Quick Reviews - Letter A - www.QRmovie.com




RATED 7	< PREVIOUS RATING \| NEXT RATING >
48 Hrs. About A Boy Battleship Potemkin, The Beautiful Mind, A Before Night Falls Birdcage, The Black Christmas Black Hawk Down Bourne Identity, The Bowling For Columbine Bully Cashback City of Lost Children, The Croupier Dangerous Lives of Altar Boys Danny Boy Dead Man Deep Cover Die Another Day Die Hard With A Vengeance Dogtown and Z-Boys Dolores Claiborne Doors, The Do the Right Thing Everyone Says I Love You Fistful of Dollars, A From Hell Gangs of New York Ghost World Glengarry Glen Ross Harry Potter: ATCOS Heist Hoosiers Hostel Hysterical Blindness Ice Age Identity Igby Goes Down Inside Inside Man Iron Monkey Jerk, The	Joy Ride Kramer Vs. Kramer Legends of the Fall Life as a House LOTR: The Two Towers Made-Up Martin & Orloff Mighty Aphrodite Minority Report Murderball Nine Queens Nurse Betty Ocean's 11 Office Space Phone Booth Piano Teacher, The Pollock Possession Private Parts Read My Lips Ringu Session 9 Shadow of a Doubt Signs Sixteen Candles Slackers Star Trek Stir Crazy Tao of Steve, The Training Day Unfaithful Videodrome V for Vendetta Waking Life X2: X-men United xXx Yojimbo Young Adam Young Frankenstein Y tu mamá también
REVIEW SCORE: 10 9 8 7 6 5 4 3 2 1 0
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48 Hrs. (1982)

7 /10

Years before Lethal Weapon, and over a decade before Rush Hour there was this “buddy” cop movie that paired the unlikely duo of Nick Nolte and Eddie Murphy. Much grittier territory than genre enters today, with racism, brutal murder, and mean spirited attitude at the forefront. Became Murphy’s breakout movie, and rightfully so, as his wise-crackin’ con energizes a fairly predictable plot; his interrogation of a redneck bar alone is worth price of admission. [English, 96min, R]

About a Boy (2002)

7 /10

Hugh Grant is at his most likable with strong chemistry between him and Hoult. Consistently funny although film lulls in more dramatic middle section followed by a fairly generic ending. Cinematography is exceptional for genre. [English, 101min, PG-13]

The Battleship Potemkin (1925)

7 /10

Famous silent film depicting Russian revolution through semi-symbolic characters and set pieces helped pioneer montage editing, though jumpy pacing is wearing. However, massacre on Odessa Stairs is one of few sequences in movie history that transcends time, remaining an immensely effective accomplishment nearly 80 years later with it's soaring cinematography, jarring violence, and tense, emotional buildup. [Russian, 66min, NR]

A Beautiful Mind (2001)

7 /10

Russell Crowe is guaranteed an Oscar nod, but the movie shifts tones earlier on following a significant plot revelation, becoming a dreary task to watch until it picks up in the very end. [English, 135min, PG-13]

Before Night Falls (2000)

7.5 /10

Beautifully shot with surprising stylistic choices considering genre; excellent performance from Javier Bardem, but vague telling of poets interesting life leaves more to be desired. [English, 133min, R]

The Birdcage (1996)

7 /10

Simple concept: gay couple acts straight to fool conservative future in-laws. Add Robin Williams and Nathan Lane to the mix and it's an entertaining comic farce. Laughs don't come as often as they should, but two sequences strike paydirt, one of which is the hilarious climactic dinner. Hank Azaria steals the spotlight as eccentrically gay housekeeper and Gene Hackman plays "dull" to perfection. [English, 117min, R

Black Christmas (1974)

7.5 /10

Predating Halloween, this under seen tale of stalked college girls drafted blueprint for slasher horror genre. Attention to characterization, inventive camerawork (great use of POV), and overall "less is more" approach heightens emotional impact of terrible events. Phone harassing psycho killer is obvious precursor to Scream and Olivia Hussey puts Neve Campbell to shame. Extremely ambiguous ending, while unsettling, poses far too many questions. [English, 98min, R]

Black Hawk Down (2001)

