13 Ghosts (PG-13) 21st century remake of the old William Castle spookfest about a family trapped in the haunted house they've just inherited. Stars F. Murray Abraham, Tony Shalhoub and Shannon Elizabeth.
(Not Reviewed)
Amazing Journeys (PG) IMAX films are about scale, size — from the unfathomably huge (the oceans, the cosmos themselves) to the microscopically small — and this latest IMAX production gives us a little bit to look at from both ends of the spectrum. Amazing Journeys examines the migration habits of various creatures.
Amelie (NR) Plucky, quintessentially quirky Amelie (saucer-eyed Audrey Tautou) spends her time choreographing good deeds and love connections for her neighbors and, eventually, herself. Amelie, which is as much a fairy tale as it is a cartoon, brims with imagination and emotion, and the impossibly fetching Montmartre neighborhood in which it's set is as much a dreamscape as it is an actual physical location. As is his stylistic want, director Jean-Pierre Jeunet crams every inch of the film with marvelously composed shots of bric-a-brac and arcane doodads, lavishing equal, fetishistic attention upon a kitschy garden gnome and the sensual pleasure of cracking open the crust on a well-turned creme brulee. Also stars Mathieu Kassovitz. Held over at Tampa Theatre. Call theater to confirm.
Bandits (PG-13) Director Barry Levinson mixes buddy-crime-flick shtick and romantic comedy (a la Ally McBeal) and peppers it with the stylish verite camera moves and music video-style montages he employed in his TV show Homicide. The combination makes for an entertaining, though unevenly paced and overly quirky, two hours of madcap caper fun. Stars Bruce Willis, Billy Bob Thornton and Cate Blanchett.
—Julie Garisto
Behind Enemy Lines (R) It's hard to imagine a message more post-Sept. 11th-ish than the one implicit in this brash, in-your-face war movie: In an ugly little world of unreliable allies and abominable enemies, we Americans can only count on ourselves to do what's right — i.e., the kicking of much butt, and with righteous indignation. The only thing wrong with Behind Enemy Lines' timing is that the movie gets the enemies wrong. The film was completed before 9-11, so instead of jihad-crazy Muslims, the nasty bad guys here are the murderous Serbs who shoot down bored Yankee fly-boy Owen Wilson during a routine reconnaissance mission over Bosnia. Wilson then spends the entire movie on the run from his vicious pursuers while his NATO superiors bicker over the delicate particulars of his rescue. The movie has all the depth of a Little Lulu comic, but director John Moore shoots the action in such a blatantly visceral, hyper-kinetic manner that we just can't look away. Even at its most disposable, Behind Enemy Lines is undeniably exciting, and some of the special effects sequences are amazing. Also stars Gene Hackman. Opens Nov. 30 at local theaters.
Black Knight (PG-13) A Just Visiting in reverse or, if you prefer, an Evil Dead: Army of Darkness with a touch of ethnic color, and without any of the scary stuff. Come to think of it, without much of the funny stuff, either. Martin Lawrence plays a medieval theme park employee who gets dunked in a funky looking moat and finds himself magically transported back to the actual 14th century. The movie's too lacking in energy to bother developing a few decent jokes (not to mention characters) and simply goes through the motions of telling its story, not exactly incompetently, but certainly as if it had been written on autopilot. The feeling is contagious, and it's not long before those of us in the audience begin to feel as if we too are on autopilot, barely there and just waiting for the final credits to roll. Also stars Marsha Thomason and Tom Wilkinson.
Bones (R) Stylishly lensed but incoherently told horror tale about — as near as we can tell, anyway — a ghetto boss who returns from the dead. Bones is a vapid, convoluted mishmash of Hellraiser, Candyman and a dozen other, better horror films, and, despite top billing, Snoop Dogg isn't even in the movie very much. That's a blessing, actually, since he's pretty awful.
Cirque du Soleil: Journey of Man (G) Multimedia performance artists/acrobats/magicians Cirque du Soleil find their way to the big screen — the really big screen — in this visually spectacular IMAX 3-D experience. The film's astonishing imagery constitutes an authentic document of Cirque du Soleil in motion, as well as a beautifully poetic tribute to the glory of the human body. At IMAX Channelside.
