T2 TRAINSPOTTING (R) 111 minutes * * 1/2 Renton (Ewan McGregor) is getting back together with his old friends from twenty years ago. For some reason, they decide to go into business together, but old habits and old ways of relating to and dealing with one another die hard. That means there will also be both opportunity and betrayal, just like before. Well-written sequel that relies heavily on familiarity with the first film. The acting has a little less of an edge than the first film. R for language, sex, and violence.
TAB HUNTER CONFIDENTIAL (NR) 88 minutes * * * Bio-documentary of 1950s matinee idol, Tab Hunter. Through interviews with Tab and those who have known and worked with him, we get a detailed look at his life and his career in film. A very nice portrait of not just a wonderful actor, but a remarkable person.
TABLE 19 (PG-13) 80 minutes * * * It's the worst table at the wedding reception, and Eloise (Anna Kendrick) should know, because she helped set everything up for her best friend's wedding. But that was before she got dumped by her best friend's brother. Great characters in a fun story by Mark and Jay Duplass. It tends to run off the rails a few times, but always seems to find its way back. All the while reminding us how important it is not to give up on love, especially since it doesn't always look quite like we thought it would. PG-13 for sex and language.
TABLOID (R) 84 minutes * * Joyce M. Kinney was looking for love. When she found Kirk, she was sure he was the one. But the Mormon Church felt differently. Joyce's answer was to kidnap Kirk. But was he a willing victim, or was there more to the story? Slightly bizarre documentary/bio/ The story is interesting, but there's a bit too much of Joyce just sitting there and relating her side of the story to us. R for sex.
TACTICAL FORCE (R) 86 minutes * 1/2 An LAPD SWAT team gets sent back to training becasue they killed some bad guys and caused lots of property damage. Their training gets interrupted by a drug deal that's going down in the same building. Good thing no one else is there. Now they can kill some more bad guys and destry more property. R for violence and language.
TAD, THE LOST EXPLORER (NR) 86 minutes * * A case of mistaken identity gives Tad the chance to be the adventurous, hero explorer he's always wanted to be... unless he messes it up. Nice animation, but the story is less than satisfactory. Some of the action sequences are a bit intense for younger viewers, and the bits if humor between the dog and the bird just don't really fit well, and aren't really funny.
TAD THE LOST EXPLORER AND THE SECRET OF KING MIDAS (PG) 78 minutes * * Yad's girlfriend is in trouble. It seems that she has found something that belonged to King Midas... and someone else wants it very badly. The humor in this sequel is a little more fun, and there's a little more of a sense of adventure as well, but there are also some character bits that are more annoying, so they manage to balance each other out. Very nice animation. PG for violence and language.
TAE GUK GI (R) 145 minutes * * * Jin-Tae and Jin-Seok are brothers who find themselves fighting a war they never intended to be involved with. Jin-Tae is the older brother, and swears to protect him. But war does strange things to people and as the weeks go by, they find themselves put to tests they never imagined. A powerful story of the Korean War and the bond of brotherhood. The R rating is for rather extreme graphic violence.
TAG (R) 96 miunutes * * * Every year since they were kids, these five men take the month of May to play an elaborate game of tag. In all these years, no one has ever been able to tag Jerry (Jeremy Renner). They are determined like never before, that this will be the year. Based on an article about a real group of men who do this, though perhaps not to quite the extremes as the characters in the film. Be sure to watch through the end of the credits. R for language and sex.
TAHARA (NR) 77 minutes * * Friends at their Hebrew school, Carrie (Madeline Grey DeFreece) and Hannah (Rachel Sennott) are grieving along with the rest of their class about the death of a classmate. That intense emotion and need for support begins to turn into something else for both of them. The film doesn't really delve as deeply into the characters as it needs to, barely scratching the surface, and with a script that is heavy with dialogue.
A TAIL OF LOVE (NR) 83 minutes * * She's run the dog rescue center of years. Funding has just been discontinued, and now, Bella (Brittany Bristow) is facing the possibility that the rescue center will have to close. JR (Chris McNally) is trying to help, and is falling in love in the process. The story wanders a little too much, but features a wonderful supporting performance by Jayne Eastwood.
THE TAILOR OF PANAMA (R) 103 minutes * This would've made a nifty little comedy vehicle for Peter Sellers, but the approach here was to use Geoffrey Rush and Pierce Brosnan in a more serious tone. It's a spy story with Brosnan creating a conspiracy where there is none, with the help of Rush, who talks to much and likes to tell stories. There are some good moments late in the film, but most of us have given up long before we get there. Adapted from John LeCarre's novel and filmed in Panama. R for sex, violence, and language.
THE TAKE (R) 96 minutes * * 1/2 Felix (John Leguizamo) is almost killed during an armored car robbery. His life is still in danger, because the robbers thought they killed him, intending to leave no witnesses. But the FBI aren't as easily convinced and are finding reason to implicate Felix in the heist. Good performances, though nothing to help this stand out from other similar films. R for violence, sex, and language.
THE TAKE (2016) (R) 86 minutes * * 1/2 When a pickpocket (Michael Mason) swipes a bag that has a bomb in it, he finds himself in deep trouble. Briar (Idris Elba) works for the CIA, but tends to be a little on the rough side. They're an unlikely pair, but working together may be the olny way this case gets solved before it spirals out of control. Predictable, but well-paced, and the cast does a nice job. And yes, that is Idris Elba singing "The Road Less Travelled". R for violence, language, and nudity.
TAKE BACK (NR) 84 minutes * 1/2 It was a quiet life. But Zara's (Gillian White) past life is about to catch up to her. Zara hasn't told her husband (Michael Jai White) what it means, but she has little choice now that their daughter has been kidnapped.
TAKE ME BACK FOR CHRISTMAS (NR) 84 minutes * * 1/2 Renee (Vanessa Lengies) has had a really rough day. She doesn;t really take it seriously, but a Christmas elf grants her a wish. In a moment of desperation, she wishes for a different life. It's not all bad, but it's a bit much to adjust to all at once. Nice supporting role for Kimberly-Ann Truong as the Christmas elf.
TAKE ME HOME TONIGHT (R) 92 minutes * * it's never too late, right? That's what Matt (Topher Grace) is hoping anyway. He walks out of his high paying job to become a video clerk, but his old high school crush just might work out after all. Mildly funny, with Grace doing a fair job, and a supporting cast that has its moments. Michelle Trachtenberg does have a nice bit, and the 80's music soundtrack does set the mood well. R for language and sex.
TAKE OUT (NR) 86 minutes * * Ming Ding (Charles Jang) is an illegal Chinese immigrant who is trying to make money to send home. But paying off the loan shark he owes money to is making that impossible. The really bad news is that unless he can come up with $800 by the end of the day, his debt is going to double. The mix of actors and non-actors adds to the realism in some ways, but also proves to be a bit distracting as well. The story doesn't really go very far either, with the focus on Ming Ding trying to earn more money by doing more take out deliveries and dealing with rain, a flat tire, and people who don't tip much.
TAKE SHELTER (R) 116 minutes * * 1/2 Curtis (Michael Shannon) is having some unusual dreams and visions. A storm is coming, and he needs to be ready to protect himself and his family. But is the threat real, or is it him that his family might need to be protected from? Takes a bit long to get where it's going, but it finishes quite nicely. Shannon does a nice job here, keeping us wondering through the whole film. R for language.
TAKE THE LEAD (PG-13) 110 minutes * * Inspired by the life of Pierre Dulaine, who started programs that teach ballroom dancing to troublesome teens as part of a program to teach them respect for self and others. It's a great idea and a wonderful program, though a bit over-dramatized in this story. The story is uneven, mostly from what appears to be either a great deal of material being cut or from a less than skilled job of script writing that tried to include too much material. The acting is adequate, but we never feel like to get to know anyone except Dulaine (Antonio Banderas). PG-13 for violence and language.
TAKE THIS WALTZ (R) 112 minutes * * 1/2 When Margo (Michelle Williams) meets Daniel (Luke Kirby), she knows there's something different about him. She's happily married, but she longs for something less playful and that has more depth. Ultimately, she will have to find within herself the depth she yearns for, but both Daniel and her husband Lou (Seth Rogen) are part of that journey. Well-acted, but the script struggles in a few spots where writer/director/co-producer Sarah Polley stretched herself a little too thin. R for language and sex.
TAKEN (PG-13) 85 minutes * * * He may be a little on the paranoid and over-protective side, but when Bryan's (Liam Neeson) daughter meets up with a friendly stranger in Paris, and finds herself kidnapped, her father's skills as a "preventer" are going to come in handy. Plenty of hard and fast action and most of it manages not to stretch believability too far. Neeson does nice work here and carries the film quite well. PG-13 for violence and language.
TAKEN IN BROAD DAYLIGHT (NR) 80 minutes * * 1/2 Teenager Anne Sluti (Sara Canning) was kidnapped from the parking lot of a mall, and despite the fact that seveeral people saw the abduction, tracking her kidnapper would have been nearly impossible if not for the clues she was able to leave. Her quick thinking and determination saved her life. Based on a true story. The story is paced well, and has enough suspense to keep us interested despite performances that are little more than adequate.
TAKEN 3 (PG-13) 110 minutes * * 1/2 Accused of a murder he never committed, Mills (Liam Neeson) has to find the killer and prove his innocence while on the run again. Pretty fierce bad guys here, but we don't get to know them well enough. Most of the focus is on the interactions between Neeson and Forest Whitaker, which is good, but more depth would have been better. PG-13 for violence and language.
TAKEN 2 (PG-13) 92 minutes * * 1/2 What goes around comes around, and now it's the father of the man that Bryan (Liam Neeson) killed who is out for revenge. Neeson is showing his age a little here, and some of the action sequences aren't all that believable. It is nice to see a little stronger role for his daughter though. Luc Besson wrote both films, so the story is strong and well=paced, but the first is still the better of the two. PG-13 for violence and sex.
TAKERS (PG-13) 102 minutes * 1/2 Life is going well for Gordon (Idris Elba) and his crew. They've pulled of a number of jobs over the past few years and every job has gone off without a hitch. But when Ghost (T.I.) gets out of prison, he has a job he wants them to do. They don't really trust him, but he used to be part of the crew, and the deal looks sweet. Meanwhile, Jack (Matt Dillon) is trying to break the case. He has a hunch that some of these robberies are connected. But internal affairs is on his case and pressure is mounting. There's plenty of style here, and the film looks quite nice, but the story quickly deteriorates into this being just another heist film. Elba and Paul Walker help give it a little depth, but the story is too formulaic and lets them down. PG-13 for language and violence.
TAKING A SHOT AT LOVE (NR) 83 minutes * * 1/2 An injury risks ending Ryan's (Luke Macfarlane) hockey career. His last option is some rehabilitation trainning with Jenna (Alexa Pena Vega) who teaches a ballet class for young students. This rehab is going to be much more difficult than it looks. Despite soome similarities to "The Cutting Edge", this Hallmark romance has a good dose of charm, giving it just enough of what it needs to be worth a look.
TAKING CARE OF BUSINESS (R) 104 minutes * * All Jimmy Jaworski (Jim Belushi) wanted to do was see the World Series. OK, so he has to break out of prison to do it... that's a minor detail. Mistaken for someone else, he begins to impersonate them until, of couse, he meets them. It's a story we've seen before and is mostly light comedy that will be quickly forgotten. Belushi makes it entertaining, but Charles Grodin's whining cuts it off in many spots. R for language.
TAKING CHANCE (NR) 74 minutes * * * Lieutenant Colonel Mike Strobl (Kevin Bacon) volunteers to accompany the body of a young Marine as it returns home. As with "Gardens of Stone", this shows a little seen or known side of war. The difference here is that this is a more intimate film, dealing with Chance and his escort. Nice work by Bacon in this TV movie that was nominated for numerous Emmys (winning one for editing).
TAKING CHANCES (R) 95 minutes * 1/2 A small town with a historic past is in danger of being overrun by a casino. Chase (Justin Long) is determined to stop this from happening, but he doesn't seem to have the right connections, only a couple of friends who aren't quite as upset about the whole thing. Slightly offbeat story with a moral that isn't about the importance of standing up to the corporate giant. There also just isn't much depth to the script. It's too bad because Long could have used some help with where to go with his quirky character. R for language.
TAKING EARTH (NR) 96 minutes * So, the idea is that one boy on Earth is capable of destroying the alien invaders. Those same aliens are working to find him before he can do that. It could be a fun story... if you have someone who knows how to write. Both the story and the dialogue are pretty terrible. Apparently, most of the money was spent on sound effects and the soundtrack, both of which tend to overpower the meager efforts of the rest of the film. Grant Humphreys is credited as director, co-writer, co-producer, and editor, and clearly tried to do too much.
TAKING LIVES (R) 99 minutes * 1/2 Agent Scott (Angelina Jolie) is on the trail of a killer who takes on the identity of those he kills. The biggest problem here is one of story consistency. If Scott is such an observant investigator, some of what happens just doesn't follow. It undermines her credibility later in the story and the ending to the film is weakened because of it. Ethan Hawke does a nice job here, but Jolie has definitely done better. R for violence, language, and sex.
THE TAKING OF DEBORAH LOGAN (R) 84 minutes * 1/2 Deborah (Jill Larson) agrees to let a film crew document part of her life as she is diagnosed with Alzheimer's disease. But what Deborah is suffering from isn't actually Alzheimer's... There are some creepy moments toward the end of the film, but getting there is a chore, and most may not want to take the time. R for violence, language, and nudity.
THE TAKING OF PELHAM 1 2 3 (R) 101 minutes * * 1/2 When a New York City subway train is hijacked by armed men, dispatcher Walter Garber (Denzel Washington) never thought he'd be the one to try and talk down the man in charge (John Travolta). There are a few logistic holes in the story, but the action is fairly intense and Travolta and Washington are old hands at films like this. Not quite as good as the 1974 film it's a remake of, but close. R for violence and language.
TAKING THE REINS (NR) 83 minutes * * 1/2 When Samantha (Nikki Deloach) returns home to do an article on a horse jumping tournament, she has no idea of the surprise that awaits. After Samantha left, her father hired her ex-husband as a trainer. Is she ready to face why she quit riding and why their marriage ended?
TAKING WOODSTOCK (R) 114 minutes * * * A sleepy little community, and a little music festival that needed a place to happen. A little festival called Woodstock. It was more than just a concert, and this film does a very nice job of giving us an idea and the experience of what went on behind the scenes and while all of those performances were happening on stage. Nice performances by Liev Schreiber and Jonathan Groff! R for language and nudity.
THE TALE OF DESPEREAUX (G) 87 minutes * * 1/2 Soup Day was the best day in the kingdom until a tragedy leads the king to forbid anything to do with soup. Despereaux, a brave little mouse who always tells the truth, just may be able to bring joy (and Soup Day) back to the kingdom. Nicely animated, though the violence in the story could have easily earned this a PG rating. Adapted from the book by Kate DiCamillo and featuring an amazing cast of voices including Matt Broderick, Dustin Hoffman, Ciaran Hinds, Kevin Kline, Frank Langella, Christopher Lloyd, William H. Macy, Tracey Ullman, Emma Watson, and Sigourney Weaver.
A TALE OF LOVE AND DARKNESS (PG-13) 93 minutes * * * The story of author Amos Oz's (Amir Tessler) younger years, and in particular, his relationship with his mother. Oz's book is a difficult one to adapt to the screen as it is as much about mood and tone as it is about the events in his life. Natalie Portman, in her first feature-length work as a director and writer, captures those subtleties quite well. Not quite as smooth or powerful as it might have been, but still very good. PG-13 for violence.
TALE OF TALES (R) 125 minutes * * 1/2 Three connected fairytales from the book by Giambattista Basile. Beautifully filmed, but the pacing is slow. Although the stories are connected to each other, they seem disconnected within each one. R for sex and violence.
THE TALE OF THE PRINCESS KAGUYA (PG) 131 minutes * * * Beautiful pastel watercolor style of animation gently tells the classic story of the bamboo cutter who finds a tiny princess in a mysterious stalk of bamboo. The story moves along slowly, but effectively, until the ending, which is heavy with symbolism and feels more rushed than the rest of the film. PG for violene and nudity.
A TALE OF TWO CHRISTMASES (NR) 83 minutes * * Faced with a choice she never expected, Emma (Katherine Barrell) has to decide between staying in the city or returning home. There are pros and cons to both option, but she'll have to choose the one that truly makes her happy. It may not be what appears to be the obvious choice. The back and forth is a little too much, and the story spends a little too much on the lighter side of things for a story that has a rather serious message.
A TALE OF TWO GUNS (NR) 88 minutes * 1/2 Once part of a violent gang of criminals, Abel Cruz (Casper Van Dien) is now all that's left. But the law isn't far behind, and things aren't going well for him. Marshal McTeague (Tom Berenger) is a patient man, and Cruz is running out of time.
THE TALENTED MR. RIPLEY (R) 134 minutes * 1/2 Tom Ripley (Matt Damon) is a man with one talent. He can mimic other people. He's given a golden opportunity when invited to go to Italy and convince Dickie Greenleaf (Jude Law) to return home. Dickie appears to have it all, and Tom is going to try to slip into Dickie's shoes. The web he weaves gets tangled, which is no real surprise, and things eventually fall apart. Damon does a nice job here, but the story is so drawn out that we are thoroughly bored. It's like watching a slow chess game, where you have more than enough time to calculate all the possible moves before anything happens. What could have been interesting plot twists, become slow and gentle turns that lull us to sleep instead. R for language, violence, and nudity.
TALES FROM EARTHSEA (PG-13) 107 minutes * * Beautiful animation, and a very nice visualization of the world of Earthsea. Tamiya Terashima's soundtrack is quite nice as well. The trouble here is that its very clear from the story that this is only a small piece of a much larger epic. We are left not only wanting more, but not fully understanding many of the pieces that we do see. The depth of the missing pieces is so great in some spots that we begin to lose some interest in the story because we know we aren't going to find out what we need to know. Less story, more depth. PG-13 for violence.
TALES FROM THE DARKSIDE: THE MOVIE (R) 90 minutes * * 1/2 Three short stories included in a wrap-around story make up the content here. They're not bad, but they aren't all that scary either. Most of the scares are due to music and some reasonably effective camera and lighting work. Lot 249, from a story by Arthur Conan Doyle comes off the best, with Cat From Hell, from a story by Stephen King being a bit silly, and Lover's Vow being far too predictable. Films like this tend not to come off very well, though fans of the short-lived TV series of the same name will still find this somewhat entertaining. R for violence.
TALES FROM THE HOOD (R) 93 minutes * 1/2 Anthology of four horror stories with an African-American slant. There is some creativity evident here, but the film is bursting with editing mistakes and poor acting that tends to kill most of the entertainment value the film might have had. This is the stuff for late night, low-budget horror fans.
TALES FROM THE HOOD 3 (R) 97 minutes * * Another trip through the 'hood with the writing/directing team of Rusty Cundieff and Darin Scott. Four more stories plus the wrap, which is a bit better than in the previous films. R for violence, sex, and language.
TALES FROM THE HOOD 2 (R) 107 minutes * 1/2 The writing/directing team of Rusty Cundief and Darin Scott reconnect 23 years later for a sequel to their anthology horror film. The production values have improved since the first film, but nothing else. The stories are heavy with social commentary, and weigh down both the horror and the humor, which have a difficult enough time trying to find a good balance. R for language, violence, and sex.
TALES OF HALLOWEEN (R) 91 minutes * 1/2 Ten short Halloween themed films are strung together on a very loose framework. A few of them have some merit and a few get a boost from better acting talent. Most are lacking in the clever scripts that are needed for a good anthology film. R for violence and language.
TALES OF THE NIGHT (NR) 82 minutes * * 1/2 A collection of six stories, told through brightly colored animation that is highlighted by silhouetted characters. The stories are magical and the animation is enchanting. The connecting material between the stories is less interesting and breaks the flow of the film, but it is kept to a minimum.
TALHOTBLOND (NR) 88 minutes * * Not very internet savvy, Thomas (Garret Dillahunt) begins playing online poker with friends. He answers a private chat request from one "talhotblond". Things spiral quickly out of control, threatening to end his marriage to Carol (Laura San Giacomo) and more. Typical sensational TV movie material, though Dillahunt does do a nice job here.
TALK TO ME (R) 113 minutes * * * Petey Greene (Don Cheadle) knew how to say it like it was. And he didn't know how to do it any other way. It was a fresh new voice that radio hadn't heard before, and the people couldn't get enough of it. Cheadle delivers yet another fine performance, and we are transported back in time to those turbulent times when Greene's honest and open voice invited people to open up and talk to him, and to one another. Nice supporting performances as well, but Cheadle carries the film, and does so quite well. R for language and sex.
THE TALL MAN (R) 101 minutes * * 1/2 A mysterious "tall man" is said to be responsible for many of the local children who have gone missing. One particular woman has always been skeptical of this local legendm until her own son gies missing. Strange piece that is part horror and mart mystery. The energy and direction of the story shift a couple of times, and not very smoothly. R for violence and language.
TALL TALE (PG) 92 minutes * * 1/2 Broadly painted story of legendary characters populating the dreams of a boy. It's a beautiful film, and rather interesting, but there isn't a particular audience it can be aimed at. It's too cerebral for little kids, and too full of cartoonish characters for adults.
TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY (PG-13) 99 minutes * Ricky (Will Ferrell) is a star Nascar driver who has to learn how to drive all over again after he's in a serious crash. Full of typical Ferrell humor that pokes fun at Nascar fans for an hour and a half. John C. Reilly has a nice supporting role here, but unless you're a fan of Ferrell, it's not really worth watching. PG-13 for langugae and violence.
TAMARA (R) 94 minutes * 1/2 Nobody seems to like Tamara (Jenna Dewan). She'll teach them. Of course, she'll have to wait until after she's dead. Fairly standard teen slasher flick with an emphasis on witchcraft and revenge. R for violence, language, and sex.
TAMARA DREWE (R) 106 minutes * * * Coming back home with her rock-star boyfriend, Tamara Gemma Arterton) discovers that some things haven't changed. Her old boyfriend is still interested. Other things are changing though, like the upcoming sale of her childhood home. Life gets complicated sometimes, at least until you decide what's really important. Adapted from the graphic novel by Posy Simmonds. R for language and sex.
THE TAMING OF THE SHREW (2005) (NR) 85 minutes * * * Another entry in the "Shakespeare Re-Told" series, with Shirley Henderson starring as the fiery Kate. Her sister Bianca is playing hard-to-get with her boyfriend and says she won't marry until Kate does. Bianca's boyfriend introduces Kate to a friend, who ends up falling for her. Kate's shrewish personality slowly begins to change, thanks to the influence of love. Henderson is perfect in this very fun entry in the series!
TAMMY (R) 96 minutes * * Tammy (Melissa McCarthy) is having a bad day/week/etc. and decides a road trip is in order to get away and maybe make a fresh start. That will be easier said than done. Susan Sarandon and Kathy Bates deliver nice supporting performances here. McCarthy's performance is a little more subdued than normal, but that isn't really her strength. The result is that the pacing of the film tends to fluctuate with her performance. R for language.
TANGERINE (R) 86 minutes * * 1/2 Christmas Eve in Los Angeles. Looking for love. Coping with loneliness. It's a story with plenty of rough edges, but also a good deal of sincerity. The cast does a nice job of creating memorable characters, but the inconsistencies in the story and production in general keep us from connecting with this as well as we need to. R for sex and language.
TANGERINES (NR) 85 minutes * * * Ivo (Lembit Ulfsak) stayed behind, and now, with the war at his front door, he finds himself caring for two wounded men... from opposite sides of the conflict. Thoughtful and personal look at the meaning of war, with an ending that is both tragic and uplifting.
TANGLED (PG) 91 minutes * * * The Disney version of Rapunzel, with everything formula that Disney does... but as usual, it works quite well. Excellent animation, wonderful facial expression and body postures, giving delightfully human characteristics to the animals and packing the story with humor for adults and children alike. And of course ew can't forget the wonderful soundtrack from the always amazing Alan Mencken. Another fun film from the Disney animation crew!
TANGO & CASH (R) 98 minutes * * * Kurt Russell is Gabriel Cash, one of the two best law enforcers in Los Angeles. The other one is Ray Tango (Sylvester Stallone). His methods are a bit more polished than Tango's, but they are equally effective. They are rivals in a sense, but find themselves working together on this particular case. Yes, it reminds us of Lethal Weapon, but Mel Gibson and Danny Glover are better actors than these two. Still, the villains here are evil enough and the music and action keep us on the edge of our seat, and those are important pieces to what makes an action film work. R for violence and language.
TANGO SHALOM (PG-13) 109 minutes * * 1/2 Moshe Yehuda (Jos Laniado) needs to earn some extra money. Nobody in the Hasidic Jewish community seems to be hiring. That means going outside the community, which poses more challenges. There's a tango contest where he could earn quite a bit. And he is a talented dancer, albeit of a different style. The bigger problem is that doing the tango involves touching a woman, which he is not allowed to do outside of marriage. A sweet story, though the script is a little stiff. PG-13 for language.
TANK (PG) 112 minutes * * With his military career winding down, Sergeant Major Zack Carey (James Garner) would like nothing more than a last assignment that was at least relatively quiet. Of course that’s not going to happen. He has a teenage sin and the sheriff in town is more than a little corrupt. Zack just might have to put the Sherman tank he owns to some practical use. The story is actually more serious than it sounds, but the story keeps straying too far into the unrealistic to hold together very well. PG for violence, language, and nudity.
THE TANK (2023) (R) 95 minutes * 1/2 The property they now own has a rather unique history. It also has a strange water tank that might have something hiding in it. It turns out that Ben's (Matt Whelan) family owned the property but neglected to share the full story with him. The backstory is rather thin, but the monsters and the claustrophobic atmosphere are good. R for violence and language.
TANK GIRL (R) 98 minutes * * * The year is 2033, and water is as valuable as gold. Lori Petty is Rebecca, otherwise known as "Tank Girl", who along with her friend "Jet Girl" and a bunch of mutant kangaroos, is fighting to keep the water supply out of the hands of the dastardly Malcolm McDowell. Fun, hip, punk film based on the comic book with Petty perfectly cast in the lead.
TANNA (NR) 101 minutes * * * On this island paradise, the old ways still prevail, and marriage is set by the chief. But now there are two who wish to change that rule and go against tradition. The majestic scenery of Vanuatu provides the backdrop for this tragic love story, with the cast made up of members of the Yakel tribe.
TANNER HALL (R) 89 minutes * 1/2 Multiple coming of age stories here, which splits our attention and reduces the impact of the story somewhat. The all girl boarding school, Tanner Hall, is the setting, and these friends are going to learn a great deal this year at school, including how much they could use each others support. Friendship isn't all sweet and wonderful, but it can make a big difference on how you get through the rough times. Ends well, and some scenes are quite good, but others feel forced. R for sex and language.
TANTA AGUA (NR) 99 minutes * * 1/2 The resort Alberto (Nestor Guzzini) takes his kids to for a vacation ends up being closed due to rain. He tries to plan other things for them to do, but they are clearly more interested in being with people their own age. They are growing up and growing away. Slow pace and relaxed style may be a little frustrating for some, but it adds to the realism.
TAPPED (NR) 77 minutes * * * It's all about the water. This documentary shows quite clearly that the executives in the bottled water industry are not interested in acknowledging the negative effects of their processes. There are those who are fighting for the right to have safe drinking water available at a minimal cost, and they will continue to work toward that goal. What remains to be seen is how much the idea of convenience for so many of us will stand in the way of that goal. Very informative documentary.
TAPPED OUT (R) 105 minutes * * When Michael (Cody Hackman) was seven, he witnessed the murder of his parents. The years have gone by, and now he finds that he has the chance for revenge... in the MMA cage. The fight scenes are intense, but the script and acting are definitely mediocre. R for violence, language, and sex.
TAPS (PG) 118 minutes * * * Tim Hutton stars as a cadet who leads his fellow students in a takeover of the military academy they attend in an effort to save it from demolition. The story is rather predictable, but the performances are memorable and make this well worth watching. Sean Penn makes his debut here, and Tom Cruise chalks up his second performance, as the leader of the red berets. The film could’ve used some trimming, as it runs a bit long, but most will find this an entertaining look at the dedication and ambitions of a group of young men. PG for language and violence.
TAR (R) 155 minutes * * * 1/2 One of the greatest living composer/conductors, Lydia Tar (Cate Blanchett) has worked hard in a male dominated field to establish herself. She has done well, but it is all about to unravel. Slowly at first, and by the time she acknowledges how serious it is, far too quickly to stop. A magnificent performance by Blanchett in a story about the disintigration of a career and an individual. R for language and nudity.
TARGET (R) 119 minutes 1/2 Chris (Matt Dillon) and his dad (Gene Hackman) have never gotten along all that well. But when his mother is kidnapped, Chris watches his father change into a man of action, and Chris is eager to help. Slow-moving and low-energy thriller that takes too long to start moving. The plot also seems to borrow material from several other films in the same genre and stuff them into the same story.
THE TARGET (2014) (NR) 94 minutes * * 1/2 A doctor and his patient. But this is no ordinary patient, and the doctor's wife has been kidnapped. The story is more than a little convoluted with conspiracies and misleading cues. It gets a little better as it moves along, but it's a rough start.
TARZAN (G) (1999) 81 minutes * * * Another beautifully animated film from the Disney studios. Yes, it takes liberties with the story, but that's no real surprise. It's a rather dark and somewhat scary film, with six deaths and not a great deal in the way of playful and fun characters. So, the younger kids might not be that happy about seeing it. It would've been nice to have a couple of additional songs too, but Phil Collins' "You'll Be in My Heart" is sure to be up for an Oscar. Rated G, but there's a good deal of violence.
TARZAN (2013) (PG) 88 minutes * 1/2 Another version of the classic story, with some very nice animation, though there are still moments where the characters appear rather lifeless. The bulk of the story is about the "evil" CEO of Greystoke Enterprises searching for an energy source to exploit, while Tarzan and Jane fight to stop him. It's heavy with narration, and the mixture of adult elements with humor and cute animals leaves us wondering who the intended audience is supposed to be. PG for violence and language.
THE TASK (R) 90 minutes * * Six lucky people just won a spot on a reality show. Now, they get to spend the night in a haunted jail with a series of tasks to complete. The tasks themselves aren;t all that difficult, but the spirits of those who used to be imprisoned here definitely aren't going to help them. Some creepy moments, but also very predictable, and the twists are overplayed. R for violence and language.
THE TASTE OF CHERRY (NR) 95 minutes * * * He's done. Mr. Badii (Homayoun Ershadi) plans to commit suicide, but he wants someone to bury him under a cherry tree. He has even already dug the hole to help the process along. But each time he thinks he's found someone who will assist him, they come up with a reason not to do it. At long last, he finds someone willing. They attempted suicide themselves some time ago, and they may have a reason for Mr. Badii to reconsider his plans. The story leaves us wanting more, not because the script is lacking, but because it does such a marvelous job of creating a character we want to know more about.
A TASTE OF SUMMER (NR) 81 minutes * * 1/2 Gabby (Roselyn Sanchez) decides that it's time for a change. She's been working with a very talented chef, but now she's starting out on her own. There's some stiff competition just down the street. Caleb (Eric Winter) runs a restaurant just down the street... and he plays to win. Then again, so does Gabby. That competition may just lead to something else.
THE TASTE OF TEA (NR) 137 minutes * * * The Haruno family live just outside Tokyo, and while in some ways their life is quiet and ordinary, there is definitely another way to look at it. Each character's life and struggles are explored through various subplots, and we find ourselves drawn to them, both in spite of and because of their eccentricities. Director Katsuhito Ishii has created a visually stunning film filled with metaphors and unusual images which will definitely leave an impression that is difficult to forget.
TASTING MENU (PG-13) 82 minutes * * 1/ Great food can accomplish many things. Perhaps the last meal at one of the greatest restaurants in the world will be able to do just that. Wonderful photography and beautiful design. The story works well until late in the film when it gets unnecessarily tangled in the "late dessert". The energy shofts and the film loses the flow that was carrying it along so nicely until then. PG-13 for language.
TATTOO (R) 102 minutes * * ½ Bruce Dern plays the part of an eccentric who slowly turns into a half-crazed lunatic due to his experiences during the war, and his love for/obsession with Maddy (Maud Adams). Adams does an excellent job, and Dern is quite good as well, but the dialogue gets in the way of both performances. Strange ending.
TAURUS (NR) 95 minutes * * 1/2 His star is on the rise, but Cole (Colson Baker) isn't hadnling it well. Drugs and alcohol are taking a toll, and despite having an assistant and an agent who are doing what they can, Cole is spiraling out of control. It's not a fast spiral, but Cole refuses to accept any help, and it's becoming more clear that there's only one way for this to end. Another star is on the rise. Will it flame out or continue to shine? Nice work by Baker in an unhappy role.
THE TAX COLLECTOR (NR) 90 minutes * * 1/2 Working as a tax collector for a Los Angeles crime boss, Cuevas (Bobby Soto) collects money with his partner, Creeper (Shia LaBeouf). Things are running smoothly until a rival boss comes to LA and rocks the boat. Love, honor, loyalty, and family. These are what Cuevas holds as true. Are they enough? Lots of gang violence, and the story is good, though there are a couple of loose ends and the ending needs some work.
TAXI (PG-13) (2004) 91 minutes * * Washburn (Jimmy Fallon) is a young cop who seems to always be doing the wrong thing at the wrong time. Belle (Queen Latifah) is a taxi driver who loves speed. And now that Washburn has lost his license, they just might make a great team... if they can stop arguing long enough. Based on a script that Luc Besson wrote for the 1998 film "Taxi", this never really gets very far. There is a little bit of nice car stunt work, but Fallon just isn't that funny here and that doesn't give Queen Latifah anywhere to go. PG-13 for language and violence.
TAXI ZUM KLO (NR) 95 minutes ½ Writer/director Frank Ripploh plays himself in this crude and vulgar look at a gay man trying to have sex with strangers in the public toilet. Sometimes hailed as a groundbreaking film, but it’s primarily just rude.
TAZZA: THE HIGH ROLLERS (NR) 138 minutes * * When Go-ni (Seung-woo Cho) loses his savings in a card game, he's determined to get it back. After studying with Mr. Pyung (Yun-shik Baek), he's learned all there is to know... but will it be enough? Overly long, and without much in the way of twists and turns. There are a few touches of film noir here, but a little more of that and a great deal of trimming are what's needed.
TE ATA (PG) 102 minutes * * * Mary Thompson Fisher (Q'Orianka Kilcher) was an extremely talented Native American performer. Her Chickasaw heritage would make many things difficult, but it would also provide a deep and rich well of inspiration. Her determination and the power of the stories she told, left an indelible mark on many lives. Wonderful work by Kilcher. PG for violence.
THE TEACHER (NR) 99 minutes * * * When the new teacher arrives, it doesn't take the students long to figure out what is giong on. Some of the parents soon realize too. If you (or your parents) do something nice for the teacher, it is reflected in your grade. Changing this unfairs system is not going to be an easy task. It's too bad we don't get to see more of the younger actors here, as they are not only the ones most affected in the story, but they are the ones who must (and do) make a difference.
TEACHERS (R) 99 minutes * * * ½ He certainly isn’t the best teacher in the world, or perhaps even in this particular school, but Alex Jurel (Nick Nolte) does care. OK, so passing an illiterate student isn’t a good idea, but the point is there, and this film tends to go a few steps beyond more than once to make a point. It’s fun and light-hearted, but has some strong points to make too. Great work by Nolte, and some solid supporting work from Judd Hirsh and Ralph Macchio among others. R for sex, language, and violence.
TEACHER'S PET (PG) 67 minutes * 1/2 Big screen adaptation of the Disney tv cartoon that doesn't seem to have much in the way of audience appeal. The bright colors and the story of a dog who wants to be a boy might appeal to younger kids, but the every-other-minute musical numbers and sometimes adult humor will be lost on them. Younger teens will enjoy some of the weirdness (similar to Ren & Stimpy), but they'll get bored quickly as well. Lots of big names helped with the voices here, Nathan Lane, Kelsey Grammar, David Ogden Stiers, Paul Reubens, Mae Whitman, and many more, but it doesn't really help in the end. PG for language and violence.
TEACHING MRS. TINGLE (PG-13) 91 minutes * 1/2 Mrs. Tingle (Helen Mirren) is the teacher you love to hate. Even the other teachers and administrative staff can't stand her. And Leigh Ann (Katie Holmes) needs an "A" from her to get the scholarship she needs. It's a comedy of errors as one problem leads to another, but it's never really that funny. The script and direction leave us caught in the middle, wondering if we're supposed to laugh or think this is serious. Holmes does a fine job, but Marisa Coughlan has more fun with her role as Jo Lynn and manages to do a better job. There are a couple of twists at the end that try to put some life into it, but the soundtrack is still the best part of the film. PG-13 for violence and language.
TEAM AMERICA: WORLD POLICE (R) 91 minutes 1/2 Disappointing satire from the creators of "South Park" that only manages to hint at the humor it could have offered. Instead, we have a foul-mouthed bunch of marionettes in a story that manages to offend just about everyone. R for language and sex.
TEARS OF THE SUN (R) 112 minutes * * 1/2 Lieutenant Waters (Bruce Willis) orders are simple. He's to take his men in and escort a doctor out of hostile territory along with a priest and a couple of nuns if they so choose. That's not the course of action he chooses, and there will definitely be difficulties as a result. The premise is highly unlikely, but given that as the starting point, they story is told reasonably well though it turns overly sentimental near the end. Willis is relatively good here, but there's little to make the film memorable. Filmed in Hawaii. R for violence and language.
TED (R) 101 minutes * 1/2 As a kid, John (Mark Wahlberg) didn't really have any friends. When he gets a wonderful new teddy bear for Christmas, he makes a wish. The next morning, his new teddy bear is a walking, talking, best-friend-for-life. It's now years later, and his girlfriend of four years is hoping for an engagement ring, and Ted isn't making life any easier. There are some cute, funny, and meaningful moments here, but they tend to be overshadowed by the vulgar tirades and nonsense. R for sex and language.
TED K (R) 120 minutes * * * Living in a small, 10' x 12' cabin in the woods near Lincoln, Montana, Ted Kaczynski's (Sharlto Copley) life was simple and quiet. He was brilliant. But there was something else about Ted. Something that would lead him to become the man who would be known as the Unabomber. The film does a good job of almost playing like a documentary at times. R for language.
TED 2 (R) 106 minutes * 1/2 Ted and his wife want to have a baby. Because of the paperwork involved, it means that Ted is hoing to have to prove that he's a person. Just as rude and crude as the first film. The stellar cast is worth a look, but only if you don't mind the crude humor. R for sex and language.
TEDDY BEAR (NR) 92 minutes * * * Dennis (Kim Kold) lives with his mother in Copenhagen. He has a hard time meeting women because of how shy he is. When his uncle marries a woman from Thailand, Dennis wonders if that might be an easier approach. Wonderfully gentle and sensitive performance by Kold in this story of innocent struggle.
TEEN BEACH MOVIE (NR) 94 minutes * * McKenzie's (Maia Mitchell) time in the beach shack with her grandfather is over. It's time for her to head east and go to that exclusive prep school. But that also means breaking up with her boyfriend (Ross Lynch). There's just time for one last ride on a big wave... that will send them both into their very own beach movie. Silly, and it's not clear that there's much of a target audience for this sort of film anymore, but there are some cute songs.
TEEN SPIRIT (NR) 81 minutes * * She's popular and she's mean, but when Amber (Cassie Scerbo) dies, she's not allowed to get very far before being handed a task. If she wants to get to heaven, she's going to have to make up for being so mean... and it isn't going to be easy. Lisa (Lindsey Shaw) has always been the plain one, but now she has Amber's ghost to help her... or to just cause her grief. It's a cute story, and the soundtrack is light and energetic. We didn't need the narration though. Nice work by Shaw.
TEEN SPIRIT (2018) (PG-13) 88 minutes * * 1/2 Not a bad directorial debut for Max Minghella, but the script is a little shaky. The energy ebbs and flows, which doesn't make as much sense for Elle Fanning's character as a slow build would have. It means that her stage grabbing performance near the end is less convincing than it should have been. PG-13 for sex and language.
TEEN TITANS GO AND DC SUPER HERO GIRLS: MAYHEM IN THE MULTIVERSE (NR) 76 minutes * * The situation is pretty bad. A bunch of super heroes have been sent to the phantom zone. The Teen Titans and the DC Super Hero Girls are going to need to team up to resolve the situation and rescue the others. Too much of the film is spent on the bickering between the two groups and not enough on the other parts of the story.
TEEN TITANS GO! TO THE MOVIES (PG) 77 minutes * * 1/2 The Teen Titans have been wanting a movie to be made about them. It's what separates the heroes from the ones who aren't. You just have to have your own movie or you aren't recognized as legitimate. But perhapes before you get a movie, you need to have an arch-nemesis. A witty script and a nice finish give this cartoon superhero film a good edge and make it fun to watch. PG for violence and language.
TEEN TITANS GO! VS. TEEN TITANS (NR) 74 minutes * * Raven's dad is causing problems again, and it looks like the Titans will need to teasm up with their multiverse counterpart to defeat him. That is, after they get over themselves a little bit. Fans of Teen Titans Go! will enjoy this, but the humor can be a little bit on the annoying side... even more than usual for the "Go" team.
TEEN TITANS: THE JUDAS CONTRACT (PG-13) 81 minutes * * Terra is the newest member of the Titans, but it seems that she has not been completely open about her intentions. Not a particularly exciting story or one that develops the main characters all that much. There's some mild interest for fans of the Teen Titans, but even so, it's unlikely to make it on a list of favorites. PG-13 for violence and language.
TEEN WOLF (PG) 88 minutes * * * 1/2 As if growing up wasn't difficult enough, Scott Howard (Michael J. Fox) is about to discover a family secret. He's a werewolf. Smart and funny script by Jeph Loeb and Matthew Weisman, and nice work by the cast to keep the story light and fun. PG for language and violence.
TEEN WOLF TOO (PG) 91 minutes * * Weak sequel that tells the story of the teen wolf's cousin (Jason Bateman). He exploits his wolf side to make money and gain popular. Formula film that has a few cute moments but nothing memorable. No real need for that annoying wolf's tail either...
TEENAGE (NR) 75 minutes * * * An exploration of the culture of teenagers and adolescence. There was a time when the transition from child to adult was quick, and fairly early. (In some cultures it still is.) The industrial revolution changed culture for much of the world, and helped to create a new generation, allowing time for people to come-of-age. Archival footage is accompanied by diary entries read by Jena Malone, Ben Whishaw and others. Based on the book "Teenage: The Creation of Youth 1875-1945" by Jon Savage.
TEENAGE MUTANT NINJA TURTLES (PG) 87 minutes * * 1/2 Great costumes and puppetry effects bring those comic book heroes to life on the big screen. The acting is, well..., nevermind. But the story is interesting and stays relatively close to the original material. It's not quite as dark, and aims at a crowd a bit younger than the comic, but those under age 10 will be bored with the lack of action during many sequences. PG for language.
TEENAGE MUTANT NINJA TURTLES (2007) (PG) 78 minutes * * 1/2 Leonardo returns after taking some time off. In the meantime, not only is there a new evil threatening the city, but Raphael is more than a little upset with Leo, and doesn't see him as a leader or even a team player anymore. The animation works well here, and for those who already know the turtles, this is a fairly good film. If you're unfamiliar with the characters, don't look to this film to do much explaining. PG for violence and language.
TEENAGE MUTANT NINJA TURTLES (2014) (PG-13) 94 minutes * 1/2 The soundtrack and special effects are very good, but the action is either dull or funny, constantly reminding us of how silly the premise is. The adolescent aspect of the turtles has always presented a challenge for the storyline, and strong character development is the answer, but it just isn't here. PG-13 for violence.
TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM (PG) 90 minutes * * 1/2 Raised to not trust the world of humans, the turtles still desire to be loved by the residents of New York City. They work to earn that love by fighting bad mutants and protecting the city. A retelling of the origin of the Teenage Mutant Ninja Turtles featuring the voices of Maya Rudolph, John Cena, Seth Rogen, Rose Byrne, Giancarlo Esposito, Jackie Cha, Ice Cube, and Paul Rudd. PG for violence and language.
TEENAGE MUTANT NINJA TURTLES: OUT OF THE SHADOWS (PG-13) 105 minutes * * * In spite of all of their work to out Shredder behind bars, it doesn't take him long to break out. And now, with the help of Krang, he's going to be even more difficult to defeat. Then again, these turtles don't give up easily. Wonderful animation, but so packed with action sequences that you may want to watch it a second time to really see everything that's happening. PG-13 for violence.
TEENAGE MUTANT NINJA TURTLES II (PG) 81 minutes * * The second outing for the turtles tries to appeal to younger children a little more, but not with much success. It turns out that Shredder is still alive and there's more of the ooze that created the turtles in the first place. Lots of smart-aleck remarks throughout make this a fairly unappealing sequel. PG for violence and language.
TEENAGE MUTANT NINJA TURTLES III (PG) 90 minutes * 1/2 The turtles are really watered down in this third film. Much less violent and continuing to stray further from their original concept. The animatronics from Jim Henson's muppet shop continue to improve, but this film is aimed at a younger crowd than the first two. Even so, kids don't seem as interested in this one, no matter what their age, the story is just too boring.
TEETH (R) 87 minutes * 1/2 Dawn (Jess Weixler) has dedicated herself to being a pure and wholesome young girl. But when hormones and temptation begin to make themselves evident, the boys are going to find a bit more than they bargained for. Dawn definitely bites. Interesting idea and the film ends well, but it's a bit slow getting there at times. R for sex, violence, and language.
TEKKEN (R) 83 minutes * 1/2 Eight companies now rule the world. Tekken rules what used to be the United States. Each year, they hold a tournament where the losers die. (Not sure why, but it seems to be what many video game plots seem to consist of.) Nice fight scenes, but the story has more than its fair share of inconsistencies, and is clearly more interested in style than in substance. R for violence and sex.
TELL IT TO THE BEES (NR) 101 minutes * * Dr. Markham (Anna Paquin) has returned to her hometown to be the doctor for the community. Lydia (Holliday Grainger) is recently separated, and circumstances draw the two women together. Soon, something more than friendship develops between them. But the rest of the community isn't ready for news like this. Some changes can take quite awhile. The acting is quite good, but the script and direction are neither one very strong. Adapted from the book by Fiona Shaw.
TELL NO ONE (NR) 122 minutes * * * 1/2 Eight years ago, the love of Alexandre's (Francois Cluzet) life was killed. Some of the details are still a bit cloudy, but now, at the anniversary of her death, two other bodies are found at the scene of the original accident, and Alxeandre is getting email messages that appear to be from his wife... urging him to tell no one, because people are watching. Nicely crafted mystery/suspense film adapted from Harlan Coben's novel. Winner of numerous foreign film awards.
THE TELL-TALE HEART (NR) 78 minutes * * A sort of interpretation of the classic story by Edgar Allan Poe, rather than a retelling. It's an unusual piece, with a great deal of repetition, which works in some ways, but becomes a little irritating when it doesn't serve the story well. Sets and photography create the mood well, but the story doesn't move well and feels longer than it is.
THE TEMPEST (2010) (PG-13) 103 minutes * * 1/2 An adaptation of the classic play by William Shakespeare that shifts the lead role from male to female, with Helen Mirren as Prospera, who is stranded on an island with her daughter and in command of numerous mystical forces there. The special effects are nicely done, but do tend to overpower the story a few times. The cast itself is stunning with David Strathairn, Alan Cumming, Tom Conti, Djimon Hounsou, Chris Cooper, Russell Brand, Alfred Molina, Ben Whishaw and Felicity Jones. Fine performances all around. PG-13 for nudity and language.
TEMPLE GRANDIN (NR) 105 minutes * * * 1/2 Marvelous performance by Claire Danes in this biopic about the amazing Temple Grandin. Most of the film is spent on Temple's years after high school and how she perseveres and finds ways around her autism so that she can achieve her goals far more effectively than many of those around her. There are glimpses of her childhood as well, which fill in the gaps quite nicely. Adapted from the books "Emergence" and "Thinking in Pictures" by Grandin. It's a fascinating look at the world of autism and how one particular individual, with the right mix of personality and support, has accomplished amazing things.
TEMPTATION (NR) 83 minutes * 1/2 The victim of an attack, Isabel (Caroline Haines) is rescued by a vampire. Upon waking the next morning, she will have 48 hours to decide if she wants to continue in this new and difficult life or not. Haines isn't all that good here, but some of the supporting raoles aren't bad. Photography is weak, but the music and sound effects are fairly good. These uneven aspects manage to line up for a couple of really impressive scenes, as well as a few really bad ones, with most of the film ending up just a little below the mediocre line. TEMPTATION: CONFESSIONS OF A MARRIAGE COUNSELOR (PG-13) 105 minutes * * The title pretty much explains the plot for this very drawn-out lesson about the importance of appreciating the person you're married to. Based on Tyler Perry's play, "The Marriage Counselor", but unlike most of Perry's productions, this has a rather sombre ending. It's not bad, but clearly needed better editing and pacing. PG-13 for violence, sex, and language.
10x10 (NR) 81 minutes * 1/2 Life was were going well for Cathy (Kelly Reilly). She didn't know she was being followed until it was too late. Lewis (Luke Evans) abducts her and the game of cat and mouse begins. It's not terribly convincing, and becomes even less so as the truth emerges. Good production quality and acting, but the story is a mess.
TEN CANOES (NR) 85 minutes * * * Sit back, relax, and listen to a story. It's a story of another time, and also a story of today. Australia's indiginous Ramingining people share a story of life and death in the beautiful Arafura wetlands. While the narration isn't essential to understand the story, it does help to create a sense of folklore. It's not only the story, but what it means to those who tell it and to those who hear it.
10 CLOVERFIELD LANE (PG-13) 98 miunutes * * 1/2 When Michelle (Mary Elizabeth Winstead) regains consciousness after a car accident, she finds herself in a cement block cell, chained to the wall. It turns out that she and two men are in an underground bunker, and the world above has been drastically changed by a chemical attack. Or at least that's how it appears. Good suspense, and a nice twist. PG-13 for violence and language.
10 DAYS IN A MADHOUSE (R) 107 minutes * * Reporter Nellie Bly (Caroline Barry) gets an assignment from Joseph Pulitzer (Sam Davidow). She must feign insanity to get herself committed to an insane asylum. Once inside, she is to report on the abusive treatment and corruption that is happening inside the terrifying walls. Despite a strong finish, the excessive narration and stiff dialogue undermine the believability of the story. R for violence.
10 ITEMS OR LESS (R) 71 minutes * * * Wonderful, relaxed little film that follows Morgan Freeman as he studies a small grocery store for an upcoming role he'll be playing. He finds himself drawn to the clerk at the "10 items or less" checkout lane. As they begin to talk, a friendship is born. It will likely be no more than an extended brief encounter, but when two lives touch and both of them notice, there is something special. That's all this film has to say. In some ways, it's very little, and in others... Freeman ambles through this at a relaxed and natural pace, and Paz Vega is charming as well. We almost feel as if we're intruding on a private reality between the two of them, which is somewhat unique, and well-worth a look if you enjoy watching something a little off the beaten track. R for language.
10 MINUTES GONE (R) 84 minutes * * When a heist goes down, there are often those who doublecross. So, when it turns bad, it was surely someone on the inside. But who? Frank (Michael Chiklis) might know, but he was knocked unconscious and is missing ten minutes of his memory. The action is a little repititious and the ending isn't convincing, but getting there does have a few bright spots. R for language and violence.
TEN MINUTES TO MIDNIGHT (NR) 70 minutes * 1/2 It's going to be her last shift as a late night radio host. Amy's (Caroline Williams) show hasn't been doing that well, and it's been a long, slow slide. To make matters worse, she was bitten by a vampire bat right before her shift started. It's a fun story, with campyperformances, but it also gets a little too surreal and tends to drift.
10.5 (NR) 161 minutes * 1/2 It's the big one! Another earthquake disaster film with a series of quakes that keep getting larger threatening to drop part of California into the ocean unless somehow the earth can be fused back together. The multiple cliffhanger endings tend to get a bit tiresome after awhile.
10 QUESTIONS FOR THE DALAI LAMA (NR) 83 minutes * * * Filmmaker Rick Ray arranges to have a meeting with the Dalai Lama. He will have 45 minutes and plans to ask ten questions. But which questions should he ask? And what if the Dalai Lama decides he is less than sincere and ends their meeting early? Solid documentary that not only gives us the opportunity to hear the Dalai Lama speak to these questions, but explains quite a bit about Tibetan Buddhism and the history of Tibet.
1066: THE BATTLE FOR MIDDLE EARTH (NR) 146 minutes * * 1/2 The Battle of Hastings and the battles that immediately preceeded it are not often the topic of films. They were bloody and gruesome times, and the course of history was deeply affected by the result. Because of how much information is covered, the film relies on narration to skip through some sections, which is unfortunate. In the end, it works reasonably well, becoming almost a documentary with extended re-enactment sequences.
10 THINGS I HATE ABOUT YOU (PG-13) 93 minutes * * * Two sisters who are nothing alike... or are they? Bianca really wants to date, but her father says she can't until her older sister, who seems to hate boys, gets a boyfriend. Sibling rivalry, relationships... a slice of adolescent life. Nothing really extreme here, but solid performances from Julia Stiles and Larisa Oleynik carry this along quite nicely. It would've been nice if the songs in the soundtrack had been a bit less intrusive, but the characters are likeable and fun to watch. PG-13 for language.
10/31 (NR) 89 minutes * * A horror anthology film including shorts titled, "The Old Hag", "Tresspassers", "Killing the Dance", The Halloween Blizzard of '91", and "The Samhain Slasher". Very similar in style and tone to horror films of the late 1970s and early 1980s, these are fun horror stories that are both silly and scary. "The Old Hag" probably works the best, but they all have some good moments and great music.
10,000 BC (PG-13) 93 minutes * * 1/2 D'Leh (Steven Strait) leads a group of young warriors to rescue Evolet (Camilla Belle) when she is kidnapped by another tribe. Though not really a prehistoric "epic", it is a solid drama, with some romance and adventure too. Very nice work by Jacob Renton and Grayson Hunt Urwin in their debuts as the young D'Leh and Evolet. PG-13 for violence.
10,000 DAYS (NR) 87 minutes 1/2 After a comet crashes into Earth, the after effects leave two families in conflict, each trying to survive on a new, and now hostile planet. It's kind of a short film to have this happen, but there are far too many distracting subplots. There are some interesting ideas, and this probably sounded much better when it was presented on paper. The ending feels like a commercial break and leaves far too many questions unanswered, but that may have been a budget issue.
10 TO MIDNIGHT (R) 99 minutes * * ½ A killer is on the loose and rookie detective Paul McAnn (Andrew Stevens) is assigned to the case. Good thing for him that seasoned detective Leo Kessler (Charles Bronson) is assigned to the case as well. The plot has just enough twists to make it interesting and Bronson does well here, as do Gene Davis and Lisa Eilbacher. R for violence, language, and sex.
TENACIOUS D IN THE PICK OF DESTINY (R) 87 minutes * * 1/2 This is the story of the beginning of Tenacious D, the greatest rock band the world will ever see. Maybe. Funny, satirical look at rock music and rock bands, with Jack Black and Kyle Gass as Tenacious D. Not quite as genuine or surprising as "This is Spinal Tap", but still fun and the music isn't bad either. Several unbilled cameo appearances from actors and rock stars add to the fun. R for language and sex.
TENDER MERCIES (PG) 92 minutes * * * His career has been on a downhill slide for awhile, but when Mac Sledge (Robert Duvall) meets Rosa Lee (Tess Harper), life begins to have a purpose again. A very earthy, relaxed, and gentle film about life, its pleasures, miseries, and tender moments. An Oscar winning performance from Duvall, and Horton Foote’s script won as well. Filmed in Palmer and Waxahachie, Texas. PG for language.
10E (NR) 92 minutes 1/2 Like most any teenager, Tennie (Poema Oleas Mekhitarian) is struggling with friends and popularity. He dad is complicating matters by trying too hard to make up for the death of his wife. Tennie doesn't need a replacement for her mother as much as she just needs her dad to be a good dad. The story idea is cute amd funny. The script is anything but. It also doesn't help that so many of the cast are on their first film here. Their inexperience shows. And, of course, there's also the problem with Vahik Pirhamzei, who not only plays Tennie's father, but wrote, directed, and produced the film. It's just a little too much to handle well.
TENET (PG-13) 144 minutes * * World War III may begin soon if no one can figure out how to stop Andrei Sator (Kenneth Branagh). He seems to know what is happening before everyone else does. Sator has discovered the secret of time inversion. The Protagonist (John David Washington) is being trained on how to navigate this strange, inverted world in an effort to stop him. There are some fun effects here, but nothing all that spectacular. And the story, as with most any that deal with the manipulation of time streams, falls apart easily when critiqued. Still, it's a relatively fun ride and does end well. Branagh overplays his part again, but the rest of the cast balance it out, and the sound effects and soundtrack are good. PG-13 for violence and language.
TENNESSEE (R) 96 minutes * * * Carter (Adam Rothenberg) and Ellis (Ethan Peck) are on their way to Tennessee to find their father, who may be able to help. Along the way, they meet Krystal (Mariah Carey), who agrees to help them. She has a journey of her own. And as with so many journeys, the destination is often less important than what happens along the way. Nice work by Carey, but it's Russell Schaumburg's debut script that really makes this work. R for language.
TENT CITY U.S.A. (NR) 85 minutes * * * Many of the homeless of Nashville, Tennessee live in Tent City. It's not where they're supposed to be, but they don't have anywhere else to go, and the city doesn't appear to be interested in helping. The homeless population in Nashville is 30% higher than anywhere else in the United States. This is their story. Looks a little "staged" at times, but covers the various aspects well.
10TH & WOLF (R) 103 minutes * 1/2 Facing punishment for disobeying military orders, Tommy (James Marsden) is given a way out if he returns home and helps the FBI on a drug case. In return, he'll not only avoid punishment, but protect his brother and cousin from drug charges. Once home, old friends and the violence of the streets prove to be just as tough and confusing as the military. There's an impressive cast here, including Dennis Hopper, Drian Dennehy, Giovanni Ribisi, Brad Renfro, and Piper Perabo. Unfortunately, Most of them don't get much screen time, and Ribisi takes over the screen whenever he has a chance. It fits the character, but we don't see the response we need to from the rest of the cast. It leaves the story with a rather empty feeling. R for violence, language, and sex.
THE TENTH CIRCLE (NR) 88 minutes * * She's a nice girl from a nice family. At a party one night, Trixie's (Brittany Robertson) boyfriend goes too far and she accuses him of rape. But was it really rape? And when he's found dead in the river a little later, did he jump, or was he pushed? The script runs a little on the overly-emotional side, and is fairly predictable as well. Performances are fair, though not that interesting. Adapted from the novel by Jodi Picoult.
THE TENTH MAN (NR) 77 minutes * * 1/2 Ariel (Alan Sabbagh) is back in Buenos Aires to see his father. His father begins to send him on one errand after another as a way of reminding him about the traditions he abandoned as a child. It takes a bit for Ariel to catch on, but eventually he gets the point.
TEQUILA SUNRISE (R) 113 minutes * * 1/2 Mel Gibson and Raul Julia do nice work here, but the script, offering a story of a retired drug dealer and a young cop, doesn't really go anywhere after a very good first few minutes. It has the makings of something great, but finally flounders on a rocky script. It looks a little better on video than on the big screen, but it still has trouble. R for language and sex.
TERM LIFE (R) 88 minutes * * Nick (Vince Vaughn) is trying to do something nice for his daughter so she is provided for after his death, which seems to be lurking around every corner. But he needs to stay alive long enough for the policy to kick in. Nice cast, and the idea is good, but the script telegraphs vitrually every move, cutting off any tension that would have made this a stronger story. R for violence, language, and sex.
THE TERMINAL (PG-13) 121 minutes * * * A government coup in his home country while he's airborne on his way to the US leaves Viktor Navorski (Tom Hanks) without a country, a valid passport, or much in the way of civil rights. So, he lives at the airport, finding ways to eat, make friends, and contribute to the world, while hoping that something will work out so he can finish his visit to the US. While in some ways this is extremely silly and far-fetched, in other ways it is sentimental and touching. Hanks is the one who makes it work, though the supporting cast help at times as well. A little more contrived than "Cast Away", but a little more fun to watch. PG-13 for language.
