S. DARKO (R) 97 minutes * * * Seven years have passed, and Donnie's sister Samantha (Daveigh Chase) takes a road trip to get away from home. She is still troubled by the death of her brother. Her world, both waking and dreaming have grown dark. Just as unusual and strange as "Donnie Darko", and likely to take a couple of viewings for most to decipher. Beautiful cinematography. R for language and violence.
SAAWARIYA (PG) 134 minutes * * * 1/2 Beautiful and magical story of love, full of wonderful music, brilliant colors and fantastic sets that dazzle the senses. Prakash Kapadia's script has both romance and tragedy and an almost fable-like quality. Ranbir Kapoor and Sonam Kapoor work well together here, drawing us into the story with their appealing performances. PG for language and nudity.
SABOTAGE (R) 103 minutes * 1/2 After taking down a drug cartel, thie DEA task force decides to take the cash. Now they're being eliminated one by one. But by who? A little different role for Arnold Schwarzenegger, but the story is pretty thin, and mostly an excuse for lots of gun violence. The idea isn't bad, but it just doesn't develop well. R for violence, language, and sex.
SABRINA (PG) 123 minutes * * * This modernization of the 1954 film works better in some ways than the original. Julia Ormond grows into the part through the course of the film in a much more believable manner than did Audrey Hepburn. Harrison Ford and Greg Kinnear turn in fine performances and Ann Roth's costumes are worthy of an Oscar.
THE SACRAMENT (R) 93 minutes * Patrick (Kentucker Audley) has a small, independent news team follow him as he goes to meet with his sister, who has joined a group that claims to be living in paradise. It turns out to be a lot less than perfect, and in fact, much worse than his friends expected. Clearly retelling the Jonestown massacre, but not in a terribly convincing way, as it attempts to impose the reality style of photography and editing. It's an overused gimmick to try to make a story more personal, and it fails far more often than it succeeds. R for violence and language.
SACRED GROUND (PG) 98 minutes * Coming across a partially finished cabin, a mountain man and his Native American wife aren’t aware that it is on sacred ground for a nearby tribe. Complications ensue. Not the least of which is the alarming frequency with which the Native Americans in the film switch languages that they are speaking. The soundtrack also seems to be stuck on variations of “Amazing Grace”. Nice scenery and photography, but that just isn’t enough.
SACRIFICE (R) 95 minutes * 1/2 Trying to work undercover in a drug ring is difficult enough, but now John (Cuba Gooding Jr.) finds himself saddled with a friend's child. In one sense, it's a nice role for Gooding, with a mix of sensitive drama and police action, but the action is stiff and predictable and the script is stale. Most of the acting isn't too bad, with the exceptio of Christian Slater's standard, leering performance. R for violence.
SACRIFICE (2015) (NR) 100 minutes * * A fun little hunting excursion turns tragic, and four teenagers have to decide what to do about it. Jail time is a very real possibility, and Hank's (Luke Kleintank) future football career could be on the line depending on the choices they make. A couple of the turns this story takes late in the film just don't make much sense.
A SAFARI ROMANCE (NR) 84 minutes * * They're an unlikely pair. Megan (Brittany Bristow) is a wildlife biologist, and Tim (Andrew W. Walker) is a theme park designer. It's all fine until Amy (Simone Pretorious) shows up. She's Tim's boss, and is more than a little demanding. Walker seems a little stiff here, and the chemistry between him and Bristow is definitely lacking.
SAFE (R) 83 minutes * * 1/2 Mei (Catherine Chan) has a head for numbers, and the Russian and Chinese mobs are both interested in her ability to use to their own advantage. She happens to know a particular set of numbers that are key to retrieving what is contained in two safes. Luke (Jason Statham) was a cop, and he finds himself not only protecting Mei from the two mobs, but from dirty cops as well. Plenty of hard-core action, and nice work by Chan. R for violence and language.
SAFE HAVEN (PG-13) 111 minutes * * 1/2 Katie (Julianne Hough) is trying to find a safe place, away from her abusive, alcoholic husband. The problem is, he's a cop, and he'll stop at nothing to find her. When she finds Alex (Josh Duhamel), it looks like the opportunity for a fresh start might actually be opening up, but honesty and trust aren't coming easily for her. Adapted from the Nicholas Sparks novel, this is a fairly standard romance with a little suspense. Reasonably good acting and production values. PG-13 for violence and sex.
SAFE HARBOR (NR) 82 minutes * * Just when they are getting ready to leave for a vacation, Doug (Treat Williams) and Robbie (Nancy Travis) are asked by a friend who is a judge, to take care of two boys for a couple of days so they don't have to spend the night in jail. Days become weeks, and two boys turn into four, but it all works out well. Based on the true story of a couple who started a program to care for and rehabilitate troubled teens by teaching them boating skills. The story is more than a little staged and simplistic, but the intent is good.
SAFE HOUSE (R) 110 minutes * * * A high level rogue CIA agent has just turned himself in at a United States consulate in South Africa. His name is Tobin Frost (Denzel Washington). The safe house he's taken to for questioning isn't used to having such a high profile guest, and is soon compromised. Now, it's up to agent Matt Weston (Ryan Reynolds) to get Frost to safety. Solid espionage thriller with nice work by both Washington and Reynolds. Well-paced, though not all that many twists and turns in the plot. R for violence and language.
SAFE PASSAGE (PG-13) 94 minutes * * * Susan Sarandon is a single mother of seven boys, in this slice of modern life. Things do seem to work out rather well for this family, but sometimes it's nice to have a picture that gives us that side. What makes it work are the performances of Sarandon, Robert Sean Leonard, Sean Astin, and Nick Stahl. It does feel a little like a TV movie, but a good one.
SAFELIGHT (R) 78 minutes * * 1/2 A road trip to photograph lighthouses turns into an opportunity to better understand life and the possibilities around them. The characters are interesting, and the cast works well as an ensemble. The style makes this feel more like a play than a film. R for language and sex.
SAFETY NOT GUARANTEED (R) 82 minutes * * 1/2 Darius (Aubrey Plaza) is not a particularly positive or happy person. She's interning at a magazine and now finds herself helping with an article about a person who says he can travel through time. Plaza does a nice job here, and this quirky and very charming little comedy turns out quite well. Everyone is looking for love, but it's always a risk, and your safety isn't guaranteed. R for language.
SAHARA (PG-13) 118 minutes * * Dirk Pitt (Matthew McConaughey) and his buddy Al (Steve Zahn) are off on another treasure hunt. This time, they're looking for a lost ironclad ship from the Civil War that somehow ended up in Africa. They just happen to run across some people who are trying to destroy the world, so they need to help out with that too. Needless to say, the plot is more than a bit farfetched, so we're left to just have fun watching the characters, mostly the wise-cracking Zahn, who manages to keep this fairly entertaining. Director Breck Eisner (son of Disney CEO Michael Eisner) doesn't do a very good job here, though to be fair, he hasn't had much experience. PG-13 for violence.
SAIGE PAINTS THE SKY (NR) 96 minutes * * 1/2 It's the beginning of 4th grade for Saige (Sidney Fullmer), but her best friend found a new best friend at camp over the summer. And because of budget cuts, there won't be any art classes this year. Everything is changing and Saige just wants it to be the way it was. Being open to change isn't always easy, but there are often rewards, if you look in the right places. This entry in the American Girl series is pretty strong with sentimental emotions, so you might need a tissue or two. Nice work by Fullmer in the lead role.
SAILING INTO LOVE (NR) 84 minutes * * Claire (Leah Renee) has a busy summer ahead. She's a bridesmaid for three weddings, and is also teaching a summer enrichment biology class. A local island, and favorite spot of hers is in danger of being sold. Perhaps the handsome boat captain she recently met can help.
THE SAINT (PG-13) 110 minutes * * * Simon Templar (Val Kilmer) has always worked alone and trusted no one but himself... until now. Dr. Emma Russell, who has come up with the secret to cold fusion, has managed to see right through the wall Simon has hidden behind. Simon isn't used to dealing with these feelings, but he isn't one to give up on anything very easily. Elisabeth Shue and Kilmer work well together and make this film fun to watch. The sound and make-up work is incredible and may both be up for Oscars. Graeme Revell has provided an interesting soundtrack as well, which keeps us on the edge of our seats. A fine piece of work that stands up well against most of the James Bond films. PG-13 for language and violence.
ST. AGATHA (NR) 99 minutes * Mary (Sabrina Kern) works a con with her boyfriend. When things get bad, when things start to get really bad, she ends up checking into a local convent. But the Mother Superior (Carolyn Hennesy) who runs the place not only rules with a tight fist, but she doesn't let anyone leave. The story tends to run in circles for awhile.
ST. ELMO'S FIRE (R) 105 minutes * * * 1/2 Slice-of-life film about a group of college friends who are beginning to struggle with what approaching adulthood is going to mean for them. Strong characters that are well-played by a talented cast. R for sex, language, and violence.
SAINT JOHN OF LAS VEGAS (R) 76 minutes * * 1/2 He thought he had his gambling problem licked, but John (Steve Buscemi) finds himself a little too close to the temptation after being asked to investigate an accident near Las Vegas. He used to be really lucky, which hasn't been the case of late. But that should mean his luck is about to change, right? Quirly and offbeat, though not without a little charm. R for language and nudity.
SAINT JUDY (PG-13) 97 minutes * * A tenacious immigration lawyer, Judy Wood (Michelle Monaghan) doesn't work well by following the standard rules. She knows those rules inside and out, but she's driven by a moral obligation to address the truth of those laws and not just the words. It allowed her to be the driving force to change the laws of asylum to be able to more effectively protect women. Monaghan and the script neither one quite manage the strength and passion that this story needs. The idea is there, but it stays just out of reach. PG-13 for language.
SAINT LAURENT (R) 145 minutes * * Lengthy bio-drama that spends most of its time detailing Yves Saint Laurent's (Gaspard Ulliel) personal life with occasional sidebars of his professional life. It begins well and has a very nice closing, but the pace really begins to drag after the first hour. R for sex and language.
ST. TRINIAN'S 2: THE LEGEND OF FRITTON'S GOLD (NR) 99 minutes * * Two rings hold the secret to the pirate's treasure, but the girls of St. Trinian's only have one... and they aren't the only ones looking for it. Getting the other one is going to be an adventure. Its a fun script and a great cast, though the humor is a little tired at times. Light fun is the goal here, and that's pretty much what's here.
ST. VINCENT (PG-13) 98 minutes * * * More than a little rough around the edges, Vincent (Bill Murray) ends up becoming a friend and mentor to the boy who lives next door. And it changes him. Just a little. Great work by Murray, providing a wonderful showcase for his versatility. Aside from Oliver (Jaeden Lieberher), the supporting roles are fairly small. Naomi Watts' accent seems both forced and unnecessary. PG-13 for sex and language.
SAINTS AND SOLDIERS (PG-13) 86 minutes * * * Five American soldiers are trying to return to allied territory just after the Malmedy Massacre of World War II. This best picture winner at 14 different film festivals somehow never saw wide general release, but is well worth a look on video. The characters are well-played and the story manages to deal with the war in a very personal sense as well as in the larger sense. Using over one hundred war re-enactors, this is an emotional and thought provoking film and a wonderful addition to the genre of war films. PG-13 for violence.
SALEM FALLS (NR) 88 minutes * * Gillian (AJ Michalka) and her friends are trying to cast spells to make things happen in their "boring" little town. The recent love spell that she cast doesn't seem to be working at all. What it IS doing is creating problems for a stranger in town who has some mysterious issues in his past. Adapted from the novel by Jodi Picoult. Light fare aimed at the teen crowd.
SALEM WITCH TRIALS (NR) 187 minutes * * 1/2 Overly long TV movie version of the witch trials in Salem, Massachusetts. The performances here are nothing outstanding by any standards, but the film does attempt to address the attitudes and beliefs of the time that led to the accusations and what followed. As such, it's a reasonable introduction to the topic.
THE SALESMAN (PG-13) 122 minutes * * 1/2 While rehearsing for a produciton of "Death of a Salesman", Rana (Taraneh Alidoosti) is assaulted in her new home. Her husband Emad (Shahab Hosseini), who is also in the play, wants to find the man responsible, but Rana just wants to forget. Justice doesn't always end up looking like you think it will. Solid drama, but it does slow down quite a bit in the middle. PG-13 for language and violence.
THE SALISBURY POISONINGS (NR) 179 minutes * * * In 2018, Salisbury England found itself at risk of a toxic poison called Novichok that was used by Russia against a double agent. This is the dramatized story of that poisoning, the people who were affected, and how response to the poisonings was handled (or mishandled) by both medical and governmental agencies.
SALMON FISHING IN THE YEMEN (PG-13) 102 minutes * * * Working as a consultant to a sheik (Amr Waked), Harriet (Emily Blunt) enlists the help of Dr. Jones (Ewan McGregor), a fisheries expert. The sheik she works for wants to bring the sport of fly-fishing to Yemen. Jones thinks its an idiotic and impossible idea, but he doesn't have any choice in the matter. Blunt and McGregor work well together, and Waked does a great job with what is really a supporting role despite the title. Nicely adapted script from Paul Torday's novel. PG-13 for violence and sex.
SALO, OR THE 120 DAYS OF SODOM (NR) 117 minutes * * Very graphic story about the capture, torture, and abuse of 18 children in fascist Italy. Adapted from a novel by the Marquis de Sade, and definitely not for the squeamish. The final film from director Pier Paulo Pasolini was also his most controversial.
THE SALON (PG-13) 95 minutes * 1/2 Writer Mark Brown, who also gave us "Barbershop" and "Barbershop 2" now gives us this film, which he also directs. It's more of the same, from a slightly different angle, and not quite as good. The Salon that Jenny (Vivica A. Fox) is running is about to be torn down, unless she can find a reason for them to leave it alone. Yawn... PG-13 for language.
SALT (PG-13) 93 minutes * * 1/2 On her way out of the office for the day, Evelyn Salt (Angelina Jolie) takes a moment to interrogate a Russian defector. The most important piece of info he has, comes as a bit of a shock. He tells her that she is a Russian sleeper agent whose job is to kill the Russian president. Is she a sleeper agent? Are there others? And so the twists and turns begin. It's an interesting story and an interesting ending as well. Jolie does a nice job, but some of the stunt work makes the film more than a little difficult to believe. Energetic soundtrack from John Newton Howard. PG-13 for violence and language.
THE SALT OF THE EARTH (PG-13) 105 minutes * * * Photographic journalist Sebastio Salgado discusses his life's work while we watch examples of it dazzle our senses. Incredibly powerful images that are often almost overwhelming with their expression of the human condition under the worst conditions. PG-13 for violence and nudity.
SALTING THE BATTLEFIELD (NR) 92 minutes * * 1/2 Third entry in the Johnny Worricker trilogy follows Johnny (Bill Nighy) and Margot (Helena Bonham Carter) as they try to stay safe and remain undercover. But as they both quickly realize, the game is much bigger than they ever realized. Very good, with an amazing cast, but relies very heavily on the first two films not only for understanding the plot, but also for much of the subtle humor.
SALTWATER ATOMIC SHARK (NR) 84 minutes BOMB Nothing to ruin your day like a radioactive shark. Or maybe watching this movie. The acting isn;t any worse than most of the other low-budget shark films, but the story idea just doesn't work, and the film has almost no sense of humor.
THE SALVATION (R) 87 minutes * * 1/2 After waiting for seven years for his wife and son be able to join him, they end up being abducted and killed. At that point, the wild law of the American West takes over, as death is dealt for death. The story does get points for being willing to blur the line between good and bad. And for having good people die, which makes the villains even more sinister. R for violence.
SALVO (NR) 104 minutes * * 1/2 A mafia bodyguard tries to track down the person to made an attempt on his boss's life, and finds the man's blind sister. It changes the course of his life. The story does a nice job of exploring the complexities of good and bad, and how those can change depending on circumstances and emotions. The effectiveness of the story is questionable, and would likely have been more powerful if the character of Rita (Sara Serraiocco) had remained blind as she did in the short film, "Rita" from which this was expanded. The focus there was on trust, and significantly shifts the way the story works.
SAM COOKE: LEGEND (NR) 65 minutes * * 1/2 Beginning as a gospel singer, Sam Cooke switched to pop music and became an instant success. Filled with interviews, this brief bio-documentary tells his story and lets us hear many of the songs that were a part of his amazing career.
THE SAMARITAN (R) 90 minutes * * 1/2 When Foley (Samuel L. Jackson) gets out of prison, his old partner's son is waiting for him. He wants to settle the score for his father, but Foley just wants a clean start. It looks like one last grift is in the cards. Unimaginative story with most of the supporting cast little more than two-dimenstional cut-outs. Jackson does a nice job as always, and it's worth seeing for that. R for violence, language, and sex.
SAMBA (R) 114 minutes * * Samba (Omar Sy) has been living in France for ten years, but has never been able to do very much with his life. He wants more, but he's stuck. Alice (Charlotte Gainsbourg) may have had financial success in her life, but sturggles with a similar sense of her life having no meaning. Maybe they will find something together. Sweet and sincere, but it struggles a little from the same trouble its characters have, that of wandering too much. There are some scenes that work well, but not enough. R for language.
SAME KIND OF DIFFERENT AS ME (PG-13) 116 minutes * * * 1/2 With their marriage struggling, Debbie (Renee Zellweger) has discovered a new passion in working with the homeless. Ron (Greg Kinnear) is going to have to make it his passion as well if he hopes to save their marriage. Doing so also means reaching out to Denver (Djimon Hounsou), a very troubled and violent man, who desperately needs someone who can reach past his defenses and touch his heart. Hounsou delivers a performance that is both remarkable and sensitive. The film starts a little rough, and it seems like there might have been some extra editing here that removed material that would be nice to see. Despite the rough edge to the beginning, it quickly settles in and draws us deeply into a wonderful and beautiful story. PG-13 for violence and language.
SAMIRA'S DREAM (NR) 85 minutes * * 1/2 As the title suggests, Samira has a dream. She dreams of education and independence. Though the focus is on Samira, the film follows the education of several young women from Numgwi, Zanzibar. It explores the challenges they face in an African community that doesn't make it easy for women to pursue an education. The culture is changing, but that change is moving slowly. The film, and the piece of Samira's journey we see, covers a period of seven years.
SAMSARA (PG-13) 96 minutes * * 1/2 Overflowing with beautiful images that illustrate both nature and humanity, with an emphasis on movement and lack of permanence. Not as cohesive as the entries in the Qatsi trilogy, but still very good. PG-13 for sex.
DER SAMURAI (NR) 73 minutes * 1/2 A wolf has been bothering the locals in this small German village. It needs to be stopped. Jakob (Michael Diercks) is the young police officer to whom the task has fallen. But this is no ordinary wolf. The filming style is almost hypnotic, but the story is more awkward in some of the details, finding a fascination in particular aspects that distract rather than help it along.
SAMURAI COP (NR) 95 minutes 1/2 There's a war going on in Los Angeles. The Japanese gang, Katana, is working to take over not just the drug trade, but everything else as well. Joe "Samurai" Marshall (Matt Hannon) and his partner Frank Washington (Mark Frazer) have to stop them. The looks and sounds like 1970s exploitation cinema, though it was made almost 20 years later. Laughably bad. Apparently on purpose.
SAMURAI COP 2 (NR) 89 minutes BOMB It's 25 years later (technically 24 since the last film, but who's counting) and it would appear that the Katana and two other gangs are behind a series of assassinations. Joe (Matthew Karedas (formerly Hannon)) has been living peacefully for years now. Frank (Mark Frazer) needs his help to stop the war that's about to begin. There's a little more hand-to-hand combat here, and Bai Ling joins the cast, but somehow this manages to be worse than the first film.
SAN ANDREAS (PG-13) 107 minutes * * Disaster flick with unbelievable close calls right from the start, and they don't really ever let up. The acting isn't bad, though the dialogue does its best to undermine the acting with cliches and sentimentalism. The intensity of the action is what keeps our attention despite how ridiculous it is. PG-13 for violence and language.
SAN ANDREAS MEGA QUAKE (NR) 84 minutes BOMB The big one is about to happen. The only hope to stop it is to trigger a volcano to erupt, but the fore-shocks are getting worse very quickly. Will there be time? Will California split in two? Typically bad acting and effects for a low-budget disaster film.
SAN ANDREAS QUAKE (NR) 80 minutes BOMB Another of The Asylum studios rip-off films, trying to capitalize on the similarly titled larger budget film. Bad CGI effects, worse acting, and a laughably bad story.
SANCTIFIED (NR) 85 minutes * 1/2 Life hasn't been going well for Weston (Daniel Bielinski) lately. He may not survive if not for the kindness of Hildegard (Tiffany Cornwell), a nun who is on her way to a remote church ini the Badlands of North Dakota. Perhaps they can help each other. It's a violent story, and that part works. Where this struggles is with clarity, both in the relationships between some of the characters, as well as how it appears that there's really nothing going on in the middle of this wilderness, so it would actually be easy to avoid eath other instead of constantly being in conflict. We need to understand why they can't get away from each other.
SANCTUM (R) 99 minutes * * Underwater cave diving... exciting, and dangerous. The beauty of the underground world is clearly evident from the wonderful photography here, and the soundtrack does a nice job of creating a suspenseful atmosphere. Too bad that the script and acting negate almost all that is good about the photography and music. The actors here exhibit little in the way of talent, and the script shows next to no creativity. If we could tune out the voices, we might be impressed. R for language and violence.
SAND DOLLAR COVE (NR) 84 minutes * * 1/2 Sent to acquire some beachfront property for a new private resort, Elli (Ali Michalka) runs up against the land owner (Chad Michael Murray), who wants the pier saved. A private resort or a more public development... which will it be?
SAND DOLLARS (NR) 80 minutes * * 1/2 Anne (Geraldine Chaplin) is revitalized by the love of young Noeli (Yanet Mojica). But Noeli is at a different point in her lifeand has other concerns. They are in love, but it's an uneven and challenging process. Well-acted, but the story is less than convincing.
THE SANDLOT (PG) 96 minutes * * * 1/2 Moving to town just two weeks before the end of school can be tough, but Benny takes Scott under his wing. Now, the summer of his life is about to begin. A summer filled with friends, baseball, mean junkyard dogs, beautiful lifeguards, chewing tobacco, and so much more. Well-written story with a wonderful young cast who give us genuine and often humorous performances. Entertaining and memorable film for all ages, this is a real gem. PG for language.
THE SANDLOT: HEADING HOME (PG) 94 minutes * * 1/2 More known for his arrogance than for his pleasant attitude (or his baseball skills), Tommy (Luke Perry) gets hit in the head with a baseball during practice. It takes him back to 1976 and his days of playing sandlot ball. Maybe this time around he'll make some better choices. Nicely done "feel good" sequel. PG for language.
S&MAN (R) 83 minutes * * 1/2 Underground horror films are more extreme than mainstream horror. Part of this is due to what is often a more voyeuristic approach to the story. Director J.T. Petty explores this raw, realistic quality of filmmaking that often skirts the edge of what is acceptable. The title refers to a particular series of films, the director of which Petty is particularly fascinated with. Are his films on the edge... or past it? Or is Petty just teasing us? It's difficult to tell. R for violence, sex, and language.
THE SANDMAN (2017) (R) 84 minutes * * When Madison (Shae Smolik) gets upset, the Sandman protects her. A monster created from her dreams, the Sandman is starting to get out of control. There's some nice suspense here, though the ending is a little too easy, and does little to convince us that it could work. R for violence.
SANDS OF OBLIVION (NR) 92 minutes * Not only did director Cecil B. DeMille bury the movie sets from "The Ten Commandments", he also buried an ancient and powerful amulet. In working to uncover this historic piece of film history, this crew has also uncovered the amulet... and released a powerful evil force. There are a few fun moments, but the low budget keeps tripping the story up.
SANITARIUM (NR) 105 miunutes * * An anthology film, sharing the stories of three sanitarium residents: an artist, whose work takes on a life of its own, a boy who creates a monster to deal with his probelms, and a professor driven by apocalyptic visions. The foirst two stories are better than the third. The biggest problem with the third story is that it goes on too long without very much happening. Keeping it shorter and adding a fourth story probably would have worked out better.
SANTA BABY (PG) 89 minutes * * Jenny McCarthy is Mary Class. Or, you might call her Mary Claus... since her father is Santa. He's having a bit of a health issue and Mary may need to take over the family business for the season. Her business sense is amazing, but not particularly suited to how Santa has been running the operation. Standard holiday fare. PG for language.
SANTA BUDDIES (G) 85 minutes * * 1/2 Christmas is in trouble because not enough people believe. Puppy Paws meets up with the Buddies to find out what's really happened and bring back the Christmas spirit for everyone to enjoy. Sentimental holiday fare with cute puppies and a touch of comedy.
SANTA CLAUS: THE MOVIE (PG) 112 minutes * * * 1/2 David Huddleston is a perfect Santa in this story about the magic of Christmas and the legend of the man who brings smiles to the faces of so many children around the world. A very nice, modern Christmas classic. PG for language.
THE SANTA CLAUSE (PG) 93 minutes * * * * Hilarious comedy with Tim Allen as a father who doesn't really believe in all this "Christmas stuff". He's trying to convince his son when events take a rather strange turn and he finds himself believing in everything after all. Hilarious, charming, witty, and thought-provoking entertainment for the whole family. Just remember, as a very wise elf in the movie states... "Seeing isn't believing, believing is seeing." PG for language.
THE SANTA CLAUSE 2 (G) 96 minutes * * If Santa doesn't get married by midnight on Christmas eve, he won't get to be Santa anymore. OK, aside from that being a rather important part of the deal, it's a cute idea. What isn't so cute is the subplot involving a robotic Santa that takes his place while he goes to deal with his son and try to find a wife. Watch the first one again and don't worry about this sequel, it pales in comparison.
THE SANTA CLAUSE 3: THE ESCAPE CLAUSE (G) 85 minutes * * Jack Frost (Martin Short) is trying to trick Santa (Tim Allen) into using the escape clause so he can take over the holiday. As with the second film, it's the subplot that is bothersome. This time it involves Santa's inlaws and a couple of family friends coming to visit at the North Pole. It all ends nicely enough, but still doesn't come close to the first.
SANTA GOES WEST (NR) 74 minutes * It's another scheme by Mayor Tucker. He's rigging the lottery so he can win. But the town gives him land instead of cash. Barren land. Mayor Tucker isn't done yet though. A "Christmas in July" gold rush might bring in the dollars he's looking for. Santa hears about it and shows up to save the day. Poor animation and editing, and the script is aiming a little high for the intended audience, leaving most children confused or uninterested.
SANTA JAWS (NR) 86 minutes BOMB A talented artist, Cody (Reid Miller) loves to create comic books. When he receives a special pen, he can't wait to try it out to add some special touches to his most recent piece, "Santa Jaws". Somehow, those special touches he adds bring Santa Jaws to life. And he's a killing machine, killing Cody's friends. Can he somehow use the pen to stop the madness? It's another low-budget shark movie with a weak story and a bad script to match the poor acting. It's not a surprise, but it's not any fun either.
SANTA PAWS 2: THE SANTA PUPS (G) 79 minutes * * These four new Santa pups have a lot to lrean. Of course, they're gonig to get started on this adventure before they really know what they're doing. There's more singing in this sequel than there was in the first, but it doesn't really help the story. It does add some holiday sentimentalism. Relies very heavily on the cuteness factor of young Kaitlyn Maher... which works to a point.
SANTA'S BOOT CAMP (NR) 87 minutes BOMB When Santa's elves decide to go on strike for a better deal just a few days before Christmas, he has no choice but to train a few teenagers to help out at the North Pole. That's going to take quite a bit of work. Really poor dialogue, and the acting is even worse. Not funny or cute.
SANTA'S GOT STYLE (NR) 85 minutes * * 1/2 As a new twist on an old classic, Madison (Kathryn Davis) hires a different sort of Santa for the department store where she works, a "Stylin' Santa". Ethan (Franco Lo Presti) also just happens to have a thing for Madison. He's sure that she will figure out that he's attracted to her, but she doesn't seem to notice. How long can the deception continue? It's a familiar story, but the cast does a very nice job with it.
SANTA'S LITTLE HELPER (PG) 87 minutes * * 1/2 Dax (Mike Mizanin) loves to drop the ax. His latest conquest is the Hope Springs Youth Center. But then the ax falls on him. Still, it just might be possible that Santa has a position open for him. Nice supporting work by AnnaLynne McCord in this cute and fun Christmas film. PG for language and violence.
SANTA'S MAGIC CRYSTAL (NR) 72 minutes * * Santa's evil twin brother is once again trying to steal the magic crystal that makes it possible for Santa to do his job on Christmas eve. Yotan and the elves will have their work cut out for them if they expect to save Christmas. Mediocre animation with lots of things going on at once, which can be distracting, depending on your attention span.
LA SAPIENZA (NR) 101 minutes * * * With their lives and their marriage stagnating, Alexandre (Fabrizio Rongione) and Alienor (Christelle Prot) decide to take an extended vacation in Italy. It is there that they meet young Goffredo (Ludovico Succio) and Lavinia (Ariana Nastro), siblings who have much to learn, but also much to teach. A very European story of renewal and rediscovery through art and philosophy.
THE SAPPHIRES (PG-13) 96 minutes * * * When Dave (Chris O'Dowd) hears them at a local talent contest, he knows these girls could be something great. Their first real gig is a sort of trial by fire... playing for the trrops in Vietnam, but it works. A very engaging story with graet characters and wonderful music. Adapted from the play, and works very well on the screen. PG-13 for sex, violence, and language.
SARAFINA! (PG-13) 96 minutes * * * Film version of the anti-Aparteid musical that was so successful on the stage. There is an awkwardness here as the film fluctuates between drama and musical. Both are well presented, but the flow between scenes is forced at times. Where the stage presentation left some of the more violent sequences to the imagination, they are presented here. It's a natural move to make as it's easier to be more explicit on film than night after night in the theater, but perhaps it wasn't necessary. PG-13 for violence.
SARAH'S KEY (PG-13) 99 minutes * * * In 1942, French officials sent 10,000 Jews to holding camps. This is the story of one particular family who were victims at that time, and how their story was rediscovered so many years later, by a journalist who finds herself living in the apartment where Sarah's family once lived. A powerful story that moves easily between the past and present stories, weaving them together very effectively. PG-13 for violence.
SAS: RED NOTICE (R) 108 minutes * * Taking hiis girlfriend to Paris for a romantic getaway where he can propose to her, Tom (Sam Heughan) soon finds himself on a hijacked train. As a special forces operator, he knows what he needs to do, but he's up against Grace (Roby Rose) and her highly trained team. The story offers no surprises and is frequently not paced well despite the acting being very good. It does end well if you can make it that far. R for violence and language.
SASHA (NR) 102 minutes * * Sasha (Sascha Kekez) isn't quite ready to come out yet, especially not with parents who are homophobic. But when his piano teacher announces that he is leaving, Sasha can't take it anymore. The characters, and performances, aren't really that strong, and often, the script shifts away to another scene just when it needs to be willing to go farther in exploring a character.
THE SASQUATCH GANG (PG-13) 83 minutes * * In an effort to save his precious car from being reposessed, Zerk (Justin Long) decides to sell plaster casts of fake sasquatch footprints. In the meantime, three friends who spend their time jousting with weapons they make from styrofoam, plastic, and tape, are trying to prove that the footprints are real. The characters are definitely interesting, but the story doesn't ever get very far off the ground. PG-13 for language.
SATANIC (R) 81 minutes * * On their way to Coachella, the four friends take some extra time to do a little satanic cult site tourism. Yeah… that was a smart idea. This ends at a scary place, but somehow, getting there isn’t all that scary. And there also seem to be quite few unanswered questions at the end. R for violence, language, and nudity.
SATELLITE GIRL AND MILK COW (NR) 79 minutes * * Through no fault of her own, Satellite Girl becomes a girl instead of the satellite she had been. In a similar manner, Milk Cow used to be a boy, and a talking roll of toilet paper used to be a wizard. An unusual but fun adventure, but it leaves a few too many unanswered questions at the end.
SATURDAY THE 14TH (PG) 80 minutes * * As might be suspected from the title, this is a parody of the “Friday the 13th” series of films. It’s clearly a low-budget attempt at that, and is only limited in it’s attempt, but the ending isn’t too bad, and there are a few chuckles along the way. PG for violence.
SAUGATUCK CURES (NR) 86 minutes * * In an attempt to raise money for an expensive operation for his mother, Drew (Max Adler) and his friend Brett (Danny Mooney) pose as reformed gay ministers who can "cure" homosexuals for a "donation". The performances aren't bad here, but the script is really rough, interfering with the performances and the pacing.
SAUSAGE PARTY (R) 82 minutes * The food at the grocery is all looking forward to their trip to the great beyond. But what if the great beyond isn’t what they think it is? Will they get a chance to try again? It’s a good story idea, and the animation is very well done. But the dialogue is very rude and crude and just seems to get worse as it goes along. R for sex and language.
SAVAGE BEACH (R) 92 minutes * Donna (Dona Speir) and Taryn's (Hope Marie Carlton) latest mission has them flying cargo as a cover for their DEA work. Caught in a storm, they make an emergency landing on an island that just happens to be where there are a number of people who are looking for a treasure of gold. Fourth in the L.E.T.H.A.L. ladies series from Andy Sidaris. Filmed in Molokai, Hawaii. R for sex, language, and violence.
SAVAGE GRACE (NR) 86 minutes * * A tragic tale of love and family. Barbara Baekeland (Julianne Moore) is an incredibly demanding woman. Her son Tony (Eddie Redmayne) is both torn and twisted by his mother's behavior. She will eventually prove to be his undoing. Based on a true story, and well-acted, but the characters are unappealing and we lose interest fairly quickly.
SAVAGE SALVATION (R) 95 minutes * * 1/2 It took a lot of work, but Shelby (Jack Huston) and Ruby (Willa Fitzgerald) finally kicked the drug habit. Then her old dealer offers her another dose. Now she's dead, and Shelby is determined to take out the people responsible. It's a strong cast, but the story doesn't offer much. R for violence and language.
SAVAGE STREETS (R) 88 minutes * 1/2 When Brenda's (Linda Blair) sister is raped and her best friend killed, she decides to take action. Violence breeds violence is the theme of the day, with justice quickly turning to vengeance. Lots of action in a simple story that doesn't require much acting, which is a good thing. R for sex, violence, and language.
THE SAVAGES (R) 109 minutes * * * They are the Savage family. Jon (Philip Seymour Hoffman) and Wendy (Laura Linney) are almost constantly at each other's throats, like many siblings. Faced with needing to care for their father who has dementia, they must not only figure out how to get along, but how to deal with a father they have never been close to. They must find a way to rise above the family name. In finally accepting who they are and what has helped shape them, they may be able to begin the more difficult process of growing. Strong performances, but not an easy film to watch due to the intensity of the topic. R for sex and language.
SAVAGES (R) 137 minutes * * 1/2 Ben (Aaron Taylor-Johnson) and Chon (Taylor Kitsch) grow the best marijuana there is. They're ready to get out of the business, but that's going to be a little more difficult than they expected. Fortunately, they have a few connections of their own. Too much needless narration, and John Travolta, Salma Hayek, and Benicio Del Toro are more caricatures than characters as director Oliver Stone continues his pattern of making sure that nothing is subtle. And he even ends the film twice, just in case you don't like the first ending. R for violence, sex, and language.
SAVANNAH SMILES (PG) 101 minutes * * * * When Savannah (Bridgette Andersen) runs away from home, the bumbling crooks in whose vehicle she hides have no idea what is in store for them. A beautiful story about the importance of enjoying your children and how much joy they can give in return. Sweet, charming, and wholesome entertainment.
SAVE THE DATE (R) 94 minutes * * 1/2 Sarah (Lizzy Caplan) and Beth (Alison Brie) are sisters who are struggling with committment. In fact, all of the characters here want it, but don't know how to stay there without feeling either trapped or overwhlemed. That said, they are still quite likeable characters. R for sex and language.
SAVE THE LAST DANCE (PG-13) 105 minutes * * When her mother dies on the way to Sara's (Julia Stiles) audition for Julliard, she's ready to give up on dance. She moves in with her dad, who lives in an area of town that Sara is completely unfamiliar with. She soon makes new friends who speak the language of dance, with a slightly different style. And, of course, she grows up and becomes a young woman who learns how to cope and gets into Julliard after all. The script is trite and unimaginative at best, and really lets the cast flounder during the potentially more dramatic moments. They do their best, but coupled with some poor editing and mediocre directing, the script does its damage. Stiles and Sean Patrick Thomas get the stars for this one and the small screen will help it look a little better too. PG-13 for language and violence.
SAVE THE LAST DANCE 2 (PG-13) 88 minutes * 1/2 Continuing the story from the first film, Sara (Izabella Miko) is now at Julliard, but finding out just how much it takes to stay there. Will she continue to pursue ballet? Is there room for the other styles of dance she loves? Will we care what happens? Fans of the first will enjoy this somewhat, but it's definitely a step below the first. PG-13 for sex and language.
SAVE YOURSELF (NR) 85 minutes * They were just on their way to a screening of their new horror film. Now, they're in a real-life nightmare with a mad scientist who wants to use them for his experiments. The story set-up and ending are good, but the bulk of the film is not only nothing different or interesting, but also poorly acted.
SAVE YOURSELVES! (R) 91 minutes * 1/2 Like many couples, Jack (John Reynolds) and Su (Sunita Mani) need to work on their relationship. They decide to "unplug" and do a marriage therapy trip on their own. As tbey head to a remote location, how were they to know that it would be the exact day that aliens would invade the planet? The story moves from a relationship drama to a science fiction comedy and then tries to be something more meaningful. The shifts don't work well, leaving us with a strange ending that should have been more meaningful, or maybe funnier. R for language and violence.
SAVED (PG-13) 88 minutes * * 1/2 American Eagle Christian High School... it's a wonderful place to get an education. Of course, a great deal of learning happens when you begin to think outside the box, especially if it's a box that someone else has given you. Life can teach us many things if we're willing to allow it the opportunity. Hilary Faye (Mandy Moore) chooses a more limited understanding that fits her experiences, but it doesn't make sense any more to Mary. While in one sense this is a parody that pokes fun at the fundamentalist Christian faith of some of the characters, in another sense, it's also a very real attempt to allow other characters the ability to grow a faith that can grow and change with them as the bumps in the road of life come their way. Great performances from Malone and Moore as well as Eva Amurri and Macauley Culkin. PG-13 for language.
SAVING FACE (R) 91 minutes * * 1/2 It seems that everyone here has a bit of a secret, and everyone is trying to keep appearances "normal". But what's normal? And is appearing so worth sacrificing what you love? Joan Chen stars as a 48-year-old woman dealing with a pregnancy and a daughter who is a lesbian in this charming and somewhat offbeat romantic comedy. Nice performance by Michelle Krusiec in the lead role of the daughter. R for sex and language.
SAVING FLORA (NR) 89 minutes * * An older circus elephant, Flora's arthritis has begun to be a more serious problem. Dawn (Jenna Ortega) is determined to save her, despite her father's (David Arquette) plan to have her euthanized. The younger crowd will like this, though it does drag a bit in the middle, and the story is a little difficult to believe.
SAVING GRACE (R) 91 minutes * * * Grace (Brenda Blethyn) is having a bit of trouble. You see, her husband just died and now she has learned that there isn't any money. In fact, he borrowed so much against their possessions for bad business deals, that she's about to lose everything. Her hobby of growing orchids just may prove useful though, as her groundskeeper asks for some assistance in keeping a struggling plant alive. The plant in question just happens to be marijuana, and with Grace's green thumb, this could soon become a very rich crop! It's a charming little film with fun characters and a story that will keep you smiling all the way through to the end. R for language and nudity.
SAVING GRACE B. JONES (R) 111 minutes * When Carrie (Rylee Fansler) witnesses a murder in New York City, she shuts down. Her father decides that a summer in Boonville, Missouri is the answer, and sends her to stay with friends. But this is the summer that Grace (Tatum O'Neal) comes home after a number of years in an asylum. Despite the talented cast, the performances are mediocre, and the heavily emotional approach is more typical of a TV movie. R for violence and sex.
SAVING LINCOLN (NR) 95 minutes * * 1/2 Abraham Lincoln's (Tom Amandes) politics generated as much opposition as they did support. That would mean more than one possible attempt on his life. Ward Hill Lamon (Len Coco) became Lincoln's somewhat unconventional bodyguard. The film follows the events that led to the Civil War and the effect the war had on the president and the country. The film uses historic photographs as backdrops using the green screen process. Amandes performance is quite good, but much of the film is over-acted, and the green screen process manages to highlight that. Nice ending.
SAVING MR. BANKS (PG-13) 118 minutes * * * 1/2 This is the story of how Mary Poppins made the move from book to screen. It was not an easy transition, as Mrs. Travers (Emma Thompson) fought long and hard for it not to happen, though financial struggles finally began to put pressure on her. Several of the supporting roles are quite good her, in particular, Colin Farrell does a great job in a role that has great depth despite the short amount of screen time. Tom Hanks is the least impressive here, as his portrayal of Walt Disney seems almost cursory, though Thompson still plays well off of him. PG-13 for violence.
SAVING PRIVATE PEREZ (PG-13) 97 minutes * * 1/2 Julian Perez (Miguel Rodarte) is a powerful man. But granting his dying mother's wish could prove difficult. She wants to see her other son, but Juan is listed as MIA in the war in Iraq. Julian assembles an interesting team to accomplish the mission, and the results are rather unique. Nice mix of drama and action, with more than a few nods to a number of western and action films. A few bits of humor are here as well. PG-13 for violence and language.
SAVING PRIVATE RYAN (R) 161 minutes * * * 1/2 This film is not for the faint-hearted. The landing at Normandy Beach is almost too realistic for comfort and makes one wonder how anyone survived. The final battle is almost as gruesome but has a little less effect because we've grown accustomed to it by then. The script has been structured around a few very long scenes, which makes the flow of the film a bit awkward despite how powerful those scenes are when viewed. There are also some inconsistencies in how the character of Ryan behaves when we finally do get the chance to meet him near the end of the film. Keep an eye on Barry Pepper, who plays the part of Jackson, the sniper, who's performance is the most outstanding in the film. This is one of the better war films we've seen in awhile, but its intensity makes it a film that not everyone will want to watch. R for violence and language.
SAVING SARAH CAIN (PG) 100 minutes * * 1/2 Sarah (Lisa Pepper) has been having trouble coming up with material for her newspaper column. With the unexpected death of her sister, Sarah finds herself legal guardian for her sister's five children. Her sister's five Amish children. Now she has something to write about, but what does it all mean? Adapted from the sentimental novel by Beverly Lewis, the story is unrealistic and two-dimensional. The actors playing the children are fine, but Pepper and the rest of the adult cast seem to be reading their lines off of the wall. PG for language.
SAVING SHILOH (PG) 86 minutes * * This conclusion to the Shiloh trilogy continues the story of Marty and Shiloh as they learn that Judd, who used to own Shiloh and mistreat him, can change for the better. The acting is mediocre, as it was in the first two films, but the script is not as well-written as the others. This entry is even less about the dog and more about the humans than the first two were, but those who enjoyed the first part of the story will probably be interested in seeing it come to completion. PG for violence.
SAVING SILVERMAN (PG-13) 85 minutes * * 1/2 Darren, Wayne, and J.D. have been buddies since childhood. Darren's new girlfriend is threatening to rip that friendship apart, but Wayne and J.D. aren't going to let that happen. Corny, stupid, and not really all that original, but the performances of Steve Zahn and Jack Black give this the edge it needs to be funny. Amanda Peet plays the domineering girlfriend to the hilt. It's obvious that they had fun making this film and it carries through in their performances. PG-13 for language.
SAVING SLOANE (PG) 84 minutes * After getting into trouble one too many times, Sloane (Taylor Foster) gets sent out to a horse farm for a couple of weeks. Of course, she's still getting into trouble until she forms a bond with a horse that also has some issues. Stale story with heavily stereotyped characters that are over-acted. PG for language.
SAW (R) 99 minutes * 1/2 Two young men wake up and find themselves chained to opposite ends of a room with a corpse on the floor between them. They are trapped in a room fashioned by the jigsaw killer, a serial killer who finds ways for his victims to kill themselves while he watches without them knowing. There are a few good creepy moments here, but the story has too little room to move and runs out of steam far too early. There is a nice twist at the end, but it's too little, too late. R for violence and language.
SAW II (R) 87 minutes * * Nicely crafted sequel that ties in with the first very well. We know who jigsaw is, but we still have to figure out the clues about the location of his current "victims". The acting and the script are both a bit on the uneven side, but as a sequel, this isn't too bad. Filmed in Toronto, Ontario. R for violence and language.
SAW III (R) 104 minutes * * 1/2 This series just keeps getting a little better each time out. There's a new jigsaw killer on the loose, but something seems a bit different. Maybe the original killer is still around. Maybe there are some new games for people to play. Nice twists and turns here and a catch at the end to set us up for part IV. Filmed in Toronto, Ontario. R for violence and language.
SAW IV (R) 87 minutes * * Continuing with it's inventive storyline, the tests for people to face are more elaborate and the scene changes are well-done. Jigsaw (Tobin Bell) may be gone, but the story continues... and it would appear to have no end. Definitely one of the more clever horror series. Filmed in Toronto. R for violence and language.
SAW V (R) 87 minutes * 1/2 Agent Strahm (Scott Patterson) is on the trail of Mark Hoffman (Costas Mandylor), who is following in the footsteps of his mentor, and five more people are taking another series of "jigsaw tests". The ending to this entry in the series is rather abrupt, and we are treated to quite a few clips from the earlier films. That may help if you haven't seen them before, but more new footage would be nice too. R for violence and language.
SAW VI (R) 85 minutes * 1/2 Hoffman (Costas Mandylor) is working with Jigsaw's wife to fulfill his final wishes. Six more traps are set, but Hoffman needs to watch his back. Slightly more inventive than part five, but still has far too many flashbacks and too much of Mandylor's one-dimensional acting. R for violence and language.
SAW: THE FINAL CHAPTER (R) 85 minutes * * 1/2 This time around, the focus is on Bobby Dagen (Sean Patrick Flanery), who is claiming to be a Jigsaw survivor and making quite a bit of money as a motivational speaker. Of course, he's never been in a Jigsaw trap... until now. Hofman (Costas Mandylor) sets up a series of traps for him in one of the more brutal and grisly entries in the series. Released to theaters in 3D, this is supposedly the last in the series. But is it really over? R for violence and language.
SAW X (R) 111 minutes * * 1/2 A step back in time. The events detailed here take place between those of Saw I and Saw II. John Kramer (Tobin Bell) has been diagnosed with cancer. There is a radical, experimental procedure that could save him. As it turns out, it's a scam. Taking advantage of Kramer is not something that happens. At least, not without drastically bad consequences. R for violence and language.
SAY ANYTHING (PG-13) 94 minutes * * * A romance begins to blossom ever so slowly, but surely, as a persistent Romeo pursues his Juliet. Lloyd Dobler (John Cusack) is sincere, trustworthy, considerate... just about everything a girl could want. Diane Court (Ione Skye) has spent her whole life preparing for the futer while ignoring the present. As Lloyd opens her eyes to the world around her, she begins to realize that it's out of a genuine desire to help her be the best person she can be. Finely crafted story with strong characters that are brought to life well by both Cusack and Skye. More than just another teen romance, this is a truly fine film about relationships and the importance of communication. PG-13 for language.
SAY IT ISN'T SO (R) 90 minutes 1/2 Gilly (Chris Klein) has finally found the perfect girl... if only she wasn't his long lost sister. Rather inane script that pokes fun at ignorance. The performances are too earnest and the jokes are in poor taste. A real shame to waste the talents of Klein, Heather Graham, and Sally Field. R for language.
SCALES: MERMAIDS ARE REAL (PG) 88 minutes * 1/2 As her 12th birthday approaches, Siren (Emmy Perry) begins to come of age in a rather unique way. She's about to transition into being a mermaid. Her safety is at risk, but with the help of a new friend, it will all work out. Good story, though the ending is forced and overly concerned with answering all of the questions. The cast is not great, but having mermaids will score some points for those who enjoy them. PG for violence.
A SCANNER DARKLY (R) 96 minutes * * * An undercover police officer discovers the dangers of a new drug firsthand as it begins to alter his sense of self and reality. Though not as profound and philosophical as "Waking Life", writer/director Richard Linklater uses the same style of animation drawn over live-action photography to present an interesting film, adapted from the book by Philip K. Dick. The story is both dark and cynical, but manages to elicit a few smiles and chuckles along the way. It's a treat, not only for fans of Linklater and Dick, but for those who appreciate films that are a little different from the normal streams of entertainment. R for sex, language, and violence.
SCARE ME (NR) 100 minutes * * * It's a chance meeting. Fred (Josh Ruben) and Fanny (Aya Cash) meet and discover that they are both staying in the same nearby cabins. And, they are both writers... of horror. When the power goes out that night, they get together to share scary stories with each other. With each tale, the line between story and reality seems to blur a little bit more. A very inventive story with marveloous work by both Cash and Ruben. The ending does lose a little of the fun intensity, but otherwise, this is quite good.
SCARE PACKAGE (NR) 102 minutes * 1/2 Rad Chad's Horror Emporium specializes in horror films. His newest employee doesn't know much about them, so Chad (Jeremy King) needs to explain the basics. The explanation gives us a bunch of short horror films, most of which are cheesy and not scary, despite there being lots of blood.
SCARE PACKAGE II: RAD CHAD'S REVENGE (NR) 94 minutes * Now deceased, Rad Chad (Jeremy King) still has one more trick up his sleeve. It's an escape room... sort of. It's also a movie where the story doesn't make much sense. There are plenty of gross effects though. It's more scary and gross than the first film, but tends to make a little less sense as whole.
SCARECROW COUNTY (NR) 72 minutes * The Parker City Library has just received a box of donations. Among the books is a journal. As Winnie (Chelsi Kern) reads the journal, people in town start dying. The dialogue and the acting are pretty bad here. The music and sound effects are good, an the story, while not that original, is told reasonably well.
SCARFACE (R) 163 minutes * * * ½ When Tony Montana (Al Pacino) manages to get away from Cuba, he finds himself in Miami, and on a violent track to becoming a drug lord. Pacino is perfectly cast in this story of a man who trusts no one. When he takes on too much, there can only be one ending. Very violent, but well-structured story with fine performances. R for violence, language, and sex.
THE SCARLET LETTER (R) 131 minutes * * * As is states at the beginning, this is "freely adapted from the novel". It is a story well-told, though not true to the original, with fine performances by Demi Moore and Gary Oldman and a beautiful soundtrack by John Barry. It could have used a little trimming, but it's a great film for a rainy day. R for violence, language, and nudity.
SCARY MOVIE (R) 80 minutes * * 1/2 This film was orginally titled "Scream if you know what I did last Halloween", which should give you an idea of what to expect. The bulk of the time is spent on parodies of "Scream" and "I Know What You Did Last Summer", though there are comments and jokes that cover "The Blair Witch Project", "The Shining", "The Sixth Sense", and many others. It's full of the usual sex jokes and bathroom humor, but also manages to include some nice effects and stuntwork. Anna Faris' performance also provides a steady note that helps hold the film together. R for language and sex.
SCARY MOVIE 2 (R) 74 minutes 1/2 Cindy (Anna Faris) and the rest are reunited at a weekend retreat at Hell House. More sex jokes and bathroom humor than in the first, but the production quality isn't as good. Faris is the only bright spot in the film. R for language and violence.
SCARY MOVIE 3 (PG-13) 75 minutes BOMB Anna Faris and friends return, poking fun primarily at "The Ring" and "Signs", but managing to lampoon a few other suspense films along the way. The rating has changed from R to PG-13, but all that did was switch the humor from foul to tasteless. Lots of big name people do cameos here, but it doesn't help. PG-13 for language and violence.
SCARY MOVIE 4 (PG-13) 75 minutes 1/2 More of the same, with a few chuckles here and there. More big name people doing cameos and Anna Faris is beginning to look a little bored with this. Primarily a parody of "War of the Worlds" with "Saw", "The Grudge", and "The Village" along with a few others thrown in. PG-13 for language, violence, and nudity.
SCARY MOVIE V (PG-13) 73 minutes 1/2 Primarily a parody of the "Paranormal Activity" series with bits and pieces from a few others and less humor the longer it goes on. Anna Faris finally managed to escape being in this one, to be replaced by Ashley Tisdale. PG-13 for sex and language.
SCARY STORIES TO TELL IN THE DARK (PG-13) 96 minutes * * * Visiting the local abandoned mansion on Halloween night, Stella (Zoe Colletti) and her friends don't stay for long. Stella manages to grab a book full of stories on the way out. It's an unusual book. And the stories it contains are coming true. Despite featuring a young cast, this is not aimed at a similarly aged audience. It also isn't an anthology film, though it does tell several different stories. Scary, creepy, and well worth a look for horror fans. PG-13 for violence and language.
SCAVENGERS (NR) 91 minutes 1/2 Scavenging an abandoned and damaged spaceship, the crew of the Revelator discover a piece of alien technology that could change the universe. But they aren't the only ones who know about it. Jekel (Sean Patrick Flannery) and his crew will stop at nothing to retrieve the tech. The story isn't bad, though the script isn't great. Flanery gives what is clearly the worst performance of his career, and the special effects are not just low-budget, but repetitive.
SCENES FROM A MALL (R) 83 minutes * * 1/2 Woody Allen and Bette Midler star as a couple who have been married for sixteen years. Today they're at the local mall, getting into a fight and making up and getting into another fight and making up and... get the idea? There are bits here and there that are good, and the songs are very well chosen, but the film isn't designed well. There seems to be no purpose for the mall setting and there is little interaction between anyone except Allen and Midler. Fans of theirs may be interested, but most people won't. R for language.
SCENIC ROUTE (R) 83 minutes * * It was supposed to just be a detour to give them more time to talk, but when the truck breaks down, the talk soon stops being civil and their friendship begins to crumble. Nice, though not completely unexpected twist at the end. R for violence and sex.
SCENT OF A WOMAN (R) 153 minutes * * 1/2 Al Pacino gives a wonderful performance as Lt. Col. Frank Slade, a blind man who gives a new definition to the phrase, "hard to handle". Young Charlie (Chris O'Donnell) ends up learning a great deal from him as they spend time together. Pacino carries the film, which isn't surprising, but it makes for a rather tedious time during the lat hour. This just lasts too long when we don't have a more balanced presentation. Watch it for Pacino and fast-forward through the rest.
SCENTS AND SENSIBILITY (PG) 82 minutes * 1/2 Two sisters, struggle to make it on their own in this modern, and broadly adapted version of the Jane Austin novel. The cast lend this a little charm and humor, but there isn't much depth, and it feels a little too much like a bad Harlequin TV movie. PG for language.
SCHINDLER'S LIST (R) 189 minutes * * * * An extraordinarily powerful film that is almost frighteningly realistic. That it is filmed almost entirely in black and white adds even more to the effect because we feel like we're watching old documentary footage of actual events. Fabulous performances by Liam Neeson, Ben Kingsley, and many more. Definitely a modern classic. R for violence and nudity.
THE SCHOOL (NR) 85 minutes * * When Amy (Megan Drury) wakes up, she’s in a strange, dark version of a school. But is she awake? The hospital where she works was once a school, so perhaps she is just on another plane of existence. Wherever she is, she needs to get away from what is trying to stop her from getting back to reality and doing what she needs to do. Very nice production, but the story gets a little overly symbolic and loses its way more than once.
SCHOOL DANCE (R) 77 minutes 1/2 Being cool is no easy task, and Jason (Bobb'e J. Thompson) is learning that the hard way. There are a few funny moments here, but this quickly degenerates into rude attempts at being funny tht fail far more often than they succeed. R for sex and language.
SCHOOL DAZE (R) 115 minutes * * An activist on a university campus fights apathy as well as the administration. This Spike Lee project is rather choppy and disorganized, with some sequences very good while others are very poor. There are a number of interesting ideas in here, but they get lost in the confusing and conflicting styles used to present them.
SCHOOL FOR SCOUNDRELS (PG-13) 96 minutes * 1/2 Remake of the 1960 film, this one starring Billy Bob Thornton as the teacher and Jon Heder as the loser who needs to learn confidence. Heder plays his part well, but Thornton seems to care as little about the role as his character does about being sensitive. There are a few chuckles here and there, but we're never drawn into the story enough to have much sympathy for Heder's character. PG-13 for language and violence.
SCHOOL OF HORROR (NR) 96 minutes 1/2 A young filmmaker trying to make a more unique horror film ends up stumbling onto a story about a creature from hell that is supposed to be showing up near a backwoods bar one night. While the story earns some points for creativity, the amateurish acting and horrible sound quality and sound editing destroy virtually any hope this had of being very good.
SCHOOL OF ROCK (PG-13) 103 minutes * 1/2 Dewey (Jack Black) needs a job and decides that substitute teaching at a prep school might work, especially when he discovers that the kids have some musical talent that he can shape into a band. It's sort of fun, but relies very heavily on Black's energy and comedic talents which begin to wear thin by the end of the film. It does end well, if you last that long. PG-13 for language.
SCHOOL TIES (PG) 104 minutes * * 1/2 A tough prep school is the steeing to explore the topics of loyalty, friendships, and how to get a slice of the good life. Overly dramatic to say the least, but the performances are reasonable and manage to counteract most of the cheap dialogue.
SCHOOLED: THE PRICE OF COLLEGE SPORTS (NR) 77 minutes * * 1/2 Adapted from Taylor Branch's book, "The Cartel", this documentary takes a look at how the NCAA treats athletes. While their education is provided for free, the industry that surrounds college sports will make billions of dollars from using these young athletes. And while only a few of them will ever make it into the professional level, and fewer still will succeed, they are not allowed to make any money while playing sports in college. Extensive and informative, but a bit on the dry side as far as presentation.
THE SCIENCE OF SLEEP (R) 102 minutes * * 1/2 Stephane (Gael Garcia Bernal) is fascinated with his dreams, and with a particular young woman. In his dreams, it all works out well, but will that translate into reality? Unusual, and a visual treat, with a strong performance from Bernal, but this still misses the mark. The movement between reality and dream is puzzling at times, and despite the effort Bernal shows, we have a hard time sympathizing with his character. At times, Stephane is appealingly quirky, then suddenly will veer toward self-destruction for no apparent reason. Writer/director Michel Gondry did much better when collaborating with Charlie Kaufman on "Eternal Sunshine of the Spotless Mind". R for sex.
SCOOB! (PG) 87 minutes * * The gang will be dealing with Dick Dastardly (voiced by Jason Isaacs) as he plans to unleash Cerberus on the world. That could work, and bringing Dastardly and Muttley into the mix is a nice move, but the story tries to bring in a number of other cartoon characters from different shows and is constantly using humor and making references that will be completely lost on the younger crowd that appears to be the target audience. The introductory section of the film is nice, taking us back to the formation of the gang, but after that, we're often on shaky ground as far as the story. It's also unclear why Scooby-Doo speaks more clearly here, though he is still voiced by Frank Welker. This feels kind of like a reboot that wasn't necessary, and would have worked better if it just focused on a good story rather than trying so many gimmicks. PG for violence and language.
SCOOBY-DOO (PG) 80 minutes * * Mildly entertaining live-action version of the classic Saturday morning cartoon. All our favorites are here, but there have been some alterations. Daphne never used to be quite so empty-headed and Scrappy may have been a little annoying, but he wasn't such an egomaniac. There's also a good deal of adult humor here. Somewhat inapproriate, though sufficiently buried as to go unnoticed by most of the younger crowd. Watch the cartoons, they're better. Filmed in Queensland, Australia. PG for violence.
SCOOBY-DOO! ABRACADABRA-DOO (NR) 72 minutes * * The Scooby gang heads to Whirlen Merlin Magic Academy, where Velma's sister is a student. With both a gryphon and a banshee causing trouble at the academy, they are going to have their hands full.
SCOOBY-DOO AND BATMAN THE BRAVE AND THE BOLD (NR) 72 minutes * * When Batman needs some help on a case, the Scooby gang is ready to lend a hand. There's not much here for fans of the caped crusader, but Scooby fans will have some fun.
SCOOBY-DOO AND KISS: ROCK AND ROLL MYSTERY (NR) 75 minutes * * 1/2 The Scooby gang and KISS team up to defeat an otherworldly witch. Well-balanced combination of the two, so fans of both will be happy, while others will be less so.
SCOOBY-DOO! AND KRYPTO, TOO! (NR) 75 minutes * * The Justice League has disappeared and no one knows where they are or why they have gone missing. It's up to the Scooby gang to figure out what's going on. The setup is fun and interesting, but the story resolves too quickly and too easily.
SCOOBY-DOO AND THE CURSE OF THE 13TH GHOST (NR) 79 minutes * * 1/2 Years ago, the gang captured twelve ghosts, leaving only one more to catch. This is a sequel of sorts to the 1985 TV series where Fred and Velma weren't around. They're here, but the others have to fill them in on the story, which works to fill us in if we are less familiar with that particular chapter of Scooby history. It's also a chance for those who do remember to see a few characters that we haven't seen in awhile like Vincent Van Ghoul and Flim Flam.
SCOOBY-DOO AND THE GOURMET GHOST (NR) 75 minutes * * A culinary resort provides the setting for the Scooby gang's latest haunted adventure. It was once a historic colonial inn, and may still be haunted. A few too many extra characters here that serve more to distract than to compliment the story.
SCOOBY-DOO AND THE LOCH NESS MONSTER (NR) 72 minutes * * The gang is in Scotland for a festival that Daphne’s cousin is organizing. Of course there’s more than one sighting of the Loch Ness Monster that need to be investigated, and lots of other problems too. The story and its resolution are rather stale, but there’s some good music in the soundtrack that helps this along.
SCOOBY-DOO AND THE SAMURAI SWORD (NR) 72 minutes * * One of the many straight to video animated features starring Scooby-Doo and the rest of the gang. This story involves the legend of the Black Samurai and the gang discovers that they need help from a green dragon and a sword of fate. A little more violent than some entries in the series, but plenty of silly humor as well.
SCOOBY-DOO AND WWE: CURSE OF THE SPEED DEMON (NR) 78 minutes * * The Muscle Moto X. Three races in three days. It's all set to be a great competition until a demon shows up to spoil things. It's an interesting idea to team the Scooby gang up with WWE, but the story just doesn;t have much depth or imagination.
SCOOBY DOO! CAMP SCARE (NR) 68 minutes * * 1/2 Fred takes the gang to his old summer camp to be counselors. Too bad the place is nothing like it used to be. It's haunted now, but the gang will soon uncover what's really going on. Standard straight-to-video adventure for Scooby Doo fans.
SCOOBY DOO! CURSE OF THE LAKE MONSTER (PG) 79 minutes * * This live action/animation mix has the gang looking for summer jobs now that school is out. They end up with nice jobs at a lake resort. Of course, the lake has a monster. In the meantime, relationships are heating up as Fred and Daphne get more serious about each other and Shaggy is wondering if Velma might be interested. PG for violence.
SCOOBY DOO! FRANKENCREEPY (NR) 71 minutes * * As the title suggests, this one is a bit more on the creepy side than most entries in the series. It's still all in good fun, but you'll enjoy it more if you're a fan of the series as it does rely on some familiarity with other entries in the series.
SCOOBY DOO! LEGEND OF THE PHANTOSAUR (NR) 71 minutes * * Shaggy's been diagnosed with a condition that means he's supposed to stay away from things that scare him. That's not going to last long with the rest of the Scooby gang around! Hypnosis might help, but then again, it might just create other problems.
SCOOBY-DOO! MASK OF THE BLUE FALCON (NR) 71 minutes * * 1/2 The original Blue Falcon is at the comic book convention, but with a new movie due out, no one is interested in the original, they want to meet the new Blue Falcon. One of the original Blue Falcon villains shows up and tries to prevent the screening of the new film. The comic convention setting provides some nice opportunities for lots of comic characters to make "cameo" appearances.
SCOOBY-DOO! MOON MONSTER MADNESS (NR) 77 minutes * * The Scooby gang is headed to space thanks to the generosity of a billionaire. As they travel to the moon, they will face the possibility that aliens might already be there.
SCOOBY-DOO: MUSIC OF THE VAMPIRE (NR) 74 minutes * 1/2 Once again, the gang goes on vacation, only to end up on another case. The town they end up in also happens to have a vampire convention going on, which doesn't bode well for calm and quiet time. For some reason, they sing during this adventure, which doesn't really make this any better, but actually has the reverse effect.
SCOOBY-DOO: RETURN TO ZOMBIE ISLAND (NR) 77 minutes * * Trying to retire from their mystery-solving career, the Scooby gang is taking a vacation. Of course, they end up on Zombie Island again with yet another case to solve. This isn't the first time they've tried to take a break and have it not work out. It probably won't be the last.
SCOOBY-DOO! SHAGGY'S SHOWDOWN (NR) 77 minutes * * 1/2 Shaggy gets an invitation from a distant relative to come and visit. So, the gang heads off to a dude ranch, where they discover that Shaggy has a famous outlaw relative. Of course, this relative also just happens to be a ghost.
SCOOBY-DOO! STAGE FRIGHT (NR) 76 minutes * * The gang is headed to a musical talent show in Chicago. It stands to reason that the opera house where the talent show will be happening is haunted. Once again, they will need to figure out who is behind the haunting and why it's happening.
SCOOBY-DOO: THE MYSTERY BEGINS (PG) 76 minutes * * Live-action Scooby-Doo film with a new cast, exploring the first case that the gang has together. Ghosts are haunting Coolsville High, but they seem to have some help. Who is it, and how can they be stopped? Not sure why we need an intro to these characters at this point, but it works OK. PG for violence.
SCOOBY-DOO! THE SWORD AND THE SCOOB (NR) 73 minutes * * 1/2 Visiting Shaggy's ancestral homeland turns into another adventure for the gang. Shortly after arrival, they end up being transported back into the days of Camelot. When Shaggy pulls the sword from the stone, to use as a knife for cheese of course), the rightful ruler of Camelot is in question. Now, there must be a battle. A fun mix of history, legend, and Scooby-Doo.
SCOOBY DOO 2: MONSTERS UNLEASHED (PG) 87 minutes * * It's definitely nice to see all of the old villains again. And to not see Scrappy... still, there really isn't much to the story. The younger crowd (6-10) will probably find it entertaining and they probably won't understand the few more adult oriented jokes that are in a couple of spots. For the most part, it's a harmless and mildy entertaining film that will definitely look quite a bit better on video.
SCOOBY DOO! WRESTLEMANIA MYSTERY (NR) 81 minutes * 1/2 The gang heads to WWE City as winners of a contest and end up needing to solve yet another mystery. Mostly suffers from too much WWE and not enough Scooby Doo.
SCOOP (PG-13) 93 minutes * * * Sondra (Scarlett Johansson) is picked from the audience to assist with a magic trick for Sid Waterman (Woody Allen) aka Splendini. That's when she's contacted by the spirit of a recently deceased journalist who gives her the scoop of a lifetime. Now she has to put her college journalism skills to use and uncover the rest of the story along with Sid's help. Of course, Sid isn't so sure about all of this... Typical, quirky Allen comedy, with plenty of chuckles throughout. It's heavy on dialogue, as is normal for a film from Allen, but it helps that he wrote it with Johansson in mind. She delivers yet another amazing performance. Definitely one of Allen's more lighthearted and entertaining films. PG-13 for sex.
SCORCHED EARTH (R) 89 minutes * 1/2 Gage (Gina Carano) is a bounty hunter. The currency may have changed in this post-apocalyptic world, but the work of a bounty hunter remains the same. The sets, costumes, and props look like leftovers, but the action sequences and the script manage to give this a little energy. R for violence and language.
THE SCORE (R) 118 minutes * * Jack (Edward Norton) has a plan. If he can pull it off, he'll be set for life. But it isn't going to be easy. Nick (Robert DeNiro) is just about to retire, but decides that this is one last job he's up for, but only because the price tag is high and the risk is acceptable. DeNiro and Norton both do great work here, and Marlon Brando has a reasonably good role as well. The script is amazingly boring despite the presence of these talented actors. It also manages to relegate Angela Bassett to an almost non-existent role as Nick's girlfriend. There are a few nice twists toward the end of the film, but we've had so long to think about what might happen, that they are more of a relief than a surprise. Filmed in Quebec. R for language.
A SCORE TO SETTLE (NR) 98 minutes * * 1/2 Nineteen years. That's how long Frank (Nicolas Cage) has been in prison, taking the fall for something his mob boss did. He's out now, and looking to settle the score because he knows it wasn't a fair deal. It's a good story, and Cage doesn't chew up too much of the scenery. There are even a few nice supporting roles that give this a little depth, which helps make it more interesting.
SCORNED (R) 82 minutes * When Kevin (Billy Zane) cheats on his girlfriend, he has no idea what the consequences will be. If only he had realized that she stopped taking her psych meds… although, to be fair, she does seem to have superhuman strength as well, since she apparently has no trouble moving unconscious bodies around in ways that would be extremely difficult for most people. R for violence, sex, and language.
THE SCORPION KING (PG-13) 84 minutes * * Spin-off from the mummy films that introduced this character. In this first entry in the series, we get The Rock portraying Mathayus in his early days as he first takes the throne as the Scorpion King. Plenty of swordplay without much in the way of bloodshed keeps this in the PG-13 range. Very nice job by Kelly Hu as the sorceress, and The Rock does a decent job as well. Bits of humor, but not so much that it feels strained. Sets us right up for that inevitable sequel, but manages to be fun enough that we don't mind.
THE SCORPION KING: BOOK OF SOULS (PG-13) 97 minutes * *
The Book of Souls contains the names of those who have passed on by means of an ancient sword. The Scorpion King (Zach McGowan) must find the book and free the souls. There aren't any real surprises in this sword and sorcery film, but it hits most of the other marks it needs to for most fans of the genre and the series. The one exception would be that the humorous notes the are scattered throughout the film all seem both awkward and misplaced. PG-13 for violence and sex.
THE SCORPION KING 2: RISE OF A WARRIOR (PG-13) 105 minutes * 1/2
Straight to video prequel with Michael Copon in the role of Mathayus, showing us how he became the Scorpion King. With too much narration and a story that tells us a part of the story we were already well past, we may have seen the last of this series. PG-13 for violence, sex, and language.
THE SCORPIION KING 3: BATTLE FOR REDEMPTION (PG-13) 100 minutes * 1/2
Mathayus (Victor Webster) has a brutish sidekick for this adventure, but it doesn't really help much. It's also rather telling that they can't seem to keep the same actor in the lead role. A couple of the fight scenes are reasonably good, but Webster is a champion in both Tae Kwan Do and amateur kick boxing, so at least those skills came in handy. PG-13 for violence and language.
THE SCORPION KING 4: QUEST FOR POWER (PG-13) 100 minutes * 1/2
Victor Webster returns as Mathayus. It offers some consistency in the role, and he's not bad, but the story is played heavily for laughs and not very much for adventure, which is disappointing. PG-13 for violence and language.
SCOTT PILGRIM VS. THE WORLD (PG-13) 108 minutes * * *
He's dating a 17-year old (he's 22), which is creating enough of a problem with his friends, but then Scott (Michael Cera) meets Ramona (Mary Elizabeth Winstead). But before he can date Ramona, he must defeat her seven evil ex's. Based on the graphic novels and retaining much of their feel, this a fun adventure with great special effects and a delightful sense of humor. It's a feast for the senses, which may be more than older viewers can deal with, but younger audiences are likely to find it refreshing to see a film that offers something new and creative along these lines. PG-13 for sex, violence, and language.
SCOTT WALKER: 30 CENTURY MAN (NR) 90 minutes * * * 1/2
One third of "The Walker Brothers", Scott is a creative and artistic genius, and somewhat of a recluse. His musical style changed over the years, moving from a pop/rock style to that of a more experimental nature. In particular, his most recent work has a gothic feel, but what he writes now don't fit as easily into the "song" category, but are more in the nature of musical compositions that include poetic works. The lyrics are intriguing. Packed with interview clips from a number of well-known musicians and extensive footage with Scott, both past and present.
THE SCOUT (PG-13) 97 minutes * 1/2
Another whining performance from Albert Brooks as a baseball scout who may have finally found the dream player he's always hoped for... if he can just smooth out those rough edges. Brendan Fraser and Diane Wiest come off fairly well, but they also seem more relaxed. Brooks is too intense for the story and it ruins the effect of the film is scene after scene. Lots of cameos from baseball professionals throughout the film.
SCOUTS GUIDE TO THE ZOMBIE APOCALYPSE (R) 86 minutes *
They've been scouts since they were six years old. But they're camping trip this weekend will be a little different. Why? Well, the zombie apocalypse just started! A mixed bag on effects, with some that are quite good, and some that are obviously very cheaply done. Packed with crude and immature humor that is barely good for a couple of guilty chuckles.R for violence, sex, and language.
SCRAPPER (NR) 80 minutes * * 1/2
It's not the best life, but Georgie (Lola Campbell) is making it work. With her mother now deceased, she's living in their flat by herself. She's only 12, but she's a scrapper. And then her father shows up. He hasn't been around for most of her life, but he's there now, and expects to be involved. It's the real world, and it's messy. It just might get a little better now... with a little bit of luck. Very nice work by Campbell.
SCREAM (R) 104 minutes * * 1/2
One of the more original horror films in the last several years that manages to poke fun at the genre while still being able to scare us once in awhile. Inventive script, some great music by Marco Beltrami, and fairly good acting. The story does wander a bit too much at times and the ending gets a bit out of hand, but for those who like horror, this is one of the better films that we've seen in awhile. R for violence and language.
SCREAM (2022) (R) 108 minutes * * 1/2
It's 25 years after the first film (or series of events), and the ghostface killer has returned. In fact, the killer has returned to continue traumatizing the same family. It allows for the return of the characters played by Neve Campblee, Courteney Cox, and David Arquette. It plays well in the series, poking fun at the predictability of slasher horror films while providing plenty of gore and a little suspense along the way. R for violence and language.
SCREAM 2 (R) 112 minutes * *
A movie within a movie this time around, and the killings are starting all over. The twists and turns here are much the same as the first. It's a relatively fun film (for those who enjoy horror), mostly thanks to the willingness of the story to poke fun at itself. Several of the first film's cast return, but only a few survive for a possible part three. Marco Beltrami's music sets the mood once again for a sequel that turns out to be better than most. R for violence and language.
SCREAM 3 (R) 109 minutes * * 1/2
The killer is looking for Sidney (Neve Campbell) again. Those who survived the first and second films are back for the third and supposedly final chapter of the story. It does wrap up rather well and maintains suspense throughout the film. The dream sequence that occurs at the twenty minute point works very well. All things considered, it's a nice addition to the series and has a better mix of humor and horror than either of the first two. R for violence and language.
SCREAM 4 (R) 104 minutes * * 1/2
On the anniversary of the murders... it's happening again. Sidney (Neve Campbell) is back in town for a book signing, and many of the other familiar faces of the series are still around. Emma Roberts does nice work here as the newest member of the family affected by Ghostface, but it's mostly a treat seeing all of the familiar faces. This does manage to have one of the best lines of a series/sequel film when Sidney says, "You forgot the first rule of remakes, Jill..." R for violence and language.
SCREAM VI (R) 116 minutes * * 1/2
The survivors have moved to a new town to try and start their lives over. New York City is what they choose, but it doesn't take long for the killing to start again. Fresh faces along with franchise regulars tackle a new series of ghostface killings. Filled with the twists and turns we've come to expect, as well as ties to the previous films while poking fun at them. Annother solid entry in the series. R for violence and language.
SCREAMERS (R) 105 minutes * *
It's 2078, and the warring peoples of Sirius 6B have decided to negotiate peace. But the machines they built for defense have other ideas, and they're changing... The ending is ridiculous, and ruins what is otherwise a fine film adaptation of Philip K. Dick's short story, "Second Variety".
