AGENT CODY BANKS (PG) TV's Frankie Muniz (Malcolm in the Middle) stars as a typical teen living a not-so-typical secret life as a CIA agent, complete with cool spy gadgets, dangerous missions and hot babes at the ready. Also stars Hilary Duff and Darrell Hammond. (Not Reviewed)
ANGER MANAGEMENT (PG-13) Another drab installment of recycled humor starring Adam Sandler, the most typecast comic actor of our time. Sandler plays Dave Buznik, a neurotic who struggles to masquerade his angst by being non-confrontational. This method of containment adversely affects both his personal and business relationships. And after an altercation with a flight attendant, Dave is court ordered to participate in an anger management program. His therapist, Dr. Buddy Rydell (Jack Nicholson), takes an unconventional approach in treating him. Throughout the program, Dave is witness to dubious practices by Dr. Rydell and questions his sanity. Their interactions are slightly amusing at times but not enduring. Jack Nicholson is the only new element in this formulaic Sandler flick. The plot relies on the same mold as his other films. Reoccurring characters and gags are aplenty. The title should have been saved for a Sandler anthology, it best describes what to expect from this actor. Also stars Marisa Tomei, John Turturro, Kevin Nealon and Woody Harrelson. 
—Corey Myers
BEND IT LIKE BECKHAM (PG-13) A far more satisfying spin on modern gals grappling with Old World cultural values (and cliches) than My Big Fat Greek Wedding. At the center of the story is Jess (Jesminder to her parents), a nice Indian girl who just wants to follow her dream to play soccer, much to the dismay of dear old mum and dad. Much of what follows is fairly predictable but ultimately winning stuff. Director Gurinder Chadha (Bhaji on the Beach) toys with scores of cliches and conventions, but manages to transcend them all by keeping a firm grip on the bottom line: creating appealing and believable characters, and giving them an interesting and convincing world to live in. The movie gives us a little bit of everything, crossing smoothly from genre to genre and packing all of its elements tightly together in one groovy little package: romantic comedy, coming-of-age drama, sports movie. Stars Parminder Nagra, Keira Knightley, Jonathan Rhys Meyers and Anupam Kher.
BETTER LUCK TOMORROW (R) Finally, a teen flick that provides a satisfying answer to the burning question "What happens when model students go bad?" Better Luck Tomorrow is an engaging look at a group of smart, successful Asian-American high school kids who, mostly out of boredom, get involved in a series of lucrative scams that become increasingly bigger and more dangerous. The movie tackles racial stereotyping, but only in a roundabout way, which is as it should be; these kids could be anybody. There's no real soapbox here, just some genuinely intriguing characters and an authentic-feeling scenario about nice suburban kids having fun doing bad things. Director Justin Lin shoots and edits the film in a fast, flashy way that drives home the youthful energy. Stars Parry Sheh, Jason J. Tobin and Roger Fan. Opens April 25 at local theaters. 1/2
BRINGING DOWN THE HOUSE (PG-13) Steve Martin and Queen Latifah star in what the previews reveal to be the standard Hollywood comedy that starts with a wacky Internet match-up but winds up with Ms. Latifah as helper-to-the-rescue a la Mrs. Doubtfire. (Not Reviewed)
BULLETPROOF MONK (PG-13) Bland, action movie nonsense featuring Chow Yun Fat as a nameless monk entrusted with the protection of a mystical scroll that can bring about the end of the world. In what's clearly calculated as a "break-out role," Seann William Scott (Stifler from American Pie) does his best Harrison Ford impersonation as the charming petty thief who teams up with the monk and helps save the universe. Scott's not as annoying as you might imagine, but he's not particularly memorable or appealing either. Ditto for the movie. Most of what ensues amounts to a series of clumsily choreographed fights and chases, with a few exotic flourishes from the Mysterious East to pad things out. Chow, Asia's once and former prime candidate for East-West crossover stardom, mostly looks a little bored here. Also stars Jaime King. 1/2
CHICAGO (PG-13) Rob Marshall pulls out all the stops in this lavish, big-screen adaptation of the hit Broadway musical about a 1920s chorus girl who shoots her lover, goes to jail and becomes a big celebrity. Taking place simultaneously in gritty reality and in the projected fantasies of its characters, the movie cleverly folds its story into a series of show-stopping musical numbers. Stars Renee Zellweger, Richard Gere, Catherine Zeta-Jones, John C. Reilly and Taye Diggs.