7 /10

Immersive combat movie with good production and acting, but marred by excessively large (and undeveloped) cast that heavily dilutes emotion. Some jarring scenes, but Saving Private Ryan still is king when it comes to battle realism. [English, 144min, R]

The Bourne Identity (2002)

7 /10

All around decent movie; decent acting, decent action (including one of the better car chases in recent memory), decent directing and while not scoring any freshness points on plot, tension is consistent from beginning to end (Damon and Potente make nice combo). [English, 119min, PG-13]

Bowling for Columbine (2002)

7 /10

Begins light as gun crazed America is portrayed comically through laugh out loud interviews and biting commentary. Then comes a jarring turn to tragedy; history of US hypocrisy set to "Wonderful World" is a truly haunting sequence, as is disturbing recount of Columbine shooting. Falters in second half, when Moore trades insight for his own camera mugging crusades, opening a can of worms too big to handle. [English, 120min, R]

Bully (2001)

7.5 /10

Rough, well acted account of true story with disturbing violence and a powerful finish, but gratuitous sex (no matter how good) detracts from main focus. Nick Stahl is effectively menacing as titular character despite less than intimidating stature. [English, 113min, R]

Cashback (2006)

7 /10

Sean Ellis cleverly expands his Academy Award nominated short into a witty, inviting fantasy rom-com. Following a bad breakup (shown as funny slomo verbal assault), college art student Ben Willis develops a chronic case of insomnia, along with the ability to stop time – ala Zach Morris. Using this power, he ponders split second life choices and, in film's sexy centerpiece, the nude female form. Ellis exhibits great stylistic instincts throughout, but his ambitions overreach a bit in snow fall climax. [English, 102min, R] 7/09

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The City of Lost Children (1995)

7 /10

Spectacular visuals (including an amazingly creative chain reaction sequence) thanks to the wild imagination of Jean-Pierre Jeunet, but hindered by simplistic, unfocused plot. Brazil without the substance or emotion. [French, 112min, R]

Croupier (1998)

7 /10

Back before anyone knew who the hell he was, Clive Owen commandingly played a writer-with-a-past turned Casino dealer in a small, clever British drama. Voice over lead narrative feels lazy at first, until author's novel begins overlapping with real life and his point of view begins distorting reality. Most fascinating aspect is behind-the-counter view of croupier work, built around lightening quick hands and an equally fast mind. Third act story revelations add a boosting twist. [English, 94min, NR]

The Dangerous Lives of Altar Boys (2002)

7 /10

Moving drama with bits of humor set in Virgin Suicides-esk depiction of 1970's. Young cast puts forth strong performances with yet another Culkin showing talent. Animated sequences aren't as effective as they could be and Jena Malone, while good, is starting to typecast herself. [English, 141min, PG-13]

Danny Boy (2002)

7 /10

17 year old Colin Bannon again demonstrates technical skill far beyond his years, surpassing limitations of digital video with impressive "film-like" shooting and editing. Ambitiously mature narrative (about cryptic childhood nightmares) loses focus from time to time, short changing it's intriguing ideas, though climactic revelation still packs emotional punch. Bannon will truly excel when his writing is on par with level of craftsmanship. [English, 23min, NR]

Dead Man (1995)

7 /10

Sets up premise with strange energy, then shapes into a slow, somewhat aimless tale accented by graphic violence. Depp and cameos only can do so much. Always interesting (with a moody sparse guitar score by Neil Young), just not enough payoff. [English, 121min, R]

Deep Cover (1992)

7 /10

Dark morality tale with Fishburne strong as undercover cop who crosses over to the criminal world. Jeff Goldblum is atr his quirky best as a sleazy lawyer who utters one of the silliest lines in recent film history (with a straight face): "I want my cake and eat it too. I want my cake and eat it too." Now that makes it worth a watch alone. [English, 113min, R]

Die Another Day (2002)

7.5 /10

20th in Bond franchise is most entertaining since GoldenEye, adding an edgier, more serious tone to the mix. Exciting, high powered opening refreshingly ends on a bad note for 007, in the process creating a uniquely scarred villain. Plot has Brosnan on renegade revenge mission which leads to a number of solid action sequences, notably an inspired sword duel at halfway mark. Halle Berry's presence however, is unremarkable, along with her highly publicized sex scene. [English, 133min, PG-13]