Domestic Disturbance (PG-13) A cute little kid is terrorized by his evil step dad (Vince Vaughan). Never fear, though: Bio-pop John Travolta is on to him. Also stars Steve Buscemi. (Not Reviewed)
Don't Say a Word (R) A slickly made but only modestly interesting thriller in which a child psychologist (Michael Douglas) races against time to meet the ransom demanded by his daughter's kidnappers. What Douglas' character needs to do is extract information locked in the mind of a deeply traumatized patient and then convey that info to the bad guys. There's much less here than meets the eye, but there are some passable moments of suspense, and the film is skillfully crafted enough to occasionally give the thin storyline the illusion of substance.
From Hell (R) Ye Old London Town comes off as a cross between something out of a vintage Hammer flick and a Marilyn Manson horrorshow, with Johnny Depp starring as an absinthe-swilling, opium-smoking inspector on the trail of history's first and, arguably, most notorious serial killer, Jack the Ripper (depicted here as a predictable blend of Lecter and Dracula). The moody atmosphere in this most explicit and goriest of mainstream Ripper movies is so thick you could cut it with a bloody scalpel, but underneath all the extraordinary visuals and conspiracy theories beats the heart of a fairly routine slasher flick. Also stars Heather Graham.
Harry Potter and the Sorcerer's Stone (PG) A wizard, a true star. Living up to the hype in almost every way, Chris Columbus' big screen adaptation of the first Harry Potter book is a rousing blend of fantasy, mystery, action and pure charm that puts the film in a league with modern adventure classics like Raiders of the Lost Ark or the original Star Wars trilogy. The movie creates a genuine sense of wonder and its 2 1/2 hours practically fly by, bolstered by a strong script, amazing sets and special effects, a classic John Williams score, and some great performances by a well chosen cast of young newcomers and seasoned pros, all of whom strike just the right tone. Stars Daniel Radcliffe, Rupert Grint, Emma Watson, Robbie Coltrane, Richard Harris, Alan Rickman and Maggie Smith.
Heist (R) David Mamet is back with a crowd he clearly loves — con artists and crooks — but don't expect the metaphysical mind games of The Spanish Prisoner or House of Games this time around. Heist is about as close to a no-frills action movie as Mamet's likely to come, with a number of set pieces revolving around finely tuned robberies, and a relative minimum of angst or stylized chat (although it does contain its share of prime Mametspeak). Gene Hackman is in top form as the leader of a gang of tough but weirdly endearing thieves, and it's his presence that really carries the film. The movie's twists and turns begin to seem a bit contrived after a while, but, on the whole, Heist is an oddly crowd-pleasing bit of business that shows that the commercialization of David Mamet continues apace. Also stars Danny DeVito.
Island of the Sharks (PG) Another intriguing, typically beautiful IMAX underwater feature, this one taking us eyeball to eyeball with the denizens of the waters around the Cocos Islands off the coast of Costa Rica. At Channelside IMAX.
K-PAX (PG-13) Kevin Spacey stars as an enigmatic mental patient who befuddles and eventually charms everyone in sight, and ultimately even teaches his shrink (Jeff Bridges) to be a better person. Director Iain Softley creates a genuine sense of wonder for most of K-PAX's running time, although the magic dissipates a bit during the movie's second half, which dwells more on the history and psychology of Spacey's character. Also stars Mary McCormack.
The Last Castle (R) Robert Redford stars as a legendary three-star general sentenced to a maximum security military prison ruled with an iron fist by the cruel, heavy-breathing warden (James Gandolfini). Redford's character endures all sorts of abuse, becoming a hero to the other inmates in the process, and eventually orchestrates a plan to take over the prison. The Last Castle feels a bit like a watered-down cross between Cool Hand Luke and one of Hollywood's vintage POW movies, but the movie never rises above the sum of its parts.
Life as a House (R) Kevin Kline stars as a terminally ill man who decides to spend his last few months building himself a swanky home by the sea, while simultaneously attempting to build bridges with his estranged son (Hayden Christensen) and ex-wife (Kristen Scott Thomas). Director Irwin Winkler pays a lot of attention to the movie's surface but doesn't seem to have too much faith in the essence of his own story; he rarely allows the movie to take stock in itself or allows quiet, reflective moments that should have really made the film matter. Instead, the director's general tendency is to take a fairly ham-fisted approach that often makes it feel like the movie might have been better expressed on a greeting card.