CITY OF GOD (NR) We've seen this story before, more or less — the blood, psychopaths, the budding psychopaths, the all-too-young victims of urban decay — but never quite like this. City of God is a movie bursting with life in all its nuances, often entwining beauty and ugliness in complex ways that are going to make a lot of audience members somewhat less than comfortable. The movie covers several decades in the lives of various low-level gangsters who inhabit a seedy housing project on the outskirts of Rio de Janeiro. The stories flip back and forth through the years, giving the film a fluid, elastic sense of time, recalling the postmodern playfulness of Pulp Fiction or Amores Perros, and the style is frequently dazzling. Director Fernando Meirelles' movie comes off as a compelling social history as eccentric and epic in scope as P.T. Anderson's Boogie Nights, but it also succeeds on a very personal level. This is a comic tragedy about people who appear to change and to speed along at the speed of sound while, in actuality, they're standing absolutely still. Stars Alexandre Rodriguez, Matheus Nachtergaele, Seu Jorge and Leandro Firmino da Hora. Held over at Burns Court Cinema in Sarasota. Call to confirm. 1/2
CORAL REEF ADVENTURE (G) Another quality IMAX production from the acclaimed team of MacGillivray Freeman (who seem to be able to do this IMAX thing in their sleep), Coral Reef Adventure is a fascinating and somewhat frightening look at an exotic and rapidly disappearing underwater world. Music by flag-waving hippie diehards Crosby, Stills and Nash brings home the environmental message concerning the destruction of the reefs (from a deadly combo of over-fishing and global warming), but the movie has its moments of fun as well. 1/2
THE CORE (PG-13) See Rome's Coliseum destroyed by freak lightening! See the Golden Gate Bridge melt and collapse! See the space shuttle skid to a landing in downtown L.A.! All that really does take place in The Core, but you'll have to wade through a lot of excruciatingly boring pseudoscience and predictable plot "twists" to get to the good old-fashioned disaster flick lurking within. The movie also owes considerably to Fantastic Voyage, although the journey taken by our heroes here is not into the human body, but into the earth itself. See, it seems the Earth's core has stopped spinning (don't ask), resulting in a disintegrating electromagnetic field, resulting in the impending end of the world. That means it's up to hunky genius-boy Aaron Eckhart, pixie-cute astronaut Hilary Swank and a team of disposable sidekicks to hop into what looks like a giant drill bit and get on down to the planet's center to make things right. The special effects and dialogue are often cheesy enough to generate a smile or two, but the movie is mostly just too long and tedious to really be much fun. Also stars Delroy Lindo and Stanley Tucci. 1/2
DAREDEVIL (PG-13) The latest Marvel superhero to hit the big screen is by far the most dour and exquisitely tormented of them all. "I'm not the bad guy," Daredevil tells us (and himself), but that's debatable, considering how much he obviously relishes inflicting pain upon the scummy lawbreakers scurrying through the city. A blind lawyer by day, a costumed, superpower vigilante by night, Daredevil has a thirst for justice that borders on the pathological, so that our vicious, crime-fighting hero often seems to have crossed the line from self-doubting neurotic (a la Spider-Man) to full-blown nutcase. Daredevil is a violent, relentlessly downbeat and dark movie on almost every level (amazingly, it wasn't rated "R"), often coming across like Death Wish crossed with vintage film noir, with just a bit of extreme sports thrown in the mix. Ben Affleck is surprisingly effective as the tortured title character, and he's surrounded by a well-cast ensemble including Jon Favreau, Michael Clarke Duncan and Colin Farrell. Only a handful of overly cartoon-y moments and a generic soundtrack mar the final effect. Also stars Jennifer Garner. 1/2
DREAMCATCHER (R) Although it starts out intriguingly enough, director Lawrence Kasdan's sci-fi/horror blowout quickly reveals itself as a disaster of Battlefield Earth proportions. Based on one of Stephen King's weaker efforts, this astonishingly bad movie crudely mashes together recycled tidbits from Stand By Me and The Tommyknockers with Alien, John Carpenter's The Thing and even a bit of Kasdan's The Big Chill. The resulting flick is a kitchen sink horror filled with exploding body parts, ubiquitous X-Files-esque alien viruses and vaguely psychic childhood pals who turn into lovable thirtysomethings and are promptly killed. It's boring, scatterbrained and an embarrassment to everyone involved. Stars Morgan Freeman, Thomas Jane, Jason Lee, Damian Lewis and Tom Sizemore.
