Film Reviews B

THE BAADER MEINHOFF COMPLEX (R) 136 minutes * * * Based on the book by Stefan Aust, this is the story of the Red Army Faction, a German terrorist group of the 1960s and 70s. Germany's political structure is fragile, and these young people see it headed in the direction of fascism, and will go to any means to stop it. It's an intense film, with an almost documentary feel to it at times. While this lends it strength as far as believability, there's also a lack of emotion that is often present in a re-enactment of a crime. The decline of the group as they become more disillusioned and fragmented is almost painful to watch, because as it's happening, we're beginning to understand more of their passion at the same time they are starting to lose it. R for violence, sex, and language.

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.

BABY MAMA (PG-13) 93 minutes * * 1/2 Kate (Amy Poehler) has been on the fast track to a successful career. Now she's ready for a baby. Unable to have one on her own, she decides to try a surrogate mother. But the one she chooses is full of surprises. The story gives us a nice balance of humor and sincerity, keeping Tina Fey's brilliant and over-the-top comic portrayal in check. Great cast that also features Steve Martin, Greg Kinnear, and Sigourney Weaver. PG-13 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.

BABYLON A.D. (PG-13) 83 minutes * 1/2 Hired to deliver a package, a girl, to a land where he's not welcome. Toorop (Vin Diesel) doesn't really understand why, and we have a difficult time as well, but he'll do his best. There's plenty of actio here, but the conclusion of the film leaves us with even more questions then we have through the rest of the film. Based on the play "Babylon Babies". PG-13 for language and violence.

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.

BACHELOR PARTY 2: THE LAST TEMPTATION (R) 98 minutes 1/2 Perhaps a rule to consider would be that if over twenty years have passed, you don't need to do a sequel... especially when the first film wasn't really all that good either. Though at least that one had Tom Hanks. This one doesn't have much to offer. Ron (Josh Cooke) is about to get married and Todd (Warren Christie) is determined to get him into trouble so he can still be on the good side of his father-in-law. We have a difficult time caring. Filmed in Miami. R for language and sex.

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.

THE BACK-UP PLAN (PG-13) 100 minutes * * It always seems to work that way... just when Zoe (Jennifer Lopez) has given up on finding the right guy and decides to have a baby on her own, that's when she finds him. The characters here have little depth and the script has so many cliches that they fall over each other. There are a few scenes that are good for a chuckle or two (including the birthing scene), but where was the back-up plan for a better script? PG-13 for language and sex.

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.

THE BACKWOODS (R) 93 minutes * On holiday in Spain, two couples discover a young girl locked up in a cabin in the woods. That's about it for the plot. Gary Oldman does nice work early in the film, but once he's gone, the film deteriorates even faster. Someone forgot that a story needs a middle and an ending, not just a beginning. R for violence, language, and nudity.

BACKWOODS (2008) (R) 82 minutes 1/2 An executive team heads to the woods for a game of paintball. It's supposed to teach them about cooperation, leadership, and how to be part of a team. Instead, they fall prey to the locals who have theor own ideas about what to teach them. The story has plenty of holes and not much in the way of acting. The setting is effective, but then again... it's the woods... R for violence.

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.

THE BAD LIEUTENANT: PORT OF CALL NEW ORLEANS (R) 112 minutes * * 1/2 Sergeant McDonagh (Nicolas Cage) is already struggling, but an injury leaves him addicted to pain killers and cocaine, and the promotion from being injured in the line of duty, gives him power that he doesn't use well. Cage's performance lacks the subtleties that would add the depth we need to appreciate this study of the decline of his character. The script seems a bit rough around the edges, and might have done better with minor changes from the original (Bad Lieutenant, 1992) rather than this more drastic re-write. R for language, sex, and violence.

BAD MEAT (R) 87 minutes BOMB Two losers come up with a plan to kidnap a congressman to get a ransom. He dies and ends up in a meat-packing plant which ruins their plans. Chevy Chase appears briefly, but it isn't worth the wait... and it's early in the film. R for sex.

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.

BAGHEAD (R) 78 minutes BOMB Four friends go to a cabin out in the woods to talk about making a movie. They decide that a movie about a killer who wears a bag over his head would be a great idea... until one really shows up! Tedious and boring, with little talent evident behind or in front of the camera. R for language 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.

BALLERINA (NR) 76 minutes * * 1/2 Documentary look at five ballerinas from the Mariinsky Theatre. Includes interviews and behind the scenes footage of rehearsals as well as excerpts from a number of ballet performances. The focus here is the history and heritage of Russian ballet, which it does nicely, while looking toward the future.

BALLET SHOES (PG) 84 minutes * * The story of three orphan girls and their struggles to achieve their dreams of being an actress, an aviator, and a ballerina. Sentimental story that may not really appeal that much to the younger age group it seems to be targeted for. Adapted from Noel Streatfeild's novel, and featuring Emma Watson, this is a bit dry for the younger crowd. PG for language.

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.

BALLS OUT: GARY THE TENNIS COACH (R) 88 minutes 1/2 No, this isn't a serious movie about tennis. Gary (Seann William Scott) used to be a great tennis player. Now he's the janitor at the high school. But when the school's tennis coach dies unexpectedly, Gary answers the call to heko the team... in his own, rather unique, way. Nothing much to redeem this, but then again, Scoot isn't known for particularly high quality films... R for language and nudity.

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.

BALTO III: WINGS OF CHANGE (G) 75 minutes * * Times are changing, and the mail that is typically delivered by sled dog teams may be changing over to delivery by air. A race is planned between the plane and the sled dogs to see who is faster. Balto and his son will lead the team, but winning the race isn't the only task that lies ahead of them.

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 BAND'S VISIT (PG-13) 78 minutes * * * The Alexandria Police Ceremonial Orchestra is a small orchestra of police officers from Egypt who are going to visit Israel to play a concert. A language error puts them in the wrong place, a small city with nowhere for them to play, but plenty of room to share a few moments of life with some of the people who are there. A gentle and lightly humorous look at the way life sometimes unfolds as we move along. PG-13 for language.

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.

BANGKOK DANGEROUS (R) 94 minutes * * 1/2 Director Oxide Pang Chun remakes his 1999 film with Nicolas Cage as a hitman who is ready to leave his job. Cage seems to be going through the motions more than anything else. Shahkrit Yamnarm does a very nice job as Kong, the small-time thief who ends up helping Joe (Cage) and becoming his student. The story is uneven, especially in regard to Joe's character. Instead of watching a slow progression, he seems to go back and forth between different emotions, when we see them at all. R for violence, language, and sex.

THE BANK JOB (R) 102 minutes * * * It's just a bank job, and Terry (Jason Statham) finds it hard to believe that luck has dropped the opportunity into his lap without any strings. It just so happens that there are some very incriminating photographs in one of the safety deposit boxes at this bank. And quite a few people are willing to do just about anything to get their hands on them. Solid action film with plenty of energy and emotion. Based on the 1971 Baker Street bank robbery. R for violence and language.

  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 AND THE DIAMOND CASTLE (NR) 74 minutes * * 1/2 The diamond castle is the birthplace of music in this story full of magic, muses, and... music! Nice, upbeat soundtrack, filled with catchy tunes and with Melissa Lyons as the singing voice of Barbie. One of the better films in the series.

BARBIE AND THE THREE MUSKETEERS (NR) 78 minutes * * 1/2 Corinne and her friends are in training to be musketeers. Even though it isn't something that girls are supposed to do, "sometimes you must pursue your dreams, even when everyone else says its impossible". Upbeat pop/rock soundtrack and a fun story.

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 IN A CHRISTMAS CAROL (NR) 72 minutes * * 1/2 Barbie narrates another story, this time a modernization of the classic "A Christmas Carol". This time, the spirits of Christmas past, present, and future visit a spoiled young girl who learns a very important lessons. Pretty much what you'd expect.

BARBIE IN A MERMAID TALE (NR) 70 minutes * * 1/2 Raised as a human, Merliah (Barbie) is competing in a surfing contest when her hair begins to change color. It's the first sign that she's coming of age. She didn't know she was half-mermaid/half-human, but now she's needed to help save the undersea kingdom that her evil aunt Eris is ruling. Fairly standard entry in the series, but the surfing part of the story is a nice touch.

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.

BART GOT A ROOM (PG-13) 73 minutes * 1/2 He doesn't want to go with his longtime friend, but other possibilities don't seem to be working out. He's in a panic now, because even Bart got a date... and a room. The characters here don't really have much appeal. William H. Macy adds a little spark, but the lack of energy and excitement in the story puts a damper on that as well. PG-13 for sex and language.

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.

LOS BASTARDOS (NR) 82 minutes * * 1/2 Sometimes life pushes you hard. These two young immigrants to the U.S. feel that they have no choice but to push back, but it leads to tragic consequences. It's a simple but powerful film, though some of the longer scenes with little or no dialogue are a bit awkward.

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 FOR TERRA (PG) 74 minutes * * 1/2 The survivors of a war that destroyed Earth are looking for a new home. But the planet they find to be ideal already has inhabitants. The battle for Terra begins, as the residents fight to survive and the Earthlings struggle with what their survival might mean. The animation is very good here, but the story is rather simple and the characters are very broadly drawn, with little development. PG for violence.

BATTLE IN SEATTLE (R) 91 minutes * * * Dramatized retelling of the events around the 1999 meeting of the World Trade Organization in Seattle, Washington. The WTO is a controversial organization, and everyone knew that there would be protests, but when tensions are high, it's easy for a situation to get out of hand. The presentation is, for the most part, one-sided, telling the story of a passionate group of people who continue to protest the activities of the WTO. There are a few attempts to show how a few of the local authorities did try to allow the protesters the space and time they needed as well as support the WTO meeting. R for language and violence.