SCREAMERS: THE HUNTING (R) 91 minutes * 1/2
Everyone thought that the screamers had all been destroyed or at least decomissioned. But a recent SOS beacon from Sirius 6B means that further investigation is required, and that maybe there is still activity of some sort on the planet. A promising beginning quickly fades into boring dialogue and repetitious action and effects and a silly ending. R for violence.
A SCREAMING MAN (NR) 88 minutes * * *
Forced to make a choice, Adam (Youssouf Djaoro) must either pay his debt to the war effort with cash or a volunteer for the war. Too old to fight, and too poor tp pay, Adam makes a choice that he will forever regret. Wonderful, if rather depressing character study, and we see the struggle Adam goes through, and the mix of emotions that pull him in different directions.
SCREEN TEST (R) 82 minutes 1/2
Wannabe filmmakers decide to make a porn film so they can see a bunch of naked young women. There is a lesson here, which barely makes itself known near the end of the film, but it is there.
SCREWBALLS (R) 78 minutes *
Typical sophomoric sex comedy with lots of double entendres. And let’s just say that strip bowling would be a good way to end up with lots of people throwing gutter balls the way they play it here. R for sex and language.
SCREWED (PG-13) 75 minutes 1/2
Willard (Norm MacDonald) works for one of the richest, meanest women around and he's tired of it. In an effort to kidnap her dog for ransom, Willard and his buddies make just about every mistake possible. It's bad and boring slapstick comedy that wastes the talents of Dave Chapelle and Danny DeVito as they take a backseat to MacDonald's abrasive and cynical brand of humor. PG-13 for language and nudity.
SCREWED (2011) (NR) 102 minutes * * 1/2
Sam (James D'Arcy) is about to come to a new understanding about the what happens inside a prison. Based on the life of prison guard Ronnie Thompson, who learned firsthand about the way life worked in some of the most dangerous prisons in the United Kingdom. The script isn't all that strong, but the cast does a nice job with what they have to work with.
THE SCRIBBLER (R) 86 minutes * *
Suki (Katie Cassidy) has just moved into her new home, an apartment building for psychiatric patients. Suki has multiple personalities, and most of them are troublesome, but The Scribbler is the worst. The deeper meaning of the story gets rather muddled as it leans toward the supernatural, which probably would have been better avoided. Dealing with multiple personalities while trying to find your sanity while living in a place like this would be more than enough to deal with. R for violence, sex, and language.
SCROOGED (PG-13) 93 minutes * * * 1/2
In this modernized version of the classic Dickens tale, we have a cutthroat television executive (played for laughs) who needs to be taught a lesson. The ghosts of Christmas past and present are absolutely hilarious and are great fun to watch. The ghost of Christmas future is a little disappointing though it starts off well. There are also a number of cameos from well-known actors in a stage production of "Scrooge" within the story of the film. The entire film is a delightful diversion that almost lets us forget the message Dickens had for us, but at the end reminds us of it: It is never too late to change, and to give, really IS better than to receive.
It's definitely a film that has earned its place as a modern Christmas
classic and should not be missed.
SEA BEAST (NR) 85 minutes BOMB
Not that the title asks us to expect much her, and by the way, the original title, "Troglodyte" wasn't any better, but even with low expectations, you might be disappointed. A fishing community is losing fish and fishermen and soon discover that the reason is that there are a bunch of weird fish monsters around. Cheap special effects, two-dimensional acting, and a ridiculously bad script are likely to add this to your "worst films" list... if you bother to watch it.
SEA CHANGE (NR) 80 minutes * 1/2
Miranda (Emily Rudd) moves to an island community where she discovers that she has a special connection to the local folklore about "sea people". Good production values, and the acting isn't bad, but the story is a mess. We're given far more questions than answers, including the ending, which feels more like it was supposed to be just another commercial break.
SEA FEVER (NR) 89 minutes * 1/2
A trawling vessel is marooned at sea and a strange creature seems to be responsible. The crew are also getting infected, which doesn't seem to be related to anything else. Too much remains unexplained. It's not that a little mystery is a bad thing, but it leads toward nonsense here. There are a few moments of suspense, but it's not enough.
SEA FOG (NR) 107 minutes * * *
Fishing hasn't been going very well, so this crew agrees to handle a different cargo. They will smuggle a group of illegal Chinese immigrants into Korea. But events take a turn for the worse, and greed and jealousy add even more trouble to the mix. Absorbing story.
THE SEA INSIDE (PG-13) 121 minutes * * * 1/2
Deeply moving story of Ramon Sampedro, a man who wanted to end his life with dignity after a diving accident left him quadriplegic. Javier Bardem gives an amazing performance that draws us into this powerful story that explores the pros and cons of euthanasia in a way that makes it feel very real. Beautiful cinematography by Javier Aguirresarobe that lends a vibrancy to the film, and sensitive direction by Alejandro Amenabar as well as several heartfelt performances by supporting cast all add up to a film that earned a well-deserved Oscar for Best Foreign Language film. PG-13 for subject matter.
SEA LEVEL (PG) 89 minutes BOMB
The characters definitely have some appeal to the younger set here, but the story in unlikely to interest them (poachers stealing shark eggs from the reef), and it's rather violent. There are also quite a few sequences with no dialogue that just seem to drag on forever. PG for violence and language.
SEA LEVEL 2: MAGIC ARCH (PG) 78 minutes *
A dolphin discovers a magic arch that can turn you into whatever you want. When the evil moray eels learn of it, Fish Town is in danger. Having nothing to do with the first film actually helps this a little. It's a little more of a magical story, with better animation. There are some inconsistencies with the story, but at least it has more appeal for the younger set. PG for violence and language.
SEA OF LOVE (R) 108 minutes * * *
Al Pacino and Ellen Barkin in a very suspenseful murder mystery. He's a cop on the trail of a serial killer and she's the suspect he's begun to fall in love with. Nice roles for both actors and the script and direction keep us interested until the very end. R for language and sex.
THE SEA OF TREES (PG-13) 106 minutes * * *
Arthur Brennan (Matthew McConaughey) goes to the Aokigahara Forest in Japan to put an end to it all. But as that time nears, he finds someone who is looking for help. Looking outside of himself to help someone else gives him a reason to continue, at least for now. Tender and thought-provoking film, though it misses the more poetic moment to end on and continues for another four minutes to a slightly less powerful conclusion. PG-13 for language.
SEABISCUIT (PG-13) 132 minutes * * *
The story of a champion horse that inspired a nation. Nice work by Tobey Maguire and Chris Cooper and some great bits by William H. Macy as a radio announcer. The narrative bits throughout the film are rather annoying. They mostly pertain to the history of the U.S. at the time and don't offer much in connection with the story. The dialogue does a nice job of mixing personal struggle and societal changes into the story of a horse that few people had faith in early on. The moral here is that true sportsmanship means doing what it takes to bring out the best in our fellow competitors. PG-13 for language.
THE SEAGULL (PG-13) 95 minutes * * *
Irina (Annette Bening) visits her brother's estate every summer. Her son Konstantin (Billy Howle) lives there as well, putting on plays to entertain the locals. Nina (Saoirse Ronan) is both his star and his love. When Irina brings Boris (Corey Stoll) along with her on a visit, it upsets the balance. He's a famous writer, and Nina's affections are drawn to him. An emotional and tragic story of love and family, adapted from the play by Anton Chekhov. PG-13 for language, violence, and nudity.
SEAL PATROL (R) 76 minutes BOMB
Research on an alternative energy source creates a dangerous situation. The man who is funding it wants at answers at any cost. That actually sounds reasonable, but what follows is actuall a nonsensical plot with lots of gunfire and bad CGI blood splatter effects. R for violence, language, and nudity.
SEAL TEAM EIGHT: BEHIND ENEMY LINES (R) 93 minutes * 1/2
The team is headed deep into the Congo to stop an illegal uranium smuggling operation. The script is unimaginative to say the least, and full of bad guys who can't shoot straight and good guys who never miss. Not a great deal of character development here, though the music does do a nice job of creating the appropriate atmosphere. R for violence, language, and sex.
SEAL TEAM SIX: THE RAID ON OSAMA BIN LADEN (NR) 86 minutes * * 1/2
This is the story of the team and the raid, that brought down one of the world's most notorious terrorists. Told partly through dramatization and partly through "interviews". It's also rather dry and matter-of-fact, though there are some interesting segments.
SEANCE (R) 85 minutes * 1/2
After some rather creepy encounters with something supernatural, a group of college students hold a seance to rid their dorm of it's haunted presence. Unfortunately, they end up creating a way for something even worse to wander the halls. Quite a few very good spooky and creepy bits here, though they tend to be over-used and lose their effectiveness as the film progresses. R for violence, language, and sex.
SEANCE (2021) (R) 88 minutes * 1/2
Years ago, a student died at Fairfield Academy. Her ghost is said to haunt the halls. Six friends perform a ritual to be able to talk to her, and by morning, one of them is dead. A new girl (Suki Waterhouse) shows up, and somehow seems to be connected to the mysterious events. One by one, the girls begin to die. a few creepy moments, but not enough. R for violence and language.
SEARCH AND DESTROY (R) 87 minutes * 1/2
An absolutely stunning cast is nearly totally wasted in this story of an unlikeable guy trying to finance a film project. The script is awful and the direction sadly lacking the experience we need to carry off a film with dark humor such as this. Even the talents of Martin Scorsese (as executive producer) can't save this one.
THE SEARCH FOR SANTA PAWS (PG) 93 minutes * * 1/2
Santa loses his memory after an accident and its up to Santa Paws to save the day. Cute children, cute talking dogs, and the occasional song are mixed well in the Disney machine. Sentimental holiday family fare that is worth at least one tissue for most. PG for language.
THE SEARCH FOR SIMON (NR) 100 minutes * *
David's (Martin Gooch) little brother disappeared when they were children. Because his father told him that space people were responsible, David has dedicated his life to getting in touch with them to find his brother. There's a quirky charm here, but it wears thin after awhile. That's unfortunate, because the mood shifts dramatically toward the end. If you can make it that far, they ending is actually quite good.
SEARCH PARTY (R) 92 minutes *
When Nardo's (Thomas Middleditch) friends ruin his wedding, they end up trying to fix it. That's going to take a lot more work than it did to mess it up. Unfortunately, too much of this comedy just isn't all that funny. R for language and sex.
SEARCHING (PG-13) 97 minutes * * *
When his daughter goes missing, David Kim (John Cho) feels he has only one recourse to try and track her down. He breaks into her computer… and finds a little more than he bargained for. Nice work by Cho in not getting emotional, though that does break through at times. That balance works well for the character and the story. There are some good twists here too. Most of which aren’t that surprising, but they are well-timed. PG-13 for language.
SEARCHING FOR BOBBY FISCHER (PG)
105 minutes * * *
Josh (Max Pomeranc) has a gift for playing chess, a
gift like Bobby Fischer, a vision for the game.
Taught by both his father and another, each of whom
has their own style and reason for helping Josh to be
the best, but when it comes gets down to it, Josh is
still his own person. Best quote (by Josh): "Maybe
it's better not to be the best. Then you can lose and
it's OK." Based on fact.
SEARCHING FOR DEBRA WINGER (R) 93 minutes * * *
Rosanna Arquette's look at the world of filmmaking and it's effect on women. It begins by asking about the balance, or lack thereof, between art and personal life, career and family. She wonders what happens to women like Jane Fonda and Debra Winger who have left the business. The end result is not only a collection of fascinating interviews with some of the most amazingly talented people in the film industry, but a deeply personal experience of learning for Rosanna. Insightful and thought-provoking, it's a film that reveals the strength and courage it takes not only to be a woman in the film industry, but to be a woman whatever you do. R for language.
SEARCHING FOR SUGAR MAN (PG-13) 83 minutes * * *
Sixto Rodriguez was almost a completely unknown musician in the United States. He was a mysterious figure who some had said took his own life on stage at the end of a concert. When the search for the truth began, thanks to a couplle of fans, no one knew exactly how it was it would turn out... least of all, Rodriguez himself. The film does a very nice job of not only immersing us in the search and discovery, but the music we hear is well worth learning about, and exciting to know that it will be remembered now, thanks to this film. PG-13 for language.
SEASON FOR LOVE (NR) 84 minutes * * 1/2
Fresh off her divorce, Tyler (Autumn Reeser) heads home to Red Rock. When she decides to enter the BBQ competition, it pits her against her old high school sweetheart (Mark Blucas). Reeser and Blucas work well together, with a very natural and relaxed feeling to their acting. A couple of the supporting roles aren't all that strong, but most are fine.
SEASON OF THE WITCH (PG-13) 87 minutes * * 1/2
Two friends who fought side by side during the crusades. Their latest job is to transport a young woman accused of being a witch to her trial. It will be their greatest challenge. Nicolas Cage and Rob Perlman seem to have almost too much fun here, though it does add a bit to the entertainment value for those of us watching. The story is a bit thin in spots, and tends to take itself more seriously than it needs to. PG-13 for violence.
THE SEASONING HOUSE (NR) 87 minutes * * ½
Angel (Rosie Day) works in a brothel not far from the small town where she watched her family be brutally murdered. She does her job, but also sneaks between the walls and through the ventilation ducts to try and help out some of the girls when she can. When she sees the man who killed her family one night as he is abusing one of the girls, she knows she must take revenge. And now, she must escape. Intense suspense, which moves very slowly at first, but builds fairly quickly. Not rated, but very violent.
SEASONS (PG) 89 minutes * * *
Beautiful French nature film. What story there is, follows the history of the world beginning with the ice age, and continuing through the rise and collapse of the great forests. it does turn a bit more violent toward the end, much of which is due to the influence of human beings on the course of nature. PG for violence.
SEASONS OF GRAY (PG-13) 85 minutes * *
Modernization and simplification of the story of Joseph from the Old Testament of the Bible. The acting is fairly good, especially considering the very cheesy and overly sweet dialogue that was written. PG-13 for violence.
THE SEAT FILLER (PG-13) 86 minutes * *
He's taken a job as a seat filler to earn some money, she's a wealthy pop star. A lucky turn of events puts him next to her, and a couple of small lies later... but truth wins out in the end. As does love, of course. Light comedy with a twist of romance, nothing special, but pleasant enough to watch. Filmed in Los Angeles. PG-13 for language.
SECLUSION (NR) 91 minutes * *
A destination wedding becomes a destination nightmare for this group of friends. They are being stalked and eliminated by one by one. There's some good music here, but most of the characters aren't easy to like, though they are clearly more developed than most characters in slasher horror films. The filmmakers do earn a little bit of credit for that.
THE 2ND (NR) 88 minutes * *
Vic (Ryan Phillippe) is late... again. His son is one of only two students left on the campus. The other is Eric Walton (Lexi Simonson), daughter of a Supreme Court justice, who is about to be kidnapped. It's a good thing that Vici just happens to be a Green Beret! Not very original, but the story is well-paced and has some good tension. The acting is less than stellar though, and the fight scenes are very poorly choreographed.
SECOND ACT (PG-13) 98 minutes * * 1/2
She always knew that she had what it takes, but Maya (Jennifer Lopez) doesn't have the college degree that is required for the promotion. She's going to find a way around that, no matter what it takes. The story is tired and predictable, with two many characters that just don't have any depth. The cast is a good one though, and they do what they can to keep this entertaining. It works better than it should, considering the script. Also starring Vanessa Hudgens, Leah Remini, and Treat Williams. PG-13 for sex and language.
THE SECOND ANIMATION CELEBRATION (NR) 104 minutes * * * 1/2
Unique and eclectic collection of animated short films. A little bit of everything, with "Lazar" and "Finger Wave" tending to the bizarre, and fascinating bits like "Pencil Dance" and "Olive Jr.". Other shorts included are, "Scardey Cat", "ASIFA", "Knick Knack", and "Tin Toy". It's refreshing to see a collection like this that reminds us how animation is still being practiced as an art.
SECOND BEST (PG-13) 105 minutes * * *
William Hurt stars in the story of a shy, unmarried postmaster who decides to try and adopt a 10-year-old boy. Fantastic script that takes us through all the struggles of such an attempt. Still, this remains a gentle film overall, quiet and sincere, and well-worth a look.
THE SECOND BEST EXOTIC MARIGOLD HOTEL (PG) 116 minutes * * *
The delightful cast from the first film return as they look for a way to expand their rather unconventional hotel to a second location. It won't make a great deal of sense if you haven't seen the first film, but it's a wonderful companion piece to the first one. PG for language.
THE SECOND CHANCE (PG-13) 99 minutes * * 1/2
A minister of music (Michael W. Smith) at a wealthy church and a senior minister (Jeff Obafemi Carr) in an urban church have to learn to work together. Having Michael W. Smith on this project does mean that the music is top-notch, but the characters are two-dimensional stereotypes and the acting needs a good deal of work as well. The more conservative Christian audience at which this is aimed will probably like this, but others are likely to be bored.
A SECOND CHANCE AT LOVE (NR) 83 minutes * * 1/2
Alicia's (Gloria Reuben) parents have been divorced for awhile. Her own marriage is starting to struggle, but she is focused on getting her parents to start dating around. Will her parents actually find each other again? Will she and her husband patch things up? Is this a Hallmark movie?
2ND CHANCE FOR CHRISTMAS (NR) 83 minutes * *
More than a little spoiled and self-centered, singer Chance Love (Brittany Underwood) has no use for Christmas. She doesn't really even seem to have much use for being nice to anyone and day of the year. But it's Christmas Eve, and she's about to be visited by three ghosts who just might change her mind. Yes, it's another version of that old classic, "The Christmas Carol". Nice work by Underwood, but the supporting performances are a mixed batch.
SECOND COMING (NR) 96 minutes * *
Slice of life piece about a family in London and their daily struggles. Very slow pace and nothing to really catch your attention, but for a quiet diversion, this isn't bad.
SECOND IN COMMAND (R) 88 minutes * 1/2
Sam Keenan (Jean Claude Van Damme) is a former Navy SEAL who has just been stationed in an Eastern European nation where the situation is going from bad to worse. The newly elected president is about to be overthrown by the rebels, the US ambassador is dead, journalists have been taken hostage, and someone has been listening in on all of their plans. Typical Van Damme fare, though there isn't much in the way of martial arts here. The story moves almost too quickly and we don't really ever care much about most of the characters, we just wait to watch people shoot each other and assume that Van Damme and a couple of his friends will make it out alive. R for violence and language.
THE SECOND MOTHER (R) 107 minutes * * *
Val (Regina Case) has been a live-in housekeeper and nanny for the same family for years. In some ways, very much part of the family, while in other ways not, she is content. But when her own daughter shows up, the balance shifts, and changes and difficult choices are bound to happen. Excellent work by Case. R for language.
SECOND SIGHT (PG) 80 minutes *
Bronson Pinchot and John Larroquette star in this piece of fluff about a psychic who works for a detective agency. Loads of comic talent here, but the story is far too weak to interest us for long.
THE SECOND TIME AROUND (NR) 102 minutes * * *
Recovering after a hip surgery, Katherine (Linda Thorson) finds herself in an assisted living center, a place she never thought she's have to be. She doesn't expect to be there long, but then she meets Isaac (Stuart Margolin). Something "clicks", and another chance at love becomes a real possibility. Sometimes love happens when you least expect it. A nice, gentle, and lightly sentimental romance.
SECONDHAND LIONS (PG) 102 minutes * * * 1/2
Delightful story of a young boy whose mother leaves him with his uncles for awhile, uncles who aren't particularly sociable and don't exactly know what to do with a young boy. What they learn from each other are invaluable lessons of life, love, and family. The story feels rushed in a few spots where it's obvious that footage was cut out, but Michael Caine, Robert Duvall, and Haley Joel Osment are a treat to watch. Classy ending too! PG for violence.
SECONDS APART (R) 85 minutes * 1/2
Seth and Jonah (Gary and Edmund Entin) are twins with telepathy, a talent they started using to get their own way at a very young age. Until now, nothing has come between them, but they are young men now, and that's about to change. A few creepy moments here, but its still fairly predictable, and most importantly, its difficult to like any of the characters here. R for violence, language, and sex.
A SECRET (2007) (NR) 99 minutes * * 1/2
Francois has a secret friend, an imaginary brother who helps him sometimes. His family has an even bigger secret about their Jewish heritage and what happened during World War II. As a child, he doesn't understand, but as he gets older and begins to uncover the truth, he will have to decide what to do with the information he learns. Solid French drama about the war and its effect on one particular family.
THE SECRET (R) 87 minutes * * 1/2
After a tragic car accident, Hannah (Lili Taylor), finds herself inhabiting the body of her daughter. Wondering how it happened and if there's something she should or could do to change it, at the same time, she is learning about her daughter from firsthand experience. Based on the film Himisu, it's a sensitive and interesting story that nudges the boundaries of what's acceptable. Nice work by Olivia Thirlby! R for language.
SECRET AT ARROW LAKE (NR) 81 minutes * *
Mia (Ali Faulkner) never knew her father, but when a stranger shows up in town after her mother dies, Mia suspects that's who he is. Some of the townspeople suspect something else. The script is a bit shallow in spots, and the pacing is awkward early in the film. This is the first film from Palm Tree Productions and Ranch Studios, capitalizing on the interest by some for films that reflect a more conservative way of looking at entertainment. Hopefully, future releases will improve a bit.
THE SECRET: DARE TO DREAM (PG) 102 minutes * * 1/2
Life has been rough for Miranda (Katie Holmes). When she bumps (literally) into Bray (Josh Lucas), things begin to change. Bray has a more positive way of looking at life and expects good things to happen... and they do. There is a secret that puts things at risk of falling apart, but expecting the best instead of the worst will make it all turn out well. Adapted from the book by Rhonda Byrne. PG for language.
SECRET DISCO REVOLUTION (NR) 82 minutes * * 1/2
The premise of this documentary is that disco music was key to liberating homosexuals, African-Americans, and women during the 1970s. The first is more obvious, but the opportunity was there for the others to latch on to a popular musical trend to get support and publicity for recognition and equality. As this documentary shows, though not always overtly, the agendas of the producers of the music, the performers, and the public were not always the same. But then again, when are they?
THE SECRET GARDEN (G) 99 minutes * * * *
Classic story of a young girl who fins an abandoned garden on the grounds of the dilapidated Victorian estate where she now lives as an orphan. It is full of magical, wonderful secrets for everyone who is willing to see them. Kate Maberly is outstanding as young Mary, and Hayden Prowse and Andrew Knott perform well too. Quality family entertainment at its best.
THE SECRET GARDEN (2020) (PG) 95 minutes * * *
The classic story of an orphan girl who is sent to live on her uncle's estate. There, she finds many secrets, including a garden that has been kept locked for years. This version starts with a tone that is perhaps a litte darker than others, but it brightens after a bit. There is very nice, and often quite subtle animation here that adds to the sense of magic. PG for violence.
A SECRET HANDSHAKE (NR) 91 minutes 1/2
Repeatedly waking up in a strange room and finding himself the victim of torture, then mysteriously reappearing at home is a rather unnerving experience for Jacob (Robert Olding). What is real, and who can he trust? The half star here is for the story idea, which isn't too bad. Unfortunately, this film is a great example of how not to do a low-budget film. Poor sound quality, bad editing, and inexperienced direction, along with very mediocre acting, pretty much ruin this film within the first 10-15 minutes... and it never really gets better.
SECRET HEADQUARTERS (PG) 98 minutes * * 1/2
He's been dropped off at his dad's house for a few hours. A good chance for some father/son bonding... except his dad has to leave... again. Charlie (Walker Scobell) decides to take advantage of the situation and invite a few friends over. That is when they discover that Charlie's dad (Owen Wilson) is a super hero! Fun adventure film aimed at the tween crowd, though the villains are an interesting combination of comic and ruthless. The title of the film could have been better.... PG for violence and language.
THE SECRET IN THEIR EYES (R) 125 minutes * * *
Still trying to find closure on a murder case that was never resolved, retired lawyer Benjamin Esposito (Ricardo Darin) is writing a novel. The story spends most of the time retelling the case, which is both powerful and absorbing, and is made even more so by showing us how its outcome has continued to affect him so many years later. Great acting, but the real star here is the wonderful story, adapted from Eduardo Sacheri's novel, "La Pregunta de Sus Ojos". R for sex and language.
SECRET IN THEIR EYES (2015) (PG-13) 106 minutes * * * 1/2
Remake of the 2009 film of the same title. This version is just a little better as the story is slightly darker and also tightened up a bit and pacing works better. PG-13 for violence and language.
THE SECRET LIFE OF BEES (PG-13) 104 minutes * * * 1/2
Running away from her abusive father, Lily (Dakota Fanning) and her caretaker Rosaleen (Jennifer Hudson) find themselves taking refuge with the generous Boatwright sisters (Queen Latifah, Sophie Okonedo, and Alicia Keys). They are beekeepers, and there is much to learn from bees. And as August (Latifah) reminds Lily, "Above all, send the bees love. Every little thing wants to be loved." The stellar cast is a pleasure to watch, and Sue Monk Kidd's powerful and memorable novel adapts quite nicely to the big screen. PG-13 for violence and language.
THE SECRET LIFE OF MARILYN MONROE (NR) 169 minutes * * 1/2
Based on J. Randy Taraborelli's book, which gives us a realistic, but not terribly flattering look at the life of Marilyn Monroe. The story is told through flashbacks while Marilyn tells her story to a therapist. The emphasis is on her overwhelming need for approval and acceptance, with flashes of insight and understanding about who she is and how other people see her. Nice work by Kelli Garner as Monroe.
THE SECRET LIFE OF PETS (PG) 80 minutes * * 1/2
Life was perfect for Max, until Katie brings Duke home. Proving he's the better pet is going to lead to a grand, and sometimes scary adventure. Pretty wild and crazy, with quite a bit of humor that is clearly aimed at the adult crowd. Very nice animation. PG for language.
THE SECRET LIFE OF PETS 2 (PG) 78 minutes * * 1/2
The continuing saga of Max (voiced by Patton Oswalt) and his friends, doing what pets do when their people aren't home. The story is a little more scary than the first one, but there's also a little less adult humor. Nice animation and great voice acting. PG for language.
THE SECRET LIFE OF WALTER MITTY (R) 104 minutes * * *
Walter (Ben Stiller) daydreams quite a bit... very vividly. But to save his job, he's going to need to go on a real adventure. Nice work by Stiller, a bit more subtle and sincere than his usual roles. What really makes this work though are the fantastic supporting performances by Kristen Wiig, Shirley MacLaine, and Sean Penn. Adapted from the short story by James Thurber. R for language and violence.
THE SECRET LIVES OF DENTISTS (R) 100 minutes * * *
David and Dana used to have a wonderful marriage, but somewhere along the line, the passion disappeared. Dana has found new sources for herself, both in a community opera group, and in another romantic relationship. But when their two young daughters begin to notice the tension in their relationship, it becomes something that can't be ignored. Or can it? What happens when secrets like these remain unspoken? It's a nicely handled story, with smart direction and a very capable performance by Campbell Scott. R for language.
THE SECRET OF CRICKLEY HALL (NR) 169 minutes * * * 1/2
A year after their son goes missing, the Caleighs decide to spend some time away from home. They rent a nice, large, old home for a very reasonable price. What they don't know is that Crickley Hall was once an orphanage, and some of the residents are still around. The stories of Crickley Hall's past and present are told side by side, in a way that weaves them together and envelops the viewer. It's a wonderfully mysterious tale that is part horror, part history, and part romance. The characters are vivid and well-played, bringing James Herbert's novel to life in a way that is difficult to forget.
THE SECRET OF KELLS (NR) 73 minutes * * *
Animated look at the history of the Book of Kells, an illumiated medieval manuscript. The story here is an interesting mix of both beauty and terror, and the animation does a wonderful job of conveying both. The religious history and mythology aspects might take a bit more explanation for the younger crowd (under 8) as many of the references within the film aren't described with much detail. Nice mix of history and fantasy, and a good film to watch as a family as everyone is likely to learn and be entertained.
THE SECRET OF MOONACRE (PG) 93 minutes * * *
When Maria's (Dakota Blue Richards) father dies, she is quickly shipped off to stay with her uncle. But there's more to her uncle than he admits, and the secret of Moonacre and Maria's role in saving her family as the moon princess will soon be revealed. Adapted from the book, "The Little White Horse" by Elizabeth Goudge, it's a family-friendly adventure that is worth a look, though originality isn't one of the strong points here. PG for language.
THE SECRET OF MY SUCCESS (PG-13) 106 minutes * * * 1/2
Brantley Foster (Michael J, Fox) goes to New York with a job in his pocket and a certainty that he will be a success. The success does come, but not right away. On his first day at work, the place closes. Next stop, the mail room at his uncle's place of business. That's also where the hijinks begin, and Brantley begins to rethink what being a success might mean. Wild fun, with Fox doing a great job and some great supporting performances by Helen Slater, John Pankow, and Carol-Ann Susi. {G-13 for sex, violence, and language.
THE SECRET OF NIMH (G) 78 minutes * * * ½
Based on Robert C. O’Brien’s novel, this is the story of a mouse who must rely on the help of some rats to save her son who is very ill. She doesn’t trust them, but discovers they have a connection she wasn’t aware of before. A charming story with beautiful animation and voice work by Dom DeLoise, Derek Jacobi, and Peter Strauss. A great film for the family.
THE SECRET OF ROAN INISH (PG) 102 minutes * * * *
A magical tale of Ireland, starring Jeni Courtney as a young girl who goes to live with her grandparents on the west coast of Ireland. She discovers the history of her family, wrapped in both myth and magic. Beautiful and memorable, director John Sayles adapted this from the novella The Secret of Ron Mor Skerry, by Rosalie Frye.
SECRET OF THE CAVE (PG) 85 minutes * 1/2
Left by his father in a small Irish fishing village to spend the summer with his uncle, Roy (Kevin Novotny) discovers a mystery. As this is a film from the 7th Day Adventist's organization, it's a pretty tame mystery. The soundtrack is nice, but the performances are rather lifeless and the film itself somewhat uninteresting. PG for language.
THE SECRET OF THE LOST KINGDOM (NR) 76 minutes * *
The Winx Club crew stars in a princess story about saving the kingdom, ending up with the prince, and reuniting with parents. Mediocre animation doesn't do this any favors, though fans of the series will probably be happy to see it.
THE SECRET OF THE MAGIC GOURD (G) 80 minutes * * *
Delightful and magical tale of a young Japanese boy who finds a magic gourd. It will grant any wish as long as you don't tell anyone about it. The problem is that the wishes are often not quite what he expects, and he keeps getting in trouble. Bao Hu Lu (Peisi Chen) soon learns not only to be careful what he wishes for, but that the rewards life has to offer, only come with hard work. Excellent live action/animation mix in this wonderful film for the whole family.
THE SECRET OF THE NUTCRACKER (NR) 84 minutes * * 1/2
Interesting TV movie version of the nutcracker story, changing the battle between the mice and the toy soldiers to a more realistic setting in World War II. Clara (Janelle Jorde) dreams her way to her father, who is being held prisoner by the Nazis. The changes work well, though there are a couple of sequences that are a bit scarier than the usual version of the story. The acting is reasonably good, as are the production values.
SECRET OF THE WINGS (G) 68 minutes * * *
Tinkerbell breaks the rules again and crosses over into the winter woods. Once there, she meets her sister Periwinkle, but now they've triggered something very dangerous that will take just about everyone from both kingdoms to set right. But now that Tink and Periwinkle have met, there will be even more possibilities. Great music, and a story that introduces this new character quite nicely.
SECRET ORIGIN: THE STORY OF DC COMICS (NR) 87 minutes * * *
Documentary on the history of DC Comics and the company's effect on the comic book industry as a whole. Tracing the history from the golden age, through the silver and bronze ages all the way up to the creation of Vertigo and Wildstorm as specialized branches of the DC Universe, it presents a thorough look at a wonderful comic book company. It does tend to be a bit biased at times when talking about the company as though it was always the mark by which the industry has (or will be) measured.
THE SECRET SCRIPTURE (PG-13) 104 minutes * * *
There are reasons that Rose (Vanessa Redgrave) has spent the last 50 years in a mental hospital in Iceland. But it isn't until the place is about to be demolished that the psychiatrist really delves into her past and uncovers the tragedy that it becomes clear just why she is here. Stellar work by Rooney Mara and Redgrave. PG-13 for sex and language.
SECRET STATE (NR) 169 minutes * * *
Inspired by "A Very British Coup", this is a well-paced political thriller with good performances by the ensemble cast. originally shown in four parts, so there is a little staged pacing of the story, but otherwise it works very well.
SECRET WINDOW (PG-13) 92 minutes * * 1/2
Feature film adaptation of Stephen King's short story, "Secret Window, Secret Garden". It's yet another of King's stories that reminds us of the ever-constant presence of evil and that sometimes... it wins. Johnny Depp does a nice job here and the music by Philip Glass and photography by Fred Murphy both do an effective job of creating the atmosphere we need to feel here. Still, as is often the problem with stretching short stories to an hour and a half, it gets rather thin in spots. PG-13 for violence and language.
THE SECRET WORLD OF ARRIETTY (G) 91 minutes * * *
Once Arrietty is seen by Sho, she and her family must move. Little people aren't supposed to be seen by human beans. Sho isn't like other humans though, and his friendship will prove to be just what Arrietty and her family need. Based on Mary Norton's "The Borrowers", this animated retelling is a delight to watch, though it does tend to simplify the story in a few places to save on time.
SECRETARIAT (PG) 116 minutes * * *
When Peny's (Diane Lane) mom dies, she heads back home. But taking care of the details brings back memories, and despite the fact that the farm has been losing money, some of the horses are good stock. That's especially true of a particular colt that is about to be born. Great supporting performances from Margo Martindale and John Malkovich in another inspirational Disney animal movie based on the life story of a hore that is considered by many to be the greatest racehorse that ever lived. Much like Secretariat, this does start a little slowly, and then begins to sweep us along to the end. It finishes nicely, but a little more background at the beginning would have helped. PG for language.
SECRETS & LIES (R) 140 minutes * * * 1/2
Adopted as a baby, Hortense (Marianne Jean-Baptiste) has only known her adoptive parents. When they die, she decides to look for her birth mother (Brenda Blethyn). It's not the only lie or secret in this story. Every character here has some, and each represents part of a very dysfunctional family. Nominated for five Oscars, including screenplay and direction, by the talented Mike Leigh. R for language.
SECRETS OF A PSYCHOPATH (NR) 87 minutes 1/2
Cult film fave Bert I. Gordon directs this piece about siblings who lure victims to their house. The production values are good, but the story moves very slowly and is rather surprisingly boring. Most of the violent action is far from convincing.
SECRETS OF DECEPTION (NR) 71 minutes *
Jeff (Chris Degner) is suspicious that his wife is having an affair. Once that is confirmed, he decides that revenge would be sweet. The story is interspersed with the police work around the murder of the young man she was having the affair with. The cast actually do a fine job, but the cheap ending ruins what there was of a story. Written, produced, directed and edited by Josh Webber.
THE SECRETS OF JONATHAN SPERRY (PG) 91 minutes * 1/2
Overly simplistic story of a kind older gentleman who reaches out to the boys in the neighborhood to begin a Bible study group. Set in the summer of 1970, when the idea of an older man inviting young boys to his house was far less suspicious than it would be today. The real problems here are the two-dimensional characters and dialogue and the unimaginative performances. Pacing is really poor in most sequences as well, putting a damper on most of the energy the film could have had. Filmed in Holly and Brockport, NY. PG for language.
SECRETS OF WAR (NR) 88 minutes * * 1/2
It's 1941 and the Germans are making their way through the Netherlands. Two boys will have their friendship tested when a girl from the city comes to live in their small community and reveals a dangerous secret to one of them. Intense at times, but with the story so focused on the children, it's actually a very good family film.
THE SECRETS SHE KEEPS (NR) 249 minutes * * 1/2
They both have secrets, Meghan (Jessica DeGouw) is a successful online influencer, but her pregnancy is putting her marriage to the test. Agatha (Laura Carmichael) desperately wants a baby, but her partner is active duty military and doesn't seem that interested in the idea of a baby. They meet in the supermarket where Agatha works. Theor lives will never be the same. The tension builds well near the end, but early on there is little to distinguish this from similar films, most of which are a good deal less lengthy than this.
THE SECRETS WE KEEP (R) 92 minutes * * 1/2
Convinced that her neighbor is not only a war criminal, but specifically the man who tortured her, Maja (Noomi Rapace) kidnaps him to get revenge. Her husband Lewis (Chris Messina) feels compelled to help his wife, at least until he's sure of what is going on. Nice work by Rapace. Messina's performance starts a little slow, as does the film, but but both build well as the film progresses. R for violence, language, and sex.
SECTION 8 (NR) 92 minutes *
Section 8 was supposedly decommissioned. Of course, they still exist, and are also still part of some questionable missions. Jake (Ryan Kwanten) is "recruited" and has to figure out a way to get away. The cast is fairly impressive, with dermot Mulroney, Mickey Rourke, Dolph Lundgren, Scott Adkins, and Robert LaSardo, but the story is bland and uninspiring.
SECTOR 4: EXTINCTION (R) 87 minutes BOMB
A group of mercenaries is caught behind enemy lines and left for dead, but their leader, who manages to escape, vows to return and make sure none are left behind. Script and acting and both very amateurish and stiff. They make Eric Roberts' scenes look wonderful by comparison. His presence is apparently where almost all of the budget went. R for language and violence.
SECURITY (R) 88 minutes * * 1/2
Eddie (Antonio Banderas) just wanted a job. It's a step down for him, but working mall security could be something that he could do. But all too quickly, he finds himself working with a mall security team that is about to deal with something that is far above their paygrade.Most of the action is unbelievable, and the ending is far too positive, but the energy and pacing work very well. R for violoence and language.
SEDUCING DR. LEWIS (NR) 104 minutes * * *
St. Marie-La-Mauderne is a tiny fishing village that has one chance to survive. They desperately need a small factory to employ their townspeople, but the factory won't be built unless the village has a doctor. Can they do it? Can they convince a doctor from a city like Montreal to come to a fishing village that only has one restaurant? Wonderfully charming film that does a grand job of showing us the heart of a community and with a little humor along the way.
THE SEDUCTION (R) 100 minutes * ½
Stalked by a fan who is obsessed with her, Jamie (Morgan Fairchild) isn’t getting the help she needs from her boyfriend or the police. She also isn’t getting much help from the shallow script. Great sets, nice soundtrack, bad script and direction.
SEE FOR ME (NR) 90 minutes * * 1/2
Another variation of the classic 1967 thriller, "Wait Until Dark". A former downhill skier who is now blind, Sophie (Skyler Davenport) does pet sitting jobs to earn money. She also steals from the clients. She's in trouble now though, because the house has been broken into by three criminals. Her only help is from the "See For Me' service she has called on the phone. The biggest problem here is that Sophie isn't a character who is easy to like. We can sympathize with her to a degree, but liking her is a bit more difficult.
SEE NO EVIL (R) 78 minutes * 1/2
Eight juvenile delinquents are "volunteered to help clean up an old hotel. For their three days of work, they'll receive a month off of their sentences... if they survive. Evil walks these halls, though its far less supernatural than you'd think. This fairly typical gorefest does boast some wonderfully grungy, creepy sets and a villain who says almost nothing (Yay!) throughout the entire film! R for sex, violence, and language.
SEE NO EVIL HEAR NO EVIL (R) 98 minutes * *
Gene Wilder and Richard Pryor appear to have had fun making this rather ridiculous comedy about two men, one blind and the other deaf, who witness a murder but end up becoming suspects. Cheap humor that really is below par for these two, but there are a couple of good scenes. R for language.
SEE NO EVIL 2 (R) 83 minutes *
Jacob Goodnight's (Glenn Jacobs) killing spree is over. His body is on its way to the morgue. But of course, that couldn't really be the end of the story... he's not really dead. Most of the action here is in the morgue, so there are lots of rooms, hallways, and bodies. But it still manages to get boring fairly quickly. R for violence and sex.
SEE SPOT RUN (PG) 93 minutes * *
Agent 11 is in danger after an undercover operation goes bad. (He's a dog, by the way.) He's supposed to go to Alaska for safe keeping, but ends up at Gordon's (David Arquette) house instead. The trouble is, Gordon already has his hands full with the neighbor's kid, who he volunteered to watch because he's attracted to the kid's mom. The story is pretty thin, but Arquette works well with Angus T. Jones (James, the neighbor's kid) and the film makes its points with a sense of humor. PG for language and cartoonish violence.
SEE YOU IN VALHALLA (R) 78 minutes * * *
When her brother is killed in a rather unusual drug incident, Johana (Sarah Hyland) heads home to be with her unconventional family. Unusual, but charming and sensitive story. Nice ensemble cast, and the script plays well to their strengths. R for language and sex.
THE SEED (NR) 88 minutes *
It was supposed to be a fun "girls weekend" with an added bonus of a meteor shower. Then something falls out of the sky and into the pool. It's not a meteor. It appears to be alive. There's not much to the story, and not much to like as far as most of the characters. The twist ending is no surprise either.
SEED OF CHUCKY (R) 80 minutes *
Chucky's baby is in England and unaware of who his parents are until fate reunites them. Plenty of Hollywood in-jokes here, with references to other films and actors. It's funny stuff at times, but only if you know all of the references. As with "Bride of Chucky", it's Jennifer Tilly and Tiffany that steal the show... what there is of it... R for violence, language, and sex.
SEEDS OF YESTERDAY (NR) 85 minutes 1/2
And it just keeps getting worse. This fourth installment of the series based on the V.C. Andrews books is full of predictable moments and the over-acting is the worst of the four. Only of interest to fans of the series, and even then...
THE SEEKER: THE DARK IS RISING (PG) 94 minutes * * 1/2
Will Stanton (Alexander Ludwig) is the seeker, and now that the darkness is coming, he is the only one who can save the world. But he's just a boy, and it's confusing and frustrating and alot of responsibility to deal with. This is a reasonably good fantasy adventure, adapted from Susan Cooper's book, "The Dark is Rising". The problem is that it resolves a bit too quickly and neatly. Ludwig also isn't really very strong in the lead role here either, but there are some nice special effects. PG for violence.
SEEKING A FRIEND FOR THE END OF THE WORLD (R) 94 minutes * * * 1/2
An asteroid is about to hit the earth, and people are behaving in various ways as they cope with the idea. Dodge (Steve Carell) decides to reconnect with his high school sweetheart since his wife decided to leave. But the road trip there is going to be an adventure of its own, especially since his neighbor Penny (Keira Knightley) decides to go with him. There are several nice bit parts scattered throughout the film, with strong performances by Martin Sheen, Derek Luke, and Rob Cordry, and the film has a brave and powerful ending that remains true to the characters and the story, though it might not be what you're hoping will happen. R for language and violence.
SEEKING JUSTICE (R) 100 minutes * * 1/2
Wanting justice is good, but taking it into your own hands is another matter. And it seems like everyone in New Orleans is part of this mysterious organization that metes out justice on its own terms. Nicolas Cage's performance is on the overly exaggerated side, but the rest of the cast is fine. R for violence, sex, and language.
SEIZED (R) 78 minutes * 1/2
Nero (Scott Adkins) thought he'd put his special agent days behind him. Mzamo (Mario Van Peebles) wants to control the other three big cartels, so he kidnaps Nero's son to blackmail him into taking them down. Not a very convincing plot, and most of the photography is pretty bad. Adkins does what he can with it and manages to have a few good fight scenes. R for violence, sex, and language.
SELENA (PG) 122 minutes * * *
Very likeable and easy-to-watch bioography of Tejano music sensation, Selena Quintanillo and her rise to fame. The editing is a bit choppy in a few sequences, but otherwise everything flows well. Nice costumes throughout and some great supporting performances. The clips at the end are of the real Selena and add to the power felt by the tragedy of her early death. PG for language.
SELFIE DAD (PG) 94 minutes * 1/2
Once a comic, Ben (Michael Jr.) is now having a mid-life crisis. He feels stuck in his job. Then he discovers the world of social media, and has a new opportunity to make it big. Changes in his family life and a Christian friend cause him to rethink what he really wants out of life. The Christian message gets stronger as the film progresses. PG for language.
THE SELFISH GIANT (NR) 85 minutes * * *
Arbor (Conner Chapman) and Swifty ((Shaun Thomas) don't get many breaks in life. Now they've been kicked out of school, which really only gives them more time to get into trouble. Stealing scrap metal to recycle is their main source of income, but the risks are higher than they realize. A moving and tragic story, with excellent work by Chapman and Thomas. Inspired by Oscar Wilde's "The Selfish Giant".
SELF/LESS (PG-13) 111 mminutes * * *
Damian (Ben Kingsley) is dying. But as one of the wealthiest and most powerful men alive, he has opportunities available that most people don't. So, he has his consciousness transferred into a younger body. There are, of course, some complications with the process, both physical and ethical. Nice work by Reynolds in a role that asks him to play two different characters at the same time. PG-13 for violence, sex, and language.
SELMA (PG-13) 120 minutes * * *
It's 1965. Martin Luther King Jr. (David Oleyowo) is pushing for the recognition of equal voting rights, President Johnson (Tom Wilkinson) is trying to wait, and the state of Alabama is actively fighting it. The tensions have reached a boiling point. The events in Selma, will be a dramatic turning point for civil rights. It's a powerful story, and there are some passionate scenes here. But the script is a little too careful to try and make sure it covers every detail and it has a negative effect on the pacing in the middle of the film. The ending is quite good, but trimming this down would have helped. PG-13 for violence and language.
SEMI COLIN (NR) 73 minutes * * 1/2
Unusual piece that explores art and philosophy through the eyes of graphic novelist Colin Murray. In particular, Murray takes a look at the blurred space that lies between art and pornography. Fascinating, and less a movie than an experience.
SEMI-PRO (R) 86 minutes *
Typically ridiculous Will Ferrell comedy. The Flint Tropics are part of the ABA, which is about to merge with the NBA. Only four teams will survive, and the Tropics are at the bottom of the list. Ferrell rants and whines his way through the film, accomplishing little more than being annoying. R for language and sex.
SEMPER FI (R) 94 minutes * * 1/2
Callahan (Jai Courtney) has been responsible for his little brother Oyster (Nat Wolff) for years. Oyster has a bad temper and gets into trouble easity. They are both in the Marine Corps Reserves. Things get out of hand one day and Oyster ends upin jail. Perhaps that was deserved, but how he's being treated in prison is not something Callahan can put up with. He has to do something. Solid drama. Well-paced, and very nice character development. R for language and violence.
SEND IT! (R) 96 minutes * 1/2
Heading to the east coast to compete in a prestigious kiteboarding contest, Billy (Kevin Quinn) has high hopes. Along the way he meets Sky (Claudia Lee) who becomes much more than a friend. The story is tired and the script is full of unimaginative dialogue and characters copied from other films. There is some very nice kiteboarding footage, but it's just not enough. R for sex and language.
THE SENDER (R) 82 minutes * * ½
He (Zeljko Ivanek) doesn’t even remember his name, and his ability to influence reality and project visions to others is pushing him to the limit. No one seems able to help, and he’s afraid that he might be killing people without intending to. The story is a little difficult to follow at times, but the performances and special effects are good. This never received much publicity, but it’s worth a look if you enjoy thrillers about mental powers. R for violence.
SENIOR MOMENT (NR) 88 minutes * *
Feeling and acting old is not something Victor (William Shatner) is interested in. A former NASA test pilot, he gets caught drag racing his car one too many times. Relegated to using public transit, Victor does meet Caroline (Jean Smart), who teaches him to appreciate his age and the perspective it brings. The moral to the story is clear, but gets diluted with too many poor attempts at humor. There is a nice supporting role for Carlos Miranda.
THE SENSATION OF SIGHT (R) 131 minutes * * * 1/2
David Straithairn gives another powerful performance in this story of a man coping alone... as are so many of the characters here. Each is lonely and isolated, despite the presence of others. In his unusual attempt to cope, Finn (Straithairn) is selling a set of encyclopedias to anyone in town who will buy them... one volume at a time. Remarkable debut from writer/director Aaron Wiederspahn that asks us to not be afraid to question what happens to us and to those we love. R for language.
SENSE AND SENSIBILITY (PG) 134 minutes * * *
Emma Thompson's first attempt at adapting a screenplay turns out splendidly and earned her an Oscar. Her performance is a little weak in spots, though direction may be at fault more than her acting. A bit too much attention is focused on the older women at times, leading us away from the main plot. Still, it's a beautiful film, with a fine soundtrack by Patrick Doyle.
THE SENSE OF AN ENDING (PG-13) 105 minutes * * 1/2
Circumstances lead Tony (Jim Broadbent) to re-examine his life, and to explore possible meanings for some of the things that have happened. It's a gentle, but brooding piece, with an appropriately thoughtful performance by Broadbent and a nice ending. PG-13 for violence, sex, and language.
SENSE SENSIBILITY AND SNOWMEN (NR) 82 minutes * * 1/2
Ella (Erin Krakow) and her sister Marianne (Kimberley Sustad) have a party planning business. They have a new client, for whom they are planning a Christmas party. The company's CEO (Luke Macfarlane) isn't really a fan of parties or Christmas. Nice chemistry between Krakow and Macfarlane.
SENSELESS (R) 89 minutes * 1/2
Marlon Wayans stars in the story of a not-too-bright college student who decides to be a guinea pig for a new drug to earn money for college. There are side effects, several attempts at humor, and the cliched "moral to the story". There are a few bits of good physical comedy from Wayans, but too much of this is weighed down by a script with no depth. R for language.
THE SENTINEL (PG-13) 103 minutes * * 1/2
The Secret Service is responsible for protecting the life of the president. Pete Garrison (Michael Douglas) is suspected of compromising that security and plotting to kill the president. To protect the president, he now has to elude those pursuing him and uncover the identity of the real traitor. Nothing all that exciting here, but the performances and action are good, and the story manages to keep us reasonably interested. PG-13 for violence and sex.
SEPARATE LIVES (R) 98 minutes * *
Beautiful psychology teacher (Linda Hamilton) asks student (James Belushi) to follow her as she thinks she is being stalked. It's no real surprise to discover that she's leading another life, since that is the topic on which she has been teaching. Sketchy story with shallow characters, that Hamilton and Belushi do their best with. It's watchable, but nothing you'll be raving about. R for language, violence, and nudity.
A SEPARATION (PG-13) 120 minutes * * *
When his wife leaves to pursue a better life in another country, Nader (Payman Maadi) is left to care for his daughter and his father, who has Alzheimer's. he hires a woman to help, but when she steps out one day on a brief errand, events begin to spiral out of control. Winner of numerous awards, including the Oscar for best foreign film, this Iranian film features fine acting, though the story is predictable and doesn't really offer the characters much room to grow. PG-13 for language.
SEPARATION (R) 104 minutes * * *
The relationship between her mother and afather isn't going well. When her mother is killed in a tragic accident, Jenny (Violet McGraw) retreats into an imaginary world. It's a world populated by the bizarre puppets her father (Rupert Friend) created for his comic book. Filled with evil puppets that will play at least a little on the fear of clowns that many (who don't already find puppets creepy) people have. Nice suspense throughout, with creepy music and scary effects. R for language and violence.
SEPTEMBER DAWN (R) 107 minutes * * 1/2
As the Mormon's struggle to find a land of their own, the westward expansion continues, forcing confrontation and violence that many will later regret. It's a violent tale with a tragic love story at the center. The story is well-written and well-acted, but it's difficult to decide who might want to watch this film. Most everyone here is presented in a rather negative light, with the only real positive note at the end. Life does go on, and perhaps we can learn from the mistakes that well-intentioned, but over-zealous people have made before us. R for violence.
THE SEPTEMBER ISSUE (PG-13) 81 minutes * * 1/2
Anna Wintour. Vogue magazine. Fashion. The September issue of Vogue is an industry benchmark and Wintour's influence over the magazine and the huge September issue have an astounding impact on the entire fashion industry. This is the story of the preparation for that issue, the thickest of the year, and a guidebook for the new season. PG-13 for language.
SEPTEMBERS OF SHIRAZ (PG-13) 103 minutes * * *
It is the time of the Iranian Revolution, and Isaac (Adrien Brody) has just been taken prisoner. He is a successful Jewish businessman, but that isn't a good thing to be right now. The balance has shifted, and those who have, will become those who have not. This doesn't really delve very deeply into the philosophical, political, or religious ideologies, keeping the focus on the experience of just a few of the characters. It works. PG-13 for violence, nudity, and language.
SERAPHIM FALLS (R) 105 minutes * * 1/2
The Civil War may be over, but Carver (Liam Neeson) has one more thing left to do. He needs to track down Gideon (Pierce Brosnan) to pay him back from what he did during the war. Brosnan and Neeson give this enough life to make it tolerable, but the story is transparent and has little to offer as far as depth. Supporting characters and cameo appearances are not well connected and are almost distracting. Filmed in New Mexico and in Koosah Falls, Oregon. R for violence and language.
SERAPHINE (NR) 122 minutes * * *
She was just a simple maid, but when Seraphine's (Yolande Moreau) guardian angel told her to paint, she did just that. In fact, she eventually did almost nothing else. One man recognized her genius, buying all of her early works, and becoming her patron. In the end, it isn't the success, but her passion that drives her to a destructive eccentricity. Based on the life story of Seraphine de Senlis, with a fine performance by Moreau. A story that is both beautiful and tragic.
A SERBIAN FILM (NR) 100 minutes * *
Milos (Srdjan Todorovic) is a porn star who would like to get out of the business gets his chance when he's offered a great deal of money to star in what is supposed to be a more artistic film. But it turns out to be far more violent and twisted than he expects. There is an NC-17 version of this as well, but either way, the rating or lack thereof is for extreme aberrant sexual and violent content.
SERENA (R) 104 minutes * *
George Pemberton (Bradley Cooper) is a very rich man, and his money comes from a huge timber business. But that's all about to end, now that he's married the lovely Serena (Jennifer Lawrence). Though not for a lack of trying, neither Cooper or Lawrence seem to fit well here. The best performance is by Rhys Ifans as Galloway, a rather mysterious character, though essential to the way the story progresses. The ending is very poetic, though some may give up before they get there. Adapted from the book by Ron Rash. R for violence and sex.
SERENDIPITY (PG-13) 85 minutes * * *
A chance meeting, a beautiful evening in New York... was it meant to be more? Sometimes fate does a little more than hint... if you keep your eyes open for the signs around you. Though this offers little in the way of originality, John Cusack and Kate Beckinsale work well together and the film is beautifully photographed. These aspects give it a little bit of an edge over similar films. PG-13 for language.
SERENITY (PG-13) 113 minutes * * 1/2
Joss Whedon's TV series "Firefly" generated enough positive buzz to support this fun feature film that follows the crew as they continue to evade the alliance. They are in big trouble now that they have taken a young passenger on board. She is the key to secrets that even she herself doesn't yet realize. With an emphasis on entertainment, this works pretty well. There are bits here and there where logic and plausibility are tossed aside, but we tend not to mind because we're having fun. A bit of trimming would have helped, but I'm guessing that Whedon figured this was his only shot for a feature film for this story, so he put everything into this one. PG-13 for violence and language.
SERENITY (2019) (R) 101 minutes * * *
He simply must catch that elusive fish. Baker Dill (Matthew McConaughey) is on a mission, but he's beginning to wonder why. A visit from his old flame (Anne Hathaway) doesn't help to clarify things, especially when she brings troubling news about his son. An unusual mix of drama and fantasy, with a fine cast that also includes Diane Lane and Djimon Hounsou. R for language, sex, and violence.
SERIAL MOM (R) 89 minutes * 1/2
Satirical film from John Waters that misfires on most
levels. Kathleen Turner delivers a fine performance,
but the uneven quality of the story undermines her
every step of the way. She's too much the perfect mom
and the killing comes a bit too easily. And somehow
the satirical barbs lose most of their sting because
it all becomes too silly.
A SERIES OF UNFORTUNATE EVENTS (PG) 96 minutes * * *
Lemony Snicket's delightful series of children's books hits the big screen with Jim Carrey featured as the evil Count Olaf who is desperately trying to get his hands on the fortune of the Baudelaire orphans. The sets and special effects are incredible, though the story (taken from three of the books) does seem a bit rushed in several spots. The real star of the show is Sunny, the youngest of the Baudelaire orphans, played by twins Kara and Shelby Hoffman. They steal almost every scene they're in. Thomas Newman's sountrack, which was nominated for an Oscar, does an amazing job of capturing a mood that varies from light and comical to somewhat dark and creepy at times. PG for language and general creepiness.
A SERIOUS MAN (R) 100 minutes * * *
Larry Gopnick (Michael Stuhlbarg) has been a good man, a serious man, for his whole life. But at the moment, life is getting a little crazy. Another dark comedy from the Coen brothers. The ending is unusual, which isn't really a surprise from a Coen film, but it's a bit of a dark twist. R for language, sex, and violence.
SERIOUS MOONLIGHT (R) 81 minutes * * 1/2
When Ian (Timothy Hutton) decides to tell Louise (Meg Ryan) that he is leaving her for another woman, he has no idea that she will react the way she does... by duct taping him to a chair. She's not going to give up on their marriage so easily. But that's only the beginning of his troubles. Ryan's characteristic charm carries most of the film quite well, but the ending sort of fizzles out. R for language and violence.
SERIOUSLY RED (R) 92 minutes * * *
Having always been a fan of Dolly Parton, it seems a natural step for Red (Krew Boylan) to become an impersonater of the talented singer. She has a little bit of a rough start, but it doesn't take long before her successes start adding up. Sometimes the best way to find yourself is to try and be someone else. R for sex, nudity, and language.
SERPENT (NR) 82 minutes * 1/2>
Adam (Tom Ainsley) hasn't let Gwen (Sarah Dumont) come with him on his research trips before. It could be a nice mix of research and romance. At least, until they wake up to find a daedly snake in their tent. Some good intensity, but two people in a tent with a deadly snake just doesn't leave much room for the story to expand unless you cover more of their relationship, which this doesn't.
THE SERPENT AND THE RAINBOW (R) 94 minutes * 1/2
Lots of semi-gross special effects and not much in the way of story or acting in this film about voodoo in Haiti. Wes Craven fans may be interested, but they may be a bit disappointed too.
SERVING SARA (PG-13) 93 minutes * 1/2
Mildly entertaining comedy of errors as Joe (Matthew Perry) first serves divorce papers to Sara (Elizabeth Hurley) and then flips his mark to serve her husband instead. Definitely a low-budget production, though Perry and Hurley do their best to keep us entertained. Too many times the humor feels forced and we find ourselves barely even smiling. PG-13 for language.
THE SESSIONS (R) 91 minutes * * * 1/2
Mark (John Hawkes) had polio as a child and is forced to spend most of his time in an iron lung. At the age of 38, he's thinking about having sex. Though hesitant at first, he soon finds himself in the capable hands of a sex therapist (Helen Hunt). Creating a sense of awkwardness and intimacy is a challenge, but Hawkes and Hunt manage it nicely, with the assistance of a few, somewhat humorous supporting performances. The film is dedicated to Mark O'Brien, on whose articles the story is based. R for sex and language.
SET FIRE TO THE STARS (NR) 91 minutes * * *
John Brinnin (Elijah Wood) is a poet who is struggling for recognition and success. He arranges for his idol, Dylan Thomas (Calyn Jones) to do a series of readings, but Thomas is a wild card, and Brinnin is about to learn just how human his idol truly is. Great work by Wood with a strong supporting performance by Jones, who also co-wrote this.
SET IT OFF (R) 116 minutes * 1/2
Jada Pinkett and Queen Latifah star in this story of four friends who go to the extreme and finding out that crime doesn't pay. Thick with morals, as is usual for this genre, but a very fitting ending helps us swallow this a little better. It would have helped to have cut it by about ten minutes or so. R for language and violence.
THE SETTLERS (NR) 106 minutes * *
Many Israeli citizens live on land that is not governed by Israel. It is land that is legally recognized by other countries as Palestine. But Israel doesn't recognize that claim. This documentary takes a look at that history and how it affects present life in the area. A very informative and balanced presentation of the information.
SETTLERS (2021) (NR) 99 minutes * * *
The Martian landscape is mostly barren and less than hospitable. But the dangers it presents are perhaps less than those from the other settlers. Ilsa (Sofia Boutella) and her daughter Remy (Brooklynn Prince/Nell Tiger Free) will do what they can to survive. At interesting look at what it might mean to start life on another planet.
SETUP (R) 81 minutes * *
Vincent (Ryan Phillippe) has it all worked out, but when he neglects to actually finish the job he set up, Sonny (50 Cent) won't stop until he's had his revenge. And when he gets Biggs (Bruce Willis) involved, it gets nasty fast. A heist film that should be more exciting than it is. The cast is good, but the script just doesn't follow through. R for violence and language.
SEVEN (R) 121 minutes * * 1/2
The week before he retires, Detective William Somerset (Morgan Freeman) stumbles onto a serial killer case, someone who is punishing people for the seven deadly sins. The story is absorbing, but depressing, and we're ready for the muddled ending when it finally arrives because we want out. It's too dark a film to be very entertaining, and too predictable to be all that scary. But it's well-written and acted, so we're somewhat satisfied with the overall effect.
7 BELOW (R) 89 minutes *
Stranded after an accident, a group of people find themselves waiting out a storm in a strange house with an unusual history. Some cheap scares, but not all that suspenseful. The production design is fairly good, but the dialogue and acting manage to ruin the film. R for violence, sex, and language.
7 BOXES (NR) 100 minutes * *
Victor (Cleso Franco) needs money, and carting seven boxes around for awhile seems like an easy way to earn it. But the contents of these boxes hold a very dangerous secret. Very unevenly paced at the beginning, and the focus of the story is scattered and difficult to understand. It ends much better than it begins if you can stay with it long enough.
7 DAYS (NR) 107 minutes * * *
It's a day just like any other, but when their daughter goes off to deliver some invitations to her party, she never arrives at school. When a suspect is aprehended, her father (Claude Legault) kidnaps him and proceeds to torture him for seven days. Powerful story about the destructive effect that vengeance can have, as well as how love and loss can twist one's perception.
7 DAYS IN ENTEBBE (PG-13) 99 minutes * *
In 1976, an Air France flight from Tel Aviv to Paris was hijacked by Freedom Fighters for the Palistinian cause. Taken to Entebbe, Uganda, they now find themselves also dealing with Idi Amin. The film as a whole tries a little too hard to be artistic, and when it does stay with the more dramatic elements of the story, it feels dry, lifeless, and repetitive. PG-13 for violence and language.
SEVEN DAYS IN UTOPIA (G) 94 minutes * *
Luke (Lucas Black) is a great golfer, with promise to become even more. When he has a bad break on the last hole of a tournament and loses his temper, it's all at risk of being lost. But a week in Utopia, Texas, where he finds himself stranded after a car wreck, may just change everything. Robert Duvall and Black do nice work here, but the script is thick with the importance of looking more deeply at life, and it gets in the way of the acting.
7 DAYS TO VEGAS (NR) 88 minutes * *
He used to be a well-known actor, but now, Duke (Vincent Van Patten) is running a poker game. It's starting to do well, and plenty of high rollers are showing up. Then they start betting on anything and everything. When Duke loses big, he takes a bet that he can walk to the Vegas sign in seven days. It's 280 miles, and he has to wear a suit. Extensively narrated. There is a nice twist at the end though.
SEVEN IN HEAVEN (PG-13) 91 minutes * * *
It was just a game. But when Jude (Travis Tope) and June (Haley Ramm) open the door after spending their seven minutes in the closet, the world outside has changed. In this world, Jude is wanted for murder. A creepy adventure that draws us in very quickly. It does leave a few questions unanswered, but keeps the tone light and entertaining, and manages to keep us interested as well. Nice work by the cast, and great atmosphere and pacing. PG-13 for sex, violence, and language.
7 MINUTES (NR) 78 minutes * 1/2
Told through lengthy flashbacks, which is a method that can work, except that the scene being interrupted is an intense, action oriented scene. So, it really doesn't work well here. Instead, it's rather jarring and far less powerful than a more straightforward telling would have been.
SEVEN MINUTES IN HEAVEN (NR) 94 minutes * * 1/2
The survivor of a terrorist attack on a bus, Galia (Reymond Amsalem) remembers nothing of the explosion or the few days before. A year later, she's trying to piece things together as she grieves the loss of her boyfriend and continue her own physical and emotional healing. Pacing is a bit off in a few spots. Drags some, and then feels like a couple of pieces might be missing. It's still a powerful story, but could have been even stronger.
7 MURDERS A DAY (NR) 79 minutes * * 1/2
The old cartels are gone, but their disappearance only created a vacuum. The new generation of cartels that replaced them are more violent and more motivated by greed. As a result, the number of murders is increasing. Director Charlie Minn takes a look at what is happening in Tijuana, how it got that way, and exploring what needs to be done to help it change for the better.
SEVEN POUNDS (PG-13) 117 minutes * * *
In seven seconds, Ben's (Will Smith) world was shattered. Now, he is doing what he can to reach out to seven others in an attempt to make up for his mistake. It's a powerful story, though it runs a little long and tends to wander at times. Smith does a nice job here, especially as we see his plan begin to falter when he discovers that he's becoming more interested in one of the seven people he has chosen. PG-13 for language, sex, and violence.
SEVEN PSYCHOPATHS (R) 104 minutes * * *
Marty (Colin Farrell) gets caught up in a mess when his friends kidnap a dog. The script is reminiscent of the Coen brothers work, and also reminds us of the film "Snatch". However, it's a little more self-aware and has a darker sense of humor. It is wonderfully inventive inspite of those similarities, and the talented cast also includes Sam Rockwell, Christopher Walken, Woody Harrelson, and Harry Dean Stanton. R for violence, language, and sex.
7 SECONDS (R) 93 minutes * 1/2
Wesley Snipes stars in a story of a former Delta Force commando who is planning an armored car heist. He ends up with a painting, a kidnapped crew member, and more trouble than he thought possible. Not the least of the trouble is a plot that is so convoluted that we just want it to be over. There are some nice car crashes, but the best parts are done in slow motion and become a bit boring as well. R for violence, language, and sex.
THE SEVEN YEAR HITCH (NR) 84 minutes * * 1/2
Kevin (Darin Brooks) has been living with Jennifer (Natalie Hall) for seven years. They've been friends since way before that. But when her unfaithful boyfriend proposes, Kevin knows that he has to do something. Life is about to get very complicated for Kevin and Jennifer. Brooks and Hall work very well together in this light-hearted romance.
SEVEN YEARS IN TIBET (PG-13) 132 minutes * * *
An impatient member of the German team that is trying to make their way to the top of a mountain near Tibet, Heinrich Harrer (Brad Pitt) finds more than he expected. We follow him through his time in a World War II prison camp, his eventual successful escape, and his arrival at the forbidden city in Tibet. His friendship with the Dalai Lama and what ensues as the Chinese take over Tibet has a profound effect on his life, teaching him the value of peace and a respect for life. Aiming more at entertaining us than informing us of historical events,
the film manages to do both in a rather pleasant manner. Filmed in Argentina, Canada, Austria, and the Himalayas, this is a beautiful film, not to be missed. PG-13 for language and violence.
17 AGAIN (PG-13) 92 minutes * *
Mike (Matthew Perry/Zac Efron) is going to ge the chance to relive his senior year in high school. That won't come without some problems, but he just may be able to learn the lessons he needs. Nice work by Efron. True, the material is fairly lightweight, but it's still good enough for a few chuckles. Great supporting work from Thomas Lennon. PG-13 for language.
17 GIRLS (NR) 88 minutes * * 1/2
It starts with Camille (Louise Grinberg), whose pregnancy is not planned. But her four closest friends decide that having their children together would be a smart thing to do. It's a sign of their independence, their womanhood, and of course their children will be close friends just like their mothers. Their number soon grows to seventeen. Too much of the film is spent on the reactions of other people and not enough on character development of the girls. Based on an actual incident.
THE SEVENTH DAY (R) 83 minutes * * 1/2
Father Daniel (Vadhir Derbez) is ready to go out and begin his time as an exorcist. His final test will be under the tutelage of Father Peter (Guy Pearce), a well-respected and powerful exorcist. Well-done exorcist story, and though the big twist isn't surprising, this ends well. R for violence and language.
THE SEVENTH FIRE (NR) 73 minutes * * 1/2
Rob Brown is about to go to jail again. It's the fifth time. With Rob in jail, Kevin's responsiblity in their gang is on the rise, and Rob is beginning to wonder what sort of legacy he's leaving, and what it's doing to the American Indian community he comes from. Interesting documentary that takes a look at the heritage and future of this particular community.
THE SEVENTH SIGN (R) 93 minutes * *
It's the end of the world according to the way Abby Quinn (Demi Moore) sees it and she and her baby may be playing key parts. The music and lighting are quite well done throughout the film, but the story is so full of holes that we never believe it. Things do manage to wrap together at the end, but it's too little too late.
SEVENTH SON (PG-13) 93 minutes * * *
To recapture the evil witch queen (Julianne Moore), who also managed to kill his assistant, Master Gregory (Jeff Bridges) needs to recruit some special help. He must find another seventh son of a seventh son like himself, for only then do they stand a chance. Very nice special effects courtesy of John Dykstra, and a fun fantasy/sorcery story, but Bridges performance is a little too far on the silly side. Inspired by the book, "The Spook's Apprentice by Joseph Delaney. PG-13 for violence and language.
'71 (R) 94 minutes * * 1/2
The streets of Belfast, Ireland were not a safe place to be in 1971. That's especially true for a young British soldier who gets separated from his unit during a riot. Intesne throughout, though the ending is rather quiet and gentle. R for violence and language.
SEX AND BREAKFAST (R) 77 minutes * 1/2
Relationships aren't easy. It takes work to keep a relationship healthy. Two young couples decide to take the advice of a sex therapist and try group sex as a way to keep things interesting, fresh and new. It's not the best decision they ever made. Neither is being in this film. While none of the performances are all that bad, it's the script that really falls short here. Much as the sex that's shown in the film, it's shallow, poorly edited and doesn't even satisfy the characters on the screen. R for sex and langauge.
SEX AND DEATH 101 (R) 109 minutes * * 1/2
Roderick (Simon Baker) finds himself in possession of a very interesting list of names. It's the women he has had, and will have, sex with before he dies. There are things about having this information that are fun and exciting to Roderick, but there is a down side as well. Especially as he nears the end of the list. Cute story and fun to watch, with Baker doing a nice job. R for sex and language.
SEX AND LIES IN SIN CITY: THE TED BINION SCANDAL (NR) 89 minutes * *
Casino owner Ted Binion (Matthew Modine) is dead from an apparent drug overdose. But was it an accidental overdose or was it murder? Suspicion immediately falls on Sandy Murphy (Mena Suvari) and Rick Tabish (Johnathon Schaech), but Binion's sister Becky (Marcia Gay Harden) benefits from his death as well. Fairly standard TV mystery/scandal film with reasonably good performances and a story mostly derived from newspaper headlines.
SEX AND THE CITY (R) 138 minutes * * 1/2
Carrie Bradshaw's (Sarah Jessica Parker) own love life often provides material for her articles on sex and love. This time it's her own engagement and breakup that provide grist for the mill. Nothing really different from the TV series that this film supplements, but as a film, it tends to go on far too long. As well, the narration, that can actually help a little with the constraints faced by a weekly show, serve only to restate the obvious in a film. R for sex and language.
SEX AND THE CITY 2 (R) 140 minutes * * 1/2
Things have changed quite a bit since the girls first came to the city, and they are much more comfortable now. But things are not all going well. Carrie (Sarah Jessica Parker) and Big's life is getting a bit stale, Charlotte (Kristin Davis) and her husband have a nanny helping out with the kids... but that may be a different sort of problem. Meanwhile, Miranda (Cynthia Nixon) has quit her job and Samantha (Kim Cattrall) has an offer for the four of them to go to Abu Dhabi. It's actually a nice set-up for the story, but it drags on for too long and sometimes becomes little more than a series of costume changes in exotic locations. Fans of the series and the first film won't be too disappointed, though the same might not be said for others. R for sex and language.
SEX APPEAL (R) 82 minutes BOMB
Tony (Louie Bonanno) is trying to get a fresh start, away from his mother. He tries numerous things to increase his sex appeal, but nothing works. Though the film has its share of steamy scenes to give it the R rating, there’s little involving any real sex appeal thanks to poor acting and bad dialogue.
SEX DOLL (NR) 100 minutes * * 1/2
When Virginie (Hafsia Herzi) falls in love, it's not quite what she expects. Rupert (Ash Stymest) rescues girls who are being trafficked. Virginie is willing to take some risks to help him, but feels unworthy of rescue herself. In fact, she feels unworthy of his love. Good performances, but the story doesn't take these characters as far as it needs to.
SEX DRIVE (R) 108 minutes 1/2
Driving across the country with his friends and on his way to losing his virginity, Ian (Josh Zuckerman) discovers that true love may be closer than he thinks. Low budget teen sex comedy without all that much humor. Seth Green has a nice bit part, but otherwise, this has little to offer. R for sex and language.
SEX, LIES, AND VIDEOTAPE (R) 97 minutes * * *
Writer-director Steven Soderbergh's first feature is a rather talky exploration of relationships. Unique and intense, we are immediately immersed into two triangles of relationship that interlock. Definitely not to everyone's tastes, but Soderbergh takes a talented cast and works them well. James Spader, Laura San Giacomo, Andie McDowell, and Peter Gallagher bring to life characters whose lives are based on lies about sex.
SEX TAPE (R) 90 minutes * *
Trying to spice up their sex life, Jay (Jason Segel) and Annie (Cameron Diaz) decide to record a three hour marathon sex session. It seems to have worked, until they learn that it was accidentally uploaded to an acconut that is accessible to a number of tablets that Jay had given to people. There are some funny moments here, but it turns out to be far more crude than sexy, which is unfortunate. R for sex and language.
SGT. BILKO (PG) 90 minutes * * *
Who says the military can't be fun? You just have to have Steve
Martin, Phil Hartman, Glenne Headly, Austin Pendleton and a few others around! Not much depth to this, but it's a fun, light-hearted look at the military, based on the old TV show and in the same spirit as so many of those old military sit-coms. PG for language.
SGT. WILL GARDNER (NR) 120 minutes * * *
Will (Max Martini) was in the Iraq War and has struggled with mental illness ever since. He's been doing better lately, and he has something he needs to do. A powerful story with a poignant message. Great work by Martini, who wrote, directed, produced, and starred in the film.
THE SHACK (PG-13) 125 minutes * * *
When Mack (Sam Worthington) loses his daughter, he receives an unusual note in the mail. God has invited him to a place called "The Shack", where they can talk about what has happened. Mack is still trying to make sense out of it all, and while this letter doesn't even sound real, he's in a place where he's willing to give just about anything a chance. This just might be what he needs to begin to be able to start processing his grief. A gentle and beautiful film. The Christian message and theology are clear, but they are presented in a way that suggests rather than demands, which will make it a more interesting viewing for most. PG-13 for violence.
SHADES (NR) 289 minutes * * *
Maeve (Dervla Kirwin) and Mark (Stephen Tompkinson) are lreaning to cope. Things are a bit different now that they are dead. They're still here though, and trying to figure out why, as well as deciding that it may be important to try and set a few things straight if they can. An interesting, and often very sensitive look at life, death, and what it means for us to search for meaning. Well-placed bits of humor lighten the mood at times, but never distract from the focus of the story. Nice work!
SHADES OF GRAY (NR) 70 minutes * * 1/2
An exploration of Gray Barker, UFO researcher and hoaxter. The film spends a good deal of time on the hoaxes that Barker publicized and perptuated, while also spending a little time on the serious research he did. It's also part biography and part homage to a storyteller and a sensitive man. The Mothman Prophecies, Men in Black, The Philadelphia Experiment... all are ideas and stories that come from Gray Barker and his intriguing mind and interesting sense of humor.
