masking device that makes it virtually invisible. That means that the U.S. won't see them coming... but neither would anyone else, making it easy to start a war and have it blamed on another country. The intrigue is rather sketchy, extremist, and not very believable, aided in that impression by acting that isn't much better. R for violence.

PHANTOM BOY (PG) 79 minutes * * 1/2 A dangerous villain is about to take over New York. The one cop who might be able to stop him is going to need some help. Perhaps Leo, a boy who has learned how to leave his body, will be just the right person for the job. PG for violence.

PHANTOM OF THE MALL: ERIK'S REVENGE (R) 87 minutes 1/2 Campy modernization of the classic phantom story that takes place in a mall built on top of the phantom's home. Low budget and low talent production that falls on its face rather quickly despite the mildly inventive idea of the mall setting.

THE PHANTOM OF THE OPEN (PG-13) 103 minutes * * * Recognizing that his job is about to disappear, Morris (Mark Rylance) decides to try his hand at something else. Golf seems to be a good idea. Not much work and lots of money to be made if you win. He decides to start with the British Open. Not a particularly easy way to get your start in golf. But somehow, Morris manages to stumble his way in. Based ona true story and with an awkwardly charming performance by Rylance. PG-13 for language.

THE PHANTOM OF THE OPERA (1989) (R) 90 minutes * * 1/2 Nice effects (by Kevin Yagher) and superbly moody photography are the highlights in this version of the classic story. Robert Englund stars as the phantom, with Jill Schoelen in the role of Christine. This particular version is a bit more gory than most, but does a nice job with the ending and uses a dream sequence very effectively. Filmed in Budapest.

THE PHANTOM OF THE OPERA (2004) 133 minutes * * This filmed version of the Andrew Lloyd Webber stage musical does have the benefit of having the wonderful songs from the stage production. However, Gerard Butler and Emmy Rossum are not really able to handle the vocals very well at all. The songs are constantly sounding like they are from a very amateur production. Patrick Wilson does fairly well with his part, but when the two leads are weak, it doesn't make much difference. Sets and costumes are very nice, but this is a musical. I'd rather have had them lip synch to the vocalists from the Broadway production than what we have here. As well, there's also a strong synthesizer sound to some of the music that cheapens the sound it should have. Those who have never heard the soundtrack to the theatrical production, or had a chance to see it, will probably enjoy this more than those who have. PG-13 for violence.

PHANTOM OF THE THEATRE (NR) 99 minutes * * When a fire kills a performance troupe in a movie theatre, their spirits remain, haunting those who would renovate and make a horror film in the theatre. This tries to become a sweeping saga of both love and revenge, but gets tangled in the subplots, of which there are far too many.

PHANTOM PUNCH (R) 101 minutes * 1/2 Rather insubstantial bio-pic about Sonny Liston (Ving Rhames). Rhames does some nice work here, but the story is painted with such broad strokes and so little depth that there isn't much passion to anything except his performance. R for language, sex, and violence.

PHANTOM THREAD (R) 124 minutes * * * 1/2 Nestled deeply and comfortably in the world of designing and making dresses, Reynolds Woodcock (Daniel Day-Lewis) is now faced with a new inspiration. Her name is Alma (Vicky Krieps), and his world will never be the same. A wonderful blend of costume drama and suspense, with another remarkable performance from Day-Lewis. The soundtrack is magnificent, creating moods and sweeping us along from one scene to the next. R for language.

PHANTOMS (R) 90 minutes * * As Dr. Jennifer Pailey returns to town with her younger sister, they discover that the residents are all dead or gone. Things grow more mysterious as they go exploring, eventually uncovering what lies at the center. The questions aren't all answered, but there are a few nice chills along the way. A stronger cast and better direction would've helped the film, especially in the early segments. R for violence and language.

PHAT BEACH (R) 82 minutes BOMB Fat boy goes to the beach with a friend who is using him because his father has money. Pathetic dialogue, transparent script, one-dimensional characters... a big "phat" waste of time! R for language and nudity.

PHAT GIRLZ (PG-13) 94 minutes * * Sassy Mo'Nique is tired of what other girls think about her size and designs a smart set of fashions for plus size figures. Funding is a little tough to come by, but when she meets a man who appreciates her, she finds the confidence she needs. No surprises here, except that Mo'Nique's humor is actually toned down just a little. Still, those who enjoy her will enjoy this, but the rest of the cast doesn't get to say a great deal. PG-13 for language.

THE PHENOM (NR) 85 minutes * * 1/2 A rookie Major League baseball player begins to struggle with his focus. It's not an uncommon problem. He's sent down to the minors to work through it, but the problem turns out to be more deep-seated than he (or anyone else) realized. Appealing characters (well, mostly) in a well-rounded story, though there seems to be more of this story that we missed and want to hear.

PHENOMENON (PG) 119 minutes * * * 1/2 George Halley (John Travolta) sees a light in the sky, and now he understands things, can move things with his mind, and has troubles he never thought of. Being different in a small town puts a lot of stress on a person. Travolta is wonderful here, but the best performance is that of Kyra Sedgwick. Her character and performance are what give this movie the edge it needs and what puts it into that "must see" category. As Travolta says in the film... "Everything is on it's way somewhere." Are you ready to go? PG for language.

PHIL OCHS: THERE BUT FOR FORTUNE (NR) 93 minutes * * * Ochs was a folk singer with a passion for social justice. this documentary explores not only Ochs, but the generation he was part of, and the political movements that were in tension at the time. It's a portrait of a talented and complex musician, during a tense time in the history of the United States.

PHIL SPECTOR (NR) 89 minutes * * 1/2 The focus here is on Spector's (Al Pacino) relationship with his attorney (Helen Mirren). Pacino and Mirren make ample use of the screen time and make this very watchable, but the script really never delves very deeply into the characters, choosing instead to remain light and as uncontroversial as possible.

PHILADELPHIA (PG-13) 116 minutes * * * Andy Beckett (Tom Hanks) is a lawyer who is fired after his firm discovers he's been diagnosed as having AIDS. Hanks does a wonderful job here, and earned an Oscar for it, but too much of the story is in black and white. The law firm is painted as extremely biased, and Beckett's family is incredibly accepting and supportive. A little blurring here and there would have done the story wonders. Bruce Springsteen's song won an Oscar as well.

THE PHILADELPHIA EXPERIMENT (PG) 95 minutes * * ½ The project was supposed to result in a new way for U.S. Navy ships to travel undetected, to become invisible to the enemy. The outcome was much different than expected. The time travel aspect of the story has limited success. Fortunately, there’s enough other material here to keep things interesting and entertaining at a modest level.

PHILOMENA (PG-13) 93 minutes * * * 1/2 Soemwhat at loose ends, Martin (Steve Coogan) finds a story has dropped into his lap. It's a human interest piece about a woman's search for the son she was forced to give up for adoption decades earlier. Perhaps it will give him a chance to focus, maybe even open the door to some more work. Great work by Judi Dench, but Coogan is rather distant and detached for much of the film. Adapted from the book by Martin Sixsmith. PG-13 for language.

PHINEAS AND FERB THE MOVIE: ACROSS THE 2ND DIMENSION (NR) 76 minutes * * Phineas and Ferb discover that their pet platypus is a secret agent. Now, they are trapped in another dimension and hoping to figure a way out. Fans of the series might enjoy this some, but the story is stretched a bit thin.

PHOEBE IN WONDERLAND (PG-13) 95 minutes * * * Phoebe (Elle Fanning) has lots of talent and imagination... and a few problems. The drama teacher at school (Patricia Clarkson) is able to relate to her, but she's one of the few, and it will not be easy for Phoebe, even with the support of someone who understands. Wonderful work by both Fanning and Clarkson, and nice supporting work by Felicity Huffman and Bailee Madison. Life isn't always easy and we often aren't happy. But if you know who you are, you just might be farther along than you think. Filmed in Queens and Long Island, New York. PG-13 for language.

PHOENIX (PG-13) 95 minutes * * Post WWII. Nelly (Nina Hoss) was a nightclub singer who survived the concentration camps. Disfigured from a bullet wound, she no longer looks like the woman she was before the war. What she most wants to know is if her husband was the one who betrayed her. And so, since he doesn't recognize her, she begins to play a role with him. A role which will reveal much about both of them. It's an interesting story, but grows more difficult to believe the farther it goes along. PG-13 for language.

PHOENIX FORGOTTEN (PG-13) 81 minutes * 1/2 Three teens go missing near Phoenix, Arizona shortly after mysterious lights are seen in the area. And now we have access to some film footage that no one else has seen befpre. A little more balanced than most found footage films, with a better set-up before we start seeing that part of the film. It still shows us too little, leaving us with extremely broad hints at something more that we never get to learn more about, and which the story isn't strong enough to support. PG-13 for violence and language.

PHONE BOOTH (R) 75 minutes * * Stu Shepherd (Colin Farrell) thinks he has it made. Everything seems to be going the way he wants it to... until he answers a call in a phone booth. Now someone is threatening to kill him and he's not sure what to do. Farrell does a nice job here. It's no easy task to keep the interest of the audience when you're in almost every scene in a film. The script lags a bit in spots, but it's short enough that it still manages to work. Nice twist at the end too, even though it isn't really a surprise if you recognize the voice on the phone. R for language and violence.

THE PHOTOGRAPH (PG-13) 100 minutes * * The film wanders somewhat aimlessly between a few different love stories. The energy level is low throughout, which doesn't help keep us engaged. The movement between time periods doesn't help either. The acting is good, but it isn't strong enough to carry this with so many other aspects working against it. PG-13 for sex and language.

PHOTOGRAPHIC MEMORY (NR) 85 minutes * * Director Ross McElwee decides that looking at his own adolescence may help him understand his son and the difficulties they are having. Of course, part of the problem doesn't really change as he becomes wrapped up in making the film, which is what he's done his whole life, which is part of the problem in relating to his son. The ending feels very incomplete, though it would appear that its a good indication of how McElwee felt as he wrapped up making the film.

PHYSICAL EVIDENCE (R) 97 minutes * 1/2 Joe Paris (Burt Reynolds) has been suspended from the police force and is now a suspect in a murder case. The story sets up a number of suspects for us, and then blithely goes about killing them off. Ned Beatty does a nice job, but Reynolds looks bored and tired, and Teresa Russell's performance is dry at its best. Director Michael Crichton misses the mark by a rather wide margin here.

THE PHYSICIAN (R) 149 minutes * * * Beginning as an assistant to a barber/surgeon on the streets of London, Cole (Tom Payne) moves on to Persia in his pursuit of knowledge. It is there that he becomes the student of Ibn Sina (Ben Kingsley). They learn much from each other, from experimentation, war, the plague, and their story becomes an epic tale of a great physician and his talented pupil. The pacing is uneven as the story keeps shifting from intense medical drama to more personal moments and then back again, which ends up weakening the film somewhat. R for violence, sex, and language.

THE PIANIST (R) 143 minutes * * * Powerful story adapted from Wladyslaw Szpilman's book about his experiences in the Warsaw Ghetto during World War II. As a young pianist from Poland, his world is ripped apart by the war and its effects on his family and friends. Adrien Brody's performance gives us a wonderful portrayal that is both tender and quietly intense. There are some sequences that could have been cut and perhaps made the film a bit stronger, but it's still an impressive film. R for violence.

THE PIANO (R) 116 minutes * * 1/2 Mute since the age of six, Ada (Holly Hunter) speaks and lives through the music she makes with her piano. Now she has been married off to a man she doesn't know in a land far from her home. Her relationship with a former Maori (Harvey Keitel) makes things even more complicated. Most women do seem to like this film, but Keitel's character needed more development and parts of the story are told in a rather awkward fashion. The ending is strange, but somehow manages to be one of the better parts of the film, along with the performance of young Anna Paquin, who earned an Oscar for her role. Filmed in Australia and New Zealand.

THE PIANO IN A FACTORY (NR) 103 minutes * * 1/2 Chen (Wang Qian-Yuan) and his wife are getting a divorce. Both of them want custody of their daughter, so they ask her to decide. She wants a piano. After a couple of other options fail, Chen decides to maker her one with the help of some friends. A number of subplots seem to appear and disappear without much i the way of resolution, which cuts into time we need to hear more about Chen and what he's going through. The actors give this a good try, but the story lets them down a bit.

PICASSO TRIGGER (R) 96 minutes * 1/2 When Picasso Tiger (John Aprea) is killed, Travis (Steve Bond) is called in to lead the team and solve the case. Third in a series of films by writer/director Andy Sidaris that feature numerous former Playboy playmates. R for sex, violence, and language.

PICK OF THE LITTER (NR) 79 minutes * * 1/2 A new litter of five puppies. They have a job ahead of them as they train to see if aby of them have what it takes to be a guide dog. This documentary offers an extensive and entertaining look at some of the training and preparation that is involved in preparing dogs for this important job. Only the most suited will be chosen as a guide dog for the blind.

THE PICK-UP ARTIST (PG-13) 76 minutes 1/2 He's a charmer, she's the daughter of a mobster. With a cast that includes Robert Downey Jr., Molly Ringwald, Dennis Hopper, and Danny Aiello, you might expect this to be at least somewhat entertaining. Direction seems to have been left to the actors, whose performances are uneven, and the story has far too much complicated background material that we don't need. Not really worth your time unless you're a fan of the leads.

PICTURE A PERFECT CHRISTMAS (NR) 84 minutes * * 1/2 Helping out with her grandmother at Christmas, Sophie (Merritt Patterson) finds herself also helping a handsome neighbor who needs a nanny for his son. It will soon force her to make a choice about what is most important to her.

A PICTURE OF HER (NR) 84 minutes * * 1/2 It was a candid photo, and it wasn't supposed to get out. Now it's on the cover of a magazine, and Beth (Rhiannon Fish) wants to find out who toook it. Little does she know that she already knows the photographer. Jake (Tyler Hynes) wants to tell her, but can't seem to find the right moment. No surprises here, but a charming performance by Fish.

PICTURE PERFECT (PG-13) 98 minutes * * After many episodes of bad luck, Kate (Jennifer Aniston) decides to take herself out of the game. The problem is that her friends and her job force her into playing a different game that may cost her the very thing she'd quit looking for but desperately wanted. Aniston isn't bad, but the script doesn't have much to offer. Her acting is reminiscent of Sandra Bullock, just not quite as strong. Having done more work on TV, Aniston is more aware of the camera, which takes away a tiny bit of the innocence. The most noticeable problem with this film is the persistence of the camera to give us cleavage shots of Aniston, which merely serve to cheapen her character. PG-13 for language.

PICTURE PERFECT MYSTERIES: DEAD OVER DIAMONDS (NR) 82 minutes * * A special event ends up with the theft of a very expensive necklace. Allie (Alexa PenaVega) and Detective Acosta (Carlos PenaVega) team up again to solve the case. They will also get to have their first date with each other.

PICTURE PERFECT MYSTERIES: EXIT, STAGE DEATH (NR) 83 minutes * * Attending the opening of a play, Allie (Alexa LenaVega) ends up stumbling over a body backstage. Someone has killed the star of the show. Allie and Detective Acosta (Carlos PenaVega) will be working together againto uncover the clues in this third entry in the series.

PICTURE PERFECT MYSTERIES: NEWLYWED AND DEAD (NR) 83 minutes * * While shooting pictures for a wedding, Allie (Alexa Pena Vega) may have captured a clue about who murdered the groom. Her brother ends up being one of the suspects. Detective Acosta (Carlos Pena Vega) will work to uncover the truth. The story is a little shaky, but the cast does well.

A PICTURE PERFECT WEDDING (NR) 86 minutes * * 1/2 Trying to get her career in photography going, Lindsey (Emily Tennant) manages to land a wedding photography gig for a very well-connected family. In the process, she meets Josh (Tyler Johnston), who might be able to help her career and her love life as well. Johnston isn't the greatest fit here, but Ben Bordeau has a great supporting role.

PICTURE THIS (NR) 88 minutes * * Mandie (Ashley Tisdale) is finally getting the attention of the hottest guy in school. There are only two things standing in her way: his evil girlfriend, and her own over-protective father. Teen romantic fluff piece, with two-dimensional characters, though the performances are fine. Not rated, but suitable for families.

PIECES OF A WOMAN (R) 120 minutes * * * Martha (Vanessa Kirby) and Sean (Shia LaBeouf) have chosen home birth. When it comes to a tragic end, Martha is shattered. Picking up the pieces of the loss of a child, a broken relationship with Sean, a controlling relationship with her mother, and legal issues with the midwife... it's just too much. There's a lot going on in this story, but the energy is still very low-key. It's a reminder that we each deal with grief and stress in different ways. Very nice soundtrack by Howard Shore. R for language and sex.

PIECES OF APRIL (PG-13) 77 minutes * * * All April (Katie Holmes) wants to do is fix a nice Thanksgiving dinner for her family. Nothing seems to be going the way she's planned though. It doesn't help matters that she's seen as the odd person of the family. Still, it's just possible that with the help of some neighbors, she'll be able to pull it off and have a dinner that will mean a lot to her family. Holmes does a wonderful job here with a rather quirky character in a somewhat offbeat story. Though there are humorous moments, it's not really a comedy. Patricia Clarkson does a marvelous job as well, playing April's mother who, though she is dying of cancer, still manages to have both a sense of humor, and a sensitive heart. This didn't receive much publicity for theatrical release, but it's a rather nice piece of work. PG-13 for language.

PIERCING (R) 76 minutes * * Everything may seem normal, but Reed (Christopher Abbott) is not leaving on a business trip. He's checking into a hotel, where he plans to call an escort service and kill a prostitute. Unfortunately for Reed, the young woman who shows up at the door has some pretty serious issues of her own, and things aren't going to go quite as he'd planned. An unusual and twisted story, not without a bit of a macabre sense of humor. R for violence, sex, and language.

PIG (R) 87 minutes * * * Rob (Nicolas Cage) lives a quiet and secluded life in the Oregon wilderness with his truffle hunting pig. But when the pig is kidnapped, he must travel to Portland to find her and bring her back home. The journey will be difficult for Rob, not just because he's become used to his solitary life, but the city brings back uncomfortable memories. The power of our past is strong. A tender and sensitive performance from Cage, very fitting for the character. R for language and violence.

PIGGY (NR) 103 minutes * * 1/2 Joe (Martin Compston) doesn't feel connected to much, except maybe his brother. And when his brother is killed by some hoodlums, Joe is adrift agin... until Piggy (Paul Anderson) shows up. Piggy was one of his brothers friends. And he wants to help Joe get revenge. Unusual piece, especially with the calm music, which is in direct contrast to the tone of the story.

PIGLET'S BIG MOVIE (G) 67 minutes * 1/2 Or not. Piglet's "Big" movie is more a collection of flashbacks to other stores we've already seen framed within a search for Piglet, who is lost. The initial idea is one that could have really been developed, but instead of really writing a story about how Piglet feels unappreciated and unnoticed, they rely on examples from other stories. Children who have already seen the other Winnie the Pooh movies and television shows will not be impressed.

THE PILGRIM'S PROGRESS (PG) 105 minutes * 1/2 Based on the book by John Bunyan, this is the story of a pilgrim and his journey from the City of Destruction to the Celestial City. Highly symbolic and not for young children, who are just unlikely to find this of any interest. The book is tiresome and very slow-moving. This animated version tries to make the story a little more exciting and to improve the pacing. It succeeds at both, but loses some of the message in doing so. It also doesn't help that it runs a little long and that the animation is mediocre with a few nice details scattered throughout. PG for violence.

PINA (PG) 98 minutes * * * 1/2 Wim Wenders was in the process of making this film with Pina Brausch when she died. At first feeling like he couldn't complete it and then driven to do so as a tribute to her, it was completed two years after her death. Bausch was a phenomenal choreographer, as is evident here, in a film that highlights her wonderfully creative work and the talents that she and the dancers she worked with share so effectively. As Pina siad, "Dance, dance, otherwise we are lost." PG for some partial nudity.

A PINCH OF PORTUGAL (NR) 84 minutes * * 1/2 The prep cook (Heather Hemmens) for a famous chef finds herself in the spotlight when he quits. Can the show continue with Anna stepping up into the lead role? It won't happen without a few wrinkles along the way. Beautiful scenery and a charming performance by Hemmens. It does wrap up a little to quickly.

PINEAPPLE EXPRESS (R) 107 minutes * After witnessing a murder, Dale (Seth Rogen) is on the run. Too bad he left a roach of the most rare variety at the scene of the crime. Then again, getting high is more important anyway, right? Most of the film is just two stoners, James Franco playing the other part, yelling at each other and not getting anywhere. Pretty much a waste of talent except for the stunt crew's work. R for violence and language.

PING PONG (NR) 78 minutes * * * These aren't just any table tennis championships. These are the World "Over 80's" Championships. Watching these senior citizens from across the world train for the tournament and hearing their stories of past games is a delight. It's a documentary that's sure to bring a smile to your face.

PING PONG PLAYA (PG-13) 91 minutes * Dreams of professional basketball are going to have to wait. C-Dub (Jimmy Tsai) needs to help out the family by taking over the ping pong classes his mother was teaching. Of course, he'll learn sportsmanship, integrity, and the importance of family along the way. Harmless enough to almost get a PG, but not all that interesting or funny either. PG-13 for language.

PINK CADILLAC (PG-13) 118 minutes * * Tom Nowak (Clint Eastwood) is a skip tracer for a bail bondsman, but his latest job may turn out to be a bit more difficult. Eastwood and Bernadette Peters both do a good job here, but too much of the rest of the film is just not all that interesting and is only mediocre in quality. PG-13 for language.

