GALAXYQUEST (PG) 96 minutes * * * While at a convention celebrating their television show "Galaxyquest", the cast of the show are contacted by aliens who view them as real space heroes. It's a light-hearted spoof of "Star Trek" that succeeds on almost every level. The cast is terrific, with Tim Allen, Alan Rickman, Sigourney Weaver, and Tony Shaloub doing parodies of the classic characters we know so well. It's also pleasant to see a comedy that doesn't take things to the extreme, but tries to have a story that will keep us interested along the way. Those who don't enjoy "Star Trek" will probably find it a bit silly, but for most of us, it's a treat! PG for violence.
THE GAME (R) 122 minutes * * * Michael Douglas is about to experience something very different. His brother, played by Sean Penn, gives him a card to join Consumer Recreation Services, a company that turns your life into a game. The twists and turns are nice, and may fool you for awhile. Ultimately, it's fun to watch, though the extremes are pushed a bit too far. If they had toned them down just a little, this would have been far more powerful. Nice performance from Deborah Kara Unger as Douglas' companion throughout much of the game as it is played. R for language and violence.
THE GAME OF THEIR LIVES (PG) 96 minutes * * * With only two weeks before the 1950 World Cup of soccer, a group of soccer players from New York and St. Louis are assembled to represent the United States. As far as these players are concerned, New York and St. Louis might as well be different worlds. Somehow, they manage to work together and form a team to play the game of their lives. )Or, as the film's video title suggests, the miracle match.) Typical underdog sports film with solid performances and a fine soundtrack from William Ross. Based on the boko by Geoffrey Douglas. PG for language.
THE GAME PLAN (PG) 106 minutes * * 1/2 Formula Disney film with Dwayne "The Rock" Johnson as a self-centered football superstar who finds himself trying to be a father for the first time with a very spirited young daughter. Madison Pettis is adorable, and Disney knows how to work a story like this. No surprises, but it keeps us interested and entertained. PG for language.
GANG RELATED (R) 106 minutes * * Two cops end up killing an undercover DEA agent, can they cover their tracks and stick the crime on someone else? Tupac Shakur's acting is uneven as usual, and Jim Belushi acts uncomfortable with his part. There are moments here and there, but too much of a good idea got lost somewhere. Very unrealistic ending, perhaps due to Shakur's death. R for violence and language.
GANGS OF NEW YORK (R) 163 minutes * * As New York began to grow as a young city, it grew up around ganga. Territories and loyalties changed, but the struggles remained. Well-acted, but long-winded and presumptuous, this relies on violence and Scorsese's strength as a director to succeed. Unfortunately, he seems preoccupied with incorporating too much of the surroundings in what is really the story of one man, whose time has passed. As more and more immigrants come ashore in New York's harbor, Bill Cutting's (Daniel Day-Lewis) views make less and less sense. This part of the story isn't absent, but it gets lost in the mess. R for violence.
THE GARBAGE PAIL KIDS MOVIE (PG) 94 minutes * Inspired by a series of bubblegum cards, it's a story about how you can't change the world if you lock yourself away from it. Full of lewd, crude references, though you can't expect much more from a film with characters named Valerie Vomit, Foul Phil, and Greaser Greg.
GARDEN STATE (R) 96 minutes * * * 1/2 Amazing directing/writing debut from Zach Braff! Andrew (Zach Braff) goes home for his mother's funeral. He finds that he doesn't really get along with his old friends, and his relationship with his father hasn't been good for a long time. He finds himself being drawn to Sam (Natalie Portman), a quirky but charming girl who helps him begin to find his way out of his lithium induced haze. He begins to discover that pieces of his life are just waiting for him to explore, accept, and begin to understand. It's a finely crafted film with a strong script, well-chosen songs, and fine acting. You may notice that the ending seems to be... "off" just a little. For some reason, the studio chose not to go with Zach's original idea, but we should get a chance to see it on the DVD. R for language and sex.
GARDENS OF STONE (R) 107 minutes * * * 1/2 There have been many films about the Vietnam War, one of the most well know being "Apocalypse Now", directed by Francis Ford Coppola. But this film from director Coppola is likely to cover a side to the war you've not seen before. It's the story of the 3rd Infantry, the Old Guard, the "toy soldiers" of Fort Myers, Virginia. They are called "toy soldiers" because they have limited responsibilities. They provide presidential escort, and they bury the dead as they return from the war. The film offers a variety of conflicting opinions about the war and what it means to be in the military during a time of war. And, if the excellent story wasn't enough, there's a stellar cast as well. James Caan, Angelica Huston, James Earl Jones, Dean Stockwell, Mary Stuart Masterson, and D.B. Sweeney. Adapted from the novel by Nicolas Proffit.
GARFIELD (PG) 73 minutes * It probably seemed like a good idea at the time... a great comic strip character making the move to the big screen... but, oh yeah, we need to have a decent script. What we have instead is a rather pathetic attempt to center a story around the arrival and kidnapping of Odie. And, thanks to the decision to animate Garfield and nothing else, we have the opportunity to see some poor editing as well. PG for cartoonish violence.
GARFIELD: A TALE OF TWO KITTIES (PG) 72 minutes * The animation and editing are only slightly better than the first Garfield film, and the story is a bit worse. Garfield ends up in London where he is mistaken for Prince, a cat who has just inherited a castle. Unless you're a fan of that big ol' orange cat, you might want to skip this. PG for violence and language.
THE GATE (PG-13) 83 minutes 1/2 Two kids stumble across a bottomless hole that happens to be one of the many openings or gates into Hell. Of course it takes the right words to open it, which they just happen to chant during a party while the parents are away. Lucky for them, the words to close the gate are on the same recording as the ones to open it! There are a few good special effects toward the end of the film... if you're still watching by then...
GATE II (R) 89 minutes * Inane plot, cardboard characters, mundane dialogue... the only thing this has going for it is Pamela Segall, who reminds us a bit of a young Demi Moore.
THE GATHERING (R) 83 minutes * * Somewhat creepy story with Christina Ricci getting hit by a car on her way to a small town and losing her memory. Near the town, an unusual religious building that was buried long ago has been discovered. Will it help explain the strange visions Cassie (Ricci) has been having? The story clearly has some holes, but does manage to create the right atmosphere. R for violence and language.
GATTACA (PG-13) 103 minutes * * * Vincent (Ethan Hawke) lives in a world where freedom has been taken away and been replaced by a hierarchical structure based on genetic predispositions. Vincent, however, is determined to reach his goal of flying in space. The first thirty minutes here are unbelievably wordy, as we get all the background information that is important to the story. Things begin to settle down after that, and the story begins to involve us. A strong ending helps us feel even better about the film and remind us that we need to dream our dreams. We might just reach them, and our dedication to striving for them will undoubtedly inspire others. PG-13 for language and nudity.
THE GENERAL'S DAUGHTER (R) 109 minutes * * 1/2 After a general's daughter is murdered, secrets she has long kept begin to surface. Paul Brenner (John Travolta) is faced with a choice. Does he investigate as an Army man, or as a civilian? It's easy to see where this is headed from the beginning and Travolta has a hard time carrying the weak story by himself. There's little depth to the characters here, even Travolta's for that matter, and their backgrounds only come to light as they are essential to the case. Travolta does what he can, but this will come off quite a bit better on video, or better yet, with those wonderful commercial breaks on TV. R for violence, language, and nudity.
GENGHIS BLUES (NR) 90 minutes * * * 1/2 Fascinating and moving documentary of blues singer Paul Pena and his journey to Tuva. Pena stumbled across a short-wave radio broadcast of Tuvan throat-singers and knew he had to find out more. His journey is not only a physical one, but a musical and spiritual one as well. His interest and his talent are able to bridge a cultural gap that many would not have thought possible.
GEORGE OF THE JUNGLE (PG) 85 minutes * * 1/2 This film does a wonderful job of capturing the sense of the cartoon. A great deal of this is accomplished through the narrator, who makes the same kind of corny remarks that were made in the cartoon. Brendan Fraser does what he can and is likeable enough, but this is not an easy task. The ape suits are well designed and the music has enough of the old mixed with the new to be interesting as well. The story is what lacks the sparkle, though it is far better than what "The Flintstones" had to work with! PG for language and cartoonish violence.
GEORGIA (R) 104 minutes * * * Fascinating character study of a young woman who desperately wants to be like her older sister, though she hasn't the talent or drive to do so. Mare Winningham, Jennifer Jason Leigh, and Max Perlich all give us strong performances of tragic characters. Not a film to watch if you're depressed, but powerful and impressive. Direction weakens it in a few spots, but solid overall. Leigh and Winningham perform their own songs too!
