L: CHANGE THE WORLD (NR) 124 minutes * * * Part three of the Death Note trilogy. The events here happen mostly at the same time as those in part two, but the difference is that the focus here is on L (Kenichi Matsuyama) rather than on Light Yagami (Tatsuya Fujiwara). Fans of the series won't want to miss this as it fills in some of the blanks in the story. Others should be sure to see these in the right order or events won't make quite as much sense.
L.A. CONFIDENTIAL (R) 133 minutes * * * 1/2 Now that the biggest crime boss in Los Angeles is dead, the police force is trying to present a more positive image of the town and keep the streets safe... or are they? Great story with twists and turns that unfold slowly, leaving unanswered questions around for awhile before giving us the answers. Even the relationships between the characters take time to develop, but we're never bored with this film. Guy Pearce and Russell Crowe are outstanding as the leads here, followed closely by another solid performance from Kevin Spacey. The effective soundtrack music is courtesy of Jerry Goldsmith. Filmed in Los Angeles. R for language and violence.
L.A. STORY (PG-13) 91 minutes * * * Not only is this a story about a relationship that happens to be set in Los Angeles, it's a film about the city itself. California humor abounds, with things like... driving to the house next door, guard dogs on tape, and open season on the freeway. There are also numerous cameo appearances and some other bits of movie humor. Still, there's a serious side. LA is a "place of secret dreams, secret lives..." where people have "taken the desert and made their dreams real." Steve Martin does a wonderful job here, having finally found his niche as a comedian who can make us laugh, and have a sensitivity that makes us smile on a different level. PG-13 for sexual language.
LABOR PAINS (PG-13) 85 minutes * 1/2 When she finds out she's about to lose her job, Thea (Lindsay Lohan) decides to pretend that she's pregnant. It saves her job, but creates far more problems than she anticipated. Too bad that Lohan just isn't that funny here, and we don't feel much sympathy for her since she got into this mess by lying. PG-13 for sex and language.
LADDER 49 (PG-13) 109 minutes * * The story of the Baltimore City Fire Department's Ladder 49 as told in flashback form through the eyes of Jack Morrison as he lies in a pile of rubble after a fall inside a burning building. Joaquin Phoenix does a very nice job here, but we don't get to connect well with the rest of the characters because we keep moving back and forth between past and present, remaining disconnected from both. The effects are quite good and there are a few moments where the comraderie shared by firefighters comes through nicely. PG-13 for language and violence.
LADIES IN LAVENDER (PG-13) 100 minutes * * 1/2 Two elderly sisters find a young man washed up on the beach near their home and nurse him back to health. At first, they have no idea where he is from as he doesn't speak english. But soon, they find that he has become someone very special to them. Nothing particularly remarkable about this film, but it's always a pleasure to watch Judi Dench and Maggie Smith. Filmed in Cornwall, England. PG-13 for language.
THE LADIES MAN (R) 79 minutes * Another of Saturday Night Live's attempts to stretch a funny skit into a full-length feature, with roughly the same results as usual. Leon Phelps (Tim Meadows) is a late night radio talk show host whose rude talk has left him without a job. That, coupled with his desire to have sex with every woman he can, is about to competely ruin him. Will he realize that there's a woman who loves him, will the angry husbands catch him first, will he ever work in radio again? Also featured are the strangely combined talents of Will Ferrell, Billy Dee Williams, and Tiffani Theissen. R for language and nudity.
LADIES OF THE HOUSE (NR) 87 minutes * 1/2 Florence Henderson, Pam Grier, and Donna Mills are the "ladies", who are asked by the local minister to fix up a house that's been left to the church, so it can be sold to support the day care center the church runs. It's a major fixer-upper, and the ladies decide to do it themselves. Of course there's no real sense in them doing this since they don't know anything about home renovation, and they all have quite a bit of money that they could just donate to the church. It's worth a quick look for the cast, but sitting through the whole film may be a bit tedious.
LADY CHATTERLEY (R) 158 minutes * * * French film based on D.H. Lawrence's book, "Lady Chatterley's Lover" and starring Marina Hands as Constance Chatterley. It's beautifully filmed and the story is gently told, and actually doesn't seem quite as long as it is. Winner of several French film awards (Cesars). Filmed in Corezze and Limousin, France. R for sex.
LADY IN THE WATER (PG-13) 103 minutes * * * 1/2 Unlike M. Night Shyamalan's earlier films, this is a bedtime story. There are definitely some spooky and scary elements, but the focus is on fantasy, mystery, and magic. Cleveland Heep (Paul Giamatti) manages an apartment building. When a mysterious young woman named Story (Bryce Dallas Howard) shows up one day, he finds himself drawn to her. Understanding who she is and why she has appeared are more difficult than it first appears, but with time, and a little help from some of the other residents, it will all become clear. It's a wonderful story that unfolds very nicely as it moves along, wrapping us up in its magic. It may just make you want to believe too... if you don't already! PG-13 for violence.
LADYBUGS (PG-13) 85 minutes * 1/2 Rodney Dangerfield's comedy revolves around the one joke of him not getting any respect. Maybe if he had a few more jokes, he might get some respect. The film is the familiar story of someone trapped into coaching a bunch of misfit kids who end up becoming a successful team. Basically harmless fare, rated PG-13 for language.
THE LADYKILLERS (2004) (R) 97 minutes 1/2 The idea is to tunnel from the basement of a nearby house into the counting room of a riverboat casino that is located underground. Masquerading as musicians isn't a bad idea, but Tom Hanks' gallant southern gentleman character is well over the top and never really works as part of the story. The film is unevenly paced, full of foul language, and never very funny. It's based on the original film that featured Alec Guinness and Peter Sellers. Fans of the Coen brothers, may enjoy a few bits here and there, but this film lacks the character that has made their other films noteworthy. R for language and violence.
THE LAKE HOUSE (PG) 95 minutes * * Leaving a note for the next resident of the house seemed like an innocent thing to do, but Kate (Sandra Bullock) soons finds herself corresponding with tthe former resident... two years in the past. As with most films that deal with the idea of time travel or some variation of it, the plot gets confusing and illogical if you try to make sense of it. Bullock and Keanu Reeves deliver nice performances, but the story's slow pace and poor logic lose us long before we get to the end. PG for language.
LAKE PLACID (R) 77 minutes * * Although the comic bits that are liberally scattered throughout the film do manage to make this easier to watch, they work against the credibility of the film. OK, not that there was going to be much credibility to begin with, but even as far as suspense, the film has little to offer. The characters are barely sketched for us, with only Oliver Platt and Betty White managing to get ahold of the irony of the film enough to have fun with their roles. At least it's short! R for violence and language.
LAKE PLACID 2 (R) 83 minutes 1/2 At least the first film had some humor. The budget here is so low that the four crocs, and no, more isn't better, look like they aren't even touching the ground. And you know things are bad when they can't even afford to fly a real plane to land on the lake, there's still room for another sequel, but we can hope they decide to leave this alone. R for violence and nudity.
LAKE PLACID 3 (R) 88 minutes 1/2 And, of course, they couldn't leave it alone. Sadie's son decids to hang on to the property for awhile since the real estate market is sluggish and property isn't moving well anyway. Two years later, the two crocs that their son has been feeding are getting rather large. And there seem to be a few others, but we never really get a good idea of how many there are since there seem to be a number of smaller ones in the lake as well. Laughably bad GCI crocodiles, and the script is no better. R for violence.
LAKE TAHOE (NR) 76 minutes * * 1/2 After Juan (Diego Catano) crashes a car into a utility pole, he wanders down the street to look for help. Clearly, each of the people he comes into contact with are on their own paths in life, and the help they can offer often doesn't seem like help, at least not at first. But eventually, Juan will find himself back where he needs to be, and able to deal with the situation that led to the accident in the first place. Very laid-back story of a young man's struggle to deal with a reality he doesn't want to face. Editing is rough in spots, and what is likely meant to be artistic in spots is instead distracting.
LAKEVIEW TERRACE (PG-13) 107 minutes * * New homeowners move into a nice suburban home only to find that their neighbor (Samuel L. Jackson) is a bit on the psychotic side. Too bad he's also a police officer. Jackson's two-dimensional character is too easy to hate, and we don't find out until late that there's a reason to feel sorry for him. Jackson's performance is the only positive aspect of this one-note suspense film. PG-13 for language and violence.
LAMBADA (PG-13) 99 minutes * 1/2 Well-intentioned film about a dedicated math teacher who spends his spare time tutoring struggling students and dancing in a club. There just isn't enough talent or money in evidence here to pull this off. It's an amateur production though it does have heart.
THE LAND BEFORE TIME (G) 71 minutes * * * * With George Lucas, Steven Spielberg, and Don Bluth involved, it would've been hard for this to not work. Filled with beautiful images and adorable characters, it's a film about friendship, courage, and what it means to carry the memory of someone with you. A truly wonderful animated film for the whole family to enjoy.
LAND OF THE DEAD (R) 88 minutes * * There's nothing quite like yet another zombie film from director George Romero. It's pretty much what you'd expect... zombies eating people who turn into more zombies while other zombies get shot, blown up, set on fire, and so forth. The plot is pretty simple. The zombies are getting smarter and even have a leader of sorts. The ending is left open, no surprise there, for another sequel. (Country of the Dead? Planet of the Dead?) And as a little treat for fans of the series, Tom Savini makes an appearance as the Machete Zombie! R for violence, language, and sex.
LAND OF THE LOST (PG-13) 93 minutes 1/2 As a Will Farrell comedy, this might succeed... (if you like Will Farrell comedies), but as a remake of a kids adventure show, it fails miserably. Rude humor is mixed with Farrell's typical performance of a clueless character, this time lost in a world with dinosaurs and time travel. Farrell fans may enjoy this but others should choose something more entertaining to watch. PG-13 for violence and language.
LARA CROFT TOMB RAIDER (PG-13) 91 minutes * * Time was definitely spent in making this film look right. Unfortunately, looks aren't everything. The story doesn't really flow very well, and Lara really has little to deal with in the way of substantial conflict. She always has the right tool up her sleeve (ok, on her belt), and never seems bothered in the least by the villains she comes up against. Sometimes it does a hero good for things to get a little bit tough. It is nice to see Jon Voight playing the part of Richard Croft. Having real life father and daughter play father and daughter on screen is a nice touch. Too bad that this is such a shallow film when it could have been much more substantial. PG-13 for violence.
LARA CROFT TOMB RAIDER: THE CRADLE OF LIFE (PG-13) 108 minutes * * 1/2 Lara (Angelina Jolie) discovers that Pandora's Box is not just a legend, and that one of the most diabolical men on the face of the planet is about to unleash its horrors upon the world. It's a good adventure story with a hefty amount of mythology/legend mixed in, though the action gets more than a bit far-fetched in quite a few places. Not bad, but not really as exciting as the first despite the fact that Jolie seems to have a better handle on the character this time. PG-13 for violence and language.
THE LARAMIE PROJECT ((NR) 91 minutes * * * Not exactly a documentary, though it is based on the words of the residents of Laramie, Wyoming in the wake of the death of Matthew Shepard. It's the story of a town that has to come to grips with a hate crime that has been committed by two of their own. Both powerful and moving, it follows members of the Tectonic Theater Project as they talk to people from the town about what happened and how they feel. While there are ways in which the use of actors takes away from the potential impact of the film, there are ways in which it's impressive as well. Many of them asked to be in the film as the issues around acceptance of homosexuality as a viable lifestyle is an issue that they feel strongly about. And their performances seem to speak for the acting community as a whole, reaching out to support those who are struggling with similar issues and to open the minds of those who need to understand the importance of accepting those who aren't like yourself.
LARGER THAN LIFE (PG) 89 minutes * Nice scenery... OK, that's it for the compliments here...! Bill Murray gives us a very tired performance in a story that is far less inspiring than "Operation Dumbo Drop". Weak and very forgettable. Murray is going to have to stage a comeback soon before he sinks in the mire. (And with an elephant underneath him, he's sinking pretty fast.) PG for language.
LARRY CROWNE (PG-13) 94 minutes * * Working at UMart for years seemed fine to Larry (Tom Hanks). Promotions were elusive, but he didn't mind that much. But now he's getting fired, because he doesn't have a college degree. So he heads back to school, where he discovers an attractive fellow student, and a pretty amazing teacher. Cute story, but the chemistry between Hanks and Julia Roberts is completely lacking. PG-13 for language and sex.
LARRY THE CABLE GUY: HEALTH INSPECTOR (PG-13) 83 minutes * If you've seen Larry the Cable Guy's stand-up comedy routine, you'll pretty much know what to expect. There is a little story here, centered around the idea that someone is poisoning the food at several of the city's top restaurants. Not much, but a little... Filmed in Orlando, Florida. PG-13 for language.
LARS AND THE REAL GIRL (PG-13) 99 minutes * * * 1/2 Ryan Gosling delivers another stellar performance as Lars, a troubled young man who has found a new friend. The doctor tells everyone that the best way to help Lars is to play along. But how long will this delusion last? Humorous and heartbreaking, it's a story about love, loss, and healing. The supporting cast, led by Emily Mortimer, Paul Schneider, Patricia Clarkson, and Kelli Garner do a wonderful job of making this story work, despite how difficult it is at times for us to believe that so many people would play along. Gosling and screenwriter Nancy Oliver were nominated for numerous awards for their work here. PG-13 for language and sex.
LASSIE (PG) 91 minutes * * 1/2 Matt is moving to the country to his mother's old house. It's a good deal different from the city life in Baltimore, and he's having a hard time adjusting to his step-mother after his mother died. Leave it to Lassie, who adopts them while en route to the country. She'll be able to get through to him and help him through this rough time. Adequate family fare, but nothing remarkable.
LAST ACTION HERO (PG-13) 123 minutes * * * A story that is filled with the magic of movies, fiction, and imagination, this is fun to watch. Arnold Schwarzenegger spoofs his own action-hero films a little bit here, as young Danny (Austin O'Brien) longs to meet his idol, Jack Slater (Schwarzenegger). Lots of cameos and a quick pace manage to keep this film moving along and make for an entertaining couple of hours. PG-13 for violence.
THE LAST AIRBENDER (PG) 95 minutes * * 1/2 The fire nation destryoed the air nation as they knew that the Avatar was to be born of their people. But of course he wasn't there at the time of the destruction, and now that he has returned, he must bring peace and balance back to the world. The special effects are impressive, but rather repetitive, and the story itself, which definitely of an epic scale, ends on a disappointing note that requires a sequel to finish it. PG for violence.
THE LAST BOY SCOUT (R) 102 minutes * * 1/2 Bruce Willis and Damon Wayans team up for this action film. They work well together, but we've seen this so many times before. Extra graphic violence is thrown in to try and cover up the weak spots in the script, but it only works to a point. Wayans manages to come off a little better than Willis, probably because he hasn't made the same film so many times.
THE LAST CASTLE (R) 124 minutes * * Some people are natural leaders. No matter what the circumstances, people will follow them. That's the basic idea here, played out in a prison setting with Robert Redford as the man who inspires the others as he views the prison as a castle, albeit one that is built to keep people in instead of keeping people out. Redford and James Gandolfini's characters are drawn too broadly, and neither actor seems to care that much about what they're doing. There are some nice supporting performances, but with the lack of depth from the main characters (the script is at fault as well), this just never really gets very far. R for language and violence.
LAST CHANCE HARVEY (PG-13) 88 minutes * * * Life is full of last chances at the moment, which is depressing in one sense, but at least there is a chance. Harvey (Dustin Hoffman) decides to take one and get to know Kate (Emma Thompson). At the very least, it might take his mind off of the marriage of his daughter, who seems to be slipping away quite quickly. Each moment is an opportunity, and its up to us to decide what to do with it. Hoffman and Thompson are both perfectly awkward here, which may sound bad, but it fits the story. Despite that realism, the story is a bit overly sentimental, but still quite good. PG-13 for language.
THE LAST CIRCUS (R) 102 minutes * * 1/2 Javer (Carlos Areces) is following in his father's footsteps, working as a clown. But Sergio (Antonion de la Torre) is the lead clown of the circus, and is a violent and evil man, abusing everyone, including his lovely wife Natalia (Carolina Bang), whom Javier has fallen in love with. Much like his father before him, Javier feels trapped, with only one course of action that seems possible. A tragic and twisted tale. A bit more violent than some will care to see. R for violence, sex, and language.
THE LAST COWBOY (NR) 86 minutes * * Jennie Garth and Lance Henriksen play a father and daughter at odds with each other about how to run, or whether to even keep the ranch that has been in their family for so many years. Stock characters and story, though the cast does a nice job of making them work fairly well.