PINK FLOYD – THE WALL (R) 90 minutes * * ½ The memories of a boy who lost his father to war and who has an over-protective mother. As he gets older the boy understands war as an exercise of insanity. One person among millions, fighting for millions. But life itself offers little reason and often seems like its own exercise of insanity. The animation is fantastic, and the film is constantly bombarding us images. That constant flow of images can be overwhelming and might leave you wondering what you just saw. In which case, watching it again might help… or not. R for violence, sex, and language.

THE PINK PANTHER (2006) (PG) 88 minutes * * Remake of the classic comedy with Steve Martin doing his best to fill the shoes of Peter Sellers. While it does have its funny moments, it also feels a bit forced at times. Martin has his own style, and a better approach might have been to do a new pink panther film with Martin in the roles instead of trying to remake a classic. Kevin Kline and Jean Reno have supporting roles here, but its not enough to lift this past mediocrity. PG for language and violence.

PINK PANTHER 2 (PG) 87 minutes * 1/2 The Tornado has been stealing priceless items, so a "dream team" of detectives has been assembled to solve the mystery... and Clouseau (Steve Martin) is in charge. Stellar cast that includes Jean Reno, John Cleese, Lily Tomlin, Alfred Molina, Andy Garcia, Emily Mortimer and Jeremy Irons, but apparently someone forgot to purchase a script. Martin overplays the role of Clouseau even more than in the first film. PG for violence and language.

PINK RIBBONS, INC. (NR) 94 minutes * * 1/2 The cause of breast cancer has become huge, which means that corporations are interested in supporting the cause because it makes good business sense. As with most charities, the better route for more of your money to go to the cause is to write a check... to the charity... rather than buying a product where some small part of the money goes to support the cause. There are some informative moments here, but plenty of this should be common sense.

PINOCCHIO (2002)(G) 93 minutes BOMB Roberto Begnini's labor of love takes the classic story into a world only he can truly appreciate. It's hard to understand all of the... more unique aspects of this film. Things like, why the puppetmaster is a giant, why the big fish looks like a shark, and why Pinocchio never really does look like a puppet. There are some beautiful sets and props, but they don't compensate for an ending that ruins what little of the original story was left intact.

PINOCCHIO (2019) (PG-13) 115 minutes * * * Roberto Begnini's second attempt at the classic story, this time playing the part of Geppetto, fares much better than the first. It's a beautiful and magical version of the story. The special effects and make-up are remarkable and Begnini's Geppetto is delightful. The film has a very nice soundtrack as well. All in all, a very nice version of the story. PG-13 for violence.

PINOCCHIO (2022) (PG) 92 minutes * * 1/2 A new version of the Disney version of the classic story. It's a delightful mix of live-aciton and animation along with a good number of inside jokes and references to other Disney films. Featuring Tom Hanks, Cynthia Erivo, and the voice work of Joseph Gordon-Levitt, Benjamin Evan Ainsworth, Lorraine Bracco, and more. PG for violence and language.

PINOCCHIO AND THE EMPEROR OF THE NIGHT (G) 88 minutes * 1/2 Or, the further and rather boring adventures of Pinocchio. Poor animation and editing along with a story that is of little interest to children. Sometimes it's best to leave a classic alone and not try to continue the story.

THE PINOCHET CASE (NR) 107 minutes * * 1/2 Augusto Pinochet tortured and killed thousands as he took power in Chile in 1973. He was eventually brought to justice, and was the first dictator to be punished for his actions since the Nuremberg trials. Emotional retellings of numerous individual imprisonment and torture cases make this a little difficult to watch at times, but important to see nonetheless.

PIONEER (R) 105 minutes * * 1/2 A drive to reach the bottom of the sea will eventually lead to tragedy. The story gets off to a slow start and then tends to wander. It does wrap up nicely, but never manages to fully recover from the earlier difficulties. R for language.

PIRANHA (2010) (R) 82 minutes 1/2 Tired remake of a bad film with the idea that presenting it in 3-D will make it better, which it doesn't. Only half of the film is really about the fish anyway, the rest of it is about spring break in Florida and presenting that in 3-D. There are a few good underwater 3-D effects, but most of the gory parts are obscured by splashing water or are just silly. R for violence, sex, and language.

PIRANHA DD (R) 71 minutes BOMB The same piranha that infested Lake Victoria are now in the water at a newly opened waterpark. Plenty of big names in the cast, but sorely lacking in humor, suspense, and quality. R for violence, sex, and language.

PIRATE CAMP (PG) 87 minutes * 1/2 Instead of a regular summer camp, these four kids decide to go to Pirate Camp, a magical place where real pirates train you to be a real pirate. Not only does it not make sense why the "too cool" boy would even consider going, but a little unclear why anyone as old as these youth would be interested. Amateurish acting, and not much appeal for the six-to-twelve age group who seem to be the intended audience. PG for violence.

THE PIRATE FAIRY (G) 69 minutes * * 1/2 Zarina (voiced by Christina Hendricks) os up to some new tricks, stealing the blue fairy dust and becoming a pirate captain. As usual though, her plans don't work out quite like she expects, and Tinker Bell (voiced by Mae Whitman) and the others will have their work cut out for them to set things right. Nice entry in the series, but it does rely on familiarity with the other films.

THE PIRATE MOVIE (PG) 94 minutes * * ½ Kristy McNichol and Christopher Atkins star in this popularized version of the Gilbert and Sullivan operetta, The Pirates of Penzance. It works somewhat, and is fun, but more fun if you’re familiar with the original. This version tries to inject a little extra humor by poking fun here and there at the original. Some of that works and some doesn’t, but if you like pirates and music, you’re bound to have at least a little fun with this. PG for language and sex.

PIRATE RADIO (R) 122 minutes * * Once upon a time, it wasn't all that easy to hear rock and pop music. But there were DJs who took the risks to play it and change the face of music forever. This is the story of a few of them who took their station to the high seas, where they broadcast, until even there, the British authorities eventually brought them down. A fun look at rock radio in the 1960's, but the story gets off track a bit too often, going into the sex lives of the DJs rather than keeping the focus on the music. R for language and sex.

PIRATES (PG-13) 117 minutes * * Expensive and tedious pirate film about the exploits of Captain Red (Walter Matthau). Matthau’s fine talents are pretty much wasted here, but fans of pirate films will still enjoy watching him play the part.

THE PIRATES: BAND OF MISFITS (PG) 80 minutes * * The queen just wants the pirates to sink into the ocean, but they have other ideas... specifically, they're out to win the pirate-of-the-year award. Winning is going to be a challenge, to say the least. Not as much fun as it should be because the "lesson" becomes a little overbearing. It does rally fairly well in the last few minutes. Adapted from the book "The Pirates in an Adventure With Scientists" by Gideon Defoe. PG for violence and language.

PIRATES OF THE CARIBBEAN: AT WORLD'S END (PG-13) 159 minutes * * 1/2 Third and longest film of the trilogy has plenty of double-crosses and lots of wonderfully dramatic sequences, but also quite a few scenes that are needlessly prolonged. While this isn't really a bad film, the story is overly concerned with wrapping up lots of loose ends, and ends up not doing enough to explain what's happening in this particular piece of the story. In fact, Johnny Depp's humor is toned down here as well, perhaps to make way for more story, or perhaps because Depp just doesn't have quite as much fun this time. There is a very nice bit part for Keith Richards though, as Captain Teague. PG-13 for language and violence.

PIRATES OF THE CARIBBEAN: DEAD MAN'S CHEST (PG-13) 141 minutes * * * More pirate fun with Johnny Depp and friends! This time out, Turner (Orlando Bloom) needs Sparrow's (Johnny Depp) compass to offer in trade for Elizabeth's (Keira Knightley) life. But Jack needs the compass to find a special treasure chest that contains the heart of Davy Jones. An excellent soundtrack from Hans Zimmer and great sound and visual effects make this another fun adventure film. The ending clearly sets us up for part three, but that's not really a surprise. I did find some of Davy Jones sea demon cohorts a bit extreme. The effects were well done, but the design seems unnecessary. PG-13 for violence and language.

PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES (PG-13) 119 minutes * * 1/2 The search is on as Captain Jack Sparrow (Johnny Depp) looks for the trident of Poseidon. Lots of action and plenty of familiar faces, but this entry in the series relies heavily on the previous films and doesn't do much in the way of character development. It's a fun film if you've seen the others, but it will be confusing if you haven't. PG-13 for violence and language.

PIRATES OF THE CARIBBEAN: ON STRANGER TIDES (PG-13) * * * Unlike the first three films in the series, this is a self-contained story, though there are a few inside jokes if you've seen the other films. The search is on for the fountain of youth, with Jack (Johnny Depp) forced to help Blackbeard (Ian McShane). But they aren't the only ones looking, and the search will have a few obstacles along the way. Depp and Geoffrey Rush are both fun to watch here and one wonders if they can help themselves from talking with these same accents when they see each other in real life. PG-13 for sex, violence, and language.

PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL (PG-13) 133 minutes * * * 1/2 What fun! Johnny Depp is one of those rare actors who can almost instantly create a memorable character. Jack Sparrow is a pirate with a flair for the dramatic, and the story that has been woven around the scenes in the "Pirates of the Caribbean" rides at Disneyland and Disney World is delightful. Full of adventure and excitement, with bits of humor generously sprinkled throughout. Geoffrey Rush is both sinister and larger than life as the evil pirate who has kidnapped the girl and must be defeated. Greg Cannom has created some very nice and definitely PG-13 worthy special effects, and Klaus Badelt has created a soundtrack that captures the sense of adventure as well as the sinister and somewhat spooky aspects of the film. PG-13 for violence.

THE PIRATES WHO DON'T DO ANYTHING (G) 80 minutes * * * Heroes. Villains. Courage. Friendship. Vegetables! Nice little VeggieTales adventure film with a good moral and a few bad puns. OK, quite a few bad puns. Our vegetable friends learn that a hero is the one who does what is right, though sometimes it can be difficult to do.

THE PISTOL (G) 97 minutes * * * The story of basketball legend Pete Maravich, whose father was a coach. As he states at one point, "It's tough being a kid chasing a grown-up dream." That may be, but those are usually the people who leave a real mark in the world. The voice-overs are used a little too much, but otherwise, this is a nice, wholesome film about a real hero.

PISTOL WHIPPED (R) 96 minutes * 1/2 Another wooden performance from Steven Seagal. This time he's a former cop with a sizeable gambling debt who has the chance to start over. The catch is that it will involve becoming a hitman. It's not bad work, until he's asked to kill someone he doesn't think he needs to. The ending here is mildly interesting, but this has little else to offer anyone except Seagal fans.

PITCH BLACK (R) 101 minutes * * 1/2 Knocked off course by an unknown source, their ship is forced to land on a planet that has three suns. There are monsters that live in the dark here too, but with three suns the darkness is only underground. Until the eclipse happens... tomorrow... It's a great story idea, though the way its told leaves us wanting a few more things explained. And, as with any story that happens mostly in the dark, we don't get to see enough of these aliens. Too many hints and not enough information. Graeme Revell's music adds a good deal to the suspense and Vin Diesel's performance as Riddick is near perfection. Filmed in Queensland, Australia. R for violence and language.

PITCH PERFECT (PG-13) 105 minutes * * If you think of a movie version of the TV show "Glee", but with less polish, less depth, and more crude jokes, this is what you get. Some of the music is pretty good, and Anna Kendrick does a nice job. Rebel Wilson also has a few good bits. Adapted from the book by Mickey Rapkin. PG-13 for sex and language.

PITCH PERFECT 2 (PG-13) 106 minutes * * 1/2 The Barden Bellas enter a contest that is almost impossible to win. It's the only way for them to regain their credibility. Fun story, with a sharp and witty script that gives this a little edge over the first film. Seeing more of the Bellas rehearsals would have been nice, but the performances that they and the other groups deliver are quite good, including some nice choreography. PG-13 for language.

PITCH PERFECT 3 (PG-13) 86 minutes * * The Bellas reunite for one last competition, but they're facing a new challenge this time around. The story has less music and more silliness, which make it more like the first film in the series, but not as much fun. It also relies heavily on familiarity with the characters and doesn't develop them any further. Fans of the first two films will want to see this, but shouldn't expect much. PG-13 for sex and language.

PITCHFORK (NR) 91 minutes 1/2 Hunter (Brian Michael Raetz) has had a secret. When he shares it with his friends, he's looking for their support when he tells his parents. They all head to his family's farm in Michigan, when they will come face to face with "Pitchforl". And Pitchfork won't be their only problem. Another film with maniacal killers in the rural countryside.

PIXELS (PG-13) 98 minutes * * * It's the nerds turn to save the world. Aliens are attacking earth, and they're using video games from the 1980s to challenge all takers. Another fun film from Adam Sandler with the usual supply of silliness and just enough crude humor to get the PG-13 rating. Definitely a little more fun for those familiar with older video games, but Sandler knows how to keep everyone engaged in the story. PG-13 for language.

PIXIE (R) 89 minutes * * 1/2 Pixie (Olivia Cooke) has a plan. It involves a heist for the purpose of avenging her mother's death. She will need to figure out how to deal with a few gangsters. It's an unusual story, with a nice mix of gangsters and comedy, and a very nice performance by Cooke. R for violence and language.

PIXIES (PG) 74 minutes 1/2 If you do something to make pixies mad, you will definitely regret it. They just might make you watch this movie over and over. The story is about forgiveness, but told in a manner that will not be all that interesting to the children the film seems to be targeting as its audience. Poor animation and dialogue don't help. Based on a graphic novel. PG for language.

PIXY DRAGONS (NR) 71 minutes BOMB A couple of young dragons decide tp enter the town's first fire-breathing contest. They decide to get help from Lacerta, an evil dragon who is known for his fire-breathing skills. It doesn't go as planned. The wlking and talking aspects of the CGI animation are horrible, and the story is heavy on dialogue, which will not make the younger crowd happy.

A PLACE AT THE TABLE (PG) 79 minutes * * * A very clear and well-documented look at the problem of hunger in the United States. The focus here is on the importance of making sure that children not only have enough food, but enough HEALTHY food. What is the most disheartening and frustrating is to understand how a problem that could be solved, instead has become mired in changes in political policies have made it worse. PG for language.

THE PLACE BEYOND THE PINES (R) 136 minutes * * 1/2 When Luke (Ryan Gosling) discovers that he has a child, he wants to do the right thing and be a provider, but the means to do so are out of his reach. Stepping over to the other side of the law puts him on a collision course with Avery (Bradley Cooper). Gosling does a very nice job here, but Cooper's character is less well-defined. Very nice supporting role for Dane DeHaan. R for language, violence, and sex.

A PLACE CALLED HOME (NR) 86 minutes * * 1/2 Tula (Ann-Margret) is beginning to have trouble with her vision, and her niece and nephew would be more than happy to put her in a home and take over the property. So when Tula decides to let a drifter and his daughter stay with her, its bound to cause some conflicts. Another fine performance from Ann-Margret, which gives this the boost it needs to recover from a mediocre TV movie script and most of the supporting performances, which are strictly mediocre.

A PLACE CALLED HOME (2022) (NR) 99 minutes * * Sometimes, life takes a hard turn. Levi's (Ben Gavin) wife dies in childbirth. He is now left to raise their two daughters by himself. Taking care of them isn't going to be cheap, but Levi has no money at all. When he borrows some money from a loan shark, things are going to get worse fast. The script is heavy-handed and moves rather slowly.

A PLACE IN HELL (NR) 80 minutes 1/2 A group of film students decide to use an old farm that is used as a Halloween attraction for their film set. Too bad for them that a serial killer just happens to be living there. Lucky for them that one particular cop hasn't given up trying to solve a series of murders. Not much in the way of suspense here, though the soundtrackkeeps trying. Script and direction just don't have much to offer. Perhaps that's because they are both done by the same person who produced and edited this.

PLACE OF EXECUTION (NR) 134 minutes * * 1/2 A 40-year-old murder case is re-investigated by a filmmaker who is known for stirring up trouble. But when she turns up more than anyone expects, DI Bennett (Lee Ingleby) has to take a look at it. Even with the new information, it's not going to be an easy case to solve. Fairly standard, good quality BBC mystery/suspense film, originally a mini-series.

THE PLACE OF NO WORDS (NR) 94 minutes * * * Mark (Mark Webber) and Teresa (Teresa Palmer) try to teach their young son Bodhi (Bodhi Palmer) about life and love and death through the use of his imagination. It's a beautiful story, though the transitions between reality and fantasy are uneven. Much of the emphasis here is on the bond between father and son.

PLACES IN THE HEART (PG) 108 minutes * * * It’s the middle of the Great Depression, and Edna (Sally Field) finds herself struggling to keep the farm going after her husband dies unexpectedly. With the help of Moze (Danny Glover) and Mr. Will (John Malkovich), there’s a chance that things could work. Nominated for seven Oscars, and a winner for Field and Robert Benton’s screenplay. PG for language and violence.

PLAN Z (NR) 85 minutes 1/2 Craig (Stuart Brennan) has a plan for what to do in the event of a zombie apocalypse. But executing that plan, and making sure that every aspects works as it should, is going to be something totally different. Written, directed, co-produced, narrated by and starring Stuart Brennan... it's also overly dramatic to the point just shy of being silly... which might have actually been a better way to go.

PLANE (R) 102 minutes * * To begin with, this has one of the least imaginative/creative titles for a film… Gerard Butler leads the cast here as the pilot of an airplane forced to land on an island where the passengers and crew are in immediate danger from terrorists. The effects are good and the cast isn’t bad. The script is full of the usual close calls and unbelievable situations that are typical of an airplane disaster film. If you haven’t seen anything from the sub-genre before, this isn’t bad. It’s also not all that great. R for violence and language.

PLANES (PG) 83 minutes * * 1/2 Dusty (voiced by Dane Cook) may not be the fastest plane, but he proves that speed isn't the only skill that is needed to compete in a race around the world. Nice animation and great colors, though the story is less than creative. PG for violence.

PLANES: FIRE & RESCUE (PG) 74 minutes * * 1/2 Dusty (voiced by Dane Cook) gets some bad news about his ability to race. Then, an accident at the airport puts the facility at risk of being closed. Dusty heads off to work for a fire and rescue group because getting certified as a rescue place will help save his home airport and the jobs of his friends. He won't need to fly very fast, which is good, but its still risky and dangerous work. The story here is more serious than the first film, but still engaging and relatable for younger viewers. The animation is simple but colorful, and works well for the story. PG for violence.

PLANES, TRAINS AND AUTOMOBILES (R) 87 minutes * * * Neal Page (Steve Martin) just wants to get home for Thanksgiving. When his flight is cancelled, he makes other arrangements. But so does another rather annoying person, Del Griffith (John Candy), who can find nothing better to do than bother Neal all the way home. The falters in a few spots, but Martin and Candy are both undeniably funny, making this fun to watch.

PLANET 51 (PG) 84 minutes * * 1/2 Glipforg is your average town... it's just on another planet. And their world is about to receive a visitor... from ours. Plenty of fun twists as Glipforg's residents deal with an alien invasion, and the human astronaut has to rely on some of the younger folks in town for help. Featuring the voices of Dwayne Johnson, Jessica Biel, Justin Long, Gary Oldman, Seann William Scott, and John Cleese. PG for language.

PLANET HULK (NR) 73 minutes * * 1/2 Hulk is shipped to a peaceful planet with no intelligent life. It's the perfect place to keep him out of trouble. Or, it would have been if he hadn't caused the ship to crash land on a different planet. It may work out just fine though, as this new place is in need of a powerful hero. The mediocre animation here is rescued by a reasonably good story that fans of The Incredible Hulk should enjoy.

PLANET OF SNAIL (NR) 85 minutes * * 1/2 Young-Chan relies completely on his wife. Since he is now both deaf and blind, they communicate with finger braille. A beautiful and sensitive documentary, though it does tend to wander as it tries to covere different events and activities in his life.

PLANET OF THE APES (2001) (PG-13) 114 minutes * 1/2 This "reimagined" version of Pierre Boulle's novel does manage to showcase some amazing prosthetic makeup effects from special effects wizard Rick Baker. Some of the acting is quite good as well, particularly from Tim Roth, who plays the part of Thade. Tim Burton's characteristic style is a little less pervasive, but is still evident and fits the story well. Oh yes, the story... THAT'S the problem. Everything is fine, including the differences from the original film and the book, until we get toward the end. Suddenly, we have a sequence of events that destroy the continuity of the story and make virtually no sense. What's worse is that almost everyone seems to know where the film should've ended, a few minutes earlier. PG-13 for violence.

PLANET OF THE SHARKS (NR) 86 minutes BOMB The list of things that are wrong just keeps on going, right up until the end of the film. Strange accents that don't fit, a white man with a Japanese name, a child who is in every scene but barely utters a word, bad CGI effects, and a story that makes less sense as it goes along... and those are just a few.

PLANET TERROR (NR) 100 minutes * * 1/2 Wonderfully campy horror fun from writer/director Robert Rodriguez. Cherry Darling (Rose McGowan) finds herself in the middle of a small group of people fighting to survive in the midst of a few thousand people who have turned into flesh-eating zombies. The film does a wonderful job of capturing the feel of the Grindhouse films of the 1970s. Originally released as part of a double feature that included "Deathproof". This one is a bit more fun, and has the added pleasure of also including the "preview" for the film "Machete", which is a treasure all by itself. Filmed in Austin, Texas and Tulum, Mexico.