GEORGIA RULE (R) 106 minutes * * * Rachel (Lindsay Lohan) is a bit of a wild child, so her mother decides that some time with her grandmother Georgia (Jane Fonda) might be in order. It's a small town, which is very different from what Rachel is used to, and there are a few rules that come along with living in Georgia's house. Families and relationships aren't always the most attractive things. But if you love enough to trust... if you love enough to tell the truth... then it will work out in the end... Georgia rule! Fonda and Lohan both turn in solid performances here, and though the film is clearly about women and intergenerational relationships, Dermot Mulroney delivers a strong supporting performance as well. R for language and sex.
GEPPETTO (NR) 86 minutes * * * 1/2 Charming musical version of the story of Pinocchio with Drew Carey as Geppetto, and Julia Louis-Dreyfuss as the mischevious blue fairy who brings Pinocchio to life. Stephen Schwartz wrote the music and lyrics that give this version its own unique sparkle. Carey isn't as miscast as you might think at first, and all the children do a wonderful job, singing and dancing their way through the film.
GERONIMO: AN AMERICAN LEGEND (R) 109 minutes * * * Well-done portrait of the Native American chief, with a fine performance by Wes Studi in the lead role. Gene Hackman and Robert Duvall also star, but this is Studi's show, and he paints a well-rounded picture for us. A man who was more than a chief, more than a warrior, a free spirit who could not be contained or ruled by anyone else. Ry Cooder's music lends the perfect feel to the background as we watch this play out in the Moab, Utah countryside.
GET CARTER (R) 98 minutes * 1/2 Jack's (Sylvester Stallone) little brother is dead and he knows it wasn't an accident. Everyone else seems ready to let things go, but Jack wants the truth. It may not be quite so easy to find... or accept. Stallone and the rest of the cast run through the paces here, but the film is hard to watch. Not because we've seen most of this before, though we have, but because the photography is jerky and irritating. There are times when the blur of images is incredible, and the film is almost impossible to watch. That's not a good idea when we're supposed to be seeing the action. Tyler Bates' music makes up for it a little, but I'd suggest skipping the film and just picking up the soundtrack. R for violence and language.
GET ON THE BUS (R) 116 minutes * * * The "million man march" on DC is the topic here, handled quite well by director Spike Lee. Considering most of the film takes place on the bus, this moves along (no pun intended) quite nicely. It is the most sensitive and straightforward piece of work Lee has completed. Interesting to note that the film was completely funded by 15 black men, among whom are Lee, Reuben Cannon, Wes Snipes, Robert Guillame, and Danny Glover. R for language.
GET OVER IT (PG-13) 80 minutes * * 1/2 Berke (Ben Foster) has girl problems. His childhood sweetheart has ditched him and he's trying to get over it, but that's easier said than done. Of course, his best friend has this younger sister... Likeable stars, a fun script, and catchy songs make this pleasant enough to watch and the play within a play toward the end is a riot. Yes, we've seen most of this before, but when it's done well, we don't mind too much if we see it again. Nice work from Kirsten Dunst and Foster. Pop star Sisqo doesn't really get much screen time, except during the credits at the end. PG-13 for language.
GET RICH OR DIE TRYIN' (R) 111 minutes * * Marcus (Curtis Jackson) life, told mostly in flashback form, is a story about the struggle to make it on the street. Drugs, gangs, violence... nothing new, and Jackson doesn't really carry the film well as the star. Terrence Howard delivers a typically strong performance in a nice supporting role though. R for language, violence, and sex.
GET SHORTY (R) 97 minutes * * Some people really enjoy director Barry Sonnenfeld's black comedy about a small time Miami hood (Danny DeVito) trying to make it big in show business in Los Angeles. There are lots of in-jokes for those in show business and plenty of cameos from well-known actors, but this plays like a poor copy of a Robert Altman film, with an ending that just falls apart. Mildly fun if you like the movie business, but most will probably be disappointed.
THE GETAWAY (R) 111 minutes * 1/2 Pale remake of the 1972 film (with Steve McQueen). As is typical for Kim Basinger, she plods through the story with little feeling or understanding of her character. She manages to bring out the worst in Alec Baldwin's acting as well. In fact, the only person who does well at all is Michael Madsen. Sometimes the script isn't at fault, but the actors manage to do a bad job anyway.
GETTING AWAY WITH MURDER (R) 87 minutes 1/2 Ethics professor goes on a murder mission to kill an old neighbor he thinks is a Nazi war criminal. Dan Aykroyd has a knack for being in bad films, and this one is no different. It gets dumber and dumber the more it goes along until we finally reach the merciful end.
GETTING EVEN WITH DAD (PG) 104 minutes * * 1/2 When Ray (Ted Dansen) and his friends steal some coins, the last thing they expect is for Ray's son Timmy (Macauley Culkin) to show up and start causing trouble. This is actually some of the best work that both Culkin and Dansen have done. The script has some real problems, but they aren't as noticeable on the small screen. Fairly entertaining even though it's nothing new to see Culkin "getting even" with adults. PG for language and violence.
GETTYSBURG (PG) 242 minutes * * 1/2 Though this is one of the better versions of this epic historical conflict, it could've used some pruning. It is nice to see some of the details and insights into personalities that are emphasized here. And The larger views of the battles are impressive too. But repeated use of battle footage is obvious and unnecessary and would've helped cut this down a little bit. Randy Edelman provides a stirring soundtrack and the most notable performances are by Jeff Daniels and Stephen Lang. PG for violence and language.
GHOST (PG-13) 122 minutes * * * * Sam Wheat (Patrick Swayze) has been murdered. But as a ghost, he decides that things didn't happen the way they were supposed to. He really loves Molly (Demi Moore) and since this was murder, maybe he can stick around and see that the situation is made right. Enter Oda Mae Brown (Whoopi Goldberg), amateur psychic and small-time criminal. Will Sam be able to use her to get in touch with Molly? The story is a wonderful combination of romance, suspense, comedy, mystery, and the supernatural. It is performed in first-class style by three very talented actors. Patrick Swayze has never given a better performance, Whoopi Goldberg is hilarious yet not distracting, and Demi Moore is both sensitive and stunning. Add in the great special effects, masterful make-up, and Maurice Jarre's soundtrack, and you have a perfect film. PG-13 for language and violence.
THE GHOST AND THE DARKNESS (R) 103 minutes * * * To build a bridge may not sound too difficult, but when the workers are being harassed by a couple of lions, it takes on a different look. The real stars here are Vilmos Zsigmond's photography and Jerry Goldsmith's music. Val Kilmer does a good job too, but the mood is so completely established by the camera and the music, that we are captivated. This isn't as powerful on the small screen, but it's still quite good. R for violence.
GHOST DAD (PG) 78 minutes * 1/2 Elliot Hopper (Bill Cosby) dies in a traffic accident and realizes that he hasn't taught his children as much as he wanted to, so he sticks around in ghost form to accomplish the task. Technically, the film is good, but the characters are stale. As short as it is, it still runs too long. Younger kids may enjoy watching Cosby here, but most will find it a bit tiresome. PG for language.
GHOST IN THE MACHINE (R) 91 minutes * Karen Allen stars in this low-budget horror film with a paper-thin plot. There are a few special effects that are good, but the small budget is overly obvious in the rest of the film. The idea that a serial killer's dying spirit would seek vengeance by traveling through the computer lines to kill the friends and ruin the credit of a woman he's upset with is ridiculous anyway, but talent could've pulled this up a notch or two if there had been any around.
THE GHOST OF DICKENS' PAST (G) 85 minutes * * * The inspiration for Dickens' "A Christmas Carol" is the topic here. We learn of Dickens own experience with a mysterious young visitor who teaches him the importance of compassion. It's a fascinating idea and plays out very well. The production quality is a bit weak in spots, but this is well worth a look.
GHOST RIDER (PG-13) 103 minutes * * 1/2 Making a bargain with the devil to save his father from death by cancer, Johnny Blaze becomes the Ghost Rider each night, "cursed to ride the earth, collecting on the devil's deels." Adapted from the Marvel comic book series, this does a very nice job of bringing that same approach to the big screen. The characters are broadly drawn and clearly have an old "EC Comics" style of horror and justice. Nicolas Cage may not have been the best choice for Blaze, but he does a reasonably good job. Wes Bentley and Eva Mendes both deliver wonderful supporting performances, as does Sam Elliott, playing the Caretaker to perfection. On the other hand, Peter Fonda's performance as Mephistopheles leaevs a great deal to be desired, being about as threatening and sinister as a baby rabbit. Very nice special effects throughout, and for those who are curious, it's the Melbourne General Cemetary in Australia that has that wonderfully haunting atmosphere. PG-13 for violence.
GHOST SHIP (R) 86 minutes * A salvage crew finds an ocean liner that mysteriously disappeared some time ago. They're interested in salvage rights, but the ghosts on the ship are interested in something else. The details of the story are all explained by one of the ghosts after an hour, just in case you haven't figured things out. The real problem is how little sense the last several minutes of the film make in light of some earlier statements by the ghost who runs the show. A few nice effects, but not enough to recommend sitting through the whole film. R for violence, language, and nudity.