LAST CUP: ROAD TO THE WORLD SERIES OF BEER PONG (NR) 83 minutes * * The real beer pong championships. The film follows several different teams on their road to the championship, with interviews and clips from the competition. We are also treated to a bit of the history of the game and the competitors. Mildly interesting.
LAST DANCE (R) 99 minutes * * * Although comparisons to "Dead Man Walking" are inevitable, this is a fine film in its own right. Sharon Stone gives us a believable portrait of a woman on death row with little hope of changing the circumstances that will lead to her death. Direction by Bruce Beresford and Mark Isham's music smooth out the rough edges to a film with a powerful message. R for language and violence.
THE LAST DROP (R) 100 minutes * 1/2 Near the end of World War II, a group of allied soldiers are dropped behind the German lines with the specific goal of retrieving Nazi treasure supposedly held in the area. But they aren't the only ones looking for it. Who will find it first and will it happen before the war ends? Unfortunately, we don't care all that much because we never find ourselves caring about the characters here. It quickly becomes a race to the treasure with gunfire coming from both sides. There's a twist at the end of the film, but we're long past caring by that point. R for violence.
THE LAST EMPEROR (PG-13) 158 minutes * * * A child emperor who is a prisoner in his own city. A symbol that is now only a symbol but with hope that the power and respect that were once given may again be regained. An epic story with a bit of the overly dramatic TV mini-series feel to it. Still, the photography, costumes, sets, and music are all quite spectacular. There are some scenes that should have been cut or at least shortened and there seems to be a rather unnecessary movement towards more graphic violence later in the film. The impression we're left with is a desire to make this feel "real", but that isn't supported by the majority of the film.
THE LAST EXORCISM (PG-13) 82 minutes * Cotton Marcus (Patrick Fabian) has been a preacher since he was a child. He comes from a long line of charismatic preachers who also perform exorcisms. Cotton is struggling with this though, as he has come to not only doubt that demons exist, but wonder if God does as well. He picks a random request for an exorcism and takes along an assistant and a cameraman to show how people's problems may be real, but that it isn't really about demons. They are in for a surprise. Reality style film with a little better acting than most, which is good, but the dialogue still seems cheap and unreal. The last few minutes are not among the films best. PG-13 for violence and language.
LAST HOLIDAY (PG-13) 106 minutes * * 1/2 After bumping her head at work, Georgia (Queen Latifah) learns that she has a rare condition that gives her only three weeks to live. She takes her money and begins to spend it and have fun. Not only does she discover what's really important in life, but she manages to teach those around her as well. The plot is far from original, but Latifah makes it fun to watch. PG-13 for language.
THE LAST HOUSE ON THE LEFT (2009) 103 minutes * 1/2 After attacking and killing two girls, the murderers take refuge in the secluded vacation home of the parents of one of the dead girls. This remake of the 1972 suspense film by Wes Craven, has little of the original's creativity, though it has plenty of gruesome effects and some reasonably good performances. R for violence, language and sex.
THE LAST KING OF SCOTLAND (R) 117 minutes * * * Forest Whitaker delivers a frighteningly realistic performance as Ugandan military dictator, Idi Amin. Able to be affable, charming, and brutally violent, Amin rose to power which he then abused even more than those who he replaced. Adapted from the novel by Giles Foden, the film looks at Amin and his reign of terror through the eyes of his Scottish personal physician. At first taken in by Amin's personal charisma, Garrigan (James McAvoy) helps keep Amin safe, until he finally realizes just how wrong everything has gone. Whitaker does chew up the scenery at times, but does a brilliant job with Amin's "lighter" side as well. It's such a large character though, that aside from Garrigan, we pretty much lose the rest of the cast. R for violence, sex, and language.
THE LAST KISS (R) 99 minutes * * 1/2 Michael (Zach Braff) seems to feel the world closing in on him when things begin to take a more serious turn with his girlfriend Jenna (Jacinda Barrett). Marriage, baby, house... is it what he really wants? Or does he want that pretty college girl who is a little younger and more free-spirited. Some of Michael's and Jenna's friends are also having relationship problems. Adapted from the film L'Ultimo Bacio, this is an interesting film about relationships, romance, and committment. While it lacks originality, it does deliver a well-written script, and performances that impress us with the conflict the characters are experiencing. R for sex and language.
THE LAST KUNG FU MONK (R) 89 minutes 1/2 Coming to the United States to care for his nephew, Li Long (Li Zheng) tries to set up a martial arts school only to find himself in trouble with an underground fight club. Li Zhang isn't much of an actor, but then again, most of the cast here is less than stellar. The fight scene choreography is not very interesting either, though the bad camera angles don't help. R for violence and language.
THE LAST LEGION (PG-13) 90 minutes * * * The empire is collapsing and young Romulus (Thomas Sangster) is the last Caesar. Along with his protectors, he flees to a rmote part of the country to find the one remaining group of those who are loyal to Caesar. It will be far from easy. There will be enemies where least expected. But Romulus will discover that challanges are what make you grow stronger. Very nice adventure film with just a few little twists that make it even more fun to watch. Colin Firth, Ben Kingsley, Aishwarya Rai and Sangster are all quite good here, playing their roles with intensity, and at the same time with just a touch of humor to keep the mood a little lighter. PG-13 for violence.
THE LAST LIONS (PG) 87 minutes * * * The story of a lioness. Driven from the territory she shared with her mate, she must learn and conquer a new place, and provide for her three cubs. There will be a heavy price to pay to earn her way in this new place, but she is determined to persevere. Lions are a dwindling species. Are this lioness and her cubs among the last, or will we assure their survival by making the necessary changes to the way we live? Narrated by Jeremy Irons. PG for violence.
LAST MAN STANDING (R) 96 minutes * 1/2 This film has the look and feel of a gangster film, but it rings hollow. The story goes nowhere as it tells, frequently in irritating voiceovers, of east coast gangster John Smith (Bruce Willis) and his experience in Jericho, Texas. One of the more noticeable faults here is that the guns used in the film weren't heard of in the 20's, which is when this film appears to be taking place. R for violence.
THE LAST MIMZY (PG) 89 minutes * * 1/2 Adapted from the short story "Mimsy Were the Borogoves", this is the story of two children who find some very special toys one day at the beach. Toys that give them special abilities and open the door to another world. The performances here are fine, though it's somewhat difficult to like young Noah (Chris O'Neil) except when he's at the science fair. Emma (Rhiannon Leigh Wryn) on the other hand, is a delight, and seems to really enjoy the magic of the story. The real problem here is that it feels like half of the story is missing. We learn very little about the other world that Emma sees, virtually nothing about the other Mimzys, the government suddenly steps in then almost as quickly seems to step back out... It's unfortunate, because the idea is interesting. We just don't get to see enough of it. PG for language and violence.
LAST NIGHT (R) 87 minutes * 1/2 A married couple facing temptations that occur as they spend a night apart. Keira Knightley's performance saves this from being completely bad. Rather lifeless performances from the rest of the cast give us cause to be tempted to watch something else. R for language and nudity.
LAST OF THE DOGMEN (PG) 113 minutes * * * Tom Berenger in one of his better roles, plays Lewis Gates, a tracker who discovers a lost tribe of Cheyenne Dogmen while searching for some escaped felons. Though the story is a bit obvious at times, the flow of the film makes this a more pleasant watch than "Dances With Wolves". A heartwarming and beautiful film, telling a rarely heard story about the Cheyenne.
THE LAST OF THE MOHICANS (1992) 106 minutes * * * Based on the 1936 screenplay, this adaptation of the classic story of early America is filled with action and a healthy dose of romance. The theme music is overused to the point of madness, and there are some editing problems in a few spots as well. Daniel Day-Lewis' performance suffers from a too obvious sense of being intimidated by the settings and the story. Still, the story is a strong one, and the scenery is a very important and beautiful part of the story as well. R for violence.
THE LAST PLAY AT SHEA (NR) 91 minutes * * * Documentary look at the last ball game played at Shea Stadium,as well as the last concert. Billy Joel and the Mets. It's a look at a baseball team, the life and career of musical great, Billy Joel, and the history of a stadium that played host to many games and many concerts over the years. And of course, Joel also invites several other musicians to participate in the last concert that happened at Shea Stadium. Nice.
THE LAST RESORT (R) 69 minutes 1/2 Weird little film with five friends on a wild bachelorette party. Four of them end up in a house that is haunted/possessed by the spirit of people who have indulged in excessive pleasure. At least it doesn't last too long. R for violence, language, and sex.
THE LAST SAMURAI (R) 144 minutes * * * Captain Nathan Algren (Tom Cruise) may have become a drunken man who helps sell guns for a sideshow, but he has done this because he lost his honor and it meant everything to him. When he is put in that position again, he finds that it is more important to him to commit treason in the name of honor than to remain loyal to his country and give up honor. The film does a nice job contrasting traditions of the past with those of more recent times. Doesn't fare quite as well when comparing eastern traditions and those of the west. Ken Watanabe does an excellent job as Katsumoto, and the film is worth watching for his performance alone. R for violence.
THE LAST SHOT (R) 88 minutes * * 1/2 He's not really a movie producer, and he's not really going to make a movie, but director Steven Schats (Matthew Broderick) doesn't know that it's all a set-up to arrest some mobsters. All he knows is that it's his big chance to direct the script he's been trying to sell for awhile. Filled with movie business humor and a great supporting cast, this is a fun film for those who enjoy the business of making movies. Others may not find it all that funny. R for language and sex.
THE LAST SIN EATER (PG-13) 113 minutes * * 1/2 A group of Welsh immigrants bring with them an old tradition. But when young Cadi (Liana Liberato) looks into the eyes of the sin eater, things begin to change. As she struggles with what has happened and how she might be forgiven, other sins of the community come to light. With a greater awareness of what is wrong, there comes a new opportunity to change and do what is right. And perhaps an opportunity to begin a new tradition. Directed by Michael Landon Jr., this is a story of faith and tradition in the Appalachian mountains. PG-13 for violence and language.
THE LAST SONG (PG) 102 minutes * * * Sent to spend the summer with their father, Ronnie (Miley Cyrus) and her little brother (Bobby Coleman) are in for an interesting time. Ronnie has been really angry at, well, pretty much life in general. But this summer may help her begin to change her attitude, though it's not all going to be sunshine and flowers along the way. Solid performances by the cast, and a story that reminds us of love's fragile nature, yet unending capability to transform and heal. PG for language and violence.
THE LAST STATION (R) 106 minutes * * * 1/2 The story of Tolstoy (Christopher Plummer) and his wife (Helen Mirren) in the days after the Tolstoyan movement has begun. She loves him passionately, but is afraid that he will give everything away and that the children will not be provided for later in life. As for Tolstoy, he feels that love is all that is needed and that material possessions are a drain on the spirit. His new young assistant Valentin (James McAvoy) is learning much more than he ever realized was possible, simply by being around the two of them. Excellent work by Plummer and Mirren who play well off each other. Adapted from the novel by Jay Parini. R for sex.
THE LAST WARRIOR (R) 92 minutes * One lone soldier, stranded on a remote island, trying to maintain a radio base during WWII. When the Japanese decide to take the island, he finds himself in a duel to the death. A bit far-fetched at times, but the biggest problems here are not the story, but the acting, the direction, the low budget...
THE LAST WINTER (PG) 99 minutes * 1/2 Katie Murray and Marsha Moreau come off reasonably well here, but this is poorly directed and poorly written, undermining the rest of the cast rather effectively. The closing music and the direction of the story toward the end trry to draw us in by playing on our emotions, but it's too late by then.
THE LAST WORD (R) 90 minutes * * 1/2 Evan (Wes Bentley) assembles your thoughts and comments into a poem to be read at your funeral. He accepts payment, but takes no credit for his work as the words are attributed to the one who has died. Attending the funeral of his most recent client, Evan finds himself attracted to a relative of the deceased. Meanwhile, another of his clients has managed to figure out his home phone number and is becoming a bit bothersome. Now it's up to Evan to decide what to say about his own life, and what he wants to do with it. Quirky, but interesting drama, with a convincing performance from Bentley. R for language.
LATE FOR DINNER (PG) 87 minutes * * * 1/2 What would it be like if, when you woke up the next morning, it was actually 29 years later? What would you say to the people you knew? This is a story about an experiment in cryogenics, but the emphasis is on relationships and romantic drama rather than on the science fiction aspect you might expect. Brian Wimmer and Peter Berg do outstanding work here, giving the film a charm and freshness that many romantic films miss. W.D. Richter also directed "The Adventures of Buckaroo Banzai", an offbeat adventure film. This too has a sense of the offbeat, but in a gentle way. Don't overlook it, or you'll be missing a real gem. PG for language.
LAW ABIDING CITIZEN (R) 101 minutes * * 1/2 Clyde (Gerard Butler) is assaulted and his wife and daughter are killed. One of the men guilty cuts a deal and will only spend five years behind bars so that the other one involved gets the death sentence. The problem is that it's the one who is guilty who is getting off. Clyde is going to correct that little oversight on his own. Reasonably suspenseful, with a few mild surprises and a rather over-dramatic and hard-to-believe ending. R for violence and language.
THE LAWNMOWER MAN (R) 102 minutes * 1/2 There are some interesting effects here, and the idea that our increased reliance on technology has suppressed the mystical and more powerful parts of our mind has some potential. I'm not sure why they paid to use the name of the Stephen King story when it clearly has almost nothing to do with it. Jeff Fahey does a reasonable job in the lead role here, but don't expect too much. R for language, violence, and sex.
THE LAWNMOWER MAN II: BEYOND CYBERSPACE (PG-13) 87 minutes * 1/2 Where the first film had little resemblance to the short story by Stephen King, this has none. Jobe (Matt Frewer) continues with his plans to rule the world from cyberspace in his gold suit(worthy of a nomination for worst costume of the year). There are a few nice special effects here, but not enough to keep up our interest with a muddled plot and little action.
LAWRENCE OF ARABIA (PG) 214 minutes * * * * The ultimate adventure, the ultimate challenge, and the only way to win the war... to cross the uncrossable desert. Stunning photography, excellent acting, and a fabulous soundtrack. One of Peter O'Toole's earliest films, and an amazing portrait of a man with an incredible ego. Definitely a classic film that's not to be missed.
LAWS OF ATTRACTION (PG-13) 85 minutes * * Two of the finest divorce lawyers keep finding themselves on opposite sides of the courtroom... and strangely attracted to each other. Julianne Moore and Pierce Brosnan work well here, but the script is tired and uninventive. We're left with little more than a mediocre TV movie. PG-13 for language.
L4YER CAKE (R) 101 minutes * * XXXX (Daniel Craig) is trying to get out of the drug business, but has one last favor to do... unload a million hits of Ecstasy. The problem is that they were stolen property and the original owner wants them back. Directed by the producer of "Snatch" and "Lock, Stock and Two Smoking Barrels", but not as good as either one of those. This film tries for the more serious approach and just never manages to completely get our attention, becoming instead, just another gangster film only with cockney accents. The performances are fine, but the script is dry and, for the most part, lifeless. R for violence, language, and sex.
THE LAZARUS PROJECT (PG-13) 95 minutes * 1/2 When Ben (Paul Walker) loses his job, he ends up helping his brother with a robbery. It goes down badly, and Ben ends up with a death sentence for his part in the crime. But after he receives his lethal injection, he wakes up to find himself on a psych ward. The story resolves far too quickly at the end, leaving us a bit dissatisfied that there wasn't more to the story than this. Especially since the film keeps hinting that there's so much more. PG-13 for violence and language.
THE LEAGUE OF EXTRAORDINARY GENTLEMEN (PG-13) 103 minutes * * * It's 1899 and war is threatening the world. Alan Quartermain (Sean Connery) is called upon to save the day. He'll lead a team that includes Captain Nemo, an invisible man, a vampire, Dorian Gray, and Dr. Jekyll/Mr. Hyde. Definitely a different sort of adventure film. A good deal of the story is very inventive, though there are times when some inconsistencies appear. They've done a nice job retaining the comic book stylings that this was adapted from. It's definitely not something that will appeal to everyone, but if you're familiar with the stories these characters come from, it's fun to see them together in an adventure film. PG-13 for violence.
A LEAGUE OF THEIR OWN (PG) 120 minutes * * * What can you do for entertainment when the war is on and all the baseball players are carrying guns? Watch the women play! Refreshing and different look at baseball, with a terrific script from Lowell Ganz and Babaloo Mandell. Comedy isn't really the emphasis here, but talent is. Geena Davis, Madonna, Lori Petty, Rosie O'Donnell... and the list goes on! Though the story is fiction, it reminds us that there is another part of baseball history we don't hear too much about. Partially filmed in Indiana.
LEAN ON ME (PG-13) 104 minutes * * * A great role for Morgan Freeman, as he portrays high school principal Joe Clark, a man who is determined to whip his school into shape, even when it may take physical force to do so. The script is a bit heavy-handed, but Morgan's performance makes us want to keep watching and Bill Conti's soundtrack adds to the mood. PG-13 for language and violence.