THE BATTLE OF MARY KAY (NR) 93 minutes * 1/2 The story of Mary Kay cosmetics, and some of the competition they faced at one point in the history of the company. Nice work by Shirley MacLaine, but Parker Posey's over the top performance as her primary competitor turns this into a piece of fluff. MacLaine seems at a loss at times to understand why Posey is acting this way... or why she signed on to do this film.

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 known 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.

BE KIND REWIND (PG-13) 96 minutes * * Struck by lightning, Jerry (Jack Black) becomes magnetized. When he walks into the video store that his friend Mike (Mos Def) is working in, all of the videos are erased. They decide to shoot new versions of the films, which become a hit and save the store, which is about to be demolished. What starts out as an extremely ridiculous film that is rather difficult to sit through, somehow manages to become a sentimental story about friends, neighborhoods, and the joy of filmmaking. It's not bad if you can make it to the end, but it's not an easy task. PG-13 for sex.

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.

THE BEACHES OF AGNES (NR) 110 minutes * * * 1/2 Director Agnes Varda turns the camera on herself, because we each have stories to tell. Starting on the beaches she knew as a child, we follow her life and career. The films she made, the photos she took, the art that she and her friends created. A brave and brilliant piece of work. And, as she notes at the end of the film, there is more to come, because, "while I live, I remember."

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 BEAST WITH A BILLION BACKS (NR) 87 minutes * * 1/2 Futurama fans beware, an alien creature named Yivo is taking over the world! Can our unusual group of futuristic misfits keep it together long enough to defeat this alien menace? The story does tend to drag on a bit long, but the humor that fans of the show love is all there, just stronger in the earlier parts of the film.

BEAUFORT (NR) 121 minutes * * * Beaufort was a castle at one point. Now it lies in ruins, and the Israeli forces that occupy it are retreating from Lebanon and leaving this particular outpost. They need to destroy it before they leave, but the orders for their evacuation continue to be delayed. Interesting story covering a less-talked about aspect of war and it's effects on those who have been fighting.

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.

BEAUTIFUL OHIO (NR) 86 minutes * * * Chad Lowe's directorial debut is a portrait of a family that is coming of age. Clive (David Call) is a mathematical prodigy. His younger brother William (Brett Davern) is overshadowed by his brother's genius, and is also falling in love with Clive's girlfriend Sandra (Michelle Trachtenberg). Both boys are growing apart from their parents, who aren;t ready to see their boys leave home. Well-acted and nicely directed drama.

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.

BEDTIME STORIES (PG) 93 minutes * * * 1/2 Uncle Skeeter (Adam Sandler) is helping out his sister and taking the night shift, babysitting his niece and nephew and telling them some bedtime stories. Funny thing about those stories... parts of them seem to show up in real life the next day. It's a delightful story, full of magic, adventure, comedy, romance, and action. Jonathan Morgan Heit and Laura Ann Kesling are adorable as Skeeter's nephew and niece and Russell Brand delivers another fine supporting performance. Fun film for the whole family! PG 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 FOR MY HORSES (PG-13) 87 minutes * 1/2 Two deputy sheriffs try to rescue a girl from drug lords who have kidnapped her. Notable for plenty of acting talent, though it isn't by Toby Keith, who also co-wrote this. He needs to stick with singing and stay out of the film business. The film struggles with whether it's a comedy or a western, and going either direction would have been better than what we see here. PG-13 for violence, language, and nudity.

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 BIG BREAK (PG) 97 minutes * 1/2 Beethoven is now a single father, caring for three pups and manages to land a job acting in a movie. This sixth film with the lovable and large canine falls flat on several counts, not the least of which are acting and script. 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.

BEFORE THE RAINS (PG-13) 94 minutes * * * Henry Moores (Linus Roache) is a wealthy Englishman living in India. His latest project is a new road that will make him even more rich, providing a better route to transport the spices he is selling. The affair he is having with a local married woman may put an end to that. And his loyal assistant T.K. (Rahul Bose) is torn between his country and culture, and a desire to embrace the more modern world of the English. Honesty, integrity... what we do and the choices we make have lasting consequences that we often can't see. Based on the "Red Roofs" segment of the film "Yellow Asphalt". PG-13 for violence and sex.

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.

BELIEVE IN ME (PG) 104 minutes * * * He never wanted to coach girls, and no one thought these girls could win anyway. But these girls won't give up... not when someone believes in them. Based on the book, "Brief Garland" by Harold Keith, this is the story of his nephew, Coach Jim Keith, who became a legend in girl's basketball. Definitely a bit sentimental, but it draws us in quite nicely. Solid drama, especialyl for those who enjoy sports! PG for 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.

BELLA (PG-13) 86 minutes * * 1/2 Life can turn corners very quickly. Jose (Eduardo Verastegui) was a soccer star, but now works in a restaurant for his brother. He is inexplicably drawn to Nina (Tammy Blanchard) as she faces a crisis. Just having someone to listen can make all the difference in the world. It's a gentle and beutiful film in many ways, though some of the subplots are a little distracting. PG-13 for language.

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.

BENDER'S GAME (NR) 85 minutes * * 1/2 Bender discovers that his lack of imagination is getting in the way of making friends and having fun. Meanwhile, the crew deals with a shortage of dark matter fuel and Leela has trouble dealing with anger management. More fun time with the Futurama crew that fans of the series will enjoy.

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.

BERNARD AND DORIS (NR) 100 minutes * 1/2 Billionairess Doris Duke (Susan Sarandon), portrayed here as a spoiled and very demanding woman, drove away many people who worked for her over the years. Although this does end reasonably well, getting there is a chore. Sarandon never really convices us that she's that mean or cantakerous, though she does go through a number of mood swings in the course of the film. To be fair, the poorly written script doesn't give her or Ralph Fiennes much to work with.

THE BERRYFEST PRINCESS MOVIE (NR) 64 minutes * * 1/2 Who will the new Berryfest Princess be? After a few challenging rounds to see who would be the best choice, it's down to Strawberry and Orange. But now the competition is causing problems. What's more important, friendship or winning? Cute for the 4-7 age crowd it's aimed for, though parents may opt to stay in the next room.

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 CHIHUAHUA (PG) 85 minutes * * 1/2 Chloe (voiced by Drew Barrymore) is a very pampered chihuahua. When her owner needs to leave on a business trip, she leaves Chloe in the care of her niece (Piper Perabo). But during a quick trip to Mexico, they are separated, and the adventure begins. Interesting array of people doing voices for this... Andy Gacria, George Lopez, Placido Domingo, Edward James Olmos, Cheech Marin... Reasonably cute and entertaining film for the younger crowd and fans of chihuahuas. PG for violence and language.

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 A REASONABLE DOUBT (PG-13) 100 minutes * * Remake of the 1956 suspense film, updated with new technology. Hunter (Michael Douglas) has an impeccable prosecution record and C.J. (Jesse Metcalfe) is suspicious of how that's happening. The set-up and the twist are classic, but events happen too quickly and there are clearly holes in the story that seem even more evident with the addition of modern technology to the story. Douglas' performance is clearly two-dimensional, but the later parts of the film move the story along well, and even though it isn't surprising, there is sufficient suspense to keep us interested. PG-13 for sex, language, and violence.

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 FAN (R) 85 minutes * * Paul (Patton Oswalt) is one of the Giants biggest fans. But when he gets assaulted by their quarterback, he's in a tough spot. His favorite team could be dramatically affected by his decision. What will he do? Oswalt has a difficult time carrying this film, especially when it's unclear how much sympathy we're supposed to feel for the predicament he's in. R for language and sex.

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 STAN (R) 99 minutes * 1/2 Stan's (Rob Schneider) business practices have landed him in prison for three to five years. He does manage to get a short reprieve, so he has a chance to get ready for what's about to happen. He realizes that the only way he'll survive in prison is to be the toughest, meanest person there. It won't be an easy task. There are a number of funny bits here, but many that aren't so funny and a few in poor taste as well. The biggest problem is just that it begins to drag on after a bit. R for sex and language.

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.

BILLY: THE EARLY YEARS (PG) 83 minutes * * 1/2 Robby Benson directs this straight-forward bio-pic about evangelist Billy Graham (Armie Hammer). As the title notes, the focus here is on the beginning of Graham's career in the ministry. The signs are evident while he is in high school, and the film follows him through his first major crusade in 1949. Solid performances all around, though the dialogue is a bit stiff at times. PG for language.

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.

BIRDS OF AMERICA (R) 80 minutes * * * * Morrie (Matthew Perry) became the man of the house when he was eighteen. That meant being responsible for raising his little sister and brother. They turned out to be... unique. They are all together once again, and it's driving Morrie crazy very quickly. They are a genuinely dysfunctional group of siblings. Then again, "functional" doesn't necessarily mean "good", does it? A truly fascinating group of characters, very well performed by Perry, Ginnifer Goodwin, and Ben Foster. And a script by Elyse Friedman, that does a perfect job of capturing the insanity of family and siblings who truly do love each other. Nice work! Filmed in Norwalk, Connecticut. R for language and sex.

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 DYNAMITE (R) 83 minutes * * Black Dynamite (Michael Jai White) is fighting for revenge. "The Man" killed his brother and is ruining the neighborhood in every way imaginable. Poking fun at the "Shaft" series, and a few other blaxploitation films of the 1970s, this keeps the humor a bit too refined and intellectual to be as much fun as it should have been. R for sex, 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 IS... BLACK AIN'T (NR) 85 minutes * * 1/2 Director Marlon Riggs takes a look at black identity, masculinity, and sexuality and how it relates to and informs the rest of black culture and how it became what it is. Excellent interviews with bell hooks and Cornel West among others.

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 SHEEP (2006) (NR) 81 minutes BOMB Of the two brothers, Angus (Peter Feeney) was always the more creative. His latest experiments have resulted in... were-sheep... for lack of a better word... or a better plot. Laughably bad on most counts and boring on the rest.

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.