PLANT PURE NATION (NR) 93 minutes * * 1/2 Scientifically, a plant-based diet has been shown to be the healthiest. That doesn't mean a vegetarian diet, just that the dietary habits are based around fruits and vegetables rather than around meat or dairy products. Corporate influences, especially in the United States continue to suppress and block this information because it isn't in their interest. They can't make as much money if the focus of people's diets is something they can easily grow in their own backyard. Much of the information presented in the documentary has been around for years. And still, the world's dietary habits have not really shifted.

PLASTIC (R) 91 minutes * * Stealing credit cards has become a steady job for Sam (Ed Speleers) and Fordy (Will Poulter). But when they steal a card from a ruthless gangster, they find themselves in deep trouble. Two millions pounds worth of trouble. The characters aren't very appealing, but the story is well-written and interesting. R for violence, sex, and language.

A PLASTIC OCEAN (NR) 96 minutes * * * A comprehensive look at the life cycle of plastics and how they are destroying so many areas of the planet. The film explores recycling and re-use efforts across the globe. The focus is on plastics in water, but their effects on land is part of the picture as well.

PLASTIC PLANET (NR) 95 minutes * * 1/2 If you didn't already know why the world needs to stop using plastic, this film will definitely give you plenty of great reasons. Loads of facts and figures and quite a few scare stories about why plastic is not good for us, and how heavily we already rely on it.

PLATOON (R) 115 minutes * * One of the taglines for this film was, “Finally, a film that tells the truth about the Vietnam War.” Apparently, the people who created that tagline never saw “The Boys in Company C”, “Apocalypse Now”, or “The Deer Hunter”, to name a few. There are some good scenes here, and Charlie Sheen, Tom Berenger, and Willem Dafoe all turn in fine performances. Director Oliver Stone tries to give us a dirty, gritty film, but it ends up being more exploitation than truth, and once again proves how Stone seems to know very little about how to be subtle or artistic. R for violence, language, and sex.

PLATOON LEADER (R) 91 minutes * * 1/2 Low-budget Vietnam War film with Michael Dudikoff that actually does fairly well. Dudikoff is a little better than normal here, and director Aaron Norris, brother of Chuck, seems to have a better feel for this story. There are some well-done action sequences and some nice scriptwork in spots as well. The ending is weak, but the trip there is worth a look for those who enjoy war films. Nice job by Robert Lyons in the part of McNamara too! R for violence.

PLAY IT TO THE BONE (R) 118 minutes * 1/2 Two fighters whose time has passed get the chance to fight again in Las Vegas. The bulk of the film is about their trip to Vegas and getting ready to fight each other as they are best friends. Woody Harrelson and Antonio Banderas do nice work, but the film comes up empty and feels more like a commercial for Las Vegas and Mandalay Bay (the hotel where the fight will be held).

THE PLAYER (R) 120 minutes * * * Tim Robbins is Griffin Mill, a film executive who has received a threatening letter from a disgruntled writer. It's a typical venture into Robert Altman's world of star cameos (this one has an incredible list) and in-jokes on the film business. The story is a bit involved, but if you like Altman's films, you'll undoubtedly love this one. Based on Michael Tolkin's novel.

THE PLAYERS CLUB (R) 99 minutes * Ice Cube definitely took on more than he could handle by writing, directing, being executive producer, executive in charge of music, and having a small role in this film. His one-man production about a run-down black strip club has little to offer. New talent may have been found with actress Lisa Raye, who stars in the film, but the sound quality is shoddy, Bernie Mac gives us a cartoonish performance, and the film feels like it was something Ice Cube put together in a couple of weeks... in his spare time. R for language, violence, and nudity.

PLAYING BY HEART (R) 120 minutes * * * Wordy, but fascinating story of relationships in Los Angeles. Written by director Willard Carroll, this manages to cover quite a few varieties of dysfunctional relationships. Still, they keep trying... following their hearts and taking it a day at a time. The cast is incredible, with Sean Connery, Gena Rowlands, Gillian Anderson, Angelina Jolie, Madeleine Stowe, Anthony Edwards, Ryan Phillippe, Dennis Quaid, and a few others. As it weaves the stories together, you'll find yourself drawn in... and hoping for the best. R for language.

PLAYING CUPID (NR) 83 minutes * * An assignment from her teacher (Laura Ven der Voort) leads Clara (Mia Quaranta de la Rosa) to create an online matchmaking site. And she sets up her dad (Nicholas Gonzalez) with her teacher. The pacing drags a little and the story doesn't really allow for much character development.

PLAYING DEAD (NR) 101 minutes * * * He may be a good actor, but being difficult to work with leaves Jean (Francois Damiens) with only one, not particularly desirable role to play... re-enacting crime scenes for the police department. It turns out that his drive for perfection may actually come in handy for solving crimes. A little silly at first, but this does eventually turn into a very good mystery.

PLAYING FOR KEEPS (PG-13) 98 minutes * * 1/2 George (Gerard Butler) hadn;t intended on coaching his son's soccer team, but the attention of a few attractive soccer moms isn't a bad perk. The chemistry between Butler and Jessica Biel is minimal at best. Some of the supporting characters offer up a little humor and help us keep thinking this will turn into something better, but it never quite gets there. PG-13 for sex and language.

PLAYING GOD (R) 90 minutes * 1/2 Taking it all in stride, David Duchovny moves from respected surgeon to mob doctor to FBI snitch all in the course of a year. This film has a wonderful trio of lead actors (Timothy Hutton and Angeline Jolie are the other two), but the script spends too much time elaborating on Duchovny's drug habit and not enough on the interaction of the characters. Most of the supporting cast are pale, two-dimensional stereotypes. The film cries out for better direction as well. R for language, violence, and nudity.

PLAYING GOD (NR) 93 minutes * * * Micah (Luke Benward) and Rachel (Hannah Kasulka) need a lot of money very quickly. They're used to running cons, but this needs to be a big one. That's when they learn about a very wealthy man (Alan Tudyk) who wants to talk to God. If they can pull off this con, they will have all the money they need. Of course, there are some unforeseen complications that arise. Although this is billed as a comedy, and there are a few funny moments, the film is actually quite serios... and quite good.

PLAYING IT COOL (R) 89 minutes * * * 1/2 He (Chris Evans) is supposed to write a romantic comedy script. But he's struggling with inspiration since he's never really been in love. But then he meets her (Michelle Monaghan). Nice, multi-layered script with some very nice and well-played supporting roles. It's a wonderfully romantic story with great checimstry between Evans and Monaghan. R for language and sex.

PLAYING WITH FIRE (PG) 89 minutes * * 1/2 After rescuing three kids from a burning cabin, Jake Carson (John Cena) has to let them bunk at the fire station because their parents are away. The children are a recipe for disaster, which not only causes endless headaches and property damage, but may also put his hopes of getting a promotion out of reach. Family style comedy, PG for language and violence.

PLAYMOBIL: THE MOVIE (PG) 90 minutes * * * Moments after sharing the exciting news with her little brother that she has a passport, Marla (Anya Taylor-Joy) and Charlie (Gabriel Bateman) learn that their parents were in an accident. Left to raise her little brother on her own, Marla becomes much less of a dreamer, and life becomes much less fun for Charlie. An after hours trip to a toy convention and a magical transformation drop both of them into a world of Playmobil figures and into the middle of the adventure of their lives. PG for violence and language.

PLEASANTVILLE (PG-13) 116 minutes * * * Once upon a time the world was falling apart and a couple of kids wished it could all be alot more simple. Poof! They end up in an old black and white TV show and it begins to change. With experience, knowledge, and age, frequently come added responsibility. When we think, we change, when we change, we grow. It's the way life works. The use of black and white in contrast to color works very well in a fantasy film like this one. The story carries the film more than the performances, which is probably why the ending feels a bit strange. I won't give it away, but most people do find part of the ending a bit awkward. PG-13 for language and nude artwork.

PLEASE BABY PLEASE (NR) 93 minutes * * They haven't been married for long, but Suze (Andrea Riseborough) and Arthur (Harry Melling) are about to have a life-changing experience. A gang has taken a liking to them, and it's making Suze and Arhtur question who they are and who they want to be. Artsy punk noir. Not bad, but definitely not for everyone.

PLEASE GIVE (R) 87 minutes * * * Kate (Catherine Keener) and her husband run a vintage store. But she's starting to feel a little guilty about how they acquire their stock. To make matters worse, they have already purchased the apartment next door, before their neighbor has died. Feeling guilty turns into trying to get to know the neighbor and her two daughters, which is interesting to say the least. Interesting characters. Not without their quirks, but nonetheless realistic in many ways. And who among us is without a few quirks of our own? R for language and sex.

PLEASE STAND BY (PG-13) 88 minutes * * 1/2 Wendy (Dakota Fanning) has a script she wants to submit for a Star Trek contest. To make that more difficult, Wendy lives in a home for autistic people where most of her time is managed very closely. It will be a challenge, but she is very determined. Several nice supporting performances here, as well as some solid work by Fanning as usual. PG-13 for language.

THE PLEDGE (R) 119 minutes * * 1/2 Jerry (Jack Nicholson) makes a promise to the mother of a young girl who's just been killed... he'll find out who did this horrible thing and bring them to justice. So, despite the fact that he retires from active duty the next day. He becomes obsessed with the case, to the point where neither he nor we are sure that he knows what he's doing. The ending is disconcerting to alot of people, but this isn't really a story about a murder. It's a character study of a man obsessed. Nicholson does a nice job, as you might expect, and Sean Penn's direction does a good job of setting the mood. There are a few rough edges, but it's an interesting piece. R for language and violence.

THE PLEDGE (2011) (NR) 112 minutes * * Moving to a small West Virginia town feels like the worst thing in the world to Tory (Barrett Carnahan) But it gets even worse when he gets caught vandalising a military memorial statue and is sentenced to community service. It will help him to lern the meaning of both loyalty and sacrifice. The interview clips early on are annoying and out of place and feel more like interruptions than anything else. The script is weak, though the idea is a good one, it's just not executed well, though the last few minutes are quite nice.

PLIMPTON (NR) 83 minutes * * * A look at one of the world's most loved writers. Plimpton's specialty was participatory journalism, for which he became very well-known. Few writers are willing to get physically involved in the topic they write about, and none ever did so with such a wide variety of topics. A nice, well-rounded look at Plimpton's life and family.

PLOEY (PG) 79 minutes * * This is the story of a young plover who has not yet learned to fly by the time migration begins. Left behind, he must survive the harsh actic winter, predators, and his own lack of confidence. Only then will he be able to be reunited with his flock. Lots of danger and violence for the younger crowd. The story also sets things up for some big lessons around courage and teamwork, but then it doesn't really deliver. PG for violence and language.

THE PLOT AGAINST AMERICA (NR) 351 minutes * * * A look at a different version of history where Charles Lindbergh (Ben Cole) runs against Roosevelt in 1940 and wins the presidency of the United States. Lindbergh was against involvement in the war, which leads to a completely different course of events. The focus of the story is on the Levin family. An interesting look at what might have been. Great work by the cast. Adapted from the novel by Philip Roth.

+1 (NR) 91 minutes * 1/2 It's the biggest party of the year, and all David (Rhys Wakefield) wants to do is apologize to his girlfriend. The universe may have other plans. A meteorite and an unusual power outage cause something very strange to happen. There are now two of everybody, and David and a few of his friends are trying to figure out exactly what happened and what they need to do to set it right. The idea is very interesting, and this sets up well, but the ending falls flat. It's as if no one knew how to resolve the story once it started moving.

PLUS ONE (2019) (NR) 95 minutes * * * They've both had a run of bad luck in their relationship lately. They've also had lots of wedding invites. In an effort to cope with going to all of those weddings, Alice (Maya Erskine) and Ben (Jack Quaid) decide to team up. What is it that makes a relationship? What makes it work, and is it something that Alice and Ben both want? Going to all of these weddings is beginning to make them wonder. Charming and witty script that gives a realistic look at love and marriage that is also romantic.

POCAHONTAS (G) 76 minutes * * * * This is, quite simply, the most stunning piece of work to come out of the Disney studios since "Fantasia". The animation is flawless, and weaves together several different techniques in a manner that is smooth and seamless. Of course, the story is a "what if" rather than an actual presentation of historical fact. What if Pocahontas had been 20 years old when she and John Smith met? Maybe this story, perhaps. Not so much for the kids, this film doesn't try to be cute. It is, instead, a real work of art.

POCKET LISTING (R) 84 minutes * 1/2 Sometimes the sale of property takes place in more discreet ways. Jack (James Jurdi) is a property broker who handles some of those transactions. This particular sale is not going to go as smoothly as most of the transactions he handles. It's a comedy/thriller with a fairly good script, but Jurdi just doesn't have the charisma to pull of the lead role. R for language, sex, and violence.

POETIC JUSTICE (R) 104 minutes * * 1/2 Janet Jackson makes her big screen debut in this contrived story of a young woman struggling with loss and love. Maya Angelou's poetry is featured, though immensely out of place, in what is otherwise a fairly shallow love story. The stars look good here, as do the beautiful scenes of coastal California, but there just isn't any depth.

POETRY (NR) 137 minutes * * * Struggling with raising her grandson and worried about her health and her failing memory, Mija (Jeong-hie Yun) enrolls in a poetry class. It is a source of refuge and strength, especially when her grandson gets into some extremely serious trouble. A beautful and emotional film from director Chang-dong Lee.

POINT BLANK (2010) (R) 76 minutes * * 1/2 He was just doing his job as a nurse, helping to keep someone alive. Now, his pregnant wife has been kidnapped, and he's in the middle of something much bigger and far more dangerous. An intense French thriller with almost non-stop action. That's means a few inconsistencies in the story, but you might not notice with how quickly the story moves along. R for violence and language.

POINT BREAK (R) 119 minutes * * * Surfers who are also bank robbers meet up with the FBI. Actually, they're more than surfers, they're adrenaline junkies, which is where the thrill of robbing banks comes in. Patrick Swayze, Keanu Reeves, and Gary Busey star in a film that features some great surfing and skydiving scenes. R for violence and language.

POINT BREAK (2015) (PG-13) 99 minutes * * * Nice remake and update to the 1991 film. This one focuses a little less on the surfing aspect, and more on the challenge that this group has set before themselves. It does involve some crime, but that's actually only a small piece of what they are trying to achieve. Utah (Luke Bracey) will have to gain their trust and join them on their extreme sports challenge if he hopes to stop them. Magnificent scenery and some amazing extreme sport film footage help the overly predictable plot to be a little more exciting. PG-13 for violence, sex, and language.

POINT OF NO RETURN (R) 104 minutes * * 1/2 Maggie (Bridget Fonda) is a hard-core, violent drug addict, convicted of murder, and sentenced to die. The government steps in and gives her a choice... cooperate or die. The government trains her to become a covert agent, whom they will manipulate for their own ends with no regard for her feelings. The cast does a great job here, but the script is a hack job that really butchers the original French version of the film, "La Femme Nikita". Director John Badham does well with the action scenes, but is unable to lend the sensitive touch that the non-action scenes require. R for violence, sex, and language.

POISON IVY (R) 87 minutes * * * Deliciously evil story of a poisonous teenager and the effect she has on a particular family. Drew Barrymore and Sara Gilbert both do nice work here, Barrymore in particular, appears to have a great deal of fun with her character. The ending is a bit off, but the trip there is interesting, with unusual camera angles and lighting that create a mysterious feeling throughout the film.

POISON IVY: THE SECRET SOCIETY (NR) 91 minutes 1/2 A bit of a twist on the idea from the previous "Poison Ivy" films... Instead of one young seductress having her way with a man, this is a collegiate society of young women who use their wiles to get their way. Aside from that, this is a horribly unimaginative script, and the acting is similar to that of a bad television show.

THE POISON ROSE (R) 93 minutes * * 1/2 Former football star Carson Philips (John Travolta) is now a private investigator. He's been drawn into his latest case by Jayne Hunt (Famke Janssen). The film has an interesting mix of film noir and the southern United States. Set in Texas, it often feels more like Louisiana, with its relaxed style. Most of it was actually filmed in Savannah, Georgia. Featuring Morgan Freeman and Brendan Fraser, the film also has a small, but important role for Travolta's real-life daughter, Ella Bleu. R for violence and language.

POKEMON DETECTIVE PIKACHU (PG) 96 minutes * * 1/2 When his father is reported missing, Tim (Justice Smith) tries to find out what happened. Detective Pikachu (voiced by Ryan Reynolds) is interested in helping, and since Tim has never had a Pokemon partner before, it's a match made in... well, it's a match anyway. The story adapts quite nicely to the mix of animation and live action. PG for violence and language.

POKEMON 4EVER (G) 74 minutes * 1/2 Ash and friends are up against the Masked Marauder and Team Rocket as they try to capture the Celebi and change it into an evil Pokemon. Lackluster story that lacks the sense of humor of the other entries in this series. Animation is mediocre and the younger members of the audience I saw this with didn't seem very interested.

POKEMON: THE FIRST MOVIE (G) 91 minutes * * Actually two movies... Pikachu's Vacation is a 20 minute long short feature with some rather strange sequences that don't seem to mean anything. The main feature is pleasant enough, with good music and a nice little story about how our different looks don't matter and how helping each other is important. Toward the end of the film, Mewtwo says, "The circumstances of your birth do not matter. It is what you do with the gift of life that determines who you are." The animation is nothing special and it does get tiresome hearing the different pokemon communicate by repeating their names over and over.

POKEMON THE MOVIE: DIANCIE AND THE COCOON OF DESTRUCTION (NR) 71 minutes * * 1/2 Princess Diancie is a Pokemon who can create diamonds. She needs to create a very special diamond to save her home, but that will take the help of Pikachu, Ash, and their friends to make it happen.

POKEMON THE MOVIE: HOOPA AND THE CLASH OF AGES (NR) 71 minutes * * 1/2 Hoopa is a mythical Pokemon, with powers that are difficult to control. Ash and his friends need to help those more familiar with the creature, which has found a way to escape it's bonds. Some very nice animation.

POKEMON THE MOVIE: I CHOOSE YOU (NR) 92 minutes * * 1/2 This is the story of Ash Ketchum as he turns ten years old and begins his journey as a Pokemon trainer. His first Pokemon is not his first choice, but it's obvious very quickly that Pikachu is exactly the Pokemon Ash needed. Good origin story, though it loses quite a bit of energy at the end.

POKEMON THE MOVIE: SECRETS OF THE JUNGLE (NR) 93 minutes * * 1/2 Koko was raised in the jungle by Pokemoon. The mystery of how he got there and why, will take awhile to uncover. Ash and Pikachu will help, but with his home being near a powerful secret in the jungle, it's only a matter of time before problems arise. Can Koko keep the secret safe? Can he protect the Pokemon who raised him?

POKEMON THE MOVIE 2000 (G) 75 minutes * * Much like the first Pokemon movie, this begins with a shorter film featuring Pikachu entitled, "Pikachu's Rescue Adventure". The rest of the film focuses on the trouble caused by a collector, who doesn't understand the important balance in the Pokemon world. It's a cute way to have some fun with those who collect by those who are Pokemon trainers. The story flows better than it did in the first film, but seems a bit more shallow as well.

POKEMONTHE MOVIE: THE POWER OF US (NR) 82 minutes * * 1/2 Fula City's annual Wind Festival is at risk, along with the rest of the town. Ash and his Pokemon once again will do their best to help save the day. A nice, colorful, and action-packed entry in the series.

POKEMON THE MOVIE 3 (G) 86 minutes * * 1/2 The animation here is noticeably better than the first two feature films and the story is a bit more in depth as well. The Unown Pokemon are still a bit of a mystery at the end of the film, but the message about the importance of friends and family is told well. It's a nice entry in the series.

POKEMON THE MOVIE: VOLCANION AND THE MECHANICAL MARVEL (PG) 89 minutes * * 1/2 When Volcanion falls to Earth, it is bound to Ash. It's mission is to save Magearna, an artificial Pokemon. Ash and Volcanion must learn to work together. The battle will be fierce, but by the end, there will be new friendships. PG for violence.

POKEMON ZOROARK: MASTER OF ILLUSIONS (NR) 90 minutes * * 1/2 It's up to Ash and his friends to discover why Zoroark is wreaking havoc on Crown City. The story is pretty good here, aided in no small part, by having a villain who is a strong character. The animation is fairly good as well, especially in the background.

POKER FACE (NR) 86 minutes * * 1/2 They've been friends for years, and they all love a good game of poker, but this time it's different. The stakes are high, and secrets will be revealed. Russell Crowe serves as writer, director, and producer here, and the acting is very good, as is the production quality. The story is a little uneven though, and it feels like some large pieces might have been removed. In particular, the part of the plot dealing with the break-in just doesn't seem to serve much purpose or be very well thought out.

POKER NIGHT (NR) 101 minutes * * * The stories that Stan (Beau Mirchoff) hears from the other detectives on poker night are going to come in handy. On his way home, he is kidnapped and facing death, along with his girlfriend. Tightly written script that keeps moving us back and forth between the game and what happens after. Suspense stays at a fairly high level throughout.

THE POLAR EXPRESS (G) 91 minutes * 1/2 Chris Van Allsburg's story about a boy who has doubts about Christmas until he takes a trip on the magical Polar Express, adapted for the big screen with Tom Hanks voicing several of the characters. The story is very good, a bit scary in some spots, but the young ones who are paying attention probably won't be that scared. The animated is remarkably lifeless, making it far too easy to disconnect from the emotions of the film until the very end. It's strange, but if you can imagine an animated character forcing a fake smile, that's what seems to happen here. And that's for the few times the characters have anything but a blank expression on their faces. Disappointing adaptation of a fine story.

