She continues to hold her on in this story. Jay, well Jay sees his life flash before his eyes and realizes too late that he made mistakes that can never be undone. This book underscored that you really have to forgive the people that hurt you in an effort to move on with your life. There is a line in the book where Alicia is forced to look back at the last year of her life and she says " all I can say is but God". This sums up all the drama so nicely.
My only criticism, I wish the story was longer. There is so much more story to tell. I hope the author is inspired to continue this series. I am so happy I found this author's voice. It's been a breath of fresh air! There is just the right amount of love, pain, tragedy, regret, lessons learned, second chances and redemption packed into this drama filled family. I am a huge fan of forgiving but not forgetting in certain situations.
And I love how that played out here. The two are not synonymous because it is often necessary to make sure that person who hurt you a certain way does not get that access back that can allow them to walk all over you the same. We should live and learn and grow. Sins have consequences, even when forgiven and this is the same of our relationship with God which is our prototype, so how much more our earthly relationships.
The series was a page turner for me and true to life. And Angelia doesn't write about perfect people, just imperfect people saved by grace, forgiven and sanctified. Folake Taylor Get A Copy. Kindle Edition , pages. More Details Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about The Be Careful Series , please sign up.
Be the first to ask a question about The Be Careful Series. Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Rating details. More filters. Sort order. Jun 09, Nicole Sharon rated it it was amazing. It has some lively performances and sprightly songs, though.
Director: Courtney Soloman. Nowadays studios are turning to games like "Dungeons and Dragons" for story ideas. This tale revolves around two young thieves and a sorceress who must retrieve a magical scepter to thwart the evil plans of Profion Irons. A troupe of British actors ham it up as if they are guests on "Sesame Street," while Birch "American Beauty" turns in a shockingly inept performance.
Adults will wince - or laugh - at the acting, but unfussy tweenies will overlook the film's liberal borrowings from "Star Wars," and "Indiana Jones," and lap up the fine effects and perfectly passable adventure. Director: Damien O'Donnell. Puri's sensitive performance is the movie's best asset, but Ayub Khan-Din's irreverent screenplay packs a few clever surprises, too. VV: 4 scenes with violence, including two with domestic abuse.
VP: expressions, some harsh. VD: 1 scene with alcohol, 17 with tobacco, 2 with both. Director: Regis Wargnier. As in his earlier "Indochine," director Wargnier chooses a sweeping title and a sweeping topic, then turns everything into half-baked melodrama, heavy on over-the-top emotion but light on subtlety and ideas. In French and Russian with English subtitles.
VV: 3 scenes with violence, including beatings. VD: 5 scenes with alcohol, 2 with tobacco, 2 with both. Director: Michael Powell. The story is set on a small British island whose inhabitants are fighting a doomed battle to sustain their traditional way of life despite increasingly hard times and the reluctance of young folks to remain in such a remote and difficult place. Powell achieves a finely tuned balance of melancholy and nostalgia without injecting a hint of sentimentality. As a bonus, the cliff-climbing scenes provide as much spectacle and suspense as you'll find in Hollywood epics with many times the budget.
Director: Peter Greenaway. Greenaway is a highly serious artist whose films have little to do with everyday entertainment. This visually intricate fantasia combines his extraordinary cinematic imagination with a story and characters less compelling than those in his best works. VV: 11 scenes with violence, including a suicide and a punch. VP: 47 expressions, including vulgar references to the anatomy. Soon she's canvassing the community to organize its environmentally impacted residents into fighting for their rights. The acting is amiable and the story is crisply told.
Still, the movie is less personal and inventive than Soderbergh's best pictures, and its love-interest subplot seems tacked on as an afterthought. VV: 1 telephone threat. VP: 88 expressions, mostly harsh. VD: 2 scenes with alcohol, 1 with smoking. Moreau plays a French charmer who makes emotional mincemeat of a celebrity author Baker while a fiancee waits for him offscreen and a humiliating secret threatens to pop up from his past. Losey's exalted reputation is more convincingly confirmed by masterpieces like "The Servant" and "Accident," but this near-operatic yarn demonstrates his dazzling ability to balance over-the-top storytelling with serious social and psychological concerns.
In English with Swedish and Finnish subtitles. Director: William Friedkin. Cobb, Jack MacGowran. More impressive than the narrative logic are the impressively earnest performances from Burstyn as the mother of a little girl possessed by an evil spirit, Cobb as a friendly cop investigating the situation, and Von Sydow, perfectly cast as the title character, a Roman Catholic priest called in to cast the demon out.
Director: Stephan Elliott. Staff DUD Finally released after two years, this irritating film promises to leave movie theater managers besieged by mutinous patrons demanding refunds. A British agent falls in love with a serial killer and follows her across America. There is no rhyme, reason, or coherence to this tale about a loss of moral focus and obsession. It even has the audacity to recreate the church tower scene in homage to the definitive film on the subject, Hitchcock's "Vertigo. VV: 8 scenes, mostly graphic, including murders and car accidents.