THE SHADOW (PG-13) 101 minutes * * *
The ability to clouds men's minds is the specialty of one crimefighter in particular... The Shadow. Big screen adaptation of the pulp novels succeeds is setting the atmosphere very well though the story is a little less than thrilling. Too often people forget that the hero must have a worthy villain to come off very well. Still, this comes off a little better than some other "hero" films. Kudos to Alec Baldwin for a great job as The Shadow.
SHADOW CONSPIRACY (R) 96 minutes * * 1/2
Good pacing and tension at the beginning of the film, but as things start to fall into place, we get a little bored. The chemistry between Linda Hamilton and Charlie Sheen never gets very far and a number of very talented cast members (Donald Sutherland, Paul Gleason, Ben Gazzara) are wasted on parts that are written without much depth. R for language and violence.
SHADOW DANCER (R) 96 minutes * 1/2
Collette (Andrea Riseborough/Maria Laird) feels she has no option to protect her son other than becoming an informant for MI5. It's a dangerous choice to make as a member of the IRA. There are quite a few twists and turns in the story, but surprisingly little energy. it remains a rather low-key drama with a rather dry and lifelss script. And not many people will find the ending very pleasing either. R for language and violence.
THE SHADOW EFFECT (NR) 91 minutes * *
Seizures and nightmares, or are they flashbacks and reality? Gebriel (Cam Gigandet) can't figure it out, and whatever they are, they're getting worse. Once the twist is revealed, the rest of the film loses intesnity. The performances are good, which helps, but this runs out of steam a little early.
SHADOW IN THE CLOUD (R) 75 minutes * 1/2
Flight Officer Garrett (Chloe Grace Moretz) is on a special mission. The crew are suspicious, especially when she claims to have seen something underneath the plane. But what was it that she saw? Far-fetched, but the bigger problems are how much remains unexplained and the nature of her "special mission". Moretz does do some nice work here, with a good deal of time spent in a confined space with only verbal contact with the other characters who are off-screen. R for language and violence.
THE SHADOW IN THE NORTH (NR) 93 minutes * * 1/2
Adapted from one of Philip Pullman's mystery series featuring Sally Lockhart (Billie Piper), a young woman who is more than a little persistent, and knows how to uncover the truth. Entertaining British mystery without a lot of flash. Not rated, but suitable for families.
SHADOW MAGIC (PG) 115 minutes * * *
The new century has just begun and things are about to change in China. This charming film gives us a glimpse into the world of China as the influence of cinema was just beginning. It clashes with tradition and challenges one man in particular to make choices that will change his life forever. A delightful film with a magic all it's own. PG for language.
SHADOW MAN (R) 92 minutes 1/2
Not only do Steven Seagal's facial muscles seem to not move, his body is moving less and less. Never off balance, never a hair out of place, seeming to fling people across the room with little more than a flick of his wrist. And each new script seems to be nothing more than a reworking of what he's already done, filmed cheaply, and acted poorly, even by the rest of the cast. R for violence, language, and nudity.
SHADOW OF THE VAMPIRE (R) 85 minutes * * *
Interesting and unique film that explores the filming of the horror classic, "Nosferatu", exploring Max Schreck's obsession with the role of the vampire. The film works much like a documentary and is as much about the director's obsessoin to make the film as it is about Schreck's obsession with the character. It makes us wonder, does what we obsess about become real, or is it merely that our obsessesion makes it appear real to us? Filmed in Luxembourg. R for violence and language.
SHADOW ON THE MESA (NR) 84 minutes * 1/2
Lightweight TV western with Kevin Sorbo and Greg Evigan. Low-budget TV fare, with typical performances from Sorbo and Evigan though a few of the supporting roles fare a little better.
SHADOW PEOPLE (PG-13) 80 minutes * * 1/2
A late-night radio talk show host learns about a study that was done that uncovered the existence of "shadow people". Becoming aware of these mysterious creatures opens the door to another world that is not a good place to be. The "real footage" here is interlaced with the rest of the film quite nicely, and is very convincing. The film does a very nice job of creating suspense and raising the question about the power of belief. PG-13 for violence, language, and nudity.
SHADOW WORLD: THE HAUNTING OF MYSTI DELANE (NR) 71 minutes *
When Mysti's (Peri Jill Phillips) mother dies under unusual circumstances, she turns to the occult for answers. She goes too far too fast though, and even with the help of her aunt who is quite familiar with the supernatural, there may be no coming back. It's a good story, and it moves along well. Unfortunately, the acting and effects leave quite a bit to be desired.
SHADOWLANDS (PG) 128 minutes * * * 1/2
Biographical film of the life of C.S. Lewis with Anthony Hopkins and Debra Winger. Aside from Winger's inconsistent New York accent, this is an artistic masterpiece. Anthony Hopkins just seems to keep getting better with each new film he works on. He portrays Lewis as a man who loved his privacy, but realized that there might be more to life... and all thanks to a brash woman who knew what she wanted and spared nothing to get it. PG for language.
THE SHADOWS (NR) 82 minutes 1/2
When their boat crashes on a small island, five friends find themselves camping out in an old lighthouse. The storm outside may not be the only thing they have to fear. Flimsy set and non-existent acting. It is an interesting idea, but better suited to a 30-minute TV anthology treatment rather than a full-length film.
SHADOWS IN THE SUN (NR) 91 minutes * * *
If only he could write like his idol Weldon Parish (Harvey Heitel). For now, he edits, and his latest assignment is to get Weldon to write again. Jeremy (Joshua Jackson) quickly learns that it will be a prolonged process. Keitel is in his element here, playing a character who is part rogue, part prankster, and deeply concerned that he may not actually be able to write anything else. he love story between Jeremy and Isabella (Claire Forlani) is a nice secondary plot.
SHADRACH (PG-13) 86 minutes * * *
Susanna Styron directs the film adaptation of her father's short
story about a 99-year-old former slave who returns to the property he was born on so that he can be buried there as he feels death is near. Harvey Keitel is wonderful here as are the children. Strong on emotion, it's a film Styron told her father she would make one day, and it's good that she did. Filmed in Wilmington, North Carolina.
SHAFT (2000) (R) 95 minutes * * *
Based on the novel by Ernest Tidyman and the earlier film version, John Shaft (Samuel L. Jackson) is on the trail of a racist murderer who has already managed to get away from him twice. Solid action sequences, a tightly written story, and very nasty villains make this a great film to watch. One of the nicer touches here is that the film is manages to have that unmistakeable 1970s feel while clearly being set in the 1990s. R for violence and language.
SHAFT (2019) (R) 107 minutes * *
JJ (Jessie Usher) is a rookie with the FBI, doing cyber security work. When a good friend dies, his father may be able to help bring the culprit to justice better than anyone else. This is played heavily for laughs, which just doesn't work as well. There is plenty of solid action, but the humor undermines a good deal of it. The ending is nice though. R for language, violence, and sex.
SHAG (PG) 96 minutes * * 1/2
One last weekend with the girls. Carson (Phoebe Cates) and her friends (Bridget Fonda, Annabeth Gish, and Page Hannah) are off to Myrtle Beach for some fun before she gets married. Teenagers, music, and the beach definitely aren't a new idea, but the acting is better than most, and Kenny Ortega's choreography adds a nice touch.
THE SHAGGY DOG (2006) (PG) 92 minutes * *
Remake of the old Disney film with Tim Allen as the man who turns into a dog and learns all about what it really means to be a man. Allen definitely makes this fun to watch, playing this as he does most of his comic roles. Some of the computer generated effects make this more than a bit silly at times though. Of course the real star is Cole, the dog who plays the shaggy dog. PG for language.
SHAKEDOWN (R) 92 minutes * * 1/2
Roland Dalton (Peter Weller) and Richie Marks (Sam Elliott) combine forces to combat drugs and corruption in this police-action film. A bit far-fetched at times, but plenty of action and the actors all do fairly good work as well.
SHAKESPEARE IN LOVE (R) 117 minutes * * * 1/2
Shakespeare is writing a play. It's a love story and an adventure, with pirates... and it becomes Romeo and Juliet. Absolutely fascinating story with great performances all around. It does tend to wander a bit during the first half, but builds incredibly with a finish that is stunning, yet fun to watch. This is a film that bridges the gaps that usually lie between costume epics and entertainment films. It manages to be both which is a great achievement. R for sex.
SHALL WE DANCE (1996) (PG) 118 minutes * * *
Different things inspire some of us to try and break out of the monotony that our daily lives sometimes become. For one particular man, it is ballroom dancing that draws him into new experiences and a new appreciation for life. Gently directed film that charms you as it goes along, with an ensemble cast that is just wonderful. It runs a bit long, but the charm is there throughout. PG for language.
SHALL WE DANCE (2004) (PG-13) 100 minutes * *
Every day John Clark (Richard Gere) helps people decide what's been important in their lives, but as he faces middle age, he wonders what's really important to him. The characters are fun to watch here, but the script is rather shallow and relies heavily on sentimental appeal. In the original version, the main character is also dealing with the social taboo that participating in this sort of dancing presents. That's missing in this version, and the film is weaker as a result. PG-13 for language.
SHALL WE KISS (NR) 98 minutes * * *
Emelie (Julie Gayet) and Gabriel (Michael Cohen) meet are find themselves quite attraced to each other. They spend a wonderful evening together, but she refuses his goodnight kiss, choosing instead, to tell him a story about love and consequences. Charming, sexy, and fun story, with delightful performances by the whole cast.
SHALLOW HAL (PG-13) 105 minutes * * 1/2
Hal Larson (Jack Black) is a shallow person. He's only interested in girls who look good to him. What if he could see the inner person? What if we all could? Nice story with very good performances from both Black and Gwyneth Paltrow. Very tactfully handled subject matter though it does run just a little on the long side. Nice to see shots of the production crew during the credits. PG-13 for language.
THE SHALLOWS (PG-13) 80 minutes * *
Nancy (Blake Lively) just wanted to spend some time on a special, secluded beach that was a favorite of her mother's. Now, she's stranded on a rock, around 200 feet from shore, with a nasty gash in her leg, and a great white shark prowling the area. Lively does a nice job, but the behavior of the shark is unrealistic and the suspense it creates is minimal. PG-13 for violence and language.
SHAME (NC-17) 96 minutes * * 1/2
Brandon (Michael Fassbender) isn't really proud of his sex life. It's centered around fantasy rather than reality, and when his sister shows up to stay for a few days, it really makes life (and his fantasies) more difficult. It also manages to force him to examine his life and decide what he really wants and what has to change for that to happen. It's a bit much to think that her visit would affect him that much, but that's supposed to result from his shame, which we don't really feel all that strongly.
SHANG-CHI AND THE LEGEND OF THE TEN RINGS (PG-13) 120 minutes * * *
Having left home to live in the United States Shang-Chi (Simu Liu) learns that there is no place to hide from his father (Tony Leung). He and his sister (Meng'er Zhang) are being brought back into their father's organization. But their father is a complicated and sometimes very bad man. Solid adventure and very nice back story for Shang-Chi. The effects are top notch, but the comic moments are a little too strong most of the time, serving as a distraction instead of a break from tension. PG-13 for violence and language.
SHANGHAI KNIGHTS (PG-13) 105 minutes * * 1/2
Chon's (Jackie Chan) father is murdered and Roy (Owen Wilson) decides to lend a hand, so they head off to London for another adventure of mishaps. The story drags a bit too much here though, despite the number of great stunts and fight scenes that we expect when we see a film with Jackie Chan. Somebody had the bright idea of working Arthur Conan Doyle and Jack the Ripper into the story, but it's nto well done or very funny. Still, I'm sure there will be another sequel and there are definitely worse ones out there. Chan and Wilson work pretty well together and make this a fun film to watch. PG-13 for language and violence.
SHANGHAI NOON (PG-13) 104 minutes * * 1/2
Chon Wang (Jackie Chan) comes to the wild west of America to rescue Princess Pei Pei. Teaming up with Roy O'Bannon (Owen Wilson), he finds himself in plenty of crazy adventures. It's a typical Jackie Chan film, with lost of action and a good bit of humor. The story isn't much to speak of, but Chan is just fun to watch. And don't miss those outtakes at the end! PG-13 for violence.
SHANGHAI SURPRISE (PG-13) 93 minutes * * * ½
As the film begins, it’s 1937 in Shanghai. The Japanese have begun to occupy the area and Walter Faraday (Paul Freeman) is ready to leave. The problem is that he is trying to take a rather large quantity of opium out of the country with him. Jumping ahead a year, Glendon Wayzee (Sean Penn) is hired by a minister and his assistant Gloria Tatlock (Madonna) to find “Faraday’s Flowers” so they can be sold, and the money used for his missionary work. Based on the book “Faraday’s Flowers” by Tony Kenrick, with music by George Harrison and Michael Kamen, the film has a definite Harrison flavor. Penn and Madonna clearly have some chemistry here, and though neither of them deliver particularly strong performances, the story and the music carry the film quite well.
SHAOLIN WARRIOR (PG-13) 90 minutes *
Fairly simple martial arts tale around the idea of vengeance. There is a little humor mixed in, which doesn't really add anything to the story, and tends to take away from what would typically be a story with a bit more honor, respect, and tradition. Most of the martial arts sequences are not noteworthy, though the fight sequences near the end do get better. The ending leaves questions unresolved, but by then, you may not care. PG-13 for violence.
THE SHAPE OF WATER (R) 118 minutes * * * *
A story of two very different people who find each other in the midst of the mundane and the uncertain. She is a mute janitorial worker, and he is a mysterious, humanoid, water-dwelling creature. When they meet, it becomes a beautiful, magical, love story, and a fantastic piece of artistry from writer/director Guillermo Del Toro. Nominated for thirteen Academy Awards and winner of numerous other awards. R for sex, violence, and language.
SHARK ENCOUNTERS OF THE THIRD KIND (NR) 73 minutes BOMB
Some aliens land in the ocean near a small community. They start using the sharks to scare the residents. Their intent is to take over the world, but the sharks and the townspeople have other ideas. The script, acting, special effects... it's difficult to find anything that was done well here. Maybe some of the photography and music? It's also hard to believe that anyone thought this was a good idea before filming started.
SHARK EXORCIST (NR) 61 miunutes BOMB
It's hardly even worth calling this a low budget film. It's more like a no-budget film. It is mercifully short, but the problem with bad movies is that they usually seem much longer than they are.
SHARK LAKE (NR) 85 minutes 1/2
It really isn't the story that ruins this, though it could clearly use some work. Dolph Lundgren gets the half star for effort here. Bad CGI effects and equally bad dialogue ruin the rest of the film.
SHARK NIGHT (PG-13) 81 minutes BOMB
An outing at the lake turns tragic when it turns out that there are sharks in the water. All thanks to a couple of local jerks who think it's fun to feed people to their pets. Gets more ridiculous as it goes along. Originally in 3D. Filmed in Shreveport, LA. PG-13 for violence, nudity, and language.
SHARK TALE (PG) 81 minutes * *
Nice animation and a stellar cast that includes Will Smith, Robert DeNiro, Jack Black, Martin Scorcese, Angelina Jolie, and Renee Zellweger, but Zellweger is the lone stand-out here. The film spends too much time doing parodies of other films and actors and furthering negative stereotypes, and not enough time on the story. It's there beneath all of the garbage, a story about being who you are despite what other people think, but it's hard to see. And most of the humor is completely above the youthful audience this is supposedly aimed at. PG for language and violence.
SHARKANSAS WOMEN'S PRISON MASSACRE (NR) 78 minutes BOMB
Prehistoric sharks tht can swim in the dirt are released... yeah.. anyway... Definitely tongue in cheek, but the dialogue and story are so bad that the acting, which could have been funny and somewhat entertaining, just isn't.
SHARKENSTEIN (NR) 72 minnutes BOMB
Determined to continue the experiments of the Third Reich, Dr. Klaus (Jeff Kirkendall) attempts to stitch together a patchwork shark and transplant Frankenstein's brain and heart into it. His bad German accent is typical of the acting here, and the special effects are even worse.
SHARKNADO (NR) 85 minutes BOMB
OK, really? The title really does tell you pretty much everything you need to know... Among my more favorite ridiculous moments is when water (and a shark, of course) flood into a house. After a few tense moments with the shark swimming through the house in waist deep water, they escape the house. The ground is wet outside, but there aren't even any puddles.
SHARKNADO 2: THE SECOND ONE (NR) 85 minutes BOMB
This time the storm hits New York, where presumably, people are more willing to pitch in and help each other. It doesn't matter. It's still a dumb story with more holes than a net. Quite a few big name actors here, but it's difficult to believe that any of them were really that desperate for work.
SHARKNADO 3: OH HELL NO! (NR) 86 minutes *
Oh yes. The deal is this, for some reason, these are making money, so we may still see a couple more in the series. That siad, the approach here, where the story is more clearly tongue-in-cheek than the first two, is more effective. The ending is beyond ridiculous, but strikes that delicate balance with characters who are treating it seriously, while still seeming to show just a glimmer of understanding how silly it all is.
SHARKNADO 4: THE 4th AWAKENS (NR) 84 minutes BOMB
If the pun in the title isn't enough, don't worry, the film has plenty more where that came from. Ridiculously bad and packed with cameo appearances from people who want to be part of this series for some reason. And yes, number five will be released in about five minutes.
SHARKNADO 5: GLOBAL SWARMING (NR) 86 minutes *
As full of silly dialogue and cameo appearances as the rest of the series. What continues to make this series popular, despite the bad CGI effects, is its willingness not to try and be anything more (or less) than the ridiculous idea that it is.
SHARKS OF THE CORN (NR) 104 minutes BOMB
Honestly, the idea of having sharks in a cornfield is no worse than a number of other low-budget shark films. Sadly, this isn't one of those that's so bad it's good. It's just bad. With a story that just keeps throwing new plots into the mix and special effects that frequently don't even make sense, it's hard to even laugh at this one.
SHARKTOPUS VS. PTERACUDA (NR) 84 minutes BOMB
There is only one thing that can stop the new hybrid pterodactyl/barracuda that Dr. Symes (Robert Carradine) has created. That would be the sharktopus! As ridiculous as it sounds, complete with cheap (and bloody) effects and almost non-existent acting. There also aren't really any surprises unless this is the first shark monster movie you've seen.
SHARKTOPUS VS. WHALEWOLF (NR) 84 minutes BOMB
Third in the sharktopus series, and just as bad as it sounds. This time it's Casper Van Dien who tries to save the day. There are heavy doses of bad humor that try to keep this funny. Once in awhile it works, but it doesn't make up for the bad CGI effects and even worse acting.
SHARKWATER (PG) 83 minutes * * *
Rob Stewart loves sharks. This documentary not only shares his love of these magnificent creatures, but details how they are essential to the ecosystem of the earth and how their population has, and continues to be decimated. Whether it is through fear, hatred, or a desire to make money, the senseless killing of sharks continues. They pose far less danger than most people realize, with more people actually being killed by soft drink machines each year than by sharks. Stewart hopes to educate enough of us to understand that if our course doesn't change, in killing sharks, we are only killing ourselves. Informative and beautifully photographed. PG for violence.
SHARKY’S MACHINE (R) 117 minutes * * *
Trouble just seems to follow Sharky (Burt Reynolds). After a bust goes wrong, he’s demoted to vice. That would be bad enough, but now he’s stumbled onto a case that seems to have political ties. The characters are well-developed, giving this a little more human interest than we often see in similar stories. Good suspense as well. R for violence and language.
SHARP STICK (R) 91 minutes * * 1/2
Sarah Jo (Kristine Froseth) lives near Hollywood, but is a shy, timid, and inexperienced 26-year-old. Her desire to be seen and appreciated leads to an affair with an older man. She quickly spirals out of control, watching porn and experimenting with sex. Nice with by Froseth, showing us a good mix of innocence and adventure. R for sex and language.
SHARPAY'S FABULOUS ADVENTURE (G) 89 minutes * *
Sharpay (Ashley Tisdale) goes to New York to make it big on Broadway. But it's a bit more difficult than she expected, and the competition is stiff. In fact, her dog might stand a better chance. This spin off from the "High School Musical" series is missing most of the appeal and musical skills that made those films work.
SHATTERED (R) 91 minutes * * 1/2
Tom Berenger plays the part of a man who survives a car crash, but can't remember his life before the wreck. As he uncovers the facts of his former life, he discovers that all was not quite well. There's a wonderful twist to this story, but the characters aren't well-developed enough during the film for us to be all that interested. We expect a little more from a cast that also includes Joanne Whalley-Kilmer, Bob Hoskins, and Greta Scacchi.
SHATTERED (2007) (R) 86 minutes * *
Everything seems to be going well for Neil (Gerard Butler) and Abby (Maria Bello), but that's only on the surface. Their perfect life shatteres one day when a man kidnaps their daughter and begins to toy with them for reasons they can't seem to understand. Of course, all is not what it appears, and the twists and turns begin to surface. The performances are nice here, but the story is ultimately empty and unbelievable. R for language and violence.
SHATTERED (2017) (NR) 86 minutes * 1/2
Kate (Molly Burnett) never expected to become part of the Burnett family. A wealthy family in the south that are heavily involved in politics, they just aren;t the sort of people she usually feels comfortable around. When she and her husband choose to adopt, everything seems fine at first. But them young Logan begins to exhibit dark and violent tendencies. While trying to deal with these problems, all of the family secrets come tumbling out. Up until that point in the film, the story works well. But then it all resolves too easily and pleasantly, which just doesn't make much sense.
SHATTERED (2022) (R) 87 minutes *
It seems like wonderful luck to Chris (Cameron Monaghan) when he bumpsinto the attractive Sky (Lilly Krug). And when he gets injured, she;s happy to move in and help him. Unfortunately for Chris, Sky has some lethally sinister plans that may be the death of him. Derivative, unsurprising, and not particularly well acted. R for violence, sex, and language.
SHAUN OF THE DEAD (R) 94 minutes * 1/2
In the midst of dealing with a broken relationship, Shaun (Simon Pegg) almost doesn't notice all of the people around him who have turned into flesh-eating zombies. As he tries to rescue his mom and his former girlfriend, he finds himself thrust into the unlikely role of "hero"... and he's doing fairly well. Unusual zombie film with a very British sense of humor, and more than a few comments about society in general. R for violence and language.
A SHAUN THE SHEEP MOVIE: FARMAGEDDON (G) 78 minutes * * 1/2
There's something new at Mossy Bottom Farm. An alien has crash landed nearby. She loves pizza and candy, and seems prone to getting into trouble. Shaun and the other sheep need to help their unusual little friend get home before Agent Red and the Ministry of Alien Detection capture her. Nicely done feature film that fans of Shaun the Sheep will undoubtedly enjoy.
THE SHAWSHANK REDEMPTION (R) 138 minutes * * * *
Another of author Stephen King's less horrific and far more powerful stories that has adapted to the screen quite nicely. Morgan Freeman and Tim Robbins star, but every character here is thought out and played well. It's a fabulous piece of work about what it is that gives you hope and keeps you going through life from day to day. An excellent film that is not to be missed! Filmed in aprt at the Mansfield Correctional facility in Ohio.
SHAZAM (PG-13) 121 minutes * *
While struggling to fit into his latest foster home, Billy (Asher Angel) ends up being granted amazing powers by the Wizard Shazam. He now has to deal with how to be an adult, how to figure out his super powers, and deal with a super-villain. The decision to have Zachary Levi portray Shazam with such a strong child-like tone doesn't work well. Because it's so constant, it grows tiresome quickly. Levi plays the part well, and the supporting cast is good too, but with such a strong villain, the child-like approach to Shazam just doesn't work well. PG-13 for violence and language.
SHE-DEVIL (PG-13) 95 minutes * * 1/2 Ruth Patchett's (Roseanne Barr) sleazy husband Robert (Ed Begley Jr.) has been lured away by romance novelist Mary Fisher (Meryl Streep). Well, you know the old phrase... Hell hath no fury like a woman scorned... The characters here have little depth, but they're still reasonably fun to watch. Adapted from Fay Weldon's book, "The Life and Loves of a She-Devil". PG-13 for language and sex.
SHE DIES TOMORROW (R) 83 minutes * * The plot is pretty simple. Amy (Kate Lyn Sheil) is convinced that she's going to die tomorrw. As she shares this news, others begin to think that they will die the next day too. It's less existential than it could be, but still somewhat interesting. The story is a bit disconnected, which doesn't seem to serve a purpose. R for language and violence.
SHE KILLS (NR) 94 minutes BOMB The wife of a murdered man discovers a secret power as she seeks revenge for the heinous act. Almost a padody of 1970s exploitation films, but those can actually be fun to watch, and this is not. This tries to hard to be bad, expecting us to laugh along the way... and we don't. Almost in spite of itself, there are a couple of bits that work fairly well, but that appears to be by accident, and is clearly not enough to salvage the film.
SHE LOVES ME NOT (NR) 89 minutes * * A once-famous novelist struggles to keep his house and rebuild his career. Written and directed by Brian Jun and Jack Sanderson and told in three somewhat disconnected segments. Splitting into these "chapters" lets the film take sharper turns with the story, but it seems to be more about Jun and Sanderson wanting to say different things about the character and not being willing or able to write and direct a more cohesive story.
SHE SAID (R) 123 minutes * * * 1/2 Every once in awhile, a story is so big that it just can't be stopped. That's what happened with the story about Harvey Weinstein and his treatment of women. Jodi Kantor (Zoe Kazan) and Megan Twohey (Carey Mulligan) of the New York Times latched on to the story, but even they didn't realize right away just how big the story would be. Bigger than just Hollywood. Big enough to start an entire movement. A movement that began to give women the encouragement to step up and take the power they deserved to tell their stories of abuse and to make change happen. A powerful and emotional story, well-performed by the cast. R for language.
SHE STOOPS TO CONQUER (2008) (NR) 137 minutes * * This TV movie adaptation of the Oliver Goldsmith play is perhaps a bit too true to the original, with language that the cast, or at least most of the supporting cast, struggle with speaking in a way that seems natural. It's a fun story, but when people are struggling with their lines, we end up paying more attention to that, and less to the story, which is unfortunate.
SHE WILL (NR) 92 minutes * * 1/2 Her film career has seen better days. Recovering from surgery, Veronica Ghent (Alice Krige) travels to a remote facility in Scotland. As she and her nurse settle in, so does a storm. It appears to be a harbinger of malevolent forces that wish to take revenge. Haunting and moody, though it may take a second viewing to fully grasp the story.
THE SHED (NR) 93 minutes * * Stan (Jay Jay Warren) can't figure out whether it's a good thing or a bad thing. What he does know is that there's a vampire in the shed out back. A real vampire. It has already killed his dog and his grandfather, though he's more upset about the dog. But keeping this vampire in checl is starting to become more challenging. There's some dark humor here, but we need just a little bit more. A little more back story would have been helpful too.
SHED OF THE DEAD (R) 80 minutes 1/2 Trevor (Spencer Brown) prefers to spend his time in his allotment shed rather than at home with his wife. And then the zombie apocalypse happens. Pointless scenes of Trevor's imaginary self, Casimir the Destroyer, are interspersed throughout the film. It's along the same lines as "Shaun of the Dead", but with less talent and a lower budget.
SHEEP & WOLVES: PIG DEAL (PG) 69 minutes * * 1/2 Stories are told about a community where sheep and wolves live together peacefully. When the dark wolves hear about it, they are determined to put things back to normal. Grey will have to figure out a way to stop them and to maintain the peace. Cute, but short animated feature. PG for violence.
SHELLEY (NR) 89 minutes * 1/2 Unable to bear children, Louise (Ellen Dorrit Petersen) enlists Elena (Cosmina Statan) to be a surrogate mother. But all is not normal with this arrangement, which means that something terrible is about to happen. Great atmosphere, but someone forgot to write the story. This is little more than an outline, with characters wandering around in a well-designed and moody setting, but not really doing much of anything.
SHELTER (R) 85 minutes * * 1/2 Zach (Trevor Wright) is struggling with the responsibility he feels toward his sister and her son and at the same time trying to find his own life. In the process, he realizes that the feelings he has for his friend's older brother are something he can't ignore. R for sex and language.
SHELTER (2014) (NR) 99 minutes * * * Homeless for very different reasons, Hannah (Jennifer Connelly) and Tahit (Anthony Mackie) find that needing each other may be just enough to help them rebuild their lives. Great work by both Connelly and Mackie in this sensitive story.
THE SHELTER (2015) (NR) 73 minutes 1/2 Thomas (Michael Pare) is just looking for a place to sleep. But the house he enters is not what it appears to be. He will be spending some time here, as the house seems to want him to learn something. Heavily symbolic, but the direction and script are all about image and give us almost nothing in the way of content or character. It leaves us with very little except an earnest performance by Pare.
SHELTERED (NR) 80 minutes * The storm that's coming in means this group of friends needs a place to stay. Little do they know that where they are staying is even more dangerous than the storm. Two-dimensional characters that are never fleshed out thanks in large part to bad acting.
SHEPARD AND DARK (NR) 87 minutes * * 1/2 Sam Shepard and Johnny Dark have been friends for over forty years and at one time were even related by marriage. Though vastly different from one another, there is a connection, documented in part by the correspondence they have maintained. A very interesting and very personal look at friendship.
THE SHEPHERD: BORDER PATROL (R) * 1/2 Jack Robideaux (Jean Claude Van Damme) quits his job with the police force in New Orleans to work with the border patrol. It's hard work and Jack is ready for it. He's after a particular person, and he won't stop until he's found him. Typical Van Damme film with the usual action. R for violence, nudity, and language.
SHEPHERD: THE STORY OF A HERO DOG (NR) 89 minutes * * Joshua (August Maturo) loves his dog. They are separated when the Nuremburg laws go into effect, and Kaleb soon finds his way to a new owner. An SS officer who trains him to find Jews. The dog eventually finds his way back to Joshua, helping him to escape the concentration camp and find his way to freedom. A less than impressive ending.
SHEPHERDS AND BUTCHERS (R) 99 minutes * * 1/2 A young prison guard in South Africa slips over the edge after watching a large number of prisoner executions. This is the story of his trial, and what watching and participating in executions can do to a person's mental state. Straightforward courtroom drama. R for violence.
SHERIFF OF CONTENTION (PG-13) 199 minutes BOMB The sheriff of a little town in the wild west finds himself dealing with multiple murders. But that's not the worst of it. He also has to deal with a terrible script, poor photography, and horrible lighting. The rest of the cast doesn't seem to be able to help as they apparently missed most of their acting classes. PG-13 for violence.
SHERLOCK GNOMES (PG) 78 minutes * * Gnomeo and Juliet and all their friends have moved to a new garden. What they didn't know is that it's right in the middle of an area where garden gnomes have been mysteriously disappearing. Sherlock Gnomes is on the case, and Gnomeo and Juliet are going to help. Great voice cast, but the story runs all over the place trying to be funny and creative, and doesn't quite get there. PG for language.
SHERLOCK HOLMES (PG-13) 120 minutes * * * 1/2 Amped up version of Arthur Conan Doyle's classic detective character. This Sherlock Holmes (Robert Downey Jr.) is a bit less refined, and there's quite a bit more action than is usually present in a Sherlock Holmes story, but many of the familiar situations and characters are still here. Purists may not find this to their liking because of those changes, but it's definitely an exciting story with witty dialogue and nice work by Downey Jr., Jude Law, and Rachel McAdams. PG-13 for violence and language.
SHERLOCK HOLMES: A GAME OF SHADOWS (PG-13) 120 minutes * * * Watson (Jude Law) is about to be married, but Mycroft has another case for his brother Sherlock (Robert Downey Jr.) that is going to take all three of them to solve. Downey Jr. and Law balance each other well, showing almost equal doses of friendship and frustration with each other in the story. The humor is a bit overplayed in a few spots, as is some of the rather extreme action. Holmes is no James Bond, and doesn't need to try to be. PG-13 for violence.
SHERLOCK: THE ABOMINABLE BRIDE (NR) 88 minutes * * 1/2 Film supplement to the television series starring Benedict Cumberbatch. It's not essential to have seen the series, but if you haven't, it does take a little bit of time to get used to Cumberbatch's interpretation of the character. Well-written, with plenty of creative bits sprinkled throughout the script.
SHERRYBABY (R) 92 minutes * * * Maggie Gyllenhaal delivers a superb performance as Sherry Swanson, out of prison and trying to stay clean and take care of her young daughter. But it's not so easy when there are so many ways to fall back down again. Gyllenhaal manages a realism here that is similar to many of Sandra Bullock's performances, but with a harder edge. It immediately draws you into the story and creates a sympathy for the character. The story itself is definitely familiar territory, but Gyllenhaal makes it work a look. R for sex, language, and violence.
SHERYL (NR) 92 minutes * * * Bio-documentary of the talented Sheryl Crow. A well-rounded look at the ups and downs of a life on the road. Filled with bursts of energy and creativity, as well as lows and dry spells, this film gives us a glimpse into the life and work of an amazing musician. Many performers won't let you into their lives this deeply. A brave and impressive film.
SHE'S ALL THAT (PG-13) 91 minutes * * It's the old game... set a guy up with a challenge to turn a toad into a princess and then he'll fall in love with her. Freddie Prinze Jr.'s performance lends an honesty and sincerity to the film even though there are some inconsistencies in the script for his character. And Rachel Leigh Cook does a fine job as the girl whose inner light finally shines through. It would've been nice to see more of a few of the supporting characters here though. Anna Paquin and Kieran Culkin in particular. It's a pleasant enough little film and few will be sorry they took the time to see it. PG-13 for language.
SHE'S FUNNY THAT WAY (R) 82 minutes * * * 1/2 A wonderful and talented cast deliver marvelous performances in Peter Bogdanovich's delightfully sharp and witty story about a love triangle. The dialogue is rapid fire and right on the mark through most of the film, but so is the interplay of the characters. It's great fun and is over far too soon. You just might want to watch it again! R for language and sex.
SHE'S HAVING A BABY (PG-13) 103 minutes * * * * Writer, producer, director John Hughes turns hit wits and talents to the life of a young married couple and their experiences with all of the various aspects of the first years of marriage. Great music from Stewart Copeland, amazing performances from both Kevin Bacon and Elizabeth McGovern, and a script that will make you laugh, make you cry, and make you feel alive.
SHE'S OUT OF CONTROL (PG) 89 minutes * * Doug Simpson (Tony Danza) is just trying to raise his daughters the best way he knows how. Katie (Ami Dolenz) is doing her best to make it more difficult as she gets a little older. The music is great and Danza tries very hard, but this is still pretty much a TV sitcom stretched to feature film length. PG for language.
SHE'S OUT OF MY LEAGUE (R) 98 minutes * * * Still whining about his last relationship that crashed and burned two years ago, Kirk (Jay Baruchel), he can't believe that Molly (Alice Eve) would ever be interested in him. She's a hard ten, and he's only a five... maybe a six... and you can't bridge that gap. Or can you? Smart, snappy dialogue throughout and great supporting performances by T. J. Miller, Krysten Ritter, and Nate Torrence make this a fun film from start to finish. R for sex and language.
SHE'S SO LOVELY (R) 93 minutes * * 1/2 Sean Penn and Robin Wright Penn star in this story of two self-destructive lovers. The characters here are fascinating, but are boxed into a story that doesn't let them grow. Sean Penn lives his parts enough, that he should have been allowed to expand the part. As well, young Kelsey Mulrooney looked like she had things she wanted to say to make her part more real, but was told to stick to the script. Inexperienced direction from Nick Cassavettes is to be blamed for weakening what could have been an impressive film. R for language and violence.
SHE'S THE MAN (PG-13) 100 minutes * * 1/2 Viola (Amanda Bynes) decides to masquerade as her brother in order to get a spot on the boys' volleyball team. In the process, she falls for her male roommate... who doesn't know she isn't a guy. Overused idea that Bynes plays fairly well and seems to have fun doing it. Some of the supporting cast do a nice job as well. It's just too bad the script isn't more creative. PG-13 for language.
SHE'S THE ONE (R) 89 minutes * * Continuation of "The Brothers McMullen" has much the same feel, but a little more polish. Likeable enough, but not a film that will stick well in your memory. Stronger direction and a little scriptwork would've helped. Still, not a bad film to watch and you need not see its predecessor first. R for language.
THE SHIFT (NR) 74 minutes * She's a new nurse and he's been around for awhile. His views are a little hardened and distant. She wants to be helpful and "fix" everything, but she's a little too gentle and sweet. It's difficult to believe that anyone this "green" would be allowed to work in an emergency room, but the biggest problem here is that none of the characters have any real depth.
SHIN GOJIRA (NR) 114 minutes * * 1/2 Modernized retelling of the origin of Godzilla. A little more realistic than most Godzilla films as far as the amount of destruction that is caused by a giant monster stomping around a city like Tokyp. The focus though, is much more on the human response to the situation rather than on the monster. There are conflicts about who is in charge, how different agencies need to cooperate, the politics involved in a crisis, etc.. Clearly an interesting addition to the genre, but those who are expecting a film packed with Godzilla action will find that to be a smaller part of this film.
SHINE (PG-13) 101 minutes * * * * A man so totally overwhelmed by a dictatorial father and the passion of music, that life is beyond him... except when his hands touch the ivory. Fascinating biography of David Helfgott, with an amazingly realistic performance by Geoffrey Rush (who does his own keyboard work). Lynn Redgrave plays Gillian, who eventually marries Helfgott, and John Gielgud is his most understanding teacher, Cecil Parkes. PG-13 for language.
SHINE (2017) (R) 93 minutes * * Ralph (Jorge Burgos) and Junior (Gilbert Salvidor) are very talented Salsa dancers. When their father dies in a tragic accident, their lives go in different directions. Seven years later, they are about to meet again, but on a less positive note. Will they be able to rediscover common ground? Some nice dance moves, especially near the end, but they aren't really the focus of the film. Perhaps they should have been. R for language.
SHINE A LIGHT (PG-13) 117 minutes * * 1/2 Rolling Stones concert film directed by Martin Scorsese. Scorsese may be a fan, but this really doesn't have much to offer over most other concert films. Granted, the Stones have more than enough charisma and talent to go around, but concert films are usually just that... concert films. PG-13 for language.
A SHINE OF RAINBOWS (PG) 98 minutes * * * The story of a young orphan boy, Tomas (John Bell), who is chosen by adoptive parents to go and live on an island off the coast of Ireland. His life so far hasn't been an easy one, and this new life comes with it's own difficulties. A wonderful story, filled with touches of Irish mystery and magic, and the beautiful countryside of the Inishowen Peninsula on the north coast of County Donegal in Ireland. Based on the novel by Lillian Beckwith. PG for violence.
SHINING THROUGH (R) 128 minutes * * * A young woman stumbles into the US spy network and finds herself in a position to be of crucial importance to the war effeort. The story drags out a little too long, leaving Melanie Griffith floundering a bit in the middle, but it starts and finished well. Trimming a few minutes out of this section would have really helped. Michael Douglas and Griffith work well together and Liam Neeson and John Gielgud give solid performances as well. R for violence and sex.
SHINJUKU INCIDENT (R) 117 minutes * * 1/2 Steelhead (Jackie Chan) travels to Japan to search for his girlfriend, who seems to have disappeared. It's difficult enough to be here as an immigrant, but the yakuza are in the middle of a power struggle, and the situation is even more violent than usual. It's interesting to see Jackie on the wrong side of the law, but not all that convincing. R for violence and sex.
SHIPS IN THE NIGHT (NR) 83 minutes * * 1/2 Jeff Jackson (Jesse Metcalfe) teams up once again with Dr. Zee Madieras (Sarah Lind) to solve a robbery/homicide. It all starts when Zee goes to pick up a painting for an auction event and they discover a body. Adapted from the "Martha's Vineyard Mystery" series of books by Philip R. Craig, this is another nice entry in the series.
SHIPWRECKED (PG) 90 minutes * * * It's 1859 and a young Norwegian boy must go to sea to earn enough money to pay his family's debt since his father has been injured. It will be a long voyage, and there will be much danger along the way. It will be a voyage that will turn this young boy into a young man. It's nice to see fresh faces doing quality work in a well-told story. Disney studios delivers a quality family-oriented adventure here that barely deserves it's PG rating, and that's nice to see once in awhile.
SHIRLEY VALENTINE (R) 106 minutes * * * 1/2 Shirley (Pauline Collins) is a middle-aged British housewife. Years ago, she said she would leave her husband after the kids had grown. But by the time the kids grow up, she discovers that she has no place to go. The Shirley she once was... exciting and rebellious... is no longer "alive", and she begins to wonder why we get all of those hopes and dreams in our heads if we're never going to act on them. Collins does a fabulous job of bringing us along with her on her jounrey of self-rediscovery. The script is filled with quotable lines which resonate with truth. Pay careful attention to the opening credits as well. Few films take the time to really introduce their story, and it's done quite nicely here. R for language and nudity.
SHITHOUSE (R) 101 minutes * 1/2 Alex (Cooper Raiff) is having a rough time at college. He's homesick and really needs to find someone who understands. Enter Maggie (Dylan Geluka). She's his resident assistant (RA) and has had a rough day herself and is looking for someone to spend time with. Slow-paced and sometimes painful to watch because of how awkward the characters are. They eventually become more interesting and appealing, but having to wait that long isn't a good thing. R for language and sex.
SHOCK AND AWE (R) 86 minutes * * * From the first moments that the Bush administration began to think about attacking Iraq in retaliation for the attack on the United States, there were journalists who doubted the stated justifications. This is the story of the work they did to bring that truth to the public. Brief, strong, and to the point, with an impressive cast featuring Woody Harrelson, James Marsdan, Rob Reiner, Tommy Lee Jones, Jessica Biel, and Milla Jovovich. R for language.
THE SHOCK DOCTRINE (NR) 80 minutes * * 1/2 It's called "disaster capitalism", and refers to "the systematic raiding of the public interest in the aftermath of tragedy". An interesting idea, that is both scary and all too evident, but the film is a little dull at times, interspersed with bits of Naomi Klein's lectures from her book of the same title.
A SHOCK TO THE SYSTEM (R) 84 minutes * * 1/2 A businessman on his way to the top, Graham Marshall (Michael Caine) finds himself overlooked for a promotion. So he decides to kill those who are to blame. This strange little thriller serves up solid performances by both Caine and Elizabeth McGovern. A bit laid-back at times, but we aren't really supposed to take it too seriously. R for language.
SHOCK WAVE (NR) 114 minutes * * * At first, the incidents only seem like they might be connected. But it doesn't take long before it becomes more clear. A dangerous terrorist who is an expert in explosives siezes a traffic tunnel full of hostages. He will not hesitate to kill them if his demands aren't met. Intense action film with lots of explosive effects and very good work by the cast.
SHOCKER (R) 105 minutes * Misguided and poorly executed attempt to rip-off the "Nightmare on Elm Street" films. This one has a killer who somehow uses his satanic-like powers to avoid being electrocuted. Now he's able to inhabit the bodies of others and it's up to a kid who is psychically linked to him to stop his murderous rampage. The story is so weak that it just falls apart at the end, though there are a few special effects along the way that are fairly good.
SHOCKWAVE: COUNTDOWN TO DISASTER (NR) 84 minutes 1/2 Another low-budget disaster flick. All sorts of violent weather phenomenon are happening. They have apparently been triggered by the Hell Storm device, a super-weapon with an unintended side-effect. The best part of this film is the soundtrack, but by that, I don't actually mean that it's worth buying. Just that it's the best part of the film.
SHOOK (NR) 86 minutes * Social media star Mia (Daisye Tutor) is about to find out how fickle the fame of social media can be. She's going to be the target of an online terror attack. She will need to solve a series of puzzles in order to save her firends. Or is it all just part of a bigger scam? Do we care? A re-hashed plot without much else to offer.
SHOOT 'EM UP (R) 80 minutes * * It all starts out with a pregnant woman who Mr. Smith (Clive Owen) helps. Now he needs to protect the baby, and find out who wants it dead and why. Full of cartoonish violence, this has the feel of a graphic novel on the big screen. Lots of action, lots of emphasis on camera angles and short blurbs of dialogue. It's fun, but it's not something you'll probably remember much either. R for violence, language, and sex.
SHOOT THE MOON (R) 120 minutes * * ½ Their careers are pulling them apart, but after fifteen years, there’s still a connection. Is it enough? Nice work by both Albert Finney and Diane Keaton, and the photography, lighting and music are all superb. Editing and direction are both slightly off the mark though, hurting the overall effect of the film. R for language, violence, and sex.
SHOOT TO KILL (R) 105 minutes * * * The beautiful scenery of British Columbia, Canada is the backdrop for this story. A cop rather reluctantly teams up with a wilderness guide to track down a killer who is on a hiking trip with a group. Nice performances from Sidney Poitier, Tom Berenger, Kirstie Alley, and the rest, though the characters don't seem to relate to each other all that much. The performances have a solitary quality to them which does detract a bit from the overall effect.
SHOOTER (R) 120 minutes * * 1/2 Convinced that he is helping to uncover a plot to assassinate the president, Bob Lee Swagger (Mark Wahlberg) offers his services as one of the world's best sharpshooters. All is not as it seems, and there is a conspiracy that Swagger must uncover quickly, because he is expected to be the fall guy. Wahlberg is fine here, as is the rest of the cast, but the story becomes predictable too quickly, and wraps up too neatly at the end. Adapted from Stephen Hunter's novel. R for violence and language.
SHOOTING GALLERY (R) 99 minutes * * A hustler by the name of Jericho (Freddie Prinze Jr.) begins working for a man who knows more than a little about how to parlay hustling into big business. It's a world full of mistrust, and Jericho is about to find out how tough that can get. Heavy on narration and lots of 9-ball games, but a bit too slick to let us get connected with the characters. R for violence, sex, and language.
SHOOTING STARS (PG-13) 109 minutes * * * Adapted from the book of the same name, this is the story of LeBron James from his early days. It's a nice mix of basketball and drama, and the story is well-balanced between LeBron and his friends. That says quite a bit about LeBron, as he could easily have made the book (and thus the film) more about himself, but he didn't. PG-13 for language.
SHOPGIRL (R) 102 minutes * * * Mirabelle (Claire Danes) is on her own in Los Angeles, and the singles scene is not something that she's very good at playing. She does meet a guy at the laundromat, but he's a bit on the strange side. Then there's this older man that stops in at Sak's where she works... Adapted from the novella by Steve Martin, this is an interesting film about relationships, presenting the issue in a slightly different light. Relationships are wonderful things. In part, because they are so fragile, so tenuous, so difficult to predict and to maintain... and so worth the risk. We didn't need the narration in the middle or at the end of the film though. R for language and sex.
SHOPLIFTERS (R) 117 minutes * * * 1/2 They are a family who shoplifts as a way of life. Life is good and everything is going well. When they find a little girl, hungry and neglected, they take her in. That act of kindness starts a chain of events. This family is built on a fragile foundation, and events are about to happen that will test the strength of this family they have created, and it will remind those of us watching, exactly what it means to love. R for sex.
SHORT CIRCUIT (PG) 95 minutes * * * A small robot that nothing much was expected of, becomes something a little more. It escapes and begins a series of adventures. The comedy and action scenes work very well, but director John Badham struggles a little with the more emotional scenes. PG for violence and language.
SHORT CIRCUIT 2 (PG) 106 minutes * * * 1/2 Replacing Ally Sheedy and Steve Guttenberg with Cynthia Gibb and Michael McKean was a move in the right direction for this sequel. On top of that, the dialogue is well-written and the jokes work well to keep things moving along. The focal point of the story seems to have moved as well, putting Fisher Stevens more at the center of things... and it works. Number Five is still getting into trouble, but this sequel has no trouble being better than the first film.
SHORT CUTS (R) 184 minutes * * * Another Robert Altman megafilm with a cast that is a pure delight to watch. The story is a little less satisfying, especially as we near the end. In trying to wrap up some loose ends, even more are created. This is an Altman film that has been painted with large, broad strokes, nad in that aspect, it succeeds.
THE SHORT HISTORY OF THE LONG ROAD (NR) 90 minutes * * 1/2 Nola (Sabrina Carpenter) has been living on the road with her dad for some time. When he dies, she doesn't have many options, especially when the van breaks down. A slice-of-life, coming-of-age, road-trip story. The writing and direction are not as strong as they need to be, giving Nola another hurdle to try and overcome.
SHORT TERM 12 (R) 93 mminutes * * * * Grace (Brie Larson) and Mason (John Gallagher Jr.) work at a juvenile short term rehabilitation facility. These are tough kids with a variety of serious issues, but the staff truly care about them. They have dealt with many of their own personal problems that allow them a deeper understanding than most, and which give them a different connection to these troubled youth. Very strong performances by a remarkable ensemble cast, and a powerful script by writer/director Destin Daniel Cretton. R for language and sex.
SHORT TIME (PG-13) 93 minutes 1/2 With only a short time left to serve on the police force, Burt (Dabney Coleman) learns from his doctor that he may have even less time to live. Worried about providing for his family, he begins to take risks in the hope that insurance benefits will take up where he leaves off. It's not a bad idea (taking risks, living life, etc.), but the script is horrible and Coleman has never done all that well in leading roles. Teri Garr does a reasonably good job as his wife, Carolyn, but the dialogue just makes you groan.
SHORTBUS (NR) 96 minutes * 1/2 Sofia (Sook-Yin Lee) is one of many people who frequent Shortbus, an underground sex salon. She's trying to figure out why she can't seem to experience the full pleasures of sex. There are many interwoven, and all sexually explicit stories here. It's more explicit than most people will want to watch, but the end of the film does have some very good things to say, and Sofia's story, in particular, stands out as an important one. Some of the earlier parts of the film are definitely affected negatively by a directorial approach that relied heavily on improvisation for large portions of the story development. Written and directed by John Cameron Mitchell, who also directed "Hedwig and the Angry Inch".
SHORTCOMINGS (R) 87 minutes * * Ben (Justin H. Min) and Miko (Ally Maki) have been together for awhile. But when she heads to New York City for an internship, it highlights the weak spots in their relationship. He's now trying to connect with others, but not really having much luck... because he isn;t really over her. Sherry Cola plays the part of his best friend, whi is sometimes a help, but at other times, not so much. The film tends to wander a lot. It sometimes makes a good point, but often just drifts. The bigger problem is that Ben's character is too often difficult to like. R for language and sex.
THE SHORTCUT (PG-13) 81 minutes * * So, the moral of the story here is... don't take the shortcut through the woods. Of course, that doesn't stop these teenagers from checking out the old man who lives along the shortcut. They suspect he's killing dogs... and maybe more. While the story isn't terribly original, the characters are somewhat appealing and there are a couple of creative bits. Filmed in Saskatchewan. PG-13 for violence, language, and sex.
SHORTCUT (2020) (R) 74 minutes * 1/2 On a bus travelling through a wooded area, the driver takes a detour due to a fallen tree that is blocking the road. It's now getting dark, and the five young people on the bus are about to come face-to-face with something very scary that lives in these woods. The setup is a little awkward, but the bigger problem is that we needed a better introduction to the teenagers on the bus. Just a few moments with each of them would have helped us get to know them and sympathize with their plight. R for language and violence.
SHORTCUT TO HAPPINESS (PG-13) 98 minutes * * * From the classic story, "The Devil and Daniel Webster", and archibald MacLeish's dramatic adaptation, "Scratch", comes a magnificent story of love and success. Jabez Stone (Alec Baldwin) is a struggling writer who manages to get the deal of his life... if he's willing to pay the price. Baldwin directs this fun and sexy version of the story under the pseudonym Harry Kirkpatrick, A great cast, that also features Jennifer Love Hewitt, Anthony Hopkins, Kim Cattrall, and Dan Aykroyd. PG-13 for language and sex.
SHORTS (PG) 83 minutes * * 1/2 Toe (Jimmy Bennett) gets picked on by bullies at school. But when he finds a wishing stone, things begin to change. It's a fun, family adventure film from director Robert Rodriguez, who is marvelous at creating a good story. The title comes from how the story is told, in shorter pieces, though that method isn't really necessary here. Jolie Vanier is hilarious, and does a great job as the young and terrible... Helvetica Black! PG for violence and language.
SHOT (NR) 84 minutes * * Mark (Noah Wyle) and Phoebe (Sharon Leal) are just walking along when there's a shot. It was not intentional, but that doesn't change the effect it has on their lives. That is true for the shooter as well. This resolves a little too easily, especially considering how much of the film is a struggle for the characters. It undercuts the work they actors put in creating characters that we were starting to believe in.
A SHOT AT GLORY (R) 110 minutes * * * Football in Scotland has a long tradition, and the small town of Kilnockie has been part of it for 100 years. Their team has never won a championship and the American owner has decided it's time to bring in a star player. The problem is, he's the son-in-law of the coach... and they don't get along very well. It's a great bunch of characters in a wonderful story that transports you to the Scottish fields of football. Kirsty Mitchell is delightful as Coach McLeod's (Robert Duvall) daughter, but everyone does a nice job. R for language.
SHOT CALLER (R) 115 minutes * * * Prison is often not a place for rehabilitation, but instead, the exact opposite. Jacob (Nikolaj Coaster-Waldau) is convicted of DUI manslaughter, and does what he has to on the inside to survive. Now he's out, and the way he survived on the inside is going to cost. Excellent cast, and an emotional story. A bit overly sentimental perhaps, but not bad. R for violence, language, and nudity.
A SHOT IN THE DARK (NR) 101 minutes * * * * One of the few sequels that is a little better than the original, this is the second "Pink Panther" film with Peter Sellers as Inspector Clouseau. He's convinced that Elke Sommer is innocent, even though everything points to the contrary. It's a hilarious film that never slows down enough to let us stop laughing.
SHOUT (PG-13) 85 minutes * 1/2 A story about the birth of rock and roll music with John Travolta as a music teacher at a Texas high school. Broadly painted stereotypes manage to do this in fairly quickly. It's mostly fun just to watch Travolta, Heather Graham and the rest as they work their way through it. Gwyneth Paltrow's first appearance is in this film, though it gave little clue as to what would follow.
THE SHOW (R) 87 minutes 1/2 Concert/documentary with poor photography and sound. It's nice that they mix in older hip-hop artists with the new. Those segments provide the most entertainment as they speak of their wisdom from experience.
THE SHOW (2017) (R) 101 minutes * * 1/2 On the final episode of a reality dating show, things go terribly wrong. Then again, nothing says "reality" like an on-camera death. Ratings dictate that this may be just what the world wants to see. The first half of the film works very well, but then the story becomes mired in whether it wants to continue to social commentary, or be a character lesson for the host of the TV show. R for violence and language.
THE SHOW (2020) (NR) 108 minutes * * * He's been asked to retrieve a necklace, but this job may prove to be Fletcher's (Tom Burke) most unusual. His search will take him to a very unusual town, filled with bizarre characters that seem to live on both sides of reality and a dream world. Will he find the necklace? Will he ever be able to leave this place? The first seems more likely than the last. A bizarre story that is disturbing, mysterious, and unique. It definitely benefits from a second viewing, but may be a little difficult to get through the first time.
SHOW DOGS (PG) 84 minutes * A dog show is being used as a front for an animal smuggling operation. Max (voiced by Ludacris) is going to have to go undercover with his new human partner (Will Arnett) to put a stop to it. The script just doesn't have much energy, creativity, or imagination. PG for language.
SHOWDOWN AT THE GRAND (NR) 87 minutes * 1/2 He's proud of his movie theater, but times have been better for the Warner Grand, and George (Terrence Howard) is facing a company that is determined to finally put him out of business. George is hoping that an appearance by low-budget action star Claude Luc Hallyday (Dolph Lundgren) will help bring in some money. Packed with references to other films, this is a fun trip down low-budget memory lane. It's a little too low-budget for its own good though.
SHOWDOWN IN LITTLE TOKYO (R) 75 minutes 1/2 Dolph Lundgren and Brandon Lee star in this action film about the Japanese drug trade in Los Angeles. The action scenes are fine, but the dialogue is atrocious. Lee is apparently supposed to provide some comic relief, but his one-liners are poorly written and poorly delivered. R for violence and sex.
SHOWGIRLS (NC-17) 124 minutes * 1/2 This is a film about the lengths to which people will go to make it to the top. But the top of what? The past can't stay buried forever and whoring can only get you just so far after all. Joe Esterhas's scriptwork has sunk to an all-time low quality with this film. The cast works well toward making this believable, but most folks don't really want to know about this side of life.
SHOWING ROOTS (NR) 99 minutes * * 1/2 It may be 1977, but this small southern town is far from integrated or equal. These two young women who want to do better for themselves, find that they may have to improve the whole town... and that just might not be a bad idea. Fun story, though it does try to be a little more serious at times. The balance is a little awlward, but the end result is fairly good.
SHOWTIME (PG-13) 90 minutes * * 1/2 Mitch (Robert DeNiro) is just trying to do his job. Now he's going to be on a "real cop" TV show and just when he's beginning to really make progress on a big case... The chemistry between DeNiro and Eddie Murphy is good, and the mix of comedy and action is reasonably good as well. The biggest problem is that we've seen it all before. It's entertainment taht's worth catching on the small screen, but nothing to worry about if you don't see it right away. PG-13 for language and violence.
SHREK (PG) 83 minutes * * * Delightful fairy tale based on the book by William Steig. The use of humor based on sexual innuendo makes this a little inappropriate for the youngest in the crowd. I'd recommend they be at least nine years old so that you don't have to explain why you're laughing at something. The animation is wonderful and the story, though not really a surprise, is fun to watch. The soundtrack manages to give us an incredible mix of music that fits the moods of the scenes with both lyrics and style. It all makes for a great combination and fun, modern fairy tale.
SHREK FOREVER AFTER (PG) 82 minutes * * 1/2 Rumplestiltskin is still mad that Shrek spoiled his plans to take over Far Far Away. He has a new plan though, and manages to get Shrek to sign one of his tricky deals. Now Shrek has to figure out how to straighten it all out. It could be tough, since no one knows who he is now. Excellent animation and a fun entry in the series, though it does rely heavily on the others for you to understand what's going on. PG for violence and language.
SHREK THE THIRD (PG) 83 minutes * * Shrek and Fiona are filling in for the king and queen. It's not going very smoothly... especially when Charming convinces the evil fairy tale characters to stage a revolt and take over to create their own idea of a happy ending. There are some great songs here, and moments of "cuteness", but we're missing the subtle bits of humor and sense of playfulness that was more evident in the first two films. PG for language and violence.
SHREK 2 (PG) 81 minutes * * 1/2 Shrek and Fiona return from their honeymoon and accept an invitation to go and meet her parents... with typical results. The story and effects are still aimed more at adults than at children, so be forewarned. Although Puss in Boots is a nice addition to the story, the story just isn't as much fun as the first and there aren't as many little extras in the background either. PG for language.
THE SHRINE (NR) 81 minutes * Carmen (Cindy Sampson) is looking for the story to "make" her career as a journalist. She thinks she's found it in a missing person's case, but her boss doesn't approve and her boyfriend is supporting it, but only under duress. Of course they end up in an obscure eastern European country that practices ritual human sacrifice. The ending is quite a letdown, offering virtually no explanation for what has just happened - not that the performances or much else here was all that great anyway.
SHRINK (R) 98 minutes * * * A psychiatrist to the rich and famous, Henry Carter (Kevin Spacey) is having a crisis of his own and self-medicating with marijuana. Spacey does great work here, but the supporting cast is quite good as well. The story sort of swirls around them all, mixing things together as the characters slowly find themselves and move ahead with their lives. Filmed in Los Angeles. R for language.
SHUFFLETON'S BARBERSHOP (NR) 83 minutes * * 1/2 Norman Rockwell's painting serves as the starting point for the story of Trey Cole (Austin Stowell). Having left town years ago, Trey is returning home as a successful country singer. He's still trying to find himself though, and that's going to take facing up to some facts he's been trying to avoid. A sentimental drama, a bit overplayed, but not bad.
SHUN LI AND THE POET (NR) 94 minutes * * * Shun Li (Tao Zhao) is in Rome, working off her debt to the man who paid for her. At some point, he'll also have her son sent over, but she doesn't know when. When she is suddenly transferred to a small fishing community as a bartender, she meets Bepi (Rade Serbedzija), a retired fisherman known as "The Poet". Bepi's attitude inspires Shun Li to have hope that life will work out well. But not everyone is pleased that they are friends. A beautiful and tragic story, well-told, and well-played.
THE SHUNNING (NR) 85 minutes * * 1/2 Adapted from the Beverly Lewis novel, this is the story of Katie (Danielle Panabaker), an Amish girl who is struggling with her feelings she still has for her first true love. She's also about to find out a very important piece about her past that her parents have kept secret. Overly romanticized, but well-acted drama.
SHUT IN (PG-13) 85 minutes * * As a winter storm moves into the area, Mary (Naomi Watts) is certain that a young boy who is deaf that she was working with is looking for her. Or is she just imagining it? There are lots of false scares here, which tend to get old rather quickly. A good cast in a predictable and unimaginative story. PG-13 for violence, nudity, and language.
SHUT UP & SING (R) 87 minutes * * * In 2003, Dixie Chicks' vocalist Natalie Maines made a negative comment about President George Bush during a concert in England. Faster then they'd ever dreamed, the news made it back to the states and country radio stations were pulling their songs off the air. This film takes a look at the rest of the fallout, how it affected the group, and the creation of their next cd. Already a superstar group that was passing the boundaries of what country music could offer, they were pushed to look ahead and envision new possibilities. Whether you thought you liked the Dixie Chicks or not, if you believe in free speech, this is an important film to see. R for language.
SHUTTER (PG-13) 78 minutes * 1/2 Remake of the 2004 film from Thailand. Strange images keep appearing on pictures that Ben (Joshua Jackson) and Jane (Rachael Taylor) take. There are a few creepy moments, but the story falls apart rather quickly and becomes more silly than scary. PG-13 for sex, violence, and language.
SHUTTER ISLAND (R) 130 minutes * * 1/2 A patient vanishes from her room in a secure mental facility located on an island. A federal marshall (Leonardo DiCaprio) and his deputy (Mark Ruffalo) are brought in to investigate. Or are they there for another reason? People don't leave Shutter Island. Nice work by DiCaprio, though the story lets him down a little. Plenty of big names in the cast, but not enough story to go around. Ben Kingsley, Patricia Clarkson, Max Von Sydow, Michelle Williams... and enough plot for a 50 minute TV show. The ending works well, being both tragic and bittersweet, but the story wanders off track quite a bit as it tries to set the stage. R for violence and language.
SIBERIA (R) 100 minutes * * It was a risky deal from the start, but now, Lucas Hill's (Keanu Reeves) Russian partner has gone missing. Lucas is supposed to finish a deal for a dozen diamonds, but there's a problem. Mostly, that problem is now much of the film is focused on romance and sex. It's just too much, and it doesn't do anything for the story. The intrigue aspect is better, but it wraps up a bit suddenly. R for sex, language, and violence.
SIBLING RIVALRY (PG-13) 83 minutes * * Mildly entertaining film with Kirstie Alley having a fling with a stranger at the urging of her sister. Lots of talent here, but the film relies too much on Alley, even though she does a reasonably good job.
SICARIO (R) 115 minutes * * * Moving from a kidnap response team to a tactical unit means that Kate (Emily Blunt) will be able to help take down the man responsible for the house of horror her team just uncovered. But it also means entering a war zone. An intesne story that doesn't let up very much and delivers a very haunting ending. R for violence and language.
SICARIO: DAY OF THE SOLDADO (R) 115 minutes * * * The border between Mexico and the United States has been a hotbed for drug traffick. As tensions increase, the traffick has shifted to terrorists. A solid sequel with very nice work from both Benicio Del Toro and Josh Brolin. R for violence and language.
THE SICILIAN GIRL (NR) 109 minutes * * 1/2 When her father, and years later her brother, are both killed by the mafia, Rita (Veronica D'Agostino) is determined to put an end ot the vicious cycle. Despite some very nice work by D'Agostino, the script is quite dry, which makes for a rather dull story.
SICK (R) 78 minutes * Her dad has a lakehouse. It's the perfect place for Parker (Gideon Adlon) and her best friend Miri (Bethlehem Million)) to quarantine. Parker'sex-boyfriend shows up, but he's not the real problem. Someone else is in the house. The reason for the killings isn't very convincing, nor is the rest of the story. R for violence and language.
THE SICK HOUSE (NR) 85 minutes 1/2 Doing archeological research on a 17th century hospital has been interesting for Anna (Gina Philips). Plague victims were once treated here, and there is much to be learned. Unfortunately, the site has recently been condemned and is scheduled for demolition. She decides to spend one more night doing research, and discovers four young people who shouldn't be there and the spirit of a mad doctor who is still walking the halls. Predictable, and with relatively few scares, most of which are repeated several times.
SICKO (PG-13) 118 minutes * * * As with other Michael Moore films, this documentary on the problems with the health care system in the United States oversimplifies the issue and exaggerates information to strengthen his points. Taking a few people who need health care to Guantanamo Bay to receive the same health care as political prisoners is clearly going over the top, but the points are well taken. The film finishes with a number of strong statements that, even when tempered, clearly show that the system is in dire need of an overhaul with major changes to provide the health care that people really need. PG-13 for language.
SIDDHARTH (NR) 93 minutes * * * When his son doesn't return home for Diwali, Mehendra (Rajesh Tailang) begins to worry. Thinking that his son may have been kidnapped, he begins a desperate effort to find his missing son. Heartfelt performances in a tragic story.
SIDE BY SIDE (NR) 96 minutes * * 1/2 Film or digital? The movie industry is changing, but what will happen to filmmaking as an art, a craft, and so much more. Kaenu Reeves interviews directors and cinematographers to hear what they have to say about the changes, some of which are already old news. Digital photography is still changing and growing, but there's still much to learn from the old way of doing things.
SIDE EFFECTS (R) 103 minutes * * 1/2 The side effects of the new psychiatric drug that Emily (Rooney Mara) has been given lead to some rather dangerous behavior. But there might also be something else that her doctor needs to know. Plenty of twists and turns here, but they work almost too well, leaving us with a story that feels shallow rather than suspenseful. The acting and photography are very good, but not enough to give this the edge it needs. R for sex, violence, and language.
SIDEKICKS (PG) 96 minutes * * Daydreaming kid has himself working alongside Chuck Norris and learning the ropes of martial arts and life. "The Karate Kid" this ain't. It also doesn't offer much in the way of acting, or production quality though a few of the daydream fight sequences are fairly good. PG for violence.
SIDEWALLS (NR) 88 minutes * * 1/2 The city is Buenos Aires. Large and impersonal, with architecture that feels isolating and disorienting. At least that's how many of its residents perceive it. Two of them are about to discover that personal connections can still be made, despite so much that seems to stand in the way. Utterly charming ending, and nice work by Javier Drolas and Pilar Lopez de Ayala in the lead roles.
SIDEWAYS (R) 123 minutes * * * Paul Giamatti and Thomas Haden Church star in this interesting look at two very different friends as they come to another turning point in their relationship. Jack (Church) is about to be married and Miles (Giamatti) has planned a weekend in California's wine country for them to talk and drink. Jack wants it to be a little more wild than that. Wonderful performances by both men in this nicely adapted script from the novel by Rex Pickett. R for sex and language.
THE SIEGE (R) 110 minutes * * Denzel Washington is FBI agent Anthony Hubbard, a man who has his hands full with the recent bombings in New York City. It seems that there is a terrorist cell operating in the city. Elise Kraft (Annette Bening) seems to know more than she'll share, which is typical of a CIA agent, but where will this end? With martial law declared and General Devereaux (Bruce Willis) in charge? Plenty of action, but the pacing here suffers during the sequences without action. Washington never delivers the intensity we need and Bening's performance is far from her best. It's an awkward film, in part because we just have a hard time believing the characters and the plot. Too much effort was spent on creating conflict between the characters and not enough on setting the story up to be believable. R for language, violence, and nudity.
THE SIGHTING (NR) 81 minutes * 1/2 In the woods near the US-Canadian border, there's a little side road you might want to avoid. Travis (Adam Pitman) and Nate (Nathaniel Peterson) use it as a shortcut, and Nate doesn't make it back. There are sasquatch in these woods, and they aren't all that friendly. The special effects and acting are neither one very good, but the story actually works reasonably well.
SIGHTINGS (NR) 85 minutes * A ranch in Texas is the sight of the appearance of dead bodies as well as the disappearance of Tom's (Boo Arnold) wife. There are those who believe that something is in the woods nearby that could be the cause. But no one knows what it is. The idea just never gets much traction because the script doesn't have any depth. Not that the acting is very convincing either.
THE SIGNAL (R) 98 minutes * * 1/2 Careful with that TV! The signal coming through will convince you that you need to start killing people! Radio transmissions are affected as well. The film is told in three parts, written, directed, edited and photographed by three different people, though featuring the same cast and, for the most part, continuing the story rather than just retelling it. It's interesting and thought provoking at times, though the ending will not be something that most will appreciate. R for violence, language, and nudity.
THE SIGNAL (2014) (PG-13) 93 minutes * * Following a lead from a computer whiz they met online, three friends find themselves in the middle of nowhere. For a moment, everything goes dark. Now, they don't know where they are, but things are very different. The plot gets progressively more unusual as it goes along, and doesn't always make much sense, but somehow manages to keep us interested. PG-13 for violence and language.
SIGNED, SEALED, DELIVERED (NR) 83 minutes * * These postal workers set about tracking down the intended recipients of mail that has been considered undeliverable. More than a little contrived, but the story manages to be cute because of the good intentions. The supporting performances give this some strength. Pilot for a TV series.
SIGNED, SEALED, DELIVERED: FOR CHRISTMAS (NR) 83 minutes * * This is the first of several movies that followed the TV series about three postal workers who make it their mission to deliver mail that is more than a little difficult to manage. Over-the-top sentimentality, due in part to the holiday setting.
SIGNED, SEALED, DELIVERED: FROM PARIS WITH LOVE (NR) 83 minutes * * Our three postal workers are back, finding a way to get those "dead letters" into the right hands. Sugary sweet and sentimental and complete with a few flashbacks that help you understand in case you haven't seen the other films in the series.
SIGNED, SEALED, DELIVERED: FROM THE HEART (NR) 83 minutes * * This time around, our postal worker crew find a letter with a more personal connection, which means the delivery will have an effect on them as well as the person who receives it. A little more sentimental than most of the entries in the series because of that, and because it centers around Valentine's Day.
SIGNED, SEALED, DELIVERED: HIGHER GROUND (NR) 84 minutes * * Our intrepid mail crew helps bring together two people torn apart by Hurricane Katrina. Meanwhile, Oliver (Eric Mabius) and Shane (Kristin Booth) move closer to what we all know is coming, and Norman (Geoff Gustafson) finally pops the question.
SIGNED, SEALED, DELIVERED: HOME AGAIN (NR) 80 minutes * * 1/2 At first, the Postables are suprised by the discovery of a hidden room in the space that have been using for so long. Then they discover not just undelivered mail, but a valuable vase that was also never delivered. It's another mystery to unravel as Rita's (Crystal Lowe) family visits and makes things a little uncomfortable for Norman (Geoff Gustafson).
SIGNED, SEALED, DELIVERED: LOST WITHOUT YOU (NR) 83 minutes * 1/2 During the filming of a commercial, a package is dropped off in a mailbox that is just a prop. It's been somewhat mangled, but our intrepid crew will find a way to deliver it. The Christian theme is stronger here than in the earlier entries in this series. It's always been there, but in a more subtle and understated style. The sentimentality is also more heavy-handed this time.
SIGNED, SEALED, DELIVERED: ONE IN A MILLION (MR) 83 minutes * 1/2 The mail service takes a little more of a back seat this time around. The focus is on the relationships between the four main cast members. There's also an attempt to add a little more humor, along with including just about every romantic cliche you can think of. Not one of the better entries in the series.
SIGNED, SEALED, DELIVERED: THE IMPOSSIBLE DREAM (NR) 83 minutes * 1/2 Our postal friends have to testify before a congressional committee in the hopes of supporting a rescue mission for a soldier whose daughter they (and we) met earlier (in a previous film). Meanwhile, Rita (Crystal Lowe) is competing in the Miss Special Delivery pageant. Oliver (Eric Mabius) and Norman (Geoff Gustafson) seem more awkward than usual in this outing, and this entry in the series is a little more sentimental and patriotic than most.
SIGNED, SEALED, DELIVERED: THE ROAD LESS TRAVELED (NR) 82 minutes * * The clues in the photograph point the Postables to a boy who might have been abducted. Meanwhie, Rita (Crystal Lowe) and Norman (Geoff Gustafson) are getting nervous as their wedding day approaches. The mystery is a little less convincing than the relationship drama.
SIGNED, SEALED, DELIVERED: TO THE ALTAR (NR) 84 minutes * * 1/2 It may be time for Rita (Crystal Lowe) and Norman (Geoff Gustafson) to get married, but there's an undelivered wedding dress to take care of, and a missing mother that the postables have to track down as well. The make-up is quite bad here, but Carol Burnett's bit part makes up for it quite nicely.
SIGNED, SEALED, DELIVERED: TRUTH BE TOLD (NR) 83 minutes * * The postal mystery aspect of the story takes a back seat this time to the news that Oliver's (Eric Mabius) father has shown up to deliver some news. It's difficult information for Oliver to deal with and will make him reconsider a number of things. A little heavier in tone than other films in the series, but it does give some nice depth to Oliver's character.
SIGNS (PG-13) 101 minutes * * * It's been years since crop signs have been found, but now they have begun to occur with alarming frequency. With so many of them appearing so quickly, is it still possible that they are a hoax, or are they actually what some people have claimed all along? It's definitely an interesting story and well-played by the cast. Mel Gibson's performance as Graham Hess draws us in, yet manages to remind us that this is entertainment at the same time. Rory Culkin and Abigail Breslin are perfect as Morgan and Bo, Graham's children. We even get a chance to see director, M. Night Shyamalan in a fairly sizeable supporting role. Not only does Shyamalan have the ability to deliver a suspenseful story, the production is strong on all fronts. Ann Roth's costumes, Tak Fujimoto's photography, James Newton Howard's soundtrack... the ending does let us down a little bit, but the trip there is quite entertaining. PG-13 for violence and language.
THE SILENCE (NR) 114 minutes * * * Twenty-three years after a young girl is murdered in a field, it happens again. Now that there are parallel crimes, perhaps some clues will become more evident. Then again, everyone involved in the first case is now dealing with the relived frustration from not solving the case so many years ago. Starts a little slowly, but the pacing and story build well, and the ending is powerfully realistic.
SILENCE (2016) (R) 154 minutes * * 1/2 Rodrigues (Andrew Garfield) and Garupe (Adam Driver) refuse to believe that their mentor renounced his belief in Jesus, and so they go to Japan in order to discover the truth. But in the 17th century, Japan is brutally harsh to those who are not Buddhist, as Rodrigues and Garupe soon discover. Garfield isn't particularly convincing here, but the rest of the cast is good. R for violence.
THE SILENCE OF THE LAMBS (R) 113 minutes * * * Those who are faint of heart - beware! This is an intense and graphic film about two psychopathic killers. Anthony Hopkins is Hannibal Lecter, a cannibalistic killer who is dangerous, brilliant, and about to assist the FBI in their search for another killer. FBI recruit Clarice Starling (Jodie Foster) has her mettle tested as she is the only one Lecter will talk to. He wants to "play" with her while he helps her solve the crime. Their interactions are wonderful, but the film wraps up too quickly and neatly, disappointing us a bit as we approach the end. Still, it's wonderful work from Hopkins and Foster, with effective music, photography and direction. R for graphic violence and language.
SILENCER (NR) 86 minutes * 1/2 Frank (Johnny Messner) thought he was done killing. As it turns out, he has one last job to do. When he fails to complete it, he's going to have some very nasty people to deal with. But then again, he's dealt with some pretty nasty people before. A tired script, that Messner and a capable cast just can't do all that much to help.
