BABE 86 minutes * 1/2 James King-Smith's book comes to the big screen. Many people really enjoy this film, but I found it to be a meandering and violent story that relies too heavily on puppets to tell the story of farm life. The puppetry work is uneven as well, some being quite stellar, while other scenes are quite poor. It does have a nice finish, but getting there is a real chore.
THE BABE (PG) 109 minutes * * * Babe Ruth was a legend in his own time, and the story of that legend still has power for us today. Virtually single-handedly, Ruth's talent boosted ticket sales to baseball games which had gone into a severe slump after the Black Sox threw the world series. John Goodman gives a wonderful performance here, showing us both sides of this character. We see the Babe's recklessness and irresponsibility, drinking and being overweight, and his lack of intelligence about a number of things. But we also see his love of children, his generosity, and his phenomenal talent for the game of baseball. It's an honest portrait of a legend who was also a human being, full of talent and complete with faults. PG for language.
BABE: PIG IN THE CITY (G) 86 minutes * Babe feels guilty for causing an injury to farmer Hoggett. Now he has to go to the city with Mrs. Hoggett to try and make money to save the farm. An adventure ensues, mostly due to Babe's naive nature and Mrs. Hoggett's bumbling. The mice that were a bit cute in the first film have a larger part here, and are rather annoying. There is also a rather drawn out and traumatic sequence late in the film as the animal shelter comes to take away all the animals from the motel. Too much of the film is explained through narration during the film and the result is a negligible amount of emotional pull to keep us involved.
BABEL (R) 135 minutes * * * 1/2 What happens when you need help and people don't understand you? What if it's because you don't speak the same language or can't speak at all? Four stories are told here, very much connected, but each with their own twist on the difficulty of communication. Well-acted and thought-provoking, if a little awkwardly paced at times. Winner of numerous awards and nominated for literally dozens of others. R for violence, language, and sex.
BABY BOOM (PG) 110 minutes * * * 1/2 Yuppie woman inherits the custody of a baby with predictable chaos resulting. Her live-in yuppie boyfriend can't take the new situation and moves out leaving her to be a single parent along with all of her other responsibilities. Well performed by Diane Keaton and a fine supporting cast that includes Sam Shepard and James Spader. Nicely directed and well-written with a great soundtrack from Bill Conti, Burt Bacharach, and Carole Bayer Sager.
BABY BOY (R) 123 minutes * * 1/2 Jody (Tyrese Gibson) has two children by different girls, but still lives with his mom. She wants to get on with her life. He needs to grow up and take some responsibility. Coming of age/slice of life film from director/producer/screenwriter John Singleton (who also served as music supervisor) has quite a bit of good material, but tends to repeat itself and almost lull us to sleep. Singleton should have tightened this up a bit and handed the directing or producing to someone else. It's just too long and too repetitive. Wait, did I say that already? R for violence, language, and sex.
BABY GENIUSES (PG) 91 minutes * 1/2 This film was apparently inspired by the dancing baby of recent computer animation fame... and is entertaining for about that long too. The talents of Kathleen Turner and Christopher Lloyd are completely wasted. The idea is that babies hold the secrets of the universe in their minds, but at the onset of speaking, it is lost. How can the knowledge be communicated before the age of two? Interesting idea to explore, but more the stuff of science fiction than a cheaply made comedy. PG for language.
THE BABY-SITTERS CLUB (PG) 88 minutes * * 1/2 Agreeable adaptation of Ann M. Martin's book(s) aimed at girls who baby-sit. A group of seven girls band together to form a sitting service and the adventures they have together form the basis for the stories. Nothing outstanding, but pleasant and appealing to the audience to which it is directed.
BABY'S DAY OUT (PG) 93 minutes BOMB Watch it if you dare! Cute baby, stupid villains, formula plot... it's hard to believe the number of highly talented people involved in this production could actually make a film that is this bad. PG for language and fake violence.
THE BACHELOR (PG-13) 97 minutes * 1/2 Jimmy Shannon III (Chris O'Donnell) is faced with a dilemma. He has to get married in the next 24 hours or he'll lose his inheritance, but the girl he wants to marry won't say "yes". Renee Zellweger is terrific as Anne, and she makes the film worth a look, but the plot is stale and despite the presence of veterans like Hal Holbrook, James Cromwell, Ed Asner, and Peter Ustinov, this just doesn't come across very well. PG-13 for language.
BACK TO THE BEACH (PG) 87 minutes 1/2 Frankie and Annette are a little older now, but going back to California to visit their daughter brings back more than a few memories. Unfortunately, it brings us this film... which doesn't really recapture the fun of the old beach party films. Sure, they were silly, but they still had a playful sense as far as story, where this film seems to strain to poke fun at the older films.
BACK TO THE FUTURE PART II (PG) 102 minutes * * * This is one of those sequels that's packed with information. Filling in all the gaps that the first film left and preparing you for part three. The aging makeup isn't very good here, but the other technical aspects are quite nice, making this a good sequel despite how much detail is crammed into it. Be advised that this film comes to a close without finishing the story. When it was originally released, part three followed only six months later, so there was a sense of recapturing the feeling of the old serial films of the 1940's and 50's. So, sit down and have some fun, and make sure you watch part three for the thrilling conclusion! PG for language.
BACK TO THE FUTURE PART III (PG) 111 minutes * * * Final chapter in the saga that finishes the part of the story that began in Part 2. This time it's a trip to the wild west for our friends, with plenty of action and fun. A bit overdone in spots, but fun is definitely the emphasis. This makes enough references to events from the other two films that it really is important to have seen them first. In some ways that's a hindrance, but it's a fun series for those who enjoy science fiction/adventure.
BACKBEAT (R) 97 minutes * * It's Liverpool in 1960, and John Lennon and his friend Stuart Sutcliffe are beginning to make a name in the music scene. This is the story of the Beatle who wasn't, and how his absence sparked what became a legend. The relationships make for a fascinating study, though the slice-of-life presentation does get a bit tedious in a few spots.
BACKDRAFT (R) 130 minutes * * * * Stephen (Kurt Russell) and Brian McCaffrey (William Baldwin) are the sons of a firefighter who died in an explosion while Brian was watching. It's years later now, and although they are both firefighters, they are very different in most everything else. The story mixes their personal lives with a story of arson investigation, stirring in amazing special effects and an outstanding soundtrack from Hans Zimmer. Special recognition goes to Russell, Baldwin, and Scott Glenn, who do their own stuntwork in the film. It's a stunning film that you won't want to miss! R for violence and language.
BAD BOYS (R) 115 minutes * * * Martin Lawrence and Will Smith team up in this police action film. The banter between the two is quite good at the beginning, but begins to wear thin after awhile. Marc Mancina's soundtrack really adds to the suspense, especially late in the film. This is a solid action film from director Michael Bay that is well worth a look. R for violence and language.
BAD BOYS II (R) 139 minutes * * Will Smith and Martin Lawrence are back, along with Gabrielle Union in this action-packed sequel. In fact, it's so action-packed that there's room for little else. We move from one special effects stunt to the next and the few times the action does slow down, there's not much story to pick up the slack. The stunts are quite elaborate and well-done, as we expect from a film like this, but we still need a little more story... or at least a film that's a lot shorter! Filmed in Miami and Puerto Rico. R for violence and language.
BAD COMPANY (PG-13) 112 minutes * * 1/2 Jake's (Chris Rock) twin brother was a CIA agent who was killed in the line of duty. The problem is that he was in the middle of a rather important operation. So, Oakes (Anthony Hopkins) agrees to the idea of bringing Jake in to finish the job. He's not really excited about it and they don't make a particularly good team. In fact, it's not a very original idea and Rock's humor is frequently misplaced. There are some nice supporting performances which go a long way to making this entertaining. The first hour moves along pretty well, but the implausability of the setup quickly overtakes the film. It's doubtful that Hopkins will list this among his better works. PG-13 for language and violence.
BAD DREAMS (R) 80 minutes * 1/2 If you're familiar with "A Nightmare on Elm Street", then you might want to skip this. The big differences here are that the villain isn't as evil, the main character elicits no sympathy from us, and that the rest of the cast have even less in the way of common sense than most horror film supporting casts. Bruce Abbott earns a whole star of the rating all by himself just for doing so well with a terrible script and untalented direction.
BAD GIRLS (R) 93 minutes * * Drew Barrymore, Madeleine Stowe, Mary Stuart Masterson, and Andie McDowell...four prostitutes from the wild west who are on the run after killing a man who was roughing one of the girls up. "Amusing" is probably the operative word here, with a nice poster and an appealing cast that suffer through an old and lifeless story.
BAD INFLUENCE (R) 97 minutes * * A bit of a character switch here, with Rob Lowe playing the sinister character. He helps James Spader out of a tough situation and then begins to manipulate every part of his life. The script and direction are too weak to deliver what we need here, though Lowe and Spader both do some nice work. R for sex and violence.
BAD MOON (R) 76 minutes BOMB What's that? you've never heard of this film? I'm not surprised! Though it features Mariel Hemingway and Michael Pare, it's a pretty pathetic entry in the werewolf sub-genre. Pare is clawed by a wolf and seeks refuge with his sister, whose dog finds him out. The transformation scene is 68 minutes into the picture. (Yes, eight minutes before it's over!) Really lightweight film adapted from the novel "Thor". R for language, violence, and nudity.
BAD NEWS BEARS (2005) (PG-13) 108 minutes * 1/2 Lifeless remake of the 1976 film with a bunch of misfit kids turning into a steller baseball team in spite of an alcoholic coach. More foul language than the earlier film, but what's really missing is Walter Matthau. Billy Bob Thornton even seems to act like making this film was a bad idea. His fans might want to see this, but it won't rank among the better films he's done. PG-13 for language.
BAD SANTA (R) 86 minutes * It's definitely a mystery as to why anyone would even associate with this extremely foul-mouthed, rude jerk who takes advantage of everyone around him. Willie (Billy Bob Thornton) and his buddy Marcus (Tony Cox) have a scam that involves stealing from stores on Christmas eve every year. Willie has grown more and more self destructive over the years and it's bound to fall apart soon. Needless to say, this is not a film for everyone, it's not a funny holiday film, and it probably won't be on anyone's favorite list of films. That said, it does have that Coen brothers' humor, though not in as liberal doses as usual. R for language, violence, and sex.
BAIT (R) 114 minutes * * Misplaced humor sets this police thriller off on the wrong note. Jamie Foxx actually does a nice job as the unwitting bait set to trap a thief. This would've worked better as a straight thriller. The other big mistake here is that the villain gives us an overly obvious impersonation of John Malkovich. David Morse and David Paymer seem a bit frustrated that they ended up in a project that needed better direction and a bit of script work. Filmed in Toronto and New York City. R for language and violence.
THE BALLAD OF JACK & ROSE (R) 108 minutes * * 1/2 Jack (Daniel Day-Lewis) and Rose Camilla Belle) have been living a somewhat idyllic life as father and daughter on an island off the east coast. Society is beginning to creep in on them though. Housing developments are springing up down the road and as Jack's health begins to fail, he invites someone else to live with them. It's too much for their fragile world to take, and things must change. It's difficult to see the struggle that Jack is having with his relationship with a daughter who is growing up too fast because we barely feel like he's been that connected with her. His interests seem to lie more with maintaining a secluded lifestyle than with loving his daughter, which makes a substantial part of the story rather hard to sympathize with. The performances are solid, but the story itself has severe flaws. R for language and sex.
BALLISTIC: ECKS VS. SEVER (R) 85 minutes * Antonio Banderas and Lucy Liu star in this splashy, action/thriller that somehow also manages to be dry and dull. There is definitely some great stuntwork here, but the virtually non-existent story and uneven direction leave us with little in-between the stunts. Liu and Banderas do their best, but the end result is less than satisfactory. R for violence.
BALLS OF FURY (PG-13) 83 minutes BOMB He used to be a ping pong prodigy, now he's an over-weight, out-of-practice loser. That's why the FBI wants to recruit him to get to bad guy Feng (Chris Walken). Walken fans may want to see this, but unless you really enjoy bad, low-budget comedy, it's not worth the time. PG-13 for language.
BALTO (G) 72 minutes * * 1/2 Based on the true story of a sled dog who brings much-needed medicine to children during a severe winter storm. This is a bit intense at times, for the younger ones, and starts off a little slowly too. But the characters stick with you, the music draws you in, and it ends well. It probably won't be the kids' favorite, but it's better than most of the stuff on TV.
LA BAMBA (PG-13) 104 minutes * * * Bio-pic about singer Ritchie Valens (Lou Diamond Phillips) and his rapid rise to fame. The film devotes a good deal of time to Ritchie's family relationships. Music was the creative outlet that helped him keep his dream alive. Excellent performance by Phillips.
BANDIDAS (PG-13) 87 minutes * * Two very different women find themselves fighting the same bad guy as they try to avenge the deaths of their fathers. Salma Hayek and Penelope Cruz star in this lightweight western/action/comedy. Hayek and Cruz are fine, as are supporting performances from Steve Zahn and Dwight Yoakam, it's just that there really isn't much here. It's paced quickly and delivers a few laughs, some action, and a couple of beautiful women. Nothing too complicated, or all that memorable. PG-13 for sex and violence.