FAR FROM HEAVEN (PG-13) Todd Haynes' loving and exquisitely crafted homage to the 1950s melodramas of Douglas Sirk is set in white suburban American circa 1957, an easy target if ever there was one. The heroine of this remarkable neo-tearjerker is Cathy Whitaker (beautifully played by Julianne Moore), a model housewife whose world crumbles when her marriage to local businessman Frank (Dennis Quaid) turns out to be not nearly as perfect as she imagined. There's a real story here, and Haynes uses the movie's formidable style to make connections between what was going on in America in the middle of the last century (but couldn't always be talked about) and what's happening here and now. 1/2
GANGS OF NEW YORK (R) Martin Scorsese's enormously ambitious new film about mid-1800s blood feuds and power struggles is a huge, magnificently sprawling thing that manifests all the power and resonance of classical myth. The movie's focus is the love-hate relationship between the characters played by Daniel Day-Lewis and Leonardo DiCaprio, but Scorsese constantly layers his cinematic mural with additional characters, historical nuances and stories within stories. Gangs of New York is certainly History Writ Large, but the bulk of it is as accessible as anything this director's ever done. The movie is big, bloody, ornate, passionate and full of over-the-top emotions, like a grand opera re-imagined as a really cool comic book. Also stars Cameron Diaz.
THE GURU (R) Party Girl director Daisy Von Scherler Mayer has removed any sliver of her previous offbeat charm from this trite story of trendy New Yorkers who glom onto a struggling Indian actor (Jimi Mistry) masquerading as a spiritual leader and "Guru of Sex." Heather Graham returns to familiar territory as a sweet porn star who advises the New Age swami in this fluffy romantic comedy with a rank center. —Felicia Feaster
HEAD OF STATE (PG-13) Are you ready for Presidential candidate Chris Rock? If so, this latest Rock comedy might be for you. Also stars Bernie Mac and Dylan Baker. (Not Reviewed)
THE HOURS (PG-13) The film interweaves moments from the lives of three women living in three separate times and places, straining to establish unifying themes involving feminine strength (or lack thereof), motherhood, lesbianism and suicide. In the best segment, the writer Virginia Woolf (Nicole Kidman) skulks about in1923, chain-smoking and mulling over ideas for a new book. In the worst segment, a contemporary New York publisher (Meryl Streep), nicknamed for a character in Woolf's book, prepares a party for Ed Harris' dying writer. In between, there's Julianne Moore as a 1950s housewife who reads Woolf's book, quietly cracks up, and checks into a hotel with a year's supply of sleeping pills. Also stars Toni Collette and Claire Danes.
HOLES (PG) Shia La Beouf and Sigourney Weaver star in this adaptaton of the award-winning children's book of the same name. Holes is about a teen sent to a detention camp for a crime he didn't commit. (Not Reviewed)
HOUSE OF 1000 CORPSES (R) Rob Zombie's loooong delayed (and reportedly veeeery troubled) production finally gets a national release. Expect lots of gore, recycled 1970's atmosphere, cannibalism, inbred mutant families and other odds and ends left over from The Hills Have Eyes. Stars Rainn Wilson, Chris Hardwick and Jennifer Jostyn. (Not Reviewed)
HOW TO LOSE A GUY IN 10 DAYS (PG-13) This one marks the first time that Kate Hudson has truly been able to command the screen: She's utterly winning as a women's magazine columnist who, for the sake of a story on what females shouldn't do when dating, hooks up with a guy with the intent of driving him away within … well, check the film's title. She settles on a slick ad man (Matthew McConaughey), unaware that he's made a bet that he can get any woman to fall in love with him within the same time period. For a film that wallows in the usual male/female stereotypes, this one's surprisingly light on its feet, thanks in no small part to its well-matched leads. Alas, the third act follows the exact pattern as almost every other romantic comedy made today: The deceptions become unearthed, the pair break up, some soul searching takes place, and bliss arrives after a madcap chase. Leave before this excruciating finale and you should have an OK time. 1/2
IDENTITY (R) Mysterious deaths begin occurring at a desolate motel where a group of very different people have been stranded during a violent storm. Stars John Cusak, Ray Liotta, Amanda Peet and Rebecca DeMorney. Opens April 25 at local theaters (Not Reviewed)
