W. (PG-13) 120 minutes * * * Director Oliver Stone turns his attention to the life and career of George W. Bush (Josh Brolin). From his party boy days at college to his rather forceful and single-minded approach to pushing his agenda, we see how the people around him slowly moved from giving sensible advice to simply spitting out what they knew he wanted to hear. Fans of George W. probably won't like this much, despite a fine performance from Brolin. PG-13 for language and violence.
THE WACKNESS (R) 95 minutes * * * It's Luke's (Josh Peck) senior year in high school. He's not really sure where he's going next, but he finds a kindred spirit in his therapist (Ben Kingsley). Trading pot for therapy sessions, they soon become friends, and both of them embark on a journey of self-discovery that will be quite memorable. Unusual and slightly offbeat coming-of-age story. Also featuring Famke Janssen, Olivia Thirlby, and Mary-Kate Olsen and rated R for language and sex.
WADJDA (PG) 90 minutes * * 1/ The one thing Wadjda (Waad Mohammed) wants with all her heart is a bicycle. But everyone and everything seems to be out to prevent her from getting one. Growing up can be hard, and by her nature, Wadjda seems to challenge the norms of society. Maybe that's not a bad way to be. great story, though the acting tends to be stiff and many of the scenes feel artificial. PG for language.
WAG THE DOG (R) 93 minutes * * The president is up for re-election, but has just been accused of molesting a young girl. What do you do? You call Conrad "Connie" Brean (Robert DeNiro), the fix-it man for the oval office. A producer is hired, a war is staged, a hero is uncovered, and the public will praise the president for his handling of the situation. But is the tail truly smarter than the dog? It's an interesting idea, and the cast is up to the task, but the script lets them down too often. Anne Heche seems to be lost in a bit part with lots of screen time and it becomes a game that DeNiro and Dustin Hoffman are playing against an unseen public. Interesting at times, but ultimately missing the mark. Filmed in Los Angeles, Washington D.C., and Bakersfield, California. R for language.
THE WAGER (NR) 77 minutes * Michael Steele (Randy Travis) is about to experience one of the most important days of his mega moviestar career. And then everything falls apart. Too bad Travis' performance isn't convincing. We never believe that he is a star, a nice guy, or that he has really reformed and become a sensitive and thoughtful Christian.
WAGONS EAST (PG-13) 101 minutes * Inept film about an inept wagon train leader who has been hired to lead a group of losers as they head back east. John Candy's final film should have been left unfinished rather than becoming this too-long comedy that doesn't offer us much in the way of laughs or creativity. PG-13 for language.
THE WAILING (NR) 150 minutes * * ½ An unusual illness follows quickly behind a stranger’s appearance in a small village in South Korea. But is this stranger a human or a spirit? Office Jong-Goo (Do-Won Kwok) must unravel the mystery soon because his daughter’s health is on the line. Not the most satisfyuing ending, but getting there is an intense ride.
WAIST DEEP (R) 90 minutes * * O2 (Tyrese Gibson) is trying to put his past behind him, but when his car gets jacked with his son asleep in the back, he's thrown headfirst back into the violent world he'd hoped to leave. Along for the ride, unwillingly at first, is Coco (Meagan Good). She ends up helping O2 as he tries to make things right. Gibson and good both do nice work here, but the story is tired and old and gives us an ending that is far too sentimental and unrealistic to fit well with the earlier parts. R for violence and language.
THE WAIT (NR) 81 minutes * * 1/2 As his last act of defiance against the mafia, he steals a large sum of money from them. He wants to give the money to his daughter before he dies, but the completion of that particular mission will fall to a hitman. Writer/director Tiziana Bosco delivers a nicely done, low-key mafia thriller on a modest budget.
WAIT FOR YOUR LAUGH (NR) 83 minutes * * * 1/2 One of the most versatile and talented entertainers, with one of the longest careers in entertainment. Rose Marie was definitely one of a kind. This is a delightful tribute to a legendary entertainer. Ninety years in the business is a record that few are likely to ever match, and it's lucky they were able to interview her and so many of the people she worked with over the years.
WAIT UNTIL DARK (NR) 108 minutes * * * 1/2 Audrey Hepburn stars in this thriller based on a Broadway play. She’s a blind woman, alone in her apartment, being terrorized by a psychotic Alan Arkin and some others who are looking for some heroin they think has been hidden there. This does a remarkable job of conveying the terror one would feel if you were in the same situation, and still manages to be suspenseful despite showing a little bit of its age (1967). Also starring Richard Crenna, Efram Zimbalist Jr., and Jack Weston.
WAITING (R) 88 minutes BOMB Poor attempt to poke fun at the lives of people who wait tables at a Shenanigans restaurant. (And hard to believe that the restaurant chain agreed to allow their name to be used!) Ryan Reynolds seems to walk through this with a look that says he was wondering what mess he got himself into when he agreed to take the role. Boring to say the least. R for language and sex.
THE WAITING (2020) (NR) 82 minutes * * * He's just started his new job. Eric (Nick Leali) is determined to make a good impression. The boss wants the hotel to make more money. When Eric finds out about a ghost (Molly Ratermann in Room 101, he decides that if he can rid the hotel of the ghost, they'll do more business and he'll get in good with his boss. The acting is uneven here, with some very nice work by Leali and Ratermann. The script is sometimes a little stiff, but the story wonderful, with some very nice surprises at the end.
WAITING FOR ANYA (NR) 103 minutes * * 1/2 It's 1942 and Germany now controls France. The deportation of Jews has begun from the northern areas of France. Horcada (Anjelica Huston) and Jo (Noah Schnapp), a young shepherd, help several children escape through southern France into Spain. Huston and Jean Reno lend this some credibility, but the direction isn;t very strong.
WAITING FOR FOREVER (PG-13) 91 minutes * * * 1/2 He's the dreamer and she's the practical one. it's a love story with an interesting balance between a magical look at love, and a more practical approach. Will (Tom Sturridge) isn't even interested in a job as long as he can be with Emma (Rachel Bilson). She's not so sure that's a good idea, though she does fin him charming. The first 15 minutes here are a little awkward and slow, but the rest of the film works well, and the finish is perfection! PG-13 for violence and language.
WAITING FOR SUPERMAN (PG) 103 minutes * * * 1/2 In 2001, director Davis Guggenheim did a documentary about five wonderful teachers working in the public school system. Nine years later, when it's time for his own children to be in school, he isn't so sure that the public school system is the way to go. He discovers that, with figures adjusted for inflation, the US spends more than twice what was spent per child in 1971, but with no better results according to test scores. Something is wrong. What he discovers is that charter schools have found a way to change the system. But it can't be done if you can't get rid of the teachers who aren't doing well. And that means getting rid of tenure in its current form, as well as the unions, who don't recognize any difference between those who can teach and those who can't. PG for language.
WAITING FOR THE BARBARIANS (NR) 109 minutes * * 1/2 The magistrate (Mark Rylance) of a reote outpost is used to a fairly calm and steady way of life. There aren't many problems out on the edges of the empire. Colonel Joll (Johnny Depp) has heard that there may be an uprising, and comes to the outpost to question some of the locals. His methods are brutal, and the magistrate begins to wonder about the empire he serves. All too often, people are unwilling or unable to see the bigger picture, the larger scope of the results of their actions. The "barbarians" may already be here.
THE WAITING GAME (NR) 78 minutes * * 1/2 Slice-of-life film about a group of actors who are working and waiting for their big break. Work, relationships, and all the little things that make up our lives... there's a little bit of acting in all of it. The film wanders between the characters in short vignettes, some of which are quite good, but we're left feeling somewhat disconnected by the whole experience.
WAITING TO EXHALE (R) 118 minutes * * 1/2 Slow-paced story of four women and their struggles to find a good man. Angela Bassett and Whitney Houston try to shine, but this slice-of-life film really starts to wander after an hour. The music helps set the relaxed pace, but once the film hits that hour mark, we're wondering when we'll fall asleep.
WAITRESS (PG-13) 105 minutes * * * 1/2 Jenna (Keri Russell) would love nothing better than to get out of her current marriage. The new doctor in town just might be able to help. Adrienne Shelly has given us a delightful treat here, in a film filled with great characters and a story that manages to be fun while dealing with some serious topics. Russell has never been better, and the dialogue more often than not, simply sparkles with life. This was Shelly's final film as both actress and director, and she also co-wrote the song "Baby Don't You Cry" for the film. PG-13 for language and sex.
WAKE (R) 94 minutes * * 1/2 Carys (Bijou Phillips) has a difficult time relating to people. Then again, she likes to attend funerals and doesn't care if she knew the person or not. She's looking for love, but can she find it when she always seems to start out on the wrong foot? The dialogue is a little weak in spots, especailly for the two leads, and Ian Somerhalder, who plays the romantic interest here is a bit stiff. The supporting cast is quite good, with stellar perforamnces by both Danny Masterson and Marguerite Moreau. R for sex and language.
WAKE WOOD (R) 82 minutes * 1/2 A tragic accident means that a couple have lost their child. There's a way to bring him back, but only for three days... and there's a price to pay for the privilege. Creepy update to "The Monkey's Paw" story, with fairly good atmosphere, but weak acting that really detracts from the effect. R for violence and sex.
WAKEFIELD (R) 104 minutes * * * What begins as accidentally falling to sleep in the attic of his garage, turns into a comfortable way to cope with the issues Howard (Bryan Cranston) is struggling with in his life. He has officially snapped, but how long can he go on hiding? The ending probably won't please most viewers, but perhaps... Gret work by Cranston. R for sex and language.
WAKING LIFE (R) 96 minutes * * * Amazing and creative animated feature from director Richard Linklater. It does get a little bit wordy at times, but it's a very interesting explorating of reality and dreams. You find yourself drawn in to the thought-provoking dialogue and the rather unique style of animation that combines the work of numerous animators. It's fascinating and leaves us wanting to see the next project Linklater works with. R for language.
WAKING SLEEPING BEAUTY (PG) 81 minutes * * * The story of Disney Studios' struggles as they entered the new era of animated films without the magic of Walt. The film does a great job of noting all of the positive events and succeses while explaining the difficulties and conflicts that were going on. In particular, the differing visions and approaches to the work that existed between Michael Eisner, Roy Disney, and Jeffrey Katzenberg are detailed here. Nice work! PG for language.
THE WALK (PG) 116 minutes * * * Based on his book, this is the story of Philippe Petit's (Joseph Gordon-Levitt) high wire walk between the twin towers in New York City. The narration works well to personalize the story as Gordon-Levitt talks directly to the camera, including us in his dream and the challenge it was to achieve it. Nice suspense, and great work by the cast. PG for nudity and language.
A WALK AMONG THE TOMBSTONES (R) 105 minutes * * * Working to uncover who killed a drug dealer's wife, Scudder (Liam Neeson) discovers a deep and tangled web of lies, drugs, and violence. The pace of the film is slow and steady. There's plenty of violence here, but the style works to paint a harsh picture of the reality of these characters. Neeson is good, but the supporting cast does a great job, giving this the depth it needs. Adapted from the book by Lawrence Block. R for violence, language, and nudity.
WALK HARD: THE DEWEY COX STORY (R) 115 minutes * 1/2 John C. Reilly stars as Dewey Cox, a musical legend, whose life is an inspiration to... well, this is a comedy. With a few nods to "Walk the Line", the story actually focuses less on being a parody of a particular film (or films) and more on just being funny. While it manages that quite well at times, particularly with the music, it just goes on for too long. Reilly does a nice job here, but a 90-minute version would be a more appealing production. R for language, sex, and violence.
A WALK IN THE CLOUDS (PG-13) 97 minutes * * 1/2 Thrown together by chance, they fall in love slowly, but steadily. Anthony Quinn is perfect as usual, and along with the supporting cast, lends this film the credibility it needs. Keanu Reeves seems out of place several times though. He's just not strong enough in his acting to carry it off all the way through the film. It does play a little better on the small screen, becoming more of a charming TV movie. The best part is the beautiful soudtrack by Maurice Jarre. PG-13 for language and nudity.
A WALK IN THE WOODS (R) 98 minutes * * 1/2 Although he was raised in the United States, author Bill Bryson (Robert Redford) spent most of his adult life in England. When he returns to the US, he decides that hiking the Appalachian Trail would be a good way to get back in touch with the country and with his roots. The book that Bryson wrote about this experience, and from which the movie is adapted, is both more satirical and more cynical. The choice to make the humor here a little lighter in tone was a good one as far as making the story more appealing. The balance between humor and the more serious and reflective moments is still awkward though. R for language.
WALK OF SHAME (R) 90 minutes * * 1/2 Meghan (Elizabeth Banks) is up for a promotion, but a night out with friends before the news is delivered lands her in downtown Los Angeles without a car, money or ID.... and she needs to get to work. Banks carries this quite well despite the silly and unrealistic aspects to the story. She keeps it light and fresh and the script does a nice job of letting the situation be funny rather than the characters. R for language and sex. R for language and sex.
WALK THE LINE (PG-13) 131 minutes * * * 1/2 Excellent retelling of the life of Johnny Cash, with an extraordinary performance by Joaquin Phoenix and an academy award winning performance by Reese Witherspoon as June Carter. The story is well-rounded, telling us about the struggles and problems and also about the successes. Both Phoenix and Witherspoon perform their own songs here, which lends an added authenticity to the portrayals. This is definitely not just for fans of Cash or country music, but for those who enjoy a good story. A story about people who struggle to succeed despite what sometimes happens in life. Perhaps even because of it. PG-13 for language.
A WALK TO REMEMBER (PG) 98 minutes * * 1/2 Landon (Shane West) is in trouble, and part of his punishment involves being a tutor and being in the school play. This puts him in close and frequent proximity to Jamie (Mandy Moore). Homely and not very popular, Jamie is mysteriously attractive to Landon and he finds himself changing as his love for her opens new doors. West gives an earnest performance and Moore does a fairly nice job as well. The story is familiar territory, but the performances are enough to give this the life it needs. Adapted from Nicholas Sparks' novel. PG for language.
THE WALKER (R) 102 minutes * * Carter Page III (Woody Harrelson) is a "walker" an escort who is used by a number of wealthy and well-connected women. Covering for one of his clients when her lover is murdered, Carter finds himself in the middle of the investigation and begins to solve the mystery himself. The story is interesting, and there are a number of talented actors here... Kristin Scott Thomas, Lauren Bacall and Lily Tomlin to name a few. Harrelson is another matter. His affected manner is over the top and is a curiosity, but never really convincing. R for language, violence, and nudity.
THE WALKING DEAD (R) 85 minutes * * Low budget film about a group of mostly black Marines in Vietnam. Some fine acting helps the heart of the film show through, but the cheapness of the production betrays it every few minutes.
THE WALKING DECEASED (R) 78 minutes BOMB Zombie comedy that has a few references to the hit TV show "The Walking Dead", but little else in the way of entertainment. Successful satire and humor has a sharp and witty script. This has neither, offering us bad jokes and forgetable dialogue, not to mention the bad acting. R for violence, language, and sex.
WALKING OUT (PG-13) 91 minutes * * 1/2 Travelling to Montana to hunt with his dad (Matt Bomer) wasn't David's (Josh Wiggins) idea. They struggle to get close, but the wilderness can be a violent teacher. Based on the short story by David Quammen. The scenery is beautiful, but the story is a little thin in several spots. PG-13 for violence and language.
WALKING TALL (2004) (PG-13) 74 minutes * Although this is based on the screenplay from the 1973 film of the same name, it bears only passing resemblance to the original. Chris Vaughn (The Rock) comes back to town after his tour of duty with the military to find that his home town has changed for the worse. His former friend's casino security guards beat him and leave him for dead after which he recovers and takes the town back by force. It's little more than an excuse to watch The Rock beat up on other people. Filmed in British Columbia, which does provide for some nice background scenery, and rated PG-13 for violence.
WALKING THE DOG (NR) 83 minutes * * Sometimes dogs know best. When these two dogs fall for each other, it brings Kristie (Jennifer Finnegan) and Keith (Sam Page) together. They find themselves on opposite sides of a court case, but somehow it brings out the best in both of them. The story here is a little weak, and there isn't a lot of chemistry between Finnigan and Page.
WALKING WITH DINOSAURS (PG) 80 minutes * 1/2 Promoted as a film where you can feel like you're in prehistoric times, mostly because of the 3D, this is more of a cutesy animated children's story about growing up. There are a few scenes that may be a bit intense for the six and under crowd, but the realistic animation and the cute story just don't mix very well. PG for violence and language.
WALKING WITH THE ENEMY (PG-13) 110 minutes * * * As the tide begins to turn against Germany near the end of World War II, Hungary looks to improve its standing with the Allies by turning against Germany, who it had been supporting. It's a fine line to tread, and the risks are high. Well-told story with solid performances. PG-13 for violence.
WALKOUT (NR) 103 minutes * * * It's 1968 in east Los Angeles, and students stage a peaceful walkout to protest unfair conditions at school. They're tired of being treated like second class citizens. Led by a student activist, Paula Crisostomo (Alexa Vega) and mentored by Mexican-American teach Sal Castro (Michael Pena), its a story of civil rights and the importance of taking action. Closing credits feature footage and interview clips of those who participated in the actual walkout.
THE WALL (NR) 103 minutes * * * Frau (Martina Gedeck) finds herself cut off from the rest of the world, living in the wilderness of Austria. With no explanation, she wakes up to find that a clear wall surrounds the area, and that except for a few animals, she is completely alone. While there are aspects of this that create some tension and struggles for her, for the most part she is content. Haunting and introspective movie that will likely be very appealing to introverts, but which extroverts may find rather frightening.
THE WALL (2017) (R) 86 minutes * * 1/2 Near the end of 2007, rebuilding efforts have begun in Iraq now that the war has officially been declared to be over. But these two soldiers find themselves trapped behind a flimsy wall with a sniper on the other side. A sniper who apparently doesn't know that the war is over. Simple, yet tense story. R for language and violence.
WALL-E (G) 90 minutes * * * Left for years to clean up the mess that humans left behind, Wall-E gets a visit one day from another robot. Eve is checking to see if Earth is able to support human life again. Wall-E doesn't really care about that, he's in love. Once again, Pixar manages to imbue mechanical objects with entertaining personalities with a minimum of dialogue. It's fun for everyone, though the one piece that is lacking here is a more impressive soundtrack.
WALL STREET: MONEY NEVER SLEEPS (PG-13) 127 minutes * * * Gordon (Michael Douglas) has served his time. Seven years have passed and the world financial markets are about to crash. But Gordon still knows the game, perhaps even better than he did before. The story does a nice job of working in details of the actual financial crisis as background for the story of Gordon's comeback and his relationship with his daughter Winnie (Carey Mulligan) and her boyfriend Jake (Shia LaBeouf). PG-13 for language.
WALLACE & GROMIT: THE CURSE OF THE WERE-RABBIT (G) 78 minutes * * 1/2 Gromit steals the show in this feature-length film from the claymation stars. As their pest control company deals with a rabbit problem, Wallace creates another sort of problem with one of his inventions. Puns and jokes for the adults are scattered throughout the film, but it does tend to drag a bit during the middle of the film. W&G fans will love it, others may not quite so much.
WALLED IN (R) 88 minutes * 1/2 Sent to demolish a building, Sam (Mischa Barton) finds that not only are a few residents still around, but so are a few ghosts. With the help of a boy who still lives there, Sam may be able to uncover the horrific secrets, but what will it mean? Barton flounders here, in the middle of a somewhat interesting story that is not very well written and with a cast that just can't really pull it off all that well. The photography and editing help a little, but it's just not enough. R for violence.
WALLIS & EDWARD (NR) 93 minutes * * 1/2 On his way to becoming king, Edward (Stephen Campbell Moore) fell in love with Wallis (Joely Richardson). No one in the royal family approved of her as she was not only American, but twice-divorced. Swept away by the romance, she was still the more pragmatic of the two, but could not stop Edward from renouncing the throne in favor of marrying her. Well-acted historical drama.
WALT & EL GRUPO (PG) 103 minutes * * Walt Disney and a small group of people from the studio were sent to South America as part of the Roosevelt administration's "Good Neighbor Policy". This is the story of that trip, which resulted in a number of colorful and creative ideas that later resulted in feature films, shorts, and other creations. There's a sense of a lack of completeness here, which is presented as a sorrow that even more creativity and cooperation didn't happen. It seems that part of the story is missing, and that blaming so much on the worker's strike at the studio and the resulting unionization might be inaccurate. PG for smoking.
WALT BEFORE MICKEY (PG) 103 minutes * * * An artist since childhood, Walt (Thomas Ian Nicholas) always dreamed of doing something more. The opportunities did enevtually begin to appear, but there was plenty of struggle along the way. Well-rounded biography of Disney and the beginning of what eventually became an animation studio and motion picture industry powerhouse. PG for language.
WALT DISNEY: HE MADE BELIEVE (NR) 222 minutes * * * A comprehensive biography of Walt Disney. Coming from humble beginnings and born with a drive to succeed and to create his perfect vision. It was not all success, but he learned with each mistake and refused to give up. Love the man or hate him, his effect on the entertainment industry and culture in general is undeniable.
WALTZ WITH BASHIR (R) 80 minutes * * * Ari doesn't remember much about the 1982 invasion of Lebanon, despite being a member of the military that participated in the event. As he interviews others who were there, bits and pieces of his past begin to come into focus. It's an interesting and emotional process, and a fascinating film. The animation style is similar in it's look to rotoscoping, due in part to live footage being used as a guide for how to animate many sequences. Nominated for numerous awards, including an Oscar for Best Foreign Language Film. R for violence and sex.
WANDER (R) 89 minutes * * 1/2 Arthur Bretnik (Aaron Eckhart) is a private investigator with a troubled past. Much of his trouble stems from the death of his daughter, which he believes was part of a conspiracy. The latest case he's taken on may be part of that same conspiracy. Also starring Tommy Lee Jones. The writing has some rough edges, as does the direction. This isn't bad, but it could have been much better. R for violence.
WANDER DARKLY (R) 92 minutes * * * Their relationship has hit a rocky area and Adrienne (Sienna Miller) and Matteo (Diego Luna) understand that they need to work through it. A traumatic experience forces the issue. The film uses multiple time streams and self-awareness levels quite well, though it does mean that we need to pay close attention to what is happening. A tender and thoughtful film about life and loss. R for language and sex.
WANDERLUST (R) 92 minutes * * 1/2 Moving into an apartment in New York City sounds like a great idea. But when their financial circumstances change, George (Paul Rudd) and Linda (Jennifer Aniston) find themselves on the road and eventually in a commune. Linda isn't all that unhappy, but George is having a bit of trouble making the adjustment. Rudd and Aniston pay well off each other, though some of the jokes are a little tired. R for sex and language.
THE WANNABE (R) 86 minutes * * Thomas (Vincent Piazza) is obsessed with the mob, and with the Gotti trial in full swing, he has an idea of how he might actually be able to become a part of this culture and befriend the people he so admires. The truth of the matter is that this dream will never be realized, and everyone knows it except for Thomas. Even Rose (Patricia Arquette) understands this, but just can't bear to make him face the truth. Tragic story with a very nice performance by Arquette. R for language, sex, and violence.
WANTED (R) 98 minutes * * 1/2 After the death of the father he never knew, Wesley (James McAvoy) discovers that the fraternity of assassins, an organization that has been around for 1,000 years, expects him to join them and take his father's place. Based on the comic book series, this is full of intense, slick, hard-core action and stunning car chase scenes. A little on the cartoonish side, but a fast ride that's likely to keep you on the edge of your seat. R for violence, language, and sex.
WANTED: DEAD OR ALIVE (R) 102 minutes * 1/2 A former federal agent turned bounty hunter (Rutget Hauer) is forced back into service to capture the elusive Malak (Gene Simmons). Violence begets violence in this gruesome story of a hunter and his prey. The script doesn’t give the cast much to work with, which is unfortunate. R for violence and language.
WAR (2007) (R) 97 minutes * * Jack Crawford (Jason Statham) is trying to find the person who killed his partner. Could it be Rogue (Jet Li)? Lots of nice chase scenes and some good fight scenes as well, but we've come to expect that from Cory Yuen, who choreographed them. It's too bad there's not much depth to the characters here, just a lit of flash. R for violence and language.
A WAR (R) 111 minutes * * 1/2 A company commander in Afghanistan makes a difficult call in a situation while he and his men are in the middle of a firefight. Back home, his wife is dealing with difficult decisions of her own as she raises their three children without her husband. The third part of the film is about the trial, holding him accountable for the choices he made. The three parts aren't connected very well, so the intensity and flow of the film are inconsistent, though the quality of each piece is good. R for language and violence.
THE WAR (PG-13) 119 minutes * * * It's Juliette, Mississippi a few years after the Vietnam war. Young Stu (Elijah Wood) can't seem to get along with many kids his own age. Hating your sister and her friends may be normal enough for a boy, but his hatred for some of the other kids is about to escalate into a war. Can he learn from his father's wisdom before it's too late? Dialogue is a little weak but Wood and Kevin Costner manage to work with it and keep the film going well.
WAR DOGS (R) 108 minutes * * Efraim (Jonah Hill) and David (Miles Teller) can’t believe their good fortune. They’ve been doing some minor level arms dealing and making some decent money. Then they land a huge contract. Now, they find themselves way out of their depth, and playing a game that has just become exponentially more dangerous. War is as much about money and greed as it is about anything else. Based on the actual incident. Hill and Teller and neither one great here, but the story is engaging. R for language and sex.
WAR FOR THE PLANET OF THE APES (PG-13) 133 minutes * * * Third film in the reboot series (following Rise and Dawn), has Caesar dealing with a battle that isn't going well for the apes. His desire to seek peace faces a challenge from the reality that a full-scale war is almost certain. The special effects are mixed, with most of them being very good, but there are some distinctly unimpressive moments as well. PG-13 for violence.
WAR GAMES (PG) 110 minutes * * * ½ David (Matthew Broderick) is a very skilled gamer. When he finds his way into a military computer, he is fascinated. There’s a very challenging war game simulator. The only trouble is that it isn’t actually a simulator, and David has started something that is going to prove to be very difficult to stop. There are a few logic flaws in the story, but the energy level is good, and this is one of Broderick’s better films. Nice supporting work from Ally Sheedy and Dabney Colman too. PG for language.
WAR HORSE (PG-13) 138 minutes * * * 1/2 Even as a young horse, Joey showed spirit and intelligence. History intervened though, and as he was being trained to work for a young man who loved him, war broke out and his services were needed. Adapted from the novel by Michael Morpurgo and the play by Nick Stafford, it does feel a little contrived in a few spots, most likely in an effort to squeeze a little more dramatic emotion out of the story. The ending is beautiful, both in story and in cinematography. PG-13 for violence.
WAR INC. (R) 99 minutes * * * In the near future, wars are run by corporations instead of governments. That way, it's easier to finance, easier to sell to the public, and more people can make a profit from the whole venture. Corporate hitman Brand Hauser (John Cusack) is hired to take out a key member of the opposition. When Hauser gets a look at the way things are going in Turaqistan, he begins to rethink who really might need killing. Satiric and metaphorical look at war, co-written and co-produced by Cusack and co-starring his sister Joan. Hilary Duff has fun playing a spoiled pop music star, and Marisa Tomei is the reporter who is uncovering much more of a story than she thought possible. R for violence, language, and sex.
WAR OF THE BUTTONS (PG) 90 minutes * * * Two Irish boys from neighboring towns are fighting each other and the fight begins to escalate. It begins to include their friends, and might end up including adults. A fun film with very talented children and the flavor of Ireland inescapably running through it. The anti-war message isn't very subtle, but it isn't the focus of the film either. PG for language and nudity.
WAR OF THE BUTTONS (2011) (PG-13) 83 minutes * * 1/2 The rivalry between the children of neighboring villages in France takes a back seat when a young Jewish girl needs to hide from the Nazis. This version of the story focuses on the war and how it affected the lives of the children of these two villages and thus has a more serious tone. PG-13 for language.
THE WAR OF THE ROSES (R) 114 minutes * * * Dark comedy film that takes as its theme the idea that "a civilized divorce is a contradiction in terms." Oliver and Barbara Rose (Michael Douglas and Kathleen Turner) are used as an example of what can happen in a marriage. Douglas and Turner work well together and create a memorable couple. Perhaps that is why many people are confused about whether they are "real" or whether they are only characters that Gavin (Danny DeVito) has created to give his client an example. It really doesn't matter that much. The point is that relationships change over the years, and unless both people are willing to compromise and continue working toward improving the relationship, it won't last. R for language and sex.
WAR OF THE WORLDS (2005) (PG-13) 109 minutes * * * Tom Cruise and Dakota Fanning star in this big budget remake of the classic story by H.G. Wells. Astounding special effects that just never really let up, much like the action in the film. Despite the dated aspects of the story, the modernization works fairly well. How a few certain people manage to survive is more than a bit unrealistic, but not really all that surprising. John Williams' music once again sweeps us along through the adventure. And Dakota Fanning adds yet another strong performance to her list. PG-13 for violence and language.
WAR ON EVERYONE (R) 93 minutes * * 1/2 Terry (Alexander Skarsgard) and Bob (Michael Pena) are extremely corrupt cops. But they may have just met their match. There are some great moments, and a good story, but it just doesn't end up playing as well as some similar films. The script and direction lack some of the sharper edge that is needed. R for violence and language.
WAR PIGS (R) 86 minutes * * A misfit group of soldiers on a mission during WWII. Their task is to capture a huge artillery gun that is set to give the Axis powers a potentially unbeatable advantage. Slow and steady war drama. R for violence and language.
WAR WITCH (NR) 85 minutes * * * Komona (Rachel Mwanza) becomes part of the rebels led by Great Tiger (Mizinga Mwinga). As the only survivor from her village, she was declared a witch, and Great Tiger values her ability to see the enemy before they appear. But she soon learns that suspicion runs high and trust can be short-lived no matter who her friends are. Powerful story with an impressive and realistic performance from Mwanza.
THE WAR WITH GRANDPA (PG) 88 minutes * * 1/2 Peter (Oakes Fegley) didn't mind that his grandpa (Robert De Niro) was moving in... until he found out that it meant he was going to be losing his room. That means war! It escalates quickly, and involves the rest of the family and a few friends. Lots of pranks and prat falls, a very nice cast, and a good message, which the end of the film manages to blunder. PG for language and violence.
WARCRAFT (PG-13) 114 minutes * * 1/2 Based on the videogame, it's a war between the Orcs and the humans, but beneath the surface, there is intrigue and a deeper and more important battle. Very nice mix of live action and animation. Heavy on battle scenes and rather light on plot, but then again, it's based on a videogame. PG-13 for violence.
WARGAMES: THE DEAD CODE (PG-13) 92 minutes * * A young computer gamer is lured into playing a game with Ripley, designed to find potential terrorist threats. Once triggered, Ripley may be difficult to stop. Not all that different from the 1983 film which had a little originality to it at the time. Earnest performances from the young leads (Matt Lanter and Amanda Walsh) help, but this just doesn't have that much strength or appeal. PG-13 for violence and language.
WARHORSE ONE (R) 120 minutes * * 1/2 When his helicopter goes down, Master Chief Richard Mirko (Johnny Strong) falls out before it crashes. He is the only one who survives. They were on their way to evacuate two adults and two children. Only one child is still alive: five-year-old Zoe (Athena Durner). Can Mirko keep her safe? Durner is both talented and adorable in her debut role, but the action sequences are overly repetetive, and the film feels like it runs too long because of it. R for violence and language.
WARHUNT (R) 87 minutes 1/2 World War II. A cargo plane goes down behind enemy lines in the Black Forest. A special squad is sent in to retrieve some of the cargo. But they aren't the only ones looking for it. There's also something strange going on in the forest. Something that isn't easy to explain... or even believe. Far too much of the film is in the dark, not that it would be that much better if we could see more of what is happening. R for violence and language.
WARLOCK (R) 98 minutes * * A warlock (Julian Sands) gets thrown 300 years into the future, moments before his execution. He's in pursuit of three pieces of a book that will let him become the one and only son of Satan. It's an interesting story, and Sands does a nice job, but it's a bit hard to follow at times. The effects are uneven too, with most of the visual ones being done well, but the make-up effects are rather cheap and sloppy. R for violence and language.
WARLOCK: THE ARMAGEDDON (R) 93 minutes * The idea is that every 600-700 years, we run the risk of Armageddon happening. Julian Sands is reborn and tries to assist in it's coming about. There's little here to do with the first film, except for Sands himself, and little to recommend the film for except a few special effects.
THE WARLORDS (R) 123 minutes * * 1/2 Three blood brothers. Their armies would defeat many, but even as they worked together, there were those working to turn them against each other. It's a story of the Qing Dynasty in China, a time of much violence as China was ruled by those from outside. Violent war film that focuses a bit too much on the blood and not quite enough on the acting. R for violence.
WARLORDS OF THE 21ST CENTURY (PG) 88 minutes * Also known as “Battletruck”, due to the focus on the primary piece of equipment in the film, this is a pale imitation of “Mad Max”. The cast do their best, and the music isn’t too bad, but the script, direction, editing, costumes, props… you get the idea. For die-hard fans of post-apocalyptic action films only.
WARM BODIES (PG-13) 92 minutes * * * Boy meets girl, but with a bit of a twist, since he's dead and she's not. It could still work. Nicely written script by director Jonathan Levine from Isaac Marion's novel. It manages to combine a love story with some social commentary, a sense of humor, and zombies. There's some inconsistency with how fast and slow the zombies move, but the story works well enough that we don't mind too much. PG-13 for violence and language.
WARM SPRINGS (NR) 116 minutes * * * In the years before he became president, Franklin Roosevelt not only battled with the effects of poliio, but with an attitude that kept him from being truly in touch with the people he would eventually serve as president. (Or so this version of the story claims.) Strong drama with top-notch performances from Kenneth Branagh and Cynthia Nixon and strong supporting performances from Tim Blake Nelson and Kathy Bates.
WARMING UP TO YOU (NR) 86 minutes * * 1/2 Kate (Cindy Busby) is good at her job. She's a talented fitness trainer/advisor. Her latest job is not going to be an easy one though. Actor Rick Steele (Christopher Russell) is out of shape and not feeling motivated. That's all about to change. Busby isn't terribly convincing here, but her charm works well and helps make this fun to watch.
WARNING (R) 80 minutes * * 1/2 Much of the world has grown dependent on technology. There is little that it can't do, and human relationship has become a casualty. When a storm begins to interfere, it has disastrous results. Most of the characters here are not connected. And while in some ways that supports the premise of the film, it makes it difficult to watch. The ending is both poignant and humorous, and is also the best part of the film. R for language and sex.
WARNING SHOT (R) 82 minutes * ½ Two families have been fighting over water rights for two generations. The older generations have actually made peace about it. Bobby (David Spade) is less forgiving than the rest of his family though. He also hasn’t really had much interaction with Audrey (Tammy Blanchard) until recently. Nice work by Blanchard, but Spade isn’t a good fit, and the two characters he hires to help him with his nefarious plan are a strange mix of evil and inept that would more likely be found in a comedy, which this is not. R for violence, sex, and language.
WARNING SIGN (R) 96 minutes * Creating biological weapons can be dangerous work as these people soon discover. Fortunately, they have plenty of time to figure out how to deal with the problem. Not that this makes things very interesting or exciting for those of us watching. R for violence and language.
THE WARRANT (NR) 82 minutes * 1/2 Two friends, fighting together during the Civil War. It's a different matter after the war though, and now they find themselves on opposing sides of the law. Mediocre acting and a poorly written script don't help this very much, though the story idea isn't a bad one.
<>THE WARRANT: BREAKER'S LAW (NR) 84 minutes * * 1/2 Marshall John Breaker (Neal McDonough) always gets whoever he goes after. Along with deputy Bugle Bearclaw (Gregory Cruz), they not only have to deliver Deadeye (Dermot Mulroney), but save a town. Nicely done western, with a couple of well-delivered twists and a few light touches of humor.
WARRIOR (PG-13) 132 minutes * * * Tommy (Tom Hardy) wants to get back into fighting, so he goes to the best trainer he knows... his father (Nick Nolte). His brotherBrendon (Joel Edgerton) is trying to pay the bills for his family, and fighting is paying more than teaching. No one thought they'd get this far in the tournament, except maybe their father. Nicely paced MMA tournament fight story. PG-13 for violence and language.
WARRIOR PRINCESS (R) 93 minutes * * 1/2 Based on historical events, this recounts the battles that happened in an effort to unite the Mongolian empire. Queen Ahno (Otgonjargal Davaasuron) is the warrior princess who must eventually make a choice between her husband and her father. Lots of battle scenes, but not a great deal of character development. R for violence.
A WARRIOR'S HEART (PG) 91 minutes * 1/2 Considered a great lacrosse player by some, Conor (Kellan Lutz) is brash, cocky, and plays by his own rules. He's not coping well with the recent death of his father, but perhaps going to a tough sports camp will change all of that. The dialogue is over-simplified in a number of scenes, and the pacing is stiff throughout the film. We could also do without the narration that is only telling us what's already obvious. PG for language and violence.
WARRIORS OF VIRTUE (PG) 97 minutes * * Ryan Jeffers (Mario Yedidia) falls into the world of Tao, where the warriors of virtue are trying to protect the last remaining life spring. Ryan has brought with him the legendary manuscript of Tao, but he is the only one who can read it. There are some important messages here, but why the warriors are kangaroos is never explained. The fight scenes are poorly staged, perhaps because it's rather hard to do martial arts with a big tail hanging off your backside. Kids still seem to like it, but I doubt if it will be a favorite of many. PG for violence.
THE WARRIORS WAY (R) 92 mminutes * * * He's the greatest swordsman ever, but instead of killing the last of the clan who have been his enemies for the past five hundred years, he spares the live of an infant and takes her with him to the American west. An unusual, and rather fascinating mix of martial arts and western genres. The story is definitely a bit tongue-in-cheek at times, which adds to the fun. R for violence.
WASABI (R) 89 minutes * * * Jean Reno plays a cop who gets called to Japan to take care of some personal business... a daughter he never knew he had. The problem is, she's coming into an inheritance that some very nasty people would like to get their hands on. Then again, dealing with bad guys hasn't been a problem for Hubert (Reno). Plenty of action and a role that plays well to Reno's strengths make this a fun film to watch. Nice supporting work by both Michel Muller and Ryoko Hirosue as well. R for violence.
WASHINGTON (NR) 250 minutes * * * 1/2 Lengthy docudrama tracing the history of George Washington from his early days in the military. Narrated and with commentary by several politicians, biographers, and historians, which are complimented by very nice dramatic sequences. A powerful and passionate look at the man and his legacy.
WASTE LAND (NR) 96 minutes * * * 1/2 Artist Vik Muniz went home to Brazil, to the world's largest garbage dump. Working with the recycling pickers, together, they create art. Muniz had a modest goal to raise a little money that would go back into the community for the pickers. But what happens is much more than he expected. It's amazing and transformative art, that is a testament to the power and spirit of the people. And the response is much greater than he expected.
WASTELANDER (R) 86 minutes BOMB Wandering around a post-apocalyptic world, Rhyous (Brendan Guy Murphy) is looking for Eden and fighting people along the way. The costumes are ridiculous and make little sense, but then again, neither does the plot. The sound and photography don't help. There's a bit of an explanation near the end that helps clarify some of the story (if you can last that long), but by then we don't really care.
THE WATCH (R) 97 minutes * 1/2 The neighborhood watch formed by Evan (Ben Stiller) discovers a little more than they bargained for when they uncover an alien plot to take over the world. No, really. The script is all over the map, with enough subplots to cover almost every genre there is. There are a couple of good moments from Vince Vaughn and Jonah Hill, but Stiller plays it straight, unfunny, and uninteresting the whole way through. R for sex, language, and violence.
WATCH OVER US (NR) 68 minutes 1/2 Jon (Daniel Link) and his two daughters have moved into the old family farm to help with their financial problems. But there's something evil here, and it's been here a long time. What they weren't aware of before they arrived was the agreement that was made a very long time ago. Weak script, direction, and acting undermine a mildly interesting idea.
THE WATCHER (R) 91 minutes * * Joel Campbell (James Spader) can't get away from his past. Specifically, he can't get away from a serial killer who has followed him to Chicago. Everybody makes mistakes, but waiting for a serial killer to make a mistake can be hard since you know the killing won't stop until you can be there to capitalize on the mistake and bring them to justice. Spader does a nice job and Keanu Reeves is fairly good as the killer until he starts getting philosophical late in the film. Marisa Tomei is sorely wasted in her small role and looks uncomfortable in the few scenes she has. This should look a little better on video, but it's still not the film it could've been. R for language and violence.
WATCHER (2022) (R) 91 minutes * * 1/2 It's difficult to move to a country where you don't know the language. Julia (Maika Monroe) relies on her husband to translate as well as a few kind neighbors and others. But what is she to do about the man who lives in an apartment across the street. A man who seems to be watching her, following her, and who just might be the serial killer who has been active in the area. Familiar storyline, but there is some good tension. R for violence, language, and sex.