BANDITS (PG-13) 117 minutes * * 1/2 Joe (Bruce Willis) and Terry (Billy Bob Thornton) break out of prison with no particular plan in mind. Still, it doesn't take them long to decide what their future will entail. Despite the solid performances from Willis, Thornton, and Cate Blanchett, the film lacks strength. Director Barry Levinson lets the story move around far too much, straying at one point to become more of Blanchett's story than it really should. The pacing is uneven and it becomes tiresome as the film continues to drag on until we reach the amusing ending that manages to put things back on track... a little too late. PG-13 for language and violence.
THE BANGER SISTERS (R) 89 minutes * * * Goldie Hawn is priceless as usual in this delightful comedy about two old friends who haven't seen each other in awhile, and how some things have changed, while others haven't. Hawn's style is naturally infectious, but Sarandon seems to have trouble playing the serious counterpart at times, and the film does begin to lose strength about halfway through. Still, the message is strong and clear... accepting yourself and what made you who you are is the first step on the road to inner peace. R for language and sex.
BAPS (PG-13) 84 minutes * 1/2 Hired to pretend she's a dying man's granddaughter, Denise (Halle Berry) finds herself really caring about old Mr. Blakemore (Martin Landau). Berry looks good, as usual, but there is little substance to this film. The last 15 minutes are touching, if rather predictable. PG-13 for language.
BARB WIRE (R) 92 minutes * Pamela Anderson Lee stars in this story of the comic book heroine Barb Wire. Lee's sultry voice and ability to pose for the camera come across well on the big screen. At least as far as looking sexy that is... the problem is that she can't act! Lots of glitz to this film, but the story is a no brainer... Special note: watch as the length of Lee's fingernails changes from scene to scene.
THE BARBARIANS (R) 85 minutes * When the travelling group of entertainers who has adopted them is attacked, two young brothers grow up determined to make things right for those who have cared for them. Interesting that even though the brother age, no one else seems to. The only part that makes this entertaining at all is that the Barbarian Brothers (Peter and David Paul) joke around and have some fun with their roles.
BARBERSHOP (PG-13) 98 minutes * * * Calvin (Ice Cube) inherited his father's barbershop but has never quite been able to make it financially viable. His dreams lie elsewhere, and after a couple of years, he's ready to sell it and move on. He has a lot yet to learn about the importance of the barbershop, not just to the little neighborhood in which it stands, but to himself as well. Great characters and a solid story that is a pleasure to watch. Nice music from Terence Blanchard too. PG-13 for language.
BARBERSHOP 2: BACK IN BUSINESS (PG-13) 101 minutes * * Calvin (Ice Cube) and his buddies are back, this time with their business about to be challenged by a new place across the street. More predictable than the first and not as strong on character development though the cast seems more relaxed in their roles. PG-13 for language.
BARBIE AS THE ISLAND PRINCESS (NR) 81 minutes * * 1/2 Shipwrecked as a child, Rosella (Barbie) befriends the island's animals and eventually discovers her true identity as a princess and finds true love. The story isn't much to speak of, but with more songs by Megan Cavallari and Melissa Lyons again providing the singing voice of Barbie, the soundtrack is quite good. Not rated, but suitable for families.
BARBIE AS THE PRINCESS AND THE PAUPER (NR) 79 minutes * * * Most of the films in this animated series are little more than fair, but this one stands out as superior to the rest because of the music. Songs written by Megan Cavallari turn the classic story into a cute and fun musical. With Julie Stevens and Melissa Lyons singing the leads, it's sure to have parents humming or singing along as well. Not rated, but suitable for families.
BARBIE MARIPOSA (NR) 71 minutes * * Barbie tells Bibble a story about Mariposa, a butterfly fairy, and the time she saved the rest of the butterfly fairies by being very brave, but more importantly by being herself. Non-musical entry in the series with good animation, but a mediocre story. Not rated, but suitable for families.
BARCELONA (PG-13) 99 minutes * * * Young naval officer Fred Boynton (Chris Eigeman) goes to Barcelona to stay with his cousin Ted (Taylor Nichols). Ted has always had trouble getting relationships with women to last, so Fred tries to help. Filled with the subtle humor of Ted's daily life, the film also gives us a European background that doesn't always shed a favorable light on Americans. A charming film, though it is a bit disjointed in spots.
BAREFOOT IN THE PARK (NR) 105 minutes * * * 1/2 How can you possibly go wrong with Robert Redford and Jane Fonda? Charming and entertaining adaptation of the Neil Simon play about newlyweds in a five-story walk-up apartment. This is a fun romantic comedy that eventually spun off a short-lived TV series. Sit back, relax, and enjoy a look at newlywed life through the delightful eyes of Neil Simon.
BARNYARD (PG) 83 minutes * * While the farmer's away... featuring the voice talents of Kevin James, Courteney Cox, Sam Elliott, Danny Glover and a few others. The moral of the story is learning to grow up and take responsibility, not something with great appeal to kids in particular, especially since Otis apparently has to stop having fun to become responsible. Writer/director Steve Oedekerk thought it would be funny for the male cows to have udders (in case you were wondering). It's more... disturbing than it is funny. Unevenly paced in general and dragging miserably in several spots, this just isn't a something that most people (whatever age) are going to find very interesting or fun. PG for language and violence.
BARTON FINK (R) 111 minutes * * * Fink (John Turturro) is a playwright who makes the big time, but still has trouble convincing certain people that his ideas have merit. This is from the very unique and sometimes bizarre writing/directing team of Joel and Ethan Coen, whose fans will love this. It took best film, actor, and director awards at the Cannes Film Festival, and Carter Burwell's score is also worth mentioning. Not for everyone, but if you like your films a little on the strange side, you'll really enjoy this.
BASEKETBALL (R) 103 minutes * 1/2 Surprisingly enough the actual idea of combining basketball and baseball as presented, sounds like an interesting concept. Aside from that, this is mostly what you'd expect from a low budget comedy starring the creators of the "South Park" cartoon. Rude bathroom humor abounds, along with lots of cheerleaders in lingerie and other unusual clothing. Lots of cameos from sports stars, but not much else to keep your interest for long. R for language.
BASIC (R) 93 minutes * * 1/2 A ranger basic training exercise has gone bad and Colonel Styles (Tim Daly) decides to call on his old friend Tom Hardy (John Travolta) to help sort things out. His techniques may be a bit unorthodox, but so is what happened that night in the jungle. There is a twist, but the surprise is diluted by the fact taht we're given so many scenarios as possibilities, we just sit back and wait to hear what the truth is. The acting is good, but nothing outstanding as should be expected from Travolta as well as Samuel L. Jackson, Taye Diggs, and Giovanni Ribisi. R for violence and language.
BASIC INSTINCT (R) 121 minutes * * 1/2 Another in the collection of cops attracted to killers genre as Michael Douglas finds himself drawn to Sharon Stone, who is suspected of committing some ice pick murders. The story sets things up very well, but the climax is rather disappointing. The film also tends to rely on sex as a tool to distract us as well as Douglas from the clues at hand. Not bad for the genre, but mostly thanks to the skills of Stone and director Paul Verhoeven, who knows how to set up a scene and manipulate the audience. R for sex and violence.
BASIC INSTINCT 2 (R) 110 minutes * 1/2 Fourteen years after the first film was made, someone decided to do a sequel to a mediocre thriller. Unfortunately, they forgot to hire a good director, writer, or much of a cast. Sharon Stone is back, and looking good, but definitely a bit more... mature. David Thewlis is the only member of the cast that deserves a positive mention. David Morrissey's portrayal of Dr. Glass, a criminal psychologist, and the latest victim of Catherine Tramell's (Stone) twisted mind, is nothing less than completely void of emotion. There are some twists to the story, but since this is a sequel to a film with lots of twists, you sort of expect it. Unless you're a die-hard Stone or Thewlis fan, this probably isn't worth your time. R for sex, language, and violence.
BASKET CASE 2 (R) 85 minutes BOMB Cheap special effects, horrible acting, and lousy direction all manage to ruin what might have been an interesting sequel about a guy who tries to hide out with his deformed brother in a carnival sideshow.
THE BASKETBALL DIARIES (R) 98 minutes * * * Jim Carroll's recollections of the 1960's come to life through Leonardo DiCaprio's performance, following him through his time as a high school basketball star and on to being a street junkie. DiCaprio's fine performance is well-supported by Bruno Kirby, Lorraine Bracco, and Juliette Lewis. Depressing, and a little preachy at times, but quite good.
BATMAN (PG-13) 121 minutes * * * Dark, and thoroughly satisfying film that gives this comic book legend the big screen treatment he always deserved. The special effects are a bit weak early on, but the film is very well acted, with not only Michael Keaton and Jack Nicholson turning is solid performances, but Kim Basinger, Pat Hingle, Billy DeWilliams, and Jack Palance all do good work as well. The story is presented well, so that even those few people who might not be aware of who Batman is, will understand the caped crusader's motives and methods. Tim Burton's direction gives this the dark edges that were present when the comic first appeared, making it perhaps a little less pop entertainment, but much more effective. PG-13 for violence.
BATMAN & ROBIN (PG-13) 119 minutes * * 1/2 Lots of elaborate costuming and special effects, though that isn't really a surprise. The stories get cornier and cornier as this series continues. It would be nice to see a return to the dark edges of the first film rather than be heading toward the comic animation that was the trademark of the 60's TV show. George Clooney seems a bit stiff as Batman, but Chris O'Donnell and Alicia Silverstone work well as the family continues to grow. Arnold Schwarzenegger plays a fine Mr. Freeze, but Uma Thurman's Poison Ivy is at her best when she is the less seductive Dr. Eisley. PG-13 for violence and language.
BATMAN BEGINS (PG-13) 131 minutes * * * 1/2 Very impressive beginning to a new series of Batman films that promises to be much more dark and realistic than any we've seen so far. Christian Bale does a nice job and there are so many supporting performances that are well done, it's hard to know where to start. Michael Caine, Liam Neeson, Gary Oldman, Morgan Freeman, Rutger Hauer, Ken Watanabe, Katie Holmes... OK, I'm not so sure about Katie. It's a new character for the story and it works fairly well, I'm just not sure why anyone felt it was necessary. This also does take a bit of extra time at the beginning to set the stage, and might be a bit slow going for those who already know the legend, but the pace picks up soon enough and never lets go after that. PG-13 for violence.
BATMAN FOREVER (PG-13) 116 minutes * * * Val Kilmer's outing as the caped crusader is a success. Battling the Riddler (Jim Carrey) and Two-Face (Tommy Lee Jones) and assisted by Chris O'Donnell as Robin, this aims for a more upbeat portrayal of the characters. It's the approach the comic book took in the '70s, though prior and since, the tone has been of a darker nature. PG-13 for language and violence.
BATMAN RETURNS (PG-13) 119 minutes * * The demented and deformed Penguin and the deranged and deadly Catwoman team up in a diabolical duo that has the caped crusader rather confused. It's a little confusing to us as well. Sometimes they seem to be working together, sometimes they aren't, and neither one of them seems to have any motive for causing any trouble. Special effects, costumes, and sets are the real highlight here, with director Tim Burton's style very evident. Still, the use of two villains is too much. We end up being deluged with information about them while pyrotechnics light up the screen, but there is little in the way of a story here. Better luck next time Batman! PG-13 for violence and language.
BATMAN: THE MASK OF THE PHANTASM (PG) 72 minutes * * 1/2 Voices by Dana Delaney, Efrem Zimbalist Jr., Mark Hamill, and Abe Vigoda, in this feature film spinoff from the Saturday morning cartoon. The opening animation is impressive, but after the first few moments it reverts to sloppy Saturday standards. It's too bad, because the story is actually fairly good.
BATS (PG-13) 87 minutes BOMB Plastic bats and bad dialogue are the highlights here. And then there's the camera that jerks all over the place... and the story is so full of holes that one wonders how they ever managed to get Lou Diamond Phillips to even sign on to star in it. You've been warned! R for violence and language.
BATTERIES NOT INCLUDED (PG) 101 minutes * * * Small aliens arrive to help the residents of a tenement in New York that's about to be demolished. Definitely derivative of "E.T." and "Close Encounters of the Third Kind", but with more of an "afterschool special" feel to it. Hume Cronyn and Jessica Tandy are charming as usual and are largely responsible for the film's appeal. James Horner's soundstrack helps as well.
BATTLE ROYALE (NR) 112 minutes * * * Adapted from the novel by Koushun Takami, this "loss of innocence" story was never released in the United States. General audiences in the US would most likely react very negatively to the basic scenario. A class of 9th graders are chosen at random and taken to an island where they will play the "Battle Royale", a 3-day event where there can only be one survivor. There are danger zones, and exploding neck bands, but the real danger they will face is each other. Can their friendships survive this test? Do their hatreds run that deep? Are they ready to be adults? When you understand the story as a whole, the premise works very well and the ending is wonderful. There are a few rough places in the script, but it's well worth a look for the social commentary on adolesence. Beat Takeshi and Chiaki Kuriyama, both well know to international audiences are here, Takeshi as the teacher and Kuriyama as one of the students. Most countries where this has been released have rated it the equivalent of an R for the graphic violence.