TERMINAL (NR) 92 minutes * * * 1/2 It begins with a man (Simon Pegg) waiting in a train station for a train that isn't coming. After a cryptic conversation with a janitor (Mike Myers), he finds himself in a diner, sharing his story with a rather unusual waitress (Margot Robbie). Deliciously campy film noir. A marvelous cast, and the sets are fantastic. Along with the photography, they really create a very nice film noir atmosphere. This is another one of those films that tends to slip under the radar, but is a very fine piece of work.
TERMINAL BLISS (R) 86 minutes BOMB Luke Perry stars in this sad attempt at filmmaking. The longer it goes on, the worse the dialogue gets. The basic story is about two guys who love the same girl and how they all cheat on each other. Incredibly poor acting and an obviously low budget marked this for oblivion until Luke Perry's career took off on "Beverly Hills, 90210". It was released to the theaters five years after it was filmed.
TERMINAL VELOCITY (PG-13) 98 minutes * * Ditch (Charlie Sheen) is assisting a new jumper on her first parachute jump, but she doesn't pull her cord when she's supposed to. The mystery/intrigue aspect here ends up working out way too smoothly, but the stuntwork is great fun to watch. In fact, the stuntwork is the best part of the film, which is otherwise just a high-gloss piece with little to offer. PG-13 for violence and language.
THE TERMINATOR (R) 103 minutes * * 1/2 In a future where humans and machines are at war, a virtually indestructible android is sent to the past (our present) to kill the boy who will become a leader in that war. Another android (Arnold Schwarzenegger) has also been sent back to protect him. Packed with action, but not really all that much story, and what is there is not all that convincing near the end, but the music and special effects are just exciting enough to keep our interest. R for violence, language, and sex.
TERMINATOR: DARK FATE (R) 118 minutes * * 1/2 Dani (Natalia Reyes) has no idea how important she is to the fate of the world. When a REV-9 Terminator (Gabriel Luna) cmes after her, she'll begin to understand. Somebody very much wants her dead. With the help of Grace (Mackenzie Davis) and Carl (Arnold Schwarzenegger) and Sarah Connor (Linda Hamilton), she just might make it. It's nice to have another chapter in the story, but aside from the wonderful effects and action sequences, this doesn't offer much of a story. There are a few touches of humor for fans of the series, but the story is sadly lacking much in the way of depth. R for violence, language, and nudity.
TERMINATOR: GENISYS (PG-13) 118 minutes * * 1/2 Another chapter in the saga, with a great deal of time travel and twists of the story that wrap in on other parts. It definitley relies on the earlier films, with the elaborate movement between time streams and alternate possibilities a little confusing if you aren't very familiar with the other entries in the series. Very good special effects, and some fun bits of humor, mostly from J.K. Simmons or Schwarzenegger. PG-13 for violence, nudity, and language.
TERMINATOR: SALVATION (PG-13) 106 minutes * * 1/2 John Connor (Christian Bale) needs to find Kyle (Anton Yelchin) to send him back in time. If he isn't able to do this, the resistance, and John himself, will never exist. But he'll have to trust the very thing he is fighting if he is to succeed. Great special effects, and the action is well-paced. The story itself really isn't that interesting if you're familiar with the other Terminator films since it simply shows us some of the back story we already mostly know. PG-13 for violence and language.
TERMINATOR SALVATION: THE MACHINIMA SERIES (NR) 69 minutes * 1/2 Six short episodes with very poor animation tell the story of resistance fighter Blair Williams, voiced by Moon Bloodgood, as she tries to find out what is weakening their defense against Skynet. There are bits of animation that are nicely done, but the movement of the characters is stiff, and the mouths in particular are simply awful.
TERMINATOR 3: RISE OF THE MACHINES (R) 101 minutes * * 1/2 Introducing TX, the anti-terminator terminator! John Connor (Nick Stahl) learns that some aspects of the future cannot be prevented. All that he and his mother accomplished before was to postpone the inevitable. Arnold Schwarzenegger returns as the terminator who protects Connor and Kristanne Loken plays a mean TX! The stunt effects are amazing, though they do have a cartoonish aspect at times. A few extra story details are filled in for us, and this feels like it might be the end of the saga. Of course, time will tell... R for violence, language, and nudity.
TERMINATOR 2: JUDGEMENT DAY (R) 133 minutes * * * In 1984, the first terminator was sent to kill Sarah Connor, and it failed. Now it's 1991, and another one has been sent to kill her son. But this time, a terminator has also been sent to protect him. The action here is pretty much non-stop, and the special effects are just what you'd expect from the talented Stan Winston. Unfortunately, Edward Furlong doesn't do too well here, and there's so much emphasis on action that the story gets lost along the way a few times. Linda Hamilton and Arnold Schwarzenegger both do good work here, as does the evil terminator. R for violence and language.
TERMS AND CONDITIONS MAY APPLY (R) 77 minutes * * 1/2 Have you read the fine print every time you click the box? Most people don't. Some may find this documentary a little frightening, while others assumed this was happening anyway. The film does do a nice job of working from the point of thinking that privacy did exist at one time, and that it was protected. Showing how that has changed as the digital age has progressed. R for violence and language.
TERMS OF ENDEARMENT (R) 129 minutes * * * * The love stories of Aurora (Shirley MacLaine) and Emma (Debra Winger), two very different women who also just happen to be mother and daughter. Winner of five academy awards including best picture, director, and actress, though frankly, the entire cast is amazing. R for sex and language.
TERRAFERMA (R) 85 minutes * * 1/2 On this small island, fishing has always been a way of life. That life is changing. For one family, that change is pushed even more quickly by an encounter with illegal immigrants. Change often does not come easily, or without loss. Quiet little drama that is likely to be overlooked by most, but is worth a look. R for language and nudity.
TERRI (R) 101 minutes * * Terri (Jacob Wysocki) lives with his uncle, who needs a bit of caretaking. As for Terri, he doesn't care much about school anymore and has taken to wearing his pajamas to school. A coming-of-age story that definitely has its tender moments, though some are rather awkward as far as how they are written. It does offer the sage bit of wisdom that those we learn from are not perfect and will make mistakes... as will we. R for sex and language.
THE TERRIBLE TWO (NR) 80 minutes 1/2 One year after the death of their daughters, some very strange things begin to happen. It just might have something to do with the house that Albert (Reid Doyle) and Rose (Casi Moskow) bought. The production values are pretty much the only part of this that is any good. Perhaps that money should have been spent on acting lessons, a better script, and a better director.
TERRIBLY HAPPY (NR) 100 minutes * * * He's the new marshall in town, and the residents arent' too thrilled about it. Their way of justice is a bit different from what Hansen (Jakob Cedergren) is used to, but there are ways in which it makes sense. Still, by the time he understands, it's a bit late to make any changes. Unusual and very interesting, but does require a fair amount of thought while you're watching.
TERRIFIER (NR) 82 minutes * * On Halloween night (of course), a sadistic clown (that doesn't speak), goes on a killing spree. Good suspense and use of silence. The victims make all of the classic mistakes of a standard slasher/horror film. The acting isn't great, but that's actually fairly standard for slasher/horror films. Featuring David Howard Thornton as Art the clown.
TERRIFIER 2 (NR) 131 minutes * 1/2 Picking up exactly where the previous film left off, Art the clown (David Howard Thornton) continues to leave more bodies scattered around. Just as gory as the first, but at over two hours, it just goes on too long. The story also becomes more supernatural in tone as it tries to explain things.
TERROR IN THE AISLES (R) 75 minutes * Donald Pleasance and Nancy Allen host a brief look at horror, science fiction, and suspense films from the 1930s to the 1980s. This starts off well, but the second half just isn’t very engaging. It ends up being a far too shallow look at the film genres it covers, and teases us more than it treats us. R for violence, language, and sex.
TERROR TRAP (R) 74 minutes 1/2 The residents of a small town in the middle of nowhere traps those who pass through in order to kill them for sport. The beginning and ending of the film don't fit all that well with the rest of the film, not that we really care all that much. At least it isn't too long. R for violence, language, and nudity.
TESLA (PG-13) 96 minutes * * 1/2 A look at the life and inventions of Nikola Tesla (Ethan Hawke). There are numerous interactions and conflicts with Edison (Kyle MacLachlan) and Anne Morgan (Eve Hewson), daughter of J.P. Morgan. The film frequently breaks the fourth wall , to either offer editorial comment or condense parts of the story. The occasional foray into the modern world, like Edison using a cell phone and Tesla using a microphone, which are intentionally out of place, just don't work well. PG-13 for language and nudity.
TESLA, MASTER OF LIGHTNING (NR) 85 minutes * * 1/2 More than any other person, Telsa's visions and inventions have changed the world. More concerned about the ideas than the money that could be made from them, he died penniless/ But his ideas made many other people both rich and famous. Fascinating documentary that reveals just how many of his ideas aer still being used and how so many of them are the basis for waht is continuing to be developed and explored.
TESS OF THE D'URBERVILLES (2008) NR) 225 minutes * * * Lengthy BBC version of the classic Thomas Hardy novel. Nice work by Gemma Arterton in the lead role, and the supporting cast does a fine job as well. Originally presented in four segments, and it remains better if watched that way.
TEST PATTERN (NR) 79 minutes * * 1/2 When Evan (Will Brill) and Renesha (Brittany S. Hall) meet, they neither one expected a romantic relationship to happen. But it does. And it works. Until a girl's night out with a friend leads to a sexual assault. It changes everything. A well-told story with very good performances.
TESTAMENT OF YOUTH (PG-13) 124 minutes * * * World War I serves as the backdrop for Vera's (Alicia Vikander) coming of age. Based on the memoirs of Vera Brittain. Vikander leads the ensemble cast quite well. PG-13 for violence.
TETHERED (NR) 86 minutes * 1/2 While investigating the death of a John Doe, Samantha's (Caroline Harris) partner disappears. She's removed from the case, and of course is not part of the investigative team looking into her partner's disappearance. But she can't let it go. It's an intriguing, if overly complex story. The photography and script aren't very good, but it's still a movie that is worth a look if you have any interest in anomalies of time and space.
TETRO (R) 126 minutes * * * 1/2 Completely disengaged from his family, Tetro (Vincent Gallo) is more than a little frustrated when his younger brother Bennie (Alden Ehrenreich) shows up on his doorstep. Not only does seeing Bennie bring back bad memories, but he;s full of questions about their family and about why Tetro left. Director Francis Ford Coppola takes the time to really use light and shadow, taking advantage of the subtleties that black and white film can use in ways that color film can't. It's a wonderful piece of artistry, and an example of Coppola at his best. R for language and sex.
TEX (PG) 100 minutes * * ½ It would have been difficult enough to deal with the death of their mother, but Tex (Matt Dillon) and Mason (Jim Metzler) are also going to need to find a way to get through this without their father. A hard luck coming-of-age story, adapted from the novel by S.E. Hinton. The book was aimed at the teen crowd, but the film has less appeal for that age group. PG for language and violence.
TEXAS CHAINSAW (R) 87 minutes * * When Heather (Alexandra Daddario) finds out that her grandmother is dead, she also discovers that she was adopted. As she heads to Texas to claim the property that has been left to her, she'll also learn a few others bits of information about her family, including who still lives in the basement. This sequel to the original film is mostly concerned about the 3D effects, with plenty of in-your-face material. It does manage to stand on its own fairly well since it provides some backstory at the beginning. R for violence and language.
TEXAS CHAINSAW MASSACRE (2003) (R) 93 minutes * 1/2 It's very rare for a film to improve on the original. This is definitely no worse than the sequels to the original classic horror film, but it's not really any better either. Jessica Biel adds a little bit of strength as far as acting, but the "Blair witch" style opening and closing are just plain silly and add nothing to the film. R for violence and language.
TEXAS CHAINSAW MASSACRE: THE BEGINNING (R) 85 minutes * 1/2 Strange... the beginning seems much like the rest of the story... After a brief glimpse of the birth of leatherface and how he came to be at the house in 1939, we jump to 1969 and the first killings of the "family". Nothing really distinguishes them from any of the killings in the "first" film or from anything in the original series of TCM films. The final shot of leatherface shuffling down the middle of the road, chainsaw at his side, is a classic one, but getting there is nothing special. Too bad we couldn't explore the childhood of leatherface... R for violence and language.
THE TEXAS CHAINSAW MASSACRE 2 (R) 98 minutes ½ Featuring some very gross effects by special effects wizard Tom Savini, the story seems to have almost been an afterthought. Far less interesting or frightening as the first film, this one is just a showcase for gross effects.
TEXAS KILLING FIELDS (R) 98 minutes * * * Brian (Jeffrey Dean Morgan) has another unsolved murder on this hands. He's sure that they are tied together, but his partner doesn't want the trouble of figuring that part out, as most of the muders have occured in nearby districts that are out of their jurisdiction. Nicely paced, intense, multi-layered story with strong performances from Morgan, Sam Worthington, and Chloe Grace Moretz. R for violence and language.
TEXAS RANGERS (PG-13) 79 minutes * * The Texas Rangers had disbanded to fight for the Confederacy. After the war is over, they re-form at the direction of the Governor of Texas. He calls upon Leander McNelly (Dylan McDermott) to lead them as they work to stop King Fisher (Alfred Molina) and his bandits from stealing cattle and anything else he can lay his hands on. The dialogue isn't great, and the acting is mediocre. The cast is worth a look though, featuring James Van Der Beek, Rachel Leigh Cook, Usher, Ashton Kutcher, Tom Skerritt, Randy Travis, Robert Patrick, and Oded Fehr to name a few. PG-13 for violence.
TEXTUALITY (R) 86 minutes * 1/2 A relationship movie with text messages that pop up on the screen for us to read. Probably meant as an inventive method to be "contemporary". It's not annoying, but it doesn't really add anything either. The messages about honesty and committment in relationships are all things we've heard over and over. Released with the title "Sexting" in some markets. That might draw some attention, but its still the same film... R for sex and language.
THANK YOU FOR SMOKING (R) 87 minutes * * 1/2 Spin-doctor for big tobacco Nick Naylor (Aaron Eckhart) finds his skills put to the test when a senator bent on stamping out cigarettes comes after him. I'm not sure how much of Christopher Buckley's book that this was adapted from ended up getting cut, but far too much of what this film could have been, seems to have vanished into thin air. Eckhart does a nice job here, as does William H. Macy. Rob Lowe and Robert Duvall also deliver fine, though very brief, performances. Perhaps, since this is in many ways a jab at the influence the film industry has, someone wasn't willing to let this film slap us as hard as it should. Too bad. It could have been even funnier and more poignant as well. R for language and sex.
THANK YOU FOR YOUR SERVICE (R) 103 minutes * * * Adam (Miles Teller). Solo (Beulah Koale), and Billy (Joe Cole) return from Iraq and struggle to find a way to fit back into the lives they had before the war. Though serving side by side, their experiences, coping skills, and support systems are vastly different. They are all struggling just to hang on. Solid work by the cast. R for violence, language, and sex.
THANKS FOR SHARING (R) 107 minutes * * * The trials and tribulations of three men with sexual addictions and the people who care about them. It's a powerful story that reminds us not only the importance of taking one day at a time, but to understand that those individual days are more difficult for many people, but they do accumulate if you keep working at it. R for language and sex.
THANKSGIVING (R) 99 minutes * Another entry in that wonderful sub-genre of holiday horror. The story begins with a Black Friday sale gone horribly wrong. A year later, deaths are starting to happen again, only this time, there's a serial killer who is targeting individual people they have a grudge against for what happened that night. Gory effects and plenty of holes in the story. R for violence, language, and sex.
THARLO (NR) 121 minutes * * * Tharlo (Shide Nyima) is a Tibetan shepherd. He lives his life for the most part in isolation, tending to his sheep and little else. When he finds himself in need of an ID card, he must travel to the city, and everything changes. At turns humorous and heartbreaking as we watch Tharlo change, and wonder why he needs to.
THAT AWKWARD MOMENT (R) 90 minutes * * 1/2 Three friends whose lives are all about avoiding committment despite a growing awareness that it is what they each really want. The title refers to the moment when you hear that question about your relationship... So...? Very dialogue heavy, and the script tends to wander off track more than once. The ensemble cast does a nice job creating characters that we want to know more about. R for sex and language.
THAT DARN CAT (PG) 85 minutes 1/2 Absolutely pathetic remake of the 1965 Disney film. This time around, we have Christina Ricci, turning in her worst performance ever. The cat obviously hates her, which doesn't help matters. A HUGE waste of talent considering we have people here like Dyan Cannon, Doug E. Doug, Dean Jones Estelle Parsons, Peter Boyle, Michael McKean... Unbelievable that Disney would put out a piece of trash like this. PG for language.
THAT EVENING SUN (PG-13) 105 minutes * * Abner Meecham (Hal Holbrook) is few up with the retirement home he's been in, so he heads back to his old farm. The problem is that his son has rented the place to the son of an old enemy of Abner's. that's not gonig to stop him from trying to get it back though. Holbrook and Ray McKinnon (playing the enemy's son) are both fine here, though several of the supporting roles are rather weak. Adapted from the short story, "I Hate to See That Evening Sun Go Down" by William Gay, it's likely that these two are the focus of the story. Someone forgot that when you expand a short story into a feature film, you usually need to fill in more of the background. The ending of the film also leaves quite a few basic questions unanswered. PG-13 for language, violence, and sex.
THAT OLD FEELING (PG-13) 101 minutes * * 1/2 Molly doesn't want to invite her parents to the wedding because they always seem to get into a fight. This time, the sparks that fly are of a different color and surprise everyone with the direction they take. This is pleasant enough to watch, and mildly entertaining, but it leaves us with little to remember. Bette Midler and Dennis Farina are OK, but the best performance is actually from Danny Nucci, as the photographer who follows Midler around. PG-13 for language.
THAT THING YOU DO (PG) 102 minutes * * * Tom Hanks first effort at directing is tremendous fun! This really captures the excitement that was present in the music scene of the 50's and 60's. Tom Scott and Liv Tyler are the stand-outs among the actors, but it's the whole picture of the music scene and the general fun that really captures the audience and carries us along. PG for language.
THAT WAS THEN, THIS IS NOW (R) 99 minutes * Bryon (Craig Sheffer) and Mark (Emilio Estevez) are growing up and growing apart. The strain in their relationship is the focus of the story, but the rest of the film wanders around without much energy or effort. We never connect very well with either of the boys, and that leaves us not caring all that much about their troubles. Estevez adapted the screenplay from the novel by S.E. Hinton, but the book was much better.
THAT’S LIFE (PG-13) 100 minutes * ½ A story that splits its focus early on and never really recovers. Early on, we learn of Gillian’s (Julie Andrews) possible cancer and Harve’s (Jack Lemmon) struggle to deal with his age. Andrews’ performance is stronger and her character is written better and it should have been the focus of the film, with Harve’s serving as a minor subplot. It would have made the film much stronger.
THAT'S MY BOY (R) 110 minutes * * When Donny (Adam Sandler) gets his teacher pregnant, he becomes an overnight sensation. It's a few years later now, and the money has run out and he owes back taxes. The only one he can turn to is his estranged son. Andy Samberg is a fairly good counterpoint to Sandler, but Sandler's crude humor, which is actually integral to the character this time, grows tiresome very quickly. Perhaps of more interest are the cameos by Tony Orlando and Vanilla Ice. R for sex and langguage.
THAT'S WHAT I AM (PG) 97 minutes * * * Coming of age story about a young boy (Chase Ellison), who will learn a great deal this year at school. Paired with the school's most outcast student (Alexander Walters) for a class project by a teacher who will soon be the victim of a malicious rumor, Andy (Ellison) will also discover love. He will learn about integrity, honor, trust, respect, dignity, and how they can lift you up, or in their absence, destroy so much so quickly. He also learns that you just need to be what you are, and that "sometimes you just need someone to tell you that you can." Heavy on narration, but a great story with a wonderful ensemble cast. PG for language.
THE THAW (R) 87 minutes * 1/2 The effects of global warming uncover the carcass of a woolly mammoth. Dr. Kruipen (Val Kilmer) invites four students to join him on an exploratory mission. What they don't realize at first, is that a prehistoric parasite has also thawed out along with the mammoth, and it just might mean the end of humanity. Mediocre acting and an unsurprising story, though there are some good effects. R for violence, language, and sex.
THEEB (NR) 95 minutes * * * Theeb (Jacir Eid Al-Hwietat) is helping his brother serve as a guide for a British officer. But when things go terribly wrong, Theeb finds himself alone, and growing up very quickly. The story and characters fit each other well. They are simple and stark, yet strong and meaningful.
THEIR FINEST (R) 113 minutes * * * Catrin (Gemma Arterton) thought she was applying for a secretarial job. It turns out to be a job writing scripts for propaganda films. And then a much bigger opportunity comes along. Wonderful characters and a well-developed script, based on the novel, "Their Finest Hour and a Half" by Lissa Evans. R for language and sex.
THELMA (NR) 109 minutes * * 1/2 Thelma (Eili Harboe) has the rather unique ability to make things happen by thinking about them. This ability has been hidden from her by her parents and suppressed by years of religious teaching. But she's not going to let what happened to her grandmother happen to her. The story is very focused on what Thelma is feeling, which leaves some rather large holes for us to fill in on our own. It is also a story that is full of melancholy.
THELMA & LOUISE (R) 124 minutes * * * From the opening moment of this film, you can tell it's a Ridley Scott picture... a bleak and generally negative setting that is, for some strange reason, somewhat appealing. It's the story of two early-middle-aged women who take a vacation where things end up going wrong. As Hal (Harvey Kietel) says, "Brains will only get you so far, and luck always runs out." So what do you do? What direction wiil you take at the next crossroads in your life? What will you do if it doesn't work out well? Is there someone you can rely on to help you? There are some great songs here too, "The Ballad of Lucy Jordan" and "Part of Me, Part of You", with lyrics that are important for us to hear. Susan Sarandon and Geena Davis breathe life into two very memorable characters. R for language, violence, and sex.
THEM THAT FOLLOW (R) 93 minutes * * 1/2 Beliefs and traditions run deep in this small community in the heart of Appalachia. Dilly (Kaitlyn Dever) finally reaches a point where she realizes that she needs to make a change. That won't come easily, or without a heavy cost. Strong character development in a story that is dramatically tense. R for violence.
THEN CAME YOU (NR) 93 minutes * * * Calvin (Asa Butterfield) is a hypochondriac. Convinced that he has cancer, Calvin ends up in a support group where he meets Skye (Maisie Williams). She drafts him to help her complete her bucket list. It's going to change his life. Great cast in a sentimental drama.
THEN CAME YOU (2020) (PG-13) 91 minutes * * * Annabelle (Kathie Lee Gifford) loved her husband dearly. He's gone now, and she is travelling the world with his ashes. The plan is to visit the places they loved in the movies they saw together. But plans change. Romantic story with beautiful scenery. Along with Brett James, who composed the soundtrack, Gifford co-wrote all of the songs. PG-13 for sex and language.
THEN SHE FOUND ME (R) 92 minutes * * * 1/2 Life was going along just fine for April (Helen Hunt). Then her husband (Matt Broderick) leaves, her adoptive mother dies, and she gets a note from the biological mother she never knew (Bette Midler). It's just too much at once. And then there's Frank (Colin Firth), father of one of the children in her class. With his own set of problems, now just isn't the time for a relationship. Or is it? Life doesn't always work the way you think it will, or the way you want it to. Nicely written script, adapted from Elinor Lipman's novel, that asks us to think about what it is that we are willing to promise those who we say we love. R for language and sex.
THE THEORY OF EVERYTHING (PG-13) 117 minutes * * * 1/2 Based on the book of the same title by Jane Hawking (Felicity Jones), this is the story of the brilliant physicist, Stephen Hawking (Eddie Redmayne). The focus is on the relation ship between the two of them, but does a very nice job of covering much of both his personal and professional life. Redmayne earned a well-deserved Oscar for his skillful performance. PG-13 for language.
THEORY OF OBSCURITY (NR) 85 minutes * * * They are one of the most mysterious bands to ever exist. The Residents have released over sixty albums over the course of fifty years, but have kept their identities a complete secret. Their music is far from the mainstream, falling into the avant-garde category, but clearly has an audience. Their management company opens the doors to the archive of The Residents, giving us a glimpse into the history and the current direction of the band. A unique and unusual band. This offers a look at what it takes for a band to truly remain anonymous.
THERAPY FOR A VAMPIRE (NR) 85 minutes * * * Count Von Kozsnom (Tobias Moretti) has grown tired of his wife of some 500 years. His therapist recommends commissioning a portrait of her by his assistant, but when the Count meets the young painter's girlfriend, he only has eyes for her. Very dry humor in this fun and different sort of vampire story.
THERE BE DRAGONS (PG-13) 110 minutes * * 1/2 Returning to Spain to write about the founder of Opus Dei will uncover many secrets, though some still struggle to keep them. Trust and forgiveness are key here, though not easy to come by. The old age make-up here is not the best, and it's a little unclear why the filmmakers chose that route rather than just using different actors. The performances and the story are compelling enough to keep our interest, but not terribly strong. PG-13 for violence and language.
THERE THERE (NR) 91 minutes * 1/2 A series of vignettes dealing with various aspects of intimacy. It's very heavy on dialogue, so the idea of intimacy and the issues that come with it are dealt with more on a philosophical level. The stories are all good, but even though there is some minimal effort to tie them together, with a few of the characters appearing in more than one segment, they don't really fit together that well and the film feels very disconnected.
THERE WILL BE BLOOD (R) 151 minutes * * * Oscar winning performance by Daniel Day-Lewis as Daniel Plainview, an oil man with a talent for finding oil and for convincing people to invest in his projects. It's not a particularly pleasant story, adapted from the novel, "Oil" by Upton Sinclair, but the characters are large and almost come right off the screen. Plainview's slow deterioration is seen as the film progresses and Day-Lewis seems to descend almost into madness. Not particularly fun to watch, but a powerful performance. R for violence.
THERE'S SOMETHING ABOUT MARY (R) 112 minutes * 1/2 Silly comedy with lots of bathroom humor about a boy (Ben Stiller) infatuated with a girl (Cameron Diaz) and how they get together again later in life. Matt Dillon is wasted in a caricatured supporting role, and Chris Elliott and Brett Favre both need to go back to doing TV commercials. True, some audience members really seem to love this film, but I wasn't the only one who found only a few lines in the film to be amusing. Best when seen with lots of friends and little sleep. R for language.
THERE'S SOMETHING WRONG WITH AUNT DIANE (NR) 99 minutes * * 1/2 It was a terrible accident that left eight people dead. The preliminary report came back that alcohol and marijuana were involved. That made no sense to the family, who insisted that it must have been medically related. This investigative documentary takes a look at the case to see what can be learned and to try and find the truth, which may lie somewhere in the middle.
THERESE DESQUEYREUX (NR) 106 minutes * * * Adapted from Francois Mauriac's novel, this is the story of Therese (Audrey Tautou), a free spirit in the 1920s, who finds herself trapped in a marriage and a family that hold little meaning for her. Tautou is, of course, quite good, and the film is very elegant and beautiful, with wonderfully effective uses of light and shadow. The story drifts along with Therese at times, which fits with her character, but not with keeping an audience engaged.
THESE AMAZING SHADOWS (NR) 85 minutes * * * 1/2 The National Film Registry chooses twenty-five films each year to include on their list. These are films which are considered to be culturally significant, and the list includes a little bit of everything as it is not limited to feature-length films. The process of selection is facinating, and the preservation work that has been accomplished is astounding. So many of the films of the past are gone forever, and the work that the NFR does ensures that at least some of our film heritage, and thus a picture of who we were and are will continue to be preserved. A must see for those who love film as well as cultural history.
THESE FINAL HOURS (R) 81 minutes * * What would you do if you knew it was the last day that you and everyone else had to be alive? James (Nathan Phillips) makes his way to a party, but ends up saving a little girl (Angourie Rice) along the way. Now, he feels responsible for her, but it helps him evaluate what has been really important in his life, and perhaps what still is. It's a little too much for Phillips to carry this film, though Rice does quite well. R for violence, sex, and language.
THEY (PG-13) 83 minutes * Nice, very creepy start, playing with the taboo of bad things happening to children. The story revolves around the night terrors we have as children, claiming that they result from some sort of monsters that "mark" some of us and then return for us later. Far too many holes in the story undermine the night chills that are scattered throughout the film. The ending doesn't help matters, leaving us even more confused. It doesn't help matters that most of the scenes with the monsters are extremely dark, letting us see very little. PG-13 for violence and nudity.
THEY CALL IT MYANMAR (NR) 79 minutes * * * Burma is one of the most isolated countries in the world. Once a rich country, it is now one of the most poor, and under the control of a military regime. Though the reality is grim, there is hope for a future that is more peaceful and more open to the rest of the world.
THEY CALL ME BRUCE (PG) 83 minutes * ½ It’s not just his name, but Bruce (Johnny Yune) also resembles the legendary martial artist, Bruce Lee. As it turns, out, that’s not a good thing. Bruce keeps ending up in the wrong place at the wrong time. And since the wrong people are there as well, Bruce is in for a world of hurt. The idea might have worked with a funnier script and fight scenes that had better choreography, but since those aren’t here, we aren’t left with much. PG for language, violence, and sex.
THEY CAME TOGETHER (R) 77 minutes * * Joel (Paul Rudd) and Molly (Amy Poehler) are having dinner with friends when the conversation turns to how they met. Their story will take a little while to tell. It also tends to get more ridiculous as it goes along. Some very funny bits, but also a few very tasteless ones. R for language and sex.
THEY DON'T CAST SHADOWS (NR) 110 minutes * Her parents are far from supportive, but Lisa (Emily Gateley) is doing the best she can. A friend understands her struggles, and invites her to a church youth group meeting. Long story short, Lisa accepts Jesus and shortly after that starts to see both angels and demons. Now, what's happening in her home and in her city is starting to make sense to Lisa. The script and acting are both stiff and dry, but the story is paced well.
THEY LIVE (R) 90 minutes * 1/2 The aliens have taken over our planet and masquerade as humans. They, and the subliminal messages they are using to take over, can only be seen with the aid of some special glasses, which our hero stumbles across. Rowdy Roddy Piper's acting talents, or lack thereof, aside, this is pretty much the silly 1950's style, low-budget sci-fi film you might expect from the title. Fun, perhaps, quality filmmaking... definitely not. R for violence and language.
THEY REACH (NR) 82 minutes * * It was just an old tape player in a box of junk. Jessica (Mary Madaline Roe) soon realizes that there is something very disturbing about this particular tape player. It's about to send her, her friends, and perhaps even the whole town straight to Hell. Despite the intensity of the horror, this is really a kids' adventure film. Jessica, Cheddar (Eden Campbell), and Sam (Morgan Chandler) are the focal point of the film. The story strays from this a few times, and weakens when it does.
THEY SHALL NOT GROW OLD (R) 92 minutes * * * This documentary about World War I was released to commemorate the hundredth anniversary of the end of the war. Director Peter Jackson makes excellent use of never before seen footage, some of which has been colorized. It's a fascinating, first-hand look at the war that many people thought would be the only one of its kind. R for violence.
THICKER THAN WATER (NR) 85 minutes * * Sentimental story about Jess (Lindsay Wagner), a woman trying to protect the wild horses that are running on the land she leases while the owner is trying to get rid of them and lease the land to someone else. Mix in a couple of love stories, an orphan, and a sister that didn't know about, and there you are. No surprises, but pleasant enough to watch. No rating, but suitable for family viewing.
THE THIEF LORD (PG) 94 minutes * * Prosper and Bo run away from their evil aunt after their mother dies. When they meet Scipio, it seems that things will be alright. He's the thief lord, a young trickster and leader of a small group of orphans who are living in an old movie theater. But all is not as it seems, and when they go to steal a wing from a magical carousel, their adventure gets much more extreme than they ever thought possible. Adapted from the novel by Cornelia Funke, this is a nice adventure film for the younger set. Less intense than the Harry Potter films, but still a nice ride. PG for language.
THIEF OF HEARTS (R) 88 minutes * ½ In looking for a relationship better than the one she is already in, Mickey (Barbara Williams) meets Scott (Steven Bauer). He seems not only like a great guy, but a perfect fit for her. That might be because he has read her diaries and has a particular agenda to accomplish. The trouble is that we don’t really care. The characters here just don’t connect with us enough to get much sympathy or interest. The ending isn’t bad, but getting there is a bit of a chore.
THIN ICE (R) 90 minutes * * Not the most honest of insurance salesmen, Mickey (Greg Kinnear) is looking for a way to hit it big so he can go somewhere warmer than Wisconsin. He's found another easy mark, first it gets a bit more involved than he expected. Then it goes horribly wrong. Alan Arkin is delightful, but Kinnear never quite fits, getting more out of place as the story progresses. A quirky group of characters spin their magic around him and he's lost somewhere in the middle. We needed to see more confidence and assumption of control and more attempts to regain it as it slips away. R for language, violence, and sex.
A THIN LINE BETWEEN LOVE AND HATE (R) 103 minutes * 1/2 Martin Lawrence stretches himself too thin in this production, serving as director, executive producer, writer of the story and co-writer of the script, and co-music supervisor! He's a playboy with a mid-size budget who falls for a rich woman. It's turns into a "fatal attraction" but spins its wheels for awhile before getting there. A few good bits, but not much more.
THE THIN RED LINE (R) 162 minutes * * 1/2 Slow-moving film that attempts to be philosophical about the people and activities on Guadalcanal during World War II. The film is full of flashbacks, which give it a dreamlike quality. But that same approach also tends to lull us to sleep, though the occasional violent images jolt us back to awareness. In the final analysis, the film just never manages hit us on all fronts at once. There are some earnest performances, but we're left with disconnected images and little to help us piece them together. R for violence and language.
THE THING (R) 100 minutes * * ½ This remake of the 1951 classic goes back to the short story “Who Goes There?” by John W. Campbell Jr. and gives us an updated look at a shape-shifting alien and what happens at a scientific research base in Antarctica. The story is still a little thin, as it was in the earlier film, but the special effects are quite impressive. Rob Bottin’s skills are superb. R for violence and language.
THE THING (2011) (R) 91 minutes * * 1/2 Solid remake of the classic horror story. Similar in many ways to the John Carpenter film, though even more graphic and with a more depressing overall tone. R for violence and language.
THE THING ABOUT MY FOLKS (PG-13) 93 minutes * * 1/2 Sam (Peter Falk) and Muriel (Olympia Dukakis) have been married for 47 years. So he's at a loss when one day she just walks away. As he begins to talk with his son (Paul Reiser), they both begin to learn. About marriage, women, parenting, life, death... more than either thought possible, and yet they are only scratching the surface. Nice work from both Falk and Reiser, though the rest of the cast really don't have much to do for most of the film. It's a very good father and son relatinoship film, but falters a bit when dealing with other aspects of family relationships. PG-13 for language.
THE THING ABOUT PAM (NR) 246 minutes * * * When Betsy Faria was murdered, most everyone thought it was her husband who was guilty of the crime. No one thought Pam (Renee Zellweger) even had a motive, let alone could have possibly had anything to do with it. But that's the thing about Pam. She did have a motive. She actually had several motives, and a few other things to take care of. There's a dark humor to the story that Zellweger captures quite well in her performance.
THINGS ARE TOUGH ALL OVER (R) 86 minutes * ½ Cheech and Chong are hired to drive Cheech and Chong (playing two Arabs) across the country in a car with dirty money hidden inside. Not one of the comedy duos better films, having only a few chuckles here and there and a relatively boring story. Die-hard fans should see it, but the rest can stay away.
THINGS NEVER SAID (R) 109 minutes * * Kalindra (Shanola Hampton) is a spoken word artist on her way up, though struggling to find the support she needs. The performances here aren't bad, but the script doesn't give much depth to the characters, and tends to drag. The exceptions are the spoken word performances in the film, which are full of passion and intensity, but the rest of the film is missing those elements. R for language and sex.
THINGS TO COME (PG-13) 97 minutes * * * As a philosophy teacher, Nathalie's (Isabelle Huppert) own system of thought is about to be tested by several major changes in her life. Wonderful work by Huppert. Writer/director Mia Hansen-Love's script delivers a character whose flaws feel very real and who we find ourselves liking more and more as the film progresses. PG-13 for language.
THINGS WE LOST IN THE FIRE (R) 112 minutes * * * Shattered by the recent and unexpected death of her husband, Audrey (Halle Berry) find unexpected comfort in talking with her husband's best friend Jerry (Benicio Del Toro). But there is frustration and anger as well. Why does Jerry know so much about her husband that she never knew? Jerrry is struggling as well. The death of his friend is turning him back toward his heroin addiction. How can Audrey and Jerry help each other, and how do they know if they should? Del Toro delivers another gritty performance in this dramatic exploration of the strengths, limitations, and boundaries of friendship. Great performances by young Alexis Llewellyn and Micah Berry (not related to Halle)! R for language.
THINK LIKE A DOG (PG) 86 minutes * 1/2 His science experiment is supposed to let him read a simple thought from someone. Thanks to a connection to a powerful satellite, Oliver (Gabriel Bateman) is now telepathically connected to his dog. Of course there are some plot complications and a villain, but the focus of the story is on helping Oliver make sense of girls and get through middle school. That aspect of the film isn't bad, but there is no chemistry between Megan Fox and Josh Duhamel, who play Oliver's parents. PG for language.
THINK LIKE A MAN (PG-13) 116 minutes * * * 1/2 Men have been betrayed by one of their own! Now, their secrets are out, and it isn't going to be so easy to stay out of a committed relationship. Stellar cast, with Michael Ealy, Meagan Good, Regina Hall, Taraji P. Henson, Romany Malco, Gabrielle Union, Chris Brown and more, all doing a great job. Adapted from Steve Harvey's book, "Act Like a Lady, Think Like a Man". PG-13 for sex and language.
THINK LIKE A MAN TOO (PG-13) 100 minutes 1/2 The same group of friends are together again for a wedding in Las Vegas, with the usual mishaps. It's unfortunate that Kevin Hart had to be included here, because he's far more obnoxious than funny, and it tends to ruin every scene he's in, which is most of the film. Not that the script gives the rest of the talented cast much to work with. PG-13 for language and nudity.
THINNER (R) 88 minutes * Aside from the fact that this does manages to follow the book pretty well, this is far from one of the better adaptations of a Stephen King story. Most of the problem is that it's just too drawn out. The story is an old EC comics style morality tale that would play much better in a 30-60 minute time frame. Michael Constantine and Joe Mantegna are wasted and King makes his obligatory appearance as Mr. Bangor for a few seconds in the film. R for language and violence.
THIRD PERSON (R) 131 minutes * * Rome, Paris, and New York provide the settings for three love stories. They are interesting, but the connection between them takes so long to materialize that we tire of the movement between them. The ending desperately tries to have a deep and powerful meaning, but feels far more like a gimmick that has just cheated us out of a better ending. The cast is wonderful, but deserves a better set of stories than this. R for language and sex.
THIRD STAR (NR) 87 minutes * * * His cancer is only getting worse. James (Benedict Cumberbatch) plans a trip with his three best friends to beautiful Barafundle Bay in Wales. It will be an adventure full of laughter and tears. Nice work by the cast. While the more emotional shift toward the end is not unexpected, it is played very well.
THIRST (2009) (R) 130 minutes * * * It's an accident, but the outcome is impossible to ignore. Sang-hyeon (Kang-ho Song) volunteers for a medical experiment, and through a blood transfusion ends up becoming a vampire. He doesn't really like what he's become, but he finds ways to get the blood he needs that don't involve killing. Love can complicate matters though, and Tae-ju (Ok-bin Kim) has some other ideas about how vampires should feed. Inspired by Emile Zola's book "Therese Raquin". R for violence, sex, and language.
THIRSTY (NR) 92 minutes * * For Scott (Scott Townsend), gender has always been a rather elusive thing. He eventually becomes a talented and respected drag queen. But that success comes at a very personal price. Based on the life of Thirsty Burlington (aka Scott Townsend). Not paced very well, which hurts some of the power of the story.
THIRTEEN (R) 95 minutes * * * When Tracy (Evan Rachel Wood) looks for a way to fit in, she hooks up with Evie (Nikki Reed). Things quickly spiral out of control as shoplifting and theft become drug use and cutting. Tracy, once a model student, is now on the other side of life in middle school. Wood is terrific here, and Reed makes a stellar debut as she plays her own best friend in a story she co-scripted from her own life at the age of thirteen. It's an unflinching look at a sometimes terrifying part of adolesence and parenting. R for language and violence.
13 (2010) (R) 81 minutes * * 1/2 Vince (Sam Riley) just happens to hear about a way he can make a great deal of money. The first part isn't so hard. He just has to pretend to be someone else. The next part is a bit more dangerous. The story is both brief and thin, though it does manage to create a fair amount of tension once Vince steps into the "ring", so to speak. Based on the film "13 Tzameti", and directed by the same person (Gela Babluani). This version features a cast better known to people in the US, with Jason Statham, Mickey Rourke, Vince D'Onofrio, and Ray Winstone. R for violence and language.
13 ASSASSINS (R) 121 minutes * * 1/2 Lots of violent swordplay in this story of a shogun's son who aspires to the shogun council. His violent style and lack of morality lead to the formation of a group of thirteen assassins who will stop at nothing to keep him from reaching his goal. If they fail, the council will never be the same again. Ends well, but getting there is a bit tedious, especially early on. R for violence and nudity.
13 CONVERSATIONS ABOUT ONE THING (R) 104 minutes * * * Interwoven stories of five New Yorkers tell us tales of life and choices, happiness and loss, fate and luck. The stellar cast does a wonderful job, though the script is a bit wordy at times. Some of the stories are woven together a bit more tightly than others, but this still manages to be both entertaining and thought provoking... not an easy task. Starring Alan Arkin, Matthew McConaughey, Clea Duvall, John Turturro, and Amy Irving, rated R for language.
THIRTEEN DAYS (PG-13) 140 minutes * * * Impressive historical dramatization of the Cuban Missile Crisis and how close we came to having something far more disastrous occur. Kevin Costner plays the part of Kenny O'Donnell, special assistant to the president, and it is mostly from his perspective that we watch events transpire. Costner delivers his standard performance, but it plays well alongside Bruce Greenwood's portrayal of John F. Kennedy. The accents are a bit awkward in a few scenes, and the film could have used a bit of trimming, but it does a good job of holding our interest, which is more than can be said for most film of this length. PG-13 for language.
13 DEMONS (NR) 71 minutes 1/2 Players of the game "13 Demons" are getting carried away and actually killing people who they think are demons. There is some interesting material here, but too much of the film just turns into a shouting match, and the ending of the film is inconclusive at best.
13 FANBOY (NR) 97 minutes * * Everyone always says that "it's just a movie". But one particular fan is taking it a little too far. He's stalking and killing the actors from all of the slasher horror films he likes. Fun to see so many different horror film actors from different films all together here. The story loses steam quickly though and the ending is more than a little disappointing.
THIR13EN GHOSTS (R) 86 minutes 1/2 Bearing little resemblence to the 1960 film which covers the same story, the highlight here is the house itself. Some special effects are wonderfully gruesome, while others are rather amateurish. The story does get more interesting toward the end, but it's a little late to tease us with something interesting at that point. And then the house explodes? That seems to be little more than a desire to show off some special effects when the story clearly cried out for something more sinister to be lying just around the corner. R for violence, language, and nudity.
13 GOING ON 30 (PG-13) 92 minutes * * 1/2 Nothing seems to be gonig well for Jenna. It's her 13th biorthday and she just wants to be 30, beautiful, and popular. Suddenly, the next 17 years have flown by and she has no memory of it. Jennifer Garner does a very nice job here, though the story never really tries to make much of a serious statement. The ending is cute, but it's Garner's energy and enthusiasm that make this work far better than the script merits. PG-13 for language.
13 GRAVES (NR) 79 minutes * 1/2 It was supposed to be an easy task. Bury a body in the woods. But something else is in these woods. There's some great atmosphere here thanks to the cinematography and sound, but the story is thin, and the acting is mediocre at best. It keeps looking promising, and then people start talking.
13 HOURS: THE SECRET SOLDIERS OF BENGHAZI (R) 138 minutes * * * 1/2 The story of the attack on the U.S. outpost in Benghazi, Libya. Director Michael Bay has a talent for delivering intense action stories, and this is no exception. The speed with which the story unfolds and the action takes place is almost frightening. Accurate information is important, and when things happen this fast, that is nearly impossible. Even a moment's hesitation can make the difference between safety and tragedy. The story does a very nice job riding the line between criticism and patriotism. R for violence and language.
13 MINUTES (R) 107 minutes * * * Captured after his attempt to assasinate Hitler fails, Georg Elser (Christian Friedel) thinks back on what led him to take such drastic action. The story is told mostly in flashback, with brief moments in the present, until the end. The flow of the story is a little uneven, but it ends very well, and Friedel gives a convincing performance. R for violence and sex.
13/13/13 (NR) 81 minutes 1/2 Since the current calendar system has ignored the Mayan way of understanding dates, it is actually now 13/13/13. And of course that means something bad is about to happen. Those who were born in leap years are lucky enough to be unaffected. A sort of pseudo-zombie film as most people become crazed killers.
13 TZAMETI (NR) 90 minutes * * * 1/2 Stunning feature film debut for writer/director/producer Gela Babluani with an excellent debut performance by his younger brother Georges in the lead role. Sebastien (Babluani) is working on a house when he stumbles onto a way to make alot of money. He doesn't really know what will be involved, but decides to take the risk anyway. The film moves deftly from drama to complex suspense, as Sebastien becomes a player in a larger game, where he becomes a number... 13. A powerful and memorable piece of work.
THE THIRTEENTH FLOOR (R) 96 minutes * * 1/2 Can computer generated simulations have consciousness? That's the question posed here as the characters in a simulation begin to notice things about their world. The idea is handled well as far as keeping us interested, though the film shies away from having much in the way of action, relying instead on a great deal of dialogue. It makes for a very thought provoking film, although not one that you'll find particularly exciting. R for violence.
THE 13TH FRIDAY (NR) 93 minutes BOMB An interesting location and a brief backstory do not make a movie, though apparently that was the thought here. The script, acting, and direction are awful. There are a few sound effects that aren;t bad, but they aren't enough to rescue this travesty.
THE 13TH UNIT (NR) 81 minutes * Storage unit facilities can sometimes be creepy places. This particular one is underground and is also home to a supernatural creature. These seven strangers who are about to meet are going to wish they had stored their possessions somewhere else. Mostly in the dark as far as the scary sequences, and most of the suspense is created by the music and sound effects rather than anything in the story... which is kind of boring.
THE 13TH WARRIOR (R) 98 minutes * * An unspeakable, unnameable evil is causing trouble and thirteen warriors must go to try and defeat it. Twelve Northmen and one Arab (Antonio Banderas) will test their mettle against those who come with the mist and eat the flesh of the dead. There are a few rather intense battle scenes here, but the story has been stripped down to the bare essentials. Jerry Goldsmith's music helps keep us interested, but it's too straightforward to be very engaging. Adapted from Michael Crichton's book, "Eaters of the Dead". R for violence.
30 DAYS OF NIGHT (R) 107 minutes * * 1/2 With no light for 30 days, most everyone leaves Barrow, Alaska. Some people choose to stay, and a few other creatures are going to be in town for the month as well. Based on the comic book, this story of vampires in the cold, dark north, definitely has a slick look and some very nice effects. There are more than a few lapses in story logic, and the film gives us enough time to think about them, which is unfortunate. There are some sequences that are fairly suspenseful, but a shorter film with better editing would have made this even more impressive. R for violence and language.
30 DAYS OF NIGHT: DARK DAYS (R) 89 minutes * * Her lectures about what happened in Barrow, Alaska don't usually generate much interest. But after the most recent one, Stella (Kiele Sanchez) meets a small group of vampire hunters, as well as an agent from the FBI. The hunters are after Lilith (Mia Kirshner) and want Stella to help. This sequel tries to fill some of the story gaps from the first (as many sequels do), and has some success with that, but suffers (again, as many sequels do) from a story that tends to drag because of those explanations. R for violence, language, and sex.
35 & TICKING (R) 104 minutes * * Four friends who are trying to find love and have families before it's "too late". Light drama with some occassional moments of humor. The script gets a bit heavy-handed at times, trying to be more serious than really works well with the humor that's here. R for sex and language.
35 SHOTS OF RUM (NR) 98 minutes * * 1/2 Lionel (Alex Descas) is struggling with the impending departure of his daughter. He knows that she has grown up and that it's time for her to be on her own, but change is often not an easy process. Still, it will come, and Lionel must find a way to adapt while Jo (Mati Diop) begins a life on her own. A quiet film about relationships and change, though the characters seem a bit disconnected at times.
30 MINUTES OR LESS (R) 78 minutes * 1/2 Dwayne (Danny McBride) wants to get rid of his father. He's tired of putting up with him and wants the money he'll inherit. But he needs $100,000 to pay the hitman. He and his friend decide to kidnap a pizza delivery boy, strap a bomb to him, and get him to rob a bank for them. Despite trying really hard to be funny, this just never quite gets there, though the action scenes aren't bad. R for language, nudity, and violence.
31 (R) 99 minutes * 1/2 The point of the game is to survive for twelve hours in a violent circus. It doesn't really make much sense, but writer/producer/director Rob Zombie doesn't really need much of an excuse to serve up some excessive gore. There is some potential here, but not enough of it is realized. R for violence, language, and sex.
37 (NR) 79 minutes * * 1/2 An interesting and unusual look at the lives of the 37 people who witnessed the murder of Kitty Genovese in 1964. Focusing almost exclusively on the witnesses and showing us what kind of people they were. It offers no explanations or excuses, but reminds us that they were ordinary people like us. People who saw something horrible, and chose to do nothing about it except look the other direction.
37 DAYS (NR) 170 minutes * * 1/2 Dramatic account of the events leading up to World War I. While well-acted, it is a rather dry accounting of the events that focuses on the political shifts, bargains, and miscalculations that resulted in the war. The ending is haunting and very well done, but not everyone will make it that far.
36TH PRECINCT (NR) 106 minutes * * * Leo's (Daniel Auteuil) police tactics are more than a little unorthodox, and he works closely with quite a few people on the wrong side of the law. He's trying to nail the "van gang" that's been pulling off big heists and killing people along the way. Klein (Gerard Depardieu) wants to get them too, and his methods are even more questionable. Wonderful ensemble cast and a great police/thriller story.
THE 33 (PG-13) 121 minutes * * 1/2 The story of the Chilean gold and copper mine that collapsed and trapped 33 miners for 69 days. The focus is kept on the miners and their experience with a little bit of what their families went through while they waited. There is surprisingly little tension though, which might have increased with more information about the delays in getting the rescue accomplished more quickly. Adapted from the book, Deep Down Dark by Hector Tobar. PG-13 for violence and language.
3022 (R) 88 minutes * * Europa One is a settlement on Jupiter's third moon where humans are now living. Pangea is the fueling station between Earth and Europa One. Five years into their ten year mission to staff Pangea, something happens to Earth. Something catastrophic. The story focuses on what happens when hope seems lost and you are isolated. What is missing is the alternate hope that is presenton Europa One. It's unclear why this is almost completely left out of the discussion between the characters. What's here is good, but missing that piece, the story is very incomplete. R for language and violence.
THIS BEAUTIFUL FANTASTIC (PG) 89 minutes * * * 1/2 Bella (Jessica Brown Findley) has led an unusual life. She currently works in a library, but dreams of writing books for children. She also has a garden that is completely out of control due to her fear and loathing of plants. That's all about to change. A charming and imaginative story of possibilities. Great work by writer/director Simon Aboud, brought to life by an amazingensemble cast. PG for language.
THIS CHRISTMAS (PG-13) 110 minutes * * 1/2 Almost everyone has a secret or two, but this Christmas, the secrets that each member of the Whitfield family has are about to be uncovered. Good drama sprinkled with bits of humor, but the story does drag on for a little too long, especially considering that there isn't anything really new here. PG-13 for language, sex, and violence.
THIS FILM IS NOT YET RATED (NR) 95 minutes * * * You know about the film rating system (G, PG, PG-13, R, & NC-17), and you may know what those ratings tend to mean. But do you know who rates them? Neither did anyone else before this film was made! This documentary expose of the Motion Picture Association of America's system of rating films goes undercover to discover the identity of the members as well as the identity of the appeals board members. It's a fascinating look at a system that says it works in the interest of parents and the American public in general. But how can that be the case when there's so much secrecy involved in the process? Is it censorship? You be the judge! Not rated because it shows clips from various films to illustrate various points. These clips often contain sex, violence, and/or language that would have made the film NC-17... or was it because they were used to illustrate inconsistencies in the system...?
THIS HITS HOME (NR) 75 minutes * * 1/2 CTE. Chronic Traumatic Encephalopathy. This documentary explores the condition as it intersects with domestic violence. The reach of domestic violence is far greater than most of us realize, and the impact of the violence often expresses itself as CTE due to the head trauma that is often experienced.
THIS IS ENGLAND (NR) 100 minutes * * * Shaun (Thomas Turgoose) recently lost his father and is having a hard time at school. But he's found a new group of friends in the local skinheads. When one of their old mates gets out of prison, the group dynamics change and become a bit more violent. We see this all through Shaun's eyes, so there's a mixture of understanding and questioning. Though bawdy and violent at times, this is essentially a gentle film about a young boy coming of age in England, coming to terms with his life and what direction he will take. Sensitive and solid performances throughout. Filmed in Nottingham and Grmsby.
THIS IS 40 (R) 132 minutes * * 1/2 About to turn 40, Pete (Paul Rudd) and Debbie (Leslie Mann) are struggling with just about everything in their lives. Children, work, finances, romance... it's all in a shambles. the script is uneven, and divided into sections. Early on, it plays like a never-ending standup comedy routine, then it turns very sour and negative, and finally, there's a nice resolution at the end that leaves the story on a more positive note. This clearly would have benefited from some trimming as it runs quite long. R for sex and language.
THIS IS NOT A FILM (NR) 77 minutes * * 1/2 Film director Jafar Panahi is under house arrest, and looking at a possible prison term and a 20-year ban on making films. To document his situation, he makes a film with the aid of an iPhone and has it smuggled out of the coutry inside a cake. It's interesting for what it is, but there are ways in which the title is true. There isn't much in the way of direction or flow to the film, but there is still power in what the footage shows us.
THIS IS SPINAL TAP (R) 74 minutes * * * First appearing as a comedy sketch on the television show, “The TV Show”, Spinal Tap was the brain child of Rob Reiner and Michael McKean. That was 1979. Fast-forward five years, and they decide to do a rock music documentary about the band. It became a cult classic and resulted in the “band” recording not only the soundtrack to the film, but two more releases to satisfy the fans. A must-see for fans of rock music, or at least the ones who are willing to have fun with this parody of rock music and the bands who create and perform it. R for language and violence.
THIS IS THE END (R) 101 minutes * 1/2 Jay Baruchel comes to Los Angeles to spend some time with his friend Seth Rogen. They decide to go to a party at James Franco's, even though Baruchel isn't too keen on it. Once there, the world goes crazy. Aliens, earthquakes, sinkholes, riots... it just might be the end of the world. Funny at times, though most of the jokes are Hollywood in-jokes, and often decidedly rude, though that's not really a surprise with Rogen and Baruchel. A number of bit parts and cameos that are interesting, but the story tends to spin out of control. R for sex, language, and violence.
THIS IS WHERE I LEAVE YOU (R) 100 minutes * * * 1/2 Judd (Jason Bateman) is home again, with all of his dysfunctional siblings, dealing with the death of his father and the end of his marriage. But it seems everyone is struggling with other issues as well. The love they all share is evident, but so is their inability to maintain positive and healthy relationships. Very nice enseemble cast that is very balanced, and the script gives them plenty of material to work with. R for langauge and sex.
THIS LAST LONELY PLACE (NR) 87 minutes * * * Tomorrow, he was going to be leaving for Hawaii, but sometimes plans change. Sam (Rhys Coiro) oicks up one last fare for the night... and finds himself emboiled in a mysterious and sinister plot. This starts a little slow, but builds nicely, and includes a couple of plots twists that work very well.
THIS MEANS WAR (PG-1) 92 minutes * * When Tuck (Tom Hardy) and Frank (Chris Pine) find out that they're dating the same woman (Reese Witherspoon), the gloves come off and the "best" man is going to try to win. Highly predictable and not all that humorous early on, though the comedy does kick in after awhile. Hardy, Pine, and Witherspoon make this very watchable, but it's forgettable fluff even if we don't mind watching. PG-13 for sex.
THIS MAGIC MOMENT (NR) 101 minutes * * 1/2 They were a new franchise, and there was a good deal of excitement around the idea of the Orlando Magic basketball team. They began as many new sports franchises, with a mediocre to poor record. And then they signed a new player. Shaquille O'Neal. Followed soon after by Penny Hardaway. It changed the franchise, but all good things must come to an end. The ride to the top was one for the history books. Part of ESPN's "30 for 30" series.
THIS MUST BE THE PLACE (R) 109 minutes * * * Cheyenne (Sean Penn) tries to reconcile with his father before the chance is gone, but arrives in New York too late. But he learns that the man who persecuted his father in World War II is still alive, and decides to try and balance the scales in a different way. An unusual, fragile, and sensitive performance by Penn that gives us yet another look at his versatility as an actor. R for language and sex.
THIS OLD CUB (NR) 88 minutes * * Chicago Cubs fans will enjoy this look at the life of Ron Santo, legendary third base player. There is a nice balance of baseball lore, and personal info as the film looks both at Santo's career and at his struggle with diabetes. The production quality is far less than desirable though, with the film shot on a home video camera mostly by Ron's son Jeff, who also co-wrote, co-produced, and directed the film.
THIS OLD MACHINE (NR) 81 minuntes 1/2 Vint (Justin Geer) and Kay (Sylvia Jefferies) take a road trip to work on their marriage. But before they get very far, Vint finds himself waking up from a coma with his wife missing. Now, he and his sister-in-law are trying to figure out exactly what happened, and where Kay is. It's an interesting story, but the poor pacing doesn't help. The performances aren't great, but the direction and editing are bigger problems. Written, directed, produced, and edited by Brad Garris.
THIS WAS THE XFL (NR) 77 minutes * * * You can't talk about the XFL and not talk about Vince McMahon and Dick Ebersol. They were both incredibly successful at their jobs. When the NFL went after money and left NBC, where Ebersol was president of NBC Sports, he knew he had to replace it with something big. That something was the XFL. The difference between the hype and the execution ended up being just too large. Very nice history that is not only willing to point out the problems, but note the successes and the influence this unique flavor of football had on the sport in general.
THIS WORLD WON'T BREAK (NR) 146 minutes * * * Wes Milligan (Greg Schroeder) plays the blues. He's good, but being good doesn't get a recording contract, or even earn you very much money. Wes has been trying for so long that most of his hope is gone. A slice of a life that is both tragic and hopeful, with great work by the cast.
THE THOMAS CROWN AFFAIR (1999)(R) 106 minutes * * It's a cat and mouse game as a rich financier and fan of the arts steals a painting and has an insurance company investigator who is determined to catch him. Pierce Brosnan and Rene Russo are both far too two-dimensional here, though Russo does seem to be trying. The script follows the old film too much and tries to recapture the original, which it just never succeeds at doing. Bill Conti's score adds a touch of class, but it can't make up for the rest of the problems here. Filmed in part in Martinique. R for sex.
THOR (PG-13) 105 minutes * * 1/2 The warriors of Asgard defeated the frost giants, and they continue to bring peace throughout the universe. But when their borders are breached, Thor defies his father, and leaves with his friends to find out how it happened. An impressive cast, though Chris Hemsworth is clearly the lightweight here. The story relies heavily on the special effects, which are quite good, but can't make up for a less than wonderful story. Yet another in the Avengers series of films, all of which are tied together with a very brief postscript during the credits. PG-13 for violence.
THOR: LEGEND OF THE MAGICAL HAMMER (PG) 79 minutes 1/2 Ridiculous and nonsensical attempt at a children's version of the legend. There's very little here to do with the real legend or even the Marvel Comics stories, though it's clearly an attempt to cash in on the current popularity of the character. PG for violence and language.
THOR: LOVE AND THUNDER (PG-13) 111 minutes * * * Gorr, the God Butcher (Christian Bale) is living up to his name. Asgard is next on his list, but Thor (Chris Hemsworth) may have something to say about that. Enlisting the help of a few friends, including his one-time girlfriend Jane (Natalie Portman) who currently weilds his powerful hammer, he intends to defeat Gorr. Solid story, and while watching other Thor films could help you understand this a little better, it stands on its own quite well. PG-13 for violence, language, and nudity.