VP: 23 expressions, mostly harsh. VD: 7 scenes with alcohol, 8 with smoking, 1 with heroin. Directors: Fenton Bailey, Randy Barbato. Riveting stuff. VP: 2 mild expressions. VD: 1 scene with alcohol, 1 with a prescription-drug overdose. Although it's less novel and feisty than the original "Fantasia" of , the collection of music-filled animations is highly entertaining at times, especially when Al Hirschfeld's drawing style teams with George Gershwin's music for a jazzy "Rhapsody in Blue," and when Donald and Daisy Duck take a trip on Noah's ark accompanied by Sir Edward Elgar's usually stuffy "Pomp and Circumstance" marches.
Best of all, "The Sorcerer's Apprentice" is recycled from the earlier film, and it's still the highlight of the show. VV: 8 scenes of mild violence, including a couple of fights and an avalanche. His visual style is brilliantly creative, recalling works by Bruce Conner and other masters of this genre. His voice-over narrations often impose an overly literal quality, though, making the movies more accessible but preventing them from reaching full imaginative freedom.
Included in this collection are the brief "Restricted," the surreal "Short of Breath," an essay on male childhood called "The Smell of Burning Ants," a memoir about religion and movie mania called "King of the Jews," and the recent "Human Remains," about a gallery of 20th-century dictators. Director: Julien Temple. Efficiently and imaginatively directed by a filmmaker who knows this material to his bones.
Director: James Wong. The group soon realizes, however, that they cannot cheat death which is killing them off one-by-one. The premise of this horror movie - that we are fated to die at a particular time - is pernicious. Worse, it delights in concocting the most elaborately gruesome deaths. Hopefully this movie is destined to die at the box office. VV: 11 scenes with violence, including a gory one in a mortuary. VP: 57 expressions, mostly strong.
VD: 2 scenes with alcohol. Director: Gus Van Sant. Murray Abraham, Busta Rhymes. The premise is more interesting than the movie, which takes several wrong turns on its way to an unconvincing conclusion. Brown gives a smartly understated performance, though, and Paquin's talent continues to blossom. Director: Jeremy Podeswa. Traveling from the tragic to the comic, this multifaceted film is richly acted and imaginatively directed, reflecting the special interest many Canadian filmmakers have in weaving together lives and experiences as prismatically diverse as the country itself.
VP: 12 expressions, some harsh. VD: 5 scenes with alcohol. Director: Brian Levant. But how can a Stoneage fella compete with the likes of Mick Jagged, Chip Rockefeller, and their fleets of Maserockis and Cadirocks disrupting their plans like a T-Rex in a tulip bed? The live-action, pun-loaded comedy based on the s animated series good-naturedly recounts the anxious days of courtship. VV: 6 scenes with cartoonish violence.
Director: Denis Dercourt. The comedy is more likable than memorable, but it makes for pleasant viewing most of the way. The original title is "Les Cachetonneurs. He uses this miracle - caused by an unusual solar storm - to help his dad avoid the accident that killed him, thereby altering their family's history.
This event has negative consequences too, putting another loved relative into the path of a serial killer whom only they can track down. Toby Emmerich's screenplay gains emotional punch from its sincere concern for family values, but science-fiction fans may be disappointed by the limited exploration of its fascinating time-travel premise. VV: 12 scenes of fairly graphic violence, including explosions and use of shotguns. VP: 37 expressions, mostly mild.
VD: 18 scenes with alcohol, 25 with tobacco. While the documentary won't appeal to general audiences, it opens up interesting suggestions that human selfhood isn't a simple matter of biological destiny. Director: David Gordon Green. Among them is the title character, an African-American boy with a physical handicap and a gallant spirit that makes him a hero in ways he never expected. Green tells the tale through leisurely, eye-catching shots that allow the young cast members to imbue their characters with striking credibility and intensity. Director: Stephen T.
And you don't want to know me. His mission to uncover the truth about his brother's untimely end leads Carter to a seedy array of cliched villains. The movie's production is as slick as Carter's Regis suits, but the final answer is that "Get Carter" won't get any Oscars. By Stuart S. Cox Jr. VV: 12 scenes with violence, including car chases, a rape, and fistfights. VP: 76 expressions, many harsh. VD: 2 scenes with alcohol, 10 with tobacco, 2 with drugs. Director: Lisanne Skyler. The underlying ideas are promising, but droopy screenwriting drains the passion from Oates's tales, and lackluster acting polishes off what little energy is left.
If the filmmakers wanted to tell a set of emotionally wan anecdotes, why did they turn to such relentlessly pungent stories for material? Director: Jim Jarmusch.
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Whitaker's acting is highly creative and Jarmusch's filmmaking is as elegant and original as ever, although his attitude toward violence in this movie sometimes loses its philosophical edge and veers into a dubious brand of mystical nostalgia. VV: 16 scenes with violence, including beatings. Director: Sam Raimi.