BATTLEFIELD EARTH (PG-13) 110 minutes * 1/2 It's the year 3000 and humans are now an endangered species. Used as slave labor, they live in caves until they are captured and taken by the aliens to do work. The aliens themselves aren't that smart, but why do the humans end up living in caves and completely forgetting how to use technology? The only real point in the film is that knowledge is power and much of that emphasis is lost since it's really hard to condense such a huge book into a feature film. It's interesting to note that none of the big names in visual effects wanted anything to do with this film... and it shows. PG-13 for violence.
BE COOL (PG-13) 112 minutes * * Adapted from the novel by Elmore Leonard, this sequel to "Get SHorty" has Chili Palmer (John Travolta) switching from being in the movie business to being in the music business. Not everyone is thrilled with the idea... neither was I. There are some fun in-jokes, but the story wanders all over the place and never really gets anywhere. In fact, it often feels like the whole point of some scenes is just to have a chance to work in another cameo appearance, which the film is packed with. Fans of "Get Shorty" may enjoy this, but it just doesn't hold together very well. PG-13 for language and violence.
THE BEACH (R) 112 minutes * * 1/2 A map to a secret beach on a secluded island falls into Richard's hands. He invites a young French couple to go with him to see if it's more than just a local legend. They find the island, and the beach, but also begin to realize that secrets come with a cost and that paradise never remains so once trust begins to fade. Leonardo DiCaprio and Virginie Ledoyen star, and the scenery is beautiful. The story is shallow though, and despite some nice mood-setting music from Angelo Badalamenti, we tend to feel like we're looking at a postcard that should inspire feelings but doesn't. Filmed in Thailand. R for sex, violence, and language.
BEACH BLANKET BINGO (NR) 98 minutes * * * Want to stay warm? Enjoy the beach? Why not settle in and warm up with that fun beach crowd? Frankie and Annette star in the best of the beach movies along with Paul Lynde, Don Rickles, Linda Evans, Buster Keaton, and many more. With all the crazy antics, it’s sure to tickle your funny bone and keep you warm. This was the fifth in the “Beach Party” series, of which there were seven. So if you want to stay on the beach for awhile...
BEACHES (PG) 119 minutes * * * 1/2 If you could describe C.C. Bloom with just one word, it would probably be "vivacious". Of course, even that word only touches the surface. C.C. was a go-getter even as a child. Even as she matures and some of her hopes get dashed on the rocky shores along the way, she keeps moving ahead with her head held high. She's nothing like her friend Hillary Whitney, who is from a well-to-do family and has never had to do much for herself. The friendship they form as children will be tested by time, which is a hard taskmaster. But when love is true and selfless, it will only grow with time. The story is a true work of art, and Georges Delarue has subtly captured each mood that dances past us in the course of the film with a soundtrack that is sheer perfection. Bette Midler delivers her best performance since "The Rose" and Barbara Hershey does an outstanding job as well. There are a couple of scenes that don't fit well in the film and slightly mar the overall effect, but this is definitely a film to see and a story to take to heart.
BEAN (PG-13) 85 minutes * 1/2 Rowan Atkinson has made a career of mugging for the camera and saying few words. In fact, you'll probably hear more words from him here than ever before. But as with most comedians who deliver clever short skits, stretching their work into a feature film doesn't work very well. The occasional bit is funny, but the stretches between are very taxing. Filmed in Los Angeles and London.
THE BEAR (PG) (1989) 90 minutes * * * 1/2 Excellent nature drama about a season in the life of a bear cub. The scenery is beautiful, as you might expect, and the photography does a great job of capturing both creature and creation. The violence is a bit strong in spots, but nature can be that way at times. PG for violence.
THE BEAUTICIAN AND THE BEAST (PG) 102 minutes * * If you can't take Fran Drescher's voice, you won't like this at all. Otherwise, it's a mildly entertaining story of a New York beautician who ends up teaching an eastern European dictator a few things about leadership. Lots of charm here, but this definitely could have used a little trimming. Partially filmed in Czechoslovakia. PG for language.
BEAUTIFUL (PG-13) 105 minutes * * 1/2 Mona wants to win a beauty pageant... more than anything in the world. She befriends Ruby, and they work together on the way up from small town pagents for little girls, through the years to the American Miss pageant. Making sacrifices and stepping on toes along the way, Mona begins to succeed. But at what cost? Mona has always put herself first, but the time has come to think of others, and she might just discover that there are things that just might be a little more important. Minnie Driver and Joey Lauren Adams do a nice job in the lead roles here, but Hallie Kate Eisenberg steals virtually every scene she's in. For some films that might be a detriment, but it works well here as it helps paint Mona in a darker light, making her transformation at the end a bit more powerful. PG-13 for language.
BEAUTIFUL GIRLS (R) 108 minutes * * * As Will Conway (Tim Hutton) returns for a class reunion, he finds that many things have changed among his friends, but some things remain the same. Yes, we've heard this story before, but the cast makes this worth watching. Rosie O'Donnell, Uma Thurman, Anne Bobby, Matt Dillon, Martha Plimpton, Natalie Portman... Most of the emphasis is placed on character development, and it's fun just to watch these characters interact with each other. They are so "alive" that we just want to keep watching, long after the film is over. R for language.
A BEAUTIFUL MIND (PG-13) 127 minutes * * * * Picture of a young man driven to find the one idea that will give him recognition... John Nash (Russell Crowe) is a gifted young man, with an incredible mind, but intelligence many times comes with a cost. Will John be able to deal with that cost... or even be aware of what it is? Adapted from Sylvia Nasar's book, this is a brilliant film that chronicles Nash's life and the mind that made the man. Not only does Crowe give a fine performance, but Jennifer Connolly has finally landed a role that is a perfect fit. Dramatic biography at its best. PG-13 for language.
BEAUTY AND THE BEAST (G) 80 minutes * * * The Disney version of the story presents a bit too much violence and the younger ones are given a mixed message about Beast as he is both violent and loveable, depending on the scene. The animation is uneven too, with some amazing sequences and others that are rather sloppy. The overall effect isn't bad though, and the score and title song both won Oscars for Alan Mencken and Howard Ashman.
BEAUTY SHOP (PG-13) 101 minutes * * Gina (Queen Latifah) is tired of how she's being treated by Jorge (Kevin Bacon) and decides to quit and open up her own beauty shop. It's not easy, but she's got the skills and the friends and she's going to make the best of it. The cast is likeable and there are a few bits here and there that will make you smile, but there's just no depth. Most of the supporting cast is wasted here, which is a shame considering how much talent is there. Alfre Woodard, Della Reese, Sherri Shepherd, Mena Suvari, Andie McDowell... Then again, the writers credits are mostly mediocre TV shows and movies like "Glitter", so it's hard to expect too much. PG-13 for language.
BEAVIS AND BUTTHEAD DO AMERICA (PG-13) 76 minutes BOMB The animation for the TV series is very poor in quality, and this matches it frame for frame. Filled with the typical immature humor that has made them famous, we follow the two as they try to steal a TV since theirs was stolen. Duh! PG-13 for language.
BEBE'S KIDS (PG-13) 69 minutes * Irritating animation of questionable quality about a guy who goes on a date with a woman who brings along her three bratty children. There is a moral here, but who wants to hear it through all the smart remarks in a cartoon based on characters created by Robin Harris.
BECAUSE I SAID SO (PG-13) * * 1/2 Trying desperately to make sure that her daughter doesn't follow in her footsteps, Daphne (Diane Keaton) is doing everything possible to find the right man for her daughter Milly (Mandy Moore). It's creating more than a little mother-daughter conflict, and Milly's sisters Maggie (Lauren Graham) and Mae (Piper Perabo) are drawn into the family spats as well. It's a comedy style that Keaton is familiar with and plays well, having lots of dialogue and plenty of emotion along with it. While the film is clearly about the relationship between Daphne and Milly, it's too bad that some of the fine supporting performances are mostly drowned out, though that does have its similarities to real life. Some may find Keaton's performance a little annoying until late in the film, but this mostly loses points for being a too familiar story that could have used some stronger direction. PG-13 for language.
BECAUSE OF WINN DIXIE (PG) 103 minutes * * Opal (AnnaSophia Robb) and her dad (Jeff Daniels) move to a new town where she doesn't have any friends unitl a stray dog wanders into her life. As their friendship grows, it touches other people in the town, a town that needed to feel the touch of friendship and love to bring it back to life. Sentimental and simple tale, adapted from the novel by Kate DeCamillo, and a nice family film. PG for language.
BECOMING JANE (PG) 111 minutes * * * The life and loves of young Jane Austen (Anne Hathaway) that shape the writer she became are the story here. Hathaway looks very comfortable here and the story is entertaining. More emphasis on Austen's actual writing and a bit less on the romance would have made this a more serious and more substantial piece, but entertainment rather than art seems to be the emphasis here, which is a bit unusual for a period film. PG for nudity and language.
BED AND BREAKFAST (PG-13) 98 minutes * * * A handsome stranger befriends three generations of women in this unique little film. Roger Moore, Talia Shire, Colleen Dewhurst, and Nina Siemaszko are featured in this interesting story, set on the coast of Maine. It's an exploration of feelings, relationships, hopes, and dreams as Moore's character helps to unlock what each has kept to themselves. A wonderful little film that most will enjoy.
BED OF ROSES (PG) 84 minutes * * 1/2 When her fast-paced life is interrupted by death, Lisa (Mary Stuart Masterson) is forced to take time off and relax, which she doesn't know how to do. Christian Slater steps in to add romance to her life, but is she ready for that? Lots of great scenes here, but the flow seems a little off and the ending is rather weak. One of the best parts here is actually Pamela Segall's performance as Lisa's friend Kim.
BEDAZZLED {PG-13) 86 minutes * 1/2 This remake of the Peter Cook/Dudley Moore film lacks the charm and class of its predecessor. Brendan Fraser and Elizabeth Hurley look great and they do appear to work well together, but the script is shallow and it affects the characters despite the appeal of the actors. It ends up being just another glossy remake that we could've done without. PG-13 for language.
BEE MOVIE (PG) 82 minutes * * Barry (Jerry Seinfeld) wants a better life. But when he flies out of the hive, he not only breaks the rule and talks to a human, he discovers that humans are stealing the honey. When he stops them from continuing to commit this horrible crime, the results are even worse. The moral of the story is that we all depend on each other. Too many of the characters are overplayed here. It's a style that would work if the film was aimed at the very young, but too much of the humor is targeted at older teens and adults. PG for language and violence.
BEE SEASON (PG-13) 100 minutes * * * Eliza (Flora Cross) has an amazing skill. Not only can she spell better than most people, when she closes her eyes, the words seem to speak to her. It's a skill that fascinates her father and he becomes absorbed in it. Meanwhile, his wife is having a breakdown, and his son is growing more distant by the minute. An interesting look at family relationships and parenting, well-performed by all. Flora Cross in particular does an amazing job here, and the ending, while not unexpected, fits perfectly. Adapted from the novel by Myla Goldberg. PG-13 for language and sex.
BEER LEAGUE (R) 82 minutes * Read the title again... do you really need a description? Artie Lange plays a loser with a beer gut who gets a self-esteem boost when a woman actually finds him interesting and attractive. He manages to become a better person, okay, a little bit better person, and inspire his softball team to win... almost. Not much here. R for language, sex, and more language.
BEERFEST (R) 106 minutes 1/2 To salvage the honor of their grandfather, they must assemble the world's best beer drinking team. Then again, maybe their granfather DID steal the secret recipe after all. Maybe we don't really care. We definitely don't need the story to go on this long. Look at the title. Did you really think it would be any different? R for language and sex.
BEETHOVEN (PG) 83 minutes * * 1/2 Plenty of laughs, a touch of suspense, and a huge Saint Bernard give this film is strengths. There aren't any surprises, but it's basically a fun family film that most people find entertaining. PG for language.
BEETHOVEN'S 2ND (PG) 83 minutes * * 1/2 Beethoven's back... and this time he (and his new girlfriend) have four puppies that get into almost as much trouble as their father did the first time around. Formula family fare, basically harmless and somewhat amusing with a cute ending. PG for language.
BEETLEJUICE (PG) 88 minutes * * * Two ghosts would like to rid their house of it's living tenants and ask for help from Betelgeuse (Michael Keaton). Not only does Keaton deliver a hilarious performance, but the entire cast here is great. It's an amazing collection of characters played by Geena Davis, Alec Baldwin, Winona Ryder, Catherine O'Hara, and many more. Directed by the appropriately creepy Tim Burton and with music from the macabre Danny Elfman, this is a delightfully strange and fun film.
BEFORE AND AFTER (PG-13) 104 minutes * * Jacob (Edward Furlong) is accused of murdering a young girl. His father (presuming his guilt) wants to cover things up but his mother (presuming his innocence) wants him to tell the truth and deal with things openly. It's an interesting idea, but the script takes too long to lay things out for us and degenerates into argumentative scenes all too often.
BEFORE SUNRISE (R) 99 minutes * * * A chance encounter on a train in Europe. Two people who feel an attraction and are willing to relax and see where life takes them. It may be a bit hard to accept at first, but it rings true. Sometimes it's easier to be honest and open with a stranger, and sometimes love comes quickly. Perhaps a little too wordy at times, but very romantic and with a good ending that rings true to the characters and the story. Ethan Hawke and Julie Delpy bring out the best in each other in this romantic drama.