THOR: RAGNAROK (PG-13) 121 minutes * * 1/2 Ragnarok is about to occur, thanks in no small part to Hela (Cate Blanchett), who is more than happy to set about destrying Asgard. Thor (Chris Hemsworth) is going to have to try and stop her, along with a little help from Loki (Tom Hiddleston) and Hulk (Mark Ruffalo). There's lots of story here, but even so, it helps if you're already familiar with the other Marvel films that preceeded this and some of the Thor and Hulk comics as well. The humor gets a little too silly, but otherwise, this is a nice entry in the Marvel series. PG-13 for violence and language.
THOR: TALES OF ASGARD (NR) 69 minutes * * To capitalize on and also promote the live action Thor movie that was released just a couple of weeks before this one, Marvel released this animated feature on video. This is the beginning of the story, with Thor going on his first adventure outside of his father's kingdom. He has a knack for causing more trouble than he intends to. The animation is not particularly good, and its interesting that the language and accents here don't even bother trying to resemble what the comic book presents.
THOR: THE DARK WORLD (PG-13) 102 minutes * * * Thor (Chris Hemsworth) has to come to Jane’s (Natalie Portman) rescue after she is cursed. At the same time, he must protect the object she’s been cursed with so that it doesn’t fall into the wrong hands and destroy Earth. Nicely written story, with a strong mix of adventure, passion, humor, and intrigue. And, of course, it doesn’t hurt to have such a talented cast either. PG-13 for violence.
THOROUGHBREDS (R) 87 minutes * * 1/2 Childhood friends, Amanda (Olivia Cooke) and Lily (Anya Taylor-Joy) had grown apart. When they reconnect, they learn some very interesting things about each other. Not the least of which is that they are both disconnected from their emotions, though in slightly different ways. It doesn't take long for them to decide that they need to get rid of Lily's step-father. Creepy story, but the lack of emotion from the characters tends to disconnect us as well. R for violence and language.
THOSE WHO WALK AWAY (NR) 92 minutes * 1/2 It was just supposed to be a fun first date. Avery (Scarlett Sperduto) has some particular ideas about how things are going to go. And it's not what Max (Booboo Stewart) had in mind at all. There is some spooky and creepy material here, but the story is very much lacking. The film sets the mood well, it just never really delivers.
THOSE WHO WISH ME DEAD (R) 94 minutes * * * His dad did the right thing, but it means that some very powerful people want the information he has to disappear. And they will kill to get it. Connor (Finn Little) gets caught up in the hunt and is on the run from the killers. If that wasn't bad enough, there's a forest fire to run from too. Angelina Jolie is Hannah, a forest service firefighter, and Connor's only real hope to survive. Some very nice fire effects and intense chase scenes, though nothing very surprising. Adapted from the book by Michael Koryta. R for violence and language.
THOUGH NONE GO WITH ME (NR) 97 minutes * * Adapted from Jerry B. Jenkins' book, this is the story of a woman whose life is filled with loss, yet she manages to find the strength to go on. She recounts much of her life journey to her granddaughter, though we wonder why the girl hasn't already heard it all before. Sentimental and predictable, with mediocre performances and poor makeup. The story holds us enough to keep our attention, but a stronger cast would have helped a great deal. Not rated, but suitable for family viewing.
A THOUSAND ACRES (R) 101 minutes * * * Jason Robards is Larry Cook, a respected farmer who has decided to retire and give his farm to his three daughters. But as he realizes that he doesn't want to give up the farm, the older two daughters begin to face memories of a past that has shaped the now disintegrating relationship between them and their father. The story here is very strong in spots, but the granddaughters and neighborly Jess Clark (Colin Firth) are weak characters and the story gets muddled in a few spots. Still, Michelle Pfeiffer and Jessica Lange give us solid performances that are well worth watching. R for language.
A THOUSAND AND ONE (R) 111 minutes * * 1/2 Out on her own again, Inez (Teyana Taylor) kidnaps her son from foster care. Can she provide enough stability to oraise a child? And how long can it last? Slow-paced drama, heavy on dialogue. It's a good story, but better editing to tighten it up would have been helpful. R for language.
THE THOUSAND FACES OF DUNJIA (NR) 195 minutes * * * Aliens are invading, and it's up to an elite group of warriors to protect the world. Tsui Hark's imagination is on full display in this fantastic and fun adventure film. Nominated for visual effects by both the Asian Film Awards and the Hong Kong Film Awards.
A THOUSAND MILES BEHIND (NR) 78 minutes * * 1/2 The unexpected deaths of his wife and daughter leave Preston (Jeffrey Dornbos) devastated. After a brief struggle with how to process this grief, he heads off across California on a motorcycle to get away from everything and clear his head. Grief is often a long process, and it usually helps if you share it with others. There are a few scenes where the dialogue is a little less believable, but overall, a thoughtful and gentle film that feels very real.
A THOUSAND TIMES GOOD NIGHT (NR) 108 minutes * * * Rebecca (Juliette Binoche) is a talented photo journalist, covering som eof the conflicts in Africa. The danger she is placing herself in becomes all too clear when she is a little too close to an explosion. Her passion for her work doesn't waver, but her husband and two daughters are tired of dealing with the constant threat of losing her. Another stunning performance by Binoche in a powerful story.
A THOUSAND WORDS (PG-13) 87 minutes * * 1/2 Jack McCall (Eddie Murphy) is a super agent - he can talk anyone into anything. But when he goes after spiritual guru Sinja (Cliff Curtis), he's in for more than he bargained. Now, for each word he speaks, a leaf falls off the Bodhi tree that recently appeared in his backyard. When the leaves are all gone, he will be too. That doesn't leave him many words with which to find the truth he needs. Murphy does a great job and the script has a nice balance between comedy and deeper meaning. PG-13 for sex and language.
3 (NR) 116 minutes * * * Hanna (Sophie Rois) and Simon (Sebastian Schipper) are approaching their 20th anniversary of being in a relationship. They are still in love, but they are still exploring as well. When Adam (Devid Streisow) comes into their lives, they both fall in love with him, but without the other knowing. An exploration of love and meaning that is both sensual and playful.
THR3E (PG-13) 101 minutes * * Adapted from the novel by Ted Dekker, this suspense-thriller follows the work of a strange "riddle killer" whose fascination with riddles and the number "three" are among the only clues. Marc Blucas does his best, but the script is such a stripped-down version of the novel that he isn't left with much. Not that the story is all that original to begin with... The strongest parts of the film are the cinematography and the soundtrack. Dekker fans will likely be disappointed, but those who stumble across this and aren't expecting much will find it an adequate diversion. PG-13 for violence and language.
THREE (2016) (NR) 84 minutes * * A hospital becomes a war zone when a violent criminal ends up in the emergency room. The doctor, who is committed to giving him quality health care, and the policeman, who is determined to bring him to justice, clash over how to proceed. The ending is not what you'll be expecting, though it does fit very well. The pacing of the story shifts quite dramatically in the last few minutes.
THREE AMIGOS (PG) 98 minutes * * Another adaptation (of sorts) of the “Seven Samurai” story, but with only three and a large does of comedy. But can you imagine how much better this could have been with four more major comedians? John Landis’ direction is weak, showing none of the talent we’ve seen in other films, instead giving us little more than an on-screen party, where the actors are having fun with each other, but e are left out. Elmer Bernstein’s soundtrack is good, but it’s not enough to help this very much.
3 1/2 MINUTES: TEN BULLETS (NR) 96 minutes * * 1/2 An argument at a gas station about the volume of music coming from a car full of teenagers. A middle-aged white man then fires his gun into the car full of black teenagers, killing a 17-year-old. At issue is the "stand your ground" law and just how far reaching it might be. This film follows the trial and the aftermath.
THREE BEDROOMS, ONE CORPSE, AN AURORA TEAGARDEN MYSTERU (NR) 83 minutes * * 1/2 Aurora (Candace Cameron Bure) fills in for her mother and shows a local house to some potential buyers. She also manages to find a body... which leads to another... A secondary plot here adds a little extra intrigue involving stolen artwork. A nice early entry in the series.
THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (R) 111 minutes * * * 1/2 Dissatisfied with local law enforcement's ability to solve the murder of her daughter, Mildred (Frances McDorman) pays to have three billboards bringing her frustration to the attention of the public. It doesn't go over well with the locals, but that doesn't bother Mildred. Writer/director Martin McDonagh gives us a strong drama that is laced with both mystery and comedy in near-perfect doses. Nominated for seven Academy Awards, including McDormand, Sam Rockwell and Woody Harrelson as well as for best picture and script. R for violence, language, and sex.
THE THREE BURIALS OF MELQUIADES ESTRADA (R) 116 minutes * * 1/2 Tommy Lee Jones' first directorial effort is this interesting story of friendship and justice. Pete (Jones) is an old cowboy, whose friend has been killed. No one seems to care because his friend is an illegal alien, so Pete finds out who did it and brings them to justice. It's a fairly typical sort of film for Jones, though it begins with sequences out of time order and it doesn't really seem to serve a purpose. Nice work from Barry Pepper as well. R for language, violence, and sex.
THREE CAN PLAY THAT GAME (R) 85 minutes * * In this sequel to "Two Can Play That Game" has Shante (Viveca A. Fox) running a service that assists people in their relationships. The story is cute and the acting is good enough, but the on-camera narration is unnecessary and somewhat annoying. If you enjoyed the first film, this offers more of the same. R for language and sex.
3 DAYS IN MALAY (R) 94 minutes 1/2 It's not the first time the Japanese military has clashed with American forces. There has been a lull in activity recently, a sort of calm before the storm. For three days, the small force in Malay will have to defend a critical airfield. A weak script, and really bad fight scenes. The props also appear to be very cheaply made. R for violence and language.
3 DAYS TO KILL (PG-13) 116 minutes * * * If Ethan (Kevin Costner) will agree to do just one more job for the CIA, he'll be given an experimental drug that could allow him the extra time he wants to spend with his daughter. Plenty of action, some drama, romance, and even a few touches of humor. Well-paced, but that's no surprise from a Luc Besson script. Besson knows how to craft this sort of story, and Costner has just the right touch of "tortured soul" in his performance to add a unique depth to his character. PG-13 for violence, sex, and language.
THE 355 (PG-13) 116 minutes * * * 1/2 It's one of the most dangerous weapons ever created, and it's about to fall into the hands of some very nefarious characters. Enter Mace (Jessica Chastain). With the help of a few other top level secret agents from other countries, she just might be able to save the world. Hard-hitting action that is well balanced between weapons and hand-to-hand combat. This is a very nice entry in the espionage/thriller genre. Also featuring Diane Kruger, Lupita Nyong'o, Penelope Cruz, and Bingbing Fan. PGG-13 for violence and language.
3 FROM HELL (R) 109 minutes 1/2 The murders were some of the most horrific ever committed. They were the "Devil's Rejects", and they were convicted. Spaulding (Sid Haig) is executed, but Otis (Bill Moseley) escapes. Now, he and Winslow (Richard Brake) break Baby (Sheri Moon Zombie) out of prison and head to Mexico. Their path is littered with bodies, but how long can they keep it up? This third film in the series is the longest so far, but is lottle more than an excuse to raise the body count. It also looks like director Rob Zombie forgot most of what he learned in making the second film. R for violence, language, and sex.
THREE FUGITIVES (PG-13) 92 minutes * * * It's a rather strange mix of near tear-jerker drama and slapstick comedy. What's even more surprising is that the see a good deal of dramatic acting from Martin Short and some comedic efforts from Nick Nolte... and it works. The simplicity of the plot undoubtedly helps. A bank is robbed by a man who is desperate to get money to help his child (Short and Sarah Rowland Doroff, who is adorable). A hostage is taken during the robbery (Nolte) who happens to be an ex-con. They attempt to disengage from each others lives after the robbery. That's it. An enjoyable and entertaining film that does a great job keeping the delicate balance between comedy and drama thanks in great part due to two very talented actors working well together.
3 GENERATIONS (PG-13) 87 minutes * * * Parental consent is needed for Ray (Elle Fanning) to get gender reassignment surgery. While Ray's grandmother (Susan Sarandon) is generally supportive, Ray's mother (Naomi Watts) is still working through the idea. As the discussions and arguments continue, some other family secrets will be coming to light. Great cast, led by three talented women. PG-13 for sex and language.
3-HEADED SHARK ATTACK (NR) 86 minutes BOMB Not one of Asylum's better films. A garbage eating shark (though it takes the characters far too long to figure this out) chases people who don't have much sense. It does eat people as well, because, you know, a varied diet is good. Horrible dialogue and even worse acting... if that's possible.
300 (R) 109 minutes * * 1/2 Beautifully and artistically styled production that immediately shows the pride and strength of the Spartan people. The film relies heavily on narration, which does fit the visual style, but the transition between scenes that have narration and those that don't is rarely smooth. There are also plenty of slow-motion effects, which look great, but again, transitions are a problem. It's clearly a memorable, visual presentation, but the imagery is expected to carry the story and its emotions, which is a bit much to ask. Adapted from Frank Miller's graphic novel. R for violence and sex.
305 (PG-13) 80 minutes BOMB If you thought that "Meet the Spartans" was a bad parody of "300", try watching five minutes of this piece of junk. Made for pennies by people who don't seem to understand how to make a film. The outtakes during the credits are almost painful to watch because they further highlight the inept abilities of everyone involved. PG-13 for language and violence.
300: RISE OF AN EMPIRE (R) 94 minutes * * Themistokles (Sullivan Stapleton) battles the Persians as they attempt to invade Greece. For their part, the Persians will be led by Xerxes (Rodrigo Santoro), whose father was killed by Themistokles, and the ferocious Artemsia (Eva Green), who commands the great Persian Navy. More graphically violent than the first film, and very impressive visually, though the script is a little less amazing. Adapted from Frank Miller's graphic novel "Xerxes". R for violence, sex, and language.
306 HOLLYWOOD (NR) 89 minutes * * 1/2 The house at 306 Hollywood Avenue was the place of residence for the grandmother of Elan and Jonathan Bogarin for sixty-seven years. When she dies, Elan and Jonathan explore and dig through the house in a way they never did before. What memories are left behind in the objects that remain? What stories do the things we leave behind tell about our lives? And who will be there to hear them?
3 IDIOTAS (PG-13) 100 minutes * * 1/2 When one of their college friends goes missing, these two friends will stop at nothing to find him. The bulk of the film is a series of flashbacks to numerous fun events from their days in college. A remake of the Bollywood film, "3 Idiots", and just not quite as good as the original. PG-13 for language.
3 IDIOTS (PG-13) 162 minutes * * * Two friends from college go looking for one of their friends who is missing. Rancho (Aamir Khan) was always the most outrageous of the three of them, making their little group of "idiots" so much fun and creating so many wonderful memories of their college years. Brilliant and unconventional, Rancho will not be easy to find, and still has a few surprises in store for his friends. Filled with laughter, tears, and plenty of musical numbers. It does run a bit long, but manages to keep us entertained quite well, though there is a little repetition at times that we don't really need. PG-13 for language.
THE THREE INVESTIGATORS IN THE SECRET OF HAUNTED CASTLE (PG) 91 minutes * * 1/2 A videotape made by Jupiter's parents leads the young detectives to an abandoned mansion. There are secrets within that they will have to unravel before they can solve the mystery. For all of the adventuring these boys have supposedly done together, they seem to get scared a little too easily. Fun story, mediocre acting. PG for violence.
THE THREE INVESTIGATORS IN THE SECRET OF SKELETON ISLAND (PG) 83 minutes * * 1/2 A mysterious creature attacks people that go to Skeleton Island. But why? With the three investigators on the case, the secret is sure to be uncovered soon. Well-made as far as production value, but the boys are less than stellar, giving this the feel of a Saturday morning TV adventure from the 1980s or before. Though to be fair, the series of books written by Robert Arthur Jr. that this was adapted from were written in the 1960s. PG for language and violence.
THREE KINGDOMS: RESURRECTION OF THE DRAGON (R) 94 minutes * * 1/2 Zhao Zilong (Andy Lau) was an ordinary man, but being in the right place at the right time affords him the opportunity to become a warrior of great renown. Lots of impressive large battle scenes, but there are also some intense hand-to-hand fight scenes as well. R for violence.
THREE KINGS (R) 109 minutes * * The Gulf War is over, but that doesn't mean things just instantly come to a standstill. There are still people who are oppressed, tortured, and killed. And when Archie Gates finds out about a map that shows where Saddam Hussein has hidden some of the gold he has stolen, a treasure hunt ensues. The slow motion sequences are irritating and the comic moments are out of place. George Clooney looks like he wishes he were somewhere else and so does Ice Cube. Mark Wahlberg does a nice job, but the film just never manages to get past it's amateurish style enough to pique our interest. R for language, violence, and sex.
THREE MEN AND A BABY (PG) 99 minutes * * * Adaptation of the French hit, "Three Men and a Cradle" teams up Tom Selleck, Steve Guttenberg, and Ted Danson as bachelors trying to take care of a baby. Guttenberg and Selleck do pretty well here, but the baby is the star. (Played by twins Lisa and Michelle Blair) As with many adaptations of foreign films, the original is even better, but this does a pretty good job of keeping us entertained.
3 MEN AND A LITTLE LADY (PG) 99 minutes * 1/2 This sequel follows the men who raised Mary as her mother decides to move away and take Mary with her. Little of interest or value here. In fact, what might have worked better would have been to do a few scenes during the credits of the first film, showing how Mary grows up. Then we could have skipped this entirely.
THE THREE MUSKETEERS (1993) (PG) 101 minutes * * * This new version of the old story gives us a wild ride with lots of action and a story that keeps the pace moving quickly the whole way through. We can tell that Kiefer Sutherland, Oliver Platt, and Charlie Sheen are having loads of fun and that's part of what makes this so much fun to watch. Tim Curry plays the evil Cardinal Richeleau is his usual extreme manner with great success. This is, perhaps, a bit too violent and grotesque for the young ones, but it still managed to get the PG rating.
THE THREE MUSKETEERS (2011) (PG-13) 102 minutes * * 1/2 I'm not usually a fan of slow-motion to "enhance" the action scenes, but it actually works fairly well in the sword fights here. There's plenty of humor and a good dose of grit as well in this version of the classic story. Where this fails is in how much it overplays to the 3D effects. PG-13 for violence.
3 NINJAS (PG) 80 minutes * * Grandpa trains his three grandsons in the ways of the ninja, which comes in handy when one of his old students starts causing trouble. The villains here are total idiots, though the kids do a reasonable job with their martial arts skills. (Their acting leaves alot to be desired though.) Basically harmless action film for kids with a wholesome message.
3 NINJAS STRIKE BACK (PG) 90 minutes * * The kids are back at their granfather's house for the summer to undergo more training. The villains are as idiotic as ever, making this most appealing to those of less discriminating tastes. The morals are good and the adventure aspect is mildly entertaining, with the mood being a little more upbeat than the first film.
THREE O'CLOCK HIGH (PG-13) 88 minutes * * * Buddy (Richard Tyson), a violent psychopath starts attending a new school. Jerry (Casey Siemaszko) is the class nerd who works for the school paper and who makes the mistake of touching Buddy. Buddy doesn't like to be touched and wants to fight Jerry after school... at three o'clock. Things get progressively worse for Jerry as the day progresses and the dreaded hour approaches. Nicely acted and well-written story with a nice soundtrack by Tangerine Dream.
THREE OF HEARTS (R) 99 minutes * 1/2 When Connie loses her girlfriend Ellen, she hires Joe to break Ellen's heart so she'll come running back... with predictable results. Cardboard acting ruins what could've been some interesting characters exploring relationships in New York City. William Baldwin, Kelly Lynch, and Sherilyn Fenn star though their performances are not very good.
3 PIGS AND A BABY (PG) 72 minutes * * Part of the animated series of "Unstable Fables", this version of the Three Little Pigs has the pigs adopting a baby wolf and raising it as their own only to discover that it was all a plot by the wolves. Will their adopted son stay true to his adoptive family or choose to help his blood relatives in their evil plan? Nice voice work by Brad Garrett, Jon Cryer, Steve Zahn, and Jesse McCartney. PG for violence.
360 (R) 105 minutes (R) 105 minutes * * * Eight intertwined stories. It's about the choices we make... the forks that lie in our paths and which direction we take. The stories are very well-told, and often so intriguing that we forget that there are others that we haven't finished hearing about. Wonderful cast and impressive direction by Fernando Meirelles. R for sex and language.
3 SLICES OF LIFE (NR) 105 minutes BOMB Mira (Kaylee Williams) has amnesia. Perhaps the three unusual books she finds at the creepy motel where she finds herself will offer some clues. Work life. Home life. Sex life. The stories in this horror anthology are mildly interesting, but poorly produced, directed, and written. The actors here aren't great, but they deserve better than this.
THE THREE STOOGES (2012) (PG) 85 minutes * * Plenty of pratfalls and slapstick, as you would expect from a story about these comedians. Will Sasso is by far the best. The story is done in a series of episodes, with the larger idea that they have to raise enough money to save the orphanage where they spent their early years. Fans of the team are likely to enjoy this, but there's not much here to interest those who don't already like them. PG for violence and language.
3:10 TO YUMA (2007) (R) 116 minutes * * * Ben Wade (Russell Crowe) is a bad man. He may be caught for the moment, but the odds are that his gang will manage to set him free before the law can get him on the 3:10 to Yuma. More violent than the 1957 film, but the intensity is about the same. It's a little easier to dislike Wade and his gang, and the subtleties around the questionable traits of the "good guys" are gone. Crowe plays this in much the same style as an old western, which helps make the ending work well. R for violence and language.
3000 MILES TO GRACELAND (R) 121 minutes * * 1/2 Murph (Kevin Costner) and Mike (Kurt Russell) have a plan. The object is to pull off a robbery at a casino in Las Vegas in broad daylight during Elvis week. Needless to say, things don't go down quite like they were planned. The cast is good, though some might question Costner in this role. Courteney Cox, Christian Slater, Kevin Pollack, Howie Long, Ice-T, just to name a few. Aside from Cox though, none of them get much screen time. That's unfortunate. The action sequences are presented well, but between them we have to wade through a muddle of double-crosses and possible underlying motives for the behaviour of the two leads. Why? It ends up being far too long and in many ways does nothing but cover the same ground over and over. R for violence, language, and sex.
THREE THOUSAND YEARS OF LONGING (R) 101 minutes * * * 1/2 As it always happens, bu accident. Alithea (Tilda Swinton) comes into possession of a particular bottle. Within that bottle is a djinn (Idris Elba) who grants her three wishes. Alithea's choices are mmore responsible than some, for she is one who appreciates and collects stories, which gives her a level of experience and wisdom about possible consequences. Stories of djinn tend to end the same way though. Will her story still end up the same? Perhaps. R for sex and violence.
THREE TO TANGO (PG-13) 94 minutes * * Charles asks Oscar to watch his girlfriend, Amy, to make sure she doesn't go out on him. Of course, they fall for each other, despite the fact that Amy and Charles think he's gay. In fact, it seems that the more people think he's gay, the more in love with Amy he becomes. There are good performances here from Matthew Perry, Neve Campbbell, and Oliver Platt, nice camera work, and a fairly decent script. It definitely leans toward fluff rather than anything deep, but it will definitely make for a nice relaxing bit of entertainment for most people. PG-13 for language.
THREE WISE MEN AND A BABY (NR) 84 minutes * * 1/2 Brothers Stephen (Paul Campbell), Taylor (Tyler Hynes), and Luke (Andrew W. Walker) are all still living at home. A few days before Christmas, a baby is dropped off at the fire station. Luke's name is listed on it, but he's not sure why. There are sime adjustments that all three of them are going to need to make. A fun and clever script and several very nice supporting performances make this worth a look.
THREE WISHES (PG) 110 minutes * * 1/2 Tom (Joe Mazzello) is an ordinary little boy who finds himself in the possession of three wishes, to be granted by a mysterious stranger (Patrick Swayze). This family fantasy film is incredibly boring in the middle, but if you can make it through, the end is wonderfully sentimental and worth watching. With some trimming and re-writing, this would've been wonderful, as it has plenty of heart, just not enough focus.
THREE WORLDS (NR) 97 minutes * * * When Al (Raphael Personnaz) accidentally hits a pedestrian, his friends convince him to drive away. After all, he's about to get married, and getting involved in something like that would ruin his life. The problem is that there was a witness, and she recognizes him later. Strong performances in this look at the rippling effect of a guilty secret.
THREESOME (R) 90 minutes * * 1/2 Lara Flynn Boyle, Stephen Baldwin, and Josh Charles. Three college roomates, each attracted to each other, but forming a triangle. They make a vow to remain friends, but only time will tell. It's a study in relationships that unflinchingly deals with just about everything you can think of. To it's credit, it remains honest and sincere, and is well worth watching for that alone.
THRILL RIDE (PG) 82 minutes * * Kid's adventure film with a hidden treasure somewhere on the grounds of an abandoned amusement park. The moral lesson of recognizing/appreciating the treasure you already have is a little thick toward the end. The bigger problem is the production quality. It's far too easy to tell that this was filmed on a soundstage with sets that wouldn't even pass for some high school drama productions. The young actors try hard, but it's a tough sell. PG for language and violence.
THROUGH THE FIRE (NR) 101 minutes * * Documentary about the basketball career of young Sebastian Telfair, from his days as a star of his Coney Island neighborhood and school to his move to the professional arena. It's mostly a home movie sort of approach to his last year in high school and the few months that follow. Not bad, but lacking the polish that more experienced filmmakers could have delivered and not really inspiring us as much as it probably should have.
THROW MOMMA FROM THE TRAIN (PG-13) 84 minutes * * 1/2 Danny DeVito's comic remake of Alfred Hitchcock's "Strangers on a Train" suffers from too much... Danny DeVito. In keeping so much of the creative control in his own hands, he effectively strangles the film to near total ineffectiveness. There are definitely some hilarious bits here and great scene changes, but we needed a bit more of Billy Crystal and a bit less of DeVito. In homage to it's inspiration, scenes from the Hitchcock classic are used in the film.
THROWDOWN (R) 72 minutes 1/2 Jaxon (Timothy Woodward Jr.) hasn't taken on too many cases yet, but he quickly bumps up against the mob. That will mean some quick thinking and an understanding of more than just the letter of the law. Woodward Jr. struggles to keep up with the demands here, and not all that successfully. To be fair, there are also plenty of holes in the story that don't make it easy. R for language and violence.
THUMBELINA (G) 81 minutes * * * Hans Christian Anderson's story of a tiny girl finding her place in the world comes to us courtesy of Don Bluth. Barry Manilow's music is good throughout, highlighted by Jodi Benson's beautiful voice as Thumbelina. The problem here is a poor balance in the story itself which is very light and positive early on and turns dark and sinister during the second half until just a few minutes before it ends. Still, a fine piece of work with some beautiful animation.
THUMBELINA (2009) (NR) 71 minutes * * The Barbie verion of the story about how size doesn't matter. Thumbelina is a twillerbee, a tiny fairy whose field (and home) are about to be destroyed to make way for a huge factory. How can she and her friends stop them? Can their young human friend be of assistance? Cute and magical story for the younger (4-8 year old) crowd.
THUMBSUCKER (R) 92 minutes * * * Justin Cobb (Lou Pucci) is still sucking his thumb as a teenager until he gets a little help from his dentist. But becoming normal isn't as easy as just stopping a thumbsucking habit... or is it? This somewhat quirky coming of age story is a great first feature film effort from director Mike Mills. Those who like their films a little on the original side should enjoy this. R for sex and language.
THUNDER AND THE HOUSE OF MAGIC (NR) 81 minutes * * 1/2 Thunder finds himself without a home, until he ends up at the rather unusual House of Magic. But some of the current residents aren't too excited about him staying. Very creative characters, but a bit scary for the younger ones at the beginning. And the story doesn't really have far to go, leaving this a little long, despite its relatively short length.
THUNDER SOUL (PG) 78 minutes * * * The Kashmere High School Jazz Band went from next-to-nothing, straight to the top, under the direction of Conrad Johnson. This is their story, and it shows how musical talent can grow beyond what anyone expects when the right mix of skill, practice, and inspiration are present. In Johnson's honor, the original band members reunite for a concert, and discover that the magic is still there. PG for language.
THUNDERBIRDS (PG) 86 minutes * * This film definitely has its heart in the right place, but when you're trying to make a film about a kids' show from forty years ago that was done with marionettes... still, much of the spirit of the original is captured here with a story that is aimed at the preteen crowd but should trigger fond memories in the over-forty crowd. It's a fun, light-weight adventure that barely deserves its PG rating, telling the story of how the youngest member of the Tracy family proves that he's worth to be part of the Thunderbird team.
THUNDERHEART (R) 116 minutes * * * The Indian heritage that Ray Levoi (Val Kilmer) has denied for most of his life may now be the only way he can solve a murder. An Oglala Sioux indian has been killed in the Badlands of South Dakota, and Ray must immerse himself in their culture to uncover the clues. Graham Greene comes across very well here, playing the part of Walter Crow Horse, a tribal police officer who teaches Ray that you must look beyond the obvious and follow your heart. There is a good mix here of Indian culture and murder investigation, set in the present, with all the turmoil that presents as well. R for violence and language.
THY WILL BE DONE (NR) 85 minutes 1/2 One of many buildings destroyed by Hurricane Katrina was Arthur's (Al Garrison) church. His faith suffered as well. Homeless and wandering, he wakes up one morning in a church that just happens to be looking for a minister. Much of the dialogue is stiff and unnatural and the scene transitions clearly betray the stage origins of this film. It's dreadfully slow-moving and the final 12 minutes before the credits begin are comprised of three songs with no dialogue.
TIBET IN SONG (NR) 83 minutes * * * Ngawang Choephel escaped Tibet as a child but returned to record the traditional music of his people. He was arrested and served almost seven years in prison before being released. This is his story, and that of a people who are still yearning for freedom, and the music that they bring to the world.
TICK, TICK... BOOM! (PG-13) 110 minutes * * * 1/2 Semi-autobiographical tale of theatrical composer Jonathan Larson (Andrew Garfield). Originally created as a one-person show and later adapted for three. Here, it is given a full cast theatrical treatmest with cinematic flair by writer Steven Levenson and director Lin-Manuel Miranda. The music is amazing, and the story inspirational and heart-breaking at the same time. Fine supporting performances by Alexandra Shipp, Vanessa Hudgens, and Robin de Jesus. PG-13 for language.
THE TICKET (NR) 92 minutes * * After losing his sight for ten years, one morning, James (Dan Stevems) wakes up with his sight restored. He begins to revel in what he can see to the point of becoming fascinated with the superficial. His adaptation to the world of the sighted is a little too quick, as is the unsurprising twist at the end. The mood is captured well, but the story needed more development, and probably a little more time to get there.
TICKET OUT (NR) 85 minutes * * In an effort to get away from an abusive husband and to protect her kids, Jocelyn (Alexandra Breckenridge) enlists the help of Jim (Ray Liotta). He works for an underground system that helps women and children escape abusive situations. There's a twist to the story, of course, which isn't all that surprising, but it does add a little interest, just as the story is starting to lag.
TICKET TO PARADISE (PG-13) 97 minutes * * * After her college graduation, Lily (Kaitlyn Dever) heads to Bali for a vacation with her roommate. That's fine, but she ends up falling hard for a local guy. When she tells her parents, they both rush to the island to try and stop her from making the same mistake they did. Or was it really that much of a mistake after all? George Clooney and Julia Roberts play well off each other. PG-13 for language.
TICKING CLOCK (R) 97 minutes * * When Lewis Hicks (Cuba Gooding Jr.) finds a journal that details a series of murders, he follows the leads to unravel the mystery. But it gets a little complicated when the clues lead to a young orphan. Good suspense and performances throughout, but as with most stories that deal with time travel, the details are the undoing of the story as it spends too much time trying to explain the why and how instead of focusing on other parts of the story. R for violence and language.
THE TIE THAT BINDS (R) 94 minutes * 1/2 For being a thriller, this story of a homicidal couple who wants their child back, moves with surprising slowness. Moira Kelly and Vincent Spano do not work well together as the adoptive couple. Keith Carradine and Daryl Hannah work well as maniacs, but they grow larger than the story and have no place to go. Don't worry too much if you miss this one.
TIGER & BUNNY: THE BEGINNING (NR) 87 minutes * * 1/2 These are super heroes with corporate sponsors who wear the logos of those sponsors to advertise for them. That said, they are still heroes with jobs to do and people to save. When a new hero is unveiled, Wild Tiger has some extra work as he is teamed up with the newbie to teach him how the system works. It's an interesting idea and the characters are introduced well, but there just isn't a great deal of depth to the story. Serves as a prequel to the anime TV series.
TIGER & BUNNY: THE RISING (NR) 95 minutes * * 1/2 The second league's TV ratings are sliding. The producers decide to move Bunny up to the first league, and Tiger decides to take a break. Of course, when evil strikes the city, it turns out that the first league not only needs some help, but they could learn a few things from that old team of Tiger & Bunny. The story here is stronger than it was in "The Beginning", but it also relies on our familiarity with the characters for both humor and understanding of relationships.
TIGER EYES (PG-13) 88 minutes * * 1/2 Davey (Willa Holland) and her mother and brother go to New Mexico to get away from the recent and tragic death of her father. Davey will discover that much of the coping will have to be done on her own, though there are those who can offer some support and guidance along the way. While most coming-of-age stories deal with romantic relationships, this classic story by Judy Blume deals with loss and grief. As Davey begins to understand what her father meant to her, she will learn how to move on and live with his memory as a part of her. Judy's son Lawrence serves as director, co-producer, and co-writer. PG-13 for violence and language.
TIGER HOUSE (R) 79 minutes * 1/2 When Kelly (Kaya Scodelario) sneaks into her boyfriend's house, she has no idea what else will be happening that night. Things she wasn't expecting. Unfortunately, far too much of the film is just watching her run around the house, hiding from, and eventually finding a way to outwit the killers. By the end, we don't really know her or really care all that much what happens. R for language and violence.
THE TIGER RISING (PG) 98 minutes * * 1/2 Nothing seems to be going well for Rob (Christian Convery). Sometimes life is rough. There are still moments that seem magical though, and the tige he finds in a cage in the woods is one of those. So is friendship, and life itself. Adapted from the book by Kate DiCamillo. This does have some nice moments, especially with Queen Latifah. Many of the other characters are rather shallow though, making the story uneven. PG for language and violence.
TIGER ZINDA HAI (NR) 154 minutes * * * 1/2 He's the best agent in India's secret service. He's also been in hiding for the past fewe years. With a group of terrorists holding a number of Indian and Pakistani nurses hostage, it's time for him to go back to work. Sexy and exciting adventure that also takes the time to make a few pro peace political statements. Great soundtrack and a very fun film.
TIGERS ARE NOT AFRAID (NR) 77 minutes * * * In a neighborhood filled with the violence of drug cartels, five orhpans struggle to survive. It helps that Estrella (Paola Lara) has three wishes. She'll have to be careful though. The first wish has caused some problems. A macabre fairy tale set in modern times from writer/director Issa Lopez.
A TIGER'S TAIL (NR) 75 minutes * Billy (Will Spencer) wants another pet. He loves the tigers at the wild animal park, but of course that can't happen... until a tiger cub accidentally ends up in his backpack. Lots of repetitive sequences as the cub tears up everything in the house. Really poor acting by everyone except the tiger cub.
THE TIGGER MOVIE (G) 70 minutes * * * Tigger is looking for someone to bounce with, but no one seems interested or able to bounce quite like him. That could be because he's the only one. But maybe there are other tiggers out there... maybe he has a tigger family. Embarking on an adventurous search for his family, Tigger discovers, of course, that his family has been around him the whole time. Those who care about us are our family. It's a wonderful story and a powerful message that parents will appreciate. The songs aren't as memorable as one might hope, but the style of presentation is true to the Pooh films and stories of the past. It's a film for everyone who has ever enjoyed Tigger, Pooh, and all the rest of A.A. Milne's charming characters from the hundred acre wood.
TIGHTROPE (R) 110 minutes * * ½ Assigned to investigate a series of murders involving rape, Detective Wes Bloch (Clint Eastwood) doesn’t take long to start getting close to solving the case. But then it gets personal, as the killer starts going after the women Bloch knows. Nothing extraordinary here, just a nice, solid mystery/thriller. R for sex, violence, and language.
TIKKUN (NR) 116 minutes * * * Haim-Aaron (Aharon Traitel) is a Hasidic Jew, who, after a near death experience, loses interest in his studies. His senses seem to have been awakened, but he's not sure why this has happened or what it means. As the film progresses, actual events give way to symbolic and imaginary ones, and we begin to experience some of the twisted sense of reality that Haim-Aaron is going through. An unusual piece that may struggle to find the right audience.
TIL DEATH DO US PART (PG-13) 98 minutes * Madison (Annie Ilonzeh) thought she had the perfect marriage. But it’s not too long before her husband turns into an abusive, controlling monster. She devises a plan to get out of the relationship, and it works. She even meets a nice guy (Taye Diggs). But it doesn’t take long for Michael (Stephen Bishop) to find out. Bishop plays the villain well, but the rest of the cast is two-dimensional. PG-13 for violence, sex, and language.
TIL DEATH DO US PART (2023) (NR) 105 minutes * * Marriage is a big committment. Sometimes people have second thoughts. This particular bride (Natalie Burn) decides to opt out. Her fiane isn;t so amenable to that course of action. He sends his groomsmen after her. Can she survive the night? The films jumps back and forth in the timeline too frequently, and it gets a little distracting.
TILL (PG-13) 123 minutes * * * Just a boy visiting his relatives in Mississippi. When Emmett (Jalyn Hall) whistled at an attractive white woman, like he might have done in his home town of Chicago, it resulted in his getting kidnapped and lynched. It was 1955, and his mother Mamie (Danielle Deadwyler) would not rest until those responsible were punished. Until people understood that this was a racist act, and that things had to change. It was a cause to which she would dedicate her life. PG-13 for language.
TILL DEATH (R) 83 minutes * 1/2 It's their 10th anniversary. But Emma (Megan Fox) is pretty much over it. Mark (Eoin Macken) has made a few half-hearted attempts, but today he is planning something very special at their lake house. The surprise (sorry to spoil it, but it happens very early in the film) is that she will soon find herself handcuffed to a corpse, with killers on the way to come after her as well. There's some good tension, but more back story would have helped this. Many of the chase scenes in the film are also very difficult to believe. R for violence and language.
THE TILLMAN STORY (R) 92 minutes * * 1/2 Emotional recounting of Pat Tillman's death and the investigation that followed. In particular, the film decries the military's attempted commercial use of Tillman as an all-American hero, which went against his reasons for entering the military. R for language.
TIM AND ERIC'S BILLION DOLLAR MOVIE (R) 87 minutes 1/2 After spending a billion dollars making a three-minute movie, Tim and Eric have to find a way to pay the producer back. Maybe they could go run a mall and make a billion dollars in profit. Not much else to say except that fans of Tim and Eric will probably have fun with this. If you don;t know who they are, don't bother and you won;t have missed much. R for language, nudity, and violence.
TIMBUKTU (PG-13) 92 minutes * * * Life in the sand dunes of Timbuktuis usually quiet and uneventful. But a small group of jihadists is about to change all of that. They are also forcing their will on the small community nearby, destroying any sense of peace and harmony that was once there. Well done, though the outcome is not a positive or uplifting one. PG-13 for violence.
TIME (PG-13) 79 minutes * * * Serving a sixty year sentence for robbery, Robert Richardson is hoping for something to change. His wife Sibil has been trying to find a way for him to get out and return to his family. She's doing this while raising six children and working for prison reform in general. An inspiring and uplifting documentary.
TIME BANDITS (PG) 113 minutes * * * ½ From the uniquely twisted minds of Michael Palin and Terry Gilliam comes an adventure like no other. The time portal in the back of this particular wardrobe doesn’t just lead to one location, but a plethora of places. A group of dwarves who are masters at this sort of travel are on their way to numerous places to steal a variety of things and have lots of fun along the way. If you enjoy offbeat humor, you’ll have quite a bit of fun as well. PG for violence and language.
THE TIME BEING (NR) 82 minutes * * Daniel )Wes Bentley) is a struggling artist. Warner (Frank Langella) is a mysterious benefactor who has a hidden agenda that Daniel doesn't understand or try to figure out at first. Soon, that mystery will begin to haunt him. Deeply symbolic and thought-provoking, but so much so that it weighs the film down more than it should.
TIME CHANGER (G) 96 minutes * 1/2 A young man travels back in time to understand the importance of keeping Jesus' name connected with his teachings. Stilted dialogue and stiff performances are the major downfalls of this fundamentalist Christian production. And while there is certainly an element of fantasy here, much of the film mistakenly presents itself as truth. (eg. that movies began in the 1930s)
A TIME FOR DRUNKEN HORSES (NR) 78 minutes * * 1/2 Life for these young Kurdish children just keeps getting more difficult. The smuggling that their father was doing was their primary source of income. When he is killed, young Ayoub must take on the job himself. The children do an amazing job of acting here, drawing us deeply into a desperate and heartbreaking life that people this young should not have to endure. Pacing is awkward at times, and the film feels quite a bit longer than it is because of it.
TIME FOR HIM TO COME HOME FOR CHRISTMAS (NR) 83 minutes * * 1/2 Receiving a sentimental message on her phone, Elizabeth (Holland Roden) is puzzled. It's an important message, but with only a few days before Christmas, time is running out to get the message delivered in time. Her friend Josh (Tyler Hynes) offers to help, and working together ignites something that is more than friendship between them.
TIME FOR THEM TO COME HOME FOR CHRISTMAS (NR) 83 minutes * * An accident leaves "Jane" (Jessy Schram) with amnesia. The only clue is an article about a holiday celebration she might have been planning to attend. Paul (Brendan Penny) volunteers to help get her there to see if it helps to restore her memory. The acting is good here, but the story is a little thin and wraps up very quickly.
TIME FREAK (PG-13) 99 minutes * * * When Stillman (Asa Butterfield) gets dumped by his girlfriend (Sophie Turner), he wants to change what happened. But it's going to mean changing more than the last few minutes. And what if you do change the right moment? Will another mistake later on result in the same outcome? Great story, with a very nice ending. Butterfield and Turner work well together here, and Skyler Gisendo delivers a great supporting performance. PG-13 for sex and language.
THE TIME GUARDIAN (PG) 84 minutes * In a distant future, beast-like cyborgs are on the brink of destroying the human race. A small group of humans discover how to travel back in time in the hopes of starting over, but their enemies aren't far behind. Mildly interesting, but unsurprising plot. The most compelling reason to watch this is to see Carrie Fisher;s supporting role.
THE TIME MACHINE (2002) (PG-13) 91 minutes * * Based on David Duncan's screenplay for the 1960 film, this remake features Guy Pearce as Alex Hartigan and Samantha Mumba as Mara. The visual effects are quite nice, but the film doesn't flow well. Scene transitions are awkward and the pace of the film drags at several points. It does end quite nicely, with a sequence that is both moving and artistic. PG-13 for violence.
TIME OF MY LIFE (NR) 117 minutes * * * When Mario (Koen De Graeve) is diagnosed with multiple sclerosis, it only adds fuel to his passion for people to have the right to choose when they die. A very human drama, with a passionate mix of philosophy, reality, and humor. Based on the life and death of Mario Verstraete.
THE TIME OF THEIR LIVES (NR) 99 minutes * * * Helen (Joan Collins) has decided she's going to go to France to attend the funeral of a former lover. She's going to need some help to get there, and Priscilla (Pauline Collins) just might be the person she needs. Delightful work from both women, and well supported by the rest of the cast. It's a reminder that in searhing too hard for what we think we want, we may all too easily look right past some beautiful and amazing opportunities.
TIME OUT OF MIND (NR) 115 minutes * * 1/2 Without a home, George (Richard Gere) is struggling. He wants to find and reconnect with his daughter, but she may not be interested. Nice work by the cast, but the script leaves out some back story that would have helped us understand more about George's past and how it shaped his present. Instead, it focuses on his experience as a homeless person. Unfortunately, that generalizes the experience and dilutes his character.
A TIME TO DANCE (NR) 84 minutes * * John (Dan Payne) and Abby (Jennie Garth) have been together since high school, but more recently, they have been growing apart. Just as they are ready to announce their separation, their daughter announces her engagement. Will it be enough to draw them back together? Saccharine sweet romance adapted from Karen Kingsbury's novel.
A TIME TO KILL (R) 145 minutes * * * 1/2 From John Grisham's novel about racism, Sandra Bullock, Matthew McConaughey, and Samuel L. Jackson star in this tense courtroom drama. The tension between Bullock and McConaughey plays well, thanks to a great script and wonderful work by the actors and director Joel Schumacher. The ending is a little too perfect, but getting there is full of drama and excellent work by a fine cast all the way around. This is one of those film not to miss! R for language and violence.
THE TIME TRAVELER'S WIFE (PG-13) 99 minutes * * * A truly magical love story. A young girl meets a man in a field. He tells her that one day he will return. He knows that he will, because this is a moment from his past. Very romantic, and highly illogical, but we don't really care, and the story doesn't dwell on why this wouldn't work, just on the magic and romance between Henry (Eric Bana) and Claire (Rachel McAdams). Despite how central the idea of time travel is to the story, almost no time is spent on trying to explain it, which is key to making the story work well. Just sit back and enjoy! PG-13 for nudity.
TIMECODE (R) 92 minutes * * * 1/2 "It's time to move forward, to move beyond." A film with not one single cut... a film that was improvised around a story structure by the actors as the camera was rolling. It's not something that will appeal to the average filmgoer, but those with an interest in the dramatic arts will find it fascinating. Watching things happen on four smaller screens isn't really as hard as you might expect as the sound comes from one at a time for the most part. Much of the concept of the film is explained by one of the characters near the end of the film, but the idea is for us to be drawn into it early on so that the explanation adds to what you already understand rather than explain it before you start. Mike Figgis directed, co-produced, wrote the story, co-wrote the music, and served as a camera operator! Figgis has definitely established himself as an actor's director who is willing to push the boundaries. R for language and sex.
TIMECOP (R) 93 minutes * 1/2 In a future where time travel is a reality, we find the need for police who can make sure that people who travel in time don't cause ripples that will have dangerous effects on the present. Jean-Claude Van Damme to the rescue... though this adaptation of the comic book lets him down a bit too much as far as genuine excitement. The uneven quality of the special effects also takes a toll, though it doesn't look quite as bad on video.
TIMECOP: THE BERLIN DECISION (R) 75 minutes * The Time Enforcement Commission is highly successful at making sure history remains as it was, to protect the present and the future. When a TEC operative (Thomas Ian Griffith) decides he has a responsibility to change history, Ryan (Jason Scott Lee) has to stop him. Lee replaces Jean-Claude Van Damme here, but the awkward mix of martial arts and science fiction remains. Lee's martial arts skills are better than Van Damme's, but his acting skills aren't. R for violence and language.
TIMECRIMES (R) 89 minutes * * 1/2 In the woods near his new home, Hector (Karra Elejalde) discovers a building that houses a time machine. Chased there by a man with a bandage covering his face, Hector enters the machine and finds himself emerging an hour before he entered... and in the midst of a problem that is getting worse each time her enters the machine. An interesting premise, but the ending may leave you a bit dissatisfied. R for violence and language.
A TIMELESS CHRISTMAS (NR) 83 minutes * * 1/2 In 1903, Charles Whiteley (Ryan Paevey) disappears without a trace. He reappears in 2020, and has no idea why. It's more than a little awkward, but Megan (Erin Cahill), director of the museum that was formerly Charles' home, is willing to help. As with any time travel story, there are issues of consistency and missed details. The idea is fun though, and Paevey does well with it.
TIMELESS LOVE (NR) 84 minutes * * 1/2 It was a morning like any other, and then it wasn't. Megan (Rachel Skarsten) wakes up from a coma, convinced that she's married and has two children... but she isn't and she doesn't. Applying for a job to try and get her life back to something that resembles "normal". she meets Thomas (Brian Daugherty)... the man she thinks is her husband. Nice work by the cast in this fun romance.
TIMELINE (PG-13) 108 minutes * * A wormhole into the past is discovered and someone has been stranded there. A team of archaeologists who specialize in the time period are about to be sent back to retrieve him. Definitely a few plot holes here, though they manage to sidestep any questions about time travel itself by saying they don't really know how it works or why it only seems to connect to one particular period in history. There are a few moments of fun scattered here and there, but this never really offers us more than that. PG-13 for violence.
TIMERIDER (PG) 86 minutes * * ½ Lyle Swann (Fred Ward) loves to push the limits, especially when riding his motorcycle. But when he ends up on a piece of property where secret testing is going on around time travel, he finds himself and his bike transported back to the 1800s. It’s going to take some quick thinking and plenty of luck if he’s going to get back to his own time. Nice work by Ward and Belinda Bauer.
TIN CUP (R) 129 minutes * * 1/2 Laid back character study of golfer Roy McEvey (Kevin Costner) who wants to make a comeback. Also starring Rene Russo, Cheech Marin, and Don Johnson, this is overly long, but pleasant enough to watch unless you really hate golf. Costner does tend to play the same character over and over, but he plays it well. R for language and sex.
TIN MAN (NR) 263 minutes * * * Modernized retelling of "The Wizard of Oz" with Zooey Deschanel as D.G. (Dorothy Gale). Purist fans of the original probably won't like this, but it is creative, well-written, and produced in the typically lavish style that Robert Halmi Sr. and Jr. usually bring to their productions. It does run a bit long, but remains well-paced and interesting throughout. If you're willing to re-imagine that trip down the yellow brick road, you'll find this to be an exciting new look at a classic story.
TIN MEN (R) 116 minutes * * * It's 1963, and two aluminum siding salesmen are trying to outdo each other... with sometimes ridiculous results. Danny DeVito is great here, but Richard Dreyfuss is less consistent. A unique and humorous look into the world of salesmanship.
TINKER TAILOR SOLDIER SPY (2011) (R) 122 minutes * * 1/2 A retired spy is reactivated to uncover a mole in MI6. But this isn't just any mole, it's someone who is working at the very top of the organization, which will make Smiley's (Gary Oldman) work even more difficult. Tediously slow early on, but the pace does pick up as the film progresses. Reasonably good adaptation of the novel, which was adapted as a mini-series in 1979. R for violence, sex, and language.
TINKERBELL (G) 71 minutes * * 1/2 The birth of Tinkerbell, whose origins are now explained, not necessarily as J.M. Barrie would have, but entertaining enough anyway. Bell discovers that her job is that of a Tinker fairy. She thinks it would be much more exciting to be a light fairy, a garden fairy, or a water fairy, but, of course, eventually realizes that she needs to be herself. Great voices including those of Mae Whitman, Raven-Symone, Lucy Liu, America Ferrera, and Angelica Huston.
TINKERBELL AND THE GREAT FAIRY RESCUE (G) 70 minutes * * 1/2 Tink's curiosity gets her in trouble as she is caught by a little girl. The plot thickens as her friends come to the rescue and Vidia gets caught as well. Cute adventure for the younger set, and nice to mix some non-fairy people into the story. Disney has found another nice series to work with.
TINKERBELL AND THE LEGEND OF THE NEVERBEAST (G) 68 minutes * * * Fawn (voiced by Ginnifer Goodwin) discovers a neverbeast, but understanding what it is trying to do is putting her animal skills to the test. She's going to need help from the rest of the fairies, and so will the neverbeast. The ending is bittersweet, which is unusual for a cartoon for children, but it is nicely done.
TINKERBELL AND THE LOST TREASURE (G) 72 minutes * * * Tink is chosen to prepare the Fall scepter. And, of course, all does not go as planned, and Tink has to find a lost treasure that can help her out of the mess she's in. Entertaining story with great music. Mae Whitman, Raven-Symone, Lucy Liu, Kristen Chenoweth, and Anjelica Huston provide some of the voice work here.
TINY FURNITURE (NR) 96 minutes * * * Aura (Lena Dunham) is home from college and living with her mom and sister. Life is rough and making new friends is tricky. If she could just figure out what to do with her life, it would all be great. Independent, artsy, slice-of-life film with wonderfully memorable characters. Dunham also wrote and directed - nice work!
TIPPING THE VELVET (NR) 172 minutes * * * The story of Nan Astley (Rachael Stirling), the loves of her life, and the struggles she went through to become who she needed to be. Set in the 1880s, the costumes evoke the period well. Stirling does a nice job here, as does Keeley Hawes, playing male impersonater Kitty Butler, one of Astley's love interests. Adapted from the novel by Sarah Waters.
'TIS THE SEASON FOR LOVE (NR) 83 minutes * * Moving to New York, Beth (Sarah Lancaster) was pursuing an acting career. That dream doesn't seem to be working out, so she heads home for the holidays to look for answers. She'll find the answers she needs, and much more. A dose of holiday magic from Hallmark.
'TIS THE SEASON TO BE MERRY (NR) 83 minutes * * 1/2 When Merry's (Rachel Leigh Cooke) boss discovers that her book is actually fiction, Merry has to come up with a fix. Maybe a trip to her friend's house for Christmas will help. Especially since Adam (Travis Van Winkle) is going to be home for the holidays. The story is predictable, but the script and Cook's performance keep things light and clever.
TITAN A.E. (PG) 87 minutes * 1/2 The Titan is a planet creating ship, the "A.E." stands for "after Earth". The story is set in 3028, when the Earth has been destroyed and our young hero is off to find the Titan, which was hidden by his father, in the hope that he can create a new world for humanity to have a fresh start. It's a tired story, and the animation quality here is mixed. There are a few sequences that are quite nice, but the mixture of two and three dimensional images feels awkward here. Character voices are provided by Matt Damon, Drew Barrymore, Bill Pullman, Nathan Lane, Janeane Garafalo and others, and the soundtrack is by Graeme Revell. One of the ending songs is "Not Quite Paradise", which reminds us that this wasn't quite the film it needed to be.
TITANIC (PG-13) 181 minutes * * * 1/2 The story of the great ship Titanic and it's maiden journey to the bottom of the sea is told through lengthy flashbacks through the eyes of one who was there. It's a love story that crosses class lines as Leonardo DiCaprio and Kate Winslet meet and find themselves drawn together. She's a girl from a rich family, about to be wed and feeling trapped by her apparent future. He's a young artist who has an eye for truth and a willingness to risk. The story sweeps you along, unfortunately dipping into occasional sensationalism late in the film that ruins some of the effect. The last 15 minutes or so are tragic and triumphant at the same time. Winslet and DiCaprio both do fine work here, but so does Kathy Bates, as the "unsinkable" Molly Brown. Filmed in Baja, California. PG-13 for violence and language.
TITANIC (2012) (NR) 186 minutes * * 1/2 The focus in this particular retelling of the tragic shipwreck is on the class differences among the passengers and among the crew. It's an interesting look at how that might have affected a number of the events. Unfortunately, the story is essentially repeated four times (originally over four nights on TV) with slightly different versions of the various happenings. It's a little tedious after awhile.
TITANIC II (NR) 86 minutes * 1/2 A new ship has just been launched. It barely passed inspection and with a glacier about to drop a huge chunk of ice into the ocean, this ship is going to face icebergs AND tidal waves. It also unfortunately has to deal with really cheap animation effects that are almost laughably bad.
TO BE FAT LIKE ME (NR) 88 minutes * * * Badly in need of a scholarship for college, Ally (Kaley Cuoco) goes undercover to make a documentary about high school life. The catch is that she's wearing a fat suit. Can you be popular if you don't fit the image? What does that mean about who is is, or who she thought she was? Nice work by Cuoco, though the scenes with her mother (Caroline Rhea) are a weak spot in the film.
TO BE OR NOT TO BE (PG) 101 minutes * * Mel Brooks and friends take on the Nazis in this story of a Polish family in the performing arts escaping to safety at the beginning of World War II. This is missing most of the funny little bits that are usually scattered throughout Brooks’ films, instead taking a somewhat more serious tone. In the film, Brooks comments that “I gave the greatest performance in my life and nobody saw it”. Maybe not the greatest, but not many people watch this, one of his less popular films. PG for language.
TO CATCH A KILLER (NR) 182 minutes * * * 1/2 Well-known in the community, and respected by many, John Wayne Gacy (Brian Dennehy) had a terrible secret. Over thirty boys and young men died at the hands of this notorious killer, who was finally caught after years of slipping under the radar. Great work by Dennehy, who earned an Emmy nomination for his performance. A well-written, intense thriller.
TO CATCH A KILLER (2023) (R) 115 minutes * * * Lammark (Ben Mendelsohn) knows talent when he sees it. He can tell that Eleanor (Shailene Woodley) has excellent instincts and is just who he needs to track down this shooter. An intense and well-paced thriller. It's a strong story and Woodley does well here. R for violence and language.
TO DIE FOR (R) 102 minutes * 1/2 Over-the-top attempt at irony as we follow Suzanne Maretto (Nicole Kidman) in her quest to reach the top of the TV world. She stops at nothing, including murder, to get there, and we wish we could get to the end of this more quickly. The supporting characters have their moments, the best being Joaquin Phoenix, but Kidman repeatedly steals their thunder and throws her character off the walls with little direction.
THE TO DO LIST (R) 100 minutes * 1/2 Brandy (Aubrey Plaza) is tired of being so inexperienced with sex. So, she's made a list of things to get done before she leaves for college. Definitely plenty of crude humor, which tends to work in the opposite direction of the moral to the story, which is evident early on. There are a few funny/cute moments, but not that many. R for sex and language.
TO DUST (R) 89 minutes * * 1/2 It's one thing to understand that our bodies decay after death, but to dwell on exactly what happens is not a good thing. Shmuel (Geza Rohrig) is doing exactly that. He can't get it out of his mind. His wife is decaying and he can think of nothing else. An interesting mix of drama and comedy. Some of it works well, other parts just seem to miss the mark. R for language.
TO GILLIAN ON HER 37TH BIRTHDAY (PG-13) 89 minutes * * Peter Gallagher seems a little out of his depth as his character deals with the two-year anniversary of his wife's death. Most of this has a very shallow feeling to it, but it ends rather well. Michelle Pfeiffer plays the part of Gillian and Claire Danes is the daughter. Taken from Michael Brady's play, with a soundtrack by James Horner. PG-13 for language.
TO HER WITH LOVE (NR) 83 minutes * * 1/2 Kayla (Skye P. Marsall) and Jordan (Tobias Truvillion) both love their students. They're working together to help these students succeed. And their partnership may reach into more personal levels too.
TO KILL A MAN (NR) 78 minutes * * 1/2 A local thug starts harassing Jorge's (Daniel Candia) family, but when they push back, it only escalates the situation. Jorge sees only one option, because the law has failed to protect them. Very low-keym and even the few times when there is a little more intensity, there is also a distance and a lack of passion. It lends a sense of inevitability to the course of events. That works for the story, but may leave the viewer a little frustrated.
TO LIVE AND DIE IN L.A. (R) 112 minutes * * A reckless and thrill-seeking secret service agent (William Petersen) goes after a major counterfeiter in this tale full of twists. It's also full of odd little subplots. There's quite a bit of interesting material here, and the characters are unique, but it just doesn't hang together well as a film. R for language, violence, and nudity.
TO ROME WITH LOVE (R) 108 minutes * * * 1/2 Woody Allen's homage to Rome, a city full of love and laughter, romance and heartbreak, and most of all, possibilities. A truly delightful script that is light and lively though clearly making a few salient points of wisdom along the way. An amazing cast that includes Judy Davis, Roberto Benigni, Alec Baldwin, Jesse Eisenberg, Ellen Page, and Ornella Muti just to name a few. R for sex.
TO SAVE A LIFE (PG-13) 116 minutes * * When his former best friend commits suicide, Jake (Randy Wayne) begins to ask himself why. In particular, why did he let their friendship end, and what does that mean? Poorly edited, with plenty of rough edges and mistakes. the story isn't bad, but often feels overly staged in order to make sure we don't miss the point of a particular scene or conversation. Filmed in Oceanside, California. PG-13 for language and sex.
TO THE WONDER (R) 109 minutes * * * Marina (Olga Kurylenko) and Neil (Ben Affleck) fall in love in Paris and then move to Oklahoma, where Neil is from. It doesn't take long for the romance to fade and the pasts that they were both trying to avoid begin to return. A very poetic and introspective film with little dialogue. Instead, much of what we hear is narration that tells us what the characters are thinking. It works quite well. R for sex.