GHOST WORLD (R) 106 minutes * * * 1/2 Enid (Thora Birch) and Rebecca (Scarlett Johansson) are best friends in high school, rebels who enjoy harmlessly torturing the people they come into contact with. When they turn their sights on Seymour (Steve Buscemi), something a little different happens. Enid finds herself curiously drawn to him, while Rebecca tires of the prank and of her friends' growing obsession. Adapted from Daniel Clowes' comic book by Clowes and director Terry Zwigoff, this garnered numerous nominations and wins for them and for Birch, Johansson, and Buscemi. Part coming-of-age film, part alternative/punk, with characters that are immediately intriguing and memorable. R for language and sex.
GHOSTBUSTERS II (PG) 102 minutes * * The gang is back to fight off the evil slime that is feeding off the negative energy coming from New York City. It's not that this is a bad sequel, just that there isn't much in the way of originality. Fans of the first film will find this relatively entertaining, but you really do need to watch part one first.
GHOSTS OF MARS (R) 92 minutes * 1/2 Sent to pick up a violent prisoner in a remote town on Mars, an elite group of police finds the town deserted except for a few individuals who have barricaded themselves against the strange murderous tribe of individuals who once lived among them. There are some interesting ideas here, but the story is told using flashbacks and is rather irritating. The ending is corny, but feels right. The best aspect perhaps, is the soundtrack provided by director John Carpenter. It is yet another relatively simple one in its structure, but highly effective in setting the mood. R for violence and language.
GHOSTS OF MISSISSIPPI (R) 125 minutes * * 1/2 Despite some powerfully written dialogue and a script that keeps us moving along through the story, this doesn't have the passion it needs for us to find ourselves really involved in the story. A bit too much emphasis on details of the legal procedures involved and not enough about the people. James Woods performance is a little bit off here as well. He seems to be presenting us a cartoon character instead of a real person. R for language and violence.
G.I. JANE (R) 120 minutes * * * 1/2 Lt. Jordan O'Neil (Demi Moore) is one of several women who are test cases to determine the viability of 100% integration of women in the military. O'Neil may have the hardest track though, as she is in training for the Navy SEALS program. Moore does the best work I've seen her do in years and Trevor Jones' music accentuates it well. Director Ridley Scott's cohesive direction is responsible for the films unrelenting intensity. This is a powerful film with focus and power that aren't seen often enough. R for violence, language, and nudity.
GIA (R) 116 minutes * * * Stunning performance by Angelina Jolie of the life of supermodel Gia Marie Carangi. At times this seems to go for all the dirt in Gia's life, but then again, there's always the sense that she never was polished, but remained a diamond in the rough. The conclusion is no surprise, but is handled with sensitivity. Mercedes Ruehl also gives a nice supporting performance as Gia's mother. R for sex, language, and violence.
THE GIANT OF THUNDER MOUNTAIN (PG) 97 minutes * * 1/2 Overlooked film starring adorable little Noley Thornton. Solid family entertainment, if a bit predictable, with gorgeous scenery. Bart the bear is here, as are Jack Elam, and Richard Kiel, who co-wrote the screenplay. If you can find this one, it's a nice little film that you'll be glad you watched. PG for minor violence.
GIDEON'S DAUGHTER (NR) 104 minutes * * * Dreamlike look at part of the life of a public relations genius whose daughter is planning on cutting him out of her life. Meanwhile, he finds himself falling for a woman who is grieving the loss of her young son. This has almost fairytale-like qualities with on-screen narration by Robert Lindsay's character Sneath, a role he also played in director Stephen Poliakoff's film "Friends and Crocodiles", released earlier the same year. Bill Nighy, Miranda Richardson, Emily Blunt, and Lindsay all deliver excellent performances.
THE GIFT (R) 107 minutes * * 1/2 Annie (Cate Blanchett) has a gift. She can see the future. But sometimes gifts like this can be a curse. They can put people in danger. Blanchett, Giovanni Ribisi, Katie Holmes, Greg Kinnear, Hilary Swank, and Keanu Reeves all do nice work here. But the story wanders and drags on too long, almost without point at times. Sam Raimi's direction has some brilliant moments, but also has far too many that remind us of low budget productions and amatuerish scripts. It's a nice little suspense film that benefits from some great performances which manage to overcome a weak script and some inconsistent direction. R for violence, language, and nudity.
GIGLI (R) 117 minutes 1/2 Ben Affleck and Jennifer Lopez star as two mob contractors who are supposed to keep an eye on each other while doing a their job. Affleck makes a lousy mobster. The more he talks, the worse he sounds. And Lopez is definitely an eyeful, but that's really all she's supposed to do here... which is pretty pathetic. The best scene in the film is with Al Pacino. It looks like Affleck and Lopez are taking acting lessons from him... which they should have... R for language and sex.
GINGER SNAPS (NR) 108 minutes * 1/2 Ginger is 16, and enjoys, along with her 15 year old sister Brigitte, the darker side of life, including staging and photographing death scenes. They've made a pact with each other about dying together. Then, in October, on the night Ginger has her first period, which also happens to be the night of a full moon, a werewolf bites her. The changes in her body are now happening in even more extreme ways. As Brigitte tries to find help before the next full moon, Ginger grows more uncontrollable. As much a coming of age film as it is horror film, it scores points for it's title and for atmosphere. And it managed to create enough interest to generate a couple of sequels.
GINGER SNAPS BACK: THE BEGINNING (R) 91 minutes * Strange choice to do a prequel that is set in the 19th century but involves the same sisters. Even taken separately from the others, this just isn't that interesting except for it's suggestions of a connection to the wendigo legends of the Native Americans. Watch the first two, but skip this one. R for violence and language.
GINGER SNAPS: UNLEASHED (R) 90 minutes * * Fairly good sequel that follows Ginger's sister as she deal with the change she inflicted on herself to try and help Ginger in the first film. What makes the film most interesting though, is the character Ghost, played by young Tatiana Maslany who looks even younger than she is. It's a fascinating character, often talking in the third person and immersed in a world of comic books and living in a reality that is twisted and revealed to us in stages. R for violence and language.
THE GIRL IN THE CAFE ((NR) 93 minutes * * 1/2 She was just a girl who happened to be in the cafe where he was taking a break from work. But when he starts talking to her, something happens. He finds himself falling in love with her, and risking more then he thought possible. Too much of the story wraps around the actual politics of the G8 conference in Iceland. It's an important issue and could still be used to make a point, but we lose too much of the characters with so much emphasis on the politics. Nice performances by both Bill Nighy and Kelly Macdonald.
GIRL, INTERRUPTED (R) 123 minutes * * * Adapted from Susanna Kaysen's autobiographical book of the same title, this is the story of her experience in a mental hospital in the 1960s. A girl whose life was interrupted by what was diagnosed as borderline personality disorder. Perhaps it was that, perhaps it was not, it was definitely a time when she had to come to grips with who she was and what she wanted to do with her life. Something that her friends at the hospital, both patients and staff, taught her better than anyone else ever had. Winona Ryder, also an executive producer for the film, portrays Susanna in a way that captures her uncertainty, frustrations, and charms and brings them to life instantly. We feel we've known this girl and are thrown into the hospital with her. Angelina Jolie plays both a counterpoint and a friend, as Lisa pushes Susanna (and everyone else) to their breaking points. When she finally pushes back, she not only realizes that she has what it takes to survive, but that Lisa is begging to be pushed to that point as well. Jolie and Ryder are excellent, but that's not to overlook the quality performances all around. Each resident at the hospital is clearly presented and we miss them all when the movie comes to its conclusion. R for language and violence.
THE GIRL NEXT DOOR (2004) (R) 102 minutes * * A gorgeous girl moves in next door to Matthew (Emile Hirsch). He hasn't experienced much in life yet, but that's about to change... Danielle (Elisha Cuthbert) is a porn star who is trying to get a fresh start. She's going to learn that it's not so easy, and he's going to learn... a lot. Cute coming of age film that actually manages to be both sexy and sweet though the story wanders off track too much in the middle. R for language and nudity.
THE GIRL NEXT DOOR (2007) (R) 87 minutes * * 1/2 Disturbing and frightening fictionalized account of the torture and death of a young girl at the hands of a midwestern housewife and her children. Based on the novel by Jack Ketchum, the bulk of the film deals with the actual torture and the boy next door who tries to understand what is going on and why and who eventually tries to put a stop to it. The film is bookended by his adult musings and memory and isn't particularly effective, though it does help provide some distance from the horrific images in the body of the film. R for sex, violence, and language.
GIRL 6 (R) 103 minutes * * Girl 6 (Theresa Randle) is an actress wanna-be who just can't make it. She turns to phone sex as a way to make money and gets hooked. She's an interesting character who feels real, but to whom nothing ever really happens. Spike Lee manages to gather an impressive cast that includes Isaiah Washington, Naomi Campbell, Quentin Tarantino, John Turturo, Ron Silver, and Madonna, but he doesn't do much of anything with them.
