Arnold Schwarzenegger’s loyal fans get what they want in this routine but rousing revenge thriller, which pits the aging action star against a Colombian guerrilla terrorist. Schwarzenegger plays a Los Angeles fireman who witnesses the killing of his wife and young son, caused by the terrorist’s bombing in a crowded L.A. pavilion. Despite intense scrutiny by FBI and CIA officials, Arnie infiltrates the terrorist’s remote jungle compound, enlists the aid of the villain’s seemingly trustworthy wife (Francesca Neri), and plots to foil another bombing in Washington, D.C. Director Andrew Davis (The Fugitive) maintains adequate plausibility even when Schwarzenegger’s survival grows absurdly unlikely, and lively roles for John Turturro and John Leguizamo add welcomed spice to the movie’s impressive display of military ordnance. Despite its formulaic plot and Arnold’s advancing seniority, Collateral Damage still manages to pack an entertaining punch. –Jeff Shannon Read the rest of this entry

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When Stanley Kubrick recruited Arthur C. Clarke to collaborate on “the proverbial intelligent science fiction film,” it’s a safe bet neither the maverick auteur nor the great science fiction writer knew they would virtually redefine the parameters of the cinema experience. A daring experiment in unconventional narrative inspired by Clarke’s short story “The Sentinel,” 2001 is a visual tone poem (barely 40 minutes of dialogue in a 139-minute film) that charts a phenomenal history of human evolution. From the dawn-of-man discovery of crude but deadly tools in the film’s opening sequence to the journey of the spaceship Discovery and metaphysical birth of the “star child” at film’s end, Kubrick’s vision is meticulous and precise. In keeping with the director’s underlying theme of dehumanization by technology, the notorious, seemingly omniscient computer HAL 9000 has more warmth and personality than the human astronauts it supposedly is serving. (The director (more…)

To call Pearl Harbor a throwback to old-time war movies is something of an understatement. Director Michael Bay’s epic take on the bombing that brought the United States into World War II hijacks every war movie situation and cliché (some affectionate, some stale) you’ve ever seen and gives them a shiny, glossy spin until the whole movie practically gleams. Planes glisten, water sparkles, trees beckon–and Bay’s re-creation of the bombing itself, a 30-minute sequence that’s tightly choreographed and amazingly photographed, sets the action movie bar up quite a few notches. And in updating the classic war film, Bay and screenwriter Randall Wallace (Braveheart) use that old plot standby, the love triangle–this time, it’s between two pilots (Ben Affleck and Josh Hartnett) and a nurse (Kate Beckinsale) who find themselves stationed at Pearl Harbor on December 7, 1941, during what they thought would be a nice, sunny tour of duty. Then, of course, history intervened. br/> For (more…)

Little Bear meets his wild counterpart in this first feature-length offering from Maurice Sendak and company. Father Bear and son head for the hills to camp, but Little Bear gets sidetracked and meets some real wild animals. When the ursine urbanite tries to chat up a predatory mountain lion, he is rescued by Cub, another young black bear who’s lost his parents. So father and son take Cub back to the homestead to teach him about flapjacks and furniture. The next day Little Bear’s woodland pals form a search party and head back to the wilderness to find Cub’s missing mom and dad. While there is a message here about accepting differences, the delight of the Little Bear series is that such messages are well hidden beneath layers of kid-sized adventure and humor, so viewers never feel clobbered. This 74-minute movie features the original songs “Great Big World” and “Everybody Wants to Paint My Picture” sung by Shawn Colvin with her usual exquisiteness. –Kimberly Heinrichs
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Journey into Amazing Caves is a visceral, suspenseful expedition with a new breed of scientists who boldly explore places once thought off-limits to human presence, let alone IMAX cameras. Join Dr. Hazel Barton and Nancy Aulenbach as they travel to unique and forbidding ice caves in Greenland, underwater caves in the Yucatan, terrestrial caves in the Grand Canyon and other spectacular locations. You will wriggle through tiny, twisting passages, swim through flooded underground vaults, drop into gleaming blue labyrinths of ice, and enter a world so extreme the microscopic creatures who live there are called extremophiles. For those compelled to push their limits in the world’s most hostile environments, the risk of fatal danger and thrill of new discovery are the everyday factors that make cave exploration such an awe-inspiring experience. Narrated by Liam Neeson, with music by The Moody Blues. Read the rest of this entry

A thinking person’s thriller, Spy Game employs dense plotting without sacrificing the kinetic momentum that is director Tony Scott’s trademark. The film has the byzantine scope of a novel, focusing on veteran CIA operative Nathan Muir (Robert Redford), whose protégé Tom Bishop (Brad Pitt) is scheduled for execution in a Chinese prison. It’s Muir’s last day before retiring (cliché alert!), and Bishop is being deliberately sacrificed by oily CIA officials to ensure healthy trade with China. Muir has 24 hours to rescue Bishop and his perfunctory love interest (Catherine McCormack), and Spy Game connects the mentor’s end-run strategy to flashbacks of his student’s exploits in Berlin, Beirut, and beyond. Ambitious but emotionally bland–and not as exciting as Scott’s Enemy of the State–Spy Game offers pass-the-torch humor between leather-faced Redford and pretty boy Pitt, and although their dialogue is occasionally limp, the movie compensates with efficient style and subst (more…)

Dianne Parker (Kimberly Williams) meets and marries the handsome and charismatic Mark McCune (Eric Close), never noticing the quiet attention of his brother, David (Campbell Scott), a soft-spoken pediatrician. Their marriage seems perfect until the birth of their daughter, Julia, a baby with genetic abnormalities. Mark, who can’t face the idea of a less-than-perfect child, walks out, leaving Dianne to confront the challenges of being a single mom. As the years pass, Dianne and her mother, Hannah (Blair Brown), remain selflessly devoted to Julia. David introduces Dianne to a young girl (Alexa Vega) from a troubled home as a “mother’s helper,” and things begin to change. Julia gains a best friend and Dianne finds renewed strength and hope, but David must wait patiently for a chance to reveal his true feelings. In the process, Dianne learns that love is more than what you feel for someone – it’s what you’re willing to give of yourself. Read the rest of this entry

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Proving that bigger is rarely better, The Mummy Returns serves up so much action and so many computer-generated effects that it quickly grows exhausting. In his zeal to establish a lucrative franchise, writer-director Stephen Sommers dispenses with such trivial matters as character development and plot logic, and charges headlong into an almost random buffet of minimum story and maximum mayhem, beginning with a prologue establishing the ominous fate of the Scorpion King (played by World Wrestling Federation star the Rock, in a cameo teaser for his later starring role in–you guessed it–The Scorpion King). Dormant for 5,000 years, under control of the Egyptian god Anubis, the Scorpion King will rise again in 1933, which is where we find The Mummy’s returning heroes Brendan Fraser and Rachel Weisz, now married and scouring Egyptian ruins with their 8-year-old son, Alex (Freddie Boath). John Hannah (as Weisz’s brother) and Oded Fehr (as mystical warrior Ardeth Bay) also re (more…)