THE SILENCING (R) 90 minutes * * 1/2 Rayburn (Nikolaj Coster-Waldau) used to be a hunter. He has since reformed, and now patrols an area of wilderness that is kept as a sanctuary. There's a vicious hunter who searches for human prey in the area, and it will be up to Rayburn and the local sheriff to put a stop to the killings. A slow and brooding piece with lots of great atmosphere. R for violence and language.
SILENCIO (R) 91 minutes * * 1/2 The Zone of Silence is a place in Mexico that is the location of many mysterious happenings. A particular stone that was found in this area is now being sought by someone who is willing to kill for it. Ana (Melina Matthews) has to find where her grandfather hid it and hand it over or her son may die. The story hints at much more than it delivers. What we have is good, it's just incomplete. R for violence.
SILENT FALL (R) 96 minutes * * A boy witnesses the murder of his parents, but is autistic and therefore unable to communicate any information. Despite the presence of Linda Hamilton, John Lithgow, and J.T. Walsh, the film's highlight is Liv Tyler, who manages to bring a breath of fresh air into a stale story. Richard Dreyfuss dominates the screen far too often, with only the autistic child and a story we can see coming a mile away for his companions. Filmed in Baltimore.
SILENT HILL (R) 118 minutes * * 1/2 You have an adopted daughter who has nightmares of a place called Silent Hill. You know there's a town with that name, but when you get there, you discover that it's a deserted ghost town. What do you do? Based on the video game by Konami, there are several scenes that should send a shiver down your spine. The story is more than a little uneven though, with a great deal of journey toward the beginning and lots of explanation later in the film. The ending is interesting, but we needed more of the story woven more skillfully throughout the film. Nice performance by young Jodeell Ferland as Sharon/Alessa. Filmed in Ontario, Canada. R for violence and language.
SILENT HILL: REVELATION (R) 87 minutes * * 1/2 This time around, it’s a young woman’s search for her missing father that leads to a trip to Silent Hill. The back and forth movement between reality and illusion is frequently confusing, and though that’s partly the intent, it also makes the story difficult to follow and less scary. The special effects are very good, but without a good story to frame them, they lose impact. R for violence, language, and nudity.
SILENT HOUSE (R) 81 minutes * 1/2 Trapped in her parent's vacation home,l Sarah (Elizabeth Olsen) finds herself unable to leave due to supernatural forces. The film seems to be much more interested in creating suspense rather than in having a story that makes much sense. Olsen cries, screams, and sobs quite a bit here. She does a good job, but there just isn't enough story for it to fit into. R for violence.
THE SILENT MOUNTAIN (NR) 92 minutes * * 1/2 It's World War I, and one particular family finds themselves split, with people on both sides of the conflict. Love and loyalty are put to the test and saving or destroying a mountain becomes symbolic of their struggle.
SILENT NIGHT (R) 90 minutes * 1/2 This Santa doesn't just leave a lump of coal if you've been naughty, he will punish you so you don't do it again. It's going to be up to a small-town sheriff and his deputies to stop the holiday murder spree. Standard slasher horror film with a holiday theme. The music helps make this work a little better than some films in this sub-genre. R for violence, sex, and language.
SILENT NIGHT (2021) 84 minutes * * 1/2 It's Christmas, and time for the family to gather at the home of Nell (Keira Knightley) and Simon (Matthew Goode). This one will be a bit different. There is a toxic cloud that is making its way over the entire planet. What will it mean for this family that this may be the last gathering they have? Well-acted, but the script is a little heavy-handed and predictable.
SILENT RAGE (R) 97 minutes * ½ Chuck Norris steps into the realm of slightly supernatural horror film when he has to deal with a killer who has self-healing abilities courtesy of some medical experiments. This borrows heavily from “Halloween” and “Friday the 13th”, but the only real reason to see it is if you’re working on your list of Chuck Norris films. R for sex, language, and violence.
SILENT RIVER (NR) 115 minutes * * 1/2 Elliot (West Liang) would love to work things out with his wife, but she doesn't seem to be interested. Stopping at a mote, he meets the enigmatic Greta (Amy Tsang). She's hiding something, but he isn't sure he should get involved. She looks just like his wife. Surreal. Much of the time, that style works for this film, but there are several scenes where it doesn't.
SILENT TONGUE (PG-13) 98 minutes * Confusing film with Richard Harris trying to negotiate a deal with his dead daughter-in-law's father for her sister to console his own son's grief. This sat on the shelf for two years before being released and probably should've stayed there. A notable cast though, with Alan Bates, Dermot Mulroney, River Phoenix, and Tantoo Cardinal.
SILENT TRIGGER (R) 90 minutes * * A shooter (Dolph Lundgren) and his spotter (Gina Bellman) are on a mission that goes wrong. Now they are on the run, because failed missions mean that you are the new target. But trust has become an issue, making it all more difficult. Acting doesn't play too much of a part here, but there are plenty of guns, explosions, and a few hand-to-hand fight scenes. R for violence, language, and sex.
A SILENT VOICE (NR) 126 minutes * * 1/2 Shoya (voiced by Miyu Irino) didn't really think anything about being a bit of a bully to the new student at school. Being deaf, Shoko (voiced by Saori Hayamo) was an easy target. But when she leaves, the blame falls on Shoya, and he finds himself the new target for bullies. Eventually, he realizes what he must do to set things right.
SILHOUETTE (NR) 112 minutes 1/2 Soemtimes your past comes back to haunt you. That's what Amanda (April Hartman) and Jack (Tom Zembrod) discover when they move away from the place where their daughter died. A suspenseful soundtrack, but poor direction and weak performances don't do this any favors. Also known as "A Haunting in Texas".
SILICON COWBOYS (NR) 74 minutes * * * Starting a company. It can be a risky venture. IBM had just moved into the small computer market. There were also Apple and Commodore, but these three friends had a new idea. They wanted to make a computer that was portable. A portable personal computer for the general market. Thus was born Compaq. The world of computing would never be the same. A fun look at the beginning of portable computing. It was a concept that would not only change the world of computing, but have a much wider effect that no one anticipated.
SILK (R) 102 minutes * * Though recently married to a beautiful woman, Herve (Michael Pitt) must travel in search of silkworms that will make or break the survival of his town. In the exotic lands of Japan, he finds himself drawn to the beautiful daughter of a Japanese warlord. The photography and settings are truly beautiful here, and there's a hypnotics style to the camerawork that is accentuated by the soundtrack. The story just doesn't offer very much to compliment the picture though and the characters, for the most part, feel like decorations on the wall rather than people whose lives we should care about. Beautiful... but empty. R for sex.
SILKWOOD (R) 130 minutes * * ½ Karen Silkwood (Meryl Streep) is ready to blow the whistle on the plutonium processing plant where she works. That upsets some people, and they have her tortured and contaminated in an effort to stop her. Streep is great as always, but there are also some nice supporting roles for Fred Ward, Diana Scarwid, Ron Silver, and a few others. The script and photography are both weak though, and despite its length, this feels like it was rushed to completion. R for language and sex.
SILVER BELLS (NR) 96 mimnutes * 1/2 Danny (Michael Mitchell) dreams of being a photographer, but his father has other plans. A chance encounter with Catherine (Anne Heche) inspires him to leave home. It's a rough separation. The story is full of illogical moments that make it feel like we're missing out on a much larger movie. Not that we really want to see more of this gushy sentimentalism though.
SILVER BULLET (R) 92 minutes * * * Werewolf story by Stephen King, who adapted his story to the screen. It sets up well, and is a very good story, though the humor is a little strong at times. It's definitely played for entertainment rather than for the fear element. R for violence and language.
SILVER CASE (NR) 82 minutes * Senator (Eric Roberts) and Master (Brad Light) were once friends, using Hollywood to launder their money. Now, Senator has decided that its time for Master to leave the game. The script is uneven and struggles for a balance between drama, suspense, and satire. The script is written so that there isn't really a leading role, and without that stronger character, the conflict between Senator and Master just isn't all that interesting. Part of the problem is also that Christian Filippella serves as director, producer, writer, editor, and cinematographer.
SILVER CITY (PG) 100 minutes * * * Emmigrating from Poland to Australia after World War II, Julian (Ivar Kants) and his wife Anna (Anna Maria Monticelli) encounter an additional dofficulty when Julian falls for Nina (Gosia Dobrowolska). Well-acted, character driven drama.
SILVER LININGS PLAYBOOK (R) 116 minutes * * * * Pat (Bradley Cooper) kind of snapped when he came home and found his wife in the shower with the history teacher. After eight months under psychiatric care, he's back home. He's trying to find the silver lining, but sometimes its a little difficult. Cooper has been good before, but this role actually has some real depth to it, and he handles it very well. Jennifer Lawrence continues to impress, as she seems to get better with each role she gets. Written and directed by David O'Russell and adapted from the book by Matthew Quick, it's a story that will make you laugh, and make you cry, and hopefully understand a little more about how we all cope with life a little differently. R for language and sex.
SILVER WOODS (NR) 65 minutes BOMB Five friends who haven't really connected with each other in awhile, decide to spend a week in a cabin in the woods. During their first hike in the woods, a strange park ranger informs them that they should be careful because Silver Woods is a dangerous place. They decide to take this warning as a challenge, so off they go. Stiff and poorly written script, with awkward photography and very weak acting and direction. You'd be better off filming your own hike in the woods.
SILVERADO (PG-13) 133 minutes * * * 1/2 Sometimes you just have to stand up and fight when justice needs to be done. That's what these four friends do when the reach the town of Silverado. Their help is needed, and they respond by helping the town out of its predicament. Solid western that has plenty of action, a few touches of humor, and a fantastic cast that features Scott Glenn, Kevin Costner, Danny Glover, and Kevin Kline.
SIMCHAS AND SORROWS (NR) 112 minutes * * 1/2 When Levi (Thomas McDonell) pops the question, Agnes (Genevieve Adams) is thrilled. Then she learns that she needs to convert to Judaism to be accepted by her fiance's family, which is really important to Levi, though for some reason he hadn't mentioned it earlier. For her part, Agnes was raised Catholic and is a devout athiest. Really good material, but also very dialogue heavy.
SIMON BIRCH (PG) 110 minutes * * * 1/2 Simon Birch (Ian Michael Smith) is a unique person, with a gift and a vision. No matter what people say or do, he knows that one day he will be a hero... and he's right. Endearing film with an incredible cast that includes Joseph Mazzello, Oliver Platt, David Straithairn, Ashley Judd, and Jim Carrey. The story does stray off the main path a bit too much at times, but the performances are so good that we don't notice it most of the time. Suggested by John Irving's "A Prayer for Owen Meany", this is a film that you will remember for a long time. Filmed in Toronto and Nova Scotia. PG for language.
SIMON KILLER (NR) 102 minutes * 1/2 Simon (Brady Corbet) runs away to Paris to try and get over his recent break-up. What he can't get over is who he is. And that will come to light soon enough as he gets involved with a prostitute. An unusual ending to a somewhat dark film. Unfortunately, this just never really delivers on what it hints at, which is more than a little disappointing.
SIMON SAYS (R) 80 minutes * Simon (Crispin Glover) and Stanley (also Crispin Glover) are twin slasher killers, and these five college students are going to be sorry that they picked this particular campsite. Mostly of note for another creepy performance (or two) by Glover, and a bit part for Blake Lively, whose father was the producer. R for violence, language, and sex.
S1M0NE (PG-13) 109 minutes * * * Viktor (Al Pacino) is desperate to finish his latest film project, and despite everyone's frustration with him, he does just that. The thing is, he does it with the aid of a rather eccentric scientist who is a fan of his films. He gives Viktor his invention... a simulation. It may be a crime against the world of acting, but it's working. Viktor has created the perfect actress. But how long can he continue the masquerade? It's a fascinating look at the world of cinema and the line between imagination and reality. The sarcasm is sometimes so subtle that it's almost lost, but that's part of the beauty of the story. Pacino is great here, but the story and S1m0ne herself are the stars. PG-13 for language.
A SIMPLE FAVOR (R) 112 minutes * * * It wasn’t much to ask. Emily (Blake Kively) just wanted Stephanie (Anna Kendrick) to watch her son for awhile. All too quickly, it turns into something much more bizarre. A fun story with a good mix of suspense and humor. The few weak spots in the story are covered well by some fine work by both Lively and Kendrick. The costume work is quite good as well, and the opening and closing credits are very classy. R for sex, language, and violence.
SIMPLE MEN (R) 105 minutes * * * 1/2 Two brothers go off in search of their father, a former baseball player and 60's anarchist, now a fugitive. Hal Hartley's direction keeps this film constantly off-beat but on target as we taste a slice of life that is refreshingly different and real. R for language.
A SIMPLE PLAN (R) 118 minutes * * * Chasing a fox into the woods, Hank, Jacob, and Lou find a crashed plane with a duffle bag full of money. What begins as a simple plan for how they can keep the money and split it among themselves at a later date becomes more complex as the weeks go by and as the lies begin to accumulate. Billy Bob Thornton gives a solid performance here, but Bill Paxton is a bit weak. That gives the film an uneven feel despite the strength of the story. Thronton apparently loves to play these tragic characters. I hope he continues to do so as he plays them with a depth that warrants an Academy award nomination every time. Filmed in Minnesota. R for violence and language.
A SIMPLE TWIST OF FATE (PG-13) 101 minutes * * 1/2 This modernization of the "Silas Marner" story features Steve Martin, who also wrote the screenplay. It's a nice piece of work although the characters lack a depth that might have made the film a stronger piece of work. For those who enjoy watching Martin in roles that are a little more serious, this is a joy to watch. PG-13 for language.
A SIMPLE WEDDING (NR) 85 minutes * * 1/2 Her parents are pushing, but Nousha (Tara Grammy) is determined to find her husband on her own. Just when it looks like she has found someone, life takes a turn. Love does have its own timetable, but you also have to give it space and nurturing.
A SIMPLE WISH (PG) 85 minutes 1/2 Martin Short stars, and if that doesn't give you a hint on how this will be... he's a fairy godmother who is constantly messing things up. The idea is a cute one, but Mara Wilson can't keep a straight face when she needs to, and the only spark to the film comes from the performances of Kathleen Turner and Amanda Plummer as the evil Claudia and her sidekick, Boots. Wish for this one to be over quickly! PG for language.
SIMPLY IRRESISTIBLE (PG-13) 91 minutes * * Amanda runs a restaurant and things haven't been going well since her other died. A magical crab (no really) and the discovery that she can put her emotions into her food end up turning things around. This starts out well, but loses something along the way as it moves between romantic comedy and pure fantasy. It does end well though, but relies perhaps a bit too much on Sarah Michelle Gellar to carry it through. Filmed in New York City. PG-13 for language.
THE SIMPSONS MOVIE (PG-13) 77 minutes * * 1/2 Once again, Homer makes a mess. This time he puts the one last bit of pollution into the lake that turns it into a toxic danger. The president decides to wipe Springfield off the map and it's up to Homer to stumble across how to make things right. Full of all of the typical Simpson's humor you'd expect, but nothing we couldn't have watched as a two or three part set of episodes on TV. PG-13 for language, violence, and nudity.
SIN CITY (R) 118 minutes * * * Highly stylized film adaptation of Frank Miller's graphic novels. An amazing cast has been assembled for this film and one of the few drawbacks is that some of them really aren't used very effectively. Most notably Benicio Del Toro, Michael Clarke Duncan, and Nick Stahl. The film weaves a few stories from life in and around Sin City together as we follow Hartigan (Bruce Willis) protecting a girl (Jessica Alba), Marv (Mickey Rourke) as he tries to avenge the death of his true love, and Dwight (Clive Owen) who helps the girls of Old Town preserve their way of life. Co-directed by Robert Rodriguez and Frank Miller with some help from Quentin Tarrantino, those who enjoy film-noir and off-beat mystery that's a little heavier on violence will probably like this film. It's definitely not for everyone, but has some wonderful segments and powerful moments. R for violence and sex.
SIN CITY: A DAME TO KILL FOR (R) 92 minutes * * 1/2 The story of Sin CIty and her residents continues in this sequel. It's a little more cartoonish than the first film, which helps with the more humorous touches, but not necessarily the noir aspects. Those rely more heavily on the narration and the black and white photography. Stylistically, it's a beautiful piece of work. The story gets a little lost though, not flowing as smoothly and just not really quite as interesting as the first. R for violence and sex.
SIN NOMBRE (R) 92 minutes * * * Young gang members in Mexico cross paths with a girl who is trying to make her way through Mexico to the United States. Loyalty and friendship are tested as Casper (Edgar Flores) finds himself caring for Sayre (Paulina Gaitan) and Smiley (Kristyan Ferrer) yearns for acceptance by the gang. Wonderful work by a young cast in a powerful story. R for violence, sex, and language.
THE SIN SEER (NR) 104 minutes * * 1/2 The ability to see someone's sin in both a gift and a curse. And Rose (Lisa Arrindell) can often see more than the sin. She uses her gift well, but the latest case she is working on has her working with a partner. Despite her ability to see sins and more, there are sometimes things that are too close for her to see. That could be a problem. Good story, but it needs a little more of an edge.
SINBAD AND THE WAR OF THE FURIES (NR) 87 minutes 1/2 Sinbad (John Hennigan), not the one of the legend, though he might be related, accidentally releases the Furies. Now, he has to figure out how to stop them. There's treasure and villains, and people with changing loyalties, but despite all of that, it's just not very interesting or exciting, and definitely comes up lacking in the "fun" department.
SINBAD: LEGEND OF THE SEVEN SEAS (PG) 78 minutes * * 1/2 Animated adventure with the voices of Brad Pitt (Sinbad), Catherine Zeta-Jones (Marina), Joseph Feinnes (Proteus), and Michelle Pfeiffer (Eris). Sinbad is tricked by the goddess Eris and spends the bulk of the film trying to rescue Marina and save his friend Proteus. A bit too much focus on the romantic interest here and not enough on adventure, but harmless enough overall. PG for violence.
SING (PG) 94 minutes * 1/2 Attempting to capitalize on the success of "Fame", "Footloose", and "Flashdance" among others, this is the story of a school about to close and the last school talent show. The music and costumes are good, but the rehashed script and the poor choreography leave this far behind the films that inspired it. All we end up with are cardboard figures in a shallow story. PG for language.
SING (2016) (PG) 100 minutes * * * Buster Moon (voiced by Matthew McConaughey) has grand designs for his theater, but nothing has worked so far. Maybe a singing contest will bring in the crowds. At the very least, it's going to change the lives of those who participate, and maybe Buster's as well. Wonderful animation, a fun story, and the amazing vocal talents of McConaughey, Reese Witherspoon, Seth McFarlane, Scarlett Johansson, John C. Reilly, and more. And a great soundtrack! PG for language and violence.
SING 2 (PG) 102 minutes * * 1/2 Their show is good, but according to some, it's not good enough. Buster Moon (voiced by Matthew McConaughey) manages to get an audition and a deal... if only he can get Clay Calloway to agree to be in the show. A rather daunting challenge. Great music and fun characters, though the story isn't quite as good as the first film. PG for language and violence.
SING STREET (PG-13) 101 minutes * * * 1/2 Conor's (Ferdia Wlash-Peelo) family has fallen on tough times, which has him attending a new school. He meets, and gets a cruch on, a girl. What better way to win her over than to start a band? With the help of a few talented friends and a truly helpful older brother, his quest begins. Wonderful coming-of-age story filled with humor and great songs, many of which are sung by Walsh-Peelo. PG-13 for language and violence.
A SINGLE MAN (R) 94 minutes * * 1/2 When George's (Colin Firth) partner dies in a tragic car accident, his world is shattered. Life becomes dull and grey, with none of the vitality and color that used to be there. Still, there are moments... glimmers of hope and possibility. Great work by Firth, but there's little depth to the supporting characters. While that does help focus our attention on Firth's character, it also removes the depth of the story as a whole. The photography moves from color to almost black and white to reflect the mood and it's artistic and subtle at first, but happens so much as the film progresses that it begins to get a little annoying. Adapted from Christopher Isherwood's novel. R for sex and language.
THE SINGLE MOM'S CLUB (PG-13) 105 minutes * * 1/2 Five single mothers find themselves having to work together because their children are all at risk of being expelled. Their backgrounds may be different, but they do have quite a bit in common, and having good friends can help you get through life's tough times. Nice ensemble cast that makes up for some uneven parts in the script. PG-13 for sex.
A SINGLE SHOT (R) 109 minutes * * 1/2 John (Sam Rockwell) is out hunting when the shot he fires kills a young woman instead of the deer he was aiming for. The situation gets worse when he decides to take the money he finds at her campsite. It seems taht some other people wanted that money. Tense moments abound as the chase ensues, but much of the dialogue is mumbled, which works against the effect. Adapted from the novel by Matthew F. Jones. R for violence, sex, and language.
SINGLE WHITE FEMALE (R) 105 minutes * * 1/2 After her relationship breaks up, Allison (Bridget Fonda) is looking for a roommate. As luck would have it, she picks someone who is more than just a little crazy. Someone who starts killing people when Allison starts patching things up with her old boyfriend. It's a story of contrasts. The story of a girl who thought her life was falling apart, only to realize that she's stronger than she realized. And another girl, who thinks she has it all together, only to discover she has been living a lie. Fonda and Jennifer Jason Leigh both do good work here, but the story gives away too many of its surprises along the way. R for sex, language, and violence.
SINGLES (PG-13) 96 minutes * * * 1/2 Sometimes, if you're lucky, you get to see a film where the charaters come to life so quickly and so vibrantly that they seem to almost step right off the screen. Director/screenwriter Cameron Crowe is to thank for this powerful aspect of the film, though credit is also due to a fine ensemble cast who create a very believable group of people. Campbell Scott and Kyra Sedgwick are Steve and Linda, and their story is the central one of the film. But just as in real life, we don't live our lives in complete isolation. Our lives are intertwined with others, and we hear some of those stories as well. It's a slice of life of the singles scene in Seattle. A group of people who are living, loving, and learning how to cope with life while being single, together, and single again. PG-13 for language and sex.
SINGULARITY (PG-13) 87 minutes * * It doesn't take long at all for a new computer that is designed to put an end to all war, to figure out that humans are the problem. The quickest way to end war then, is to get rid of humanity. The characters of Andrew (Julian Schaffner) and Calia (Jeannine Wacker), whose journey we follow, just aren't very strong characters, and they aren't played all that well. The soundtrack sets the mood well, but there's too much narration. PG-13 for violence.
SINISTER (R) 104 minutes * * 1/2 There's nothing to inspire a writer like being right in the middle of the action. That's why Ellison (Ethan Hawke) moves his family into the house where a murder took place. But it appears that something is still in the house. This starts rather slowly, but the effects, music (by Christopher Young), and creepy dead children that start showing up toward the middle of the film keep the intensity fairly high for the remainder of the film. The dialogue and supporting performances aren't all that strong though. R for violence.
SINISTER SQUAD (NR) 86 minutes BOMB All of your favorite fairytale characters, as brough to you by The Asylum. Alice (Christina Licciardi), Goldie (Lindsay Sawyer), and Piper (Isaac Reyes) assemble a crew of evil characters to fight off a supernatural evil. Typically bad (for The Asylum this is normal) story, script, and acting, but the makeup and costumes are a little worse than normal.
SINISTER 2 (R) 86 minutes * 1/2 A mother and her two boys move into the sinister house with predictable results. There are a couple of mildly creepy effects, but it just isn't enough. R for violence and language.
SIREN (R) 77 minutes * Taking a detour from their trip to help someone in distress leads them to an island where they discover a beautiful and mysterious young woman named Silka (Teresa Srbova). An interesting name choice, as it sounds similar to selkie, which she isn't, but she isn't what she seems. The story tends to repeat itself until it runs out of energy, which thankfully doesn't take too long. R for language and sex.
LA SIRGA (NR) 86 minutes * * 1/2 Traumatized by the war she survived, Alicia (Joghis Seudin Arias) is now living with her uncle, a relative she barely knows, in a run-down hostel on the shore of a lake in the Andes. It's not an easy place to live, but it works as a place for Alicia to take the time she'll need to know when she's ready to move on. She's learning that life doesn't always come easily, but it is what it is. Desolate yet peaceful scenery, which works to amplify the core of the story.
SISSY (NR) 98 minutes * * They used to be best friends. Estranged for awhile, Sissy (Aisha Dee and Emma (Hannah Barlow) bump into each other one day. Emma's getting married, so she invites Sissy to the bachelorette party. That all sounds fine, but the girl who bullied Sissy as a child is there as well. A few mildly confusing flashbacks and twists, and an ending that is less than convincing don't help this.
SISTER (NR) 90 minutes * 1/2 Simon (Kacey Mottet Klein) makes his living by stealing from the ski resort guests. His sister (Lea Seydoux) is his caretaker, but she's not really his sister. Their unusual relationship, what it offers, and what it lacks, has shaped them both. Less than satisfying ending.
SISTER ACT (PG) 96 minutes * * * The witness protection program puts Dolores Van Cartier (Whoopi Goldberg) in a convent. Definitely NOT where one would expect to find her. She tries to liven things up at the convent, while the nuns try to teach her a few things as well. Everyone has fun along the way, including the audience. We get to watch an incredibly talented Goldberg as she gives a memorable performance that oozes talent and energy. OK, the plot is a bit lightweight, but sometimes that's something we can live with. PG for language.
SISTER ACT 2: BACK IN THE HABIT (PG) 101 minutes * * * Sister Mary Clarence (Whoopi Goldberg) starts working in a school that's about to be closed by the "evil" Dr. Crisp (James Coburn). Can she get the act together again and save the school? Charming despite its obvious plot, and filled with music that will make you move, this is good, light-hearted entertainment, and a reasonably good sequel.
SISTER CODE (R) 87 minutes * * 1/2 These three foster sisters have always had their ups and downs, but above all else, they also have a sister code. Some of the subplots here aren't all that great, but the three sisters are strong characters and well-played. R for language and sex.
SISTER SWAP: A HOMETOWN HOLIDAY (NR) 83 minutes * * 1/2 Just one more movie. That's all Jennifer (Kimberly Williams-Paisley) wants for her late uncle's movie theater. It feels like the right thing to do to honor all those years of entertainment is provided for the community. It's not going to be easy to make that happen.
SISTER SWAP: CHRISTMAS IN THE CITY (NR) 83 minutes * * 1/2 Although released a week after "Sister Swap, A Hometown Holiday", this is a very similar movie that not only features the same cast, but sometimes similar dialogue. Fans of sisters Ashley Williams and Kimberly Williams-Paisley will enjoy these, and Hallmark fans probably won't mind how similar they are.
THE SISTERHOOD OF THE TRAVELING PANTS (PG) 111 minutes * * * Four girls who are about to part ways for the summer find one pair of jeans that magically fits them each perfectly. They decide to share them over the course of the summer and keep track of the wonderful things that happen. Of course, life sometimes teaches us lessons we weren't expecting. Adapted from the novel for young teens by Ann Brashares, the story offers nothing we haven't seen before. It's pleasant enough, and well acted, though the strongest performance comes from Jenna Boyd's supporting role. PG for language.
THE SISTERHOOD OF THE TRAVELING PANTS 2 (PG-13) 112 minutes * * 1/2 The girls are back, this time going their separate ways for college and the summer break that follows. The pants continue to work their magic, though it's a bit different now and the bitter mixes with the sweet. Friendship is the most powerful magic, though it doesn't happen all by itself. A reasonable sequel, but don't expect to see more. PG-13 for language and sex.
THE SISTERS (R) 110 minutes * * * Modern retelling of Anton Chekov's "The Three Sisters" featuring a well-deserved Golden Globe nominated performance from Maria Bello. Passionate performances from all of the cast, but Bello, Mary Stuart Masterson and Rip Torn get the most kudos here. This is the sort of film that actors tend to enjoy but audiences struggle with the constant negative interaction between characters, many of whom supposedly care for each other. The film does betray it's stage origins, in part by using a limited number of sets. If you enjoy watching actors chew up the scenery and each other, you'll like this film. R for language.
SISTERS (2006) (NR) 87 minutes * * 1/2 Remake of the 1973 twisted classic by Brian DePalma. Stephen Rea is the therapist, Chloe Sevigny the reporter who witnesses the murder and begins to unravel the bizarre story, and Lou Doillon the exotic and unusual Angelique. Doillon does fairly well here, but Rea and Sevigny seem bored and without emotion through the whole film. There are a few spots where it does feel a bit creepy, but this moves too slowly and is missing an effective soundtrack.
SISTERS (2015) (R) 116 minutes * * * Maura (Amy Poehler) and Kate (Tina Fey) have been asked to clean out their rooms so that their parents can sell their old home. The girls aren't too happy about it, but decide to drowntheir sorrows in one last blow out party... with results that put most parties to shame. Hilarious, though not without a fair share of crudeness. It's all about learning to be responsible and true to yourself, which, in the end, is actually the most fun of all. R for sex and language.
SISTERS & BROTHERS (R) 83 minutes * * * Slice of the life of four sets of siblings. The characters here are very well-drawn, and easy to know and care about. The film uses interview segments to add a sense of reality to the story which works well. The script for this was a collaborative effort between the director and the majority of the cast, which may be why it has such a genuine tone. R for language.
THE SISTERS BROTHERS (R) 114 minutes * * 1/2 Eli (John C. Reilly) and Charlie (Joaquin Phoenix) Sisters are killers on the job. The man they are after is being pursued by many. Eli is beginning to have doubts about how much longer he can keep doing his job, and sometimes better offer come along. The story is a good one, but several of the subplots don't really help develop the story or the characters. Interesting ending. It has a somewhat different tone than the rest of the film, but it's good. R for violence, language, and sex.
SISU (R) 85 minutes * * 1/2 Finding gold in the wilderness is something to celebrate. At leaast it usually would be. But these are the closing days of World Wat II, and Aatami (Jorma Tommila) has to defend his find against the Nazis. "Sisu" is a Finnish word that roughly means an extreme level of courage and determination. Aatami is no ordinary man, and he will not give up his gold. Extremely violent, which fits the character, it just might be a little too much for some viewers. R for violence and language.
SITA SINGS THE BLUES (NR) 78 minutes * * * It's a musical retelling of the story of Sita and Rama, with an interesting parallel story of a couple in New York. The animation is both fascinating and creative, using lots of color and a number of different styles to tell the story. The narration is helpful here, because unless you're already familiar with Hinduism, the story is likely to be a little unfamiliar. It's based on the Ramayama of Valniki, which Nina Paley has adapted for this project. She also chose to use a number of musical recordings by Annette Hanshaw from the 1920's, which adds a rather unique feel to the film. It's nice to hear music from so many years ago used so effectively in a film.
SITE UNSEEN: AN EMMA FIELDING MYSTERY (NR) 83 minutes * * In this first film in the series, we meet Emma Fielding (Courtney Thorne-Smith), and archaeologist who uses her skills of deduction to also solve the mysteries she stumbles into. The logic is a bit of a stretch, but the supporting roles are good, and give Thorne-Smith what she needs to make this work reasonably well.
THE SITTER (R) 82 minutes * * While on a babysitting job that he'd rather not have taken in the first place, Noah (Jonah Hill) gets a call from his girlfriend. He really needs to go and see her, and decides to take the kids along. Predictably ridiculous and yet Hill maintains a solitary tone throughout the film. Landry Bender is the most entertaining here, playing the part of young Blithe, and despite Hill's one-note performance, he manages to be somewhat likeable. R for sex, language, and violence.
6 BELOW: MIRACLE ON THE MOUNTAIN (PG-13) 94 minutes * * 1/2 A snowboarder makes a couple of unwise choices and ends up lost in a wintery wilderness for a week. Beautiful scenery in this film based on a true story. Nice work by Josh Hartnett. PG-13 for violence and nudity.
6 BULLETS (R) 110 minutes * * Though he has a passion for finding missing children, Samson's Jean-Claude Van Damme) tactics are sometimes reckless. Now he's been hired by an MMA fighter whose daughter is missing. The story asks for a little more character depth than Van Damme usually does. He delivers it well, but the script manages to let us down in other ways. R for violence, language, and sex.
6 BULLETS TO HELL (NR) 78 minutes 1/2 Bobby Durango (Tanner Beard, who also serves as co-director and co-writer) is a killer, but he may have just crossed the wrong man. This tries to mimic the style of some of the western exploitation films of the 1960s and 1970s, but it just isn't nearly as entertaining. The script is stiff, and the photography and sound are very poor quality. Not that the acting is all that great either, but it;'s slightly closer to the mark they seem to be aiming for.
6 DAYS (R) 90 minutes * * * In the Spring of 1980, terrorists took the Iranian embassy in London hostage. While negotiations are in process, an elite team gets ready to engage the terrorists. As with most hostage situations, there is tension between the two schools of thought about whether or not to negotiate with terrorists at all. That tension is maintained quite well throughout the film. R for violence and language.
SIX DAYS SEVEN NIGHTS (PG-13) 96 minutes * * * Harrison Ford and Anne Heche work well together in this story of a romantic vacation gone awry. Heche and her fiancee (David Schwimmer) have gone to a tropical paradise when she is called away for an important assignment from her job. But she and Ford can't make it through the storm and crash land on a deserted island. Their struggles to find a way off the island are a bit far-fetched at times, but their chemistry makes it entertaining. Filmed on the beautiful island of Kauai, Hawaii, one wonders why anyone would want to leave such wonderful scenery. The film is guilty of not having much in the way of depth, but the appeal of the stars carries it well and most people will find it an entertaining watch. PG-13 for language.
SIX DEGREES COULD CHANGE THE WORLD (NR) 96 minutes * * * Detailed and frightening look at what is likely to happen as the temperature of the earth slowly increases. One degree at a time, the devastating effects are layed out. Global warming has happened in the past and is likely to happen again. Human beings may well survive, but the world will be a dramatically different place when it happens.
SIX DEGREES OF SEPARATION (R) 108 minutes * * * The Kittridge's (Stockard Channing and Donald Sutherland) play host to Sidney Poitier's son for a night. But is he really who he says he is? Adapted from the stage play, the cast here is superb. Mary Beth Hurt, Heather Graham, Anthony Michael Hall, Richard Masur, Ian McKellan... combined with the wide-angle shots of New York, the film comes alive, making the latter part of the film all that more powerful. A quality piece of work!
600 MILES (R) 79 minutes * * 1/2 A young weapons smuggler for a Mexican cartel finds himself the target of ATF agent Harris (Tim Roth). He manages to turn the tables on Harris, and plans to take him to his boss in Mexico, but the drive is a long one. Spending that much time with someone can change what you think about each other. Unusual ending. R for language and violence.
SIX MINUTES TO MIDNIGHT (PG-13) 91 minutes * * Augusta Victoria College is a well-known finishing school for girls at Bexhill-on-Sea in England. The current class consists of twenty young German girls who are being groomed for the time when Germany rukes the world. Thomas Miller (Eddie Izzard) is a British agent, undercover as a teacher, who must find a way to disrupt the plans they have. It won't be easy, since there are German agents who are trying to stop him. This isn't bad, but there isn't much depth to the story until we get to the end. PG-13 for violence.
6 MONTH RULE (R) 95 minutes * * * Tyler (Blayne Weaver) has a rule. Reltaionships need to end before the six month mark. Nicely written with touches of humor that help lighten the dark tone of the script. Very nice work by Weaver who not only stars here, but wrote and directed this. R for language and sex.
SIX PACK (PG) 105 minutes * * ½ Kenny Rogers sings well. Acts… not as well. Brewster (Rogers) is on the racing circuit and not really doing all that well until he unwittingly gets connected to six orphans who are extremely talented mechanics. It’s an unconventional arrangement, but it might work. Which sort of describes the film. PG for sex and language.
6 PLOTS (R) 83 minutes * 1/2 It was supposed to be a fun party with friends, but now that morning has rolled around, Brie (Alice Darling) discovers that her six friends are trapped in boxes hidden around the city. She must find them and rescue them before the particular terror in each box ends up kililng its occupant. Good tension, btu the acting is mediocre at best, and the ending is less than satisfactory. R for language and violence.
SIX REASONS WHY (R) 83 minutes * Attempt at a modern day western that is very heavily influenced by the old Clint Eastwood classics and in no way comes close to giving us the same quality or strength. Strictly a B-movie with bad dialogue, poor acting, and too few people involved in the production. The Campagna brothers are directors, writers, producers, cinematographers, actors, who also did wardrobe, special effects, casting... that's called a home movie, and unlike some, this isn't a good one. R for violence and language.
SIX SHOOTERS (R) 97 minutes * * Aballay (Pablo Cedron) knows better than to leave anyone alive after a violent robbery, but he just can't bring himself to kill the little boy. Now, the boy is a man, and determined to avenge his father's death. Aballay isn't the man he was, but revenge is a cruel master. Good story, but the acting is mediocre. R for violence, nudity, and language.
6 SOULS (R) 107 minutes * * 1/2 Working with a patient with multiple personalities, Cara Harding (Julianne Moore) discovers that all of the personalities are victims of murder. Can she find the killer? The pace drags in the middle of the film is it shifts from being a psychological thriller with a scientific focus to more of a horror film with religious overtones. Moore's performance is inconsistent, sometimes very intesne, and other times just going through the motions. Jonathan Rhys Meyers is quite good though. R for violence.
16 BARS (NR) 92 minutes * * * One Virginia jail has a unique program that offers inmates the opportunity to write and record original music. This documentary is the story of four particular inmates as they work with Todd Thomas of Arrested Development to create an album. It won't be easy, because the creative process often digs deeply into the past of those creating the art, but it also has transformative power.
16 BLOCKS (PG-13) 94 minutes * * * Jack (Bruce Willis) just wanted to get home, but he ends up running a witness from lock-up to court... sixteen blocks. It shouldn't be a problem to go that far in an hour. The catch is that this witness has information about a bad cop, and there are quite a few people on the police force who want him dead. Then again, Jack is one of the best cops there is. If anyone can get this witness to court on time, it's Jack, and if anyone is familiar with a role like this, it's Bruce Willis. Despite the familiarity of the plot, this manages to work quite well, with good intensity, a couple of nice twists, and a very nice ending. PG-13 for violence and language.
SIXTEEN CANDLES (PG) 90 minutes * * ½ Your sixteenth birthday is a landmark. A very special and exciting day… or so Samantha (Molly Ringwald) was thinking. It might actually be just about the most embarrassing day in her entire life. Lots of subplots here, but the story is well-designed and edited, making it easy to follow, and the soundtrack does a very creative job of using TV show themes. PG for sex and language.
16 WISHES (NR) 86 minutes * * Today is Abby's (Debby Ryan) sixteenth birthday, and it's going to be a perfect day. Except things aren't going so well at first. Then the birthday fairy shows up and grants her the sixteen wishes she has posted in her room. Of course, there's a catch. Mildy cute, but Ryan doesn't carry this very well.
THE 6TH DAY (PG-13) 113 minutes * * Due to an unfortunate experiment that failed, human cloning has been banned. Of course it still goes on, and when Adam (Arnold Schwarzenegger) meets his, it creates a bit of a problem. It's an interesting film, with plenty of action, and they do a great job of dropping you into the idea of future technology right from the start. Unfortunately, it's a lot of flash and little else. One of the biggest questions surrounding cloning is the godlike power it gives us and what that means in regard to the concept we have of soul. The film barely notes these questions and the film suffers for it. It's not that we need an answer, but we should see Adam struggling with the questions. PG-13 for violence.
THE 6TH MAN (PG-13) 104 minutes * * It was always "A & K all the way" until Antoine dies of a heart attack near the end of a championship game and Kenny has to fin the strength to go on. Typical Disney mix of humor and drama aimed at young adolescents and heavy with message. Kadeem Hardison and Marlon Wayans both do good work here, which keeps this watchable and mildly entertaining for most of us. Things do slow down a bit too much after the first hour, but then pick up speed again during the last few minutes. PG-13 for language.
THE SIXTH SENSE (PG-13) 99 minutes * * * Cole (Haley Joel Osment) is a rather strange little boy, around whom strange things seem to happen. Dr. Malcolm Crowe (Bruce Willis) is a child psychologist who has hit a crisis point in his career. Will he be able to help the boy who thinks he sees dead people? What if he really does see them? Wonderfully spooky film that drags a little during the beginning, but quickly picks up the pace and neatly wrapping us up as it scurries along. James Newton Howard's soundtrack is both unusual and effective. Willis fits well here, which is nice to see, but it's Osment's earnest face and quiet whispers that really entrance us. R for violence.
68 KILL (R) 90 minutes * * Liza (AnnaLynne McCord) and Chip (Matthew Gray Gubler) could use some extra money. He knew she was a little crazy, which is what drew him to her, but her plan involves some things he was totally unprepared for. And the more time passes, the more bizarre it all seems to become. Twisted fun, but it loses some energy in the middle. R for violence, sex, and language.
65 (PG-13) 86 minutes * * 1/2 65 million years ago, an astronaut crash lands on a planet. Only one other passenger survived. They do not speak the same language. And there are dangerous creatures here. Nice work by Ariana Greenblatt and Adam Driver. The film has only one real twist, which isn't all that surprising. It ends a little abruptly, and with a couple of even more difficult to believe moments. PG-13 for violence.
65_REDROSES (NR) 72 minutes * * 1/2 This is Eva Markvoort's story of a life with cystic fibrosis. Eva became very well known on the internet as she became friends with and an inspiration to others who suffer with cf. The film focuses for the most part on Eva's lung transplant and her two closest internet friends. What's missing is more information on the genetic research to treat the disease which offers more hope for an actual cure, as well as followup on her two friends.
61* (NR) 129 minutes * * * Billy Crystal directed this dramatic recreation of the 1961 challenge by Roger Maris and Mickey Mantle to break the home run record of Babe Ruth. Barry Pepper and Thomas Jane both do fine work. In fact, the film only has problems as it strays away from them at times. Maris' and Mantle's families were used as resources and much effort went into making this a faithful recreation of the positive relationship that existed between the two men despite the efforts by the press to pit them against each other. A quality piece of work that can be enjoyed whether you're a fan of the sport or not.
60 SECONDS TO DIE (NR) 92 minutes * You have to really stay focused on the screen for this one. It's a collection of 70 short films of roughly 60 seconds each. Around a dozen of them are actually good. The rest of them either aren't that good, or are just too short to really get a sense of the quality. It's not a bad idea, but maybe 90 seconds would have been at least a little better.
63 UP (NR) 136 minutes * * * Every seven years, director Michael Apted arranged to interview a particular group of people. He started when they were seven years old. It has been a magnificent series of films, exploring what has happened in their lives. Examining their hopes and dreams, failures and achievements, the effects of the class system and how being in the films has affected them (and Apted) over the years. Released in 2019, this will likely be the last entry in the series as Apted died in 2021. It is a stunning achievement, and one of the most unique in filmmaking.
THE 60 YARD LINE (NR) 95 minutes * * 1/2 It's the perfect house, right outside Lambeau Field. Of course, the money was supposed to be for the wedding, not to buy a house for a die-hard Green Bay Packers fan. The story quickly spirals out of control as more attention is paid to football than to fiancee, though it all eventually settles down and makes the obvious point. Fun for football fans, especially those partial to the Packers.
SKATE KITCHEN (R) 102 minutes * * 1/2 Ready to be out on her own, but nowhere to go. That's what Camille (Rachelle Vinberg) is dealing with. She doesn't really fit well with either of her parents, but she's eighteen now anyway. Skateboarding is at the center of her life, and when she finds some skater friends, there are new opportunities she faces. The story tries to ride a line between a drama and a documentary, but drifts too much to work well as a drama. Most of the scenes with more dialogue feel like they have been forced on the characters, obligating them to explain why they're doing what they're doing. The scenes with less dialogue and more skating work far better. R for language and sex.
SKATELAND (PG-13) 94 minutes * * In a small Texas town in the 1980s, it was assumed that nothing much was ever going to change. when it begins to, Ritchie (Shiloh Fernandez) has to re-evaluate his life. The music is a wonderful 80's tribute, but the leads just don';t have the chemistry or the depth of character to pull this off. The film is dedicated to John Hughes, and it's fairly obvious that his work was an influence, but this lacks the spark of sincerity that Hughes managed to have in most of his films. PG-13 for violence, sex, and language.
SKATING TO NEW YORK (PG-13) 89 minutes * * 1/2 It's been exceptionally cold and the talk is that the lake is frozen. So five young friends set out to skate across the lake from Canada to New York. They are not well prepared for the journey. Different sort of setting for a coming-of-age story, but it works well, despite being a little overly formulaic. Adapted from the novella by Edward Stevens. PG-13 for language.
SKATOPIA: 88 ACRES OF ANARCHY (NR) 95 minutes * In the Appalachian mountains, Brewce Martin built a skateboard park that has become a sort of commune. The drops, bowls, ramps, etc. are great. The problem is more Martin himself, and the rather unusual way in which he does business. Interesting, but the film tends to wander a bit too much.
SKEETER (R) 92 minutes 1/2 Once again, toxic waste is responsible for the creation of a mutant species that starts attacking people. This time it's giant mosquitos. As usual, innocent townspeople have their lives put at riskby corporate greed and corrupt politicians. The mosquito effects are cheap and the dialogue isn't any better. R for violence, sex, and language.
THE SKELETON KEY (PG-13) 98 minutes * * 1/2 A mysterious old house and an elderly couple who seem to have trouble keeping hired help. Carrie (Kate Hudson) is sure she's up to the job, but she may be in for a surprise. Nice atmosphere, though a Ry Cooder soundtrack would have helped a great deal. The twist ending is no surprise if you've read old horror comics or seen a few episodes of "Tales From the Crypt". PG-13 for language, violence, and nudity.
THE SKELETON TWINS (R) 88 minutes * * * Maggie (Kristen Wiig) and Milo (Bill Hader) are twins. They've been apart for quite awhile, and while life on the surface looks very different, deep down, they are both struggling. Wiig delivers another remarkable performance, nicely complimented by Hader. A strong and sensitive drama, with gentle touches of humor. Hader's character is not as strong, which shifts the balance off-center from where it really should be. R for language and sex.
SKI PATROL (PG) 86 minutes 1/2 This is from the people who brought you "Police Academy", but it isn't nearly as funny as the first couple of films in that series. A few good stunts on the slopes, but you'd be better off watching the real sport on TV.
SKELLIG: THE OWL MAN (PG) 100 minutes * * 1/2 Skellig (Tim Roth) is a magical creature, but he wants to be left alone and seems more interested in living out his final days in the dark. Michael (Bill Milner) needs someone to talk to, and when he stumbles across Skellig, he's found the perfect confidant. And whether Skellig wants to admit it or not, he needs someone to believe in him, so that he can believe in himself again and so his magic can work its wonders. Though this is clearly an adventure film aimed at the younger crowd, it's unusually dark in tone, and tends to drag quite a bit early on. It does end quite well if you stay with it. PG for violence and language.
SKIN (PG-13) 104 minutes * * * Beginning with the first free elections in South Africa in 1994, the bulk of the film is a flashback, covering the life of Sandra Laing (Sophie Okonedo). Her skin was darker than that of her classmates, but she was born to white parents. Despite the continued efforts of her parents, and documented proof of her birth, she was never accepted by the white society of South Africa. At the same time, her parents did not want her to associate with those who skin color was similar to her own. But what people see tends to be what they expect and accept. And it was with those of darker skin colors that Sophie found a deeper support and strength, and a new family. PG-13 for violence, sex, and language.
SKIN: A HISTORY OF NUDITY IN THE MOVIES (NR) 126 minutes * * * As the title states, this documentary looks at the use of nudity in film. It's a very comprehensive look at nudity from the very first filmed images to the present. Nudity has been part of film the entire time. Packed with film clips and interviews with actors, filmmakers, and others in the film industry.
SKIN DEEP (R) 96 minutes * * Blake Edwards' comedy about the distractions a writer is plagued with does have a few memorable scenes, but never stays on track long enough to develop into a really good film. R for language and sex.
THE SKIN I LIVE IN (R) 109 minutes * * 1/2 This "mad doctor" story has an unusual amount of artistic flair, thanks to director Pedro Almodovar. That also means that the story is a little confusing in a couple of spots, with some sequences that are more about art and style than about content. It's an interesting idea though, with nice work by Antonio Banderas and Elena Anaya. R for violence, sex, and language.
SKIN TRADE (R) 91 minutes * 1/2 A New York detective (Dolph Lundgren) goes to Thailand to get revenge on the Russian mobsters who killed his family and who are involved in human trafficking. With overly staged action sequences and dramatic moments that rely on the emotional appeal of the topic, this just doesn't have much to offer. R for violence, sex, and language.
SKINAMARINK (NR) 100 minutes * Something has changed. Kevin (Lucas Paul) and Kaylee (Dali Rose Tetreault) wake to find that something is very different, and their father is missing. Curiosity slowly gives way to fear, as they realize that something else is in the house. Very little dialogue, and an extremely slow pace don't help this, though the idea is interesting, and there are some creepy moments.
SKINNED DEEP (R) 94 minutes 1/2 On their way to a vacation when their car gets a flat tire, the Rockwell family runs into one of those rural families that torture and eat people. Tina (Karoline Brandt) is now the only one left. Can she figure out how to get away? Lots of gory, slimy, bloody effects. Too bad that the story and the characters don't make much sense. R for violence, language, and nudity/
SKINWALKERS (PG-13) 81 minutes * They are two clans of werewolves. One who loves the hunt and the other who wants to find a way out of the curse. Young Timothy (Matthew Knight) is about to turn thirteen. His blood holds the key to his family's future. Of course we never really understand why either group really cares that much about how the other one thinks or how Timothy's blood is supposed to offer a cure more than some other option. Maybe it's because no one else seems to live in this town besides these werewolves and Timothy and his mother. Slick visuals, but plastic, action figurish werewolves. PG-13 for violence, sex, and language.
SKIPTRACE (PG-13) 104 minutes * * 1/2 Bennie Chan (Jackie Chan) is trying to take down a major criminal from China and finds himself with an unlikely partner in Connor (Johnny Knoxville), a gambler from the US. Chan and Knoxville play well off each other, but the story isn't that exciting or original. There is some nice stunt work and the action scenes work well. PG-13 for violence, language, and nudity.
SKULL THE MASK (NR) 86 minutes * A mysterious artifact is discovered. It is the Mask of Anhanga, a pre-Columbian God. Experiments were performed on the mask. Over the years, it finds its way to Sao Paulo, where it possesses a man who begins a killing spree. A few gross effects. but the story is not well-written and is poorly paced.
THE SKULLS (PG-13) 101 minutes * * Luke (Joshua Jackson) is offered membership in an Ivy League school's secret society. There is a cost, however... there are secrets that must be kept. And secrets have a way of being uncovered at rather awkward moments. The "rules" get a bit muddled late in the film, but more importantly, it's just never all that interesting. The characters are two dimensional and the direction is stale. The photography and music are nice, but they can't give this production the life it needs. PG-13 for violence and language.
SKY (NR) 98 minutes * * 1/2 When Romy (Diane Kruger) decides to walk away from her husband, she could have picked a better time. Now, she's on the backroads of the American West. Depending on the kindness of strangers is a rather mixed bag until she finds Diego (Norman Reedus). Nice work by Kruger in a role that asks her to convince us that she is taking each moment just as it is.
SKY CAPTAIN AND THE WORLD OF TOMORROW (PG) 96 minutes * * When giant robots are taking over the world, who do you need? Sky Captain, of course! Set in the late 1930's, this has all the right look and feel of a film from the period, but the story just never quite grabs our interest. It's also somewhat strange that Sky Captain's former flame Franky (Angelina Jolie) and his mechanical sidekick Dex (Giovanni Ribisi) are more interesting that Sky Captain (Jude Law) himself or his current girlfriend Penny (Gwyneth Paltrow). Nice effects work, courtesy in part from Pixar, but we're still too bored by it all. PG for language and violence.
SKY HIGH (PG) 94 minutes * * 1/2 Growing up is hard enough, but what do you do when your parents are superheroes and you don't have any special powers? Will Stronghold (Michael Angarano) does eventually get some powers of his own, but this cute and creative film for the younger crowd is not just about growing up but also about friendship and family, and the the importance of doing your best. Kurt Russel and Kelly Preston are Will's parents, better known as Commander and Jet Stream, and Lynda Carter, Cloris Leachman, and Bruce Campbell are here in supporting roles. PG for violence.
SKYBOUND (NR) 78 minutes * It was supposed to be a fun trip with a few friends. But just a short way into their flight, there are equipment issues. While trying to address those issues, they discover a mysterious stowaway. It would also appear that something rather cataclysmic has happened on the ground. It's somewhat interesting as a disaster story, though the resolution is nothing new and difficult to believe.
SKYFALL (PG-13) 138 minutes * * * Great entry in the James Bond series, with Javier Bardem turning in a tenaciously evil performance as Silva, a former MI6 agent who is now on the other side. Ties in very nicely with other entries in the series, but also, as with most Bond films, it stands quite well on its own. There's less focus on gadgets and gimmicks here, and more emphasis on chase sequences and fight scenes. PG-13 for violence, sex, and language.
SKYFIRE (NR) 89 minutes * * 1/2 As a child, Menghi (Bee Rogers) lost her mother to an erupting volcano. As an adult, Menghi (Hannah Quinlivan) studies that very same volcano... which after years of silence is about to erupt again. Very nice special effects, and the tension and action are well-paced, though the direction seems a little stiff.
SKYLINE (PG-13) 83 minutes * * One morning at 4am, they begin to arrive. They are taking everyone. One small group of people are the focus of this story, as they do what they can to survive and try to get beyond the reach of these creatures from another world. This is only the beginning... which means there's quite a bit of the story that we don't really understand. It feels more like a pilot for a TV series than a theatrical film, though the special effects are quite good. The acting isn't though. PG-13 for violence, language, and sex.
SKYLINES (R) 103 minutes * * 1/2 It was years ago that the aliens landed on Earth. They have lived together in peace until recently. A virus has affected the aliens, causing them to turn against humans. Captain Rose Corley (Lindsey Morgan) now leads a team hoping to save humanity and restore peace. Fun science fiction adventure with very good effects and a touch of the old Saturday mantinee feel. R for violence and language.
SKYSCRAPER (PG-13) 93 minutes * * 1/2 It's not that we haven't seen all of this before, but Dwayne Johnson's style does bring a little something to a very tired story. Some of the effects are nice, and the villains are appropriately evil. The close calls are more than a little difficult to believe, but that's pretty standard for a disaster movie too. PG-13 for violence and language.
SLACKER UPRISING (NR) 96 minutes * * 1/2 Filmmaker Michael Moore, toured the United States in the weeks before the 2004 presidential election, using his often controversial tactics to speak in particular to those who might be thinking about not voting, and encouraging them to do so. The film follows the tour, showing bits and pieces of the different events. A bit less inflammatory than many of Moore's films. After all, even though Moore's opinions slant in the more liberal political direction, the core message of the film is "get out and vote". Period. Everyone who is eligible to vote should be counted. That's the way an election is supposed to work.
SLACKERS (R) 79 minutes 1/2 Dan and his two college buddies have managed to get by for years without doing much besides running scams and cons. Now they're being blackmailed by Ethan, a nerd who has evidence that could get them expelled. Unimaginative and annoying at best. The first five minutes are more than enough to completely understand these characters and realize that this will be a waste of time. R for language and nudity.
SLAMMA JAMMA (PG) 106 minutes * 1/2 He used to be a basketball star. Now he's an ex-con, and hoping to win a slam-dunk contest. The story as a whole just isn's very exciting or dramatic. The acting at a mediocre level at best, but the bigger problems are the weak script and direction. PG for violence and language.
SLAPFACE (NR) 81 minutes * * With only his older brother to raise him, Lucas (August Maturo) is struggling. Tom (Mike Manning) isn't much of a role model. Lucas is also being bullied by a group of girls. Then he learns abuot a way that he might be able to get some help. It seems that there is a creature that lives in the woods nearby. A creature who also wants a friend. The story works, but it does falter, and the acting is not the strongest. Still, there are some creepy moments and an interesting ending.
SLASH/BACK (NR) 82 minutes * * 1/2 There's not much to do in Pang, but Maika (Tasima Shirley), Uki (Nalajoss Ellsworth) and their friends are going to find themselves on the front lines of an alien invasion. It's a fun adventure film aimed at the younger set. Details about the aliens are not explained all that much as the emphasis here is on the girls, their friendship, and what they need to do to save their town. Ellsworth stands out a little more than the rest. Filmed on beautiful Baffin Island.
SLAUGHTER (R) 93 minutes * * 1/2 Trying to get away froman abusive relationship, Faith (Amy Shiels) ends up at the farm of a new friend. That turns out to be a very bad and very dangerous decision. Most of the supporting roles aren't very strong. The focus is on Faith and Lola (Lucy Holt), though a little more depth would have helped strengthen the story. The twist isn't really a surprise, and fits the story very well. R for violence, language, and sex.
SLAUGHTER HIGH (R) 88 minutes * 1/2 Even though this is from the makers of "Friday the 13th", you might want to think more along the lines of "National Lampoon's Class Reunion". The difference being that at this "reunion", the popular crowd ends up being the victims of the class nerd-turned-kiler. There are a few good effects, and a wild ending.
SLAUGHTERHOUSE RULEZ (R) 98 minutes * * 1/2 It's a perfectly ordinary boarding school. Well, not exactly, but it's about to get extraordinarily unusual. It seems that there's a mystrious sinkhole in the woods near the school. It apparently developed from the fracking activity... and something is coming out of the hole. A strange story, but fun, and the cast make it work better than you might expect. R for violence, language, and sex.
SLAVERY BY ANOTHER NAME (NR) 84 minutes * * * Even after the Civil War in the United States was over, people of color were still used as forced labor. Despite the freedom that was proclaimed, it would be another eighty years before the corrupt systems that were so much a part of the legal system would begin to change. Well-presented and very informative documentary that works to present the facts and let you decide what it means to you.
SLAXX (NR) 70 minutes * 1/2 CCC is a very trendy clothing store. They get to be the only store that will be allowed to debut the new jeans that shrink or expand to fit anyone. But one particular pair of these new jeans is just killer... literally. New employee Libby (Romane Denis) is the only one who might be able to stop them. The ending doesn't really give us much to work with.
SLAY THE DRAGON (PG-13) 100 minutes * * * A look at the process and power of gerrymandering. It's a process that has been used by both political parties in the United States, though the focus here is on the more extreme change that happened in the 2000s. As the Republican party has seen their overall numbers begin a slow and consistent decline, a strategic decision was made on how to use gerrymandering to retain their political power for a little bit longer. PG-24 for language.
SLEEP TIGHT (NR) 96 minutes * * A creepy concierge at an apartment building is stalking one of the residents. Decent acting manages to help quite a bit with the suspense, but for some reason, the story tries to create sympathy for the creeper, and it doens't work well.
SLEEPERS (R) 141 minutes * * * 1/2 Stellar cast in this epic story of a childhood prank that goes awry and the effects it has on the children involved. Barry Levinson's direction and writing are evident as he skillfully handles so many sides of each situation without slowing the pace to a crawl. With a finish that is poetic and complete, this is a haunting story that is not to be missed. Great performances by Robert DeNiro, Kevin Bacon, Bruno Kirby, and many more, with music by John Williams. R for language and violence.
SLEEPING BEAUTY (G) 77 minutes * * * * Disney adaptation of the classic story of a beautiful princess suffering the curse of a witch. She can only be awakened by a kiss from the handsome prince who must first find her.
SLEEPING BEAUTY (2011) (NR) 98 minutes * 1/2 Answering an ad to become a lingerie waitress, Lucy (Emily Browning) soon finds herself working at a different job. A "sleeping beauty", who is sedated before becoming the sexual plaything of other clients. The premise is interesting, and the production design and cinemtography create the atmosphere well, but the story pauses far too often for the sake of creating a mood or an image, and the characters don't have enough depth to fill the space.
SLEEPING WITH OTHER PEOPLE (R) 96 minutes * * 1/2 They both have commitment issues, but in talking about it with each other, a friendship begins to form. Predictable and very heavy on dialogue, which tends to get in the way of the charm. To be fair, it's a rather crude charm, but it is there, and in some scenes, it actually works very well. R for sex and language.
SLEEPING WITH THE ENEMY (R) 95 minutes * * Disappointing commercial film that is far too slick and uninspired to keep us interested. Jerry Goldsmith's music really helps, but it's mostly for fans of Julia Roberts. It pushes all the right buttons, but with too little feeling. R for violence, language, and sex.
SLEEPING WITH THE FISHES (NR) 95 minutes * * 1/2 Alexis' (Gina Rodriguez) life has fallen apart since her husband died. She's back at home for an aunt's funeral, and having to deal with her mother is not easy. Somehow, despite, or perhaps because of it all, she's going to have to get her life moving forward again. Nice work by Rodriguez, who helps give this a little spark.
SLEEPLESS (R) 89 minutes * * 1/2 Officer Downs (Jamie Foxx) has been working a little too closely with the wrong sort of people, so when a heist goes bad, his son ends up being kidnapped. Now, he has to untangle the mess and try to save his son. The story doesn't offer much in the way of surprises if you've seen anything remotely similar. What it does have are well-drawn characters with solid performances, and a soundtrack that does a nice job of keeping up the intensity. R for violence and language.
SLEEPLESS IN SEATTLE (PG) 97 minutes * * * * Meg Ryan and Tom Hanks star in one of the most romantic films of the 90's. She's just gotten engaged, but when she hears him (a widower) call into a radio talk show, she has a feeling that she might need to change her plans. Charming and tender, this is a classy piece of romantic film that you'll want to see over and over again. PG for language.
THE SLEEPLESS UNREST (NR) 80 minutes * 1/2 A paranormal investigative team spends two weeks at the house that was featured in "The Conjuring" films. Nothing much really happens. The atmosphere is appropriately creepy, and the cast do a better job than some in similar films and TV shows have done, but it's still a bit of a let-down.
SLEEPOVER (PG) 84 minutes * * 1/2 Four friends just out of Jr High are challenged to a scavenger hunt by four of the "cool" girls, where the winning team gets to eat at the cool spot during lunch at high school the next year. It's all about who's cool, who's not, and who you're real friends are. Cute and lightly romantic Alexa Vega and Mika Boorem definitely carry the film, but the story isn't without it's own charm. Nice soundtrack too! PG for language.
SLEEPWALK WITH ME (PG-13) 76 minutes * * 1/2 Matt (Mike Birbiglia) is a struggling comedian who has just begun to start getting a few gigs and perhaps have a shot at success. But the increased workload means less time for his relationship, which is beginning to suffer as a result. His insomnia is getting worse as well. It may be impossible to balance work, love, and sleep, but that may just be OK. There's a low-budget honesty that gives this a touch of charm. Birbiglia co-wrote and co-directed this, which is based on his play. PG-13 for sex and language.
THE SLEEPWALKER (NR) 88 minutes * While renovating her childhood home, Kaia (Gitte Witt) and her husband receive a surprise visit from her sister Christine (Stephanie Ellis). But it isn't just that Christine sleepwalks, she also struggles with the difference between reality and fantasy. The slow pacing throughout the film tends to alleviate most of the suspense. And the unusual ending doesn't really help the story.
SLEEPWALKERS (R) 85 minutes * * 1/2 Charles Brady and his mother could be the last of a dying breed which feeds off the life force of virtuous young women. They are vampires in a sense, but they are also shapeshifters and can only be killed by the scratching and clawing of your average house cat. It starts out on a serious note, but like many of Stephen King's stories, we are reminded before we finish that this is a story, and we're supposed to be having fun whie we watch. There are plenty of in-jokes and cameo appearances that horror film buffs will love. The production is uneven though. The visual effects are wonderful, but the make-up effects are so-so. At times the story is fun and exciting, and at other times it just doesn't make sense. A bit disappointing, but not as bad as some of the films that King has been connected with either. R for violence, language, and sex.
SLEEPWALKING (R) 96 minutes * * * Joleen (Charlize Theron) has reached the end of her rope.. again. She leaves her daughter Tara (AnnaSophia Robb) with her brother James (Nick Stahl). But James is about to lose his apartment too, and decides to take his niece and head for his dad's farm. Stahl really carries this film, with a performance that is quiet, yet intense. Robb's performance provides the contrast, though there are times when she broods and Stahl moves toward a lighter tone. Nice work, and a thoughtful script by Zac Stanford/ R for language and violence.
SLEEPWALKING THROUGH THE MEKONG (NR) 64 minutes * * 1/2 Dengue Fever's first concert outside the US was in Cambodia, the home country of one of their group's members. In part, a film about the concert, but more than that, it's also a film about culture and music history, and how the members of Dengue Fever have grown to have a greater respect and appreciation for the heritage of one of their own.
SLEEPY HOLLOW (R) 99 minutes * * As always, Tim Burton's touch lends an eerie, creepy feel to the film from the first moments. This may not be the same story you've heard before (Ichabod Crane is a constable instead of a school teacher), but it presents some interesting ideas and manages to keep us interested. Danny Elfman's music helps create the right atmosphere as well. The dialogue is far from effective though, perhaps due to the inexperience of the writers, and undermines the effectiveness of several scenes. And then there's the ending of the film, which wraps up far too neatly and quickly and goes to extremes in the special effects department, making this too much of a cartoon and losing the suspense in favor of the grotesque and somewhat silly. R for violence.
SLEIGHT (R) 85 minutes * * Taking care of his little sister isn't easy, but with their parents gone, Bo (Jacob Latimore) has no choice. When he starts getting involved in some shady deals, his magic skills that have been a way to earn a little extra on the side, will be put to the ultimate test. Some very good moments here, but the story wavers betweem drama and science fiction, and seems unsure of what it's trying to say about the real or unreal. R for language and violence.
SLENDER MAN (PG-13) 87 minutes * 1/2 Soon after following some online video instructions about how to summon Slender Man, a teenage girl disappears. Now, her friends are beginning to wonder if what they did really worked. Great mood and suspense, and the story doesn't try to explain too much, which is good. It's a little too repetitive though, and it teases us with informationi that is never delivered. (Probably in the hope of saving it for a sequel.) PG-13 for violence and language.
SLEUTH (1972) (PG) 138 minutes * * * * My all-time favorite film, starring Laurence Olivier and Michael Caine. A gentleman's duel of sleuthing that grows more intense as the story goes along and the characters become more serious about winning. Outstanding acting and a script that is simply perfect make this a must film mystery and suspense buffs!
SLEUTH (2007) (R) 84 minutes * * 1/2 Remake of the classic 1972 mystery/suspense film with Michael Caine switching roles and Jude Law playing opposite him. The set and photography are visually quite impressive, but the focus of the story has shifted a bit. It's a little less sinister, and Caine's performance here never leaves us in doubt that he is clearly orchestrating the whole event. R for language.
THE SLIDER (R) 76 minutes * * After the death of their baby, Ester (Ieva Lykos) is suffering from severe depression. Michael (Vin Bejleri) is getting desperate to find a way to turn that around. Nice twist, but the title and the idea it implies aren't a great fit, and we keep thinking something else is going to happen in the story and it never does. R for violence and language.
SLIDING DOORS (PG-13) 96 minutes * * 1/2 The door on the tube (subway) slides shut and Helen (Gwyneth Paltrow) stands outside, wondering what might have happened if she'd been a few seconds earlier. We find out through the course of the film as the two storylines are traced, sometimes close, sometimes not, but eventually resolving rather nicely at the end. The film is a bit hard to follow in spots, and it's essential that you see it all the way through to appreciate it. Even so, it is Paltrow's performance that carries the film rather than particularly good writing, direction, or anything else. The rest of the cast do a fairly good job of supporting her, but offer nothing outstanding. It's an interesting idea that could've played out better, but is still worth watching for Paltrow if nothing else. Filmed in London. PG-13 for language and sex.
SLING BLADE (R) 130 minutes * * * * Fascinating story that has you in its grip from the very beginning. Billy Bob Thornton has written a very realistic script that is strengthened even more by his performance as Carl Childers and by his direction. Lucas Black is the standout among the supporting actors as Carl's young friend Frank. The story is one of honesty and trust, freedom and captivity, love and sacrifice. An incredible piece of filmmaking. R for language and violence. Filmed in Benton, Arkansas.
SLIPSTREAM (R) 91 minutes * * Felix (Anthony Hopkins) is a writer, and as many writers, he sometimes lives in the world of his characters as he writes. But it seems that now his characters are living in his world instead. Hopkins wrote and directed this unusual, stream-of-consciousness film. As a piece of art, it's fascinating, though a bit difficult to watch if you're expecting a more straightforward sort of story. R for lanaguage and violence.
SLITHER (R) 88 minutes * 1/2 Alien life-form lands on earth, inhabits a body and turns it into a slime monster. It has babies and infects others, but the man it used to be still loves somebody. Lots of slimy special effects that are nicely done, though not astounding by any means. The acting is reasoanble and not too campy except in a couple of spots. Unfortunately, it's not too interesting either. Filmed in Vancouver, British Columbia. R for violence and language.
SLIVER (R) 99 minutes * 1/2 Carly Norris (Sharon Stone) has just moved into a new apartment building. Little did she know that the residents and the neighborhood are comprised of voyeurs, child molesters, unemployed authors, call girls, old men who follow people... This is a slick production that definitely has the look it needs thanks to Vilmos Zsigmond's beautioful photography. But the characters have no life or interest outside the apartment building. It could be a commentary on the life of apartment dwellers, but as entertainment, it just doesn't work. In fact, the ending moves this even further into the realm of social commentary. Interesting, but not paced well and definitely misleading to be marketed as a thriller. R for sex, language, and violence.
SLOW BURN (R) 89 minutes * * 1/2 Assistant DA Timmer (Jolene Blalock) has just confessed to killing a man in self defense. But now someone else has offered a different version of the story. To complicate matters, the DA (Ray Liotta) was in the process of cracking the big case of his career. What he didn't know was how complicated it would get. The suspense builds well and the acting is fine, but the plot does get a little convoluted near the end as the final bits of the mystery come to light. Also starring LL Cool J, Mekhi Phifer, and Taye Diggs. Filmed in Quebec. R for sex, violence, and language.
SLOW LEARNERS (NR) 94 minutes * * 1/2 Two socially awkward teachers lament their lack of romantic relationships. The script is quite good, but the leadsjust can't quite live up to it. There are some nice supporting performances here. Of particular note is Catherine Reitman. Mostly fun, but think what this could have been with Kristin Wiig and Ryan Reynolds as the leads.
SLOW WEST (R) 79 minutes * * A journey across the American wet by a young Scottish immigrant. Love and risk will teach him that there is more to life than survival. The story is a little thin and difficult to believe, especially with Kodi Smit-McPhee, who just doesn't fit well here. R for violence and language.
SLUMBER (R) 82 minutes * * A doctor who specializes in sleep disorders tries to help a family who is being terrorized by a demon who preys on them through their nightmares. It's interesting to approach the idea as a family problem rather than an individual one. Ultimately though, it ends up being less scary or suspenseful than it should be, though the soundtrack does its part in trying to set the atmosphere. R for language and violence.
SLUMBER PARTY MASSACRE (NR) 86 minutes * 1/2 Not sure why we needed a remake of the 1982 slasher film, but here it is. Car trouble on the way to their slumber party destination leads five young women to stay at a remote cabin (never a good idea) where they will be attacked by a killer with a drill. There is a clever twist about halfway through, just don't expect too much from the rest of the film.
SLUMDOG MILLIONAIRE (R) 113 minutes * * * * Arrested for suspicion of cheating, Jamal (Dev Patel) must explain how it is that a boy raised in the slums of Mumbai, India could possibly know the answers to so many of the questions on the Indian version of the game show, "Who Wants to Be a Millionaire?" The film brilliantly intersperses the game show questions with pieces of Jamal's life in a way that not only explains, but immerses us in his story. Nominated for numerous awards and winner of many as well, it's a film that reminds us that dreams CAN come true, and love CAN win out in the end. Adapted from the novel "Q & A" by Vikas Swarup. R for violence, sex, and language.
A SMALL ACT (NR) 85 minutes * * * The Hide Back Foundation helps Kenyan students in need be able to attend secondary school. It's beginning was the small donations of a woman in Switzerland. Little did she know that the few dollars she contributed would help a young student who might otherwise have had to drop out of school. Instead, he went on to become a dedicated worker for human rights, and to start the foundation which would give opportunities to so many others. It was a small act that Hilde did, but that solitary at had an effect that continues to create positive ripples in the lives of many.
SMALL APARTMENTS (R) 92 minutes * * 1/2 Definitely one of the more unusual films you might see. Featuring a wonderful collection of quirky and unusual characters, and great performances by a talented cast. The story doesn't flow very well though, and the narration doesn't really help much except at the end, when a very eloquent speech is delivered that explains the message of the film. Although, if you've stayed with the film, you don't really need the explanation by that point. R for language, violence, and sex.
SMALL ENGINE REPAIR (R) 97 minutes * * * They've been best friends forever. Current events are going to put that friendship to the test... again. But this time it involves Frank's (John Pollono) daughter Crystal (Ciara Bravo). The story is full of mixed messages and double standards, but that does a great job of setting things up for the dark twist that comes late in the film. Swaino (Jon Bernthal) and Packie (Shea Whigham) are the best friends Frank could ever hope to have. And his ex-wife Karen (Jordana Spiro) might not be so bad either. Intense and well-drawn characters who balance each other well. Directed by Pollono and based on the play he wrote. R for language and violence.
MSMALL ISLAND (NR) 160 minutes * * * Hortense (Naomie Harris) is raised on the "small island" of Jamaica, and dreams of going to England to experience the promises that such a wonderful land can offer. Of course, there are drawbacks to being in western Europe that she has no experience with, and there will be setbacks. But with hope and hard work, her life will be blessed far more than she could have imagined. Standard drama of someone overcoming the odds through perseverance and diligence. Solid performances give this an extra half star.
SMALL SOLDIERS (PG-13) 104 minutes * * A small toy manufacturer is taken over by a big conglomerate. An overly enthusiastic employee decides to put a classified military computer chip into some action figures and before you know it, there's an all-out war going on. The story is almost too simple in one sense, but that does manage to keep things light enough that we can enjoy this a little. Director Joe Dante doesn't really give us his best work here, but there are glimpses of what probably started as a fun idea that just couldn't gel when the time came. Tommy Lee Jones and Frank Langella provide the voices for Chip Hazard and Archer, respectively, and Sarah Michelle Geller and Christina Ricci are the voices of the Gwendy dolls. PG-13 for language and violence.
SMALL TIME (R) 91 minutes * * When Freddy (Devon Bostick) graduates, he really doesn't want to go to college. He wants to work at his dad's used car lot. His mother is less than thrilled about the idea. The story and characters are mostly low-key, which is fine, and suits the story well, but it means that some of the tension that does happen seems overly manufactured. Very nice supporting role for Dean Norris. R for sex.
SMALL TIME CROOKS (PG-13) 91 minutes * * 1/2 Four small time crooks have a great plan for robbing a bank. They'll open a cookie shop next to a bank as a front while they drill into the bank from the basement. Everything that could possibly go wrong happens, except that the cookie store is turning a profit. It's a cute story that is very reminiscent of Woody Allen's earlier films. Tracey Ullman co-stars along with Hugh Grant in this comedy of errors. PG-13 for language.
SMALL TOWN CRIME (R) 87 minutes * * * He used to be a good cop, before the alcohol became a problem. Now he's off the force and down on his luck. But when Mike (John Hawkes) finds the body of a young woman, his old instincts kick in, and he's determined to find her killer. Hawkes is good here, but he also has plenty of great support and a nice, intense story. R for violence, language, and sex.
SMALL TOWN SANTA (PG) 82 minutes * * Sheriff Rick (Dean Cain) can't find much of a reason to be happy this holiday season. Someone even breaks into his house, and so of course he arrests the man... who just might be Santa. Cute Christmas story for the family. Nothing too deep or memorable, but harmless enough and mildly entertaining. PG for language.
SMALLFOOT (PG) 88 minutes * * ½ Migo (voiced by Channing Tatum) has always believed what he has been taught by the elders. His world view is altered when he comes into contact with a smallfoot (human). Meanwhile, the human in question also struggles with his own inability to convince anyone that he has really seen a yeti. As Migo says, “That’s the truth, you see. It’s complicated, and it can be scary, but it’s better than living a lie.” Fun adventure for the family. A good amount of action and a story that is entertaining and has good appeal. PG for violence and language.
