Quick Reviews - Letter A - www.QRmovie.com




RATED 6	< PREVIOUS RATING \| NEXT RATING >
8-Mile 24 Hour Party People 25th Hour 40 Days and 40 Nights 40 Year Old Virgin, The About Schmidt Ali All the Real Girls Apocalypse Now Redux Army of Darkness At Close Range Being There Blade II Bloody Sunday Bonnie and Clyde Boondock Saints, The Bullets Over Broadway Clean And Sober Comedian Confidence Count of Monte Cristo, The Dressed To Kill Eight Legged Freaks Far from Heaven Fear and Loathing in Las Vegas Frailty Friday Full Frontal Ghost World Girlfight Good Girl, The Good Thief, The Innocence Insomnia In the Bedroom Jesus' Son Kate & Leopold Ken Park	Kingpin Lawn Dogs Life or Something Like It Lovely & Amazing Mad Max Match Point Matrix Reloaded, The Max Monster's Ball Moonlight Mile Munich My Big Fat Greek Wedding Name of the Rose, The Old School One, The Play Misty For Me Porky's Pumpkin Quiet American, The Re-Animator Red Dragon RocknRolla Secretary Sleepaway Camp Solaris Spider-Man Spy Kids 2: TIOLD Star Wars: Episode II Stunt Man, The Surveillance To Catch a Thief Trembling Before G-d Undercover Brother Wait Until Dark Wet Hot American Summer Wild Man Blues
REVIEW SCORE: 10 9 8 7 6 5 4 3 2 1 0
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8 Mile (2002)

6.5 /10

A semi-autobiographical account of Detroit rap scene in mid 90's, this is essentially a 2 hour promotional device for Eminem, now an official entertainment phenomenon. Can he act? Basically, showing a range from OK to decent, although the "I'm a pissed white guy in the ghetto" scowl gets old. Rest of cast is all right, with Mekhi Phifer strong as Em's best friend. Follows old yet proven 'come from behind' formula, but grimy city lifestyle is tiring more than inspiring. [English, 110min, R]

24 Hour Party People (2002)

6 /10

Docudrama focusing on emergence of 80's music scene in England is an exercise in excess from the rapid fire blur of images to it's extreme self-reference, although highly sporadic zaniness leads to some wonderful comedic scenes. Steve Coogan rises above it all as the utterly believable protagonist with an underdog charm. [English, 117min, R]

25th Hour (2002)

6 /10

Spike Lee brings usual heavy handed directing, attempting to fuse commentary on post-911 NYC with bleak countdown to busted drug dealer’s incarceration. Norton under whelms in bad-boy-lite mode, Hoffman adds another self-conscious introvert, but Barry Pepper rolls up his dramatic sleeves for a career best. Lee misses potential of timely subject matter, yanking film in too many directions despite powerful stand alone moments of style and substance. [English, 135min, R]

40 Days and 40 Nights (2002)

6 /10

Entertaining sex comedy, with focus more on heart than humor. Josh Hartnett is very likable and has good chemistry with Sossamon, but film doesn't exactly break new ground...unless you count a feather induced orgasm. [English, 96min, R]

40 Year Old Virgin (2005)

6 /10

Well, it ain’t Wedding Crashers. Steve Carrel has a number of laugh out loud moments as titular character but plot drowns in sweetness, especially once Catherine Keener is introduced as love interest. Supporting cast shines, with Paul Rudd’s “don’t give a (bleep)” attitude often stealing scenes, especially his ex-girlfriend subplot. Ultimately an entertaining watch, though a much shorter length and rougher edge would have helped considerably. [English, 116min, R]

About Schmidt (2002)

6 /10

Family dysfunction is explored through eyes of utterly insignificant titular character in this mildly effective black dramedy. Highly over-praised performance from Jack Nicholson consists almost entirely of reaction shots with emotional revelations occurring only in voice over (until very end). Humor is sprinkled throughout (Bates and Mulroney are fun as colorful in-laws), but story remains a mostly dreary outlook on undesirable lives. [English, 125min, R]

Ali (2001)

6 /10

Overlong saga of famous boxer with no reference for time, far too little insight, and it's strongest boxing sequence stuck in the opening. Smith is good and film is very well shot, but scrap the fat (Denzel already did the Malcom X assassination) and focus on the Champ! [English, 159min, R]

All the Real Girls (2003)