THE WATCHER IN THE WOODS (PG) 84 minutes * * * * Years earlier, a young girl disappeared in the woods near this English country house. A new family takes up residence in the house, and their daughters are hearing and seeing what happened so many years before. Wonderfully mysterious and creepy story that works well on all fronts. PG for violence.
WATCHMEN (R) 155 minutes * * * Once a group of costumed heroes, The Watchmen have disbanded. Now, with the world on the brink of nuclear war, one of them is murdered, and another is convinced that more of them are soon to follow. Adapted from the best-selling graphic novel, this epic story of war and peace, sacrifice and love, truth and silence, splashes onto the big screen. If you haven't already read the book, be prepared to pay close attention. The film is packed with story and back-story. It's not difficult to follow, but you are sure to miss something important if you aren't paying attention. Great special effects and an intriguing story that asks us to consider if there is any price too high to pay for peace. R for violence, sex, and language.
WATCHTOWER (NR) 98 minutes * * 1/2 Tragic events can cause us to isolate ourselves from others as we attempt to cope. But sometimes, in the midst of that isolation, a new connection occurs. This is what happens for Nihat (Olgun Simsek) and Seher (Nilay Erdonmez). Still, the tension that exists between them as they try to begin something new while coping with their pasts is never really resolved.
WATER (PG-13) 112 minutes * * * Chuyia (Sarala) has been married to a man who dies soon afterward. It's 1938, and the custom in India is that Chuyia must now go to live at the widow's house, never to marry again. It does not matter that she is not yet in her teens. Customs are beginning to change though, and another of the young widows has fallen in love and is trying to find a way to leave the house. Third in a series by writer/director Deepa Mehta, this film quickly draws us into the experiences of the widows as they struggle to honor their customs and traditions and at the same time with their feelings that something must change. Excellent performances and photography helped this film receive numerous awards and nominations, including an Oscar nomination for Best Foreign Language Film. Filmed in Sri Lanka. PG-13 for language and sex.
THE WATER DIVINER (R) 106 minutes * * After the death of his wife, Connor (Russell Crowe) travels to Gallipoli to find his sons, who were likely killed during one of the battles. One way or the other, he needs to know. The scenes are well done, but not really tied together effectively. Director Crowe, in his first full-length feature, shows his lack of experience, though it does end well. R for violence.
WATER FOR ELEPHANTS (PG-13) 109 minutes * * * As a young man, Jacob's (Robert Pattinson) life was nearly destroyed when his parents died. But he soon found himself working for a Benzini Brothers' Circus. It was an interesting life, made even more so by the brutal management of August (Christoph Waltz) and his lovely wife Marlena (Reese Witherspoon). Pattinson and Witherspoon neither one fit very well here, but it's a great story, adapted from the novel by Sara Gruen, which manages to draw us in and not let go. PG-13 for violence and sex.
THE WATER HORSE: LEGEND OF THE DEEP (PG) 103 minutes * * 1/2 Angus (Alex Etel) finds what turns out to be an egg as he is collecting shells by the shore. It's a special egg, the egg of a water horse. Though he wants to keep the strange and curious animal as a pet, it soon grows far too large to be kept a secret. The bond they share will never die, and the legend of the water horse will continue to grow. Adapted from the book by Dick King-Smith, this is nice family fare with wonderful animation that brings the water horse to life for us all. PG for language and violence.
THE WATER IS WIDE (NR) 96 minutes * * 1/2 Hallmark version of the story by Pat Conroy about his time as a teacher on Yamacraw Island near South Carolina. The job will be both challenging and rewarding, because despite the fact that its 1969, these children have been taught almost nothing aside from obedience and respect. That's not necessarily a bad foundation, but there needs to be more. Nicely done, though a little heavy on the narration.
THE WATER MAN (PG) 86 minutes * * * Legend has it that the figure that rises from the water has magical healing powers. Gunner's (Lonnie Chavis) mom (Rosario Dawson) is very ill, so he decides that he must find the "Water Man" to request help for her. A powerful coming-of-age story. PG for violence and language.
THE WATERBOY (PG-13) 83 minutes * * 1/2 Bobby Boucher (Adam Sandler) is a 31-year-old waterboy for a football team. When he finally decides to stand up for himself, his hidden talents begin to shine. Sandler gives us a fairly typical performance and the film is not without some charm and humor. Kathy Bates and Henry Winkler do their best with what the script gives them, as does Fairuza Balk. All things considered, it's fairly a standard light comedy that could've been better had the script been more substantial. PG-13 for language.
WATERCOLORS (NR) 109 minutes * At an artist's first New York exhibition, he recalls what inspired him to do so many of these paintings. Not a bad idea in itself, but the poor dialogue and overly emotional acting sink this pretty quickly. Greg Louganis has a small part here, though he's a much better swimmer than actor, and Karen Black is here too, which is rarely a good sign.
WATERFRONT NIGHTMARE (NR) 90 minutes BOMB Seven college friends go to a remote waterfront cabin for spring break. It's almost as bad of an idea as this movie is. Awkward dialogue and poor sound quality. This tries very hard to create a creepy atmosphere using music and photography. Each time that almost works, someone starts talking and ruins the few seconds of potential that were there.
WATERWORLD (PG-13) 125 minutes * * 1/2 In a world covered by water, one man emerges as the guiding light, the ever-resourceful and king of incredibly big budget movies, Kevin Costner. Overly long and pretentious, this does still give us a few thrills. (Though the idea of rowing an aircraft carrier is a BIT much!) James Newton Howard gives us another inspirational soundtrack and Tina Majorino lights up the screen as young Enola.
THE WATSONS GO TO BIRMINGHAM (NR) 82 minutes * * 1/2 The Watsons live in Flint, Michigan. When they decide to take a family vacation and head down to Birmingham, Alabama, they know it will be different from what they are used to, but just how much is still a surprise. The Birmingham of the 1960s has a few tough lessons in store for the family, but it will also bring them closer as a family, and strengthen their resolve to work for justice. Nice family drama.
THE WAVE (R) 111 minutes * * * Geiranger is a beautiful community, but also highly at risk. The nearby mountains have had landslides before, and it's due to happen again. The resulting tsunami will likely destroy the community, but can the people get out in time? Nicely done disaster film, with some very good work on the more human elements of the story. It's nice to see some powerful segments with no dialogue. R for language and violence.
WAVELENGTH (PG) 83 minutes * * ½ Young and in love, Bobby (Robert Carradine) and Iris (Cherie Currie) are shocked to learn that the military is holding a group of young aliens prisoner at a secret military facility. They make it their mission to help them escape and make it to their rescue ship. While there are similar stories that have been filmed before (and since), there’s a solid mix of innocence and maturity here that isn’t in the rest. It’s no award winner for effects or acting, but it’s a good film that tends to be overlooked because it doesn’t try to be impressive. Wonderful soundtrack by Tangerine Dream.
WAVES (R) 131 minutes * * * Riding on top of the world, everything was going well for Tyler (Kelvin Harrisn Jr.), until it fell apart. First it was an injury that prevents him from wrestling, then his girlfriend gets pregnant. He turns inward while lashing out at everything around him. When it gets to a certain point, the film begins to explore the rest of the family and how they are coping. How a family copes with crisis determines whether or not they will stay together. Healing is possible, but it takes time and trust. Well-written, with nice work by the cast. R for language, sex, and violence.
THE WAY (PG-13) 118 minutes * * * Tom (Martin Sheen) has been estranged from his son, but when news of his death arrives, it hits hard. Tom decides to make the journey his son had started, a pilgimage along the Way of St. James. What begins as a way to honor his son's memory and perhaps get in touch with who his son had become, soon turns into something much greater. Written and directed by Emilio Estevez, which undoubtedly added another layer of meaning for Sheen and Estevez as they made this film. PG-13 for language.
THE WAY BACK (PG-13) 126 minutes * * * A four thousand mile jounrey across the Himalayas is what lies ahead for these men as they escape a Soviet prison in Siberia. many dangers lie ahead, as do many choices. As with many of his films, director Peter Weir deals with multiple meanings, oftennoted in the title, as this one does. Where does the way back lie? And what is it a way back to? Is there even a way back? It's a powerful film, and another great addition to Weir's list of thought-rpovoking films. There is some controversy around whether or not the story it is based on is true, but Weir is less concerned with that and more interested in exploring the idea of the journey and the power it would hold for people who fonud themselves in this position. PG-13 for violence and language.
THE WAY BACK (2020) (R) 103 minutes * * 1/2 Walking away from what might have been a stellar future in basketball, Jack Cunningham (Ben Affleck) finds himself with another opportunity in the sport. Life has dealt him a few rough cards of late, so it's going to take some effort on his part to make this opportunity really work. There's not much complexity to Affleck's character, which is fine, but we need a little more from the supporting cast to give this a little more depth. The ending isn't very strong either, though it has some opportunities to be. R for language.
THE WAY HOME (PG) 85 minutes * * When the Simpkins' son goes missing, the entire community shows up to search for him. Based on the true story of the film's executive producer, it's a story of community, faith, and love. The script is stiff in several spots, and emotions are heightened to make particular points about faith, miracles, and prayer. Dean Cain's boyish charm wins a few points, but not that many. PG for language.
THE WAY OF THE GUN (R) 112 minutes * * 1/2 They're living on the edge, day to day, taking the opportunities that life offers. Kidnapping a woman who's being paid to have a baby sounds like a good idea when they happen to hear about it. They have no idea what they're getting into, but they continue just the same, for they know no other way to live. It's an interesting film that holds our attention, but it only manages to hint at a deeper and more powerful story that lies beneath. Benicio Del Toro and Ryan Phillipe make an interesting pair, but it's James Caan in a quite, yet powerful role who is the one we remember when it's all said and done. R for language and violence.
THE WAY OF THE WEST (R) 77 minutes 1/2 A solitary Canadian Mountie sets out to bring law and order to a remote town after finding a man dead. It's going to be a difficult task as the corruption here runs deep. The script and direction are both in need of at least as much help as our law-abiding friend here. There is some beautiful scenery, but that's about all this has going for it. R for violence.
WAY OF THE WICKED (NR) 89 minutes * The new kid in town actually isn't new. He was here before, and linked to some strange events, including the death of a classmate. It's starting again. Christian Slater and Vinnie Jones are very badly mis-cast here, though Jones does a little better with his role. Aside from the creepy whispering voices, this doesn't really have much to offer.
THE WAY OF WAR (R) 87 minutes * * 1/2 On a mission and simply following orders, it is only near the completion of the mission that Wolfe (Cuba Gooding Jr.) realizes that his superiors had a different goal in mind than he anticipated. Now he has a mission of his own. Gooding does nice work here, but the story has little depth and the action seems too rehearsed. R for violence and language.
THE WAY WAY BACK (PG-13) 95 minutes * * * Summer at the beach house is going to present some challenges for Duncan (Liam James). His mom's boyfriend is a jerk, he doesn't really like the beach, and he has trouble talking to girls. It's time for some of that to change. Great supporting work by Sam Rockwell and Maya Rudolph, and nice work by Liam James. The script has a very casual style that works well to create characters that are easy to understand and enjoy. PG-13 for language and sex.
WAYNE'S WORLD (PG-13) 91 minutes * As a short skit on Saturday Night Live, Wayne's World works very well. As a full-length film, it's a different matter. The only real entertainment here is watching for all the cameo appearances by musicians and actors. The story is little more than a poor attempt to try and tie different little skits together. Perhaps it would have worked better to just do the skits and forget a plot altogether. PG-13 for language.
WAYNE'S WORLD 2 (PG-13) 89 minutes * Wayne has a dream... a dream of putting on a concert... too bad it wasn't a dream of how to make a better movie. As with the first film, this is only notable for the large number of cameo appearances by other actors and for the number of other films it pokes fun at. PG-13 for language.
W./E. (R) 113 minutes * * * The romance between King Edward VIII and Wallis Simpson is one of the most well known of the 20th century. Wally Winthrop (Abbie Cornish) is fascinated by the story and longs for something similar in her own life. Her relationships tend toward physical and psychological abuse and yet as she begins something more romantic, she realizes that not everything was perfect for Edward and Wallis either. The imagined interaction between Wally and Wallis is a fascinating way to modernize the story as well as allowing it to be told from a different perspective. Nice direction by Madonna. R for violence, nudity, and language.
WE ALL FALL DOWN (NR) 78 minutes 1/2 In a world where all of the adults have become zombies (no hidden message there, right?), Todd (Cardiff Gerhardt) must take care of his little brother, who is also mute. Overplayed acting just makes too many of the scenes silly, though they clearly are not meant to be. And then there are the growling noises through much of the film which just dont' make sense, and add nothing to the intensity (or lack thereof).
THE WE AND THE I (NR) 96 minutes * * Slice of life on a city bus, following several teenagers on the last day of school. What's missing here is character depth. We have a difficult time connecting with them because we never really learn much about them. While it is true that this is exactly what can happen on a bus, many of these teens know each other from school and neighborhood, and we don't really see that depth.
WE ARE MARSHALL (PG) 124 minutes * * * How do you rebuild a team when there's no one there? How do you start over when there's so much pain? How can you not? In 1970, a plane crash killed 75 people. Most of the players, coaching staff, and a number of fans of the Marshall University football team were gone in an instant. rebuilding the team would not be an easy task, but would prove to be an important step in the healing process of the community. Sometimes it really isn't about winning, it's about showing up and about trying... about not giving up when the odds are against you. Grief takes time, but if you never start, you'll never get there. Inspirational and well-told tribute story. PG for violence and language.
WE ARE STILL HERE (NR) 77 minutes * * 1/2 Looking for a quiet, reclusive home where they can get past the grief of losing their son, Paul (Andrew Sensenig) and Anne (Barbara Crampton) move into a house with a terrifying history. A history that is still very much present. Good suspense and scares, and the film leaves us wanting more, which is impressive. The acting isn't the best, but the production and the story work quite nicely.
WE ARE THE BEST (NR) 99 minutes * * 1/2 Two young girls decide that they want to start a punk rock band. The fact that they don't know how to play any instruments is not going to dampen their enthusiasm. They soon convince another girl to join them, and begin to practice. An off-beat charm and energy along with great work by the three girls (Mira Barkhammar, Mira Grosin, Liv LeMoyne) make this worth a look.
WE ARE THE NIGHT (NR) 94 minutes * * * Lena (Karoline Herfurth) is just a street kid until Louise (Nina Hoss) takes an interest in her and turns her into a vampire. They are four now, and Lena is learning much from the others, though she's still interested in men and the others have no use for them, having even killed off all of the make vampires. Nora (Anna Fischer) is the fun-loving one, and is also the most fun to watch. For that matter, Charlotte's (Jennifer Ulrich) moodiness works well too. It's Hoss that seems a bit out of place.
WE ARE WHAT WE ARE (2010) (NR) 84 minutes * * 1/2 The old adage about training your children becomes even more important when your family has particular rituals and eating habits. And now that their father is dead, these children will have to provide for the family. Told in a very matter-of-fact manner, which makes the story more realistic and more sinister at the same time.
WE ARE WHAT WE ARE (2013) (R) 100 minutes * * 1/2 The Parker family follows age-old customs that not everyone understands. The story maintains an interesting balance between a fairly standard horror formula and a genteel southern drama. This is especially true in how the children are brought into the daily life of the family and expected to take up the traditions of their parents. Strange ending, though to be fair, most of the film is fairly strange. R for violence, sex, and language.
WE ARE YOUR FRIENDS (R) 90 minutes * 1/2 Cole (Zac Efron) is trying hard to be a DJ. But time is flying by, and what James (Wes Bentley) has to offer seems great, but there are strings attached. Old expectations, new possibilities, but nothing seems to be what he wants. Nice work by Efron, but the script is trite and unimaginative. R for language and sex.
WE BARE BEARS: THE MOVIE (NR) 67 minutes * * 1/2 In their attempts to get attention and make friends, Grizz, Panda, and Ice Bear get in trouble with National Wildlife Control. It's time to head to Canada where they can be safe and relax. Getting there is going to be an adventure. Companion film to the Cartoon Network series.
WE BOUGHT A ZOO (PG) 119 minutes * * * 1/2 Coping with the recent death of his wife leads Benjamin (Matt Damon) to move his family to a house in the country, Well, not just a house... there's a zoo attached. It's a great story about dealing with tragedy and grief with love and a sense of humor, and about how family isn't just those you're related to, but those who you're close to. Maggie Elizabeth Jones steals every scene she's in, which is actually a little bit of a drawback, despite how cute she is. Based on the real story of the Dartmoor Zoological Park. PG for language.
WE DIE YOUNG (R) 88 minutes * * Not every neighborhood in Washington, D.C. is beautiful. Lucas (Elijah Rodriguez) lives in an area run by gangs, and he has adapted to their way of life. He's also determined to keep his little brother out of that life. There may only be once chance to make sure that happens. Daniel (Jean-Claude Van Damme) has his own demons to fight thanksto his time in Afghanistan during the war. Despite those issues, he may be able to help. Not much action from Van Damme here, and his character doesn't speak either. That makes this basically a gang film rather than a martial arts action film. It's not bad, but it's nothing new either. R for violence and language.
WE DON'T BELONG HERE (R) 83 minutes * * 1/2 Nancy (Catherine Keener) is rapidly reaching her breaking point. Two of her four children have serious mental issues, one has addiction problems, and the other one is "perfect", but tired of helping her deal with the others. The entire film has a sort of mysterious, dream-like quality that creates an unusual mood. At the beginning of the film is a quote from Kay Jamison's "An Unquiet Mind" about how we build walls to deal with things that overwhelm us. It sets the tone well, though it's also clear that those walls for these characters have also become a maze. R for language.
WE GO ON (NR) 82 minutes * * A fear of death and dying is not uncommon. Miles (Clark Freeman) has that fear, and offers $30 thousand to the first person who can prove that there is something after death. To be sure, there are many people who come forward with unusual and false "proofs" that Miles has to wade through. But he may also discover just what he's looking for. This definitely has a good bit of creepiness, and nice effects, but the story comes up a little short of what it needs to be convincing.
WE HAVE ALWAYS LIVED IN THE CASTLE (NR) 90 minutes * * * When tragedy strikes their family, Merricat (Taissa Farmiga), Constance (Alexandria Daddario) and their Uncle Julian (Crispin Glover) shuet themselves off from most of the outside world. One day, a cousin shows up. His presence is not a comfort, and his motives are questionable. Some family secrets are better left buried. The atmosphere is unusual and more suited to a fable than a standard story. Farmiga is wonderfully moody, Daddario bright and charming, and Glover is lost in his illustions. They are all dealing with the isolation in their own way, but they also understand one another in ways no one else can. Based on the novel by Shirley Jackson.
WE LOVE YOU, SALLY CARMICHAEL! (PG) 80 minutes * * Simon (Christopher Gorham) has written an incredibly successful young adult novel under a pseudonym. He wants nothing more than to be a serious novelist, but the connection to the young adult book could be an issue. Everything is just about ready to fall apart... but that may be just what needs to happen. Cute, romantic comedy. PG for language.
WE NEED A LITTLE CHRISTMAS (NR) 83 minutes * * 1/2 It's her first Christmas as a single mother. Julie (Erica Durance) is doing what she can, but it's extra tough on her sonGavin (Azriel Dalman). Their next door neighbor Ione (Lynn Whitfield) is by herself as well, and they just might be able to help each other out this holiday season.
WE NEED TO DO SOMETHING (NR) 93 minutes * * 1/2 A family takes shelter in the bathroom of their house during a major storm. They soon find themselves trapped. The next morning, their phones are dead, and as the hours go by, their situation gets worse. The tensions between them increase as well. The horror here is a mix of some good suspense, gross effects, sillyness, and a cheap ending.
WE NEED TO TALK ABOUT KEVIN (R) 107 minutes * * 1/2 Always a bit on the strange side, Kevin (Jasper Newell, Ezra Miller) soon grows to be hateful, spiteful, and manipulative. His mother (Tilda Swinton) bears the brunt of his dark side, which makes her struggle with the idea that it's just her perception. An unusual film that is a bit disorienting at first, and though it does begin to make more sense after awhile, the sense of surrealism remains until the end. Adapted from the novel by Lionel Shriver. R for violence, sex, and language.
WE OWN THE NIGHT (R) 110 minutes * * 1/2 The New York City police and the Russian mafia are at war. Bobby Green (Joaquin Phoenix) finds himself in the middle. His club is a hot spot where plenty of illegal action goes down, but his father and brother are cops... good cops. At the moment, no one at the club is aware of that piece of information, but it won't stay secret for long. Nice performance by Phoenix, but the supporting roles here are mostly two-dimensional. R for violence, language, and nudity.
WE SUMMON THE DARKNESS (R) 85 minutes * 1/2 Satanic killings have been happening all over the midwest. That's not going to stop these three friends from heading off to a heavy metal concert. They meet three boys there, and they eventually go to Alexis' (Alexandra Daddario) house for a party after the show. It's going to be a killer party. It's a good story idea, but ends up going for graphic violence rather than actually developing the story and giving it a little depth. R for violence and language.
WE THE ANIMALS (R) 88 minutes * * ½ While their parents love them, Manny, Joel, and Jonah are left to raise themselves. Jonah (Evan Rosado) is the dreamer. It isn’t really helpful, but it’s the only way he can find relief from his violent father and his brothers, who seem to be on the same path. There’s good material here, but the story drifts and then gets stuck. The ending, while fitting, isn’t what we expect or hope for either. R for sex and language.
WE THE PARTY (R) 101 minutes * * The lives and loves of five high school friends in Los Angeles. Featuring three of director Mario Van Peebles' children. The acting is fine here, but the story is all over the place, with some moments that are quite good and others that are trite at best. It makes it difficult to stay with the film because we keep losing interest in the characters and the story. R for sex and language.
WE WERE SOLDIERS (R) 128 minutes * * * 1/2 Stunning adaptation of the book, "We were Soldiers Once... and Young". The film takes its time introducing us to the characters, so that when we actually get to the war, we're dealing with people we care about. Two very powerful sequences in the film center around the receiving of telegrams, and a photographer after he puts down the gun he had no choice but to use. These are true gems, and show the depth of understanding that both the director and the actors were able to gain while working on this film. The ending is powerful as well, reminding us that while patriotism was involved, the real motivation for many of these soldiers was to protect those next to them... those who had become their family. It's a film that is patriotic and honest, and willing to wade into the mess that war is in an effort to learn from it. R for language and violence.
WE WISH YOU A MARRIED CHRISTMAS (NR) 83 minutes * * 1/2 It's pretty much a last ditch effort for Becca (Marisol Nichols) and Robby (Kristoffer Polaha). Checking in to a quaint hotel in a charming little town not too far away from home. It turns out that their marriage counselor sends many couples to this hotel. And it works. A cute story with several nice supporting performances.
THE WEAPON (R) 82 minutes 1/2 Dallas (Tony Schiena) has a job to do. He won't stop until justice has been served, at least what he determines to be justice. He also had some other jobs. Like writing, directing, and producing this movie... which he doesn't do very well. The stunts and fighting sequences are not done well, and the acting and script are worse. There's a fairly impressive list of bit part actors including Bruce Dern, Cuba Gooding Jr., Richard Grieco, Sean Patrick Flannery, and Jeff Fahey, but it's not enough. The film also ends very abruptly. R for violence and language.
WEAPONS (NR) 80 minutes * 1/2 Violence breeds violence in this suburban tale of youth who react before thinking. Grainy, home movie style photography tries to add a level of realism to the story. In some ways it helps, but all of the close facial shots make it look a bit too amateurish. The characters here are difficult to care about as well, since we barely get to know them. They don't really even seem to know each other that well.
WEATHER GIRL (R) 89 minutes * * Sylvia (Tricia O'Kelley) becomes the sassy weather girl when she rips into the news anchor who she discovers is cheating on her. She's got spirit, but what effect is that going to have on her career and the possibility of future relationships? Smart and snappy dialogue, but the acting and direction are a little off the mark and the film keeps losing steam after short bursts of intensity. R for language.
THE WEATHER MAN (R) 95 minutes * * 1/2 A failed marriage, kids he doesn't relate to, a father with cancer, and a job that isn't fulfilling or headed anywhere. In spite of how much he'd like for things to change, David (Nicolas Cage) is unwilling to really work for that change, holding on to nearly everything that he needs to let go of for change to happen. It's an interesting, introspective piece, but not particularly pleasant to watch. Nice understated supporting performance by Michael Caine. R for language.
WEATHERING WITH YOU (PG-13) 106 minutes * * * 1/2 Hodaka runs away from home to Tokyo. It seemed like a good idea, but he quickly learns how difficult it really is. Then he meets Hina. She's a Sunshine Girl. Things will never be the same for Hodaka again. A magical and legendary story of friendship and love. PG-13 for violence and language.
WEDDING AT GRACELAND (NR) 83 minutes * * Clay (Wes Brown) and Laurel (Kellie Pickler) are getting married. To have the location they want, they will only have three weeks to get everything ready. They could probably make that happen except for one thing... their parents want to be involved in planning the event. They mix like oil and water, and the odds of it all getting done in three weeks are beyond small.
THE WEDDING BANQUET (NR) 103 minutes * 1/2 Gay man tries to fool parents by staging a marriage, but things get out of hand. The ending has a good deal of truth to it, but too much of this is played as a farce that is just never all that funny.
WEDDING BELLS (NR) 83 minutes * * Molly (Danica McKellar) is maid-of-honor and wedding planner for her friend. Nick (Kavan Smith) is best man and chef for the same wedding. They both have committment issues, but it looks like the wedding in question just might be theirs instead of their friends'. Overly sentimental, but it manages to have just enough charm.
THE WEDDING CONTRACT (NR) 83 minutes * * 1/2 Their meeting is romantic, and their romance is a whirlwind. Rebecca (Becca Tobin) and Adam (Jake Epstein) are in love. Their mothers (Colleen Wheeler and Laura Soltis) are another matter. Especially when Adam gets a promotion that involves moving to the other side of the country. Great supporting cast!
THE WEDDING COTTAGE (NR) 83 minutes * * 1/2 Once, it was a beautiful, perhaps even magical wedding cottage. Now, it is rundown, and owned by Evan (Brendan Penny), who has no interest in fixing it up. Vanessa (Erin Krakow) is hoping to host a wedding there ,and she's not willing to take "no" for an answer. Even might just end up asking her a question that she also wont want to say "no" to either.
WEDDING CRASHERS (R) 113 minutes * * They've crashed so many weddings that they've lost count, but the wedding of Secretary Cleary's daughter is going to be a bit different from what they've come to expect. Vince Vaughan and Owen Wilson work well together here and there are definitely some very funny bits. There are also some really crude bits that aren't particularly funny. The biggest problem is that the whole (thin) story just drags on for too long. The banter between Vaughn and Wilson moves so quickly that it's contradictory for the film not to do the same. R for language and sex.
THE WEDDING DATE (PG-13) 79 minutes * * Adapted from Elizabeth Young's book, "Asking for Trouble", this is the story of Kat (Debra Messing) who learns about life and love from her male escort date, Nick (Dermot Mulroney) as they attend her sister's wedding where the best man is her ex-fiancee. Messing's off-beat charm has a certain appeal here, as does Mulroney's suave character, but neither are enough to make this very memorable. PG-13 for language and sex.
WEDDING DAZE (R) 82 minutes * * 1/2 It's been a year since Anderson (Jason Biggs) proposed to his girlfriend. That didn't go so well, and he's still not over it. His best friend Ted (Michael Weston) is tired of it and pushes Anderson to move on. So Anderson proposes to the a stranger (Isla Fisher)... and she says "yes". The premise is more than a little ridiculous, but Fisher has plenty of charm here, and the supporting cast (in particlar, Weston, Ebon Moss-Bachrach, and heather Goldenhersh) do a great job of keeping this entertaining. Can love be instantaneous and insane? Of course!
WEDDING DOLL (NR) 78 minutes * * * Hagit (Moran Rosenblatt) is in love. She hopes that it's finally time for her to leave her overprotective mother and begin a life of her own. The fantasy is definitley more beautiful than the reality, and circumstances seem to be moving in the direction of reality. Charming and endearing performance by Rosenblatt in a bittersweet story.
WEDDING EVERY WEEKEND (NR) 83 minutes * * 1/2 Sometimes starting a relationship is difficult. Brooke (Kimberley Sustad) and Nate (Paul Campbell) have had their share of false starts. Bumping into each other at a store leads to more connections and attendance at a few weddings as "wedding buddies". Everyone else can see it, but Brooke and Nate may need a little nudge to realize that theirs could be an ideal partnership that is more than just being "buddies".
WEEKEND GETAWAY (NR) 76 minutes BOMB As the title suggests, it’s a trip for the weekend for three couples who are sharing a cabin. As the weekend progresses, secrets come to light… and things get dicey. Writer/producer/director Jonathan Milton doesn’t offer us much here. A bad soundtrack and sound editing, along with an awkward script and poor acting. At least it’s fairly short.
THE WEDDING GUEST (R) 91 minutes * * 1/2 Jay (Dev Patel) has a job to do. He is to kidnap a young woman before she can be married. The abduction works, but events take a somewhat different turn than is expected. Despite having elements of suspense, this remains rather low-key. It's good, just not what you might expect. R for language, violence, and nudity.
THE WEDDING MARCH (NR) 84 minutes * * Plans are progressing, and Olivia (Josie Bissett) is about to get married again. And then she learns that an old flame has been booked to sing at the wedding. Some of the supporting performances are good, but the chemistry between the leads is missing.
WEDDING MARCH 2: RESORTING TO LOVE (NR) 83 minutes * * Continuing the story from the previous film... after 25 years apart, Mick (Jack Wagner) and Olivia (Josie Bissett) are back together, and running a wedding resort. Teaming up as business partners might not have been a great idea, but there may be abother sort of partnership that would work for them.
WEDDING MARCH 3: HERE COMES THE BRIDE (NR) 82 minutes * * 1/2 Mick (Jack Wagner) and Olivia (Josie Bissett) were planning a nice Valentine's weekend for themselves. It turns into a hectic and wedding-filled weekend instead, but it's all good in the end. It's a very busy story, but if you've seen the previous entries in the series, it works very well.
WEDDING MARCH 4: SOMETHING OLD, SOMETHING NEW (NR) 83 minutes * * 1/2 Mick (Jack Wagner) is ready to pop the question, but first, he and Olivia (Josie Bissett) are going to have to deal with some other complications. The characters in this series have developed nicely and the story works well, provided you've seen the earlier entries.
WEDDING OF A LIFETIME (NR) 83 minutes * * 1/2 Recently separated, Darby (Brooke D'Orsay) and Jake (Jonathan Bennett) end up being entered into a competition to win a free wedding. They decide to roll with it for the publicity they can get from it. And who knows, they just might fall back in love.
WEDDING OF DREAMS (NR) 84 minutes * * This sequel to "Summer of Dreams" has Debbie Taylor (Debbie Gibson) discovering that the life she is building as a music teacher in Ohio is more than just a placeholder. But there's another shot at the big time if she wants it. Gibson's charm carries this, though the story is a little forced.
THE WEDDING PACT (NR) 87 minutes * 1/2 Mitch (Chris Soldevilla) and Elizabeth (Haylie Duff) were great friends and just never got around to dating. They make a pact that if they aren't already married in ten years, they'll marry each other. Flash forward ten years... Light, romantic fluff, which isn't a bad thing, but Soldevilla doesn't have much chemistry with Duff, or much acting ability either.
WEDDING PALACE (NR) 91 minutes * * Jason (Brian Tee) and his family believe that he has been cursed. If he doesn't marry by the time he's 30, he'll die. Can he find the right person in time, or is there another way around the curse? Cute at times, but plodding and dull in others.
THE WEDDING PLAN (PG) 106 minutes * * 1/2 Michal (Noa Koler) is about to get married... until her fiance decides to call it quits. Rather than cancel the arrangements, Michal searches and trusts that God will provide a groom by the end of the month. Lightly comic tone through much of the first half, but then it turns more serious and tender. PG for language.
THE WEDDING PLANNER (PG-13) 99 minutes * * Jennifer Lopez and Matthew McConaughey work well together in this mildly entertaining piece of fluff. The bad news is that the story is pure junk. We hear some wonderful dialogue that reminds us how real love isn't always pretty and romantic, but something that grows and changes. But having Lopez end up with McConaughey, instead of the less-than-perfect young man who has loved her for years, is ridiculous. What could have been a sweet story with great appeal to the general public, becomes just another story of two hollywood pretty faces ending up together. PG-13 for language.
WEDDING PLANNER MYSTERY (NR) 84 minutes * * As a wedding planner, Carnegie (Erica Durance) is used to things being hectic. But this time, it isn't just that there are two weddings in two weeks for the same family. She's also being framed for murder. At least that pesky reporter (Andrew Walker) might come in handy after all. A Hallmark mystery/romance with a few bits of humor sprinkled in. It's not very believable, but it's still fun to watch.
THE WEDDING RINGER (R) 96 minutes * * 1/2 Doug's (Josh Gad) getting married. The problem is that he doesn't have a best man... or any groomsmen. Time to hire some help from Best Man Inc., owned by Jimmy Callahan (Kevin Hart). Hart and Gad work well together, but don't get much support from the rest of the cast. R for sex and language.
WEDDING SEASON (NR) 83 minutes * * 1/2 Looking for her big break, Trish (Stephanie Bennett) is given an unusual assignment. She is to write an article about her three best friends who are getting married on three consecutive weekends. It has a little of the "always a bridesmaid, never the bride" feel to it, but there might be something in the works that will change that.
THE WEDDING SINGER (PG-13) 92 minutes * * * Right from the start, you can tell that this is an Adam Sandler we haven't seen before. Charming, sensitive, and caring, he is a wedding singer in a small town who is about to be married. But what about the cute and very sweet Drew Barrymore who works with him and is also about to be married? Barrymore hasn't shown us this innocence in a long time, but she does it with style and the film will have you laughing and getting a little teary-eyed as well with its romantic story. We're also treated to a wonderful soundtrack filled with songs from the 1980s and a couple of Sandler originals as well. Cameo appearances by Steve Buscemi, Jon Lovitz, and Billy Idol round out the picture and make this a sure-fire hit. PG-13 for language.
THE WEDDING VEIL (NR) 83 minutes * * 1/2 Friends for years, Avery (Lacey Chabert), Emma (Autumn Reeser), and Tracy (Alison Sweeney) also all share an afinity for antiques. They stumble across a wedding veil with a legend. Possessing it will lead that person to true love. It's a nice design for a trio of movies and a fun way for Hallmark to bring together some of its fan favorite stars.
THE WEDDING VEIL: EXPECTATIONS (NR) 83 minutes * * 1/2 Their remodelling project is hitting some rough spots, but Avery (Lacey Chabert) and Peter (Kevin McGarry) have bigger news. The story builds very nicely on the previous films in the series, though they don't have to be viewed in order.
THE WEDDING VEIL: INSPIRATION (NR) 83 minutes * * 1/2 Sometimes things in life don't go according to the way we've planned them. Emma's (Autumn Reeser) plan to become department head is not going the way she thought it would, and that's before everything else in her life starts falling apart. Meanwhile, her assistant Lily (Kacey Rohl) might be the latest to be affected by the legend of the wedding veil.
THE WEDDING VEIL: JOURNEY (NR) 84 minutes * * 1/2 Tracy (Alison Sweeney) and Nick (Victor Webster) have been a bit disconnected lately. They decide to go on a delayed honeymoon. They end up on a small island near Rhodes in Greece. The hotel needs some help, so despite agreeing not to work while on their honeymoon, they feel compelled to help. The veil is still here and working its magic, but takes a back seat to the character development, which helps make this a good entry for the series.
THE WEDDING VEIL: LEGACY (NR) 84 minutes * * 1/2 Tracy (Alison Sweeney) has always been the most skeptical about the legend of the wedding veil that she and her friends purchased. True love is not something she puts much stock in. In fact, in this third entry in the series, as soon as she takes possession of the veil, she and her boyfriend break up. But the caterer for the auction house event that Tracy just hired is turning into a possibility.
THE WEDDING VEIL: UNVEILED (NR) 84 minutes * * 1/2 The focus in this second entry in the series is on Emma (Autumn Reeser) as she explores the history of the wedding veil that she and her friends bought. The search takes her to Italy, where she learns who made the veil... and meets Paolo (Paolo Bernardini).
THE WEDDING YEAR (R) 86 minutes * * Mara (Sarah Hyland) prefers to use her dates as a way to provide food to eat. She really like Jake (Tyler James Williams), but now it seems like everyone they know is getting married. They want to support their friends, but it's just too much. So, they narrow it down to seven. Seven weddings to attend in twelve months. Stronger supporting roles could have helped this a lot, but they just aren't well-written. R for language and sex.
WEE DRAGONS (NR) 69 minutes * With their kingdom in danger of being overthrown, Boil and Big Gurt need to find some allies to free their king, protect the princess, and save the kingdom. It's a cute story, but the animation is horrible.
LE WEEK-END (R) 89 minutes * * 1/2 To celebrate thirty years of marriage, Nick (Jim Broadbent) and Meg (Lindsay Duncan) return to Paris, where they spent their honeymoon. A lot has changed, both in Paris, and in their relationship, which prompts their time together to include a look at what it all means and how they want to go on from here. A little tedious, but not without charm. R for language and sex.
A WEEK IN PARADISE (PG-13) 95 minutes * * Maggie (Malin Akerman) thinks everything is fine. Then she finds out that her film director husband is having a baby with his new star. She heads to a resort to take some time off and get a better perspective. And maybe there will be a new relationship for her as well. Good performances, but a predictable story without much energy. PG-13 for language.
WEEKEND (NR) 94 minutes * * The wild house party with his friends leaves Russell (Tom Cullen) less than satisfied, so he heads off to a gay bar where he meets Glen (Chris New). They spend the rest of the weekend together, at parties and just with each other, they soak up life. The script seems almost non-exitant at times, and rather drug-fueled at others. It does end well, but gets a bit tedious along the way.
THE WEEKEND (2018) (R) 82 minutes * Zadie (Sasheer Zamata) is spending the weekend with her old boyfriend (Tone Bell) and his new girlfriend (Margo Johnson). It's a rather unusual set-up that doesn't feel very natural. The script is wordy and awkward, and despite the obvious talents of the cast, there's just not much energy. It feels like a bad adaotation of a stage play. R for language.
WEEKEND AT BERNIE'S (PG-13) 94 minutes * * 1/2 Andrew McCarthy and Jonathan Silverman star in this farce about two young guys trying to make their way up the corporate ladder. Invited to their boss' beach house, they find him dead, but decide to pretend he's still alive. Thanks to McCarthy and Silverman, this works much better than you'd think, though it's still no gem.
WEEKEND AT BERNIE'S II (PG) 84 minutes 1/2 Terry Kiser does manage to play dead fairly well, but the idea was pretty well tapped by the end of the first film. A sequel was not what we needed to see. Some of you will see this anyway, but don't say you weren't warned!
WEEKEND PASS (R) 85 minutes * * Having just completed basic training, this group of sailors is out on the town for the weekend. They’re going to try and forget everything they just learned. Nothing new here, but the characters are likeable enough and the pacing and editing give this just a little edge over many similar films. R for sex.
THE WEIGHT OF WATER (R) 110 minutes * * 1/2 Researching a double murder from 1873, Jean (Catherine McCormack) is working to learn whether the man convicted of the crime was truly guilty. As she begins to unravel the mystery, she notices that her own life seems to run parallel to the story. The film moves back and forth between the two narratives. It's very moody and etheral, creating a very effective atmosphere, but the story gets a little lost. Adapted from the book by Anita Shreve. R for violence, sex, and language.
WEIRD SCIENCE (PG-13) 88 minutes * * 1/2 Two nerds in search of the perfect woman... who they just happen to be able to create. The problem is that she's a little more exciting and challenging than they were expecting. Silly, but fun coming-of-age film with great work by Anthony Michael Hall and Ilan Mitchell-Smith, though the person people remember from this film always seems to be Kelly LeBrock. PG-13 for sex and language.
WEIRD: THE AL YANKOVIC STORY (NR) 100 minutes * It's the story of the parody musician, Al Yankovic (Daniel Radcliffe). Starting with his unsupportive parents, to the music executives who ridiculed him. Keep in mind that the film itself is a parody of Yankovic's career and the popularity of musicians. It starts well, but takes a strange turn when he supposedly writes the song "Eat It" before Michael Jackson records "Beat It". That's when the tone of the film shifts. Again, it's a parody. It just doesn't work very well because ir feels more like a lie than humor. The cast does quite well here, including some parodies, but the story in general just goes off the rails and is disappointing rather than fun. Also, just to be clear, Yankovic's parents were very supportive, and he never dated Madonna. Yankovic also dubbed all of the songs in the film.
WEIRDSVILLE (R) 86 minutes * * 1/2 Dexter (Scott Speedman) and Royce (Wes Bentley) are doing just fine. In fact, Dexter is trying to quit his drug habit when Royce calls to let him know that a friend has died from an overdose. Since they are already in trouble with a drug dealer they owe money to, they decide not to involve the police, but to bury their friend at an abandoned drive-in movie theater. Things get a little tricky when they are interrupted by a satanic cult... and when it turns out their friend isn't dead after all. Fun Canadian humor, though the story is constantly interspersed with weird bits that may or may not have any relevance. That's supposed to be part of the fun, but sometimes it's just distracting. R for language and violence.