BLACKBALL (NR) 92 minutes * 1/2 Though his style is more than a little unconventional, Cliff Starkey (Paul Kaye) is a natural at lawn bowls. He may be the best hope for the British team to win the tournament, but he's going to need to work with Ray Speight (James Cromwell), who plays the game with a more traditional approach. Though this comes from the National Lampoon team, there's not much to hint at that. Of course, why someone thought that a film about this sport would be a great topic for a film is something else that should be looked into.

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 DATE (NR) 74 minutes * * Inspired by Theo Van Gogh's film of the same title, Stanley Tucci writes and directs this slight alteration of the story. Tucci and Patricia Clarkson play a couple who are struggling in their relationship and impersonate other people on blind dates to try to bring excitement back into their relationship after a crisis. It's a tragic story, but the wordy script and overly dramatic characters keep us at arms length until the very end. We see the events unfolding, but never really connect well with the characters.

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.

THE BLIND SIDE (PG-13) 124 minutes * * * Even with no place to call home, Michael Oher (Quinton Aaron) continued to go to school and keep trying. When his path crosses with that of Leigh Anne Tuohy (Sandra Bullock), everything changes. Of course she sees someone in need and wants to help, but she sees something else in Michael too. It's not long before everyone else does too. The inspirational and true story of Oher, who became a first-round draft pick in the NFL. Nice work by Bullock, Aaron, and a hilarious performance by young Jae Head. Carter Burwell's soundtrack is a great fit here, and it's also very nice to see footage of the real Michael Oher during the end credits. PG-13 for language.

BLINDNESS (R) 113 minutes * * * 1/2 An extremely contagious epidemic of blindess strikes without warning. Although the government works to contain it, the epidemic only grows. Only one person seems to be unaffected. Why is this happening, and how can the world cope if there is only one who can see? Adapted from the novel by Jose Saramago, this is a fascinating exploration of what happens when a society must begin again. Powerful and thought-provoking ending. The chemistry between Mark Ruffalo and Julianne Moore is the only real weak point here, though they each work well with the rest of the cast. R for violence, language, and sex.

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 BROTHERS (2007) (R) 93 minutes * * They are brothers, but now that they have been employed by the boss of a local gang, their lives take a new direction. And not all of them are happy about it. The mood shifts rather dramatically throughout the film making it difficult for the story to flow smoothly. The characters don't seem to connect that well with each other either. R for violence.

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 ON THE FLAT TRACK (NR) 89 minutes * * 1/2 Interviews and game footage from the Rat City Rollergirls league from Seattle, Washington. It's an interesting look at a fun and colorful sport that has slowly been growing in popularity. Mixing entertainment with athleticism, these women give it their all!

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.

THE BLUE TOOTH VIRGIN (R) 78 minutes * * 1/2 David's (Bryce Johnson) friend brings him a script to look at. A script called, "The Blue Tooth Virgin". It's a character driven thriller. And it's not very good. But how can he tell his friend, or should he? Sam (Austin Peck) decides to get other opinions. It's an interesting character study of two friends, struggling with their careers, ambitions, and at times, their friendship. It's a bit dry, but still manages to have a quirky sort of charm. R for 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.

BOARDING GATE (R) 99 minutes * 1/2 Asia Argento plays a woman who is involved in relationships with two men. She soon discovers that the one is about to kill the other. Argento does a good job here, but everyone else in the film seems void of emotion, making this rather difficult to keep watching at times. It's hard to care about who has planned the hit or why, and what is motivating Argento's character to keep going in the face of so much two-dimensional acting going on around her. R for violence and language.

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 OF LIES (R) 122 minutes * * * Leonardo DiCaprio delivers a very strong performance as Roger Ferris, a CIA agent who is working to bring down a particularly dangerous terrorist. It will involve laying a very complicated trap, made even more difficult by the lies that will need to be told and believed, yet not uncovered until the right moment. Great work by DiCaprio! Adapted from the novel by David Ignatius and directed by the wonderfully talented Ridley Scott, the film moves us along in a way that reminds us that there are many sides to the story and that lies and truth are often difficult to unravel once they become entwined. R for violence and language.

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.

LA BOHEME (NR) 106 minutes * * * Film version of the classic opera, featuring the beautiful voices of Anna Netrebko and Rolando Villazon. The cinematography does a nice job of catching some of the more subtle pieces of acting and facial expression that are typically over-acted to make the point on stage. The effect mananges to soften the mood in some sequences and yet intensify it in others, and it works quite nicely.

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.

BOLT (PG) 90 minutes * * * Bolt is a canine actor who doesn't realize that he's an actor. The studio likes the realistic acting that they feel Bolt would lose if he knew the truth. But when Bolt accidentally gets off the set, he thinks it's still part of the episode from earlier that day. He has to save Penny. But he has a lot to learn along the way. Lots of fun and adventure, though the fire scene toward the end is a bit intense. Mittens the cat and Rhino the hamster are great supporting characters, supplying plenty of laughs along the way. PG for violence.

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.

BONE DRY (R) 95 minutes * 1/2 Long and drawn-out vengeance film with Eddie (Luke Goss) forced to take a trek through the desert. Jimmy (Lance Henrikson) keeps pushing and pursuing, and by the time we find out why, we're not really interested anymore. Goss and Henrikson both deliver solid performances, but the rest of the film is paper thin. R for violence and language.

BONE EATER (PG-13) 81 minutes 1/2 Construction workers disturb an ancient Native American burial ground incurring the wrath of the Bone Eater... an animated skeleton that disintigrates people with its touch. The soundtrack by Chuck Cirino is fun and adventurous, but this is mostly notable for its cast... Bruce Boxleitner, Gil Gerard, William Katt, and Veronica Hamel. PG-13 for 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. But 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.

BONNEVILLE (PG) 82 minutes * * * All Francine (Christine Baranski) is asking is that her father's ashes be buried next to her mother. As his most recent wife, Arvilla (Jessica Lange) feels that it isn't what he would want, but decides to comply. The road trip she takes to deliver them will not be without it's challenges, or it's comic moments, or it's lessons. Nice work by Lange and Joan Allen, but Kathy Bates is the one to watch here. A wonderful example of the friend everyone needs to have. PG for language.

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.

BOOGEYMAN 3 (NR) 91 minutes * 1/2 The boogeyman is stalking a college campus, growing stronger each time the story is told. There are quite a few good chills here, with ample use of the stuttering stop-motion technique as well as background appearances of the boogeyman. The acting leaves quite a bit to be desired though, and the result means that while we occasionally get a chill, we don't care about the characters.

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 BLOOD (R) 92 minutes * * The dead travel along highways, and at the intersections, there are opportunities to cross over. Mary (Sophie Ward) is a paranormal researcher who is exploring a house that appears to be one of those intersections. Adapted from Clive Barker's short stories "The Book of Blood" and On Jerusalem Street". The acting isn't quite as strong as it needs to be and the script doesn't do Barker's interesting story idea justice. R for violence, sex, and language.

THE BOOK OF ELI (R) 109 minutes * * * Eli (Denzel Washington) is on a journey... a mission. He has a book that needs to be delivered to a special place. But Carnegie (Gary Oldman) wants the book too, because he understands how much power the words will have in this post-apocalyptic world. After all, it's the book that many say was responsible for starting the war, and it's the only copy still said to exist. Nice twist ending and plenty of room for Washington and Oldman to chew up the scenery along the way. Filmed in New Mexico. R for violence 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.

THE BOONDOCK SAINTS: ALL SAINTS DAY (R) 112 minutes * * * A priest is killed in Boston and it looks like the Saints did it. But they didn't. Whoever did, is going to be sorry though, because the Saints don't appreciate being framed. As always, they show no fear about going up against organized crime, but then again, they have their own network of helpers. Plenty of action and a few chuckles along the way as well. Julie Benz' supporting performance is especially nice here, adding a little something different to the mix. R for violence, sex, and language.

BOOT CAMP (NR) 92 minutes * 1/2 The Advanced Serenity Achievement Program is a behavior modification camp for teens. Parents pay to have their children reconditioned to become less troublesome. Parents do have to make some adjustments as well, but the focus is on the teens. Camps of this style have few government regulations and their effectiveness remains questionable. The characters here are shallow and difficult to sympathize with, and the script is unimaginative to say the least.

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, ...and a tutor for his girlfriend as well. But Billie (Melanie Griffith) learns quickly, and a little knowledge can be a dangerous thing, and a little desire can go a long way. Not much substance here, but Goodman and Griffith give us good performances. Based on Garson Kanin's play, the script suffers a little in translation to the screen. PG for language.

THE BORROWERS (PG) 82 minutes * * 1/2 The classic Mary Norton story is modernized here with moderate success. The characters are mostly the same, but the story quickly takes a turn by separating the borrower children from their parents, thus causing a more exciting adventure to occur. The props are wonderful, though the other special effects are a bit uneven at times. But the key to this film's success lies in the simplicity of its plot and the short length of the film overall. These work together to keep our attention by keeping the pace moving along. It makes for a modest, but entertaining little film that will do well enough that a sequel won't be out of the question. PG for violence.

BOSS'N UP (NR) 83 minutes * Snoop Dogg apparently decided that there was no point in applying for a rating for this movie. With a few minor cuts, it could easily be an "R". Then again, with a few minor cuts, there wouldn't be much left except the music videos... It's the story of Corde Christopher (Snoop Dogg), who becomes one of the best pimps around. He gets arrested for murder, learns his lesson, and aspires to greater things... like teaching others how to be pimps. Snoop fans may like this, but others should stay away.

BOTTLE SHOCK (PG-13) 106 minutes * * A small winery, one of many in southern California. An equally small wine shop in France. Steven Spurrier (Alan Rickman) decides to have a contest. In part, he hopes to demonstrate the superiority of French wine, but he also expects to increase the credibility and appeal of his shop. Of course, sometimes the unexpected happens. Based on fact, the story is both interesting and fun, though not unpredictable. Still, Rickman's performance is a bit too tongue-in-cheek and we find it difficult to think Spurrier really knows much about viniculture from the way he is portrayed here. PG-13 for language and sex.