Blanchett leads a solid cast and Raimi gives the story a fair amount of atmosphere. Still, there's too much hokum and too little suspense in the screenplay by Billy Bob Thornton and Tom Epperson. The topic is well-suited to the Maysles brothers, who helped pioneer reality-centered "direct cinema" techniques in their masterpiece "Salesman" and other documentaries. Here they allow the more sensationalistic aspects of their subject to affect the movie's pace and structure, though, unwittingly demonstrating the impossibility of unadulterated realism in nonfiction film.
Although the story slips into cliches despite its offbeat subject, Leconte's cinematic style is fresh and vigorous, and Auteuil remains one of France's most engaging actors. Director: Karyn Kusama. Rodriguez's acting almost scores a knockout even though the movie's directing and dialogue are fairly routine. VV: 11 scenes with violence, including 1 domestic incident, the rest of boxing but nothing graphic.
VP: 66 expressions, many harsh. VD: 2 scenes with alcohol and tobacco. Director: Ridley Scott. Scott's filmmaking is as blunt and bullying as the mayhem it portrays, but Crowe and Reed lend touches of intermittent class to the bone-crunching spectacle. VV: 17 scenes of mostly gory violence, including gladiator spectacles and a lengthy war episode. VP: 1 expression, somewhat harsh. At heart, this is more a Mormon recruiting film than a three-dimensional drama, but it provides fascinating glimpses of a subject that Hollywood hardly ever touches.
VV: 1 instance of implied violence. VD: 2 scenes with tobacco. Director: Takao Okawara. Look no further than that great beast from Japan, Godzilla. The thick-skinned fella from the Toho film company swats away military missiles and tangles ferociously with an alien spacecraft. Only a scientist and his daughter who make up the Godzilla Prediction Network side with the radioactive lizard.
The dubbed dialogue is as off-cue as ever, and the intentionally we hope terrible lines and super-fake special effects are side- splittingly funny. Amazingly, this movie stirs up some monster-size fun. VV: 24 scenes of campy, bloodless violence. VP: 8 instances, mostly mild. Director: Dominic Sena. Car-chase fans may enjoy the story's action-crazy formulas, but there's no excusing its bone-crunching violence, barbaric language, and smirky sexuality. How did a dignified pro like Duvall get stuck in this fender-bender?
VV: 17 violent scenes, including car chases and gunplay. VD: 3 scenes with alcohol, 1 with smoking. Dieckmann's debut film is skillfully acted, and builds a sense of true menace when Strathairn's salesman drifts onto the screen. Director: Davis Guggenheim. Did you know it's about three college friends who start a vicious rumor to study its effects for a class project? Did word arrive that this not-so-innocent idea ends up bringing out the worst in most involved? Did news reach you that it's a creepy, uncomfortable story with unlikable characters, but that the concept and plot twists are rumored to be intriguing enough to keep you in your seat?
But, that's just what I heard. Director: Carlos Saura. Saura evokes the chilling power of Goya's own artistry at times, but the meandering story doesn't gather much momentum and Vittorio Storaro's camera work is less awesome than usual. Much of the footage comes from heavy-handed government films on the subject, which undermine their own effectiveness so consistently that Mann's bemused skepticism toward them seems almost superfluous.
The film also suggests that their way of life is endangered and may even be dying out, although the reasons for this are left regrettably vague. Director: Stewart Raffill. While the story and acting are the opposite of subtle, young moviegoers may enjoy the action and suspense. Don't go unless you can handle a fair amount of strongly implied violence, though.
Director: Eric Blakeney. The story isn't nearly as funny or suspenseful as it would like to be, although the solid cast gives it occasional dashes of pizazz. Director: Michael Almereyda. The acting is smart and gritty, Almereyda's visual style has a raw immediacy found in few films with Shakespearean pedigrees, and an eclectic music score adds atmosphere and surprise every step of the way.
VV: 5 scenes with violence, 2 of them somewhat graphic. VP: 13 expressions from the Bard's script. VD: 12 scenes with alcohol or tobacco. Director: Diane Keaton. There's lots of lively acting, but Keaton doesn't have quite enough filmmaking savvy to balance the story's heart-wrenching and smile-coaxing aspects. VD: 8 scenes with alcohol. Director: Richard Lester.
Lester's filmmaking was never more inventive, and the fabulous foursome never made another movie that so perfectly suited their extraordinary talents. Director: Steve Rash. A local-yokel law-enforcement band only compounds his troubles. Some lines capably produce chuckles, but for the most part this lame movie is lost beyond its puny plot. Director: Mark Piznarski. The movie begins entertainingly enough - two enemies must set aside their differences to help rebuild the town's diner. Meanwhile, both have eyes for the same girl.
But it suffers from a weak script and an overly sentimental and predictable plot. Sobieski's expressionless face doesn't help either. VV: 4 mild scenes including a shoving match, a fist fight, and a scuffle. VP: 12 mild expressions. VD: 1 scene of beer drinking. Director: Stephen Frears. Along the way he finds time to banter with his goofy shop assistants and strike up a new affair with a gorgeous singer.