TO WALK INVISIBLE (NR) 118 minutes * * * The story of the Bronte sisters and the challenges they faced as they worked to get their stories and poems published. Stories and poetry that would eventually be recognized as some of the finest works in literature. The script covers everything it needs to, but some parts of the story aren't covered very thoroughly.
TO WHOM IT MAY CONCERN: KA SHEN'S JOURNEY (NR) 101 minutes * * * Bio-documentary of actress Nancy Kwan, star of "The World of Suzie Wong" and "Flower Drum Song". Hollywood wasn't quite ready to embrace multiculturalism in a genuine manner when Kwan arrived, and despite her popularity, her career stalled after those first two films, and she began to play bit parts and roles in low-budget films. She did amass a sizeable body of work, and it's nice to see that brought to light here.
TO WONG FOO, THANKS FOR EVERYTHING, JULIE NEWMAR (PG-13) 104 minutes * * Three drag queens head across the country to compete in a national queen contest. They stop in a small town and transform it into a place that will accept them... right. It's a nice message, but the trip getting there is silly. It's too bad that they're played as bimbos... is that so we (the audience) will find it easier to accept them? Food for thought.
TO WRITE LOVE ON HER ARMS (PG-13) 96 minutes * * * Renee (Kat Dennings) was losing her battle with drugs, depression, and bi-polar disorder. Thanks to the intervention of her friends, she was able to turn the corner and begin the road to recovery. Her story began to inspire others who had lost hope... and it continues to do so. Really nice work by Dennings in a sensitively told story. PG-13 for language.
TOAST (NR) 93 minutes * * Nigel (Oscar Kennedy/Freddie Highmore) loves food. His mother, unfortunately for Nigel, is a terrible cook, and so their meals often consist of toast. His father is... less than supportive, but Nigel is determined to pursue his love for food. Based on the life of Nigel Slater. A bit of a one-note story, though there are moments when more shines through.
TODAY YOU DIE (R) 87 minutes * 1/2 He thought it was just a quick driving job, but when Banks (Steven Seagal) gets busted for driving the getaway van in a heist, he's determined to get back at the people who set him up. Standard Seagal action flick of the same caliber that he seems to turn out most every year. The chase sequence at the begining is fairly impressive, but the rest of the film settles down to the same old material fairly quickly. R for violence and language.
TOGETHER TOGETHER (R) 85 minutes * * Matt (Ed Helms) is about to have a baby using a surrogate (Patti Harrison). He's thrilled about it, but is struggling with how to relate to her. She's not so sure about what she signed up for. Unlike many others who go through this process, they are both loners. The ending is a little awkward, but considering the story, that's not a big surprise. R for language.
TOKYO! (NR) 106 minutes * * * Three short films whose common chord is the setting of Tokyo. In the first, a young woman's experience of being ignored and useless transformes her into an object of use. In the second, and best of the three, a strange man crawls out of the sewers to terrorize people. Though it begins rather strangely, the story here is the most interesting and draws us in at the same time some of the images repulse us. And in the final segment, a man finds himself reconnecting with the world after an earthquake.
TOKYO FIANCEE (NR) 93 minutes * * 1/2 Amelie (Pauline Etienne) is in love with Japan. So, when she's 20, she moves there to live, becoming a French tutor. She has one student, who pays her well. But it doesn't take long before he becomes more than just a student. Charming performance by Etienne, but the heavy narration doesn't do this any favors.
TOKYO GHOUL (NR) 114 minutes * * * After being attacked by a ghoul, Kaneki (Nasataku Kubota) manages to survive, but in the process, he has become half ghoul. As it turns out, ghouls are very territorial, and that means Kaneki is on the run from ghouls as well as humans. Very nice, live-action version of the manga series. Hopefully, more will follow.
TOKYO SONATA (PG-13) 118 minutes * * * His office is being moved to China, where more employees can be hired for less money. Finding a new job isn't going to be easy. Ryuhei (Teruyuki Kagawa) has been working in administration for so long that he doesn't really know how to apply for a job. He's upset with his sons, but doesn't really have room to talk. Still, just when and where you least expect it, there is beauty, and sometimes perfection... a sonata... a life. PG-13 for language.
TOKYO TRIBE (NR) 112 minutes * * Described as the "world's first battle rap musical", it's an all out war between the various street gangs of Tokyo. If you don't enjoy rap, this isn't for you, as virtually all of the dialogue is presented in rap format. There's also plenty of hip hop video style, but the story is very thin for a film that lasts this long. Based on the manga, this has lots of style, but lacks the depth that could have made it great.
TOLKIEN (PG-13) 106 minutes * * 1/2 The story of Tolkien's (Harry Gilby/Nicolas Hoult) younger years, making friends at school and dealing with the horror of the early days of World War I. It's a good bio-drama, but it doesn't tie very directly to his writing career, and it skips around a little too much. PG-13 for violence.
TOM AND HUCK (PG) 86 minutes * * Jonathan Taylor Thomas and Brad Renfro star in this retelling of the Mark Twain stories. The stories are timeless and are entertaining in that respect, but the pacing of the film is weak, making it seem much longer than it really is. Thomas and Renfro give reasonable performances, but this looks too much like a film made on a lower budget to cash in on the popularity of its young stars.
TOM AND JERRY (PG) 94 minutes * * 1/2 Not to be confused with "Tom and Jerry: The Movie" despite the fact that the video art for this film says exactly that. Tom and Jerry are at it again in this live action/animation mix. Tom is supposed to get rid of any mice in the Royal Gate Hotel as they prepare to host a major wedding event. The only mouse around is Jerry, and of course, he isn't easy to get rid of. The story is typical of Tom and Jerry, with the two of them getting into lots of trouble. Chloe Grace Moretz plays this well, as she has to interact with Tom and Jerry the most. PG for violence and language.
TOM AND JERRY: COWBOY UP! (NR) 72 minutes * * Bentley is out West visiting his sister Betty on the family ranch. Tom has been in the city with Bentley, while Jerry and his three nephews have been living on the ranch. The ranch is in danger of being sold to an evil neighbor who is trying to acquire all of the land in the area. Tom and Jerry will have to put aside their differences and work together to save the ranch. The story is fine, and so are the instrumental parts of the soundtrack. What we're missing is a couple of good songs to help carry the film.
TOM AND JERRY: SNOWMAN'S LAND (NR) 73 minutes * * 1/2 When Larry the Snowmouse (voiced by Kevin Michael Richardson) magically comes to life, Jerry and his nephew have to help him get to Snowman's Land before he melts. Tom will, of course, do what he can to get in the way and cause trouble for them, making it more difficult to complete their task.
TOM AND JERRY: SPY QUEST (NR) 70 minutes * * 1/2 Tom and Jerry find themselves on an amazing adventure when they stumble into Jonny Quest and his team. As usual, Tom causes lots of problems, though not always on purpose. It's a good thing Jonny and his team are around so they can help set things right. Nice pairing of two classic cartoons. It's a fun adventure for fans of either series.
TOM & JERRY: THE MOVIE (G) 79 minutes * Tom and Jerry are left behind when the family moves and find a friend in Robyn, a runaway child. Filled with villains, this is a cartoon with shoddy animation and little to redeem it in the way of story. Henry Mancini's music is nice, so you might want to buy the soundtrack, just don't waste your time on the movie.
TOM AND JERRY'S GIANT ADVENTURE (NR) 54 minutes * * Tom and Jerry's version of Jack and the beanstalk with a boy and his mother trying to run an old amusement park. In trying to raise money to keep things going, the boys ends up with some magic beans, and you know the rest. Not particularly creative, though fans of Tom and Jerry will enjoy seeing them again.
TOM JONES (NR) 204 minutes * * * Adapted fromo the novel by Henry Fielding, this is the story of a young man struggling against the expectations of society for both himself and the woman he loves. A classic story, and a fine adaptation. Nice work by the cast, led by Solly McLeod in the title role.
TOM SAWYER AND HUCKLEBERRY FINN (PG-13) 82 minutes * * Another retelling of the classic story, which is feeling very dated at this point. It's still a worthwhile story to be aware of, but there are already several other versions that are quite good. PG-13 for violence.
TOMB RAIDER (PG-13) 111 minutes * * 1/2 A prequel to the two previously released Tomb Raider films, with a slightly softer and more sensitive Lara Croft (Alicia Vikander). It's a good story, but not surprising, and there are a few too many ridiculous close calls when what we needed to see were more chase scenes and a little more parkour action. There's room for a sequel to this, so we'll wait and see if that happens. PG-13 for violence and language.
TOMBOY (R) 87 minutes * Determined to prove herself to the boy she has a crush on, Tomasina "Tomboy" (Betsy Russell) challenges him to a race. And just to be clear, she does know a thing or two about cars and racing. The story is two-dimensional, which isn't really a surprise, but the only thing this really has going for it is the soundtrack.
TOMBSTONE (R) 122 minutes * * * Kurt Russell stars in this fun and exciting version of the story of Wyatt Earp. Russell shows his talents as a seasoned professional here, surrounded by a very talented group of supporting actors as well. The most noticeable of these is Val Kilmer, who gives a very memorable performance as Doc Holliday. Definitely one of the more entertaining stories of these legends of the Wild West. R for language and violence.
TOMCATS (R) 90 minutes * A group of young guys make a bet... the last one of them who is able to stay single gets the money they put into an investment each year. When Kyle (Jerry O'Connell) gets himself into some financial trouble and needs the money, he tries to set up the only other guy left. Trouble is, he's falling for the girl himself. Shannon Elizabeth does a nice job, but the script is poorly written and shallow. There are some good outtakes at the end, but that doesn't really say much for the film eaither. Filmed in Los Angeles and Las Vegas. R for language and sex.
TOMMASO (NR) 114 minutes * * * A slice of Tommaso's (Willem Dafoe) life as an American artist in Italy. We witness his creative work, his home life with his wife and young daughter, his addiction therapy group session, and more. There's little in the way of theme here, aside from being a study of Tommaso, so the film tends to just wander through his life, painting a well-rounded picture of an artist's life.
TOMMY BOY (PG-13) 92 minutes * * Chris Farley is Tommy Boy, the new man in charge of the company... look out! Farley's prat falls are good for a few laughs here, but he's most entertaining when playing off David Spade, his straight, serious, and sarcastic comedy partner. One of the better modern comedies of its type, though that isn't really saying a great deal. PG-13 for language.
TOMMY'S HONOUR (PG) 108 minutes * * * Golf was just a game for the aristocracy. That was until Old Tom (Peter Mullan) and Young Tommy (Jack Lowden) came along. Tom tought Tommy the game, and Tommy took the game to the people, and changed it forever. The story does get a little sidetracked with relationship stories that detract from the story of the game, but the strong performances of the leads carry this nicely. PG for language.
THE TOMORROW MAN (PG-13) 92 minutes * * 1/2 Ed (John Lithgow) is always thinking about tomorrow. Specifically about what could go wrong and how to be prepared. When he sees Ronnie (Blythe Danner) in the store one day, he finds her choice of items to purchase rather interesting. They might just have something in common. He also finds her attractive. Fitting a possible relationship into his plans isn't going to be very easy though. It wasn't something he'd really considered. He's an expert at planning for tomorrow, but what about today? It's no surprise that Danner and Lithgow do great work here, but the story lets them down at the end by not going deeper. PG-13 for language.
TOMORROW NEVER DIES (PG-13) 115 minutes * * * Pierce Brosnan's second outing as James Bond fits nicely into the series. There's plenty of action, and the stuntwork during the chase scene on the motorcycle is wonderful. Plenty of tricks and double entendre phrases are sprinkled throughout as well. The biggest complaints are that the villain really isn't that tough of a character, and that we don't get to see enough of Michelle Yeoh, who plays secret agent Wai Lin. A solid entry, but we'll hope Brosnan fares even better the next time out. PG-13 for violence and language.
TOMORROW WHEN THE WAR BEGAN (R) 93 minutes * * When a group of teens return from their camping trip in the Australian wilderness, they discover that their country has been invaded. Now they must learn to fight and to become a team. Not a new idea, but stylish in its presentation and works well as a teaser for the sequels and potential TV series. Adapted from the book by John Marsden. R for violence.
TOMORROWLAND (PG) 121 minutes * * * Scientific curiosity and knowledge draws a man and a boy together, where they will face challenges that will shape the future for everyone. It's interesting that for as much time as is spent in Tomorrowland, remarkably little is actually explained. Raffey Cassidy delivers the standout performance here as Athena. The ending is both powerful and emotional, but also more than a little manipulative. PG for violence and language.
TONE-DEAF (R) 83 minutes * 1/2 Olive (Amanda Crew) needs a break. She just lost her job and her boyfriend in a matter of hours. She rents a country house from Harvey (Robert Patrick). He happens to be a psychopath, but he's trying to keep that a secret. Tongue-in-cheek horror/suspense film, but the script and direction lack the finesse needed to pull it off. A great cast, but they can only do so much when they don't have the support they need. R for violence, language, and sex.
TONI ERDMANN (R) 157 minutes * * * The relationship Ines (Sandra Huller) has with her father is awkward. She's not really person who expresses her emotions. And he doesn't really make it easy for her to say what she feels. Ultimately, this is a very tender portrait of a father and daughter trying to find a way to let each other know about their feelings. It is, perhaps, because of that very struggle that we find these characters appealing. R for sex and language.
TONIGHT SHE COMES (NR) 78 minutes 1/2 On his way to deliver a letter, James (Nathan Eswine) finds the cabin where she lives, but she's not there. Her best friends stop by, so maybe James and his friend can have some fun. Then Kristy shows up... sort of. The story seems to be created as it goes along, with the primary focus being on bloody effects. There are a few moments of something scarier, but they don't last.
TONIGHT YOU'RE MINE (R) 77 minutes * * 1/2 Two musicians from rival bands get in a fight before their gigs at a music festival. A strange man stops by, slips a pair of handcuffs on them and then leaves. Now they have no choice but to work together to find a way out of their situation. Of course, they are drawn closer, but not without some challenges. There's definitely a rough sort of charm here, though acting and dialogue are sometimes less than helpful. Filmed at "T in the Park" in Scotland. R for language and sex.
TONY TAKITANI (NR) * * * Tony (Issei Ogata) has always been a loner. One day, he finds himself attracted to a beautiful young woman. Her obsession with expensive new clothes doesn't bother him, but in the end, it will have more power than he suspects. Heavily narrated, but in a style that creates a particular atmosphere that works for this morality play. Adapted from a short novel by Haruki Murakami, it does sort of "drift off" at the end, but we are still strongly affected by the simple beauty of the story, and by the characters themselves.
TOO BEAUTIFUL FOR YOU (R) 89 minutes * * 1/2 Bernard (Gerard Depardeau) cheats on his beautiful wife Florence (Carole Bouquet) with his rather plain and somewhat overweight receptionist Collette (Josiane Balasko). This starts off well enough, but remains surprisingly shallow and doesn't end well at all.
TOO BIG TO FAIL (NR) 96 minutes * * * dramatization of the 2008 financial crisis on Wall Street. The film features quite a few pieces of actual news footage that enhance believability. The cast is stellar and the story is intense as it really is difficult to understand how people who are supposed to know so much about the system and the process could all fail to fix it before it crashed. James Woods, John Heard, William Hurt, Topher Grace, Cynthia Nixon, Ed Asner, Paul Giamatti, Bill Pullman, and Tony Shalhoub to name a few. From the book by Andrew Ross Sorkin.
TOO CLOSE (NR) 142 minutes * * * When Connie (Denise Gough) drives her car off a bridge with herself and two children inside, no one can figure out why. Dr. Robertson (Emily Watson) is tasked with determining exactly what happened. It's a difficult task since Connie claims that she can't remember anything. It's made even more difficult when Dr. Robertson ha a piece of her own history that she has been hiding. Runs a bit long, but otherwise it's a solid drama.
TOO LATE (NR) 76 minutes * * 1/2 Violet's (Alyssa Limperis) boss is a monster. No, really. When he books people on his show, he eats them. It's Violet's job to keep the meals coming. Then she falls in love with someone, right before Bob (Ron Lynch) books him on his show. Offbeat, dark, and funny.
TOOKEN (R) 73 minutes BOMB Mostly unfunny parody of the "Taken" movies. Really heavy emphasis on sexualized humor. R for language, violence, and nudity.
THE TOOTH FAIRY (NR) 86 minutes * 1/2 More like the tooth witch, than the tooth fairy, but who's being picky? She wants your last baby tooth and your life, and it's up to the young daughter of the new residents to figure out how to defeat the wicked witch. There are a few good special effects here and there, but the story is not well-written and suspense is spotty at best.
TOOTH FAIRY (2010) (PG) 95 minutes * * 1/2 Telling his girlfriend's daughter that there's no such thing as the tooth fairy was not a good idea. Not only is Derek (Dwayne Johnson) in trouble with Carly (Ashley Judd), he's been drafted into service as a real tooth fairy for at least a week. It's not so easy, and he's got quite a bit to learn. Silly, with a somewhat sentimental ending, but it's fun, family entertainment, and few seem to be able to poke fun at their own masculine image with the ease and success of Johnson. PG for language.
TOOTH FAIRY: THE LAST EXTRACTION (NR) 92 minutes BOMB As a child, Corey had a frightening incident with the Tooth Fairy. He's now an adult (Andrew Rolfe) and is chaperoning a small group of young people on a weekend trip along with Dianne (Jo Barker). Stiff and awkward script and very bad effects. Unfortunately, it sets us up for yet another sequel. Also known as Toothfairy 3.
TOOTH FAIRY: THE ROOT OF EVIL (NR) 89 minutes BOMB Fifteen years have passed, and Corey (Jake Watkins) is going to his class reunion. Someone else is coming back too! The Tooth Fairy! Acting, direction, script... take your pick. They're all pretty bad. The poster art looks good though! Also known as Toothfairy 2.
TOOTH FAIRY 2 (PG) 86 minutes * 1/2 Pretty much the same story as the first, but this time it's Larry the Cable Guy who is the tooth fairy. Most of the kids are cute, though one is annoying, and with Larry's humor, this just doesn't have the charm the first one did. PG for language.
TOOTHLESS (NR) 85 minutes * * * Kirstie Alley plays an unwilling tooth fairy in this charming family film. Alley gives us superb performance and the story, though somewhat predictable, is thoroughly entertaining. It's one of those little gems that you might miss just because it hasn't been publicized much.
TOOTSIE (PG) 116 minutes * * * * Hilarious comedy with Dustin Hoffman giving the comic performance of his career as an actor who can only get a job when he impersonates a woman. Jessica Lange is wonderful as his romantic interest. Filled with entertaining characters, this is a real treat to watch. It also happens to feature the film debut of Geena Davis!
TOP CAT: THE MOVIE (PG) 82 minutes * * Top Cat and his friends, along with Officer Dibble are back, but the main conflict here is between Top Cat and Strickland, who is trying to take over the city. Top Cat and his crew are going to have their work cut out for them. The original series of Top Cat cartoons only consisted of thirty episodes, and though it did become a little more popular in syndication, it's still an unusual choice for a feature cartoon. PG for language.
TOP DOG (PG-13) 80 minutes * * Chuck Norris just doesn't have the personal charm (or acting ability) to really pull this off. His martial arts skills receive their nominal showcase. The dog does some cute tricks, but never convinces us that it should really be a police dog. It's grade B material at best, so don't say you weren't warned. PG-13 for violence and language.
TOP FIVE (R) 95 minutes * 1/2 Andre (Chris Rock) is a successful comedian. Now, he has the chance to become a serious actor, starring in his fiancee's (Rosario Dawson) reality show... about their wedding. Dawson does a nice job here. Rock's performance is on and off, with some scenes working well, but others just not very strong at all. There is some entertainment industry insider humor here, though not beyond what most people will be able to catch. The biggest problem is simply that Rock's character just isn't very easy to like, despite what appear to be attempts to make us want to. R for sex and language.
TOP GUN (PG) 104 minutes * * * ½ The United States Navy’s elite flight school is where these students will be put to the test. The are both talented and daring, but do they have what it takes when the pressure is on. What it comes down to is this: if you have to go into battle, who do you want with you? It’s also important to understand that sometimes, you’re not only flying against yourself, but also against the ghosts of your past. Great ending!
TOP GUN: MAVERICK (PG-13) 122 minutes * * * He's back. Still a captain, Maverick (Tom Cruise) is tapped to train some of the best pilots the Navy has for an almost impossible mission. The story is well-done, delivering all of the excitement and energy of the first, but it's missing a little of the darker side that gave the previous film a bit more of an edge. There are some lighter moments, and the cast works well together. Fans of the first film will enjoy this, and it manages to stand fairly well on its own. PG-13 for violence and language.
TOP OF THE LAKE (NR) 338 minutes * * * When Tui (Jacqueline Joe) goes missing, the search not only involves almost everyone, but suspicion falls very clearly on a number of different people. And as the investigation continues, it becomes clear that almost everyone has something to hide. Interesting story that keeps weaving and winding its way as it follows sure leads that end up leading to new ones. A deep and intense story that keeps our attention despite its length.
TOP SECRET (PG) 84 minutes ½ Spy movies get the parody treatment here, along with some war films as the writing/directing team of Jim Abrahams and David Zucker team up again. This sort of humor takes little effort, which shows up pretty clearly in a story that doesn’t even try to hold together. PG for sex and language.
THE TOPP TWINS: UNTOUCHABLE GIRLS (NR) 81 minutes * * * Delightful look at New Zealand's treasure, the Topp Twins. They sing, They yodel. They are lesbians. And they will make you laugh. They are also political activists and just plain and simply inspirational women. The film does a nice job of covering both personal and professional aspects of their lives, and quickly shows why they are so beloved by so many.
THE TORCH (NR) 105 minutes * * * Wonderful look at the life and music of blues guitar legend Buddy Guy. Interviews with Buddy and lots of other guitar players, both old and young. Buddy loves to play with younger guitar players, encouraging them to do and be their best. Generous with his time and talent, Buddy is a legend among legends. A real treat.
THE TORMENTING (NR) 88 minutes * Interested in opening up her own health care facility, The property Amy (Laura Mitchell) finds looks ideal. But something mysterious happened there, and the ghost who had been wandering the halls is now haunting Amy. Director Jaspreet Kaur gives us lots of creepy music, but it's too obvious, and ends up sounding like a bad soap opera.
TORQUE (PG-13) 80 minutes 1/2 Biker gangs and double crosses are the fare of the day here, with lots of bike chase scenes and stunts that have been enhanced a great deal by computer animation. It's far too cartoonish to be believable in the slightest. It does have a nice look, and a few of the performances make it just barely watchable. PG-13 for violence and language.
THE TORTURED (R) 72 minutes * When a distraught couple gets a chance to take revenge for the kidnapping and murder of their only child, they do not hesitate. It's difficult to care all that much though, because we barely get to know anyone here. The entire film seems rushed, and the twist at the end appears to be more of an afterthought than an important part of the story. R for violence, language, and sex.
TOTAL FRAT MOVIE (NR) 90 minutes 1/2 When their fraternity charter is revoked, Charlie (Justin Deeley) and his friends think all is lost. And then they discover a long forgotten clause, and a possibility for reinstatement of the fraternity. No real surprises if you read the title, including how unimpressive the story is.
TOTAL RECALL (R) 108 minutes * * * Doug Quaid (Arnold Schwarzenegger) wants to take a vacation on Mars. When he opts for a memory implant of the vacation instead of actually taking the trip, he discovers that he's really someone else and has been deprogrammed... or is that part of the vacation? Quaid's character never manages to elicit the sympathy from us that he needs to for this to really work well. Schwarzenegger does a nice job, but the script lets him down. And Ronny Cox's villainous character just isn't convincing. Still, the idea is quite good and Rob Bottin's special makeup effects are excellent. R for violence and language.
TOTAL RECALL (2012) (PG-13) 122 minutes * * * Remake of the 1990 film, scripted once again by Dan O'Bannon. Colin Farrell works very well as Doug Quaid, in some ways more believable than Schwarzenegger was in the earlier film. Kate Beckinsale and Jessiaca Biel have the opportunity here to show how easily they can move from action to romance. And the special effects, which were stellar in the first film, are equally so here. All in all, one of the better efforts of remaking a film, especially in the science fiction genre. PG-13 for violence, sex, and language.
A TOUCH OF SIN (NR) 127 minutes * * 1/2 Four different stories dealing with violence and corruption in China. As a whole, the film doesn't work that well. It does cover numerous aspects of Chinese society, which does seem unusual in regard to the censorship that usually happens around the topics covered. Interesting as a curiosity and a more experimental style of Chinese film.
TOUCH OF THE LIGHT (NR) 106 minutes * * * Yu-Siang Huang was blind from birth, but that only seemed to enhance his love of music as well as his talent for playing it. Playing himself, this bio-drama is a beautiful and inspirational story. Very nice supporting work by Lieh Lee, who plays Yu-Siang's mother.
TOUCH THE TOP OF THE WORLD (NR) 88 minutes * * 1/2 Inspirational biographical drama about Erik Weihenmayer (Peter Facinelli), the first blind man to reach the summit of Mount Everest. Suffering from a degenerative eye disease, Erik refuses to let it get the best of him. His attitude inspires those around him, and together, they achieve what some would never think possible. Reasonably good for a TV movie, with nice performances from several in the cast, though Bruce Campbell's is rather wooden, which is not really a surprise.
TOUCHBACK (PG-13) 111 minutes * * 1/2 Everything seems to be falling apart in his life, and Scott Murphy (Brian Presley) wonders what it would have been like if things had been different. It just so happens, that he's going to get that chance. It's a predictable romantic sports drama, but it also manages to pull us into a story that will entertain the whole family. PG-13 for language.
TOUCHED BY GRACE (NR) 92 minutes * When Cara (Stacey Bradshaw) moves to a new town, she's nervous about not having any friends. The she meets Grace (Amber House) and begins to realize that her old friends (along with her mom and a few other people) are bullies, and that isn't who she wants to be. Overly simplified script that paints characters in broad and very shallow strokes. Not that the acting skills of the cast have much to offer. Apart from House and John Franklin Stephens, who both clearly outshine everyone else.
TOUCHED WITH FIRE (R) 101 minutes * * 1/2 Carla (Katie Holmes) and Marco (Luke Kirby) are both bipolar. Refusing to stay on their medications, they land in a psychiatric hospital, where they find each other. That really isn't a good idea, because their manic states tend to amplify each other and grow wildly out of control. Some really nice work by Holmes. R for language and sex.
TOUCHY FEELY (R) 83 minutes * * 1/2 A dentist whose touch suddenly seems to have miraculous healing powers and his massage therapist sister who suddenly finds the idea of touching skin repulsive. They lie at the center of a story about touch, trust, and love. They, and those aronud them, are an iteresting collection of characters, though the story doesn't take advantage of that very well. And the ending is abrupt to the point of making us wonder why it happened that way. R for language and sex.
TOUGH ENOUGH (PG) 100 minutes * * ½ Art Long (Dennis Quaid) is a country musician. Or at least he wants to be. The problem is that he’s not making much money despite his dedication to the craft. After getting into a brawl at a concert, it is suggested that he enter an amateur boxing contest with a nice cash prize amount… which he wins. Now he has a choice to make. Which career should he choose? The story runs out of steam several minutes before the credits roll, but otherwise, this isn’t bad. PG for sex, violence, and language.
TOUGH GUYS (PG) 99 minutes * * * In prison for the past 30 years, Harry Doyle (Burt Lancaster) and Archie Long (Kirk Douglas) have finally been released. The world has changed a bit since the last time they were in it. They quickly realize that the only thing they know how to do is be criminals. (Not an original idea, but the light touches of humor by two talented actors makes it work quite well.) Of course, Harry and Archie even discover that the world of crime has changed too. The supporting cast does a wonderful job here too, and the film is a fun and light-hearted look at two characters who just don’t fit anymore.
THE TOURIST (PG-13) 97 minutes * * * 1/2 Fun adventure film with Angelina Jolie in a role that lets her be wonderfully elegant and mysterious, with just a light touch of humor. And it's the sort of humor that Johnny Depp loves to play with as well, never taking things completely seriously, yet still being adventurous. The sense of humor is classy and sophisticated, with a good deal of the style you might expect in a James Bond film, though there's little of the high end technology or overly dramatic close calls here. Based on the film Anthony Zimmer and filmed in Venice and Paris. PG-013 for violence and language.
THE TOURNAMENT (R) 90 minutes * * 1/2 "Every seven years, in an ordinary town, an extraordinary event takes place." The world's greatest assassins come together for a challenge that will leave only one of them standing. As the event begins to unfold, a priest (Robert Carlyle) finds himself in the middle of the event, and mistaken for a competitor. Nice stunt work and effects, though the inclusion of Carlyle's character doesn't really help the story. R for violence, language, and nudity.
TOWELHEAD (R) 110 minutes * * * Coming of age can be rough. Jasira (Summer Bishil) is sent to live with her Lebanese father, whose more strict approach is supposed to keep her under control. But Jasira's budding sexuality isn't so easy to contain. If anything, her father's tougher style of parenting is apt to push her to do something extreme even more quickly. Edgy and controversial film adapted from Alicia Erian's novel. Writer/producer/director Alan Ball dealt with similiar material in "American Beauty" as a writer/producer, though from a slightly different angle. R for sex and language.
TOWER (NR) 77 minutes * * * August 1, 1966 was the day that a shooter kille 16 people as he took aim at the people below the clock tower on the campus of the University of Texas. Archival footage, witness testimony, and animation are combined here to tell the story of what happened that day. Part history and part tribute. Nicely done.
TOWER HEIST (PG-13) 99 minutes * * 1/2 When you find yourself having been taken for your money, wanting revenge is natural. These guys take it a step farther and plan to rob the person who did it to them. Well, "plan" may be an overstatement. Predictable story, but there are some moments of suspense, and the ensemble cast manage to keep things entertaining for most of the film. Eddie Murphy, Ben Stiller, Casey Affleck, Tea Leoni, Alan Alda, Matthew Broderick and Gabourey Sidibe, just to name a few of the them. PG-13 for language and sex.
THE TOWERING INFERNO (PG) 165 minutes * * * One of the 1970's classic disaster films, this won Oscars for cinematography, editing, and song. An all-star cast including Steve McQueen, Paul Newman, William Holden, Faye Dunaway, and Richard Chamberlain try to survive in a burning skyscraper. Exciting and entertaining even though it suffers from the usual problem of stretching things a bit too far at times.
THE TOWN (R) 119 minutes * * * Robbing banks is what they do in this town. But there always seems to be one more job, even when you think it's time to get out. Doug (Ben Affleck) has an even better reason to get out now, as his relationship with Claire (Rebecca Hall) is growing stronger every day. But he's not telling her everything. Nice work by Affleck and Jeremy Renner, as the friend who is trying to keep him in the game. R for violence, language, and sex.
TOWN & COUNTRY (R) 97 minutes * * 1/2 Despite a fine cast, this comedy of affairs just never quite hits the mark. It's a story that reminds us of great stories we've heard from Neil Simon and Woody Allen, but the depth and strength are missing. It's not bad, it just keeps missing that edge. What a cast though, Warren Beatty, Diane Keaton, Goldie Hawn, Nastasia Kinski, Gary Shandling, Andie McDowell, Jenna Elfman... it's worth a look for them, just don't expect too much from the story. R for sex and language.
A TOWN CALLED PANIC (NR) 71 minutes * * French claymation film. Indian and Cowboy forget Horse's birthday. They decide to build him a barbecue, but instead of ordering 50 bricks, they order 50 million bricks. In an effort to find a solution with how to use or dispose of so many bricks, they encounter numerous other problems. Interesting and unusual at times.
THE TOWN THAT BANNED CHRISTMAS (NR) 80 minutes BOMB Not every holiday film is a good one, and this is a great example. Neigbors feuding over the best decorated yard contest (hmmm, where have we heard THAT before) end up causing the town to ban the decorations altogether. Which is, of course, what someone should have done with the film itself.
THE TOWN THAT DREADED SUNDOWN (R) 81 minutes * 1/2 This is not a remake of the 1976 film, nor is it exactly a sequel. Part homage, and part re-imagining of the story. Where it struggles is in turning what was a slasher horror film into more of a mystery/suspense. The overall structure works, but the mood just doesn't work well. R for violence, sex, and language.
TOXIC SHARK (NR) 81 minutes 1/2 It's a beautiful tropical island, and a great place for a singles retreat. At least that's how it's supposed to be. A shark that can shoot acid at people has other ideas. Mildly gruesome effects when the shark bites people, and the soundtrack isn;t bad. Otherwise, this is just another silly, and bad, shark movie with people who don't know how to act... in a crisis or in a movie.
TOXIN (NR) 75 minutes * A deadly virus needs a vaccine, which will be developed in a secret laboratory. The story lacks energy and doesn't really generate much interest. That makes for a rather slow-moving and dry film that feels much longer than it is. Even by the end, we feel little connection with any of the characters.
THE TOY (PG) 109 minutes * * * Eric Bates (Scott Schwartz) is a rich, spoiled brat. When his father (Jackie Gleason) offers to buy him anything in the store, Eric chooses the janitor (Richard Pryor) who has made him laugh. Bought as a toy for a boy, Jack slowly begins to teach Eric what it means to be a friend and to have a friend. Nice message, and a more serious tone that most of Pryor’s films, though there is still plenty of comedy here. It’s just nice to see a film with a little more depth for Pryor to work with. PG for language and sex.
TOY GUN (NR) 96 minutes * * To convince his ex-wife (and himself) that he has courage, Ruggero (Luke Allen-Gale) robs a bank. It ends up not proving anything, except perhaps, how inept the local police are. Mildly funny dark comedy, but the writing doesn't have the sharp edge or wit that it needs to set it off.
TOY SOLDIERS (R) 105 minutes * * 1/2 A prep school for boys is taken over by Columbian terrorists, but the boys fight back. OK. Not what you'd call believable, but... it actually doesn't come off too badly, thanks to the talents of the cast. Sean Astin, Wil Wheaton, Lou Gossett Jr. and the rest, do a good job of keeping us entertained. It would have been nice to have learned a bit more about their characters though... R for language and violence.
TOY STORY (G) 76 minutes * * * * Pixar studios set a new mark for animated motion pictures with this top-notch piece of computer animation. The hilarious story of Woody and Buzz, and the friendship they create together has the usual mix of adult humor and entertainment for children that you find in most cartoons. Randy Newman's song, "I Will Go Sailing No More" is a classic, and you will find this a film you want to watch over and over, with or without your kids.
TOY STORY 2 (G) 85 minutes * * * 1/2 This is just about as good as you can hope for a sequel to be. The boys are back and this time Buzz needs to save Woody from the clutches of a toy collector. The story is a delight, adding just a few new characters and giving more depth to most of those that appeared in the first film. There's even a guest appearance from Pixar's short film about a chess player. Where the film falls short is in the music department. Only two new songs this time, with "Woody's Roundup" being very mediocre, although "When She Loved Me" is nice. And don't miss the short film at the beginning that tells the story of the Pixar lamp... it's hilarious!
TOY STORY 3 (G) 94 minutes * * * Andy is going to college and leaving his toys behind. They were supposed to be stored in the attic, but end up at a day care where some other, rather mean toys, make sure that they don't enjoy the experience. But never fear, Woody and Buzz and the rest of the gang will figure their way out of this and end up just where they need to be. (Bring your handkerchief.) The story works well, which is no surprise with a Pixar film, though it does rely heavily on the earlier films. The music is a bit of a disappointment, with little to speak of aside from a Spanish language version of "You've Got a Friend in Me", performed by the Gipsy Kings.
TOY STORY 4 (G) 89 minutes * * * 1/2 On Bonniee's first day at kindergarten, she makes a new friend. His name is Forky. Now, it's up to Woody to teach Forky what it means to be a toy. Very cute story, perhaps even more sentimental than the previous one, but also opening up possibilities for more sequels and introducing several new characters. There is a part of the story that can be a little scary for some, but it doesn't last too long.
TOYS (PG-13) 115 minutes * * * Technically, this film is a wonder, with sets and props that are simply amazing. There is a strange mix of styles that is certainly not appealing at first glance, and which will turn most viewers off rather quickly. Director Barry Levinson gives us a unique look at the importance of toys and play in our lives. Solid performances from Robin Williams, Joan Cusack, LL Cool J help make it work, and be sure to really listen to the Christmas song, "The Closing of the Year". PG-13 for violence and language.
TRACERS (PG-13) 88 minutes * * In trouble with the Chinese mafia, bike messenger Cam (Taylor Lautner) hooks up with a group who spend their days doing parkour. Great parkour stunts, but the story is very thin, despite a couple of twists. And it all wraps up a little too neatly. PG-13 for violence, sex, and language.
TRACES OF RED (R) 101 minutes * * * Plenty of twists, turns, false leads, and more fun things to keep you interested. James Belushi stars in this modern film noir with Lorraine Bracco as the sultry and mysterious Ellen Schofield. The film begins with Belushi's death and retraces the steps that result in that event. Fun to watch, but don't expect to have it all figured out very early on. R for violence, language, and sex.
THE TRACEY FRAGMENTS (R) 73 minutes * * * 1/2 Tracey Berkowitz (Ellen Page) is fifteen years old and just a normal girl who hates herself. Her life has felt torn in many directions, but it gets even worse when her little brother goes missing... the little brother she feels responsible for. The screenplay by Maureen Medved, is an adaptation of her own novel, and paints a picture of an adolesence that is both normal and twisted. Director Bruce McDonald creates a picture that is a visual patchwork of images that are both beautiful and disturbing. And Ellen Page delivers a performance that draws us in to a character who we are drawn to, while at the same time repelled by. R for language, sex, and violence.
THE TRACKER (R) 82 minutes * 1/2 Fifteen years ago, Aiden's (Dolph Lundgren) wife and daughter were killed. When a detective calls to tell him he's found something new, Aiden goes to meet him. But now the detective is dead, and Aiden is left to follow the clues on his own. It's a good thing his father taught him tracking skills. Thin story, and poorly paced, though Lundgren does what he can with it. R for violence and language.
TRACKS (PG-13) 106 minutes * * * It will be a 1,700 mile journey across the deserts of Western Australia. Robyn Davidson will accomplish the feat with only her dog and four camels. A remarkable feat, and one that few people thought she could complete. Nice work by Mia Wasikowska and gorgeous scenery in this bio-drama. PG-13 for language and nudity.
TRACKTOWN (NR) 84 minutes * * * Taking a day off is something Plumb (Alexi Pappas) doesn't do. She's training for the Olympics and can't afford to waste time. But a twisted ankle forces her to stop for a day. It's a day that changes everything. Awkward, yet sweet story of a slightly older than most coming-of-age. Co-written and co-directed by Pappas, who also performas the lead character very well. Filmed in Eugene, Oregon.
TRADE (R) 115 minutes * * 1/2 When Jorge's (Cesar Ramos) little sister is kidnapped, he will stop at nothing to rescue her and keep her from becoming another victim of the sex trade. His search leads him to Ray (Kevin Kline), who is still looking for his own daughter, kidnapped by sex traffickers several years earlier. The story is definitely intense, and Ramos does an excellent job. Kline seems almost emotionless until toward the very end of the film, and it doesn't seem to fit the story. R for sex, violence, and language.
TRADED (NR) 94 minutes * * Soon adter the death of his son, Clay's (Michael Pare) daughter goes missing. To track her down, he will have the help of an unlikely companion. That help will come in handy, as they will have to deal with some very nasty individuals, who will put his skills as a gunslinger to the test. Violent western. The ending doesn't quite fit, but getting there isn't bad. No surprises, but Pare does well, and it's always nice to see Kris Kristofferson.
TRADERS (NR) 88 minutes * * 1/2 Vernon (John Bradley) has an idea. What if you cashed out your life and fought someone to the death. The winner gets the money. His first trade is with Harry (Killian Scott). Only, things don't go quite like Vernon planned. Interesting ending that leaves us wanting more. Nice work by Scott in an unusual story.
TRADING PAINT (R) 81 minutes * * Racing Legend Sam Munroe (John Travolta) is struggling financially. That means his son Cam (Toby Sebastian) is having a hard time winning any races because the cars just aren't very good. The movie struggles as well, with an overly simple plot. Kevin Dunn delivers a nice supporting performance, but Shania Twain needs to stick to her musical career. R for language.
TRADING PLACES (R) 114 minutes * * * What makes you who you are… environment or heredity? The Duke brothers decide to conduct an experiment. They take one of their employees, Louis Winthorpe III (Dan Aykroyd), have him arrested, shunned by his friends, and take away his job and his home, giving it all to Billy Ray Valentine (Eddie Murphy) who is a street hustler. The stereotypes are a bit much, but the performances are quite good, and the story definitely makes some good points. R for sex, language, and violence.
TRAFFIC (R) 140 minutes * * * Sweeping and somewhat numbing look at drug trafficking. At times this has the feel of a documentary, but at other times, it's so scattered that we almost become disinterested. The cast is impressive, with Michael Douglas, Albert Finney, Catherine Zeta-Jones, Dennis Quaid, Benicio Del Toro, Majorina Delfino, Don Cheadle, Amy Irving, Miguel Ferrer... it's almost as numbing as the story. The biggest drawback is that despite how effect the film is at showing us how pervasive and difficult the drug industry is, we have a rather upbeat ending. It feels a bit too patronizing. R for language, violence, and sex.
TRAFFIK (R) 91 minutes * * With their relationship getting more serious, John (Omar Epps) plans a getaway weekend to propose to Brea (Paula Patton). But a confrontation with a biker gang is going to lead to some major problems for their weekend. Somewhere near the end of this film, it circles back to the beginning and reminds us that though the bulk of the film is a suspense/thriller, it's really about justice and the empowerment of women. It's a good message, but an awkward way to get the point across. R for violence, language, and sex.
THE TRAGEDY OF MACBETH (R) 102 minutes * * * 1/2 The classic Shakespeare tragedy about the pursuit of a crown. Starring Denzel Washington as Macbeth and Frances McDormand as Lady Macbeth. Perhaps a bit more violent of a retelling, which the black and white photography somehow manages to highlight. Beautiful sets and photography. R for violence.
TRAIL OF TEARS: CHEROKEE LEGACY (NR) 110 minutes * * * Documentary look at the events surrounding the relocation of the Cherokee people to the Oklahoma Territory. The film details their proud history, their attempts to peacefully resist, and the indomitable spirit of the Cherokee people that continues to survive.
TRAIL OF THE PINK PANTHER (PG) 92 minutes * * ½ Inspector Clouseau (Peter Sellers) has gone missing, and the search is on. The script is clever, combining a sense of mystery while at the same time honoring the memory of the talented Sellers, who did such an amazing job playing the character over the years. This won’t mean as much to those who aren’t as familiar with the previous pink panther films, but for those who are, this is a treat and a very fitting homage. PG for language.
TRAILER PARK BOYS (R) 88 minutes * 1/2 Based on the Canadian television comedy series, this follows Ricky Julian and Bubbles in their misguided efforts to make a few dollars and mostly stay out of too much trouble. They usually fail, but somehow we still find ourselves liking them. Perhaps it's because some of the other people here are even worse losers... If you enjoy the TV show, you'll find this fun too. R for language and sex.
TRAILER PARK BOYS: COUNTDOWN TO LIQUOR DAY (R) 96 minutes 1/2 The boys are out of jail now, and Julian wants to go straight, but Ricky just wants to sell more dope and make some easy money. And, of course, Bubbles just wants his cats back. More annoying than the first film, though fans of the series are still likely to enjoy it. R for language and sex.
TRAILER PARK SHARK (NR) 84 minutes BOMB When a tropical storm wipes out a trailer park, the residents find themselves facing off with a shark that comes up the river. This tries desperately to be so bad that it's funny, but it just succeeds at being bad. Not nearly as much fun as any of the Sharknado films.
TRAIN TO BUSAN (NR) 114 minutes * * 1/2 A zombie outbreak in South Korea means some serious trouble for the people on the train from Seoul to Busan. The cast perform well, and the suspense is good, especially considering the limited setting. It does drag on a little long.
TRAIN TO BUSAN 2 (NR) 111 minutes * * 1/2 It's been four years, and the zombie virus has spread. All of South Korea is infected. Jung-seok (Dong-won Gang) agrees to go back and retrieve a truck full of money. They are a team of four, but the zombies aren't the only things they'll have to worry about. The setting this time allows for a greater variety of action and lots of vehicular animation, both in chase scenes and as they run over zombies by the hundreds.
TRAINING DAY (R) 115 minutes * * * New recruit Jake (Ethan Hawke) gets a taste of the wild side when his first day on the job as a police office on the narcotics squad puts him under the guidance of Alonzo Harris (Denzel Washington). Alonzo's methods are not what he's used to and ethics are definitely going to be put to the test. Street justice is a different sort of creature, and is far more harsh than the courts, as both Jake and Alonzo will discover on this particular training day. Nice job by both leads, though the film gives away it's ending far too early to try and keep us going for this long. R for violence and language.
TRAINSPOTTING (R) 90 minutes * * * Taken from the novel by Irvine Welsh, this is an in-your-face look at the world of drugs. Sick Boy and Renton are the two characters who are the most interesting to watch, but this film takes awhile to get used to. Images of filth are constantly around to remind us how bad things are and that might be more than most audiences can handle. It has a rather large following among the young crowd and is worth watching if you know what you're getting into. R for language, violence, and sex.
TRAINWRECK (R) 123 minutes * * * Amy (Amy Schumer) never thought she'd have to deal with the question of getting married. There are so many reasons not to. And then she met Aaron (Bill Hader). Schumer pulls out all the stops here, especially toward the end, to deliver a fine performance. At its core, this is a sweet and sensitive love story, but it's also filled with lots of rude and crude humor. That's the same format with which another fine comedian by the name of Adam Sandler has had a great deal of success. R for sex and language.
TRAITOR (PG-13) 108 minutes * * * FBI agent Roy Clayton (Guy Pearce) has been investigating a series of terrorist bombings that may be linked. Part of what appears to be linking them is that Samir Horn (Don Cheadle) seems to be involved. But exactly how is he involved? Horn is an American Muslim, and a former U.S. Special Forces operative. Plenty of twists and turns in the story, and the tension builds well throughout the film, thanks in no small part to another fine performance by Cheadle. PG-13 for violence and language.
THE TRAITOR (2019) (R) 144 minutes * * 1/2 Tommaso Buscetta (Pierfrancesco Favino), the first informant to speak against the mafia. They had been in power for a long time, but the 1980s would see a shift in that power thanks to Buscetta. The film is primarily about the accusations and the trial. Even so, it tends to skip through most events, summarizing them to cover the main points, with brief pauses that go into more detail. Even with a run time that's almost two and a half hours, it feels like a condensed version of a story. The acting is good, and so are the production values, but the script is a bit rough. R for violence, sex, and language.
TRAITORS (NR) 80 minutes * * 1/2 Traitors is an all-girl punk rock band. Malika (Chaimae Ben Acha) runs the band, but success isn't coming easily. She needs some money fast, both for the band and for her family, and she chooses to take a big risk to get it. The story wanders quite a bit, but the cast works with it and generate an appeal in spite of it.
TRANCE (R) 96 minutes * * * The theft of this particular piece of art should have been easy, but a concussion leaves Simon (James McAvoy) with no recollection about where he hid the painting. People on both sides of the law are after it, but without hypnotherapy, Simon may never remember. But just who is hypnotizing who? Filled with twist, turns, and a very classy ending. McAvoy does a nice job here, though the rest of the cast could have done a little better. R for sex, violence, and language.
TRANSAMERICA (R) 99 minutes * * * Bree Osbourne (Felicity Huffman) just wants to get to Los Angeles to have the sex change operation that has been scheduled. But then the phone rings. It's Toby (Kevin Zegers), a son that Bree didn't know existed. They end up on a cross-country trek that teaches them alot about each other, about their family, and about what's important in life. Superb performance from Huffman that earned her a Golden Globe award and an Oscar nomination. There's a bittersweet sense of humor to the story, but it would have been more effective if kept a bit more in the background rather than making light of the struggle the characters are experiencing. R for sex and language.
TRANSCENDENCE (PG-13) 111 minutes * * * Exploring the possibilities of artifical intelligence can be dangerous. When an attempt is made on Will's (Johnny Depp) life, the decision is made to upload his consciousness into a program where it can "live". While fascinating and exciting to some, others are very frightened by what is happening and will stop at nothing to put an end to it. Especially when this new "life" begins to enhance and network human beings. The ending is a little less satisfying than the rest of the film. PG-13 for violence, language, and sex.
THE TRANSFIGURATION (NR) 92 minutes * * 1/2 A fan of vampire films, Milo (Eric Ruffin) considers himself to be one. Living in New York, in a neighborhood where death is commonplace, it's not difficult for him to find his "victims". He meets Sophie (Chloe Levine), a depressed girl of about the same age, and they begin to spend time together. It begins to change his perspective. A gentle and introspective piece, despite the violence that is an integral part of the story.
TRANSFORMERS (PG-13) 135 minutes * * * This is the movie that all of the fans of the old cartoon and it's toy merchandise have been dreaming of! The Autobots and the Decepticons battle each other with the fate of the human race hanging in the balance. No surprises there, and no surprises with only the younger humans really understanding which robots are the good ones. Director Michael Bay loves to pack his films with action, and this one is no exception. And the animated transformations are quite well done, though often so fast that it difficult to see very much. It does run a bit long, but we actually don't notice until close to the end. PG-13 for language and violence.
TRANSFORMERS: AGE OF EXTINCTION (PG-13) 157 minutes * * The autobots are in hiding and turn to a couple of humans for help. Or, that's the more simple version of the story anyway. It's actually a little more confusing than that with the subplots, and with everything being blown up, killed, chased, or morphing into something else. The action and CGI effects are so constant that its almost mind-numbing, which, considering the length, might not be a bad idea. PG-13 for violence and language.
TRANSFORMERS: DARK OF THE MOON (PG-13) 146 minutes * * * It turns out that the Apollo mission to the moon was a little more than what the general public was told. What's worse, the Decepticons trick Optimus into helping them and it's going to spell disaster for the Earth. Can Sam (Shia LaBeouf) and his friends figure out how to turn the tables on the Decepticons? Typical hard-core, non-stop action from director Michael Bay. (Which sacrifices logic at times, but is definitely exciting to watch...) PG-13 for violence, language, and sex.
TRANSFORMERS PRIME: DARKNESS RISING (NR) 103 minutes * * 1/2 Megatron and the Decepticons are causing trouble again. Optimus Prime and his crew have some new young human friends who will prove to be quite helpful despite their lack of experience in the ways of their new alien friends. This was originally shown as the first five episodes of the TV series, but works quite well as a complete story arc.
TRANSFORMERS: REVENGE OF THE FALLEN (PG-13) 143 minutes * * * The Autobots are working with a select group of humans (NEST) to hunt down the remaining Decepticons. Meanwhile, Sam (Shia LeBeouf) is just trying to have a normal first year at college. Unfortunately, the Decepticons have found a way to resurrect/reactivate Megatron. Plenty of action and quite a few more transformation sequences, which is what all of the fans were asking for. Nice work! Some nice bits of humor scattered throughout as well. PG-13 for violence and language.
TRANSFORMERS: RISE OF THE BEASTS (PG-13) 114 minutes * * * 1/2 The Earth still needs protecting. In the 1990's the Autobots meet the Maximals. The Maximals have worked with humans for years. This helps Optimus Prime understand how important that collaboration can be, as they all work together to keep Earth safe. Great effects, and a very nice performance by Anthony Ramos as Noah Diaz, a human friend to both the Maximals and the Autobots. A very nice entry in the series. PG-13 for violence and language.
TRANSFORMERS: THE LAST KNIGHT (PG-13) 145 minutes * * 1/2 With Optimus Prime away from Earth on a mission to find his maker and restire Cybertron, the Autobots and Decepticons are at war again. But there are some humans who are about to discover the true history of Transformers on Earth. The action is almost mind-numbing, with a story that doesn't get enough dialogue to lay out what is happening. There are some good characters here that we just don't get to see enough of, and a few others who are too silly to even warrant the screen time they do have. PG-13 for violence and language.
THE TRANSFORMERS: THE MOVIE (PG) 79 minutes ½ Another battle between the Autobots and the Decepticons, though this one is interrupted by the appearance of a giant, planet eating transformer that neither group has seen before. An impressive voice cast, featuring Orson Welles, Eric Idle, Leonard Nimoy, Robert Stack, and Judd Nelson. Sadly, that is really the best part of the film. The animation is cheap and choppy, and the first third of the film is little more than a series of attacks and explosions, with very little in the way of a story.
TRANSFUSION (R) 98 minutes * * One more time, and Billy (Edward Carmody) will be sent to juvie and taken away from his dad (Sam Worthington). There are reasons that explain why Billy is a troubled teen and why his father struggles with being a single parent. We slowly learn about them through numerous flashbacks and a very slow-paced story. We also eventually learn the meaning of the title of the film as well. Lots of heart here, but it just isn't put together all that well. R for violence and language.
TRANSIT (R) 83 minutes * On a camping trip that was supposed to bring the family closer, they will instead find themselves on the run from some very violent criminals. Though the criminals here are violent enough to be appropriately frightening, they make so many mistakes that it ruins their credibility. Jim Caviezel's character has the same problem as his portrayal of the father works well at times as he tries to protect his family and himself, and at other times is just unable to make us believe what is happening. Too many times the script goes for a sensational moment over establishing credibility. R for violence and language.
TRANSIT (2018) (NR) 98 minutes * * * He was just trying to find passage out of the country. Georg (Franz Rogowski) finds himself falling in love with a mysterious woman who also happens to be the wife of the man whose identity he has assumed. The story twists and turns, almost losing us, much as Georg keeps missing his way out of France, only to find it again. It's a story of love that lives in fleeting moments, never truly realized, but always hoped for.
THE TRANSPORTER (PG-13) 87 minutes * * Despite boasting the talents of director Cory Yuen and screenwriter Luc Besson, this is a rather disappointing action/thriller. Jason Statham plays the part of a man who moves things for a fee. Unfortunately, he breaks his own rule by looking into a package and getting involved more deeply than he is supposed to. There are plenty of very impressive stunts throughout the film, but the film quickly becomes more about setting up the next stunt than about telling us the story of this character and his rather interesting job. PG-13 for violence.
THE TRANSPORTER: REFUELED (PG-13) 91 minutes * * 1/2 Ed Skrein takes over the role of Frank Martin, and while that does mean a slightly different approach, the issue here is really more one of the story. The action is less intense and relentless than the first three films, and although there's already a TV series that has come and gone, this feels more like a pilot for that than it does a feature film. PG-13 for violence, sex, and language.
TRANSPORTER 3 (PG-13) 98 minutes * * Frank (Jason Statham) has always loved his car. Now he can't be more than 75 feet away from it without setting of an explosion that will kill him. It's an interesting twist to the story. The not so interesting twist is the addition of a girl. Obviously, the attempt is to spice up the story a bit, as it's getting a little repetitive the third time around. Filled with the usual chase scenes and fight choreography by Cory Yuen. PG-13 for violence and language.
TRANSPORTER 2 (R) 81 minutes * * Action-packed, stunt-filled sequel, but there's even less story than there was the first time. Jason Statham plays the part well, but we know he's going to make it and the stunts get cartoonish and more unrealistic as the film progresses. R for sex and violence.
TRANSSIBERIAN (R) 106 minutes * 1/2 Travelling from China to Moscow, across the frozen landscape of Siberia, Roy (Woody Harrelson) and Jessie (Emily Mortimer) share their compartment with another young couple. But something isn't quite right, and they soon discover that their new "friends" have some secrets, and that this cross-country journey is about to become more frightening than they ever dreamed. Few of the performances here are very convincing, and the story itself doesn't help much. In fact, the final scene makes little sense and would have been far better if we had seen a dog ripping into the jacket instead of what we are shown. (Don't worry, that doesn't really give anything away.) R for violence and language.
TRANSYLVANIA 6-5000 (PG) 92 minutes * 1/2 Two reporters are sent to get a story on the Frankenstein monster or they will lose their job. They aren't very good at reporting, or finding the monster, and the script seems more concerned with bad jokes and silliness than anything else. Undoubtedly a riot to work on, but it just doesn't carry across to the audience very well. PG for sex.
TRANSYLVANIA TWIST (PG-13) 82 minutes * 1/2 Campy send-up of horror films with "guest stars" from "Friday the 13th", "A Nightmare on Elm Street", "Texas Chainsaw Massacre", "Hellraiser", "Poltergeist", and "Phantasm". Corny and cheap, but at least this film never takes itself too seriously, which gives it an edge over a few others in this genre.
TRAP FOR CINDERELLA (NR) 96 minutes * * A tragic accident leave a young woman with amnesia. She is slowly remembering things, but it's complicated by how intertwined her life is with that of her best friend, who died in the accident. Is she Micky (Tuppence Middleton) or Do (Alexandra Roach)? The script has a little noir touch, but it wanders aimlessly and lacks the clever intrigue it needs. The ending has some strength, but it's too little too late.
TRAPPED (R) 103 minutes * * It's the perfect kidnapping setup, and it's worked every other time. But this time they're dealing with a child with severe asthma and parents who aren't so willing to play the game by the rules that have been outlined. Dakota Fanning delivers an amazing performance as Abby, Kevin Bacon is wonderfully evil, and the suspense is kept fairly high throughout the film. But the story falters at the end and decides to wrap up the story with an absolutely ridiculous multi-vehicle crash on the interstate. R for language and violence.
TRAPPED ASHES (R) 99 minutes * 1/2 Anthology horror film that begins with six people taking a movie studio tour where they end up in a mysterious house that was used as a set for a horror film in the past. They find themselves trapped, with the only hope of exit being a repeat of the plot of the film. They must each tell a personal horror story. Fun idea and nice to see Henry Gibson as the tour guide and Dick Miller as the gatekeeper. The stories are a combination of campy and creepy, and don't fit together that well though. R for sex, violence, and language.
TRAPPED IN PARADISE (PG-13) 108 minutes 1/2
Dana Carvey and Jon Lovitz get their "brother" Nicolas Cage out of prison and decide to rob a bank. But it's such a lovely little town full of nice people... and it's the Christmas season too. Unbearably long story with too few genuinely fun moments. Lovitz whines his way through the film, Carvey is annoying, and Cage looks like he's trapped in a film he'd rather not be in.
TRASH (R) 109 minutes * * *
Three boys in Brazil find a wallet at a dump site. This particular wallet holds secrets that many people are interested in. And these people will do just about anything to retrieve this wallet. But the boys are determined to do the right thing. Very nice work by the cast. R for violence and language.
TRASHED (NR) 91 minutes * * 1/2
Pollution is a worldwide problem. Jeremy Irons takes us around the world to look at the problems of waste disposal and how it continues to evolve. This documentary definitely leans more toward the British viewpoint, which is not good or bad, just a point of information.
TRAUMA (NR) 137 minutes * * *
Dr. Allerton (Adrian Lester) is an excellent trauma doctor. When a boy with a tricky stab wound comes in one night and dies on the table, the boy's father (John Simm) is sure that the doctor is to blame. Solid drama with nice work by both Lester and Simm.
TRAUMA CENTER (R) 82 minutes * 1/2
Madison (Nicky Whelan) doesn't like hospitals, Now, she's trapped in one with a couple of vice cops who want her dead. At the very least, they want the bullet that's still in her leg because it's incriminating evidence against them. Bruce Willis makes a few unenthusiastic appearances, but this story has one illogical, unbelievable circumstance after another. It does manage to create a little suspense, though the ridiculous circumstances grow tiring as well. R for violence and language.
TREASURE BUDDIES (G) 88 minutes 1/2
Mud Bud's great grandfather was a treasure hunting dog, so it's time for the pups to go on another adventure. For some reason, the story is focused more on the humans than the puppies, which makes it less cute and less appealing than the other films in the series.
TREASURE OF THE FOUR CROWNS (PG) 97 minutes * * *
Action-packed adventure featuring lots of 3-D effects that work very well. The dialogue is a little on the corny side, but this is aimed at a relatively young crowd and is all about the fun energy of the search and the chase. It manages to get a little better as it goes along, though the ending does leave some questions.
TREASURE PLANET (PG) 88 minutes * * 1/2
Nice, quickly-paced modernization of the classic Treasure Island story. Set in the future, this young Jim was raised on the legends of pirate treasure hidden on a remote planet, only to find out that the legend is true. Good animated and a nice soundtrack from James Newton Howard make this a nice little adventure film. Come of the character voices are provided by Joseph Gordon Levitt, David Hyde Pierce, Emma Thompson, and Martin Short. PG for violence.