Die Hard With A Vengeance (1995)

7 /10

Often incredible action sequences in NYC strung together by paper thin plot. Not as much memorable dialogue as past outings, but Willis and Jackson make a strong team on this energetic thrill ride nicely capping off one of film's best action franchises. Jeremy Irons is a huge improvement in the villain department, playing the brother of first movie's terrorist. [English, 131min, R]

Dogtown and Z-Boys (2001)

7 /10

Hyper-energetic documentary on birth of present day skateboarding is entertaining and informative but at times too self congratulatory. Leaves giant gap after 70's, only briefly summarizing what followed. Narrated by unlikely choice of Sean Penn, that may be first actor who's cough remained in a voice over. [English, 91min, PG-13]

Dolores Claiborne (1995)

7.5 /10

One of Stephen King's best movie adaptations along side The Shawshank Redemption, The Green Mile, and Stand By Me, although it severely alters the book's narrative structure to lesser effect. Jarring use of stylistic flashbacks tightly weave past and present of story and eclipse sequence is interestingly presented, but loses steam in final scenes. [English, 132min, R]

The Doors (1991)

7 /10

First half is absolutely mesmerizing, feeling like an extended 60's drug trip, with good scenes of band's formation. Then movie is consumed by 'rise & fall' syndrome of Morrison's life, not unlike any other self-destructing drug binge. Val Kilmer gives stunning performance, merging his own voice with original music during power concert sequences (Academy was blind not to nominate him). [English, 140min, R]

Do the Right Thing (1989)

7.5 /10

First three quarters do exceptional job of establishing hot summer city day with views from all nationalities on racism. Story then turns serious, implausible, and finally unclear in it's overall message as it attempts to make broader statement on racial perspectives (a common problem with Spike Lee). [English, 120min, R]

Everyone Says I Love You (1996)

7 /10

Allen takes a stab at old school Hollywood musicals that, if judged on pure spectacle, has great success thanks to rousing song’n’dance numbers sung by the actors themselves. All star cast featuring Edward Norton, Julia Roberts, and Drew Barrymore keep smiles coming but Woody’s cutting relationship commentary is heavily diluted in exchange for a more superficial experience. Fantasy dance finale featuring Allen and Hawn is pinnacle of grace and charm. [English, 101min, R]

A Fistful of Dollars (1964)

7.5 /10

Rough, stylistic (especially for the time) remake of Japanese film Yojimbo is more or less on par considering genre change. Eastwood grinds his lines out so effectively that even his gun is less intimidating and Sergio Leone knows how to milk the drama. [Italian, 99min, R]

From Hell (2001)

7 /10

The Hughes brothers successfully shift from the American ghetto to the London ghetto in this compelling, pitch dark take on famous Jack the Ripper mystery. Sporting excellent production value (especially sound design), disturbing imagery, and good outings from Holm and Depp, it movie manages to be an intriguing thriller rather than simply a stylish slasher. [English, 122min, R]

Gangs of New York (2002)

7 /10

Scorsese’s latest practically begs for greatness, proudly displaying massive sets, stylized violence, and lavish detail, yet falls victim to overzealous scope. Largest missteps occur late, when driving story of revenge and father-son relationship is curiously left for a "wannabe epic" history lesson. All pales in comparison to Daniel Day-Lewis, astounding and instantly memorable as Bill the Butcher, devouring scenery with nearly every breath. [English, 166min, R]

Ghost Town (2008)

7.5 /10

Standard genre entry elevated greatly by the relentlessly sarcastic humor of Ricky Gervais and his natural chemistry with costars. Kinnear (killed unoriginally in opening scene) is a ghost eager to stop his widow from re-marrying. Enter Gervais as a curmudgeonly dentist and unlikely hero after a near death experience allows him to interact with the after life. Story never reaches fantasy and dramatic heights of Ghost, but takes a surprising poignant turn in final act that ends film on an emotional high. [English, 102min, PG-13] 5/09

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Glengarry Glen Ross (1992)