Music fans and Cusack admirers will find much to enjoy, but the comedy's meandering story and channel-surfing style prevent it from gathering the emotional momentum it would need to get below the hero's skin and let us know what really makes him tick. VV: 2 instances, both in comical context. VP: 79 expressions, mostly harsh. VD: 10 scenes with alcohol, 11 with smoking, 4 with both. Director: Douglas Aarniokoski.
Unfortunately, it is also an obvious attempt to wring the last drop of revenue from fans of what was originally a very entertaining concept. The plot is nothing new: a dangerously strong nemesis of the MacLeod clan has surfaced, intent on exacting revenge for some centuries-old offense, and the two MacLeod immortals must combine strengths to defeat him. This is a film for diehard Highlander fans only.
By Phelippe Salazar. VV: 9 scenes with violence, including decapitations and bloody sword fights. VP: 7 fairly mild expressions. VD: 3 scenes with alcohol, 1 with tobacco. In Kazakh with English subtitles. Director: Paul Verhoeven. Verhoeven was once an interesting director, but this is fatuous twaddle with a nasty, misogynistic edge.
VV: 27 scenes with violence, often with gore, including electrocution and an implied rape. VP: 99 expressions, many harsh. VD: 1 scene with alcohol, 1 with a pipe. The film traces this intermittently successful crusade through several countries, from Nazi Germany to the United States, moving at a leisurely pace that gives viewers plenty of time to study its images, ponder its ideas, and draw their own conclusions.
Director: Terence Davies. Wharton's old-school compassion and Davies's taste for artfully wrought melodrama make an unusual but ultimately successful combination. Director: Andre de Toth. Paul Picerni. The plot is corny, but the acting is fun and the visual effects are uproarious when the movie is shown in its original 3-D format. Director: Ron Howard. Seuss' classic children's book about a mountain-dwelling monster who decides to make the residents of nearby Whoville as grouchy as he is in the Yuletide season.
Carrey is excellent, making the most of his comic gifts even in a cumbersome Grinch outfit, and the eye-spinning color scheme is dazzling to behold. The movie ultimately seems more entranced by its own effects than by the Christmas spirit itself, though. Violence: 11 extended scenes of comic mischief. Profanity: 75 expressions, a mix of harsh and mild. Drugs: 1 mild instance. Director: Laurent Cantet. This superbly acted, expressively filmed story offers a rare blend of compelling drama, ethical awareness, and sheer human emotion. VV: 3 minor shoving incidents, 1 scene with a window being broken.
VP: 22 expressions, many harsh. VD: 6 scenes with alcohol, 1 with tobacco. Director: Bruno Dumont. Dumont's cinematic style is aggressively physical and philosophical at the same time. It irritates as many viewers as it inspires, but it prompts more thought than ordinary movies ever do. Director: Hugh Hudson.
The story is inspirational in a superficial way, but the filmmakers focus so exclusively on their attractive heroine that the picture loses any real connection with Africa beyond its value as a beautiful background and a source of jolting plot twists. This is Hollywood in full star- centered, tunnel-vision mode. VV: 4 scenes, including a lion attack and a car crash. VP: 5 mild expressions. VD: 4 scenes with alcohol, 3 with tobacco, 3 with both.
What the Hell Happened to Alicia Silverstone? - Page 3 of 11 - Lebeau's Le Blog
Filmed in the no-frills style of Denmark's much-publicized Dogma 95 group, which von Trier helped establish, the movie tries to be daring and iconoclastic but winds up seeming as spoiled and childish as its main characters. In Danish with English subtitles. VV: 3 scenes of violence, including hitting. VP: 86 expressions, many harsh.
Director: Rolando Diaz. It also looks in on his interviews with a series of women who talk candidly about how racism, sexism, and poverty affect their everyday experiences. The movie will appeal most to people with a special interest in Cuban society, but anyone can appreciate its warmly sympathetic vision of ordinary people living ordinary lives. Director: Mary Lambert. But not all those who make up the "in crowd" rich, scantily clad something country-clubbers with not a hangnail among them but perhaps a murder or two under their belts are willing to let sullied histories remain hidden.
Dark and twisted, with sexually suggestive undercurrents, this one's as safe to miss as a sunburn by the club poolside. VV: 14 scenes with violence, including grisly murders and fights. VP: 18 expressions, some harsh. VD: 8 scenes with alcohol, 1 with alcohol and smoking. Directors: Anthony Stark, Sean Smith. The plot isn't very original, but the acting and dialogue have a low-key realism that packs more emotional punch than a dozen of the standard-issue romantic dramas crowding the independent-film scene.