IT RUNS IN THE FAMILY (PG-13) A virtual love fest of all things familial, It Runs in the Family teams Michael Douglas with 86-year-old dad Kirk for the first time in their careers, and adds a gaggle of other Douglas' in the bargain. Michael's tattooed twentysomething son Cameron turns up as his character's tattooed twentysomething son, and his mom Evelyn makes an appearance as his mom. They're all part of an eccentric family of upper-middle-class New Yorkers of the sort that wouldn't be out of place in a Woody Allen movie – except that director Fred Schepisi's film lacks the basic wit and flair of even the most mediocre Allen offering. Good intentions aside, the characters in It Runs in the Family are little more than colorful stereotypes adrift in a sea of cliches, with fathers and sons predictably butting heads and everybody coping with a big tragedy at mid-point. The movie is ultimately little more than a sweetly sanitized ethnic comedy that serves as a minor footnote to several of the careers involved. Also stars Bernadette Peters and Rory Culkin. Opens April 25 at local theaters. 1/2
LOST IN LA MANCHA (PG-13) Keith Fulton and Louis Pepe's documentary tells the heartbreaking story of a great filmmaker who tries his best to will his dream project into existence, and fails. Lost in La Mancha was intended to be a basic "making-of" documentary about Terry Gilliam's latest film, Who Killed Don Quixote. As the problems with Gilliam's production began to multiply like biblical plagues, however, Fulton and Pepe found themselves at the helm of something far more interesting: an un-making of. The first half of Lost in La Mancha documents the anxiety and eventual panic that ensue during the eight-week pre-production period of Gilliam's film. The second half of Fulton and Pepe's movie covers the shoot itself, a six-day act of anti-creation that encompassed a useless soundstage, actors in too much pain to act and a steady barrage of noisy jets flying over the principal shooting site. Just when you think that everything's gone wrong that can possibly go wrong, the mother of all storms appears out of the blue, resulting in all of the production's very expensive cameras and equipment being swept away in a devastating flash flood. Fulton and Pepe are not always the most subtle or insightful of commentators, but Lost in La Mancha doesn't really need them to be profound. The story their cameras document is that in spades. Stars Terry Gilliam, Johnny Depp, Jean Rochefort. Held over at Tampa Theatre. Call to confirm. 1/2
MALIBU'S MOST WANTED (PG-13) Jaime Kennedy and Ryan O'Neal star is this California tale of a struggling (and very white) rapper whose father is running for governor. (Not Reviewed)
OLD SCHOOL (R) Returning to his distinguished oeuvre of college comedies, director Todd Phillips (Frat House, Road Trip) takes a promising gimmick of three thirtysomething friends (Luke Wilson, Will Ferrell, Vince Vaughn) who decide to start their own fraternity. Phillips unfortunately forms that tasty notion into a bland soy retread inspired by films like Animal House, but without the brains to retool the collegiate comedy genre. Vaughn and Ferrell, however, make an honorable effort to inject some much-needed goofiness into their parcel of the film. 1/2 —FELICIA FEASTER
PHONE BOOTH (PG-13) A nifty little pulp thriller that's considerably more than the advance publicity would lead us to expect. Collin Farrell turns in another fine performance as an ethically challenged PR guy who finds himself trapped in a booth and in the telescopic sights of a clever psychopath with a major grudge against him. The movie-length mindfuck that ensues is quite a ride, as they say, especially considering the film's minimalist premise — a hero unable to move from a patch of ground measuring only a few square feet — and the fact that one of the two main characters is a disembodied voice. It's a slight but, in its way, perfect concept, played with precision and verve, and building skillfully on a claustrophobic tension that keeps us on the edge of our proverbial seats. At an ultra-brisk 80 minutes, this is one no-frills popcorn movie that's high energy almost all the way. Also stars Forest Whitaker and Katie Holmes. 1/2
THE PIANIST (R) Roman Polanski's film is based on the memoirs of Polish-Jewish classical pianist Wladyslaw Szpilman, who continued to be devoted to his art even as he watched his world crumble and suffered an endless series of horrors and humiliations designed to rob him and others like him of dignity, humanity and, ultimately, life. The film's cool, reserved and utterly unsentimental style might sound at odds with the extremity of the subject matter, but it's all the more haunting for it. Stars Academy Award-winner Adrien Brody, Thomas Kretschmann, Ed Stoppard and Frank Finlay.