7.5 /10

Electric performances by stellar cast of Al Pacino, Jack Lemmon, Ed Harris, and a career-young Kevin Spacey as highly completive salesman in rough times. Razor sharp David Mamet screenplay leads to diesel fueled moments of intensity but one too many "f_ck you's" and extremely harsh (read: unlikable) characters detract. Alec Baldwin's opening bitch-slap of a monologue is one of his finest moments. [English, 100min, R]

Harry Potter and The Chamber Of Secrets (2002)

7 /10

Better FX and a darker tone aren't enough preservatives to keep this feeling fresh. Inexperience of child actors is more pronounced having aged, making dialogue heavy scenes borderline dullness for much of first half. Works best when action is on screen, as in energetic flying car opening and claustrophobic spider attack. Although plot if fuller this time, it gets bogged down by confusing revelations in third act and a disappointing 'dues ex machina' climax. [English, 111min, R]

Heist (2001)

7 /10

David Mamet does the "heist movie." Acting veterans Gene Hackman, Danny DeVito, and Delroy Lindo bank solid performances off Mamet's sharp dialogue though intricacies of caper lead to plot that twists itself into a needlessly complicated pretzel with a wink of superiority. Builds strong sense of danger in later half that heightens suspense and despite deficiencies, an entertaining watch. "Everybody needs money; that's why they call it money." [English, 109min, R]

Hoosiers (1986)

7 /10

While entertaining, this overly sentimental “come from behind” sports story embodies clichés of genre to a fault: the dejected Midwestern basketball team, the coach looking for redemption, the aggressively skeptic town folk, the players overcoming emotional / physical obstacles, and the obligatory slow-mo game winning shots. Gene Hackman's superior acting (along with Hopper's) adds dramatic credibility to plot filled with simplified characters. [English, 115min, PG]

Hostel (2005)

7 /10

Eli Roth gets points for holding off on horror elements until second half and finally sticking ample nudity back in mainstream film after nearly a decade of absence. European local is captured with menacing undertones, allowing dread to mount far more subtly than modern genre normally allows. When (bleep) finally hits the fan, sights are brutally effective, but what disturbs more is all too believable concept of "torture a la carte" and social commentary on ultra-commercialized ugly Americans. [English, 95min, R]

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Hysterical Blindness (2002)

7 /10

Uma Thurman gives one of her best performances as insecure single woman "looking for love in all the wrong places" (too bad hardly anyone will see it). 1980's setting is authentically recreated thanks to dead-ringer era wardrobe and choice song usages. Plot doesn't score any major originality points but manages to move nonetheless. [English, 96min, R]

Ice Age (2002)

7.5 /10

Entertaining, often funny family movie with excellent computer animation (it keeps getting better and better), although plot predictability and an overly syrupy ending stop it from fully defrosting. Dodo bird "extinction scene" is particularly funny as are all involving the ulta-cute Scrat, who nearly walks away with the movie. Denis Leary also ain't too shabby as voice of Diego the saber tooth tiger in his second animated outing. [English, 81min, PG]

Identity (2003)

7 /10

Slick, creatively ambitious take on slasher genre avoids cliché traps more often than expected, aided by high caliber cast. Cusack gets most backstory mileage, which along with built-in likeability gives him sympathetic edge over eclectic group of characters. Murder sequences are skillfully executed, including one memorably gruesome demise. Major twist 2/3’s in threatens to derail entire story, placing it in limbo until chilling revelation eases over bumps. [English, 90min, R]

Igby Goes Down (2002)

7 /10

The Culkin's have become the inverted Baldwin bros. as the offspring continue to fair better than their Home Alone sibling. Kieran creates a likable smartass as title character in this dark, sarcastic coming of age story. Littered with supporting cast of familiar faces, notably Jeff Goldblum in fine sleazy form, there are some hilarious scenes of clever wit throughout. Unfortunately, scenes are greater than the sum, which is bogged down by sad drama. [English, 97min, R]

Inside (2007)

7 /10

The premise is simple: alone at home on Christmas Eve, a due-any-day widow is terrorized by a demented woman intruder, hell-bent on stealing her unborn child (shown via "womb-cam"). What plays out is an ultra-claustrophobic cat’n’mouse game of survival, punctuated by unrelenting graphic violence and psychological torture. Not pleasant by any stretch, but the filmmakers earn genre points for fearlessly committing to story. Creepy moments occur early during ethereal arrival of La femme. [French, 83min, UR] 6/09