LEAP OF FAITH (PG-13) 104 minutes * 1/2 Poor attempt to satirize evangelical ministers even fails at the end. It does ask a couple of important questions, but never takes us anywhere. What difference does it make if your real or fake if you get the job done? Can you experience a real miracle and continue not to care? Good questions, but poor handling of the material.
LEAP YEAR (PG) 95 minutes * * 1/2 There is a tradition in Ireland, that once every four years, on that last day in February, it is a woman's prerogative to propose marriage to the man. Anna (Amy Adams) is ready to take the plunge, especially since her boyfriend doesn't seem to be able to get around to popping the question. Of course, things don't work out quite like she has planned. Romantic and funny film, with Adams doing a great job here, though her character overpowers most everything else in the story. The Irish countryside adds a beautiful backdrop, but a little more depth to the rest of the characters would have helped a great deal. PG for language.
LEAP YEAR (NR) 86 minutes * * The life Laura (Monica del Carmen) lives in the day is a direct opposite of her night life. The one is predictable and boring, while the other is risky, sexy, and exciting. Her new relationship with Arturo (Gustavo Sanchez Parra) promises to take it to new and dangerous levels. But is it what she really wants, or is she just marking time? Interesting ending, but getting there is a little tedious at times.
THE LEAST AMONG YOU (PG-13) 92 minutes * * Richard Kelly (Cedric Snaders) has little choice but to serve out his probation as a seminary student. It isn't an easy task, as he will be the first non-white student. And Richard also isn't know for being a follower, which is what he's being told to do. Although this is inspired by a true story, the script and characters are rather shallow, given little more than cursory treatment. A mediocre TV movie that could have been much more powerful.
LEATHERFACE: TEXAS CHAINSAW MASSACRE III (R) 78 minutes * 1/2 Mercifully short sequel to "Texas Chainsaw Massacre" that at least has the common sense to ignore the existence of part two. Filled with the standard gruesome effects and silly mistakes that people being chased by serial killers in the movies make all the time. Kate Hodge does a reasonably good job, with most of her problems being related to the script. R for violence and language.
LEATHERHEADS (PG-13) 108 minutes * * * It's 1925, and professional football is struggling to stay alive. Dodge (George Clooney) has a plan. Getting a college football star to turn pro just might sell the additional tickets... especially if he's a war hero too! Clooney directs this as well, and gives us a great mix of football, romance, and humor. Nice soundtrack work by Randy Newman. Also starring Renee Zellweger and Jonathan Pryce. PG-13 for language and violence.
LEAVE IT TO BEAVER (PG) 83 minutes * * 1/2 This film does a surprisingly good job of capturing the flavor of the original TV series while updating the language used. This accounts for the PG rating, but still gives us enough of the unrealistically clean and "perfect" image the original show presented. The plot is involved enough to keep us watching and the dialogue is catchy and fun. Cameron Finley does a great job as Beaver, but the rest of the cast round things out nicely to. All in all, a good move to the big screen for this old family style TV show. PG for language.
LEAVING LAS VEGAS (R) 108 minutes * * * * This is not a film for those who want to be entertained! However, it is a film for those who are interested in hearing the tragic story of an alcoholic who wants to die and a prostitute who is tired of being friendless. They find the part of love that accepts, but not the part that asks for and helps each person to change for the better. Nicolas Cage and Elisabeth Shue are in top form here, and their performances bring these characters to life instantly. Director Mike Figgis also authored the screenplay, composed and performs on the soundtrack, and appears briefly on screen in a small role. R for sex, violence, and language.
LEFT BEHIND (NR) 97 minutes * 1/2 Adapted from the novel of the same name and based on the book of Revelation in the Bible, this tells the story from the vantage point of an investigative journalist (Kirk Cameron) who is trying to figure out what has happened. It starts well enough, being both interesting and well acted. As the film progresses, the story begins to get sloppy, we have a hard time believing Cameron, and the film seems rushed to its conclusion, which isn't even a conclusion.
LEGALLY BLONDE (PG-13) 92 minutes * * 1/2 Elle's (Reese Witherspoon) boyfriend breaks up with her because he needs to be with someone who is more serious. He'd also prefer someone who is a bit smarter. She'll show him! She'll go to Harvard Law School and be an even better lawyer than he can. It's cute, though there aren't any surprises. Witherspoon's energy carries the film and makes it worth watching. Nice, light entertainment. PG-13 for language.
LEGALLY BLONDE 2: RED WHITE & BLONDE (PG-13) 90 minutes * 1/2 The charm and lightly silly aspects of the first film have become somewhat stupid and even slightly obnoxious this time around. Elle heads to Washington D.C. to try to pass a bill preventing animal testing in connection with cosmetics. Witherspoon does her best, but the script sabotages her at every turn. And, for someone who is supposed to appear cute and pretty, her hair looks terrible up until the last two sequences of the film! PG-13 for language.
THE LEGEND OF BAGGER VANCE (PG-13) 119 minutes * * * Adele (Charlize Theron) is determined to save her property despite the depression, so she schedules a golf tournament with two of the biggest names in the sport. But she needs the local legend to play as well. Randolph Junuh (Matt Damon) is fighting some demons of his own though, and isn't sure that he wants to play anymore. Enter Bagger Vance (Will Smith), a wise and somewhat mystical character who seems to aggravate Junuh more than helping him at times. The story is far from new, but it's told well, and Smith's charm goes a long way to helping us like this. Only you can live your life. Yes, you can walk away, or you can hide. But oh, how sweet to play. PG-13 for language.
THE LEGEND OF BRUCE LEE (PG-13) 180 minutes * Originaly a fifty-episode series, this has been edited down to a three hour length. Too bad they didn't go for 90 minutes... The fight scenes are good, but the two-dimensional acting destroys the rest of the film. Kwok-Kwan Chan (also known as Danny Chan) has the right look and does a reasonable job, though he has the advantage of the fight scenes. Michelle Lang, who plays Linda, has such stellar credits as "Disaster Movie", "Date Movie", and "Vampires Suck", which should give you an idea about what to expect. Thick with Lee's philosophy presented in overly-simplified manner. Fans of Lee will be interested but others should stay away.
THE LEGEND OF DRUNKEN MASTER (R) 96 minutes * * 1/2 Jackie Chan is the master of the drunken boxing style of martial arts. The story is somewhat muddled, moving from a mix-up of packages to saving the cultural history of the country, but the action is superb. Early sequences have Chan fighting in cramped quarters under a train and under a pier. It takes a real pro to make these scenes look so easy. Chan's humor is evident as well, and don't forget those outtakes at the end! R for violence.
THE LEGEND OF SASQUATCH (G) 69 minutes * * Cute and simple story for the under seven crowd, about friendship and family. The puffy computer animation used here is less than spectacular to say the least, but the colors are bright and simple, which is a clue to who the intended audience is here. Not sure why the sasquatch need to fly though... John Rhys-Davies, William Hurt, and Frank Welker are among those voicing characters here.
THE LEGEND OF SORROW CREEK (NR) 71 minutes 1/2 And yet again, people wander off the path into the woods and get into trouble... bad acting and disappointing story development. It does start out fairly well, and some of the music and sound effects are creepy at first. It just never manages to do much with the ideas after that.
LEGEND OF THE FIST: THE RETURN OF CHEN ZHEN (R) 102 minutes * * 1/2 Though he was thought to be dead, it turns out that Chen Zhen (Donnie Yen) is very much alive. Intent of infiltrating the mob to bring them down, Chen Zhen has a difficult path ahead. Martial arts with a touch of film noir, which is interesting and works in some ways, though not others. The ending is rather abrupt and awkward, but still an interesting and different sort of martial arts film. R for violence and language.
LEGEND OF THE GUARDIANS: THE OWLS OF GA'HOOLE (PG) 88 minutes * * * Abducted by evil owls and drafted into their military forces, Soren must find a way, with the help of a few friends, to reach the Guardians and save his family and friends. It's a great adventure, though the violence is a bit much for those under the age of eight. Outstanding animation, with remarkable details. You'll almost forget that the owls aren't real... except, of course, that they're talking... Based on the books by Kathryn Lasky. PG for violence.
THE LEGEND OF ZORRO (2005) (PG) 124 minutes * * Antonio Banderas returns as Zorro, this time trying to save his marriage as well as fighting for justice and for the safety of the people. The story is reasonably good, but the presence of Anthony Hopkins is sorely missed. The humor works fairly well, and it's nice to see both his wife (Catherine Zeta-Jones) and son getting in on the swordplay a bit. The special effects are uneven, with some sequences quite nice and others rather poor. Filmed in San Luis Potosi, Mexico, and rated PG for violence and language.
LEGENDS OF THE FALL (R) 126 minutes * * * 1/2 Based on a novella that appeared in Esquire magazine, this is the story of a man and his sons, what they have learned, and how they grow. A fabulous performance by Brad Pitt, but he is also surrounded by greatness in the persons of Anthony Hopkins, Julia Ormond, and others. The photography and scenery aren't as impressive as they might have been, but the story and characters will reach into your heart. R for violence.
LEGION (R) 92 minutes * * 1/2 It's December 23rd, and an angel falls to earth. But Michael (Paul Bettany) isn't following the plan that was given to him. He was supposed to lead the slaughter of humanity for God had tired of us. Instead, he decides to protect the one child about to be born that will be the hope of humankind. Interesting look at an apocalyptic Christianity, where events are set in motion because God is "tired of all the bullshit". The battle between Michael and Gabriel (Kevin Durand) is great, though far too short and difficult to see because of how dark the scene is. Filmed in New Mexico. R for violence and language.
LEGO HERO FACTORY: RISE OF THE ROOKIES (NR) 86 minutes * 1/2 Three cartoon episodes fit together to tell the story of Stormer, a team leader who is tough on rookies, especially Furno. Of course, the rookies are about to come into their own, and Stormer will find himself in need of their skills. For Lego cartoon fans only.
THE LEMON TREE (NR) 97 minutes * * 1/2 She just wants to save the lemon trees that have been in her family for so many years. But Salma (Hiam Abbass) faces an uphill battle. The new Israeli Defense Minister has moved in next door, and she is a poor Palistinian widow. He does not trust that she can keep people who might want to do him harm out of her lemon grove, so he wants the trees cut down. It's an interesting and more personal look at the conflict between these two countries, though it gets a little distracted by a couple of the subplots.
LEMONADE MOUTH (NR) 107 minutes * * 1/2 How did Lemonade Mouth become such an amazing and popular band? This is their story! Disney Studios knows how to do this almost as well as they know animation. Nice choreography and catchy tunes, along with teen charactes who, though over-played a little, clearly have some appeal. It's formula, but it keeps working.
LENNON NAKED (NR) 81 minutes * * 1/2 Interesting look at part of the life of John Lennon (Christopher Eccleston) starting shortly before his relationship with Yoko Ono (Naoko Mori). The other Beatles are presented with virtually no depth or detail, and the story is rather depressing and incomplete, which would seem to invalidate the title of the film somewhat.
LENNONYC (NR) 112 minutes * * * When John Lennon came to New York in 1971, he really wanted to get away from the Beatles and all of the hype and publicity that surrounded them. His dream was to begin a new chapter in his life, and stretch his artistic skills in other directions. Interesting and nicely presented look at the man and the artist.
LEONARD PART 6 (PG) 80 minutes * Despite the fact that his personal life is falling apaart, the government is asking Leonard (Bill Cosby) to save the world again. Too bad he couldn't save this mess of a movie. Definitely one of the worst films Cosby ever did.
LEPRECHAUN (R) 87 minutes BOMB Predictably stupid film about a leprechaun who goes on a rampage, killing people for stealing his gold. Never mind the fact that those who currently possess it DIDN'T steal it, they only found it. Mostly notable for the appearance of Jennifer Aniston.
LEROY AND STITCH (G) 68 minutes * * After being rewarded for their success in catching all of the otehr experiments and finding good homes for them, Lilo, Stitch, Jumba and Pleakley find themselves on another adventure. It seems that Dr. Hamsterviel has escaped from prison and created Leroy, an evil twin of Stitch. Mediocre made-for-TV sequel. Just in case you wanted to know the names of the other 624 experiments (Stitch was 625), they are all listed in the credits.
LESS THAN ZERO (R) 97 minutes * * Adapted from Brett Easton Ellis' novel about wealthy youth who don't care about anything makes for rough going at times. The performances, especially those of Robert Downey Jr. and James Spader, are good, but the script goes for a highly artistic approach to the story that just doesn't work with the overall negative tone that lies underneath. Nice photography throughout, but this is a great example of how some stories should remain artistic and not try to be commercially successful.
LET FREEDOM SING (NR) 92 minutes * * * Documentary that traces the course of the civil rights movement from its beginnings in the gospel music of churches in the south, through the rebellious and transformative years and music of the 60s , and up to rap and hip-hop music. Interviews with musicians and activists both young and old are here. It's a wonderful and fascinating look at what inspired and continues to inspire the work of civil rights and anti-racism.
LET IT RIDE (PG-13) 85 minutes * * * Richard Dreyfuss stars in this story of a gambler who finally hits his lucky streak. The film is full of fun, though strange, characters, played by people like Teri Garr, Jennifer Tilly, and Mary Woronov. The humor is rather off-beat, but the performances are both entertaining and true to the material. PG-13 for language.
LET THE RIGHT ONE IN (R) 110 minutes * * * 1/2 Often bullied by others, Oskar (Kare Hedebrant) befriends a strange little girl. Her friendship turns out to be just what Oskar needs, though their relationship will not be without its difficulties. Beautifully haunting film that mixes the innocence of childhood and the struggles of coming of age with a vampire story. The result is a very unique film. John Ajvide Lindqvist adapted the screenplay from his own novel. Nice work! Winner of numberous international awards. R for violence, language, and nudity.
LETHAL WEAPON 2 (R) 108 minutes * * * 1/2 Talk about nasty villains! And there are car chase scenes, gunfire, explosions, fight scenes... everything an action fan could ask for. There is also a great deal of high caliber acting, great photography, and well-timed music. OK, it's a bit hard to believe at times, but that's not really a surprise. It's a story of drug smuggling, money laundering, and murder. Part of what makes this such a good sequel is that it ties the villains from the first film into the story so well. It's a story full of energy that compliments the first film quite well. Mel Gibson and Danny Glover definitely work well together and make this a sequel that you definitely shouldn't miss. R for violence, language, and sex.
LETHAL WEAPON 3 (R) 114 minutes * * 1/2 There's plenty of action in this third outing for our main characters, and it continues all the way through the credits. The car chase scenes are the best, but the intensity is good throughout despite a rather transparent plot. Mel Gibson and Danny Glover really do seem to have fun making these films and Joe Pesci's presence just highlights their fun. R for violence and language.
LETHAL WEAPON 4 (R) 120 minutes * * * This is the most intense film in the series so far, with more action and violence that take Riggs (Mel Gibson) and Murtaugh (Danny Glover) closer to the edge than ever before. Jet Li makes a wonderful villain, merciless and unpredictable, which helps keep the tension at a high level throughout the film. There are the usual extremes that are unbelievable and remind us that it's all in fun, and the chemistry between Gibson, Glover, Joe Pesci, and Rene Russo is evident. Chris Rock doesn't fit in too well, but that appears to be the fault of the script more than anything else. This is definitely a wild ride, so hang on tight and enjoy! R for language and violence.
LET'S GO TO PRISON (R) 85 minutes * 1/2 John Lyshitski (Dax Shepard) has just been released from his third time in prison. He's vowed revenge on Judge Biederman, the man who put him behind bars all three times. When it turns out that won't work, he decides to take revenge on Biederman's son... only that doesn't quite work either. There are a few funny moments early on, but this quickly moves from funny to boring. R for language, sex, and violence.
LETTERS FROM IWO JIMA (R) * * * 1/2 The battle for the island of Iwo Jima as seen through the eyes of the Japanese soldiers who were defending their homeland. While this was filmed as a companion piece to "Flags of Our Fathers", and done almost as an afterthought by director Clint Eastwood, it is clearly the superior of the two films. Stories tend to have a little more poignancy when they are told from the viewpoint of those who didn't "win". Honor, loyalty, dedication, courage... they all take on at least slightly different meanings when winning is out of reach and death is close at hand. The violence is a little excessively graphic, and accounts for the R rating.
LETTER TO GOD (PG) 106 minutes * * 1/2 Emotional story of a young boy with cancer who writes letters to God. These letters end up having a wider effect as they are read by a substitute mail delivery person. It's an interesting way of doing a little more with the story, but comes off a bit too staged, mostly due to mediocre writing and acting. PG for language.