BEFORE SUNSET (R) 77 minutes * * * Nine years have passed and Jesse and Celine meet again. Their lives have changed, but there are some things that remain the same. Ethan Hawke and Julie Delpy reprise their roles from "Before Sunrise" and assist director Richard Linklater with the script in this romantic sequel. It suffers from the same talkiness that the first does, but is just as romantic and true as well. Filmed in 15 days and featuring three songs written and performed by Delpy, this is a romantic sequel that should only be seen after viewing the first. R for language.
BEFORE THE DEVIL KNOWS YOU'RE DEAD (R) 113 minutes * * 1/2 It was a simple plan that should have gone off without a hitch. But aren't those the ones that always seem to go wrong? Now Andy (Philip Seymour Hoffman) is in even more trouble. Trying to set it right only seems to become more complicated and his frustration at those around him escalates until the tragic climax. Hoffman chews up the scenery, as he often does, but the real problem here is that none of these characters are likeable, and they are all trapped by their own inadequacies. Carter Burwell's music works well here, and Ethan Hawke, Marisa Tomei, and Albert Finney give passionate performances, but it's not enough. R for sex, violence, and language.
BEHIND ENEMY LINES (PG-13) 100 minutes * 1/2 While straying slightly from a scheduled flight path to investigate suspicious activity, Lt. Chris Burnett and his pilot are shot down. Now he's down behind enemy lines and in deep trouble. Owen Wilson, likeable though he may be, just doesn't have what it takes to carry a lead role. His sincerity does score a point for this, though that's a small satisfaction. Of course, it doesn't help that the film's story is ridiculous. Filled with procedures the military would never consider and with marksmen who can't hit a target and explosions that never seem to get the best of Burnett. PG-13 for violence and language.
BEING HUMAN (PG-13) 117 minutes * * 1/2 The story of a story... five stories, woven together by the presence of Robin Williams. It's a strange piece of work, not exactly fun to watch, but interesting. Williams' performance makes it worth a look, but don't expect this to be your favorite of his films.
BEING JOHN MALKOVICH (R) 106 minutes * * * * Craig Schwartz (John Cusack) is a puppeteer of little fame. This means that he must find other work, which he does, on the 7 1/2 floor of a business building. Even more strange though, is the destination that lies beyond the little door he finds behind some filing cabinets one day. This is plain and simply, an incredible piece of work. Cusack and John Malkovich are perfect and the story, despite its bizarre concept, is a poignant one. Who are you and who do you want to be? Is it not enough to be yourself? R for language and sex.
BEING JULIA (R) 100 minutes * * * A brilliant performance from Annette Bening as theatrical diva Julia Lambert in this adaptation of W. Somerset Maugham's novella, "Theatre". Bored with her successful theatrical career, Julia longs for something exciting. When she finds it, in the form of a younger man, it proves a bit much to handle. But only for a moment. She is, after all... Julia Lambert. The only difficulty here is that Bening so overwhelms everyone and everything else that even some of the plot is overshadowed. Bening earned a well-deserved Golden Globe award for a performance that is definitely one of the best she's ever given. R for sex and language.
THE BELIEVERS (R) 108 minutes * 1/2 A modern-day police investigation of a murder turns into more than anyone bargains for when it's discovered that the deaths of three children could lead to their parents becoming rich, famous, and infuential. The special effects are poor at best, relying on being gross enough to make you turn away quickly. Somehow, Martin Sheen manages to come off fairly well. Otherwise, this is a watered-down voodoo story with a rather silly ending that makes us wonder why we sat through the whole movie.
BELOVED (R) 162 minutes * * Oprah Winfrey and Kimberly Elise star in the story of a mother and daughter in early America, faced with struggles of violence and poverty. It's a dark and rather disconnected account that makes the film hard to understand until well into the picture. People seem to rave about anything Oprah does, but I found this to have nowhere near the impact of "The Color Purple". The actors all do fine work here, but the material is uneven and lingers far too long on story elements that make little sense until late in the film. Unless you're a real fan of Oprah, you'll probably be disappointed. R for violence amd nudity.
BENCHWARMERS (PG-13) 78 minutes * 1/2 Three former nerd... OK, they're still nerds... take on all the mean little kids in a baseball tournament. Rob Schneider, Jon Heder, David Spade, Jon Lovitz... that should pretty much tell you what sort of humor to expect. There is an attempt to make it meaningful with ideas about sticking up for the underdog and how bullies will get what's coming to them. It doesn't really add anything to the film. It IS fun to see the cars that Jon Lovitz gets to drive though. PG-13 for language and violence.
BEND IT LIKE BECKHAM (PG-13) 106 minutes * * * Jess is just a normal English girl who is trying to meld her Indian heritage with her love of soccer. The problem is that her parents, mom in particular, think its totally inappropriate and feel she should respect the customs and traditions of India. The film does a wonderful job of creating sincere characters who are wrestling with issues of identity on a deep level. Inspirational and fun. PG-13 for language.
BENJI: OFF THE LEASH (PG) 97 minutes * Yet another Benji film, this one apparently suggested when someone found a dog they thought looked like Benji and wrote producer/director Joe Camp about it. He decided to do a film about what the dog's life was like before he was found and became a star. Too bad it sounds like every other story we've already heard with a boy whose best friend is the dog and attempts by a couple of bumbling idiots to try and catch the dog. The last few minutes are nice... if you make it that far. PG for violence.
BENJI THE HUNTED (G) 86 minutes * * Nice scenery and photography, and the music is pretty good too. But poor human acting (Hey, I'm not going to pick on the dog!), weak direction, and only four and a half minutes of dialogue. OK, maybe that isn't too bad considering the people don't do that well anyway... Filmed in Oregon.
BENNY & JOON (PG) 95 minutes * * * Benny & Joon are brother and sister, caring for each other despite her mental illness which sometimes exhibits itself rather violently. When Sam (Johnny Depp) shows up with his own eccentricities, he and Joon are drawn together. It's a love story, and a parable, about how we feel cut off... abnormal... and may behave rather strangely when we don't have love in our lives. The acting carries the film well and the story serves as an important reminder to us all.
BEOWULF (PG-13) 105 minutes * * Life-like animation is the highlight of this adaptation of the epic poem "Beowulf". The story has changed a bit, but it's still an exciting adventure. Perhaps the most disappointing aspect is the appearance of Grendel, whose image is extremely distorted. Featuring the voice talents of Ray Winstone, Crispin Glover, Angelina Jolie, Anthony Hopkins, and Robin Wright Penn among others. PG-13 for violence and sex.
BEOWULF & GRENDEL (R) 100 minutes * * 1/2 Modernized version of the epic poem "Beowulf", with a bit more graphic violence and foul language, thus getting an "R" rating. The story itself is so strong that it overcomes the mediocre adaptation. The most impressive aspect of the film besides the story itself is the beautiful Iceland scenery.
BEST IN SHOW (PG-13) 84 minutes * 1/2 It's time for the Mayflower Dog Show. And what a strange group of people it is who bring their dogs to try and win the coveted "Best in Show". Full of wild stereotypes and crazy characters, but there just isn't much of a story to work with. The budget is incredibly slim as well and it shows, but the characters still manage to make us laugh. PG-13 for language.
THE BEST MAN (R) 116 minutes * * 1/2 Harper (Taye Diggs) is back in the old neighborhood to be best men for an old friend. It sets the stage for talk about old relationships and new possibilities. What will make it a bit awkward is the book he wrote that is based on his own life and the people he has known. It's fiction, but there's quite a bit of truth as well. Diggs and the rest of the cast do a nice job, but the script makes them deal with petty things far too often and shies away from letting the characters become real. It's mostly fluff, making it an OK video rental, but nothing you'll remember. R for language and nudity.
BEST MAN IN GRASS CREEK (PG) 78 minutes * * This is definitely a cute idea for a story. A guy who has problems with weddings since he was once stood up by his fiancee as the service was about to start, finds himself being the best man for a guy he hardly knows so he can make a sale and not lose his job. There's plenty of good material about marriage and committment, and a good deal of country charm, but the pace is off. If you see the outtakes at the end, it's easy to realize that the biggest problem here is that John Newcombe is not a great director. He does a nice job as Adam, and he produced the film too, but directing is not where his skill lies. Too much of the film drags, and that's not a good sign when it's a fairly short film to begin with. Filmed in Grass Creek, Indiana. PG for language.
BEST OF THE BEST (PG-13) 95 minutes * 1/2 Incredibly predictable film about the training of two olympic karate teams. There are a couple of good fight scenes, but the ending is far-fetched and the talents of Eric Roberts and Christopher Penn deserve better. The sequel does a little better, though it's a little surprising that they bothered making one.
BEST OF THE BEST II (R) 96 minutes * * Eric Roberts and friends are back in this martial arts sequel as they go about avenging the death of their friend, Travis (Christopher Penn). Production values here are much better than in the first film, but it's still the same basic formula story, relying heavily on music and the revenge idea to get us involved.
BETRAYED (R) 123 minutes * * * Debra Winger delivers a stellar performance as an undercover FBI agent who is torn between her loyalty to her country and her job and the man she has come to love. The films pulls its punches too much as far as the story though, and we feel a little betrayed ourselves. Part of the story is the idea that fear and insecurity are at the heart of what creates people like Gary Simmons (Tom Berenger), but how can we help them when our own fears and insecurities get in the way?
BETSY'S WEDDING (R) 91 minutes * * As one might expect from the title, it's about a wedding. What you might not expect are that Molly Ringwald's costumes are far from attractive and that Alan Alda whines throughout the whole film. These problems serve to undermine the strength of the film, which lies in the social commentary it makes. Numerous talented supporting cast are present here, but most of them aren't put to good use. R for language.
THE BEVERLY HILLBILLIES (PG) 88 minutes * * A new cast brings the classic old TV comedy to the big screen... with limited success. People seem to forget that these old shows worked because they had very little plot. One situation, one complication, one moral statement, with laughs distributed throughout. The cast does a good job here, it's the script that does the damage.
BEVERLY HILLS COP II (R) 98 minutes * * * Bad things are happening in Beverly Hills again. Axel (Eddie Murphy) gets a call from his friend Captain Bogomil (Ronny Cox). There's an "alphabet killer/thief" onthe loose and Axel's expertise is needed. Packed with action and set to Harold Faltermeyer's heavily rhythmic score, this is a slick, polished production, though there are a few editing problems and story holes. Plenty of great dialogue bits throughout the film, and nice wrok by the supporting cast.
BEVERLY HILLS COP III (R) 96 minutes * * 1/2 Set against an amusement park background, Axel Foley (Eddie Murphy) is back in action again. A little thin on story, this still manages to deliver a fair amount of action and ruthless killers, making it a satisfactory entry in the series though not quite as good as part two.
BEVERLY HILLS NINJA (PG-13) 84 minutes * Chris Farley without David Spade is like... well, it just doesn't work very well. This is mildly amusing, but doesn't have the humor that was in Farley's previous two theatrical films. Nicollette Sheridan and Chris Rock co-star. PG-13 for language.
BEWITCHED (PG-13) 98 minutes * * 1/2 In this modernized version of the classic TV show, Isabel Bigalow (Nicole Kidman) is a witch trying to live as a mortal who ends up playing the part of Samantha on a remake of the Bewitched TV show. It's a cute twist and works fairly well as a way to introduce the idea without being just another remake. Unfortunately, Will Farrell's character of Jack Wyatt is an annoying, egotistical jerk who wants all of the attention and gets too much of the screen time as well. And Shirley MacLaine, who plays an actress playing the part of Endora, doesn't get enough. PG-13 for language.
BEYOND BORDERS (R) 118 minutes * * Sarah Jordan's (Angelina Jolie) heart is touched by a dramatic plea for aid, so she empties her bank account and heads to Ethiopia to help with relief work. What she discovers is a situation even more dire than she had imagined, and one that is comlicated by politics and funding issues. The film is definitely uneven and it feels like too much was left on the cutting room floor. Still, it definitely deals with an emotional subject and does a reasonably good job showing how it affects Sarah. It also had an impact on Jolie as she has become involved in the same issues in the real world. R for violence and language.
BEYOND RANGOON (R) 96 minutes * * * Traveling to the Far East to escape the memories of the recent murder of her husband and child, Laura Bowman (Patricia Arquette) must remain in what is now a military state when she loses her passport. What happens to her as she faces a culture that sees things in reverse from her perspective makes for an interesting story that is very well told. Inspired by actual events, this is a fascinating film that you won't soon forget. R for violence, language, and nudity.
BEYOND SILENCE (R) 107 minutes * * * Lara (Sylvie Testud) has love music ever since she was a child. As she grows older, she finds that it touches her in a way that nothing else does and that she feels she should pursue it as a career. How can she explain this to her parents who are both deaf? Parents who rely on her as their interpreters and are reluctant to let her leave their home. It's a story of dependence and independence that is both inspirational and touching.