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Inside Man (2006)

7.5 /10

Following Woody's lead with Match Point, Spike Lee hits the gas after a few years of engine idling, crafting a stylish, entertaining lil' heist thriller driven by a top notch cast. While far glossier than "joint's" of past, the story's frequent coloring from NYC's diverse ethnic pool is distinctly Lee (including a great post-9/11 Arab rant), and clever plot helps transcend predictability of genre. Most disarming is film's sense of humor, particularly during flash-forwards. Loses momentum during needlessly drawn out denouement. [English, 129min, R]

Iron Monkey (1993)

7 /10

Wild, '"Matrix / Crouching Tiger" style martial arts and not much else. Later film's American stunt novelty is actually diluted considerably when viewing this far earlier (and better) usage of wire-fu, prior to it becoming common place. [Cantonese, 90min, PG-13]

The Jerk (1979)

7 /10

Steve Martin's breakout film has some funny moments for sure, although ridiculously moronic humor overwhelms the more clever jokes. Often quoted "All I need..." scene is arguably the highlight (bedside "week" conversation is a close second), but laughs also stem from the absurd Opti-Grab invention and its comically tragic consequences. [English, 94min, R]

Joy Ride (2001)

7.5 /10

Paul Walker went from racing cars fast'n'furious, to racing FROM cars in this 2000's update to the Spielberg classic Duel. One of the more successful suspense/horror films of past two years, thanks to something sorely lacking in genre: restraint. Time is allowed for anonymous truck driver Rusty Nails to develop into a menacing presence, leading to intense cat'n'mouse exchanges that milk character's paranoia (motel room scene plays off sound to great effect). Ambiguous resolution takes the high road. [English, 97min, R]

Kramer Vs. Kramer (1979)

7 /10

Dustin Hoffman, as a workaholic-made-single father, almost entirely carries this flawed drama focused on topic of parental involvement. Best moments occur during slow building relationship with his son, played well by Justin Henry. Story tries for objectivity, but little sympathy is created for Meryl Streep's character (despite an extremely well acted courtroom monologue) as we only see Hoffman's new and improved parent onscreen. [English, 105min, PG]

Legends of the Fall (1994)

7 /10

Cinematographer’s wet-dream of vast Midwest landscapes paired with good old fashion love’n’war melodrama confirmed Brad Pitt’s popularity among female audience. While story line follows border-line laughable streak of depressing events, cast puts forth such worthy effort in portraying material seriously that even overblown moments ring true. Hopkins, excellent as helpless observer to son’s tragedies, serves as emotional core for epic timeline. [English, 122min, R]

Life as a House (2001)

7.5 /10

Kevin Kline pulls out a decent dramatic role from his mostly comic arsenal, as dying father trying to build both a house, and a relationship with his estranged son. Hayden Christensen, in his first public showing, is surprisingly good as anti-social rebellious youth (then Lucas gave him a light saber and his acting ability was questioned until Shattered Glass). Familiar territory for sure, but sturdy construction, including some beautiful photography, make for an enjoyable, moving drama. [English, 125min, R]

LOTR: The Two Towers (2002)

7.5 /10

At times technically masterful, continuation suffers from ill advised changes in character priority, poor editing choices, an overload of plot, and severely reduced screen time for Gandalf, the keystone of the first film's emotional arch. Battle of Helm's Deep is spectacular feat in digital FX, but intensity is diluted by "action movie invincibility" of main characters. Most engaging drama comes from Gollum, even if sporadically convincing in realism. [English, 108min, R]

Made-Up (2002)

7 /10

Tony Shalhoub's directorial debut is a digital video mockumentary that goes for realism rather than over-the-top laughs. Brook Adams shines with a wide range of emotions and Shalhoub has very funny small role. [English, 96min, PG-13]

Martin + Orloff (2002)

7 /10

85% of this movie contains some of the best wacky comedic material in years, but unfortunately it falters in the end, finishing with a smile instead of a tear inducing laugh. Brainchild of Upright Citizens Brigade members. Dr. Orloff is perhaps the worst psychiatrist ever featured onscreen. [English, 87min, R]