WELCOME (NR) 103 minutes * * * A swimming instructor (Vincent Lindon) meets a young man (Firat Ayverdi) who is determined to be reunited with his girlfriend who is in England. But Bilal (AyVerdi) is a Kurdish refugee without the proper paperwork and Simon (Lindon) has problems at home that he's trying to work through. But he sees something of himself in Bilal, and he tries to help. Sensitive and subtle performances in a story that is both touching and tragic.
WELCOME HOME (R) 89 minutes * * 1/2 MIA for 17 years, Jake (Kris Kristofferson) is now back in the US, reunited with his family. But he has a family in Thailand now too. Kristofferson does fairly well here and with the support of JoBeth Williams, Sam Waterston, and Brian Keith, it rises above it's mediocre script at least a little bit. It isn't a particularly memorable film, but the actors keep us interested enough to feel that it was worth watching.
WELCOME HOME (2018) (R) 91 minutes * 1/2 It's exactly what Bryan (Aaron Paul) and Cassie (Emily Ratajkowski) need. Time together and away from everyone else to heal their relationship, and in a beautiful and secluded home in the Italian countryside. Just remember that the next time you decide to rent a place like this, to check for hidden passages in the basement and hidden cameras in the rooms. Mildly suspenseful at times, but not really enough to make it very interesting. R for sex, language, and violence.
WELCOME HOME, ROSCOE JENKINS (PG-13) 107 minutes * * Roscoe (Martin Lawrence) leaves Los Angeles to go and visit his family in the south. It's a great cast, with James Earl Jones, Margaret Avery, Cedric the Entertainer, Michael Clarke Duncan, Mike Epps, and Mo'Nique among others. The story is the same one we've heard so many times, about the importance of family, and how unpredictable but entertaining they can be. PG-13 for language.
WELCOME HOME ROXY CARMICHAEL (PG-13) 92 minutes * * 1/2 Dinky Bossetti (Winona Ryder) is a rather strange teenager. At least, that would be the conclusion most people would reach. But if you look past the surface, past the social misfit, past the girl who doesn't like to comb her hair and loves the color black... you might find something else. There might be a young girl struggling to become a young woman, trying to find out what is important in life, what friends are, and what love is like. The film never comes together all the way though, leaving us with images and ideas that don't fit well, and with too much time talking about Roxy and whether she might really be Dinky's mother. Despite these problems, Ryder's scenes sparkle with energy. And the film works to an extent, because she has the talent to make you believe in her character.
WELCOME TO CHRISTMAS (NR) 84 minutes * * 1/2 She's already found the town she wants as a location for the new resort. But Madison (Jennifer Finnigan) was just assigned to visit the town of Christmas to give it a chance of being the town that gets the new resort. The entire town, including Sheriff Gage (Eric Mabius) is doing everything possible to convince her.
WELCOME TO HAPPINESS (PG-13) 108 minutes * * * Woody (Kyle Gallner) finds himself the caretaker of a rather unique item. It’s a magical door, through which people can go to erase mistakes they have made in the past. After awhile, he begins to wonder why he isn’t allowed to go through the door himself… and what might happen if he did. This has a quirky and magical sort of charm, though more than one viewing may be in order to get a more complete appreciation of the story. PG-13 for sex.
WELCOME TO HAPPY VALLEY (NR) 107 minutes 1/2 Nicole (Brooke Coleman) hasn't been around for awhile. Coming home for her father's funeral, she has no desire to reconnect with anyone. But it turns out that she has to spend thirty days on the farm with her sister to get her inheritance. Bad acting and a poorly written script just seem to highlight all of the cliches in the story.
WELCOME TO LEITH (NR) 82 minutes * * 1/2 At first, nobody thinks anything about the elderly man who moves into a remote community in North Dakota. And then it becomes known who he is. Craig Cobb. A notorious white supremacist, who is planning to gather more of those who think like himself to take over the town and make it both a refuge and a headquarters. Considering the topic, the presentation is quite balanced. There is clearly a sense in which Cobb and his friends do have rights and freedoms. The problem is that they operate from a basis that is filled with hate and a denial that others have those same rights.
WELCOME TO MAMA'S (NR) 83 minutes * * When Amy (Melanie Scrofano) inherits an Italian restaurant in Brooklyn, she struggles with how to honor Mama's (Lorraine Bracco) wishes and still make the restaurant profitable. Especially since along with the restaurant comes a chef who is struggling to bring old and new tastes together. The leads lack chemistry and the story moves back and forth from present to past over and over and not very smoothly.
WELCOME TO MARWEN (PG-13) 119 minutes * * * Beaten and left for dead, Mark Hogencamp (Steve Carell) creates a unique and unusual world that helps him cope. He has no memory of his life before the attack. His recovery is a long and slow process, full of very small steps. Progress is happening... until he is asked to face those who attacked him in court. The animation is remarkable, combining with live action in a style that fits the story beautifully. PG-13 for violence and language.
WELCOME TO ME (R) 83 minutes * * * Alice Klieg (Kristen Wiig) wants her own TV show, and since she just won the lottery, she's going to buy it. Rich Ruksin (James Marsden) and his brother Gabe (Wes Bentley) run a station that's about to go under, and 15 million to produce a show sounds pretty good. It's an unusual sort of satire as it pokes fun at what is considered to be normal, through the eyes of someone with bipolar disorder. The tone is sweet and honest, and refreshingly open about personal struggle and pain. Another fine performance by Wiig, and nice supporting work by Bentley, Joan Cusack, and Tim Robbins. R for sex and language.
WELCOME TO MERCY (NR) 99 minutes * 1/2 For no apparent reason, Madeline (Kristen Ruhlin) is manifesting the signs of stigmata. She just wants it to stop. Checking with a local priest brings what appears to be help. At first. Creepy, but frequently confusing as well. It resolves at the end, but it's difficult to wait that long.
WELCOME TO MOOSEPORT (PG-13) 106 minutes * 1/2 All former president Cole (Gene Hackman) wanted to do was retire to his vacation home and relax. Instead, he finds himself running for mayor... against the town plummer (Ray Romano). If you enjoy Romano's bumbling and slightly whining style of humor, you may enjoy this. It's definitely not without a little charm and a few chuckles, but it's not enough to really keep us interested. PG-13 for language and nudity.
WELCOME TO SUDDEN DEATH (R) 75 minutes * A remake of "Sudden Death" with Jean Claude Van Damme, this film features Michael Jai White as Jesse, a security guard at a sports arena. When a group takes over the arena and takes his daughter hostage, Jesse takes them on one by one (or sometimes more than one). There are a few good hand-to-hand fight scenes, but the story is tired and the characters are shallow. R for violence and language.
WELCOME TO THE DOLLHOUSE (R) 87 minutes * * * Heather Matarazzo is a 7th grader who is plenty smart, but more than a little on the plain side. Going through puberty is tough enough, but having "friends" and family who are unsupportive doesn't help. Be warned, memories of your youth may come flooding back to you! A quality piece of work from director Todd Solondz.
WELCOME TO THE JUNGLE (NR) 89 minutes * 1/2 A leadership retreat on an island goes much worse than expected, leaving these co-workers stranded and needing to rely on each other. That's something they are very much not used to doing. It's more than a little silly, but manages to find the right balance at least part of the time.
WELCOME TO THE PUNCH (R) 92 minutes * * * When Jacob Sternwood (Mark Strong) returns to London to help out his son, who is in trouble due to his own criminal activities, it gives Detective Lewinsky (James McAvoy) another chance to take him down. But as they will both soon realize, sometimes the opposite sides of the law aren't very far apart. Well-written drama/intrigue. There are twists and turns here, but they work together to slowly fill in the intricate web of lies and corruption that surround both men. Great supporting cast as well. R for violence and language.
WELCOME TO THE RILEYS (R) 106 minutes * * 1/2 A typical business trip for Doug (James Gandolfini) takes on a new meaning when he meets Mallory (Kristen Stewart). She's a runaway, living on the streets, and Doug feels a need to reach out and help. There's a little difficulty here in translating the sincere motives of the characters to the screen. The script doesn't quite carry it, and the performances only manage to do so later in the film. It does end quite nicely, despite the rough beginning. Reasonably good second feature from director Jake Scott, son of Ridley Scott. R for sex and language.
WELCOME TO THE SHOW (NR) 94 minutes * 1/2 Instead of spending Thanksgiving with their family, these four friends decide to spend it with each other. Especially when they get an invitation to "The Show". They don't know who the actors are or who the audience is, or even exactly what is supposed to happen. The only thing they know is that somehow, they are a part of it. Lots of philosophy and theory, but not much substance. Direction and photography aren't very strong, and the script is uneven, moving awkwardly between philosophical musing and practical events. It does end well though.
WELCOME TO THE SPACE SHOW (NR) 131 minutes * * 1/2 Another boring summer. That's what Amane and Natsuki think. But when they rescue an injured dog in the woods, it all changes. As it turns out, it wasn't a dog at all, but an alien botanist who needs their help. the girls quickly find themselves on a wild adventure in space... a summer they will most definitely never forget. Bright and cheery animation and story, with just a little suspense, which helps carry on a slightly over-long story.
WELCOME TO VALENTINE (NR) 83 minutes * * 1/2 Life has been a little rough for Olivia (Kathryn Davis) lately. George (Markian Tarasiuk) hasn't made it any easier. A road trip just might turn things to a new direction. The town of Valentine, Nebraska sometimes has that effect on people.
THE WENDELL BAKER STORY (PG-13) 92 minutes * * 1/2 Small time con man Baker ends up in jail, losing everything he thought he had, but gaining a bit of wisdom. Taking a job at a retirement home after getting out, he begins to make friends, work on putting his life back together, and fighting corruption in the nursing home. Luke Wilson wrote and co-produced and co-directed (with his brother Andrew) this somewhat quirky little feel-good film. Filmed in Austin, Texas. PG-13 for language.
WENDY AND LUCY (R) 75 minutes * * * Adapted from the story "Train Choir" by John Raymond, this is a bittersweet story of a young woman and her dog. On her way to Alaska to look for work, Wendy's (Michelle Williams) life begins a downhill slide. When her car breaks down, her plans are derailed, and the rest of her life soon follows. Great work by Williams, who pours her heart into this role. Filmed in Portland, Oregon. R for language.
WENDY WU: HOMECOMING WARRIOR (PG) 90 minutes * * All Wendy (Brenda Song) wants is be the homecoming queen. She never asked to be a warrior with a special destiny. Can she do both? Like... sure! Disney TV fluff with a few good bits of martial arts worked in. Most of the performances are overacted in a manner fairly typical of Disney TV fare, which is supposed to make them more child-friendly, but actually insults the intelligence of most kids. Otherwise, no real problem here. Nothing very memorable either. PG for violence.
WE'RE BACK: A DINOSAUR STORY (G) 64 minutes * 1/2 A cute cartoon for the younger crowd about some dinosaurs who get to visit modern day New York. The animation is not the best, but the target audience is young enough they won't notice it alot. The problem is that some of the scary bits in the circus freak show may be a bit much for the kids the film is playing to.
WE'RE NO ANGELS (1989) (PG-13) 103 minutes * 1/2 Boring remake of the old classic, with Robert DeNiro, Sean Penn, and Demi Moore. It's hard to believe that David Mamet wrote this heavy-handed script about two convicts who pretend to be priests to avoid being apprehended. The costumes and sets fare better than the actors, though it does end well if you can tolerate it until then.
WE'RE THE MILLERS (R) 112 minutes * * 1/2 Picking up a huge shipment of marijuana from Mexico and bringing it back across the border to the US is no easy task. David (Jason Sudeikis) decides that maybe it would be easier in an RV with a family... so he hires a wife and two kids. Maybe it would have been easier by himself after all. Great work by Will Poulter as the son. His naive and geeky portrayal adds quite a bit to the story. The humor is well-balanced between verbal and physical, though a fair amount of both is rather crude. R for sex and language.
A WEREWOLF IN ENGLAND (NR) 83 minutes 1/2 Escorting his prisoner (Reece Connolly) to justice, Horace Raycraft (Tim Cartwright) has his coachman (James Swanton) stop at a remote inn for the night because of an approaching storm. But this inn is a feeding ground for a local pack of werewolves. The first few minutes of the film aren't bad, making good use of the low budget and still creating the atmosphere very well. The dialogue and acting try to ride the line between horror and comedy, but don't do all that well. Worst of all are the werewolf costumes, with no articulation and their acting, which apparently involved instructions to stomp around and wave their arms. Charlie Steeds serves as writer, producer, director, editor, and cinematographer.
WEREWOLF: THE BEAST AMONG US (R) 87 minutes * 1/2 Set in a remote village, supposedly in the 19th century, a group of bounty hunters track down a werewolf. There are a few nice effects, but mostly this is a low-budget costume drama with gunsligers and a werewolf. The sets and costumes have more of a medieval look, and it doesn't work well with the western look of the gunslingers. R for violence.
WEREWOLVES OF THE THIRD REICH (NR) 91 minutes BOMB Apparently, during World War II, Dr. Mengele did some experimentation on creating werewolves by combining humans and wolves. This idea is fairly important to the plot, which makes it interesting to note that it doesn't come up until thirty minutes into the film. Awful dialogue, and the story is beyond boring.
WEREWOLVES WITHIN (R) 90 minutes * 1/2 The sleepy little town of Beaverfield is about to have some excitement. There have been some mysterious killings. It would appear that a werewolf is to blame. But which one of them is the creature? Brand new forest ranger Finn (Sam Richardson) has to figure it out. Based on the video game. It's a bit on the campy side, but never really finds the right balance between humor and horror. R for violence and language.
WES CRAVEN'S NEW NIGHTMARE (R) 101 minutes * * An OK entry in the "Nightmare on Elm Street" series, though some might think it a nightmare enough that another sequel was filmed. The story is a bit more creative, especially at the beginning. Plenty of the standard gross special effects that one would expect are present as well, though nothing particularly creative. R for violence and language.
WESLEY (NR) 114 minutes * 1/2 Fairly dry retelling of John Wesley's (Burgess Jenkins) early days as his theology began to develop and he established the Methodist Society. It ends reasonably well, but Jenkins performance is two-dimensional at best.
THE WEST AND THE RUTHLESS (NR) 84 minutes * A former plantation owner, his expectant wife, and their last remaining slave head west to begin a new life. But their guide has another agenda, and their journey os about to become much more treacherous. The story doesn't hold together well, and the performances are mediocre at best. It's just not enough, despite the fact that the idea isn't all that bad.
WEST OF MEMPHIS (R) 143 minutes * * * If you've seen the "Paradise Lost" series of films about the West Memphis killings, this is in many ways a follow-up. It recaps the case and related material, and then moves along with the further developments in the case. R for violence and language.
WEST SIDE STORY (NR) 151 minutes * * * * Winner of ten academy awards, this is one of the best musicals on film you'll ever see. The soundtrack is from Leonard Bernstein and Stephen Sondheim and will stay with you for a long time. Natalie Wood and Richard Beymer star in this Romeo and Juliet story set in 1950's New York. A wonderful adaptation of the Broadway hit!
WEST SIDE STORY (2021) (PG-13) 147 minutes * * * 1/2 Two rival gangs in New York fight for territory amidst a classic story of forbidden love. Adapted from the 1957 musical, and directed by Steven Spielberg, featuring Ansel Elgort as Tony and Rachel Zegler as Maria. The music is still what makes this show work so well. It's also the weakness here as Elgort isn't very strong. His musical performance is adequate, but Zegler's is much stronger and more suited to her character. PG-13 for violence and language.
WETLANDS (NR) 94 minutes * * Hoping for a new start, Babs (Adewale Akinnuoye-Agbaje) takes a transfer to Atlantic City. He quickly gets wrapped up in the corruption, bad deals, and twisted goings on. The story has plenty of loose ends to try and tie up at the end, but the bigger problem is how unlikeable most of the characters are.
THE WHALE (G) 83 minutes * * * The story of Luna, a young orca who loses his family only to make friends with the humans off the coast of British Columbia. The narration by Ryan Reynolds works well to personalize the story as he was from the area where Luna was born. It's a fascinating story of how the bridge between human and animal was crossed, though the ending is all too familiar.
THE WHALE (2013) (NR) 86 minutes * * 1/2 Dramatization of the story that inspired Herman Melville's classic novel, "Moby Dick". This is hurt mostly by the limited TV movie budget it has to work with. The whale scenes just aren't that well done, and are somewhat repititious. The dramatic scenes are fine, but this is, after all, about their confrontation with the whale, both metaphorically and in reality.
THE WHALE (R) 113 minutes * * * * Chronically obese, Charlie (Brendan Fraser) can't leave his apartment. After a recent episode with his heart, it's also becoming clear that he may not have much time left. More than anything, he wants to reconnect with his daughter. That's not going to be an easy situation to remedy. Based on the play by Samuel D. Hunter. Stunning work by Fraser and the rest of the cast in this brilliant adaptation of the play. R for langauge and sex.
WHALEDREAMERS (NR) 85 minutes * * * The title refers to a specific group of Australian aboriginal people for whom whales hold a unique and very special place. The encroachment of civilization and the continued practice of whaling nearly destroyed their way of life. Slowly, and with a great deal of work, the situation has begun to change, but it will take continued efforts to save and protect this ancient and beatiful way of life. More than just a film about Australian aboriginal people or about protecting whales, this is a film about the earth, those who live on it, and how we need to work together. Beatiful and magical.
WHAT A GIRL WANTS (PG) 100 minutes * * 1/2 Daphne (Amanda Bynes) is seventeen years old now and all she's ever wanted was to have a father. It doesn't help matters that her mother frequently sings at weddings where there are father/daughter dances that continually remind her of the situation. So, she sneaks away to find her father... and a family complete with a wicked step-mother-to-be, and evil step-sister-to-be. Light-hearted family entertainment with Bynes giving an earnest performance, Colin Firth in a role that's a little different for him, and a nice part for Kelly Preston, who gets to sing her own songs. PG for language.
WHAT ABOUT BOB? (PG) 96 minutes * * 1/2 Multiphobic personality Bob (Bill Murray) harasses his doctor (Richard Dreyfuss) even while he's on vacation... perhaps because the doctor deserves it. Murray does a great job here, though Dreyfuss is a bit irritating to watch. PG for language.
WHAT DOESN'T KILL YOU (R) 96 minutes * * 1/2 Writer/director Brian Goodman shares much of his own life in this story of two friends from South Boston. Working as thugs for a mobster, they begin to feel that it isn't enough and try to make some money on the side. Their efforts get them a few dollars, and a lot of trouble. Ethan Hawke does a great job here, but Mark Ruffalo's performance is a bit uneven, perhaps due to Goodman's connection with the character. Filmed in Boston. R for language, violence, and sex.
WHAT DREAMS MAY COME (PG-13) 106 minutes * * 1/2 A love story that spans life and death, heaven and hell, and should have been much better than it is. Robin Williams never seems to connect with his character here, giving us several awkward moments. The special effects are quite nice, but the characters just aren't strong enough to carry the story. The vision of the afterlife is also very much oriented toward an image of the family as it was defined in the 1950s. It makes the film nice and nostalgic for the older crowd, but hard for the younger folks to connect with. PG-13 for language.
WHAT GOES UP (R) 113 minutes * * * What is it that makes a person a hero... or makes us want to have one? Campbell (Steve Coogan) is supposed to report on the Challenger space shuttle launch from the hometown of Christa McAuliffe, a teacher who will be on the shuttle. But some of the students here have a different hero in mind, and Campbell is struggling with his own hero, and how much of her story he has fabricated. The tone of the story is a bit light for it's topic, which undercuts some of the power it could have had, but it's still quite good. R for sex and language.
WHAT HAPPENED LAST NIGHT (R) 86 minutes * When two people in college wake up in bed together with no idea of what happened, they retrace their steps from the night before to figure out how they got there. Poorly cast with actors who look far too old to be playing typical college students. R for sex and language.
WHAT HAPPENED, MISS SIMONE? (NR) 98 minutes * * * Bio-documentary about acclaimed musician and civil rights activist Nina Simone. In the wake of the death of so many activists and the demands of her musical career, she left for Liberia. It was a brief attempt to do something fun and something to nourish her soul. But the damage had already been done. Eventually diagnosed as bi-polar, the medication for that condition both helped and hurt. The film gives us an unflinching look at the ups and downs of a legendary performer and activist.
WHAT HAPPENS IN VEGAS (PG-13) 89 minutes * * Jack (Ashton Kutcher) and Joy (Cameron Diaz) stumble into a marriage while partying in Las Vegas. They both realize it was a mistake and are ready to get a quick divorce. But the three million dollar prize that Jack just won with Joy's quarter is going to make it a little more difficult. Kutcher and Diaz do little more than going through the motions here, but the supporting performances of Lake Bell and Rob Corddry keep this alive and even a little entertaining in spots. PG-13 for sex and language.
WHAT HAPPENS LATER (R) 98 minutes * * 1/2 Years ago, Willa (Meg Ryan) and Bill (David Duchovney) were in a serious relationship. It didn't work out. They now find themselves in an airport that is shutting down due to the weather, and with a chance to re-visit and re-examine what they had before and whether it might work if they tried again. Adapted from the play "shooting Star" by Steven Dietz, and directed by Ryan. It's a little heavy on the dialogue and a bit repetitive, but not without a sentimental tone and a bit of humor, thanks to the voice of Hal Liggett as the airport announcer. R for language.
WHAT I DID FOR LOVE (NR) 86 minutes * * Sadie (Dorie Barton) brings her boyfriend (Jeremy London) home for the holidays. He doesn't fit in all that well, and even when he tries to, it doesn't work very well. Mixed in with this story, is that of Aunty Trudy (Sally Struthers), who wants to get back together with her old boyfriend Clint (John Littlefield). Neither story is that strong, and despite being sweet at times, it's predictable fluff that just doesn't hold up that well.
WHAT IF... (PG) 115 minutes * * 1/2 When Ben (Kevin Sorbo) left his college sweetheart for a great job opportunity, he had no idea of the path it would set him on. Now he has a chance to see what it would have looked like if he had chosen the other path. Wholesome romantic drama with a Christian message, though it isn't particularly heavy. It does run a little long, but John Ratzenberger's nice work as the angel makes up for some of that. PG for language.
WHAT IF (2013) (PG-13) 91 minutes * 1/2 Wallace (Daniel Radcliffe) is having relationship issues. Those issues will continue as he faces the reality of what to do when you start feeling something more serious about a friend. Zoe Kazan does fine here, but Radcliffe just never seems to feel comfortable in his role or in relating to most of the other characters. There are moments where this succeeds, but not enough of them. PG-13 for sex and language.
WHAT IF GOD WERE THE SUN? (NR) 87 minutes * * 1/2 Jamie (Lacey Chabert) tends to avoid addressing her feelings, but as her world comes crashing down around her, the time she spends as a private nurse for Melissa (Gena Rowlands) will teach her more than she could have ever dreamed possible. An emotiona lstory about love and family with another fine performance from the legendary Rowlands.
WHAT JUST HAPPENED (R) 93 minutes * * * Wonderful Hollywood insider film about Ben (Robert De Niro), a producer who is having more than a little difficulty getting his latest film in the can. Meanwhile, his next film is already giving him troubles and his personal life is on the rocks as well. What just happened? Things were going so well, and he used to be one of the great producers... Great insider humor and plenty of star cameos as well. Adapted from the book by Art Linson and a real treat for those who love the business of movies. R for language, violence, and sex.
WHAT LIES BENEATH (PG-13) 123 minutes * * * Are the neighbors just arguing, or is something more sinister going on? Is Claire seeing things, is the house haunted, or is it simply stress taking it's toll on her? Michelle Pfeiffer is off the mark a few times here, though she still manages to do a reasonably good job. Harrison Ford does a nice job, but in many ways it's a supporting role. What makes the film work as well as it does is the atmosphere created by the photography and music. Unique camera angles and a willingness to use silence and gentle strains of music work together to create suspense and an eerie quality that manage to keep us on edge through much of the film. PG-13 for violence.
WHAT LOVE IS (R) 78 minutes * * 1/2 What could be more romantic that proposing to your girlfriend on Valentine's Day? Except Tom's (Cuba Gooding Jr.) girlfriend has packed up her stuff and is ready to leave. Tom had invited a couple of friends over to witness the special event, but now things are different. This feels very much like a play rather than a film, and is incredibly wordy. While the first part of the film is dedicated to the men discussing what love is, the women get a chance during the second half. It's an intelligent script, which allows the actors to get a good feel for their characters, but it's almost more of a reader's theater with not a great deal of interaction between the characters involved. R for language and nudity.
WHAT MAISIE KNEW (R) 95 minutes * * * When Maisie's (Onata Aprile) parents start fighting, she's caught in the middle. Truth be told, the nanny who marries her father and the friend who marries her mother would be better parents for her. Very nice ensemble cast that lets us feel we know these characters right away. Adapted from the novel by Henry James. R for language.
WHAT MEN WANT (R) 109 minutes * * 1/2 Struggling in a profession dominated by men, Ali (Taraji P. Henson) is getting more and more frustrated. Being skipped over for partner is the last straw. But suddenly, she can hear men's thoughts... and it's making more difference than she ever thought possible. There's some good material here, but Henson is all over the map. At least she has a solid supporting cast that manage to carry the film well despite her performance. Based on the 2000 film "What Men Want". R for language and sex.
WHAT PLANET ARE YOU FROM? (R) 99 minutes * 1/2 Sent to Earth with the mission of getting a woman pregnant as the first step of taking over the planet, Harold (Gary Shandling) now finds himself married, in love, and not at all anxious to leave. Mike Nichols' direction rescues this from being pure drivel. Still one would expect much more from a cast that also includes Ben Kingsley, Annette Bening, and Greg Kinnear. R for language and nudity.
WHAT REMAINS (NR) 98 minutes * * 1/2 Preaching forgiveness is one thing. Living it is something else. Pastor Marshall (Cress Williams) said he forgave Troy (Kellan Lutz) for killing his wife, but when Troy shows up five years later in need of work, he struggles to put those words into practice. Meanwhile, Marshall's son isn't interested in forgiving anyone, and the town sheriff (Anne Heche) is now investigating another murder that might be connected. Interesting ending that will not be what many want to see.
WHAT REMAINS: THE LIFE AND WORK OF SALLY MANN (NR) 78 minutes * * * Nicely done documentary on photographer Sally Mann. While her early work drew negative criticism from those who felt it was pornographic, the images of her children over the course of several years are both powerful and haunting. She later began to photograph nature and created an exhibit on death and life that is just as controversial as her earlier work. As with any true artist, the work itself is what earns the merit, and Mann's work is undeniably memorable and powerful.
WHAT THE #$*! DO WE KNOW!? (R) 100 minutes * * * Unusual blend of quantum physics theory and mysticism wtih dramatic sequences featuring Marlee Matlin throughout the film. Those who are already familiar with quantum physics and the power of the mind will find less of interest here than those who haven't. It's an interesting introduction to the ideas, presented in an entertaining format. Maybe we don't know what we think we do... R for language.
WHAT THEY HAD (R) 95 minutes * * * When her mother's health begins to decline, Bridget (Hilary Swank) heads back home. Dementia is difficult to deal with for everyone in the family. A story about family and memories with particularly nice work from Blythe Danner and Robert Forster. R for language.
WHAT TO EXPECT WHEN YOU'RE EXPECTING (PG-13) 102 minutes * * * When the news is delivered that you're pregnant, the reactions are varied. Five different couples hear the news and we see their reactions. Stellar cast and a fun script that also manages to give the supporting cast some great lines as well. Though it's mostly a comedy, there are some serious issues here as well, and the script treats them gently. Inspired by the book, and featuring Cameron Diaz, Jennifer Lopez, Elizabeth Banks, Brooklyn Decker, Anna Kendrick, Dennis Quaid, Chris Rock, and more. PG-13 for sex and language.
WHAT WE BECOME (NR) 77 minutes * * 1/2 Well done zombie thriller, focusing on a few people in a quarantined neighborhood and their different ways of coping with what is happening. It's more of a character study approach, while still clearly being a horror film. Nice work!
WHAT WE DID ON OUR HOLIDAY (PG-13) 92 minutes * * * 1/2 Delightful look at a dysfunctional yet very normal family on their way to celebrate a birthday. It will be a holiday to remember forever. The story does a very nice job of reminding us that life is what it is, and often, it's not what we expect... but that's OK. It just might be better than we thought it could be. Great work by the ensemble cast, in particular, Harriet Turnbull, Bobby Smalldridge, and Emilia Jones, who play the children. PG-13 for language.
WHAT WE DO IN THE SHADOWS (R) 79 minutes * The story of four vampire flatmates in New Zealand. a kind of tongue-in-cheek, offbeat mockumentary. There are some funny moments, but not enough of them. R for violence, sex, and language.
WHAT WE DO IS SECRET (R) 87 minutes * * 1/2 It's an interesting plan... become a successful band by getting recognition before you really know how to play well. Darby Crash (Shane West) takes his band, The Germs, on a fast ride to the top of the LA punk music scene, and becomes a legend in the process. As his name suggests, the success was not long-lived, but the punk scene would never be the same. Nice, documentary-style drama, though the story and editing make this a bit difficult to really connect with at times. R for language and sex.
WHAT WE LEFT BEHIND: LOOKING BACK AT STAR TREK: DEEP SPACE NINE (NR) 107 minutes * * * 1/2 It was a different sort of Trek from the beginning. This is a look back at the series and what made it so unique and interesting. The show took many risks, and it took many years for it to find it's place in the Star Trek catalog. The film is packed with interviews and moments of reminiscing. There is also a fun imagining session about what a season eight might look like if the original creators were asked to do that. A documentary that is both history and homage, and an appreciation for the tremendous dedication involved in putting together a series that dared to take the franchise into a different direction and made it work.
WHAT WOMEN WANT (PG-13) 122 minutes * * * Nick (Mel Gibson) is used to getting what he wants and having people do things for him. Still, he finds himself losing the promotion he'd been expecting to a woman. After an accident in his bathroom at home where he nearly electrocutes himself, Nick finds that he can now hear what women are thinking. There are a couple of great subplots here... the bits between Nick and his daughter and the story about the depressed messenger girl where he works. Both of these are great sequences and add much needed depth to the story as a whole. It does meander around a bit much, especially in the middle, but finishes well and is fun to watch. PG-13 for language.
WHAT WOULD JESUS BUY? (PG) 88 minutes * 1/2 Slightly humorous documentary that asks the title question in regard to the Christmas holiday season. Reverend Billy (Bill Talen) tries to recruit people for the "Church of Stop Shopping" with varying degrees of success. The point is good, but we get it after just a few minutes. PG for language.
WHAT WOULD JESUS DO? (PG) 92 minutes * A minister goes on vacation with his wife and son who are killed in a car accident. He continues to grow more depressed and ineffective as a minister. The new mayoral candidate proposes tearing down the church to build a casino. John Schneider shows up in town, a homeless person, looking for work, and promptly reminds everyone what Jesus would do, which they all start doing and save the church and the town. Schneider isn't a bad actor, but he looks worthy of an Oscar compared to everyone else here. And the script is very stiff and awkward as well. WWJD? Made a better movie or not have bothered. PG for language.
WHATEVER IT TAKES (PG-13) 91 minutes * 1/2 What it needed was a more creative script... Marla Sokoloff is the sole bright spot in this youthful Cyrano de Bergerac variation. Two boys both attracted to girls who don't like or notice them decide to help each other out with the usual problems resulting from their escapades. Sokoloff is a treat, but the rest of this is a bit tedious. PG-13 for language.
WHATEVER WORKS (PG-13) 89 minutes * * * Cynical, intellectual, and not the most friendly person you might want to know. But for some reason, Boris (Larry David) gives Melody (Evan Rachel Wood) a couple of minutes of his time. Her innocence and openness are both appalling and attractive to him. Some might think their relationship a little odd, but, you know... whatever works! Typically wordy Woody Allen script, packed with insight and wisdom from his perspective, and defintiely good for a few chuckles along the way. PG-13 for sex and language.
WHAT'S EATING GILBERT GRAPE? (PG-13) 115 minutes * * * 1/2 Incredibly well-written film about a rather dysfunctional family. Gilbert (Johnny Depp) is responsible for the care of his retarded brother Arnie (Leonardo DiCaprio). Their mother is tremendously obese and hasn't left the house in years, and their father committed suicide several years ago. Things would appear hopeless, but we can't give it all away... Also starring Mary Steenburgen and with a wonderful performance from Mary Kate Schellhardt as Ellen. Director Lasse Hallstrom gives us a wonderful adaptation of Peter Hedges' book.
WHAT'S LOVE GOT TO DO WITH IT (R) 114 minutes * * Great music throughout, and a well-told story, painting Ike Turner in a very negative light and showing us that the real driving force of their early success was Tina. Poor make-up and numerous editing problems really damage the credibility and flow of the film. Angela Bassett does give a good performance, but it isn't enough to carry the film.
WHAT'S LOVE GOT TO DO WITH IT (2022) (PG-13) 105 minutes * * 1/2 Looking for her next film project, Zoe (Lily James) decides to follow her friend's (Shazad Latif) process of going through an arranged marriage. No surprises as far as what happens next. Latif is a little dry here, but James makes up for it. PG-13 for language.
WHAT'S THE WORST THAT COULD HAPPEN (PG-13) 94 minutes * * Adapted from Donald Westlake's novel, this has a similar feel to some of Westlake's other 1970's stories that were filmed. (The Bank Shot, Cops and Robbers, The Hot Rock...) This one is about a thief (Martin Lawrence) who gets his lucky ring stolen while he's trying to rob wealthy Max Fairbanks (Danny DeVito). Through the course of the film they continue to stay one step ahead of each other. Who's the better con artist? The more accomplished thief? DeVito is a bit more annoying than usual and it wears thin pretty quickly. This should look a little better on video, though it probably won't make anyone's top ten list. PG-13 for language.
WHAT'S YOUR NUMBER? (R) 113 minutes * * 1/2 According to the magazine article, Ally (Anna Faris) has just about reached the end. One of the men she's already had sex with should be the man of her dreams. Enlisting the help of her friend Colin (Chris Evans), she begins to track all of her former lovers down to see if she missed something. Of course we all know what's going to happen, but it's typically cute fluff from Faris, who's fairly good at this sort of story. R for sex and language.
WHEELER (PG) 96 minutes * * 1/2 Under prosthetic makeup, actor Stephen Dorff portrays Wheeler, a man who decides to take his music to Nashville. With the help of a few people who are in on the secret, Wheeler attempts to make it in Music City. Reality and fiction mix together in this unique film. It's not great, but it's definitely interesting. PG for language and nudity.
WHELM (NR) 114 minutes * 1/2 Two brothers, August (Ronan Colfor) and Reed (Dylan Grunn) who are moonshiners, end up tanling with a bank robber (Grant Schumacher) and his biggest fan, Alexander (Delil Baran). The film has the right look, and sets the mood well. What it doesn't seem to have is much direction or a coherent story. There is narration, which sometimes gets the story back on track, but never for very long.
WHEN A MAN FALLS (R) 84 minutes * * * Three men whose lives have not turned out as they expected begin to realize that life doesn't get easier as you get older. In fact, it seems to be disintigrating around them. Dylan Baker gives a wonderful performance here as Bill, who at first glance appears to be the most dysfunctional of the group. Timothy Hutton and Pruitt Taylor Vince are the other two, and though their performances are not quite as good, it's still a strong, introspective story from writer/director/editor Ryan Eslinger. R for violence and language.
WHEN A MAN LOVES A WOMAN (R) 122 minutes * * * Alice and Michael Green have the perfect marriage, complete with two adorable daughters. Or so it would seem at first glance. What liesbeneath the surface is the fact that Alice is an alcoholic. The film does a fairly good job with the dynamics this fact presents, but what impresses us most are the actors themselves and not the story in which they participate. Meg Ryan and Andy Garcia make this film worth watching, along with a fabulous performance by Tina Majorino as their older daughter Jessica. R for language.
WHEN A STRANGER CALLS (2006) (PG-13) 84 minutes * * Remake of the 1979 suspense film about a babysitter who discovers the harrassing phone calls she's receiving are coming from inside the house. Relies heavily on the acting ability of the star, and Camilla Belle does a respectable job, with some assistance from the soundtrack by James Dooley. Too many cheap noise scares early on, but at least this is a little shorter than the original. That helps. PG-13 for violence and language.
WHEN CALLS THE HEART (NR) 83 minutes * * 1/2 Taking a teaching job on the frontier means leaving the comfort of the city behind, but the rewards could be tremendous. The story unfolds as parallel tales from different times that are closely connected. It works reasonably well, adding a little depth to the more modern story, though they both tend to the overly dramatic and sentimental. Adapted from Janette Oke's book and serving as a pilot for the TV series.
WHEN COMEDY WENT TO SCHOOL (NR) 74 minutes * * 1/2 The Catskill Mountains used to be the training ground for the great comedians. Very nice look at the history of comedy, especially in light of this proving ground and how it shaped Jewish comedy, which in turn had a tremendous influence on the rest of comedy. A real treat to see so many amazing comedians and hear some of their stories.
WHEN FATHER WAS AWAY ON BUSINESS (NR) 133 minutes * * * As far as Malik (Moreno D'E Bartolli) knows, his father is just "away on business". In truth, he is in prison for his political views. The story moves along slowly, but does a wonderful job of mixing history and drama with a coming-of-age story. Some light humor along the way adds a nice touch, and despite the pace, we are drawn into the story.
WHEN HARRY MET SALLY (R) 92 minutes * * * * Relationships are very interesting things. You can never quite predict just when they will begin, or with whom. They may start at times that aren't convenient, or in spite of an already existing relationship. You also can't always tell just how serious they might be in the future. Harry and Sally discover these truths and many more as they bring an extremely well-written script to life. Nora Ephron's script is full of wit and wisdom and Billy Crystal and Meg Ryan perform it to perfection. Sure to be a favorite for many who watch it, this is a classic piece from director Rob Reiner. R for language.
WHEN I THINK OF CHRISTMAS (NR) 84 minutes * * Back in her old hometown for the holidays, Sara (Shanae Grimes-Beech) discovers that her old boyfriend (Niall Matter) is still there. She left him behind to go to college. Is there still a spark between them? Chemistry between Grimes-Beech and Metter is a little thin.
WHEN IN ROME (PG-13) 85 minutes * * Beth (Kristen Bell) has trouble making relationships work, except for the one she has with her work. Now, she's in Rome for her sister's wedding... and there's this cute guy. The problem is, she's taken some coins out of a magical fountain and she's not sure if this love is the real thing. Cute in spots, but there's not a great deal of chemistry between Bell and Josh Duhamel. PG-13 for language.
WHEN LOVE IS NOT ENOUGH: THE LOIS WILSON STORY (NR) 95 minutes * * The story of Lois (Winona Ryder) and Bill (Barry Pepper) Wilson, the co-founders respectively of Al-Anon and Alcoholics Anonymous. Inspirational, but also slow-paced and somewhat tiresome.
WHEN LOVE SPRINGS (NR) 83 minutes * * 1/2 Rory (Rhiannon Fish) is trying to take the next step of becoming more than a junior partner at her PR firm. It all starts happening quickly when she travels to a little bed and breakfast where her parents met and where they are renewing their vows. She finds herself juggling family, job, a past boyfriend, and perhaps a new boyfriend as well. Fish is a delight here, being both energetic and charming. And remember that "there are two moments in life, those you miss and those you seize".
WHEN MARNIE WAS THERE (PG) 99 minutes * * * * Anna is struggling with her health, and stress may well be part of the problem. So, her parents send her to live with her relatives in the country for awhile. In a dilapidated house nearby, Anna meets Marnie, who she thinks is an imaginary friends. Surely no one could actually be living in that ruin of a house... Beautiful animation in an endearing story about friendship and love. Nominated for an Academy Award for best animated film. PG for violence.
WHEN SPARKS FLY (NR) 83 minutes * 1/2 Amy (Meghan Markle) left the west coast for Chicago seven years ago. It was her dream job, but much of that excitement has faded. Now she's headed back home to do a story about her family's business. And a few other things are going to come up. Like being the maid of honor/wedding planner for her best friend who is marrying her old boyfriend. Hallmark romance, but the chemistry between the leads just isn't quite what it needs to be.
WHEN THE BOUGH BREAKS (PG-13) 103 minutes * * When the surrogate mother for their child needs help, John (Morris Chestnut) and Laura (Regina Hall) are very willing to help. But between her psychotic boyfriend and her obsession with John, this surrogate is going to be a problem. Very predictable, but well-acted in spite of the tired story. PG-13 for violence, sex, and language.
WHEN THE GAME STANDS TALL (PG) 109 minutes * * 1/2 The story of the De La Salle High School Spartans, who went on a 151 game winning streak that covered several years under the coaching guidance of Bob Ladouceur (Jim Caviezel). The story works, and the ensemble cast does a nice job, though Caviezel's performance is rather lifeless. PG for violence.