THE QUIET AMERICAN (R) In a stunning one-two punch that began with Rabbit-Proof Fence, director Phillip Noyce follows through with this evocative Graham Greene adaptation, filled with the writer's trademark intrigue and sophisticated, world-weary wit. On the surface, the movie's a romantic triangle set in early 1950s Indochina, with titular quiet American Brendan Fraser moving in on Brit journalist Michael Caine's young Vietnamese mistress (the lovely Do Thi Hai Yen from Vertical Ray of the Sun). The woman's a not-so subtle stand-in for the country of Vietnam, of course (mistress to a variety of Westerners, colonized by the world), and the film plays out as an intimate account of the battle for her soul. The movie's elegantly mysterious atmosphere is due in large part to cinematographer Christopher Doyle, the Caucasian master of Asian imagery. Also stars Rade Serbedzija. 1/2
THE REAL CANCUN (R) Can't get enough of The Real World? Then prepare to tuck into this feature-length helping of the same from the show's producers. The Real Cancun is a big screen version of so-called reality TV, following a hand-picked group of a dozen or so attractive college kids as they hang out during spring break in Cancun, Mexico. Starring a bunch of soon-to-be-famous-for-15-minute wonders with names like Brittany, Amber, Nicole and Fletch. Opens April 25 at local theaters. (Not Reviewed)
THE SAFETY OF OBJECTS (PG-13) After several gazillion movies about suburban angst, this one doesn't exactly rank with the very worst of the batch, but it's nowhere near the best. Director Rose Troche pieced together the film's narrative from a series of short stories by A. M. Homes, and the patchwork stitching shows. There are too many characters (most of whom live lives that dovetail together in ways far too convenient), too many clumsy segues and a tone that fluctuates with wild abandon from quiet pathos to cartoonish absurdity. Glenn Close is a dedicated mom tending her comatose son, Dermot Mulroney is an under-appreciated, out-of-it lawyer, and Patricia Clarkson is one of several older women lusting after younger flesh. Virtually everybody here is either self-absorbed or self-loathing and not much of it really seems to matter. Also stars Moira Kelly and Jessica Campbell. Opens April 25 at Channelside Cinemas. Call theater to confirm. 1/2
SHANGHAI GHETTO (NR) Unknown to many, a community of Jewish exiles hid in Shanghai, China, during World War II. Filmmakers Dana Janklowicz-Mann and Amir Mann revisit the Jewish Ghetto with their digital camera, capturing shots of places unchanged since World War II. With them were two former inhabitants who discuss their impressions. The film includes never-before-seen footage of Shanghai and explores how the Jewish exiles interacted with the Chinese and Japanese occupying army. Held over at Burns Court Cinema in Sarasota. Call to confirm. (Not reviewed)
SHANGHAI KNIGHTS (PG-13) If you're gonna insist on making a distressingly formulaic sequel to a distressingly formulaic comedy, then this might be the way to go, by overstuffing it with so much nonsensical material that some of it is bound to charm through sheer willpower. Its 2000 predecessor, Shanghai Noon, ranked as one of the weaker "odd couple" comedies of late, with Jackie Chan and Owen Wilson going through the paces in a dull action romp set in the Old West. Knights is clearly an improvement, with Chan and Wilson (both more animated than in the previous picture) heading to London to solve the murder of Chan's character's father. The anachronisms make Oliver Stone's dramas seem like cinema verite documentaries by comparison, yet it's perversely pleasurable to hear The Who's "My Generation" and "Magic Bus" in a film that's set in 1887. 1/2
SPIDER (R) David Cronenberg's elegant but icy new film is not only a movie about the human mind; it's a movie that takes place almost entirely within that mysterious gray zone, in the brain of a tormented schizophrenic nicknamed Spider (Ralph Fiennes). It's nearly impossible to know what's real and what is invention in the film's dense, eerie blurring of past and present, fact and fiction, as the adult Spider becomes a silent observer of his own childhood. In less time than you can say "Psych 101," little Dennis is exhibiting classic Oedipal warning signs, compartmentalizing all women as either saints or whores, and mentally transforming his demure homemaker mother into a series of vulgar floozies. Spider is like one of the makeshift webs that Fiennes' character is constantly fashioning of old bits of twine and stringing above his bed: a strange, sticky maze reflecting the labyrinthine mental processes of its maker. Also stars Gabriel Byrne and Lynne Redgrave. 1/2