BEYOND THE GATES (NR) 109 minutes * * * The story of the Rwandan genocide told through the eyes of an English teacher and a Catholic priest John Hurt and Hugh Dancy both do fine work here, but as with other versions of this story, it is the story itself that overpowers us with its scope and meaning. Filmed in Rwanda.
BEYOND THE MAT (R) 99 minutes * * * This is a documentary about what goes on behind the scenes and outside the arena of the modern wrestling scene. The history of the WWF, WCW, and ECW are sketched out through interviews and narration. What's refreshing about this particular piece is that it doesn't shy away from some of the negative aspects. We see Jake the Snake struggling with his addiction to crack and trying to mend the broken relationship with his daughter. We watch as Mick Foley realizes just how upset his children get when they see him get hurt in the ring. There are plenty of exciting and positive moments as well, making this a well-rounded documentary that keeps our attention and leaves us with a better understanding of the sport and industry of modern wrestling. R for violence and language.
BEYOND THE SEA (PG-13) 110 minutes * * * Bobby Darin biopic that tells the story with an emphasis on his relationship with Sandra Dee (Kate Bosworth). Told with guidance from his younger self, this is an entertaining piece, with the songs performed by Kevin Spacey. He also managed to direct, co-write, and co-produce as well as write a song of his own for this. Only his first credit as writer and his second as director, this is impressive. His performance offers nothing out of the ordinary, but Spacey's "ordinary" is better than most. PG-13 for language.
BICENTENNIAL MAN (PG) 123 minutes * * * 1/2 In the not too distant future, many home may be purchasing household robots to do many of the daily chores. This is the story of the Martin family and their robot, who begins to exhibit some rather unique characteristics. It's also about what it means to be alive, to have freedom, and to pursue your own destiny. Robin Williams does an outstanding job as Andrew, who goes in search of others like himself, only to find that he is unique. Adapted from Isaac Asimov's short story, "The Positronic Man", it's a wonderful tale, beautifully translated to the big screen. James Horner's music and a song by Celine Dion, "Then You Look at Me" highlight the soundtrack. And Oliver Platt delivers a perfect supporting performance too. This is a gem, don't miss it. PG for language.
BIG (PG) 101 minutes * * * 1/2 A wish to be "big" gets a little out of hand as a boy becomes a man overnight. Director Penny Marshall deftly handles the material here, but it's hard to go wrong with a story like this when Tom Hanks is your leading man. A funny and touching look at childhood and adulthood, their differences, and their similarities.
THE BIG BOUNCE (PG-13) 81 minutes 1/2 Jack (Owen Wilson) is always running a scam, but they never work for long. Everything he does seems to go wrong pretty quickly. Like being in this movie. Despite the heavy-hitting talent involved here, this plods along at a terribly slow pace and has dialogue that just makes you cringe at times. Sara Foster, as the romantic interest, and yet another of the people who all seem to be scamming each other, has loads of great looks... and no acting talent. The beautiful scenery is courtesy of the north shore of Oahu, Hawaii. Adapted from an Elmore Leonard novel, this also features Charlie Sheen, Morgan Freeman, Gary Sinise, and Bebe Neuwirth. PG-13 for language and nudity.
BIG BULLY (PG) 85 minutes * Your first "big" clue that this isn't going to be good is the cast. Tom Arnold and Rick Moranis, neither of whom seem to be able to make a good movie. The story is moralistic goop about a bully and a nerd who grow up and have children who have the same problem but are able to deal with it better than their parents did.
BIG BUSINESS (PG) 93 minutes * Big dud is more like it. This is a one-joke film that loses its strength after about twenty minutes. Bette Midler and Lily Tomlin are wasted here though Tomlin in particular, does have a few gems here and there in the film. Even Lee Holdridge's music seems to fade away after the first few scenes.
BIG DADDY (PG-13) 87 minutes * * Sonny (Adam Sandler) has a relationship that's on the rocks, but the perfect solution may have just shown up on his doorstep. Now he has a chance to be a responsible adult. Of course, it isn't so easy being a father, as he quickly discovers. It's too bad this reverts to the toilet humor that was Sandler's early trademark instead of moving toward more sophisticated humor. The story has a lot of potential and Sandler definitely has the talent, but it's barely evident here. PG-13 for language.
THE BIG EASY (R) 97 minutes * * Dennis Quaid and Ellen Barkin star in this story of police corruption in New Orleans. The story doesn't really offer us anything new, but Quaid and Barkin do nice work here except for the accents. If they weren't going to cast someone from the area, they should have rewritten the part.
BIG FAT LIAR (PG) 83 minutes * * Jason (Frankie Muniz) has a problem with telling stories. It's just a natural talent, but it's gotten him into trouble one too many times and now his parents don't believe him anymore. He's going to have to go to Hollywood with his friend Kaylee (Amanda Bynes) and convince a movie producer to call up his dad and admit that he stole Jason's idea for his movie. It's a kid's adventure film, reasonably entertaining, with lots of movie-making in-jokes mixed in with the fluff. Filmed mostly at Universal Studios themepark in California. PG for language.
BIG FISH (PG-13) 117 minutes * * * 1/2 This is the story of Edward Bloom (Albert Finney/Ewan MacgGregor), a teller of tall tales. His story is full of imagination and magic, just like yours and mine if we're willing to see it that way... Edward's son Will (Billy Crudup) doesn't see it that way though, and now that his father is dying, he feels like he's never really known his father at all. Edward was a man whose life was filled with stories. Stories that were told so often, that he became them... and in their continued telling, he lives on. Director Tim Burton has done it once again, creating a story that is both poignant and sentimental and telling it with wit and charm. All of us have stories to tell, and Burton has a talent for using the screen to tell his in a way that few others do. The only problem at all here is that the film does start off a little awkwardly and it takes a few minutes to get rolling. Filmed in Alabama and Paris, France. PG-13 for language and nudity.
THE BIG GREEN (PG) 95 minutes * 1/2 Disney's formula story of misfit kids getting together to form a winning team is getting old and boring. This time it's a soccer team and Steve Guttenberg is the local sheriff. Yawn.
THE BIG HIT (R) 87 minutes * 1/2 A couple of members of a hit squad decide to make a little extra money on the side and do a kidnapping. The only problem is that the girl they end up kidnapping is the goddaughter of their boss. The mix of mafia action and satirical comedy just doesn't work here. At times, usually the scenes with Mark Wahlberg, it's not too bad. But at other times, usually the scenes with Lou Diamond Phillips, it's almost unbearable. China Chow steals what little there is of this show as the smart-mouthed kidnap victim. R for violence, language, and nudity.
THE BIG LEBOWSKI (R) 112 minutes * * * 1/2 A case of mistaken identity sends Jeff Lebowski (Jeff Bridges), better known as "The Dude", off on a bizarre series of events. In fact, the further along he gets, the more strange the circumstances seem to be. Was Bunny really kidnapped? Who has the million dollars? And who is following the dude in that blue Volkswagen? The characters are typical of the Coen brothers, and are well-acted from the very beginning. John Goodman, Steve Buscemi, and Julianne Moore round out the main cast in this bizarre tale that is a real treat for those who enjoy their films on the more original side of things. R for language, violence, and nudity.
BIG MOMMA'S HOUSE (PG-13) 92 minutes * * Malcolm (Martin Lawrence) is used to being in the middle of the action. So he's not too thrilled when he and his partner are assigned to watch a house where an escaped convict might show up. It's a tired script that only manages to give us a few moments of humor or excitement. Lawrence, Nia Long, Terrence Howard, and the rest of the cast do their best, but in the end, it just isn't enough. PG-13 for language and nudity.
BIG MOMMA'S HOUSE 2 (PG-13) 94 minutes * 1/2 On the job again, Big Momma is doing the nanny thing and rescuing a family while catching the bad guys. Interesting mix of comedy, action, and sentimentality that works better than you might think, mostly due to the talents of Martin Lawrence. There are definitely holes in the story, and it's overly sentimental toward the end, but it does have a few more moments of humor than the first. PG-13 for language.
BIG NOTHING (NR) 77 minutes * * * Are you ready for some twisted fun? Charlie (David Schwimmer) is unemployed and frustrated. His new buddy Gus (Simon Pegg) has some ideas about how to make money. but his plans seem to have a way of not turning out exactly like they should. If you enjoy films like "Lock Stock and Two Smoking Barrels" and "Snatch", you'll probably find this fun as well. Schwimmer is a little less annoying than usual here, and Pegg is terrific. There's even a cute little twist at the end.
BIG SHOTS (PG-13) 84 minutes * * Kid from the suburbs runs away after his father's death and ends up making friends with a young con-artist on Chicago's south side. Their adventure together includes gangsters and close calls as they search for the other boy's father. Very nicely cast film though the target audience here is a bit hard to figure out. The language is a bit rough for the younger kids, but older ones probably won't be that interested.
BIG TOP PEE-WEE (PG) 80 minutes * * Pee-Wee Herman (Paul Reubens) goes to the circus in this love story for kids... sort of. Some of the humor is a bit on the adult side. Herman's typical humor is a bit toned down here in favor of the love story, which makes it a more tolerable for the adults. There are plenty of cute animal tricks and a nice performance from Valeria Golino as the love interest. Reubens does the actual singing for "The Girl on the Flying Trapeze".
THE BIG TOWN (R) 106 minutes * * Based on the novel "The Arm" by Clark Howard, this is the story of gutsy farm boy J.C. Cullen (Matt Dillon) who has made it in Chicago as a dice player. Nice film noir piece with solid dialogue and performances though the story needs a bit more depth. Cast also includes Diane Lane, Tommy Lee Jones, and Bruce Dern.
BIG TROUBLE (PG-13) 78 minutes * 1/2 Rarely has the title of a film been so fitting... early screenings of this were not received well, so it went back to the editing room. Then it was delayed due to the unfortunate events of September 11, 2001 because it does deal with a bomb being on an airplane. Before finally being released, they apparently cut a little more footage. The final result feels like it's been hacked to pieces. Without the talented cast it boasts, it would fare even worse. It's adapted from Dave Barry's novel and features the talents of Tim Allen, Rene Russo, Jason Lee, Dennis Farina, Tom Sizemore, and Janeane Garafalo. It begins a a mildly amusing comedy of errors, but as it continues, it grows less and less amusing and the damage done by the editing grows more obvious. PG-13 for language and violence.
THE BIG WHITE (R) 100 minutes * * 1/2 Paul Barnell (Robin Williams) may have just discovered a way out of his dead end job as a travel agent in a small town in Alaska. He has a life insurance policy on his brother, who hasn't been seen in a few years, and then he just happens to find a body in a dumpster... pretty simply solution, right? Except for the unforgiving insurance investigator (Giovanni Ribisi), the guys who are responsible for the body in the dumpster, and the untimely return of his missing brother (Woody Harrelson). Think "Fargo" meets "Northern Exposure" and you'll have an idea of what to expect, though this runs out of steam before we get to the end. Filmed in Manitoba and Yukon, Canada and in Alaska. R for language, violence, and sex.
BIGGER THAN THE SKY (PG-13) 102 minutes * * Fans of the theater will enjoy this light comedy about life, love, and the art of acting. All Peter (Marcus Thomas) wanted was a small part in a play and a chance to meet some new people. Instead, he gets the starring role in a production of Cyrano de Bergerac and a crush on his co-star. Amy Smart and John Corbett do nice work here, and the story, though simple, is nicely told. PG-13 for language.
BIKER BOYZ (PG-13) 106 minutes * * Some very nice motorcycle stuntwork here, though the story is a little on the thin side. Kid (Derek Luke) isn't like his father. He won't be a bike mechanic, he wants to run the whole crew, so he starts his own club, the "Biker Boyz" and begins to challenge the "authority" of Smoke (Laurence Fishburne). The difference between men and boys is the lessons they've learned about honor, respect, and family. The actors all do nice work here, but the story lets them down. Orlando Jones, Lisa Bonet, Brendan Fehr, and yes, even Kid Rock, all do a good job. Based on a magazine article. PG-13 for language and violence.
BILL AND TED'S BOGUS JOURNEY (PG) 86 minutes * * The boys travel to Heaven and Hell as they battle robot imitations of themselves in an effort to save the universe. Low-budget comedy sequel is written all over this, but it still manages to be creative in spots.
BILL AND TED'S EXCELLENT ADVENTURE (PG) 87 minutes * * * Bill and Ted are far from the brightest guys you'll meet, but they do have fun. Light-hearted and surprisingly effective story with engaging performances from Keanu Reeves and Alex Winter. Don't forget... "be excellent to each other and party on, dudes!" PG for language.
BILLY BATHGATE (R) 103 minutes * * * Tom Stoppard does an absolutely wonderful job of translating E.L. Doctorow's novel to the screen. The film is packed with story and does a fine job of telling the story of Billy, a boy who stumbles into the world of gangsters and climbs up the ladder. Dustin Hoffman, Nicole Kidman, Loren Dean, and Bruce Willis all deliver solid performances for us too. The only downfall is that the energy level seems a bit low. Since we've seen this story so many times, that lack of energy keeps the film from having the impact on us that it needs to for us to really be impressed. R for violence and language.
