For the boids. Long soggy slog through half a century with a couple of show-biz troupers who entertain the troops from Blitzed London to South Vietnam. It's not without all sincerity. The belief in trouping is solidly backed up by the unreserved, unembarrassed performances of Bette Midler and James Caan, …
Futuristic prison film: a thirty-three-story underground edifice in the desert, with behavioral-control devices implanted in the inmates' stomachs. (Hence the new verb, to intestinate, a term that means to cause a tummy ache as well as to blow a hole through.) The primary prisoners -- Christopher Lambert (for the European …
South Korean historical drama (presumably with a lot of kicking and swordplay) set during the Qing dynasty. Directed by Hwang Dong-hyeok.
Girls in the big city, not quite living the life. Sarah-Violet Bliss and Charles Rogers bring you the story of two unheroic women (Bridey Elliott, Clare McNulty) attempting an unheroic trip to a decidedly unheroic beach at the end of the summer.
Ludicrous depiction of the homosexual problem in men's prison as something nearly equivalent to the vampire problem in Transylvania. Wendell Burton is credible enough as a wimp, but his sudden turnaround at the finish is sheer bluff. With Michael Greer; directed by Harvey Hart.
A disconnected family finds hope and unity through a cinematic retelling of Jesus' final 47 days on Earth. Starring Yoshi Barrigas and Catherine Lidstone.
Inert, indolent domestic drama around a Memphis music producer, his much younger Russian mate, and his married son visiting from California. Groping, improvisatory-sounding dialogue; a drizzly, dismal image; a yawner. With Rip Torn, Dina Korzun, and Darren Burrows; directed by Ira Sachs.
Filmmaker Christopher Guest goes back to the target area of his very first film, The Big Picture -- namely the movie biz, more narrowly the Oscar buzz -- and back before he chained himself to the mockumentary format, Waiting for Guffman, Best in Show, A Mighty Wind. Any sense of …
Comedy thriller assembled, by the Dr. Frankenstein method, from the assorted body parts of past thrillers. This sort of grave-robbing, scissoring, and sewing procedure is apt to cause some spectators some aesthetic squemishness, but the resulting creation is reasonably well coordinated and good- looking. Chevy Chase, is his first big …
John Lee Hancock serves up a biopic of McDonald’s king Ray Kroc (Michael Keaton, just restrained enough as a ravenous dog in a human suit) that is not unlike the restaurant’s product: precisely prepared, brightly packaged (oh, that shot of the golden arches reflected in Kroc’s windshield as he pulls …