BOUNCE (PG-13) 102 minutes * 1/2 At the last minute, Budyy (Ben Affleck) gives his plane ticket to another man. Now the plane has crash and Buddy is living with the guilt. Trying to do something nice for the widow, he finds himself falling in love with her. Gwyneth Paltrow plays the part of the young widow well, but Affleck's performance seems shallow and too often insincere. Then, of course, to top things off, we have a sappy romantic ending that undermines the realistic performance that Paltrow his given. Filmed in Los Angeles and Palm Springs, California. PG-13 for language.

THE BOUNTY HUNTER (PG-13) 106 minutes * * 1/2 Milo (Gerard Butler) is a bounty hunter. His latest assignment is to pick up his ex-wife and take her to jail. He's excited about the opportunity, but he also has no idea what he's in for. Not only is Nicole (Jennifer Aniston) still a handful on her own, she's in the middle of uncovering a big story... that some people don't want uncovered. Good chemistry between Butler and Aniston help keep this entertaining, though it resolves a bit quickly at the end. PG-13 for violence and language.

THE BOURNE IDENTITY (PG-13) 111 minutes * * * Jason Bourne (Matt Damon) is a secret agent who was sent on a mission. The mission didn't go as planned and now he has amnesia. With no idea who he is, he has no idea who he can trust. He befriends Marie (Franka Potente), but even with her help, he's struggling to figure things out. The story, adapted from Robert Ludlum's novel, is quite good, with suspense remaining right up until the end. And John Powell's soundtrack adds quite well to the tension. The ending does happen a little too quickly and neatly for the way the rest of the story was paced, and Damon youthful appearance works against believability at times as well. Potente compensates nicely for some of this, but it does take the edge off in a few scenes. PG-13 for language and violence.

THE BOURNE SUPREMACY (PG-13) 102 minutes * * * Nice sequel with Bourne (Matt Damon) still working on figuring out what happened on his earlier mission and having to come out of hiding because he's being framed for other murders. More time spent on character development in this entry, which helps us feel more like we know Bourne and a few of the others, but the details of the story suffer a little in some spots because of it. Still, this is shaping into a nice series and Damon does well with it despite his youthful looks. PG-13 for language and violence.

THE BOURNE ULTIMATUM (PG-13) 106 minutes * * * Bounre (Matt Damon) is beginning to remember, and at the same time, someone else is hot on the trail of where it all started as well. Plenty of tense chase scenes and close calls, and a very nice ending as well. The soundtrack adds well to the tension though it's a bit repetitive in spots. The editing could have used a bit more work in some of the fight sequences, but all things considered, another nice entry in this series. PG-13 for language and violence.

BOWFINGER (PG-13) 91 minutes * * Small-time producer/director Bobby Bowfinger (Steve Martin) can't get the star he wants for his new picture, so he films it with the rest of the cast walking up to him on the street and saying their lines. At times, this does give us a fun look at the creation of low-budget films and the love for movies that these folks have. But there's little to hold these moments together and create a flow that will keep us watching. "Matinee" does a better job in that respect. It's an appealing cast, with Eddie Murphy, Heather Graham, and Christine Baranski complimenting Martin. But it just never quite lives up to its potential. PG-13 for language.

BOWLING FOR COLUMBINE (R) 117 minutes * * * 1/2 Michael Moore once again displays his talent for combining an easy-going, down-home style with a tenacious pursuit of the truth. His subject is gun control and is triggered (yes, I meant to say that) by the fact that one of the youth responsible for the shootings at Columbine High School in Colorado lived in Michael's hometown of Flint, Michigan for awhile. It's important to remeember that Moore is a card-carrying member of the National Rifle Association and firmly believes in the right to bear arms. Still, he clearly demonstrates how something has gone wrong in a world where things like Columbine happen. Among the best moments of the film are impressive statistics about violence in other countries compared to the US, a wonderful interview with Mariyn Manson, an impressive encounter at K-Mart's headquarters, and an interview with NRA president Charleton Heston. A wonderful piece of work. R for language and violence.

THE BOX (PG-13) 108 minutes * * A box is delivered to an unsuspecting couple. It has a button. If they decide to press the button, two things will happen. First, someone, somewhere, who they do not know, will die. Second, They will recieve a payment of one million dollars. Of course, there is a catch. Unfortunately, it's even more than you might expect and involves the NSA, aliens, and the fate of the world... what? Based on Richard Matheson's short story "Button, Button" this is stretched a bit beyond the 30-minutes that would have done it justice. It's really a short and simple morality tale that has been overly complicated here, though the presentation still works reasonably well, thanks in part to a wonderfully creepy performance by Frank Langella. PG-13 for violence and language. BOXING HELENA (R) 101 minutes * * 1/2 Julian Sands and Sherilyn Fenn star in this bizarre film about the extent to which one man will go to possess the woman he loves. Fenn is quite good here, but Sands seems to struggle with the material at times. Directed and written by David Lynch's daughter Jennifer, which might account for some of the rather strange elements. Interesting, but not for everyone's tastes. R for sex and language.

BOY A (R) 103 minutes * * * 1/2 Released back into society years after committing a terrible crime as a young boy, Jack (Andrew Garfield) is trying to start over. No matter what attempts are taken to insure that his past is buried, it continues to haunt him. Starting over will be difficult at best. It may not be possible. Tragic and haunting story adapted from the novel "Carousel Bar" by Jonathan Trigell. R for language and sex.

BOY EATS GIRL (R) 72 minutes * * As if things weren't rough enough for Nathan (David Leon)... constantly picked on by the school bullies, no luck with the girls... now he's back from the dead and trying to protect his friends from the zombie plague he inadvertently unleashed on the town! Almost more of a comedy than a horror film, though there are a few scenes... Filmed in Ireland and on the Isle of Man. R for violence, language, and sex.

THE BOY IN THE STRIPED PYJAMAS (PG-13) 87 minutes * * * Bruno (Asa Butterfield) and his family have to move, and Bruno isn't to happy about it. He does manage to make a new friend fairly quickly though. Leon (Zac Mattoon O'Brien) is the same age as Bruno, but lives behind a fence and wears striped pyjamas. The images of boyhood innocence are in stark contrast with the tragic and horrible realities of World War II in this tale of a childhood friendship that was all too brief. Filmed in Hungary. PG-13 for violence.

BOYNTON BEACH CLUB (R) 101 minutes * * 1/2 Growing old may not be easy, but it can still be fun. That's the premise for this look as the members of a bereavement club in Florida where people move past their recent losses and on to the next relationship. There are some cute bits here and there, but this is still mediocre at best. It's nice to see these folks again, but better material and direction is sorely lacking. Starring Joseph Bologna, Dyan Cannon, Len Cariou, Sally Kellerman, Michael Nouri, and Brenda Vaccaro. R for sex and language.

THE BOYS ARE BACK (PG-13) 100 minutes * * * Being a single parent is a new skill that Joe (Clive Owen) is going to need to develop. Now that their mother is gone, his boys need him even more. It's not a matter of being a perfect father, but refusing to give up is a good way to start. Wonderfully sensitive and gentle performance from Owen, and nice work by both of the boys (George MacKay and Nicholas McAnulty). PG-13 for language.

BOYS ON THE SIDE (R) 110 minutes * * * 1/2 Whoopi Goldberg and Mary Louise Parker, a very unlikely pair, are going to ride-share a trip out west. Drew Barrymore comes along for the ride when they get to Pittsburgh. This is no travelogue though, it's a story of friendships and tragedy, laughter and love. The characters here are drawn remarkably well, and Goldberg and Parker give us fabulous performances. The mixture of having a down-on-her-luck musician, a neurotic, and a free spirit traveling together is fascinating to watch and leaves us wanting more. A film that is guaranteed to have you laughing... and crying. R for sex and language.

BOYZ N THE HOOD (R) 105 minutes * * 1/2 This first film for director John Singleton is a bit thick on the morals, but is basically a good tale of life in South Central LA. It's a favorite of many fans of the genre and did break ground on dealing more directly with this topic in major motion pictures. And it boasts an impressive cast that includes Larry Fishburne, Ice Cube, Cuba Gooding Jr., and Angela Bassett. R for language and violence.

THE BRACELET OF BORDEAUX (PG) 91 minutes * 1/2 Two young girls use a magic bracelet to find a missing dog and bring the dognappers to justice. Stilted dialogue and poor acting undermine a story that, though not original, does have some appeal for the younger crowd. PG for language.

BRADDOCK: MISSING IN ACTION III (R) 98 minutes * 1/2 Chuck Norris returns again in this highly improbably action film directed by his brother Aaron. He single-handedly blows up an entire prison camp while rescuing around fifty children and a priest, taking over an airfield and stealing a C-47 airplane to get them all out. Right... Nice songs at the beginning and end of the film.

THE BRADY BUNCH MOVIE (PG-13) 84 minutes * * There are some great cameos by some of the original stars here, and a good feel for the spirit of the old show. Updating this for the 90's by adding alot of sexual innuendo jokes isn't really appropriate. It makes the film a mix of recreating the old show and making fun of it at the same time. PG-13 for language.

BRAIN DEAD (R) 81 minutes * * 1/2 Interesting and rather bizarre little horror film that deals with paranoia. Maybe a bit too bizarre for most folks, but the effects and music are pretty good and the story is... different. Those who follow lower budget horror will be interested to note that Charles Beaumont wrote this and Julie Corman produced it. Make sure you stick around for the end. I don't think you'll be sorry. R for violence and nudity.

BRAIN DONORS (PG) 76 minutes * Mindless rip-off of the Marx Brothers' "A Night at the Opera" that delivers only a few good gags. This is another good example of why not to try and remake a classic film.