GIRL WITH THE PEARL EARRING (PG-13) 95 minutes * * * 1/ She is just a poor girl, lucky to get a job as a servant. But the house she finds herself in is that of the artist Vermeer, and she finds herself intrigued by his painting. He, in turn, finds her innocence and appreciation of his work refreshing and energizing. Appreciation soon becomes affection though, and problems aren't far behind. It's a fascinating idea, adapted from Tracy Chevalier's novel that takes us into an imagined scenario inspired by a real painting. It does wander a bit though, and doesn't give us as much depth as it could have. Scarlett Johansson and Colin Firth are both particularly good here, immersing themselves in their roles and in the culture of Holland in 1665. PG-13 for sex.
GLADIATOR (1992) (R) 97 minutes * * Predictable story of blackmail, revenge, and love, set in the world of amateur boxing. James Marshall's one expression performance manages to fit fairly well. With people like Robert Loggia, John Heard, and Brian Dennehy around, this should have been better though.
GLADIATOR (2000) (R) 148 minutes * * * 1/2 In some ways he's just a simple soldier, but the men who serve under him both respect and admire him. And he has been chosen by Caesar to return the glory that was once Rome. Caesar's son won't accept that and wages his own war against Maximus, leaving him without a family and sold into slavery to Proximo, who teaches him to be a gladiator. It's an epic story that director Ridley Scott presents with a sense of darkness that isn't overwhelming, but is constantly felt. Russell Crowe is impressive to watch and though the topic may not appeal to everyone, most will probably agree that it's a fine piece of work. R for violence.
THE GLASS HOUSE (PG-13) 101 minutes * * Ruby (Leelee Sobieski) comes home late one night expecting to have to sneak by her parents. Instead, she finds that her parents were killed in a car wreck. Now she and her brother will be living with the family next door. The problem is that these family friends have a different agenda on their minds... and it involves the $4 million trust fund that belongs to Ruby and her brother. Sobieski and the rest of the cast perform this heavy-handed script well enough to make it worth catching on video, but the story is unimaginative at best. PG-13 for language and violence.
GLASS HOUSE: THE GOOD MOTHER (R) 90 minutes * * Abby and Ethan find themselves adopted by a couple who seem to be caring adults who have recently lost their own child. But all is not what it seems, and Abby and Ethan soon find themselves trapped in a house that is far more frightening than comforting. Despite the completely predictable storyline and two-dimensional performances by most of the cast, young Jordan Hinson is a treat to watch in the role of Abby. She helps us forget how bad the rest of the film is in many scenes, keeping up the intensity far more capably than those around her. R for violence and language.
THE GLASS SHIELD (PG-13) 103 minutes * 1/2 J.J. Johnson (Michael Boatman) is the lone black officer in the L.A. Sheriff's Department... yup, that's it for the plot. Which means this gets very tedious after about... twenty minutes. The acting is fine, but veterans Bernie Casey, Michael Ironside, and the younger and quite talented Ice Cube and Lori Petty can only do so much with a script that belongs on the floor of a bird cage.
GLENGARRY GLEN ROSS (R) 97 minutes * * * Glengarry refers to a neighborhood of potential real estate investors. It is up to the Al Pacino, Jack Lemmon, and Alec Baldwin to use their salesmanship techniques to create deals that will stun their competition, which includes each other. Though it's evident from watching this that it would be a more powerful presentation on the stage (where it was first produced, it's still a strong film. The R rating is for the foul language which runs pretty much non-stop through the whole film.
THE GLIMMER MAN (R) 88 minutes * * * Intense story that is very well thought out, with good teamwork by Steven Seagal and Keenan Ivory Wayans. Not much comedy here, and that really seems to help this move along nicely. The biggest problem are the action sequences. Very bad camera work makes them blurry and hard to follow, making me think that they didn't want to do much work in this area. Interesting to note that, though the soundtrack is done by Trevor Rabin, three of the songs included are co-written by Seagal! R for language and violence.
GLITTER (PG-13) 99 minutes * * Mariah Carey is a very talented singer. An actress she is not. The story is the same tired one about a girl with loads of talent who manages to find someone who will promote her. They fall in love, then split up, and she ends up succeeding. Lots of other versions of this story are much better, but if you enjoy Carey's singing, you'll want to pick up the soundtrack as there are some very nice songs. PG-13 for language.
GLORIA (R) 104 minutes 1/2 The idea of remaking a film isn't intrinsically bad, however, films like this make one wonder. The script is full of holes, unfeeling dialogue, and is just plain boring. Sharon Stone is incapacitated by it and gives a lifeless performance that makes us cringe. This is most definitely one of, if not THE, worst film from director Sidney Lumet. R for violence, language, and nudity.
GLORY (R) 114 minutes * * * Matthew Broderick, Denzel Washington, and Morgan Freeman star in this story of the first unit of African-American soldiers who fought during the Civil War. The last 15 minutes of this film are sheer brilliance and are well worth the wait, but there are several sequences during the second half of the film that really drag. The part seems to be a bit beyond Broderick, which hurts, because the story is told primarily from his perspective. R for violence.
GLORY ROAD (PG) 109 minutes * * * Coach Don Haskins (Josh Lucas) moves up to Division 1 college basketball fresh off the courts of a girls' high school basketball team. To turn the team around, he makes the decision to recruit and start black players. In west Texas in 1965, it causes more than a little discomfort. The story is a bit thin early on, apparently in an attempt to spend more time on material later in the film. The film actually loses a bit of its strength as a result, though it does have a nice finish. Lucas does a nice job here and the film is a solid entry in the sports film genre. PG for language and violence.
GO (R) 99 minutes * * All she was trying to do was make a few extra dollars to pay her rent. Now Ronny (Sarah Polley) is in the middle of a drug deal gone bad. This is a pop version of Trainspotting with a bit of Pulp Fiction thrown in for good measure. Despite the likeable cast, it rings too much of the films that inspired it and offers too little in the way of originality. R for language, violence, and nudity.
b>GOAL! (PG-13) 113 minutes * * * Santiago (Kuno Becker) has a dream. He wants to play soccer for a world class team. It's not going to be easy, and there will be reasons to let go. This is another fine, inspirational sports film, with a stand-out performance by Becker, but well-supported by the rest of the cast. The script gets a little side-tracked in spots with details of lesser story elements which tends to make the story move a little slowly at times. In general, it builds and finishes well, lifting up the importance of dedication to your goals. PG-13 for sex and language.
THE GODFATHER III (R) 154 minutes * * * Michael Corleone (Al Pacino) has decided to go into more legitimate forms of business. Some of his friends aren't too sure about the idea though. The old neighborhood isn't being run too well and some of these new partners don't seem to be very legitimate. The story plays out slowly, with Pacino and Andy Garcia giving wonderful performances. The supporting performances are rather shallow though, especially those of Sofia Coppola and Talia Shire. Still, Pacino and Garcia carry things well and this works fairly well for a sequel. It really does rely on your having seen the other films though. R for violence and language.
GODS AND GENERALS (PG-13) 214 minutes * It's hard to believe that this prequel to "Gettysburg" is actually shorter. The big problem here is the script, which is very stiff and awkward. Characters tend to say next to nothing for awhile and then someone does a while speech that tries to catch us up on what's going on. It's surprising that there's that much difference as Ronald Maxwell wrote and directed both films. The battle scenes are quite well-done, but the focus appears to be on some individual characters and their commitment to family and state (only for the South), and the larger issues of country, economy, and slavery are barely addressed at all. Civil War buffs will appreciate the attention to detail, but much like "Gettysburg", this would have benefited a good deal from some trimming. PG-13 for violence and language.
GODS AND MONSTERS (R) 98 minutes * * * A retired film director (Ian McKellan) has a stroke which causes images from the past to flood his mind from time to time. Reliving these moments, and in bits from the present, we see that some people have revered him as a god, while others consider him a monster. But aren't we all a little bit god and a little bit monster? McKellan and Brendan Fraser are amazing here, and complimented well by Lynn Redgrave and Lolita Davidovich. Carter Burwell's music captures the feel of the other side of Hollywood and transports us there. It's a fascinating film that will definitely stay with you. Based on the novel, "Father of Frankenstein". R for language and nudity.
THE GODS MUST BE CRAZY II (PG) 95 minutes * * * Great companion film to the first, this follows nine people in the Kalihari desert and shows how their paths intersect. N!xau's children get to experience even more of civilization than he did in the first film, with equally comic results.
GODSEND (PG-13) 98 minutes * Paul and Jessie's son Adam is killed in a car accident. While still in shock, they are approached by Dr. Wells, who offers the opportunity for them to clone their son. Everything is fine until Adam reaches the age at which he died "before". The script for this fil is incerdibly weak and asks us to by sympathetic to characters we never feel we get to know. There are a few creepy and suspenseful moments thanks to some creative photography and music, but there are plenty of loopholes that leave us wanting the closing credits to come more quickly. PG-13 for language and violence.