The Man Who Wasn't There (R) From its very title to its blackmail and murder-laced plot, The Man Who Wasn't There is about as close to classic film noir as the Coen Brothers have ever come (Blood Simple included) albeit with a few flying saucers and Lolita-esque nymphets thrown in, just to screw with our heads. Billy Bob Thornton is just about perfect as a milquetoast husband trapped in a loveless marriage and a joyless job, while Roger Deakins' black-and-white photography is lush and mesmerizing. Also stars Frances McDormand, Scarlett Johansson, Tony Shalhoub and James Gandolfini. Held over at Channelside Cinemas. Call theater to confirm.
Monsters Inc. (G) Imagination runs rampant in the best possible way in this latest animated treat from the folks at Pixar Studios (Toy Story 1 & 2, A Bug's Life). The movie's a vaguely screwballish comedy of errors, a bit like Three Men and a Baby, except that the men are actually monsters. Cute, likable monsters that is, who belong to a community of multishaped beasties who accidentally come into contact with one of the adorable little children they're charged with scaring. If the material isn't quite up to the trend-setting brilliance of the Toy Story movies, that's only a minor stumbling block in an otherwise clever and endearing entertainment. Featuring the voices of John Goodman, Billy Crystal, James Coburn and Steve Buscemi.
Novocaine (R) Steve Martin executes at least two perfect pratfalls in Novocaine. In each case, significantly, Martin slips in a pool of blood. That just about sums up the movie, a slightly quirky, slightly humorous update of vintage film noir, replete with double and triple crosses, femme fatales and a slippery world where one small mistake turns hero into antihero and plunges the everyday into chaos. The everyday shnook at the center of Novocaine is a boring and bored dentist (Martin) whose life quickly begins to go down the tubes when he falls for a drug-gobbling grifter (Helena Bonham Carter, doing a subtle variation on her role in Fight Club). The movie's attempt at injecting itself with an undercurrent of offbeat humor isn't entirely successful, but Novocaine still manages to be pretty entertaining in an essentially old-fashioned noir sort of way. Also stars Laura Dern, Scott Caan and Elias Koteas.
The One (PG-13) Apparently failing to learn any sort of lesson from all those awful Jean-Claude Van Damme flicks where the Muscle from Brussels plays battling twins, Jet Li takes on himself in this vaguely sci-fi-ish action blow-out. Of course, one Jet Li is worth a dozen Van Dammes, but that's not nearly enough to save this generic mish-mash of The Matrix, Terminator and Twilight Zone. The non-stop heavy metal soundtrack is alone enough to drive you from the theater. Also stars Delroy Lindo and Carla Gugino.
Our Lady of the Assassins (R) A love story set in Hell — otherwise known as the mean streets of Medellin, Columbia, where a world-weary writer (German Jaramillo) returns home and takes up with a cold-blooded but strangely angelic young street kid (Anderson Ballesteros). Perhaps the most extraordinary thing about Our Lady of the Assassins is its ability to weave together the most ravishing and the most horrifying of images and ideas; the film's tone is largely contemplative and even poetic, but the unpolished reality is uncomfortably palpable. Also stars Juan David Restrepo.
Riding in Cars with Boys (PG-13) Beverly Donofrio (Drew Barrymore) lives out the first two decades of her life of as a nice Catholic girl who gets pregnant at age 15 and then finds her dreams of college and a career constantly squashed by the demands of her dead-end life. The first 90 minutes of this overlong movie are listless, stodgy comedy, alternately screechy and sappy, while the last half-hour makes a bizarre and unpleasant turn into the realm of bargain-basement soap opera. The cumulative effect is a mess.
Serendipity (PG-13) Another sticky-sweet and thoroughly uncomplicated romantic comedy about fate and true love, in which the main characters spend the entire movie trying to find each other. The movie is basically harmless but overly long, and its allusions to destiny and mystical connections are just short of pretentious. Stars John Cusack and the chick from Pearl Harbor.
Shackleton's Antarctic Adventure (PG) An engaging mix of history, drama, fascinating archival footage and breathtaking, state-of-the-art photography, Shackleton's Antarctic Adventure tells the incredible true tale of an epic battle for survival in the wake of a failed expedition to cross Antarctica in 1914. The amazing journey of English explorer Ernest Shackleton and his intrepid crew encompasses an almost unbelievable array of hardships — impossible-to-navigate seas; a long ordeal being stranded in the exact middle of nowhere; being forced to trek on foot across uncharted territory that happens to be the most treacherous frozen wasteland in the world — and it's all captured in this exciting, well-told IMAX production. Kevin Spacey, one of the most distinctive voices of the day, provides the narration in a rare, irony-free performance.