WHEN THE GARDEN WAS EDEN (NR) 74 minutes * * 1/2 Historically, they were not a great team, but that was about to change. In the early 1970s, Madison Square Garden became a place of transformation for the New York Knicks. They made it to the NBA finals in three out of four seasons and won twice. This is their story. Part of the "30 for 30" series from ESPN.
WHEN THE STARLIGHT ENDS (NR) 84 minutes * 1/2 Work or wife? Jacob (Sam Heughan) soon reaches the point where he must choose one or the other. Now, he wonders if he made the right choice. The narration and the explanation of different possible outcomes tends to misfire. There are moments where there is some charm or humor, but the script tends to be more tedious than fun. It's a good ending, but it doesn't really fit with the rest of the film.
WHEN WE LAST SPOKE (NR) 103 minutes * * * They are young when their mother leaves. Evangeline (Chandler Head) and Juliet (Darby Camp) don't really understand why their mother left. Their grandparents will do the best they can, with humor and lots of love. Bittersweet, sentimental story with fine work by the cast.
WHEN WE SPEAK (NR) 79 minutes * * 1/2 The experiences of three whistleblowers. Katherine Gun, who worked for GCHQ, a British intelligence organization, Helen Evans, who was an Oxfam aid worker, and actor Rose McGowan. The presentation is a little dry, with much of the content being the interviews with the three women, but the message of the importance of taking a stand for the truth is a strong one, and the three women chosen provide a good variety of subject matter and yet also show the similarities in their experiences.
WHEN WE WERE APOLLO (NR) 76 minutes * * * Beginning just a little before Sputnik was launched, this is a comprehensive and award-winning documentary exploring the Apollo space program and what it meant, and continues to mean, for the history of the world and the future of any space program. The end of the Apollo program is just as full of meaning as its beginning.
WHEN YOU'RE STRANGE (R) 81 minutes * * 1/2 Documentary about the very unusual, and highly influential rock group, The Doors. Quite a bit of the footage used here has not been seen before. The most enlightening information comes from the band members themselves as they talk about what it was like to be part of the band and the mystery, and to work with Jim Morrison. Narrated by Johnny Depp. R for sex and language.
WHERE ARE YOU (NR) 88 minutes 1/2 His photography isn't pleasing the critics anymore. Nicholas (Irakli Kvirikadze) is trying to get the inspiration back so that his work is what it needs to be. Highly stylized production, but that's little surprise with such a convoluted story.
WHERE CHILDREN PLAY (NR) 101 minutes * * Belle's (Teyonah Parris) life is falling apart. Heading home to her mother's funeral, she ends up confronting old relationships and old ghosts, some of which are very powerful. Dealing with her past isn't comfortable, but it needs to happen. Good story, but the performances and direction are uneven.
WHERE DO WE GO NOW? (PG-13) 98 minutes * * * There's been peace between Muslims and Christians in this small community for a long time, but tensions have begun to build. The women decide that its up to them to think of something, but they'd better act quickly. Charming morality tale with a wonderful mix of humor and drama and a great ending. PG-13 for sex and language.
WHERE GOD LEFT HIS SHOES (NR) 97 minutes * * 1/2 His luck has turned for the worse. The boxing match that Frank (John Leguizamo) was supposed to be in has been cancelled, and to make matters worse, the family is kicked out of their apartment. With Christmas right around the corner, it's going to be tough. Depressing story, but a solid performance from Leguizamo and very nice work by young David Castro as his son, Justin.
WHERE IS KYRA? (R) 95 minutes * * 1/2 After losing her job, Kyra (Michelle Pfeiffer) is struggling to find another. Her mmother's health is declining, and her meager income can't really support both of them. When her mother dies, it gets even worse for Kyra. The photography vreates a bleak atmosphere, and along with the sets and props, the film becomes almost claustrophobic. The story itself spins ever tighter until the end. R for language and sex.
WHERE LOVE FOUND ME (PG-13) 81 minutes * Hudson (Andrew Cheney) is a filmmaker looking for thatstory that will take his career to the next level. When he meets a group of homeless children, he may have just found what he was looking for. Heavily narrated and not well-written. This also has a really strong emphasis at the end about what the filmmakers understand to be the Christian responsibility to adopt and care for orphans. It's clearly where the story has been headed, but overwhelms it at the end. PG-13 for violence.
WHERE THE BOYS ARE (R) 87 minutes * Four young women with various amounts of sexual experience travel to Florida over spring break and have various escapades, mostly revolving around having sex, or at least trying to. Lisa Hartman, Lorna Luft, Wendy Schaal, and Lynn-Holly Johnson star in what is mostly fluff, though the ending is at least a little cute.
WHERE THE CRAWDADS SING (PG-13) 121 minutes * * * 1/2 A childhood full of abuse and abandonment leaves Kya (Daisy Edgar-Jones/Jojo Regina) to navigate her life by herself and at the mercy of many rumors and much gossip. A young man she was close to is now dead, and she finds herself accused of the murder. Having known her since childhood, Tom Milton (David Strathairn) takes on her case. A well-told story with some very poignant moments, especially near the end. Great work by Strathairn, a fine soundtrack by Mychael Danna, and a hauntingly beautiful song by Taylor Swift. Adapted from the book by Delia Owens. PG-13 for sex and violence.
WHERE THE DAY TAKES YOU (R) 99 minutes * * 1/2 The streets of Los Angeles are home to many runaway teens. King (Dermot Mulroney) runs a small group, but it's a rough life, and danger comes in many forms. There are so many talented actors here, and so little script for them to work with. It's definitely worth a look for the cast, but don't expect much from the story. Sean Astin, Balthazar Getty, Will Smith, Ricki Lake, Lara Flynn Boyle, Kyle MacLachlan, Alyssa Milano, and Rachel Ticotin are among the rest of the cast. R for violence, language, and sex.
WHERE THE DEVIL DWELLS (NR) 78 minutes * 1/2 Lenard (Walter Pena) is under house arrest, but is he being tormented by the ghost of his serial killer father, or is Oren (David O'Hara) still alive? Lenard's mental illness is making that distinction rather difficult to discern. It's a really good idea, but the script and production values bring it down. As you might suspect, that could be the fault of writer, director, co-producer Marc-Andre Sampson, who also did some of the music, taking on a little bit too much.
WHERE THE HEART IS (PG-13) 111 minutes * * * Abandoned by her boyfriend while stopping at a Wal-Mart, young and pregnant Novalee Nation (Natalie Portman) finds herself spending the night in the store. It's good to have a roof over her head, but the good things that happen to Novalee seem like tiny drops in an ocean of misfortune. At some point she has to move on though, and let go of what's gone. Portman leads a great cast that includes Ashley Judd, Stockard Channing, Joan Cusack, and Sally Field. The story weaves its way around our hearts as it moves along, but it's Portman's skill as an actress that gives it the strength it needs to stay with us. PG-13 for language.
WHERE THE MONEY IS (PG-13) 84 minutes * * 1/2 Henry Manning (Paul Newman) is a bank robber who has had a severe stroke, making it necessary to move him to a special care facility. As Carol (Linda Fiorentino) is taking care of him, she begins to suspect that things aren't what they seem. What will she do with that information? Newman, Fiorentino, and Dermot Mulroney work fairly well together, but what hurts this is the sketchy story. The laid-back style is effective, but we're left wanting more than the one-note script can deliver. Filmed in Montreal. PG-13 for language and sexuality.
WHERE THE RIVERS FLOW NORTH (NR) 100 minutes * * 1/2 Howard Frank Mosher's novel about a man who will not sell his land for the building of a dam in Vermont makes it to the screen. It's an uneven production with an interesting story, but weak performances by many of the cast and dialogue that cheapens the effect created by the music and photography.
WHERE THE ROAD MEETS THE SUN (NR) 87 minutes * * Waking from a coma has given Takahashi (Will Yun Lee) a chance to start over. He soon becomes friends with Blake (Eric Mabius) who could use a chance to begin again as well. Julio and Guy find things in common with each other too, and the four are about to experience yet another change. Many of the scenes here are quite good, but as a whole, the film is very disconnected and sometimes a bit difficult to watch.
WHERE THE TRUTH LIES (NR) 102 minutes * * Lanny Morris (Kevin Bacon) and Vince Collins (Colin Firth) were a successful entertaining team whose partnership was shattered by the discovery of the body of a young girl in their hotel room. The mystery wasn't solved at the time, but a young journalist is about to uncover the truth. As with most Atom Egoyan films, there's quite a bit of emphasis on sex, though it definitely pertains to the story. Both Colin Firth and Alison Lohman seem unsure of their characters in more than one scene, and Egoyan seems unable to direct them with much success. It makes the film move far too slowly to keep us in suspense, and by the time the mystery is solved, we aren;t really all that interested.
WHERE THE WILD THINGS ARE (PG) 93 minutes * * Where do you go when life gets rough and things are going the way you'd like them to? Is anyone else there? And when do you come back? This adaptation of Maurice Sendak's classic story is a bit on the dark side and may not appeal much to the younger crowd. Stretching this out to a feature length film allows for a great deal more depth of character for the monsters, and the costumes are wonderful as well. It's definitely an unusual film, and probably not what most who have read the book will be expecting. Filmed in Melbourne, Australia. PG for violence.
WHERE TO INVADE NEXT (R) 118 minutes * * * Michael Moore takes a look at what we in the United States could learn from some other countries if we "invaded" them. He visits Italy, France, Finland, Slovenia, Germany, Portugal, Norway, Tunisia, and Iceland to take a look at how other places deal with worker benefits, dietary habits, education, national history, health care, prison systems, government funded abortion, and women's rights. A more optimistic film from Moore, whose tone seems to have changed a little. The style is much the same, but the more positive tone is a welcome change. R for language and violence.
WHERE YOUR HEART BELONGS (NR) 86 minutes * * Mackenzie (Jen Lilley) travels to her old home town to help with her best friend's wedding. She's also trying to salvage her marketing career. Trying to do both is causing some conflicts. Her old friend Dylan (Christopher Russell) is trying to set her straight. Lilley is good here, but Russell seems a bit distant.
WHERE'D YOU GO, BERNADETTE (PG-13) 101 minutes * * * 1/2 Bee's (Emma Nelson) parents have agreed to go on a family trip with her to Antarctica. Elgie (Billy Crudup) and Bernadette (Cate Blanchett) are neither one thrilled about the trip, especially since Bernadette has major difficulty being around other people. Really nice work by the cast, led very well by Blanchett, and under the talented direction of Richard Linklater. PG-13 for language.
WHICH WAY HOME (NR) 78 minutes * * * Documentary look at children from Central America who ride the freight trains through Mexico in hopes of getting to the United States. It's a dangerous journey, and many of them will not make it. Of the ones who don't, the lucky ones are sent home. It's not a pretty picture,l though this film tends to keep most of the really negative and violent parts at arms length by describing it rather than showing it.
WHILE WE'RE YOUNG (R) 91 minutes * * 1/2 Josh (Ben Stiller) and Cornelia (Nami Watts) are lamenting the slow and quiet path their lives have taken. And then they meet an exciting young couple. Often humorous, but with a serious undertone about how the grass always looks greener where you aren't. R for language.
WHILE YOU WERE DATING (NR) 83 minutes * * 1/2 Her only serious relationship at the moment is with an online friend. Julia (Stefanie von Pfeffan) is just fine with that. Nick (William Baldwin) is enjoying their online connection as well. And then they meet face to face. It's a surprise to both of them to learn that they already know each other. In fact, they were married... to each other. Cute, if not all that surprising to those of us watching.
WHILE YOU WERE SLEEPING (PG) 99 minutes * * * A wonderful romantic comedy of errors with Sandra Bullock delivering a fabulous performance as Lucy, a dreamer who has fallen in love with a man she sees every day but has never talked to. The strong supporting cast give this film the extra boost it needs and make this a thoroughly enjoyable film. Bullock's quiet and refined charm are refreshing to watch and make this a film not to miss. PG for language.
WHIP IT (PG-13) 103 minutes * * 1/2 Bliss (Ellen Page) is more than a little frustrated at how boring her home town is. There's not much to do and she doesn't fit in. But one day she discovers that in nearby Austin, there's something called roller derby. It's a fun story that's a little corny at times, but sweet at others. First-time director Drew Barrymore has her share of fun here as well, and there are fine supporting performances from Kristen Wiig, Zoe Bell, and Eve. Adapted from Shauna Cross' novel, "Derby Girl". Filmed in Michigan. PG-13 for language and violence.
WHIPLASH (R) 97 minutes * * * 1/2 Andrew's (Miles Teller) musical talent shows promise, but it has yet to be tested by the fire of someone like Fletcher (J.K. Simmons). What is it that brings out greatness, that inspires the drive to perfection? Where is the breaking point, and do you risk pushing someone past it? Masterful script and engrossing performances by Teller and Simmons. The meaning will likely run a little deeper for those in the arts, but the message will resonate with anyone who has worked to excel at what they do. Expanded from the director's original short film. R for language and sex.
WHIPPED (R) 76 minutes * The only eral reason to give this film a look is to see Amanda Peet in action. Not that the role gives her much to work with, but watching her play three guys who think they know all about women and relationships does give us a few minutes of entertainment. The moral of the story is, of course, that you can't outsmart a woman. It's an old story that is given a cursory treatment and a small budget... and it shows. Filmed in and around New York City. R for language and sex.
WHISKEY TANGO FOXTROT (R) 105 minutes * * 1/2 Kim (Tina Fey) writes copy for a news program. But they need people on the ground, so despite her lack of experience, she finds herself in Afghanistan. There can be an adrenaline rush doing this work, and it can become addictive. Fey is good, but doesn't really fit here. Part of that is the attitude of her character, who doesn't take things all that seriously most of the time. R for language, sex, and violence.
WHISPERS IN THE DARK (R) 97 minutes * 1/2 Psychiatric thriller with Annabella Sciorra dealing ineffectively with a strange patient. Sciorra does a nice job, but there are no surprises here and the direction is too weak to give her the help she needs to be more effective.
THE WHISTLEBLOWER (R) 105 minutes * * 1/2 Katheryn (Rachel Weisz) thought that her assignment to a United Nations peacekeeping force in Bosnia woudl be elite level work, attracting other honorable and dedicated officers. She had no idea that she'd uncover a human trafficking ring that reached all the way to the top of the chain of command. Weisz tries her best, but doesn't really fit here all that well, though the rest of the cast makes it work. R for violence, sex, and language.
THE WHISTLERS (NR) 93 minutes * * 1/2 Officer Cristi (Vlad Ivanov) has decided to work with Gilda (Catrinel Marion) on an elaborate heist. The whistling in the title of the film refers to a secret way the people planning the heist use to communicate with one another. Lots of twists and turns, not all of which are as well-developed as they should be.
WHITE BIRD IN A BLIZZARD (R) 89 minutes * * When Kat's (Shailene Woodley) mom disappears, she doesn't understand why. As she begins to purse that question, and probe more deeply into the events that led up to it, she not only learns much more about her mother, but about herself. Woodley does a nice job, but the script doesn't always deal that well with the more subtle aspects of her character. R for sex and language.
WHITE BOY RICK (R) 105 minutes * * 1/2 He never had much going for him, but when he slips up, the way out of his trouble is to work for the RBI. But when Rick (Richie Merritt) agrees, he is walking on a very slippery slope. The more time goes bu, the deeper the hole he risjs falling into. Merritt is good, but surrounded by the talents of Matthew McConaughey, Bel Powley, Jennifer Jason Leigh, Bruce Dern, and Piper Laurie, he's clearly the weak point. Based on the life of Richard Wershe Jr.. R for language, violence, and nudity.
WHITE CHAMBER (NR) 86 minutes * It's more than just a white cube, it's a sophisticated torture chamber. It's also a secret in the midst of a civil war. There's a bit of good suspense early on, and some nice intensity to the story near the end. Unfortunately, the bulk of the film moves very slowly.
WHITE CHICKS (PG-13) 103 minutes * * Shawn Wayans and Marlon Wayans play FBI agents who go undercover as rich white girls in order to capture the bad guys. Surprisingly, this isn't quite as bad as it sounds. There aren't any real surprises as far as the story goes, but Shawn and Marlon make it fun to watch as they keep getting themselves in hot water with their disguises. PG-13 for language.
THE WHITE COUNTESS (PG-13) 128 minutes * * * 1930s Shanghai, beautiful, mysterious, and on the verge of war. Todd Jackson (Ralph Fiennes), is a blind American diplomat who opens a nightclub featuring Sofia (Natasha Richardson), a fallen Russian aristocrat. Their relationship in the midst of the changes in Shaghai is the focus of this Merchant/Ivory production. Fiennes and Richardson both do great work here, though the film gets caught in its own style at times and the pace of the story falters. PG-13 for violence.
THE WHITE CROW (R) 117 minutes * * * Bio-drama of Rudolf Nureyev (Oleg Ivenko). The film follows his story from roughly age seventeen until his defection to France sex years later. It was not a decision made lightly or easily, and Ivenko does a very nice job of portraying a young man who wanted nothing more than to dance, but to dance well, he needed to be free. R for sex and language.
WHITE ELEPHANT (NR) 87 minutes * * Working for Arnold (Bruce Willis) is a tough job, and he's (Michael Rooker) had enough of it. He's got a job he still has to do though, including teaching the new recruit. Flimsy story with very little character development for anyone except Rooker. Lots of bullets flying, but not much else. Very poor casting of Olga Kurylenko.
WHITE FANG (PG) 105 minutes * * * Jack (Ethan Hawke) befriends Alex (Klaus Maria Brandauer) who helps him get to his father's claim to gold in the wilderness of Alaska. A unique bond is also formed between Jack and a wolf/dog that goes by the name of White Fang. It's a continuation of Jack London's classic, "The Call of the Wild", set in the wild beauty of the Alaskan wilderness. Some of the special effects here are too obvious and remind us that we are only watching a movie. Still, it's a good story, and one that is told well. A classic story of the bonds that exist between animals and nature, and that can sometimes exist between humans and animals. Filmed in Alaska. PG for violence.
WHITE FANG 2: MYTH OF THE WHITE WOLF (PG) 102 minutes * * 1/2 Continuation of the first story that has a new young prospector working the old mine and helping an Indian tribe search for caribou. Typical Disney nature film with plenty of beautiful scenery, stock characters, and a nice ending.
WHITE GOD (R) 111 minutes * * * When Lili (Zsofia Psotta) adopts a stray dog, she's sure she can make it work. Her father not only says "no", but dumps the dog on the street. Lili never stops looking for him, but the dog has begun a journey on the darker side of life, a journey that Lili desperately hopes to resolve with love. Great job by Psotta. R for violence and language.
WHITE HOUSE DOWN (PG-13) 125 minutes * * 1/2 With the White House under siege, it's a good thing that a talented police officer (Channing Tatum) just happens to be around. His daughter (Joey King) is pretty savvy as well, so, no worries, just plenty of close calls. In fact, there are so many last second saves and near misses that it gets a bit ridiculous. Tatum and King manage to keep us interested, but the story is clearly not interested in being realistic. PG-13 for violence and language.
WHITE IRISH DRINKERS (R) 107 minutes * * * Brooklyn 1975. Brian (Nick Thurston) and Danny (Geoffrey Wigdor) have always been close as brothers, but Brian is secretly working on his art and dreaming about possibilities. Danny is stealing and hanging out with the wrong crowd. A story about brothers, dreams, love, and new beginnings. Nice job by Thurston, and well supported by the rest of the cast. R for language, sex, and violence.
WHITE LIGHT BLACK RAIN (NR) 82 minutes * * * Powerful documentary about the after-effects of the bombs that were dropped on Hiroshima and Nagasaki. Includes interviews with survivors as well as with people who worked on the bombs and who were in the planes. It's a piece of history that those who lived hope the rest of us will never forget.
WHITE LION (PG) 88 minutes * 1/2 A white lion cub is rejected by his pride, but finds help from an older lion and a young boy. Taking his own place as leader of the pride will prove to be his most difficult challenge, and one that he must face on his own. The story is a bit lacking here, so despite the gorgeous scenery, there isn't much else. PG for violence.
WHITE MAN'S BURDEN (R) 85 minutes * The idea here is that it is the black who have the wealth and power, and the white who are struggling for recognition. John Travolta and Harry Belafonte do what they can, but the script stereotypes people too much and gives us a shallow portrait of a mirror-world. Without the talents of Travolta and Belafonte, this would be pure trash.
WHITE MATERIAL (NR) 102 minutes * * As civil unrest and racial conflict spreads across this African country (which is never named), a French white family tries to save their coffee plantation. Andre (Christopher Lambert) and Maria (Isabelle Huppert) seem to be at odds about saving the place, but that is never really dealt with. There also isn't really much story around her son, though he seems to be a driving force in her desire to stay. It makes the film feel incomplete and dimishes the dramatic power that could have been here.
WHITE MEN CAN'T JUMP (R) 111 minutes * * * Billy Hoyle (Woody Harrelson) has a hard time holding on to money. Then he meets Sidney (Wesley Snipes). Sidney is a scam artist. They set up a deal that involves their skills on the basketball courts and they're on their way. There is plenty of action both on the courts and off, with the neighborhood banter running thick and foul. Harrelson and Snipes work well together and make the film interesting as we follow this unique partnership and the troubles that these two get themselves into. R for language and sex.
WHITE NIGHTS (PG-13) 135 minutes * * 1/2 Nikolai (Mikhail Baryshnikov) defected to the west, but finds himself on a plane that is forced to land in Russia. Unless he can find a way to escape, he will be forced to dance for the state again. The dance scenes are amazing, but they don't fit will into the rest of the film as they tend to run long enough that it shifts our mood as we watch.
WHITE NOISE (PG-13) 94 minutes * * 1/2 When Jonathan Rivers' (Michael Keaton) wife goes missing, he's contacted by a man who says he's received a message from her... from the "other side". Jonathan is soon obsessed with EVP (Electronic Voice Phenomena), but the messages aren't just coming from those who are dead. Keaton does a nice job here, and there are a number of spooky effects that generate a good share of goose bumps. Unfortunately, the climatic moments of the film are a nonsensical blur of images that leave us confused and a little disappointed. PG-13 for violence and language.
WHITE NOISE 2: THE LIGHT (PG-13) 90 minutes * * After a near-death experience, Abe Dale (Nathan Fillion) is able to hear and see those who have died. He can also see a white light around those who are about to die. Maybe he could save them. Maybe he shouldn't. A step down from the first film, but not a bad little sequel, with sincere performances and reasonably good special effects. The ending is definitely weak, but until then, it isn't too bad. PG-13 for violence and language.
WHITE OLEANDER (PG-13) 106 minutes * * * 1/2 When her mother is arrested for killing her boyfriend, Astrid (Alison Lohman) ends up in the foster care system. Filled with the hatred she's learned from her mother, it takes Astrid awhile before she realizes the effect its having. The film unfolds slowly, taking its time to impress upon us that her mother's "loving" concern is manipulative and filled with hate. We are slowly led into Astrid's life and into an understanding of her struggle. Lohman does an amazing job, holding her own quite well with Michelle Pfeiffer, Robin Wright Penn, and Renee Zellweger. Adapted from Janet Fitch's novel, this is a powerful character study that will stay with you for some time. PG-13 for language and violence.
WHITE PALACE (R) 99 minutes * 1/2 This could also be called, "Mr. young and ultimately practical meets Ms. wild and sexually adventurous". She's the first woman to really cause him to open his eyes since the death of his wife two years earlier. He makes her think as well. Love can make you do strange things, but the problem is that we never really believe this is love. Especially not with the cheap, sentimental ending we're given. A realistic look at two people who wouldn't let go of the past would have made this a far more effective film and taken advantage of two fine performers instead of wasting thier talents. Susan Sarandon and James Spader deserve better.
WHITE RABBIT (NR) 87 minutes * * 1/ Harlon (Nick Krause) struggles with being bullied, both at home and at school. His imagination begins to turn violent. The story dwells too much on symbolism to create depth. It would have been more effective to use Harlon's imagination in a way that highlighted his struggle instead of as the core element of the story.
WHITE RAVEN (NR) 94 minutes * 1/2 It's their annual camping trip. But this year, something is a little different. One of their group was already on the edge before the trip started. Their weekend is about to take a very dark turn. The characters don't really develop enough for the dark turn to be a surprise, or for us to care much that it happens.
THE WHITE RIBBON (R) 135 minutes * * 1/2 In the months before World War I, the children of a small village seem to be part of a punishment ritual, but no one seems to understand exactly what's going on. Strange film with LOTS of narration that isn't really all that helpful and doesn't really add to the mood. R for violence and sex.
THE WHITE ROSE (NR) 101 minutes * * * ½ Based on historical events, writer/director Michael Verhoeven recounts the story of an underground newsletter distributed at a university in Germany that questioned what was going on during World War II. The characters here are very well-developed, giving us a strong sense of being there with them as they struggled to make sense of, and then put an end to what was happening. It does move a little slowly, but there’s a great deal of story this film works to deliver while keeping us engaged.
WHITE SANDS (R) 96 minutes * * * Ray Dolezal (Willem Dafoe) is a sheriff's deputy in New Mexico who stumbles across a murder victim. But when the FBI, and the CIA get involved, and more bodies start turning up, Ray knows he has something pretty big going on. It's a well-told story that leaves no loose ends. The white sands of New Mexico provide a backdrop against which only honesty can stand and survive. Full of plot twists, action, and solid performances, this is bound to keep your attention all the way to the end. R for violence, language, and nudity.
WHITE SNAKE (NR) 92 minutes * * * 1/2 An adaptation of the "Legend of the White Snake" from Chinese folklore. Incorporating elements from the original, more frighteneing version of the legend as well as later versions that are more romantic, it tells the story of a snake hunter who falls in love with a snake spirit. The animation is both magical and elegant.
WHITE SQUALL (PG-13) 125 minutes * * * It's 1960 in Mystic, Connecticut and this school takes place at sea under the direction of a captain who can be rather harsh. Some of the students are there for discipline, others for escape, but they must learn to function as one and obey their captain. Director Ridley Scott still gives us a dark picture, as is his style, but it's not in the scenery, it's the darkness of the characters. They are strong characters that will draw you in and let you feel the squalls that lie beneath their surface. PG-13 for language and violence.
THE WHITE STORM (R) 130 minutes * * 1/2 Three cops who have worked together for years have their friendship tested when an undercover operation goes bad. Lots of gunplay and an overly involved plot with lots of deceptions and misleading subplots. A little long, but the twists and turns manage to hold interest reasonably well. R for violence.
THE WHITE TIGER (R) 122 minutes * * * Balram (Adarsh Gourav) wants a better life. He dreams of being a driver for a wealthy family. When he finally achieves that dream, it looks like even more might be possible, until tragedy strikes. There are still options for him, but they are more challenging than anything he's faced before. A strong story, well-supported by the cast. R for language, violence, and sex.
WHITE WEDDING (PG-13) 94 minutes * * 1/2 Elvis (Kenneth Nkosi) is on his way to his wedding. Missing the bus at the airport is only the first of many diversions that are going to delay him. Help will come at the last minute, but from a very unlikely source. Predictable, but reasonably entertaining. PG-13 for sex and language.
WHITEOUT (R) 94 minutes * 1/2 About to end her tour of duty as Marshall at the antarctic base, Carrie (Kate Beckinsale) is now faced with what looks like the first murder on the continent. Another soon follows. Who, or what, is responsible? Despite this interesting set-up, the story lacks intensity during the first half, mostly because it tries to be overly realistic. Once we finally start feeling some suspense, reality seems to disappear, and we're even less interested. Nice soundtrack by John Frizzell. Filmed in Manitoba and Quebec. R for violence, language, and nudity.
WHITETAIL (NR) 116 minutes * * A father and son (Tom Zembrod and Dash Melrose) hunting trip along with brother-in-law Frank (Paul T. Taylor) is off to a rocky start due to the recent death by overdose of their wife/mother/sister. Then they stumble across a man with a backpack full of cash and a gunshot wound to the stomach. Two other men are looking for that money, and neither one of them are very nice. Not a great ending, but the story sort of works itself into a corner that doesn't have any good options.
WHITEY: UNITED STATES OF AMERICA V. JAMES J. BULGER (R) 103 minutes * * 1/2 More than just a look at the court case against Bulger, this documentary examines the corruption prevalent in law enforcement and the legal system. The film is rather dry in the middle, though it starts well and finishes quite well. R for language and violence.
WHITNEY (NR) 87 minutes * * Bio-drama about Whitney Houston (Yaya DaCosta), with a heavy emphasis on Bobby Brown (Arlen Escarpeta). Perhaps of more interest than the tabloid story is that this is Angela Bassett's first turn at being director. The story is less than flattering to both Houston and Brown, which didn't make the Houston family happy when the film was first aired.
WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY (PG-13) 138 minutes * * 1/2 Dio-drama about the talented Whitney Houston, from the beginning of her career to her untimely death. The script leans a little heavily toward the relationship she had with her personal assistant, and it treats her drug addiction like it was a big secret. In fact, Houston was very open about her addiction and her three stays in rehab. Otherwise, this is a standard bio-pic with some great music. PG-13 for language.
WHO ARE YOU PEOPLE (NR) 100 minutes * * * Trying to seduce one of her teachers, Alex (Ema Horvath) just makes things worse. Now, her parents are going to send her to a boarding school. Alex decides to run away to find her biological father who she just recently learned about. Looking to find herself and to find the love she feels she's been missing. Even a little. Sometimes that's all we get. Very nice work by Horvath.
WHO FRAMED ROGER RABBIT (PG) 96 minutes * * * Interesting premise to this film with a mixture of live action and animation. Set in 1947, it's a time when cartoons are at their peak. They are living creatures who are almost immortal. Roger Rabbit is the prime suspect in a murder case, though his brash manner makes you wonder why he wasn't the victim. Bob Hoskins does a nice job here as the detective investigating the case, but the animation has some difficulties and Roger's character is just a little too irritating to make us care if he's guilty.
WHO GETS THE DOG? (PG) 92 minutes * * When Clay (Ryan Kwanten) and Olive (Alicia Silverstone) just can't make their relationship work anymore, custody of the dog becomes an all-important question. Silverstone is good, Kwantem not bad, but the story is silly and predictable. Even worse is that it's far too obvious that the dog keeps looking at the trainer who is off camera. PG for language.
WHO IS CLARK ROCKEFELLER? (NR) 87 minutes * * When Clark (Eric McCormack) and his wife Sherry (Sandra Boss) get divorced, Clark is expecting to get custidy. When he doesn't, he abducts their daughter. As the pursuit progresses, Sherry, and most everyone else, is surprised to find the elaborate con that Clark had put in place unravel. Who is this man she married, and does he even know who he is anymore? It's an interesting story, though the performances are mediocre and the production quality clearly middle-of-the-road for a TV movie.
WHO IS DAYANI CRISTAL? (NR) 84 minutes * * * One more unidentified body in the Arizona desert. The assumption is that he was crossing the border illegally, but no one knows for sure. The only clue is his tattoo, which says "Dayani Cristal". We learn about his life as Gael Garcia Bernal retraces his journey to the desert where his life ended.
WHO IS HARRY NILSSON (AND WHY IS EVERYBODY TALKIN' ABOUT HIM)? (NR) 113 minutes * * * 1/2 The good, the bad, the creative, and the destructive. This is the story of one of the greatest songwriters to have ever lived, as judged by his peers. Not many documentaries so complete a biography of someone and still manage to do so in a way that could best be described as a love song.
WHO KILLED ALEX SPOURDALAKIS? (NR) 64 minutes * * 1/2 Autistic teen Alex Spourdalakis was severely affected by his condition, but remained calm and happy. Something changed, and Alex began to experience severe pain. Rather than examine the likelihood that his pain was related to food allergies and an intestinal problem, he was put on psychotropic drugs and kept in restraints. His mother and godmother decided that death would be a better option for Alex than living on drugs and in restraints. It's a story of failure of the health care system in the United States.
WHO WE ARE (PG-13) 113 minutes * * * Civil rights lawyer Jeffrey Robinson delivers a lecture about the history of racism in the United States. The lecture is interspersed with interviews an personal stories to provide a deep and sometimes surprising story. It provides a perspective on the history of the United States that shows how slavery is so interwoven with the rest of the culture that it can never really disappear. It can, however, be understood and it can affect change. PG-13 for violence and language.
WHO WE ARE NOW (NR) 95 minutes * * 1/2 Having just received a promotion, Jess (Emma Roberts) is now a public defender. She is more than a little out of her depth. Beth (Julianne Nicholson) is desperate to get her son back now that she's out of prison, but the legal system is not working in her favor. Roberts doesn't fit well here, but Nicholson does a remarkable job.
THE WHOLE NINE YARDS (R) 94 minutes * * 1/2 Oz (Matthew Perry) has just met his new next door neighbor, a hit man by the name of Jimmy Tudeski (Bruce Willis). Has he been hired by Oz's wife to kill him? Maybe he should turn Jimmy in to the mob... maybe he should hire Jimmy to kill his wife... maybe he should run away... it's a fun mix of action and comedy, with Willis doing a nice job with tongue-in-cheek humor while Perry does the prat-falls. Definitely corny at times, but the cast makes it work. Rosanna Arquette, Michael Clarke Duncan, Natasha Henstridge, and Amanda Peet are also featured. R for language, nudity, and violence.
THE WHOLE TEN YARDS (PG-13) 93 minutes 1/2 Lazlo is out of jail and coming after Jimmy again. He kidnaps Cynthia to find out where Jimmy is and that manages to drag Oz into the picture as well. There are a few moments here and there, but Bruce Willis's portrayal of Jimmy is too hateful this time and this sequel ends up not being nearly as fun as the the whole nine yards before it were. Filmed in Los Angeles and rated PG-13 for language, violence, and nudity.
THE WHOLE TRUTH (R) 88 minutes * * 1/2 It's a difficult case, but Ramsey (Keanu Reeves) is trying to prove his client innocent. If only his client would talk. The plot is more than a little dry, slow, and predictable early on. The last fifteen minutes are good as some twists make their way into the story. They are well-timed and well-played, though again, somewhat predictable. R for language, violence, and sex.
WHO'S HARRY CRUMB? (PG-13) 86 minutes 1/2 And of course, the obvious response is... who cares? John Candy cannot carry a film by himself, and the jokes start falling flat after about five minutes. Filmed in Canada.
WHO'S THAT GIRL? (PG) 90 minutes * * 1/2 All he was supposed to do was give her a ride to the bus station to make sure she left town. Now Louden (Griffin Dunne) is trying to find out who really committed the murder Nicole (Madonna) was framed for. Fun and energetic film with lots of little subplots going on, and a vivacious and cute performance from Madonna. In the end, it's still mostly fluff, but it's more entertaining than some.
WHO'S THE MAN (R) 81 minutes * 1/2 Plenty of rap/hip-hop musicians make their cameo appearances here, but that's the only thing that makes this film interesting. It's the same old story about the rich taking over a neighborhood until the locals bond together to save it.
WHO'S YOUR CADDY? (PG-13) 83 minutes * All C-Note (Big Boi) wants os a membership at an exclusive golf club. All Cummings (Jeffrey Jones) wants is to make sure that doesn't happen. Plenty of stereotypes and cheap humor with a few sentimental bits mixed in as well. PG-13 for language and nudity.
WHOSE LIFE IS IT ANYWAY? (R) 116 minutes * * * When the accident happens, Ken (Richard Drefuss) feels that everything in his life has come to an end. He is paralyzed and wants to die. His right to do that is something of a struggle, but the film does a very nice job of exploring both the moral and ethical aspects of the topic. There is some light humor here as well, because life often has a sense of humor. More thought-provoking than entertaining, but well done. R for language and sex.
WHY DID I GET MARRIED? (PG-13) 113 minutes * * Four couples with a tradition of taking a week-long vacation each year and asking each other the question, "Why did I get married?". The idea is to strengthen their marriage. But there appears to be a problem, and it's not with the couple who are obviously having trouble. Unfortunately, we could tell that pretty quickly and the film takes far too long to get there and even longer to work the situation out. Well-acted, but poorly paced. PG-13 for language.
WHY DID I GET MARRIED TOO? (PG-13) 115 minutes * More of the same as these friends go on another marriage retreat. There are a few bright spots here, but not much new except maybe a slightly less positive approach as more of them struggle with worse situations in their marriages. The message is still about doing the work to fix your marriage, but the emotions are a bit more intense, and the ending is rather sudden. PG-13 for language and violence.
WHY HIM (R) 105 minutes * * 1/2 Daddy's little girl has grown up. And she wants to introduce her boyfriend. He's... a little "out there". Funny in spots, and a few good points, but also a little too outlandish to maintain the humor, frequently going just one step too far. Heavy on crude humor. R for language and sex.
WHY ME? (R) 84 minutes * * A comic jewelry heist film with Gus (Christopher Lambert) and his crazy sidekick Bruno (Christopher Lloyd), being chased around Los Angeles by everyone imaginable after they steal a sacred ruby. This is adapted from a book by Donald Westlake, which is why the story is good and the performances are good too, though seeing Lambert in a comic role isn't what you'd expect. R for language.
WHY STOP NOW? (R) 83 minutes * * * Eli (Jesse Eisenberg) has an audition for an upscale musical school. It would be his way out of a troubled household where his mother is not dealing with her addiction, and his little sister is showing signs of her own troubles. There are moments of clarity and sanity, but Eli isn't sure that will be enough. Eisenberg does a good job here, but it's the supporting work by Melissa Leo, Tracy Morgan, and the rest that really give this story strength. R for language.
WHY WE LAUGH: BLACK COMEDIANS ON BLACK COMEDY (NR) 83 minutes * * * Stellar look at black comedy. This documentary examines not only the artistic, but the social, political, and psychological aspects of black comedy. The film does an excellent job of lifting up all of the positives in the history of black comedy while noting many of the struggles and difficulties that the comedians and the art form have suffered along the way.
WICKED BLOOD (NR) 88 minutes * * 1/2 Dangerous drugs and biker thugs make life difficult for Hannah (Abigail Breslin) and Amber (Alexa Vega). Great characters, but the story is overly complex without the depth needed to flesh it out. It's as if we're missing thirty minutes of film and all we have left are the bare bones of the film without what we need to really get to know the characters all that well.
WICKED GAMES (NR) 77 minutes * 1/2 They haven't been dating long, but Harley (Christine Spang) agrees to go to Kiel's (Markus Silbiger) country home for Halloween weekend. Kiel and his friends have some nasty tricks in store for Harley. But they haven't dealt with someone like Harley before. The story falls apart at the end, doing a dis-service to a strong female lead character.
WICKED LITTLE THINGS (R) 90 minutes * * 1/2 Karen (Lori Heuring) and her daughters Sarah (Scout Taylor-Compton) and Emma (Chloe Grace Moretz) decide to move into a home in the hills of an old mining town. But the children who were buried alive there decades ago are still around. Moretz is the perfect combination of cute and creepy. R for violence and language.
WICKED WITCHES (NR) 77 minutes BOMB When Mark (Duncan Casey) is kicked out of his home by his wife, he needs to find a place to stay. It just so happens that there's a room available at Dumpling Farms. Years ago, Mark and his friends used to go to parties there. Things have changed. The farm is now home to a group of witches who lure the unsuspecting into their web. Most of the effects are very poorly done, and the script is just... bad. Somehow, it actually manages to get worse as it goes along, mostly due to the story itself.
THE WICKER MAN (2006) (PG-13) 97 minutes * * 1/2 Remake of the 1973 film about a policeman who travels to a remote island to investigate the appearance of a girl and finds the residents taking part in some rather strange rituals. The more he uncovers, the more strange it all becomes. Nicolas Cage plays this fairly well, though he does go a bit over the top at times. Angelo Badalamenti's music sets the mood quite well, but the earlier film still has the edge. PG-13 for language and violence.
WICKER PARK (PG-13) 110 minutes * * American remake of the French film L'Appartement with Josh Hartnett as a young investment banker who becomes obsessed with a woman he sees in a restaurant, believing her to be someone he already loved and thought lost. He is not the only one obsessed and in love, and an intertwined triangle quickly takes shape. The flashbacks don't help the pacing of this film and make it somewhat confusing until later in the film as the pace picks up and the characters spin out of control or into true love. There are ways in which we want things to work out well for Hartnett's character, but then again, he is dumping his new fiancee for the possibility to try and rekindle an old relationship. PG-13 for sex and language.
THE WICKER TREE (R) 92 minutes * 1/2 Beth (Brittania Nicol) and Steve (Henry Garrett) go to Scotland to share their music and the gospel message. What they don't realize is that their hosts are looking for the perfect couple to sacrifice in their spring ritual. The mix of religious beliefs and practices is rather strange here, and never explained all that much except as it suits the outcome of the story. The result is that the actions of the characters often don't fit all that well and there's little depth to the story. R for sex and violence.
WIDE SARGASSO SEA (2006) (NR) 84 minutes * * 1/2 In this prequel story to Jane Eyre, the Caribbean is both a beautiful and exotic place. When Edward (Rafe Spall) arrives, he is soon enchanted by the beautiful Antoinette (Rebecca Hall). It is only after they marry that they discover how far apart they truly are. A sensual and mysterious adaptation by the BBC, and very nicely done.