S.M.A.R.T. CHASE (NR) 89 minutes * * 1/2 Danny Stratton's (Orlando Bloom) career has seen better days. For now, he's been assigned to escort an antique out of Shanghai. It's not going to go well. Nice chase scenes, and the art theft aspect of the story works well. The romance part really doesn't, and isn't necessary.
SMART PEOPLE (R) 89 minutes * * * Cynical, eclectic, widowed professor Wetherhold (Dennis Quaid) already has his hands full with an equally cynical and eclectic daughter (Ellen Page) and a son, who seems normal enough. Then his adopted brother (Thomas Haden Church) who is always looking for a handout decides to drop in. Maybe a relationship with a former student (Sarah Jessica Parker) is just what he needs. But does he even know how to be in a relationship? Even when you're smart, there's always more to learn, especially about how to live and how to love. A great cast and strong performances make this worth watching. Filmed in Pittsburgh. R for language and sex.
SMASH AND GRAB: THE STORY OF THE PINK PANTHERS (NR) 87 minutes * * ½ Documentary about the international diamond thieves called “The Pink Panthers", including information about their origins and one of their biggest heists. The film also includes quite a bit of international history that does pertain to the work the Pink Panthers did, but it also tends to slow down the pace of the film.
SMASH HIS CAMERA (PG-13) 87 minutes * * * The story of Ron Galella, paparazzi photographer. One of the best there ever was. Interviews and comments from various people who knew him and had their pictures taken by him show that he was hated and vilified by some, while others found that he had a certain charm and a sense of humor. While he may perhaps be most famous for being sued by Jacqueline Kennedy Onassis, and punched by Marlon Brando, his collection of photos is unique and paralleled by none, and will be used for decades to come. PG-13 for language and nudity.
SMASH PALACE (NR) 105 minutes * * * An obsession with racing and the junkyard he maintains (known as the "Smash Palace") leave Al's (Bruno Lawrence) wife to find her affections elsewhere. But when Al catches her, he leaves with their daughter, desperate to keep the little bit of family he may still have a chance with. The pacing is a little slow, but the characters are well-developed, and the story is well-written.
SMASHED (R) 75 minutes * * * Kate (Mary Elizabeth Winstead) and Charlie (Aaron Paul) have lots of fun going out drinking almost every night. As things really begin to spin out of control, Kate decides to make a change. She starts going to AA meetings and stops drinking... and of course it changes their relationship, which was based on co-dependent alcoholism. Poignant ending and very nice work throughout by both Winstead and Paul. R for language and sex.
SMILE (PG-13) 102 minutes * * 1/2 Katie (Mika Boorem) is intrigued by the "Doctor's Gift" program that her teacher describes at school one day, and finds herself drawn to it even more strongly when she begins working on a report about a girl who she shares a birthday with. But when she travels to Shanghai, she finds that reality is a bit different from photographs. It's much more difficult... and much more rewarding as well. Based on the real "Operation Smile" program, it's a film with an uplifting message, though a bit heavy-handed with it as well. Boorem does a nice job, but there doesn't seem to be a great deal of depth to the supporting roles around her. PG-13 for language.
SMILE (2022) (R) 111 minutes * * 1/2 Witnessing the death of one of her patients, Rose (Sosie Bacon) begins to have some of the same violent hallucinations her patient did. The vacation she's just been forced to take isn't helping her to relax... it's making the hallucinations worse. Some very creepy sound effects, though the cheap noise scares are a little annoying. R for violence and language.
A SMILE AS BIG AS THE MOON (PG) 94 minutes * * * A special education teacher works to inspire his students to reach for the stars... at Space Camp. Based on a true story. This definitely has more than a few sentimental "Hallmark" moments, but what makes it work well is a fine cast that draw us into the story very quickly. PG for language and violence.
A SMILE LIKE YOURS (R) 91 minutes * 1/2 Jennifer and Danny want to have a baby, but the harder they try, the further apart they begin to drift. Very slow moving story with Greg Kinnear and Lauren Holly doing their best with a poorly written story and direction that is sorely lacking. One of theose very forgettable films, though its not unpleasant to watch. R for language.
SMILEY (R) 92 minutes * Another urban legend horror film. Similar to the "Bloody Mary" legend, but involving the internet. The extra twist being that if you are successful at getting Smiley to appear and kill someone, he'll come after you next. The story focuses on Ashley (Caitlin Gerard) as she tries to figure out what's real and how it's possible. Lots of noise scares, though they are very well-timed. An unsurprising double twist at the end also relies heavily on noise rather than actual suspense. R for violence, language, and sex.
SMILEY FACE (R) 81 minutes * While I usually enjoy watching Anna Faris, this tiresome comedy is just too much. She puts on a dopey face and plays a pothead who owes too much money, can't keep appointments, and generally has one bad thing after another happen to her. It's cute and mildy funny for about 15 minutes, but relies on Faris to carry the film, which she can't do since the story gives her nowhere to go. R for language and sex.
SMITTY (PG) 91 minutes * * Always finding his way into trouble, Ben (Brandon Tyler Russell) is sent to live with his grandfather for the summer. It's going to be a long summer for both of them. And for us as well, since the dialogue is so stiff and awkward through most of the film. PG for language.
SMOKE JUMPER (PG) 89 minutes * * When Kristin's (Brooke Burns) father is killed in a fire, she takes the blame. But rather than just sitting out her suspension, she decides to try out for the smoke jumpers, an elite, fire-fighting crew. Burns has an infectious smile, but it doesn't really fit the mood of the story or her character all the time. Mediocre CGI effects. PG for violence and language.
SMOKE SIGNALS (PG-13) 81 minutes * * Thomas and Victor have been friends since birth. Very different from each other, yet with a journey lying before them that they will take together. Victor's father has died and they must go to bring his remains home. Thomas is the storyteller and Victor is the cynic. This is the story of their journey into adulthood. Set on an Indian reservation in Idaho, the film's biggest problem is the poor quality of camerawork and editing. It has lots of heart, but the polish it needs is lacking. Some films benefit from having rough edges. This is not one of them. Filmed in Idaho and Washington. PG-13 for violence and language.
SMOKEY AND THE BANDIT III (PG) 80 minutes * If Buford (Jackie Gleason) can’t make it from Miami to the Enos Ranch in Texas by the deadline, he’ll lose his badge. We don’t really care. There are some great car stunts here, but the cars often look very different between scenes, letting us know that editing clearly wasn’t a priority here. Neither was the plot. PG for sex, language, and violence.
SMOKIN' ACES (R) 102 minutes * * * Aces (Jeremy Piven) always wanted to be part of the mob. But when things get hot and he gets in trouble, Aces decides to turn state's evidence. Now, everyone seems to want him dead. The script does a wonderful job of setting the stage in the first twenty minutes, introducing us to all of the characters and why they want to be the first to get their hands on Aces. Clint Mansell's energetic soundtrack lends itself well to the wickedly twisted story. Nice work from Piven, Ryan Reynolds, Alicia Keys, Ray Liotta, and a few others. R for violence, language, and nudity.
SMOKIN' ACES 2: ASSASSIN'S BALL (R) 82 minutes * * 1/2 Someone has a contract out on Walter (Tom Berenger), but no one can figure out who it is or why? There are plenty of people interested in collecting on it though. Lots of twists, turns, and violent action, but not much depth to the story. We're missing the set-up, which this film tries to hide intentionally for the sake of intrigue, but all it does is leave us with lots of flash and no connection. R for violence and language.
SMOKING GUNS (NR) 90 minutes * * Jack (Tommy O'Neill) is convinced that his fortune is about to change. So, he places a bet. If all three horses manage to win their respective races, his life will be dramatically changed for the better. After the initial setup, the story tends to just run around in circles until it runs out of steam.
SMOOCH (NR) 83 minutes * * 1/2 When Zoe (Kiernan Shipka) rescues her lab frog and releases him to the wild after giving him a kiss, imagine her surprise when he turns into a prince. He's not in great shape though, so she brings him home to clean up. After all, he needs to be presentable if Zoe is going to get him together with her mom, who is definitely in need of a prince. Cute Valentine's Day film for the family.
THE SMURFS (PG) 94 minutes * * 1/2 Running away from Gargamel (Hank Azaria), the Smurfs end up travelling through a portal that lands them in Central Park in New York City. Now, they have to find a way to get back to their own world while staying away from Gargamel, who has followed them through the portal. A treat for Smurf fans. Others probably won't care, but it's a good mix of live action and animation with a family friendly story. PG for language.
SMURFS: THE LOST VILLAGE (PG) 82 minutes * * Smurfette stumbles across an amazing discovery. Deep in the Forbidden Forest is another village of Smurfs! And there's something very special about them too! Of course, Gargamel is searching for this lost village as well. Fun adventure for Smurf fans. PG for violence and language.
THE SMURFS 2 (PG) 94 minutes * * 1/2 Gargamel (Hank Azaria) is up to some new tricks. He's now a famous magician in Paris, but when he kidnaps Smurfette and continues in his quest to create more evil smurfs, Papa and the rest have their work cut out for them. The action and comedy are big and bold here, which the younger ones will enjoy, but is a bit over the top for the rest of us. PG for language.
SNAKE AND MONGOOSE (PG-13) 96 minutes * * 1/2 One of the greatest rivalries in racing history. Don "The Snake" Prudomme (Jessie Williams) and Tom "Mongoose" McEwan (Richard Blake). There was an uneasy friendship between them as well, but their racing styles and priorities were very different, which actually helped fuel their competitive spirits. Original race and crowd footage is mixed in, and the film does a nice job of capturing that atmosphere. The story does cover a great deal of material quickly, and taking more time to go over that would have added depth to the film that is missing. PG-13 for language.
SNAKE EYES (R) 94 minutes * 1/2 Brian DePalma's latest thriller is anything but. If there's anyone left who hadn't figured it out already, at 45 minutes, we're told exactly the identity of the mysterious fifth person in the conspiracy. No surprises and no inventive camera moves as we've come to expect from DePalma. Nicolas Cage gives us a good performance and is supported fairly well by Gary Sinese, but the film flounders around as if DePalma himself is bored with it. The sappy romantic ending is entirely out of place as well. R for language aand violence.
SNAKE EYES: G.I. JOE ORIGINS (PG-13) 113 minutes * * 1/2 From the world of G.I. Joe, a story about the origin of the character Snake Eyes (Henry Golding). When Snake Eyes rescues the heir to a Japanese clan, he is welcomed into the family and taught the ways of the ninja. His past will soon present challenges to both his honor and his loyalty. Some very good fight and chase scenes, but this keeps hinting at bigger and better and never really delivers. It also helps if you've seen the previous films in the series. PG-13 for violence and language.
SNAKE OUTTA COMPTON (R) 78 minutes BOMB A giant snake monster is on the loose in Compton, and a questionably talented rap group is all that stands between it and total destruction. The film tries a number of different tactics to be funny, and none of them work. R for sex, language, and violence.
SNAKES ON A PLANE (R) 99 minutes * 1/2 Not a particularly inventive title, though it is descriptive. Neville Flynn (Samuel L. Jackson) is transporting a witness by plane. It becomes a bit more difficult when the plane is full of snakes who have been provoked to attack. Don't expect too much, though the snake effects are pretty good. Trevor Rabin's music helps a great deal with creating some suspense. R for violence and sex.
SNAPSHOT OF LOVE (NR) 84 minutes * * Working for a scandal sheet, Adrian (Lexi Giovagnoli) is growiing tired of the lies. After a questionable photo of reclusive actor Parker Bennett (Benedict Mazurek), she is on vacation. As it turns out, Parker is taking a break from things at the same location. She's supposed to get more photos, but something else appears to be happening. But how will things go when he finds out who she is? Supporting roles aren't very strong here, mostly due to the script. It's a good story, but not very well-written. Giovagnoli does a nice job though.
THE SNARE (NR) 92 minutes 1/2 Three friends on holiday find themselves trapped in an apartment by some sort of evil force. A few cheap scares and some suspenseful sequences, but there's not much of a story, and we never learn enough about the characters to really care much about what happens to them.
SNATCH (R) 99 minutes * * * 1/2 Although this film does bring to mind "Pulp Fiction", it's mostly due to the wonderful way in which both films manage to combine humor and extreme violence. This is a bit more rough around the edges and starts out more slowly, taking time to introduce us to all the characters. Once the dog swallows the chew toy, we start to laugh... and then it just keeps getting better. Gruesome at times and hilarious at others, it's a delight to watch these fascinating characters as they try to snatch a valuable diamond. There really isn't just one person to highlight as the best performer, though Brad Pitt's mumbling performance as Mickey is certainly one that people seem to remember. It's not for the faint of heart, but if you like your films a bit on the unusual side, you won't be disappointed with this! R for language and violence.
SNATCHED (R) 84 minutes 1/2 It was supposed to be a romantic getaway. But after her boyfriend dumps her, Emily (Amy Schumer) ends up taking her mom (Goldie Hawn) on the trip instead. Then they get kidnapped, and a bunch of other things go wrong, including making a movie about it. Far too few funny bits, and Schumer keeps looking like she doesn't understand why the lines aren't funny. R for sex and language.
SNATCHERS (R) 94 minutes * 1/2 Sometimes it only takes once. The first time Sara (Mary Nepi) has sex, she ends up pregnant... with an alien. (Actually, with two of them.) It's turning into a really bad few days. A strange and sometimes funny film, though not as clever could have been... or needs to be. R for violence, sex, and language.
SNEAKERS (PG-13) 121 minutes * * * This adventure/thriller has just the right touch of comedy to make it great entertainment. It's unfortunate that Robert Redford's performance lacks the energy it needs to keep things going at times. It's also disappointing that the plot turns so outlandish toward the end. Not that we'd expect everything to be perfectly plausible, but the script here moves a bit too close to the ridiculous. It's a fun ride, but we're ready for a better ending.
SNIPER (R) 95 minutes * * Tom Beckett (Tom Berenger) may be the Marines' best sniper, but this story gives him too little ammunition and targets that are little more than stationary cardboard. The camera trick of following the course of the bullet looks like it was planned for a 3-D film, no sense in using it here.
SNIPER: ASSASSIN'S END (R) 91 minutes * * Evidence suggests that Brandon Beckett (Chad Michael Collins) is responsible for a high profile assassination. Agent Franklin (Lochlyn Munro) will stop at nothing to bring Beckett in. The real killer is Lady Death (Sayaka Akimoto), and she might be an even better sniper than Beckett or his father (Tom Berenger). The fight scenes might be good, but it's difficult to tell because the photography is so bad in those scenes. R for violence and language.
SNIPER: GHOST SHOOTER (R) 97 minutes * * Beckett (Chad Michael Collins) and Miller (Billy Zane) are struggling to complete their latest mission. There's a ghost sniper who is taking out members of their team one by one. Lots of sniper shooting and just enough plot to get by. R for language and violence.
SNIPER: LEGACY (R) 96 minutes * * Military leaders are being assassinated and Brandon (Chad Michael Collins) soon finds himself serving as bait to uncover the killer. Numerous references to the other films in the series, making this a little less appealing to watch if you aren't familiar with the characters already. R for violence and language.
SNIPER RELOADED (R) 88 minutes * * Beckett's son (Chad Michael Collins) is with a marine unit in the Congo. While trying to retrieve/remove a plantation owner, his team is ambushed by a sniper. He wants revenge. Ties into the earlier film though it still works on its own, and Collins does well enough that we don't lose interest. R for violence, language, and sex.
SNIPER: SPECIAL OPS (R) 83 minutes * A special ops force is sent to extract a United States congressman from a small village in Afghanistan. Complications ensue. Steven Seagal's sniper character is very much a secondary character, but this also has some very long stretches with no action, and the scriipt isn't much good without the action to keep it going. R for violence and language.
SNIPER: THE WHITE RAVEN (R) 108 minutes * * * He was a pacifist, living off of the land. But when Mykola's (Paulo Aldoshyn) wife is killed by invading Russian soldiers, this Ukranian physics teacher vows revenge. His plan is to take out an elite Russian sniper. Very good intensity. A little more time spent on Mykola's shift from pacifist to sniper would have helped the believability of that aspect of the story. R for violence, language, and sex.
SNIPER: ULTIMATE KILL (R) 90 minutes * * 1/2 The seventh film in the series, reuniting Tom Berenger and Billy Zane, who were both in the first film. Both of them have been in other films in the series, but not together. The story fits very well in the series, but there's a little less of an emphasis on the sniper aspect and more on character development. That might be a little disappointing to those who aren't familiar with the series. R for violence, sex, and language.
SNITCH (PG-13) 106 minutes * * 1/2 When his son ends up in prison after being set up on a drug deal gone bad, John (Dwayne Johnson) convinces the DEA to let him go undercover to earn a lighter sentence for his son. The story doesn't deliver any surprises, and Susan Sarandon and Benjamin Bratt seem rather wasted in their small roles. Barry Pepper does a very nice job with his though. Inspired by a Frontline episode with the same title. PG-13 for language.
SNOOP DOGG'S HOOD OF HORROR (R) 80 minutes * * Trilogy of horror tales introduced by Snoop Dogg. The stories are cartoonishly gory, and are similar in style to "Tales From the Crypt" and "Creepshow" among others. As such, they do have some good points, but the acting gives away the lower budget, as do some of the special effects. Not bad as these horror collections go, but not great either. R for violence, sex, and language.
SNOW ANGELS (R) 104 minutes * * * Adapted from Stewart O'Nan's novel, this is the picture of a small town. Annie (Kate Beckinsale) is a waitress, trying to move on with her life. Her ex-husband is trying to prove that he has changed and deserves to see more of their daughter. And Arthur (Micahel Angarano), who Annie used to babysit, is dealing with the divorce of his parents and his attraction to a girl at school. With powerful and realistic performances, it's the story of mistakes, pain, loss, and regret. R for sex, violence, and language.
SNOW BRIDE (NR) 85 minutes * * Greta (Katrina Law) is looking for something scandalous for her gossip column. But after an accident lands her in the home of one of the areas most wealthy families, she discovers another side to the family she was going to write about. Cute, but unsurpising holiday romance.
SNOW BUDDIES (G) 82 minutes 1/2 The puppies are cute. But this ridiculous follow-up to "Air Buddies" even insults the intelligence of 6-year-olds. The story has the puppies accidentally being shipped to Alaska where they end up in a sled dog race which they win, of course. The limited amount of acting by human beings in the film is poor, and the entire project looks like it was made with very little budget and simply to cash in on the popularity of the earlier films... which we've already grown tired of.
SNOW CAKE (NR) 106 minutes * * * 1/2 Alex Hughes (Alan Rickman) is working on starting a new life. But after picking up a young hitchhiker, things take a turn he could never have imagined. Sometimes life brings us both challenges and rewards that we don't plan on, and sometimes they are the sweetest and most valuable. Both Rickman and Sigourney Weaver are wonderful, and the script is amazing in its own right. This is one of those gems you might not hear about, but that is well worth watching.
SNOW DAY (PG) 84 minutes * 1/2 The words every child loves to hear on a wintery weekday morning... that it's been declared a snow day and their school is closed. Although the film is full of cute caricatures and does get us to smile, the subplots have little connection with each other and serve to distract us after awhile. The film has the look and feel of something that was thrown together with little experience or concern for quality. Chevy Chase and Chris Elliott are featured, which should also give you an idea about what to expect before you start watching. Filmed in Calgary and Edmonton, Alberta, Canada. PG for language.
SNOW DOGS (PG) 100 minutes * * Mildy entartaining film with Cuba Gooding Jr. heading to Alaska to pick up his inheritance from the mother he never knew, only to find himself the owner of a sled dog team and learning lessons about life he hadn't anticipated. Formula film that has it's moments, most of which involve the dogs. PG for language.
SNOW FALLING ON CEDARS (PG-13) 122 minutes * 1/2 Children from two different cultures fall in love at a young age, but discover that their parents don't approve of the idea. Though they drift apart, they are drawn together again as her husband is accused of a murder, fueled by the communities dislike of Japanese. It's an in-depth story that is told in a rather confused fashion. Sequences are jumbled and moments of photographic artistry are stirred into the mix as well. Another director might have been able to pull this off, but as it stands, this is an over-long muddle of a film that only gives us a glimpse of what it might have been. PG-13 for language and violence.
SNOW FLOWER AND THE SECRET FAN (PG-13) 100 minutes * * * Two women whose friendship and love for one another crosses class lines and dates back to their childhood. In China, the relationship is referred to a laotong. A beautiful and powerful story about the importance of a bond so strong that it almost defies description. Adapted from the book by Lisa See. PG-13 for sex and violence.
SNOW GIRL AND THE DARK CRYSTAL (MR) 110 minutes * * Epic-style adventure film that is less successful than it should be. It's nicely chroeographed and more colorful than many Chinese films. But most of the animations used have a stiff and lifeless look, which undercuts the live performances.
A SNOW GLOBE CHRISTMAS (NR) 85 minutes * * Meg (Alicia Witt) isn't a fan of Christmas. She definitely doesn't believe that there could be anything like the perfect little town inside that snow globe... until she wakes up inside it. Predictable, sentimental holiday fare.
THE SNOW QUEEN (NR) 86 minutes BOMB Despite being adapted from the Hans Christian Andersen fairytale, the plot is a muddled mess about an evil "snow queen" who wants to take over the world and people from two different time periods who try to defeat her. The budget is so bargain basement that the script seems to have been written around what costume were available at the local high school theatre department.
SNOW WHITE: A DEADLY SUMMER (PG-13) 77 minutes 1/2 The first piece of information that you might need to know is that it looks like ninety percent of the budget was spent on getting Eric Roberts and Maureen McCormick to star... and they aren't exactly A-listers. Heavily staged spooky music and sound effects that make us laugh, and acting and dialogue that are almost painful to listen too don't help much either. There is a mildly interesting twist at the end if you stick around that long that managed to squeak out half a star for this "suspense" film. PG-13 for violence and sex.
SNOW WHITE AND THE HUNTSMAN (PG-13) 122 minutes * * 1/2 The Snow White tale with a focus on what happens when the huntsman Chris Hemsworth) and Snow White (Kristen Stewart) meet and what follows. Told in a big budget fantasy/adventure style with more than a few alterations to the versions you're probably more familiar with. That part works fairly well, and Charlize Theron does a superlative job as the evil queen. Hemsworth and Stewart are adequate, but don't give this the depth and quality we need to see. PG-13 for violence and sex.
A SNOW WHITE CHRISTMAS (NR) 86 minutes * 1/2 A modernized and twisted version of the Snow White story with Blanca Snow (Michelle Randolph) being tricked out of her father's inheritance by her wicked step-mother. True love will win the day and set everything right again. Overly silly.
THE SNOWBALL EFFECT (NR) 87 minutes * 1/2 It's their dream job. Tara (Anjali Khurama) and Sam (Landon Moss) are both in training for a particular weather forecasting job. Thanks to a severe winter storm, they will both be spending some unplanned time in a town called Mistletoe. It's a little town that has lost its Christmas spirit. Can either one of them, or maybe both of them, get the job and help Mistletoe in the process? Khurana and Moss are not very convincing as a couple, and the part of the sotryabout the town having lost its Christmas spirit is not very well developed.
SNOWBOUND FOR CHRISTMAS (NR) 83 minutes * * 1/2 She's only been with the company for a few weeks, but Rachel (Zarrin Darnell-Martin) has been asked to accompany the boss (Hendersson Wade) on a big pitch. His former girlfriend will also be there. She's still interested in their relationship, but from his perspective, she's trying to rekindle something that just isn't there anymore.
SNOWCOMING (NR) 84 minutes * * 1/2 Taking some time to reevaluate her career options, Samantha (Lindy Booth) decides to head home to celebrate SnowComing with her family and friends. When she gets home, she learns that her dad is going to retire, that her best friend is pregnant, and that her old boyfriend (Trevor Donovan) is back for the holidays as well.
SNOWDEN (R) 127 minutes * * * Edward Snowden (Jiseph Gordon-Levitt) discovers just how invasive the NSA's surveillance tactics are, and it doesn't sit well with him. So he tells... everyone. The story does tend to create an atmosphere of suspicion and paranoia in the viewer, which is the point. It also does that very gently and quietly as the story unfolds, which is quite effective. While in some ways this is a biography of Snowden, it's alse very much about internet privacy, the abuse of technology, and espionage. R for language and sex.
SNOWFLAKE: THE WHITE GORILLA (PG) 83 minutes * ½ Snowflake was a gorilla who was rescued and spent some time with a human family before moving into the zoo. Ho doesn’t exactly fit in, and to make matters worse, when Snowflake escaped s from the zoo in search of a way to become like the other gorillas, she’ll discover that its more difficult than she thought. Simple moral to the story of appreciating our differences, which is mostly aimed at pre-teens, but some of the humor is more adult in nature. PG for language.
SNOWGLOBE (NR) 89 minutes * * 1/2 Angela (Christina Milian) discovers her perfect Christmas world inside a magical snowglobe. But when that world begins to interact with her own, she realizes how her wish for the "perfect" Christmas may be getting in the way of actually finding it. Cute Christmas story with solid supporting performances that help Milian carry this off well.
SNOWKISSED (NR) 83 minutes * * It's the chance of a lifetime. Kate (Jen Lilly) has wanted to interview the author of a self-help book that she loves. It just happens to be her new assignment. But it involves travelling to Calgary, in Canada, and Kate really doesn't like to leave New York... at all. She will soon find herself helping Noah (Chris McNally) the handsome guide, who wants to change careers. Lilly plays this a little too high strung, and Noah's friend Simon (Rodrigo Beilfuss) is a bit too clueless.
THE SNOWMAN (R) 114 minutes * * * The disappearance of one woman leads to another, and soon, Detective Harry Hole (Michael Fassbender) has a complicated murder mystery on his hands. The stellar cast delivers fine performances, though the intensity of the story isn't always what it needs to be. R for violence, language, and sex.
SNOWMEN (PG) 78 minutes * * * Sentimental coming of age story of three young boys, focusing on one in particular. Billy (Bobby Coleman) is sure that he's dying of the cancer that he was diagnosed with the previous year. He wants to do something that really matters before he dies, and with the help of his friends, it just might happen. Coleman does a very nice job here, as do most of the younger cast members, but the story is the real star here, capturing the emotions, the drama, and the humor of childhood. PG for violence and language.
SNOWPIERCER (R) 121 minutes * 1/2 The effects of global warming have frozen the planet. The only survivors are onboard a train. But the class system that quickly evolved on the train is starting to crumble and a revolution is at hand. Because of where the story begins, it has to keep backtracking to explain itself, which has a manipulative feel to it as key bits of information aren't revealed until tension escalates. It's also very symbolic and metaphorical, which will not appeal to many who might otherwise be interested in the story. R for violence and language.
SNOWTIME (PG) 79 minutes * ½ Winter break this year means that it’s time for a multi-day snowball fight! It’s a cute story, but it lacks the witty creativity that would have taken it to the next level. It also takes a more somber tone toward the end that doesn’t really fit well with the rest of the film. PG for violence and language.
THE SNOWTOWN MURDERS (NR) 116 minutes * * * Jamie (Lucas Pittaway) has little direction or guidance in his life until his mother's new boyfriend takes him under his wing. But beneath John's (Daniel Henshall) stable and supportive exterior, lies a bigoted and violent core. Unsettling and disturbing, especially as it is based on actual events.
A SNOWY DAY IN OAKLAND (PG-13) 87 minutes * * LaTrice (Nicole Ari Parker) knows that starting over won't be easy. She opens up her counseling service in Oakland on a block with several other businesses and begins to get to know her fellow tennants. It's a wonderful collection of characters, and a talented cast, but the story runs out of steam too quickly. PG-13 for language and violence.
THE SNURKS (PG) 85 minutes * * Nicely animated film featuring the Gayans and the Snurks, two rival groups of creatures on the TV show Gaya, who have just been transported into the real world. Now they have to find a way back, and it might require working together. The story is not particularly imaginative though the characters are somewhat interesting. PG for violence and language.
SO B. IT (PG-13) 93 minutes * * * Talitha Eliana Bateman) has lived with Bernie (Alfre Woodard) and her mom her whole life. But she has finally reached a point in her life where she needs answers. Andwers that Bernie and her mom can't (or won't) give her. So, Heidi sets off to get those answers. It's a bittersweet comin-of-age story with fine performances by the cast. Adapted from the book by Sarah Weeks. PG-13 for language.
SO I MARRIED AN AXE MURDERER (PG-13) 89 minutes * Mike Myers is finally getting married, after always finding excuses not to. But now he thinks his wife is an axe murderer. Myers' overplayed character doesn't work well outside the "Wayne's World" format, and this comes off as not all that funny, entertaining, or well-made.
SO MUCH SO FAST (NR) 86 minutes * * 1/2 Chronicles the life of Stephen Heywood, focusing on his last few years. Diagnosed with ALS (Lou Gehrig's disease), his brother begins a passionate search for a cure.
SO UNDERCOVER (PG-13) 89 minutes * * Lightweight spy film with Miley Cyrus going undercover at a sorority to help the FBI. There are some nice twists and turns, that you might not expect, and a couple of supporting roles that help make this a little better, especially that of Megan Park. Cyrus is still staying well within her comfort zone here, and not showing us much depth of character. PG-13 for language
SO YOU SAID YES (NR) 83 minutes * * 1/2 Annabelle (Kellie Martin) opens a vintage bridal shop across the street from a classical one. And then she falls for the owner's son. But no one seems to be listening to anything she said after she said "yes". Cute romantic comedy, though it wraps up a little too quickly.
SOAP DISH (PG-13) 93 minutes * * 1/2 The stars of the fictional daytime soap opera, "The Sun Also Sets" are struggling with distinguishing fantasy from reality. It seems that their lives are becoming more like a soap opera... or is it the other way around? Kevin Kline steals the show here, especially toward the end. Sally Field may be the featured star, but she whines and cries too much and it gets in the way of our enjoying the other characters and watching the story unfold. By the way, you don't have to be a soap opera fan to enjoy this. You might even find it more enjoyable if you'd rather poke fun at them than watch them! PG-13 for language.
THE SOCIAL NETWORK (PG-13) 116 minutes * * * 1/2 The story of the creation of Facebook, and its co-founder, Mark Zuckerberg (Jesse Eisenberg). Interesting that the portrait of Zuckerberg is far from flattering, presenting a young man who not only created the site as a way to improve his own dating life and social acceptance, but who is proclaimed by many to be a jerk. True or not, he's still interesting, and by the end of the film, there is a somewhat positive turn that we aren't unhappy to see. Great work by Eisenberg and by Justin Timberlake as Napster creator, Sean Parker. PG-13 for sex and language.
LA SOGA (R) 86 minutes * * 1/2 Luisito (Manny Perez) has always been on the lookout for the man who killed his father. Of course, when he eventually discovers who it is, it's really no surprise to us. The children in the film do a nice job, but the adults seem more concerned with having the right look and staging the scenes well. They do that well, but it's rather lifeless and empty when compared to the scenes with the children. R for violence, language, and nudity.
SOLACE (R) 94 minutes * * * A tense murder mystery, with Anthony Hopkins playing the part of a psychic who is brought in on a case to help catch a serial killer. A very unique serial killer. It's a great script, and some very solid acting by the cast. The cinematography is a bit of a mixed bag though, with some very nice sequences and yet several others that are both poorly shot and badly edited. R for violence, sex, and language.
SOLARBABIES (PG-13) 90 minutes * * ½ The premise for this film is a bit difficult to accept. Not the part about the Eco Wars making the world a vast, barren wasteland. (Though we have heard that part before.) Not even the part about the military bickering and fighting with an orphanage. (Though that is a little much.) It’s the roller skating. Life in the orphanage society centers around it, apparently to the exclusion of most everything else. They have a special, elite team called the Solarbabies, who are in a constant state of challenge with the skating team from the military. Most of the acting is overplayed, but the music and photography are good, and this earns quite a bit for having likeable characters who put a good deal of effort trying to make the story entertaining.
SOLARIS (PG-13) 92 minutes * * Something has gone terribly wrong on the Solaris space station. Chris (George Clooney) has been sent for to see if he can negotiate a safe return for the survivors, if there are any, aboard the station. Adapted from the book by Stanislaw Levin, this is a very interesting story, but the balance between philosophy and practical reality is awkward through much of the film. Holes in the story are abundant, but it still makes for an interesting film if you enjoy philosophical science fiction stories. PG-13 for language and sex.
SOLDIER LOVE STORY (NR) 87 minutes * * Also known as "Meet My Mom", this TV movie is about a young boy whose class writes letters to soldiers. The one that Jared (Chalres Henry Wyson) writes to, comes to visit and ends up falling for Jared's mom. Straightforward, shallow, and sappy love story.
SOLDIERS OF THE DAMNED (NR) 95 minutes * Although they are being pushed back, the German Army is tasked with escorting a scientist into a strange forest to retrieve an ancient relic. It's a dangerous mission, but it's also part of Himmler's plan to use the occult to their benefit. What lies in the forest has other ideas about what will be happening. The movement from past to present and back is not the most effective, and the ending is disappointing.
A SOLDIER'S REVENGE (NR) 135 minutes * 1/2 Frank (Neal Bledsoe) is a bounty hunter. He is still haunted by what happened during the war. Avoiding that past is not going to be possible for much longer. A very bad man from his past has resurfaced, and it's time to settle accounts. There's lots of repeated and unnecessary footage here. It detracts from te story and frequently ruins the pacing of the film.
SOLITARY MAN (R) 86 minutes * * * Ben's (Michael Douglas) life is sliding downhill quickly and he's not sure how to stop it. His shady business deals have cost him the car dealership and his cavalier lifestyle is costing him relationships and money he doesn't have. Douglas plays this well, though it's not a particularly uplifting story. We do find ourselves wanting Ben to change, if only a little, so that he will become a better, instead of bitter, person. If you're looking for something light, this isn't it, but as a darker, more moody character study, its quite good. R for language and sex.
SOLLERS POINT (R) 95 minutes * * 1/2 Trying to get a new start after finishing his in-home detention, Keith (McCaul Lombardi) is finding it to be very difficult. There aren't many jobs available for anyone, and even though he tries not to, the wring crowd seems to be everywhere he looks, inviting him to come back to them. Keith may not be confined by in-home detention, but he's still in a prison, and there doesn't seem to be a way out. R for language and sex.
SOLO (PG-13) 90 minutes * Mario VanPeebles plays Solo, a cyborg who has received a message that he is to be reprogrammed. Since that interferes with his prime directive to "preserve self", he goes renegade. A rather dumb ending, but the film manages to deal fairly well with the standard questions about what makes us human, what it means to be alive, etc. PG-13 for violence and language.
SOLO: A STAR WARS STORY (PG-13) 126 minutes * * * 1/2 An excellent chapter in the Star Wars saga, giving us a look at a young Han Solo (Alden Ehrenreich) as he first flies the Millenium Falcon. Lots of well-written material with some great bits of humor along the way. Director Ron Howard knows how to pace a story better than most, and this is a very good story on its own, though it also fits beautifully into the saga as a whole. PG-13 for violence.
SOLO QUIERO CAMINAR (NR) 110 minutes * * * These girls are used to working the heist. Their latest plan involves Ana (Elena Anaya) getting in close with a gangster who has a great deal of money thanks to his drug business. It's the perfect plan. But Gabriel (Diego Luna), working as one of the gangster's hitmen, has a hunch that Ana is hiding something. Great intensity throughout, and the plot unfolds nicely, without compromising believability too much. The inexperience of some of the supporting cast weakens the film a bit, but it's still a very good heist film.
THE SOLOIST (PG-13) 108 minutes * * * Just a homeless man who happens to play the violin... but Steve (Robert Downey Jr.) thinks that there might be a bit more to this story... and there is. In a way, both Nathaniel (Jammie Foxx) and Steve are on paths to self-destruction. But Steve continues to choose hope, and that allows him to keep trying. It's much more difficult for Nathaniel to see hope, or to trust what it might be able to offer. Great performances by Foxx and Downey, but the story is lacking a more sensitive and emotional approach that would have made it even better. Filmed in Los Angeles and Cleveland. PG-13 for language and violence.
THE SOLOMON BUNCH (NR) 63 minutes * * A group of kids decide to form a Solomon club so they can learn to be wise like King Solomon of Biblical times. Very similar in many respects to the Buttercream Gang, with a particular lesson for the kids, and adults, to learn. Here, it's about what can happen if you reach a conclusion too quickly, and without knowing all the sides of the story.
SOLOMON KANE (R) 95 minutes * * 1/2 having spent his life as a ruthless mercenary, Kane (James Purefoy) renounces his evil ways when he learns that the devil is about to claim his soul. He becomes a man of peace in an effort to atone for his past deeds. But circumstances are forcing him to put his eternal well-being at risk and take up his sword, though this time to fight for justice and redemption. Nicely done sword and sorcery adventure based on the character created by Robert E. Howard. R for violence.
SOME DAYS ARE BETTER THAN OTHERS (NR) 90 minutes * * 1/2 Well, maybe not for these folks... in this rather depressing look at three characters. We do wonder about some of what made them the way they are, but they're almost too much like us or people we know... at least on those not so good days. We struggle with how to connect with these characters, or even become interested in them, as they and the story tend to keep us at a distance.
SOME KIND OF BEAUTIFUL (R) 93 minutes * * A professor of romantic poetry struggles to find the meaning that he tries to teach his students. Only to fin, of course, that he's been missing his own message. And the price he has to pay won't be cheap. The tone wavers between comedy and drama very predictably and tries to be funnier than it really needs to. R for language and sex.
SOME KIND OF HATE (NR) 79 minutes * A bullied youth ends up in a special program when he decides to fight back. Of course, there's a bully in the program too. It's a good thing for Lincoln (Ronen Rubenstein) that there is also someone around who wants to help him... even if she is already dead. Builds predictably, and the real ending, which is a little way into the credits, is no surprise. The effects are good, and plenty bloody for those who are interested in that.
SOME KIND OF HERO (R) 96 minutes * * * Returning home from the Vietnam War where he spent time as a prisoner of war, Eddie Keller (Richard Pryor) discovers that the hero’s welcome is short-lived and that fitting in is more difficult than he imagined. Pryor’s typically double-edged humor, heavily laced with foul language, but it’s a strong story and Pryor plays it quite well. R for language and sex.
SOME KIND OF WONDERFUL (PG-13) 91 minutes * * * 1/2 Another well designed piece about teen angst from writer John Hughes. Keith’s (Eric Stoltz) new girlfriend (Lea Thompson) has a jealous ex, and Keith’s longtime friend and girl pal (Mary Stuart Masterson) now realizes that she has feelings for him. Thompson seems a little less invested in this than the rest of the cast, but it still works quite well because Hughes knows how to write so well. Very nice supporting work by several cast members.
SOME OF OUR STALLIONS (NR) 83 minutes * * 1/2 Andy (Al Di) and Bill (Carson Mell) are fresh out of the mental hospital. They rely on each other, but they know that something is missing. They soon decide that it must be a woman that is missing. But when Andy finds someone and Bill doesn't. the little stability Bill had is in danger of collapsing. An interesting mix of charm and tension.
SOME VELVET MORNING (NR) 81 minutes * 1/2 When Fred (Stanley Tucci) shows up at Velvet's (Alice Eve) door, she's a little surprised. He wants to take their relationship farther, so he's left his wife. She thought their fling was over. The script is uneven, with some exchanges very intense and charged with energy. But when the energy fades or shifts, and even when it escalates, it just tends to get off track. It's a style of dialogue and character development more suited to the stage and reminiscent of August Strindberg, though not as well written. The strange little twist at the end is interesting, but not well thought out as the effect actually undermines the rest of the film.
SOMEBODY UP THERE LIKES ME (NR) 71 minutes * * * Offbeat, charming, and unique story about two men and the woman they both love. The characters are very likeable, but considering the amount of time that passes in the story, it's disconcerting to see everyone but Max (Keith Poulson) age. And what about that blue suitcase?
SOMEDAY THIS PAIN WILL BE USEFUL TO YOU (NR) 92 minutes * * * 1/2 With a mother whose most recent marriage barely lasted 48 hours, a father who’s having plastic surgery, and a sister who is writing her memoirs at the age of 23, James (Toby Regbo) is puzzled as to why his family is so insistent on his being in college. A coming-of-age story with a wonderful ensemble cast and a script that is thoughtful, sensitive, and witty. Regbo does a great job here, taking us along on his struggle to figure out what will come next in his life.
SOMEONE LIKE YOU (PG-13) 92 minutes * * 1/2 How do you get past those broken relationships and move on with your life? That's what Jane (Ashley Judd) is trying to figure out. But as she struggles with trying to understand why men leave her, she is missing the point that the one she really needs to understand is herself. Judd, Marisa Tomei, and Hugh Jackman all do great work here. Tomei in particular adds a sparkle to the film with her scenes. We leave the film dissatisfied by the ending though. Things fall into place far too quickly and it feels like a few scenes are missing that could have helped us believe what happens a little more easily. PG-13 for language and sex.
SOMEONE TO WATCH OVER ME (R) 102 minutes * * * Assigned to protect a witness to a murder, Mike Keegan (Tom Berenger) finds himself attracted to the witness. Can they find the killer? Will he risk losing his marriage? Is she interested in him as well? Berenger delivers a nice performance here, but it's Ridley Scott's direction that gives this film the character it needs. He loves to work with light and shadow and it gives the film the subtle suspense that goes past the elements of the story. Filled with beautiful shots of New York City!
SOMERS TOWN (NR) 68 minutes * * 1/2 An unlikely friendship between a young immigrant and a homeless boy. They are both learning a great deal about life, and though their perspectives are quite different, their journeys have enough in common to form the basis of a friendship that will last. There will be difficulties, of course, but friends don't let that stay in the way for long. Nice, and somewhat different coming-of-age story.
SOMETHING BORROWED (PG-13) 108 minutes * * 1/2 They've been best friends for ages, but Darcy (Kate Hudson) always seems to "win" at everything they do. Rachel (Ginnifer Goodwin) has always been in love with Dex (Colin Egglesfield) but just couldn't recognize it until now... when Darcy is going to marry him. Lots of mis-directed love here. Perhaps a little too much for one story. John Krasinski has a nice supporting role, but the script struggles with how to do justice to the characters as they struggle with the meaning of love and friendship. PG-13 for sex and language.
SOMETHING FROM NOTHING: THE ART OF RAP (R) 107 minutes * * * Ice-T directs this exploration of the craft, the history and the powerful effect that rap has had on the world of music and the world in general. Although the style of presentation isn't all that great, the impressive list of rap and hip-hop artists interviewed makes up for it. R for language.
SOMETHING LIKE A BUSINESS (R) 78 minutes * It's Washington D.C., and everybody is hustling somebody. JoJo (Kevin Hart) is all set to take over his uncle's escort business, but he's still got a few things he needs to learn. Typical noisy Kevin Hart comedy. R for sex and language.
SOMETHING NEW (PG-13) 96 minutes * * 1/2 Kenya's (Sanaa Lathan) star is on the rise... everywhere except in her romantic life. She has this list of qualifications that her ideal man must meet. But we all know how THAT goes! Cute and romantic while still working to address the issues surrounding the idea of bi-racial romance. The emphasis is more on entertainment though, so it rarely delves too far into the more serious points. Nice work by Lathan. PG-13 for language and sex.
SOMETHING THE LORD MADE (NR) 106 minutes * * * Nashville 1930. Vivien (Mos Def) finds himself working for Dr. Blaylock (Alan Rickman). He quickly moves up from cleaning the dog pens to being a medical research assistant. It was a time when people of color and women were not respected much, if at all, in the medical field. Blaylock would help to change that as he came to value Vivien's assistance as he worked toward what would become the first heart bypass surgery. Great work by Mos Def.
SOMETHING TO TALK ABOUT (R) 101 minutes * * * Strong characters populate this film about a woman discovering her husband's extramarital affair and her attempts to cut him out of the family. Set in the south, the film rambles a bit much at times, but offers us an outstanding performance from Kyra Sedgewick and fine work from Julia Roberts, Robert Duvall, Gena Rowlands, and Dennis Quaid.
SOMETHING WICKED (R) 92 minutes * Secrets from their past are going to make sure this young newlywed couple don't have a pleasant life ahead. The ending is laughably bad, but considering how quickly this slides downhill after the first 15-20 minutes, it's not really much of a surprise. R for violence, sex, and language.
SOMETHING WICKED THIS WAY COMES (PG) 94 minutes * * * ½ A small town is the site of a travelling circus. This particular circus is more sinister than the town thought possible, and they soon find themselves in a great deal of danger. Adapted from the frightening novel by Ray Bradbury, this is a wonderfully creepy tale. Impressive special effects and a marvelous soundtrack from James Horner make this a horror film not to be missed. PG for violence.
SOMETHING WILD (R) 108 minutes * * * Charles Driggs (Jeff Daniels) leads a dry and boring life, which he doesn’t really mind. Then he meets Lulu (Melanie Griffith). She has plans for an exciting weekend and drags Charles along. Everything is going well until her ex-husband (Ray Liotta) crosses their path and decides he’s not too thrilled about seeing Lulu and Charles together. A fun and wild ride.
SOMETHING'S GONNA LIVE (NR) 75 minutes * * * A look back at the history of Hollywood, filmmaking, and life in general, through the eyes of some of the film industry's greats. Art directors and production designers Robert Boyle, Albert Nozak, and Henry Bumstead were lifelong friends, working on numerous films over the decades. Along with storyboard artist Harold Michelson, and cinematographers Haskell Wexler and Conrad Hall, they talk about their lives and the magic, wonder, and struggles of creating art and cinema through the years. An interesting look at the industry from a side not often given voice.
SOMETHING'S GOTTA GIVE (PG-13) 122 minutes * * * Reltaionships are funny things sometimes. They happen when you least expect them and change when you aren;t always ready. Jack Nicholson and Diane Keaton are delightful and the story is both chaming and sentimental with humor supplied in all the right places. Amanda Peet does a nice job as well. It does lose steam during the last half hour, though it manages to finish well. Predictably, but well. PG-13 for language and nudity.
SOMETIME OTHER THAN NOW (NR) 87 minutes * * 1/2 Sam (Donal Logue) left a long time ago. He's decided to try and reconnect with his daughter, but it's been thirty years. Kate (Kate Walsh) supports him in his attempts, but she hasn't known him that long, and Sam is good at pushing people away. Great characters, with a good deal of depth. The film suffers a little from inconsistent direction, but it's still well worth a look.
SOMETIMES ALWAYS NEVER (PG-13) 87 minutes * * * After a contentious game of scrabble, Alan's (Bill Nighy) son leaves home and never returns. That loss looms over the family for years, with each of them grieving the loss in their own way. The script and direction provide a whimsical tone to the film that seems a little awkward at first, but it soon becomes very fitting for the story. PG-13 for language.
SOMETIMES IN APRIL (NR) 134 minutes * * * The tragedy of the genocide in Rwanda is shown from a more strictly Rwandan viewpoint here, with less emphasis on the United Nations or United States and more on the issues within Rwanda and relationships of people there. This helps the film be much more powerful in some segments, but the tempo of the film falters at times and it becomes a bit too self-conscious and overlong. It ends quite well though, reminding us that rather than focusing on regret, we should remember... so that it never happens again.
SOMEWHERE (R) 89 minutes * 1/2 Johnny Marco (Stephen Dorff) is an actor who used to have a big career. Now he just seems to lounge around, not doing much of anything except living off of his old reputation. When his 11-year-old daughter (Elle Fanning) shows up to stay for awhile, he seems to do even less. We get where the story is going, and the tone is set well early on, but the ending just doesn't work because... yeah, it doesn't really go ANYwhere. R for sex and language.
SOMEWHERE IN THE MIDDLE (NR) 87 minutes 1/2 Love, relationships, and all the mess that can go with them. Billie (Cassandra Freeman) and Kofi (Charles Miller) used to have a great relationship, but it has spun out of control. The script was developed through an improvisational process, and tends to hesitate too often with pauses that are uncomfortable. And there isn't much in the way of resolution for the characters.
SOMM (NR) 92 minutes * * 1/2 The Master Sommelier Exam is an extraordinarily difficult test that must be passed to enter the Court of Master Sommeliers. It is one of the world's most exclusive organizations. Studying for the test is nearly life-consuming, but there will be very few people in the world who know even close to what you do about wine if you know enough to pass the test. Very interesting look at a side of wine that we don't usually see.
SOMMERSBY (PG-13) 109 minutes * * 1/2 Jodie Foster really seems lost in this film. Her intensity, evident as usual in this character, is out of place. The supporting performances of Bill Pullman, William Windom, and James Earl Jones are quite good, and Danny Elfman shows that he can write music for a genteel romance film as well as anyone. Not the best of the costume/romance genre, but it fares alright on the small screen. PG-13 for sex, language, and violence.
SON (NR) 94 minutes * 1/2 Something is wrong with Laura's (Andi Matichak) son David (Luke David Blumm). None of the doctors seem to know what the problem is. But maybe they are "in" on what is happening. Paul (Emile Hirsch) is the only one she can trust. Appropriately gross effects, but an unimaginative story.
THE SON (2022) (PG-13) 116 minutes * * * The divorce was awhile ago, and Peter (Hugh Jackman) has moved on with a new wife and a baby. His other son Nicholas (Zen McGrath) has become too difficult for his ex-wife (Laura Dern) to handle. The longer Peter has him, the more he begins to understand how deep the problem really is. PG-13 for language.
SON IN LAW (PG-13) 92 minutes * 1/2 Pauly Shore is brought home over Thanksgiving break by a girl who wants to discourage on old home-town boyfriend. Shore is definitely not for everyone's tastes, but we get a little milder dose this time, thanks to an emphasis by the story on family, tradition, and adding a little (but not too much) spice to life. PG-13 for language.
SON OF A GUN (R) 103 minutes * * Breaking out of prison, JR (Brenton Thwaites) teams up with Brendan Lynch (Ewan McGregor) for more trouble. The story keeps hinting at a deeper meaning because of the more relaxed and reflective tone, but it just isn't there. Neither is the action that the would typically be expected from a story like this. R for violence, language, and sex.
SON OF BATMAN (PG-13) 70 minutes * * 1/2 The story of Batman's son, Damien, and how they began to work together. Nicely written, and does a good job of introducing the character. The story is very violent, but it also manages to include touches of humor to offset that at least a little. PG-13 for violence.
THE SON OF BIGFOOT (PG) 88 minutes * * 1/2 Adam (voiced by Pappy Faulker) has always been a little different. But it isn;t until he finds his dad that he understands what it all means. He's the son of bigfoot. Energetic fun for everyone in a story about family and fitting in. PG for violence and language.
THE SON OF JOSEPH (NR) 110 minutes * * 1/2 Vincent (Victor Ezenfis) doesn't know who his father is, but he's desperate to have one. The story follows his search, which is focused on two particular possibilities. The Biblical nativity story provides a light framework for this story about a search for paternal love.
SON OF MAN (NR) 84 minutes * * * The story is old, but the setting is South Africa, with civil war getting worse each day. A child is born to a poor couple. An angel has instructed that he be named Jesus. The continuity of the story is a bit awkward early on, with moments of the future interspersed with the present. Overall, quite interesting and definitely a powerful interpretation of the story of Jesus.
THE SON OF NO ONE (R) 86 minutes * * A new cop gets to work the old neighborhood where he grew up. Some of the old secrets are still there. It's pretty clear where this is going fairly early on, but the script still manages to drag it out, despite the relatively short running time of the film. The cast is fairly impressive with Al Pacino, Ray Liotta, and Katie Holmes, and even Channing Tatum isn't bad, but they are very under-utilized. R for violence, language, and sex.
SON OF RAMBOW (PG-13) 88 minutes * * 1/2 A chance encounter at school leads to an unlikely friendship. Lee (Will Poulter) tends to break the rules, but he wants to make a film to enter a competition for young filmmakers. Will (Bill Milner) is the quiet one whose mother doesn't want him to even watch movies. As they work on the film together, they both learn a great deal about friendship and family. Humorous and touching coming-of-age film set in England in the 1980s. PG-13 for violence.
SON OF SAUL (R) 103 minutes * * * When Saul's (Geza Rohrig) son becomes a victim, he will do anything, including putting himself and others at risk, to see that the boy is buried properly. The photography here is intense, in a first person style that removes much of what is happening outside of the frame. At the same time, it is giving us a picture of a coping mechanism that many of us use. By not looking around at what is happening, Saul can shut out much of the horrific tragedy that is going on around him, though there are times when it still reaches in. R for violence and nudity.
SON OF THE MASK (PG) 88 minutes 1/2 Nothing will make you appreciate Jim Carrey more than watching Jamie Kennedy in this sequel. It appears that the attempt here was to make this more kid friendly with the reult being that it's lost any sense of intelligent humor. Alan Cumming's performance as Loki, who is trying to get the mask back before Odin gets really mad, offers the only bright spots in the film, but even many of those are more silly than they are truly entertaining. PG for cartoonish violence.
SON OF THE PINK PANTHER (PG) 88 minutes * 1/2 Roberto Benigni stars as the son of bumbling Inspector Clouseau in this attempt to revive the old series. As one might expect, it just doesn't work without Peter Sellers around. Begnini does what he can, but the script and direction just don't hold up. The opening credits are well-worth watching though, and may be the best part of the film. PG for language and violence.
SON OF THE SOUTH (PG-13) 100 minutes * * * Its the summer of 1961, and Bob Zellner (Lucas Till) is going to have to make a choice. He's currently in Montgomery, Alabama, and everything is about to reach aa critical point in the civil rights movement. Based on Zellner's autobiography, "The Wrong Side of Murder Creek". Nice work by the cast. PG-13 for language and violence.
THE SONATA (NR) 83 minutes * 1/2 Estranged from her father for years, Rose (Freya Tingley) learns that he has died and left her a number of things, including his final composition. It's a sonata, but there are strange symbols included, and the more she investigates what they might mean, the more sinister they appear to be. Some very creepy sequences, but this moves very slowly early on.
THE SONG (PG-13) 108 minutes * * Contemporary reworking of the Biblical story of the Song of Solomon. As such, the story is OK, if a little too sentimental at times. The performances are adequate as well, but what really hurts this are the voiceover readings from the Bible, as if the story isn't strong enough to make the points without this extra help. PG-13 for language.
THE SONG OF NAMES (PG-13) 105 minutes * * * Their first meeting was not all that great. Martin (Misha Handley/Gerren Howell/Tim Roth) and Dovidl (Luke Doyle/Jonah Hauer-King/Clive Owen) eventually became best friends. When Dovidl disappears on the evening of his first solo concert, the musical world is stunned. Martin spends years looking for him, trying to learn what happened. Sometimes the resolution you seek is not the resolution you will find.. PG-13 for language and sex.
SONG OF THE SEA (PG) 88 minutes * * * Although he doesn't like his sister, and doesn't understand why she doesn't talk, Ben (voiced by David Rawle) will learn that she is very special. She has a magical and wonderful destiny ahead of her, for she is, after all, a selkie. Beautiful animation and a tale that takes its time to unfold and draw us in. PG for language.
SONG OF THE SOUTH (G) 93 minutes * * * ½ Disney’s classic rendition of Uncle Remus (James Baskett) and his tales of Brer Rabbit. The film features a mix of live-action and animation, with the stories being told in animation, framed by live action sequences with Baskett and friends.
SONG ONE (PG-13) 82 minutes * * 1/2 Returning home because of an accident that has left her brother in a coma, Franny (Anne Hathaway) discovers just how much has changed since she left. As she spends time learning about her brother's life, she finds herself attracteed to his favorite musician. The script doesn't give Hathaway the depth she's really looking for, but the music is quite good. PG-13 for sex and language.
SONG TO SONG (R) 123 minutes * 1/2 The story here involves two different set of love triangles that are connected. At the same time though, the presentation of those stories is dream-like and focused on visual artistry. That artistry quickly takes over the story, leaving us without the depth we need for the characters to develop. It's unfortunate, because what we see is quite good, it's just too shallow. R for sex and language.
SONGBIRD (PG-13) 82 minutes * * Set in the near future of 2024, the story follows the characters as they try to survive and hope for a future. The characters are likeable enough, but there are a number of story logic mistakes. The cast is better than the story and features KJ Apa, Sofia Carson, Craig Robinson, Peter Stormare, and Alexandrio Daddario. PG-13 for violence, sex, and language.
SONIC THE HEDGEHOG (PG) 91 minutes * * * Life in Tom's (James Marsden) small town has been boring until now. A small, and extremely fast, hedgehog has stopped in town and needs Tom's help. The evil Dr. Robotnik (Jim Carrey) is trying to catch Sonic, and he just won't stop. Nicely done adventure film for the furry blue speedster from the video game. PG for violence and language.
SONIC THE HEDGEHOG 2 (PG) 111 minutes * * 1/2 Things are about to get wild. Dr. Robotnik (Jim Carrey) has finally figured out how to get back to Earth, with the help of Knuckles the Echidna. That means Sonic and Tails will have plenty to do as they try to stop the two of them before things get out of hand. It's a nice introduction more of the characters in Sonic's world and there's plenty of actionn to keep our attention. PG for violence and language.
SONS OF LIBERTY (NR) 92 minutes * When a group of radicals start putting together a small, but deadly nuclear device, they must be stopped. There's some energy here, and a few good ideas, but the script is unfocused and the dialogue is just bad. Kudos to the actors for continuing to try hard throughout the film, but it just never pans out.
SONS OF LIBERTY (NR) 247 minutes * * 1/2 Historical drama with a focus on the differences between the philosophies and approaches of the various men who led the Amerian Revolution. Well done, and the story does highlight some different angles to the history, which is nice, but it still runs a little long to keep our interest.
SOPHIA GRACE AND ROSIE'S ROYAL ADVENTURE (G) 75 minutes * * The YouTube and Ellen DeGeneres show sensations Sophia Grace and Rosie are off on an adventure to Switzelvania. Cute stuff for those under the age of ten who like princess stories, and only mildly annoying for the rest. Rosie gets to shine a little more than she was able to do in the early videos.
SOPHIE SCHOLL: THE FINAL DAYS (NR) 110 minutes * * * The story of the last days of Sophie Scholl (Julia Jentsch) and the work of The White Rose resistance movement during World War II. Not everyone in Germany was in agreement with Hitler or his goals. Resistance did come from within, and Sophie and her friends risked, and lost their lives, fighting against the Nazi movement. Good performances, though the story needed to go a bit farther and/or deeper than it does at times.
SOPHIE'S CHOICE (R) 147 minutes * * * * The survivor of Nazi concentration camps, Sophie (Meryl Streep) is drawn to Nathan (Kevin Kline), who is obsessed with World War II and the Holocaust. Though their love is strong, his obsession will bring it to a critical point for both of them. A little slow to start, but it moves to a magnificent finish. A first class, beautiful, touching, and powerful film. Adapted from the book by William Styron. R for sex and language.
THE SORCERER AND THE WHITE SNAKE (PG-13) 96 minutes * * * When a snake demon tricks a young man into falling in love with her, it's up to Abott Fahai (Jet Li) to challenge and defeat the demon. Based on a Chinese legend, the highlights here are the special effects, which are beautiful. PG-13 for violence and sex.
THE SORCERER'S APPRENTICE (PG) 103 minutes * * 1/2 Balthazar, Veronica, and Horvath... the three young sorcerers entrusted by Merlin with powerful secrets. But Horvath aligned himself with Morgana. Veronica drew Morgana inside herself, allowing Balthazar to trap them. But to totally defeat her, he must find the prime Merlinian... Merlin's successor. It's a fun adventure, but spends a bit too much time explaining the story instead of just telling it. There's also the mop scene, which Disney seems to have felt an obligation to do, but which serves little purpose in the story. Jay Baruchel is great as the atypical hero, and Nicolas Cage is clearly having fun here, though almost to the point of detracting from the story at times. PG for violence and language.
SORORITY BOYS (R) 88 minutes * Cross-dressing comedy with three guys trying to pass for girls until they can dig up the dirt they need on their fraternity president and get back in their old house. There are a few good moments, but the mix of comedy and drama is uneven. Despite the rather short length of the film, it still manages to get tiresome. The best part is the collection of songs on the soundtrack. R for nudity and language.
SORORITY ROW (R) 96 minutes 1/2 Remake of "The House on Sorority Row", which wasn't all that good to begin with. A college prank gone wrong results in the death of one of their classmates. Now the ones who know about it are dying... one by one. The constant stream of stupid decisions and bad dialogue is pretty discouraging. It does have some curiosity appeal for having the children of Bruce Willis, Greg Evigan, and Jim Belushi in the cast. R for violence, sex, and language.
SORRY ABOUT THE DEMON (NR) 101 minutes * * * When they find out that their house has a demon, this family gets creative. They make a deal with the demon who has possessed their daughtr, that they will find a bettter host for it. Enter Will (Jon Michael Simpson), an unwitting young man who has just rented a house with a demon. It's an interesting mix of comedy and horror. It leans hard into the horror, especially as the film moves along, and somehow manages to work better than expected.
SORRY TO BOTHER YOU (R) 106 minutes * * 1/2 It's a job. Cassius (LaKeith Stanfield) gets a job as a telemarketer and soon discovers that the best way to complete a sale is to use his "white voice". Suddenly, he's a success, even as his co-workers struggle to form a union to get better wages and working conditions. He is quickly swept up in the world of wealth until his conscience begins to bother him. Intense social satire that gets a little outrageous, but makes its point quite clear. The end of the film loses a bit of steam. R for language and sex.
SORRY WE MISSED YOU (NR) 100 minutes * * * It's not an ideal job, but Ricky (Kris Hitchen) and his family have been struggling, and something is better than nothing. The job has few protections, and everything in life seems to just keep getting worse, including the fact that their son is skipping school and getting into trouble. A little slow to start, but a strong finish. Nice work by the cast.
SOUL (PG) 90 minutes * * * 1/2 Just when his chance has finally come, Joe (voiced by Jamie Foxx) dies. But he's not ready. In trying to escape moving on to the Great Beyond, Joe finds himself signed up as a mentor to Soul 22 (voiced by Tina Fey). Soul 22 is avoiding heading to Earth. It's about finding your reason for being, your "spark", and about understanding that life itself can be that "spark". Brilliant animation, as you might expect from Pixar. Director Pete Doctor was also the director for "Monsters, Inc.", "Up", and "Inside Out". PG for language.
THE SOUL COLLECTOR (NR) 95 minutes * * 1/2 Falling on hard times, William (Garth Breytenbach) returns to his family's farm with his wife and daughter (Keita Luna). Soon, Lazarus (Tshamano Sebe) shows up to offer help. Lazarus has a dark secret. One that is about to have a negative impact on William and his family. It's a dark tale, but with a gentle and tender cord that is neatly wrapped with the darker one.
SOUL FOOD (R) 111 minutes * * * A slice of family life among the beautiful and talented black. When Big Mama dies, things begin to fall apart. It's an interesting character study film with strong performances that make it worth a look. Of particular note is young Brandon Hammond's performance as Ahmad. Vanessa Williams and Viveca A. Fox are among the rest of the highly talented cast. R for language and sex.
SOUL MAN (PG-13) 110 minutes * * Best buddies in high school, Mark (C. Thomas Howell) and Gordon (Arye Gross) are planning similar careers and are both on their way to Harvard Law School. Mark’s dad decides that it’s time for Mark to be a man… and pay for his own college education, using all of the money in Mark’s college fund to buy a condo in Barbados. In an effort to get his tuition paid for, Mark takes a pill that changes his skin color so he can get a scholarship. The story tries to walk a very thin line that tries to be humorous and more often ends up awkward and in poor taste. Howell and Gross both deliver good performances, but the story just doesn’t work.
SOUL MEN (R) 94 minutes * * * They were back-up singers who never made it on their own once their lead singer bailed on them. Now Louis (Samuel L. Jackson) and Floyd (Bernie Mac) are headed across the country to sing at a memorial service for their former partner. It will be a wild trip, to say the least. A little comedy, a little drama, and lots of talent. Nice job by both leads and more than a little sentimentality tied to this being Mac's last featured role as well as the final role for the great Isaac Hayes. R for language and sex.
SOUL ON A STRING (NR) 138 minutes * * * Tabei has not been a good person. But he has been given a second chance, and a mission. If he can deliver a sacred stone to its rightful place, his soul may once again be on the right path. The harsh, yet beautiful landscape of Tibet provides a wonderful backdrop for the story.
SOUL PLANE (R) 85 minutes BOMB Foul-mouthed waste of talent film that tells the story of a man who wins a lawsuit against an airline and decides to start his own. It's more difficult than expected, especially when your employees are like these. D.L. Hughley, Snoop Dogg, Method Man, Monique, and Tom Arnold are among those who apparently had nothing better to do. R for language and sexual humor (if you can call it that).
SOUL POWER (PG-13) 87 minutes * * 1/2 A three day concert in Africa, scheduled to preceed the Muhammad Ali/George Foreman fight. The idea was to bring together both African and African-American musicians in celebration of music and shared history. There's a bit of background information toward the beginning of the film, but the bulk of what's here is the music. It's great stuff, and wonderful to see so many talented musicians sharing the same stage. PG-13 for language.
SOUL SURFER (PG) 100 minutes * * The story of surfer Bethany Hamilton (AnnaSophia Robb), who lost her arm to a shark attack but recovered and continued to surf. There are a number of nice surfing scenes, but the relationships here are very two-dimensional. Robb does reasonably well, but the script doesn't really give her a great deal to work with. PG for violence.
THE SOUND (NR) 89 minutes * * Kelly Johansen (Rose McGowan) is a ghostbuster. She uses her equipment to analyze the sounds of a "haunting" to figure out what is really happening. The old, abandoned subway station she's about to investigate could end up giving her another possibility to consider. Nicely done overall, with a very haunting atmosphere. The story does lose a little strength at the end though.
SOUND CITY (NR) 100 minutes * * * One of the gems in the music industry was the Sound City recording studio in California. Though the word "gem" is perhaps a bit of an overstatement considering how non-descript and almost trashy the place was, even during its most popular days. But the history that happened there is undeniable, and it holds a special place in the heart of the music industry. the advent of digital music finally sounded the death knell, but director Dave Grol bought the sound board and moved it to his own studio. There really is nothing like the sound that can be recorded live on a tape.
SOUND OF FREEDOM (PG-13) 121 minutes * * * As Tim Ballard (Jim Caviezel) begins to work on a child trafficking case, he realizes two things. He has to do more, and he's going to have to work outside the system. He becomes a vigilante, working to save as many children as he can, putting his own life at risk. A powerful script, based on a true story, and well-supported by the cast. PG-13 for violence and language.
SOUND OF METAL (R) 116 minutes * * * 1/2 A drummer for a heavy metal band, Ruben (Riz Ahmed) suddenly loses his hearing. His career and his life are now on the line. His girlfriend Lou (Olivia Cooke), who is also the lead singer of the band is doing everything she can, but Ruben has to decide to do his part. That's going to take some work, because he needs to truly understand what it means to be deaf. Wonderful performance by Ahmed. R for language and nudity.
THE SOUND OF MUSIC (NR) 134 minutes * * Mediocre TV version of the classic Broadway musical, featuring Carrie Underwood in the lead role. She has a great voice, and the music has a power all it's own, but Underwood's acting skills definitely need some work. The stiff and awkward choreography and the results in a production that looks far more amateurish than it should.
SOUND OF MY VOICE (R) 81 minutes * * 1/2 Peter (Christopher Denham) and Lorna (Nicole Vicius) set out to make a film that will expose a cult leader as a con artist. They join the cult to get a closer look, but while some aspects seem to obviously be a con, there are others that are not so easily explained. Brit Marling delivers a lovely, almost ethereal performance, and the film has a strange, surreal ending that leaves us wondering as well. R for language.
SOUND OF NOISE (R) 96 minutes * * * While the other members of Amadeus' (Bengt Nillson) family are very musically talented, not only is he rather lacking in that area, he has grown to hate music. But now he's up against a crew of very unusual musicians who are "playing the city" in soe very creative ways. As a police officer, it's his duty to stop them, but he has to get past his hatred of music to begin to understand what's happening. Different and creative story that starts a bit rough, but soon becomes almost charming as we watch Amadeus struggle and then begin to understand what he needs to know. R for language and nudity.
THE SOUND OF SILENCE (NR) 83 minutes * * 1/2 It's a somewhat unique and unusual occupation, but Peter (Peter Sarsgaard) is a very successful house tuner. He changes the levels, tones, and volumes of sound inside a home to improve people's moods and feelins. He's never found a client he couldn't help... until now. Peter is a fascinating character, well-played by Sarsgaard. Still, we need a little more from the story.
A SOUND OF THUNDER (PG-13) 94 minutes * * 1/2 What happens if you travel into the past and accidentally change something? What effect would it have? Adapted from the Ray Bradbury short story of the same name, which, incidentally, was also an episode of the Ray Bradbury Theater TV series, this film explores one theory. There are definitely some holes in it, but there were holes in the original story. Bradbury was having fun with an idea and that's what this film attempts to do as well. For the most part, it succeeds in this endeavor, though it's definitely not going to win any awards. Both the effects and the acting are somewhat mixed, some very nice effects, others rather poorly done, some acting fairly good, others... not so good. PG-13 for violence and language.
SOUNDTRACK FOR A REVOLUTION (NR) 79 minutes * * * The music that supported and inspired the civil rights movement of the 1960s. It was music that carried the heart and soul and this documentary highlights muchof that music and some of the artists as well as notable moments in the struggle. Does a nice job of conveying the powerful emotions and the tension that characterized the movement.
SOURLANDS (NR) 76 minutes * * 1/2 A study of the Sourlands area of New Jersey, looking at the ecosystem and how it is changing. The presentation of the material is rather dry, but the information is valuable not only from a local perspective, but as an example of what is happening in the larger ecosystem of the United States.
LA SOURCE (NR) 67 minutes * * * Josue Lajeunesse came from haiti to the United States to earn money to support his family. He had a dream of clean water being available for his community back in Haiti. In 2010, the devastating earthquake in Haiti means that Josue's family and friends need his support more than ever. And so he returns. Powerful documentary, though its actually a little too short.
SOURCE CODE (PG-13) 87 minutes * * * Interesting look at a different sort of time travel. The idea being that the last eight minutes of our lives are still accessible for "replay". There are definitely some unanswered questions in the script, but it does keep us interested, and Jake Gyllenhaal does a nice job here as do Michelle Monaghan and Vera Farmiga. PG-13 for violence and language.
SOUTH BEACH LOVE (NR) 82 minutes * * Sara (Taylor Cole) and Tony (William Levy) are both cooking for quinceaneras. They used to work together, but now they are competing against each other. It's not going well. Maybe they should work together again. No surprises here.
SOUTH OF HEAVEN (NR) 117 minutes * * * He just got one more chance. Jimmy (Jason Sudeikis) has been granted an early parole. He's determined to give Annie (Evangeline Lilly) the wedding she deserves. She has lung cancer and only another year to live. But staying straight isn;t going to be easy with a boss who has no hesitation about trapping Jimmy into doing some illegal work. It's a vicious spiral that just can't end well for Jimmy. Sudeikis isn't a great fit here, but he manages to do reasonably well.
SOUTH OF THE BORDER (NR) 75 minutes * * * Fascinating look at the political structure in South America. Portrayed as combative and anti-US, what director Oliver Stone uncovers is a group of countries that are actively growing their economies, working to erase their national debts, decreasing their dependence on countries outside of South America, and enjoying the benefits of democracy. It's particularly fascinating to watch some of the leaders sitting with each other as they talk with Stone. And interesting to note their comments about the media and the politics of the US as it relates to the work they are trying to do.
SOUTH PARK: BIGGER LONGER & UNCUT (R) 76 minutes * * 1/2 Pretty much just as the title tells it. This pokes fun at the South Park TV show and the idea of censorship, promoting freedom of speech and the idea that we are responsible for our own actions. Just as rude, crude, and frequently hilarious as the TV show with wonderful songs created by Marc Shaiman and Trey Parker. As Cartman states, "I'm sorry. I can't help myself. The movie warped my fragile little mind." Of course, if you're already a little warped... R for language and violence.
SOUTH PARK: IMAGINATIONLAND (NR) 67 minutes * * The South Park gang has to save our imaginations by travelling to a magical land and helping the good characters overcome the bad ones. It's going to take plenty of imagination on their part. Fans of the series will enjoy this, but it's not their best story.
SOUTH RIDING (NR) 174 minutes * * * South Riding is a small community in Yorkshire, and in the 1930s, a young school teacher arrives. She is full of new ideas and hopes to share her knowledge with this community and its children. She will, in fact, open the hearts and minds of many of the young girls here, as well as a few others, but she will also learn much about life and herself that she did not know before. Nicely done BBC mini-series.
SOUTHBOUND (R) 86 minutes * 1/2 A desolate stretch of road serves as the setting for five connected stories of terror. Uneven in pacing, and the connection between the stories is more than a little thin. There are some interesting concepts, but they're never given much of a chance to develop. R for violence and language.
SOUTHERN COMFORT (R) 107 minutes * * Working out with the National Guard is challenging on its own. This group of people is going to have to also deal with some locals who are less than friendly. Good tension throughout, though the ending is less satisfactory, especially the use of slow-motion was unnecessary. R for violence.
SOUTHERN GOSPEL (PG-13) 104 minutes * * 1/2 Samuel (Max Ehrich) has a talent for music. Raised in a conservative home, his musical interests lean more toward rock and roll. When his life hits a tragic turning point, he begins to explore another option. Perhaps he can be a preacher like his father. The road of life is sometimes rough, and Samuel still lhas some challenges to face. Based on the life story of Samuel Allen. PG-13 for language and violence.
SOUTHERN JUSTICE (R) 92 minutes 1/2 Slim (M.D. Selig) runs a show club, and one of his dancers just turned up dead. And then another. His sniper skills and military training just might come in handy. Poorly written, and yet the acting is even worse. R for violence, sex, and language.
SOUTHLAND TALES (R) 136 minutes * * * 1/2 From the mind of the creator of "Donnie Darko" comes this unusual tale of the United States in a world where World War 3 is a reality and civil liberties are a thing of the past. Three particular characters are the focus here. Boxer Santaros (Dwayne Johnson), an actor/screenwriter who can't figure out why life seems to be resembling the screenplay he just wrote or why he can't remember what happened over the past few weeks. Krysta Now (Sarah Michelle Gellar), a porn star who now has a talk show, a pop song, a sports drink, and more. And Roland/Ronald Taverner (Seann William Scott), a police officer who is now two people... who probably shouldn't meet each other. It's an amazing, strange, and fun story with more than a little political, social, and entertainment commentary. Not a mainstream film, but if you enjoy films like "Donnie Darko" or "The Hudsucker Proxy", this is not to be missed. Just remember... "Ladies and gentlemen, the party is over... have a nice apocalypse!" Great soundtrack by Moby! R for sex, violence, and language.
SOUTHPAW (R) 120 minutes * * 1/2 Billy Hope (Jake Gyllenhaal) is a fighter. But with his wife lost to a tragic accident and his daughter taken by Child Protective Services, he has a different sort of fight to face. Nice work by the cast, led well by Gyllenhaal. The story is a little bland, but not bad. R for language and violence.
SOUTHSIDE WITH YOU (PG-13) 76 minutes * * The early days of Barack Obama and Michelle Robinson. A gentle love story with a few more dramatic moments, though it leaves us with a few questions at the end. Nothing outstanding, but reasonably good performances. PG-13 for language and violence.
THE SOUVENIR (R) 116 minutes * * The story here is based on writer/director Joanna Hogg's experience at film school. What's awkward is the script, which is written for everyone but Honor Swinton Byrne, who plays Hogg's version of herself. Byrne bases her performance on her reading of Hogg's diaries and other writings of the time period. That mix of improvisation and scripted acting creates a film that has occasional moments of brilliance, and long segments of painful awkwardness. Perhaps true to Hogg's experience, but difficult to watch. R for sex and language.