Mighty Aphrodite (1995)

7 /10

Etertaining comedy highlighted by the Oscar winning performance of Mira Sorvino as Linda the pornstar/hooker (only making her subsequent performances seem more disappointing). Use of literal Greek chorus makes for some fun scenes and writing is sharp but Allen doesn't as much to say as in the past. [English, 95min, R]

Minority Report (2000)

7.5 /10

Spielberg crafts an excellent dark action flick with Cruise in top form, including masterfully done sequences of suspense and excitement. Then there's the A.I.esk forced happy ending that dumbs down major plot revelation for a 2 year old while bathing in sappy drama. Definitely worth seeing, but could have been 2000's Blade Runner. [English, 145min, R]

Murderball (2005)

7.5 /10

Inspirational documentation of battering ram, bumper-car style quadriplegic rugby is refreshing exploration of often stereotyped social circle of wheelchair bound adults. Central figure is all-star "Murderball" player Mark Zupan who may be single most optimistic example of life after paralysis, especially considering his tragic back story. Exploration of "life in the chair" debunks some common misconceptions, including sex life limitations, and climactic game showdown connects with bittersweet emotion. [English, 88min, PG-13]

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Nine Queens (2000)

7 /10

An amateur thief is schooled by a pro to help make big hit, read: warmed over dueling con-artist plot, but confining premise to single eventful day shakes things up. Motivations to acquire titular rare stamps differ: one man simply wants hard cash, the other needs money to free his father from jail. Clever ploys and never ending obstacles ensue, culminating with a sneaky pull-out-the-rug twist. Sexy Leticia Brédice adds spice to male heavy cast. [Spanish, 114min, R]

Nurse Betty (2000)

7.5 /10

Dark comedy that works better as a drama with excellent performances by whole cast, including a surprisingly potent Chris Rock as violent hitman. Zellweger is likable as Betty, but Freeman and Rock are the most enjoyable characters. Violence (especially in deleted scenes) is graphic in nature. [English, 110min, R]

Ocean's 11 (2001)

7 /10

Aided considerably by star power and consistent comic relief but is simply a dressed up "been there done that" heist movie with no new angles; Soderbergh plays it too safe for his stylistic abilities. [English, 116min, PG-13]

Office Space (1999)

7 /10

Humorous look into the world of monotonous office life, with work situations everyone can relate to on some level (who doesn't want to see three white collar employees trash a copier in slow motion?) Unremarkable box-office, but transformed into a cult-smash over recent years thanks to avid word of mouth. Milton's red stapler obsessed mumbling introvert and Bill Lumbergh's arrogantly indifferent boss have since cemented themselves as iconic creations. [English, 89min, R]

Phone Booth (2003)

7 /10

Most simplistic Hollywood premise since Panic Room is moderately tense little thriller carried almost entirely by Colin Farrell’s full spectrum of emotion (best since Tigerland). Stylistic choices like picture in picture editing and ever changing camera angles keep limited locale interesting. Sutherland fleshes out "voice only" character into witty villain for solid cat’n’mouse interplay. Conventional ending is minor letdown considering cruel twist possibilities. [English, 81min, R]

The Piano Teacher (2001)

7 /10

The epitome of a foreign art-house flick; riveting, painful performance from Huppert as musician coping with sadomasochistic urges who suffers a complete psychological and physical breakdown. Highly realistic shooting style makes movie immensely uncomfortable to watch. [French, 130min, R]

Pollock (2000)

7 /10

Ed Harris is commanding as titular artist, and in-film painting is truly captivating, but strong production value and acting are strained by dreary downward spiral story of socially destructive creative mind. [English, 122min, R]

Possession (2002)

7 /10

LaBute takes a large sidestep with this tale of parallel relationships. Eckhart and Paltrow accurately represent present day couple plagued with intimacy issues, not much worse than the overly melodramatic 19th century lovers they uncover. Some very clever seamless transitions between both eras and a nice climactic surprise. [English, 102min, R]

Private Parts (1997)