BILLY ELLIOT (R) 111 minutes * * * Eleven-year-old Billy finds himself fascinated by the ballet. He secretly starts to take lessons, but when the news finally reaches his father, Billy must fight for the right to pursue his dream. It's a wonderful story of self-discovery, though too much time is spent on subplots that distract us from the main story. For those who understand the power of dance and the creative spirit, this is a must-see. R for language.
BILLY MADISON (PG-13) 86 minutes 1/2 Billy (Adam Sandler) must go back through all twelve grades of school and graduate before he can take over his father's business. Once again, material for a couple of skits on Saturday Night Live are stretched into a weak film without that many laughs. Sandler is a good comedian, but needs to find some good direction.
BILOXI BLUES (PG-13) 103 minutes * * * This second entry in Neil Simon's autobiographical trilogy follows Eugene (Matthew Broderick) through his basic training for the Army. Simon has a flair for telling a story that translates well on stage or screen and the talented cast does a wonderful job under the direction of Mike Nichols, bringing it all to life. Matt Mulhern and Corey Parker deliver particularly good performances.
BINGO (PG) 86 minutes BOMB Extraordinarily boring and totally unbelievable film about a dog... who needs a better agent than the one who landed him this role! Even the music in this film is irritating.
BIO-DOME (PG-13) 91 minutes * Like most of Pauly Shore's projects, this is mostly forgettable fare with Stephen Baldwin as his equally air-headed buddy. They get trapped in a biosphere and wreck a science experiment. There were some good ideas here, but somehow they got lost along the way.
BIRD ON A WIRE (PG-13) 104 minutes * * * Rick Jarmin (Mel Gibson) has been under the FBI's witness protection program. Unfortunately, it turns out that someone on the bureau is working for the bad guys now and they want Jarmin dead. Enter Marianne Graves (Goldie Hawn) who almost married Jarmin a few years ago. Now she finds herself on the run with him. It's a wild chase with lots of action and a bit of comedy. Of course the story is a bit hard to believe, but Hawn and Gibson make it fun to watch. PG-13 for language and violence.
THE BIRDS (NR) 120 minutes * * * 1/2 Not for the squeamish, this 1963 thriller is still a scary treat to watch! Along with "Psycho", it's one of Alfred Hitchcock's best known films. Make sure all the windows are closed before you start watching! Based, albeit loosely, on a short story by Daphne DuMaurier, this is a film that will stick with you for a long time.
BIRTH (R) 94 minutes * * Anna's (Nicole Kidman) husband dies while jogging in Central Park. Ten years later, as she's about to get married, a boy shows up who claims to be Sean... her husband... and she can't keep from wondering... could it be true? The dream-like atmosphere of the movie is enhanced by a soundtrack that has a mesmerizing quality. Cameron Bright, who plays the young Sean has a haunting quality all his own, and does a nice job here, as does Kidman. But the script falls short of doing the idea of reincarnation justice, choosing instead to dwell, rather uncomfortably, on the possible sexuality of the relationship and the awkwardness it presents. R for language and sexual themes.
BLACK & WHITE (R) 92 minutes 1/2 There's an incredible collection of talent in front of the camera here, but not much behind the camera. Robert Downey Jr., Brooke Shields, Jerry Stiller, Gaby Hoffman, and Elijah Wood are featured along with Mike Tyson and Claudia Schiffer. The story lacks direction and seems to still be in the formative stage rather than at a point where filming could begin. The energy level is good, but there's no focus. The bribery storyline weaves through part of the film, but seems basically pointless. Filmed in New York. R for language and sex.
BLACK BEAUTY (1994) (G) 85 minutes * 1/2 This version of the classic story is narrated by the horse, which becomes rather irritating after about 15 minutes. The photography and music are beautiful, but our star (the horse) acts a bit too much like a trick circus horse rather than the black beauty we are hearing about in the story. The mix just doesn't work very well.
BLACK BOOK (R) 138 minutes * * * World War II saga that revolves around a little black book that contains some very important information that is dramatically affecting the lives of those whose names are contained in it. It's a powerful story with twists and turns as loyalties and lies are tested on both sides. Winner of a number of awards, director/co-writer Paul Verhoeven delivers a solid war drama with a compelling story. R for violence, sex, and language.
BLACK CHRISTMAS (R) (2006) 81 minutes * The 1974 horror film of which this is a remake, is viewed by many as the original slasher horror film. But there's a reason the slasher horror genre didn't get much attention until a few years later when "Halloween" was released. The characters in Black Christmas aren't appealing or all that interesting, and the haunting theme music which became a staple of the genre is missing. While this new version does spend more money on effects and puts a layer of "gloss" on the production quality in general, the story is still weak. Billy and Agnes remain lifeless and unsympathetic. And the film is ultimately uninteresting except to the horror completist. R for violence, sex, and language.
THE BLACK DAHLIA (R) 117 minutes * * 1/2 James Ellroy's novel about the most notorious murder case in Hollywood is adapted for the big screen with only moderate success. The atmosphere is all here as far as sets, costumes, lighting... but the decision to be more explicit with violence and sex moves this away from the film noir style it initially seems to aim for. Josh Hartnett and Aaron Eckhart play their parts very well as the two policemen who finds themselves caught up in the murder investigation. Scarlett Johansson and Hilary Swank do nice work as well. It's the story and direction that give us the most trouble. It's too explicit, too convoluted at times, and too easily resolved. One of the reasons the case has been so intriguing over the years is because it has never been solved. While hinting at a solution could have worked, answering the question is disappointing. R for violence, sex, and language.
BLACK DOG (PG-13) 84 minutes * 1/2 In need of money to keep the bank from foreclosing on his house, Jack (Patrick Swayze) takes a job driving a semi from Georgia to New Jersey. Of course, his license has been suspended and the load is illegal weapons... Full of semi-truck chases and crashes, but that's about all we can say. The script is maudlin, and the ending is pathetically predictable, but those stunt people sure got a workout! Filmed in North Carolina and Georgia. R for violence and language.
BLACK HAWK DOWN (R) 135 minutes * * * Intense and realistic war film that chronicles the events in Somalia in 1992 when U.S. soldiers were left in the middle of enemy territory as their helicopter goes down. Delivers far more realism for longer stretches than most war films are willing to do. The intensity is less in the second half of the film, and we needed to see more character development here, but it's still a memorable film that may well be a bit too graphic and intense for some viewers. The quote from Plato at the beginning definitely sets the mood... "Only the dead have seen the end of war." Filmed in Sale and Rabat, Morocco. R for violence and language.
BLACK KNIGHT (PG-13) 91 minutes 1/2 Jamal (Martin Lawrence) works for Medieval World, a small amusement park who is about to face stiff competition from a newer bigger park called Castle World. When Jamal gets transported back to medieval times, he thinks he's just at the new Castle World park... at first. And we thought this might be funny... at first. There are a couple of moments, but for the most part, it's a one man show with the rest of the cast playing the straight part... and it doesn't work. PG-13 for language and violence.
BLACK MASK (R) 86 minutes * * The 701's are a group of genetically enhanced people, used as soldiers, who were supposed to be "retired" after things got a bit out of hand. Simon (Jet Li) is only one of those who escaped. And he seems to be the only good one as well. Wonderful martial arts fight sequences, but not a great deal more. It's an interesting idea. but there is far too much comedy here for the film to sustain the intensity it needs. R for violence and language.
BLACK RAIN (R) 124 minutes * * * Dark and gritty film from director Ridley Scott with Michael Douglas as a New York City police officer delivering a Japanese mobster back to the authorities in Japan. Nick (Douglas) believes that you can't win if you don't take the risk. He also feels strongly that you can't really stand on the sidelines without picking a side. He's determined that "New York is one big gray area" that doesn't understand his reasoning and therefore can't judge his actions. In Japan, he'll learn the meaning of honor, and he may discover that things aren't so gray in New York after all. R for violence and language.
BLACK ROBE (R) 97 minutes * * 1/2 A Jesuit priest travels with the Algonquin Indians to teach them about God. The photography here is beautiful and the story is absorbing, though very violent. It's rather like "Dances With Wolves" without the pretenses. Hard edges, and sometimes hard to watch, but an interesting film. There are some sequences that suffer from poor editing, but the story remains solid. R for sex and violence.
BLACK SHEEP (PG-13) 82 minutes * * 1/2 Al Donnelly (Tim Matheson) is running for office... that is, unless his little brother Mike (Chris Farley) manages to ruin it for him! Al's only chance is to put someone (David Spade) in charge of keeping his brother out of the way, but that's easier said than done. Farley and Spade work well together, though the shifts from comedy to serious moments are sometimes a little uneven. The usual production faults of a modestly budgeted film are here, but the chemistry between the leads is in top notch form and will have you laughing so hard you'll fall out of your seat! PG-13 for language and violence.
BLACK SNAKE MOAN (R) 110 minutes * * * When her boyfriend leaves for military duty, Rae (Christina Ricci) can't wait. She has desires that need to be met. Lazarus (Samuel L. Jackson) has troubles of his own. His wife is gone, and controlling his temper has never been easy. When he finds Rae on the side of the road, he only wants to help. But Rae needs more than bandages and blankets can fix. Is Lazarus up to the task? Does Rae really want his help? Change doesn't come easily. Sometimes our blues run so deep, we can't find the light anymore. But maybe we can find someone else who can. The film has a low-budget '50s feel to it, with characters that are larger than life. Ricci and Jackson play them to the hilt, having fun with the parts while remaining true to both the characters and the story.... a story of the blues. R for language, violence, and sex.
BLACK WATER (R) 86 minutes * An Australian mangrove swamp is not a good place to be lost. Especially when there is an alligator around. Though there are some worthwhile attempts at creating suspense with good camera work, the script and acting undermine it with ease. Even fans of croc horror are likely to be disappointed with this. R for violence and language.
BLACK WIDOW (R) 106 minutes * * Great cast in a far-to-simple mystery. Catherine Petersen (Theresa Russell) marries men for their money and then dispatches them. Alexandra Barnes (Debra Winger) is on the case, but Petersen has already realized it and plans to take care of her too. There's some nice suspense at the end, but the ending comes too abruptly. Also starring Dennis Hopper, Nicol Williamson, Terry O'Quinn, Diane Ladd, and Mary Woronov.
BLADE (R) 114 minutes * 1/2 Blade (Wesley Snipes) is a "day walker", a vampire who isn't bound by the same rules as others. In fact, he works against them in an effort to rid the world of those who would treat humans as food. Snipes and Stephen Dorff both do good work, but the film gives us little in the way of originality. Too many of the fight scenes use strange camera angles and tricks that de-emphasize the stunt work and keep us from being drawn all the way into the story. R for violence and language.
BLADE II (R) 109 minutes * * 1/2 Blade (Wesley Snipes) is asked to fight a new kind of vampire by the very vampires he's been pursuing. It seems they don't enjoy fighting on two fronts. More overt use of cgi effects in this film make it rather cartoonish, but it works. The tone manages to be a little less serious, while the story tries to keep you interested. Fans of the first film don't seem to enjoy this one as much though, preferring the more realistic fight scenes in the first. R for violence.
BLADE TRINITY (R) 114 minutes * * Blade (Wesley Snipes) faces off with the original vampire with a little help from the Nightstalkers, including Abigail (Jessica Biel) and Hannibal (Ryan Reynolds). Reynolds' one-liners add some unwanted comic relief, especially when it appears in some scenes that he is more than capable of handling the action sequences. The fight sequences are well choreographed here, but the characters are two-dimensional and the film tends to drag because it lacks creativity. R for violence and language.
BLADE RUNNER (R) 118 minutes * * * * One of my all-time favorite science fiction films with Harrison Ford as a man who tracks down renegade androids and disposes of them. Fabulous production design, a soundtrack by Vangelis, and a cast that also includes Rutger Hauer, Sean Young, Daryl Hannah, and Brion James. Thought-provoking and very memorable, it's a must-see for science fiction fans. I actually prefer the original version that includes the voice-over narration by Harrison Ford, but either way, it's a classic piece of film. R for violence and language.
BLADES OF GLORY (PG-13) 86 minutes * * Chazz (Will Ferrell) and Jimmy (Jon Heder) were rival skaters, but when they get into a fight as they are receiving their medals, they are banned from the sport. However, there may just be a loophole that will let them skate again... as a couple. The premise is so ridiculous that it manages to work fairly well. The charicatured performances add to the effect and despite how corny and stupid this is, we can't help but laugh. Cameo appearances from a number of professional figure skaters including Scott Hamilton, Brian Boitano, Dorothy Hamill, Peggy Fleming, and Sasha Cohen. PG-13 for language and violence.
THE BLAIR WITCH PROJECT (R) 76 minutes * * 1/2 This definitely gets points for being inventive! The problem is that we don't really get to find out much about the Blair witch. There's a little information at the beginning, but the bulk of the film is the crew getting lost in the woods and what happens to them at the end. We needed them to talk about the project a little more. Framing the film with information by those who found the film after the three students turned up missing would have added some depth as well. It really isn't all that scary, unless you're afraid of being lost in the woods. But it does stand up fairly well as a solid, low-budget production that is worth a look. R for language.