6 /10

Charming "first kiss" opening scene and grounded small town setting promise originality but plot fails to overcome confines of standard "love story" mold. Sympathy is directed mostly towards Deschanel's character, who's naive, hurtful actions make her harder to like than Schneider's sensitive guy overcoming bad dating past. Emerging from unevenness are some potently real exchanges, confirming Zooey D.’s talent after fairing well in The Good Girl. [English, 108min, R]

Apocalypse Now Redux (2001)

6 /10

Highly inferior reedit of Coppola's famous war film with ill advised footage additions that obliterate pacing (especially French plantation section). New scenes with Brando's Kurtz dilute the enigmatic persona that was one of the most unique aspects of the original. Too bad the dated synth-strings weren't replaced while they were at it. [English, 202min, R]

Army of Darkness (1993)

6 /10

Sam Raimi delivers a fun, over the top adventure/horror movie with splashes of campy humor from Campbell, though it lacks frantic energy present in first two Evil Dead films. One of the more inspired scenes is a skeleton homage to old-school Harryhausen stop-motion animation. Be sure to check out alternate endings on DVD. [English, 81min, R]

At Close Range (1986)

6 /10

"Rough" is an understatement, as this downbeat father-son relationship keeps viewer at an emotional distance; Walken is too eccentric for the role (I never thought I'd say that!) making an over the top antagonist to Penn. [English, 111min, R]

Being There (1979)

6.5 /10

Oddball comedy milks single joke premise for all it's worth: a mentally retarded, TV obsessed, recluse gardener is forced to enter outside world, where he has meteoric rise to international fame and influence after an accidental encounter. Peter Sellers fully commits to role but his character remains a frustrating enigma and credibility becomes increasingly strained as situations reach farcical levels (despite biting satire). A sexy Shirley MacLaine is standout among supporting cast. [English, 130min, PG] 6/09

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Blade II (2002)

6 /10

Lacks the tight plot, hyper energy, charismatic villain, good comic relief, decent drama, and nearly everything else that made the first one a surprise comic book adaptation. Even Snipes' solid martial arts can't avoid post-Matrix "enhancements," and despite the very cool 'hybrid vampires,' this is a dreary, unfocused sequel. [English, 117min, R]

Bloody Sunday (2002)

6.5 /10

Pseudo-documentary recreation of 1972 Ireland tragedy is shockingly realistic, but sacrifices characters for a strictly visual emotional experience. Only one to transcend format is James Nesbitt, as civil rights leader Ivan Cooper; who's face nearly single-handedly embodies the horror of the events for all involved. Extremely bias perspective brings into question historical accuracy of filmmakers. [English, 110min, R]

Bonnie and Clyde (1967)

6 /10

Overrated. Good performances from Beatty and Dunaway, but offers no insight on title relationship other than typical "disorganized violent criminals getting what they deserved." Gene Wilder stands out with his bizarre comedic role. A young Gene Hackman also noteworthy. [English, 111min, NR]

The Boondock Saints (1999)

6 /10

Wildly uneven violent drama running heavily on Tarantino fumes with highlight Willem Dafoe's truly bizarre FBI agent. Features handful of very cool scenes and interesting out of sequence chronology, but in the end, just a lot of sporadically stylish hot air. [English, 11min, R]

Bullets Over Broadway (1994)

6.5 /10

One of the rare Woody Allen films NOT starring Woody Allen. John Cusack is in prime form as hyper sensitive playwright who must indirectly work with the mob to get his show made. Cast is full of talent, including an incredibly annoying performance from Jennifer Tilly, but film never manages to take off. [English, 98min, R]

Clean And Sober (1988)

6 /10

Between his famous roles in Beetle Juice and Batman, Michael Keaton made a strong dramatic turn as a trying-to-recover alcoholic. Decent supporting cast, but dreary storyline in second half becomes tiresome. [English, 124min, R]

Comedian (2002)

6.5 /10

What does it really take to be a comedian? That question is somewhat answered by following Jerry Seinfeld around the country as he develops a new act, facing strong insecurities, depression, and even rude audience members. Also featured is cocky newcomer Orny Adams, in addition to cameos from familiar faces. Some good moments of pre-stage suspense and the occasional hilarious joke, but insight into the world of comedy plateaus too early. [English, 82min, R]

Confidence (2003)