LETTERS TO JULIET (PG) 99 minutes * * * Travelling to Italy with her fiancee, Sophie (Amanda Seyfried) stumbles across the Secretaries of Juliet, who answer the letters left on the wall in the courtyard in Verona that symbolizes the fictional location of Romeo and Juliet's famous love scene. She finds a letter that is over 50 years old. A letter from a young girl who ran away from love. Now, the woman returns, and with Sophie's help, she will have the opportunity to explain why she ran away, and hope that the flame of passion still has enough of a spark to reignite. Very romantic and sentimental, and nicely done. Filmed in Italy and New York. PG for language.
LEVIATHAN (R) 93 minutes * 1/2 One of many "underwater alien" films that just doesn't really give us the scares we're looking for. This does manage to be a bit better than "Deep Star Six", but that really isn;t much of a claim to make... it's mostly due to having a cast that includes Peter Weller, Lisa Eilbacher, Amanda Pays, and Richard Crenna along with a few others who do their best in a bad situation.
LIAR LIAR (PG-13) 78 minutes * * 1/2 Fletcher Reed (Jim Carrey) has a problem. Thanks to a wish by his son, he cannot tell a lie for 24 hours. This causes quite a few more problems than you might think, especially since Fletcher has a habit of making promises he has no intention of keeping. This is Carrey's best work so far, with some great physical comedy bits. The fine supporting cast makes this a film that is fun to watch with a message that is obvious, but not overplayed. Don't miss the outtakes at the end! PG-13 for language.
THE LIBERTINE (R) 108 minutes * * Adaptation of the play by Stephen Jeffreys about the excessive and rather short life of John Wilmot, the second Earl of Rochester. Johnny Depp plays the role quite well, but the story gets caught among all of the subplots and unimportant scenes. Here was a man prone to excess, who, because of his position, was encouraged to pursue those excesses only to find them causing his early death and furstration and disappointment in life. A more experienced director would have helped a great deal, as would a more experienced screenwriter. (This was the first feature film for both of them. R for sex and language.
LIBERTY HEIGHTS (R) 122 minutes * * * Another of director Barry Levinson's reminiscences of the Baltimore of his youth. This one has a strongly autobiographical tone and, being set in the 1950s, covers many of the dramatic changes that society was dealing with at the time. Levinson's touch manages to combine the serious topics with just the right touches of gentle humor. The edges are softened, but the tale is more palatable. Fine performances all around and the ambiance does a wonderful job of transporting us back to the days of Levinson's youth. R for language.
THE LIBRARIAN: CURSE OF THE JUDAS CHALICE (NR) 90 minutes * * * In this third adventure in the series, Flynn (Noah Wyle) discovers even more secrets hled in the depths of the library, including some of the larger items in the collection. The chalice of the title is the item Flynn must retrieve this time, but it's curse has to do with the legend that those who drink from it are granted eternal life, but at the cost of a continued need to drink blood. Another exciting chapter in the saga of... The Librarian!
THE LIBRARIAN: QUEST FOR THE SPEAR (NR) 104 minutes * * * OK, so being a librarian doesn't sound like an exciting job, but as Flynn Carsen (Noah Wyle), discovers, there's more than meets the eye. Especially when the library where you work happens to have a secret area that houses amazing artifacts like Excalibur, Pandora's box, the Mona Lisa, and the Ark of the Covenant. Also there is part of the Spear of Destiny, and when it's stolen, Flynn must use his vast knowledge and locate the other pieces before the evil Serpent Brotherhood. Aided by his attractive bodyguard Nicole (Sonya Walger), Flynn finds himself on an adventure he won't forget. It's fun, lighthearted entertainment that, while similar in some ways to the Indiana Jones series, manages to be different enough that we still enjoy it. Wyle's nerdy performance works well and Walger does a great job as well. Jane Curtin and Bob Newhart are the other two people who work in the library and have fun with their roles as well, as does Olympia Dukakis, who portrays Flynn's mother.
THE LIBRARIAN: RETURN TO KING SOLOMON'S MINES (NR) 91 minutes * * 1/2 Noah Wyle returns for a second outing as Flynn Carsen, trying to make sure that the map to King Solomon's mines doesn't fall into the wrong hands. A beautiful archaeologist (Gabrielle Anwar) will help him in this endeavor. While the two of them work well together, we are limited to only a few scenes with Bob Newhart, Jane Curtin, and Olympia Dukais, which is disappointing. As with most sequels, this falls a little short of the first, but it's not bad.
LICENCE TO KILL (PG-13) 132 minutes * * * Timothy Dalton's second outing as James Bond has him temporarily leaving the secret service to deal with a drug lord who has killed a fellow agent. The addition of Carey Lowell as an assistant to Bond is a nice touch. The story is elaborate, but manages to work well and the villain is sufficiently evil to keep our hero active. Dalton's Bond is still a little too suave, but at least he doesn't have the smart mouth of Roger Moore.
LICENSE TO WED (PG-13) 84 minutes * 1/2 Sadie (Mandy Moore) and Ben (John Krasinski) bump into each other, and the next thing you know... they're in pre-marital counseling with Father Frank (Robin Williams). it might just make them reconsider what they were planning. There are some sentimental and positive points that the film makes about marriage and communication, but the humor doesn't really fit the story, despite how funny Williams can be. PG-13 for language.
LIFE (R) 103 minutes * * Ray (Eddie Murphy) and Claude (Martin Lawrence) stumble into each others lives, and everything goes downhill from there. Arrested for a murder they didn't commit, they find themselves in prison for life. It's the story of a friendship that has its ups and downs, and lasts for life. The montage sequence late in the film that covers a 28 year period is a powerful segment. Otherwise, the film's good moments are scattered throughout with little to hold them together. It does end well, but we still feel that with the talents of these two actors, we should have seen something much better. R for language and violence.
LIFE AFTER TOMORROW (PG-13) 69 minutes * * * Fascinating look at the lives of the girls who played Annie or one of the other orphans in the musical productions of the Broadway show, Annie. The impact of the show on their lives, both at the time and even years later, is both frightening and comical. Performers who are children face different issues than adults. While the film doesn't go into great detail, the issues are raised, and we hear the effects, both good and bad, on the lives of these women. PG-13 for language.
THE LIFE AQUATIC WITH STEVE ZISSOU (R) 113 minutes * * Strange, offbeat film that follows the adventures of Steve Zissou (Bill Murray) as he attempts to find and kill the newly discovered jaguar shark that killed his friend and partner. The cast is impressive, wtih Angelica Huston, Cate Blanchett, Owen Wilson, Willem Dafoe, and Jeff Goldblum to name a few, but the film just wanders around for almost two hours. There are amusing satirical moments scattered throughout, but we keep waiting for it to go somewhere and it never does. Murray's deadpan performance is good here, but too many of the reat of the cast try to do the same, and it doesn't work very well. R for language. LIFE AS A HOUSE (R) 121 minutes * * * Just after being fired from his job, George (Kevin Kline) collapses outside his former place of employment. Now he finds that he only has a few months to live. With the time he has left, he's going to build his dream house and spend quality time with his son, who is in the midst of rebelling against everything. It's a wonderful script from Mark Andrus, delving into issues of life, death, love, parenting, and exploring them with sensitivity, honesty, and humor. Kline is a bit hard to believe as we begin, but does get better as the film moves along. Hayden Christenson is the real standout here, but Kristin Scott Thomas and Jena Malone both give strong performances as well. R for language and nudity.
LIFE AS WE KNOW IT (PG-13) 111 minutes * * 1/2 Being a parent wasn't something either Holly (Katherine Heigl) or Eric (Josh Duhamel) had planned on yet, let alone with each other. But when their friends die in a tragic accident and name them as the caretakers for their daughter, they are trying to figure out how to make it work. Perdictable story, but Heigl is a bit more charming here than usual, and several of the supporting characters have occassional bits of dialogue that add a bit of fun. Nothing particularly memorable, but a pleasant enough diversion. PG-13 for sex and language.
THE LIFE BEFORE HER EYES (R) 83 minutes * * * Diana (Uma Thurman) is a survivor. Many of the friends she had in high school didn't survive, and Diana feels guilty. We watch events unfold as the story moves back and forth between past and present. Emotions and memories can become tangled, and Diana struggles with what it all means and how she can move forward with her life. Evan Rachel Wood plays the younger Diana and she and Thurman both do great work here. The story, adapted from the novel by Laura Kasischke, does get a little confusing at times, but it's powerful and thought provoking, and worth a second look if needed. R for violence and language.
LIFE IS BEAUTIFUL (PG-13) 111 minutes * * * * She (Nicolletta Braschi) falls out of the sky and into his arms, and he falls hopelessly in love. Their romance blossoms, and so does World War II. The humor here may bother some people, but it's tragic humor. Guido (Roberto Benigni) loves his son so much that he wants to protect him from reality. It's a love so strong that it risks everything to exist, to believe that life can still be beautiful even in the midst of horror, if we love. And life IS beautiful... because we survive, we learn, and we tell the story to others. PG-13 for violence and subject matter.
A LIFE LESS ORDINARY (R) 97 minutes * * * Two of Gabriel's (yes, the angel) operatives have a task to complete. Unite a couple in a successful marriage or remain on earth. Delroy Lindo and Holly Hunter diligently set about the task, but make it rather hard on themselves when they choose Robert (Ewan MacGregor) and Celine (Cameron Diaz). He's a likeable, though not very clever young man without money. She's a spoiled rich girl with an attitude. Together, they will have something unique, exciting, and not very ordinary. R for language and violence.
THE LIFE OF DAVID GALE (R) 123 minutes * * * Convicted murdere David Gale (Kevin Spacey) is about to be executed. He's asked for Bitsey Bloom (Kate Winslet) to conduct three two-hour long interviews with him during his last three days. As the story unfolds, we discover that Gale ws guilty of a brief indiscretion with one of his university students. This led to him losing his wife, his job, and the resurfacing of his alcohol problem. But is he guilty of murder? What part of the story is still lying beneath the surface? Spacey and Winslet both do very nice work here and we are quickly involved in the story. It does get a little sentimental and predictable near the end, despite how strong of a statement is made. R for language, violence, and sex.
LIFE OR SOMETHING LIKE IT (PG-13) 95 minutes * * 1/2 Lanie's (Angelina Jolie) life is virtually perfect until a street prophet predicts her untimely demise. What she thought was the perfect reality begins to flake away, revealing the essence of life that lies beneath. It's a nice idea, but the story is too simple to do the idea justice. We're left with Jolie and Edward Burns giving us likeable performances despite the rather shallow characters they are playing. Nice collection of songs for the soundtrack. PG-13 for language.
LIFE SUPPORT (NR) 83 minutes * * * Queen Latifah is Ana, a woman with HIV. She works to educate others and does what she can to help people who are living with a disease that is still very much misunderstood despite how many people are affected. It's a simple and very real story about HIV and AIDS and what it means to be living with the disease. Nice supporting performances by Wendell Pierce and Rachel Nicks.
LIFE WITH MIKEY (PG) 87 minutes * * * Mikey (Michael J. Fox) is a one-time child actor/star who hasn't done much lately. He lives off his old reputation and is considered by most to be washed up. Then he meets Angie (Christina Vidal), a pickpocket with a flair for acting, and Mikey sees opportunity knocking at the door. This is Fox at his most entertaining, and Vidal is a real find. If anything, you'll be sorry that this is over so quickly, because it's so much fun to watch. PG for language.
LIGHT IT UP (R) 92 minutes * * A run-down inner-cty school and a brand new security guard with a chip on his shoulder. Add it up and you've got a problem waiting to happen. Even good kids can do the wrong thing given the right set of conditions. There isn't really much new here, but the performances are good and the characters interesting to watch most of the time. Stale direction and an uninventive story are to blame for the problems here. R for language and violence.
THE LIGHTKEEPERS (PG) 93 minutes * * Seth (Richard Dreyfuss) finds a young man washed up on the shore near the lighthouse he tends. The young man has no memory, but is interested in helping with the work at hand. they have a sort of he-man, woman-haters club going, but when two women come out to stay at the cabin nearby for a few weeks, their attitudes begin to change. Dreyfuss is a bit too much like a grouchy leprechaun, though he does soften a bit as the film progresses. Inspired by the story, "The Woman Haters" by Joseph C. Lincoln. Filmed in Cape Cod, Massachusetts. PG for language.
LIGHTNING IN A BOTTLE (NR) 93 minutes 1/2 Preachy film about drinking and driving with Lynda Carter as the person guilty of causing a car crash that leaves two people dead and one in a coma. Low-budget production that tops it off by breaking into song at the end.
LIGHTNING JACK (PG-13) 94 minutes * 1/2 Paul Hogan tries his hand at another version of the wild west. This one has him portraying a little known companion of the Younger brothers who ends up on his own for awhile. His new sidekick is mute and can't shoot a gun. The movie isn't on target either, which pretty much parallels Hogan's career after his only successful film, "Crocodile Dundee". PG-13 for language.
LIKE A FISH OUT OF WATER (NR) 87 minutes * * * The plan is to steal a very valuable tropical aquarium fish and then sell it back to it's owner. It might work except for all of the double-crosses and idiotic mistakes... Fun and fast-paced French comedy/thriller, this is a delight to watch! Featuring Tcheky Karyo and Monica Bellucci, fans of films like "Fargo" and "Snatch" can add this to their list of favorites.
LIKE DANDELIION DUST (PG-13) 98 minutes * * 1/2 Wendy (Mira Sorvino) never thought she;d see her son again. Molly (Kate Levering) thought the adoption was ancient history. The fathers (Barry Pepper and Cole Hauser) engages in battles of various kinds, while the mothers understand that letting go is the better way to express their love, and in doing so, they both succeed in gaining more than they had before. The acting falls a bit short here, but the script doesn't really give them a great deal to work with. Filmed in Jacksonville, Florida. PG-13 for language.
LIKE FATHER LIKE SON (PG-13) 95 minutes * Fatehr and son who don't understand each other end up switching bodies through the accidental use of a potion. Dudley Moore and Kirk Cameron star in this overused plot idea that offers nothing original. Fans of Moore and/or Cameron might be interested, but probably no one else.
LIKE MIKE (PG) 94 minutes * * 1/2 Calvin Cambridge (Lil' Bow Wow) finds a pair of sneakers that may have once belonged to Michael Jordan, and now he can play just like him. He gets signed to an NBA team and may be adopted by a nice, wealthy family. But is it what he really wants? This plays more like an after school special, but Lil' Bow Wow does know how to work the camera, which makes it a pleasant experience to watch and the message is nice as well. Solid supporting performances from Morris Chestnut and a couple of others as well. PG for language.
LIKE MIKE 2: STREETBALL (PG) 92 minutes * 1/2 Another kid, another pair of magic sneakers, but this time around we don't have Lil' Bow Wow around. It's a pale imitation of the first film. It's harmless enough, but watching the first one for a second time is probably a better way to be entertained. PG for language.
LIKE STARS ON EARTH (PG) 155 minutes * * * 1/2 Ishaan's (Darsheel Safary) life is full of wonder and magic ,but he has trouble in school. One very astute teacher spots the problem and a star that was already there, begins to sparkle a little more brightly. Witty and sensitive performance by Aamir Khan as Nikumbh. Would that we all had teachers and mentors who cared so deeply about us, wanting to see us reach our full potential. PG for violence and language.
LILO & STITCH (PG) 78 minutes * * * Stitch is a monster on the run, created by a scientist from another planet, he's now masquerading as a dog... sort of. Lilo lives with her sister and things are getting a little rough. Her sister is having a hard time keeping employment (Stitch isn't helping) and social work may be breaking up the family. Lilo and Stitch both have some growing up to do, but they have each other to help. "Ohana" means family, and family means nobody gets left behind and no one is forgotten. Surprisingly heartwarming and sweet as the film progresses. You'll find yourself drawn to Stitch despite how ornery he is at the beginning. PG for violence.
LIMBO (R) 127 minutes * * * Alaska is a land of fortune hunters, of fishermen, and of those whose dreams haunt them. Joe Gastineau (David Straithairn) has a past with many troubles, though things seem to be turning around since he met Donna (Mary Elizabeth Marstrantonio). In the untamed Alaskan wilderness, you never know what lies around the corner. Straithairn fits this part perfectly, giving us a portrayal that is suitably tragic with an underlying realism that is haunting. Most people won't like the ending to this, but it's very appropriate and makes this one of director John Sayles stronger films. R for language and violence.
THE LIMEY (R) 90 minutes * * * This is definitely one of the most artistic action/thrillers that you're likely to see. Steven Soderbergh, director of "Erin Brokovich" and "Out of Sight" mixes flashbacks and almost dreamlike sequences with solid action and a story of vengeance. Terence Stamp is perfect as a father, just out of prison, who is investigating the "accidental" death of his daughter. Soderbergh even uses footage from "Poor Cow", an 1967 film starring Stamp, for some of the flashback sequences. Moody music from Cliff Martinez adds just the right touch to this intense and interesting film. R for violence and language.