Director: Andrew Bergman. Paul Rudnick's screenplay keeps feeding her the rude laughs and boisterous situations she needs to sustain the story's precarious balance between comedy and pathos. The results are unexpectedly entertaining, if you're willing to put up with the picture's stagy look, over- the-top moods, and heavy doses of vulgarity. VP: 40 expressions, some harsh. VD: 7 scenes with alcohol, 2 with smoking, 4 with both, 1 with prescription-medicine abuse. Tavernier's compassionate views and long filmmaking experience shine through this eloquently acted drama.
Director: James D. Its ideas are worth pondering, but as a movie it's less memorable than its interesting cast suggests. Director: Alison Maclean. He stumbles into more than his share of disasters but finds a measure of redemption when he discovers that caring for others is a pathway to a meaningful life. The latter element joins with Crudup's excellent acting to make this deliberately scruffy tale a worthwhile experience if you can handle its explicitly sordid subplots.
VV: 10 scenes with violence, including an explicitly portrayed crash. VP: 52 expressions, mostly harsh. Director: Stanley Tucci. The subject is fascinating and Holm is riveting as the title character, but the film never equals the pictures that appear to have influenced it, from newspaper dramas like "Citizen Kane" to studies of mental instability like "A Fine Madness" and even "The Shining. VV: 2 mild tantrum scenes. VP: 26 expressions, some harsh.
VD: 6 scenes with alcohol, 8 with tobacco, 6 with both. Director: Eric Mendelsohn. The comic and dramatic scenes are consistently low-key, but the strikingly original movie has a dreamlike spell that gets farther under your skin as the eclipse stretches beyond the bounds of astronomical possibility. VV: 1 slap. VP: 38 expressions, some harsh. VD: 1 scene with tobacco. Director: Lane Janger. The comedy isn't quite as crude as it sounds, but there's not much of value here beyond a little lively acting.
Director: Amos Gitai. Gitai reconfirms his reputation as today's most widely respected Israeli filmmaker, helped by an excellent cast. In Hebrew with English subtitles. VV: 2 scenes with violence, including man beating his wife. Director: Edward Norton. Norton gives the comedy unexpected sparkle in his directorial debut, matching the perky performances of his cast and himself with smartly timed editing and colorful camera work. But what made the filmmakers think this lightweight fare could chug along for more than two hours without losing steam?
VV: 5 instances of mild violence, mostly for comic effect. VP: 39 expressions, mostly mild. There's no attempt at storytelling, but few movies have plunged their viewers more energetically into the world of nature. Director: Jon Turteltaub.
Turteltaub makes the most of a solid screenplay and talented cast, rarely forcing the humor but letting it emerge from situations in its own good time. The result is fine fantasy fun. Kitano's first major comedy is loose and likable, but rarely as memorable as its Chaplinesque ambitions lead one to hope. Still, his laid-back acting style grows on you, if you give it a chance. VV: 7 scenes with violence, a beating and the results of 2 other beatings. VP: 27 expressions, mostly mild. VD: 1 scene with alcohol, 3 with tobacco, 1 with both.
This ingeniously directed drama is both a blood-churning war movie and a mind-stirring antiwar movie, focusing not on guts and glory but on the stark realities of real battlefield experience. It confirms Gitai as the finest filmmaker Israel has ever produced.
Director: Michel Ocelot. Based on a West African folk tale, the richly drawn movie employs nudity that suits its African setting without diminishing the dignity or propriety of the characters. It's hard to remember a more highly entertaining and thoroughly original feature-length cartoon. Director: George Sidney. Grayson and Keel are just right as a feuding showbiz couple who reunite for a Broadway musical version of "The Taming of the Shrew" and find themselves quarreling as much in real life as on the stage.
Fun all around. Director: Reginald Hudlin. After Phelps loses his job as a radio show host and gets hunted by a band of outraged husbands - whose wives he slept with - he realizes his life as a player is not so cool. There are moments of hilarious comedy, but for the most part, it's "kinky and disgusting.
VV: 4 scenes. VP: 49 instances. VD: 12 instances of alcohol and smoking; both served as "background" elements for entire movie. Director: Deborah Warner. The movie doesn't have much more get-up-and-go than the characters, but solid performances and richly textured camera work keep it involving most of the way through.
VV: 6 scenes with violence, including torture, gunshots, and threats of rape. VP: 3 expressions, including 1 harsh expression. VD: 2 scenes with alcohol, 10 with tobacco, 1 with both. Director: Jeroen Krabbe. The drama has compelling moments and touches of imagination, but it relies more on sentiment than sense in conveying its messages about faith, family, and tradition. Director: Robert Redford. Few would argue with the film's message about being true to your own best instincts.
The trouble lies in its stereotypical style, its schmaltzy emotionalism, and its romanticized view of a white man's world in which it's taken for granted that even the most enlightened African-American must be a servant as well as a sage. The movie aims only at our heartstrings and tear ducts, when it could have touched our minds and consciences as well.