6.5 /10

Heist yarn manages to inject fresh energy into first half thanks to slick editing and a highly entertaining Hoffman who puts twisted A.D.D. spin on age-old mob boss (worth admission alone). After crime scheme logistics are worked out, story enters derivative territory, not helped by far-too-serious Burns and band of off putting crooks. Obligatory surprise ridden climax leaves minor plot holes and feeling of missed opportunity for something special. [English, 97min, R]

The Count of Monte Cristo (2002)

6 /10

Jim Caviezel proves he can lead a film, Pearce makes a good turn as a slimy one note villain, yet I need a revenge story like this about as bad as I need another courtroom drama. [English, 131min, PG-13]

Dressed To Kill (1980)

6.5 /10

De Palma begins this as a sexy, intriguing thriller revolving around a sex-starved housewife (Angie Dickinson plus body double) and a transsexual serial killer, while blatantly ripping off Hitchcock in the process. Plot gets progressively more outlandish, not knowing when to call it quits. If judged solely on camera-work, however, this would get a near perfect score. [English, 104, R]

Eight Legged Freaks (2002)

6 /10

Fun 'B' movie that knows it's a 'B' movie, although more self references would have helped. Features only one really good spider scene (a daylight motocross attack) before resorting to "nighttime makes CGI look better" ploy. Spiders are menacing until they start sounding like Alvin & the Chipmunks towards the end. [English, 99min, PG-13]

Far from Heaven (2002)

6.5 /10

Interesting re-invention of 1950's cinema, crossing old style melodrama and cinematography (gorgeous) with subject matter far too controversial for original time period. Julianne Moore and especially Quaid give strong performances as ideal couple until husband’s secret life is exposed. Unfortunately, forced presentation of material many times rings false, as with unrealistically well spoken black gardener. [English, 107min, PG-13]

Fear and Loathing in Las Vegas (1998)

6 /10

Not speaking from experience, the closest a movie has come to being one single acid trip. Depp and Del Toro go balls out in this absolutely crazy chronicle of Hunter S. Thompson's road "experience." Propelled forward by the shear energy of leads, for a while, until becoming a too-long Terry Giliam brand sensory overload. [English, 118min, R]

Frality (2001)

6.5 /10

Bill Paxton takes on thriller with disturbing premise for first directorial effort, but ultimately bites off more than he can chew. Some effective scenes and decent acting (especially child roles), but can't escape plot holes, genre conventions, and one twist too many. Heavy religious theme results in a hypocritical denouement that undermines most of what came before. [English, 100min, R]

Friday (1995)

6 /10

Urban comedy, aided considerably by Tucker and Witherspoon, that isn't afraid of more serious issues, but being centered on two pot smoking jobless black men doesn't help any stereotypes. [English, 91min, R]

Full Frontal (2002)

7 /10

Interesting, self-indulgent misfire from Soderbergh comments on Hollywood and society without fresh insight. Worth seeing for talented cast, featuring strong dramatic work from Catherine Keener & David Hyde Pierce (Nicky Katt is hilarious as pompous theater actor). Despite intentions, purposeful degradation of video footage will only hurt the acceptance of it as a serious movie medium. [English, 101min, R]

Ghost World (2001)

6 /10

While some very funny moments (especially from nun-chuck spinning Doug) this over-rated Indy tries too damn hard to be "different" resulting in very uneven film with too many forced moments. A pre-stardom Scarlett Johansen and post-Dungeons & Dragons Thora Birch make up the deadpan sarcastic team of outcasts that judge the world around them in a snide, superior way. MTV's animated Daria played the same social card much better. Ambiguous "fantasy" ending feels cheated and misplaced. [English, 111min, R]

Girlfight (2000)

6.5 /10

Michelle Rodriguez kicks some ass in her debut (acting wise and literally)...that is, until we all realized that she wasn't actually acting at all, but merely being herself, as she has done in every role since, making a lucrative career in the process. As for the movie, boxing sequences are well done, but overly cliché dialogue and plot drag it down. For a female boxer story that lands far more punches, try Million Dollar Baby. [English, 110min, R]

The Good Girl (2002)

6 /10

Only thing particularly “good” is Jennifer Aniston, finally shedding sugary Friends image with surprising range and maturity. Her character, an unhappy housewife, falls for emotionally unstable young man (Gyllenhaal, here disappointingly autopilot) which prompts self discovery. It’s been done countless times before and better. John C. Reilly secures his place as dysfunctional husband actor of 2002, providing more of his naive harmlessness. [English, 93min, R]

The Good Thief (2003)