BRAINSCAN (R) 92 minutes * * 1/2 Grieving over the death of his mother, and obsessed by computer games and horror movies, Michael (Edward Furlong) finds himself drawn into a new game that is more dangerous. Trickster emerges from the video screen, challenging Michael's perceptions of real and unreal, life and death, sense and nonsense. Some good effects, and an interesting (if somewhat familiar) villain, give this a little spark, but not enough to make it all that memorable.

BRAM STOKER'S DRACULA (R) 120 minutes * * 1/2 Multi-million dollar presentation of the classic story that boasts a haunting and frightening portrayal of Dracula by Gary Oldman. Anthony Hopkins delivers an equally strong performance as Van Helsing. But Keanu Reeves and Winona Ryder fall so short of the mark it's ridiculous. Narration, split screens, and rapid scene changes early in the film try to deliver too much information too quickly for us to absorb it all in one sitting. Director Francis Ford Coppola has tried to present too many details of the legend here and we find ourselves laughing at scenes late in the film rather than being absorbed in or frightened by what we are seeing.

BRASSED OFF (R) 101 minutes * * * English mine workers who spend their spare time playing in a brass band find the company of each other and their music a source of comfort as pits close and they find themselves out of work. It's an unusual mix of drama and comedy that manages to work. A talented cast, featuring Pete Postlethwaite and Ewan MacGregor make us feel right at home with their struggles. It's a charming film that will bring a smile to your face. R for language.

BRATZ (PG) 95 minutes * 1/2 Live action version of the mildly obnoxious cartoon. Four girls who have been friends for years, find that high school is a little bit more challenging than they expected, especially when there's a student body president who's a... not very nice person. Of course it helps that these girls never seem to want for anything. They are definitely "material girls". of course, friendship, like, it matters too! Yeesh! PG for language.

BRATZ GIRLZ REALLY ROCK (NR) 80 minutes * * The girls are at a summer music camp, competing for a spot in major motion picture. The competition gets a little extreme for a bit, but of course the girls realize that friendship is what really matters. Fairly typical Bratz material.

BRATZ SUPER BABYZ (NR) 71 minutes * * Generic cartoon with your favorite Bratz getting super powers for a short time and defeating a group of alien potatoes. Need I say more? Harmless enough, but not very memorable either.

THE BRAVE ONE (R) 118 minutes * * * Rachel (Jodie Foster) and her boyfriend are attacked, and as she begins the long road to recovery, she begins to find solace in righting the wrongs around her. But it's a violent path, and though she finds herself drawn to it, there's clearly a struggle she finds with the idea that she is capable of doing these violent acts. Excellent work from Foster, and Terrence Howard does a fine job as the detective who is working to stop her. Sometimes things happen in life that change you. You're not always better or worse... just different. R for language, violence, and sex.

BRAVEHEART (R) 169 minutes * * * What tells the true worth of a man, his wits, his strength, his passion? Some, like William Wallace, are blessed with all three. Well-told story, brought to the screen by director Mel Gibson, who also gives us a stunning and powerful portrayal of the historic figure of Wallace. A bit more gory than necessary in a few spots and there are some editing problems here and there, but a very good film that most people are very impressed with.

BREACH (PG-13) 104 minutes * * * When he is pulled off of a detail he thought might get him on the fast track to a promotion, Eric (Ryan Phillippe) is more than a little upset. He has no idea that the agent he's now pretending to be a clerk for is possibly the worst double agent the FBI has ever seen. The tale evolves slowly and deliberately, showing us how Agent Robert Hanssen's (Chris Cooper) view of the world has shifted. Cooper's deliberate and thoughtful performance is convincing, though the supporting cast seems to struggle a bit in some sequences. Inspired by a true story and rated PG-13 for language and violence.

BREAD AND TULIPS (PG-13) 114 minutes * * * 1/2 Rosalba (Licia Maglietta) has been the busy housewife for so long that she's forgotten what it's like to have time to herself. When she gets left behind by the tour group on a family vacation, she decides to take advantage of it and have a vacation on her own. What she discovers will change her life. Charming and funny, this is a delightful tale that feels like a breath of fresh air. Solid performances all around make this a film not to be missed. PG-13 for sex.

BREAK (NR) 77 minutes 1/2 A crime boss hires a hitman (Frank Krueger) to end his life rather than die of a terminal disease. The catch is that he's supposed to kill the man's girlfriend... who used to be his. Poorly scripted dialogue and scenes that are staged very slowly and very obviously are apparently supposed to give this a comic book/noir sort of feeling. It doesn't work. There are a number of well-known actors here, but their appearance is overshadowed by writer, director, producer, actor Marc Clebanoff's inability to handle so many aspects of a film by himself.

THE BREAK-UP (PG-13) 102 minutes * * 1/2 Relationships take work, sacrifice, and understanding, and even then, it still doesn't always work like you want it to. Sometimes you can see things more clearly after a break-up. Jennifer Aniston and Vince Vaughn star along with Joey Lauren Adams in the story of a couple who break up and then have to figure out who is going to leave the apartment when they neither one want to... or maybe it's that they don't want to break up? PG-13 for language and nudity.

BREAKDOWN (R) 89 minutes * * The one-note script isn't too bad here, but one does wish they had developed a few sub-plots to make this a little more interesting. Kurt Russell does a nice job playing a non-hero and there is a great (if a bit over-done) car chase scene toward the end of the film. Nice, suspenseful music by Basil Poledouris to try and keep us on the edge of our seats, but we've seen this too many times already. R for violence and language.

BREAKFAST ON PLUTO (R) 121 minutes * * * 1/2 Cillian Murphy is Patrick "Kitten" Braden, left at the door of a church as an infant. Patrick has always been a bit... different, and refuses to become like the other boys. When he decides to look for the mother who abandoned him, he'll find much more than he bargained for. Murphy does an excellent job here, and director Neil Jordan handles the topic with both humor and sensitivity that not only entertains, but helps us see the world through Kitten's eyes. Adapted from Patrick McCabe's book. R for sex, language, and violence.

BREAKIN' ALL THE RULES (PG-13) 81 minutes * * Quincy (Jamie Foxx) writes a book about how to breakup with someone and then finds himself dating his best friend's girlfriend... before they've actually broken up. Meanwhile his friend (Morris Chestnut) is getting in hot water pretending to be Quincy so he can be a player. Not much to the story here, but Foxx and Chestnut almost always deliver solid performances and Gabrielle Union does a nice job as well. PG-13 for language.

BREAKING AND ENTERING (R) 114 minutes * * * When someone breaks into his landscaping design studio, Will (Jude Law) is as upset as anyone might be. When it happen again, he takes it upon himself to keep an eye on the place. That also gives him an excuse to avoid home, where things are broken as well. The stories are parallel throughout the film. Once things are broken, how do they heal, if at all? On the metaphoric level, the film is quite good, and the acting by the leads (Jude Law, Juliette Binoche, and Robin Wright Penn) is quite good. Most of the supporting performances seem almost pointless at times, and do little more than generate distracting conversations. Trim these away, at least somewhat, and the film would be stronger. R for sex and langauge.

BREAKING IN (R) 91 minutes * 1/2 A lightweight John Sayles script isn't helped much here by mediocre performances from Burt Reynolds and Casey Siemaszko. Reynolds is an old safecracker who has taken on Siemaszko as a trainee, but it just never really goes anywhere. R for language and sex.

BREAKING THE WAVES (R) 156 minutes * * * 1/2 Bess (Emily Watson) is a simple young woman, both naive and uneducated. Her love for Jan makes her world complete. But when he's injured in an accident her world is shattered. Jan convinces her to find comfort in the arms of other lovers with the idea that it will help him recover. Watson gives an amazing performance that quickly draws us in. Her innocence and her struggle with love and what it means is both fascinating and heartbreaking to watch. At times it's a bit difficult to watch, but it's a film you won't forget. R for sex and language.

BRICK (R) 105 minutes * * * Brendan (Joseph Gordon-Levitt) has never had many friends in particular, but that won't stop him from finding out why his ex-girlfriend is dead and who is responsible. He'll start with the crowd she was hanging out with most recemtly, but they are a tough bunch, and it will not be an easy task. Rian Johnson's debut as a feature film writer and director gives us a smartly written film that definitely keeps us interested. It's definitely a little rough in spots, but manages not to reveal to omuch too quickly. Wonderfully quirky performances from Lukas Haas, Noah Fleiss, and Matt O'Leary. R for violence and language.

BRICK LANE (PG-13) 98 minutes * * * Choosing the more traditional route of agreeing to an arranged marriage, Nazneem (Tannishtha Chatterjee) finds herself in London, married to a man she does not love and becoming more depressed as time goes by. The stories of her sister's escapades back in Bangladesh feed her frustration, but there may yet be an opportunity for change if she is willing to take the risk. The tension between tradition and change are explored through fine performances. Beautiful costumes! PG-13 for sex and language.

BRIDE OF CHUCKY (R) * OK, starting with the idea that this whole series has always been more than a little ridiculous, this is actually one of the better entries. Most of this is due to the addition of Tiffany, Chucky's girlfriend and partner in crime. The banter between the two brings a little life to the story, though it is still one of the weaker horror film series in existence. Filmed in Ontario. R for violence, language, and sex.

BRIDE WARS (PG) 84 minutes * * 1/2 Best friends since childhood, they have always dreamed of having a June wedding at the Plaza Hotel in New York. But getting engaged within days of each other, their friendship is about to become a free-for-all, especially when their weddings just might end up on the same day. Kate Hudson and Anne Hathaway work well together here, though the story draws them with such broad, cartoonish strokes that they never seem very real. It's certainly good for a few laughs, and Hudson and Hathaway both seem to enjoy themselves throughout. PG for language.

BRIDESHEAD REVISITED (PG-13) 127 minutes * * * The lives and loves of the residents of the Brideshead estate as told through the eyes of Charles Ryder (Matthew Goode). Adapted from Evelyn Waugh's novel, this is a very good period drama with convincing performances throughout. PG-13 for sex.