POLICE ACADEMY (R) 97 minutes * * * Appparently they'll take anyone at the police academy now. That's the premise, and this bunch of misfits are out to prove that just maybe, they could actually be police officers. This is the first film in the series, and one of the best. The characters are well cast and well-defined, and the story is interesting and funny.

POLICE ACADEMY 2: THEIR FIRST ASSIGNMENT (PG-13) 83 minutes * 1/2 They barely graduated, and now they are on their first case - stopping a new gang that has moved into town. The characters are fun, and the story isn't all bad, but most of the jokes just aren't all that funny. The music and the upbeat ending help. PG-13 for violence and language.

POLICE ACADEMY 3: BACK IN TRAINING (PG) 82 minutes * * * The best of the series, with the possible exception of the first, has the team back at the academy helping to train new recruits. With parodies of James Bond, Rambo, Dirty Harry, and more, the humor just works better and keeps us entertained. PG for language.

POLICE ACADEMY 4: CITIZENS ON PATROL (PG) 81 minutes 1/2 Our inept police academy graduates are tasked with training civilian volunteers to help deal with crime in the city. A few snickers and giggles here, and a nice supporting performance by Corinne Bohrer, but not much else. PG for violence and language.

POLICE ACADEMY 5 (PG) 87 minutes * 1/2 Commander Lassard is retiring from the force and heading back to the academy. Boring story and juvenile humor, with the absence of Steve Guttenberg and Bobcat Goldthwait being the most noticeable aspects of the film.

POLICE ACADEMY 6: CITY UNDER SIEGE (PG) 81 minutes BOMB Same old people, same old story... and it just isn't funny anymore. Definitely a sequel we could've done without.

POLICE STORY: LOCKDOWN (NR) 102 minutes * * 1/2 Although not really related to Jackie Chan's other Police Story films, this does feature him as a police officer who is taken hostage along with other people. The hostage situation is the bulk of the film, along with uncovering the truth about what happened at a drug store. That incident is the motivation for their captor, and understanding it could help resolve the situation. There is less action here than in most of Chan's films, which gives him a little time to work on the character. Chan isn't a great actor, but given the space, to work with, he does alright.

POLINA (NR) 105 minutes * * * Dane is everything to Polina (Anastasia Shevtsova), but her teacher always seems to be more critical of her, while praising others. As she gets older, she turns to modern dance and choreography. Wonderful choreography and music, and great work by Shevtsova. Polina is not an outgoing or particularly exciting character, as her passion is internal and quiet, but it comes across well. The ending is one that will not make many viewers happy, but it is very fitting.

POLISSE (NR) 124 minutes * * 1/2 The daily life and work of a Child Protection Unit in Paris. There is time to have a little bit of a social life, but the work is hard, and it's difficult not to take it home, and that means that only a few people can really be trusted to socialize with. The script tries a little too hard to cover every aspect of the lives of the main characters, resulting in scenes that are very intesnse, but not always connected to each other very well. The ending a rather unusual, and many may find it rather unsatisfying.

POLITE SOCIETY (PG-13) 99 minutes * * * Convinced that her sister is making the worst mistake of her life, Ria Khan (Priya Kansara) is determined to save her from a life of ruin. She'll do whatever it takes. Is her obsession just due to an overactive imagination, or is there actually something sinister going on? Great work by Kansara in her first feature film. It's a fun adventure with plenty of humor, but lots of serious action. PG-13 for language, violence, and sex.

POLITICS OF LOVE (NR) 84 minutes * 1/2 A local political rally becomes a bit more personal and competitive when oppositional coordinators find themselves attracted to one another. Mediocre script and acting, but the editing is even worse, taking this down another notch.

POLLOCK (R) 116 minutes * * * Life story of Jackson Pollock, an artist possessed by his talent. It's fascinating to watch Ed Harris' portrayal of a man who seems to struggle with the need to express himself. His art is virtually ignored until fellow artist Lee Krasner (Marcia Gay Harden) recognizes his talent and helps him start making the connections that will give him the recognition he deserves. Harris and Harden do great work here. The artistic temperment, the idiosyncrasies, the egos, the frailty... There are some problems with the flow of the film, but it's an unevenness that's fairly typical of first-time direction. There are gems here as well, and most directors would be very lucky to have a film that turns out this well as their first project. Adapyted from the book "Jackson Pollock: An Amaerican Saga", and rated R for language and sex.

POLTERGEIST (PG) 108 minutes * * * The story is a simple one. A family has to deal with a house that is possessed, at first by what appears to be a friendly ghost, but quickly turns into something much less playful and much more sinister. The effects are quite good, as is Jerry Goldsmith’s soundtrack, but the piece that really makes this work is that it’s just written better than most films with a similar story. PG for violence, language, and sex.

POLTERGEIST (2015)(PG-13) 96 minutes * 1/2 Remake of the 1982 creepy classic about a family whose young daughter is captured by the evil that has control of their house. What's abundantly clear here is that with the poor use of sound effects and the simple approach to the ending, this is not as scary as the original.. or many other similar films. PG-13 for violence and language.

POLTERGEIST ENCOUNTERS (NR) 77 minutes 1/2 A group of paranormal investigators are offered a large amount of money to spend the night in a haunted house. What starts out fun and a little spooky as they play some practical jokes on each other, soon turns into something much more frightening. The ide isn't bad, but the production quality is, and along with the acting, that pretty much ruins anything this might have been.

POLTERGEIST II: THE OTHER SIDE (PG-13) 89 minutes * * 1/2 Even though they're in a new house, Carol Anne's (Heather O'Rourke) family is still having poltergeist problems. The tone is a little lighter in this sequel. The story isn't impressive, but the special effects are pretty good. PG-13 for violence and language.

POLTERGEIST 3 (PG-13) 94 minutes * 1/2 Carol Anne moves to a new town and the strange spirits follow her there as well. Lots of mirrors, smoke, and mediocre acting. The music helps create a little suspense, but it isn't really enough. Young Heather O'Rourke died just a few months before this was initially released.

POMPEII (PG-13) 98 minutes * 1/2 Lots of impressive demolition effects here, though there's also a great deal of repitition. Of course, the story is secondary to the volcano, but there are a few parts that are reasonably good, but others are just silly, and the close calls toward the end are as ridiculous and unbelivable as the worst in action films. PG-13 for violence and sex.

POMS (PG-13) 87 minutes * * 1/2 Disappointed with the social options in the retirement community into which she has just moved, Martha (Diane Keaton) decides that there must be another option. With the persistent nudging of Sheryl (Jacki Weaver), she gives in and creates a cheer club, which becomes much more than either of them expected. It's not without a few tears along the way, but the story is tired, and the characters are formulaic. There are some cute moments, but only enough to give this a slightly better than average boost. PG-13 for language.

A PONY TALE (NR) 85 minutes 1/2 When a family is struggling to keep their ranch, the fact that their horse can talk may just be a way to save it. Although not everyone can hear him. Corny sound effects and music make this appear to be a comedy, though the story isn't really funny. A number of times throughout the film, the story just stops to let the camera pan over the natural beauty of the area... for no apparent reason except to add to the length of the film. Although it could be said that those moments provide a welcome relief from some of the inept dialogue. Clearly aimed at a very young audience, but the are likely to be bored with this.

PONYO (G) 95 minutes * * * Ponyo is growing up. Much to her wizard father's frustration, she swims away from home and ends up meeting Sosuke, a little boy. The bond between them is strong, but Ponyo's magic only works when she isn't human. Cute story, inspired by "The Little Mermaid", and bright, colorful animation. A wonderful film for the family.

POOH'S HEFFALUMP MOVIE (G) 61 minutes * * 1/2 There are strange noises in the hundred acre wood, and they may be coming from a heffalump! Cute new cartoon with lots of screen time for Roo as he is the first to meet the heffalump. It's short, sweet, and a nice, though not particularly exciting entry in the series. Original songs by Carly Simon.

THE POOL (NR) 92 minutes * * 1/2 Venkatesh (Venkatesh Chavan) dreams of swimming in the pool at a home not too far from the hotel where he works. Most of his time is spent with his younger friend Jhangir (Jhangir Badshah) until he starts following the man who owns the house with the pool, eventually doing gardening work for him. Slow-paced and almost painfully realistic look at a life of poverty where dreams are the only escape.

POOR BOY'S GAME (R) 101 minutes * * Donnie (Rossif Sutherland) just wants to go on with his life, but he has no place to go except home. The young man who he went to prison for beating has friends who want revenge. And Donnie doesn't seem to have much of a choice in how things will happen. The story is very slow-paced and lacks the energy or passion that is needed to involve us. The performances are fine, but direction, editing and script drag this down. R for language, violence, and sex.

POPCORN (R) 85 minutes * 1/2 A film student dreams up a horror film script only to discover that it's her memory of an earlier incident that is resurfacing. And the killer is back to stalk the theater when she and her friends put on a fundraiser. Laughably bad, but it stall manages to be mildly amusing in a few spots. Filmed in Jamaica.

THE POPE'S EXORCIST (R) 97 minutes * * * There's no one else who can do this work. Gabriele Amorth (Russell Crowe) is a priest who knows better than any other about the power of the spirits on the dark side. Even others in the heirarchy of the church do not agree that he is needed, but he has the highest authority. Much of the film covers standard territory for films about possession, though it does it well. Very nice ending. R for violence, language, and sex.

THE POPE'S TOILET (NR) 95 minutes * * 1/2 The Pope's visit to this small, Uruguayan town would bring lots of people and money. Beto's (Cesar Troncoso) idea is to build a pay toilet in front of his house to capitalize on the foot traffic that is sure to come. But getting the supplies to accomplish the task is not going to be easy. There's a certain gentle charm to the story and the performances, though it fades in the middle before returning toward the end.

POPPY (NR) 94 minutes * * 1/2 As a young woman with Down Syndrome, Poppy (Libby Hunsdale) faces some struggles. She's not going to let it stop her though. The first order of business is for her to get her driver's license. Next up is a boyfriend, and then her dream job as a mechanic. Poppy has a plan. An inspirational story with very nice work by Hunsdale.

POPSTAR: NEVER STOP STOPPING (R) 83 minutes * * Conner (Andy Samberg) was once part of a successful boy band. That is over, but Conner is trying to make it on his own. Fun parody comedy with Samberg doing a fine job, though the story wears thin very quickly. What make this still worth a look is the huge number of cameo appearances by musicians throughout the film. R for language and sex.

POPULATION ZERO (NR) 81 minutes * * 1/2 A triple murder occurs in Yellowstone National Park and the killer immediately confesses to the crime. But then he walks free. A mockumentary based on an actual loophole that exists in regard to Yellowstone. Co-director Julian Pinder uses his short documentary "Trouble in the Peace" for this imaginative exploration into what else might have happened. The line between fact and fiction is blurred well, but the story doesn't seem to know where to go.

PORKY'S REVENGE (R) 88 minutes * The cast here can barely pass for college age, which makes them look ridiculous as they try to pass for high school age. Really weak story, but the editing and direction aren't any better. There are a couple of laughs, but the best part is probably the sonudtrack. R for sex.

PORKY’S II: THE NEXT DAY (R) 95 minutes * * Simply put, the plot is ridiculous, and it’s difficult to believe that much thought was put into it. Clearly, this is more about getting the characters together again, and letting them just have fun. It works surprisingly well as that, though it’s clearly not as much fun as the first film. R for sex, language, and violence.

PORTO (R) 71 minutes * * 1/2 A brief but intense encounter between Mati (Lucie Lucas) and Jake (Anton Yelchin) will stay with both of them for years. Like each of us, they long for that intensity to continue, but appreciating it for having happened, despite its brevity, seems to elude them. Instead, they spend their energy on trying to make it continue and dreaming of the possibilites instead of enjoying what it was. Their inability to do this is most clear in Jake's story, though the film chooses to end on a more positive note. R for sex and language.

PORTRAIT OF A LADY ON FIRE (R) 118 minutes * * * Hired to paint a portrait, Marianne (Noemie Meriant) learns that her subject won't actually sit for the portrait, but will have to be painted from memory. Heloise (Adele Haenal) doesn't really want her portrait painted because it will lead to a marriage that she doesn't want. The young women become friends. Through their time together and the passion of art, they learn much more about themselves and each other then they thought possible. Beautiful scenery and a passionate story. R for sex.

POSEIDON (PG-13) 89 minutes * 1/2 Remake of the classic cruise ship disaster film follows the victims of a rogue wave that has capsized the ship as they try to stay alive until they are rescued. The story gets increasingly unbelievable as it progresses. Mediocre sets and props along with half-hearted performances by Josh Lucas, Kurt Russell, and Richard Dreyfuss among others, sink this film pretty quickly. Watch the original instead! PG-13 for language and violence.

THE POSEIDON ADVENTURE (PG) 117 minutes * * * Action-packed disaster film about a cruise ship capsized by a tidal wave. An Oscar winner for special effects, this is still an exciting film to watch. Gene Hackman, Ernest Borgnine, Roddy McDowell, Stella Stevens, Shelley Winters, and many more, do their best to survive in this wild, wet adventure. PG for language.

POSEIDON REX (NR) 75 minutes BOMB Looking for buried treasure in a blue hole is difficult enough. When you add a dinosaur that has somehow survived into the mix... Horrible script, poor CGI animation, and pretty bad acting all the way around.

THE POSSE (R) 105 minutes * * 1/2 Jesse Lee (Mario Van Peebles) is a cowboy haunted by the vision of his father, who was killed for his dreams. Jesse now runs a band of outlaws called "The Posse". It's a tale of some of America's African American cowboys that is, unfortunately, too shallow to do it the justice it deserves. The "look" is all in place, but the script is weak. The film plays it safe and doesn't risk giving us the extremes, cheating us of a more complete view of cowboys we needed to see. R for violence and sex.

THE POSSESSED (NR) 93 minutes * * 1/2 After losing his best friend in an accident, Jacob (John Jarratt) discovered that he could "clear" people of the demons they had been possessed by. He's been working with his nephew Liam (Lincoln Lewis), but the number of cases is beginning to increase. They need help. Enter Liam's new girlfriend. Atalie (Lauren Grimson) is untrained, but appears to have the necessary skills. Inspired by actual events. The visual effects aren't all that good, but the make-up and sound effects are good, as is the soundtrack.

POSSESSION (PG-13) 97 minutes * * 1/2 A literary mystery that may uncover a previously unknown love affair of a highly respected author. It could set the literary world on edge. The idea is interesting enough, but never involves us enough to care as deeply as we should. Adapted from A.S. Byatt's novel, this had an ending that is both tragic and endearing. Nice transitions between the past and present day as well. PG-13 for language.

THE POSSESSION (2012) 83 minutes * * * Going through a divorce would be bad enough, but the strange box that Emily's (Natasha Calis) dad bought from a rummage sale is having a rather unusual effect on her. Calis does a great job here in a very creepy story adapted from Leslie Gornstein's "Jinx in a Box". Some very nice effects highlight a story that is sure to give you more than a few chills and scares. PG-13 for violence.

THE POSSESSION OF HANNAH GRACE (R) 82 minutes * * 1/2 Fresh out of rehab, Megan Reed (Shay Mitchell) gets a job at the city morgue on the night shift. Still haunted by her last case on the police force, she's about to face something much more sinister. The body that just came in may be harboring an evil spirit. A spirit that wants to cause more trouble. Some very creepy moments, but the story still leaves lots of questions. R for violence and language.

THE POSSESSION OF MICHAEL KING (R) 77 minutes * In an attempt to disprove the existence of the devil, Michael ends up being posessed by an evil spirit. A one note story with nowhere to go. There are a few, briefly interesting moments, but they just aren;t enough. R for violence, language, and sex.

POSSESSOR (R) 97 minutes * * 1/2 Tasya (Andrea Riseborough) is good at her job. Using brain implants, she takes over someone else's body to use tham as an assassin. The problem is that she is starting to have trouble getting back out. The acting is quite good, bt the story isn't as strong as it needs to be, leaving things a little too abstract. It's something writer/director Brandon Cronenberg has done before, as did his father, Favid Cronenberg. R for violence, sex, and language.

THE POST (PG-13) 109 minutes * * * 1/2 A challenge to the freedom of the press. When the White House threatens to sue the New York Times over the possible publication of papers that might reveal suspicious political dealings, the story moves over to the Washington Post. This is the story of the Pentagon Papers. Another fine performance by Meryl Streep, earning her 21st Academy Award nomination with this role, and she is well-supported by Tom Hanks and the rest of the cast. PG-13 for language and violence.

POST GRAD (PG-13) 85 minutes * * Fresh out of college, Ryden Malby (Alexis Bledel) is ready to land her dream job, but they decide to hire someone else. And getting any job at all seems to be much more difficult than she imagined. Of course, she eventually figures out what's really important and everything works out just fine. Lightweight and slightly sentimental comedy that manages to waste the comedic talents of the great Carol Burnett, and doesn't treat Michael Keaton much better. PG-13 for sex and language.

THE POSTCARD KILLINGS (NR) 98 minutes * * * There's a pattern. Jacob (Jeffrey Dean Morgan) is determined to find it annd track down the person who murdered his daughter. His persistence will pay off, but how many more will die before that happens? Intense and well-paced, this thriller is adapted from the novel by James Patterson and Liza Marklund.

POSTCARDS FROM THE EDGE (R) 101 minutes * * * 1/2 Suzanne Vale (Meryl Streep) is an actress with a problem. Maybe the problem is her addiction to drugs, maybe it's her mother, maybe it's her profession and the stresses it produces. We're provided with glimpses of Suzanne's life. A chance to view some scenes, pictures, "postcards" from a time in the life of a struggling actress. Streep is at her best here, giving us a performance that is fragile, sensitive, comic, angry, and much more. Mike Nichols' direction pulls Streep in directions we haven't seen before. And every comic look, every tear, every camera angle in this film has a point. Life on the edge is not a pretty sight. However, if you manage to survive, it can be a very educational experience. Adapted from Carrie Fisher's novel, this gives us a glimpse of her life as well. A glimpse that is both educational and entertaining.

THE POSTMAN (R) 170 minutes * * * Taken captive and forced to serve in a lunatic's army, a man escapes. Seeking a direction for his wandering existence, he happens upon a postal carriers uniform and begins delivering mail and talking about the restored government of the United States. His vision sparks the people into action and they begin to take a stand, making "The Postman" into a symbol that gives them hope and a willingness to work toward making things better. We don't see much beyond the extremes of anarchy and blind patriotism here, which does pull on the emotions, but makes for a story that is hard to accept. Olivia Williams delivers the best performance as Abby, who becomes the postman's woman. The beautiful scenery was filmed in Arizona, Washington, and Oregon. R for language, violence, and sex.

POTICHE (R) 96 minutes * * 1/2 When illness forces Robert Pujol (Fabrice Luchini) to let someone else take control of his company for awhile, his wife Suzanne (Catherine Deneuve) is ready to step in. She soon realizes that her husband considers her to be more of a trophy wife (potiche) than a capable and talented woman. The story is rather lightweight, but the performances are refreshing and charming, and help to make this a little fun at least. R for sex.

POTTERSVILLE (PG-13) 82 minutes * * It's a quiet little town, or at least it was. When Maynard (Michael Shannon) gets drunk one night and dresses up like bigfoot, the town thinks it's real. It might be just what they needed. Of course, it's going to complicate things that a rather large number of the citizens are part of a furry group. Too much of this just isn't as funny as it keeps hinting at. PG-13 for sex and language.

POUND OF FLESH (R) 101 minutes * * Deacon (Jean-Claude Van Damme) was just helping a woman he thought was in trouble. The next thin he knows, he's minus a kidney. Someone's going to have to pay for that. The fight choreography is very good, though if you consider what he's supposed to have gone through, they are also more than a little difficult to believe. The ending is both silly and sentimental, undercutting the more dramatic aspects of the earlier parts of the film. R for violence, language, and sex.

POWDER (PG-13) 106 minutes * * * 1/2 Jeremy Reed (Sean Patrick Flanery) has powder-white skin and has never been around anyone but his family. When his last relative dies, Powder must face the world, with all it's cruelties and fears. The supernatural elements to the story remind us that it's a modern day fable, and though it bogs down in the middle, it's a pleasant film with a powerful message about acceptance and love.

THE POWER (R) 82 minutes * * * Mysterious idols, supernatural power, teens in danger, cemeteries at midnight, full moons, nightmares… there’s a little bit of everything here. The story has a few inconsistencies, but the suspense is well-timed and the ending is very fitting. This is one of those lesser-known films that is definitely worth a look if you can find it. Directors Stephen Carpenter and Jeff Obrow previously co-directed “The Dorm That Dripped Blood” and would later co-direct “The Kindred”.

POWER (1986) (R) 107 minutes * * * A seasoned and powerful political consultant, Pete St. John (Richard Gere) finds himself enlisted to help replace a friend who has decided to retire from the Senate. The longer he's involved, the more he realizes that something is very wrong. Nice political thriller with great work by Gere and steady direction from the talented Sidney Lumet.

THE POWER (2021) (NR) 89 minutes * * 1/2 It's an old hospital, but Val (Rose Williams) is sure she's ready for anything but the night shift. Of course, that's what the matron assigns her to. The power blackouts don't help any, making the hospital look and feel even more sinister. Val is convinced that there's something else in the hospital. Something very bad. Something hiding in the dark. Something that is waiting. There are some very creepy moments, but the story is somewhat disjointed.

THE POWER OF FEW (R) 92 minutes * * * A series of interconnected stories that are told and retold from different vantage points. The script is a little overly manipulative as it begins to move toward its point, bt the collection of characters here is very interesting, and the cast brings them to life quite well. R for violence and language.