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This sexually explicit South Korean drama aims more to jolt than to illuminate, but it illustrates an aspect of Asian cinema that globally minded moviegoers should know about as films from that region take on more international prominence. In Korean with English subtitles. Director: Aviva Kempner. You don't have to be a sports fan to enjoy this finely crafted documentary. Director: Fernando Perez. Lively all the way. Director: Steven Brill. Sandler's humor has worked well before in "Happy Gilmore" and "The Waterboy," but his schtick is tiresome. Throughout the entire movie, he uses his well-known cajun accent and contorts his face into one of pain the movie explains that he got hit in the face with a shovel as a child.
Stoner jokes, awful gags, and just stupid stuff equate to one bad movie. Director: Erick Zonca. Zonca tells this socially revealing tale through the same documentary-style techniques that made his debut feature, "The Dreamlife of Angels," such a memorable experience. Shown with "Alone," a minute Zonca short about a teenage girl who finds herself without a home, a job, or a reliable friend. Director: Ulrich Edel. With Jonathan Lipnicki, Richard E. Grant, Jim Carter, Alice Krige. Vampires just want to be like us. The movie's eight-year-old hero, Tony Lipnicki and his friendship with a vampire his own age, make this all apparent.
The first Harry Potter knock-off is a mixed bag of great special effects, endearing innocence, and some realistic vampire scenes albeit cows replace humans as the object of the blood-suckers and the usual Hollywood backhand at Christianity. Do you bring your eight-year- old to this movie? Only if you already let him or her watch the full melange of horror flicks on late night TV.
Be ready for nightmares if you do. By Jim Bencivenga. The ambience is often squalid, but the movie has much to reveal about the exploitation of women in this sleazy corner of the show-business world. Directors: Frances Reid, Deborah Hoffmann. The film emphasizes the historical facts and legal complexities of the four cases it examines in depth, rather than their individual outcomes, rightly suggesting that no single process or institution can bring a neat conclusion to so many decades of racial hostility and oppression.
In English, Xhosa, and Afrikaans with English subtitles. Director: Amy Heckerling. Can nice guys finish first? A lighthearted winner. VV: 1 fistfight. VP: 15 expressions, some harsh. VD: 7 scenes with alcohol, 3 with tobacco, 1 instance of doping fruit juice. Director: Janusz Kaminski. Kaminski is a gifted cinematographer, but his directorial debut suffers from a preposterous plot, bad acting by both stars, and dialogue that provokes more laughs than shivers.
Even schlock like "The Exorcist" shines alongside this silly stuff. VV: 14 scenes, including exorcisms and punches. VP: 9 expressions, some harsh. VD: 9 scenes with smoking and drinking. Director: Gina Prince-Bythewood. Young Monica competes with the boy next door, Quincy, in a nice Los Angeles neighborhood, but when the two enter high school and then college, the tension between them eventually disappears and they fall in love.
The story is a bit overlong, but it's refreshing to see a woman portrayed as headstrong and opinionated as Monica is - a great role model for women. VV: 1 mild scene with shoving. VP: 33 expressions, some harsh. VD: 3 scenes with alcohol. Director: Valerie Breiman. When her editor assigns her to write such a piece from her own experience, she can only remember a long trip down a path littered with short, demeaning relationships. Janssen's fans will rejoice to see her in a big and meaningful part.
Director: Kenneth Branagh. It's all very colorful, but the movie's diverse elements clash as often as they cooperate. Director: Nora Ephron. A few mildly amusing gags don't outweigh the trite situations and mean-spirited attitude of this comedy, which relies too often on condescending jokes aimed at unattractive characters.
Director: Jose Luis Valenzuela. The movie is very small in scale, but the performances are appealing and Fernandez's screenplay casts an interesting light on the main characters' self-images as Latina women. VV: 1 slap, 2 descriptions of abuse. VP: 94 expressions, many harsh. VD: 8 scenes with alcohol, 2 with tobacco, 2 with both. Director: Bette Gordon. Fine acting and creative directing lend three-dimensional life to this absorbing story, which blends dreamlike elements with sharply etched drama and touches of pure cinematic ingenuity.
Director: George Miller. Gibson provides the only cuteness in the savage tale of a moody cop chasing down a viciously violent gang, but action fans will find the helter-skelter action as energetic as ever. Director: Akira Kurosawa. The title means "not yet," reflecting the spirited attitude of the main character, an elderly teacher who uses those words to refute any suggestion that his life is drawing to a close.
In the story, former students organize a tribute to their beloved mentor, but director Kurosawa's warm humanism isn't strong enough to generate a similar degree of affection in the audience watching this wordy, wearying drama. VD: 5 scenes with alcohol, 5 with tobacco, 2 with both.
Also present is Carax's cinematic verve and a love for pop-culture detritus that gives the story much of its distinctive feel.
What the Hell Happened to Alicia Silverstone?
Directors: Bobby Farrelly, Peter Farrelly. Hyde look like a gentleman, and both are in love with Irene, a new acquaintance who's never quite sure which one she's dealing with. Carrey gives an awesome comic performance with little help from cinematic trickery, recalling Jerry Lewis's legendary acting in the version of "The Nutty Professor," which this farce frequently resembles.