BLAME IT ON FIDEL (NR) 95 minutes * * * 1/2 The story of young Anna (Nina Kervel) as she finds herself struggling to understand why her parents leave their comfortable life and become activists for the causes of the people. Anna just wants things to be the way they were, though at the same time, she knows they never will be. Kerval gives an amazing performance in her first film that is both charming and intense. And director Julie Gavras does a wonderful job of showing us the world through Anna's eyes. Her frustrations, anger, passion, realization, and understanding draw us into the picture almost instantly, and keep us there until the end.
BLANK CHECK (PG) 90 minutes * The moral to the story here is plain enough... money can't buy friends. Originality isn't something this film is trying to lay claim to. In fact, there isn't much this film CAN take credit for except being an advertisement for some expensive toys. One of those rare bad films from Disney studios, just to show you that they do make mistakes. PG for language.
BLANKMAN (PG-13) 92 minutes * 1/2 One of the most idiotic super-hero movies you'll ever see. Damon Wayans plays an immature guy who's tired of seeing how bad things go and decides to take the situation in hand despite having no super-powers. The last 20 minutes are slightly redeeming, but it's hard to sit through the rest.
BLAST FROM THE PAST (PG-13) 107 minutes * * Prepared for the worst case scenario, Calvin (Christopher Walken) has built an underground home complete with supplies to last for 37 years. Their son has never seen the light of day and now prepares to enter the world to buy supplies and maybe find a girl... Brendan Fraser is wonderful here and Alicia Silverstone plays his romantic interest. There are cute moments throughout, but it's a one-joke film that never manages to rise above that occasional cuteness. PG-13 for language.
BLAZE (R) 113 minutes * * * The political atmosphere of the southern United States in the 1950's and 60's provides the setting for a rather unique love story. Governor Earl Long (Paul Newman) finds himself falling for Blaze Starr (Lolita Davidovich), a stripper on whose autobiography the film is based. The real Blaze is here as well, playing the part of Lily. It's a fascinating story that is played well not only by the leads, but by the entire cast. The southern flavor is strong, and the emotions are strong.
BLESS THE CHILD (R) 103 minutes * * Cody was left with her aunt Maggie (Kim Basinger) shortly after birth. Her mother was on drugs during her pregnancy, but that doesn't explain Cody's unique behavior. It's actually not a bad role for Basinger, though as events turn apocalyptic, she's a bit out of her depth. The story manages to carry on, but it's the strength of the myth rather than the performances or technical aspects of the film that make this work as well as it does. Holliston Coleman does a nice job as Cody, but even her character takes a back seat to the myth. R for violence and language.
BLIND DATING (PG-13) 90 minutes * 1/2 Danny (Chris Pine) has been blind since birth. His family has always been very supportive, well, except for his brother. After a great deal of difficulty with dating, he may have finally found the woman he loves. There are a couple of problems though. Pine does a nice job here, and Eddie Kaye Thomas adds more than a few bits of humor as his brother. The rest of the cast is rather non-descript at best, and while the film does manage to generate a few chuckles, it doesn't offer much else. PG-13 for sex and language.
BLIND HORIZON (R) 95 minutes * * When Frank (Val Kilmer) wakes up, he finds himself in the desert and with amnesia, though he soon recalls something of a plot that might involve an assassination attempt on the president. It's a bit difficult for anyone to believe him... until a few other pieces begin to fall into place. Despite the stellar cast (which includes Sam Shephard, Neve Campbell, Faye Dunaway, and Amy Smart) this consistently has the feel of a mediocre TV production and we find ourselves missing those all-important commercial breaks that might add a little suspense. R for language and violence.
BLING (NR) 83 minutes * * 1/2 Initially explaining a bit of the background behind bling and why some people feel it is an important means of self expression, this quickly moves to an exploration of the current conditions of the diamond trade. Our unfortuhate hip-hop musicians and one of the designers of bling are treated to a trip to areas where diamonds are mined and given first-hand information about how people are treated. It's a sobering experience, though the film somehow manages to avoid the depth of emotion that would have been more convincing. In the end, our musicians may have given up blood diamonds, but not all diamonds, and what about the gold they wear... it's a similar story.
BLINK (R) 100 minutes * * The key to a murder may be locked in the retroactive vision of a nearly blind woman. Emma Brody (Madeleine Stowe) has surgery that will restore her sight and the flashbacks she keeps having may be able to help the police, but the story as a whole is hard to believe and relies too much on that one note for it to succeed.
THE BLOB (1988) 91 minutes * 1/2 Remake of the old classic with the title creature resulting from biological warfare research and being a bit more gooey than the old one. Featuring Kevin Dillon and Shawnee Smith in a cast that was never meant to be nominated for any Oscars. Interesting to note the "blob wranglers" in the credits... Filmed in Abbeville, Louisiana.
BLONDE AMBITION (PG-13) 88 minutes * 1/2 After her boyfriends goes to the big city to become famous, country girl Katie (Jessica Simpson) goes to visit. While that may not end up working out, Katie finds herself with a job. And while there are those who think they are using her to create chaos, Katie's good nature and innocence may be more than they have bargained for. Simple, silly, and mostly for fans of Simpson/ Pg-13 for sex and language.
BLONDE AND BLONDER (PG-13) 92 minutes 1/2 Pamela Anderson and Denise Richards are "dumb and dumber" in this story of two bungling airheads who are mistaken for assassins. Richards is no Oscar winner, but Anderson makes her look good in comparison. Not that the story helps either of them very much. PG-13 for language and sex.
BLOOD & CHOCOLATE (PG-13) 93 minutes * * Adapted from the book by Annette Curtis Klaus, this is the story of a young werewolf's love for a human and her struggles with what that means for both of them and for the rest of her family. The transformations from human to wolf are nicely done and focus on art rather than on gore. Unfortunately, the energy level remains rather low throughout the film, perhaps because of that more artistic focus. In some ways, the emphasis is less on lycanthropy and more on relationship as Vivian (Agnes Bruckner) struggles with her love for someone her family rejects. PG-13 for violence, sex, and language.
BLOOD DIAMOND (R) 135 minutes * * * Violent tale of the diamond market in Sierra Leone in the 1990s during a bloody civil war. It's also the story of two men, whose differences begin to mean less as their stories entwine with that of an unusual pink diamond. Leonardo DiCaprio and Djimon Hounsou both deliver bravura performances in this tense drama. Excellent, hauntingly melodic score by James Newton Howard. Sometimes loving your country may mean risking more than you ever thought possible. And a reminder that much of what we enjoy in life comes with a price that is often paid in blood. R for violence and language.
BLOOD FOR BLOOD (R) 87 minutes * 1/2 Martial arts film with Lorenzo Lamas featured as a youth services division worker with the local police department. Too many annoying flashbacks and too much two-dimensional acting. The martial arts scenes are fair, but the lack of story leaves this high and dry.
BLOOD SIMPLE (R) 97 minutes * * * Joel and Ethan Coen's tribute to film noir results in this delightful mystery/thriller. A man hires someone to kill his unfaithful wife and her partner, but the twists and turns will keep you guessing for a long time. Frances McDormand's debut is a real treat, and not to be missed.
BLOOD WORK (R) 106 minutes * * Although he's retired from the FBI, former agent Terry McCaleb (Clint Eastwood) is drawn back into a case. Nothing really different from Eastwood here, but the script is just awful in some spots. (Notably, a scene between Eastwood and Anjelica Huston.) The story never really manages to hide much from us either, which takes away most of the potential for suspense. Adapted from Michael Connelly's novel, fans of Eastwood's more recent work won't be too disappointed, but it probably won't be a favorite either. R for language and violence.
BLOODLINES (NR) 88 minutes BOMB The hills of Kentucky (actually Alabama and Florida) are the setting for a violent and twisted family who have some strange ideas about how to continue their family tree. Poorly written story with some clear influence by the "Texas Chainsaw Massacre" series. The acting is virtually non-existent. Not rated, and not really worth your time.
BLOODRAYNE (R) 87 minutes * 1/2 Rayne (Kristanna Loken) is a Damfir, child of a vampire and a human. Her vampire father killed her human mother and she wants to avenge her mother's death. Based on a video game, which isn't a good way to start. Still, this does have a bit of creativity in spots and a fine performance from Loken that goes a long way to keeping this from being a bomb. It's definitely two-dimensional though, so despite an impressive supporting cast (Billy Zane, Meatloaf Aday, Michael Madsen, Udo Kier, Michael Pare, Michelle Rodriguez, and Ben Kingsley) most of its appeal will be strictly to fans of the vampire film genre. Filmed in Romania. R for violence and sex.
BLOODRAYNE 2: DELIVERANCE (NR) 94 minutes 1/2 Not only are we missing Kristanna Loken in this sequel, but we're missing anyone of note, and a script. Michael Pare does come back for this one, but we have to wonder why. The story is a different take on Pat Garret and Billy the Kid, with Billy being a vampire that Rayne needs to rid the town of before the railroad comes through and starts bringing him dinner on a regular basis. Overly staged and poorly acted sequel only of interest to genre completists. Filmed in British Columbia.
BLOODSPORT (R) 87 minutes * * 1/2 Based on the real-life story of Frank Dux, with Jean-Claude Van Damme featured as the first westerner to win the Kumite. Definitely a low-budget production, and the acting is far from great, but the fight scenes are quite good and the soundtrack does a nice job of setting the various moods.
BLOW (R) 117 minutes * * * It starts with George Jung's desire not to be poor. He moves far away from home to attend college and begin life on his own, he finds himself selling marijuana on Manhattan Beach in California. One thing leads to another, and George is soon a very wealthy man. There are problems though, and while the film spends a good deal of time on them, we also see another side of George. We see a man who loves his father and his daughter more than anything else. A man who keeps trying. Johnny Depp does a wonderfull job showing us both sides of this very interesting character and is well supported by a cast that includes Penelope Cruz, Rachel Griffiths, Paul Reubens, Ray Liotta, and Bobcat Goldthwait. It's a more sentimental film than you might expect, but well-worth watching. R for language and violence.
BLOWN AWAY (R) 115 minutes * * 1/2 James Dove (Jeff Bridges) is an expert on bombs. He hasn't always been with the Boston Police Department though. And now his past is coming back to haunt him in the form of Ryan Gaerity (Tommy Lee Jones). Gaerity also knows a thing or two about bombs, and he's killing members of the bomb squad just to make his point. The story is paper-thin and the Irish accents don't come off very well, but the action is well-paced and keeps things fairly interesting. R for violence and language.
THE BLUE BUTTERFLY (PG) 93 minutes * * 1/2 A ten-year-old boy who has a brain tumor wants to travel to a Costa Rican rain forest in search of an elusive butterfly. Though the enotmolgist he has looked up to for so long is at first not interested in helping, he soon realizes the importance of helping the boy achieve his dream. Mild tear-jerker with solid performances, based on a true story. PG for language.
BLUE CRUSH (PG-13) 98 minutes * 1/2 The big surfing competition is coming up fast. Can Anne Marie (Kate Bosworth) master the fear that has been controlling her or will she opt for time with her new boyfriend instead? If you want to see a real surfing movie, catch Endless Summer or its sequel. There are too many distracting subplots here, but the idea isn't bad. Life is about the choices we make, the opportunities we take, and the ones we leave behind. PG-13 for language.
BLUE DEMON (PG-13) 85 minutes BOMB Genetically created sharks are on the loose! Fortunately, they can be controlled by computer... unfortunately, there's a US general who wants to use them for evil purposes. You have been warned! Dedee Pfeiffer, sister of Michelle stars in this poorly written film with even worse special effects. PG-13 for violence and language.
BLUE STREAK (PG-13) 89 minutes * * When a robbery goes bad, Miles Logan (Martin Lawrence) hides the diamond he's stolen in a building that's under construction. What he didn't know was that it was the new building for the LAPD. This is another of those films that suffers from a poor mix of comedy and action. It's a real shame too, because most of the action is quite good but the comedy is too ridiculous and doesn't fit. Lawrence has the talent to pull off a solid action film, but someone thought they needed to have the comedy to make it better. They were wrong. PG-13 for violence and language.
BLUES BROTHERS 2000 (PG-13) 117 minutes * * The music in this film is wonderful! The music talent that is here is beyond belief... B.B. King, James Brown, Wilson Pickett, Blues Traveler, Isaac Hayes, Jonny Lang, Dr. John, Aretha Franklin, Lou Rawls, Eric Clapton... the list just goes on and on. Aside from the music though, the only aspect of the film that has any quality is the performance of young J. Evan Bonifant as Buster, who is taken in by Elwood Blues (Dan Aykroyd). So, buy the soundtrack and skip the film, unless you're a BB fanatic! PG-13 for language and violence.
BLUE CHIPS (PG-13) 101 minutes * 1/2 Disappointing basketball film with Nick Nolte as a Bobby Knight clone. Extremely predictable and not very well written or edited. Filmed in Frankfort and French Lick, Indiana, it's vastly inferior to the film "Hoosiers", though basketball fanatics may still find it somewhat interesting. PG-13 for language.
BLUE SKY (PG-13) 96 minutes * * 1/2 Jessica Lange won an Oscar for her performance in this drama about military life. The sub-plots get rather tangled up as we get into the film, but Lange and Tommy Lee Jones both perform well and give us a glimpse of life on a military base. Supporting cast do fairly well too, with Powers Boothe, Chris O'Donnell, and Amy Locane standing out as the best.