THE POWER OF THE DOG (R) 122 minutes * * * Phil (Benedict Cumberbatch) and George (Jesse Plemons) own a large and very successful ranch in Montana. Phil is a rough character. well-liked by many and feared by others. George is more sensitive and soft-spoken. George is drawn to Rose (Kirsten Dunst), who Phil has not treated well. Phil eventually changes his behavior toward Rose and her son, but for what reason? A very somber ending. Adapted from the book by Thomas Savage. Nominated for twelve Oscars, but winner ony for direction by Jane Champion.

POWER RANGER (PG-13) 113 minutes * * * This manages to serve not only as an origin story of the Power Rangers, but as a reboot for the franchise. Whether you're familiar with the characters or not, this does a very nice job of spending adequate time on character development of the individual rangers and still packing in a good bit of action as they begin to use their powers and skills to battle evil. Nice work on updating the costumes, and in general on bringing this closer to the level of other superhero films of the 2010s. PG-13 for violence and language.

THE POWERPUFF GIRLS (PG) 67 minutes * 1/2 Six-minute short cartoon "Chicken Scratch" with Dexter from Dexter's Laboratory that has him coming down with chicken pox before the feature starts. The main film is the first adventure, so to speak, of the girls as they are created by Professor Utonium as he combines sugar, spice, and everything nice along with "Element X", resulting in three super-powered little girls who have to learn how to use their powers responsibly. The story is fun up through the game of tag (2o minutes) but then it gets old and boring as the girls all too frequently whine while Mojo Jojo goes on his rampage. Strictly for fans of the TV show. PG for violence.

PRACTICAL MAGIC (PG-13) 99 minutes * * 1/2 Dealing less with witchcraft and more with the power of love, this is the story of Sally (Sandra Bullock) and Gillian (Nicole Kidman), sisters who are raised by their Aunts. They learn the craft and of the curse that dooms any man who loves them to an early grave. Bullock is fine here, but Kidman is the one who delivers the stronger performance. Stockard Chaning and Diane Wiest are a treat to watch as well and Camilla Belle, who plays the young Sally, is stunning. The film shifts focus toward the end and deals more with witchcraft,losing some of its impact with the transition. PG-13 for language and violence.

A PRAIRIE HOME COMPANION (PG-13) 99 minutes * * * 1/2 Quintessential Robert Altman and a wonderful representation of all things Prairie Home Companion. After all these years, it all comes down to one last performance. But in another sense, does it ever really end? Delightful performances from an all-star cast that includes Garrison Keillor, Meryl Streep, Lily Tomlin, Woody Harrelson, John C. Reilly, Kevin Kline, Virginia Madsen, and many more. Kline's character is a bit unusual as he is trying to figure out why the show has been so popular, and it's an awkward part of the story until late in the film. For fans of the show, it's a fun trip down memory lane, and those who missed it, will have the chance to get a glimpse of the magic that made it so unique. PG-13 for language.

PRAIRIE LOVE (NR) 78 minutes * * When a vagrant (Jeremy Clark) travelling across North Dakota in the middle of winter finds a man lying in the road, he stops to help. He discovers that the man was on his way to meet a penpal girlfriend for the first time. he decides that he should be the one to meet her instead. More than a little offbeat, but the ending is rather poignant.

PRANCER (G) 97 minutes * * * * Jessie believes with all her heart that the injured reindeer she discovered is one of Santa's own, so it's extremely important to nurse it back to health. Heartwarming and charming film about innocence, Christmas, and the importance of believing. Great character performances from Sam Elliot, Cloris Leachman, and Abe Vigoda, and a wonderful soundtrack by Maurice Jarre. A great film for the holidays!

PRAY FOR DEATH (R) 112 minutes * * Thinking it would be a good way to teach his children about their American heritage, Akira (Sho Kosugi) moves his family to Texas. It doesn't take long for his plans to get twisted when some dirty cops get in the way. The story is far from fresh, but Kosugi plays the character well and the fight scenes are very good despite the dim lighting.

A PRAYER BEFORE DAWN (R) 113 minutes * * 1/2 With his life in a downward spiral, Billy Moore (Joe Cole) finally lands in Chiang Mai prison in Thailand. Well-known for its violence and corruption, it's the last place Billy expected to be. His boxing skills may prove to be what saves him, putting him on a path to fight in Muay Tai tournaments. Based on the memoir by Billy Moore. R for violence, language, and sex.

PRAYERS FOR BOBBY (NR) 84 minutes * * * Bobby (Ryan Kelley) is a young man who is beginning to understand that he is homosexual. His fundamentalist Christian family, mom (Sigourney Weaver) in particular, are concerned for his soul and are praying that God will heal him. What will it take for them to understand... and will it be too late. A powerful film with an emotional ending, and an important message about what it means to offer support to those you care about. Adapted from the book by Leroy Aarons.

PREACHER'S KID (PG-13) 105 minutes * * She's lived her whole life for her father and for God. Angie (Letoya Luckett) doesn't want to abandon either one, but she's feeling a strong urge to break free. Interesting that the show she leaves to tour with is called "Daddy Can I Come Back Home". Not very subtle. Emotionally charged and more than a little unrealistically "perfect" at the end. The music is very good, but the rest is merely adequate. PG-13 for sex and violence.

THE PREACHER'S WIFE (PG) 120 minutes * * Tremendously overrated story of down and out preacher who prays for help and gets a somewhat mischievous angel in response. This is a feel good film that doesn't have the punch it needs and runs on way too long. Whitney Houston's singing is nice, so buy the soundtrack, but skip the movie. PG for language.

PRECIOUS (R) 103 minutes * * * Sixteen years old, still in Junior High School, and pregnant for the second time, Precious (Gabourey Sidibe) is running out of options. Adapted from the novel "Push" by Sapphire, it's a powerful but simple story. Mo'Nique won an Oscar for her performance as Precious' mother, and Sidibe's debut performance earned her a nomination as well. R for violence, sex, and language.

PRECIOUS CARGO (R) 86 minutes * 1/2 When a heist goes bad, Eddie (Bruce Willis) is determined to take it out on Karen (Claire Forlani) because it was her responsibility. She tries to pull off another job to get back in his good graces, but it isn't going to go down the way she has planned. Intense early on, but the story just wanders off in no particular direction toward the end. R for language, violence, and sex.

PREDATOR (R) 102 minutes * * Sent into the jungle to rescue a kidnapped dignitary, this group of commandos soon discover an alien warrior who seems to be unstoppable. There are a few exciting moments, but far too much is left unexplained and we can't make sense of it. Then there's the obvious plot hole... if the predator doesn't kill you if you don't have a weapon, why not put down your weapons? Oh... because we wouldn't have a movie that way! Loads of muscle-bound testosterone here... Arnold Schwarzenegger, Carl Weathers, Jesse Ventura, Sonny Landham... and Kevin Peter Hall as The Predator!

THE PREDATOR (2018) (R) 100 minutes * * 1/2 A Predator crash lands on Earth. While a team of scientists is able to capture it, some of the armor ends up in private hands where it ends up serving as sort of a homing beacon. What comes next is a sort of "A-Team vs. the Predators" while the government gets in the way. The humor here works better than expected, mostly because the story itself is an interesting piece of the larger Predator mythology. It's definitely not as dark in tone as the previous films in the series, but the energy and more adventurous mood might not be a bad turn for the series to take. R for violence and language.

PREDATOR 2 (R) 102 minutes * * * 1/2 Taking a cue from the sequel to "Alien", this delivers more predators, and more information about them, with roughly the same amount of action and even better special effects. It's a great cast too, with Danny Glover, Maria Conchita Alonso, Bill Paxton and Gary Busey teaming up to fight the alien warriors. As far as sequels go, this ranks among the best. R for violence and language.

PREDATOR WORLD (NR) 82 minutes BOMB Really more a party ship than anything else, the Titan 1C gets into trouble when it is hit by a meteor storm. Five people manage to survive in a life pod, stranded on "Predator World". It's a planet where the residents are all about having sex with the earthlings who have crash landed there. So that sort of makes it a party planet. Do I really need to say more?

PREDATORS (R) 101 minutes * * 1/2 Eight people who don't know each other find themselves stranded in a jungle with no idea of how or why they are there. What they do know is that something appears to be hunting them. Not really a sequel, but more of a further exploration of the story of these aliens who test their prowess by hunting other species they consider to be a challenge. More than a bit of a stretch to think that a group of people like these would actually work together just because they were in an unfamilar location. It's more likely that they would have tried to use each other to bait traps. Nice soundtrack by John Debney. R for violence and language.

PREDESTINATION (R) 91 minutes * * 1/2 The Barkeep (Ethan Hawke) has one final assignment, and he's been trying to complete it for years. Adapted from a Robert Heinleni story that wraps itself in layers, dealing with both time travel and personal destiny. Though set in various time periods, it tends to maintain a film noir style. It's likely to take repeated viewings to fully grasp this, or at the very least, some extra time thinking about it after you watch. R for violence, sex, and language.

PRELUDE TO A KISS (PG-13) 100 minutes * * Peter Hoskins (Alec Baldwin) is on his way out the door. He doesn't really want to stay at this party until a friend introduces him to Rita (Meg Ryan). They fall in love instantly and everything is perfect... until the honeymoon. That's when Peter notices something a little different about his wife. This is an interesting romantic fantasy, but the supernatural twists may not be what you're looking for. It's well-acted by all and interesting to watch, but the story is a bit strange. The point is well taken though - "never to be squandered, the miracle of another human being." PG-13 for language.

PREMATURE (NR) 84 minutes * * 1/2 Ayanna (Zora Howard) meets Isaiah (Joshua Boone) at a critical juncture in her life. She's seventeen, and about to head off to college. Her relationship with her mother is challenging, and her relationship with her friends is changing. A well-done coming-of-age story with very nice work by Howard.

PREMIUM RUSH (PG-13) 81 minutes * * 1/2 Bicycle delivery services can get your package there in a flash. But this package is a little different, and there are people who don't want it to be delivered. They intend to stop delivery, but Wilee (Joseph Gordon-Levitt isn't going to be stopped so easily. Lots of great chase footage, and not a particularly strong story, but there's enough here to keep us interested and Gordon-Levitt adds another nice performance to his resume. PG-13 for violence and language.

PREMONITION (PG-13) 93 minutes * * 1/2 It's a traumatic experience to hear that your spouse has died. But what happens when you wake up the next day and they are fine? And then the next day they are dead? Linda Hanson (Sandra Bullock) has had a premonition that her involves the death of her husband. But she keeps experiencing it, and looking for details that will let her stop it from happening. The film ends well, but not without some very obvious foreshadowing, and some confusion for us early on as we move from reality to premonition and back again. PG-13 for violence and language.

LE PRENOM (NR) 105 minutes * * 1/2 When Vincent (Patrick Bruel) goes to dinner at his sister's house, he announces the name of the baby he and his wife are going to have. The discussion that follows is intense. But that is only the beginning fo the conversation. One that will leae them all wondering about the importance of names. Adapted from a play, which is partially evident from the very wordy, though well-written script.

THE PRESENCE (PG-13) 82 minutes * * * Going to a remote cabin to get away from life, a woman (Mira Sorvino) is in the company of a ghost (Shane West) though she doesn't realize it at first. Wonderfully atmospheric right from the start. The scenery and music are both beautiful and mysterious. Even as the plot begins to turn more sinister, there is a beauty and innocence that we still see. It's a tricky balance to maintain, and nicely done by director Tom Provost. PG-13 for violence.

PRESENTING PRINCESS SHAW (NR) 79 minutes * * 1/2 Princess Shaw, also known as Samantha Montgomery, put her music on YouTube, expressing herself and her art. Kutiman saw it and was inspired to use that music in his next project, and a collaboration began. Fascinating story of the journey of a song and it's creator.

PRESIDENT (NR) 119 minutes * * * When Robert Mugabe is ousted in a coup and finally agrees to resign, an election is scheduled. Just four months before the election is to take place, the leaader of the oposition party dies of cancer. Nelson Chamisa is chosen as the new head of the party, but can he convince enough people that he is the man for the job in just four months? This documentary recounts the campaign and the election.

PRESS PLAY (PG-13) 81 minutes * * 1/2 Having found the love of her life, Laura (Clara Rugaard) is devastated when he dies. Her grief takes an unusual turn though, when she discovers that the mix-tape he made for her can take her back in time to moments they shared. Can she possibly reset the events of their past to chance their future? Each song transports her to another moment, another chance. But each song can only be played once. The story works better than it might have, thanks to sincere performances from Rugaard, Lewis Pullman, and Danny Glover. PG-13 for sex.

PRESSURE COOKER (NR) 97 minutes * * * At a school in Philadelphia where 40% of the students don't gradute from high school, Wilma Stephenson runs a culinary education program where her students often earn tens and even hundreds of thousands of dollars of scholarships each year. She can be tougher than most, but she cares, and she brings out the best in her students. Take a look at just one year out of the forty that she's been teaching. Amazing!

THE PRESTIGE (PG-13) 125 minutes * * * Two magician's assistants, both working toward being magicians. After a tragic accident on stage, they become enemies... enemies with different ideas about magic and how to use it. Each of them continues to try to come up with the ultimate illusion, but the paths they take are very different. the story manages to play some tricks on us as well, which is nice. And solid performances from Hugh Jackman and Christian Bale are complimented by the ever-steady presence of Michael Caine. Adapted from the novel by Christopher Priest. PG-13 for violence and language.

PRESUMED INNOCENT (R) 124 minutes * * * 1/2 Rusty Sabitch is a prosecutor who has been accused of murder. Finding himself on the other side of the law is a new experience. He finds himself vctimized and brutalized by the system. Harrison Ford underplays his character here, which is the only real weakness of the film. We have a hard time believing that he's all that concerned about what has happened to him. The supporting performances are wonderful though. Raul Julia, Brian Dennehy, Bonnie Bedelia, Greta Scacchi, and Paul Winfield give this the strength it needs, and a nice little double-twist ending serves us with just the right finish to a very good murder mystery. R for sex, language, and violence.

PRETTY BIRD (R) 93 minutes * * It seems that people have always dreamed of flying. Three men with little in common except this dream, begin to work together on a rocket belt that could be the new personal flying machine... except that they have a difficult time getting along with each other. They are wonderfully quirky characters, but the tension between them overpowers the humor and it becomes difficult to appreciate the story because we begin to dislike the characters. R for language and sex.

PRETTY FINE THINGS (NR) 99 minutes 1/2 It all starts out with just Walter (Joe Parascand) and his dad as they practice their macabre hobby of killing young women. But now, they need help. Walter's two brothers come to assist, but then the bodies just start piling up too quickly. The acting is pretty poor, not that the script helps at all. And the effects are mediocre at best.

PRETTY IN PINK (PG-13) 92 minutes * * * 1/2 Popular "punk" Andie (Molly Ringwald) is falling for the new rich boy (Andrew McCarthy) in town. It frustrates all of her friends, especially Duckie (Jon Cryer), who has had a crush on her for some time. Great romance from the amazing John Hughes, with a fantastically talented cast. PG-13 for violence and language.

PRETTY PERSUASION (R) 106 minutes * * 1/2 Kimberly Joyce (Evan Rachel Wood) wants to be an actress, so she plans out a part to play, involves a couple of her friends, and sets out to ruin the career of a teacher by making some accusations about his inappropriate behavior. But that's just the beginning, and even those around her will be a bit surprised at where she's going with all of this. Wood is impressive as usual, and there are some nice supporting performances by James Woods and Ron Livingston, but the script is a bit shallow until we get toward the end, and the directing is a bit heavy-handed by then. It's still worth a look, but it's not nearly as strong of a film as it should be. R for language and sex.

PRETTY UGLY PEOPLE (R) 95 minutes * ½ Getting together for this camping trip will definitely put their friendships to the test. Lucy (Missi Pyle) was just trying to show her old friends how much she’d changed, but it turns out that she really hasn’t… and neither have they. Melissa McCarthy is a little bit less extreme here, but still the focus of most of the humor. The biggest problem here is that we have little reason to like any of these characters very much. R for language and sex.

PRETTY WOMAN (R) 116 minutes * * * Charming, witty, fun modernization of the Cinderella story with Richard Gere and Julia Roberts. Gere and Roberts work well together and make this a delight to watch and James Newton Howard's soundtrack does a nice job of moving our emotions along with the story. And just in case you wondered, Gere wrote and performed the piano solo himself.

PREVENGE (NR) 87 minutes * * Postpartum depression is a fairly common occurance. Ruth (Alice Low) is having a rather unusual case of prepartum madness. Her baby is telling her to kill. She doesn't want to, but she can't ignore the voice of her unborn child. A dark and somewhat unusual comedy.

PREY (PG-13) 81 minutes * * It's not really clear why a survivalist camping experience is the best treatment for someone who has had a traumatic experience. After his father is murdered, Toby (Logan Miller) is sent to a remote and supposedly uninhabited island where he is to spend three days on his own. He meets Madeline (Kristine Froseth), who lives on the island and has had a traumatic experience of her own. There's something else that lives here too, and there are things that are not what they seem. It's a good story, though there are a couple of holes, and the end isn't as strong as it should be. PG-13 for violence and language. PREY (2022) (R) 90 minutes * * 1/2 Naru (Amber Midthunder) has always wanted to be a hunter. No one really thinks that she has what it takes, but she is about to prove them wrong. The story moves along very slowly, making sure that we understand each piece of the puzzle as Naru continues to improve her hunting skills. It creates a story that is unevenly paced, though it is definitely an interesting addition to the series of "Predator" films. R for violence.

PREY FOR THE DEVIL (PG-13) 87 MINUTES * * 1/2 Nuns are rarely allowed to take part in an exorcism. Ana (Jacqueline Byers) has a personal history with this particulare demon though, and she also has an ability to reach through the possession and communicate with the one being possessed. Rather than focusing on the horror elements, the film goes more for a re-enactment style of presentation. It actually makes the horror a little more effective. Chilling ending. PG-13 for violence and language.

PRICE CHECK (NR) 87 minutes * 1/2 Strange drama with touches of comic relief in a few spots. It's essentially two stories, Pete (Eric Mabius), who is struggling to make ends meet, and who would rather live his dream of working in the music business, and Susan (Parker Posey), who uses people and situations to climb the corporate ladder. Their lives intersect for a moment, strongly, but not in a healthy way. Posey tends to play her standard, sarcastic character here, which doesn't really fit that well in this story.

THE PRICE WE PAY (R) 82 minutes * It was supposed to be a simple robbery, but it doesn't go as planned. In an attempt to let the heat die down, they stop at a farmhouse with their cooperative hostage. But the people who live in this farmhouse are... less than hospitable. Gross effects, but not really very original, and the story tries to be more complex than it needs to be, which tends to have a negative effects. R for violence and language.

PRICELESS (PG-13) 97 minutes * * * She is absolutely beautiful, and he would give anything to be with her... and he will. She has a taste for the finest things in life, which he really can't afford. But can you put a price tag on love? Adorable and feisty performance by Audrey Tautou, complimented quite well by a charmingly confused performance by Gad Elmaleh. Fun romantic comedy, loosely adapted from "Breakfast at Tiffany's".

PRICELESS (2016) (PG-13) 96 minutes * * It was a simple job. Drive a truck across the country and don't ask any questions. Of course, when he learns what the cargo is, he's drawn into something much more sinister. Despite the topic, this maintains a relaxed and gentle tone. That tends to support the Christian message, which gets really thick at the end. PG-13 for language and violence.

PRIDE (PG) 103 minutes * * * It may be a run down community recreation center to some, but to Jim Ellis (Terrence Howard) it represents possibility and promise. And to a group of youth from the area, it may just provide an opportunity for them to be more than they ever dreamed possible. For the past 33 years, the real Coach Ellis' is still coaching, still teaching pride, determination and resilience, and still inspiring those around him. Howard gives a solid performance here as do Bernie Mac, Kimberly Elise and the rest. Among the sub-genre of inspirational sports films, this one is definitely quite good. PG for language and violence.

PRIDE (R) 114 minutes * * * 1/2 When the miners go on strike, the last place they expect support from is a small group of lesbians and gays. Things are about to change in this little town, but changing minds takes time, and doesn't come without struggle and pain. Wonderful ensemble cast. R for language and sex.

PRIDE AND GLORY (R) 125 minutes * * * Scandal within the ranks of New York's finest threatens to bring down the force and tear apart a family. Ray (Edward Norton) discovers not only that his own brother-in-law (Colin Farrell) is involved, but that the corruption goes even deeper. Solid police drama with great work by Norton and some fine supporting performances by Farrell, Noah Emmerich, and Jon Voight. R for violence and language.

PRIDE & PREJUDICE (2005) (PG) 122 minutes * * * Very nice adaptation of the classic story by Jane Austen about the conflicts when class differences clash with love. Keira Knightley is very good as Elizabeth, but even better is Matthew MacFadyen as Mr. Darcy, lending the role a bit more sensitivity than often seen. Judi Dench and Brenda Blethyn are here as well, and along with Donald Sutherland provide solid supporting performances. Sets and costumes are very nice here as well, and it was especially nice to watch the camera work in the dance sequences which manages to do a wonderful job of helping you feel the motion without becoming too disorienting. PG for language.

PRIDE AND PREJUDICE AND ZOMBIES (PG-13) 97 minutes * * 1/2 The Bennet sisters deal with both suitors and zombies in 19th century England. Nicely done with tongue-in-cheek humor. The presence of zombies is simply taken for granted and dealt with from time to time as a strong subplot of the story. This approach makes it a rather fun story and lightens the tone of the horror element of the film. PG-13 for violence.