Look out for huge amounts of deliberately disgusting, gross-out humor, though. VV: 14 scenes of mostly slapstick violence, but includes two gunshot wounds. VP: expressions, mostly crude. VD: 4 scenes with alcohol, 7 with tobacco. Director: Pip Karmel. Griffiths is fun to watch and the treatment of might-have-been fantasy is less sappy than that of "Sliding Doors," which this comedy-drama resembles. Still, it doesn't add up to very much in the end. VV: 2 scenes with violence, including a car-pedestrian accident.
VP: 36 expressions, mostly mild. VD: 7 scenes with alcohol, 3 with tobacco, 1 with both. Director: Jay Roach. Try asking his permission for his daughter's hand in marriage. But smitten Greg Stiller tries when he realizes his beloved prefers the traditional route to the altar. Many belly laughs and sweet moments. VV: 3 scenes with mostly cartoonish violence. VP: 15 expressions, mostly mild. VD: 3 scenes with alcohol, 2 with tobacco, 1 scene with implied use of marijuana. Director: George Tillman Jr. With Cuba Gooding Jr. Gooding and De Niro bring their characters to vivid life despite the unsubtle screenplay and hyperactive music score.
Violence: 8 scenes, including a graphic accident. Drugs: 13 scenes with tobacco and smoking; 3 scenes of alcohol. Made in the stripped-down style of Denmark's offbeat Dogma 95 movement, the picture makes up in solid acting what it lacks in Hollywood-type frills, even if it isn't very memorable in the end. VV: 5 scenes with violence, including beatings and a tussle. VP: 68 expressions, many harsh. VD: 5 scenes with alcohol, 7 with tobacco, 4 with both. Director: John Woo. Woo's patented pyrotechnics - intricate editing, acrobatic camera movements, slow-motion mayhem - lend intermittent sparks to the violent action sequences, but the two-dimensional characters have little personality.
VV: 58 scenes with violence, including shooting and hand-to-hand combat. VP: 11 expressions, mostly mild. VD: 1 cigar. Director: Brian De Palma. A second group rockets off to find out what happened, finding the same puzzling object but responding in a different way that brings very different results. The picture is equally long on eye-dazzling camera work and New Age sentimentality.
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Even viewers who find it soggy can enjoy spotting the ideas and effects borrowed from a gaggle of earlier science-fiction epics, though, from "This Island Earth" to "Close Encounters of the Third Kind. VV: 5 scenes with violence, including an explosion. VP: 32 expressions, mostly mild. Director: Jay Russell. His father Bacon - an overprotective but good-hearted man - feels his son is too young to have a dog, but his mother Lane opens up Willie's world with a Jack Russell terrier puppy on his ninth birthday. This fact-based tale is about the bond between a father and son and the realities of war.
A wonderful and meaningful family film. VV: 9 scenes with violence, including a hunting scene and some bullying. VP: 12 very mild expressions. VD: 4 scenes with alcohol, 2 with cigars. Director: Catherine Corsini. When she steers toward the latter, she enters a new dilemma involving a married man and a worker seeking a relationship with real commitment. Viard's energetic acting is the French production's most memorable asset.
Director: Allan Moyle. Balaban's superb performance blends with Moyle's mostly understated directing to produce an uneven but sometimes enchanting comedy-drama. The movie has a well-meaning message about love and loyalty being the bedrock of real family values, but its good intentions sag as the story trades its air of mischievous comedy for trite sentimentality, arbitrary plot twists, and enough maudlin melodramatics to sustain a tabloid TV series. VP: 22 expressions, mostly mild. VD: 6 scenes with alcohol, 4 with smoking. Director: Steve Carr. Of course not.
Meanwhile, Craig and Day-Day must deal with neighborhood bullies and their attack dog. Expect lame jokes and really bad dialogue. VV: 21 instances of violence, from slapstick to one graphic scene. VD: 4 scenes with alcohol, 1 with smoking, 6 with marijuana, 3 with alcohol and marijuana. Director: Edmund Goulding. Jules Furthman's screenplay is packed with surprises, Lee Garmes's camera work is subtly expressive, and Power's performance is as persuasive as it is surprising, given his usual persona as a sympathetic leading man.
Truly a one- of-a-kind classic. Director: Tim Burton. The visual effects of this quirky animation are sometimes stunning, but you may head for the exit if the nonstop pop-music score isn't your cup of witch's brew. Director: Roman Polanski. Polanski returns to the supernaturally tinged territory he explored so memorably in "The Tenant" and "Rosemary's Baby," punctuating the old-fashioned yarn with an occasional self-satirizing touch to show he's as aware as we are that it doesn't make a bit of sense.
The spooky proceedings go on too long and don't have much of a payoff, but Polanski's directing is marvelously assured and Depp is always fun to watch. This tragicomic tale doesn't have the supercharged brilliance of "Run Lola Run," which it occasionally resembles, but it's certainly fast-moving and action fans should enjoy it.