TREASURE RAIDERS (PG-13) 84 minutes *
Professor/race car driver/treasure hunter Michael Nazzaro (Steven Brand) searches for a treasure that is buried in Moscow. Really low budget and not much else, though David Carradine and Sherilyn Fenn are both here. PG-13 for violence.
THE TREATMENT (NR) 121 minutes * * *
Nick's (Geert Van Rampelberg) brother disappeared when he was nine years old. It's something that lurks in the background, no matter how much time goes by or how many criminals he brings to justice. His current case, involving a sex offender who is torturing one family after another, is bringing it all back in a fresh and frightening way. An intense thriller with solid performances by the entire cast.
THE TREE (NR) 97 minutes * * 1/2
The sudden loss of her husband has Dawn (Charlotte Gainsbourg) struggling for understanding. Trying to begin again with four young children won't be easy. Simone (Morgana Davies) is convinced she hears her father in the rustling leaves and creaking limbs of the huge fig tree near their home. Delightful performance by Davies. The end of the film seems a little awkward, as though a fairly large piece of the story is missing. Or maybe its just that the resolution comes too quickly and feels incomplete.
THE TREE OF LIFE (PG-13) 133 minutes * * *
Visually stunning images of nature and the cosmos help us explore the maning of life and how it relates to us. Set against this is the story of a family, coping with a loss that will affect their entire lives. Beautiful symbolism, though at times the film becomes overly abstract, losing some of it's strength as it does. PG-13 for violence.
TREEHOUSE (NR) 96 minutes * 1/2
A series of kidnappings has this small town on edge. Killian (J. Michael Trautmann) has discovered who the perpetrator is, but what will he be able to do about it? Good production values and acting, but the story has little substance or logic, which leaves us with next to nothing by the time we get to the end.
THE TREES HAVE EYES (NR) 73 minutes BOMB
A group of bounty hunters head into the woods to track down a violent man. In no time at all, they run into a zombie. But this zombie is only the first. The film begins with an interesting idea, but that doesn't last long. Poor script, acting, and direction leave us with a story that just doesn't work. The ending is weak as well, but by the time we get there, we're just glad it's over.
TREK NATION (NR) 85 minutes * * *
Gene Roddenberry's son, Eugene, explores the Star Trek legacy, and in turn, discovers his father as well. It's interesting to hear this from a different and very personal perspective, though the focus is primarily on the original series and "Next Generation". It's as much an homage from Eugene to his dad as anything else, but nicely done.
TREMORS (PG-13) 91 minutes * * 1/2
Is it caused by a nuclear mutation? Was it a government experiment that went wrong? Are these creatures from outer space? Who knows? Who cares? There are four nasty slug monsters that are tearing up the ground and eating people near the town of Perfection. That much we do know. Filled with both horror and pure corny humor, this is reminiscent of the old "b" horror flicks of the 1940's and 50's. It's a fun film for those in the mood for some light-hearted, slightly scary entertainment. PG-13 for language.
TREMORS: A COLD DAY IN HELL (PG-13) 94 minutes * 1/2
Bart (Michael Gross) is still tracking down Graboids and eliminating them. He's also recently been diagnosed as having a Graboid poison in his system that will kill him if it isn't treated soon. He and Travis (Jamie Kennedy) are on their way to the far north Nunavut Territory of Canada where a group of Graboids have recently appeared. Much trouble ensues. Filled with the puns and bad jokes that fans of the series will enjoy, but the monsters aren't in this all that much, which is a little disappointing. PG-13 for violence and language.
TREMORS 5: BLOODLINES (PG-13) 94 minutes * 1/2
The creatures are on the move. Once thought to be contained in North America, they have made their way to the African continent. More of the same silliness. PG-13 for violence and language.
TREMORS: SHRIEKER ISLAND (PG-13) 97 minutes * 1/2
Bill (Richard Brake) lovers a good hunting excursion. To that end, he has genetically modified four Graboids and let them loose on his island. There are also Shriekers present, and they are rapidly multiplying. Thankfully, the experienced Burt Gummer (Michael Gross) is back to save the day. More monster fun for fans of the series. It's mostly more of the same, with no new surprises. PG-13 for violence and language.
TRENCHCOAT (PG) 86 minutes * *
Looking for a story that might inspire her first novel, Mickey Raymond (Margot Kidder) takes a vacation in Malta. Surprisingly enough, it works, and she is soon in the middle of a mystery. Kidder is good here, but struggles to carry the story, despite its lack of depth. Lightweight mystery, though it still manages to be somewhat entertaining.
TRESPASS (R) 98 minutes * *
Two white firemen decide to search for hidden gold in a deserted factory building in East St. Louis. Of course, the gang whose turf it is might have a few things to say... Ice T and Ice Cube give some nice character performances here, and Ry Cooder's music lends some atmosphere, but the film switches too quickly to action and stops at the end without much of a resolution.
TRESPASS (2011) 85 minutes * 1/2
Kyle (Nicolas Cage) lives in a beautiful home with his lovely wife (Nicole Kidman) and daughter (Liana Liberato). They have the best in home security. But they are also about to be the victims of a home invasion that will put them to the test. B-movie story with A-list actors, and an ending that is just plain bad. R for violence and language.
TRESPASS AGAINST US (R) 94 minutes * * 1/2
Chad (Michael Fassbender) is fed up with the criminal ways of his family. The problem is that there doesn't seem to be a way out. The harder he tries, the heavier and more tangled the chains that hold him to them seem to grow. The script isn't all that strong, but Fassbender and Brendan Gleeson do their best with it. R for language and nudity.
TRESPASSERS (NR) 83 minutes *
Two couples rent a luxury home in a remote area. Not only are there secrets that are about to be revealed, and drug-fueled over-reactions, but there are people who want to do them harm. This starts off well, but doesn't seem to know where to go. It also doesn't give us much in the way of characters to like or empathize with.
TRIAD (NR) 88 minutes * ½
When three young friends join the Triads, they soon rise to the top of the business because of their dedication and their skills. But the danger of working for the organization is always there, waiting for just the right moment. The ending is rather anti-climactic, though there are a number of tense moments getting there. Don’t expect much in the way of martial arts in the fight scenes here, just lots of machetes.
TRIAD WARS (R) 114 minutes * * 1/2
Lin Ho Lung (Sammo Hung) is a Triad boss whose power is slipping away. He decides that escalating the violence will show that he still has power and is in charge. Surprisingly little in the way of martial arts fight scenes, though there is one toward the end that is quite good. R for violence.
THE TRIAL (PG-13) 95 minutes * 1/2
Small-town attorney Kent McClain (Matthew Modine) is struggling with depression after the tragic death of his wife and their two sons. When a case involving a potential death penalty lands on his desk, he's not that interested at first, but then it begins to change his life. The story has a fairly good ending, though getting there is almost surprisingly boring early on. Randy Wayne's wide-eyed and paper thin performance doesn't help, but the story seems more interested in making the final comments than in how we get there. Adapted from the novel by Robert Whitlow. PG-13 for language.
TRIAL AND ERROR (PG-13) 93 minutes * 1/2
Charlie Tuttle (Jeff Daniels) is a lawyer who gets talked into having a few drinks with the boys for his bachelor party. When he's too bombed to go to court the next day, his good buddy Richard Rietti (Michael Richards) fills in, and really messes things up. There are a few chuckles along the way, and the end ing is alright, but getting there is a real chore. The most notable aspect is the appearance of Charlize Theron as Billie Tyler... expect to see more of her in the future. PG-13 for language.
TRIAL BY FIRE (R) 123 minutes * * *
It was a tragedy. Three small children killed in a house fire. Their father, Cameron Todd Willingham (Jack O'Connell) was sentenced to death for the crime. While far from being a saint, it did become quite clear that his trial was a complete sham, and that it was likely that he was not guilty. Based on the actual case and with passionate and heartfelt performances by the cast. R for language, violence, and sex.
TRIAL BY JURY (R) 100 minutes * *
Unconvincing story of juror Valerie Alston (Joanne Whalley-Kilmer) who is manipulated first by the defendant, and then by the prosecution. Not that this sort of thing doesn't happen, but the story just doesn't lay it out very well. Armand Assante, Gabriel Byrne, William Hurt, and Kathleen Quinlan co-star in what amounts to a big budget film that will only succeed moderately on the small screen.
THE TRIAL OF THE CHICAGO 7 (R) 120 minutes * * * 1/2
Violent confrontations occured at the 1968 Democratic Party Convention in Chicago. Seven defendants faced various charges for their leadership roles in the protests. Bobby Seale (Yahya Abdul-Mateen II) was also involved in the court case despite facing charges for a completely different incident. Well-written dramatic recounting of the trial and some of the surrounding events. The stellar cast also features Eddie Redmayne, Sacha Baron Cohen, John Carroll Lynch, Frank Langella, and Michael Keaton. R for language and violence.
THE TRIALS OF CATE MCCALL (PG) 84 minutes * *
Cate (Kate Beckinsale) is on probation because of heralcoholism. As part of her work to get herself reinstated, she takes on the case of a woman wrongly convicted of murder. It's a much bigger case than anyone initially thinks, and the challenge will push Cate and test her resolve. The intrigue is inconsistent and poorly developed, but Beckinsale and Nick Nolte, along with some of the supporting cast do some nice work in an otherwise mediocre story. PG for sex, violence, and language.
TRIANGLE (R) 94 minutes *
A fun sailing trip with friends turns nasty when a freak squall capsizes their boat. Rescue comes by way of an ocean liner that appears, but it seems to be deserted. And then Jess (Melissa George) gets stuck in a time loop. Mildly creepy for a few minutes, but then it just gets repetitive and boring. R for violence and language.
TRIANGLE OF SADNESS (R) 143 minutes * * *
Invited to be on a cruise for the wealthy, Carl (Harris Dickinson) and Yaya (Charlbi Dean) are a little out of place. They are both fashion models, and are well-known, but not wealthy. The cruise might present some opportunities for influential connections. It also might fall apart in a spectacular fashion, thanks to a rather bizarre yacht captain (Woody Harrelson). If you're considering booking a cruise and are having some doubts, you might want to pass on watching this. Ultimately, it's a film about class differences and how quickly circumstances can change the status quo (or not). The question that remains is: What lies beneath the surface of the way we behave, how we are seen, and who we really are? R for language and sex.
THE TRIBES OF PALOS VERDES (R) 99 minutes * * *
Moving the family out to California was supposed to be a new start in paradise. But Palos Verdes is not exactly the paradise they expected. Sandy (Jennifer Garner) hates it from the start. Medina (Maika Monroe) on the other hand may have finally found what she needs as she discovers the waves and begins to reach out, while her twin brother holds on too tightly to what he knows and ends up crashing. Adapted from the book by Joy Nicholson. R for language and sex.
TRIBUTE (NR) 91 minutes *
Buying her grandmother's house and restoring it to its former glory is a heartfelt passion for Cilla (Brittany Murphy). But dreams and visions of her grandmother may be sending her a different message. Murphy struggles to stay in character here, which isn't easy when the mystery and suspense fade so quickly.
TRICK (NR) 97 minutes * *
For no apparent reason, a quiet, smart teenager turns into a violent killer at a Halloween party. He is caughter, but he escapes. Each year, her returns to kill again. He's known as "Trick" (Thom Niemann), and Detective Mike Deaver (Omar Epps) is determined to put an end to his reign of terror. Not all that surprising if you've seen many slasher horror films, but there's a good twist and a nice finish that sets this up for a sequel. OK, that's not really suprising either.
THE TRICK (2021) (NR) 89 minutes * *
One of the most respected research professors in the field of climate science, Philip Jones (Jason Watkins) finds his career and reputation on the line when his research is hacked. It all happens just weeks before the Conference of the Parties 15 in Copenhagen. Based on the real events. A bit dry, but otherwise good.
TRICK OR TREAT (R) 92 minutes BOMB
Picking up a backward masked message off of a demo record from his recently deceased heavy metal rock idol, Eddie (Marc Price) gets a little more than he bargained for. But this is more than just a message. It would appear that rocker Sammi Curr (Tony Fields) has actually possessed the record. Completely predictable and poorly written, with the only redeeming qualities (if you can call them redeeming) is the presence of Gene Simmons and Ozzy Osbourne in the cast.
TRICK OR TREAT SCOOBY DOO! (G) 74 minutes * * 1/2
After capturing Coco Diablo, things have been rather boring for the Scooby gang. Of course, that won't last for long! Fun twist on the usual order of things for the Scooby gang.
TRICK 'R TREAT (R) 78 minutes * * 1/2
There may be a festival going on downtown, but in some of the houses, alleys, basements, and dark corners of town... something else is going on. Pretty creepy little film with some memorable sequences that does a nice job tying several different subplots together. Written and directed by Michael Daugherty. R for violence, sex, and language.
TRICKSTER (NR) 78 minutes 1/2
When Jake (Derek Thompson) wakes up, he is alone. But is he alone, or did he even really wake up? The acting isn't bad, and the setting adds just the right amount of atmosphere. But after a good start, it doesn't take long before the film starts making less sense than a dream. There's a brief attempt to explain things that is inadequate, and then there's just a little more to the story that we see. It doesn't help.
TRIGGER (NR) 73 minutes * * *
Once upon a time, they were rock stars, but that was before an onstage meltdown and breakup. It's ten years later and they're being honored... and asked to play together. Their past and their differences are still just beneath the surface, so it could be a challenge to spend much time with each other. The dialogue is intense, though for the most part, feeling very genuine. Filmed in Toronto, Ontario.
TRIGGER POINT (NR) 79 minutes * * 1/2
Part of a crew that takes down some of the worst criminals, Nicolas (Barry Pepper) needs to uncover who it is inside the organization that is trying to undermine their work. The shooting is a bit on the unrealistic side, and the story really isn;t very imaginative. Pepper does well, and several of the supporting cast are very good as well, especially Jayne Eastwood.
TRINITY GOODHEART (NR) 88 minutes * * 1/2
Trinity (Erica Gluck) wants to get her family back together again. That's not going to be easy considering how far apart her mother and father have grown. The story tends to go for the emotional approach most of the time, so you might need some tissues nearby. Gluck isn't bad here, but the role is a bit too demanding overall.
THE TRIP (NR) 107 minutes * 1/2
Steve Coogan has been asked to do a restaurant review tour and since his girlfriend can't go, he's decided to take his friend Rob Brydon along. They've known each other for years, but this trip may be the death of that friendship. Very talky film with a rather strange ending. Fans of Coogan and Brydon will like this, but not too many others.
TRIP TO ASIA: THE QUEST FOR HARMONY (NR) 105 minutes * * *
The Berlin Philharmonic Orchestra performs six concerts in Asia, giving us a look at the process of both preparation and performance. It's an inspiring mixture of eastern and western culture and art. A glimpse of a world in which life and are are full of beauty and harmony.
THE TRIP TO BOUNTIFUL (PG) 106 minutes * * * 1/2
There's no stopping Mrs. Watts (Geraldine Page) once she decides that she's going to take one last trip to her childhood home. An Oscar winner for Page's brilliant performance, and a nominee for best adapted screenplay, it's a delightful and charming film about the power and meaning that memories from our childhood hold.
THE TRIP TO BOUNTIFUL (2014) (NR) 85 minutes * * 1/2
This adaptation of the Horton Foote play features the legendary Cicely Tyson as Mrs. Watts. All she wants to do is get back to Bountiful, the town where she grew up. The story has been trimmed a little, and suffers from some less than natural pauses for commercial breaks as it was originally a TV movie. That's unfortunate, but Tyson makes up for a good deal of that all by herself.
THE TRIP TO GREECE (NR) 100 minutes * * *
Retracing the journey of Odysseus, Rob Brydon and Steve Coogan take a trip from Troy to Ithaca. This fourth film in the series, much like the previous films, is filled with friendly bickering and comic bits with beautiful scenery in the background. This particular film does take a very somber turn near the end.
THE TRIP TO ITALY (NR) 105 minutes * *
More comedic ramblings from Steve Coogan and Rob Brydon as they travel around Italy. Mostly for their fans, and for those who enjoy films that are packed with references to and discussions about other films.
THE TRIP TO SPAIN (NR) 106 minutes * *
The third film about Steve Coogan's trips around Europe with his friend Rob Brydon. Their friendship, like many, is also a frequent source of aggravation for both of them.
TRIPLE THREAT (R) 92 minutes * *
When a rich man's daughter decides to take down a major crime syndicate, they send a team of assassins to kill her. It will be up to an outnumbered and outgunned group of mercenaries led by Payu (Tony Jaa) to face off against Devereaux (Michael Jai White) and Collins (Scott Adkins). A few good fight sequences and lots of shooting. More of the former would have been nicer. R for violence and language.
TRIPLE THREAT (2020) (NR) 95 minutes * * 1/2
Their careers are about to begin on Broadway. But these three friends face a dilemma when they reaize that their dreams and their realities are not as closely aligned as they thought. This is a heavily character driven drama. There are some scenes that work very well, developing the characters nicely. But other scenes don't work as well, and the flow is frequently uneven. Nice ending though.
TRIPPING THE RIFT: THE MOVIE (NR) 73 minutes * *
Chode and his pals are supposed to protect a princess. As is typical, things don't go as planned. Bobo, the ultimate killing machine is trying to kill Chode, and the others are wondering if maybe they shouldn't go ahead and let it happen. Filled with much of the same foul language and rudeness as the series, whose fans will likely enjoy this far more than others.
TRIPLE 9 (R) 110 minutes * * 1/2
A heist film that is overly complicated by misdirection. Corrupt cops team up with the bad guys to kill a police officer at one location while they commit a crime on the other side of town. The impressive cast is too often trying to make us guess who is in on the deal rather than just letting the story play out. R for violence, language, and nudity.
TRISHNA (R) 109 minutes * * 1/2
As soon as he sees her, he falls in love. That they are from different classes is a barrier, but not one that they feel is insurmountable. It's a tragic and classic romance, based on Thomas Hardy's classic novel, "Tess of the D'Urbervilles", but set in India. The energy and pace fade quite a bit during the middle of the film, though it starts and ends well. R for sex, violence, and language.
TRISTAN + ISOLDE (PG-13) 118 minutes * * *
Ireland has fought to free itself from the Britons and has been successful primarily because the tribes of the Britons are not united. Tristan (James Franco) is a strong fighter for his tribe, but he falls in battle and is cast adrift on a burning ship as is the funeral custom. But he is not yet dead, and is found by the beautiful Isolde (Sophia Myles), who nurses him back to health. Theirs is a forbidden love, and will be the stuff of legends. Very nice historical romance film with solid performances and a beautiful soundtrack from Anne Dudley. Filmed in Ireland and the Czech Republic. PG-13 for violence and sex.
TRISTAN & ISOLDE (2002) (NR) 76 minutes * 1/2
Animated retelling of the classic story with narration by an annoying wood sprite named Puck. It's difficult to fault the story, but the presentation is clearly lacking, and te music doesn't do much for this either.
TRISTRAM SHANDY: A COCK & BULL STORY (R) 90 minutes * * 1/2
Steve Coogan stars in this rather unusual adaptation of the book, "The Life and Opinions of Tristram Shandy". While supposedyl nearly impossible to translate to film, using a similar approach to that used in "Adaptation" seems to work. Make a film about how hard it is to translate a book into a film. Coogan plays this very well, though the extent to which the film constantly jumps time periods and storylines is more than a little difficult to follow at times. Those who enjoy British and literary humor will find this more appealing than others, though it's an interesting trip even if those aren't your preference. R for language and sex.
TROLL (PG-13) 85 minutes * *
Eleven years before J.K. Rowling made the name famous, Harry Potter Jr. (Noah Hathaway) realizes that something is wrong with his sister. He goes to a good witch (June Lockhart) who lives in a nearby apartment to help. As it turns out, his sister is under the influence of a troll king who is trying to grow his kingdom. Good special effects and puppetry and a creepy and fun story.
THE TROLL HUNTER (PG-13) 96 minutes * 1/2
Yet another in the "mysterious film fottage recovered and verified as genuine" genre. Interesting that it's remarkably well edited for being such rough footage... The story is about a small film crew that convinces a troll hunter to take them along so they can film what he does. Not very convincing, but you may never loko at electrical power lines in the same way after watching this. PG-13 for violence.
TROLLAND (NR) 74 minutes BOMB
A park ranger who has had enough of the pranks that the trolls are playing decides to start catching them and ridding the park of these nasty pests. Fenn (voiced by Ja Rule) is a troll who actually doesn’t like pranks either, but now he has to rescue his friends who have been caught. Weak script and really bad animation.
TROLLS (PG) 82 minutes * * 1/2
The Bergens are only happy when they eat trolls... which the trolls aren;t too thrilled about. They just want to sing, dance, hug, and be happy. The story is a little dark for younger viewers, but the voice cast is remarkable, with Anna Kendrick, Justin Timberlake, Zooey Deschanel, Christine Baranski, Russell Brand, Gwen Stefani, and John Cleese just to name a few. And the soundtrack is worth listening too all by itself! PG for language.
TROLLS BAND TOGETHER (PG) 82 minutes * * 1/2
Once upon a time, when Branch was very young, he and his brothers were the pop group BroZone. Poppy has no idea that this is part of Branch's past until John Drury shows up with the news that their brother Floyd has been kidnapped. And so the adventure begins. As with the previous entries in the series, lots of great pop music hits in the soundtrack. PG for language.
TROLLS WORLD TOUR (PG) 82 minutes * * 1/2
Who knew? There are actually six different groups of trolls. The Queen of the Hard Rock Trolls wants to take over all of the other groups. Poppy (voiced by Anna Kendrick) and Branch (voiced by Justin Timberlake) are going to have to get the rest of the trolls to work together to save all of the different troll worlds and help them understand that they are each important in their own unique way. The power of music comes from within, and we can accomplish more when we work together than we can by working alone. Featuring the voice talents of Rachel Bloom, Sam Rockwell, Kelly Clarkson, George Cilnton, Mary J. Blige, and Ozzy Osbourne. PG for language.
TRON (PG) 90 minutes * * * ½
Part-time hacker Kevin Flynn (Jeff Bridges) finds himself digitized and trapped inside a computer world. Escaping is going to take some creative thinking and some help from a security program. A very inventive idea and great graphics. Not really a commercial success, at least not at first, though the fan base grew steadily enough to warrant a sequel many years later. PG for violence and language.
TRON: LEGACY (PG) 118 minutes * * 1/2
Reasonably good sequel, and at the same time it stands alone as far as the story. The visual effects are stunning, but ony if you see them on a larger screen, and even better in 3D. Unfortunately, much of the impressive quality is lost if you're watching on a smaller screen. Worst of all was the choice of Garrett Hedlund to play Kevin's son Sam. There's just no depth or passion, and he doesn't really seem that interested in finding his father or being in the film. PG for violence and language.
TROOP BEVERLY HILLS (PG) 102 minutes 1/2
Cheap, predictable film about a Beverly Hills housewife who takes her daughter's girl scout troop on some rather unique outings. Fans of Shelley Long might be interested, but I found it to be rather unbearable after the first half hour or so.
TROPIC THUNDER (R) 99 minutes * *
Stellar cast in this parody of filmmaking that follows the making of a war film. The problem is that, in trying to find a more realistic location, the cast ends up in a real war. It's a little hard to convince them at first. More than a little over-the-top at times, but fans of Ben Stiller's sense of humor should enjoy this quite a bit. Also starring Jack Black, Robert Downey Jr., Nick Nolte, Steve Coogan, Matthew McConaughey, and Tom Cruise. Filmed in Kauai. R for language and violence.
TROUBADOURS: THE RISE OF THE SINGER-SONGWRITER (NR) 88 minutes * * *
Doug Weston's Troubadour helped launch the musical careers of a number of famous singer-songwriters from 1968-1975. In 2007, James Taylor and Carole King went back to celebrate the 50th anniversary of the place that helped to make them and so many others on their way to a successful career. Not just a history of the Troubadour, but also of the musical movement that it helped to create.
TROUBLE THE WATER (NR) 91 minutes * * 1/2
Kim Roberts and her family rode out Hurricane Katrina because they had no way to leave. Hoem video footage coupled with news clips show the remarkable story of a family that survived as well as those who didn't, and the devastation that continues to linger years after the storm has passed. It's a pwoerful message, but the home movie style does get a little irritating at times.
THE TROUBLE WITH MEN + WOMEN (NR) 71 minutes *
Now that he's single again, Matt (Joe McFadden) is trying to enter the dating scene again. His friends Vinnie (Matthew Delamere) and Susie (Kate Ashfield) are trying to hepl, but Matt is beginning to wonder if anything will work. Acting and camera work are both pretty weak here, and the story is not particularly inspiring or interesting.
TROUBLE WITH THE CURVE (PG-13) 106 minutes * * * 1/2
Gus (Clint Eastwood) has been a baseball scout forever. The team he scouts for is beginning to wonder about his effectiveness and his doctor says his eyes need surgery. His daughter Mickey (Amy Adams) is taking time off from pursuing a partnership in her law firm to help, even though her dad acts like he doesn't want her help. No real surprises in the story, which is mediocre, but Adams and Eastwood work well together, and the supporting work by Justin Timberlake and John Goodman adds a great deal of depth to the film. This is the first feature for director Robert Lorenz, but he's been the first assistant director for Eastwood on seven other films. PG-13 for language.
TROUBLED WATER (NR) 116 minutes * * * 1/2
After serving time for a crime he still claims he never did, Jan (Pal Sverre Valheim Hagen) is trying to start his life over. But there are those who don't want that to happen. A choice was made and tragedy resulted. Blame is cast and punishment is metted out. But is that justice? For anyone? A beautiful and powerful film, with an intense and emotional story.
TROY (R) 153 minutes * * 1/2
The classic battle between Troy and Sparta, fought in part over the beautiful Helen, but also to serve Agamemnon's unquenchable thirst for power comes to life here. Brad Pitt does a very nice job as the warrior Achilles, balanced well by Eric Bana's portrayal of Hector. Costumes, sets, and props are all quite nice, but the film rings hollow due to poorly written dialogue. It also tends to drag, not only between battle scenes, but even during a few of them. R for violence.
TRUCKER (R) 89 minutes * * *
Diane (Michelle Monaghan) is a trucker. But her life on the road is being interrupted by her ex-husband. He needs her to take care of their son for a fwe weeks while he's in the hospital. Her routine has been comfortable, but also very isolating. Now that she is being forced to change that routine, a few other things may begin to change as well. The story is a little stale, but Monaghan does nice work here, drawing us into the story as she struggles to cope with change. R for sex and language.
TRUE ADOLESCENTS (NR) 83 minutes * 1/2
Sam (Mark Duplass) decides to take his young cousin and a friend on a hiking trip. Jake (Carr Thompson) and Oliver (Bret Loehr) don't really want to go, but it isn't really up to them. It's going to be an interesting trip, and even though Sam is a good deal older than the boys, it's a bit of a coming-of-age event for all of them. There's definitely some good material here in director Craig Johnson's first film, but Sam is a bit too much of a jerk for too long in the film to generate much sympathy or understanding from the audience. The emotions at the end of the film ring a little hollow as a result.
TRUE BELIEVER (R) 105 minutes * * *
Robert Downey Jr. is the new kid, a young law clerk who manages to get assigned to his hero, a lawyer who has now lost his enthusiasm and energy between the slowly grinding wheels of the legal system. James Woods does an excellent job here, giving us a character we can easily understand and Downey gives him all the right reasons to get involved again. It's a bit overly dramatic in a few spots and the intensity actually drops off a bit too much at the end, but the performances do a splendid job of carrying the film and making it worth your while to watch. R for language.
TRUE BLOODTHIRST (NR) 85 minutes * 1/2
Humans and vampires are trying to co-exist in a peaceful manner. It's not happening without some difficulty, but progress is being made. The problem at the moment is that a series of very violent murders would seem to indicate something much more dangerous than a vampire is on the prowl. An interesting idea, but the script and acting just don't fare well. Also known as "Vampyre Nation".
TRUE CONFESSIONS (R) 108 minutes * * *
Having slowly drifted apart, brothers Tom (Robert Duvall) and Des (Robert De Niro) are pulled together around a violent murder case. Tom is the detective working the case, and Des is a monsignor. Great work by both Duvall and De Niro in a story that John Gregory Dunne adapted from his own novel. R for language, violence, and sex.
TRUE CONFESSIONS OF A HOLLYWOOD STARLET (NR) 86 minutes * *
Morgan's (JoJo Levesque) life has gotten to be more than a little out of control. So, this little Hollywood starlet's mom sends her to Fort Wayne, Indiana to chill for awhile. The aunt she will be staying with has a few issues of her own, but it will all work out fine in the end. Light, teen angst film with fair performances. Nothing special here, but mildly entertaining at least.
TRUE CRIME (R) 122 minutes * *
Clint Eastwood brings his leisurely pace of direction to the story of a man who is about to be executed despite his innocence. Eastwood plays the part of a reporter who never gives up on a hunch, no matter what his boss might say. The story moves along at a snail's pace, which undermines much of the effect. The performances by Eastwood and the rest are solid enough, but the film has little in the way of energy to move it along. R for language and violence.
TRUE GRIT (2010) (PG-13) 104 minutes * * *
Mattie (Hailee Steinfeld) just wants to track down the man who killed her father. Rooster (Jeff Bridges) seems to be the best choice, but he's a tough character who isn't all that thrilled about helping a young girl, or getting into any trouble that isn't his own. The Coen Brothers went back to the novel for this version, rather than trying to recreate John Wayne's performance. It was a good choice, and the film works well, with wonderful photography, and excellent work by Steinfeld and Bridges. Classy finish too! PG-13 for violence.
TRUE HISTORY OF THE KELLY GANG (R) 129 minutes * * 1/2
Life was rough early on for young Ned Kelly (Orlando Schwerdt). The examples he had to model his life on were a rough and violent crew. As he grows older, Ned (George MacKay) gets in trouble on his own. And in the 1870s, he's on the run from the law in the Australian countryside with his gang. The second half of the film isn't as strong as the first, trying a little too hard to be both graphic and artistic. The first part of the film accomplishes both without trying as hard. R for violence, language, and sex.
TRUE IDENTITY (R) 90 minutes * 1/2
British comedian Lenny Henry stars in this mildly entertaining comedy about assumed identities. There's too much drama for this to be very funny, but too much comedy to take it seriously.
TRUE LEGEND (R) 107 minutes * * 1/2
All Su (Man Cheuk Chiu) wanted was to settle down with his family and start a martial arts school. But when his adopted brother kidnaps his son, he will have to put those plans on hold. Mastering the art of drunken boxing, his story is the basis for the legend of the king of beggars. The last fifteen minues of so of the film don't fit well, and almost appear to be from a different project. R for violence.
TRUE LIES (R) 137 minutes * * *
Arnold Schwarzenegger does a good job in this film that puts him in the role of a secret agent. Jamie Lee Curtis plays his wife who thinks her life is boring. But that's before she really knows just what her husband does for a living. She may wish he had chosen a line of work that was a little less exciting. Lots of exciting stunts and special effects in this fast-paced film from director James Cameron.
TRUE LOVE BLOOMS (NR) 82 minutes * * 1/2
A community garden is under threat froma real estate developer. Vicki (Sarah Rue) is going to have to figure out how to keep her passion from being plowed over. There also might just be a little romance involved. Rue's energy and charm are a great fit for the story. The soundtrack is also quite good, and fits the shifting moodss of the story very nicely.
TRUE ROMANCE (R) 110 minutes * *
Comic book store clerk (Christian Slater) meets call girl (Patricia Arquette), they fall in love, he kills her pimp, grabs the suitcase full of cocaine, and now they're in over their heads. Full of great character performances by Dennis Hopper, Val Kilmer, Chris Walken, Gary Oldman, Bronson Pinchot, and Brad Pitt, but it's hard to sympathize with the leads. And then there's that subplot involving Elvis Presley... R for violence, language, and sex.
TRUE STORY (R) 94 minutes * * *
Mike Finkel (Jonah Hill) is a reporter for the New York Times, until he messes up on a story and gets fired. To make matters worse, it seems that a man accused of murdering his family has claimed Mike's name as his own. Mike is intrigued... which may be his undoing. A chillingly dry and emotionless performance by Franco. Nice ending! R for language and violence.
TRUE TO THE GAME (R) 79 minutes * *
Quadir (Columbus Short) has a drug business that is doing quite well. Meeting Gena (Erica Peeples) has him interested in making a change. That's not going to be easy. This isn't a TV movie, but it feels like it. An adaptation of the book by Teri Woods, it's not bad early on, but then the story starts feeling rushed. R for violence, sex, and language.
TRULY, MADLY, SWEETLY (NR) 82 minutes * *
An unusual inheritance deal, puts Natalie (Nikki Deloach) and Eric (Dylan Neal) in the same place... shared ownership of a once-famous bakery. The tragic moment that happens late in the film wraps up a little too quickly. It's a Hallmark film, so we expect it to resolve, but a little more struggle would have served the story better.
TRUMAN (PG) 135 minutes * * *
Gary Sinise gives us the portrayal of Truman we've been waiting for. An outstanding biographical film that pulls no punches, delivering the good with the bad. Sinise, along with Diana Scarwid, will have you convinced you're watching something more true to life than most films, so accurate are their portrayals. These are characters with life and passion, and this is a film not to be missed. PG for language.
THE TRUMAN SHOW (PG) 93 minutes * * *
Director Peter Weir once again tackles a thematic film in his usual style, filled with subtleties as well as a few moments that are more blatant. Truman Burbank (Jim Carrey) is a man who has lived his life in a normal fashion, or so he thinks. But it begins to unravel one day when a light falls from the sky. He's been living a television show life, and now everyone wants to know how it will end. Fascinating and filled with social commentary as well as the thought provoking
concept of the balance between that which is real and that which isn't. Jim Carrey is perhaps not the best choice for the lead role, though he does an adequate job. Filmed in Seaside, Florida. PG for language.
TRUMBO (R) 119 minutes * * * 1/2
Dalton Trumbo (Bryan Cranston) was one of Hollywood's most popular screenwriters. But as the Cold War began to pick up steam, people who supported the Communist Party became enemies of the state. Civil rights and due process became things of the past. Excellent work by Cranston, who is surrounded by a wonderfully talented ensemble cast. Adapted from the book "Dalton Trumbo" by Bruce Cook. R for language and sex.
TRUST (R) 105 minutes * * *
Adrienne Shelly stars in this earnest little film about a girl who is dumped by her boyfriend when she gets pregnant. Her father can't handle the news either, and she finds herself attracted to a rather unsuspecting guy. Fantastic characters and solid acting make this a very interesting film from director Hal Hartley.
THE TRUST (2016) (R) 88 minutes * *
Stone (Nicolas Cage) has an idae about how to make some big money. He gets his buddy Waters (Elijah Wood) to help, but his plans are not working out like he thought they would. Nice ending, but it almost seems like a different film from the beginning. R for violence, language, and sex.
TRUST ME (R) 84 minutes * * 1/2
The mercurial world of a talent agent. Howard's (Clark Gregg) career hit the rocks whe another agent stole a client. But now it looks like a star may have just stepped into his life. The story constantly hints at a dark humor that never quite materializes. There is a well-timed bittersweet twist, but we keep wanting this to be a little more than it ends up being. R for language.
TRUST THE MAN (R) 95 minutes * * *
Tobey (Billy Crudup) can't seem to take that final step of committment to his girlfriend Elaine (Maggie Gyllenhaal). In the meantime, his sister Rebecca (Julianne Moore) is having problems with her marriage to Tom (David Duchovny) who is having affairs on a regular basis. Marriage is about more than just committment though, and relationships are about more than trust, though those are both important. It takes understanding and a willingness to work at the relationship. Well-written look at relationships with a solid performance by the cast. R for language and sex.
TRUTH (R) 115 minutes * * 1/2
The story of the CBS 60 minutes report in 2004 that looked into the military service of George W. Bush. Bush was president at the time, and in the face of mounting proof that his military service was not what it seemed, anchor Dan Rather (Robert Redford) and producer Mary Mapes (Cate Blanchett) lost their jobs. Its unfortunate that this doesn't pursue the pressure from the government more than it does. The story sets things up nicely in that direction and then just folds up its cards and quits the game. We're left with nods to the fine work that Rather and Mapes did, and a sort of "isn't it too bad they were misled". The truth (to use the title of the film) is more likely that they had the story right, but just led with it a little before they should have. Redford is a little old for this, but otherwise the cast is quite good. R for language and nudity.
THE TRUTH ABOUT CATS AND DOGS (PG-13) 92
minutes * * 1/2
Janeane Garafolo's first feature film handles her character fairly well, but leaves the rest of the cast a bit thin on character development. Even though Uma Thurman is supposed to be "just a pretty face", a little more depth would have been helpful. Though not unpleasant to watch, the story tends to just wander around, not really going anywhere. Mostly fluff that you won't really remember, except maybe for the dog in roller
skates... PG-13 for language.
THE TRUTH ABOUT EMANUEL (NR) 89 minutes * *
Emanuel's (Kaya Scodelario) new neighbor looks a bit ttoo much like her dead mother. It's a little disconcerting. Lightly creepy atmosphere throughout, with numerous strange characters. Scodelario just doesn't carry the film all that well, having a certain blandness that is partly the script, but partly acting.
TRUTH OR CONSEQUENCES N.M. (R) 103 minutes * 1/2
Raymond (Vincent Gallo) gets out of jail, but it isn't long before his friend Curtis (Kiefer Sutherland) gets him involved in a plan to step in on a drug deal to steal the cash. It goes down about as badly as it can, and continues to get worse. Sutherland is over the top here, chewing up the scenery and everything else in sight. It adds energy to the story, and the cast is impressive, but there isn't much that's memorable about the charactes or the story. Sutherland's directing debut. R for violence and language.
TRUTH OR DARE (NR) 85 minutes 1/2
Once upon a time, eight teenagers played a game in a house. Seven of them died. Now, a new group of eight friends have entered the house and started the game again. Lots of bloody effects, but the logic of the game is weak, and we don't get to know or care about the characters.
TRUTH OR DARE (2018) (PG-13) 98 minutes * 1/2
This game of Truth or Dare among friends turns deadly when they discover that breaking the rules of the game has terminal consequences. The cheap effects don't really do much for this, but the story works better than in similar films because it focuses on the characters instead of the dares. Too bad the ending is a cheap shot. PG-13 for violence, sex, and language.
TSOTSI (R) 89 minutes * * * 1/2
Tsotsi... thug... it's not much of a name, but it's descriptive. Tsotsi has made a reputation for himself in his community as a powerful young man who is as tough as they come. But when a robbery goes bad and circumstances put him in a position he never considered, he finds himself facing a different set of choices. Powerful performances and an amazing soundtrack from Mark Kilian and Paul Hepker combine with a script adapted from a novel by Athol Fugard to create a film well worth watching. A film that won the Oscar for Best Foreign Language Film of 2005. Filmed in Soweto and Johannesburg, R for language and violence.
TSUNAMI: THE AFTERMATH (NR) 184 minutes * * *
TV movie version of the tsunami that devastated the coast of Thailand in 2004. Focuses heavily on the personal stories, and does a good job with that, thanks in large part to really strong performances by Sophie Okonedo and Chiwetel Ejiofor. The characters are all fictional, but pieces of the stories are from accounts of what heppened.
TU DORS NICOLE (NR) 90 minutes * *
After graduating from college, Nicole (Julianne Cote) is spending her summer working a part-time job and killing time with her friend Veronique (Catherine St-Laurent). But then her brother and his bandmates come home. She isn't really wanting the rest of life to begin, but it seems that it already has. Simple and yet interesting exploration of Nicole's character, though the ending is too cavalier and doesn't really fit well.
TUCK EVERLASTING (PG) 85 minutes * *
The Tuck family has found something very interesting... a spring in the woods which is apparently the fountain of eternal life. Having tasted of it, they now feel a responsibility to keep it safe from those who might abuse it. There are some great quotes about life that are scattered through the film, like "Don't be afraid of death... be afraid of the unlived life." Unfortunately, the story seems to focus on the negative aspects of eternal life, which gives the film a rather depressing mood. And, of course, there is all that annoying narration. It's unclear why this approach was chosen with the film not being all that long, but it undermines the characters and keeps us from being very involved in the story. With the talents of William Hurt, Sissy Spacek, Ben Kingsley, Alexis Bledel, and Jonathan Jackson, it's too bad that we don't get the chance to see what they could have done with these characters. PG for violence.
TUCKER (PG-13) 110 minutes * *
A rather beautiful film, which one might not expect from a film about an automobile designer. It is filled with wonderful camera angles and superb lighting effects. However, for being a biographical film of a visionary man, there is almost nothing in the way of emotion. Little sense, in fact, of why we should be interested in this man at all. Toward the end, there is a scene where Tucker pleads for the rights of the individual to prusue his dream, but we were expecting that. What we have here is an empty film with a few hints that the main character might be an interesting subject for a film... but this isn't the film.
TUCKER AND DALE VS. EVIL (R) 83 minutes * * 1/2
Proud owners of a new "vacation home", Tucker (Alan Tudky) and Dale (Tyler Labine) discover that this run-down shack in the woods has afew surprises in store for them. It's a different sort of horror film, with plenty of hillbilly humor. Filmed in Alberta, Canada. R for violence, language, and nudity.
TULIP FEVER (R) 98 minutes * * 1/2
The fervor around the sale and trading of tulip bulbs in 17th century Amsterdam serves as the backdrop for the scandalous romance between an artist and a married woman whose portrait he has been commissioned to paint. Nicely done period piece. R for sex.
TULIPS IN SPRING (NR) 83 minutes * * 1/2
Rose (Fiona Gubelmann) and her father don't get along all that well. Still, she heads home to help with the family business while he recovers from an injury. Spending time away from her job is putting it at risk, as well as the relationship with her boyfriend who remained in the city. Deep down, she knows that she'll be better off without both of them, but it's going to take some time to accept that and embrace her family and the family business.
TULLY (R) 91 minutes * * 1/2
Marlo (Charlize Theron) already has her hands full with her first two kids. Now that a third one has arrived, it's time for some help. It's difficult to really say much else about the story without giving away a very interesting twist, though the film manages to leave a very important question unanswered. That will bother some, but whether you need an answer or are OK with how this ends, Theron does some very nice work. R for language and sex.
TULPAN (NR) 94 minutes * * 1/2
Asa lives on the steppes of Kazakhstan. It's a harsh life, and he hopes to share it with Tulpan. But getting the permission of her family will not be easy, and Asa may have to rethink his plans for the future. It's a desolate landscape and an isolated and rather harsh life. The film does an excellent job of presenting that without creating a feeling of despair.
TULSA: THE FIRE AND THE FORGOTTEN (NR) 84 minutes * * *
It's a story that has been whispered about for 100 years. This documentary explores the 1921 Tulsa Race Massacre. One of the tasks is the excavation of an area that could be a mass grave. Another is the reparation for what happened so many years ago. A very informative film that helps set an example for other cities that have similarly "hidden" stories.
TUMBLEDOWN (R) 98 minutes * * *
Hunter was a talented folk musician who died young. His wife Hannah (Rebecca Hall) is still struggling with the loss. Andrew (Jason Sudeikis) has been trying to get an interview with her about a book deal, and finally just shows up at her door to talk to her. Dealing with grief is different for everyone. Sometimes others can help, but ultimately, it's something that has to be dealt with on your own. Love is hard, and death doesn't make it any easier. It is, in a way, what actually makes love sweeter. R for sex.
TUNNEL (NR) 123 minutes * * *
On his way home from work, Jung-Soo (Jung-Woo Ha) is driving through a tunnel when it collapses. Rescuing him is not going to be an easy task. The story covers a number of issues that arise from rescue work and does that very well. Nice work by the ensemble cast and well-directed.
TUNNEL RATS (R) 88 minutes * 1/2
During the Vietnam War, tunnels were sometimes used to move from one area to another. They were dangerous places to be if you're enemy was in the tunnel as well. Writer/director Uwe Boll is known for his work in horror, suspense, and adventure, and there's some of that here, though too much of the film takes place in the tunnels where we can't see much of what happens. The film ends with a powerful and emotional scene that is by far the strongest in the film, but also seems somewhat out of place. R for violence and language.
TURBO (PG) 86 minutes * * *
Turbo can think of nothing by racing. Unfortunately, he's a snail... not known for maving all that fast. But when he accidentally gets infused with some nitrous.... his life will change forever. Cute story and very nice animation. Remember, "no dream is too big. No dreamer too small." PG for violence.
TURBO: A POWER RANGERS MOVIE (PG) 93 minutes * 1/2
Trying to follow the course of the TV show (where the stars of the show keep leaving...) most of our cast is new. Tommy, Bulk, and Skull are back, and we do get to see a couple of cameos from Kim and Jason, but this is sorely lacking in creativity and talent. The new Turbo cars are nice, but the Turbo megazord is ridiculous! Kids will tire of this one quickly. This just isn't exciting or fun! PG for violence.
TURBO COLA (NR) 92 minutes * * 1/2
Austin (Nicholas Stoesser) only has one semester of high school left. His future prospects don't look good. So, he and his friend Swearsky (Jared Spears) come up with a plan. Sometimes plans don't work out the way you expect them to. The story veers off in a few too many directions, but still manages to be a fun ride.
TURBULENCE (R) 97 minutes * *
Pathetic script with way too many story holes. Another problem this film has is trying to take a number of incredibly talented supporting actors and giving them leading roles. They might do alright if they had a wonderful script and some decent direction, but this is no fun to watch. Only for fans of Lauren Holly, Ray Liotta, Rachel Ticotin and Hector Elizondo. R for violence and language.
TURBULENT SKIES (NR) 85 minutes 1/2
New technology is going to replace pilots with a computer. Of course, a computer virus that was accidentally loaded into the system is going to complicate matters. The dialogue here is terrible, and there are about as many holes in the story as there are problems with the computer.
TURF WAR (R) 101 minutes 1/2
A detective on a mission to clean up the department. To get the job done, he's going to have to take down his own Sergeant. The acting is far from good, but the photography and sound quality make this look even worse. Alex Maisonette wrote, produced, directed and acted. And there's the problem. R for violence and language.
THE TURIN HORSE (NR) 143 minutes * * *
A fictional exploration of the fate of the horse that Friedrich Nietzsche protected from a whipping a few years before his death. The landscape is not just barren, but brutal, and the farmer and his daughter depend on this horse, whose life and usefulness to them is nearing it's end. They live a forlorn and desolate existence, highlighted even more with the use of black and white photography. Visually impressive, but not an easy film to watch.
TURISTAS (R) 89 minutes 1/2
They're on vacation in Brazil, but when the bus they are on has an accident, they take a side trip to a bar on a nearby beach. But then they discover it was a trap and now they are in trouble. The moral of the story is "take the airplane" and "stay with your tour group" if you don't want to end up having your body organs harvested by a mad doctor. Poor pacing and way too many dark scenes at the end of the film. R for violence, language, and nudity.
TURK 182! (PG-13) 93 minutes * * *
When his brother is denied health benefits by the city he serves as a firefighter, Jimmy (Timothy Hutton) stirs up community support with grafitti. This disturbs the mayor (Robert Culp), who already has some other problems to deal with. No surprises from the story, but the cast gives this a little extra life.
THE TURKEY BOWL (R) 115 minutes * 1/2
It was an epic football game that was snowed ouy fifteen years ago. Hodges (Ryan Hansen) has been avoiding the town and all of his old friends for years, but is drawn back when he hears that his former best friend has died. It's taking him back to his old glory days, and some of the problems that came with it. Those problems aren't going to sit well with his potential father-in-law, who is running for president. Typical story aboout a group of 30-somethings trying to recature their youth. Mostly, it just runs way too long. R for sex and language.
TURKEY HOLLOW (NR) 83 minutes * * 1/2
It all starts with an attempt to reconnect with a distant relative and celebrate Thanksgiving. Before they know it, they are all searching for the howling hoodoo, because finding it just might save the farm. Fun kids adventure film, with a bit of light horror and a good dose of humor. Along with some wonderful Muppet creatures, it's a fine film for the family.
TURKS & CAICOS (NR) 94 minutes * * *
Johnny (Bill Nighy) is on vacation when he stumbles across a suspicious conference and a dead businessman. This sequel to "Page Eight" works very well on its own, though if yousaw it, there are clear ties, and the characters develop nicely. The cast does a great job of making this middle part of a trilogy very entertaining. Followed by "Salting the Battlefield".
TURNER AND HOOCH (PG) 98 minutes * *
Hooch is definitely not the kind of dog that appeals to everyone, but he's the only witness that Scott Turner (Tom Hanks) has to help find a murderer. On the positive side, thanks to Hooch, Scott has met the town veterinarian (Mare Winningham), and she and Scott are spending quite a bit of time together now. Hanks and Winningham neither one seem that interested in these characters though, and it is rather noticeable at times. It's not a bad film, but the mystery takes a back seat to the dog's story, and the dog's story just isn't that interesting. PG for language.
THE TURNING (PG-13) 90 minutes * 1/2
Kate (Mackenzie Davis) has a new job as the governess for Miley and Flora. They are unusual children, but the estate is even more strange. There are unexplained noises and ghostly visitations every day. A modernization of Henry James' "The Turning of the Screw". The suspense works well, though more subtlety would probably have been more effective. The film has a gothic look, but lacks a more sincere gothic tone. The ending is the difficult part. If you are already familiar with the story, it's a nice, subtle twist. If you aren't, it's more than a little confusing. PG-13 for violence and language.
TURNING GREEN (R) 85 minutes * *
Coming of age story about James (Donal Gallery), a 16 year-old who ends up living in Ireland with his aunts after his mother dies. He turns his adolescent interest in pornography into a lucrative business as there doesn't seem to be much available locally, but a couple of other "entrepreneurs" have some different ideas about who should be making money off of this venture. Very slow-moving, due in part to a story that has little in the way of subplots, and tends to go into too much detail. R for sex, violence, and language.
TURNING RED (PG) 89 minutes * * 1/2
She's just like any other 13 year old girl... well, not really. Meilin (voiced by Rosalie Chiang) has a rather unique problem. There's a "monster" that appears whenever she gets too excited. The message is a little uneven, since it seems to apply to her family but notothers. Solid animation and a nice soundtrack. PG for language.
TURTLE BEACH (R) 82 minutes * * *
Manou Hobday (Joan Chen) is trying to save Vietnamese refugees who are coming to shore on Malaysia. Journalist Judith Wilkes (Greta Scacchi) wants to tell her story. It's a powerful story, and not for the faint of heart. This is a rather compact little film that delivers its punch quickly and leaves, asking only that you remember what you've seen. Life and freedom sometimes come with very high price tags. We tend to forget that. R for violence.
TURTLE POWER: THE DEFINITIVE HISTORY OF THE TEENAGE MUTANT NINJA TURTLES (PG) 93 minutes * * 1/2
Tracing the history of the Turtles back to its very beginning, we hear from Kevin Eastman and Oeter Laird, co-creators of the Teenage Mutant Ninja Turtles, about how the characters came to be. They started out as an underground comic, but transitioned to being a mainstream comic, with a toy line, cartoon, and feature films. This is the ultimate history of the Teenage Mutant Ninja Turtles. PG for language and violence.
TURTLES CAN FLY (PG-13) 95 minutes * * *
Amazing piece of work from director Bahman Ghobadi. On the border of Iraq and Turkey, a young boy finds himself in a position of leadership and is helping himself and other orphans provide for themselves. But when the armless boy who can see the future and his hauntingly beautiful sister arrive, priorities change and the world looks a little different. The story seems to get lost in the details a few times along the way, but it still draws us in and delivers a powerful look at a land in turmoil and a population of children who struggle to find their place in it. PG-13 for violence.
TURTLES FOREVER (NR) 69 minutes * * 1/2
Animated Teenage Mutant Ninja Turtles feature with an interesting twist. Shredder is at it again, this time with a trans-dimensional device. That means more turtles, more Shredders, and more excitement. It's interesting to see the different TMNT here as they use the animation from the original comic, as well as different versions of the cartoon to represent the turtles from the different dimensions.
A TURTLE'S TAIL: SAMMY'S ADVENTURE (PG) 80 minutes * 1/2
A couple of turtles have an adventure in the ocean. Very slow pace, and that's not a comment about the turtles, but most children are going to wonder when something is going to happen, and they might not wait around. The animation is good, but the music isn't particularly exciting or memorable either. PG for violence.
TUSK (R) 96 minutes * *
When a story he sets out to follow up on doesn't work out, Wallace (Justin Long) stumbles across another, and far more strange take in the Great White North. It's a tale that he is about to become part of. A mix of horror and comedy, with a Canadian flavor, from the mind of writer/director Kevin Smith. R for violence, language, and sex.
TUT (NR) 254 minutes * * *
Elaborate and well-crafted story about the life of Tutankhamun. Or at least a possible version of his life, since we don't really know all that much. The idea here is that he was surrounded by deceitful people who all wanted power for themselves. It works well to keep us interested, though the truth may well be less exciting or entertaining.
TUTANKHAMUN: ALLIES AND ENEMIES (NR) 105 minutes * * 1/2
An exploration of the life of King Tut. Through interviews and artifacts, the case is presented for who might have supported him and who might have been opposed. The film asks lots of questions and provides some interesting possibilities, though it doesn't really give us any answers. Some options do seem a good bit more likely than others.
TUTU MUCH (NR) 81 minutes * * *
Summer school at Canada's Royal Winnipeg Ballet. There are only 70 spots that over 1,000 young people will try out for. Those who make it will have four weeks of intense training, and the best of those will be offered admission to the year-long program. This documentary packs a great deal of detail about the program into a short amount of time, though it would have been nice to see a little more of the performances.
THE TUXEDO (PG-13) 92 minutes * *
Jimmy (Jackie Chan) just got a new job driving for Clark Devlin, an important, and somewhat mysterious man. Jimmy wants to be like his boss, and his wish is granted when Clark meets with an accident and Jimmy puts on a very special tuxedo. Light-hearted adventure with nice work by Jackie Chan and a fair supporting performance by Jennifer Love Hewitt. The stunts are a treat to watch, as are the outtakes at the end. PG-13 for violence and language.
THE TV SET (R) 84 minutes * * 1/2
From initial concept to becoming a television series, it's a process that sounds fairly straightforward, but there are... a few kinks as well. Mike Klein (David Duchovny) is discovering those as his pet project, which looked like a sure thing, is now in danger of becoming something completely different. There is quite a bit of "insider" humor here, but for the most part, the story makes us feel like we're on the inside. R for language.
'TWAS THE NIGHT BEFORE CHRISTMAS (NR) 83 minutes * * 1/2
Agreeing the handle the town's annual Christmas Eve production of a play that debates the authorship of the poem, "A Visit From St. Nick", Madison (Torrey DeVitto) is takingon a sizeable task. Perhaps, with some very unique help, she might be able to pull it off.
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12 (PG-13) 157 minutes * * * Modernized Russian version of "12 Angry Men" with strong performances. The core of the story is about how one juror's refusal to just go along with the rest and opt for a quick decision results not only in a more serious consideration of justice, but allows us to really get to know the characters as they discuss their thoughts and feelings about the case. The process of deliberation to find the truth is not always easy, but when the life of another is involved, it's important to take the time to do it justice. PG-13 for violence and language.
TWELVE (2010) (R) 84 minutes * 1/2 White Mike (Chace Crawford) is a drug dealer. He's good at what he does, buying from suppliers in Harlem and selling to rich kids on the upper east side. His cousin is hooked on a new drug, called twelve. Adapted from the novel by Nick McDonell, the story follows Mike through his typical days and how things fall apart when his cousin is killed and a friend is arrested. Heavy with mostly unnecessary narration, we feel like the story is being read to us, which means we don't need to pay attention. And there's not much on screen to make us feel different. R for language, sex, and violence.
12 CHRISTMAS WISHES FOR MY DOG (G) 86 minutes * * Laura Elisa Donovan) gets a life coach who just happens to be able to grant wishes... twelve to be exact. But those wishes have consequences, and Laura has more than a few lessons to learn. Light, predictable, holiday fluff. Safe for the kids to watch, but I doubt if they'll care.
THE 12 DISASTERS OF CHRISTMAS (R) 86 minutes * The world is about to end and apparently, young Jacey (Magda Apanowicz) is the only person who can prevent it. Too bad she has to keepo waiting until the last second to figure out what to do. Badly over-acted, but the title of the film should have been a warning of what to expect. R for violence.
12 DOGS OF CHRISTMAS: GREAT PUPPY RESCUE (PG) 98 minutes * * The local puppy shlter is about to be closed down. Emma (Danielle Chuchren) isn't going to let that happen, but raising the money won't be easy. Maybe reviving that old musical she did a few years ago would help. Sentimental holiday film with puppies, mostly aimed at the pre-teen crowd. PG for violence.
12 FEET DEEP (NR) 81 minutes * 1/2 A public pool becomes a death trap when two sisters find themselves sealed under the protective cover over a holiday weekend. The drama between the sisters works well, but the situation of being trapped and how it gets resolved is less than convincing by a large margin.
12 GIFTS OF CHRISTMAS (NR) 84 minutes * * 1/2 Deciding to try her hand at a different job, Anna (Katrina Law) offers her services as a personal shopper. Her first client (Aaron O'Connoll) is a little hare to please, but Anna has a knack for finding the right gift for everyone. And she just might get something for herself along the way. Cute holiday fare.
12 HOUR SHIFT (NR) 84 minutes * * 1/2 To feed her drug habit, Mandy (Angela Bettis) is part of an organ trafficking setup. When her cousin Regina (Chloe Farnworth) somehow loses a kidney in transit, they have to figure out how to get another one. A strange but interesting mix of offbeat humor and hospital drama.
12 MEN OF CHRISTMAS (NR) 86 minutes * 1/2 A play on the film "Calendar Girls", with Kristin Chenoweth using the local male talent to raise money for a local organization. Unfortunately, Chenoweth plays "rude" and "condescending" a bit too well here, and we find her performance almost too irritating to watch. Adapted from the book Decent Exposure by Phillipa Ashley.
12 MIGHTY ORPHANS (PG-13) 112 minutes * * * Rusty Russell (Luke Wilson) had a rough childhood, but he's ready to give back. He becomes the football coach at an orphanage. It inspires a nation. though it definitely comes at a cost. Strong supporting work from Martin Sheen and Wayne Knight. PG-13 for violence and language.
TWELVE MONKEYS (R) 124 minutes * * * Strange blend of science fiction and suspense that will not appeal to everyone who normally loves either of these genres. The story is quite interesting, about traveling back in time to find a cure for a virus that is wiping out the entire population, leaving the surface of the planet to be ruled by the animals. There's a nice twist at the end of the film and solid performances from Bruce Willis and Brad Pitt which are what make this really work. R for language and violence.
12 O'CLOCK BOYS (NR) 72 minutes * 1/2 So called, because of how long they are able to ride wheelies on their dirt bikes, these young black men ride the streets of Baltimore to express their freedom. The police have a policy of not chasing them because of the danger posed to pedestrians and other drivers. The film follows Pug, who is trying to become part of the 12 O'Clock Boys, but continues to be put off. There isn't much story here, and it repeats quite a bit. What we need to hear is the voices of older members of the group, and some different viewpoints from other people in the city as what we do here is very one-sided.
TWELVE POLE MANOR (NR) 96 minutes BOMB Flipping a house for profit seemed like a good idae. But this particular house has a violent and evil past, and the group of friends working on it will end up being possessed... one by one. The simple but creepy soundtrack is the best part of the film. Poorly acted and edited, with cheap but gross effects. Even fans of low-budget horror are likely to find this a little disappointing. Director Sam Hodge is listed as responsible for fifteen things in addition to directing the film.
12 ROUNDS (PG-13) 106 minutes * * Detective Danny Fisher (John Cena) almost single-handedly brings in one of the FBI's most wanted, but in the process, the criminal's girlfriend dies. Now Miles has escaped and has a score to settle. He's a dangerous man and the game has just begun. Cena's no great actor, the story has enough intensity to carry it through the first hour fairly easily. After that, it begins to slow down and lose our attention. PG-13 for violence.
12 ROUNDS 2 RELOADED (R) 89 minutes * 1/2 No real connection to the first film, except the plot structure for our protagonist, Nick Malloy (Randy Orton), who has to complete a series of tasks within a time limit or trouble will ensue. Some of the action and suspense here is reasonably good, but the acting leaves quite a bit to be desired. R for violence, language, and sex.