PRIEST (PG-13) 80 minutes * * * The battle between humans and vampires has raged for centuries. Warrior priests were trained to fight and at one point, the battle appeared to be over. But reports of a new series of attacks have surfaced, and one warrior priest is determined to rise to the challenge and stop them. Great cast! Adapted from the graphic novel series, this sets up nicely for a sequel, but that may or may not happen. PG-13 for violence and language.

THE PRIESTS: EXORCISM (NR) 104 minutes * * Another exorcism film, this time from a South Korean perspective. Two priests, one with a great deal of experience, the other one young and inexperienced. And a young girl who is possessed and in desperate need of help. Dry and slow-moving, with some unintentional humor in a few spots. This tries so hard to cover all of the standard points of an exorcism story, and does so, but with little energy. The ending works a little better, providing a bit of excitement that is lacking in the rest of the film.

PRIMAL (R) 75 minutes BOMB Something is in the woods and it's killing people. I guess it's that guy in the cheap bigfoot suit with fangs. Low budget monster flick with cut-shot photography and bad special effects. Real bargain basement material. R for violence and language.

PRIMAL FEAR (R) 127 minutes * * * I love the ending of this twisted courtroom case film with Richard Gere as the defense attorney. Taken from William Diehl's novel, this has plenty of false leads and great acting by Gere, Alfre Woodard, and others. It doesn't have the extremes of "Silence of the Lambs", but it delivers enough to satisfy and make us remember the ending for a long time.

PRIMAL RAGE (R) 102 minutes * The Native Americans of the Pacific Northwest know of the legend of Oh-Mah (nigfoot). Max (Andrew Joseph Montgomery) and Ashley (Casey Gagliardi) are about to come face to face with it. So are a number of other people. The story wanders all over the place, and the bigfoot in question is more of a gorilla. Despite some nice scenery and some suspenseful music, this just never really pulls together. R for violence, language, and sex.

PRIMARY COLORS (R) 136 minutes * * * With only passing resemblance to the Clinton administration, this is less a story of a presidential campaign and more a story of idealism and innocence abusively run through the political ringer. Henry Burton (Adrian Lester) finds himself working for Jack Stanton's (John Travolta) campaign. Swept along by the excitement and the dream, he finds himself caught off guard and having to make decisions he doesn't like. Billy Bob Thornton and Kathy Bates have the strongest roles here, though most of the acting is first-rate. The script is a bit uneven in spots, but most will find this an interesting and absorbing behind-the-scenes look at politics. R for language.

PRIME (PG-13) 101 minutes * * 1/2 Raphael (Uma Thurman) finds herself in a relationship with a younger man, but it seems to be just what they both need. And at first, her therapist (Meryl Streep) is all in favor of it... until she finds out who the young man is. The script is stiff and awkward at times, and we have a hard time connecting with the characters as a result. The ending does have a nice, bittersweet touch, but it's a bit too little too late. PG-13 for language and sex.

PRIMER (PG-13) 76 minutes * * Two young engineers working on an experiment in a garage on their own time, find they have the ability to travel back in time. The reality of it is something that affects them each differently as they make different choices about what to do with the information they gain. The low budget production values here lend the film a realistic feel at times, but the photography is often distracting. It's an interesting blend of drama, science fiction, and mystery from writer/director Shane Carruth. PG-13 for language.

PRIMEVAL (R) 89 minutes 1/2 Gustave is a local legend. A giant crocodile who has a taste for human flesh. Now a news crew is attempting to catch Gustave. Of course, that doesn't go as planned. The effects are reasonable, but the story is incredibly boring, and more than a bit predictable... surprise, surprise. R for violence and language.

PRIMITIVE (R) 83 minutes BOMB When Martin (Matt O'Neill) returns home for his mother's funeral, people begin to die. Violently. Somehow, it appears that Martin may be responsible. The idea isn't bad, but a sloppy script and a super low budget don't give this much of a chance to go anywhere. R for violence, sex, and language.

PRIMO LEVI'S JOURNEY (NR) 87 minutes * * * Sixty years after Primo Levi journeyed from Auschwitz to his home in Turin, Itlay, the journey is undertaken again. While many things have changed in the decades that have passed, others have remained the same. An interesting look at past, present and the power of history and memory.

THE PRINCE (R) 87 minutes * * 1/2 A retired assassin faces off with an old rival as he tries to rescue his daughter from her kidnappers. Lots of gunplay and a few other bits of solid action. In fact, quite a bit of action in a rather brief film. Nice supporting roles for John Cusack and Jessica Lowndes, and Jason Patric does well in the lead. The story itself is rather stale and boring though. R for violence and language.

THE PRINCE & ME (PG) 106 minutes * * 1/2 Prince Edward (Luke Mably) just wants to get away from all of the royal "stuff" and experience some real life. When he finally does, what he finds is a little more than he bargained for... a girl who really cares for him. She wasn't looking for love, but she finds a prince, and that maybe she's been missing out on life just as much as he has. Mostly due to Stiles' acting, which tends to feel very genuine, this works fairly well. It's nothing spectacular or out of the ordinary, but it's a tender and romantic film that delivers several nice moments. PG for language.

THE PRINCE & ME II (PG) 94 minutes * 1/2 Kam Heskin is no Julia Stiles, but that's not the real problem here anyway. As the marriage date approaches, tensions run high, and an old flame of Prince Edward's shows up to stir up trouble and try to marry him herself. Of course her attempt fails and everyone loves Paige. The story is boring and old, and Kam is actually the only one who seems to be really trying to make this work. Through no fault of her own, it just doesn't work. Even fans of princess stories will probably find this lacking. PG for language.

THE PRINCE AND THE PAUPER (2007) (PG) 85 minutes * 1/2 Updated version of the classic story with Cole and Dylan Sprouse playing the parts of the two young boys who trade places to discover the differences between their worlds of plenty and poverty. The Sprouse twins seem to wander through this without exhibiting all that much in the way of talent. PG for language.

PRINCE AVALANCHE (R) 91 minutes * 1/2 Alvin (Paul Rudd) and Lance (Emile Hirsch) are spending the summer painting the lines on a desolate stretch of highway. They miss the city life and the women who are waiting for them to return. Based on the Icelandic film, "Either Way", which may explain some of the dry humor as well as the quirky wandering that the film does. The original was undoubtedly better. R for sex.

PRINCE KILLIAN AND THE HOLY GRAIL (NR) 107 minutes * * 1/2 It's up to Prince Killian (Sergio Peris-Mancheta) to reclaim the holy grail and save the kingdom. There are those who will fight at his side, but understanding and accepting his destiny does not come easy. Adapted from the Spanish comic book series. It's a good adventure film, not great, but good, though Peris-Mencheta is not a great choice for the lead role here.

PRINCE OF BROADWAY (NR) 98 minutes * 1/2 The New York wholesale fashion district is where Lucky (Prince Adu) and Levon (Karren Karagulian) are both trying to make a living selling knock-offs. But when a former girlfriend of Lucky's drops off a baby, he's stuck trying to figure out how to deal with it. Reality style film that tends to just wander around. Most of the dialogue for the film is improvised, and we tend to lose interest as it's often repetitice and doesn't provide much direction or development for the characters to explore.

PRINCE OF DARKNESS (R) 97 minutes * * * Moody and atmospheric presentation that has the look and the music down quite well. Director John Carpenter scores most of his own films and has become quite good at creating the mood he intends. The story needs a bit more in the detail department to give us the information we need. The emphasis is on psychological horror here, so don't expect much gore. Nice ending!

THE PRINCE OF EGYPT (PG) 91 minutes * * * The animation is wonderful here, and the Broadway style music that runs through the film adds to the rich and elegant feeling of the whole production. The drawbacks are that you really do need to already know the story of Moses to understand several of the sequences. The story has been stretched a bit, but already knowing it really helps. As well, there is a great deal of implied violence and a good bit of mysticism as well. Younger viewers may get a bit confused and/or scared. That's why it has the PG rating.

PRINCE OF PERSIA: THE SANDS OF TIME (PG-13) 108 minutes * * * An orphan boy, Dastan's (Jake Gyllenhaal) act of courage results in him being adopted by the king and raised as a prince. Treachery and deceit result in the death of the king, and Dastan and the mysterious princess Tamina (Gemma Arterton) have to save the world from destruction. It's a wonderfully adventurous story with stunningly beautiful scenery. The humor seems a bit misplaced at times, but otherwise, it's a fun ride! PG-13 for violence and language.

THE PRINCE OF TIDES (R) 127 minutes * * * * Tom Wingo (Nick Nolte) leaves his precious South Carolina homeland and travels to New York City to help his sister, who has attempted suicide... again. Her psychiatrist is trying to reconstruct the family's history and Savannah just can't remember very much. But Tom has troubles of his own. A failing marriage, a dislike for the big city, a growing infatuation with Savannah's doctor, and the simple fact that he doesn't want to remember everything from his childhood. But the past can be a powerful teacher, if we are willing to learn from it. Pat Conroy's book about self-discovery and loyalty translates well to the screen. Barbra Streisand's direction is superb, and Nolte delivers a first-rate performance. I don't make this kind of substitution often, but I think Angelica Huston would have been a better choice for the psychiatrist. No matter, it's still a fine film that will stay with you for a long time. R for violence and language.

PRINCESS: A MODERN FAIRYTALE (NR) 88 minutes * * 1/2 On a dare, William (Kip Pardue) bids on, and wins, a date with a princess. After using a pick-up line his friend gives him, the princess thinks William has been sent to help locate her successor, who will also be able to magically communicate with the creatures from other realms. William, on the other hand, has no idea what he's in for, except that he's pretty sure he's falling in love. It's a cute, magical story, and fun, light, family entertainment.

THE PRINCESS AND THE FROG (G) 90 minutes * * * 1/2 Tiana just wants to get enough money to start the restaurant she's been dreaming about for years. Her friend Charlotte wants to be a princess. But when the eligible prince actually comes to town, he ends up getting turned into a frog and falling for Tiana. Disney's version of "The Frog Princess" is a jazzy, toe-tapping, fun film with delightful characters and wonderful hand-drawn animation. Randy Newman's soundtrack is wonderful, and a great addition to his considerable portfolio. the scary bits in the film are fairly brief and not too much for most of the youngest in the audience to deal with. Featuring the voices of Anika Noni Rose, Jim Cummings, Oprah Winfrey, Terrence Howard, John Goodman, and Emeril Lagasse.

THE PRINCESS AND THE GOBLIN (G) 78 minutes 1/2 One of the most incredibly boring cartoons ever, with a lackluster story and dialogue that is just plain awful. And then there's that theme song... that's repeated over and over and over...

THE PRINCESS BRIDE (PG) 95 minutes * * * Fairy tale about a princess whose prince must find and rescue her with lots of complications along the way. The film is full of delightful characters and characterizations, but it's overplayed a bit at times as well. Adapted from William Goldman's book and well-directed by Rob Reiner. Mandy Patinkin delivers the best performance, but he's well supported by Chris Sarandon, Robin Wright, Wallace Shawn, Billy Crystal, Carol Kane, Fred Savage, Andre the Giant and several others.

PRINCESS CARABOO (PG) 94 minutes * * * 1/2 One of the most overlooked films that ever hit the theaters. A vagrant foreign girl appears from nowhere... who is she? Could she be the princess that all the townspeople want to believe in? Phoebe Cates gives her best performance here, supported well by Stephen Rea, Kevin Kline, and John Lithgow. What makes this even more interesting is that it's based on a true story.

PRINCESS CUT (NR) 93 minutes * 1/2 Stewart (Taylor Michael Mead) has special plans for his relationship with Grace (Ashley Bratcher), but it's too fast for her, and less respectful than she had hoped. She and her parents want a God-centered relationship. Acting and dialogue are both stiff and awkward.

PRINCESS CYD (NR) 93 minutes * * 1/2 Cyd (Jessie Pinnick) is tired of being with her father and gets permission to go and live with her aunt for the summer. Cyd is 16, and beginning to more aggressively explore her sexuality. The characters seem a little awkward, but it's an awkwardness that does a good job of reflecting reality. It just isn't always that easy to watch.

THE PRINCESS DIARIES (G) 109 minutes * * * Delightful and entertaining "ugly duckling" story, with Mia (Anne Hathaway) discovering that she really is a princess. The hard part will be learning what it really means to be a princess, and growing up along the way. Well-acted and fun to watch, this manages to do it all while keeping it clean enough for a G rating. Great job!

THE PRINCESS DIARIES 2: ROYAL ENGAGEMENT (G) 107 minutes * * * Princess Mia (Anne Hathaway) has turned 21 and now finds out that she must marry within a month if she wants to become queen. This sequel is a bit more romantic than the first as far as story, but is still filled with the humor and charm that made the first one so appealing. A very nice job by all, and a very nice sequel... which is quite rare. Filmed in Los Angeles.

PRINCESS KAIULANI (PG) 92 minutes * * * She is the last of the royal family who will rule the islands of Hawaii. Kaiulani (Q'orianka Kilcher) rightfully doesn't trust one of her uncle's advisors, but by the time he realizes the truth, it's too late. Kailuani isn't on the island when the fighting breaks out, and by the time she learns of what has happened, much has changed. She doesn't give up though, and fights for the rights of her people, despite the odds against her. Well-told story, and gorgeous scenery. PG for violence and language.

PRINCESS PROTECTION PROGRAM (NR) 88 minutes * * Only a month before her coronation, Rosalinda's (Demi Lovato) life is threatened and she finds herself needing to leave the country and become part of the Princess Protection Program. Posing as Carter's (Selena Gomez) cousin won't be easy... for either one of them. Fun Disney TV movie. Not much depth, but entertaining enough that you won't consider it a waste of time.

THE PRINCIPAL (R) 107 minutes * * Jim Belushi plays the part of a teach who gets in trouble for his violent conduct in a bar and then gets promoted ot the position of principal... at a high school where they send all of the worst juvenile delinquents. Belushi does a great job here, despite a paper-thin story and mediocre music. Well cast, with some nice supporting performances from Lou Gossett Jr., Rae Dawn Chong, and Kelly Minter.

PRISONER X (NR) 84 minutes * * 1/2 Prisoner X is being detained in a secure, underground facility. Finding out more information is imperative as he appears to be a time traveller. His arrival may be the cause of the current global situation. This is the kind of espionage/conspiracy film that may take a second viewing to fully understand, but it is good. Adapted from the novel "Truth" by Robert Reed.

PRISONERS (R) 146 minutes * * * With his daughter and her friend missing, Keller (Hugh Jackman) isn't convinced that the police are doing all that they can, so he decides to investigate on his own. But evidence can be misleading. Fairly intense and well-paced mystery/suspense story, but Jake Gyllenhaal is almost too laid back as the detective, making Jackman's emotions and actions appear almost cartoonish. As with many films in this genre, the story tends to get rather convoluted before the pieces begin to fall into place near the end. R for violence and language.

PRISONER'S DAUGHTER (R) 96 minutes * * 1/2 Max (Brian Cox) only has a few months left. He can serve out his time under house arrest if his daughter (Kate Beckinsale) is willing to take him in. Against her better judgement, and mostly for the money, she agrees. There's a little unevenness to the story, and it moves a little slowly, but very nice wirk by the cast. The title would have us believe that the story is about Beckinsale's character, but it's really about Cox's R for language and violence.

PRIVATE FEARS IN PUBLIC PLACES (NR) 122 minutes * * * 1/2 Interlaced stories tell the journeys and struggles of six individuals as they try to find love and meaning in their lives. The film not only offers a great deal of talented acting, but quite a bit of symbolic imagery skillfully presented through photography by the director. It's a film that is interesting and also designed to make you think a bit as well.

PRIVATE LESSONS (R) 84 minutes * ½ Like most boys his age, Phillip (Eric Brown) is more than a little preoccupied with sex. It doesn’t help that his father just hired a sexy maid to look after the house while he’s off on a business trip. The chauffer (Howard Hesseman) has other ideas about what to do while the boss is gone. Hijinks ensue, but the point of the film is to tease us with sex as well, which is less successful than it is on Phillip. R for sex and language.

THE PRIVATE LIVES OF PIPPA LEE (R) 93 minutes * * * As Pippa (Robin Wright Penn) and her husband (Alan Arkin) move into a retirement condo, their lives begin to change. Pippa begins to reflect on her past, and wonders what lies ahead. She also starts sleepwalking. A mid-life coming-of-age story with Penn doing a great job. Winona Ryder seems a bit miscast here, and overplays most of her scenes, but it's still an interesting story. R for sex and language.

PRIVATE PEACEFUL (NR) 95 minutes * * 1/2 Two brothers leave their life on a farm for the field of battle in World War II. Neither life is easy, but they have been raised to do the best they can with everything they have. A personal look at two young men growing up during the war. Nothing outstanding, just a good, solid war drama.

PRIVATE SCHOOL (R) 85 minutes * * A girl at an all-girl’s school (Phoebe Cates) and a boy at an all-boy’s school (Matthew Modine) try to figure out how to get together. The love story here is actually not bad, but the film spends too much time teasing us with sex and not enough time with characters that could have been even stronger and more interesting. R for sex and language.

PRIVATE VALENTINE (PG-13) 95 minutes * Her savings gone, pampered movie star Megan Valentine (Jessica Simpson) enlists in the Army. It sounded like the right thing to do at the time, but it's not as easy as it looks. Neither is making a good movie. Simpson primps and poses for the camera, but it's not enough to keep our interest. PG-13 for language and sex.

A PRIVATE WAR (R) 103 minutes * * * What she loved most to be able to give voice to the stories that would otherwise not be heard. Marie Colvin (Rosamund Pike) was a fearless and determined war correspondent who stopped at nothing to do just that. A solid performance by Pike anchors this powerful biographical drama. R for violence, language, and sex.

THE PRIZE WINNER OF DEFIANCE, OHIO (PG-13) 92 minutes * * 1/2 True story of a woman who won thousands of dollars in contest prizes, which helped put food on the table for a large family during the tough times. Julianne Moore does a nice job here, but the struggles her character faces with a husband who feels belittled by his wife's successes keep this from being a pleasant film to watch. Nice to have the real Ryan family in the closing sequence of the film. PG-13 for language and violence.

PROBLEM CHILD (PG) 75 minutes * 1/2 Junior (Michael Oliver) is a problem child. But if you'd been moved from home to home for all seven years of your life, how could you be expected to act responsibly, to show respect or love, or to care about much of anything? Isn't this supposed to be a comedy though? The acting is carboard at best, and the dialogue is overly rude and actually merits a PG-13 rating.

PROBLEM CHILD 2 (PG-13) 84 minutes 1/2 Another of those sequels to a film where the first one wasn't very good to begin with. Trixie (Ivyann Schwan) is the cute little girl in the neighborhood who is a devil in disguise. Lots of cartoonish violence and nothing much to impress us. PG-13 for crude humor.

THE PRODIGAL (PG) 112 minutes * * A contemporary retelling of the Biblical story of the prodigal son, who leaves his comfortable life at home in search of success on his own terms. The story ends well, but the characters are rather stiff and shallow, though there are a few good scenes.

THE PRODIGY (R) 87 minutes * 1/2 Always a bit of a unique child, Miles (Jackson Robert Scott) is more than meets the eye. He just may be the reincarnated soul of a vicious killer. Is there a way to get rid of the killer and keep the little boy? Mildly creepy, but the story doesn't have much depth, and just keeps hitting the same note over and over. R for violence and nudity.

THE PRODUCERS (2005) (PG-13) 126 minutes * * * Who would have thought that you could make money by producing a Broadway show that is a flop? That's just what Leo (Matthew Broderick) and Max (Nathan Lane) discover is possible. Adapted from the stage musical that was adapted from the 1968 movie, and directed and choreographed by Susan Stroman, who did the same for the stage production. It definitely doesn't have the same sort of charm as the original, but if you like either Lane or Broderick, you'll find this well worth the time. They both have fun recreating their roles from the Broadway production. PG-13 for language.

THE PROFESSIONAL (R) 104 minutes * * 1/2 Her parents and family now dead, Matilda (Natalie Portman) convinces her neighbor to take her in, and teach her the ways of his profession... a hit man. Portman is perfect, and Jean Reno is convincing as a man who is fascinated by the attentions and the dilemma this young girl bring into his life. Director Luc Besson has a talented eye for both story and presentation.

THE PROFESSIONAL BRIDESMAID (NR) 84 minutes * * 1/2 Maggie (Hunter King) has been hired to do a very high profile wedding. She's a professional bridesmaid. (While a wedding planner plans the wedding, a professional bridesmaid makes sure that things go smoothly for the bride and the bridesmaids.) This time, Maggie has to keep her own identity a secret from a prying reporter... who can also be rather charming. King's charm helps make up for a couple of weaker spots in the story.

THE PROFESSOR (R) 88 minutes * * 1/2 Learning about his terminal cancer diagnosis, Richard (Johnny Depp) begins to change his behavior and takes lots of risks that he hadn't been. He's also speaking his mind like he never has before. But then he begins another journey. One that will begin to set things right in his life. The ending of the film, which is metaphor turned reality, will not be to everyone's liking, but it fits the character well. Nice work by Depp. R for language and sex.

THE PROFESSOR AND THE MADMAN (NR) 119 minutes * * * Compiling the list of words for the first edition of the Oxford English Dictionary was a Herculean task. Professor James Murray's (Mel Gibson) approach was unorthodox, but it was succeeding better than any previous attempt. He receives some invaluable assistance from an unexpected source. Dr. William Minor (Sean Penn), and patient/prisoner at the Broadmoor Criminal Lunatic Asylum. Stellar work by Gibson and Penn, but also a number of strong supporting performances. Adapted from the book by Simon Winchester.