GODZILLA (PG-13) 130 minutes * * What a big budget bore! The opening credits are nice and some of the effects are well-done, but others aren't. When we finally get to see this new rendition of the classic monster, it looks like some mutant iguana/T-Rex, with moves that seem to copy the "Jurassic Park" films. The story moves from mild entertainment to total stupidity as our heroes are trapped in a taxi in the monsters mouth but somehow manage to drive away. And as if that weren't bad enough, we have to see the egg hatching at the end. You'd think that if they were going to spend this much money on a project, they'd have a better story to work with. PG-13 for violence and language.
GODZILLA 2000 (PG) 93 minutes * * Make no mistake, this isn't a sequel to the overblown modern version that came out in 1998. No, this is a Godzilla film that fits right in with all of those old ones we've always had fun watching. The story involved a strange rock that may be a spaceship and will present yet another challenge to Godzilla. The big rubber-suited Godzilla has been refined a little, but not much and the special effects are pretty much the same too. True, that means it really isn't a great film, but it's a fun one to watch if you enjoyed the old ones and don't mind a somewhat silly story about a big lizard that still manages to be beloved by the people of Japan despite how he rips up half of the countryside. PG for violence.
GOLDDIGGERS: THE SECRET OF BEAR MOUNTAIN (PG) 89 minutes * * Moving to the country from L.A., Beth (Christina Ricci) befriends Jodi (Anna Chlumsky), a misfit who has a treasure map and a flair for adventure. The film deals well with the girls' friendship, but falls flat as an adventure. Aimed at 7-12 year old girls, most of whom will find it fairly entertaining.
THE GOLDEN COMPASS (PG-13) 103 minutes * * * Part one of an adventure trilogy about a world parallel to our own based on the books by Philip Pullman. A world where people's spirits walk along side them and where there is a magical and powerful golden compass that Lyra (Dakota Blue Richards) must guard with her life. Nicely paced adventure though the battle scenes are perhaps a bit brief. The stellar cast also includes Nicole Kidman, Daniel Craig, Sam Elliott, Christopher Lee, and Derek Jacobi. PG-13 for violence.
GOLDEN DOOR (PG-13) 114 minutes * * * In the early 1900s, Salvatore Mancuso (Vincenzo Amato) decides to take his family to the United States in search of a better life. It is a perilous journey and the promised land is not as accepting as he had hoped. Still, there is hope, and there are friends and possibilities that lie ahead. This definitely tries to present a more realistic view, keeping the romance to a minimum, and the story is better for that, if a bit less pleasing to watch. Fine performances by all. PG-13 for nudity.
GOLDEN GATE (R) 87 minutes * * Matt Dillon is miscast as an FBI agent in the McCarthy era, Joan Chen seems to be playing a "Twin Peaks" role, and the rest of the cast seem to wander around without direction for much of the film. It still manages to have a "noirish" appeal that keeps us interested, but the dialogue is hard to get past sometimes. Several interesting characters that, unfortunately, couldn't find the film they were looking for.
GOLDENEYE (PG-13) 126 minutes * * * Pierce Brosnan's debut as James Bond gives us the most exciting Bond we've had in awhile. In fact, not since Sean Connery have we had a Bond who can get dirty and still stay sexy. It's essential when you have a series like this that relies more on the screen charisma of its lead than on inventiveness of its stories. A solid entry in the ongoing Bond series.
GOLDMEMBER (PG-13) 88 minutes * * Mike Myers' third outing as the infamous Austin Powers manages to be a bit more entertaining than the first two. The biggest reason for the success here is the film's ability to poke fun at itself and keep the tone a bit lighter than before. Most of the regular crew is here, and there are an amazing number of cameo appearances throughout the film. Britney Spears, Quincy Jones, Tom Cruise, Gwyneth Paltrow, Kevin Spacey, Danny DeVito, Nathan Lane, John Travolta, and the Osbournes, just to name a few. The only problem is that many of the jokes do rely on your having seen the first two films. PG-13 for language.
GONE BABY GONE (R) 109 minutes * * * Stellar performance from Casey Affleck under the direction of his brother Ben in this film about the kidnapping of a little girl. Patrick Kenzie (Affleck) and his partner Angie (Michelle Monaghan) are private investigators who are hired by the family to help with the case. Adapted from Dennis Lehane's novel, this kidnapping is more than what it would first appear to be. R for language and violence.
GONE FISHIN' (PG) 90 minutes * Danny Glover and Joe Pesci star in this film that manages to succeed in wasting an incredible amount of talent. The corny pratfall humor didn't elicit many laughs from the crowd I saw it with and I imagine that Glover and Pesci wish they'd been fishing instead of making this movie! PG for language.
GONE IN SIXTY SECONDS (PG-13) 112 minutes * * 1/2 Based on the 1974 film, this new version boasts a fabulous cast and thrilling stuntwork, but the story is still rather thin. Nicolas Cage, Angelina Jolie, Robert Duvall, Giovanni Ribisi, Delroy Lindo, Grace Zabriskie... the cast is impressive. But we need more of the background behind the characters they're playing. It almost feels as if this is a sequel instead of a remake and that we're supposed to be experiencing the further adventures of Memphis (Cage) and his cohorts. The ending is surprisingly sentimental for an action film and just doesn't fit very well. Filmed in California. PG-13 for violence and language.
GOOD BOY! (PG) 82 minutes * * Boy finds dog from outer space that can talk to him. It's planning to report back to the home planet about progress dogs have made in taking over the planet. They'll have to go back home if they've failed. This adaptation of Zeke Richardson's book, "Dogs From Outer Space" drags in the middle, but manages to be charming enough that the younger folks it's aimed at may not notice. Featuring the voice talents of Matthew Broderick, Vanessa Redgrave, Carl Reiner, Brittany Murphy, Cheech Marin and others, it reminds us that "It's not where you are, it's who you're with." PG for language.
GOOD BURGER (PG) 91 minutes * Nickelodeon's latest film is full of lessons on being fair, telling the truth, etc. Most everything here is slightly below mediocre in quality, with a main character whose mannerisms and speech patterns are slightly more than irritating. The unnamed short film at the beginning using action figures and dolls was more entertaining to watch. PG for language.
GOOD BYE LENIN! (R) 117 minutes * * * 1/2 Alex's (Daniel Bruhl) mother collapses in the street with a heart attack and goes into a coma. When she awakens eight months later, the socialist east German country she has known and loved has undergone dramatic changes. The Berlin wall is gone and capitalism is running rampant. To protect her from what could be a fatal second heart attack, Alex stages a miniature world in which nothing has changed, but it doesn't take long to realize that he can't keep this up forever. Excellent story on many different levels with fine performances. Winner of numerous German and European film awards, it's a story about coming of age, about family, and about the changes that happen around us and how we deal with and relate to them. R for language and sex.
THE GOOD GERMAN (R) 102 minutes * * Jake Geismer (George Clooney) is on the trail of a story in post-war Berlin. The story he finds is more twisted and deceptive than he expected, but he pursues it until he discovers what lies beneath. Steven Soderbergh chose to aim for style over content here, going for the look of '40s film noir, but at perhaps too large of a cost. Cate Blanchett plays it well, but Clooney seems to just walk through this like a bull in a china shop. Film noir creates characters that are larger than life, whose look can send chills down your spine, whose words are measured and even predictable at times. What we have here is more of a war film, set in the 1940s, and shot in black and white. R for violence and sex.
THE GOOD GIRL (R) 87 minutes * * Justine (Jennifer Aniston) lives in a small town, just outside of nowhere and has a dead end job at the local Savmart. Her husband is no great catch either, so when a new young and somewhat mysterious guy starts working at the store, she sees an opportunity. Will she take it? And if she does, what will it mean? It's a tragic story with a great deal of heart, but Justine's husband isn't a bad guy, and Holden is a bit too strange for us to feel the way we should about how events work out in the end. Script is the major weakness here, though better direction would have helped a little bit too. R for language and sex.
GOOD LUCK CHUCK (R) 93 minutes * Charlie (Dane Cook) is a good luck charm for women. Once they have sex with him, they'll meet the person they are going to marry. But Chuck wants to find the right girl too. How can he break the curse? Jessica Alba is cute and clutzy here, but the script is far from creative or charming and Cook really doesn't bring anything interesting to the film. It's not a bad experience to watch, but there just isn't anything here. R for language and sex.
A GOOD MAN IN AFRICA (R) 91 minutes BOMB One would think that a film directed by Bruce Beresford and featuring Sean Connery, Joanne Whalley-Kilmer, John Lithgow, Louis Gossett Jr., and Diana Rigg would be a pretty good film. Not so with this piece of trash. Colin Friels plays a British diplomat who is a jerk, to say the least. The film also presents Africans with very negative stereotypes. This might work if played as a parody, but it's played straightforwardly, and not very well.