THE WIDOWER (NR) 133 minutes * * * Malcolm Webster (Reece Shearsmith) has become a proficient liar who manipulates women. He marries, them, insures them, and kills them, collecting the money each time they die. Based on the actual case, and set in Aberdeen, Scotland, this is a well-crafted suspense/thriller.
WIDOWS (R) 124 minutes * * * Four women with one thing in common. Their husbands were all criminals, stealing big to try and pay back their debts. Now they are dead, and their widows are left with the debts. A different sort of heist film because of how the characters come together. There are a number of loose ends in the subplots, and it's difficult to tell whether they should have just been cut out, or developed more fully. Adapted from the book "Widows" by Lynda La Plante. R for violence, language, and sex.
WIDOW'S PEAK (PG) 95 minutes * * * The widows that live on "the peak" are a rather strange lot, especially Catherine (Mia Farrow). Young widow Edwina (Natasha Richardson) just doens't fit into the picture... or does she? This is a charming and interesting film with an emphasis on characters, though the ending does have a nice twist. A nice change of pace for those who enjoy an artistic flavor to their entertainment. PG for language.
WIENER DOG (R) 85 minutes * 1/2 The several owners of a particular dachshund, all of whom are rather peculiar people. Quirky, offbeat humor, typical of writer/director Todd Solendz. There is some very character work here by some of the cast, but the story just never really gels. R for language.
WIENER DOG NATIONALS (G) 80 minutes * The runt of a litter gets a chance at the big time. Surprisingly low-key and humorless, though fans of dachshunds will appreciate the screen time they get. Austin Anderson plays the part of the older brother and also sings the closing song.
THE WIFE (R) 94 minutes * * * She has always been his most loyal supporter. Joe (Jonathan Pryce) has just learned that he is to be honored with the Nobel Prize for Literature. He and Joan (Glenn Close) are on their way to Stockholm to receive the honor. The intensity of attention it brings begins to illuminate the cracks in their relationship. In particular, the trolling by hopeful biographer Nathaniel Bone (Christian Slater) shines a light into some very dark corners of the life that Joe and Joan have built. Great work by Close. R for language and sex.
WILD (R) 111 minutes * * 1/2 One way to recover from a crisis is to engage in something that refocuses your energy and life in a new direction. That's what Cheryl (Reese Witherspoon) decides to do. Her chosen way to refocus will be an 1,100 mile hike along the Pacific Crest Trail. It's a solitary quest, though she does have interactions with others, which are more often than not, lacking in pleasantries. The narration tends to cut into Witherspoon's performance, though the character doesn't give us a great deal to like, except, perheps, her willingness to persist in her quest. The ending is very strong though, with the last 15 minutes worth the wait to watch. R for sex and language.
THE WILD (G) 76 minutes 1/2 This definitely ranks as one of the worst Disney cartoons ever, soundly outclassed by the very similar "Madagascar". Not only is the animation rather poor, but the characters are far from appealing. There's an annoying koala bear, a not-too-bright snake, a squirrel with a crush on a giraffe... did someone forget that we need to be able to like the characters, or find a reason for our children to like them? The vocal talents of Kiefer Sutherland, Jim Belushi, Patrick Warburton, and William Shatner are the only redeeming bits here. G for your kids, who will enjoy "Madagascar" much more than this.
WILD AMERICA (PG) 101 minutes * 1/2 True story (basically) of how Marty, Mark, and Marshall Stouffer got started on their quest to film wildlife in America. Considering how well-known their show was, it's a real surprise that so many of the shots of human/wildlife interaction shots here are done with badly stuffed animals. It looks pathetically fake and really detracts from the effect of the film. The scenery is nice, but that's about it. Filmed in Savannah, Georgia and Alberta, Canada. PG for violence and language.
THE WILD AND WONDERFUL WHITES OF WEST VIRGINIA (NR) 85 minutes * * * The White family of Boone County, West Virginia. if the name is familiar, it might be because you remember Jesco White from "Dancing Outlaw". But that was only part of the story. This is the rest of the family. As a study of a particular family i nthe hill country of West Virginia, it's a fascinating film. At times tragic, humorous, frightening, sad, and hopeful. It's not a family that you're likely to forget, no matter what you think about them.
WILD AT HEART (R) 121 minutes * * 1/2 Highly stylized film about an ex-con and his girlfriend head across country pursued by her mom and a hitman. Very much a David Lynch film as far as Photography, colors, editing, and the somewhat grotesque. Nicolas Cage and Laura Dern do nice work here and there are some great characters. The second half of the film is uneven though, and it really hurts the overall effect.
WILD BILL (R) 92 minutes * * Unflattering portrait of Wild Bill Hickock, played by Jeff Bridges, as we follow him through a number of life episodes. The presentation has a disjointed feeling, and we feel more like we're looking at a few pcitures instead of a complete story. Especially considering that this is directed and written by Walter Hill, it has the distinct feeling of a picture that was thrown together far too quickly, giving us only a glimpse of the film it might have been.
WILD CARD (R) 86 minutes * * In trouble with the mob, Nick's (Jason Statham) skills as a bodyguard are going to be put to the test. Lots of great visuals, but not very much substance. The action sequences are typical for Statham , but there's more opportunity for the more personal side of his character. Unfortunately, it wasnt' written very well. which doesn't give him much of a chance to do anything with it. R for violence, language, and sex.
WILD CHILD (PG-13) 88 minutes * * Poppy (Emma Roberts) has been acting out even more than usual since her mom died. With nowhere else to turn, her dad (Aidan Quinn) decides to send her to boarding school in England. She definitely won't be the model student, but she's going to learn quite a bit while she's there. Formula story works well as a vehicle for Roberts. PG-13 for language.
WILD CITY (NR) 98 minutes * * 1/2 He was finished with life as a police officer. But when a woman who's had too much to drink shows up at the bar he now owns, the chase is on. Cops, drug lords, gang members and lots of money are all part of the mix. Plenty of action, a little confusing, but it does settle out nicely by the end.
WILD HEARTS CAN'T BE BROKEN (G) 85 minutes * * 1/2 True-life story of a depression-era girl and her dreams of stardom. Standard Disney fare that gives us a well-told story and solid acting, but it has that familiar feel that keeps us from really getting involved. By the way, no horses actually had to do any high dives for the film.
WILD HOGS (PG-13) 94 minutes * * Four buddies decide to go on a cross-country motorcycle trip. Of course, for these guys, nothing seems to go quite like its supposed to. And then they manage to run into a real motorcycle gang... It's a fun and lighthearted look at male friendship with William H. Macy (the most entertaining of the group), Martin Lawrence, Tim Allen, and John Travolta. Keep an eye out for that surprise cameo from someone who just had to be in this because it's a "biker movie"! PG-13 for language and violence.
THE WILD HUNT (NR) 91 minutes * * 1/2 Erik (Ricky Mabe) doesn't find live action role play that interesting or exciting. Even less so now that his girlfriend is spending so much time with it. Winning her back may not be so easy as these players all take the game very seriously. Those who already understand the appeal and purpose of LARP will get more out of this. A little more background info in the story would have helped those who don't, to have a little more appreciation.
WILD INDIAN (NR) 82 minutes * * 1/2 Makwa (Michael Greyeyes) and Teddo (Chaske Spencer) were cousins who played together as children. They also share a terrible secret. A secret that is about to come to the surface. An interesting mix of calm and tension, both in the story and in the soundtrack.
THE WILD LIFE (R) 91 minutes * Another 1980s film script from the talented Cameron Crowe, though this one just doesn’t seem to go anywhere. The music is good, and the cast have visual appeal, but it just doesn’t have the energy and spark that it needs. Featuring Lea Thompson, Eric Stolz, Chris Penn, and Rick Moranis.
THE WILD LIFE (2016) (PG) 85 minutes * 1/2 The story of Robinson Crusoe as seen through the eyes of a parrot. Nice animation, but not a particularly entertaining story for the younger crowd. Some good songs would have gone a long way toward making this more entertaining... or even interesting. PG for language.
THE WILD MAN OF THE NAVIDAD (NR) 84 minutes * A rural Texas community is terrorized by a strange, wild creature. Low-budget horror that pays homage to horror films of the 1970s, but you should just really watch one of those instead. The wild man here is far from terrifying and is only successful at being a terror because the residents don't seem to be resourceful or all that intelligent.
WILD MOUNTAIN THYME (PG-13) 95 minutes * * * 1/2 There's always been a connection between Rosemary (Emily Blunt) and Anthony (Jamie Dornan), despite the dispute their families have had over land. Still, there are times when love can be stubborn and it can be lost if we aren't careful. A beautiful and sometimes funny love story, set in the Irish countryside. Adapted by John Patrick Shanley from his play, "Outside Mullingar". PG-13 for language.
WILD NIGHTS WITH EMILY (PG-13) 83 minutes * * A somewhat humorous look at the life of Emily Dickinson (Molly Shannon). The focus is on her struggles to get published and her romantic relationship with a woman. The intent at the end of the film seems very serious and appreciative of Dickinson's struggles, but the humorous tone of the earlier parts of the film are at odds with that. Solid acting and wonderful costumes, but questionabel direction. PG-13 for sex.
WILD OATS (PG-13) 79 minutes * * * When the life insurance check comes, Eva (Shirley MacLaine) discovers that it has a couple of extra zeros, turning $50,000 into 5 million. And since the bank was willing to cash it... Cute story with MacLaine delivering another strong performance that carries the film. PG-13 for sex.
WILD ORCHID (R) 100 minutes * * Director Zalman King gives us a sexy, but somewhat empty and unoriginal film. Mickey Rourke and Jacqueline Bisset star, and they both have the right look, but the script lets them down. King is a visual director and doesn't deal all that well with dialogue, so we come away feeling unsure of what the story was and why we kept watching though the images are well-done.
WILD ORCHID II: TWO SHADES OF BLUE (R) 103 minutes * * Nina Siemaszko does a nice job here as Blue, a girl who adapts herself to the role she finds herself in. It's a rather different love story and is a bit uneven, but still interesting. It's also not as "steamy" as advertised though the unrated version does as in a few extra (and rather useless) scenes. Nice soundtrack too!
WILD ROSE (R) 97 minutes * * * Rose-Lynn (Jessie Buckley) has a dream. She wants to be a country and western singer in Nashville. She has the talent and the passion. Getting the break she needs is going to be a little more difficult. Sometimes the distance you need to travel isn't as far as you think it is. Really nice work by Buckley. R for language and sex.
THE WILD STALLION (G) 84 minutes * 1/2 City girl goes to country. Country girl has to watch out for her. Both girls like horses. Bad man tries to catch horses. Got it? Miranda Cosgrove ("iCarly" and "Drake & Josh") and Danielle Chuchran have their work cut out for them with this two-dimensional script. It's harmless enough, but not very interesting either, even to the pre-teens for whom it's intended.
WILD TALES (R) 115 minutes * * * An anthology film with six shorts that deal with various people and their extreme reactions when faced with difficult situations. They are morality tales, with a dark and sometimes twisted sense of humor. An interesting collection, though the connection between them is not particularly strong. R for violence, language, and sex.
WILD TARGET (PG-13) 90 minutes * * * It was just supposed to be one last job, but we all know what seems to happen with that idea. What's worse, Victor (Bill Nighy) appears to be falling for his target. Rose (Emily Blunt) may manage to survive this hit after all. And to make things more complicated, Victor has agreed to train an apprentice (Rupert Grint), though he's regretting that decision already. Plenty of bits of humor scattered throughout, making this a fun film that's well worth a look. PG-13 for violence, sex, and language.
WILD THINGS (R) 99 minutes * * * Sean Lombardo (Matt Dillon) finds himself in a fix after being accused by a student of rape. But there's more than meets the eye with this teacher. Do he and Kelly (Denise Richards) have a plan behind this? Are they really conspiring with Susie (Neve Campbell)? Will Detective Ray Duquette (Kevin Bacon) be able to put all the pieces together? The story manages to keep us interested as it twists and turns its way through rape, murder, and more, all the way to the end. (Be sure to watch well into the credits to get all the answers!) Filmed in south Florida. R for sex, violence, and language.
WILD THINGS 2 (R) 90 minutes * 1/2 More conniving and opportunistic people trying to out manuever each other in the pursuit of a $70 million inheritance. If you saw the first one, you've already seen this one, only with better actors. As with the first, there are scenes in the credits that explain the parts you missed and continue the story a bit. R for sex, language, and violence.
WILD THINGS: DIAMONDS IN THE ROUGH (R) 82 minutes * Third in the series features more of the same... only the films keep getting shorter. Written by the same team who wrote part two. A bit less violent and a bit more skin than the second one, but otherwise no surprises. R for sex, language, and violence.
THE WILD THORNBERRYS MOVIE (PG) 77 minutes * * Young Eliza, voiced by Lacey Chabert, is responsible for a cheetah cub that ends up getting snatched by poachers. Now she must find a way to put things right. The Wild Thornberrys isn't exactly a cartoon for small children, as there is a good deal of humor present that is more appropriate for teenagers, but the story is harmless enough. In fact, though Eliza is the focus of the story, it's her older sister Debbie's sardonic wit that will keep the parents and older siblings in the audience more entertained. PG, and rightly so, for violence.
WILD WILD WEST (PG-13) 99 minutes * Crammed with special effects to try and impress us, but with little in the way of story to keep us interested. In fact, despite the obvious cost involved with the effects, this has the look and feel of a very low-budget production. As with many comedies of the 90's, this is laden with in-jokes referring to other contemporary films. It would appear that what began as a great idea (bringing a fun old, often over-looked TV series to the big screen) went awry with the same problem that plagues so many films... a lousy script. PG-13 for language and violence.
WILDCAT (R) 89 minutes * * Captured after her convoy is attacked, Khadija Young (Georgina Campbell) is tortured, along with the only other survivor of the attack. As the interrogation continues, we learn more about the characters, but even with the torture, we're suspicious of what is truth and what is not. There's some good intensity, but believability is inconsistent. R for violence and language.
WILDCATS (R) 103 minutes * * 1/2 Another school sports film, with the underdog being the coach (Goldie Hawn), rather than the team. Lightweight, but Hawn is able to give us a good mix of charm and niavete and the rest of the cast works well to support her. R for language and nudity.
THE WILDEST DREAM: CONQUEST OF EVEREST (PG) 90 minutes * * * More than just the story of Mallory's fateful journey to the top of Everest, this is the story of Conrad Anker. On one of his trips up the mountain, Anker discovered Mallory's body. Ever since then, he was determined to reach the summit in the same way that Mallory supposedly did. An unusual documentary in that it is both beautiful and haunting with a story of two lives that are entwined though the people never met. PG for language and violence.
WILDFIRE: THE ARABIAN HEART (NR) 71 minutes 1/2 City girl goes to the country with her family and falls in love with a horse. The photography is nice, but poor sound editing and stiff dialogue ruin most anything this film might have had to offer. It's another great example of one person trying to do far too much. Singer/songwriter Michael Vincent served as writer, director, producer, composer, assistant editor, and actor. Ambitious? Yes. Smart? No.
WILDLAND (NR) 74 minutes * * 1/2 An intimate look at the training of a fire fighting crew in Oregon. The film is less about fighting fire and more about who does this sort of work and what it means to them. The motivation for someone to put their life at risk to stop fires is not always simple or easy to understand or explain. The film is good, but much like the work of fighting a fire, it can be slow and a little tedious.
WILDLIFE (PG-13) 101 minutes * * * When he loses his job at the golf club, Jerry (Jake Gyllenhaal) leaves to fight the forest fires, working for only a dollar a day. It's difficult for his son Joe (Ed Oxenbould) to understand. But what Joe understand even less is his mother's reaction to what his father has done. She seems to be instantly ready to move on with her life. A film about family, and what it means when a family doesn't continue like you thought it would. Adapted from the book by Richard Ford. PG-13 for sex and language.
WILDLING (R) 86 minutes * * 1/2 Until she is sixteen, Anna (Bel Powley) knows no one except her "daddy", who tells her strange and frightening tales of the "wildling", a monster who eats children. An interesting story that keeps us guessing what direction it will take for quite a while. R for violence, language, and sex.
WILL YOU STILL LOVE ME TOMORROW? (NR) 103 minutes * * 1/2 At his sister's engagement party, Wei-chung (Richie Ren) begins to realize that he might be missing out on something. He just got a promotion at work, his wife wants another baby, but what does he want? Light-hearted, yet still serious look at traditional and non-traditional family structures.
WILLARD (PG-13) 96 minutes * 1/2 Remake of the 1971 classic with Crispin Glover starring as the friendless Willard Stiles. Does a great job of capturing the right "look" but that's about it. There wasn't really that much substance to the original either, but this struggles with too many slow spots that just kill the pace. It's too bad because Glover really does do a nice job in all but one scene. Be sure to stick around through the end to hear him sing "Ben". PG-13 for violence.
WILLIAM & KATE (NR) 85 minutes * * 1/2 The Lifetime TV network wasted no time in getting this bio-pic about Prince William and Kate Middleton out. It's a fairly straightforward drama with good performances by Camilla Luddington and Nico Evers-Swindell as William and Kate. Nothing remarkable, or risque, just good drama.
WILLIAM AND THE WINDMILL (NR) 93 minutes * * * In a small village in Malawi, a boy gets an idea. And with just a little help, he builds a windmill that saves not only his family, but his village. This is also, and perhaps even more, the story of what happened after this amazing achievement. William's life changes dramatically, and navigating that change is quite difficult. There are some subtle questions in this documentary about fame, achievement, and the intervention of others. Interesting to consider.
WILLOW (PG) 120 minutes * * * This is the story of a baby princess who is to grow up and conquer the wicked queen who now rules the kingdom. The story is far from original, but still manages to be entertaining. Thanks is due in large part to Warwick Davis, who does an outstanding job as Willow, and to Val Kilmer, who is fun to watch as he portrays the swordsman Madmartigan. The soundtrack by James Horner does a perfect job in setting the atmosphere, at times fierce and dramatic, and at other moments quiet and gentle... a true masterpiece. All in all, a nice fantasy film from director Ron Howard with a story co-written by George Lucas and Bob Dolman.
THE WILLOWBROOK (NR) 71 minutes * 1/2 Invited to stay at a retreat center run by the wellness guru she has been following, sounds like a great deal to Jordan (Erin Day). The longer she stays there, the less if feels like it was a good idea. Lucy (Jessica Bishop) has a rather twisted idea of how to help people. The plot idea isn't bad, but there are lots of holes in the story, and not nearly enough character development.
WILLY WONKA AND THE CHOCOLATE FACTORY (G) 98 minutes * * * A fun fantasy trip through a chocolate factory with Gene Wilder and friends. The sets are a real treat to see and the story, from Roald Dahl's classic children's book, has long been a favorite for many people. There are a couple of scenes that may frighten the littlest viewers for a couple of minutes, but not any more than most children's films have.
WILLY'S WONDERLAND (NR) 83 minutes * 1/2 Willy's Wonderland is in bad shape, and he (Nicolas Cage) needs money to pay for his car to be fixed. So, he becomes an overnight janitor. But there's a reasons Willy's Wonderland is in such bad shape. He's about to find out all about it as he spends the night not just cleaning, but fighting for his life. This is very much missing the sense of humor it needs to be a better film.
WILSON (R) 89 minutes * * * Wilson (Woody Harrelson) has always struggled with relationships. When his father dies, he really starts feeling detached, and becomes a little more desperate to find a partner. Alternately humorous and serious, we follow Wilson in his search to find what he needs. The balance is a little tricky to maintain, and the film does struggle with that a few times. Wonderful work by Harrelson, well-supported by a great ensemble cast. R for language and sex.
WIMBLEDON (PG-13) 93 minutes * * * Peter (Paul Bettany) thought his tennis days were over. One last chance to play at Wimbledon and then it was off to teach tennis at a resort. But when he meets Lizzie (Kirsten Dunst), his game begins to improve. Lizzie's father isn't so excited though. He feels that Lizzie's game will get worse if she's involved with anyone. Is winning the game worth losing the love? Or is it possible to have both? It's a nice story, well-told, and well acted by Bettany. PG-13 for language and sex.
WIN A DATE WITH TAD HAMILTON (PG-13) 91 minutes * * 1/2 Tad's image has grown a bit tarnished of late. In an effort to help it along, it's decided that Tad should offr some lucky winner an evening out on the town and raising money for charity at the same time. It's a cute film with a nice ending, covering familiar territory, but pleasant enough to watch. The moral is that there's a "Tad Hamilton" out there for each of us if we'll only keep our eyes and hearts open. If you like your entertainment on the light side, this isn't a bad choice. PG-13 for language.
WIN WIN (R) 102 minutes * * * Mike (Paul Giamatti) isn't a bad guy, but with his finances in bad shape, this particular opportunity looks like a good one. Little does he know that there will end up being strings attached and a whole series of consequences. Tom McCarthy does a nice job with the screenplay, from a story he wrote with Joe Tiboni. As with McCarthy's other scripts, the characters feel real, and wrestle with dilemmas that seem very natural to those of us watching. Nice ensemble cast too. R for language.
WINCHESTER (PG-13) 91 minutes * * * Dr. Eric Price (Jason Clarke) is hired to investigate the mental health of Sarah Winchester (Helen Mirren), as several people are interested in having her committed. Sarah believes her house to be haunted by the souls of those who have been killed by the rifles her company makes. She may be right. Wonderfully creepy, but because the reasons for the hauntings are very clear, there is an equally strong sense of both peace and fear. It's an interesting and unusual combination. PG-13 for violence and sex.
WIND (PG-13) 121 minutes * * 1/2 The running of the America's Cup provides the background for this film, but it's not just a film about sailing or racing. It's about giving your all to achieve a dream. Matthew Modine's performance is lackluster to say the least. In a film whose story is about committing yourself completely to be able to achieve a lifelong dream, Modine performs like this is a part-time job he decided to take on to earn a little spare cash. The other problem here is that there just isn't enough character development. The scenery is nice and sailing enthusiasts might enjoy it, but it's a little to narrow in focus to be of much interest to others. PG-13 for language and nudity.
THE WIND (2018) (R) 84 miunutes * * 1/2 The wilderness of the American West in the 1800s was a harsh and unforgiving environment. Wide-open space was everywhere, and it often drove people to madness. This is the story of Lizzy Macklin (Caitlin Gerard), one particular woman who succumbs to the pressures of this wild, western environment. Very nice suspense, and several little twists and turns along the way. R for violence and sex.
WIND CHILL (R) 87 minutes * 1/2 Another of the "what happens when you stray off the main road" horror films. This does have a little more of a thoughtful ending than most in this sub-genre, which helps us feel a little more sympathetic with the main character, and a little more connected to the story. R for violence.
THE WIND IN THE WILLOWS (NR) 94 minutes * * * Rat and Mole, along with Badger, decide they should help save Toad Hall, despite Toad's rather carfree approach to everything. If they don't, the weasels might take over, and that would be bad for everyone. One of Rankin/Bass's better films, with some very nice animation. Featuring the vocal talents of Roddy McDowell, Charles Nelson Reilly, and Jose Ferrer. The title song is sung by Judy Collins. Adapted from the book by Kenneth Grahame.
THE WIND JOURNEYS (NR) 116 minutes * * * They say that the accordian Ignacio (Marciano Martinez) plays once belonged to the devil. He's on a journey to return it to his old teacher now, but Fermin (Yull Nunez) wants to be his apprentice, and their journeys seem destined to be intertwined. Interesting story that feels like folklore and has a charm that's difficult to describe.
THE WIND RISES (PG-13) 118 minutes * * * Jiro dreams of flying and yet his poor eyesight would prevent him from becoming a pilot. What he CAN do is become and aeronautical engineer. He does, and becomes one of the best and brightest. Beautiful animation in this story of aeronautics, science, adventure, and love. PG-13 for violence.
WIND RIVER (R) 100 minutes * * * 1/2 When a young Native American goes missing, few people seem to care. But when her body is discovered a few days later, Cory (Jeremy Renner), a tracker with the U.S. Fish and Wildlife Service, feels compelled to investigate. He will uncover a tangled web, but he is also determined that this time, justice will be served. A great cast, and the story covers quite a bit of territory in a relatively short time. Well-designed. R for violence and language.
THE WIND THAT SHAKES THE BARLEY (NR) 125 minutes * * 1/2 The Irish war for independence is the setting for a story of brothers who find themselves on opposite sides. The longer the struggle continues, the more they find their views moving apart. Well-performed by the whole cast, though we find ourselves feeling like we don't really know anyone except Damien (Cillian Murphy) and Teddy (Padraic Delaney). The strength of the story definitely keeps us interested, but stronger and more complete character development of the supporting cast would have strengthened the film.
THE WINDERMERE CHILDREN (NR) 87 minutes * * * Windermere housed roughly three hundred youth at the end of World War II. These were young people who were without families, at least for the moment. They needed a place to stay as well as time to get used to what in meant for the war to be over. A brief but powerful story, based on fact, focusing on the lives of a few of those who stayed at Windemere and who were still alive at the time the film was made.
THE WINDOW (NR) 74 minutes * * * Antonio is turning 80. But waiting for his son to come is only reminding him of how much of his life he's missing now that he is confined to bed. And so, he finds his way outside to enjoy what he's been missing. Wonderful and gentle piece of filmmaking.
WINDOW WONDERLAND (NR) 86 minutes * * 1/2 It's the Christmas season and McGuire's is looking for a new window dresser. Sloan (Chyler Leigh) desperately wants the job. She's good at her job, but so is Jake (Paul Campbell), and he's in line for the job too.
WINDSOR (NR) 92 minutes * * The end of high school is a time for decisions that can change a person's life. These six friends are facing those choices right now. There are reasons to leave as well as reasons to stay. The story never really relaxes and lets the characters be who they are, but instead keep pushing the idea that Maisie (Madelyn Deutch) needs to leave to start over and have a better life. The ending just sort of wanders off a side road.
WINDSTORM (NF) 101 minutes * * Mika (Hanna Binke) discovers her love for horses as well as confidence in herself in this German drama. A fairly typical "girl and her horse" film.
WINDTALKERS (R) 130 minutes * * * Joe Enders (Nicholas Cage) has a new assignment. His job is to protect the code-talker. Ben Yahzee (Adam Beach) is a young Navaho man who knows the new code, based on the Navaho language, that the military is now using. If any of the code-talkers fall into enemy hands, the code will be compromised. Definitely a graphic war film, this doesn't flinch at showing us how violent war can be. At the same time, it isn't exaggerated, it's just always there. The story does a nice job of showing several different aspects of the war on a larger scope while involving us on a more intimate level with Enders' story. He's just trying to be a good Marine and follow orders, but that becomes more difficult when emotions get involved, and as hard as he tries, that still manages to happen. Nice supporting performances from the rest of the cast and a strong soundtrack from James Horner. R for violence and language.
WING COMMANDER (PG-13) 95 minutes * * 1/2 We're at war with the Kilrathi and they may have acquired the technology that will let them make a jump through space and attack the earth before defenses can be put in place. If you're familiar with the game that inspired this, you may be a bit disappointed with the differences. The film does have heart though, and there's an energy to the acting and story that remind me of some of the better small science fiction films of the 80's. It's nothing that will amaze of astound you with its special effects, but it's fun, and sometimes that's enough. PG-13 for violence.
WINGMAN INC. (R) 102 minutes * * Bobby (Kristopher Turner) runs a business helping men have success in their attempts to start relationships. Kristy (Erin Cahill) runs a business that helps women stop men who are making unwanted advances. So, it doesn't take much imagination to see where this is headed. Mildly entertaining, but a very tired script. R for sex and language.
WINGS OF THE DOVE (R) 98 minutes * * * It's 1910 in London, and Kate (Helena Bonham Carter) has been trying to find a way to get ahead in life. Caught in the web that goal can create, she also finds herself caught in a triangular relationship with Merton and Millie (Alison Elliott). It's a story of manipulation, trust, and love, and the unexpected effect they have on this young woman. A tragic story, that has but one way to end. A bit labored in spots, though that isn't unusual with the source material coming from Henry James. This manages to make for a better film than many of his other novels though. R for sex.
WINNIE MANDELA (R) 102 minutes * * 1/2 The story structure of this bio-drama is awkward in that in begins and ends as a love story, but spends the bulk of the film focusing on Winnie's political efforts and the violence that undermined her efforts for so long. Nice acting by both Terrence Howard and Jennifer Hudson, but not their best work. R for violence and language.
WINNIE THE POOH (G) 51 minutes * * * Worried that Christoher Robin has been taken captive by a mysterious creature called the "Backsoon", Pooh and friends try to figure out what to do. In the meantime, they must find Eeyore's missing tail, and Pooh, of course, must find some honey. Nice entry in the series, with John Cleese providing the narration and Zooey Deschanel singing.
WINNING FORMULA (NR) 94 minutes ½ Tilda (Claudia Pickering) and Liz (Prudence Vindin) are having a great time travelling across the United States… until they run into some people who offer them an amazing opportunity to bet on a turtle race. They lose big time, and have to figure out how to repay the debt. In their attempts to earn the money, they get involved (by accident of course) in their family’s sordid past. It’s a comedy, but it’s just not funny, though a five-minute skit with these two characters would probably work.
THE WINNING SEASON (PG-13) 97 minutes * * Bill (Sam Rockwell) has had more than his share of bad luck lately. When he's asked to be the coach for the girls' basketball team, he's not too sure it's a good idea. When he meets the girls on the team, he's really sure it's not a good idea, but he decides to give it a try anyway. It will be a game changer for all of them. A little silly, but it also manages to be just a little sweet. PG-13 for language.
A WINNING TEAM (NR) 83 minutes * * She's a professional soccer player, but her behavior has resulted in her being suspended from playing. Emily (Nadia Hatta) finds herself coaching a small-town youth soccer team when she accidentally injures their coach (Kristoffer Polaha). They end up spending some time together (of course, this is a Hallmark movie), but their coaching styles andviews about winning are very different. Some nice chemistry between the leads.
WINTER CASTLE (NR) 83 minutes * * 1/2 Jenny (Emilie Ullerup) would love to get one of her stories published. When her sister plans a destination wedding at an ice hotel, the adventure involved with the situation just might lead to a story. There might also be a little romance in the air.
A WINTER GETAWAY (NR) 83 minutes * * Courtney (Nazneen Contractor) is a concierge for the wealthy. Her latest client is somewhat unusual. It might be due to the fact that he isn;t really rich. This vacation was given to him by a friend, but he is enjoying it as best he can. What will Courtney think when she finds out the truth?
WINTER IN THE BLOOD (NR) 92 minutes * * 1/2 Virgil (Chaske Spencer) is lost. At first, he wakes up away from his home, which is confusing, but his lack of direction is internal and spiritual. He begins his journey by looking for the wife who left him and the rifle she took, but what he really needs to find is within. Beautiful and heartbreaking story, adapted from the novel b James Welch. The flashbacks aren't always very well edited into the flow of the film, which has a negative affect on the pacing.
WINTER IN VAIL (NR) 83 minutes * * Inheriting a chalet in Vail, Colorado, Chelsea (Lacey Chabert) quits her job to take a break from everything. Vail is the perfect place for that. And handyman Owen (Tyler Hynes) is an added bonus that might make staying in Vail a more pleasant prospect. The story is a little thin, but the scenery is quite nice.
WINTER LOVE STORY (NR) 84 minutes * * 1/2 Cassie's (Jen Lilley) first book isn;t selling all that well. She has an amazing opportunity to go on a book tour with a successful (and handsome) writer. She's not good with crowds, but that just might change. Lilley is charming, but the supporting cast do a wonderful job here, and help make this a fun story.
WINTER OF FROZEN DREAMS (R) 87 minutes * * 1/2 Barbara Hoffman (Thora Birch) was a successful student at a midwestern university when she decided to drop out and start working at a massage parlor. Did she kill Harry Berge (Dan Moran)? Or what about Jerry Davies (Brendan Sexton III)? Was she set up? Hoffman is truly a puzzle, and Birch does do a nice job of showing that aspect. We want to understand her, but she does nothing to help. There seems to be little that motivates her except money, but even that motivation doesn't seem particularly strong. Kenneth Lampl's soundtrack is very good, with modds that are often lyrical, but at times moving to a sound that is more mysterious and sinister. R for language and sex.
WINTER PASSING (R) 94 minutes * * * Introspective piece about the daughter of writers, who is given the chance to sell the love letters of her mother. But as she decides what she well do, she discovers much more about her own past, and what that means to herself and to others. Zooey Deschanel does an excellent job as the moody and sometimes cynical Reese, supported nicely by both Ed Harris and Amelia Warner. Will Farrell is somewhat miscast here. He manages to do a fair job, though he resorts to comic bits at times that just don't fit that well. Nice work from first-time director Adam Rapp. R for language and sex.
A WINTER PRINCESS (NR) 82 minutes * * 1/2 Carly (Natalie Hall) has been working at a ski resort without anyone knowing that she's actually a real princess. Her secret is about to get out though, and that's going to change everything. A cute royal winter romance from Hallmark.
WINTER SLEEP (NR) 194 minutes * * * A small hotel in the middle of a desolate but beautiful area. It serves as home for Aydin (Haluk Bilginer) and Nihal (Melisa Sozen), but tensions have been building. The film has a very theatrical style, heavy with dialogue and emotion, but the cinematography is very intimate and personal.
WINTER SOLSTICE (R) 86 minutes * * Struggling with the recent loss of his wife, Jim Winters (Anthony LaPaglia) also finds his two sons beginning to pull away from him as well. This rather slow-moving slice-of-life film takes us through much of this rough time for a man and his two sons, as they cope with their loss and begin to move on with their lives. Aaron Stanford and Mark Webber play the sons quite well, but LaPaglia seems a bit lost at times. Perhaps that's part of his character, but since that isn't clear, it weakens the film rather than strengthening it. R for language.
WINTER'S BONE (R) 95 minutes * * * 1/2 The beautiful Ozark Mountains of Christian and Taney counties in Missouri, serve as the backdrop for the story of Ree (Jennifer Lawrence). She needs to find her father, who is due in court on drug-dealing charges, or their lands and home are forfeit. Some of her relatives might know where he is, but they are far from the friendliest of family members, and the Ozark Mountains have secrets that Ree is only beginning to fully understand. Haunting and powerful drama, adapted from the book by Daniel Woodrell. R for violence and language.
WINTER'S DREAM (NR) 83 minutes * * Their ski resort isn;t the biggest, but Kat (Kristy Swanson) and her dad love the sport and enjoy helping beginners as they learn it. Kat is going to end up teaching a young skier and falling in love with that skier's dad (Dean Cain). Swanson does better than Cain here, but it still works.
WINTER'S TALE (PG-13) 111 minutes * * * * When Peter (Colin Farrell) sees Beverly (Jessica Brown Findlay), he knows that he's in love. True love. There are forces at work to keep them apart, but there are others that are working to help them. A magical tale of love, angels, and possibilities. The cast is superb, and writer/producer/director Akiva Goldman had already worked with many of them on previous films. Adapted from Mark Helprin's book, this is a wonderful love story/fantasy for the romantic soul. PG-13 for violence and sex.
WINTERVENTION (NR) 98 minutes * * 1/2 Warren Miller takes his extremist ski friends to Antarctica and numerous otehr locations across the globe as they feed their unquenchable thirst for skiing the most extreme slopes. Stunning scenery, and amazing skiing as always.
THE WIPERS TIMES (NR) 88 minutes * * * In the dark and dreary trenches of World War I, morale was not particularly high. Thus was born "The Wipers Times", a small newspaper that used satirical humor to improve morale. A wonderful look at an important but little known contribution to the war effort.
WIRE ROOM (R) 93 minutes * * It's his first night working the wire room, and it should be pretty simple. That's not going to be the case for Agent Justin Rosa (Kevin Dillon). Shane (Bruce Willis) gives him a list of rules, and Rosa manages to break them all. The story might have worked, but the dialogue isn't very strong and most of the performances lack depth. In fact, one of the more interesting aspects of the film is trying to keep track of how many "bad guys" there are. They keep multiplying... as do the number of bullets in the gun clips. R for violence and language.
WIRED (NR) 132 minutes * * Promotions sometimes carry a heavy price tag. Louise (Jodie Whittaker) quickly finds herself in the middle of a banking scam that's worth millions of dollars, but there's no one she can trust. The story itself doesn't lack intensity, but the performances are rather half-hearted.
WISDOM (R) 100 minutes * * John Wisdom (Emilio Estevez) shares a lesson that he has learned: that if you make a mistake, the world around you will never let you forget it. Except the real mistake here is that Estevez hasn’t been in enough films yet to be able to effectively handle the challenges of writing, directing, and starring in a film. In the meantime, we will have to deal with mediocre films like this, that also have very confusing endings. It’s possible that it was all a dream, but perhaps it was a memory. We’ll never know. R for violence, language, and sex.
THE WISE KIDS (NR) 92 minutes * 1/2 A coming of age story set in Charleston, South Carolina in and around a Baptist church. These three youth are coming to terms with their live as they wrestle with faith, doubt, sexuality, and friendship. Their lives are in flux, and they are wondering when it will all settle down. The dialogue is not all that strong here, and at times, the film really tries to be artistic, but instead draws attention away from the characters and the story.
WISH I WAS HERE (R) 99 minutes * * * 1/2 Aldan (Zach Braff) finds himself at a turning point in his life and the choices aren;t necessarily easy to make. Braff and his older brother wrote the script, and it's a comfortable fit for both of them, mixing drama and fantasy along with some offbeat elements that are heavy with symbolism. Kate Hudson's performance is the weak link here, lacking the consistency that would have provided a stronger story. R for language and sex.
WISH UPON (PG-13) 86 miutes * * 1/2 In this version of the classic "Monkey's Paw" story. a young girl finds a Chinese wishing box. There are seven wishes allowed to each who possesses the box, but they come with a heavy price. The temptation is something that seems to grow with each wish, even as she becomes aware of the price. Good tension and suspense, even though there aren't really any surprises. PG-13 for violence and language.
WISH UPON A UNICORN (PG) 90 minutes * * 1/2 Moving to their granmother's farm in the country isn't easy for Mia (Ryan Kiera Armstrong) and Emma (Summer Fontana). It's a far cry from what they were used to in Chicago. The magical baby unicorn they find might help, as long as they can keep the bad guys away. Fun children's adventure film that's a little better than average thanks to the talents of Armstrong and Fontana. PG for language
WISH YOU WELL (NR) 97 minutes * * * When Lou's (Mackenzie Foy) father is killed in a car accident and her mother is incapacitated, she and her little brother go to live with their great-grandmother. Things are a little different there, and Louisa (Ellen Burstyn) is in the middle of a fight to keep her land. Well-told, though not an unfamiliar story, with a pace and structure that draws us in quite nicely. Filmed in Giles County, Virginia.
WISH YOU WERE HERE (R) 90 minutes * 1/2 On holiday in Cambodia, four friends enjoy themselves. But only three of them return home. What happened to the other is a mystery, until secrets slowly begin to surface. None of the characters here are very likeable, and the story tends to beat its solitary note until it finally answers the question. R for language, sex, and violence.
THE WISHING TREE (NR) 86 minutes * * When the local holiday wishing tree is vandalized by one of his students, Professor Farnsworth (Jason Gedrick) works to give him one more chance. It’s a good story, but Gedrick plays this a little too relaxed and casual to be very convincing that he’s really working for another chance for this student.
WISHMASTER (R) 84 minutes * 1/2 Released from his prison inside a fire opal, the Djinn is now free. He can grant wishes to anyone, though they are twisted to his own ends. The third wish of the one who set him free will release the Djinn's minions. Lots of cheap noise scares and great special effects. Our leading lady is styled after Linda Hamilton, but has none of her acting skills. A very corny ending caps off a weak horror film, rated R for violence and language.
THE WITCH (R) 88 minutes * 1/2 A slice of life piece about a family in the New England area in the 1630s who are being affected by witchcraft. At times, it is merely the accusation that creates difficulty, while at others, it is actual witchcraft. That uncertainty, or drifting between the two ideas weakens both the ending and the story as a whole. R for violence and nudity.
A WITCH AND THE WEREWOLF: THE MOVIE (NR) 62 minutes * * 1/2 Sabrina's friend Harvey puts on the wrong jacket and turns into a werewolf. Now she has to figure out how to set things straight. Very much the same sense of humor as the live-action TV show, so fans of that series will find this fun as well.
THE WITCH FILES (NR) 84 minutes * ½ Five misfit girls decide to create a coven. It’s surprisingly effective, and they are soon able to achieve whatever they desire. What they somehow missed in their rapid progression of learning spells and potions, was that there is a cost for each spell. The story works well, but the dialogue is poorly written and the acting is rather stiff. It’s also unfortunate that the ending doesn’t deliver a stronger final note.
WITCH HUNT (R) 93 minutes * * 1/2 The United States where Claire (Gideon Adlon) lives is a little different from the one we know. Witchcraft is real. It's also against the law. Claire lives in a comunity near the Mexican border where her mother and others help witches get across the border to safety. If witches are found, they are often killed. Just as Claire was deciding that she disagreed with her mother about the work she was doing, she finds herself helping two young witches who are close to her own age. The ending won't go over well with everyone, but it's not like they didn't tell you it was coming. R for violence.