PROFESSOR MARSTON AND THE WONDER WOMEN (R) 103 minutes * * * Professor William Marston (Luke Evans) was an unconventional psychologist who explored sexual desire and repression. Some of his researc involved his wife and their research assistant. And his experiences with them informed the creation of the comic book character, Wonder Woman. The film dies a wonderful job of mixing love and science, truth and forgiveness, the depth of history, and the power to change. R for sex and language.

PROFILE (R) 103 minutes * * 1/2 It was an assignment for his job as a journalist. Go undercover to find information about propaganda from the Islamic state and how they recruit people. And then she gets sucked in. Much of the film is through social media visualization since that is how she is doing the research and how she is recruited. Intense. R for language.

THE PROGRAM (R) 111 minutes * * A college football program that has had two poor seasons and whose continuation rests on the shoulders of the coach and his current team. James Caan gives a listless performance, though the supporting cast of the team all do fairly well. They give us a better glimpse of the talent and heartbreak you would expect from a story such as this. Filmed at Duke University and the University of South Carolina.

THE PROGRAM (R) 97 minutes * * * When Lance Armstrong (Ben Foster) started winning the Tour de France, some people began to have suspicions about how that was happening. There is a science to the sport, and Armstrong's performance was not making scientific sense. The investigation, and the scandal that followed had a profound impact on all competitive sports. Nice work by the ensemble cast. The story plays a little too much like a tabloid news version, though the performances give it a little more class and strength. R for language.

PROJECT ALMANAC (PG-13) 101 minutes * * Discovering plas for a time machine in the basement is quite intriguing to these scientifically oriented teens. But actually building it and operating it lead to some difficulties. Not the least of these is some of the faulty logic in the story. The first-person camera-work is annoying and unnecessary, though the performances and dialogue are fine. PG-13 for language and sex.

PROJECT CHRISTMAS WISH (NR) 83 minutes * * 1/2 Max (Averie Peters) just has one wish for Christmas... that it was the way it used to be before her mom died. Lucy (Amanda Schull) runs a small non-profit that grants wishes for Christmas. She''d love for it to be able to grant wishes all year long. There's something else she wishes for. It might be Max's dad (Travis Van Winkle). Perhaps this Hallmark movie will be able to grant all of these wishes at once.

PROJECT ITHACA (R) 79 minutes * * They come from different places, and even different times, but they have a common goal... to escape from the aliens who have abducted them. The pacing and flow of the story struggle to do this film justice. It starts well, but soon begins to drag. Then, just as it begins to pick up the pace and begin to get exciting... it's over. R for language, violence, and sex.

PROJECT NIM (PG-13) 95 minutes * * * Detailed account of the experiment from the 1970s, where an infant chimpanzee was raised as a human to see if language could be learned. But Nim is not human, and the lack of scientific controls on the experiment meant that it was more often an anecdotal sociological study. Even so, it still taught us quite a bit about both chimps and humans. Not always pleasant to watch, as it details Nim's rather harsh living conditions at a few points in his life, but a film that is willing to show the bad with the good, and note how poorly we often do research that could be so informative. PG-13 for language and violence.

PROJECT X (PG) 102 minutes * * Virgil is a very talented chimpanzee. His talents are going to to go to waste now that he's been sold to the U.S. Air Force for flight experiments involving exposure to radiation. His talents aren't the only ones going to waste. Helen Hunt deserves better than this, as do cinemtographer Dean Cundey, and composer James Horner. Not that this really had the potential to be a four-star film, but Matthew Broderick's acting and poor direction and writing turn this into little more than sentimental mush.

PROJECT X (2012) (R) 82 minutes 1/2 Thomas (Thomas Mann) is having a 17th birthday party, and his parents aren;t going to be home this weekend. Its a party gone wild and wrong, and it doesn't take much talent to do point-of-view filming at a wild party. R for sex and language.

PROM (PG) 96 minutes * 1/2 The last night, the last dance, one perfect moment when the last four years don't matter. But when the prom decorations are destroyed by fire, it's going to take a lot of work to make that happen. Not the pretty, happy, Disney teen movie you might expect, though its still full of stock characters and cliche relationships. PG for language.

THE PROM (2020) (PG-13) 123 minutes * * * Dee Dee Allen (Meryl Streep) and Barry Glickman (James Corden) just received some very bad reviews for their latest Broadway show. They decide that they need a cause to support that will prove that they aren't self-obsessed celebrities. They head to Indiana, where a prom has been cancelled instead of allowing a gay couple to attend. It's another delightful performance from Streep, but the entire cast clearly has fun with this at the same time they address the more serious aspects. Adapted from the Broadway musical. PG-13 for language.

PROM NIGHT (2008) (PG-13) 86 minutes * * Although billed as a remake, this bears little resemblance to the 1980 film. The original is about revenge for the death of a child, where this one is about an teacher who is still obsessed with the student whose family he killed. Brittany Snow does a nice job here, but this is basically just a standard slasher horror film. PG-13 for violence, sex, and language.

PROM WARS (R) 86 minutes * * The boys' schools of Selby and Lancaster are in an all-out war for the right to take the girls of Miss Aversham's and Miss Cronstall's School for Girls to the senior prom. The acting is reasonable, but the story just isn't that exciting or creative. The boys are put through a series of challenges, but these are glossed over in an attempt to get to the end more quickly. it's too bad, as it might have been more fun to actaully see more of that part of the film. R for language and sex.

PROMARE (PG-13) 105 minutes * * * It's thirty years after the Great World Blaze, and fighting fire has gone to a new level. One of the top firefighting crews is about to learn some very important information from some of those who start fires. Very energetic story with lots of fast-paced animation.

PROMETHEUS (R) 113 minutes * * * Thre have been references to a mysterious planetary system throughout the course of our history. Now that it has been located, perhaps it is possible to connect with or at least learn about those who are apparently responsible for our existence on Earth. Serving as a sort of pre-prequel to "Alien", director Ridley Scott lays out a story that will set the stage for what will follow. While clearly not answering many fan questions about "what happened before "Alien"", this film does provide background about what led to some of the events that happened. A very nice entry in the series, and well worth a look. R for violence and language.

THE PROMISE (PG-13) 97 minutes * * * In exchange for the promise of beauty and admiration, a young woman will never know the pleasure of a life with the man she loves. At first, she finds this an acceptable arrangement, but as she grows older, it causes her more and more pain. Is there a way around this promise? How much is she willing to risk? Beautiful story, well-told and well-acted, with a sense of magic that wraps you up in it's spell. Written and directed by Kaige Chen. PG-13 for violence and sex.

THE PROMISE (2016) (PG-13) 125 minutes * * 1/2 A love triangle set during the final days of the Ottoman Empire. The story manages to balance the intimate and romantic aspects with the violence of war quite well. What it doesn't do very well is show the scope of the genocide that the Turks were able to accomplish. There is some mention of it at the end, but the darkness of it would undoubtedly overshadow a love story if given a chance. PG-13 for violence and sex.

PROMISED (NR) 90 minutes * 1/2 At a very young age, Robert and Angela were promised to each other by their fathers. It's the way it was done in those times. Twenty-one years later, Robert (Daniel Berini) and Angela (Antoniette Iesue) are expected to marry. If they don't, there will be problems. The script lacks both charm and wit, approaching the story as a drama that focuses on the tension between the characters. It makes for a rather dry story.

PROMISED LAND (R) 102 minutes * * 1/2 Steve (Matt Damon) and Sue (Frances McDormand) are good at their jobs. They go into small towns and buy up the rights to natural gas that lies under the ground. Frank (Hal Holbrook) has some other ideas, and he's a pretty tough cookie. McDormand does a nice job here, but Damon never seems really interested, which undermines the strength of the twist that comes late in the story. R for language.

PROMISING YOUNG WOMAN (R) 108 minutes * * * 1/2 She once had a promising prospective career as a doctor. But after a traumatic event, Cassie (Carey Mulligan) finds her life taking a different and more vengeful course. In her feature film debut as both writer and director, Emerald Fennell has delivered a powerful piece that strikes a delicate balance between cynicism and hopefulness. Carey Mulligan's character is both disarmingly charming and disturbingly sinister. A fine piece of work. R for violence, language, and sex.

THE PROMOTION (R) 81 minutes BOMB Doug (Seann William Scott) is due for a promotion from assistant store manager at the grocery... until Richard (John C. Reilly) comes to town. The competition between the two lacks energy and the entire film lacks humor. Even die-hard fans of Reilly and/or Scott are likely to find this a bit boring. R for language.

PROOF (PG-13) 94 minutes * * * Solid performance from Gwyneth Paltrow as the daughter of a brilliant mathematician (Anthony Hopkins) who grew mentally unstable in his later years. She put aside her own pursuits to take care of him and now wonders about her own sanity. Jake Gyllenhaal plays another student at the university where Hopkins character taught, and helps put some of the pieces of the puzzle together as events begin to spin out of control. Nice supporting performance from Gyllenhaal and Hopkins is always a treat to watch. PG-13 for sex and language.

PROOF OF LIFE (R) 125 minutes * * 1/2 Peter Bowman (David Morse) is on his way to work when terrorists take him and several other people hostage. It's a fairly common occurance in some locations, and is a fairly effective way for some terrorist organizations to raise money. The only problem for Peter is that the company he works for has no insurance money to cover this sort of situation as they are in the middle of disolving. The story definitely wanders around before getting to the point, though the performances by Morse, Meg Ryan, and Russell Crowe are solid. The last half hour of the film works well, and things are set up nicely at the beginning. Now, if we just could've fixed the middle... R for violence and language.

PROOF OF THE DEVIL (NR) 73 minutes 1/2 A grieving mother wants to be possessed by the same spirit she claims possessed her son, forcing him to kill, for which he was sexecuted. Her hope is to vindicate him by proving he wasn't liable for his actions. She wants a doctor's support and a film crew's documentation as proof. Not a particularly bright idea, but what really does this in is the poor editing.

THE PROPHECY (R) 93 minutes * * Strange satanic horror film with Christopher Walken as the angel Gabriel. Spouts a rather unique theology involving people choosing to go with Lucifer if they want to go to Hell. The talented cast (Eric Stoltz, Virginia Madsen, Amanda Plummer) are somewhat stymied by a plot that has to explain too many things as it goes along.

THE PROPHECY: FORSAKEN (R) 70 minutes * 1/2 A continuation of "Prophecy: Uprising", with the fight over the Lexicon continuing. Lots of posturing without much action, and the ending feels really incomplete... as if they were counting on yet another sequel that just never materialized. R for violence and sex.

THE PROPHECY: UPRISING (R) 83 minutes * * The first three films in this series dealt with the war against evil that was taking place in the hope of saving humanity. The last two films (this one and "The Prophecy: Forsaken") focus on the Lexicon, an ancient text that could decide the outcome of the angelic war. It must be protected and kept from falling into the wrong hands. Mediocre acting and script make it less interesting and more tedious. R for violence and language.

A PROPHET (R) 143 minutes * * * He's been in juvenile detention centers until now. But this time around, Malik (Tahar Rahim) is going to be in with the adults. Without any friends, he finds himself working for the Corsicans to get some protection. The Arabs in the prison treat him like a traitor, and the Corsicans don't treat him well for long either. Nice work by Rahim in a film that has an almost documentary feel to it at times. R for violence, sex, and language.

THE PROPHET (PG) 78 minutes * * * The story is cute, but the focus is on the poetry and philosophy of Kahlil Gibran, and we really don't need a story for that. There is a deep and powerful beauty to those words, and the animation that accompanies them is simply beautiful. PG for violence and sex.

THE PROPOSAL (PG-13) 103 minutes * * * Margaret (Sandra Bullock) is going to be deported, so she proposes to her secretary, Andrew (Ryan Reynolds). Margaret is not the most pleasant person, but if Andrew wants to keep his job, he has to do what she asks. Bullock is delightfully snippy here, and Reynolds and Betty White play off of it quite well. In fact, their supporting performances give this the extra edge it needs to make it fun to watch. PG-13 for language and sex.

THE PROPOSITION (R) 97 minutes * * 1/2 Charlie (Guy Pearce) has a dilemma. The only way to save his younger brother is to kill his older brother. The Australian frontier can be a cruel and harsh environment. The film pulls no punches with violence, but Charlie's dilemma along with that of his captor, tend to get lost along the way. In part, this is a fault of the script. It's only the second for Nick Cave, better known for his skills at songwriting. Much like a song, the broad strokes and theme are clear and well presented, but the subtleties are missing, or left to the actors. R for violence and language.

THE PROTECTOR (R) 78 minutes * * It's an honor to be the protector of a sacred elephant, so when his is kidnapped along with its mother, Kham (Tony Jaa) must go find and rescue it. Plenty of bone-breaking, hard-core muay thai action, with no stunt doubles, and no CGI effects either. It's a little thin on plot, but short enough that we don't notice that too much. R for violence and sex.

THE PROTECTOR 2 (R) 100 minutes * * Kham (Tony Jaa) finds himself the prime suspect of a murder and sets about to prove his innocence. Lots of muay thai action, with the story once again taking a back seat. The fight scenes do feature quite a few of the cast, which is nice to see, thuogh having a little more story would be good too. R for violence and language.

THE PROTEGE (R) 96 minutes * * * A legendary assassin, Moody (Samuel L. Jackson) takes Anna (Maggie Q) under his wing and trains her. When Moody is killed, she will stop at nothing to take revenge. Even if that means facing Rembrandt (Michael Keaton), who just might be as good as she is. Great cast and a nice script by Richard Wenk, though it doesn't really offer us any surprises. There are a few touches of humor, which work well. R for violence, language, and nudity.

PROTEKTOR (NR) 99 minutes * * 1/2 Emil's (Marek Daniel) wife is an actress. Her rising star begins to quickly fall when her Jewish heritage becomes known. In an effort to protect her and himself from further scrutiny, Emil begins to work more collaboratively with a radio station that is now controlled by the Nazis, but their relationship begins to suffer because of it. The story is a bit muddled and over-laden with artistic symbolism that gets in the way at times.

PROTOCOL (PG) 91 minutes * A strange and rather mixed-up plot has Goldie Hawn in the middle of a political mess. The story tries to focus on making fun of politics and the media, but doesn't manage to do that well as it has a naive but likeable main character and a light love story in the middle of it all.

PROUD (PG) 82 minutes * * 1/2 Lorenzo (Ossie Davis) is staying with his grandson. Waking up one night to the loud music playing in the living room, Lorenzo soon finds himself telling a story to the young men who had disturbed his sleep. It's the story of the Navy ship he served on during the war. It was one of only two ships with African-American crews that saw combat. The set-up for the story is a little forced, but otherwise, it's a good story. PG for language and violence.

PROUD MARY (R) 84 minutes * * 1/2 Helping out a boy seemed like the right thing to do. But when Mary (Taraji P. Henson) goes to warn the man who has been abusing him, it goes badly. A war begins. A war between two of the biggest crime families in Boston. It's going to put Mary in the middle, and her skills to the test. An interesting role for Henson, and she handles it quite well. R for violence.

PROWL (R) 77 minutes * * Intent on escaping smallptown life, Amber (Courtney Hope) and her friends head to a nearby big city to help her look for a new apartment. After their car breaks down, a friendly truck driver gives them a ride. But it isn't to find help. Instead, they are taken to a warehouse where they are released only to be hunted by vampire creatures who are learning how to hunt and survive. There's a great twist at the end, which makes us wish this had gone on for awhile longer because it's actually a far more important and interesting part of the story. R for violence and language.

PROXIMA (NR) 103 minutes * * One of three astronauts chosen to fly to the international space station for a one-year mission, Sarah (Eva Green) finds herself reluctant at the last minute to be separated from her daughter. The acting here is good, and there is a good amount of believable scientific and physical preparation for the mission. What's missing is a better sense of the teamwork of the three astronauts as well as better preparedness for the mission as far as separation anxiety. Even without a close bond to a child, there are other people and things that must be left behind on a space mission like this. It just makes that aspect of the story a little more difficult to believe.

PROXIMITY (NR) 116 minutes * * * When his therapist suggests making a video journal, Isaac (Ryan Masson) is reluctant. It seems like a silly idea, but he agrees to do it. He ends up photographing something very unique. But despite having footage of contact with an alien life form, almost no one believes him. Almost. An interesting science fiction/adventure/drama. Lots of really good energy, nice suspense, and a few touches of humor. It's not for everyone, but if you like something a bit off the normal track, you just might like this.

PROXY (NR) 118 minutes * * 1/2 Attacked and left to die, Esther (Alexia Rasmussen) loses her baby, which is, or would have been, the only person of any importance in her life. But this isn't even Esther's story. It's Melanie's (Alexa Havins), who pretends that she's lost her son, which is only a small piece of her bizarre and twisted life. An unusual piece, with some suspenseful moments, but pacing and focus of the story are not as strong as they need to be. Filmed in Richmond and Connersville, Indiana.

PROZAC NATION (R) 91 minutes * * 1/2 Adaptation of Elizabeth Wurtzel's autobiographical novel focusing on her struggles to deal with family expectations as well as her own. Christina Ricci is a pleasure to watch as always, immersing herself in the character and creating an intimacy with the viewer that seems second nature to her. Too much of the story is told through voice-overs that serve as comments of self-realization and/or understanding. Michelle Williams and Jessica Lange do nice work here too, but it's definitely Ricci's performance that makes this worth a look. R for language and sex.

THE PRUITT-IGOE MYTH (NR) 80 minutes * * 1/2 In 1956, it was expected to be the model for public housing. Twenty years later, it was razed and considered a complete failure. The slum it replaced reclaimed it, as tehre was no support to maintain the buildings except the low rent, which wasn't enough, especially considering the population decline in St. Louis that happened after WWII. Emotional personal stories help us see the heart and soul of a project that could have been so much more if it had received the support it needed.

P.S. I LOVE YOU (PG-13) 120 minutes * * * 1/2 Holly (Hilary Swank) and Jerry (Gerard Butler) are very much in love and planning for their future. Sometimes life intervenes and plans change. When Holly finds herself alone and wondering where to go, she finds it difficult to let go of the dreams of the past. Letting go of what you loved so much isn't easy, but having loved so much is more than many ever have the chance to do. Swank is delightful here, showing us the passion and the heartache of her character at every turn. And the story, adapted from Cecilia Ahern's novel, slowly works its way into our hearts, reminding us again and again of the importance and the power of love. Complimented by a marvelous soundtrack, this is a truly wonderful, romantic film. R for violence and language.

PSYCH:9 (R) 95 minutes * Roslyn (Sara Foster) takes a night job filing papers to help close down a hospital. The only other person working at night is a doctor up on the old psych ward who is doing the same thing she is. It's bad enough working in a "creepy" hospital at night, but there are stories on the news about a serial killer on the loose. And don't forget... she was a psych ward patient when she was a child. Wonderfully suspenseful music. Ridiculous ending. R for violence, language, and sex.

PSYCHIC EXPERIMENT (R) 89 minutes 1/2 Computere chips implanted in unsuspecting patients turn a town into a walking experiment. At least, until some of them figure out what's going on. Some of the effects here are interesting, but the acting is so stiff and boring that most of the suspense is ruined. R for violence, language, and sex.

PSYCHO (NR) 109 minutes * * * * One of Alfred Hitchcock's scariest films has us watching Janet Leigh spend a night in the Bates Motel, run by Anthony Perkins and his "mother". So many other horror and suspense films are measured against this, it's a must see that will keep you shy of the bathroom shower for quite awhile!

PSYCHO (1998) (R) 100 minutes * 1/2 This is a perfect example of how not to make a sequel. Don't try to use new people and remake it shot for shot. There's no heart here, just people going through the paces, repeating what they are told to do with no imagination or feeling for the characters. William H. Macy comes off better than anyone because he brings a feeling for how to create something a little strange beneath the surface of a character. The camera angles and the story itself do manage to create a little suspense, but this is a very pale copy of the original. R for violence and nudity.

PSYCHO GOREMAN (NR) 91 minutes * * Mimi (Nita-Josee Hanna) and her brother Like (Owen Myre) find a mysterious gem that gives them control over an alien monster. It's a pretty big responsibility. The story is clearly aimed at the preteen crowd, but this is a little more violent than most similar fare. (Power Rangers, Goosebumps, etc.)

PSYCHO II (R) 109 minutes * * * ½ Norman Bates (Anthony Perkins) has been under psychiatric care for the past twenty-two years. Now, it’s time to go home. He really does try, but the past is just too much, and it quickly overpowers him. Perkins is wonderful, and the film fits very well next to the first one. Great soundtrack and effects too! R for violence, sex, and language.

PSYCHO III (R) 88 minutes * * Norman (Anthony Perkins) falls for a disgraced nun (Diana Scarwid), which is not making his mother very happy. Norman should know better than to try and do anything his mother doesn’t approve of. There are some good twists her, but it isn’t too difficult to see them coming.

PSYCHO-PASS: THE MOVIE (NR) 108 minutes * * * Science has perfected a way to quantify a person's tendency to commit crime. The Sibyl system knows when people need help and when they are enough of a threat to eliminate. The system is being deployed in a neighboring area, in part, to try and locate a former enforcer who is now fighting against the system. Nicely done follow-up to the animated TV show.

PU-239 (R) 91 minutes * * 1/2 Exposed to a lethal dose of radiation at a Russian nuclear plant, Timofey (Paddy Considine) finds himself shunned and left to fend for himself. He decides to steal a little PU-239 to sell to take care of his family. But the people he connects with have little idea of the potential use or value of the material. Interesting low-key drama adapted from a short story by Ken Kalfus. R for violence and sex.