THE BRIDESMAID (NR) 104 minutes * * 1/3 Director Claude Chabrol's version of Ruth Rendell's novel gives us a classic, twisted suspense/thriller. Senta (Laura Smet) is an attractive young woman who meets Philippe (Benoit Magimel) at a wedding. She quickly falls in love with him, but does he love her? Will he do what she asks to prove his love? Nicely done, with fine acting by the leads and the experienced direction of Chabrol making it worth a look.

THE BRIDGE (R) 90 minutes * * * Honest and somewhat disturbing documentary about suicide, focusing on the Golden Gate Bridge, the most frequent site of suicides in the United States. Talking with surviving family and friends as well as those who have attempted suicide, the film explores reasons and motives as well as ways for those who remain to cope with the sad reality of what has happened. R for language/subject matter.

BRIDGE TO TEREBITHIA (PG) 90 minutes * * * Jess (Josh Hutcherson) is the kid that everyone seems to pick on. At least that's what happens until Leslie comes to town. The two of them quickly become friends and share magical adventures in a land called Terebithia. Sometimes life can make it tough to believe in dreams. Then again, if you can believe, it just may be that those very dreams are what can help you deal with life's troubles. Just remember - "Look really hard, and keep your mind wide open." Wonderful fantasy film for the young at heart, with magical special effects and a memorable story. PG for violence.

THE BRIDGES OF MADISON COUNTY (PG-13) 130 minutes * * * 1/2 Moving a little slowly at first, the story does grow on you if you're willing to give it a chance. You find yourself wondering soon enough how things will work out between Francesca (Meryl Streep) and Robert (Clint Eastwood). The dialogue is the weak spot here. It moves from what we can only label as sappy triteness at some points, to a larger than life style that reminds one of characters in a Tennessee Williams play. For those who like their films more on the relaxed side, this is one you'll want to catch. PG-13 for language and nudity.

BRIDGET JONES: THE EDGE OF REASON (R) 101 minutes * * * Charming sequel that begins with Bridget (Renee Zellweger) in a successful relationship with Mark Darcy (Colin Firth) that she just can't help but keep finding ways to sabotage. Zellweger's skills are what makes this work, though the supporting work by Firth and Hugh Grant doesn't hurt. Nice soundtrack with well-chosen songs to compliment the moods of the film as well. R for language and sex.

BRIDGET JONES'S DIARY (R) 92 minutes * * * Bridget (Renee Zellweger) is 32 and single. If things don't change, she might stay single for the rest of her life. Sometimes, you can't find love until you quit playing the games and just relax. Zellweger is wonderful, and her style of acting makes Bridget seem very real to us. Helen Fielding's novel adapts to the screen well and it's a delight to watch Zellweger as she tries her hardest to find herself and that special someone. R for language and sex.

BRIDE AND PREJUDICE (PG-13) 105 minutes * * * Now that her parents have pretty much taken care of marrying off her older sister, Lalita is next in line. She thinks she may have found the right man, but her parents are looking at someone else, and then there's this other guy... promoted as the Bollywood version of Jane Austen's "Pride and Prejudice", this is a bright, colorful, musical adaptation that is set in India. It's definitely a refreshing look at the story, though it's a bit uneven at times. PG-13 for language.

BRIGHT LIGHTS BIG CITY (R) 103 minutes * * 1/2 A down-and-out aspiring writer has recently lost his wife to a modeling career and his mother to death. Both events have affected him so deeply that he can't accept the reality of either one. It's an intense character study adapted from Jay McInerney's novel, but it never really grabs us the way it needs to. The cast includes the stellar talents of Michael J. Fox, Kiefer Sutherland, Diane Wiest, John Houseman, and Swoosie Kurtz. It's too bad the script wasn't able to capture more of the strengths and weaknesses of these characters and do a better job of bringing them to life. The actors all give it their best shot, but it just doesn't happen.

BRIGHT STAR (PG) 115 minutes * * * The romance between Fanny Brawne (Abbie Cornish) and John Keats (Ben Whishaw) was intense, passionate, and all too brief. This film explores that relationship and the effect it had on Keats' poetry. Consistently good performances by the cast and the sets and costumes transport us back to the days of the romantic poets. Nicely done! PG for language.

BRING IT ON (PG-13) 92 minutes * 1/2 Kirsten Dunst and Eliza Dushku star in this heavily stereotyped film about cheerleaders and cheerleading competitions. While they do make an effort to show that there is more to the sport than standing on the sidelines of a game and that both girls and boys cheer, far too many of the girls are presented as egotistical airheads. The idea that the two best captains would help each other to raise the level of competition is nice, but poorly written. Dunst seems to gravitate to this kind of film, but it's a shame to see Dushku waste her time on this. PG-13 for language.

BRING IT ON: ALL OR NOTHING (PG-13) 93 minutes * * Third in the series, and the most fun to watch. This one manages to have more laughs and more cheerleading routines than either of the other two films. The stereotypes are still there, but where the first film was more serious and the second painfully attempting to be funny, this one manages to relax a bit. PG-13 for language.

BRING IT ON: IN IT TO WIN IT (PG-13) 87 minutes 1/2 Tired story has the Jets and the Sharks working together to beat another team. Not only is it difficult to believe, it's not funny either. Aside from a few good cheerleading bits, this has almost nothing to offer. Not that we're really surprised at this point in the series... PG-13 for language.

BRINGING DOWN THE HOUSE (PG-13) 101 minutes * * 1/2 Peter Sanderson (Steve Martin) was just trying to set up a date over the internet with an attractive young lawyer. What he gets instead is Charlene Morton (Queen Latifah), who is nothing like what he expects, but who may be exactly what he needs. She shakes up his life and finally gets him to open his eyes to things he'd been missing all along. Full of the slapstick, physical humor that Martin has always been great with, and with a serious message that doesn't weigh too heavily on the story. Originality is not the order of the day, but Martin and Latifah are the ones that make it worth a look anyway. PG-13 for language.

BRINGING OUT THE DEAD (R) 116 minutes * * * Frank Pierce (Nicolas Cage) is an EMT who has worked in and around the neighborhood he grew up in for a long time. As an EMT, you don't always save lives, though you do save quite a few. There are always "ghosts" around, and Frank's ghosts are getting a rather strong hold on him. The film is more than a little strange in spots and not everyone will be thrilled with the topic or the style that Martin Scorsese has chosen to use in filming it. The ending is nice though, and the idea is sound, that sometimes people need to die, and we need to help them by being willing to let them go. R for violence and language.

BROADCAST NEWS (R) 129 minutes * * * 1/2 A story about those who deliver the news, and what goes on behind the scenes. Great dialogue and wonderful chemistry between the three leads, and the rest of the cast is top-notch as well. William Hurt, Albert Brooks, Holly Hunter, Joan Cusack, and Jack Nicholson are the big names here, but everyone does a nice job. Realistic sets and a very fitting soundtrack from Bill Conti give this just what it needs to complete the picture.

BROKEBACK MOUNTAIN (R) 128 minutes * * * Ennis (Heath Ledger) and Jack (Jake Gyllenhaal) meet as cowboys working a herd of sheep. Their friendship quickly deepens into something that isn't expected or accepted by those around them. They continue their relationship in secret over the years, and the affect this has on them and those around them is the focus of the story, adapted from a short story by E. Annie Proulx. It's a lyrical and gentle story, told with sensitivity and understanding. It would have been nice to understand Ennis' quiet mumblings, but much of his dialogue is very difficult to understand, though we do get most of the meaning through his body language. Some of the supporting performances are lacking a depth that could have served the film more effectively. Not quite worthy of the Oscar recognition it received, but still a very good film. R for sex and language.

BROKEDOWN PALACE (PG-13) 95 minutes * 1/2 Perhaps there are a few young college girls out there who really might think that a cheap vacation in Thailand would be a good idea. Perhaps they might even be duped into carrying drugs onto an airplane by a flirtatious young man... Not that films have to be realistic to be good, but this one goes a little far out and Claire Danes and Kate Beckinsale struggle with these improbabilities poorly. This is a great example of how a project is designed around a couple of young stars and a soundtrack (which has some nice music) and fails to amount to much as a film. Filmed in the Phillippines and Manila. PG-13 for language and nudity.

BROKEN ARROW (R) 101 minutes * * * Plane and helicopter crashes, train wrecks, nuclear weapons, explosions, gunfire, fist fights... an action-packed film that gave the stunt crew a great workout! Set in the desert, with music from Hans Zimmer that sets the tone, this is a nuclear western. Good deputy Christian Slater has to find a way to bring John Travolta (deputy gone bad) to justice. Fun and fast-paced! R for violence and language.

BROKEN BRIDGES (PG-13) 100 minutes * * 1/2 The tragic death of several young men from the same town in a military "event" (it's not clear exactly what happened) serves as a catalyst for Bo (Toby Keith) to return and pay his respects. Also coming back to town is Angela (Kelly Preston), the girl he left when she was pregnant with his daughter. Now he has the chance to mend some broken bridges and spend time with his daughter Dixie (Lindsey Haun). Bridges go both directions and often lead to other bridges as well. The cast does a nice job here and the music, courtesy of Keith and his band, is good as well. Nothing outstanding, but a nice, casual look at how relationships need tending to if we expect them to grow and be healthy. PG-13 for language and violence.

BROKEN EMBRACES (R) 122 minutes * * * The past comes flooding back when Harry (Lluis Homar) gets a visit from the son of an old business partner. Ernesto (Jose Luis Gomez) had paid to finance one of Harry's films that featured Ernesto's mistress. Harry falls in love with her, which complicates things, especially when Ernesto asks his son to film what goes on each day on (and off) the set. The flashbacks and name changes make this a little confusing, but the story is absorbing and the performances draw us in over the course of the film. Director Pedro Almodovar delivers yet another fine film. R for sex and language.