THE WITCH IN THE WINDOW (NR) 75 minutes * * 1/2 It seemed like a good idea at the time. His wife has been having trouble handling their son (Charlie Tucker), so Simon (Alex Draper) takes him for awhile to help work on a house he's flipping. But something is wrong with this house. The spirit of its former owner is still there. And she's getting stronger with each repair that Simon completes. Some very good chills and a couple of nice twists, along with a very fitting ending make this worth a look.
WITCHBOARD (R) 94 minutes 1/2 Lots of cheap scares and cardboard characters in a very predictable story about a party, a ouija board, and the demon they manage to contact. There are some good camera angles, but that's far from enough to make this interesting.
THE WITCHES (PG) 88 minutes * * An imaginative tale of a boy and his grandmother doing battle with a group of witches who are plotting to kill all the children in England. The mix of puppetry and live action is fairly good and the story is entertaining, but it just never really seems to have what it needs to bring it above mediocrity. Anjelica Huston plays the Grand High Witch in this adaptation of Roald Dahl's novel. PG for violence.
THE WITCHES (2020) (PG) 95 minutes * * Another adaptation of the Roald Dahl story about a boy who becomes a mouse who becomes a hero. The special effects are very good, but this version is overly cartoonish, and while this makes it sometimes fun to watch, it struggles to have the depth it needs, instead relying on humor to carry it along. The story deserves better. PG for violence and language.
A WITCHES' BALL (PG) 88 minutes * * Beatrix (Morgan Neundorf) was talented and lucky enough to be named valedictorian of her class. But she just broke the crystal ball with which she was entrusted. How can she get it fixed in time for the Witches' Ball? Cute adventure for the younger crowd. PG for language.
WITCHES IN THE WOODS (NR) 87 minutes 1/2 A group of college friends take a break and go on a snowboarding trip in a remote and less developed area to avoid the crowds. Of course they get lost and find themselves in a mysterious, wooded area that just happens to have a history of witchcraft. A good bit of the film simply has to do with winter survival skills, and the film also suffers from having too many characters that don't generate any sympathy from us.
THE WITCHES OF EASTWICK (R) 113 minutes * 1/2 Three women of differing backgrounds live in the small New England town of Eastwick. They have been friends for years. Only one of them even suspects that there is anything supernatural in their friendship. However, they will soon realize not only that they have a unique power, but that with power comes much responsibility. It sounds like a good story, and John Updike's novel that this is adapted from was well received. What we have on screen is a strange mix of drama, comedy, and horror that is a rather muddled mess. Crass and vulgar at times, this manages to waste the talents of a great cast. (Jack Nicholson, Cher, Susan Sarandon, Michelle Pfeiffer)
THE WITCHES OF OZ (NR) 161 minutes * * Dorothy Gale (Paulie Rojas) is an author of children's books about a mysterious place called Oz. She doesn't remember that it's real because once you leave, you forget... though that doesn't seem to apply to the witches, which is just one of the confusing bits here. Another is why Rojas was cast in the lead role. She's not the only one who doesn't fit here, though Lance Henriksen, Sean Astin, Ethan Embry, and Christopher Lloyd are all quite good. Even the special effects are a mixed bag, with some fairly good ones, and others that are quite bad.
WITCHING & BITCHING (NR) 119 minutes * * It was supposed to be a simple robbery, but getting away with it becomes a bit more difficult when they run into some witches. Offbeat humor is a sort of caper film that also has some suspenseful moments that lean toward horror. A great cast, but never quite gete a solid footing.
THE WITCHING SEASON (NR) 75 minutes * * 1/2 A collection of five short horror films that originally aired on television over the course of almost three years. "Killer on the Loose" which is self-explanatory. "Princess" shows us a new house with a mysterious basement, "Not Alone" gives us a situation that is unsettling because of waking up from a nightmare to discover that someone (or something) else is in the room. Then there's "They Live Inside Us" where a night in a haunted house becomes a little too real for a writer who is looking for inspiration, and "Is It You?" with someone outside the house who might or might not be someone she knows. The budget is pretty minimal, but the stories aren't bad and the music is creepy.
WITCHVILLE (NR) 87 minutes * 1/2 Malachy (Luke Goss) is the new king, and the kingdom isn't doing so well. Witches seem to be the culprit, and Malachy and a small band of warriors set off to defeat them. Relatively low budget sword and sorcery film. The costumes are fairly good, as are some of the fight scenes. The ending doesn't make much sense though.
WITH GREAT POWER: THE STAN LEE STORY (NR) 76 minutes * * 1/2 From his beginnings, working for Joe Simon and Jack Kirby at Timely Comics, this is the story of Stan Lee, creator of Marvel Comics and co-creator of so many of today's well-known comic book characters. One of only nine men listed as "playwrights" in the armed forces in World War II, he was almost ready to quit the business, turning out a story with a new group of characters called the "Fantastic Four", expecting that he would probably get fired for writing it. The rest is comic book history. Everything is here, from the early days, to reaching new audiences with animation, the bad film adaptations of the 1980s and 90s, to the success of the X-Men, Spiderman, and Avengers film series. An absolute must for fans of the genre.
WITH HONORS (PG-13) 96 minutes * * * The story of four college roommates during their last semester at Harvard. Their lives begin a dramatic transformation when they get to know Simon B. Wilder (Joe Pesci), who goes through his own transformation as he begins to open up and truly care about these four college students. Memorable and well-written, the film also features Brendan Fraser, Moira Kelly, and Patrick Dempsey. PG-13 for language.
WITH LOVE, CHRISTMAS (NR) 83 minutes * * 1/2 Secret Santa is going to happen this year at their office. Melanie (Emilie Ullerup) loves the idea since she loves Christmas. Donovan (Aaron O'Connell) on the other hand, has no use for it. Guess who drew each other for the Secret Santa gift exchange? On top of that, they have to work together on a project for their ad agency.
WITH THIS RING (NR) 87 minutes * * At their friend's wedding, Trista (Regina Hall), Viviane (Jill Scott, and Amaya (Eve) make a vow to be married, or at least close to it, before a year is up. It's not going to be easy. Nice acting, despite how contrived the story is.
WITH/IN (NR) 196 minutes * * 1/2 Thirteen short films made by actors and their families during the Covid pandemic. Featuring Sanaa Lathan, Chris Cooper, Rosie Perez, Julianne Moore, Don Cheadle, Carla Gugino, and lots of others. Most of the short films are very good. Still, there's nothing of note to connect them, making us feel like we're binge-watching an artsy TV show, because as a disconnected film, it just runs far too long.
WITHOUT A FATHER (NR) 121 minutes BOMB Boy loses father and ends up being raised as part of a friend's family. His adoptive brother grows up to be a jerk, he grows up to be a criminal, but it all works out when they become Christian. Incredibly stiif acting and dialogue. There's no passion or energy here, just people reading lines with some vocal inflection once in awhile. And it drags on interminably.
WITHOUT A PADDLE (PG-13) 94 minutes * * Three friends reunited at the funeral of their buddy and decide to go find the treasure they'd dreamed of as children. Of course, things don't go quite as planned and the real treasure they discover is their freindship and life itself. Yawn... Seth Green and Matthew Lillard appear to be having fun with this, but aside from a few scenes, there just isn't much here to keep our interest. The mixture of humor and sentimentality is handled poorly. PG-13 for language and violence.
WITHOUT A TRACE (PG) 121 minutes * * ½ Susan (Kate Nelligan) has no idea that morning that seeing her son off to school will be the last time she sees him. No one seems to be able to help her as she grows more and more frustrated and angry. The detective assigned to the case (Judd Hirsch) seems more interested in blaming she and her husband than in finding out who the kidnapper is. The performances here are good, but poor editing ruins much of the intensity of the story.
WITHOUT MEN (R) 83 minutes * * Latin American villagers must learn how to cope when their men are all taken away by the military. Mildly sexy and lightly humorous look at the difference between male and female ways of leading a community, but there's not much depth to the story or development for the characters. R for sex and language.
WITHOUT REMORSE (R) 100 minutes * * * One of the best there is, Navy SEAL John Kelly (Michael B. Jordan) finds himself in the middle of a very complex situation. He also doesn't have any sympathy for the people responsible for putting him there. Adapted from the novel by Tom Clancy, this is a tightly woven story, though there aren't any real surprises. If you watch into the credits, there is another scene, which is a possible teaser of more to come. R for violence.
WITLESS PROTECTION (PG-13) 92 minutes * 1/2 Larry the Cable Guy is a small-town sheriff who stumbles onto a crime that involves a witness who needs protecting. It's pretty much what you'd expect if you're familiar with Larry's style of comedy. PG-13 for language.
WITNESS (R) 111 miunutes * * * Investigating the murder of an undercover cop, John Book (Harrison Ford) needs to protect the one witness to the crime. He goes into hiding in the boy's Amish community to protect both the boy and himself. That protection is short-lievd, but he has learned things that have changed him, and now has to decide what that means for the investigation. An interesting and somewhat atypical role for Ford. R for sex, violence, and language.
THE WITNESS FOR THE PROSECUTION (NR) 117 minutes * * * A wealthy heiress is found dead in her home. Who of the many suspects is actually the guilty party? Great twists and turns in this classic mystery from Agatha Christie. Another fine adaptation of the story.
WITNESS TO MURDER: A DARROW MYSTERY (NR) 83 minutes * * 1/2 This case is going to present some challenges for Claire Darrow (Kimberly Williams-Paisley). Not only will she be facing Miles (Tom Cavanagh) as the prosecutor, but her client is a friend of her mother. Several nice twists and turns in the story and nice work by the main cast.
WITTGENSTEIN (NR) 70 minutes * * * Ludwig Wittgenstein was a Viennese philosopher who explained the nature of language and the limits that it has. The film is both biographical and philosophical, trying to capture the essence of his philosophy in an avant-garde style. Played by Clancy Chassay and Karl Johnson, we clearly get a sense of Wittgenstein's genius, and how difficult he found it to be around so many other people.
THE WIZARD (PG) 96 minutes * * It's a feature-length ad for Nintendo! Fred Savage, Luke Edwards, and Jenny Lewis travel across the country playing video games while being pursued by a host of relatives and other adults. The younger performers fare better than the older ones, but the story (what there is of it) just never manages to be all that interesting. PG for language.
THE WIZARD OF LIES (NR) 129 minutes * * 1/2 65 billion dollars. That's how much money Bernie Madoff (Robert DeNiro) was able to make by defrauding investors. This is the story of the collapse of his investment firm and the investigation that followed. Lengthy and dry retelling of events. The acting is good, but it's just not that interesting, and we never really feel any sympathy for or connection with Madoff.
THE WIZARDS OF WAVERLY PLACE: THE MOVIE (NR) 97 minutes * * 1/2 The hit Disney show turns into a TV movie. No real surprise there, and they stick with the formula that works. Alex (Selena Gomez) casts a spell, gets in trouble, the family gets involved and it all works out fine in the end. Wishing that her parents had never met has more consequences than she expected, and teaches her how much she should appreciate the family she has. Fun family entertainment. Filmed in Puerto Rico.
WODEHOUSE IN EXILE (NR) 82 minutes * * 1/2 When Wodehouse (Tim Pigott-Smith) is imprisoned in Germany during WWII, his sense of humor is more than just a tool for survival. His coping mechanism is seen as a possible public relations benefit for his captors. Britain saw no humor in how Wodehouse allowed himself to be used by the Germans and he found himself unwelcome in his homeland after the war.
WOKE UP DEAD (NR) 82 minutes * * 1/2 Drex (Jon Heder) is a zombie, or at least his friends are pretty sure he is. Drex is having trouble accepting the fact, but as the days go by, its becoming more and more obvious. Filmed as a series of webisodes, and then mashed together as a film for dvd release. it probably worked better as a series, but even then, the idea gets a little tired after the first thirty minutes worth of material. Fans of Heder will probably like it, and zombie afficianados will find the humorous approach interesting, but definitely not among the best of the genre.
WOLF (R) 121 minutes * * 1/2 This attempt to make a more artistic horror film is not all that successful. The last 30 minutes are very impressive, but for the major part of the film the balance is always off a few beats between the music, the story, the acting... making the film feel rather awkward until the end. Part of the problem is simply that this is a horror film made by people who don't normally work in the genre. Director Mike Nichols and a cast that includes Jack Nicholson, Michelle Pfeiffer, James Spader, and Kate Nelligan, with music by Ennio Morricone... they all try their best, with minimal success.
WOLF (2021) (R) 95 minutes * * 1/2 This is a unique sort of residential clinic. The patients here all believe that they are some sort of animal. Jacob (George MacKay) is the focus of the story. A young man who thinks he is a wolf. It's called "species dysphoria", and the methods used to treat it are experimental, and not always very effective. An interesting ending. What;s here is very good, but it's a little disappointing that there isn't more. R for violence, sex, and language.
THE WOLF AND THE LION (PG) 99 minutes * * * When Alma (Molly Kunz) inherits a cabin in the wilderness from her grandfather, it seems like a good place to take a well-needed break. In no time at all, she finds her hands full with taking care of a lion cub and a wolf pup. An accident leaves her temporarily unable to care for them, putting them in the hands of people who don't understand. Once she recovers, Alma kknows what she has to do. Beautifully photographed. PG for langguage and violence.
A WOLF AT THE DOOR (NR) 96 minutes * * 1/2 Three people give conflicting evidence in the case of a child who may have been kidnapped. The story sort of wraps around itself and in the process, manages to lose some of the tension it could have had. It's a mystery/suspense story inside of a drama, but the drama isn't as interesting as the mystery.
WOLF CHILDREN (PG) 112 minutes * * * 1/2 Yuki (voiced by Haru Kuroki) and her brother are not typical children. Their father was the last of his kind, and they too have his wolf blood in their veins. It doesn't make growing up very easy. Beautiful story from writer/director Mamoru Hosoda about growing up and being who you are. PG for violence and language.
WOLF CREEK (R) 95 minutes 1/2 Three young people go hiking at Wolf Creek. When they are ready to leave, they find their car's battery is dead. The man who stops to help seems nice enough, but appearances can be deceiving. They could have saved a few dollars on this REALLY low budget film by cutting out 15 minutes from the first half hour. Maybe that would have allowed them to get a script rewrite, working the interesting idea that is mentioned as the film ends into the rest of the story where it would have been more effective and suspenseful. Filmed in South Australia. R for violence and language.
WOLF CREEK 2 (NR) 101 minutes 1/2 Mick Taylor (John Jarratt), the homicidal maniac of the outback is at it again. More graphic violence than the first film, but the story is also less interesting.
THE WOLF HOUR (R) 04 minutes * * * Life is getting rough in South Bronx. It's the Summer of Sam, and June (Naomi Watts) has become agoraphobic. She's running low on money and someone keeps ringing her doorbell. She has to finish the book she's writing if she wants money, but things are only going to get more difficult. An interesting character study, with a very nice performance by Watts. R for language and sex.
WOLF MOON (R) 120 minutes 1/2 A new guy shows up in town. A local girl falls for him. Then he turns out to be a werewolf. Ridiculously bad dialogue, and a story that drags terribly. This should have been at least 20-30 minutes shorter. R for violence, language, and sex.
THE WOLF OF SNOW HOLLOW (R) 80 minutes * * 1/2 Murders are a relatively rare occurance in this small town. Bodies are now showing up regularly... but only when there's a full moon. The sheriff (Robert Forster) and his son (Jim Cummings) are just possibly dealing with a werewolf. Cummings plays this too far over the top to take his character seriously. It doesn't really work well because the rest of the characters and the tone of the film in general are much more serious. R for violence and language.
THE WOLF OF WALL STREET (R) 173 minutes * * * It was a great opportunity, and Jordan Belfort (Leonardo DiCaprio) made the best of it. Clearly an expert salesman, he turned penny stocks into an opportunity to get his foot in the door as a major stockbroker. And a foot in the door was all he needed. Eventually it led to excess though, and corruption and a fall from the top soon followed. Great work by DiCaprio and Jonah Hill and Terene Winter delivers a very nicely adapted script from Belfort's book. Nice editing by Thelma Schoonmaker as well, and the asides to the audience work nicely to create an intimacy that draws us in. Switching more of the narration to this style would have increased that effect. R for sex, language, and violence.
WOLF TOTEM (PG-13) 110 minutes * * * China's Cultural Revolution sent students from the city intp the country to teach the children there. The goal was to educate the rural population, but much more than that actually happened, because teachers learn too. The story here centers on one particular student who was sent to live with Mongolian sheep herders. It's a harsh life, with a delicate balance between life and death that he wasn't used to seeing. The film struggles to allow the story enoughroom to expand, but it still manages to come through to some extent. PG-13 for violence and sex.
WOLF WARRIOR (NR) 86 minutes * 1/2 When a sniper takes out his brother, a ruthless drug lord hires a group of mercenaries to kill him. More of a military film than a martial arts movie. And, if you're a Scott Adkins fan, don't expect much as his part is very small. The story is a little uneven and has a few segments that don't really fit well.
WOLF WARRIOR II (NR) 117 minutes * * 1/2 Leng Feng (Jing Wu) thought he was going to get a break and be able to relax. No such luck. Very nice underwater fight scene to start the movie, though as the film progresses, there are more and more guns and fewer hand-to-hand fight scenes. In spite of that, the film is packed with stunt work, and relies very little on the previous film.
WOLFHOUND (R) 136 minutes * * His tribe massacred, Volkodav (Aleksandr Bukharov) is determined to take revenge on those responsible. Russian sword and sorcery film with beautiful scenery. It does run a bit long, though fans of the genre probably won't mind. R for violence.
THE WOLFMAN (2010) (R) 96 minutes * 1/2 This remake of the 1941 classic features Anthony Hopkins and Benicio Del Toro, which sounds promising. Returning home to find out how and why his brother died, Lawrence (Del Toro) ends up being bitten by the same beast that killed his brother and turning into a werewolf himself. This has all of the look and feel that it needs, just none of the substance. The dialogue is so poorly written that no matter how it's delivered, it just sounds wrong. The performances become caricatures and we lose interest in what should be a suspenseful gothic story. R for violence and language.
WOLFWALKERS (PG) 97 minutes * * * When Robyn (voiced by Honor Kneafsey) and her father (voiced by Sean Bean) move to Ireland, all that is on her mind is adventure. Her father has been enlisted to destroy the last wild wolf pack. When Robyn befriends Mebh (voiced by Eva Whittaker), a youung wolkwalker, they both gain a new perspective. Well animated in a style that very much fits the telling of the tale. PG for violence and language.
WOLFY: THE INCREDIBLE SECRET (NR) 79 minutes * * 1/2 Wolfy and Tom are best friends. It doesn't matter that Wolfy is a wolf and Tom is a rabbit. But when Wolfy has a chance to find his mother, they are off to Wolfenberg, which might not be a very good place for Tom. Creative and interesting story, though maybe a little more than those under seven will be able to grasp well. Winner of the 2014 Cesar for Best Animated Film.
THE WOLVERINE (PG-13) 128 minutes * * * The demons of his past must be dealt with as Wolverine (Hugh Jackman) finds himself in Japan at the request of a friend. Nice script by Mark Bomback and Scott Frank though what would have been nicer would have been to be true to the character and make a violent, R-rated film worthy of the anger and frustration that are part of this character. Nice effects and great supporting work by Rila Fukushima. PG-13 for violence, sex, and language.
WOLVES (R) 103 minutes * * Anthony (Taylor John Smith) is the star player for his team. He's being scouted by Cornell, has a great girlfriend and very good grades. At home though, his father has a bad gambling addiction. For those who know much about basketball, this is not a great basketball film. There are too many obvious mistakes as far as the sport aspect of the film is concerned. But there is some very good character work. R for language and sex.
WOLVESBAYNE (NR) 87 minutes * 1/2 The essence of Lilith, the mother of all vampires, has been scattered across the planet in a set of amulets... until now. It's an interesting twist on the vampire mythology, but the performances drag this down. The story is pretty thin too, though the ideas are all here. Its just been trimmed down so much that we only get pieces of the whole story. This is one that actually needed to run longer, though without better acting, it probably still wouldn't make a difference...
A WOMAN (PG) 97 minutes * * 1/2 When Julie (Jess Weixler) begins her relationship with Max Oliver (Willem Dafoe), her love is partially infatuation. Because of that precarious beginning, the more time she spends with him, the more she becomes jealous of his previous wife. Max is trying to finish grieving her loss, but Julie's obsession is keeping her alive in ways he hadn't anticipated. The photography does a nice job of showing both the powerful and mysterious aspects of the story. The ending is unusual and not well-suited to the rest of the film. PG for sex and language.
A WOMAN, A GUN, AND A NOODLE SHOP (R) 87 minutes * * 1/2 A noodle shop owner plans to kill his wife and her lover. But the lover already has plans of his own. Based on the film, "Blood Simple". The mood shifts around the midway point in the film, moving from a more light-hearted approach to one that is a little more serious... and less fun. R for violence.
A WOMAN, A PART (NR) 95 minutes * * Anna (Maggie Siff) is not satisfied with the role she has on a successful TV show. She's tried to have more influence over the part, but that isn't working. And so she leaves, taking a step back from her life to re-examine the direction in which it has been moving. Heavy on character development, but not too much on story.
A WOMAN IN BERLIN (NR) 121 minutes * * * Adapted from an anonymous diary of a German woman in Berlin in 1945 when the Russian troops captured the city. At first, she manages to hold her own as she speaks a bit of Russian, but then the soldiers grow restless. She finds herself doing things she never thought she would, just to be able to stay alive. Is she a traitor, or does war change the rules? Powerful story.
THE WOMAN IN BLACK (PG-13) 90 minutes * * * Arthur Kipps (Daniel Radcliffe) is sent to investigate the matters of the will regarding the death of Mrs. Drablow. He finds the estate to be haunted, but it's not the only strange place in this community. Many of the locals are more than a little unusual as well. Very creepy throughout, with a number of chilling, goosebump moments. Nice soundtrack from Marco Beltrami that adds to the mood and creates a few chills of its own. PG-13 for violence.
WOMAN IN GOLD (PG-13) 102 minutes * * * A painting hands in a museum in Austria. The original owner would like to have it back, especially since it was taken from her home by the Nazis. But not only is ownership a question because of when and how it was acquired, but this particular painting also happens to be worth a great deal of money. Very nice work by both Helen Mirren and Ryan Reynolds. PG-13 for language.
THE WOMAN IN RED (PG-13) 83 minutes * * Remake of the French film, “Pardon Mon Affaire”, which is better. This remake features Gene Wilder as the man who falls for the woman in the red dress (Kelly LeBrock) and wants to have an affair, but is finding it difficult to actually act on his desires with any degree of success. Wilder is funny and LeBrock is beautiful, but this is missing the spark of romance that it needs. PG-13 for language and sex.
THE WOMAN IN WHITE (NR) 276 minutes * * * Adapted from the classic novel by Wilkie Collins, which is one of the oldest mystery novels ever written. The plot involves inheritance money that belongs to a woman whose husband is not really interested in her, but clearly wants to get his hands on the money that has come her way. Her sister has a sense of what is going on, but holds little power to do anything about it. This is an impressive production, with great work by the cast. It does run a little long, but is still quite good.
THE WOMAN KING (PG-13) 128 minutes * * * 1/2 During the 18th and 19th centuries, the Kingdom of Dahomey was one of the most powerful to ever exist. Led by General Namisca (Viola Davis), the Agojie, an all-female unit of warriors were a fierce group and a force to be reckoned with. This is their story. Powerful performance by Davis. PG-13 for violence, language, and nudity.
WOMAN THOU ART LOOSED (R) 92 minutes * * Michelle (Kimberly Elise) was raised for the most part by her grandmother, and sexually abused by her mother's boyfriend as a child. She's in jail now, but she's also finding a freedom she's never known before. Not nearly as powerful as it might have been due to the way the film is edited. There are too many flashbacks to different times in Michelle's life, and the film is also interspersed with "interviews" with the characters and sermon clips from Bishop T.D. Jakes. It's not bad material, by any stretch, just edited in a way that undercuts the story. R for language and violence.
WOMAN THOU ART LOOSED ON THE 7TH DAY (PG-13) 97 minutes * * When David (Blair Underwood) and Kari's (Sharon Leal) daughter goes missing, family secrets surface. The mix of kidnap/suspense story and relationship struggles isn't particularly smooth and this feels almost like two films, one of which has a few too many similarities to the earlier film "Woman Thou Art Loosed", though this features different characters and is not a sequel. Bishop T.D. Jakes brings us a "moral to the story" that's a bit of a stretch and does little to address how uneven the film is. PG-13 for violence, sex, and language.
WOMAN WALKS AHEAD (R) 97 minutes * * * She has painted portraits before, but when Catherine Wheldon (Jessica Chastain) decides to paint a portrait of Sitting Bull (Michael Greyeyes), it will change her life. A new treaty is about to be enforced, tension is running high, and a white woman who is sympathetic to the Lakota is not what anyone expected, including Catherine. Great work by Chastain and Greyeyes. R for violence and language.
WOMB (NR) 107 minutes * * * When Tommy (Matt Smith) and Rebecca (Eva Green) meet, something clicks. She has to leave though, and it's many years before she returns. When she does, it's as if they were never apart. When he dies in a tragic accident, she decides that she wants to give birth to his clone. It's a strange piece that really only hints at some of the many questions around the idea of human cloning. The mood throughout the film is an unusual mix of romantic and sinister that is both off-putting and intriguing.
THE WOMEN (PG-13) 108 minutes * * * Remake of the 1939 classic that was adapted from the play by Clare Boothe Luce. It's wonderful to see so many talented actresses all in the same film, though special kudos go to Meg Ryan, Annette Bening, Cloris Leachman, and Candice Bergen. The story centers around Mary (Ryan) who discovers that her husband is seeing someone else. After the surprise wears off, she finds that there are plenty of friends who will not only support her, but help her deal with the situation. PG-13 for language.
WOMEN ART REVOLUTION (NR) 78 minutes * * * Women Artists in Revolution is a group that was created in the 1960s. There is a history of art that was (and is) created by women, but it's not very well known. This documentary is an attempt to begin to teach that history to an ever-widening audience. The effect these women have had on the form and history of art is tremendous, and it deserves to be told and heard.
WOMEN IN LOVE (NR) 180 minutes * * * Sex and love. Where does one start and the other begin, and where do they end? It's a study of manipulation and compromise, based on "The Rainbow" and "Women in Love" by D.H. Lawrence. Rather repetitive, but beautifully filmed and featuring a gret performance by Rosamund Pike.
WOMEN IN TROUBLE (R) 87 minutes * * Montage of stories of various women in tough situations. As with many films of this style, some sequences/stories are very strong and others are not. The editing is a bit uneven as well, which only further convinces us that these might have been better as separate short films. Writer/director/producer Sebastian Gutierrez's film would have done well to have had someone else take on one of those tasks. R for sex and language.
WOMEN TALKING (PG-13) 98 minutes * * 1/2 Part of a religious colony that is isolated from the rest of the world, these women are meeting to discuss what to do about how they are being treated. Should they stay and fight for change, or should they leave and build something new? Doing nothing is technically another option, but given only fleeting attention as they all agree that something must be done. A strong story, but one that moves very slowly. PG-13 for violence and language.
THE WOMEN'S BALCONY (NR) 95 minutes * * 1/2 When the women's balcony collapses in this small synagogue, it's tragic. But when a charismatic, conservative young rabbi steps in to help, it actually gets worse. Somehow this community will need to stay true to their beliefs and figure out a way to move forward. The story has a certain sense of charm as we get to know some of the characters.
WONDER (PG) 106 minutes * * * * Auggie (Jacob Tremblay) is about to enter the fifth grade. He's been home-schooled up until now. That transition is never easy, but for Auggie, his facial differences add an especially difficult element. Very well-rounded story, building one character at a time, which pulls us into the story very nicely. Excellent work by the cast in a film that you're likely to remember for a long time. PG for language.
WONDER BOYS (R) 105 minutes * * One might hope that a film about writers would be written a little better than this one is. Grady Tripp (Michael Douglas) is an English professor who has two exceptional students this term. Hannah (Katie Holmes) rents a room in his home, and James (Tobey Maguire) sleeps at the bus station. Grady's marraige has fallen apart, he's having an affair with the head of the department, and he can't finish the book he started several years ago. The story wanders around too much though and we soon stop caring. Douglas does a fine job, but the script and direction leave his character with too many things to focus on. Robert Downey Jr.'s supporting role as his literary agent is the most clearly defined role and deserves mention, but little else is of note here. R for language.
WONDER DOGS (NR) 69 minutes BOMB Much like the previous film, "Jurassic Bark", the Star Paws team is faced with an interplanetary evil. That saves time on the background animation because you can just use all of the same footage. And since the characters barely move anything other than their lips while talking, there isn't much other animation going on at all anyway. The best we can hope for is that the Star Paws team gets lost in space and that they don't make another movie. This is also known as "Avenger Dogs", but changing that title doesn;t make any difference. It's still bad.
WONDER PARK (PG) 78 minutes * * A little girl who is very close to her mother. In fact, they are so close that they play imaginary games that include creating a "splediferous" amusement park that is somehow real. But when her mom gets really sick and has to go away to receive treatment, the little girl gets very depressed, and it has a drastic effect on the park. The film makes some good points, but tends to oversimplify things and make it all overly sweet. The film also lacks a strong soundtrack. It's also more than a little awkward that the film is called Wonder PARK, and all we ever hear about in the film is Wonder LAND. PG for violence.
WONDER WHEEL (PG-13) 98 minutes * * * Humpty (Jim Belushi) works the carousel at Coney Island. Life isn't easy, and it gets even more difficult when his daughter (Juno Temple) shows up. Typically wordy Woody Allen film. Fans of his work will like this, but others may find it a little tedious. The turmoil of the characters is in direct conflict with the relaxed and carefree atmosphere of Coney Island. This is also quite a bit darker in tone than most of Allen's other films. PG-13 for sex and language.
WONDER WOMAN (PG-13) 70 minutes * *
The origin of Wonder Woman, including her battle with Ares, who was being held captive by the Amazons after his defeat, but is released by another of the gods. The mediocre animation is offset somewhat by an excellent voice cast that includes Keri Russell, Nathan Fillion, Rosario Dawson, Virginia Madsen, Alfred Molina, and Oliver Platt. PG-13 for violence.
WONDER WOMAN (2017) (PG-13) 131 minutes * * *
Well-done adaptation of the comic book character to the big screen. Gal Gadot plays her part well, though her character does seem to take a little long to pick up on a few ideas that make her seem a little too clueless. It's true to the presentation in the original comic book, but not a particularly empowering approach for a strong female character. Brilliant work by young Lilly Aspell, playing Diana as a girl of eight. Too bad we don't get to see more of her as well as Emily Carey, who we see very briefly as Diana at age twelve. More of that backstory would have improved the depth of the character, which comes up a little lacking. PG-13 for violence and sex.
WONDER WOMAN: BLOODLINES PG-13) 78 minutes * *
After a brief look at the origin of Wonder Woman in the world of men, we watch her help a young girl who chooses the wrong side. Eventually Vanessa chooses to fight along side Wonder Woman, and together they defeat Medusa. The story doesn't have much depth for any of the characters, though it does set the stage for a sequel. The animation offers nothing exciting, but is adequate for telling the story. PG-13 for violence.
WONDER WOMAN 1984 (PG-13) 146 minutes * * *
Flashback to 1984 with Wonder Woman (Gal Gadot) learning better control of her flying skills and the ability to turn a plane invisible. The story is less convincing than the previous film, but there are ways in which that fits with a trip back to the 1980s. It's a reworking of the classic "Monkey's Paw" story, with a magical gem that can grant wishes that falls into the wrong hands. It's a bit of a puzzle as to why the franchise would make this move considering how much more serious the previous film was, but the intent here seems clear enough that this is to be a more light-hearted film. For intensity, one of the best segments is early on, with Lilly Aspell as young Diana in an athletic challenge. PG-13 for violence.
A WONDERFUL CHRISTMAS (PG) 75 minutes * *
The Rivera family always seems to have something going on. At the moment, dad is having trouble at work, mom is about to have another baby, Josie just HAS to have that Star Wonder doll, and her little brother is being a pest as usual. Harmless holiday entertainment, but far from memorable. PG for language.
WONDERFUL TOWN (NR) 88 minutes * * 1/2
Gentle and quite film about an architect who moves into a coastal town that has been severely damaged by a tsunami. he falls in love with a local girl, but some think it's inappropriate as the memory of tragedy is still so recent. Still, even after tragedy, life goes on, and the time to do so may not be the same for everyone.
WONDERFUL WORLD (R) 86 minutes * *
With his cynical world view firmly in place, Ben (Matthew Broderick) is a bit surprised to find that his Senegalese roommate's sister has travelled to see her brother and offer support. He's further surprised to discover an attraction to her within himself. that said, Ben becomes an increasingly unlikeable person throughout the course of the film, though he does manage to redeem himself by the end. Still, much of the effectiveness of the lesson he has learned is undercut by how much we've grown to dislike him. R for language and sex.
THE WONDERLAND (NR) 111 minutes * * * 1/2
A normal girl like any other, or so that's what Akane (voiced by Mayu Matsuoka) thought. When the mysterious Hippocrates shows up, he claims that Akane is the Goddess of the Green Wind, and that only she can save his world. Akane and Chii accompany Hippocrates and Pipo to a magical world where they must help replenish the water supply. A fun and magical adventure with beautiful animation.
THE WONDERS (NR) 108 minutes * * *
A family of beekeepers in the Italian countryside are suddenly thrust into the spotlight when a reality show wants to showcase their farm. Along with everything else that's going on, it's tough for the family to handle. But Gelsomina (Maria Alexandra Lungu), the eldest daughter, desperately wants everything to work out well as she begins to look at what lies ahead in her life. Charming coming-of-age film.
WONDERSTRUCK (PG) 110 minutes * * 1/2
Compelled to search for a parent who is missing from their lives, each of these two children embark on a quest. Their journeys are fifty years apart. A beautiful story with deep meaning, though it does move a little slowly and the ending feels a little incomplete. PG for language.
WON'T BACK DOWN (PG) 117 minutes * * 1/2
A failing inner-city school finds two champions among the students' mothers. There are some distracting subplots and the supporting cast is very uneven, with some wonderful performances, but others that are very two-dimensional. Trimming about ten minutes from this would have tightened it up and made it stronger, though it does end quite well. PG for language.
WOOCHI THE DEMON SLAYER (NR) 137 minutes * *
Woochi (Dong-Won Kang) is a taoist wizard who has been trapped in a patining for 500 years. His old enemies are still at work, so once he is freed, his work is clear. They must be defeated. Nice effects, but the story isn't very strong and tends to wander into shallow sub-plots.
THE WOOD (R) 100 minutes * * *
Roland (Taye Diggs) is about to get married and finds that he's getting cold feet. It will take quite a bit of persuading from his best friends Mike (Omar Epps) and Slim (Richard T. Jones) to get him convinced that he should go through with it. Filled with flashbacks to their high school years in the 1980's, the film gives us a picture rich with feeling and character. Though some may call this a "Waiting to Exhale" for men, I think this is the stronger film. Exhale had little to interest men and seemed to wander a bit long, whereas Wood is a tighter production that had the women in the audience laughing and commenting just as much as the men. Jones comes off the best of the three, but Epps and Diggs do quality work as well, making the ensemble believable and memorable. R for language and sex.
WOODLAWN (PG) 116 minutes * * 1/2
In the early days of racial integration in schools in the southern part of the US, a talented black football player finds faith to be the core of what will help him live up to his potential. At times a straightforward drama, and at others a more religious drama, the story never quite figures out which way to go. The result leaves us with some very nice scenes, but an awkward and inconsistent flow to the story. PG for violence.
WOODSHOCK (R) 93 minutes * * *
Having recently lost her mother, Theresa (Kirsten Dunst) begins to slide into a depression. She works at a cannabis dispensary and is also taking a powerful form of the drug. The photography and music are beautiful and haunting, fitting the tone of the story quite well. It moves along very slowly, and has a dark quality. If you're willing to go there, this is a film that will take you there. R for language and violence.
THE WOODSMAN (R) 84 minutes * * *
Walter (Kevin Bacon) is trying to get his life back in order after twelve years in prison. His past is haunting him though. Not only is he once again subject to the temptations that led him to be convicted as a sex offender, but he's being hounded by the police and people at work as well. Bacon does a wonderful job with a very sensitive portrayal of a man who is trying his best to rebuild his life, understanding that it can only happen one day at a time. Nice supporting performances from Kyra Sedgwick, Mos Def, and Benjamin Bratt. Director Nicole Kassell co-scripted with playwright Steven Fechter. R for language and subject matter.
WOODY ALLEN: A DOCUMENTARY (NR) 191 minutes * * *
Extensive look at the life and career of comedic legend Woody Allen. Both biography and homage, the film includes numerous interviews with Allen and those who have known and worked with him over the years. Includes lots of film clips from his films, and offers insights into how his work has been so influential.
WOODY WOODPECKER (PG) 80 minutes * *
Woody's home is in danger from a man who wants to build a vacation home, as well as a couple of poachers who are interested in capturing a rare bird... that would be Woody. It will all work out in the end, because he IS Woody Woodpecker after all. Everything is live action except Woody, and it works reasonably well. Fans of the old cartoon will appreciate much of the same style of action and humor, but you don't need to be familiar with the old cartoon to be entertained by this, though the story lacks originality. PG for language and violence.
WORDPLAY (PG) 83 minutes * * *
Will Shortz has always loved puzzles. It turned into a career and a job at the New York Times and the creation of an annual crossword convention. The film does a wonderful job of not only covering the history of crossword puzzles and their creation, but also celebrity interest and the convention and it's competition. Includes interviews with Bill Clinton, Jon Stewart, the Indigo Girls, Ken Burns, and Mike Mussina. PG for language.
THE WORDS (PG-13) 96 minutes * * * 1/2
A struggling writer (Bradley Cooper) discovers a manuscript in an old satchel and decides to claim it as his own. His life will never be the same. Powerful, multi-layered script by the writer/director team of Brian Klugman and Lee Sternthal, and very nice work by a great ensemble cast that also includes Jeremy Irons, Dennis Quaid, Olivia Wilde and Zoe Saldana. PG-13 for language.
WORDS AND PICTURES (PG-13) 111 minutes * * *
Words, or pictures. Is one more effective or important than the other? An art instructor (Juliette Binoche) and an english teacher (Clive Owen) begin a playful challenge, that begins to take a little more serious note as it continues. The banter between Owen and Binoche works well, and they both do a nice job with the changes in mood and intensity that happen as the story moves along. PG-13 for sex and language.
WORDS ON BATHROOM WALLS (PG-13) 104 minutes * * *
In the middle of his senior year, Adam (Charlie Plummer) has a break with reality. Officially diagnosed with schizophrenia, Adam falls in love with a girl who believes in him. Really nice work by Plummer with a strong supporting cast. Adapted from the book by Julia Walton. PG-13 for language and sex.
WORKING GIRL (R) 111 minutes * * 1/2
Tess (Melanie Griffith) is a hard worker. Earning her degree by going to night school, she is not the typically hard-nosed and insensitive person who steps on people on their own way to the top. Harrison Ford and Sigourney Weaver have wonderful supporting roles, and it's fun to watch Griffith in a role that mirrored her own career to an extent. this is a great example of how an often used storyline can be played again and still work rather well. R for language and sex.
WORKING MAN (NR) 103 minutes * * *
When the factory in his small town shuts down, Allery (Peter Gerety) doesn't really know what else to do. So he goes to work. Soon, he and the other workers may have a chance to have their jobs back, but all is not what it seems. NICE WORK BY Gerety and strong support from Billy Brown and Talia Shire.
WORKING MIRACLES (NR) 87 minutes * *
After falling from the roof, Buddy (Eddie Cibrian) is in a coma. When he regains consciousness, he discovers that he has the power to heal. At first, its his dog's cut paw, and his friend's finger. But when he heals the victim of a traffic accident, bringing her back to life, his world begins to spin out of control. The ending is interesting, as it deals with the more personal consequences of having a talent like this, but the story is rather cheaply told and the acting leaves a great deal to be desired as well.
THE WORLD ACCORDING TO GARP (R) 135 minutes * * *
Garp (Robin Williams) is having a difficult time getting his writing career to move… at all. His wife (Mary Beth Hurt) isn’t invested in their marriage, which doesn’t leave him a great deal of support. Even worse, his mother (Glenn Close) has just written a feminist manifesto that is flying off the shelves and opening up all kinds of career opportunities for her. The character of Garp gives Williams a great chance to play a role that is both serious and humorous, and he handles the balance quite well. The story is a little less smooth with those transitions. R for violence, sex, and language.
THE WORLD BEFORE YOUR FEET (PG-13) 92 minutes * * *
Matt Green started a lengthy project. His plan was to walk all of the roads and pathways of New York City. That means all five boroughs, and a total of roughly 8,000 miles. It's an ambitions goal and requires a very minimalist style of living, but it's also something that Matt wouldn't change for the world. A fascinating and insightful look at the most populous cith in the United States. PG-13 for language.