THE PUBLIC (PG-13) 115 minutes * * * It gets cold on the streets. When the homeless of Cincinnati decide to stand up for their rights and occupy the lublic pibrary, it quickly turns from an act of civil disobedience into a standoff with the police. This stretches believability quite a bit, but the story does maintain a good balance of humor while dealing with a serious topic. There are several nice supporting roles here as well. PG-13 for nudity and language.

PUBLIC ENEMIES (R) 131 minutes * * * In 1933, John Dillinger WAS big city crime, able to come into town and take any bank he wanted to. But the government decided to put a stop to men like Dillinger, and in doing so, paved the way for syndicated crime. Johnny Depp does a great job here as Dillinger, obviously having fun with the part. The film does run a little long, taking quite a bit of time to set the mood, which is important. Still there are subplots here that could have been trimmed to make this a stronger film that was more direct in its approach. R for violence and language.

PUBLIC ENEMIES (2012) (NR) 172 minutes * * 1/2 Eddie (Daniel Mays) is out on parole. His probation officer is Paula (Anna Friel), who's been given a second chance herself. Her last parolee ended up killing again. To compensate, she's overmanaging Eddie, but that might create just as many problems. This runs a little long, and the ending is a bit of a stretch for us to believe, but getting there works well enough.

PUCCINI FOR BEGINNERS (NR) 78 minutes * * Allegra (Elizabeth Reaser) is in the middle of a mess. All she wanted was love without complication, but it doesn't really happen that way. Now she's in a relationship triangle and headed for disaster. Another reason her relationships may have trouble could be related to how much she talks. The script is VERY wordy, and at least early in the film, we hear a great deal of moaning and lamenting from Allegra. It all works out fine in the end, but for being promoted as a comedy, there isn't much to find very humorous here.

PUCKER UP (NR) 74 minutes * * * This is definitely one of the more unusual and entertaining documentaries you'll see. The topic is whistling, and the venue is the International Whistler's Convention. We watch parts of the competition and hear interviews with the competitors, as well as learning about the science and history of whistling. It's far more fascinating than I can describe here. Suffice it to say that I'd like to see a sequel. There are three particular bits missing here that a sequel could address... more examples of throat whistling, paletal whistling, and other atypical styles, more information about whistling in countries other than the United States, and more about the younger competitors and what has interested them in this wonderful musical experience. Not rated, but suitable for families.

THE PUFFY CHAIR (R) 83 minutes * 1/2 Josh (Mark Duplass) takes a road trip to see his dad in an attempt to figure out why his life is so messed up. He's bringing along a gift, and his girlfriend and brother end up coming along as well. Family project (Mark wrote it with his brother Jay who directs) that never quite gets where it needs to go. The performances are sincere enough, and there are a few scenes that are quite good. There are other scenes that are painfully bad. R for language.

PULLING STRINGS (PG) 103 minutes * * ½ Alejandro (Jaime Camil) just wants to get his daughter to her grandparents in Arizona, but his visa application is denied. With the help of some friends, he’s going to have to get the right person to give it to him. For her part, Rachel (Laura Ramsey) is happy to get promoted from the embassy in Mexico to the one in London, but things seem to keep getting in the way. Predictable but sweet story with most of the performances tending toward mediocre, though Omar Chaparro delivers a very nice supporting performance. PG for language.

PULP FICTION (R) 148 minutes * * * 1/2 An astounding piece of work! A film of dark humor and incredible creativity. Presented as a prologue and three chapters of a story, it definitely puts one in mind of a cheap paperback with a graphic story... the ones that you just can't seem to put down once you've picked them up. A bit too violent for some tastes, but the characters are vividly painted in this strange story that will be hard to forget. R for violence, language, and nudity.

PULSE (PG-13) 81 minutes * 1/2 A hacker taps into a strange computer virus that releases an evil that's going to take over the world unless a few of his friends can stop it. OK, so the idea sounds a bit ridiculous. There are actually a few genuinely creepy moments here, thought they aren't enough to pull the whole film together. The original Japanese version of this film is almost thirty minutes longer, which does little aside from making it more confusing... though I'm not sure making it more clear really helps much either... PG-13 for language and violence.

PUMP UP THE VOLUME (R) 97 minutes * * * Mark Hunter (Christian Slater) isn't very happy. He's moved to a new town, has no friends, doesn't like school, isn't very outgoing, has parents who don't understand... but he does have a shortwave radio. It soon becomes a miniature radio station with nightly broadcasts. It's a story about a young man reaching out for understanding and support, a need that most of us have felt at one time or another. Christian Slater turns in a wonderful performance that really stretches his talents. He's accompanied by an equally stellar introductory performance by Samantha Mathis as Nora Diniro. The photography is unique, and with the strange, but effective mixture of music, we have a mood of confusion, upheaval, and desire. R for language.

PUMPKIN (R) 114 minutes * * * Delightfully offbeat film with Christina Ricci starring as Carolyn McDuffy, a girl who's got it all. Or at least she thought she did. But when her sorority decides to work with a group of "challenged" athletes, she finds herself falling in love. She starts seeing the world in a different light, but her friends all think she's throwing her life away. Heartwarming, bittersweet, and darkly comic at times, it's a story that begs for Ricci's ability to bring a quirky character to life as few others can. A pleasure to watch, though it's no real surprise that Ricci does so well here. This sort of character is her specialty. R for language and sex.

PUMPKIN EVERYTHING (NR) 83 minutes * * 1/2 When her grandfather (Michael Ironside) has an accident, Amy (Taylor Cole) stops by to check on him. She has a book tour that's about to begin, and really doesn't expect to be in her old hometown for long. Her grandfather isn't being very cooperative though. There's also the matter of an old boyfriend (Corey Sevier) of Amy's who happens to be in town.

PUMPKIN PIE WARS (NR) 83 minutes * * Two women feud over who can win the local pie baking contest. The feud moves on to their children, but Casey (Julie Gonzalo) and Sam (Eric Aragon) aren't really interested in continuing the ill will that their mothers seemed to enjoy. Sentimental Hallmark romance with a plot that's a little on the simple side.

PUMPKINHEAD 4: BLOOD FEUD (R) 91 minutes * Pumpkinhead is once again conjured up, this time by a McCoy in love with a Hatfield. He just wants them to be left alone and thinks this might be the answer. Aside from how completely ridiculous that idea sounds, and how bad the acting is, and how amateurish the dialogue sounds... there are some wonderfully gory special effects. Fans of this series may find this an entertaining entry in the series because of the gore, but others will be disappointed by the silliness of the story. R for violence.

PUNCH DRUNK LOVE (R) 86 minutes * * 1/2 Barry (Adam Sandler) is rather eccentric, so the fact that he's fallen completely in love with someone is a rather interesting experience. Not just for him, but for those around him as well. And then there are all of the other things going on is his life at the moment... This is definitely one of the more unique love stories to find it's way to film, and Adam Sandler's performance is quite good, as is Emily Watson's. But we still see many traces of Sandler's immature brand of humor here. He has the talent, but it remains to be seen if he can put it to good use. That's Shelley Duvall singing "He Needs Me". R for language and violence.

PUNCHING THE CLOWN (NR) 88 minutes * * * A satirical folk singer, Henry (Henry Phillips) is in Los Angeles, trying to make the connections to get a recording contract. LA is a rather interesting town, and Henry finds that his career has begun and ended almost before he realizes it. But there's still a chance to launch it again, because sometimes it can work that way. Part comedy, part commentary on the music scene in LA, and fun... as long as your sense of humor tends toward the cynical.

PUNCHLINE (R) 123 minutes * * 1/2 This film about aspiring stand-up comics does a great job giving us good lines, both comic and serious, and some nice acting as well. Tom Hanks is the focus of the story, but we also have Sally Field, John Goodman, Mark Rydell, Paul Mazursky, and Damon Wayans. It just doesn't stay with you though. It's just one of those films that you'll see and then pretty much forget what it was all about. R for language.

PUNCTURE (R) 95 minutes * * When Mike (Chris Evans) discovers that someone has invented a one-use needle that could revolutionize the health industry and prevent the spread of disease, he can't figure out why it isn't being used. He decides to pursue it through legal channels, but his own addiction is making it difficult to continue. The story tends to drag in the middle, though it does finish reasonably well. Somewhat dark and depressing film, though Evans is good here. R for language and sex.

PUNCTURE WOUNDS (R) 95 minutes * 1/2 When he decides to protect a prostitute who is getting beat up, John (Cung Le) ends up killing two of her assailants. Now their friends are out to get him. Dirty cops and double-crosses abound. The fight scenes are pretty good... the dialogue not so much. R for violence, language, and sex.

THE PUNISHER (R) 116 minutes * * 1/2 FBI agent Frank Castle (Thomas Jane) retires after one last case. But the man whose son dies during this last bust, takes out Frank's family and leaves Frank for dead as well. Jane does a great job here though the story leaves quite a bit unexplained. It definitely shows its comic book origins, but in many ways that works fairly well. Filmed in Tampa and Pinellas County, Florida. R for violence and language.

PUNISHER: WAR ZONE (R) 96 minutes * * 1/2 Ray Stevenson dons the skull shirt this time around. As former agent Frank Castle, he's killed hundreds of criminals, but he just slipped up and killed a federal agent. While he's trying to decide what direction he needs to take, one of the bad guys who survived his latest "punishings" (albeit horribly disfigured) is determined to get revenge. Not for the squeamish, the story is full of violence and action, though the style definitely reminds us of the comic books from which it is taken. R for violence and language.

THE PUNK SINGER (NR) 78 minutes * * * Bio-documentary on Kathleen Hanna, co-founder of the Riot Grrl movement. It's a fascinating look at a talented, outspoken, courageous woman and her impact on the music scene and the feminist movement.

PUP STAR (G) 85 minutes * * From the people who brought you the Air Bud series, this is another series with talking dogs. This time, the major background story revolves around a competitive talent show. If you like talking/singing dogs, then this is just what you're looking for. The 4 to 6-year-old crowd will likely find it entertaining, but the plot is pretty thin.

PUPPET MASTER: AXIS OF EVIL (NR) 78 minutes * This ninth film in the series begins with Toulon dead and his puppets under the care of a young man who quickly figures out their secret. The task that lies before them is rather daunting. They must defeat the Nazis and the Japanese who have discovered their secret and want to use it to defeat the Allies. Mostly for fans of the series.

PUPPET MASTER: THE LITTLEST REICH (NR) 86 minutes * 1/2 It's the 30th anniversary of the Toulon murders. As part of the "celebration", many of the puppets will be in town. It doesn't take them long to go on a gory rampage. The emphasis in this entry in the series is less on the puppets and more on the people and the gross effects as they die. That's a little disappointing, but it does reboot the story and continue to give life to the long-running series.

PUPPET MASTER X: AXIS RISING (NR) 93 minutes * Continuation of the story from part nine. Acting is not a priority for this series. The focus is on the puppets, and in particular the introduction of at least one new puppet with each film while continuing to keep most of the previous ones included in the story.

THE PUPPET MASTERS (R) 104 minutes * * 1/2 A small town in Iowa has been invaded by aliens who possess the bodies of humans and use them like puppets. How can they be stopped? An old story that is told fairly well, and with good special effects. Unfortunately, a good deal happens without much light, making it rather hard to see at times. No real surprises, but fans of science fiction and horror will find it an interesting film.

A PUPPY FOR CHRISTMAS (NR) 84 minutes * * She's found the perfect man, although there are a couple of problems. He's allergic to dogs (among other things) and that's problematic as she's always wanted a puppy. He also seems to be perfectly happy to just be dating. When he decides to end their relationship, Noelle (Cindy Busby) finds herself spending Christmas with a co-worker who is almost her complete opposite. Fun holoday romance.

PUPPY SWAP: LOVE UNLEASHED (PG) 90 minutes 1/2 A couple who live on the fast track adopt two puppies and then start having relationship issues. The dogs try to get them back together. The humor for Margot Kidder's character is all based on her having trouble hearing and it grows annoyng very quickly. Not much charm here, and also, not much chemistry between the leads. PG for language.

PUPPYLOVE (NR) 81 minutes * * 1/2 A shy young teenager, Diane (Solene Rigot) is just beginning to explore her sexuality. She doesn't have any real friends until a new family moves in next door. Julia (Audrey Bastien) is her age, but much more sexually experienced. Diane struggles with how to gain that experience in a way that feels right for her. Spending time with Julia will come at a price for Diane. Some of which she is more willing to pay, some of which she is not. The choice is now hers.

PUPS ALONE (PG) 104 minutes 1/2 A somewhat eccentric inventore, Robert (Tyler Hollinger) leaves on a company trip. While he's away, Robert's neighbor hires people to steal his latest invention. The neighborhood dogs are going to use some of the other inventions lying around the house to stop them. A clear attempt to rip-off "Home Alone", but with takling dogs, and way too much narration. PG for langauge and violence.

PUPS UNITED (PG) 84 minutes * Ridiculous animal comedy that is strictly for the kids, and even they will probably find this doesn't make their list of films to remember. Too much dog narration and inept bad guys for most adults to tolerate. The 5 to 7-year-old crowd probably won't mind sitting through it once. PG for language.

PURE (R) 94 minutes * * * Paul's (Harry Eden) mom has an addiction problem. As she struggles to get it under control, Paul, who is 10, becomes everything from intervener to drug user. He makes friends with a waitress (Keira Knightley) who is a help in some ways and a hindrance in others. Excellent performances by Knightley and Molly Parker, with a stunning performance by young Eden, who was 13 at the time this was filmed. Definitely worth a look. R for language and violence.

PURE COUNTRY (PG) 108 minutes * 1/2 Some people in this world are multi-talented actor/musicians, with an ability to draw you into the stories that their songs tell. Unfortunately, George Strait isn't one of them. Though this tries to be a film about what goes on in the main character's life, the first 25 minutes are almost completely filled with songs being performed. As far as the filmmaking itself, the word amateurish comes to mind. It's a film that relies too heavily on the popularity and talents of a musician who just isn't an actor. Their is one scene worth saving though. It takes place on Dusty's grandmother's porch when his drummer is trying to find just where Dusty has run off to. It's a charming scene that paints a picture of life that is "pure country".

PURE LUCK (PG) 90 minutes * 1/2 Purely unlucky is what Eugene Proctor(Martin Short) actually is, but maybe he'll accidentally trip into the same place where an equally unlucky girl has disappeared so that she can be found. Pretty weak as far as the story, with the entertainment value resting upon Short's pratfalls. There's also quite a bit of violence here that makes it not quite the comedy you might expect all the time. And the girl should have been in this a little more too, Short ends up carrying the whole film and it just doesn't work that well. PG for violence and language.

THE PURGE (R) 79 minutes * * It's 2022, and there's one twelve hour period each year where any and all crime that happens goes unpunished. There are rules, and not everyone chooses to participate by committing crimes, but it seems to have helped the country. But this year, when young Charlie (Max Burkholder) tries to help someone, he puts his whole family at risk. Interesting social commentary, but it doesn't delve into the idea very deeply and remains predictable and somewhat disappointing. R for violence and language.

THE PURGE: ANARCHY (R) 97 minutes * 1/2 Surviving purge night often isn't very easy. These five people will discover that while various circumstances have brought them together, it may not improve their odds for survival. What creativity there was with this idea was exhausted in the first film. R for violence and language.

THE PURGE: ELECTION YEAR (R) 104 minutes * * 1/2 It's an election year, and there's a strong candidate who wants to end the annual purge holiday. There are plenty of people who still want to celebrate though, so keeping her safe is going to be a challenge. Especially since the election falls a few days after the next purge. Mostly more of what was in the first two films, but there is a little more plot here. R for violence and language.

PURPLE RAIN (R) 105 minutes * * * Prince stars as a talented musician, struggling with his personal life, both past and present, as his career begins to take off. It’s not without a few bumps along the way as there are those who try to take both his girl and his career. He learns how to deal with these things and what it takes to achieve his goals. Along the way, we get to hear some of Prince’s most popular tunes, which are fantastic! R for sex, language, and violence.

PURSUED (R) 91 minutes * 1/2 Vincent Palmer (Christian Slater) is a headhunter who will stop at nothing to sign the person he's after. But Ben (Gil Bellows) really doesn't want to leave the company he's working for. Unfortunately, that's only going to push Vincent to work harder. Slater is convincing as the psychotic headhunter, even as he chews up the scenery in the process. The story is less convincing... R for language and violence.

PURSUIT (R) 92 minutes * 1/2 Rick Calloway (Emile Hirsch) wants his wife back. Detective Breslin (Jake Manley) wants to find out who killed his wife, and he thinks Rick knows. The film is filled with loose ends, flase leads, and lots of shooting. The acting is fairly good, but the story is confusing and incomplete, even at the end. R for violence and language.

THE PURSUIT OF D.B. COOPER (PG) 96 minutes * * ½ An exploration of what might have happened to the infamous D.B. Cooper (Treat Williams), who took $200,000 of ransom money and jumped from a plane mid-flight. The parachute, the money, and Cooper, all disappeared. It’s interesting, but doesn’t really develop the characters very well, just giving us a slightly interesting, but very forgettable film.

THE PURSUIT OF HAPPYNESS (PG-13) 113 minutes * * * Can we ever achieve happiness, or is it only something we can pursue? Things haven't been going too well for Chris (Will Smith), but he's determined to succeed. Based on a real life story, Smith does a great job of drawing us into the story. It's definitely a bit one-sided, with an uneven and incomplete picture of Chris' wife, Linda (Thandie Newton). That said, Smith's performance makes it well-worth a look. Filmed in San Francisco, Oakland, and Alameda, California. PG-13 for language and violence.

THE PURSUIT OF LOVE (NR) 177 minutes * * * Best friends and cousins, Linda (Lily James) and Fanny (Emily Beecham) are trying to grow up. Their families are not helping, but it's going to happen anyway. The real question, as far as Linda and Fanny are concerned, is whether or not love will be part of their future. Their near future.

PUSH (PG-13) 106 minutes * * * Watchers see the future, movers are telekinetic, and pushers... well, pushers can put thoughts in your head. These are just a few of the powerful people whose abilities the government is trying to boost with a special drug. At first, no one survives, but now there is a pusher who did... and she's on the run. Can Cassie (Dakota Fanning) help Mick (Chris Evans) find her before the government agents do? Nice adventure/thriller with another stunning performance from Fanning, who commands our attention throughout the film. Plenty of twists and turns in the plot to keep us interested as well. Filmed in Hong Kong.

PUSHED TOO FAR (PG) 88 minutes BOMB Horrible photography and a nearly non-existent script are the highlights here. Not to worry, this is a fairly difficult film to get ahold of... and for good reason. Filmed in Greenfield, Indiana with music recorded at Pinbrook Studio in Alexandria, Indiana. Rated PG because it's pathetic garbage... oh, I mean for violence and language.

PUSHING TIN (R) 118 minutes * * Air traffic control is stressful work, but you just have to push tin and not think about what's inside. John Cusack is Nick Falzone, one of the best in the business, but Russell Bell (Billy Bob Thornton) is in town now and has made a name for himself by being a bit closer to the edge. Cusack and Cate Blanchett (as his wife) work well together, but the film is uneven and awkward in spots. There was probably a bit more to the story, but then again, that would make this a bit too long to set through. Based on the article "Something's Got to Give" by Darcy Frey. R for language and nudity.

PUSS IN BOOTS (PG) 80 minutes * * * Having been in the shadow of Shrek long enough, Puss now gets his own film. This is backstory, taking place before Puss meets Shrek, and it does fit into the "Shrek mythology" quite nicely. Even more importantly, the animation is very well done, which is not always the case once we get this far away from the first film in a series. PG for violence and language.

PUSS IN BOOTS: THE LAST WISH (PG) 94 minutes * * * The latest adventure for Puss in Boots (voiced by Antonio Banderas) just cost him another of his nine lives. That particular life was number eight. He faces a very difficult choice. Does he keep living a life of adventure and risk, or does he settle down and make this last life last a little longer? Very well-written, and this does a nice job of continuing to develop the characters we already know. Even more importantly, it still works well if this is the first film in the series that you see. The story does get a little scary for some people in the audience, but it finishes very well and delivers plenty of humor throughout. PG for violence and language.

PUZZLE (R) 97 minutes * * * Living in a home where her husband and two sons expect her to continue to do everything she always has, Agnes (Kelly Macdonald) discovers something. It was just a simple jigsaw puzzle, but it opens a door that Agnes didn't even realize she had closed. The difficulty is that truly looking at what lies behind that door involves changing. And that won't be easy for Agnes. Great work by Macdonald in this very introspective film, and nice supporting work by the rest of the cast. R for language.

THE PYRAMID (R) 84 minutes 1/2 A team of archaeologists goes exploring in a pyramid only to find themselves trapped inside and hunted by a strange creature. Borrowing a few ideas from Egyptian mythology, but creating much of its own, the result is rather unconvincing and more laughable than horrifying. R for violence.

A PYROMANIAC'S LOVE STORY (PG) 91 minutes * * Three love stories intertwine as they have various reactions to the burning of a bakery. The film has a quirky kind of charm to it, but there isn't much depth. Sadie Frost gives us the best performance in a film that is fun to watch, but not very memorable.

PYEWACKET (NR) 83 minutes * When Leah's (Nicole Munoz) dad dies, her mother is overcome with grief. The situation continues to deteriorate until her mother decides to move. But Leah doesn't want to move. She just wishes her mother would die. So, she performs an occult ritual to call forth a witch hwo will kill her mother. Of course, deals like this don't come without a catch. Not a great ending, but getting there works reasonably well.