6.5 /10

Speaking with a sandpapery growl frequently worthy of subtitles, Nick Nolte seamlessly fills role of struggling heroin/gambling addict. Dreary content of first act is spiced up by playfully eluded police pursuit, Lolita grade sex-tease, and energetic cameo from Fiennes. Vague heist particulars create share of plot contrivances and floating questions, but final sequence skillfully entertains, providing suspense, mild surprise, and ironic resolution. [English, 108min, R]

Innocence (2000)

6 /10

Not your typical love story: a couple now in their 70's relive an affair from their youth, which is paralleled with present through flashbacks. Unconventional age of central character's is the only true refreshing angle (along with exploration of infidelity in later life), and a strong emotional core that ties together both time periods is unfortunately missing. [English, 94min, R]

Insomnia (2002)

6.5 /10

Although well edited and shot, Nolan doesn't equal tight story success of Following or Memento; Pacino is left to wonder around zombie-like for most of movie and his actual insomnia is surprisingly underplayed stylistically. Some intense moments but overall a disappointment considering resources. Robin Williams is far more effective as villain in One Hour Photo. [English, 118min, R]

In the Bedroom (2001)

6.5 /10

Begins as seemingly standard relationship drama before jarringly transforming after one of the most shocking scenes of violence in years. Despite tremendous acting from Tom Wilkinson and Sissy Spacek as parents coping with son's death, story wallows far too long in bleak, almost sadistically depressing territory without injections of fresh energy - like watching emotional equivalent of car wreck for over an hour. In last act, half-baked attempt to switch into revenge-thriller mode rings entirely false. [English, 130min, R]

Jesus' Son (1999)

6.5 /10

Yet another drug addiction movie with great performance by Billly Crudup, excellent supporting cast, and creative storytelling, but at the end of the day, a well made, been-there-done-that downward spiral kind of movie. [English, 107min, R]

Kate & Leopold (2001)

6.5 /10

Requires huge suspension of disbelief to accept initial time travel premise before evolving into an entertaining romantic comedy carried largely by Hugh Jackman's charm. The ending once again poses plot problems as sci-fi loop holes and character actions raise far too many questions. [English, 118min, PG-13]

Ken Park (2002)

6 /10

Currently banned in the U.S., this little-seen Larry Clark effort has earned notoriety for exceptionally explicit sexual content (well deserved: erect penises are rampant). However, beyond the barely legal nudity and not-so-simulated sex is a watchable slice-of-life story centered on troubled California teens searching for their identities. Documentary-style realism, common to Clark’s movies, adds immediacy to rather static events (the shocking opening excluded). Bold roles for the recognizable actors involved. [English, 96min, NR]





Kingpin (1996)	6 /10
Before Farrelley’s hit it huge with Something About Mary..., there was this sports comeback comedy about a disabled ex-champ who takes promising Amish bowler under his wing. Harrelson (one handed) and a surprisingly mellow Quaid have good chemistry as unlikely duo, though entertaining main story gets tangled in too many subplots. Stealing the film is Bill Murray in his few hilarious scenes, giving unprecedented meaning to “bad hair day.” [English, 117min, R]
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Lawn Dogs (1992)

6.5 /10

Odd mishmash of Burton-esk caricatures and sporadic real-world danger. Sam Rockwell is hard to like as sexual ambiguous "have-not" gardener who befriends a precocious little rich girl (an exceptional pre-Dakota Fanning Mischa Barton). Class division creates tension within cartoonish gated community, but threat of violence is unconvincing until shocking, blood soaked finale that steers story into full throttle fantasy. Well-shot, provocative film that switches stylistic gears too often for it's own good. [English, 101min, R]

Life or Something Like It (2002)

6.5 /10

Although the incredibly sexy Jolie is strong along with supporting cast, movie's premise about controlling one's fate becomes predictable and cliché just when it should have gotten interesting. A darker and more dramatic version would have fared much better as an Indy flick. Features some credibility straining depictions of broadcast news world. [English, 103min, PG-13]

Lovely & Amazing (2002)

6.5 /10

Although not "amazing" (there aren't any major revelations), this portrait of unhappy women seeking fulfillment is an intriguing watch. Acting is especially strong from Emily Mortimer who is in one of the highlight scenes (involving a critique of her body) and Jake Gyllenhaal yet again impresses in his 'almost-too-small' role. [English, 108min, R]

Mad Max (1979)