GOOD MORNING, VIETNAM (R) 118 minutes * * * Airman Adrian Cronauer (Robin Williams) has been brought in to spice up the Army's radio program. And he does just that. Williams delivers an endless supply of one-liners that may seem a bit out of place when the topic is the Vietnam War, but it's just to soften us up a bit. The powerful photographic montage that accompanies Louis Armstrong's "What a Wonderful World" will simply knock you over. A film that is both entertaining and very moving, and one that gives us a look at yet another aspect of the Vietnam War. Filmed in Thailand and rated R for language.
THE GOOD MOTHER (R) 99 minutes * * 1/2 Adapted from Sue Miller's novel, Diane Keaton stars in a story about a woman who jeopardizes the custody situation with her child when she chooses to explore her sexuality. Keaton's performance is somewhat uninspiring, but the direction of the film keeps us at arms length for too long. R for language and sex.
THE GOOD NIGHT (R) 85 minutes * * 1/2 Gary (Martin Freeman) used to be a star. Now he writes jingles for commercials and has daydreams about a beautiful woman (Penelope Cruz). Life doesn't always work out like we'd suspect, but Gary finds that trying to avoid it is not the bext choice he could make. Written and directed by Jake Paltrow, whose sister Gwyneth is also in the film, the story tends to falter in a few spots, and the ending is the typical sentimental type you'd expect from a film like this. Not bad for a first feature film and first script, but not great either. R for sex and language.
GOOD NIGHT, AND GOOD LUCK (PG) 88 minutes * * * Newsman Edward R. Murrow (David Strathairn) clashes head-on with conservative senator Joseph McCarthy in this look at a pivotal moment in the history of free speech. While in some ways this barely skims the surface of what happened, it also manages to present Murrow in a way that feels very real. He realized the potential for television as well as the direction it was heading and did what he could to help people see both. Excellent performance by Strathairn that earned him and Oscar nomination. PG for language.
THE GOOD SHEPHERD (R) 159 minutes * * 1/2 The early days of the CIA were far from easy. Edward Wilson (Matt Damon) believed in it so much that everything else came second. But in an agency with so many secrets, is there anyone you can trust? The plot does have its fair share of twists and turns, though they tend to come along slowly enough that there aren't any surprises. the biggest surprise is why they cast Damon in this role. Not only does he not look old enough for the part, but his acting is lacking the heart or strength we need to see here. There are a couple of scenes where we almost see what lies beneath, and then it disappears again. Director Robert DeNiro seems unable to pull the performance out of him that was needed to make this a stronger film. R for violence, sex, and language.
THE GOOD SON (R) 79 minutes * 1/2 Mark (Elijah Wood) is left with his uncle while his dad closes a business deal. He soon discovers that his cousin Henry (Macauley Culkin) is not just mischievious, but is truly evil. Wood is worth a look here, but Culkin offers us nothing new and the film as a whole, is trite, poorly acted, and not very well-written. Filmed in Massachusetts, Minnesota, and Las Vegas.
THE GOOD THE BAD AND THE UGLY (R) 161 minutes * * * * The best Clint Eastwood western there is, with the possible exception of "High Plains Drifter". The three title characters search for a Confederate treasure chest while we listen to Ennio Morricone's classic soundtrack. Eastwood's "silent gunslinger" character is the ultimate western "hero".
GOOD WILL HUNTING (R) 122 minutes * * * A young math genius is discovered in the halls of an Ivy league school. It surprises some that he is not a student, but janitorial help. He's from the rough side of the tracks, but Sean Maguire (Robin Williams) may be able to provide the necessary help. Some of the story falls together a little too quickly here, but co-writers/actors Matt Damon and Ben Affleck have done a good job with a story of hope, love, and unrealized potential. It's a feel-good film that most everyone will enjoy. Filmed in Ontario and Massachusetts. R for language.
A GOOD WOMAN (PG) 86 minutes * * Adaptation of Lady Windermere's Fan by Oscar Wilde with Scarlett Johansson as Meg Windermere and Helen Hunt as Mrs. Erlynne. Hunt seems a bit out of place here, and Johansson underplays her role as well. Photography and sets are all very nice, but the acting feels forced from all but Tom Wilkinson. Poor direction appears to be the culprit as Johansson and Hunt have both done much better in other films. Filmed in Rome and on the Amalfi Coast. PG for language and sensuality.
A GOOD YEAR (PG-13) 117 minutes * * * 1/2 When Max's (Russell Crowe) uncle dies, he inherits the vineyard and the chateau where he spents so much time as a young boy. He has no intention of staying there as his life is in London in the fast lane. But some of his recent tactics in stock trading have left him in hot water and he is forced to spend some time away. When he decides to spend it in Provence at the chateau, checking out the estate, he finds an attraction he hadn't anticipated. Adapted from Peter Mayle's book that was based on a story idea from director Ridley Scott, the story unfolds at just the right pace, introducing new characters or subplots as it moves along, but allowing us to feel the struggle Max is facing. Provence or London, London or Provence... which would you choose? Crowe is a bit of a miscast here as we never quite believe his sensitive side. Kevin Costner, Matthew McConaughey, or Josh Lucas would have been a better fit. PG-13 for sex and language.
GOODFELLAS (R) 139 minutes * * 1/2 Based on Nicholas Pileggi's book "Wiseguy", this is the story of Henry Hill (Ray Liotta), a gangster and all-around "goodfella". The mix of gangster violence and humor is awkward and the narration further serves to distance us from the film. There are some nice performances throughout the film, but there are numerous other gangster films that are far superior to this one.
A GOOFY MOVIE (G) 72 minutes * * 1/2 The importance of communication in a family are the focus of this father/son film featuring Goofy and his son. The animation is reasonably good and the songs are pleasant enough too. It's not anything of special note, coming from Disney studios, but it holds up nicely on the small screen.
GORDY (G) 86 minutes * A talking pig goes big business and uses his influence to save his family from the slaughterhouse. Boring one-note film with little talent except from the musicians... not the ones who are trying to act, the ones who are playing on the soundtrack.
GORILLAS IN THE MIST (PG-13) 125 minutes * * * 1/2 Many of us had followed the career of Dian Fossey over the years as she worked with the mountain gorillas of Rwanda and the Congo. The slaughter, by poachers, of a particular silverback gorilla she had been working with increased interest by the general public and Fossey's murder in 1985 served to involve even more people in her cause. The film focuses not on Fossey's murder, but on life, the lives of Fossey and the mountain gorillas that she worked with and the diversity of life that is inherent to the earth. It's very much in the spirit of Fossey's work, and I think she would've been pleased.
THE GOSPEL OF JOHN (PG-13) 174 minutes * * With so much narration, this comes across far more like a Sunday school lesson than a film. Henry Ian Cusick does a nice job as Jesus, though he is yet another in a long line of "white American" Jesus presentations that fall short of being historically accurate. Adapted from the Good News Bible translation, this was an ambitious project to say the least. Unfortunately, much of the point of the gospel of John seems to be missed. It's a more spiritual and mystical version of the story of Jesus, and what is needed to bring it to the screen isn't narration that explains a story we may not understand, but a different style that will help us feel the sense of wonder, magic, and awe that this gospel tries to show us. PG-13 for violence.
GOTHIKA (R) 94 minutes * * Woodward Penitentiary, where Dr. Miranda Grey (Halle Berry) will find herself making a rather abrupt change from doctor to patient without remembering how it happens. And the part of the night that she can't remember includes the death of her husband... Science meets supernatural as the doctor tries to understand a world that relies on visions and ghosts rather than on scientific proof. There are a couple of nice chills, but the story relies heavily on Berry's character and doesn't develop the subplots very well. R for violence, language, and nudity.
GOYA'S GHOSTS (R) 103 minutes * * * Stellan Skarsgard stars as renowned Spanish painter Francisco Goya, who finds himself pulled first one direction and then another as politics and religion struggle to reach power over one another. Brother Lorenzo (Javier Bardem) also finds himself caught in this struggle, and while they are both wounded by the shifting loyalties and changes in power, none is more tragically a victim than Ines (Natalie Portman), daughter of a wealthy merchant and muse to Goya. Nice performances by the leads, though the story is a bit shallow, with many of the supporting performances little more than set decoration. R for sex and violence.
GRACIE (PG-13) 89 minutes * * 1/2 In her family, soccer is all-important. It's also a sport for males. Of course, she's actually better than most of the boys around. Based in part on Elizabeth Shue's life, this is a fairly standard sports film with a focus on support for female athletes. Filmed in New Jersey and at the school Shue attended there. PG-13 for language and violence.
GRAND CANYON (R) 130 minutes * * * 1/2 Much of the strength of what director Lawrence Kasdan wants to say with this film is stated with the camera and emphasized by the music. It's almost an intrusion into the power of the film to have the characters speak. But the more they speak, the more we realize how intricately interwoven they really are. Each action has a result that affects the others. As Claire (Mary McConnell) says, "A connection has been made, and you have to follow up on it." Maybe it's just chance when we meet someone, but maybe not. Do we risk getting to know someone, or do we just let them disappear from our lives forever? Good and bad are so closely intertwined in our lives. We are constantly living on the edge... the edge of the good and the bad, the edge of the canyon. R for language and violence.