LIMITLESS (PG-13) 99 minutes * * * What if you could take a drug that would increase everything positive about yourself? It would give you increased perception, confidence, and ability to analyze things around you as well as the ability to act on all of this new information. There are some risks, of course, but Eddie (Bradley Cooper) is confident that he can deal with those. It's an interesting idea, and Cooper plays it slick and suave, which works, though the twists and turns are less exciting than they might have been. PG-13 for language, violence, and sex.
THE LIMITS OF CONTROL (R) 110 minutes * * * Mysterious codewords, matchboxes with clues, and numerous rendevous before his unusual mission is completed. Isaach De Bankole is the Lone Man, on a mission that we wonder about for the course of the film. It's another strange film from Jim Jarmusch. Don't expect it to make a great deal of sense, at least not at first, but if you enjoy your films a little offbeat, this will be a treat. R for language and nudity.
THE LINCOLN LAWYER (R) 114 minutes * * * Very nicely crafted story, adapted from the book by Michael Connelly. Mick Haller (Matthew McConaughey) is a defense attorney who will work for just about anyone who can pay him. He's about to grab the biggest case he's ever had. Great supporting cast that adds quite a bit of depth to this, though a little more backstory on Haller would have been nice. R for violence, sex, and language.
LINDA LINDA LINDA (NR) 112 minutes * * * Winning th rick festival contest at their high school in Japan is going to be difficult. They;ve had to replace their lead singer with not much time left to practice... and she doesn't speak Japanese very well at all! This runs a little long and has a few rough spots early in the film, but manages to finish very nicely.
LINEWATCH (R) 86 minutes * * 1/2 Nice work from Cuba Gooding Jr. in this story about working for the U.S. Border Patrol. Michael (Gooding) has been on the job for a number of years, but the world of gangs and drugs that he left is about to come into conflict with his work. Illegal immigrants aren't the only things that move across the border. The story isn't that original, but it's written well, keeps our attention, and Gooding makes it work. R for violence and language.
THE LION KING (G) 82 minutes * * * 1/2 Wonderful music and some great characters here, but it's a violent tale of jungle life. The animation style (lots of bright colors and simply drawn animals) would make you think it's for the littlest children, but the violence will scare them. Not among Disney's best material, though it has been one of their most popular.
LIONHEART (R) 101 minutes * * 1/2 Jean Claude Van Damme deserts the foreign legion in favor of street fighting and gets into the usual number of fights in this martial arts film. More money apparently went into this production than many of Van Damme's other films, but the script wan't one of the things money was spent on.
LION'S DEN (NR) 106 minutes * * 1/2 Circumstances would seem to indicate that Julia (Martina Gusman) is responsible for the death of her lover. Pregnant and in prison, she struggles with how to raise her child under these conditions. But trusting anyone on the outside, even her mother, seems to prove only how everyone wants to betray her. She trusts no one, but will fiercely defend her child and her right to be his mother. It's an emotional story, but the intensity tends to fluctuate dramatically and loses our interest at times.
LIONS FOR LAMBS (R) 84 minutes * * 1/2 The plot here involves a new plan for how to win the war in Afghanistan, focusing on two particular groups of people... the ones who are trying to fight the war, and those who have the ability to create change. The script is very wordy and heavy with political philosophy, making it a bit difficult to watch. The points are good, but this tends to shy away from making even stronger statements about political inaction. Robert Redford, Meryl Streep, and Tom Cruise are all good here, but the script seems to tie them down, making their performances seem somewhat restrained. R for violence and language.
LISA (PG-13) 91 minutes * * Two 14-year-old girls who like to play detective end up latching onto a real murderer who begins to try and track down this mysterious "woman" who is calling him. It's an interesting film, with good music and photography, but it lacks the strength of story it needs as it nears the end.
LISTEN TO ME (PG-13) 105 minutes * * 1/2 Kenmont College... a college that lives to win in debate, "the scariest, most fascinating sport on the planet". Except someone forgot to tell the person who wrote the script... Story is packed so tightly together that we have no time to digest it and nothing to hold on to. The fact that the soundtrack has nothing memorable doesn't help either. This film was crying out for a good theme song! Jami Gertz and Kirk Cameron both do nice work here, and it's good to see Quinn Cummings in her first feature film role since "The Goodbye Girl", but actors can only do so much when the script doesn't give them the room they need to really portray their characters. PG-13 for language.
LITTLE ASHES (R) 104 minutes * * * Friendships offer unique insights into the lives of people, and it's especially interesting to see how friendships affected the lives of those who become famous. This is the story of the University days of Salvador Dali (Robert Pattinson), Luis Bunuel (Matthew McNulty, and Federico Garcia Lorca (Javier Beltran). Pattinson's performance, or perhaps it's simply Dali's eccentricities, detract from the story a little. Still, it's an interesting story, and well-presented. Beautiful Spanish countryside throughout as well. R for sex and language.
LITTLE ATHENS (R) 101 minutes * * They're young, reckless, and going nowhere. Slice-of-life approach that wanders through the lives of a number of young people in a small town. The film never really goes anywhere, and stops with no real resolution or purpose despite some very nice performances. Interesting characters, but without much direction, they seem distracted, lost, and desperately in need of some help. This is director Tom Zuber's second film, but the only improvement seems to be better film and sound quality. R for sex, language, and violence.
LITTLE BIG LEAGUE (PG) 112 minutes * * 1/2 "I don't care how young you may be, I trust you." So says Thomas Haywood to his grandson... and a lot of trust it takes to believe that young Billy will be able to teach the Minnesota Twins the lesson they need to learn. Filled with wonderful supporting performances, but Luke Edwards just can't carry this film as the lead. The subtleties we need to see are just not there, leaving the film rather flat. PG for language.
LITTLE BLACK BOOK (PG-13) 100 minutes * * 1/2 Fun romantic comedy with Brittany Murphy starring as Stacy Holt, a young woman who decides to look through her boyfriend's address list. Her life quickly turns into something that very much resembles the tabloid TV show she works for, especially when it backfires. Until we get tot he end, there's little more than fluff here, but it's still fun to watch. She's well supported by by Holly Hunter and Kathy Bates among others, allowing her to keep things light and airy and leave us with a smile on our face almost the whole way through. PG-13 for language.
LITTLE BOY BLUE (R) 97 minutes * * 1/2 Rather twisted story of a young man trying to hold on to the few pieces of his life that mean something while waiting for a chance to start over. Nice acting work by the entire ensemble, though the abuses portrayed may be a bit intense at times for some to watch. R for sex, violence, and language.
LITTLE CHILDREN (R) 131 minutes * * * Sarah Pierce (Kate Winslet) doesn't quite fit with the other young married women in town, and finds herself attracted to a man who many of her friends find attractive as well. The fact that he's married doesn't seem to make a difference. Meanwhile, Sarah isn't the only person who doesn't fit in. Ronnie (Jackie Earle Haley) is a convicted sex offender, and Larry (Noah Emmerich) is a cop who is trying to make up for some mistakes he's made. The characters definitely seem real here, and some of the performances are quite good, but how these individual stories fit together seems to evade us. Tom Perrotta's novel from which this was adapted may have addressed this aspect more clearly, but what we have here is some narration to fill in the gaps with an almost humorous tone. It helps us understand the tone of the film, but still doesn't fill the gaps. R for sex and language.
LITTLE FISH (R) 109 minutes * * * Tracey (Cate Blanchett) is a former addict who is trying to work her way out of the problems of her life. But no matter how hard she struggles, she finds a setback around every corner. Her potential new love interest is a drug dealer, her old boyfriend is back and isn't any better, involving her brother, who has bad luck all his own, in a drug deal. They are little fish in a big pond, but aren't we all? Why is it that some of us make it and others don't? Blanchett's wonderful performance is no surprise, but there are several nice supporting performances as well and they more than compensate for some weaknesses in the script. R for language and sex.
LITTLE FOCKERS (PG-13) 92 minutes * * Jack Byrnes (Robert DeNiro) is ready to pass on the responsibility of caretacking the family, and is considering Greg (Ben Stiller) for the role of "god-focker". Third in the series, and the humor is continuing to grow more tired with each new entry. For Focker-fans only. PG-13 for language and sex.
LITTLE GIANTS (PG) 100 minutes * * Yet another kids movie about losers who eventually win. It's watchable, but there's nothing you and your kids haven't seen dozens of times already. Rick Moranis and Ed O'Neill add nothing to the film. The only performance of note is by Shauna Waldron. The team's cheer, "Giants, Giants, help us God!" applies to the film as well.
LITTLE INDIAN BIG CITY (PG) 87 minutes * 1/2 You probably won't hear much about this since "Jungle 2 Jungle" was so much more successful. If you can see the subtitled version of this rather than the dubbed version, it's a little better. The boy is quite good here as he explores "civilization" for the first time and the film does have a good finish.
LITTLE MAN (2005) (NR) 108 minutes * * * Amazingly personal documentary by director Nicole Conn. She and her partner have a second child whose chances of survival are very slim due to his extremely premature birth. Conn invites us to explore the difficult questions of life and death that they face as well as giving us a chance to get to know their "Little Man", Nicholas. It's rare to see a documentary that is so honest and challenging at the same time.
LITTLE MAN (2006) (PG-13) 90 minutes 1/2 After stealing a huge diamond, Calvin (Marlon Wayans) stashes it in a purse to avoid detection. Now he has to masquerade as a baby to try and get it back from the couple who has it. Momentarily sentimental, but mostly stupid. The special effects work that puts Marlon's head on a couple of different, smaller bodies is done nicely, but the film isn't really worth watching just for that. PG-13 for language and violence.
LITTLE MAN TATE (PG) 95 minutes * * * What do you do when your child is a genius and you aren't? Do you provide as many opportunities as you can for their education by sending them off to a special school, or keep them at home and treat them as though they were normal? There are many options and many good reasons for each choice. The deciding factor is how the parent's love for the child will be expressed. This is Jodie Foster's first film as a director. And much like little Fred Tate (played to perfection by Adam Hann-Byrd), whose story we see when he is eight years old, Foster began her feature film career when she was eight. The identification she feels with Fred comes through in how she directs this film. The characters could use a little more depth, but it's still a powerful piece of work from a first-time director. PG for language.
LITTLE MANHATTAN (PG) 87 minutes * * * Gabe (Josh Hutcherson) is ten years old and he's never felt like this before. He's known Rosemary (Charlie Ray) his whole life, but now there's something different. A sick feeling in the pit of his stomach, and an inability to say what he wants to, or even do what he wants when she's around. Could it be.... love? Charming look at first love with excellent performances by both Hutcherson and Ray. It's rather heavy on narration, though there are severeal sequences that allow the camera to talk as well. It's a romance story for the whole family... and those aren't easy to find. PG for language.
THE LITTLE MERMAID (G) 77 minutes * * * 1/2 Based on the Hans Christian Andersen fairy tale, this musical Disney version definitely takes a more lively approach. Upbeat music by Alan Mencken and Howard Ashman sets the tone and cute and funny little sea creatures are included to ensure the sales of an infinite number of movie related merchandise. It's relatively short and moves along quickly, which means that the kids' attention doesn't have much time to stray. The only real drawback is that the animation is not what Disney studios could have delivered.
THE LITTLE MERMAID: ARIEL'S BEGINNING (G) 71 minutes * * 1/2 Another Disney straight-to-video sequel with much the same result. The animation os adequate, but the music is lacking the power and polish present in most theatrical releases. It is nice to see more of Ariel's sisters as we hear more about an earlier part of the story when their father didn't allow music to be heard in the kingdom as it reminded him of the death of his wife. Ariel's fans will enjoy this, but don't worry about buying the soundtrack.
LITTLE MISS SUNSHINE (R) 97 minutes * * 1/2 Dad (Greg Kinnear) isn't having any luck selling his motivational success program, Uncle Frank (Steve Carell) is home from the clinic after trying to kill himself over a failed love affair, Grandpa (Alan Arkin) has been evicted from the retirement home, older brother Dwayne (Paul Dano) has taken a vow of silence, and mom (Toni Collette) is trying to hold everything together. Olive (Abilgail Breslin) just wants to win the Little Miss Sunshine beauty contest, and she knows she has a chance. But can her dysfunctional family get her there in time? Will Grandpa's coaching really help? And what's so important about this contest anyway? The humor here is a bit uneven, with some wonderful bits, and others that just seem to fizzle. Collette seems to do a better job than the rest, but it may be because she doesn't really have any funny bits to worry about. Carell does some nice work as well, but it's the serious scenes, not the funny ones, that stand out. R for language.
LITTLE NEMO: ADVENTURES IN SLUMBERLAND (G) 80 minutes * * * The adventures of a little boy in the land of sleep. The animation is beautiful, especially the excellent use of different colors to highlight moods. There are some nice songs by Melissa Manchester here as well, but it's not a film that most children are likely to watch over and over. Icarus has the best lines, though you have to listen carefully to catch them as most of them are mumbled.
LITTLE NICKY (PG-13) 83 minutes * 1/2 Satan (Harvey Keitel) is going to fade away to nothing if Little Nicky (Adam Sandler) can't get his two brothers to come back to hell. That's the story. Sandler has his moments here, and the cast is impressive, with a huge list of comedians and others who contribute. But all we really end up with a a few funny scenes that are poorly strung together. A far cry from what Sandler is capable of though his fans will still enjoy it. PG-13 for language and violence.
A LITTLE PRINCESS (G) 91 minutes * * * 1/2 Though not completely true to Frances Hodgson Burnett's novel, this is a charming adaptation. Left at a boarding school while her father goes off to war, Sara (masterfully played by Liesel Matthews) has to adapt to the cruel ways of the headmistress. Even in the midst of her own hardships, she sees the needs of others and reaches out to help them. Patrick Doyle's music tops off a fine film for both young and old.
THE LITTLE RASCALS (PG) 76 minutes * 1/2 If you love cute kids... you may still find this a bit hard to watch. The kids are adorable, but most of them aren't very good actors. That may sound a bit harsh, but there are plenty of cute kids out there who do commercials and TV shows that they could've used here, but for some odd reason, they chose not to. Otherwise, this does have some of the spirit and look of the old TV show, but little of the sparkle that made it so much fun to watch. PG for language.
LITTLE SPARROWS (NR) 85 minutes * * 1/2 Three young women who face questions of life and death, growth and change, as they learn of the recurrance of their mother's breast cancer and what that means. Pacing and editing are both a little rough here, and the script is heavy with emotion and cathartic drama. There are times when it works well, but the movement to the lighter moments, which are clearly needed, don't work well, and the film struggles with how to not collapse under the weight of its depressing story at times.
THE LITTLE VAMPIRE (PG) 88 minutes * * Tony (Jonathan Lipnicki) and his family have moved to Scotland and Tony keeps having these strange dreams about vampires. But these aren't ordinary dreams, and Tony soon finds himself helping some real vampires who are trying to free themselves from a centuries old curse. Adapted from the "Little Vampire" books, this is a fun story and Lipnicki does a great job in the lead role. The story has been rather stripped down, which is unfortunate, but it's still a cute vampire film that shouldn't be too scary for most kids. PG for violence.
LITTLE VOICE (R) 97 minutes * * * She doesn't talk much, but LV (Jane Horrocks) sure can sing. The problem is that she's stayed inside so long, no one knows if she can really show off this talent. She's more than just a little on the shy side. Horrocks is terrific as she recreates her role from the play, and Michael Caine won a Golden Globe award for his performance. Ewan MacGregor's timid character adds some nice variety as well. It's a quirky little film in some ways, but there's an undeniable charm here that wins us over quickly. R for language.
LITTLE WOMEN (1994) (PG) 113 minutes * * * Winona Ryder does an outstanding job with the character of Jo March here, but her co-stars do their part as well. Kirsten Dunst, Susan Sarandon, Gabriel Byrne, and Claire Danes are all wonderful. The story is a bit too wonderful to take at times, and you might find the feminism present a little out of place, but overall, it's a nice package.
LIVE FLESH (R) 96 minutes * * * Victor's (Liberto Rabal) life gets off to a rocky start, but things take a really nasty turn when he ends up in jail. Determined to take revenge on those who put him there, he soon discovers something else abuot himself. Passionate characters whose lives are more tightly entwined than they realize, this is a beautifully filmed character study from director Pedro Almodovar, adapted from Ruth Rendell's novel. A treat not to be missed. R for sex and violence.
LIVE FREE OR DIE (R) 87 minutes * * 1/2 Rugged (Aaron Stanford) is a local legend, though not in the good sense. But if the truth were known, there's a very different story. He's always running some sort of small scam, trying to make hismelf look more impressive than he is, and now that an old friend has come back to town, he has even bigger plans. Unusual characters and an interesting story make this indie flick well worth a look. R for language.
