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]

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Ghosts of the Abyss  (2003)      

5.5 /10

Not probing enough a documentary to have true educational value and not visually stunning enough to be pure eye candy, it remains a Titanic themed testing ground for impressive new 3-D technology. Falters mostly in second half, relying heavily on 2-D images, skimmed over history lessons, and a contrived suspense sequence. Bill Paxton under-whelms as narrator, frequently spouting overly pretentious lines to elevate onscreen footage. [English, 59min, PG]

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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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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]

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The Girlfriend Experience  (2009)      

5 /10

Late in Soderbergh's most recent Indie experiment, adult star Sasha Grey's character is criticized for her "flat affect, lack of culture, and utter refusal to engage", which is unfortunately all true. Grey is simply not convincing as high-class escort Chelsea, despite promise in her attractive, expressive face. Broken chronology here feels unnecessary and much touted stabs at current economic crisis amount to nothing more than superficial observation (already heard ad nauseam on 24 news).  [English, 78min, R]  5/09

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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]

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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]

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Glory  (1989)      

9.5 /10

Powerful and devastating look at first combative black regimen in Civil War. Excellent score by James Horner adds to emotionally potency throughout, especially during climactic battle scene. Mathew Broderick has success in one of his few dramatic roles and a young Denzel holds his own and then some along side Morgan Freeman.   [English, 122min, R]

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The Good, the Bad, and the Ugly  (1966)            

10 /10

Final film in Sergio Leone's "Man With No Name" trilogy has ambitious scope that incorporates the best of the previous two movies into a masterpiece of its genre and of film. Famous music score aids tremendously to tense gun shoot outs and dramatic scenes. Climatic standoff is a cinematically perfect convergence of pacing, music, and suspense.  [Italian, 161min, R]

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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]

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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]

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Grosse Point Blank  (1997)

8 /10

Effective black comedy with Cusack in top form as hit man on verge of reforming when his 10 year high school reunion pops up while on assignment. Quirky romance with Minnie Driver is refreshing, during what may have been her best acting years. Successfully walks line between harsh violence and light tone: a rarity. Dan Aykroyd makes impression as rival hit man in one of his few memorable roles of past decade.  [English, 107min, R]

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