BROKEN ENGLISH (PG-13) 93 minutes * * 1/2 Nora Wilder (Parker Posey) is frustrated almost to the point of panic. She's a thirysomething and she's still single. Relationships are a struggle for Nora until a slightly younger man from France shows up in her life. But he's only going to be around for a few days. Posey does a very nice job, showing us a sensitivity and inner pain that we don't usually see in characters she plays. The script and direction let us down though. It's Zoe Cassavetes first script and second directorial effort. It's not bad, but at the end in particular, the story feels forced and unnatural. PG-13 for language and sex.

BROKEN FLOWERS (R) 101 minutes * * * Bill Murray stars in a story about the mistakes of the past and the possibilities of the future. A letter arrives, informing Don (Murray) that he may have a son. He visits four former lovers and learns more than he thought possible. Murray does an excellent job here, as his character explores the past with touches of humor here and there, while never losing sight of the importance of the search. R for language and nudity.

BROKEN LIZARD'S CLUB DREAD (R) 98 minutes 1/2 Cocoanut Pete's Paradise Island is experienceing a bit of trouble... people are dying... rather violently... and we don't really care.... Yet another in a long line of duds with Bill Paxton's name attached. This one can't seem to decide if it's a comedy or a horror film. R for sex, language, and violence.

BRONSON (R) 83 minutes * * * Though his early life was not particularly troubled, Bronson (Tom Hardy) ends up in jail for robbing a post office and learns to become even more of a fighter than he already was. In fact, life in jail is more comfortable to him that life outside, and he becomes Britain's most violent prisoner, spending over thirty years in solitary confinement despite having never committed a murder. Hardy delivers a fascinating performance that is gritty, violent, humorous, charming, and intriguing... all at the same time. A stunning job that is well worth an Oscar, though he wasn't nominated for one. R for violence, language, and nudity.

A BRONX TALE (R) 113 minutes * * * 1/2 The directing debut of Robert DeNiro is just as impressive as one would have hoped. Chazz Palminteri shares in the project, starring in the story he wrote for the stage and adapted for the screen. It's the story of young "C", growing up in the Bronx, next door to a bar. As small-time gangster Sonny (Palminteri) grows in power, their friendship grows in strength. It's a tale of friendship, loyalty, life, and death. Filmed in Brooklyn and Queens. R for violence and language.

BROOKLYN RULES (R) 94 minutes * * 1/2 Michael, Carmine, and Bobby have been friends since childhood. The streets of Brooklyn have taught them a few things about friendship and life. It's similar to so many other mafia films about how young boys grow up around the violence and become part of it. And, there's really nothing to make this stand out much. It's not bad, but it's far from original. R for violence, language ,and sex.

BROTHER BEAR (G) 78 minutes * * * A young native American Indian learns some powerful lessons when he is transformed into a bear. Starts with the usual issues around family, death, and other typically scary stuff for the little ones, but moves to brighter territory soon enough and wraps up nicely. Great music from Phil Collins and "Great Spirits" which is sung by Tina Turner, is beautiful.

BROTHER BEAR 2 (G) 66 minutes * * Nita is about to be married, but she must free herself from her connection to Kenai to do so. But should a tie so strong be severed? Perhaps there is another way. A bit less entertaining than the first, and the story strays off the point from time to time. Like the first, it manages to get back on track and finish nicely. A fair sequel for those who enjoyed the first film.

BROTHERHOOD OF THE WOLF (R) 135 minutes * * * More history than horror, this provides an interesting look at a France strongly under the influence of king and church, and easily intimidated by stories of a strange and ruthless beast that prowls the country, preying on women and children. Gregoire de Fronsac and his companion, Mani, arrive in an area the beast seems to prefer and attempt to unravel the mystery. It's a captivating story, with some wonderful fight sequences and fine swordplay. R for violence and sex.

THE BROTHERS (R) 95 minutes * * Four friends and their various relationships are the topic here. Nothing new, though Morris Chestnut, D.L. Hughley, and Bill Bellamy do some nice work and their characters are fairly interesting. The rest of the cast isn't so lucky and struggle to be noticed at all. There are a few good scenes, but they don't tie together into a movie. R for language and sex.

BROTHERS (2009) (R) 100 minutes * * * Sam (Tobey Maguire) is the "good" brother. Responsible, married, serving in the military. Tommy (Jake Gylenhaal) just got out of prison. But things change when Sam's helicopter crashes in Afghanistan and he is reported dead. Tommy is helping Grace (Natalie Portman) and her daughters, and Sam is doing things he never thought he would, just to stay alive. When he returns, he is a changed man, and the three of them will need to answer a very different set of questions. Nice performances by the leads, and by young Bailee Madison as well. Adapted from the Danish film "Brodre". Rated R for violence and language.

THE BROTHERS GRIMM (PG-13) 111 minutes * 1/2 Silly fantasy film about the Grimm brothers, who stage elaborate pranks and tell stories of their adventures only to get involved in some real-life adventures that are far more terrifying. Heath Ledger and Matt Damon seem to be having fun here, but everyone else is taking it too seriously. Fairly good special effects, but the direction just doesn't give this the strength it needs. Filmed in Prague, Czech Republic. PG-13 for violence.

THE BROTHERS MCMULLEN (R) 95 minutes * * * A slice of real life as two younger brothers move in with their older brother and his wife. This has the feel of old home movies at times, and it may take awhile to grow on you, but it will do just that. You'll feel as if you've known these three brothers for years, and you'll want to know more. A great film about relationships that will make you think about how important they are to you in the myriad ways in which they affect our lives. R for language and sex.

THE BROTHERS SOLOMON (R) 88 minutes * 1/2 Two brothers (Will Arnett and Will Forte) who have terrible luck with dating (which they well deserve), are on a mission. They need to have a grandchild to give their father am incentive to come out of his coma. Of course with sons like these, you might want to stay in the coma... The best part of the film is the sky banner, but you might not make it that far. The comedy is mostly tedious and often comes across like bad stand-up material. R for sex and language.

BROWN SUGAR (PG-13) 105 minutes * * * Syd (Sanaa Lathan) and Dre (Taye Diggs) have been friends since childhood. They speak the language of hip-hop music and it runs in their blood. It's a love story about music and the two people that find themselves drawn together through their love of it. It's also an appreciation of hip-hop and a criticism of rap. Lathan and Diggs both do nice work here and make the film a pleasure to watch. PG-13 for language.

BRUCE ALMIGHTY (PG-13) 93 minutes * * 1/2 Bruce (Jim Carrey) has just had what feels like the worst day of his life. It feels like God is against him, or at the very least ignoring him. So, in a moment of desperation, he asks for a sign. God (Morgan Freeman) grants Bruce the ability to be God, but with greta power comes great responsibility. Carrey does make this fun to watch and Freeman and Jennifer Aniston are both good as well, but the message is sugar-coated and trite. PG-13 for language.

BRUNO (R) 77 minutes 1/2 Bruno (Sacha Baron Cohen) is host of the hot fashion show, Funkyzeit, until he crosses the line. Now he's headed to Los Angeles to become a celebrity. Cohen's brand of humor is not for everyone, though it will manage to offend just about everyone at some point or other. The song at the end of the film is a gem, but I'd recommend finding some other way to catch it than sitting through the whole film. R for sex and lnaguage.

BUBBLE (R) 72 minutes * * 1/2 Interesting piece about a lonely middle aged woman who begins to develop a friendship with a young man in the doll factory where they both work. Complications arise when a younger woman begins to work at the factory and attract his attentions. Director Steven Soderbergh uses an approach here that is both subtle and powerful, creating a story that feels very real. R for language.

BUBBLE BOY (PG-13) 77 minutes * * A boy with an immunity deficiency lives in a plastic bubble and falls in love with the girl next door. Now she's going to get married and he decides to build a portable bubble unit to go after her. Keep in mind, this is played for laughs, unlike the 1976 TV movie with John Travolta with a similar storyline. There have been a few people who've taken offense at how they make fun of the disease, but hold on! They take pot shots at Christianity, Hinduism, people with physical deformities, bikers, overprotective parents... if any of that offends you, you might want to stay away. Otherwise, you may find it mildly amusing at times, as our plastic-encased hero runs after the girl he loves. PG-13 for language.

THE BUCKET LIST (PG-13) 92 minutes * * * 1/2 The bucket list... a list of things you want to do before you "kick the bucket". Carter (Morgan Freeman) and Edward (Jack Nicholson) set off to see how much of their list they can check off. Two amazing actors working with direction from Rob Reiner... it would be hard to go wrong. Marc Shaiman's soundtrack moves us through the emotions of the film quite nicely and Sean Hayes delivers a wonderful supporting performance as well. Of course it's a bit of a tear-jerker, but that's easy enough to tell. Grab a few tissues and enjoy! PG-13 for language.

BUDDY (PG) 78 minutes 1/2 Rene Russo plays Gertrude Lintz, an eccentric woman who raises wild animals in her home as if they were children. Based on fact, this is horrible. The ape puppetry is the only aspect that saves this from total worthlessness. Definitely a must-NOT see film. PG for violence.

BUFFY THE VAMPIRE SLAYER (PG-13) 81 minutes * * Paul Reubens (aka Pee Wee Herman) gives us a vampire that is at time hilarious and at times somewhat haunting. This is supposed to be a fun, campy outing, but Buffy herself (Kristy Swanson) seems to forget that. Reubens has the right feel for the film, making it worth a look, but don't expect too much resemblance to the popular TV show. What makes this work is the originality of the idea, though the overall delivery falls a bit short and ends with a whimper instead of a scream. PG-13 for language and violence.

BUG (R) 97 minutes * 1/2 Agnes (Ashley Judd) is getting strange phone calls. Her ex is out of prison and is a violent man who she wants to stay away from. She's met this new guy, Peter (Michael Shannon). He's a little strange, and he has this "thing" about bugs. He ex is starting to look like a better choice. Based on a play by Tracy Letts, this unusual little piece ends up provoking laughter in most people who watch it, simply because the sort of paranoia portrayed here is hard to really understand. The story tends to get a little out of control toward the end, and we're ready for the film to end because the idea is beginning to make us uncomfortable as well. Could people really think this was happening to them? And who was it that was calling on the phone? R for violence, language, and sex.