LIVE FREE OR DIE HARD (PG-13) 124 minutes * * 1/2 An article entitled "A Farewell to Arms" by John Carlin provided the basis for this entry in the "Die Hard" series. Someone is planning a three stage strike against the US, tangling the transportation system, disrupting the economic system, and shutting down the utilities. The end result will immobilize the country. There is plenty of action, right from the start, and Bruce Willis has fun with how much more difficult it is to be so active when he's not getting any younger. The stunts, and the story, get more unbelievable as they go along, but hold up fairly well until late in the film. PG-13 for violence and language.
THE LIVES OF OTHERS (R) 132 minutes * * * Winner of the Best Foreign Language Film Oscar, this film follows East Germany's Minister of Culture (Ulrich Muhe) as he begins to investigate a playwright and his actress companion. They appear to be loyal, but something doesn't seem right. Perhaps not believing what you see says something about yourself. It's a fascinating character study, though we still needed to see more about Muhe's character. The ending is quite good, but could have been even more powerful. Excellent first feature film from writer/director Florian Henckel von Donnersmarck. R for sex and language.
LIVIN' LARGE (R) 91 minutes 1/2 A black kid from the "projects" gets his chance to make it big on TV only to find himself "turning white" in the process. Herbie Hancock's music is nice, but that's about it. R for language.
LIVING & DYING (R) 87 minutes * Thieves have their plans foiled when some other people show up on the scene. Taking the robbers and several others hostage, the deadly game begins. Everyone isn't who they appear to be though, but the story is not told well, so we don't really care. Arnold Vosloo delivers a good performance, but everyone else is two-dimensional at best. R for violence and language.
THE LIVING DAYLIGHTS (PG) 127 minutes * * * James Bond (Timothy Dalton) has to travel the world to stop an arms dealer from starting another world war. Fairly typical Bond film with lots of beautiful locations, plenty of action, and lovely ladies. Dalton's Bond is clearly stronger than Roger Moore's. Slick, but with a harder edge and a more refined sense of humor.
LIVING IN EMERGENCY (NR) 90 minutes * * * Profiles of four of the doctors who serve MSF (Medecins Sans Frontieres - Doctors Without Borders). To say that the work is challenging is an understatement. Conditions are more often terrible than not, and patients may not have ever seen a doctor before in their lifetime. Decisinos frequently have to be made very quickly because so many others are waiting and resources are so scarce. These are powerful stories, and this documentary offers an amazing look into the lives and work of these doctors and an organization that does so much, though there remains much more to be done.
LIVING IN OBLIVION (R) 89 minutes * * * 1/2 Masterful and unique look at the production of a low-budget film. Steve Buscemi is the director, on a set where almost nothing seems to go the way it's supposed to. Surreal and satirucal, this will definitely have more appeal to those with an interest in film or theater production. Writer/director Tom DiCillo has given us a film that is both entertaining and revealing, and a delight to watch. R for language and nudity.
LIVING OUT LOUD (R) 95 minutes * * * Holly Hunter and Danny DeVito play two people who have both had it a bit rough of late. But it isn't going to be love at first sight for them. Friendship maybe, but that may be it. Life can be tough, and the best way to make it is to just grab ahold and live it. As Queen Latifah says in the film, "You take the good with the bad." The film has an incredibly real feeling as it takes a rather depressing story and overlays it with a light and pleasant touch of hope. Filmed in Los Angeles and New York City. R for language and nudity.
LIVING PROOF (NR) 88 minutes * * * Plenty of big name acting talent in this TV movie about the development of the breast cancer drug Herceptin. Adapted from the book "Her-2" by Robert Bezell. The performances are both emotional, and fairly typical for this sort of medical drama. Starring Harry Connick Jr., Bernadette Peters, Regina King, Angie Harmon, Tammy Blanchard, Amanda Bynes, Amy Madigan, and Swoosie Kurtz among others.
THE LIVING WAKE (PG-13) 88 minutes * * * He may be about to die, but K. Roth Binew (Mike O'Connell) has a few things left to do before he leaves this world. To say he's eccentric would be an understatement. Mills Joaquin (Jesse Eisenberg) dutifully drives him around and takes notes for a biography to be published after his demise. It's a very dark comedy, but quite poignant as well, with an ending where your reaction may be just as surprising as the events. Interesting thoughts about both life and death. Filmed in Southern Maine. PG-13 for sex.
LIVING WILL (R) 96 minutes BOMB It was difficult to tolerate Belcher (Ryan Dunn) when he was alive. Now that he's back from the dead, it's worse. Will (Gerard Haitz) is just trying to move on, but Belcher wants to spend more time with his buddy, and it's causing problems. There's a moral about friendship here, but the characters are so unlikable that it gets lost. R for language and sex.
THE LIZZIE MCGUIRE MOVIE (PG) 88 minutes * * 1/2 Lizzie's (Hilary Duff) 8th grade class takes a trip to Rome where she discovers that she looks a great deal like a certain Italian pop star. The move from small screen to large works well. Duff does a nice job with this character and has fun as well. Full of catchy tunes, many of which Duff sings, it's a nice story about friendship and loyalty that's pleasant enough for the whole family. PG for language.
LOADED (R) 95 minutes * 1/2 It started out as fun, but Tristan (Jesse Metcalfe) doesn't know when to stop, and he keeps digging the same whole only deeper. The performances are reasonably good, but the characters have no depth and the story just never seems to go anywhere. It looks good, but it takes more than set and costumes to make a film. R for language, violence, and sex.
LOCAL COLOR (R) 104 minutes * * An artist looks back on his earlier days, sharing his memories of a mentor with us. Unnecessary narration and a very mediocre performance by Trevor Morgan undercut most of the emotional power this film might have had. The rest of the cast does a good job, but it's just not enough. R for language.
LOCH NESS TERROR (R) 87 minutes 1/2 When he was a young boy, James (Brian Krause) saw the monster from the lake. Now he's back to see if he can track it down. But the locals don't want any part of it. The ones who believe are too scared, and the rest don't want outside interference with their local ways. Unfortunately, when we do see the monsters, they are lumbering and awkward, and not all that difficult to outwit. At least this doesn't end with one more egg that's about to hatch! R for violence.
LOCK UP (R) 104 minutes * With only a short time left on his sentence, Frank Leone (Sylvester Stallone) gets transferred to a prison run by his old enemy Drumgoole (Donald Sutherland). Simplistic and shallow film with little to offer. John Amos and Sonny Landham have small roles and Bill Conti provides the soundtrack. R for violence and language.
THE LODGER (R) 92 minutes * 1/2 A serial killer is imitating Jack the Ripper. Could he be the new tenant in the guesthouse? This remake of the 1944 mystery/suspense film suffers mostly from the inexperience of first-time director David Ondaatje. The cast (Alfred Molina, Hope Davis, Rachel Leigh Cook, and Philip Baker Hall among others) has the talent, but this feels more like we're watching a rehearsal than the final product. The story has plenty of red herrings, which makes it interesting, but watch the original and skip this remake. R for violence, language, and nudity.
LOGGERHEADS (PG-13) 91 minutes * * 1/2 Mark (Kip Pardue) has an interest in protecting Loggerhead turtles, and journeys to the Carolina coast to lend a hand. The feelings Grace (Bonnie Hunt) has had about needing to contact the son she put up for adoption have been intensifying lately. Elizabeth (Tess Harper) is also feeling a hole in her life with the absence of her adopted son. Three separate stories, yet connected. Well-acted, gentle story that quietly weaves its way. Nothing outstanding, but good drama, worth watching. PG-13 for language.
LOL (NR) 78 minutes BOMB The idea is to see how technology has affected the way men deal with relationships. Unfortunately, as this is a very low-budget film, technology is sorely lacking. So are a good script and anyone who can act. There is a mildly interesting subplot about filming people making noises with their mouths, but it's not worth the torture of watching the rest of this mind-numbing film to see.
LONDON (R) 87 minutes * * 1/2 London (Jessica Biel) is leaving town and her friends are throwing her a big party. Her ex-boyfriend Syd (Chris Evans) crashes the party in a desperate attempt to win her back. He's only beginning to understand why his life is falling apart without her. Strong characters here, but the film is very talky, and were it not so short, we'd be ready to leave early anyway. Fairly good work by both Biel and Evans, with Jason Statham supporting, but the peripheral characters almost seem pointless. R for sex, language, and violence.
LONELY HEARTS (R) 102 minutes * * Fictional account of the "Lonely Hearts killers", a couple who selected their victims through personal ads. The story deal quite a bit with how Ray (Jared Leto) and Martha (Salma Hayek) get caught in each other's traps and end up working together. Their relationship is, in turn, their downfall, as it twists and warps the way they relate to others, including their victims. The film noir style is an effective way to present the story, but feels a bit forced at times. Hayak seems uncomfortable with her character as well, and not all that convincing. R for violence, sex, and language.
LONELY STREET (R) 87 minutes * 1/2 Boring mystery/commedy, heavy on narration and light on entertainment. What's missing is the right balance between humor and mystery. Instead, we get a story that swings back and forth between the two. Adapted from the book by Steve Brewer. R for language and violence.
LONESOME JIM (R) 88 minutes * * 1/2 Jim (Casey Affleck) sees himself as a failure in many ways, and decides to move back home at the age of thirty. While helping with the mundane activities of his family, he finds a little romance he didn't expect. Even then, he struggles, because after so many disappointments, thinking positively doesn't come very easily. Offbeat character study with nice performances by Affleck and Liv Tyler. Affleck's character is difficult to like, but we still find ourselves sympathizing with him at some level. Filmed in Goshen, Cromwell, and Ligonier, Indiana. R for sex and language.
THE LONG KISS GOODNIGHT (R) 111 minutes * * * 1/2 Unnerving, to say the least, that one could lose their memory. But what if you discovered that you'd been something totally different before the memory loss... like an assassin! Geena Davis does an outstanding job of making this believable. The story is laid out well and makes this a nailbiter almost all the way through! Great stunt work (much of it done by Davis) makes this a real treat to watch. One of the few films I'd like to see a sequel to. R for language and violence.
THE LONG SHOT (NR) 92 minutes 1/2 Typically overly emotional and over-acted Hallmark TV movie. The script completely ruins potentially good performances from Marsha Mason and Julie Benz. Most of the supporting roles seem to be played by actors with very little in the way of acting talent, though again, the dialogue, along with the awkward pauses do a wonderful job of ruining pretty much anything good that might have been there. Nice horses though...
THE LONG WALK HOME (PG) 92 minutes * * * Whoopi Goldberg and Sissy Spacek star in this version of the Alabama bus boycott, narrated by Mary Steenburgen. The film pulls its punches and paints a picture that's nicer than what happened, but it still gets the point across, and may be easier for some people to watch. Filmed in Alabama.
THE LONGEST YARD (2005) (PG-13) 107 minutes * * 1/2 This remake of the 1974 comedy about a football game between prison inmates and their guards is definitely better than the soccer version of 2001 (Mean Machine), but still doesn't quite have the strength of the original. Sandler isn't much of a leader here, and the rest of the crew get in line a bit too quickly, though in some ways, they're never really that badly behaved. There are moments, but this is definitely one of Sandler's more mediocre projects. PG-13 for language and violence.
LONGFORD (NR) 92 minutes * * * Lord Longford (Jim Broadbent) believed in forgiveness and in the goodness of others. It's what motived him to visit people who were in prison as a way to live out his faith. When Myra Hindley (Samantha Morton) asked for him to visit, there was no hesitation. The fact that she had been convicted of one of the most heinous crimes didn't matter to him, though it would eventually have far more of an impact on his life than he ever thought possible. Broadbent delivers a bravura performance in this interesting look at two very different people, and how their lives affect each other.
THE LONGSHOTS (PG) 89 minutes * * 1/2 Keke Palmer stars as Jasmine Plummer, the first female quarterback in Pop Warner football history. Though her uncle doesn't really want to, he ends up watching Jasmine in the afternoons to help out. That's when he discovers her talent. Teaching her what he knows, she quickly becomes better than anyone expected, and earns the starting position on the team. Based on Plummer's true story and also starring Ice Cube. PG for language.
LOOK BOTH WAYS (PG-13) 93 minutes * * * Creative and imaginative film that explores the effects of a train accident on various people. At the center of the story are Meryl (Justine Clarke), who was a witness, and Nick (William McInnes) who is a photographer on the scene shortly after. They wonder about their different reactions and about the reactions of others. Should they feel differently than they do? Why do accidents like these happen? It's a wonderfully artistic exploration of philosophical questions. You can look both way and accidents will still happen. The "good" news is that, as the lyrics in the closing song remind us, we should never worry, because there's always someone who is suffering more than we are. PG-13 for sex, violence, and language.
LOOK, UP IN THE SKY! THE AMAZING STORY OF SUPERMAN (NR) 108 minutes * * * 1/2 Not just for fans of Superman, this in-depth documentary is packed with just about everything you could ever want to know about the man of steel. From his comic book origins to his return to the big screen in 2006, we're treated to a detailed and thorough examination of all things Superman. And it's not limited to the well-known material, though that is present as well. There are screen tests for people who didn't get the role, interviews with numerous stars from film, television, and the world of comics, clips from a TV parody that was never aired, and much more. It's an excellent look at a cultural icon and why it still holds so much power after so many years. Narrated by Kevin Spacey.
LOOK WHO'S TALKING (PG-13) 90 minutes * * * Kirstie Alley and John Travolta work together quite nicely here, and it's evident that they had fun while making this film. The babies that play the part of Mikey as her grows up (there are four of them) are wonderful as well. And we can't forget Bruce Willis, who provides the voice of Mikey. It works better when they don't try to get the words in sync with the movements of the babies mouth, but the lines keep us laughing just the same. The humor is frequently sexual in nature, thus the PG-13 rating.
LOOK WHO'S TALKING NOW (PG-13) 91 minutes * * Mostly harmless fluff aimed at those who don't mind watching an hour and a half of dogs talking to each other. John Travolta and Kirstie Alley look like they wish they hadn't signed their contracts, but it manages to be mildly amusing for the most part. PG-13 for language.
LOOK WHO'S TALKING TOO (PG-13) 75 minutes 1/2 Virtually worthless sequel with only a couple of cute lines and a few cute looks from the kids. They add a baby girl to the story this time, but it doesn't do much. At least it's not too long!
LOOKING FOR COMEDY IN THE MUSLIM WORLD (PG-13) 94 minutes * Less-than-funny effort from Albert Brooks, which has him travelling to India (because there are Muslims there too) to see what makes them laugh. More self-indulgent than usual, and relying on far too many inside jokes, this is unlikely to appeal to anyone outside of a few of Brooks' hardcore fans. Maybe he should have tried to look for comedy in a script... PG-13 for language.
THE LOOKOUT (R) 94 minutes * * 1/2 Chris (Joseph Gordon-Levitt) had everything going for him. After a tragic accident, it's all he can do to keep a job and earn enough to live on his own. But his job at the bank looks like a promising opportunity to someone else. Someone who is more than willing to use Chris to get what they want. Nice, sensitive portrayal by Gordon-Levitt in this dramatic look at the changes and challenges life sometimes brings. R for language, violence, and sex.
LOONEY TUNES BACK IN ACTION (PG) 84 minutes * 1/2 It's not just the Looney Tunes that are back in action... but numerous other Warner Brothers actors and actresses as well. The problem is that despite a good deal of enthusiasm from Brendan Fraser, Jenna Elfman, and a few others, the story just doesn't add up to much. PG for violence.
LOONEY TOONS HALL OF FAME (G) 85 minutes * * * 1/2 Good variety of classic Warner Brothers cartoons, twelve in all. It's always fun to see collections of the old ones like this, even though the first one (Curtain Razor) isn't all that great.
LOOSE CANNONS (R) 90 minutes * * Two Washington D.C. cops are on the trail of a home movie made by Hitler... OK, not a great idea for a film to begin with. Too much of the humor here is tacky and in poor taste. Gene Hackman's presence gives the film a little bit of class, but only a little. R for language.
LOOSE CHANGE 9/11 (NR) 95 minutes * * * Comprehensive and thorough examination of the facts surrounding the events of September 11, 2001. It's an amazing array of information, and makes it difficult to imagine that so many different pieces that point to the idea that the whole story hasn't been told couldn't have some truth to them. The focus here is, for the most part, one of presenting pieces of information and asking us to think about what it might mean and why it hasn't been explained by official reports. Conspiracy theorists will ove this, but others should find it interesting as well.