Shallow Hal (PG-13) The notorious Farrelly Brothers are back, with their least gross and, frankly, least funny film to date. Shallow Hal is the unconvincingly sweet story of the redemption of a sexist pig (Jack Black) who is one day magically blessed/cursed with the ability to only see inner beauty — resulting in his falling head over heels with a 300 pound woman (Gwyneth Paltrow, sometimes seen in an elaborate fat suit). A trim of about 20 minutes would have been a considerable help, and most of the best jokes were given away in the movie's trailer. Also stars Jason Alexander.
Spy Game (R) Typically slick, hyper-amped Tony Scott production about a retiring CIA officer (Robert Redford) who discovers his one-time protege (Brad Pitt) is about to be executed in China. Despite all the visual gymnastics, Spy Game never develops much real forward momentum, mostly because virtually the entire movie consists of a series of extended flashbacks that simply detail the exploits of Redford and Pitt's characters over a period of 15 years. Spy Game might at least have been fairly timely stuff — its subject, after all, is the down-and-dirty business of international espionage that's on everyone's minds these days — but in Scott's hands, it all seems a little too glib. Also stars Catherine McCormack.
Training Day (R) Rookie narc Ethan Hawke gets in way over his head during his first day on the job, when his partner/mentor (Denzel Washington) turns out to be the worst role-model cop since Harvey Keitel's character in Bad Lieutenant. Washington spends virtually the entire movie indulging in all manner of corrupt, sadistic and immoral behavior, and yet the movie is so essentially clueless it can't resist intermittently making him into some sort of hero in a way that appeals strictly to the audience's basest instincts. Training Day is grimy, confused, ugly and depressing stuff. Just what the world needs now. Also stars Scott Glenn.
Under Hellgate Bridge (R) Writer-director Michael Sergio tells the story of reformed junkie Ryan (Michael Rodrick), a lantern-jawed, urban warrior who returns to his old stomping grounds in Queens only to discover that both of his younger brothers have succumbed to smack, and his ex-girlfriend has married his arch enemy (Jonathan LaPaglia), a sadistic local mobster who keeps the whole neighborhood supplied with nasty narcotics. Although the film is sporadically successful at creating a moderately gritty realism (several of the actors playing junkies really do look like junkies), it constantly undermines itself with simplifications and outright idiocies that can't help but call attention to the movie's serious lack of insight and originality. Characters and plot points are routinely introduced in a jarringly awkward manner, while the dialogue is often pretty banal and made to seem even more so thanks to a hackneyed and overblown musical score that underlines all of the movie's most generic tendencies. Also stars Jordan Bayne. Held over at Channelside Cinemas. Call theater to confirm.
Vampire Hunter D: Bloodlust (R) Japanese animated feature about a distant future where humans and vampires commingle in dark and complicated ways.
(Not Reviewed)
Waking Life (NR) Richard Linklater's new film is a circle dance of eccentric ideas, some of which eventually interconnect and some of which just drift off into the ether. Waking Life is similar in structure (or lack thereof) to Linklater's nonlinear debut, Slacker, in which a stream of what amounts to talking heads basically just parade through the film, offering up a series of skewed monologues, some intellectually rigorous, some simply silly. What transforms Waking Life into something considerably more than Slacker is that the director and his team of digital artists have transformed the film's human actors into constantly mutating animations that give the characters' abstract feelings and ideas a concrete form. Held over at Channelside Cinemas and Beach Theatre. Call theaters to confirm.
The Wash (R) Dr. Dre and Snoop Dogg star as car wash co-workers in this DJ Pooh-directed comedy. Side hustles and dalliances with female co-workers abound, with a kidnapping (of the car wash owner) thrown in for good measure. Also stars George Wallace, Eminem and Tom Tiny Lister, Jr.
(Not Reviewed)
Zoolander (PG-13) Consistently funny, spot-on spoof of the fashion industry and all its pretty vacant pop culture tentacles. Starring Ben Stiller as the world's most clueless male model.
—Reviewed entries by Lance Goldenberg unless otherwise noted.
This article appears in Nov 29 – Dec 5, 2001.