SOX (NR) 81 minutes 1/2 A family gets a new dog. It's cute. It talks. Of course there are bumbling authorities who want to catch the dog because they know about the talking thing. Aside from the cute dog, this really doesn't have much appeal. Even the younger crowd seems disinterested after a few minutes.
THE SPACE BETWEEN (NR) 81 minutes * * 1/2 If she makes one more mistake, she just might lose her job. And now, Montine (Melissa Leo) finds herself responsible for getting an unaccompanied minor fromt he flight she was working on, back to New York... in the hours immediately following the attack on the World Trade Center on 9/11. Leo does a wonderful job here, though young Anthony Keyvan doesn't really stand out much. It's a touching story, told with a great deal of sensitivity.
THE SPACE BETWEEN (2021) (R) 94 minutes * * 1/2 Looking to get a jump start on climbing the corporate ladder, Charlie (Jackson White) offers to get Micky Adams (Kelsey Grammer) to sign the papers that will bring an end to his contract. That's not going to be easy. While he is supposed to be new and inexperienced, White's performance is still lacking the strength it needs. Grammer is good though, and yes, he does sing his own songs. R for language and sex.
THE SPACE BETWEEN US (PG-13) 114 minutes * * * Gardner (Asa Butterfield) was born on Mars. Now that he's a teenager, the thing he wants to do most is visit Earth. The problem is that no one knows if he'd be able to survive the trip. The reason this works as well as it does is because of the performances of Butterfield and Britt Robertson. They give the story a very personal touch that carries across to us. It's a little overly sentimental, which stretches believability a little too far, but otherwise, it works quite well. PG-13 for language and sex.
SPACE BUDDIES (G) 81 minutes * 1/2 The buddies accidentally hitch a ride on a spaceship headed for the moon. Capitalizing on the past, though definitely dwindling, success of the "Air Bud" film and it's numerous sequels, but the animated bits don't look very good here, and the acting in this series just keeps getting worse.
SPACE CHIMPS (G) 77 minutes * * 1/2 Ham III is the grandson of a great space exploring chimpanzee. His work as a daredevil in a circus is going to come in handy when he ends up recruited by NASA for their latest mission. The aliens they discover need help, and it's up to Ham and friends to save the day. Mildly entertaining cartoon with good animation.
SPACE CHIMPS 2: ZARTOG STRIKES BACK (PG) 68 minutes * * Comet (voiced by Zack Shada) is supposed to get a seat on the return mission but gets cut at the last minute. Of course, he ends up going anyway, and the resulting blast sets Zartog free to wreak more havoc on earth. The younger set will enjoy all of the action, but the story is definitely less interesting and exciting than the first. PG for language.
SPACE COWBOYS (PG-13) 121 minutes * * * An old Russian communication satellite has stopped working and is going to crash. THe problem is that it's so old, almost nobody knows how to work with it. Enter the "cowboys", the military team that almost made it into space before NASA became a reality. It's wonderful to see these guys working together... Clint Eastwood, Tommy Lee Jones, Donald Sutherland, and James Garner... it makes you smile just to think about it! William Devane has a nice supporting role too. The film itself is a nice change of pace from Eastwood's other directorial works, mixing a bit more action and suspense into the story. His amiable style is still is still evident, but the additional intensity works well. PG-13 for language and violence.
SPACE DOGS (G) 78 minutes * Animated and fictionalized version of the story of the first two dogs that Russia sent into space. The bright colors may appeal to the younger set, but the idea of dogs being shot into space may concern them, though it might offer the opportunity for some education (on your own - don't rely on the film for that). Most of the characters here are more annoying than appealing. There is some interesting footage during the credits that shows the real dogs that made the trip into space.
SPACE DOGS: TROPICAL ADVENTURE (NR) 77 minutes * 1/2 Belka and Strelka are back. This time they are sent to check out a strange whirlpool in the Atlantic Ocean. The music helps, but the story hardly ever stays still and sometimes doesn't make much sense.
SPACE JAM (PG) 78 minutes * * This film does have its amusing points, but is mostly aimed at making a fast buck by including some sports figures and carttons in a mix that will appeal to kids. Light on story, thick on morals, but fast-paced and brightly colored. Lola Bunny is a nice addition, and the "Pulp Fiction" sequence are among the best moments in the film. PG for language and violence.
SPACE JAM: A NEW LEGACY (PG) 108 minutes * 1/2"When LeBron James turns down a deal from Warner Brothers, the AI that came up with the idea goes rogue and kidnaps his son. Now, James will have to play his way out from the inside. That means playing a basketball game with Bugs Bunny and friends as his team. It's not that the first "Space Jam" movie was a great movie... except by comparison to this one. Even more characters are jammed in here than in the previous film, and mostly it's just because they can. A disappointing sequel to a mediocre film. PG for violence and language.
SPACE RAIDERS (PG) 82 minutes * Things aren’t going to go well when a young boy is kidnapped by a spaceship full of aliens who don’t really get along very well. This borrows props and music from some other films made just before it, which mostly speaks of how low the budget for this film was. It’s unfortunate, because a really nice little story managed to get lost because of the lack of money to put it up on the big screen.
SPACE STATION 76 (R) 93 minutes * 1/2 When Jessica (Liv Tyler) is assigned to Space Station 76, she'll soon learn just how unusual the place is. But what no one is aware of is the danger that lies ahead. One of the main points here is to be careful about the utopia you want to create, because you may find that you're left with nothing but dreams. The humor here is all very straight-faced, and frequently mixed with cynicism. The ending is surprisingly poignant, though still somewhat strange. R for sex and language.
SPACEBALLS (PG) 90 minutes * * 1/2 Mel Brooks' send-up of Star Wars has its fair share of hits and misses. Some bits are wonderfully humorous, and others are just stupid, which isn't that uncommon for Brooks' films. Great make-up by Ben Nye Jr., not-so-great costumes though. One of the more interesting casting choices was to use Lorene Yarnell of the mime team Shields and Yarnell as Dot Matrix in a parody of C3P0 with Joan Rivers providing the voice.
SPACECAMP (PG) 104 minutes * * ½ It was supposed to just be a fun and educational week at SpaceCamp. Then their shuttle actually gets launched. (Right…) The story seems to be missing quite a bit, besides logic, but it does still manage to generate some excitement and energy. Most of that is due to the cast, who approach their roles with sincerity, which helps us believe what they are going through.
SPACED INVADERS (PG) 96 minutes * Spaced investors is more like it. Did they really think this was a good project? Poorly made film about some not-very-bright Martians who invade the earth on Halloween.
SPACEHUNTER: ADVENTURES IN THE FORBIDDEN ZONE (PG) 85 minutes * * ½ Wolff (Peter Strauss) has been tasked with a new mission: rescue the crew of ship that went down on a planet where a fatal disease is running rampant. He will have to face Overdog (Michael Ironside), but will have some unexpected help in the person of Niki (Molly Ringwald). Fun space adventure with some very nice 3-D effects that focus on creating depth rather than pushing things into your face. PG for language, violence, and sex.
SPACEWALKER (NR) 132 minutes * * 1/2 Russia is in a race with the United States. Which country can be the first to send a man into space? At the moment, Russia is in the lead. The film follows the race from the perspective of two Russian military pilots, Pavel (Konstantin Khabenskiy) and Alexey (Evgeniy Mironov) as they train to become cosmonauts. Very good tension at the end.
SPANGLISH (PG-13) 126 minutes * * * 1/2 Flor Moreno (Paz Vega) and her daughter move from Mexico to the US. Despite Flor's inability to speak English, she starts working for a very high strung woman (Tea Leoni) and her easy-going husband (Adam Sandler). Thus begins a complicated dance of feelings and friendship, cultures and ideas. A dance that will change them all. The script is a fairly typical James L. Brooks work, talky and rather self-analytical, but also very sincere and real. The performances are strong all around, but Cloris Leachman delivers a delightfully scene stealing performance that is worthy of an Oscar. PG-13 for language.
THE SPANISH PRISONER (PG) 110 minutes * * * Joe Ross (Campbell Scott) is the creator of a secret formula. He's afraid that he isn't going to be treated fairly by the company he works for. Little does he know that these are the least of his worries. He's about to become a player in the old "Spanish prisoner" con game. Filled with twists and turns, it's a story that will stay a step ahead of you the whole way. A solid performance from Scott, and it's nice to see Steve Martin in a serious role here. PG for language and violence.
SPARE PARTS (PG-13) 110 minutes * * * Four misfit high school students decide to enter a robotics competition. They all are dealing with various personal issues, but so is the teacher who is working with them. And, as in most underdog competition films, they discover the importance of teamwork and perseverance. The light humor in the story works well to make the story a little more fun to watch. PG-13 for language and violence.
SPARE PARTS (2020) (NR) 86 minutes * Ms. 45 is an all-girl punk band who have most recently been playing a series of dive bars. After their most recent "concert", they are kidnapped and drugged. Each of them now has an arm that has been replaced with a weapon. It is to prepare them for their next gig, as gladiators for the amusement of the townspeople. The effects aren't very good, but there is plenty of blood.
SPARK: A SPACE TAIL (PG) 85 minutes * * 1/2 Three teenage friends decide that it's time to take back control of their planet. (Actually, it's a piece of the planet, but anyway...) The evil overlord Zhong will not be easy to defeat. (Well, maybe he will...) Fun space adventure for the 7-12 crowd. PG for violence and language.
SPARKLE (PG-13) 109 minutes * * Remake of the 1976 film, featuring American Idol winner Jordin Sparks and the last performance of Whitney Houston. The music is great, though Sparks is better than Houston here. The costumes are beautiful, but as this is set in the 1960s, many of them are clearly not period appropriate. It's almost eerie to watch Houston here, as she died while the film was in post production, and her character seems to mirror many aspects of her real life. PG-13 for language and violence.
SPAWN (PG-13) 90 minutes * Incredibly disappointing adaptation of the comic book character that not only bears great resemblance to "The Crow" and "Darkman", but is poorly scripted as well. The special effects are nice, but don't really offer us anything we haven't seen already. The worst is Malbogia, whose mouth doesn't do anything but hang open while he's speaking. PG-13 for violence.
SPEAK (PG-13) 90 minutes * * * Melinda (Kristen Stewart) has become a social outcast at her high school for calling the police and breaking up a party. But no one knows the whole story, and Melinda isn't talking. High school can be tough enough, how can she find the strength to deal with this? Stewart does a great job here with a tough role. It's not a role that immediately draws audience sympathy and interest, but she does an admirable job. Nice to see Steve Zahn in a somewhat uncharacteristic role as an art teacher who understands the importance of what lies beneath the surface. Filmed in Columbus, Ohio. PG-13 for language.
SPEAK (2011) (NR) 87 minutes * * 1/2 The story of the Toastmaster's International Speech Competition whose winner is crowned world champion of public speaking. More than just the competition, this also gives us a look at why its important to be able to speak well in public and who several of the contestants are and what winning could mean to them.
SPEAK NO EVIL (R) 68 minutes * All of the children in this small town disappear for a few days. When they return, they are demonically possessed and begin to take over the town. But Anna (Gabrielle Stone) refuses to believe that her daughter has been lost to a demon. The story idea isn’t bad, but it isn’t developed well and begins to fall apart quickly. The ending is another matter and is just simply bad. R for violence.
SPEAK NO EVIL (NR) 93 minutes * 1/2 Sometimes you meet another family when you're on vacation and there's a connection. Sometimes it works out that you become friends. That will not be the case this time. Not much suspense here, just a sense of the inevitable.
SPECIAL (R) 74 minutes * * * 1/2 It's an ordinary and somewhat boring life, but Les (Michael Rapaport) has begun to notice that it seems to be disappearing bit by bit. He decides to join a clinical drug trial for a drug called "Special". Les now feels that he is indeed "special", endowed with powers he never had before. Unfortunately, these powers are causing him some difficulty. Rapaport delivers a wonderful and heroic performance in this bitterweet and sensitive drama. R for language and violence.
SPECIAL FORCES (R) 105 minutes * * * An intense and emotional look at what happens when a French journalist is kidnapped by the Taliban. Tight story and strong performances will keep you in your seat for this action-packed film. R for language and violence.
SPECIAL ID (R) 96 minutes * * Chan (Donnie Yen) goes undercover to bring down a violent gang leader. But his work and his life are at great risk once his cover is blown by his best friend. Plagued with production problems, the story is a bit of a mess, but there is some great stunt work to watch here. R for violence and language.
THE SPECIAL RELATIONSHIP (NR) 88 minutes * * The title relationship refers to the one between Tony Blair (Michael Sheen) and Bill Clinton (Dennis Quaid). The story covers the period of history from their initial contact shortly before Blair becomes Prime Minister, through his success in leading the world through the crisis of the war in Bosnia. Quaid and Hope Davis are almost too much like the Clinton's here, with the emphasis at times feeling like immitation was more important than the story.
THE SPECIALIST (R) 106 minutes * * Standard action film with Sylvester Stallone as a specially trained explosives expert for hire. Sharon Stone is the woman who hires him to wreak vengeance on her enemies. The standard twist to the story comes at the end of the first hour, which is a little long to wait, but the explosions attempt to keep us interested unitl we reach that point. Adapted from John Shirley's Specialist novels, this offers little you haven't already seen. R for violence, language, and sex.
SPECIES (R) 102 minutes * 1/2 Although the special effects here are quite good, the story is a real mess. Instead of exploring all of the interesting possibilities involving why no one tries to be Sil's friend, (when they try to tap the sympathy of the audience early on) or why she stops aging. Instead, we just get the same old "hunt the alien" story one more time. R for violence and nudity.
SPECIES II (R) 88 minutes 1/2 A trip to Mars finds a male mate for Sil's clone, Eve. The baby would supposedly be terrifically destructive. Most of what gets destroyed here is just the idea that this movie has any hope of being any good. The opening special effects are laughably bad, though the sound effects aren't bad. The creatures at the end are interesting, but we don't get to see much of them as the scene is too dark. In the end, this is thoroughly predictable, poorly acted, and not very interesting. R for violence, sex, and language.
SPECTACULAR (NR) 92 minutes * * Rock band or show choir... which to choose... somehow it's not as dynamic of a choice as music or sports (as in "High School Musical" which this is so obviously similar to). The real problem that Nickelodeon has here is that the supporting characters just don't have much appeal. Nikko (Nolan Gerard Funk) does quite well, and the closing musical number is quite good. Not sure how many people are going to stick around that long though.
THE SPECTACULAR NOW (R) 90 minutes * * 1/2 Sutter (Miles Teller) thought he was living in the here and now, but he's actually been doing anything but that. What will it take for him to learn? Teller's performance tends to be so casual early on that it's difficult to care about him. Most of that is called for by the script as it creates his character, which slowly changes aas the film progresses, but it's a delicate balance and doesn't work very well here. Adapted from the novel by Tim Tharp. R for language and sex.
SPECTER (NR) 74 minutes BOMB A jumble of amateur film footage, including some actual local flooding scenes. There are a few creepy moments, but the story is so disjointed and inconsistent that the overall effect is lost.
SPECTRE (PG-13) 141 minutes * * * Nicely done entry in the continuing series of James Bond films, with Daniel Craig continuing to deliver a strong character with an almost hidden sense of humor. The storyline here should serve to remind those familiar with the series that Craig's character is what is known as an "original Bond", meaning that chronologically, they come very early in the series. In this specific case, it menas that this adventure is his first encounter with SPECTRE, an organization that will plague him for the rest of his life. PG-13 for violence, sex, and language.
SPEECHLESS (PG-13) 94 minutes * * 1/2 Two speechwriters, drawn together by their love of words, soon finds themselves on opposing sides in an election. Words can be dangerous. Thinking before speaking is not something most people do. But as these characters learn, apologizing and forgiving can do wonders. Geena Davis and Michael Keaton carry the film fairly well, but by it's nature, it's wordy at times, making it a little hard to give us the charm we need.
SPEED (R) 108 minutes * * 1/2 Very fast-paced action film that is likely to keep you on the edge of your seat all the way through. The characters are a different story... it seems like the only time we ever learn anything important about them is right before it figures to be an important part of how a problem is solved. We needed to learn more about Dennis Hopper's twisted sense of the life of bombs, Keanu Reeves' brashness, and Sandra Bullock's concern for others and ability to perform under pressure. R for violence and language.
SPEED KILLS (R) 97 minutes * * * Real estate investor, speed boat racing champion, multi-millionaire... Ben Aranoff (John Travolta) was used to winning at everything he did. Some of his deals are on the wrong side of the law, and when the noose begins to tighten, it's not a pretty picture. Good work by the cast, and the story is very well-paced, but the make-up is noticeably poor. Inspired by actual events. R for language and violence.
SPEED RACER (PG) 127 minutes * * 1/2 Racing is all Speed racer (Emile Hirsch) has ever thought about. As Speed's career begins to take off, his talents draw the attention of a corporate racing team who makes sure their team always wins. Speed has a different idea of how races should be run. Full of brilliant and flashy colors, making this a visual treat and very appealing to the younger crowd, though it may be a bit violent for them at times. Also starring Christina Ricci, Susan Sarandon, John Goodman, and Matthew Fox. PG for violence and language.
SPEED 2: CRUISE CONTROL (PG-13) 116 minutes * 1/2 Even less realistic than its predecessor, this doesn't have much to offer. There is quite a bit of action, but far too many of the scenes are obviously miniatures. ILM's special effects took a back seat to their work on the Star Wars special edition films... and it shows. Sandra Bullock does what she can, but she can't carry this all by herself. PG-13 for language and violence.
SPEED ZONE (PG) 92 minutes BOMB This "Cannonball Run" clone has only one thing going for it... the cast. The horrible script, and even worse direction manage to ruin any potential there might have been for a fun film though.
SPELL (R) 85 minutes * 1/2 A family trip to the funeral of Marquis' (Omari Hardwick) father takes a strange twist. Their small plane flies into a storm. After the inevitable crash, Marquis wakes to find himself trapped in an attic and under the care of Ms. Eloise (Loretta Devine), a practitioner of Hoodoo. Marquis has to find his family and find a way out. This starts well, but doesn't really follow through, with an ending that resolves too easily and that undercuts the sinister and mysterious tone that is set earlier in the film. R for violence and language.
SPENCER (R) 110 minutes * * 1/2 After ten years of marriage to Prince Charles, Diana (Kristen Stewart) decides that it's time for the marriage to end. It's Christmas though, at the Sandringham Estate. So it seems best to wait until the formalities of the holiday are past. But can she last that long when she already knows that it's over? An unusual piece that takes a trip to the dark side of Diana's mind as she struggles to deal with a less than happy marriage and all of the formalities that her position in the royal family requires. Fine work by Stewart. R for language.
SPHERE (PG-13) 130 minutes * * 1/2 An alien spacecraft has been located beneath the surface of the ocean. A special team is assembled to investigate as it appears the craft landed on earth in the 1700s. What will they discover and what will it mean to humanity? The ideas here are interesting, but are short-circuited by a script that gives us too many inconsistencies and awkward moments. At times, there appears to be little continuity for the actors, which speaks of weak direction. Film studios seem to be in a rush to get every Michael Crichton book onto the screen, with the result being several that are far less than what they could've been. PG-13 for violence and language.
SPICE WORLD (PG) 85 minutes * Part concert film, part British humor, this ends up mostly being just a silly film that features the British pop all-girl group, The Spice Girls. Somehow, the girls still manage to come off as talented, despite the low quality of the production. Spice Girls fans will like this more than most people, but een they may have a hard time with the story. PG for language.
SPIDER IN THE ATTIC (NR) 81 minutes BOMB Spiders, plural. A nest. In the attic. They're huge and deadly. The cast isn't great, but it's the CGI effects, editing, and photography that make this so bad. The story also moves very slowly and has an ending that is both inconclusive and no surprise.
SPIDER-MAN (PG-13) 115 minutes * * * First, the complaints... the Green Goblin's mask is terrible, looking like a left-over from the Power Rangers. The sequences where computer generated images are spliced in between live action sequences just don't look right, though the animation is very nicely done. And finally, the duration of the Green Goblin's character is far too short. Even for those who aren't familiar with the comic book, he is too easily defeated. With those complaints out of the way, this is definitely a fun, comic book adventure and one of the better ones to hit the big screen. Much like the first Batman and the first X-Men film, it captures the essence of the comic well and is entertaining even for the few who might not be familiar with the character prior to seeing the film. Not only does this leave itself open for a sequel, it's tremendous performance at the box office assures that several other comic book characters will be able to make it to the big screen as well. PG-13 for violence.
SPIDER-MAN: ACROSS THE SPIDER-VERSE (PG) 134 minutes * * * The multi-verse is full of Spider-people. Miles have met many of them, but now he's discovered an elite team of them who are protecting the existence of the multi-verse. It's going to take all of them working together to defeat a new villain who travels through the multi-verse with ease... The Spot. Really nice animation and a good continuation of the story. PG for violence and language.
SPIDER-MAN: FAR FROM HOME (PG-13) 119 minutes * * * The world has changed. After the events of "Avengers: Endgame", many superheroes are no longer with us. Spider-man (Tom Holland) has been asked to take on a bigger role. Is he ready? Does he want to do this? Does Mary-Jane (Zendaya) like him as much as he likes her? The villain this time is Mysterio (Jake Gyllenhaal), and it's a good fit. The special effects are mostly good, though the CGI is a little inconsistent. Tightening this up just a little would have improvied the pace and made it a little better. PG-13 for violence and lnaguage.
SPIDER-MAN: HOMECOMING (PG-13) 123 minutes * * * A re-worked version of Spider-man, as the story makes an effort to tie this into a much larger story arc that includes a number of other Marvel comic character films. It works well as a film on its own and as part of that series. The CGI effects are a little rough early on, but get better as the film moves along. Tom Holland does a great job with the character, and the story does a nice job of presenting a character that is more true to the original ideas in the comic book, including an emphasis on his strength. PG-13 for violence and language.
SPIDER-MAN: INTO THE SPIDER-VERSE (PG) 106 minutes * * * 1/2 Miles (voiced by Shameik Moore) can't believe that he's become Spider-Man, but in his reality, that is exactly what has happened. He now has the opportunity, or perhaps challenge, to work with his counterparts from five other dimensions to defeat an evil that could destroy them all. This features some of the Sony Animation team's best work up to this point, which ended up earning this the Oscar for Best Animated Feature. The array of vocal talent working on this film is amazing. Hailee Steinfeld, Lily Tomlin, Zoe Kravitz, Nicolas Cage, Kathryn Hahn, Chris Pine, and many more. It's also just a really good story. PG for violence and language.
SPIDER-MAN: NO WAY HOME (PG-13) 135 minutes * * * Peter (Tom Holland) enlists the help of Doctor Strange (Benedict Cumberbatch) to deal with the fallout from the world learning his alter ego of Spiderman. Only, the "fix" doesn't go quite as expected. Now there's a bigger problem... which is going to need a bigger solution. Well-writtten story that wraps up the trilogy well and sets the stage for the next Marvel Universe film. Wonderful special effects. PG-13 for violence and language.
SPIDER-MAN 2 (PG-13) 123 minutes * * 1/2 This big-budget sequel looks even more like a comic book in some ways, with some segments heavy with story and others crammed with explosive action. It makes for awkward pacing. The transitions between CGI animation and live action sequences of our costumed hero are definitely better than in the first film, as are many of the other effects. But the story as a whole leaves us wondering about far too many things despite trying to explain a great deal. It's an adequate sequel, but Spidey deserves better. PG-13 for violence.
SPIDER-MAN 3 (PG-13) 134 minutes * * After saving the police chief's daughter, Spidey is the talk of the town. Everything is looking great. Of course that won't last for long. Especially not with Sandman and Venom around. The special effects continue to improve, but the story simplifies the villians far too much and they are far too easy to defeat. And then there's the soft, romantic ending... that is completely out of place for a super-hero film. There's room for a sequel, but someone needs to write a better story than we have here. PG-13 for violence and language.
SPIDERHOLE (NR) 77 minutes * Four friends find an abandoned home in London where they plan to squat, without paying rent. But it turns out that something else is already there. And it isn't too happy about sharing the space. Strange and somewhat creepy, but just when it starts to make a little sense, we have a completely ridiculous ending.
THE SPIDERWICK CHRONICLES (PG) 87 minutes * * * 1/2 Wen the Grace family moves into the Spiderwick estate, they have no idea what's in store. When Jared (Freddie Highmore) discovers the journal of Arthur Spiderwick (David Strathairn), he learns much more than he should. Now the goblin Mulgurath wants the book, and will stop at nothing to get it. Can the Grace family protect the book and save the world? Beautiful, magical, and exciting film, though a bit scary in spots for the youngest ones in the audience. Wonderful special effects and a soundtrack by James Horner that captures all of the excitement and adventure. Adapted from the series of books by Tony DiTerlizzi and Holly Black. PG for violence.
SPIES IN DISGUISE (PG) 93 minutes * * * Lance (voiced by Will Smith) is a spy. The world's best spy. Except that now, he's a pigeon. That means that he's going to have to rely on Walter (voiced by Tom Holland), who is a rather unusual gadget creator who worked for him when he wasn't a pigeon. Fun and very energetic story and animation. Inspired by the animated short film, "Pigeon: Impossible". PG for violence and language.
SPIES LIKE US (PG) 96 minutes * Chevy Chase and Dan Aykroyd think they're spies, but they aren't They also think they're funny. Not the best effort from either of these talented comedians, mostly the fault of a lackluster script and poor editing. PG for violence and language.
SPIN ME ROUND (NR) 101 minutes * * Working at an Italian restaurant chain in Bakersfield, California, Amber (Alison Brie) is one of the lucky winners to visit the company headquarters in Italy. It even comes with the opportunity to meet the chain's owner. She thinks the owner might have a thing for her, but he seems to have a thing for several of the people on this trip. His assistant Kat is the same. The script is full of misdirectionand half-truths, which is sort of the point, but it tends to be a little too much, and shifts too abruptly between comedy and drama.
THE SPINE OF NIGHT (NR) 89 minutes * * 1/2 The journey is long, and filled with danger. Tzod must do her best to meet the sentinel of the bloom... the last light of the gods. Humanity is filled with violence, greed, and worse, but they are in the image of their gods. Can knowledge and light, and a single petal of the bloom restore balance to the universe? An epic story with animation that is good, but not epic.
SPINNING GOLD (R) 129 minutes * * * 1/2 The mostly true story of Neil Bogart (Jeremy Jordan), the genius record producer behind Donna Summer, The Isley Brothers, Gladys Knight, Bill Withers, The Village People, Kiss, and so many more. The founder of Casablanca Records. Written and directed by Timothy Scott Bogart, the son of Neil Bogart. His other children, Brad, Evan, and Joyce, all serve as producers for the film. Wonderful work by Jordan, whose character invites us to hear the story while presenting it and giving us extra anecdotes. R for language and nudity.
SPINNING MAN (R) 97 minutes * * 1/2 This isn't the first time Evan (Guy Pearce) has behaved inappropriately with a student. But Joyce Bonner (Odeya Rush) is dead, and Evan is the prime suspect. Nice supporting work by Minnie Driver and Pierce Brosnan. The story spins around the way memory affects what we interpret to be the truth, and what ultimate truth might be. That works, but it would have been nice to have Jamie Kennedy's character as a fellow professor play into that part of the story more. R for language.
SPINNING PLATES (NR) 90 minutes * * * 1/2 Three very different restaurants. A small, Mexican restaurant, whose owners struggle to do what they love and provide for their family. A 150-year-old restaurant that is an integral part of the community for both food and fellowship. A Chicago restaurant already named one of the world's top ten, whose creative and talented chef is facing a number of hurdles on his way to be the best. As much as this is about food, it is also about family, friendship, overcoming obstacles, and doing your best. Even if you don't care that much about food, this documentary is well worth a look.
SPIRAL (PG-13) 86 minutes * * 1/2 Joel Moore co-writes, co-directs, and stars in this chilling story of a young man who is somewhat of a misfit. Mason (Moore) is a telemarketer with few social skills. Berkeley (Zachery Levi) is his only real friend, though sometimes it's a struggle to remain friends with someone who has as many unusual quirks and is so needy. When Mason meets Amber, he confides is Berkeley. This is a girl who seems to understand him. She likes him and he thinks it might be just what he needs. But Berkeley has heard this all before... or has he? Interesting film with a macabre twist. Moore does a nice job despite being so heavily involved on so many aspects of the film. PG-13 for violence, nudity, and language.
SPIRAL (2019) (NR) 84 minutes * 1/2 Malik (Jeffrey Bowyer-Chapman) and Aaron (Ari Cohen) move to a small town with hopes of raising their daughter in a quiet and more liberal area. Then they see the neighbors holding a rather unusual party that makes them begin to wonder just how safe they are. The characters are shallow and the plot is thin, but the music and photography create some good suspense.
SPIRAL (R) 87 minutes * * Another chapter in the "Saw" series, with Spiral playing games with officers in a police department, killing them off one at a time as they fail their tests. The story, and the individual traps and special effects are just as good as any in the Saaw series, but Chris Rock is not a great fit here. The ending does work well to set things up for another sequel. R for violence and language.
THE SPIRIT (PG-13) 94 minutes * * 1/2 Writer/director Frank Miller bring's Will Eisner's classic 1940s comic book hero to the big screen with the same modern noir style he used for "Sin City". It works quite well, though many may make unfavorable comparisons to the later and think that Miller is just copying himself. Truth is, Miller and many others have long respected Eisner and this is Miller's homage to him. "Sin City" is an homage to Eisner as well. This is just a more direct one, and is packed with style and humor, making it well worth a look if you enjoy noir-style comics. PG-13 for violence, language, and nudity.
SPIRIT HALLOWEEN: THE MOVIE (PG-13) 73 minutes * * These three friends are "too old" to go trick-or-treating. After all, they're almost in high school. A better way to celebrate the holiday would be to spend the night in the local Halloween supply store. They say it's haunted... The target audience is the 12-14 year old crowd, and this works fairly well for that, offering a few good scares and plenty of light adventure. Filmed in a Spirit Halloween store. PG-13 for language and violence.
THE SPIRIT OF CHRISTMAS (NR) 82 minutes * * 1/2 Three weeks. That's how long Kate (Jen Lilley) has to sell this beautiful bed and breakfast. The fact that it's haunted may make it a little more difficult. Nice mix of romance and mystery with a dose of the supernatural. It becomes overly romantic at the end, but until then it works quite well.
SPIRIT: STALLION OF THE CIMARRON (G) 75 minutes * * * Beautifully animated film, telling the story of a young stallion's early life. It truly is a beautiful film, but many younger children may not find it that interesting. The story is told through narration from Spirit's point of view, though the human characters in the film do speak. Still, there are a few sequences where only horses are on screen and there is no narration. It's a nice story, but it's not likely to be the sort of film most children will want to see more than once.
SPIRIT UNTAMED (PG) 80 minutes * * * After the death of her mother, Lucky (voiced by Isabela Merced) is left to be raised by her grandparents. Lucky has a bit of a wild streak though, and so she is eventually sent out west to live with her father. It is here that she meets Spirit, a wild mustang. It doesn;t take long before they are inseparable. Very nice animation. It has a simple look, but is full of intricate details. PG vor violence.
THE SPITFIRE GRILL (PG-13) 112 minutes * * * Recently released from prison in Maine, Percy Talbot (Alison Elliott) chooses nearby Gilead to start her life over again. Working at the Spitfire Grill will teach her how to cook, how to trust, how to begin again... The script lacks a little in the way of polish, but is full of inspiration and does have a few interesting strains in it that keep us wondering. Elliott is superb, and is supported well as she struggles to be accepted. James Horner's sensitive soundtrack helps round out the picture provided by writer/director Lee David Zlotoff. Filmed in Maine and Vermont. PG-13 for language.
SPITFIRE OVER BERLIN (NR) 74 minutes * 1/2 The United States Air Force is getting ready to fly a mission over Nazi Germany, but they also may be flying into a trap. Flight Lieutenant Edward Barnes (Kris Saddler) must fly a mission over Berlin to get the photographs that will ensure that the larger mission is a success. Most of the film takes place in the cockpit of the Spitfire, which keeps the pace slow and the action minimal. Saddler does a good job, but he isn't given much to work with.
SPLASH (PG) 104 minutes * * * ½ Director Ron Howard and writer Brian Grazer team up to deliver a fantasy love story about a budding romance. But what Allen (Tom Hanks) doesn’t know at first is that Madison (Daryl Hannah) is the mermaid who rescued him when he was a boy. Charming story with great work by both Hanks and Hannah. PG for language and sex.
A SPLASH OF LOVE (NR) 85 minutes * 1/2 Expecting something more romantic, Chloe (Rhiannon Fish) takes off on a research trip when that doesn't materialize. It doesn't take long for her to bump into Ben. He knows quite a bit about the whales that Chloe is studying. And he's single. Fish's character starts out overly flighty, though it does town down a bit, but the damage is already done.
SPLICE (R) 100 minutes * * Despite achieving a great deal of success with their recent genetic experiments, Clive (Adrien Brody) and Elsa (Sarah Polley) are told they must stop. Of course they don't, and of course they have an even more impressive success... sort of... The special effects here are quite impressive, the acting a little less so, and the story... reminds us of those old "B" movies from the 1950s. R for sex, violence, and language.
SPLINTER (R) 79 minutes * Weird, and completely unexplained, splinter creature attacks and infects people. OK, it's kind of like the zombie virus... There are plenty of holes in the story, but at least they discover that fires destroys it. Now, wasn't that easy? R for violence and language.
SPLINTER (2021) (NR) 76 minutes * Bringing home some Christmas gifts, John (Bill Fellows) discovers that his wife and son have been murdered. Six months later, he has become a recluse and no longer leaves the house. He believes that he's being watched. Who or what is watching him? The mind can be a terrible thing. A good performance by Fellows, but the rest of the cast struggle, and the production quality is poor.
SPLIT (PG-13) 112 minutes * * * James McAvoy stars as a man with twenty-three personalities who has kidnapped three young women. They need to get away, and some of the personalities are willing to help at some level, but there's a problem. An extremely dangerous 24th personality is about to emerge. The realities of mental health issues aren't really dealt with here, but McAvoy does a nice job of creating distinct characters and the ending is chilling and sinister. PG-13 for violence and language.
SPLIT SECOND (R) 88 minutes * * 1/2 Rutger Hauer is after the serial killer who took out his partner. It's an alien creature that eats the hearts of its victims. Hauer does a great job with his character here, showing us a wide range of emotions and creating a believable character. Unfortunately, the alien is far less believable and keeps us too distant from the film to get all that excited. R for violence and language.
SPLITTING HEIRS (PG-13) 84 minutes * 1/2 Lightweight comedy from Eric Idle and John Cleese about a lost heir being discovered after the dukedom has already been claimed by someone else. Not even close to their best work, and co-star Rick Moranis seems very out of place. No side-splitting laughs from watching this film.
SPOILER ALERT (PG-13) 107 minutes * * * The first time he sees Kit (Ben Aldridge), Michael (Jim Parsons) is in love. He's sure that it's just too good to be ture... and it is. Based on the book by Michael Ansiello, it's a love story and a celebration. The narration is a little strong, but also poignant. PG-13 for sex and language.
THE SPOILS BEFORE DYUING (NR) 129 minutes * * 1/2 Falsely accused of murder, jazz singer Rock Banyon (Michael Kenneth Williams) must find a way to prove his innocence. Ot's another Eric Jonrosh (Will Ferrell) production. As a follow-up to "The Spoils of Babylon", this works a little better, having more than a little fun satirizing film noir.
THE SPOILS OF BABYLON (NR) 136 minutes * * In the grand tradition of all of those overblown, pretentious, historical, romantic TV miniseries... It's a well-played satirical presentation, but it also loses energy too quickly, especially considering how long it is.
THE SPONGEBOB MOVIE: SPONGE ON THE RUN (PG) 83 minutes * * 1/2 Gary, SpongeBob's pet snail, is kidnapped. Patric and SpongeBob head to the Lost City of Atlantic City to bring him back. Various adventures occur along the way. Fans of the serues will have fun with this and with more the focus on the snail and a little less on SpongeBob works well for the story. PG for language.
THE SPONGEBOB MOVIE: SPONGE OUT OF WATER (PG) 84 minutes * * The secret formula for Krabby patties is missing, and that pretty much means the end of the world unless someone finds it soon. Fans of the series will find this fun, but even they may agree that it runs a little long. PG for language and violence.
THE SPONGEBOB SQUAREPANTS MOVIE (PG) 78 minutes * * The new Krusty Krab restaurant is opening and SpongeBob hopes to be the new manager. Meanwhile, Plankton is plotting to steal the secret recipe and take over the world, as usual. Much like the TV show, so if you like that, you'll like this, but there's nothing remarkable or all that interesting here. PG for violence.
SPONTANEOUS (R) 96 minutes * * * They can't figure out why it's happening, but their classmates are exploding. Mara (Katherine Langford) and Dylan (Charlie Plummer) decide that it means they shouldn't waste time. Their love begins to bloom while their classmates continue to explode. A unique coming-of-age story, adapted from the novel by Aaron Starmer. Nice supporting performance by Hayley Law. R for language and violence.
SPOOKY BUDDIES (G) 85 minutes * * Another adventure for the pups. This time, the Halloween Hound that was almost released by Warwick the Warlock (Harland Williams) 75 years ago is accidentally released by the buddies. The pups will have to stop Warwick and the Halloween Hound from releasing all of the evil in the magical mirror before the night is over. Could be a little scary for those under age seven.
SPOOKY HOUSE (PG) 102 minutes * * 1/2 The Great Zamboni (Ben Kingsley) has become a recluse who lives in a big spooky mansion. Max (Matt Weinberg) wants to be his friend, but Zamboni isn't really interested. At least not at first. Kingsley and Mercedes Ruehl clearly have fun with their characters in this nice adventure film for the younger crowd. PG for violence.
SPOOKY STAKEOUT (NR) 82 minutes * * Investigating a haunted castle is nothing new to these four friends. They've already checked out a haunted school and a haunted hotel. But there's something similar about all three cases. This uses footage from the interactive TV show of the same name to create a feature length film. That makes the ending less than complete, but otherwise, it's a fun and lightly creepy adventure for the 12 and under crowd.
SPOTLIGHT (R) 121 minutes * * * 1/2 The story of the Boston Globe reporters who broke the story about the Catholic church's cover-up of child abuse by literally hundreds of priests. A strong and solid drama with great work by the ensemble cast. Oscar winner for Best Picture and Original Screenplay. R for language and sex.
SPREAD (R) 91 minutes * * 1/2 Nikki (Ashton Kutcher) is a boy-toy for the rich women who can afford to keep him. He's trading sex for security, but when he meets Heather (Margarita Levieva), he's thinking about settling down. But what is she really thinking? Kutcher does a good job here, despite the predictability of the story. R for sex and language.
SPREADING DARKNESS (NR) 100 minutes * 1/2 Questionable business practices have been a staple of Stu's (Eric Roberts) dealings. It would appear that the time has come to pay for them. His former vicvtims are now haunting him, and he's growing increasingly paranoid. The story is overly complex and seems to enjoy that, despite how almost nonsensical it becomes.
SPREE (NR) 88 minutes * * Always on his social media acocunt, Kurt (Joe Keery) has never really had many followers. This eventually begins to bother him. After some thought, he comes up with an idea for how he can get his account to go viral. It involves his work as a rideshare driver for Spree. The middle of the film gets a bit lost as far as story, though the energy level is maintained. The ending is rather chilling in its social commentary, but getting there is a little rough.
SPRING (NR) 106 minutes * * * Evan (Lou Taylor Pucci) had no idea what's in store for him when he falls for Louise (Nadia Hilker). The macabre here is presented so matter-of-factly that it doesn't take long for us to just accept it. Early on, there might be a tendency to expect something more horrific to happen, but that's not where this story goes. Definitely one of the most unusual love stories you'll ever see, and well-told.
SPRING BREAK (R) 92 minutes * * ½ The title pretty much says it all. Spring break in Florida for four college guys. Despite being rated R, this is fairly tame as far as college party films go. R for sex and language.
SPRING BREAKDOWN (R) 78 minutes * They are three nerdy girls who have grown up to be three... less than successful adults. Now they have a chance to go on spring break again, but why would they want to? Amy Poehler, Parker Posey, and Rachel Dratch are better than this, and seem to wonder how they ended up in a film that's this bad. Lots of hot young bodies here... and not much story or acting. R for language and sex.
SPRING BREAKERS (R) 88 minutes * 1/2 Faith (Selena Gomez) goes on spring break with three of her friends. They aren't perhaps the best friends to have, considering that they stole a car and robbed a store so that they had enough money to make the trip. When they end up in jail, they soon find themselves in debt to the man who bails them out. Faith's friends find him to be a kindred spirit, but she's not so sure. James Franco's over-the-top performance is the most memorable bit here, as well as the strange choice of Gomez, despite the fact that her character is clearly the "good person". The script is shallow and repetitious, but then again, so are the characters. R for sex, language, and violence.
SPRING FEVER (PG) 93 minutes * * ½ It’s the Junior Nationals Women’s Tennis Championship in Florida and K.C. (Carling Bassett) is with her mother (Susan Anton) to win and have some fun along the way. Disregard the promotional artwork for the film, which makes it look like a beach sex party, because it isn’t that at all. It’s actually more family-oriented, and a little dull early on.
SPRINTER (NR) 106 minutes * * 1/2 He's dreamed of winning the 400 meter race, but Akeem's (Dale Elliott) real skill is for the 200 meter race. It's still not going to be easy as his father and brother offer little suport and his mother left for better opportunities in the United States. Akeem has some difficult choices to make. Good sports drama with a little "coming of age" mixed in.
SPRUNG (R) 105 minutes * * 1/2 Love story with Rusty Cundieff and Tisha Campbell in the leading roles. They do a fine job, but the script is uneven and the direction is sorely lacking the energy it needs to keep this film moving along. Trimming it down would have helped, but it still comes off like a made-for-video production. R for sex and language.
SPUN (R) 92 minutes * * 1/2 Bizarre kaleidoscope of images that attempt to recreate the drug-induced euphoria/paranoia of the main characters. Ross (Jason Schwartzman) usually gets his supply from Spider Mike (John Leguizamo), but gets a chance to do business with "The Cook" (Mickey Rourke) who supplies Spider Mike. Various other characters drift in, hang on, leave, trip, whatever... Interesting not only for the experience, but the collection of characters and actors who are here. Also featuring Brittany Murphy, Mena Suvari, Deborah Harry, and Eric Roberts. R for sex, violence, and language.
SPUTNIK (NR) 104 minutes * * * A hero of the Russian space program, Konstantin (Pyotr Fyodorov) returns home from the latest mission with a symbiotic creature living inside him. No one knows at first, but as it becomes clear, the path to dealing with the creature becomes more convoluted. Nicely written story that spends a good deal of time on the human element of the story and in building strong characters.
SPY (R) 125 minutes * * * Cooper (Melissa McCarthy) isn't a field agent, but that may make her the perfect CIA agent for this job. McCarthy's slapstick is toned down quite a bit in the earlier parts of the film, thanks to her character being unsure of herself. The slapstick is there in the later parts of the film, but it was nice to have it absent early on. It's also fun to see a more light-hearted performance from Jason Statham. R for language, violence, and sex.
SPY GAME (R) 121 minutes * * * Nathan Muir (Robert Redford) is about to retire from the spy business. But as he is leaving, Nathan learns that one of his protoges is stranded in an operation that went bad. It just doesn't sound right, so he decides to stick around for one last "game". Redford is in great form here, and works well with Brad Pitt. The story is a little contrived at times, but director Tony Scott has managed to keep the pace at a level that holds our attention throughout. Nice soundtrack from Harry Gregson-Williams too! R for violence and language.
SPY HARD (PG-13) 77 minutes BOMB Mostly a parody of James Bond films, but the only really interesting part is the opening credits, which are sung and acted by Weird Al Yankovic. A complete waste of the talents of Charles Durning and Andy Griffith. PG for language.
SPY INTERVENTION (NR) 90 minutes * 1/2 Corey (Drew Van Acker) loves his life as a spy. Then he meets Pam (Poppy Delevingne). He decides to give regular life a try, but it just isn;t exciting enough. Attempting to live a duel life is his next option, but can he keep up the charade? Clever idea, but it's just not quite as much fun as it should be. Mostly, this is the fault of the script, but there are some problems with direction too.
SPY KIDS (PG) 81 minutes * * 1/2 They've been out of the spy game for 9 years, but Gregorio and Ingrid have been asked to take on a new mission. They'll need a little bit of help this time. A little help from their kids. Alexa Vega and Daryl Sabara do a great job as the kids, and they have an exciting adventure. Robert Rodriguez does a great job directing children and this film shows his skill in that regard. Kids will love the adventure as well as the humor. What seems a bit inappropriate is the emphasis placed on keeping your biological family together. Family IS important, but "The Tigger Movie" and "Pokemon 3" more clearly understand that family means something a little different than those you're connected to by virtue of genetics. PG for violence.
SPY KIDS: ALL THE TIME IN THE WORLD (PG) 83 minutes * * 1/2 Retired secret agent Marissa Wilson (Jessia Alba) is called back to active duty to defeat the Timekeeper. But she's going to need the help of some new young spies. Nice to see Alexa Vega and Daryl Sabara here, but the real stars are the new spy kids, Rebecca (Rowan Blanchard) and Cecil (Mason Cook), who both do a nice job and bring some fresh energy to the series. PG for violence.
SPY KIDS 2: ISLAND OF LOST DREAMS (PG) 93 minutes * * Carmen and Juni aren't the only spy kids in town anymore. In fact, there's a whole organization and different kids are vying for the best missions. Of course, Carmen and Juni manage to get themselves the most sought after mission: retrieving the stolen transmooger device. And they find that, despite their fancy gadgets, it's their ingenuity and creativity that will save the day. Not quite as inventive as the first film, but a nice sequel. Alexa Vega does a nice job singing the song "Isle of Dreams" during the closing moments of the film too. PG for violence.
SPY KIDS 3-D: GAME OVER (PG) 76 minutes * * Juni is now a private eye, but he ends up working with the OSS again to save his sister who is trapped inside a video game. Not only do we have the additional gimmick of 3-D, we also have Sylvester Stallone and George Clooney... it doesn't help much. At least the definition of "family" has changed to allow other people you care about to be included. PG for violence.
THE SPY NEXT DOOR (PG) 87 minutes * * Next door neighbor Bob (Jackie Chan) is just helping out a neighbor in need. Well, he does like Gillian (Amber Valletta), but her kids don't care for him. That might change once they find out that he's really an international spy. He's trying to get out of the game, but that's easier said than done. Chan is fun as usual, but the story is stale and the rest of the cast doesn't do much to help. PG for violence and language.
THE SPY WHO DUMPED ME (R) 108 minutes * * 1/2 Life was going well for Audrey (Mila Kunis) until her boyfriend dumped her. But then she finds out that he's a spy. No, really. Her best friend Morgan (Kate McKinnon) tries to help her deal with what is happening. Sometimes funny, sometimes not, and with some fairly good action sequences, with the result being a funny, action film that mostly works. McKinnon goes a bit too far most of the time, but manages to deliver some great material along the way. R for violence, language, and sex.
THE SPY WHO NEVER DIES (NR) 91 minutes 1/2 It was bound to happen. Brad (Paul O'Brien) falls in love. The problem is that he is a top level spy and he wants out. What to do... Well, we need a scriipt that is a little less wordy, a better director and better actors, better photography... and so much more. It's a fun idea, but it just isn't put together well.
SPYMATE (PG) 79 minutes * * Emma Roberts stars in this adventure film for the younger set. She's an inventor/scientist, kidnapped by Dr. Farley (Richard Kind), who was someone she looked up to. Now she has to rely on Minkey, a secret agent chimpanzee and part of the Spymate program, to rescue her. Not a terrible film, though more screen time for Roberts and less for the chimp would have made it much better. PG for violence.
SQUANTO: A WARRIOR'S TALE (PG) 98 minutes * * * The day after Squanto is married, he is captured and taken to England in this standard live-action historical film from Disney. The noble lesson is that all people are of value and that peace and harmony are what we should strive to achieve. The pace is slow, but the story is told well and doesn't drag on unnecessarily, making this a worthwhile film for all. Filmed in Nova Scotia.
THE SQUARE (R) 101 minutes * * Ray's (David Roberts) affair with Carla (Claire van der Boom) is further complicated when she brings him a bag of cash from the latest crime her husband has committed. They could have just taken the money and left, but then we wouldn't have a movie. Though the script isn't all that imaginative anyway, and it's clear that writer, producer, actor Joel Edgerton, should have done less and had someone else other than his brother Nash direct the film. R for violence and language.
THE SQUARE (2017) (R) 148 minutes * * The curator of a contemporary art museum, Christian (Claes Bang) has acquired a remarkable new exhibit. It calls for people to expect the best of each other. But Christian does not do that himself. And the museum's publicity campaign for the exhibit is not only unusual, but it's having a less than desirable effect. A somewhat strange film that shifts in both focus and intensity, leaving us with a message that is clear, but a story that is not. R for language, sex, and violence.
SQUATTERS (R) 103 minutes * * 1/2 Two homeless teens get a taste of the rich life, sqatting in the home of a couple who are on vacation. Kelly (Gabriella Wilde) just wants to know what it feels like, but Jonas (Thomas Dekker) wants to take what he can. Being rich means different things to different people. The story wraps up a little too conveniently for everyone. R for language, sex, and violence.
THE SQUEEZE (PG-13) 98 minutes * * A rather strange mix of ramantic comedy and crime drama that holds together mostly due to Michael Keaton's charming performance. Rae Dawn Chong plays her part well too, but don't expect much from the story.
THE SQUEEZE (2015) (PG-13) 90 minutes * * It started as a way to earn a little extra money. Before he knows it, Augie (Jeremy Sumpter) finds himself in a place where, win or lose, someone wants him dead. Nice twist at the end, but getting there is a little on the slow side. PG-13 for sex and language.
THE SQUID AND THE WHALE (R) 76 minutes * * * 1/2 Writer/director Noah Baumbach's autobiographical film about his adolescence deftly handles the marital struggles of his parents and it's effects on their two sons. Extraordinarily well-written, this does an excellent job of baring the lives of these characters to our view. Excellent use of songs, in particular, Hey You, by Roger Waters of Pink Floyd, which embodies much of the angst of the family. Laura Linney is given less of a chance here, but Jeff Daniels, Jesse Eisenberg, and Owen Kline do greta work here. R for sex and language.
STAG NIGHT (R) 78 minutes * 1/2 A bachelor party turns into a nightmare when Mike (Kip Pardue) and his buddies get off the subway at an abandoned station. It shouldn't be that difficult to find their way to another station through the tunnels. But there's something else down there. Choosing the "crazy killer family" approach, rather than the monster approach isn't a bad idea, but its still full of bad logic, very mediocre acting, and awkward, poorly lit camera work. R for violence, language, and sex.
STAGE BEAUTY (R) 106 minutes * * * Once upon a time, the roles of women in theater were only played by men. This is the story of when that tradition began to change. Maria (Claire Danes) wants more than anything to act on the stage. Ned Kynaston (Billy Crudup) is the undisputed queen of the stage. But times are about to change. Crudup and Danes do a marvelous job showing us the tension between these two characters, both in their work and in their personal lives as they find themselves drawn together. R for sex and language.
STAGE FRIGHT (R) 85 minutes * 1/2 A musical theater camp puts on a new version of "The Haunting of the Opera". The lead will be played by the daughter of a woman who was killed while playing the same role. And the killer has returned. A strange, and not terribly succesful mix of genres. The musical bits are fairly good, the comedy not so much, and the horror falls somewhere inbetween. Music, lyrics, and direction by Jerome Sable, who clearly should have asked someone else to direct.
THE STAGECOACH (NR) 84 minutes 1/2 Life's been rough for Pearl (Lorraine Etchell). She teams up with Joe Boot (Travis Mills). They are an unlikely pair, but robbing stagecoaches seems to be working for them. Mills also wrote, produced, and directed this. The dialogue and acting are painfully stiff and awkward, and keep the pace of this much slower than it should be. Based on a true story.
STAGECOACH: THE TEXAS JACK STORY (NR) 89 minutes * 1/2 The title pretty much says it all. The story of a stagecoach robber as he is pursued by a U.S. Marshal. Poorly written script, which doesn't help Trace Adkins, whose acting talents are... limited.
STAKE LAND (R) 93 minutes * * 1/2 When Martin's (Connor Paolo) parents are attacked by a vampire, a vampire hunter that happens to be nearby becomes his savior and his trainer. A post-apocalyptic vampire film, though the vampires here are more of a vampire/zombie hybrid, capitalizing on the popularity of both genres. Unfortunately, the acting is rather zombie-like a good deal of the time as well, so despite the rather interesting idea the story presents, this falls a little short of what it needs to be. R for violence, language, and nudity.
STAKE LAND II (NR) 82 minutes * * New Eden has been destroyed, thanks to The Brotherhood and their new leader. So Martin (Connor Paolo) sets off to find Mister (Mick Damici), the legendary vampire hunter, and to find a new place for himself. The story here just isn't quite as interesting as the first film.
STAKEOUT (R) 114 minutes * * 1/2 All they are supposed to do is stake out the home of an excaped convict's former girlfriend. But when one of them falls in love with her, it begins to get complicated. Richard Dreyfuss and Emilio Estevez star in this action/comedy directed by John Badham. The story does have a couple of good twists, but doesn't end well. Dreyfuss and Estevez are fun to watch, and obviously had some fun making the film.
STALINGRAD (R) 124 minutes * * * As the German military advances, a small group of Russian soldiers give their all to hold a strategic building. Violent and dark look at this particular part of the war. The female characters provide the only lighter tone in the story. R for violence.
STAN & OLLIE (PG) 94 minutes * * * 1/2 The film begins with Stan (Steve Coogan) and Ollie (John C. Reilly) at the height of their careers. After a brief time there, we quickly move sixteen years ahead, as they embark on a less-than-stellar theatre tour of post-war Britain. Coogan and Reilly are brilliant here, and the makeup is quite well done. The combination of acting and makeup make it very easy to forget that we aren't watching the real Laurel and Hardy as their careers begin to fade. PG for language.
STAN HELSING (R) 84 minutes BOMB Badly done parody of monster movies as a video store clerk and his friends end up in a town full of monsters on Halloween. Even die-hard parody buffs may find this one a bit tedious. R for sex and language.
STAN LEE'S MIGHTY 7 (NR) 66 minutes * * Stan is out looking for a good comic book idea when aliens crash in the nearby desert. The two marshals and five criminals who are on board, find themselves working together to fight an even bigger threat. Lee's sarcastic humor is heavily sprinkled throughout, which makes this fun for his fans, but not so much for others.
THE STAND (NR) 473 minutes * * 1/2 Another adaptation of Stephen King's massive and far-reaching apocalyptic novel. A flu-like virus kills off most of humanity, and an epic battle between good and evil begins between those who are left. Not sure why we need six directors and seven different people working on the teleplay, but both may account for how disconnected this frequently feels. It's a good cast, but the script and direction drag it down. There's a new ending, different from both the book and the first film. There are parts of it that are better, and parts that aren't. It doesn't end the story, but we've been told that a few times earlier in the story... if we were listening.
STAND AND DELIVER (PG) 100 minutes * * * Inspiring docu-drama of a dedicated and very talented teacher who inspires confidence in his students allowing them to reach levels no one thought possible. James Edward Olmos and Lou Diamond Phillips are both wonderful here and the film works well on almost every level.
STAND BY ME (R) 84 minutes * * * Four boys set out to find the body of a boy their age who has been missing. They envision themselves becoming town heroes, but their two-day adventure will become a life-changing experience that is far different from what they anticipated. The film is based on one of Stephen King’s novellas and stars Corey Feldman, River Phoenix, Jerry O’Connell, and Wil Wheaton. The supporting cast is just as stellar, and ultimately, they are what make the film so good. The story struggles, as do most of King’s adaptations to the screen, with capturing the images we already have in our mind from reading the book. King’s writing style is very visual, and very personal, which makes creating a film a challenge. That said, this is definitely one of the better adaptations of a King story to the big screen.
STAND CLEAR OF THE CLOSING DOORS (NR) 96 minutes * * 1/2 After a rough day at school, Ricky (Jesus Sanchez-Velez) heads to the subway. Something about it is comforting to his autistic mind. But his family doesn't know where he is, and as undocumented residents, their options to track him down are limited.
STAND OFF (R) 86 minutes * * Robbing the fish market seemed like a good way to pay back some of the money he owes, except that its owned by the person he owes money too. Awkward mix of crime thriller and comedy that might have worked as one or the other, but never quite gets there by trying to be both. R for language.
STAND STRONG (NR) 88 minutes * 1/2 When Matt (Chris Steele) and his family get hit with financial trouble, they lose almost everything. They go to stay with Matt's brother's family and have to learn how to pitch in and help. Along with some prayer and going to church, it will all turn out fine. Two-dimensional script and characters making the point about not placing so much value on possessions.
STAND UP GUYS (R) 90 minutes * * 1/2 When Val (Al Pacino) gets out of prison, Doc (Christopher Walken) is there to pick him up. But he's also supposed to take him out. Not an easy task considering their friendship, but it doesn't take Val too long to figure out what's going on. It's great to see Pacino and Walken together, and the story has some strength, but there are clearly some weak spots where the intensity drops and direction falters. R for language, sex, and violence.
STANDARD OPERATING PROCEDURE (R) 109 minutes * * * One of several documentaries about the Abu Ghraib prison scandal, the distinction here is the extent and tone of the interviews with the military personel who were prosecuted for misconduct. More than just a recounting of events, this film asks "why?" Not only why did this happen, but why was no one else found to be at fault and why do we act this way at all? Thought provoking and interesting without sensationalizing the events. R for sex, violence, and language.
STANDING TALL (R) 115 minutes * * * Malony (Rod Paradot) is a classic juvenile delinquent. In and out of court for years, and with very violent tendencies, there is little hope for him. Yet he has both a judge and a caseworker who keep trying to help. Despite all of the setbacks, they continue to have hope. And sometimes, having that hope is enough to help you stand tall. Strong ensemble cast led well by Paradot. R for language and sex.
STANDING UP (PG) 82 minutes * * * A summer camp prank leaves two tweens stripped and stranded on an island near their camp. It's not uninhabited, but they don't really want to go back and face the ridicule. Instead, they choose to stay and while they are off on an adventure, those who pulled the prank are in hot water. Adapted from Brock Cole's book, "The Goats", this is a sensitive and strong coming-of-age tale. PG for language.
STANDING UP, FALLING DOWN (NR) 88 minutes * * * When his stand-up comedy routine doesn't succeed, Scott (Ben Schwartz) heads back home. He's drifting. And then he meets Marty (Billy Crystal), an alcoholic dermatologist... and someone with whom he connects quite well. Nicely written comedy about second chances. Very nice work by the cast. Crystal and Schwartz work well together.
STANDOFF (R) 80 minutes * * 1/2 Protecting a young girl from a killer, that's all Carter (Thomas Jane) has to do. Intense and well-played, especially considering the limited amount of staging involved. Laurence Fishburne and Jane keep our attention so well, that we forget they've hardly moved. R for violence and language.
THE STANDOFF AT SPARROW CREEK (NR) 84 minutes * * As a former police officer, Gannon (James Badge Dale) is devastated when he hears of an attack at a funeral that kills a number of police officers. He's also a militia member. Not only does it look like it was a militia member that initiated the attack, but it may well have been one of his own militia team members. The story twists and turns in on itself as it explores half-truths and mistrust. It's just not always very convincing.
THE STANFORD PRISON EXPERIMENT (R) 118 minutes * * 1/2 It's an experiment about behavior. Twenty-four male students. They will serve as both guards and prisoners. And it will become much more real than they expect. Based on the actual experiment, the questionable ethics of which, pushed the boundaries of experimentation. Knowing that, can also make this a little difficult to watch at times. R for language and sex.
STANLEY & IRIS (PG-13) 101 minutes * * * 1/2 A quiet, relaxed film, which is a bit of a change for both Jane Fonda and Robert DeNiro. She's a young, grieving widow, he's a loner who can't read. She ends up tutoring him and they slowly become attracted to each other. Martin Ritt's direction and the story itself both draw you in gently and you are kept there by Fonda and DeNiro, whose impressive acting will make this a film you'll be glad you saw.
A STAR FOR CHRISTMAS (NR) 87 minutes * 1/2 Cassie (Briana Evigan) can't believe that Alex (Corey Sevier) is not only so hot, but he's actually interested in her. The she discovers that he's also a movie star, in town to work on a film that she just got hired to provide desserts for. Mildly cute story, but it keeps covering the same ground over and over.
A STAR IS BORN (2018) (R) 130 minutes * * 1/2 A fading music star takes on an up and coming singer in part to experience success and adoration again, but that isn't exactly what happens. Bradley Cooper does a very good job here, but taking on the role of director detracts from his performance. Lady Gaga's voice is magnificent, but we already knew that. Her acting is only a little above mediocre, and struggles under Cooper's heavy-handed direction. The soundtrack is much more impressive than the film. R for language and sex.
STAR TREK (PG-13) 118 minutes * * * The action begins with the battle during which James T. Kirk is born. We watch as the rebellious young man wrestles with what it means to be his father's son, and to dream of being the best he can be by enlisting in Starfleet. The humor is a bit much during the first half, and those who follow the science of black holes will clearly find fault with some of the story. But the characters are introduced (or re-introduced) to us quite nicely, and well-played by all. Nicely done, and a great ending! PG-13 for violence and language.
STAR TREK BEYOND (PG-13) 113 minutes * * * 1/2 As the crew of the Enterprise reaches out to help someone who has lost their ship, they encounter a dangerous new enemy. Of course, the crew of the Enterprise is also a resourceful bunch, and they also find allies where least expected. A very classy piece of work that incorporates the old in an exciting new adventure. Fans will enjoy how these nods to the rest of the series are accomplished with not only the story, but the characters and the music. An impressive second entry in this part of the series. PG-13 for violence.
STAR TREK: FIRST CONTACT (PG-13) 105 minutes * * * Fun entry in the series, directed by Jonathan Frakes. There are a few things for trekkers to be nit-picky about, but the story moves along nicely and has plenty of room for cameo appearances and in-jokes for those familiar with the series. ILM's special effects are quite good, as expected, and most will find this a pleasant entry in the series and well-worth the time to watch. PG-13 for violence and language.
STAR TREK V: THE FINAL FRONTIER (PG) 104 minutes * * 1/2 Gaping story holes are the real problem here, not the idea that a madman has taken over a planet and is holding an ambassador hostage. Not one of the better entries in the series though it is of interest for being William Shatner's feature film directing debut.
STAR TREK IV: THE VOYAGE HOME (PG) 115 minutes * Once again, the Earth is endangered. Admiral Kirk (William Shatner) are on Vulcan, working on a Klingon Bird of Prey. They have been summoned back to Earth to face formal charges for the destruction of the Enterprise. As they approach the planet, they receive an urgent message, telling them to stay away. And so another fun adventure for our intrepid explorers continues. The one drawback to this particular entry in the series is the overly light tone that is used throughout. Humor definitely has its place in the series, but when the humor undermines a serious tone rather than complimenting it, there’s a problem.
STAR TREK: GENERATIONS (PG) 112 minutes * * * This film signals the last appearance of the original crew as the focus of the story as Captain Kirk and Captain Picard work together to defeat Dr. Soren. Wonderful special effects as one would expect, and a story that sweeps you along, keeping things interesting and exciting. The extra humor from Data's character is a little much, but they always seem more interested in throwing a little more humor into the theatrical films.
STAR TREK: INSURRECTION (PG) 98 minutes * * * 1/2 A very well-written story can really do wonders. This is probably the most balanced Star Trek feature film in terms of the story. Action, drama, romance, a touch of humor, several strong supporting characters... this has a little bit of everything. There are a few spots with some rather uneven camera work, but otherwise this return of the "Next Generation" crew to the big screen is a wonderful success. Directed by Jonathan Frakes and rated PG for violence.
STAR TREK INTO DARKNESS (PG-13) 124 minutes * * * Captain Kirk (Chris Pine) and his crew have to go into Klingon territory to stop Khan (Benedict Cumberbatch), who is doing his best to start a war. Although this is just the second in this new series of Star Trek films, it works well, both capturing the feeling of the old series while including additional bits of character development. The action does get cartoonish toward the end, especially regarding the integrity of the ship and how much damage it sustains. PG-13 for violence.
STAR TREK: NEMESIS (PG-13) 109 minutes * * 1/2 The Remans have overthrown the Romulan government and Picard and his crew are the closest ones to check on the situation. Picard ends up fighting a younger version of himself, but the energy, enthusiasm and dedication of youth find a formidable foe in the wisdom and ingenuity that have come with age and experience. The ending is decidedly weak, but the trip there is not a bad one. PG-13 for violence.
STAR TREK VI: THE UNDISCOVERED COUNTRY (PG) 104 minutes * * * Boasting an excellent supporting cast, the old Enterprise crew returns with a story about the Klingons becoming a part of the Federation. Much of the story is fairly predictable, but the cast works well together and the special effects, music and other technical aspects of the film manage to compensate for the places where the story runs a little thin. PG for violence.
STAR TREK III: THE SEARCH FOR SPOCK (PG) 100 minutes * * * * Working well with the events of the previous film, the Enterprise is decommissioned, but stolen by the crew to retrieve Spock's body and have a few more adventures. This entry in the series again captures the essence of the TV show and confirms the transition to the big screen for the crew of the Enterprise. Great special effects. PG for violence and language.
STAR TREK II: THE WRATH OF KHAN (PG) 107 minutes * * * * After somewhat of a misfire with the first attempt to bring the classic science fiction series to the big screen, this one is right on the money. Bringing back a villain who was already difficult to deal with adds a great deal of depth to the story, and heightens the sense of danger and adventure. A great script, and the cast clearly is enjoying this and putting their hearts into it. An excellent entry in the series that more than makes up for the first film. PG for violence and language.
STAR VEHICLE (NR) 71 minutes BOMB A driver for low-budget film productions, Don Cardini (Dan Ellis) reaches his limit when a low-budget film director doesn't give him the respect he thinks he deserves. He's going to make his own movie now. There's nothing quite like a low-budget film about people who are making a low-budget film.
STAR WARS (PG) 121 minutes * * * * It doesn't much matter which version of this you see, they're all exciting and fun. A classic story of good and evil set in outer space that has become a part of our culture. See it if you haven't, and if you already have... see it again!
STAR WARS EPISODE I: THE PHANTOM MENACE (PG) 125 minutes * * * The first chapter in the "Star Wars" saga is a fun adventure film that introduces us to a variety of characters. As one might expect, the special effects are outstanding. There is far too much comedy here though, mostly from the Jar Jar Biggs character. It's also rather strange to see the powerful Jedi knights sitting around a table all the time. Still, it's a solid film that delivers the adventure and entertainment that are a hallmark of the series. PG for violence.
STAR WARS EPISODE II: ATTACK OF THE CLONES (PG) 136 minutes * * 1/2 As with "The Empire Strikes Back", this is a middle-of-the-story piece with a good deal of time spent explaining what will happen in episode three. It makes for boring sections at times, despite our awareness of the need for the explanations. You can make it interesting by making a game of counting how many costumes Natalie Portman manages to wear during the course of the film... There are also problems with too many of the backgrounds looking like paintings (which they are), and with Hayden Christianson's lines, too many of which seem stiff and unnatural. There are some nice effects in several scenes and Portman and most of the rest of the cast manage to keep things interesting, but this and "Revenge of the Sith are the weakest films of the series. PG for violence.
STAR WARS EPISODE III: REVENGE OF THE SITH (PG-13) 134 minutes * * 1/2 As with all of the Star Wars films, one of the most fascinating aspects is how detailed the background elements are throughout the film. And, as with Episode II, Hayden Christianson does a really bad job. This time, it even seems to drag Natalie Portman down when they have scenes together. This does have some nice bits for Yoda, but it's definitely not one of the better chapters in the story. The light sabre fights are poorly staged, the wookies have too little screen time, and some of the visual effects are less than the quality we expect from a George Lucas film. PG-13 for violence.
STAR WARS: RETURN OF THE JEDI (PG) 125 minutes * * * ½ After a chapter in the story that was heavy with explanations and depth, this entry in the series is much more energetic and fun. There are perhaps a few too many strange aliens that just seem to be around to show off creativity, but some of the newer scientific and mechanical additions are well done and add to the story. Very nice sets and special effects. A great way to wrap up this particular trilogy of the larger series. PG for violence and nudity.
STAR WARS: THE CLONE WARS (PG) 94 minutes * * 1/2 The dark side is gaining in strength, the clone wars are raging, and the young Jedi knights struggle to keep the balance between good and evil with the help of Obi-Wan and Yoda. It's nice to see what has been a "missing chapter" of the story, but unfortunate that it's an animated film rather than live action. This isn't because the animation is poor, but simply because we've grown used to seeing actors portraying the characters. PG for violence.
STAR WARS: THE FORCE AWAKENS (PG-13) 127 minutes * * * 1/2 This entry in the long-running series does an amazing job of recapturing the excitement and fun of the first Star Wars film (number four), while telling a whole new part of the story. The only real problem seems to be Finn's (John Boyega) character. Overplayed in a few scenes, he comes across as too eager, too excited, too hesitant, too worried... part of that is Boyega, but part of that is also the script. So nice to see so many of the old crew back on the big screen for this episode, and what a finish! A real treat for fans of the series, and it makes a good case for watching these in the order they were released and not in chronological story order. PG-13 for violence.
STAR WARS: THE LAST JEDI (PG-13) 144 minutes * * * Rey (Daisy Ridley) get a few tips from Luke (Mark Hamill) as she works to improve her skills. Meanwhile, Kylo Ren (Adam Driver) has to decide which side of the force he will align himself with. This is episode eight, but it's also the middle of the third trilogy as the story was designed, and struggles with the same issues that "middle chapters" often do, as it takes extra time to explain events from the previous piece and carefully set the stage for the final chapter. PG-13 for violence.
STAR WARS: THE RISE OF SKYWALKER (PG-13) 132 minutes * * * 1/2 The final confrontation between the Jedi and the Sith. This is the climactic moment and also the final entry in the nine-part main series of Star Wars films. It's a very nice finish to the series, packed with action, adventure, romance, and drama. There are also many treats here, including a number of humorous bits for the fans. Although it's clear that the series should be watched with this being the last one you see, it's also should you somehow stumble upon this one first, you will want to see the rest. PG-13 for violence.
STARBUCK (R) 105 minutes * * * David (Patrick Huard) isn't the most responsible person, and when his girlfriend gets pregnant, he struggles with the idea of being a father. While he's working through this, he learns that the sperm he donated a number of years ago under the name "Starbuck" has resulted in 533 children being born, and 142 of them want to know who their father is. Funny, but with a serious side as well, this French-Canadian film has a cute and quirky charm, and a great ensemble cast. R for sex and language.
STARDUST (PG-13) 121 minutes * * * 1/2 It's a brash promise, made by a young man in love. He's cross the boundary into a magical realm and retreive a fallen star to show his love for a girl. Little does he realize what adventure will occur once he crosses into that magical land. It's a wonderfully magical story with princesses, witches, magical necklaces, true love, secret kingdoms, beautiful scenery, and exciting music. Great character performances from Robert DeNiro and Michelle Pfeiffer highlight the ensemble cast, and create an amazing film adaptation of Neil Gaiman's novel. A beautiful and delightful film. PG-13 for violence, language and sex.
STARDUST (2020) (NR) 102 minutes * * 1/2 In 1971, a struggling young artist (Johnny Flynn) from England, came to America. He hoped to become a star, but people didn't understand his music, his style, or even his sense of humor. And then he had an idea. An idea for a character named Ziggy Stardust. Flynn is very goo here, but there seems to ne quite a bit missing from the story.
STARGATE (PG-13) 114 minutes * * * The mysteries of a stone gateway are explored in this science fiction film. Kurt Russell and James Spader co-star in this visually stunning film. The big problem here is that sub-plots are almost non-existent, so the one-note story does wear a bit thin in spots. Filmed in Yuma, Arizona and Long Beach, California.
STARGATE: CONTINUUM (NR) 90 minutes * * 1/2 The SG-1 crew has to go back in time and stop Ba'al, who is intent on both destroying the Stargate program and ruling the world. The story here is a little thin, and this feels more like a long TV episode than "Ark of Truth".
STARGATE: THE ARK OF TRUTH (NR) 97 minutes * * * The Stargate crew searches for a mystical weapon that may help them defeat the Ori. Though the story clearly has echoes of many other adventure and/or religious stories, it's fun to watch, with a nice amount of action and tension to keep it that way. Not rated, but clearly in the same category as the TV show.
STARLET (NR) 100 minutes * * 1/2 When Jane (Dree Hemingway) buys an old thermos at a yard sale to use as a vase, she's more than a little surprised to find ten thousand dollars inside. She tries to return the money, but it gets a little complicated and she ends up befriending the woman. It's a rocky friendship though because there's guilt and dishonesty despite Jane's interest in connecting with Sadie (Besedka Johnson). Nice work between Jane and Sadie with a script that pays attention to the subtle mood shifts and character motivation.
THE STARLING GIRL (R) 112 minutes * * 1/2 The congregation she's part of is very conservative, and that has always felt right to Jem (Eliza Scanlen). But things are starting to change. It looks like her parents have agreed to a courtship with the minister's younger son. But when the minister's older son (Lewis Pullman) returns from a mission trip, something happens. The ending is less than satisfying, but getting there is nicely told. R for sex.
STARMAN (PG) 110 minutes * 1/2 Meandering story about an alien taking the form of a widow's former husband. Good acting by Karen Allen and Jeff Bridges, and some nice special effects from the extremely talented Dick Smith, Stan Winston, and Rick Baker, but the story and direction make this difficult to watch. PG for language and violence.
STARRED UP (NR) 102 minutes * * 1/2 As an excessively violent 19-year-old offender, Eric (Jack O'Connell) is "starred up", or moved up to adult prison. His father is there, trying to influence how his son gets treated, but with little effect. A brutal film, with strong performances, but the story too often moves into the prison exploitation film style instead of delving more deeply into the characters.
STARRY EYES (NR) 94 minutes * 1/2 Everybody wants to be a star, and Sarah (Alex Essoe) is no exception. This isn't a bad story... until it makes the turn to a slasher horror flick. At that point it just slides downhill.
STARSHIP RISING (NR) 88 minutes 1/2 When the order is given to destroy Earth, Flight Lieutenant John Worthy )Darrin Jacobs) refuses the order and instead decides to fight those who gave the order. Plenty of money spent on the special effects, which ar pretty good. Apparently there wasn't any money left to spend on the script or the cast though...
STARSHIP TROOPERS (R) 119 minutes * * As far as special effects, you will find few films to match this showcase by Phil Tippet and Kevin Yagher. The bugs and the carnage they wreak are graphically delivered. The story bears passing resemblance to the Robert Heinlein novel from which it is taken, but spends little time with explanations or character development. Casper Van Dien, as Johnny Rico is the only one we get to know very well, though Michael Ironside and Clancy Brown have nice supporting roles. Basil Poledouris' soundtrack sweeps us along to the finish of a fun, but shallow, sci-fi thriller. R for nudity and extreme violence.
STARSHIP TROOPERS 2: HERO OF THE FEDERATION (R) 81 minutes * 1/2 A small group of soldiers end up taking refuge where Dax (Richard Burgi) is still prisoner. Of course, most of them end up either killed or infected by the bugs. This seems more like an extra story than a sequel, but since none of the original cast signed on for this... There are definitely some bits that are tongue-in-cheek, and the cast seems to have some fun with this. Of particular note is Drew Powell, as Kipper Tor, who manages to balance both the humor and the action quite well. R for violence, sex, and language.