GRANDMA'S BOY (R) 89 minutes 1/2 A 35-year-old- video game tester who lives with his grandmother and her two roommates is the focus of this rather unfunny film. Sex jokes abound, along with a weak story that partially revolves around his trying to have a romantic relationship with his new boss. At least it doesn't last too long. R for language and nudity.
GRAVEYARD SHIFT (R) 83 minutes * This begins well, but quickly deteriorates once we see the slimy giant sewer bat. From then on it's just a matter of time and gross effects until it's beaten. It's a mediocre adaptation of one of Stephen King's lesser short stories, so I suppose we shouldn't expect much.
GREASE (PG) 110 minutes * * * Incredibly fun musical that stands up well to repeated viewings. John Travolta and Olivia Newton-John romp through the 50's singing and dancing through a modernized Romeo and Juliet story. Great music, fun costumes, and just look at those old cars! Don't forget... "grease is the word!"
GREAT BALLS OF FIRE (PG-13) 103 minutes * 1/2 Dennis Quaid plays the talented Jerry Lee Lewis with Winona Ryder as his cousin/wife Myra. The concert scenes are very good, and Quaid and Ryder do some nice work here, but the film is poorly edited and looks awkward too much of the time. PG-13 for language.
THE GREAT DEBATERS (PG-13) 113 minutes * * * The debate team of Wiley College in the 1930s... an amazing team of well-spoken young African Americans at a time when people of color were not often allowed to speak out in mixed-race company. It's an inspirational story based on the true story of the debate team that surprised everyone except their coach, the great Melvin B. Tolson, played by director Denzel Washington. James Newton Howard's subdued but strong soundtrack compliments the moods of the film very well. PG-13 for language and violence.
GREAT EXPECTATIONS (1998) (R) 106 minutes * * 1/2 Modernization of the Charles Dickens' classic starring Ethan Hawke as Finn Bell, a poor orphan boy in a fishing community with a talent for art. Robert DeNiro is his mysterious benefactor, though Bell doesn't realize that until it's too late. It's uneven at times, as far as the script, but the sets and acting are very good. The love story between Finn and Estella (Gwyneth Paltrow) is good, but perhaps takes a bit more of the screen time than it should and may be part of why the story progresses so awkwardly at some points. R for language and sex.
THE GREAT OUTDOORS (PG) 86 minutes * * 1/2 Not one of John Candy's better films, though his telling of the story of "The Bald-Headed Killer Bear of Claire County" is delightful. Weak performances from most of the cast, a script that doesn't give us many good jokes and direction that seems to be "off". The PG rating should be PG-13 for excessive foul language.
THE GREAT RAID (R) 124 minutes * * * As US troops advance on the Japanese in the Phillippines, the prisoners of war that the Japanese have taken are being killed rather than allowing them to be freed. This is the story of a rescue attempt at a particular prisoner of war camp, and of the lives of those involved. A nice, strong WWII film with skillful performances by Joseph Fiennes, Benjamin Bratt, James Franco and several others. Some footage of the real soldiers is included during the credits. Filmed in Queensland, Australia and Shanghai, China. R for violence and language.
THE GREAT WHITE HYPE (R) 85 minutes 1/2 Here's a film that hype didn't help... a story about getting interest back into boxing by hyping a black/white fight. Reminds us of what has happened to so many films... it's not the sport that matters, just the marketing. Hmmm...
THE GREATEST GAME EVER PLAYED (PG) 116 minutes * * * 1/2 Even those who don't enjoy golf should find this film worth watching. The story of a young man who manages to stand tall despite the odds that are stacked against him. Gold may have begun as a sport for the rich, but there was no reason that it needed to remain that way. Shia LaBeouf does an excellent job here, but young Josh Flitter is outstanding as his 10-year-old caddy who knows the game and the ways to keep Francis (LaBeouf) focused on the game. It's a powerful and inspirational story, which is something the Disney Studios know how to present well. PG for language.
GREEDY (PG-13) 108 minutes * * Joe (Kirk Douglas) is a mean, but rich, old man whose relatives are waiting for him to die. His nephew Danny (Michael J. Fox) has been retained by the family to convince the old man not to give everything to his new, sexy, young companion. Nancy Travis gives a nice supporting performance, but everything else about this is too cartoonish to be very appealing.
GREEN CARD (PG-13) 103 minutes * * * 1/2 Charming love story of a slightly different variety as Andie McDowell weds Gerard Depardieu in name only, so that he can remain in the United States. Bebe Neuwirth has a wonderful supporting role here, but it's Peter Wier's direction that is really the star. He plays with the image and meaning of the word "green" throughout the film. Green card, gardens, growing relationships, parks, plants... it definitely gives you something to think about. The ending might not be what you'd expect, but this is another great film from a superb director.
THE GREEN MILE (R) 175 minutes * * * 1/2 The title refers to the stretch of floor on death row at a particular prison. It's a somewhat laid back story of events that took place a long time ago. A story of inmates and assumptions, and miracles in unlikely places. Tom Hanks, David Morse, James Cromwell, and Gary Sinise are the more recognizable names that are evident in this superb ensemble cast. The script, by director Frank Darabont, does a wonderful job of translating the film to the screen. It's a bit long and the pacing gets off from time to time, like an old truck on a dirt road, but it still keeps moving. Stephen King's serial novel that this is adapted from does the same thing, straying from time to time, but coming back to the main story and moving ahead. Darabont has shown with this and "The Shawshank Redemption" that he can handle adaptations of King's work. Something that few have done well. Filmed in Nashville, Tennessee and Blowing Rock, North Carolina. R for language and violence.
GREEN STREET HOOLIGANS (R) 103 minutes * * 1/2 Matt Buckner (Elijah Wood) finds himself caught up in the often violent world of London's football fans. They take their games very seriously, and street brawls are part of the way they show their team spirit. Matt is shocked at first, then finds himself drawn to the loyalty and sense of belonging the group provides, but he soon discovers that the dangers outweigh the benefits. Wood does a fine job here, but still seems more out of place than he should be. It's an intesne film that doesn't let up, but also doesn't go very far. R for violence and language.
GREENFINGERS (R) 87 minutes * * * Delightful and slightly offbeat comedy about a criminal who gets a second chance. When Colin is moved to an experimental low security facility to finish out the remainder of his sentence, he meets an older inmate who introduces him to gardening. He'd never considered it before, but finds he has a natural talent for it. With a new look on life, he also finds much more than he'd dreamed was possible. This is a real treat that will definitely make you smile. R for language.
GREMLINS II (PG-13) 101 minutes * * 1/2 The special effects are the star in this sequel, with a total of 72 people operating the gremlins and Rick Baker designing the effects. Filled with in-jokes for film buffs, the only thing this is lacking is a story, although the acting isn't much better. PG-13 for language and violence.
GRIDIRON GANG (PG-13) 119 minutes * * 1/2 Dramatized version of the 1993 documentary (same title) about the inmates of a juvenile correction facility and Sean Porter, a corrections officer who found a way to help them believe in themselves and work together as a team. They have plenty of energy and attitude, but without some focus and some re-education, they'll never make it. Dwayne "The Rock" Johnson does a nice job here, but its the supporting cast playing the inmates who sell us on this. Clips from the documentary are shown during the credits. PG-13 for violence and language.
GRIDLOCK'D (R) 83 minutes * Tupac Shakur's final film was never really finished. Although he and Tim Roth turn in fine performances, the film is very shaky and obviously disconnected. As it stands, an extremely wordy film that just sort of wanders around during the last 30 minutes. It's too bad, because Shakur and Roth's performances have energy and power that might have made this a good film. R for language and violence.
THE GRIFTERS (R) 106 minutes * * 1/2 Anjelica Huston and John Cusack are a mother and son who are both con artists, or grifters. Lily is into the work on a large scale, working for the mob and altering the odds at horse tracks. Roy is more small-time, but has done quite well over the years. Roy's girlfriend is about to complicate matters though as she finds out about Roy and his mother. She's a grifter too, and we disciver that the ultimate sting is one that's done to another con. The film feels like it's trying to pull us back into the 1940s, but we never quite make it. These are 1940s characters living in 1990. We know that won't work, but they haven't figured it out yet. The performances are good, Elmer Bernstein's music helps set the mood, and the photography does a good job of painting the picture, but the final product plods along too slowly and we lose interest. R for nudity, violence, and language.
GRILLED (R) 78 minutes * * Mediocre comedy with Ray Romano and Kevin James co-starring as meat salesmen who have been given one last chance by their boss to make a sale. Their day seems to go from bad to worse as they stumble across some mobsters in the middle of trying to kill each other. Neither Romano or James seems that interested here, and neither are we. There are a few funny bits here and there, but an episode of "Everybody Loves Raymon" or "King of Queens" has more laughs and takes even less time to see. R for language and violence.