12 ROUNDS 3: LOCKDOWN (R) 84 minutes * 1/2 This third entry in the series gives us a plodding and predictable script and mostly lifeless acting. Fans of the first two will enjoy the handful of fairly good action sequences, but this doesn't have much to offer. R for violence and sex.
12 STRONG (R) 121 minutes * * * They were the first Special Forces team on the ground in Afghanistan after the events of 9/11. They were 12 strong. With the help of an Afghan warlord, they would take on the very core of the Taliban forces. An intense war film, based on the most successful mission fought against the Taliban. Based on the book, "Horse Soldiers" by Doug Stanton. R for violence and language.
THE TWELVE TREES OF CHRISTMAS (NR) 85 minutes * * Cheri (Lindy Booth) decides to have a Christmas tree contest to try and save the town's library, which is in danger of being demolished. A light holiday romance that is not very memorable, but still manages to be somewhat entertaining.
12/12/12 (R) 82 minutes BOMB A freaky, evil baby is born on December 12, 2012 and everyone around him except his mom starts dying. Maybe the baby is the spawn of hell. Maybe someone should have… oh nevermind, they already made the movie. Complete with cheap special effects and a dumb ending. R for violence, sex, and language.
12 YEARS A SLAVE (R) 128 minutes * * * In the days before the Civil War, Solomon Northup (Chiwetel Ejiofor), a free black man from upstate New York, is kidnapped and sold into slavery. This is his story of struggle, survival, and eventual return to his family and friends. The performances are strong all around, and the story is not for the squeamish, being fairly brutal in some of its depictions of the treatment of slaves. R for violence and sex.
20TH CENTURY WOMEN (R) 112 minutes * * * It's 1979, and Jamie (Lucas Jade Zumann) is being raised by his mom (Annette Bening) in Southern California. She rents a room in their home to Abbie (Greta Gerwig), and Julie (Elle Fanning) comes over quite a bit. Jamie is learning a lot, and his mother sometimes worries about how balanced that education is, but he seems to be fine. Heavy on character development, handled well by a talented cast. R for language and nudity.
28 DAYS (PG-13) 100 minutes * * 1/2 Gwen (Sandra Bullock) is the life of the party, but when her antics ruin her sister's wedding and she crashes a limousine into a house, she ends up in a mandatory detoxification program. Treatment programs don't work unless you really want them to though, and Gwen has a choice to make. There are a number of great scenes in the film, but many of them seem disconnected or incomplete. Bullock and the rest of the cast create some wonderful characters, but the awkward and uneven presentation prevents us from feeling the full impact of their situation. PG-13 for language.
28 DAYS LATER (R) 108 minutes * 1/2 Chimpanzees that have been infected with rage are freed by well-meaning animal rights activists. But the rage is contagious, and 28 days later, one man emerges from his hospital room to find that a city, and perhaps a world, have been drastically changed. There's an interesting story here, with some parallels to "Dawn of the Dead". Instead of mindless consumerism, it's mindless rage that is the downfall of society. The writing meanders around a bit too much though and the limited budget hurt this as well. R for violence, language, and nudity.
28 HOTEL ROOMS (NR) 78 minutes * * 1/2 The story of a relationship, told through the hotel rooms in which it began and grew. It's an interesting idea and in some ways it plays quite well. Where it doesn't work as well is in leaving us with many questions, because even though both of these characters want something deeper. they've shown us little depth of character that would lead us to believe that they would ever act on that desire. It's more impulse rather than true passion. Stronger direction and more development of these characters could have added a great deal, even if the result ends up the same.
28 WEEKS LATER (R) 93 minutes * 1/2 The zombie-creating virus sees to have run its course. Six months have gone by and a portion of the city is being re-populated. Of course, all it takes is one mistake... The editing style used here is very effective for creating tension and confusion, but it's not very conducive to watching a film. We find ourselves waiting for the confusion to stop so we can figure out where the story is really going. Is everybody ready for "28 Months Later"? R for violence and language.
20 FEET FROM STARDOM (PG-13) 89 minutes * * * 1/2 It's only around 20 feet, but as Bruce Springsteen notes at the beginning of the film, "it can be a pretty long walk". Singing backup requires immense talent and a willingness to be in the background. That also means more often than not, going unnoticed and unappreciated by the public. But most backup singers aren;t doing it for the attention, they do it for the love of the music. Informative and very entertaining exploration of the music world that we don't hear much about. And, it's probably worth noting that the observations and stories here would find many parallels with the acting profession. Apparently the Academy didn't miss that as this earned an Oscar for best documentary. PG-13 for language and sex.
2040 (NR) 84 minutes * * 1/2 Writer/director Damon Gameau takes a look at what the world could look like in 2040 if the world takes the initiative to deal with global warming. Using only technology that already exists, he puts a positive spin on what lies ahead. It's a nice change to see a positive approach that is so comprehensive.
2047: SIGHTS OF DEATH (NR) 85 minutes 1/2 A rebel sent to prove the evils of the current government runs into difficulty. Featuring a stellar cast - Danny Glover, Daryl Hannah, Michael Madsen, Stephen Baldwin, and Rutger Hauer, who were all apparently misled. The script is junk and the sets and costumes look like leftovers from an Asylum film project.
2046 (R) 124 minutes * * * Continuation of the film "In the Mood for Love", with Chow (Tony Leung) writing a story about his memory of a relationship with a woman who lived in Room 2046. To help inspire his writing, he moves into Room 2047 and discovers that a prostitute is now living in Room 2046. What does it mean to revisit relationships from your past, and what happens if you want to live in those memories? It's a fascinating and dreamlike film. A little difficult to follow early on, but it really begins to take hold as it progresses. Nice work from Leung, Ziyi Zhang, and Maggie Cheung. R for sex.
24 EXPOSURES (NR) 75 minutes 1/2 Billy (Adam Wingard) does erotic photography, including some of a more macabre nature. When one of his models turns up dead, Billy ends up being a prime suspect. The script is weak, though the acting is even weaker, making this an ultra low-budget sexsploitation piece with a little bit of suspense.
24 FRAMES (NR) 112 minutes * * * Director Abbas Kairostami's final film is a reflective, experimental piece. Beginning with 24 images of painted or photographic art, he recreates what might have happened before and after the image was captured. It's an interesting exploration of what a form of art that is all about movement can do to compliment forms of art that are all about stillness.
24 HOURS TO LIVE (R) 88 minutes * * 1/2 Travis (Ethan Hawke) put his life on the line for his work, and that's what it cost him. But they have a program where they can bring you back. So, with his second chance, Travis is determined to set things right, despite what the job is demanding. Lots of guns and car chase/crash scenes, but the story gets a little lost more than once. There are also subplots, like the one involving Rutger Hauer's character, that are barely even mentioned. What's here is good, but it feels like this just never really was finished. R for violence and language.
24: REDEMPTION (NR) 97 minutes * * 1/2 Although this does stand alone as a story of agent Jack Bauer (Kiefer Sutherland) and his efforts to avoid those who are trying to track him down, it's clearly a supplement to the television series. Falling in the time period between seasons six and seven, Jack finds himself unable to keep his distance when the orphan boys that he and a friend are working with are put at risk. The gimmick of the twenty-four hour time period has long ago worn thin, but Sutherland does a nice job, and makes it worth a look. Fans of the series should be pleased.
THE 24TH DAY (R) 93 minutes * * Twenty-four days ago, Tom (Scott Speedman) found out that his encounter with Dan (James Marsden) had a dangerous consequence. Now he's determined to make Dan pay for it. But what will that mean? Directed by Tom Piccirillo, who adapted his own play, which shows. It's a very wordy script, well acted, but unable to to involve us as emotionally as it needs to. The first half of the film is more involving than the second. Once the idea has been completely introduced, all we have to hold our attention is to wonder exactly what Tom will do. Filmed in Philadelphia, but most of the action here takes place in one room. R for language and violence.
2099: THE SOLDIER PROTOCOL (NR) 80 minutes * Chosen to participate in an experiment that should repair his paralysis, Matthew (Jackson Gallagher) is going to be part of something much larger than he could imagine. The ethics are shaky, but bio-enhancement is on the leading edge of the scientific frontier. The film moves very slowly, and never really delivers past presenting an idea that could have been much more interesting.
21 (PG-13) 119 minutes * * * A group of MIT students under the guidance of their professor (Kevin Spacey) decide they know how to beat the tables in Las Vegas. The story takes awhile to become interesting and pacing throughout is uneven. It does make us wonder what might have happened if greed and pride hadn't been part of the picture. Adapted from the book, "Bringing Down the House". PG-13 for violence and language.
21 & OVER (R) 84 minutes 1/2 Their friend Jeff (Justin Chon) is turning 21, and theyre determined to celebrate, even if he does have a big exam the next day. The partying is the easy part. Getting him back to his room on time will be a different matter. Any message, or even plot, that might be here gets lost in all of the vulgar, racist, and sexist "humor". Thankfully it doesn't drag on too long. R for sex and language.
21 BRIDGES (R) 92 minutes * * 1/2 Fifty kilos of cocaine and seven dead police officers. It's a massive undertaking, but the first thing to do is shut down access to Manhattan, including the twenty-one bridges. Andre Davis (Chadwick Boseman) clearly has his work cut out for him. Of course it's easy to tell from the start that there are police officers who are not on the right side of the law. It's just a question of whether Andre can find out how to deal with all of it. Solid action film with lots of gunfire and a few chase scenes. R for violence and language.
21 JUMP STREET (R) 103 minutes * * 1/2 Jonah Hill and Channing Tatum work well together in this comedic remake of the classic undercover cop TV show that put young officers into high schools. There's a fairly good balance of comedy and action here, and Hill and Tatum seem to have fun, which makes it fun for us to watch. Cameos from three of the original cast members of the TV show are here too. R for language, sex. and violence.
21 YEARS: RICHARD LINKLATER (NR) 75 minutes * * 1/2 An exploration of the cinematic career of Richard Linklater. Known for a style that looked and felt very improvisational despite using very detailed scripts, Linklater's films covered a wide variety of topics. If you love film, it's fun and fascinating to see the actors who have worked on his films talk about how much they loved the work, and how the similar style of Linklater's films is evident despite the different subject matter.
27 DRESSES (PG-13) 104 minutes * * Jane (Katherine Heigl) has been the bridesmaid more than a few times. Now, the man she's in love with is marrying her little sister, and it's just too much. Kevin (James Marsden) thinks that Jane's experiences as a bridesmaid would make a good story for the newspaper. It might. It makes for a somewhat boring film because the story is such an old and tired one. There are moments when it sparkles a bit, due almost entirely to Heigl's credit. PG-13 for language.
THE 27-HOUR DAY (NR) 84 minutes * * 1/2 Lauren's (Autumn Reeser) star is rising fast. Perhaps a little too fast. She's going to have to put aside her wellness and self-improvement work for a relaxing retreat. There also just happens to be someone there who might really change her perspective. Jack (Andrew W. Walker) needs to make some adjustments in his own life. Perhaps they would be better together.
2016 OBAMA'S AMERICA (PG) 85 minutes * * This documentary takes a deep look at Barack Obama's history and the people and ideas that shaped him. Though not necessarily inaccurate about actual facts, this is also clearly very biased in how it presents those facts. In a very real sense, the majority of what is criticized is that Obama came from outside the accepted network of politicians from which the most highly placed policitians are supposed to come. The other focus is on Obama's anti-colonial ideas, which, though they do tend to go against the way the United States has conducted business in the past, are clearly not the only way to do business or to run a country effectively. Based on two books by Dinesh D'Souza. PG for language.
2067 (NR) 108 minutes * * * Ethan (Kodi Smit-McPhee) faces a choice. Does he travel into the future, where he is possibly the key to saving humankind, but may not be able to return, or does he stay and try to figure out a way to save the woman he loves? The time travel concept works well here. More importantly, Smit-McPhee's character is one we can sympathize with. A very good soundtrack and well-done special effects help too.
2036 ORIGIN UNKNOWN (NR) 92 minutes * * * With the improvements in AI technology, it only makes sense for it to take the lead on planetary exploration. But what happens when ARTI finds something it doesn't understand? That's what has just happened. A monolith of unknown origin has been discovered on the surface of Mars. The ending is a little strange, but getting there is a very good trip, with plenty of thought-provoking dialogue and nice effects.
20,000 DAYS ON EARTH (NR) 89 minutes * * 1/2 Musician Nick Cave celebrates his 20,000th day on earth with a look at his career in music, and his philosophical take on life. A wandering trip as Cave explores his life and art through casual conversations and ruminations. Much like Cave's music, there's an experimental style to the way the film is presented, but it tends to work well.
23 BLAST (PG-13) 95 minutes * * 1/2 When a rare disease leaves Travis (Mark Hapka) blind, he decides that he isn't going to quit on the sport he's played for so long. Football. Based on a true story. Be sure to stay into the credits to see many of the people whose lives the film is based on. PG-13 for language.
2307: WINTER'S DREAM (NR) 98 minutes * * 1/2 The humanoids were built and designed to serve, but they have begun to rebel. The mission to take out their leader has begun, with the goal of bringing them into submission again. It's a good story, though the script struggles to tell it, and there's a little too much narration that tries to explain parts of the story that would work better if we just saw them.
2012 (PG-13) 149 minutes * * 1/2 Increased radiation from the sun is acting like a microwave on the planet, and the earth's crust is de-stabilizing... faster than anyone thought possible. Another in the long line of disaster flicks, though the special effects here are more than a little impressive. The plot, unfortunately, is full of holes and ridiculous moments, but it's still reasonably entertaining. PG-13 for violence and language.
2012: DOOMSDAY (NR) 81 minutes 1/2 Earthquakes, hurricanes, and all manner of natural disasters have a number of people convinced that the end of the world is at hand. Or perhaps just the end of acting. Two-dimensional performances and an absolutely ridiculous ending that undermines the premise of the film. All of these disasters only serve as a warning. Now our characters are supposed to go and preach the gospel to others? Half a star for the special effects crew, but the rest of this is a waste of time.
2012 ZOMBIE APOCALYPSE (R) 85 minutes 1/2 SfFy channel offers its own version of the same basic zombie story we've been seeing for a long time. A small group of survivors of the "apocalypse", try to make their way to Calatina Island, which is supposed to be a safe haven. Ving Rhames and Tanya Manning help, but the really bad CGI effects don't. Also known as "Zombie Apocalypse", not that it makes much difference. R for violence.
22 BULLETS (NR) 112 minutes * * * It’s not just that Charly (Jean Reno) wanted out, but he wanted to honor the friendship. Even after an attempt on his life, Charly was willing to forgive. But when one of his trusted companions is killed, all bets are off. And several people are going to regret that. Reno is excellent here, very much at home in this genre of film, but the supporting cast is quite good as well, making this well worth a look for fans of the genre.
22 JUMP STREET (R) 102 minutes * Learning nothing from the modest success of the first film, this almost completely ad-lib script falls flat quickly. The desperate attempts at humor involve poking fun at pretty much everything in sight, with the best part being during the closing credits. R for language, sex, and violence.
TWICE BORN (R) 123 minutes * * * There's not a great deal of "story" here, at least not in the conventional sense, as it is simply a mother bringing her son, who is now a teenager, to the place where he died many years before during a war. But the film is filled with memories of that war, of love, separation, relationships, and much more, all in a very poetic style. The ensemble cast work well together in a story that is much more about images and feelings than explanations. R for violence, sex, and language.
TWICE IN A LIFETIME (R) 110 minutes * * * Turning fifty and feeling that he's missing something from his life, Harry (Gene Hackman) walks into a bar. Hackman delivers a mediocre and half-hearted performance here, and the story drags, especially at the beginning. The rest of the cast makes this well worth a look, with strong performances from Ann-Margret, Ellen Burstyn, Amy Madigan, Ally Sheedy, and Brian Dennehy.
TWILIGHT (R) 90 minutes * * Paul Newman, Gene Hackman, James Garner, Susan Sarandon, Stockard Channing, and Reese Witherspoon star in this story of people whose careers have seen better days and the murder and deception they have covered up for so long. Harry Ross (Newman) finds himself back in the private eye business when he goes to deliver a package for a friend. A murder that has been kept under wraps for a long time begins to come to light through a trail of clues that Harry uncovers. This is definitely one of the most laid-back mystery/thrillers you'll ever see. The story lets us down though, and the direction is a bit too straightforward for there to be much in the way of suspense. R for language, violence, and nudity.
TWILIGHT (2008) (PG-13) 114 minutes * * 1/2 Bella (Kristen Stweart) is the new girl in town. As she begins to meet people and make friends, she is drawn to the Cullen clan, a rather unique group who just happen to be vampires. The flow of the film is a bit uneven, moving from a mix of vampires and teen angst to something resembling classier art. The more artistic approach doesn't fit well here, though the characters are quite appealing. Especially nice work by Ashley Greene and Jackson Rathbone as Alice and Jasper. Adapted from the novel by Stephanie Meyer. PG-13 for violence and language.
THE TWILIGHT SAGA: BREAKING DAWN PART 1(PG-13) 105 minutes * * 1/2 There's a bit more teen angst in this entry in the series as Edward and Bella get married and something a little unexpected happens. Jake is staying around to help out, despite continuing to struggle with his feelings about Bella and the wedding. Stay tuned for part 2. PG-13 for violence, sex, and language.
THE TWILIGHT SAGA: BREAKING DAWN PART 2 (PG-13) 103 minutes * * 1/2 Edward and Bella's daughter is a rather unique cerature, and not everyone is happy about her existence. The "climactic" battle scene features a very nice gathering of powerful friends and family, with some great supporting and cameo performances, though not nearly as strong and deep in character as a similar gathering in "Queen of the Damned". What this may be most notable for is Kristen Stewart's best performance of the series. PG-13 for violence and nudity.
THE TWILIGHT SAGA: ECLIPSE (PG-13) 115 minutes * * * This "final" chapter of the saga is clearly the best, building nicely on the previous two pieces of the story. Of course, the hormonal teen angst is still quite strong, but the battle scenes and quite well-done and the visuals in general are quite nice. Alice and Jasper have larger parts here, and since they are two of the better actors in the series, it's a welcome improvement to see more of them in the film. PG-13 for violence and language.
THE TWILIGHT SAGA: NEW MOON (PG-13) 121 minutes * * The Cullens need to leave town. They've been around long enough that they're running the risk of people noticing how they aren't aging. When they leave, Bella finds herself spending more time with Jake (Taylor Lautner), who is dealing with a "coming-of-age" change of his own. This suffers from the usual "part 2 syndrome", meaning that it spends a good deal of time tying up loose ends from the first film and setting up the next. it's reasonably good as such, but will appeal more to fans of the series and will look better as part of the series once the third entry is available to watch. PG-13 for violence and language.
THE TWILIGHT SAMURAI (NR) 126 minutes * * * 1/2 Seibei Iguchi doesn't really want much out of life. To enjoy watching his daughters grow up and be able to continue to provide for them is all he really asks. Now it seems that he not only may be able to marry the woman he's always loved, but he's also been asked to kill the member of another clan who is fighting with his own. Winner of twelve Japanese film academy awards and nominated for an Oscar as best foreign language film, this is a beautiful story, told by his youngest daughter as she fondly remembers her father and his love for her and her sister. Perhaps a few minutes could have been trimmed from some early parts of the film, but the ending is perfect.
TWILIGHT ZONE: THE MOVIE (PG) 93 minutes * * * ½ The classic science fiction/horror television show gets a facelift with four episodes redone by four popular directors. Steven Spielberg, John Landis, Joe Dante, and George Miller take on the challenge of making the episodes new and fresh, and do a very nice job of it. Fans of the series will be pleased with the result. PG for language and violence.
THE TWIN (NR) 104 minutes * * When a tragic car accident claims the life of one of their twin sons, they move to a new location to try and start their lives over. Shortly after the move, Elliot (Tristan Ruggeri) begins acting strangely. He also begins to insist that he is not Elliot, but is in fact his twin brother Nathan. The twist near the end isn;t bad, but it takes too long to get there.
TWIN PEAKS: FIRE WALK WITH ME (R) 130 minutes * * 1/2 David Lynch's masterpiece of surrealistic television comes to the big screen. Not quite as effective because those commercial breaks really helped us process all the strangeness on the TV show! A couple of the original actors are missing, but otherwise things are about the same. Another interesting element is that though this is a prequel to the TV show in terms of chronology, it really helps to have seen the TV show first.
TWIN PEAKS: THE MISSING PIECES (NR) 90 minutes * * Extra footage from the film, "Twin Peaks: Fire Walk With Me". It focuses on two particular aspects of the story, being the investigation of the death of Teresa Banks and the last few days of Laura Palmer's life. This does provide some important bits of the story, but it's curious as to why "Twin Peaks: Fire Walk With Me" wasn't just re-released with this additional material. This film will make no sense if you haven't seen the movie or the television series, though it does have some merit for those who have.
TWINS (PG) 110 minutes * * * A man who is raised on a tropical paradise under near perfect circumstances discovers that he is a twin. Of course what makes this fun is that the twins are Arnold Schwarzenegger and Danny DeVito. It's nice to see Schwarzenegger in a role that lets us see his acting abilities in a non-action setting. It's a nice package of relaxing entertainment, with a PG-13 rating for the language.
TWIST (R) 83 minutes * * * A modernized version of the Charles Dickens' classic, "Oliver Twist". Twist (Rafferty Law) is a graffiti artist. After a close run in with the police, he finds himself in the presence of Fagin (Michael Caine), and accepted into a new "family". While there are definitely parts of the story with a lighter and slightly humorous tone, Sikes (Lena Headley) brings a darker and more sinister energy to her scenes. Nicely done! R for violence and language.
TWISTED (R) 92 minutes * * Is the killer targeting people that Jessicae (Ashley Judd) knows or is she the killer and not aware of her own actions? Poor dialogue and sloppy editing in several spots keep us from getting very involved in the story. It's a great cast, with Samuel L. Jackson, Andy Garcia, David Straithairn, and Camryn Mannheim as well, but even a great cast needs a good script. It will look a little better on the small screen, but only a little. R for violence, language, and sex.
TWISTER (PG-13) 105 minutes * * * 1/2 Co-written by Michael Crichton, this definitely keeps you on the edge of your seat! OK, there are a few times when believability is stretched a bit far, but the witty dialogue and fine performances keep us entertained. Both sides of tornado chasing are glimpsed here. The excitement and the danger, and the importance of having a Dodge truck to excape in! What a ride! PG-13 for language and violence.
TWITCHES (PG) 85 minutes * * Disney TV movie about twin witches played by Tia and Tamara Mowry. Separated at birth for their own safety, they are now 21 years old and need to reunite and learn to use their powers to rescue the magical kingdom where they were born. The sisters do a reasonably good job here, but the script doesn't really call for much in the way of difficulty. The major appeal here will be for girls between the ages of eight and fourteen. PG for violence.
TWITCHES TOO (NR) 82 minutes * * After defeating the forces of darkness, the sisters are set to live somewhat normal lives. Or so they thought. Fans of the first film will enjoy this nice follow-up.
TWIXT (R) 84 minutes * * 1/2 It's an odd little town that tends to stay isolated, especially after the murders. When a small-time horror author (Val Kilmer) comes to town, he soon discovers that there's a story here that wants to be told... at least by some. Wonderfully moody and atmospheric production, though the performances are a little lacking. R for violence.
2 AUTUMNS, 3 WINTERS (NR) 88 minutes * * The lives and loves of three friends in and around Paris. More of a conversation than a story, with shifting narrative viewpoints that is more distracting than interesting or helpful. There is a charm to the characters, but it too often gets lost.
TWO-BITS & PEPPER (PG) 89 mminutes * 1/2 The simplistic script and over-acting by the cast don't help a story with talking horses and ponies. And just to be clear, it isn't the animals who don't know how to act. The bumbling villains, added for comic relief, aren't funny, and only add to the list of poor performances. PG for violence and language.
TWO BROTHERS (PG) 99 minutes * * Two tiger cubs get separated from their parents and end up living very different lives. Eventually they are reunited and live happily ever after. There's quite a bit of off-screen animal cruelty here that the younger crowd may need to have explained. The story does end nicely, but it takes far too long to get there. The cubs are cute, but the film's pacing makes even these scenes a bit tedious. PG for violence.
TWO CAN PLAY THAT GAME (R) 83 minutes * * Sometimes the advice you give is the advice you need to take. Viveca Fox and Morris Chestnut along with some terrific help from Anthony Anderson, give this film a little life, but it will play better on the small screen where mistakes are less noticeable. R for language.
2 DAYS IN NEW YORK (R) 91 minutes * * The relationship with Jack didn't work out and Marion (Julie Delpy) is now in New York with Mingus (Chris Rock). Life is going well until her sister and father decide to visit. Rock isn;t a good fit here, and much of the comedy here feels very forced and awkward. That could be appropriate to the characters because of the situation, but it doesn't come across that way. Perhaps Delpy should let others write and direct while she focuses on acting. R for language and sex.
2 DAYS IN PARIS (R) 93 minutes * 1/2 Jack (Adam Goldberg) and Marion (Julie Delpy) are having some difficulties in their relationship. They decide that a trip to visit her parents in France might spark the romance. Unfortunately, they keep bumping into her old boyfriends. Delpy's less-than-inspired script falls flat and Goldberg's whining character begins to grate on our nerves after only a few minutes. By the end of the film, Delpy's character is unlikable as well. Not one of Delpy's better films. R for language and sex.
2 DAYS IN THE VALLEY (R) 98 minutes * * * Though this is written and directed by John Herzfeld, it has the look of Robert Altman all the way. Danny Aiello, Louise Fletcher, James Spader, Jeff Daniels, Teri Hatcher, Marsha Mason... the list goes on and on. This also brings to mind films like "Pulp Fiction" in the strangeness of the story. The peices dont' really begin to fall into place until the halfway point of the film. Could've used more energy, but still quite good. R for violence, language, and nudity.
TWO DAYS ONE NIGHT (PG-13) 92 minutes * * * Sandra (Marion Cotillard) only has the weekend to convince her co-workers to change their minds. They voted to get a bonus at work which will leave her without a job. The boss is willing to let them vote again, but getting them to change their votes won't be easy. Nice work by Cotillard, showing us a character who is broken and defeated but still reaching out in how and finding strength she wasn't aware she had. PG-13 for language.
THE TWO FACES OF JANUARY (PG-13) 91 minutes * * A story with one con after another takes a sharp script to work, and this one just isn't. If anything, it seems to be missing a couple of scenes. Viggo Mortensen struggles with taking the lead here, and result is less than satisfying. PG-13 for violence and language.
2 FAST 2 FURIOUS (PG-13) 100 minutes * * O'Connor (Paul Walker) was just trying to relax and race a little bit on the side, but the FBI wants his help on a case, so he's back in action, with his friend Tyrese (Roman Pearce). Plenty of driving stunt action here, and it's quite good. Of course the story is a bit thin... It is nice that you don't really need to see "The Fast and the Furious" to understand what's going on, but let's just hope they don't make "3X Fast and Furious"! PG-13 for violence.
TWO FOR JOY (NR) 86 minutes * * * When her husband dies, Aisha (Samantha Morton) shuts herself off from the world. That includes disconnecting from her two children, Violet (Emilia Jones) and Troy (Badger Skelton). Violet becomes the parent and Troy spends time with a neighbor who has serious problems of her own. Richly developed characters in a slice of life story that is mostly dark, yet also compelling.
TWO FOR THE MONEY (R) 117 minutes * * 1/2 Former football rising star Brandon Lang (Matthew McConaughey) ends up doing telephone sales after a career ending injury. Walter Abrams (Al Pacino) sees something in him and brings Brandon to New York to work a sports betting line. Pacino dominates the scenes in his usual style, though McConaughey and Rene Russo manage to hold their own and it generally works as far as the story. Unfortunately, we don't get enough of the real story here. By the time we get to the essence of it, we're tired of Pacino's tirades and McConaughey's uneven responses to them. R for language.
TWO FOR THE WIN (NR) 84 minutes * * 1/2 Kayla (Charlotte Sullivan) and Justin (Trevor Donovan) had always been close, but then he left to pursue his skiing career. Things have changed, and he's back home, in need of a coach. Kayla is willing to help, but then something else "clicks" between them. When an opportunity surfaces for Kayla to pursue her own dream, she must make a choice. Is there a way to continue their relationship, or will it have to end?
2 GUNS (R) 101 minutes * * 1/2 Bobby (Denzel Washington) and Stig (Mark Wahlberg) neither one are aware that the other is undercover until late in the game. Maybe too late. Wahlberg has oaa of the wisecracks and the charm here, but lacks the foil to spar with because Washington tends to just walk through the film, remaining disconnected from everything. As for the script, there are only so many direction changes and tricks that can happen before the audience just doesn't care much anymore. Nice stunt work and action effects though. R for violence, language, and nudity.
200 CIGARETTES (R) 96 minutes * * * What an incredible collection of characters! It's New Year's Eve 1981 and they're headed to a party, what will happen along the way? Ben Affleck, Christina Ricci, Martha Plimpton, Gaby Hoffman, Janeanne Garafalo, Courtney Love... but the real delight is Kate Hudson, who reminds us very much of her mother, Goldie Hawn. The flow of the film is a bit awkward, but the energy level is high throughout. It's a fun film, though the narrated explanation at the end should've been cut. R for language.
200 DEGREES (NR) 89 minutes * 1/2 Waking up inside an industrial kiln, Ryan (Eric Balfour) is given a demand. He has to raise a million dollars. The longer it takes, the higher the temperature in the kiln will rise. The film tries to be clever at the end, but it takes so long to get there that we've already lost interest.
TWO HUNDRED METERS (NR) 92 minutes * * 1/2 A Palestinian with an Israeli wife, Mustafa (Ali Suliman) is used to travelling back and forth across the line. When his card expires, it just happens to coincide with his son being admitted to the hospital... on the other side of the wall. Finding a way to get to him is going to be extremely difficult. It's a slice of life in a place on the edge.
TWO IF BY SEA (R) 91 minutes * * Roz (Sandra Bullock) and Frank (Denis Leary) have a stolen painting they need to get rid of. But when you're in a town where the sheriff's office doubles as the video store, things are bound to go wrong. Awkward combination of mystery, comedy, romance, action and more... this has it's moments, but too often misses the mark. I like Bullock, but Marisa Tomei might have served this better.
THE TWO JAKES (R) 134 minutes * * * 1/2 Jack Nicholson's long-awaited sequel to Chinatown finds Jake (Nicholson) embroiled in a murder case that seems to be connected to an old case he worked on many years ago in Chinatown. Vilmos Zsigmond's photography is wonderful, setting the mood perfectly. The story is a bit laid back at times, but Jake is older now. Robert Towne, who wrote the earlier film as well, has tied the films together neatly. It's a gem of a sequel with a talented cast and crew who really shine. Harvey Kietel, Meg Tilly, Madeleine Stowe, Ruben Blades, and many more who all seem to fit perfectly into the film.
TWO LIVES (NR) 90 minutes * * * As a trial against the Norwegian government begins to take shape, Katrine Juliane Kohler) finds that part of her carefully constructed life is in danger of collapsing. The more she tries to protect and preserve it, the faster it unravels. Strong historical intrigue that is given the extra depth of personal drama through the character of Katrine.
TWO LOVERS (R) 104 minutes * * 1/2 Recovering from a recent broken relationship, Leonard (Joaquin Phoenix) has moved back home. His parents just happen to know this wonderful girl... and then he meets one of their neighbors... or does he just want to stay single and avoid the potential heartbreak? The feel-good ending doesn't really fit with the characters. These are tragic characters and a more realistic direction would be more depressing, but would have resulted in a better film. R for language and sex.
TWO LOVERS AND A BEAR (R) 90 minutes * * Set in the Canadian Arctic, this is a story of two young people who are desperately in love. They are also both living lives that are spiralling down and out of control, but being together is more important to them than trying to change that direction. There seems to be quite a bit of backstory that we don't really see here, though we can make some assumptions as the story moves along. Beautiful scenery. R for language and sex.
TWO MEN IN TOWN (R) 112 minutes * * 1/2 Garnett (Forest Whitaker) has just been parolled. It's not easy, but he's trying to get started with his life again. His parole officer is helping, but the local sheriff (Harvey Keitel) seems determined not to give him a break. The ending is symbolic and even poetic, but also seems incomplete. R for language.
2 MINUTES OF FAME (R) 93 minutes * * 1/2 Making fun of Marques (Katt Williams) and doing impressions has finally started to pay off for Deandre (Jay Pharoah). He's got a shot at a competition for comedians in Los Angeles. But the LA comedy scene is tough, and you have to make some difficult choices. Nice work by the cast, Pharoah in particular. R for language.
THE TWO MR. KISSELS (NR) 85 minutes * 1/2 Based on an article, "Kissels of Death", by Steve Fishman. John Stamos stars in this rather dry retelling of a murder case. Pacing is rough and details are somewhat sketchy, as this seems to be structured around leaving space for commercial breaks and not running over the alloted time.
TWO NIGHT STAND (R) 82 minutes * * * Megan (Analeigh Tipton) wants to have a one-night stand to sort of re-set things in her life. But, thanks to a freak snowstorm, it turns into two nights... and so much more. Tipton is delightful, and Miles Teller plays his role in a very low-key style, which works well for Tipton to play off of.R for sex and language.
TWO OF A KIND (PG) 85 minutes * * ½ Enough is enough. God is ready to destroy the world, but four angels are hoping to change that by having God focus on one particular couple. That’s asking quite a bit, but the angels are confident they are correct. It’s lightweight fluff, but it works well and gives us a story that is fun to watch. PG for language and violence.
TWO/ONE (NR) 95 minutes * Kaden (Boyd Holbrook) and Khai (Yang Song) live on opposite sides of the world. The film takes a long time to reveal that one of them is the dreamer and the other is the dreamed. There are hints, and we've already figured it out, but it's made clear a good deal after that. It's also clear in the publicity for the film, so it doesn't make sense not to start with that as a more open part of the story. Waiting as long as it does allows us to grow bored with the two stories, which have little in common. Once the two characters end up in the same time zone, it gets more interesting, but overall, the film is poorly designed and the story tries to keep its secret for too long.
211 (R) 82 minutes * * Retirement isn't far away, but Mike Chandler (Nicolas Cage) is about to deal with one of the most violent incidents he's ever seen. And on top of that, he has a young ride-along to deal with. There's plenty of action, but the story doesn't hang together very well, in large part because too many things the bank robbers do just don't make sense when they are introduced to us as people who should know how to pull off a robbery without all of these problems. R for violence and language.
THE TWO POPES (PG-13) 119 minutes * * * 1/2 Having known each other for years, Cardinal Ratzinger (Anthony Hopkins) and Carnidal Bergoglio (Jonathan Pryce) have distinctly different views of what the Catholic Church needs. And while Ratzinger becomes pope during a very rough time for the church, it also became clear after just a few years, that his more conservative and traditional approach was not what the church needed. It also became clear to him exactly who his replacement should be. Great work by both Hopkins and Pryce. PG-13 for violence.
2001: A SPACE ODYSSEY (PG) 139 minutes * * * * Keep in mind that this film was made in 1968, well before the advent of computer generated effects that are so commonplace these days. It is sheer magic that will sweep you away with its beauty and will stun you with its social commentary. An Oscar winner for special effects, and a science fiction classic not to be missed.
2010 (PG) 114 minutes * * * 1/2 This follow-up to the classic, "2001: A Space Odyssey" has a U.S./Soviet crew on their way to Jupiter to learn what happened to Discovery, and its sentient computer, HAL. An impressive sequel, adapted from Arthur C. Clarke's book, featuring the special effects talents of Richard Edlund. PG for language.
TWO TICKETS TO PARADISE (NR) 83 minutes * * 1/2 After both being dumped on the same day, Hannah (Ashley Williams) and Josh (Ryan Paevey) both decide to go on solo honeymoon trips. And of course, they end up on the same flight and in the same hotel. There are definitely issues they need to work on, but their trip to paradise is about to show them both what they didn't realize they were missing.
TWO TIGERS (R) 87 minutes 1/2 She's an assassin and she's found romance and friendship and wants to get out of the business. But her cover is about to be blown, which will create some problems. (Not the least of which is how to find time to take some acting lessons.) This suffers from a bad script and acting that is pretty poor from the whole cast. In fact, the action sequences aren't well staged either. Andrea Osvart is attractive, but that's about all this has going for it. R for sex, violence, and language.
2 TURNTABLES AND A MICROPHONE: THE LIFE AND DEATH OF JAM MASTER JAY (NR) 92 minutes * * 1/2 Jam Master Jay - Jason Mizell - clearly one of the greatest DJs and a founding father of hip-hop. This bio-documentary chronicles his rise to fame as well as the circumstances that led to his untimely death. Informative and interesting film, especially for those who appreciate music and its history.
2:22 (R) 101 minutes * * As with most heists, the plan was thought through carefully and every aspect of the plan was timed. But on this particular snowy night, it's not going to go as planned, and the repercussions may be quite extreme. The script is quite weak early on, though it does get better later in the film. Not bad as a feature film directorial debut from Phillip Guzman, but clearly has some rough edges. R for violence, language, and sex.
2:22 (2017) )PG-13) 93 minutes * * 1/2 It takes Dylan (Michiel Huisman) awhile to figure out the pattern and what it means. No one else seems to understand. The film tries too hard to be abstract toward the beginning, letting us begin to ponder theories of time and relativity, which is not a good idea. It rarely benefots a film when people try to figure out the time theory that is being used. Teresa Palmer and Huisman help the film quite a bit, but the ending works out a little too easily. PG-13 for violence and sex.
TWO WEEKS (R) 94 minutes * * 1/2 Tear-jerker with Sally Field playing the role of a mother who is dying. As her children arrive to spend time, they find themselves sharing memories and coming to a new understanding of what it means to be family. Sorrow and laughter mingle well in the story, but the chemistry between some of the actors is absent more often than it should be. R for language.
TWO WEEKS NOTICE (PG) 95 minutes * * * She protests against just about everything big business stands for. He's the poster boy for big business. Of course we know what's going to happen when the two of them end up spending some time together. Sandra Bullock and Hugh Grant work very well together. They play well off of each other's weaknesses in the story and appear to have as much fun telling us this story as we do in watching it. It's a great example of the importance of a talented cast, and yet another example of Bullock's casual style of acting that brings the characters she performs to life. Filmed in New York. PG for language.
TYRANNOSAUR (NR) 89 minutes * * 1/2 Joseph (Peter Mullen) struggles with violent behavior that is slowly becoming a larger and more difficult piece of his life. Being around Hannah (Olivia Colman) seems to help, but she has some problems of her own. the film is a bit disconnected until the end, with an interesting, though sometimes frustrating mix of an intense story that is set in the relaxed atmosphere of the countryside. Clearly, that's part of the point of the story, but it just doesn't work as well as it needs to.
TYREL (NR) 84 minutes * 1/2 Out with his buddies for the weekend, Tyler (Jason Mitchell) quickly realizes that not only is this going to be an alcohol fueled weekend, but he will be the only black man taking part. He's not really ready for that much drinking, and he's overwhelmed by the whole experience. Very much a slice of the weekend, without much of a plot, though it isn't difficult to see Tyler's struggles and sympathize with what he's going through.
TYSON’S RUN (PG) 98 minutes * * ½ Tyson (Major Dodson) just wants to please his father (Rory Cochrane). His father just wanted a “normal” son. Tyson has Aklilu (Barkhad Abdi), he is convinced that he can be the champion of a marathon. Sentimental and unsurprising story, but the cast does a nice job. PG for language.
U2: RATTLE AND HUM (PG-13) 92 minutes * 1/2 Concert film featuring the very talented U2, but interrupted far too often with interview segments that are unorganized and poorly edited. There's a great deal more info and concert footage from this band that is worth a look, but only diehard fans need to bother with this particular film.
U-571 (PG-13) 109 minutes * * * During World War II, the German U-boats were responsible for a great deal of damage to the allies. This film tells the story of a plot to get aboard one of the U-boats and steal the code machine the Germans were using in an effort to put an end to the German's success in this area. Great suspense and solid acting keep this moving along nicely. It's no "Das Boot", but it's a good war film that will keep most everyone's attention. PG-13 for violence and language.
U.S. MARSHALS (PG-13) 122 minutes * * * Spinning off of the success of "The Fugitive", Sam Gerard (Tommy Lee Jones) finds himself on the trail of a convict on the loose. Mark Roberts (Wesley Snipes) escapes after a plane crash, while being transported to a different jail facility. He seems to know a bit more than the average person about how to get himself out of a tough spot though, so we suspect that there's more to this man than meets the eye. Although many aspects of the story are derived from the previous film, Jones, Wesley Snipes, and the supporting cast give this the energy it needs to succeed. As with a number of action/thrillers, events tend to get overly predictable in the last half hour. Still, it's fast-paced, exciting, and thoroughly entertaining up until then, and Jerry Goldsmith's soundtrack is worth the price of admission all by itself. PG-13 for violence and language.
U-TURN (R) 119 minutes * * Typically contrived film from Oliver Stone with lots of extremes that are shoved in our face to try and make a point. It's mostly irritating to have it all thrown at us instead of presented in a more artistic and creative manner. It's a shame, because Sean Penn and Jennifer Lopez do fine work here, and the cast is filled with interesting little characters and fun cameo bits, but you're left with a violent batch of short bits and nothing to hang them on to make much sense. R for sex, language and violence.
UFO (PG-13) 82 miunutes * * 1/2 A long time ago, Derek (Alex Sharp) saw a UFO. He was a child when that happened. He's a brilliant college student now, and it happens again. Multiple sightings at various locations. Derek won't give up so easily this time. A more scientific and mathematical look at the possibility of intelligent life on another planet. Derek's ability to get the attention of people so high up so quickly isn't a very convincing part of the story, but Sharp does a good job. PG-13 for language.
THE UGLY TRUTH (R) 91 minutes * * 1/2 Abby's (Katherine Heigl) new show is struggling. Mike (Gerard Butler) has a successful little show on an independent network. It's everything that Abby hates, but she's going to have to work with it, and with him. Predictable, but fun, and Butler and Heigl have enough chemistry to make it work fairly well. R for language and sex.
UGLYDOLLS (PG) 79 minutes * * When a doll is less than perfect, ot os sent to a special place. They have come to accept their home away from everyone else. But someone is now questioning the status quo. She thinks ugly dolls should be able to be loved too. It's a great message, and important to hear, but the story just doesn't have the edge it needs. Neither does the music, which is important, because there's actually quite a bit of it in the film. Many of the songs sound better after you hear them a couple of times, but they don't catch us right away, which means many people won't bother giving them a second chance. Voicve talents by Pitbull, Ice-T, Kelly Clarkson, Blake Shelton, Charlie XCX, and Nick Jonas, just to name a few. PG for violence.
UHF (PG-13) 91 minutes * 1/2 George (Weird Al Yankovic) gets the opportunity to run a television station after his uncle wins one while gambling. The only problem is that George doesn't really know what he's doing. Neither did the people who were making this film. They try to spice up a boring story with funny skits, but the result is that we lose interest rather quickly. Yankovic has done some incredible song parodies, but most of the skits here just aren't all that funny. The Ballad of Jed Clampitt is an exception, but it isn't worth sitting through the whole film. If you do watch the whole thing, you might keep an eye out for Dr. Demento as he eats some whipped cream.
ULEE'S GOLD (R) 110 minutes * * 1/2 The contradictory elements are what unbalance this story. For the most part, it is a gentle slice of life film about Ulee (Peter Fonda) a beekeeper in Florida who is raising his two granddaughters. When we get to the parts about the extra bank heist money, the strung out daughter-in-law, the son's friends who want the money... the film becomes predictable and uninteresting. Fonda has given us a character much like those his father played, though with his own style. It's nice to see. R for violence and language.
THE ULTIMATE GIFT (PG) 110 minutes * * * When Red Stevens (James Garner) dies, the disposition of his connsiderable wealth is of concern to many of his surviving relatives. His grandson Jason (Drew Fuller) stands to be the primary beneficiary, but he must first complete twelve tasks. More than the money, these twelve tasks are gifts that will help Jason on his journey through life, and in understanding the true gifts life has to offer. Inspirational and sentimental, but well-acted and thoughtfully written as well. Adapted from Jim Stovall's novel. PG for violence and language.
THE ULTIMATE LEGACY (PG) 83 minutes * * Third in a series of films adapted from Jim Stovall's novels, this is more of the same. A young man will need to show that he is worthy of the bequest he is potentially set to receive. This story is a bit more manipulative than the previous two, and if you haven't seen them already, there are definitely some parts of this story that won't make much sense. PG for language.
THE ULTIMATE LIFE (PG) 105 minutes * * 1/2 Sequel/prequel to "The Ultimate Gift", with the bulk of the film being Red's younger days. Adapted from another novel by Jim Stovall, this ties in well with the first, both of which work as sentimental family dramas. PG for violence.
ULTRAMARATHON MAN (NR) 106 minutes * * 1/2 Documentary about Dean Karnazes, who set out to run fifty marathons in fifty states in fifty days. It's a film about doing what you love and doing it well. Karnazes is an inspiration, and the film does a nice job of sharing his passion and dedication to running.
ULTRAMARINES (R) 71 minutes * 1/2 Answering a distress call, a squad of Ultramarines find only one remaining member from a campany of Iron Fists that were stationed there. Nice to see a Warhammer film, but the story doesn't really do a great deal, tending to drag and struggling to remain interesting, though there is a good deal of action toward the end. Facial animation is awkward and stiff, though the body movement looks very good. R for violence.
UNLTRASOUND (NR) 101 minutes * * 1/2 One night when Glen (Vincent Kartheiser) is out driving, he runs over a strip of nails. There's a house nearby, and they offer for him to spend the night. Reluctantly, he accepts. The story is interesting and unusual. It's also a little difficult to follow as it twists and turnns in on itself, taking time to reveal its secrets. Definitely benefits from a second viewing.
ULTRASUEDE: IN SEARCH OF HALSTON (NR) 89 minutes * * 1/2 Packed with interviews of people who knew and worked with fashion designer Halston as well as a good deal of footage of Halston himself. In many ways, this also serves as a story of the 1970s in the United States. It does tend to shy away a little too much from how his life ended, giving us instead a much more romantic/tragic finish.
ULTRAVIOLET (PG-13) 83 minutes * 1/2 Very slick-looking adaptation of the comic book that is sorely lacking in story development. Milla Jovovich really looks great as Ultraviolet. Loads of questions are unanswered here, with the 14 second introduction falling far short of delivering what we need to know. Milla Jovovich looks great in the costume though. The battle scenes are chroeographed well, but the chase scene early in the film involving motorcycles and helicopters is far too cartoonish. Milla Jovovich does so many great poses for the camera! Oh yeah, I've said that already... lots of style, not a great deal of substance. PG-13 for violence and nudity.
UMMA (PG-13) 78 minutes * * It's a quiet life on a farm. Amanda (Sandra Oh) and her daughter live here, mostly cut off from the rest of the world. One day, Amanda's uncle unexpectedly arrives with a box. It contains her mother's ashes. She wants nothing to do with them, but tradition says that it is her responsibility to dispose of them appropriately. What will happen if she doesn't? Sandra Oh does some nice work here, but the story isn't very suspenseful of deep. PG-13 for violence and language.
UNA (R) 86 minutes * * * It's been many years since Ray (Ben Mendelsohn) had sex with his neighbor's 13-year-old daughter. Now she's back, and looking for answers. Rooney Mara and Mendelsohn do a very nice job of portraying the uncomfortable tension that has always existed between their characters. Based on the play "Blackbird" by David Harrower. R for sex and language.
UNA NOCHE (NR) 86 minutes * * Dreams of leaving Havana for Miami have been on Raul's (Dariel Arrechaga) mind for some time, but now, circumstances have made it so that the risks need to be taken immediately. The characters in this story tend to remain rather nondescript and the story wanders around for awhile before managing to find its way.
UNA SEMANA SOLOS (NR) 106 minutes * * 1/2 One week alone... what would your children do? Actually, there are adults around, though we don't see them right away, it's just that much of the time, these children aren't supervised. Well-acted, but the story begins to wander off track fairly quickly and there's nothing in the way of resolution or consequences for what has happened, which undercuts some of the realism the film could have had.
UNACCOMPANIED MINORS (PG) 84 minutes * 1/2 Their stranded at an airport on Christmas eve. That won't stop them from celebrating the holiday and having more than a little bit of fun along the way. Moderately entertaining for the younger crowd, though it tends to drag in a few spots. Based on a story by Susan Burton that aired on Chicago Public Radio as part of the show, "This American Life". PG for language.
UNANSWERED PRAYERS (NR) 84 minutes * * Thins were going well for Ben (Eric Close). A successful business, a loving wife, a talented son... and then his old high school flame comes back to town. Based on the Garth Brooks song, which doesn't give this much room to go anywhere. Still, for a TV romance movie, it's not too bad.
THE UNAUTHORIZED FULL HOUSE STORY (NR) 85 minutes * 1/2 A TV movie about a TV show... Not only is this unauthorized as the title notes, but it deals with everything about the show in a very surface and tabloid news style. The sentimental ending is a nice touch, but it's a stark departure from the tone of the rest of the film.
THE UNAUTHORIZED SAVED BY THE BELL STORY (NR) 87 minutes * * * Told from the perspective of Screech (Dustin Diamond), this is more than just a look behind the scenes, this film covers aspects of the actors lives and what it meant to be a group of teens who didn't always get along or enjoy the characters they were playing. The show didn't start off being about them, but adapting to what the audience connected with, created a nega-hit. Fans of the series will like this more than the rest, but it's a well-done documentary that looks at both the positives and negatives of the show and what it meant to be a part of it.
THE UNBEARABLE WEIGHT OF MASSIVE TALENT (R) 98 minutes * * 1/2 Nicolas Cage, playing himself, is desperate to get this new acting role. When it doesn't work out the way he wants it to, he decides to team up with a fan who has written a script just for him. This fan also happens to be connected with some very nasty people, and the U.S. Government wants to use Nick as a spy to learn more about them. Full of references to, and reenactments of various roles Cage has played in the past. The more of his past work that you have seen and remember, the more fun this is. Without that familiarity, this isn;t a strong story, and Cage's performance is less endearing. R for language and violence.
THE UNBORN (PG-13) 78 minutes * 1/2 Visions and hauntings... it turns out that Casey (Odette Ysutman) had a twin who died at birth that she never knew about. The music is suspenseful at times and there are a couple of really creepy children, but that's about all this has going for it. PG-13 for violence and language.
UNBREAKABLE (PG-13) 102 minutes * * 1/2 If there are certain people who always find themselves being injured, are there those who aren't? Are they here to protect the rest of us? After a train wreck, David Dunn (Bruce Willis) finds himself to be the only survivor. Is he a superhero? Director M. Night Shyamalan gives us an interesting look at the possibility of real superheroes. The film is rather laid back and almost misleading, but slowly draws us in and convinces us. It still seems to need some fine tuning, but Willis delivers a fine performance as a man trying to figure out just where he fits into the big picture. Shyamalan may have taken on a bit much as writer, producer and director (he also has a bit part as a drug dealer), but this is definitely an interesting film. PG-13 for language and violence.
THE UNBROKEN (NR) 98 minutes * Starting over after her divorce, Sarah (Aurelia Riley) gets an apartment that apparently comes with a ghost. Nothing she does seems to get rid of it, and the level of danger it presents seems to be increasing. The quality of the film does not increase as the movie goes along, and the acting and production quality could use some work. Most importantly, the twist at the end is uninteresting by the time we get there.
UNBROKEN (2014) (PG-13) 132 minutes * * * 1/2 Louis Zamperini (Jack O'Connell) never thought he could do much. But with his brother's guidance, he gets on the school's track team. Before long, he is on his way to the Olympics. That same determination and skill will serve him well as he survives a plane crash and is rescued by the Japanese only to find himself in a World War II prison camp. Dramatic and inspirational script by the Coen brothers and strong direction by Angelina Jolie. Adapted from the book by Laura Hillenbrand. PG-13 for violence and language.
UNCANNY (NR) 82 minutes * * 1/2 Invited to write an article, Joy (Lucy Griffiths) finds herself witness to David's (Mark Webber) latest creation. Adam (David Clayton Rogers) is the next generation of AI. But the more she talks with him, the more she grows fond of him... and the more he begins to change. A dark and not particularly pleasant look at the personal aspect of AI.
UNCERTAIN TERMS (NR) 70 minutes 1/2 To get away from troubles he's having in the city, Robbie (David Dahlbom) heads to his aunt's house in the county\ry. His aunt is also taking care of several pregnant teenagers. There's a very unpolished look and feel to the story and the performances. That could work, but it doesn't. The entire film seems to be "uncertain", and tends to wander in a very small circle, never really getting anywhere. The performances are genuine, but the script and direction come up short.
UNCHARTED (PG-13) 105 minutes * * 1/2 Nathan Drake (Tom Holland) and his brother were adventurers and treasure hunters from a young age. Sully (Mark Wahlberg) makes a generous offer (not really) that Nathan can't refuse. It might help him find his brother, who has been missing for several years. Can Sully be trusted? What about Chloe (Sophia Ali)? Fun adventure, based on the video game, but believability is never part of the picture here. Not even close. PG-13 for violence and language.
UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES (NR) 108 minutes * * 1/2 Boonmee (Thanapat Saisaymar) is dying, thus how he can recall his past lives, visitations from which we see as the film progresses and Boonmee's end nears. Unusual piece that is mysterious, though never really scary or particularly suspenseful. It's a story of death and karma from writer/director Apichatpong Weerasethakul.
UNCLE BUCK (PG) 93 minutes * * * Despite all of his oddities, he's really a good, caring, responsible person... just a little on the eccentric side of things. This is one of John Candy's stronger roles, with both comedy and some good, serious drama. Writer/producer/director John Hughes definitely deserves much of the credit, but it's nice to see Candy working with some good material that shows off his talents. PG for language.
UNCLE DREW (PG-13) 94 minutes * * * It has always been Dax's (Lil Rel Howery) dream to win the Rucker Classic. The team he thought would get him there just dumped him for another coach. When he meets the legendary Uncle Drew (Kyrie Irving), he has an idea. All five of the players on Uncle Drew's team are former NBA or WNBA stars. Reggie Miller, Chris Webber, Nate Robinson, Shaquille O'Neal, Lisa Leslie, and Irving himself. It's a fun story with some very nice game sequences. PG-13 for language and nudity.
UNCLE NICK (NR) 78 minutes 1/2 Nick (Brian Posehn) is rude, and it tends to get worse when he's drunk. Interspersed with a history of 10 cent beer night at the Cleveland Indians stadium, which is actually more interesting than the rest of the story. The humor is dry, sarcastic, and rude. Fans of Posehn will like this more than the rest, but it's not his best material.
UNCOMMON VALOR (R) 101 minutes * * * Reuniting for a special mission, these Vietnam War veterans hope to rescue several prisoners of war, including the son of their new team leader, Col. Jason Rhodes (Gene Hackman). A heroic story with a great cast and a rousing soundtrack from James Horner. R for violence and language.
UNCONDITIONAL (PG-13) 92 minutes * * 1/2 Sam's (Lynn Collins) life was perfect, until a tragic turn of events changed it all. But as she approaches the bottom, another chance encounter offers an opportunity for another change. Lots of emotional pull at the end of the film that tends to push the believability of the story a little too far past what we can accept, but until then, its a very good story. PG-13 for violence.
UNCUT GEMS (R) 130 minutes * * 1/2 Howard Ratner (Adam Sandler) is always looking for a better deal, a way to beat the odds, or a fast buck. He's starting to have trouble though, slowly sinking into a debt that is too large to get out of easily. No amount of fast talking is helping his situation. But there's always one more bet to place... until there isn't. Sandler is good here, in a role taht's a bit doffierent for him. Too many of the rest of the characters just don't have much depth though. R for language, violence, and sex.
UNDEFEATED (PG-13) 109 minutes * * * Manassas High School is an inner city school in Memphis, Tennessee. Funding for the sports program is a low priotiry. But some amazingly talented youth and their volunteer coach decide to turn the program aound, and maybe even the school. Everyone is surprised at what happens. It's a great, insider look at what happened for this team and their determined approach to the challenges they faced. PG-13 for language.
UNDER AFRICAN SKIES (NR) 96 minutes * * * Paul Simon's "Graceland" created a great deal of controversy because it was recorded with musicians from South Africa that Paul met while on a trip there. At the time of his travel and the recording, South Africa was still going on. Twenty-five years later, he returns to reconnect with the musicians he worked with and talks with them about the music, the process, and the controversy. It's a very in-depth look at the creation of the music and what it meant to both Simon and the rest of the musicians.
UNDER COVER (R) 90 minutes * * An undercover cop in a high school investigates a drug ring that resulted in the death of another officer. Good atmosphere and fair acting, but the predictable story does this in rather quickly.
UNDER SIEGE (R) 99 minutes * * * Sort of like, "Die Hard" goes to sea... Steven Seagal is a bit more likeable than Bruce Willis though, and the story is written in a fashion that allows events to move forward without Seagal having to be in every scene. Balancing the story really helps make an action film be more interesting. The only real problem is that the villain gives up a bit too easily at the end. R for violence, language, and nudity.
UNDER SIEGE 2: DARK TERRITORY (R) 93 minutes * * Although the villains in this film are easy to hate, when they come up against our hero (Steven Seagal), they fold with an ease that shows us a script that is severely flawed. Seagal seems unimpressed throughout, walking through his part with little passion and as if he's reading his lines for the first time. The music is suspenseful enough and the special effects are spectacular, especially toward the end of the film. Basically, this is just another mediocre sequel, of which there are far too many already. R for violence and language.
UNDER THE AUTUMN MOON (NR) 83 minutes * * Looking to help her boss axquire property for the company, Alex (Lindy Booth) flies to a dude ranch in North Dakota. But commercial development may not actually be the best way to make good use of this piece of property. A western flavored Hallmark romance.
UNDER THE BOARDWALK (PG) 76 minutes * * A Romeo and Juliet story with a land crab from underneath a Jersey shore boardwalk falling in love with a sea crab who is just there for the season. Their families and friends quickly find every reason imaginable for the relationship to fail and for their two families to not get along. It will take a storm that sweeps them far away, and on an adventure which only strengthens their love for each other. Featuring the vocal talents of Keke Palme, Michael Cera, Bobby Cannavale, Russell Brand, and John Magaro. PG for language and violence.
UNDER THE BOARDWALK: THE MONOPOLY STORY (G) 84 minutes * * 1/2 A history of Monopoly that also follows the U.S. National and World Tournaments. What may be even more interesting is the look at Monopoly collecting and the various forms the game has taken in countries all over the world.
UNDER THE EIFFEL TOWER (NR) 84 minutes * * In the midst of his mid-life crisis, Stuart (Matt Walsh) gets rejected, meets a new friend, and falls in love. The story moves well, but the dialogue could use a little more wit, and Walsh judt doesn't have the edge he needs here, playing this too dry and relaxed, which makes it easy for us to disconnect from the story.
UNDER THE MOUNTAIN (PG-13) 86 minutes * * 1/2 Twins who are connected by special poewr discover that they are part of a bigger story. A strange, dark house is home to the Wilberforce "family", who have awakened, and are working to free the seven gargantua to take ove the world. it will be up to the twins to stop them, along with the mysterious Mr. Jones (Sam Neill). It's a good story, adapted from the book by Maurice Gee, but the cast isn't very strong, so despite some nice special effects, we find it difficult to get absorbed into the film. Filmed in Auckland, New Zealand. PG-13 for violence.
UNDER THE SAME MOON (2007) (PG-13) 107 minutes * * * 1/2 Carlitos (Adrian Alonso) misses his mother, who has crossed the border from Mexico into the United States so that she can earn better money for their family. But when his grandmother dies, Carlitos only wants to be with his mother, so he sets out on his own to find her. Alonso does an outstanding job here, and his performance alone makes this worth watching. It's a powerful and emotional story that is sure to stay with you for quite awhile. PG-13 for language.
UNDER THE SHADOW (PG-13) 81 minutes * * As if trying to survive in Iran during the Iran-Iraq war isn't difficult enough, Shideh (Narges Rashidi) and her daughter Dorsa (Avin Manshadi) seem to be haunted by something evil. The ending will not be what most people will want, but it's very effective and adds some strength to a mediocre story. PG-13 for violence and language.
UNDER THE SILVER LAKE (R) * * * 1/2 Packed full of film references and unusual storylines, most of which connect with one another, but not all of which necessarily resolve. It's a unique and almost dream-like story with Sam's (Andrew Garfield) search for a mysterious girl at its center. You might need to watch this more than once. R for sex, violence, and language.