A BUG'S LIFE (G) 87 minutes * * * * The ants pick the food, the grasshoppers eat the food... it's the way things have always been, but Flik wants it to change. Astounding animation and amazing characters that come to life thanks to a fun script and the creative talents of the cast and crew. My favorite is the circus scene, but be sure to stay for the "outtakes" during the credits, they're absolutely hilarious. Great entertainment for the whole family!

BUGSY (R) 133 minutes * * 1/2 Stylish film covering the life of Bugsy Siegel, starring Warren Beatty and Annette Bening. Barry Levinson's direction really helps pull the film together and keeps us watching despite Beatty's awkward performance. He approaches his character using two styles, one of which is too laid back to be believable, and the other is violent and not like anything Beatty can get a handle on. Ben Kingsley and Bebe Neuwirth both do great work, as does the rest of the supporting cast.

BULL DURHAM (R) 107 minutes * * The lives and loves of the Durham Bulls minor league baseball team... OK, it's a bit more than that, but there's a good deal of junk to sift through before the really good material, which is the last fifteen minutes. Kevin Costner and Susan Sarandon do fairly good work here, but Tim Robbins seems to wish he were somewhere else. Baseball fanatics seem to love this, but there are many, far better baseball films out there.

BULLETPROOF (R) 79 minutes * * It's nice to see Adam Sandler in a non-comedic role, but he doesn't work well with Damon Wayans here. There are a few good moments, but the picture drags its feet in too many places to get us interested. Poor direction appears to be the problem. It is nice to see James Farentino and James Caan, but they can't save this from being mediocre at best. R for language and violence.

BULLETPROOF MONK (PG-13) 97 minutes * * * This is a very nice example of how appealing characters can really help a film. It's a story about a legendary scroll that must be protected and how that responsibility is passed along. Chow Yun Fat does a nice job here, but the real surprise is Seann William Scott. His character does a nice job of growing and changing as the film progresses and we find ourselves drawn in by his curiosity and energy as well as by his mentor's patience and understated sense of humor. Jaime King rounds out the trio of the main cast quite nicely and we are left with the distinct desire to see more of these three and their adventures as they protect the sacred scroll. PG-13 for violence.

BULLETS OVER BROADWAY (R) 96 minutes * Tiresome story of budding playwright David Shayne (John Cusack) wanting to direct his own play. To do so he has to have it produced by a gangster who makes all sorts of demands about the production. It's nice to see a Woody Allen film that he isn't in, but the shrillness is still there. Not for those who don't like Allen and not of interest to those who aren't savvy to the ways of the theatre.

BULWORTH (R) 102 minutes * * 1/2 Senator Bulworth (Warren Beatty) is on the campaign trail for reelection. But he's tired of the game and the lies, so he puts out a contract to have himself killed. Of course, now that he's living the end of his life, he's more relaxed, honest, having a good time... maybe he should stick around... There's a great deal of solid political satire here, mixed in with social commentary as well. The idea of Bulworth doing rap doesn't work very well, but the biggest problem is Beatty's performance which comes across as rather uneven. Directing, co-producing, and co-scripting were enough for him to handle here without taking on the major role as well. I guess that adds a bit more to the commentary than he might have thought. R for language and violence.

THE 'BURBS (PG) 96 minutes * * 1/2 What a great idea for a simple vacation. Peace and quiet and lots of serenity, all in your own backyard. The only problem is that Ray Peterson (Tom Hanks) doesn't live in your typical neighborhood. The Klopeks, who live next door, have a house in desperate need of repair. And then there are those noises emanating from the house at night... There are lots of great little bits throughout the film as we watch Hanks and the others try to figure out what's going on at the Klopeks' house. Despite these good bits, the film lacks direction and focus and we walk away with little to be impressed by.

BURN AFTER READING (R) 91 minutes * * 1/2 Ozzie (John Malkovich) quits his job with the CIA and plans to write a memoir. But the disc with the manuscript on it falls into the inept hands of a couple of fitness center employees (Frances McDormand and Brad Pitt) who think they've found super secret espionage information. Keep in mind that this is a Coen brothers film and if you like their films, you'll find this fairly entertaining. Dark humor and plot twists work their way throughout the film, but the Coen's have done better. R for language, violence, and sex.

THE BURNING PLAIN (R) 96 minutes * * 1/2 Discovering that her mother is having an affair, Mariana (Jennifer Lawrence) plans to teach her a lesson. But the price of that lesson is high, and the fact that she is in a relationship with the son of the man her mother is having an affair with only complicates things further. But the guilt she nurtures will never go away until she faces what happened and begins to truly move forward. The story moves from past to present in a way that is not perhaps the most effective way to tell the story as it is both somewhat confusing at first, and then undercuts some of the power of the story. Still, Charlize Theron does a nice job, and the rest of the cast does a good job of supporting her. R for sex and language.

BURNING THE FUTURE: COAL IN AMERICA (NR) 86 minutes * * 1/2 Over half of the electricity in the United States comes from burning coal. Mountaintop mining is a cheap and easy way to extract a majority of coal quickly. The idea posited here is that it is fueled by greed, pollutes the environment, and actually costs more jobs than it creates. Old style coal mining coupled with newer clean burning techniques could be an answer, but only if we slow down our use of electricity or supplement it with other sources. Thoughtful documentary that offers quite a bit to think about.

THE BURROWERS (R) 91 minutes * * Western horror film (a bit unique in that aspect), with people blaming the Native Americans for the viscious attacks that are happening. The only trouble is, that the killing is actually being done by mysterious creatures from under the ground. R for violence. BURY MY HEART AT WOUNDED KNEE (NR) 125 minutes * * * Long overdue adaptation of Dee Brown's book about the events surrounding the massacre at Wounded Knee. The story has been told many times, but Brown's version has a sensitive and sentimental touch that helps us feel the impact in a little different way. Solid performances all around.

BUSHWACKED (PG-13) 86 minutes * A combination of two of Daniel Stern's previous films (City Slickers and Home Alone) this has less than half the quality of either. On the run for a crime he didn't commit, he hides out with some boy scouts and causes more trouble. Unless you're a fan of Stern, don't bother.

BUTCH CASSIDY AND THE SUNDANCE KID (PG) 112 minutes * * * * Exciting retelling of one of the legends of the wild west starring Paul Newman and Robert Redford. Winning Oscars for best screenplay, cinematography, and original score, this is a must for fans of westerns or action films. Many memorable scenes throughout the film will keep you involved, and if you watch closely, you'll see Sam Elliott make a brief appearance too. Newman and Redford work well together, making this a thoroughly entertaining film.

THE BUTCHER'S WIFE (PG-13) 100 minutes * * 1/2 A romantic clairvoyant marries a buther from New York and discovers that her talents have misled her. Romantic and whimsical at times, but just never quite grabs us. It does boast one of the most unique roles that Demi Moore will probably ever play. PG-13 for language.

THE BUTTERFLY EFFECT (R) 107 minutes * * Evan (Ashton Kutcher) has blackouts. Of course, his father was in a psychiatric hospital, tried to kill Evan during a visit and was killed by hospital staff. There's more, but the important part is that Evan has learned how to go back in time and change the way things happened. Each time he tries, the results seem to be worse. It's an interesting idea, but the end result is flat and lifeless. Kutcher does an adequate job here, but despite the changes, his character seems to remain constant, which isn't consistent with the idea. Amy Smart, on the other hand, does a very nice job with several different performances as her character changes depending on what Evan has changed in the past. R for language, violence, and subject matter.

THE BUTTERFLY EFFECT 2 (R) 81 minutes * Nick (Eric Lively) has these headaches. And after he's in an accident, and looks at a picture, he travels back in time to when the picture was taken and can change the events. But it gets worse each time he does it. Kind of like when you make a sequel to a movie that wasn't that good the first time. There are some nice effects, and it's hard to fault the cast when it's clearly the script and direction that are to blame. R for violence, sex, and language.

THE BUTTERFLY TATTOO (NR) 98 minutes 1/2 This adaptation of Philip Pullman's novel struggles from the very beginning. The scenes don't flow well, and many are just simply awkward, with poor acting and stilted dialogue. It doesn't help that Chris (Duncan Stuart) isn't all that likeable. His impuslive tendencies make us wonder why any of the other characters would be interested in talking with him. The ending is actually quite good, but slogging through the first nineety-five minutes to get to the last three is a bit of a chore.

BUY THE TICKET, TAKE THE RIDE (NR) 76 minutes * * * Documentary film covering the career of the legendary Hunter S. Thompson. The film does a very thorough job of showing how Thompson's work was an integral part of the 1960s. His style of writing, which became known as "gonzo journalism", bridged a gap between fiction and non-fiction and continues to inspire and influence people. Interviews with Johnny Depp, Sean Penn, John Cusack, Gary Busey, Tom Wolfe and many others are included.

BY THE PEOPLE: THE ELECTION OF BARACK OBAMA (NR) 110 minutes * * * Straight-forward accounting of the political career of Obama shortly before his decision to run for the office of President and up through his election. Of more interest to those who follow politics than those who don't, but it does a nice job of covering the various aspects of what is involved in the process.

BY THE SWORD (R) 87 minutes * * 1/2 This film suffers from some problems with direction and story continuity, but the talents of Eric Roberts, F. Murray Abraham, and Mia Sara make it worth watching. It's a story of vengeance and respect, and the education of a teacher. Set in the world of fencing, with music by Bill Conti.

BYE BYE LOVE (PG-13) 101 minutes * * * Paul Reiser, Mathew Modine, and Randy Quaid are divorced fathers who are  doing the best they can to continue being good fathers to their children. Funny and charming, this is a good "men's movie" that is fun to watch, but manages to make a few good statements along the way. As the title would suggest, this also has a good collection of songs that follow the theme as well.