STARSHIP TROOPERS 3: MARAUDER (R) 97 minutes * 1/2 General Dix Hauser (Boris Kodjoe) ends up taking a small team to another bug infested planet to rescue the sky marshall, as his image is so important to the war effort. Faith and duty are in conflict. The Federation hasn't had room for religion before. Is now the time, or will it only create more resistance to the war effort? The story tries to get a bit too serious here, and at the same time, it never really deals well with the questions that it raises. R for violence, language, and nudity.
STARSKY & HUTCH (PG-13) 93 minutes * * 1/2 Much like the Charlie's Angels films, this takes the old TV series and weaves comedy into the story, managing to keep enough of the action in the story to keep it fairly interesting. Ben Stiller and Owen Wilson seem to have a pretty good time with this, looking comfortable with the roles and with each other. Cameo and bit parts for Chris Penn, Amy Smart, Will Farrell, Juliette Lewis, Fred Williamson, Carmen Electra, Jason Bateman as well as Paul Michael Glaser and David Soul. PG-13 for violence and language.
STARSTRUCK (NR) 79 minutes * * Christopher Wild (Sterling Knight) is the hot young star everyone loves, especially Sara (Maggie Castle). She's headed to LA with her family and is dead set on meeting her idol. her little sister Jessica (Danielle Campbell) couldn't care less. So, guess who ends up spending time with the superstar who is trying to keep his name out of the headlines? The dialogue is a bit stiff and awkward, but this does have plenty of "look" and an upbeat soundtrack.
STARTED FOR 10 (PG-13) 92 minutes * * * Brian (James McAvoy) loves knowledge. He's really looking forward to his first year at the University of Bristol. He gets on the Challenge Team, a knowledge-based quiz show. He finds himself enamored of Alice (Alice Eve), but her interest in him isn't returned in the same way. Rebecca (Rebecca Hall), on the other hand is a friend, thoughshe'd like to be more. Very nice script by David Nicholls from his book. PG-13 for sex and language.
STARTING OUT IN THE EVENING (PG) 106 minutes * * * Leonard Schiller (Frank Langella) is rather surprised when a young graduate student asks to do her thesis on his work as a novelist. The flattery leads to other possibilities as well, but Schiller is confused, tired, and not sure that he wants what seems to be coming. Langella does a great job here, both passionate and sensitive, showing us a man whose talent hasn't faded, though it is a bit rusty. Lili Taylor also delivers a fine performance as his daughter, but Lauren Ambrose's character seems to move in and out of the story more as a mechanism for the others to react to and less as a person with feelings of her own. Adapted from the novel by Brian Morton. PG-13 for sex and language.
THE STARVING GAMES (PG-13) 71 minutes 1/2 Yet another low-budget farce/satire, this one based primarily on "The Hunger Games". Typical for the genre with jokes that only make sense if you saw the original film. PG-13 for language and sex.
STATE AND MAIN (R) 106 minutes * * * A film production company moves into a small town in Vermont to begin shooting a film. Of course, just about everything that can go wrong... does. Strong performances from William Macy and the rest, but these are fairly easy parts for them to play. It's great fun for those of us who know the film business, but some of the humor will be lost on others. R for language and sex.
STATE LIKE SLEEP (NR) 101 minutes * * 1/2 When Katherine's (Katherine Waterston) husband commits suicide, there are more questions than answers. Most of these questions are answered by the time we get to the end, but the way we get there is frequently awkward. Waterston does good work here, but the direction and script aren't very strong.
STATE OF GRACE (R) 130 minutes * * 1/2 This is one of those police/mafia films that you don't hear mentioned too often, but it's definitely worth watching. Some nice performances from Sean Penn, Gary Oldman, and Ed Harris. This never received much publicity in the theaters and gets even less attention now, but if you like this genre, you won't want to miss it.
STATE OF PLAY (PG-13) 118 minutes * * * Two murders begin a chain of events that come ot the attention of the Washington Globe newspaper. Cal (Russell Crowe) is experienced enough to smell a big story, but even he has no idea just how big this one is about to become. Based on the BBC television series, the suspense and the story both build very nicely here. High caliber political intrigue and suspense with a wonderful cast that also includes Helen Mirren, Rachel McAdams, Ben Affleck, and Jason Bateman. PG-13 for language and violence.
STATEN ISLAND, NEW YORK (R) 90 minutes * * * Staten Island is home to many things, not the least of which is the largest concentration of mobsters. Three interlocking stories of three men are presented, one who works for the mob, one who is running from the mob, and a mob boss. It's an interesting and unusual piece, with a dark humor that makes itself evident at times. The acting is solid throughout, and the story builds well on the contrasting images of the pleasant neighborhood and the violence of the mob. Featuring Ethan Hawke, Vincent D'Onofrio, and Seymour Cassel. R for violence and language.
STATIC (NR) 77 minutes * * First, they hear strange noises, and then a young woman is at their door asking for help. Once they let her in, they learn that men wearing gas masks are after her, and now these men seem to be after them as well. Interesting twist ending, though it seems rather anticlimactic by wrapping up the story so neatly.
THE STATION AGENT (R) 86 minutes * * * 1/2 Clever and insightful character study of three individuals who find themselves drawn ever closer as the days go by. Fin (Peter Dinklage) has inherited a train station after the death of his only friend and decides to go live there to be by himself. Joe (Bobby Cannavale) works his father's concession truck and loves to talk, and Olivia (Patricia Clarkson) is dealing with a troublesome separation from her husband. First-time writer/director Tom McCarthy has crafted a beautiful story that is both honest and touching. Not to be missed! R for language.
THE STATIONMASTER'S WIFE (NR) 110 minutes * * 1/2 Xaver Bolwieser Kurt Raab) surprised everyone when he married the most beautiful woman in town. Unfortunately, she is also the most promiscuous. He is a trusting soul, and she takes advantage of that. Another unusual piece from director Rainer Werner Fassbinder.
STATIONS OF THE CROSS (NR) 107 minutes * * * The stations of the cross serve as a framework for the story of Maria (Lea van Acken). A young teenager whose family are part of a very conservative Catholic tradition, she is struggling with how to be faithful. Her belief system requires constant sacrifice, but her life experience is not validating that approach. A powerful and thought-provoking story.
STAY (R) 92 minutes * * 1/2 Dreamlike and slightly disturbing story about a young man who is about to kill himself. Psychologist Sam Foster (Ewan McGregor) is trying to stop him, but Henry's (Ryan Gosling) world is a strange and twisted one. It's hard to tell where his reality begins and imagination ends, and Sam is quickly drawn in to the confusing maze. We never quite get connected to the characters enough for this to have as much effect as it should. Filmed in New York City. R for language and violence.
STAY ALIVE (PG-13) 78 minutes * * It's a creepy new video game that isn't on the market yet... and if you die in the game, you die for real! OK, I'll admit that may sound like a rather insipid story idea, but this is actually a fairly creppy little film. Lots of visual misdirection and scary music by John Frizzell. The story has some fair twists as it moves along, but the ending undermines much of the ground that was gained earlier in the film. It makes no sense and in completely lacking in creativity. It's one thing to tell us that the story isn't over, but it needs to be at least a little plausible. PG-13 for violence and language.
STAY OUT OF THE ATTIC (NR) 77 minutes * 1/2 Their instructions are clear. They need to pack up everything in the house and have it finished by morning. That means working through the night. In a strange old house. It also means that they are to stay out of the basement and the attic... especially the attic. There are some editing issues, but the effects are generally good, and it does have a few creepy moments.
STAY TUNED (PG) 83 minutes * * 1/2 Are you a watcher, or a doer? This lighthearted comedy pokes fun at how much we watch television. John Ritter makes a pact with the devil and ends up inside his TV, and taking us along for the ride. There are some great parodies of TV shows here, although the film does fall a bit short in lasting appeal.
STAYING ALIVE (PG) 100 minutes * * * Tony (John Travolta) has moved on from being a disco star to trying to make it as a dancer on Broadway. The trouble is, while he has matured in many ways, and improved his skills, he’s still Tony. That’s going to make it rough. A great sequel, and a very nice soundtrack. PG for language.
STAYING TOGETHER (R) 91 minutes * * 1/2 Slice-of-life film about three brothers in a small rural community. Their father has just sold the family business, but chose not to tell them until after the sale was final. They think their lives are going to fall apart, but they don't. The moral of the story? Life goes on. The script here just isn't very strong, and the direction is a bit aimless at times. It looks a little better on the small screen, but it's not one you're likely to remember that well either. R for language and nudity.
STAYING VERTICAL (NR) 95 minutes * ½ Looking for ideas for a film, Leo (Damien Bonnard) meets Marie (India Hair). Their tryst results in a baby that Leo is left to raise. He drifts through life, continuing to slide downhill, but it’s difficult for us to care very much about his situation as he doesn’t seem to mind the lack of direction or focus in his life. That allows the story and our attention to drift and lose focus.
STEAL BIG STEAL LITTLE (PG-13) 129 minutes * * Andy Garcia stars in dual roles as twin brothers, the one a nice guy, the other a schemer who is always trying to get ahead no matter who he steps on along the way. Predictable story made watchable by the interesting characters sprinkled throughout the film. Unfortunately it sort of drags along, not flowing well and irritating us with voice-over narration. PG-13 for language.
STEALING CARS (R) 95 minutes * * 1/2 Billy's (Emory Cohen) ;ofe hasn't been easy, but his choices have been making it even worse. When he ends up in a boys camp, his choices begin to narrow even further, though there is still hope. Good character development and very nice work by Cohen. R for language and sex.
STEALING HARVARD (PG-13) 78 minutes 1/2 John (Jason Lee) promised to pay for his niece's college education if she made it that far and got accepted. The problem is, he's also supposed to pay for a house for his bride-to-be. His friend Duff (Tom Green) thinks that robbery is the answer... some friend! Jason Lee does reasonably well here, but Green is irritating at best, and definitely not funny. If you actually manage to sit through the whole film, it does get a little better toward the end. PG-13 for language.
STEALTH (PG-13) 113 minutes * 1/2 Three elite Navy pilots, flying the world's best machines now have a fourth member of their team. It's the next generation fighter and it needs no human pilot. Of course it gets out of control and after causing lots of problems ends up working for the side of good. Boring. And the performances of Josh Lucas, Jessica Biel and Jamie Foxx are about as lifeless as the plane. Many of director Rob Cohen's films are fun to watch, even when they are a bit on the wild side. This isn't one of them. Deam Semler's photography is nice, but far too repetitive to keep our interest. The real surprise is W.D. Richter's screenplay, which just isn't very good, leaving little for the actors to work with even if they wanted to. PG-13 for violence.
STEEL (PG-13) 92 minutes * * Shaquille O'Neal stars as a former government weapons specialist, now in the private sector, who becomes a "super-hero" as he tries to keep high-tech weapons off the street. Definitely rings of the TV series M.A.N.T.I.S., although there are frequent comments within the film about Steel's similarity to Batman (probably due to the fact that Batman and Steel are both DC Comic titles). Mild fun with adequate special effects. A good choice for video, but don't worry if you miss it on the big screen. PG-13 for violence and language.
STEEL MAGNOLIAS (PG) 119 minutes * * * * Absolutely wonderful adaptation of the stage play that was such a success on Broadway. It's the story of a small Louisiana town as seen through the lives of the women who gather at a beauty salon. Julia Roberts won a Golden Globe award for her supporting role, but Sally Field, Shirley MacLaine, Dolly Parton, Olympia Dukakis, and Darryl Hannah are all terrific. It's a classy piece of work in every aspect and a film that should not be missed. PG for language.
STEEL MAGNOLIAS (2012) (NR) 85 minutes * * Cut down version of the that not only leaves out some of the character development, but also includes even more male characters than the play or the earlier version of the film. It's really unfortunate, because Queen Latifah, Phylicia Rashad, and Alfre Woodard work well together here, btu the story is missing most of the strength and depth the other versions have.
STEEL TOES (R) 88 minutes * * * The tagline for this film is "Rage and intolerance collide with compassion", which is an excellent description of the plot. A skinhead who has been arrested for beating a man who later dies, finds himself being defended by a liberal Jewish lawyer. The well-written script does not shy away from the extremes, though the outcome may be a bit on the idealistic side. Still, it's powerful material that has been nicely adapted to the screen, co-directed and produced by David Gow, who also wrote the play. It's difficult not to see the stage origin in the presentation, but the performances of David Strathairn and Andrew Walker more than make up for it. R for violence and language.
STEELE JUSTICE (R) 100 minutes * 1/2 John Steele (Martin Kove) discovers an old enemy from the Vietnam war is now a drug lord and decides it's up to him to bring the old general to justice. Overly long and preditable vendetta with a silly "Rocky"-like training sequence. The cast do their best, but the script just doesn't have much to offer.
STEEP (PG) 87 minutes * * 1/2 The world of extreme skiing is explored in this documentary. Complete with daring footage of skiers on the steepest and most dangerous mountains in the world, including runs that require the wearing of a parachute. It's amazing material, but we'd like to see more skiing and hear less talk. PG for language.
STELLA (PG-13) 105 minutes * * * It's 1969 and life isn't great for Stella (Bette Midler), but it isn't too bad. She has a job and a place of her own. When she ends up with a child whose father she just can't get along with, she raises the cihld on her own. Midler does a grand job here, rivaling her best performances of the past. The script is definitely flawed, but it doesn't stop Midler from telling us her story. She's going to live life in the best way she knows how, doing the most that she can to give her daughter happiness and to help her achieve success. Adapted from the novel "Stella Dallas" by Olive Prouty. PG-13 for language.
STELLA DAYS (NR) 83 minutes * * 1/2 Father Barry (Martin Sheen) would really like to go back to Rome. Instead, he's still in this small town in Ireland. They are a proud and stubborn group, and his authority as a priest doesn't get very far with them. But perhaps there's still something for him to learn, and just maybe something to teach as well. Sheen and the rest of the cast do a nice job of creating a casual and yet realistic atmosphere. Nice soundtrack by Nicholas Hooper.
STELLA'S LAST WEEKEND (NR) 97 minutes * * * Brothers. Jack (Nat Wolff) and Oliver (Alex Wolff) are super close. They are also in love with the same girl. The story explores love, grief, and family, with a great script from writer/director/actress Polly Draper.
STEP BROTHERS (R) 91 minutes * 1/2 They are 39 and 40 years old and still living at home. Now their parents are getting married and they are step-brothers. Starting out as enemies, they soon learn to be friends... for awhile. Will Farrell and John C. Reilly play the spoiled, badly-behaved childish with ease. The moral, of course, is that it's important to "grow up" but that childhood pleasures don't need to stop altogether. R for language, sex, and violence.
STEP UP (PG-13) 99 minutes * * 1/2 Tyler (Channing Tatum) and his buddies break into a school of performing arts and vandalize the set of a play. Now he has 200 hours of community service to do at the school. Of course he ends up with his own chance to perform and become part of the student body because he's a talented dancer as well. There's some reality for you... The dancing is quite good, both by Tatum and by Jenna Dewan. Definitely not original, but if you're here for the dancing, you won't be disappointed. PG-13 for violence and language.
STEP UP: ALL IN (PG-13) 106 minutes * * A sort of "greatest hits" sequel, with characters from the previous films coming together and teaming up for a dance battle in Las Vegas. The dance sequences are uneven, with some very good and others much weaker. Ryan Guzman is less than impressive as the lead, though many of the supporting performances are fun to watch, especially for fans of the series. PG-13 for language.
STEP UP: REVOLUTION (PG-13) 92 minutes * * In the tradition of the series, this finds another old and tired idea (a neighborhood is going to be demolished for development - have a dance to raise money and gather community support) and tries to give it some life. As with the others, the dancing and soundtrack are wonderful, but the story and acting are mediocre at best. PG-13 for language.
STEP UP 2: THE STREETS (PG-13) 91 minutes * * Talented street dancers who are attending a performing arts school decide to form their own crew to compete in "The Streets", a local competition. Very good dancing, but an old and tired script that doesn't try very hard. This probably should have gone straight to video, but that could also be said about quite a few sequels... PG-13 for language and violence.
STEP UP 3 (PG-13) 100 minutes * * 1/2 Fresh to the NYU scene, Moose (Adam G. Sevani) is supposed to give up the dancing he loved in high school and pursue an engineering degree, which is more reputable. Of course, he isn't even finished with orientation before he discovers the world of New York street dancing. The dancing here is some of the best in this series of films, though the story doesn't really have much to offer. Released in theaters in 3D, which adds next to nothing. PG-13 for language.
THE STEPFATHER (2009) (PG-13) 98 minutes * * 1/2 Remake of the 1987 film about a homicidal maniac who likes to play the part of a family man before killing the family. Nice work by Dylan Walsh being creepy, though any improvement over the original is debatable. Wonderfully sinister punk version of the song "Happy Together" by Filter during the closing credits. PG-13 for violence, sex, and language.
STEPFATHER II (R) 84 minutes 1/2 Terry O'Quinn returns as the stepfather who is trying to find the perfect family. Fresh from his escape from the psychiatric hospital, he sets himself up as a marriage counselor. I'm sure you can guess what happens. Meg Foster's spooky eyes and a couple of O'Quinn's scenes warrant the half-star, but nothing more.
THE STEPFORD WIVES (2004) (PG-13) 87 minutes * 1/2 It's the perfect community... if you're a man who wants a robot for a partner. That's the idea anyway, but what's really puzzling is why someone felt the need to remake the film. The 1975 original is good and does a nice job of translating the book to film. The social commentary no longer has the relevance it did back when the sexual revolution was in its adolesence. The attempt to add bits of comedy only manage to highlight just how out of place the ideas of the story truly are. And then there's the twisted attempt to help by adding a few minutes worth of material at the end that appear to be from one of the sequels to the original. Bad idea. The only reason this rates as highly as it does is due to the performances of a talented cast despite the travesty of a story they are given to work with. Kudos to Nicole Kidman, Bette Midler, Chris Walken, and Matt Broderick. PG-13 for language and violence.
STEPHANIE (R) 78 minutes * 1/2 She is not alone in the house, but whatever is there with Stephanie (Shree Crooks), it is not a nice or friendly thing. When her parents get home, they'll try to help. This asks quite a bit from young Crooks, and she mostly delivers, but the story is a little thin. Despite the creepy music, which sets the tone well, this is a little less frightening than it needs to be. R for violence.
STEPHANIE DALEY (R) 84 minutes * * 1/2 A young girl gives birth while on her high school ski trip, but the baby is ofund in the trash and she seems to have no recollection of what happened. The court-appointed psychologist has issues of her own as she delivered a stillborn child the year before and is pregnant again. Slow-paced film dealing with the emotions and memories of both characters. Well-acted, though the script plods along and tends to be very one-sided. R for language and sex.
STEPMOM (PG-13) 121 minutes * * * Julia Roberts is trying her best to be a good stepmother to Ed Harris' two children. But Susan Sarandon has biology and experience on her side. Still, when the going gets rough, the definition of family may need to have some flexibility. A fine cast, especially young Jena Malone and Liam Aiken, who play Anna and Ben (the children). Their performances draw us in quickly and keep us there. Director Chris Columbus has also shown some improvement here, letting the camera alone do the talking in some sequences. A solid film that does get a tiny bit too perfectly worded toward the end, but is otherwise a fine film. PG-13 for language.
STEVE JOBS (R) 118 minutes * * * A none-too-flattering portrait of Jobs (Michael Fassbender), focusing on his personal life and how it shaped his business dealings. Great work by Fassbender, and well-supported by Kate Winslet in particular, though there are several notable scenes from others in the cast. An interesting angle for the story, but it does seem a little too obvious that the whole picture isn't being presented. R for language.
STEVE JOBS: THE MAN IN THE MACHINE (R) 127 minutes * * * Bio-documentary that also begins as somewhat of a love letter to Jobs, thanking him and honoring him for all he contributed to the world of technology. But then it begins to admit that he was indeed human, and decides not to shy away from how badly he treated quite a few people. It finishes well, which is good, because not everyone would have been able to balance the darker tone of the second half with the lighter tone of the first on their own. R for language.
STEVEN UNIVERSE: THE MOVIE (NR) 82 minutes * * 1/2 Thanks to some meddling from Spinel (voiced by Sarah Stiles), Steven (voiced by Zach Callison) is having trouble with his powers. Beach City is now in danger because of that situation. Steven will need to work with the rest of the Crystal Gems to set things right and save the city. For fans of the series.
STICK (R) 104 minutes * * 1/2 Stick (Burt Reynolds) is out of prison, but he can't seem to stay away from old friends. That's going to make it rather difficult to stay on the straight and narrow. Elmore Leonard does a great job adapting his novel to the screen, though the performances aren't very strong. R for violence and language.
STICK IT (PG-13) 98 minutes * Haley Graham has run into trouble with the law one too many times. So, for punishment she is sent to the Vickerman Gymnastic Academy. She left the sport awhile ago and now has to relearn her discipline and learn the teamwork part she never learned before. There are lots of great songs on the soundtrack, but it takes a bit more to make a film. Aside from Missy Peregrym (Haley), the actresses have all been given characters who are petty and vain, or who barely have an ounce of sense... not the nicest way to portray the athletic sport of gymnastics, especially when the film is a dramatic piece. It's too bad they thought that this was the only way to have fun with the story. PG-13 for language.
STIGMATA (R) 99 minutes * * 1/2 Frankie Page (Patricia Arquette) is experiencing the stigmata, which is rather unusual considering her athiesm. The mystery unravels slowly, as we follow Father Kiernan's (Gabriel Byrne) investigation. Arquette and Byrne do good work here, but the story is detailed enough that distractions will easily cause you to get lost. It does take skill to pack this much information into a shorter film, but there are a few aspects that needed a bit more explanation. R for language and violence.
STILL (NR) 102 minutes * * * When Tom's (Aiden Gillen) is killed during a tragic accident, he world begins to unravel. Angry and looking for vengeance, when he stumbles across the responsible party, he makes choices that can't be reversed. A dark and gritty look at a father's grief.
STILL ALICE (PG-13) 95 minutes * * * 1/2 The tender and heartfelt story of Alice (Julianne Moore), who falls victim to early onset Alzheimer's. She and her family must deal with the slow and steady progression of the disease. Magnificent work by Moore, who won an Oscar, and also some of the best work that Kristen Stewart has done up to this point. PG-13 for language.
STILL/BORN (R) 84 minutes * Mary (Christie Burke) is convinced that something is out to get her baby. Everyone is putting her paranoia down to the fact that one of the twins was stillborn, and that she is still grieving that loss. Maybe it's something else. Good suspense, but a cheap ending. R for violence and language.
STILL CRAZY (R) 97 minutes * * * In the flavor of "This is Spinal Tap", this is the story of a 1970's rock band that is trying to reunite, despite the fact that the personality clashes that drove them apart still seem pretty fresh after twenty years. "Strange Fruit" is an appropriate name for the band, and actually would've made a good title for the film as well. The narrated bits manage to fit in well, giving the film a pseudo-documentary feel at times.
STILL HERE (NR) 91 minutes * * 1/2 A young African-American girl goes missing in New York City, and no one aside from her family seems to care. A newspaper journalist (Johnny Whitworth) picks up her story and does what he can to keep the story alive in the hope of finding her. It's a personal look at a serious problem. The story is emotional, and does a good job of highlighting many of the problematic elements, but it doesn't finish well. The resolution comes too quickly, and the editorial comment isn't strong enough.
STILL LIFE (NR) 103 minutes * * * Sanming (Sanming Han) wants to see his daughter again, but she and her mother have been displaced by the Three Gorges Damn project. The project has also driven a wedge between Shen Hong (Tao Zhao) and her husband as he becomes so involved in his work that he no longer comes home. It's a story of a culture, how it is changed, and the effect it has on these people. Gently paced film that slowly draws us into the story of these characters.
STILL LIFE (2013) (NR) 84 minutes * * * John May (Eddie Marsan) has the mostly thankless job of council case worker. He finds the relatives of those who have died alone. Budget crunching is removing his job, but he insists on completing this one last case. It may be the most important one he's ever tackled. A gentle and sweet story with a very sincere performance by Marsan, and a very moving ending.
STILL MINE (PG-13) 99 minutes * * * Craig Morrison (James Cromwell) just wants to build the house he's designed for his wife. Everything seems to be working against him, including time itself. It's a sweet and sentimental story, based on the life of the real Craig Morrison. Cromwell and Genvieve Bujold are both wonderful here. The supporting roles are less impressive, but Cromwell and Bujold carry this well. PG-13 for sex.
STILL SMALL VOICES (NR) 86 minutes * * 1/2 A 911 operator (Catherine Bell) receives a mysterious call from a child in trouble. But no one can find her... or a record that the call was even made. michael (Bell) decides to try and solve the mystery on her own. What she discovers will surprise everyone. Reasonably good mystery thriller from writer Jolene Rice.
STILL SMOKIN’ (R) 92 minutes ½ Cheech and Chong fill in for Dolly Parton at Burt Reynolds at a low-budget film festival in Amsterdam. What there is of a plot is mostly an excuse to fill time with several of Cheech and Chong’s comedy sketches, only a few of which are all that good. R for language and sex.
STILL WALKING (NR) 112 minutes * * * A day in the life of a family, marking the passing of one of their own who died fifteen years earlier. It is a day filled with many emotions and many rituals, and with people who are family, yet who each have their own way of dealing with what has happened. And not each of them has the same feelings about what happened or about how they gather each year. Does a nice job of reaching past specific cultural concerns to the emotions that lie beneath.
STILLWATER (R) 133 minutes * * * Allison (Abigail Breslin) has been in prison in France for five years. She claims that she had nothing to do with the murder of another girl. Her father Bill (Matt Damon) comes to visit and is now caught up in some new evidence his daughter has learned about that might set her free. It's a tangled web, and as Bill soon realizes, sometimes, life is brutal. It's a well-told story, though the path it takes is really no surrprise. R for language.
THE STING II (PG) 96 minutes * * * The con is on again. But this time it’s going to be more complicated. Lots of twists and double-crosses here, some of which are more than a little difficult to believe. It’s all in good fun though, and it’s a great cast, featuring Jackie Gleason, Mac Davis, Teri Garr, Karl Malden, and Oliver Reed. It’s also a sequel where it isn’t all that important for you to have seen the original first.
STIR OF ECHOES (R) 94 minutes * * 1/2 Kevin Bacon stars in this adaptation of Richard Matheson's book "A Stir of Echoes", about a man who suddenly has a door opened in his mind that leads him to visions of a murder that occured in the past. There are some wonderfully creepy scenes here, but too much of the film focuses on the murder and not enough on the others who are able to "see". James Newton Howard's music is quite effective in creating the mood for the film. Filmed in Chicago. R for language, violence, and sex.
STIR OF ECHOES: THE HOMECOMING (NR) 83 minutes * 1/2 Bearing little resemblance to the first film, a war veteran returns home to find himself haunted by visions of the dead. Eventually, he figures out what needs to be done to bring these ghosts the peace they are seeking. Rob Lowe does fine here, but the story doesn't have very far to go and becomes boring rather quickly.
STOCKHOLM (R) 87 minutes * * This is the story of the bank heist/hostage situation that was the origin of the term, "Stockholm Syndrome". After spending hours with her captor (Ethan Hawke), Bianca (Noomi Rapace) begins to feel not just sympathy, but a genuine affection for him. Hawke's character is written and played with a little too much cavalier humor and it makes it a little difficult to believe. His wrecklessness and inexperience should be evident, but not so much as to make him appear foolish. R for language and violence.
STOKER (R) 95 minutes * * India (Mia Wasikowska) has always been a bit of a unique child. When her father dies, it seems to affect her more than the rest of the family. And then life gets even more strange for her. An uncle she never knew about shows up for the funeral and stays with India and her mother for awhile. It's not clear to India what he wants and if he really is who he says he is. Effectively creepy story with Wasikowska's almost ethereal makeup and costumes adding to her haunting performance. R for violence and sex.
STOKER HILLS (NR) 87 minutes * * 1/2 The latest assignemtn for these three friends is to shoot a short film for Professor Smith's (Tony Todd) class. Their short film turns into a real life horror episode. Their only chance to survive relies on the investigative skills of two detectives. The only clue they have to work with is the camera that was left behind. A nice mix of classic slasher horror, found footage, and noir, with a twist.
STOLEN (R) 90 minutes * * 1/2 After spending eight years in prison, Will Montgomery (Nicolas Cage) is free. The problem is that nobody believes he actually burned the cash before he was caught. His old partners still want their share of the take, and one of them wants it badly enough to kidnap Will's daughter. Despite the amount of action and the hard work by the cast, the script is rather flat and lifeless. Cage fans won't be terribly disappointed, but it's clearly not his best film. R for violence and language.
THE STOLEN (2017) (NR) 93 minutes * * * With her husband dead and her son kidnapped, Charlotte (Alice Eve) is desperate. The police have been no help. So, she sets out on her own, in a world where virtually every step is an unfamiliar one. Beautifully photographed, and a powerful story.
STOMP THE YARD (PG-13) 109 minutes * 1/2 Street dancing, gang fighting, the death of a younger brother, and a chance to start over. Nothing new here, and nothing very inspiring until the last thirty minutes of the film where there are some very fine dance numbers. We never find ourselves caring that much for these characters that much, and the film drags terribly since we already know what's going to happen. PG-13 for violence and language.
STOMP THE YARD: HOMECOMING (PG-13) 84 minutes * Good dancing, bad acting, and a contrived and derivative story sink this pretty quickly. How will Chance (Collins Pennie) find the time to perform, keep up with his school work, and have a romantic relationship? And why do we care? If you skipp everything but the dance scenes, you'll enjoy this more. PG-13 for violence, sex, and language.
STONE (R) 101 minutes * * * Stone (Edward Norton) is in prison for arson. His parole office (Robert DeNiro) is quickly approached by Stone's wife (Milla Jovovich), who is looking for any way to get her man out of prison more quickly. But the story is more complex than it sounds. This isn't just an attempt to sway one man's opinion, it's a con, and Stone and Lucetta are quite good at what they do. Just remember... "you just need to listen". No real surprise to see great performances by both Norton and DeNiro. R for sex, violence, and language.
THE STONE ANGEL (R) 109 minutes * * 1/2 From Margaret Laurence's novel, a look back on the life of Hagar Shipley. Part love story and part biography of a woman who has lived a long and difficult life. Featuring a fine performance by Ellen Burstyn, though the story is a bit depressing. Hagar (Burstyn) tries to make peace with her past, but pride and denial sometimes get in the way. R for sex and language.
STONE COLD (R) 88 minutes * * 1/2 Brian Bosworth makes the transition from ex-football player to the big screen in this action film. There are plenty of motorcycles and some reasonably good stuntwork as he infiltrates a troublesome gang of Mississippi bikers. Nothing you'd expect the Academy to take note of, but that's no real surprise. R for language and violence.
STONEHEARST ASYLUM (PG-13) 109 minutes * * 1/2 Based on a story by Edgar Allen Poe. Dr. Newgate (Jim Sturgess) visits Stonehearst Asylum in the hope of gaining clinical experience in treating the mentally ill. But the asylum is not only a place for those who are an embarrassment to the wealthy, home to some truly disturbing individuals. There are some nice twists in the story, but the ending doesn't fit well, as it's positive tone doesn't really work with the rest of the film. PG-13 for violence, language, and sex.
THE STONING OF SORAYA M. (R) 111 minutes * * * When his wife is unwilling to grant him a divorce so that he can marry his mistress, Soraya's husband decides to accuse her of adultery, an offense punishable by stoning. Based on a true story told to a journalist who meets a friend of Soraya. Powerful and dramatic story that may be a bit much for some to watch. R for violence and language.
STOP-LOSS (R) 105 minutes * * * Brandon (Ryan Phillippe) thought he was going to leave the military after his tour in Iraq, but finds himself being stop-lossed (ie. returned to active duty without a choice). Typical story about the horrors of war, the shared experience of soldiers, and how difficult it is to do the job and deal with what you've seen and done. The cast does nice work here, with solid direction from write/director Kimberley Peirce. R for violence and language.
STOP, OR MY MOM WILL SHOOT (PG-13) 84 minutes * 1/2 If you like Estelle Getty's bossy, know-it-all character from the "Golden Girls" TV show, you might like this. Sylvester Stallone comes off a little better than you might expect in this comedy, but Getty is just too irritating to make this any fun to watch.
STOP THE POUNDING HEART (NR) 98 minutes * * 1/2 Homeschooled on a goat farm in rural Texas, Sara Carlson is the oldest of twelve. She has reached an age where more difficult choices will be made. Meeting Colby Trichell will challenge her beliefs. A gentle and slow-moving docu-drama.
STOP THE WEDDING (NR) 85 minutes * * 1/2 Her Aunt is planning to marry a movie star. Anna (Rachel Boston) is less than thrilled. She doesn't trust him. As it turns out, his son (Niall Matter) is against the wedding as well. They team up to stop it, only to find out that they might be falling for each other.
STOPPING TRAFFIC (NR) 75 minutes * * * Sex trafficking is a huge industry tha has a particularly insidious effect on children. This documentary explores the effects on the individuals being trafficked as well as ways to fight against the trafficking industry. It reminds us that the first step is awareness. Once you are aware of a problem, opportunities to take action become more clear.
STORAGE 24 (R) 81 miunutes * After a mysterious plane crash in central London, a few people find themselves trapped inside a 24 hour storage facility... and something else is with them. Low-budget monster flick with bad effects and possibly even worse acting. The idea has endless possibilities since they are in a storage facility with who knows what else in the various compartments, but this script has no imagination. R for violence and language.
STOREFRONT HITCHCOCK (PG-13) 72 minutes * * 1/2 Yes, that's it. A concert from the talented Robyn Hitchcock, staged in a storefront, with people walking by in the background. As the camera is inside the store, we are treated to a very intimate concert experience that others (the ones walking by) can only wonder about. PG-13 for language.
STORIES WE TELL (PG-13) 104 minutes * * * Director Sarah Polley explores her family history, which happens to include, as do many of ours, stories that are told differently by different people. It's an interesting look at personal history from different perspectives though the depths it explores are at Polley's discretion and not, perhaps, our own. PG-13 for sex and language.
STORKS (PG) 81 minutes * * 1/2 Storks have been responsible for delivering babies "forever". But there have been some changes lately, and now they are delivering packages from an online ordering service. Everything is going just fine... until young Nate places an order for a baby brither that slips through. Cute, story, though parents might want to be ready for the questions from younger ones who are watching. You know they're going to ask! PG for violence.
STORM (NR) 100 minutes * * 1/2 A war crimes trial against a Yugoslavian National Army commander looks like it may fall apart when the key witness commits suicide. Prosecutor Hannah Maynard (Kerry Fox) may still have a case though. It will just take some extra work. Rather dry and emotionless, especially considering the crime and how it could easily have been written to pull a bit more on our emotions.
STORM BOY (PG) 94 minutes * * * Sometimes, images from our past come back. That's what's happening to Michael Kingsley (Geoffrey Rush). He's reminded of a time when, as a young boy, he rescued and raised three pelicans. He learned about life, love, loss, and so much more. These are lessons he passes on to his granddaughter by telling her the tale. Great work by the cast and a fine story. PG for violence and language.
THE STORM MAKERS (NR) 64 minutes * * 1/2 The poor and illiterate people of Cambodia are often sold as slaves by "agencies" they go to expecting to find a job. Work is promised, but in reality, they are being sold. "Storm makers" are traffickers, known as such for the disturbance they cause. Much of the film tells the story of Aya, who was sent to Malaysia, but was finally able to come back home, only to be shunned by her mother for coming back with a child.
STORM OVER EVEREST (NR) 104 minutes * * 1/2 Documentary of the 1996 climbing of Mount Everest where several people los ttheir lives. Filmmaker and climber David Breashears aided in the rescue efforts in 1996 and mixes shots of that experience with other footage of the mountain and interviews with both the climbers and the Sherpas who returned. The focus is more informative than anything else, but we do get a sense of the dedication of those who climb as well as the danger in which they sometimes find themselves.
STORM RIDER (PG) 99 minutes * * 1/2 When her dad gets arrested, Dani (Danielle Chuchran) has to go live with her uncle. Life is going to be a little rough for awhile, but thanks to an orphaned colt, Dani's going to learn some important lessons about life and caring about others. Sentimental and predictable, but works well as easygoing family entertainment. PG for language.
STORM WARNING (R) 84 minutes 1/2 Lost in marshland, a couple make their way to a nearby farmhouse. The people who live there are... less than hospitable. Unimaginative gore fest. R for violence, language, and sex.
THE STORM WARRIORS (PG-13) 107 minutes * * 1/2 Intent on invading China, a Japanese warlord has enlisted the help of Earth (Anson Leung) and Sky (Byron Pang). It will be up to Wind (Ekin Cheng) and Cloud (Aaron Kwok) to stop them. Plenty of nice effects and great fight scenes, but the story doesn't always make it easy to keep up with so many characters, and the ending just seems to... happen. Action scenes choreographed by Yuk-Sing Ma. PG-13 for violence.
STORMHOUSE (R) 84 minutes 1/2 When the military manages to capture a supernatural creature, they need to be able to find a way to communicate with it. A ghost whisperer is brought in as a possible way to accomplish that, but things get out of hand. The story is more than a little muddled and confusing, eliminating too many of the details were needed not only to make the idea more interesting, but to cover the gaping holes in the logic. R for violence and language.
THE STORY OF ROCK 'N' ROLL COMICS (NR) 74 minutes * * * Todd Loren had an interesting idea... mixing comic books and rock 'n' roll. It worked, though his approach was often controversial. This is his story and the story of the company he created. The back story of how some of the issues were created as well as the conflicts and concerns around some of them is interesting, though perhaps a bit dry unless you're really interested in either comics or rock 'n' roll.
THE STORY OF THE COSTUME DRAMA (NR) 217 minutes * * * Lengthy look at the history of British costume dramas. Interviews with numerous stars and film clips from dozens and dozens of classic television shows and films take us through the course of fifty or so years of work. originally shown in five parts, its also a fascinating look at the early careers of many actors and actresses.
THE STORY OF US (R) 91 minutes * * 1/2 A marraige on the rocks, with constant arguing and picking at each other. It's taken a toll and Ben (Bruce Willis) and Katie (Michelle Pfeiffer) aren't sure they even want to try and put things back together. Of course, the problem is that we too often try to recapture the "how and why" of when we fell in love the first time, when what needs to happen is a search for new reasons to fall in love again. The montage sequences are the best part of the film. And isn't that what relationships are as we grow older? A montage of moments, both good and bad, that give us a common history. R for language.
STRAIGHT OUTTA COMPTON (R) 139 minutes * * * 1/2 The beginnings of rap music, with NWA, Easy E, Dr. Dre, Ice Cube, Suge Knight, and more. Pushing the boundaries and dealing with conflict on all fronts while expressing their pride and their frustration through their art. Nicely done. R for language, sex, and violence.
STRAIGHT OUTTA NOWHERE: SCOOBY DOO! MEETS COURAGE THE COWARDLY DOG (NR) 76 minutes * * 1/2 The Scooby gang connects with Courage and his friends for an adventure involving monster cicadas. Combining Scooby and Courage makes some sense as there are some clear similarities between the two characters. It works fairly well, thanks to a story with several creepy characters in addition to the giant cicadas.
STRAIGHT OUTTA OAKLAND (NR) 112 minutes 1/2 These few friends grew up in this neighborhood, and while some things have changed, others have not. One of those things that hasn't changed is that they are still dreaming about leaving. The characters are interesting, but the film wanders aimlessly, much like the characters, and doesn't seem to know where to go or how to get there.
STRAIGHT OUTTA OAKLAND 2 (R) 72 minutes BOMB Continuing the story of two of the young men from the first film. Going straight and staying clean is a good idea, but it's not pulling in enough money for Banneker (Marcus D. Spencer) to pay for his aunt's medical bills. Lots of wasted camera shots of nothing pertaining to the story. Then again, the acting is less thn it needs to be by a fairly wide margin as well. Spencer also wrote and directed this. R for language and violence.
STRAIGHT TALK (PG) 86 minutes * * * Dolly Parton plays an honest, if naive, small-town girl who walks through the wrong door at the right time and becomes a radio talk show superstar. It's a love story too, about being honest and talking straight. Parton's charm is what really helps here, keeping us watching and wanting to know how things will work out. PG for language.
STRAIGHT UP (NR) 93 minutes * * * Todd's (James Sweeney) friends all think he's gay. He's pretty sure he isn't, and in exploring the possibility, he meets Rory (Katie Findlay). They are a wonderful match intellectually. Sexually... well, who knows? A very sharp and witty script by Sweeney, who also directs this. Really nice work exploring intimacy, sex, love, and labels. The ending is awkward, but otherwise, this is quite good.
STRANDED (NR) 122 minutes * * * Documentary about the survivors of the plane crash in the Andes that became famous for how the ones who lived managed to last for so long. This is the story in their own words, and is the first film to include such extensive conversation with those who survived this harrowing ordeal. Its a fascinating look at an extraordinary event.
STRANDED (2013) 84 minutes * It was bad enough that this moon base was hit by a rogue meteor shower. Now, it turns out that there was an alien lifeform inside the meteors. Can they survive long enough for help to arrive? The effects and the soundtrack help create some suspense, but the script is weak and relies on a couple of gimmicks that just don't work well.
STRANDED IN PARADISE (NR) 82 minutes * * Things were looking great for Tess (Vanessa Marcil) until a restructuring at her place of employment leaves her out of work. She decides to take charge of her life and heads off to a business conference to make some connections. Pretty much everything that could go wrong does exactly that. It might be just what she needs to rethink what she wants to do.
STRANGE BEDFELLOWS (R) 97 minutes * * To take advantage of the tax laws, Vince (Paul Hogan) and his buddy decide to become a gay couple. It's not going to be easy with a tax inspector on the way as well as a few nosy neighbors. Light comedy fun, though there isn't really anything here that's memorable or surprising. R for language.
STRANGE BREW (PG) 87 minutes ½ Bob (Rick Moranis) and Doug (Dave Thomas) get jobs at a brewery, where they discover that something isn’t right. (Not that a place that would hire the two of them doesn’t already have some serious problems.) A great example of a fun series of skits from SCTV that just aren’t all that much fun when you expand them into a full length movie. PG for language and violence.
STRANGE BUT TRUE (PG-13) 91 minutes * * It was five years ago that Ronnie (Connor Jessup) died. Now, his girlfriend (Margaret Qualley) says she's pregnant with his baby. The story sets up nicely with good suspense and drama around family and relationship issues, but then turns in on itself and loses all of that energy. PG-13 for violence and language.
STRANGE DAYS (R) 139 minutes * * 1/2 Ralph Fiennes stars as a hustler of mental images in this futuristic thriller. People crave the unusual and unique, and he gets it for them for a price, but now he's mixed up with a murder because of some of the images that are in his possession. Interesting and attention-grabbing at first, but simple-minded in the end. Also starring Angela Bassett, Tom Sizemore, and Juliette Lewis.
STRANGE INVADERS (PG) 89 minutes * * ½ Aliens take over a small town in the Midwest and live there peacefully until someone comes looking for a missing person. It’s not a bad idea, but the writing just doesn’t have the energy or creativity it needs to take this story a little further. Nice work by Diana Scarwid and Nancy Allen.
THE STRANGE LITTLE CAT (NR) 69 minutes * * 1/2 It's not often that you see a film so carefully and delicately choreographed. The dialogue, the movement of characters, even the sounds, are all orchestrated with gentle precision. The ending is abrupt though, and the "dance" ends just as we are beginning to feel comfortable with it.
STRANGE MAGIC (PG) 91 minutes * * 1/2 Everybody deserves to be loved. That's the premise of the story here. The animation is stunning and the characters are wonderfully creative. Still, the use of so many popular songs as part of the musical presented here just never quite works that well. Musically, nothing holds them together, though it does make for a nice soundtrack. And the cast, who both voice the characters and sing the songs, do a very nice job with it. PG for language.
STRANGE NATURE (NR) 96 minutes * Kim (Lisa Sheridan) and her son are visiting her father in rural Minnesota. They find some deformed frogs, and hear reports about people who have gone missing. It would appear that chemical pollution is affecting the wildlife, and it's not just the frogs. The special effects are mixed, with some quite good, and others very poorly done. Most of the acting, and the script also fall into the category of "poorly done". The script in particular makes a leap from deformed frogs to the extreme without much of anything in the way of the logical progress that the early part of the film suggests supporting.
THE STRANGE ONES (R) 77 minutes * * Nick (Alex Pettyfer) and Sam (James Freedson-Jackson) are traveling across the country. It's an unsettling mix of peaceful settings and traumatic experience. It also feels a little incomplete. That's helpful in creating the atmosphere, but not in engaging us in the story. R for violence and sex.
STRANGE WILDERNESS (R) 79 minutes * Hiking through the South American wilderness in search of bigfoot, and attempting to save his wildlife TV show. Unfortunately, Peter (Steve Zahn) and his crew probably couldn't find a rock on the ground in front of them. Zahn rants and swears his way through this, but there are only a few bits worth watching if you aren't a Zahn fan. R for language.
STRANGE WORLD (PG) 89 minutes * * * A well-known family of explorers, the Clades have just discovered a whole new world that no one has ever seen, a world inside our own. Beautiful animation in a story about being who you are, and having the courage to do that, even when those you love expect something different, and understanding that if you love someone, you should respect who they are, even if it's not what you thought it would be. PG for violence and language.
THE STRANGER (R) 89 minutes * 1/2 He knows the identity of the mole in the FBI, but he can't remember... much of anything... Steve Austin handles the action well, though not the acting. There are a few slight twists and turns, but nothing that dramatic. And someone needs to fire all of those FBI agents who couldn't hit the side of a barn with a rock from six feet away... R for violence and language.
THE STRANGER (2014) (NR) 89 minutes * * 1/2 All the stranger wants to do is find his wife. But everywhere he goes, violence and death seem to follow. The story hints for a long time about what is going on before we begin to understand just who and what the stranger is. It's a story style that works well and gives us a different look at a popular genre.
A STRANGER AMONG US (PG-13) 105 minutes * * * A Jew from the diamond district in New York disappears and then turns up dead. Melanie Griffith is the cop assigned to the case, going undercover to discover the identity of the killer. Griffith does a nice job here and goes a long way toward making the film believable. The story does drag in a few spots, but it's well-worth a look, especially for a Griffith's performance.
A STRANGER IS WATCHING (R) 89 minutes * * ½ A man whose wife was killed just a few short years ago now faces his daughter and girlfriend being kidnapped by the same killer. Those familiar with the Mary Higgins Clark novel from which this is adapted are likely to be a little disappointed, but it still works pretty well. R for violence and language.
STRANGER THAN FICTION (PG-13) 105 minutes * * * 1/2 Harold Crick (Will Ferrell) begins to hear a voice that seems to be narrating his life. It's only annoying at first, but then the voice mentions his imminent death. That's a little troublesome. Harold begins to search for the source of the voice and his anxiety and confusion increase when he discovers what is really going on. Superbly written by Zach Helm, asking the question of whether it is more important to understand your life or to live it. The cast is nearly perfect, with Maggie Gyllenhaal, Emma Thompson, Queen Latifah, Dustin Hoffman, and Linda Hunt. Ferrell is the problem, though this is the best he's done to this point. He tries to make a few of the scenes more humorous, apparently not understanding that it is the situation and not the individual that needs to carry the humor in this story. Filmed in Chicago. PG-13 for sex and language.
THE STRANGER WITHIN (R) 84 minutes * 1/2 Kidnapped and abused, Emily (Estella Warren) is rescued, but she's still in shock. Perhaps her husband, who is a psychiastrist, will be able to help her get through it. A vacation might be in order, but then again... The acting gets worse as the film progresses, with a really pathetic "fight" scene toward the end. But that's only one aspect of an ending that is more concerned with trying to quickly wrap up the loose ends than with telling a good story... which this really isn't, despite a reasonably good beginning. R for violence, sex, and language.
STRANGERLAND (R) 108 minutes * * In the hours just before a savage dust storm, Catherine (Nicole Kidman) and Matthew (Joseph Fiennes) discover that their two teenage children are missing. As time goes by and hopes begin to falter, various details begin to come to light. This hints at so much story that it never really delivers, and too much of it is depth that we really need for these characters to become more real to us. We need more than hints and assumptions, and it's just not here. R for language and sex.
THE STRANGERS (R) 80 minutes * * 1/2 Kristen (Liv Tyler) and James (Scott Speedman) have hit a rough spot in their relationship. The night they were supposed to be spending in romantic seclusion is about to get even worse once they answer a knock at the door. The lack of reason for the attack, and the near silence in many scenes, really adds a great deal of tension and suspense to the film, making it one of the more scary entries in the genre. The end is a little bit of a cheap shot, but getting there is an intense ride. R for violence, language, and sex.
STRANGERS AT THE DOOR (NR) 83 minutes BOMB A girl answers the door to her home and three men rush in. That’s about all of the energy that this film has. The rest of the film drags terribly thanks to horrible acting and a script that just never goes anywhere. This is writer/director Rogelio Salinas II’s first feature film. He should probably stick to the short film format for awhile longer before attempting another feature film project.
A STRANGER'S HEART (NR) 83 minutes * * 1/2 When Callie's (Samantha Mathis) mother died, her father lost the light in his life, and Callie sort of lost both of her parents. Several years have passed, and she is now in need of a heart transplant. After the surgery, she finds herself drawn to the daughter of the donor. Is it cell memory, or is she just looking for the light that she still so desperately needs in her life? Wonderfully sentimental story, though a bit depressing at times. Mathis and Peter Dobson contrast with each other nicely too.
THE STRANGERS: PREY AT NIGHT (R) 78 minutes * *
Once again, it starts with a knock on the door late at night. This time, it's a family of four staying in a mobile home park who are terrorized by a trio of killers. There's less suspense than in the first film as the plot is more that of a typical slasher film. We're also already familiar with the idea that there's no apparent motive for the attack, but the ending works a little better than it did in the first film. R for violence and language.
STRANGERS WITH CANDY (R) 81 minutes BOMB
Jerri Blank (Amy Sedaris) has finally decided to turn her life around. Now that she's out of prison (again), and her father is on his death bed, she goes back to school to better herself. The only problem is that it's high school she's going back to, and she's 47 years old. Crude and tasteless jokes abound, with Sedaris and friends taking every opportunity to fill the time with racist, sexist, homophobic "humor". Stupid and pointless.. a pretty hard combination to beat. R for language and sex.
STRANGERS WITHIN (NR) 84 minutes *
Her parents are some of the wealthiest around. Sam (Elana Di Troya) thinks nothing of it and invites three of her friends over for the weekend. One of the girls invites her boyfriend and a couple of his friends over. But not everyone coming to this impromptu party has good intentions. It's difficult to connect with any of the characters here, because none of them are very appealing. A wealthy young woman who is clueless that her friends are really just greedy opportunists who end up getting exactly what they deserve.
STRAW DOGS (R) 104 minutes * *
Spending some time in his wife's old home town in the south sounded like a great way to relax and work on his latest screenplay. But Amy's (Kate Bosworth) old friends seem bent on causing trouble, and David (James Marsden) is having difficulty adjusting to the way things are done here. The story continues to escalate in violence as it continues. Marsden actually fits a little better here than Dustin Hoffman did in the 1972 film that this is a remake of, but the story itself isn't as strong as the earlier version. R for violence, sex, and language.
STRAWBERRY & CHOCOLATE (R) 102 minutes * * *
David is in the Communist Youth League. When Diego makes homosexual advances to him, David is suspicious and begins to investigate Diego's politics. Despite their political and sexual differences, the two become friends. Very well acted and photographed, deservedly earning a best foreign film nomination.
STRAWBERRY MANSION (NR) 88 minutes * * 1/2
The time is the future. A time when the government records and taxes your dreams. Preble (Kentucker Audley) is a dream auditor. His latest audit is of Bella (Penny Fuller). Her dreams are fascinating, and Preble is beginning to get lost in them. Unusual, but not without quite a bit of charm.
STRAY BULLETS (NR) 80 minutes * 1/2
Or, several characters in search of a story. The acting is good, but the story is so vague and assumes we have the knowledge of a back story that would motivate the characters. And we don't. There are some subplots that should help, but they tend to just wander and not provide any information. And then there's the ending...
STRAY DOGS (NR) 133 minutes * * *
Life in Taipei is far from easy for this father and his two children. Living on scraps and leftovers to supplement the meager amount of money he is able to earn, they are much like stray dogs. Perhaps the lonely grocery clerk will be able to help a little. The film relies on its powerful visuals rather than very much dialogue to convey the depressing situation of this family, and does so quite well.
STRAYS (R) 86 minutes *
Reggie (voiced by Will Ferrell) thinks his life is awesome. His owner actually isn't so great when compared to others. Reggie finally meets some other dogs who are able to explain to him what a good like should really look like. Now Reggie wants revenge for all of that missed time, and he has some friends who are willing to help. The foul language is excessive and unnecessary. It tends to get in the way of us trying to like these characters. R for language and sex.
A STREET CAT NAMED BOB (NR) 98 minutes * * *
While trying to turn his life around, James Bowen (Luke Treadaway) meets a stray cat. It will be a meeting that will change his life. A captivating story, with sincere performances that quickly draw us in and don't let go. Adapted from the book by James Bowen and Garry Jenkins.
STREET FIGHTER (PG-13) 94 minutes * 1/2
Another video game adapted to the big screen, but this one has more difficulty. It doesn't have the humor that helped "Super Mario Brothers" and it lacks the quality that has made the Batman
series so successful. The action really begins to bog down as we reach the middle of the film. More focus on fewer characters might have helped. The group of "good guys" is too large for us to get to know in a film this short.
STREET FIGHTER: THE LEGEND OF CHUN LI (PG-13) 93 minutes * *
Following in the footsteps of the video game that has spun off sequels, this tells the legend of a young female fighter who trains to fight for justice and to rescue her father. The fight scenes are fairly good, but Chris Klein is very miscast here and seems to have forgotten how to act. PG-13 for violence and sex.
STREET GANG: HOW WE GOT TO SESAME STREET (PG) 101 minutes * * * 1/2
The story of the beginning of the unique and groundbreaking TV show called Sesame Street. It was not only what the public needed, but what they wanted. Packed with interviews new and old, and loaded with clips from the show. Even fans of the show who already know much of the history will enjoy this look back at the history of this educational show. PG for language.
STREET KINGS (R) 103 minutes * * *
Dirty cops, dirtier deals, and double crosses fill this well-written story of a cop (Keanu Reeves) who finds himself implicated in the death of his former partner. Each of the fellow officers he turns to for help seems to be just another in a long line of those on the wrong side of the law. Reeves plays this with a blank expression on his face throughout, but Forest Whitaker, Hugh Laurie, Common, The Game, and Jay Mohr among others, give this more of the depth it needs. We keep wondering if there are any clean cops left, or if Ludlow (Reeves) really isn't any better than the rest. R for violence and language.
STREET KNIGHT (R) 84 minutes * *
Jeff Speakman's first martial arts film isn't too
bad, though there are some glaring editorial
mistakes. His martial arts skills are more than
adequate and he can act quite a bit better than Chuck
Norris, though that isn't saying a great deal.
STREET THIEF (NR) 83 minutes * * *
Fascinating documentary-style drama about Kasper Karr, a fictional burglar in the Chicago area. The filmmakers follow him around as he stakes out various locations and commits the crimes. Director Malik Bader does an amazing job of making this look very real. Since it is presented as fact, it is only as we wonder about how the filmmakers might have dealt with their own responsibility for the crimes that are being committed, that we let ourselves think this might have been staged. Bader even manages to cover that as the plot continues to unfold, drawing us back into the idea that this might all be real. Definitely an interesting piece of filmmaking that is well-worth a look.
STREETDANCE 2 (NR) 77 minutes * *
It's time for a rematch. Ash (Falk Hentschel) works to put together a dance crew of the best talent from around the world so that they can take top honors at the competition. The final dance of the film is quite good, but there isn't enough of a look at the rehearsals leading up to it. Plenty of individual practice and performance pieces, some of which are very good, but how these clips relate to the whole isn't clear. Great soundtrack!
STREETLIGHT HARMONIES (NR) 76 minutes * * * 1/2
Doo-wop. Vocal harmony groups, sometimes referred to as streetcorner harmony groups, were a natural growth from gospel and rhythm and blues. Each generation revisits and changes the form a little, but once the idea of vocal harmony had taken hold, it was never going to let go. A fascinating and informative look at the music, filled with wonderful examples.
STREETS OF FIRE (PG) 90 minutes * * *
A rock and roll fable, with music by Ry Cooder. The dialogue us very melodramatic, but it matches the photography, which is also stylized and fitting for a fable. It’s a “feel good”, “long live rock & roll” story with a great soundtrack and a tone that sets the mood quite well. PG for violence, language, and sex.
STRICTLY BALLROOM (PG) 87 minutes * * 1/2
Scott Hastings (Paul Mercurio) and his partner switch to modern dance in the middle of a ballroom dance contest when they get boxed in. He gets himself a new dance partner (a plain Jane who at first appears to have little or no talent) as he begins to explore this fresh style of dance. It's a likeable, if offbeat film, that will strike a positive chord for those who enjoy dance and/or understand what it means to listen to the beat that comes from within.
STRIGOI (NR) 100 minutes * *
Constantin (Constantin Barbulescu) is hoping for a little justice. The people who killed him though their actions were justified. But now that Constantin is strigoi (undead), they have some other probems on their hands. A strange story with a very macabre sense of humor. A little confusing in a couple of spots, but worth a look, especially if you have any interest in zombie films.
STRIKE (NR) 93 minutes * * 1/2
The time has come for Mungo to begin working in the mine. He wants to be a footballer, but that dream seems far out of reach. There also are some problems with the mine. It's been awhile since anyone has found gold, and they are in danger of losing control of the mine to "The Boss". Maybe Mungo has a part to play after all. Very cute story for the family.
STRIKE A POSE (NR) 86 minutes * * 1/2
The Blonde Ambition Tour was Madonna's most controversial. The film "Truth or Dare" was released in support of the tour with a strong emphasis on expressing yourself. This documentary shows what life was like on the tour and during the filming of the movie. It also shows the effect that the publicity and criticism had on the performers.
STRIKE IT RICH (PG) 81 minutes * 1/2 Mildly entertaining drama of an accountant who spends far too much on his honeymoon. Robert Lindsay isn't bad here, but Molly Ringwald just never seems to fit into her character. Adapted from Graham Greene's novel, "Loser Takes All".
STRIKING DISTANCE (R) 98 minutes * *
Detective Tom Hardy (Bruce Willis) is a good cop, putting honor before everything else. He even turns in his partner, who is also his cousin, for beating up a suspect. Now he works on the River Rescue team, but still hasn't given up on his last case, the one that got his father killed. A couple of good chase scenes, but too slim on sub-plots to keep us all that interested. Bad editing and poor make-up on Sarah Jessica Parker also take their toll. Not one of Willis' better films. R for violence, language, and sex.
STRINGS (NR) 88 minutes * * *
The story of a prince who sets out on a journey to avenge the death of his father. He discovers the truth about his own people, finds love where he didn't expect to, and learns how we are all connected. Fascinating film with a cast of marionettes (stringed puppets). Though their expressions don't change, the photography and soundtrack do a fine job of creating the emotional atmosphere that is needed for the different parts of the story. An intriguing piece of work that is well worth a look.
STRINGS (PG) 100 minutes * 1/2
It's time for a change, so Jimmy (Jason Michael Carroll) heads to Nashville. But even with his skills, breaking into the music scene there isn't going to be easy. Nothing very original, but the bigger problem is the lackluster acting. This does have a nice, feel good ending though. PG for language.
STRIPTEASE (R) 110 minutes 1/2
Not only is it totally ridiculous to think that someone who had been a secretary for the FBI would decide to go into being a stripper, but this story moves so slowly that its agony! Demi Moore is the only good thing this film has going for it, and she can't carry a film by herself. The ending fight sequence is ridiculous and the comic bits from Burt Reynolds don't help much either. R for sex and language.
STROKER ACE (PG) 84 minutes * *
Burt Reynolds stars as Stroker Ace, a popular NASCAR driver who is having some issues with his sponsor. Director Hal Needham is known for the vehicle stunt work in his films, and this is a little disappointing in that regard, but it’s well cast and still fairly entertaining. PG for language and violence.
STRONGER (R) 112 minutes * * *
Jeff Bauman (Jake Gyllenhaal) wasn't the best boyfriend, but he was a good guy. And he decided to show up for his ex-girlfriend as she was finishing the Boston Marathon, to show his support for her. In a flash, everything in his life changed. Great work by the cast in a solid drama with well-drawn characters. R for language, violence, and sex.
STRONGMAN (NR) 113 minutes * * 1/2
Stan is a strongman, able to bend steel and perform other feats of strength. His sincerity as well as his strength are obvious, but his talent seems to become less and less appreciated as the years go by. An interesting look at one of the many "sideshow talents" that used to be popular and how things have changed.
STRUCK BY LIGHTNING (PG-13) 78 minutes * * * 1/2
Carson (Chris Colfer) is killed in his high school parking lot his senior year by a bolt of lightning. This is the story of what happened just before. Smartly written by Colfer and the narration fits well here, reminding us that Carson in no longer alive. This is Colfer's first script for the big screen, and we can only hope that more lie ahead. PG-13 for language and violence.
STRYKER (R) 81 minutes * *
A group of Amazonian women guard one of the last strongholds of water in this post-apocalyptic world. When some “bad guys” attempt to take it over, Stryker (Steve Sandor) leads a team to fight them off and protect the water. A low-budget version of “Road Warrior”, but it works better than you might expect.
STUART LITTLE (PG) 78 minutes * * 1/2
E.B. White's classic children's story moves to the big screen, but lacks the charm of the book. The special effects are very well done, and Michael J. Fox is the perfect choice to give Stuart his voice. But Geena Davis and Hugh Laurie are too patronizing as the parents and the film keeps leaning toward the comic and oversimplifies the sentimental aspects, leaving us a bit disappointed. PG for language and violence.
STUART LITTLE 2 (PG) 70 minutes * *
Less inventive than the first film, this time around the story is concerned with Stuart having a friend of his own. The problem is that he gets tricked by a canary who is working for a falcon though she eventually really does become his friend and the falcon ends up, well... I won't go into the gory details. There are some nice songs used in the film and Melanie Griffith does a nice job as the voice for Margalo, but this is a bit on the violent side for the younger kids in the audience.
STUART SAVES HIS FAMILY (PG-13) 94 minutes BOMB
Al Franken's self-affirmation advocate from Saturday Night Live hits the big screen in this pathetic attempt of filmmaking. Franken fans will like it, but it quits trying to be funny and becomes preachy and annoying rather quickly.
STUBER (R) 88 minutes * *
After years of chasing the violent killer who took his partner's life, Vic (Dave Bautista) is faced with the possibility of the case going to the feds. Then he gets a tip. The problem is that he needs help. Enter Uber driver Stu (Kumail Nanjiani). The villain (Iko Uwais) is quite good, but is unfortunately relegated to almost a bit part. The fight scenes and stuntwork are also very good, but the story offers nothing exciting or interesting. The focus stays on Nanjiani and Bautista, which is not the strongest aspect of the film. R for violence, sex, and language.
STUCK (R) 82 minutes *
Mena Suvari and Stephen Rea earn points here for ignoring the stupidity of this story and continuing to do their best. Brandi (Suvari) hits Thomas (Rea) with her car. Hanging half in and half out of her windshield, she drives him home and then has to deal with the consequences, since he's still alive. Ridiculous at best, though it tries to be suspenseful. Filmed in Saint John, New Brunswick. R for violence, sex, and language.
STUCK (2017) (PG-13) 78 minutes * * 1/2
Millions of people ride the New York subway trains every day. This is a story about six of those people. We each face challenges, and perhaps we would benefit more from focusing on how we can help each other than on how we compare with one another. The music could have been stronger, but it's not bad. PG-13 for violence and language.
STUCK BETWEEN STATIONS (R) 80 minutes * * *
Casper (Sam Rosen) comes home for his dad's funeral and ends up bumping into a girl he used to know. She never paid attention to him when they were younger, but circumstances are different now, and it seems like the right thing to do. A couple of small adventures and a night full of deep conversations later... Rosen co-wrote and co-produced this, and managed to create some marvelous characters and give us a romantic drama with a classy ending as well. Nice work! R for language.
STUCK IN LOVE (R) 93 minutes * * * 1/2
Bill Borgens (Greg Kinnear) and his wife (Jennifer Connelly are divorced, but he's still hoping they'll get back together. Their son and daughter have their own issues with relationships, but are beginning to find their own ways, helped by that fact that both of their parents clearly love and support them. Speaking of which, love can be rather complicated. Amazing work by first-time writer/director Josh Boone, who delivers a very nicely written script with likeable characters who feel real almost instantly. And great work by a talented ensemble cast as well. Filmed in Wilmington, North Carolina. R for language and sex.
STUCK ON YOU (R) 80 minutes * *
Marital struggles send a couple to family court where an unconventional judge lets them see other couples from the past in an effort to teach them a few lessons. Lots of little humorous bits to watch for in the props, sets, costumes, etc. as well as in the dialogue. R for sex and language.
STUCK ON YOU (2003) (PG-13) 108 minutes * * 1/2
Walt wants to go to Hollywood to be an actor, but it's going to be a little tough with Bob still attached... Part comedy, part very heartfelt tribute to what it means to be trult connected to someone. It's also about looking past the surface and appreciating people no matter how they appear. A rather unusual piece of work from the Farrelly brothers, whose comedy is more frequently far less poignant. PG-13 for language.
STUDIO 54: THE DOCUMENTARY (NR) 95 minutes * * 1/2
For nearly three years, Studio 54 in New York was the hot spot. A veritable who's who. where everyone who was anyone could be found. It all came crashing down rather quickly, not only because of the drugs, but because of financial mismanagement. Steve Rubell and Ian Schrager had an idea. And for a brief time, it worked very well. This is the history of the rise and fall of Studio 54.
STUDIO 666 (R) 101 minutes 1/2
Rock band Foo FIghters are ready to record their 10th album. SDo they move into a mansion in Encino that has an evil history. So evil, that when they move in, they learn just how sinister it really is. Starring the Foo Fighters, with Dave Grohl taking the lead. The story is simple and played for laughs, but it's not as funny as it should be. R for violence, language, and sex.
STUNG (NR) 82 minutes *
Large wasps attack people and in just a few minutes, gigantic ones emerge from the people who have been stung. What? Ridiculous ending, not that the rest of the film is any better...
THE STUPIDS (PG) 89 minutes *
Yes, the story is really stupid and the leads act in a manner that accentuates the stupidity, but unless you're really tired, this isn't funny, it's just stupid. That's the problem with making a film like this. Too much of the material is geared toward adults, but the comedy is far too dumb to be funny for more than a few seconds. PG for language and violence.
THE STYLIST (NR) 102 minutes * *
People often share secrets or problems with their hair stylist. Claire (Najarra Townsend) hears many things, but she is becoming obsessed with the lives of her clients. She really just wants a friend, but somehow that isn't translating well to her behavior. The music and photography do a very nice job of creating the atmosphere, and Townsend's performance captures a character on the edge, trying to stay in control, but no longer sure what that means. The story comes up short though, settling too easily for style rather than substance.
STYX (NR) 89 minutes * * 1/2
It was supposed to be a relaxing and somewhat invigorating break. Rike (Susanne Wolff) takes her boat out for a short trip. As chance would have it, she encounters a stranded refugee ship and is faced with a dilemma. The harsh realities of the world she was hoping to take a break from are not going to let her take that break she so desired. Nice work by Wolff, but the script is overly cautious.
THE SUBJECT (NR) 114 minutes * * *
A successful documentary filmmaker, Phil Waterhouse (Jason Biggs) is working on a new project. His most recent film caught the murder of a black teen on tape. Now, someone is filming Phil. And it's beginning to scare him. Some very powerful work, especially near the end. The script does a nice job of asking questions and leaving them for the viewer to answer.
SUBLIME (R) 108 minutes * * 1/2
When George Grieves (Thomas Cavanagh) goes into the hospital for a routine procedure, it never occured to him that they might mistake him for a different patient. Now his condition is deteriorating. But why do some of the people never speak, and others seem to appear and disappear without others noticing? What is really happening? Interesting and unusual film with a powerful ending and some strange twists and turns along the way. Acting is mediocre, but the story works nicely. R for violence, language, and sex.
SUBMERGENCE (NR) 106 minutes * * *
A brief encounter led to a passionate romance. But now, James (James McAvoy) and Danielle (Alicia Vikander) couldn't be farther apart. She is starting a dive to the bottom of the ocean to work on her research, and he has been captured by a jihadist group and is being held prisoner in a desert. For both of them, that distance only makes the memory of their encounter more powerful. The ending may not be a crowd favorite, but it fits well with the tone of the film.
SUBMISSION (R) 102 minutes * * *
Every professor is glad to find an extremely talented student in their class. Angela (Addison Timlin) is one such student. When she has Professor Swenson (Stanley Tucci) start reading the novel she is writing, a chapter at a time, it draws him in, enticing him not just with the words she has written. Adapted from the book, "Blue Angel" by Francine Prose, with great work by the cast, though the story doesn't really offer any surprises. R for sex and language.
THE SUBSTITUTE (R) 107 minutes * *
A former government mercenary (Tom Berenger) decides that substitute teaching is what he needs to do. Especially after his wife, who is a teacher, is threatened at school by some students. More an action/thriller than anything else, although there are a few educational morals thrown in for good measure.
SUBURBAN COMMANDO (PG) 84 minutes * 1/2
Hulk Hogan is a warrior from another world in this film for kids, although most kids will probably find this too corny for their tastes. Christopher Lloyd and Shelley Duvall are here too, but the idea of an other-wordly warrior vacationing in the suburbs just never quite makes it. PG for violence.
SUBURBAN GIRL (PG-13) 93 minutes * *
She's a young associate editor and when she finds herself given the attentions of an older man who knows the business and is interested in helping her succeed, she finds him impossible to resist. He comes with a history though, and it could make the relationship more difficult. The story does a good job of working with the pros and cons of relationships with larger age differences, but Sarah Michelle Gellar and Alec Baldwin are... less than believable. There's just not enough passion, which could be just as much the fault of the script as of the performances. It's as if Brett and Alex are dumped into a room and then, "Oh, I guess they'll have a relationship". It's a good idea, just not executed very well despite the likeability of the leads. PG-13 for sex and language.
SUBURBICON (R) 97 minutes * * *
It's the perfect community, or at least it was. But it's not just the new family that has moved in that makes the difference, there are already some other very bad problems. Very much a Coen Brothers film with its surreal style and dark sense of humor. Fans of their work will enjoy this. The film tells two stories, and the balance between them is not the best, though it makes perfect sense by the time we reach the end of the film. R for violence, language, and sex.
SUCK (R) 84 minutes *
Written with tongue firmly planted in cheek. It's great fun to see Alice Cooper, Iggy Pop, Henry Rollins, Moby, and Alex Lifeson in a film together, but this struggles to find its direction, moving between horror, comedy, and musical as it tries to settle on something that works. Eventually, that turns out to be comedy, but it's a sort of subtle, insider humor that doesn't work all that well. R for violence and language.
SUCKER PUNCH (2008) (R) 90 minutes *
A second-rate fight promoter latches onto a possible star. Some of the acting here isn't too bad, but the photography, editing, and sound are bad enough that it pretty much ruins the film. R for violence, language, and sex.
SUCKER PUNCH (PG-13) 103 minutes * * *
Our guardian angels are there to remind us and empower us, not to rescue us. That's something we have to do ourselves. Babydoll Emily Browning) is learning this first-hand, as she learns how to cope with being in a mental institution while she plans her escape. Her abusive step-father put her there, but she's fighting with everything she's got. The imagery is spectacular and filled to overflowing with symbolism, which can make this a little overwhelming at times, and worth a second look to get a better grip on all of it. PG-13 for sex, violence, and language.
SUDDEN DEATH (R) 105 minutes * 1/2
The vice-president is being held hostage in a hockey rink, but the real mistake Joshua Foss (Powers Boothe) makes is taking McCord's (Jean Claude Van Damme) daughter hostage as well. Plenty of action, but a mixed bag as far as special effects and characters that are far too two-dimensional to keep us interested. Nothing you haven't seen many times before.
SUDDEN IMPACT (R) 113 minutes * * *
Dirty Harry (Clint Eastwood) is assigned to a case where a rape victim is carrying out her own version of justice on those who wronged her. Solid story, with plenty of action and character development packed in, giving even the smaller characters some good depth. R for violence, language, and sex.
SUDDEN PASSION (NR) 85 minutes 1/2
Timothy (Eduardo Robinson) and Ashley (Adia Bell) have hit a rough spot in their marriage, thanks to Timothy having an affair. In an effort to get past the issue, they decide to move. Now it seems that Ashley may have an affair of her own. Weak and stiff script, awkward acting, and poor sound quality (backgounr noises, volume levels, etc.) all make this low budget drama difficult to watch.
SUENO (PG-13) 103 minutes * 1/2
Antonio (John Leguizamo) moves from Mexico to Los Angeles, California, bringing with him a dream of succeeding in the music business. Almost immediately upon arriving, he falls in love with a girl who seems to have little time for him, though he doesn't give up on the idea of pursuing her. His path also soon crosses that of Mirabella (Elizabeth Pena), who has dreams of her own. They give each other the inspiration not to give up on their dreams and... things work out alright. Not a particularly inspirational or passionate story, though the music is definitely worth listening to. PG-13 for language.
SUFFRAGETTE (PG-13) 101 minutes * * *
The story of the beginning of the suffragette movement in England. This starts and finishes well, but pacing slows quite a bit in the middle and the story gets a little too focused on details. Very moving soundtrack by Alexandre Desplat. PG-13 for violence, language, and nudity.
SUGAR (PG-13) 110 minutes * * 1/2
Going to America to play baseball isn't quite what Sugar (Algenis Perez Soto) expected it to be. In the Domincan Republic, he was a star. Now he's struggling in the minor leagues and hoping for a shot at the big time. Solid performances throughout, but the pace is so slow that it's difficult to remain interested at times. PG-13 for language and sex.
SUGAR & SPICE (PG-13) 76 minutes * 1/2
Jack and Diane (You remember the song?) are the perfect couple. He's the quarterback, she's the cheerleader, but they find out that getting married while still so young can be a little rough. So, Diane (Marley Shelton) and her cheerleader friends decide to go out and rob a bank. With the aid of Kansas' (Mena Suvari) convicted mother, they pull off the job, and thanks to a little bribery, things may all turn out just fine. Intentionally corny and full of stereotypes, lighthearted, and a little empty-headed, this delivers just about what you'd expect. It was a smart move to keep it short. PG-13 for language.
SUGAR HILL (R) 118 minutes * 1/2
Roemelo Skuggs (Wesley Snipes) is a mid-level drug dealer who's decided he wants out of the business. But quitting a business like this isn;t something you can usually do without ending up dead. Snipes is fairly good here, but the script is a dud and the budget looks like it was spent on the actors and nothing else. For Snipes fans only. R for violence and language.
SUGAR MOUNTAIN (NR) 102 minutes * *
When these two brother plan to fake a disappearance in order to sell a great survival story, they have no idea how bad things are going to get. Apart from the fact that we know the story is a hoax, they story just never quite sells itself, and we never believe that anyone else really believes it either.
THE SUICIDE PLAN (NR) 83 minutes * * 1/2
A look at the often controversial idea of physician-assisted suicide, which is legal in only a few places. Sensitively told and balanced with views that support as well as struggle with and don't support the idea.
SUICIDE ROOM (NR) 108 minutes * * *
The teasing and humiliation are more than Dominik (Jakub Gierszal) can take. He retreats into an online world where he finds acceptance and support. When it is taken away in a harsh, but well-meaning attempt to help him cope with reality, it pushes him over the edge. Each of us have different threshholds and different abilities to cope. This film may be difficult for some to watch due to how frankly it deals with depression and suicide.