UNDER THE SKIN (R) 102 minutes * * 1/2 She (Scarlett Johansson), we never have a name, seduces men in the dead of night. But why? And to what end? Even she doesn't seem to understand, though it will eventually help her learn who and what she is. An unusual piece that is part science fiction and part mystery thriller. Johansson's performance is what makes this work as well as it does. Adapted from Michel Faber's novel. R for sex, violence, and language.
UNDER THE STADIUM LIGHTS (PG-13) 100 minutes * * 1/2 In 2008, the Abilene High School Eagles football team was undefeated. Entering the playoff season, they were expected to win. Instead, they were defeated in the first round. This is the story of the season that followed. It is the story of what can happen when the members of a team really look out for one another and live up to the truest sense of the idea of a team. PG-13 for violence and language.
UNDER THE SUN (NR) 109 minutes * * 1/2 Behind the scenes in North Korea. Russian film director Vitaly Mansky was granted permission to make a film about a little girl on her way to becoming part of the Children's Union on the Day of the Shining Star. But Mansky managed to capture extra footage after the North Korean officials called for scenes to be over. There are some interesting moments, though not as revelatory as one might think. What's more interesting, and perhaps more frightening is the stark quality of the settings. Walls are often plain and white, colors are limited and uniform in presentation, and originality and variety are clearly not expected or encouraged. And then there's the ending piece.
UNDER THE TUSCAN SUN (PG-13) 106 minutes * * * Discovering that her husband is having an affair, Francis (Diane Lane) ends up paying him alimony and giving him the house. A present from her friends, in the form of a vacation in Tuscany, sounds like a great idea. While there, she buys a house on a whim, but maybe it was the right thing to do after all. Adapted quite freely from the book of the same title, this is heavy on narration, but well performed by Lane and filled with beautiful photography of the area. It's a reminder that wishes can come true... sometimes they just look a little different. PG-13 for sex and language.
UNDERCOVER BLUES (PG-13) 84 minutes * 1/2 Mildly entertaining spoof of police/action films that never gets off the ground. Kathleen Turner and Dennis Quaid are really out of place here, toting around a baby while on an FBI case when they are suppposed to be on leave. PG-13 for violence and language.
UNDERCOVER BRIDESMAID (NR) 86 minutes * * 1/2 Tanya (Brooke Burns) has been hired to protect Daisy (Nicole Paggi), daughter of a wealthy Texan. But this bubbly bride-to-be is proving difficult to manage, especially since Tanya is going to have to go undercover as a bridesmaid. Her history with weddings is not good. Cute TV movie with a tiny bit of suspense.
UNDERCOVER BROTHER (PG-13) 80 minutes * * Based on the internet series, this is the story of Undercover Brother (Eddie Griffin), who is on a mission to bring back the funk that has been missing since the 1970s. It's a light-hearted parody of some of the films from the 1960s and 1970s. If you've seen several of those, this does manage to give you a few laughs, but even at it's short length, it manages to drag. PG-13 for language.
UNDERCOVER BROTHER 2 (R) 79 minutes * 1/2 After his previously successful mission against "The Man", Undercover Brother (Michael Jai White) is back in the 'hood, taking a break. But "The Man" isn't down for long, and he manages to put both Undercover Brother and his brother Lionel (Vince Swann) on ice... for sixteen years. White Undercover Brother is still recovering, Lionel will need to fill in for him. There is some fun social commentary humor here, but there's a bit too much bad comedy that comes along with it. R for sex and language.
UNDERCOVER GRANDPA (PG-13) 88 minutes * * Jake (Dylan Everett) just wanted to go on his date, not have dinner with his strange, paranoid grandpa (James Caan). But now, his date is missing, and his grandpa's special ops experience may be just what is needed. It turns out that his paranoia might have not been so crazy after all. A little silly, and definitely predictable, but still fun, kid's adventure film that is at least mostly tolerable for adults as well. PG-13 for violence and sex.
UNDERCOVER HOLIDAY (NR) 83 minutes * * 1/2 Her career is really taking off. In some ways it's fun, but Jaylen (Noemi Gonzalez) is learning a little about the darker side as she is required by the label to have a security guard with her at all times. That would be Matt (Stephen Huszar). When he goes home with her for Christmas, he ends up pretending to be her boyfriend. It may not be pretend for long.
UNDERDOG (PG) 75 minutes * * Thanks to an accident in a laboratory, a cute little mutt becomes the powerful and amazing "Underdog"! The old cartoon series did have its fans, but this will be less likely to have many. It is fun to see Jim Belushi, Patrick Warburton, and Peter Dinklage here, but Alex Neuberger who plays Underdog's young owner, is forgettable at best. PG for language and violence.
UNDERDOG KIDS (PG) 91 minutes * * The title pretty much covers it here. A mis-matched group of less-than-athletic kids need a couch as they face the Junior National Karate champs. Nice fight sequences, but not very good acting otherwise. PG for violence and language.
UNDERDOGS (PG) 98 minutes * * 1/2 A coach who left his successful college team for "no reason", a quarterback who just doesn't "click" with his team, and a team with no winning seasons for years... they are definitely underdogs. Very predictable story, but the acting and direction keep the tone light and appealing just enough that it still manages to work. PG for language.
UNDERGODS (NR) 85 minutes * * 1/2 In a grey, dystopian version of Europe, we are given a chance to meet a variety of characters whose lives are just as grey and tragic as the world in which they live. The stories are loosely tied together by the presence of K (Johann Myers) and Z (Geza Rohrig), who travel around picking up the casualties of the dying world. Fascinating, but the story wanders quite a bit and the humor is subtle and dark and doesn't work as well as it couold.
UNDERGROUND: THE JULIAN ASSANGE STORY (NR) 89 minutes * * 1/2 The story of Assange's (Alex Williams) teen years and his early work on hacking into systems, including that of the U.S. military. Though the performances here are mediocre, the story works well to give us a glimpse of what helped shape Assange as a child and as a young man.
THE UNDERNEATH (NR) 73 minutes * * Accompanying his wife on a working weekend at her boss's house in the country doesn't sound like a problem at first. But Michal (Tomasz Karolak) is also Iza's (Beata Kozikowska) former boyfriend. Even more frustrating is that Michal's girlfriend is making it difficult for Piotr (Zbigniew Kaleta) to concentrate on the work that Michal has asked him to do. The relationship tangle is a bit much to sort out, especially when none of the characters have a great deal of appeal.
THE UNDERSHEPHERD (NR) 106 minutes * * The two youth ministers at the First Baptist Church have been best friends for years. But as they make their move to the next level of ministry, they will make very different decisions that will show just how far apart from one another they are. The emotions in the script just keep getting more and more extreme as it moves along, becoming almost ridiculous until it finally reaches its "dramatic" conclusion. It's unfortunate, because some of the points are quite good, but they get lost because of how extreme everything becomes.
UNDERTOW (NR) 96 minutes * * * Miguel (Cristian Mercado) is leading a double life. He has a wife with a child on the way, but he's also having an affair with Santiago (Manolo Cardona), a local artist. But when Santiago dies, his spirit remains, and Miguel must find a way to help him. Solid performances in an emotional story. Filmed in beautiful Cabo Blanco, Peru.
UNDERWATER (PG-13) 91 minutes * 1/2 Deep in the Mariana Trench, a mining and research facility encounters a problem. It would seem to be an earthquake, but what they know now is that the station is structurally unsound. They must travel to another station nearby, and between the two stations, there are monsters in the deep. There's lots of fast-paced, tense action, but most of the effects are difficult to see. The tension and pace fit the story, but it's frustrating to watch, because the photography and effects get in the way. PG-13 for violence and language.
UNDERWORLD (R) 113 minutes * * * Vampires are killing of the remaining few werewolves in their long-standing war against each other. But there may be some werewolves they didn't know about, and a traitor in their own ranks as well. It's an interesting and different sort of vampire film, adapted from the comics, and nicly translated to the big screen though it's a bit heavy with narration at times. Kate Beckinsale does a very nice job as Selene, a death dealer whose primary responsibility is to hunt down werewolves and who finds herself in a rather awkward position as the story evolves. R for violence.
UNDERWORLD: AWAKENING (R) 75 minutes * * 1/2 The vampires and lycans have a common enemy in humans, who have begun a mass "cleansing". Selene (Kate Beckinsale) had been put on ice, but now she's free, and looning for Michael, but what she finds is even more interesting. The new and improved lycans are interested as well. This entry in the series is a little short, but does have good intensity and the story seems to have found a direction at last. R for violence and language.
UNDERWORLD: BLOOD WARS (R) 83 minutes * * 1/2 Just in case you aren't familiar with the story, this begins with a recap, reminding us that Selene (Kate Beckinsale) is on the run, with both vampires and lycans searching for her. They also hope to find her daughter, but Selene doesn't know where she is. It's a fine chapter in the saga, with a climactic battle scene that leaves few standing, and sets the stage well for the next film. That said, it won't make much sense if you haven't seen the other films in the series, though the introduction does help a little. R for violence and sex.
UNDERWORLD: EVOLUTION (R) 98 minutes * * Despite the fact that this film starts with a brief history lesson and recap of the first film, it still helps a great deal if you see it first. And, as with many sequels, this plods along somewhat as it answers questions that the first film raised while trying to leave room for a sequel. There's less action here as well because the focus is on the two brothers rather than on the rest of their followers. Filmed in Vancouver. R fro violence, sex, and language.
UNDERWORLD: RISE OF THE LYCANS (R) 83 minutes * * Prequel piece of the series that explains the relationship between the vampires and the lycans back when the former were the masters of the latter. Victor (Bill Nighy) has found a way to control the lycans by breeding a weakness into their bloodline. Lucien (Michael Sheen) is the first of these, but has other capabilites that Victor hadn't accounted for. Typically dark film, making it difficult to tell if the effects are very good or not. Nice work by Rhona Mitra. R for violence.
UNDISCOVERED (2005) (PG-13) 93 minutes * * 1/2 The road to success in the entertainment industry is a rough one, but it's travelled by many. The film has a nice, somewhat unpolished feeling to it that makes it feel more realistic and the performances of Pell James and Steven Strait (who sings his own songs) are earnest and honest. Carrie Fisher, Peter Weller, Fisher Stevens and Ashlee Simpson are here as well, and the film is well worth a look for their performances as well. What's lacking is a story that had a little more strength. PG-13 for language.
UNDISPUTED (R) 87 minutes * 1/2 Monroe (Wesley Snipes) is the prison's boxing champ. He's won every match for the last several years. But then a "real" champ ends up in jail and a match between them is something everyone wants to see. Life on the inside is a little different though, and the Iceman (Ving Rhames) is about to be handed defeat. Predictable, unrealistic, and two-dimenstional to say the least. Snipes and Rhames are better than this, but their performances are about all this has to offer. R for language and violence.
UNDISPUTED III: REDEMPTION (R) 92 minutes * 1/2 Boyka (Scott Adkins) just wants the chance to fight again. Recovering from a broken leg in a previous fight will be difficult enough. Then he has to get past the current champion of the prison before facing the best fighters from seven other prisons around the world. Some of the fight scenes are fairly impressive, though there does seem to be quite a bit of repitition from one fight to the next. R for violence and language.
THE UNDOING (NR) 322 minutes * * * A busy and successful therapist, Grace Fraser (Nicole Kidman) is active at her son's school and happily married to Jonathan (Hugh Grant), an oncologist at a local hospital. When one of the mothers with a child at the school is murdered, her world begins to spin out of control. Good tension, and the script also does a nice job og casting suspicion on various characters.
UNDRAFTED (NR) 96 minutes * * Summer baseball intramural finals. Well, there are only six teams in this league, so they are all automatically in the playoffs. There are actually professional scouts that come to see them play, and going to the big leagues would be nice, but the chances are few and far between, and the focus is on the game. There are some fun bits, but overly silly and senseless, which cuts into the strength of the dramatic scenes. Based on the personal experiences of writer/director Joseph Mazzello.
UNEMPLOYED (R) 95 minutes BOMB Two out-of-work actors realize that maybe the reason they don't have jobs is because they can't act. We're convinced. Neither can anyone else in this film. For that matter, the ability of those who wrote this script should be questioned as well... R for language.
UNEXPECTED (NR) 103 minutes * 1/2 They'd really like to have a baby, but it just isn't working out. Amy (Anna Camp) is coping by adopting animals. Meanwhile, Bob (Joseph Mazzello) is still trying to figure out how to cope. The mix of humor and drama is uneven and sometimes rather awkward.
AN UNEXPECTED CHRISTMAS (NR) 83 minutes * * 1/2 A chance encounter at the train station leads Jamie's (Tyler Hynes) family to think that he and Emily (Bethany Joy Lenz) are still together as a couple. They end up deciding that playing along with the assumption is the easier route to take. And since this is a Hallmark movie, it's no surprise that there might still be a little romance left in the relationship. Nice chemistry between Hynes and Lenz.
UNFAITHFUL (R) 115 minutes * * It's only a chance encounter with an attractive young man, but it quickly turns into something that adds a little spice to Connie's (Diane Lane) life. At first it's innocent flirtation, but as it begins to take a more serious tone, she does nothing to stop it. Based on the French film La Femme Infidel, this version drags in spots and grows rather tiresome. Lane and Richard Gere do what they can, but the story is treated too simplistically and doesn't fit the stylish ending. Most people don't appreciate the ending because it leaves so much unanswered. My problem with it is that it doesn't fit the tone of the rest of the film. R for sex, language, and violence.
UNFAITHFULLY YOURS (PG) 93 minutes * * * This remake of the 1948 film of the same title, features Dudley Moore as Claude Eastman, a composer who suspects that his wife is being unfaithful. He decides on a complex plot to get revenge and not get caught. Lots of great material here, though it is worth wondering if Moore can play a role that doesn’t involve his character being drunk all of the time.
UNFINISHED BUSINESS (R) 84 minutes * 1/2 Trying to make a business deal, Dan (Vince Vaughn) and his two associates head to Europe. Nothing goes as planned. Not a bad story, and Vaughn does alright, but the humor is just a little off. Approaching this as more of a drama probably would have worked better. R for sex and language.
AN UNFINISHED LIFE (PG-13) 102 minutes * * * After so much abuse at the hands of her boyfriend, Jean (Jennifer Lopez) and her daughter Griff (Becca Gardner) head to her father-in-law Einar's (Robert Redford) place. But Einar and Jean have grown apart in the years since the death of her husband, for which Einar holds her responsible. That's not the only part of Einar's past that he is dwelling on. Dealing with grief and anger is not always an easy task, but working with others, talking it through, taking it one step at a time... Beautifully directed by the talented Lasse Hallstrom and also featuring Morgan Freeman, Josh Lucas, and Camryn Manheim, this is a memorable film with a heartfelt message. PG-13 for language and violence.
UNFINISHED SONG (PG-3) 88 minutes * * 1/2 Marion (Vanessa Redgrave) is part of an elder choir. It gives her great joy, though her husband Arthur (Terence Stamp) isn't terribly supportive. He's always been a rather sombre person, and now that her diagnosis is terminal, he sees even less reason to be cheerful. The story tends to be a bit one-note, but Stamp and Redgrave do nice work here, and Gemma Arterton has a nice supporting role. PG-13 for language.
UNFORGETTABLE (R) 113 minutes * 1/2 To solve the murder of his wife (for which he is suspected) Dr. Krane (Ray Liotta) undergoes an experiment which gives him his wife's memories. Very drawn out and obvious, which makes it hard to sit through. The best part is the soundtrack, but the film really isn't worth sitting through just for that. Wasted talents in the film include Linda Fiorentino, Peter Coyote, Kim Cattral, and David Paymer. R for violence, language, and nudity.
UNFORGETTABLE (2017) (R) 97 minutes * * Unhappy with her husband's new fiancee, Tessa (Katherine Heigl) decides to cause some trouble. It soon becomes obvious that she is still obsessed with her ex-husband. The talented cast is mistly wasted on a tired script that has little to offer. R for sex, violence, and language.
UNFORGIVEN (R) 124 minutes * * * Most westerns involve stories that are fairly simple and show us a confrontation between good and evil, with good usually winning in the end. Not so in this film. As William Munny (Clint Eastwood) says at one point, "We've all got it coming." It isn't easy to find a western that isn't predictable, but this one will keep you guessing and thinking. It will make you wonder about the ability to change, and what it means to live, to love, and to die. Director, producer, and actor, Clint Eastwood has given us a wonderful western film, with a slightly different edge. Filmed in Alberta, Canada. R for violence and language.
THE UNFORESEEN (NR) 89 minutes * * * Barton Springs, near Austin, Texas was a nature spring area that the community was able to defend against development... for awhile. This documentary does a wonderful job of critiquing and analyzing what happened to this community and what it means for society at large. If you're paying attention, you will note that it was legislation that then governor George W. Bush signed that actually sealed the fate of Barton Springs. Of course he wasn't the first to ignore the importance of natural space, and he won't be the last.
UNFRIENDED (R) 77 minutes BOMB This probably sounded much better on paper... a group of friends are online and start getting messages from a friend who recently died. She's also apparently not very happy, and starts killing them. Special effects are limited, since the entire film has us watching text messages and video chats on a computer screen. It gets really boring after about five minutes. R for violence, language, and sex.
UNFRIENDED: DARK WEB (R) 89 minutes * * 1/2 In need of a new computer, Matias (Colin Woodell) picks one up out of the lost and found at the cyber cafe. Now, the original owner wants it back, and their knowledge of the dark web is extreme, which means they are creating lots of problems for Matias. Almost everything we see is through the laptop screen. Unlike the first film, which just didn't have much of a story, this time, using the computer screen as our way to watch the story unfold works well to draw us in. The suspense intensifies at the film progresses, and while the ending goes a little too far past believability, until then, it's quite good. R for violence, language, and sex.
THE UNHEALER (NR) 87 minutes * * It's a powerful ability. Pflueger (Lance Henriksen) is using it as a faith healer. But when he tries to heal Kelly (Elijah Nelson), something goes wrong. The power transfers to Kelly, and he doesn't handles the responsibility as well as Pflueger. In fact, he's going to use it as a tool for revenge. Interesting but not entirely surprising ending.
UNHINGED (R) 78 minutes * * 1/2 It started out as a bad day, but it's getting worse. When Rachel (Caren Pistorius) crosses paths with a man (Russell Crowe) with a short fuse, road rage is only the beginning. Crowe always plays a good villain. Very good intensity and suspense, though believability is quite thin at times. R for violence and language.
THE UNHOLY (R) 98 minutes * 1/2 Yet another horror film involving demons and the Catholic church as a priest is trying to exorcise one from a church in New Orleans. Weak story and poor acting, with special effects that are fair, but not enough to give this the boost it needs.
THE UNHOLY (2021) (PG-13) 93 minutes * * Gerry Fenn (Jeffrey Dean Morgan) needs a story. And he just may have stumbled onto one. A young girl who couldn't hear or speak, suddenly does so after seeing a vision. Everyone is amazed and enthralled. But as the days go by, and more scary things start to happen, Fenn begins to wonder if it is the Virgin Mary she has been seeing, or is that only a mask for a darker power? A couple of very creepy moments, but the story resolves a little too easily at the end. PG-13 for violence and language.
THE UNICORN (NR) 86 minutes * * Malory (Lauren Lapkus) and Caleb (Nick Rutherford) have been together for awhile. Attending Malory's parents' 25th wedding vow renewal, they learn a secret. That secret leads them to try something new in their own relationship... with less than encouraging results. Predictably awkward, but this does have some very good moments. Just not enough of them.
UNIDENTIFIED (NR) 87 minutes BOMB Jodie (Eric Artell) invites himself on a trip to Vegas with his friends. When their plan to win big goes bad, they barely get away. The people they owe money too may not be after them anymore, but something else seems to be. The hand-held camera work is irritating, but not as much as the bad acting. As for the script, there's no explanation or transition from the frat-boy comedy of the beginning to the cheap sci-fi/horror in the second half. Not rated, and not worth it.
THE UNINVITED (PG-13) 83 minutes * * Coming back home after rehab from a suicide attempt, Anna (Emily Browning) has enough problems to deal with. But the nurse who helped take care of her mother has now moved in with her father. Anna just wishes she could remember what happened that last night. She may not like what she finds out. Based on the Korean horror film "Janghwa Hongryeon". PG-13 for violence, sex, and language.
A UNITED KINGDOM (PG-13) 106 minutes * * * When the heir to the throne of Botswana falls in love with a white woman, they both know that a difficult road lies ahead of they are to follow their love. Even so, they neither one expect the national and international upheaval it will cause. Solid historical drama with a strong ensemble cast led well by David Oyelowo and Rosamund Pike. PG-13 for language.
UNITED 93 (R) 102 minutes * * * Relying less on emotion and more on facts, this film provides an interesting look at the events of September 11, 2001. We do still find ourselves connecting with some of the individuals portrayed here, but the emphasis is clearly on communication more than anything else. Even among the passengers we see that communication was key to them understanding what was happening and what they might do in light of that information. No blame is really placed and the film even gives us a glimpse at "terrorists" who believe they are doing the will of God. We each see the world through our own lens and act accordingly. Communication is key. R for language and violence.
THE UNITED STATES OF LELAND (R) 98 minutes * * * Very interesting low-key story about a young man who has committed murder and the teacher who is interested in writing a book about the incident. Despite the intense performances, the story has a way of remaining gentle and compassionate. A quality piece from writer/director Matthew Hoge with great work by Ryan Gosling, Don Cheadle, Jena Malone, and several others. R for language.
THE UNITED STATES VS. BILLIE HOLIDAY (R) 123 minutes * * * Holiday's (Audre Day) life and career are covered in this drama that focuses on her interactions with US Federal Agents and her use of drugs. There are some powerful and emotional scenes, and Day delivers a stunning performance, which is by far the best part of the film. The story isn't nearly as strong as it could be, getting caught in needless side stories and sex wscenes that are not essential to the story. Strong but supremely flawed, Billie's slow spiral downward was visible early in her career. R for sex, language, and violence.
UNIVERSAL SOLDIER (R) 98 minutes * 1/2 Ten soldiers are reported "missing in action", but are actually packed in ice and turned into cyborgs to become the ultimate killing machines. A poorly written story does this in pretty quickly. Dolph Lundgren and Jean Claude Van Damme will probably never win Oscars, but they can do better than this if you give them a decent script.
UNIVERSAL SOLDIER: DAY OF RECKONING (R) 107 minutes * 1/2 When Luc (Jean-Claude Van Damme) kills John's (Scott Adkins) wife and daughter, John will stop at nothing to take him down. But not only will he have to contend with Andrew Scott (Dolph Lundgren) and the rest of the UniSols who surround Luc, but another UniSol has been sent out on a mission to take John out. Sixth entry in the series, with lots of hand-to-hand fighting, which is quite well done. The acting and dialogue are both stiff, but that's not a surprise. R for violence, sex, and language.
UNIVERSAL SOLDIER: THE RETURN (R) 80 minutes * 1/2 The Unisol project is about to be shut down, but Seth (the computer in charge) isn't going to let that happen. Actually, this comes off fairly well. The story is simple enough and there is a fair amount of action with Jean Claude Van Damme and Michael Jai White supplying the martial arts. The small screen will help this one too, making the mistakes less noticeable and intensifying the action. R for violence and language.
UNKNOWN (PG-13) 109 minutes * * * What would you do if you woke up from a coma and found that someone else was living your life? That's what Dr. Martin Harris (Liam Neeson) has to deal with, and it's going to take some work to get his life back... if it was his life... Good intensity throughout, and Neeson is backed up by a fine supporting cast that includes Diane Kruger, January Jones, and Aiden Quinn. PG-13 for violence and sex.
THE UNKNOWN COUNTRY (NR) 83 minutes * * 1/2 It's a long journey. Tana (Lily Gladstone) has been invited to reconnect with her Oglala Lakota family. She travels alone, through the midwest to the border of Texas and Mexico. Part road movie, part slice-of-life. At times mesmerizing, at others just drifting. The end is fitting, with that same sense of drifting, yet in a meaningful way.
THE UNKNOWN GIRL (NR) 103 minutes * * 1/2 When a young woman is found dead, her brief stop at a doctor's office seems to be the only clue to what happened. And so, Jenny (Adele Haenel) begins to investigate. A quiet sort of murder investigtion story. Solid performances, but believability is a little on the weak side.
THE UNKNOWN KNOWN (PG-13) 98 minutes * * * An in-depth conversation with Donald Rumsfeld, primarily about the many memos he wrote during his tenure in politics. As he looks back at what happened and why, for the most part, his demeanor is calm and non-defensive. His memory of a few specifics does tend toward the selective, but this is a very interesting look at this period in US history through documentation and interview that is not typically available. PG-13 for violence and nudity.
UNLAWFUL ENTRY (R) 108 minutes * * Kurt Russell, Ray Liotta, and Madeleine Stowe manage to lend a little credibility to this story of a police officer who gets into a relationship he shouldn't have. But the story gives us no suprises, though James Horner's soundtrack does its best to keep us in suspense. Try watching "Someone to Watch Over Me" instead. You'll be glad you did. R for violence, sex, and language.
UNLEASHED (R) 94 minutes * * Danny (Jet Li) has been raised to believe he is nothing more than an enforcer for a second-rate thug. When the opportunity comes along for him to be something more, he struggles to find the strength within himself to finally control his own destiny. This is an unusual mix of martial arts, action, and emotional drama that struggles to get its footing and never quite makes it. Jet Li does fairly well here, and having Morgan Freeman around never hurts. R for violence, language, and nudity.
UNLEASHING MR. DARCY (NR) 83 minutes * * Elizabeth (Cindy Busby) is having all kinds of trouble in her life. That includes an attraction to Mr. Darcy (Ryan Paevey), who shares the attraction, but they are thwarted in pursuing it by other members of his family. A twist on the classic "Pride and Prejudice" courtesy of the Hallmark Channel.
AN UNLIKELY ANGEL (NR) 78 minutes * * Used to being in control, Jamie (Jillian Murray) is freaking out about having a baby. An encounter with an angel (Robert Amaya) and a traffic accident are about to change her perspective. A little heavy-handed with the message, but otherwise good.
UNLOCKED (R) 92 minutes * * * 1/2 Having stepped away from the front lines of CIA work, Alice (Noomi Rapace) is finding herself drawn back into the fray by a particular case that may have dangerous international implications. The story is well-told, with a fair number of twists, but not so many that it's difficult to keep track of. The action is well-paced, though a little slow early on, and builds nicely as the film moves along. Great work by Rapace, and Orlando Bloom does a good job as well. R for violence and language.
UNMISTAKEN CHILD (NR) 101 minutes * * * The search for the great Buddhist master Geshe Lama Konchag's reincarnation. His young disciple has been tasked with doing the search and doesn't feel that he is worthy of the responsibility. The film never really tries to convince us of anything, rather, it just follows the process as it unfolds. Interesting and peaceful film.
UNPLANNED (R) 103 minutes * 1/2 The story of Abby Johnson (Ashley Bratcher), a Planned Parenthood clinic director. After being in the procedural room during an abortion, she shifted from being pro-choice to being pro-life. The film follows her from her time as a volunteer and has a very exploitative approach to presenting the story. R for violence.
UNPREGNANT (PG-13) 98 minutes * * * An unplanned pregnancy throws all of Veronica's (Haley Lu Richardson) plans out of the window. Her best friends are taking bets on who is pregnant (the test was found in the trash at school), and her boyfriend just proposed, which is not what she wants. Her only hope is her childhood best friend who she hasn't really been close to for quite awhile. At least Bailey (Barbie Ferreira) has a car, because Veronica needs to get from her home town in Missouri to Albuquerque, New Mexico, which is the closest place where she can get an abortion, since she isn't 18. Nice ending and great work by Richardson and Ferriera, with a very nice supporting cast. PG-13 for sex and language.
AN UNQUIET GRAVE (NR) 73 minutes * Grieving for nearly a year, Jamie (Jacob A.Ware) has a plan to bring his wife back after a tragic accident. Her sister (Christine Nyland) is willing to help, but does his wife really want to come back from the dead? A rather abrupt ending that still leaves us with several questions.
THE UNRAVELING (NR) 74 minutes * * 1/2 After missing his own bachelor party, Michael's (Zack Gold) buddies kidnap him for a weekend of camping. Michael's addiction to drugs has gotten the better of him again. But that's not half as bad as what waits for all of them in the woods on this weekend camping trip. This works reasonably well, mostly due to some very sincere performances.
AN UNREAL DREAM: THE MICHAEL MORTON STORY (NR) 89 minutes * * 1/2 Accused of the violent and brutal murder of his wife, Michael Morton spends twenty-five years in prison for a crime he didn't commit. Eventually, DNA evidence supports his claim of innocence. This is his story, including information that was withheld from the defense attorneys that might have helped him initially and might have also saved another life.
AN UNREASONABLE MAN (NR) 120 minutes * * * Straightforward doumentary about Ralph Nader, focusing on his political aspirations. While definitely showing support for Nader, the film does bring in other viewpoints and clearly lifts up the value of having a democratic system that doesn't rely on a two-party system. For those with an interest in politics, this is an interesting look at some of the history of "third party" politics and the influence that one person can have.
UNRELATED (NR) 95 minutes * * In an attempt to deal with her problems, or perhaps just avoid them, Anna (Kathryn Worth) goes on vacation with a friend's family. The story is very "slice-of-life", with the action almost uncomfortably real and almost uninteresting. Just as Anna isn't related to these people, we are not really relating to the story and the characters. She and we are led to appreciate what we have by seeing that others lives are no better than our own.
UNREST (R) 85 minutes * Strange little piece about some medical students who discover that the cadaver they are working with seems to have some unfinished business. Psychological gore thriller that is too poorly written and acted to succeed on any level. The film gained some notoriety for using a real cadaver, though it doesn't really add anything except hype. R for violence, language, and nudity.
UNSANE (R) 97 minutes * * 1/2 Sawyer (Claire Foy) needs help with an issue she has with a stalker that have affected how she relates to men in general. Without realizing it, she signs herself in for 24 hours at the Highland Creek Behavioral Center. As it turns out, this is a place that will keep you until your insurance runs out. Or is all of this just part of her imagination? And what about the orderly who looks just like her stalker? A little strange, with awkward photography and an unpolished endoing, though it does present us with an interesting ending. R for language, violence, and sex.
THE UNSEEN (NR) 94 minutes 1/2 A darkness has been following Tommy (RJ Mitte) ever since the night of the accident. The visions have been getting worse of late, but he's not clear on what that means. Mitte does well here, but the rest of the cast give very two-dimensional performances. The ending is too quick and leaves too many quesitons unanswered.
UNSTOPPABLE (PG-13) 94 minutes * * * It was just supposed to be a simple hop off the train to set a tracj switch and then jump right back on. But the lever slips and the train begins to accelerate. Based on a real incident, wonderfully intensified for the big screen by director Tony Scott. It's a fast-paced, high energy film, with bits of human interest in the characters of Frank (Denzel Washington) and Will (Chris Pine) sprinkled in. PG-13 for violence and language.
UNSTRUNG HEROES (PG) 90 minutes * * * To cope with his mother's illness and impending death, young Steven (Nathan Watt) goes to live with his two extremely eccentric uncles. John Turturro and Maury Chaykin are great fun to watch as they struggle to provide Steven the parenting he needs, and Watt's performance is superb as well. Adapted from the autobiographical book by Franz Lidz, this is a joy to watch.
UNSULLIED (R) 89 minutes * 1/2 Two rich white boys have a game they play each year in this small Southern community. The victim of their latest hunt is Reagan (Murray Gray). Her skills as a sprinter will be put to the test, and if she fails, she'll end us as their dinner. Fairly good suspense despite a very thin plot. R for violence and language.
THE UNTAMED (NR) 93 minutes * * Alejandra's (Ruth Ramos) life has changed. Veronica (Simone Bucio) has introduced her to a wild and strange creature. It can offer great pleasure, but there is a price to be paid for that pleasure. It's an unusual piece, similar in some ways to the works of David Cronenberg.
UNTAMED HEART (PG-13) 97 minutes * * Quiet, slow-moving romance that suffers severely from lack of direction. Christian Slater and Marisa Tomei are good, but they get lost quickly with a script that has little depth, and direction that is almost non-existent. There are some good ideas here, but they are communicated so poorly by the script that most of their effect is lost.
UNTHINKABLY GOOD THINGS (NR) 83 minutes * * Allison's (Karen Pittman) two best friends are coming to visit her in Italy. Her cancer is at a crossroads, but Reesa (Erica Ash) and Melina (Joyful Drake) have choices of their own to make. Italy may just be the perfect place to get a fresh start. Not the best script, but the cast does a nice job.
UNTIL SEPTEMBER (R) 94 minutes * * When Mo (Karen Allen) misses her plane, it means she’ll have to spend a few more days in Paris. It’s inconvenient, but then she meets Xavier (Thierry Lhermitte). Xavier is intrigued by Mo, and though he is married, he has the luxury of his family not being home for the moment. An affair begins. But will it last? Allen does a good job here, despite not fitting the role all that well. The story is adequate, though not very creative or interesting. Nice soundtrack from John Barry.
(UNTITLED) (R) 92 minutes * * 1/2 She's the director of a very contemporary art gallery. He's a music composer who is... not particularly appreciated by many people at the moment. It's an interesting satire about the worlds of modern art and music, though the characters are so unusual that they become more interesting than the story at times. Adam Goldberg and Marley Shelton do reasonably well here. There doesn't seem to be a great deal of chemistry between them, but with a quirky story like this, that likely would have proven to be more distracting than helpful anyway. R for language and nudity.
UNTOGETHER (R) 93 minutes * * 1/2 After publishing her first novel, Andrea (Jemima Kirke) gives up drinking. Her second book is not coming together, We follow her as she struggles to get both her life and her career back on track. Central to that happening are her sister (Lola Kirke) and her boyfriend. The story wanders quite a bt, with strong characters but little direction. R for sex and language.
THE UNTOLD STORY (NR) 103 minutes * * 1/2 Sometimes, life takes a turn we don't expect. Edward's (Barry Van Dyke) career and personal life changes now mean a move to a small apartment with no frills. It also means some harsh truths about real friends. But with some encouragement from a rough-edged neighbor, he just might make it.
THE UNTOUCHABLES (R) 115 minutes * * 1/2 Suggested by the television series, and only a "suggestion" of what it could have been. The opening is promising enough, both in direction and acting. But it never progresses beyond that point. The music suffers the same fate. The theme is wonderful. However, after hearing it repeated for two hours... Some have said that this is one of Sean Connery's greatest roles. In reality, it's just that his fairly good performance is such a contrast to the detached and unemotional performances of Robert DeNiro and Kevin Costner. Director Brian DePalma paces the chase scenes well, but audience manipulation has always been a strong point of his. A quote from Malone (Connery) fits well here, "Don't want it to happen, don't wait for it to happen, just watch when it does happen. Unfortunately, this film never quite happens.
UNTRACEABLE (R) 96 minutes * * 1/2 Agents Marsh (Diane Lane) and Dowd (Colin Hanks) are part of an FBI internet crime team. When they come across a website that appears to show animal torture with a live webcam, it's not among their highest priorities. But when the site shows a human victim, it moves to the top of the list. As untraceable as the site is, there are still clues, but the clock is ticking and time is running out quickly. Solid suspense and good pacing, but somehow this keeps us at a distance, so we feel less involved. Filmed in Portland, Oregon. R for violence and language.
THE UNWANTED (NR) 94 minutes * 1/2 When a stranger arrives in town looking for clues about their mother's past, she uncovers connections and secrets that she didn't expect. They are secrets that have remained hidden for a very long time. It's interesting to have this shift into a vampire influenced story instead of the full-fledged vampire story that inspired it. It's not quite as effective, but those familiar with the story of Carmilla by Sheridan Le Fanu may find it interesting.
UNWELCOME (R) 98 minutes * 1/2 Inheriting a property in rural Ireland seems like a blessing for Maya (Hannah John-Kamen) and Jamie (Douglas Booth). And it will all be free... as long as they remember to leave a blood offering each day for the "little people" that live at the edge of the property by the woods. The story has some fairly good depth, but most of the characters don't. R for violence, language, and sex.
THE UNWILLING (NR) 77 minutes * They aren't really a very close family. When the head of the family dies, they gather for the reading of the will, each hoping for more than the others. The arrival of a mysterious black box has a rather sinister effect on the proceedings. Some good suspense from the music, but the story doesn't really have much to explain, and the ending is very weak.
UP (PG) 89 minutes * * * Carl and Ellie were great friends right from the start. Despite their love of adventure, the dream of going to Paradise Falls always seemed just out of reach. Now Carl knows he must go, but what's he supposed to do with Russell? The kids just won't leave him alone! This is a bit more scary than most of Pixar's other films and quite a bit of the story is more than the youngest viewers will pick up on. The characters are delightful though, and Ed Asner is perfectly cast as the voice of Carl. PG for violence.
UP CLOSE AND PERSONAL (PG-13) 116 minutes * * Suggested by the book "Golden Girl", this is the story of a girl who takes the broadcasting world by storm. The combination of her own will to succeed and the guidance of a veteran reporter take her to the top. But Michelle Pfeiffer never gives us the naivete we need and Robert Redford gives us no energy. There are a few exciting moments late in the film and it does finish well, but it drags on far too long and gives us no surprises. PG-13 for language, violence, and nudity.
UP HEARTBREAK HILL (NR) 81 minutes * * 1/2 Three native American teens in their senior year at high school. The possibility of leaving the reservation means a great deal of change. It means opportunities that haven't been available before, but it also means that there's a good chance they won't come back, and family, heritage, and tradition are a strong pull. No matter what they decide, their senior year is a struggle, a challenge, and a journey up heartbreak hill.
UP IN THE AIR (R) 104 minutes * * * * Ryan Bingham (George Clooney) is a corporate ax-man and motivational speaker. His life is on the road... or actually... up in the air. What's also up in the air is his employment status. You see, Ryan's way of working may be replaced by using video conferencing technology. He's going to take the new girl with him to try and show her why this new way won't work, but he's got a few other things on his mind. Jason Reitman and Sheldon Turner have done an amazing job of adapting Walter Kim's novel to the big screen. The script is packed tightly with an amazing amount of character development and gives us a story that is both fun and sensitive. Anna Kendrick and Vera Farmiga are perfect counter-points to Clooney's character and Jason Bateman and Sam Elliott deliver fine supporting performances as well. R for language and sex.
UP THE CREEK (R) 91 minutes ½ It’s an intercollegiate raft race, and Bob McGraw (Tim Matheson), in his twelfth year of college, is asked to lead their team. It’s about as much fun as it sounds, or perhaps less. The best performance is by Jake, as Chuck the Wonder Dog, voiced by Frank Welker.p>
UP THE YANGTZE (NR) 91 minutes * * * Documentary film covering the more personal and emotional side of the effects of the construction of the Three Gorges Dam. Presents a clear picture of the mixed blessing that the dam represents. While providing a wonderful opportunity for an improved economic situation and bringing new life and technology to many areas of the country, it also means the destruction of entire communities and a great deal of history.
UPGRADE (R) 94 minutes * * * In a not-too-distant future, much of daily life is controlled by computers. Grey (Logan Marshall-Green) is a hold-out. But when his wife is killed and he is left paralyzed, a specific option is offered to him. Grey accepts. His life will never be the same. Nicely written story with very good twists. Writer/director Leigh Whannell has also worked with the "Saw" and "Insidious" film series. R for violence and language.
UPHILL ALL THE WAY (PG) 83 minutes BOMB The title of this begs for some sort of comment about how much of a chore it is to watch this. The sets, costumes, and props all look like leftovers from other low-budget productions. It is an interesting collection of performers, featuring Roy Clark and Mel Tillis in the lead roles and supporting work by Burl Ives, Glen CampbellElain Joyce, Frank Gorshin, and Sheb Wooley. They've all done much better work than this.
THE UPSIDE (PG-13) 118 minutes * * * Dell (Kevin Hart) needs a job. Phillip (Bryan Cranston) needs assistance. It's not the ideal match. Dell is a recent parolee and Phillip is a very rich quadriplegic. Slowly, and not without some rough patches, they begin to grow on each other. Hart is a little more restrained here, and it works well. PG-13 for language and sex.
UPSIDE DOWN (PG-13) 96 minutes * * 1/2 Twin worlds with opposing gravitational forces. But what if a person from the one world falls in love with someone from the other? Is love stronger than gravity? It's a sort of Romeo and Juliet extreme edition, as it's not just two families conspiring to keep the lovers apart, but the very world's themselves. Some of the details are overly complicated while others are glossed over, and the ending is very cheesy and romantic, though it's clear that's the direction it will go early on. PG-13 for violence.
UPSIDE-DOWN MAGIC (NR) 96 minutes * * 1/2 Nory (Izabela Rose) is a unique young girl. She has magical powers, as does her friend Reina (Siena Agudong). When they head off to magic school, Nory finds herself in the Upside-Down Magic class because she doesn't pass the entrance exam. But Nory and her fellow UDM classmates are about to discover just how important their very unique skills are. The moral of the story is to be the best "you" you can be, and it's a fun story that gets the point across well.
THE UPSIDE OF ANGER (R) 111 minutes * 1/2 Terry's (Joan Allen) husband has left her and she's angry. She also has four daughters who are all dealing with the situation in their own ways. Meanwhile, their neighbor Denny (Kevin Costner) is interested in furthering their friendship. Overlong soap opera with unnecessary narration and a story that keeps faltering every time it starts to get moving in a particular direction, and never really delving very far into the motion of anger. R for language and sex.
UPSTREAM COLOR (NR) 94 minutes * * * Any plot description that you might read will not do this justice, so you won't find one here. This is also one of those films that may take a second viewing to get a real grasp of the story, though even a second viewing might not do it. Having read Thoreau's "Walden" beforehand will help, as it is referenced a number of times. It's an artistically beautiful and intriguing film, and rare to see something so engaging, if difficult to understand, when you have a writer, producer, director, co-editor, and actor, who also did some camerawork on the film. Kudos to Shane Carruth for this project.
UPTOWN GIRLS (PG-13) 88 minutes * * * An heiress to a rock star, Molly Gunn (Brittany Murphy) finds herself the victim of a scam that leaves her penniless. It's a morality tale of sorts, about two spoiled brats who are both forced to deal with reality in ways they never had to before. With a little help from each other, they just might make it! Part of what gives Murphy her incredible appeal is her ability to combine sexiness with both humor and drama. The script here gives her the opportunity to do some great bits, frequently with the also extremely talented young Dakota Fanning. Filled with great music, this manages to be delightfully humorous and occasionally tearful. Remember, "every story has an end, but in life, every end is just a new beginning." PG-13 for language.
URANIUM: TWISTING THE DRAGON'S TAIL (NR) 106 minutes * * * Beginning with the Australian aboriginal legends that talk about a dragon that lies beneath the groun, this documentary tells the story of Uranium. Physicist Dr. Derek Muller relates the story. Filled with historical footage, interviews, and clever animation, this is both informative and entertaining.
URBAN COUNTRY (NR) 84 minutes * One last chance. That's what Faith (Brighton Sharbino) has. She keeps making the wrong choices, and the most recent one lands her in jail.Will she just do her time, or will she take the other option, and live on a horse ranch in the country and help the dying mother she doesn't like? Overly simple nd unimaginative script, which leaves the less-experienced cast members nothing to work with. And the ending just sort of finishes mid-sentence.
URBAN JUSTICE (R) 92 minutes * Here's a great premise for a Steven Seagal film... the police department isn;t acting quickly or effectively enough to bring his son's killers to justice, so Seagal is going to take justice into his own hands. His fans won't mind, but the rest probably won't be interested. R for violence and language.
URBAN LEGEND (R) 95 minutes * You know all those urban horror legends? Well, someone has decided to bring them all to life. It's not a bad idea, but the low budget and weak direction really destroy most of the effect. There are a couple of moments here and there, but if you're familiar with the legends, there aren't any surprises. The silly ending doesn't help things much either. R for violence, language, and nudity.
URBAN LEGENDS: FINAL CUT (R) 91 minutes * 1/2 It's time for that final thesis project for film class. How about a film that deals with urban legends? But somebody is willing to kill to win the coveted Hitchcock award. The ending works well, but getting there is a real chore and makes this feel like it lasts alot longer than it does. R for violence and language.
URGE (R) 82 minutes * 1/2 A group of friends manage to get into a very limited access club. The owner has a new designer drug called "urge" that removes inhibitions. But as these friends are about to discover, with no inhibitions, madness may not be far behind. The story gets more extreme as it moves along, and then it just stops. Presumably because it doesn't know where else to go. R for violence, sex, and language.
US (R) 112 minutes * 1/2 A nice, relaxing family vacation in Santa Cruz, California. But when young Jason (Evan Alex) wanders off one day, it brings back some very bad memories for Adelaide (Lupita Nyong'o). Later that day, when they return to their vacation home, strange copies of themselves are already there. And this strnge phenomenon isn't just happening to them. The story works well on the individual level as the characters face their shadow selves, but when it tries to go big or get clever, it just doesn't work that well. R for violence and language.
US (2020) (NR) 234 minutes * * * Their relationship has hit a rough spot. Connie (Saskia Reeves) is ready to just move on, but Douglas (Tom Hollander) isn't. They decide to continue with their plans to take a family vacation, travelling across Europe with their son. The trip doesn't turn out as expected. It is a coming of age for their son, but also a journey of growth and understanding for Douglass. Nice work by the cast in a film adapted by David Nicholls from his novel.
US KIDS (NR) 92 minutes * * * After the school shooting in Parkland, Florida, the youth were determined to make change happen. The March for Our Lives was organized by the youth and became the largest youth protest in American history. It led to the best youth voter turnout in 2018 and 2020, but there is much more work that lies ahead. The film focuses on Emma Gonzalez, David Hogg, Cameron Kasky, ans Samantha Fuentes and the work they did and continue to do.
THE U.S. VS. JOHN LENNON (PG-13) 96 minutes * * * Biographical documentary of John Lennon, focusing on his later years as he became an activist for peace. How could in a democracy object to the idea of giving peace a chance? Ah, but they did. Well-edited and well-scripted look at how Lennon's ideas were supported and used by a variety of people. Includes both contemporary and archival interviews of an amazing group of Lennon's contemporaries. Yoko Ono, Gore Vidal, Tom Smothers, Tariq Ali, Abbie Hoffman, Jerry Rubin, Bobby Seale, George McGovern, Angela Davis, and Geraldo Rivera just to name a few! PG-13 for language and violence.
USED PEOPLE (PG-13) 112 minutes * * * 1/2 Pearl (Shirley MacLaine) finds herself being courted by an Italian (Marcello Mastroianni) who has secretly been in love with her for years. Charming story that plays itself out in a number of smaller vignettes. If anything, that's where the fault lies, things are a bit disconnected through the course of the film. Otherwise, it's a rather nice film that reminds us to quit dreaming our dreams and try to live them. We may fail, but we'll never know unless we try. Based on material from "The Grandma Plays" by Todd Graff
USS CHRISTMAS (NR) 83 minutes * * 1/2 Maddie (Jen Lilley) has no intention of getting into a relationship with a military officer. Through a few particular circumstances, she finds herself using her journalistic skills to uncover a romantic Christmas mystery with the help of a handsome Naval officer (Trevor Donovan). He's a bit of a grinch about Christmas, but she's taking that as a challenge. Donovan is a bit stiff here, but Lilley is very good.
USS INDIANAPOLIS: MEN OF COURAGE (R) 120 minutes * * * The story of the USS Indianapolis, which was sunk during World War II after completing a mission critical to the eventual success of the Allies. The loss of life was the largest from a single ship ever experienced by the U.S. Navy. The early and later parts of the film are quite well done, but the shark attacks just aren;t up to the standard the rest of the film sets. R for violence and language.
USS INDIANAPOLIS: THE FINAL CHAPTER (NR) 85 minutes * * 1/2 The U.S. Navy's worst disaster was the sinking of the USS Indianapolis. After delivering the atomic bomb "Little Boy", the ship is sunk by a Japanese submarine. After the loss of almost nine hundred lives, the ship disappears into some of the deepest waters on the planet. This is the story of that sinking, and also of the mission to locate the ship and allow for closure for many of the victims' families.
THE USUAL SUSPECTS (R) 102 minutes * * * 1/2 As the usual suspects are rounded up for a recent crime, they begin to plot another job. But where does the mysterious Keyser Soze fit into the picture, and just who is he anyway? Intriguing story with a great twist ending that actually manages to surprise us. R for violence and language.
V FOR VENDETTA (R) 124 minutes * * * England in the near future. A future where free thought is a thing of the past. But there will always be resistance, and sometimes there will be justice as well. This time, justice will be served by V. Adapted from the graphic novel, this is a story with many layers of meaning, and told very well. There's an interesting mix of the 1940's and the near future of the 2010's. As with many stories of this nature, you can find similiarities to many different political groups and individuals, so the critical comments about the way politics are being dealt with applies not only to them specifically, but to the systems in general. Many powerful images are present in the film, more of them cluster toward the end. In fact, the fil would have been even stronger if the last few minutes had intentionally been paced more slowly as it seems to race to its conclusion rather than taking those few extra minutes to allow the power of the message to be felt more fully. R for violence, language and nudity.
VACANCY (R) 81 minutes 1/2 If you ever wanted another reason to stay on the main roads when you travel... just watch this film. David (Luke Wilson) and Amy (Kate Beckinsale) are having a little trouble in their marriage. Perhaps fighting to stay alive while sadistic killers are after them. To make matters worse, these killers film what they do and sell it. There are plenty of editing errors and gaping plot holes, and the ending is worse than bad. Wilson and Beckinsale are the only saving grace here, but one has to wonder why they signed on to this project. R for violence and language.
VACANCY 2: THE FIRST CUT (R) 81 minutes * Prequel to the earlier film, showing how the peeping tim motel killers get started. As far as the story, this is actually a tiny bit better than the first. Everything else is pretty much the same. R for violence, language, and sex.
VACATION (R) 91 minutes * A poor remake of the classic National Lampoon film about a family vacation where everything goes wrong. More crude and vulgar than the original, with a darker sense of humor that just isn't as much fun. R for sex and language.
VALENTINA'S WEDDING (R) 101 minutes * * 1/2 Life was going just the way Valentina (Marimar Vega) wanted... until her father's politial campaign falls victim to several scandals. Now, she's expected to clear it up by marrying an old boyfriend. Fun, and a little crazy at times, but it works. R for language.
VALENTINE (R) 93 minutes * Another in the endless flood of hollywood horror films about a loser who gets publicly humiliated and goes on a killing spree as an adult. Filled with the usual sequences of people investigating noises by themselves in the dark and the usual compliment of cheap noise scares. The talents and good looks of Katherine Heigl, Denise Richards, and David Boreanz offer the only reason to watch this. R for language, violence, and nudity.
VALENTINE (2017) (NR) 96 minutes * 1/2 A waitress who dreams of becoming an actress. Srimaya (Estelle Linden) gets her opportunity when Bono (Matthew Settle) sees her resume. The scenes are far more realistic than she expected, because Bono is really looking for a vigilante, not an actress. She does begin to realize this, and that means she has a choice. Will she become Batavia City's new heroine, or go back to being a waitress? This has plenty of heart, and it could be a good story. The acting comes up lacking though, and the sets and props just aren't the quality they need to be.
VALENTINE EVER AFTER (NR) 83 minutes * * Two people discover that their money will not help them in a small town when they break the law, but doing community service brings them close enough to fall in love in this saccharine sweet romance from the Hallmark Channel. The cast is fine, but the script is overly sweet and predictable.
VALENTINE ROAD (NR) 86 minutes * * * Documentary about a school shooting in Oxnard, California where an 8th grade boy shot and killed another boy who had asked him to be his valentine. Emotional presentation that explores various angles of the situation that might at first glance look like a hate crime, but which can also be seen to be far more intricate and challenging to understand.
VALENTINE'S AGAIN (NR) 69 minutes * * Kat (Nicky Whelan) is having a bad day. To top it all off, it's Valentine's Day. When she wakes up the next morning, it's Valentine's Day again. It turns out that the woman she bumped into yesterday has the power to make Kat's day repear until she finally makes the necessary connection with her true love. The performances are fine here, but the story wears thin rather quickly, even with a running time that is shorter than more Hallmark films.
VALENTINE'S DAY (PG-13) 118 minutes * * * 1/2 It's a day that can put plenty of pressure on a relationship. A montage of love stories and relationships with an absolutely amazing cast and a delightful script by Katherine Fugate. Director Garry Marshall also does a wonderful job of balancing the cast, which is no easy task in a film with so many talented actors. Jessica Alba, Kathy Bates, Jessica Biel, Bradley Cooper, Patrick Dempsey, Hector Elizondo, Jamie Foxx, Jennifer Garner, Topher Grace, Anne Hathaway, Ashton Kutcher, Queen Latifah, Taylor Lautner, George Lopez, Shirley MacLaine, Emma Roberts, Julia Roberts, and Taylor Swift. Best line: "Young love. Full of hope, full of promise... ignorant of reality!" PG-13 for sex and language.
A VALENTINE'S MATCH (NR) 82 minutes * * 1/2 Her restaurant reality show has just been cancelled, so Natalie (Bethany Joy Lenz) ends up co-running the town festival's auction... with her ex-fiance. Their two mothers might have had a hand in setting this up. Cute, Hallmark romance.
VALENTINO: THE LAST EMPEROR (PG-13) 92 minutes * * 1/2 Fashion designer Valentino Garavani was one of the great fashion designers whose career spanned decades. This documentary explores his life and career as well as the unfortunate corporate involvement that eventually put an end to a dynasty. PG-13 for nudity and language.
VALERIAN AND THE CITY OF A THOUSAND PLANETS (PG-13) 130 minutes * * * 1/2 The Al;pha space station has become almost a planet of its own. Home to a thousand different species, it is too large to continue to orbit the planet Earth, so it sets off on a new course. Danger lies ahead. Danger that Valerian (Dane DeHaan) and Laureline (Cara Delevingne) will need to address quickly. Well-worth more than one viewing, with simply remarkable special effects. Director Luc Besson has done an amazing job of adapting the comic "Valerian and Laureline" to the big screen. PG-13 for violence and language.
THE VALET (PG-13) 82 minutes * * 1/2 Pierre's (Daniel Auteuil) affair with a supermodel (Alice Taglioni) has him in hot water with his wife. Maybe he can convince her otherwise by hiring Francois (Gad Elmaleh) to be Elena's boyfriend. But will anybody believe that a supermodel would be dating a valet? Light comedy from writer/director Francis Veber. Nothing great here, but a pleasant enough diversion. PG-13 for sex and language.
VALHALLA RISING (NR) 87 minutes * * It is still a savage land in 1000 A.D., which suits One Eye (Mads Mikkelsen) well. Escaping his captors, he heads to a new world where the dangers may be even greater. Beautiful scenery, and the minimal dialogue lets it express both mystery and power quite effectively. A bit overladen with symbolism, much of which may be missed with just one viewing.
VALIANT (G) 71 minutes * 1/2 Mercifully short and surprisingly boring cartoon about a young pigeon in World War II who risks his life to deliver an important message. The script really does this in, with little in the way of excitement except some falcons who try to kill the pigeons, and comic relief that just isn't that funny. Rated G, so it's OK for the kids, but they probably won't be interested anyway, though the animation itself is done well.
VALKYRIE (PG-13) 111 minutes * * * Not everyone in Germany was in agreement with the direction Hitler was taking the country. There was more than one attempt to kill him, though one particular attempt not only included assassination, but an entire shift of power. This is that story, nicely told, and well-performed by all. It builds well, and we feel the frustration and growing panic of those who have planned the coup as it slowly unravels and they realize that they have failed. PG-13 for violence.
VALLEY GIRL (R) 97 minutes * * ½ A sort of Romeo and Juliet romance about a valley girl and a city punk from director Martha Coolidge. It’s an old-fashioned romance with a low-budget, but it works surprisingly well. A good deal of that is due to Nicolas Cage’s breakout performance. R for sex and language.
VALLEY GIRL (2020) 98 minutes * * When her daughter comes home after a rough night, Julie (Alicia Silverstone) has a story to tell her. It's a story about her own time in high school, and of love between two people from different backgrounds. Randy (Josh Whitehouse) and Julie (Jessica Roth) are the 1980s version of Romeo and Juliet. A musical version of the 1983 film, featuring hit songs of the 1980s. This starts with some good energy, but it fades quickly. It's not bad, but just doesn't have the spark it needs. PG-13 for language and nudity.
VALLEY OF BONES (R) 83 minutes * * Anna (Autumn Reeser) has immersed herself in her work as a paleontologist. It isn't going well. And her parenting skills aren't very good either. A new dig site in the Badlands sounds like it might be promising, but there are some bad people involved. Low-key, despite a little intensity late in the film. R for violence, language, and nudity.
THE VALLEY OF LIGHT (PG) 96 minutes * * 1/2 When Noah Lark (Chris Klein) returns home from the war, he learns that his family is gone. He begins to wander, and soon finds himself in a small town in a beautiful valley. It's a good place to start again, and Noah realizes that the time is right to do just that. A nice, gentle drama. PG for violence.
VALLEY OF LOVE (NR) 90 minutes * * * Isabelle (Isabelle Huppert) and Gerard (Gerard Depardieu) are taking a trip to Death Valley, California at the request of their son. Isabelle and Gerard haven't seen each other for years, and the erquest comes to them through the mail, after their son has committed suicide. Their instructions are to visit several particular locations at the times Michael details in the letter. If they do this, he has promised that he will return, if onlybriefly. They have agreed to make this journey together, though they each have different reasons for doing so. Wonderful work by Huppert and Depardieu, but that's not really a surprise.
VALLEY OF THE GODS (NR) 121 minutes * 1/2 Writing the biography of Wes Tauros (John Malkovich) is going to prove to be a challenge for John (Josh Hartnett). Tauros is a wealthy recluse who is working to acquire and develop some Navajo land, which is causing some concern. The film is overflowing with symbolism and highly stylized scenes and images. The scenery is beautiful, but this is the sort of film that takes at least two viewings to catch everything, and it's just not going to appeal to many people to sit through it a second time.
VAMPIRE ACADEMY (PG-13) 96 minutes * * So, the Moroi are peaceful vampires and the Dhampir are half-human, half-vampires who protect them, and the Academy is where they learn how to survive in the world. The rest of the story tries to cover a great deal of territory and gets a bit muddled with subplots. The script and acting have a nice balance of drama and light humor, but the fight scenes aren't very good. Sets up for a sequel, and there are several novels in the series, so... PG-13 for violence, sex, and language.
VAMPIRE GIRL VS. FRANKENSTEIN GIRL (NR) 79 minutes * * Hardcore, psychadelic splatter-punk. So, yes, it's a bit off the wall, with blood that sprays like fountains and body parts flying through the air. It turns out that the new girl in school is a vampire, and she has a crush on the hottest guy in school. Of course, there are complications. Based on the comic book.
VAMPIRE VIRUS (NR) 77 minutes * Another Charlie Steeds production where he serves as writer, director, producer, editor, and cinematographer. A steamy sexual encounter spreads a very unusual virus that causes Jennifer (Natalie Martins) to become a vampire.
VAMPIRE WARS (NR) 101 minutes 1/2 The Civil War in America not only saw much bloodshed, but land changed hands. When the war ends, two vampires decide to reclaim their land from the residents of a small town in the South. The story just drags terribly and never really goes anywhere or explains much of anything.
VAMPIRES (R) 102 minutes * 1/2 Jack Crow is a master vampire slayer, trained in the methods by the Catholic church who created the first vampire with an exorcism gone awry!? There are some nice effects here and the film definitely has the right look. Unfortunately, there's also a very empty feeling to the film. Aside from the evil passion that Thomas Ian Griffith is able to deliver as Valek, the film offers little to draw us in and keep us interested. R for violence, language, and nudity.
VAMPIRES IN AUSTRALIA (NR) 62 minutes * * Interviews with women in the entertainment industry in Australia about vampires. The questions they are asked cover vampires in film and literature as well as their personal experiences with vampire culture. Very dry presentation despite the fact that there are some interesting and fun answers along the way.
VAMPIRES: LOS MUERTOS (R) 89 minutes * * 1/2 Vampire hunter Derek Bliss (Jon Bon Jovi) is sent to Mexico to deal with some vampires before they multiply and move north. He's putting together a team, though he'd rather work alone. It's a small and unlikely group, but it just might work. Billed as a sequel to director John Carpenter's "Vampires" but there's virtually no connection to the earlier film. R for violence, language, and sex.