6.5 /10

Impressive considering low budget with high energy car chases/crashes, but severely lacking in story. Sequel tackled much of the same material much more successfully, though Mel Gibson is equally strong in both. [English, 93min, R]

Match Point (2005)

6.5 /10

Woody Allen serves one of his most uncharacteristic and compelling films following a decade of inconsistent and often disappointing work. Unfortunately, this occasionally brilliant slow burning social-class dissection is nearly derailed by a thoroughly unconvincing Jonathan Rhys-Meyers, who's one-note portrayal undermines story drama at every turn (utterly overshadowed by stellar supporting cast). Johansson, however, sizzles while managing both stunningly seductive and pathetically needy. [English, 124min, R]

The Matrix Reloaded (2002)

6.5 /10

Mistakes excess for expansion and pretension for insight while eagerly trying to replicate bullet dodging sci-fi thrill of original. “Next level” special f/x are often obviously computer generated, inconsequential observations make up most of dialogue, and Neo’s mentally limitless powers are frustratingly inconsistent. Freeway chase delivers excitement but many of action sequences are gratuitously repetitive Kung-fu. Story truly intrigues only in final minutes. [English, 138min, R]

Max (2002)

6 /10

Extremely intriguing “what-if” premise concerning Hitler’s political turning point is ultimately too simple and misguided in scope to overcome superficial novelty. Cusack, playing pretentious one-armed art dealer, again shows acting versatility, but this is clearly Noah Taylor’s show, who’s nervous, venom laced portrayal of eventual evil is captivating. Not until final sequence of ice cold irony does story take off, wasting prior focus on titular character’s non-developed love triangle. [English, 106min, R]

Monster's Ball (2001)

6 /10

Interesting directing choices and solid performances from both Thornton and Berry are held down by murky sexual symbolism and gratuitous tragedy. Heath Ledger playing against type is the film's most rewarding aspect. [English, 111min, R]

Moonlight Mile (2002)

6 /10

Jake Gyllenhaal continues to impress with yet another role that embodies emotion and youth on a very real level, making story flaws bearable. Biggest problem is mild reaction of characters to horrible tragedy and unclear lapses in time. Hoffman and Sarandon are forced into 1D characters and court room scenes are an overdone, unrealistic cop out. [English, 117in, PG-13]

Munich (2005)

6.5 /10

Creative team of Spielberg and cinematographer Janusz Kaminiski exhibit sheer mastery over medium, crafting number of exciting, suspenseful, and jarring sequences, but drama in latter half is bogged down by unfocused ambition of overlong story. Examination of complex Palestine-Israel terrorist conflict gets mostly objective treatment, with ominous theme that "violence never ends" depressing relevant today. An icy cold Eric Bana, while convincing, shuts down any emotional investment in events. [Various, 164min, R]

My Big Fat Greek Wedding (2002)

6 /10

How this managed to become the biggest surprise hit in years is beyond me! Ingredients : add "homely girl made-over plot", mix with "two different cultures clashing plot", sprinkle in some "rushed love story plot" and sift out originality. Some fun scenes but being predictable doesn't mean removing almost all conflict (the romance is ridiculously flawless!). [English, 95min, PG-13]

The Name of the Rose (1986)

6.5 /10

Sean Connery is well cast as medieval Sherlock Holmes set on solving peculiar whodunit murder at creepy 14th century monastery. Deglamorized view of corrupt, power hungry church features freak-show assortment of monks and utterly authentic recreation of period. Falters most during "too much, too fast" ending, though final result is still compelling. Ron Pearlman is phenomenal in early career turn as manic hunchback. [English, 130min, R]

Old School (2003)

6 /10

Aspires for heavy party replay value ala Animal House, but finishes somewhere in PCU territory, blatantly imitating better movies of genre instead of taking risks for originality. Luke Wilson plays trademark "nice guy" and Vaughn has some choice lines, but Ferrell is only cast member fully utilized (in more way than one), providing nearly all of biggest laughs. Poorly assembled plot is barely passable, though kudos for subtle Fight Club parody. [English, 91min, R]

The One (2001)

6.5 /10

Step right up! Watch Jet Li travel across parallel universes! Watch Jet Li beat the crap out of insignificant characters in spectacular SFX enhanced fashion! Watch Jet Li play two roles and valiantly try for emotional range! Watch Jet Li kick his OWN ass! You won't believe your eyes! First true evolution of "Matrix-style" action; short on story but full of very cool, over the top martial arts. Has distinction of playing testosterone anthems Bodies and Down With the Sickness back-to-back (!). [English, 87min, PG-13]