SUICIDE SQUAD (PG-13) 124 minutes * * *
With Superman gone, people begin to wonder just how an evil meta-human might be fought if the need should arise. Amanda Waller (Viola Davis) has an idea. She pulls together a team of evil meta-humans whose weak points she has control of. They become a suicide squad. But actually keeping them under control may well involve crossing a few lines. Very nice collection of characters, though this starts a little slowly, giving us more detailed explanations of the characters than we really need. Working those into the story as it moves along would have improved the pacing. Impressive work by Margot Robbie as Harley Quinn. PG-13 for violence and language.
THE SUICIDE SQUAD (2021) (R) 123 minutes * * 1/2
Harley Quinn (Margot Robbie) and a few other supervillains are about to be sent on another mission to save the world... more than once. Great special effects and action sequences, but this particluar group of villains just isn't as easy to connect to as the previous one was. There are attempts to give us some back story, but they all feel very strained and just don't work very well. Sometimes it's better to just let the story unfold. R for violence, language, and nudity.
SUICIDE SQUAD: HELL TO PAY (R) 83 minutes * 1/2
The squad is sent to retrieve a card that lets the holder bypass hell upon dying. It's a rather weak plot, but manages to provide plenty of reasons for lots of violence, which seems to be the point here. It's not a surprise for Suicide Squad members to die on a mission, as it's kind of implied by the name of the group. But this story takes it a little too far and there isn't really a good reason for it. R for violence and sex.
THE SUICIDE THEORY (R) 93 minutes * * *
Fate or free will? Two men struggle with what it means to live and die and what control we may or may not have over it. An interesting look at where and how we find meaning. The script lacks the edge that would take it to the next level, but there is some great material here. R for violence, language, and sex.
A SUITABLE BOY (NR) 339 minutes * * 1/2
The interactions and connections between four families in India over a number of years are explored in this lengthy drama. The characters are richly developed, but the story frequently wanders and loses momentum.
SUITABLE FLESH (NR) 94 minutes * 1/2
He doesn't have an appointment, but Dr. Derby (Heather Graham) chooses to meet with Asa (Judah Lewis) anyway. She specializes in out-of-body experiences as a symptom of schizophrenia and Asa seems like the perfect case. Be ready for this to be a little on the strange side as it is adapted from the story by H.P. Lovecraft, "The Thing on the Doorstep".
SULLY (PG-13) 89 minutes * * *
Even after his decision saved the loves of everyone on board, mere hours after the event, Captain Sullenberger (Tom Hanks) found himself under investigation. Surprisingly dry accounting of the incident and what happened as the investigation progressed. The moments around the near-crash contain the only real energy in the film. PG-13 for violence and language.
THE SUM OF ALL FEARS (PG-13) 117 minutes * * *
War is a chess game, full of strategy, anticipation, bluffs, and efforts to outthink the opponent. Jack Ryan (Ben Affleck) has figured out one of the larger pieces to the puzzle, but no one will believe him. Time is running out, and Russia and the U.S. are about to engage in a war where everyone will lose. Adapted from Tom Clancy's novel, this is a well-paced film that will keep you interested all the way to the very end. Ben Affleck delivers a solid performance, as do Morgan Freeman and Liev Schreiber. The topic may be a bit strong for some, but it's handled with a good deal of sensitivity though at times that makes it almost seem even more real. Filmed in Quebec, Canada. PG-13 for violence and language.
SUMMER CATCH (PG-13) 96 minutes * * 1/2
Freddie Prinze Jr. plays the part of a local boy who is getting one last shot at using the college summer baseball leagues as a stepping stone into the big leagues. He's got a few problems though. His temper, a new girlfriend from the other side of the tracks, his game is inconsistent and, if the truth be known, he's scared to succeed. Prinze is fairly good here and Jessica Biel does a nice job as his girlfriend, but this never rises above the stereotypes and gives us the same old story with different faces. PG-13 for language.
SUMMER DAYDREAM (NR) 87 minutes *
Clark (Nico Ford) loves to make movies. He hasn't had a great deal of success lately. But now that it looks like his family has to move, he needs to make a film that will win a contest so he can earn enough money that they won't have to move. The photography and acting are not very good here. some of which actually works to support the story, though that likely wasn't the intent. There are also a few moments with some cute humor. Unfortunately, the film is also tedious and poorly paced until the end.
SUMMER ELEVEN (PG) 90 minutes * *
Four girls, eleven years old. This summer holds something a little different for each of them. The pacing and editing are both uneven, and the editing is very stiff, which has a negative effect on the flow of the film. The story has a good heart and some emotional appeal, and the girls do their best, though a more experienced production team could have made them look even better. Filmed in Los Angeles. PG for language.
SUMMER HOURS (NR) 100 minutes * * 1/2
Helene (Edith Scob) isn't getting any younger, and she wants to make sure that what she has preserved of her uncle's work will find a safe home. Her adult children don't want to think about it, but Helene understands far more than they do what will happen after she goes. It is her strength that has held them together, and even that has been fading over the last few years. An interesting story of family legacy and changing times. The ending is a bit awkward, undoubtedly trying to make the point about how things change. The effect is rather disconnected though, and changes the tone of the film at a point when something less harsh would have served the film better.
THE SUMMER HOUSE (NR) 98 minutes * *
Makrus' (Sten Jacobs) family life has become a masquerade. For some time, he has had a male sexual partner on the side, but its about to get much more risky as he finds himself attracted to a colleague's 12-year-old son. Straightforward and somewhat slow-moving drama until the end, which raises questions rather than providing answers.
SUMMER IN FEBRUARY (NR) 97 minutes * *
The passions of love and art mix and mingle in early 20th century Cornwall, England. World War I is soon to begin, but these artists are living in their own world for now. The scenery is beautiful, but the emotions are overly sentimental and romantic, leaving us disconnected from the characters, like looking at a painting through a window.
A SUMMER IN GENOA (R) 90 minutes * *
After the unexpected death of his wife, Joe (Colin Firth) takes his daughters to Italy to try and find a new place to start over. There's plenty of exploration of the thoughts and feelings of these characters, but nothing in the way of resolution. It's a chapter in there lives, nothing more. It's interesting as that, but feels more like part of a set of home movies that's missing something. R for language and sex.
SUMMER IN THE VINEYARD (NR) 82 minutes * *
It's supposed to be the first wine from their (Rachel Leigh Cook and Brendan Penny) vineyard, and highlighted at a special festival. But it's not going to be ready in time. The story eventually comes around to a feel-good ending, but the struggles tend to take center stage for an uncomfortable amount of time. Sometimes Hallmark tries to be a little more realistic with a story, and it just doesn't usually work quite as well.
SUMMER LOVE (NR) 83 minutes * *
Looking to start a new chapter in her life, Maya (Rachel Leigh Cook) gets an internship at a tech company. She quickly catches the eye of both the CFO and the CEO. That may help her career potential, but her co-workers aren't all that thrilled about it. Cook is good here, but neither the script or the supporting cast have a great deal of depth.
SUMMER OF DREAMS (NR) 85 minutes * * 1/2
Once a pop star, Debbie Taylor (Debbie Gibson) has been dropped by her label, and is trying to figure out how to restart her life. Filling in for a music teacher is going to be her next gig. A predictable story that moves from success through struggle, to another form of success. Gibson sells it well, and manages to make it a little fun along the way.
SUMMER OF SAM (R) 136 minutes * * *
It's the summer of the Son of Sam, the killer who had most of New York City running scared. It's a portrait of a city, and of a summer, of innocence, and innocence lost. It was a time when questions were beginning to be asked and the answers weren't always there. Spike Lee does a nice job with the story here, capturing the feeling with his direction and the photography. He didn't need to be IN the film though, and it could have used a little trimming. In both of those aspects, it's a typical Lee film, but it would be nice if he'd learn from his mistakes in these areas. R for language, violence, and sex.
SUMMER OF SOUL, OR WHEN THE REVOLUTION COULD NOT BE TELEVISED (PG-13) 112 minutes * * * 1/2
It was 1969. The summer of Woodstock. It was also the summer of the Harlem Cultural Festival. 300,000 people attended, and the festival was filmed. The footage sat in a basement for 50 years, until it finally saw the light of day. Interspersed with interviews from around the time of the event as well as with many of the artists who performed, looking back over the years on a musical event of historic importance. An Oscar winner for Best Documentary. PG-13 for violence.
SUMMER RENTAL (PG) 82 minutes * * 1/2
Jack Chester (John Candy) needs a break, So, he takes the family to the beach. Maybe staying home would have been a better idea. Pleasantly surprising comedy with more story than you might expect. "Night Court" fans will enjoy seeing Karen Austin and John Laroquette work together here. PG for language and sex.
A SUMMER ROMANCE (NR) 83 minutes * * 1/2
Sam's (Erin Krakow) ranch is in trouble. Richard (Ryan Paevey) works for a company that wants to buy it and turn it into a resort. Once they meet, it's clear that some things are going to have to change. Richard had no idea what the ranch means not only to Sam, but to the community. It won't take him long to find out. Familiar story, but well-played by the cast.
SUMMER SCHOOL (PG-13) 93 minutes * *
Freddie Shoop (Mark Harmon) has to cancel his trip to Hawaii to teach summer school. To make matters worse, if the kids don't pass, he'll lose his job! How to succeed? Bribe the kids! Low budget, light-hearted romp with a decent cast that includes Kirstie Alley, Courtney Thorne-Smith and Shawnee Smith. There are a couple of good scenes, but don't expect too much.
A SUMMER TO REMEMBER (NR) 82 minutes * * 1/2
Jessica (Catherine Bell) has a choice to make. Not only is it a choice between a busy job and one where she can control the hours, but between Trevor (Paul O'Brien), who can't leave work behind, and Will (Cameron Mathison), who is a bit more on the "chill" side in his approach to life.
SUMMER VILLA (NR) 83 minutes * *
His career as a chef just hit a major bump. When Terry (Hilarie Burton) and Matthew (Victor Webster) end up at the same summer villa, they're going to need to share the space. Of course, they not only inspire each other to do better work, but fall in love along the way. The story doesn't work well, feeling both rushed and unimaginative. Burton and Webster lend it a little charm, but it's not enough.
SUMMER WARS (PG) 109 minutes * * *
It's one thing to be interested in girls, but now he has to pretend that Natsuki is his girlfriend for four whole days and in front of all of her relatives. Even worse than that is the fact that someone has hijacked his OZ avatar and is wreaking havoc that is having consequences in the real world. Nice animation and an engaging story with two strong plots that manage to work fairly well together. PG for violence and language.
SUMMERLAND (PG) 94 minutes * * *
Keeping to herself, Alice (Gemma Arterton) has grown comfortable in her isolation. Suddenly, she finds herself an unwilling participant in the war effort, serving as host to a relocated young boy from London. Both of their worlds will change. Arterton is marvelous in this story of heartbreak and survival. PG for language and violence.
SUMMER'S MOON (R) 89 minutes * 1/2
Summer (Ashley Greene) just hitched a ride with the wrong guy. He collects girls for his garden, btu he isn;t the only one Summer has to worry about. Predictable thriller with two-dimensional acting. The music and photography are fairly good though, which at least makes this look a little better than so many others in this genre. R for violence, sex, and language.
SUMMERTIME DROPOUTS (PG) 87 minutes * 1/2
They put a band together, the music is good, and they're aiming for a spot on the Warped Tour. It's what they;ve dreamed of. Sometimes dreams come true, but sometimes they look a little different than we expected. The script and acting are both uneven, but there is some good music, and the ending is nice, if a bit unlikely. PG for language.
THE SUMMIT (R) 101 minutes * * *
K2 is one of a few mountains in the world that not only draw many climbers but that also present extreme challenges and on which many have died. This is the story of a 2008 expedition where 18 people reached the top, but 11 of them lost their lives. The photography does an excellent job of presenting the majesty and frightening power of the mountain and the weather that surrounds it. R for language.
THE SUN BEHIND THE CLOUDS (NR) 78 minutes * * 1/2
Tibet's ongoing struggle for freedom is chronicled in this documentary. Whil the Dali Lama has continuously promoted that cause, his path is more peaceful and less confrontational than some in Tibet would have him take. In its attempt to present both sides clearly and in a balanced format, it tends to present them without a great deal of the passion that is felt by both sides.
THE SUN IS ALSO A STAR (PG-13) 94 minutes * * 1/2
Natasha (Yara Shahidi) just wants to stay in New York, and she's got less than a day to make it happen before she and her family are deported to Jamaica. Daniel (Daniel Jae Ho Bae) sees her, and is certain that she is "the one". Can he find a way to help her stay, or will they only have this short time together? An encounter need not be lengthy to be both powerful and full of meaning, though it takes a focus and intention that don't necessarily come easily. PG-13 for language.
SUN, SAND & ROMANCE (NR) 83 minutes * * 1/2
On what is supposed to be a relaxing vacation, Kate (Tricia Helfer) and Eric (Scott Elrod) are drifting apart as he continues to work. It turns out that Kate's old friend Shep (Paul Campbell) is activities director at the resort, and he's willing to give her the attention she truly needs. Beautiful scenery.
A SUNDAY HORSE (NR) 101 minutes * *
Without the money that most other riders have to back them, it would seem that Debi (Nikki Reeed) will not succeed. She even convinces herself for awhile. And then it becomes clear to her that one particular horse has a special connection with her, and it changes her mind. Except for Debi, the characters are very two-dimensional and the story is overly simple. It still manages to work fairly well, it just doesn't have the extra strength it really needs.
SUNDAYS AT TIFFANY'S (NR) 86 minutes * * 1/2
On Jane's (Alyssa Milano) 10th birthday, her invisible best friend and constant companion Michael (Eric Winter) left. It's 20 years later, Jane is about to get married, and Michael is back. Cute story, but it's Winter's performance that makes this work. Milano tries to combine the little girl with the adult, and it doesn't work all that well.
SUNDOWN (R) 77 minutes * *
A beautiful vacation is suddenly cut short due to a family health emergency. Alice (Charlotte Gainsbourg) heads home with her kids, but missing paperwork keeps Neil (Tim Roth) from joining them. Sometimes, it isn't all that difficult to just slip into another life. It's less that he wants a new life and more that something just snapped. He's just drifting. The ending is not what most will expect, though true to the rest of the story, it just sort of wanders off. R for sex, violence, and language.
SUNDOWN: THE VAMPIRE IN RETREAT (R) 99 miniutes * *
Trying to get along with the rest of the world, vampires have settled into a little town out west called purgatory. But the synthetic blood they've been drinking just isn't the same as the real thing. Count Mardulak (David Carradine) and Shane (Maxwell Caulfield) will have to do battle to decide which way is the best one for the group to pursue. A light-hearted vampire story.
SUNSET (R) 104 minutes * *
A fun exploration of what would have happened if Tom Mix (Bruce Willis) and Wyatt Earp (James Garner) were involved in a real murder mystery. It's definitely an unpolished production and verges on silliness more than once, but Garner and Willis are having fun, which makes it at least somewhat entertaining.
THE SUNSET LIMITED (NR) 88 minutes * * *
Back in the apartment of the man who just saved his life, these two men have an extensive conversation about life, faith, and just about everything else. The words are powerful, though the film is very heavy with dialogue, Adapted from the play by Corman McCarthy, this is a difficult piece to digest in one sitting because of the depth of the dialogue. It's great to see Samuel L. Jackson and Tommy Lee Jones together, though it's a bit different from the projects they usually take on.
SUNSET PARK (R) 95 minutes * 1/2
Nothing new in this story of a poor basketball team trying to be better with the help of a coach who doesn't know basketball. There are some good morals here, but there's no energy from the cast or the script to carry this very far.
SUNSET SOCIETY (NR) 86 minutes BOMB
The Sunset Soeciety is a secret club in Hollywood where vampires can enjoy themselves yet remain hidden from the world around them. But there are a few members who are tired of the way Ace (Lemmy Kilmister) runs things at the club. They want change. What they need is a script. And some acting lessons.
SUNSET SONG (R) 132 minutes * * *
Chris (Agyness Deyn) is the daughter of a Scottish farmer. In the early 1900s, she is becoming a young woman, and learning how much her past will shape her future. Slow-paced and thoguhtful drama, with fine work by the ensemble cast. R for sex and violence.
SUNSHINE (R) 101 minutes * *
Their mission is to reignite the dying sun. It is not the first such mission. They will discover that there is a price to pay for their mission, and an effect that the sun has on many who approach so close. It is not without reason that their ship is named "Icarus II". It's an interesting story, though the film focuses a bit too much on special effects and technical aspects of the mission and not enough on the psychological and philosophical issues. The result is that we find it difficult to connect with or care about the characters. R for violence and language.
SUNSHINE BARRY & THE DISCO WORMS (PG) 75 minutes * *
Barry may just be a worm, but love and a little disco music have inspired him to boogie on to a contest that he's determined to win. It's a cute story, but the pace is a little slow and there just isn't enough witty dialogue for the adults or enough action for the kids. PG for language.
SUNSHINE CLEANING (R) 87 minutes * * *
Rose (Amy Adams) just wants her life to be a little better. She needs money to take classes so that she can get her real estate license, so at the encouragement of a friend, she starts doing crime scene cleanup. It's dirty work, but it has to be done, and it pays well. Quirky and sweet story that also has an underlying intensity and a dash or two of humor as well. Delightful performances by Adams, Emily Blunt, Steve Zahn, and Alan Arkin among others. R for language, sex, and violence.
SUNSTROKE (NR) 154 minutes * * *
The Communist revolution has begun, and the soldiers who remain loyal to the Tsar are being held in a prison camp. One of the lieutenants there recalls and intense and passionate encounter several years before. It reminds him of better days, which makes the time in the camp fade a little bit. It's a sweeping saga of old Russia, though the movement of the story is frequently uneven. Powerful and emotional ending.
SUPER (R) 92 minutes * *
Frank's (Riann Wilson) wife just left him and he's having trouble dealing with it. He receives a vision (not the first time he's had one) and decides that he should become a superhero... sort of... It's a bit more difficult and messy than he expected. Kind of funny and sad early on, but as it begins to turn more violent and tragic, it's becomes more depressing. Nice work by Wilson. R for violence, language, and sex.
THE SUPER (R) 83 minutes * *
Sentenced to live in his own slum tenement, Louie Kritski (Joe Pesci) begins to realize that the people who live there are worth getting to know and care about. Pesci is fine here, but the story veers to comedy in all the wrong places and lays the moral on far too thickly. R for language.
THE SUPER (2017) (R) 83 minutes * *
It's a building with a past. It was once a bank, but it has since been converted into apartments. Phil (Patrick John Flueger) has been hired as a superintendent and takes up residence in the basement with his two daughters. There are, of course, residents who aren't on the register. They haven't been for a long time. The story takes a couple of nice turns near the end. They aren't entirely surprising, but they are well-timed. R for violence and language.
SUPER BUDDIES (G) 76 minutes * 1/2
The Buddies find the Rings of Inspiron, which give them super powers, but it also means that they have some work to do. The last few films in this series have had less screen time for the puppies and more for the humans. Not only does that continue here, but now there are aliens too. It's not an improvement.
SUPER CYCLONE (NR) 85 minutes 1/2
The entire west coast of the United States is about to be hit by a super cyclone. It will be an apocalyptic event... unless a handful of people with just the right skill set can stop it. Another gem from The Asylum studios. Somehow, despite not being very long, it still manages to be repetitive.
SUPER DUPER ALICE COOPER (NR) 84 minutes * * *
The story of Alice Cooper, how they got started, the struggles, the successes, the search for an identity and an audience that would launch their career. It's also the story of how "they" became "he", and how the character took control before finally separating into an onstage character that let Vincent Furnier live his own life offstage. Great fun for fans, who will still learn a few things they didn't know before, and those who are interested in the history of rock music will enjoy a look at a legendary performer and artist.
SUPER 8 (PG-13) 104 minutes * * * 1/2
A group of middle school youth are working on a film project when they witness a colossal train wreck. In fact, they actually catch a good bit of the wreck on film. That's going to come in handy, because there was something on that train that the government was trying to hide, and that no one is going to believe unless they see it. Great fun, and loads of excitement in this science fiction/horror/adventure film for the young at heart. PG-13 for violence and language.
SUPER HIGH ME (R) 87 minutes * * 1/2
Following in the footsetps of "Super Size Me", comedian Doug Benson wonders what it would be like to go without marijuana for thirty days and then smoke it for thirty days. There are a few medical comments, but Benson is more concerned with keeping us entertained and making the case for legalized marijuana, at the very least for medical use. R for language.
SUPER HYBRID (PG-13) 90 minutes *
Strange car lures people inside where it absorbs them. Or sometimes it just kills them. Turns out its a shape-shifting alien, and it's hiding out in a parking garage for now. Oded Fehr's character is just not a good fit here, and it looks like he feels awkward most of the time too. Shannon Beckner does reasonably well, but the ending is just dumb. The monster is somewhat interesting when we finally get a look at it. PG-13 for violence and language.
SUPER MARIO BROS. (PG) 98 minutes * * *
Wonderfully fun and inventive adaptation of the video game, with loads of action, and plenty of cartoonish dialogue and characters. The idea is that the meteorite that crashed into earth and destroyed the dinosaurs really just sent them into another dimension where they evolved into humanoids. They're now trying to merge the worlds. Will they succeed? You'll have to watch to find out!
THE SUPER MARIO BROS. MOVIE (PG) 84 minutes * * *
Maria (voiced by Chris Pratt) and Luigi (voiced by Charlie Day) are just trying to help save Brooklyn when they get sucked into a much bigger adventure as they work with Princess Peach (voiced by Anya Taylor-Joy) to save the Mushroom Kingdom. Much more closely aligned with the video game than the live action Super Mario Bros. Movie from 1993. It tends to work better as far as the story too, though it is a little violent. PG for violence.
SUPER SIZE ME (NR) 96 minutes * * *
Have you ever wondered just how unhealthy fast food might be? This documentary explores what happens when a healthy young man goes on a 30-day diet of nothing but food from McDonald's. It's a bit of a surprise even for the doctors who are monitoring his health throughout the project. There's a nice balance of statistics, anecdotes, and commentary here that keep us watching... and hopefully watching what we eat a little more closely.
SUPER STORM (NR) 91 minutes *
Pretty bad disaster movie, especially since there's not really all that much disaster in it. There are a couple of super cell storms, but there's also quite a bit of romantic drama.
SUPER STORM (2011) 85 minutes *
A strange particle that's only been found on Jupiter, suddenly appears on Earth. It seems to be responsible for the recent storms that have been extraordinarily destructive. Thankfully, it can be stopped with the help of a high school student's science fair project.
SUPER SWEET 16 (NR) 84 minutes * *
Aly and AJ star in this glossy and predictable film about two friends who become enemies as they each try to have the best sweet 16 birthday party. This has all the polish, but nothing we haven't seen many times before. Fans of Aly and AJ will enjoy it, the rest of us will just forget. Not rated, but essentially PG for language.
SUPER TROOPERS (R) 93 minutes 1/2
The highway patrol division is about to get shut down and the local cops are willing to do whatever they can to help it happen more quickly. But these are super troopers and they won't go down without a fight. Surprisingly enough, this does have a story that makes sense. What it doesn't have is a director
or any actors with much talent. R for language and nudity.
SUPER TROOPERS 2 (R) 90 minutes 1/2
The troopers are back, and this time they need to work with the Canadian Mounties on a cross-border issue. Fans of Broken Lizard's comedy are likely to enjoy this, but there's just not much to it. R for sex and language.
SUPERBABIES: BABY GENIUSES 2 (PG) 85 minutes * 1/2
Kahuna and his old enemy (now going by the name Biscane) are at it again. The cast is filled with twins playing the parts of individual children and teh story is full of... holes. It's also puzzling as to why the legend of Kahuna is told so late in the film. Quickly turns into Spy Babies, though that doesn't seem to help things. PG for violence.
SUPERBAD (R) 108 minutes * 1/2
It's two weeks until graduation, and all Seth (Jonah Hill) can think about is sex... and how he needs to have some before he graduates. When he and Evan (Michael Cera) are asked to provide the alcohol for a party, it may just be the ticket. If they can make it happen. The film definitely drags on too long, but does have a few chuckles and a few moments of truth. R for language, sex, and violence.
SUPERCELL (PG-13) 95 minutes * 1/2
His father was a well-respected storm chaser. It's all that his son William (Daniel Diemer) has wanted to do as well. Since his father's death, his mother (Anne Heche) has only wanted him to do anything else. Nothing surprising about the story. The characters are a little shallow, and Diemer's performance is not as strong as it needs to be. There is some nice footage of storms, but that's not all we need to see. PG-13 for language and violence.
SUPERCON (R) 95 minutes * 1/2
Once successful, Matt Wheeler (Ryan Kwanten), Keith Mahar (Russell Peters), and a few of their friends and co-workers now make their living working comic cons. When they have an opportunity to get back at an annoying former TV star and a shady promoter, they can't wait to have a taste of justice. Pretty funny early on, with some clever humor. But the longer it goes on, the more tired and less interesting it becomes. R for sex and language.
SUPERCOOL (NR) 87 minutes * *
11:11pm is a special time of night. If you make a wish, it just might come true. Neil (Jake Short) does jusst that. He wants to be supercool. Of course, what he learns is that he just needs to be himself, believe in himself, and trust his friends. Short does fine, and there's nice work by Miles J. Harvey and Madison Bailey. The story has a couple of moments, but is otherwise all too familiar.
SUPERCOP (R) 85 minutes * * 1/2
As usual, Jackie Chan makes martial arts films fun to watch! This time around, there are some great explosive effects, amazing chase scenes and some terrific female martial arts sequences. R for violence.
SUPERCROSS (PG-13) 75 minutes 1/2
The Carlyle brothers are cleaning pools and racing motocross whenever they can. When KC gets a "factory ride" with Nami, Tripp is envious rather than supportive. He's a better rider, but he's a hothead and doesn't think before he acts. But a factory ride isn't always the best deal, and no one wins alone. There's a fair amount of heart here and lots of great racing footage, but not much acting talent and a really weak script. PG-13 for violence and language.
SUPERFAST (PG-13) 92 minutes 1/2
Mostly unfunny parody of the "Fast and Furious" series of films. As with most parodies, there are a few bits that are worth a chuckle or a snicker, but not enought to warrant a whole film. PG-13 for sex, violence, and language.
SUPERFLY (R) 109 minutes * * *
Youngblood Priest (Trevor Jackson) has had a very successful career in the drug business. He's ready to get out, but wants to go out big. Going out big will come at a heavy cost. Priest may be one of the few who not only understands the cost, but has the means to pay it. A good story, with Jackson doing a nice job of leading the cast. R for violence, language, and sex.
SUPERGIRL (PG) 103 minutes * *
After a special power orb that is extremely important to Supergirl’s home world is lost, she decides to come to Earth to retrieve it. Once here, she has super powers like her cousin, but has to deal with villains as well. (Something about… whenever superheroes show up, super villains aren’t far behind.) The film doesn’t really fit well into the Superman series, though it doesn’t actually even try. It also doesn’t explain a number of the points in the plot very well either. Still, it’s a fun adventure with a fairly light tone, and manages to be entertaining despite its flaws. PG for violence.
SUPERHERO MOVIE (PG-13) 71 minutes *
Rick Riker (Drake Bell) is now a superhero thanks to being bitten by a radioactive dragonfly. Being a superhero isn't all the fun that you might think. Parody of superhero films, mostly the Spider-man series. Worth a few chuckles here and there, but a typical, low-budget parody that is too light on talent and quality. PG-13 for language and violence.
SUPERHEROES (NR) 79 minutes * * 1/2
If you ever doubed the existence of superheroes, here's the proof! They don't have super powers.. well, one of them will tell you he does... but they are willing to stand up for what's right and to be involved in making their communities safe. This documentary explores some of the people who have taken on this role, and the communities where they work.
SUPERHOST (NR) 81 minutes *
When you run a vlog, it's all about the hits. Teddy (Osric Chan) and Claire (Sara Canning) are losing viewers, so they try to spice things up by focusing on their unusual home stay host. Little do they know what Rebecca (Gracie Gillam) has in store for them. Not much depth to the characters or the story here.
SUPERINTELLIGENCE (PG) 102 minutes * * ½
There’s nothing special about Carol Peters (Melissa McCarthy). She’d be the first person to tell you that. But a newly self-aware AI has chosen her as a test subject to decide whether or not to destroy the world. No pressure. As is typical of McCarthy’s films, there’s some great comedy, some solid drama, and lots of uneven transitions. PG for language.
SUPERMAN (PG) 143 minutes * * * 1/2
A romance that began in the comics, moved to TV, and finally to the big screen... Superman and Lois Lane. This is grand fun, with Oscar winning special effects, and appropriately cartoonish performances by one and all. Fun and exciting and a real crowd pleaser, this is a gem to watch.
SUPERMAN & BATMAN: APOCALYPSE (PG-13) 75 minutes * * 1/2
When Batman investigates the strange object that just fell to Earth, he discovers a young woman who is apparently from the same planet as his friend Superman. Batman isn't quite ready to trust her, but Wonder Woman is willing to lend a hand. Will they be able to help Kara adjust or will Darkside be able to enlist her to do his evil work? The animation isn't that great here, but the story is pretty good. PG-13 for violence.
SUPERMAN/BATMAN: PUBLIC ENEMIES (PG-13) 64 minutes * *
Lex Luthor becomes president and Superman and Batman find themselves on the wrong side of the law. It' doesn't take too long for them to get things straightened around. Not much creativity in the fight sequences here, with lots of fist-fighting and not much else. PG-13 for violence and language.
SUPERMAN IV: THE QUEST FOR PEACE (PG) 86 minutes *
Superman crusades for nuclear disarmament and battles Lex Luthor's latest creation... Nuclear Man...(yawn). Poorly written, though to be fair, 25% of the film was cut for theatrical release. That's almost never a good sign. The acting is stale and boring and the film even managed to get nominated for a couple of Razzie awards. (Another bad sign.) Even fans of our superhero will wish they had watched a different film once they get a look at this one.
SUPERMAN: MAN OF TOMORROW (PG-13) 83 minutes * * 1/2
The story here focuses on the early days of Superman as his alter ego Clark Kent begins work as an intern at the Daily Planet. Before he really understand much about who he is or where he's from, he runs into Lobo, an intergalactic bounty hunter. Even worse, he will have to face Parasite. He will get some help from the Martian Manhunter, and begin to get a sense of a universe much bigger than he thought. PG-13 for violence and language.
SUPERMAN: RED SON (PG-13) 82 minutes * * 1/2
This alternate version of the Superman story follows Kal-El as he grows up in Russia instead of the United States. With appearances by Wonder Woman and Batman, this is a fine adventure in an alternate reality. PG-13 for violence and language.
SUPERMAN RETURNS (PG-13) 146 minutes * * 1/2
Brandon Routh dons the cape for this sequel, and we can't really tell if he's a decent actor or not. What we can be sure of is that he learned how to imitate Christopher Reeve. It's no surprise that the best performance of the film is delivered by Kevin Spacey as Lex Luthor, and Parker Posey is fun to watch as Luthor's partenr in crime, Kitty. It ends well, setting us up for another sequel, but the plastic performace of Routh matches his plastic-looking costume and the lifeless computer generated effects. PG-13 for language and violence.
SUPERMAN III (PG) 120 minutes * * ½
Superman is exposed to a synthetic form of Kryptonite that is laced with tar, and it sort of splits him into two people, a bad superman and a good Clark Kent. This is mostly known as the Superman film with Richard Pryor, and he actually isn’t bad here, but the story just isn’t all that strong. PG for violence, language, and sex.
SUPERMAN UNBOUND (PG-13) 71 minutes * * 1/2
One of Brainiac's robots shows up on Earth. It's going to take everything Superman and Supergirl have to stop it and prevent Brainiac from accomplishing his mission. This starts out very exciting and fast-paced, but really begins to drag toward the end. Nice soundtrack throughout though. It's just the story that seems to fade in intensity. PG-13 for violence.
SUPERMENSCH: THE LEGEND OF SHEP GORDON (R) 81 minutes * * *
Shep just happened to meet Janis Joplin and Jimi Hendrix within a few days of moving to Los Angeles. They introduced him to Alice Cooper, and the rest is history. A fun who's who of all of the people who have been connected with Shep over the years, and in case you have trouble following, there's a list of his clients at the end of the film. R for language.
SUPERNOVA (PG-13) 83 minutes *
This must have looked like a good project at the beginning. Otherwise, it's hard to believe that Angela Bassett and James Spader would've signed on. The idea is that a salvage operator comes across a Genesis bomb and plans to use it for personal gain. I use the term "Genesis bomb" as it it's effect upon detonation is destruction and then rebirth. Unfortunately, rather than dealing with the scientific, we have a story that dwells on the relationships of the crew, using poorly written dialogue that makes it hard to watch. The camera angles and editing show inexperience and the ultimate effect is that of watching an old grade-B sci-fi flick. PG-13 for language, violence, and nudity.
SUPERNOVA (2020) (R) 90 minutes * * *
Diagnosed with dementia a couple of years ago, Tusker (Stanley Tucci) is still having mostly good days, but they don't know when that will change. He and Sam (Colin Firth) are headed across England in their RV, visiting people and places from their past. The acting is superb, which is no surprise, but the story lacks the emotional depth that it needs. R for language.
SUPERSTAR (PG-13) 77 minutes *
Another Saturday Night Live skit comes to the big screen. As with most, it was a better skit than a film. There are a few snickers here and there, but there are far too many well-made coming-of-age films for this to draw much attention. You might want to take a look at "Welcome to the Dollhouse" which has some definite parallels and is a far better film. PG-13 for language.
SUPPORT THE GIRLS (R) 86 minutes * * ½
As the manager of “Double Whammies”, Lisa (Regina Hall) is in charge and doing well. She maintains a good balance between her home life and her work… until it all falls apart one day. Perhaps it’s time to reevaluate and decide what’s important. Great supporting work by Haley Lu Richardson. A slice of life with a bit of humor and a healthy dose of reality. R for language and nudity.
SUPREMACY (NR) 105 minutes * * 1/2
When Garrett (Joe Anderson) gets out of prison, it doesn't take long for his old habits to take hold again. Now, he and his equally violent girlfriend have taken a family hostage and things are spiraling out of control. Good acting, but despite the length of the film, the characters remain remarkably shallow.
THE SURE THING (PG-13) 91 minutes * * *
Walter (John Cusack) is on a cross-country trip with the purpose of having sex. But instead of being able to take the trip with one of his buddies, he ends up travelling with a girl he doesn't like. She doesn't like him either. So... yes, it's very predictable, but also romantic and charming. Cusack and Daphne Zuniga work well together, and director Rob Reiner knows how to make a familiar storyline work better than most. PG-13 for language.
SURF NINJAS (PG) 82 minutes 1/2
The only moment of note in this entire film is the fight sequence that takes place between Ernie Reyes Sr. and Jr. at one point in the film. Everything else here is just a bad Saturday morning TV show.
SURFER DUDE (R) 76 minutes * * 1/2
Steve Addington (Matthew McConaughey) is the ultimate surfer dude. Unfortunately, he's run out of money to maintain his casual lifestyle. His contract has been sold to a new promoter who wants Steve to star in a reality TV show. But that's like, so not cool. McConaughey is great here, as is Woody Harrelson, who plays the part of Steve's rather relaxed personal agent. Nice bit parts by Willie Nelson and Scott Glenn as well. Fun film that immerses us in the stereotypical surfing lifestyle. R for language and nudity.
SURF'S UP (PG) 78 minutes * * *
Cody Maverick is a penguin with a passion to surf. This is his story. It's a pretty cute story too. Well-written with plenty of great comic bits, though it does tend to wander a bit off-track at times. Great voice work from Shia Labeouf, Zooey Deschanel, James Woods, Jeff Bridges, and Jon Heder. The film does a nice job paying homage to real-life surfers, though it would have been to hear even more of their comments about surfing throughout the film. PG for language.
SURF'S UP 2: WAVEMANIA (PG) 79 minutes * 1/2
WWE takes over this sequel, with voices and characters from the world of wrestling. With so much focus on that, we tend to lose the penguins and the surfing, which should have been the main part of the story. Fans of wrestling will still have a little fun with this, but if you're a fan of wrestling, why are you watching a cartoon about surfing penguins? PG for language and violence.
SURPRISED BY LOVE (NR) 83 minutes * * *
On the fast track to success, Josie (Hilarie Burton) wishes that her parents would like her current boyfriend. That's not happening, but maybe with her old boyfriend, Maxwell Gridley (Paul Campbell) will make them appreciate her current one more. Then again, maybe Maxwell and Josie still have something between them. Nice chemistry between Burton and Campbell, and a fun script. There's even a small, but important role for Tim Conway here.
SURPRISED BY OXFORD (NR) 96 minutes * * *
Her goal has always been clear. Caro (Rose Reid) is brilliant to a fault, so her pursuit of a doctorate makes perfect sense. Even better that she is accepted at Oxford University in England with a full scholarship. The studies are going well, but her social life is not. She buries herself in criticism, research, analysis, and more, all while avoiding connection, emotion, and relationship. Kent (Ruairi O'Connor) could be more than just a friend, if she would let him. Provost Knight (Phyllis Logan) is her role model, but she's also a little different than Caro expects. Then again, it seems like everything lately isn't quite what Caro expects. Based on the memoir by Caroline Weber.
SURRENDER (PG) 93 minutes * 1/2
He's a writer who has great success with books and no luck with women. Will she love him for who he is, or is it (as Randy Newman's song suggests) money that she loves? Simple movie and love and greed that is barely salvaged by the performances of Sally Field and Michael Caine.
SURROGATES (PG-13) 84 minutes * *
Surrogates are the way to make the world a safer place... until someone figures out how to kill the operators while they are connected. Adapted from the graphic novel by Robert Venditti and Brett Weldele, this futuristic tale has a simple moral that is easy to see from the beginning. The ending is a bit abrupt as well, though getting there is a fun, if rather brief, ride. PG-13 for violence and language.
SURVEILLANCE (R) 94 minutes * *
A violent murder and three witnesses. FBI agents Anderson (Julia Ormond) and Hallaway (Bill Pullman) have a mystery to unravel, but at what cost? A twisted story about a pair of psychotic killers. Ormond and Pullman overplay this quite a bit, but the ending is chilling. Writer/director Jennifer Lynch is the daughter of director David Lynch, who has clearly been something of an influence on her style. R for violence, language, and sex.
SURVIVAL CODE (R) 88 minutes * 1/2
Borealis, a small town in the far north, is the site of intense competition for control of the remaining resources of the planet. The year is 2045, but some things never change. The cliffhanger ending is courtesy of the fact that this was the pilot for a television show that never happened. There are some gret characters here, but the story goes in too many directions at once. Leaving options for futire episodes is one thing. An extra long commercial is what we have here. R for violence, language, and sex.
SURVIVAL ISLAND (NR) 89 minutes *
Three survivors of a shipwreck find themselves on an island. The toughest part is going to be how to get along with each other. The strained personal relationships make this a struggle to watch, especially when we find it difficult to like any of the characters. The scenery is nice though.
SURVIVAL OF THE DEAD (R) 81 minutes * *
Another in the ongoing saga of zombie life from infamous zombie creator George Romero. In the continuing saga of a world overrun with zombies, a group of survivors get caught up in a feud between a couple of old Irishmen. It's difficult to tell which is worse, the fued or the zombies. The only really interesting part here is dealt with almost as a subplot... what if zombies could be taught to eat somthing other than human flesh? Is there a chance for peaceful co-existence? R for violence, language, and sex.
THE SURVIVALIST (NR) 100 minutes * * *
Food is in short supply. The survivalist (Martin McCann) has enough to get by on by working a small plot of land, deep in the forest. When a mother and daughter show up needing food and shelter, he is immediately suspicious, though other problems will come along soon enough. Slow-moving story, but there is an intensity that lingers just beneath the surface and helps keep the story engaging.
THE SURVIVALIST (2021) (R) 85 minutes * *
Due to the outbreak of a dangerous virus, the world has collapsed. As someone who is immune, Sarah (Ruby Modine) is valuable. She looks to former FBI agent Ben (Jonathan Rhys Meyers) for help. Aaron (John Malkovich) and his crew will stop at nothing to catch her and save the world in his own very twisted way. The ending feels a little bit incomplete. R for violence and language.
SURVIVE THE NIGHT (R) 84 minutes * 1/2
When a botched robbery attempt leaves one of them injured, two criminals look for help at a local clinic. The clinic is closing for the day, so the follow the doctor (Chad Michael Murray) home and hold his family hostage. This starts with good energy and intensity, but it disappears quickly. R for violence and language.
SURVIVING CHRISTMAS (PG-13) 85 minutes *
Drew (Ben Affleck) decides to rent a family for the holidays since he doesn't want to spend another Christmas alone. The family he picks has plenty of problems of their own and Drew's presence is only making it worse. So, for the first 75 minutes, we have a rich guy who thinks he can buy happiness for the holidays and a dysfunctional family... none of whom we like very much, if at all. Which means, when we get to the sappy holiday spirit ending, we don't really care very much. It's not the fault of the actors here, Affleck, along with Christina Applegate, James Gandolfini, and Catherine O'Hara play their parts well, it's just a lousy story. PG-13 for language and sex.
SURVIVING CROOKED LAKE (PG-13) 86 minutes * * 1/2
A canoe trip turns tragic when four young girls go out with one of the girls' older brother. He's really only there because Steph (Stephannie Richardson) is afraid of the water. The story is fascinating and intense, and Richardson does a nice job. The low budget hurts this a little, becuase while it does give a sense of realism, it also looks a little too rough and some extra work on photography and editing would have added quite a bit and covered up the weaknesses of the other actors. PG-13 for violence and language.
SURVIVING PROGRESS (NR) 83 minutes * * 1/2
What does progress mean? That's the question this documentary asks as it looks at how we have viewed progress in the past and how we might do so in the future. Interviews and insights from a number of scientists, philosophers, and others who believe in progress and in the future of the planet.
SURVIVING THE GAME (R) 93 minutes *
1/2
Yet another remake of "The Most Dangerous Game", with
Ice-T as the man who is hired to be "the game". His
personality lends a good deal to the film, but the
rest of the characters are two-dimensional, making
this a film that just isn't all that interesting to
watch.
SURVIVING THE STORM (R) 110 minutes *
It's the dreaded news that no one wants to hear... stage three breast cancer. When Leslie (Tameika Buggage)) gets the news, it forces some long overdue conversations to happen. The script is overly wordy, and has narration as well. The scene transitions aren't smooth either, and the pace drags. R for language.
SURVIVOR (PG-13) 88 minutes * *
When the US Embassy in London hires a new security specialist, she uncovers a rat in the nest. But proving it, and taking care of it, will prove to be very difficult. The answers come far too quickly and easily, and most of the characters are two-dimensional, despite the seasoned cast who work to bring them to life. PG-13 for violence and language.
THE SURVIVORS (R) 79 minutes * ½
It’s been a bad day for Donald (Robin Williams) and Sonny (Walter Matthau) until they find themselves in the right spot at the right time to prevent a robbery. The only trouble is that the man who attempted the robbery is less than thrilled with their interference and decides to come after them. The plot is garbled and without much direction, leaving the wonderful talents of Matthau and Williams with nowhere to go. R for violence, language, and sex.
SURVIVORS GUIDE TO PRISON (NR) 101 minutes * * *
Although many wouldn't suspect it, there's a greater risk of going to prison in the United States than anywhere else in the world. While there are many honorable police and correctional officers, there are many who are not. And the system is stacked against people who enter it. Guilt is presumed far more often than innocence. The film is presented as a explaining ways to survive prison, which it does by showing what happens to so many people who find themselves caught up in a system that is often more corrupt than not.
SUSHI GIRL (R) 92 minutes * * *
When Fish (Noah Hathaway) gets out of prison, his old friend Duke (Tony Todd) invites him to a party. But celebration isn't really on the agenda. Very nice twist at the end. The violene is intense, but it's also much in the same style of films like "Pulp Fiction", where there is a touch of macabre humor. R for violence, language, and nudity.
SUSPECT (R) 119 minutes * * 1/2
When a judge and his secretary are found dead, homeless deaf-mute Carl (Liam Neeson) is arrested for the crime. Public defender Kathy Riley (Cher) sets out to find the truth and discovers much more than she anticipated. Great performances from Neeson, Cher, and Dennis Quaid as well. Story and direction are lacking a bit though this does manage to have a couple of nice twists along the way.
THE SUSPECT (2013) (NR) 92 minutes * 1/2
Posing as bank robbers to study the sociology of a community may not have been the best idea in the world. It's a sort of con game, but the twists and turns here are less than satisfactory. The story isn't really all that complex, and despite some fairly good performances, it just doesn't work very well.
SUSPECT ZERO (R) 94 minutes * *
Suspect Zero - a person who can travel the distance of the country, killing and never being caught because there is no pattern. Is it possible? It's an interesting idea, and the story does its best to try and throw us off track and confuse things, but we never feel close enough to Agent Mackelway (Aaron Eckhart) to really care whether he's on the track of the killer or not. R for violence and language.
SUZANNE'S DIARY FOR NICHOLAS (NR) 89 minutes * * 1/2
Adapted from James Patterson's novel, this is the tragic and beautiful story of Dr. Suzanne Bedford (Christina Applegate), a young woman with a genetic heart condition, who loves life, her husband, and wants to have a baby. It's also the story of Matt Harrison (Johnathon Schaech), who has loved and lost, and still struggles with that loss. While somewhat predictable, this manages to draw us in and we find ourselves caring for these two tragic figures. Unlike many films in this genre, this one has a very classy ending that remains true to the characters without being overly depressing or emotional. Not rated, but essentially a PG-13 for sex and language.
SWALLOW (R) 90 minutes * * 1/2
It would appear that Hunter (Haley Bennett) has married into the perfect family. Money is no problem, and Hunter finds that anything she wants, she can have. Richie (Austin Stowell) almost seems uninterested in her, and Hunter soon deveops an obsession in response to his family's manipulative and controlling behavior. Much as they try to "consume" her, she begins to consume objects that she shouldn't. An interesting character study about control and self-definition. R for language and sex.
SWAMP LION (NR) 108 minutes * * 1/2
Life was OK for Jim (Michael Ray Escamilla) and his wife Bre (Bre Blair) until their son was diagnosed with cancer. Faced with an expensive treatment, and out of options, Jim starts trafficking drugs and Bre starts dancing in a bar. That's just the beginning though, and it gets worse quickly.
SWAMP THING (PG) 88 minutes * * *
Working on a formula to combine the best of plant and animal, Dr. Alec Holland (Ray Wise) becomes a victim of his own experiment and turns into “Swamp Thing”. Arcane (Louis Jourdan) was aware of the experiments and wants to know the secret, attempting to capture Swamp Thing to experiment on him to learn what happened. Very good special effects, and the cast, which also features Adrienne Barbeau and Reggie Batts, does a nice job too. What it’s missing is a little more depth that could have happened with a few more minutes of film. PG for sex, language, and violence.
THE SWAN PRINCESS (G) 81 minutes * 1/2
Boring cartoon with a story that even children seem to find tiresome. There are a few good musical numbers here, but only the youngest children in the audience seem to be entertained at all. Weak animation and little in the way of action to keep their interest. Choose a coloring book instead!
THE SWAN PRINCESS: A ROYAL FAMILY TALE (PG) 78 minutes * ½
After a very lengthy introduction with lots of story background, we meet the princess who is then captured by a bunch of flying squirrels because they think she is evil. (Did you need another reason to not like squirrels?) There are lots of bright colors here, making this look like it’s aimed at smaller children, but the characters and story have little appeal. The songs are good, but seem almost out of place in the script. PG for violence.
THE SWAN PRINCESS: PRINCESS TOMORROW, PIRATE TODAY! (PG) 75 minutes * *
With her parents gone on a summer vacation, Princess Alise is expecting to have a fun time. Her grandmother thinks it's a great time for Alise to learn everything about being a princess. Being with Lord Rogers would be much more fun as it would provide the opportunity to learn about being a pirate. The animation isn't very good, but it's a nice story in the series, with a couple of good songs. PG for violence.
THE SWAN PRINCESS: ROYALLY UNDERCOVER (G) 75 minutes * *
Princess Alise enlists the help of some friends to spy on the mysterious visitors who are in the castle to see whether or not they are trustworthy. Cute, adventurous entry in the series, but the animation is mediocre.
SWAN SONG (R) 97 minutes * * *
Pat (Udo Kier) has been asked to style the hair of Rita Parker Sloan (Linda Evans) for her funeral. He's been living in a nursing home, and decides to head into town on foot, making a number of stops along the way to the funeral home to pick up the supplies he needs. The town has changed, and one of the few remaining pieces of his past, a gay bar, is about to close down. The significance is not lost on Pat. It's time to move on and forgive, before the opportunity is gone. Great work by Kier, and a sweet, if somber, ending. R for language.
THE SWAP (NR) 89 minutes * * 1/2
They have a number of things in common, but Jack (Jacob Bertrand) and Ellie (Peyton List) are about to have even more similarities. This starts a little slow, but builds nicely. It's well-written and does a good job dealing with the typical issues around adolescence, but also covers the topic of loss quite well. It's a nice balance of fun and serious.
S.W.A.T. (PG-13) 111 minutes * * 1/2
Solid action film based on the television show of the same name, that follows the Special Weapons and Tactics Division of the Los Angeles Police Department. The story takes its time to draw us in, perhaps a bit too much time, but it manages to create a somewhat more realistic feeling than most of the action films that drop you right into the fire. Unfortunately, we don't really get to know enough of the characters. Hando (Samuel L. Jackson) and Jim (Colin Farrell) are fairly well defined, but too many of the others remain in the background and it weakens the overall effect. PG-13 for violence and language.
S.W.A.T. FIREFIGHT (R) 85 minutes * *
Another supplement to the TV series, though there's littlle connection to the series other than the name and the theme music. Paul Cutler (Gabriel Macht) is sent to Detroit to certify their team and, of course, they get caught up in a very real and very dangerous situation. The action is pretty good, though the plot is almost cartoonish as it keeps getting more and more extreme. R for violence and language.
S.W.A.T. UNDER SIEGE (R) 86 minutes * 1/2
An international terrorist is out to free a man that the S.W.A.T. team just apprehended. Packed with gunfight sequences, though there are a few hand-to-hand combat sequences to highlight Michael Jai White's skills. His dialogue is unusually stiff and awkward, not that the rest of the script is all that great. The ending is particularly silly and drags on far too long. R for violence and language.
S.W.A.T. UNIT 887 (NR) 92 minutes BOMB
A terrorist in Los Angeles is threatening to kill hostage and destroy the city. Let's call in a S.W.A.T. unit. Yawn. Mischa Barton is the only good part of the film, and the script even makes her come across poorly.
THE SWEARING JAR (NR) 105 minutes * * *
Carey (Adelaide Clemens) is deeply in love with her husband Simon (Patrick J. Adams), but he's keeping a secret from her. It's a secret that will change her life. Life doesn't always happen like we think it will. Once in awhile, you get a second chance. Really nice work by Clemens, with a performance full of subrleties and a very natural style. Based on the play "The Swearing Jar", by Kate Hewlett.
SWEATY BETTY (NR) 94 minutes * 1/2
Presented in an almost documentary style, we follow two young single fathers who are trying to make a better life for themselves and their children. Sometimes opportunities fall into your lap. It is also the story of Charlotte the pig, raised in the same neighborhood, and a mascot of sorts, for the Washington Redskins. Sort of a slice of life, but the focus is narrow and the editing is weak.
SWEDISH AUTO (NR) 93 minutes * * 1/2
If you're in the mood for a more laid-back, quiet film, this may be it. Carter (Lukas Haas) wants nothing more than to be left alone and allowed to work on his latest project, restoring an old Volvo. There is this girl that he likes, and she likes him as well, but relationships are not something that either one of them are very good at, and it would be easier to not venture into that territory. Desire sometimes overpowers our better judgement, but then we are reminded why we don't give in to it that often.
THE SWEENEY (R) 109 minutes * * *
DI Jack Regan (Ray Winstone) doesn't believe in being subtle about his police work. His methods are unorthodox and often rather violent, but the results are pretty straightforward. He and his crew are under pressure from their last incident, but his boss has little recourse but to let the team use their tactics on a case where nothing else is likely to work. Based on the 1970s TV series, this is an intense police drama with deadly villains and deadly heroes as well. Great soundtrack! R for violence, language, and sex.
SWEENEY TODD (NR) 94 minutes * * *
A fine, non-musical version of the story of barber-turned-serial killer, Sweeney Todd. Ray Winstone brings the character to life in this British television production, and we see how Todd finds himself cleaning up the streets of London while also being drawn more deeply into a moral dilemma that can only have one outcome. While some may miss the songs, what is here is a solid suspense/drama about a rather unusual "hero".
SWEENEY TODD: THE DEMON BARBER OF FLEET STREET (R) 111 minutes * * *
Film adaptation of the Broadway musical about Sweeney Todd, who returns from prison with a longing for vengeance against those who have wronged him. This is just as dark and stylized as you'd expect from a Tim Burton film. In many ways, its a perfect fit. But the blood that is thrown in our faces tends to detract from the Stephen Sondheim music which is the real star. Johnny Depp is in his element here, playing Todd with the exaggerated flair he does so well. R for violence and language.
SWEET AUTUMN (NR) 83 minutes * *
According to the will, Aunt Dee's candy shop gets split between Maggie (Nikki Deloach) who wants to expand, and Dex (Andrew W. Walker) who wants to keep things as they are. Deloach does well here, but there's very little chemistry between the two main characters.
SWEET CAROLINE (NR) 84 minutes * * 1/2
Josie's (Lacey Chabert) career is on the rise. But a tragic accident and an unexpected turn of events leaves her the guardian of her niece and nephew. It's not going to be easy. Her old boyfriend (Tyler Hynes) will be there though. Nice work by Chabert.
SWEET COUNTRY (R) 110 minutes * * *
When an Aboriginal farmhand kills a white man in the Northern Territory of Australia, it doesn't matter that it was in self-defense. A posse is on the hunt for him, and they aren't planning on bringing him to trial. A story of the imbalance between cultures, between the old and the new, between honoring tradition and ignoring it. R for violence and language.
SWEET DREAMS (PG-13) 115 miutes * *
Jessica Lange stars in this drama about the life of Patsy Cline, the talented country music star who lost her life in a plane crash. Too much of this feels like a shallow treatment of Cline's life, though Lange managed to get an Oscar nomination for her performance.
THE SWEET HEREAFTER (R) 110 minutes * * *
After a tragic school bus accident, a lawyer tries to convince the locals whose children were killed to sue. All they want to do is put the whole incident behind them. It's a haunting film with subtle and impressive camerawork and solid direction from Atom Egoyan.
SWEET HOME ALABAMA (PG-13) 102 minutes * * *
Melanie Carmicahel (Reese Witherspoon) is a very busy and successful girl. She's becoming a successful fashion designer and has just been proposed to by the mayor's son. There is a problem though. You see, she's still married and her success has all been based on a lie and a part of her past that she's still running away from. It's catching up to her now though, and she's about to face some decisions that can't be avoided. It's a very nice romantic comedy with a great performance by Witherspoon and some strong supporting performances by Josh Lucas and Patrick Dempsey among others. It's not that we haven't seen it before, but when it's well done, it can still be quite entertaining. PG-13 for language.
SWEET LAND (PG) 104 minutes * * *
Gentle, quiet, and charming film about a mail-order German bride (Elizabeth Reaser) who has come to Minnesota to marry Olaf (Tim Guineee). Olaf doesn't talk much, and the community isn't that supportive of immigrants, especially Germans. World War II has only recently ended, and many people aren't ready to move on. But times are tough for everyone, and being a good neighbor just may look a little different than it did a few years ago for the people in this small community. Adapted from the short story, "A Gravestone Made of Wheat" by Will Weaver. This may take a little while to find it's way, but when it does, you'll be glad you watched it. PG for language and nudity.
SWEET LIBERTY (PG-13) 103 minutes * * * 1/2
He never expected all of this confusion. Michael (Alan Alda) writes a successful book about the Revolutionary War, and it's going to be made into a movie. Well, if everything doesn't fall apart before they get it finished. It seems that everyone wants to change something, which is not at all whow Michael thought it was going to happen. Light-hearted look at the film industry with a great cast that also includes Michelle Pfeiffer, Michael Caine, and Lillian Gish.
SWEET NOTHING IN MY EAR (NR) 92 minutes * *
Marlee Matlin and Jeff Daniels star in this story of a couple wrestling with the pros and cons of giving their son a cochlear implant. Adapted from the play by Stephen Sachs, it's a story that clearly has passion around issues of deafness and identity. Unfortunately, the decision to dub the voices of the deaf actors and actresses removes much of the power of the film. If you have any doubts about that, watch "Children of a Lesser God"... a much more powerful and passionate film... with an even more stunning performance by Matlin.
SWEET NOVEMBER (PG-13) 116 minutes * * 1/2
Nelsonn Moss (Keanu Reeves) was at the top of his game in the ad business. Then one day, he bumps into a strange girl with a rather unique proposition. He thinks nothing of it until he loses his job and his girlfriend on the same day. Now her offer seems a bit more attractive, but he has no idea just how much it will change his life. Reeves does a fairly good job in this tearjerker, playing the part of a man who wants to be in control but can't quite accomplish it. Charlize Theron does a nice job too. It's a familiar story, (a remake of the 1968 film of the same title, actually) but thanks to the acting, it manages to come out on the positive side. The moral of the story is summed up nicely by a friend of Theron's character who states, "If I've learned anything, it's that you should have the people who love you, around you, as long as you possibly can." PG-13 for language and sex.
SWEET PECAN SUMMER (NR) 83 minutes * *
When Amanda (Christine Ko)agrees to help her aunt sell the pecan farm. she has no idea who else is going to be involved in the process. Her ex-boyfriend J.P. (Wes Brown) is going to be the listing agent for the property. A couple of the supporting roles here are a little overpowering.
SWEET REVENGE: A HANNAH SWENSON MYSTERY (NR) 83 minutes * * 1/2
Enjoying their engagement, Hannah (Alison Sweeney) and Mike (Cameron Mathison) end up discovering some of their differences as the wedding planning progresses. Meanwhile, a 24-hour gym ends up being the site of another murder. Hannah and Mike always work well together when they are solving murders.
SWEET VIRGINIA (R) 89 minutes * 1/2
Sam (Jon Bernthal) is just trying to live a quiet life. A couple of sets of circumstances are going to start making that difficult. It's a brooding and violent story, which may be why the director chose to use such dark colors and lighting, but the only effect this has is to make the film difficult to watch. R for violence, sex, and language.
SWEETER THAN CHOCOLATE (NR) 84 minutes * * 1/2
Magic chocolates. Lucy Sweet (Eloise Mumford) runs a chocolate shop that has a special "Cupid" chocolate. People that eat one of these magical chocolates just might fall in love. A cynical news reporter (Dan Jeannotte) gets assigned to the story for a romantic human interest angle. Oh, and by the way, Lucy has never actually eaten one of the cupid chocolates... yet.
THE SWEETEST THING (R) 76 minutes *
Typical teen sex comedy that follows the story of Christina (Cameron Diaz), who has always been the tease and finds herself falling in love with someone. The story is paper-thin and full of rude and vulgar humor. It's not a surprise, but it does tend to interfere with our ability to enjoy the attractive trio of actresses on the screen. (Diaz, Christina Applegate, and Selma Blair) If you do manage to make it to the end, there is a point to the story and it wraps up fairly well, but there's just so much garbage to wade through. R for language and sex.
SWEETGRASS (NR) 99 minutes * *
Life on a Montana sheep farm. No, seriously. There isn't much dialogue here, though one of the farmers does tend to make some rather negative and frustrated comments about the sheep a few times. Interesting and informative at times, though the camera work is less than exciting, and a better soundtrack would have improved this a great deal.
SWEETHEART (NR) 99 minutes * * 1/2
On holiday with her family, AJ (Nell Barlow) would prefer to be pretty much anywhere else. Then she meets Isla (Ella-Rae Smith). A nice, coming-of-age story with a strong and well-balanced suppporting cast.
SWEETHURT (NR) 87 minutes BOMB
Jacob's (Rav Ratnayake) grandfather just dies. It's making him think about death, dying alone, and his last romantic relationship. The story here is highly disconnected and random. Every time it starts to make a serious point, a comic bit drops in. The comic scenes are dulled by more serious moments. It's not the fault of the actors, but of direction and script.
SWEETIE (R) 94 minutes * * *
A story of two sisters, whose obsessive and twisted relationship seems to get more twisted and bizarre the more you learn about them. This isn't a film for everyone, but if you enjoy originality, you may find this to your liking. Jane Campion's direction makes this almost too real in spots, but that's part of what gives the film its edge.
SWEETNESS IN THE BELLY (NR) 103 minutes * * 1/2
A military coup in Ethiopia in 1974 is good news for many, but a civil war soon begins. Running for her life from the only land she has known, Lily (Dakota Fanning) leaves for England. Once there, she meets Amina (Wunmi Mosaku), and they begin to work to help families that have been split apart by the conflict. It's a good story, about finding what is "home" for you, but it doesn't flow very well.
SWEETWATER (R) 88 minutes * * 1/2
Josiah (Jason Isaacs) runs his little religious flock with an iron fist that also holds the town and surrounding area. There are few who challenge it. But a young widow and a new lawman are about to do just that. Their reasons for wanting to bring Josiah down are different, but their desire for freedom and justice will unite them. Ed Harris does some nice work here in a role that is a little differnt than what he usually plays. R for sex, violence, and language.
SWEETWATER (2023) (PG-13) 111 minutes * * 1/2
One of the best to ever play the game. Nat "Sweetwater" Clifton loved basketball, and along with the rest of the Globe Trotters team, started pushing up against the color barrier that was in place in the NBA. In fact, Nat would become the first black player to be drafted by an NBA team. It's not a bad film, but it does tend to over-simplify too much of the story. PG-13 for language and violence.
THE SWELL SEASON (NR) 86 minutes * * 1/2
Following their Oscar win, Glen Hansard and Marketa Inglova achieve a great deal of fame. Embarking on a world tour continued to increase their popularity... and the pressures that can come with success. This documentary follows the three year period after their Oscar win. Feels a bit forced at times, and more symathetic toward Hansard's point of view.
SWELTER (R) 90 minutes * * *
The sheriff in this small Nevada town doesn't remember what happened 10 years ago. But the memories are starting to return... along with his old associates. The film builds slowly and steadily and has a nice mix of heist film and old western in both style and story. R for violence and language.
SWERVE (R) 79 minutes * 1/2
A dead man, a suitcase full of money, and a beautiful woman… sounds like Colin (David Lyons) has walked into an old film noir plot. The problem is that it alternates between being very predictable and somewhat nonsensical, as it tries to be more clever than it needs to be. It doesn’t help that the script tends to keep a more serious approach, but the soundtrack is light and humorous in tone. R for violence, language, and sex.
SWIFT (NR) 83 minutes * *
Manou is raised by seagulls, and therefore thinks he is one. He has no reason to believe otherwise until some of the flying lessons begin. He's struggling, but still trying, until a tragic event forces him to accept that fact that he's not who he thought he was. He must now go to be with the other swifts, and learn what it means to be a swift, though part of him will always be a seagull. Originally titled "Manou the Swift".
SWIMFAN (PG-13) 81 minutes *
She's the new girl in town and he's the swim champ. But she's out for more than just a one night stand, she's after for everything. The story here really misses the mark. Madison's (Erika Christensen) brother is a key player in the story and is left on the sidelines until late in the story when his assistance is needed. Not that there are any real surprises anyway, but some character development here would've gone a long way to helping this. The ending is a bit strange as well. PG-13 for language and violence.
THE SWIMSUIT ISSUE (NR) 98 minutes * * *
Trying to find a place for their floorball team to practice is becoming difficult for Fredrik (Jonas Inde) and his friends. Things just aren't working out. But, they may have found something that will. They could make some money as a men's synchronized swimming team! What starts out as something to do for fun and laugh among themselves about, soon turns into something much more. And they realize that being part of this team means more than they ever thought it could. Nicely done!
SWING KIDS (PG-13) 104 minutes * *
1/2
This story of youth in Nazi Germany changes from a
rather elaborate musical production early in the
film, to a more dramatic style with little music
toward the end. The balance is awkward and the
pieces, though well-done, don't fit together. This is
one of those Disney films that has sort of
"disappeared" from the shelf and might be worth
watching for that alone.
THE SWING OF THINGS (R) 90 minutes 1/2
When their flight is detoured due to weather, Tom (Chord Overstreet) gets a new place booked for his wedding... at a swinger's resort. Lots of word-play sex jokes, and a story that's actually more serious than humorous. Lots of beautiful scenery that is mostly wasted on a story that is mostly boring. R for sex and language.
SWING SHIFT (PG) 97 minutes * * ½
As so many women did during World War II, Kay Walsh (Goldie Hawn) goes to work in a factory when her husband Jack (Ed Harris) enlists in the service. Working in the factory is opening her eyes to a world that Jack had kept her from. She didn’t really know what to expect, but the furthest thing from her mind was that she might find someone else she could be romantically interested in. Nice work by Hawn, and Christine Lahti received Oscar and Golden Globe nominations for her supporting performance. Kurt Russell and Ed Harris are less impressive here, and the script seems to want to keep the story light, rather then taking this into a more serious place with a stronger statement. PG for language, sex, and violence.
SWING VOTE (PG-13) 115 minutes * * * 1/2
The election is a close call. So close that it's going to come down to one state.... one county... one city... one vote. The only problem is that not only does Bud (Kevin Costner) not really care much about the candidates... but his daughter Molly (Madeline Carroll) knows far more than he does about politics in general. Plenty of great questions about political ethics and the definition of democracy. Carroll is terrific here, full of spit and vinegar and easily holding her own with Costner, Dennis Hopper, Nathan Lane, Stannley Tucci, Kelsey Grammer and the rest of the cast. Nice work by writer/director Joshua Michael Stern. PG-13 for language.
SWISS ARMY MAN (R) 92 minutes * * 1/2
Hank (Paul Dano) is at the end of his rope (literally), when he sees Manny (Daniel Radcliffe). Manny is dead, but he's the only friend Hank has. At turns funny, rude, charming, and philosophical. Definitely not a film you're likely to forget because of the topic, but it also manages to work reasonably well. R for language and sex.
SWITCH (R) 98 minutes * * *
Ellen Barkin does a fabulous job in her role as a man who is reincarnated as a woman. You see, Steve dies, but he's been so mean to women that he isn't allowed into Heaven. But he's been so charitable that they don't want him in Hell. So... director Blake Edwards has dealt with the idea of shifting sexual roles and identities before, but this film tackles the subject with more tact and grace than his others have. It manages to ask us how we can really understand just how meaningful life is when we only see it from one perspective, yet get us to laugh at ourselves and at Steve in the process. R for language.
THE SWITCH (PG-13) 97 minutes * * 1/2
Kassie's (Jennifer Aniston) clock is ticking, and she wants to get pregnant NOW. She want's Wally's (Jason Bateman) help, but doesn't want him to be the donor. Things get a little mixed up at the insemination party though. (Yes, I did say insemination party.) Their careers take them on separate paths for awhile, and seven years later... Kassie's little boy is growing up to be quite a bit like his father. Nice work by Bateman. His character is both introspective and lightly humorous, and entertaining to watch. Filmed in New York City. PG-13 for language and sex.
SWITCHBACK (R) 114 minutes * * *
Another murder, another town... but this particular one sets agent Frank LaCrosse (Dennis Quaid) is search of the man who kidnapped his son. The story is fairly predictable, though it doesn't explain things until closer to the end of the film. We've just seen so many films like this it's easy to figure out what's going on. Quaid comes off well, and the photography and music (by Basil Poledouris) keep us in suspense. At least, enough to keep us watching. This will probably come off better on the small screen, minimizing the mistakes, while hopefully keeping most of the intensity. R for language and violence.
SWITCHED (NR) 101 minutes * *
Talented Cassandra Evans (Miya Horcher) lacks confidence and idolizes Katie Sharp (Madeleine Byrne). Katie is Miss Popular and appears to have everything going her way. And then, of course, they get switched and learn what it's like to be each other. This story has been told so many times. The difference here is the Christian angle that the story has. The script is rather dull, but the cast tries hard to get past it and manages to create at least a little good energy.
SWITCHED FOR CHRISTMAS (NR) 82 minutes * * 1/2
Twin sisters who don't spend much time together anymore, Kate and Chris (Candace Cameron Bure) are both frustrated. But then they have an idea. What if they switched places? Nothing really new about the switch idea, but Bure really sells this quite nicely.
SWITCHING CHANNELS (PG) 103 minutes * * *
Christy (Kathleen Turner) and Sully (Burt Reynolds) both have newprint for blood. It's what made their relationship work well for as long as it did. But now Christy is in love with someone else and is thinking about getting out of the business. The banter between Reynolds and Turner is very well-done and allows Reynolds the opportunity to shine a bit more than normal. Good, lighthearted entertainment with a very witty script adapted from the play, "The Front Page".
SWITCHMAS (NR) 87 minutes * *
Ira (Elijah Nelson) just wants to experience a snowy Christmas, but his parents are sending him to Florida. Mikey (Justin Thomas Howell) is headed to Christmastown, Washington, and he'd rather be in Florida. How about a switch? Of course, Ira soon learns that he had it pretty good after all. Nice supporting work by Shaye Hodgins as Clare Wilson.
THE SWORD AND THE SORCERER (R) 94 minutes * * *
Fun sword and sorcery adventure with Lee Horsley starring as a mercenary who discovers his heritage after taking on a new job. Sets and costumes are well-done, and the acting… well, it is a bit silly at times, but the cast appears to be having as much fun as they hope we are.
SWORD OF THE STRANGER (NR) 97 minutes * * *
A swordsman protects a boy and his dog while taking them to a remote Buddhist temple. The sword fighting scenes are quite good here, but the story and performances don't offer much to distinguish this from other Japanese martial arts films.
SWORD OF WAR (NR) 123 minutes * * 1/2
Barbarossa (Rutger Hauer) is trying to conquer all of Europe. The people of Italy are going to prove to be tougher than many of the others he has subdued. The CGI blood effects, especially in the final battle scene, are a bit much, and not really that well done. In fact, much of the film is either overacted or stale, and the adventure aspect just never stays exciting for more than a couple of minutes here and there. hauer gets points for trying, but it's just too much for him to conquer... I mean carry.
SWORDFISH (R) 94 minutes * *
This overly talky thriller has far too much of John Travolta explaining the motivations and strategies of his character. We need to see more, not hear him talk about it. I'm sure it saved a few dollars and a few minutes of film, but it slows the film down far too often. The final chase scene is nice, if a bit overdone, but is one of the few segments where things move along at a nice pace for more than a couple of minutes. R for violence, language, and nudity.
THE SWORDSMAN (NR) 93 minutes * * 1/2
They are three swordsmen on different paths that soon cross. Two of them will not walk away. The story is a little muddled and wansders off the path too often. The sword fights are good, but not as impressive as might have been hoped for.
SWORN VIRGIN (NR) 84 minutes * * *
Hana (Alba Rohrwacher) felt trapped by the customs of her village that expected her to get married and have children. She decides to abstain from sex, and live and work in the mountains as a man. The expectations will be different, and she hopes that will make life more meaningful for her. An interesting look at gender, sexuality, gender roles, and change.
SWUNG (NR) 84 minutes * *
Life is not what he wants it to be. David's (Owen McDonnell) ex-wife is a pain, and he's having difficulty having sex with his girlfriend. He finds himself turing to the swinger's scene for stimulation and is pleasantly surprised. Alice (Elena Anaya) is a little frustrated at first, but then the magazine she works for wants her to pursue a story about the swinger scene from a personal angle. It all happens so fast that it's going to take some effort to make sure they don't lose themselves and their own relationship in the process.
SYDNEY WHITE (PG-13) 104 minutes * * 1/2
Or... Sydney White and the seven dorks. With that in mind, this is definitely a cute film. Sydney (Amanda Bynes) is going to college and plans to pledge her mother's old sorority. Having been raised by her father and his construction worker buddies will make it tough, and the fact that the current sorority president is one of the meanest ever won't help. Bynes sense of humor and her charm work well here, and make this a fun little diversion. Best line in the film... "Hi ho!" PG-13 for language.
SYMPATHY FOR DELICIOUS (R) 96 minutes * * 1/2
Dean's (Christopher Thornton) life changes dramatically after a motorcycle accident. His career as a DJ is done, and he's confined to a wheelchair. By an odd twist of fate, he does seem to be able to heal others by his touch. It's not the blessing he might have hoped for though. Great work by Thornton, and a very nice ending to the film, which seems to lose focus after awhile. Some of the supporting performances are very good, but others are very amateurish, which doesn't help. R for language and nudity.
SYNC OR SWIM (NR) 87 minutes * * 1/2
Documentary about the training and competiton of the U.S. Olympic Synchronized Swimming Team in 2004. If anything, there's a bit too much about the personal lives of some of the swimmers and not quite enough about the sports itself and the training these swimmers go through. Another fifteen minutes about those aspects would have helped make this a stronger film.
SYNCHRONIC (R) 97 minutes * * 1/2
The deaths that Steve (Anthony Mackie) and Dennis (Jamie Dornan) have been dealing with are very strange. They seem to be connected to a new drug called Synchronic. This drug doesn't get you high. Instead, it sends you back in time. Steve is determined to find Dennis' daughter Brianna (Ally Ioannides) who has been lost in an alternate time, but he may not have enough pills to get the job done. The story feels abstract and incomplete, though it does benefit from a second viewing. R for language and violence.
SYNCHRONICITY (R) 86 minutes * * 1/2
Trying to prove that the time machine he just built really works, Jim (Chad McKnight) must also protect it. In doing so, he will learn more than he thought possible. There are moments when this is fun, and then it gets overly complicated again. Though it does get much better toward the end. The production design is very similar to that of "Blade Runner", which sets the mood well, though it lacks originality. R for language and sex.
SYNECDOCHE, NEW YORK (R) 120 minutes * * * *
Yet another thoughtful and intelligent script from Charlie Kaufman, who takes on the direction here as well. The story is layer upon layer of metaphor, with death as a metaphor for life, life as a metaphor for death, acting as a metaphor for living, living as a metaphor for acting... it's clearly the sort of film that will continue to reveal itself through repeated viewings. The story, and the characters seem to evolve before our eyes as there is a sense in which the story does begin as a story about death. But a story about death must inherently also be about life, about relationship, about success, failure, and love. An amazing and powerful film. R for language and sex.
SYRIANA (R) 121 minutes * * *
Powerful film with a very strong political statement. Inspired by the non-fiction book "See No Evil" by Robert Baer, this asks us to think about why the United States uses oil and the countries that produce it as if they will be there forever. What would happen if there were a person rising to power in the Middle East who wanted to make the economy of their country less reliant on oil? Make no mistake, everyone is involved, politicians, industrialists, terrorists, media, and those of us who buy the end product. Solid performances throughout, but this is more about the story than the characters. R for violence and language.
SYRUP (R) 85 minutes * * 1/2
When Scat (Shiloh Fernandez) comes up with a killer ad campaign, he has to trust Six (Amber Heard) to see it through. But the world of advertising is a cutthroat business, and trust is not cheap or long-lasting. Heard is very good here, and the script is sharp and slick, but Fernandez isn't quite as strong as the story needs him to be. (Think Joaquin Phoenix) The often biting humor makes this fun, and the ending is interesting. AAdapted from Max Berry's novel. R for language.
THE SYSTEM (R) 95 minutes * *
In the wrong place at the wrong time, Terry (Tyrone Gibson) lands in jail. There's a deal to be made though, working undercover to find out about the corruption inside the prison. Gibson does well, but the story doesn't have far to go and the scenes keep repeating. R for violence and language.