GRIND (PG-13) 99 minutes 1/2 Four friends hit the road in search of a sponsor for their skateboard team. They should have been looking for a script and a director... or perhaps a job that didn't call for acting skills. There are some great skateboarding stunts, and several cameos by comedians who all look like they wish they hadn't agreed to do them. Even skateboard fanatics probably won't care about this film. PG-13 for language.
GROSS ANATOMY (PG-13) 105 minutes * * 1/2 Matthew Modine, Daphne Zuniga, and Christine Lahti star in this story of first-year medical student and the various challenges they face. The performances are good here, but the script doesn't give them much to work with and the direction is uninspired to say the least.
GROSSE POINTE BLANK (R) 103 minutes * * * Martin Blank (John Cusack) is going home for his 10-year high school reunion. But what do you tell your friends when your job is being a hit man, especially when your current contract happens to be on the father of your high school sweetheart with whom you just might be falling for again? Cusack and Minnie Driver work well together here and the script is very entertaining. What seems to give Cusack the incentive to give this his best effort is that he co-wrote and co-produced. R for violence and language.
GROUNDHOG DAY (PG) 97 minutes * * 1/2 Phil Conners (Bill Murray) is on his way to Punxatawney, PA for a look at Phil the groundhog. The problem is that he hates Punxatawney, hates Groundhog Day, and isn't that thrilled about being a weatherman anymore either. But now he's stuck... not just in Punxatawney, but in Groundhog Day as well. Every morning he gets to do it all again, until... This is a nice, light-hearted look at life, performed well by Murray. The low production quality gets in the way of this being any better, but it's still fairly entertaining. PG for language.
THE GRUDGE (PG-13) 88 minutes * * This is one of those rare instances when a director actually remakes their own film for a different audience. In this case, director Takashi Shimizu adapts his Japanese film Ju-On: The Grudge for the American market. It's most successful toward the end, where the suspense does manage to increase enough to give us some chills. Too many of the earlier scenes that were genuinely creepy in Ju-On happen so quickly here that they just don't have the same effect. And we really miss that spooky creaking sound that was so much a part of Ju-On. Shimizu does use a few of the same cast members from Ju-On, but in this version we also have Sarah Michelle Geller, Jason Behr, and a few others in an attempt to make it more appealing to American audiences. There may be more appeal because the faces are familiar, but Ju-On is definitely a better film than this adapted version. It's also interesting to note that this was part three of the Ju-On series. PG-13 for violence.
THE GRUDGE 2 (PG-13) 99 minutes * 1/2 Sequel to "The Grudge" and remake of part four in the Ju-On series. Now the sister is affected by the evil spirits from the house. The story is all over the place here, trying to be a prequel and a sequel and ending up just being confusing. There are definitely more chills and scares than in "The Grudge", but with so little continuity, and the line between reality and dream blurred, we're puzzled even more often than we're scared. PG-13 for violence.
GRUMPIER OLD MEN (PG-13) 94 minutes * * * This is one of those rare cases when the sequel is actually a little better than the first film. Jack Lemmon and Walter Matthau are as grumpy as ever and this time the focus is on another new girl in town... Sophia Loren. Ann-Margret is still around, but she's been through this all before. It's great fun to watch, though as predictable as can be expected. And don't miss that batch of outtakes at the end! PG-13 for language.
GRUMPY OLD MEN (PG-13) 96 minutes * * * Walter Matthau and Jack Lemmon... lifelong neighbors and enemies. And now Ann-Margret has just moved in across the street to liven things up! Hilarious film with the only real drawback (or highlight to some folks) being Burgess Meredith's offensive performance as Lemmon's father. Great performances from three "old pros", sure to keep you laughing almost the whole way through. PG-13 for language.
THE GUARDIAN (R) 89 minutes * 1/2 Director William Friedkin's first horror film since The Exorcist leaves much to be desired... like a story. The music and special effects aren't bad, but when you start out with a nanny who feeds the baby to a tree, you've already sunk pretty low. R for violence and sex.
THE GUARDIAN (2006) (PG-13) 132 minutes * * * Ben (Kevin Costner) has been on the front line of the Coast Guard rescue unit for years, and he wouldn't want it any other way. But when the rest of the crew he's with die in an accident, he's asked to take on the position of instructor. In some ways, it's an even more difficult task. "Save the ones you can... let go of the rest". Not an easy task, and yet it's what has to be done. Costner fits this part quite well, and Ashton Kutcher does some nice work as the cocky young swim star who has lots of potential, and lots to learn. Fine suspenseful soundtrack from Trevor Rabin, along with a powerful, Oscar-worthy song by Bryan Adams, "Never Let Go". PG-13 for language and violence.
GUARDING TESS (PG-13) 91 minutes * * * Tess Carlyle (Shirley MacLaine) is the wife of a past president, and is used to being in charge. Doug Chesnic (Nicolas Cage) is assigned to be her bodyguard, a job which he can't seem to get out of no matter how hard he tries. The chemistry between these two carries the film well, as we see how much they care about each other throughout the film. Their mother-son style banter has just the right balance to keep us where we need to be to care about them. Other aspects of the film aren't as strong, but kudos to MacLaine and Cage.
GUESS WHO (PG-13) 101 minutes * * 1/2 Modernizatio of "Guess Who's Coming to Dinner" with Ashton Kutcher coming to visit his prospective father-in-law, Bernie Mac. Despite the film's inability to come close to the quality of the original, Mac actually comes across fairly well, being far less abrasive than most of his other work. It does end nicely, though it's never all that funny or particularly sentimental either. PG-13 for language.
A GUIDE TO RECOGNIZING YOUR SAINTS (R) 95 minutes * * 1/2 Powerfully personal story of growing up in Queens, written and directed by Dito Montiel. Most of the performances are quite good here, with Robert Downey Jr. doing admirably well as Dito and Shia LaBeouf delivering a wonderful performance as young Dito. Dianne Wiest and Chazz Palminteri do nice work as well. The problems arise with the editing. The film cuts back and forth between present day and the past too early and too often, confusing the story and making it more difficult to connect with the characters. Still, many of the scenes are extremely powerful and the film does end well. Filmed in Astoria, Queens. R for violence, language, and sex.
GUILTY AS SIN (R) 105 minutes * * 1/2 Rebecca DeMornay doesn't like to lose a case, but Don Johnson may prove to be more than she can handle in this suspense/thriller. It's hard to believe that Sidney Lumet's direction could be the reason this film isn't very suspenseful, so the script will take most of the blame. We also just never feel any chemistry between DeMornay and Johnson. It's like they're performing all alone.
GUINEVERE (R) 105 minutes * * * Harper (Sarah Polley) has virtually no confidence in herself, and it doesn't help that her family is an affluent little group of overachievers. She has no idea what to do with her life until she is spotted by Connie (Stephen Rea). He's a photographer with an eye for beauty and potential, and he will take Harper on a journey she never thought possible. Both Rea and Polley do nice work here, despite the fact that the story really doesn't explore her coming of age to the depth it could. Gina Gershon has a nice supporting role as a former lover of Connie's and a mentor of sorts for Harper. Those who choose to dwell on the age difference in the relationship here are missing the point of the film. We learn many things in life, and we have different teachers along the way, but the direction we take is our own. Filmed in Los Angeles and San Francisco. R for language and sex.
THE GUN IN BETTY LOU'S HANDBAG (PG-13) 85 minutes * * Betty Lou Perkins (Penelope Ann Miller) is a bored librarian in a small town. So, she decides to add some spice to her life by confessing to a murder. Of course she never expected things to get so far out of hand... It's a cute idea, but the poorly written script really kills it before it has a chance to get anywhere.
GUNMEN (R) 86 minutes * 1/2 For being an action film, this plods along far too slowly. Christopher Lambert and Mario Van Peebles are a far cry from having the charisma that has made other black/white teams work so well. Too much of this is predictable and needlessly violent, and it makes the film hard to sit through in many spots. Also featuring Denis Leary, Kadeem Hardison, and Patrick Stewart.
A GUY THING (PG-13) 97 minutes * 1/2 There's nothing quite like waking up after your bachelor party with a girl in your bed... one that you don't know but who does happen to be related to your fiancee! Of course what Paul (Jason Lee) soon realizes is that he's rapidly falling in love with Becky (Julia Stiles) and has to break off his engagement so he can marry the right girl. Julia Stiles does a nice job here, but it's Lee's relaxed style and charm that will really determine whether you like this or not. PG-13 for language.
THE GYMNAST (NR) 93 minutes * 1/2 Mildly erotic story of a woman whose life is re-energized by a focus on the gymnastic skills she had left behind. the idea isn't particularly bad, but the film is written, directed and edited by Ned Farr, who should have given one of those jobs to someone else. The acting is less than inspired as well, though the athletic abilites of the actors is never in question.