THE WORLD IS NOT ENOUGH (PG-13) 120 minutes * * 1/2
The villains just aren't tough enough here. Pierce Brosnan does a nice job and there are the usual number of in-jokes for James Bond fans, but the double-crosses just aren't convincing. Denise Richards scant acting ability is too noticeable here when she's up against people like Brosnan, Sophie Marceau, Judi Dench, and the rest. The move here seems to be toward a newer version of Bond and it just doesn't work. Either bring the old Bond back or step all the way into the present. Quit rehashing old ideas and give us something new. PG-13 for violence and language.
THE WORLD MADE STRAIGHT (R) 114 minutes * * 1/2
During the Civil War, this Appalachian community was the site of a massacre. The blood still echoes, and one young man struggles to break free of the haunting legacy. Noah Wylie doesn't fit well here, but the rest of the cast does good work. It's a rather constrictive story, with the only real freedom being at the very end. It makes for not particularly pleasant viewing until then. Adapted from the novel by Ron Rash. R for language and violence.
THE WORLD TO COME (R) 98 minutes * * 1/2
After the loss of her child, Abigail (Katherine Waterston) is lost. Her husband seems either not to understand, or at least very willing to move on. When a family moves into a nearby home, Abigail is hesitant. She soon learns that Tallie (Vanessa Kirby) is as dissatisfied with her husband as Abigail is with hers. But this is the mid-1800s, and options are limited. Very heavily narrated, but beautifully photographed. R for sex.
WORLD TRADE CENTER (PG-13) 120 minutes * * *
Sensitive and thoughtful retelling of the events of September 11, 2001, focusing on one small crew of police who respond to the first call. We follow them to the site and stay with them as the day goes from bad to worse. This is clearly the best film Oliver Stone has directed since "Heaven & Earth". Leaving his usual heavy-handed style, Stone carefully and quietly lets the story unfold, often allowing the camera, rather than the dialogue, to once again tell us the story. It makes for a powerful film. PG-13 for violence and language.
WORLD WAR Z (PG-13) 116 minutes * * *
A virus is spreading... like wildfire. Not only does this virus turn its victims into zombies in about 12 seconds, but these are the fast moving zombies... no shuffling around here, unless they don't sense anything worth eating/attacking is around. Snet to track down the source of the virus in hopes of finding a cure, Gerry Lane (Brad Pitt) discovers something else instead. Not just a zombie film, but a medical horror story as well, the sheer scope and intensity here make this one of the best zombie films you're ever likely to see. Adapted from the novel by Max Brooks. PG-13 for violence.
THE WORLD WARS (NR) 260 minutes * * *
Docu-drama that mixes narration of the events of both World War I & II, interviews with a number of American military leaders, several historians, and war drama. The dramatic sequences are not simply reenactment scenes, but are a part of an over-arching drama that is paused for commentary by experts. It's a very extensive look at the two wars and shows how the first led to the second.
THE WORLD WE MAKE (PG) 104 minutes * *
After the death of her brother, Lee (Rose Reid) throws herself even more deeply into her work with the family's horses. She also ends up falling for her brother's best friend. That is how she discovers that racism is alive and well in her community, because Jordan (Caleb Castille) is black, and Lee is white. Nice family drama that deals with bith grief and racism, though it doesn't go very deeply with either one. PG for violence.
WORLD WITHOUT END (NR) 389 minutes * * *
This sequel to "The Pillars of the Earth", both adapted from books by Ken Follett, tells the story of the town of Kingsbridge during the time of the 100 Years War with France and the black death. Plenty of characters here that you won't like (which means great acting) in this historical costume drama. Its an intense and passionate story, and doesn't seem nearly as long as the running time indicates.
WORLDS APART (NR) 104 minutes * * *
He's an illegal immigrant from Syria, and her father is part of a movement that is more than willing to violently remove such people from Greece. Another story of love that reaches across boundaries. It does so, not without difficulty and sometimes failure, but it is still and always, love.
THE WORLD'S END (R) 104 minutes * *
As young men, they tried to conquer the golden mile and failed. They're older now, and they're going to try again. Twelve pubs in one evening along one mile that winds through their old hometown. But they aren't very far into the evening before things get a little... strange. The ending doesn't work very well, but getting there is most definitely an interesting trip. The unusual aspects tends to distract from the humor, which is unfortunate, but the film seems unable to decide whether it wants to be science fiction or comedy. R for language and sex.
THE WORLD'S FASTEST INDIAN (PG-13) 124 minutes * * *
Burt Munro (Anthony Hopkins) loved speed. He longed to build a motorcycle that would go over 200 miles per hour. So he took an old Indian motorcycle, and began to work. Hopkins once again delivers a performance that is both eccentric and endearing, showing us a man who was dedicated, unique, skilled, lucky, and charming. There are moments when the story does seem to stray a bit. Hopkins makes even these moments a pleasure to watch, but they do weaken the story a little. Based on the life of Munro, who travelled from New Zealand to the Bonneville Salt Flats in Utah to break the land speed record. PG-13 for language.
WORLD'S GREATEST DAD (R) 94 minutes * * 1/2
It's not easy being a father to Kyle (Daryl Sabara). Cynical, and unappreciative, Kyle is difficult to love. Lance (Robin Williams) does even more though, creating an image that is larger than life, and yet almost no one questions it. It's a weird and somewhat twisted little dark comedy from director Bob Goldthwait... which does sort of make sense. The ending is marvelous, though it's more than a little strange getting there. R for language amd sex.
WORRIED ABOUT THE BOY (NR) 89 minutes * * 1/2
George O'Dowd (Douglas Booth) is fascinated with rock music and with make-up. His parents aren't sure what to do, but he knows he has to get out and go after his dream. He becomes Boy George, and his star rises to the top, but falls almost as quickly. The story tends to focus on the more sensational aspects, but Booth does a nice job here.
THE WORST PERSON IN THE WORLD (R) 122 minutes * * *
It’s going to be a long and difficult journey for Julie (Renate Reinsve). As she finds herself struggling to find a meaningful career path, she also feels headed for a mundane existence. She begins to explore herself through a series of relationships. She does, of course, finally find herself, but what she finds is not what she expected. When is it for any of us? R for sex and language.
WORTH WINNING (PG-13) 104 minutes * * *
Taylor Worth (Mark Harmon) makes a bet that he can be engaged to three women at the same time. Things start to unravel as the paths of the women begin to cross. Will he be able to come clean and make a committment to the one he really loves? There's some rather sloppy editing in a few spots, but Harmon does a nice job here. And Madeleine Stowe, Lesley Ann Warren, and Maria Holvoe seem to have had some fun playing these parts. It shows, in a job well done. R for language and sex.
WOULD YOU RATHER (NR) 90 minutes * *
Iris (Brittany Snow) just wants to get help for her brother. Everything he needs will be paid for, but she will have to play and win a particular game. The game is called "Would You Rather", the stakes are extremely high, and the choices are more than a little difficult. The violence has a sadistic sense that is similar to the "Saw" series, but the limited setting makes the pace feel overly slow. The morality play ending is a nice touch, though not really a surprise.
THE WRAITH WITHIN (NR) 75 minutes 1/2
They were friends in high school... though not really good friends. In fact, most of the characters here don't really get along well with each other. It doesn't help us like any of them or care much what happens to them. Michael Madsen is here as the sheriff, but even he just mumbles his way through this like he doesn't care. A few cheap scares scattered here and there might startle you, but that's about it.
THE WRATH OF BECKY (R) 71 minutes * * 1/2
She has an active imagination. In itself, that's not really bad. But one thing you should know about Becky (Lulu Wilson)... don't make her mad. She's dealt with problematic people before. Darryl (Sean Williiam Scott) is a bit worse than most, but he hasn't met Becky. Yet. Plenty of violence effects here. Most of the character development here is around Becky, which is no surprise, but it's well done, which is a little surprising for this genre. There's also a nice twist at the end that opens up the possibility for another sequel. That's an improvement over the first film, where the story faded at the end.
WRATH OF MAN (R) 113 minutes * * *
H (Jason Statham) starts working for an armored car company. His test scores to get the job are average, but the first time a group tries to rob the truck, he takes them all out, with unparalleled marksmanship. H is out to settle a score, and nothing is going to stop him. A typical film for Statham, with lots of guns, vengeance, and a little bit of subterfuge. R for violence and language.
WRATH OF THE TITANS (PG-13) 91 minutes * * 1/2
Choosing to live as a man rather than a god doesn't mean that Perseus (Sam Worthington) will ignore his duty to rescue his father from Hades (Ralph Fiennes) and Ares (Edgar Ramirez). And that's only the beginning of the trouble. The special effects are very good, but the story is told in broad and simplified strokes, with an emphasis on the parts that will lend themselves to elaborate special effects. PG-13 for violence.
WRECK-IT RALPH (PG) 93 minutes * * *
Ralph is tired of always being the bad guy. He decides to take a break from his videogame and go visit another one where he has a chance of being a hero. But leaving his game has put the other characters there at risk... and perhaps quite a few other games and their characters as well. Very cute and inventive story, though there's also quite a bit of adult humor here too. PG for language and violence.
WRECKED (R) 84 minutes * *
When he regains consciousness, he finds himself trapped in a car at the bottom of a ravine in the woods. He remembers nothing of the accident, or of the man behind the wheel who is dead. Adrien Brody's acting gives this a boost, but the nature of his character doesn't lend itself to sympathy from the audience until the end of the film, which is a bit too late. R for violence and language.
WRECKERS (NR) 79 minutes * *
Moving back to the little town of their youth was supposed to be a comfort for Dawn (Claire Foy) and David (Benedict Cumberbatch). But when David's brother pays an unexpected visit, other pieces of the past begin to surface, and create problems. The story feels incomplete though the performances are fine.
THE WRECKING CREW (PG) 93 minutes * * * 1/2
The story of the session musicians of the 1950s and 1960s. These were the people who played on pop, rock, jazz, and blues albums as well as many television show theme songs. New York had been the place for music. But the scene was changing, and experimentation, improvisation, and new energy moved the music to the west coast. Directed by Danny Tedesco, whose father, Tommy, was one of the Wrecking Crew. This serves as a wonderful tribute as well as a fascinating history of music and the recording industry. A must for those who appreciate and enjoy pop and rock music, especially that of the 1950s and 1960s. PG for language.
THE WRESTLER (R) 106 minutes * * * 1/2
Portrait of a man in decline. Randy "The Ram" Robinson (Mickey Rourke) was a successful professional wrestler at one point. His body is showing signs of the wear and tear he has put it through, but there is only one thing he knows how to do. The fact that continuing to do it may kill him doesn't matter to Randy... it's where he belongs. Bravura performance by Rourke of a tragic character. Rourke won a number of awards for his performance, though the Oscar slipped away. Great supporting work by Marisa Tomei as well. R for violence, sex, and language.
WRESTLING ERNEST HEMINGWAY (PG-13) 122 minutes * * * 1/2
Wonderful character study of two men, one (Richard Harris) is an old Irish sea captain, and the other (Robert DeNiro) a retired Cuban barber. Their friendship evolves despite their extreme differences and draws us into a heartwarming story, complete with the rough edges that befit such characters. Shirley MacLaine and Sandra Bullock are also featured, but this is the story of two "grumpy old men" that has chosen to take the more serious approach, and has fared better for having made that choice.
THE WRETCHED (NR) 91 minutes * 1/2
Something's wrong with the neighbor next door. Ben (John-Paul Howard) knows something is wrong, but has no idea what is happening until he suddenly finds himself fighting an ancient witch. Good characters and an interesting story, though it feels a little like a kids' adventure film despite its intensity. The bullying scenes don't really help build Ben's character, and that time could have been better spent on other parts of the story.
A WRINKLE IN TIME (PG) 100 minutes * 1/2
When her father goes missing, Meg (Storm Reid) struggles to adjust. In the company of her friend Calvin (Levi Miller) and her impetuous little brother (Deric McCabe), Meg is about to embark on a magical journey to find her father. Surprisingly uninteresting and abstract, though not the fault of the cast. The script and direction are the problems here. The 2003 film version is a little better, but Madeleine L'Engle's book is one that doesn't appear to adapt very well to film. PG for violence.
WRINKLES (NR) 87 minutes * * *
Emilio's (voiced by Tacho Gonzalez) children put him in a nursing home because they feel that he's too difficult to deal with at home. His new roommate is a bit of a character, but likeable enough. As time passes, Emilio's health begins to fade and Miguel (voiced by Alvaro Guevara) is afraid that he'll lose another roommate to the ward upstairs. Tender story about the later stages of life.
WRINKLES THE CLOWN (NR) 75 minutes * * 1/2
He's a clown for hire, but not for events like parties. Wrinkles is hired to scare children who misbehave. As well as whether or not this is an appropriate way to punish children who misbehave, the film explores other questions. What part does horror folklore play in our desire to be scared? Aren't clowns supposed to be fun? Why do so many of us find them to be scary? This documentary takes a look at a controversial clown based in Florida and asks us to think about what clowns mean for each of us.
WRISTCUTTERS: A LOVE STORY (R) 85 minutes * * * 1/2
A refreshingly unusual story, to say the least. Adapted from Etgar Keret's novella, "Kneller's Happy Campers", we follow Zia (Patrick Fugit) as he leaves this world and finds himself in another. A world where everyone seems to have committed suicide. He finds new friends, but is still haunted by the memory of his girlfriend, especially when he finds out that she killed herself just a month after he did. Eugene (Shea Whigham) and Mikal (Shannyn Sossamon) help Zia, but they have their own afterlives to deal with. Can Zia find happiness? And what will that mean? Offbeat, comical, and romantic, it's a film that you will definitely find hard to forget. R for language and violence.
WRITING WITH FIRE (NR) 94 minutes * * *
It is the only news outlet in India that is run by women. Khabar Lahariya is on the cutting edge of journalism. That is also a very dangerous place to be. India is not a safe place for journailsts, and Meera and her crew refuse to compromise the important work that they do. An important look at the important and courageous work these women are doing.
WRONG IS RIGHT (R) 115 minutes * *
When two small nuclear weapons are stolen, newsman Patrick Hale (Sean Connery) is on the story. It’s a twisted story, and as it turns out, the United States government may be more deeply involved than first suspected. The satirical tone is less pointed than it needs to be, letting this feel more like entertainment rather than satire, though it runs a little long to keep us entertained. R for violence.
WRONG PLACE (NR) 92 minutes * 1/2
Trying to cover for his father, Jake (Michael Sirow) just seems to keep making it worse. Frank (Bruce Willis) isn't making it any easier. The story telegraphs every move, including the ones that aren't logical. Most of the acting is substandard as well. Massi Furlan's supporting role is fairly good though.
WRONG SIDE OF TOWN (R) 80 minutes *
When an accident leaves a man dead, Bobby (Rob Van Dam) has to rescue his daughter, who has been kidnapped by the dead man's brother. Lots of fight scenes with Van Dam, though only one that really features Dave Bautista, which is a little disappointing. The two-dimensional script is no surprise though. R for violence, language, and nudity.
WRONG TURN (R) 78 minutes *
The moral of the story is, don't get lost in the woods in West Virginia or you're liable to run into some nasty inbred mountain folk who just might eat you! Aside from the fact that this is a blatent rip-off of "The Texas Chainsaw Massacre" with far less creative use of props and a far less interesting backwoods family, it's nice to have Eliza Dushku here. She adds some strength to the role of the victim, not content to be the helpless female who screams and dies. Still, it's barely worth a look. R for violence and language.
WRONG TURN (2021) (R) 105 minutes * 1/2
Not exactly a remake, but a re-imagining of the idea presented in the first film. While hiking in the woods, six friends cross paths with a clan that lives in the woods. It doesn't go well. Soon, they are facing a trial of sorts. The outcome of which isn;t likely to be in the favor of this group of people unfamiliar with the way things work in these woods. The story here is a little stronger than the original film, and the ending is a little better. R for violence and language.
WRONG TURN 2: DEAD END (R) 90 minutes *
It's an end of the world survival reality show. What these contestants don't know (or the producers for that matter) is that there actually ARE crazies in the woods, and this really WILL be a survival test. Plenty of gore, no surprises, and the only bright spots are the few scenes with Henry Rollins. R for violence, language, and sex.
WRONG TURN 3: LEFT FOR DEAD (R) 89 minutes *
The crazies are still in the woods, and despite the fact that this time its a bunch of violent criminals who end up here, their odds of survival are about the same. There is a last minute twist if you manage to last that long.
WRONG TURN 4: BLOODY BEGINNINGS (R) 89 minutes 1/2
It's best to be careful what turn you take when you get lost in a storm. You wouldn't want to end up like these college students and find yourself at an abandoned sanitarium that happens to be home to three deformed cannibals. Plenty of gross effects and bad decisions by our hapless and soon to be deceased young people. R for violence, language, and sex.
WRONG TURN 5: BLOODLINES (R) 87 minutes *
College students on their way to the Mountain Man festival are about to be the latest victims of the West Virginia cannibal clan. Plenty of gross effects, but more of the festival and less of these boring characters might have been a better way to go. R for violence, sex, and language.
WRONG TURN VI: LAST RESORT (R) 87 minutes BOMB
When Danny (Anthony Ilott) inherits a hotel, he has no idea what's in store. As he soon learns, this "hotel" used to be a sanitarium, with some not-so-pleasant history associated with its past. Not really much suspense here, though there is plenty of gore. The ending doesn't really do much for the story. R for violence, sex, and language.
WRONGFULLY ACCUSED (PG-13) 1/2
Primarily a parody of "The Fugitive", Leslie Nielsen checks in with another of his standard performances. What's really bad is that they use jokes from other Nielsen films and just change the film they're making fun of. Even Bill Conti's soundtrack is wasted here. Filmed in Vancouver. PG-13 for language.
WTF! (NR) 74 minutes 1/2
It was only three years ago that Rachel (Callie Ott) lost all of her friends in a massacre that she barely survived. Now, she's going to spend spring break with friends at a remote house in the woods. Like that's a smart idea. What's also not a smart move is making a film with an overused plot and unlikeable characters.
WU KONG (NR) 117 minutes * * *
The epic story of Wu Kong (Eddie Peng). Unwilling to accept his destiny, he travels to the heavenly kingdom to fight and earn the right to become the master of his own destiny. The battle scenes here are less about martial arts and more about special effects, which are very good. There are also a number of more dramatic and emotional scenes throughout the film, making it an interesting combination of drama and action that works to draw us into the story as well as impress us with flashy action.
WUTHERING HEIGHTS (2009)(NR) 132 minutes * * 1/2
Yet another lavish production of the classic love story. Tom Hardy does a great job here as the brooding and mysterious Heathcliff, but Charlotte Riley is less satisfactory as Cathy. It's not a terrible version, but there are definitely better ones available.
WUTHERING HEIGHTS (2011) (NR) 124 minutes * * 1/2
This version of the classic spends a great deal of time with Cathy and Heathcliff as children, and there is minimal dialogue throughout. That approach works well to focus on the moods and feelings of the characters, except that the photography is often jerky and distracting. It's a more harsh and brutal telling of the story, though not without a romanticism of its own.
WUTHERING HIGH SCHOOL (NR) 85 minutes * 1/2
A modernization of "Wuthering Heights" set in a California High School. Though the title might make you think this is a parody, it is not. Not great, but it's not a bad effort. It's also an unusual project for The Asylum studios which tend to do horror and monster films to the exclusion of everything else.
WWJD II: THE WOODCARVER (PG) 88 minutes * *
The woodwork that Ernest Otto (John Ratzenberger) did for the church is damaged by a rebellious and troubled youth. Under Ernest's guidance and Christian example, everything will work out just fine. The story wraps up very neatly, and Ratzenberger's casual style fits fairly well, but the film also doesn't ask for a great deal of depth either. PG for language.
WYATT EARP (PG-13) 181 minutes * * *
Very artistic and well-made production of the story of Wyatt Earp. Does not paint a pretty picture of our "hero", but we keep watching because the story is so intriguing. A bit more classy than "Tombstone", which was released a few weeks before this one, but not as much fun to watch. PG-13 for violence, language, and nudity.
WYATT EARP'S REVENGE (PG-13) 90 minutes *
Another retelling of part of the Wyatt Earp legend. This particular piece revolves around the early days, and the conflict with Spike Kennedy (Daniel Booko), who killed Earp's girlfriend. The story itself isn't bad, but the dialogue is pretty thin, and the acting isn't much better. The younger Earp is played by Shawn Roberts, while the story is told by the older Earp, played by Val Kilmer. PG-13 for violence.
WYRMWOOD APOCALYPSE (NR) 84 minutes * 1/2
Zombies are everywhere, but there's still hope for a cure that could turn the tide. Rhys (Luke McKenzie) catches zombies and takes them to the Surgeon General for research to find a cure. The story here isn;t great, but with some tweaking, it could work. The same is true of the effects. What is in need of much more help is the photography... and the editing. There are too many close-ups and too much choppy editing, both of which make this difficult to watch.
X (R) 101 minutes * ½
Shooting a film on a low budget in rural Texas seemed like a good idea. It’s an adult film though, and the people who own the house they are renting are not very excited when they realize what’s going on. One by one, this elderly couple will rid their property of these sinful invaders. With Mia Goth, Jenny Ortega, and Brittany Snow. Lots of gross and bloody effects. R for violence, sex, and language.
THE X-FILES (PG-13) 113 minutes * * 1/2
The X-file has been closed, and Mulder and Scully are deciding what they'll be doing with their lives when... did you really expect the file to stay closed? The story is a bit difficult to follow, jumping to different locations and telling bits and pieces of the puzzle before finally fitting things together into
a picture that... we've seen several times before. David Duchovny and Gillian Anderson do good work here, but the story lets them down. Hopefully the next film will give us a better story that's a little less confusing. PG-13 for language and violence.
THE X-FILES: I WANT TO BELIEVE (PG-13) 99 minutes * * *
The FBI wants Mulder (David Duchovny) to help out with a case. They have a priest who is claiming to have visions about a kidnap victim. Mulder agrees with one condition... Scully (Gillian Anderson) has to agree to help too. Aside from the psychic visions, there isn't really much supernatural activity here, just a straightforward serial killer mystery. It's well-told and Duchovny and Anderson are old pros who know how to play it. PG-13 for language and violence.
X-MEN (PG-13) 95 minutes * * *
The best-selling comic book series about mutants makes its debut on the big screen with this action/adventure film. Many of the favorites are here, Rogue, Storm, Wolverine, Cyclops, Jean Grey... and the villains, Magneto, Mystique, and Sabretooth. Much like the comics began, we're immediately immersed in this world of the near future, full of people with unique abilities. Many of the special effects are presented in an almost off-hand manner, but that fits with how we're supposed to accept this as normal. The story does take some liberties with what has been presented in the comics, but most film presentations do that. It's presented well, has a good story, and is acted well by the cast. Look for them to be back soon and add more characters to the mix. PG-13 for violence.
X-MEN: APOCALYPSE (PG-13) 134 minutes * * *
A confrontation from the early days of the X-Men as they face the fearsome Apocalypse. He’s back from a lengthy time underground, and is ready to rule the world. It’s a timeline that precedes the previous X-Men films (mostly), and uses different actors (again, mostly) to tell the story. It’s still fun and packed with action, but may be a bit frustrating for old fans who once again have to deal with some major shifts in the story from what was in the comics. That aspect will bother newcomers less (or not at all), and the effects alone are quite impressive. PG-13 for violence and language.
X-MEN: DARK PHOENIX (PG-13) 105 minutes * * 1/2
As the X-Men continue to help humankind, they face a new danger. Somehow, Jean (Sophie Turner) is able to stop it, but it changes her. The power is almost all-consuming. The explanation of what this power is and the aliens who are tracking it and wanting to harness it for their own purposes is muddled and doesn't work well, though it provides the opportunity for the effects crew to show off their skills. In fact, the story is a mess in many ways as it ignores several continuity issues with other films in the series, though this isn't the first time this has happened with the X-Men films. Still, the effects are quite good, and the pacing of the story works. Hans Zimmer's soundtrack is also a highlight here. PG-13 for violence and language.
X-MEN: DAYS OF FUTURE PAST (PG-13) 123 minutes * * *
Wolverine has to go back in time to try to stop Mystique from inadvertently helping the development of the Sentinels that will eventually destroy mutants and humans alike. The time travel aspect works reasonably well, and the story is peppered with characters both new and familiar. It's a fun entry in the series for that reason, though Jennifer Lawrence is a mediocre replacement for Rebecca Romijn-Stamos, and the story is very predictable. PG-13 for violence, nudity, and language.
X-MEN: FIRST CLASS (PG-13) 120 minutes * * *
Another solid entry in the series, this one provides some backstory. We watch as Professor X and Magneto first meet and become friends, though they soon discover that their philosophies are too different for them to get along well. Mystique, Emma Frost, and the Hellfire Club are here as well, as is the re-writing of the stories from what they were in the comics. That said, the story works well in the film series storyline and definitely keeps us entertained. PG-13 for violence, nudity, and language.
X-MEN ORIGINS: WOLVERINE (PG-13) 100 minutes * * *
Recruited to serve on a special military team, Logan soon reaches his limit and turns his back on the team. His brother stays, but becomes even more violent, which the team takes advantage of until even they can't keep him in check. Logan eventually finds himself helping Stryker again, as they need to stop Victor (Liev Schreiber). Nice work from Taylor Kitsch as Remy LeBeau/Gambit, but as with most films in the series, we're always wanting to see more of the many characters we only get a quick glimpse of. Nice addition to the series, with plenty of action. PG-13 for violence and language.
X-MEN: THE LAST STAND (PG-13) 97 minutes * *
There's a bit less energy in this film than in the first two, with a story that focuses on Magneto's attempt to "acquire" a young mutant who is able to nullify the powers of mutants who are near. The humans think his genes hold the key to curing mutants of their disease. The plot goes in a few too many directions at once, killing off main characters, deepening relationships between others, introducing other mutants to the story (Beast, Angel, Juggernaut, and more), all while creating a story that is somewhat different than that of the comic book series. It's inevitable that a series of films will have a weaker link here and there. This is one of those, but it sets the stage quite nicely for another entry, so we'll wait to see what happens. PG-13 for violence and language.
X2 (PG-13) 125 minutes * * *
Nightcrawler makes a splashy debut on the big screen in the opening moments of this second X-Men film. A number of additional characters are here as well. Pyro, Iceman, Colossus, Kitty Pryde... and we even get a chance to see some of the good side of Magneto. The story doesn't rely much on part one either. All that remains now is to see if this series can have anything close to the staying power of the comic books. PG-13 fro violence and language.
XANADU (PG) 88 minutes * * *
A beautiful musical/fantasy film that has been overlooked by most.
Watching Gene Kelly is always a delight, and Olivia Newton-John sings and "glamour-shots" her way through the film better than most. Think "Grease" and "Saturday Night Fever" and take a trip to "Xanadu"!
XTRO (R) 81 minutes *
Abducted by aliens three years ago, Sam (Philip Sayer) is back, and trying to reconnect with his family. While they are happy to see that he is back, they have already moved on. To make things even more awkward, Sam has changed. A rather strange piece, and there are some good effects, though there are also some that are pretty bad. The dialogue is poor as well, but the strangeness of the story does make it creepy. R for violence, sex, and language.
XTRO II: THE SECOND ENCOUNTER (R) 87 minutes *
Travel to other dimensions is now possible. But the first travelers encounter something bad. They also end up leaving the gate open (so to speak), and now there's a monster loose in an underground complex. The story here bears no resemblance to the first film. The production quality is a little better, although the sets aren't very good. R for violence and language.
XX (R) 76 minutes * 1/2
Anthology of four short horror films written and directed by women. "The Box" is strange, but ultimately unsatisfying. "The Birthday Party" has a rather twisted sense of humor that works well. "Don't Fall" never really develops the characters enough for us to appreciate or connect with the story. "Her Only Living Son" is OK, but not a strong piece to end the film with. The interludes are at least as interesting as the films themselves, and perhaps deserved even more screen time. R for violence and language.
XXX (PG-13) 114 minutes * * 1/2
There's a new secret agent in town... his name is Xander Cage (Vin Diesel). The idea isn't new, to take a criminal and get them to work for the law with an offer to clear their record. Of course, what starts as a deal to work one case soon turns into a lifetime career... The stuntwork throughout the film is simply amazing! And, while there are definitely some rough edges to the film, there's an energy to the story and the performances as well. Diesel seems to enjoy himself and lets that show just enough that it carries across and helps us enjoy it as well. Asia Argento does a great job here as well. This should open up some opportunities for her as far as mainstream American film. She's already acted in and directed a number of smaller projects. There's clearly an attempt to model some of the story structure along the lines of the James Bond films, but it's done without trying to recreate Bond, just recognizing that it's a solid format. PG-13 for violence and language.
XXX: RETURN OF XANDER CAGE (PG-13) 98 minutes * * *
When a device that could destroy the work is stolen, it's a good thing someone knows how to get ahold of Xander Cage (Vin Diesel). Great fight scenes, which is no surprise with Donnie Yen doing the fight choreography. Great cast, and the story not only manages to be packed with action, but adds to Cage's character development. It was a smart move to bring Cage back and to increase the strength of the action sequences. PG-13 for violence, sex, and language.
XXX: STATE OF THE UNION (PG-13) 95 minutes * *
A new XXX is on the job. Darius Stone (Ice Cube) is the new agent... a bit more of a rebel than the previous one, but the real question is whether he can handle the job. A bit more cartoonish than the first film, with silly dialogue at times and characters that are two-dimensional. On the other hand, there is some solid stuntwork and the film definitely has a sense of humor about itself which makes it fun to watch for the most part. PG-13 for violence and language.
YAKUZA APOCALYPSE (R) 112 minutes * 1/2
When a Yakuza boss is killed, his top man decides to take revenge. Nothing unusual there. Except maybe that the boss was a vampire and has passed his vampire abilities on to Kageyama (Hayato Ichihara). By the way, just to be clear, these are sort of vampire zombies in that everyone they bite turns. Very violent, and more than a little strange, and it gets more so as it goes along. R for violence, sex, and language.
YAKUZA PRINCESS (R) 103 minutes * * 1/2
Life is getting more difficult for Akemi (Masumi). Half of the Yakuza crime syndicate is out to kill her. She is heiress to the other half. There is much she has yet to learn about her past and her destiny. If Shiro (Jonathan Rhys Meyers) can regain his memory, he might be able to help. All he knows right now is that they are bound together by the sword. Well done fight scenes, and a nice setup for a sequel. Based on the graphic novel "Shiro". R for violence, language, and nudity.
THE YANKLES (PG-13) 113 minutes * *
An orthodox Yeshiva baseball team that's in desperate need of coaching finds a semi-willing volunteer in a former baseball player who needs to do some community service to meet his parole requirements. Not particularly funny as a comedy film, nor all that inspiring as a sports film, though mildly interesting as a combination of the two, given the religious tone. PG-13 for language.
THE YEAR DOLLY PARTON WAS MY MOM (NR) 89 minutes * * *
Elizabeth (Julia Sarah Stone) is eleven. She's looking forward to adolescence. And then she discovers, quite by accident, that she is adopted. Her world is turned upside down and she feels she has no choice but to go on a quest to find out who and whose she really is. The script drags a little in the middle, but finishes very nicely. Great work by Stone, who is a talent to watch.
THE YEAR MY PARENTS WENT ON VACATION (PG) 97 minutes * * *
Brazil. 1970. Mauro (Michel Joelsas) is ten years old and his parents need to go into hiding. They drop him off at his grandfather's apartment, but don't stay long enough to find out that he's just died. Mauro has nowhere to go, but his grandfather's Jewish community takes him in while he waits for his parents to return. Joelsas earned a well-deserved Young Artist Award nomination for his performance in this touching film about growing up in a country and a neighborhood where conflict and secrecy are part of everyday life. PG for language and violence.
THE YEAR OF GETTING TO KNOW US (R) 93 minutes *
Chris (Jimmy Fallon) is going to have to deal with a few things. His father just had a stroke, his girlfriend is getting ready to leave for three years with her job, and his past is growing more difficult to avoid. Fallon's performance is really dry here. His character is supposed to be introspective, but the intensity just kills any energy the film might have had. R for language.
YEAR OF THE COMET (PG-13) 86 minutes * *
Uneven piece about the daughter of a wine collector/seller who finds a million dollar bottle of wine, uncovers a murder, and discovers love, all in the same day. It's interesting and fairly original, but just never flows very well. Tim Daly and Penelope Ann Miller do fairly well, but this is certainly not aged to perfection.
YEAR OF THE DOG (PG-13) 92 minutes * * 1/2
Peggy (Molly Shannon) loves her dog. When he dies, she is devastated. At first, the idea of another pet is unthinkable, but then it becomes an obsession. Shannon does a nice job here, but the other roles in the film tend to be overplayed to try and emphasize the satire. It's too bad because the story itself has more than just satire. It's a bittersweet story of life and love through the eyes of a dog lover. PG-13 for language.
THE YEAR OF THE DOG (2022) (PG-13) 93 minutes * * 1/2
Matt (Rob Grabow) is in the early stages of recovering from alcoholism. When he connects with a stray husky, it seems to be just what he needs. It gives him strength, purpose, and so much more. It still won't be easy, but there are those who will help. The film moves a little slowly and is a little awkward, but it also has a sense of honesty that suits the story well. The message here is that the opposite of addiction is connection. PG-13 for language.
YEAR OF THE DRAGON (R) 135 minutes * 1/2
There was a carefully designed balance between the Triad, the Mafic, and the New York City police in Chinatown. But a young gang decides to make a statement, and upsets that balance. Captain White (Mickey Rourke) is doing some upsetting of his own and the condition is deteriorating rapidly. It's an OK [p;oce drama that seems to be overly impressed with itself. R for violence, language, and sex.
YEAR OF THE GUN (R) 107 minutes * * *
David Raybourne (Andrew McCarthy) is writing a novel. But when it falls into the hands of Italy's Red Brigade, it is taken as fact. And that could mean some trouble. John Frankenheimer's experience at directing thrillers is evident and this is a nice vehicle for the talents of McCarthy, Sharon Stone, and Valeria Golina. R for sex, language, and violence.
YEAR OF THE SCAB (NR) 77 minutes * * *
When the NFL players went on strike in 1987, just two weeks into the season, no one knew what was going to happen. The season did continue, with replacement players. NFL players soon began to cross the picket lines and joined the "scabs"... except for the players on the Washington Redskins roster. The Redskins' replacements never lost a game, putting the team in position to win the playoffs and the superbowl. They were replaced by the professional players when the strike was over and were given no credit for the amazing work they did. A unique and interesting piece of sports history.
YEAR ONE (PG-13) 92 minutes * 1/2
Alternate, and somewhat humorous version of ancient history. When Zed (Jack Black) is kicked out of the tribe, Oh (Michael Cera) goes with him and their adventures begin. A few of the bits are quite funny, but many aren't, so unless you're a fan of Black or Cera, this is mostly forgetable. PG-13 for sex and language.
THE YEAR WITHOUT A SANTA CLAUS (NR) 87 minutes * *
John Goodman stars as Santa in this TV-movie adaptation of the book by the same title. Plenty of big names here, including Delta Burke, Eddie Griffin, Chris Kattan, and Carol Kane, but the story rushes along too quickly to give any of them much to say or do. Santa is depressed and wanting to skip Christmas until he's convinced that someone still believes. Harmless enough, but not very memorable either. Not rated, but suitable for families.
YEARS AND YEARS (NR) 337 minutes * * * 1/2
The story of the Lyons family of Manchester, England. The time is 2019, but it's a slightly different world than the one we know. Economies are failing, politics is getting more extreme, technology has taken great strides, and that's only the beginning. At turns both fascinating and frightening. A lightly science fiction style socio-political commentary. Wonderful ensemble cast.
YEH JAWAANI HAI DEEWANI (NR) 154 minutes * * * 1/2
Bunny (Ranbir Kapoor) and Naina (Deepika Padukone) are fresh out of college and facing decisions about what to do with life. As they begin to fall in love, their chocies lead them down separate paths. Those paths will cross again, later in life, and in the second half of the film. Very romantic story with colorful and well choreographed dance sequences. A light and energetic film.
YELLING TO THE SKY (NR) 92 minutes * * 1/2
Coming of age story for seventeen-year-old Sweetness O'Hara (Zoe Kravitz) as her family disolves around her and she has to find a way to make it all work. The performances are believable, but the story is told with little vignettes that don't seem to connect at first. Eventually they do, but they don't really build on each other.
THE YELLOW BIRDS (R) 90 minutes * * 1/2
Back home from the war in Iraq, Brandon (Alden Ehrenreich) is not the same young man who left. There were plenty of things that happened, but on in particular is more troubling than the rest. He made a promise before deployment. A promise to a fellow soldier's mother. It's a promise that is growing heavier with each passing day. It's a good story, but it also feels like we're missing some important pieces. The script just doesn't give these characters the depth they need, so the emotions seem less sincere than they should. R for violence, sex, and language.
YELLOW ROCK (R) 84 minutes * 1/2
Are they really out to rescue a missing boy, or has the "Yellow Rock fever" taken hold of them? Either way, it will not be as easy as they hope. There are a few moments when this rises slightly above mediocrity, but not enough. R for violence.
YELLOW ROSE (PG-13) 90 minutes * * 1/2
Her dream is to perform country music, but Rose's (Eva Noblezada) mother is in the United States illegally. When immigration finally shows up for her mother, Rose slips away. Now, she faces a choice about whether to try and stay to pursue her dream on her own, or to go with her mother to a country she doesn't know. Several very nice songs from Eva Noblezado and Dale Watson. PG-13 for language.
YELLOWBEARD (PG) 94 minutes 1/2
Escaping from prison turns out to be easier than he thought, but that's because Yellowbeard (Graham Chapman) is being allowed to escape so the government can claim his treasure... once he finds it. Despite a talented cat that includes Peter Boyle, Eric Idle, John Cleese, Madeline Khan, Cheech Marin, Tommy Chong, and Marty Feldman (in his last role), this struggles to be very funny. Fans of pirate humor may enjoy it, but the jokes get tired very quickly. PG for sex, violence, and language.
YELLOWBIRD (PG) 84 minutes * * 1/2
Yellowbird is an orphan. He'd love to have a family, but it's a somewhat terrifying prospect as well. Tricking his way into a family of migrating birds, he soon learns the value of honesty, trust, and forgiveness. Nice animation, and a story that keeps both the adult humor and the violence to a minimum. PG for violence.
YELLOWBRICKROAD (R) 96 minutes * * *
In 1940, nearly 600 people, the residents of a small town in New Hampshire, all left to hike up a mountain trail near the town. Roughly half of them were later found frozen or brutally murdered. The rest were never found. Almost seventy years later, a team gets together to walk the trail and try to learn what happened. But this is not a road to take, it is instead, a road that takes you, and there is no going back. No way out. Very creepy, and though it doesn't answer all of the questions, what it presents is an interesting possibility. R for violence, language, and sex.
YENTL (PG) 137 minutes * * * *
Her desire to receive religious training is so overpowering that Yentl (Barbra Streisand) disguises herself as a young man to enter into Jewish religious training, which is not permitted for women. Emotional and sentimental, but Streisand plays it well and sweeps us into the story and into her struggle to learn and grow. PG for sex.
YES MAN (PG-13) 97 minutes * * *
Finally realizing that his life needs to change, Carl (Jim Carrey) decides to attend a seminar that his friend Nick (John Michael Higgins) recommended. It changes his life. He becomes a "yes" man, taking advantage of every opportunity that presents itself... with mixed results of course. It's a fun story and a humorous look at a life philosophy that really does work when used in moderation. Carrey and Zooey Deschanel do their own singing here as well. Adapted from the book by Danny Wallace. PG-13 for language and nudity.
THE YES MEN FIX THE WORLD (NR) 83 minutes * * 1/2
The Yes Men go a few steps further than most people when they want to make a point. Pretending to be who they aren't, they work their way into meetings and offer presentations that are designed to highlight what's wrong with the company or the system. Sometimes their irony is too far over the heads of those who are so close to the problem. Maybe because people have grown so used to the approach of those who attack their positions more directly...
YOGI BEAR (PG) 73 minutes * 1/2
The park is in trouble again, and it's not dofficult to understand the cause. It's Yogi. Pretty much like the old cartoon, so don't expect a great deal of intricacy here. Aimed at those age ten and under, and more irritating than not for those who are older. The live action/animation mix works well, but the 3D tricks are very annoying. PG for language.
YOU AGAIN (PG) 98 minutes * *
Marni (Kristen Bell) has changed a great deal since high school. She's on her way home for her brother's wedding, only to discover that the girl he's fallen for is her old arch enemy. So she does what any loving sister would do... sabotage the wedding plans. There are some good comic lines here and there, but the timing isn't always there, and the lines sometimes fall flat. Too much of this relys on Bell, and she just can't carry it. It's too bad that Betty White isn't featured a bit more here, though she does have a very nice bit at the end. PG for language.
YOU AND I (R) 94 minutes *
Two girls fall in love at a concert and go to Moscow to live out their dream. Things don't go as expected, and their dreams are shattered. But then it works out in a different way than they expected. The trouble is, we don't really care because the script doesn't really let us get very close to either of them. The ending has a few sentimental touches that are nice, but it's too little and too late. R for sex and language.