LORD OF ILLUSIONS (R) 104 minutes * * The death of a magician during a performance leads Harry (Scott Bakula) to believe that something out of the ordinary is going on. He's right, and we aren't surprised. The story is a bit too obvious and doesn't give us many scares except cheap noise effects. Simon Boswell's music is effective, but this is a pale shadow of what it should have been, coming from Clive Barker.
LORD OF THE FLIES (1990) (R) 86 minutes * * * Director's don't usually edit their own films, but Harry Hook has done quite nicely with this production. It's a retelling of the William Golding classic on the nature of humanity. A perspective that says, no matter how much we want to believe and hope for the best, it is violence and greed that will win in the end. Philippe Sarde's soundtrack fits the moods perfectly, and the cinematography is excellent. Hook chose to end the film without using much of Golding's closing words and the film loses something in the translation. It remains artistic, but feels empty, which is disappointing when the rest of the material is so strong.
LORD OF THE RINGS: THE FELLOWSHIP OF THE RING (PG-13) 169 minutes * * * 1/2 No expense was spared on this faithful big screen adaptation of the classic fantasy by J. R.R. Tolkien. It does run a bit long, and I would have trimmed a bit of the quest and opted for a few more minutes of Gollum. The story has been changed in a few spots, but most fans of Tolkien's story have agreed that the changes are reasonable and are anxiously awaiting the release of part two. It is a film about a quest, and being only the first part, it does leave us hanging at the end, much as the first book. It does look to be one of the few times that waiting has made it worthwhile. Hard to believe that it's from the same director who gave us "Bad Taste." Ah well, I believe he has more than made up for it with this. Filmed in New Zealand. PG-13 for violence and some rather scary and suspenseful sequences.
LORD OF THE RINGS: THE RETURN OF THE KING (PG-13) 192 minutes * * * Sets, costumes, and props all maintain the standards set by the first two films. The battle scenes are longer and more intense and more secrets are uncovered as the quest comes to an end. Unfortunately, this "chapter" drags terribly in a few spots and, by leaving out a good deal of the ending in the book, gives us a closing scene that makes little sense. Fans will be impressed and most likely appreciate this one the most as it completes the story, but it's really the least powerful and interesting of the three. PG-13 for violence.
LORD OF THE RINGS: THE TWO TOWERS (PG-13) 171 minutes * * * 1/2 Sets, costumes, special effects... all of these maintain a standard equal to or slightly better than in part one. Though some three part stories tend to lag a bit toward the middle, getting asborbed in detail, Tolkien's tale continues to offer us plenty of adventure along with some of the necessary details. The result is as entertaining as it is spectacular. The battle for Helm's Deep is over, the battle for Middle Earth is about to begin... and all our hope lies with two little hobbits. Filmed in New Zealand. PG-13 for violence.
LORD OF WAR (R) 116 minutes * * 1/2 Yuri Orlov (Nicolas Cage) is an arms dealer. His business begins to expand as he learns more. By the time he begins to wonder about the moral implications of his work, it's too late. He doesn't feel that there is anything else he can do very well. It's Cage's personal charisma and acting talents that hold this together. The script is far from subtle about the position it takes on the subject and supporting performances from Ethan Hawke and Jared Leto seem little more than cardboard characters with stilted dialogue. R for violence, language and sex.
LORD SAVE US FROM YOUR FOLLOWERS (PG-13) 99 minutes * * * Documentary about religion that does a nice job of lightly poking fun at both liberal and conservative traditions. Director Dan Merchant attempts to promote dialogue between those who have differing opinions and beliefs and shows how that dialogue can not only break down barriers, but allow both sides the opportunity to grow. PG-13 for language.
LORDS OF DOGTOWN (PG-13) 103 minutes * * 1975... there are those who surf, there are whose who skateboard, and there is the Zephyr team. Their unconventional style changed the world of skateboarding. This fictionalized account pales in comparison to the documentary "Dogtown and Z-Boys" which I highly recommend if this subject is of interest to you. The younger actors do a fairly good job in this film, but the script is very weak. PG-13 for language.
THE LORETTA CLAIBORNE STORY (PG) 90 minutes * * * Inspirational true story of Claiborne's amazing achievements both as a person and as an athlete. A tribute to what those who are mentally and physically challenged can achieve. Kimberly Elise does a magnificent job in the title role and is supported well by the rest of the cast, especially Camryn Manheim. A great film for the whole family. PG for language.
LORNA DOONE (2000) (NR) 142 minutes * * * Wonderful adaptation of the classic story from BBC television. Featuring John Ridd, this version sprawls across the landscape and the screen as it tells the story of quarreling families, revenge, love, and loss. Well-performed and beautifully photographed, this is a wonderful presentation that sweeps us into the story and keeps us there until the very end.
LORNA'S SILENCE (R) 98 minutes * * 1/2 Lorna (Arta Dobroshi) is willing to do just about anything to get heer Belgian citizenship. The plan is for her to marry a junkie to get hers and then divorce him and marry a rich Russian, who is also interested in Bengian citizenship. There are other twists and turns as well, with the focus on Lorna and how she copes with them. The story is not particularly appealing, though we do find ourselves sympathizing with her struggle, at least to a degree. R for sex and language.
LOSER (PG-13) 92 minutes * * Paul (Jason Biggs) doesn't fit in too well. He's a nice guy, but the college scene is a bit beyond what he's ever seen before. Dora (Mena Suvari) may be able to help him, but she's in love with someone else. Suvari is the best part of the film as we get to see her character move from innocence to worldliness, from young girl to young woman. There are some nice scenes, but there's also a good deal of fluff without substance. It's mildly entertaining, but could have been much better.
THE LOSERS (PG-13) 90 minutes * * * They were a special ops unit, but the CIA decided to take them out. Too bad they didn't succeed. Now, "The Losers" are coming after them. Jason Patric's villainous performance is a bit too comical for the tone of the film, and the ending is a bit anti-climactic. Otherwise, this is wonderfully packed with action and clearly has the look and feel of the comic book from which it was taken. PG-13 for violence, sex, and language.
LOSING ISAIAH (R) 99 minutes * * Jessica Lange plays the part of a social worker, who adopts a baby that has, literally, been thrown in the trash. When the mother (Halle Berry) gets her life together and wants the baby back, a court battle ensues. A wonderful cast gets lost in all the stereotyped characters as we are swept through the story in dramatic TV-movie style. It isn't bad, but it should've been much better.
LOST & FOUND (PG-13) 94 minutes * 1/2 Dylan (David Spade) sees the girl of his dreams moving into another apartment in his complex. So he steals her dog to have a chance to talk to her more. OK, nobody ever said this was going to be a brilliant film... Spade has his moments here and Sophie Marceau looks nice, but the material they have here just doesn't have what it takes to keep us interested. Spade co-wrote it, but it just doesn't work very well. Part of the problem is that Spade needs a foil to work his comedy and this film doesn't provide that character. PG-13 for language and nudity.
THE LOST BOYS (R) 92 minutes * * * * Amazing and energetic vampire film featuring a gang of young male vampires. Michael Chapman's cinematography is hypnotic, Thomas Newman's soundtrack captures the spirit perfectly, and the cast is superb. Corey Feldman, Corey Haim, Kiefer Sutherland, Jami Gertz, Barnard Hughes, Dianne Wiest, Edward Hermann, Jason Patric... Greg Cannom lends his talents for the special effects makeup, and we have a gutsy story that doesn't opt for the cheap ending! A must-see for horror fans, and a must-own for vampire fans!
LOST BOYS: THE THIRST (R) 77 minutes * * DJ X (Seb Castang) is an alpha vampire who is offering a drug to those who want to come and party. It's his blood, and he's creating an amry of vampires out of the unsuspecting who are looking for a good time. Edgar Frog (Corey Feldman) has been having it a little rough lately, but he's always up for a good fight with a vampire. He'll have to find his own team though, as Alan (Jamison Newlander) opts out of the fray. The story here is better than in "Lost Boys: The Tribe", but the energy is still a bit low. R for violence, sex, and language.
LOST BOYS: THE TRIBE (R) 90 minutes * Glossy sequel that's filled with action, but empty and somewhat pointless. A surfer and his sister move to town and end up hanging out with the vampire crew. Corey Feldman is the only one back from the original, which is rarely a good sign. Everyone else must have realized that this wasn't a good idea. There are a couple of earnest, but ultimately failed performances, but even vampire fans are likely to be a bit disappointed with this sequel. R for violence, language, and sex.
THE LOST CITY (R) 139 minutes * * 1/2 Andy Garcia pays homage to the Cuba that was, with this story of a night club owner and his struggles as Fidel Castro and Che Guevera move to take the country from Fulgencio Batista. No matter what the political structure of a country, there are those who are happy and those who are not. Fico (Garcia) finds the strength he needs to deal with the changes by holding on to his love of music. It's a good film and it's interesting to see a positive vision of pre-Castro Cuba, but Garcia choosing to direct himself was probably not the best choice. He plays the part well, but there are bits that seem disjointed and others that seem to lose intensity. R for violence.
LOST IN AUSTEN (NR) 182 minutes * * * 1/2 Amanda (Jemima Rooper) loves Jane Austen's books, but when Elizabeth Bennet (Gemma Arterton) steps into her apartment through a hidden door in the bathroom, she's at a loss for words. When she steps through the door in the other direction, she finds herself in the world of the characters she loves... but she can't get the door to open again. Now she's in the story of "Pride and Prejudice", and things aren't going the way they're supposed to now that she's there instead of Elizabeth. Rooper is delightful and does a wonderful job of entertaining those who enjoy Austen's work as well as those who are looking for a light fantasy/romantic comedy. Don't overlook this little gem!
LOST IN SPACE (PG-13) 120 minutes * * 1/2 The Robinson family takes to the big screen in this big-budget special effects extravaganza. Sent on a mission to begin colonization of a distant planet, they find themselves lost after having to initiate their hyperdrive to avoid crashing into the sun. The special effects are definitely of the highest quality, not only of the visual variety, but sound effects too. The characters, however, are disappointingly two-dimensional. We find ourselves not connecting with the Robinsons, and therefore, not caring much about what happens to them. We also find ourselves being more amused by Gary Oldman's portrayal of the evil Dr. Smith than feeling him to be a real threat. Far from the blockbuster some thought it might be, it's still an entertaining visual effects feast for those who are interested. PG-13 for violence and language.
LOST IN TRANSLATION (R) 96 minutes * * * The best way I can describe the story here is that it's romantic, but not a romance... it's a story about love, but not a love story. Bill Murray stars as Bob Harris, an American film star in Japan to shoot some commercials and advertisements. Scarlett Johansson is Charlotte, a young woman whose photographer husband tends to leave her alone despite the fact that they've only been married for two years. It's a quiet, gentle story that tends to works it's magic even after you've finished watching. Johansson and Murray are both wonderful here, and director Sofia Coppola has done a nice job of giving us a different sort of story... which isn't an easy task. R for language and nudity.
LOST IN YONKERS (PG) 110 minutes * * * 1/2 Mercedes Ruehl shines as Bella, the youngest daughter of an old German woman in Yonkers, whose grandsons have come to stay while their father tries to find a way to pay their debts. Neil Simon's story is full of memorable characters, and we find ourselves quickly drawn into the story. The two boys lose their fear and learn what it means to have "moxie", and Bella loses things too, but losing some things and gaining others... that's part of what growing up is all about. PG for language.
LOST SOULS (R) 93 minutes * 1/2 There are those who believe that evil exists and there are those who don't. Peter Kelson (Ben Chaplin) has counted himself among those who don't, but he's about to learn otherwise. There are some nice chills scattered throughout the film. Most of these are accomplished through careful direction of our attention, but there are also a number of cheap noise scares as well. Winona Ryder definitely looks the part, but the script too quickly becomes trite and boring and there's little she can do to add life to it. And to top things off, the ending is weak to say the least. R for violence and language.
LOST STALLIONS: THE JOURNEY HOME (NR) 79 minutes 1/2 Troubled teen heads to a ranch with his mother to deal with the death of his father. Amateurish acting and editing along with an incredibly simplistic script. This is the sort of film that gives "family films" a bad name.
THE LOST WORLD: JURASSIC PARK (PG-13) 122 minutes * * 1/2 There are plenty of great close-up shots of dinosaurs in this sequel, which is nice to see. What also would have been nice is if this would have had the excitement of the book. The story is sadly lacking and very uninteresting, so we have to rely on watching a fascinating mix of animatronic and computer animated dinosaurs romp through the scenery chasing actors who are looking for a better script. The special effects are setting a new standard, but this is still disappointing as a sequel. Filmed in part in Kauai, Hawaii. PG-13 for violence and language.
A LOT LIKE LOVE (PG-13) 100 minutes * * 1/2 On his way from Los Angeles to New York, Oliver (Ashton Kutcher) bumps into Emily (Amanda Peet), a rather free spirit, to say the least. It's like lightning when they connect, but they soon part, only to find themselves meeting again over the next few years. It always seems to be the same... brief, but intense connections... amazing memories... a lot like love. Peet out performs Kutcher every step of the way, though this isn't really a surprise. PG-13 for sex and language.
LOTTERY TICKET (PG-13) 94 minutes * * It's a $370 million dollar winning lottery ticket, and no one knows that Kevin (Bow Wow) has it except his grandmother, his best friend... and now the whole neighborhood. They soon find that having a lot of money doesn't necessarily make life easier. And that's before they even get a chance to cash it in. Tired story, though the performances are energetic enough to give this a little life. PG-13 for language, violence, and sex.
LOVE ACTUALLY (R) 130 minutes * * * 1/2 Love actually is all around us, you just have to look for it. Sometimes beautiful, sometimes terrible, but always there. Thus the stage is set for several little vignettes that show love in its various forms working its way in the lives of different people. The stories build well and begin to weave together quite nicely with vivid characterizations by a talented cast. Alan Rickman, Colin Firth, Emma Thompson, Hugh Grant, Leira Knightley, Liam Neeson and the rest all do admirable work in a film that is sure to leave you with a smile on your face. R for language and sex.
LOVE AFFAIR (1994) (PG-13) 102 minutes * * 1/2 This remake of the 1939 classic stars Annette Bening and Warren Beatty, the former doing a fine job, the later walking through his part with little emotion or understanding. The best scenes of the film feature Katharine Hepburn as Beatty's aunt, still full of fire and screen presence. Ennio Morricone lays down a nice soundtrack, but you're better off with the original here.
LOVE AND BASKETBALL (PG-13) 118 minutes * * That new little kid in the neighborhood can really play ball... and she's a girl! Monica (Sanaa Lathan) and Quincy (Omar Epps) grow up next door to each other. They both love basketball and sometimes each other. This isn't a bad film, but it goes on far too long and loses momentum on several occasions. Epps and Lathan have to stretch a bit too much to play teenagers, though they both deliver nice performances. PG-13 for language.
LOVE AND OTHER DISASTERS (R) 87 minutes * * 1/2 Jacks (Brittany Murphy) is constantly trying to fix up her roommate Peter (Matthew Rhys), who has fallen in love with someone he hasn't actually met. Of course, her own love life is in need of help as well, but it's usually easier to see what others need, rather than youself. Snappy dialogue, thuogh a bit contrived at times. Still, the cast makes it fun to watch, and the ending is cute as well. R for language and sex.
LOVE AND OTHER DRUGS (R) 108 minutes * * 1/2 He's shallow and cocky. She's flamboyant and carefree. They're drawn to each other for some strange reason, but will need to get past what's on the surface if they're going to make this relationship work. It's not going to be easy. jake Gyllenhaal and Anne Hathaway are both good here, though the story isn't overly romantic at times, and a bit too distant at others. Finding the middle ground seems to be a struggle, and it keeps us from connecting to the story as well as we need to. R for sex and language.
LOVE AT LARGE (R) 93 minutes * * 1/2 On one level, this is a story about two detectives who keep stumbling over each other as they work with a case involving mistaken identities. But on another level, it's a story about love as seen from different viewpoints with the mystery as a background for this exploration of meaning. Interesting and different, with a wonderful cast that includes Tom Berenger, Elizabeth Perkins, Anne Archer, Annette O'Toole, and Kate Capshaw. R for language and nudity.
LOVE CHRONICLES: SECRETS REVEALED (NR) 75 minutes * * 1/2 What is love? A call-in radio show provides a format for us to hear about a number of different relationship stories that attempt to answer that question. Sequel (of sorts) to the 2003 film, "Love Chronicles". The stories themselves are the usual mix of quality that we typically see from anthology style films, but the radio show idea works well as a way to present them.
LOVE COMES LATELY (NR) 79 minutes * * 1/2 Adapted from short stories by Isaac Bashevis Singer, this is the story of Max (Otto Tausig), told through his writings and his daydreams. They come to life in front of us and we join him on his trip down memory lane. Gently told and with a sense of humor, we see the life Max has led, the women he has loved, and the lessons he has learned.