BLUE STATE (R) 89 minutes * * 1/2 What do you do when life doesn't happen the way you want it to? When the presidential election doesn't go the way John (Breckin Meyer) wants it to, he heads to Canada. His company on the trip is Chloe (Anna Paquin), who is running from some troubles of her own. Meyer and Paquin are a somewhat unlikely pair, but both are talented enough to make this work. And the story has just enough charm to keep us interested. Filmed in Winnipeg and San Francisco. R for language.
BLUE STEEL (R) 98 minutes * * 1/2 A search for identity and self-worth by a stock trader in New York lead to multiple murders and the involvement of a new cop who's being implicated in the murders. No real surprises in the story, but director Kathryn Bigelow has a feel for the atmosphere. Brad Fiedel's music is good too, and there are some nice character performances by Jamie Lee Curtis, Ron Silver, Clancy Brown, Louise Fletcher, and Elizabeth Pena. R for violence and sex.
BLUR (NR) 92 minutes BOMB Amateurish production about an artist who starts seeing things and killing people. Plenty of signs that this is a low-budget production, and nothing much to let us know that anyone knew very much about what they were doing. It's not worth your time to watch this.
BOAT TRIP (R) 89 minutes * 1/2 Nick (Horatio Sanz) is trying to help his buddy Jerry (Cuba Gooding Jr.) get over a broken relationship and convices him to take a cruise where he'll be exposed to lots of new relationship possibilities. The only problem is... they end up on a cruise for gay men. Plenty of sex jokes and not much of anything else. Gooding is a good sport, but this feels too much like a film he had to do to complete contractual obligations. R for language.
BOB ROBERTS (R) 96 minutes * * 1/2 Tim Robbins' writing/directing debut is a political satire about a senatorial candidate whose ability to manipulate the public knows no bounds. Filled with fun and interesting cameo appearances, and has some very interesting points to make. Unfortunately, it breaks down a bit toward the end, turning itself into a lesson rather than finishing out the story. Interesting characters though, and worth a look if you like Robbins at all.
BOBBY 108 minutes * * * In 1962, Robert Kennedy seems to be the best hope the United States has for ending an unpopular war and for dealing with the increasing racial tensions. In large part, this is presented through the preparations of the Ambassador Hotel as it prepares for Kennedy to arrive. Intercut with actual footage of Kennedy's campaign, and featuring an amazing array of talented actors, this has the feel of a Robert Altman film. It is, in fact, directed and written by Emilio Estevez. It does wander a bit and the subplot with Elijah Wood and Balthasar Getty could have been trimmed. Still, it's an impressive piece with an important message that still rings true: It's not by fear, retaliation, or seeing people as "other" that we move forward. We all share the same short time on earth. We should share it well. R for sex, language, and violence.
BOBBY JONES: STROKE OF GENIUS (PG) 120 minutes * * * Little Bobby Jones Jr. was raised around golf, so it was no surprise that he took to the game so easily. He had a natural and powerful swing... and a temper to match. When he finally learns to control it and to believe in himself, he becomes the champion that so many already knew he was. Even if you don't care much for golf, it's easy to appreciate the story of someone who loved the game and not the money or fame that often come with it. Jim Caviezel delivers a heartfelt performance in a very nice biographical film about one of golf's greatest players. PG for language.
BODY CHEMISTRY (R) 80 minutes * 1/2 One of many clones that "FATAL ATTRACTION" spawned. This one features Marc Singer and Mary Crosby as a sexual behavior researcher and his lab partner who get involved with each other. The film starts out nicely, but loses ground quickly. R for sex and violence.
BODY OF EVIDENCE (R) 96 minutes * * Madonna stars as a woman accused of killing her husband with sex that is more extreme than he can handle. Defense attorney Willem Dafoe falls under her twisted spell. A boring film that relies too heavily on sex scenes to carry it along. This is a waste of talent put together to capitalize on the controversial career and talents of Madonna, who is capable of far better than you'll see here. Joe Mantegna does give a nice supporting performance though.
BODY PARTS (R) 84 minutes * 1/2 A criminal's arms, legs, and head are trying to reassemble themselves. Not very scary, not very bloody, and not very interesting. The special effects are alright, but nothing special in this adaptation of the novel, "Choice Cuts".
THE BODYGUARD (R) 123 minutes * * 1/2 Glossy love story with Kevin Costner and Whitney Houston slowly finding themselves drawn to each other. The story starts out a little strangely, turns sappy and then sort of just quits. Rather odd for being from Lawrence Kasdan, but part of the problem is that it just runs on too long. The slick presentation works better on video than on the big screen too.
BOGUS (PG) 106 minutes * * * Albert (Haley Joel Osment) is a little boy who needs magic and his imaginary friend to help him cope with his mother's recent death. But his innocent approach has much to teach us all about our imagination's ability to help us survive. A classy ending, well-acted by Gerard Depardieu, gives this just the right touch to make it a memorable film. Co-stars Nancy Travis and Whoopi Goldberg round out the cast and Marc Shaiman provides the music for this charming film. PG for language.
THE BOILER ROOM (R) 111 minutes * * Seth Davis (Giovanni Ribisi) wants to make a fast buck. he drops out of school and starts running a small casino out of his room. One of his customers lets him in on a way to make even more money. He can become a stock broker. But this particular firm isn't quite what it looks to be. Ribisi does a great job, as does Vin Diesel, but the film starts out roughly and relies heavily on Ribisi. Most of the other characters are little more than shadows and the story doesn't delve into much of anything other than Seth's efforts to please his father by succeeding. R for language.
BOILING POINT (R) 87 minutes * * 1/2 Red (Dennis Hopper) just got out of prison and has a debt to pay. But when the con goes bad and Federal Treasury agent Mercer (Wesley Snipes) gets involved, Red is in over his head. Snipes does a great job here, but there's nowhere near the amount of action needed to keep this kind of film as fast-paced as it needs to be. The story does present us with an interesting idea, but it's hard to stay interested in it for very long.
THE BONE COLLECTOR (R) 111 minutes * * * Denzel Washington is Lincoln Rhyme, a forensic detective who is a quadrepelegic, and who sees little point to living. That is, until a murder investigation is dropped into his lap by his friend Paulie (Ed O'Neill). Curiosity keeps his mind active and he soon loses himself in the investigation, training a young cop (Angelina Jolie) in the art of forensic investigation, for which she has a natural ability. The story moves along well, and Washington delivers a nice performance. Jolie gives us a good mix of inexperience and instinct with her performance too. The end lets us down a bit, but it's a nice trip getting there. Filmed in New York and Montreal. R for language and violence.
BONFIRE OF THE VANITIES (R) 122 minutes * * Brian DePalma's direction is a bit off here, tackling a straight drama is not his forte. The acting, by Bruce Willis, Melanie Griffith, and the rest is good, and Vilmos Zsigmond's photography is perfection defined. The the story plods along with no energy and has us bored after the first few minutes. There are a few scenes that sparkle, but in a film this long, that just won't endear it to very many viewers.
BOOGEYMAN (PG-13) 83 minutes * 1/2 When Tim was 8 years old, the boogeyman in the closet got his father. He's 22 now, his mother just died, and he's going back to that house to spend the night. Full of wonderfully creepy sound effects, but far too many of the scares are just loud noises. There are a few moments with decent chills, and the ending had some good ideas, they just weren't executed well. Interesting camera angles add to the creepy effects in the film, but the editing is quite rough and ruins the effects in other scenes. PG-13 for violence.
BOOGEYMAN 2 (NR) 89 minutes * Bearing little resemblance to the first film, the boogeyman seems to have become just another slasher, though the end of the film sets things up for another sequel. The plot centers around Laura (Danielle Savre), who checks herself in to a psychiatric facility to deal with her fear since her brother seems to be doing better and appears to be ready to leave the facility.
BOOGIE NIGHTS (R) 146 minutes * * Free sex, cheap drugs, and the burgeoning adult film industry are the topic here. The film takes its time (a little too much time) getting us into the swing of things. Eventually, what it all comes down to is that everyone here is interested in feeling good and making money. Nothing wrong there, but if those are your only goals, you'll soon find (as the characters do) that neither one lasts or comes with a guarantee. Burt Reynolds gives a listless performance as filmmaker Jack Horner, whose new star Dirk Diggler (Mark Wahlberg) learns the ropes. R for sex and language.
BOOK OF LOVE (PG-13) 82 minutes * * Corny, but fun look at life in the mid-1950's. It's mostly fluff, but it's harmless and easy to watch, which is more than you can say for some films.
BOOK OF SHADOWS: BLAIR WITCH 2 (R) 85 minutes * * Much like its predecessor, this begins with interviews of the townspeople. The idea is that everyone knows the first film was just a story, but tourists are flocking to the town anyway. A tour group travels to the site of the witch house to spend the night camping and... well, I wouldn't want to spoil it for you! Fairly inventive for a sequel and this sets us up nicely for a part three. It does rely heavily on your having seen the first part, but the characters were well chosen and the scares are nicely augmented by the music. Filmed in Baltimore. R for language, violence, and nudity.
BOOMERANG (R) 112 minutes * * 1/2 Marcus Graham (Eddie Murphy) meets his match when he falls in love with Jacqueline Broyer (Robin Givens). Not really sure why this film is so long, as there isn't a great deal of substance, but Givens, Halle Berry, Grace Jones, and Eartha Kitt make the film fun to watch. Murphy's performance gives us everything from charming and funny (with Halle Berry), to crude and unpracticed.
BOOTY CALL (R) 75 minutes * Jamie Foxx and Vivica A. Fox star in this unsuccessful attempt at entertainment. There are a very few moments with anything worthwhile, and the best scene is in the restaurant, near the beginning of the film. After that this is a one-joke film with two guys who have to keep going back to the store to get different kinds of protection so they can have sex. R for language.
BORAT: CULTURAL LEARNINGS OF AMERICA FOR MAKE BENEFIT GLORIOUS NATION OF KAZAKHSTAN (R) 79 minutes BOMB First and foremost, this fails for the same reason almost every other comedy skit from a TV show (this is from "Da Ali G Show") fails... there just isn't enough material to stretch it into a feature length film and it loses it's humor when stretched to more than 15-30 minutes. Offensive and ridiculous, this lacks even the humor that films like "Jackass the Movie" and it's sequel have. At least they make fun of themselves instead of using racist and sexist humor as a mainstay. Kazakhstan was initially very upset by Borat's character and only began to play along when they decided they couldn't really do anything to stop it. R for language and nudity.
BORDELLO OF BLOOD (R) 80 minutes * Corny and rather two-dimensional characters abound in this "Tales From the Crypt" film starring Erika Eleniak and Corey Feldman. Plenty of in-jokes for the crypt crowd, but not much to distinguish this from other similar low-budget productions. Watch episodes of the TV show instead! R for language, violence, and nudity.
BORDERLAND (R) 100 minutes * * People are going missing near the border between Mexico and the United States. An evil drug lord uses sacrificial offerings to protect those who work for him... which seems kind of ridiculous because of how vicious his henchmen are. Can't they just do the protecting? Of course three young men looking for a good time end up in the wrong place at the wrong time and find themselves in trouble. Bloody, violent, and not really all that inventive, but they get points for not having the victims be attractive young women. Based in part on a number of missing persons cases that were connected to the occult. R for violence, language, and sex.
BORN IN EAST L.A. (R) 80 minutes * Caught in an immigration raid by mistake, Rudy (Cheech Marin) gets deported to Mexico and has to figure out how to get back home. The last ten minutes of this are well-written and well-acted, but good luck getting there. Playing this for laughs just doesn't work very well and Marin lapses into his old material and old style, and it's just not funny anymore.
BORN INTO BROTHELS (R) 80 minutes * * * 1/2 When photographer Zana Briski went into the red light district of Calcutta to document what that life was like, she found herself drawn to the children who lived there. She began to teach them the art of photography, and found that it might be a way for some of them to find a way out of the brothels. Inspirational and heartbreaking, this is an eye-opening film that won an Oscar for best documentary feature. R for language.
BORN ON THE FOURTH OF JULY (R) 138 minutes * * 1/2 Ron Kovic's personal odyssey through the Vietnam experience leaves us with a rather warped view of events. Director Oliver Stone's abrupt scene changes seem made for TV release, though the special effects are too extreme for TV. In fact, some of the effects draw more attention than the story in spots, which is unfortunate since these tend to be the moments when the film is actually trying to say something important. Promoted as a film that would show us a side of the war we hadn't seen, this shows us nothing that we haven't seen many times before. "APOCALYPSE NOW" and "GARDENS OF STONE" show us sides of the Vietnam war we don't see very often... and maybe someday someone else won't shy away from the actual events and will avoid making another obviously commercial film like this. R for violence, language, and sex.
BORN TO BE WILD (PG) 95 minutes * 1/2 Teenage boy wants to set gorilla free, gorilla acts like a pet, everything works out well, the end. Corny, and with poor special effects, this is not one that you'll want to see more than once, but the sentimental ending is handled pretty well.
BORN YESTERDAY (PG) 95 minutes * * 1/2 Harry Brock (John Goodman) is a rich man. He buys companies, senators, girlfriends, ..