YOU ARE NOT MY MOTHER (NR) 89 minutes * * 1/2
When Char's (Hazel Doupe) mother goes missing, it upsets everyone, but it isn;t the first time. When she returns, everything is fine... or is it? Char is determined that this time, she will get answers. She may not like what she discovers. This builds nicely, both the supernatural and the dramatic aspects.
YOU BELONG TO ME (NR) 78 minutes BOMB
Obsessive relationships is the theme here, along with unusual landlords... There are so many suspense films with obsessive stalkers as the focus, you'd be wise to pick a different one than this to watch. The bad cast is only outdone by the bad script and weak direction. Definitely one to miss.
YOU DON'T KNOW JACK (NR) 131 minutes * * *
Al Pacino stars as Dr. Jack Kevorkian in this TV biopic about the controversial doctor who promoted assisted suicide as an option for the terminally ill. Another nice job by Pacino, with solid supporting work by Susan Sarandon, John Goodman, and Brenda Vaccaro. The script tends to be informative and balanced, leaving whether Kevorkian's ideas were right or wrong up to the viewer.
YOU DON'T MESS WITH THE ZOHAN (PG-13) 110 minutes * 1/2
He's the world's best super agent, but what he really wants to do is be a hair stylist. Adam Sandler strikes again, with a film about why we all should just get along. It ends nicely, and is full of fun cameo appearances by a number of famous stars. It also runs on far too long and pushes the boundaries of racist humor more than once. PG-13 for language and sex.
YOU GET ME (NR) 84 minutes * 1/2
When Tyler (Taylor John Smith) finds out about his girlfriend's past. it throws a wrench in their relationship. Especially when he meets another girl who really seems to understand him. The only problem with this new girl is that she's psychotic. Standard affair/thriller, with plenty of stylish looks and not much depth.
YOU GOT SERVED (PG-13) 89 minutes * 1/2
Hip hop dance challenges are the fare of the day here. There are definitely some great dance moves here, that do their best to try and make up for a paper thin story that we've heard many times before. Steve Harvey and Li'l Kim have small parts, and there's plenty of B2K music as well. PG-13 for language.
YOU HAD ME AT ALOHA (NR) 85 minutes * * 1/2
Needing to find a new host for the network's travel show, they settle on the unlikely pair of Paige (Pascale Hutton) and Ben (Kavan Smith). He loves unscripted adventure. She likes things all planned out with no surprises. They will be in Hawaii for three weeks shooting a short series for the show. Can they really work together? Really nice supporting roles for Jennifer Aspen and Valen Ahlo.
YOU HURT MY FEELINGS (R) 87 minutes * * 1/2
Sometimes an honest opinion can hurt. When Beth (Julia Louis-Dreyfus) overhears her husband's opinion of the book she has written, she learns that he doesn't like it. It hurts. And it puts the future of their marriage at serious risk. Good character drama. R for language.
YOU KILL ME (R) 89 minutes * * *
Frank's (Ben Kingsley) work has been getting a bit sloppy lately, and it's because of his drinking problem. His boss sends him out west to sober up. Despite how difficult it is for Frank to make friends, he's more than a little gruff and rather anti-social, he begins to sort of like his AA sponsor as well as a certain young woman he meets at a funeral. But things are getting rough at home and Frank may need to go back and take care of some things... did I mention that he's a hit man? Delightful performance from Ben Kingsley that is well complimented by both Tea Leoni and Luke Wilson. Definitely a little on the offbeat side, but a fun movie with a nice, dry sense of humor. R for language and violence.
YOU MAY NOT KISS THE BRIDE (PG-13) 94 minutes * *
When a pet photo shoot goes bad, Bryan (Dave Annable) finds himself in debt to a crime boss who needs a favor. Tht favor would be helping his daughter get her green card. Whatever can possibly go wrong, does. Light, and mostly funny with lots of beautiful Hawaiian scenery. PG-13 for sex, language, and violence.
YOU, ME AND DUPREE (PG-13) 104 minutes * * 1/2
Carl (Matt Dillon) is getting married, and his best friend Dupree (Owen Wilson) has lost his job and needs a place to stay for a few days. Of course, a few days, turns into weeks, and things quickly go from bad to worse. Despite his over-stayed welcome, Dupree's free-style approach to life still have a few things to teach Carl about life, love, and friendship. Kate Hudson brightens things up here, but Dillon and Wilson don't really have much to offer. It's not their fault so much as it is the tired script, reworking a very old story. PG-13 for language and nudity.
YOU, ME & THE CHRISTMAS TREES (NR) 83 minutes * * 1/2
Jack
s (Benjamin Ayres) family has always had the best Christmas trees in town. There's a problem this year. Arborist Olivia (Danica McKellar) has been called in to assess the situation and offer solutions. She also might be able to help Jack on a personal level, and maybe even herself. McKellar is good here, but Ayres is a bit distant.
YOU MOVE YOU DIE (NR) 87 minutes * * 1/2
Mike (Ketzal Sterling) has everything but the ring. If he doesn't get it back soon, his chance to propose to his girl may be gone. Fast-paced film with a sense of humor very similar to that of "Pulp Fiction". The fight scenes are a bit fake in spots and Sterling wrote, directed, starred and directed photography for this, which is a bit much, though it does help when you're finishing shooting the film in two days. Great soundtrack! Filmed in New Zealand.
YOU SHOULD HAVE LEFT (R) 88 minutes * *
A vacation rental in picturesque Wales. An ideal retreat for Theo (Kevin Bacon) and Susanna (Amanda Seyfried) and their daughter Ella (Avery Essex). But this is no ordinary house. The story spins in on itself, and starts to do that so quickly that it doesn't have far to go. It does get a boost from having Bacon and Seyfried, but the story just doesn't have much life to it. R for violence, sex, and language.
YOU SO CRAZY (NR) 83 minutes * *
Typical stand-up comedy film from Martin Lawrence, filled with foul language and sex jokes. The typical messages are here as well... end racism, stay out of jail, don't do drugs... nothing memorable. Filmed at the Brooklyn Academy of Music.
YOU THE LIVING (NR) 86 minutes * * *
Swedish film about life and living, with sequences of humor offset by scenes of tragedy. It's a quirky film with a noticeably Scandinavian sense of humor. Lots of interesting little bits going on in the background throughout the film.
YOU WERE NEVER REALLY HERE (R) 82 minutes * * 1/2
Joe (Joaquin Phoenix) tracks down missing girls. It's a dangerous job, but Joe is no stranger to violence. When his most recent job goes bad, Joe's past begins to play tricks on him. The film's ending is a little abrupt, but Phoenix's performance is well worth a look. Adapted from the book by Jonathan Ames. R for violence, language, and nudity.
YOU WILL MEET A TALL DARK STRANGER (R) 96 minutes * * 1/2
Fairly typical Woody Allen film, weaving a collection of stories together, as an interconnected group of couples and singles explore new relationships and struggle with their current ones. The cast does a nice job, but as with many of Allen's films, it gets a little wordy at times, losing energy and occasionally the focus of the story. R for language.
YOUNG ADULT (R) 89 minutes * * 1/2
When her marriage falls apart, Mavis (Charlize Theron) heads back to her old home town. Maybe something could work out with her old boyfriend. Who cares if he's married and has a kid? Not all that interesting or creative, though the last 5-10 minutes actually do a nice job of wrapping the story and giving it a bit more heart than you might expect. R for language and sex.
YOUNG & BEAUTIFUL (NR) 91 minutes * * *
After Isabelle (Marine Vacth) has sex with her boyfriend for the first time, she discovers that it really doesn't mean all that much to her. Since she feels to emotional attachment to the men she has sex with, she decides that she might as well make some money at it. With no regard for the risks she is taking, she does just that. Rebellion, exploration, loss, and understanding are all part of the process as she begins the rough journey of coming of age. Despite its provocative beginnings, this is ultimately a tender and gentle film about Isabelle's journey to find herself.
THE YOUNG AND PRODIGIOUS T.S. SPOVET (PG) 99 minutes * * *
Nobody seems to believe T.S. (Kyle Catlett) when he tells them he's won a prestigious award. He may only be 10 years old, but he's determined to go to the Smithsonian to accept his award in person. A little too much narration, but otherwise, this is quite fun and entertaining. PG for language.
YOUNG AT HEART (PG) 104 minutes * * *
Documentary about the choral group, Young at Heart, consisting of senior citizens who sing arrangements of music by The Clash, The Ramones, James, Brown, Coldplay and various others. Charming, vibrant, touching, and magical look at the power of music and the joy it can bring to those who sing as well as those who hear it. A wonderful film full of music, life, smiles, and a few tears as well. PG for language.
YOUNG DETECTIVE DEE: RISE OF THE SEA DRAGON (NR) 124 minutes * * 1/2
A look at Dee's (Mark Chao) first case, involving a town that is terrorized by a sea dragon. It's a fun story, with wonderful costumes and scenery. The fight scenes are so elaborate that they are somewhat distracting, and the same can be said for many of the special effects, which are clearly designed to throw 3D objects into your face.
YOUNG DOCTORS IN LOVE (R) 93 minutes * *
A parody of hospital soap operas, this features Michael McKean and Sean Young as two doctors, struggling to make it out of a bad script. This isn;t really as funny as it seems to be intended, but that isn't necessarily a bad thing. R for language and sex.
YOUNG EINSTEIN (PG) 85 minutes 1/2 Rather weak comic effort from writer/producer/director/actor/supervising editor, Yahoo Serious. Based on the idea that Einstein not only discovered the theory of relativity, but invented rock and roll music. What must have been funny to Yahoo, wasn't that funny by the time it hit the big screen.
YOUNG GOETHE IN LOVE (NR) 99 minutes * * 1/2
Far more interested in pursuing the craft of poetry than the law he is supposed to be studying for, Goethe (Alexander Fehling) fails his exams, but falls in love with Lotte Miriam Stein). Theirs is a passionate, poetic, romantic, and ultimately tragic love.
YOUNG GUNS (R) 106 minutes * * *
A group of delinquent young men are hired as regulators by a British immigrant. When the ranch's owner is killed and they are given special deputy status, things get out of hand rather quickly. The gunfights play well and the action is almost non-stop, but the comic bits seem strained. It isn't that they are inappropriate, just that it seems the actors were uncomfortable. It's as if they were so worried about making a quality film that they forgot to loosen up and have a little fun. The stellar cast includes, Kiefer Sutherland, Emilio Estevez, Charlie Sheen, Lou Diamond Phillips, Casey Siemaszko, Dermot Mulroney, and Jack Palance among others.
YOUNG GUNS II (PG-13) 102 minutes * * 1/2
Brushy Bill Roberts begins the film with a story that he claims to be his own... that he is Billy the Kid, who was supposedly shot and killed by Pat Garrett in 1881. Emilio Estevez isn't very convincing though, at least not in his old age makeup. It's a fairly typical sequel in that the most fun is in seeing the cast of the first film reunited. Lou Diamond Phillips, Balthazar Getty, Kiefer Sutherland, Christian Slater, and William Peterson are all back. The story is less than it should be, but it is entertaining to see the "young guns" of Hollywood tackling a western and doing a reasonably good job. PG-13 for language and violence.
THE YOUNG KARL MARX (NR) 112 minutes * * 1/2
Karl Marx (August Diehl) had a vision. He had the support of few apart from his wife Jenny (Vicky Krieps). And then he met Friedrich Engels (Stefan Konarske). Together, they would shape the early days of the labor movement. Packed with philosophy and passionate words, but there isn't much depth to the characters, who often seem to be just reciting the text of Marx's works.
YOUNG ONES (R) 96 minutes * *
Coming of age in a world where water is a privilege. Jerome's (Kodi Smit-McPhee) father has land that needs water, but getting that precious resource seems impossible. The story keeps turning in on itself as one lie leads to another and the conspiracies begin to layer on top of each other. The performances are fine, but the story doesn't work well as a whole, despite the strength of a few individual scenes. R for violence and language.
YOUNG PEOPLE FUCKING (NR) 81 minutes * 1/2
Or, as it's referred to on the poster or container art... Y.P.F. Either way, it's pretty clear what the story is about. It's refreshingly honest in its title, but the film cuts back and forth between five different couples (the friends, the couple, the exes, the first date, and the Roommates) as it takes us through six different stages in a relationship (prelude, foreplay, sex, interlude, orgasm, and afterglow). This constant change of direction and energy manages to undercut most of the depth the script does manage to hint at.
YOUNG PLATO (NR) 99 minutes * * *
It's a tough neighborhood in North Belfast. The headmaster of a boy's school, Kevin McArevey, is trying to teach these young boys a way that will begin to change the violent life that seems to be inevitable for so many of them. Changing a culture that is so deeply embedded is a long and difficult process. A very nice look at somt of the work being done to create positive change.
YOUNG SHERLOCK HOLMES (PG-13) 105 minutes * * * 1/2
Delightful and very entertaining story from the talented Chris Columbus, taking the classic characters back to their early days for a new adventure. Barry Levinson's skillful direction helps make this a mystery that is both fun and full of suspense. PG-13 for violence and language.
THE YOUNG VICTORIA (PG) 98 minutes * * 1/2
With two uncles as kings, and neither with children of their own, there's a chance for young Victoria to become a queen... unless she's forced to sign regency papers. But Victoria clearly understands what is at stake and who is trying to control her and the throne of England. This is the story of the year leading up to her coronation and the early days of her reign as the Queen of England. Very nice work by Emily Blunt as Victoria, though some of the characters around her are a bit shallow. PG for sex, violence, and language.
THE YOUNG VISITERS, OR MR. SALTEENA'S PLAN (NR) 88 minutes * * 1/2
In 1890, nine-year-old Daisy Ashford wrote a story. It took her twelve days, and the result was a remarkably insightful look at victorian society and the behavior of adults. Jim Broadbent stars in this adaptation to film which brings to life the young authors insights and delightful characters.
YOUNGBLOOD (R) 97 minutes * * 1/2
Rob Lowe plays a farm boy who makes good on a hockey team but then quits when it gets a little difficult. He soon discovers that life can be difficult no matter where you are and what you're doing, promptly heads back to the team to help them win it all. Very predictable, but it manages to work well enough that we keep watching. R for language, violence, and nudity.
YOUR HIGHNESS (R) 101 minutes 1/2
Prince Fabious (James Franco) is on a quest to rescue his kidnapped bride. Thadeous (Danny McBride) will accompany him. Plenty of crude humor typical of a McBride film is here, it's just mostly disappointing that Franco and Natalie Portman decided to waste their talents on a project like this. R for sex, language, and violence.
YOUR LOVE NEVER FAILS (G) 93 minutes * *
When Dylan (Brad Rowe) files for joint custody of his daughter, it means that his ex-wife (Elisa Donovan) has to head back to Texas. While back in Texas, she learns about a number of things, including what's best for her daughter.
YOUR MOVE (NR) 92 minutes *
When David's (Luke Goss) wife and daughter are kidnapped, he can only think of one thing. His tactics are preventing the police from pursuing the case, but he doesn't really trust that they can find his wife and daughter before something bad happens to them. Unfortunately, the story doesn't really go anywhere. David keeps pursuing justice his own way. The police keep trying to find them. We lose interest.
YOUR NAME (PG) 101 minutes * * * 1/2
Mitsuha and Taki have formed a strange connection. They don't know how or why it has happened, but they are living moments of each others lives. Gorgeous animation brings to life a wonderful story that is mysterious, charming, and magical, all at once. PG for violence and language.
YOUR SISTER'S SISTER (R) 87 minutes * * 1/2
After the death of his brother, Jack's (Mark Duplass) friend recommends that he take some time off at her vacation home. When Jack gets there, he finds Iris' (Emily Blunt) sister Hannah (Rosemarie DeWitt) is already there on a retreat of her own. As if that's not complicated enough, Iris decides to show up the next morning to check on Jack. Duplass plays the same character he always does, a bit rough around the edges, but Blunt and DeWitt are both very good here, making this worth a look if you don't mind Duplass. R for language and sex.
YOU'RE GONNA MISS ME (NR) 88 minutes * * 1/2
Chronicles the life of Roky Erickson, beginning with his early days with the band, 13th Floor Elevators, who coined the term, "psychedelic rock". Whether it was the drugs or his time inside Rusk State Hospital, Roky's days as a successful musician were numbered. His brothers try to help him do more than shuffle around the house, but with limited success. An almost disturbingly honest portrayal of former talent.
YOU'RE NEXT (R) 94 minutes * 1/2
An anniversary trip turns violent when the group is attacked by axe-wielding killers. But not everyone plays the victim in this story. Mildly creative ending, but we never really connect with or care about these characters because the story is so one-dimensional. R for violence, language, and sex.
YOU'RE NOT YOU (R) 98 minutes * * * 1/2
When Kate (Hilary Swank) is diagnosed with ALS, her caring and over-protective husband hires a highly qualified caregiver. Kate promptly fires her and hires a young college student (Emmy Rossum) who is more than a little rough around the edges. Another stellar performance from Swank, but Rossum really makes this work as she plays off of Swank's strong, steady performance with her own energetic, rough-edged character. R for sex and language.
YOURS, MINE & OURS (2005) (PG) 82 minutes * *
Dennis Quaid and Rene Russo star in this remake of the 1968 film that featured Lucille Ball and Henry Fonda. Needless to say, that's a hard act to follow and this film is definitely not as good as the older one. Still, it does have a few moments here and there. If anything, it's actually a little short and could have benefited from some additional time for character development. The original was almost thirty minutes longer than this one! PG for language.
YOUTH (R) 113 minutes * * * *
Fred Ballinger (Michael Caine) is a retired orchestra conductor/compser who is on vacation with his daughter and best friend. They are an unlikely trio, but this story is filled with interesting and unique characters. The humor here is mixed with tragedy, much as we often find in life. A beautiful film about life, art, and the complications we bring to both with all that we gather on our journey through this world. Caine is a delight, but so is the entire cast. R for sex and language.
YOUTH IN OREGON (NR) 94 minutes * * 1/2
Raymond's (Frank Langella) health is deteriorating, and he has determined to head to Oregon to see if he can qualify for euthanasia. Some of his family join him on the journey, all for very different reasons. Strong performances, but the script tends to drift and even change direction, leaving us unclear on what the director was trying to do with the story.
YOUTH IN REVOLT (R) 85 minutes * * 1/2
No girl has ever really paid attention to Nick (Michael Cera) until he goes on a short vacatio with his mom and her boyfriend. Now that he's met Sheeni (Portia Doubleday)... and he's in love. But it's one thing to fall in love, yet another to stay there. He's going to have to be "bad" if he wants Sheeni to stay interested. The characters are definitely a bit over-the-top at times, but it's a cute story, and Cera does a nice job here with an earnest performance that helps make his character easy for us to sympathize with. R for language and sex.
YOUTH WITHOUT YOUTH (R) 124 minutes * * * 1/2
An unusual film. Dominic (Tim Roth) is an elderly professor whose study of language and philosophy has been his life's passion. Struck by lightning, he finds himself growing younger, and given the opportunity to learn more than he thought possible. Adapted from a story by Mircea Eliade, this is definitely not a film for everyone, and a film that also benefits from repeated viewing. Roth does a fine job in this unique and interesting film. R for sex.
YOU'VE BEEN TRUMPED (NR) 96 minutes * * 1/2
When Donald Trump decided to build a luxury golf course near Aberdeen, Scotland, not everyone is happy about it. What this film makes abundantly clear is that if you have enough money, you really can do pretty much whatever you want. Not a fun film to watch, unless, perhaps, you're a billionaire who is used to getting your own way.
YOU'VE GOT MAIL (PG) 114 minutes * * *
An on-line relationship begins to form between two people. But what they don't know is that in real life, they are "arch-enemies". The owners of two rival bookstores, who will eventually meet and fall in love. Not that this is any real surprise... Meg Ryan's charm is what makes it work so well though the story was a bit more solid in "Sleepless in Seattle". In fact, things do drag a bit here and there and the cutting of a few scenes would've helped the film's overall pace. PG for language.
YU-GI-OH! THE MOVIE (PG) 86 minutes * *
Similar to Pokemon in that this too has both a comic and a card game that came first, there are plenty of differences as well. Not only is this more for a slightly older crowd because of its violence, but it's focus is much more on those who play the card game, playing out battle scenarios and even showing you the cards that are being played. Strictly for fans of the game. PG for violence.
Z (NR) 80 minutes * 1/2
He's an ordinary little boy, but Joshua (Jett Klyne) has a rather unusual invisible friend. In fact, Z just might be more real than anyone expects, and more evil than Joshua realizes. A few creepy moments, but those are mostly created by the music. There is a twist to the story, but it's really no suprise.
Z FOR ZACHARIAH (PG-13) 91 minutes * * 1/2
In this post-apocalptic world, there is a secluded spot in a small community that remains largely untouched and uncontaminated. As it turns out, Ann (Margot Robbie) is not the only survivor. Soon, that will create a conflict. A very personal and relational exploration of a world like this, where the dangers are less physically threatening, but perhaps even more challenging because of the emotional power involved. PG-13 for sex and language.
ZACK AND MIRI MAKE A PORNO (R) 94 minutes * *
Friends since first grade, Zack (Seth Rogen) and Miri (Elizabeth Banks) are living together as roommates and barely making the payments. How can they make lots of money quickly? How about making a porno? It sounds like a great idea, but of course they find out that the impersonal sex they are expected to "perform" for the film, is more meaningful than they thought it would be. There are a few good moments scattered throughout, but this doesn't have the biting edge that other Kevin Smith films have had. R for sex and language.
ZAPPA (NR) 122 minutes * * * 1/2
Including a good deal of interview footage with Frank Zappa, this is the ultimate biographical video account of the man and his work. Always drawn to the unusual, when Zappa finally found music in his teens, rhythm and blues and experimental music were the genres where he went. The film also serves as a history of the music industry of the 1970s and 1980s. It does not dwell on his personal life, though there are some moments of a more personal nature that are included. It seems very fitting that his work is the focus of the film, and that this approach to telling his story would have made him happy.
ZAPPED (R) 93 minutes * * 1/2
A high school science experiment goes wrong, Barney (Scott Baio) and Peyton (Willie Aames) realize they've discovered how to create telekinetic powers. First, they get back at the people who've been bullying them. Then, they just start getting into trouble. The R rating is a little misleading, and this probably would have worked better with a couple of minor edits and a PG rating instead. R for language, violence, and sex.
ZAPPED (2014) (NR) 91 minutes * 1/2
Zoey (Zendaya) has to adjust to a new step-father, three new step-brothers, and a dog... and she wishes it would all just go away. Overly sweet Disney Channel movie with an obvious moral. Zendaya fans may like this, but even they may be a little disappointed.
ZARAFA (NR) 74 minutes * * *
The story of a boy who makes a promise to a giraffe, to protect her baby. It is a promise he will do anything to keep. Beautiful animated film with the sort of story that will appeal to younger children on some levels, but with a meaning that reveals itself in layers to people of all ages.
ZARRA'S LAW (R) 74 minutes * *
Zarra (Tony Sirico) has retired from the police force, but the mobster who killed his younger brother is back on the street after serving only two years. The FBI wants a bigger sting set up, but Zarra just wants payback. Standard mafia drama. Mildly interesting, but not very memorable. R for language and violence.
ZATHURA (PG) 97 minutes * *
It's a creaky old house, and when the boys are left to the care of their sister (who doesn't want to get out of bed), they find even more creepy and strange things in the house... including a game called Zathura! Much like "Jumanji", but more in the science fiction realm. It's reasonably fun, though less creative and with somewhat weaker performances than "Jumanji". PG for violence and language.
ZAYTOUN (NR) 103 minutes * * 1/2
When Yoni's (Stephen Dorff) fighter jet is shot down, he is captured by the Palestinians. What he never expects is that a young Palestinian boy will help him escape. But Fahed (Abdallah El Akal) isn't doing it just for Yoni. He desperately wants to see the land of his own heritage, and their journey there will change them both. Nice work by both Dorff and El Akal, though the story often feels both forced and shallow in dealing with the circumstances around them.
ZERO CHARISMA (NR) 83 minutes * *
When one of their role playing game friends opts out to try and fix his marriage, this group needs to find a replacement. The problem is that Scott (Sam Eidson), who is the game master, is not the most agreeable person. He knows he needs to work on that, but some things are difficult to change. The story is a little repetitive, but the humor works reasonably well, even if you aren't into gaming.
ZERO CONTACT (R) 87 minutes * *
Finley Hart (Anthony Hopkins) has created something extraordinary. It started out as something related to teleportation, but became something... more. Finley is now dead, and the machine wants to be activated. It has brought together the people needed to do that, but they are beginning to realize what is about to happen. Can they figure out a way to stop it? An interesting story, but severely inhibited by the restraints of being made during the Covid 19 pandemic. R for violence and language.
ZERO DARK THIRTY (R) 150 minutes * * * 1/2
This is the story of the hunt for Osama bin Laden, al-Qaeda terrorist and mastermind behind the 9/11 attack on the United States. Much of the footage is shot in a style that does a remarkable job of making us feel like we're embedded observers to the events. Jessica Chastain does a great job here, but also seems a little out of place at times. R for violence and language.
ZERO DAYS (PG-13) 112 minutes * * *
A nasty little piece of computer malware called Stuxnet surfaced in 2010. Initially, it was attacking an Iranian nuclear facility. But who unleashed it, and once it began to reach past the nuclear facility, what could be done to stop it? Well-done exploration of the Stuxnet event and its ramifications, including that of Nitro Zeus. Chilling ending. PG-13 for language.
ZERO MOTIVATION (NR) 97 minutes * * 1/2
The daily lives of a group of female Israeli soldiers. The story focuses on two friends and what they experience. None of these women really want to be here, but each of them deals with the work a little differently. The humor begins to come to the surface as the film moves along, working as a tension-breaker for the characters, and for us as well.
THE ZERO THEOREM (R) 101 minutes * * 1/2
Qohen (Christoph Waltz) is a computer operator who has one job... to prove that the universe ends as nothing. To most, this would also tend to prove that life has no meaning. But what drives Qohen is the very idea that life does have meaning... even if the universe ends as nothing. It's fascinating early on, and Waltz's performance is intense and passionate. But the energy and focus of the story gets lost near the end. R for language and sex.
ZERO TOLERANCE (R) 86 minutes * 1/2
Johnny's (Dustin Nguyen) daughter Angel has been murdered. He enlists the help of his friend Peter (Sahajak Boonthanakit), but when it turns out that Angel was a call girl, the people involved in her murder aren;t going to make justice an easy thing for Johnny and Peter to achieve. Not really much character development, with very short sequences between fight scenes, and many of those are mostly gunfire. There is some power in the ending, but it's a little too late by then. R for violence, sex, and language.
009 RE: CYBORG (NR) 99 minutes * * 1/2
Nine cyborgs who defied their original purpose in order to bring justice to the world are reuniting to do so once again. Not only is there quite a bit of philosophy and theology in this story, it may well take more than one viewing to absorb it all. Some will find that fascinating, but if you're looking for less cerebral entertainment, this isn't it. As far as the animation, some is quite good, but other segments are very much standard fare.
ZEROS AND ONES (R) 82 minutes *
J.J. (Ethan Hawke) is stationed in Rome to help prevent a terrorist attack on the Vatican. While there, he is also trying to locate his brother. A dark film, both in story and in lighting, but it wanders too much and fails to generate much intensity or interest. R for language, violence, and sex.
ZEROVILLE (R) 91 minutes * * 1/2
Vikar (James Franco) has a certain picture in his mind of what Hollywood is like. He's been ex-communicated from seminary and decides to go out and capture his dream. He quickly learns that his picture of Hollywood and movie making is nothing close to reality. There is a beautiful girl (Megan Fox), and he does fall in love, but even that isn;t what he thought it would be like. Sometimes life and love are like that. The drama and the suspense work well. The comic bits not so much. R for language and sex.
ZEUS AND ROXANNE (PG) 93 minutes * *
This is a moderately appealing family film about a dog and a dolphin who have a friendship. Steve Guttenberg and Kathleen Quinlan are both likeable enough, and Miko Hughes does a good job as Guttenberg's son. Mostly the film suffers from a poor script that draws scenes out way too long. Filmed in the Bahamas. PG for language.
ZIG ZAG (R) 101 minutes * * 1/2
The performances in this film are what makes it worth watching. The story doesn't offer us much, but what a cast of characters! John Leguizamo as a Big Brother volunteer who is dying of cancer, Oliver Platt as an alcoholic restaurant owner, Natasha Lyonne as a prostitute, Wesley Snipes as an abusive father, and newcomer Sam Jones III as a young man with a mental handicap. It's a fascinating group of characters, all well performed and definitely worth a look if you like any of these actors. R for language and nudity.
THE ZIGZAG KID (NR) 89 minutes * * 1/2
Nono's (Thomas Simon) father is an excellent police inspector. Nono has similar aspirations. This is his adventure, alongside his father's nemesis. For who can be a better teacher for a young inspector than the best criminal. Fun and adventurous mystery for the tween crowd.
ZILLA AND ZOE (NR) 100 minutes *
Zoe (Aida Valentine) loves horror, but when her dad says the only thing she's allowed to film is her sister's wedding, she decides to make the wedding the basis for her horror film project. As it turns out, the wedding may not need much help from Zoe to head in that direction. This starts out very well, but the script is mostly lifeless, and too much of the acting is very rough.
ZIPPER (R) 108 minutes * * *
Sam (Patrick Wilson) has a successful career, a wonderful wife, and a talented son. He's also having trouble controlling his desire for other women. Nicely written script by Joel Viertel and director Mora Stephens that manages to create an uncomfortably realistic picture. R for sex and language.
ZODIAC (R) 154 minutes * * *
Adapted from the Robert Graysmith book about the Zodiac serial killer, whose killings terrorized and mystified San Francisco for years. Jake Gyllenhaal plays Graysmith as the story follows the reporters and the police as they work on the case and try to uncover the identity of the killer. It's a fairly straightforward presentation, but the intensity does build after awhile. Solid performances all around, and those who enjoy detective dramas will find this well worth the time. R for language, violence, and sex.
ZOKKOMON (PG) 101 minutes * *
Kunal's (Darsheel Safary) uncle decides that Kunal should be a student at his school. But when that proves to be too much trouble, he dumps Kunal at an amusement park. While wandering the streets, he meets Kittu Didi (Manjari Fadnis) and begins a new life. When he finally returns to his uncle's town, everyone thinks he's a ghost... which could come in handy... Interesting sort of tween adventure film from India. PG for violence.
ZOLA (R) 81 minutes * *
Based on a Twitter thread of 148 tweets written by a waitress from Detroit. Zola (Taylour Paige) and her friend Stefani (Riley Keough) are strippers, on a road trip to Florida. This is the story of that trip, and how they became... not friends. R for sex, language, and violence.
ZOMBEAVERS (R) 71 minutes BOMB
A group of college age friends take a break to spend a weekend in a cabin. Not a good idea with a bunch of zombie beavers running around. Packed with bad performances, bad sex jokes, and cheap special effects. R for violence, sex, and language.
THE ZOMBIE DIARIES (R) 78 minutes *
Yet another "reality zombie" movie. These are the slow-moving variety, so a bit less challenging than those ones that run. The reality approach leaves the story somewhat disconnected and the poorly written dialogue doesn't do this any favors either. R for violence, language, and nudity.
ZOMBIE DIARIES 2 (R) 86 minutes * 1/2
It's now four months after the outbreak, and a small group of survivors are at a military outpost. They have only recently discovered the true scope of the problem. The acting here is a bit better than the first, and the "reality" aspect has been toned down a little. The script is still pretty much the same quality though, with a disjointed story and a rather bleak ending that sets us up for part three. R for violence, language, and sex.
ZOMBIE FIGHT CLUB (NR) 92 minutes 1/2
Lots of bloody effects here, both regular and CGI, but the mix of the two is sometimes awkward. Not only is the dialogue poor, but the uninfected characters just aren't very bright, and we don't really care if they end up turning. And then there are the S&M scenes that don't really fit at all... also of note is that the "fight club" in the title isn't until near the end of the film.
ZOMBIE HUNTER (NR) 88 minutes 1/2
Drug users become zombies courtesy of a new drug, creating a zombie-filled world. Hunter (Martin Copping) spends his time killing them, mostly for sport, until he connects with a small group of survivors. Lots of narration here, most of which is completely unnecessary, though it is written better than the dialogue. There are a few zombie effects that aren't bad, but the CGI work is pretty bad.
ZOMBIE KILLERS ELEPHANT'S GRAVEYARD (NR) 96 minutes * 1/2
This version of the zombie apocalypse was triggered by fracking. (Who knew?) Not much time is spent on explaining that, which is probably a good thing. Instead, the focus is on a small militia, trying to defend their town, which lies in the path of an oncoming horde of zombies. (Maybe they could just move?) The ending is more than a little awkward.
THE ZOMBIE KING (NR) 91 minutes 1/2
Low-budget zombie film that tries to capitalize on the presence of Edward Furlong and Corey Feldman, who no one seems to realize aren't in their teens anymore. (FYI, 36 and 42 respectively at the time of the film's release.) Samuel (Furlong) makes a deal with the "God of Malevolence" (Feldman) to be able to be with his recently deceased wife. There's some humor, but the dialogue is poor, the story is muddled, and it doesn't end well.
ZOMBIE MASSACRE (NR) 86 minutes 1/2
A team of mercenaries is hired to help a small Romanian town to rid itself of a zombie plague. The first five minutes are fairly impressive, but that's about it. The story tends to wander, somewhat like a zombie, without getting anywhere, and the effects seem to be the only place where money was spent.
ZOMBIE MASSACRE 2: REICH OF THE DEAD (NR) 79 minutes 1/2
Trapped behind enemy lines, these soldiers are about to find out about a Nazi experiment gone wrong. Even worse, they found out they were going to be in this movie. Really slow-paced and poorly written. The same writing team who did the first film is responsible for this, but aside from the topic, there really isn't anything to connect the two films.
ZOMBIE NIGHT (NR) 85 minutes 1/2
Survivors try to last through the night as these zombies are inactive during the daylight hours. There's no real explanation included in the story, or much of an ending. The effects are reasonably good, but even those who love this sub-genre are unlikely to list this among their favorites.
ZOMBIE STRIPPERS (R) 86 minutes *
Now that the Bush Administration has been elected for a fourht consecutive term, the country is running out of soldiers to fight in all of the wars. Somebody gets the bright idea to create zombies to fill the need. Not too subtle political commentary, and not without some other fun bits along the way. The acting is sub par, though i'm sure that doesn't come as a surprise. And the few bits of social and political commentary don't last long enough. R for violence, sex, and language.
ZOMBIELAND (R) 83 minutes * * 1/2
The zombie plague has infested the entire world. There are only a few people left, and four of them have just found each other. Perhaps their shared experience will increase their odds of survival. Though it might be a bit less easy to remain undetected by the zombies. Light-hearted look at a world full of zombies that manages to throw in a few scares and some very good effects. Emma Stone, Abigail Breslin, Jesse Eisenberg, and Woody Harrelson work quite well as a team here. Filmed in Georgia. R for violence and language.
ZOMBIELAND: DOUBLE TAP (R) 93 minutes * * 1/2
Life is going well for our friends, but living in the White House has become a little boring. Wichita (Emma Stone) and Little Rock (Abigail Breslin) decide to head out on their own, which initiates a move for Tallahassee (Woody Harrelson) and Columbus (Jesse Eisenberg) as well. Nicely done sequel with some very nice additional characters and cameos. It will make much more sense if you've seen the first film, but it builds quite well on that first film. R for violence, language, and sex.
ZOMBIES (NR) 80 minutes 1/2
The zombie outbreak is in full swing. Luke (Stephen Luke) has a plan, but can he and his small band of followers last long enough to make a difference? The script is as stiff and awkward as the zombies, though the cast tries hard to get past it. The twist at the end is too little and far too late for us to care.
Z-O-M-B-I-E-S (2018) (NR) 92 minutes * * 1/2
The zombie outbreak happened fifty years ago. As it turns out, zombies aren't all that bad. Now that science has figured out a way to curb their flesh-eating urges, they're pretty easy to get along with. In fact, Zed (Milo Manheim) and his friends are going to get to go to regular high school. Will they fit in? Does anyone? Offbeat musical fun, with a little bit of teen angst thrown in for good measure.
Z-O-M-B-I-E-S 2 (NR) 83 minutes * * 1.2
Things are just starting to get more serious for Zed (Milo Manheim) and Addison (Meg Donnelly). And then the werewolves show up. Nice sequel with more fun, musical dance numbers and teen angst. The story is about being proud of who you are and about what it means to have a group to belong to.
ZONE DRIFTER (NR) 92 minutes 1/2
War has devastated the planet, but one man is still looking for his brother, wandering the wasteland, refusing to give up. There are some reasonably good effects here, but the story is very heavily narrated and moves very slowly. Writer/director/producer/actor Charles Conklin definitely over-extended himself.
ZONE 414 (R) 93 minutes * * *
Hired by the wealthy creator of a series of synthetic humans to find his missing daughter, David (Guy Pearce) works with Jane (Matilda Anna Ingrid Lutz) to find her. Jane is a highly advanced AI, and a bit troublesome due to her level of self-awareness. It's no surprise that this reminds us of "Blade Runner", not only with the self-aware AIs, but also with the sets and music. Iit creates the same sort of futuristic noir atmosphere. But this is definitely its own story, and not a bad one, though it is a little lighter in tone and a bit less complex. R for violence, language, and nudity.
THE ZONE OF INTEREST (PG-13) 99 minutes * * 1/2
The film is a study in contrasts, as it follows the commandant of the prison camp at Auschwitz during World War II. Rudolf Hess (Christian Friedel) and his wife Hedwig (Sandra Huller) work at raise a fmily and maintain a beautiful home and garden, all while living on the other side of the wall, just a few feet away from the attrocities of the prison camp. The contrasts are powerful, but the film still keeps itself distant by not giving us a very well developed story. Artistically it works very well, but emotionally it comes up short. PG-13 for language.
ZOOKEEPER (PG) 94 minutes * 1/2
The animals at the zoo decide to help Griffin (Kevin James) with his romance because he's always been so good to them. Of course their ideas aren't necessarily the most wise ones for a human romance... It's more of James' standard slapstick humor, so if you enjoy him, you'll like this. Plenty of other big names providing the voices for some of the animals, including Nick Nolte, Cher, Sylvester Stallone, and Adam Sandler. PG for language.
THE ZOOKEEPER'S WIFE (PG-13) 122 minutes * * *
When Germany invaded Poland at the beginning of World War II, the zookeeper of the Warsaw Zoo and his wife saved many lives, both animal and human. This is their story. Good World War II drama, with the story of the zoo as an interesting aspect since it is both unique and true. PG-13 for violence and sex.
ZOOLANDER (PG-13) 83 minutes *
Zoolander's modelling career is in trouble since he lost the model of the year competition, but he might be able to have a career as a secret agent. There are nice cameos and bit parts throughout the film and Ben Stiller actually does reasonably well as the rather ditzy Zoolander. The problem is that the script pads a non-existent storyline with one-liners that demean the intelligence of models. To base a whole film on that idea just wears thin rather quickly. PG-13 for language.
ZOOLANDER 2 (PG-13) 93 minutes *
Zoolander (Ben Stiller) and his pal Hansel (Owen Wilson) are back in the fashion world again, though they quickly discover that things have changed a little. Too bad the film didn't change much from the first one. The humor still gets tiresome very quickly, and the best part is once again watching for all of the cameo appearances. PG-13 for sex, violence, and language.
ZOOM (PG) 83 minutes * *
No one ever expected the Zenith program to start up again, but when it appears that Concussion (Kevin Zegers) is about to return, it appears to be the only hope. They must convince Captain Zoom (Tim Allen) to train a new Zenith team to save the world. Adapted from the book "Zoom's Academy" by Jason Lethcoe, this is a fun adventure film for the younger set, with light-hearted performances and humor they will enjoy. The final battle is a bit anti-climactic and the story resolves too quickly, but getting there is fun. Also featuring Courteney Cox and Chevy Chase, and rated PG for violence.
ZOOMBIES (NR) 84 minutes BOMB
A zoo becomes infected with a zombie virus. Another gem from Asylum Studios with cheap special effects and bad acting. This gets more ridiculous as it goes along, but manages not to be fun to watch either.
ZOOMBIES 2 (NR) 80 minutes BOMB
Rangers and poachers end up having to work together to fight zombie animals run amuck. Really bad CGI effects, and though the acting is actually very slightly better than in the first film, the story is less interesting.
ZOOTOPIA (PG) 97 minutes * * * 1/2
Judy Hopps (voiced by Ginnifer Goodwin) has always wanted to be a police officer. That's no easy task for a bunny. Once she finally makes it, she's assigned to the big city. And before she knows it, she finds herself working with a fox to solve a crime. Very effectively deals with the lesson of not making judgments based on appearances. The stellar voice cast includes Goodwin, Jason Bateman, Idris Elba, Bonny Hunt, Tommy Chong, J.K. Simmons, Octavia Spener, and Shakira. PG for language and violence.