TALK TO HER (NR) The "new" Almodovar all the way, a natural evolution of the more relaxed and emotionally direct approach that the director's been steadily honing over the past several years. It's a curiously restrained film for Almodovar, almost fragile in its way, but still bursting with life and fully informed by the juicy, overwrought passions and fabulous theatricality. In Talk to Her, Almodovar gives the male perspective for a change as two men express their love for women in comas. Almodovar skillfully zigzags through time, offering up strange little narrative detours and flashbacks within flashbacks but never allowing anything to get in the way of the movie's forward momentum. Stars Javier Camara, Dario Grandinetti, Leonar Watling and Rosario Flores. Held over at Burns Court Cinema in Sarasota. Call to confirm. 1/2
TEARS OF THE SUN (R) Antoine Fuqua directs the carnage in a thriller that attacks with careful timing and impeccable pacing. From its tense beginning to gung-ho ending, Tears of the Sun promises much and nearly delivers. Bruce Willis stars as a career soldier sent into Central Africa to retrieve an American care worker in the middle of a bloody civil war. Inevitably reluctant to abandon her charges, Dr. Kendricks (Monica Bellucci) manages to convince Willis to hike for three days through the jungle, all the while pursued by a gang of heavily armed but expendable extras. Cinematographer Mauro Fiore delivers lovingly shot panoramas of the would-be victims, but the script is lacking. Fuqua fastidiously avoids the question of U.S. involvement in wars with humanitarian repercussions. Tears of the Sun is considerably more concerned about the horror of war than its bombastic and far less interesting cinematic contemporaries, but nonetheless still falls short of being the sensitive and shocking tour de force that it threatens to be. —DAVE STEVENSON
TILL HUMAN VOICES WAKE US (R) Guy Pearce stars in a man who returns to his hometown and finds he just can't get a childhood sweetheart out of his head. Only problem is she's dead. Also stars Helena Bonham Carter. (Not Reviewed)
VIEW FROM THE TOP (PG-13) Part Miss Congeniality, part Bring It On, View From the Top is Bruno Barreto's tale of a small-town girl who works her way up the flight attendant ladder. Mike Myers does his cross-eyed best to haul this average movie out of the quagmire but doesn't, and the upward mobility of Donna (Gwyneth Paltrow) is rarely matched by the movie itself. More a collection of passe stewardess jokes than an entirely self-supporting movie, View From the Top is big-hearted enough to transcend its slapdash approach to structure and script. Unfortunately, the bad casting, silly jokes and laughably improbable ending prove more difficult to transcend, leaving us with a frustrating misfire. —Dave Stevenson
WHAT A GIRL WANTS (PG) Stuffy English stereotypes galore in this excruciating Romantic Comedy Writing 101 exercise from Dennie Gordon, who inflicts intelligence-insulting and blindingly obvious father-daughter humor by way of Daphne (Amanda Bynes), the illegitimate child of a New York hippie and her dad (Colin Firth), a distinguished MP. The British stereotypes fly thick and fast, from the crusty old grandmother to the rather charming British stuttering so perfected by Hugh Grant, but offered here by Firth. I laughed. I cried. I tried to fashion a crude noose from the threads of the theater seat. Firth does his level best with what little script and cooperation from the surrounding cast he gets and lends credibility and comic timing to an exercise that would barely even raise an eyebrow without him. The script is workable, and if some of the more heavy-handed Brit-stereotypes were ripped from the screenplay (and preferably stuffed down the throats of the writers), this would be the bubblegum-chewing crowd pleaser that it has the potential to be. —Dave Stevenson
WILLARD (PG-13) OK, let's see: Crispin Glover in full-blown fruitcake mode and a whole bunch of nasty rats. So how bad could it be? Unfortunately, a more appropriate question here is how good could it be? Glover stars in this remake of the 1971 oddity about a put-upon loner who cultivates rodents as friends. The movie's sufficiently pop-culture-savvy to toss around allusions not to the original Willard only but to everything from Psycho, The X-Files and Glover's own heavily baggaged on-screen persona, while retaining the grubby emotional essence of the original movie. Glover's well cast (although he often seems to think he's in a David Lynch film) and plays up his character's seething mass of pent-up rage to the hilt. The movie drags badly after its initial setup, though, largely because nothing much really happens. Also stars Laura Elena Herring, R. Lee Ermey and Jackie Burroughs. 1/2
—Reviewed entries by Lance Goldenberg unless otherwise noted
This article appears in Apr 23-29, 2003.