7 /10

Recount of shock jock Howard Stern's rise to success is light and entertaining, a contrast to his often explicit radio show. Stern does a decent job (he is playing himself after all) especially during gawky college phase of his life, where many funny moments ensue. Slows down slightly in last half, although manic scenes with Paul Giamatti help. Accomplishes more than most biopics by actually giving insight into mind of featured performer. [English, 109min, R]

Read My Lips (2002)

7 /10

Unique mix of character study and thriller; a deaf woman searching for her sexuality finds excitement with a recent ex-con still active in crime. Makes strong use of hearing disability stylistically, at times muting nearly all sound to give audience perspective. Contains curious subplot disconnected from rest of story. [French, 115min, R]

Ringu (1998)

7.5 /10

Smash horror hit from Japan builds some shiver inducing scares with it’s anti-technology themed ghost story, though larger budget American remake is far superior in realizing shock potential (especially during startling climax). Some plot decisions are stronger here, mostly those concerning character development, handling of supernatural elements, and clarity of "cursed tape" mystery. Both versions overcomplicate story explanation in second half. [Japanese, 96min, NR]

Session 9 (2001)

7 /10

Revs and revs without ever shifting into drive. Premise is great, as asbestos removers clean out old insane asylum but discovered taped patient sessions are a lot of hot air and creepy atmosphere is achieved almost entirely by lighting and location rather than by plot motivation. [English, 100min, R]

Shadow of a Doubt (1943)

7 /10

Evil comes to small Norman Rockwell-esk town in this early Hitchcock thriller. Joseph Cotten exudes a menacing charm as deceitful Uncle Charlie who may be withholding a horrible secret from his favorite niece. While overly melodramatic staples of era date and dilute certain elements of story, examination of youth's social naivety and ambiguous nature of morals is certainly compelling. Highlight of substance and tension is Cotten's late night "little girl" speech, built with searing, timeless dialogue. [English, 108min, PG]

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Signs (2002)

7.5 /10

M. Night desperately wants to be the new Hitchcock, and even with some superb Hitchockian scares, he's got a ways to go. Premise closely resembles The Birds and Night of the Living Dead as worldwide catastrophe is merely hinted at while focus remains on small group; unfortunately, suspense is sacrificed too often for drama. Ultimate message is biggest flaw, as sci-fi elements are rendered irrelevant. Shymalan has a gift for creating movie magic, but The Sixth Sense is still his best film. [English, 106min, PG-13]

Sixteen Candles (1984)

7 /10

Hughes' debut only hints at his teen genre potential with a very simple plot that strays into absurdity on occasion but overall yields an entertaining watch. Anthony Michael Hall easily stands out as "The Geek." [English, 92min, PG]

Slackers (2002)

7 /10

A surprise; trite plot is lifted by refreshing stylistic choices and overall quirkiness. Jason Schwartzman is absolutely nuts in his scene stealing role (film has potential for cult status). [English, 86min, R]

Star Trek (2009)

7.5 /10

Opening with a rousing, unexpectedly poignant space battle, J.J. Abrams pseudo-prequel effortlessly entertains during its first act, while events concentrate on a young James Kirk and assembling of Enterprise’s familiar crew. Then an ancient Leonard Nimoy makes an uninspired entrance and pace suffers under weight of overly-expository time travel storyline. Still, the top-notch spectacle and uniformly strong cast (Chris Pine perhaps best embodying role) leave reason to anticipate future adventures. [English, 127min, PG-13]

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Stir Crazy (1980)

7.5 /10

Shows it's age, but Richard Pryor and Gene Wilder have such natural, manic comic chemistry that laughs are generated frequently in the face of a basic plot and uninspired direction from screen legend Sidney Poitier. Majority of film takes place in prison, after starring duo are wrongly accused of bank robbery, leading to hilarious scenes as when both have an emotional breakdown or the many times Wilder's completely naive character walks head first into trouble. [English, 108min, R]

The Tao of Steve (2000)

7.5 /10

Rather generic premise helped tremendously by excellent performance of Donald Logue (one of Blade's best aspects) who creates a thoroughly likable character. Clever dialogue adds to the mix along with good supporting cast. [English, 87min, R]

Training Day (2000)