Play Misty For Me (19701)

6 /10

Schlocky precursor to Fatal Attraction has Clint Eastwood as stalked radio DJ following affair with INSANE station listening. Some mildly disturbing scenes, but violence is so campy, character logic so perplexing, and Walter's performance so wacky that it's hard to take seriously. [English, 102min, R]

Porky's (1981)

6 /10

Did for teen comedy what Star Wars did for sci-fi, writing the book on "horny boys who will do anything for sex" plot. Present day hits like American Pie would blush at abundant nudity, though jokes have same raunchy backbone. While often brain numbingly juvenile and a poor representation of 1950's life, some scenes, like girl shower spying, Kim Cattrall’s "howling", and Ms. Balbricker's proposed inspection, are 80's comic classics. [English, 94min, R]

Pumpkin (2002)

6 /10

College satire awkwardly teeters between extremely dry black humor and sensitive drama. Christina Ricci and Hank Harris are in fine form as the doomed couple defying all social standards, but a more "over-the-top" approach to the pessimistic events that transpire would make laughing a lot easier. [English, 113min, R]

The Quiet American (2002)

6 /10

Metaphoric love triangle set during unstable pre-Vietnam war environment has Fraser revisiting Gods and Monsters level drama and Caine particularly strong as wearied London journalist. Political and emotional investments of each man result in bittersweet friendship, unwisely told in suspense dampening flashback. Story has intriguing historic merit, even if poorly developed "object of affection" weakens central conflict. [English, 101min, R]

Re-Animator (1985)

6 /10

B-movie horror lunacy from the golden era of practical make-up effects, has "mad scientist" Med student perfecting an anti-death vaccine with horrific results. Hammy approach prevents premise from achieving any real sophistication, but conviction in taking material to the limit makes for quirky entertainment, especially during ferocious undead human attacks or beheaded evil professor. Botched lab experiment finale ends movie on gore filled exclamation point. [English, 95min, R]

Red Dragon (2002)

6.5 /10

Ratner makes smooth segue way into darker territory with this decently made, ultimately unnecessary prequel. Norton (in a near miscast) is acceptable but nowhere near level of previous work. Fiennes does what he can in "underdeveloped-land," and Hopkins is virtually a parody of himself (albeit an entertaining one). Far fetched ending is something out of a slasher movie. [English, 124min, R]

RocknRolla (2008)

6 /10

Guy Ritchie took a highly publicized tumble from grace after the slick one-two punch of Lock, Stock and Snatch launched his career. While latest crime yarn isn't a clear-cut return to form, it certainly has its moments: a delightfully awkward party dance, Newton and Butler's lightening-quick sex scene, or the comically drawn out heist chase. But unlike his earlier work that thrived off puzzle-box plots, this effort is hampered by episodic narrative, fuzzy characters, and an anti-climax that inexplicably banks on a sequel. [English, 114min, R]

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Secretary (2002)

6 /10

Quirky flipside to The Piano Teacher as a lawyer and his newly hired secretary develop a sadomasochistic affair; certainly not the average romantic setup. Faulters often, as delicate subject matter doesn't quite work with semi-comical tone. Worth seeing for the acting of Maggie Gyllenhall who shows an exceptional range of emotion and James Spader who is intensely bizarre. [English, 104min, R]

Sleepaway Camp (1983)

6 /10

Friday the 13^th meets The Crying Game...seriously. Standard slasher movie premise: kids get murdered at a summer camp with tragic past. Elevated slightly by creatively restrained deaths, main characters with some substance, surprising self-referential humor, and ultra-bizarre performance from Desiree Gould. Then comes the instant cult status twist ending, with possibly the most disturbing image to ever end a movie. [English, 88min, R]

Solaris (2002)

6 /10

While it's best moments evoke a chilling unease and otherworldly wonder Kubrick would be proud of, end result is convoluted attempt at merging sci-fi, thriller, romance, and character study. Features some of Clooney's best dramatic work to date, sure to be overlooked by general public. Most other highlights are technical, including 2001 inspired camerawork and haunting score, although Jeremy Davies matches Walken-level show stopping strangeness. [English, 99min, PG-13]

Spider-Man (2002)