Director: Giuseppe Piccioni. Piccioni weaves this unpredictable tale into a personality-filled tapestry, blending vivid Italian settings with emotions that moviegoers anywhere will recognize. In Italian with English subtitles. Director: Zhang Yimou. The theme recalls one of Zhang's greatest films, "The Story of Qiu Ju," but his use of a loosely written screenplay and a nonprofessional cast in this picture weakens its dramatic appeal even as it lends authenticity and local color.
Director: Neil LaBute. Zellweger is as charming as ever, and it's good to find LaBute working with a script by writers who don't fully share his crabbed, cramped view of human nature. His directorial personality still shows through in the story's wide- eyed fascination with confusion and humiliation. VV: 8 scenes with violence, more graphic than expected, including shooting.
VD: 8 scenes with alcohol, 2 with tobacco. Director: Peter Segal. The star's over-the-top energy isn't enough to make this hopelessly vulgar, numbingly repetitious farce worth watching. VV: 7 scenes of mostly cartoonish violence. VP: 83 expressions, some harsh. The screenplay by director Coen and producer Ethan Coen borrows from sources as varied as "The Odyssey" and Preston Sturges's brilliant comedy "Sullivan's Travels," about a movie director who longs to make a picture called "O Brother, Where Art Thou?
For all its ambitions, though, the Coens' odyssey is a scattershot affair with too many tricks and twists for its own good. Director: Bruno de Almeida. The action is fast, furious, and occasionally quite funny. Imperioli takes the acting honors, but the others have impressive moments too, especially when De Niro enters the picture as a possible love interest for the jailbird. The understated story gains surprising emotional strength from Barbieri's sensitive camera work, delicately written dialogue, and thoughtful performances by just about everyone. This is a truly superior debut film, marking all concerned as highly promising talents.
Director: Mahmoud Zemmouri. But it also earns the hostility of a crooked religious leader and a cowardly mayor who hope to win community support with a crackdown on pop culture. The plot isn't always original, but along with its laughs the movie has much to reveal about multicultural tensions in Western Europe today. OK, let's get real. Ella's perfectly coiffed black and white bun soon pings out of control and she returns to her former self as Cruella.
She teams up with furrier Jean Pierre Le Pelt Depardieu and tries to steal "poopies" for her dreamcoat. Close is perfectly cast as the overly dramatic and evil Cruella and the dalamatian puppies are just doggone cute. Violence: 8 scenes with comic violence, including slapping and fighting. Profanity: None. Drugs: 2 scenes with cigarettes. Director: Myles Connell. When some local dim bulbs equally desperate for cash propose a scheme for unearned dough, the ex-con considers taking another crack at the crooked path.
Not a whole lot happens here, but the gentle and humorous story is ultimately about charity. Walken makes this movie's little engine purr. VV: 3 mild scenes of violence, including 1 scuffle with punches thrown and 2 instances of breaking and entering. VP: 22 expressions, some harsh. Director: Carlos Diegues. There's more seductive acting and streetwise grittiness here than in the musical "Black Orpheus," which this version responds to with a comparatively high measure of social and political consciousness; but Diegues's approach doesn't escape its own lapses into artificiality and cliche.
Caetano Veloso's music is mighty pleasant, though. In Portuguese with English subtitles. Hughley, Cedric the Entertainer, Bernie Mac. Sometimes they're truly hilarious; sometimes they're lazy enough to milk laughs from nonstop vulgarity; and sometimes they try to pummel the audience into submission with humor so belligerent you don't know whether to give a nervous laugh or hide under your seat.
It's hard to say which moments the on-screen spectators love most, since they appear to be howling with amusement from beginning to end. VV: Some talk of violence. VD: One instance of smoking and drinking offstage. Director: Peter Mullan. The atmosphere is realistic and the acting is vivid, but look out for explicit vulgarity and much extremely foul language.
In Scottish dialect with English subtitles. VV: 7 scenes with violence, including 1 graphic knife wound. VD: 3 scenes with alcohol, 3 with smoking, 2 with both. Director: Salvador Carrasco. Although this film's tight budget occasionally shows through, the use of native language and striking Mexican locations give it a feel of authenticity. A pointed reminder of the incalculable harm that ethnic cleansing wreaks upon the perpetrators as well as the victims. In Spanish and Nahuatl with English subtitles. VV: 12 scenes with violence, including the aftermath of a battle.
VD: 1 scene with alcohol. Director: Enzo Monteleone. Focusing primarily on a hostage standoff that develops during one of the outlaw's attempts to break out of jail, the movie has touches of gentle humanity that set it apart from the usual run of prison and caper films. Directors: Rob Epstein, Jeffrey Friedman. Victimization of homosexuals during the Holocaust era has often been overlooked.
Epstein and Friedman lucidly recount this woeful history, with help from Everett's articulate narration.