7 /10

Denzel Washington wisely takes leave of absence from wholesome roles, here chewing through scenes as muscle car driving, leather coat & silver chain wearing "bad cop." Ethan Hawke is good here as newly assigned rookie partner who has an eye opener of a day (though Oscar nod is questionable). Plot enters familiar territory often and has share of contrivances, but Denzel injects enough energy with his dangerous, unpredictable character to push story past looser sections. [English, 120min, R]

Unfaithful (2002)

7 /10

Richard Gere is good and Diane Lane especially strong. Surprisingly erotic sex scenes are a throwback to 80's style soft core. Well shot movie works for 3/4's until raising the stakes too high, then stumbling through implausibility to ambiguous conclusion. [English, 124min, R]

Videodrome (1983)

7 /10

David Cronnenberg tackles the affects of TV sex and violence with trademark graphic makeup FX and quasi-sci-fi paranoia. A young James Woods sizzles with sleaze as producer of independent station devoted to depraved programming. After viewing an underground broadcast of torture and death, he develops horrifying hallucinations that be result of mind control conspiracy. Overall message looses focus towards end but subject matter is more relevant today than ever. [English, 87min, R]

V for Vendetta (2005)

7.5 /10

Often compelling, highly topical 1984 inspired sci-fi thriller truly excels for nearly 75% of running time before succumbing to mildly derivative climax. Natalie Portman, free of Star Wars universe, displays impressive range opposite Hugo Weaving's charming masked enigma. Provocative political commentary (occasionally verging on anti-American) raises thought-provoking questions about government power and control by fear. Imperfections aside, an intellectually and emotionally satisfying action movie. [English, 132min, R]

Waking Life (2001)

7.5 /10

Insightful commentary on life, bordering pretentious at times, linked together by unprecedented frame-by-frame animation of live action footage. Artistic style varies from segment to segment, with some clearly more effective than others. Sky's the limit on it's creative options for Linklater, but this only gets past the tree line a few times. There's a better movie waiting to be made with this technique. [English, 99min, R]

X2: X-men United (2003)

7.5 /10

Phenomenal improvement over half-baked first installment avoids standard adaptation pitfalls, stifled only by ill paced, throwaway plot. Significantly fleshed out roles add much needed emotional depth while minor additions like Nightcrawler pave way for fun action set pieces (Magneto’s clever prison escape among best). Accomplishes rare task of believably meshing fantasy universe with real life drama, owed to competent acting and confidence in material. [English, 133min, PG-13]

xXx (2002)

7 /10

Big, dumb, action movie has one-liners as cheesy as they come and a plot with the complexity of simple addition, but never takes itself more serious than a paper cut. Insane stunts (especially avalanche scene) provide a few "holy sh_t" moments and Vin Diesel only adds to the larger than life fun of this guilty pleasure. [English, 124min, PG-13]

Yojimbo (1961)

7 /10

Sanjuro, one of film's best mercenaries, plots a torn town's people against each other for his own benefit. Well made movie on all accounts, but the sequel Sanjuro handles a similar plot with greater success. [Japanese, 110min, PG-13]

Young Adam (2003)

7 /10

Moody character study focused on reserved, sexually charged Ewan McGregor as barge-riding drifter who is consumed after discovery of a woman's body. Splintered chronology is at first confusing, eventually heightening impact of key revelations, both surrounding plot and McGregor's progressively less sympathetic character (though well-acted). While consistently compelling, end result is short of satisfying due to unresolved emotional turmoil, even if avoiding cop-out climax. [English, 93min, R]

Young Frankenstein (1974)

7.5 /10

Gene Wilder is great as the frenzied grandson of the famous reanimator in this entertaining parody. Aided by strong supporting cast of quirky characters (Kenneth Mars' one armed police inspector stands out), and rich B&W photography not common to a modern comedy. While there are some laugh out loud moments, most of movie is 'smile-to-chuckle' range material and the pace slows in second half. [English, 106min, PG]

Y tu mamá también (2001)

7.5 /10

Sexually explicit (!) road trip movie with unlikely participants. Raw, handheld cinematography captures Mexican life well and natural performances are very strong, but story covers familiar territory where it should transcend. [Spanish, 105min, R]

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