6.5 /10

Fun summer movie but ultimately disappointing. Too much is left unexplained (ex: where the suit comes from, the random powers of Green Goblin's pumpkins, Spidey's sporadic superhuman strength). Dialogue is often weak and plot (a rip off of Superman) rushes to a big climax with an underdeveloped villain; movie works best when Parker is first dealing with new abilities. [English, 121min, PG-13]

Spy Kids 2: The Island of Lost Dreams (2002)

6 /10

Mostly uninspired sequel burnt by muddled plot and overblown special FX, although island creatures are nice throw back to stop-motion days. Antonio Banderas' charisma steals show during limited screen time. Steve Buscemi, however, is wasted in a glorified cameo. [English, 100min, PG]

Star Wars: Episode II (2002)

6.5 /10

Huge improvement over Ep. 1, with a number of memorable & exciting action sequences making for an entertaining summer movie. Bad dialogue, however, severely limits some key performances that not even the best actors could make convincing; McGregor, Jackson, and Yoda (!) are true standouts. [English, 142min, PG]

The Stunt Man (1980)

6.5 /10

Bizarre meshing of fantasy and reality has God-like Hollywood director using fugitive of law as replacement stuntman for wild WW II movie. O’Toole commands screen with eccentric presence, setting up often puzzlingly implausible obstacles of danger for Railsback (outstanding in final monologue). Though decent moments of black comedy, boundaries of fiction are never fully revealed, leading to frustration as absurdity mounts. [English, 131min, R]

Surveillance (2009)

6.5 /10

Jennifer Lynch’s first feature in 15 years revels in depravity with a sense of twisted pleasure her father would appreciate. Bill Pullman (recalling his oddball detective from Zero Effect) and a quietly sexy Julia Ormond are FBI agents investigating a mysterious bloodbath outside a middle-of-nowhere town. Makes sizeable mistake tipping whodunit card too early but triumphs in a 30 min flashback that ramps dread to near unbearable levels. Stumbles in attempts to inject horrific moments with dark comedy. [English, 97min, R]

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To Catch a Thief (1955)

6 /10

Slight Hitchcock, starring the utterly charming "George Clooney prototype" Carey Grant as a retired thief on tale of a competitor attempting to frame him. Despite being made during Hitch's more flashy phase, this light suspense romance glides along without much incident. Highlights include star lip locking intercut with a fireworks display, a playful cliff side car chase, and of course, the very sexy Grace Kelly. French Riviera makes for an attractive setting. [English, 106min, NR]

Trembling Before G-d (2001)

6.5 /10

Documentary's only insight is that being homosexual and a practicing Jew absolutely sucks. No real answers are given to the dilemma and if anything, it shows how absurd restrictions of religion can be. Mostly silhouetted lesbians skews perspective to gay men. [English, 84min, NR]

Undercover Brother (2002)

7 /10

Inconsistently funny but overall entertaining spoof of 70's blaxploitation films. Shows Dave Chappelle deserves more roles and Denise Richards truly is devoid of any talent whatsoever. Includes one of the most hilarious single scenes I've seen in years. [English, 86min, PG-13]

Wait Until Dark (1967)

6.5 /10

Movie adaptation of well known play feels, well, just like a play. Hepburn is decent as recently injured blind woman who inadvertently becomes center of elaborate deception by low level thugs to retrieve a missing doll full of drugs. Cat’n’mouse game is entertaining, if implausible, and Alan Arkin’s seedy bad guy gives an otherwise “safe” feeling movie a sense of danger. Climatic face off occurs in long moments of complete blackness which, while gimmicky, does create sufficient suspense. [English, 107min, NR]

Wet Hot American Summer (2001)

6.5 /10

While spoofing early 80’s camp comedies may seem redundant, the mockery of dated clichés is surprisingly effective here…at least when stupidity stays in check. Janeane Garofalo plays herself (as usual), opposite David Hyde Pierce who shows comedic range as socially inept astrophysicist. Though some subplots are too absurd (NASA space waste?), others yield hilarious results, as with delusional chef. [English, 97min, R]

Wild Man Blues (1997)

6.5 /10

Documentary chronically European tour of Woody Allen's jazz band gives mild insight into the life of this famous neurotic. Allen comes across as a more reserved version of his frantic screen self, though still whinny, funny, and overly compulsive. Unfortunately, movie fails to dig deep enough into his persona, as focus is more on his music skills (which are quite good) than what makes him tick. Ridiculed relationship with Soon-Yi actually makes sense once seen firsthand. [English, 105min, PG]

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