VAMPIRES SUCK (PG-13) 67 minutes * 1/2 You knew someone was going to do it. This parody of the Twilight saga does a nice job of staying focused on the series, with only a handful of references to other films. It still suffers from the same problems that most parodies suffer from, mostly being that they make a great skit, but don't stretch past thirty minutes very well. Don't miss the song at the end, it's actually pretty good. PG-13 for language, sex, and violence.
VAMPS (PG-13) 85 minutes * * Goody (Alicia Silverstone) and Stacy (Krysten Ritter) have been vamp BFF's for awhile, but Stacy has just fallen for the son of a vampire killer. What's a girl to do? Meanwhile, Goody has reconnected with a long lost love. Cute, lightweight comedy. Not much substance here, but Silverstone and Ritter are both fun to watch. PG-13 for violence, sex, and language.
VAMPYRES (NR) 76 minutes * 1/2 Two female vampires prey on whoever is unlucky enough to come close to them. Lots of nudity and blood, but not really much of a plot, and the production quality isn't all that great either.
VAN HELSING (PG-13) 122 minutes * * * In this versino of the classic battle between humans and vampires (among other sorts of monsters), Van Helsing (Hugh Jackman) works for a mysterious order of the Catholic church that is charged with protecting the world from the forces of evil. After he defeats Mr Hyde, he is sent to Transylvania to deal with Dracula, coming across Frankenstein's monster and a werewolf along the way. The production creates a wonderfully haunting atmosphere and the story is quite interesting. There are a few problems though and the sense of having Dracula's children born into cocoons that need to use Frankentein's reanimation technology to live is lost on me. It's an interesting entry in the genre and well worth a look, especially for the solid, if sometimes campy performances of Jackman and Kate Beckinsale. PG-13 for violence.
VAN WILDER: FRESHMAN YEAR (R) 94 minutes 1/2 A young Van Wilder is on his way to college. He has a wild heritage to live up to, and it's going to take a lot of work... to party and hard as his father did, and the dean of the school is going to do everything in his power to bring Van Wilder down. The love story here is very out of place, and Jonathan Bennett's performance as Van Wilder is almost one dimensional. R for language and sex.
VAN WILDER 2: THE RISE OF TAJ (R) 92 minutes 1/2 Taj Badalandabad (Kal Penn) heads to a university in England where he ends up with another bunch of losers. Taj teaches them how not to be losers, but we don't really care much. A few chuckles, but even fans of the first film, if there are any, will likely be disappointed. R for language and nudity.
VANGUARD (PG-13) 96 minutes * * 1/2 Vanguard is the name of a covert security company run by Tang Huating (Jackie Chan). One of their VIP protection clients is at risk, along with his family. Vanguard wastes no time responding, but these villains are quite persistent. Lots of action, both gunfire and hand-to-hand combat. Some of the more outlandish stunts are actually CGI, but they are still well-done. PG-13 for violence and language.
VANILLA SKY (R) 129 minutes * * * David has inherited his father's empire, but there are those who want him out. After a disfiguring accident that is caused by a jealous friend, David's life twists out of control. Things aren't what they appear to be though. There's a touch of science fiction mixed in with the romance and suspense, and it's a story that will definitely be confusing until the last thirty minutes. Those last thirty minutes are worth the wait though, in a story that reminds us that "every passing minute is another chance to turn it all around". Based on the foreign film "Abre los Ojos", this features Tom Cruise, Penelope Cruz, and Cameron Diaz. R for language and sex.
VANISH (NR) 73 minutes * 1/2 This is no ordinary kidnapping, but by the time the extra information is revealed, a little over halfway through the film, we don't really care. Excessively violent and illogical at the end. The acting and production quality aren't bad, but the story and direction need quite a bit of work.
THE VANISHED (R) 111 minutes * * * A family camping trip goes bad quickly when Paul (Thomas Jane) and Wendy's (Anne Heche) daughter goes missing. No one seems to have a clue as to what happened, so the pair take things into their own hands. Some very nice twists and turns from writer/director Peter Facinelli, who also has a small acting part in the film. The suspense and the twists build well. Facinelli hasn't directed much at this point, but this film shows promise for what may come next. R for violence, language, and sex.
THE VANISHING (R) 108 minutes * * Hard-to-believe story is helped along by great music courtesy of Jerry Goldsmith and good performances from Kiefer Sutherland, Jeff Bridges, Nancy Travis, Lisa Eichhorn, and Sandra Bullock. Directed by the same person who directed the original (French) version, but this one is not much more than a shadow of the original.
THE VANISHING (2018) (R) 101 minutes * * 1/2
Every six weeksm the lighthouse crew rotates out. But this time, there is no crew to greet their replacements. Thomas (Peter Mullan) and James (Gerard Butler) were experienced keepers, while Donald (Connor Swindells) was just learning the job. They have vanished without a trace. This story offers one possible answer to the mystery of Flannan Isle, the incident upon which this is based. A bleak and violent story. R for violence and language.
THE VANISHING OF SIDNEY HALL (R) 116 minutes * * * 1/2
Sidney (Logan Lerman) was always a little close to the edge. His writing was provocative, but also brilliant. Success came early, but the price was high, and it felt to him like everything was moving too fast. So he left. Magnificent screenplay though the inconsistent timestream for the flow of events in the film needed a more experienced touch. Still, the film is quite powerful, and does a very nice job of conveying the highs and lows of Sidney's life and work. R for language.
VANISHING OF THE BEES (NR) 85 minutes * * 1/2
Winner of several film festival awards, this documentary takes a look at the decline of the honeybee population. It posits that there are actually several reasons that contribute to the decline. Pesticides, mono-culture (huge areas of only one crop), and the manipulation of hives and colony life to accomodate the needs of industrial farming. Any one of these could probably be overcome, but the combination is having a lethal effect that the bee population may not be able to recover from.
VANISHING ON 7TH STREET (R) 82 minutes * * 1/2
If you've never been afraid of the dark... you just might be after watching this film! It managed to give me a pretty good chill early on, and that's not easy to do! A power outage isn't unusual on it's own, but this one isn't going away, and the population of Detroit seems to have disappeared. No, really. The ending is a bit strange, and as the film progresses, creepy effects seem to prevail over much of an explanation of what's going on and how the people we do see managed to survive as long as they did. R for language.
VANITY FAIR (PG-13) 136 minutes * *
This classic story about social climber Becky Sharp has the right look, and some very talented actors, but somehow manages to keep us at arms length. Reese Witherspoon seems uninterested, and for most of the film, we are too. Also features Jim Broadbent, Bob Hoskins, and Gabriel Byrne. PG-13 for language and sex.
VANQUISH (R) 91 minutes * *
Victoria (Ruby Rose) has done this work before. She thought she was done, but Damon (Morgan Freeman) has other plans. He's holding her daugher hostage to make sure she cooperates. But Victoria knows how this works... perhaps a little too well. Good production values and a very capable cast. The script is on the thin side, and the direction is less than exciting, especially for what the story hints at. R for violence, language, and sex.
VANTAGE POINT (PG-13) 84 minutes * * *
Agent Barnes (Dennis Quaid) is back on presidential duty after recovering from a recent injury. He's a bit tense, but when the president is shot, he already has a better sense than most of where to look to find out what happened. The story is retold numerous times throughout the film from different vantage points, each time uncovering a little more information which is then followed up from another angle. The film is paced well, though we do begin to get tired of the various angles. Forest Whitaker does a nice job as a tourist who happens to be videotaping the speech and films an important clue while doing so. PG-13 for violence and language.
VARSITY BLUES (R) 101 minutes * *
James Van Der Beek is John Moxon, high school football player, well... sort of. Mostly he sits on the bench as the back-up quarterback in this small town where life revolves around football. Coach Kilmer (Jon Voight) doesn't like him, but is forced to use him when the starting quarterback goes out with an injury. Voight does a nice job as the coach you'll love to hate, but the film's story is stale. A few of the supporting performances give it a little spark, but not enough to bring it out of mediocrity. R for language and nudity.
THE VATICAN TAPES (PG-13) 81 minutes * 1/2
The secret tapes of the Vatican have a somewhat different version of events than the story that the public has heard. Demonic possession is real, and this is the story of not just a possession, but the actual manifestation of the anti-Christ. Somewhat misleading and low-key early on, with a matter-of-fact tone that doesn't really fit with the last part of the film. Rather than slowly picking up the pace, the later part of the film speeds up quickly, and never really gathers the strength it needs to be very convincing. PG-13 for violence and sex.
THE VAULT (NR) 89 minutes * * 1/2
Vee (Taryn Manning) and Leah (Francesca Eastwood) have a plan for how then can help their brother. It involves robbing a bank. They have it all figured out so that no one will get hurt. What they didn't count on was exactly what is in the vault in the basement. The back story is a little thin, which hurts the strength of the film. There are still plenty of creepy moments, and a few gross ones as well, but a stronger beginning would have made this more powerful.
VAULT (2019) (R) 95 minutes * * 1/2
They were very daring, but Deuce (Theo Rossi) and Chucky (Clive Standen) always seemed to try and pull off something that was a little more than they could really handle. Their last big job was huge, and it didn't work quite as well as they had planned for it to. Well-played heist film, though it focuses so much on Deuce and Chucky that we don't get to know the other characters very well, though some of them are interesting and would have helped round out the story a little bit. R for language, violence, and sex.
THE VAULT (2021) (R) 110 minutes * * *
After much dangerous work, a treasure is retrieved from a sunken Spanish ship by Walter (Liam Cunningham) and his crew. When the authorities claim it for the government, Walter has a plane to get it back... or at least one particular piece of it. Good suspense, though the story does drag in a couple of spots. Good characters here as well, with a script that gives the main and supporting characters enough room to let us get to know them. R for language.
VAZANTE (NR) 110 minutes * * *
When Antonio (Adriano Carvalho) returns home from a slave trading expedition, he learns that his wife died in childbirth. Out of a sense of duty and expectation, he marries his wife's niece. She is only a child, and he has no interest in her or in staying home with his half-crazed mother-in-law. And so, he heads out on another expedition to gather more slaves. But the house draws him back, and it seems that none of them can escape the traditions, customs, and expectations. But there is a breaking point. Strong cord of tension just beneath the surface of the story that keeps us watching.
VEER (NR) 96 minutes * * *
Bicycling and bike culture. This documentary follows a few very different people who are involved with various aspects of bike culture and the industry surrouinding it. Casual bikers, bike repair shops, people working to change bicycling laws, performers, and much more. An interesting look at a diverse and popular activity.
VEGAS VACATION (PG) 89 minutes * 1/2
Mildly amusing sequel, with the Griswold family going to Las Vegas where dad loses his savings, son wins money and cars, mom is romanced by Wayne Newton, and daughter becomes a showgirl. Plenty of cameos and guest stars, but no real spark. PG for language.
VEGUCATED (NR) 73 minutes * * 1/2
Not just vegetarian, but vegan. That's the challenge that these three New Yorkers take... go vegan for sex weeks to promote better personal health and a more sustainable planet. The experiment is perhaps more successful than they thought possible, especially since none of them really thought they'd last for six weeks. The film does a nice job of not overly criticizing those who aren't vegan or vegetarian, though some of that... very convincing animal cruelty footage... is included.
VEHICLE 19 (R) 77 minutes * 1/2
Plenty of reasonably good car chase sequences, but this role was clearly no challenge for Paul Walker. The plot does offer some promise at the outset, but quickly gets more and more ridiculous and unbelievable as it goes on. Not an easy task for a film that is so short. R for language.
THE VEIL (NR) 81 minutes 1/2
A warrior betrayed by his own people is healed by a princess who he now feels obligated to assist. It is a world where tribes seem to constantly be waging war on each other with no end in sight. Dialogue and acting are both pretty bad. There are a few good sets, and some of the lighting and photography shows a little promise, but it's just not enough.
THE VELVETEEN RABBIT (2009) (G) 93 minutes * * 1/2
Another version of the classic story about the power of love to make us "real". The mix of live action and animation works reasonably well, though it's the story that is both memorable and powerful and what makes this work.
VENDETTA (NR) 88 minutes * *
The first of three mysteries featuring Italian detective Aurelio Zen (Rufus Sewell). In this one, Zen is on the short list of a man out to kill those who sent him to prison. Zen seems to get in tighter spots than most detectives. As a result, this feels a bit more realistic in some ways, though he does always manage to make it through without too many scratches.
VENDETTA (2015) (R) 84 minutes *
When Mason's (Dean Cain) wife is killed, nothing will stop him from taking revenge. That includes getting himself arrested so he can have a shot at the man who did it. A simple plot with brutish action and minimal acting. Mostly of note for the presence of Paul "Big Show" Wight. R for violence and language.
VENGEANCE (R) 102 minutes * * * 1/2
It was just one more girl. One more night. Abby didn't mean much to Ben (B.J. Novak), but he ends up going to her funeral. Soon, he's spending time with her family and promising to help solve her murder. It just might do wonders for his podcast. It also might be more of a risk than he expects. Wonderful script by Novak, who also directs and stars in this. It's clever and uses humor well, while making some very serious points along the way. R for language and violence.
VENGEANCE: A LOVE STORY (NR) 95 minutes * * 1/2
Even though the rapists were identified, they have managed to hire a stellar lawyer who manages to do what no one thought possible. But as the first officer on the scene, John (Nicolas Cage) is not going to let justice go unserved. Very nice work by Talitha Bateman.
VENOM (R) 88 minutes * *
These kidnappers get more than they bargained for when a deadly black mamba just happens to be mistakenly delivered to the house where they are in the act of kidnapping a child. Too many subplots make things unnecessarily confusing and the dialogue is weak. The soundtrack is good though, and Nicol Williamson’s performance adds a nice, light touch. R for violence and language.
VENOM (2018) (R) 92 minutes * * *
Several alien symbiotes have invaded earth. Some are captured and experimented on, but bonding seems to have only limited success. Limited that is, until one of them (Venom) bonds with Eddie (Tom Hardy). Life hasn’t been treating Eddie very well, but this particular symbiote really likes him… and it doesn’t like the doctor who was experimenting on him. As it turns out, Venom isn’t really like the other symbiotes, and could actually be considered one of the “good guys”. A bit unorthodox in manner perhaps, but still on the side of good. The story and the production both have a very fitting macabre sense of humor. R for violence and language.
VENOM: LET THERE BE CARNAGE (PG-13) 85 minutes * * 1/2
Eddie Brock's (Tom Hardy) career is going nowhere. He gets a chance to interview serial killer Cletus Kasady (Woody Harrelson) and get some notoriety. But Venom, the symbiote he hosts, just wants brains to eat. Cletus on the other hand, ends up serving host to Carnage, a more sinister symbiote who is more dangerous and more difficult to control than Venom. Very nice effects. The story is extremely violent, which suits the characters well, but it also really deserves an R rating. PG-13 for violence and language.
VENUS (R) 90 minutes * * * 1/2
Maurice (Peter O'Toole) and Ian (Leslie Phillips) are a couple of old actor friends who are having difficulty finding work. Ian thinks that pales in comparison to dealing with his niece Jessie (Jodie Whittaker). But Maurice sees something different in her brash attitude, and he sees the beauty she hides within. They grow close, though the road is rough, and having known each other will leave them each with treasures they didn't think possible. O'Toole is masterful once again, and Whittaker does an amazing job for a relative newcomer. Working with a legend seems to have inspired her well. A memorable film, not to be missed. R for language and sex.
VENUS IN FUR (NR) 92 minutes * * * 1/2
Auditions are over and Thomas (Mathieu Amalric) has found no one that is satisfactory for the role. And then she walks in. Vanda (Emmanuelle Siegner) is brash, insistent, and very good. An audition begins and there is much discussion as well. An actor's film, with two characters constantly performing for each other and pushing each other. A fascinating character study, but not something that those less familiar with theater will be that interested in.
VERA DRAKE (R) 120 minutes * * *
Bravura performance from Imelda Staunton that earned her several awards and nominations for other awards. She does a wonderful job giving a sensitive performance made even more remarkable by the fact that there was no script for the film. Director Mike Leigh had to write a script after filming for it to be considered for awards, some of which it then won. The weakness here is that Staunton's performance is so strong and the film so focused on her, that some of the scenes where other characters are more prominent don't come off all that well. R for language and topic.
THE VERDICT (R) 125 minutes * * * ½
His legal career has not always made him very proud of his accomplishments, but Frank Galvin (Paul Newman) has just found another chance. This new medical malpractice case just might be the one where he can not only help a client, but make a clear statement too. Great role for Newman, though it doesn’t hurt to be working with a script by David Mamet and under the direction of Sidney Lumet. R for language.
VERONICA (NR) 101 minutes * * *
On the day of a solar eclipse, Veronica (Sandra Escacena) and two of her friends use a ouija board to contact the other side. Something is now haunting Veronica, and it seems to be getting stronger with each passing day. She's going to have to repeat the ritual and close the door that she opened. Good suspense.
VERONIKA DECIDES TO DIE (R) 98 minutes * * 1/2
Veronika (Sarah Michelle Gellar) decides to die. But when her attempt at suicide fails, she is told that though she is still alive, she has only a few weeks or months to live. The story, adapted from Paulo Coelho's novel, isn't particularly deep, but Gellar does a nice job here, as her character explores what it is tha tmakes life worth living. R for sex.
VERONICA MARS (PG-13) 101 minutes * * *
Veronica (Kristen Bell) has moved on from being a teenage detective, but her high school reunion just happens to bring her back to town in time to solve another mystery. Will she be up to the task? Nice continuation of the story from the TV show, though this stands on its own quicte nicely. The script is sharp and witty, with narration that gives it a touch of film noir. Nice ensemble cast. PG-13 for sex, violence, and language.
VERTICAL LIMIT (PG-13) 117 minutes * * 1/2
Tense scenes are scattered throughout this film about climbers and the tight spots they sometimes find themselves in. The characters are almost cartoonish and the story is far from original. What does manage to win points here is the stuntwork. Coupled with some nice photography, the stunts hold our interest for much of the film. The effects aren't too great though, so don't look too closely or you'll notice how much of this was done with models. Filmed in New Zealand and Pakistan. PG-13 for language and violence.
VERTIGO (PG) 120 minutes * * * *
Classic Alfred Hitchcock thriller about a detective (James Stewart) who suffers from vertigo and who becomes overly obsessed with his best friend's wife as he investigates her unusual behavior. One of Hitchcock's must see films. PG for violence.
VERY BAD THINGS (R) 94 minutes *
It's supposed to be a harmless bachelor party, but a few too many drinks and a few drugs and the boys have a problem. The real trouble is that they keep making decisions that make it all worse. The film moves from the bizarre to the absurd and loses us somewhere along the way. Christian Slater is interesting to watch, but more for his Jack Nicholsonesque performance than anything else. Jon Favreau, Cameron Diaz, and the rest of the cast seem to be lost in an attempt to make an alternative film with an attitude. All we end up with is a hollow film we wish we hadn't watched. R for language, violence, and sex.
A VERY BRADY SEQUEL (PG-13) 86 minutes * 1/2
A little more fun than the first Brady Bunch film, with tie-ins to Gilligan's Island and I Dream of Jeanie and cameos by Zsa Zsa Gabor, Rosie O'Donnell, and RuPaul. Low quality still prevails though, so don't expect too much. PG-13 for language.
A VERY BRITISH GANGSTER (NR) 96 minutes * * 1/2
Dominic Noonan is a British gangster from Manchester, and this documentary gives us a glimpse into his life. If, by the term "gangster", you are expecting something along the lines of "mafia", you may be disappointed. In many ways, Noonan is portrayed here as more of a thug who runs a few neighborhoods and little more. Though he claims to have stolen millions of dollars, that doesn't seem to fit with where and how he and his family live. Still, an interesting look at a less than positive side of the Manchester area of England.
A VERY COOL CHRISTMAS (NR) 93 minutes * 1/2
Lindsay (Brooke Nevin) wants to dump her family and spend Christmas on the ski slopes with her friends. But that's before she meets Santa and decides to help him with a full makeover. After all, his image is just so... yesterday. Of course, Santa may just give Lindsay a much needed makeover as well. The story is cute enough, and George Hamilton does a nice job as Santa, but the target audience is a mystery here. Teens will find this silly and pointless, yet it talks too much about teen issues for the younger ones to enjoy it. Not rated, but suitable for family viewing.
A VERY COUNTRY CHRISTMAS (PG) 81 minutes * *
Tired of the hectic life of a country music superstar, Zane (Greyston Holt) takes an unexpected break. That's when he finds Jeannette (Bea Santos), a single mom who is having a very hectic life of her own. It's not what either of them expect, but it might be what they both need. Standard holiday romance. PG for language.
A VERY COUNTRY WEDDING (NR) 88 minutes * * 1/2
Thanks to a technicality, Zane (Greyston Holt) has to leave for a concert tour date, just moments before his wedding is about to begin. Jeannette (Bea Santos) is a very understanding fiancee, but the days are stretching into months. This isn't very convincing early on, but it gets better, and ends with a romantic finish.
THE VERY EXCELLENT MR. DUNDEE (PG-13) 81 minutes *
Though he;s been out of the spotlight for awhile, that's about to change. The Queen has decided to bestow a knighthood on the infamous "Crocodile" Dundee, and that is turing the spotlight back on. That's going to be a problem. Several cameo appearances, some of which do serve as bright spots in an otherwise tired script. PG-13 for language.
A VERY FOUL PLAY (NR) 83 minutes * * 1/2
A mystery dinner theater at a resort sets the stage for another murder to be solved by Aurora (Candace Cameron Bure) and her Real Murders Club friends. There are plenty of suspects to go around, and multiple mysteries to be solved.
VERY GOOD GIRLS (R) 86 minutes * * *
High school is over and college is about to begin. Lilly (Dakota Fanning) and Gerri (Elizabeth Olsen) are ready to lose their virginity, but is their friendship worth the cost? Olsen and Fanning work well together and both know how to say a great deal simply by using facial expressions, which cinematographer Bobby Bukowski does a great job of catching. Nice supporting cast too. R for language and sex.
A VERY HAROLD AND KUMAR CHRISTMAS (R) 81 minutes 1/2
When Kumar (Kal Penn) drops off a package that was delived to their old apartment, the troubles begin. Harold (John Cho) had done his best to sever ties. Now that Kumar is around again, will Harold be able to salvage the Christmas his wife and her family want, or will Kumar keep messing things up? Filmed in 3D for theaters, which adds absolutely nothing to the film. R for sex, language, and violence.
A VERY LONG ENGAGEMENT (R) 126 minutes * * *
Mathilde (Audrey Tautou) and Manech (Gaspard Ulliel) are in love and engaged. World War I interrupts their plans and when Manech doesn't return as expected, Mathilde begins a search for him. The sepia tones and muted colors do a great job of taking us back in time and Tautou's performance sparkles through the grit and grim of the war and post-war scenery. The narration is not necessary though and distracts us from the story that the camera is trying to tell us. R for violence and sex.
A VERY MERRY BRIDESMAID (NR) 84 minutes * * 1/2
It's not just the holiday season. It's also Pauls (Patch May) wedding, and his sister's (Emily Osment) 30th birthday. Her childhood crush is also in townand plans to make sure that Leah's birthday doesn't get ignored in the rush of things. Osmnt's performance is very relaxed and helps make the story work better than it might have.
A VERY MERRY MIX-UP (NR) 83 minutes * * 1/2
Alice (Alicia Witt) is about to meet her future in-laws, but a mix-up has her meet someone else's parents. A charming performance by Witt in a sentimental, romantic, holiday film.
VERY, VERY, VALENTINE (NR) 83 minutes * * 1/2
They've been friends for a long time, but neither one of them realizes just how close they truly are. Helen (Danica McKellar) is one of those people who needs a certain "sign" to know that she's found the right person. Will they both realize that the signs have been there all along?
VESPER (NR) 108 minutes * * *
With her father unable to leave his bed, Vesper (Raffiella Chapman) must find a way to survive and still take care of him. Earth's ecosystem has collapsed, and there are those few privileged people who live iin the Citadel with most of the resources. The rest of the population must fight for the scraps that remain. When Vesper rescues a young woman from the Citadel whose ship has crashed in the forest, they both learn much more than expected. An interesting ending, but it does feel like we're missing some footage that would have filled out the story a little better.
THE VESSEL (PG-13) 86 minutes * * 1/2
When a tsunami destroys an elementary school full of children, this small town just wants to forget. The tragedy is too much to remember. They've been fairly successful at forgetting, until a young man feels compelled to build something from the remains of the school. Memories and pain come flooding back to the community, changing everything and everyone. Highly symbolic and a good portion of the film is also without dialogue, emphasizing what we see rather than what we might hear. PG-13 for sex.
A VETERAN'S CHRISTMAS (NR) 84 minutes * *
On her way to a new life post-military, Grace (Eloise Mumford) finds herself stranded in a small town just before Christmas. She's also missing the dog she worked with in the military, but there is a handsome judge (Sean Faris) in town. Mumford's character seems to just hit the same note over and over, though much of that is the script's fault rather than hers.
VFW (NR) 88 minutes *
So much has changed in the world. It just seems to keep getting worse. For this group of war veterans, it's just too much to deal with. When a drug dealer and his crew try to move into their space, they decide that it's time to fight back. Bad script and direction, but the point of the film is bloody effects, and there are lots of those. Featuring some acting veterans whosse talents are mostly wasted here... Stephen Lang, Williamd Sadler, Fred Williamson, and Martin Kove.
V/H/S (R) 111 minutes 1/2
Hired by someone they never saw to steal a videotape, the first thing they discover is that the homeowner is dead. Then they find out what's on the tape. There are actually six stories here, some a little more scary than others, but the jerky, handheld camera style ruins most of the tension that might have been generated by any of them. R for violence, sex, and language.
V/H/S/94 (R) 99 minutes BOMB
A collection of various short films, all revolving around the use and discovery of VHS tapes. The concept grows more and more dated with each entry in the series. Sloppy and poorly written, not that the acting is any better. It doesn't help that the six segments just run together with no pause or introduction. R for violence and language.
V/H/S/99 (NR) 104 minutes BOMB
Another collection of grainy, found footage that tells a few different stories. Most of the scary or gross footage is of extra-poor quality and heavily edited. Not well edited and just not very scary or interesting.
V/H/S/2 (R) 90 minutes *
What begins as a missing persons case leads to the viewing of a number of videotapes with five different stories as they search for evidence. Cheap noise scares and jerky handheld camerawork, but there are definitely a few creepy moments, which makes this just a little better than the first film. R for violence and language.
V/H/S VIRAL (R) 77 minutes 1/2
Like the other entries in this series, there are multiple stories with varying levels of success, though none very high on the scale. The connecting material doesn't help, with a poor storyline and even worse photography. It's an unusual choice to include a story that isn't in English, and while that has artistic appeal, it just doesn't make sense, because the rest of the film has none. Special effects are pretty bargain level here too. R for violence, sex, and language.
VHYES (NR) 66 minutes * * 1/2
Once upon a time, VHS was king. Ralph (Mason McNulty) gets a videocamera and ends up recording over his parents' wedding tape. The film is a collection of brief clips, many of which are revisited throughout the film. Packed with parodies of television shows and commercials. It's very creative, and there are some very good parodies that work well. The problem is that the film is not likely to age well, and will become more of a curiosity than the fun it is for those who remember VHS.
V.I.WARSHAWSKI (R) 85 minutes * * 1/2
Sara Paretsky's detective character comes to the screen in this story of three brothers and a shipping company that has seen better times. It's a formula story though, and despite Kathleen Turner's performance, this has "TV movie" written all over it. Angela Goethals also does a fine job here, but the script and direction show little concern for subtleties and move us quickly through the film to uncover the mystery. It works better on video, but it could have been much better. R for language and violence.
VIC + FLO SAW A BEAR (NR) 92 minutes * * 1/2
Vic (Pierrette Robitaille) and Flo (Romane Bohringer) are ex-cons and lovers, trying to move on to the next step in their lives. But as peaceful as their surroundings are, there are unsettling moments that disturb that peace. Strange ending.
VICE (R) 92 minutes * *
Vice is the ultimate resort, where guests can play out their fantasies with the no real limits. The resort is populated with artificial humans, but there just might be some changes in the works. There are obvious parallels here to both "Westworld" and "Blade Runner", but it has neither the originality of the former or the depth of the latter. Ambyr Childers does some good work here, but most of it is based on her physical acting skills rather than having a script that would let her develop her character more. R for violence, language, and sex.
VICE (2018) (R) 123 minutes * * 1/2
No one seemed to notice him, though he'd been around Washington D.C. for some time. And then he became vice-president. This is the story of Dick Cheney (Christian Bale). The film uses three approaches to get its message across. There's the personal, where we learn about Cheney as an individual and what motivates him. There's the political, where we see the manipulation of the office and the effects on policy and the public. Finally, there is the comedic aspect, where director Adam McKay uses various methods to find humor and look at the entire story through a satirical lens. Unfortunately, instead of working together, the three approaches end up competing with one another. McKay has written for Saturday Night Live, and this seems to fall in that category of feature films that would have worked well as a 15-minute skit, but not as a feature film. At least not the way it's written. R for language and violence.
VICE SQUAD (R) 93 minutes * * ½
It took some work, but with the help of Princess (Season Hubley), the vice squad finally manages to take down a very dangerous pimp. The problem is that she finds herself turning to prostitution to bring in some much needed money. Even worse, Ramrod (Wings Hauser) discovers who help set him up, manages to escape prison, and is on a mission to find Princess and punish her for what she did to him. Dark and gritty, with plenty of scenes set at night. It does a great job of setting the mood, but lends itself to a film that is visually less easy to watch. R for violence, language, and sex.
VICE VERSA (PG) 96 minutes * *
Judge Reinhold and Fred Savage are a father and son who exchange bodies courtesy of a strange oriental skull. Reinhold is less than convincing here, but Savage and Corinne Bohrer make it worth a look. Savage and Reinhold do at least look like they're having fun here.
VICEROY'S HOUSE (NR) 101 minutes * * *
After 300 years in power, the British leave India to claim its independence. The final Viceroy will oversee that transition, but it will not be easy. The film weaves together two stories, one of politics and faith, and one of family and love. They are both powerful, and very personal stories, by writer/director Gurinder Chadha.
VICIOUS FUN (NR) 96 minutes * * *
Lamenting his misfortune, Joel (Evan Marsh) gets drunk. When he wakes up, he stumbles into a self-help group for serial killers. Can he pass for one of them, or will he become their next victim? It's going to be a wild night! A clever twist on the slasher horror genre with plenty of humor along with the horror. A great cast, with especially nice work from Amber Goldfarb and Ari Millen. A very nice soundtrack too!
THE VICIOUS KIND (R) 88 minutes * * 1/2
Caleb (Adam Scott) doesn't like women, or his father, or much else for that matter. He does care about his little brother, but Peter (Alex Frost) has a new girlfriend. Caleb's not too sure about her though. There are secrets here. Dark and vicious family secrets. Intense performances, though it's difficult to like these characters at times. R for sex and language.
VICKY CRISTINA BARCELONA (PG-13) 93 minutes * * *
Vicky (Rebecca Hall) and Cristina (Scarlett Johansson) are spending the summer in Barcelona. They are about to fall in love with the same man (Javier Bardem), who appeals to each of them for slightly different reasons. It will be a summer that neither of them will forget. Another gem from writer/director Woody Allen. Rather heavily narrated, but Allen's style of storytelling lends itself to narration in a way that works more often than not. Great work by the cast, whose performances draw us in to experience this romantic and somewhat unusual summer along with them. PG-13 for language and sex.
THE VICTIM (R) 78 minutes * 1/2
Kyle (Michael Biehn) enjoys his reclusive life in the woods. And then one night, a girl in a panic knocks on his door. It seems that her friend has been murdered, by police, and now his world has shifted. There's some good suspense here, but the acting is mediocre at best, and the twist ending is no surprise. R for violence, sex, and language.
VICTOR AND THE SECRET OF CROCODILE MANSION (PG) 90 minutes * 1/2
The old mansion that Victor (Kristo Ferkic) and his family just moved into is strange and mysterious. It doesn't take long to discover that a distant cousin died there years ago under unusual circumstances, which means there's a mystery to solve. Ferkic's performance is earnest enough, but everyone else overacts as if the target audience has no ability to understand what's going on. The ending also wraps up quickly, neatly, and with a great deal of sentimentality that is just silly. PG for violence and language.
VICTOR CROWLEY (NR) 77 minutes 1/2
After the third "Hatchet" movie, Crowley (Kane Hodder) was dead. Well, that didn't last long. And the amateur filmmakers who are going to make a movie about hi are about to find out just how alive he still is. The best thing this series has going for itis the sense of humor it maintains. It still gets a little tedious though, and the ending is just not worth the wait. Horror fans will appreciate seeing a few genre regulars in the cast.
VICTOR FRANKENSTEIN (PG-13) 104 minutes * * *
The story of Dr. Frankenstein (James McAvoy), told through the eyes of his assistant, Igor (Daniel Radcliffe), who was rescued from an unpleasant life in the circus. Nicely done version of the story that has a little less emphasis on the monster. PG-13 for violence.
VICTOR VICTORIA (PG) 128 minutes * *
Based on the 1933 film, “Victor and VictoriA”, this stars Julie Andrews as Victoria, a talented singer who is having trouble finding a job. Meanwhile, Toddy (Robert Preston) is having similar difficulties finding work as a female impersonator. Victoria takes over for Toddy, who creates a male alter ego (Victor) for Victoria. The music is wonderful and Henry Mancini won an Oscar for his soundtrack. Andrews won a Golden Globe for her performance, though Preston delivers the better performance. The ending works well, but the rest of the film is less convincing as far as the story. PG for language and sex.
VICTORIA (NR) 135 minutes * *
Victoria (Lala Costa) hasn't been in Berlin all that long. She's still making friends. But the people she chooses this night, to hang out with aftershe leaves the party, are not a good choice, and there may not be anything she can do about it now. Interesting, but takes too long to get where it's going.
VICTORIA & ABDUL (PG-13) 104 minutes * * *
The story of the friendship between Queen Victoria (Judi Dench) and Abdul Karim (Ali Fazal). There are a few embellishments along the way, but the story is mostly true. There are bits of humor that keep the tone on the lighter side, but the power of Dench's performance is never in doubt and carries the film well. PG-13 for language.
VIDAL SASSOON: THE MOVIE (PG) 88 minutes * * 1/2
Biography of the man and a look at the times, the fashions, the trends, and the changes that he and those who worked with him created. PG for language.
VIDEO GAMES THE MOVIE (NR) 95 minutes * * *
Very thorough history of the games, the companies, and the culture of video games and gaming. Younger members of the audience who are interested in the history should find this interesting, and it's a wonderful, nostalgic look at the past for those who remember when it was all a brand new way to be entertained.
VIDEO GIRL (R) 106 minutes * *
Lorie (Meagan Good) never thought she'd be a video girl. Meeting Shark (Adam Senn) happens at just the right time to rocket her to the top. But it quickly turns into a wild and rocky ride that gets completely out of control. Good does a nice job here, though the story stays within the stereotypes and doesn't really allow for the characters to have much real depth. R for language and sex.
VIDEODROME (R) 84 minutes * * ½
Max Renn (James Woods) runs a small TV channel with programming that is mostly pornography. To the public, he claims that it’s because it makes money, but in private, his answer would be different. His girlfriend (Debbie Harry) has similar tastes in programming and in real life. A new program that Max has just acquired may well be the next hot thing, but it also may be the next step in mind-bending reality. A strange and rather abstract piece that may well take more than one viewing to digest, though viewing it a second time may be more than you want to do. R for violence, sex, and language.
LA VIE EN ROSE (PG-13) 135 minutes * * * *
Absolutely astounding performance by Marion Cotillard as the legendary Edith Piaf. No one else before and probably no one ever will be the heart and soul of Paris more than Edith Piaf. From her early and rough life on the streets of Paris, to her final days that came far too soon, Cotillard IS Piaf. The film moves back and forth through her life in a mezmerizing and captivating way. Though many say that singing is all that mattered to her, we see here a woman who sang because she loved to sing, but that it was love that mattered the most, love that gave meaning to the singing. Clearly an award winning performance by Cotillard, and well supported by both cast and crew. PG-13 for language and sex.
VIEW FROM THE TOP (PG-13) 79 minutes * *
Donna (Gwyneth Paltrow) desperately wants to get out of the small town she has lived in before it crushes her spirit completely. She decides to become a flight attendant so she can see the world. There's a funny thing about pursuing your dreams though... sometimes they chance as you get closer to making them reality. Paltrow does a nice job here, though the film suffers from a rather awkward balance between comedy and drama. If you like Paltrow, you'll probably like this, otherwise, you might want to watch something else. PG-13 for language.
A VIEW TO A KILL (PG) 127 minutes * * 1/2
James Bond's (Roger Moore) latest mission is to stop a villain (Christopher Walken) from destroying Silicon Valley to give his microchip company un unfair edge. Walken does not make a great villain here, but the story doesn't help as it's less than convincing, even for a Bond film. This has plenty of style, but not much substance.
THE VIGIL (NR) 84 minutes * * 1/2
Yakov (Dave Davis) recently left the Orthodox Jewish faith, but has agreed to provide overnight watch for a deceased member of the faith. It's an important job, but Yakov's doing it more for the money than anything else. Very nice suspense with music and photography working well together to create the mood.
A VIGILANTE (R) 86 minutes * *
If you're looking for a way out of your domestic abuse situation, just give Sadie (Olivia Wilde) a call. Her speciality is putting an end to that cycle, whatever it takes. Dealing with her own problem is something that still remains, and she will have to face that quite soon. A bit difficult to believe because of how some fairly important sequences that could explain how she manages to accomplish whst she does seem to be missing. R for violence and language.
VIGILANTE DIARIES (R) 102 minutes * 1/2
The vigilante (Paul Sloan)and the kid (Paul L. Walker) are on a mission to clean up the streets of Los Angeles. They soon uncover a tangled web, which is going to be difficult to unravel. Lots of car chases and gunplay, but the photography doesn't capture it well. R for violence, language, and sex.
VIKING BLOOD (NR) 86 minutes 1/2
The world is changing, and those who follow the new gods are doing battle with those who follow the old gods. Into this war steps a stranger. He has doubts that either side is worthy of winning this war. Acting and dialogue are very weak, but a couple of the fight scenes aren't too bad.
VIKING LEGACY (NR) 77 minutes *
The Vikings believed that there were seven sacred scrolls, which gave power to those who possessed them. One day, a child of pure royal blood would come to possess them and rule over all the nations. That's an epis sort of story framework, and we just don't get to see that delivered here. Instead, we have a rather low-intensity story with only a few characters and more of a focus on a love story. This clearly leaves itself open for a "part 2", but it doesn't do much to create much interest for us to anticipate it.
A VIKING SAGA: THE DARKEST DAY (R) 82 minutes * *
A small band of Norsemen in search of the book that holds so much power and influence. The monks who guard it are very skilled at eluding them though, for they know just how precious it is. The scenery is stark and the story a simple one. There are moments where it's beautiful and almost poetic, and others where it comes across and a low-budget B-movie. Filmed in South Wakes. R for violence, nudity, and language.
VIKINGS UNEARTHED (NR) 112 minutes * * *
In the 1960s, it was discovered that the Vikings did indeed travel to North America. Was that single location the only place they set foot on the continent? Did they travel to and possibly even settle in other places in North America? Satellite technology guides the excavation of new sites and opens up new possibilities.
THE VILLAGE (PG-13) 101 minutes * *
It's difficult to say too much about this film without spoiling the twist. It's somewhat of a change for director M. Night Shyamalan in that it's more of a drama than anything else. It also has the feel of a Twilight Zone episode with some big name talent (William Hurt, Sigourney Weaver, Adrien Brody) in a story with social and moral overtones that overshadow the performances. It may make you think, if you haven't heard the story before. But if you have heard it before, this isn't a particularly good retelling. PG-13 for violence.
THE VILLAGE BARBERSHOP (R) 95 minutes * * 1/2
It's a small barbershop, and now that Art's (John Ratzenberger) partner has died, it's getting difficult to hold onto the shop. Gloria (Shelly Cole) has some ideas about how to change things so that the shop can make more money, but Art isn't even sure why he hired her... except that she wouldn't take "no" for an answer. Gentle and charmingly quirkly little film with great work by both Ratzenberger and Cole. The story does wander a bit, but the characters keep us interested. R for language and sex.
THE VILLAGE IN THE WOODS (NR) 75 minutes * 1/2
It seemed like a good idea. Rebecca (Beth Park) and Jason (Robert Vernon) take up residence in a remote village masquerading as people they aren't. They'll fix up the pub and sell it, making a tidy profit. But the town and the people there are not what they seem to be, and each day gets more twisted and uncertain. Great atmosphere, but the story doesn't have much depth and the characters are very two-dimensional.
VILLAGE OF THE DAMNED (R) 91 minutes * * 1/2
John Carpenter's remake of the 1960 horror film about emotionless children born after a strange mist covers the town. More violent than the original, and just as spooky, but Christopher Reeve and Kirstie Alley are miscast as the leads.
VILLAGE OF THE VAMPIRE (NR) 159 minutes * 1/2
Timere. A remote village that is only noted on a handful of maps. Many people have gone missing from locations nearby this tiny and mysterious place. Rebecca's (Annamaria Lorusso) sister went missing while investigating the story. Now Rebecca is on the trail. The inhabitants of the village aren't very helpful, but they aren't really used to outsiders. Lots of great style and atmosphere. The pacing and overall length end up working against this though.
THE VILLAINESS (NR) 119 minutes * * 1/2
Trained as an assassin while still a child, Sook-hee (Ok-bin Kim) is captured and her mentor is killed. The government has a job for her to do, Upon completion of that job, she will be free. In the meantime, she is learning more about her past. Lots of firt-person photography, but it's inconsistent, and the other angles of photography actually work much better for telling the story. Intense and violent, but better photography and editing could have given this even more power.
VINCERE (NR) 120 minutes * * *
Ida Dalser (Giovanna Mezzogiorno) has an affair with Mussolini (Filippo Timi) adn has a son. But as Mussolini rises in power, it is his wife he takes with him, and not his lover. Ida ends up in an asylum, while her son is raised by someone else. She never gives up in her quest to have her son recognized as the heir to Mussolini, and he struggles with his identity as well, believing his mother, but unable to find the acceptance and legitimacy he needs. The world doesn't always turn in the way we might expect or hope for. Marvelous performance by Mezzogiorno.
VINYAN (R) 89 minutes * 1/2
A "vinyan" is a spirit that is angry because it is lost. Paul (Rufus Sewell) and Jeanne (Emmanuelle Beart) last their son during a tsunami but she thinks she sees him in a short film about children in Thailand and Burma. Nothing will convince her to stop her search, and yet he is increasingly certain that their son is dead. The story repetitively beats the same note the whole way through and then finishes with a creepy and rather ridiculous ending. R for violence, sex, and language.
VINYL (NR) 78 minutes * * 1/2
When some old bandmates get together, they end up recording a great song that becomes a hit single. The problem is that no one wants it because they're too old to sell. So, they decide to hire a young band to front for them... Fun and energetic story, based on Mike Peters' 2004 musical hoax. And the film's soundtrack is by Peters along with Steve Allan Jones.
VIOLA (NR) 59 minutes * *
Life imitates art as several actresses rehearse their parts in Shakespeare's "Twelfth Night". The performances are good, but the script is incredibly wordy, and the camerawork is overly intimate, which doesn't work with the script, which is more intellectual in its approach. The result is an unbalanced film despite the potential, which is clearly better than the end result.
THE VIOLENT HEART (NR) 99 minutes * *
As a child, Daniel (Jovan Adepo) witnessed the murder of his sister, though he couldn't tell who did it. Fifteen years later, he's trying to start over and get away from a conviction for blinding someone in a fight. The truth is, his anger will never be resolved until he finds out who killed his sister. Several twists near the end, not all of which seem necessary or believable. Adepo does a nice job here, but his character is also written much more deeply than the rest.
VIOLENT NIGHT (R) 106 minutes * * *
Santa's (David Harbour) had a rough start to Christmas. He's a little disenchanted, and perhaps a little drunk. Scrooge (John Leguizamo) on the other hand, is planning to have a great time, organizing the robbery of the Lightstone mansion. Young Trudy Lightstone (Leah Brady) has been a good girl, and she asks for Santa's help. This is not your normal Santa, but the Christmas magic is still there. An unusual, but effective mix of violence and Christmas magic. R for violence and language.
A VIOLENT SEPARATION (NR) 100 minutes * * *
Ray (Ben Robson) seems to have a permanent run of bad luck. His brother Norman (Brenton Thwaites) on the other hand, has a career in law enforcement and always seems to do well. A tragic accident will draw the two of them together... and drag them both down. Well-paced, suspenseful drama.
VIOLET & DAISY (R) 83 minutes * 1/2
Violet (Alexis Bledel) and Daisy (Saoirse Ronin) have taken on another assignment. But this assassination proves to be more difficult than expected. Somewhat of a quirky little film, with a sense of humor and a morality play plot. It tends to misfire on most levels, despite quality performances by Bledel, Ronin, and James Gandolfini. R for violence and language.
VIOLETA WENT TO HEAVEN (NR) 105 minutes * * *
Biographical drama about Chilean singer and artist, Violeta Parra. Francisca Gavilan delivers a stunning performance that will have you convinced that you're watching a documentary rather than a drama.
VIOLETS ARE BLUE (PG-13) 83 minutes * * 1/2
High school sweethearts Gussie (Sissy Spacek) and Henry (Kevin Kline) end up heading their separate ways after school, but years later reconnect and re-ignite their old passion. Despite quality performances from Spacek and Kline, the story just doesn't have much passion and the characters ring a little hollow.
VIPER (R) 90 minutes * *
Linda Purl stars in a film about a woman determined to get revenge against those who played a part in the death of her husband. The story itself is interesting, based on actual events in the Indianapolis and Marion, Indiana areas, but after a promising start, things slow down quickly. Repetitive music and a disappointing ending manage to keep this from rising above mediocrity. Partially filmed in Indianapolis.
VIRAL (R) 82 minutes * *
An outbreak of a strange virus decimates the human population. Emma's (Sofia Black-D'Ella) parents are trapped in quarrantined areas and she has to look out for herself and her sister... who is infected. The story manages to create a little more of an authentic feeling than many in this genre, though it does find itself in pretty much the same place by the end. R for violence, language, and sex.
THE VIRGINITY HIT (R) 84 minutes BOMB
Four friends agree to take hits off a bong as they each lose their virginity. The second one occurs three months after the first, and the third is seven months after that. Then there's Matt. His girlfriend seems to have started without him... and that's only the beginning of his trouble. Boring "teen" sex film that we've seena bunch of times before, without the bong... which didn't really add anything. R for sex and language.
VIRTUOSITY (R) 100 minutes * *
Slick production about the near future and a computer program that wants to be alive so it can kill. The special effects are good and S.I.D. is appropriately evil. However, the rest of the characters are so thin that the tension throughout can't quite get a good grip on us. R for violence, language, and nudity.
THE VIRTUOSO (R) 105 minutes * * 1/2
He has another assignment, but the virtuoso (Anson Mount) is still struggling with the outcome of his previous one. The Mentor (Anthony Hopkins) has little sympathy for him. A job needs to be done and waiting to accomplish it serves no purpose. Heavily narrated, especially early on. There are some nice twists, though most aren't very surprising if you're familiar with the genre. Some won't like the ending, but it is very fitting. R for violence, sex, and language.
VIRUS (R) 88 minutes 1/2
What an incredible waste of a fine cast! Jamie Lee Curtis, Donald Sutherland, Joanna Pacula, William Baldwin... A ship at sea is taken over by an alien electronic lifeform that kills people and uses them for spare parts in an effort to adapt to our environment. There are so many plot holes in this film that it's sunk before it begins! R for violence and language.
VIRUS SHARK (NR) 73 minutes BOMB
According to the long, and very boring opening narration, the world is being destroyed by a virus. There are scientists in an underwater laboratory who are racing to find a cure. They might want to take some acting lessons while they're at it. Not that the script or direction help this hopeless mess.
THE VIRUS THAT SHOOK THE WORLD (NR) 163 minutes * * *
This is the story, the history, of COVID-19. From its early discovery. to the rapid spread that left no corner of the world untouched. Interviews and various events from all over the world provide an extensive look at the spread of the virus and the various reacitons from different groups and individuals. The film delivers a chilling closing statement about the assumption that 2021 coudn't be any worse than 2020.
VIRUS X (R) 83 minutes 1/2
Contaminated with a deadly strain of H1N1, a group of scientists find themselves the latest victims of a research project. Not much acting here, though there is some dramatic body movement and a few creepy looks from Jerron (Domiziano Arcangeli). Less than surprising ending. R for violence and language.
VISIONS (R) 76 minutes * *
Eveleigh (Isla FIsher) and David (Anson Mount) are taking a risk by getting into the business of running a vineyard. But that pales in comparison to the terrifying visions she is having. Getting to the root of them is going to take some work, and may reveal more than anyone thought possible. Strong performances help this one-twist story. R for violence.
VISIONS OF EIGHT (G) 116 minutes * * 1/2
Not a chronological record or a summary of winners or losers, but instead, this is a collection of eight singular visions of the Olympics and what it means. Eight film directors take a look at the ultimate sporting event and share with us what they see. These are the 1972 Olympics in Munich, and this film was originally released in 1973, focusing on the sporting events, though the hostage situation is included here. The transitions between segments are rather rough, but some of the footage is remarkable and quite inspiring.
THE VISIT (PG-13) 89 minutes *
Becca (Olivia DeJonge) and Tyler (Ed Oxenbould) are spending a week with their grandparents while their parents are sorting things out. That sounds fine. Except that... there's something wrong with their grandparents. The humor in the first part of the film, along with the "found footage" style, just doesn't work very well here. The satirical tone just never hits the mark it keeps looking for. PG-13 for violence, nudity, and language.
THE VISITATION (PG-13) 100 minutes * 1/2
When miracles start happening in a small town, there are those who think the messiah has returned. There are others who think that it might be something else. Travis (Martin Donovan) is determined to get to the bottom of things and find out just who this Brandon Nichols (Edward Furlong) really is and what he's planning to do. Adapted from the Frank Peretti novel. Fans of Peretti's "end times" novels may find this entertaining, but it's poorly written and the performances are half-hearted at best. PG-13 for violence and language.
VISITING HOURS (R) 103 minutes * *
Colt Hawker (Michael Ironside) has some issues around women. It stems from an incident in his childhood. It also means that when TV journalist Deborah Ballin (Lee Grant) starts speaking up on behalf of a woman who was abused and fought back, he just can’t take it. His plan to kill her doesn’t quite work out, and now she’s in the hospital. That’s not going to stop Colt from completing his mission. The story isn’t very convincing, but the cast is impressive, and also includes Linda Purl and William Shatner. R for violence, sex, and language.
THE VISITOR (PG-13) 99 minutes * * * 1/2
What would you do if you went to your apartment and found that other people were living there? This is the question that Walter (Richard Jenkins) finds himself asking. It becomes even more complicated as he learns more about Tarek (Haaz Sleiman) and Zainab (Danai Jekesai Gurira), and begins to discover the world he has isolated himself from. Jenkins delivers an Oscar-worthy performance, and the entire cast does a fine job with this sensitive, powerful, and beautifully told story from writer/director Tom McCarthy. PG-13 for language.
VISITORS (NR) 80 minutes * * *
Director Godfrey Reggio delivers a cinematic experience that looks at humanity's relationship to technology and how it reaches past where we often look. A more meditative and introspective piece than his previous films, (Koyaanisqatsi, Powaqqatsi, Naqoyqatsi) this is still just as intriguing and thought-provoking.
VITAL SIGNS (R) 99 minutes * * 1/2
Fairly solid hospital drama that follows third-year interns on their rounds. It's a nice cast that includes Diane Lane, William Devane, Jimmy Smits, and Laura San Giacomo. The ending isn't very strong, but for those who enjoy this sub-genre of drama, it's one you'll more than likely enjoy. R for sex and bloody hospital room scenes.
VITUS (PG) 120 minutes * * *
Vitus (Teo Gheorghiu and Fabrizio Borsani) is a child prodigy. His piano playing talent is phenomenal. His parents have dreams for him. But Vitus has dreams of his own, and has to figure out how to make it all work out. The cast all do fine work here, especially from the younger members of the cast. The story does get a little overly involved in some of the subplots at times, which causes the pace to drag a little. PG for language.
VIVA CUBA (NR) 74 minutes * * * 1/2
A magical and tragic tale of two children, Jorgito (Jorge Milo) and Malu (Malu Tarrau Broche) who care deeply for each other despite their initial distate for, and tendency to irritage each other. They begin a journey to the opposite end of Cuba to reach her father and hope to convince him not to allow Malu's mother to take her off the island, and away from Jorge and the rest of her friends. They will face many challenges along the way, but none so great as those they will face near the end.
VIVARIUM (R) 92 minutes * * *
Looking for a new home, Tom (Jesse Eisenberg) and Gemma (Imogen Poots) are invited to look at a house in a new community that promises perfection. They are skeptical, but decide to take a tour of this "perfect" home. They soon finds themselves trapped in a maze where every home looks the same, and no one else appears to be around except for the child they find. But it's not normal either, aging far more quickly than it should. An unusual film, filled with metaphor and symbolism. R for language and sex.
VIVO (PG) 87 minutes * * *
Vivo (voiced by Lin Manuel-Miranda) and Andres play music together. It's s simple life, but it's about to get much more complicated for Vivo. It will involve and exciting and dangerous journey to deliver a very important message. Vivo will find an unlikely partner in Gabi (voiced by Ynairaly Simo), a rather unpredictable young girl. It's a fun and exciting story that is also poignant. And, it features a great collection of songs by Lin-Manuel Miranda. PG for violence.
VLOG (NR) 66 minutes BOMB
A video blog (ie. Vlog) that begins by talking about how boring other Vlogs are, and then promtly becomes a very boring Vlog. Of course, the superficial and unlikeable main character doesn't help much. It is short at least, but then again, why even spend that much time on this?
VOICE FROM THE STONE (R) 85 minutes * 1/2
Jakob (Edward Dring) stops speaking after his mother dies. A young, but persistent nurse is hired by the boy's father to help care for him. Wonderfu sets and scenery that convey the mood very well, along with a suspenseful soundtrack. The story and acting are a bit less convincing. R for sex.
VOICE OF FREEDOM (NR) 99 minutes * * *
Sometimes we become something more than we set out to be. Marian Anderson was one such person. Though not allowed to sing in Constitution Hall because of her race, she was called on to sing to the American public on the steps of the Lincoln Memorial. This is her story. The story of the music, and of a life lived in pursuit of her art, and wrapped up in the civil rights movement.
THE VOICES (R) 96 minutes * * 1/2
Jerry (Ryan Reynolds) would really like to date Fiona (Gemma Arterton), but self-confidence is difficult. Especially when so many voices are giving him less than helpful advice. Dark and quirky humor, with a very nice role for Reynolds that he handles with both charm and skill. A little more depth for the other characters would have been better. R for violence and language.
THE VOID (NR) 85 minutes *
A deserted road. A man covered in blood. Carter (Aaron Poole) does what any good deputy would. But as he gets to the hospital, hooded figures surround the building. And something is happening to the people inside. Progressively more symbolic and grotesque as it goes along, but the story is poorly written and relies too heavily on images and very little on anything that makes much sense.
VOLCANO (PG-13) 98 minutes * * 1/2
Only slightly better than it's recent twin (Dante's Peak), the only drawing cards here are the special effects and a cast that does manage to work together fairly well. Tommy Lee Jones and Anne Heche are fine and Gaby Hoffman does a good job too, but the special effects and Alan Silvestri's score steal the show.
Of course, the pathetically unbelievable script doesn't help. This will probably be another lost entry in the list of disaster films that are coming out these days. PG-13 for language and violence.
VOLLEY (NR) 96 minutes * * 1/2
Six friends on vacation on New Year's weekend. Nicholas (Martin Piroyansky), who is hosting the event, is sexually attracted to most of the girls on the trip, but who he really falls for surprises him. Likeable characters in a light comedy about friendship and love.
VOLUNTEERS (R) 107 minutes * * * 1/2
To escape his creditors, Lawrence (Tom Hanks) joins up with the Peace Corps on their way to Southeast Asia. That probably wasn't the smartest move he ever made. Hilarious, yet with some serious notes along the way, this not only has great work by Hanks, but by John Candy as well. R for language and sex.
VOLVER (R) 110 minutes * * *
Raimunda (Penelope Cruz) and Paula (Yohana Cobo) lost their parents in a fire years ago. Their aunt still talks about the girls' mother as if she were alive. Is she seeing a ghost? Pedro Almodovar wrote and directed this story about women, family, and second chances. It's a little uneven at times, but overall an entertaining and interesting look at the relationships between these women. R for sex and language.
THE VON TRAPP FAMILY: A LIFE OF MUSIC (NR) 95 minutes * * 1/2
A more personal version of the story, told from the perspective of the oldest daughter, Agathe (Eliza Bennett), and based on her book, "Memories Before and After the Sound of Music". Nicely done, and good to see a more historically accurate version of the story.
VOODOO MACBETH (NR) 102 minutes * * *
In 1935, the Federal Theater Project was created to aid in funding live theater prodyctions. The Negro Theater Unit was led by actress Rose McClendon (Inger Tudor) and producer John Houseman (Daniel Kuhlman). They are preparing to present the first all-Black version of Macbeth. Orson Welles was chosen to direct. Based on fact and an interesting look at a lesser-known piece of theatre history.
VOODOO MOON (NR) 91 minutes *
Cole (Eric Mabius) and Heather (Charisma Carpenter) were the only survivors. For years, they have sought revenge for the death of their parents at the hands of demons. That chance may be coming soon, but the forces of evil are strong. Solid cast, but the production quality is very low.
A VOODOO POSSESSION (NR) 92 minutes * 1/2
When Aiden's (Ryan Caltagirone) brother goes missing in Haiti, he has to go find him. That will mean not only a trip to Haiti, but a journey into the world of voodoo, spirits, and the past. A few creepy mmoments, but the story quickly gets overloaded with complications and explanations, ruining the pacing and the mood.
VOODOO RISING (NR) 81 minutes BOMB
Friends go camping at a remote location... does this sound familiar? This time, it's a strange local family that is going to cause trouble. Horribly amateurish acting and photography make this almost unwatchable.
THE VOW (PG-13) 100 minutes * *
An accident leaves Paige (Rachel McAdams) without her memory, so Leo (Channing Tatum) devotes himself to winning her love all over again. Sappy and over-simplified script with pointless narration. Tatum isn't too bad here, but McAdams seems to struggle with the shallowness of her character. PG-13 for sex and language.
THE VOWS WE KEEP (NR) 83 minutes * *
A skillful event planner, Hazel (Fiona Gabelmann) is planning her sister's wedding. The Inn they are using for the wedding is being sold, and Hazel has just been hired to handle all of the events that are happening there, in addition to the wedding. That's going to mean working closely with Jared (Antonion Cayonne), who is in charge of the upkeep of the property. Not much chemistry between Gabelmann and Cayonne.
VOX LUX (R) 110 minutes * * *
Celeste (Raffey Cassidy/Natalie Portman) is a marvel. A survivor of a school shooting, she not only recovers from that tragedy, but uses music to encourage herself and inspire others. Her career takes off, leaving pretty much everything and everyone else in the dust. It's part of the price she pays. Portman delivers a super-charged, magnetic performance of a character who is relentlessly driven by a dark secret. R for language and violence.
VOYAGERS (PG-13) 100 minutes * * 1/2
The trip will take three generations to complete. That means an extremely disciplined approach and behavioral modification to deal with the conditions of an entire life lived on a spaceship. But things change, and with controls gone, the entire mission is at risk. Despite the difficulties, it's an optimistic story and the outcome is not all that surprising. Sets, costumes, music, and props are all very good, which gives this a very good atmosphere, it just rings a little shallow. PG-13 for violence, sex, and language.
VS. THE DEAD (NR) 85 minutes BOMB
The military develops a drug to reanimate dead soldiers. Of course, they didn't realize that the reanimated soldiers were contagious. One of remaining containers that was to be destroyed manages to find its way to a small, backwoods tattoo parlor. Amateurish acting and an unimaginative, grade Z script. The grainy look to the photography makes no sense either.