LOVE CRIMES (R) 77 minutes 1/2 Mercifully short and quite bad murder mystery with Sean Young as a DA in Georgia who gets a bit too involved in her cases. Incredibly slow-paced, and a bit incoherent as well. Sean Young and Patrick Bergin sing the songs here and Bergin took the Polaroids himself (like we care). There is a slightly longer version on video that is a shade better.
LOVE DON'T COST A THING (PG-13) 97 minutes * * Alvin (Nick Cannon) does a favor for Paris (Christina Milian) in exchange for her pretending to be his girlfriend for two weeks so he can become part of the popular crowd. Based on the screenplay for "Can't Buy Me Love", this definitely doesn't cover any new territory, but it isn't without it's charm, thanks to some nice work by Cannon and Milian as well as some fun supporting performances. PG-13 for language.
LOVE FINDS A HOME (NR) 87 minutes * * 1/2 Belinda's (Sarah Jones) friend Annie (Haylie Duff) comes to visit. After arriving, there appears to be a complication with her pregnancy. Annie's mother-in-law comes to help, but her midwife practices conflict with Belinda's medical education. Of course, they both learn a few things and grow from the experience. Eighth in the series of Janette Oke novel-into-movie series.
THE LOVE GURU (PG-13) 81 minutes 1/2 Mike Myers stars as Guru Pitka, the number two self-help guru. To become number one, he has to help a hockey star overcome his issues and be the best player in the league again. Even Myers fans seem to be tiring of his self-indulgent style of humor now, with this film doing very poorly in movie theaters. Too bad Jessica Alba decided to be in this, though she's pretty much the only one worth watching. PG-13 for language.
LOVE HAPPENS (PG-13) 104 minutes * * * Happiness is a state of mind, and it takes practice. His self-help seminar and book on how to deal with grief are becoming very successful, and it even looks like there might be a woman in Burke's (Aaron Eckhart) life again. But does he really understand the message he presents? Plenty of great material in the script about life, love, loss, and grief, and the ending has a great balance of emotional drama and humor. The chemistry between Eckhart and Jennifer Aniston is lacking, but the story, and a fine supporting performance from Dan Fogler, tend to make up for it. PG-13 for language.
LOVE IN THE TIME OF CHOLERA (R) 129 minutes * * 1/2 Florentino (Javier Bardem) has seen the girl of his dreams, and while she feels love for him as well, their desire will not be satisfied. Florentino refuses to give up, and though he immerses himself in other affairs, he continues to desire Fermina (Giovanna Mezzogiorno) more than anyone. For her part, Fermina can't ever forget Florentino, for no other man has loved her as much. Gabriel Garcia Marquez's story of undying love works beautifully on the big screen with strong direction from Mike Newell and passionate performances by Bardem, Mezzogiorno and the rest of the cast. R for sex and language.
LOVE JONES (R) 102 minutes * * 1/2 Larenz Tate and Nia Long are two people who are just "kickin' it". There's no love in their relationship... or is there? The film has a nice flow to it and the characters are drawn and played well by the cast. The soundtrack has a nice blues feel to it thanks to Darryl Jones. Love is what it is. It doesn't always make sense, that's why it's love. R for sex and language.
THE LOVE LETTER (PG-13) 82 minutes * * A letter is discovered in a small town and soon stirs up a commotion. It's a love letter, but no one knows who wrote it or to whom it was sent. Everyone imagines it was written for them and has ideas about who might have written it. The power of imagined love is a wondrous thing. What could it inspire you to do? When it's true love, it inspires others and has a life of its own. Nice romantic idea, but Kate Capshaw seems to be the only one in the film who isn't flippant in her attitude. It's as if the cast themselves don't believe in love or romance and think the film is silly. Or perhaps the director is the guilty party. Either way, it undermines the effect of the film. PG-13 for language.
LOVE, LUDLOW (R) 84 minutes * * * * Myra (Alicia Goranson) is a no-nonsense woman, who has an eccentric brother, Ludlow (Brendan Sexton III) she takes care of. But now, there's this guy at the office, Reggie (David Eigenberg), who wants to go out with her. He's shy, and sort of backward, and Ludlow isn't going to make it easy for her... or for Reggie. David Paterson adapted this quite nicely from his own play, "Fingerpainting in a Murphybed". The characters are delightfully, charmingly quirky, and performed to perfection by the cast. Goranson is amazing to watch. Her face is incredibly expressive and director Adrienne Weiss along with photography director Rubin O'Malley both work to get the most out of the power, the moods, and the feelings she conveys so well with just a look. A real gem. R for language.
LOVE ME IF YOU DARE (R) 89 minutes * * * Julien and Sophie find themselves drawn together as small children and begin a game of dares. It's a game that grows and changes with them, and becomes larger than life itself. And despite how it often hurts, they continue to play, leading up to a final choice that they must make together. It's an amazing and beautiful love story that draws us in, much as the characters are drawn to the game. Tender and heartbreaking at the same time, it's a story you won't soon forget. R for language and sex.
LOVE N' DANCING (PG-13) 85 minutes * * A former swing dancing champ (Tom Malloy) has a falling out with his partner (Nicola Royston), decides to teach, falls for one of his students (Amy Smart) and decides to get back in the competition. He's deaf, which adds a couple of wrinkles to the story, but the writers can't seem to decide whether to focus on that or the dancing. The dialogue is weak and the plot is far from interesting, which sort of gives you a clue where the focus needed to go. There are a couple of fun supporting bits from Caroline Rhea and Rachel Dratch. PG-13 for language and sex.
LOVE POTION No. 9 (PG-13) 96 minutes * * 1/2 Light-hearted look at love, taking the hit song and turning into the story of two social misfits who end up experimenting with the love potion and falling for each other. No real surprises as far as the story goes, but it's a delight to watch Sandra Bullock in one of her earliest feature films. The soundtrack is a treat as well, giving us a variety of music that's all very well-suited to the story. PG-13 for language.
LOVE RANCH (R) 113 minutes * * * Just outside Reno, Nevada is a place called the Love Ranch. It's a brothel owned by Grace (Helen Mirren) and Charlie (Joe Pesci). She runs the business and Charlie thinks he does. When Grace is diagnosed with cancer, she decides not to tell him, especially since he's just invested in a prize fighter who he has big plans for. He gets more than he bargained for, and so does Grace, as they discover that the lies they've been telling each other are all about to come unraveled. Mirren is golden here, though that's not a surprise. Pesci is a bit uneven, but the rest of the supporting cast do nice work in this film about love, dreams, and reality. R for sex, violence, and language.
A LOVE SONG FOR BOBBY LONG (R) 116 minutes * * * When Pursy (Scarlett Johansson) learns of her mother's death and travels to New Orleans, she expects to have the time to herself. Instead, she finds two of her mother's friends living in the house, a former literature professor and his protege, who are dealing with "demons" of their own. Her life quickly becomes entwined with theirs as the story unfolds. It's a story that is both tragic and hauntingly beautiful. Johansson and John Travolta both do solid work here, but they are also supported well by Gabriel Macht and the rest of the cast. Broken dreams, misspent years, regrets, mix together with hope and love to give us a bittersweet story that quietly and gently takes hold of us. Filmed in New Orleans and Gretna, Louisiana. R for language.
LOVE STINKS (R) 89 minutes * 1/2 Seth (French Stewart) and Chelsea (Bridgette Wilson) are about to get married. But Larry (Bill Bellamy) is going to do his best to keep his best friend from making that mistake, because love stinks. There are a few cute moments here, but Wilson and Stewart have to try too hard to make this work. It's a valiant effort, but the strain is obvious and experienced direction and a better script would've worked wonders. R for language and sex.
LOVE STORY (PG) 99 minutes * * * Boy meets girl on a New England college campus. Ali McGraw and Ryan O'Neal. Tinged with tragedy and filled with romance, this is a modern classic that swept away the hearts of millions. With an Oscar-winning soundtrack to listen to along the way, sit back and enjoy a great "love story".
LOVE TAKES WING (NR) 87 minutes * * 1/2 Two young female doctors find themselves in a town which is in the midst of an outbreak of illness. Many of the townspeople are ready to blame the orphanage for their problems, which we know can't be the truth. Formula story from Janette Oke series of books, though there are a few bigger names in the cast this time. Lou Diamond Phillips directs and acts, and the film also features Haylie Duff, Patrick Duffy, and Cloris Leachman, with Erin Cottrell reprising her role as Missy Tyler in a few scenes.
LOVE! VALOUR! COMPASSION! (R) 111 minutes * * * 1/2 Eight gay men who gather frequently at the house of a friend continue to learn (and teach us) about life, love, and what it really means to be a friend. Terrance McNally wrote the screenplay for this from his play, and is evidence of his great talent. The characters are vibrant and authentic, due to the script and superb acting from all. This is a fine study in relationships with an interesting performance by John Glover as twins. R for language and nudity.
THE LOVE WE MAKE (NR) 90 minutes * * * On September 11, 2001, Paul McCartney was at the airport in New York, ready to leave for England. This is the story of what happened in the days and weeks that followed, and of the Concert for New York that McCartney helped put together. Absolutely wonderful to see so many wonderfully talented musicians and other performers together.
LOVECRAFT: FEAR OF THE UNKNOWN (NR) 86 minutes * * * Wonderful documentary that explores the life, writings, and bizarre world of H. P. Lovecraft and the effect it has had on others in the genre. Extensive interviews with numerous authors and filmmakers including Peter Straub, Ramsey Campbell, Neil Gaiman, John Carpenter, Stuart Gordon, Guillermo Del Toro, and Caitlin Kiernan. Fascinating!
THE LOVELY BONES (PG-13) 122 minutes * * 1/2 Susie Salmon (Saiorse Ronan) was murdered when she was twelve. No one (but us) knows who did it. But Susie isn't stopping there. Even from the other side, she keeps an eye on her family and does what she can to try and help people catch the man who cut her life short. Ronan does a great job here, and her narration is both haunting and sweet, though there is too much of it. There are plenty of wonderfu lvisuals throughout the film, especially of the other world where Susie finds herself, but the film tends to rely on imagery and mood to the exclusion of story at times. The end result is that the film tends to feel a little empty as we near the end. PG-13 for violence and language.
THE LOVER (R) 98 minutes * * A young girl (Jane March)in Saigon is initiated into maturity as she becomes the lover of a Chinese man (Tony Leung). Passionate, slow-paced, and mildly interesting, though the narration frequently intrudes on the mood. The final fifteen minutes are really the best part of the film.
LOVERBOY (PG-13) 95 minutes 1/2 Pizza delivery guy Patrick Dempsey delivers a little more than pizza to the women in this town. However, the film doesn't manage to deliver much in the way of comedy and does nothing more than tease about the sex. This manages to waste the talents of Dempsey, Kate Jackson, Carrie Fisher, Barbara Carrera, and Kirstie Alley, just to name a few. PG-13 for language.
LOVE'S LABOUR'S LOST (PG) 90 minutes * * * 1/2 Kenneth Branagh's adaptation of Shakespeare's comic look at passion and intellect. With a setting moved to the 1930's and a musical flair, this is able to entertain us and still retain the satirical bite that Shakespeare must have intended. Passion and intellect aren't always so easy to separate, and life's events direct our courses in ways we may never have imagined. The performances by Branagh, Alicia Silverstone, Nathan Lane, Natascha McElhone, and the rest of the cast are delightful. And the musical approach, though perhaps old-fashioned, works very well. PG for language.
LOVE'S UNFOLDING DREAM (NR) 85 minutes * * 1/2 Sixth film in the Janette Oke series, this "episode" follows Missie's (Erin Cottrell) daughter Belinda (Scout Taylor-Compton) as she struggles with her desire to become a doctor, and the reality of a society that will make that a difficult career to pursue. Similar to other entries in the series.
LOVE'S UNENDING LEGACY (NR) 82 minutes * * 1/2 Fifth in a series of films adapting Janette Oke's books about the life of a family during the pioneer times of the American West. This particular chapter is about Missie (Erin Cottrell) working through her grief over her husband's death, adopting a young orphan girl, and finding love again. As with the other films in the series, there's the same sort of moral approach to the story as with the "Little House on the Prairie" books and television show. The difference is that Wilder's stories are quite a bit better and the translation to film worked better with them as well. Fans of Oke's books will probably enjoy these, but others may find them a bit tedious.
LOVING LEAH (NR) 96 minutes * * 1/2 When his brother dies, Jake (Adam Kaufman) is expected to marry Leah (Lauren Ambrose) to carry on his brother's name as they hadn't had any children yet. It's an old Jewish tradition, and there is a way around it, but Jake's even less sure about that. To honor the tradition won't be easy as Jake hasn't really spent much time or effort on his spiritual life in quite some time. Perhaps its time, and maybe Leah can help. Pretty much what you'd expect from a TV movie love story.
A LOW DOWN DIRTY SHAME (R) 94 minutes * * Over-played action film with too much comedy as Keenan Ivory Wayans goes undercover to recover some missing drug money for the DEA. The action is paced relatively well, but the corny ending undermines most of the effect the film might have had. What a shame. (Sorry, I couldn't resist.)
LOWER LEARNING (R) 93 minutes BOMB Low test scores, lazy and irresponsible teachers, and a few other problems mean that this is an elementary school that needs to close. Vice-principal Willoman (Jason Biggs) knows that getting rid of the corrupt principal will solve the problem, but can he make it happen? Maybe he should just get a part in a different film... Rude, foul, and boring are not a good combination. R for language.
LUCKY NUMBER SLEVIN (R) 105 minutes * * * Nicely twisted gangster film with Josh Hartnett at the center as Slevin, a man mistaken for someone else... someone who owes a great deal of money to some people who aren't very nice. But mistaken identities are only the beginning in this tale of greed, revenge, and justice. Morgan Freeman and Ben Kingsley are former friends who now run rival organizations, and who get more than they bargain for when Mr. Goodkat (Bruce Willis) comes to town. Lucy Liu and Stanley Tucci are also featured in this well-crafted story. R for violence and language.
LUCKY NUMBERS (R) 99 minutes * 1/2 Russ (John Travolta) has had a run of bad luck and now it's time for things to change. Rigging the state lottery sounds like a good idea. The only problem is that his luck hasn't changed yet. I'm sure this sounded like a better idea when it was on paper. The script just beats the idea to death and Travolta seems bored with the whole idea from the start. There are a couple of scenes with Lisa Kudrow and Tim Roth where the talent manages to rise above the script, but not enough to give the film the strength it needs. R for language and violence.
THE LUCKY ONES (R) 105 minutes * * * Three lucky people. Two are on leave and one has finished his tour of duty. Their chance encounter with one another will lead to friendships that will help them through the tough times, and their shared moments will remind them that they are indeed, lucky people. Tim Robbins, Rachel McAdams, and Michael Pena all do nice work here. The script is more than a little predictable at times, but the sentimant works well. R for language and sex.
LUCKY YOU (PG-13) 119 minutes * 1/2 Huck Cheever (Eric Bana) has the skills needed to be a great poker player. He's a natural. But he also has quite a few personal problems that get in the way. It's not a bad story idea, but the slow, plodding pace makes is difficult to stay interested, and the lack of chemistry between Bana and Drew Barrymore doesn't really help. Robert Duvall has a nice supporting role as Cheever's father here, and we find ourselves waiting for those scenes more than anything else. PG-13 for language.
LUST CAUTION (R) 151 minutes * * * A young group of revolutionaries try to gain access to a powerful political figure in order to attempt an assassination. Spanning the course of decades, as opportunities come and go and relationships with for and against them, director Ang Lee sweeps us through an epic story of love and loyalty, lust and caution. Presented with Lee's usual style and class, and featuring performances from Tony Leeung, Joan Chen, and Tang Wei. Adapted from a story by Eileen Chang. R for sex and violence.
LUTHER (PG-13) 114 minutes * * * Joseph Fiennes portrays Martin Luther, a man who began to doubt the way the Catholic church was "running the business" of salvation. It's an interesting portrait that portrays Luther as part gentle monk, part intellectual theologian, and part tormented soul... a person who was understood by only a few and misunderstood and misrepresented by many. It's a strong presentation, but more than a bit dry. PG-13 for violence and language.
LYMELIFE (R) 89 minutes * * * 1/2 The Bartlett and Bragg families of Long Island in the 1970s. Two families that are both struggling under various pressures, and each with children who are coming of age. The American dream can be difficult to hold on to. It's a combination slice-of-life, coming-of-age, drama and comedy that is most definitely fun to watch. Well-written by brothers Derick and Steven Martini, and also Derick's first time as a director. Great acting by Rory and Kieran Culkin as well as Emma Roberts, Alec Baldwin, Jill Hennessy, Timothy Hutton, and Cynthia Nixon. R for language, sex, and violence.